History of the English People, Volume VI / Puritan England, 1642-1660; The Revolution, 1660-1683

by John Richard Green

Dryden grew up too amidst the last echoes of the Elizabethan verse. Jonson and Massinger, Webster and Shirley, were still living men in his childhood. The lyrics of Herrick, the sweet fancies of George Herbert, were fresh in men's ears as he grew to manhood. Even when he entered into the new world of the Restoration some veterans of this nobler school, like Denham and Waller, were still lingering on the stage. The fulness and imaginative freedom of Elizabethan prose lived on till 1677 in Jeremy Taylor, while Clarendon preserved to yet later years the grandeur and stateliness of its march. Above all Milton still sate musing on the "Paradise Lost" in the tapestried chamber of his house in Bunhill Fields.

Dryden and the Critical Poets.

Throughout his life something of the spirit of the age which he was the last to touch lived on in Dryden. He loved and studied Chaucer and Spenser even while he was copying Molière and Corneille. His noblest panegyric was pronounced over Shakspere. At the time when Rymer, the accepted critic of the Restoration, declared "our poetry of the last age as rude as our architecture," and sneered at "that Paradise Lost of Milton's which some are pleased to call a poem," Dryden saw in it "one of the greatest, most noble and sublime poems which either this age or nation hath produced." But whether in mind or in life Dryden was as unlike the Elizabethans as he was in his earlier years unlike the men of the poetic school which followed him. Of that school, the critical school as it has been called of English poetry, he was indeed the founder. He is the first of our great poets in whom "fancy is but the feather of the pen." Whether he would or no Dryden's temper was always intellectual. He was a poet, for if dead to the subtler and more delicate forms of imaginative delight he loved grandeur, and his amazing natural force enabled him to realize in great part the grandeur which he loved. But beneath all his poetry lay a solid bottom of reason. His wildest outbursts of passion are broken by long passages of cool argument. His heroes talk to his heroines in a serried dialectic. Every problem of morals, of religion, of politics, forces itself into his verse, and is treated there in the same spirit of critical inquiry.

His Tragedies.

In other words Dryden was the poet of his day. But he was the poet of a time of transition, and his temper is transitional. It was only by slow and uncertain steps that he advanced to the full rationalism of the Critical school. His first little poem, some verses written in 1659 on the death of Lord Hastings, is a mass of grotesque extravagances in the worst style of Donne. The dramas of his early work after the Restoration are crowded with the bombastic images, the affected conceits, the far-fetched metaphors which it is the merit of the critical school to have got rid of. In his tragedies indeed the tradition of a freer and larger time jarred against the unities and the critical rules with which he strove to bind himself. If he imitated the foreign stage he could not be blind to the fact that the Elizabethan playwrights possessed "a more masculine fancy and a greater spirit in the writing than there is in any of the French." He followed Corneille but he was haunted by memories of "the divine Shakspere." His failure indeed sprang from the very truth of his poetic ideal. He could not be imaginative in the highest dramatic sense, but the need of imaginativeness pressed on him while it was ceasing to press on his brother playwrights. He could not reach the sublime, but neither could he content himself as they did with the prosaic; he rants, fumes, and talks wild bombast in the vain effort after sublimity.

His Comedies.

Dryden failed in Comedy as he failed in Tragedy, but here the failure sprang from the very force and vigour of his mind. He flung himself like the men of his day into the reaction against Puritanism. His life was that of a libertine; and his marriage with a woman of fashion who was yet more dissolute than himself only gave a new spur to his debaucheries. Large as was his income from the stage, and it equalled for many years the income of a country squire, he was always in debt and forced to squeeze gifts from patrons by fulsome adulation. Like the rest of the fine gentlemen about him he aired his Hobbism in sneers at the follies of religion and the squabbles of creeds. The grossness of his comedies rivalled that of Wycherley himself. But it is the very extravagance of his coarseness which shows how alien it was to the real temper of the man. A keen French critic has contrasted the libertinism of England under the Restoration with the libertinism of France, and has ruthlessly pointed out how the gaiety, the grace, the naturalness of the one disappears in the forced, hard, brutal brilliancy of the other. The contrast is a just one. The vice of the English libertine was hard and unnatural just because his real nature took little share in it. In sheer revolt against the past he was playing a part which was not his own and which he played badly, which he forced and exaggerated, just because it was not his own. Dryden scoffs at priests and creeds, but his greater poetry is coloured throughout with religion. He plays the rake, but the two pictures which he has painted with all his heart are the pictures of the honest country squire and the poor country parson. He passes his rivals in the grossness of his comedies, he flings himself recklessly into the evil about him because it is the fashion and because it pays. But he cannot sport lightly and gaily with what is foul. He is driven if he is coarse at all to be brutally coarse. His freedom of tone, to borrow Scott's fine remark, is like the forced impudence of a timid man.

The New Criticism.

Slowly but ceaselessly, however, the critical taste of his time told on Dryden. The poetry of good sense, as it proudly called itself, triumphed in Boileau, and the rules of taste and form which Boileau laid down were accepted as the law of letters on the one side of the Channel as well as on the other. Andrew Marvell, in whom the older imaginative beauty still found a worshipper, stood alone in his laughter at the degradation of poetry into prose. Fancy was set aside for reason, "that substantial useful part which gains the head, while Fancy wins the heart." It was the head and not the heart that poetry now cared to gain. But with all its prose the new criticism did a healthy work in insisting on clearness, simplicity, and good sense. In his "Rehearsal" Buckingham quizzed fairly enough the fume and bombast of Dryden's tragedies. But Dryden was already echoing his critics' prayer for a year "of prose and sense." He was tired of being "the Sisyphus of the stage, to roll up a stone with endless labour, which is perpetually falling down again." "To the stage," he owned, "my genius never much inclined me," and he had long had dreams, stirred no doubt by his admiration for Milton, of undertaking some epic story. But need held him to the boards and years passed by, and Dryden still stood in the second rank of English poetry, outdone in comedy by men like Etherege and rivalled in tragedy by men like Settle. Only in a single poem, that of the "Annus Mirabilis," in 1671, had he given any true indications of his surpassing powers.

Dryden and the Plot.