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Dryden - Complete
_Momus. _ A very merry, dancing, drinking,
Laughing, quaffing, and unthinking time.
Cho. of all. _Then our age was in its prime,
Free from rage, and free from crime;
A very merry, dancing, drinking,
Laughing, quaffing, and unthinking time. _
[_Dance of_ DIANA'S _Attendants. _]
_Enter_ MARS.
_Mars. _ Inspire the vocal brass, inspire;
The world is past its infant age:
Arms and honour,
Arms and honour,
Set the martial mind on fire,
And kindle manly rage.
Mars has looked the sky to red;
And Peace, the lazy God,[74] is fled.
Plenty, peace, and pleasure fly;
The sprightly green,
In woodland-walks, no more is seen;
The sprightly green has drunk the Tyrian dye.
Cho. of all. _Plenty, peace, &c. _
_Mars. _ Sound the trumpet, beat the drum;
Through all the world around,
Sound a reveillé, sound, sound,
The warrior god is come.
Cho. of all. _Sound the trumpet, &c. _
_Momus. _ Thy sword within the scabbard keep,
And let mankind agree;
Better the world were fast asleep,
Than kept awake by thee.
The fools are only thinner,
With all our cost and care;
But neither side a winner,
For things are as they were.
Cho. of all. _The fools are only, &c. _
_Enter_ VENUS.
_Venus. _ Calms appear, when storms are past;
Love will have his hour at last:
Nature is my kindly care;
Mars destroys, and I repair;
Take me, take me, while you may,
Venus comes not every day.
Cho. of all. _Take her, take her, &c. _
_Chronos. _ The world was then so light,
I scarcely felt the weight;
Joy ruled the day, and Love the night.
But, since the queen of pleasure left the ground,[75]
I faint, I lag,
And feebly drag
The ponderous orb around.
_Momus. _ All, all of a piece throughout;
Thy chace had a beast in view; [_Pointing to_ DIANA.
Thy wars brought nothing about; [_To_ MARS.
Thy lovers were all untrue. [_To_ VENUS.
_Janus. _ 'Tis well an old age is out,
_Chronos. _ And time to begin a new.
Cho. of all. _All, all of a piece throughout;
Thy chace had a beast in view:--
Thy wars brought nothing about;--
Thy lovers were all untrue. --
'Tis well an old age is out,
And time to begin a new. _
[Dance of Huntsmen, Nymphs, Warriors, and Lovers.
FOOTNOTES:
[Footnote 74: The first edition, and some others, have _Good_; but I
prefer _God_, as the more poetical reading. ]
[Footnote 75: There seems here to be a secret allusion to the exile of
the beautiful queen of James II. , so much admired by the Tory poets of
the time. ]
EPILOGUE
TO
THE PILGRIM.
This epilogue bears chiefly reference to the violent controversy,
which, about this time, arose between the favourers of the drama and
Jeremy Collier, who, in 1698, published "A short View of the Immorality
and Profaneness of the English Stage;"--"I believe," says Johnson,
"with no other view, than religious zeal, and honest indignation. [76]
He was formed for a controvertist; with sufficient learning, with
diction vehement and pointed, though often vulgar and incorrect, with
unconquerable pertinacity, with wit in the highest degree keen and
sarcastic, and with all those powers exalted and invigorated by just
confidence in his cause.
"Thus qualified, and thus incited, he walked forth to battle, and
assailed, at once, most of the living writers, from Dryden to Durfey.
His onset was violent. Those passages which, while they had stood
single, had passed with little notice, when they were accumulated and
exposed together, excited horror. The wise and the pious caught the
alarm; and the nation wondered why it had so long suffered irreligion
and licentiousness to be openly taught at the public charge. "--_Life of
Congreve. _
Dryden had his personal share of rough treatment in this indiscriminate
attack upon dramatic profligacy. But it is creditable to him, that,
whatever his feelings of resentment might be, he was too much
conscience-struck to attempt a defence of what was really indefensible.
"I shall say the less of Mr Collier, because in many things he
has taxed me justly; and I have pleaded guilty to all thoughts
and expressions of mine, which can be truly argued of obscenity,
profaneness, or immorality, and retract them. If he be my enemy, let
him triumph; if he be my friend, as I have given him no personal
occasion to be otherwise, he will be glad of my repentance. It becomes
me not to draw my pen in the defence of a bad cause, when I have so
often drawn it for a good one. " _Preface to the Fables. _
This candid avowal, and the coincidence of their political sentiments,
(for Collier was a rigid Non-juror,) did not save Dryden from some
oblique thrusts in an Answer published by Collier to the Vindications
of Congreve and Vanburgh, who, less patient or prudent than our poet,
had stepped forward to assert the correctness of their dramatic
writings. These passages in the "Defence of the Short View," which
was published in 1699, seem to have incited our poet to put himself
upon his defence, or at least to offer the best apology he could,
by throwing upon the gay court of Charles the scandal of importing
the open profligacy, which the poet insists had corrupted the stage,
instead of being derived from thence. Lord Lansdowne, in a prologue to
the "Jew of Venice," when revived, took the freedom to dissent from
Dryden and Collier; and, by exculpating both the theatre and court, to
throw the whole blame upon the public at large:
Each in his turn, the poet and the priest,
Have viewed the stage, but like false prophets guessed
The man of zeal, in his religious rage,
Would silence poets and reduce the stage;
The poet, rashly to get clear, retorts
On kings the scandal, and bespatters courts.
Both err: for, without mincing, to be plain,
The guilt's your own of every odious scene;
The present time still gives the stage its mode;
The vices, that you practise, we explode.
We hold the glass, and but reflect your shame,
Like Spartans, by exposing to reclaim.
The scribbler, pinched with hunger, writes to dine,
And to your genius must conform his line;
Not lewd by choice, but merely to submit:
Would you encourage sense, sense would be writ.
There is, in every case of this kind, much partial accusation. The
court, stage, and public at large, have a mutual action and re-action
on the manners of each other. If the habits of a court be licentious,
the poet will hardly venture to paint them noble and innocent; but it
will depend upon the extent which that licence has attained amongst
his audience at large, whether he represents the courtly vices in gay,
or in disgusting and odious colours. In any case, the dramatist, who
degrades himself by indecency, has little personal apology; for, if he
has condescended to blot his pages with filth, it avails but little
where he has gathered it.
Collier's attack on the stage was attended with good consequences,
which that active disputant lived to witness: indecencies were no
longer either fashionable or tolerated; and, by degrees, the ladies
began to fill the boxes at a new play, without either the necessity
of wearing masks, or the risk of incurring censure. Later times have
carried this laudable restraint still farther; till, at last, if we
have lost almost all the wit of our predecessors, we at least have
retained none of their licentiousness.
The following verses appear upon Dryden's death, in the "State Poems,"
vol. iii. founded upon his controversy with Sir Richard Blackmore and
Collier, which so immediately preceded that event:
John Dryden enemies had three,
Sir Dick, old Nick, and Jeremy:
The doughty knight was forced to yield,
The other two have kept the field;
But had his life been something holier,
He'd foiled the Devil and the Collier.
FOOTNOTES:
[Footnote 76: The facetious Joe Haines, who is mentioned at the end of
the epilogue, assigned another motive for this assault: "The clergy and
the actors are both moral menders by profession," said the wag; "and
you know two of a trade can never agree. "--_Cibber's Apology. _]
EPILOGUE
TO
THE PILGRIM.
Perhaps the parson stretched a point too far,
When with our theatres he waged a war.
He tells you, that this very moral age
Received the first infection from the stage;
But sure, a banished court, with lewdness fraught,
The seeds of open vice, returning, brought.
Thus lodged, (as vice by great example thrives,)
It first debauched the daughters and the wives.
London, a fruitful soil, yet never bore
So plentiful a crop of horns before.
The poets, who must live by courts, or starve,
Were proud, so good a government to serve;
And, mixing with buffoons and pimps prophane,
Tainted the stage for some small snip of gain:
For they, like harlots, under bawds profest,
Took all the ungodly pains, and got the least.
Thus did the thriving malady prevail;
The court its head, the poets but the tail.
The sin was of our native growth, 'tis true;
The scandal of the sin was wholly new.
Misses there were, but modestly concealed;
Whitehall the naked Venus first revealed,
Who standing as at Cyprus in her shrine,
The strumpet was adored with rites divine.
Ere this, if saints had any secret motion,
'Twas chamber-practice all, and close devotion.
I pass the peccadillos of their time;
Nothing but open lewdness was a crime.
A monarch's blood was venial to the nation,
Compared with one foul act of fornication[77].
Now, they would silence us, and shut the door
That let in all the bare-faced vice before.
As for reforming us, which some pretend, }
That work in England is without an end; }
Well may we change, but we shall never mend. }
Yet, if you can but bear the present stage,
We hope much better of the coming age.
What would you say, if we should first begin }
To stop the trade of love behind the scene, }
Where actresses make bold with married men? }
For while abroad so prodigal the dolt is,
Poor spouse at home as ragged as a colt is.
In short, we'll grow as moral as we can,
Save, here and there, a woman or a man;
But neither you, nor we, with all our pains,
Can make clean work; there will be some remains,
While you have still your Oates[78] and we our Haines[79].
FOOTNOTES:
[Footnote 77: The rigour of the republicans against female frailty,
was of a piece with their general hypocrisy. It was, however, carried
much farther in Scotland, where open adultery was declared by statute a
capital crime. That act is still unrepealed, and may remind the reader
of a verse I have somewhere read:
Beware, ye knights on British ground,
Beware, ye dames so free;
Full many a neck so straight and round
On gallows stretched might be. ]
[Footnote 78: The infamous Oates fared, at the Revolution, not so
well as he wished, though much better than he deserved. James II. by
the extreme cruelty of the punishment, which Jefferies doomed, and he
suffered to be inflicted, contrived to excite the public commiseration
even in favour of this miscreant, whose forsworn tongue had occasioned
more murders than the dagger of the most sanguinary bravo. After the
Revolution he obtained a pardon, or rather remission of his inhuman
sentence, to be imprisoned during life, and pilloried five times every
year. He was also admitted to the comforts of a pension of L. 400
a-year. But, although he bestirred himself to obtain a reversal of
his judgement for perjury, and wrote an abusive pamphlet, entitled, a
"Picture of the late King James," and dedicated to King William, that
cool-headed monarch, and his sagacious council, would never restore
him to a capacity of bearing evidence. The Earl of Danby, now Duke
of Leeds, who had experienced the danger of his swearing capacity,
would consent to the reversal in no other sense, than that, having
been condemned to be scourged from Newgate to Tyburn, he should now be
scourged back from Tyburn to Newgate. Dryden, therefore, without fear
of offence, might venture a stroke of satire at this once formidable
person. ]
[Footnote 79: The allusion seems to be partly to Bryan Haines, the
Tory evidence against Shaftesbury and College, a fellow almost as
infamous as Oates; but chiefly, by way of equivoque, to the wicked wag
Jee Haines, the comedian, who, amongst other pranks, chose, during the
reign of James II. , to become Roman Catholic. Whether he took this step
from any serious prospect of advantage, or to throw ridicule on the new
converts, is somewhat dubious; at least his apostacy was not founded
upon conviction for, after the Revolution, he abjured the errors of
Popery, spoke a penitentiary prologue, and reconciled himself to the
church and theatre of England. ]
THE END OF THE EIGHTH VOLUME.
Edinburgh:
Printed by James Ballantyne & Co.
* * * * *
+--------------------------------------------------------------+
| Transcriber notes: |
| |
| Tags that surround the words: _Hartford Courant. _ |
| indicate italics. |
| |
| Table of Contents: Prologue, Song, Secular Masque etc. |
| is on page 437. Changed. |
| P. 36. 'wont' changed to 'won't'. |
| P. 65. 'Farewel' changed to 'farewell'. |
| P. 208. 'pased' changed to 'passed'. |
| P. 223. 'encreased' changed to 'increased'. |
| P. 242. 'Hippotus' changed to 'Hippotas'. |
| P. 259. 'houshold' changed to 'household'. |
| P. 293. Found the word 'contemn' in 18th century |
| dictionary--the word is similar to contempt, |
| no need to change. |
| P. 335. '1673-4' was actually '1693-4', changed. |
| P. 419. 'o o' is probably 'too', changed. |
| P. 452. Added missing footnote anchor. |
| Fixed various punctuation. |
| Replaced Paed. with Phæd as in list of characters on P. 14. |
+--------------------------------------------------------------+
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The Project Gutenberg EBook of The Works Of John Dryden, Vol. 7 (of 18)
by John Dryden
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net
Title: The Works Of John Dryden, Vol. 7 (of 18)
The Duke of Guise; Albion and Albanius; Don Sebastian
Author: John Dryden
Editor: Walter Scott, Esq.
Release Date: July 31, 2005 [EBook #16402]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF JOHN DRYDEN ***
Produced by Jonathan Ingram, Fred Robinson and the Online
Distributed Proofreading Team at http://www. pgdp. net
THE
WORKS
OF
JOHN DRYDEN,
NOW FIRST COLLECTED
_IN EIGHTEEN VOLUMES. _
ILLUSTRATED
WITH NOTES,
HISTORICAL, CRITICAL, AND EXPLANATORY,
AND
A LIFE OF THE AUTHOR,
BY
WALTER SCOTT, ESQ.
VOL. VII.
LONDON:
PRINTED FOR WILLIAM MILLER, ALBEMARLE STREET,
BY JAMES BALLANTYNE AND CO. EDINBURGH
1808.
* * * * *
CONTENTS
OF
VOLUME SEVENTH.
The Duke of Guise, a Tragedy
Epistle Dedicatory to the Earl of Rochester
The Vindication of the Duke of Guise
Albion and Albanius, an Opera
Preface
Don Sebastian, a Tragedy
Epistle Dedicatory to the Earl of Leicester
Preface
* * * * *
THE
DUKE OF GUISE.
A TRAGEDY.
Outôs de philotimoi physeis en tais politeiais to agan mê
phylaxamenai, tôi agathou meizon to kakon echousi.
PLUTARCH. IN AGESILAO.
THE DUKE OF GUISE.
In the latter part of Charles the Second's reign, the stage, as well
as every other engine which could affect the popular mind, was eagerly
employed in the service of the contending factions. Settle and
Shadwell had, in tragedy and comedy, contributed their mite to the
support of the popular cause. In the stormy session of parliament, in
1680, the famous bill was moved, for the exclusion of the Duke of
York, as a papist, from the succession, and accompanied by others of a
nature equally peremptory and determined. The most remarkable was a
bill to order an association for the safety of his majesty's person,
for defence of the protestant religion, for the preservation of the
protestant liege subjects against invasion and opposition, and for
preventing any papist from succeeding to the throne of England. To
recommend these rigid measures, and to keep up that zealous hatred and
terror of the catholic religion, which the plot had inspired, Settle
wrote his forgotten tragedy of "Pope Joan," in which he revives the
old fable of a female pope, and loads her with all the crimes of which
a priest, or a woman, could possibly be guilty. Shadwell's comedy of
the "Lancashire Witches" was levelled more immediately at the papists,
but interspersed with most gross and scurrilous reflections upon the
English divines of the high church party. Otway, Lee, and Dryden were
the formidable antagonists, whom the court opposed to the whig poets.
