THE Central Literary Magazine. It must be borne in mind that this Magazine is neutral in Politics and Religion; its pages are open to a free expression of all shades of opinion without leaning to any. No. 3. JULY, 1881. VOL. V. SOME ODES AND OTHER POEMS OF DRYDEN.* THERE is especial difficulty in analysing the numerous writings of so powerful and versatile a poet as Dryden, because of the extent to which his genius appears to have been influenced by the circumstances and tastes of his time. We have evidence of his severity of satire, and the vigorous ease of his diction in "Absalom and Achitophel;" we know the character and tendencies of the greater portion of his plays. But, passing from his dramatic writings to Odes and laudatory pieces, we come upon a different set of conditions, and a slight glance at these conditions may be useful. The object will be to note briefly the features of these poems likely to interest modern readers, rather than to dissect them remorselessly, according to any set of pedantic rules. The charge first brought against Dryden's poems of this class is, that they breathe a spirit of undue flattery to the Kings or other rich and powerful personages of the time. In this, however, he had before him the example of Edmund Spenser; while, Matthew Prior, who rose to eminence after Dryden, certainly outvied him in excess of praise. Dryden, as Poet Laureate, was expected on great occasions to give something in return for the honours and emoluments of office. In days when young and needy poets had no hope of worldly success, unless The third of the series of papers given on "The Evening with John Dryden," 6th May, 1881. they could obtain a wealthy or a royal patron, there might have been much force in the charge of Byron : "Poets are such liars, And take all colours like the hands of dyers." Yet, if there is real character and nobleness in a poet's work, we shall find it by study of his writings, despite the gloss of circumstance; and can form to ourselves a just, a generous picture of the poet himself. It may be, in its degree, a portrait of the kind ascribed by Dryden to Sir Godfrey Kneller. "Likeness is ever there; but still the best, Like proper thoughts in lofty language dressed." We should be more disposed to take this view of Dryden, because we observe his warm appreciation of men of genius, who were his contemporaries. He frequently visited Milton, when old, blind, and poor, in the little house at Cripplegate; and, what was more difficult, he properly estimated his work. Pope said, in after years, referring to men of genius "Those suns of glory shine not till they set." But Dryden wrote the following in regard to Milton, while the great "Three Poets, in three distant ages born, To make a third, she joined the former two." The lines to Congreve are also generous, while they give us an insight into Dryden's own position and feelings in latter life : "Time, place, and action, may with pains be wrought; But genius must be born, and never can be taught. This is your portion; this your native store." * * "Already I am worn with cares and age, Be kind to my remains; and O defend Against your judgment, your departed friend!" Perhaps one of the sweetest of the Dryden Odes is that to the memory of Miss Killigrew. It commences "Thou youngest virgin daughter of the skies, The Monody on the death of Eleonora, Countess of Abingdon, has many beautiful passages. Here are two :— She did but dream of heaven, and she was there." It is agreed that the two Odes on St. Cecilia's day are the finest productions in their class. Milton had, years before, set forth his sublime conceptions of Music and its influence, in "L'Allegro" and "Il Penseroso." It remained for Dryden to amplify and define, which he did with consummate skill and power. The first Ode, written in 1687, opens with a description of the harmony of creation"From harmony, from heavenly harmony This universal frame began; From harmony to harmony Through all the compass of the notes it ran, Then comes the fabled origin of human music— "When Jubal struck the chorded shell, His listening brethren stood around, And, wondering, on their faces fell, To worship that celestial sound; Less than a god they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well." The various influence of the different classes of musical instruments is finely distinguished Orpheus could lead the savage race; But, bright Cecilia raised the wonder higher- Mistaking earth for heaven." A still finer composition is the Ode "Alexander's Feast,” every line of which is immortal. It has been said in irony that its hero was a drunken Bacchus. The fact is, that not only is the character of Alexander correctly drawn, so far as history informs us, but that Dryden only employs this self-willed autocrat of genius, as a foil, by whose means he may display the superior power of Music He first flatters the monarch by assuming the origin of his race from one of the Gods. "The listening crowd admire the lofty sound, A present deity; they shout around, * * With ravished ears Affects to nod, And seems to shake the spheres." Timotheus next accompanies his harp with a song "of Bacchus ever fair and ever young." He is still offering Alexander the sweet incense of flattery, as Bacchus was said to be the original conqueror of India. Here comes the well known chorus : After all this, "Rich the treasure, Sweet the pleasure; Sweet is pleasure after pain." "The king grew vain, Fought all his battles o'er again; And thrice he routed all his foes; and thrice he slew the slain. The master saw the madness rise; His glowing cheeks, his ardent eyes; And, while he heaven and earth defied, Soft pity to infuse; He sang Darius, great and good, Fallen from his high estate, And weltering in his blood. Deserted at his utmost need, By those his former bounty fed; With downcast looks the joyless victor sate, The various turns of chance below; And now and then a sigh he stole, And tears began to flow." Love, as being in the next degree to pity, is now evoked by the sweet singer; but, soon the monarch is roused from that influence. "Now strike the golden lyre again :" This time Timotheus echoes a cry for the Manes of the Greek soldiers slain in battle, who demand to have their unburied corpses burned with funeral honours amid the ruins of the Persian temples. The movement of the whole poem is magnificent, and the diction unsurpassed. From it Collins probably derived the idea of his "Ode on the Passions," although the treatment is distinctive. Dryden, like Milton, calls in the human voice to give fulness and efficiency to music. With both, music, to be complete, must be "Married to immortal verse:" Coming now to a different class of Ode, we are enabled, by examining it, to form an opinion as to Dryden's principles and character. The poet was connected, both on his father's and mother's side, with the Round-head party. It is said that "familiarity breeds contempt;" but, whether this was Dryden's case or no, we may judge from what is the moving spirit of students in Russia at this moment, that the poet's stay at Westminster School and in Cambridge University, would not in those troublous times leave him with the set views he had before he entered them. On quitting College he appears to have gone into the house of Sir Gilbert Pickering-called the "fiery Pickering," from his Round-head zeal, and for whom the poet acted as Secretary. This was in 1657. Here Dryden came in contact with Cromwell, whom he at once recognised as "a true-born king of men." Two years afterwards, Cromwell died; and Dryden wrote a series of heroic stanzas on the event. This piece is often quoted as evidence of the political inconsistency of the poet; but, it rather serves to show how his special cast of mind was moving. Throughout the poem there is not a single line which can be quoted in defence of Puritan, Round-head, or Republican principles. Cromwell is exalted in it, because Dryden recognises him as a real monarch, sound in brain, and mighty in purpose. Thus he says :— "His grandeur he derived from Heaven alone ; No borrowed bays his temples did adorn, But, to our crown he did fresh jewels bring." * 梯 # Her safety rescued Ireland to him owes ; And treacherous Scotland, to no interest true, |