experienced his opposition.  At the representation of the “United Kingdoms,” by the Honourable Edward Howard, a brother of Sir Robert, the Duke’s active share in damning the piece was so far resented by the author and his friends that he narrowly escaped sanguinary proofs of their displeasure.[7] This specimen of irritation did not prevent his meditating an attack upon the whole body of modern dramatists; in which he had the assistance of several wits, who either respected the ancient drama, or condemned the modern style, or were willing to make common cause with a Duke against a poet-laureate.  These were, the witty author of Hudibras, who, while himself starving,[8] amused his misery by ridiculing his contemporaries; Sprat, afterwards Bishop of Rochester, then Buckingham’s chaplain; and Martin Clifford, afterwards Master of the Charter-House the author of a very scurrilous criticism upon some of Dryden’s plays, to be mentioned hereafter.  By the joint efforts of this coalition, the “Rehearsal” was produced; a lively piece, which continues to please, although the plays which it parodies are no longer read or acted, and although the zest of the personal satire which it contains has evaporated in the lapse of time.  This attack on the reigning taste was long threatened ere it was made; and the precise quarter to be assailed was varied more than once.  Prior says, that Buckingham suspended his attack till he was certain that the Earl of Dorset would not “rehearse on him again.”  The principal character was termed, in the original sketch, Bilboa, a name expressing a traveller and soldier, under which Sir Robert Howard, or Sir William Davenant, was designated The author of the “Key to the Rehearsal” affirms, that Sir Robert was the person meant; but Mr. Malone is of opinion, that Davenant is clearly pointed out by the brown paper patch, introduced in ridicule of that which Davenant really wore upon his nose.  Yet as this circumstance was retained when the character was assigned to Dryden, the poet of the “Rehearsal” may be considered as in some degree a knight of the shire, representing all the authors of the day, and uniting in his person their several absurd peculiarities.  The first sketch of the “Rehearsal” was written about 1664, but the representation was prevented by the theatres being shut upon the plague and fire of London.  When they were again opened, the plays of the Howards, of Stapleton, etc., had fallen into contempt by their own demerit, and were no longer a well-known or worthy object of ridicule.  Perhaps also there was a difficulty in bringing the piece forward, while, of the persons against whom its satire was chiefly directed, Davenant was manager of the one theatre, and Dryden a sharer in the other.  The death of Davenant probably removed this difficulty:  and the success of Dryden in the heroic drama; the boldness with which he stood forth, not only as a practiser, but as the champion of that peculiar style; a certain provoking tone of superiority in his critical essays,