The verse in which these doctrines, polemical and political, are delivered, is among the finest specimens of the English heroic stanza. The introductory verses, in particular, are lofty and dignified in the highest degree; as are those, in which the splendour and majesty of the Church of Rome are set forth, in all the glowing colours of rich imagery and magnificent language. But the same praise extends to the versification of the whole poem. It never falls, never becomes rugged; rises with the dignified strain of the poetry; sinks into quaint familiarity, where sarcasm and humour are employed; and winds through all the mazes of theological argument, without becoming either obscure or prosaic. The arguments are in general advanced with an air of conviction and candour, which, in those days, must have required the protestant reader to be on his guard in the perusal, and which seems completely to ascertain the sincerity of the author in his new religious creed.
This controversial poem, containing a bold defiance to all who opposed the king's measures or faith, had no sooner appeared, than our author became a more general object of attack than he had been even on the publication of "Absalom and Achitophel." Indeed, his enemies were now far more numerous, including most of his former friends, the Tories of the high church, excepting a very few who remained attached to James, and saw, with anxiety, his destruction precipitated by the measures he was adopting.
Montague and Prior were among the first to assail our author, in the parody, of which we have just given a large specimen. It must have been published before the 24th October 1687, for it is referred to in "The Laureat," another libel against Dryden, inscribed by Mr Luttrel with that date. This assault affected him the more, as coming from persons with whom he had lived on habits of civility. He is even said to have shed tears upon this occasion; a report probably exaggerated, but which serves to shew, that he was sensible he had exposed himself to the most unexpected assailants, by the unpopularity of the cause which he had espoused. Some further particulars respecting this controversy are mentioned in Dryden's Life. Another poet, or parodier, published "The Revolter, a tragi-comedy," in which he brings the doctrines of the "Religio Laici," and of the "Hind and Panther," in battle array against each other, and rails at the author of both with the most unbounded scurrility.[80]
Not only new enemies arose against him, but the hostility of former and deceased foes seemed to experience a sort of resurrection. Four Letters, by Matthew Clifford of the Charter-House, containing notes upon Dryden's poems and plays, were now either published for the first time, or raked up from the obscurity of a dead-born edition, to fill up the cry of criticism against him on all sides. They are coarse and virulent to the last degree, and so far served the purpose of the publishers; but, as they had no reference to "The Hind and Panther," that defect was removed by a supplementary Letter from the facetious Tom Brown, an author, whose sole wish was to attain the reputation of a successful buffoon, and who, like the jesters of old, having once made himself thoroughly absurd and ridiculous, gained a sort of privilege to make others feel his grotesque raillery.[81] Besides the reflections contained in this letter, Brown also published "The New Converts exposed, or Reasons for Mr Bayes changing his Religion," in two parts; the first of which appeared in 1688, and the second in 1690. From a passage in the preface to the first part, which may serve as a sample of Tom's buffoonery, we learn, Dryden publicly complained, that, although he had put his name to "The Hind and Panther," those who criticized or replied to that poem had not imitated his example.[82]
Another of these witty varlets published, in 1688, "Religio Laici, or a Layman's Faith, touching the Supreme Head and Infallible Guide of the Church, in two letters, &c. by J. R. a convert of Mr Bayes," licensed June the 1st, 1688. From this pamphlet we have given some extracts in the introductory remarks to "Religio Laici," pp. 9, 10.
There were, besides, many libels of the most personal kind poured forth against Dryden by the poets who supplied the usual demand of the hawkers. One of the most virulent contains a singular exhibition of rage and impotence. It professes to contain a review of our poet's life and literary labours, and calls itself "The Laureat." This, as containing some curious particulars, is given below.[83]
The cry against our author being thus general, we may reasonably suppose, that he would have taken some opportunity to exercise his powers of retort upon those who were most active or most considerable among the aggressors, and that Montague and Prior stood a fair chance of being coupled up with Doeg and Og, his former antagonists. But, if Dryden entertained any intention of retaliation, the Revolution, which crushed his rising prospects, took away both the opportunity and inclination. From that period, the fame of "The Hind and Panther" gradually diminished, as the controversy between Protestant and Papist gave way to that between Whig and Tory. Within a few years after the first publication of the poem, Swift ranks it among the compositions of Grubstreet; ironically terms it, "the master-piece of a famous author, now living, intended as a complete abstract of sixteen thousand schoolmen, from Scotus to Bellarmine;" and immediately subjoins, "Tommy Potts, supposed by the same hand, by way of Supplement to the former."[84] With such acrimony do men of genius treat the productions of each other; and so certain it is, that, to enjoy permanent reputation, an author must chuse a theme of permanent interest.