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Mountford has written many Prologues and Epilogues, scattered in Dryden's Miscellanies; and likewise several Songs. He seems to have had a sprightly genius, and possessed a pleasing gaiety of humour. He was killed in the year 1692; and was buried in St. Clement Danes.
Both Nonpareil and Bon Chretien are in Johnson's Dictionary; Nonpareil, is defined as a kind of apple, and Bon Chretien as a species of pear. See ante, p. 311. See ante, iv. 9. 'Dryden's contemporaries, however they reverenced his genius, left his life unwritten; and nothing therefore can be known beyond what casual mention and uncertain tradition have supplied. Johnson's Works, vii. 245.
It was his first attempt at expressing thought on paper since the days when he sought to satisfy examiners with disquisitions on Dryden's dramatic talent and other topics suited to the undergraduate mind. This was a different business. It was no longer a question of filling a sheet of foolscap with grammatical sentences, discovering synonyms for words hard to spell.
Three years later he published his last work, Fables, containing poetical paraphrases of the tales of Boccaccio and Chaucer, and the miscellaneous poems of his last years. Long prefaces were the fashion in Dryden's day, and his best critical work is found in his introductions. The preface to the Fables is generally admired as an example of the new prose style developed by Dryden and his followers.
From 1734 to 1738 Handel composed and produced a number of operatic works, the principal ones of which were "Alcina," 1735; "Arminio," 1737; and "Berenice," 1737. He also during these years wrote the magnificent music to Dryden's "Alexander's Feast," and the great funeral anthem on the occasion of Queen Caroline's death in the latter part of the year 1737.
In the autumn of 1739 Handel transferred his concerts to the smaller theatre in Lincoln's Inn Fields, where at first there seemed some hope of success. On November 17 he produced his setting of Dryden's Ode for St. Cecilia's Day; it was repeated several times, Alexander's Feast and Acis and Galatea being added to the programmes.
About the same time he composed the arguments prefixed to the several books of Dryden's Virgil; and produced an Essay on the Georgics, juvenile, superficial, and uninstructive, without much either of the scholar's learning or the critic's penetration.
The deterioration in poetry was partly compensated for by the rapid advances in prose, which needed the influences working toward artistic finish. Because of its cleverness, avoidance of long sentences, and of classical inversions, Dryden's prose is essentially modern. Defoe's Robinson Crusoe is the world's most popular story of adventure, told in simple and direct, but seemingly artless, prose.
There are fine passages in Dryden's heroic plays, passages weighty in thought and nobly sonorous in language. And one, at least, of his comedies, the Spanish Friar, is skillfully constructed. But his nature was not pliable enough for the drama, and he acknowledged that, in writing for the stage, he "forced his genius."
All for Love, one of Dryden's greatest plays, shows the delicate keenness of his satire in characterizing the cold-blooded Augustus Caesar, or Octavius, as he is there called. Antony has sent a challenge to Octavius, who replies that he has more ways than one to die. Antony rejoins: "He has more ways than one; But he would choose them all before that one. Ventidius.
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