Shadwell's comedy of
the "Lancashire Witches" was levelled more immediately at the papists,
but interspersed with most gross and scurrilous reflections upon the
English divines of the high church party. Otway, Lee, and Dryden were
the formidable antagonists, whom the court opposed to the whig poets.
Thus arrayed and confronted, the stage absolutely foamed with
politics; the prologues and epilogues, in particular formed channels,
through which the tenets of the opposite parties were frequently
assailed, and the persons of their leaders and their poets exposed to
scandal and derision.
In the middle of these political broils, Dryden was called upon, as he
informs us, by Lee, to return the assistance which that poet had
afforded in composing "OEdipus." The history of the Duke of Guise had
formerly occupied his attention, as an acceptable subject to the court
after the Restoration. A League, formed under pretence of religion,
and in defence of the king's authority, against his person, presented
facilities of application to the late civil wars, to which, we may be
sure, our poet was by no means insensible. But however apt these
allusions might have been in 1665, the events which had taken place in
1681-2 admitted of a closer parallel, and excited a deeper interest.
The unbounded power which Shaftesbury had acquired in the city of
London, and its state of factious fermentation, had been equalled by
nothing but the sway exercised by the leaders of the League in the
metropolis of France.
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