THRENODIA AUGUSTALIS.
The death of Charles II. was sudden and unexpected. After he had apparently completely subdued the popular party, and was preparing, as has been confidently alleged, a similar conquest over the high-flying followers of the Duke of York, in the midst of his present triumph and future projects, he was, on the morning of the 2d February, 1684-5, seized with a sudden fit, which resembled an apoplexy. He was bled by one King, a chemist, who happened to be in waiting, and experienced a temporary relief. From the 2d till the 6th, he continued in a languishing state, the Duke of York being in constant attendance on his death-bed. On the forenoon of the 6th, Charles died, to the general grief of his subjects, by whom he was personally beloved, and who had reason to fear, that his worst public measures would be followed out with more rigour by his successor.
A numerous host of rhymers stepped forward with their condolences upon this event.[37] Among these, we find few eminent names besides that of Dryden. Otway, indeed, has left a poem on the subject, called "Windsor Castle;" and he began a pastoral, which, fortunately for his reputation, he left unfinished.[38] From the laureat a deeper tone of lamentation was due. But whether the sense of discharging a task, a sense so chilling always to poetical imagination, had fettered Dryden's powers, or from whatever other reason, his funeral pindaric has not been esteemed one of his happiest lyric effusions. It is devoid of any appearance of deep feeling on the part of the author himself. This is the more remarkable, as the manners of Charles were eminently calculated to attract affection, and Dryden had been admitted to a greater share of royal intercourse than is usually necessary to excite the personal attachment of a subject to a condescending monarch. But whether Dryden, as he is sometimes believed to have owned, was unapt to feel or express the more tender passions, or whether he saw the character of Charles so closely, as to discern the selfishness of his hollow courtesy, it is certain that the poet seems wonderfully little interested in the sorrowful theme. Even when he mentions his literary intercourse with the deceased monarch, he does not suppress a murmur, that he was niggard in rewarding the muses whom he loved; that
——little was their hire, and light their gain.
This absence of personal feeling on the part of the author, spreads a coldness over the whole elegy; which we regret the less, as the pensioned monarch ill deserved a deeper lamentation. It is chiefly owing to this want of sympathy, connected with an over indulgence in conceit, a fault which immediately flows from the other, being an effort of ingenuity to supply the want of passion, that the "Threnodia Augustalis" has been neglected. We have to lament some overstrained metaphors and similes. The sun went back ten degrees in the dial of Ahaz; a miraculous sign that Hezekiah was to live; and this is compared to the five days during which the disease of Charles gained ground, until it was obvious that he was to die. The prayers of the people carrying heaven by storm, and almost forcing heaven to revoke his decrees, is extravagant, not to say profane. Yet, with all its faults of coldness and conceit, this poem seems rather to have been under-rated. It appears to great advantage, when compared with others on the same subject. Otway, who affects a warmer display of passion, a particular in which Dryden is said to have acknowledged his superiority, has fallen into the opposite fault, of describing the death-bed rather of a tender husband or lover, attended by his wife or mistress, than that of a king waited on by his successor.[39] Dryden's picture of the duke's grief is much more appropriate and striking:
Horror in all his pomp was there,
Mute and magnificent, without a tear.