I know not whether this praise is rigorously just. The dissyllable
termination, which the critick rightly appropriates to the drama,
is to be found, though, I think, not in Gorboduc which is confessedly
before our authour; yet in Hieronnymo, of which the date is not
certain, but which there is reason to believe at least as old as
his earliest plays. This however is certain, that he is the first
who taught either tragedy or comedy to please, there being no
theatrical piece of any older writer, of which the name is known,
except to antiquaries and collectors of books, which are sought
because they are scarce, and would not have been scarce, had they
been much esteemed.

To him we must ascribe the praise, unless Spenser may divide it
with him, of having first discovered to how much smoothness and
harmony the English language could be softened. He has speeches,
perhaps sometimes scenes, which have all the delicacy of Rowe,
without his effeminacy. He endeavours indeed commonly to strike
by the force and vigour of his dialogue, but he never executes his
purpose better, than when he tries to sooth by softness.

Yet it must be at last confessed, that as we owe every thing to
him, he owes something to us; that, if much of his praise is paid
by perception and judgement, much is likewise given by custom and
veneration. We fix our eyes upon his graces, and turn them from his
deformities, and endure in him what we should in another loath or
despise. If we endured without praising, respect for the father
of our drama might excuse us; but I have seen, in the book of some
modern critick, a collection of anomalies which shew that he has
corrupted language by every mode of depravation, but which his
admirer has accumulated as a monument of honour.