French at every point. 'For the verse itself,' he says, 'we have English precedents of older date than any of Corneille's plays.' By 'verse' he means rhyme. He is not rash enough to quote Gammer Gurton's Needle and similar plays, with their hobbling twelve-syllable couplets, as 'precedents' earlier than the graceful French Alexandrines, but he urges that Shakspere in his early plays has long rhyming passages, and that Jonson is not without them. At this point Eugenius breaks in with the question, Whether Ben Jonson ought not to rank before all other writers, both French and English. Before undertaking to decide this point, Neander says that he will attempt to estimate the dramatic genius of Shakspere, and of Beaumont and Fletcher. This he does, in an interesting and well-known passage (p. 67). He then examines the genius of Jonson with reference to many special points, and gives an analysis of the plot of his comedy, Epicene, or the Silent Woman; but he gives no direct answer to the question put by Eugenius. To the English stage as a whole he will not allow a position of inferiority; for 'our nation can never want in any age such who are able to dispute the empire of wit with any people in the universe.'
Crites now introduces the subject of rhyme, which he maintains to be unsuitable for serious plays. His argument, and Neander's answer, take up the rest of the Essay.
The personages who conduct the discussion are all of a social rank higher than that to which Dryden belonged. Sir Robert Howard, the son of the Earl of Berkshire,
