While at coll. he had written some not very successful verse.  His Heroic Stanzas on the Death of Oliver Cromwell (1658) was his first considerable poem.  It was followed, in 1660, by Astraea Redux, in honour of the Restoration.  The interval of 18 months had been crowded with events, and though much has been written against his apparent change of opinion, it is fair to remember that the whole cast of his mind led him to be a supporter of de facto authority.  In 1663 he m. Lady Elizabeth Howard, dau. of the Earl of Berkshire.  The Restoration introduced a revival of the drama in its most debased form, and for many years D. was a prolific playwright, but though his vigorous powers enabled him to work effectively in this department, as in every other in which he engaged, it was not his natural line, and happily his fame does not rest upon his plays, which are deeply stained with the immorality of the age.  His first effort, The Wild Gallant (1663), was a failure; his next, The Rival Ladies, a tragi-comedy, established his reputation, and among his other dramas may be mentioned The Indian Queene, Amboyna (1673), Tyrannic Love (1669), Almanzar and Almahide (ridiculed in Buckingham’s Rehearsal) (1670), Arungzebe (1675), All for Love (an adaptation of Shakespeare’s Antony and Cleopatra) (1678).  During the great plague, 1665, D. left London, and lived with his father-in-law at Charleton.  On his return he pub. his first poem of real power, Annus Mirabilis, of which the subjects were the great fire, and the Dutch War.  In 1668 appeared his Essay on Dramatic Poetry in the form of a dialogue, fine alike as criticism and as prose.  Two years later (1670) he became Poet Laureate and Historiographer Royal with a pension of L300 a year.  D. was now in prosperous circumstances, having received a portion with his wife, and besides the salaries of his appointments, and his profits from literature, holding a valuable share in the King’s play-house.  In 1671 G. Villiers, Duke of Buckingham, produced his Rehearsal, in ridicule of the overdone heroics of the prevailing drama, and satirising D. as Mr. Bayes.  To this D. made no immediate reply, but bided his time.  The next years were devoted to the drama.  But by this time public affairs were assuming a critical aspect.  A large section of the nation was becoming alarmed at the prospect of the succession of the Duke of York, and a restoration of popery, and Shaftesbury was supposed to be promoting the claims of the Duke of Monmouth.  And now D. showed; his full powers.  The first part of Absalom and Achitophel appeared in 1681, in which Charles figures as “David,” Shaftesbury as “Achitophel,” Monmouth as “Absalom,” Buckingham as “Zimri,” in the short but crushing delineation of whom the attack of the Rehearsal was requited in the most ample measure.  The effect; of the poem was