was practised; new, I say, in those countries, for in all probability it was that of the conquerors in their own nations at least we are able to prove, that the eastern people have used it from all antiquity. This new way consisted in measure or number of feet, and rhyme; the sweetness of rhyme, and observation of accent, supplying the place of quantity in words, which could neither exactly be observed by those barbarians, who knew not the rules of it, neither was it suitable to their tongues, as it had been to the Greek and Latin. No man is tied in modern poesy to observe any farther rule in the feet of his verse, but that they be dissyllables; whether Spondee, Trochee, or Iambick, it matters not; only he is obliged to rhyme neither do the Spanish, French, Italian, or Germans, acknowledge at all; or very rarely, any such kind of poesy as blank verse amongst them. Therefore, at most 'tis but a poetick prose, a sermo pedestris; and as such, most fit for comedies, where I acknowledge rhyme to be improper.Farther; as to that quotation of Aristotle, our couplet verses may be rendered as near prose as blank verse itself, by using those advantages I lately named, as breaks in an hemistick, or running the sense into another line,―thereby making art and order appear as loose and free as nature or not tying ourselves to couplets strictly, we may use the benefit of the Pindarick way prac

:

4 Vide Daniel his Defence of Rhyme. D.

tised in THE SIEGE OF RHODES; where the numbers vary, and the rhyme is disposed carelessly, and far from often chyming. Neither is that other advantage of the ancients to be despised, of changing the kind of verse when they please, with the change of the scene, or some new entrance; for they confine not themselves always to iambicks, but extend their liberty to all lyrick numbers, and sometimes even to hexameter. But I need not go so far to prove that rhyme, as it succeeds to all other offices of Greek and Latin verse, so especially to this of plays, since the custom of nations at this day confirms it; the French, Italian, and Spanish tragedies are generally writ in it; and sure the universal consent of the most civilized parts of the world, ought in this, as it doth in other customs, to include the rest.

But perhaps you may tell me, I have proposed such a way to make rhyme natural, and consequently proper to plays, as is unpracticable; and that I shall scarce find six or eight lines together in any play, where the words are so placed and chosen as is required to make it natural. I answer, no poet need constrain himself at all times to it. It is enough he makes it his general rule; for I deny not but sometimes there may be a greatness in placing the words otherwise; and sometimes they may sound better; sometimes also the variety itself is excuse enough. But if, for the most part, the words be placed as they are in the negligence of prose, it is sufficient to denominate the way

practicable; for we esteem that to be such, which in the trial oftner succeeds than misses. And thus far you may find the practice made good in many plays where you do not, remember still, that if you cannot find six natural rhymes together, it will be as hard for you to produce as many lines in blank verse, even among the greatest of our poets, against which I cannot make some reasonable exception.

And this, Sir, calls to my remembrance the beginning of your discourse, where you told us we should never find the audience favourable to this kind of writing, till we could produce as good plays in rhyme, as Ben Jonson, Fletcher, and Shakspeare, had writ out of it. But it is to raise envy to the living, to compare them with the dead. They are honoured, and almost adored by us, as they deserve; neither do I know any so presumptuous of themselves as to contend with them. Yet give me leave to say thus much, without injury to their ashes; that not only we shall never equal them, but they could never equal themselves, were they to rise and write again. We acknowledge them our fathers in wit; but they have ruined their estates themselves, before they came to their children's hands. There is scarce an humour, a character, or any kind of plot, which they have not used. All comes sullied or wasted to us: and were they to entertain this age, they could not now make so plenteous treatments out of such decayed fortunes. This therefore will be a good

argument to us, either not to write at all, or to attempt some other way. There is no bays to be expected in their walks: tentanda via est, quà me quoque possum tollere humo.

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, 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, that betwixt the shaking off 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 multitude, the wool, 'tis no matter what they think; they are sometimes in the right, sometimes in the wrong: their judgment is a mere lottery. Est ubi plebs rectè putat, est ubi peccat. Horace says it of the vulgar, judging poesy. But if you mean the mixed audience of

4 Our author here again has quoted from memory. Horace's line is

Interdum vulgus rectum videt, est ubi peccat.

the populace and the noblesse, 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 have been more kindly received by them, than THE SIEGE OF RHODES, the MUSTAPHA, THE INDIAN QUEEN, and INDIAN EMPEROR.

But I come now to the inference of your first argument. You said that the dialogue of plays is presented as the effect of sudden thought, but no man speaks suddenly, or extempore, in rhyme; and you inferred from thence, that rhyme, which you acknowledge to be proper to epick poesy, cannot equally be proper to dramatick, unless we could suppose much more than poets, all men born so that verses should be made in them, not by them.

It has been formerly urged by you, and confessed by me, that since no man spoke any kind of verse extempore, 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 charaters, the wit, the passions, the descriptions, are all exalted above the level of common converse, as high as the imagination of the poet can carry them, with proportion to verisimility. Tragedy, we know, is wont to image to us the minds and