principal employment of the poet; as being the largest field of fancy, which is the principal quality required in him: for so much the word onTýs implies. Judgment, indeed, is necessary in him; but 'tis fancy that gives the life-touches, and the secret graces to it; especially in serious plays, which depend not much on observation. For, to write humour in comedy (which is the theft of poets from mankind), little of fancy is required; the poet observes only what is ridiculous and pleasant folly, and by judging exactly what is so, he pleases in the representation of it.

But in general, the employment of a poet is like that of a curious gunsmith, or watchmaker: the iron or silver is not his own; but they are the least part of that which gives the value: the price lies wholly in the workmanship. And he who works dully on a story, without moving laughter in a comedy, or raising concernment in a serious play, is no more to be accounted a good poet, than a gunsmith of the Minories is to be compared with the best workman of the town.

But I have said more of this than I intended; and more, perhaps, than I needed to have done: I shall but laugh at them hereafter, who accuse me with so little reason; and withal contemn their dulness, who, if they could ruin that little reputation I have got, and which I value not, yet would want both wit and learning to establish their own; or to be remembered in after ages for anything, but only that which makes them ridiculous in this.

OF HEROIC PLAYS

PREFATORY ESSAY TO "THE CONQUEST OF GRANADA” (1672)

WHETHER heroic verse ought to be admitted into serious plays. is not now to be disputed: 'tis already in possession of the stage; < and I dare confidently affirm that very few tragedies, in this age, shall be received without it. All the arguments which are formed against it can amount to no more than this, that it is not so near conversation as prose, and therefore not so natural. But it is very clear to all who understand poetry, that serious plays ought not to imitate conversation too nearly. If nothing + were to be raised above that level, the foundation of poetry a would be destroyed. And if you once admit of a latitude, that thoughts may be exalted, and that images and actions may be raised above the life, and described in measure without rhyme, that leads you insensibly from your own principles to mine: you are already so far onward on your way, that you have forsaken the imitation of ordinary converse. You are gone beyond it; and to continue where you are is to lodge in the open fields betwixt two inns. You have lost that which you call natural, and have not acquired the last perfection of art. But it was only custom which cozened us so long; we thought, because Shakspeare and Fletcher went no farther, that there the pillars of poetry were to be erected; that, because they excellently described passion without rhyme, therefore rhyme was not capable of describing it. But time has now convinced most men of that error. 'Tis indeed so difficult to write verse that the adversaries of it have a good plea against many who undertake that task, without being formed by art or nature for it. Yet, even they who have written worst in it, would have written worse without it: they have cozened many with their sound, who never took the pains to examine their sense. In fine, they have succeeded; though, it is true, they have more dishonoured rhyme by their good success, than they have done by their ill. But I am willing to let fall this argument: 'tis free for every man to write, or not to write, in verse, as he judges

it to be, or not to be, his talent; or as he imagines the audience will receive it.

For Heroic Plays (in which only I have used it without the mixture of prose), the first light we had of them, on the English theatre, was from the late Sir William D'Avenant. It being forbidden him in the rebellious times to act tragedies and comedies, because they contained some matter of scandal to those good people, who could more easily dispossess their lawful sovereign than endure a wanton jest, he was forced to turn his thoughts another way, and to introduce the examples of moral virtue, writ in verse, and performed in recitative music. The original of this music, and of the scenes which adorned his work, he had from the Italian operas; but he heightened his characters (as I may probably imagine) from the example of Corneille and some French poets. In this condition did this part of poetry remain at his Majesty's return; when, growing bolder, as being now owned by a public authority, he reviewed his Siege of Rhodes, and caused it be acted as a just drama. But as few men have the happiness to begin and finish any new project, so neither did he live to make his design perfect: there wanted the fulness of a plot, and the variety of characters to form it as it ought; and, perhaps, something might have been added to the beauty of the style. All which he would have performed with more exactness had he pleased to have given us another work of the same nature. For myself and others, who come after him, we are bound, with all veneration to his memory, to acknowledge what advantage we received from that excellent groundwork which he laid: and, since it is an easy thing to add to what already is invented, we ought all of us, without envy to him, or partiality to ourselves, to yield him the precedence in it.

Having done him this justice, as my guide, I may do myself so much, as to give an account of what I have performed after him. I observed then, as I said, what was wanting to the perfection of his Siege of Rhodes; which was design, and variety of characters. And in the midst of this consideration, by mere accident, I opened the next book that lay by me, which was an Ariosto in Italian; and the very first two lines of that poem gave me light to all I could desire:

Le donne, i cavalier, l'arme, gli amori,

Le cortesie, l'audaci imprese io canto, etc.

For the very next reflection which I made was this, that an

heroic play ought to be an imitation, in little, of an heroic poem; and, consequently, that love and valour ought to be the subject f of it. Both these Sir William D'Avenant had begun to shadow; but it was so, as first discoverers draw their maps, with headlands, and promontories, and some few outlines of somewhat taken at a distance, and which the designer saw not clearly. The common drama obliged him to a plot well formed and pleasant, or, as the ancients call it, one entire and great action. But this he afforded not himself in a story, which he neither filled with persons, nor beautified with characters, nor varied with accidents. The laws of an heroic poem did not dispense with those of the other, but raised them to a greater height, and indulged him a further liberty of fancy, and of drawing all things as far above the ordinary proportion of the stage as ++ that is beyond the common words and actions of human life; and, therefore, in the scanting of his images and design, he complied not enough with the greatness and majesty of an heroic poem.

I am sorry I cannot discover my opinion of this kind of writing, without dissenting much from his, whose memory I love and honour. But I will do it with the same respect to him, as if he were now alive, and overlooking my paper while I write. His judgment of an heroic poem was this: That it ought to be dressed in a more familiar and easy shape; more fitted to the vs common actions and passions of human life; and, in short, more like a glass of Nature, showing us ourselves in our ordinary habits, and figuring a more practicable virtue to us, than was done by the ancients or moderns. Thus he takes the image of an heroic poem from the drama, or stage poetry; and accordingly intended to divide it into five books, representing the same number of acts; and every book into several cantos, imitating the scenes which compose our acts.

But this, I think, is rather a play in narration, as I may call it, than an heroic poem; if at least you will not prefer the opinion of a single man to the practice of the most excellent authors, both of ancient and latter ages. I am no admirer of quotations; but you shall hear, if you please, one of the ancients delivering his judgment on this question; it is Petronius Arbiter, the most elegant, and one of the most judicious authors of the Latin tongue; who, after he had given many admirable rules for the structure and beauties of an epic poem, concludes all in these following words:

Non enim res gesta versibus comprehendendæ sunt, quod longe

melius historici faciunt: sed, per ambages, deorumque ministeria, præcipitandus est liber spiritus, ut potius furentis animi vaticinatio appareat, quam religiosa orationis, sub testibus, fides.

In which sentence, and his own essay of a poem, which immediately he gives you, it is thought he taxes Lucan, who followed too much the truth of history, crowded sentences together, was too full of points, and too often offered at somewhat which had more of the sting of an epigram, than of the dignity and state of an heroic poem. Lucan used not much the help of his heathen deities: there was neither the ministry of the gods, nor the precipitation of the soul, nor the fury of a prophet (of which my author speaks), in his Pharsalia; he treats you more like a philosopher than a poet, and instructs you, in verse, with what he had been taught by his uncle Seneca in prose. In one word, he walks soberly afoot, when he might fly. Yet Lucan is not always this religious historian. The oracle of Appius, and the witchcraft of Erictho, will somewhat atone for him, who was, indeed, bound up by an ill-chosen and known argument, to follow truth with great exactness. For my part, I am of opinion that neither Homer, Virgil, Statius, Ariosto, Tasso, nor our English Spencer, could have formed their poems half so beautiful, without those gods and spirits, and those enthusiastic parts of poetry, which compose the most noble parts of all their writings. And I will ask any man who loves heroic poetry (for I will not dispute their tastes who do not), if the ghost of Polydorus in Virgil, the Enchanted Wood in Tasso, and the Bower of Bliss in Spencer (which he borrows from that admirable Italian) could have been omitted, without taking from their works some of the greatest beauties in them. And if any man object the improbabilities of a spirit appearing, or of a palace raised by magic, I boldly answer him, that an heroic poet is not tied to a bare representation of what is true, or exceeding probable; but that he may let himself loose to visionary objects, and to the representation of such things as. depending not on sense, and therefore not to be comprehended by knowledge, may give him a freer scope for imagination. 'Tis enough that, in all ages and religions, the greatest part of mankind have believed the power of magic, and that there are spirits or spectres which have appeared. This, I say, is foundation enough for poetry; and I dare further affirm that the whole doctrine of separated beings, whether those spirits are incorporeal substances (which Mr. Hobbs, with some reason, thinks to imply a contradiction), or that they are a thinner or