"In the Unity of PLACE, they are full[y] as scrupulous. For many of their
critics limit it to that spot of ground, where the Play is supposed to
begin. None of them exceed the compass of the same town or city.

"The Unity of ACTION in all their plays, is yet more conspicuous. For
they do not burden them with Under Plots, as the English do; which is the
reason why many Scenes of our Tragi-Comedies carry on a Design that is
nothing of kin to the main Plot: and that we see two distincts webs in a
Play, like those in ill-wrought stuffs; and two Actions (that is, two
Plays carried on together) to the confounding of the audience: who,
before they are warm in their concernments for one part, are diverted to
another; and, by that means, expouse the interest of neither.

"From hence likewise, it arises that one half of our Actors [_i.e., the
Characters in a Play_] are not known to the other. They keep their
distances, as if they were _MONTAGUES_ and _CAPULETS_; and seldom begin
an acquaintance till the last Scene of the fifth Act, when they are all
to meet on the Stage.

"There is no _Theatre_ in the world has anything so absurd as the English
Tragi-Comedy. 'Tis a Drama of our own invention; and the fashion of it is
enough to proclaim it so. Here, a course of mirth; there, another of
sadness and passion; a third of honour; and the fourth, a duel. Thus, in
two hours and a half, we run through all the fits of Bedlam.

"The French afford you as much variety, on the same day; but they do it
not so unseasonably, or _mal apropos_ as we. Our Poets present you the
Play and the Farce together; and our Stages still retain somewhat of the
original civility of the 'Red Bull.'

"_Atque ursum et pugiles media inter carmina poscunt._

"'The end of Tragedies or serious Plays,' says ARISTOTLE, 'is to beget
Admiration [_wonderment_], Compassion, or Concernment.' But are not mirth
and compassion things incompatible? and is it not evident, that the Poet
must, of necessity, destroy the former, by intermingling the latter? that
is, he must ruin the sole end and object of his Tragedy, to introduce
somewhat that is forced in, and is not of the body of it! Would you not
think that physician mad! who having prescribed a purge, should
immediately order you to take restringents upon it?

"But to leave our Plays, and return to theirs. I have noted one great
advantage they have had in the Plotting of their Tragedies, that is, they
are always gro