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Settle also published a piece called The Medal Revers'd, published 1681; this was an answer to a poem of Dryden's called The Medal, occasioned by the bill against the earl of Shaftsbury being found ignoramus at the Old Baily, upon which the Whig party made bonfires, and ordered a medal to be struck in commemoration of that event.
But the Father still continuing in the same humble posture, hugging and kissing the crucifix, was half an hour praying with his hands across his breast, and myself joining with him in thanksgiving to God for so evident a miracle; after which we arose and continued on our way. Thus you have the relation of Rodriguez." Dryden's Life of St. Francis Xavier, book iii.
Dryden's performances were always hasty, either excited by some external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave.
Cromwell had more serious matters to think about than verses, while Charles might at least care as much about them as it was in his base good-nature to care about anything but loose women and spaniels. Dryden's sound sense, afterwards so conspicuous, shows itself even in these pieces, when we can get at it through the tangled thicket of tropical phrase.
No one, however, will now be willing to admit that the cause of dramatic idealization is indeed bound up with the heroic couplet; and a moment's thought will show the fallacy of Dryden's assumption that it is. In the first place, he takes for granted that, the further the language of the drama is removed from that of actual life, the nearer the spirit of it will approach to the ideal.
Befriended by the Earl of Dorset he proceeded to Camb., and while there wrote, jointly with Charles Montague, The Town and Country Mouse, a burlesque of Dryden's Hind and Panther.
The tone of the discussion is admirable, midway between bookishness and talk, and the fairness with which each side of the argument is treated shows the breadth of Dryden's mind perhaps better than any other one piece of his writing. There are no men of straw set up to be knocked down again, as there commonly are in debates conducted upon this plan.
And accordingly they appeared, duly tagged, in Dryden's operatic masque, the State of Innocence. In this startling conjunction we have the two ages in a nutshell: the Commonwealth was an epic, the Restoration an opera. The literary period covered by the life of Pope, 1688-1744, is marked off by no distinct line from the generation before it.
LIFE. Dryden's life contains so many conflicting elements of greatness and littleness that the biographer is continually taken away from the facts, which are his chief concern, to judge motives, which are manifestly outside his knowledge and business.
What he has said just before this about Butler is worth noting. Butler had had a chief hand in the "Rehearsal," but Dryden had no grudges where the question was of giving its just praise to merit. Dryden's poem has nowhere so much meaning in so small space as Davenant, when he says of the sense of honor that, "Like Power, it grows to nothing, growing less."
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