Bartholomew's Hospital, 1659," 4to. Upon comparing this rare edition with those of a later date, no material alterations occur, excepting that the spelling is modernized, and the title abridged.

Some of our author's biographers have deemed it necessary to apologise for his chusing this subject, by referring to his near connection with Sir Gilbert Pickering, the friend and confident of the deceased usurper. There is, however, little reason to suppose, that Dryden did any violence to his own inclinations, to gratify the political feelings of his kinsman and patron. He had been bred in anti-monarchical principles, and did not probably change, till the nation changed with him. The character of Cromwell was in itself an inviting theme to so true a poet. The man, of whom Clarendon said, that "even his enemies could not condemn him, without commending him at the same time," and of whose exploits Cowley has given so animating a detail; whom, in short, his very enemies could not mention without wonder, if they with-held applause,—afforded to those who favoured his politics many a point of view, in which the splendour of his character might hide its blemishes.[1] It is remarkable, however, that, in handling this theme, Dryden has observed a singular and happy delicacy. The topic of the civil war is but slightly dwelt on; and, although Cromwell is extolled, his eulogist abstains from any reflections against those, through whom he cut his way to greatness. He considers the Protector when in his meridian height, but passes over the steps by which he attained that elevation. It is also remarkable, that although Sir Gilbert Pickering was one of Richard Cromwell's council, our author abstains from any compliment to that pageant of authority; when a panegyrick upon the son was a natural topic of consolation after mourning over the loss of his father. Sprat, upon the same occasion, did not omit this obvious topic, but launched forth into prophecies, to which the event did very little credit.[2]

Notwithstanding these symptoms of caution and moderation, the subject of this first public essay of our author's poetical talents was repeatedly urged against him during the political controversies in which, through the reigns of Charles II. and his brother, he was constantly engaged. One offended antagonist carried his malice so far, as actually to reprint an edition of the Elegy, with a dull postscript, in which he makes Dryden acknowledge his alleged apostacy.[3]

Of the poetical merits of the Elegy, we have elsewhere spoken more fully. The manly and solemn march of the stanza gave promise of that acute poetical ear, which afterwards enabled Dryden to harmonize our verification. The ideas, though often far-fetched, and sometimes ambiguously expressed, indicate the strength and vigour of his mind. They give obvious tokens of a regeneration of taste; for though, in many instances, the conceits are very extravagant, yet they are, in general, much more moderate than those in the Elegy upon Lord Hastings, whose whole soul was rendered a celestial sphere, by the virtues which were stuck in it; and his body little less brilliantly ornamented by the pustules of small pox, which were first rose-buds, and then stars. The symptoms of emerging from the false taste and impertinent witticisms of Donne and Cowley, were probably more owing to our author's natural feeling of what were the proper attributes of poetry, than to any change in the taste of the age. Sprat, who also solemnizes the decease of Cromwell, runs absolutely riot in pindarics, and furnishes as excellent an instance of useless labour, and wit rendered ridiculous by misapplication, as can be found in Cowley himself. Cromwell's elevation is compared to the raising up of the brazen serpent, in the Pentateuch;[5] the classic metamorphosis of Ajax's blood into the hyacinth[6] furnishes a simile for the supposed revival of letters through the blood spilled by Cromwell; his sword is preferred to the flaming brand of the cherub, because it had made a paradise, which the other only guarded; finally, the Protector's temper grew milder in the progress of his warfare, as his armour, being made of steel, grew smoother by use.[7] It must be allowed, that there are, in Dryden's poem, many, and greatly too many, epigrammatic turns; each is, however, briefly winded up in its own stanza; while the structure of Sprat's poem enabled him to hunt down his conceits through all the doubling and winding of his long pindaric strophé. Dryden, for example, says, that Cromwell strewed the island with victories,

Sprat spins out nearly the same idea, in the following extraordinary manner:

By turning the reader's attention to this comparison betwixt the poems of Sprat and Dryden, I mean to shew, that our author was already weaning himself from that franticly witty stile of composition, which the most ingenious of his contemporaries continued to practise and admire; although he did not at once abandon it, but retrenched his quaint conceits before he finally discarded them.

The poem of Waller on Cromwell's death, excepting one unhappy and celebrated instance of the bathos,[8] is the best of his compositions; and, separately considered, must be allowed to be superior to that of Dryden, by whom he was soon after so far distanced in the poetical career.

HEROIC STANZAS

CONSECRATED

TO THE MEMORY OF

HIS HIGHNESS OLIVER,

LATE LORD PROTECTOR OF THIS COMMONWEALTH,

WRITTEN AFTER THE CELEBRATING OF HIS FUNERAL.