Dryden was probably betrayed into these lapses, not so much by mere haste and carelessness, as by the trick of the heroic metre, which in dialogue almost enforces balanced antithesis.
Nearly all Aurengzebe is composed in this brilliant snip-snap, where the ball of a fine sentiment, tossed from one character to another, comes back in a retort, to be returned in a repartee. Of dramatic art as Shakespeare or the Greeks understood it there is not a trace; the pivot of the action is the property, fitter for a fairy tale than a tragedy, possessed by Indamora, of compelling every one who sees her to fall in love with her. Neither pity nor terror can be excited on such terms; if Aristotle’s criterion be sound, Aurengzebe is no tragedy at all. If, however, we are content to regard it as a medley of fine things, a model of spirited declamation and sonorous versification, it claims high praise. Great must have been the intellectual strength which could thus thunder and dazzle through five acts of unabated energy: and the sentiments, considered merely as such, lose nothing of their effect from being placed in the mouths of puppets, and misplaced even there. Take, for instance, the most famous passage in the play, one of the finest in all Dryden:
‘When I consider life, ’tis all a cheat;
Yet, fooled with hope, men favour the deceit;
Trust on, and think to-morrow will repay;
To-morrow’s falser than the former day;
Lies worse, and while it says, we shall be blest
With some new joys, cuts off what we possest.
Strange cozenage! None would live past years again,
Yet all hope pleasure in what yet remain;
And from the dregs of life think to receive
What the first sprightly runnings could not give.’
This potent quintessence of the experience of age is ill assigned to Aurengzebe, a young prince at the outset of a splendid career; but the word remains while the lip is forgotten, and has taken its place among the treasures of English poetry. Among other claims to notice, Aurengzebe is remarkable as one of the few English dramas in which a living foreign potentate is brought upon the stage, and, less exceptionally, for its entire perversion of the truth of history. The generous and filial part here ascribed to the unnatural and cold-blooded Aurengzebe was really performed by his unfortunate brother Dara. To have crowned Dara, however, would have involved an equal violation of historical truth, to have killed him a violation of what the dramatists of Dryden’s day considered more important, poetical justice.
Marriage à la Mode (1673), the first fair example of Dryden’s comedy, is a more satisfactory exhibition of his power as a dramatist, if a piece adding little to his fame as a poet. Mr. Saintsbury justly remarks that ‘Scott’s general undervaluing of Dryden’s comic pieces is very evident’ in his prefatory notice. Mr. Saintsbury himself, though warmly appreciative of ‘Dryden’s only original excursion into the realms of the higher comedy,’ might, we think, have said even more in its favour. The situation of the spouses, fancying themselves tired of each other while their affection only needs the fillip of jealousy, is comic in a high degree, and the brisk intricacy of the action, with only four actors to sustain it, manifests great ingenuity and deftness in dramatic construction. The serious section of the play is certainly much less meritorious than the comic, to which it is a mere appendage. Written in most slovenly blank verse, it entirely wants the fire and energy of Dryden’s heroic plays. Its fault is rather sterility than extravagance; with some exceptions, it appears tame and bald. But these exceptions are very fine. The scene between Leonidas and Palmyra (act ii., sc. 1) is like a morsel of Theocritus, allying the charm of pastoral innocence to the wit and point of an accomplished court-poet. It is remarkable how surely, at this period of his career, Dryden rises when he resorts to rhyme; but even the careless blank verse of this play, in general merely a foil to the comic part, sometimes sparkles with strokes worthy of a great poet:
‘Pol. He is a prince, and you are meanly born.
Leon. Love either finds equality, or makes it.’
‘For this glory, after I have seen
The canopy of state spread wide above
In the abyss of heaven, the court of stars,
The blushing morning, and the rising sun,
What greater can I see?’
—a thought borrowed from Menander.
Continuing our survey of Dryden’s plays, rather according to subject than to chronological order, we arrive at the tragi-comedy of The Spanish Friar (1681), one of the most esteemed of his lighter pieces, but whose praise, we must agree with Mr. Saintsbury, has outstripped its desert. The comic portion is certainly very drastic, but it is not comedy of a high order. It exhibits a distinct declension from Marriage à la Mode, where the quartette of Mitschuldiger are well individualized personages. The sinners in The Spanish Friar are of the most ordinary type—a stage rake, a stage coquette, a stage miser, and a stage friar. Dominick is, indeed, exceedingly amusing, but is more farcical than truly comic. He is painted in broad, staring colours, without delicacy of gradation, with the same brush as the author’s Morats and Almanzors, only dipped into a different paint. Like so many of Dryden’s personages, he is better adapted for the stage than the closet. Every word and gesture would tell in the hands of a good actor, and in Dryden’s time the stage was richer in first-class performers than it ever was before, and probably than it has ever been since. Dryden himself, it must be recorded, attached a high value to his piece, and Dryden was an excellent critic of himself as well as of others. The merit on which he lays chief stress, however, is the ingenious blending of the tragic and comic action. ‘The tragic part,’ says Mr. Churton Collins, ‘helps out the comic, and the comic relieves naturally and appropriately the tragic. In this work, tragi-comedy, from an artistic point of view, has achieved perhaps its highest success.’ This, however, is the achievement of a playwright; in one passage alone do we find the poet. It is the highly imaginative series of descriptions of the distant noises from the Moorish camp, boding assault to the beleaguered city, of the panic in the city itself, and of the far-off, uncertain battle: