Even then, the pleasure
which he actually received from the representation, was accepted as an
apology for the more legitimate delight, which the rules of criticism
entitled him to have expected. To these considerations, the high rank
and consequent influence, which Dryden already held in the fashionable
and literary circles of the time, must unquestionably be added. Nor did
he fail to avail himself of his access to the great, whose applause was
often cheaply secured by a perusal of the piece, previous to its being
presented to the public; and thus it afterwards came forth with all the
support of a party eminent for rank and literature, already prepossessed
in its favour.[5]
For all these reasons, the heroic drama appears to have gradually risen
in reputation, from the return of Charles till about the year 1670-1,
when Dryden's "Conquest of Granada" was received with such enthusiastic
applause. The reputation of the poet himself kept pace with that of his
favourite style of composition; and though posterity has judged more
correctly, it may be questioned, whether "Tyrannic Love" and the
"Conquest of Granada" did not place Dryden higher in public esteem, in
1670, than his "Virgil" and "Fables" in 1700. He was, however, now to
experience the inconveniencies of elevation, and to sustain an attack
upon the style of writing which he had vindicated and practised, as well
as to repel the efforts of rivals, who boasted of outstripping him in
the very road to distinction, which he had himself pointed out.
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