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That the most learn’d with shame confefs His knowledge more, his reading only less.
Of all this, however, if the proof be demanded, I will not undertake to give it; the atoms of probability, of which my opinion has been formed, lie scattered over all his works ; and by him who thinks the question worth his notice, his works must be perused with very close attention,
Criticism, either didactick or defensive, occupies almost all his profe, except those pages which he has devoted to his patrons; but none of his prefaces were ever thought tedious. They have not the formality of a settled style, in which the first half of the sentence betrays the other. The clauses are never balanced, nor the periods modelled; every word seems to drop by chance, though it falls into its proper place. Nothing is cold or languid; the whole is airy, animated, and vigorous; what is little, is gay; what is great, is splendid. He may be thought to mention himself tog frequently; but while he forces himself upon our esteem, we cannot refuse him to stand high in his own. Every thing is excused by the play of images and the spriteliness of expression. Though all is easy, nothing is feeble; though all seems careless, there is nothing harsh; and though, since his earlier works, more than a century has passed, they have nothing yet uncouth or obsolete.
He who writes much, will not easily escape a manner, such a recurrence of particular modes as may be easily noted. Dryden is always another and the fame,, he does not exhibit a second time the same elegancies in the same form, nor appears to have any art other than
that of expressing with clearness what he thinks with vigour. His stile could not easily be imitated, either seriously or ludicrously, for being always equable and always varied, it has no prominent or discriminative characters. The beauty who is totally free from disproportion of parts and features cannot be ridiculed by an over-charged resemblance.
From his prose however, Dryden derives only his accidental and secondary praise; the veneration with which his name is pronounced by every cultivator of English Literature, is paid to him as he refined the language, improved the sentiments, and tuned the numbers of English Poetry
After about half a century of forced thoughts, and rugged metre, some advances towards nature and harmony had been already made by Waller and Denham; they had shewn that long discourses in rhyme grew more pleasing when they were broken into couplets, and that verse consisted not only in the number but the arrangement of syllables.
But though they did much, who can deny that they left much to do? Their works were not many, nor were their minds of very ample comprehension. More examples of more modes of composition were necessary for the establishment of regularity, and the introduction of propriety in word and thought.
Every language of a learned nation necessarily divides itself into diction fcholastick and popular, grave and familiar, elegant and gross; and from a nice distinction of these different parts, arises a great part of the beauty of stile. But if we except a few minds, the favourites
of nature, to whom their original rectitude was in the place of rules, this delicacy of felection was little known to our authors; our speech lay before them in a heap of confusion, and every man took for every purpose what chance might offer him.
There was therefore before the time of Dryden no poetical diction, no system of words at once refined from the grosiness of domestick use, and free from the harshness of terms appropriated to particular arts. Words too familiar, or too remote, defeat the purpose of a poet. From those founds which we hear on small or on coarse occasions, we do not easily receive strong impressions, or delightful images, and words to which we are nearly strangers, whenever they occur, draw that attention on themselves which they should convey to things.
Those happy combinations of words which distinguish poetry from prose, had been rarely attempted; we had few elegancies or flower's of speech, the roses had not yet been plucked from the bramble, or different colours had not been joined to enliven one another.
It may be doubted whether Waller and Denham could have over-born the prejudices which had long prevailed, and which even then were sheltered by the protection of Cowley. The new versification, as it was called, may be considered as owing its establishment to Dryden; from whose time it is apparent that English poetry has had no tendency to relapse to its former savageness.
The affluence and comprehension of our language is very illustriously displayed in our poctical translations of Ancient Writers; a work which the French seem to relinquish in despair, and which we were long unable to perform with dexterity. Ben Jonson thought it necessary to copy Horace almost word by word ; Feltham, his contemporary and adversary, considers it as indispensably requisite in a translation to give line for line. It is said that Sandys, whom Dryden calls the best verfifier of the last age, has struggled hard to comprise every book of his English Metamorphoses in the same number of verses with the original. Holyday had nothing in view but to shew that he understood his author, with so little regard to the grandeur of his diction, or the volubility of his numbers, that his metres can hardly be called verses; they cannot be read without reluctance, nor will the labour always be rewarded by understanding them. Cowley saw that such copyers were a fervile race; he asserted his liberty, and spread his wings so boldly that he left his authors. It was reserved for Dryden to fix the limits of poetical liberty, and give us just rules and examples of translation.
When languages are formed upon different principles, it is impossible that the same modes of expression should always be elegant in both. While they run on together, the closest tranNation may be considered as the best ; but when they divaricate, each must take its natural course. Where correspondence cannot be obtained, it is necessary to be content with something equivalent. Translation therefore, says Dryden, is not so loose as paraphrase, nor so close as metaphrase.
All polished languages have different styles ; the concise, the diffuse, the lofty, and the humble. In the proper choice of style consists the resemblance which Dryden principally exacts from the translator. He is to exhibit his author's thoughts in such a dress of diction as the author would have given them, had his language been English : rugged magnificence is not to be softened : hyperbolical ostentation is not to be repressed, nor sententious affectation to have its points blunted. A translator is to be like his author; it is not his business to excel him.
The reasonableness of these rules seem fufficient for their vindication ; and the effects produced by observing them were so happy, that I know not whether they were ever oppofed but by Sir Edward Sherburne, a man whose learning was greater than his powers of poe. try; and who, being better qualified to give the meaning than the spirit of Seneca, has introduced his version of three tragedies by a defence of close translation. The authority of Horace, which the new translators cited in defence of their practice, he has, by a judicious explanation, taken fairly from them; but reason wants not Horace to support it.
It feldom happens that all the necessary causes concur to any great effect: will is wanting to power, or power to will, or both are impeded by external obstructions. The exigencies in which Dryden was condemned to pass his life, are reasonably supposed to have blasted his genius, to have driven out his works in a state of immaturity, and to have