their assistance the
sanction of supernatural powers[3]. The particular story of Malicorn
is said to be taken from a narrative in Rosset's _Histoires
Tragiques_, a work which the present editor has never seen. In the
conference between Malicorn and Melanax, Dryden has made much use of
his astrological knowledge; and its mystical terms give a solemnity to
the spirit's predictions, which was probably deepened by the poet's
secret belief in this visionary study. As he borrowed liberally from
Davila in the other parts of the play, he has not here disdained to
use the assistance of Pulci, from whose romantic poem he has
translated one or two striking passages, as the reader will find upon
consulting the notes. The last scene betwixt the necromancer and the
fiend is horribly fine: the description of the approach of the Evil
One, and the effect which his presence produces upon the attendants,
the domestic animals, and the wizard himself, is an instance, amongst
many, of the powerful interest which may be produced by a judicious
appeal to the early prejudices of superstition. I may be pardoned,
however, when I add, that such scenes are, in general, unfit for the
stage, where the actual appearance of a demon is apt to excite
emotions rather ludicrous than terrific. Accordingly, that of Dryden
failed in the representation. The circumstance, upon which the
destruction of the wizard turns, is rather puerile; but there are many
similar fables in the annals of popular superstition[4].

Lee's part of this play is, in general, very well written, and
contains less rant than he usually puts in the mouths of his
characters.

The factions have been long at rest which were so deeply agitated by
the first representation of this performance; yet some pains has been
taken to trace those points of resemblance, which gave so much offence
to one party, and triumph to the other. Many must doubtless have
escaped our notice; but enough remains to shew the singular felicity
with which Dryden, in the present instance, as in that of "Absalom and
Achitophel," could adapt the narrative of ancient or foreign
transactions to the political events of his own time, and "moralize
two meanings in one word." Altogether abstracted from this
consideration, the "Duke of Guise," as a historical play, possesses
merit amply sufficient to rescue it from the oblivion into which it
has fallen.

The play was first acted 4th December, 1682, and encountered a stormy
a