HKB
bitter personalities; he blends and combines the two methods most effectively. Every one of his brisk, nervous couplets carries a sting; every distich is a sound box on the ear.
We reach now a most interesting period in Dryden's career and one that has provoked much controversy. In 1681 he published a long argument in verse, entitled Religio Laici (the Religion of a Layman), in which he states his religious faith and his adherence to the Church of England. When King James came to the throne in 1685 he made an immediate attempt to establish the Roman Catholic faith; and now Dryden, too, turned Romanist, and in 1687 supported his new faith in the long poetical allegory, the Hind and the Panther. Of course his enemies cried turncoat; and it certainly looked like it. Dryden was well into manhood before the religious instinct stirred in him, and then, once waking, he naturally walked in the beaten track. But these instincts, though roused late, possessed the poet's impetuosity; and it was merely a natural intensifying of the same impulse that had brought him into the Church of England, which carried him to a more pronounced religious manifestation, and landed him in the Church of Rome. His sincerity is certainly backed by his acts, for when James had fled, and the staunch Protestants William and Mary held the throne, he absolutely refused to recant, and sacrificed his positions and emoluments. He was stripped of his royal offices and pensions, and, bitter humiliation, the laurel, torn from his brow, was placed on the head of that scorned jangler in verse, Shadwell.
Deprived now of royal patronage and pensions, Dryden turned again to the stage, his old-time purse-filler; and he produced two of his best plays, Don Sebastian and Amphitryon. The rest of his life, however, was to be spent, not with the drama, but in translation and paraphrase. Since 1684 he had several times published Miscellanies, collections of verse in which had appeared fragments of translations. With that indefatigable energy which characterized him, he now devoted himself to sustained effort. In 1693 he published a translation of Juvenal, and in the same year began his translation of Virgil, which was published in 1697. The work was sold by subscription, and the poet was fairly well paid. Dryden's translations are by no means exact; but he caught the spirit of his poet, and carried something of it into his own effective verse.
Dryden was not great in original work, but he was particularly happy in adaptation; and so it happened that his best play, All for Love, was modeled on Shakspere's Antony and Cleopatra, and his best poem, Palamon and Arcite, was a paraphrase of the Knight's Tale of Chaucer. Contrary to the general taste of his age, he had long felt and often expressed great admiration for the fourteenth-century poet. His work on Ovid had first turned his thought to Chaucer, he tells us, and by association he linked with him Boccaccio. As his life drew near its close he turned to those famous old story-tellers, and in the Fables gave us paraphrases in verse of eight of their most delightful tales, with translations from Homer and Ovid, a verse letter to his kinsman John Driden, his second St. Cedlia's Ode, entitled Alexander's Feast*, and an *Epitaph.
The Fables were published in 1700. They were his last work. Friends of the poet, and they were legion, busied themselves at the beginning of that year in the arrangement of an elaborate benefit performance for him at the Duke's Theater; but Dryden did not live to enjoy the compliment. He suffered severely from gout; a lack of proper treatment induced mortification, which spread rapidly, and in the early morning of the first of May, 1700, he died.