n advance towards
true taste, from the unnatural and frantic indulgence of unrestrained
fancy; and, did it claim no other merit, it possesses that of having
been twice sanctioned by the practice of Dryden, upon occasions of
uncommon solemnity.

The "_Annus Mirabilis_" evinces a considerable portion of labour and
attention; the lines and versification are highly polished, and the
expression was probably carefully corrected. Dryden as Johnson remarks,
already exercised the superiority of his genius, by recommending his own
performance, as written upon the plan of Virgil; and as no unsuccessful
effort at producing those well-wrought images and descriptions, which
create admiration, the proper object of heroic poetry. The "_Annus
Mirabilis_" may indeed be regarded as one of Dryden's most elaborate
pieces; although it is not written in his later, better, and most
peculiar style of poetry.

The poem first appeared in octavo, in 1667, and was afterwards
frequently reprinted in quarto. It was dedicated to the metropolis of
Great Britain, as represented by the lord mayor and magistrates. A
letter to Sir Robert Howard was prefixed to the poem, in which the
author explains the purpose of the work, and the difficulties which
presented themselves in the execution. And in this epistle, as a
contrast between the smooth and easy style of writing which was proper
in addressing a lady, and the exalted style of heroic, or at least
historical, poetry, he introduces the verses to the Duchess of York,
already mentioned.

The "_Annus Mirabilis_" being the last poetical work of any importance
produced by our author, until "Absalom and Achitophel," the reader may
here pause, and consider, in the progressive improvement of Dryden, the
gradual renovation of public taste. The irregular pindaric ode was now
abandoned to Arwaker, Behn, Durfey, and a few inferior authors; who
either from its tempting facility of execution, or from an affected
admiration of old times and fashions, still pestered the public with
imitations of Cowley. The rough measure of Donne (if it had any
pretension to be called a measure) was no longer tolerated, and it was
expected, even of those who wrote satires, lampoons, and occasional
verses, that their rhymes should be rhymes, both to the ear and eye; and
that they should neither adore their mistresses nor abuse their
neighbours, in lines which differed only from prose in the fashion of
printing. Thus the measure used by