351

SCENE II—The Camp.

Alarm within. Enter Agamemnon, Ulysses, Menelaus, Soldiers.

Agam. Thus far the promise of the day is fair.
Æneas rather loses ground than gains.
I saw him over-laboured, taking breath,
And leaning on his spear, behold our trenches,
Like a fierce lion looking up to toils,
Which yet he durst not leap.

Ulys. And therefore distant death does all the work;
The flights of whistling darts make brown the sky,
Whose clashing points strike fire, and gild the dusk;
Those, that reach home, from neither host are vain,
So thick the prease; so lusty are their arms,
That death seemed never sent with better will.
Nor was with less concernment entertained.

Enter Nestor.

Agam. Now, Nestor, what's the news?

Nest. I have descried
A cloud of dust, that mounts in pillars upwards,
Expanding as it travels to our camp;
And from the midst I heard a bursting shout,
That rent the heaven; as if all Troy were swarmed.
And on the wing this way.

Menel. Let them come, let them come.

Agam. Where's great Achilles?

Ulys. Think not on Achilles,
Till Hector drag him from his tent to fight;
Which sure he will, for I have laid the train.

Nest. But young Patroclus leads his Myrmidons,
And in their front, even in the face of Hector,
Resolves to dare the Trojans.

352 Agam. Haste, Ulysses, bid Ajax issue forth and second him.

Ulys. Oh noble general, let it not be so.
Oppose not rage, while rage is in its force,
But give it way awhile, and let it waste.
The rising deluge is not stopt with dams;
Those it o'erbears, and drowns the hopes of harvest;
But, wisely managed, its divided strength
Is sluiced in channels, and securely drained.
First, let small parties dally with their fury;
But when their force is spent and unsupplied,
The residue with mounds may be restrained,
And dry-shod we may pass the naked ford.

Enter Thersites.

Thers. Ho, ho, ho!

Menel. Why dost thou laugh, unseasonable fool?

Thers. Why, thou fool in season, cannot a man laugh, but thou thinkest he makes horns at thee? Thou prince of the herd, what hast thou to do with laughing? 'Tis the prerogative of a man, to laugh. Thou risibility without reason, thou subject of laughter, thou fool royal!

Ulys. But tell us the occasion of thy mirth?

Thers. Now a man asks me, I care not if I answer to my own kind.—Why, the enemies are broken into our trenches; fools like Menelaus fall by thousands yet not a human soul departs on either side. Troilus and Ajax have almost beaten one another's heads off, but are both immortal for want of brains. Patroclus has killed Sarpedon, and Hector Patroclus, so there is a towardly springing fop gone off; he might have made a prince one day, but now he's nipt in the very bud and promise of a most prodigious coxcomb.

Agam. Bear off Patroclus' body to Achilles;
Revenge will arm him now, and bring us aid.
353
The alarm sounds near, and shouts are driven upon us,
As of a crowd confused in their retreat.

Ulys. Open your ranks, and make these madmen way,
Then close again to charge upon their backs,
And quite consume the relics of the war. [Exeunt all but Thersites.

Thers. What shoals of fools one battle sweeps away! How it purges families of younger brothers, highways of robbers, and cities of cuckold-makers! There is nothing like a pitched battle for these brisk addle-heads! Your physician is a pretty fellow, but his fees make him tedious, he rides not fast enough; the fools grow upon him, and their horse bodies are poison proof. Your pestilence is a quicker remedy, but it has not the grace to make distinction; it huddles up honest men and rogues together. But your battle has discretion; it picks out all the forward fools, and sowses them together into immortality. [Shouts and alarms within] Plague upon these drums and trumpets! these sharp sauces of the war, to get fools an appetite to fighting! What do I among them? I shall be mistaken for some valiant ass, and die a martyr in a wrong religion.
[Here Grecians fly over the stage pursued by Trojans; one Trojan turns back upon Thersites who is flying too.


Troj. Turn, slave, and fight.

Thers. [turning.] What art thou?

Troj. A bastard son of Priam's.

Thers. I am a bastard too, I love bastards, I am bastard in body, bastard in mind, bastard in valour, in every thing illegitimate. A bear will not fasten upon a bear; why should one bastard offend another! Let us part fair, like true sons of whores, and have the fear of our mothers before our eyes.

354 Troj. The devil take thee, coward.[Exit Troj.

Thers. Now, would I were either invisible or invulnerable! These gods have a fine time on it; they can see and make mischief, and never feel it.
[Clattering of swords at both doors; he runs each way, and meets the noise.

A pox clatter you! I am compassed in. Now would I were that blockhead Ajax for a minute. Some sturdy Trojan will poach me up with a long pole! and then the rogues may kill one another at free cost, and have nobody left to laugh at them. Now destruction! now destruction!

Enter Hector and Troilus driving in the Greeks.

Hect. to Thers. Speak what part thou fightest on!

Thers. I fight not at all; I am for neither side.

Hect. Thou art a Greek; art thou a match for Hector?
Art thou of blood and honour?

Thers. No, I am a rascal, a scurvy railing knave, a very filthy rogue.

Hect. I do believe thee; live.

Thers. God-a-mercy, that thou wilt believe me; but the devil break thy neck for frighting me. [Aside.

Troil. (returning.) What prisoner have you there?

Hect. A gleaning of the war; a rogue, he says.

Troil. Dispatch him, and away.[Going to kill him.

Thers. Hold, hold!—what, is it no more but dispatch a man and away! I am in no such haste: I will not die for Greece; I hate Greece, and by my good will would never have been born there; I was mistaken into that country, and betrayed by my parents to be born there. And besides, I have a mortal enemy among the Grecians, one Diomede, a 355 damned villain, and cannot die with a safe conscience till I have first murdered him.

Troil. Shew me that Diomede, and thou shalt live.

Thers. Come along with me, and I will conduct thee to Calchas's tent, where I believe he is now, making war with the priest's daughter.

Hect. Here we must part, our destinies divide us;
Brother and friend, farewell.

Troil. When shall we meet?

Hect. When the gods please; if not, we once must part.
Look; on yon hill their squandered troops unite.

Troil. If I mistake not, 'tis their last reserve:
The storm's blown o'er, and those but after-drops.

Hect. I wish our men be not too far engaged;
For few we are and spent, as having born
The burthen of the day: But, hap what can,
They shall be charged; Achilles must be there,
And him I seek, or death.
Divide our troops, and take the fresher half.

Troil. O brother!

Hect. No dispute of ceremony:
These are enow for me, in faith enow.
Their bodies shall not flag while I can lead;
Nor wearied limbs confess mortality,
Before those ants, that blacken all yon hill,
Are crept into the earth. Farewell.[Exit Hect.

Troil. Farewell.—Come, Greek.

Thers. Now these rival rogues will clapperclaw one another, and I shall have the sport of it.
[Exit Troil. with Thers.

Enter Achilles and Myrmidons.

Achill. Which way went Hector?

Myrmid. Up yon sandy hill;
You may discern them by their smoking track:
A wavering body working with bent hams
356
Against the rising, spent with painful march,
And by loose footing cast on heaps together.

Achil. O thou art gone, thou sweetest, best of friends!
Why did I let thee tempt the shock of war,
Ere yet the tender nerves had strung thy limbs,
And knotted into strength! Yet, though too late,
I will, I will revenge thee, my Patroclus!
Nor shall thy ghost thy murderers long attend,
But thou shalt hear him calling Charon back,
Ere thou art wafted to the farther shore.—
Make haste, my soldiers; give me this day's pains
For my dead friend: strike every hand with mine,
Till Hector breathless on the ground we lay!
Revenge is honour, the securest way.[Exit with Myrm.

Enter Thersites, Troilus, Trojans.

Thers. That's Calchas's tent.

Troil. Then, that one spot of earth contains more falsehood,
Than all the sun sees in his race beside.
That I should trust the daughter of a priest!
Priesthood, that makes a merchandise of heaven!
Priesthood, that sells even to their prayers and blessings
And forces us to pay for our own cozenage!

Thers. Nay, cheats heaven too with entrails and with offals;
Gives it the garbage of a sacrifice,
And keeps the best for private luxury.

Troil. Thou hast deserved thy life for cursing priests.
Let me embrace thee; thou art beautiful:
. That back, that nose, those eyes are beautiful:
Live; thou art honest, for thou hat'st a priest.

Thers. [Aside.] Farewell, Trojan; if I escape with life, as I hope, and thou art knocked on the head, as I hope too, I shall be the first that ever escaped 357 the revenge of a priest after cursing him; and thou wilt not be the last, I prophesy, that a priest will bring to ruin.
[Exit Ther.

Troil. Methinks, my soul is roused to her last work;
Has much to do, and little time to spare.
She starts within me, like a traveller,
Who sluggishly outslept his morning hour,
And mends his pace to reach his inn betimes. [Noise within, Follow, follow!
A noise of arms! the traitor may be there;
Or else, perhaps, that conscious scene of love,
The tent, may hold him; yet I dare not search,
For oh, I fear to find him in that place.[Exit Troilus.

Enter Calchas and Cressida.

Cres. Where is he? I'll be justified, or die.

Calch. So quickly vanished! he was here but now.
He must be gone to search for Diomede;
For Diomede told me, here they were to fight.

Cres. Alas!

Calch. You must prevent, and not complain.

Cres. If Troilus die, I have no share in life.

Calch. If Diomede sink beneath the sword of Troilus
We lose not only a protector here,
But are debarred all future means of flight.

Cres. What then remains?

Calch. To interpose betimes
Betwixt their swords; or, if that cannot be,
To intercede for him, who shall be vanquished.
Fate leaves no middle course.[Exit Calchas.

Clashing within.

Cres. Ah me! I hear them,
And fear 'tis past prevention.

358 Enter Diomede, retiring before Troilus, and falling as he enters.

Troil. Now beg thy life, or die.

Diom. No; use thy fortune:
I loath the life, which thou canst give, or take.

Troil. Scorn'st thou my mercy, villain!—Take thy wish.—

Cres. Hold, hold your hand, my lord, and hear me speak.
[Troilus turns back; in which time Diomede rises, Trojans and Greeks enter, and rank themselves on both sides of their Captains.


Troil. Did I not hear the voice of perjured Cressida?
Com'st thou to give the last stab to my heart?
As if the proofs of all thy former falsehood
Were not enough convincing, com'st thou now
To beg my rival's life?
Whom, oh, if any spark of truth remained,
Thou couldst not thus, even to my face, prefer.

Cres. What shall I say!—that you suspect me false,
Has struck me dumb! but let him live, my Troilus;
By all our loves, by all our past endearments,
I do adjure thee, spare him.

Troil. Hell and death!

Cres. If ever I had power to bend your mind,
Believe me still your faithful Cressida;
And though my innocence appear like guilt,
Because I make his forfeit life my suit,
'Tis but for this, that my return to you
Would be cut off for ever by his death;
My father, treated like a slave, and scorned;
Myself in hated bonds a captive held.

Troil. Could I believe thee, could I think thee true,
In triumph would I bear thee back to Troy,
Though Greece could rally all her shattered troops,
And stand embattled to oppose my way.
359
But, oh, thou syren, I will stop my ears
To thy enchanting notes; the winds shall bear
Upon their wings thy words, more light than they.

Cres. Alas! I but dissembled love to him.
If ever he had any proof, beyond
What modesty might give—

Diom. No! witness this.—[The Ring shewn.
There, take her, Trojan, thou deserv'st her best;
You good, kind-natured, well-believing fools,
Are treasures to a woman.
I was a jealous, hard, vexatious lover,
And doubted even this pledge,—till full possession;
But she was honourable to her word,
And I have no just reason to complain.

Cres. O unexampled, frontless impudence!

Troil. Hell, show me such another tortured wretch as Troilus!

Diom. Nay, grieve not; I resign her freely up;
I'm satisfied; and dare engage for Cressida,
That, if you have a promise of her person,
She shall be willing to come out of debt.

Cres. [Kneeling.] My only lord, by all those holy vows,
Which, if there be a Power above, are binding,
Or, if there be a hell below, are fearful,
May every imprecation, which your rage
Can wish on me, take place, if I am false!

Diom. Nay, since you're so concerned to be believed,
I'm sorry I have pressed my charge so far:
Be what you would be thought; I can be grateful.

Troil. Grateful! Oh torment! now hell's bluest flames
Receive her quick, with all her crimes upon her!
Let her sink spotted down! let the dark host
Make room, and point, and hiss her as she goes!
Let the most branded ghosts of all her sex
Rejoice, and cry,—"Here comes a blacker fiend!"
Let her—

360 Cres. Enough, my lord; you've said enough.

This faithless, perjured, hated Cressida,
Shall be no more the subject of your curses:
Some few hours hence, and grief had done your work;
But then your eyes had missed the satisfaction,
Which thus I give you,—thus— [She stabs herself; they both run to her.

Diom. Help! save her, help!

Cres. Stand off, and touch me not, thou traitor Diomede;—
But you, my only Troilus, come near:
Trust me, the wound, which I have given this breast,
Is far less painful than the wound you gave it.
Oh, can you yet believe, that I am true?

Troil. This were too much, even if thou hadst been false!
But oh, thou purest, whitest innocence,—
For such I know thee now, too late I know it!—
May all my curses, and ten thousand more,
Heavier than they, fall back upon my head;
Pelion and Ossa, from the giants' graves
Be torn by some avenging deity,
And hurled at me, a bolder wretch than they,
Who durst invade the skies!

Cres. Hear him not, heavens;
But hear me bless him with my latest breath!
And, since I question not your hard decree,
That doomed my days unfortunate and few,
Add all to him you take away from me;
And I die happy, that he thinks me true.[Dies.

Troil. She's gone for ever, and she blest me dying!
Could she have cursed me worse! she died for me,
And, like a woman, I lament for her.
Distraction pulls me several ways at once:
Here pity calls me to weep out my eyes,
Despair then turns me back upon myself,
And bids me seek no more, but finish here. [Points his Sword to his Breast.
361
Ha, smilest thou, traitor! thou instruct'st me best,
And turn'st my just revenge to punish thee.

Diom. Thy worst, for mine has been beforehand with thee;
I triumph in thy vain credulity,
Which levels thy despairing state to mine;
But yet thy folly, to believe a foe,
Makes thine the sharper and more shameful loss.

Troil. By my few moments of remaining life,
I did not hope for any future joy;
But thou hast given me pleasure ere I die,
To punish such a villain.—Fight apart;[To his Soldiers.
For heaven and hell have marked him out for me,
And I should grudge even his least drop of blood
To any other hand. [Troilus and Diomede fight, and both Parties engage at the same time. The Trojans make the Greeks retire, and Troilus makes Diomede give ground, and hurts him. Trumpets sound. Achilles enters with his Myrmidons, on the backs of the Trojans, who fight in a ring, encompassed round. Troilus, singling Diomede, gets him down, and kills him; and Achilles kills Troilus upon him. All the Trojans die upon the place, Troilus last.









Enter Agamemnon, Menelaus, Ulysses, Nestor, Ajax, and Attendants.

Achil. Our toils are done, and those aspiring walls,
The work of gods, and almost mating heaven,
Must crumble into rubbish on the plain.

Agam. When mighty Hector fell beneath thy sword,
Their old foundations shook; their nodding towers
Threatened from high the amazed inhabitants;
And guardian-gods, for fear, forsook their fanes.

Achil. Patroclus, now be quiet; Hector's dead;
362
And, as a second offering to thy ghost,
Lies Troilus high upon a heap of slain;
And noble Diomede beneath, whose death
This hand of mine revenged.

Ajax. Revenged it basely:
For Troilus fell by multitudes opprest,
And so fell Hector; but 'tis vain to talk.

Ulys. Hail, Agamemnon! truly victor now!
While secret envy, and while open pride,
Among thy factious nobles discord threw;
While public good was urged for private ends,
And those thought patriots, who disturbed it most;
Then, like the headstrong horses of the sun,
That light, which should have cheered the world, consumed it:
Now peaceful order has resumed the reins,
Old Time looks young, and Nature seems renewed.
Then, since from home-bred factions ruin springs,
Let subjects learn obedience to their kings.[Exeunt.

363

EPILOGUE,
SPOKEN BY THERSITES.

These cruel critics put me into passion;

For, in their lowering looks I read damnation:

You expect a satire, and I seldom fail;

When I'm first beaten, 'tis my part to rail.

You British fools, of the old Trojan stock,

That stand so thick, one cannot miss the flock,

Poets have cause to dread a keeping pit,

When women's cullies come to judge of wit.

As we strew rat's-bane when we vermin fear,

'Twere worth our cost to scatter fool-bane here;

And, after all our judging fops were served,

Dull poets, too, should have a dose reserved;

Such reprobates, as, past all sense of shaming,

Write on, and ne'er are satisfied with damning:

Next, those, to whom the stage does not belong,

Such whose vocation only is—to song;

At most to prologue, when, for want of time,

Poets take in for journey-work in rhime.

But I want curses for those mighty shoals

Of scribbling Chloris's, and Phyllis' fools:

Those oafs should be restrained, during their lives,

From pen and ink, as madmen are from knives.

I could rail on, but 'twere a task as vain,

As preaching truth at Rome, or wit in Spain:

Yet, to huff out our play was worth my trying;

John Lilburn 'scaped his judges by defying:[1]

If guilty, yet I'm sure o' the church's blessing,

By suffering for the plot, without confessing.

Footnote:

  1. Lilburn, the most turbulent, but the boldest and most upright of men, had the merit of defying and resisting the tyranny of the king, of the parliament, and of the protector. He was convicted in the star-chamber, but liberated by the parliament; he was tried on the parliamentary statute for treasons in 1651, and before Cromwell's high court of justice in 1654; and notwithstanding an audacious defence,—which to some has been more perilous than a feeble cause,—he was, in both cases, triumphantly acquitted.
364
[Blank Page]

365

THE

SPANISH FRIAR;

OR,

THE DOUBLE DISCOVERY.

Ut melius possis fallere, sume togam.

—Mart.

Alterna revisens
Lasit, et in solido rursus fortuna locavit.

—Virg.

366
[Blank Page]
367

THE SPANISH FRIAR.

The Spanish Friar, or the Double Discovery, is one of the best and most popular of our poet's dramatic efforts. The plot is, as Johnson remarks, particularly happy, for the coincidence and coalition of the tragic and comic plots. The grounds for this eminent critic's encomium will be found to lie more deep than appears at first sight. It was, indeed, a sufficiently obvious connection, to make the gay Lorenzo an officer of the conquering army, and attached to the person of Torrismond. This expedient could hardly have escaped the invention of the most vulgar playwright, that ever dovetailed tragedy and comedy together. The felicity of Dryden's plot, therefore, does not consist in the ingenuity of his original conception, but in the minutely artificial strokes, by which the reader is perpetually reminded of the dependence of the one part of the play on the other. These are so frequent, and appear so very natural, that the comic plot, instead of diverting our attention from the tragic business, recals it to our mind by constant and unaffected allusion. No great event happens in the higher region of the camp or court, that has not some indirect influence upon the intrigues of Lorenzo and Elvira; and the part which the gallant is called upon to act in the revolution that winds up the tragic interest, while it is highly in character, serves to bring the catastrophe of both parts of the play under the eye of the spectator, at one and the same time. Thus much seemed necessary to explain the felicity of combination, upon which Dryden justly valued himself, and which Johnson sanctioned by his high commendation. But, although artfully conjoined, the different departments of this tragi-comedy are separate subjects of critical remark.

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 368 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 affirms, that Dryden's pension was withdrawn, on account of his share in the Essay on Satire, he only shows that his veracity 369 is on a level with his poverty[2]. The truth seems to be, that Dryden partook in some degree of the general ferment which the discovery of the Popish Plot had excited; and we may easily suppose him to have done so without any impeachment to his monarchial tenets, since North himself admits, that at the first opening of the plot, the chiefs of the loyal party joined in the cry. Indeed, that mysterious transaction had been investigated by none more warmly than by Danby, the king's favourite minister, and a high favourer of the prerogative. Even when writing Absalom and Achitophel, our author by no means avows an absolute disbelief of the whole plot, while condemning the extraordinary exaggerations, by which it had been rendered the means of much bloodshed and persecution[3]. It seems, therefore, fair to believe, that, without either betraying or disguising his own principles, he chose, as a popular subject for the drama, an attack 370 upon an obnoxious priesthood, whom he, in common with all the nation, believed to have been engaged in the darkest intrigues against the king and government. I am afraid that this task was the more pleasing, from that prejudice against the clergy, of all countries and religions, which, as already noticed, our author displays, in common with other wits of that licentious age[4]. The character of the Spanish Friar was not, however, forgotten, when Dryden became a convert to the Roman Catholic persuasion; and, in many instances, as well as in that just quoted, it was assumed as the means of fixing upon him a charge of inconsistency in politics, and versatility in religion[5].

The tragic part of the "Spanish Friar" has uncommon merit. The opening of the Drama, and the picture of a besieged town in the last extremity, is deeply impressive, while the description of the noise of the night attack, and the gradual manner in which the intelligence of its success is communicated, arrests the attention, and prepares expectation for the appearance of the hero, with all the splendour which ought to attend the principal character in tragedy. The subsequent progress of the plot is liable to a capital objection, from the facility with which the queen, amiable and virtuous, as we are bound to suppose her, consents to the murder of the old dethroned monarch. We question if the operation of any motive, however powerful, could have been pleaded 371 with propriety, in apology for a breach of theatrical decorum, so gross, and so unnatural. But, in fact, the queen is only actuated by a sort of reflected ambition, a desire to secure to her lover a crown, which she thought in danger; but which, according to her own statement, she only valued on his account. This is surely too remote and indirect a motive, to urge a female to so horrid a crime. There is also something vilely cold-hearted, in her attempt to turn the guilt and consequences of her own crime upon Bertran, who, whatever faults he might have to others, was to the queen no otherwise obnoxious, than because the victim of her own inconstancy. The gallant, virtuous, and enthusiastic character of Torrismond, must be allowed, in some measure, to counterbalance that of his mistress, however unhappily he has placed his affections. But the real excellence of these scenes consists less in peculiarity of character, than in the vivacity and power of the language, which, seldom sinking into vulgarity, or rising into bombast, maintains the mixture of force and dignity, best adapted to the expression of tragic passion. Upon the whole, as the comic part of this play is our author's master-piece in comedy, the tragic plot may be ranked with his very best efforts of that kind, whether in "Don Sebastian," or "All for Love."

The "Spanish Friar" appears to have been brought out shortly after Mr Thynne's murder, which is alluded to in the Prologue, probably early in 1681-2. The whimsical caricature, which it presented to the public, in Father Dominic, was received with rapture by the prejudiced spectators, who thought nothing could be exaggerated in the character of a Roman Catholic priest. Yet, the satire was still more severe in the first edition, and afterwards considerably softened[6]. It was, as Dryden himself calls it, a Protestant play; and certainly, as Jeremy Collier somewhere says, was rare Protestant diversion, and much for the credit of the Reformation. Accordingly, the "Spanish Friar" was the only play prohibited by James II. after his accession; an interdict, which may be easily believed no way disagreeable to the author, now a convert to the Roman church. It is very remarkable, that, after the Revolution, it was the first play represented by order of queen Mary, and honoured with her presence; a choice, of which she had abundant reason to repent, as the serious part of the piece gave as much scope for malicious application against herself, as the comic against the religion of her father[7].

Footnotes:

  1. Collier remarks the injustice of punishing the agent of Lorenzo's vice, while he was himself brought off with flying colours. He observes, "'Tis not the fault which is corrected, but the priest. The author's discipline is seldom without a bias. He commonly gives the laity the pleasure of an ill action, and the clergy the punishment." View of the Immorality and Profaneness of the Stage, p. 100.
  2. To satire next thy talent was addressed,

    Fell foul on all thy friends among the rest;

    Nay, even thy royal patron was not spared,

    But an obscene, a sauntering wretch declared.

    Thy loyal libel we can still produce,

    Beyond example, and beyond excuse.

    O strange return, to a forgiving king,

    (But the warmed viper wears the greatest sting,)

    For pension lost, and justly without doubt;

    When servants snarl we ought to kick them out.

    They that disdain their benefactor's bread.

    No longer ought by bounty to be fed.

    That lost, the visor changed, you turn about,

    And straight a true-blue protestant crept out.

    The Friar now was writ, and some will say,

    They smell a malcontent through all the play.

    The papist too was damned, unfit for trust,

    Called treacherous, shameless, profligate, unjust,

    And kingly power thought arbitrary lust.

    This lasted till thou didst thy pension gain,

    And that changed both thy morals and thy strain.

    The Laureat, 24th October, 1678.

  3. From hence began that plot, the nation's curse,

    Bad in itself, but represented worse.

    Raised in extremes, and in extremes decryed,

    With oaths affirmed, with dying vows denied;

    Nor weighed nor winnowed by the multitude,

    But swallowed in the mass unchewed and crude.

    Some truth there was, but dashed and bruised with lies,

    To please the fools, and puzzle all the wise.

    Succeeding times did equal folly call.

    Believing nothing, or believing all.

  4. "Thus we see," says Collier, "how hearty these people are in their ill-will; how they attack religion under every form, and pursue the priesthood through all the subdivisions of opinion. Neither Jews nor Heathens, Turk nor Christians, Rome nor Geneva, church nor conventicle, can escape them. They are afraid lest virtue should have any quarters, undisturbed conscience any corner to retire to, or God worshipped in any place." Short View, &c. p. 110.
  5. "I have read somewhere in Mons. Rapin's Reflections sur la Poetique, that a certain Venetian nobleman, Andrea Naugeria by name, was wont every year to sacrifice a Martial to the manes of Catullus: In imitation of this, a celebrated poet, in the preface before the Spanish Friar, is pleased to acquaint the world, that he has indignation enough to burn a Bussy D'Amboys, annually, to the memory of Ben Jonson. Since the modern ceremony, of offering up one author at the altar of another, is likely to advance into a fashion; and having already the authority of two such great men to recommend it, the courteous reader may be pleased to take notice, that the author of the following dialogue is resolved, (God willing) on the festival of the Seven Sleepers, as long as he lives, to sacrifice the Hind and Panther to the memory of Mr Quarels and John Bunyan: Or, if a writer that has notoriously contradicted himself, and espoused the quarrel of two different parties, may be considered under two distinct characters, he designs to deliver up the author of the Hind and Panther, to be lashed severely by, and to beg pardon of, the worthy gentleman that wrote the Spanish Friar, and the Religion Laici." The reason of Mr Bayes' changing his religion. Preface.
  6. "The Revolter," a tragi-comedy, 1687, p. 29.
  7. It is impossible to avoid transcribing the whole account of this representation, with some other curious particulars, contained in a letter from the 372 earl of Nottingham, published by Sir John Dalrymple, from a copy given him by the bishop of Dromore; and also inserted by Mr Malone in his third volume of Dryden's prose works.

    "I am loth to send blank paper by a carrier, but am rather willing to send some of the tattle of the town, than nothing at all; which will at least serve for an hour's chat,—and then convert the scrawl to its proper use.

    "The only day her Majesty gave herself the diversion of a play, and that on which she designed to see another, has furnished the town with discourse for near a month. The choice of the play was THE SPANISH FRIAR, the only play forbid by the late K[ing], Some unhappy expressions, among which those that follow, put her in some disorder, and forced her to hold up her fan, and often look behind her, and call for her palatine and hood, and any thing she could next think of; while those who were in the pit before her, turned their heads over their shoulders, and all in general directed their looks towards her, whenever their fancy led them to make any application of what was said. In one place, where the queen of Arragon is going to church in procession, 'tis said by a spectator, 'Very good; she usurps the throne, keeps the old king in prison, and, at the same time, is praying for a blessing on her army;'—And when said, 'That 'tis observed at Court, who weeps, and who wears black for good king Sancho's death,' 'tis said, 'Who is that, that can flatter a Court like this? Can I sooth tyranny? seem pleas'd to see my Royal Master murthered; his crown usurped; a distaff in the throne?'—And 'What title has this queen, but lawless force; and force must pull her down'—Twenty more things are said, which may be wrested to what they were never designed: but however, the observations then made furnished the town with talk, till something else happened, which gave it much occasion for discourse; for another play being ordered to be acted, the queen came not, being taken up with other diversion. She dined with Mrs Gradens, the famous woman in the hall, that sells fine laces and head-dresses; from thence she went to the Jew's, that sells Indian things; to Mrs Ferguson's, De Vett's, Mrs Harrison's, and other Indian houses; but not to Mrs Potter's, though in her way; which caused Mrs Potter to say, that she might as well have hoped for that honour as others, considering that the whole design of bringing the queen and king was managed at her house, and the consultations held there; so that she might as well have thrown away a little money in raffling there, as well as at the other houses: but it seems that my lord Devonshire has got Mrs Potter to be laundress: she has not much countenance of the queen, her daughter still keeping the Indian house her mother had. The same day the queen went to one Mrs Wise's, a famous woman for telling fortunes, but could not prevail with her to tell anything; though to others she has been very true, and has foretold that king James shall came in again, and the duke of Norfolk shall lose his head: the last, I suppose, will naturally be the consequence of the first. These things, however innocent, have passed the censure of the town: and, besides a private reprimand given, the king gave one in public; saying to the queen, that he heard she dined at a bawdy-house, and desired the next time she went, he might go. She said, she had done nothing but what the late queen had done. He asked her, if she meant to make her, her example. More was said on this occasion than ever was known before; but it was borne with all the submission of a good wife, who leaves all to the direction of the k——, and diverts herself with walking six or seven miles a-day, and looking after her buildings, making of fringes, and such like innocent things; and does not meddle in government, though she has better title to do it than the late queen had."