Look to it, Gods; for you the aggressors are: Keep you your rain and sunshine in your skies, And I'll keep back my flame and sacrifice; Your trade of heaven will soon be at a stand, And all your goods lie dead upon your hand. Indeed, Dryden himself acknowledged, in the Dedication to the "Spanish Friar," that some verses of Maximin and Almanzor cry vengeance upon him for their extravagance, and heartily wishes them in the same fire with Statius and Chapman. But he pleads in apology, that he knew they were bad enough to please, even when he wrote them, although he is now resolved no longer to seek credit from the approbation of fools. Johnson has doubted, with apparent reason, whether this confession be sufficiently ample; and whether the poet did not really give his love to those enticing seducers of his imagination, although he contemned them in his more sober judgment. In the Prologue, he has boldly stated and justified his determination to rush forwards, and hazard the disgrace of a fall, rather than the loss of the race. Certainly a genius, which dared so greatly as that of Dryden, cannot always be expected to check its flight upon the verge of propriety; and we are often hurried along with it into the extravagant and bombast, when we can seldom discover the error till a second reading of the passage. Take, for example, the often quoted account of the death of Charinus; With a fierce haste he led our troops the way; While fiery showers of sulphur on him rained; Nor left he, till the battlements he gained: There with a forest of their darts he strove, And stood, like Capaneus defying Jove. With his broad sword the boldest beating down, While fate grew pale, lest he should win the town, And turned the iron leaves of its dark book, To make new dooms, or mend what it mistook: Till sought by many deaths, he sunk, though late, And by his fall asserted doubtful fate. Although this passage, upon examination, will be found to contain much tumid bombast, yet, like others in the same tone, it conveys, at first, a dark impression of grandeur and sublimity, which only vanishes on a critical examination. Such passages, pronounced with due emphasis on the stage, will always meet with popular applause. They are like the fanciful shapes into which a mist is often wreathed; it requires a near approach, and an attentive consideration, to discover their emptiness and vanity. On the other hand, we meet with many passages in Maximin, where the impression of sublimity becomes more deep, in proportion to the attention we bestow on them. Such is the speech of St Catharine to her mother: