An host of saints it seem’d, so full the choir;}
As if the bless’d above did all conspire
To join their voices, and neglect the lyre.
They danced around; but in the midst was seen}
A lady of a more majestic mien;
By stature, and by beauty, mark’d their sovereign queen.
She raised her voice on high, and sung so clear,}
The fawns came scudding from the groves to hear,
And all the bending forest lent an ear.

One remarkable feature of the principal poets of the seventeenth and eighteenth centuries is the infrequency of the casual visitations of the Muse. They seem to have hardly ever experienced an unsought lyrical inspiration, or to have sung merely for singing’s sake. Hence Dryden is permitted to appear only twice in the Golden Treasury. His songs, to be treated of more fully when we consider the lyrical poetry of the period, though often instinct with true lyrical spirit, seem to have been deliberately composed for insertion in his plays, and the same is the case with almost the whole of what he would have called his occasional poetry. His two chief odes, Alexander’s Feast and the memorial verses to Anne Killigrew, were indubitably commissions; and it is probable that few of the epistles, elegies, dedications, and prologues which form so considerable a portion of his poetical works were composed without some similar inducement. As a whole, this collection is creditable to his powers of intellect, quickness of wit, and command of nervous masculine diction. It is frequently the work of a master, though conceived in the spirit of a journeyman. The adulation of the patron or the defunct is generally fulsome enough; yet some compliments are so graceful that it is difficult not to believe them sincere, as when he apostrophizes the Duchess of Ormond:

‘O daughter of the Rose, whose cheeks unite
The differing titles of the Red and White!
Who heaven’s alternate beauty well display,
The blush of morning and the milky way.’

Or the conclusion of his epistle to Kneller:

‘More cannot be by mortal art exprest,
But venerable age shall add the rest.
For Time shall with his ready pencil stand,
Retouch your figures with his ripening hand,
Mellow your colours, and imbrown the teint,
Add every grace which Time alone can grant;
To future ages shall your fame convey,
And give more beauties than he takes away.’

Or these from the epistle to his kinsman, John Driden, more likely than any of the others to have been the unbought manifestation of genuine regard:

‘O true descendant of a patriot line!
Who while thou shar’st their lustre lendest thine!
Vouchsafe this picture of thy soul to see,
’Tis so far good as it resembles thee.
The beauties to the original I owe,
Which when I miss my own defects I show;
Nor think the kindred Muses thy disgrace;
A poet is not born in every race;
Two of a house few ages can afford,
One to perform, another to record.
Praiseworthy actions are by thee embraced,
And ’tis my praise to make thy praises last.’

The last couplet, excellent in sense, is an example of Dryden’s one metrical defect. He is not sufficiently careful to vary his vowel-sounds.