the conversation of gentlemen much better; whose wild debaucheries, and quickness of wit in reparties, no poet before them could paint[1] as they have done. Humour, which[2] Ben Johnson derived from particular persons, they made it not their business to describe: they represented all the passions very lively, but above all, love. I am apt to believe the English language in them arrived to its highest perfection: what words have since been taken in, are rather superfluous than ornamental[3]. Their plays n are now the most pleasant and frequent entertainments of the stage; two of theirs being acted through the year for one of Shakspeare's or Johnson's: the reason is, because there is a certain gaiety in their comedies, and pathos in their more serious plays, which suits generally with all men's humours. Shakspeare's language is likewise a little obsolete, and Ben Johnson's wit comes short of theirs.
As for Johnson, to whose character I am now arrived, if we look upon him while he was himself, (for his last plays were but his dotages,) I think him the most learned and judicious writer which any theatre ever had. He was a most severe judge of himself, as well as others. One cannot say he wanted wit, but rather that he was frugal of it. In his works
'In the large book of plays you late did print,
In Beaumont's and in Fletcher's name, why in't
Did you not justice? give to each his due?
For Beaumont of those many writ in few;
And Massinger in other few: the main
Being sole issues of sweet Fletcher's brain.' (Malone.)
