Such the animadversions which critics of great name have made on Gondibert, and the result is, that if Davenant had not power to begin and consummate an epic poem, yet by what he has done, he has a right to rank in the first class of poets, especially when it is considered that we owe to him the great perfection of the theatre, and putting it upon a level with that of France and Italy; and as the theatrical are the most rational of all amusements, the latest posterity should hold his name in veneration, who did so much for the advancement of innocent pleasures, and blending instruction and gaiety together.

The dramatic works of our author are,

1.  Albovine King of the Lombards, a tragedy.  This play is commended by eight copies of verses.  The story of it is related at large, in a novel, by Bandello, and is translated by Belleforest[3].

2.  Cruel Brother, a tragedy.

3.  Distresses, a tragi-comedy, printed in folio, Lond. 1673.

4.  First Day’s Entertainment at Rutland-House, by declamation and music, after the manner of the ancients.  Of this we have already given some account.

5.  The Fair Favourite, a tragi-comedy, printed in folio, 1673.

6.  The Just Italian, a tragi-comedy.

7.  Law against Lovers, a tragi-comedy, made up of two plays by Shakespear, viz.  Measure for Measure, and Much Ado about Nothing.

8.  Love and Honour, a tragi-comedy; which succeeded beyond any other of our author’s plays, both on the theatre at Lincoln’s-Inn, and Dorset-Garden.

9.  Man’s the Master, a tragi-comedy, acted upon the Duke of York’s theatre.

10.  Platonic Lovers, a tragi-comedy.

11.  Play House to be Let.  It is difficult to say, under what species this play should be placed, as it consists of pieces of different kinds blended together, several of which the author wrote in Oliver’s time, that were acted separately by stealth.—­The History of Sir Francis Drake, expressed by instrumental and vocal music, and by art of perspective scenes, and the cruelty of the Spaniards in Peru, were first printed in 4to. and make the third and fourth acts of this play.  The second act consists of a French farce, translated from Mollier[e]’s Ganarelle, ou le Cocu Imaginaire, and purposely by our author put into a sort of jargon, common to Frenchmen newly come over.  The fifth act consists of tragedy travestie; or the actions of Caesar, Anthony and Cleopatra in burlesque verse.

12.  Siege of Rhodes in two parts.  These plays, during the civil war, were acted in Stilo Recitativo, but afterwards enlarged, and acted with applause at the Duke’s theatre.  Solyman the second took this famous city in the year 1522, which is circumstantially related by Knolles in his History of the Turks, from whence our author took the story.

13.  Siege, a tragi-comedy.

14.  News from Plymouth, a comedy.

15.  Temple of Love, presented by Queen Henrietta, wife to King Charles I and her ladies at Whitehall, viz.  The Marchioness of Hamilton; Lady Mary Herbert; Countess of Oxford; Berkshire; Carnarvon:  The noble Persian Youths were represented by the Duke of Lenox, and the Earls of Newport and Desmond.