An Apology for Poetry, in an Essay dire­cted to Walter Moil Esq

IN an Age when e'ery ignorant [...] sets up for a Man of Authority; and as many as can but tell their Syllabl [...] on their Fing [...], without [...], without Lea [...]ning, or any [...]xcuse for Writing, a [...]ogate the Glorious Name of Poets, and, by t [...]eir Scandalous [...] to it, bring the Pride of Conquer [...]rs, and the [...] of Philos [...] ­phers, into an unj [...]st and shame [...]ul Neglect; 'Tis the Duty of an humble and zealous Admirer of [Page 8] those God like Few, whom Art, Nature, and Heav'n have evidently exalted to that Supream Dignity, to make an Apology for them, who ought not to [...]nk under the Crimes of this con­temptible Race of wretched Poetasters, who ought to be avoided by all that have the least Regard to their own Repose. For this infamous Genera­tion, these Bullies of Parnassus, forsaking the hum­ble, and quiet Call of their own Fortune, with a Sacrilegious [...]mbition, to make a Noise in the World, endervour a Rape on the Sacred Nine: and having as little Modesty as Poetry, continually [...] the Favours and Enjoyment of Calliope at l [...]h tho' like I [...]n they caress nothing but a Cloud, the Harmonious Goddess vanishing from their Prophane Embrace. These are Sparks, who, by perpetually repeating them, talk themselves into so good an Opinion of their own Performan­ces, that they can never be brought to think ill enough of themselves to be discouragd from their Poetical Vanity, in which they are confirm'd by the ignorant Applause of some, and the Unaccoun­table Diversion of others, who have a Vanity in [...] [...]ng themselves with caressing and indulging their Folly; tho' this is something pardonable, since the Admonition given by an old Poet to one of these Gentlemen's Inclinations wou'd be almost fruitless,

[Page 9] They are not to be reclaim'd, nay, the [...] of Thamyras wou'd scarce effect it, the Breaking their [...]ute wou'd not hinder their Writing, nor the loss of their Eyes their Repeating, tho' perhaps Blind­ness might be some Advantage to their Acquain­ [...]ance, by giving them a possibility of avoiding [...]hem; for a Seeing Poetaster has an Hawk's Eye [...] one he intends to recite too, he spies him at a distance, and swoops upon him before he can make his Escape.

These are the Banes of Society, and have brought an Odium on that admirable Science they pretend to, with some People; who, tho' they have Wit, want Judgment to distinguish betwixt Pretence and Reality. Others, who ought to have regard to the Protection of the Muses, and are sensible of the difference of Merit, and Impu­dence, are yet too sond of more ungenerous Pleasures, to Sacrifice them to the Care of the Poets. There are a Sort of Men, that love Plea­ [...]e, but are Sordid in their Choice of it; beyond measure preferring those of the Body to those of the Mind. They value not what Expence they [...] at in keeping a Whore for the use of half the [...]own, yet are sordidly Penurious in their Grati­ [...]tions of a Poet; a look, a sigh, a senseless word [...] the first, can melt 'em into Profuseness, and Po­verty, when the Noblest Thoughts, dress'd in the most Charming Numbers and Language, shall not move them to consider the Necessity of the Author of them. Nay, tho' they value them­selves as Men of Sense as well as Fortune, their [Page 10] Dogs, and their Bottle are more their Care, than the Darlings of Heav'n the Poets.

Maecenas, and Augustus, were the only Keeping Patrons; the Poets were their Mistresses, and never were they so happy, or wanton'd so much in Pleasure, as in their Intimacy with Virgil, Ho­race, Gallus, &c. Their Company was their Re­gale, tho' Virgil (if we measure the Excellence of it by our Tests, Facetiousness and Buffoonry) was none of the best. I'm extreamly pleas'd with Augustus, and cou'd almost Sacrifice to his Me­mory when I read this charming Expostulation to Horace——Iratum me tibi scito quod non in pleris (que) Ejusmodi scriptis mecum potissimum loquaris. An vereris ne apud Posteros tibi infame sit, quod videaris familiaris nobis esse. You see he was ambitious that Posterity by often reading his Name in Ho­race's Writings, shou'd know how he valu'd him. Had our Poets this Encouragement, they wou'd surpass the Romans and Greeks too, and England wou'd have her greater Horace and Virgil; [...]or as Martial says,

And,

But where there must be a care of Subsistence the Mind can never have that Se [...]eneness it ought for so Noble and Sacred an Office. What there­fore [Page 11] might we not expect, shou'd a [...] or Maecenas arise, from such who under all these dis­advantages have performed so well? I hope this Apology may remove some prejudices that may oppose that Happiness, and provoke some better Pen to do Poetry more Justice than my Time or Ability wou'd permit.

If we regard the Antiquity of its Origine the No­bleness of its Subject, or the Beauty of its Aim, or Design (which three Things are the Test of the Excellence of Arts and Sciences, in reference to each other) we shall easily [...] Poesie most ancient in its Rise, most honorable in the Subjects and Matters it adorns, and most transcend [...]ntly excellent in its Usefulness and [...].

First, To say nothing of other Authors [...], Virgil proves from the Second Book of [...] Evangel. Prep. that it is of a very early Date; and from hence 'tis also evident, That it flourish'd among the most ancient of the Hebrews, who were by several Ages of greater Antiquity, than the Grecian Poets. For Moses, their Leader, having pass'd the Red Sea, inspir'd by a Divine Fury, sung Praise and Thanks to his Omnipotent [...] ­liverer in Hexameter Verse, according to [...] ­phus in the Second Book of his Antiquity of the Jews. Thus the Royal David too, compos'd Hymns to God, in various Numbers, as [...]phus in the Seventh Book of the Antiquities of the Jews, in these words confirms. David therefore (says he) after he was deliver'd from War and Danger, in the Enjoyment of full Tranquility, and Peace, compos'd [Page 12] Songs and Hymns to God in various and different Numbers, as Trimeters, Quinquimeters: with whom St. Jerome in his Preface to the Chronicles of Eu­seb [...]s agrees, where he writes in this manner. Lastly, (says he) What is more sonorous than the Book of Psalms? Which like the Works of our Ho­race, or the Greek Pindar, now runs on Iambick Feet, now sounds with Alcaic's, now swells with the Saphic Numbers, &c.

But to come to the Gentils, we find Poetry so very Ancient that they know not its Rise, but at­tribute it to their God Apollo, and the Muses; a [...] Apollo, in Ovid, himself assures us.

Apollo reciev'd the Harp from Mercury, and the [...] was made President of the Muses. By which at­tributing the Original of Poetry to the Gods, 'tis evident that the Gentiles themselves look'd up­on it as a Sacred and venerable Thing, above Humane Invention. From this Spring it descen­ded as it were by Succession to Linus, (the Son of Apollo and Urania.) And Orpheus, (the Son of Apollo and Calliope) and Thamyras; These two last with Hercules, were the Scholars to Linus. We need not instance Arion, Amphion, and Musaeus, who are Poets of a very ancient Date. Their uncommon Praises, are celebrated in so extraor­dinary a manner, that there can nothing be ad­ded to their Eternal Glory, their Encomiums, [Page 13] indeed, transcending all Belief and Understand­ing: so much did succeeding Ages think was due to the first Fathers of Poetry, as to make their Performances more, than Mortal.

The Divine Orpheus, the Wonder of Better Na­ [...]ure, with the Music of his Lyre and Song, drew Trees, Stones, and Beasts to be his list'ning Au­dience, which is not so impossible, since Campa­ [...]ella proves that all things have Sense. But the charming of Rocks, Stones and Trees, the taming Wild Beasts, and the stopping the course of ra­ [...]id Torrents, were the least of his Performances, Hell lost its Terror, and put on a more agree­ [...]ble Face, the tortur'd Ghosts forgot their past [...] in the Heav'n of their present Ease, and [...]he very Furies, grew Mild and Calm at the sound of his Melodious Verse, and Lyre; all which is [...]dmirably describ'd by Ovid, in his Metamorphosis. These Powers did Antiquity give to Orpheus, of [...]he Sweetness of whose Poesie, 'twou'd be super­ [...]uous to produce the Testimony of the most an­ [...]ient Authors. Arion and Amphion want not their Miracles, of the Dolphin and the Walls of Thebes. Of the latter, Horace, Art. Poetic.

Tho' there be nothing more vulgar, and com­ [...]on, than these Fables of the Ancient Poets, and Musicians; yet do they evidently demonstrate, [Page 14] that even from those Primitive Times, down to our Iron Age, these extraordinary Praises and Enco­miums were only bestow'd on this divine Power of Poetry; that Poets alone seem'd worthy by this most Sacred Art to have the next place to the Gods themselves. So that this Universal Applause (if there were no other Motive) ought to recom­mend it to our Admiration and Esteem.

But 'tis agreed by the universal, and unanimous consent of almost all Nations, and Authors, that Poetry not only contains all other Arts and Scien­ces, but has this Prerogative peculiar to it self That no Rules, no Masters with the best Instru­ctions, can teach it; unless those who apply them­selves to this divine Science, are destin'd to the Sacred Function, by Nature, and a Genius. Whence arose that Maxim, allow'd of by all Men o [...] Sense, Poeta Nascitur non Fit. That a Poet is Born not Made. And from hence it follows in my Opi­nion, That a Poet derives the honor of that Name from his Nature and Genius, not from his Art [...] This e'ery Scholar has, That none but the Darling o [...] Heav'n and Nature. This may be acquir'd by a Studious Pedant, That must be born, and grow up with the auspicious Babe, for Poeta nascitur non fit.

I'm much mistaken if Polidore Virgil, do no [...] comment on this Axiom in his first Book De Re [...] Inventor. Cap. 8. where he says, 'Tis certain tha [...] Poetry for many Reasons excels the other Arts an [...] Sciences, either because no other Art is to be acquir' [...] but by a long Application to it, or because, as Strab [...] [Page 15] in the beginning of his Geography, against Eratosthe­nes, eloquently demonstrates, it contains all others; because of all the Arts that Humane Wit has produc'd Poetry alone, it taught by a Divine Inspiration, &c.

Cicero in his Oration for Archias the Poet, has lest us the Praise of Poets (of which Name him­self had been extreamly Ambitious) in these words, Atqui sic (says he) à summis hominibus, [...]ruditissimis (que) accepimus, caeterarum rerum studia, & Doctrinâ, & Praeceptis, & Arte constare; Poetam Natur [...] [...]psâ valere, & mentis viribus excitari, & quasi di­vino quodam spiritu afflari; quare suo Jure noster [...]nnius Sanctos appellat Poetas, quod quasi deorum aliquo dono, & Munere commendati nobis esse vi­deantur.

You see, Sir, that Cicero confesses that divine Fire in Poets which himself desir'd in vain, and [...]hat Poets seem to be recommended by the Gift, and Benefit of the Gods, to our reception. [...]f he that felt not this Sacred Fury was sensible of this, we may credit Ovid, who by his own Experience says, De Fastis, lib. 6.

And Socrates in Plato affirms this Poetical Fury [...]o be divinely inspir'd. Plato in his Second Book [...]f the Common-wealth, calls Poets the Sons of [...]he Gods, and in Lysis terms them, the Parents [Page 16] and Guides of Wisdom; and elsewhere he ca [...] Homer the Father of all Wisdom and Philosophy in these Words: [...], Home [...] was the Guide and Master of the Tragical Beautie [...] and Virtues. And Petronius Arbiter tells us, tha [...] the Mind can neither conceive, or bring forth i [...] Poetical Births, unless it be impregnated wit [...] great and boundless stores of Learning; and fo [...] this reason he says in his Satyricon, that Eumolp [...] spoke oft'ner divinely, that is, Poetically, tha [...] like a Man.

Those who endeavour to draw the Origin [...] of Poetry from Singing, are not in my Opinio [...] much mistaken. For when the Ancients endea­vour'd to declare the Affections or Passions of th [...] Mind in Song by the Sound, and peculiar Varia­tion of the Voice, as it were in a more Polite an [...] Elaborate Speech; this rude and unpollish'd Soun [...] by degrees refind into an Art. Which, when [...] became (where-ever it was) so improv'd, th [...] with it the Praises of the Gods or Heroes, w [...] celebrated into certain Verses or Rhimes, ga [...] Birth to Poetry; which indeed seems truly, & real [...] to be deriv'd from Singing, since with the Learn­ed ev'n now, a Poet is not said, to Speak, b [...] Sing. The antient Germans, a Warlike Peopl [...] had no other History of the Acts of the Kin [...] and Leaders, but certain Songs or Verses, b [...] which they either extoll'd their Warlike Exploi [...] or rous'd the Minds of the Soldiers to fight, as [...] [Page 17] find in Polyaenus, Solon, annimated the Athenians, to Battle. And the Lacedaemonians Sacrific'd to the Muses before they began a Fight; that we read that the noble Heroe, Matthias, King of Hungary, us'd to be so touch'd with the Acts of the antient Heroes, as he sung 'em to his Lute, that the force with which it affected his Mind, was apparent in his Body; imitating Achilles, who sung the Praises of great Commanders to his Harp.

Another Proof of the Antiquity of Poesie, are the Sibyls, the Oracles of the Pythian Apollo, ma­ny of which are in Herodotus; Inscriptions, Mo­numents of Victories, Pillars, and Obelisc's, all which afford cause to believe Verse to have a ve­ry early Original. With these the Writings of the greatest and most antient Authors strow their Works by their Authorities and Sentences, to ren­der them the more palatable and efficacious. Nay, St. Paul is said to have convinc'd the Athenians of the madness of their Idolatry, by part only of a Verse of the Poet Aratus, and to have us'd that Verse of Menander to the Christian Corinthians.

Thus much for the Divine, and very antient Origin of Poesie, and now we are come to the Subject of it, according to our former Division.

Tho' other Arts and Sciences afford abun­dant matter, and a large Field for our Thoughts and Consideration; yet none can stand in com­petition [Page 18] with Poesie; for what is there in all the wond'rous Variety, and vast extent of Nature that falls not under the consideration of a Poet? All the Wonders, Mercies, and Favours of the highest God, can in nothing be more gloriously express'd than in Verse: Who can describe the Beauty of his Providence, the Bounty of his Gifts, the Sacredness of his Mysteries, with such Charms, such Force, such Excellence, as the Poet in his Melodious Numbers, Majestic Langu­age, and Divine Thoughts. Hence it was that the Royal Psalmist David, chose to appease the Anger of an offended God, with the soothing Sacrifice of this Penitential Verses. To this we add the Hymns of the antient Hebrews, of the old Church, and of the Poetical and holy Fathers of the New; who to make their Ejaculations and Jubilees of Seraphic Love, reach late Posterity, put them into Verse, as the most agreeable, and Kin­dred Repository of things so Sacred. Hence also (if with these Books we may mingle the Prophane) flow'd all those Hymns, Odes, Secu­lar Poems, and Io Paeans to Jove, Mercury, Apollo, and the rest of the Imaginary Gods of Heathens. So Sacred has Poetry been esteem'd in all Ages, so Charming, and so Comprehensive, that they al­ways judg'd what-ever was design'd for the Praises of Gods, Kings and Heroes, or for the common and universal Use, Profit and Pleasure of all Men, ought to be delivered in numbers, in Verse, as destin'd to all that was Sublime and Great. To this we owe the Geneology, and [Page 19] noble Deeds of the Kings and Commanders in Homer, the common Father of all Poets, and in Virgil his Competitor of Glory; these being wrote in noble Verse, fill our Minds with fresh and wonderful pleasure, e'ry time we pe­ruse them.

To proceed to the several Institutes of our Life, particularly the spurs to Virtues, and flight from Vice, the purgation of the manners, &c. The Funeral Griefs, and Lamentations on the Dead, and finally all those particulars that the Accidents of humane Life produce, desirable or pleasant, all which are, and have been the sub­jects of Poems: Whence the antient Greek Au­thors reduc'd all things divine and humane, to five Heads.

The first they termed [...], under which they seem compendiously to have plac'd all that was referr'd to the Praises of the Gods, the Rights of Religion, and the Victories of the Heroes, and the Celebration of noble Acts. The second [...], in which the Virtues of great and extraordinary Men, were prais'd, as Elo­gium and Panegyrics. The third [...], the use of which was to express the Virtues that tend­ed to the purging and probity of the Manners. The forth [...] which performed the Fu­neral Sorrow [...] and [...]amentations. The fifth they call'd [...], under which was contain'd all that could be conducive to the Delight and Pleasures of Mankind.

[Page 20] Poetry having been always generously imploy'd none can call in question the Nobility and Ex­cellence of its Subject and Matter. Tho' some perhaps may object, that Phylosophy, Law, and History, &c. treat of other things of a higher Nature, whilst they discover things from their Causes, or by Arguments, prove to others those that are already discover'd: But they are but very raw Novices in the Academy of Poetry, who are ignorant that the Elements or first Founda­tion of most, if not all Arts, as well as their pro­gress, are deriv'd from Poetry, and the best Au­thors of all times have granted the Poets the first Philosophers.

For from this Treasure, or Ocean of Arts and Sciences, are all the Rivulets of Learning sprung, and have lifted up their Heads; nay, they have abundantly drawn whatever they contain of Pleasure or Artifice, from Poetry, as from the vast and Mother Rceptacle of all the Mellifluous Waters of Eloquence. To this we may add, what Strabo says, viz. Poeticem Antiqui vocant Primariam quandam Philosophiam, quae nos a pueris ad vitam institu [...]i, & cum Voluptat [...] doceat, cujusmodi Mores & affectus, & Actiones nostras esse conveniat. Quin nostri h [...]mines Poetam vel solum sapientem esse per [...]ri­buerunt; ob eam (que) rem civitates Greciae pu [...]ros pri­mum omnium Poeticis erudiunt: non uti (que) merae ob­iectationis gratiâ, sed ut prudentiae modestiae (que) prae­ceptis imbuantur i. e. The Antients term'd Poesie a more excellent kind of Philosophy, which shou'd from our Childhood inform our Lives, and teach us with [Page 21] Pleasure, what our Manners, our Passions, and our Actions ought to be. Nay, our Countrymen wou'd scarce admit any into the Number of Wise Men, but Poets; and for this Reason, the Cities of Greece ground Boys first of all in Poetry: not meerly for their Delight, but that they may be instructed in the Precepts of Modesty, and Prudence, or Wisdom.

And justly too did the Ancients tearm Poetry, a more excellent Philosophy; for if the Excellence of a thing depend on its more or less aptness to obtain the End 'tis design'd for, this Prerogative is justly given to Poetry: The End of Philosophy is to form in the Mind Idea's, and habits of Vir­tue, and they are fixt there better by Pleasure than Pain, because the Mind is naturally averse to Pain, and propense to Pleasure. But the stiff, and difficult Method of those who are Simply Phi­losophers, perplexes us too much with Metaphy­sical Notions, Logical Distinctions, and a long train of Arguments, which gives the Mind a fa­tigue to gain the Knowledge it aims at; whereas the Poetic Philosopher proposes a fairer, more adequate, compendious and comprehensive In­struction, which the Mind is so far from labouring to Unriddle, and Understand, that it at fi [...]st sight perceives it, is in Love with its Beauty, and gree­dily takes the charming Impressions it gives, whilst convey'd into it by Melodious Numbers, betwitch­ing Expression, Mighty Thoughts, and Illustrious Examples. That Great Poet and Critic Horace declares how sit he thinks Poetry for the Instru­ction of Youth in the First Epistle of the Second Book.

The other admirable Verses that follow these, you are, Sir, extreamly well acquainted with, which so beautifully set off the several Advantages of Po­etry. And Hieronimus Vida (one of the best Ita­lian Poets that have writ in I atin as Rapin assures us) in the First Book of his Poetics is of the same Mind—

Add to this what Horace says in his de Arte Poetica

and the Ten following Verse which I have not room here to quote. Erasmus, that wanted n [...] Wit, calls i [...] a Banquet compos'd of all the Deli­cacies, and Q [...]intessence of all other Arts, and Sciences. And Melan [...]hon places the Excellence of Poetry for the penetration into Mens Minds, next to the Sacred Scriptures, especially Tra­gedy.

P [...]ets being, as you see, the Darling Sons of the Gods, born to gr [...]t and sublime things, and [Page 23] the Corrector' and Guides of Common Life, they have not, without Reason, been esteem'd by the greatest Monarchs and Potentates of the World, and made Instructors and Tutors to Kings, and Princes: I speak of true Poets, not of of the lit­tle Mushromes of Parnassus, the Street-repeating Poetasters. Thus Linus was the Tutor to Hercu­les, the tamer of Monsters, and Tyrants: And Alexander the Great, with veneration, respected Homer, as the Guide, and Director of his [...]ife, reading his Works daily, in the heat and hurry of the Conquest of the World, and slept with them under his Pillow. Ennius instructed that great General Scipio African [...]s in Poetry, which he judg'd so advantageous to him, that he took him with him in his most weighty Expeditions, and chose to be Bury'd in the same Tomb with the Poet. Nothing has to me given a greater in­stance of Caesar's value for Poets, than the Wel­come he gave Catullus to his Table, the same day he had fix'd such a Brand of Infamy upon him as remains in Catullus his Works to this day. Au­gustus, both the Patron, and Judge of the Muses, Caress'd that Noble Pair of Poets, Horace and Vir­gil [...] [...]s his most intimate and bosom Friends, ho­nor'd them as his Masters, and shower'd his Bene­ficent Favours on them, who, without doubt in return, introduc'd him to the Sacred Penetralia of the Muses, the divine Retreats of Apollo: which made this Emperor keep the Birth-day of Virgil e'ery Year, as if 'twere the auspicious Feast of his own Success. The Emperor Julian made the [Page 24] Creek Lyric Poet Ba [...]bylides his Master, or Dire­ctor; and Gratian after he had made a great pro­gress in the most generous of Learning, he ho­nour [...]d and advanc'd his Master Ausonius ev'n to the Consulship. And Arcadius and Honorius ere­cted a Monument to the Memory of Claudian, in the forum of Trajan.

[...]t nothing, in my opinion, challenges the E [...]eem of the World more for this Art, than that i [...] [...] thus the Barbarity, and Sordidness that so generally rules Mankind, and destroys, that Happiness we falsly aim at by other means,

A Man may be a Divine, and yet be Covetous, and Deceitful, two Banes of Piety, Religion, and Morality; but a Poet cannot be guilty either of Avarice or Deceit, I mean a True Poet, a Virgil, a Horace, A Dryden, a Waller. And,

And,

[Page 25] There is no need of prosecuting the point of Esteem the Poets have been in, in the better A­ges of the World, I will not therefore insist on the Seven Cities of Greece, that strove for the Glory of Giving Birth to Homer, nor on Alexander, who, when he took, sack'd, and burnt Thebes, spar'd the House of Pindor, and sixt this Verse over the Door.

the same respect was shew'd his House by the La­cedemonians when they destroy'd Thebes. I'll say nothing of the honour paid to the Memory of Schesitorus, in the Octogonal Monument at the Gates of Catana in Sicily. 'Twou'd be superfluous to take notice of the Value Polycrates had for Ana­cr [...]n, Archelaus for Euripides, the King of Aegypt and Maced [...]n for Menander, Ptolo [...]aeus Philadelphus for Callimachus; and what I have said before of the Latins may suffice. But 'tis no wonder that the Politer Nations shou'd have this Esteem for the Divinest of Arts, since the very Danes, look'd upo [...] [...]f Old as more Barbarous, have yet disco­ver [...] [...]ll a-long such a veneration for Poets, and Poesie, that on the Death of one of their Kings, they exalted a Poet to the Throne, as the most worthy to succeed the Prince, he cou'd Praise so well; as Saxo Grammaticus, and Joan. Bocerus [...]estifie.

[Page 26] Without doubt by this time 'tis sufficiently evi­dent. That if any Art merits Esteem, either for the Antiquity of its Origine, or the Nobility of its Subject, Poetry must be granted the Preroga­tive of Precedence in Honor. Wherefore I shall say no more for a Proof of these two points of its Original and Subject, but now turn our Conside­ration to the third Branch of my Division, viz. The End and Profit, or advantage of Poetry.

The Philosophers lay down two principal kinds of Studies, which are indeed different, but not opposite; that is, the Contemplative and the Pra­ctical, and they give the preference to the former, because Contemplation is pleasant for and in its self, and therefore more Noble; but the Practical quatenus practical is so only in regard of some­thing else, and therefore less Noble than Contem­plation. But 'tis sufficiently evident, that the Stu­dy of Poetry is for the most part Contemplative: Since no Poet is capable of forming any Noble Poem, with elaborateness and perfection, unless he first dispose his Speculations, and before consi­der, and weigh the Materials, and the peculiar Artifice that must be us'd in setting them off to their best advantage, and in the true Ligh [...] [...]nd Colours. And one thing is here to be ob [...]d, That a Poet through his whole performance, both whil'd he contrives, invents, and puts his Thoughts in Metre, is still at the same time contemplating, so that he's compos'd of Speculation and Action, whereas other Studies either only contemplate, or only precisely put in Execution the destin'd A­ctions. [Page 27] First therefore, in that way Poetry is Use­ful in its self, and therefore admitting the former Axiom of the Philosophers, to be valu'd and per­su'd, because Speculative. And Secondly, 'Tis Useful in regard of something else, because the Poetical Writings chiefly contain, the most beau­tiful, and inviting Doctrines, and Instructions, the best of Precepts for the happy and laudable directing of our Lives; Noble Sayings, and Deeds, Virtues, Rights and Manners of Nations. From all which, that may be chosen for the common benefit of Mankind, that is most justly imitable, and worthy in Virtue, that avoided, that is most abominable and detested in Vice.

Contemplation and Thinking is peculiarly the Po­et's Business, on this Depends all the Beauties of Thought, and Expression. By using much to Think, they come to a justness and trueness of Thought, they run not away by halves, with imperfect Appearances that please the Ima­gination; they are not taken with all that gli­sters, but by much Thinking dive into the Na­ture of Things, and fix the Judgment to decide the Truth, or falsity of what is Charming, and Be [...]tiful, and what seems so, at a sudden view. H [...]e proceed Justness, Proportion and Uarmo­ny, without all which a Poet loses half his Glory, and Reputation with good Judges. From hence 'tis evident, That the End of Poetry is Noble, since it reaches the greatest Pleasure and the su­rest Profit, of our Minds, and of our Life. Since 'tis directed to the Praise, of the Omnipotent, the [Page 28] Celebration of Virtues, the Rewards and Glory of Noble Acts, the Punishment and Infamy of Evil: Since to it we owe all the increases of our Knowledge; and finally, since it effects all these nobler l [...]nd, it aims at.

But methinks, Sir, I hear you say, What needs all this to prove the Excellence of a Science, that carries a Natural Worth with it, and that so clearly, that like an innate Principle 'tis confess'd by all self-evident? for there is none, however dull, but does, or has attempted Poetry, with more or less success, whil'st other Artts, and Sci­ences are not so universally caress'd. All pretend not to Philosophy, Mathematics, Law, Physic, or desire to be thought Proficients in those Arts; but ev'ry one wou'd be thought a Poet, as if with­out being so, he cou'd not be thought a Man, so essential to Mankind does the universal and una­nimous Ambition and Aim at it of ev'ry Man make it. I grant you, Sir, this is a sufficient Ar­gument to any sensible Man, that considers it. But how few reflect on this, when they run down what they cou'd not obtain on their Endeavour; the greatest Railer against this divine Art, wou'd be proud to Father an excellent Poem. [...]d it must be granted by them, That the greate [...] [...]hi­losophers. Historians, Orators, Physicians, Divines, Princes, Kings and Emperors of all Ages have dis­cover'd this Desire we mention, and have made it evident, That they either were, or fain wou'd be Poets.

To pass over the Hebrews we have already men­tion'd [Page 29] among the Roman Emperors, how few but have discover'd this Ambition? Julius Caesar, Au­gustus, Nero, Adrian, Gratian, Theodosius, Honorius, &c. Those of Julius Caesar.

Augustus often exercis'd this Faculty, particularly on Virgil's desire that his Aeneids might be burnt; which begin thus:

Seneca gives us this Verse of N [...]o's composing with his Commendatory Introduction, 1. D [...] Natur. Quaest. Cap. 5. Quid [...]rgo sit? Colorem non Ima­ [...]inem ducunt; alioquin ut ait Nero Caesar diser­ [...]ssime.

More of his we might borrow from Persius, if we [...] [...]his Interpreters. Adrian returns the Poet Flor [...]s his Complement sent him in these Verses,

[Page 30] Nay, he was so very Poetical, that when he wa [...] a dying, he Versify'd on his Soul,

Those that are attributed to Gallienus, have more of a Poet, which he repeated at the Wed­ding of his Nephews, as Trebell [...]s Pollio has it; holding them by the Hands;

And to say truth, 'tis pitty Gallienus ever spoil'd an Emperor since he wou'd have made an ex­cellent Poet; for as Tr [...]bellius confessest, fuit enim Gallienus, quod negari non potest, oratione, Poemate, at (que) Omnibus artibus Clarus. For Gallienus was, says he, [...]inent in Oratory; Po [...]try, and all other Arts. And indeed his horrid Remissions proceed­ed from his being concent with whateve [...] for­tune wou'd let him have; he wanted Ambition, and was, as Horace describes a Poet M [...]litiae piger & malus. Jul [...]n's Epigrams are to be found in the Anthology; and Ausonius informs us, that Theod [...]sius was no small pretender to Poetry in these Verses.

In short, tho' the Spirit of Poetry decay'd a­mong the Romans, with their Empire, yet was there scarce one that did not make some preten­ces to the Muses. Nay, look among the Clergy of former Ages, and you shall find Popes, Bishops, Cardinals, &c. stand candidates for the Bays, as well as Socrates, Plato, Democritus, Lycurgus, Solon, Aristotle, among the Philosophers and Legislators; among the undignified Divines, Melanchton B [...]za, [...]facomatus Art [...]medes, &c. the Civilians, Ulp [...]n, Modestinus, Alciatus, Budaeus, Tur [...]bus, and a great many others, too numerous to be here in­serted among the Physitians, Ansonius, Fracasto­rius, Cordus, L [...]bius Secundus, Sinetius, P [...]sthius, Sambu [...]us, &c. Nay, ev'n among the Critics, a morose Generation, the Scaliger's Father and Son, the Dousa's Father and Son, Cam [...]ranus, Mycillus, Stigelius, &c. among the Historians, Buchanan, Nat [...] Comes, Lil. Gyraldus, Ra [...]pius, Meibonius, Baudius, &c. Among the Rheto [...]itians, Pontanus, Angel. Polit [...]us, &c.

Thus much for Exotics; but (Sir) should I pretend to number the Poets, and Pretenders to Poetry in our own Nation, as 'twou'd be super­fluous, so 'twou'd be endless. Search all Ranks [Page 32] and Degrees of Men, from the Beau Lord, to the homely Swain, a keeping his Sheep, or dri­ving his Hoggs; and as Cupid, so has Apollo been at work with 'em; the S [...]lvia's and M [...]ia's, the Jones and Sue have had their respective Tribute of Rhime, and from the grave Doctor of Divi­nity, to the little Country Curate, with his Pro­blematic Crambo's, and Hypothetic Propositions So that there can be no more doubt made of the former Assertion of all Men's Desires and Pre­tensions to it, than that those are a Proof of its received Excellence.

Before I conclude this Essay, I shall obviate two or three Objections, made by some old morose Sparks, that have out-liv'd that little Sense their more sprightly years afforded them, and some Precisians, that build Piety and Godliness in Spiritual Railings, and a mortify'd Phiz, which are but Feints, or Blinds to Observers.

The first is, that 'tis a very useless and unprofitable Study, no Estates to be got by it, at least in this Age: That it contributes meerly to Pleasure, not to our knowledge. To the first I answer, that 'tis very true, that there is no hopes of rising to be an Alderman by Poetry; but then I must tell them, 'tis not for those to apply themselves t [...] that place the Desires of their Souls on Mony; for a [...] they'll never obtain that end by it, so will they never reach any Excellence in the Art, as being not destin'd by nature to it; for to a Poet, Hea­ven gives a large and noble Soul, above the Nar­row aim of Baggs and Hords of Treasure; and [Page 33] thus far I shall grant it an unprofitable Study, as Petronius Arbiter has witness'd long ago:

No, there are the roating Billows, The Camp, the Court, and the City allotted by Fate for those that thirst for Wealth; the Muses love Tranqui­lity, an Easie and Contented State, and teach their Darlings, that

The Riches the Poet gains is Fame: It termi­nates not with this life like Money, and Estate, nor can his Spendthrift Son lavish the mighty Store he has laid up, as the Miser's Son does what his Father got from Fools or Knaves. Nay, the Usefulness of this Study is opposite to getting Estates as they are generally got: It punishes Ava­rice, rewards Generosity, softens the Mind from Barbarity to Compassion for the Miseries of others, cleanses it from Deceit and Hypocrisie, elevates it from little base Designs, to Noble and Open Actions, and so through all the Ends and Uses of this Divine Art.

[Page 34] As to the Second that it contributes meerly to our Pleasure, not Knowledge, that is evidently false, both from what has been said, and from a Con­sideration that it yields not only a Necessary, but Noble Knowledge, that is, of Men, of Manners, of Virtue, &c. Nor is there any Study or Art but has been attempted in Poetry, as a short view will ma [...] eviden [...]. To pass over David and the He­brews Poets, whose Excellencies are lost by the gene­ral Ignorance, not only of the Language they wrote in, but the Custom, &c. on which many of the Beauties depend. Orpheus, Horner, Pindar, Ho­race, &c. have celebrated the Praises of the Di­vine Power, tho' under the Names of their Sup­posititious Gods, and Goddesses. Among the Chri­stians, we [...]ind Prudentius, Juven [...]us, Arator, Vi­das, Mauri [...]us, Sa [...]azarius, Vul [...]eius, and an in­ [...]able Company of Sa [...]red Writers. Astro­logy, Astronomy, &c. has been treated of by [...]ius, Aratus, Palingenius, Manillius, Bucha­nan, &c. Physic's by H [...]siod, Ma [...]er, Lucretius, [...], and others. Husbandry by Hesiod, Virgil, &c. Pastoral [...] and Spor [...]s, The [...]critus, [...], [...], Dantes, &c. Hunting has been dis [...]urs'd of by Gratius Nemesianus, Natales Co­ [...], &c. Tragedy (which affords us a hundred [...]able [...]essons of Knowledge, and Improve­ment) we owe chiefly to Aeschylus, Sophocles, and Eurip [...]s [...] I think our English Tragedians, have ex [...]ell'd them, particularly Mr. Dryden, who in [...], [...] [...]ll always think, has [...] ou [...] done Soph [...]les Then for the [Page 35] Acts of Heroes, we have Homer, Virgil, Pin [...] Lucan, S [...]atius, Cowly, Sir William D'Avenant [...] this is a sort of Poem which Horace think, more Instructive than Philosophy, in his second Epistle of his first Book to Lollius.

Nor are the Amorous Essays of Ana [...], Sappho, Gallus, Catullus, Ovid, H [...]race, Tibullus, Pr [...]per­tius, with abundance of the Moderns, to be thought ill of by the Precisians, as we shall by and by prove, but granted Improvers o [...] our Know­ledge in the Nature of the passions, the fatigues, and pleasures of [...]ove, as well as the Dangers and Impertin [...]ces of Intrigue. Opp [...] wrote o [...] [...], Nicander of Antidotes against the [...]iting of Vene­mous Beasts, of Herbs, and Ga [...]dening. Ma [...]r and Palladius, of Plants. Mr. Cowly, of Medicine, S [...]renus, [...], and M [...]llus: Of Weights, and Measures, Q [...] Fa [...]us [...]; which Book by some is attributed to [...], and Pythagoras, [...] in Verse of the Precepts of Virtue, and Solon, and [...], of Poli [...]s or the Administration o [...] the Common Wealth: Wholsom, and Inst [...]uctive Satyr, H [...]race, Juvenal, Persius, Mr. Dryden, Mr. W [...]herly in his Plain­ [...] [...]ler, and other Poets have given us; nor are the little [...] to be [...]orgot, having [Page 36] their Use and Diversion, tho', I confess my self no Admirer of that sort of Poetry, if it merit that Name.

From hence 'tis Evident, That we may not only learn all that can be advantageous to our Knowledge, and by consequence that the accu­sation is false, that it serves only to Pleasure; but also that All things that are the Subjects of this Soveraign of Sciences.

There remains yet an Objection, some Men make no finall bustle about, viz. ‘That Poetry is too prophane in making use of so many false Gods, and Goddesses, Fanus, Satyrs, and Nymphs, and the rest of the gay Race of Fancy; and that they scatter the Seeds of Debauchery in the Minds of Youth, by their Amorous Verses, their Lustful Songs, &c. for which Reason ev'n Plato Banish'd them from his Common-Wealth.’

The first part of this Objection, I'm confident, you'll think extreamly ridiculous, and that it me­rits not to be taken Notice of. But when you shall remember that in the Third Century the Chri­stians were so Zealous, as to forbid the reading of all Heathen [...], particularly Poets, on th [...] A [...]count, and consider, that we have some still [...] the same Mind here in England, that wou'd not have the Name of Jupiter, Mars, and Venus (no, not in Pr [...]pria quae Maribus) come into their Childrens Mouths, especially their Worships, their [...]overs &c. I hope you will allow that 'tis not wholly unnecessary to clear ev'n this Objection.

[Page 37] 'Tis true, these Fables cannot be condemn'd by any, but by those who are incapable to dive into the admitable use of 'em. They must con­sider, that ev'ry Art, as well as ev'ry Language. has its peculiar Beauties and Prop [...]ieties of Elo­cution, to take which away (especially if, as Poets particularly do, we represent Antiquity) is to render it almost insipid, and without its most taking quality Pleasure, that best conveys Instru­ction. Rob Poetry of this Be [...]uty of the Fables and the Gods [...] mean the ancient Poems, so full of admirable Instruction by their means given us with Pleasure, and Delight) and you destroy the Excellence of the best of Poets, rend [...]ing their Po­ems Imperfect, and [...]ame; and if any Christian Poets makes use of these Gods, there is no fear certainly of their paying them any Vene [...]ation, when they only employ them as the Vehicles of their Designs. But enough on this Point.

The other of the Looseness of Amorous Verses; 'tis a part of the Knowledge of the World, to have a perfect view of all the Effects of Love, all its Ways, Manners, and Expressions, and those who forbid the Reading of these, take away an admi­rable Guide to those that must Live where not to be in Love, or have to do with those that are so, is impossible, and Scandalous ev'n in the P [...]ence. There are other advantages of the [...]wdest Essays of this Nature, which a Man of Sense will make of them, and none, indeed, shou'd read those [...]ut such. And that Plato banish'd Poets out of [...] Common-Wealth, yet cou'd he write things [Page 38] of a more lewd Strain than the Worst of 'em, witness these Verses on the Kissing of Agatho, done from his Greek by Decimus Laberius.

Petronius himself has scarce gone beyond this with his Gyt [...]n, &c. And his

[Page 39] Plato's Republic was but a Eutopia at best, and aim'd at new ways of forming the Minds of Men by Laws, not so agreeable perhaps to Man's Na­ture, as more Politic Legislators have compos'd, who receiv'd this Noble Art, and honor'd its Professors with Public Veneration; being sen­sible that it was the surest, and best In [...]ctrix of Mankind, but that it gave Immortality to those that favour'd it with their Protection, and Generosity.

Whoever wou'd raise his Mind above the Vulgar tast, and form in his Breast noble Designs, must apply himself to a reading of the Poets; as Petro­nius Arbiter has it.

As there is a Natural Excellence in being a Poet, so is there in Esteeming one and nothing, shews the Degeneracy of an Age more, in Honor, as well as sense, than a Contempt of this Divine Science, and the [...] Masters of it. So that I must in [...]er that this Present Age is at a very low Ebb of Both; that, tho' bless'd with as great Po­ets as ever Greece or Rome produc'd has so very [Page 40] little regard to them, as not to make Public Sa­crifices of its Dross to the Use of Two such Ex­traordinary Men. There is a Plebeian Genius spread among us, and Generous and Noble Acts, are contemn'd and laugh'd at. But then, Sir, in so general a Defect to be Singular in Tast, chal­lenges the more Honor; and this makes me a­sham'd to offer so unpolish'd and hasty a piece as this at your Feet, who are not only an excellent Judge of the most difficult Things, and ev'n in the first Bloom of your Youth, have Master'd the whole Circle of the Sciences, but also have a pecu­liar Esteem for this I plead for, and by your ad­mirable Choice of those you converse with, shew you can let none of your Hours be lost, either with tristing Books in your Study, or Impertinent Cox­combs in your Conversation: I shou'd not have the Vanity to say this, were I so happy as to be often bless'd with your Company, I catch it but now and then unwilling to make you do Pen­nance for my Satisfaction; and this Consideration will oblige me to put an end to this Essay, only desiring your leave publickly to declare my self what I am; That is,

Some Reflections on Mr. Rymer's Short View of Tragedy, and an Attempt at a Vindication of SHAKESPEAR, in an Essay directed to JOHN DRYDEN Esq

AS soon as Mr. Rymer's Book came to my Hands, I resolv'd to make some Reflections upon it, tho' more to shew my Will than my Abilities. But finding Mr. Dennis had almost pro­mis'd the World a Vindication of the Incompa­rable Shakespear, I quitted the Design, since he had got a Champion more equal to his Worth; not doubting but Mr. Dennis wou'd as effectually confute our Hypercritic in this, as all Men must grant he has, in what he attempted in his Impar­tial Critic.

But expecting thus long, without hearing any farther of it; I concluded some other more im­portant, or at least more agreeable business, had diverted him from it; or that he thought it a [...] unnecessary Undertaking, to perswade the Town o [...] a Truth it already receiv'd; or to give any far­ther Answer to a Book, that carry'd its own Con­demnation in its self. However, since I find some build an Assurance on this General Silence o [...] all the Friends of Shakespear, that Mr. Rymer's Ob­jections are unanswerable; I resolv'd to besto [...] two or three days on an Essay to prove the con­trary: [Page 65] Which may at least bring this advantage to the Cause, to convince the World how very good it is, when one of my Inability, in so little time, have so much to say for it, and that with­out going through the whole Defence.

I indeed, like the most indifferent Counsel make the Motion, but leave more able Heads to Plead the Cause. One great Satisfaction, I have (however I succeed) is, that I speak before a Judge that is the best Qualify'd to decide a Controversie of this Nature, that ever England produc'd; for in you, Sir, The Poet, and The Critic meet in their highest Perfection; and, if the Critic discover the Faults of Shakespear, The Poet will also see, and admire [...]is Beauties, and Perfections. For as you have Learning, and strong Judgment to discern his [...]east Transgressions, so have you a Genius that can reach his Noblest Flights; and a Justice that [...]ill acknowledge his Deserts: And were there no [...]ther Arguments to be brought in his Vindication, [...]t wou'd be more, than sufficient to destroy all [...]is weak Antagonist has huddl'd together against [...]im, that you give him your Approbation. This, [...]ir, is really my Opinion, and I'm sure the most [...]ensible Lovers of Poetry will side with me in it: [...]nd secure me from the Imputation of being so [...]oolishly vain, to think I Can flatter You, when speak of your Poetry, your Judgment, and [...]our Candor; since whatever can be said on that [...]ubject, by any one below Mr. Dryden's Abi­ [...]ties, wou'd be but a very faint Shadow of the Mighty Panegyric of your Name alone.

[Page 66] The Method I shall observe in these Reflections (for my time will not permit me to bring so con­fus'd a Chaos into a more regular Form) will be first to run over the Pages of his Book as they lye, and give you some Animadversions in part of those Absurdities they contain: for to examine all, wou'd swell my Letter into a Volume, and be five hun­dred times as big as the Text, like a certain Re­verend Dr. on Job. Next, I shall attempt a Vindication of Shakespear, where he more for­merly attaques him.

In the first, I hope you'll forgive me, if I use him with no more Respect, than he does Shake­spear or You: And in the latter, I hope you will admit Recriminations on those Patterns, h [...] proposes to us for the Test, of Shakespear's Faults, as a sufficient Answer to what he Magi­sterially lays down, as Self-Evident, with a Scorn­ful, tho' Clumsy Jest, without any other Reason to confirm it; if not as a Demonstration of that Injur'd Poet's Excellence. And that we may from thence conclude with Mr. Rymer (as he ha [...] it in his Preface to Rapin) since his Standards o [...] Perfection are equally culpable, That the greatest Wits, both Modern, and Ancient, sometimes slip, a [...] are liable to Cavils: And by consequence, that all his Pains were needless to bring Shakespear in­to that Number, since his greatest Admirers eve [...] confess'd he had Faults: Tho' no Man but himself I believe, ever Rob'd him of all Excellence; and I must say, That most that he produces are mee [...] Cavils, and convict him of being one of those [Page 67] Critics, that like Wasps rather annoy the Bee's, than terrifie the Drones.

But, indeed, the Lovers of Shakespear may well forgive the Author of Edgar, and this Short view of Tragedy, whatever he can say against his Excellence and Genius; since being his Opposité, 'tis no wonder his Mind's not capacious enough to Comprehend, nor his Tast Poetical enough to relish the Noble Thoughts which the Ingenious have admir'd in Shakespear ever since he Writ.

It has been the Fate of most Critics on Poetry, to Err in those Things they Condemn in others, or to discover by their Writing, how ill quality'd they are to judge of any thing, but the Regularity of the Structure of a Poem, which the Known Rules of Art furnish them with, the chief forma­tion of a Poet being wanting; Nature denying them the Divitem Venam. Petronius Arbiter, so severe on Lucan, and Seneca (for on them he reflects in his Satyricen) kept not clear of that un­natural Affectation he condemn'd in them. Jo­seph and Julius Scaliger (as Rapin observes) had the Art, but wanted the supply of Nature when they attempted Poetry. But Mr. Rymer in any thing he has yet publish'd, has not the l [...]ast sha­dow of pretence to the Excellence of either of these. Petronius had Wit, had Fire, a Genius, and Language; and tho the Scaligers were not Po­ets, yet had they the Merits of pretty good Cri­tics; but this Gentleman, has scarce produc'd one Criticism, that is not borrow'd from Rapin, Da [...], [Page 68] or Boss [...], and mis-apply'd to Shakespear. And for his Poetry, from the Heroic Tragedy of Edgar, to the River zounds, he discovers not the least Genius, nor Tast of it; and therefore must be granted a very incompetent Judge of such a Poet as Shakespear is.

Some of my Friends, whose Authority was ve­ry great with me, wou'd needs have me examine Edgar; but there were two things that obstru­cted my complyance with them—The First, That it was so abominably stor'd with Opium, that I cou'd not possibly keep my Eyes open to read it attentively; The other, That 'twas such a Ban­ter in it self on Poetry and sense, that all the pains I cou'd take about it, wou'd be only to give him the vanity of imagining it worth any Man's taking Notice of.

The Piece now under our Consideration is in a Vein something more merry, and uncommon; for tho' 'tis frequent enough to meet with a dull Poetaster for a Poet, yet 'tis something more rare to encounter a jolly Droll for a Critic. Tho', that with the abundance of Ill Nature, Conceit, and Affectation of appearing a Scholar, is the Vehicle that carries off his Nonsence, with as ill Judges of that, as he is of Poetry, and makes them take it for an extraordinary Thing: and this will make the better excuse for my examining how very Monstrous a Fantom 'tis, that is set out in so for­midable an Equipage.

To pass over the Epistle Dedicatory, which like [...]ays his Prologues, may serve as well for any other [Page 69] Book as this, nay—and for any other Lord too, as well as the Noble Lord 'tis address'd to (whose generous Patronage of all that have any Merit in the Republic of letters, ought to have secur'd him from such a Prophanation) And what's more, will do e'ery jot as well, for an Advertise­ment to the Courteous Reader, as for an Epistle Dedicatory, it being a Medly of Stuff without Co­herence, Design, or English. But to examine all that's Unintelligible, false English, and absurd, wou'd be an Herculean Labor, and extend my Conside­rations to e'ery Line. I shall begin with the Work its self, not less abrupt, or inconsistent.

He begins with the Necessity of a Chorus, urg­ing, That, as 'twas the the Original, so 'tis the most Essential part of a Tragedy, because it keeps the Poet, to the Unities of time, and place: But 'tis evident, from the Suppliants of Euripides (as you, Sir, have formerly observ'd) and from Raci [...]es Hester, (as Mr. Dennis has noted) that the Cho­rus does not necessarily do what Mr. Rymer pre­tends; nor was it at all in Horace's Thoughts, if we may judge of them by the Precepts he gives about it in his Art of Poetry.

But Mr. Dennis having evidently clear'd this Point, I shall say no more of it; but that if, as our Critic contends, 'tis the Poet's incumbent Du­ty to gratifie the Eyes, as well as Ears; this must be done without offending against Nature, and Probability, as the Chorus does. (which is abun­dantly prov'd by the Impartial Critic). But by those who have a more necessary Relation to [Page 70] the Action and Fable, as the Senators of Venice in O [...]bello, whom [...] reflects on; tho, as they have a Necessary concern in the Play, so cou'd they not be int [...]oduc'd wīthout their Habits, which afford that Gratification to the Eye he makes the Duty of e'ery Poet without the help of so foreign, and unnatural a Thing as a Ch [...]rus.

The 3d. and 4th. Pages are almost unintelligible, and at cross purposes one Paragraph with ano­ther; for he will have it, That the words of Shake­spear do not set off the Action, and then of a [...]uddain he concludes the contrary, that they do Next, P. 6. he has an admirable [...]etch, to prove that Pronunciation is a notable Vehicle, to carry off Nonsense, by shewing that it set off the Sense of Demost [...]nes. 'Tis granted, That a good and true [...], is a great help to Sense, be­cause i [...] s [...]s i [...] in its proper [...]ight, as ill repeating [...] it in a false one, and makes it lose its lust [...]e; as Martial sensibly obs [...]ves to Fidentinus.

But it seems to me, That the Reason, which makes Good Pronunciation set off Sense, must make [...] more visible; for the giving e'ery Word, and Sentence its true Emphasis, must make the [...]lunder more obvious, to even those, who in the Reading won'd perhaps over look it. I grant, that the P [...]p of the Theatre may, perhaps, dull the edge of our Judgment, but Pronunciation never [Page 71] can. But were all this true, I can't find that Shakespear falls justl [...] under his [...], as to this particular; for he affirms, That [...], [...], and Pronunciation, lose their force under a [...] Perusal; yet after such a Perusal, Shakespear does still maintain his Reputation with the grea­test Genius's our Nation has produc'd in Poetry: His Excellence therefore is not built on those Supports, but i [...]ate Worth, and by Consequence all his incoherent bustle is to very little pur­pose.

But the next Proof of the power of S [...]ew, Action, and Pronunciation, is extreamly merry. P. 8. He tells us, That Cardinal [...] was by them influenc'd in his mighty Approbation of the Tragedy of Sir Thomas Moor, tho' there were neither Poetry, nor Sense in it. Yet were not these able to by ass his nice Ta [...] to fav [...]ur the Cul of Corn [...]l (who had more of a Poet, th [...]n one of our Fl [...]no's [...]) which places the [...]dinal [...]n the Majores Numero, of the Division of Judges made by [...], clear contrary to our Critic's intention. Well, I must say this for him, That tho' his Reasons and Observations are [...]ar from irre­fragable, yet his Rambles are admirable and u [...] ­accountable from a Comical Harangue against Ope­ra's, P. 9, 10, 11, 12. he runs to Verse burles (que) and how long it had been in Italy before it pass'd the Alps, I suppose, to shew us he had read Pe­lisson, quoted in the Margin, for the Devil a-bit had it to do with th [...] Business in hand. Thence with another leap, he jumps back again t [...] Aes­ebylus [Page 72] his Persi [...]ns, proposing it for a Model pro­portion'd to our English Capacities. Of which, Page the 13th having drawn in imitation in the Spanish Expedition of 1 [...]88. our Tragaedo didascu­lus dubs it the Invincible Armado. His draught indeed is very nice and circumstantial, in the very serious, and at the same time extreamly Ri­diculous Account of all the Incidents of this Draught to the very Beards of the Spanish Gran­dees; the Tuns of Tar Barrels for the Heretics; and the squabling of the Cabinet Council, about Preferments not yet in their Power. And is it not as great an Error in Manners, as any Shake­spear is guilty of in the worst of his Plays, to make the greatest Politicians of that Age such egregious Coxco [...]bs? But what wretched Mortal is there of so very sorrowful or morose a temper, that must not laugh to hear him say, That on this Occasion two Competitors have just [...] Occasion to workup, and shew the Muscles of their Passion, than Shakespears, Cassius, and Brutus? Cou'd any Pugg in Barbary be so ignorant of com­m [...]n Sense and Reason as this? he must Pardon, the Expre [...]ion, 'tis his own to a much greater Man, than himself.

'Tis true, he tells us with his usual Magisterial Assurance. That these Spanish Grandees of his Creation, have a [...]ster Occasion for a Passionate Scene than Shakespears, Brutus, and Cassi [...]s: But I [...] ask his Pardon if I subscribe not to his Opinion: But to punish him sufficiently for this gross Absordity, and Arrogance, lay down the [Page 73] matter barely as 'tis, proposing the Occasions just as they lye in both these Authors, our H [...]storiogra­pher, I mean, and the inimitable Shakespear.

First, Here is a Council of 15 of the greatest, old Politic Heads that Age produc'd in Spain, quarrelling with one another about things out of possession, In Eutopia, To be Kings of Man; Duke-Tr [...]ncalos, and Duke-Step [...]nos, &c. is there either Nature or Possibility of this? so far is it from any probable Ground.

On the other hand: Here is Cassius, a Passio­nate, Ambitious, and Avariti [...]us Roman, impa­tient to bear a refusal of a Request he made for Lu [...]ius Pella, that was found guilty of Bribery (a Crime himself was guilty of) looking on himself of equal Power at least with Bru [...]us, and a Bro­ther, if not Father of the War, being Ambitious and Choleric too, as I said, cou'd not but resent it as an infringing his Authority, and Friendship; and by consequence discover his Resentment at first meeting. But this is not all the Ground of [...]his Scene: Here is Brutus on the other hand, a [...]evere follower of Virtue, to which he Sacrific'd [...]is Friend and Father, Caesar, and cou'd not there­fore but resent Cassius's deviating from Virtue [...] his pretence to which made him his Friend. How [...]ou'd he bear with Cassius in his Bribery and Ava­ [...]ice, who cou'd not with Caesar's Ambition? [...]or [...]n denying Money for the Payment of those Le­ [...]ions (on whose Fidelity, not only their Lives, but [...]he Fat [...], and Liberty of Rome, which was yet [...]earer to Brutus, depended) he gave them up to Octavius and Anthony.

[Page 74] Is there any Parallel indeed betwixt these two Occasions? Can there be any thing more Childish and trifling, than the first? And can there be any thing greater, and more weighty than the latter [...] The Prize of Chymera's on one side, and the Li­berty, and Fate of the greatest Empire in the World; nay, Life, Honor, Vi [...]tue, and all that can or ought to be dear on the other.

Let this be a convincing proof of the Genius and Judgment of our Histortographer Royal, who cou'd prefer his own dull Bu [...]lesque on Common Sense to this incomparable Scene of Shakespear, whic [...] is justly admir'd by all Men of Sense.

But to proceed, If Desdemona's Character b [...] below the dignity of Tragedy, what are these Sp [...] ­nish Segniora's, who a [...]e to spend a whole Act [...] telling of Dreams, which were likely to have [...] mighty influence on the Spanish Politicians, (al­ways noted for their Religion and Bigottr [...] as to fur [...]ish out Distruct [...]ns and Disorders [...] for an Act. The Draught of the next Act is e' [...] [...]ot as merry: for 'tis very Natural indeed, a [...] nicely according to Manners, to bring in a Ki [...] Philosoph [...]ng on Dreams, and Hobgoblins! unle [...] he were to be such a King as he so much admi [...] in the Rehearsal; for a King Phiz by his form [...] Profession, might be suppos'd to have some N [...] ­ble, if not Noble Thoughts (as our Critic requi [...] on the Matter.

The 16th. Page, is a brief, tho' fully as ridi [...] ­lous fumming up of what he had said at la [...] before, tho' the Fourth Act is above measure C [...] ­mical, [Page 75] where the Spaniard is to be beaten off with a Vanguard of Dreams and Goblins, and the Terrors of the Night.

For my part, on the first reading it, I thought him absolutely out of his Wits, or what's all one, that he had a Mind to be lewdly, merry extreamly out of Season, or Play the Droll, to shew how much he was better qualify'd for a Farcewright, than a Critic. But being assur'd since by several Ingenious Gentlemen, that he not only means it as a serious thing, but that the Doctors do not think him Mad enough for [...]edlam, I will turn the Advice he has the extraordinary Assurance to give you, infinitely more justly to himself, that he wou'd undertake the Writing upon this admi­rable Plot; and for his Encouragement, I assure him, it shall not [...] the Fate of his Edgar, but be Acted, with a [...]rm belief, that if it do not Pit­ [...]ox and Gallery-it, with any of Shakespears: [...]et it may bear the Bell (to borrow an extraordi­nary Phrase from our Histor [...]ographer Royal) from [...]he Devil of a Wise, or Dr. Faust [...]; because the [...]ery excessive Extravagance of the Thought might, make us laugh, whereas Edgar cou'd provoke no­ [...]hing but Sleep.

But his putting this on you, Sir, after so many Public Expressions of your Friendship for him, & private Services (as I'm inform'd) done him, shews [...]is Morals, as faulty, as the Manners he has laid [...]own for the Heroes of this Anti-Tragedy. With [...]hat Face cou'd he put so little and scurrilous an Affront on you, in this Book, without provocation, [Page 76] who in his Preface to Rapin, did preferr your De­scription of Night to all the Master stroaks of the Ancients, and Moderns. If you had no other me [...]its certainly the Judgment of Virgil animated with a more sprightly Wit, deserv'd better from him than so mean, and so ungenerous an Abuse. But now to the next Chapter.

To shew he had read Plato, he quotes him P. 18. to prove what no body yet ever deny'd that knew any thing of the Original of Tragedy. Nor has any one, that I ever met with, pretended that there was no Poem, that had the Name of Tragedy before the time of Thespis. But if from hence he wou'd inferr that Tragedy was Acted before his time, he proceeds farther, than the words of Plato, or any other Authority will war­rant him, for till Thespis, it was only a Hymn to Bacchus, Sung and Perform'd in Dances, and Ge­fticulations by the Chorus. But then it had no Episode or Actor; and therefore Thespis was the Original of the Tragedies, that are Acted, tho' lie built it on the Foundation of the religious Goat-Song; this, not only Horace, but all the Cri­tic's, I have met with, affirm. And himself con­fesses, P. 19. that when it came to be an Image of the World, it then had a secular Alloy, and was by Consequence alter'd from what it was be­fore, that is, from a Religious Hymn, to a Repre­sentation of Humane Life. The End therefore and Aim of it being thus alter'd, the Mediums to that End, must of Consequence, be alter'd too. Th [...] praise of Bacchus was no more Necessary to for­ming [Page 77] an Image of Humane Life, than the Praise of Hercules, or any other of the Gods. Now, if the Chorus be necessary, because 'twas the Ori­ginal of Tragedy, 'tis equally necessary the Chorus shou'd celebrate the Praise of Bacchus, as it origi­nally did; but if Tragedy by the Alteration of its end were set on a new bottom, we are no lon­ger oblig'd to regulate it according to its first In­stitution. So that I can see no reason, that be­cause Sophocles retain'd the Chorus, it was therefore a necessary part of Tragedy, or if it be, why the Dancing and Music that was continu'd with it, was any more meer Religion, than the Chorus its self, or a less necessary part of Tragedy, since both were of equal date, as to their Rise, and End. But this only en passant.

P. 20. Next, he le [...]s to the Care the Go­vernment had of the Theatre, in permitting no Poet to present a Play to the House till past Thirty. This Observation might, perhaps, pro­ceed from Self-Interest, hoping to perswade us, that, upon another Vacancy, he is qualify'd for Poet Laureat, intimating, that the older a Man grows, the sitter he is for a Poet, contrary to the [...]udgment of his Friend Rapin; from whom he [...] the Observation that the Athenians spent more of the Public Money about their Chorus's, and other Decorations of the Stage, than in all their Wars with Persia. From hence he soon passes to his beloved Aristophanes (and to do him Justice, he always expresses an extraordinary Passion for [...]arces) tho' I am to seek in what he drives at in [Page 78] all those Praises he bestows on him, for Running a Muc, (as he phrases it) at all manner of Vice wher [...] ever be saw it, be it in the greatest Philosophers, th [...] greatest Poets, the Generals, or the Ministers of State [...] Wou'd he have our Poets follow his example, and expose our Divines, Bishops, Lords, Generals, and Ministers of State? If this be his desire, yet either h [...] ought not to blame them for their Defect in that or is in Justice bound to secure them from the Pe­nalties, they wou'd incur by doing so: Scan. Ma [...] and some such odd things are Bug-bears, th [...] wou'd have frighten'd his Aristophanes, from hi [...] freedom, if the Athenian Law, like ours, had se­cur'd Vice, and Folly in the Great ones, from th [...] attaques of Poets. He ought therefore either t [...] moderate his Indignation at our Poets for only exposing the Common Life of Mankind, or if [...] wou'd have none but Statesmen, and Generals [...] ­dicul'd, let him lead the Dance; and fear not th [...] Success of Aristophanes, being so well qualify'd fo [...] a Parce-Wright; his Propensity to that, influ [...] ­cing perhaps his Judgment in favour of this Gre [...] Poet, above all those that succeeded him. Th [...] Quintilian, as good a Judge as Mr. Rymer says [...] Menander, not Aristophanes, meo judicio diligen [...] lectus, ad cuncta quae praecipimus efficienda suffic [...] Ita omnium Imaginem in vitâ Expressit. Tanta in [...] inveniendi Copia, el [...]quendi facultas, ita omnibus R [...] ­bus, Personis, affectibus accommodatus, ut omnib [...] ejusdem operis Autoribus tenebras obduxarit. B [...] Mr. Rymer must be singular in his Opinion, [...] he cou'd not keep up his Character, as he is in th [...] [Page 79] meaning of those two Verses he quotes, Pag. 25.

He will have it, that non Minimum is but a faint Commendation; tho' 'tis evident from the best of the Latin Authors, that non Minimum is us'd for Magnum, if not Maximum. 'Tis perhaps us'd by Horace as a more Modest expression of their Worth, that he might not incur the imputation of flattering by a stronger Praise, those who were living. But I de [...]e him to produce non Minimum in Cicero, or any other Author of Note, in a sense less than Magnum. Nor does that Quotation out of the Sixth Book of Virgil's Aeneids, prove at all that Virgil gave up the Cause, and yielded [...]he Grecians more excellent in Poetry than the Latins, any more than Horace did in the Epistle by him [...]oted, for thus it runs,

From which 'tis evident that he meant only [...]his, that Governing Nations, and Justice shou'd [...]e their chief Care, and greatest Art, not that [Page 80] he thought the Romans did not excell the Grecians in others too; for, I believe, none will deny but Cicero was a greater Orator than Demosthenes, or at least as great, and that Virgil was as great a Poet, as Homer. And for other Arts, Pliny was of opi­nion, That the Romans excell'd the Grecians ev'n in 'em, as well as that of Governing, when he says in the 36th Book of his Natural History, That he wou'd shew the World conquer'd in the Works of Art, as well as by the Sword, and then proceeds to Paint­ing, Statuary, &c.

But, Sir, I fear, I shall tire your patience shou'd I touch upon e'ery Page; I'll therefore step to P. 63. and with that and the 65th. make an end of my Reflections, and then examine more parti­cularly what relates to Shakespear. P. 63. he ex­presses himself much against Rhime in Plays, by which he not only shews his Mind is much al­ter'd since he writ Edgar in Rhime; but also makes it the distinctive mark of Heroic Verse in English, as the numbers of Hexameters are of La­tin Heroics: But he gives us no Reason for the Parallel, for that indeed wou'd be to break an old custom, which he's very fond of. If there­fore I cou'd produce no Argument against him in particular, yet must, a bare denial, be granted equivalent to a bare Assertion: but the matter is not so barren of Reason, as to be destitute of a very convincing proof of the contrary, viz. The Num­bers or Feet distinguish the Latin Verse, and the Numbers of Hexameters are very different from those of Jambics, which is the Verse most us'd, [Page 81] at least out of the Chorus, in Tragedy, so in En­glish 'tis the Feet, or Numbers that distinguish Heroic Verse from all others, whereas the Num­bers are the same in blanc Verse, as in Rhime; so that they are equally He [...]oic Verse, and Mil­ton's Paradise lost, is a sufficient proof of this; so that according to Mr. Rymer all Verse of ten Syl­lables are as improper for Tragedies in English, as Pentameters are in Latin, for that is the conse­quence of his Arguments,

The second Paragraph of P. 65, That furnishes me with the subject of my last Reflection, is a Master-piece, compos'd of his belov'd ingredients, the unaccountable, and the unintelligible; for he tells us, that since the decay of the Roman Empire, this Island has been more fortunate in Matters of Poe­try, than any of our Neighbours, &c. I must tell him that it must be a good-natur'd Reader that (after all he has said) shall take his word for't; for I can't see how he can make it out, if Shakespear be so far from a Poet, as not to be sit to write Ballads, or what's all one, as ignorant of Nature as any Pug in Barbary; if Ben Johnson be guilty of such Stupidity; if Milton, as he commonly asserts, have nothing in him; and Beaumont and Fletcher are such, as he represents 'em. He wou'd do well to fix this Excellence above our Neighbours [...]omewhere; for hitherto he has done nothing but [...]rraign our greatest Poets. But the latter end of [...]his Paragraph as unintelligible as 'tis, must I find [...]ass for a Proof of this, if we will have any from [...]im. We find (says he) the British Poetry to this day: [Page 82] To confirm which, he proceeds thus. One of our oldest Medals b [...]ars a harp on the Kevers, with the Name Kunobuline around it: But what of that good Sir? What if it had Merlin, Gildas, and half a score more about it, what's the consequence? I advise him in his next Book not to put his Friends to such trouble to understand him; for my part I cou'd never yet meet with an Oedipus to solve the Ridle; for what has the oldest Medal to do with the proof of our having the British Poetry to this day, unless the other side of the Medal had fur­nish'd us with some of it, if he draw not the odd consequence from the Harp; that where there is Music, there must be Poetry; as where there is Smoak, there must be Fire, according to the lau­dable Observation of our Matrons of Antiquity.

But there needed no Medal of Kunobuline to be produc'd; for the proof of the early use of Po­try in this Island, and that long before Virgil writ. The British Bards are enough to justifie that; we need not wait till the decay of the Roman Empire, witness Lucan, Lib. 3. who writ of times that pre­ceded Virgil.

But what's this to the Confirmation of his Asser­tion, that next the Romans we excell'd in Poetry? 'Tis not the number of Years, nor Poems that wil [...] establish our Excellence, but the Quality; 'tis thei [...] [Page 83] Perfection, that must give us the advantage of our Neighbours.

But to expect Reason, Method, (without which [...]ll is confusion) and Meaning from this Author is [...]n vain, since he tells us in a former Essay he can [...]eep to no Method or Form, and that he is not cut [...]ut for penning any Treatise. But then why, in [...]he Name of dullness, does he fly in the Face of Nature, and spight of her appear in Print, not only as an Author, but Judge, bringing to his Tribunal, those who were qualified with what he [...]xtremly wants, viz. A Genius and Judgment: [...]is Judgment being so weak, that he cou'd not [...]eep Coherence through one only Page. Being [...]hus qualify'd, no doubt his censure of the admira­ [...]le Shakespear, must be extraordinary, which [...] shall, after I have premis'd some general Consi­ [...]erations examine.

To survey the Antients with an impartial Eye [...]wou'd make one wonder at those extravagan [...] En­ [...]miums, and that inexpressible Advantage above [...]e Moderns' some of our Dogmatic Critics give [...]m, were there not an extraordinary Vanity, in [...]xtolling their Performances and Virtues, because [...]y that means they arrogate to themselves the [...]eputation of understanding them better, than [...]ther Men. This makes Rapin tell us what an [...]iversal Genius Homer was; and that all the [...]rts and Sciences are to be learn'd from his Works, tho' some others perhaps, not less able to [...]derstand him, can not discover any such Matter, [...] the Author of the Dialogues of the Dead, very wittily [Page 84] intimates in the Dialogue betwixt Homer and Ae­sop. These Gentlemen wou'd cover all the Absur­dities of this Poet, with the specious Whim of All [...] ­gory, never thought of by Homer himself. But h [...] may thank his Fate for allotting him a time s [...] much remote from ours, else they wou'd not b [...] fond of him to so unreasonable an excess, since the [...] can't allow no excuse for smaller Faults in the [...] own Countrymen of a later date, such ill Patri­ots are these Partial Critics; for I desie Mr. Ry­mer and all of his Opinion to parallel in Shake­spear, the Wounds, the Hatreds, the Battles, an [...] Strifes of the Gods. And he must confess, if h [...] be not a sworn Enemy to all Reason, that Ho­mer's Juno is a Character far beneath, and mo [...] disproportionable, than that of Desdemona, th [...] the first be of the Queen of the Gods, Joves Si­ster and his Wife, and the other a Senators, Daugh­ter of Venice, Young Innocent, and Tender. [...] Desdemona be too humble for Tragedy, and di [...] ­cover not Elevation of Soul enough for her Bir [...] and Fortune: Homer's Juno must be much too lo [...] for an Heroic Poem, having no Parallel for Scold­ing but at Billinsgate. For the furious curtain Le­ctures of a City Wife, who is supream Lady [...] home, are nothing to hers. This Jupiter finds, whe [...] the only Remedy he has left to stop her Mou [...] is to threaten to thrash her Divine Jackes, whic [...] makes her Son Vulcan something concern'd abo [...] the Shame 'twill be to have his Goddess Moth [...] suffer the Bastinade before the Heavenly Cre [...] Where is the Nature? Where the Reason of this [...] [Page 85] If the Nobleness of his Thoughts, the Majesty of [...] Expression, and Variety of his Numbers made [...]he succeeding Ages so fond of Homer, as to find some Excuse for his failures, in Conduct and Characters; is not Shakespear more ungenerously dealt with, whose Faults are made to a pretence [...]o deny all his Beauties and Excellence?

But 'tis not these Instances in the Prince of the Greek Peots, (with many more, both as to the Conduct and Characters) that influence me to [...]ncline to a better Opinion of the Moderns I mean of my own Country) than Mr. Rymer; [...]nd some of the Graver Pedants of the Age; the [...]xcellence I find in Shakespear himself, commands a [...]uster Veneration; for in his Thoughts and Ex­ [...]ressions he discovers himself Master of a very just Observation of things; so that if he had (which deny) no Learning, his natural parts wou'd suf­ [...]ciently have furnish'd him with better Ethics, [...]han our Hypercritic allows him. But that which [...]ggravates his Malice is, he extends his censure [...] Ben himself, whose skill in Moral Philosophy, [...]e suppose, at least equal to his: But to give [...]he World some Satisfaction, that Shakespear [...]as had as great a Veneration paid his Excellence [...]y Men of unquestion'd parts, as this I now ex­ [...]ress for him, I shall give some Account of what have heard from your Mouth, Sir, about the [...]oble Triumph he gain'd over all the Ancients, [...]y the Judgment of the ablest Critics of that time.

The Matter of Fact (if my Memory fail me [...]ot) was this, Mr. Hales, of Eaton, affirm'd that [Page 86] he wou'd shew all the Poets of Antiquity, out done by Shakespear, in all the Topics, an [...] common places made use of in Poetry. The E­nemies of Shakespear wou'd by no means yield hi [...] so much Excellence; so that it came to a Resolu­tion of a trial of Skill upon that Subject; th [...] place agreed on for the Dispute, was Mr. Hales [...] Chamber at Eaton; a great many Books were sen [...] down by the Enemies of this Poet, and on th [...] appointed day, my Lord Falkland, Sir John Suc [...] ­ling, and all the Persons of Quality that had W [...] and Learning, and interested themselves in th [...] Q [...]arrel, met there, and upon a thorough Disq [...] ­sition of the point, the Judges chose by agreeme [...] out of this Learned and Ingenious Assembly, un [...] ­nimously gave the Preference to Shakespear And the Greek and Roman Poets were adjudg'd [...] Va [...]l at least their Glory in that to the Englis [...] Hero. I cou'd wish, Sir, you wou'd give the Pub­lic a juster Account of this Affair, in Vindicatio [...] of that Poet, I know you extreamly esteem, an [...] whom none but you excels.

Shall we therefore still admire Shakespear wi [...] these Learned and Ingenious Gentlemen, or p [...] him in a Class below Sternold or Flecknoe, wi [...] Mr. Rymer, because he has not come close to th [...] Rules Aristotle drew from the Practice of th [...] Greek Poets, whom nothing it seems can pleas [...] but the Antic Forms and Methods of the Atheni [...] Stage, or what comes up, and sticks close to the [...] in our Language.

[Page 87] I can see no Reason why we shou'd be so very fond of imitating them here, without better proofs than the Critical Historiographer has produc'd. 'Tis certain, the Grecians had not the advantage of us in Physics, or any other part of Philosophy, which with them chiefly consisted in words; they were a Talkative People; and being fond of the Opinion of Learning, more than the thing it self, as the most speedy way to gain that, stop'd their Enquiries on Terms, as is evident from their So­phistry and Dialectic's. There can be no dispute among the Learned, but that we excel them in these Points. Since the time of Des Cartes, when the Dictates of Greece began to be laid aside, what a Progress has been made in the discovery of Na­ture? and what Absurdities laid open in the School Precepts, and Terms of Aristotle.

But Ethics is a Study not so abstruse as the search of Natural Causes and Effects; a nice Observa­tion of Mankind will furnish a sensible Man with them; which makes me unable to ghess how the Greeks shou'd have so monstrous an advantage over us in this particular, as some wou'd give them, who are so far behind us in things of greater dif­ficulty; but it can't be otherways whilst we make that Age and Nation the Standard of Excellence without regard to the difference of Custom, Age, Climate, &c. But I question not to make it ap­pear hereafter, that we much surpass the Greeks and Latins, at least in Dramatick Poetry. As for Expression (the difference of Language consi­der'd) the Merits of which is proportion'd to the [Page 88] Idea it presents to the Mind, and for Thought, as well as for Design. And had you, Sir, but given us an Heroic Poem, you had put the Controversie out of doubt as to the Epic too, as your Oedipus (for all the Quantum mutatus, of which a­nother time) your All for Love, and some other of your Plays have in the Dramatic, in the esteem of impartial Judges.

Had our Critic entertain'd but common Justice for the Heroes of his Own Country, he wou'd have set Shakespear's Faults in their true Light, and di­stinguish'd betwixt his, and the Vices of the Age; for as Rapin (a much juster and more Candid Cri­tic) observes, the Poet often falls into Vices by complying with the Palate of the Age he lives in; and to this may we truly and justly refer a great many of these Faults Shakespear is guilty of. For, He not having that advantage the Greek Poets had, of a proper Subsistence, or to be provided for at the Public Charge, what Fruit he was to expect of his Labors, was from the Applause of the Audience; so that his chief aim was to please them; who not being so Skilful in Criticisms, as Mr. Rymer, wou'd not be pleas'd without some Extravagances mingl'd in (tho' contrary to) the Characters such, and such a Player was to Act. This is the Reason that most of his Tragedies have a mixture of something Comical; the Dalilab, of the Age must be brought in, the Clown, and the Valet jesting with their Betters, if he resolv'd not to disoblige the Auditors. And I'm assur'd from very good hands, that the Person that Acted [Page 89] Jago was in much esteem for a Comoedian, which made Shakespear put several words, and expres­sions into his part (perhaps not so agreeable to his Character) to make the Audience laugh, who had not yet learnt to endure to be serious a whole Play. This was the occasion of that particular place so much houted at by our Historiographer Royal,

This Vice of the Age it was that perverted many of his Characters in his other Plays: Nor cou'd it be avoided if he wou'd have his Audience sit the Play out, and receive that Profit, that is the chief End of all Poets. To this same Cause may be attributed all those Quibbles, and playing up­on words, so frequent in some part of him, as well as that Language that may seem too rough, and forc'd to the Ear, up, and down in some of the best of his Plays.

After all, the Head of his Accusation is, That 'tis not improbable, that Shakespear was ignorant of the Rules of Aristotle's Poetics; and was imper­fect in the three Unities of Time, Place, and Action, which Horace in his Art of Poetry gives no Rules about: for that which I have heard quoted from him, has no relation to the Dra­matic Unities,

[Page 90] as is evident from what goes before; but to the Coherence, Uniformity, and Equality of any Po­em in general—

'Tis only the Conclusion of what he proposes about Seven Verses before,

and this of Petronius is a just Interpretation of it in my opinion,

Praeterea ne sententiae emineant extra corpus ora­tionis expressae sed intecto vestibus colore niteant. That is, it gives only a Rule that all Poems be of a Piece and Equal.

So that since he cou'd gather no Instructions in this Point from Horace, we may excuse him for transgressing against them: and this defect his greatest Admirers confess'd before his Useless piece of ill-natur'd censure, and cou'd have Pardon'd Mr. Rymer, had he gone no farther; But when he Robs him of all Genius, and denies him the Elevation of a Shirly, a Fleckno, or a Jordan, w [...] must modestly return his Complement, and tel [...] him, That never a Blackamoor (as he learnedly terms a Negro) in the Western Plantations, b [...] must have a better tast of Poetry than himself and that 'tis evident from the Woman Judges whose Judgment, he assures us, seldom errs, b [...] [Page 91] their continual Approbation of Othello, Hamlet, &c. he is in the Wrong.

But shou'd we grant him that Shakespear wanted Art (tho' Ben Johnson denies it) can he from thence infer he was no Poet? The dispute of which confers most to the forming a Poet, (I mean, a Compleat one) Art, or Nature, was never yet agreed on; Horace joyns them, Quintillian and some others give it to Nature: But, till this Gen­tleman, never did any Man yield it wholly to Art; for that all his Arguments both in this or his former Book seem to drive at.

A nice Observation of Rules, is a Confinement a great Genius cannot bear, which naturally cove [...]s Liberty; and tho' the French, whose Genius, as well as Language, is not strong enough to rise to the Majesty of Poetry, are easier reduc'd with­in the Discipline of Rules, and have perhaps of late Years, more exactly observ'd 'em. yet I ne­ver yet met with any Englishman, who wou'd preferr their Poetry to ours. All that is great of Humane things, makes a nearer approach to the Eternal Perfection of Greatness, and extends as much as possible its limits toward being Bound­less: 'Tis not govern'd by Common Rules and Methods, but Glories in a Noble Irregularity; and this not only in Writings, but Actions of some Men. Alexander, Caesar, Alcibiades, &c. seem'd actuated by other Principles than the common Maxims that govern the Rest of Humane Kind; and in them the greatest Virtues have been mixt with great Vices, as well as the Writings of Shake­spear; [Page 92] yet are they granted Heroes, and so must He be confess'd a Poet: The Heroes Race are all like Achilles. Jura negunt, sibi nata.

But as I do not think that to be a Great Man, one must necessarily be wholly, exempt from Rules, so I must grant, That Virgil, Sophocles, and Your Self are very Great, tho' generally very Regu­lar; But these are Rarities so uncommon, that Nature has produc'd very few of them, and like the Phoenixes of Honesty, that live up to the Pre­cepts of Morality, ought to have public Statues erected to them. But yet the less perfect ought not to be Rob'd of their Merits, because they have defects, especially when the Number of those exceed these, as in Shakespear, all whose Faults have not been able to frustrate his obtain­ing the end of All just Poems, Pleasure and Profit. To deny this, wou'd be to fly in the Face of the known experience of so many Years. He has (I say) in most, if not all, of his Plays attain'd the full end of Poetry Delight, and Profit, by mo­ving Terror and Pity for the Changes of Fortune, which Humane Life is subject to, by giving us a lively and just Image of them (the best Definition of a Play) for the Motion of these Passions afford us Pleasure, and their Purgation Profit. Besides, there are few or none of those many he has writ, but have their Just Moral, not only of more gene­ral Use and Advantage, but also more naturally the Effect of them, than that of the Oedipus of So­phocles, as may be soon perceiv'd by any one that will give himself the trouble of a little Thought, [Page 93] and which will in some measure appear from what I have to say in the particular Defence I shall now make of Othello.

To begin with the Fable (as our Critic has done) I must tell him, he has as falsly, as ridiculously represented it, which I shall endeavour to put in a Juster light.

Othello a Noble Moor, or Negro, that had by long Services, and brave Acts establish'd himself in the Opinion of the Senate of Uenice, wins the Af­fections of. Desdemona, Daughter to Brabantio one of the Senators, by the moving account he gives of the imminent Dangers he had past, and hazards [...]e had ventur'd through, a belief of which his known Virtue confirm'd, and unknown to her Father Marries her, and carries her (with the leave of the Senate) with him to Cyprus, his Province. He makes Cas­sio his Lieutenant, tho' Jago, had sollicited it by his Friends for himself, which Refusal joyn'd with a jea­lousie, that Othello had had to do with his Wife, makes him contrive the destruction of Cassio, and the Moor, to gratifie his Revenge, and Ambition. But having no way to revenge himself sufficiently on the Moor, from whom he suppos'd he had receiv'd a dou­ble Wrong, proportionable to the injury, but this, he draws him with a great deal of Cunning into a Jea­lousie of his Wife, and that by a chain of Circumstances contriv'd to that purpose, and urg'd with all the taking [Page 94] insinuations imaginable; particularly by a Handker­chief, he had convey'd to Cassio (which Jago's Wife stole from Desdemona) to convince the Moor his Wife was too familiar with him, having parted with such a favour to him, which she had on her Marriage receiv'd from Othello, with the strictest charge of preserving, it being a Gift of his Mother of Curious Work, and secret Virtue. Othello, by these means, won to a beli [...] of his own Infamy, resolves the Mur­der of those, he concluded guilty, viz. Cassio, and his Wife; Jago officiously undertakes, the dispatching of Cassio, having got his Commission already, but is dis­appointed of his design, employing one Roderigo to that purpose, who had follow'd him from Venice, in hopes by his means to enjoy Desdemona, as Jago had promis'd him. But the Moor effectually puts his Revenge in Execution on his Wife, which is no sooner [...]ne, but he's convinc'd of his Error, and in remorse kills himself, whilst Jago, the Cause of all this Villa­ny, having slain his Wife for discovering it, is born away to a more ignominious Punishment, as more pro­portion'd to his Villanies.

The Fable to be perfect must be Admirable and Probable, and as it approaches those two, 'tis more or less perfect in its kind. Admirable, is what is uncommon, and extraordinary. Probable, is what is agreeable to common Opinion. This must be [...]e Test of this Fable of Othello; but then we must not take it, as given us by our Drolling Critic, who very truely confesseth in his former Book, (and in that he is no Changeling) he must be [Page 95] merry out of Season, as he always is; but as I have laid it down, else we shou'd do Shakespear a great deal of Injustice.

I suppose none will deny that it is Admirable: that is, compos'd of Incidents that happen not e'ery day, his Antagonist confesses as much; there is therefore nothing but the Probability of it attaqu'd by him, which I question not either wholly to prove, or at least to set it on the same bottom with the best of Sophocles, that of his Oe­dipus.

First, to see whether he have sinn'd against Probability, let us consider what our Ca­viller objects, all which may be reduc'd to two Points. First, That 'tis not probable that the Se­nate of Venice (tho' it usually employ Strangers) should employ a Moor against the Turk: neither is it in the next place probable, that Desdemona shou'd be in Love with him. On this turns all the Accusation, this is the very Head of his of­fending.

All the Reason he gives, or rather implies, for the first Improbability is, That 'tis not likely the State of Venice, wou'd employ a Moor, (taking him for a Mahometan) against the Turk, because of the mutual Bond of Religion. He, indeed says not so, but takes it for granted that Othello must be rather for the Turkish interest than the Venetian, because a Moor. But, I think (nor does he oppose it with any reason) the Chara­cter of the Venetian State being to employ Stran­gers in their Wars, it gives sufficient ground to [Page 96] our Poet, to suppose a Moor employ'd by 'em as well as a German; that is a Christian Moor, as Othello is represented by our Poet, for from such a Moor, there cou'd be no just fear of treachery in favour of the Mahometans. He tells us—

Supposing him therefore the Son or Nephew of the Emperor of Monomotopa, Aethiopia or Congo, forc'd to leave his Country for Religion, or any other occasion, coming to Europe by the conve­nience of the Portugueze Ships, might after seve­ral Fortunes, serve first as a Voluntier till he had signaliz'd himself, and prov'd himself worthy of Command; part of this may very reasonably be drawn from what the Poet makes him say. Now upon this Supposition, it appears more rational, and probable, the Venetians shou'd employ a Stran­ger, who wholly depended on themselves, and whose Country was too remote, to influence him to their prejudice, than other Strangers, whose Princes may in some m [...]ure direct their Actions for their own Advantage. But that Othello is sup­pos'd to be a Christian is evident from the Second Act, and from these words of Jago;—And then for her to Win the Moor, were't to renounce his Bap­tism, &c. Why therefore an African Christian may not by the Venetians be suppos'd to be as zea­lous against the Turks, as an European Christian, I cannot imagine. So that this Bustle of Littora littoribus Contraria, &c. is only an inconsiderate [Page 97] Amusement, to shew how little the Gentleman was troubled with thought when he wrote it.

No more to the purpose, is that Heat he ex­presses against Shakspears giving a Name to his Moor, though Cinthio did not, though History did not warrant it. For this can be no more ob­jected to our Poet, then the perverting the Cha­racter of Dido, and confounding the Chronolo­gy to bring her to the time of Aeneas, is to Vir­gil; the first as 'tis not mention'd in History, so it does not contradict it; but the last is a plain opposition to express History, and Chronology. If Virgil be allow'd his Reason for doing that, Shakespear is not to seek for one for what he has done. 'Twas necessary to give his Moor a place of some Figure in the World, to give him the greater Authority, and to make his Actions the more Considerable, and what place more likely to fix on, than Venice, where Strangers are admitted to the highest Commands in Military Affairs.

'Tis granted, a Negro here does seldom rise a­bove a Trumpeter, nor often perhaps higher at Venice. But then that proceeds f [...]om the Vice of Mankind, which is the Poets Duty a [...] he informs us, to correct, and to represent things as they should be, not as they are. Now 'tis certain, there is no reason in the nature of things, why a Negro of equal Birth and Merit, should not be on an [...] equal bottom, with a German, Hollander, French-man, &c. The Poet, therefore ought to do [...]stice to Nations, as well as Persons, and [Page 98] set them to rights, which the common course of things confounds. The same reason stands in force for this, as for punishing the Wicked, and making the Virtuous fortunate, which as Rapin, and all the Critics agree, the Poet, ought to do, though it generally happens otherways. The Poet has therefore well chosen a polite People, to cast off this customary Barbarity, of confining Nations, without regard to their Virtue, and Merits, to slavery, and contempt for the meer Accident of their Complexion.

I hope I have brought by this time as convin­cing proofs for the probability in this particular, as Mr. Rymer has against it, if I have not wholly gain'd my Point. Now therefore I shall proceed to the probability of Desdemona's Love for the Moor, which I think is somthing more evident against him.

Whatever he aims at in his inconsistant Ram­ble against this, may be reduc'd to the Person and the Manner. Against the Person he quotes you two Verses out of Horace, that have no more reference to this, than—in the Beginning God made the Heaven and the Earth, has to the proof of the Jus Divinum of lay Bishops, the Verses are these,

unless he can prove that the Colour of a Man al­ters his Species, and turns him into a Beast or Devil. 'Tis such a vulgar Error, so criminal a [Page 99] fondness of our Selves, to allow nothing of Hu­manity to any but our own Acquaintance of the fairer hew; that I wonder a Man, that pretends to be at all remov'd from the very Dreggs of the thoughtless Mob, should espouse it in so pub­lic a manner a Critic too, who puts the Poet: in mind of correcting the common corruptions of Custom. Any Man that has convers'd with the best Travels, or read any thing of the Histo­ry of those parts, on the continent of Africa, discover'd by the Portugueze, must be so far from robbing the Negroes of some Countrys there of Humanity, that they must grant them not only greater Heroes, nicer observers of Honour, and and all the Moral Virtues that distinguish'd the old Romans, but also much better Christians (where Christianity is profess'd) than we of Eu­rope generally are. They move by a nobler Prin­ciple, more open, free and generous, and not such slaves to sordid Interest.

After all this, Othello being of Royal Blood, and a Christian, where is the disparity of the Match? If either side is advanc'd, 'tis Desdemona. And why must this Prince though a Christian, and of known and experienc'd Virtue, Courage, and Con­duct, be made such a Monster, that the Ve­netian Lady can't love him without perverting Nature? Experience tells us, that there's nothing more common than Marches of this kind, where the Whites, and Blacks cohabit, as in both the Indies: and Even here at home, Ladys that have not wanted white Adorers, have indulg'd their A­morous [Page 100] Dalliances, with their Sable Lovers, with­out any of Othellos's Qualifications, which is proof enough, that Nature and Custom, have not put any such unpassable bar betwixt Crea­tures of the same kind, because of different co­lors, which I hope will remove the improbabili­ty of the Person, especially when the powerful Auxilarys of extraordinary Merit and Vertues come to plead with a generous Mind.

The probability of the Person being thus con­firmed, I shall now consider that of the Manner of his obtaining her Love. To this end we must still keep in mind the known and experienc'd Virtue of the Moor which gave Credit, and Au­thority to what he said; and then we may easily suppose the story of his Fortunes, and Dangers, would make an impression of Pity, and admira­tion at least on the bosom of a Woman, of a no­ble and generous Nature. No Man of any ge­nerous Principle, but must be touch'd at suff'ring Virtue, and value the noble sufferer, whose Cou­rage and Bravery, bears him through uncommon Trials and extraordinary Dangers. Nor would it have less force on a Woman of any principle of Honour and tenderness; she must be mov'd and pleas'd with the Narration, she must admire his constant Virtue, and Admiration is the first step to Love, which will easily gain upon those who have once entertain'd it.

Dido in Virgil was won by the Trojan stranger she never saw before, by the relation of his for­tunes and Escapes; and some particulars of the [Page 101] Narration of Aeneas, carrys full as ridiculous and absurd a Face as any thing, Othello says; the most trifling of which is,

for all the rest is admirably fine, though our wonderful Critic can't relish it, there is a moving Beauty in each Line, the words are well chosen, and the Image they give great, and Poetical; what an Image does Desarts Idle give? that very Epithet is a perfect Hypotyposis, and seems to plac [...] me in the midst of one, where all the active hur­ry of the World is lost; but all that I can say, will not reach the excellence of that Epithet so many properties of such a place meet in it. But as for the Cannibals, &c. and the Men whose Heads grow beneath their Shoulders. I have heard it con­demn'd by Men whose tast I generally approve, yet must they give me leave to dissent from them here, and permit me either wholly to justifie Shakespear, even here, or at least to put him on an equal bottom with Virgil, in his most beauti­ful part. For the fault lyes either in the Impro­bability of those things, or their Impertinence to the business in Hand. First Probability we know is built on common Opinion; but 'tis certain the Canibals have been generally believed, and that with very good grounds of Truth; so that there can be no doubt of the probability of that. [Page 102] Next for the Men whose Heads grow beneath their Shoulders, though that is not establish'd on so good a Foundation as Truth; yet the general Tradi­tionary belief of it in those days, is sufficient to give it a poetical probability. As this was not Improbable, so neither was it Impertinent; for 'tis certain, that whatever contributed to the raising her Idea of his Dangers and Escapes, must con­duce to his aim, but to fall into the Hands of those, whom not only the fury of War, but that of Custom makes Cruel, heightens the danger, and by consequence the Concern, especially in a young Lady possess'd with the legend of the Nur­sery, whence she must have amazing Ideas of the Danger of the brave Moor from them.

But at worst, Shakespear is on as good a bottom as Virgil, in this particular; the Narrative of Aeneas, that won the Heart of Dido, has many things full as trifling and absurd as this, if not far more? For is there not as much likelyhood that there shou'd be a People that have their Heads grow beneath their Shoulders, as the Race of the Cyclops, that have but one Eye, just beneath their Forheads, and that Poly­phemus his Eye was as big as a Grecian Shield, or the Sun; or that he cou'd wade through the Sea, without being up to his middle. Can there be invented any thing so unnatural; as the Harpys in the third Book, who had the Faces of Virgins, Wings, Feathers, &c. Of Birds, and a human Voice, as is evident from the infaelix vates, that foretold 'em they shou'd not build their destin'd [Page 103] City, till they had eaten their Tables, or Tren­chers, (which by the way was a trivial and ridi­lous sort of a pun, as the event shew'd, when Iulus found out the Jest,) nor is Scylla a more natural mixture. But let's hear the description of all three, from Virgil himself, least I be thought to injure his Memory, first of the Harpys in the Strophades.

The beginning of Horace's Art of Poetry, Huma­no Capiti, &c. seems a Copy of this; nor is Scylla a more Homogeneous Composition.—

Then for the Cyclop Polyphemus, the Grecian he takes abord, tells him his Eye is

and a little after lest this shou'dbe taken'as an hy­perbolical magnifying it by the terror of the fear­ful Greek; in his own Person, he says of him

The Absurdities in Homer are much more nu­merous than those in Virgil. (I mean those that must pass for such, if this in Shakespear is so,) But because they relate not to this particular, I shall say nothing of them here. All these I have remark'd in the Narration of Aeneas, hinder'd not, but that it won the Heart of Dido, though firmly bent against a second Amour,

especially one that was not like to be so very Ho­norable. Desdemona had no such tye, to steel her He [...] against Othello's Tong [...]e, no n [...] [...]ason to curb that Passion she ne'er felt before, when the pre­vailing Virtue of the Moor, att [...] her Heart; well may we therefore believe Desdemona shou'd yield to the same force, that conquer'd Dido, with all her Resolutions and Engagements, to the memory of [...]. Hear how she cries out to her Sister Ann,

[Page 105] and at the beginning of this fourth Book,

and the latter end of the first Book confirms this

cou'd Aeneas his Story not, one jot more mo­ving or probable make a meer stranger pass for a God, with the Carthaginian Queen at first hearing; and must it be incredible, that the same shall not make Othello pass for so much as a Man? The Parallel is so exact, that I am apt to think, Shakespear took the Copy from Virgil. Nor can it justly be urg'd, that these things were believ'd by the Romans, since they were so far from believing these trifles, that Seneca in his E­pistles, laughs at those Fables, that constituted their Hell, which was of much greater conse­quence. But supposing they were believ'd, the same will hold good for Shakespear, in this par­ticular, I vindicate him in: for 'tis built on as vulgar and general a tradition, as these Fables of old were, so that the advantage is equal betwixt these two great Poets in this particular.

By this time, I hope our Drolling Caviller, will grant it no such monstrous absurdity for the Doge to say,

since without doubt, that short summing up of what was only the subject of his tale to Desdemo­na, with only the supposition of the particulars, must move any generous Brest.

But should all I have said fall of clearing the Probability of the Fable from Mr. Rymers Objecti­ons, yet ought not that to rob Shakespear of his due Character of being a Poet, and a great Ge­nius: unless he will for the same reason deny those prerogatives to Homer, and Sophocles. The for­mer has often lost the Probable, in the Admirable, as any Book of the Iliads and Odysses will prove; and the latter, as Rapin justly observes, has not kept to probability, ev'n in his best performance, I mean in his Oedipus Tyrannus; for (as Rapin has it) Oedipus ought not to have been ignorant of the assassinate of Laius, the ignorance he's in of the Murder, which makes all the Beauty of the intrigue, is not probable; and if a Man wou'd play the Droll with this Fable of Oedipus, it would furnish full as ridiculous a Comment, as witty Mr. Rymer has done from this of Othello; and sure I can't err in imitating so great a Critic.

First, then let all Men before they defend them­selves on the High-way, think well of what they do, lest not being Mathematically sure he's at home, he kill his own Father, which perhaps is something dangerous in this Age, where such boon Blades frequent the Road, and such good-natur'd Ladies have the disposing of our fate.

[Page 107] Next, let e'ry Younger Brother, that ventures to ride in another Man's Boots, be very circum­spect, lest he marries his own Mother.

Thirdly and Lastly, This may be a caution to the few Fools that doat on Virtue, that they trustto a rotten Reed that will be of little use to 'em, since all is whirl'd about by an unavoidable necessity.

These are much more the consequence of this Fa­ble of Oedipus, than those wond'rous Truths, he draws from that of Othello. Nay, the moral Sophocles con­cludes his Oedipus with, will serve as justly for Othello, viz. That no Man can be call'd happy before his Death. But the whole Fable of Oedipus, tho' so much admir'd, is so very singular and improbable, that 'tis scarce pos­sible, it ever cou'd have happen'd; on the other hand, the fatal Jealousie of Othello, and the Revenge of Jago, are the natural Consequences of our ungo­vern'd Passions, which by a prospect of such Tragi­cal effects of their being indulg'd, may be the better regulated and govern'd by us. So that tho' Othello ends not so formally with a moral Sentence, as Oedipus does, yet it sets out one of much greater Value. If it be a fault in Shakespear, that it end not with such a sentence, Sophocles is guilty of no less in his Philoctetes, which not only concludes without any Moral, but is also incapable of being reduc'd to any, at least of any moment. Whereas the Morals of Hamlet, Macheth, and most of Shakespear's Plays, prove a lesson of mightier con­sequence than any in Sophocles, except the Electr [...], viz. that Usurpation, tho' it thrive a while, will at last be punish'd, &c. Besides the worst, and most [Page 108] irregular of Shakespear's Plays, contains two or three such Fables, as that of Philoctetes, which an­swers not one of the ends of Poetry; for it nei­ther pleases or profits, it moves neither Terror nor Compassion, containing only a dry account, with­out any variety of the perswasions of Pyrrhus, to get Philoctetes to go with him to Troy with the Ar­rows of Hercules; who, after he had by Treache­ry gain'd 'em, as foolishly restores 'em to him a­gain, and Troy might have stood long enough, if Hercules had not come from the Gods, to bend the stubborn Fool, that rather chose to be misera­ble himself; with his endless [...] and his Complaints of his Foot, something like the Tumors, Chilblains, Carnosities, &c. rak'd together by Mr. Rymer. And all that can be learnt from this Play of Sophocles is,

First, That we never send Boys of our Er­rand, unless we have a God at command to make up the business he has spoil'd; if we mean our business shall be thoroughly done, and not the fate of a Nation sacrific'd to a pain in the Foot.

Secondly, Not to trust Strangers we never saw before, for a fair Tale, with our Safety and Trea­sure, without a Mathematical Demonstration of their Fidelity and Trust.

Lastly, That all Men with fore Feet shou'd not despair of a Cure.

But I have dwelt so long on the Fable, that I have not time enough to discuss the other parts, as the Characters, Thoughts, and Expressions, so ful­ly as I ought; especially, the Thought and Expres­sion, [Page 109] for 'twou'd require a Volumn near as [...]ig as Shakespear, to set them off according to their worth; with all the proofs from Grammar or Rhetoric of their Truth and Justness. The Fable is look'd upon by Rapin, and after him by our Gl [...] ­ner of Criticisms, as the Soul of the Play, and there­fore I may be excus'd for my prolixity in its de­fence, and allow'd a little more time for a full Justification of the other parts of Shakespear, at­taqu'd with less Reason and Justice. Mr. Rymer has taken above ten Year to digest his Accusations, and therefor [...] it can't in reason be thought I shou'd not in half so many days be able to perform all the work he has cut out: Nor can I proceed to a particular consideration of all the Characters of this Play at this time. Desdemona I think is the most faulty: but since our Antagonist will have Ja­go, the most intollerable, I shall consine my self to that.

What I have said in the beginning of my Vin­dication of Shakespear, must here be recollected on Jago's behalf; besides which, I have some other considerations to offer, which I hope will ligh­ten the insupportable load of Contempt, and Ridicule cast on him by our Caviller.

First, Therefore in our Judgment of Jago, we must follow the Rule of Horace, so much stood upon by Mr. Rymer.

[Page 110] We are not only to respect the profession of the Man in our Judgment of the Character, but we must also have an Eye to his Nation, the Country he was born in, and the prevailing temper of the People, with their National Vices; by this Rule we shall find Jago, an Italian; by Nature Selfish, Jealous, Reserv'd, Revengeful and Proud, nor can I see any reason to suppose his Military Profession shou'd to powerfully influence him to purge away all these Qualities, and establish contrary in their room. Nor can I believe the quotation from Horace, which our Caviller produces, can justly be extended to all degrees of Soldiers.

'Tis plain from what goes before, and what fol­lows after that Horace meant not this, at least for a general Character of all Soldiers, but only as a di­rection for the drawing Achilles, or such a Hero; for h [...]'s enumerating the Manners, of those public Characters, that were generally made use of by the Romans in their Tragedies, for this follows.

And a few Lines before he is giving the Characters of several Professions and Ages, from whence he [Page 111] proceeds to these particular Characters of Achilles, Ino, Medea, &c. drawn from the known Stories of them, and this is confirm'd by what he joyns to this;

That is, if you take known Persons, that have for so many Ages trod the Stage, this must be their Character; but if you bring some new person on it, that was never there before, then take care that your Persons preserve that Character you give 'em at first, &c.

I know Rapin gives a Soldier these qualities; Fierce, Insolent, Surly, Inconstant, which partly are the effects of their manner of Life, but I can't conceive these to be opposite to those other in Jago. The Characters or Manners, as the same Rapin observes, are to be drawn from Experience; and that tells us, that they differ in Soldiers ac­cording to their Nature and Discipline; that also tells us that the Camp is not free from Designs, Su [...]plantings, and all the effects of the most crimi­nal of Passions, and this indeed is evident from the Draught Homer gives us of the Grecian Camp, where Love was not judg'd so contrary to the Cha­racter of a General, as Mr. Rymer wou'd have it thought: Achilles and Agamemnon having both their admir'd Captives. And let Mr. Rymer say what he please, I can prove that 'twas the Love of [...], that troubl'd Achilles, and confirm'd his anger, as well as the meer [...] of having his prize ta­ken [Page 112] from him, but of that in another place. In short, the [...] of Homer differs as much from the Soldiers of Mr. Rymers acquaintance, as Jago does; nor is he the only Soldier that cou'd dissemble. Si­non in Virgil and Neoptolemus in Sophocles, are as guilty of it as he.

But granting that Jago's Character is defective something in the Manners, Homer and Sophocles have been guilty (the first much more, the other not much less) of the same: what are the Wounds, Scuffles, Passions, Adulteries, &c. Of the Gods and Goddesses, obvious to the meanest Capacity, and beyond all dispute? Is not the Character of Oedipus Coloneut of Sophocles, as Rapin remarks, ex­treamly unproportionable to Oedipus Tyrannus? And tho' Mr. Rymer is so severe, to deny that the Character of Jago is that of a Soldier, because so different from his Military Acquaintance; yet I'm confident h [...] wou'd take it extreamly amiss, If I shou'd deny him to be a Critic, because so contra­ry to all the Critics that I have met with, play­ing the merry Droll, instead of giving serious and solid Reasons for what he advances.

The other Characters of this Play I must deser till another time, as well as a thorough defence of his Thoughts and Expression, both which he whol­ly denies him; and with an extravagantly won­derful Assurance publicly tells us; that the Neigh­ing of a Horse has more Humanity, (for that is his Wittycism) than the Tragical Flights of Shake­spear.

[Page 113] Mr. Rymer's Friend Rapin tells us, that the Thoughts are the expression of the Manners, as Words are of Thoughts, that is the natural result of the Manners, which being already clear'd from his Accusations, the vindication of the Thoughts are included in them, as well as their Condemnation in his Charge against the other, for he disda [...]ns to be particular in his proof. Then for the Expres­sions of Shakespear, none but Mr. Rymer can find fault with 'em. The excellence of expression consists in this, that it bear a proportion to the Things; that is, that it give us a full Idea of 'em; that it be apt, clear, natural, splendid, and nume­rous. There is scarce a serious part of Shakespear, but has all these qualities in the Expression.

To omit several Scenes in Hamlet, particular­ly that betwixt him, and his Fathers Ghost: I'll only instance in two or three Speeches, that are, and have been on the Stage in our Memory, which may give some sample of the Poetry, Thought, and Expression of Shakespear. The first is in the Midsummer Nights Dream, now acted under the name of the Fairy Queen. Act the Third, T [...] ­nia speaks thus,

is not this extreamly poetical and fine? The next I shall take from the 2d. Scene of Richard the Second.

Are not here all the Beautys of Thought, joyn'd with all those of expression? is it possible any thing that has but the least Humanity, shou'd be dull enough not to relish, not to be mov'd, nay trans [...]orted with this? I must confess, it has fir'd me, so that I think our Critic better deserves the Arraignment Tib [...]rius gave the Poet, for ill repre­senting Agamemnon, whose Character at best, was but a Child of Fancy, and therefore subject to the Poets Will, but to Blaspheme such a visible Excellence, Merits the highest contempt, if not a greater Punishment.

Shakespears Numbers carry such an Harmonious Majesty, that what Rapin and some other Critics say of Homer, is justly his due; they give a noble Beauty to the meanest things. 'Tis true, the Words he sometimes uses, by their absol [...]teness renders some of his Expressions a little dark, but then we must remember the great alteration our Language has undergone since his time; but ex­amine [Page 116] well the sense of his Words, you'l seldom find him guilty of Bombast, (tho' laid to his charge by Mr. Rymer,) that is Words and Thoughts ill match'd. On the contrary, they are generally so well sorted, that they present us with so lively and sensible an Image of what they import, that it fixes it self in our Minds, with an extream satisfaction; and the more we view it, the more it gains upon us.

I shall hereafter step into the Scenes with Mr. Rymer, and also examine his Narrations, Delibe­rations, Didactic and Pathetic Discourses, which are all that are made use of in Tragedy, in which if he sometimes err, he has yet perform'd well; and amidst his faults you shall find some thoughts of a great Genius. I shall only now observe en passant, in defence of that Scene, betwixt Jago and Othello, that we ought not to be imposed on by positive assertions, or think because Mr. Ry­mer tells us so, that half words, and ambiguous Reflexions, do not naturally work up Jealousie, or that 'tis not natural, for Othello to catch at e'ry blown surmise. These Assertions of our Critic shew him to be very ignorant of the very na­ture of this Passion, for as 'tis reduc'd to the pri­mitive Desire by the Moralists, so 'tis thus by them defin'd,

Jealousie is a fear of loosing a good we very much value and esteem, arising from the least causes of Suspicion. [Page 117] now 'tis evident even from the trifling, and false Objections of his enemies that Shakespear had this very notion of this passion. For this reason 'tis, he makes Othello swallow the very first bait laid by Jago for him. Cassio is found with Desdemona, and on Othello's approach, consciously retires, which tho' he did to avoid his Anger not Jealousie; yet Jago improves the opportunity to his purpose, with an—I like not that; then to awake the Moors Jealousie by degrees, he takes occasion from Cassio's departure to question him—did Cassio when you woo'd my Lady know of your Love? Which he pursues with half-words, and ambiguous Reflexions, that plainly imply more than they barely express, in which he discover'd, fear to speak out what he desir'd Othello shou'd know, the natural consequence of which is the touching a jealous Nature, with curiosity in a thing, that so nearly related to his Happiness. E'ry word rous'd some surmrize; and as Ovid ob­serves, cuncta [...] Amantes, Lovers fear any Appearance. But more of this hereafter. In the in the mean while I'm pretty confident, e'ry Mans own Sence will supply my defect of a par­ticular defence of the working up of Othello's pas­sion of Jealousie.

And now Sir, 'tis time to turn my Thoughts from a defence of Shakespear, to an excuse of my own Transgression, in addressing this Essay to you without asking your Leave. I'm not for asking pardon for an Offence, before I have committed it, and then I am willing if possible, [Page 118] to extenuate it from all its heightning Circum­stances; and Sir, I hope I have enough to say for my Self in committing this.

First, I knew your Nature so well, that tho' no Name, cou'd have given more Authority to my defence of Shakespear; yet wou'd you never have consented to the manner I thought my self oblig'd to treat his accuser in; for tho' he has had no regard to the public Friendship you have express'd for him; yet I know you have not re­sented the grosness of his public abuse of you, with indignation enough to permit me to deal with him in the same manner; for what was said of a great Lord, is fully as true of you, viz. that you are

for tho' there is nothing so strong and so cutting as your Satire; yet is there nothing [...]o easie and so affable as your Temper and Conversation. Par­don me, I will speak what I know of you, and let my Enemies make the best on't, whose Ma­lice I value not, if I can but prevail with you to forgive this boldness

An Essay at a Vindication of Love in Tragedies, against Rapin and Mr. Rymer.
Directed to Mr. DENNIS.

THE short yet just Account you give in your Prefatory Epistle to the Impartial Critic, of the Reasons that hindred the Gracians from bringing the tender Scenes of Love on the Stage in their Tragedies, makes me wish you had pro­ceeded to a full Vindication of the Practice of our Poets in that particular; and indeed this Letter is design'd to provoke you to such an Un­dertaking, which wou'd effectually stop the [...]lamours of some Cynical Critics, that will not [Page 146] allow any thoughts of Love agreeable to the Majesty of Tragedy.

The chief Arguments indeed which these Gen­tlemen bring, are from the Practice of the An­cients, (the cause of which, you have given in the above quoted Epistle) whose Authority they are of opinion shou'd out-weigh Reason. But since the Ipse dixit has been so long laid aside in Philosophy, as an enemy to our Enquiries in­to Nature, I can see no reason why it shou'd be of so much greater force in Poetry; since 'tis perhaps almost as prejudicial to our imitation of Nature in This, as to our discovery of it in the Other. As far as the Ancients and the Rules Aristotle draws from them, agree with the Cha­racter you give these, of being nothing but good sense and Nature reduc'd to Method, I shall close with them; but when they either deviate from this, or reach not up to what may be done, I must think it but just to withdraw my self from the subjection of the Stagyrite, who has had a Reign long e­nough o'er the Minds of Mankind, and an Em­pire that far exceeded the Extent and Continu­ance of his Royal Pupil Alexander.

But to deal fairly with our Opponents, I shall first propose all their Objections against this Opinion I Defend, as I find them in Rapin, and his Copier, Mr. Rymer; and then examine how far they are from being fortified by Reason, as their Admirers boast. I shall begin with Rapin; and that he may be sure to have Justice, I shall Quote him as his Friend has Translated him. Re­flect. 20. p. 110.

[Page 147] Modern Tragedy turns on other Principles: the Genius of our (the French) Nation is not Strong enough to sustain an Action on the Theatre, by moving only Terror and Pity. These are Machines that will not play as they ought, but by great Thoughts and noble Expressions, of which we are not indeed al­together so capable as the Greeks. Perhaps our Nation which is naturally Gallant, has been oblig'd to the necessi­ty of our Character, to frame for our selves a new Sy­stem of Tragedy, to suit with our humor. The Greeks, who were Popular Estates, and who hated Monarchy, took delight in their Spectacles, to see Kings Hum­bled, and high Fortunes cast down, because their Ex­altation griev'd them. The English, our Neigh­bours, love Blood in their Sports, by the quality of their Temperament. These are Insularies sep [...]rated from the rest of Men; we are more Humane. Gal­lantry moreover agrees with our Manners; and our Poets believ'd that they cou'd not succeed on the Theatre, but by sweet and tender Sentiments; in which perhaps they had some Reason: For in effect, the Passions represented become Deform'd and Insipid, unless they are founded on Sentiments conformable to those of the Spectator. 'Tis this obliges our Poets to stand up so strongly for the Privilege of Gallantry on the Thea­tre, and to bend all their Subjects to Love and Ten­derness; the rather to please the Women, who have [...]ade themselves Judges of these Divertisements, and [...]surped the Right to pass Sentence. And some besides have suffer'd themselves to be prepossess'd, and led by the Spaniards, who make all their Cavaliers Amo­rous. [Page 148] 'Tis by them that Tragedy began to degenerate; and we by little and little accustom'd to see Heroes on the Theatre smitten with another Love than that of Glory; and that by degrees, all the Great Men of Antiquity have lost their Characters in our Hands. 'Tis likewise perhaps by this Gallantry that our Age wou'd devise a Colour to excuse the feebleness of our Wit, not being able always to sustain the same Acti­ons by the greatness of Words and Thoughts.

However it be, (for I am not hardy enough to declare my self against the Public) 'tis to degrade Tragedy from that Majesty, which is proper to it, to mingle it in Love, which is of a Character always light, and little suitable to that Gravity of which Tragedy makes Profession. * Hence is proceeds, that these Tragedies mixt with Gallantries, never make such admirable Impressions on the Spirit, as did those of Sophocles and Euripides; for all the Bowels were mov'd by the great Objects of Terror and Pity, which They propos'd. ' [...]is likewise for this that the Reputation of our Modern Tragedies so soon Decays, and yields but small Delight at two Years end; whereas the Greek please yet to those that have a good Taste, after two Thousand Years; because what is not grave and serious on the Theatre, tho it give Delight at present, after a short time grows Distasteful and Unpleasant; and because what is not proper for great Thoughts and great Figures in Tra­gedy, cannot support it self. The Ancients who per­ceiv'd this, did not Interweave their Gallantry and Love, save in Comedy. * For Love is of a Cha­racter that always degenerates from that Heroic A [...] [Page 149] of which Tragedy must never divest it self. And nothing to me shews so mean and senseless, as for one to amuse himself with whining about frivolous Kind­nesses, when he may be admirable by great and noble Thoughts, and sublime Expressions. * But I dare not presume so far on my own Capacity and Credit, to oppose my self of my own Head, against a Usage so Establish'd. I must be content modestly to propose my Doubts, and that may serve to exercise the Wits, in an Age that only wants Matter. But to end this Reflection with a touch of Christianism, I am per­swaded, that the Innocence of the Theatre might be better preserv'd, according to the Idea of the ancient Tragedy; because the New is become too Essemi­nate, by the Softness of later Ages; and the Prince de Conti, who signaliz'd his Zeal against the Mo­dern Tragedy, by his Treatise on that Subject, wou'd without doubt, have allow'd the Ancient, because that has nothing that may seem Dangerous.

Then for Mr. Rymer, in his jovial way of Criticism, he condemns Love on the Stage in these Words, brought in indeed by Head and Shoulders.

After all, it is to be observ'd how much that Wild-Goose Chase of Romance runs still in their Heads some Scenes of Love must ev'ry where be shuffled in, tho never so Unseasonable.

The Graecians were for Love and Music, as mad as any Monsieur of them all, yet their Music kept within Bounds, attempted no Metamorphosis to turn the Dramma into an Opera: Nor did their Love come Whining on the Stage to Esseminate the Ma­jesty [Page 150] of Tragedy. It was not any Love for Briseis, that made Achilles so Wroth, it was the Affront in taking his Booty from him, in the Face of the Confederate Army. This his Stomach could not Digest.

These are the Pillars and Supports of the Gen­tlemen of this Opinion; so that I hope, if I can but obviate these Objections they bring, I have gained the End propos'd to my self in the Justi­fication of the Practice of the best of our Poets, in presenting us with the tenderest Scenes of Love in Tragedies. 'Tis true, the Charge of both these Critics, is directed against the French Poets, but in the excluding Love, as derogatory to the Majesty of Tragedy, it reaches our Poets, who do the same. I have Quoted Rapin at large, because one part of the Reflection seems to an­swer the other to my Hand; for the ground of his Accusation is the deviating from the Practice of the Ancients; for which he gives so good Reasons, that 'twould have been a madness not to have form'd a new System, since the Genius, the Character, Humour and Manners of the Peo­ple, required as much. He says, that, In effect the Passions represented become deform'd and insipid, unless they are founded on Sentiments conformable to those of the Spectator. But before I proceed to any particular Reply, I shall draw the Objecti­ons [Page 151] both contain, into short and positive Heads, to make their Confutation the more Evident.

The whole Charge therefore, may be reduc'd to these three Heads, the 1. Motives the Mo­derns (particularly the French) had to Intro­duce Love into Tragedy. 2. The Objections against it: And, 3. The Effects of it. First, As to the Motives, Rapin tells us, they were the Necessity of the Character, Manners, and Temperament of the People, (which, without doubt, was the Poet's Duty to regard.) Next, to gratify the Women Judges, (which is the Poet's Duty as a Man, both in Regard of his Profit and Sex, especially when the Interest and [...]ow­er of the Women strike in with the Character, Manners, and Temperament of the People.) Lastly, To excuse the Feebleness of their own Wit. These are the Motives Rapin sums up of this Innovation on the Stage; which, as I have before observed, are a sufficient Justification of it, even according to himself: But for the last, 'tis only a morose Caprice of his own Fancy, for certainly there is as much Wit required to the Just, and artificial Management of the Passion of Love; as those of Fear and Terror, and those other Species of Passions that are subser­vient to the moving of them.

I shall therefore pass to the Objections, which are four in Number, the First and Chief (in some Mens Opinion) is, That it deviates from the Practice of the Ancients; who, as the In­ventors of Tragedy, challenge our Imitation. [Page 152] 'Tis they must be our Model, and as we make more or less Approaches to that in the Fabrics of our Plays, we are in a greater or lesser De­gree of Perfection. I grant indeed, that the Ancients were the Inventors of Tragedy; nay, and of Comedy too; 'tis their due Glory. Nor will I pretend to rob 'em of it. I will also grant, that there is some Regard to be had to their Performances, as to their Model; but then I deny that by the Rules of Reason, we are oblig'd to a servile Observation of their Precepts, or Practice, without all Addition, or Improvement. Had the Practice of the First Inventors been of such Inviolable Authority, Thespis had brought Tragedy to its Perfection, and one Actor, and a deal of Chorus (more ridiculous than an en­tire Opera) had been the non plus ultra of the Stage. But if it were lawful for Aeschylus, Eu­ripides, Sophocles and others, to improve upon the Model Thespis had left them, why should other Poets, great as those in Genius, be depri­ved of the same Liberty, provided it be for the Advancement of the Profit, and Glory of Tragedy? Upon this Condition I do suppose, none will deny the Moderns this Liberty to for­sake the Steps of the Greeks. But that our Alte­rations are for the better, will appear from the After-proofs, as well as from what I shall here say on this Particular.

First, Then 'tis evident from what you, Sir, have urged in the Impartial Critic, That the leaving off the Chorus is for the better, since it [Page 153] frees it from an unnatural Part, which took up so large a Share of the ancient Tragedies; and in that, delivers it from the absurdest Improba­bilities in Nature, which are as destructive to the End of Tragedy as any thing that can be introduced. Next, it has enlarged the Bottom on which the ancient Tragedy stood, and by Consequence extended its Use and Advantage further. It has made it a more perfect Image of Humane Life, in taking in that which has so great a Share in it, LOVE; which whether it be derogatory to the supposed Majesty of Trage­dy, I shall next examine; if not, my Assertion is evident.

This indeed is the next Objection of our Ad­versaries, who tell us, That the Lightness of Love degrades the Majesty and Gravity of Tragedy, diverting it from Great, and Noble Thoughts, and Sublime Expressions, to whi­ning about frivolous Kindnesses. This I confess is the heaviest Charge in Reality, if true, and there­fore I shall take the greatest Pains to remove it; for if Love be not guilty of this, 'tis evidently an Improvement, and therefore to be continued in that Possession of the Stage, it has gain'd with so universal an Approbation.

All the Arguments I shall bring to prove that it is not derogatory to the Majesty of Tragedy shall be drawn from—the Consideration of their Beloved Ancients; the very Meaning of the Word Majesty; and the Nature of the Passion of Love, and its Place in Regard to the others.

[Page 154] First, 'Tis evident from the very Concessions of Rapin, the Agreement of all Critics, and the very Nature of the Thing, That Tragedy is not of greater Majesty, and Dignity, than an Epic Poem. In his Fourth General Reflection, he tells us, That from Homer's Epic Poems, Sophocles and Euripides took the Haughty Air of the Theatre, and Idea's of Tragedy; and begins the second Particular Reflection thus: The Epic Poem is that which is the Greatest, and most Noble in Poesie. To prove which he spends all that Reflection, and the magnifying of it takes up the Third and Fourth, and at the End of the Tenth particular Reflection he tells us, That All ought to be Majestic in an Heroic Po­em. This also seems to be confess'd by Mr. Rymer, when he, speaking of Love's effeminating the Majesty of Tragedy, Instances an Heroic Poem, viz. the Iliads of Homer, foreseeing perhaps that that might be objected against his Assertion, which is still in full force notwith­standing his saying, That 'twas not the Love' of Achilles for Brifeis, that made him so wroth, but the Indignity received in the Face of the Confederate Army. But besides this Concession of our Op­posers (which is indeed Argument good enough ad Hominem) the very Nature of the thing proves the same. Hero's and Kings are the Sub­jects of both, and the principal Character of an Epic Poem, consists in the Narration (as Ra­pin truly observes) in which it is only opposed to Tragedy, which consists altogether in Action.

[Page 155] The Majesty of an Epic Poem being thus de­monstrated equal, if not superiour to that of Tragedy. If I can prove by the Practice of Homer and Virgil (the greatest of Heroic Poets) that they esteem'd not Love derogatory to the Majesty of their Poems, 'tis Proof-sufficient that it cannot degrade the Majesty of Tragedy, which is not greater than the other.

But this is evident from the Iliads of Homer, and the Aeneids of Virgil. Homer in his Iliads makes Achilles and Agamemnon in Love, one with his Captive Briseis, the other with Chryseis: For Agamemnon tells Achilles and the Council of the Graecians, that he preferrs Chryseis to Clytemne­stra the Wife of his Youth; and that she is not inferiour to her in any of her Qualities or Beauties. He often calls her Beautiful Chryseis, and always speaks very feelingly when he men­tions her. And Achilles his Anger had not rose to that Degree, but that he was depriv'd of his Rosie-Cheek'd Briseis. Horace was of my Opi­nion, in his Second Epistle Book 1.

Which you very justly English thus,

For the Rise of Agamemnon's Passion is evident­ly from his Love to Chryseis, as he plainly con­fesses in his Expressions; and that of Achilles [Page 156] was not only exaggerated, but confirm'd by the same Loss of her he Lov'd. Ovid in his Amours, lib. 2. is of the same Mind.

And in other Places he has to the same pur­pose. Besides in the Third Book of the Ili­ads, when Hector proclaims the Challenge of Paris, to fight Menelaus in single Combat, the Condition is, that the Victor shou'd possess He­lena for his Wife. If this be not below the Ma­jesty of an Epic Poem, certainly the Nobler Scenes of Love cannot be below that of Tragedy. But the Case is yet plainer in Virgil, for the Fourth Book of his Aeneids, is wholly on the Intrigue of Aeneas and Dido, where that Divine Poet has given the finest Draught of that Passion that Antiquity can boast of. But if this Crimi­nal Passion of Dido and Aeneas, do not degrade the Majesty of an Epic Poem, can the same, or less Criminal, be below that of Tragedy? [...]his Book is not arraign'd by our Criticks for any Defect in this, and by others allow'd as noble a Piece as any of that Poet, so that Love is not such an Enemy to Noble Thoughts, but that 'tis consistent with them; nor to the Majesty of Expression, as this Fourth Book of Virgil evin­ces. Besides, we find in the Alcestes of Euripides, an Attempt of Love, and something of it in the [Page 157] Ajax of Sophocles; nay, 'tis the Foundation and Fable of the Phoedra of Euripides.

Thus we see the Enemy beat from one of their beloved Holds, the Authority and Practice of the Ancients. I shall now therefore, proceed to the very Meaning of the Word Majesty; by which we shall be able to discover how far it will con­tribute to the Confirmation of our Position.

To let alone the Grammatical Etymology of the Word, and take it in its Poetical Sence, where 'tis Metaphorically us'd, it means some­thing that is Great and Pompous. And Horace in the fourth Satyre of his First Book, means this Majesty we talk of, when he says,

So that Majesty, is nothing else but an Ele­vation of Thought, and Expression above the Com­mon and Vulgar Discourse. By this Explanation of it, it becomes intelligible, and we shall see, that the Critics wou'd only amuse us with Words. Now if they can prove by Reason, that the Thoughts and Expressions of Love in its several Effects and Emotions, cannot be ex­alted above the Vulgar, and Common Discourse, then is Love of too low a Character for Trage­dy. [Page 158] But if Love be not incapable of this Ele­vation, then is our Point gain'd in this Parti­cular too, which will be evinc'd from the next Proof, drawn from the Nature of the Passion of Love, and its Place in regard to the others.

A Passion is more or less Majestic, (and by Consequence, more or less fit for Tragedy) in regard either of the Rank or Degrees of the Passions, of the Sentiments it inspires, the Effects it causes, the Actions that depend upon it, or in sine, the Influence it has on the Life of Mankind.

If the First, 'tis evident that Love has much the Preheminence above Terror and Pity. Des Cartes reduces all the Passions to Six principal Heads, Admiration, Love, Desire, (or rather Concupiscence, Joy and Grief.) Dr. Moor reduces them to Three Heads only, Admiration, Love and Hate. The first of which being plac'd in the Brain, and being but the Step to the other, he with the School-men reduces them yet to Two, the Concupiscible and the Irascible; which Des Cartes terms in other Words, properly Love and Hate. So that we see Love on all Hands, appears to be a Primitive Passion, out of several Degrees of which, and its Opposite, are the rest compounded and deriv'd. Fear or Terror is deriv'd from Desire, Desire from Love, Com­miseration is deriv'd from Grief, Grief from Hate; and is compounded of Love and Grief. So that if we respect the Degrees of the Pas­sions, Love is the more Excellent, as being a Primitive Passion; but Fear and Pity, only un­der-Species [Page 159] and Derivatives from it: So that in Nature, Love is more Noble than those. Let us therefore proceed to the Sentiments i [...] inspires, &c. By Sentiments I mean the Thought [...] that a Lover derives from the Passion he's pos­sess'd with. But these are so different, that we must run through the several Conditions of Lovers to make any Judgment of 'em: For those Thoughts that proceed from Anger, Fear, Jen­lousie, Hope, Despair; nay, and Hate, with the rest of the Passions, are to be look't for in a Lover, according to his several Circumstances. But take him in his most easie and tranquil Sta­tion, when tendrest Desires are fann'd with sure Success, his Thoughts are more or less elevated, according to the State and Degree of the Per­son that's affected. Those of a Shepherd might be too low, those of a Beau too Gay and Light, but those of a Hero must retain something of his Character, and must be Noble as the Object that inspires, or the Person that receives the In­spiration. The Two First indeed may be below the Dignity of Tragedy, but the latter can no more derogate from that, than from the Cha­racter of the Person. But supposing the most tender and the softest Scenes of a Hero's Love are not Majestic enough for Tragedy; yet must they be Granted as lofty as those of his Griefs; and in the latter, Horace will have the descending from the haughty Air and Maje­sty of Tragedy, not only allowable, but abso­lutely necessary: De Arte Poetic [...]:

There is a time therefore when the Hero not only may, but ought to quit his Grandeur, in Horace's Judgment; and that is when he's in Di­stress and in Exile. And why is it less lawfull to depart from this Majesty (that is, supposing Love requires it) on the Account of the tendrest Hours of Love? This is more natural in my poor Opinion, than in the Case justified by Horace. For to Love, is natural to all Great Souls, and I think, as Noble and Essential to their Chara­cter, as any that make it up: But it may be doubted whether a Hero, that is, a Man of Invincible Courage, can suffer all his noble and towring Thoughts, all his Elation of Mind, to be so depress'd by Adversity, as to submit to sordid and mean Grief and Sorrow: This may be the Reason why some Critics have reflected on the Oedipus Coloneus of Sophocles, as too low and mean for the Dignity of a Hero furnish'd with Resolution, Courage and Virtue in his o­ther Play of him. 'Tis true, 'tis the general Frailty of Mankind to be dejected in Misfor­tunes; but Tragedy, as our Critics contend, shou'd be something better than the Life, some­thing more Philosophical, affording a Draught of what Man shou'd be: Now 'tis certain that Philosophy will not allow Fortune any Influ­ence on the Thoughts and Mind, at least so far as to make 'em degenerate.

[Page 161] Thus we see if Love were what our Adver­saries wou'd have it, yet is it as reasonable to be allow'd, as what their Masters hold necessary in Tragedy. But this is a Concession I am by no means oblig'd to make; for I am not of Opinion that there is any Necessity that the most tender Scenes of Love, shou'd be void of that [...]evation of Thought and Expression, that constitutes Majesty. or that they shou'd be de­liver'd in that Sermone pedestri, Horace judges so requisite to the Expression of Grief. This is evident from Virgil's Fourth Book, and the All for Love of Mr. Dryden: Both which abound with noble Thoughts and Language.

But the tender Scenes are the least Advantages Love brings to Tragedy. There are a great many beautifull Occasions offer'd to the Poet by it; from the Effects of it; the other Passions concerned in it, of Descriptions; &c. as we may find in all the best of our Plays, particularly in that admirable Piece of the best of Poets, which I mentioned but now, viz. All for Love. 'Tis the Love of Anthony and Cleopaira, that furnishes the Occasion of all the admirable Scenes of that Play: The same is to be said of the Fourth Book of Virgil's Aeneids.

To conclude this Point, it must be granted that Love in its Nature, must inspire Noble and more August. Thoughts or Sentiments, than Grief or Terror. For the Soul is more dilated, and exerts its noblest Faculties more in Love, than in Sor­row or Fear; which both contract the Soul and [Page 162] its Operations. Love pushes a Generous Mind on to Great Actions, to render it self more a­greeable and taking to the Object of his Desires than others. Whereas Grief and Fear are Op­posites to all that's Great and Noble. All the Steps to Love are Great, and much a-kin to that Glory Rapin will have the only Object of an Hero's Passion; for Admiration is the first Illu­strious Step by which a Man mounts to Love: And to acquire Admiration, a Man must perform something extraordinary: For 'tis not the Beau­ty or Manly Fabrick of the Body, that are sup­pos'd capable alone of making that Impression on an Heroine, (for such must the Mistress of a Hero be) 'tis his Acts that render him Admira­ble and Charming in her Eye. And indeed, common Experience will convince us, that a Per­son of Quality that has Signaliz'd himself by any Noble Deeds, shall gain the Fair much easier than a Son of the Earth unknown to Fame, and yet not born to Reputation. Love therefore, being the Spur to Noble Actions, cannot but inspire Noble Thoughts or Sentiments, and No­ble Thoughts being agreeable to the Majesty of Tragedy, Love in respect of the Sentiments it inspires, cannot derogate from that Majesty; which is the Second Proof I propos'd in De­fence of the Nobleness of this Passion. From whence I shall pass to the Third and Fourth, which have an immediate Dependance on these, and are pretty well cleared, by what I have produc'd toward the latter end of this Second Particular.

[Page 163] In the next Place, Love is either opposite, or agreeable to the Majesty of Tragedy, by its Effects, or Actions that depend upon it. If the Noblest Actions, and the most Tragical Events be agreeable to the Majesty of Tragedy, the Effects of Love are. Witness the Performances of the Hero's in some of the best of our Modern Plays; and the Catastrophe's of many that de­pend on the Effects of Love, as that of the in­imitable, and so often mention'd All for Love, &c. Besides, 'tis already prov'd, that Love provokes to Noble Actions, in the foregoing Paragraph; and Noble Actions are properly dignify'd for Tragedy; therefore the Actions that depend on Love, are not derogatory to the Majesty of Tragedy. Nor do the other Effects of it afford [...] less Noble Subject for the Poet, the many Passions that depend on them, the Jealousies, the Revenge, the Anger, the Contests of Desire, of Hope and Despair, &c. give unexpressible Beauty to any Poem: There is nothing so fine and moving, as the curious touching of the Passions, for those are the Engines that are to work the Effect of Tragedy, in producing Ter­ror and Compassion. The Distractions and Dis­asters of those who are Sacrific'd by Love, are of a more general concern than those that are made miserable by Ambition, or other Villainiest and this brings us to the Last Test that is to try whether Love be such an Enemy to the Majesty of Tragedy, viz. The Influence it has on the Life of Mankind. And here I believe Rapin places the [Page 164] chief Distinction betwixt Majesty, and the Light­ness of Love. For he supposes the Influence Love has on Mankind, is of that light Nature, that it can produce nothing but soft whining about trifling Kindnesses; whereas Ambition, which is a Love of Glory, furnishes the Poet with Inci­dents as well as Thoughts, that are Noble and Surprizing; which, with the Augustness of ex­pression, compose what he understands by Ma­jesty. But 'tis evident from what has been said, and Experience, that there are as many Noble Actions, as many extraordinary Events, and as many surprizing Thoughts, the Effects of Love of Woman, as of the Love of Glory, both which are the Ingredients that Virgil, and Homer, and the other Great Poets of Antiquity compos'd their Hero's of. Achilles had his Briseis, his [...], &c. Pyrrbus his Hermione, [...] his Omphale, Megara, Dei [...], &c. [...] his Te [...]messa, [...] his He [...], H [...]r his A [...]che, [...] his C [...]a, Dido and L [...]. And none of the Hero [...] Rac [...] wounded the God­dess of Love but Di [...]s [...] So Heroical a Passion is the Love of Woman, that I must think it [...] Majestical, as that of Ambition and Glory. The Love of Paris gave Homer the Ground of hi [...] Poem, viz. the Trojan War, founded on the Rape of Helena, by her Trojan Admirer; which shews that the Influence it has on Mankind, i [...] very great, when it was so powerfull to prevai [...] with the Trojans to keep Helena for the Lov [...] Paris bore her, at the Expence of their Peac [...] [Page 165] and Safety. And Dr. Burnes in his Answer to Varillas, observes very truely against that Histo­rian, that Interest or Ambition, are not the only Motives of the Actions of Mankind, there is much to be attributed to the Passions, and of them, none more Violent and Sovereign, than this of Love. Tragedy t [...]erefore wou'd not be a per­fect Image of Humane Life, if it left so considera­ble a Share of it untouch'd, as Love Commands or Influences.

Having thus prov'd (as I think at least) that Love does not degrade the Majesty of Tragedy, and that it therefore ought not, for that, to be discarded by our Tragic Poets, I shall now prove by the very end and design of this Poem, that 'tis necessary to be preserv'd by them; and by consequence, that the Possession of the Stage the Moderns have given it, is an Improvement of Tragedy and not a Deroga­tion. The end of Tragedy is, as Rapin more than once assures us, the rectifying the Passions by the Passions themselves, in calming, by their Emotion, the Troubles they wou'd excite in the Heart. From hence 'tis evident, that unless Love betaken in, the most predominant and violent of Passions, Tragedy cannot perfect its Cure, since it must leave the most considerable Distemper (for so are all the Passions that are not regulated by Reason) without any Remedy. But in his 17^th. particular Reflection, where he mentions the [...]nd of Tragedy, he seems to contradict him­self, when he first says, Pride and Hardness of [Page 166] Heart, were the most important Fa [...]lts (not most important to be cur'd if not general, by so public a Cure) to be regulated, and yet a little after he tells us, that Man is naturally timorous and compassionate: Now he that is naturally compassionate, can never be accus'd of Hard­ness of Heart, with any Shew of Reason and Justice. But something must be said to reduce the end of Tragedy to their Notions; whereas 'tis indeed the regulating all the most important Passions and Vices of Mankind, which contri­bute to the Disturbance of his Peace and Hap­piness, and obstruct his Progress in Vertue. Now it must be granted that Love, as well as other Passions, when it has past the Boun­daries of Reason, becomes destructive to our Happiness and Vertue, and ought therefore as much to be Purg'd as Fear or Pity. In short, if the chief Aim of Tragedy be the moving of Terror and Compassion, 'tis evident, Love is ex­tremely conducive to that end, and therefore not ill made use of by our Poets.

The next Objection that is made against Love in our Tragedy, is, that it discovers a Weak­ness of Genius. For Rapin tells us that it dis­covers a Weakness of Genius not to be able to sustain an Action on the Theatre, with mo­ving Terror and Pity only. But he here sup­poses that Love does not contribute to the same end, as I have made evident already. He must be extremely out of Humor with the Moderns, else he wou'd never make this an Objection a­gainst [Page 167] their Strength of Geni [...]s, which is an Argument of their Judgment; for they evi­dently saw by the Performances of the Gr [...]s, that Terror and Pity, could not be mov'd always by the barren Repetition of the same Method to it: And it were to be wish'd that Sophocles and Euripides had been sensible of this, they wou'd then never have fail'd in keeping up the Dignity and Majesty of the Theatre, as they have in some of those few Plays we have of theirs. For we find a great Sterility in some of those Seven Plays of Sophocles, as to the Design and End of Tragedy, as well as Noble Thoughts. What Terror or Pity can P [...]iloctetes move, or where are the Great and Noble Thoughts to support it? Where is the Majesty of Oedi [...]s Coloneus, which Rapin himself grants to be low and degenerate? Nor can I discover the mighty Pity and Terror that can be mov'd by the bringing in a Madman on the Stage, and a company of dead Sheep about him. I'm sure 'twou'd make an Audi­ence here laugh. Nay, I must declare (nor am I troubl'd at what Use the Critics will make of it) I think his Master-piece out-done by Mr. Dryden in his All for Love, both in the Intrigue and Discovery; which are built on an abundant­ly more probable Foundation, and not one jot less surprizing and fine. Nor will I yield that the Thought and Expression of Sophocles at all excell our English.

The last Objection Rapin conjures up against Love, is, That it is opposite to the Reformation of the [Page 168] Stage. I can discover no such matter in any or at least in the best of our English Tragedies; and by Corneil's Discourse on his Theod [...]a, we find the French Theatre more Chast than the Pulpit. Nor can I discover any thing in ours that comes short of that Purity that becomes Ladies of the severest Honour to hear: I cannot say that for the Comedy of our Stage, which as to Tragedy I think needs no Reformation.

To pass therefore from the Objections against Love, to the prejudicial Effects, our Plays owe to it; I find them too in Number [...] 1. That it hinders those admirable Impressions those of the Ancients made on their Audience. 2. That it cau­ses the decay of a Tragedy's Reputation, in a Year or two.

The first he builds on a Fallacy, viz. The wonderful Impressions the Perseus and Andro­meda of Euripides had on the Abderites. This is not to be attributed to the Excellence either of the Poet or the People, who were so gross to think Democritus Mad, when in the most rea­sonable Employment of his Studies, the Dissecti­on of Animals: Besides, the true cause of this Success of these Poems, is not to be granted to the Excellence of the Poet, but the Distemper the People of that City were Infected with at that time, being all Poetically Mad. As a Wit­ness of the truth of this, hear the Account Coelius, lib. 3. Cap. 4. (as I find it Quoted) gives of it.

[Page 169] 'Tis reported, that the Abderites in the time of Lysimachus, were Infected with a new and strange kind of Distemper, the progress of which was in this manner: First of all, an extream violent burning Fever seiz'd them, and [...]ag'd through the whole Town; on the Seventh day, the Blood in great abun­dance, burst out at their Noses; and some of them were affected with violent Sweatings, after which the Fever ended; but still a very ridiculous Distemper possess'd all their Minds, they all ran Mad after Tragedies, thun­dring the Iambics about as loud as they could possi­bly bawl, but what they chiefly Sung, was the Andro­meda of Euripides, and the Words of Perseus. This strange and uncommon Madness diffus'd it self very far, till the Winter and the severe Cold com­ing on, put an end to this Evil.

Thus he:—And can there be any thing more unfair, and absurd, than this condemning our Plays, for not making such Impressions on the Audience as the Andromeda of Euripides did on the Abderites, who were Distracted with a Fever, that made them Ravish'd with any Poe­try; for we find, that it was not the Andromeda of Euripides only, but chiefly That they Reci­ted.

But were it true, that these Plays of the Anci­ents made these wondrous Impressions on People in their Wits, I'm sure it is not our Poets fault, that ours are less Efficacious; the Passions can­not be more finely touch'd than in All [...]or Love, and several other Plays of Mr. Dryden, Mr. Otway, &c. We must therefore attribute it to [Page 170] another Cause. The Audience, at least the Ma­jor part of it, was compos'd of People not ac­quainted with the dismal Catastrophe's of Prin­ces, which History now so abundantly furnishes us with, and so the uncommon Miseries of Prin­ces on their Stage, influenc'd them; as I have seen a Ballad of some Tragical Story, without any Poetry in it, draw Tears from some of the Female Mobb, and make the Male shake their Heads, and go very sorrowfully away. But our Audience that is generally compos'd of the bet­ter sort, are not so easily mov'd with these Events, they being made familiar to 'em by History and Observation; with these the nice touching of the Passions chiefly move; and I my self, dull as I am, have often experienced those effects in me, for which the Critics boast so much of the power of the Ancient Poets.

The other Effect is Ridiculous, viz. That it causes the decay of a Tradegy's Reputation in a Year or two. I know not indeed how far this may hold good against the French Poets; but I'm very sure 'tis evidently false as to our Plays. Witness all Mr. Drydens; the Orphan, and Venice Preserv'd, of Mr. Otway; Alexande [...] and Others, of Mr. Lee's; which are still in Esteem, after several Years, and e'ry day en­creasing their Reputation.

Finally, Since the Motives that are urg'd a [...] the cause of this Innovation, are either falsl [...] pretended, or sufficient to Justifie it; since th [...] Objections are invalid, and the Effects not [...] [Page 171] Defective as our Adversaries wou'd have them: We must conclude, that Love is an Improve­ment of the Old Dramma, and ought therefore to be Continu'd.

I desire you'll excuse the length of my Letter, and hereafter confirm what my Arguments have aim'd at, both by your Practice and better of your own; since you have both more leisure and better Penetration and Judgmeat, to secure so Noble a Cause against the frigid Opposers of it. Woman is a glorious part of the Creation, therefore I wou'd willingly see the Love of them Establish'd on as Noble a Foundation, as the Love of Glory, in the opinions of Men, which in Reality is so far more Excellent and Happy. 'Tis a Cause indeed, that deserves a greater Champion than my self; and, I hope, 'twill find one in you.

An ESSAY at a Vindication of the Love-Verses of Cowley and Wal­ler, &c. In Answer to the Preface of a Book Intituled, Letters and Uerses Amorous and Gallant.
Directed to Mr. CONGREVE.

AS in my two former Critical Discourses of this Book against Mr. Rymer's Short view of Tragedy, a Zeal for the Honour of my Country in its greatest Ornaments, her Poets, Engag'd me; so here I cannot help chal­lenging the same Pretence, since I can't suppose them deficient in Love, without derogating from the Justness of their Characters. But I must con­fess I have not the same hopes of Success in this; for there I had to do with an impotent Opiniator; but here with a Gentleman of a great deal of Wit and fine Sense. There I address'd to Par­ties already sensible of the Justice of my Cause; here to one who is prepossess'd of the contrary. But on the other hand I have the greater satis­faction here of being Worsted by one whose Wit can better defend an Error, than I the Truth; and I'm of Opinion, that 'tis a nobler Fate to fall by the Hand of an Hero, than Conquer a Dastard Pretender. And tho' my Prudence might [Page 210] be call'd in Question by this Attempt, yet my generous Ambition will merit a Magnis tamen excidit Ausis. One thing I must possess you of in my favour, that my unhappy Circumstances allow me not time to use all the Caution I ought, or search all the Reasons might be urg'd in this noble Cause; so that I am not only Viribus, but Opibus impar: However, I hope the Design will gain me the Opinion of a Good English Man, if my Performance shou'd not attain that of a good Critic, which will sufficiently compensate my trouble; for I shou'd be prouder to be thought a Zealot for the Glory as well as Interest of my Country, than the greatest Wit, and most Learn­ed Arguer.

I shall never deny the Ancients their just Praise of the Invention of Arts and Sciences; but I can­not without contradicting my own Reason, al­low them the Perfecters of 'em so far that they must be our uncontroverted Patterns and Stan­dard: For our Physicians have found the Pre­scripts of Hippocrates very Defective: And as in Physic, so in Poetry, there must be a regard had to the Clime, Nature, and Customs of the People; for the Habits of the Mind as well as those of the Body, are influenc'd by them; and Love with the other Passions vary in their Ef­fects as well as Causes, according to each Coun­try and Age; nay, according to the very Con­stitution of each Person affected. This makes me hope, that the Ingenious Author of the Let­ters and Verses Amorous and Gallant, guides him­self by a fallacious Rule, when he makes the An­cients the Standard of the Excellence of the Mo­derns [Page 211] (or indeed when by exalting those, he wholly deprives these of all Honour) in Love-Uerses. His Charge is reducible to these two Heads, viz. The Occasions and the Performances. He will have it, that the Occasions on which their Poems are written are sought out, and that none meet with 'em but themselves, whilst those of the Ancients are such as happen almost to e'ry Man in Love. Next, That the Verses of the Moderns, are fill'd with Thoughts that are indeed Surprizing and Glittering, but not Tender, Passionate, or Natural for e'ry Man in Love to think. This is the sum of his Charge against 'em; of which in the Order I've plac'd 'em. First, As for the Occasions; I can­not remember any Subject chosen by either Cowly or Waller, (for we've nothing to do here with Petrarch a Foreigner) that seems to be sought out, or unnatural for a Man in Love to choose; and if some of 'em do not happen to e'ry Man in Love, they are yet on an equal Bottom with the Ancients, many of whose Subjects or Occasi­ons, are far from happening to all Lovers, as none who can pretend to any knowledge of their Writings can deny. Corinna's Parrot dy'd, and Ovid writes its Funeral Elegy; but sure none will contend that this is an Accident common to all Ladies who have Lovers, and those Poets too. Catullus addresses one Copy of Verses to the very Sparrow of Lesbia, and in another deplores its Death. A great many Lovers may have Mistres­ses who never take a Voyage during their Amour, and yet Ovid has an Elegy ad Amicam Navigantem; and so may ten thousand true Lo­vers, especially such as are Poets, never venture on [Page 212] any other Billows, but the Frown of their Fair ones; and yet Propertius toss'd in another Storm, Writes to Cynthia upon it. And indeed to re­duce the Subjects or Occasions of Love-Uerses to any particular Standard, is highly Irrational, and must only be the effect of want of Conside­ration, for the various Circumstances and For­tunes of the Lovers must diversifie and alter the Occasions of writing to their Mistresses: So that there is no Occasion that is General, and that can reach all Men in Love, but the Cruelty of their Mistresses on their first Ad­dresses, (that is, their not immediate Compliance) for Jealousie is not Universal, or at least to ex­tend to the Beating of her a Man Loves; yet Ovid Writes ad Amicam quam verberaverat. I must confess, I can't see the least Reason why the Name and Gloves of a Mistress, with the Place of her Birth, are not as just Occasions to Write on as the Ring given to a Mistress, or her Parrot or Sparrow; or a great many more I might enu­merate out of the Ancients. A true Lover thinks e'ry thing that belongs to her he Loves, worthy his Thoughts; and the more our Modern Poets extend their Reflections beyond the Ancients in this, so much the greater Lovers they shew them­selves. But the Place of one's Mistress's Birth is not only worthy a Lover's Thoughts, but even an Universal Occasion, since no Lover but must meet with that Occurrence in whatever fair one he adores, among all the beauteous Daughters of Eve.

By what has been said, Sir, 'tis evident that our Moderns are not inferiour to the Ancients, [Page 213] in their Judgment in chusing Occasions on which they write to their Mistresses: Or, That this In­genious Gentleman has either through Want of Advertence, or out of Design expressed himself ambiguously, or at least not with that Clearness that is requisite to a conclusive Argument; which cannot be excused when the Honour and Merit of such great Men as Cowley and Waller is concerned; nay, the Honour of our Coun­try.

I come now to the Second Accusation, which is, that the Moderns fill their Verses with Thoughts surprising and glittering, but not natural for e'ry Man in Love to think. This lies under the same Fault as the other does, of being too general to be of any Force, it either condemns all that the Moderns have wrote, it casts off e'ry Thought in their Love-Verses as not tender and passio­nate, or does nothing at all, for it instances no particular. I'm confident the ingenious Gen­tleman will have so much Candor, as to con­fess that there are a great many very tender and soft Thoughts, and passionate Expressions in Cowley's Mistress, as in this one, that now oc­currs to my Mind: Then like some wealthy Island thou shalt lie, &c. but if there be some, nay, a great many tender, soft, and passionate thoughts in our Moderns, then is this general charge not at all conclusive against 'em. Besides, Thoughts na­tural to a Man in Love, is an obscure Expressi­on, it conveys no clear Idea of any thing to the Mind; or, what is fully as erroneous, it seems to level the Thoughts of all Mankind, but it cannot be doubted, but that in the very same [Page 214] Circumstances the Thoughts of different Men will be various, and more or less Excellent and Noble, as the Wit, Judgment, Fancy, and the other Qualities of the Mind of the Person af­fected, are more or less Excellent and perfect: And I am confident your ingenious Friend (whom I honour for his Wit, tho I differ from his Opi­nion) will allow me, That one of Mr. Cowley's Genius wou'd no more have the Thoughts of a Fop, a Beau, a Tinker, a Shepherd, or any other ignorant and unelevated Mechanic, in Love, than out of it. Again, Thoughts surprizing, and glittering without particular Instances of 'em, as they prove nothing, so can they not be well an­swer'd, for an Instance would have made us ap­prehend what he takes for surprizing and glitter­ing; but without that, or any Definition, we wander in the dark, and I can at best but only ghess at his meaning. If by Thoughts surprizing, and glittering he means extraordinary and uncom­mon, I'm apt to think he will allow them very natural to Mr. Cowley or Mr. Waller in any Cir­cumstance. A Man that is us'd to a good Habit of thinking, cannot be without extraordinary Thoughts, on what concerns him so near as the Heart of his Mistress. Lastly, As to far-fetch'd Similes, 'tis an Expression very obscure and ambi­guous; and I must acknowledge my self wholly to seek in his Meaning, if a Simile be just, and hold an exact Analogy to the thing 'tis applied to, and of the thing 'tis designed to heighten, I presume it cannot come into the Number of the far-fetch'd, and when-ever the Gentleman will please to instance in Particulars in either Cowley [Page 215] or Waller, I engage to fellow them with those that are full as faulty, even according to his own Definition, let that be what it will, (for I sup­pose it can't be much amiss from so accurate a Pen.) And till then I may supersede any particu­lar Defence in this. Besides, 'tis not to be sup­posed, that the Verses written by Lovers are the Extempore Result of a sudden Gust of Passion, like the Inspirations of the Delphic Prophetess; for I'm confident he'll agree with me that the Excuse of Love will not free a Poet, that lets them pass so from the Censure of Boileau

A Poetizing Lover, must be allow'd not to be ab­solutely out of his Wits, and that 'tis possible for him to study, and consider what he says in so solemn a Manner to his Mistress.

After this bold Assertion without Proof, he advances to examine which are in the right, the Ancients or the Moderns; the Rule of our Judg­ment in this, he justly makes the End the Poet aims at, viz. The obtaining the Love of his Mi­stress, tho I cannot see why he should suppose that contrary to, or inconsistent with getting Fame and Admiration, since Admiration is a certain Step to Love. When I read Mr. Dryden's Works, I cannot help Loving him. If I should not love and respect him and any other Poet that thinks well, and expresses his Thoughts nobly, I should sin against my Reason. Ovid urges his Fame and Reputation as a Motive for his Mi­stress's Love, and if that can move a Man of Sense, why should we think the Effect wou'd [Page 216] not be the same on a Woman of Sense, and Ge­nerosity? And indeed, in e'ry one but an abso­lute dull, insipid Fool, which no Lover can think his Mistress.

The End of Love-Verses being the gaining the fair ones Heart, he proceeds to the best means of obtaining that End, viz. The convin­cing her that you love her. I must deny this As­sertion too, for tho Love in the Severity of Ju­stice require Love; yet is that an Argument that ought not always to prevail, since 'tis a Plea that's common to a great many, for so the fair one ought to surrender to 'em all; a Liberty no Lover would willingly allow his Mistriss on any Consideration whatever. But how often does Experience tell us, that this best Way fails? Or indeed, how seldom does it hit? Admiration is the only just, and unquestioneable Parent of Love; for the Senses or the Mind must be first won with some Perfection, either real or imaginary. What­ever therefore can ravish Fame from the envious censorious World, may justly be suppos'd able to give Admiration to a Mistress. Nor is this in­consistent with the true and lively Representation of the Pains, and Thoughts attending the Passion of Love; for sure the Advantage of Art in Poems cannot destroy the End which is not to be ob­tain'd in Painting without it, viz. a lively Repre­sentation of Nature. Similes, [...]ne Thoughts, and shining Points, if they be just, and good, must cer­tainly give a greater Idea of any Pain, than a bare and unpolished Rhime, without Beauty or Grace. This gives us a weak, a faint, an unmo­ving Vi [...]w of the Pain; That sets it close to us, [Page 217] magnifies and enlarges it: This gives it you as the reverse end of a Prospective Glass does Objects, That as the right end of it; so that if a Repre­sentation of our Pain be the Path to Success, Art will be no ill Help and guide in it; unless we'll suppose that our Mistress would be more sensibly touched with a Grubstreet Ballad, than a Copy of Verses by a Cowley or a Waller. But indeed, the Pain a Lover feels cannot be truely, and with Life represented without Similes, as is evident from the very Nature of the Mind, when in [...]ain: For 'tis an universal Measure of our Judgment of things to compare them with something else; and the Mind in expressing its Pains endeavours to make it known in its full Greatness: to give therefore the greater Image of it, it generally seeks out something by a Comparison of which it hopes to obtain that End; Comparison being the only Distinction of Degrees of things. This makes it narrowly in these Circumstances, regard and observe that Train of Ideas that continually pass before it, to call out such as are most proper for its pur­pose: For 'tis evident, (as Mr. Lock remarks) to any one that will but observe what passes in his own Mind, that there is a Train of Ideas constantly suc­ceeding one another in his Understanding, as long as he's awake. An Assertion therefore of an In­genious Friend of mine, to the Prejudice of the Moderns, against Similes in the Expression of the Passions of Love and Grief, is contrary to the very Nature of the Mind. For let any Man endeavour to retain any particular Idea firmly and without Alteration, he will sind it not in his Power to do it any considerable time, [Page 218] such a necessary Succession and Variation of Ideas (the Origin of Similes) is there in the human Mind. But because 'tis said that 'tis the nature of Grief to confine the Soul, straiten the Imagination, and extremely lessen the Number of its Objects, I shall only oppose the Assertion of this Gentleman (whom I have al­ways allow'd a Man of great Wit and Sense) with an Observation of Mr. Le Clerk, (whom I'm sure no Man that knows his Works, will deny to be one of the best Philosophers of the Age) in the 6th. Chapter of his Ontologie and the 4th. Paragraph, he has to this purpose—‘This be­ing so, we observe that the time seems short to those who spend it in Mirth, or any Em­ployment they perform with Pleasure and De­sire; but on the contrary, Tedious and Irk­some to the Unfortunate, and those that are in Pain, or to those that are against their Wills, oblig'd to some troublesome Business. For we keep the Idea that is Gratefull and Pleasant to us, as long without Variation as we are able, and thus by the viewing of the fewer Ideas, the time we spend in Pleasure and Content, seems the shorter; whilst on the contrary, our Minds endeavour to drive away a troublesome Idea, and strive to substitute some others in its room; Turning, Winding, Changing, Adding and Diminishing it, as the uncasie inquietude Prompts. Thus the time seems longer than it wou'd do else, by that vast and numerous Train of Ideas, which, as I may say, shew themselves en passant to the Mind, with an incredible Rapidity and Swift­ness.’ From this just and rational Observation [Page 219] of Mr. Le Clerk 'tis evident, That Similes are not so unnatural in expression of Grief or Pain, as some Ingenious Gentlemen contend: For the Mind (especially that which is us'd to an Expres­sion of its self in Allegory and Similes) will easily in this Number of Ideas, meet with some that will answer the End, the Mind is born to with so much Impatience and Desire: For 'tis here also evident, That Grief multiplies nor lessens the Number of the Objects of the Mind.

From what has been said 'twill appear, That Similes cannot be an unnatural Expression of this Passion, or any Effects of it. I shall therefore proceed to those few particular Instances the Au­thor of the Preface gives, by which he draws a short Parallel betwixt the Ancients and the Mo­derns. I am pleas'd, says he, with Tibullus, when he says, he cou'd live in a Desart with his Mistress, where never any Humane Foot-steps appear'd, because I doubt not but he really thinks what he says: But I confess, I can hardly forbear Laughing, when Pe­trarch tells us he cou'd live without any other Sust [...] ­nance than his Mistresses Looks. I confess, I must ev'n here dissent from him too; for if you go to the Rigor or Severity of the Reason of both Expressions, they are equally impossible, and in Impossibilities as well as Infinites, there are no Degrees. For I can see no greater Probability of Living in a Desart where there were no Hu­mane Foot-steps, than on the Looks of a Mistress only; unless like [...], he wou'd feed on the Leaves of the Trees, and Grass of the Ground if there were any; which is not very kind to hope his Mistress wou'd comply with. But sup­posing [Page 220] it impossible, is there any Necessity of a Lovers saying nothing that exceeds the Bounds of Possibility? especially in Poetry, where Hy­perbole's are justifiable almost to Extravagance. That certainly wou'd be most unnatural of all, for the Thoughts of a Man really in Love, are naturally Extravagant ev'n to Impossibilities; tho poss [...] quia posse videntur. The very Definition of this Passion in Ethics, shews it violent and ex­orbitant. But we may in favour of Petrarch and Mr. Cowley, (who make use of the same Thought) say that they mean the Dyet of their Love, is a Look of their Mistress.

I must confess, I'm extremely surpriz'd to find your Ingenious Friend an Advocate for that which wou'd make all the Sir Courtly's Compositions of the Nation, the Standard of good Verses; when he himself is really so well qualify'd to write like Cowley and Waller, and has by his own Practice in those Verses that are Publish'd, better confu­ted his Preface, than all I can pretend to say.

TO THE HONOURABLE GEORGE GRANVIL Esq
An Essay at a parallel betwixt Philoso­phy, and the Love of Women.

THo' I confess Horace has generally a very just Apprehension of Things, yet can I never a­gree with him in his notions of Happiness. Lib. 1. Epist. 6.

for 'tis certain, that Happiness consists in Pleasure, but there can be no Pleasure, without a Gentle and agreeable Emotion of the Passion of Admiration, the Ground of Love and Joy, out of which all Pleasure is compos'd. As an instance of this Truth, it must be granted, that as Uirtue is the chief Basis of Humane Happiness, so 'twill never be embrac'd by any Man, that does not admire [Page 126] and esteem its Excellence. And in the same man­ner, the other parts of Philosophy lead us to Plea­sure, by Admiration. For what pleasure is there in Physics, which proceed not from that a­greable Wonder given us, by the strange and sur­prizing Variety, and force, we find in the Na­ture of corporeal Things? Wh [...] Pleasure does Metaphysics afford, that is not built on our Esteem? (and Esteem is the only part of Admiration that contributes to Pleasure, for there's a Pain attends despising, which is the other Division of it,) what P [...]easure I say have we in this study, but what is built on our Esteem of the valuable Certainty it furnishes us with in what ever it proposes? For there is nothing more sure than Abstract Ideas, the subject of Ontology or Metaplysies. Again in Pneu­matology, does not the Contemplation of the Pu­rer, and Superior Beings, to the very Supream, and first cause of all that Exists, fill our Souls with excessive and amazing Delight and Wonder? Lastly, what Pleasure is there in Woman, that soft summary of Man's Happiness, which derives not its self from Admiration? Admiration, there­fore is so far from being an Enemy to, t [...]t it is the very foundation of our Happiness, whether we consider it in the Direction, or Aim and End of our Life, that is in Philosophy or Woman.

Some Sir, may perhaps think I have made a very strange mixture, in joyning Philosophy and Woman; tho' I'm confident, so much Wit, Youth, and all those other Accomplishments of a fine Gentleman, that render you the darling [Page 127] of both Sexes, will not let you think I have de­graded Philosophy in it, which will appear from a short parallel drawn betwixt them.

Philosophy is either employed in the Consi­deration of Bodys, as in Physics [...] of Beings in ge­neral, or Abstract Ideas, as in Metaphysics or Onto­logy; or of Pur [...] and Immaterial Essences, as the Souls, Angels, God, as in Pneumatology, or lastly of Uirtue as in Ethics.

First, the Business of Physics is extreamly un­ [...]ertain, for there the Mind is employed about [...]ery Obscure Ideas; and though some of our Ex­ [...]eriments, often present us with certain Effects, [...]et does it not always discover the absolute cer­ [...]inty of the Cause, nor shall we ever be able to pe­ [...]etrate into the inmost Nature, or all the qualitys of Matter, and till then we must be in the dark, [...] to the true Causes; so that Physic's put us up­ [...]n the chase of what we have very little proba­ [...]ility of obtaining. On the other Hand, the [...]ove of Woman is more certain in obtaining [...] well as more noble in its End, viz. a perfect [...]njoyment of, and a close Union with the Ob­ [...]ct desir'd, the effect of which ends not with [...]em, but is perpetuated by their Off-Spring, who [...]e a part of 'em, the admirable and certain Ef­ [...]ct, of a known Charming, and Generous [...]ause.

[Page 128] Secondly, Metaphysics amuses us with meer Ab­stract Ideas, whilst the Love of Woman, put [...] us in a sensible Possession of a Real, not Ideal Ab­stract of all the Beautys and Perfections of every Being on this side of the Eternal. The Contem­plation of whom, with the Created Spirits makes up Pneumatology; but we wander in too uncertain a Path, in our Contemplation of these latter, to arrive at satisfaction; for Fancy there directs ou [...] steps more, than Judgment built on Right Reason, and Evidence. And therefore that part canno [...] be comparable to that of the Love of Wo­man, which gives us by the most prevailing way, the Senses, a proof of the Existence of Spi­rits, if not distinct f [...]om, yet of a purer Make [...] than even the refin'd Body of Woman; for wha [...] Lover is there that does not feel, perfectly see [...] some unseen Spirits da [...]ted from the bright Eyes o [...] the fair one he adores, which have a sensible in­fluence on him, tho' he touch her not; and thes [...] are Spirits that chear, not shock our Natures, a [...] those other Fantoms do.

Then for the Contemplation of the Supream Being, the best Philosophers form an Idea o [...] him by his W [...]ndrous Works, of which what ca [...] give a fairer I [...]ge of him, than Woman, the most Beautiful, Good, and Compassionate being of the Universe? Which made St. Austin compar [...] God to a fine Woman viewing her own Perfection in a Glass. 'Tis true that the Admirable Order and Oeconomy of the Coelestial Bodys, their Glory [Page 129] and Light discover apparent Foot steps of the Eternal Mind: these shew us a powerful and a wise Being, but nothing has a share of his best attri­bute of Goodness, but the best part of Man, Wo­man, his own Image. Besides, the Confiderati­on of the Universe is as I may say a voluminous Introduction to the Contemplation of that Being: we are forc'd there to run through objects distinct, and various in their Forms and Beauty, as well as vastly distant in their situation, which all contri­butes to the Confusion and Imperfection of the Image they present of the Power and Wisdom of God; and the Administration of Humane Affairs is a too tedious, as well as a too controverted ar­gument of his Goodness. But Woman gives us at once a Beautiful and more Compendious prospect of his Power, Wisdom and Goodness; for as Pliny says, never are the works of Nature so admirable as in small things, and Woman is the Minature draught of all his Attributes that are communicable to his Creatures; for in one fine Woman we may read the legible Characters of an Almighty Hand. From whom also had I time and room, I cou'd draw the knowledge of the Moral Attributes of the first Cause.

Lastly, Ethics teach us the Rules and Prescripts of Virtue, to secure us from those Inquietudes, the Criminal and Vicious Experience: but this is on­ly subservient to, and prepares us for the enjoy­ment of Woman, in a more perfect Degree; for it contracts and calls home all our Wandring Wishes [Page 130] and our loose Desires, and directs them all to one Object, which like the Sun-beams contracted in­to a burning Glass, must be of far greater Force, and by consequence, give a greater and more exalted Relish of Delight, than when scatter'd and dissipated.

Ethics only informs the Mind with a bare knowledge of Vertue, without having power to influence us to the embracing of it, for there are a great many that with Medea in Ovid may say,

but Woman can effect what Philosophy is impo­tent in; for whilst that proposes the meer unac­tive Theory, the Love of Woman reduces it to Practice, for when that is necessary to please her a Man loves, all the Facultys of the Soul u­nite to effect the noble Work.

'Tis methinks such an Arraignment of the first Cause to run down that Sex, which Heaven has made choice of to impart to so large a share, in gi­ving Immortality to Humane Race by the propa­gation of our kind, that they deserve not to taste that Pleasure that is join'd to so mighty a work. The greatest Pleasure in the noblest Act, with the di­ [...]est of Creatures Woman.

[Page 131] But whether Philosophy or Woman have the right of Precedence, 'tis certain they both afford us a Noble and agreeable Pleasure, without one or both, of which we can never be truly happy. But yet by the Nil admirari of Horace, they are thrown aside; for the cutting off Admiration, deprives us of all Pleasure in either, that in both being built on Admiration. And indeed, this passage seems to aim at a Stupid, and Pyrr [...]onian Indifference, or Indisturbance and Insensibility, which can no more be arriv'd at, than 'tis to be desir'd.

But perhaps I mistake the sense of Horace, who it may be is only against that variable and waver­ing Admiration, that is the Mother of Ten Thousand fruitless Inquietudes and Troubles, by generating too numerous a Progeny of restless Desires for ev'ry object that presents it self. This I confess is so far an Enemy to Happiness, as 'tis to Constancy and Resolution its safe guard, and which are so eminently conspicuous in you.