infirmities. It was Dryden's misfortune, that Lady Elizabeth had neither
the one nor the other; and I dismiss the disagreeable subject by
observing, that on no one occasion, when a sarcasm against matrimony
could be introduced, has our author failed to season it with such
bitterness as spoke an inward consciousness of domestic misery.[18]

During the period when the theatres were closed, Dryden seems to have
written and published the "_Annus Mirabilis_" of which we spoke at the
close of the last Section. But he was also then labouring upon his
"Essay of Dramatic Poesy." It was a singular trait in the character of
our author, that by whatever motive he was directed in his choice of a
subject, and his manner of treating it, he was upon all occasions, alike
anxious to persuade the public, that both the one and the other were the
object of his free choice, founded upon the most rational grounds of
preference. He had, therefore, no sooner seriously bent his thoughts to
the stage, and distinguished himself as a composer of heroic plays, than
he wrote his "Essay of Dramatic Poesy," in which he assumes, that the
drama was the highest department of poetry; and endeavours to prove,
that rhyming or heroic tragedies are the most legitimate offspring of
the drama.

The subject is agitated in a dialogue between Lord Buckhurst, Sir
Charles Sedley, Sir Robert Howard, and the author himself, under the
feigned names of Eugenius, Lisideius, Crites, and Neander. This
celebrated Essay was first published in the end of 1667, or beginning of
1668. The author revised it with an unusual degree of care, and
published it anew in 1684, with a Dedication to Lord Buckhurst.

In the introduction of the dialogue, our author artfully solicits the
attention of the public to the improved versification, in which he