the credit of the author of the "Wild Gallant." Up to this time Dryden, now in his thirty-third year, had not written much; but in his "Heroic Stanzas on the death of Oliver Cromwell," "Astrea Redux, or Poem on the Happy Restoration and Return of his Sacred Majesty," and "A Panegyric on his Coronation," he had not only shown his measureless superiority to the Spratts and Wallers-poetasters of the same class after all, though Spratt was always but a small fish, while Waller was long thought like a whale-but manifested a vigour of thought and expression that gave assurance of a veritable poet. In those noble compositions he exults in his conscious power of numerous verse; and, like an eagle in the middle element, sweeps along majestically on easy wings. In "The Rival Ladies," the rhymed dialogue is exceedingly graceful, the blank verse somewhat cumbrous; and, in his dedication to the Earl of Orrery, he justifies himself "for following the new way; I mean, of writing scenes in verse." It may here, once for all, be remarked, that in all his disquisitions, by "verse" he usually means rhyme as opposed to blank verse. "To speak properly," he says, "it is not so much a new way amongst us, as an old way revived; for many years before Shakspeare's plays was the tragedy of Queen Gorboduc,' in English verse, written by that famous Lord Buckhurst, afterwards Earl of Dorset." Dryden here shows how little conversant he then was with the old English drama. For the tragedy of "Ferrex and Porrex" was first surreptitiously published under the title of "Gorboduc," who is not Queen, but King of England; and it is not written in rhyme, but, excepting the choruses, in blank verse; while Sackville's part of the play comprehends only the last two acts, of themselves sufficient to place him in the highest order of Noble Authors. "But supposing," he continues, "our countrymen had not received this writing till of late, shall we oppose ourselves to the most polished and civilized nations of Europe? .*** All the Spanish and Italian tragedies I have yet seen are writ in rhyme. *** Shakspeare (who, with some errors not to be avoided in that age, had undoubtedly a larger soul of poesy than ever any of our nation), was the first who, to shun the pains of continual rhyming, invented that kind of writing which we call blank verse, but the French more properly prose mesurée; into which the English tongue so naturally glides, that in writing prose it is hardly to be avoided." Here, again, it is hardly indeed worth while to remark, is

another mistake; Marlow and several other dramatists having used blank verse (but how inferior to the divine man's!) before Shakspeare. Coleridge somewhere quotes a verse or two forming itself in prose composition as a rarity and a fault; but, though it had better perhaps be avoided, and though its frequent recurrence would be offensive, yet when words in their natural order do form a verse, it might be difficult to give a good reason why they may not be permitted to do so, more especially if they are not felt to be a verse insulated among the circumfluent prose. From the very best prose we could pick out thousands of single verses, which are to be found only when you seek for them; and not from rich prose only like Coleridge's own or Jeremy Taylor's, but from the poorest, like Dr. Blair's or Gerald's of Aberdeen. Dryden, says he cannot "but admire how some men should perpetually stumble in a way so easy"-that is, as blank verse-into which the English tongue so naturally glides," and should strive to attain it by inverting the order of the words, to make the "blanks" sound more heroically-as, for example, instead of “Sir, I ask your pardon," "Sir, I your pardon ask." And adds "I should judge him to have little command of English, whom the necessity of a rhyme should force often upon this rock; though sometimes it cannot easily be avoided; and, indeed, this is the only inconvenience with which rhyme can be charged." In this lively style does he pursue his argument in favour of rhyme. For this it is which makes its adversaries say rhyme is not natural! But the fault lies with the poet who is not master of his art, and either makes a vicious choice of words, or places them, for rhyme's sake, so unnatu rally as no man would in ordinary speech. But when it is so judiciously ordered that the first word in the verse seems to beget the second, and that again the next, till that becomes the last word in the line, which, in the negligence of prose, would be so, it must then be granted, that rhyme has all the advantages of prose-besides its own.

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"Glorious John" (who must have been laughing in his sleeve) then declares, that the "excellence and dignity of it were never fully known till Mr. Waller taught it;" that it was afterwards" followed in the epic by Sir John Denham, in his Cooper's Hill,' a poem which your lordship knows, for the majesty of the style, is, and ever will be, the exact standard of good writing;" and that we are acknowledging for the noblest use of it to Sir William D'Avenant, who at once

brought it upon the stage, and made it perfect in the Siege of Rhodes!"

Having thus carried things all his own way, he triumphantly declares, that the advantages which rhyme has over blank verse are so many, that "it were lost time to name them." And then, with fresh vigour, he sets himself to name some of the chief-and first, that one illustrated by Sir Philip Sidney in his "Defence of Poesy," "the help it brings to memory, which rhyme so knits up by the affinity of sound, that by remembering the last word in one line, we often call to mind both the verses." Then, in the quickness of repartees (which, in discoursive scenes, fall very often) it has, he says, so particular a grace, and is so aptly united to them, that the sudden smartness of the answer, and the exactness of the rhyme, set off the beauty of each other.

But its greatest benefit of all, according to Dryden, is, that it bounds and circumscribes the fancy. The great easiness of blank verse renders the poet too luxuriant; he is tempted to say many things which might be better omitted, or at least shut up in fewer words. But when the difficulty of artificial rhyming is interposed; where the poet commonly confines his verse to his couplet, and must continue that verse in such words that the rhyme shall naturally follow them, not they the rhyme, the fancy then gives leisure to the judgment to come in; which, seeing so heavy a task imposed, is ready to cut off all unnecessary expenses. And this furnishes a complete answer, he maintains, to the ordinary objection, that rhyme is only an embroidery of verse, to make that which is ordinary in itself pass for excellent with less examination. For that which most regulates the fancy, and gives the judgment its busiest employment, is like to bring forth the richest and clearest thoughts. The poet examines that most which he produces with the greatest leisure, and which he knows must pass the severest test of the audience, because they are aptest to have it ever in the memory. In conclusion, he winds up skilfully by applying all he has said to "a fit subject”— that is, an Heroic Play. For neither must the argument alone, but the characters and persons, be great and noble, otherwise rhymed verse would be out of place, which, for the reasons assigned, is manifestly suited for the utterance of lofty sentiments, and for occasions of dignity and importance. Heroic Plays were then all the rage, and Dryden was meditating to enter on that career which for many years occupied

his genius, not essentially dramatic, to the exclusion of other kinds of poetry in which he afterwards excelled all compe

titors.

Sir Robert Howard's Heroic Play, the "Indian Queen," "a part of which was written by Dryden," and the whole revised and corrected no doubt, especially in the article of versification, was acted in 1664 with great applause. "It presented," says Sir Walter, "battles and sacrifices on the stage, aërial demons singing in the air, and the god of dreams ascending through a trap, the least of which has often saved a worse tragedy." Evelyn, in his Memoirs, has recorded, that the scenes were the richest ever seen in England, or perhaps elsewhere, upon a public stage. Dryden, by its reception, was encouraged to engraft on it another drama called the "Indian Emperor”- -a continuation of the tale,-which had the most ample success, and till a revolution in the public taste, retained possession of the stage. Soon after its publication, Sir Robert Howard, in a peevish preface to some plays of his, chose to answer what Dryden had said in behalf of verse in his Epistle Dedicatory to his "Rival Ladies," and not only without any mention of his name, but without any allusion to the" Indian Emperor," while he bestowed the most extravagant eulogies on the heroic plays of my Lord of Orrery -"in whose verse the greatness of the majesty seems unsullied with the cares, and the inimitable fancy descends to us in such easy expressions, that they seem as if neither had ever been added to the other, but both together flowing from a height, like birds so high that use no balancing wings, but only with an easy care preserve a steadiness in motion. But this particular happiness among those multitudes which that excellent person is an owner of, does not convince my reason but employ my wonder; yet I am glad that such verse has been written for the stage, since it has so happily exceeded those whom we seemed to imitate. But while I give these arguments against verse, I may seem faulty that I have not only written ill ones, but written any; but since it was the fashion I was resolved, as in all indifferent things, not to appear singular-the danger of the vanity being greater than the error; and therefore, I followed it as a fashion, though very far off." Sir Robert appears to have been in the sulks, for some cause not now known, with his great brother-in-law; and was pleased to punish him by thus publicly pretending ignorance of his existence as an heroic play-wright. Yet the

"Annus Mirabilis" was about this time dedicated to Sir Robert; and only about a year before, John had had a helping hand with the "Indian Queen." My Lord of Orrery must have been a proud man to have his gouty toe so fervently kissed by the jealous rivals. "The muses," Dryden had said in his dedication to that nobleman, " have seldom employed your thoughts but when some violent fit of the gout has snatched you from affairs of state; and, like the priestess of Apollo, you never come to deliver your oracles but unwillingly and in torments. So we are obliged to your lordship's misery for our delight. You treat us with the cruel pleasure of a Turkish triumph, where those who cut and wound their bodies, sing songs of victory as they pass, and divert others with their own sufferings. Other men endure their diseases your lordship only can enjoy them." Dryden, however, was not disposed to stomach Sir Robert's supercilious silence, and took a noble revenge in his " Essay on Dramatic Poesy."

This celebrated Essay was first published at the close of 1668; and the writing of it, Dryden tells us, in a dedication, many years afterwards, to the Earl of Dorset, "served as an amusement to me in the country, when the violence of the last plague had driven me from the town. Seeing, then, our theatres shut up, I was engaged in these kind of thoughts with the same delight with which men think upon their absent mistresses." It is in the form of dialogue; under the feigned appellations of Lisideius, Crites, Eugenius, and Neander, the speakers are Sir Charles Sedly, Sir Robert Howard, Lord Buckhurst, and Dryden. Nothing can exceed the grace with which the dialogue is conducted-the choice of scene is most happy-and the description of it in the highest degree striking and poetical.

"It was that memorable day, in the first summer of the late war, when our navy engaged the Dutch; a day wherein the two most mighty and best appointed fleets which any age had ever seen, disputed the command of the greater half of the globe, the commerce of nations, and the riches of the universe. While these vast floating bodies, on either side, moved against each other in parallel lines, and our countrymen, under the happy conduct of his Royal Highness, went breaking, little by little, into the line of the enemies, the noise of the cannon from both navies reached our ears about the city; so that all men being alarmed with it, and in a dreadful