[149] There is this great difference, that, from the mode of pronouncing, the rhythm of the blank verse does not necessarily obtrude itself on the audience: that of the couplet indubitably must.
[150] John Taylor, the Water-poet as he called himself, from his profession of a waterman, was, according to Wood, a man who, having a prodigious genie to poetry, wrote eighty books, which not only made much sport at the time, but were thought worthy of being remitted into a large folio. He was a staunch cavalier, which might in some degree bribe Anthony's judgment of his poetry. His poetry is very like that which Skelton wrote a century before him. Among other pieces, there are some comical addresses to his subscribers, whom he divides into those who had received and paid their books; those who had done neither; and those who, having received, were unable to pay. To the first class he abounds in gratitude; the second he addresses as between hope and despair; the third he treats civilly, as they were defaulters from inability, and had always given him plenty of sack and fair promises: But, as was reason, he reserves the extremity of his displeasure for a fourth class of subscribers, who, having received his books, refused to pay the subscription.
[151] This Sir Robert Howard quoted, in his preface to the "Duke of Lerma;" and unluckily translated it, "Shutting the palace gates," for which Dryden severely animadverts on him, Vol. II. p. 278.
[152] Meaning Sir Robert Howard himself.
[153] From the conduct of Louis XIV., who gradually retrenched until he altogether abolished the edict of Nantes, there was a constant emigration to England of his Huguenot subjects.
[154] Rymer sets out with the old dogma, that no source of tragedy was legitimate, except that springing from pity or terror.
[155] "After much new-modelling, many changes, and alterations, Æschylus came with a second actor on the stage, and lessened the business of the chorus proportionably. But Sophocles adding a third actor and painted scenes, gave, in Aristotle's opinion, the utmost perfection to tragedy." Rymer's Remarks, p. 13.
[156] Alluding to the following remarks of Rymer transferring the pleasing effect of the plays, which he censures, to the lively representation. "Amongst those who will be objecting against the doctrine I lay down, may peradventure appear a sort of men who have remembered so and so; and value themselves upon their experience. I may write by the book (say they) what I have a mind, but they know what will please. Those are a kind of stage-quacks and empirics in poetry, who have got a receipt to please; and no collegiate like them for purging the passions.
"These say (for instance) a "King and no King" pleases. I say the comical part pleases.
"I say that Mr Hart pleases; most of the business falls to his share, and what he delivers, every one takes upon content; their eyes are prepossessed and charmed by his action, before aught of the poet's can approach their ears; and to the most wretched of characters, he gives a lustre and brilliance, which dazzles the sight, that the deformities in the poetry cannot be perceived."—Remarks, p. 5.