will, and governs wherever he appears. He fights without inquiring the cause, and loves in spite of the obligations of justice, of rejection by his mistress, and of prohibition from the dead. Yet the scenes are, for the most part, delightful; they exhibit a kind of illustrious depravity, and majestick madness, such as, if it is sometimes despised, is often reverenced, and in which the ridiculous is mingled with the astonishing.
In the Epilogue to the second part of the Conquest of Granada, Dryden indulges his favourite pleasure of discrediting his predecessors; and the Epilogue he has defended by a long postscript. He had promised a second dialogue, in which he should more fully treat of the virtues and faults of the English poets, who have written in the dramatick, epick, or lyrick way. This promise was never formally performed; but, with respect to the dramatick writers, he has given us in his prefaces, and in this postscript, something equivalent; but his purpose being to exalt himself by the comparison, he shews faults distinctly, and only praises excellence in general terms.
