Albion and Albanius, 1685, is a musical drama or opera, written, like the Duke of Guise, against the republicans. With what success it was performed, I have not found[103].
The State of Innocence and Fall of Man, 1675, is termed, by him, an opera: it is rather a tragedy in heroick rhyme, but of which the personages are such as cannot decently be exhibited on the stage. Some such production was foreseen by Marvel, who writes thus to Milton:
Or if a work so infinite be spann'd,
Jealous I was, lest some less skilful hand
(Such as disquiet always what is well,
And by ill-imitating would excel,)
Might hence presume the whole creation's day
To change in scenes, and show it in a play.
It is another of his hasty productions; for the heat of his imagination raised it in a month.
This composition is addressed to the princess of Modena, then dutchess of York, in a strain of flattery which disgraces genius, and which it was wonderful that any man, that knew the meaning of his own words, could use without self-detestation. It is an attempt to mingle earth and heaven, by praising human excellence in the language of religion.
The preface contains an apology for heroick verse and poetick license; by which is meant not any liberty taken in contracting or extending words, but the use of bold fictions and ambitious figures.
The reason which he gives for printing what was never acted, cannot be overpassed: "I was induced to it in my own defence, many hundred copies of it being dispersed abroad without my knowledge or consent, and every one gathering new faults, it became, at length, a libel against me." These copies, as they gathered faults, were apparently manuscript; and he lived in an age very unlike ours, if many hundred copies of fourteen hundred lines were likely to be transcribed. An author has a right to print his own works, and needs not seek an apology in falsehood; but he that could bear to write the dedication, felt no pain in writing the preface.
Aureng Zebe, 1676, is a tragedy founded on the actions of a great prince then reigning, but over nations not likely to employ their criticks upon the transactions of the English stage. If he had known and disliked his own character, our trade was not in those times secure from his resentment. His country is at such a distance, that the manners might be safely falsified, and the incidents feigned; for remoteness of place is remarked, by Racine, to afford the same conveniencies to a poet as length of time.
This play is written in rhyme; and has the appearance of being the most elaborate of all the dramas. The personages are imperial; but the dialogue is often domestick, and, therefore, susceptible of sentiments accommodated to familiar incidents. The complaint of life is celebrated; and there are many other passages that may be read with pleasure.
This play is addressed to the earl of Mulgrave, afterwards duke of Buckingham, himself, if not a poet, yet a writer of verses, and a critick. In this address Dryden gave the first hints of his intention to write an epick poem. He mentions his design in terms so obscure, that he seems afraid lest his plan should be purloined, as, he says, happened to him when he told it more plainly in his preface to Juvenal. "The design," says he, "you know is great, the story English, and neither too near the present times, nor too distant from them."