[142] This conversation, however, appears formidably stiff in the present age.
[143] I should be sorry to see the comparative merits of the stages tried upon that issue: Moliere, in natural comedy, is as far superior to Jonson, as Shakespeare is to both.
[144] The reasons against rhyme,—and very weighty our author at last found them,—are taken from the Preface to Sir Robert Howard's plays, the Crites of the dialogue.
"Another way of the ancients, which the French follow, and our stage has now lately practised, is, to write in rhyme; and this is the dispute betwixt many ingenious persons, whether verse in rhyme, or verse without the sound, which may be called blank verse, (though a hard expression,) is to be preferred. But take the question largely, and it is never to be decided; but, by right application, I suppose it may; for in the general, they are both proper, that is, one for a play, the other for a poem or copy of verses; a blank verse being as much too low for one, as rhyme is unnatural for the other. A poem, being a premeditated form of thoughts upon designed occasions, ought not to be unfurnished of any harmony in words or sound; the other is presented as the present effect of accidents not thought of: so that it is impossible it should be equally proper to both these, unless it were possible that all persons were born so much more than poets, that verses were not to be composed by them, but already made in them. Some may object, that this argument is trivial, because, whatever is shewed, it is known still to be but a play; but such may as well excuse an ill scene, that is not naturally painted, because they know it is only a scene, and not really a city or country.
"But there is yet another thing which makes verse upon the stage appear more unnatural; that is, when a piece of a verse is made up by one that knew not what the other meant to say, and the former verse answered as perfectly in sound as the last is supplied in measure; so that the smartness of a reply, which has its beauty by coming from sudden thoughts, seems lost by that which rather looks like a design of two, than the answer of one. It may be said, that rhyme is such a confinement to a quick and luxuriant fancy, that it gives a stop to its speed, till slow judgment comes in to assist it; but this is no argument for the question in hand: for the dispute is not, which way a man may write best in, but which is most proper for the subject he writes upon; and, if this were let pass, the argument is yet unsolved in itself: for he that wants judgment in the liberty of his fancy, may as well shew the defect of it in its confinement: and, to say truth, he that has judgment will avoid the errors, and he that wants it will commit them both. It may be objected, it is improbable that any should speak extempore as well as Beaumont and Fletcher makes them, though in blank verse: I do not only acknowledge that, but that it is also improbable any will write so well that way. But if that may be allowed improbable, I believe it may be concluded impossible that any should speak as good verses in rhyme, as the best poets have writ; and therefore, that which seems nearest to what it intends, is ever to be preferred. Nor is great thoughts more adorned by verse, than verse unbeautified by mean ones; so that verse seems not only unfit in the best use of it, but much more in the worse, when a servant is called, or a door bid to be shut, in rhyme. Verses (I mean good ones) do in their height of fancy declare the labour that brought them forth, like majesty, that grows with care; and Nature, that made the poet capable, seems to retire, and leave its offers to be made perfect by pains and judgement. Against this I can raise no argument but my Lord of Orrery's writings, in whose verse the greatness of the majesty seems unsullied with the cares, and his inimitable fancy descends to us in such easy expressions, that they seem as if neither had ever been added to the other, but both together flowing from a height; like birds got so high, that use no labouring wings, but only with an easy care preserve a steadiness in motion. But this particular happiness, among those multitudes which that excellent person is owner of, does not convince my reason, but employ my wonder: yet I am glad such verse has been written for our stage, since it has so happily exceeded those whom we seemed to imitate. But while I give these arguments against verse, I may seem faulty that I have not only written ill ones, but written any: but, since it was the fashion, I was resolved, as in all indifferent things, not to appear singular, the danger of the vanity being greater than the error; and therefore I followed it as a fashion, though very far off."
[145] This makes it obvious, that Neander is Dryden himself.
[146] Vide Daniel, his Defence of Rhyme. Dryden.
[147] Accurately,
Interdum vulgus recté videt est ubi peccat.
[148] "The Siege of Rhodes," by Sir William D'Avenant; "Mustapha," by Lord Orrery; "The Indian Queen," by Sir Robert Howard and Dryden; and "The Indian Emperor," by Dryden alone.