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He values himself upon the plan of his odes, and accuses the modern lyrical writers of gross deficiency in this respect. I laid the same accusation against Horace: he would not hear of it but waived the discussion. He called Rousseau's ODE TO FORTUNE a moral dissertation in stanzas. I spoke of Dryden's ST. CECILIA; but he did not seem familiar with our writers.

Dryden published a translation in prose of Du Fresnoy's Art of Painting, with a preface containing a parallel between painting and poetry. Mr. Pope has addressed a copy of verses to Mr. Jervas in praise of Dryden's translation. In 1697 his translation of Virgil's works came out.

Nor does Dryden's lewdness leave such a reek in the mind as the filthy cynicism of Swift, who delighted to uncover the nakedness of our common mother. It is pleasant to follow Dryden into the more congenial region of heroic plays, though here also we find him making a false start.

We must always bear in mind that Dryden lived in an age that supplied him with no ready-made inspiration, and that big phrases and images are apt to be pressed into the service when great ones do not volunteer. With this poem begins the long series of Dryden's prefaces, of which Swift made such excellent, though malicious, fun that I cannot forbear to quote it.

She stooped to push the prop into position again; noticed that it was a piece of notepaper, doubly folded; recognized John Dryden's handwriting The room whirled about her as she straightened the crumpled and discoloured sheet, and smoothed it, and grasped at one glance its contents: DEAR MR. BANNISTER: I am distressed to hear of Mrs.

Chaucer with exquisite humour exposed it and its kindred alchemy in the fourteenth century, and Ben Jonson and the author of Albumazar in the seventeenth. Nothing in Hudibras is more rich in wit and humour than the exposure of Sidrophel, and one of the best of Dryden's comedies is the Mock Astrologer.

Dryden had decided against it as a worthless measure, and the chief feature of the Essay, which was written in dialogue, was its support of Dryden's argument. But in that year "Paradise Lost" was published, and Milton's blank verse was the death of Dryden's theories. After a few years Dryden recanted his error.

I was wonderfully pleased with such a mixt kind of Furniture, as seemed very suitable both to the Lady and the Scholar, and did not know at first whether I should fancy my self in a Grotto, or in a Library. Among several that I examin'd, I very well remember these that follow. Ogleby's Virgil. Dryden's Juvenal. Cassandra. Cleopatra. Astraea. Sir Isaac Newton's Works.

In addition to these two great oratorios, our composer produced the beautiful music to Dryden's "St. Cæcilia Ode," and Milton's "L'Allegro" and "Il Penseroso." Henceforth neither praise nor blame could turn Handel from his appointed course. He was not yet popular with the musical dilettanti, but we find no more catering to an absurd taste, no more writing of silly operatic froth.

Dryden's, he protested he should not be buried in that private manner, that he would himself, with the lady Elizabeth's leave, have the honour of the interment, and would bestow a thousand pounds on a monument in the Abbey for him.