The Age of Dryden

by Richard Garnett

‘O happy pair, how well you have increased!
What ills in church and state have you redress’d!
With teeth, untried, and rudiments of claws,
Your first essay was on your native laws;

Those having torn with ease, and trampled down,	}
Your fangs you fasten’d on the mitred crown,
And freed from God and monarchy your town.

Such are their doctrines, such contempt they show	}
To heaven above, and to their prince below,
As none but traitors and blasphemers know.

Dryden produced yet one more poem in the interest of the Court, his Britannia Rediviva, an official panegyric on the birth of the Prince of Wales, June, 1688. Literature has perhaps no more signal instance of adulation wasted and prediction falsified. Many lines are spirited, but others betray Dryden’s fatal insensibility to the ridiculous in his own person:

‘When humbly on the royal babe we gaze,
The manly lines of a majestic face
Give awful joy.’

The raptures of the Byzantine courtiers over the imperial infant Protus were nothing to this. Dryden did not want eloquence or dignity to celebrate the hero if he could have found him; it was his and our misfortune that when the hero did at last come to the throne the poet had disqualified himself from extolling him. The landing in Torbay and the triumphal march to London; the victory at the Boyne and the defence of Londonderry were transactions as worthy of epical treatment as any history records; but the only man in England who could have treated them epically deemed them rather matter for elegy; and to have indulged in elegy he must have fled to France. Public events and political and religious controversy were no longer for him: stripped of his means and position he betook himself to translation and playwriting as the readiest means of repairing his shattered fortunes, and it was not until the mellow sunset of his life that he turned to the compositions which, of all he ever wrote, have given the most delight and the least offence, his Fables. These, published at the beginning of 1700, include five adaptations from Chaucer, and three stories told after Boccaccio, as well as Alexander’s Feast, and a few other pieces. It would not be too much to say that this book achieved two things, either of which would have immortalized a poet: it fixed the standard of narrative poetry, except of the metrical romance or ballad class, and also that of heroic versification. The latter, indeed, was thought for a time to have been transcended by Pope, but modern ears have tired of the balanced seesaw of the Popian couplet, and crave the ease and variety of Dryden, restored to literature in Leigh Hunt’s Story of Rimini, and afterwards imitated by Keats in Lamia. The freedom which so great a master allows himself in rhyming should be a lesson to modern purists: final sounds so slightly akin as guard and prepared, placed and last, are of continual occurrence. In matters still more important than versification Dryden is in general equally admirable. He subjected himself to a severe test in competing with Chaucer—severer than he knew, for Chaucer was not yet, even by Dryden, valued at his full worth. In some respects Dryden certainly suffers greatly by the comparison. He is pre-eminently an intellectual poet, to whom the tree of knowledge had been the tree of life; there is perhaps scarcely a thought in his writings that charms by absolute simplicity and pure nature. Wherever, therefore, Chaucer is transparently simple and unaffected, we find him altered for the worse in Dryden. The very important part, however, of The Knight’s Tale which is concerned with courts, camps, and chivalry is even better in Dryden than in his model. He might have defined his sphere in the words of Ariosto, a poet who has many points of contact with him:

‘Le donne, i cavalier, l’arme, gli amori,
Le cortesie, l’audaci imprese io canto.’

If this is true of portions of Palamon and Arcite, it is still truer of The Flower and the Leaf (then believed to be a genuine work of Chaucer’s), throughout a most brilliant picture of natural beauty and courtly glitter, painted in language of chastened splendour. The other pieces modelled after Chaucer are of inferior interest, yet all excellent in their way. Two of the three tales from Boccaccio are acknowledged masterpieces, Cymon and Iphigenia and Theodore and Honoria. The interest of the first chiefly consists in the narrative itself, and that of the second in the way of telling it. The story, indeed, though striking, is fantastic and hardly pleasing, but Dryden’s treatment of it is perhaps the most perfect specimen in our language of l’art de conter.

An example of Dryden’s descriptive power may be given in a passage from The Flower and the Leaf:

‘Thus while I sat intent to see and hear,
And drew perfumes of more than vital air,
All suddenly I heard the approaching sound
Of vocal music, on the enchanted ground: