In these remarks we refer principally to Dryden's plays; for his poems, as we remarked in the Life, are (with the exception of a few of the Prologues, which we print under protest) in a great measure free from impurity. We pass gladly to consider him in his genius and his poetical works. The most obvious, and among the most remarkable characteristics of his poetic style, are its wondrous elasticity and ease of movement. There is never for an instant any real or apparent effort, any straining for effect, any of that "double, double, toil and trouble," by which many even of the weird cauldrons in which Genius forms her creations are disturbed and bedimmed. That power of doing everything with perfect and _conscious_ ease, which Dugald Stewart has ascribed to Barrow and to Horsley in prose, distinguished Dryden in poetry. Whether he discusses the deep questions of fate and foreknowledge in "Religio Laici," or lashes Shaftesbury in the "Medal," or pours a torrent of contempt on Shadwell in "MacFlecknoe," or describes the fire of London in the "Annus Mirabilis," or soars into lyric enthusiasm in his "Ode on the Death of Mrs Killigrew," and "Alexander's Feast," or paints a tournament in "Palamon and Arcite," or a fairy dance in the "Flower and the Leaf,"--he is always at home, and always aware that he is. His consciousness of his own powers amounts to exultation. He is like the steed who glories in that tremendous gallop which affects the spectator with fear. Indeed, we never can separate our conception of Dryden's vigorous and vaulting style from the image of a noble horse, devouring the dust of the field, clearing obstacles at a bound, taking up long leagues as a little thing, and the very strength and speed of whose motion give it at a distance the appearance of smoothness. Pope speaks of his "Long resounding march, and energy divine." Perhaps "_ease_ divine" had been words more characteristic of that almost superhuman power of language by which he makes the most obstinate materials pliant, melts down difficulties as if by the touch of magic, and, to resume the former figure, comes into the goal without a hair turned on his mane, or a single sweat-drop confessing effort or extraordinary exertion. We know no poet since Homer who can be compared to Dryden in this respect, except Scott, who occasionally, in "Marmion," and the "Lay of the Last Minstrel," exhibits the same impetuous ease and fiery fluent movement. Scott does not, however, in general, carry the same weight as the other; and the species of verse he uses, in comparison to the heroic rhyme of Dryden, gives you often the impression of a hard trot, rather than of a "long-resounding" and magnificent gallop. Scott exhibits in his poetry the soul of a warrior; but it is of a warrior of the Border--somewhat savage and coarse. Dryden can, for the nonce at least, assume the appearance, and display the spirit, of a knight of ancient chivalry--gallant, accomplished, elegant, and gay.