The State of Innocence and Fall of Man (1675) is termed by him an opera: it is rather a tragedy in heroick 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:

"Or if a work so infinite be spann'd,

Jealous I was lest 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 shew it in a play."

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 Dutchess 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 fictions and ambitious figures.

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 coun

try is at such a distance, that the manners might be safely falsified, and the incidents feigned; for 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 accommodated to familiar incidents. The complaint of life is celebrated; and there are many other passages that may be read with plea

sure.

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 address Dryden gave the first hints of his intention to write an epick 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 plainly in his preface to Juve

nal.

"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; 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 malicious 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 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 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 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 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 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

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

H.

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