The intervention of the civil wars
greatly interrupted the study of poetry. The national attention was
called to other objects, and those who, in the former peaceful reigns,
would have perhaps distinguished themselves as poets and dramatists,
were now struggling for fame in the field, or declaiming for power in
the senate. The manners of the prevailing party, their fanatical
detestation of everything like elegant or literary amusement, their
affected horror at stage representations, which at once silenced the
theatres, and their contempt for profane learning, which degraded the
universities, all operated, during the civil wars and succeeding
usurpation, to check the pursuits of the poet, by withdrawing that
public approbation, which is the best, and often the sole, reward of his
labour. There was, at this time, a sort of interregnum in the public
taste, as well as in its government. The same poets were no doubt alive
who had distinguished themselves at the court of Charles: but Cowley and
Denham were exiled with their sovereign; Waller was awed into silence,
by the rigour of the puritanic spirit; and even the muse of Milton was
scared from him by the clamour of religious and political controversy,
and only returned, like a sincere friend, to cheer the adversity of one
who had neglected her during his career of worldly importance.[14]
During this period, the most unfavourable to literature which had
occurred for at least two centuries, Dryden, the subject of this memoir,
was gradually and silently imbibing those stores of learning, and
cultivating that fancy which was to do so much to further the
reformation of taste and poetry.
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