This piece, which concluded our author's labours as a dramatic poet, was unsuccessful when represented, and affords very little pleasure when perused. If we except "Amboyna," our author never produced a play, where the tragic part had less interest, or the comic less humour. For the faults of "Amboyna," Dryden pleaded the barren nature of the subject, chosen not with a view to dramatic effect, but to attain a political purpose, and the hurry of writing upon a temporary theme. But that he should have failed, in a play avowedly intended to crown his dramatic labours, where the story was of his own device, and the composition at his own leisure, can only be imputed to that occasional flatness, or cessation of the divine influence, as an ancient would have expressed it, from which men of the highest poetic genius are not exempted. In despite of all cold reasoning upon this subject, the fact is irresistible, that our capacity of exerting mental talents, is not more absolute than that which we possess over our bodily powers. We are in each case limited by a thousand external and internal circumstances, which occasion the greatest and most involuntary inequalities, between our happier and our inferior efforts, of mental abilities or of corporeal strength. It can only be to the temporary failure of the poetic inspiration, which, like the wind of heaven, bloweth where it listeth, and neither to want of labour, nor to impaired talents, that we are to attribute the inferiority of "Love Triumphant," to almost all Dryden's other compositions.