hink me so ridiculous
as to dispute whether Prose or Verse be nearest to ordinary conversation?

It still remains for him, to prove his Inference, that, Since Verse is
granted to be more remote than Prose from ordinary conversation;
therefore no serious Plays ought to be writ in Verse: and when he clearly
makes that good, I will acknowledge his victory as absolute as he can
desire it.

The question now is, which of us two has mistaken it? And if it appear I
have not, the World will suspect _what gentleman that was, who was
allowed to speak twice in Parliament, because he had not yet spoken to
the question_ [p. 576]: and, perhaps, conclude it to be the same, who (as
'tis reported) maintained a contradiction _in terminis_, in the face of
three hundred persons.

But to return to Verse. Whether it be natural or not in Plays, is a
problem which is not demonstrable, of either side. 'Tis enough for me,
that he acknowledges that he had rather read good Verse than Prose [p.
575]: for if all the enemies of Verse will confess as much, I shall not
need to prove that it is _natural_. I am satisfied, if it cause Delight;
for Delight is the chief, if not the only end of Poesy. Instruction can
be admitted but in the second place; for Poesy only instructs as it
delights.

'Tis true, that to Imitate Well is a Poet's work: but to affect the soul,
and excite the passions, and, above all, to move Admiration [_wondering
astonishment_] (which is the Delight of serious Plays), a bare Imitation
will not serve. The converse [_conversation_] therefore, which a Poet is
to _imitate_, must be _heightened_ with all the arts and ornaments of
Poesy; and must be such as, _strictly considered_, could never be
supposed [to be] spoken by any, without premeditation.

As for what he urges, that, _A Play will still be supposed to be a
composition of several persons speaking_ ex tempore; and that good verses
are the hardest things, which can be imagined, to be so spoken_ [p. 575]:
I must crave leave to dissent from his opinion, as to the former part of
it. For, if I am not deceived, A Play is supposed to be the work of the
Poet, _imitating_ or _representing_ the conversation of several persons:
and this I think to be as clear, as he thinks the contrary.

But I will be bolder, and do not doubt to make it good, though a paradox,
that, One great reason why Prose is not to be used in serious Plays is
because it is too near the nature of converse [_conversati