as engaged with his great translation, he found two
months' leisure to execute a prose version of Fresnoy's "Art of
Painting," to which he added an ingenious Preface, the work of twelve
mornings, containing a parallel between that art and poetry; of which
Mason has said, that though too superficial to stand the test of strict
criticism, yet it will always give pleasure to readers of taste, even
when it fails to convince their judgment. This version appeared in 1695.
Mr. Malone conjectures that our author was engaged in this task by his
friends Closterman, and Sir Godfrey Kneller, artists, who had been
active in procuring subscriptions for his Virgil. He also wrote a "Life
of Lucian," for a translation of his works, by Mr. Walter Moyle, Sir
Henry Shere, and other gentlemen of pretension to learning. This
version, although it did not appear till after his death, and although
he executed no part of the translation, still retains the title of
"Dryden's Lucian."

There was one event of political importance which occurred in December
1695, and which the public seem to have expected should have employed
the pen of Dryden;--this was the death of Mary, wife of William the
Third. It is difficult to conceive in what manner the poet laureate of
the unfortunate James could have treated the memory of his daughter.
Satire was dangerous, and had indeed been renounced by the poet; and
panegyric was contrary to the principles for which he was suffering.
Yet, among the swarm of rhymers who thrust themselves upon the nation on
that mournful occasion, there are few who do not call, with friendly or
unfriendly voice, upon our poet to break silence.[23] But the voice of
praise and censure was heard in vain, and Dryden's only interference
was, in character of the first judge of his time, to award the prize to
the Duke of Devonshire, as author of the best poem composed on occasion
of the Queen's death.[24]

Virgil was hardly finished, when our author distinguished himself by the
immortal Ode to Saint Cecilia, commonly called "Alexander's Feast."
There is some difference of evidence concerning the time occupied in
this splendid task. He had been solicited to undertake it by the
stewards of the Musical Meeting, which had for several years met to
celebrate the feast of St. Cecilia, their patroness, and whom he had
formerly gratified by a similar performance. In September 1697, Dryden
writes to his son:--"In the meantime, I am writing a song for S