BOLIFE OF JOHN DRYDEN. to one doomed to labour incessantly in the feverish exercise of the imagination. Unintentional neglect, and the inevitable relaxation, or rather sinking of spirit, which follows violent mental exertion, are easily misconstrued into capricious rudeness, or intentional offence; and life is embittered by mutual accusation, not the less intolerable because reciprocally just. The wife of one who is to gain his livelihood by poetry, or by any labour, (if any there be,) equally exhausting, must either have taste enough to relish her husband's performances, or good nature sufficient to pardon his infirmities. It was Dryden's misfortune, that Lady Elizabeth had neither the one nor the other; and I dismiss the disagreeable subject by observing, that on no one occasion, when a sarcasm against matrimony could be introduced, has our author failed to season it with such bitterness, as spoke an inward consciousness of domestic misery. During the period when the theatres were closed, Dryden seems to have written and published the Annus Mirabilis," of which we spoke at the close of the last section. But he was also then labouring upon his "Essay of Dramatic Poesy." It was a singular trait in the character of our author, that by whatever motive he was directed in his choice of a subject, and his manner of treating it, he was, upon all occasions, alike anxious to persuade the public, that both the one and the other were the object of his free choice, founded upon the most rational grounds of preference. He had, therefore, no sooner seriously bent his thoughts to the stage, and distinguished himself as a composer of heroic plays, than he wrote his "Essay of Dramatic Poesy," in which he assumes, that the drama was the highest department of poetry; and endeavours to prove, that rhyming or heroic tragedies are the most legitimate offspring of the drama. The subject is agitated in a dialogue between Lord Buckhurst, Sir Charles Sedley, Sir Robert Howard, and the author himself, under the feigned names of Eugenius, Lisideius, Crites, and Neander. This celebrated essay was first published in the end of 1667, or beginning of 1668. The author revised it with an unusual degree of care, and published it anew in 1684, with a dedication to Lord Buckhurst. In the introduction of the dialogue, our author artfully solicits the attention of the public to the improved versification, in which he himself so completely excelled all his contemporaries; and contrasts the rugged lines and barbarous conceits of Cleveland with the more modern style of composition, where the thoughts were moulded into easy and significant words, superfluities of expression retrenched, and the rhyme rendered so properly a part of the verse, that it was led and guided by the sense, which was formerly sacrificed in attaining it. This point being previously settled, a dispute occurs, concerning the alleged superiority of the ancient classic models of dramatic composition. This is resolutely denied by all the speakers, excepting Crites; the regulation of the unities is condemned, as often leading to greater absurdities than those they were designed to obviate; and the classic authors are censured for the cold and trite subjects of their comedies, the bloody and horrible topics of many of their tragedies, and their deficiency in painting the passion of love. From all this, it is justly gathered, that the moderns, though with less regularity, possess a greater scope for invention, and have discovered, as it were, a new perfection in writing. This debated point being abandoned by Crites, or (Howard,) the partizan of the ancients, a comparison between the French and English drama is next introduced. Sedley, the celebrated wit and courtier, pleads the cause of the French, an opinion which perhaps was not singular among the favourites of Charles II. But the rest of the speakers unite in condemning the extolled simplicity of the French plots, as actual barrenness, compared to the variety and copiousness of the English stage; and their authors' limiting the attention of the audience and interest of the piece to a single principal personage, is censured as poverty of imagination, led; and it must be rare indeed to meet with an original edition of it, since Mr. Malone had never seen one.!! assert his own opinion against that of Dryden, in the preface to one of his plays, called the "Duke of Lerma," published in the middle of the year 1668. It is difficult for two friends to preserve their temper Dryden's fame, as an author, was doubtless exin a dispute of this nature; and there may be reason alted by the "Essay of Dramatic Poesy;" which to believe, that some dislike to the alliance of Dry- showed, that he could not only write plays, but deden, as a brother-in-law, mingled with the poetical fend them when written. His circumstances renjealousy of Sir Robert Howard. The preface to the dered it necessary, that he should take the full "Duke of Lerma" is written in the tone of a man advantage of his reputation to meet the increasing of quality and importance, who is conscious of expense of a wife and family; and it was probably stooping beneath his own dignity, and neglecting shortly after the essay appeared, that our author his graver avocations, by engaging in a literary dis- entered into his memorable contract with the King's pute. Dryden was not likely, of many men, to Company of players. The precise terms of this brook this tone of affected superiority. He retorted agreement have been settled by Mr. Malone from upon Sir Robert Howard very severely, in a tract, unquestionable evidence, after being the subject of entitled, the "Defence of the Essay on Dramatic much doubt and uncertainty. It is now certain, that, Poesy," which he prefixed to the second edition of confiding in the fertility of his genius, and the readi the "Indian Emperor," published in 1678. In this ness of his pen, Dryden undertook to write for the piece, the author mentions his antagonist as master King's house no less than three plays in the course of more than twenty legions of arts and sciences, in of the year. In consideration of this engagement, ironical allusion to Sir Robert's coxcomical affecta- he was admitted to hold one share and a quarter in tion of universal knowledge, which had already the profits of the theatre, which was stated by the exposed him to the satire of Shadwell. He is also managers to have produced him three or four hundescribed in reference to some foolish appearance in dred pounds communibus annis. Either, however, the House of Commons, as having maintained a the players became sensible, that, by urging their contradiction in terminis, in the face of three hun- pensioner to continued drudgery, they in fact lesdred persons. Neither does Dryden neglect to hold sened the value of his labour, or Dryden felt himself up to ridicule the slips in Latin and English gram- unequal to perform the task he had undertaken; mar, which marked the offensive preface to the for the average number of plays which he produced, "Duke of Lerma." And although he concludes, was only about half that which had been contracted that he honoured his adversary's parts and inan as for. The company, though not without grudging, much as any person living, and had so many par- paid the poet the stipulated share of profit; and the ticular obligations to him, that he should be very curious document, recovered by Mr. Malone, not ungrateful not to acknowledge them to the world, only establishes the terms of the bargain, but that yet the personal and contemptuous severity of the the players, although they complained of the laziwhole piece must have cut to the heart so proud a ness of their intended author, were jealous of their man as Sir Robert Howard. This quarrel between rights to his works, and anxious to retain possesthe baronet and the poet, who was suspected of sion of him, and of them.§ It would have been having crutched-up many of his lame performances, well for Dryden's reputation, and perhaps not less furnished food for lampoon and amusement to the productive to the company, had the number of his indolent wits of the day. But the breach between plays been still further abridged; for, while we adthe brothers-in-law, though wide, proved fortunate- mire the facility that could produce five or six plays in ly, not irreconcilable; and towards the end of Dry-three years, we lament to find it so often exerted to den's literary career, we find him again upon terms the sacrifice of the more essential qualities of origiof friendship with the person by whom he had been nality and correctness. befriended at its commencement.† Edward Howard, who, it appears, had entered as warmly as his brother into the contest with Dryden about rhyming tragedies, also seems to have been reconciled to our poet; at least he pronounced a panegyric on his translation of Virgil before it left the press, in a passage which is also curious, from the author ranking in the same line "the two elaborate poems of Blackmore and Milton." In testimony of total amnesty, the "Defence of the Essay" was cancel Who drew Sir Robert in the character of Sir Positive Atall, in the" Sullen Lovers;" a foolish knight, that pretends to understand every thing in the world, and will suffer no man to understand any thing in his company; so foolishly positive, that he will never be convinced of an error, though never so gross. This character is supported with great humour. In a letter from Dryden to Tonson, dated 26th May, 1696, in which he reckons upon Sir Robert Howard's assistance in a pecuniary transaction. "I am informed Mr. Dryden is now translating of Virgil; and although I must own it is a fault to forestall or anticipate the praise of a man in his labours, yet, big with the greatness of the work, and the vast capacity of the author, I cannot here forbear saying, that Mr. Dryden, in the translating of Virgil, will, of a certain, make Maro speak better than ever Maro thought. Besides those already mentioned, there are other ingredients and essential parts of poetry, necessary for the forming of a truly great and happy genius, viz., a free air and spirit, a vigorous and well governed thought, which are, as it were, the soul which inform and animate the whole mass and body of verse. But these are such divine excellencies as are peculiar only to the brave and the wise. The first chief in verse, who trode in this sweet and delightful path of the Muses, was the renowned Earl of Roscommon, a great worthy, as well as a great wit; and who is, in all respects, resembled by another great lord of this present age, viz., my Lord Cutts, a person, whom all people must allow to be an accomplished gentleman, a great general, and a fine poet. "The two elaborate poems of Blackmore and Milton, the which, for the dignity of them, may very well be looked upon as the two grand exemplars of poetry, do either of them exceed, and are more to be valued, than all the poets, both of the Romans and the Greeks put together. There are two other incomparable pieces of poetry, viz., Mr. Dryden's Absalom and Achitophel,' and the epistle of a known and celebrated wit, (Mr. Charles Montague,) to my Lord of Dorset, the best judge in poetry, as well as the best poet; the tutelar numen o' the stage, and on whose breath all the Dryden had, however, made his bargain, and was Muses have their dependence."-Proem to an Essay on Pastoral, and Elegy on Queen Mary, by the Honourable Edward Howard, 21st January, 1695. "Indian Emperor," 1663. That now before me is prefixed to the second edition of the § It seems to have been a memorial addressed to the Lord Chamberlain for the time, and was long in the possession of the Killigrew family. It was communicated by the learned Mr. Reed to Mr. Malone, and runs as follows: "Whereas, upon Mr. Dryden's binding himself to write three playes a-yeere, he, the said Mr. Dryden, was admitted, and continued as a sharer, in the King's Playhouse for diverse years, and received for his share and a quarter, three or four hundred pounds, communibus annis; but though he received the moneys, we received not the playes, not one in a yeare. After which, the House being burnt, the Company, in building another, contracted great debts, so that the shares fell much short of what they were formerly. Thereupon, Mr. Dryden complaining to the Company of his want of proffit, the Company was so kind to him, that they not only did not presse him for the playes which he so engaged to write for them, and for which he was paid beforehand, but they did also, at his earnest request, give him a third day for his last new play, called "All for Love," and at the receipt of the money of the said third day, he acknowledged it as a guift, and a particular kindnesse of the Company. Yet, notwithstanding this kind proceeding, Mr. Dryden has now, jointly with Mr. Lee, (who was in pension with us to the last day of our playing, and shall continue,) written a play, called 'Edipus,' and given it to the Duke's Company, contrary to his said agreement, his promise, and all gratitude, to the great prejudice and almost undoing of the Company, they being the only poets remaining to us. Mr. Crowne, being under the like agreement with the Duke's House, writt a play, called the Destruction of Jerusalem,' and being forced, by their refusall of it, to bring it to us, the said Company compelied us, after the studying of it, and a vast expence in scenes and cloathes, to buy off their clayme, by paying all the pension he had received from them, amounting to one hundred and twelve pounds paid by the King's Company, besides neere forty pounds he, the said Mr. Crowne, paid out of his own pocket. "These things considered, if, notwithstanding Mr. Dryden's said agreement, promise, and moneys, freely given him for his said last new play, and the many titles we have to his writings, this play be judged away from us, we must submit. (Signed) "CHARLES KILLIGREW. CARDELL GOODMAN. LIFE OF JOHN DRYDEN. compelled to fulfil it the best he might. As his last tragic piece, the "Indian Emperor, had been eminently successful, he was next to show the public, that his talents were not limited to the buskin; and accordingly, late in 1667, was represented the "Maiden Queen,' a tragi-comedy, in which, although there is a comic plot separate from the tragic design, our author boasts to have retained all that regularity and symmetry of parts which the dramatic laws require. The tragic scenes of the "Maiden Queen" were deservedly censured, as falling beneath the "Indian Emperor." They have neither the stately march of the heroic dialogue, nor, what we would be more pleased to have found in them, the truth of passion, and natural colouring, which characterized the old English drama. But the credit of the piece was redeemed by the comic part, which is a more light and airy representation of the fashionable and licentious manners of the time than Dryden could afterwards exhibit, excepting in "Marriage a-la-Mode." The king, whose judgment on this subject was unquestionable, graced the "Maiden Queen" with the title of his play; and Dryden insinuates that it would have been dedicated to him, had he had confidence to follow the practice of the French poets in like cases. At least, he avoided the solecism of inscribing the king's own play to a subject; and, instead of a dedication, we have a preface, in which the sovereign's favourable opinion of the piece is studiously insisted upon. Neither was the praise of Charles conferred without critical consideration; for he justly censured the concluding scene, in which Celadon and Florimel treat of their marriage in very light terms in presence of the queen, who stands by an idle spectator. This insult to Melpomene, and preference of her comic sister, our author acknowledges to be a fault, but seemingly only in deference to the royal opinion; for he instantly adds, that, in his own judgment, the scene was necessary to make the piece go off smartly, and was, in the estimation of good judges, the most diverting of the whole comedy. and above thirty times at the theatre in Lincoln'sInn Fields; a run chiefly attributed to the excellent performance of Nokes, who represented Sir Martin.* The "Tempest" and "Sir Martin Mar-all" were both acted by the Duke's Company, probably because Dryden was in the one assisted by Sir William D'Avenant the manager, and because the other was entered in the name of the Duke of Newcastle. Of these two plays, "Sir Martin Mar-all" was printed anonymously, in 1668. It did not appear with Dryden's name until 1697. The "Tempest," though acted before "Sir Martin Mar-all," was not printed Sir Martin until 1669-70. They are in the present, as in former editions, arranged according to the date of publication, which gives the precedence to " The Evening's Love, or the Mock Astrologer," Mar-all," though last acted. was Dryden's next composition. It is an imitation of "Le Feint Astrologus," of Corneille, which is founded upon Calderon's "El Astrologo Fingido." Several of the scenes are closely imitated from Moliere's "Depit Amoureux." Having that lively bustle, intricacy of plot, and surprising situation, which the taste of the time required, and being enlivened by the characters of Wildblood and Jacinta, the "Mock Astrologer" seems to have met a fayourable reception in 1668, when it first appeared. It was printed in the same, or in the following year, and inscribed to the Duke of Newcastle, to whom Dryden had been indebted for the sketch of "Sir Martin Mar-all." It would seem, that this gallant and chivalrous peer was then a protector of Dryden, though he afterwards seems more especially to have patronized his enemy Shadwell; upon whose north ern dedications, inscribed to the duke and his lady, our author is particularly severe. In the preface to the "Evening's Love," Dryden anxiously justifies himself from the charge of encouraging libertinism, by crowning his rake and coquette with success. But after he has arrayed all the authority of the these licentious characters are only made happy ancient and modern poets, and has pleaded that after being reclaimed in the last scene, we may be permitted to think, that more proper heroes may be selected than those, who, to merit the reward aschange from the character they have sustained dursigned them, must announce a violent and sudden The "Maiden Queen," was followed by the ing five acts; and the attempt to shroud himself "Tempest," an alteration of Shakespeare's play of under authority of others, is seldom resorted to by the same name, in which Dryden assisted Sir Wil- Dryden when a cause is otherwise tenable. The liam D'Avenant. It seems probable that Dryden excellent Evelyn, who mentions seeing this play furnished the language, and D'Avenant the plan of under the inaccurate title of the "Evening's Love," the new characters introduced. They do but little adds, "A foolish plot, and very profane; it affected honour to his invention, although Dryden has high- me to see how much the stage was degenerated and ly extolled it in his preface. The idea of a counter-polluted by the licentious times."+ In this preface Dart to Shakespeare's plot, by introducing a man who had never seen a woman, as a contrast to a woman who had never seen a man, and by furnishing Caliban with a sister monster, seems hardly worthy of the delight with which Dryden says he filled up the characters so sketched. In mixing his tints, Dryden did not omit that peculiar colouring, in which his age delighted. Miranda's simplicity is converted into indelicacy, and Dorinda talks the language of prostitution before she has ever seen a But the play seems to have succeeded to the atmost wish of the authors. It was brought out in the Duke's house, of which D'Avenant was manager, with all the splendour of scenic decoration, of which he was inventor. The opening scene is described as being particularly splendid, and the performance of the spirits, "with mops and mows,' excited general applause. D'Avenant died before the publication of this piece, and his memory is cele-seen him make with his looks, (while the house has been in one brated in the preface. Our author's next play, if it could be properly called his, was "Sir Martin Mar-all." This was originally a translation of "L'Etourdi" of Moliere, executed by the Duke of Newcastle, famous for his loyalty, and his skill in horsemanship. Dryden availed himself of the noble translator's permission to improve and bring "Sir Martin Mar-all" forward for his own benefit. It was attended with the most complete success, being played four times at court, also he justified himself from the charge of plagia- and was afterwards afraid to look his governing servant and coun- continued roar for several minutes,) before he could prevail with his courage to speak a word to him! Then might you have, at once, read in his face vexation-that his own measures, which he had piqued himself upon, had failed; envy of his servant's wit; distress-to retrieve the occasion he had lost; shanie-to confess advised for the future! What tragedy ever showed us such a his folly; and yet a sullen desire to be reconciled, and better tumult of passions rising, at once, in one bosom or what buskin hero, standing under the load of them, could have more effectually able Nokes did, by this silent eloquence, and piteous plight of moved his spectators by the most pathetic speech, than poor miserhis features ?"-Cibber's Apology, p. 86. Evelyn's Memoirs, 19th June, 1668. graces of the poem; quoting against his critics the expression of the king, who had said, he wished those who charged Dryden with theft, would always steal him plays like Dryden's. the witty Earl of Dorset, then Lord Buckhurst, and Sir Charles Sedley, admired, in that loose age, for the peculiar elegance of his loose poetry, were his intimate associates, as is evident from the turn of The Royal Martyr," was acted in 1668-9, and the "Essay of Dramatic Poesy," where they are printed in 1670. It is in every respect, a proper he- speakers; Wilmot Earl of Rochester (soon to act roic tragedy, and had a large share of the applause a very different part,) was then anxious to vindicate with which those pieces were then received. It Dryden's writings, to mediate for him with those abounds in bombast, but is not deficient in speci- who distributed the royal favour, and was thus caremens of the sublime and of the tender. The pre-ful, not only of his reputation, but his fortune.* In face is distinguished by that tone of superiority, short, the first author of what was then held the which Dryden often assumed over the critics of the first style of poetry, was sought for by all among time. Their general observations he cuts short, by the great and gay who wished to maintain some observing, that those who make them produce character for literary taste; a description which innothing of their own, or only what is more ridicu- cluded all of the court of Charles whom nature had lous than any thing they reprehend. Special objec- not positively incapacitated from such pretension. It tions are refuted, by an appeal to classical authority. was then Dryden enjoyed those genial nights, deThus the couplet, scribed in the dedication of the "Assignation," when discourse was neither too serious nor too light, but always pleasant, and for the most part instructive; the raillery neither too sharp upon the present, nor too censorious upon the absent; and the cups such only as raised the conversation of the night, without disturbing the business of the morrow. He had not yet experienced the disadvantages attendant on such society, or learned how soon literary eminence becomes the object of detraction, of envy, of injury, even from those who can best feel its merit, if they are discouraged by dissipated habits from emulating its flight, or hardened by perverted feel- . ing against loving its possessors. And he, who servilely creeps after sense, is justified from the "scrpit humi tutus" of Horace; "And follow fate, which does too fast pursue," is said to be borrowed from Virgil, "Eludit gyro interior sequiturque sequentem." And he concludes by exulting, that, though he might have written nonsense, none of his critics had been so happy as to discover it. These indications of superiority, being thought to savour of vanity, had their share in exciting the storm of malevolent criticism, of which Dryden afterwards so heavily complained. "Tyrannic Love" is dedicated to the Duke of Monmouth; but it would seem the compliment was principally designed to his duchess. The duke, whom Dryden was afterwards to celebrate in very different strains, is however compared to an Achilles, or Rinaldo, who wanted only a Homer, or Tasso, to give him the fame due to him. But, besides the society of these men of wit and pleasure, Dryden enjoyed the affection and esteem of the ingenious Cowley, who wasted his brilliant talents in the unprofitable paths of metaphysical poetry; of Waller and of Denham, who had done so much for English versification; of D'Avenant, as subtle as Cowley, and more harmonious than Denham, who with a happier model, would probably have excelled both Dryden was also known to Milton, though it may be doubted whether they justly appreciated the talents of each other. Of all the men of genius at this period whose claims to immortality our age has admitted, Butler alone seems to have beenthe adversary of our author's reputation. It was in this period of prosperity, of general reputation, of confidence in his genius, and perhaps of presumption, (if that word can be applied to Dryden,) that he produced those two very singular plays, the First and Second Parts of the "Conquest of Granada." In these models of the pure heroic While Dryden was thus generally known and addrama, the ruling sentiments of love and honour mired, the advancement of his fortune bore no equal are carried to the most passionate extravagance. progress to the splendour of his literary fame. SomeAnd, to maintain the legitimacy of this style of thing was, however, done to assist it. The office composition, our author, ever ready to vindicate with of royal historiographer had become vacant in 1666, his pen to be right, that which his timid critics mur- by the decease of James Howell, and in 1668 the mured at as wrong, threw the gauntlet down before death of D'Avenant opened the situation of poet the admirers of the ancient English school, in the laureate. These two offices, with a salary of 2001. epilogue to the "Second Part of the Conquest of paid quarterly, and the celebrated annual butt of Granada," and in the defence of that epilogue. canary, were conferred upon Dryden, 18th August That these plays might be introduced to the public 1670. The grant bore a retrospect to the term after with a solemnity corresponding in all respects to D'Avenant's demise, and is declared to be to "John models of the rhyming tragedy, they were inscribed Dryden, Master of Arts, in consideration of his mato the Duke of York, and prefaced by an "Essay ny acceptable services theretofore done to his present upon Heroic Plays." They were performed in Majesty, and from an observation of his learning 1669-70, and received with unbounded applause. and eminent abilities, and his great skill and eleBefore we consider the effect which they, and simi-gant style, both in verse and prose." Thus was lar productions, produced on the public, together with the progress and decay of the taste for heroic dramas, we may first notice the effect which the ascendency of our author's reputation had produced upon his situation and fortunes. our author placed at the head of the literary class of his countrymen, so far as that high station could be conferred by the favour of the monarch. If we compute Dryden's share in the theatre at 3001. annually, which is lower than it was rated by the actors in their petition; if we make, at the same thors of that time received upon presenting dedications, or occasional pieces of poetry; if we recollect that Dryden had a small landed property, and that his wife, Lady Elizabeth, had probably some fortune, or allowance, however trifling, from her family, I think we will fall considerably under the mark in computing the poet's income, during this period of prosperity, at 6001. or 7001. annually; a sum more adequate to procure all the comforts, and many of Whether we judge of the rank which Dryden held in society by the splendour of his titled and power-time, some allowance for those presents which auful friends, or by his connections among men of genius, we must consider him as occupying, at this time, as high a station, in the very foremost circle, as literary reputation could gain for its owner. In dependent of the notice with which he was honoured by Charles himself, the poet numbered among his friends most of the distinguished nobility. The great Duke of Ormond had already begun that connection, which subsisted between Dryden and three generations of the house of Butler; Thomas Lord Clifford, one of the Cabal ministry, was uniform in patronizing the poet, and appears to have been active in introducing him to the king's favour; the Duke of Newcastle, as we have seen, loved' him sufficiently to present him with a play for the stage; *Vol. IV. p. 238. + Vol. IV. p. 351. 1 Pat. 22 Car. II. p. 6. n. 6. Malone, I. p. 88. Their account was probably exaggerated. Upon a similar occasion, the master of the revels stated the value of his winter and summer benefit plays, at 50% each: although, in reality, they did not, upon an average, produce him 94 See Malone's Historical Account of the Stage. A LIFE OF JOHN DRYDEN.M I, for her sake, thy sceptre will maintain reign." (blurla the luxuries of life, than thrice the amount at press and thou, by me, in spite of thee, ent. We must at the same time recollect, that though end Dryden is no where censured for extravagance, poets The most applauded scenes in these plays turned are seldom capable of minute economy, and that upon nice discussions of metaphysical passion, such Lady Elizabeth was by education, and perhaps by as in the days of yore were wont to be agitated in nature, unfitted for supplying her husband's deficien- the courts and parliaments of love. Some puzzling cies. These halcyon days, too, were but of short dilemma, or metaphysical abstraction, is argued beduration. The burning of the theatre, in 1670, greatly tween the personages on the stage, whose dialogue, injured the poet's income from that quarter; his pen-instead of presenting a scene of natural passion, sion, like other appointments of the household estab- exhibits a sort of pleading, or combat of logic, in lishment of Charles II., was very irregularly paid; which each endeavours to defend his own opinion, and thus, if his income was competent in amount, by catching up the idea expressed by the former speaker, and returning him his illustration, or simithe payment was precarious and uncertain. le, at the rebound; and where the lover hopes every thing from his ingenuity, and trusts nothing to his passion. Thus, in the following scene, between Almanzor and Almahide, the solicitations of the the very carte and tierce of poetical argumentation: lover, and the denials of the queen, are expressed in "Almah. My light will sure discover those who talk.Who dares to interrupt my private walk? Heroic Plays The Rehearsal-Marriage A-la-Mode--The Assig nation-Controversy with Clifford-with Leigh-with Ravenscroft-Massacre of Amboyna-State of Innocence. THE rage for imitating the French stage, joined to the successful efforts of our author, had now carried the heroic or rhyming tragedy to its highest pitch of popularity. The principal requisites of such a drama are summed up by Dryden in the two first lines of the" Orlando Furioso," "Le Donne, i cavalier, l'arme, gli amori The story thus partaking of the nature of a romance of chivalry, the whole interest of the play Recessarily turned upon love and honour, those supreme idols of the days of knight-errantry. The love introduced was not of that ordinary sort, which exists between persons of common mould; it was the love of Amadis and Oriana, of Oroondates and Statira; that love which required a sacrifice of every wish, hope, and feeling, unconnected with itself, and which was expressed in the language of prayer and of adoration. It was that love which was neither to be chilled by absence, nor wasted by time, nor quenched by infidelity. No caprice in the object beloved entitled her slave to emancipate himself from her fetters; no command, however unreasonable, was to be disobeyed; if required by the fair mistress of his affections, the hero was not only to sacrifice his interest, but his friend, his honour, his word, his country, even the gratification of his love itself, to maintain the character of a submissive and faithful adorer. Much of this mystery is summed up in the following speech of Almahide to Almanzor, and his answer; from which it appears, that a lover of the true heroic vein never thought himself so happy, as when he had an opportunity of thus showing the purity and disinterestedness of his passion. Almanzor is commanded by his mistress to stay to assist his rival, the king, her husband. The lover very naturally asks, "Almanz. What recompense attends me, if I stay? 21 no return of love can ever make, He, I confess, has been ungrateful too. But he and I are ruin'd if you go: Your virtue to the hardest proof 1 bring;- Almanz. Pll stop at nothing that appears so brave; The king, however, not perhaps understanding this "Almanz. I wonnot go; I'll not be forced away: Almanz. He, who dares love, and for that love must die, Almanz. Pure love had need be to itself a feast; Almanz. "Twere well, if I could like a spirit live; When I my love above my life regard? Almah. In such a case your change must be allow'd; I would myself dispense with what you vow'd. Almah. The thoughts of death your passion would remove; Almanz. No; from my joys I to my death would run, This kind of Amabæan dialogue was early ridiculed by the ingenious author of "Hudibras." It partakes more of the Spanish than of the French tragedy, although it does not demand that the parody shall be so very strict, as to re-echo noun for noun, or verb for verb, which Lord Holland gives us as a law of the age of Lope de Vega.t The English heroic poet did enough if he displayed sufficient point in the dialogue, and alertness in adopting and retorting the image presented by the preceding speech; though, if he could twist the speaker's own words into an answer to his argument, it seems to have While the hero of a rhyming tragedy was thus unbeen held the more ingenious mode of confutation. plying the metaphysical logic of amorous jurispruboundedly submissive in love, and dexterous in apdence, it was essential to his character that he In "Repartees between Cat and Puss at a caterwauling, in the modern heroic way:" "Cat. Forbear, foul ravisher, this rude address; Canst thou at once both injure and caress 7 Puss. Thou hast bewitch'd me with thy powerful charms, And I, by drawing blood, would cure my harms. C. He that does love would set his heart a tilt, Ere one drop of his lady's should be spilt. P. Your wounds are but without, and mine within: C. He buys his pleasure at a rate too vain, P. Pain is more dear than pleasure when 'tis past C. But grows intolerable if it last," &c. Life of Lope de Vega, p. 208. |