Shakespeare is too well known to require any comment on it here. It appears that it was to Sir William's fertile fancy that we owe the counterpart of Shakespeare's Miranda in Antonio. Dryden tells us "that as he was a man of quick and piercing imagination, he soon found that somewhat might be added to the design of Shakespeare, of which neither Fletcher nor Suckling had ever thought. And, therefore, to put the last hand to it, he designed the counterpart of Shakespeare's plot, namely, that of a man who had never seen a woman; that by this means those two characters of Innocence and Love might the more illustrate and commend each other. This excellent contrivance he was pleased to communicate to me, and to desire my assistance in it. I confess that from the very first moment it so pleased me, that I never writ anything with more delight." He then proceeds to pay a tribute to the abilities of his coadjutor, which we have quoted in the Life of that Poet.
The remarks of Dryden which we have given above, speak plainly enough the taste of the age. It may be added, that at the end of the Preface, Dryden couples the name of Shakespeare and Sir W. Davenant almost as if equals. That with such an opinion of Shakespeare they were not likely to improve on him is probable enough, and Sir W. Scott has remarked with true severity, that "Miranda's simplicity is converted into indelicacy, and Dorinda talks the language of prostitution before she had even seen a man." It was brought out at the Duke's Theatre, and as the scenery was under the management of Sir W. Davenant, with a grandeur which we should now deem very simple, but which had at that time never before been witnessed on the stage. It was crowned with complete success.
His next dramatic composition was "Sir Martin Mar-all," an imitation of "L'Etourdi" of Molière. It
