Chapter III: Part II: 319 (3)

While flattering crouds officiously appear
To give themselves, not you, an happy year,
And by the greatness of their presents prove
How much they hope, but not how well they love,--
The Muses, who your early courtship boast,
Though now your flames are with their beauty lost,
Yet watch their time, that, if you have forgot
They were your mistresses, the world may not.
Decayed by time and wars, they only prove
Their former beauty by their former love;
And now present, as ancient ladies do,
That, courted long, at length are forced to woo:
For still they look on you with such kind eyes,
As those, that see the Church's sovereign rise,
From their own order chose, in whose high state
They think themselves the second choice of fate.
When our great monarch into exile went,
Wit and religion suffered banishment.
Thus once, when Troy was wrapped in fire and smoke,
The helpless gods their burning shrines forsook;
They with the vanquished prince and party go,
And leave their temples empty to the foe.
At length the Muses stand, restored again
To that great charge which nature did ordain;
And their loved druids seem revived by fate,
While you dispense the laws, and guide the state.
The nation's soul, our monarch, does dispense,
Through you, to us his vital influence:
You are the channel, where those spirits flow,
And work them higher, as to us they go.
In open prospect nothing bounds our eye,
Until the earth seems joined unto the sky:
So in this hemisphere, our utmost view
Is only bounded by our king and you;
Our sight is limited where you are joined,
And beyond that no farther heaven can find.
So well your virtues do with his agree,
That, though your orbs of different greatness be,
Yet both are for each other's use disposed,
His to inclose, and yours to be inclosed:
Nor could another in your room have been,
Except an emptiness had come between.
Well may he, then, to you his cares impart,
And share his burden where he shares his heart.
In you his sleep still wakes; his pleasures find
Their share of business in your labouring mind.
So, when the weary sun his place resigns,
He leaves his light, and by reflection shines.
Justice, that sits and frowns where public laws
Exclude soft mercy from a private cause,
In your tribunal most herself does please;
There only smiles because she lives at ease;
And, like young David, finds her strength the more,
When disincumbered from those arms she wore.
Heaven would your royal master should exceed
Most in that virtue, which we most did need;
And his mild father (who too late did find
All mercy vain but what with power was joined)
His fatal goodness left to fitter times,
Not to increase, but to absolve our crimes:
But when the heir of this vast treasure knew
How large a legacy was left to you,
(Too great for any subject to retain)
He wisely tied it to the crown again;
Yet, passing through your hands, it gathers more,
As streams, through mines, bear tincture of their ore.
While emp'ric politicians use deceit,
Hide what they give, and cure but by a cheat;
You boldly shew that skill which they pretend,
And work by means as noble as your end;
Which should you veil, we might unwind the clue,
As men do nature, till we came to you.
And, as the Indies were not found before
Those rich perfumes, which, from the happy shore,
The winds upon their balmy wings conveyed,
Whose guilty sweetness first their world betrayed;
So, by your counsels, we are brought to view
A rich and undiscovered world in you.
By you our monarch does that fame assure,
Which kings must have, or cannot live secure:
For prosperous princes gain their subjects' heart,
Who love that praise in which themselves have part.
By you he fits those subjects to obey,
As heaven's eternal monarch does convey
His power unseen, and man, to his designs,
By his bright ministers, the stars, inclines.
Our setting sun, from his declining seat,
Shot beams of kindness on you, not of heat;
And, when his love was bounded in a few
That were unhappy, that they might be true,
Made you the favourite of his last sad times,
That is a sufferer in his subjects' crimes:
Thus, those first favours you received, were sent,
Like heaven's rewards, in earthly punishment:
Yet fortune, conscious of your destiny,
E'en then took care to lay you softly by,
And wrapped your fate among her precious things,
Kept fresh to be unfolded with your king's.
Shewn all at once, you dazzled so our eyes,
As new-born Pallas did the gods surprise,
When, springing forth from Jove's new-closing wound,
She struck the warlike spear into the ground;
Which sprouting leaves did suddenly inclose,
And peaceful olives shaded as they rose.
How strangely active are the arts of peace,
Whose restless motions less than war's do cease!
Peace is not freed from labour, but from noise;
And war more force, but not more pains employs.
Such is the mighty swiftness of your mind,
That, like the earth, it leaves our sense behind,
While you so smoothly turn and roll our sphere,
That rapid motion does but rest appear.
For, as in nature's swiftness, with the throng
Of flying orbs while ours is borne along,
All seems at rest to the deluded eye,
Moved by the soul of the same harmony;
So, carried on by your unwearied care,
We rest in peace, and yet in motion share.
Let envy, then, those crimes within you see,
From which the happy never must be free;
(Envy, that does with misery reside,
The joy and the revenge of ruined pride.)
Think it not hard, if, at so cheap a rate,
You can secure the constancy of fate,
Whose kindness sent what does their malice seem,
By lesser ills the greater to redeem;
Nor can we this weak shower a tempest call,
But drops of heat that in the sun-shine fall.
You have already wearied Fortune so,
She cannot farther be your friend or foe;
But sits all breathless, and admires to feel
A fate so weighty, that it stops our wheel.
In all things else above our humble fate,
Your equal mind yet swells not into state,
But, like some mountain in those happy isles,
Where in perpetual spring young nature smiles,
Your greatness shews; no horror to affright,
But trees for shade, and flowers to court the sight:
Sometimes the hill submits itself a while
In small descents, which do its height beguile;
And sometimes mounts, but so as billows play,
Whose rise not hinders, but makes short, our way.
Your brow, which does no fear of thunder know,
Sees rolling tempests vainly beat below;
And, like Olympus' top, the impression wears
Of love and friendship writ in former years.
Yet unimpaired with labours, or with time,
Your age but seems to a new youth to climb.
Thus heavenly bodies do our time beget,
And measure change, but share no part of it.
And still it shall without a weight increase,
Like this new-year, whose motions never cease:
For, since the glorious course you have begun
Is led by Charles, as that is by the sun,
It must both weightless and immortal prove,
Because the centre of it is above.

SATIRE ON THE DUTCH.

This Satire was, as the title informs us, written in 1662: probably towards the latter end of the year, when Charles, having quarrelled with De Wit, then at the head of the public affairs of Holland, was endeavouring to patch up an union with France, to which kingdom he was naturally partial, against the States, whom he hated, both as a republic, and an association of vulgar merchants. This impolitic alliance did not then take place, notwithstanding the sale of Dunkirk, (conquered by the arms of Cromwell,) to France, for L.400,000. On the contrary, in 1665 France armed in defence of Holland. But this was contrary to the expectations and wishes of Charles; and accordingly Dryden, in 1662, alludes to the union of the two crowns against the States as a probable event.

The verses are adapted to the comprehension of the vulgar, whom they were intended to inflame. Bold invective, and coarse raillery, supply the place of the wit and argument, with which Dryden, when the time fitted, knew so well how to arm his satire.

The verses, such as they are, appeared to the author well qualified for the purpose intended; for, when, in 1672, his tragedy of "Amboyna" was brought forward, to exasperate the nation against Holland, the following verses were almost literally woven into the prologue and epilogue of that piece. See Vol. V. pp. 10. 87. Nevertheless, as forming a link in our author's poetical progress, the present Editor has imitated his predecessors, in reprinting them among his satires and political pieces.

SATIRE ON THE DUTCH.

WRITTEN IN THE YEAR 1662.

As needy gallants, in the scrivener's hands,
Court the rich knaves that gripe their mortgaged lands;
The first fat buck of all the season's sent,
And keeper takes no fee in compliment;
The dotage of some Englishmen is such,
To fawn on those who ruin them,--the Dutch.
They shall have all, rather than make a war
With those who of the same religion are.
The Straits, the Guinea-trade, the herrings too;
Nay, to keep friendship, they shall pickle you.
Some are resolved not to find out the cheat,
But, cuckold-like, love them that do the feat.
What injuries soe'er upon us fall,
Yet still the same religion answers all:--
Religion wheedled us to civil war,
Drew English blood, and Dutchmen's now would spare.
Be gulled no longer, for you'll find it true,
They have no more religion, faith! than you.
Interest's the god they worship in their state;
And we, I take it, have not much of that.
Well monarchies may own religion's name;
But states are atheists in their very frame.
They share a sin: and such proportions fall,
That, like a stink, 'tis nothing to them all.
Think on their rapine, falsehood, cruelty,
And that, what once they were they still would be.
To one well-born the affront is worse and more,
When he's abused and baffled by a boor.
With an ill grace the Dutch their mischiefs do;
They've both ill nature and ill manners too.
Well may they boast themselves an ancient nation;
For they were bred ere manners were in fashion:
And their new commonwealth hath set them free
Only from honour and civility.
Venetians do not more uncouthly ride,
Than did their lubber state mankind bestride;
Their sway became them with as ill a main,
As their own paunches swell above their chin.
Yet is their empire no true growth, but humour,
And only two kings' touch can cure the tumour.[77]
As Cato fruits of Afric did display,
Let us before our eyes their Indies lay:
All loyal English will like him conclude,--
Let Cæsar live, and Carthage be subdued.[78]

FOOTNOTES:

[Footnote 77: Alluding to the hoped for union between France and England, and to the cure, by touching, for the Evil.]

[Footnote 78: Cato is said to have laid before the Senate the fine figs of Africa, and to have reminded them, that the country which produced these choice fruits was but three days sail from Rome. He used also to conclude every speech with the famous expression, _Delenda est Carthago_.]

TO

HER ROYAL HIGHNESS

THE DUCHESS OF YORK,

ON THE VICTORY GAINED BY THE DUKE OVER THE DUTCH, &c.

The Duchess, here addressed, was Anne Hyde, daughter of the Earl of Clarendon, and first wife of James, Duke of York, afterwards James II. She appears to have been a woman of first-rate talents, as well as exemplary prudence. Of the last qualification she gave a singular proof, when her marriage with the Duke was declared. She had admitted James to her bed while abroad, under a solemn promise of marriage. Many endeavoured to dissuade him from completing this unequal alliance; and that a motive, at least an apology, might be supplied for a retreat from his engagements, Lord Falmouth, Killigrew, and other courtiers, did not hesitate to boast of favours received from the lady. When the king's regard for his minister, and James's attachment to his betrothed wife, occasioned the confirmation of the marriage, these zealous witnesses found themselves in an unpleasing predicament, till the Duchess took an opportunity of assuring them, that she was far from harbouring the least resentment at the reports they had raised, since they believed them calculated to promote the interest of their master and her husband.[79] It may be presumed, that Dryden had already attached himself to the fortunes of the Duke of York, since he so early addressed the princess, whose posthumous avowal of the Catholic faith he afterwards attempted to vindicate.

The victory of the 23d June, 1665, was gained by the British fleet, commanded by the Duke of York, over the Dutch, under the famous Opdam. It was, like all naval actions between the English and the Dutch, a fierce, obstinate, and bloody conflict. The fleets met near Harwich on the 2d June; but the Dutch declined action upon that day, from a superstitious recollection that it was the anniversary of a dreadful defeat, received from Blake and Monk in 1653, in which they lost their famous Admiral, Von Tromp. But on the morning of the third, the fleets joined battle so near the shore, that the thunder of the combat was heard all along the English coast. York and Opdam singled each other out, and lay alongside in close action, till the Dutch vessel (a second rate) was blown up, and all on board perished. The Dutch fleet then dispersed and fled, losing nineteen ships sunk and taken, while the English lost only one. During this dreadful battle the Duke of York displayed the greatest personal courage. He was in the thickest of the fire, when one cannon-shot killed Lord Falmouth, Lord Muskerry, and Mr Boyle, by his side, and covered him with the gore of the most faithful and attached companions of his fortune. Yet this day, the brightest which ever shone on him, was not without a cloud. When the Dutch fleet were scattered, and an active pursuit was all that remained to the victors, Brounker, a gentleman of the Duke's bed-chamber, commanded Sir John Harman, in the Duke's name, to slacken sail. James was then asleep, and the flimsy pretext of not disturbing his repose was set up as a reason for this most untimely interference. The affair was never well explained. The Duke dismissed Brounker from his service, and a parliamentary investigation of his conduct took place.[80] But no adequate punishment was inflicted, and the nation saw, with displeasure, the fruits of a dear-bought and splendid victory lost by the unauthorized interference of an officious minion.

The Duchess, as we learn, amongst other authorities, from an old libel, came down to Harwich to see her husband embark, and afterwards made the triumphant progress to the north, which is here commemorated. The splendour of her reception at Harwich is thus censured by the Satirist:

One thrifty ferry-boat, of mother-pearl,
Sufficed of old the Citherean girl;
Yet navies are but fopperies, when here
A small sea mask, and built to court your dear:
Three goddesses in one, Pallas for art,
Venus for sport, but Juno in your heart.
O Duchess, if thy nuptial pomp was mean,
'Tis paid with interest in thy naval scene.
Never did Roman Mark, within the Nile,
So feast the fair Egyptian crocodile;
Nor the Venetian Duke, with such a state,
The Adriatic marry at that rate.

The poem itself is adapted to the capacity and taste of a lady; and, if we compare it with that which Dryden had two years before addressed to the Chancellor, it strengthens, I think, very strongly the supposition, that the old taste of extravagant and over-laboured conceits, with which the latter abounds, was a stile purposely adapted to gratify the great Statesman to whom it was addressed, whose taste must necessarily have been formed upon the ancient standard. The address, which follows, is throughout easy and complimentary, much in the stile of Waller, as appears from comparing it with that veteran bard's poem on the same subject. Although upon a sublime subject, Dryden treats it in the light most capable of giving pleasure to a fair lady; and the journey of the duchess to the north is proposed as a theme, nearly as important as the celebrated victory of her husband.

Accordingly Dryden himself tells us, in the introductory letter to the "Annus Mirabilis," that, in these lines, he only affected smoothness of measure and softness of expression; and the verses themselves were originally introduced in that letter, to vindicate the character there given of them.

FOOTNOTES:

[Footnote 79: See Memoires de Grammont, Chapitre VIII. for the Duchess's conduct towards these _temoins a bonne fortune_, as Hamilton happily calls them.]

[Footnote 80: Even Harman did not escape suspicion on this occasion. Marvell gives the following account of his examination before Parliament:

"Yesterday Harman was brought to the house, to give an account of slackening sail in the first victory. He had a very good reputation at his coming in; but when he said, that Mr Bronkard only used arguments, and justified the thing himself, saying, 'That he had been a madman had he not done it;' and other witnesses clearly contradicting this, and proving, that Bronkard brought him orders in the Duke's name, he lost all credit with us; and yet more, when, upon recollection, he confessed that Mr Bronkard did bring orders as from the Duke: so he is committed to the sergeant, and will doubtless be impeached. Both he and Mr Bronkard, who was also heard, will probably, on Tuesday next, taste the utmost severity of the house." ANDREW MARVELL _to the_ MAYOR OF HULL. _See his Works_, Vol. I. p. 104.]

TO

HER ROYAL HIGHNESS

THE DUCHESS,

ON THE

MEMORABLE VICTORY GAINED BY THE DUKE OVER

THE HOLLANDERS, JUNE THE 3. 1665.

AND ON

HER JOURNEY AFTERWARDS INTO THE NORTH.

MADAM,

When, for our sakes, your hero you resigned
To swelling seas, and every faithless wind;
When you released his courage, and set free
A valour fatal to the enemy;
You lodged your country's cares within your breast,
(The mansion where soft love should only rest,)
And, ere our foes abroad were overcome,
The noblest conquest you had gained at home.
Ah, what concerns did both your souls divide!
Your honour gave us what your love denied;
And 'twas for him much easier to subdue
Those foes he fought with, than to part from you.
That glorious day, which two such navies saw,
As each unmatched might to the world give law,
Neptune, yet doubtful whom he should obey,
Held to them both the trident of the sea:
The winds were hushed, the waves in ranks were cast,
As awfully as when God's people past:
Those, yet uncertain on whose sails to blow,
These, where the wealth of nations ought to flow.
Then with the duke your Highness ruled the day: }
While all the brave did his command obey, }
The fair and pious under you did pray. }
How powerful are chaste vows! the wind and tide
You bribed to combat on the English side.
Thus to your much-loved lord you did convey
An unknown succour, sent the nearest way.
New vigour to his wearied arms you brought,
(So Moses was upheld while Israel fought)[81]
While, from afar, we heard the cannon play,
Like distant thunder on a shiny day.[82]
For absent friends we were ashamed to fear,
When we considered what you ventured there.
Ships, men, and arms, our country might restore,
But such a leader could supply no more.
With generous thoughts of conquest he did burn,
Yet fought not more to vanquish than return.
Fortune and victory he did pursue,
To bring them, as his slaves, to wait on you:
Thus beauty ravished the rewards of fame,
And the fair triumphed, when the brave o'ercame.
Then, as you meant to spread another way
By land your conquests, far as his by sea,
Leaving our southern clime, you marched along
The stubborn north, ten thousand Cupids strong.
Like commons the nobility resort,
In crowding heaps, to fill your moving court:
To welcome your approach the vulgar run,
Like some new envoy from the distant sun;
And country beauties by their lovers go,
Blessing themselves, and wondering at the show.
So, when the new-born Phœnix first is seen,
Her feathered subjects all adore their queen,
And, while she makes her progress through the east,
From every grove her numerous train's increased:
Each poet of the air her glory sings,
And round him the pleased audience clap their wings.

FOOTNOTES:

[Footnote 81: Note I.]

[Footnote 82: Note II.]

NOTES

ON

THE PRECEDING POEM.

Note I.

_So Moses was upheld while Israel fought._

"And it came to pass, when Moses held up his hand, that Israel prevailed; and when he let down his hand, Amalek prevailed.

"But Moses' hands were heavy, and they took a stone, and put it under him, and he sat thereon: and Aaron and Hur stayed up his hands, the one on the one side, and the other on the other side, and his hands were steady until the going down of the sun.

"And Joshua discomfited Amalek and his people with the edge of the sword." Exodus, chap. xvii. 11, 12, 13th verses.

Note II.

_While, from afar, we heard the cannon play,
Like distant thunder on a shiny day._

The noise of the battle was distinctly heard at London, as appears from the Introduction to our author's "Essay on Dramatic Poetry," where the dialogue is supposed to pass in a barge, in which the speakers had embarked to hear more distinctly, "those undulations of sound, which, though almost vanishing before they reached them, seemed yet to retain somewhat of their first horror which they had betwixt the fleets." And, by the sound seeming to retire from them, Eugenius draws an omen of the enemy's defeat. This whole scene is imagined with so much liveliness, that we can hardly doubt Dryden was actually an ear-witness of the combat.

ANNUS MIRABILIS;

THE

YEAR OF WONDERS,

1666,

AN HISTORICAL POEM.

ANNUS MIRABILIS.

This is the first poem of any length which Dryden gave to the public. Formerly he had only launched out in occasional verses, and, in some instances, on subjects of no prominent importance. He now spread a broader canvas, and prepared to depict a more extensive and magnificent scene. The various incidents of an eventful war between two powerful nations, who disputed the trident of the ocean, and the tremendous fire, which had laid London in ashes, were subjects which still continued to agitate the bosoms of his countrymen. These, therefore, he ventured to assume as the theme of his poem; and his choice is justified by the effects which it yet produces upon the reader.

There would have been no doubt, even had the author himself been silent, that he followed D'Avenant in the choice of the elegiac stanza, in which the _Annus Mirabilis_ is composed. It is sounding and harmonious to the ear; and perhaps Dryden still annexed to the couplet the idea of that harshness, which was so long its characteristick in the hands of our early English writers. But the four-lined stanza has also its peculiar disadvantages; and they are admirably stated by the judicious critic, who first turned the Editor's eyes, and probably those of many others, on the neglected poem of "Gondibert."--"The necessity of comprising a sentence within the limits of the measure, is the tyranny of Procrustes to thought. For the sake of a disagreeable uniformity, expression must constantly be cramped or extenuated. In general, the latter expedient will be practised as the easiest; and thus both sentiment and language will be enfeebled by unmeaning expletives."[83] It is nevertheless true, that Dryden has very seldom suffered his poem to languish. Every stanza presents us either with vivid description, or with some strong thought, which is seldom suffered to glide into tenuity. But this structure of verse has often laid him under an odd and rather unpleasing necessity, of filling up his stanza, by coupling a simile, or a moral, expressed in the two last lines, along with the fact, which had been announced in the two first. When these comments, or illustrations, however good in themselves, appear to be intruded upon the narrative or description, and not naturally to flow out of either, they must be considered as defects in composition; and a kind of versification, which compels frequent recurrence to such expedients for filling up the measure, has a disadvantage, for which mere harmony can hardly compensate. In the passages which follow, there is produced a stiff and awkward kind of balance between the story and the poet's reflections and illustrations.

Lawson among the foremost met his fate,
Whom sea-green Sirens from the rocks lament:
Thus as an offering for the Grecian state,
He first was killed, who first to battle went.

* * * * *

To nearest ports their shattered ships repair,
Where by our dreadful cannon they lay awed
So reverently men quit the open air,
Where thunder speaks the angry gods abroad.

* * * * *

Like hunted castors, conscious of their store,
Their way-laid wealth to Norway's coasts they bring;
There first the North's cold bosom spices bore,
And winter brooded on the eastern spring.

When, after such verses, we find one in which the author expresses a single idea so happily, as just to fill up the _quatrain_, the difference is immediately visible, betwixt a simile easily and naturally introduced, and stanzas made up and levelled with what a poet of those times would perhaps have ventured to call the _travelled earth_ of versification:

And now four days the sun had seen our woes;
Four nights the moon beheld the incessant fire;
It seemed as if the stars more sickly rose,
And farther from the feverish north retire.

Of all these difficulties our author seems to have been aware, from his preliminary epistle to Sir Robert Howard; and it was probably the experimental conviction, that they were occasionally invincible, which induced him thenceforward to desert the _quatrain_; although he has decided that stanza to be more noble, and of greater dignity, both for the sound and number, than any other verse in use among us.

The turn of composition, as well as the structure of the verse, is adopted from "Gondibert." But Dryden, more completely master of the English language, and a writer of much more lively imagination and expression, has, in general, greatly exceeded his master in conceiving and bringing out the far-fetched ideas and images, with which each has graced his poem. D'Avenant is often harsh and turgid, and the construction of his sentences extremely involved. Dryden has his obscure, and even unintelligible, passages; but they arise from the extravagance of the idea, not from the want of power to express it. For example, D'Avenant says,

Near her seems crucified that lucky thief,
In heaven's dark lottery prosperous more than wise,
Who groped at last by chance for heaven's relief,
And throngs undoes with hopes by one drawn prize.

We here perfectly understand the author's meaning, through his lumbering and unpoetical expression; but, in the following stanza, Dryden is unintelligible, because he had conceived an idea approaching to nonsense, while the words themselves are both poetical and expressive:

Then we upon our globe's last verge shall go,
And view the ocean leaning on the sky;
From thence our rolling neighbours we shall know,
And on the lunar world securely pry.

In short, Dryden never fails in the power of elegant expression, till he ventures upon something which it is impossible to express.

The love of conceit and point, that inveterate though decaying disease of the literature of the time, has not failed to infect the _Annus Mirabilis_. That monstrous verse, in which the extinction of the fire is described, cannot be too often quoted, both to expose the meanness of the image, and the confusion of the metaphor; for it will be noticed, that the extinguisher, so unhappily conceived, is not even employed in its own mean office. The flames of London are first a tallow candle; and secondly hawks, which, while pouncing on their quarry, are hooded with an extinguisher:

An hollow crystal pyramid he takes,
In firmamental waters dipt above;
Of it a broad extinguisher he makes,
And hoods the flames that to their quarry drove.

Passages also occur, in which, from the author's zealous desire to be technically minute, the style becomes low and vulgar. There is no doubt, that, as Dryden has observed, the proper terms of art may be not only justly, but with the highest advantage, employed in poetry; but such technical phrases require to be selected with great judgment: they must bear relation to some striking and important object, or they are mean and trivial; and they must be at once generally intelligible, and more expressive in themselves than ordinary language, or they are unnecessarily obscure and pedantic. Dryden has failed in both these points, in his account of the repairs of the fleet.[84] Stanza 148, in particular, combines the faults of meanness and unnecessary obscurity, from the affected use of the dialect of the dock-yard:

Some the galled ropes with dawby marline bind,
Or searcloth masts with strong tarpawling coats:
To try new shrouds one mounts into the wind,
And one below their ease or stiffness notes.

Other examples might be produced of the faults of this remarkable poem; but it is time to say, that they are much overbalanced by its beauties. If Dryden is sometimes obscure, from the extravagance of his imagination, or the far-fetched labour of his similes, and if his desire to use appropriate language has occasionally led him into low and affected minuteness, this poem exhibits a far greater number of instances of happy and judicious illustration, beautiful description, and sublime morality. The comparison of the secret rise of the fire of London to the obscure birth of an usurper, is doubly striking, when we consider how closely the passage may be understood to bear reference to the recent domination of the Protector.[85] I will not load these preliminary observations, by inserting the whole of the striking passage, on the different manner in which the night, after the battle of the first of June, was passed on board the English and Dutch fleets; but certainly the 71st stanza will not lose, by being an hundred times quoted:

In dreams they fearful precipices tread;
Or, shipwrecked, labour to some distant shore;
Or in dark churches walk among the dead;
They wake with horror, and dare sleep no more.

The verses, in which Prince Rupert and his enemy are compared to a greyhound and hare, after a course so desperate as totally to exhaust both, have been always considered as exquisitely beautiful.[86] The description of the Loyal London partakes of the beauties and faults which are dispersed through the poem. Nothing can be more majestic than her description, "firing the air with her sanguine streamers," and "riding upon her shadow in floating gold." We lament, that the weaver should have been so fascinated with his labours as to commence seaman; and still more, that, after describing her "roomy decks," and "depth of draught," she should furnish no grander simile than that of

----a sea-wasp floating on the waves.

More unqualified approbation may be justly afforded to the whole description of the Dutch homeward-bound fleet, captured in sight of their desired haven; and the fine moral lessons which the poet takes the opportunity to inculcate, from so unexpected an incident. The 34th stanza has a tenderness and simplicity, which every lover of true poetry must admire:

This careful husband had been long away,
Whom his chaste wife and little children mourn;
Who on their fingers learned to tell the day
On which their father promised to return.

I will only point out to attention the beautiful and happily expressed simile of the eagle in stanzas 107 and 108, and then, in imitation of honest John Bunyan,

No more detain the readers in the porch,
Or keep them from the day-light with a torch.

The title of _Annus Mirabilis_ did not, according to Mr Malone, originate with Dryden; a prose tract, so intitled, being published in 1662.[87] Neither was he the last that used it; for, the learned editor of "Predictions and Observations, collected from Mr J. Partridge's Almanacks for 1687 and 1688," has so entitled his astrological lucubrations.

The _Annus Mirabilis_ was first printed in octavo, in 1667, the year succeeding that which was the subject of the poem. The quarto edition of 1688, which seems very correct, has been employed in correcting that of Derrick in a few trifling instances.

FOOTNOTES:

[Footnote 83: Essay by Dr Aikin on the Heroic Poem of "Gondibert."]

[Footnote 84: See stanza 146, and those which follow.]

[Footnote 85: Stanzas 213, 214.]

[Footnote 86: See stanzas 131, 132. I wish, however, our author had spared avouching himself to have been eye-witness to so marvellous a chase. The "so have I seen" should be confined to things which are not only possible, but, in a certain degree, of ordinary occurrence. Dryden's ocular testimony is not, however, so incredible as that of the bard, who averred,

_So have I seen_, in Araby the blest,
A Phœnix couched upon her funeral nest.

Such chaces, if not frequent, have sometimes happened. In the north of England, in ancient days, a stag and a famous greyhound, called Hercules, after a desperate course, were found dead within a few paces of each other, and interred with this inscription:

Hercules killed Hart of grece,
And Hart of grece killed Hercules.
]

[Footnote 87: MALONE's _Prose Works of Dryden_, Vol. III. p. 250.]

TO THE

METROPOLIS OF GREAT-BRITAIN,

THE MOST RENOWNED AND LATE FLOURISHING

CITY OF LONDON,

IN ITS

REPRESENTATIVES,

THE LORD-MAYOR AND COURT OF ALDERMEN, THE SHERIFFS, AND COMMON-COUNCIL OF IT.

As, perhaps, I am the first who ever presented a work of this nature to the metropolis of any nation, so it is likewise consonant to justice, that he, who was to give the first example of such a dedication, should begin it with that city, which has set a pattern to all others, of true loyalty, invincible courage, and unshaken constancy. Other cities have been praised for the same virtues, but I am much deceived if any have so dearly purchased their reputation: their fame has been won them by cheaper trials than an expensive, though necessary war, a consuming pestilence, and a more consuming fire. To submit yourselves with that humility to the judgments of heaven, and, at the same time, to raise yourselves with that vigour above all human enemies; to be combated at once from above, and from below; to be struck down, and to triumph,--I know not whether such trials have been ever paralleled in any nation: the resolution and successes of them never can be. Never had prince or people more mutual reason to love each other, if suffering for each other can endear affection. You have come together a pair of matchless lovers, through many difficulties; he, through a long exile, various traverses of fortune, and the interposition of many rivals, who violently ravished and with-held you from him; and certainly you have had your share in sufferings. But providence has cast upon you want of trade, that you might appear bountiful to your country's necessities; and the rest of your afflictions are not more the effects of God's displeasure (frequent examples of them having been in the reign of the most excellent princes) than occasions for the manifesting of your christian and civil virtues. To you, therefore, this Year of Wonders is justly dedicated, because you have made it so; you, who are to stand a wonder to all years and ages; and who have built yourselves an immortal monument on your own ruins. You are now a Phœnix in her ashes, and, as far as humanity can approach, a great emblem of the suffering Deity; but heaven never made so much piety and virtue to leave it miserable. I have heard, indeed, of some virtuous persons who have ended unfortunately, but never of any virtuous nation: Providence is engaged too deeply, when the cause becomes so general; and I cannot imagine it has resolved that ruin of the people at home, which it has blessed abroad with such successes. I am therefore to conclude, that your sufferings are at an end; and that one part of my poem has not been more an history of your destruction, than the other a prophecy of your restoration. The accomplishment of which happiness, as it is the wish of all true Englishmen, so is it by none more passionately desired, than by

The greatest of your admirers,

And most humble of your servants,

JOHN DRYDEN.

AN

ACCOUNT OF THE ENSUING POEM,

IN A LETTER TO THE

HON. SIR ROBERT HOWARD.[88]

SIR,

I am so many ways obliged to you, and so little able to return your favours, that, like those who owe too much, I can only live by getting farther into your debt. You have not only been careful of my fortune, which was the effect of your nobleness, but you have been solicitous of my reputation, which is that of your kindness. It is not long since I gave you the trouble of perusing a play for me,[89] and now, instead of an acknowledgment, I have given you a greater, in the correction of a poem. But since you are to bear this persecution, I will at least give you the encouragement of a martyr,--you could never suffer in a nobler cause; for I have chosen the most heroic subject, which any poet could desire. I have taken upon me to describe the motives, the beginning, progress, and successes, of a most just and necessary war; in it, the care, management, and prudence of our king; the conduct and valour of a royal admiral, and of two incomparable generals; the invincible courage of our captains and seamen; and three glorious victories, the result of all. After this, I have, in the Fire, the most deplorable, but withal the greatest, argument that can be imagined; the destruction being so swift, so sudden, so vast and miserable, as nothing can parallel in story. The former part of this poem, relating to the war, is but a due expiation for my not serving my king and country in it. All gentlemen are almost obliged to it; and I know no reason we should give that advantage to the commonalty of England, to be foremost in brave actions, which the nobles of France would never suffer in their peasants. I should not have written this but to a person, who has been ever forward to appear in all employments, whither his honour and generosity have called him. The latter part of my poem, which describes the Fire, I owe, first, to the piety and fatherly affection of our monarch to his suffering subjects; and, in the second place, to the courage, loyalty, and magnanimity of the city; both which were so conspicuous, that I have wanted words to celebrate them as they deserve. I have called my poem historical, not epic, though both the actions and actors are as much heroic as any poem can contain. But, since the action is not properly one, nor that accomplished in the last successes, I have judged it too bold a title for a few stanzas, which are little more in number than a single Iliad, or the longest of the Æneids. For this reason, (I mean not of length, but broken action, tied too severely to the laws of history) I am apt to agree with those, who rank Lucan rather among historians in verse, than Epic poets; in whose room, if I am not deceived, Silius Italicus, though a worse writer, may more justly be admitted. I have chosen to write my poem in quatrains, or stanzas of four in alternate rhyme, because I have ever judged them more noble, and of greater dignity, both for the sound and number, than any other verse in use amongst us; in which I am sure I have your approbation. The learned languages have certainly a great advantage of us, in not being tied to the slavery of any rhyme; and were less constrained in the quantity of every syllable, which they might vary with spondees or dactyls, besides so many other helps of grammatical figures, for the lengthening or abbreviation of them, than the modern are in the close of that one syllable, which often confines, and more often corrupts, the sense of all the rest. But in this necessity of our rhymes, I have always found the couplet verse most easy, (though not so proper for this occasion,) for there the work is sooner at an end, every two lines concluding the labour of the poet; but in quatrains he is to carry it farther on, and not only so, but to bear along in his head the troublesome sense of four lines together. For, those, who write correctly in this kind, must needs acknowledge, that the last line of the stanza is to be considered in the composition of the first. Neither can we give ourselves the liberty of making any part of a verse for the sake of rhyme, or concluding with a word which is not current English, or using the variety of female rhymes,[90] all which our fathers practised; and for the female rhymes, they are still in use amongst other nations; with the Italian in every line, with the Spaniard promiscuously, with the French alternately, as those who have read the Alaric, the Pucelle, or any of their later poems, will agree with me. And besides this, they write in Alexandrines, or verses of six feet; such as, amongst us, is the old translation of Homer by Chapman:[91] all which, by lengthening of their chain, makes the sphere of their activity the larger.

I have dwelt too long upon the choice of my stanza, which you may remember is much better defended in the preface to "Gondibert;" and therefore I will hasten to acquaint you with my endeavours in the writing. In general I will only say, I have never yet seen the description of any naval fight in the proper terms which are used at sea; and if there be any such, in another language, as that of Lucan in the third of his Pharsalia, yet I could not avail myself of it in the English; the terms of art in every tongue bearing more of the idiom of it than any other words. We hear indeed among our poets, of the thundering of guns, the smoke, the disorder, and the slaughter; but all these are common notions. And certainly, as those, who in a logical dispute keep in general terms, would hide a fallacy; so those, who do it in any poetical description, would veil their ignorance:[92]

_Descriptas servare vices, operumque colores,
Cur ego, si nequeo ignoroque, poeta salutor?_

For my own part, if I had little knowledge of the sea, yet I have thought it no shame to learn; and if I have made some few mistakes, it is only, as you can bear me witness, because I have wanted opportunity to correct them; the whole poem being first written, and now sent you from a place, where I have not so much as the converse of any seaman. Yet though the trouble I had in writing it was great, it was more than recompensed by the pleasure. I found myself so warm in celebrating the praises of military men, two such especially as the prince and general, that it is no wonder if they inspired me with thoughts above my ordinary level. And I am well satisfied, that, as they are incomparably the best subject I ever had, excepting only the royal family, so also, that this I have written of them is much better than what I have performed on any other. I have been forced to help out other arguments, but this has been bountiful to me; they have been low and barren of praise,[93] and I have exalted them, and made them fruitful; but here--_Omnia sponte suà reddit justissima tellus_. I have had a large, a fair, and a pleasant field; so fertile, that, without my cultivating, it has given me two harvests in a summer, and in both oppressed the reaper. All other greatness in subjects is only counterfeit; it will not endure the test of danger; the greatness of arms is only real. Other greatness burdens a nation with its weight; this supports it with its strength. And as it is the happiness of the age, so it is the peculiar goodness of the best of kings, that we may praise his subjects without offending him. Doubtless it proceeds from a just confidence of his own virtue, which the lustre of no other can be so great as to darken in him; for the good or the valiant are never safely praised under a bad or a degenerate prince.

But to return from this digression to a farther account of my poem; I must crave leave to tell you, that as I have endeavoured to adorn it with noble thoughts, so much more to express those thoughts with elocution. The composition of all poems is, or ought to be, of wit;[94] and wit in the poet, or wit-writing, (if you will give me leave to use a school-distinction) is no other than the faculty of imagination in the writer, which, like a nimble spaniel, beats over and ranges through the field of memory, 'till it springs the quarry it hunted after; or, without metaphor, which searches over all the memory for the species or ideas of those things, which it designs to represent. Wit written is that which is well defined, the happy result of thought, or product of imagination. But to proceed from wit, in the general notion of it, to the proper wit of an Heroic or Historical Poem, I judge it chiefly to consist in the delightful imagining of persons, actions, passions, or things. It is not the jerk or sting of an epigram, nor the seeming contradiction of a poor antithesis, (the delight of an ill-judging audience in a play of rhyme,) nor the gingle of a more poor paronomasia;[95] neither is it so much the morality of a grave sentence, affected by Lucan, but more sparingly used by Virgil; but it is some lively and apt description, dressed in such colours of speech, that it sets before your eyes the absent object, as perfectly, and more delightfully than nature. So then the first happiness of the poet's imagination is properly invention, or finding of the thought; the second is fancy, or the variation, deriving, or moulding, of that thought, as the judgment represents it proper to the subject; the third is elocution, or the art of clothing and adorning that thought, so found and varied, in apt, significant, and sounding words. The quickness of the imagination is seen in the invention, the fertility in the fancy, and the accuracy in the expression. For the two first of these, Ovid is famous amongst the poets; for the latter, Virgil. Ovid images more often the movements and affections of the mind, either combating between two contrary passions, or extremely discomposed by one. His words therefore are the least part of his care; for he pictures nature in disorder, with which the study and choice of words is inconsistent. This is the proper wit of dialogue or discourse, and consequently of the drama, where all that is said is supposed to be the effect of sudden thought; which, though it excludes not the quickness of wit in repartees, yet admits not a too curious election of words, too frequent allusions, or use of tropes, or, in fine, any thing that shews remoteness of thought, or labour in the writer. On the other side, Virgil speaks not so often to us in the person of another, like Ovid, but in his own: he relates almost all things as from himself, and thereby gains more liberty than the other, to express his thoughts with all the graces of elocution, to write more figuratively, and to confess as well the labour as the force of his imagination. Though he describes his Dido well and naturally, in the violence of her passions, yet he must yield in that to the Myrrha, the Biblis, the Althæa, of Ovid; for, as great an admirer of him as I am, I must acknowledge, that if I see not more of their souls than I see of Dido's, at least I have a greater concernment for them: and that convinces me, that Ovid has touched those tender strokes more delicately than Virgil could. But when action or persons are to be described, when any such image is to be set before us, how bold, how masterly, are the strokes of Virgil! We see the objects he presents us with in their native figures, in their proper motions; but so we see them, as our own eyes could never have beheld them so beautiful in themselves. We see the soul of the poet, like that universal one of which he speaks, informing and moving through all his pictures:

----_Totamque infusa per artus
Mens agitat molem, et magno se corpore miscet._

We behold him embellishing his images, as he makes Venus breathing beauty upon her son Æneas:

---- ----_lumenque juventæ
Purpureum, & lætos oculis afflârat honores:
Quale manus addunt ebori decus, aut ubi flavo
Argentum, Pariusve lapis, circundatur auro._

See his Tempest, his Funeral Sports, his Combat of Turnus and Æneas: and in his "Georgics," which I esteem the divinest part of all his writings, the Plague, the Country, the Battle of the Bulls, the labour of the Bees; and those many other excellent images of nature, most of which are neither great in themselves, nor have any natural ornament to bear them up; but the words wherewith he describes them are so excellent, that it might be well applied to him, which was said by Ovid, _Materium superabat opus_: the very sound of his words has often somewhat that is connatural to the subject; and while we read him, we sit, as in a play, beholding the scenes of what he represents. To perform this, he made frequent use of tropes, which you know change the nature of a known word, by applying it to some other signification; and this is it which Horace means in his Epistle to the Piso's:

_Dixeris egregiè, notum si callida verbum
Reddiderit junctura novum._----

But I am sensible I have presumed too far to entertain you with a rude discourse of that art, which you both know so well, and put into practice with so much happiness. Yet before I leave Virgil, I must own the vanity to tell you, and by you the world, that he has been my master in this poem. I have followed him every where, I know not with what success, but I am sure with diligence enough; my images are many of them copied from him, and the rest are imitations of him. My expressions also are as near as the idioms of the two languages would admit of in translation. And this, sir, I have done with that boldness, for which I will stand accountable to any of our little critics, who, perhaps, are no better acquainted with him than I am. Upon your first perusal of this poem, you have taken notice of some words, which I have innovated (if it be too bold for me to say refined) upon his Latin; which, as I offer not to introduce into English prose, so I hope they are neither improper, nor altogether inelegant in verse; and, in this, Horace will again defend me:

_Et nova, fictaque nuper, habebunt verba fidem, si
Græco fonte cadunt, parcè detorta._----