Dryden suffered under these violent and invisible assaults, as much as any one of his age; to which his own words, in several places of his writings, and also the existence of many of the pasquils themselves in the Luttrel Collection, bear ample witness. In many of his prologues and epilogues he alludes to this rage for personal satire, and to the employment which it found for the half and three quarter wits and courtiers of the time:
Upon the general practice of writing lampoons, and the necessity of finding some mode of dispersing them, which should diffuse the scandal widely, while the authors remained concealed, was founded the self-erected office of Julian, secretary, as he called himself, to the Muses. This person attended Will's, the Wits Coffeehouse, as it was called; and dispersed, among the crowds who frequented that place of gay resort, copies of the lampoons which had been privately communicated to him by their authors. "He is described," says Mr Malone, "as a very drunken fellow, and at one time was confined for a libel." Several satires were written, in the form of addresses, to him, as well as the following. There is one among the State Poems, beginning,
Another, called, "A Consoling Epistle to Julian," is said to have been written by the Duke of Buckingham.
From a passage in one of the "Letters from the Dead to the Living," we learn, that, after Julian's death, and the madness of his successor, called Summerton, lampoon felt a sensible decay; and there was no more that "brisk spirit of verse, that used to watch the follies and vices of the men and women of figure, that they could not start new ones faster than lampoons exposed them."
In another epistle of the same collection, supposed to be written by Julian from the shades, to Will Pierre, a low comedian, he is made thus to boast of the extent of the dominion which he exercised when on earth.
"The conscious Tub Tavern can witness, and my Berry Street apartment testify, the solicitations I have had, for the first copy of a new lampoon, from the greatest lords of the court, though their own folly and their wives' vices were the subjects. My person was so sacred, that the terrible scan-man had no terrors for me, whose business was so public and so useful, as conveying about the faults of the great and the fair; for in my books, the lord was shewn a knave or fool, though his power defended the former, and his pride would not see the latter. The antiquated coquet was told of her age and ugliness, though her vanity placed her in the first row in the king's box at the playhouse; and in the view of the congregation at St James's church. The precise countess, that would be scandalized at double entendre, was shown betwixt a pair of sheets with a well-made footman, in spite of her quality and conjugal vow. The formal statesman, that set up for wisdom and honesty, was exposed as a dull tool, and yet a knave, losing at play his own revenue, and the bribes incident to his post, besides enjoying the infamy of a poor and fruitless knavery without any concern. The demure lady, that would scarce sip off the glass in company, was shewn carousing her bottles in private, of cool Nantz too, sometimes, to correct the crudities of her last night's debauch. In short, in my books were seen men and women as they were, not as they would seem,—stript of their hypocrisy, spoiled of the fig-leaves of their quality. A knave was called a knave, a fool a fool, a jilt a jilt, and a whore a whore. And the love of scandal and native malice, that men and women have to one another, made me in such request when alive, that I was admitted to the lord's closet, when a man of letters and merit would be thrust out of doors. And I was as familiar with the ladies as their lap-dogs: for to them I did often good services; under pretence of a lampoon, I conveyed a billet doux; and so, whilst I exposed their vast vices in the present, I prompted matter for the next lampoon."
The following lampoon, in which it is highly improbable that Dryden had any share, is chiefly levelled against Sir Car Scrope, son of Sir Adrian Scrope of Cockington, in Lincolnshire, a courtier of considerable poetical talents, of whom Anthony Wood says, "that, as divers satirical copies of verses were made upon him by other persons, so he hath diverse made by himself upon them, which are handed about to this day." We have seen that he is mentioned with contempt in the "Essay on Satire;" and, in the "Advice to Apollo," in the State Poems, Vol. I. his studies are thus commemorated:
He is also mentioned in many other libels of the day, and some of his answers are still extant. Rochester assailed him in his "Allusion to the Tenth Satire of Horace's first Book." Sir Car Scrope replied, and published a poem in Defence of Satire, to which the earl retorted by a very coarse set of verses, addressed to the knight by name. Sir Car Scrope was a tolerable translator from the classics; and his version of the "Epistle from Sappho to Phaon" is inserted in the translation of Ovid's Epistles by several hands, edited by our author. Dryden mentions, in one of his prefaces, Sir Car Scrope's efforts with approbation. But it is not from this circumstance alone I conclude that this epistle has been erroneously attributed to our author; for the whole internal evidence speaks loudly against its authenticity. Indeed, it only rests on Dryden's name being placed to it in the 6th volume of the Miscellanies published after his death.
This piece was inserted among Dryden's Works, upon authority of the following advertisement by his publisher Jacob Tonson.
"This translation of Monsieur Boileau's 'Art of Poetry' was made in the year 1680, by Sir William Soame of Suffolk, Baronet; who, being very intimately acquainted with Mr Dryden, desired his revisal of it. I saw the manuscript lie in Mr Dryden's hands for above six months, who made very considerable alterations in it, particularly the beginning of the Fourth Canto; and it being his opinion, that it would be better to apply the poem to English writers, than keep to the French names, as it was first translated, Sir William desired he would take the pains to make that alteration; and accordingly that was entirely done by Mr Dryden.
"The poem was first published in the year 1683. Sir William was after sent ambassador to Constantinople, in the reign of King James, but died in the voyage."—J.T.
To give weight to Tonson's authority, it may be added, that great part of the poem bears marks of Dryden's polishing hand; and that some entire passages show at once his taste in criticism, principles, and prejudices.
PASTORAL.
ELEGY.
ODE.
EPIGRAM.
SATIRE.
TRAGEDY.