The Question first ask’d is, whether an Author is a Whig or a Tory; if he be a Whig, or that Party which is in Power, his Praise is resounded, he’s presently cried up for an excellent Writer; if not, he’s mark’d as a Scoundrel, a perpetual Gloom hangs over his Head; if he was Master of the sublime Thoughts of Addison, the easy flowing Numbers of Pope, the fine Humour of Garth, the beautiful Language of Rowe, the Perfection of Prior, the Dialogue of Congreve, and the Pastoral of Phillips, he must nevertheless submit to a mean Character, if not expect the Reputation of an Illitterate.

Writings for the Stage are of late so very much perverted by the Violence of Party, that the finest Performance, without Scandal, cannot be supported; Shakespear and Ben Johnson, were they, now living, would be wholly at a Loss in the Composure of a Play suitable to the Taste of the Town; without a promiscuous heap of Scurrility to expose a Party, or, what is more detestable, perhaps a particular Person, no Play will succeed, and the most execrable Language, in a Comedy, produc’d at this Time, shall be more applauded than the most beautiful Turns in a Love for Love:  Such are the Hardships a Dramatick-Poet has to struggle with, that either Obscenity, Party, or Scandal must be his Theme, and after he has performed his utmost in either of these Ways, without a powerful Interest, he’ll have more Difficulty in the bringing his Play upon the Theatre than in the Writing, and sometimes never be able to accomplish it.

These are the Inconveniencies which Writers for the Stage labour under, besides ’tis observable, that an obsequious prolifick Muse generally meets with a worse Reception than a petulant inanimate Author; and when a Poet has finished his Labours, so that he has brought his Play upon the Stage, the best Performance has oftentimes the worst Success, for which I need only instance Mr. Congreve’s Way of the World, a Comedy esteem’d by most Persons capable of judging, no way inferior to any of his other Performances.

A Choice of Actors, next to Interest and Popularity, is the greatest Advantage to a new Play:  If a Stage-Poet has the Misfortune not to have a sufficient Influence over the Managers of the Theatres to make a Nomination, his Performance must very much suffer; and if he cannot entirely Command his Theatre, and Season for bringing it on, it will be perfectly slaughter’d; and a certain Theatre has lately acquir’d the Name of a Slaughter-House, but whether more for the Stupidity of its Poets than its Actors, I do not pretend to determine; but certain it is, that Acting is the Life of all Dramatick-Performances.  And tho’ an indifferent Play may appear tolerable, with good Acting, it is impossible a bad one can afford any Entertainment, when perform’d by an incompleat Set of Comedians.