[Footnote A: A sneer which Sir Robert aims at Dryden. Dryden had
written twice on the question of rhyming tragedies.]
But to return to verse, whether it be natural or not in plays, is a
problem which is not demonstrable of either side: It is enough for me,
that he acknowledges he had rather read good verse than prose: for
if all the enemies of verse will confess as much, I shall not need
to prove that it is natural. I am satisfied if it cause delight; for
delight is the chief, if not the only, end of poesy: Instruction can
be admitted but in the second place, for poesy only instructs as it
delights. It is true, that to imitate well is a poet's work; but to
affect the soul, and excite the passions, and, above all, to move
admiration (which is the delight of serious plays), a bare imitation
will not serve. The converse, therefore, which a poet is to imitate,
must be heightened with all the arts and ornaments of poesy; and must
be such as, strictly considered, could never be supposed spoken by any
without premeditation.
As for what he urges, that "a play will still be supposed to be a
composition of several persons speaking _extempore_, and that good
verses are the hardest things which can be imagined to be so spoken;"
I must crave leave to dissent from his opinion, as to the former part
of it: For, if I am not deceived, a play is supposed to be the work
of the poet, imitating, or representing, the conversation of several
persons: and this I think to be as clear, as he thinks the contrary.
Pages:
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282