ed, as we are, that, since these ponderous folios at that time
loaded every toilette, Dryden can hardly have taken more from such
well-known sources, than the mere outline of the story. Indeed, to
a certain degree, the foundation of the plot, upon a story in the
"Cyrus," is admitted by the author. The character of the queen is
admirably drawn, and the catastrophe is brought very artfully forward;
the uncertainty, as to her final decision, continuing till the last
moment. In this, as in all our author's plays, some passages of
beautiful poetry occur in the dialogue; as, for example, the scene in
act 3d betwixt Philocles and Candiope. The characters, excepting that
of the Maiden Queen herself, are lame and uninteresting. Philocles, in
particular, has neither enough of love to make him despise ambition,
nor enough of ambition to make him break the fetters of love. We might
have admired him, had he been constant; or sympathised with him, had
he sinned against his affections, and repented; but there is nothing
interesting in the vacillations of his indecision. The comic part of
the play contains much of what was thought wit in the reign of Charles
II.; for marriage is railed against, and a male and female rake join
in extolling the pleasures of a single life, even while the usage of
the theatre compels them, at length, to put on the matrimonial
chains. It is surprising, that no venturous author, in that gay age,
concluded, by making such a couple happy in their own way. The novelty
of such a catastrophe would have insured its success; and, unlike to
the termination of the loves of Celadon and Florimel, it would have
been strictly in character.

The Maiden Queen was first acted in 1667; and printed, as the poet has
informed us, by the command of Charles himself, who graced it with the
title of HIS play. Dryden mentions the excellence of the acting, so it
was probably received very favourably.

PREFACE

It has been the ordinary practice of the French poets, to dedicate
their works of this nature to their king; especially when they have
had the least encouragement to it, by his approbation of them on the
stage. But, I confess, I want the confidence to follow their example,
though, perhaps, I have as specious pretences to it, for this piece,
as any they can boast of; it having been owned in so particular a
manner by his majesty, that he has graced it with the title of his
play, and thereby rescued it from the severity (