The comic part of the Spanish Friar, as it gives the first title to the play, seems to claim our first attention.  Indeed, some precedence is due to it in another point of view; for, though the tragic scenes may be matched in All for Love, Don Sebastian, and else where, the Spanish Friar contains by far the most happy of Dryden’s comic effusions.  It has, comparatively speaking, this high claim to commendation, that, although the intrigue is licentious, according to the invariable licence of the age, the language is, in general, free from the extreme and disgusting coarseness, which our author too frequently mistook for wit, or was contented to substitute in its stead.  The liveliness and even brilliancy of the dialogue, shows that Dryden, from the stores of his imagination, could, when he pleased, command that essential requisite of comedy; and that, if he has seldom succeeded, it was only because he mistook the road, or felt difficulty in travelling it.  The character of Dominic is of that broadly ludicrous nature, which was proper to the old comedy.  It would be difficult to show an ordinary conception more fully brought out.  He is, like Falstaff, a compound of sensuality and talent, finely varied by the professional traits with which it suited the author’s purpose to adorn his character.  Such an addition was, it is true, more comic than liberal; but Dryden, whose constant dislike to the clerical order glances out in many of his performances, was not likely to be scrupulous, when called upon to pourtray one of their members in his very worst colours.  To counterbalance the Friar’s scandalous propensities of every sort, and to render him an object of laughter, rather than abhorrence, the author has gifted this reprobate churchman with a large portion of wit; by means of which, and by a ready presence of mind, always indicative of energy, he preserves an ascendence over the other characters, and escapes detection and disgrace, until poetical justice, and the conclusion of the play, called for his punishment.  We have a natural indulgence for an amusing libertine; and, I believe, that, as most readers commiserate the disgrace of Falstaff, a few may be found to wish that Dominic’s penance had been of a nature more decent and more theatrical than the poet has assigned him[1].  From the dedication, as well as the prologue, it appears that Dryden, however contrary to his sentiments at a future period, was, at present, among those who held up to contempt and execration the character of the Roman catholic priesthood.  By one anonymous lampoon, this is ascribed to a temporary desertion of the court party, in resentment for the loss, or discontinuance of his pension.  This allowance, during the pressure upon the Exchequer, was, at least, irregularly paid, of which Dryden repeatedly complains, and particularly in a letter to the Earl of Rochester.  But the hardship was owing entirely to the poverty of the public purse; and, when the anonymous libeller