John Dryden

John Dryden (19 August 1631 {9 August O.S.} – 12 May 1700 {1 May O.S.}) was an influential English poet, literary critic, translator, and playwright. He was Poet Laureate, 1668–1689.

Quotes


And in that silence we the tempest fear.
 * An horrid stillness first invades the ear,
 * Astraea Redux (1660), line 7–8.

The Mountains seem to nod their drowsy head; The little Birds in dreams their Songs repeat, And sleeping Flowers, beneath the night-dew sweat; Even Lust and Envy sleep.
 * All things are hush'd, as Nature's self lay dead,
 * The Indian Emperor (1667), Act III, scene ii.

Makes mighty things from small beginnings grow.'''
 * '''By viewing Nature, Nature's handmaid Art,
 * Annus Mirabilis (1667), stanza 155.


 * [T]he Famous Rules which the French call, Des Trois Unités, or, The Three Unities, which ought to be observ'd in every Regular Play; namely, of Time, Place, and Action.
 * Essay of Dramatick Poesie (1668) Full text online.


 * To begin then with Shakespeare; he was the man who of all Modern, and perhaps Ancient Poets, had the largest and most comprehensive soul. All the Images of Nature were still present to him, and he drew them not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learn'd; he needed not the spectacles of Books to read Nature; he look'd inwards, and found her there. I cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of Mankind. He is many times flat, insipid; his Comick wit degenerating into clenches; his serious swelling into Bombast. But he is alwayes great, when some great occasion is presented to him: no man can say he ever had a fit subject for his wit, and did not then raise himself as high above the rest of the Poets,
 * Essay of Dramatick Poesie (1668)


 * Their heavenly harps a lower strain began, and in soft music mourn the fall of man.


 * And oft with holy hymns he charm'd their ears, And music more melodious than the spheres.


 * [Music] is inarticulate poesy.
 * Tyrannick Love (1669), Preface


 * All delays are dangerous in war.
 * Tyrannick Love (1669), Act I, scene i.

Than all other pleasures are.
 * Pains of love be sweeter far
 * Tyrannick Love (1669), Act IV, scene i.


 * … not judging truth to be in nature better than falsehood, but setting a value upon both according to interest.
 * "Plutarch's Lives," Vol 1, Barnes & Noble Inc., 2006, Lysander p. 646
 * Translation from Greek originalː "τὸ ἀληθὲς οὐ φύσει τοῦ ψεύδους κρεῖττον ἡγούμενος, ἀλλ' ἑκατέρου τῇ χρείᾳ τὴν τιμὴν ὁρίζων."

To be we know not what, we know not where.'''
 * '''Death in itself is nothing; but we fear
 * Aureng-Zebe (1676), Act IV, scene i.

Yet fool'd with hope, men favour the deceit; Trust on, and think to-morrow will repay. To-morrow 's falser than the former day; Lies worse, and while it says we shall be blest With some new joys, cuts off what we possest. Strange cozenage! none would live past years again, Yet all hope pleasure in what yet remain; And from the dregs of life think to receive What the first sprightly running could not give.
 * When I consider life, 't is all a cheat.
 * Aureng-Zebe (1676), Act IV, scene i.

It pays our hopes with something still that's new.
 * 'T is not for nothing that we life pursue;
 * Aureng-Zebe (1676), Act IV, scene i.




 * A man is to be cheated into passion, but to be reasoned into truth.
 * Religio Laici (1682), Preface.

To lonely, weary, wandering travellers Is reason to the soul; and as on high Those rolling fires discover but the sky Not light us here, so reason's glimmering ray Was lent, not to assure our doubtful way, But guide us upward to a better day: And as those nightly tapers disappear When day's bright lord ascends our hemisphere, So pale grows reason at religion's sight, So dies, and so dissolves in supernatural light.
 * Dim as the borrowed beams of moon and stars
 * Religio Laici (1682).

God wou'd not leave Mankind without a way: And that the Scriptures, though not every where Free from Corruption, or intire, or clear, Are uncorrupt, sufficient, clear, intire, In all things which our needfull Faith require. '''If others in the same Glass better see 'Tis for Themselves they look, but not for me: For my Salvation must its Doom receive Not from what others, but what I believe.'''
 * More Safe, and much more modest 'tis, to say
 * Religio Laici (1682).

But good men starve for want of impudence.'''
 * '''Bold knaves thrive without one grain of sense,
 * Constantine the Great (1684), Epilogue.

The steps were higher that they took; Friends to congratulate their friends made haste, And long inveterate foes saluted as they passed.
 * Men met each other with erected look,
 * Threnodia Augustalis (1685), line 124-127.

And matter leape into the former dance; Tho' time our Life and motion cou'd restore, And make our Bodies what they were before, What gain to us wou'd all this bustle bring, The new made man wou'd be another thing; When once an interrupting pause is made, That individual Being is decay'd. We, who are dead and gone, shall bear no part In all the pleasures, nor shall feel the smart, Which to that other Mortal shall accrew, Whom of our Matter Time shall mould anew.
 * Nay, tho' our Atoms shou'd revolve by chance,
 * Sylvae (London, 1685), Translation of the Latter Part of the Third Book of Lucretius, "Against the Fear of Death", pp. 61–62.


 * Since heaven's eternal year is thine.
 * To the Pious Memory of Mrs. Anne Killegrew (1686), line 15.

Profaned thy heavenly gift of poesy!
 * O gracious God! how far have we
 * To the Pious Memory of Mrs. Anne Killegrew (1686), lines 56–57.


 * Her wit was more than man, her innocence a child.
 * To the Pious Memory of Mrs. Anne Killegrew (1686), line 70.

To grant, before we can conclude the prayer: '''Preventing angels met it half the way, And sent us back to praise, who came to pray.'''
 * Our vows are heard betimes! and Heaven takes care
 * Britannia Rediviva (1688), line 1.


 * And torture one poor word ten thousand ways.
 * Britannia Rediviva (1688), line 208.

Greece, Italy, and England did adorn. The first in loftiness of thought surpassed; The next, in majesty; in both the last. The force of Nature could no further go. To make a third, she joined the former two.
 * Three poets, in three distant ages born,
 * Under Mr. Milton's Picture (1688).


 * This is the porcelain clay of humankind.
 * Don Sebastian (1690), Act I scene i.

Can take in all, and verge enough for more.
 * I have a soul that like an ample shield
 * Don Sebastian (1690), Act I scene i.


 * A knockdown argument: 'tis but a word and a blow.
 * Amphitryon (1690), Act I scene i.


 * Whistling to keep myself from being afraid.
 * Amphitryon (1690), Act III scene iii.


 * The true Amphitryon is the Amphitryon where we dine.
 * Amphitryon (1690), Act IV scene i.

Seat of pleasures, and of loves; Venus here will choose her dwelling, And forsake her Cyprian groves.
 * Fairest Isle, all isles excelling,
 * King Arthur (1691), Act II scene v, 'Song of Venus''.


 * Truth is the foundation of all knowledge, and the cement of all societies.
 * The Character of Polybius (1692)


 * Thus all below is strength, and all above is grace.
 * Epistle to Congreve (1693), line 19.


 * Genius must be born, and never can be taught.
 * Epistle to Congreve (1693), line 60.

Against your judgment, your departed friend!
 * Be kind to my remains; and oh defend,
 * Epistle to Congreve (1693), line 72.


 * How easie is it to call Rogue and Villain, and that wittily! But how hard to make a Man appear a Fool, a Blockhead, or a Knave, without using any of those opprobrious terms! To spare the grossness of the Names, and to do the thing yet more severely, is to draw a full Face, and to make the Nose and Cheeks stand out, and yet not to employ any depth of Shadowing. This is the Mystery of that Noble Trade, which yet no Master can teach to his Apprentice: He may give the Rules, but the Scholar is never the nearer in his practice. Neither is it true, that this fineness of Raillery is offensive. A witty Man is tickl'd while he is hurt in this manner, and a Fool feels it not. The occasion of an Offence may possibly be given, but he cannot take it. If it be granted that in effect this way does more Mischief; that a Man is secretly wounded, and though he be not sensible himself, yet the malicious World will find it for him: yet there is still a vast difference betwixt the slovenly Butchering of a Man, and the fineness of a stroke that separates the Head from the Body, and leaves it standing in its place.
 * A Discourse concerning the Original and Progress of Satire (1693).

Know their own good, or knowing it, pursue.'''
 * '''Look round the habitable world: how few
 * Juvenal, Satire X (1693), lines 1–2.

For every man's a fool to that degree: All wish the dire prerogative to kill; Ev'n they would have the power who want the will.
 * I well believe, thou wouldst be great as he;
 * Juvenal, Satire X (1693), lines 156–159.


 * I am reading Jonson's verses to the memory of Shakespeare; an insolent, sparing, and invidious panegyric...
 * On "To the Memory of my Beloved, the Author, Mr. William Shakespeare: and what he hath left us” by Ben Jonson, in Discourses on Satire and Epic Poetry (1692 - 1697)

So great a poet and so good a friend.
 * Words, once my stock, are wanting to commend
 * Epistle to Peter Antony Motteux (1698), lines 54–55.


 * Lord of yourself, uncumbered with a wife.
 * Epistle to John Driden of Chesterton (1700), line 18.

Than fee the doctor for a nauseous draught. '''The wise, for cure, on exercise depend; God never made his work for man to mend.'''
 * Better to hunt in fields, for health unbought,
 * Epistle to John Driden of Chesterton (1700), lines 92–95.

As brooks make rivers, rivers run to seas.'''
 * '''Ill habits gather by unseen degrees —
 * Ovid, Metamorphoses, Book XV, The Worship of Aesculapius (1700), lines 155–156.

His spirit, as the sun the morning dew.
 * He was exhaled; his great Creator drew
 * On the Death of a Very Young Gentlemen (1700).


 * Milton's Paradise Lost is admirable; but am I therefore bound to maintain, that there are no flats amongst his elevations, when it is evident he creeps along sometimes for above an hundred lines together? Cannot I admire the height of his invention, and the strength of his expression, without defending his antiquated words, and the perpetual harshness of their sound? It is as much commendation as a man can bear, to own him excellent; all beyond it is idolatry.
 * Preface to Translations from Theocritus, Lucretius, and Horace, in Sylvæ: or, The second part of Poetical Miscellanies, published by Mr. Dryden, third edition (London, 1702).


 * A Heroick Poem, truly such, is undoubtedly the greatest Work which the Soul of Man is capable to perform.
 * The Works of Virgil translated into English verse by Mr. Dryden, Volume II (London, 1709), "Dedication", p. 213.

Now she's at rest, and so am I.
 * Here lies my wife:here let her lie!
 * Epitaph, intended for his wife


 * It is almost impossible to translate verbally and well at the same time; for the Latin (a most severe and compendious language) often expresses that in one word which either the barbarity or the narrowness of modern tongues cannot supply in more. ...But since every language is so full of its own proprieties that what is beautiful in one is often barbarous, nay, sometimes nonsense, in another, it would be unreasonable to limit a translator to the narrow compass of his author's words; it is enough if he choose out some expression which does not vitiate the sense.
 * Works of John Dryden (1803) as quoted by P. Fleury Mottelay in William Gilbert of Colchester (1893)

The Conquest of Granada (1669-1670)
Ere the base laws of servitude began''', When wild in woods the noble savage ran.
 * '''I am as free as Nature first made man,
 * Part 1, Act I, scene i.

But they ne'er pardon who have done the wrong.
 * Forgiveness to the injured does belong;
 * Part 2, Act I, scene ii.

Which silently each other's track pursue, Bright as young diamonds in their infant dew?
 * What precious drops are those
 * Part 2, Act III, scene i.

And they have kept it since by being dead.
 * Fame then was cheap, and the first comer sped;
 * Epilogue.

All for Love (1678)


As vultures wait on armies for their prey, All gaping for the carcase of a play!''' With croaking notes they bode some dire event, And follow dying poets by the scent.
 * '''What flocks of critics hover here to-day,
 * Prologue

Weeps much; fights little; but is wond'rous kind.
 * He's somewhat lewd; but a well-meaning mind;
 * Prologue

Like Hectors in at every petty fray.
 * A brave man scorns to quarrel once a day;
 * Prologue

They've need to show that they can think at all; Errors, like straws, upon the surface flow; He who would search for pearls, must dive below.''' Fops may have leave to level all they can; As pigmies would be glad to lop a man. Half-wits are fleas; so little and so light, We scarce could know they live, but that they bite.
 * '''Let those find fault whose wit's so very small,
 * Prologue

Give to your boy, your Caesar, The rattle of a globe to play withal, This gewgaw world, and put him cheaply off; I'll not be pleased with less than Cleopatra.'''
 * '''Give, you gods,
 * Act II, scene II


 * The wretched have no friends.
 * Act III, scene I

Our appetites as apt to change as theirs, And full as craving, too, and full as vain.
 * Men are but children of a larger growth;
 * Act IV, scene I


 * With how much ease believe we what we wish!
 * Cleopatra in Act IV, scene I

Œdipus (1679)

 * Whatever is, is in its causes just.
 * Act III, scene i.

As in a green old age.
 * His hair just grizzled,
 * Act III, scene i.

But fell like autumn fruit that mellowed long — Even wondered at, because he dropped no sooner. Fate seemed to wind him up for fourscore years, Yet freshly ran he on ten winters more; Till like a clock worn out with eating time, The wheels of weary life at last stood still.
 * Of no distemper, of no blast he died,
 * Act IV, scene i.

Grows cold even in the summer of her age.
 * She, though in full-blown flower of glorious beauty,
 * Act IV, scene i.

The Spanish Friar (1681)
In being mad which none but madmen know.'''
 * '''There is a pleasure sure
 * Act II, scene 1.


 * Lord of humankind.
 * Act II, scene 1.

And, dying, bless the hand that gave the blow.'''
 * '''Like a led victim, to my death I'll go,
 * Act II, scene 1.


 * Second thoughts, they say, are best.
 * Act II, scene 2.


 * He's a sure card.
 * Act II, scene 2.


 * They say everything in the world is good for something.
 * Act III, scene 2.


 * As sure as a gun.
 * Act III, scene 2.

Or break the eternal sabbath of his rest.
 * Nor can his blessed soul look down from heaven,
 * Act V, scene 2.

Absalom and Achitophel (1681)


In him alone 't was natural to please.'''
 * '''Whate’er he did was done with so much ease,
 * Pt. I line 27-28.

To raise up commonwealths and ruin kings.'''
 * '''Plots, true or false, are necessary things,
 * Pt. I line 83-84.

A name to all succeeding ages cursed. For close designs and crooked counsels fit, Sagacious, bold, and turbulent of wit, Restless, unfixed in principles and place, In power unpleased, impatient of disgrace; A fiery soul, which working out its way, Fretted the pygmy-body to decay: And o'er-informed the tenement of clay. A daring pilot in extremity; Pleased with the danger, when the waves went high He sought the storms; but for a calm unfit, Would steer too nigh the sands to boast his wit. Great wits are sure to madness near allied, And thin partitions do their bounds divide.
 * Of these the false Achitophel was first,
 * Pt. I, lines 150–164. Compare Aristotle, Problem, sect. 30: "No excellent soul is exempt from a mixture of madness"; Seneca, De Tranquillitate Animi, 15: "Nullum magnum ingenium sine mixtura dementiæ" ("There is no great genius without a tincture of madness"); Alexander Pope, An Essay on Man, epistle i. line 226: "What thin partitions sense from thought divide!".

Pleas'd with the danger, when the waves went high He sought the storms; but for a calm unfit, Would steer too nigh the sands, to boast his wit. Great wits are sure to madness near alli'd; And thin partitions do their bounds divide: Else, why should he, with wealth and honour blest, Refuse his age the needful hours of rest? Punish a body which he could not please; Bankrupt of life, yet prodigal of ease? And all to leave, what with his toil he won To that unfeather'd, two-legg'd thing, a son: Got, while his soul did huddled notions try; And born a shapeless lump, like anarchy.
 * A daring pilot in extremity;
 * Pt. I, lines 159–172.

Resolved to ruin or to rule the state.'''
 * '''In friendship false, implacable in hate,
 * Pt. I, lines 173–174.

But wild Ambition loves to slide, not stand, And Fortune's ice prefers to Virtue's land.
 * And heaven had wanted one immortal song.
 * Pt. I, lines 197–199. Compare Knolles, History (under a portrait of Mustapha I): "Greatnesse on Goodnesse loves to slide, not stand,/ And leaves, for Fortune’s ice, Vertue’s ferme land".

Some royal planet rul'd the southern sky; Thy longing country's darling and desire; Their cloudy pillar, and their guardian fire: Their second Moses, whose extended wand Divides the seas, and shows the promis'd land: Whose dawning day, in very distant age, Has exercis'd the sacred prophet's rage: The people's pray'r, the glad diviner's theme, The young men's vision, and the old men's dream!
 * Auspicious Prince! at whose nativity
 * Pt. I, lines 230–239.

The shadows lengthening as the vapours rise.
 * Behold him setting in his western skies,
 * Pt. I line 268.


 * His courage foes, his friends his truth proclaim.
 * Pt. I line 357.


 * All empire is no more than power in trust.
 * Pt. I line 411.


 * Better one suffer, than a nation grieve.
 * Pt. I line 416.

Resolve on death or conquest by the sword, Which for no less a stake than life you draw, And self-defence is Nature's eldest law.
 * Your case no tame expedients will afford,
 * Pt. I, lines 455–458.

Who think too little, and who talk too much.
 * But far more numerous was the herd of such,
 * Pt. I, lines 532–533. Compare Matthew Prior, Upon a Passage in the Scaligerana, "They always talk who never think".

Not one, but all mankind's epitome; Stiff in opinions, always in the wrong, Was everything by starts, and nothing long; But, in the course of one revolving moon, Was chemist, fiddler, statesman, and buffoon.
 * A man so various, that he seemed to be
 * Pt. I, lines 545–550.

And both, to show his judgment, in extremes; So over violent, or over civil, That every man with him was God or devil.
 * Railing and praising were his usual themes;
 * Pt. I, lines 554–557.

And peace itself is war in masquerade.
 * Thus in a pageant-show a plot is made;
 * Pt. I, lines 750–751.

The most may err as grossly as the few.
 * Nor is the people's judgment always true:
 * Pt. I, lines 781–782.


 * Large was his wealth, but larger was his heart.
 * Pt. I, line 826.

In his own worth.
 * Of ancient race by birth, but nobler yet
 * Pt. I, lines 900–901.


 * Never was patriot yet, but was a fool.
 * Pt. I, line 967.

Why am I forc’d, like Heav’n, against my mind, To make Examples of another Kind?''' Must I at length the Sword of Justice draw? Oh curst Effects of necessary Law! How ill my Fear they by my Mercy scan, Beware the Fury of a Patient Man.
 * '''Oh that my Pow'r to Saving were confin’d:
 * Pt. I, line 999–1005. Compare Publius Syrus, Maxim 289, "Furor fit læsa sæpius patientia" ("An over-taxed patience gives way to fierce anger").

Spurred boldly on, and dashed through thick and thin, Through sense and nonsense, never out nor in. Free from all meaning, whether good or bad, And in one word, heroically mad.
 * Made still a blund'ring kind of melody;
 * Pt. II, line 413.

But ought to pass for mere instinct in him: Instinct he follows and no further knows, For to write verse with him is to transpose.
 * Railing in other men may be a crime,
 * Pt. II, line 440.

For every inch that is not fool is rogue : A monstrous mass of fuul corrupted matter, As all the devils had spew'd to make the baiter. When wine has given him courage to blaspheme, He curses God, but God before curst him ; And, if man could have reason, none has more. That made his paunch so rich, and him so poor.
 * With all this bulk there's nothing lost in Og,
 * Pt. II, lines 462–469.

Mac Flecknoe (1682)
And, when fate summons, monarchs must obey.'''
 * '''All human things are subject to decay,
 * l. 1–2.

But Shadwell never deviates into sense. Some beams of wit on other souls may fall, Strike through and make a lucid interval; But Shadwell's genuine night admits no ray, His rising fogs prevail upon the day.
 * The rest to some faint meaning make pretense,
 * l. 19–24.

Some peaceful province in acrostic land. There thou mayst wings display and altars raise, And torture one poor word ten thousand ways.
 * Leave writing plays, and choose for thy command
 * l. 205–208.

Imitation of Horace (1685)
He who can call today his own; He who, secure within, can say, Tomorrow, do thy worst, for I have lived today.'''
 * '''Happy the man, and happy he alone,
 * Book III, Ode 29, lines 65–68.

The joys I have possessed, in spite of fate, are mine. '''Not heaven itself upon the past has power; But what has been, has been, and I have had my hour.'''
 * Be fair, or foul, or rain, or shine,
 * Book III, Ode 29, lines 69–72.

But when she dances in the wind, And shakes the wings and will not stay, I puff the prostitute away: The little or the much she gave is quietly resign'd: '''Content with poverty, my soul I arm; And virtue, though in rags, will keep me warm.'''
 * I can enjoy her while she's kind;
 * On Fortune; Book III, Ode 29, lines 81–87.

A Song for St. Cecilia's Day (1687)


This universal frame began: When nature underneath a heap Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high, 'Arise, ye more than dead!' Then cold, and hot, and moist, and dry, In order to their stations leap, And Music's power obey. '''From harmony, from heavenly harmony, This universal frame began: From harmony to harmony Through all the compass of the notes it ran, The diapason closing full in Man.'''
 * From harmony, from heavenly harmony,
 * St. 1.


 * What passion cannot Music raise and quell?
 * St. 2.

Excites us to arms.
 * The trumpet's loud clangor
 * St. 3.

In dying notes, discovers The woes of hopeless lovers.
 * The soft complaining flute,
 * St. 4.

This crumbling Pageant shall devour, 'The trumpet'' shall be heard on high, The dead shall live, the living die, And musick shall untune the Sky.'''
 * So, when the last and dreadful Hour
 * Grand Chorus.

The Hind and the Panther (1687)

 * She feared no danger, for she knew no sin.
 * Pt. I, line 4.


 * And doomed to death, though fated not to die.
 * Pt. I, line 8.

As to be loved needs only to be seen.'''
 * '''For truth has such a face and such a mien
 * Pt. I, lines 33–34.

The worst is that which persecutes the mind.'''
 * '''Of all the tyrannies on human kind
 * Pt. I, lines 239–240.

The first is law, the last prerogative.
 * Reason to rule, mercy to forgive:
 * Pt. I, lines 261-262.


 * And kind as kings upon their coronation day.
 * Pt. I, line 271.

Drawn from the mouldy rolls of Noah's ark.
 * Than a successive title long and dark,
 * Pt 1, line 301.


 * Too black for heav'n, and yet too white for hell.
 * Pt. I, line 343.

And each may be his own interpreter, Our airy faith will no foundation find; The word's a weathercock for every wind.
 * As long as words a different sense will bear,
 * Pt. I, lines 462–465.


 * Not only hating David, but the king.
 * Pt. I, line 512.

Not one, but all mankind’s epitome; Stiff in opinions, always in the wrong, Was everything by starts, and nothing long; But in the course of one revolving moon Was chymist, fiddler, statesman, and buffoon.
 * A man so various, that he seem’d to be
 * Pt. I, line 545. Compare Juvenal, Satire III, line 76: "Grammaticus, rhetor, geometres, pictor, aliptes,/Augur, schœnobates, medicus, magus, omnia novit" ("Grammarian, orator, geometrician; painter, gymnastic teacher, physician; fortune-teller, rope-dancer, conjurer,—he knew everything").

That every man with him was God or Devil.
 * So over violent, or over civil,
 * ''Absalom and Achitophel. Part i. Line 557.


 * His tribe were God Almighty's gentlemen.
 * Pt. I, line 645. Compare: Julius Hare, Guesses at Truth: "A Christian is God Almighty’s gentleman"; Edward Young, Night Thoughts, Night iv, line 788, "A Christian is the highest style of man".

Flows in fit words and heavenly eloquence.
 * Him of the western dome, whose weighty sense
 * Pt. I, line 868.


 * All have not the gift of martyrdom.
 * Pt. II, line 59.


 * War seldom enters but where wealth allures.
 * Pt. II, line 706.


 * Jealousy, the jaundice of the soul.
 * Pt. III, line 73.

Than a dull prospect of a distant good.
 * For present joys are more to flesh and blood
 * Pt. III, lines 364–365.

Is to hate traitors and the treason love.
 * T' abhor the makers, and their laws approve,
 * Pt. III, lines 706–707.


 * Secret guilt by silence is betrayed.
 * Pt. III, line 763.


 * Possess your soul with patience.
 * Pt. III, line 839.

He fits for fate, and first destroys their mind.
 * For those whom God to ruin has design'd,
 * Pt. III, line 2387.

Alexander’s Feast (1697)
None but the brave, None but the brave, None but the brave deserves the fair.
 * Happy, happy, happy pair!
 * l. 12–15.

The monarch hears; Assumes the god, Affects the nod, And seems to shake the spheres.
 * With ravished ears
 * l. 37–41.

Now give the hautboys breath; he comes, he comes.
 * Sound the trumpets; beat the drums...
 * l. 50–51.


 * Bacchus, ever fair and ever young.
 * l. 54.

Rich the treasure; Sweet the pleasure; Sweet is pleasure after pain.
 * Drinking is the soldier’s pleasure;
 * l. 57–60.

Fought all his battles o'er again; And thrice he routed all his foes, and thrice he slew the slain.
 * Sooth'd with the sound, the king grew vain;
 * l. 66–70.

Fallen from his high estate, And welt'ring in his blood; Deserted, at his utmost need, By those his former bounty fed, On the bare earth exposed he lies, With not a friend to close his eyes.
 * Fallen, fallen, fallen, fallen,
 * l. 77–83.


 * For pity melts the mind to love.
 * l. 96.

Soon he soothed his soul to pleasures. War, he sung, is toil and trouble; Honor but an empty bubble; Never ending, still beginning, Fighting still, and still destroying. '''If all the world be worth thy winning. Think, oh think it worth enjoying: Lovely Thaïs sits beside thee, Take the good the gods provide thee.'''
 * Softly sweet, in Lydian measures,
 * l. 97–106.


 * Sigh'd and look'd, and sigh'd again.
 * l. 120.


 * And, like another Helen, fir'd another Troy.
 * l. 154.

And sounding lyre, Could swell the soul to rage, or kindle soft desire.
 * Timotheus, to his breathing flute,
 * l. 158–159.

Or both divide the crown; He rais’d a mortal to the skies; She drew an angel down.
 * Let old Timotheus yield the prize,
 * l. 167–170.

The Works of Virgil (1697)



 * Love conquers all, and we must yield to Love.
 * Pastoral X, lines 98–99.

To lead a soft, secure, inglorious life: A country cottage near a crystal flood, A winding valley, and a lofty wood.
 * My next desire is, void of care and strife,
 * Georgic II, lines 688–691.


 * Love is lord of all, and is in all the same.
 * Georgic III, lines 380.

And haughty Juno's unrelenting hate, Expell'd and exil'd, left the Trojan shore; Long labours both by sea and land he bore.
 * Arms, and the man I sing, who, forced by Fate,
 * Aeneis, Book I, lines 1–4.

Or exercise their spite in human woe?
 * Can heav'nly minds such high resentment show,
 * Aeneis, Book I, lines 17–18.



Live, and reserve yourselves for better fate.
 * Endure the hardships of your present state,
 * Aeneis, Book I, lines 289–290.

I learn to pity woes so like my own.
 * Like you, an alien in a land unknown,
 * Aeneis, Book I, lines 889–890.

Smooth the descent, and easy is the way: But to return, and view the cheerful skies, In this the task and mighty labor lies.
 * The gates of hell are open night and day;
 * Aeneis, Book VI, lines 192–195.

Ye gods who rule the regions of the night, Ye gliding ghosts, permit me to relate The mystic wonders of your silent state!
 * Ye realms, yet unreveal'd to human sight,
 * Aeneis, Book VI, lines 374–377.


 * Fate, and the dooming gods, are deaf to tears.
 * Aeneis, Book VI, line 512.

Fables, Ancient and Modern (1700)

 * I have found, by trial, Homer a more pleasing task than Virgil (though I say not the translation will be less laborious); for the Grecian is more according to my genius, than the Latin poet.
 * Preface to the Fables




 * Chaucer followed Nature everywhere, but was never so bold to go beyond her.
 * Preface to the Fables.


 * A satirical poet is the check of the laymen on bad priests.
 * Preface to the Fables.


 * If the faults of men in orders are only to be judged among themselves, they are all in some sort parties; for, since they say the honour of their order is concerned in every member of it, how can we be sure that they will be impartial judges?
 * Preface to the Fables.


 * 'Tis sufficient to say, according to the proverb, that here is God's plenty. We have our fore-fathers and great-grandames all before us, as they were in Chaucer's days; their general characters are still remaining in mankind, and even in England, though they are call'd by other names than those of Monks and Friars, and Canons, and Lady Abbesses, and Nuns: for mankind is ever the same, and nothing lost out of nature, though everything is altered.
 * Preface to the Fables.

And none can boast sincere felicity, With equal mind, what happens, let us bear, Nor joy nor grieve too much for things beyond our care. Like pilgrims, to th' appointed place we tend; The world's an inn, and death the journey's end.'''
 * '''Since ev’ry man who lives is born to die,
 * Palamon and Arcite.

(If March beheld the first created man): And since the vernal equinox, the Sun, In Aries, twelve degrees, or more, had run; When casting up his eyes against the light, Both month, and day, and hour, he measur'd right; And told more truly than th' Ephemeris: For '''Art may err, but Nature cannot miss. Thus numbering times and seasons in his breast, His second crowing the third hour confess'd.
 * 'Twas now the month in which the world began
 * The Cock and the Fox line 445 - 457.

Whose dire effects the Grecian army found, And many a hero, king, and hardy knight, Were sent, in early youth, to shades of night.
 * The wrath of Peleus' son, O Muse, resound;
 * The First Book of Homer's Ilias

The Secular Masque (1700)
Laughing, quaffing, and unthinkable time.
 * A very merry, dancing, drinking,
 * Lines 38–39.

And let mankind agree.'''
 * '''The sword within the scabbard keep,
 * Lines 61–62.

Love will have its hour at last.'''
 * '''Calms appear, when storms are past,
 * Lines 72–73.


 * Joy rul'd the day, and Love the night.
 * Line 82.

Thy chase had a beast in view; Thy wars brought nothing about; Thy lovers were all untrue. 'Tis well an old age is out, And time to begin a new.
 * All, all of a piece throughout:
 * Lines 86–91.

Cymon and Iphigenia
The power of beauty I remember yet.'''
 * '''Old as I am, for ladies' love unfit,
 * Lines 1–2.


 * When beauty fires the blood, how love exalts the mind!
 * Line 41.

And whistled as he went, for want of thought.
 * He trudged along unknowing what he sought,
 * Lines 84-85.

And gaping mouth, that testified surprise.
 * The fool of nature stood with stupid eyes
 * Line 107.

Soon taught the sweet civilities of life.
 * Love taught him shame; and shame, with love at strife,
 * Line 133.

Sex to the last.
 * She hugged the offender, and forgave the offense:
 * Lines 367–368.

Mouths without hands; maintain'd at vast expense, In peace a charge, in war a weak defence; Stout once a month they march, a blustering band, And ever but in times of need at hand.
 * And raw in fields the rude militia swarms,
 * Line 400.

Then hasten to be drunk — the business of the day.
 * Of seeming arms to make a short essay,
 * Lines 407–408.

Bartlett's Familiar Quotations, 10th ed. (1919)



 * Madam me no madam.
 * The Wild Gallant, act ii. scene. 2.


 * Midas me no midas.
 * The Wild Gallant, act ii. scene. 1.


 * Above any Greek or Roman name.
 * Upon the Death of Lord Hastings, line 76. Compare: "Above all Greek, above all Roman fame"; Alexander Pope, Epistle I'', Book 2, line 26.

Kept idle thunder in his lifted hand.
 * And threat'ning France, plac'd like a painted Jove,
 * Annus Mirabilis, Stanza 39.

Through the harsh cadence of a rugged line.
 * Wit will shine
 * To the Memory of Mr. Oldham, line 15.

She did but dream of heaven, and she was there.
 * So softly death succeeded life in her,
 * Eleonora, Line 315.

And Jove but laughs at lovers' perjury.
 * Fool, not to know that love endures no tie,
 * Palamon and Arcite, book ii, line 758.

For one fair female, lost him half the kind.
 * And that one hunting, which the Devil design'd
 * Theodore and Honoria, line 227.

From grave to light, from pleasant to severe.
 * Happy who in his verse can gently steer
 * The Art of Poetry, canto i, line 75.

Turn'd by a gentle fire and roasted rare.
 * And new-laid eggs, which Baucis' busy care
 * Ovid, Metamorphoses, Book viii. Baucis and Philemon, Line 97.

Can draw you to her with a single hair.
 * She knows her man, and when you rant and swear,
 * Persius, Satire v, line 246.

And their own web from their own entrails spin; And when eyes meet far off, our sense is such, That, spider-like, we feel the tenderest touch.
 * Our souls sit close and silently within,
 * Mariage à la Mode, Act ii, scene 1.

At country wakes sung ballads from a cart.
 * Thespis, the first professor of our art,
 * Prologue to Lee's Sophonisba.


 * Your ignorance is the mother of your devotion to me.
 * The Maiden Queen, Act i, scene 2.


 * Burn daylight.
 * The Maiden Queen, Act ii, scene 1.


 * I am resolved to grow fat, and look young till forty.
 * The Maiden Queen, Act iii, scene 1.

Within that circle none durst walk but he.
 * But Shakespeare's magic could not copied be;
 * The Tempest, Prologue.

Quotes about Dryden

 * He had made the language his study; and though he wrote hastily, and often incorrectly, and his style is not free from faults, yet there is a richness in his diction, a copiousness, ease, and variety in his expression, which has not been surpassed by any who have come after him.
 * Hugh Blair, Lectures on Rhetoric and Belles Lettres, Vol. I (1783), Lecture XVIII, p. 378.

Thou dearest name to all the tuneful nine. What if some dull lines in cold order creep, And with his theme the poet seems to sleep? Still, when his subject rises proud to view, With equal strength the poet rises too: With strong invention, noblest vigour fraught, Thought still springs up and rises out of thought; Numbers ennobling numbers in their course, In varied sweetness flow, in varied force; The powers of genius and of judgment join, And the whole Art of Poetry is thine.
 * Here let me bend, great Dryden, at thy shrine,
 * Charles Churchill, The Apology (1761), lines 376–387


 * What is there in Dryden? Much, but above all this: he is the most masculine of our poets; his style and his rhythms lay the strongest stress of all our literature on the naked thew and sinew of the English language.
 * Gerard Manley Hopkins, letter to Robert Bridges (6 November 1887)


 * Dryden may be properly considered as the father of English criticism, as the writer who first taught us to determine upon principles the merit of composition.
 * Samuel Johnson, Lives of the English Poets (1781), "The Life of Dryden".


 * None of his prefaces were ever thought tedious. They have not the formality of a settled style, in which the first half of the sentence betrays the other. The clauses are never balanced, nor the periods modelled; every word seems to drop by chance, though it falls into its proper place. Nothing is cold or languid; the whole is airy, animated, and vigorous: what is little is gay; what is great is splendid. [...] Though all is easy, nothing is feeble; though all seems careless, there is nothing harsh; and though since his earlier works more than a century has passed they have nothing yet uncouth or obsolete.
 * Samuel Johnson, Lives of the English Poets (1781), "The Life of Dryden".


 * Of Dryden's works it was said by Pope, that he "could select from them better specimens of every mode of poetry than any other English writer could supply." Perhaps no nation ever produced a writer that enriched his language with such variety of models. To him we owe the improvement, perhaps the completion, of our metre, the refinement of our language, and much of the correctness of our sentiments. By him we are taught "sapere et fari," to think naturally and express forcibly. [...] it may be, perhaps, maintained that he was the first who joined argument with poetry. He showed us the true bounds of a translator's liberty. What was said of Rome, adorned by Augustus, may be applied by an easy metaphor to English poetry, embellished by Dryden, "lateritiam invenit, marmoream reliquit." He found it brick, and he left it marble.
 * Samuel Johnson, Lives of the English Poets (1781), "The Life of Dryden".


 * The rectitude of Dryden's mind was sufficiently shown by the dismission of his poetical prejudices, and the rejection of unnatural thoughts and rugged numbers. But Dryden never desired to apply all the judgment that he had. He wrote, and professed to write, merely for the people; and when he pleased others, he contented himself. He spent no time in struggles to rouse latent powers; he never attempted to make that better which was already good, nor often to mend what he must have known to be faulty. He wrote, as he tells us, with very little consideration; when occasion or necessity called upon him, he poured out what the present moment happened to supply, and, when once it had passed the press, ejected it from his mind; for, when he had no pecuniary interest, he had no further solicitude.
 * Samuel Johnson, Lives of the English Poets (1781), "The Life of Pope".


 * Dryden's performances were always hasty, either excited by some external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave.
 * Samuel Johnson, Lives of the English Poets (1781), "The Life of Pope".


 * . .  .  .  .  .  .  .  .  Dryden taught to join The varying verse, the full resounding line, The long majestic march, and energy divine.
 * Alexander Pope, The First Epistle of the First Book of Horace Imitated (1737), p. 16.


 * I learned versification chiefly from Dryden's works, who has improved it much beyond any of our former poets, and would probably have brought it to its perfection, had not he been unhappily obliged to write so often in haste.
 * Alexander Pope, as quoted in Observations, Anecdotes, and Characters, of Books and Men (1820) by Joseph Spence, p. 52.


 * Dryden has neither a tender heart nor a lofty sense of moral dignity: where his language is poetically impassioned it is mostly upon unpleasing subjects; such as the follies, vice, and crimes of classes of men or of individuals.
 * William Wordsworth, letter to Walter Scott (7 November 1805).