so torn and ill represented in our plays; they have handed down to us a perfect resemblance of her; which we, like ill copiers, neglecting to look on, have rendered monstrous, and disfigured. But, that you 5 may know how much you are indebted to those your masters, and be ashamed to have so ill requited them, 'I must remember you", that all the rules by which we practise the drama at this day, (either such as relate to the justness and symmetry of the plot, or Io the episodical ornaments, such as descriptions, narrations, and other beauties, which are not essential to the play1,) were delivered to us from the observations which Aristotle made, of those poets, who either lived before him, or were his contemporaries : 15 we have added nothing of our own, except we have the confidence to say our wit is better; of which, none boast in this our age, but such as understand not theirs. Of that book which Aristotle has left us, περὶ τῆς Ποιητικῆς, Horace his Art of Poetry is an ex20 cellent comment, and, I believe, restores to us that Second Book of his concerning Comedy, which is wanting in him.”

2

'Out of these two have been extracted the famous Rules, which the French call Des Trois Unites, or, 25 The Three Unities", which ought to be observed in every regular play; namely, of Time, Place, and Action.

'The unity of time they comprehend in twenty-four hours, the compass of a natural day, or as near as it 30 can be contrived; and the reason of it is obvious to every one, that the time of the feigned action, or

1 no brackets in A.

2 has, A.

fable of the play, should be proportioned as near as can be to the duration of that time in which it is represented: since therefore, all plays are acted on the theatre in the space of time much within the compass of twenty-four hours, that play is to be thought the 5 nearest imitation of nature, whose plot or action is confined within that time; and, by the same rule. which concludes this general proportion of time, it follows, that all the parts of it are (as near as may be1) to be equally subdivided; namely, that one act 10 take not up the supposed time of half a day, which is out of proportion to the rest; since the other four are then to be straitened within the compass of the remaining half: for it is unnatural that one act, which being spoke or written is not longer than the rest, 15 should be supposed longer by the audience; it is therefore the poet's duty, to take care that no act should be imagined to exceed the time in which it is represented on the stage; and that the intervals and inequalities of time be supposed to fall out between 20 the acts.

'This rule of time, how well it has been observed by the ancients, most of their plays will witness; you see them in their tragedies, (wherein to follow this rule, is certainly most difficult,) from the very be- 25 ginning of their plays, falling close into that part of the story which they intend for the action or principal object of it, leaving the former part to be delivered by narration: so that they set the audience, as it were, at the post where the race is to be concluded; and, saving 30 them the tedious expectation of seeing the poet set out

1 A om. as near as may be.

2

as namely, A.

and ride the beginning of the course, they suffer you not to behold him1, till he is in sight of the goal, and just upon you.

'For the second unity, which is that of Place, the 5 ancients meant by it, that the scene ought to be continued through the play, in the same place where it was laid in the beginning: for, the stage on which it is represented being but one and the same place, it is unnatural to conceive it many,—and those far distant to from one another. I will not deny but, by the variation of painted scenes, the fancy, which in these cases will contribute to its own deceit, may sometimes imagine it several places, with some appearance of probability; yet it still carries the greater likelihood 15 of truth, if those places be supposed so near each other, as in the same town or city; which may all be comprehended under the larger denomination of one place; for a greater distance will bear no proportion to the shortness of time which is allotted, in the 20 acting, to pass from one of them to another; for the observation of this, next to the ancients, the French are to be most commended. They tie themselves so strictly to the unity of place, that you never see in any of their plays, a scene changed in the middle of 25 an act: if the act begins in a garden, a street, or chamber, 'tis ended in the same place; and that you may know it to be the same, the stage is so supplied with persons, that it is never empty all the time: he who enters second, has business with him who was 30 on before; and before the second quits the stage, a third appears who has business with him. This

1

you behold him not, A.

2 that enters the second, A.

8

the continuit

Corneille1 calls la liaison des scenes", joining of the scenes; and 'tis a good mark of a we contrived play, when all the persons are known to each other, and every one of them has some affairs with all the rest.

'As for the third unity, which is that of Action, the ancients meant no other by it than what the logicians do by their finis, the end or scope of any action; that which is the first in intention, and last in execution: now the poet is to aim at one great and complete to action, to the carrying on of which all things in his play, even the very obstacles, are to be subservient; and the reason of this is as evident as any of the former. For two actions, equally laboured and driven on by the writer, would destroy the unity of the poem; 15 it would be no longer one play, but two: not but that there may be many actions in a play, as Ben Johnson has observed in his Discoveries"; but they must be all subservient to the great one, which our language happily expresses in the name of under-plots: such as 20 in Terence's Eunuch is the difference and reconcilement of Thais and Phædria, which is not the chief business of the play, but promotes the marriage of Chærea and Chremes's sister, principally intended by the poet. There ought to be but one action, says 25 Corneille ", that is, one complete action, which leaves the mind of the audience in a full repose; but this cannot be brought to pass but by many other im perfect actions, which conduce to it, and hold the audience in a delightful suspence of what will be. 'If by these rules (to omit many other drawn from 1 Corneil, A.

30

the precepts and practice of the ancients) we should judge our modern plays, 'tis probable that few of them would endure the trial: that which should be the business of a day, takes up in some of them an age; 5 instead of one action, they are the epitomes of a man's life; and for one spot of ground, which the stage should represent, we are sometimes in more countries than the map can shew us.

3

'But if we allow the Ancients to have contrived 10 well, we must acknowledge them to have written1 better. Questionless we are deprived of a great stock of wit in the loss of Menander among the Greek poets, and of Cæcilius, Afranius, and Varius, among the Romans; we may guess at Menander's excellency 15 by the plays of Terence, who translated some of his 2; and yet wanted so much of him, that he was called by C. Cæsar the half-Menander"; and may judge of Varius", by the testimonies of Horace, Martial, and Velleius Paterculus. 'Tis probable that these, could 20 they be recovered, would decide the controversy; but so long as Aristophanes and Plautus are extant, while the tragedies of Euripides, Sophocles, and Seneca, are in our hands, I can never see one of those plays which are now written, but it increases 25 my admiration of the ancients. And yet I must acknowledge further, that to admire them as we ought, we should understand them better than we do. Doubtless many things appear flat to us, the wit of which depended on some custom or story, which never came

1 writ, A.

2 so A; B has 'them.'

A om. may judge.

4 Aristophanes in the old Comedy and Plautus in the new, A.
5 are to be had, A.

6 whose wit, A.