an horse who eases himself on trot and amble. You find him likewise commending Fletcher's pastoral of The Faithful Shepherdess n, which is for the most part rhyme, though not refined to that purity to which it hath since been brought. And these examples are enough to clear us from a servile imitation of the French.
'But to return whence[1] I have digressed: I dare boldly affirm these two things of the English drama;—First, that we have many plays of ours as regular as any of theirs, and which, besides, have more variety of plot and characters; and secondly, that in most of the irregular plays of Shakspeare or Fletcher, (for Ben Johnson's are for the most part regular,) there is a more masculine fancy and greater spirit in the writing, than there is in any of the French. I could produce, even in Shakspeare's and Fletcher's works, some plays which are almost exactly formed; as The Merry Wives of Windsor n, and The Scornful Lady: but because (generally speaking) Shakspeare, who writ first, did not perfectly observe the laws of comedy, and Fletcher, who came nearer to perfection, yet through carelessness made many faults; I will take the pattern of a perfect play from Ben Johnson, who was a careful and learned observer of the dramatick laws, and from all his comedies I shall select The Silent Woman; of which I will make a short examen, according to those rules which the French observe.'
As Neander was beginning to examine The Silent Woman, Eugenius, earnestly regarding him[2]; 'I beseech you, Neander,' said he, 'gratify the company,
