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"piece." It is introduced by a discourse on the grounds of criticism in tra"gedy," to which I suspect that Rymer's book had given occasion.

The Spanish Fryar (16831) is a tragi-comedy eminent for the happy coincidence and coalition of the two plots. As it was written against the Papists, it would naturally at that time have friends and enemies; and partly by the popularity which it obtained at first, and partly by the real power both of the serious and risible part, it continued long a favourite of the publick.

It was Dryden's opinion, at least for some time, and he maintains it in the dedication of this play, that the drama required an alteration of comick and tragick scenes, and that it is necessary to mitigate by alleviations of merriment the pressure of ponderous events, and the fatigue of toilsome passions. "Whoever," says he, “cannot perform both parts, is but half a writer for the stage." The Duke of Guise, a tragedy (1683), written in conjunction with Lee, as Oedipus had been before, seems to deserve notice only for the offence which it gave to the remnant of the Covenanters, and in general to the enemies of the court, who attacked him with great violence, and were answered by him ; though at last he seems to withdraw from the conflict by transferring the greater part of the blame or merit to his partner. It happened that a contract had been made between them, by which they were to join in writing a play; and "he happened," says Dryden, "to claim the promise just upon the finishing "of a poem, when I would have been glad of a little respite.-Two thirds of it "belonged to him; and to me only the first scene of the play, the whole "fourth act, and the first half or somewhat more of the fifth."

This was a play written professedly for the party of the duke of York, whose succession was then opposed. A parallel is intended between the Leaguers of France and the Covenanters of England; and this intention produced the controversy.

Albion and Albianus (1685) is a musical drama or opera written, like the Duke of Guise, against the Republicans. With what success it was performed, I have not found*.

The State of Innocence and Fall of Man (1675) is termed by him an opera : it is rather a tragedy in heroïck rhyme, but of which the personages are such as cannot decently be exhibited on the stage. Some such production was foreseen by Marvel, who writes thus to Milton:

Vol. I.

Or if a work so infinite be spann'd,

Jealous I was least some less skilful hand,

(Such as disquiet always what is well,
And by ill imitating would excel,)

Might hence presume the whole creation's day,

To change in scenes, and show it in a play.

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Downes says, it was performed on a very unlucky day, viz. that on which the duke of Mon mouth landed in the west; and he intimates that the consternaion into which the kingdom was thrown by this event, was a reason why it was performed but six times and was in general ill received. H.

It is another of his hasty productions; for the heat of his imagination raised it in a month.

This composition is addressed to the princess of Modena, then duchess of York, in a strain of flattery which disgraces genius, and which it was wonderful that any man that knew the meaning of his own words could use without self-detestation. It is an attempt to mingle earth and heaven, by praising human excellence in the language of religion.

The preface contains an apology for heroick verse and poetick licence; by which is meant not any liberty taken in contracting or extending words, but the use of bold figures, and ambitious fictions.

The reason which he gives for printing what was never acted, cannot be "overpassed: I was induced to it in my own defence, many hundred copies "of it being dispersed abroad without my knowledge or consent; and every "one gathering new faults, it became at length a libel against me." These copies as they gathered faults were apparently manuscript; and he lived in an age very unlike ours, if many hundred copies of fourteen hundred lines were likely to be transcribed. An author has a right to print his own works, and needs. not seek an apology in falsehood; but he that could bear to write the dedication felt no pain in writing the preface.

Aureng Zebe (1676) is a tragedy 'founded on the actions of a great prince then reigning, but over nations not likely to employ their criticks upon the transactions of the English stage. If he had known and disliked his own character, our trade was not in those times secure from his resentment. His country is at such a distance, that the manners might be safely falsified, and the incidents feigned; for the remoteness of place is remarked, by Racine, to afford the same conveniencies to a poet as length of time.

This play is written in rhyme; and has the appearance of being the most elaborate of all the dramas: The personages are imperial; but the dialogue is often domestick, and therefore susceptible of sentiments accomodated to famiFar incidents. The complaint of life is celebrated, and there are many other Issages that may be read with pleasure.

This play is addressed to the earl of Mulgrave, afterwards duke of Buckingham, himself, if not a poet, yet a writer of verses, and a critick. In this adGESS Dryden gave the first hints of his intention to write an epic poem. He mentions his design in terms so obscure,, that he seems afraid lest his plan should be purloined, as, he says, happened to him when he told it more Fainly in his preface to Juvenal. "The design," says he, "you know is great, the story English, and neither too near the present times, nor too distant from them."

All for Love, or the World well lost (1678), a tragedy founded upon the story of Antony and Cleopatra, he tells us, "is the only play which he wrote for "himself;" the rest were given to the people. It is by universal consent accounted the work in which he has admitted the fewest improprieties of style or

character;

character; but it has one fault equal to many, though rather moral than critical, that by admitting the romantick 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 topicks of malicicus and ignorant criticism, and without any particular relation to the characters or incidents of the drama, are deservedly celebrated for their elegance and spriteliness.

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 66 part of the town."

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 (1690) is commonly esteemed either the first or second of his dramatick performances. It is too long to be all acted, and has many characters and many incidents; and though it is not without sallies of frantick 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 comick; 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 dramatick poetry.

Amphitryon is a comedy derived from Plautus and Moliere. The dedication is dated Oct. 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.”

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

* This is a mistake. It was set to music by Purcell, and well received, and is yet a favourite entertainment. H.

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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.

His last drama was Love Triumphant, a tragi-comedy. In his dedication to the earl of Salisbury, 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 1691. 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 dramatick 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 play-house 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 a singie 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 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 publick 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 Mr. Southern, he demanded three; "Not," said he, "young man, out of disrespect to you, but the players have had my goods too cheap."

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

It is certain that in one year, 1678*, he published All for Love, Assignation, two parts of the Conquest of Granada, Sir Matin Marr-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, shews 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 criticks to endure, and rivals to oppose. The two most distinguished wits of the nobility, the duke of Buckingham and earl of Rochester, declared themselves his enemies.

Buckingham characterises 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 Charterhouse, 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 enquiries which there is no opportunity of making, or is to be fetched from books and pamphlets not always at hand.

The Rehearsal was played in 1671†, and yet is represented as ridiculing passages in the Conquest of Granada ‡ and Assignation, which were not published till 1678, in Marriage Alamode published in 1673, and in Tyrannick Love of 1677. These contradictions shew how rashly satire is applied.

It is said that this farce was originally intended against Davenant, who in the first draught was characterised by the name of Bilbon. 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 brown paper applied to the bruise: how this affected Dryden does not appear. Davenant's nose had suffered such diminution by mishaps among the women, that a patch upon that part evidently denoted him.

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* Dr. Johnson in this affertion was misled by Langbaine. Only one of these plays appeared in 1678. Nor were there more than three in any one year. The dates are now added from the origi edition. E

It was published in 1672. E,

The Conquest of Granada was published in 1672, The Assignation in 1673, Marriage Alamode in the same year, and Tyrannick Love in 1672.

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