tie, p. lxvi), was probably written to order and paid for by the widower, as the poet had been unknown to both earl and countess. In 1693 appeared a translation of Juvenal and Persius, in which Dryden was helped by his sons. The ‘Discourse on Satire’ was prefixed. A third and fourth volume of ‘Miscellanies,’ to which Dryden contributed, appeared in 1693 and 1694. He now undertook his translation of Virgil. Tradition states (Malone, 233) that the first lines were written upon a pane of glass at Chesterton House, Huntingdonshire, the seat of his cousin, John Driden (whose name was always thus spelt). Part of the translation was written at Sir William Bowyer's seat, Denham, Buckinghamshire, and part at Lord Exeter's seat, Burleigh. Great interest was taken in the work. Addison wrote the arguments of the books and an ‘Essay upon the Georgics.’ The book was published by subscription, a system of joint-stock patronage now coming into vogue. ‘Paradise Lost’ had been thus published in 1688, and Wood's ‘Athenæ Oxonienses’ in 1691. It is impossible to decide what was the precise result to Dryden. There were 101 subscriptions of five guineas, for which engravings were to be supplied, and 252 at two guineas. It does not appear how the proceeds were divided between Dryden and his publisher Tonson. It seems that Dryden received 50l. in addition for each book of his translation. Dryden also received presents from various noble patrons—especially Lord Clifford, Lord Chesterfield, and Sheffield (at this time Marquis of Normanby), to whom the ‘Pastorals,’ the ‘Georgics,’ and the ‘Æneid’ were especially dedicated. Pope, who may have known the facts from Tonson, told Spence that the total received by Dryden was 1,200l., and the estimate is not improbable. Dryden's correspondence with Tonson showed a good many bickerings during the publication. One cause of quarrel was Tonson's desire that the book should be dedicated to William III. Dryden honourably refused; but Tonson had the engravings adapted for the purpose by giving to Æneas the hooked nose of William (Dryden, Letter to his son, 3 Sept. 1697). The translation was published in July 1697 and was favourably received. It has since been admired for its own merits of style if not for its fidelity. Bentley, as it seems from a letter to Tonson, ‘cursed it heartily’ before its publication, whether from an actual perusal does not appear. Swift speaks of it contemptuously in his dedication of the ‘Tale of a Tub,’ and elsewhere refers bitterly to Dryden. The statement is made by Johnson and Deane Swift (Essay on Swift, p. 117) that the hatred was caused by Dryden's remark upon Swift's Odes, ‘Cousin Swift, you will never be a poet.’ Swift was, however, an exception to the general rule. All the distinguished young men of letters looked up with reverence to Dryden. His ‘Virgil’ was a precedent for Pope's ‘Homer,’ which eclipsed the pecuniary results and the literary reputation of the earlier poem.
Having finished Virgil, Dryden set about the work generally called his ‘Fables.’ It included versions of the first ‘Iliad,’ of some of Ovid's ‘Metamorphoses,’ and tales from Chaucer and Boccaccio. By an agreement of 20 March 1699 he was to receive two hundred and fifty guineas from Tonson for ten thousand verses, of which seven thousand five hundred were already in Tonson's hands. The whole sum was to be made up to 300l. on the appearance of a second edition, which was not reached till 1713. The volume as published contains some twelve thousand verses. From letters between Dryden and Samuel Pepys it appears that Pepys suggested the ‘Good Parson.’ Other poems added were an address to his cousin John Driden, and a dedication of ‘Palamon and Arcite’ to the Duchess of Ormonde. Dryden thought himself successful in these poems and sent them to Charles Montagu, his old antagonist, who was now chancellor of the exchequer. The letter and references in letters to his cousin, Mrs. Steward (daughter of Mrs. Creed), show that he was expecting some favour from government. He says, however, that he cannot buy favour by forsaking his religion. He had refused, though pressed by his friends, to write a complimentary poem upon Queen Mary's death in 1694. His cousin made him what he calls (to Mrs. Steward, 11 April 1700) ‘a noble present,’ and the Duke of Ormonde is said to have been equally liberal. An improbable tradition (given by Derrick) states the amount of each gift as 500l. The ‘Fables’ again show Dryden's energy of thought and language undiminished by age. Some minor poems had appeared during the same period. The most famous was the ‘Alexander's Feast.’ A musical society had been formed in London, which held an annual celebration of St. Cecilia's day (22 Nov.) The first recorded performance was in 1683. Dryden composed an ode for the occasion in 1687. (A list of all the odes, with authors and composers, is given in Malone, 276–80.). He was again invited to write the ode for 1697, and a letter to his son written in September says that he is then writing it. Birch mentions a letter (not now discoverable) in which Dryden speaks of spending a fortnight upon the task. On the other hand, Warton in his ‘Essay on Pope’ preserves a story that St. John (afterwards the famous Lord
