The dedication turns upon
the philosophical and moderate use of political victory, the liberality
of considering the friend rather than the cause, the dignity of
forgiving and relieving the fallen adversary; themes, upon which the
eloquence of the suffering party is usually unbounded although sometimes
forgotten when they come again into power. With all this deprecatory
reasoning, Dryden does not recede, or hint at receding, one inch from
his principles, but concludes his preface with a resolution to adopt the
counsel of the classic:
"_Tu ne cede malis, sed contra audentior ito._"
The merits of this beautiful tragedy I have attempted to analyse in
another place,[36] and at considerable length. It was brought forward in
1690 with great theatrical pomp.[37] But with all these advantages, the
first reception of "Don Sebastian" was but cool; nor was it until
several retrenchments and alterations had been made, that it rose to the
high pitch in public favour which it maintained for many years, and
deserved to maintain for ever.
In the same year, "Amphitryon," in which Dryden displays his comic
powers to more advantage than anywhere, excepting in the "Spanish
Friar," was acted with great applause, calling forth the gratulations
even of Milbourne, who afterwards made so violent an attack upon the
translation of Virgil. The comedy was inscribed to Sir William Leveson
Gower, whose name, well known in the history of the Revolution, may be
supposed to have been invoked as a talisman against misconstructions, to
which Dryden's situation so peculiarly exposed him, and to which he
plainly alludes in the prologue.
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