character; but it has one fault equal to many, though rather moral than critical, that, by admitting the romantic omnipotence of Love, he has recommended, as laudable and worthy of imitation, that conduct which, through all ages, the good have censured as vicious, and the bad despised as foolish.

Of this play the prologue and the epilogue, though written upon the common topics of malicious and ignorant criticism, and without any particular relation to the characters or incidents of the drama, are deservedly celebrated for their elegance and sprightliness.

'Limberham, or the Kind Keeper' (1680), is a comedy, which, after the third night, was prohibited as too indecent for the stage. What gave offence, was in the printing, as the author says, altered or omitted. Dryden confesses that its indecency was objected to; but Langbaine, who yet seldom favours him, imputes its expulsion to resentment, because it so much exposed the keeping part of the town."

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Oedipus' (1679) is a tragedy formed by Dryden and Lee, in conjunction, from the works of Sophocles, Seneca, and Corneille. Dryden planned the scenes, and composed the first and third acts.

'Don Sebastian' is commonly esteemed either the first or second of his dramatic performances. It is too long to be all acted, and has many characters' and many incidents; and though it is not without sallies of frantic dignity, and more noise than meaning, yet, as it makes approaches to the possibilities of real life, and has some sentiments which leave a strong impression, it continued long to attract attention. Amidst the distresses of princes, and the vicissitudes of empire, are inserted several scenes which the writer intended for comic; but which, I suppose, that age did not much commend, and this would not endure. There are, however, passages of excellence universally acknowledged; the dispute

and the reconciliation of Dorax and Sebastian has always been admired.

This play was first acted in 1690, after Dryden had for some years discontinued dramatic poetry.

'Amphytrion' is a comedy derived from Plautus and Moliere. The dedication is dated October, 1690. This play seems to have succeeded at its first appearance; and was, I think, long considered as a very diverting entertainment.

'Cleomenes' (1692) is a tragedy, only remarkable as it occasioned an incident related in the 'Guardian,' and allusively mentioned by Dryden in his preface. As he came out from the representation, he was accosted thus by some airy stripling: Had I been left alone with a young beauty, I would not have spent my time like your Spartan.' That, Sir,' said Dryden, perhaps is true; but give me leave to tell you that you are no hero.'

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King Arthur' (1691) is another opera. It was the last work that Dryden performed for King Charles, who did not live to see it exhibited, and it does not seem to have been ever brought upon the stage'. In the dedication, to the Marquis of Halifax, there is a very elegant character of Charles, and a pleasing account of his latter life. When this was first brought upon the stage, news that the Duke of Monmouth had landed was told in the theatre; upon which the company departed, and ' Arthur' was exhibited no more 2.

His last drama was Love Triumphant,' a tragicomedy. In his dedication to the Earl of Salisbury

1 It was set to music by Purcell, and well received, and is yet a favourite entertainment.

2 This story is told of the Duke of Guise,' which, according to Downes, was acted on the day the Duke of Monmouth landed in the West, who intimates this as the reason why it was performed only six times, and ill received.

he mentions "the lowness of fortune to which he has voluntarily reduced himself, and of which he has no reason to be ashamed."

This play appeared in 1694. It is said to have been unsuccessful. The catastrophe, proceeding merely from a change of mind, is confessed by the author to be defective. Thus, he began and ended his dramatic labours with ill success.

From such a number of theatrical pieces, it will be supposed, by most readers, that he must have improved his fortune; at least, that such diligence with such abilities must have set penury at defiance. But in Dryden's time the drama was very far from that universal approbation which it has now obtained. The playhouse was abhorred by the puritans, and avoided by those who desired the character of seriousness or decency. A grave lawyer would have debased his dignity, and a young trader would have impaired his credit, by appearing in those mansions of dissolute licentiousness. The profits of the theatre, when so many classes of the people were deducted from the audience, were not great; and the poet had, for a long time, but a single night. The first that had two nights was Southern; and the first that had three was Rowe. There were, however, in those days, arts of improving a poet's profit, which Dryden forbore to practise; and a play therefore seldom produced him more than a hundred pounds, by the accumulated gain of the third night, the dedication, and the copy.

Almost every piece had a dedication, written with such elegance and luxuriance of praise, as neither haughtiness nor avarice could be imagined able to resist. But he seems to have made flattery too cheap. That praise is worth nothing of which the price is known.

To increase the value of his copies, he often accompanied his work with a preface of criticism; a

kind of learning then almost new in the English language, and which he, who had considered with great accuracy the principles of writing, was able to distribute copiously as occasions arose. By these dissertations the public judgment must have been much improved; and Swift, who conversed with Dryden, relates that he regretted the success of his own instructions, and found his readers made suddenly too skilful to be easily satisfied.

His prologues had such reputation, that for some time a play was considered as less likely to be well received, if some of his verses did not introduce it. The price of a prologue was two guineas, till, being asked to write one for Southern, he demanded three: "Not,' said he, 'young man, out of disrespect to you; but the players have had my goods too cheap.'

Though he declares, that in his own opinion his genius was not dramatic, he had great confidence in his own fertility; for he is said to have engaged, by contract, to furnish four plays a year.

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It is certain that in one year, 16783, he published All for Love,'' Assignation,' two parts of the 'Conquest of Granada,'' Sir Martin Mar-all,' and the State of Innocence,' six complete plays; with a celerity of performance, which, though all Langbaine's charges of plagiarism should be allowed, shows such facility of composition, such readiness of language, and such copiousness of sentiment, as, since the time of Lopez de Vega, perhaps no other author has ever possessed.

He did not enjoy his reputation, however great, nor his profits, however small, without molestation. He had critics to endure, and rivals to oppose. The two most distinguished wits of the nobility, the Duke

3 Dr. Johnson was misled by Langbaine. Only one of these plays appeared in 1678; nor were there more than three in any year.

of Buckingham and Earl of Rochester, declared themselves his enemies.

Buckingham characterized him, in 1671, by the name of Bayes in the 'Rehearsal;' a farce which he is said to have written with the assistance of Butler, the author of Hudibras;' Martin Clifford, of the Charter-house; and Dr. Sprat, the friend of Cowley, then his chaplain. Dryden and his friends laughed at the length of time, and the number of hands, employed upon this performance; in which, though by some artifice of action it yet keeps possession of the stage, it is not possible now to find any thing that might not have been written without so long delay, or a confederacy so numerous.

To adjust the minute events of literary history, is tedious and troublesome; it requires indeed no great force of understanding, but often depends upon inquiries which there is no opportunity of making, or is to be fetched from books and pamphlets not always at hand.

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The Rehearsal' was played in 1671, and yet is represented as ridiculing passages in the 'Conquest of Granada 4' and Assignation,' which were not published till 1678; in Marriage à-la-Mode,' published in 1673: and in 'Tyrannic Love,' in 1677. These contradictions show how rashly satire is applied.

It is said that this farce was originally intended against Davenant, who, in the first draught, was characterized by the name of Bilboa. Davenant had been a soldier and an adventurer.

There is one passage in the Rehearsal' still remaining, which seems to have related originally to Davenant. Bayes hurts his nose, and comes in with

The Conquest of Granada' and the Rehearsal' were published in 1672; The Assignation,' in 1673; ⚫ Marriage a-la-Mode' in the same year; and Tyrannic Love,' in 1670.