Of these, Dryden was the most eminent. Amidst the crowd of authors who, during the earlier years of Charles the Second, courted notoriety by every species of absurdity and affectation, he speedily became conspicuous. No man exercised so much influence on the age. The reason is obvious. On no man did the age exercise so much influence. He was perhaps the greatest of those whom we have designated as the critical poets; and his literary career exhibited, on a reduced scale, the whole history of the school to which he belonged,--the rudeness and extravagance of its infancy,--the propriety, the grace, the dignified good sense, the temperate splendour of its maturity. His imagination was torpid, till it was awakened by his judgment. He began with quaint parallels and empty mouthing. He gradually acquired the energy of the satirist, the gravity of the moralist, the rapture of the lyric poet. The revolution through which English literature has been passing, from the time of Cowley to that of Scott, may be seen in miniature within the compass of his volumes. His life divides itself into two parts. There is some debatable ground on the common frontier; but the line may be drawn with tolerable accuracy. The year 1678 is that on which we should be inclined to fix as the date of a great change in his manner. During the preceding period appeared some of his courtly panegyrics--his Annus Mirabilis, and most of his plays; indeed, all his rhyming tragedies. To the subsequent period belong his best dramas,--All for Love, the Spanish Friar, and Sebastian,--his satires, his translations, his didactic poems, his fables, and his odes.