In the conduct of the story there is much brilliancy of event. The reader, or spectator, is never allowed to repose on the scene before him; and although the changes of fortune are too rapid to be either probable, or altogether pleasing, yet they arrest the attention by their splendour and importance, and interest us in spite of our more sober judgment. The introduction of the ghost of Almanzor's mother seems to have been intended to shew how the hero could support even an interview with an inhabitant of the other world. At least, the professed purpose of her coming might have been safely trusted to the virtue of Almahide, and her power over her lover. It afforded an opportunity, however, to throw in some fine poetry, of which Dryden has not failed to avail himself. Were it not a peculiar attribute of the heroic drama, it might be mentioned as a defect, that during the siege of the last possession of the Spanish Moors, by an enemy hated for his religion, and for his success, the principle of patriotism is hardly once alluded to through the whole piece. The fate, or the wishes, of Almahide, Lyndaraxa, and Benzayda, are all that interest the Moorish warriors around them, as if the Christian was not thundering at their gates, to exterminate at once their nation and religion. Indeed, so essentially necessary are the encouragements of beauty to military achievement, that we find queen Isabella ordering to the field of battle a corps de reserve of her maids of honour to animate the fighting warriors with their smiles, and counteract the powerful charms of the Moorish damsels. Nor is it an inferior fault, that, although the characters are called Moors, there is scarce any expression, or allusion, which can fix the reader's attention upon their locality, except an occasional interjection to Alha, or Mahomet.
If, however, the reader can abstract his mind from the qualities now deemed essential to a play, and consider the Conquest of Granada as a piece of romantic poetry, there are few compositions in the English language, which convey a more lively and favourable display of the magnificence of fable, of language, and of action, proper to that style of composition. Amid the splendid ornaments of the structure we lose sight of occasional disproportion and incongruity; and, at an early age particularly, there are few poems which make a more deep impression upon the imagination, than the Conquest of Granada.
The two parts of this drama were brought out in the same season, probably in winter, 1669, or spring, 1670. They were received with such applause, that Langbaine conceives their success to have been the occasion of Dryden's undervaluing his predecessors in dramatic writing. The Conquest of Granada was not printed till 1672.
Footnote:
- There is something ludicrous in the idea of a beauty, or a gallant, of that gay and licentious court poring over a work of five or six folio volumes by way of amusement; but such was the taste of the age, that Fynes Morison, in his precepts to travellers, can "think no book better for his pupils' discourse than Amadis of Gaule; for the knights errant and the ladies of court do therein exchange courtly speeches."
TO HIS ROYAL HIGHNESS THE DUKE[1].
Sir,
Heroic poesy has always been sacred to princes, and to heroes. Thus Virgil inscribed his Æneids to Augustus Cæsar; and of latter ages, Tasso and Ariosto dedicated their poems to the house of Este. It is indeed but justice, that the most excellent and most profitable kind of writing should be addressed by poets to such persons, whose characters have, for the most part, been the guides and patterns of their imitation; and poets, while they imitate, instruct. The feigned hero inflames the true; and the dead virtue animates the living. Since, therefore, the world is governed by precept and example, and both these can only have influence from those persons who are above us; that kind of poesy, which excites to virtue the greatest men, is of the greatest use to human kind.
It is from this consideration, that I have presumed to dedicate to your royal highness these faint representations of your own worth and valour in heroick poetry: Or, to speak more properly, not to dedicate, but to restore to you those ideas, which in the more perfect part of my characters I have taken from you. Heroes may lawfully be delighted with their own praises, both as they are farther incitements to their virtue, and as they are the highest returns which mankind can make them for it.