nets (though they
have motions of their own), are whirled about, by the motion of the
_Primum Mobile_ in which they are contained. That similitude expresses
much of the English Stage. For, if contrary motions may be found in
Nature to agree, if a planet can go East and West at the same time; one
way, by virtue of his own motion, the other, by the force of the First
Mover: it will not be difficult to imagine how the Under Plot, which is
only different [from], not contrary to the great Design, may naturally be
conducted along with it.

"EUGENIUS [?_LISIDEIUS_] has already shown us [p. 534], from the
confession of the French poets, that the Unity of Action is sufficiently
preserved, if all the imperfect actions of the Play are conducing to the
main Design: but when those petty intrigues of a Play are so ill ordered,
that they have no coherence with the other; I must grant, that LISIDEIUS
has reason to tax that Want of due Connection. For Co-ordination in a
Play is as dangerous and unnatural as in a State. In the meantime, he
must acknowledge, our Variety (if well ordered) will afford a greater
pleasure to the audience.

"As for his other argument, that _by pursuing one single Theme, they gain
an advantage to express, and work up the passions_ [p. 533]; I wish any
example he could bring from them, would make it good. For I confess their
verses are, to me, the coldest I have ever read.

"Neither, indeed, is It possible for them, in the way they take, so to
express Passion as that the effects of it should appear in the
concernment of an audience; their speeches being so many declamations,
which tire us with the length: so that, instead of persuading us to
grieve for their imaginary heroes, we are concerned for our own trouble,
as we are, in the tedious visits of bad [_dull_] company; we are in pain
till they are gone.

"When the French Stage came to be reformed by Cardinal RICHELIEU, those
long harangues were introduced, to comply with the gravity of a
Churchman. Look upon the _CINNA_ and _POMPEY_! They are not so properly
to be called Plays, as long Discourses of Reason[s] of State: and
_POLIEUCTE_, in matters of Religion, is as solemn as the long stops upon
our organs. Since that time, it has grown into a custom; and their Actors
speak by the hour glass, as our Parsons do. Nay, they account it the grace
of their parts! and think themselves disparaged by the Poet, if they may
not twice or thrice in a Play, entertain the