Cloth binding. Black lettering with gilt title on front cover.

Dryden’s discourses upon Satire and Epic Poetry belong to the latter years of his life and represent maturer thought than is to be found in his “Essay of Dramatic Poesie.” That essay, published in 1667, draws its chief interest from the time when it was written. A Dutch fleet was at the mouth of the Thames. Dryden represents himself taking a boat down the river with three friends, one of them his brother-in-law Sir Robert Howard, another Sir Charles Sedley, and another Charles Sackville Lord Buckhurst to whom, as Earl of Dorset, the “Discourse of Satire” is inscribed. They go down the river to hear the guns at sea, and judge by the sound whether the Dutch fleet be advancing or retreating. On the way they talk of the plague of Odes that will follow an English victory; their talk of verse proceeds to plays, with particular attention to a question that had been specially argued before the public between Dryden and his brother-in-law Sir Robert Howard. The question touched the use of blank verse in the drama. Dryden had decided against it as a worthless measure, and the chief feature of the Essay, which was written in dialogue, was its support of Dryden’s argument. But in that year (1667) “Paradise Lost” was published, and Milton’s blank verse was the death of Dryden’s theories. After a few years Dryden recanted his error. The “Essay of Dramatic Poesie” is interesting as a setting forth in 1667 of mistaken critical opinions which were at that time in the ascendant but had not very long to live. Dryden always wrote good masculine prose, and all his critical essays are good reading as pieces of English. His “Essay of Dramatic Poesie” is good reading as illustrative of the weakness of our literature in the days of the influence of France after the Restoration. The essays on Satire and on Epic Poetry represent also the influence of the French critical school, but represent it in a larger way, with indications of its strength as well as of its weakness. They represent also Dryden himself with a riper mind covering a larger field of thought and showing abundantly the strength and independence of his own critical judgment, while he cites familiarly and frequently the critics, little remembered and less cared for now, who then passed for the arbiters of taste.

John Dryden (19 August 9 August] 1631 – 12 May [1 May] 1700) was an English poet, literary critic, translator, and playwright who was appointed England’s first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. Romanticist writer Sir Walter Scott called him “Glorious John”.

Dryden was the dominant literary figure and influence of his age. He established the heroic couplet as a standard form of English poetry by writing successful satires, religious pieces, fables, epigrams, compliments, prologues, and plays with it; he also introduced the alexandrine and triplet into the form. In his poems, translations, and criticism, he established a poetic diction appropriate to the heroic couplet—Auden referred to him as “the master of the middle style”—that was a model for his contemporaries and for much of the 18th century. The considerable loss felt by the English literary community at his death was evident in the elegies written about him. Dryden’s heroic couplet became the dominant poetic form of the 18th century. Alexander Pope was heavily influenced by Dryden and often borrowed from him; other writers were equally influenced by Dryden and Pope. Pope famously praised Dryden’s versification in his imitation of Horace’s Epistle II.i: “Dryden taught to join / The varying pause, the full resounding line, / The long, majestic march, and energy divine.” Samuel Johnson summed up the general attitude with his remark that “the veneration with which his name is pronounced by every cultivator of English literature, is paid to him as he refined the language, improved the sentiments, and tuned the numbers of English poetry.” His poems were very widely read, and are often quoted, for instance, in Henry Fielding’s Tom Jones and Johnson’s essays.

Johnson also noted, however, that “He is, therefore, with all his variety of excellence, not often pathetic; and had so little sensibility of the power of effusions purely natural, that he did not esteem them in others. Simplicity gave him no pleasure.” Readers in the first half of the 18th century did not mind this too much, but later generations considered Dryden’s absence of sensibility a fault.

One of the first attacks on Dryden’s reputation was by William Wordsworth, who complained that Dryden’s descriptions of natural objects in his translations from Virgil were much inferior to the originals. However, several of Wordsworth’s contemporaries, such as George Crabbe, Lord Byron, and Walter Scott (who edited Dryden’s works), were still keen admirers of Dryden. Besides, Wordsworth did admire many of Dryden’s poems, and his famous “Intimations of Immortality” ode owes something stylistically to Dryden’s “Alexander’s Feast.” John Keats admired the “Fables,” and imitated them in his poem Lamia. Later 19th-century writers had little use for verse satire, Pope, or Dryden; Matthew Arnold famously dismissed them as “classics of our prose.” He did have a committed admirer in George Saintsbury, and was a prominent figure in quotation books such as Bartlett’s, but the next major poet to take an interest in Dryden was T. S. Eliot, who wrote that he was “the ancestor of nearly all that is best in the poetry of the eighteenth century,” and that “we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden.” However, in the same essay, Eliot accused Dryden of having a “commonplace mind.” Critical interest in Dryden has increased recently, but, as a relatively straightforward writer (William Empson, another modern admirer of Dryden, compared his “flat” use of language with Donne’s interest in the “echoes and recesses of words”), his work has not occasioned as much interest as Andrew Marvell’s, John Donne’s or Pope’s.

Dryden is believed to be the first person to posit that English sentences should not end in prepositions because Latin sentences cannot end in prepositions. Dryden created the proscription against preposition stranding in 1672 when he objected to Ben Jonson’s 1611 phrase, “the bodies that those souls were frighted from,” though he did not provide the rationale for his preference. Dryden often translated his writing into Latin, to check whether his writing was concise and elegant, Latin being considered an elegant and long-lived language with which to compare; then Dryden translated his writing back to English according to Latin-grammar usage. As Latin does not have sentences ending in prepositions, Dryden may have applied Latin grammar to English, thus forming the rule of no sentence-ending prepositions, subsequently adopted by other writers.

The phrase “blaze of glory” is believed to have originated in Dryden’s 1686 poem The Hind and the Panther, referring to the throne of God as a “blaze of glory that forbids the sight.”