set off that subject. 'Tis true the author was not there to go out of prose, as he does in his higher arguments of comedy, The Fox, and Alchymist; yet he does so raise his matter in that prose, as to render it delightful; which he could never have performed, had he only said or done those very things that are daily spoken or practised in the Fair; for then the Fair itself would be as full of pleasure to an ingenious person as the play; which we manifestly see it is not. But he hath made an excellent lazar n of it: the copy is of price, though the original be vile. You see in Catiline and Sejanus, where the argument is great, he sometimes ascends to verse, which shews he thought it not unnatural in serious plays: and had his genius been as proper for rhyme, as it was for humour, or had the age in which he lived attained to as much knowledge in verse as ours, it is probable he would have adorned those subjects with that kind of writing.
Thus prose, though the rightful prince, yet is by common consent deposed, as too weak for the government of serious plays; and he failing, there now start up two competitors; one the nearer in blood, which is blanck verse; the other more fit for the ends of government, which is rhyme. Blanck verse is, indeed, the nearer prose, but he is blemished with the weakness of his predecessor. Rhyme (for I will deal clearly) has somewhat of the usurper in him; but he is brave and generous, and his dominion pleasing. For this reason of delight, the Ancients (whom I will still believe as wise as those who so confidently correct them) wrote all their tragedies in
