The ridicule cast upon heroic plays by the «Rehearsal,» did not prevent their being still exhibited. They contained many passages of splendid poetry, which continued to delight the audience after they had laughed at Buckingham's parody. But the charm began to dissolve; and from the time of that representation, they seem gradually, but perceptibly, to have declined in favour. Accordingly, Dryden did not trust to his powers of numbers in his next play, but produced the Marriage à la Mode,» a tragi-comedy, or rather a tragedy and comedy, the plots and scenes of which are intermingled, for they have no natural connexion with each other. The state-intrigue bears evident marks of hurry and inattention; and it is at least possible, that Dryden originally intended it for the subject of a proper heroic play, but startled at the effect of Buckingham's satire, hastily added to it some comic scenes, either lying by him, or composed on purpose. The higher or tragic plot is not only grossly inartificial and improbable, but its incidents are

diculous enough; and he, for whom it was intended, was too witty to resent it as an injury. If I had railed, I might have suffered for it justly; but I managed my own work more happily, perhaps more dexterously. I avoided the mention of great crimes, and applied myself to the representing of blind sides, and little extravagancies; to which, the wittier a man is, he is generally the more obnoxious. It succeeded as I wished; the jest went round, and he was laughed at in his turn who began the frolic.»

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so perplexed and obscure, that it would have required much more action to detail them intelligibly. Even the language has an abridged appearance, and favours the idea, that the tragic intrigue was to have been extended into a proper heroic play, instead of occupying a spare corner in a comedy. But to make amends, the comic scenes are executed with spirit, and in a style resembling those in the «Maiden Queen." They contained much witty and fashionable raillery; and the character of Melantha is pronounced by Cibber to exhibit the most complete system of female foppery that could possibly be crowded into the tortured form of a fine lady. It was admirably acted by Mrs Montfort, afterwards Mrs Verbruggen. The piece thus supported was eminently successful; a fortunate circumstance for the King's Company, who were then in distressful circumstances. Their house in Drury-Lane had been destroyed by fire, after which disaster they were compelled to occupy the old theatre in Lincoln's-inn Fields, lately deserted by the rival company for a splendid one in Dorset Gardens. From a prologue which our author furnished, to be spoken at the opening of this house of refuge, it would seem, that even the scenes and properties of the actors had been

In one of Cibber's moods of alteration, he combined the comic scenes of these two plays into a comedy entitled «The Comical Lovers.>>

furnished by the contributions of the nobility.' Perhaps their present reduced situation was an additional reason with Dryden for turning his attention to comedy, which required less splendour of exhibition and decoration than the heroic plays.

Marriage à la Mode» was inscribed to Wilmot, Earl of Rochester, in strains of adulation not very honourable to the dedicator. But as he expresses his gratitude for Rochester's care, not only of his reputation, but of his fortune; for his solicitude to overcome the fatal modesty of poets, which leads them to prefer want to importunity; and, finally, for the good effects of his mediation in all his concerns at court; it may be supposed some recent benefit, perhaps an active share in procuring the appointment of poet-laureat, had warmed the heart of the author towards the patron. The dedication was well received, and the compliment handsomely acknowledged, as we learn by a letter from Dryden to Rochester, where he says, that the shame of being so much overpaid for an ill dedication made him almost repent of his address. But he had

«You are changed too, and your pretence to see

Is but a nobler name for charity;

Your own provisions furnish out our feasts,

While you, the founders, make yourselves the guests.»

shortly afterwards rather more substantial reasons for regretting his choice of a patron.

The same cause for abstaining from tragic composition still remaining in force, Dryden, in 1672, brought forward a comedy, called, << The Assignation, or Love in a Nunnery. › The plot was after the Spanish model. The author seems to have apprehended, and experienced, some opposition, on account of this second name; and although he deprecates, in the epilogue, the idea of its being a party play, or written to gratify the puritans with satire at the expence of the catholics,' yet he complains, in the dedication, of the number of its enemies, who came prepared to damn it on account of the title. The Duke of York having just made public profession of the Roman faith, any reflections

«Some have expected, from our bills to-day,
To find a satire in our poet's play.

The zealous rout from Coleman-street did run,
To see the story of the Friar and Nun;
Or tales, yet more ridiculous to hear,
Vouch'd by their vicar of ten pounds a-year,—
Of Nuns, who did against temptation pray,
And discipline laid on the pleasant way :
Or that, to please the malice of the town,

Our

poet should in some close cell have shown
Some sister, playing at content alone :
This they did hope; the other side did fear;
And both, you see, alike are cozen'd here.»

upon it were doubtless watched with a jealous eye. But, though guiltless in this respect, the «Assignation» had worse faults. The plot is but indifferently conducted, and was neither enlivened with gay dialogue, nor with striking character: the play, accordingly, proved unsuccessful in the representation. the «Assignation,» we cannot greatly wonder at this failure, still, considering the plays which succeeded about the same time, we may be disposed to admit, that the weight of a party was thrown into the scale against its reception. Buckingham, who shortly af terwards published a revised edition of the «Rehearsal,» failed not to ridicule the absurd and coarse trick, by which the enamoured prince prevents his father from discovering the domino of his mistress, which had been left in his apartment.' And Dry

Yet although, upon reading

«Bayes. I remember once, in a play of mine, I set off a scene, i'gad, beyond expectation, only with a petticoat and the belly-ache.

Smith. Pray, how was that, sir?

Bayes. Why, sir, I contrived a petticoat to be brought in upon a chair (nobody knew how), into a prince's chamber, whose father was not to see it, that came in by chance.

Johns. God's-my-life, that was a notable contrivance indeed!

Smith. Ay, but, Mr Bayes, how could you contrive the belly-ache?