It was dedicated to the Metropolis of Great Britain, as represented by the lord mayor and magistrates. A letter to Sir Robert Howard was prefixed to the poem, in which the author explains the purpose of the work, and the difficulties which presented themselves in the execution. And in this epistle, as a contrast between the smooth and easy style of writing which was proper in addressing a lady, and the exalted style of heroic, or at least historical poetry, he introduces the verses to the Duchess of York, already mentioned.

The "Annus Mirabilis" being the last poetical work of any importance produced by our author, until "Absalom and Achitophel," the reader may here pause, and consider, in the progressive improvement of Dryden, the gradual renovation of public taste. The irregular pindaric ode was now abandoned to Arwaker, Behn, Durfey, and a few inferior authors; who, either from its tempting facility of execution, or from an affected admiration of old times and fashions, still pestered the public with imitations of Cowley. The rough measure of Donne (if it had any pretension to be called a measure) was no longer tolerated, and it was expected, even of those who wrote satires, lampoons, and occasional verses, that their rhymes

should be rhymes, both to the ear and

eye; and that they should neither adore their mistresses, nor abuse their neighbours, in lines which differed only from prose in the fashion of printing. Thus the measure used by Rochester, Buckingham, Sheffield, Sedley, and other satirists, if not polished or harmonized, approaches more nearly to modern verse, than that of Hall or Donne. In the "Elegy on Cromwell," and the "Annus Mirabilis," Dryden followed Davenant, who abridged, if he did not explode, the quaintnesses of his predecessors. In "Astræa Redux," and his occasional verses, to Dr Charleton, the Duchess of York, and others, the poet proposed a separate and simpler model, more dignified than that of Suckling or Waller; more harmonious in measure, and chaste in expression, than those of Cowley and Crashaw. Much, there doubtless remained, of ancient subtlety, and ingenious quibbling; but when Dryden declares, that he proposes Virgil, in preference to Ovid, to be his model in the "Annus Mirabilis," it sufficiently implies, that the main defect of the poetry of the last age had been discovered, and was in the way of being amended by gradual, and almost imperceptible, degrees.

In establishing, or refining, the latter style of

2

writing, in couplet verse, our author found great assistance from his dramatic practice; to trace the commencement of which, is the purpose of the next Section.

Revival of the Drama at the Restoration-Heroic Plays -Comedies of Intrigue-Commencement of Dryden's Dramatic Career-The Wild Gallant-Rival LadiesIndian Queen and Emperor-Dryden's Marriage— Essay on Dramatic Poetry, and subsequent Controversy with Sir Robert Howard-The Maiden Queen-The Tempest-Sir Martin Mar-all-The Mock Astrologer -The Royal Martyr-The Two Parts of the Conquest of Granada-Dryden's Situation at this Period.

It would appear, that Dryden, at the period of the Restoration, renounced all views of making his way in life except by exertion of the literary talents with which he was so eminently endowed. His becoming a writer of plays was a necessary consequence; for the theatres, newly opened after so long silence, were resorted to with all the ardour inspired by novelty; and dramatic composition was the only line which promised something like an adequate reward to the professors of literature. In our sketch of the taste

of the seventeenth century previous to the Restoration, this topic was intentionally postponed.

In the times of James I. and of his successor, the theatre retained, in some degree, the splendour with which the excellent writers of the virgin reign had adorned it. It is true, that authors of the latter period fell far below those gigantic poets, who flourished in the end of the sixteenth and beginning of the seventeenth centuries; but what the stage had lost in dramatic composition, was, in some degree, supplied by the increasing splendour of decoration, and the favour of the court. A private theatre, called the Cockpit, was maintained at Whitehall, in which plays were performed before the court; and the king's company of actors often received command to attend the royal progresses.* Masques, a species of representation calculated exclusively for the recreation of the great, in whose halls they were exhibited, were an usual entertainment of Charles and his consort. The machinery and decorations were often superintended by Inigo Jones, and the poetry composed by Ben Jonson the laureat. Even Milton deigned to contribute one of his most fascinating poems to

* Malone's "History of the Stage."