A History of English Literature

We need do no more than mention two or three very bad adaptations of plays
of Shakspere to the Restoration taste in which Dryden had a hand; but his
most enduring dramatic work is his 'All for Love, or the World Well Lost,'
where he treats without direct imitation, though in conscious rivalry, the
story which Shakspere used in 'Antony and Cleopatra.' The two plays afford
an excellent illustration of the contrast between the spirits of their
periods. Dryden's undoubtedly has much force and real feeling; but he
follows to a large extent the artificial rules of the pseudo-classical
French tragedies and critics. He observes the 'three unities' with
considerable closeness, and he complicates the love-action with new
elements of Restoration jealousy and questions of formal honor. Altogether,
the twentieth century reader finds in 'All for Love' a strong and skilful
play, ranking, nevertheless, with its somewhat formal rhetoric and
conventional atmosphere, far below Shakspere's less regular but
magnificently emotional and imaginative masterpiece.
A word must be added about the form of Dryden's plays. In his comedies and
in comic portions of the others he, like other English dramatists, uses
prose, for its suggestion of every-day reality. In plays of serious tone he
often turns to blank verse, and this is the meter of 'All for Love.' But
early in his dramatic career he, almost contemporaneously with other
dramatists, introduced the rimed couplet, especially in his heroic plays.
The innovation was due in part to the influence of contemporary French
tragedy, whose riming Alexandrine couplet is very similar in effect to the
English couplet. About the suitability of the English couplet to the drama
there has always been difference of critical opinion; but most English
readers feel that it too greatly interrupts the flow of the speeches and is
not capable of the dignity and power of blank verse. Dryden himself, at any
rate, finally grew tired of it and returned to blank verse.
Dryden's work in other forms of verse, also, is of high quality. In his
dramas he inserted songs whose lyric sweetness is reminiscent of the
similar songs of Fletcher. Early in his career he composed (in pentameter
quatrains of alternate rime, like Gray's 'Elegy') 'Annus Mirabilis' (The
Wonderful Year--namely 1666), a long and vigorous though far from faultless
narrative of the war with the Dutch and of the Great Fire of London. More
important are the three odes in the 'irregular Pindaric' form introduced by
Cowley. The first, that to Mrs. (i. e., Miss) Anne Killigrew, one of the
Queen's maids of honor, is full, thanks to Cowley's example, of
'metaphysical' conceits and science. The two later ones, 'Alexander's
Feast' and the 'Song for St. Cecilia's Day,' both written for a musical
society's annual festival in honor of the patron saint of their art, are
finely spirited and among the most striking, though not most delicate,
examples of onomatopoeia in all poetry.
Dryden's prose, only less important than his verse, is mostly in the form
of long critical essays, virtually the first in English, which are prefixed
to many of his plays and poems. In them, following French example, he
discusses fundamental questions of poetic art or of general esthetics. His
opinions are judicious; independent, so far as the despotic authority of
the French critics permitted, at least honest; and interesting. Most
important, perhaps, is his attitude toward the French pseudo-classical
formulas. He accepted French theory even in details which we now know to be
absurd--agreed, for instance, that even Homer wrote to enforce an abstract
moral (namely that discord destroys a state). In the field of his main
interest, further, his reason was persuaded by the pseudo-classical
arguments that English (Elizabethan) tragedy, with its violent contrasts
and irregularity, was theoretically wrong. Nevertheless his greatness