"Now Measure, alone, in any modern language, does not constitute Verse. Those of the Ancients, in Greek and Latin, consisted in Quantity of Words, and a determinate number of Feet. But when, by the inundations of the Goths and Vandals, into Italy, new languages were brought in, and barbarously mingled with the Latin, of which, the Italian, Spanish, French, and ours (made out of them, and the Teutonic) are dialects: a New Way of Poesy was practised, new, I say, in those countries; for, in all probability, it was that of the conquerors in their own nations. The New Way consisted of Measure or Number of Feet, _and_ Rhyme. The sweetness of Rhyme and observation of Accent, supplying the place of Quantity in Words: which could neither exactly be observed by those Barbarians who knew not the Rules of it; neither was it suitable to their tongues, as it had been to the Greek and Latin. "No man is tied in Modern Poesy, to observe any farther Rules in the Feet of his Verse, but that they be dissyllables (whether Spondee, Trochee, or Iambic, it matters not); only he is obliged to Rhyme. Neither do the Spanish, French, Italians, or Germans acknowledge at all, or very rarely, any such kind of Poesy as Blank Verse among them. Therefore, at most, 'tis but a Poetic Prose, _a sermo pedestris_; and, as such, most fit for Comedies: where I acknowledge Rhyme to be improper. "Farther, as to that quotation of ARISTOTLE, our Couplet Verses may be rendered _as near_ Prose, as Blank Verse itself; by using those advantages I lately named, as Breaks in the Hemistich, or Running the Sense into another line: thereby, making Art and Order appear as loose and free as Nature. Or, not tying ourselves to Couplets strictly, we may use the benefit of the Pindaric way, practised in the _Siege of Rhodes_; where the numbers vary, and the rhyme is disposed carelessly, and far from often chiming. "Neither is that other advantage of the Ancients to be despised, of changing the Kind of Verse, when they please, with the change of the Scene, or some new Entrance. For they confine not themselves always to Iambics; but extend their liberty to all Lyric Numbers; and sometimes, even, to Hexameter. "But I need not go so far, to prove that Rhyme, as it succeeds to all other offices of Greek and Latin Verse, so especially to this of Plays; since the custom of all nations, at this day, confirms it. All the French, Italian, and Spanish Tragedies are generally writ in it; and, sure[ly], the Universal Consent of the most civilised parts of the world ought in this, as it doth in other customs, [to] include the rest. "But perhaps, you may tell me, I have proposed such a way to make Rhyme _natural_; and, consequently, proper to Plays, as is impracticable; and that I shall scarce find six or eight lines together in a Play, where the words are so placed and chosen, as is required to make it _natural_.