In June 1671, the duke was installed chancellor of the university of Cambridge, and the same year was sent ambassador to the King of France; who being pleased with his person and errand, entertained him very nobly for several days together; and upon his taking leave, gave him a sword and belt set with Pearls and Diamonds, to the value of 40,000 pistoles.  He was afterwards sent to that King at Utrecht in June 1672, together with Henry earl of Arlington, and George lord Hallifax.  He was one of the cabal at Whitehall, and in the beginning of the session of Parliament, February 1672, endeavoured to cast the odium of the Dutch war from himself, upon lord Arlington, another of the cabal.  In June 1674, he resigned the chancellorship of Cambridge.  About this time he became a great favourer of the Nonconformists.  February 16, 1676, his grace, and James earl of Salisbury, Anthony earl of Shaftsbury, and Philip lord Wharton, were committed to the Tower by order of the House of Lords, for a contempt, in refusing to retract what they had said the day before, when the duke, immediately after his Majesty had ended his speech to both Houses, endeavoured to shew from law and reason, that the long prorogation was nulled, and the Parliament was consequently dissolved.

The chief of our author’s works is,

The Rehearsal, a Comedy, first acted on December 7, 1671.  It is said that the duke was assisted in writing this play, by his Chaplain Dr. Thomas Sprat, Martin Clifford, esquire, master of the Charterhouse, and Mr. Samuel Butler, author of Hudibras.  Jacob, in his Lives of the Poets, observes, ’that he cannot exactly learn when his grace began this piece; but this much, says he, we may certainly gather from the plays ridiculed in it, that it was before the end of 1663, and finished before 1664, because it had been several times rehearsed, the players were perfect in their parts, and all things in readiness for its acting, before the great plague in 1665, and that then prevented it, for what was then intended, was very different from what now appears.  In that he called his poet Bilboa, by which name Sir Robert Howard was the person pointed at.  During this interval, many plays were published, written in heroic rhime, and on the death of Sir William Davenant 1669, whom Mr. Dryden succeeded in the laurel, it became still in greater vogue; this moved the duke to change the name of his poet, from Bilboa to Bayes.’

This character of Bayes is inimitably drawn; in it the various foibles of poets (whether good, bad or indifferent) are so excellently blended as to make the most finished picture of a poetical coxcomb:  ’Tis such a master-piece of true humour as will ever last, while our English tongue is understood, or the stage affords a good comedian to play it.  How shall I now avoid the imputation of vanity, when I relate, that this piece, on being revived (when I[2] first appeared in the part of Bayes) at the Theatre-Royal in Covent-Garden in the year 1739, was, in that one