The situation of Dryden, after the Revolution, was so delicate as to require great caution and attention, both in his choice of a subject, and his mode of treating it. His distressed circumstances and lessened income compelled him to come before the public as an author; while the odium attached to the proselyte of a hated religion, and the partizan of a depressed faction, was likely, upon the slightest pretext, to transfer itself from the person of the poet to the labours on which his support depended. He was, therefore, not only obliged to chuse a theme, which had no offence in it, and to treat it in a manner which could not admit of misconstruction, but also so to exert the full force of his talents, as, by the conspicuous pre-eminence of his genius, to bribe prejudice and silence calumny. An observing reader will accordingly discover, throughout the following tragedy, symptoms of minute finishing, and marks of accurate attention, which, in our author's better days, he deigned not to bestow upon productions, to which his name alone was then sufficient to give weight and privilege. His choice of a subject was singularly happy: the name of Sebastian awaked historical recollections and associations, favourable to the character of his hero; while the dark uncertainty of his fate removed all possibility of shocking the audience by glaring offence against the majesty of historical truth. The subject has, therefore, all the advantages of a historical play, without the detects, which either a rigid coincidence with history, or a violent contradiction of known truth, seldom fail to bring along with them. Dryden appears from his preface to have been fully sensible of this; and he has not lost the advantage of a happy subject by treating it with the carelessness he sometimes allowed himself to indulge.