Dryden was now to do a new homage to Shakespeare, by refitting for the stage the play of "Troilus and Cressida," which the author left in a state of strange imperfection, resembling more a chronicle, or legend, than a dramatic piece. Yet it may be disputed whether Dryden has greatly improved it even in the particulars which he censures in his original. His plot, though more artificial, is at the same time more trite than that of Shakespeare. The device by which Troilus is led to doubt the constancy of Cressida is much less natural than that she should have been actually inconstant; her vindication by suicide is a clumsy, as well as a hackneyed expedient; and there is too much drum and trumpet in the grand _finale_, where "Troilus and Diomede fight, and both parties engage at the same time. The Trojans make the Greeks retire, and Troilus makes Diomede give ground, and hurts him. Trumpets sound. Achilles enters with his Myrmidons, on the backs of the Trojans, who fight in a ring, encompassed round. Troilus, singling Diomede, gets him down, and kills him; and Achilles kills Troilus upon him. All the Trojans die upon the place, Troilus last." Such a _bellum internecinum_ can never be waged to advantage upon the stage. One extravagant passage in this play serves strongly to evince Dryden's rooted dislike to the clergy. Troilus exclaims,-- "That I should trust the daughter of a priest! Priesthood, that makes a merchandise of heaven! Priesthood, that sells even to their prayers and blessings, And forces us to pay for our own cozenage! _Thersites_. Nay, cheats heaven too with entrails and with offals; Gives it the garbage of a sacrifice, And keeps the best for private luxury. Troilus_. Thou hast deserved thy life for cursing priests. Let me embrace thee; thou art beautiful: That back, that nose, those eyes are beautiful: Live; thou art honest, for thou hat'st a priest."