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 escape from the Rye-house plot, and the 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. The music of "Albion and Albanius"

It formed the machine on which Iris appeared, vol. VII. p. 241. I have been favoured by Sir Egerton Brydges, with the following "Extract from the Journal of Captain Christopher Gunman, commander of his Royal Highness's yacht the Mary, lying in Calais pier, Tuesday, 18th March:

1683-4,

"March 18th. It was variable cloudy weather: this morning about seven o'clock saw in the firmament three suns, with two demirainbows; and all within one whole rainbow, in form and shape as here pourtrayed:

"The sun towards the left hand bore east, and that on the right hand bore south-east of me. I did sit and draw it as well as the time and place would permit me; for it was seen in its full form about the space of half an hour; but part of the rainbow did see above two hours. It appeared first at three quarters past six, and was overclouded at a quarter past seven. The wind north-by-west."

Mr. Gunman, the descendant of the captain, has lately had a picture on the subject painted by Serres, the marine painter; which makes an interesting history-piece. It represents the phenomenon in the heavens the harbour of Calais-and the yacht lying off it, &c. &c.

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.* 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

*This tradition is thus critically examined and proved by Mr. Malone :

"From a letter written by King James to the Prince of Orange, June 15, 1685, it appears, that though the Duke of Monmouth landed at Lyme, in Dorsetshire, on Thursday evening, June 11th, an account of his landing did not reach the King at Whitehall till Saturday morning the 13th. The House of Commons, having met on that day at the usual hour, between nine and ten o'clock, the news was soon afterwards communicated to them by a Message from the King, delivered by the Earl of Middleton, (to whom Etheredge afterwards wrote two poetical Epistles from Ratisbon).-Having voted and drawn up an Address to his Majesty, desiring him to take care of his royal person, they adjourned to four o'clock; in which interval they went to Whitehall, presented their Address, and then met again.— Com. Jour. vol. IX. p. 735. About this time, therefore, it may be presumed, the news transpired, and in an hour afterwards probably reached the Theatre, where an audience was assembled at the representation of the opera of "Albion and Albanius;" for plays at that time began at four o'clock. It seems from Mr. Luttrell's MS. note, that the first representation of this opera was on Saturday the 6th of June; and Downes (Rosc. Ang. p. 40) says, that in consequence of Monmouth's invasion, it was only performed six times; so that the sixth representation was, without doubt, on Saturday, the 13th of June. An examination of dates is generally fatal to tales of this kind here, however, they certainly support the tradition mentioned in the text."-Life of Dryden, page 188.

suggest, with some humour, that probably the laureat and Grabut had mistaken their trade; the former writ ing 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 es say be intended to contain the life, not the apology of the poet, it is the duty of the writer to place such cir cumstances in view, as may qualify the strong prepos session 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 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 canonized. 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

clue 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 wing'd with vain desires;
My manhood, long misled by wandering fires,
Follow'd 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 Cæsar the things that were Cæsar'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 reflec