The time of the first
representation is fixed to the beginning of the playing season, in
winter 1678-9, although it was not printed until 1679.[32] Both
"Limberham" and "Oedipus" were acted at the Duke's theatre; so that it
would seem that our author was relieved from his contract with the
King's house, probably because the shares were so much diminished in
value, that his appointment was now no adequate compensation for his
labour. The managers of the King's company complained to the Lord
Chamberlain, and endeavoured, as we have seen, by pleading upon the
contract, to assert their right to the play of "Oedipus."[33] But their
claim to reclaim the poet and the play appears to have been set aside,
and Dryden continued to give his performances to the Duke's theatre
until the union of the two companies.
Dryden was now to do a new homage to Shakespeare, by refitting for the
stage the play of "Troilus and Cressida," which the author left in a
state of strange imperfection, resembling more a chronicle, or legend,
than a dramatic piece. Yet it may be disputed whether Dryden has greatly
improved it even in the particulars which he censures in his original.
His plot, though more artificial, is at the same time more trite than
that of Shakespeare. The device by which Troilus is led to doubt the
constancy of Cressida is much less natural than that she should have
been actually inconstant; her vindication by suicide is a clumsy, as
well as a hackneyed expedient; and there is too much drum and trumpet in
the grand _finale_, where "Troilus and Diomede fight, and both parties
engage at the same time.
Pages:
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214