verses to the great, or doing literary drudgery for the bookseller. His
own genius would probably have directed him to the ambitious labours of
an epic poem; but for this the age afforded little encouragement.
"Gondibert," the style of which, Dryden certainly both admired and
copied, became a martyr to the raillery of the critics; and to fill up
the measure of shame, the "Paradise Lost" fell still-born from the
press. This last instance of bad taste had not, it is true, yet taken
place; but the men who were guilty of it, were then living under
Dryden's observation and their manners and habits could not fail to
teach him, to anticipate the little encouragement they were likely to
afford to the loftier labours of poetry. One only line remained, in
which poetical talents might exert themselves, with some chance of
procuring their possessor's reward, or at least maintenance, and this
was dramatic composition. To this Dryden sedulously applied himself,
with various success, for many years. But before proceeding to trace the
history of his dramatic career, I proceed to notice such pieces of his
poetry, as exhibit marks of his earlier style of composition.

The victory gained by the Duke of York over the Dutch fleet on the 3d of
June 1665, and his Duchess's subsequent journey into the north,
furnished Dryden with the subject of a few occasional verses; in which
the style of Waller (who came forth with a poem on the same subject) is
successfully imitated. In addressing her grace, the poet suppresses all
the horrors of the battle, and turns her eyes upon the splendour of a
victory, for which the kingdom was indebted to her husband's valour, and
her "chaste vows." In these verses, not the least vestige of
metaphysical wit can be traced; and they were accordingly censured, as
wanting height of fancy, and dignity of words. This criticism Dryden
refuted, by alleging, that he had succeeded in what he did attempt, in
the softness of expression and smoothness of the measure (the