spent at the Temple, he made the tour of the Continent, and on his return home became acquainted with several of the literary men of the day. His firsts attempts in verse were lamentably bad, and he never achieved any reputation as a poet; but he made the theatre his study, and first attracted attention by a comedy entitled "The Sullen Lovers, or the Impertinents." This piece, which was acted by the Duke of York's company, and printed in 1668, was, like most first productions, a mere reflex of the writer's peculiar studies. An extract from the preface will show the principle upon which it was put together, and the author he proposed as his model.
"I have endeavoured," he writes, "to represent variety of humours which was the practice of Ben Jonson, whom I think all dramatic poets ought to imitate, though none are like to come near, he being the only person that appears to me to have made perfect representations of human life. Most other authors in their lower comedies content themselves with one or two humours at most, and those not near so perfect characters as the admirable Jonson always made, who never wrote comedy without seven or eight excellent humours. I never saw one except that of Falstaff that was in my judgment comparable to any of Jonson's considerable humours."
His admiration of Jonson was excessive. In another place, he observes of him that "he was incomparably the best dramatic poet that ever was or I believe ever will be; and I had rather be author of one scene in his best comedies, than of any play this age has produced." In his epilogue to "The Humorists," he also writes of his favourite thus:
"The mighty Prince of Poets, learned Ben,
Who alone dived into the minds of men,
Saw all their wand'rings, all their follies knew,
And all their vain fantastic passions drew.
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