Hon.  ’Tis the most glorious one that e’er was made:  And I no longer will dispute my happiness.

Rod.  Julia, you know my peevish jealousies;
I cannot promise you a better husband
Than you have had a servant.

Jul.  I receive you With all your faults.

Rod.  And think, when I am froward,
My sullen humour punishes itself: 
I’m like a day in March, sometimes o’ercast
With storms, but then the after clearness is
The greater.  The worst is, where I love most,
The tempest falls most heavy.

Jul.  Ah! what a little time to love is lent!  Yet half that time is in unkindness spent.

Rod.  That you may see some hope of my amendment,
I give my friendship to Don Manuel, ere
My brother asks, or he himself desires it.

Man.  I’ll ever cherish it.

Gons.  Since, for my sake, you become friends, my care
Shall be to keep you so.  You, captain, shall
Command this carrack, and, with her, my fortunes. 
You, my Honoria, though you have an heart
Which Julia left, yet think it not the worse;
’Tis not worn out, but polished by the wearing. 
Your merit shall her beauty’s power remove;
Beauty but gains, obligement keeps our love.

 [Exeunt.

THE
INDIAN QUEEN,
A
TRAGEDY,

WRITTEN BY THE
HON.  SIR ROBERT HOWARD,
AND
MR DRYDEN.

THE INDIAN QUEEN

The plays of Sir Robert Howard were tolerated by his contemporaries, on account of the rank, gallantry, and loyalty, of the author; at least, we are now unable to discover any better reason for their success.  The Committee, alone, kept possession of the stage till our time; and that solely supported by the humours of Teague, an honest blundering Irish footman, such as we usually see in a modern farce.  From a hint, given by Langbaine, Sir Robert Howard seems to have been suspected of frequent plagiarisms.  At any rate it is certain, that, in the composition of the Indian Queen, he was so fortunate, as to have the assistance of our great poet, who was bound to him by ties of personal obligation.

It is, of course, difficult even to guess at the share which Dryden had in the Indian Queen.  Several of the characters have a strong resemblance to others, which he afterwards drew in bolder colours.  Thus, Montezuma, who, like the hero of an ancient romance, bears fortune to any side which he pleases to espouse, is justly pointed out by Settle, as the prototype of Almanzor; though we look in vain for the glowing language, which, though sometimes bordering on burlesque, suits so well the extravagant character of the Moorish hero.  Zempoalla strongly resembles Nourmuhal in Aureng-Zebe; both shewing that high spirit of pride, with which Dryden has often invested his female characters.  The language of the Indian Queen possesses, in general,