represents as tioned by h as the in a in CO CO ers of England; and ontroverfy. 5) is a mufical drama or Duke of Guife, against the bat fuccefs it was performed, cence and Fall of Man (1675) is opera it is rather a tragedy in out of which the perfonages are fuch ty be exhibited on the stage. Some ben was foreseen by Marvel, who writes Miton: a work fo infinite be spann'd, Might hence prefume the whole creation's day is another of his hafty productions; for the heat of his imagination raised it in a month. This compofition is addreffed to the Princefs of Modena, then Dutchess of York, in a strain of flattery which difgraces genius, and which it was wonderful that any man that knew the meaning of his own words could ufe without felf-deteftation. It is an attempt to mingle Earth and Heaven, by praifing human excellence in the language of religion. *Downes fays, it was performed on a very unlucky day, viz. that on which the Duke of Monmouth landed in the Weft; and he intimates, that the confternation into which the kingdom was thrown by this event, was a reason why it was performed but fix times, and was in general ill received. H. The The preface contains an apology for heroick verfe and poetick licence; by which is meant not any liberty taken in contracting or extending words, but the ufe of bold fictions and ambitious. figures. The reafon which he gives for printing what was never acted cannot be overpaffed: "I was induced "to it in my own defence, many hundred copies of it "being difperfed abroad without my knowledge or "confent; 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 tranfcribed. An author has a right to print his own works, and need not feek an apology in falfehood; 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 tranfactions of the English stage. If he had known and disliked his own character, our trade was not in thofe times fecure from his refentment. His country is at fuch a diftance, that the manners might be fafely falfified, and the incidents feigned; for the remoteness of place is remarked, by Racine, to afford the fame conveniencies to a poet as length of time. This play is written in rhyme; and has the ap pearance of being the most elaborate of all the dramas. The perfonages are imperial; but the dia logue is often domestick, and therefore fufceptible of fentiments accommodated to familiar incidents. The complaint of life is celebrated; and there are many other paffages that may be read with pleasure. This play is addreffed to the Earl of Mulgrave, afterwards Duke of Buckingham, himfelf, if not a poet, yet a writer of verfes, and a critick. In this address Dryden gave the first hints of his intention to write an epick poem. He mentions his defign in terms so obfcure, that he feems afraid left his plan should be purloined, as, he fays, happened to him when he told it more plainly in his preface to Juvenal. "The defign," says he, 66 you know "is great, the ftory English, and neither too "near the prefent times, nor too diftant from "them." All for Love, or the World well loft (1678), a tragedy founded upon the story of Antony and Cleopatra, he tells us, "is the only play which he 66 wrote for himself;" the reft were given to the people. It is by univeríal confent accounted the work in which he has admitted the feweft impro. prieties of ftyle or 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 cenfured as vicious, and the bad defpifed as foolish. Of this play the prologue and the epilogue, though written upon the common topicks of malicious and ignorant criticism, and without any par ticular ticular relation to the characters or incidents of the drama, are deservedly celebrated for their elegance and sprightlinefs. Limberham, or the kind Keeper (1680), is a comedy, which, after the third night, was prohibited as too indecent for the ftage. What gave offence was in the printing, as the author fays, altered or omitted. Dryden confeffes that its indecency was objected to; but Langbaine, who yet feldom favours him, imputes its expulfion to refentment, because it "fo much expofed the keeping 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 Sebaftian (1690) is commonly esteemed either the first or fecond 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 fallies of frantick dignity, and more noise than meaning, yet as it makes approaches to the poffi. bilities of real life, and has fome fentiments which' leave a strong impreffion, it continued long to attract attention. Amidst the diftreffes of princes, and the viciffitudes of empire, are inferted feveral scenes which the writer intended for comick; but which, I fuppofe, that age did not much commend, and this would not endure. There are, however, paffages of excellence univerfally acknowledged; the difpute and the reconciliation of Dorax and Sebastian has always been admired. This play was first acted in 1690, after Dryden had for fome years difcontinued dramatick poetry. Amphytrion is a comedy derived from Plautus and Moliere. The dedication is dated Oct. 1690. This play feems to have fucceeded at its first appearance; and was, I think, long confidered as a very diverting entertainment. Cleomenes (1692) is a tragedy, only remarkable as it occafioned an incident related in the Guardian, and allufively mentioned by Dryden in his preface. As he came out from the reprefentation, he was accofted thus by fome airy ftrippling: "Had I been "left alone with a young beauty, I would not "have spent my time like your Spartan." "That, "Sir," faid 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 laft work that Dryden performed for King Charles, who did not live to fee it exhibited, and it does not feem 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 pleafing 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 laft drama was Love Triumphant, a tragi-comedy. In his dedication to the Earl of Salisbury he mentions" the lownefs of fortune to which he has This is a mistake. It was fet to mufick by Purcell, and well received, and is yet a favourite entertainment. H. |