There is, however, another mode, yet more difficult to be used with address, but much more fortunate in effect when it has been successfully employed. This is, when the principal personages themselves do not always remain in the buckram of tragedy, but reserve, as in common life, lofty expressions for great occasions, and at other times evince themselves capable of feeling the lighter, as well as the more violent or more deep, affections of the mind. The shades of comic humour in Hamlet, in Hotspur, and in Falconbridge, are so far from injuring, that they greatly aid the effect of the tragic scenes, in which these same persons take a deep and tragical share. We grieve with them, when grieved, still more because we have rejoiced with them when they rejoiced; and, on the whole, we acknowledge a deeper _frater feeling_, as Burns has termed it, in men who are actuated by the usual changes of human temperament, than in those who, contrary to the nature of humanity, are eternally actuated by an unvaried strain of tragic feeling. But whether the poet diversifies his melancholy scenes by the passing gaiety of subordinate characters; or whether he qualifies the tragic state of his heroes by occasionally assigning lighter tasks to them; or whether he chooses to employ both modes of relieving the weight of misery through live long acts; it is obviously unnecessary that he should distract the attention of his audience, and destroy the regularity of his play, by introducing a comic plot with personages and interest altogether distinct, and intrigue but slightly connected with that of the tragedy. Dryden himself afterwards acknowledged that though he was fond of the "Spanish Friar," he could not defend it from the imputation of Gothic and unnatural irregularity; "for mirth and gravity destroy each other, and are no more to be allowed for decent, than a gay widow laughing in a mourning habit."[36] The "Spanish Friar" was brought out in 1681-2, when the nation was in a ferment against the Catholics on account of the supposed plot. It is dedicated to John, Lord Haughton, as _protestant play_ inscribed to a _protestant patron_. It was also the last dramatic work, excepting the political play of the "Duke of Guise," and the masque of "Albion and Albanius," brought out by our author before the Revolution. And in political tendency, the "Spanish Friar" has so different colouring from these last pieces, that it is worth while to pause to examine the private relations of the author when he composed it.