5 10 The Muses, who your early courtship boast, 19 The helpless gods their burning shrines forsook; 30 35 In open prospect nothing bounds our eye, Until the earth seems join'd 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 join'd, 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 55 Their share of business in your labouring mind. So when the weary sun his place resigns, He leaves his light, and by reflection shines. 40 Justice, that sits and frowns where public laws Exclude soft mercy from a private cause, 50 Ver. 20. The helpless gods] I will here offer part of Merrick's observation on a passage in his translation of Tryphiodorus, p. 102.-" We learn from Eschylus (Errà 3. v. 223.) that it was a common opinion among the ancients that the tutelary gods of every city withdrew from it when it was going to be taken. The scholiast on Eschylus farther informs us, that Sophocles wrote a play called ontoge, in which the gods of the Trojans were introduced retiring from the city, and carrying their images with them. What Tryphiodorus feigns of Apollo's quitting Troy, just before its destruction, is related by Virgil concerning the other deities of the Trojans, Æn. ii. 351. 'Excessêre omnes, adytis arisque relictis, And Petronius Arbiter says, 'Peritura Troja perdidit primùm deos.' Nor is this fiction to be found in the poets only, but is likewise preserved in some of the ancient historians." See the whole note. TODD. Ver. 48. He leaves his light, and by reflection shines.] The same sentiment is repeated in the Annus Mirabilis, st. 253. "His beams he to his royal brother lent, And so shone still in his reflective light." TODD. 1 In your ore. 61 70 While empiric politicians use deceit, ذر 85 By you our monarch does that fame assure, wound, She struck the warlike spear into the ground; Which sprouting leaves did suddenly inclose, And peaceful olives shaded as they rose. 100 Ver. 67. While empiric] Our knowledge in politics, says 1 Hume, is even yet imperfect; we know not to what de grees human virtue or vice may be carried. Even Machiavel is an imperfect and mistaken politician. Modern monarchies, he adds, are grown mild and improved; bat this is owing to manners, and to the progress of sense and philosophy. Dr. J. WARTON. Ver. 87. Our setting sun,] Charles I. employed him in writing some of his declarations. Dr. J. WARTON. 105 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, 110 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, 115 120 130 Nor can we this weak shower a tempest call, 145 150 Ver. 109. Such is the mighty] "In this comparison," Dr. Johnson says, "the mind perceives enough to be delighted, and readily forgives its obscurity for its magnificence." I own I think its obscurity so gross that it cannot be forgiven, and its magnificence lost by its no-meaning. Dr. J. WARTON. Ver. 119. Let envy then] Great ministers, in all ages and countries, have ever been attacked by satirical wits. Above one hundred and fifty-nine severe invectives were written against Cardinal Mazarin, many of them by Scarron and Sandricourt, which have been collected and called the Mazaranides. Dr. J. WARTON. Ver. 139. Sometimes the hill submits itself a while "quà se subducere colles Incipiunt, mollique jugum demittere clivo." Ver. 143. Your brow, which does no fear of thunder know, I cannot readily turn either to the passage or author of the following reflection:-"Great men ought not to listen to, or even hear, the mean cries of envy. Atlas, who supports the heavens, hears not from his height the roaring and beating of the waves of the sea at his feet." JonN WARTA. Ver. 149. Thus heavenly] Dr. Johnson is of opinion that In this poem he seems to have collected all his powers." As needy gallants, in the scrivener's hands, The first fat buck of all the season's sent, Yet still the same religion answers all. Drew English blood, and Dutchmen's now would spare. Be gull'd no longer; for you'll find it true, 25 30 I should lament if this were true. But then he adds, "He has concluded with lines of which I think not myself obliged to tell the meaning." Dr. J. WARTON. * This poem is no more than a prologue, a little altered, prefixed to our author's tragedy of Amboyna. DERRICK. Ver. 35. Venetians do not more uncouthly ride,] Horses are almost useless in Venice from its situation, there being canals in every street, so that it cannot be thought the Venetians are expert jockies: besides, "To ride as badly as a grandee of Venice," is become a proverb all over Italy. DERRICK. WHEN for our sakes, your hero you resign'd You lodged your country's cares within your breast, 5 10 (The mansion where soft love should only rest :) 15 19 As awfully as when God's people past: How powerful are chaste vows! the wind and tide You bribed to combat on the English side. 25 Ver. 44. and Carthage] The very words and allnsion by Lord Shaftesbury in his famous speech against the Dutch. The lady to whom our author addresses this poem was daughter to the great Earl of Clarendon. The Duke of York had been some time married to her before the affair was known either to the King his brother, or to her father. She died in March, 1671, leaving issue one son, named Edgar, and three daughters, Katherine, Mary, and Ann. The two latter lived to sit on the British throne; the two former survived their mother but a short time. Bishop Burnet tells us, that she was a woman of know Thus to your much-loved lord you did convey For absent friends we were ashamed to fear, burn, Yet fought not more to vanquish than return. Fortune and victory he did pursue, 35 To bring them as his slaves to wait on you. In crowding heaps, to fill your moving court: From every grove her numerous train's increased: 56 And round him the pleased audience clap their wings. ledge and penetration, friendly and generous, but severe in her resentments. DERRICK. Ver. 26. —your much-loved lord] James, notwithstanding, had many mistresses. Lady Dorchester, savs Lord Orford, vol. iv. p. 319, 4to, said wittily, she wondered for what James II. chose his mistresses. "We are none of us handsome, and if we had wit, he has not enough to discover it." And once meeting the Duchess of Portsmonth and Lady Orkney, the favourite of King William, at the drawing-room of George I, she exclaimed, "God | God! who would have thought that we three whores should have met together here!" Dr. J. WARTON. Ver. 56. her glory sings,] The Duchess of York, says Burnet, was an extraordinary woman. She had great knowledge, and a lively sense of things, but took state on her rather too much. She wrote well, and had begun the Duke's Life, of which she showed me a volume. She was bred to great strictness in religion, practised secret confession, and Morley was her confessor. Dr. JOSEPH WARTON. Ver. 57 And round him the pleased audience clap their wings.] Hence Pope, Pastoral í. ver. 16. "And all th' aerial audience clap their wings." This escaped the observation of the acute Mr. Wakefield, to whom, as my reader will perceive, I owe many obligations, and who seldom suffers a parallel passage to escape him. JOHN WARTON, ANNUS MIRABILIS; THE YEAR OF WONDERS, 1666. AN HISTORICAL POEM. 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, 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 withheld 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 Phoenix 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 the ruin of that 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. * This dedication has been left out in all editions of the poem but the first. To me there appears in it an honest unfeigned warmth and a love for the King, which compensates for any thing that may have dropped from our author's pen in his verses on Cromwell's death. However, we submit this opinion, under correction, to the judicious reader. DERRICK. AN ACCOUNT OF THE ENSUING POEM, IN SIR, A LETTER TO THE HON. SIR ROBERT HOWARD. I AM SO many ways obliged to you, and so little able to return your favours, that, like those who ɔwe 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, 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 noblesse 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 Eneids. 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 be * Dryden certainly soon changed his opinion, since he never after practised the manner of versification he has here praised; but we shall find it always his way to assure us, that his present mode of writing is best. Conscious of his own importance, he soared above control; and when he composed a poem, he set it up as a standard of imitation, leducing from it rules of criticism, the practice of which he endeavoured to enforce, till either through interest or fanev he was induced to change his opinion. DERRICK. |