words, and a determinate number of feet. But when, by the inundation of the Goths and Vandals into Italy, new languages were introduced[1], and barbarously mingled with the Latin, of which the Italian, Spanish, French, and ours, (made out of them and the Teutonick,) are dialects, a new way of poesy was practised; new, I say, in those countries, for in all probability it was that of the conquerors in their own nations: at least we are able to prove, that the eastern people have used it from all antiquity[2] n. This new way consisted in measure or number of feet, and rhyme; the sweetness of rhyme, and observation of accent, supplying the place of quantity in words, which could neither exactly be observed by those barbarians, who knew not the rules of it, neither was it suitable to their tongues, as it had been to the Greek and Latin. No man is tied in modern poesy to observe any farther rule in the feet of his verse, but that they be dissyllables; whether Spondee, Trochee, or Iambick, it matters not; only he is obliged to rhyme: neither do the Spanish, French, Italian, or Germans, acknowledge at all, or very rarely, any such kind of poesy as blank verse amongst them. Therefore, at most 'tis but a poetick prose, a sermo pedestris; and as such, most fit for comedies, where I acknowledge rhyme to be improper.—Farther; as to that quotation of Aristotle, our couplet verses may be rendered as near prose as blank verse itself, by using those advantages I lately named, —as breaks in an hemistich, or running the sense into another line,—
