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discovers, in the preface to his fables, that he translated the first book of the Iliad, without knowing what was in the second.

“ It will be difficult to prove that Dryden ever made any great advances in literature. As, having distinguished himself at Westminster under the tuition of Busby, who advanced his scholars to a height of knowledge very rarely attained in grammar-schools, he resided afterwards at Canibridge, it is not to be supposed that his skill in the ancient languages was deficient, compared with that of common students; but his scholastick acquisitions seem not proportionate to his opportunities and abilities. He could not, like Milton or Cowley, have made his name illustrious merely by his learning. He mentions but few books, and those such as lie in the beaten track of regular study; from which if ever he departs, he is in danger of losing himself in unknown regions.

“ In his Dialogue on the Drama, he pronounces with great confidence that the Latin tragedy of Medea is not Ovid's, because it is not sufficiently interesting and pathetick. He might have determined the question upon surer evidence ; for it is quoted by Quintilian as the work of Seneca ; and the only line which remains of Ovid's play, for one line is left us, is not there to be found. There was therefore no need of the gravity of conjecture,

or the discussion of plot or sentiment, to find what was already known upon higher authority than such discussions can ever reach.

“ His literature, though not always free from ostentation, will be commonly found either obvious, and made his own by the art of dressing it; or superficial, which, by what he gives, shews what he wanted; or erroneous, hastily collected, and negligently scattered

Yet it cannot be said that his genius is ever unprovided of matter, or that his fancy languishes in penury of ideas. His works abound with knowledge, and sparkle with illustrations. There is scarcely any science or faculty that does not supply him with occasional images and lucky similitudes; every page discovers a mind very widely acquainted both with art and nature, and in full possession of great stores of intellectual wealth. Of him that knows much, it is natural to suppose that he has read with diligence; yet I rather believe that the knowledge of Dryden was gleaned from accidental intelligence and various conversation, by a quick apprehension, a judicious selection, and a happy memory, a keen appetite of knowledge, and a powerful digestion ; by vigilance that permitted nothing to pass without notice, and a habit of reflection that suffered nothing useful to be lost. A mind like Dryden's, always curious,



always active, to which every understanding was proud to be associated, and of which every one solicited the regard, by an ambitious display of himself, had a more pleasant, perhaps a nearer, way to knowledge, than by the silent progress of solitary reading. I do not suppose that he despised books, or intentionally neglected them ; but that he was carried out, by the impetuosity of his genius, to more vivid and speedy instructors; and that his studies were rather desultory and fortuitous than constant and systematical.

“ It must be confessed that he scarcely ever appears to want book-learning, but when he mentions books; and to him may be transferred the praise which he gives his master, Charles :

His conversation, wit, and parts,
His knowledge in the noblest useful arts,
Were such, dead authors could not give, :
But habitudes of those that live; -
Who, lighting him, did greater lights receive
He drain’d from all, and all they knew,
His apprehension quick, his judgment true :
That the most learn’d with shame confess:
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 prose, 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 too 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 sprightliness 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 unçouth or obsolete.

“ He who writes much, will not easily escape a

s Pope remarked to Mr. Spence, that.“ Mr. Dryden always uses proper language, natural, lively, and fitted to the subject : it is scarce ever too high or too low; never perhaps, except in his plays."-Spence's AnecDOTES.

manner; such a recurrence of particular modes as may be easily noted. Dryden is always another and the same ; 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 style 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 overcharged resemblance.”

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