et with such an original in the course of his observation. The
_Precieuses_ of Moliere, who affected a strange mixture of the romantic
heroine and modern fine lady, belong to the same class of oddities, and
had their prototypes under the observation of the satirist. But even
those who were above such foppery had been early taught to read and
admire the conceits of Donne, and the metaphysical love-poems of Cowley.
They could not object to the quaint and argumentative dialogues which we
have described; for the course of their studies had formed their taste
upon a model equally artificial and fantastic: and thus, what between
real excellence, and false brilliancy, the age had been accustomed not
only to admit, but to admire heroic plays.

Perhaps even these favourable circumstances, of taste and opportunity,
would hardly have elevated the rhyming drama so high in the public
opinion, had it been supported by less powers than those of Dryden, or
even by equal talents less happily adapted to that style of composition.
His versification flowed so easily, as to lessen the bad effects of
rhyme in dialogue; and, at the same time, abounded with such splendid
and sonorous passages, as, in the mouth of a Betterton, awed into
silence even those critics, who could distinguish that the tumid and
unnatural was sometimes substituted for the heroic and sublime. The
felicity of his language, the richness of his illustrations, and the
depth of his reflections, often supplied what the scene wanted in
natural passion; and, while enjoying the beauty of his declamation, it
was only on cool reflection that the hearer discovered it had passed
upon him for the expression of genuine feeling. Even then, the pleasure
which he actually received from the representation, was accepted as an
apology for the more legitimate delight, which the rules of criticism
entitled him to have expected. To these considerations, the high rank
and consequent influence, which Dryden already held in the fashionable
and literary circles of the time, must unquestionably be added. Nor did
he fail to avail himself of his access to the great, whose applause was
often cheaply secured by a perusal of the piece, previous to its being
presented to the public; and thus it afterwards came forth with all the
support of a party eminent for rank and literature, already prepossessed
in its favour.[5]

For all these reasons, the heroic drama appears to have gradually risen
in reputation