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and a woman, who, in the original play, had never seen a man, is in this brought acquainted with'a man that had never seen a woman.

About this time, in 1673, Dryden seems to have had his quiet much disturbed by the success of the Empress of Morocco, a tragedy written in rhyme by Elkanah Settle; which was so much applauded, as to make him think his supremacy of reputation in some danger. Settle had not only been prosperous on the stage, but, in the confidence of success, had published his play, with sculptures and a preface of defiance. Here was one offence added to another; and, for the last blast of inflammation, it was acted at Whitehall by the court-ladies.

Dryden could not now repress those emotions, which he called indignation, and others jealousy; but wrote upon the play and the dedication such criticism as malignant impatience could pour out in haste.

Of Settle he gives this character: "He's an animal of a most deplored understanding, without reading andconversation. His being is in a twilight of sense, and some glimmering of thought, which he can never fashion into wit or English. His style is boisterous and rough-hewn, his rhyme incorrigibly lewd, and his numbers perpetually harsh and ill-sounding. The little talent which he has, is fancy. He sometimes labours with a thought; but, with the pudder he makes to bring it into the world, 'tis commonly still-born; so that, for want of learning and elocution, he will never be able to express any thing either naturally or justly."

This is not very decent; yet this is one of the pages in which criticism prevails over brutal fury.

He proceeds: " He has a heavy hand at fools, and a great felicity in writing nonsense for them. Fools they will be in spite of him. His King, his two Empresses, his Villain, and his Sub-villain, nay his Hero, have all a certain natural cast of the father—their folly was born and bred in them, and something of the Elkanah will be visible."

This is Dryden's general declamation; I will not withhold from the reader a particular remark. Having gone through the first act, he says, " To conclude this act with the most rumbling piece of nonsense spoken yet:

"To flattering lightning our feign'd smiles conform, Which, back'd with thunder, do but gild a storm."

Conform a smile to lightning, make a smile imitate lightning, and flattering lightning: lightning sure is a threatening thing. And this lightning must gild a storm. Now, if I must conform my smiles to lightning, then my smiles must gild a storm too: to gild with smiles, is a new invention of gilding. And gild a storm by being backed with thunder. Thunder is part of the storm; so one part of the storm must help to gild another part, and help by baching; as if a man would gild a thing the better for being backed, or having a load upon his back. So that here is gilding by conforming, smiling, lightning, backing, and thundering. The whole is as if I should say thus: I will make my counterfeit smiles look like a flattering stone-horse, which, being backed with a trooper, does but gild the battle. I am mistaken, if nonsense is not here pretty thick sown. Sure the poet writ these two lines a-board some smack in a storm, and, being sea-sick, spewed "up a good lump of clotted nonsense at once." the world. But let us see what we can make of this stuff:

Here is perhaps a sufficient specimen; but as the pamphlet, though Dryden's, has never been thought worthy of republication, and is not easily to be found, it may gratify curiosity to quote it more largely:

"Whene'er she bleeds, He no severer a damnation needs, That dares pronounce the sentence of her death, Than the infection that attends that breath.

"That attends that breath.—The poet is at breath "again; breath can never 'scape him; and here he brings in a breath that must be infectious with pronouncing a sentence; and this sentence is not to be "pronounced till the condemned party bleeds; that "is, she must be executed first, and sentenced after; and the pronouncing of this sentence will be infectious; that is, others will catch the disease of "that sentence, and this infecting of others will torment a man's self. The whole is thus; when she bleeds, thou needest no greater hell or torment to "thyself, than infecting of others by pronouncing a sentence upon her. What hodge-podge does he make here! Never was Dutch grout such clogging, "thick, indigestible stuff. But this is but a taste to stay the stomach; we shall have a more plentiful mess presently. "Now to dish up the poet's broth, that I promised:

"For when we're dead, and our freed souls enlarg'd,
Of nature's grosser burden we're discharg'd,
Then gently, as a happy lover's sigh,
Like wand'ring meteors through the air we '11 fly,

And in our airy walk, as subtle guests,

We '11 steal into our cruel fathers' breasts,

There read their souls, and track each passion's sphere:

See how Revenge moves there, Ambition here!

And in their orbs view the dark characters

Of sieges, ruins, murders, blood, and wars.

We '11 blot out all those hideous draughts, and write

Pure and white forms; then with a radiant light

Their breasts encircle, till their passions be

Gentle as nature in its infancy;

Till, soften'd by our charms, their furies cease,

And their revenge resolves into a peace.

Thus by our death their quarrel ends,

Whom living we made foes, dead we '11 make friends."

If this be not a very liberal mess, I will refer myself to the stomach of any moderate guest. And a rare mess it is, far excelling any Westminster white-broth. It is a kind of giblet porridge, made of the giblets of a couple of young geese, stodged full of meteors, orbs, spheres, track, hideous draughts, dark characters, white forms, and radiant lights, designed not only to please appetite, and indulge luxury, but it is also physical, being an approved medicine to purge choler: for it is propounded by Morena, as a receipt to cure their fathers of their cholerick humours; and, were it written in characters as barbarous as the words, might very well pass for a doctor's bill. To conclude: it is porridge, 'tis a receipt, 'tis a pig with a pudding in the belly, 'tis 1 know not what: for, certainly, never any one that pretended to write sense, had the impudence before to put such stuff as this into the mouths of those that were to speak it before an audience, whom he did not take to be all fools; and after that to print it too, and expose it to the examination of

"For when we're dead, and our freed souls enlargM—

Here he tells us what it is to be dead; it is to have "our freed souls set free. Now, if to have a soul set free, is to be dead; then to have a freed soul set free, is to have a dead man die,

"Then gentle, as a happy lover's sigh—

They two like one sigh, and that one sigh like two wandering meteors,

"—Shall fly through the airThat is, they shall mount above like falling stars, "or else they shall skip like two jacks with lanthorns, or Will with a whisp, and Madge with a candle."

And in their airy zvalk steal into their cruel fathers' breasts, like subtle guests. So "that their fathers' breasts must be in an airy walk, an airy walk of a flier. And there they will read their souls, and track the spheres of their passions. That is, these walking fliers, Jack with a lanthorn, &c. will put on his spectacles, and fall a reading souls, and put on his pumps and fall a tracking of spheres: so that he will read and run, walk and fly, at the same time! Oh! Nimble Jack! Then he will see, how revenge

"here, how ambition there The birds will hop

about. And then view the dark characters of sieges, ruins, murders, blood, and wars, in their orbs: Track the characters to their forms! Oh! rare sport for Jack! Never was place so full of game as these breasts! You cannot stir, but flush a sphere, start a character, or unkennel an orb!"

Settle's is said to have been the first play embel

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