"Doeg, though without knowing how or why,
Made still a blundering kind of melody;
Spurred boldly on, and dashed though thick and thin,
Through sense and nonsense, never out nor in;
Free from all meaning, whether good or bad,
And, in one word, heroically mad.
He was too warm on picking-work to dwell,
But faggoted his notions as they fell,
And, if they rhymed and rattled, all was well."
Ere we take leave of Settle, it is impossible to omit mentioning his lamentable conclusion; a tale often told and moralised upon, and in truth a piece of very tragical mirth. Elkanah, we have seen, was at this period a zealous Whig; nay, he was so far in the confidence of Shaftesbury that, under his direction, and with his materials, he had been intrusted to compose a noted libel against the Duke of York, entitled, "The Character of a Popish Successor." Having a genius for mechanics, he was also exalted to be manager of a procession for burning the Pope; which the Whigs celebrated with great pomp, as one of many artifices to inflame the minds of the people.[26] To this, and to the fireworks which attended its solemnisation, Dryden alludes in the lines to which Elkanah's subsequent disasters gave an air of prophecy:—
"In fireworks give him leave to vent his spite,
Those are the only servants he can write;
The height of his ambition is, we know,
But to be master of a puppet-show;
On that one stage his works may yet appear,
And a month's harvest keeps him all the year."
Notwithstanding the rank he held among the Whig authors,[27] Settle, perceiving the cause of his patron Shaftesbury was gradually becoming weaker, fairly abandoned him to his fate, and read a solemn recantation of his political errors in a narrative published in 1683. The truth seems to be, that honest Doeg was poet-laureate to the city, and earned some emolument by composing verses for pageants and other occasions of civic festivity; so that when the Tory interest resumed its ascendency among the magistrates, he had probably no alternative but to relinquish his principles or his post, and Elkanah, like many greater men, held the former the easier sacrifice. Like all converts, he became outrageous in his new faith, wrote a libel on Lord Russell a few days after his execution; indited a panegyric on Judge Jefferies; and, being tam Marte quam Mercurio, actually joined as a trooper the army which King James encamped upon Hounslow Heath. After the Revolution, he is enumerated, with our author and Tate, among those poets whose strains had been stifled by that great event.[28] He continued, however, to be the city-laureate;[29] but, in despite of that provision, was reduced by want to write plays, like Ben Jonson's Littlewit, for the profane motions, or puppet-shows, of Smithfield and Bartholomew fairs. Nay, having proceeded thus far in exhibiting the truth of Dryden's prediction, he actually mounted the stage in person among these wooden performers, and combated St. George for England in a green dragon of his own proper device. Settle was admitted into the Charterhouse in his old age, and died there in 1723. The lines of Pope on poor Elkanah's fate are familiar to every poetical reader:—
"In Lud's old walls though long I ruled, renowned
Far as loud Bow's stupendous bells resound;
Though my own aldermen conferred the bays,
To me committing their eternal praise,
Their full-fed heroes, their pacific mayors,
Their annual trophies and their monthly wars;
Though long my party built on me their hopes,
For writing pamphlets, and for roasting popes;
Yet lo! in me what authors have to brag on!
Reduced at last to hiss in my own dragon.
Avert it, heaven! that thou, or Cibber, e'er
Should wag a serpent-tail in Smithfield fair!
Like the vile straw that's blown about the streets,
The needy poet sticks to all he meets;
Coached, carted, trod upon, now loose, now fast,
And carried off in some dog's tail at last."
As Dryden was probably more apprehensive of Shadwell, who, though a worse poet than Settle, has excelled even Dryden in the lower walks of comedy, he has treated him with sterner severity. His person, his morals, his manners and his politics, all that had escaped or been but slightly touched upon in "Mac-Flecknoe," are bitterly reviewed in the character of Og; and there probably never existed another poet, who, at the distance of a month, which intervened between the publication of the two poems, could resume an exhausted theme with an energy which gave it all the charms of novelty. Shadwell did not remain silent beneath the lash; but his clamorous exclamations only tended to make his castigation more ludicrous.[30]
The Second Part of "Absalom and Achitophel" was followed by the "Religio Laici," a poem which Dryden published in the same month of November 1682. Its tendency, although of a political nature, is so different from that of the satires, that it will be most properly considered when we can place it in contrast to the "Hind and Panther." It was addressed to Henry Dickinson, a young gentleman, who had just published a translation of Simon's "Critical History of the New Testament."
As the publication of the two Parts of "Absalom and Achitophel," "The Medal," and "Mac-Flecknoe," all of a similar tone, and rapidly succeeding each other, gave to Dryden, hitherto chiefly known as a dramatist, the formidable character of an inimitable satirist, we may here pause to consider their effect upon English poetry. The witty Bishop Hall had first introduced into our literature that species of poetry; which, though its legitimate use be to check vice and expose folly, is so often applied by spleen or by faction to destroy domestic happiness, by assailing private character. Hall possessed a good ear for harmony; and, living in the reign of Elizabeth, might have studied it in Spenser, Fairfax, and other models. But from system, rather than ignorance or inability, he chose to be "hard of conceit, and harsh of style," in order that his poetry might correspond with the sharp, sour, and crabbed nature of his theme.[31] Donne, his successor, was still more rugged in his versification, as well as more obscure in his conceptions and allusions. The satires of Cleveland (as we have indeed formerly noticed) are, if possible, still harsher and more strained in expression than those of Donne. Butler can hardly be quoted as an example of the sort of satire we are treating of. "Hudibras" is a burlesque tale, in which the measure is intentionally and studiously rendered as ludicrous as the characters and incidents. Oldham, who flourished in Dryden's time, and enjoyed his friendship, wrote his satires in the crabbed tone of Cleveland and Donne. Dryden, in the copy of verses dedicated to his memory, alludes to this deficiency, and seems to admit the subject as an apology:—
"O early ripe! to thy abundant store
What could advancing age have added more!
It might (what nature never gives the young)
Have taught the numbers of thy native tongue.
But satire needs not those, and wit will shine
Through the harsh cadence of a rugged line."
Yet the apology which he admitted for Oldham, Dryden disdained to make use of himself. He did not, as has been said of Horace, wilfully untune his harp when he commenced satirist. Aware that a wound may be given more deeply with a burnished than with a rusty blade, he bestowed upon the versification of his satires the same pains which he had given to his rhyming plays and serious poems. He did not indeed, for that would have been pains misapplied, attempt to smooth his verses into the harmony of those in which he occasionally celebrates female beauty; but he gave them varied tone, correct rhyme, and masculine energy, all which had hitherto been strangers to the English satire.
Thus, while Dryden's style resembled that of Juvenal rather than Horace, he may claim a superiority, for uniform and undeviating dignity, over the Roman satirist. The age, whose appetite for scandal had been profusely fed by lampoons and libels, now learned, that there was a more elevated kind of satire, in which poignancy might be united with elegance, and energy of thought with harmony of versification. The example seems to have produced a strong effect. No poet, not even Settle (for even the worst artist will improve from beholding a masterpiece), afterwards conceived he had sufficiently accomplished his task by presenting to the public, thoughts, however witty or caustic he might deem them, clothed in the hobbling measure of Donne or Cleveland; and expression and harmony began to be consulted, in satire, as well as sarcastic humour or powerful illustration.
"Mac-Flecknoe," in some degree, differs from the other satires which Dryden published at this time. It is not confined to the description of character, but exhibits an imaginary course of incidents, in which the principal personage takes a ludicrous share. In this it resembles "Hudibras;" and both are quoted by Dryden himself as examples of the Varronian satire. But there was this pointed difference, that Butler's poem is burlesque, and Dryden's mock-heroic. "Mac-Flecknoe" is, I rather believe, the first poem in the English language, in which the dignity of a harmonised and lofty style is employed, not only to excite pleasure in itself, but to increase, by contrast, the comic effect of the scenes which it narrates; the subject being ludicrous, while the verse is noble. The models of satire afforded by Dryden, as they have never been equalled by any succeeding poet, were in a tone of excellence superior far to all that had preceded them.
These reflections on the nature of Dryden's satires, have, in some degree, interrupted our account of his political controversies. Not only did he pour forth these works, one after another, with a fertility which seemed to imply delight in his new labour; but, as if the spirit of the time had taught him speed, he found leisure to oppose the Whigs in the theatre, where the audience was now nearly as much divided as the kingdom by the contending factions. Settle had produced the tragedy of "Pope Joan," Shadwell the comedy of the "Lancashire Witches," to expose to hatred and ridicule the religion of the successor to the crown. Otway and D'Urfey, Crowne and Southerne, names unequal in fame, vied in producing plays against the Whigs, which might counterbalance the effect of these popular dramas. A licence similar to that of Aristophanes was introduced on the English stage; and living personages were exhibited under very slight disguises.[32] In the prologues and epilogues, which then served as a sort of moral to the plays, the veil, thin as it was, was completely raised, and the political analogies pointed out to such of the audience as might otherwise have been too dull to apprehend them. In this sharp though petty war Dryden bore a considerable share. His necessities obliged him, among other modes of increasing his income, to accept of a small pecuniary tribute for furnishing prologues on remarkable occasions, or for new plays; and his principles determined their tendency.[33] But this was not all the support which his party expected, and which he afforded them on the theatre, even while labouring in their service in a different department.
When Dryden had but just finished his "Religio Laici," Lee, who had assisted in the play of "Oedipus," claimed Dryden's promise to requite the obligation. It has been already noticed, that Dryden had, in the year succeeding the Restoration, designed a play on the subject of the Duke of Guise; and he has informed us he had preserved one or two of the scenes. These, therefore, were revised, and inserted in the new play, of which Dryden wrote the first scene, the whole fourth act, and great part of the fifth. Lee composed the rest of "The Duke Of Guise." The general parallel between the League in France and the Covenant in England, was too obvious to escape early notice; but the return of Monmouth to England against the king's express command, in order to head the opposition, perhaps the insurrection, of London, presented a still closer analogy to the entry of the Duke of Guise into Paris, under similar circumstances, on the famous day of the barricades. Of this remarkable incident, the united authors of "The Duke of Guise" naturally availed themselves; though with such precaution, that almost the very expressions of the scene are taken from the prose of Davila. Yet the plot, though capable of an application so favourable for the royal party, contained circumstances of offence to it. If the parallel between Guise and Monmouth was on the one hand felicitous, as pointing out the nature of the Duke's designs, the moral was revolting, as seeming to recommend the assassination of Charles's favourite son. The king also loved Monmouth to the very last; and was slow and reluctant in permitting his character to be placed in a criminal or odious point of view.[34] The play, therefore, though ready for exhibition before midsummer 1682, remained in the hands of Arlington the lord-chamberlain for two months without being licensed for representation. But during that time the scene darkened. The king had so far suppressed his tenderness for Monmouth, as to authorise his arrest at Stafford; and the influence of the Duke of York at court became daily more predominant. Among other evident tokens that no measures were hence-forward to be kept between the king and Monmouth, the representation of "The Duke of Guise" was at length authorised.
The two companies of players, after a long and expensive warfare, had now united their forces; on which occasion Dryden furnished them with a prologue, full of violent Tory principles. By this united company "The Duke of Guise" was performed on the 30th December 1682. It was printed with a dedication to Hyde, Earl of Rochester, subscribed by both authors, but evidently the work of Dryden. It is written in a tone of defiance to the Whig authors, who had assailed the dedicators, it alleges, "like footpads in the dark," though their blows had done little harm, and the objects of their malice yet lived to vindicate their loyalty in open day. The play itself has as determined a political character as the dedication. Besides the general parallel between the leaguers and the fanatical sectaries, and the more delicate, though not less striking, connection between the story of Guise and of Monmouth, there are other collateral allusions in the piece to the history of that unfortunate nobleman, and to the state of parties. The whole character of Marmoutiere, high-spirited, loyal, and exerting all her influence to deter Guise from the prosecution of his dangerous schemes, corresponds to that of Anne, Duchess of Monmouth.[35] The love too which the king professes to Marmoutiere, and which excites the jealousy of Guise, may bear a remote and delicate allusion to that partiality which the Duke of York is said to have entertained for the wife of his nephew.[36] The amiable colours in which Marmoutiere is painted, were due to the Duchess of Monmouth, Dryden's especial patroness. Another more obvious and more offensive parallel existed between the popular party in the city, with the Whig sheriffs at their head, and that of the Echevins, or sheriffs of Paris, violent demagogues and adherents to the League, and who, in the play, are treated with great contumely by Grillon and the royal guards. The tumults which had taken place at the election of these magistrates were warm in the recollection of the city; and the commitment of the ex-sheriffs, Shute and Pilkington, to the Tower, under pretext of a riot, was considered as the butt of the poet's satire. Under these impressions the Whigs made a violent opposition to the representation of the piece, even when the king gave it his personal countenance. And although, in despite of them, "The Duke of Guise" so far succeeded, as "to be frequently acted, and never without a considerable attendance," we may conclude from these qualified expressions of the author himself, that the play was never eminently popular. He, who writes for a party, can only please at most one half of his audience.
It was not to be expected that, at a time so very critical, a public representation, including such bold allusions, or rather parallels, should pass without critical censure. "The Duke of Guise" was attacked by Dryden's old foe Shadwell, in some verses, entitled, "A Lenten Prologue refused by the Players;"[37] and more formally, in "Reflections on the pretended Parallel in the Play called the Duke of Guise." In this pamphlet Shadwell seems to have been assisted by a gentleman of the Temple, so zealous for the popular cause, that Dryden says he was detected disguised in a livery-gown, proffering his vote at the Common-hall. Thomas Hunt, a barrister,[38] likewise stepped forth on this occasion; and in his "Defence of the Charter of London," then challenged by the famous process of Quo Warranto, he accuses Dryden of having prepared the way for that arbitrary step, by the degrading representation of their magistrates executed in effigy upon the stage. Dryden thought these pamphlets of consequence enough to deserve an answer, and published, soon after, "The Vindication of the Duke of Guise." In perusing the controversy, we may admire two circumstances, eminently characteristical of the candour with which such controversies are usually maintained: First, the anxiety with which the critics labour to fix upon Dryden a disrespectful parallel between Charles II. and Henry II. [III.] of France, which certainly our author did not propose to carry farther than their common point of situation; and secondly, the labour with which he disavows what he unquestionably did intend,—a parallel between the rebellious conduct of Monmouth and of Guise. The Vindication is written in a tone of sovereign contempt for the adversaries, particularly for Shadwell. Speaking of Thomas Hunt, Dryden says,—"Even this their celebrated writer knows no more of style and English than the Northern dictator; as if dulness and clumsiness were fatal to the name of Tom. It is true, he is a fool in three languages more than the poet; for, they say, 'he understands Latin, Greek, and Hebrew,' from all which, to my certain knowledge, I acquit the other. Og may write against the king, if he pleases, so long as he drinks for him, and his writings will never do the government so much harm, as his drinking does it good; for true subjects will not be much perverted by his libels; but the wine-duties rise considerably by his claret. He has often called me an atheist in print; I would believe more charitably of him, and that he only goes the broad way, because the other is too narrow for him. He may see, by this, I do not delight to meddle with his course of life, and his immoralities, though I have a long bead-roll of them. I have hitherto contented myself with the ridiculous part of him, which is enough, in all conscience, to employ one man; even without the story of his late fall at the Old Devil, where he broke no ribs, because the hardness of the stairs could reach no bones; and, for my part, I do not wonder how he came to fall, for I have always known him heavy: the miracle is, how he got up again. I have heard of a sea captain as fat as he, who, to escape arrests, would lay himself flat upon the ground, and let the bailiffs carry him to prison, if they could. If a messenger or two, nay, we may put in three or four, should come, he has friendly advertisement how to escape them. But to leave him, who is not worth any further consideration, now I have done laughing at him,—would every man knew his own talent, and that they, who are only born for drinking, would let both poetry and prose alone!" This was the last distinct and prolonged animadversion which our author bestowed upon his corpulent antagonist.
Soon after this time Dryden wrote a biographical preface to Plutarch's Lives, of which a new translation, by several hands, was in the press. The dedication is addressed to the Duke of Ormond, the Barzillai of "Absalom and Achitophel," whom Charles, after a long train of cold and determined neglect, had in emergency recalled to his favour and his councils. The first volume of Plutarch's Lives, with Dryden's Life of the author, appeared in 1683.
About the same time, the king's express command engaged Dryden in a work, which may be considered as a sort of illustration of the doctrines laid down in the "Vindication of the Duke of Guise." It was the translation of Maimbourg's "History of the League," expressly composed to draw a parallel between the Huguenots of France and the Leaguers, as both equal enemies of the monarchy. This comparison was easily transferred to the sectaries of England, and the association proposed by Shaftesbury. The work was published with unusual solemnity of title-page and frontispiece; the former declaring that the translation was made by his Majesty's command; the latter representing Charles on his throne, surrounded by emblems expressive of hereditary and indefeasible right.[39] The dedication to the king contains sentiments which savour strongly of party violence, and even ferocity. The forgiving disposition of the king is, according to the dedicator, the encouragement of the conspirators. Like Antaeus they rise refreshed from a simple overthrow. "These sons of earth are never to be trusted in their mother element; they must be hoisted into the air, and strangled." Thus exasperated were the most gentle tempers in these times of doubt and peril. The rigorous tone adopted, confirms the opinion of those historians who observe, that, after the discovery of the Rye-house Plot, Charles was fretted out of his usual debonair ease, and became more morose and severe than had been hitherto thought consistent with his disposition.
This translation was to be the last service which Dryden was to render his good-humoured, selfish, and thoughtless patron. While the laureate was preparing for the stage the opera of "Albion and Albanius," intended to solemnise the triumph of Charles over the Whigs, or, as the author expressed it, the double restoration of his sacred Majesty, the king died of an apoplexy upon the 6th February 1684-5. His death opened to many, and to Dryden among others, new hopes, and new prospects, which were, in his instance, doomed to terminate in disappointment and disgrace. We may therefore pause, and review the private life of the poet during the period which has occupied our last Sections.
The vigour and rapidity with which Dryden poured forth his animated satire, plainly intimates, that his mind was pleased with the exercise of that formidable power. It was more easy for him, he has himself told us, to write with severity, than with forbearance; and indeed, where is the expert swordsman, who does not delight in the flourish of his weapon? Neither could this self-complacent feeling be much allayed, by the vague and abusive ribaldry with which his satire was repaid. This was natural to the controversy, was no more than he expected and was easily retorted with terrible interest. "As for knave," says he, "and sycophant and rascal, and impudent, and devil, and old serpent, and a thousand such good morrows, I take them to be only names of parties; and could return murderer, and cheat, and whig-napper, and sodomite; and, in short, the goodly number of the seven deadly sins, with all their kindred and relations, which are names of parties too; but saints will be saints in spite of villainy." With such feelings, we may believe Dryden's rest was little disturbed by the litter of libels against him:—
"Sons of a day just buoyant on the flood,
Then numbered with the puppies in the mud."
But he who keenly engages in political controversy must not only encounter the vulgar abuse, which he may justly contemn, but the altered eye of friends, whose regard is chilled, or alienated. That Dryden sustained such misfortune we cannot doubt, when he informs us, that, out of the large party in opposition, comprehending, doubtless, many men of talent and eminence, who were formerly familiar with him, he had, during the course of a whole year, only spoken to four, and to those but casually and cursorily, and only to express a wish, that the times might come when the names of Whig and Tory might be abolished, and men live together as they had done before they were introduced.
Neither did the protecting zeal of his party-friends compensate for the loss of those whom Dryden had alienated in their service. True it is, that a host of Tory rhymers came forward with complimentary verses to the author of "Absalom and Achitophel," and of "The Medal." But of all payment, that in kind is least gratifying to a poverty-struck bard, and the courtly patrons of Dryden were in no haste to make him more substantial requital. A gratuity of an hundred broad pieces is said to have been paid him by Charles for one of his satires; but no permanent provision was made for him. He was coolly left to increase his pittance by writing occasional pieces; and it was probably with this view that he arranged for publication a miscellaneous collection of poetry, which he afterwards continued. It was published for Tonson in 1683-4, and contained several versions of Epistles from Ovid, and translations of detached pieces of Virgil, Horace, and Theocritus, with some smaller pieces by Dryden himself, and a variety of poems by other hands. The Epistles had appeared in 1680, in a version of the original by several hands, to which Dryden also contributed an introductory discourse on translation. Contrary to our author's custom, the miscellany appeared without either preface or dedication.
The miscellany, among other minor poems of Dryden, contained many of his occasional prologues and epilogues, the composition of which his necessity had rendered so important a branch of income, that, in the midst of his splendour of satirical reputation, the poet was obliged to chaffer about the scanty recompence which he drew from such petty sources. Such a circumstance attended the commencement of his friendship with Southerne. That poet then opening his dramatic career with the play of the "Loyal Brother," came, as was usual, to request a prologue from Dryden, and to offer him the usual compliment of five guineas. But the laureate demurred, and insisted upon double the sum, "not out of disrespect," he added, "to you, young man; but the players have had my goods too cheap." Hence Southerne, who was peculiarly fortunate in his dramatic revenue, is designed by Pope as
"Tom sent down to raise
The price of prologues and of plays."[40]
It may seem surprising that Dryden should be left to make an object of such petty gains, when, labouring for the service of government, he had in little more than twelve months produced both Parts of "Absalom and Achitophel," "The Medal," "Mac-Flecknoe," "Religio Laici" and "The Duke of Guise." But this was not the worst; for, although his pension as poet-laureate was apparently all the encouragement which he received from the crown, so ill-regulated were the finances of Charles, so expensive his pleasures, and so greedy his favourites, that our author, shortly after finishing these immortal poems, was compelled to sue for more regular payment of that very pension, and for a more permanent provision, in the following affecting Memorial, addressed to Hyde, Earl of Rochester:—"I would plead," says he, "a little merit, and some hazards of my life from the common enemies; my refusing advantages offered by them, and neglecting my beneficial studies, for the king's service; but I only think I merit not to starve. I never applied myself to any interest contrary to your lordship's; and, on some occasions, perhaps not known to you, have not been unserviceable to the memory and reputation of my lord, your father.[41] After this, my lord, my conscience assures me, I may write boldly, though I cannot speak to you. I have three sons, growing to man's estate. I breed them all up to learning, beyond my fortune; but they are too hopeful to be neglected, though I want. Be pleased to look on me with an eye of compassion: some small employment would render my condition easy. The king is not unsatisfied of me; the duke has often promised me his assistance; and your lordship is the conduit through which their favours pass. Either in the customs, or the appeals of the excise, or some other way, means cannot be wanting, if you please to have the will. 'Tis enough for one age to have neglected Mr. Cowley, and starved Mr. Butler; but neither of them had the happiness to live till your lordship's ministry. In the meantime, be pleased to give me a gracious and a speedy answer to my present request of half a year's pension for my necessities. I am going to write somewhat by his Majesty's command,[42] and cannot stir into the country for my health and studies till I secure my family from want."
We know that this affecting remonstrance was in part successful; for long afterwards, he says, in allusion to this period, "Even from a bare treasury, my success has been contrary to that of Mr. Cowley; and Gideon's fleece has there been moistened, when all the ground was dry." But in the admission of this claim to the more regular payment of his pension, was comprehended all Rochester's title to Dryden's gratitude. The poet could not obtain the small employment which he so earnestly solicited; and such was the recompense of the merry monarch and his counsellors, to one whose productions had strengthened the pillars of his throne, as well as renovated the literary taste of the nation.[43]
FOOTNOTES: [1] Mulgrave was created lieutenant of Yorkshire and governor of Hull, when Monmouth was deprived of these and other honours.
[2] See vol. x.
[3] This is objected to Dryden by one of his antagonists: "Nor could ever Shimei be thought to have cursed David more bitterly, than he permits his friend to blaspheme the Roman priesthood in his epilogue to the 'Spanish Friar.' In which play he has himself acted his own part like a true younger son of Noah, as may be easily seen in the first edition of that comedy, which would not pass muster a second time without emendations and corrections."—The Revolter, 1687, p. 29.
[4] See vol. ix.
[5] See vol. ix. This piece, entitled "Absalom's Conspiracy or the Tragedy of Treason," is printed in the same volume.
[6] See vol. ix.
[7] Lord Grey says in his narrative, "After the dissolution of the Oxford parliament, we were all very peaceably inclined, and nothing passed amongst us that summer of importance, which I can call to mind: I think my Lord Shaftesbury was sent to the Tower just before the long vacation; and the Duke of Monmouth, Mr. Montague, Sir Thomas Armstrong, and myself, went to Tunbridge immediately after his lordship's imprisonment, where we laid aside the thoughts of disturbing the peace of the government for those of diverting ourselves."
[8] He usually distinguishes Dryden by his "Rehearsal" title of Bayes; and, among many other oblique expressions of malevolence, he has this note:—
"To see the incorrigibleness of our poets in their pedantic manner, their vanity, defiance of criticism, their rhodomontade, and poetical bravado, we need only turn to our famous poet-laureat (the very Mr. Bayes himself), in one of his latest and most valued pieces, writ many years after the ingenious author of the 'Rehearsal' had drawn his picture. 'I have been listening (says our poet, in his Preface to 'Don Sebastian'), what objections had been made against the conduct of the play, but found them all so trivial, that if I should name them, a true critic would imagine that I played booty. Some are pleased to say the writing is dull; but aedatum habet de se loquatur. Others, that the double poison is unnatural; let the common received opinion, and Ausonius's famous epigram, answer that. Lastly, a more ignorant sort of creatures than either of the former maintain, that the character of Dorax is not only unnatural, but inconsistent with itself; let them read the play, and think again. A longer reply is what those cavillers deserve not. But I will give them and their fellows to understand, that the Earl of —— was pleased to read the tragedy twice over before it was acted and did me the favour to send me word, that I had written beyond any of my former plays, and that he was displeased anything should be cut away. If I have not reason to prefer his single judgment to a whole faction, let the world be judge; for the opposition is the same with that of Lucan's hero against an army, concurrere bellum atque virum. I think I may modestly conclude,' etc.
"Thus he goes on, to the very end, in the self-same strain. Who, after this, can ever say of the 'Rehearsal' author, that his picture of our poet was overcharged, or the national humour wrong described?"
[9] See vol. ix.
[10] See some extracts from this piece, vol. ix.
[11]
"How well this Hebrew name with sense doth sound,
A fool's my brother,[11a] though in wit profound!
Most wicked wits are the devil's chiefest tools,
Which, ever in the issue, God befools.
Can they compare, vile varlet, once hold true,
Of the loyal lord, and this disloyal Jew?
Was e'er our English earl under disgrace,
And, unconscionable; put out of place?
Hath he laid lurking in his country-house
To plot rebellions, as one factious?
Thy bog-trot bloodhounds hunted have this stag,
Yet cannot fasten their foul fangs,—they flag.
Why didst not thou bring in thy evidence
With them, to rectify the brave jury's sense,
And so prevent the ignoramus?—nay,
Thou wast cock-sure he wou'd he damned for aye,
Without thy presence;—thou wast then employed
To brand him 'gainst he came to be destroyed:
Forehand preparing for the hangman's axe,
Had not the witnesses been found so lax."
[11a] Achi, my brother, and tophel, a fool.—Orig. Note.
[12] Vol. ix.
[13] He was the son of Dr. John Pordage, minister of Bradfield expelled his charge for insufficiency in the year 1646. Among other charges against him were the following, which, extraordinary as they are, he does not seem to have denied:
"That he hath very frequent and familiar converse with angels.
"That a great dragon came into his chamber with a tail of eight yards long, four great teeth, and did spit fire at him; and that he contended with the dragon.
"That his own angel came and stood by him while he was expostulating with the dragon; and the angel came in his own shape and fashion, the same clothes, bands, and cuffs, the same bandstrings; and that his angel stood by him and upheld him.
"That Mrs. Pordage and Mrs. Flavel had their angels standing by them also, Mrs. Pordage singing sweetly, and keeping time upon her breast; and that his children saw the spirits coming into the house, and said, Look there, father; and that the spirits did after come into the chamber, and drew the curtains when they were in bed.
"That the said Mr. Pordage confessed, that a strong enchantment was upon him, and that the devil did appear to him in the shape of Everard, and in the shape of a fiery dragon; and the whole roof of the house was full of spirits."—State Trials.
[14] How little Dryden valued these nicknames appears from a passage in the "Vindication of the Duke of Guise:"—"Much less am I concerned at the noble name of Bayes; that is a brat so like his own father, that he cannot be mistaken for anybody else. They might as reasonably have called Tom Sternhold Virgil, and the resemblance would have held as well." Vol. vii.
[15]
"As when a swarm of gnats at eventide
Out of the fennes of Allan doe arise,
Their murmuring small trompetts sownden wide,
Whiles in the aire their clustring army flies,
That as a cloud doth seeme to dim the skies;
No man nor beast may rest or take repast
For their sharp wounds and noyous injuries,
Till the fierce northern wind with blustring blast
Doth blow them quite away, and in the ocean cast."
[16]
"How finely would the sparks be caught to-day,
Should a Whig poet write a Tory play,
And you, possessed with rage before, should send
Your random shot abroad and maul a friend?
For you, we find, too often hiss and clap,
Just as you live, speak, think, and fight—by hap.
And poets, we all know, can change, like you,
And are alone to their own interest true;
Can write against all sense, nay even their own:
The vehicle called pension makes it down.
No fear of cudgels, where there's hope of bread;
A well-filled paunch forgets a broken head."
[17] I quote the passage at length, as evincing the difference between Dryden's taste in comedy and that of Shadwell:—
"I have endeavoured to represent variety of humours (most of the persons of the play differing in their characters from one another), which was the practice of Ben Jonson, whom I think all drammatick poets ought to imitate, though none are like to come near; he being the onely person that appears to me to have made perfect representation of human life: most other authors that I ever read, either have wilde romantick tales, wherein they strein love and honour to that ridiculous height, that it becomes burlesque; or in their lower comedies content themselves with one or two humours at most, and those not near so perfect characters as the admirable Jonson; always made, who never wrote comedy without seven or eight considerable humours. I never saw one, except that of Falstaffe, that was, in my judgment, comparable to any of Jonson's considerable humours. You will pardon this digression when I tell you, he is the man, of all the world, I most passionately admire for his excellency in drammatick poetry.
"Though I have known some of late so insolent to say, that Ben Jonson wrote his best playes without wit, imagining, that all the wit playes consisted in bringing two persons upon the stage to break jest, and to bob one another, which they call repartie, not considering, that there is more wit and invention required in the finding out good humour and matter proper for it, then in all their smart reparties; for, in the writing of a humour, a man is confined not to swerve from the character, and obliged to say nothing but what is proper to it; but in the playes which have been wrote of late, there is no such thing as perfect character, but the two chief persons are most commonly a swearing, drinking, whoring ruffian for a lover, and impudent, ill-bred tomrig for a mistress, and these are the fine people of the play; and there is that latitude in this, that almost anything is proper for them to say; but their chief subject is bawdy, and profaneness, which they call brisk writing, when the most dissolute of men, that relish those things well enough in private, are choked at 'em in publick: and, methinks, if there were nothing but the ill manners of it, it should make poets avoid that indecent way of writing."—Preface to the Sullen Lovers.
Lest this provocation should be insufficient, the Prologue of the same piece has a fling at heroic plays. The poet says he has
"No kind romantic lover in his play
To sigh and whine out passion, such as may
Charm waiting-women with heroic chime,
And still resolve to live and die in rhyme;
Such as your ears with love and honour feast,
And play at crambo for three hours at least,
That fight and wooe in verse in the same breath,
And make similitude and love in death."
Whatever symptoms of reconciliation afterwards took place between the poets, I greatly doubt if this first offence was ever cordially forgiven.
[18] Vol. vii.
[19] See these offensive passages, vol. x.
[20] Vol. x.
[21]
"The laurel makes a wit, a brave, the sword;
And all are wise men at the Council board:
Settle's a coward, 'cause fool Otway fought him,
And Mulgrave is a wit, because I taught him."
The Tory Poets, 4to, 1682.
[22] Jonson is described as wearing a loose coachman's coat, frequenting the Mermaid tavern, where he drunk seas of Canary, then reeling home to bed, and, after a profuse perspiration, arising to his dramatic studies. Shadwell appears, from the slight traits which remain concerning him, to have followed, as closely as possible, the same course of pleasure and of study. He was brutal in his conversation, and much addicted to the use of opium, to which indeed he is said finally to have fallen a victim.
[23] [I have inserted the word "first" because Scott's language is ambiguous. In the list of the bookseller's collection in 3 vols. 4to, advertised in Amphitryon (1690), "Mac-Flecknoe" and the Cromwell poem do not appear. The later plays, however, soon gave material for another volume, and in this 4-vol. edition, advertised in Love Triumphant, 1694, both poems figure.—ED.]
[24] Vol. x.
[25] See some specimens of these poems, vol. ix.
[26] Vol. vi.; vol. x
[27] In a satire against Settle, dated April 1682, entitled, "A Character of the True-blue Protestant Poet," the author exclaims, "One would believe it almost incredible, that any out of Bedlam should think it possible, a yesterday's fool, an errant knave, a despicable coward, and a prophane atheist, should be to-day by the same persons, a Cowley, a man of honour, an hero, and a zealous upholder of the Protestant cause and interest."
[28] In the "Deliverance," an address to the Prince of Orange, published about 9th February 1689:—
"Alas! the famous Settle, Durfey, Tate,
That early propped the deep intrigues of state,
Dull Whiggish lines the world could ne'er applaud,
While your swift genius did appear abroad:
And then, great Bayes, whose yet unconquered pen
Wrote with strange force as well of beasts as men,
Whose noble genius grieved from afar,
Because new worlds of Bayes did not appear,
Now to contend with the ambitious elf,
Begins a civil war against himself," etc.
[29] In 1702, probably in the capacity of civic-laureate, he wrote "Carmen Irenicum," upon the union of the two East India companies; and long afterward, in 1717, he is mentioned by Dennis as still the city poet.
[30] He published a translation of the tenth satire of Juvenal, in the preface to which he rails plentifully against Dryden.
[31] [The omission of Marston here is remarkable, because no satirist exhibits this extraordinary roughness of versification more glaringly. Scott can hardly have read him.—ED.]
I infer, that the want of harmony was intentional, from these expressions: "It is not for every one to relish a true and natural satire; being of itself, besides the nature and inbred bitterness and tartness of particulars, both hard of conceit and harsh of style, and therefore cannot but be unpleasing both to the unskilful and over-musical ear; the one being affected with only a shallow and easy, the other with a smooth and current, disposition."—Postscript to Hall's Satires.
[32] In "Venice Preserved," the character of the foolish senator Antonio, now judiciously omitted in the representation was said to be meant for Shaftesbury. But Crowne's "City Politics" contained the most barefaced exhibition of all the popular leaders, including Shaftesbury, College the Protestant joiner, Titus Oates, and Sir William Jones. The last is described under the character of Bartoline, with the same lisping imperfect enunciation which distinguished the original. Let us remark, however, to the honour of Charles II., that in "Sir Courtly Nice," another comedy which Crowne, by his express command, imitated from the Spanish, the furious Tory is ridiculed in the character of Hothead, as well as the fanatical Whig under that of Testimony.
[33] See the Prologues and Epilogues in vol. x.
[34] The concealed partiality of Charles towards Monmouth survived even the discovery of the Rye-house Plot. He could not dissemble his satisfaction upon seeing him after his surrender, and pressed his hand affectionately.—See Monmouth's Diary in Wellwood's Memorials, p. 322.
[35] Carte, in his "life of the Duke of Ormond," says, that Monmouth's resolutions varied from submission to resistance against the king, according to his residence with the Duchess at Moor-park, who schooled him to the former, or with his associates and partisans in the city, who instigated him to more desperate resolutions.
[36] This Dryden might learn from Mulgrave, who mentions in his Memoirs, as a means of Monmouth's advancement, the "great friendship which the Duke of York had openly professed to his wife, a lady of wit and reputation, who had both the ambition of making her husband considerable, and the address of succeeding in it, by using her interest in so friendly an uncle, whose design I believe was only to convert her. Whether this familiarity of theirs was contrived or only connived at by the Duke of Monmouth himself, is hard to determine. But I remember, that, after these two princes had become declared enemies, the Duke of York one day told me, with some emotion, as conceiving it a new mark of his nephew's insolence, that he had forbidden his wife to receive any more visits from him; at which I could not help frankly replying, that I, who was not used to excuse him, yet could not hold from doing it in that case, wishing his highness might have no juster cause to complain of him. Upon which the duke, surprised to find me excuse his and my own enemy, changed the discourse immediately."—Memoirs, p. 13.
I have perused letters from Sir Gideon Scott of Highchester to the
Duchess of Monmouth, recommending a prudent and proper attention to the
Duke of York: and this advice she probably followed; for, after her
husband's execution, James restored to her all her family estates.
[37] Bought by Mr. Luttrell, 11th April 1683. See it in vol. x. It is expressly levelled against "The Duke of Guise," and generally against Dryden as a court poet. I may, however be wrong in ascribing it to Shadwell.
[38] I observe Anthony Wood, as well as Mr. Malone, suppose Hunt and the Templar associated in the Reflections to be the same person. But in the "Vindication of the Duke of Guise" Shadwell and they are spoke of as three distinct persons.
[39] See vol. xvii. In this edition I have retained a specimen of a translation which our author probably executed with peculiar care; selecting it from the account of the barricades of Paris, as illustrating the tragedy of "The Duke of Guise."
[40] [This story is told with great variation of figures. Johnson mentions two and three guineas as the old and new prices; others give four and six.—ED.]
[41] Probably alluding to having defended Clarendon in public company; for nothing of the kind occurs in Dryden's publications. [It is not impossible that the New Year's Day Poem (1662) to the Lord Chancellor is partly referred to here.—ED.]
[42] Probably the translation of "Religio Laici."
[43] [Some important evidence has come to light since Scott wrote, which shows that the response to Dryden's petitions and the reward of his services was not so insignificant as appears from the text, though it was meagre enough. The facts were not known fully even to Macaulay, and his ignorance enabled him, in perfect honesty, to make the case against Dryden, for supposed venal apostasy, stronger than it might otherwise appear. The documents referred to were discovered by Mr. Peter Cunningham and by Mr. Charles Beville Dryden, the latter of whom communicated his discovery to Mr. Robert Bell. As the facts are undoubted, and Macaulay's ignorance of them equally so, it seems a little remarkable that a reviewer of the little book on Dryden to which I am too often obliged to refer my readers, should have announced his adherence to "Macaulay and fact" rather than "Mr. Bell and sophistry." It is not obvious how fact can be on the side of a writer who was, owing to no fault of his own, ignorant of the fact, and whose ignorance furnished him with his premises. The state of the case is this. Dryden's application to Hyde produced the following Treasury warrant:—
—of the sume of Fifty pounds for one quarter of the said Annuity or Pencon due at Mid-summer 1680. And by Vertue of his Ma'ts Lres of Privy Scale directing an additionall Annuity of One hundred pounds to him the said John Dryden to draw one or more orders for payment of the sume of Twenty five Pounds for one Quarter of the said Annuity due at Lady day 1680. And let both the said sumes making the sume of Seaventy Five Pounds be satisfyed out of any his Ma'ts Treasure now or hereafter being and remaining in the Receipt of Excheq'r not appropriated to particular uses For w'ch this shal be your Warrant.
Whitehall Treasury Chambers May the 6th 1684
To our very Loving friend S'r Robert Rochester howard Kn't Auditor of the Receipt J Ernle'r of his Ma'ts Excheq'r. Ed Dering Int'r. in officio Auditor Ste: ffox Recpt see-ij Dni Regis Int'r in Oficio Clei Pell &c. Mr. Dryden 75_l_.
It will be seen from this that independently of the appointment of the laureateship, Dryden had in or before the year 1679 received an additional pension of £100 a year. Confirmatory of this is a Treasury order for the quarter of the same pension, due January 5th, 1679, and a secret service payment of the same year, apparently referring to the same pension. Moreover, on December 17th, 1683, Dryden was appointed collector of customs in the port of London. The value of this is unknown, but the sum of £5 for collecting the duties on cloth, which is the only part of the emoluments as to which there is documentary evidence, must have been a very small part of it. Now these two appointments, the laureateship and the collectorship, were by letters-patent, and were, in the usual course, confirmed on the accession of the new Sovereign, though James characteristically cut out the butt of sack. But the extra pension, which was merely granted by letters of privy seal, lapsed, and it was absolutely within the discretion of the new Sovereign to continue or discontinue it. It was not formally regranted for a year, and this pension was mistaken by Macaulay for an original one granted in payment of apostasy. That the difference is very considerable must strike every one, and I for one cannot see that the drawing of the obvious inference can be called sophistry. If the time between the lapsing and the regranting seems long, it has to be observed, first, that arrears to the date of the lapse are carefully specified; secondly, that even in the case of the laureateship patent, four whole months, as has been seen, elapsed between the instruction for it and the patent itself. The circumstances are, of course, consistent with the supposition that apostasy was made a condition of the renewal; but they cannot be said to supply of themselves any argument in favour of such a supposition.—ED.]
SECTION VI.
Threnodia Augustalis—Albion and Albanius—Dryden becomes a Catholic— The Controversy of Dryden with Stillingfleet—The Hind and Panther—Life of St. Francis Xavier—Consequences of the Revolution to Dryden—Don Sebastian—King Arthur—Cleomenes—Love Triumphant.
The accession of James II. to the British throne excited new hopes in all orders of men. On the accession of a new prince, the loyal looked to rewards, the rebellious to amnesty. The Catholics exulted in beholding one of their persuasion attain the crown after an interval of two centuries; the Church of England expected the fruits of her unlimited devotion to the royal line; even the sectaries might hope indulgence from a prince whose religion deviated from that established by law as widely as their own. All, therefore, hastened, in sugared addresses, to lament the sun which had set, and hail the beams of that which had arisen. Dryden, among other expectants, chose the more honourable of these themes; and in the "Threnodia Augustalis," at once paid a tribute to the memory of the deceased monarch, and decently solicited the attention of his successor. But although he had enjoyed personal marks of the favour of Charles, they were of a nature too unsubstantial to demand a deep tone of sorrow. "Little was the muses' hire, and light their gain;" and "the pension of a prince's praise" is stated to have been all their encouragement. Dryden, therefore, by no means sorrowed as if he had no hope; but, having said all that was decently mournful over the bier of Charles, tuned his lyrics to a sounding close in praise of James.
About the same time, Dryden resumed, with new courage, the opera of "Albion and Albanius," which had been nearly finished before the death of Charles. This was originally designed as a masque, or emblematical prelude to the play of "King Arthur;" for Dryden, wearied with the inefficient patronage of Charles, from whom he only "received fair words," had renounced in despair the task of an epic poem, and had converted one of his themes, that of the tale of Arthur, into the subject of a romantic drama. As the epic was to have been adapted to the honour and praise of Charles and his brother, the opera had originally the same political tendency. "Albion and Albanius" was a sort of introductory masque, in which, under a very thin veil of allegory, first, the restoration of the Stuarts to the throne, and, secondly, their recent conquest over their Whig opponents, were successively represented. The death of Charles made little alteration in this piece: it cost but the addition of an apotheosis; and the opera concluded with the succession of James to the throne, from which he had been so nearly excluded. These topics were however temporary; and, probably from the necessity of producing it while the allusions were fresh and obvious, "Albion and Albanius" was detached from "King Arthur," which was not in such a state of forwardness. Great expense was bestowed in bringing forward this piece, and the scenery seems to have been unusually perfect; particularly, the representation of a celestial phenomenon, actually seen by Captain Gunman of the navy, whose evidence is quoted in the printed copies of the play.[1] The music of "Albion and Albanius" was arranged by Grabut, a Frenchman, whose name does not stand high as a composer. Yet Dryden pays him some compliments in the preface of the piece, which were considered as derogatory to Purcel and the English school, and gave great offence to a class of persons at least as irritable as their brethren the poets. This, among other causes, seems to have injured the success of the piece. But its death-blow was the news of the Duke of Monmouth's invasion, which reached London on Saturday, 13th June 1685, while "Albion and Albanius" was performing for the sixth time: the audience broke up in consternation, and the piece was never again repeated.[2] This opera was prejudicial to the company, who were involved by the expense in a considerable debt, and never recovered half the money laid out. Neither was it of service to our poet's reputation, who had, on this occasion, to undergo the gibes of angry musicians, as well as the reproaches of disappointed actors and hostile poets. One went so far as to suggest, with some humour, that probably the laureate and Grabut had mistaken their trade; the forming writing the music, and the latter the verse.
We have now reached a remarkable incident in our author's life, namely, his conversion to the Catholic faith, which took place shortly after the accession of James II. to the British throne. The biographer of Dryden must feel considerable difficulty in discussing the probable causes of his change. Although this essay be intended to contain the life, not the apology of the poet, it is the duty of the writer to place such circumstances in view, as may qualify the strong prepossession at first excited by a change of faith against the individual who makes it. This prepossession, powerful in every case, becomes doubly so, if the step be taken at a time when the religion adopted seems more readily to pave the way for the temporal prosperity of the proselyte. Even where the grounds of conviction are ample and undeniable, we have a respect for those who suffer, rather than renounce a mistaken faith, when it is discountenanced or persecuted. A brave man will least of all withdraw himself from his ancient standard when the tide of battle beats against it. On the other hand, those who at such a period admit conviction to the better and predominant doctrine, are viewed with hatred by the members of the deserted creed, and with doubt by their new brethren in faith. Many who adopted Christianity in the reign of Constantine were doubtless sincere proselytes, but we do not find that any of them have been canonised. These feelings must be allowed powerfully to affect the mind, when we reflect that Dryden, a servant of the court and zealously attached to the person of James, to whom he looked for the reward of long and faithful service, did not receive any mark of royal favour until he professed himself a member of the religion for which that king was all but an actual martyr. There are other considerations, however, greatly qualifying the conclusions which might be drawn from these suspicious circumstances, and tending to show, that Dryden's conversion was at least in a great measure effected by sincere conviction. The principal clew to the progress of his religious principles is to be found in the poet's own lines in "The Hind and the Panther," and may, by a very simple commentary, be applied to the state of his religious opinions at different periods of his life:—
"My thoughtless youth was winged with vain desires;
My manhood, long misled by wandering fires,
Followed false lights, and, when their glimpse was gone,
My pride struck out new sparkles of her own.
Such was I, such by nature still I am;
Be thine the glory, and be mine the shame!"
The "vain desires" of Dryden's "thoughtless youth" require no explanation: they obviously mean, that inattention to religious duties which the amusements of youth too frequently occasion. The "false lights" which bewildered the poet's manhood, were, I doubt not, the puritanical tenets, which, coming into the world under the auspices of his fanatical relations, Sir Gilbert Pickering and Sir John Driden, he must have at least professed, but probably seriously entertained. It must be remembered, that the poet was thirty years of age at the Restoration, so that a considerable space of his full-grown manhood had passed while the rigid doctrines of the fanatics were still the order of the day. But the third state of his opinions, those "sparkles which his pride struck out," after the delusions of puritanism had vanished; in other words, those sentiments which he imbibed after the Restoration, and which immediately preceded his adoption of the Catholic faith, cannot be ascertained without more minute investigation. We may at the outset be easily permitted to assume, that the adoption of a fixed creed of religious principles was not the first business of our author, when that merry period set him free from the rigorous fetters of fanaticism. Unless he differed more than we can readily believe from the public feeling at that time, Dryden was satisfied to give to Caesar the things that were Caesar's, without being in a hurry to fulfil the counterpart of the precept. Foremost in the race of pleasure, engaged in labours alien from serious reflection, the favourite of the most lively and dissolute nobility whom England ever saw, religious thoughts were not, at this period, likely to intrude frequently upon his mind, or to be encouraged when they did so. The time, therefore, when Dryden began seriously to compare the doctrines of the contending sects of Christianity, was probably several years after the Restoration, when reiterated disappointment, and satiety of pleasure, prompted his mind to retire within itself, and think upon hereafter. The "Religio Laici" published in 1682, evinces that, previous to composing that poem, the author had bestowed serious consideration upon the important subjects of which it treats: and I have postponed the analysis of it to this place, in order that the reader may be able to form his own conjecture from what faith Dryden changed when he became a Catholic.
The "Religio Laici" has indeed a political tendency, being written to defend the Church of England against the sectaries: it is not therefore, so much from the conclusions of the piece, as from the mode of the author's deducing these conclusions, that Dryden's real opinions may he gathered;—as we learn nothing of the bowl's bias from its having reached its mark, though something may be conjectured by observing the course which it described in attaining it. From many minute particulars, I think it almost decisive, that Dryden, when he wrote the "Religio Laici," was sceptical concerning revealed religion. I do not mean, that his doubts were of that fixed and permanent nature, which have at different times induced men, of whom better might have been hoped, to pronounce themselves freethinkers on principle. On the contrary, Dryden seems to have doubted with such a strong wish to believe, as, accompanied with circumstances of extrinsic influence, led him finally into the opposite extreme of credulity. His view of the doctrines of Christianity, and of its evidence, were such as could not legitimately found him in the conclusions he draws in favour of the Church of England; and accordingly, in adopting them, he evidently stretches his complaisance towards the national religion, while perhaps in his heart he was even then disposed to think there was no middle course between natural religion and the Church of Rome. The first creed which he examines is that of Deism; which he rejects, because the worship of one sole deity was not known to the philosophers of antiquity, and is therefore obviously to be ascribed to revelation. Revelation thus proved, the puzzling doubt occurs, whether the Scripture, as contended by Calvinists, was to be the sole rule of faith, or whether the rules and traditions of the Church are to be admitted in explanation of the holy text. Here Dryden does not hesitate to point out the inconveniences ensuing from making the sacred page the subject of the dubious and contradictory commentary of the laity at large: when
"The common rule was made the common prey,
And at the mercy of the rabble lay;
The tender page with horny fists was galled,
And he was gifted most that loudest bawled;
The spirit gave the doctoral degree,
And every member of a company
Was of his trade and of the Bible free."
This was the rule of the sectaries,—of those whose innovations seemed, in the eyes of the Tories, to be again bursting in upon monarchy and episcopacy with the strength of a land-flood. Dryden, therefore, at once, and heartily, reprobates it. But the opposite extreme of admitting the authority of the Church as omnipotent in deciding all matters of faith, he does not give up with the same readiness. The extreme convenience, nay almost necessity, for such authority, is admitted in these remarkable lines:
"Such an omniscient church we wish indeed; 'Twere worth both Testaments, cast in the Creed."
A wish, so forcibly expressed, shows a strong desire on the part of the poet to be convinced of the existence of what he so ardently desired. And the argument which Dryden considers as conclusive against the existence of such an omniscient church, is precisely that which a subtle Catholic would find little trouble in repelling. If there be such a church, says Dryden, why does it not point out the corruption of the canon, and restore it where lost? The answer is obvious, providing that the infallibility of the church be previously assumed; for where can the necessity of restoring or explaining Scripture, if God has given, to Pope and Council, the inspiration necessary to settle all doubts in matters of faith? Dryden must have perceived where this argument led him, and he rather compounds with the difficulty than faces it. The Scripture, he admits, must be the rule on the one hand; but, on the other, it was to be qualified with the traditions of the earlier ages, and the exposition of learned men. And he concludes, boldly enough:
"Shall I speak plain, and, in a nation free,
Assume an honest layman's liberty?
I think, according to my little skill,
To my own mother-church submitting still,
That many have been saved, and many may,
Who never heard this question brought in play.
The unlettered Christian, who believes in gross,
Plods on to heaven, and ne'er is at a loss;
For the strait gate would be made straiter yet,
Were none admitted there but men of wit."
This seems to be a plain admission, that the author was involved in a question from which he saw no very decided mode of extricating himself; and that the best way was to think as little as possible upon the subject. But this was a sorry conclusion for affording firm foundation in religious faith.
Another doubt appears to have puzzled Dryden so much, as to lead him finally to the Catholic faith for its solution. This was the future fate of those who never heard the gospel preached, supposing belief in it essential to salvation:
"Because a general law is that alone,
Which must to all, and every where, be known."
Dryden, it is true, founds upon the mercy of the Deity a hope, that the benefit of the propitiatory sacrifice of our Mediator may be extended to those who knew not of its power. But the creed of St. Athanasius stands in the poet's road; and though he disposes of it with less reverence to the patriarch than is quite seemly, there is an indecision, if not in his conclusion, at least in his mode of deducing it, that shows an apt inclination to cut the knot, and solve the objection of the Deist, by alleging, that belief in the Christian religion is an essential requisite to salvation.
If I am right in these remarks, it will follow, that Dryden never could be a firm or steady believer in the Church of England's doctrines. The arguments, by which he proved them, carried him too far; and when he commenced a teacher of faith, or when, as he expresses it, "his pride struck out new sparkles of its own," at that very time, while in words he maintained the doctrines of his mother-church, his conviction really hovered between natural religion and the faith of Rome. It is remarkable that his friends do not seem to have considered the "Religio Laici" as expressive of his decided sentiments; for Charles Blount, a noted free-thinker, in consequence of that very work, wrote a deistical treatise in prose, bearing the same title, and ascribed it with great testimony of respect to "his much-honoured friend, John Dryden, Esquire."[3] Mr. Blount, living in close habits with Dryden, must have known perfectly well how to understand his polemical poem; and, had he supposed it was written under a deep belief of the truth of the English creed, can it be thought he would have inscribed to the author a tract against all revelation?[4] The inference is, therefore, sufficiently plain, that the dedicator knew that Dryden was sceptical on the subject, on which he had, out of compliment to Church and State, affected a conviction; and that his "Religio Laici" no more inferred a belief in the doctrines of Christianity, than the sacrifice of a cock to Esculapius proved the heathen philosopher's faith in the existence of that divine leech. Thus far Dryden had certainly proceeded. His disposition to believe in Christianity was obvious, but he was bewildered in the maze of doubt in which he was involved; and it was already plain, that the Church, whose promises to illuminate him were most confident, was likely to have the honour of this distinguished proselyte. Dryden did not, therefore, except in outward profession, abandon the Church of England for that of Rome, but was converted to the Catholic faith from a state of infidelity, or rather of Pyrrhonism. This is made more clear by the words of Dryden, from which it appears that, having once admitted the mysterious doctrines of the Trinity and of redemption, so incomprehensible to human reason, he felt no right to make any further appeal to that fallible guide:
"Good life be now my task; my doubts are done;
What more could fright my faith than three in one?
Can I believe Eternal God could lie
Disguised in mortal mould, and infancy?
That the great Maker of the world could die?
And after that trust my imperfect sense,
Which calls in question his omnipotence?"
From these lines it may be safely inferred, that Dryden's sincere acquiescence in the more abstruse points of Christianity did not long precede his adoption of the Roman faith. In some preceding verses it appears, how eagerly he received the conviction of the Church's infallibility as affording that guide, the want of whom he had in some degree lamented in the "Religio Laici:"
"What weight of ancient witness can prevail,
If private reason hold the public scale?
But, gracious God, how well dost thou provide
For erring judgments an unerring guide!
Thy throne is darkness in the abyss of light,
A blaze of glory that forbids the sight.
O teach me to believe thee, thus concealed,
And search no farther than thyself revealed;
But her alone for my director take,
Whom thou hast promised never to forsake!"
We find, therefore, that Dryden's conversion was not of that sordid kind which is the consequence of a strong temporal interest; for he had expressed intelligibly the imagined desiderata which the Church of Rome alone pretends to supply, long before that temporal interest had an existence. Neither have we to reproach him, that, grounded and rooted in a pure Protestant creed, he was foolish enough to abandon it for the more corrupted doctrines of Rome. He did not unloose from the secure haven to moor in the perilous road; but, being tossed on the billows of uncertainty, he dropped his anchor in the first moorings to which the winds, waves, and perhaps an artful pilot, chanced to convey his bark. We may indeed regret, that, having to choose between two religions, he should have adopted that which our education, reason, and even prepossessions, combine to point out as foully corrupted from the primitive simplicity of the Christian Church. But neither the Protestant Christian, nor the sceptic philosopher, can claim a right to despise the sophistry which bewildered the judgment of Chillingworth, or the toils which enveloped the active and suspicious minds of Bayle and of Gibbon. The latter, in his account of his own conversion to the Catholic faith, fixes upon the very arguments pleaded by Dryden, as those which appeared to him irresistible. The early traditions of the Church, the express words of the text, are referred to by both as the grounds of their conversion; and the works of Bossuet, so frequently referred to by the poet, were the means of influencing the determination of the philosopher.[5] The victorious argument to which Chillingworth himself yielded, was, "that there must be somewhere an infallible judge, and the Church of Rome is the only Christian society, which either does or can pretend to that character."
It is also to be observed, that towards the end of Charles II.'s reign, the High Churchmen and the Catholics regarded themselves as on the same side in political questions, and not greatly divided in their temporal interests. Both were sufferers in the Plot, both were enemies of the sectaries, both were adherents of the Stuarts.
Alternate conversion had been common between them, so early as since Milton made a reproach to the English universities of the converts to the Roman faith daily made within their colleges; of those sheep,
"Whom the grim wolf with privy paw
Daily devours apace and nothing said."
In approaching Dryden, therefore, a Catholic priest had to combat few of those personal prejudices which, in other cases, have been impediments to their making converts. The poet had, besides, before him the example of many persons both of rank and talent, who had adopted the Catholic religion.
Such being the disposition of Dryden's mind, and such the peculiar facilities of the Roman Churchmen in making proselytes, it is by no means to be denied, that circumstances in the poet's family and situation strongly forwarded his taking such a step. His Wife, Lady Elizabeth, had for some time been a Catholic; and though she may be acquitted of any share in influencing his determination, yet her new faith necessarily brought into his family persons both able and disposed to do so. His eldest and best beloved son, Charles, is also said, though upon uncertain authority, to have been a Catholic before his father, and to have contributed to his change.[6] Above all, James his master, to whose fortunes he had so closely attached himself, had now become as parsimonious of his favour as his Church is of salvation, and restricted it to those of his own sect. It is more than probable, though only a conjecture, that Dryden might be made the subject of those private exhortations, which in that reign were called closeting; and, predisposed as he was, he could hardly be supposed capable of resisting the royal eloquence. For, while pointing out circumstances of proof, that Dryden's conversion was not made by manner of bargain and sale, but proceeded upon a sincere though erroneous conviction, it cannot be denied, that his situation as poet-laureate, and his expectations from the king, must have conduced to his taking his final resolution. All I mean to infer from the above statement is, that his interest and internal conviction led him to the same conclusion.