He appears, about this period, to have made the acquaintance of Sir Robert Howard through Herringman, with whom Dryden lodged, and who was Sir Robert's publisher; and he and the aristocratic author joined in one of those literary partnerships which, especially in dramatic composition, have been so common. King Charles had, during his exile, contracted French tastes in poetry and music, as well as in other matters, and he possessed an especial regard for the use of rhyme on the stage. Dryden, anxious to merit the royal favour, joined Sir Robert in the production of "The Indian Queen," which was acted before his Majesty with great applause. Pepys, though he censures the rhyme as breaking the sense, admits that it was well acted, and that he and Mrs. P. came home from the theatre "mightily contented." Evelyn has spoken eulogistically of the grandeur of the scenic decoration.
Dryden soon followed it up by "The Indian Emperor," which is a continuation of the story, and forms a part of the plot of the former play. It would be superfluous here to pronounce any grave censure on what all critics have agreed to condemn. To us, accustomed to hear rhyming heroics made the vehicle of parody, burlesque, and bombast, in extravaganzas and travesties, it is difficult to imagine an audience either terror-stricken or melted into pity by sentiments conveyed in stilted heroics, tagged with rhymes. Where long descriptive passages occur, such a poet as Dryden could not but write poetry; but when the dialogue is short and broken, the effect of rhyme is peculiarly absurd.
In 1665, he wrote his lines "On the Victory over the Dutch." In this year the plague broke out, and was succeeded by the fire. The theatres were closed from May, 1665, to Christmas, 1666. Dryden's intimacy with Sir Robert Howard had increased, and he spent the greater
