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cular a grace, and is so aptly suited to them, that the sudden smartness of the answer, and the sweetness of the rhyme, set off the beauty of each other. But that benefit which I consider most in it, because I have not seldom found it, is, that it bounds and circumscribes the fancy: for imagination in a poet is a faculty so wild and lawless, that, like an high-ranging spaniel, it must have clogs tied to it, lest it outrun the judgment. The great easiness of blank verse renders the poet too luxuriant; he is tempted to say many things which might better be omitted, or at least shut up in fewer words: but when the difficulty of artful rhyming is interposed, where the poet commonly confines his sense to his couplet, and must contrive that sense into such words, that the rhyme, shall naturally follow them, not they the rhyme; the fancy then gives leisure to the judgment to come in; which seeing so heavy a tax imposed, is ready to cut off all unnecessary expences. This last consideration has already answered an objection which some have made; that rhyme is only an embroidery of sense, to make that which is ordinary in itself, pass for excellent with less examination. But certainly, that which most regulates the fancy, and gives the judgment its busiest employment, is like to bring forth the richest and clearest thoughts. The poet examines that most which he produceth with the greatest leisure, and which, he knows, must pass the severest test of the audience, because they are aptest to have it ever in their memory; as the

stomach makes the best concoction, when it strictly embraces the nourishment, and takes account of every little particle as it passes through. But as the best medicines may lose their virtue by being ill applied, so is it with verse, if a fit subject be not chosen for it. Neither must the argument alone, but the characters and persons, be great and noble; otherwise (as Scaliger says of Claudian) the poet will be ignobiliore materiâ depressus. The scenes, which, in my opinion, most commend it, are those of argumentation and discourse, on the result of which the doing or not doing some considerable action should depend.

But, my Lord, though I have more to say upon this subject, yet I must remember, 'tis your Lordship to whom I speak; who have much better commended this way by your writing in it, than I can do by writing for it. Where my reasons cannot prevail, I am sure your Lordship's example must. Your rhetorick has gained my cause; at least the greatest part of my design has already succeeded to my wish, which was to interest so noble a person in the quarrel, and withal to testify to the world how happy I esteem myself in the honour of being,

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PREFACE

то

SIR ROBERT HOWARD'S PLAYS,

FIRST PRINTED IN FOLIO, IN 1665.

TO THE READER.

THERE is none more sensible than I am, how great a charity the most ingenious may need, that expose their private wit to a publick judgment; since the same fancy from whence the thoughts proceed, must probably be kind to its own issue. This renders men no perfecter judges of their own writings, than fathers are of their own children; who find out that wit in them which another discerns not, and see not those errors which are evident to the unconcerned. Nor is this self-kindness more fatal to men in their writings, than in their actions; every man being a greater flatterer to himself than he knows how to be to another: otherwise it were impossible that things of such distant natures should find their own authors so equally kind in their affections to them, and men so different in parts and virtues, should rest equally contented in their own opinions.

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8

This apprehension, added to that greater which I have of my own weakness, may, I hope, incline the reader to believe me, when I assure him that these follies were made publick as much against my inclination as judgment: but being pursued with so many solicitations of Mr. Herringman's, and having received civilities from him, if it were possible, exceeding his importunities, I at last yielded to prefer that which he believed his interest, before that which I apprehend my own disadvantage: considering withal, that he might pretend it would be a real loss to him, and could be but an imaginary prejudice to me; since things of this nature, though never so excellent, or never so mean, have seldom proved the foundation ̧ of men's new-built fortunes, or the ruin of their old; it being the fate of poetry, though of no other good parts, to be wholly separated from interest; and there are few that know me but will easily believe I am not much concerned in an unprofitable reputation. This clear account I have given the reader of this seeming contradiction,-to offer that to the world which I dislike myself; and in all things I have no greater an ambition than to be believed a person that would rather be unkind to myself, than ungrateful to others.

I have made this excuse for myself; I offer none for my writings, but freely leave the reader to condemn that which has received my sentence

8 The bookseller by whom Sir Robert Howard's plays were published.

already. Yet I shall presume to say something in the justification of our nation's plays, though not of my own; since, in my judgment, without being partial to my country, I do really prefer our plays as much before any other nation's, as I do the best of our's before my own.

The manner of the stage-entertainments have differed in all ages; and as it has encreased in use, it has enlarged itself in business: the general manner of plays among the ancients we find in Seneca's tragedies, for serious subjects, and in Terence and Plautus, for the comical; in which latter we see some pretences to plots, though certainly short of what we have seen in some of Mr. Jonson's plays; and for their wit, especially Plautus, I suppose it suited much better in those days than it would do in ours; for were their plays strictly translated, and presented on our stage, they would hardly bring as many audiences as they have now admirers.

The serious plays were anciently composed of speeches and choruses, where all things are related, but no matter of fact presented on the stage: this pattern the French do at this time nearly follow; only leaving out the chorus, making up their plays with almost entire and discoursive scenes, presenting the business in relations. This way has very much affected some of our nation, who possibly believe well of it, more upon the account that what the French do ought to be a fashion, than upon the reason of the thing.

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