dignity, both for sound and number, than any other verse in use among us.  By this attention to sound and rhythm, he improved upon the school of metaphysical poets, which disclaimed attention to either; but in the thought and expression itself, the style of Davenant more nearly resembled Cowley’s, than that of Denham and Waller.  The same ardour for what Dryden calls “wit-writing,” the same unceasing exercise of the memory, in search of wonderful thoughts and allusions, and the same contempt for the subject, except as the medium of displaying the author’s learning and ingenuity, marks the style of Davenant, though in a less degree than that of the metaphysical poets, and though chequered with many examples of a simpler and chaster character.  Some part of this deviation was, perhaps, owing to the nature of the stanza; for the structure of the quatrain prohibited the bard, who used it, from rambling into those digressive similes, which, in the pindaric strophe, might be pursued through endless ramifications.  If the former started an extravagant thought, or a quaint image, he was compelled to bring it to a point within his four-lined stanza.  The snake was thus scotched, though not killed; and conciseness being rendered indispensable, a great step was gained towards concentration of thought, which is necessary to the simple and to the sublime The manner of Davenant, therefore, though short-lived, and ungraced by public applause, was an 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.