sing. Hence his former caution was diminished, and the
suspicion of his enemies increased in proportion. The choice of the
subject, the history of a Spartan prince exiled from his kingdom, and
waiting the assistance of a foreign monarch to regain it, corresponded
too nearly with that of the unfortunate James. The scene of a popular
insurrection, where the minds of a whole people were inflamed, was
liable to misinterpretation. In short, the whole story of the Spartan
Cleomenes was capable of being wrested to political and Jacobitic
purposes; and there wanted not many to aver, that to such purposes it
had been actually applied by Dryden. Neither was the state of our author
such at the time as to permit his pleading his own cause. The completion
of the piece having been interrupted by indisposition, was devolved upon
his friend Southerne, who revised and concluded the last act. The whispers
of the author's enemies in the meantime procured a prohibition, at least
a suspension, of the representation of "Cleomenes" from the lord
chamberlain. The exertions of Hyde, Earl of Rochester, who, although a
Tory, was possessed necessarily of some influence as maternal uncle to
the queen, procured a recall of this award against a play which was in
every respect truly inoffensive. But there was still a more insuperable
obstacle to its success. The plot is flat and unsatisfactory involving
no great event, and in truth being only the question, whether Cleomenes
should or should not depart upon an expedition, which appears far more
hazardous than remaining where he was. The grave and stoical character
of the hero is more suitable to the French than the English stage; nor
had the general conduct of the play that interest, or perhaps bustle,
which is necessary to fix the attention of the promiscuous audience of
London. In a theatre, where every man may, if he will, express his
dissatisfaction, in defiance of _beaux-esprits, nobles_, or
_mousquetaires_, that which is dull will seldom be long fashionable:
"Cleomenes" was accordingly coldly received. Dryden published it with a
dedication to Lord Rochester, and the Life of Cleomenes prefixed, as
translated from Plutarch by Creech, that it might appear how false those
reports were, which imputed to him the composing a Jacobite play.

Omitting, for the present, Dryden's intermediate employments, I hasten
to close his dramatic career, by mentioning, that "Love Triumphant," his
last play, was acted i