The short extract we shall proceed to make, will shew very clearly that nothing could exceed Dryden's want of judgment, but the fertility of his fancy; the last line, so entirely absurd as it is, occurring after the other striking and natural images, proves a most extraordinary vivacitè de pesanteur to have existed in the poet. "Abas. Mischiefs on mischiefs, greater still, and more: Of thick-sprung lances in a waving field. Aureng. Act I. Sc. I. One of the most fruitful sources of the bathos in Dryden, is his constant reference, in his most serious and impassioned parts, to familiar objects; the more homely the greater favorite is a simile with Dryden, for it generally has the advantage of being universally known, and is always especially true and appropriate. Dryden was an accurate observer, and had a mind stored with facts, truths, and observations taken from every possible subject, and collected in every possible quarter. There would be no difficulty in collecting a large quantity of these blemishes, which nothing but an absolute ignorance of their effect could have allowed to be so numerous. We will quote a few at random. In allusion to sickness: Strong virtue, like strong nature, struggles still, "Impose; but use your pow'r of taxing well; To a sieve: "If you have not enjoy'd what youth could give, Accuse yourself." To a dyed garment: "Our summer such a russet livery wears, As in a garment often dy'd appears." To dough: "When the gods moulded up the paste Some of their dough was left upon their hands, To a tradesman's bill: "Nothing, a trifling sum of misery, To a hammer: "Your fate, once more, is laid upon the anvil; To a hand at whist: "Only to take care of me from me, Weary with sitting out a losing hand; "Twill be some ease to see another play it." It would be surprising if Dryden, who was so complete a master of his own language, and had so fine an ear for the melody of versification, had not often succeeded in the course of the rhyming plays, in the modulation of his numbers. It is indeed their chief merit; and for this beauty, the "Indian Emperor" has been praised more than once, in these times of juster conceptions concerning dramatic propriety.-In our opinion, however, it is in the "State of Innocence" that the most melodious versification is to be found. The "State of Innocence," though a miserable production on the whole, and a disgusting debasement of the sterling poetry of Milton, yet has the merit of containing many pleasing passages; specimens of which we shall forthwith produce. Raphael thus speaks of the reciprocal duties of Adam and Eve: "Thus far to try thee; but to heav'n 'twas known, It was not best for man to be alone; An equal, yet thy subject, is design'd For thy soft hours, and to unbend thy mind. State of Innocence, Act II. The following passage possesses more than the charm of sweet numbers. Eve before she has seen Adam is wandering in Paradise, and is attracted by the reflection of her form in the water; she exclaims: "Tell me, ye hills and dales, and thou fair sun, Who shin'st above, what am I? whence begun? Like myself, I see nothing; from each tree gaze. * * * * * * * * What's here? another firmament below, * [Looks into a fountain. And seems to imitate whate'er I do : When I begin to speak, the lips it moves; [Stoops down to embrace. Lost ere 'tis held; when nearest, far away. "O, only like myself, (for nothing here Thou look'st more sternly, dost more strongly move, State of Innocence, Act II. Were not the similar scenes of Paradise Lost so strongly impressed on the mind, we should perhaps think that the rich and luxurious beauty of the lines we are about to quote, had seldom been surpassed in their kind. "Adam. When to my arms thou brought'st thy virgin love, Fair angels sung our bridal hymn above: Th' Eternal, nodding, shook the firmament, Roses unbid, and ev'ry fragrant flow'r, Flew from their stalks, to strow thy nuptial bower : The furr'd and feather'd kind the triumph did pursue, And fishes leap'd above the streams, the passing pomp to view. "Eve. When your kind eyes look'd languishing on mine, And wreathing arms did soft embraces join, A doubtful trembling seiz'd me first all o'er; Then, wishes; and a warmth unknown before : Immortal pleasures round my swimming eyes did dance, Again, "Eve. Blest in ourselves, all pleasures else abound; State of Innocence, Act III. The mastery which Dryden had obtained over the difficulties of rhyme, was perhaps never more manifest, than in the following narrative of the intrusion of Lucifer into Paradise. "Gabriel, if now the watch be set, prepare, On some deep, dark design; then shot with haste, By his proud port, he seem'd the prince of hell; State of Innocence, Act III. There is a sweetness in the three following extracts, which would finely relieve the ruggedness of more uneven versification, but occurring as they do in a melodious rhyming play, are but beauties lost in a crowd of kindred charms. "Eve. The ground, unbid, gives more than we can ask ; But work is pleasure when we chuse our task. While 'cross our walks the shooting branches meet. "Adam. Well has thy care advis'd; 'tis fit we haste; Nature's too kind, and follows us too fast; State of Innocence, Act IV. "What joy, without your sight, has earth in store! "Raph. As much of grief as happiness admits In heav'n, on each celestial forehead sits: Kindness for man, and pity for his fate, "Gab. I saw th' angelic guards from earth ascend, Griev'd they must now no longer man attend; The beams about their temples dimly shone; One would have thought the crime had been their own. Th' ethereal people flock'd for news in haste, Whom they, with down-cast looks, and scarce saluting past; A sad accompt of their successless care." State of Innocence, Act V. The following speech of Adam, objecting to leave Paradise, is affecting, and the answer of Raphael sublime. "Adam Heav'n is all mercy; labour I would choose; And could sustain this Paradise to lose : |