thereby making art and order appear as loose and free as nature: or not tying ourselves to couplets strictly, we may use the benefit of the Pindarick way practised in The Siege of Rhodes n; where the numbers vary, and the rhyme is disposed carelessly, and far from often chyming. Neither is that other advantage of the ancients to be despised, of changing the kind of verse when they please, with the change of the scene, or some new entrance; for they confine not themselves always to iambicks, but extend their liberty to all lyrick numbers, and sometimes even to hexameter. But I need not go so far to prove that rhyme, as it succeeds to all other offices of Greek and Latin verse, so especially to this of plays, since the custom of nations[1] at this day confirms it; the French[2], Italian, and Spanish tragedies are generally writ in it; and sure the universal consent of the most civilized parts of the world, ought in this, as it doth in other customs, to[3] include the rest.
'But perhaps you may tell me, I have proposed such a way to make rhyme natural, and consequently proper to plays, as is unpracticable; and that I shall scarce find six or eight lines together in any play, where the words are so placed and chosen as is required to make it natural. I answer, no poet need constrain himself at all times to it. It is enough he makes it his general rule; for I deny not but sometimes there may be a greatness in placing the words otherwise; and sometimes they may sound better; sometimes also the variety itself is excuse enough. But if, for the most part, the words be placed as they
