[Footnote 128: I thought I had discovered this ingenious person to be the honourable Edward Howard, author of the "British Princes," who, in the preface to the "Woman's Conquest," has this passage: "And here I cannot chuse but reflect on our mean imitation of French plays, by introducing of servants and waiting-women to have parts, without being essential characters; an error well avoided by our former writers, who never admitted any otherwise than as messengers and attendants, except on the account of being characters, as is to be seen by Numphs in "Bartholomew Fair," and Face in the "Alchymist;" the latter of which (notwithstanding what can be objected against him) may deservedly be granted one of the best parts on our English stage." But the passage does not quite correspond with the sentiment in the text; besides, the "Woman's Conquest" did not appear till 1670-1, two years after the Essay. The preface contains some oblique attacks upon Dryden.] [Footnote 129: Our author's last play of "Love Triumphant" is winded up in the last act by the mere change of will on the part of Veramond.] [Footnote 130: Velleius Paterculus, I. 17.] [Footnote 131: Here the first edition has, "by Mr Hart." This play was first acted in 1661, under the title of "The Liar," and revived in 1685, under that of "The Mistaken Beauty."] [Footnote 132: In 1642.] [Footnote 133: "The Adventures of five Hours," is a comedy imitated from the Spanish of Calderon, by Sir Samuel Tuke, with some assistance from the Earl of Bristol. It was acted at court 1663, and received great applause. Cowley writes a laudatory poem, for which in the "Session of Poets" he is censured by Apollo; Diego is described, in the characters of the _dramatis personæ_, as "servant to Octavio, bred a scholar, a great coward, and a pleasant droll." It would seem from the preface, that this mode of affixing characters to the _dramatis personæ_ was then a novelty.] [Footnote 134: The custom of placing an hour-glass before the clergyman was then common in England. It is still the furniture of a country pulpit in Scotland. A facetious preacher used to press his audience to _take another glass with him_.] [Footnote 135: Most modern readers revolt at the incident, as a monstrous improbability.] [Footnote 136: The insolence with which the dry and dogged Jonson used to carp at Shakespeare, is highly illustrative of that jealousy with which he is taxed by Drummond of Hawthornden. The most memorable attack on Shakespeare, on the score mentioned in the text, is the prologue to "Every Man in his Humour."