er."

It need hardly be stated that the absence of scenes and scene-shifting
had by no means confined the British drama to a classical form,
although regard for "unity of place," at any rate, might seem to be
almost logically involved in the immovable condition of the
stage-fittings. Some two or three plays, affecting to follow the
construction adopted by the Greek and Roman stage, are certainly to be
found in the Elizabethan repertory, but they had been little favoured
by the playgoers of the time, and may fairly be viewed as exceptions
proving the rule that our drama is essentially romantic. Indeed, our
old dramatists were induced by the absence of scenery to rely more and
more upon the imagination of their audience. As Mr. Collier observes:
"If the old poets had been obliged to confine themselves merely to the
changes that could at that early date have been exhibited by the
removal of painted canvas or boarding, we should have lost much of
that boundless diversity of situation and character allowed by this
happy absence of restraint." At the same time, the liberty these
writers permitted themselves did not escape criticism from the devout
adherents of the classical theatre. Sir Philip Sidney, in his "Apology
for Poetry," 1595, is severe upon the "defectious" nature of the
English drama, especially as to its disregard of the unities of time
and place. "Now," he says, three ladies "walk to gather flowers, and
then we must believe the stage to be a garden; by-and-by we hear news
of shipwreck in the same place, and then we are to blame if we accept
it not for a rock; upon the back of that comes out a hideous monster,
and then the miserable beholders are bound to take it for a cave;
while in the meantime two armies fly in, represented with four swords
and bucklers, and then, what hard heart will not receive it for a
pitched field?" Dryden, it may be noted, in his "Essay of Dramatic
Poesie," has a kindred passage as to the matters to be acted on the
stage, and the things "supposed to be done behind the scenes."

Of the scenery of his time, Mr. Pepys makes frequent mention, without,
however, entering much into particulars on the subject. In August,
1661, he notes the reproduction of Davenant's comedy of "The Wits,"
"never acted yet with scenes;" adding, "and, indeed, it is a most
excellent play and admirable scenes." A little later he records a
performance of "'Hamlet, Prince of Denmark,' done with scenes very
well, but,