Dryden prefixed to "Troilus and Cressida" his excellent remarks on the Grounds of Criticism in Tragedy, giving up, with dignified indifference the faults even of his own pieces, when they contradict the rules his later judgment had adopted. How much his taste had altered since his "Essay of Dramatic Poesy," or at least since his "Remarks on Heroic Plays," will appear from the following abridgment of his new maxims. The plot, according to these remarks, ought to be simply and naturally detailed from its commencement to its conclusion,--a rule which excluded the crowded incidents of the Spanish drama; and the personages ought to be dignified and virtuous, that their misfortunes might at once excite pity and terror. The plots of Shakespeare and Fletcher are meted by this rule, and pronounced inferior in mechanic regularity to those of Ben Jonson. The character of the agents, or persons, are next to be considered; and it is required that their manner shall be at once marked, dramatic, consistent, and natural. And here the supereminent power of Shakespeare, in displaying the manners, bent, and inclination of his characters, is pointed out to the reader's admiration. The copiousness of his invention, and his judgment in sustaining the ideas which he started, are illustrated by referring to Caliban, a creature of the fancy, begot by an incubus upon a witch, and furnished with a person, language, and character befitting his pedigree on both sides. The passions are then considered as included in the manners; and Dryden, at once and peremptorily, condemns both the extravagance of language, which substitutes noise for feeling, and those points and turns of wit, which misbecome one actuated by real and deep emotion. He candidly gives an example of the last error from his own Montezuma who, pursued by his enemies, and excluded from the fort, describes his situation in a long simile, taken besides from the sea, which he had only heard of for the first time in the first act. As a description of natural passion, the famous procession of King Richard in the train of the fortunate usurper is quoted, in justice to the divine author. From these just and liberal rules of criticism, it is easy to discover that Dryden had already adopted a better taste, and was disgusted with comedies, where the entertainment arose from bustling incident, and tragedies, where sounding verse was substituted for the delineation of manners and expression of feeling. These opinions he pointedly expresses in the Prologue to "Troilus and Cressida," which was spoken by Betterton, representing the ghost of Shakespeare: