Dryden,
who was first taught by D'Avenant "to admire" Shakespeare's work,
attests in his critical writings a reverence for its unique
excellence, which must satisfy the most enthusiastic worshipper. The
same temper characterises references to Shakespeare on the part of
dramatists of the Restoration, who brought to the adaptation of
Shakespeare abilities of an order far inferior to those of Dryden or
of D'Avenant. Nahum Tate, one of the least respected names in English
literature, was one of the freest adapters of Shakespearean drama to
the depraved taste of the day. Yet even he assigned to the master
playwright unrivalled insight into the darkest mysteries of human
nature, and an absolute mastery of the faculty of accurate
characterisation. For once, Tate's literary judgment must go
unquestioned.
It was no feeling of disrespect or of dislike for Shakespeare's
work--it was the change that was taking place in the methods of
theatrical representation, which mainly incited the Shakespearean
adapters of the Restoration to their benighted labours. Shakespeare
had been acted without scenery or musical accompaniment. As soon as
scenic machinery and music had become ordinary accessories of the
stage, it seemed to theatrical managers almost a point of honour to
fit Shakespearean drama to the new conditions.
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