The tragedy of "Don Carlos," performed the next year, had a singular influence upon the fortunes of Otway; and suddenly, by it's extraordinary popularity, brought him into competition with authors of the first rank. To explain the circumstances which conspired to produce an event so advantageous to our author, will require a short digression from the path of our narrative.

The province of poetry, and particularly that of the drama, was then chiefly occupied by Dryden, whose character, both as a man, and as a writer, (allowing for some imperfections quas humana parùm cavit natura) deserves, in no ordinary measure, our esteem and admiration. Compelled, like other men of genius in that age of neglect, to toil for the day that was passing over him, the vicissitudes of fashion, both in politics and learning, brought him often in collision with those who condemned his flexibility of principle, opposed his literary dogmas, or envied his increasing popularity. Among the latter we may class the witty and profligate Wilmot, Earl of Rochester, who saw the despotic authority at which he aimed in the concerns of wit and learning, endangered by the well-deserved reputation and growing talent of Dryden. Besides withdrawing, suddenly, his patronage from the laureat, he endeavoured to effect the ruin of his poetical fame, by the weak and despicable ar

tifice of encouraging a spirit of rivalry among his fellow authors. With this motive, he patronized Elkanah Settle, whose "Empress of Morocco❞ obtained such amazing success, as to infuse the utmost alarm into the rhyming tribe. Dryden's apprehensions prompted him to associate with Shadwell and Crowne, in an attempt to pull down the greatness of this formidable rival. But Elkanah's popularity lost him the favour of Rochester; who soon after selected Crowne, Dryden's late coadjutor, a writer of too little talent to give him any serious uneasiness. But such was the influence of this dissolute nobleman, that Crowne's masque of "Calisto; or the Chaste Nymph," was the universal theme of admiration at court, where it was exhibited, and for thirty nights attracted throngs of spectators. This distinction was not enjoyed with due moderation by the author, whom it likewise elevated above the level assigned him by his patron. Rochester, therefore, soon deserted Crowne, and transferred his patronage to Otway, who had now tried the walk of tragedy, and promised to be a more formidable engine for his purpose.

Under these favourable circumstances appeared our author's second tragedy, entitled, "Don Carlos, Prince of Spain ;" which, aided by the powerful influence of his patron, soon attracted the

royal approbation*, and was hyperbolically pronounced the first heroic play of the aget. The surprising success of this tragedy‡, which lasted long after temporary causes ceased to operate, somewhat intoxicated our author; who, upon it's publication, bestowed some sarcastic remarks, in a flippant style, upon Dryden, who appears to have spoken of it with little reverence. It was at this period began Dryden's animosity towards Otway; and it must be confessed, that some magnanimity was necessary to banish prejudice and resentment from his mind, when speaking of a performance, evidently extolled above it's merit, out of pure enmity to him. That he was not greatly deficient in candour, is apparent from the acknowledgment with which, even at this time, he is said to have qualified his mean opinion of our author's character." Otway," he would say, " is a barren, illiterate man; but, I confess, he has a power which I do not possess ;" and

* To this he refers, with a sort of self-complacency, in his motto to the play. Principibus placuisse viris, non ultima laus est.

See the Preface.

Downes says, that it was acted for ten successive days, and got more money than any preceding modern tragedy.— Rosc. Anglic.

being required to explain himself, said it was moving the passions. Such a compliment Otway hardly deserved before the appearance of "The Orphan." Another cause of offence was Otway's connection with Shadwell, between whom and Dryden had now commenced that fatal discord, which subsequently produced the famous satire of "Mac-Flecknoe;" wherein the unfortunate bard became a victim "sacred to eternal ridicule."

What was the nature or ground of the intimacy which subsisted between our author and Shadwell, it is not easy to ascertain. There was nothing congenial in their tastes, their tempers, or even their pleasures. The scenes of Otway's extravagance and debauchery, were occasionally enlivened by wit, or graced with elegance. Shadwell appears to have studiously rejected the artificial coverings of sensuality, and as he professed himself an imitator of Jonson in his dramatic compositions, he proposed him likewise as a model in his pleasures*. This friendship, however,

Dryden, speaking of Shadwell, gives the following humourous description of his corpulent bulk, and gross pleasures" He has often called me an Atheist in print; I would believe more charitably of him, and that he only goes the broad way, because the other is too narrow for him. He may see, by this, that I do not delight to meddle with his

much to the credit of both authors, seems to have continued when they were in the ranks of opposite factions. A rare felicity, when the rage of party almost approved the sacrifice of every social engagement!

The success which attended his last effort, seems to have decided Otway, in despair of any other employment, upon following the profession of a writer for the stage. He announced, in his preface to "Don Carlos," that he was engaged upon a third tragedy; still animated with the hope of retaining the patronage of Lord Rochester. Accordingly, the next year, (1677) he produced "Titus and Berenice," a tragedy, and "The Cheats of Scapin," a farce: with a dedi

course of life, and his immoralities, though I have a beadroll of them. I have hitherto contented myself with the ridiculous part of him, which is enough, in all conscience, to employ one man; even without the story of his late fall at the Old Devil, where he broke no ribs, because the hardness of the stairs could reach no bones; and, for my part, I do not wonder how he came to fall, for I have always known him heavy; the miracle is, how he got up again. I have heard of a sea-captain as fat as he, who, to escape arrests, would lay himself flat upon the ground, and let the bailiffs carry him to prison if they could. If a messenger or two, nay, we may put in three or four, should come, he has friendly advertisement how to escape them."-Vindication of "The Duke of Guise."