exclusion bore a striking resemblance to the proceedings of the League
against the King of Navarre, presumptive heir of the throne, whom, on
account of his attachment to the protestant faith, they threatened to
deprive of the succession.

The historical passages, corresponding in many particulars with such
striking accuracy, offered an excellent groundwork for a political
play, and the "Duke of Guise" was composed accordingly; Dryden making
use of the scenes which he had formerly written on the subject, and
Lee contributing the remainder, which he eked out by some scenes and
speeches adopted from the "Massacre of Paris," then, lying by him in
manuscript. The court, however, considered the representation of the
piece as at least of dubious propriety. The parallel was capable of
being so extended as to exhibit no very flattering picture of the
king's politics; and, on the other hand, it is possible, that the fate
of the Duke of Guise, as identified with Monmouth, might shock the
feelings of Charles, and the justice of the audience.

Accordingly, we learn from the "Vindication," that the representation
of the piece was prohibited; that it lay in the hands of the lord
chamberlain (Henry Lord Arlington) from before mid-summer, 1682, till
two months after that term; and that orders were not finally given for
its being acted until the month of December in the same year. The
king's tenderness for the Duke of Monmouth had by this time so far
given way, that he had ordered his arrest at Stafford; and, from the
dark preparations on both sides, it was obvious, that no measures were
any longer to be kept betwixt them. All the motives of delicacy and
prudence, which had prevented the representation of this obnoxious
party performance, were now therefore annihilated or overlooked.