are both striking.--The character of Charles; his wit, parts, and powers of conversation; his gentle manners, and firmness of disposition, which, like a well-wrought blade, kept, even in yielding, the native toughness of the steel,--are all themes of panegyric, which, though perhaps exaggerated, are well-chosen, and exquisitely brought out. It is indeed a peculiar attribute of Dryden's praise, that it is always appropriate; while the gross adulation of his contemporaries gave indiscriminately the same broad features to all their subjects, and thereby very often converted their intended panegyric into satire, not the less bitter because undesigned. Dryden, for instance, in this whole poem has never once mentioned the queen; sensible that the gaiety of Charles' life, and his frequent amours, rendered her conjugal grief, which some of the elegiasts chose to describe in terms approaching to blasphemy, an apocryphal, as well as a delicate theme.[40] He knew, that praise, to do honour to the giver and receiver, must either have a real foundation in desert, or at least what, by the skilful management of the poet, may be easily represented as such. Having discussed the melancholy part of his subject, the poet, according to the approved custom in such cases, finds cause for rejoicing in the succession of James, as he had mourned over the death of his predecessor. From his firmness of character, and supposed military talents, the poet prophesies a warlike and victorious reign: a sad instance how seldom the poetic and prophetic character, so often claimed, are united in the same individual! for James, as is well known, far from conquering foreign kingdoms, did not draw the sword even to defend his own. But very different events were expected, and augured, by the shoal of versifiers, who now rushed forwards to gratulate his accession.[41] The pindaric measure, in which the "Threnodia Augustalis" is written, contains nothing pleasing to modern ears. The rhymes are occasionally so far disjoined, that, like a fashionable married couple, they have nothing of union but the name. The inequalities of the verse are also violent, and remind us of ascending a broken and unequal stair-case. But the age had been accustomed to this rythm, which, however improperly, was considered as a genuine imitation of the style of Pindar. It must also be owned, that wherever, for a little way, Dryden uses a more regular measure, he displays all his usual command of harmony. The thirteenth stanza, for example, is as happily distinguished by melody of rhyme, as we have already observed it is eminent in beauty of poetry. The Latin title of this poem, like that of the _Religio Laici_, savours somewhat of affectation; and has been taxed by Johnson as not strictly classical, a more unpardonable fault.[42]