changes of fortune, embarrassments of chivalrous love and honour, splendid verse and unnatural rants, are so held up to ridicule, as usually to fix the resemblance upon some one of his own dramas.  The “Wild Gallant,” the “Maiden Queen,” and “Tyrannic Love,” all furnish parodies as do both parts of the “Conquest of Granada,” which had been frequently acted before the representation of the “Rehearsal,” though not printed till after.  What seems more strange, the play of “Marriage a la Mode” is also alluded to, although it was neither acted nor printed till 1673, a year after the appearance of the “Rehearsal”.  But there being no parody of any particular passage, although the plot and conduct of the piece is certainly ridiculed, it seems probable, that, as Dryden often showed his plays in manuscript to those whom he accounted his patrons, the plan of “Marriage a la Mode” may have transpired in the circles which Buckingham frequented, who may thus have made it the subject of satire by anticipation.[11]

It is easy to conceive what Dryden must have felt, at beholding his labours and even his person held up to public derision, on the theatre where he had so often triumphed.  But he was too prudent to show outward signs of resentment; and in conversation allowed, that the farce had a great many good things in it, though so severe against himself.  “Yet I cannot help saying,” he added, in a well-judged tone of contempt, “that Smith and Johnson are two of the coolest and most insignificant fellows I ever met with upon the stage."[12] Many years afterwards he assigned nearly the same reason to the public for not replying to the satire.[13] But though he veiled his resentment under this mask of indifference at the time, he afterwards avowed that the exquisite character of Zimri in “Absalom and Achitophel” was laboured with so much felicitous skill as a requital in kind to the author of the “Rehearsal."[14]

The ridicule cast upon heroic plays by the “Rehearsal” did not prevent their being still exhibited.  They contained many passages of splendid poetry, which continued to delight the audience after they had laughed at Buckingham’s parody.  But the charm began to dissolve; and from the time of that representation, they seem gradually, but perceptibly, to have declined in favour.  Accordingly, Dryden did not trust to his powers of numbers in his next play, but produced the “Marriage a la Mode,” a tragi-comedy or rather a tragedy and comedy, the plots and scenes of which are intermingled, for they have no natural connection with each other.  The state-intrigue bears evident marks of hurry and inattention; and it is at least possible, that Dryden originally intended it for the subject of a proper heroic play, but, startled at the effect of Buckingham’s satire, hastily added to it some comic scenes, either lying by him, or composed on purpose.  The higher or tragic plot is not only grossly inartificial and improbable, but its incidents are so perplexed and obscure, that it