"This way of Writing in Verse, they have only left free to us. Our Age is arrived to a perfection in it, which they never knew: and which (if we may guess by what of theirs we have seen in Verse, as the _Faithful Shepherdess_ and _Sad Shepherd_) 'tis probable they never could have reached. For the Genius of every Age is different: and though ours excel in this; I deny not but that to imitate Nature in that perfection which they did in Prose [_i.e., Blank Verse_] is a greater commendation than to write in Verse exactly.

"As for what you have added, _that the people are not generally inclined to like this way_: if it were true, it would be no wonder but betwixt the shaking off of an old habit, and the introducing of a new, there should be difficulty. Do we not see them stick to HOPKINS and STERNHOLD's Psalms; and forsake those of DAVID, I mean SANDYS his Translation of them? If, by the _people_, you understand the Mult.i.tude, the [Greek: _oi polloi_]; 'tis no matter, what they think! They are sometimes in the right, sometimes in the wrong. Their judgement is a mere lottery. _Est ubi plebs recte putat, est ubi peccat_. HORACE says it of the Vulgar, judging Poesy. But if you mean, the mixed Audience of the Populace and the n.o.blesse: I dare confidently affirm, that a great part of the latter sort are already favourable to Verse; and that no serious Plays, written since the King's return [_May_ 1660], have been more kindly received by them, than the _Siege of Rhodes_, the _MUSTAPHA_, the _Indian Queen_ and _Indian Emperor_. [_See_ p. 503.]

"But I come now to the Inference of your first argument. You said, 'The dialogue of Plays is presented as the effect of sudden thought; but no one speaks suddenly or, _ex tempore_, in Rhyme' [p. 498]: and you inferred from thence, _that Rhyme_, which you acknowledge to be proper to Epic Poesy [p. 559], _cannot equally be proper to Dramatic; unless we could suppose all men born so much more than poets, that verses should be made_ in _them, not_ by _them_.

"It has been formerly urged by you [p. 499] and confessed by me [p. 563]

that 'since no man spoke any kind of verse _ex tempore_; that which was _nearest_ Nature was to be preferred.' I answer you, therefore, by distinguishing betwixt what is _nearest_ to the nature of Comedy: which is the Imitation of common persons and Ordinary Speaking: and, what is _nearest_ the nature of a serious Play. This last is, indeed, the Representation of Nature; but 'tis Nature wrought up to an higher pitch.

The Plot, the Characters, the Wit, the Pa.s.sions, the Descriptions are all exalted above the level of common converse [_conversation_], as high as the Imagination of the Poet can carry them, with proportion to verisimility [_verisimilitude_].

"Tragedy, we know, is wont to Image to us the minds and fortunes of n.o.ble persons: and to pourtray these exactly, Heroic Rhyme is _nearest_ Nature; as being the n.o.blest kind of Modern Verse.

"_Indignatur enim privatis, et prope socco, Dignis carminibus narrari coena THYESTOE._

"says HORACE. And in another place,

"_Effutire leveis indigna tragoedia versus._

"Blank Verse is acknowledged to be too low for a Poem, nay more, for a paper of Verses [pp. 473, 498, 559]; but if too low for an ordinary Sonnet, how much more for Tragedy! which is, by ARISTOTLE, in the dispute between the Epic Poesy and the Dramatic, (for many reasons he there alleges) ranked above it.

"But setting this defence aside, your argument is almost as strong against the use of Rhyme in Poems, as in Plays. For the Epic way is everywhere interlaced with Dialogue or Discoursive Scenes: and, therefore, you must either grant Rhyme to be improper there, which is contrary to your a.s.sertion; or admit it into Plays, by the same t.i.tle which you have given it to Poems.

"For though Tragedy be justly preferred above the other, yet there is a great affinity between them; as may easily be discovered in that Definition of a Play, which LISIDEIUS gave us [p. 513]. The genus of them is the same, A JUST AND LIVELY IMAGE OF HUMAN NATURE, IN ITS ACTIONS, Pa.s.sIONS, AND TRAVERSES OF FORTUNE: so is the End, namely, FOR THE DELIGHT AND BENEFIT OF MANKIND. The Characters and Persons are still the same, viz., the greatest of both sorts: only the _manner of acquainting us_ with those actions, pa.s.sions, and fortunes is different. Tragedy performs it, _viva voce_, or by Action in Dialogue: wherein it excels the Epic Poem; which does it, chiefly, by Narration, and therefore is not so lively an Image of Human Nature. However, the agreement betwixt them is such, that if Rhyme be proper for one, it must be for the other.

"Verse, 'tis true, is not 'the effect of Sudden Thought.' But this hinders not, that Sudden Thought may be represented in Verse: since those thoughts are such, as must be higher than Nature can raise them without premeditation, especially, to a continuance of them, even out of Verse: and, consequently, you cannot imagine them, to have been sudden, either in the Poet or the Actors.

"A Play, as I have said, to be like Nature, is to be set above it; as statues which are placed on high, are made greater than the life, that they may descend to the sight, in their just proportion.

"Perhaps, I have insisted too long upon this objection; but the clearing of it, will make my stay shorter on the rest.

"You tell us, CRITES! that 'Rhyme is most unnatural in Repartees or Short Replies: when he who answers, it being presumed he knew not what the other would say, yet makes up that part of the Verse which was left incomplete; and supplies both the sound and the measure of it. This,' you say, 'looks rather like the Confederacy of two, than the Answer of one.'

"This, I confess, is an objection which is in every one's mouth, who loves not Rhyme; but suppose, I beseech you! the Repartee were made only in Blank Verse; might not part of the same argument be turned against you? For the measure is as often supplied there, as it is in Rhyme: the latter half of the hemistich as commonly made up, or a second line subjoined as a reply to the former; which any one leaf in JOHNSON's Plays will sufficiently make clear to you.

"You will often find in the Greek Tragedians, and in SENECA; that when a Scene grows up into the warmth of Repartees, which is the close fighting of it, the latter part of the trimeter is supplied by him who answers: and yet it was never observed as a fault in them, by any of the Ancient or Modern critics. The case is the same in our verse, as it was in theirs: Rhyme to us, being in lieu of Quant.i.ty to them. But if no lat.i.tude is to be allowed a Poet; you take from him, not only his license of _quidlibet audendi_: but you tie him up in a straighter compa.s.s than you would a Philosopher.

"This is, indeed, _Musas colere severiores_. You would have him follow Nature, but he must follow her on foot. You have dismounted him from his _Pegasus_!

"But you tell us 'this supplying the last half of a verse, or adjoining a whole second to the former, looks more like the Design of two, than the Answer of one [pp. 498, 559].' Suppose we acknowledge it. How comes this Confederacy to be more displeasing to you, than a dance which is well contrived? You see there, the united Design of many persons to make up one Figure. After they have separated themselves in many petty divisions; they rejoin, one by one, into the gross. The Confederacy is plain amongst them; for Chance could never produce anything so beautiful, and yet there is nothing in it that shocks your sight.

"I acknowledge that the hand of Art appears in Repartee, as, of necessity, it must in all kind[s] of Verse. But there is, also, the quick and poignant brevity of it (which is a high Imitation of Nature, in those sudden gusts of pa.s.sion) to mingle with it: and this joined with the cadency and sweetness of the Rhyme, leaves nothing in the Soul of the Hearer to desire. 'Tis an Art which _appears_; but it _appears_ only like the shadowings of painture [_painting_], which, being to cause the rounding of it, cannot be absent: but while that is considered, they are lost. So while we attend to the other beauties of the Matter, the care and labour of the Rhyme is carried from us; or, at least, drowned in its own sweetness, as bees are some times buried in their honey.

"When a Poet has found the Repartee; the last perfection he can add to it, is to put it into Verse. However good the Thought may be, however apt the Words in which 'tis couched; yet he finds himself at a little unrest, while Rhyme is wanting. He cannot leave it, till that comes naturally; and then is at ease, and sits down contented.

"From Replies, which are the most _elevated_ thoughts of Verse, you pa.s.s to the most _mean_ ones, those which are common with the lowest of household conversation. In these you say, the majesty of the Verse suffers. You instance in 'the calling of a servant' or 'commanding a door to be shut' in Rhyme. This, CRITES! is a good observation of yours; but no argument. For it proves no more, but that such thoughts should be waved, as often as may be, by the address of the Poet. But suppose they _are_ necessary in the places where he uses them; yet there is no need to put them into rhyme. He may place them in the beginning of a verse and break it off, as unfit (when so debased) for any other use: or granting the worst, that they require more room than the hemistich will allow; yet still, there is a choice to be made of best words and least vulgar (provided they be apt) to express such thoughts.

"Many have blamed Rhyme in general for this fault, when the Poet, with a little care, might have redressed it: but they do it, with no more justice, than if English Poesy should be made ridiculous, for the sake of [JOHN TAYLOR] the Water Poet's rhymes.

"Our language is n.o.ble, full, and significant; and I know not why he who is master of it, may not clothe ordinary things in it, as decently as the Latin; if he use the same diligence in his choice of words.

"_Delectus verborum origo est eloquentiae_ was the saying of JULIUS CAESAR; one so curious in his, that none of them can be changed but for the worse.

"One would think 'Unlock the door!' was a thing as vulgar as could be spoken; and yet SENECA could make it sound high and lofty, in his Latin--

"_Reserate clusos regii postes Laris._

"But I turn from this exception, both because it happens not above twice or thrice in any Play, that those vulgar thoughts are used: and then too, were there no other apology to be made, yet the necessity of them (which is, alike, in all kind[s] of writing) may excuse them. Besides that, the great eagerness and precipitation with which they are spoken, makes us rather mind the substance than the dress; that for which they are spoken, rather than what is spoke[n]. For they are always the effect of some hasty concernment; and something of consequence depends upon them.

"Thus, CRITES! I have endeavoured to answer your objections. It remains only that I should vindicate an argument for Verse, which you have gone about to overthrow.

"It had formerly been said [p. 492] that, 'The easiness of Blank Verse renders the Poet too luxuriant; but that the labour of Rhyme bounds and circ.u.mscribes an over fruitful fancy: the Sense there being commonly confined to the Couplet; and the words so ordered that the Rhyme naturally follows them, not they, the Rhyme.'

"To this, you answered, that 'It was no argument to the question in hand: for the dispute was not which way _a man may write best_; but which is _most proper for the subject on which he writes_.'

"First. Give me leave, Sir, to remember you! that the argument on which you raised this objection was only secondary. It was built upon the hypothesis, that to write in Verse was proper for serious Plays. Which supposition being granted (as it was briefly made out in that discourse, by shewing how Verse might be made _natural_): it a.s.serted that this way of writing was a help to the Poet's judgement, by putting bounds to a wild, overflowing Fancy. I think therefore it will not be hard for me to make good what it was to prove.

"But you add, that, 'Were this let pa.s.s; yet he who wants judgement in the liberty of the Fancy, may as well shew the defect of it, when he is confined to Verse: for he who has judgement, will avoid errors; and he who has it not will commit them in all kinds of writing.'

"This argument, as you have taken it from a most acute person, so I confess it carries much weight in it. But by using the word Judgement here indefinitely, you seem to have put a fallacy upon us. I grant he who has judgement, that is, so profound, so strong, so infallible a judgement that he needs no helps to keep it always poised and upright, will commit no faults; either in Rhyme, or out of it: and, on the other extreme, he who has a judgement so weak and crazed, that no helps can correct or amend it, shall write scurvily out of Rhyme; and worse in it. But the first of these Judgements, is nowhere to be found; and the latter is not fit to write at all.

"To speak, therefore, of Judgement as it is in the best Poets; they who have the greatest proportion of it, want other helps than from it within: as, for example, you would be loath to say that he who was endued with a sound judgement, had no need of history, geography, or moral philosophy, to write correctly.

"Judgement is, indeed, the Master Workman in a Play; but he requires many subordinate hands, many tools to his a.s.sistance. And Verse, I affirm to be one of these. 'Tis a 'Rule and Line' by which he keeps his building compact and even; which, otherwise, lawless Imagination would raise, either irregularly or loosely. At least, if the Poet commits errors with this help; he would make greater and more without it. 'Tis, in short, a slow and painful, but the surest kind of working.

"OVID, whom you accuse [p. 561] for luxuriancy in Verse, had, perhaps, been farther guilty of it, had he writ in Prose. And for your instance of BEN. JOHNSON [p. 561]; who, you say, writ exactly, without the help of Rhyme: you are to remember, 'tis only an aid to a _luxuriant_ Fancy; which his was not [p. 551]. As he did not want Imagination; so, none ever said he had much to spare. Neither was Verse then refined so much, to be a help to that Age as it is to ours.

"Thus then, the second thoughts being usually the best, as receiving the maturest digestion from judgement; and the last and most mature product of those thoughts, being artfull and laboured Verse: it may well be inferred, that Verse is a great help to a luxuriant Fancy. And this is what that argument, which you opposed, was to evince."

NEANDER was pursuing this discourse so eagerly that EUGENIUS had called to him twice or thrice, ere he took notice that the barge stood still; and that they were at the foot of Somerset Stairs, where they had appointed it to land.

The company were all sorry to separate so soon, though a great part of the evening was already spent: and stood a while, looking back upon the water; which the moonbeams played upon, and made it appear like floating quicksilver.

At last, they went up, through a crowd of French people, who were merrily dancing in the open air, and nothing concerned for the noise of the guns, which had alarmed the Town that afternoon.

Walking thence together to the Piazza, they parted there, EUGENIUS and LISIDEIUS, to some pleasant appointment they had made; and CRITES and NEANDER to their several lodgings.

FINIS.

[9] Compare DRYDEN's definition of Humour, with that of Lord MACAULAY, in his review of _Diary and Letters of Madame D'ARBLAY (Edinburgh Review_, Jan. 1843). E.A. 1880.

[10] Glorious JOHN DRYDEN! thee liest! CROMWELL and his Court were no "enemies of all good learning," though they utterly rejected the Dramatic branch of it. E.A. 1880.

The Honourable Sir ROBERT HOWARD Auditor of the Exchequer.

Preface to _The great Favourite, or the Duke of LERMA_.