SECTION VIII.
The State of Dryden's Reputation at his Death, and afterwards—The
General Character of his Mind—His Merit as a Dramatist—As a Lyrical
Poet—-As a Satirist—As a Narrative Poet—As a Philosophical and
Miscellaneous Poet—As a Translator—As a Prose Author—As a Critic.
If Dryden received but a slender share of the gifts of fortune, it was amply made up to him in reputation. Even while a poet militant upon earth, he received no ordinary portion of that applause, which is too often reserved for the "dull cold ear of death." He combated, it is true, but he conquered; and, in despite of faction, civil and religious, of penury, and the contempt which follows it, of degrading patronage, and rejected solicitation, from 1666 to the year of his death, the name of Dryden was first in English literature. Nor was his fame limited to Britain. Of the French literati, although Boileau,[1] with unworthy affectation, when he heard of the honours paid to the poet's remains, pretended ignorance even of his name, yet Rapin, the famous critic, learned the English language on purpose to read the works of Dryden.[2] Sir John Shadwell, the son of our author's ancient adversary, bore an honourable and manly testimony to the general regret among the men of letters at Paris for the death of Dryden. "The men of letters here lament the loss of Mr. Dryden very much. The honours paid to him have done our countrymen no small service; for, next to having so considerable a man of our own growth, 'tis a reputation to have known how to value him; as patrons very often pass for wits, by esteeming those that are so." And from another authority we learn, that the engraved copies of Dryden's portrait were bought up with avidity on the Continent.[3]
But it was in England where the loss of Dryden was chiefly to be felt. It is seldom the extent of such a deprivation is understood, till it has taken place; as the size of an object is best estimated, when we see the space void which it had long occupied. The men of literature, starting as it were from a dream, began to heap commemorations, panegyrics, and elegies: the great were as much astonished at their own neglect of such an object of bounty, as if the same had never been practised before; and expressed as much compunction, as it were never to occur again. The poets were not silent; but their strains only evinced their woful degeneracy from him whom they mourned. Henry Playford, a publisher of music, collected their effusions into a compilation, entitled, "Luctus Britannici, or the Tears of the British Muses, for the death of John Dryden;" which he published about two months after Dryden's death.[4] Nine ladies, assuming each the character of a Muse, and clubbing a funeral ode, or elegy, produced "The Nine Muses;" of which very rare (and very worthless) collection, I have given a short account in the Appendix; where the reader will also find an ode on the same subject, by Oldys, which may serve for ample specimen of the poetical lamentations over Dryden.
The more costly, though equally unsubstantial, honour of a monument, was projected by Montague; and loud were the acclamations of the poets on his generous forgiveness of past discords with Dryden, and the munificence of this universal patron. But Montague never accomplished his purpose, if he seriously entertained it. Pelham, Duke of Newcastle, announced the same intention; received the panegyric of Congreve for having done so; and having thus pocketed the applause, proceeded no further than Montague had done. At length Pope, in some lines which were rather an epitaph on Dryden, who lay in the vicinity, than on Rowe, over whose tomb they were to be placed,[5] roused Dryden's original patron, Sheffield, formerly Earl of Mulgrave, and now Duke of Buckingham, to erect over the grave of his friend the present simple monument which distinguishes it. The inscription was comprised in the following words:—J. Dryden. Natus 1632. Mortuus I Maii 1700. Joannes Sheffield, Duxx Buckinghamiensis posuit, 1720.[6]
In the school of reformed English poetry, of which Dryden must be acknowledged as the founder, there soon arose disciples not unwilling to be considered as the rivals of their muster. Addison had his partisans, who were desirous to hold him up in this point of view; and he himself is said to have taken pleasure, with the assistance of Steele, to depreciate Dryden, whose fame was defended by Pope and Congreve. No serious invasion of Dryden's pre-eminence can be said, however, to have taken place, till Pope himself, refining upon that structure of versification which our author had first introduced, and attending with sedulous diligence to improve every passage to the highest pitch of point and harmony, exhibited a new style of composition, and claimed at least to share with Dryden the sovereignty of Parnassus. I will not attempt to concentrate what Johnson has said upon this interesting comparison:—
"In acquired knowledge, the superiority must be allowed to Dryden, whose education was more scholastic, and who, before he became an author, had been allowed more time for study, with better means of information. His mind has a larger range, and he collects his images and illustrations from a more extensive circumference of science. Dryden knew more of man in his general nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, and those of Pope by minute attention. There is more dignity in the knowledge of Dryden, and more certainty in that of Pope.
"Poetry was not the sole praise of either; for both excelled likewise in prose; but Pope did not borrow his prose from his predecessor. The style of Dryden is capricious and varied, that of Pope is cautious and uniform. Dryden obeys the motions of his own mind, Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement and rapid; Pope is always smooth, uniform, and gentle. Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation; Pope's is a velvet lawn, shaven by the scythe, and levelled by the roller.
"Of genius, that power which constitutes a poet; that quality, without which judgment is cold, and knowledge is inert; that energy, which collects, combines, amplifies, and animates; the superiority must, with some hesitation, be allowed to Dryden. It is not to be inferred, that of this poetical vigour Pope had only a little, because Dryden had more; for every other writer, since Milton, must give place to Pope: and even of Dryden it must be said, that if he has brighter paragraphs, he has not better poems. Dryden's performances were always hasty, either excited by some external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave. The dilatory caution of Pope enabled him to condense his sentiments, to multiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dryden, therefore, are higher, Pope continues longer on the wing. If of Dryden's fire the blaze is brighter, of Pope the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight."[7]
As the eighteenth century advanced, the difference between the styles of these celebrated authors became yet more manifest. It was then obvious, that though Pope's felicity of expression, his beautiful polish of sentiment, and the occasional brilliancy of his wit, were not easily imitated, yet many authors, by dint of a good ear, and a fluent expression, learned to command the unaltered sweetness of his melody, which, like a favourite tune, when descended to hawkers and ballad-singers, became disgusting as it became common. The admirers of poetry then reverted to the brave negligence of Dryden's versification, as, to use Johnson's simile, the eye, fatigued with the uniformity of a lawn, seeks variety in the uncultivated glade or swelling mountain. The preference for which Dennis, asserting the cause of Dryden, had raved and thundered in vain, began, by degrees, to be assigned to the elder bard; and many a poet sheltered his harsh verses and inequalities under an assertion that he belonged to the school of Dryden. Churchill—