terns of our
imitation, serve us as a torch, which is lifted up before us, to
enlighten our passage, and often elevate our thoughts as high as the
conception we have of our author's genius."

I have been so tedious in three acts, that I shall contract myself in
the two last. The beginning scenes of the fourth act are either added
or changed wholly by me; the middle of it is Shakespeare altered, and
mingled with my own; three or four of the last scenes are altogether
new. And the whole fifth act, both the plot and the writing, are my
own additions.

But having written so much for imitation of what is excellent, in that
part of the preface which related only to myself, methinks it would
neither be unprofitable nor unpleasant to inquire how far we ought to
imitate our own poets, Shakespeare and Fletcher, in their tragedies;
and this will occasion another inquiry, how those two writers differ
between themselves: but since neither of these questions can be
solved, unless some measures be first taken, by which we may be
enabled to judge truly of their writings, I shall endeavour, as
briefly as I can, to discover the grounds and reason of all criticism,
applying them in this place only to Tragedy. Aristotle with his
interpreters, and Horace, and Longinus, are the authors to whom I owe
my lights; and what part soever of my own plays, or of this, which no
mending could make regular, shall fall under the condemnation of such
judges, it would be impudence in me to defend. I think it no shame to
retract my errors, and am well pleased to suffer in the cause, if the
art may be improved at my expence: I therefore proceed to

THE GROUNDS OF CRITICISM IN TRAGEDY.

Tragedy is thus defined by Aristotle (omitting what I thought
unnecessary in his definition). It is an imitation of one entire,
great, and probable action; not told, but represented; which, by
moving in us fear and pity, is conducive to the purging of those two
passions in our minds. More largely thus: Tragedy describes or paints
an action, which action must have all the properties above named.
First, it must be one or single; that is, it must not be a history of
one man's life, suppose of Alexander the Great, or Julius Caesar, but
one single action of theirs. This condemns all Shakespeare's
historical plays, which are rather chronicles represented, than
tragedies; and all double action of plays. As, to avoid a satire upon
others, I will make bold with my