received two hundred and fifty pounds, less than in our days has sometimes been paid for two articles in a review.[1] Nor does the bargain seem to have been a hard one. For the book went off slowly; and the second edition was not required till the author had been ten years in his grave. By writing for the theatre it was possible to earn a much larger sum with much less trouble. Southern made seven hundred pounds by one play.[2] Otway was raised from beggary to temporary affluence by the success of his Don Carlos.[3] Shadwell cleared a hundred and thirty pounds by a single representation of the Squire of Alsatia.[4] The consequence was that every man who had to live by his wit wrote plays, whether he had any internal vocation to write plays or not. It was thus with Dryden. As a satirist he has rivalled Juvenal. As a didactic poet he perhaps might, with care and meditation, have rivalled Lucretius. Of lyric poets he is, if not the most sublime, the most brilliant and spiritstirring. But nature, profuse to him of many rare gifts, had withheld from him the dramatic faculty. Nevertheless all the energies of his best years were wasted on dramatic composition. He had too much judgment not to be aware that in the power of exhibiting character by means of dialogue he was deficient. That deficiency he did his best to conceal, sometimes by surprising and amusing incidents, sometimes by stately declamation, sometimes by harmonious numbers, sometimes by ribaldry but too well suited to the taste of a profane and licentious pit. Yet he never obtained any theatrical success equal to that which rewarded the exertions of some men far inferior to him in general powers. He thought himself fortunate if he cleared a hundred guineas by a play; a scanty remuneration, yet apparently larger than he could have earned in any other way by the same quantity of labour.[5]
The recompense which the wits of that age could obtain from the public was so small, that they were under the necessity
