method of writing plays in verse, but confesses that he has quitted the
practice, because he found it troublesome and slow[2]. In the preface
we are informed that the drift of this discourse was to vindicate the
honour of the English writers from the censure of those who unjustly
prefer the French to them. Langbaine has injuriously treated Mr. Dryden,
on account of his dramatic performances, and charges him as a licentious
plagiary. The truth is, our author as a dramatist is less eminent than
in any other sphere of poetry; but, with all his faults, he is even in
that respect the most eminent of his time.

The critics have remarked, that as to tragedy, he seldom touches the
passions, but deals rather in pompous language, poetical flights, and
descriptions; and too frequently makes his characters speak better than
they have occasion, or ought to do, when their sphere in the drama is
considered: And it is peculiar to Dryden (says Mr. Addison) to make his
personages, as wise, witty, elegant and polite as himself. That he could
not so intimately affect the tender passions, is certain, for we find no
play of his, in which we are much disposed to weep; and we are so often
inchanted with beautiful descriptions, and noble flights of fancy, that
we forget the business of the play, and are only attentive to the poet,
while the characters sleep. Mr. Gildon observes in his laws of poetry,
that when it was recommended to Mr. Dryden to turn his thoughts to a
translation of Euripides, rather than of Homer, he confessed that he had
no relish for that poet, who was a great master of tragic simplicity.
Mr. Gildon, further observes, as a confirmation that Dryden's taste for
tragedy was not of the genuine sort, that he constantly expressed great
contempt for Otway, who is universally allowed to have succeeded very
happily in affecting the tender passions: Yet Mr. Dryden, in his preface
to the translation of M. Du Fresnoy, speaks more favourably of Otway;
and after mentioning these instances, Gildon ascribes this taste in