English Plays justly challenge the pre-eminence. Yet, I shall as candidly acknowledge, that our best Poets have differed from other nations, though not so happily [_felicitously_], in usually mingling and interweaving Mirth and Sadness, through the whole course of their Plays. BEN. JOHNSON only excepted; who keeps himself entire to one Argument. And I confess I am now convinced in my own judgement, that it is most proper to keep the audience in one entire disposition both of Concern and Attention: for when Scenes of so different natures, immediately succeed one another; 'tis probable, the audience may not so suddenly recollect themselves, as to start into an enjoyment of Mirth, or into the concern for the Sadness. Yet I dispute not but the variety of this world may afford pursuing accidents of such different natures; but yet, though possible in themselves to be, they may not be so proper to be Presented. An Entire Connection being the natural beauty of all Plays: and Language, the Ornament to dress them in; which, in serious Subjects, ought to be great and easy, like a high born Person that expresses greatness without pride or affection. The easier dictates of Nature ought to flow in Comedy; yet separated from obsceneness. There being nothing more impudent than the immodesty of words. Wit should be chaste; and those that have it, can only write well: _Si modo Scimus in urbanum Lepido se ponere dicto_. Another way of the Ancients, which the French follow, and our Stage has, now lately, practised; is to write in Rhyme. And this is the dispute betwixt many ingenious persons, _Whether Verse in Rhyme; or Verse without the Sound, which may be called Blank Verse_ (though a hard expression) _is to be preferred_? But take the question, largely, and it is never to be decided [p. 512]; but, by right application, I suppose it may. For, in the general, they are both proper: that is, one for a Play; the other for a Poem or Copy of Verses: as Blank Verse being as much too low for one [_i.e., a. Poem or Verses_]; as Rhyme is unnatural for the other [_i.e., a Play_]. A Poem, being a premeditated Form of thoughts, upon designed occasions: ought not to be unfurnished of any Harmony in Words or Sound. The other [_a Play_] is presented as the _present effect_ of accidents not thought of. So that, 'tis impossible, it should be equally proper to both these; unless it were possible that all persons were born so much more than Poets, that verses were not to be composed by them, but already made in them. Some may object "That this argument is trivial; because, whatever is showed, 'tis known still to be but a Play." But such may as well excuse an ill scene, that is not naturally painted; because they know 'tis only a scene, and not really a city or country.