Event Comment: [
The King's Company.  
The date of 
the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that 
the first part had been acted before that date and that Part II was to be shortly staged.  
The point of 
the Prologue spoken by 
Ellen Gwyn seems to have derived from an incident at 
Dover (see 
Downes, 
Roscius Anglicanus, p. 20) in May 1670, when 
James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts."  
The speakers of 
the Epilogue and 
the Prologue to 
the Second Part are mentioned in 
Sir William Haward's MS (
Bodl. MS Don. b., pp. 248-49); see 
The Poems of John Dryden, ed. 
James Kinsley (Oxford, 1958), IV, 1848-49.  In Part I a song 
Beneath a myrtle shade, with music by 
John Bannister, is in 
Choice Songs and Ayres, First Book, 1673.  Ano
ther, 
Wherever I am, with music by 
Alphonso Marsh, is in 
the same collection, as is also 
How unhappy a lover am I, 
the music by 
Nicholas Staggins.  
Mrs John Evelyn to 
Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen 
The Siege of Grenada, a play so full of ideas that 
the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia ra
ther than our stage.  I do not quarrel with 
the poet, but admire one born in 
the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this 
the same event in ours.  As to 
the strict law of comedy I dare not pretend to judge: some think 
the division of 
the story is not so well if it could all have been comprehended in 
the day's actions (
The Diary and Correspondence of John Evelyn, ed. 
William Bray, IV, 25).  According to 
John Evelyn--see 9 Feb. 1670@1--
Robert Streeter did some of 
the scenes for this play.  In 
the Preface to 
The Fatal Discovery, ca. February 1697@8, 
George Powell, in discussing revivals of 
Dryden's plays, stated: In relation to our reviving his 
Almanzor...very hard crutching up what 
Hart and 
Mohun could not prop