[38] Our author's choice of this patron
was probably dictated by Sir William Gower's connection with the Earl of
Rochester, whose grand-daughter he had married.
Encouraged by the revival of his popularity, Dryden now ventured to
bring forward the opera of "King Arthur," originally designed as an
entertainment to Charles II; "Albion and Albanius" being written as a
sort of introductory masque upon the occasion.[39] When we consider the
strong and even violent political tendency of that prefatory piece, we
may readily suppose, that the opera was originally written in a strain
very different from the present; and that much must have been softened,
altered, and erased, ere a play, designed to gratulate the discovery of
the Rye-house Plot, could, without hazard, be acted after the
Revolution. The odious, though necessary, task of defacing his own
labours, was sufficiently disgusting to the poet, who complains, that
"not to offend the present times, nor a government which has hitherto
protected me, I have been obliged so much to alter the first design, and
take away so many beauties from the writing, that it is now no more what
it was formerly, than the present ship of the Royal Sovereign, after so
often taking down and altering is the vessel it was at the first
building." Persevering in the prudent system of seeking patrons among
those whose patronage was rendered effectual by their influence with the
prevailing party, Dryden prefixed to "King Arthur" a beautiful
dedication to the Marquis of Halifax, to whose cautious and nice policy
he ascribes the nation's escape from the horrors of civil war, which
seemed impending in the latter years of Charles II; and he has not
failed, at the same time, to pay a passing tribute to the merits of his
original and good-humoured master.
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