Let us look at the other side of the picture. Dryden would keep the foundation of the old English drama, and retains the abundance of events, the variety of plot, the unforeseen accidents, and the physical representation of bloody or violent action. He kills as many people as Shakespeare. Unfortunately, all poets are not justified in killing. When they take their spectators among murders and sudden accidents, they ought to have a hundred hidden preparations. Fancy a sort of rapture and romantic folly, a most daring style, eccentric and poetical, songs, pictures, reveries spoken aloud, frank scorn of all verisimilitude, a mixture of tenderness, philosophy, and mockery, all the retiring charms of varied feelings, all the whims of nimble fancy: the truth of events matters little. No one who ever saw "Cymbeline" or "As you Like it" looked at these plays with the eyes of a politician or a historian; no one took these military processions, these accessions of princes, seriously; the spectators were present at dissolving views. They did not demand that things should proceed after the laws of nature; on the contrary, they willingly did require that they should proceed against the laws of nature. The irrationality is the charm. That new world must be all imagination; if it was only so by halves, no one would care to rise to it. This is why we do not rise to Dryden's. A queen dethroned, then suddenly set up again; a tyrant who finds his lost son, is deceived, adopts a girl in his place; a young prince led to punishment, who snatches the sword of a guard, and recovers his crown; such are the romances which constitute the "Maiden Queen" and the "Marriage à la Mode." We can imagine what a display classical dissertations make in this medley; solid reason beats down imagination, stroke after stroke, to the ground. We cannot tell if the matter be a true portrait or a fancy painting; we remain suspended between truth and fancy; we should like either to get up to heaven or down to earth, and we jump down as quick as possible from the clumsy scaffolding where the poet would perch us.