Nonfiction > Henry Craik, ed. > English Prose > Vol. III. Seventeenth Century
Henry Craik, ed.  English Prose.  1916.
Vol. III. Seventeenth Century
The Old Dramatists and the New
By John Dryden (1631–1700)
From Defence of the Epilogue

AND this leads me to the last and greatest advantage of our writing, which proceeds from conversation. In the age wherein those poets lived, there was less of gallantry than in ours; neither did they keep the best company of theirs. Their fortune has been much like that of Epicurus, in the retirement of his gardens; to live almost unknown, and to be celebrated after their decease. I cannot find that any of them had been conversant in courts, except Ben Jonson; and his genius lay not so much that way, as to make an improvement by it. Greatness was not then so easy of access, nor conversation so free, as now it is. I cannot, therefore, conceive it any insolence to affirm, that, by the knowledge and pattern of their wit who writ before us, and by the advantage of our own conversation, the discourse and raillery of our comedies excel what has been written by them. And this will be denied by none, but some few old fellows who value themselves on their acquaintance with the Black Friars; who, because they saw their plays, would pretend a right to judge ours. The memory of these grave gentlemen is their only plea for being wits. They can tell a story of Ben Jonson, and, perhaps, have had fancy enough to give a supper in the Apollo, that they might be called his sons: and because they were drawn in to be laughed at in those times, they think themselves now sufficiently entitled to laugh at ours. Learning I never saw in any of them; and wit no more than they could remember. In short, they were unlucky to have been bred in an unpolished age, and more unlucky to live in a refined one. They have lasted beyond their own, and are cast behind ours; and, not contented to have known little at the age of twenty, they boast of their ignorance at threescore.
  Now, if they ask me, whence it is that our conversation is so much refined? I must freely, and without flattery, ascribe it to the court: and in it, particularly to the King, whose example gives a law to it. His own misfortunes, and the nation’s, afforded him an opportunity, which is rarely allowed to sovereign princes, I mean of travelling, and being conversant in the most polished courts of Europe; and, thereby, of cultivating a spirit which was formed by nature to receive the impressions of a gallant and generous education. At his return, he found a nation lost as much in barbarism as in rebellion: and, as the excellency of his nature forgave the one, so the excellency of his manners reformed the other. The desire of imitating so great a pattern first awakened the dull and heavy spirits of the English from their native reservedness; loosened them from their stiff forms of conversation, and made them easy and pliant to each other in discourse. Thus, insensibly, our way of living became more free; and the fire of the English wit, which was before stifled under a constrained, melancholy way of breeding, began first to display its force by mixing the solidity of our nation with the air and gaiety of our neighbours. This being granted to be true, it would be a wonder if the poets, whose work is imitation, should be the only persons in three kingdoms who should not receive advantage by it; or, if they should not more easily imitate the wit and conversation of the present age than of the past.  2
  Let us therefore admire the beauties and the heights of Shakespeare, without falling after him into a carelessness, and, as I may call it, a lethargy of thought, for whole scenes together. Let us imitate, as we are able, the quickness and easiness of Fletcher without proposing him as a pattern to us, either in the redundancy of his matter, or the incorrectness of his language. Let us admire his wit and sharpness of conceit; but let us at the same time acknowledge, that it was seldom so fixed, and made proper to his character, as that the same things might not be spoken by any person in the play. Let us applaud his scenes of love; but let us confess, that he understood not either greatness or perfect honour in the parts of any of his women. In fine, let us allow, that he had so much fancy, as when he pleased he could write wit; but that he wanted so much judgment, as seldom to have written humour, or described a pleasant folly. Let us ascribe to Jonson, the height and accuracy of judgment in the ordering of his plots, his choice of characters, and maintaining what he had chosen to the end. But let us not think him a perfect pattern of imitation, except it be in humour; for love, which is the foundation of all comedies in other languages, is scarcely mentioned in any of his plays: and for humour itself, the poets of this age will be more wary than to imitate the meanness of his persons. Gentlemen will now be entertained by the follies of each other; and, though they allow Cobb and Tibb to speak properly, yet they are not much pleased with their tankard, or with their rags: and surely their conversation can be no jest to them on the theatre, when they would avoid it in the street.  3
  To conclude all, let us render to our predecessors what is their due, without confining ourselves to a servile imitation of all they writ; and, without assuming to ourselves the title of better poets, let us ascribe to the gallantry and civility of our age the advantage which we have above them, and, to our knowledge of the customs and manners of it, the happiness we have to please beyond them.  4

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