John Dryden - Delphi Poets Series

by John Dryden

  If this Comedy, and some others of his, were translated into French Prose (which would now be no wonder to them, since Moliere has lately given them Playes out of Verse which have not displeas’d them) I believe the controversie would soon be decided betwixt the two Nations, even making them the Judges. But we need not call our Hero’s to our ayde; Be it spoken to the honour of the English, our Nation can never want in any Age such who are able to dispute the Empire of Wit with any people in the Universe. And though the fury of a Civil War, and Power, for twenty years together, abandon’d to a barbarous race of men, Enemies of all good Learning, had buried the Muses under the ruines of Monarchy; yet with the restoration of our happiness, we see reviv’d Poesie lifting up its head, & already shaking off the rubbish which lay so heavy on it. We have seen since His Majesties return, many Dramatick Poems which yield not to those of any forreign Nation, and which deserve all Lawrels but the English. I will set aside Flattery and Envy: it cannot be deny’d but we have had some little blemish either in the Plot or writing of all those Playes which have been made within these seven years: (and perhaps there is no Nation in the world so quick to discern them, or so difficult to pardon them, as ours:) yet if we can perswade our selves to use the candour of that Poet, who (though the most severe of Criticks) has left us this caution by which to moderate our censures;

  —— —— Vbi plura nitent in carmine non ego paucis offendar maculis.

  If in consideration of their many and great beauties, we can wink at some slight, and little imperfections; if we, I say, can be thus equal to our selves, I ask no favour from the French. And if I do not venture upon any particular judgment of our late Playes, ’tis out of the consideration which an Ancient Writer gives me; Vivorum, ut magna admiratio ita censura difficilis: betwixt the extreams of admiration and malice, ’tis hard to judge uprightly of the living. Onely I think it may be permitted me to say, that as it is no less’ning to us to yield to some Playes, and those not many of our own Nation in the last Age, so can it be no addition to pronounce of our present Poets that they have far surpass’d all the Ancients, and the Modern Writers of other Countreys.

  This, my Lord, was the substance of what was then spoke on that occasion; and Lisideius, I think was going to reply, when he was prevented thus by Crites: I am confident, said he, the most material things that can be said, have been already urg’d on either side; if they have not, I must beg of Lisideius that he will defer his answer till another time: for I confess I have a joynt quarrel to you both, because you have concluded, without any reason given for it, that Rhyme is proper for the Stage. I will not dispute how ancient it hath been among us to write this way; perhaps our Ancestours knew no better till Shakespeare’s time. I will grant it was not altogether left by him, and that Fletcher and Ben. Johnson us’d it frequently in their Pastorals, and sometimes in other Playes. Farther, I will not argue whether we receiv’d it originally from our own Countrymen, or from the French; for that is an inquiry of as little benefit, as theirs who in the midst of the great Plague were not so sollicitous to provide against it, as to know whether we had it from the malignity of our own air, or by transportation from Holland. I have therefore onely to affirm, that it is not allowable in serious Playes; for Comedies I find you already concluding with me. To prove this, I might satisfie my self to tell you, how much in vain it is for you to strive against the stream of the peoples inclination; the greatest part of which are prepossess’d so much with those excellent Playes of Shakespeare, Fletcher, and Ben. Johnson, (which have been written out of Rhyme) that except you could bring them such as were written better in it, and those too by persons of equal reputation with them, it will be impossible for you to gain your cause with them, who will still be judges. This it is to which in fine all your reasons must submit. The unanimous consent of an Audience is so powerful, That even Julius Cæsar (as Macrobius reports of him) when he was perpetual Dictator, was not able to ballance it on the other side. But when Laberius, a Roman Knight, at his request contended in the Mime with another Poet, he was forc’d to cry out, Etiam favente me victus es Liberi. But I will not on this occasion, take the advantage of the greater number, but onely urge such reasons against Rhyme, as I find in the Writings of those who have argu’d for the other way. First then I am of opinion, that Rhyme is unnatural in a Play, because Dialogue there is presented as the effect of sudden thought. For a Play is the imitation of Nature; and since no man, without premeditation speaks in Rhyme, neither ought he to do it on the Stage; this hinders not but the Fancy may be there elevated to a higher pitch of thought then it is in ordinary discourse: for there is a probability that men of excellent and quick parts may speak noble things ex tempore: but those thoughts are never fetter’d with the numbers or sound of Verse without study, and therefore it cannot be but unnatural to present the most free way of speaking, in that which is the most constrain’d. For this Reason, sayes Aristotle, ’Tis best to write Tragedy in that kind of Verse which is the least such, or which is nearest Prose: and this amongst the Ancients was the Iambique, and with us is blank verse, or the measure of verse, kept exactly without rhyme. These numbers therefore are fittest for a Play; the others for a paper of Verses, or a Poem. Blank verse being as much below them as rhyme is improper for the Drama. And if it be objected that neither are blank verses made ex tempore, yet as nearest Nature, they are still to be preferr’d. But there are two particular exceptions which many besides my self have had to verse; by which it will appear yet more plainly, how improper it is in Playes. And the first of them is grounded upon that very reason for which some have commended Rhyme: they say the quickness of repartees in argumentative Scenes receives an ornament from verse. Now what is more unreasonable then to imagine that a man should not onely light upon the Wit, but the Rhyme too upon the sudden? This nicking of him who spoke before both in sound and measure, is so great an happiness, that you must at least suppose the persons of your Play to be born Poets, Arcades omnes & cantare pares & respondere parati: they must have arriv’d to the degree of quicquid conabar dicere: to make Verses almost whether they will or no: if they are any thing below this, it will look rather like the design of two then the answer of one: it will appear that your Actors hold intelligence together, that they perform their tricks like Fortune-tellers, by confederacy. The hand of Art will be too visible in it against that maxime of all Professions; Ars est celare artem. That it is the greatest perfection of Art to keep it self undiscover’d. Nor will it serve you to object, that however you manage it, ’tis still known to be a Play; and consequently the Dialogue of two persons understood to be the labour of one Poet. For a Play is still an imitation of Nature; we know we are to be deceiv’d, and we desire to be so; but no man ever was deceiv’d but with a probability of truth, for who will suffer a grose lie to be fasten’d on him? Thus we sufficiently understand that the Scenes which represent Cities and Countries to us, are not really such, but onely painted on boards and Canvass: But shall that excuse the ill Painture or designment of them; Nay rather ought they not to be labour’d with so much the more diligence and exactness to help the imagination? since the mind of man does naturally tend to, and seek after Truth; and therefore the nearer any thing comes to the imitation of it, the more it pleases.

  Thus, you see, your Rhyme is uncapable of expressing the greatest thoughts naturally, and the lowest it cannot with any grace: for what is more unbefitting the Majesty of Verse, then to call a Servant, or bid a door be shut in Rhime? And yet this miserable necessity you are forc’d upon. But Verse, you say, circumscribes a quick and luxuriant fancy, which would extend it self too far on every subject, did not the labour which is requir’d to well turn’d and polish’d Rhyme, set bounds to it. Yet this Argument, if granted, would onely prove that we may write better in Verse, but not more naturally. Neither is it able to evince that; for he who wants judgment to confine his fancy in blank Verse, may want it as much in Rhyme; and he who has it will avoid errours in both kinds. Latine verse was as great a confinement to th
e imagination of those Poets, as Rhime to ours: and yet you find Ovid saying too much on every subject. Nescivit (sayes Seneca) quod bene cessit relinquere: of which he gives you one famous instance in his Discription of the Deluge.

  Omnia pontus erat, deerant quoque Litora Ponto.

  Now all was Sea, Nor had that Sea a shore. Thus Ovid’s fancy was not limited by verse, and Virgil needed not verse to have bounded his.

  In our own language we see Ben. Johnson confining himself to what ought to be said, even in the liberty of blank Verse; and yet Corneille, the most judicious of the French Poets, is still varying the same sence an hundred wayes, and dwelling eternally upon the same subject, though confin’d by Rhyme. Some other exceptions I have to Verse, but being these I have nam’d are for the most part already publick; I conceive it reasonable they should first be answer’d.

  It concerns me less then any, said Neander, (seeing he had ended) to reply to this Discourse; because when I should have prov’d that Verse may be natural in Playes, yet I should alwayes be ready to confess, that those which I have written in this kind come short of that perfection which is requir’d. Yet since you are pleas’d I should undertake this Province, I will do it, though with all imaginable respect and deference both to that person from whom you have borrow’d your strongesst Arguments, and to whose judgment when I have said all, I finally submit. But before I proceed to answer your objections, I must first remember you, that I exclude all Comedy from my defence; and next that I deny not but blank verse may be also us’d, and content my self onely to assert, that in serious Playes where the subject and characters are great, and the Plot unmix’d with mirth, which might allay or divert these concernments which are produc’d, Rhyme is there as natural, and more effectual then blank Verse.

  And now having laid down this as a foundation, to begin with Crites, I must crave leave to tell him, that some of his Arguments against rhyme reach no farther then from the faults or defects of ill rhime, to conclude against the use of it in general. May not I conclude against blank verse by the same reason? If the words of some Poets who write in it, are either ill chosen, or ill placed (which makes not onely rhime, but all kind of verse in any language unnatural;) Shall I, for their vitious affection condemn those excellent lines of Fletcher, which are written in that kind? Is there any thing in rhyme more constrain’d than this line in blank verse? I Heav’n invoke, and strong resistance make, where you see both the clauses are plac’d unnaturally; that is, contrary to the common way of speaking, and that without the excuse of a rhyme to cause it: yet you would think me very ridiculous, if I should accuse the stubbornness of blank Verse for this, and not rather the stifness of the Poet. Therefore, Crites, you must either prove that words, though well chosen, and duly plac’d, yet render not Rhyme natural in it self; or, that however natural and easie the rhyme may be, yet it is not proper for a Play. If you insist upon the former part, I would ask you what other conditions are requir’d to make Rhyme natural in it self, besides an election of apt words, and a right disposing of them? For the due choice of your words expresses your sence naturally, and the due placing them adapts the rhyme to it. If you object that one verse may be made for the sake of another, though both the words and rhyme be apt; I answer it cannot possibly so fall out; for either there is a dependance of sence betwixt the first line and the second, or there is none: if there be that connection, then in the natural position of the words, the latter line must of necessity flow from the former: if there be no dependance, yet still the due ordering of words makes the last line as natural in itself as the other: so that the necessity of a rhime never forces any but bad or lazy Writers to say what they would not otherwise. ’Tis true, there is both care and Art requir’d to write in Verse; A good Poet never concludes upon the first line, till he has sought out such a rhime as may fit the sense, already prepar’d to heighten the second: many times the close of the sense falls into the middle of the next verse, or farther of, and he may often prevail himself of the same advantages in English which Virgil had in Latine. He may break off in the Hemystich, and begin another line: indeed, the not observing these two last things, makes Playes which are writ in verse so tedious: for though, most commonly, the sence is to be confin’d to the Couplet, yet nothing that does perpetuo tenore fluere, run in the same channel, can please alwayes. ’Tis like the murmuring of a stream, which not varying in the fall, causes at first attention, at last drowsiness. Variety of cadences is the best rule, the greatest help to the Actors, and refreshment to the Audience.

  If then Verse may be made natural in it self, how becomes it improper to a Play? You say the Stage is the representation of Nature, and no man in ordinary conversation speaks in rhime. But you foresaw when you said this, that it might be answer’d; neither does any man speak in blank verse, or in measure without rhime. Therefore you concluded, that which is nearest Nature is still to be preferr’d. But you took no notice that rhime might be made as natural as blank verse, by the well placing of the words, &c. all the difference between them when they are both correct, is the sound in one, which the other wants; and if so, the sweetness of it, and all the advantage resulting from it, which are handled in the Preface to the Rival Ladies, will yet stand good. As for that place of Aristotle, where he sayes Playes should be writ in that kind of Verse which is nearest Prose; it makes little for you, blank verse being properly but measur’d Prose. Now measure alone in any modern Language, does not constitute verse; those of the Ancients in Greek and Latine, consisted in quantity of words, and a determinate number of feet. But when, by the inundation of the Goths and Vandals into Italy new Languages were brought in, and barbarously mingled with the Latine (of which the Italian, Spanish, French, and ours, (made out of them and the Teutonick) are Dialects:) a new way of Poesie was practis’d; new, I say in those Countries, for in all probability it was that of the Conquerours in their own Nations. This new way consisted in measure or number of feet and rhyme. The sweetness of Rhyme, and observation of Accent, supplying the place of quantity in words, which could neither exactly be observ’d by those Barbarians who knew not the Rules of it, neither was it suitable to their tongues as it had been to the Greek and Latine. No man is tied in modern Poesie to observe any farther rule in the feet of his verse, but that they be dissylables; whether Spondee, Trochee, or Iambique, it matters not; onely he is obliged to rhyme: Neither do the Spanish, French, Italian or Germans acknowledge at all, or very rarely any such kind of Poesie as blank verse amongst them. Therefore at most ’tis but a Poetick Prose, a Sermo pedestris, and as such most fit for Comedies, where I acknowledge Rhyme to be improper. Farther, as to that quotation of Aristotle, our Couplet Verses may be rendred as near Prose as blank verse it self, by using those advantages I lately nam’d, as breaks in a Hemistick, or running the sence into another line, thereby making Art and Order appear as loose and free as Nature: or not tying our selves to Couplets strictly, we may use the benefit of the Pindarique way, practis’d in the Siege of Rhodes; where the numbers vary and the rhyme is dispos’d carelesly, and far from often chymeing. Neither is that other advantage of the Ancients to be despis’d, of changing the kind of verse when they please with the change of the Scene, or some new entrance: for they confine not themselves alwayes to Iambiques, but extend their liberty to all Lyrique numbers, and sometimes, even to Hexameter. But I need not go so far to prove that Rhyme, as it succeeds to all other offices of Greek and Latine Verse, so especially to this of Playes, since the custome of all Nations at this day confirms it: All the French, Italian and Spanish Tragedies are generally writ in it, and sure the Universal consent of the most civiliz’d parts of the world, ought in this, as it doth in other customs, include the rest.

  But perhaps you may tell me I have propos’d such a way to make rhyme natural, and consequently proper to Playes, as is unpracticable, and that I shall scarce find six or eight lines together in any Play, where the words are so plac’d and chosen as is requir’d to make it natural. I answer, no Poet need constrain himself at
all times to it. It is enough he makes it his general Rule; for I deny not but sometimes there may be a greatness in placing the words otherwise; and sometimes they may sound better, sometimes also the variety it self is excuse enough. But if, for the most part, the words be plac’d as they are in the negligence of Prose, it is sufficient to denominate the way practicable; for we esteem that to be such, which in the Tryal oftner succeeds then misses. And thus far you may find the practice made good in many Playes; where you do not, remember still, that if you cannot find six natural Rhymes together, it will be as hard for you to produce as many lines in blank Verse, even among the greatest of our Poets, against which I cannot make some reasonable exception.

  And this, Sir, calls to my remembrance the beginning of your discourse, where you told us we should never find the Audience favourable to this kind of writing, till we could produce as good Playes in Rhyme, as Ben. Johnson, Fletcher, and Shakespeare, had writ out of it. But it is to raise envy to the living, to compare them with the dead. They are honour’d, and almost ador’d by us, as they deserve; neither do I know any so presumptuous of themselves as to contend with them. Yet give me leave to say thus much without injury to their Ashes, that not onely we shall never equal them, but they could never equal themselves, were they to rise and write again. We acknowledge them our Fathers in wit, but they have ruin’d their Estates themselves before they came to their childrens hands. There is scarce an Humour, a Character, or any kind of Plot, which they have not blown upon: all comes sullied or wasted to us: and were they to entertain this Age, they could not make so plenteous treatments out of such decay’d Fortunes. This therefore will be a good Argument to us either not to write at all, or to attempt some other way. There is no bayes to be expected in their Walks; Tentanda via est quà me quoque possum tollere humo.