argument. You said that[1] the dialogue of plays is presented as the effect of sudden thought, but no man speaks suddenly, or extempore, in rhyme; and you inferred from thence, that rhyme, which you acknowledge to be proper to epick poesy, cannot equally be proper to dramatick, unless we could suppose all men born so much more than poets, that verses should be made in them, not by them.
'It has been formerly urged by you, and confessed by me, that since no man spoke any kind of verse extempore, that which was nearest nature was to be preferred. I answer you, therefore, by distinguishing betwixt what is nearest to the nature of comedy, which is the imitation of common persons and ordinary speaking, and what is nearest the nature of a serious play: this last is indeed the representation of nature, but 'tis nature wrought up to an higher pitch. The plot, the characters, the wit, the passions, the descriptions, are all exalted above the level of common converse, as high as the imagination of the poet can carry them, with proportion to verisimility. Tragedy, we know, is wont to image to us the minds and fortunes of noble persons, and to portray these exactly; heroick rhyme is nearest nature, as being the noblest kind of modern verse.
Indignatur enim privatis et prope socco
Dignis carminibus narrari cœna Thyestæ n—
says Horace: and in another place,
Effutire Ieves indigna tragædia versus n—.
Blank verse is acknowledged to be too low for a
- ↑ A om.
