Blackwood's Edinburgh Magazine - Volume 57, No. 352, February 1845. Various
the noise in the depth of silence.
"Amongst the rest, it was the fortune of Eugenius, Crites, Lisideius, and Neander, to be in company together, three of them persons whom their wit and quality have made known to all the town, and whom I have chose to hide under these borrowed names, that they may not suffer by so ill a narration as I am going to make of their discourse.
"Taking, then, a barge, which a servant of Lisideius had provided for them, they made haste to shoot the bridge, and left behind them that great fall of waters which hindered them from hearing what they desired; after which, having disengaged themselves from many vessels which rode at anchor in the Thames, and almost blocked up the passage towards Greenwich, they ordered the watermen to let fall their oars more gently; and then every one favouring his own curiosity with a strict silence, it was not long ere they perceived the air to break about them like the noise of distant thunder, or of swallows in a chimney — those little undulations of sound, though almost vanishing before they reached them, yet still seeming to retain somewhat of their first horror which they had betwixt the fleets. After they had attentively listened till such time as the sound, by little and little, went from them, Eugenius, lifting up his head, and taking notice of it, was the first who congratulated to the rest that happy omen of our nation's victory; adding, that we had but this to desire in confirmation of it, that we might hear no more of that noise which was now leaving the English coast. When the rest had concurred in the same opinion, Crites, a person of sharp judgment, and somewhat too delicate a taste in wit, which the world hath mistaken in him for ill-nature, said, smiling to us, that if the concernment of this battle had not been so exceeding great, he could scarce have wished the victory at the price he knew he must pay for it, in being subject to the reading and hearing of so many ill verses as he was sure would be made on that subject; adding, that no argument could 'scape some of these eternal rhymers, who watch a battle with more diligence than the ravens and birds of prey, and the worst of them surest to be first in upon the quarry; while the better able, either out of modesty writ not at all, or set that due value upon their poems, as to let them be often desired and long expected. There are some of those impertinent people of whom you speak, answered Lisideius, who, to my knowledge, are already so provided either way, that they can produce not only a panegyric upon the victory, but, if need be, a funeral elegy upon the Duke, wherein, after they have crowned his valour with many laurels, they will at last deplore the odds under which he fell, concluding that his courage deserved a better destiny. All the company smiled at the conceit of Lisideius; but Crites, more eager than before, began to make particular exceptions against some writers, and said the public magistrates ought to send betimes to forbid them; and that it concerned the peace and quiet of all honest people that ill poets should be as well silenced as seditious preachers."
We may perhaps have occasion, by and by, to notice other important topics spiritedly and eloquently discussed by these choice spirits in the barge; meanwhile our business is with the argument, "rhyme versus blank verse," between Crites and Neander. Crites maintains, sometimes in the very words, Sir Robert's views in the Preface to his plays, in which he had animadverted on Dryden's dedication to the "Rival Ladies," while Neander combats them; and it may be observed, that the worthy Baronet is made to speak forcibly and well — much better indeed, on the whole, than he does in his own preface. From beginning to end there cannot be imagined a more fair and gentlemanly dialogue. But first, we cannot resist giving the very beautiful close.
"Neander was pursuing this discussion so eagerly, that Eugenius had called to him twice or thrice ere he took notice that the barge stood still, and that they were at the foot of Somerset stairs, where they had appointed it to land. The company were all sorry to separate so soon, though a great part of the evening was already spent; and stood awhile looking back on the water, upon which the moonbeams played, and made it appear like floating quicksilver. At last they went up through a crowd of French people, who were merrily dancing in the open air, and nothing concerned for the noise of guns which had alarmed the town that afternoon. Walking three together to the Piazza, they parted there; Eugenius and Lisideius to some pleasant appointment they had made, Crites and Neander to their several lodgings."
But now to the argument. Crites, who is not more long-winded than may be permitted to a polite proser, at least on the Thames of a summer evening, somewhat condensed, reasoneth thus.
A play being the imitation of nature, dialogue is there presented as the effect of sudden thought; and since no man without premeditation speaks in rhyme, neither ought he to do it on the stage. The fancy may be elevated to a higher pitch of thought than it is in ordinary discourse, for men of excellent and quick parts may speak noble things extempore; but surely not when fettered with rhyme, for what more unnatural than to present the most free way of speaking in that which is the most constrained? The Greek tragedians, therefore, wrote in iambics, the kind of verse nearest to prose, which with us is blank verse.
The champions of rhyme say that the quickness of repartees receives an ornament from it in argumentative scenes. But do men not only light on a sudden upon the wit but the rhyme too? Then must they be born poets. If they do not seem in the dialogue to make rhymes whether they will or no, it will look rather like the design of two than the answer of one — as if your actors hold intelligence together, and perform their tricks like fortune-tellers by confederacy. The hand of art will be too visible. Neither is it any answer to say that, however you manage it, 'tis still known to be a play; for a play is still an imitation of nature, and one can be deceived only with a probability of truth. The mind of man does naturally tend to truth, and the nearer any thing comes to the imitation of it, the more readily will the imagination believe.
Rhyme, it is said, circumscribes a quick and luxuriant fancy, which would extend itself too far on every subject, did not the labour which is required to well-turned and polished rhyme set bounds to it. But 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 errors in both kinds. Latin verse was as great a confinement to the imagination as rhyme; yet Ovid's fancy was not limited by it, and Virgil needed it not to bind his. In our own language, Ben Jonson confined himself to what ought to be said, even in the liberty of blank verse; and Corneille, the most judicious of the French poets, is still varying the same sense a hundred ways, and dwelling eternally on the same subject, though confined by rhyme.
Such is the substance of Crites' answer to Dryden's Defence of Rhyme; and Neander, before replying, begs it to be understood that he excludes all comedy from his defence, and that he does not deny that blank verse may be also used; but he asserts that, in Serious Plays, where the subject and characters are great, and the plot unmixed with mirth, which might allay or divert those concernments which are produced, rhyme is there as natural, and more effective, than blank verse — for what other conditions, he asks, are required to make rhyme natural in itself, besides an election of apt words, and a right disposition of them? The due choice of your words expresses your sense naturally, and the due placing them adapts the rhyme to it. If both the words and rhyme be apt, one verse cannot be made merely for sake of the other, as Crites had urged; for supposing there be a dependence of sense betwixt the first line and the second, then, in the natural position of the words, the latter line must of necessity flow from the former; and if there be no dependence, yet still the due ordering of words makes the last line as natural in itself as the other. A good poet, he affirms, never establishes the first line till he has sought out such a rhyme as may fit the verse, already prepared to heighten the second. Many times the close of the sense falls into the middle of the next verse, or further off; and he may often avail himself of the same advantages in English which Virgil had in Latin — he may break off in the hemistich, and begin another line. The not observing these two last things, makes plays which are writ in verse so tedious; for though most commonly the sense is to be confined to the couplet, yet nothing that does run in the same channel can please always. 'Tis like the murmuring of a stream, which, not varying in the fall, causes at first attention, at last drowsiness. Variety of cadence is the best rule, the greatest help to the actor and refreshment of the audience.
If, then, verse may be made natural in itself, how becomes it unnatural in a play? The stage, you say, is the representation of nature, and no man in ordinary conversation speaks in rhyme. True; but neither does he in blank verse. All the difference between them, when they are both good, is the