But the argument for
rhyme is of another kind. "I am satisfied if it cause delight, for
delight is the chief if not the only end of poesy [he should have said
_means_]; instruction can be admitted but in the second place, for poesy
only instructs as it delights.... The converse, therefore, which a poet
is to imitate must be heightened with all the arts and ornaments of
poesy, and must be such as, strictly considered, could never be supposed
spoken by any without premeditation.... Thus prose, though the rightful
prince, yet is by common consent deposed as too weak for the government
of serious plays, and, he failing, there now start up two competitors;
one the nearer in blood, which is blank verse; the other more fit for the
ends of government, which is rhyme. Blank verse is, indeed, the nearer
prose, but he is blemished with the weakness of his predecessor. Rhyme
(for I will deal clearly) has somewhat of the usurper in him; but he is
brave and generous, and his dominion pleasing."[52] To the objection that
the difficulties of rhyme will lead to circumlocution, he answers in
substance, that a good poet will know how to avoid them.
It is curious how long the superstition that Waller was the refiner of
English verse has prevailed since Dryden first gave it vogue.
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