tans. This play was written in the second Dutch war in 1673.
Troilus and Cressida (1679) is a play altered from Shakspeare; but so altered, that, even in Langbaine's opinion, "the last scene in the third act is a master-piece." It is introduced by a discourse on "the Grounds of Criticism in Tragedy," to which I suspect that Rymer's book had given occasion.
The Spanish Fryar (1681) 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 alternative 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
