not only known to translate Menander, (which he avows also in his prologues) but was said also to be helped in those translations by Scipio the African, and Lælius. And Tasso, the most excellent of modern poets, and whom I reverence next to Virgil, has taken both from Homer many admirable things, which were left untouched by Virgil, and from Virgil himself, where Homer could not furnish him. Yet the bodies of Virgil's and Tasso's poems were their own; and so are all the ornaments of language and elocution in them. The same (if there were any thing commendable in this play) I could say for it. But I will come nearer to our own countrymen. Most of Shakespeare's plays, I mean the stories of them, are to be found in the "Hecatomithi," or "Hundred Novels" of Cinthio. I have myself read in his Italian, that of "Romeo and Juliet," the "Moor of Venice," and many others of them. Beaumont and Fletcher had most of theirs from Spanish novels: Witness "The Chances," "The Spanish Curate," "Rule a Wife and have a Wife," "The Little French Lawyer," and so many others of them as compose the greatest part of their volume in folio. Ben Jonson, indeed, has designed his plots himself; but no man has borrowed so much from the ancients as he has done: and he did well in it, for he has thereby beautified our language. But these little critics do not well consider what is the work of a poet, and what the graces of a poem: the story is the least part of either: I mean the foundation of it, before it is modelled by the art of him who writes it; who forms it with more care, by exposing only the beautiful parts of it to view, than a skilful lapidary sets a jewel. On this foundation of the story, the characters are raised: and, since no story can afford characters enough for the variety of the English stage, it follows, that it is to be altered and enlarged with new persons, accidents, and designs, which will almost make it new. When this is done, the forming it into acts and scenes, disposing of actions and passions into their proper places, and beautifying both with descriptions, similitudes, and propriety of language, is the principal employment of the poet; as being the largest field of fancy, which is the principal quality required in him: for so much the word [Greek: poiêtês] implies. Judgment, indeed, is necessary in him; but it is fancy that gives the life-touches, and the secret graces to it; especially in serious plays, which depend not much on observation. For, to write humour in comedy, (which is the theft of poets from mankind) little of fancy is required; the poet observes only what is ridiculous and pleasant folly, and by judging exactly what is so, he pleases in the representation of it.