of frantick dignity, and more noise than meaning, yet as it makes approaches to the poffibilities of real life, and has some sentiments 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 suppose, 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 Sebaftian has always been admired.

This play was first acted in 1690, after Dryden had for fome years difcontinued dramatick poetry.

Amphitryon 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 is a tragedy, only remarkable as it occafioned an incident related in the

Guardian,

Guardian, and allufively mentioned by Dryden in his preface. As he came out from the representation, he was accofted 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, faid Dryden, perhaps is true; but give me leave to tell you, that you are no hero.

King Arthur is another opera. It was the laft work that Dryden performed for King Charles, who did not live to see it exhibited; and it does not feem to have been ever brought upon the ftage. 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 lowness of fortune to which he has voluntarily reduced himfelf, and of which he has no reason to be afhamed.

This play appeared in 1694. It is faid to have been unfuccefsful. The catastrophe, proceeding merely from a change of mind, is confeffed by the author to be defective. Thus he began and ended his dramatick labours with ill fuccefs.

From fuch a number of theatrical pieces it will be fuppofed, by moft readers, that he must have improved his fortune; at least, that fuch diligence with fuch abilities must have fet penury at defiance. But in Dryden's time the drama was very far from that univerfal approbation which it has now obtained. The playhouse was abhorred by the Puritans, and avoided by those who defired the character of seriousnefs or decency. A grave lawyer would have debased his dignity, and a young trader would have impaired his credit, by appearing in thofe manfions of diffolute licentiousness.

The

profits of the theatre, when fo many claffes of the people were deducted from the audience, were not great; and the poet had for a long time but a fingle night. The first that had two nights was Southern, and the firft that had three was Rowe. There were however,

however, in those days, arts of improving a poet's profit, which Dryden forbore to practife; 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.

Almoft every piece had a dedication, written with fuch elegance and luxuriance of praise, as neither haughtiness nor avarice could be imagined able to refist. But he feems 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 almoft new in the English language, and which he, who had confidered with great accuracy the principles of writing, was able to distribute copiously as occafions arofe. By these differtations the publick judgment must have been much improved; and Swift, who converfed with Dryden, relates that he regretted the fuccefs of his own instructions, and found his readers made fuddenly too skilful to be easily satisfied,

His prologues had fuch reputation, that for fome time a play was confidered as lefs. likely to be well received, if fome of his verfes 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, faid 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 dramatick, he had great confidence in his own fertility; for he is faid to have engaged, by contract, to furnish four plays a year.

It is certain that in one year, 1678, he published All for Love, Affignation, two parts of the Conquest of Granada, Sir Martin Marall, and the State of Innocence, fix complete plays; with a celerity of performance, which, though all Langbaine's charges of plagiarism should be allowed, fhews fuch facility of compofition, fuch readiness of language, and fuch copioufnefs of fentiment, as, fince the time of Lopez de Vega, perhaps no other author has poffeffed.

VOL. II.

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