No More Learning

Assiduous attention meantime is paid to the queen
by other workers, who feed her diligently, with much self-denial
stuffing her with morsel after morsel from their own jaws. A
guard of honor in the shape of a few of the larger soldier ants
is also in attendance, as a last and almost unnecessary precaution.
In addition finally to the soldiers, workers, and queen, the royal
chamber has also one other inmate — the king.
He is a very
ordinary-looking insect, about the same size as the soldiers, but
the arrangement of the parts of the head and body is widely dif-
ferent, and like the queen he is furnished with eyes.


## p. 4913 (#71) ############################################

4913
WILLIAM DRUMMOND OF HAWTHORNDEN
(1585-1649)
T SEEMS to be the mission of many writers to illuminate con-
temporary literature and so to light the way for future
students, rather than to make any vital contribution to the
achievement of their time. Such writers reflect the culture of their
own day and represent its ideals; and although their creative work
may be slight, their loss to literature would be serious. Among these
lesser men stands that sincere poet, Drummond of Hawthornden. In
Scotland under the Stuarts, when the vital energy of the land was
concentrated upon politics and theology,
native literature was reduced to a mere re-
flection of the pre-Spenserian classicism of
England. Into this waste of correct medi-
ocrity entered the poetry of William Drum-
inond, an avowed and enthusiastic follower
of the Elizabethan school, a finished scholar,
one of the typical Scottish gentlemen who
were then making Scottish history. Court-
ier and trifler though he was, however, he
showed himself so true a poet of nature that
his felicities of phrase seem to anticipate
the sensuous realism of Keats and his suc-
William DRUMMOND
cessors.
William Drummond, born in 1585, was a cadet of the historic
house which in 1357 gave in marriage to King Robert III. the beau-
tiful Annabella Drummond, who was destined to become the ances-
tress of the royal Stuarts of Scotland and England. In his own day
the family, whose head was the Earl of Perth, was powerful in
Scottish affairs, and the history of the clan Drummond would be
largely a history of the events which led to the Protectorate.
Throughout the storm and stress that preceded the civil war Drum-
mond was a loyalist, though at one time he appeared to be identified
with the Covenanters. His literary influence, which was consider-
able, was always thrown on the side of the King, while the term
« Drummondism ” was a popular synonym for the conservative policy.
Throughout the struggle, however, Drummond seems to have been
forced into activity by circumstances rather than by choice. He had
the instincts of a recluse and a scholar. He delighted in the society

IX-308


## p. 4914 (#72) ############################################

4914
WILLIAM DRUMMOND OF HAWTHORNDEN
of literary men, and he was much engrossed in philosophical specu-
lations.
In spite of the difficulties of distance, he managed to keep abreast
of the thought of literary London, the London of Drayton and Web-
ster, of Beaumont, Fletcher, Massinger, and Ford. His chief satisfac-
tion was to know that his own work was not unacceptable to this
brilliant group, and one of the great pleasures of his life was a visit
from Ben Jonson, who, making a walking tour to Scotland, found at
Hawthornden that congenial hospitality in which his soul delighted.
Of this famous visit, as of other important events, Drummond kept a
record, in which he set down his guest's behavior, opinions, and con-
fidential sayings. Warmly as he admired Jonson's genius, he found
his personality oppressive, and intrusted his criticisms to his diary.
When this was published, more than a century later, the gentle Scot
was accused of bad taste, breach of confidence, and disloyalty to
friendship. But his defense lies in the fact that the book was meant
for no eyes but his own, and that the intimacy and candor of its
revelations were intended to preserve his recollections of a memorable
experience.
If his environment was not entirely favorable to literary excel-
lences, it is yet very likely that Drummond developed the full meas-
ure of his gift. He expressed the spirit of the inore imaginative
generation which succeeded a hard and fettered predecessor, and it
is for this that literature owes him its peculiar debt.
His career began in his twenty-ninth year with the publication of
an elegy on the death of Henry, Prince of Wales, eldest son of James I.
This poem, under the title "Tears on the Death of Mæliades,' ap-
peared in 1613, and reached a third edition within a twelvemonth.
Its two hundred lines show the finished versification of the scholar,
with much poetic grace. It was a product of the Spenserian school,
and emphasized the fact that the representative literature of the land
had abandoned the Scottish dialect for English forms. Drummond's
second volume of poems commemorated the death of his wife and his
love of her. It is in this work that the ultimate mood of the poet
appears. Much beauty of form, a delightful sensitiveness to nature, a
luxuriance of color, and a finely tempered thoughtfulness pervade the
poems. His next production, celebrating the visit of James I. to his
native land, was entitled (Forth Feasting,' and represented the
Forth and all its borders as rejoicing in the presence of their King.
To the reader of to-day the panegyric sounds fulsome and the poetry
stilted, and the once famous book has now merely an archaic interest.
Drummond's reputation is based upon the ‘Poems,' and upon the
Jeremy-Taylor-like Cypress Grove,' published in 1623 in connection
with the religious verses called Flowers of Sion. ' 'Cypress Grove


## p. 4915 (#73) ############################################

WILLIAM DRUMMOND OF HAWTHORNDEN
4915
is an essay on death, akin in spirit to the religious temper of the
Middle Ages, and in philosophic breadth to the diviner mood of Plato.
Only a mind of a high order would have conceived so beautiful and
lofty a meditation on the Final Mystery. This brief essay marks the
utmost reach of Drummond's mind, and shows the strength of that
serene spirituality, which could thus hold its way undisturbed by the
sectarian bitterness that fixed a great gulf between England and
Scotland. "The History of the Five Jameses,' which Drummond was
ten years in compiling and which was not published until six years
after his death, added nothing to his reputation. It lacked alike the
diligent minuteness of the chronicler and the broader view of the
historian. Many minor papers on the state of religion and politics,
chief of which is the political tract Irene,' show Drummond's ag-
gressive interest in contemporary affairs. It is not generally known
that this gentle scholar was also an inventor of military engines. In
1626 Charles I. engaged him to produce sixteen machines and “not
a few inventions besides. ” The biographers have remained curiously
ignorant of this phase of his activity, but the State papers show that
the King named him our faithful subject, William Drummond of
Hawthornden. ” He died in 1649, his death being hastened, it was
said, by his passion of grief over the martyrdom of King Charles.
SEXTAIN
T"
He heaven doth not contain so many stars,
So many leaves not prostrate lie in woods
When autumn's old and oreas soun his wars,
So many waves have not the ocean floods,
As my rent mind hath torments all the night,
And heart spends sighs when Phæbus brings the light.
Why should I have been partner of the light,
Who, crost in birth by bad aspect of stars,
Have never since had happy day or night?
Why was not I a liver in the woods,
Or citizen of Thetis's ystal floods,
Than made a man, for love and fortune's wars ?
I look each day when death should end the wars,
Uncivil wars, 'twixt sense and reason's light;
My pains I count to mountains, meads, and floods,
And of my sorrow partners make the stars;
All desolate I haunt the fearful woods,
When I should give myself to rest at night.


## p. 4916 (#74) ############################################

4916
WILLIAM DRUMMOND OF HAWTHORNDEN
With watchful eyes I ne'er behold the night,
Mother of peace, but ah! to me of wars,
And Cynthia, queen-like, shining through the woods,
When straight those lamps come in my thought, whose light
My judgment dazzled, passing brightest stars,
And then mine eyes en-isle themselves with floods.
Turn to their springs again first shall the floods,
Clear shall the sun the sad and gloomy night,
To dance about the pole cease shall the stars,
The elements renew their ancient wars
Shall first, and be deprived of place and light,
E'er I find rest in city, fields, or woods.
End these my days, indwellers of the woods,
Take this my life, ye deep and raging floods;
Sun, never rise to clear me with thy light,
Horror and darkness, keep a lasting night;
Consume me, care, with thy intestine wars,
And stay your influence o'er me, bright stars!
In vain the stars, indwellers of the woods,
Care, horror, wars, I call, and raging floods,
For all have sworn no night shall dim my sight.
MADRIGAL
T**
His world a-hunting is,
The prey poor man, the Nimrod
fierce is Death;
His speedy greyhounds are
Lust, sickness, envy, care,
Strife that ne'er falls amiss,
With all those ills which haunt us while we breathe.
Now if by chance we fly
Of these the eager chase,
Old age with stealing pace
Casts up his nets, and there we panting die.


## p. 4917 (#75) ############################################

WILLIAM DRUMMOND OF HAWTHORNDEN
4917
REASON AND FEELING
I
KNOW that all beneath the moon decays,
And what by mortals in this world is brought,
In Time's great periods shall return to naught;
That fairest States have fatal nights and days.
I know that all the Muse's heavenly lays,
With toil of sp'rit, which are so dearly bought,
As idle sounds, of few or none are sought, -
That there is nothing lighter than vain praise.
I know frail beauty like the purple flower,
To which one morn oft birth and death affords;
That love a jarring is of minds' accords,
Where sense and will envassal Reason's power:
Know what I list, all this cannot me move,
But that, alas! I both must write and love.
DEGENERACY OF THE WORLD
WAT
HAT hapless hap had I for to be born
In these unhappy times, and dying days
Of this now doting World, when Good decays,
Love's quite extinct, and Virtue's held a-scorn!
When such are only prized, by wretched ways,
Who with a golden fleece them can adorn;
When avarice and lust are counted praise,
And bravest minds live orphan-like forlorn!
Why was not I born in that golden age
When gold was not yet known ? and those black arts
By which base worldlings vilely play their parts,
With horrid acts staining Earth's stately stage?
To have been then, () Heaven! 't had been my bliss;
But bless me now, and take me soon from this.
THE BRIEFNESS OF LIFE
L
ook, how the flower which ling'ringly doth fade,
The morning's darling late, the summer's queen,
Spoiled of that juice which kept it fresh and green,
As high as it did raise, bows low the head:
Right so my life, contentment being dead,
Or in their contraries but only seen,


## p. 4918 (#76) ############################################

4918
WILLIAM DRUMMOND OF HAWTHORNDEN
With swifter speed declines than erst it spread,
And, b1 sted, scarce now shows what it hath been.
As doth the pilgrim, therefore, whom the night
By darkness would imprison on his way,-
Think on thy home, my soul, and think aright,
Of what's yet left thee of life's wasting day;
Thy sun posts westward, passèd is thy morn,
And twice it is not given thee to be born.
THE UNIVERSE
O"
F This fair volume which we World do name,
If we the leaves and sheets could turn with care-
Of Him who it corrects and did it frame
We clear might read the art and wisdom rare,
Find out his power, which wildest powers doth tame,
His providence, extending everywhere,
His justice, which proud rebels doth not spare,
In every page and period of the same.
But silly we, like foolish children, rest
Well pleased with colored vellum. leaves of gold,
Fair dangling ribands, leaving what is best;
On the great Writer's sense ne'er taking hold;
Or if by chance we stay our minds on aught,
It is some picture on the margin wrought.
ON DEATH
From Cypress Grove)
D
EATH is a piece of the order of this all, a part of the life of
this world; for while the world is the world, some creatures
must die and others take life. Eternal things are raised
far above this orb of generation and corruption where the First
Matter, like a still flowing and ebbing sea, with diverse waves
but the same water, keepeth a restless and never tiring current;
what is below in the universality of its kind doth not in itself
abide.
If thou dost complain there shall be a time in
the which thou shalt not be, why dost thou not too grieve that
there was a time in which thou wast not, and so that thou art
not as old as the enlivening planet of Time ?
The
excellent fabric of the universe itself shall one day suffer ruin, or
change like ruin, and poor earthlings, thus to be handled, com
plain!


## p. 4918 (#77) ############################################



## p. 4918 (#78) ############################################


JOHN DRYDEN


## p. 4918 (#79) ############################################

4919
JOHN DRYDEN
(1631-1700)
BY THOMAS R. LOUNSBURY
OHN DRYDEN, the foremost man of letters of the period fol-
lowing the Restoration, was born at Aldwinkle, a village of
Northamptonshire, on August 9th, 1631. He died May ist,
1700. His life was therefore coeval with the closing period of the
fierce controversies which culminated in the civil war and the tri-
umph of the Parliamentary party; that, in turn, to be followed suc-
cessively by the iron rule of Cromwell, by the restoration of the
exiled Stuarts, and the reactionary tendencies in politics that accom-
panied that event; and finally with the effectual exclusion from the
throne of this same family by the revolution of 1688, leaving behind,
however, to their successors a smoldering Jacobite hostility that per-
petually plotted the overthrow of the new government and later
broke out twice into open revolt. All these changes of fortune, with
their changes of opinion, are faithfully reflected in the productions of
Dryden. To understand him thoroughly requires therefore an inti-
mate familiarity with the civil and religious movements which char-
acterize the whole period. Equally also do his writings, both creative
and critical, represent the revolution of literary taste that took place
in the latter half of the seventeenth century. It was while he was in
the midst of his intellectual activity that French canons of criticism
became largely the accepted rules, by which the value of English
productions was tested. This was especially true of the drama. The
study of Dryden is accordingly a study of the political and literary
history of his times to an extent that is correspondingly true of no
other English author before or since.
His family, both on the father's and the mother's side, was in full
sympathy with the party opposed to the court. The son was edu-
cated at Westminster, then under the mastership of Richard Busby,
whose relentless use of the rod has made his name famous in that
long line of flagellants who have been at the head of the great Eng-
lish public schools. From Westminster he went to Trinity College,
Cambridge. There he received the degree of A. B. in January 1654.
Later in that same decade the precise date is not known — he took
up his residence in London; and in London the rest of his life was
almost entirely spent.


## p. 4918 (#80) ############################################


JOHN DRYDEN.


## p. 4919 (#81) ############################################

their changes of
Dryden. Tunda
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history of his tines tos att?
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up his residence in Li:
almost entirely spent.
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ܪ1 ܨ ܕܐ ܀


## p. 4920 (#82) ############################################

4920
JOHN DRYDEN
Dryden's first published literary effort appeared in a little volume
made up of thirty-three elegies, by various authors, on the death of
a youth of great promise who had been educated at Westminster.
This was Lord Hastings, the eldest son of the Earl of Huntingdon.
He had died of the small-pox. Dryden's contribution was written in
1649, and consisted of but little over a hundred lines. No one ex-
pects great verse from a boy of eighteen; but the most extravagant
anticipations of sorry performance will fail to come up to the reality
of the wretchedness which was here attained. It was in words like
these that the future laureate bewailed the death of the young noble-
man and depicted the disease of which he died :-
«Was there no milder way but the small-pox,
The very filthiness of Pandora's box?
So many spots, like næves, our Venus soil ?
One jewel set off with so many a foil?
Blisters with pride swelled, which through his fesh did sprout
Like rosebuds, stuck in the lily-skin about.
Each little pimple had a tear in it,
To wail the fault its rising did commit;
Which, rebel-like, with its own lord at strife,
Thus made an insurrection 'gainst his life.
Or were these gems sent to adorn his skin,
The cabinet of a richer soul within ?
No comet need foretell his change drew on,
Whose corps might seem a constellation. ”
Criticism cannot be rendered sufficiently vituperative to character-
ize properly such a passage. It is fuller of conceits than ever Cowley
crowded into the same space; and lines more crabbed and inhar-
monious Donne never succeeded in perpetrating. Its production up-
sets all principles of prophecy. The wretchedest of poetasters can
take courage, when he contemplates the profundity of the depth out
of which uprose the greatest poet of his time.
Dryden is, in fact, an example of that somewhat rare class of
writers who steadily improve with advancing years. Most poets write
their best verse before middle life. Many of them after that time go
through a period of decline, and sometimes of rapid decline; and if
they live to reach old age, they add to the quantity of their produc-
tion without sensibly increasing its value. This general truth is con-
spicuously untrue of Dryden. His first work gave no promise of his
future excellence, and it was by very slow degrees that he attained
to the mastery of his art. But the older he grew, the better he
wrote; and the volume published a few months before his death, and
largely composed almost under its shadow, so far from showing the


## p. 4921 (#83) ############################################

JOHN DRYDEN
4921
slightest sign of failing power, contains a great deal of the best
poetry he ever produced.
As Dryden's relatives were Puritans, and some of them held place
under the government, it was natural that upon coming to London
he should attach himself to that party. Accordingly it is no surprise
to find him duly mourning the death of the great Protector in cer-
tain Heroic Stanzas Consecrated to the Memory of Oliver Cromwell. ”
The first edition bears the date of 1659, and so far as we know, the
production was Dryden's second venture in poetry. It was written
in the measure of Davenant's Gondibert,' and is by no means a poor
piece of work, though it has been sometimes so styled. It certainly
pays not simply a high but a discerning tribute to the genius of
Cromwell. Before two years had gone by, we find its author greet-
ing the return of Charles with effusive loyalty, and with predictions
of prosperity and honor to attend his reign, which events were soon
woefully to belie. The poet has been severely censured for this
change of attitude. It is a censure which might be bestowed with as
much propriety upon the whole population of England. The joyful
expectations to which he gave utterance were almost universal; and
no other charge can well be brought against him than that he had
the ability and took the occasion to express sentiments which were
felt by nearly the entire nation.
From this time on, Dryden appears more and more in the public
eye, and slowly but steadily forged his way to the front as the rep-
resentative man of letters of his time. In 1670 he was appointed to
the two distinct offices of poet laureate and historiographer royal.
Thenceforward his relations with the court became close, and so
they did not cease to be until the expulsion of James II. In 1683 he
received a further mark of royal favor, in being made collector of
customs of the port of London. In the political controversies which
subsequently arose, Dryden's writings faithfully represented the sen-
timents of the side he had chosen, and expressed their prejudices
and aversions not merely with force but also with virulence. His
first literary activity, however, was on neutral ground. After eigh-
teen years of compulsory closing, the Restoration opened wide once
more the doors of the theatre. Dryden, like every one else possessed
of literary ability, began to write for the stage. His first play, a
comedy entitled “The Wild Gallant,' was brought out in February
1663; and for the eighteen years following, it was compositions of
such nature that occupied the main portion of his literary life. Dur-
ing that time he produced wholly or in part twenty-two comedies
and tragedies. His pieces must from the outset have met with a
fair degree of success, otherwise the King's Company would not have
entered into a contract with him, as it did in 1667, to furnish for


## p. 4922 (#84) ############################################

4922
JOHN DRYDEN
them each year a fixed number of plays, in consideration of his
receiving a certain share of the profits of the theatre.
Yet it cannot be said that Dryden was in any respect a dramatist
of a high order. As a writer of comedy he was not only inferior to
contemporaries and immediate successors like Wycherley, Congreve,
Vanbrugh, and Farquhar, but in certain ways he was surpassed by
Shadwell, the very man whom he himself has consigned to a disagree-
able immortality as the hero of the MacFlecknoe. ' His comedies
are not merely full of obscenity, — which seems to have been a neces-
sary ingredient to suit them to the taste of the age,— but they are
full of a peculiarly disagreeable obscenity. One of his worst offenses in
this direction, and altogether his most impudent one, was his adapta-
tion for the stage of Shakespeare's “Tempest. The two plays are
worth reading together for the sake of seeing how easily a pure and
perfect creation of genius can be vulgarized in language and spirit
almost beyond the possibility of recognition. ' In his tragedies,
however, Dryden was much more successful. Yet even these, in spite
of the excellence of occasional passages, do not attain to a high rank.
Indeed, thought and expression are at times extravagant, not to say
stilted, to an extent which afterward led him himself to make them
the subject of ridicule. It was in them, however, during these years
that he perfected by degrees his mastery of heroic verse, of which
later he was to display the capabilities in a way that had never pre-
viously been seen and has never since been surpassed.
A controversy in regard to the proper method of composing plays
brought forward Dryden, at an early period in his literary career, as
a writer of prose. In this he at once attained unusual eminence. In
him appear for the first time united the two characters of poet and
of critic. Ben Jonson had in a measure preceded him in this respect;
but Jonson's criticism was not so much devoted to the examination
of general principles as to the exposure of the hopeless, helpless
obtuseness of the men who had a different opinion of his works from
what he himself entertained. The questions discussed by Dryden were
of a more general nature. With the Stuarts had come in French
literary tastes and French literary methods. The age was supposed
to be too refined to be pleased with what had satisfied the coarse
palates of preceding generations. In stage-writing in particular, the
doctrine of the unities, almost uniformly violated by Shakespeare and
most of the Elizabethans, was now held up as the only correct
method of composition that could be employed by any writer who
sought to conform to the true principles of art. Along with this
came the substitution in the drama of rhyme for blank verse. Upon
the comparative merits of these two as employed in tragedy, arose
the first controversy in which Dryden was engaged. This one was
6mposing


## p. 4923 (#85) ############################################

JOHN DRYDEN
4923
with his brother-in-law, Sir Robert Howard; for in 1663 Dryden had
become the husband of the daughter of the Earl of Berkshire, thus
marrying, as Pope expressed it, “misery in a noble wife. ” Dryden
was an advocate of rhyme; and the controversy on this point began
with the publication in 1668 of his Essay of Dramatic Poesy. It
was afterward carried on by both parties, in prefaces to the plays
they successively published. The prefaces to these productions regu-
larly became later the place where Dryden laid down his critical
doctrines on all points that engaged his attention; and whether we
agree with his views or not, we are always sure to be charmed with
the manner in which they are expressed.
In 1667 Dryden published a long poem entitled Annus Mirabilis. '
It was in the same measure as the stanzas on Oliver Cromwell. It
gave him a good deal of reputation at the time; but though it is far
from being a despicable performance, few there are now who read it
and still fewer who re-read it. Far different has been the fate of
his next work. It was not until 1681, when England was beginning
to emerge slowly from the excitement and agitation growing out of
the alleged Popish plot, that he brought out his `Absalom and Achi-
tophel,' without question the greatest combined poetical and political
satire to be found in our tongue. Here it was that for the first time
he fully displayed his mastery over heroic verse. The notion once
so widely prevalent — for the vogue of which, indeed, Dryden him-
self is mainly responsible - that Waller and Denham brought this
verse to perfection, it now requires both extensive and special igno-
rance of our earlier authors to entertain; but on the other hand,
there is no question that he himself imparted to the line a variety,
vigor, and sustained majesty movement such as the verse in ts
modern form had never previously received. There is therefore a
fairly full measure of truth in the lines in which he was character-
ized by Pope: -
«Waller/ was
smooth/; but Dryden taught/to join
The varging versq. the fulll resounding line,
The long majestic marel/ and enfergy divine. ”
These lines of Pope, it may be added, exemplify purposely two pecul-
iarities of Dryden's versification, — the occasional use of the triplet
instead of the regular couplet, and of the Alexandrine, or line of six
feet, in place of the usual line of five.
The poem is largely an attack upon the Earl of Shaftesbury,
who in it bears the title of Achitophel. The portrayal of this states-
man, which is given in this volume, is ample evidence of that skill of
the poet in characterization which has made the pictures he drew
immortal. Perhaps even more effective was the description of the


## p. 4924 (#86) ############################################

4924
JOHN DRYDEN
Duke of Buckingham, under the designation of Zimri. For attacking
that nobleman Dryden had both political and personal reasons.
Buck-
ingham had now joined the opponents of the court. Ten years previ-
ously the poet himself had been brought by him on the stage, with
the aid of others, in the play called The Rehearsal. ' His usual
actions had been mimicked, his usual expressions had been put into
the mouth of the character created to represent him, who was styled
Bayes. This title had been given him because Dryden figuratively
wore the bays, or laurel, as poet laureate. The name henceforward
stuck. Dryden's turn had now come; and it was in these, following
lines that he drew the unfaded and fadeless picture of this noble-
man, whose reputation even then was notorious rather than famous,
and whose intellect was motley-minded rather than versatile:-
«Some of their chiefs were princes of the land;
In the front rank of these did Zimri stand,
A man so various that he seemed to be
Not one, but all mankind's epitome:
Stiff in opinions, always in the wrong,
Was everything by starts and nothing long,
But in the course of one revolving moon
Was chymist, fiddler, statesman, and buffoon;
Then all for women, painting, rhyming, drinking,
Besides ten thousand freaks that died in thinking.
Blest madman, who could every hour employ
With something new to wish or to enjoy!
Railing and praising were his usual themes,
And both, to show his judgment, in extremes:
So over-violent or over-civil
That every man with him was God or Devil.
In squandering wealth was his peculiar art:
Nothing went unrewarded but desert.
Beggared by fools whom still he found too late,
He had his jest, and they had bis estate.
As an example of the loftier and more majestic style occasionally
found in this poem, is the powerful appeal of Achitophel to Absalom.
The latter, it is to be said, stands for the Duke of Monmouth, the
eldest of the illegitimate sons of Charles II. Him many of the so-
called country party, now beginning to be styled Whigs, were
endeavoring to have recognized as the next successor to the throne,
in place of the Roman Catholic brother of the king, James, Duke of
York. As a favorite son of the monarch, he, though then in opposi-
tion, is treated tenderly by Dryden throughout; and this feeling is
plainly visible in the opening of the address to him put into the
mouth of Achitophel, in these words:-


## p. 4925 (#87) ############################################

JOHN DRYDEN
4925
1
“Auspicious prince, at whose nativity
Some royal planet ruled the southern sky,
Thy longing country's darling and desire,
Their cloudy pillar and their guardian fire,
Their second Moses, whose extended wand
Divides the seas and shows the promised land,
Whose dawning day in every distant age
Has exercised the sacred prophet's rage,
The people's prayer, the glad diviner's theme,
The young men's vision and the old men's dream,-
Thee savior, thee the nation's vows confess,
And never satisfied with seeing, bless. ”
Dryden followed up the attack upon Shaftesbury with a poem en-
titled “The Medal. ” This satire, which appeared in March 1682, was
called forth by the action of the partisans of the Whig leader in hav-
ing a medal struck commemorating his release from the Tower, after
the grand jury had thrown out the charge of treason which had been
brought against him. Both of these pieces were followed by a host
of replies. Some of them did not refrain from personal attack, which
indeed had a certain justification in the poet's own violence of denun-
ciation. The most abusive of these was a poem by Thomas Shadwell,
entitled (The Medal of John Bayes. ' Such persons as fancy Dryden's
subsequent punishment of that dramatist, unwarranted in its severity
should in justice read this ferociously scurrilous diatribe, in which
every charge against the poet that malice or envy had concocted and
rumor had set afloat, was here industriously raked together; and to
the muck-heap thus collected, the intimacy of previous acquaintance
was doubtless enabled to contribute its due quota of malignant asser-
tion and more malignant insinuation. Shadwell was soon supplied,
however, with ample reason to regret his action. Dryden's first and
best known rejoinder is MacFlecknoe, or a Satire on the True Blue
Protestant Poet T. S. This production has always had the reputation
in literature of being the severest personal satire in the language;
but it requires now for its appreciation an intimate acquaintance
with Shadwell's plays, which very few possess. It is further disfig-
ured in places by a coarseness from which, indeed, none of the poet's
writings were certain to be free. Its general spirit can be indicated
by a brief extract from its opening paragraph. Flecknoe, it is to be
said, was a feeble poet who had died a few years before. He is
here represented as having long reigned over the kingdom of dullness,
but knowing that his end was close at hand, determines to settle the
succession to the State. Accordingly he fixes upon his son Shadwell
as the one best fitted to take his place in ruling over the realm of
nonsense, and in continuing the war with wit and sense. The an-
nouncement of his intention he begins in the following words:--


## p. 4926 (#88) ############################################

4926
JOHN DRYDEN
« – 'Tis resolved, for Nature pleads that he
Should only rule who most resembles me.
Shadwell alone my perfect image bears,
Mature in dullness from his tender years;
Shadwell alone of all my sons is he
Who stands confirmed in full stupidity.
The rest, to some faint meaning make pretense,
But Shad well neper deviates into sense. ”
Far more bitter, however, was the renewed attack which a month
later Dryden inserted in the two hundred lines he contributed to the
continuation of Absalom and Achitophel' that was written by Nahum
Tate. In this second part, which came out in November 1682, he de-
voted himself in particular to two of his opponents, Settle and Shad-
well, under the names respectively of Doeg and Og—"two fools,” he
says, in his energetic way,-
<< That crutch their feeble sense on verse;
Who by my Muse to all succeeding times
Shall live in spite of their own doggerel rhymes. ”
Of Settle, whose poetry was possessed of much smoothness but
little sense, he spoke in a tone of contemptuous good-nature, though
the object of the attack must certainly have deemed the tender mer-
cies of Dryden to be cruel. It was in this way he was described, to
quote a few lines:-
«Spiteful he is not, though he wrote a satire,
For still there goes some thinking to ill-nature.
Let him be gallows-free by my consent,
And nothing suffer, since he nothing meant;
Hanging supposes human soul and reason,
This animal's below committing treason:
Shall he be hanged who never could rebel?
That's a preferment for Achitophel.
Let him rail on; let his invective Muse
Have four-and-twenty letters to abuse,
Which if he jumbles to one line of sense,
Indict him of a capital offense. ”
But it was not till he came to the portraiture of Shadwell that he
gave full vent to the ferocity of his satire. He taunted him with the
unwieldiness of his bulk, the grossness of his habits, with his want
of wealth, and finally closed up with some lines into which he con-
centrated all the venom of his previous attacks:
« But though Heaven/made him poor, with (reverence speaking.
He never was a poet of God's (nidking;


## p. 4927 (#89) ############################################

JOHN DRYDEN
4927
The midwife laid her hand on his thick skull,
With this prophetic blessing - Be thou dull;
Drink, swear, and roar, forbear no lewd delight
Fit for thy bulk; do anything but write.
Thou art of lasting make, like thoughtless men;
A strong nativity – but for the pen;
Eat opium, mingle arsenic in thy drink,
Still thou mayest live, avoiding pen and ink.
I see, I see, 'tis counsel given in vain,
For treason, botched in rhyme, will be thy bane;
Rhyme is the rock on which thou art to wreck;
'Tis fatal to thy fame and to thy neck.
"A double noose thou on thy neck dost pull,
For writing treason and for writing dull;
To die for faction is a common evil,
Put to be hanged for nonsense is the devil.
Hadst thou the glories of thy King exprest,
Thy praises had been satires at the best;
But thou in clumsy verse, unlicked, unpointed,
Hast shamefully defied the Lord's anointed.
I will not rake the dungbill of thy crimes,
For who would read thy life that reads thy rhymes ?
But of King David's foes be this the doom, -
May all be like the young man Absalom;
And for my foes may this their blessing be,-
To talk like Doeg and to write like thee. ”
Refinement of tone is not the distinguishing characteristic of satire
of this sort. It does not attack its object by delicate insinuation or
remote suggestion. It operates by heavy downright blows which
crush by the mere weight and power of the stroke. There was in
truth in those days a certain brutality not only permitted but ex-
pected in the way men spoke of each other, and Dryden conformed
in this as in other respects to the manners and methods of his age.
But of its kind the attack is perfect. The blows of a bludgeon which
make of the victim a shapeless mass kill as effectively as the steel
or poison which leaves every feature undisturbed, and to the common
apprehension it serves to render the killing more manifest.
rate, so long as a person has been done to death, it makes compara-
tively little difference how the death was brought about; and the
object in this instance of Dryden's attack, though a man of no mean
abilities, has never recovered from the demolition which his reputa-
tion then underwent.
In 1685 Charles II. died, and his brother James ascended the throne.
In the following year Dryden went over to the Roman Catholic
Church. No act of his life has met with severer censure. Nor can
At any
(


## p. 4928 (#90) ############################################

4928
JOHN DRYDEN
there be any doubt that the time he took to change his religion
afforded ground for distrusting the sincerity of his motives. A king
was on the throne who was straining every nerve to bring the Church
of England once more under the sway of the Church of Rome. Ob-
viously the adoption of the latter faith would recommend the poet to
the favor of the bigoted monarch, and tend to advance his personal
interests. There is no wonder, therefore, that he should at the time
have been accused of being actuated by the unworthiest of reasons,
and that the charge should continue to be repeated to our day. Yet
a close study of Dryden's life and writings indicates that the step he
took was
a natural if not an inevitable outcome of the processes
through which his opinions had been passing. He had been early
trained in the strict tenets of the Puritan party. From these he had
been carried over to the loose beliefs and looser life that followed
everywhere hard upon the Restoration. By the sentiments then pre-
vailing he was profoundly affected. Nothing in the writings of the
first half of his literary life is more marked — not even his flings at
matrimony – than the scoffing way in which he usually spoke of the
clergy. His tone towards them is almost always contemptuous, where
it is not positively vituperative. His famous political satire began
with this line-
In pious times, ere priestcraft did begin;” -
and a little later in the course of the same poem he observed that -
(Fraud was used, the sacrificer's trade,
the sacrificer” here denoting the priest. This feeling toward the
clergy never in truth deserted him entirely. But no one who reads
carefully his Religio Laici, a poem published in 1982, can fail to
perceive that even then he had not only drifted far away from the
faith of his childhood, but had begun to be tormented and perplexed
by the insoluble problems connected with the life and destiny of
man, and with his relations to his Creator. The subject was not
likely to weigh less heavily upon him in the years that followed.
To Dryden, as to many before and since, it may have seemed the
easiest method of deliverance from the difficulties in which he found
himself involved, to cast the burden of doubts which disquieted the
mind and depressed the heart, upon a Church that undertakes to
assume the whole responsibility for the man's future on condition of
his yielding to it an unquestioning faith in the present.
An immediate result of his conversion was the production in 1687
of one of his most deservedly famous poems, (The Hind and the
Panther. He began it with the idea of assisting in bringing about
the reconciliation between the Panther, typifying the Church of Eng-
land, and the Hind, typifying the Church of Rome. It is apparent


## p. 4929 (#91) ############################################

JOHN DRYDEN
4929
that before he finished it he saw that the project was hopeless. It is
a poem of over twenty-five hundred es, of which the opening up to
line 150 is printed in this volume. Part of the passage here cited
contains, without professing it as an object, and probably without
intending it, the best defense that could be made for his change of
religion. The production in its entirety is remarkable for the skill
which its author displayed in carrying on an argument in verse. In
this he certainly had no superior among poets, perhaps no equal.
The work naturally created a great sensation in those days of fierce
political and religious controversy. Both it and its writer were made
the object of constant attack. A criticism, in particular, appeared
upon it in the shape of a dialogue in prose with snatches of verse
interspersed. It is usually known by the title of “The Town Mouse
and the Country Mouse,' and was exalted at the time by unrea-
soning partisanship into a wonderful performance. Even to the pres-
ent day, this dreary specimen of polemics is described as a very
witty work by those who have never struggled to read it.
It was
the production of Charles Montagu, the future Earl of Halifax, and
of Matthew Prior. A story too is still constantly repeated that Dry-
den was much hurt by the attacks of these two young men, to whom
he had been kind, and wept over their ingratitude. If he shed any
tears at all upon the occasion, they must have been due to the morti-
fication he felt that any two persons who had been admitted to his
friendship should have been guilty of twaddle so desperately tedious.
The flight of James and the accession of William and Mary threw
Dryden at once out of the favor of the court, upon which to a large
extent he had long depended for support. As a Jacobite he could
not take the oath of allegiance; but there is hardly any doubt that
under any circumstances he would have been deprived of the offices
of place and profit he held. In the laureateship he was succeeded by
his old antagonist Shadwell; and within a few years he saw the
dignity of the position still further degraded by the appointment to
it of Nahum Tate, one of the worst of the long procession of poetas-
ters who have filled it. Dryden henceforth belonged to the party out
of power. His feelings about his changed relations are shown plainly
in the fine epistle with which he consoled Congreve for the failure
of his comedy of the Double Dealer. ' Yet displaced and unpen-
sioned, and sometimes the object of hostile attack, his literary su-
premacy was more absolute than ever. All young authors, whether
Whigs or Tories, sought his society and courted his favor; and his
seat at Will's coffee-house was the throne from which he swayed the
literary sceptre of England.
After the revolution of 1688 Dryden gave himself entirely up to
authorship. He first turned to the stage; and between 1690 and 1694
IX-309


## p. 4930 (#92) ############################################

4930
JOHN DRYDEN
he produced five plays. With the failure in the last-mentioned year
of his tragi-comedy called Love Triumphant, he abandoned writing
for the theatre. The period immediately following he devoted mainly
to his translation of Virgil, which was published in 1697. It was
highly successful; but far more reputation came to him from a large
folio volume that was brought out in November 1699, under the title
of Fables. Its contents consisted mainly of poetical narratives
founded upon certain stories of the Decameron,' and of the modern-
ization of some of the Canterbury Tales. ' In certain ways these have
been his most successful pieces, and have made his name familiar to
successive generations of readers. Of the tales from Boccaccio, that
of Cymon and Iphigenia' is on the whole the most pleasing. The
modernizations of Chaucer were long regarded as superior to the
original; and though superior knowledge of the original has effect-
ually banished that belief, there is on the other hand no justification
for the derogatory terms which are now sometimes applied to Dry-
den's versions.
The verse in this volume was preceded by a long critical essay in
prose. Many of its views, especially those about the language of
Chaucer, have been long discarded; but the criticism will always be
read with pleasure for the genial spirit and sound sense which per-
vade it, and the unstudied ease with which it is written. Cowley
and Dryden are in fact the founders of modern English prose; and
the influence of the latter has been much greater than that of the
former, inasmuch as he touched upon a far wider variety of topics,
and for that reason obtained a far larger circle of readers in the
century following his death. There was also the same steady im-
provement in Dryden's critical taste that there was in his poetical
expression. His admiration for Shakespeare constantly improved dur-
ing his whole life; and it is to be noticed that in what is generally
regarded as the best of his plays - All for Love,' brought out in the
winter of 1677–78 — he of his own accord abandoned rhyme for blank
verse.
The publication of the Fables) was Dryden's last appearance
before the public. In the following year he died, and was buried in
Westminster Abbey by the side of Chaucer and Cowley. After his
death his fame steadily increased instead of diminishing. For a long
period his superiority in his particular line was ungrudgingly con-
ceded by all, or if contested, was contested by Pope alone. His
poetry indeed is not of the highest kind, though usually infinitely
superior to that of his detractors. Still his excellences were those of
the intellect and not of the spirit. On the higher planes of thought
and feeling he rarely moves; to the highest he never aspires. The
nearest he ever approaches to the former is in his later work, where


## p. 4931 (#93) ############################################

JOHN DRYDEN
4931
religious emotion or religious zeal has ient to expression the aid of
its intensity. There is a striking example of this in the personal
references to his own experiences in the lines cited below from The
Hind and the Panther. ' Something too of the same spirit can be
found, expressed in lofty language, in the following passage from the
same poem, descriptive of the unity of the Church of Rome as con-
trasted with the numerous warring sects into which the Protestant
body is divided :-
« One in herself, not rent by schism, but sound,
Entire, one solid shining diamond,
Not sparkles shattered into sects like you:
One is the Church, and must be to be true,
One central principle of unity.
As undivided, so from errors free;
As one in faith, so one in sanctity.
Thus she, and none but she, the insulting rage
Of heretics opposed from age to age;
Still when the giant brood invades her throne,
She stoops from heaven and meets them half-way down,
And with paternal thunders vindicates her crown.
«Thus one, thus pure, behold her largely spread,
Like the fair ocean from her mother-bed;
From east to west triumphantly she rides,
All shores are watered by her wealthy tides.
The gospel sound diffused from Pole to Pole,
Where winds can carry and where waves can roll,
The selfsame doctrine of the sacred page
Conveyed to every clime, in every age. ”
But though Dryden's poetry is not of the highest class, it is of the
very highest kind in its class. Wherever the pure intellect comes into
play, there he is invariably excellent. There is never any weakness;
there is never any vagueness; there is never any deviation from the
true path into aimless digression. His words invariably go straight to
the mark, and not unfrequently with a directness and force that fully
merit the epithet of “burning” applied to them by the poet Gray.
His thoughts always rise naturally out of the matter in hand; and in
the treatment of the meanest subjects he is not only never mean, but
often falls without apparent effort into a felicity of phrase which
holds the attention and implants itself in the memory.
The benefit
of exercise, for instance, is not a topic that can be deemed highly
poeticai; but in his epistle on country life addressed to his cousin
John Driden, the moment he comes to speak of hunting and its salu-
tary results his expression at once leaves the commonplace, and em-
bodies the thought in these pointed lines:-


## p. 4932 (#94) ############################################

4932
JOHN DRYDEN
“So lived our sires, ere doctors learned to kill,
And multiply with theirs the weekly bill.
The first physicians by debauch were made;
Excess began, and sloth sustains the trade.
By chase our long-lived fathers earned their food;
Toil strung the nerves and purified the blood:
But we their sons, a pampered race of men,
Are dwindled down to threescore years and ten.
Better to hunt in fields for health unbought
Than fee the doctor for a nauseous draught.
The wise for cure on exercise depend;
God never made his work for man to mend. ”
In a similar way in Cymon and Iphigenia' the contempt which
Dryden, in common with the Tories of his time, felt for the English
militia force, found vent in the following vigorous passage, really
descriptive of them and their conduct though the scene is laid in
Rhodes:
«The country rings around with loud alarms,
And raw in fields the rude militia swarms;
Mouths without hands; maintained at vast expense,
In peace a charge, in war a weak defense:
Stout once a month they march, a blustering band,
And ever, but in times of need, at hand:
This was the morn when, issuing on the guard,
Drawn up in rank and file they stood prepared
Of seeming arms to make a short essay,
Then hasten to be drunk, the business of the day. ”
and power.
men
In a world where what is feeble in expression is so often supposed
to indicate peculiar delicacy; where what is vague is so often deemed
peculiarly poetical; and where what is involved and crabbed and
hard to comprehend is thought to denote peculiar profundity,- it is
a pleasure to turn to a writer with a rank settled by the consensus
of successive generations, who thought clearly and wrote forcibly,
who knew always what he had to say and then said it with directness
There are greater poets than he; but so long as
continue to delight in vividness of expression, in majesty of numbers,
in masculine strength and all-abounding vigor, so long will Dryden
continue to hold his present high place among English authors.
The writings of Dryden constitute of themselves a literature.
They treat of a vast variety of topics in many different departments
of intellectual activity. The completest edition of his works was first
published in 1808 under the editorship of Walter Scott. It fills twenty-
one volumes, the first of which however is devoted to a biography.
The notes to this edition are generally excellent; the text is very


## p. 4933 (#95) ############################################

JOHN DRYDEN
4933
indifferent. A revised edition of it has been recently published un-
der the editorship of George Saintsbury. But easily accessible is
a single-volume edition of the poems alone, edited by W. D. Chris-
tie, which furnishes a superior text, and is amply supplied with all
necessary annotations.
Thomas R Leunsbury.
FROM "THE HIND AND THE PANTHER)
A
MILK-WHITE Hind, immortal and unchanged,
Fed on the lawns and in the forest ranged;
Without unspotted, innocent within,
She feared no danger, for she knew no sin.
Yet had she oft been chased with horns and hounds,
And Scythian shafts, and many winged wounds
Aimed at her heart; was often forced to fly,
And doomed to death, though fated not to die.
Not so her young; for their unequal line
Was hero's make, half human, half divine.
Their earthly mold obnoxious was to fate,
The immortal part assumed immortal state.
Of these a slaughtered army lay in blood,
Extended o'er the Caledonian wood,
Their native walk; whose vocal blood arose
And cried for pardon on their perjured foes.
Their fate was fruitful, and the sanguine seed,
Endued with souls, increased the sacred breed.
So captive Israel multiplied in chains,
A numerous exile, and enjoyed her pains.
With grief and gladness mixed, their mother viewed
Her martyred offspring and their race renewed;
Their corps to perish, but their kind to last,
So much the deathless plant the dying fruit surpassed.
Panting and pensive now she ranged alone,
And wandered in the kingdoms once her own.
The common hunt, though from their rage restrained
By sovereign power, her company disdained,
Grinned as they passed, and with a glaring eye
Gave gloomy signs of secret enmity.
'Tis true she bounded by and tripped so light,
They had not time to take a steady sight;


## p. 4934 (#96) ############################################

4934
JOHN DRYDEN
For truth has such a face and such a mien
As to be loved needs only to be seen.
The bloody Bear, an independent beast,
Unlicked to form, in groans her hate expressed.
Among the timorous kind the quaking Hare
Professed neutrality, but would not swear.
Next her the buffoon Ape, as atheists use,
Mimicked all sects and had his own to chuse;
Still when the Lion looked, his knees he bent,
And paid at church a courtier's compliment.
The bristled ba ist Boar, impure as he,
But whitened with the foam of sanctity,
With fat pollutions filled the sacred place,
And mountains leveled in his furious race;
So first rebellion founded was in grace.
But since the mighty ravage which he made
In German forests had his guilt betrayed,
With broken tusks and with a borrowed name,
He shunned the vengeance and concealed the shame,
So lurked in sects unseen. With greater guile
False Reynard fed on consecrated spoil;
The graceless beast by Athanasius first
Was chased from Nice, then by Socinus nursed,
His impious race their blasphemy renewed,
And Nature's King through Nature's optics viewed;
Reversed they viewed him lessened to their eye,
Nor in an infant could a God descry.
New swarming sects to this obliquely tend,
Hence they began, and here they all will end.
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 thy self revealed;
But her alone for my director take,
Whom thou hast promised never to forsake!
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!


## p. 4935 (#97) ############################################

JOHN DRYDEN
4935
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 mold and infancy,
That the great Maker of the world could die ?
And after that, trust my imperfect sense
Which calls in question his omnipotence ?
Can I my reason to my faith compel,
And shall my sight and touch and taste rebel?
Superior faculties are set aside;
Shall their subservient organs be my guide ?
Then let the moon usurp the rule of day,
And winking tapers show the sun his way;
For what my senses can themselves perceive
I need no revelation to believe.
Can they, who say the Host should be descried
By sense, define a body glorified,
Impassible, and penetrating parts ?
Let them declare by what mysterious arts
He shot that body through the opposing might
Of bolts and bars impervious to the light,
And stood before his train confessed in open sight.
For since thus wondrously he passed, 'tis plain
One single place two bodies did contain;
And sure the same omnipotence as well
Can make one body in more places dwell.
Let Reason then at her own quarry fly;
But how can finite grasp infinity ?
'Tis urged again, that faith did first commence
By miracles, which are appeals to sense,
And thence concluded, that our sense must be
The motive still of credibility.
For latter ages must on former wait,
And what began belief must propagate.
But winnow well this thought, and you shall find
'Tis light as chaff that flies before the wind.
Were all those wonders wrought by power Divine
As means or ends of some more deep design?
Most sure as means, whose end was this alone,
To prove the Godhead of the Eternal Son.
God thus asserted: Man is to believe
Beyond what Sense and Reason can conceive,
And for mysterious things of faith rely
On the proponent Heaven's authority.


## p. 4936 (#98) ############################################

4936
JOHN DRYDEN
If then our faith we for our guide admit,
Vain is the farther search of human wit;
As when the building gains a surer stay,
We take the unuseful scaffolding away.
Reason by sense no more can understand;
The game is played into another hand.