Editing John Dryden (section)

==Reputation and influence==
[[File:Gérard Edelinck - John Dryden.JPG|thumb|left|Dryden near end of his life]]

Dryden was the dominant literary figure and influence of his age. He established the [[heroic couplet]] as a standard form of English poetry by writing successful satires, religious pieces, fables, epigrams, compliments, prologues, and plays with it; he also introduced the [[alexandrine]] and triplet into the form. In his poems, translations, and criticism, he established a poetic diction appropriate to the heroic couplet—[[W. H. Auden|Auden]] referred to him as "the master of the [[middle style]]"<ref>{{cite book|first =W.H.|last= Auden|chapter=New Year Letter|title= Collected Poems|page = 202|chapter-url = https://books.google.com/books?id=0R-aO9bolKcC&pg=PA202 |editor-first = Edward|editor-last= Mendelson|editor-link=Edward Mendelson|publisher = Modern Library|date = 2007|isbn= 9780679643500}}</ref>—that was a model for his contemporaries and for much of the 18th century. The considerable loss felt by the English literary community at his death was evident in the elegies written about him.<ref>''John Dryden The Major Works'', 37</ref> Dryden's heroic couplet became the dominant poetic form of the 18th century. [[Alexander Pope]] was heavily influenced by Dryden and often borrowed from him; other writers were equally influenced by Dryden and Pope. Pope famously praised Dryden's versification in his imitation of [[Horace]]'s Epistle II.i: "Dryden taught to join / The varying pause, the full resounding line, / The long majestic march, and energy divine." [[Samuel Johnson]]<ref>{{cite book|chapter = Dryden|first= Samuel |last=Johnson|title=Samuel Johnson: The Major Works |editor-link=Donald Greene|editor-first= Donald|editor-last = Greene|page =  717|isbn = 978-0199538331|publisher = Oxford University Press|date =2009|orig-year=First Published 1779}}</ref> summed up the general attitude with his remark that "the veneration with which his name is pronounced by every cultivator of English literature, is paid to him as he refined the language, improved the sentiments, and tuned the numbers of English poetry." His poems were very widely read, and are often quoted, for instance, in [[Henry Fielding]]'s ''[[The History of Tom Jones, a Foundling|Tom Jones]]'' and Johnson's essays.

Johnson also noted, however, that "He is, therefore, with all his variety of excellence, not often pathetic; and had so little sensibility of the power of effusions purely natural, that he did not esteem them in others. Simplicity gave him no pleasure." Readers in the first half of the 18th century did not mind this too much, but later generations considered Dryden's absence of sensibility a fault.

One of the first attacks on Dryden's reputation was by [[William Wordsworth]], who complained that Dryden's descriptions of natural objects in his translations from Virgil were much inferior to the originals. However, several of Wordsworth's contemporaries, such as [[George Crabbe]], [[Lord Byron]], and [[Walter Scott]] (who edited Dryden's works), were still keen admirers of Dryden. Besides, Wordsworth did admire many of Dryden's poems, and his famous "Intimations of Immortality" ode owes something stylistically to Dryden's "[[Alexander's Feast (Dryden)|Alexander's Feast]]". [[John Keats]] admired the ''Fables'', and imitated them in his poem ''Lamia''. Later 19th-century writers had little use for verse satire, Pope, or Dryden; [[Matthew Arnold]] famously dismissed them as "classics of our prose". He did have a committed admirer in [[George Saintsbury]], and was a prominent figure in quotation books such as Bartlett's, but the next major poet to take an interest in Dryden was [[T. S. Eliot]], who wrote that he was "the ancestor of nearly all that is best in the poetry of the eighteenth century", and that "we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden."<ref>Eliot, T. S., ''John Dryden'', 305–06</ref> However, in the same essay, Eliot accused Dryden of having a "commonplace mind".  Critical interest in Dryden has increased recently, but, as a relatively straightforward writer ([[William Empson]], another modern admirer of Dryden, compared his "flat" use of language with [[John Donne|Donne]]'s interest in the "echoes and recesses of words"<ref>{{cite book|first = William|last = Empson|title = Seven Types of Ambiguity|chapter = VII|page = [https://archive.org/details/seventypesofambi0000emps/page/199 199]|url = https://archive.org/details/seventypesofambi0000emps|url-access = registration|publisher = New Directions Publishing|date= 1966 |isbn = 9780811200370}}</ref>), his work has not occasioned as much interest as [[Andrew Marvell]]'s, [[John Donne]]'s or Pope's.<ref>[[Robert M. Adams (literary scholar)|Robert M. Adams]], "The Case for Dryden", ''The New York Review of Books'' 17 March 1988</ref>

[[File:John Dryden by Sir Godfrey Kneller, Bt.jpg|thumb|upright|150px| Dryden]]

Dryden is believed to be the first person to assert that English sentences should not end in prepositions because Latin sentences cannot end in prepositions.<ref>[http://ling.kgw.tu-berlin.de/lexicography/data/B_HIST_EU.html Gilman, E. Ward (ed.). 1989. "A Brief History of English Usage", Webster's Dictionary of English Usage. Springfield, Mass.: Merriam-Webster, pp. 7a–11a], {{webarchive|url=https://web.archive.org/web/20081201152753/http://ling.kgw.tu-berlin.de/lexicography/data/B_HIST_EU.html |date=1 December 2008 }}</ref><ref>{{cite web|last=Greene|first=Robert Lane|title=Three Books for the Grammar Lover in Your Life : NPR|website=NPR.org |url=https://www.npr.org/2011/05/17/133652882/three-books-for-the-grammar-lover-in-your-life?sc=fb&cc=fp|publisher=[[National Public Radio|NPR]]|access-date=18 May 2011}}</ref> Dryden created the proscription against [[preposition stranding]] in 1672 when he objected to [[Ben Jonson]]'s 1611 phrase, 'The bodies that those souls were frighted from.' However, he did not provide the rationale for his preference.<ref>Rodney Huddleston and Geoffrey K. Pullum, 2002, The Cambridge Grammar of the English Language. Cambridge: Cambridge University Press, pp. 627ff.</ref> Dryden often translated his writing into Latin, to check whether his writing was concise and elegant, Latin being considered an elegant and long-lived language with which to compare; then Dryden translated his writing back to English according to Latin-grammar usage. As Latin does not have sentences ending in prepositions, Dryden may have applied Latin grammar to English, thus forming the rule of no sentence-ending prepositions, subsequently adopted by other writers.<ref>{{Cite book|url=https://books.google.com/books?id=3komDgAAQBAJ&q=word+by+word+kory+stamper|title=Word by Word: The Secret Life of Dictionaries|last=Stamper|first=Kory|date=1 January 2017|publisher=Knopf Doubleday Publishing Group|isbn=978-1101870945|pages=47|language=en}}</ref>

The phrase "blaze of glory" is believed to have originated in Dryden's 1686 poem ''[[The Hind and the Panther]]'', referring to the throne of God as a "blaze of glory that forbids the sight."<ref name=cresswell>{{cite book |first=Julia |last=Cresswell |title=The Cat's Pyjamas: The Penguin Book of Clichés |publisher=Penguin Books|year=2007|edition=2nd   |isbn=978-0141025162 |page=98 |url=https://books.google.com/books?id=m3MEbgED8eQC&pg=PT134 }}</ref>