“But that the Poet might entertain you with more variety, all this while; he reserves some new Characters to show you, which he opens not till the Second and Third Acts, In the Second, MOROSE, DAW, the Barber, and OTTER; in the Third, the Collegiate Ladies, All which, he moves, afterwards, in by-walks or under-plots, as diversions to the main Design, least it grow tedious:  though they are still naturally joined with it; and, somewhere or other, subservient to it.  Thus, like a skilful chess player, by little and little, he draws out his men; and makes his pawns of use to his greater persons.

“If this Comedy and some others of his, were translated into French prose (which would now be no wonder to them, since MOLIERE has lately given them Plays out of Verse; which have not displeased them), I believe the controversy would soon be decided betwixt the two nations:  even making them, the judges.

“But we need not call our heroes to our aid.  Be it spoken to the honour of the English! our nation can never want, in any age, such, who are able to dispute the Empire of Wit with any people in the universe.  And though the fury of a Civil War, and power (for twenty years together [1640-1660 A.D.]) abandoned to a barbarous race of men, enemies of all good learning[10], had buried the Muses under the ruins of Monarchy:  yet, with the Restoration of our happiness [1660], we see revived Poesy lifting up its head, and already shaking off the rubbish, which lay so heavy upon it.

“We have seen, since His Majesty’s return, many Dramatic Poems which yield not to those of any foreign nation, and which deserve all laurels but the English.  I will set aside flattery and envy.  It cannot be denied but we have had some little blemish, either in the Plot or Writing of all those plays which have been made within these seven years; and, perhaps, there is no nation in the world so quick to discern them, or so difficult to pardon them, as ours:  yet, if we can persuade ourselves to use the candour of that Poet [HORACE], who, though the most severe of critics, has left us this caution, by which to moderate our censures.

    “Ubi plum nitent in carmine non ego paucis offendar maculis.

“If, in consideration of their many and great beauties, we can wink at some slight and little imperfections; if we, I say, can be thus equal to ourselves:  I ask no favour from the French.

“And if I do not venture upon any particular judgement of our late Plays:  ’tis out of the consideration which an ancient writer gives me. Vivorum, ut magna admiratio ita censura difficilis; ’betwixt the extremes of admiration and malice, ‘tis hard to judge uprightly of the living.’  Only, I think it may be permitted me to say, that as it is no lessening to us, to yield to some Plays (and those not many) of our nation, in the last Age:  so can it be no addition, to pronounce of our present Poets, that they have far surpassed all the Ancients, and the Modern Writers of other countries.”