'Tis with the drops which fell from Shakespeare's
The storm, which vanish'd on the neighb'ring shore,
Was taught by Shakespeare's Tempest first to roar.
That innocence and beauty, which did smile
In Fletcher, grew on this enchanted isle.
But Shakespeare's magic could not copied be;
Within that circle none durst walk but he.
I must confess 'twas bold, nor would you now
That liberty to vulgar wits allow,
Which works by magic supernatural things :
But Shakespeare's power is sacred as a king's.
Those legends from old priesthood were received,.
And he then writ, as people then believed.
But if for Shakespeare we your grace implore,
We for our theatre shall want it more:
Who, by our dearth of youths, are forc'd to employ
One of our women to present a boy;
And that's a transformation, you will say,
Exceeding all the magic in the play.
Let none expect in the last act to find
Her sex transform'd from man to womankind.
Whate'er she was before the play began,
All you shall see of her is perfect man.
Or, if your fancy will be farther led
To find her woman—it must be a-bed.
PROLOGUE TO TYRANNIC LOVE.
SELF-LOVE, which, never rightly understood,
Makes poets still conclude their plays are good,
And malice in all critics reigns so high,
That for small errors, they whole plays decry;
So that to see this fondness, and that spite,
You'd think that none but madmen judge or write.
Therefore our poet, as he thinks not fit
To impose upon you what he writes for wit;
So hopes, that, leaving you your censures free,
You equal judges of the whole will be:
They judge but half, who only faults will see.
Poets, like lovers, should be bold and daṛe,
They spoil their business with an over care;
And he, who servilely creeps after sense,
Is safe, but ne'er will reach an excellence.
Hence 'tis, our poet, in his conjuring,
Allow'd his fancy the full scope and swing.
But when a tyrant for his theme he had,
He loos'd the reins, and bid his muse run mad:
And though he stumbles in a full career,
Yet rashness is a better fault than fear.
He saw his way; but in so swift a pace,
To choose the ground might be to lose the race. They then, who of each trip the advantage take, Find but those faults, which they want wit to make.
EPILOGUE TO THE WILD GALLANT,
Of all dramatic writing, comic wit,
As 'tis the best, so 'tis most hard to hit,
For it lies all in level to the eye,
Where all may judge, and each defect may spy.
Humour is that which every day we meet,
And therefore known as every public street;
In which, if e'er the poet go astray,
You all can point, 'twas there he lost his way.
But, what's so common, to make pleasant too,
Is more than any wit can always do.
For 'tis like Turks, with hen and rice to treat;
To make regalios out of common meat.
But, in your diet, you grow savages:
Nothing but human flesh your taste can please;
And, as their feasts with slaughter'd slaves began,
So you, at each new play, must have a man.
Hither you come, as to see prizes fought;
If no blood's drawn, you cry, the prize is nought.
But fools grow wary now; and, when they see
A poet eyeing round the company,
Straight each man for himself begins to doubt;
They shrink like seamen when a press comes out.
Few of them will be found for public use,
Except you charge an oaf upon each house,
Like the train bands, and every man engage
For a sufficient fool, to serve the stage.
And when, with much ado, you get him there,
Where he in all his glory should appear,
Your poets make him such rare things to say,
That he's more wit than any man i' th' play: 30
But of so ill a mingle with the rest,
As when a parrot's taught to break a jest.
Thus, aiming to be fine, they make a show,
As tawdry squires in country churches do.
Things well consider'd, 'tis so hard to make
A comedy, which should the knowing take,
That our dull poet, in despair to please,
Does humbly beg, by me, his writ of ease.
"Tis a land-tax, which he's too poor to pay;
You therefore must some other impost lay.
Would you but change, for serious plot and verse,
This motley garniture of fool and farce,
Nor scorn a mode, because 'tis taught at home,
Which does, like vests, our gravity become,
Our poet yields you should this play refuse :
As tradesmen, by the change of fashions, lose,
With some content, their fripperies of France,
In hope it may their staple trade advance.
SPOKEN THE FIRST DAY OF THE KING'S HOUSE
So shipwreck'd passengers escape to land,
So look they, when on the bare beach they stand
Dropping and cold, and their first fear scarce o ́er,
Expecting famine on a desert shore.
From that hard climate we must wait for bread, 5
Whence e'en the natives, forc'd by hunger, fled.
Our stage does human chance present to view,
But ne'er before was seen so sadly true:
You are chang'd too, and your pretence to see
Is but a nobler name for charity.
Your own provisions furnish out our feasts,
While you the founders make yourselves the guests.
Of all mankind beside fate had some care,
But for poor Wit no portion did prepare,
'Tis left a rent-charge to the brave and fair.
You cherish'd it, and now its fall you mourn,
Which blind unmanner'd zealots make their scorn,
Who think that fire a judgment on the stage,
Which spar'd not temples in its furious rage.
But as our new built city rises higher,
So from old theatres may new aspire,
Since fate contrives magnificence by fire.
Our great metropolis does far surpass
Whate'er is now, and equals all that was:
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