The citizens are exposed to the highest ridicule in it; and the scenes are loose and indecent. The reason why the comic poets have so often declared themselves open enemies to the citizens, was plainly this: The city magistrates had always opposed the court, on which the poets had their dependance, and therefore took this method of revenge.
8. Dame Dobson, or the Cunning Woman, a Comedy; acted and damn'd at the duke's theatre, printed in quarto, 1684. This is a translation of a French comedy.
9. The Canterbury Guests, or a Bargain Broken, a Comedy; acted at the theatre-royal, in 1695.
10. The Anatomist, or the Sham Doctor, a Comedy; acted at the theatre-royal in Lincoln's-Inn-Fields, 1697.
11. The Italian Husband, a Tragedy; acted at the theatre in Lincoln's-Inn-Fields 1698. To this play, besides the prologue, is prefixed a dialogue, which the author calls the prelude, managed by the poet, a critic, and one Mr. Peregrine the poet's friend. The author here seems to be under the same mistake with other modern writers, who are fond of barbarous and bloody stories. The Epilogue is written by Jo. Haynes.
* * * * *
JOHN PHILIPS,
A poet of very considerable eminence, was son of Dr. Stephen Philips, arch-deacon of Salop, and born at Brampton in Oxfordshire, December 30, 1676. After he had received a grammatical education at home, he was sent to Winchester school, where he made himself master of the Latin and Greek languages, and was soon distinguished for an happy imitation of the excellences which he discovered in the best classical authors. With this foundation he was removed to Christ's Church in Oxford, where he performed all his university exercises with applause, and besides other valuable authors in the poetical way, he became particularly acquainted with, and studied the works of Milton. The ingenious Mr. George Sewel, in his life and character of our author, observes, 'that there was not an allusion in Paradise Lost, drawn from the thoughts and expressions of Homer or Virgil, which Mr. Philips could not immediately refer to, and by that he perceived what a peculiar life and grace their sentiments added to English poetry; how much their images raised its spirit, and what weight and beauty their words, when translated, gave to its language: nor was he less curious in observing the force and elegance of his mother tongue; but by the example of his darling Milton, searched backwards into the works of our old English poets, to furnish him with proper sounding, and significant expressions, and prove the due extent, and compass of the language. For this purpose he carefully read over Chaucer and Spencer, and afterwards, in his writings, did not scruple to revive any words or phrases which he thought deserved it, with that modesty, and liberty which Horace allows of, either in the coining of new, or the restoring of ancient expressions.' Our author, however, was not so much enamoured of poetry, as to neglect other parts of literature, but was very well acquainted with the whole compass of natural philosophy. He seems in his studies, as well as his writings, to have made Virgil his pattern, and often to have broken out with him in the following rapturous wish, in the Second Book of the Georgies which, for the sake of the English reader, we shall give in Mr. Dryden's translation.
'Give me the ways of wand'ring stars to know,
The depths of heav'n above, or earth below;
Teach me the various labours of the moon,
And whence proceed the eclipses of the sun.
Why slowing tides prevail upon the main,
And in what dark recess they shrink again.
What shakes the solid earth, what cause delays
The summer-nights, and the short winter days.'
Mr. Philips was a passionate admirer of nature, and it is not improbable but he drew his own character in that description which he gives of a philosophical and retired life, at the latter end of the first Book of his Cyder.