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ry way excellent, as ever a people were blessed with, contrary to the well-known axiom, Regis ad exemplum totus componitur orbis, have had but small effect.
I finished it, part in prose, and part in blank verse, in about six weeks, and having shewn it to several of my literary acquaintance, the far greater part were of opinion, that it should be entirely one, or the other; but, as the scene was laid in private life, and chiefly among those of middling rank, it ought to be entirely prose; and that, not much exalted; and accordingly, with no small labour, I turned it all into prose. But in some short time after, having communicated this to Dr. Samuel Johnson, his words (as well as I remember) were, "That he could hardly consider a prose Tragedy as dramatic; that it was difficult for the Performers to speak it; that let it be either in the middling or in low life, it may, though in metre and spirited, be properly familiar and colloquial; that, many in the middling rank are not without erudition; that they have the feelings and sensations of nature, and every emotion in consequence thereof, as well as the great, and that even the lowest, when impassioned, raise their language; that the writing of prose is generally the plea and excuse of poverty of Genius." And some others being of the same opinion, I have now chang'd it all into metre.
Fired is the Muse! and let the Muse be fired. Who's not inflam'd, when what he speaks he feels? Young.
The introduction by the moderns of confidents, those friends in Tragedy, to whom the chief personages discover their secrets and situation, has been also objected to by critics. The discovery is indeed purposely made to the audience, and supplies the want of a chorus. But to speak in Monsieur Brumos's own stile: "If Homer, in his Epic poem, found a Patroclus necessary to his Achilles, and Virgil an Achates to Aeneas, such examples may well justify the Dramatic Poets in calling in the assistance of associates, who generally appear of more use than ornament to the