from Davenant he learned to please his ear with the stanza of four lines alternately rhymed. Dryden very early formed his verfification; there are in this early production no traces of Donne's or Jonfon's ruggedness; but he did not fo foon free his mind from the ambition of forced conceits. In his verfes on the Restoration, he fays of the King's exile, He, tofs'd by Fate Could tafte no fweets of youth's defir'd age, But found his life too true a pilgrimage. And afterwards, to fhew how virtue and wisdom are increased by adverfity, he makes this remark: Well might the antient poets then confer Since, ftruck with rays of profperous fortune blind, We light alone in dark afflictions find. His praife of Monk's dexterity comprises such a clufter of thoughts unallied to one another, as will not elsewhere be eafily found: 'Twas Monk, whom Providence defign'd to loofe Man's Architect diftinctly did ordain The charge of mufcles, nerves, and of the brain, Till fome fafe crifis authorize their skill. After having re He had not yet learned, indeed he never learned well, to forbear the improper use of mythology. warded the Heathen deities for their care, With Alga who the facred altar ftrows? A ram to you, ye Tempests of the Main. He tells, us in the language of Religion, Prayer ftorm'd the fkies, and ravifh'd Charles from thence, As Heaven itself is took by violence. And afterwards mentions one of the moft awful paffages of Sacred History. as, Oer conceits there are too curious to be quite omitted; For by example moft we finn'd before, And, glafs-like, clearness mix'd with frailty bore. How far he was yet from thinking it neceffary to found his fentiments on nature, appears from the extravagance of his fictions and hyperboles : The winds that never moderation knew, It is no longer motion cheats your view; I know not whether this fancy, however little be its value, was not borrowed. A French poet read to Malherbe fome verses, in which he reprefents France as moving out of its place to receive the king. "Though this," faid Malherbe, 66 was in my time, I do not remember it." His poem on the Coronation has a more even tenor of thought. Some lines deserve to be quoted. You have already quench'd fedition's brand; Him for their umpire and their fynod take, And their appeal alone to Cæfar make. Here may be found one particle of that old verfification, of which, I believe, in all his works, there is not another: Nor is it duty, or our hope alone, Creates that joy, but full fruition. In the verses to the Lord Chancellor Clarendon, two years afterwards, is a conceit fo hopeless at the first view, that few would have attempted it; and fo fuccefsfully laboured, that though at laft it gives the reader more perplexity than pleafure, and feems hardly worth the ftudy that it costs, yet it must be valued as a proof of a mind at once fubtle and comprehenfive; In open profpect nothing bounds our eye, So in this hemifphere our utmost view The comparison of the Chancellor to the Indies leaves all refemblance too far behind it: And as the Indies were not found before There is another comparison, for there is little elfe in the poem, of which, though perhaps it cannot be explained into plain profaick meaning, the mind perceives enough to be delighted, and readily forgives its obscurity, for its magnificence: How ftrangely active are the arts of peace, That rapid motion does but rest appear. To this fucceed four lines, which perhaps afford Dryden's first attempt at those penetrating remarks on human nature, for which he seems to have been peculiarly formed: fee, Let envy then thofe crimes within you The joy and the revenge of ruin'd pride. Into this poem he feems to have collected all his powers and after this he did not often bring upon his anvil such stubborn and unmalleable thoughts; but, as a specimen of his abilities to unite the most unfociable matter, he has conclu ded with lines of which I think not myself obliged to tell the meaning. Yet unimpair'd with labours, or with time, It muft both weightlefs and immortal prove, In the Annus Mirabilis he returned to the quatrain, which from that time he totally quitted, perhaps from experience of its inconvenience, for he complains of its difficulty. This is one of his greatest attempts. He had subjects equal to his abilities, a great naval war, and the Fire of London. Battles have always been described in heroick poetry; but a feafight and artillery had yet fomething of novelty. New arts are long in the world before poets describe them; for they borrow every thing from their predeceffors, and commonly derive very little from nature or from life. Boileau was the firft French writer that had ever hazarded in verfe the mention of modern war, or the effects of gunpowder. We, who |