British Dramatists from Dryden to Sheridan

By George Henry Nettleton; Arthur Eillicot Case | Go to book overview
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My Lord,

Whether the world will arraign me of vanity, or not, that I have presumed to dedicate this comedy to your Lordship, I am yet in doubt; though it may be it is some degree of vanity even to doubt of it. One who has at any time had the honor of your Lordship's conversation cannot be supposed to think very meanly of that which he would prefer to your perusal; yet it were to incur the imputation of too much sufficiency, to pretend to such a merit as might abide the test of your Lordship's censure.

Whatever value may be wanting to this play while yet it is mine will be sufficiently made up to it when it is once become your Lordship's; and it is my security, that I cannot have overrated it more by my dedication, than your Lordship will dignify it by your patronage.

That it succeeded on the stage was almost beyond my expectation;1 for but little of it was prepared for that general taste which seems now to be predominant in the palates of our audience.

Those characters which are meant to be ridiculous* in most of our comedies are of fools so gross that, in my humble opinion, they should rather disturb than divert the well-natured and reflecting part of an audience; they are rather objects of charity than contempt; and instead of moving our mirth, they ought very often to excite our compassion.

This reflection moved me to design some characters, which should appear ridiculous, not so much through a natural folly (which is incorrigible, and therefore not proper for the stage) as through an affected wit; a wit, which at the same time that it is affected, is also false. As there is some difficulty in the formation of a character of this nature, so there is some hazard which attends the progress of its success upon the stage: for many come to a play, so overcharged with criticism, that they very often let fly their censure, when through their rashness they have mistaken their aim. This I had occasion lately to observe: for this play had been acted two or three days, before some of these hasty judges could find the leisure to distinguish betwixt the character of a Witwoud and a Truewit.

I must beg your Lordship's pardon for this digression from the true course of this epistle; but that it may not seem altogether impertinent, I beg that I may plead the occasion of it, in part of that excuse of which I stand in need, for recommending this comedy to your protection. It is only by the countenance of your Lordship, and the few so qualified, that such who write with care and pains can hope to be distinguished: for the prostituted name of poet2 promiscuously levels all that bear it.

Terence, the most correct writer in the world, had a Scipio and a Lælius, if not to assist him, at least to support him in his reputation: and notwithstanding his extraordinary merit, it may be their countenance was not more than necessary.

The purity of his style, the delicacy of his turns, and the justness of his characters, were all of them beauties which the greater part of his audience were incapable of tasting; some of the coarsest strokes of Plautus, so severely censured by Horace, were more likely to affect the multitude; such, who come with expectation to laugh out the last act of a play, and are better entertained with two or three unseasonable jests, than with the artful solution of the fable.

As Terence excelled in his performances, so had he great advantages to encourage his undertakings; for he built most on the foundations of Menander: his plots were generally modelled, and his characters ready drawn to his hand. He copied Menander; and Menander had no less light in the formation of his characters, from the observations of Theophrastus, of whom he was a disciple; and Theophrastus, it is known, was not only the disciple, but the immediate successor of Aristotle, the first and greatest judge of poetry. These were great models to design by; and the further advantage which Terence possessed, towards giving his plays the due ornaments of purity of style, and justness of manners, was not less considerable from the freedom of conversation, which was permitted him with Lælius and Scipio, two of the greatest and most polite men of his age. And indeed, the privilege of such a conversation is the only certain means of attaining to the perfection of dialogue.

Q2W1 ridiculed.
As a matter of fact, the play was a failure at its first performance; cf. the general tone of the dedication and the prologue.
In the older sense (common in the seventeenth century) of "creative writer," without regard to whether the medium were prose or verse.
W1 at.


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British Dramatists from Dryden to Sheridan
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