Joseph Ritson, the antiquary, who, though not a poet, was a great writer on poetry and our early English songs and ballads, complained bitterly of the ignorant reviewers, and described himself as brought to an end in ill-health and low spirits--certain to be insulted by a base and prostitute gang of lurking assassins who stab in the dark, and whose poisoned daggers he had already experienced. Ritson himself was a fairly venomous critic, and the "Ritsonian" style has become proverbial. Nowadays authors do not usually die of criticism, not even susceptible poets. Critics can still be severe enough, but they are just and generous, and never descend to that scurrilous personal abuse of authors which inflicted such severe wounds a century ago, and sometimes caused to flow the very heart's blood of their victims. CHAPTER IX. DRAMA AND ROMANCE. Sir John Yorke and Catholic Plays--Abraham Cowley--Antoine Danchet--Claude Crébillon--Nogaret--François de Salignac Fénélon. Of the misfortunes of dramatists and romance-writers I have little to record, but it would not be safe to conclude that this subject always furnished a secure field for literary activity. However, the successes of the writers of fiction and plays in our own times might console the Muse for any indignities which her followers have suffered in the past. In our own country the early inventors of dramatic performances--Mysteries, Moralities, and Interludes--lived securely, their names being unknown. When penal laws were in force against Roman Catholics, plays inculcating their doctrines and worship were often secretly performed in the houses of Catholic gentry. The anonymous author was indeed safe, but Sir John Yorke and his lady were fined one thousand pounds apiece and imprisoned in the Tower on account of a play performed in their house at Christmas, 1614, containing "many foul passages to the vilifying of our religion and exacting of popery."