There Mr. Southey takes his place again with an old Radical friend: there Jeremy Collier is at peace with Dryden: there the lion, Martin Luther, lies down with the Quaker lamb, Sewel: there Guzman d'Alfarache thinks himself fit company for Sir Charles Grandison, and has his claims admitted.

I. Lamb's thesis is borrowed from Dryden's couplet (in Absalom and Achitophel, Part I., lines 163, 164): Great wits are sure to madness near allied, And thin partitions do their bounds divide.

Johnson refers, I suppose, to a passage in Dryden which he quotes in his Dictionary under mechanick:'Many a fair precept in poetry is like a seeming demonstration in mathematicks, very specious in the diagram, but failing in the mechanick operation.'

Almanzor's speech is at the end of Dryden's Conquest of Granada: 'Move swiftly, Sun, and fly a lover's pace; Leave weeks and months behind thee in thy race.

He then repeated Dryden's celebrated lines, 'Three poets in three distant ages born,' &c. and a part of a Latin translation of it done at Oxford: he did not then say by whom.

I took up a volume of Dryden, containing the CONQUEST of GRANADA, and several other plays, of which all the dedications had such studied conclusions.

Dr. Johnson said, such conclusions were more elegant, and in addressing persons of high rank, (as when Dryden dedicated to the Duke of York,) they were likewise more respectful.

He told us, he had sent Derrick to Dryden's relations, to gather materials for his Life; and he believed Derrick had got all that he himself should have got; but it was nothing.

[in the conventional sense in which it was understood in DRYDEN's time], much better [i.e., than SHAKESPEARE]; whose wild debaucheries, and quickness of wit in repartees, no Poet can ever paint as they have done.

" "It concerns me less than any," said NEANDER, seeing he had ended, "to reply to this discourse, because when I should have proved that Verse may be natural in Plays; yet I should always be ready to confess that those which I [i.e., DRYDEN, see pp.

Compare DRYDEN's definition of Humour, with that of Lord MACAULAY, in his review of Diary and Letters of Madame D'ARBLAY (Edinburgh Review, Jan. 1843).

[10] Glorious JOHN DRYDEN!

When it shines in full height, and directly ascendant over any subject, it leaves but little shadow: but, when descended and grown low, its oblique shining renders the shadow larger than the substance; and gives the deceived person [i.e., DRYDEN] a wrong measure of his own proportion.

JOHN DRYDEN.

The first English performance made public by him, is a short copy of verses To Mr. DRYDEN, with a view particularly to his Translations.

This was soon followed by a Version of the fourth Georgic of VIRGIL; of which Mr. DRYDEN makes very honourable mention in the Postscript to his own Translation of VIRGIL's Works: wherein, I have often wondered that he did not, at the same time, acknowledge his obligation to Mr. ADDISON, for giving the Essay upon the Georgics, prefixed to Mr. DRYDEN's Translation.

This was soon followed by a Version of the fourth Georgic of VIRGIL; of which Mr. DRYDEN makes very honourable mention in the Postscript to his own Translation of VIRGIL's Works: wherein, I have often wondered that he did not, at the same time, acknowledge his obligation to Mr. ADDISON, for giving the Essay upon the Georgics, prefixed to Mr. DRYDEN's Translation.

Some have differed from Mr. Dryden in their opinion of this piece, but as the authorities who have applauded, are not so high as Mr. Dryden's single authority, it is most reasonable to conclude not much in its favour.

Some have differed from Mr. Dryden in their opinion of this piece, but as the authorities who have applauded, are not so high as Mr. Dryden's single authority, it is most reasonable to conclude not much in its favour.

His mastery of various and melodious verse was marvelous and has never been surpassed in our language; but the English of his day was changing rapidly, and in a very few years men were unable to appreciate his art, so that even to Spenser and Dryden, for example, he seemed deficient in metrical skill.

Here we have BEN JONSON, 1630-1637 WILL DAVENANT, 1637-1668 JOHN DRYDEN, 1670-1689 THOMAS SHADWELL, 1689-1692 III.

Milton, Dryden, Byron, Wordsworth, Keats, and Shelley show traces of his influence.

Of his relations to the classical writers, Dryden says, "You track him everywhere in their snow."

Dryden preferred The Silent Woman to any of the other plays.

Are we to keep any terms with the thin-visaged jade, Poverty, after she has broken down a great soul like John Dryden's?