totle n, 'tis best to write tragedy in that kind of verse which is the least such, or which is nearest prose: and this amongst the ancients was the Iambick; and with us is blank verse, or the measure of verse kept exactly without rhyme. These numbers therefore are fittest for a play; the others for a paper of verses, or a poem; blank verse being as much below them, as rhyme is improper for the drama. And if it be objected that neither are blank verses made extempore, yet, as nearest nature, they are still to be preferred.—But there are two particular exceptions, which many besides myself have had to verse; by which it will appear yet more plainly how improper it is in plays. And the first of them is grounded on that very reason for which some have commended rhyme; they say, the quickness of repartees in argumentative scenes receives an ornament from verse. Now what is more unreasonable than to imagine that a man should not only light upon the wit[1], but the rhyme too, upon the sudden? This nicking of him who spoke before both in sound and measure, is so great an happiness, that you must at least suppose the persons of your play to be born poets: Arcades omnes, et cantare pares, et respondere parati n: they must have arrived to the degree of quicquid conabar dicere;—to make verses almost whether they will or no. If they are any thing below this, it will look rather like the design of two, than the answer of one: it will appear that your actors hold intelligence together; that they perform their tricks like fortune-tellers, by confederacy. The hand of art will be too visible in it, against that maxim
- ↑ so A; not only imagine the Wit, B.
