of Sir Robert. This gay and profligate nobleman gained the assistance of Butler, the author of "Hudibras," who, in Scott's words, "while himself starving, amused his misery by ridiculing his contemporaries,"—of Spratt, afterwards Bishop of Rochester, and of Martin Clifford, afterwards Master of the Charter-House. Their facetiæ were not meant at first to be levelled at Dryden personally; for Bilboa, the chief personage in this amusing farce, was first intended to represent Davenant and Sir Robert Howard. It was written in 1664, but not played till 1671; for the fire and plague for some time closed all the theatres, and Davenant's death obliged its author to remodel it, and put Dryden in his place.
The first night it was played, and a vehement opposition was attempted, Dryden and his friends, the Earl of Orrery, Sir Robert Howard, and others who had written in that style, were present, and clamorous enough against it. It was, however, in spite of all attempts to interrupt, triumphantly successful.
Parodies from almost every one of his plays must have tried Dryden's temper, but he bore it all with good-nature; and ultimately reaped an ample revenge when he elaborated the character of Zimri in his great political satire. After the effect produced by "The Rehearsal," Dryden did not immediately venture upon a heroic tragedy, but produced "Marriage-à-la-Mode," a tragi-comedy, which was highly successful. "The Assignation, or Love in a Nunnery," was his next dramatic composition, and most deservedly failed. "Amboyna," his next drama, was written to excite the feelings of the nation against the Dutch. Scott most justly says of it, that "the story is too disgusting to produce the legitimate feelings of pity and terror which a tragedy should excite: the black-hole of Calcutta would be as pleasing a subject. The character of the Hollanders, as there represented, is too grossly vicious and detestable to give the least
