representation; but for which no very good reason can be shown, when
they are at least harmless, if not laudable places of amusement. One of
these privileged theatres was placed under the direction of Sir William
Davenant, whose sufferings in the royal cause merited a provision, and
whose taste and talents had been directed towards the drama even during
its proscription. He is said to have introduced moveable scenes upon the
English stage; and, without entering into the dispute of how closely
this is to be interpreted, we are certain that he added much to its
splendour and decoration. His set of performers, which contained the
famous Betterton, and others of great merit, was called the Duke's
Company. The other licensed theatre was placed under the direction of
Thomas Killigrew, much famed by tradition for his colloquial wit, but
the merit of whose good things evaporated so soon as he attempted to
interweave them with comedy.[10] His performers formed what was entitled
the King's Company. With this last theatre Dryden particularly connected
himself, by a contract to be hereafter mentioned. None of his earlier
plays were acted by the Duke's Company, unless those in which he had
received assistance from others, whom he might think as well entitled as
himself to prescribe the place of representation.

Such was the state of the English drama when Dryden became a candidate
for theatrical laurels. So early as the year of the Restoration, he had
meditated a tragedy upon the fate of the Duke of Guise; but this, he has
informed us, was suppressed by the advice of some friends, who told him,
that it was an excellent subject, but not so artificially managed as to
render it fit for the stage. It were to be wished these scenes had been
preserved, since it may be that the very want of artifice, alleged by
the critics of the day, would have recommended them to our more simple
taste. We might at least have learned from them, whether Dryden, in his
first essay, leant to the heroic, or to the ancient English tragedy. But