P.  Your wounds are but without, and mine within:  You wound my heart, and I but prick your skin; And while your eyes pierce deeper than my claws, You blame the effect of which you are the cause.

C.  How could my guiltless eyes your heart invade, Had it not first been by your own betrayed?  Hence ’tis, my greatest crime has only been (Not in mine eyes, but yours) in being seen.

  P.  I hurt to love, but do not love to hurt.

  C.  That’s worse than making cruelty a sport.

  P.  Pain is the foil of pleasure and delight,
  That sets it off to a more noble height.

  C.  He buys his pleasure at a rate too vain,
  That takes it up beforehand of his pain.

  P.  Pain is more dear than pleasure when ’tis past.

  C.  But grows intolerable if it last,” etc.

[2] Life of Lope de Vega, p. 208.

[3] Dryden was severely censured by the critics for his supernatural persons, and ironically described as the “man, nature seemed to make choice of to enlarge the poet’s empire and to complete those discoveries others had begun to shadow.  That Shakespeare and Fletcher (as some think) erected the pillars of poetry, is a grosse errour; this Zany of Columbus has discovered a poeticall world of greater extent than the naturall, peopled with Atlantick colonies of notionall creatures, astrall spirits, ghosts, and idols, more various than ever the Indians worshipt, and heroes more lawless than their savages.”—­Censure of the Rota.

[4] His mistress having fallen in love with a disguised barber, a less polished rival exclaims,—­

  “Sir Hum.  Nay, for my part, madam, if you must love a cudgelled
  barber, and take him for a valiant count, make much of him; I shall
  desist:  there are more ladies, heaven be thanked.

“Trim.  Yes, sir, there are more ladies; but if any man affirms that my fair Dorinda has an equal, I thus fling down my glove, and do demand the combat for her honour.—­This is a nice point of honour I have hit.”—­Bury Fair.

[5] The author of the “Friendly Vindication of Mr. Dryden from the Censure of the Rota” (Cambridge, 1673) mentions, “his humble and supplicant addresses to men and ladies of honour, to whom he presented the most of his plays to be read, and so passing through their families, to comply with their censures before-hand; confessing ingenuously, that had he ventured his wits upon the tenter-hooks of Fortune (like other poets who depended more upon the merits of their pens), he had been more severely entangled in his own lines long ago.”—­Page 7.

[6] Of this want of talent the reader may find sufficient proof in the extracts from his Grace’s reflections upon “Absalom and Achitophel.”

[7] See “Key to the Rehearsal.”  “Our most noble author, to manifest his just indignation and hatred of this fulsome new way of writing, used his utmost interest and endeavours to stifle it at its first appearance on the stage, by engaging all his friends to explode and run down these plays; especially the ‘United Kingdoms,’ which had like to have brought his life into danger.