THE
Whole
Art
OF
THE
STAGE
.
The
First
BOOK
.
CHAP.
I.
Being
instead
of
a
Preface
to
the
whole
Work
,
wherein
is
treated
of
the
necessity
of
Publick
Spectacles
,
of
the
Esteem
the
Ancients
had
them
in
,
and
in
what
state
they
are
now
amongst
us
.
ALL
those
Incomparable
and
Famous
Genius's
which
,
from
time
to
time
,
Heaven
Designs
for
the
Government
of
Mankind
,
do
not
only
indeavour
to
make
the
Nations
subject
to
their
Conduct
,
Triumph
with
victorious
Arms
over
their
Enemies
,
and
thereby
become
Formidable
to
the
World
;
but
also
having
enriched
them
with
all
the
wonders
of
Nature
and
Art
,
by
the
means
of
Commerce
with
Foreign
Nations
,
they
do
strive
to
soften
and
sweeten
their
Dispositions
,
by
all
the
Noble
Sciences
that
Mankind
is
capable
of
;
and
considering
that
Nature
its
self
in
its
Noblest
Productions
,
after
having
adorned
them
with
all
Qualities
necessary
to
their
Perfection
,
gives
them
a
certain
Contentment
and
Rejoycing
in
them
,
which
is
the
greatest
of
its
Favours
;
these
great
Politicians
,
in
imitation
of
her
,
do
use
to
Crown
all
their
Endeavours
for
the
publick
safety
,
with
publick
Pleasures
and
Entertainments
,
making
their
own
glorious
Labours
either
the
means
or
the
pretexts
of
all
general
Diversions
.
Their
Victories
are
noted
by
days
of
Rejoycing
and
publick
Games
;
and
all
the
Spoils
and
Riches
of
Foreign
Nations
,
are
brought
from
the
extremity
of
the
Earth
,
only
to
compose
the
Pomp
and
Decoration
of
their
Spectacles
,
as
well
as
the
most
curious
Sciences
are
Cultivated
to
produce
men
capable
of
inventing
new
Entertainments
.
And
to
say
Truth
,
what
greater
marks
can
there
be
of
a
flourishing
Greatness
in
any
State
,
than
to
see
many
of
these
Diversions
?
Thereby
in
Peace
appears
the
Superfluity
of
its
Riches
,
the
Abundance
of
its
People
,
who
without
being
a
Charge
to
the
Publick
,
can
spare
many
days
to
their
Pleasure
,
from
those
Employments
which
are
necessary
to
the
subsistance
of
the
great
Body
of
the
People
;
and
besides
,
the
Number
of
rare
Wits
busied
in
the
publick
Diversion
,
with
all
sorts
of
Inventions
,
and
the
greater
number
of
excellent
Artificers
,
employed
to
execute
the
ingenious
thoughts
of
the
first
,
cannot
but
be
a
great
Ornament
to
a
Nation
.
All
the
Common-wealths
of
Greece
,
had
each
their
publick
Games
,
where
their
Neighbours
were
as
it
were
obliged
to
assist
,
that
they
might
all
appear
equal
in
Magnificency
,
as
well
as
in
Power
and
Authority
:
And
if
the
Common-wealths
of
Italy
were
forced
to
come
short
of
the
Grandeur
of
Rome
in
that
point
,
yet
by
their
particular
Cirk's
and
Theatres
they
have
shewed
the
World
that
they
yielded
only
to
the
Mistress
of
it
,
and
not
to
one
another
.
But
whenever
in
the
midst
of
War
all
these
Diversions
are
continued
in
a
state
,
't
is
giving
an
evident
demonstration
,
that
the
Riches
of
it
are
without
measure
,
and
the
People
inexhaustible
,
when
the
dangers
and
labours
of
a
Campaigne
passed
in
the
toyls
of
War
,
and
the
prospect
of
one
to
come
,
does
neither
change
the
Humour
nor
the
Courage
of
those
that
compose
the
Armies
,
nor
of
those
that
stay
at
home
;
that
they
undertake
with
Joy
in
Summer
those
glorious
actions
,
of
which
they
see
an
Image
upon
the
Stage
in
Winter
,
with
so
much
Pleasure
;
and
that
the
Advantages
their
Enemies
reap
from
the
War
,
are
so
inconsiderable
as
not
to
disquiet
,
or
interrupt
the
publick
Joy
.
Thus
the
Athenians
,
having
received
in
the
very
Theatre
the
news
of
an
entire
defeat
of
their
Army
before
Syracusa
,
would
not
so
much
as
interrupt
the
publick
Games
,
but
went
on
with
those
Spectacles
as
they
had
begun
;
and
Foreign
Embassadours
,
who
themselves
were
by
,
and
Spectators
of
this
undaunted
Generosity
,
admired
it
more
than
their
real
Power
,
as
thinking
it
harder
to
subdue
.
And
to
come
nearer
our
times
,
if
we
consider
what
has
passed
at
Vienna
and
Paris
,
the
Heads
of
two
Rival
Empires
,
under
the
Ministry
of
the
great
Cardinal
Richelieu
;
we
must
confess
that
these
two
Capitols
seem'd
by
the
Magnificencies
of
their
Plays
,
Ballets
,
and
other
publick
Entertainments
,
to
try
to
perswade
the
World
,
that
the
Event
of
the
War
,
which
so
warmly
they
carried
on
against
each
other
,
was
indifferent
to
them
,
both
as
to
their
good
or
evil
Fortune
.
We
are
not
nevertheless
to
imagine
that
these
publick
Spectacles
afford
nothing
but
a
vain
Splendour
,
without
any
real
Utility
;
for
they
are
a
secret
Instrustruction
to
the
People
of
many
things
,
which
it
would
be
very
hard
to
insinuate
into
them
any
other
way
.
As
for
Example
,
Those
publick
Diversions
where
there
is
any
image
of
War
,
do
insensibly
make
them
acquainted
with
Arms
,
and
make
those
Instruments
of
Death
familiar
to
them
,
inspiring
them
at
the
same
time
with
Courage
and
Intrepedity
against
all
dangers
;
besides
,
Vanity
often
prevails
more
with
us
than
Reason
;
and
that
Jealous
humour
,
of
which
our
Nature
can
hardly
ever
well
divest
it self
,
does
continually
foment
within
us
a
certain
desire
of
Conpuering
,
which
often
carries
us
to
overcome
all
our
natural
Weaknesses
,
and
go
beyond
our selves
in
great
Attempts
:
Thus
the
Glory
which
one
receives
in
publick
for
some
handsom
action
;
and
the
recital
or
representation
of
the
Heroick
Virtues
of
those
who
are
not
even
in
being
,
at
the
time
we
hear
them
,
does
nevertheless
raise
in
us
a
presumptuous
belief
that
we
are
able
to
perform
the
like
;
and
this
presumption
becoming
a
nobler
sort
of
Envy
,
called
Emulation
,
produces
in
us
an
insatiable
desire
of
Honour
,
and
elevates
our
Courage
to
undertake
any
thing
that
may
effect
that
Glorious
Design
.
As
for
those
Spectacles
which
consist
as
much
in
Discourse
as
Action
,
such
as
formerly
were
the
Disputes
upon
the
Stage
between
the
Epick
and
Drammatick
Poets
:
They
are
not
only
useful
but
absolutely
necessary
to
instruct
the
People
,
and
give
them
some
tincture
of
Moral
Virtues
.
The
minds
of
those
who
are
of
the
meanest
Rank
and
Condition
in
a
State
,
are
generally
so
little
acquainted
with
any
notions
of
Morality
,
that
the
most
general
Maximes
of
it
are
hardly
known
to
them
;
't
is
in
vain
therefore
to
make
fine
Discourses
,
full
of
convincing
Reasons
,
and
strengthened
with
Examples
to
them
,
they
can
neither
understand
the
first
,
nor
have
any
deference
for
the
latter
.
All
the
elevated
Truths
of
Philosophy
are
lights
too
strong
for
their
weak
Eyes
:
Tell
them
of
these
Maximes
,
that
Happiness
consists
less
in
the
possession
of
worLdly
things
,
than
in
the
despising
of
them
;
that
Virtue
ought
to
seek
its
recompence
in
its
self
;
that
there
is
no
Interest
in
the
World
considerable
enough
to
oblige
a
man
of
Honour
to
do
a
base
thing
;
all
these
,
I
say
,
are
Paradoxes
to
them
,
which
makes
them
suspect
Philosophy
it self
,
and
turn
it
into
Ridicule
;
they
must
therefore
be
instructed
by
a
more
sensible
way
,
which
may
fall
more
under
their
senses
;
and
such
are
the
Representations
of
the
Stage
,
which
may
therefore
properly
be
called
the
Peoples
School
.
One
of
the
chiefest
,
and
indeed
the
most
indispensible
Rule
of
Drammatick
Poems
,
is
,
that
in
them
Virtues
always
ought
to
be
rewarded
,
or
at
least
commended
,
in
spight
of
all
the
Injuries
of
Fortune
;
and
that
likewise
Vices
be
always
punished
,
or
at
least
detested
with
Horrour
,
though
they
triumph
upon
the
Stage
for
that
time
.
The
Stage
being
thus
regulated
,
what
can
Philosophy
teach
that
won't
become
much
more
sensibly
touching
by
Representation
;
't
is
there
that
the
meanest
Capacities
may
visibly
see
,
that
favours
of
Fortune
are
not
real
Enjoyments
,
when
they
see
the
ruin
of
the
Royal
Family
of
Priamus
;
all
that
they
hear
from
the
Mouth
of
Hecuba
seems
very
probable
,
having
before
their
Eyes
the
sad
Example
of
her
Calamities
;
't
is
there
that
they
are
convinced
that
Heaven
punishes
the
horrid
Crimes
of
the
Guilty
with
the
remorse
of
them
;
when
they
see
Orestes
tormented
by
his
own
Conscience
,
and
driven
about
by
Furies
within
his
own
Breast
;
't
is
there
that
Ambition
seems
to
them
a
very
dangerous
Passion
,
when
they
see
a
man
engaged
in
Crimes
,
to
attain
his
Ends
,
and
after
having
violated
the
Laws
of
Heaven
and
Earth
,
fall
into
Misfortunes
as
great
as
those
he
had
overwhelmed
others
in
,
and
more
tormented
by
himself
than
by
his
Enemies
:
'T
is
there
again
that
Covetousness
appears
a
Disease
of
the
Soul
,
when
they
see
a
Covetous
man
persecuted
with
continual
Restlesness
,
and
fears
of
want
in
the
midst
of
all
his
Riches
.
And
lastly
,
't
is
there
that
a
Man
,
by
Representation
,
makes
them
penetrate
into
the
most
hidden
secrets
of
Humane
Nature
,
while
they
seem
to
touch
and
feel
in
this
living
Picture
,
those
Truths
which
else
they
would
scarce
be
capable
of
:
But
that
which
is
most
remarkable
,
is
,
That
they
never
go
from
the
Theatre
without
carrying
along
with
them
the
Idea
of
the
Persons
represented
;
the
knowledge
of
those
Virtues
and
Vices
,
of
which
they
have
seen
the
Examples
;
their
memory
repeating
continually
to
them
those
Lessons
which
have
been
derived
to
them
,
from
sensible
and
present
Objects
.
Besides
,
in
all
Governments
there
is
a
number
of
idle
People
,
Thus
whether
out
of
the
consideration
of
procuring
that
Joy
and
Content
to
Mankind
,
which
makes
their
greatest
Felicity
,
and
without
which
they
can
relish
no
other
Happiness
;
or
whether
to
shew
the
greatness
of
a
State
,
either
in
Peace
or
War
;
to
inspire
the
People
with
Courage
,
or
to
instruct
them
in
the
knowledge
and
practice
of
Virtue
;
or
lastly
,
to
prevent
Idleness
,
(
one
of
the
greatest
mischiefs
of
a
State
)
Princes
can
never
do
any
thing
more
advantageous
for
their
own
Glory
,
nor
for
their
Peoples
Happiness
,
than
to
found
,
settle
,
and
maintain
at
their
own
Charges
,
publick
Spectacles
,
Games
,
and
other
Diversions
,
in
the
greatest
Order
,
and
the
noblest
Magnificence
that
their
Crown
will
afford
.
And
without
doubt
they
have
always
been
thought
very
important
to
the
very
Political
part
of
the
Government
,
since
the
Philosophy
of
the
Greeks
,
and
the
Majesty
and
Wisdom
of
the
Romans
,
did
equally
concern
their
Magistrates
,
in
making
them
Venerable
,
Noble
,
and
Magnificent
.
They
made
them
Venerable
,
by
Consecrating
them
always
to
some
of
their
Gods
,
and
by
putting
them
under
the
direction
of
their
Chief
Magistrates
;
and
they
were
beyond
measure
Magnificent
,
because
the
Expence
was
allowed
out
of
the
publick
Treasure
;
and
the
liberal
Contributions
of
their
greatest
Men
in
employment
,
who
endeavoured
to
surpass
each
other
in
Magnificence
,
that
they
might
make
the
time
of
their
Administration
more
memorable
.
Very
often
the
Chief
of
the
Nobility
were
at
the
whole
Expence
,
only
to
gain
the
Peoples
Favour
;
and
they
obliged
all
the
Eminent
Artificers
in
all
kinds
,
to
shew
their
Excellency
in
them
:
they
did
use
to
send
to
the
remotest
Nations
for
Men
,
Beasts
,
or
any
Rarity
that
could
increase
the
Pleasure
of
their
Spectacles
;
and
last
of
all
,
they
had
Crowns
for
the
Conquerors
in
all
Exercises
,
and
Statues
for
those
,
who
with
any
extraordinary
Magnificence
had
been
at
the
charge
of
them
.
It
had
been
nevertheless
little
for
these
two
Noble
Nations
to
enjoy
these
Pleasures
alone
,
if
they
had
not
propagated
them
to
all
the
others
of
their
Knowledge
.
The
Greeks
filled
Asia
with
them
,
and
the
Romans
carried
them
all
over
Africa
and
Europe
,
and
after
they
had
Conquered
the
best
part
of
the
known
World
,
to
shew
that
their
Domination
was
Gentle
,
and
not
Tyrannical
;
they
received
the
Gods
,
and
the
Religions
of
all
Nations
into
Rome
,
and
sent
them
the
Games
,
Spectacles
,
and
Diversions
of
that
famous
Capitol
,
to
let
them
see
that
they
had
not
made
War
upon
them
to
oppress
them
,
but
to
increase
their
Happiness
,
by
sharing
their
Felicity
with
them
.
The
Theatre
of
Sardis
in
Asia
,
that
of
Carthage
in
Africa
,
and
those
of
Douay
,
Nismes
,
and
Autun
in
France
,
are
convincing
Testimonies
of
this
,
though
ruinous
ones
;
and
when
Constantine
carried
the
Siege
of
the
Empire
to
the
City
of
his
Name
,
he
made
there
such
publick
Buildings
for
Spectacles
,
as
shewed
he
would
make
it
the
Seat
of
his
Pleasures
,
as
well
as
of
his
Power
.
But
the
Ancients
did
not
only
aim
at
obliging
the
present
Age
with
their
Noble
Structures
,
but
endeavoured
to
endear
Posterity
to
them
,
by
making
of
them
,
as
much
as
in
them
lay
,
immortal
:
Thus
their
Cirques
,
their
Theatres
,
and
Amphitheatres
,
were
built
with
the
most
polish'd
and
lasting
Marble
,
and
with
so
much
Art
,
that
if
any
thing
they
might
resist
the
suppression
of
Time
;
but
alas
!
as
if
man
imprinted
the
Character
of
his
own
Mortality
upon
all
his
Works
,
these
Glorious
Monuments
of
their
greatness
have
yielded
to
the
same
destiny
;
the
Torrent
of
Time
which
overwhelms
and
destroys
all
things
,
has
scarce
left
us
the
Image
of
them
in
some
old
ruines
,
half
demolish'd
.
And
Reason
and
Custom
seem
to
have
join'd
with
Time
in
abolishing
many
of
the
Ancient
Spectacles
.
Those
Bloody
Combats
of
Gladiators
against
each
other
,
and
of
Men
against
Beasts
,
till
certain
Death
followed
,
have
not
been
deriv'd
to
us
,
because
they
are
contrary
to
that
Humanity
which
the
Law
of
the
Gospel
recommends
,
as
the
Foundation
of
Christian
Charity
.
Something
of
that
consideration
made
their
Naumachia's
or
Naval
Battels
in
which
sometimes
,
there
were
fifteen
or
sixteen
thousand
men
engag'd
,
be
left
of
;
but
indeed
the
Expence
of
that
was
such
,
as
nothing
but
the
Roman
Empire
could
ever
furnish
.
The
Courses
of
their
Chariots
,
and
the
Races
of
their
Horses
,
with
the
other
Games
of
the
Cirque
,
have
been
neglected
as
useless
.
And
the
running
at
the
Ring
in
Turnaments
,
and
fighting
on
Foot
at
the
Barriere
,
which
succeeded
them
in
our
Ancestors
Days
,
have
been
likewise
laid
aside
;
Lances
being
as
little
in
use
with
us
in
War
,
as
Chariots
:
For
as
to
the
Courses
of
Bulls
and
Horses
,
which
yet
remain
in
Italy
,
they
are
rather
to
be
numbred
among
the
ridiculous
Sights
of
our
Age
,
than
compared
to
the
Spectacles
of
the
Ancients
.
The
Javelin
is
of
little
use
neither
;
and
therefore
▪
we
have
neglected
the
Art
of
throwing
it
with
slight
in
War
.
The
Discus
or
Coite
is
onely
a
diversion
of
the
meaner
sort
of
People
.
Tennis
,
or
Playing
at
Balls
,
which
the
Ancients
called
Sphaeromachia
,
has
nothing
of
its
first
manner
and
glory
,
but
is
so
chang'd
as
hardly
to
be
known
,
and
there
being
no
Crowns
nor
Rewards
for
the
Actors
,
As
for
Wrastlers
,
they
are
in
some
of
our
Provinces
,
but
very
few
:
First
,
because
it
is
against
the
Rules
of
Modesty
to
see
not
only
Men
,
but
Women
naked
,
try
their
Strength
and
Skill
against
one
another
,
(
for
so
both
Sexes
did
formerly
)
but
now
the
Women
are
banish'd
from
that
Immodest
Exercise
:
And
besides
there
was
a
necessity
of
being
Dieted
,
and
living
up
to
the
strictness
of
certain
Rules
of
Health
,
which
has
made
it
be
forsaken
;
and
having
nothing
Noble
left
in
it
,
is
onely
become
the
Diversion
of
the
meaner
sort
.
The
same
thing
has
befallen
the
Amphitheatres
,
Bonfires
and
Fireworks
have
had
a
better
destiny
;
for
if
ours
do
not
observe
that
Order
and
Art
which
the
Ancients
did
in
theirs
,
they
are
not
at
all
Inferiour
to
them
in
Magnificence
.
I
may
say
the
same
of
our
Balls
and
Balets
,
of
which
we
have
happily
maintained
the
Splendour
,
though
our
way
of
Dancing
has
nothing
in
it
like
that
of
the
Greeks
and
Romans
:
But
still
those
which
we
have
seen
at
Paris
,
and
which
have
deserved
the
Admiration
and
Applause
of
the
two
greatest
Kings
in
Europe
,
and
of
their
Courts
;
these
Balets
,
I
say
,
in
which
twice
the
whole
Machine
of
this
World
,
the
Heavens
,
the
Sea
,
the
Earth
,
and
Hell
the
bottom
of
it
,
were
represented
,
surpass
in
my
Opinion
any
thing
that
we
can
by
reading
observe
of
that
kind
among
the
Ancients
.
As
for
the
Theatre
,
or
Stage
,
it
has
not
been
much
happier
than
the
Cirque
.
For
not
to
speak
of
those
other
Diversions
which
were
given
the
People
in
it
,
the
Art
of
composing
Drammatick
Poems
,
and
representing
of
them
,
seems
to
have
had
the
same
Destiny
with
those
Famous
Structures
where
they
were
Acted
.
It
has
lain
long
buried
with
the
Ruines
of
Athens
and
Rome
:
And
when
at
last
it
was
restor'd
in
some
small
measure
amongst
us
,
it
still
appear'd
like
a
Carcass
taken
out
of
the
Grave
,
without
any
Shape
or
Vigour
.
All
the
first
Pieces
of
the
Stage
were
without
either
Art
or
Learning
,
or
any
other
Ornament
than
that
of
Novelty
;
the
Composition
was
without
Skill
,
and
the
Verses
without
any
Politeness
;
the
Actours
no
waies
understood
their
business
,
and
the
whole
Representation
was
defective
all
over
;
insomuch
that
they
had
not
a
painted
Cloth
to
hide
those
who
were
to
go
off
the
Stage
;
but
they
were
reputed
absent
who
did
not
present
themselves
to
speak
.
'T
is
true
,
It
was
to
please
him
that
I
Compil'd
this
Practice
of
the
Stage
,
which
he
most
passionately
had
wish'd
for
;
in
hopes
it
would
ease
our
Poets
of
the
great
labour
,
they
must
else
have
undergone
,
if
with
great
Expence
of
Time
they
would
have
collected
these
Observations
,
which
I
have
made
ready
for
them
,
out
of
the
different
Authors
,
and
from
nice
and
accurate
Remarks
on
the
Stage
it self
.
It
was
likewise
by
his
Order
,
that
I
made
a
Project
of
restoring
the
French
Theatre
to
the
Splendour
of
that
of
the
Ancients
,
and
what
Remedies
were
to
be
used
against
all
our
Impediments
.
He
had
conceiv'd
such
hopes
of
succeeding
in
this
design
,
that
he
made
me
treat
to
the
whole
extent
of
the
matter
,
upon
that
which
I
had
first
but
summarily
touch'd
,
and
was
resolv'd
to
employ
all
his
Power
and
Liberality
in
compassing
this
Noble
Enterprise
.
The
Death
of
that
great
man
made
those
two
Works
miscarry
,
but
here
is
the
first
,
which
as
it
is
I
give
to
the
publick
,
upon
the
sollicitation
of
my
Friends
.
As
for
the
second
,
I
shall
only
Communicate
to
the
World
the
Project
of
it
,
it
not
being
proper
to
Expose
any
more
of
it
,
since
there
were
not
above
five
or
seven
Chapters
of
it
Writ
,
which
are
imperfect
too
,
and
out
of
Order
.
CHAP.
II.
The
Design
of
the
whole
Work
.
THE
Glory
to
which
the
French
Theatre
is
arriv'd
,
may
perhaps
make
some
think
that
this
Discourse
is
useless
,
since
our
Poets
,
having
given
to
the
World
so
many
compleat
Poems
,
with
a
general
Approbation
,
may
be
thought
to
be
above
those
Instructions
,
which
seem
to
be
the
Remedy
for
Faults
to
which
they
are
no
longer
subject
;
I
will
not
therefore
be
guilty
of
so
great
a
Vanity
,
as
to
say
that
the
Scope
of
this
Work
is
to
inform
them
of
things
which
we
see
they
Practice
every
day
with
success
,
but
it
is
to
let
the
World
know
the
Excellency
of
their
Art
,
and
to
give
People
subject
to
admire
them
so
much
the
more
,
in
shewing
what
Learning
,
Invention
,
Abilities
,
and
Care
there
are
requir'd
to
finish
those
Poems
▪
which
make
one
of
the
greatest
of
our
Pleasures
,
while
they
only
give
the
Players
the
Trouble
of
reciting
them
.
And
in
this
I
shall
not
onely
raise
the
Fame
of
our
Poets
,
but
contribute
considerably
to
encrease
the
Pleasure
we
take
in
seeing
and
reading
their
Works
:
For
it
is
natural
to
every
body
to
relish
any
agreeable
object
so
Much
the
more
,
by
how
much
they
are
capable
of
discovering
the
Reasons
that
render
it
agreeable
;
and
as
we
have
more
Value
for
Precious
Stones
,
when
besides
their
noble
natural
Qualities
,
we
consider
to
what
dangers
they
expose
themselves
,
who
bring
them
from
the
remotest
Parts
of
the
Earth
;
so
I
think
we
shall
feel
so
much
the
more
admiration
and
joy
in
the
Representation
of
Theatral
Diversions
,
if
by
the
knowledge
of
the
Rules
of
the
Art
we
are
able
to
penetrate
all
the
Beauties
of
them
,
and
to
consider
what
Meditations
,
Pains
,
and
Study
they
have
cost
to
be
brought
to
that
Perfection
.
So
noble
and
so
vast
a
design
requir'd
,
I
confess
,
a
Genius
much
superior
to
mine
,
and
a
Body
more
capable
of
supporting
the
Fatigue
of
study
and
application
.
But
I
think
that
this
being
rather
a
Summary
,
than
a
compleat
Treatise
,
and
as
it
were
rather
a
Collection
of
my
own
Observations
,
than
a
profound
Dissertation
,
full
of
knotty
Disputes
and
Contestations
with
our
modern
Authors
,
whose
Opinions
are
it
may
be
more
reasonable
than
mine
,
I
may
be
the
easilier
Excused
.
All
that
will
be
seen
here
is
but
the
Compendium
of
those
Matters
which
I
had
once
resolv'd
to
treat
at
large
,
if
many
Considerations
had
not
taken
from
me
both
the
desire
and
power
of
performing
it
:
If
by
chance
it
be
observ'd
,
that
some
Places
are
touch'd
with
more
Strength
,
and
better
Finish'd
than
others
,
it
is
because
I
deliver'd
these
Memories
to
my
Friends
as
they
were
,
unequal
and
unpolish'd
,
according
to
those
Heats
and
Colds
which
accompany
all
Writers
,
who
following
the
first
ardour
of
their
Projects
,
do
not
review
with
Care
the
whole
Product
of
their
Endeavours
.
If
any
thing
appear
reasonable
and
pleasing
,
that
will
be
enough
to
hinder
me
from
repenting
the
reprieve
I
have
given
my
Book
from
those
Flames
to
which
I
had
once
resolutely
Condemn'd
it
;
and
at
least
,
though
my
matter
and
Order
be
not
approv'd
,
yet
some
one
more
laborious
,
finding
the
way
open
,
and
having
the
Assistance
of
some
Illustrious
Protectour
,
will
pursue
to
the
utmost
Perfection
that
which
I
have
but
hinted
,
and
as
it
were
slightly
imagin'd
.
CHAP.
III.
What
is
to
be
understood
by
the
Art
of
the
Stage
.
IT
may
seem
very
rash
,
or
at
least
superfluous
,
to
treat
of
Poetry
,
after
that
so
many
Authors
both
Ancient
and
modern
have
given
us
Books
upon
that
Subject
,
full
of
Learning
;
and
more
particularly
have
taken
Pains
to
make
Observations
upon
Drammatick
Poetry
,
as
being
the
most
agreeable
,
and
yet
the
hardest
to
succeed
in
.
But
if
we
may
believe
,
with
Seneca
,
that
all
Truths
have
not
been
yet
spoken
,
we
may
assure
it
in
the
Subject
which
I
undertake
;
for
all
I
have
seen
yet
that
concerns
the
Stage
,
contains
only
the
general
Maximes
of
Drammatick
Poetry
,
which
is
properly
the
Theory
of
the
Art
;
but
as
for
the
Practice
and
Application
of
those
Instructions
,
I
never
met
with
any
thing
of
that
kind
hitherto
;
all
the
Discourses
that
are
upon
that
Subject
,
being
only
Paraphrases
and
Commentaries
upon
Aristotle
,
with
great
obscurity
and
little
Novelty
.
I
do
not
pretend
here
to
trouble
my self
about
satisfying
the
Criticisms
of
Grammarians
,
or
the
Scruples
of
Logicians
,
who
it
may
be
will
nor
freely
admit
of
this
distinction
in
an
Art
,
whose
Rules
seem
all
to
tend
to
practice
:
I
am
sure
all
the
rational
and
polite
Learning
will
not
oppose
me
in
it
,
since
't
is
natural
in
all
Arts
to
distinguish
the
knowledge
of
the
Maxims
,
and
the
Use
of
them
;
besides
that
in
the
Execution
of
all
general
Rules
,
there
are
observations
to
be
made
,
of
which
there
is
no
mention
,
when
one
teaches
only
the
Theory
,
and
which
nevertheless
are
of
great
importance
.
Thus
Architecture
teacheth
the
beauty
and
symmetry
of
Buildings
,
their
noble
Proportions
,
and
all
the
rest
of
their
magnificent
Appearance
,
but
does
not
descend
to
express
a
thousand
necessary
Contrivances
,
of
which
the
Master
of
the
House
is
to
take
care
,
when
he
puts
his
hand
to
the
Work
.
If
the
Art
of
playing
upon
the
Lute
were
reduc'd
into
Rules
,
it
could
teach
onely
geneal
things
,
as
the
number
of
the
strings
and
touches
,
the
manner
of
making
the
Accords
,
the
measures
,
passages
,
quavers
,
&c.
but
still
one
would
be
forc'd
to
have
recourse
to
the
Master
himself
,
to
learn
,
in
the
Execution
of
all
this
▪
the
nicest
way
of
touching
the
strings
,
the
changing
of
the
measures
,
the
most
graceful
way
how
to
give
a
good
motion
to
ones
playing
,
and
many
more
particulars
,
which
could
not
well
be
committed
to
writing
,
and
so
must
either
be
negelcted
or
learned
of
the
Masters
themselves
.
The
same
thing
has
happened
to
the
Stage
.
There
has
been
ample
Treatises
of
Drammatick
Poems
,
the
original
of
them
,
their
progress
,
definition
,
species
,
the
unity
of
action
,
measure
of
time
,
the
beauty
of
their
contrivance
,
the
thoughts
,
manners
,
language
,
which
is
fittest
for
them
,
and
many
other
such
matters
,
but
only
in
general
;
and
that
I
call
the
Theory
of
the
Stage
;
but
for
the
Observations
to
be
made
upon
those
general
Rules
,
as
how
to
prepare
the
Incidents
,
to
unite
times
and
places
;
the
continuity
of
the
Theatral
Action
,
the
Connexion
of
the
Scenes
,
the
intervals
of
the
Acts
,
and
a
thousand
other
particulars
,
of
which
there
is
nothing
left
in
Antiquity
,
of
which
all
the
Moderns
have
said
so
little
,
that
it
is
next
to
nothing
;
all
this
,
I
say
,
is
that
which
I
call
the
Art
or
Practice
of
the
Stage
.
As
for
the
Ancients
,
if
they
have
writ
nothing
about
it
,
as
to
the
practical
part
,
it
is
because
that
perhaps
in
their
time
it
was
so
common
,
that
they
could
not
believe
any
body
capable
of
not
knowing
it
;
and
indeed
if
one
look
into
their
works
,
and
make
but
the
least
reflection
upon
the
Art
they
use
,
one
may
perceive
it
almost
every
where
.
But
for
the
Moderns
;
they
for
the
most
part
have
been
entirely
ignorant
of
it
,
because
they
have
neglected
the
reading
the
Poems
of
those
great
Masters
;
or
if
they
have
read
them
,
it
was
without
taking
notice
of
the
nicest
beauties
with
which
they
are
adorn'd
;
therefore
it
must
be
set
down
for
a
Maxime
out
of
contest
,
that
't
is
impossible
to
understand
Drammatick
Poetry
without
the
help
of
the
Ancients
,
and
a
thorough
meditation
upon
their
Works
.
CHAP.
IV.
Of
the
Rules
of
the
Ancients
.
I
was
,
I
must
confess
,
extremely
surpriz'd
some
years
ago
,
to
see
some
Plays
in
great
esteem
both
in
Paris
,
and
at
Court
,
in
which
there
was
scarce
a
Scene
,
that
did
not
in
some
measure
offend
the
Rules
of
Decency
and
Probability
;
but
I
was
much
more
astonish'd
,
when
going
about
to
say
something
of
those
Rules
,
and
to
Explain
the
ways
how
to
observe
them
,
I
was
taken
for
an
Hypochondriack
,
who
had
strange
singular
fancies
of
his
own
,
of
things
that
never
were
,
nor
could
be
.
All
the
Rules
of
the
Ancients
,
by
which
I
pretended
Poets
were
to
be
guided
in
the
conduct
of
their
Plays
,
were
look'd
upon
as
dangerous
innovations
,
like
those
in
Government
,
or
in
Religion
.
There
was
no
asking
,
what
time
the
action
represented
took
up
,
and
in
what
place
the
things
expos'd
to
our
view
were
suppos'd
to
be
perform'd
,
nor
how
many
Acts
a
Play
had
?
I
was
answer'd
presently
,
that
the
Play
had
lasted
three
hours
,
that
the
Action
had
been
all
upon
the
Stage
,
and
that
the
Fiddles
had
mark'd
the
Intervals
of
the
Acts
;
in
a
word
,
't
was
enough
to
please
,
to
have
the
name
of
Commedy
given
to
a
great
many
Verses
put
together
,
and
recited
upon
the
Stage
.
But
at
last
having
grown
acquainted
with
some
of
the
learned
men
of
our
Age
,
I
found
amongst
them
many
very
well
acquainted
with
the
Art
of
the
Stage
,
particularly
in
the
Theory
and
the
Maxims
of
Aristotle
,
and
some
too
,
who
did
apply
themselves
to
the
consideration
of
the
Practical
part
.
All
these
were
of
my
opinion
,
and
condemning
the
voluntary
blindness
of
our
times
,
did
extremly
help
me
to
confound
the
stubbornness
of
those
,
who
refus'd
to
yield
to
Reason
.
Thus
by
little
and
little
the
face
of
the
Theatre
has
been
entirely
changed
,
and
is
at
last
come
to
that
perfection
,
that
one
of
our
most
celebrated
Authors
has
publickly
confess'd
,
and
that
often
,
that
in
looking
over
some
of
his
own
Plays
,
which
had
been
acted
with
great
approbation
of
the
Town
,
about
ten
or
twelve
years
ago
,
that
he
was
much
asham'd
of
himself
,
and
did
extremly
,
pity
those
who
had
applauded
him
.
I
have
nevertheless
had
the
misfortune
to
incur
the
disgrace
of
some
little
Authors
,
who
having
neither
Genius
,
nor
Learning
enough
,
to
come
up
to
these
Rules
in
the
excellency
which
they
propounded
,
sided
with
part
of
the
Players
,
to
run
me
down
.
As
for
these
latter
,
their
design
being
only
to
gain
by
their
Profession
,
and
not
to
excel
in
it
,
they
thought
that
the
strictness
and
severity
of
these
Rules
would
frighten
all
the
young
Authors
,
and
deter
them
from
writing
;
by
which
means
they
thought
themselves
in
danger
of
being
forc'd
to
leave
the
Stage
,
to
seek
for
some
other
Employment
,
for
want
of
new
Plays
:
but
the
Event
has
confounded
this
piece
of
Ignorance
,
for
there
were
never
seen
more
Drammatick
Poems
,
nor
more
agreeable
ones
,
than
since
;
although
we
have
not
for
Actours
such
as
Valeran
,
Veautray
,
and
Mondory
were
.
But
yet
since
some
persons
of
Judgment
,
for
want
of
being
well
vers'd
in
Antiquity
,
have
endeavour'd
with
some
appearance
of
Reason
to
maintain
the
errours
of
our
Age
,
I
think
my self
oblig'd
to
answer
their
scruples
,
and
to
satisfie
a
great
number
,
who
yet
seem
unwilling
to
be
undeceiv'd
.
Therefore
here
are
five
Objections
which
have
been
ordinarily
made
to
me
,
against
the
Rules
of
the
Ancients
.
First
,
That
we
are
not
to
make
Laws
to
our selves
from
Custom
and
Example
,
but
from
Reason
;
which
ought
to
prevail
over
any
Authority
.
Secondly
,
That
the
Ancients
themselves
have
often
violated
their
own
Rules
.
Thirdly
,
That
divers
Poems
of
the
Ancients
had
been
translated
,
and
acted
upon
our
Stage
with
very
ill
success
.
Fourthly
,
That
divers
of
our
modern
Plays
,
though
quite
contrary
to
these
Rules
,
had
been
acted
with
great
applause
.
And
last
of
all
,
That
if
these
rigorous
Maxims
should
be
followed
,
we
should
very
often
lose
the
greatest
beauty
of
all
true
Stories
.
Their
Incidents
having
most
commonly
happened
at
different
times
,
and
in
different
places
As
to
the
first
Objection
;
I
answer
,
That
the
Rules
of
the
State
are
not
founded
upon
Authority
,
but
upon
Reason
;
they
are
not
so
much
settled
by
Example
,
as
by
the
natural
judgment
of
Mankind
;
and
if
we
call
them
the
Rules
and
the
Art
of
the
Ancients
,
't
is
only
because
They
have
practis'd
them
with
great
regularity
,
and
much
to
their
Glory
;
having
first
made
many
Observations
upon
the
Nature
of
Moral
Actions
,
and
upon
the
probability
of
Humane
Accidents
in
this
life
,
and
thereby
drawing
the
Pictures
after
the
truth
of
the
Original
,
and
observing
all
due
circumstances
,
they
reduc'd
to
an
Art
this
kind
of
Poem
,
whose
Progress
was
very
slow
,
though
it
were
much
in
use
among
them
,
and
much
admir'd
all
the
world
over
.
But
however
I
am
very
sparing
of
citing
their
Poems
,
and
when
I
do
it
,
it
is
only
to
shew
with
what
agreeable
Artifice
they
kept
to
these
Rules
,
and
not
to
buoy
up
my
opinion
by
their
Authority
.
As
for
the
second
Objection
,
it
seems
not
considerable
;
I
must
not
omit
,
for
the
Glory
of
the
Ancients
,
that
if
they
have
sometimes
violated
the
Art
of
Drammatick
Poems
,
they
have
done
it
for
some
more
powerful
and
inducing
Reason
,
than
all
the
Interest
of
the
Play
could
amount
to
.
As
for
Example
,
Euripides
,
in
the
Suppliants
,
has
preferr'd
the
glory
of
his
Country
to
that
of
his
Art
,
of
which
I
have
spoken
elsewhere
.
The
third
Objection
has
no
force
,
but
in
the
Ignorance
of
those
that
alledge
it
.
For
if
some
Poems
of
the
Ancients
,
and
even
those
which
were
most
in
Esteem
with
them
,
have
not
succeeded
upon
our
Stage
,
the
Subject
,
and
not
the
want
of
Art
,
has
been
the
cause
of
it
;
And
sometimes
likewise
the
Changes
made
by
the
Translators
,
which
destroyed
all
the
Graces
of
the
Original
:
They
have
added
improbable
Scenes
between
Princes
,
and
have
shew'd
out
of
time
that
which
the
Ancients
had
carefully
conceal'd
with
Art
;
and
very
often
changed
a
fine
Relation
,
into
an
impertinent
ridiculous
Spectacle
.
But
That
which
is
more
worthy
our
consideration
,
is
,
that
there
were
certain
Stories
,
fitted
for
the
Stage
of
Athens
with
great
Ornaments
,
which
would
be
in
abomination
upon
Ours
:
For
Example
,
the
Story
of
Thy●stes
;
so
that
we
may
say
,
that
either
the
Moderns
have
corrupted
the
Ancients
,
by
changing
their
whole
Oeconomy
,
or
the
Imperfection
of
the
Matter
stifled
the
excellency
of
the
Art
.
To
destroy
the
4th
Objection
,
we
need
only
to
remember
,
that
those
Plays
of
ours
,
which
took
with
the
people
,
and
with
the
Court
,
were
not
lik'd
in
all
their
parts
;
but
only
in
those
things
which
were
reasonable
,
and
in
which
they
were
conformable
to
the
Rules
:
When
there
were
any
passionate
Scenes
,
they
were
prais'd
;
and
when
there
was
any
great
Appearance
or
noble
Spectacle
,
it
was
esteem'd
;
and
if
some
notable
Event
was
well
manag'd
,
there
was
great
satisfaction
shewn
;
but
if
in
the
rest
of
the
Play
,
or
even
in
these
beauties
of
it
,
any
irregularities
were
discover'd
,
or
any
fault
against
Probability
and
Decency
,
either
in
the
persons
,
time
,
or
place
,
or
as
to
the
state
of
the
things
represented
,
they
were
condemned
as
Faults
.
And
all
the
favour
that
was
shewed
the
Poet
,
was
,
that
out
of
the
desire
of
preserving
what
was
fine
,
the
Spectatours
were
somewhat
more
indulgent
to
what
was
amiss
.
Therefore
that
success
so
much
bragg'd
on
,
is
so
far
from
contradicting
the
Rules
of
the
Stage
,
that
quite
contrary
it
establishes
their
Authority
.
For
these
Rules
being
nothing
but
an
Art
to
cause
the
finest
Incidents
to
please
with
decency
and
probability
,
it
sufficiently
appears
how
necessary
they
are
,
since
by
common
consent
,
all
that
comes
up
to
them
is
approved
of
,
and
all
that
varies
from
them
is
in
some
measure
condemn'd
.
Examples
would
extremely
illustrate
this
truth
,
if
I
were
not
afraid
to
anger
some
of
our
Poets
,
by
instructing
the
others
at
their
cost
.
The
5th
Objection
is
absolutely
ridiculous
.
For
the
Rules
of
the
Stage
do
not
at
all
reject
the
most
notable
Incidents
of
any
Story
,
but
they
furnish
us
with
Inventions
,
how
so
to
adjust
the
Circumstances
of
the
Action
,
Time
,
and
Place
,
as
not
to
go
against
all
probable
appearance
,
and
yet
not
to
represent
them
always
as
they
are
in
Story
,
but
such
as
they
ought
to
be
,
to
have
nothing
but
what
's
agreeable
in
them
.
'T
is
That
then
that
we
are
to
seek
,
and
of
which
in
the
following
Discourse
I
shall
communicate
my
Thoughts
.
CHAP.
V.
How
they
ought
to
Instruct
themselves
,
who
intend
to
write
a
Drammatick
Poem
.
IN
the
Universities
,
the
Drammatick
Poets
,
as
well
as
others
,
are
given
to
young
Scholars
to
read
and
study
,
and
they
affording
great
variety
by
moral
Sentences
,
of
which
they
are
full
,
and
by
the
Dialogues
of
different
persons
contesting
with
passion
,
as
also
by
the
imagination
of
those
Machines
,
which
one
must
necessarily
suppose
to
have
been
employed
in
the
representation
of
them
;
to
which
may
be
added
the
sudden
Turns
and
Events
of
the
Stage
,
they
cannot
but
procure
an
Extrem
delight
to
these
young
Students
,
and
make
a
strong
impression
in
their
minds
;
and
though
the
whole
,
it
may
be
,
is
both
ill
explain'd
by
those
that
Instruct
them
,
and
as
ill
understood
by
Them
;
yet
they
have
infinite
satisfaction
in
the
thing
.
It
may
be
after
this
,
they
see
some
Play
compos'd
by
their
Master
,
and
acted
in
the
same
Schools
;
and
though
that
be
done
by
very
ill
Actors
,
and
carry
with
it
in
all
its
circumstances
the
true
Character
of
pedantry
,
nevertheless
this
is
perform'd
with
so
much
noise
,
bustle
,
and
preparation
,
that
they
conceive
a
mighty
Idea
of
it
,
having
seen
nothing
better
,
and
being
incapable
of
finding
out
the
faults
of
the
piece
.
If
then
there
happens
to
be
amongst
these
Youths
a
fiery
Lad
with
Fancy
,
and
some
Inclination
to
Poetry
,
finding
himself
at
leisure
to
employ
his
parts
his
own
way
,
he
fixes
upon
Drammatick
Poetry
;
and
out
comes
a
piece
of
his
.
To
make
which
he
generally
follows
this
method
;
he
pitches
upon
some
story
that
pleases
him
,
without
considering
,
whether
it
be
fit
for
the
Scene
or
no
,
or
ever
reflecting
what
is
to
be
avoided
in
it
,
or
what
Ornaments
may
be
added
;
he
is
resolv'd
to
hide
under
the
Curtain
any
thing
that
shall
incommode
him
,
to
put
France
at
one
corner
of
the
Stage
,
Turkey
at
the
other
,
and
Spain
in
the
middle
,
his
Actours
shall
be
sometimes
in
the
Louvre
,
then
in
a
Wood
,
or
High-way
,
and
then
in
a
Garden
full
of
Flowers
,
and
no
body
knows
how
they
came
there
;
and
if
any
body
is
to
pass
by
Sea
from
Denmark
to
France
,
't
is
done
with
the
drawing
of
a
Scene
.
Having
thus
fill'd
every
thing
with
ridiculous
Imaginations
,
and
things
opposite
to
all
probability
,
he
makes
his
first
Scene
;
which
he
was
no
sooner
done
,
but
finding
himself
at
a
stand
,
he
repairs
to
some
of
the
Theatres
,
to
see
if
he
can
steal
any
Invention
from
them
,
that
shall
please
him
.
Then
he
gets
into
the
company
of
some
celebrated
Poet
or
Critick
,
and
from
them
he
is
supplyed
with
some
new
thought
,
or
passionate
incident
,
or
some
slight
of
the
Art
,
which
he
immediatly
employes
quite
contrary
,
and
out
of
all
time
;
and
having
thus
with
the
help
of
some
Songs
and
Elegies
,
made
formerly
for
Cloris
,
muster'd
up
three
or
four
hundred
Verses
,
he
resolves
to
call
it
an
Act.
Thus
going
on
in
the
same
method
,
he
gets
to
the
death
or
marriage
of
some
Prince
,
and
then
't
is
privately
whisper'd
among
his
Friends
,
that
he
has
made
a
very
pretty
Play
:
The
Ladies
desire
to
see
it
,
and
't
is
by
the
Author
red
to
them
in
secret
,
they
are
charmed
with
some
Florid
Expressions
,
or
smart
Repartees
,
and
call
in
the
Gentlemen
of
their
acquaintance
to
hear
it
.
Every
body
applauds
and
flatters
the
Author
,
reserving
to
themselves
the
privilege
of
laughing
at
him
,
as
soon
as
his
back
's
turn'd
;
and
in
short
,
he
acquires
thus
the
honourable
title
of
a
Poet.
Without
doubt
,
In
the
first
place
,
let
our
Poet
suppress
all
those
impetuous
desires
of
glory
and
applause
,
Hieronymus
Vida
,
Heinsius
,
Vossius
,
la
Menardiere
,
and
a
great
many
more
;
and
let
him
remember
,
that
Scaliger
alone
says
more
than
all
the
rest
;
but
he
must
not
lose
a
word
in
him
,
for
all
his
words
are
of
weight
and
importance
.
As
for
the
book
of
Boulenger
,
he
must
value
him
only
for
his
Collection
of
Passages
out
of
other
Authors
,
and
not
mind
the
Consequences
he
draws
from
them
;
for
I
believe
for
my
part
that
the
things
he
has
writ
,
came
into
his
head
just
as
he
was
writing
them
,
and
without
any
precedent
Meditation
.
I
add
to
these
Authors
Plutarch
,
Athenaeus
,
and
Lilius
Giraldus
,
who
all
in
many
places
have
touch'd
the
chief
Maxims
of
the
Stage
;
in
a
word
,
he
must
not
let
slip
any
thing
of
the
Ancients
,
without
examining
every
period
of
them
;
for
very
often
a
word
thrown
out
by
the
by
,
and
out
of
the
subject
of
the
Stage
,
contains
in
their
books
some
important
secret
,
and
the
resolution
of
some
great
difficulty
.
Having
thus
studied
the
Theory
,
he
must
read
all
the
Greek
and
Latin
Drammatick
Poems
,
which
by
good
fortune
have
been
preserv'd
to
our
times
,
as
likewise
their
old
Scholiasts
or
Commentators
,
but
still
take
the
liberty
to
examin
them
impartially
,
for
they
are
subject
to
a
great
many
Errours
,
and
delight
in
false
and
vain
subtleties
of
no
use
at
all
;
and
all
along
one
must
be
sure
to
make
constant
reflexions
,
and
examine
why
a
Poet
has
rather
done
one
thing
than
another
,
and
he
may
observe
that
often
a
word
ingeniously
cast
out
by
an
Actour
,
to
prepare
some
Incident
,
or
to
explain
the
Circumstances
of
place
or
time
,
is
not
a
thing
slightly
to
be
pass'd
over
;
and
if
after
all
,
I
durst
be
so
vain
,
as
to
make
one
amongst
his
Masters
,
I
could
wish
he
would
join
the
Precepts
of
this
practical
part
of
the
Art
,
to
what
he
may
discover
in
the
Ancient
or
Modern
Poets
;
for
though
I
cannot
brag
of
giving
him
considerable
and
important
succours
in
his
Design
,
yet
I
am
sure
I
shall
not
be
useless
or
incommodious
to
him
,
and
though
it
should
appear
that
I
am
mistaken
,
yet
I
am
sure
he
will
thank
me
for
the
very
means
I
afford
him
of
instructing
himself
better
.
Our
Poet
having
thus
acquir'd
a
perfect
Notion
of
the
Art
of
the
Stage
,
may
much
more
certainly
,
and
with
greater
success
undertake
some
noble
design
.
As
for
me
,
without
repeating
here
what
may
be
learnt
in
Aristotle
,
and
his
Interpreters
,
both
Ancient
and
Modern
,
I
will
only
endeavour
to
treat
of
new
matters
,
or
at
least
to
give
new
Instructions
upon
those
things
,
which
have
been
treated
of
by
others
.
CHAP.
VI.
Of
the
Spectators
,
and
how
they
are
to
be
considered
by
the
Poet.
MY
Intention
is
not
here
to
teach
the
Spectators
of
a
Play
,
the
attention
that
they
ought
to
have
,
nor
the
silence
that
they
ought
to
keep
,
no
more
than
the
caution
they
ought
to
observe
in
judging
of
the
Play
;
nor
what
they
should
do
to
avoid
those
Errours
which
Complaisance
,
or
a
Prejudice
against
the
Author
,
often
runs
them
into
;
though
all
this
might
be
usefully
enough
,
and
to
good
purpose
,
treated
of
here
.
But
I
onely
mention
the
Spectators
in
reference
to
the
Poet
,
that
is
,
how
he
ought
to
consider
them
when
he
is
making
a
Play
.
I
borrow
here
the
Comparison
of
a
Picture
,
of
which
I
shall
often
make
use
in
this
Treatise
;
and
I
say
that
my
Picture
may
be
considered
two
ways
.
First
,
as
a
Picture
;
that
is
,
as
the
work
of
the
Artist
;
where
there
are
Colours
,
and
not
real
things
;
shadows
,
and
not
substances
;
artificial
lights
,
false
elevations
,
prospective
distances
,
or
lontananzas
,
deceiving
shortnings
;
and
in
a
word
,
appearances
of
things
that
really
are
not
in
the
Picture
.
Secondly
,
It
may
be
consider'd
as
containing
a
Story
painted
,
whether
a
true
one
,
or
suppos'd
to
be
so
;
whereof
the
Place
is
certain
,
the
Qualities
natural
,
the
Actions
undoubtedly
true
,
and
all
the
Circumstances
of
them
observ'd
according
to
order
and
reason
.
This
may
be
all
applyed
to
Drammatick
Poems
:
One
may
at
first
consider
the
Shew
and
Representation
of
things
,
where
Art
gives
you
Images
of
them
which
really
are
not
.
There
are
Princes
in
appearance
;
Palaces
upon
painted
cloth
,
dead
men
in
shew
;
and
't
is
for
this
that
the
Actors
carry
all
the
Marks
of
those
whom
they
represent
.
The
Decoration
of
the
Stage
,
is
the
Image
of
those
places
where
the
thing
is
suppos'd
to
be
transacted
.
There
are
Spectators
,
and
the
persons
that
appear
upon
the
Stage
talk
in
the
Mother
Tongue
of
the
Audience
,
all
things
being
to
be
made
sensible
and
plain
to
them
.
'T
is
to
arrive
to
this
Representation
of
the
thing
,
that
the
Poet
causes
sometimes
one
,
sometimes
another
Actor
to
appear
,
and
discourse
upon
the
Stage
:
making
recitals
of
things
that
ought
to
be
known
,
and
yet
ought
not
to
appear
;
and
Employing
Machines
,
and
other
Contrivances
,
for
the
appearance
of
those
things
which
are
to
be
shew'd
to
the
Audience
.
Thus
Eschylus
makes
the
Palace
of
Clytemnestra
open
,
that
the
bodyof
Agamenon
may
be
seen
upon
the
Step
of
the
inward
door
,
where
a
dead
man
lies
along
upon
the
Threshold
.
In
Ajax
,
Tecmessa
opens
his
Tent
to
shew
his
madness
,
by
the
number
of
the
dead
sheep
which
lye
round
about
him
.
In
Euripides
,
Hecuba
swouns
away
upon
the
Stage
,
to
express
the
greatness
of
her
Misery
:
And
in
Plautus
,
the
Captives
express
their
condition
of
slavery
,
by
being
bound
,
and
having
an
appearance
of
Guards
about
them
;
and
after
this
the
discourses
made
by
the
Actors
,
upon
these
different
Appearances
,
perfect
the
Representation
.
Or
else
we
may
consider
in
these
Dramatick
Poems
,
the
true
History
,
or
that
which
is
supposed
true
,
and
of
which
all
the
Adventures
have
really
come
to
pass
,
in
that
order
,
time
,
and
place
,
and
according
to
those
Intrigues
which
appear
to
us
.
The
persons
are
there
consider'd
according
to
their
different
Characters
,
of
their
Condition
,
Age
and
Sex
;
and
the
things
they
say
,
as
having
been
really
pronounced
by
them
,
as
well
as
perform'd
in
their
actions
;
and
in
a
word
,
all
things
as
we
see
them
upon
the
Stage
.
I
know
very
well
that
the
Poet
is
the
Master
,
and
that
he
disposes
the
order
of
his
Poem
as
he
thinks
fit
;
taking
the
time
,
which
he
lengthens
or
shortens
as
he
pleases
;
chusing
likewise
what
place
he
will
in
the
whole
world
;
and
for
the
Plot
he
Invents
it
according
to
the
strength
and
fineness
of
his
own
fancy
;
and
in
a
word
,
he
gives
what
form
he
pleases
to
the
matter
he
has
in
hand
;
but
still
't
is
certain
,
that
all
these
things
must
be
so
adjusted
,
as
to
seem
to
have
naturally
both
the
rise
,
progress
,
and
end
which
he
gives
them
;
so
that
though
he
be
the
Author
,
yet
he
must
write
the
whole
with
such
Art
,
that
it
may
not
so
much
as
appear
that
it
was
by
him
Invented
.
So
in
Eschylus's
Tragedie
of
Agamemnon
,
all
things
appear
as
if
really
Agamemnon
had
been
murder'd
;
and
in
Sophocles
,
as
if
Ajax
were
really
furious
;
and
so
of
all
the
other
Pieces
of
the
Ancients
.
And
likewise
when
we
judge
of
any
Play
on
our
Stage
,
we
suppose
the
thing
either
true
,
or
that
ought
to
be
so
,
and
might
be
so
;
and
upon
that
supposition
we
approve
of
all
the
Words
or
Actions
that
are
done
or
said
by
those
who
speak
or
act
;
and
of
all
those
Events
which
might
probably
follow
the
first
Appearances
;
because
that
in
this
case
we
believe
that
things
might
really
happen
as
they
seem
,
nay
that
they
have
happened
,
and
ought
to
happen
so
.
And
on
the
contrary
,
we
condemn
all
that
ought
not
to
be
done
,
or
said
,
according
to
the
qualities
of
the
persons
,
the
place
,
the
time
,
and
the
first
appearances
of
the
Play
.
Now
to
understand
how
the
Poet
is
to
govern
himself
,
with
regard
to
the
Spectators
,
and
when
they
are
to
be
considerable
to
him
,
or
not
so
,
we
need
but
reflect
upon
what
we
have
said
of
a
Picture
;
for
looking
upon
it
only
as
the
Work
of
the
Artist
,
the
Painter
does
what
he
can
to
make
it
Excellent
,
because
it
will
be
seen
,
and
that
he
expects
to
be
known
and
admir'd
by
it
;
but
if
he
consider
it
as
a
Story
painted
,
he
keeps
as
close
as
he
can
to
the
Nature
of
the
thing
he
represents
,
and
does
nothing
but
what
will
seem
probable
in
all
its
Circumstances
,
because
it
is
all
to
be
consider'd
as
true
,
and
suppos'd
so
.
For
example
,
if
he
will
draw
Mary
Magdelen
in
her
penitent
retirement
,
he
will
not
omit
any
of
the
most
important
parts
of
her
Story
,
because
if
he
should
do
otherwise
,
they
that
should
see
it
would
hardly
know
it
.
He
must
place
her
in
a
decent
posture
,
else
she
will
be
a
disagreeable
Object
.
He
will
not
draw
her
prostrate
and
groveling
with
her
face
upon
the
ground
,
because
that
would
hide
the
finest
part
of
her
,
but
rather
he
must
set
her
upon
her
knees
.
He
ought
not
to
cover
her
all
over
with
a
Cilice
,
or
haircloth
,
but
leave
her
half
naked
,
that
the
Charm
of
her
beauty
may
appear
the
more
.
He
must
not
place
her
in
the
bottom
of
a
deep
Cavern
,
for
then
she
cannot
be
suppos'd
to
be
seen
,
but
at
the
entrance
of
it
,
with
so
much
light
as
is
just
necessary
;
and
this
he
must
do
,
because
he
considers
his
work
as
a
Picture
which
ought
to
fall
under
the
Senses
,
and
please
at
the
same
time
.
But
when
he
considers
this
Picture
the
other
way
,
that
is
,
keeping
to
the
truth
of
the
Story
,
he
must
give
her
a
Complexion
pale
and
wan
,
because
it
is
not
credible
it
could
be
otherwise
in
the
midst
of
so
much
austerity
;
she
shall
not
have
a
Crown
before
her
,
but
a
Cross
;
she
must
not
be
plac'd
upon
a
rich
embroider'd
Bed
,
but
upon
the
ground
;
there
shall
not
be
a
Palace
near
her
,
but
a
horrid
Wilderness
;
he
must
not
environ
her
with
Pages
,
and
Women
Attendants
,
but
rather
with
wild
Beasts
,
but
they
must
be
in
a
quiet
posture
,
that
she
may
be
suppos'd
to
live
among
them
;
the
Cave
shall
be
cover'd
with
Moss
,
not
gilded
and
finely
set
out
.
The
very
trees
are
not
to
be
made
full
of
Flowers
and
Fruits
,
but
rather
half-dryed
,
and
wither'd
;
and
all
the
Country
about
them
barren
and
wild
.
And
in
a
word
,
he
shall
adorn
his
work
with
all
those
things
which
probably
might
become
the
state
of
penitence
,
according
to
the
person
,
place
,
and
other
dependencies
of
the
Story
,
because
here
he
considers
the
truth
of
what
he
is
to
represent
.
In
the
same
maner
,
the
Poet
considering
in
his
Play
the
Representation
or
Spectacle
of
it
,
does
all
that
he
can
to
make
it
agreeable
to
the
Spectators
;
for
his
business
is
to
please
them
.
And
therefore
he
shall
preserve
all
the
noblest
Incidents
of
his
Story
,
he
shall
make
all
his
Actors
appear
with
the
best
Characters
he
can
,
he
shall
employ
the
finest
Figures
of
Rhetorick
,
and
the
Moving'st
Passions
,
observing
to
hide
nothing
that
ought
to
be
known
and
please
,
and
to
shew
nothing
that
ought
to
be
hid
,
and
may
offend
;
and
in
fine
,
he
shall
try
all
means
to
gain
the
esteem
and
admiration
of
the
Audience
.
But
when
he
considers
in
his
Play
the
true
Story
of
it
,
or
that
which
is
suppos'd
to
be
so
,
he
must
particularly
have
a
care
to
observe
the
Rules
of
probability
in
every
thing
,
and
to
make
all
the
Intrigues
,
Actions
,
Words
,
as
if
they
had
in
reality
come
to
pass
;
he
must
give
fit
thoughts
and
designs
,
according
to
the
persons
that
are
employed
,
he
must
unite
the
Times
with
Places
,
and
the
Beginning
with
the
Consequences
;
and
in
a
word
,
he
follows
the
Nature
of
things
so
,
as
not
to
contradict
neither
the
State
,
nor
the
Order
,
nor
the
Effects
,
nor
the
Property
of
them
;
and
indeed
has
no
other
Guide
but
Probability
and
Decency
,
and
rejects
all
that
has
not
that
Character
upon
it
.
He
must
contrive
every
thing
as
if
there
were
no
Spectators
;
that
is
,
all
the
Persons
in
the
Play
are
to
act
and
speak
as
if
they
were
truly
(
for
example
)
a
King
,
and
not
Mondoroy
or
Bellerose
;
as
if
they
really
were
in
the
Palace
of
Horatius
in
Rome
,
Hostel
de
Bourgogne
;
and
as
if
no
body
saw
them
,
or
heard
them
,
but
those
who
are
acting
with
them
upon
the
Stage
.
And
by
this
Rule
it
is
that
they
often
say
that
they
are
alone
,
that
no
body
sees
them
,
nor
hears
them
,
that
they
need
not
fear
being
interrupted
,
or
disturb'd
in
their
Solitude
,
no
more
than
hindred
in
their
designs
;
though
all
this
is
spoken
in
the
presence
of
it
may
be
two
thousand
persons
;
because
in
this
the
Nature
of
the
Action
is
followed
according
to
truth
,
for
then
the
Spectators
were
not
by
;
and
this
ought
to
be
strictly
observ'd
,
for
all
that
is
affected
in
favour
of
the
Spectators
is
false
and
faulty
.
I
know
very
well
that
the
Poet
does
not
work
upon
the
Action
as
true
,
but
only
so
far
as
it
is
fit
for
Representation
,
and
therefore
it
may
seem
that
there
may
be
some
mixture
of
these
two
Considerations
,
therefore
I
shall
propound
the
way
how
he
shall
distinguish
them
.
He
examines
first
all
that
he
designs
to
make
known
to
the
Audience
,
either
by
their
Eyes
or
their
Ears
,
and
accordingly
resolves
either
to
let
them
see
it
,
or
to
instruct
them
by
some
recital
of
the
thing
which
they
ought
to
know
.
But
he
does
not
make
these
Recitals
or
Spectacles
onely
because
the
Spectators
ought
to
know
or
see
.
How
then
?
Why
he
must
find
in
the
Action
,
which
is
consider'd
as
true
,
some
motive
,
colour
,
or
apparent
Reason
,
for
which
it
may
appear
that
these
Shews
or
Recitals
did
probably
happen
,
and
ought
to
come
to
pass
;
and
I
may
say
that
the
greatest
Art
of
the
Stage
consists
in
finding
out
these
Motives
or
Colours
.
An
Actor
must
come
upon
the
Stage
,
because
the
Spectator
must
know
his
Designs
and
Passions
.
There
must
be
a
Narration
made
of
things
past
,
because
else
the
Spectator
being
ignorant
of
them
,
would
not
understand
what
's
present
,
and
under
representation
.
There
must
be
a
Shew
or
Spectacle
,
to
move
the
Audience
with
pity
or
admiration
;
and
that
is
working
upon
the
action
as
represented
;
and
it
is
his
duty
as
well
as
his
chief
design
;
but
he
must
hide
this
under
some
colour
drawn
from
the
truth
of
the
Action
it self
;
insomuch
,
that
the
person
who
is
to
instruct
the
Audience
,
must
come
upon
the
Stage
upon
the
pretext
of
looking
for
some
body
there
;
or
to
meet
one
who
had
given
him
an
Assignation
.
So
the
person
who
is
to
make
a
Narration
of
things
past
,
must
do
it
so
as
it
may
seem
necessary
,
and
done
to
advise
about
something
in
agitation
at
present
,
for
which
there
is
some
help
wanting
.
If
there
be
a
Spectacle
,
it
must
be
to
some
end
,
as
to
excite
some
body
to
be
reveng'd
,
or
so
;
and
this
call'd
working
upon
the
truth
of
the
Action
,
without
minding
the
Spectators
;
because
't
is
probable
,
that
,
taking
things
only
in
themselves
,
all
this
might
fall
out
so
.
Let
us
come
to
the
Examples
alledg'd
before
.
Aeschylus
causes
Agamemnon
to
be
murder'd
in
his
Palace
;
but
the
Audience
must
know
this
,
and
how
does
he
inform
them
of
it
?
He
makes
that
Unfortunate
Prince
cry
out
like
a
man
that
expires
under
the
violence
of
those
who
murder
him
.
Sophocles
observes
the
same
thing
in
the
murder
of
Clitemnestra
by
the
hand
of
Orestes
.
And
I
cannot
but
admire
at
some
who
tax
both
those
Poets
of
having
defil'd
the
Stage
with
blood
,
when
't
is
apparent
that
they
are
kill'd
in
the
Houses
represented
upon
the
Stage
,
and
out
of
the
sight
of
the
Spectators
,
who
only
hear
their
cries
and
lamentations
,
and
see
the
body
afterwards
when
't
is
dead
.
In
the
same
Sophocles
,
Ajax
is
outragiously
furious
,
and
yet
there
is
a
necessity
of
his
appearing
upon
the
Stage
with
Vlysses
,
without
hurting
him
,
and
to
that
end
Minerva
brings
him
out
of
his
Tent
,
and
suspends
for
a
while
his
fit
of
madness
.
In
Euripides
the
Spectators
must
know
that
Polydorus
is
dead
,
that
Hecuba
may
receive
a
new
heightning
to
her
afflictions
;
and
to
do
it
with
appearance
of
reason
,
one
of
her
Women
goes
to
fetch
water
at
the
Sea
side
,
to
wash
and
purifie
the
dead
body
of
her
Daughter
Polyxena
,
whose
Funeral
she
was
to
perform
,
where
she
finds
,
as
it
were
by
chance
,
the
body
of
the
unhappy
young
Prince
,
which
she
brings
to
his
more
unhappy
Mother
,
and
so
discovers
very
handsomely
the
series
of
all
that
sad
Adventure
.
(
And
by
the
by
it
appears
,
how
much
they
are
mistaken
,
who
think
that
the
Poet
sends
Hecuba
her self
to
the
Sea
side
,
and
that
there
she
had
found
the
Body
of
her
Son
)
.
But
we
should
be
bound
to
too
tedious
an
enumeration
,
if
we
would
by
Examples
shew
the
conduct
of
the
Ancients
in
this
point
.
For
upon
their
Stage
there
is
not
a
Recital
,
a
Passion
,
nor
an
Intrigue
,
that
has
not
its
colour
;
if
you
take
the
Story
as
true
,
though
it
be
a
Fable
invented
by
the
Poet
only
for
Representation
.
In
a
word
,
the
Spectators
are
not
considerable
to
the
Poet
in
the
Truth
of
the
Action
,
but
only
in
the
Representation
;
and
upon
this
Maxim
,
if
we
examine
the
best
part
of
our
Modern
Poets
,
we
may
easily
perceive
,
that
they
go
against
all
probability
,
even
in
those
things
which
have
been
esteem'd
the
most
;
Because
the
Authors
,
when
they
expos'd
them
to
the
people
,
did
it
without
any
colour
that
might
make
us
suppose
them
reasonable
.
Thus
in
the
truth
of
the
Action
it
happens
that
a
man
makes
a
necessary
Narration
,
that
's
well
,
for
the
Spectators
ought
not
to
be
ignorant
of
it
;
but
this
man
could
not
know
the
very
thing
he
tells
,
then
't
is
against
probability
for
him
to
make
this
recital
.
A
Lover
appears
upon
the
Stage
in
a
violent
passion
to
please
the
Spectatours
;
but
he
could
not
naturally
make
these
complaints
in
the
place
represented
by
the
Stage
;
there
must
then
some
colour
be
found
out
for
his
being
there
extraordinarily
,
or
else
you
go
against
probability
:
As
much
may
be
said
of
a
thousand
other
Adventures
which
appear
upon
our
Stages
,
where
every
day
we
have
Images
of
things
that
never
were
,
never
can
be
,
and
by
consequent
ought
not
to
be
.
CHAP.
VII
.
Of
the
Mixture
of
Representation
with
the
Truth
of
the
Theatral
Action
.
I
Believe
the
Title
of
this
Chapter
will
be
at
first
sight
severely
censur'd
,
because
it
may
be
it
will
not
be
understood
;
but
when
I
shall
have
explain'd
my
meaning
,
I
hope
all
the
judicious
will
be
reconcil'd
to
the
Terms
,
as
well
as
to
my
Sentiments
about
the
thing
.
I
call
Truth
of
the
Theatral
Action
,
the
whole
Story
of
the
Play
,
so
far
as
it
is
consider'd
as
a
true
one
,
and
that
all
the
Adventures
in
it
are
look'd
upon
as
being
come
to
pass
.
But
I
call
Representation
,
the
Collection
of
all
those
things
which
may
serve
to
represent
a
Drammatick
Poem
,
consider'd
in
themselves
and
in
their
own
Nature
,
as
the
Players
,
the
Scenes
,
the
Musick
,
the
Spectators
,
and
a
great
many
other
things
.
As
for
Example
,
in
the
Play
of
Cinna
,
made
by
Monsieur
Corneille
;
that
that
Cinna
,
who
appears
upon
the
Stage
,
speaks
like
a
Roman
,
that
he
loves
Aemilia
,
counsels
Augustus
Caesar
to
keep
the
Empire
,
conspires
against
him
,
and
is
pardon'd
by
him
;
all
this
I
say
,
is
the
truth
of
the
Theatral
Action
.
That
the
same
Aemilia
hates
Augustus
,
and
loves
Cinna
,
that
she
desires
to
be
reveng'd
,
and
yet
apprehends
the
Event
of
so
great
an
Undertaking
;
all
this
too
is
of
the
truth
of
the
Action
.
That
Augustus
proposes
his
thoughts
of
leaving
the
Empire
to
two
perfidious
Friends
,
and
that
one
advises
him
to
keep
it
,
and
the
other
to
leave
it
,
is
likewise
of
the
truth
of
the
Action
.
In
a
word
,
all
that
in
the
Play
either
is
consider'd
as
a
part
,
or
has
a
necessary
dependence
upon
the
Story
,
ought
to
be
of
the
truth
of
the
Action
;
and
't
is
by
this
Rule
that
one
ought
to
Examine
the
probability
of
all
that
's
done
in
the
Play
;
as
the
fitness
and
decency
of
the
Expressions
,
the
connexion
of
the
Intrigue
,
the
patness
of
the
Events
,
&c.
And
one
naturally
approves
of
all
that
ought
to
have
been
don
according
to
the
truth
,
though
it
be
a
suppos'd
Story
,
and
one
condemns
all
that
one
thinks
contrary
to
truth
,
or
not
becoming
the
actions
of
life
.
But
that
Floridor
or
Beauchasteau
act
the
part
of
Cinna
,
that
they
are
good
or
ill
Actors
,
well
or
ill
dress'd
,
that
they
are
separated
from
the
people
by
a
Stage
,
which
is
adorn'd
with
painted
cloth
,
representing
Palaces
and
Gardens
,
that
the
Intervals
of
the
Acts
are
mark'd
by
ill
Fidlers
,
or
excellent
Musick
;
that
an
Actor
goes
behind
the
Stage
,
when
he
says
he
goes
into
the
Kings
Closet
,
and
speaks
to
his
Wife
,
instead
of
speaking
to
a
Queen
,
that
there
are
Spectatours
,
and
those
either
from
the
Court
,
or
the
City
;
that
they
are
silent
or
make
a
noise
,
that
there
are
quarrels
in
the
Pit
,
or
none
,
all
these
things
are
,
and
do
depend
on
the
Representation
.
Therefore
Floridor
and
Beauchasteau
are
to
be
look'd
upon
as
representing
,
and
that
Cinna
or
Horatius
,
whom
they
represent
,
are
to
be
consider'd
as
real
and
true
persons
,
acting
and
speaking
as
Cinna
,
and
Horatius
,
and
not
as
those
who
represent
them
,
and
Floridor
and
Beauchasteau
must
be
look'd
upon
as
transform'd
into
those
men
,
whose
names
and
concerns
they
take
upon
them
,
so
that
part
of
the
Hostel
de
Bourgogne
which
is
rais'd
and
adorn'd
for
a
Stage
,
is
the
place
representing
,
and
the
Image
of
another
place
which
is
represented
at
that
time
,
whether
the
Palace
of
Augustus
or
Horatius
;
and
it
must
in
the
Play
be
look'd
upon
as
the
true
place
where
all
things
pass
,
so
the
time
which
is
employed
in
the
Representation
,
being
a
part
of
our
natural
currant
year
,
is
but
a
representing
time
,
but
the
day
represented
,
and
in
which
one
supposes
the
action
of
the
Stage
to
come
to
pass
,
ought
to
be
taken
for
a
real
true
time
in
regard
to
the
Action
.
I
say
then
that
one
ought
never
to
mingle
together
what
concerns
the
Representation
of
a
Play
,
with
the
true
Action
of
the
Story
represented
.
It
would
not
be
well
lik'd
off
,
that
Floridor
,
while
he
is
representing
Cinna
,
should
talk
of
his
own
domestick
affairs
,
or
of
the
loss
and
gains
of
the
Play
house
;
or
that
while
he
is
repeating
the
Speech
made
by
Cinna
to
the
Conspirators
at
Rome
,
he
should
address
himself
to
the
People
of
Paris
,
and
make
some
Reflections
upon
them
;
or
that
while
he
is
examining
the
hatred
and
haughtiness
of
Aemilia
,
he
should
go
about
to
talk
of
the
sweetness
and
good
breeding
of
our
Ladies
;
In
a
word
,
he
would
not
be
endur'd
to
confound
Rome
and
Paris
,
nor
actions
pass'd
so
many
years
ago
,
with
present
Adventures
;
because
that
is
not
only
offending
against
all
the
Rules
of
decency
,
but
those
of
common
sense
.
I
know
very
well
that
our
Modern
Poets
have
not
hitherto
been
very
guilty
of
this
fault
,
but
because
the
Ancients
,
whom
I
generally
propose
for
Examples
,
have
been
so
indulgent
to
the
Peoples
pleasure
,
as
not
to
take
care
to
avoid
this
Errour
,
I
thought
it
would
not
be
amiss
to
say
something
of
it
,
lest
our
Poets
should
follow
their
Example
,
after
the
rate
of
that
scurvy
Orator
,
whom
Cicero
speaks
of
in
Brutus
,
for
never
imitating
the
great
men
in
any
thing
,
but
such
things
where
they
were
faulty
.
Aristotle
says
that
ill
Poets
fall
into
Errors
,
because
they
are
ignorant
of
the
means
of
doing
better
,
and
that
good
ones
do
the
same
thing
out
of
Complaisance
to
the
Players
,
and
for
the
Diversion
of
the
Audience
;
but
I
think
that
a
true
Poet
ought
not
to
seek
any
other
way
of
being
profitable
to
the
first
,
nor
of
pleasing
the
last
,
but
by
the
excellence
of
his
Play
.
Comedy
in
its
rise
,
and
when
it
first
begun
to
be
acted
,
as
Tragedy
was
,
by
set
Actors
,
was
nothing
but
a
Satyrical
Poem
,
which
by
little
and
litle
,
under
pretext
of
instructing
the
People
,
by
inveighing
at
their
Vices
,
came
at
last
to
be
so
bitter
and
scandalous
,
as
not
onely
to
expose
the
most
Eminent
Citizens
,
but
not
to
spare
the
Magistrates
themselves
,
nor
the
most
Illustrious
Persons
of
the
State
,
whose
Names
,
Faces
,
and
actions
were
brought
upon
the
Stage
;
and
this
was
that
the
Authors
call
Old
Comedy
.
Not
but
that
at
first
even
this
was
much
more
innocent
than
afterwards
;
for
under
Epicharmus
,
and
first
Comicks
who
succeeded
him
,
Comedy
was
merry
and
laughing
,
but
not
injurious
and
affronting
;
it
had
Salt
and
Railleries
,
but
not
Gall
and
Vinegar
;
but
at
last
that
liberty
degenerated
into
so
much
libertinisme
,
that
Aristophanes's
Plays
did
not
a
little
contribute
to
the
death
of
the
famous
Socrates
by
exciting
the
People
against
him
.
The
Representation
in
those
days
was
so
confounded
with
the
Truth
of
Action
,
that
they
were
almost
the
same
thing
;
and
that
which
was
said
against
the
Socrates
upon
the
Stage
,
was
often
applicable
to
the
Socrates
who
was
in
the
Pit
.
'T
is
but
reading
Aristophanes's
first
Plays
,
and
you
shall
see
that
all
along
he
confounds
the
interest
of
the
Actors
with
those
of
the
Spectators
,
and
even
the
History
represented
with
the
Publick
Affairs
of
the
State
,
upon
which
he
founds
his
Jests
and
Railleries
;
In
a
word
,
his
Plays
are
down-right
Libels
,
containing
the
Names
,
Qualities
,
Actions
,
and
visible
Portraicts
of
those
whom
the
Poet
undertook
to
expose
;
and
that
without
any
other
conduct
or
rule
,
but
that
of
his
Satyrical
wit
and
passion
;
so
far
were
they
from
being
ingenious
rational
Poems
,
regulated
by
Art
;
and
the
Magistrates
foreseeing
the
dangerous
Effects
of
such
license
,
forbid
them
any
more
naming
particular
persons
in
their
Plays
.
But
as
one
is
always
Ingenious
in
mischief
,
the
Poets
found
means
,
though
they
left
out
the
Name
,
to
represent
the
Person
so
livelily
,
that
every
body
knew
presently
,
who
they
meant
;
and
this
was
since
call'd
Middle
Comedy
;
and
such
were
the
last
Plays
of
Aristophanes
.
But
this
way
of
Satyr
,
though
somewhat
milder
than
the
other
,
was
still
thought
to
be
of
as
ill
Consequence
,
and
by
the
Magistrates
accordingly
prohibited
.
This
put
the
Poets
to
some
stand
,
and
forc'd
them
at
last
to
invent
not
only
the
Names
,
but
likewise
the
Adventures
of
their
Stage
,
and
then
Comedy
,
being
an
ingenious
Product
of
wit
and
Art
,
was
regulated
upon
the
model
of
Tragedy
,
and
became
(
to
define
it
rightly
)
the
true
Picture
and
Imitation
of
the
Common
Actions
of
life
.
Then
the
Representation
was
no
longer
confounded
with
the
Truth
of
the
Action
,
and
all
that
was
done
upon
the
Stage
was
consider'd
as
a
true
Story
,
in
which
neither
the
State
,
nor
the
Spectators
,
were
suppos'd
to
have
any
part
.
The
Adventures
were
generally
taken
from
some
remote
Country
,
with
which
the
place
where
they
were
represented
had
little
communication
,
and
the
Actors
seem'd
to
act
only
by
the
consideration
of
those
things
,
which
were
represented
.
Thus
that
which
came
to
be
call'd
New
Comedy
was
made
,
of
which
Terence
was
one
of
the
first
that
gave
us
a
Model
,
and
that
so
good
a
one
,
that
it
is
never
seen
that
he
ever
confounds
the
Representation
with
the
Truth
of
the
Theatral
Action
.
In
his
Amphytrion
,
I
am
Jupiter
,
and
I
am
chang'd
to
Amphytrion
when
I
please
,
which
I
do
,
(
says
he
to
the
Spectators
)
to
oblige
you
by
Continuing
this
Play
,
and
for
the
love
of
Alcmena
that
she
may
appear
Innocent
.
Where
we
see
he
mingles
the
concerns
of
the
Actors
with
the
Interest
of
the
Spectators
,
and
makes
an
Interfering
of
Romans
who
were
present
,
with
those
who
were
suppos'd
to
act
in
Greece
,
which
certainly
cannot
be
but
very
ridiculous
,
and
must
confound
the
understanding
of
the
Spectators
,
by
forcing
them
to
imagine
a
man
double
,
and
to
distinguish
in
him
both
words
and
sentiments
very
different
,
without
any
necessity
or
reason
for
it
.
Certainly
when
a
man
appears
before
us
with
the
Clothes
,
Countenance
,
Words
,
and
Gesture
of
a
person
,
whom
he
represents
,
he
is
not
to
be
consider'd
otherwise
than
according
to
that
Image
,
which
from
our
Eyes
we
imprint
in
our
mind
;
and
therefore
all
that
unmasks
him
,
to
shew
him
,
as
he
really
is
,
such
a
Player
,
whose
Name
is
so
or
so
,
confounds
the
Attention
of
the
Audience
,
who
expect
nothing
from
that
Actor
,
but
things
proper
to
the
person
whose
Appearance
he
takes
.
In
his
Aulularia
,
Euclio
is
at
Athens
,
where
he
has
been
rob'd
,
and
while
he
is
seeking
the
man
that
ran
away
with
his
Treasure
,
he
says
such
things
to
express
his
despair
,
that
the
Audience
falls
a
laughing
;
upon
which
Euclio
turning
to
them
,
says
,
why
do
you
laugh
,
I
know
you
all
well
enough
,
and
know
that
amongst
you
there
are
Thieves
enough
.
Now
Euclio
is
suppos'd
to
be
at
Athens
,
where
no
Romans
could
be
for
Spectators
,
much
less
could
they
be
suspected
to
conceal
among
them
the
man
that
had
stoln
his
Money
.
He
is
so
full
of
these
faults
,
that
there
is
scarce
a
Play
of
his
without
them
;
but
in
two
places
the
raillery
is
so
ingenious
,
and
so
plac'd
at
the
end
of
the
Play
,
without
being
interwoven
in
the
Story
,
that
it
may
very
well
be
excused
.
The
first
is
at
the
end
of
Pseudolus
,
where
his
witty
Slave
having
invited
Ballio
to
drink
with
him
,
he
answers
,
Why
don't
you
likewise
invite
these
Gentlemen
?
pointing
to
the
Spectators
;
to
which
Pseudolus
replies
,
I
don't
use
to
invite
them
,
nor
they
me
;
but
Gentlemen
,
if
you
will
say
that
our
House
and
Play
pleases
you
,
I
invite
you
again
to
morrow
.
The
other
is
at
the
end
of
his
Rudens
,
where
Daemones
having
invited
Labrax
to
Supper
,
tells
the
Spectators
,
In
these
cases
,
the
Action
of
the
Stage
being
over
,
the
Railleries
that
are
made
can
no
longer
confound
the
Ideas
of
the
Spectators
.
As
for
Tragedies
,
as
their
subject
is
more
noble
and
serious
,
they
are
seldom
infected
with
this
corrupt
way
;
except
in
Euripides's
Prologues
,
where
often
the
chief
Actor
,
or
a
God
in
some
Machine
,
makes
a
Narration
of
things
happened
before
the
the
opening
of
the
Stage
.
Which
I
must
confess
I
cannot
approve
of
,
because
often
these
things
are
clear
enough
in
the
thread
of
the
Story
;
and
when
Poets
do
not
explain
their
Subject
,
by
the
Mouth
and
Actions
of
their
Actors
,
't
is
a
fault
without
excuse
,
and
Prologues
are
but
ill
shifts
to
repair
such
a
neglect
.
Sophocles
never
does
it
,
and
I
cannot
but
advise
all
Poets
to
follow
him
in
this
.
CHAP.
VIII
.
How
the
Poet
must
make
his
Decorations
,
and
other
Necessary
Actions
in
the
Play
,
known
to
the
Audience
.
THE
most
remarkable
and
indeed
an
essential
difference
between
Epick
and
Dramatick
Poems
,
is
,
that
in
the
first
,
the
Poet
speaks
alone
,
the
persons
that
he
produces
all
uttering
themselves
by
his
mouth
;
't
is
he
that
says
,
that
such
and
such
people
made
such
and
such
discourses
,
and
not
they
that
come
and
make
them
themselves
.
But
in
the
Dramatick
Poem
,
the
Poet
is
silent
,
and
none
but
the
persons
introduc'd
by
him
,
do
speak
;
and
during
all
the
Theatral
Action
,
he
appears
no
more
than
if
the
persons
were
really
those
whom
they
represent
.
Therefore
in
the
Epick
Poem
,
the
Poet
makes
all
the
descriptions
that
may
grace
his
work
,
when
and
where
he
pleases
.
If
he
has
a
mind
to
shew
a
Temple
or
a
Palace
,
he
frames
the
Architecture
of
it
according
to
his
own
fancy
.
If
there
be
a
shipwrack
,
he
expresses
as
he
pleases
the
horror
of
the
Tempest
,
the
fear
of
the
Seamen
,
the
cryes
of
those
who
are
cast
away
,
and
the
constancy
of
his
Hero
,
and
for
all
this
he
chuses
that
place
in
his
Poem
,
which
he
thinks
fittest
for
these
or
other
Descriptions
.
But
in
a
Dramatick
Poem
,
the
Poet
must
speak
by
the
mouth
of
his
Actors
,
he
cannot
employ
any
other
means
,
and
what
they
omit
,
can
no
ways
be
supplyed
by
any
industry
of
his
;
if
there
be
a
Shipwrack
,
the
Actors
must
explain
it
,
and
speak
of
the
misfortune
of
those
who
have
been
cast
away
;
and
so
for
any
Ornament
or
Action
extraordinary
:
They
must
all
be
explain'd
by
those
whom
he
brings
upon
his
Stage
.
The
Ancient
Poets
have
been
very
exact
and
judicious
in
this
particular
,
but
our
Modern
Authors
have
committed
such
faults
in
it
,
as
have
much
disfigur'd
their
Plays
.
A
Play
may
be
regarded
two
ways
;
it
is
made
to
be
acted
by
persons
,
who
are
to
do
every
thing
,
as
if
they
were
the
true
persons
represented
;
and
likewise
Plays
are
made
to
be
read
by
people
,
who
without
seeing
them
acted
,
can
by
their
imagination
,
and
the
strength
of
the
impressions
the
Poet
gives
,
make
those
persons
as
it
were
present
to
their
Idea
.
Now
whether
a
Play
be
acted
or
read
,
it
must
be
understood
by
the
Spectators
,
and
by
the
Reader
;
it
cannot
be
known
to
the
Spectators
,
but
just
as
the
Actors
shall
make
it
so
;
and
the
Reader
can
understand
no
more
of
it
,
than
the
Verses
or
Expressions
do
inform
him
,
so
that
either
way
all
the
Decorations
,
Clothes
,
or
necessary
Motions
,
for
the
understanding
the
Play
,
must
be
had
in
the
Verses
,
or
other
expressions
in
Prose
,
which
are
by
the
Actors
recited
.
To
this
may
be
said
,
that
our
Poets
use
to
be
by
at
the
Rehearsals
,
and
so
tell
the
Players
every
particular
that
they
are
to
do
;
but
besides
the
negligence
of
the
Players
in
the
execution
of
this
,
how
shall
any
body
do
,
that
would
act
the
Play
without
the
Poet
?
how
shall
they
know
where
the
Scene
lies
?
what
Decorations
belong
to
it
,
and
what
Clothes
the
Actors
have
,
and
so
in
any
other
Circumstances
necessary
to
the
understanding
and
Ornament
of
the
Play
?
Eschylus
his
Tragedies
have
been
often
acted
at
Athens
,
after
he
was
dead
.
The
same
thing
was
done
by
Plautus's
Comedies
at
Rome
;
and
is
done
every
day
at
Paris
by
our
old
Plays
;
all
which
could
not
well
have
been
perform'd
,
if
the
Poet
had
not
been
careful
to
explain
all
things
by
the
Actors
.
I
know
indeed
that
to
help
the
dulness
of
some
Readers
,
many
of
our
Poets
have
made
Marginal
Notes
in
their
printed
works
,
which
express
that
which
is
not
said
in
the
Play
;
As
here
appears
a
Temple
open
,
here
a
Palace
adorn'd
with
divers
Columns
of
noble
Architecture
,
here
the
King
whispers
his
Favourite
,
and
the
like
.
But
in
all
these
Notes
't
is
the
Poet
that
speaks
,
which
he
is
not
allowed
to
do
in
this
sort
of
Poems
,
and
it
cannot
be
done
without
interrupting
the
Reader
in
the
midst
of
passions
,
and
dividing
his
application
,
and
so
dissipating
some
of
those
Ideas
which
he
had
receiv'd
already
for
the
understanding
and
relishing
the
Play
.
But
I
say
more
than
all
this
,
a
Play
ought
to
be
made
with
so
much
Art
,
and
the
Actors
are
to
speak
so
,
that
it
shall
not
be
necessary
to
marke
the
distinction
of
the
Acts
,
nor
Scenes
,
nor
so
much
as
to
put
the
Names
of
those
that
speak
,
and
to
prove
what
I
say
,
we
need
only
to
consider
,
that
when
an
Actor
comes
upon
the
Stage
,
the
Poet
does
not
come
to
tell
his
name
,
it
must
be
known
by
himself
,
or
some
other
of
the
Actors
;
and
the
failing
in
this
has
made
,
that
in
some
Plays
,
that
I
have
seen
,
three
Acts
were
over
,
before
the
Audience
knew
the
Name
of
the
chief
Actor
,
and
that
without
any
apparent
necessity
of
hiding
either
That
or
his
Qualitie
;
for
sometimes
it
is
necessary
he
should
be
Incognito
,
but
then
't
is
as
necessary
that
it
should
be
known
he
is
so
.
In
this
particular
the
Ancients
have
been
so
accurate
,
that
I
dare
boldly
say
,
that
let
one
have
a
Tragedy
,
either
of
Sophocles
,
or
Euripides
,
or
a
Comedy
of
Terence
,
or
Plautus
without
Title
,
Distinction
,
Names
of
the
Actors
,
or
any
Character
particular
,
to
make
either
Them
,
or
the
separation
of
the
Acts
and
Scenes
known
,
I
would
presently
discover
both
the
Name
,
Quality
,
Equipage
,
Clothes
,
Gesture
,
and
Interests
of
all
those
who
speak
;
the
place
of
the
Scene
,
its
decorations
,
and
in
a
word
,
all
that
can
make
any
part
of
the
Theatral
Action
;
and
all
Plays
,
which
cannot
in
the
same
manner
make
all
things
known
to
the
Reader
,
are
certainly
defective
.
But
to
do
this
well
,
there
are
many
Ingenious
Artifices
to
put
such
words
in
the
mouth
of
an
Actor
,
as
may
be
a
reasonable
pretext
for
him
to
explain
what
is
necessary
for
the
understanding
of
the
Subject
;
and
these
following
Contrivances
may
serve
for
an
Example
.
Sometimes
the
surprize
of
an
Actor
is
a
very
agreeable
way
of
doing
it
;
so
in
Plautus's
Curculio
,
Palinurus
,
is
surprized
to
see
Phaedromus
come
out
of
his
House
before
day
with
Flambeaux
and
Servants
loaden
with
Bottles
of
Wine
.
Sometimes
one
employs
the
compassion
which
he
ought
to
have
of
the
miserable
state
of
some
other
Actor
,
as
Electra
in
Euripides
does
,
to
make
it
known
that
her
Brother
was
before
the
Gates
of
his
Palace
,
laid
all
along
wrap'd
up
in
his
Cloke
,
and
tormenting
himself
with
his
own
disquiets
.
It
may
be
done
likewise
by
way
of
raillery
;
as
in
the
Trinummus
of
Plautus
,
where
Charmides
,
to
describe
the
great
broad
brimm'd
Hat
of
a
Cheat
,
disguiz'd
like
a
Souldier
,
says
,
I
believe
this
fellow
is
of
the
race
of
the
Toadstools
,
for
he
is
all
head
.
Or
else
it
may
be
contriv'd
,
that
two
Actors
shall
shew
one
another
some
thing
extraordinary
;
as
in
the
first
Act
of
the
Rudens
of
Plautus
,
where
by
that
Artifice
one
is
inform'd
,
that
there
has
been
a
Shipwrack
,
that
there
are
some
persons
yet
alive
swimming
to
the
shore
,
that
two
women
are
alone
in
a
small
Bark
,
and
are
by
the
Waves
carried
upon
the
Sands
,
where
they
fall
into
the
Sea
,
and
then
getting
up
again
with
much
ado
gain
the
shore
.
Sometimes
by
the
Actions
themselves
the
Actors
are
sufficiently
known
,
as
in
Euripides
,
Polyphemus
and
the
Satyrs
drinking
and
growing
drunk
.
Very
often
an
Actor
by
a
cholerick
word
or
action
makes
known
what
another
Actor
is
doing
;
as
in
the
Casina
,
Cleostrata
seeming
angry
,
makes
it
appear
that
her
Husband
is
chucking
of
her
with
his
hand
,
to
bring
her
into
good
humor
again
.
These
may
serve
for
Examples
,
many
such
being
obvious
to
an
ingenious
Fancy
.
Not
that
a
Poet
need
be
very
particular
neither
,
he
is
not
bound
to
make
an
Exact
description
of
all
the
Columns
,
Portico's
,
or
other
Ornaments
of
Architecture
in
a
Temple
or
Palace
;
't
is
enough
that
he
mention
in
general
terms
,
the
Decoration
of
his
Theatre
:
And
yet
when
any
Circumstance
is
to
have
an
Effect
in
the
Play
,
then
not
only
he
may
,
but
he
must
stay
upon
it
a
little
;
as
in
the
Io
of
Euripides
,
where
it
not
being
permitted
to
the
Women
to
go
into
the
Temple
of
Apollo
,
they
stay
without
and
talk
of
the
painting
,
which
made
the
Ornament
of
it
on
the
outside
;
and
in
the
Mostellaria
of
Plautus
,
where
Tranio
desirous
to
perswade
his
Master
Theuropides
,
that
he
had
purchas'd
the
House
of
one
of
his
Neighbours
,
onely
to
get
some
Money
upon
that
pretext
out
of
the
old
Man
,
he
shews
him
the
Avenue
of
it
,
and
makes
him
observe
it
's
Vestibule
,
Pillars
,
and
other
Singularities
,
which
must
be
suppos'd
necessary
in
the
decoration
of
the
Stage
,
when
the
Play
was
acted
.
There
is
no
necessity
neither
that
many
particulars
should
be
explain'd
,
which
are
sufficiently
understood
by
natural
Consequence
;
as
when
a
Poet
shall
make
Horatius
a
Roman
speak
,
he
need
not
tell
us
what
dress
he
is
in
,
nor
endeavour
to
make
us
admire
the
Generosity
of
his
Sentiments
;
for
't
is
of
Necessity
,
that
he
should
be
dress'd
and
speak
like
a
Roman
.
Two
things
,
which
must
never
be
forgot
for
the
understanding
of
the
Play
,
are
the
Time
,
which
the
Poet
gives
to
the
Theatral
Action
,
and
the
Place
where
the
Scene
is
laid
.
The
Ancients
have
Practis'd
this
with
so
much
Art
,
that
often
they
that
read
their
Plays
hardly
take
Notice
of
it
at
first
;
Plautus
opens
the
Stage
in
his
Amphytrio
,
at
the
end
of
that
long
night
which
Jupiter
had
made
on
purpose
to
come
and
visit
Alcmena
in
,
before
she
was
brought
to
bed
;
which
appears
clearly
by
the
discourse
of
Sosias
,
who
complains
in
the
very
first
Scene
of
the
length
of
the
night
,
and
says
,
that
he
believes
Aurora
has
a
Cup
too
much
,
and
cannot
wake
soon
enough
;
and
the
Play
ends
before
Dinner
,
as
it
appears
again
by
the
Order
which
Jupiter
,
under
the
shape
of
Amphytrio
,
gives
to
Sosias
,
to
go
and
invite
Blepharo
to
Dinner
,
as
soon
as
he
shall
have
finish'd
his
Sacrifice
;
for
after
this
Order
given
,
all
the
Events
are
so
quick
,
that
't
is
plain
that
all
the
Intrigues
which
perplex'd
Amphytrio
are
first
solv'd
and
made
open
.
The
same
Author
has
been
as
carefull
to
express
the
place
of
his
Scene
,
as
has
been
already
shew'd
in
his
Rudens
and
Curculio
;
and
the
same
is
observ'd
in
the
Frogs
of
Aristophanes
,
and
the
Ajax
of
Sophocles
.
Very
often
it
happens
,
that
things
are
not
explain'd
just
as
they
are
done
,
but
a
good
while
after
;
as
the
Poet
thinks
most
convenient
,
and
where
he
can
do
it
with
the
least
Affectation
.
I
shall
give
no
other
example
,
but
that
of
Corneille
in
his
Andromeda
,
where
when
the
winds
carry
her
away
,
Phineas
is
thrown
to
the
ground
by
a
Thunder-clap
,
of
which
at
that
time
no
further
notice
is
taken
,
but
't
is
made
known
in
the
second
Act
,
where
Phineas
complaining
of
the
violence
of
the
Gods
against
the
endeavours
he
made
to
save
Andromeda
,
says
,
That
they
were
forc'd
to
strike
him
to
the
ground
,
to
take
that
occasion
to
cary
her
away
.
And
since
I
am
faln
upon
this
Play
,
which
is
adorn'd
with
so
many
Machines
,
I
cannot
but
observe
,
that
all
the
Decorations
and
extraordinary
Actions
which
are
in
the
third
and
fifth
Act
,
are
very
dexterously
explain'd
,
and
with
an
Art
worthy
of
a
Grecian
Theatre
;
but
for
that
great
Palace
,
which
makes
the
Decoration
of
the
first
Act
,
and
that
Magnificent
Temple
,
which
does
the
same
in
the
4th
,
I
think
there
is
not
one
word
said
by
which
it
may
appear
that
they
are
there
;
and
I
was
forc'd
,
when
I
read
the
Play
,
to
have
recourse
in
those
places
,
to
the
explanation
which
is
before
each
Act
,
or
else
I
had
never
known
what
the
Decoration
had
been
;
and
to
say
truth
,
one
may
put
the
Temple
in
the
first
Act
,
and
the
Palace
in
the
4th
,
and
it
will
do
altogether
as
well
,
without
being
oblig'd
to
any
change
in
the
Verses
,
or
order
of
the
Subject
;
by
which
it
appears
,
how
requisite
it
is
to
explain
the
Decorations
in
the
Play
it self
,
to
joyn
judiciously
the
Subject
with
the
Place
,
and
Actions
with
Things
,
and
so
make
a
Total
full
of
symmetry
and
ornament
in
all
its
parts
▪
The
End
of
the
First
Book
.
THE
Whole
Art
OF
THE
STAGE
.
The
Second
BOOK
.
CHAP.
I.
Of
the
Subject
of
Dramatick
Poems
.
SUpposing
here
what
the
Poet
ought
to
know
of
that
part
of
a
Drama
,
which
the
Ancients
call'd
the
Fable
;
we
,
the
Story
or
Romance
;
and
I
in
this
place
,
the
Subject
:
I
will
onely
say
that
for
Subjects
meerly
invented
,
and
of
which
one
may
as
well
make
a
Tragedy
as
a
Comedy
;
if
they
do
not
take
,
't
is
perfectly
the
Poets
fault
,
and
a
fault
without
excuse
or
pretext
,
which
he
can
never
clear
himself
of
;
for
being
Master
as
well
of
the
Matter
as
of
the
Form
,
the
miscarriage
of
the
Play
can
be
attributed
to
nothing
,
but
to
his
want
of
Conduct
in
the
thing
,
and
to
the
Errors
of
his
own
Imagination
.
But
as
for
Subjects
drawn
from
Story
,
or
from
the
Fables
of
the
Ancients
,
he
is
more
exc●s●ble
if
he
misses
of
success
in
the
Representation
of
them
,
for
he
may
be
many
ways
constrain'd
;
as
if
a
great
man
command
him
to
preserve
certain
Circumstances
,
not
so
fit
for
the
Stage
,
or
that
he
does
it
himself
out
of
some
consideratio●
more
important
to
him
than
the
Glory
of
being
a
good
Poet
would
be
.
But
if
he
be
free
in
his
choice
,
he
may
be
sure
that
he
shall
be
blam'd
if
his
Play
does
not
take
,
it
being
certain
,
that
Art
out
of
an
ill
Story
may
make
an
excellent
Drama
;
as
for
Example
,
if
there
be
no
Plot
,
the
Poet
must
make
one
;
if
it
be
too
intricate
,
he
must
make
it
looser
and
easier
;
if
too
open
and
weak
,
he
must
strengthen
it
by
Invention
,
and
so
for
the
rest
.
On
the
other
side
,
there
is
no
Story
so
rich
in
it self
,
but
an
ill
Poet
may
so
spoil
the
beauty
of
it
,
that
it
will
hardly
be
known
to
be
the
same
Story
.
Besides
,
one
is
not
to
think
,
that
all
fine
Stories
are
fit
to
appear
with
success
upon
the
Stage
;
for
very
often
the
beautifullest
part
of
them
depends
upon
some
Circumstance
,
which
the
Theatre
cannot
suffer
;
and
it
was
for
this
,
that
I
advis'd
one
who
had
a
mind
to
undertake
the
Loves
of
Antiochus
and
Stratoniea
,
to
let
it
alone
;
for
the
most
considerable
incident
in
it
,
being
the
cunning
of
the
Physician
in
discovering
the
Prince's
Passion
,
by
causing
all
the
Ladies
in
the
Court
to
pass
one
by
one
before
the
Princes
Bed
,
that
so
by
the
emotion
of
his
Pulse
,
he
might
judge
which
of
them
it
was
,
that
caused
his
Disease
;
I
thought
it
would
be
very
odd
,
to
make
a
Play
where
the
Hero
of
it
should
always
be
a
bed
,
and
that
it
would
be
hard
to
change
the
Circumstance
so
,
as
to
preserve
the
Beauty
of
it
;
and
that
besides
,
the
Time
and
Place
of
the
Scene
would
be
difficult
to
bring
together
;
for
if
Antiochus
be
suppos'd
sick
a
bed
in
the
morning
,
't
would
be
improbable
to
lay
much
action
upon
him
all
the
rest
of
that
day
;
and
to
place
the
Scene
in
a
sick
mans
Chamber
,
or
at
his
door
,
would
be
as
unlikely
.
'T
was
for
the
same
Reason
,
that
the
Theodora
of
Corneille
had
not
all
the
approbation
it
deserv'd
:
'T
is
in
it self
a
most
ingenious
Play
;
the
Plot
being
well
carried
,
and
full
of
variety
;
where
all
the
hints
of
the
true
Story
are
made
use
of
to
advantage
,
the
Changes
and
Turns
very
judicious
,
and
the
Passions
and
Verse
worthy
the
Name
of
so
great
a
man
.
But
because
the
whole
business
turns
upon
the
Prostitution
of
Theodora
to
the
Publick
Stews
,
it
could
never
please
;
not
but
that
the
Poet
,
in
that
too
,
has
taken
care
to
expose
things
with
great
modesty
and
nicety
;
but
still
one
is
forc'd
to
have
the
Idea
of
that
ugly
Adventure
so
often
in
ones
Imagination
,
particularly
in
the
Narrations
of
the
4th
Act
,
that
the
Spectators
cannot
but
have
some
disgust
at
it
.
There
are
a
hundred
Stories
like
these
,
and
harder
yet
to
manage
for
the
Stage
;
and
likewise
on
the
contrary
there
are
lucky
ones
,
which
seem
to
have
happened
on
purpose
;
as
that
of
Sophonisba
,
who
is
a
Widow
,
and
married
again
,
loses
her
kingdom
,
and
recovers
it
all
in
a
day
.
The
way
therefore
of
chusing
a
Subject
,
is
to
consider
whether
it
be
founded
upon
one
of
these
three
things
;
either
upon
Noble
Passions
,
as
Mariamne
and
the
Cid
;
or
upon
an
intricate
and
pleasing
Plot
,
as
Cleomedon
,
or
the
Disguis'd
Prince
;
or
upon
some
extraordinary
Spectacle
and
Show
,
as
Cyminda
,
or
the
Two
Victims
;
and
if
the
Story
will
bear
more
Circumstances
of
this
nature
,
or
that
the
Poets
imagination
can
fitly
supply
the
Play
with
them
,
it
will
be
still
the
better
;
provided
,
he
observe
a
just
moderation
,
for
though
a
Poem
ought
not
to
be
without
a
Plot
,
nor
without
Passions
,
or
noble
Spectacles
,
yet
to
load
a
Subject
with
any
of
them
,
is
a
thing
to
be
avoided
.
Violent
Passions
,
too
often
repeated
,
do
as
it
were
numm
the
Soul
,
and
its
Sympathy
;
the
multitude
of
Incidents
and
Intrigues
distract
the
Mind
,
and
confound
the
Memory
;
and
much
Show
takes
up
more
time
than
can
be
allowed
it
,
and
is
hard
to
bring
on
well
.
'T
is
for
this
reason
,
that
some
of
our
Poets
who
had
contriv'd
in
every
Act
a
memorable
Incident
,
and
a
moving
Passion
,
did
not
find
that
the
success
answer'd
their
Expectation
.
If
I
am
ask'd
,
what
is
the
measure
of
employing
those
things
?
I
shall
answer
,
't
is
every
ones
natural
judgment
;
and
it
may
happen
that
a
Drama
may
be
so
luckily
contriv'd
,
that
the
preparation
of
the
Incidents
,
and
the
variety
of
the
Passions
,
shall
correct
the
defect
of
the
abundance
of
them
;
and
that
the
Art
of
the
Machines
shall
be
so
well
understood
,
that
they
may
easily
be
made
use
of
in
every
Act
,
as
I
formerly
propounded
to
Cardinal
Richelieu
,
but
hitherto
they
are
little
in
use
in
our
ordinary
Theatres
.
'T
is
besides
most
commonly
ask'd
here
,
how
far
the
Poet
may
venture
in
the
alterations
of
a
true
Story
,
The
Stage
therefore
does
not
present
things
as
they
have
been
,
but
as
they
ought
to
be
;
for
the
Poet
must
in
the
Subject
he
takes
reform
every
thing
that
is
not
accommodated
to
the
Rules
of
his
Art
;
as
a
Painter
does
when
he
works
up
on
an
imperfect
Model
.
'T
was
for
this
Reason
that
the
death
of
Camilla
by
the
hands
of
her
Brother
Horatius
was
never
lik'd
of
upon
the
Stage
,
though
it
be
a
true
Adventure
;
and
I
for
my
part
gave
my
Opinion
,
that
to
save
in
some
measure
the
truth
of
the
Story
,
and
yet
not
to
offend
against
the
decency
of
the
Stage
,
it
would
have
been
better
that
that
Unfortunate
Maid
,
seeing
her
Brother
come
towards
her
with
his
Sword
drawn
,
had
run
upon
it
of
her self
;
for
by
that
means
she
would
still
have
dyed
by
the
hand
of
Horatius
,
and
yet
he
might
have
deserved
some
compassion
,
as
unfortunate
but
innocent
,
and
so
the
Story
and
the
Stage
would
have
been
agreed
.
In
a
word
,
The
Historian
ought
to
recite
matter
of
Fact
,
and
if
he
judges
of
it
,
he
does
more
than
he
ought
to
do
;
the
Epick
Poet
is
to
magnifie
all
Events
by
great
Fictions
,
where
truth
is
as
it
were
sunk
and
lost
;
and
the
Dramatick
Poet
ought
to
shew
all
things
in
a
state
of
decency
,
probability
,
and
pleasingness
.
'T
is
true
,
that
if
Story
is
capable
of
all
the
Ornaments
of
Dramatick
Poetry
,
the
Poet
ought
to
preserve
all
the
true
Events
;
but
if
not
,
he
is
well
grounded
to
make
any
part
of
it
yield
to
the
Rules
of
his
Art
,
and
to
the
Design
he
has
to
please
.
Many
against
this
do
alledge
the
Authority
of
Horace
,
that
he
ought
in
Story
to
follow
the
common
receiv'd
Opinion
,
or
at
least
to
invent
things
that
may
be
as
conformable
to
it
as
possible
.
But
I
answer
,
that
Horace
in
that
place
does
not
treat
of
the
Subject
of
the
Play
,
but
of
the
Customs
and
Morals
that
ought
to
be
given
the
Actors
;
who
ought
not
to
be
represented
different
from
what
they
were
believed
;
as
it
would
be
to
make
Caesar
a
Coward
,
or
Messalina
chaste
;
and
this
Vossius
has
well
observ'd
in
his
Poetick
Art
,
and
I
wonder
that
people
should
be
abus'd
by
Citations
applyed
quite
contrary
to
the
Sense
of
the
Author
;
and
yet
I
am
not
of
opinion
that
a
known
Story
,
yet
fresh
in
the
minds
of
the
People
,
can
suffer
to
be
considerably
chang'd
,
without
great
caution
;
but
in
such
a
case
I
should
advise
the
Poet
rather
to
abandon
such
a
subject
,
than
to
make
an
ill
Play
of
it
,
out
of
a
humour
of
following
truth
;
or
at
least
to
manage
it
so
,
as
to
check
directly
the
receiv'd
Opinion
among
the
Vulgar
.
If
we
examine
well
the
Sense
of
Aristotle
,
I
believe
he
will
be
found
to
be
of
this
Opinion
;
and
as
for
the
Ancient
Poets
they
have
always
taken
that
Liberty
,
the
same
Story
having
hardly
ever
been
treated
the
same
way
by
different
Poets
.
As
for
example
,
The
Adventures
of
Polydorus
are
very
different
in
Euripides
and
Virgil.
Sophocles
kills
Emon
and
Antigone
,
but
Euripides
,
who
has
made
the
same
Story
in
two
Plays
,
marrys
them
together
in
one
,
contrary
to
what
he
himself
had
done
before
in
the
other
call'd
,
The
Phaenician
Ladies
.
The
same
Sophocles
in
Oedipus
makes
Jocasta
strangle
her self
,
and
Euripides
makes
her
live
'till
the
combat
of
her
Sons
Eteocles
and
Polynices
,
and
then
kill
her self
upon
their
dead
bodies
.
Orestes
and
Electra
are
very
different
in
many
Circumstances
,
though
both
Works
of
the
same
Poet.
In
a
word
,
the
four
Tragick
Poets
of
the
Greeks
,
whose
Works
we
have
,
are
all
different
in
the
disposition
of
the
same
Stories
,
and
I
believe
that
they
were
the
cause
of
that
grand
disorder
and
confusion
there
is
in
Story
and
Chronology
in
those
old
times
,
because
that
they
having
chang'd
both
the
Times
and
Events
for
their
own
ends
,
they
have
influenc'd
some
Historians
,
who
thought
to
pick
out
of
them
the
truth
of
Story
,
and
so
made
all
things
uncertain
;
any
body
that
will
read
the
Electra
of
Euripides
,
that
of
Sophocles
,
and
the
Caephores
of
Aeschilus
,
will
easily
see
that
they
made
no
difficulty
of
contradicting
one
another
,
and
themselves
.
As
for
the
different
kinds
of
Subjects
,
letting
alone
those
ordinary
divisions
of
Aristotle
,
and
his
Commentators
,
I
here
propose
three
sorts
of
Subjects
.
The
first
consists
of
Incidents
,
Intrigues
,
and
new
Events
,
when
almost
from
Act
to
Act
there
is
some
sudden
change
upon
the
Stage
,
which
alters
all
the
Face
of
Affairs
;
when
almost
all
the
Actors
have
different
Designs
;
and
the
means
they
take
to
make
them
succeed
come
to
cross
one
another
,
and
produce
new
and
unforeseen
Accidents
,
all
which
gives
a
marvellous
satisfaction
to
the
Spectators
,
it
being
a
continual
diversion
,
accompanied
with
an
agreeable
Expectation
of
what
the
Event
will
be
.
The
second
sort
of
Subjects
are
of
those
rais'd
out
of
Passions
;
when
out
of
a
small
Fund
the
Poet
does
ingeniously
draw
great
Sentiments
and
noble
Passions
,
to
entertain
the
Auditory
;
and
when
out
of
Incidents
that
seem
natural
to
his
Subject
,
he
takes
occasion
to
transport
his
Actors
into
extraordinary
and
violent
Sentiments
,
by
which
the
Spectators
are
ravish'd
,
and
their
Soul
continually
mov'd
with
some
new
Impression
.
The
last
sort
of
Subjects
are
the
mixt
or
compound
of
Incidents
and
Passions
,
when
by
unexpected
Events
,
but
Noble
ones
,
the
Actors
break
out
into
different
Passions
;
and
that
infinitely
delights
the
Auditory
,
to
see
at
the
same
time
surprizing
Accidents
,
and
noble
and
moving
Sentiments
,
to
which
they
cannot
but
yield
with
pleasure
.
Now
't
is
certain
,
that
in
all
these
three
sorts
of
Subjects
the
Poet
may
succeed
,
provided
the
disposition
of
his
Play
be
ingenious
;
but
yet
I
have
observ'd
some
difference
,
according
to
which
they
take
more
or
less
.
Subjects
full
of
Plot
and
Intrigue
are
extreme
agreeable
at
first
,
but
being
once
known
,
they
do
not
the
second
time
please
us
so
well
,
because
they
want
the
graces
of
Novelty
,
which
made
them
charm
us
at
first
,
all
our
delight
consisting
in
being
surpriz'd
,
which
we
cannot
be
twice
.
The
Subjects
full
of
Passions
last
longer
,
and
affect
us
more
,
because
the
Soul
which
receives
the
impression
of
them
,
does
not
keep
them
so
long
,
nor
so
strongly
,
as
our
Memory
does
the
Events
of
things
;
nay
,
often
it
happens
,
that
they
please
us
more
at
second
seeing
,
because
that
the
first
time
we
are
employed
about
the
Event
and
Disposition
of
the
Play
,
and
by
consequent
do
less
enter
into
the
Sentiments
of
the
Actors
;
but
having
once
no
need
of
applying
our
thoughts
to
the
Story
,
we
busie
them
about
the
things
that
are
said
,
and
so
receive
more
Impressions
of
grief
of
fear
.
But
it
is
out
of
doubt
,
that
the
mix'd
or
compound
are
the
most
excellent
sort
,
for
in
them
the
Incidents
grow
more
pleasing
by
the
Passions
which
do
as
it
were
uphold
them
,
and
the
Passions
seem
to
be
renew'd
,
and
spring
afresh
,
by
the
variety
of
the
unthought
of
Incidents
;
so
that
they
are
both
lasting
,
and
require
a
great
time
to
make
them
lose
their
Graces
.
We
are
not
to
forget
here
(
and
I
think
it
one
of
the
best
Observations
that
I
have
made
upon
this
Subject
)
that
if
the
Subject
is
not
conformable
to
the
Customs
and
Manners
,
as
well
as
Opinions
of
the
Spectators
,
it
will
never
take
,
what
pains
soever
the
Poet
himself
take
,
and
whatsoever
Ornaments
he
employs
to
set
his
Play
off
.
For
all
Dramatick
Poems
must
be
different
,
according
to
the
People
before
whom
they
are
represented
;
and
from
thence
often
proceeds
that
the
success
is
different
,
though
the
Play
be
still
the
same
.
Thus
the
Athenians
delighted
to
see
upon
their
Theatre
the
Cruelties
of
Kings
,
and
the
Misfortunes
befalling
them
,
the
Calamities
of
Illustrious
and
Noble
Families
,
and
the
Rebellion
of
the
whole
Nation
for
an
ill
Action
of
the
Prince
,
because
the
State
in
which
they
liv'd
being
Popular
,
they
lov'd
to
be
perswaded
that
Monarchy
was
always
Tyrannical
,
hoping
thereby
to
discourage
the
Noble
Men
of
their
own
Commonwealth
from
the
attempt
of
seizing
the
Soveraignty
,
out
of
fear
of
being
expos'd
to
the
the
fury
of
a
Commonalty
,
who
would
think
it
just
to
murther
them
.
Whereas
quite
contrary
among
us
,
the
respect
and
love
which
we
have
for
our
Princes
,
cannot
endure
that
we
should
entertain
the
Publick
with
such
Spectacles
of
horrour
;
we
are
not
willing
to
believe
that
Kings
are
wicked
,
nor
that
their
Subjects
,
though
with
some
appearance
of
ill
usage
,
ought
to
Rebel
against
their
Power
;
or
touch
their
Persons
,
no
not
in
Effigie
;
and
I
do
not
believe
that
upon
our
Stage
a
Poet
could
cause
a
Tyrant
to
be
murder'd
with
any
applause
,
except
he
had
very
cautiously
laid
the
thing
:
As
for
Example
,
that
the
Tyrant
were
an
Usurper
,
and
the
right
Heir
should
appear
,
and
be
own'd
by
the
People
,
who
should
take
that
occasion
to
revenge
the
injuries
they
had
suffer'd
from
the
Tyrant
;
but
Usurpation
alone
,
against
the
will
of
the
People
,
would
not
justifie
without
horrour
the
death
of
the
Soveraign
by
the
hands
of
his
rebellious
Subjects
:
We
have
seen
the
tryal
of
it
in
a
Play
call'd
Timoleon
,
whom
no
consideration
of
State
or
common
Good
,
no
love
nor
generosity
towards
his
Country
,
could
hinder
from
being
considered
as
the
Murderer
of
his
Brother
and
his
Prince
;
and
for
my
part
I
esteem
that
Author
who
avoided
to
have
Tarquin
kill'd
upon
the
Stage
,
after
the
violence
he
had
offer'd
to
Lucretia
.
The
cruelty
of
Alboin
inspir'd
horrour
into
the
whole
French
Court
,
though
otherwise
it
were
a
Tagedy
full
of
noble
Incidents
and
lofty
Language
.
We
have
had
upon
our
Stage
the
Esther
of
Mr.
Du
Ryer
,
adorn'd
with
great
Events
,
fortified
with
strong
Passions
,
and
compos'd
in
the
whole
with
great
Art
;
but
the
success
was
much
unluckier
at
Paris
,
than
at
Roüen
;
and
when
the
Players
at
their
teturn
to
Paris
told
us
the
good
fortune
they
had
had
at
Roüen
,
every
body
wondred
at
it
,
without
being
able
to
guess
the
cause
of
it
;
but
for
my
part
I
think
that
Roüen
,
being
a
Town
of
great
Trade
,
is
full
of
a
great
Number
of
Jews
,
some
known
,
and
some
conceal'd
,
and
that
by
that
reason
they
making
up
a
good
part
of
the
Audience
,
took
more
delight
in
a
piece
which
seem'd
entirely
Jewish
,
by
the
Conformity
it
had
to
their
Manners
and
Customs
.
We
may
say
the
same
thing
of
Comedies
;
for
the
Greeks
and
Romans
,
with
whom
the
Debauches
of
young
People
with
Curtizans
was
but
a
laughing
matter
,
took
pleasure
to
see
their
Intrigues
represented
,
and
to
hear
the
discourses
of
those
publick
Women
,
with
the
tricks
of
those
Ministers
of
their
Pleasures
countenanc'd
by
the
Laws
.
They
were
also
delighted
to
see
old
covetous
men
over-reach'd
,
and
cheated
of
their
money
,
by
the
circumvention
of
their
Slaves
,
in
favonr
of
their
young
Masters
;
they
were
sensible
to
all
these
things
,
because
they
were
subject
to
them
one
time
or
another
;
but
amongst
us
all
this
would
be
ill
received
;
for
as
Christian
Modesty
does
not
permit
persons
of
Quality
to
approve
of
those
Examples
of
Vice
,
so
neither
do
the
Rules
by
which
we
govern
our
Families
allow
of
those
slights
of
our
Servants
,
nor
do
we
need
to
defend
our selves
against
them
.
'T
is
for
the
same
Reason
that
wee
see
in
the
French
Court
,
Tragedies
take
a
great
deal
better
than
Comedies
;
and
that
on
the
contrary
,
the
People
are
more
affected
with
the
latter
,
and
particularly
with
the
Farces
and
Buffooneries
of
the
Stage
;
for
in
this
Kingdom
the
persons
of
good
Quality
,
and
Education
,
have
generous
thoughts
and
designs
,
to
which
they
are
carried
either
by
the
Motives
of
Vertue
or
Ambition
,
so
that
their
life
has
a
great
Conformity
with
the
Characters
of
Tragedy
;
but
the
people
,
meanly
born
and
durtily
bred
,
have
low
Sentiments
,
and
are
thereby
dispos'd
to
approve
of
the
meaness
and
filthiness
represented
in
Farces
,
as
being
the
Image
of
those
things
which
they
both
use
to
say
and
do
;
and
this
ought
to
be
taken
notice
of
,
not
only
in
the
principal
part
of
the
Poem
,
but
in
all
its
parts
,
and
particularly
in
the
Passions
,
as
we
shall
say
more
amply
in
a
Chapter
about
them
;
for
if
there
be
any
Act
or
Scene
that
has
not
that
conformity
of
manners
to
the
Spectators
,
you
will
suddenly
see
the
applause
cease
,
and
in
it's
place
a
discontent
succeed
,
though
they
themselves
do
not
know
the
cause
of
it
.
For
the
Stage
and
Eloquence
are
alike
in
this
,
that
their
Perfections
and
Faults
are
equally
perceiv'd
by
the
Ignorant
and
by
the
Learned
,
though
the
cause
is
not
equally
known
to
them
.
CHAP.
II.
Of
Probability
and
Decency
.
HEre
is
the
bottom
and
ground
work
of
all
Dramatick
Poems
;
'T
is
a
general
Maxim
,
that
Truth
alone
is
not
the
Subject
of
our
Theatres
,
That
which
is
simply
possible
is
left
a
Subject
for
Plays
,
for
many
things
may
come
to
pass
by
the
recounter
of
Natural
Causes
(
or
the
adventures
of
humane
Life
)
which
yet
would
be
ridiculous
,
and
almost
incredible
,
to
be
represented
.
'T
is
possible
that
a
Man
may
dye
suddenly
,
and
that
happens
often
;
but
That
Poet
would
be
strangely
laugh'd
at
,
who
to
rid
the
Stage
of
a
troublesome
Rival
,
should
make
him
dye
of
an
Apoplexy
,
as
of
a
common
Disease
;
and
it
would
need
exceeding
ingenious
and
artful
preparations
.
There
is
nothing
therefore
but
Probability
,
I
shall
not
here
expatiate
upon
ordinary
and
extraordinary
Probability
,
the
Masters
of
the
Art
have
made
ample
Treatises
about
it
;
and
no
body
is
ignorant
,
that
things
naturally
impossible
become
possible
,
and
even
probable
,
by
the
Power
of
God
Almighty
,
or
That
of
the
Devil
;
and
that
the
Probability
of
the
Stage
does
not
oblige
to
represent
only
those
things
which
happen
according
to
the
common
course
of
Humane
Life
,
but
likewise
gives
leave
to
launch
into
the
wonderful
Accidents
of
it
,
which
makes
the
Events
so
much
the
more
surprising
,
if
they
are
still
probable
;
but
that
which
I
have
observ'd
in
this
matter
,
is
,
That
few
have
understood
,
how
far
this
Probability
ought
to
reach
;
every
body
indeed
believing
that
it
ought
to
be
observ'd
in
the
principal
Action
of
the
Poem
,
and
likewise
in
the
most
sensible
Incidents
of
it
,
but
they
went
no
further
.
Now
is
it
most
certain
,
that
the
least
Actions
,
brought
upon
the
Stage
,
ought
to
be
probable
,
or
else
they
are
entirely
faulty
,
and
should
not
appear
there
.
There
is
no
Action
of
Humane
Life
so
perfectly
single
,
as
not
to
be
accompanied
by
many
little
Circumstances
,
which
do
make
it
up
;
as
are
the
Time
,
the
Place
,
the
Person
,
the
Dignity
,
the
Designs
,
the
Means
,
and
the
Reasons
of
the
Action
;
and
since
the
Stage
ought
ot
be
a
perfect
Image
of
Action
,
it
ought
to
represent
it
entire
,
and
that
Probability
and
Decency
be
observ'd
in
all
its
parts
.
When
a
King
speaks
upon
the
Stage
,
he
must
speak
like
a
King
,
and
that
is
the
Circumstance
of
his
Dignity
,
against
which
nothing
ought
to
be
done
with
Decency
;
except
there
be
some
other
reason
to
dispense
with
this
last
,
as
that
he
were
in
disguise
.
Besides
,
without
doubt
a
King
speaking
according
to
his
Dignity
must
be
suppos'd
to
be
somewhere
,
and
therefore
the
Stage
must
carry
the
Image
of
the
place
where
he
then
was
,
for
there
are
things
which
in
Probability
ought
not
to
be
done
or
said
,
but
in
certain
places
.
It
ought
also
to
appear
,
in
what
time
he
spoke
,
for
one
ought
to
speak
differently
in
different
times
,
as
a
Prince
before
he
gives
Battel
,
will
speak
otherwise
than
after
he
has
won
it
,
or
lost
it
.
Therefore
to
preserve
this
Probability
in
the
Circumstances
of
the
Treatral
Action
,
the
Poet
must
be
Master
of
the
Rules
of
the
Stage
,
and
Practise
them
,
for
they
teach
nothing
else
,
to
make
all
the
parts
of
an
Action
appear
with
Probability
and
Decency
,
and
to
represent
a
whole
and
entire
Image
of
them
.
To
this
some
have
said
,
That
Reason
and
Common
Sense
are
sufficient
of
themselves
to
Judge
of
all
these
things
.
I
grant
it
,
but
it
must
be
Reason
and
common
Sense
,
instructed
in
the
affairs
of
the
Stage
,
and
in
what
is
design'd
to
be
represented
:
For
suppose
,
that
a
Man
of
good
Sense
should
have
never
seen
nor
heard
of
a
Play
,
and
be
brought
to
see
one
,
without
being
told
what
it
is
he
is
carried
to
;
't
is
certain
that
he
will
hardly
know
,
whether
the
Players
be
true
Kings
and
Princes
,
or
only
the
Images
of
them
;
and
when
he
does
know
,
that
all
that
is
but
a
Fiction
,
yet
will
he
scarce
be
able
to
judge
of
the
Faults
or
Perfections
of
the
Play
,
without
making
many
Reflections
to
consider
,
whether
what
is
represented
be
profitable
or
no
?
For
to
judg
perfectly
of
a
Dramatick
Poem
,
our
Natural
Reason
must
be
instructed
and
inured
to
that
kind
of
Images
,
which
are
made
use
of
by
men
to
represent
any
Action
,
and
know
precisely
,
how
Probability
is
to
be
preserved
in
all
the
strokes
of
this
animated
Picture
;
and
that
cannot
be
attained
to
,
but
by
a
great
number
of
Observations
made
by
length
of
time
and
different
Persons
.
The
Art
of
the
Stage
was
by
these
Observations
framed
by
the
Ancients
,
and
had
so
slow
a
Progress
,
that
from
Thespis
,
who
first
added
an
Actor
to
the
Chorus
,
who
before
that
acted
Tragedies
alone
,
to
the
time
of
Aristotle
,
who
reduced
these
Rules
into
an
Art
,
there
passed
two
hundred
years
:
He
therefore
that
,
on
a
sudden
without
study
or
reflection
,
will
pronounce
his
Judgment
of
a
Play
,
will
often
find
himself
mistaken
;
because
't
is
very
hard
he
should
have
before
his
Eyes
on
a
sudden
all
those
Considerations
,
which
are
requisite
to
examine
the
Probability
of
what
has
been
represented
;
and
it
has
often
happened
,
that
People
of
very
good
understanding
have
at
first
commended
some
Actions
of
the
Stage
for
well
invented
things
,
which
upon
being
better
informed
,
they
have
found
contrary
to
all
Probability
and
Ridiculous
.
But
it
is
a
much
stranger
thing
,
and
yet
very
true
,
that
I
have
seen
People
,
who
had
for
many
years
compos'd
Plays
themselves
,
read
a
Play
of
anothers
,
and
that
over
and
over
again
,
and
yet
never
find
out
the
length
of
time
,
nor
the
place
of
the
Scene
,
nor
many
of
the
Circumstances
of
the
most
important
Actions
,
so
as
to
judge
whether
they
were
probable
or
not
.
Heinsius
himself
,
though
very
Learned
,
Aeschylus
,
Prometheus
is
kill'd
by
a
Thunder-Bolt
,
Scaliger
,
Muretus
,
Vossius
,
F.
Membrun
,
and
others
have
been
of
that
Opinion
;
but
it
does
not
contain
above
ten
hours
,
as
I
have
made
it
appear
,
in
my
Dissertation
of
Terence
Justified
.
And
Monsieur
Menage
,
who
writ
upon
this
Subject
,
only
to
contradict
Truth
out
of
Malignity
,
has
not
dar'd
to
allow
it
above
14
or
15
hours
,
and
to
compass
that
,
he
has
been
fain
,
to
pervert
the
Order
of
the
Athenian
Months
,
that
he
might
shorten
the
day
,
and
lengthen
the
night
,
and
so
overthrow
the
Oeconomy
of
Nature
,
to
find
some
Fault
with
the
Disposition
of
the
Play
.
I
have
seen
some
others
,
whom
I
had
much
difficulty
to
perswade
,
that
in
the
Phoenicians
of
Euripides
,
the
Electra
of
Sophocles
,
and
the
Clouds
of
Aristophanes
,
the
Unity
of
place
was
observed
;
so
much
do
old
Errors
sometimes
blind
us
:
And
so
true
it
is
,
that
in
this
Art
,
as
well
as
in
all
others
,
our
natural
Reason
needs
the
knowledge
of
the
Rules
of
the
Art
,
to
judge
well
of
the
Perfection
or
Faults
of
the
product
of
the
Art
,
and
I
dare
boldly
say
,
that
whoever
shall
read
this
Treatise
,
shall
condemn
many
things
which
they
formerly
thought
very
Rational
.
CHAP.
III.
Of
the
Unity
of
Action
.
'T
IS
one
of
Aristotle's
Rules
,
and
without
doub●
a
very
Rational
one
,
that
a
Dramatick
Poem
ought
to
comprehend
but
one
Action
;
and
he
does
very
pertinently
condemn
those
,
who
make
a
Play
of
the
whole
Story
,
or
Life
of
a
Hero
.
For
though
we
speak
but
of
one
principal
Part
,
on
which
all
the
other
Events
,
bad
and
good
,
do
depend
;
yet
there
are
divers
subordinate
Actions
.
But
to
explain
this
more
particularly
,
I
will
here
give
the
Reason
of
this
Rule
,
as
I
apprehend
it
;
and
how
likewise
one
may
comprehend
upon
the
Stage
divers
Incidents
in
one
Action
.
'T
is
certain
,
that
the
Stage
is
but
a
Picture
or
Image
of
Humane
Life
;
and
as
a
Picture
cannot
shew
us
at
the
same
time
two
Originals
,
and
be
an
accomplished
Picture
:
It
is
likewise
impossible
that
two
Actions
,
I
mean
principal
ones
,
should
be
represented
reasonably
by
one
Play
.
Let
us
consider
what
the
Painter
does
,
who
is
to
make
a
Picture
of
some
Story
;
he
has
no
other
design
,
but
to
give
the
Image
of
some
Action
,
and
that
Action
is
so
limitted
,
that
it
cannot
represent
two
parts
of
a
Story
together
,
and
less
all
the
Story
upon
which
he
has
fix'd
;
because
it
would
be
necessary
that
the
same
Person
should
be
Painted
,
and
appear
in
different
places
,
which
would
make
a
strange
Confusion
in
the
whole
Picture
,
and
it
would
be
hard
to
distinguish
any
Order
amongst
so
many
different
Actions
;
and
by
consequent
,
the
Story
would
be
very
obscure
and
confused
:
Therefore
instead
of
that
,
the
Painter
would
chuse
,
amongst
All
the
Actions
which
made
up
the
Story
,
the
most
important
One
,
and
the
fittest
for
the
Excellency
of
his
Art
,
and
which
in
some
measure
should
contain
all
the
others
;
so
that
with
one
look
one
might
have
a
sufficient
knowledge
of
all
that
he
designed
to
express
;
and
if
he
desired
to
express
two
parts
of
the
same
Story
,
he
would
make
in
some
corner
of
the
Picture
a
Lontananza
,
where
he
would
paint
that
other
Action
,
which
he
had
a
mind
to
represent
,
that
he
might
make
it
be
understood
,
that
he
design'd
the
painting
of
two
different
Actions
,
and
that
it
was
two
Pictures
,
and
not
one
.
As
for
Example
,
Suppose
he
designed
to
draw
the
Story
of
Iphigenia
,
it
would
be
hard
for
him
to
comprehend
in
one
Picture
,
all
the
Adventures
of
that
Princess
;
therefore
he
would
chuse
that
of
the
Sacrifice
,
which
the
Greeks
were
going
to
make
of
her
to
Diana
,
to
appease
her
Anger
,
and
the
storms
of
the
Sea
;
for
in
this
Action
her
whole
Story
would
in
some
measure
be
comprehended
.
The
storms
of
the
Sea
,
which
kept
the
Fleet
in
the
Port
of
Aulide
,
would
be
considered
as
the
Cause
;
the
Grief
of
her
Father
,
and
the
Compassion
of
the
other
Grecian
Princes
,
would
be
the
Circumstances
;
and
her
being
carried
away
by
that
Goddess
her self
,
as
an
extraordinary
Favour
,
by
which
she
was
to
be
sav'd
;
and
then
if
he
had
a
mind
to
express
that
Diana
carried
her
to
Tauris
,
where
she
was
upon
the
point
of
Sacrificing
her
Brother
Orestes
,
he
would
put
her
in
one
of
the
Corners
of
his
Picture
,
in
the
particular
dress
of
Diana's
Priestess
,
with
some
other
marks
of
this
second
Adventure
,
and
so
make
two
Pictures
of
two
different
Actions
of
the
same
Story
.
The
Dramatick
Poet
must
imitate
the
Painter
,
and
when
he
undertakes
the
Composition
of
a
Play
,
he
must
reckon
that
he
undertakes
to
make
a
living
speaking
Picture
,
and
that
therefore
he
cannot
comprehend
in
it
a
whole
History
,
or
the
Life
of
an
Hero
,
because
he
would
be
necessitated
to
represent
an
infinite
number
of
Events
,
and
employ
a
vast
number
of
Actors
,
and
mingle
so
many
things
,
that
he
would
make
up
a
work
of
perfect
Confusion
,
and
would
be
forc'd
in
most
places
to
offend
against
Probability
and
Decency
,
and
to
go
beyond
the
time
and
extent
,
ordinarily
allowed
to
Dramatick
Poems
;
or
if
he
would
keep
within
the
limits
of
the
Rules
of
his
Art
,
he
would
be
forced
to
hasten
all
the
Incidents
,
and
as
it
were
heap
them
one
upon
another
,
without
either
Graces
or
Distinction
,
and
so
be
obliged
to
stifle
and
suppress
all
the
Passionate
strokes
;
and
in
a
word
,
shew
such
a
Monstrous
Extravagant
Image
,
as
They
have
done
,
who
have
represented
in
the
First
Act
of
a
Tragedy
,
the
Marriage
of
a
Princess
;
in
the
Second
,
the
Birth
of
her
Son
;
in
the
Third
,
the
Amours
of
that
young
Prince
;
in
the
Fourth
,
his
Victories
;
and
in
the
Fifth
,
his
Death
;
in
all
which
there
was
matter
enough
for
above
twenty
Plays
.
Our
Poet
therefore
,
amidst
this
vast
extent
,
shall
pitch
upon
some
one
remarkable
Action
;
and
as
one
may
say
,
a
point
of
Story
,
notable
by
the
Happiness
or
Misfortune
of
some
Illustrious
Person
,
in
which
point
he
may
comprehend
,
as
Circumstances
,
all
the
rest
of
the
Story
,
and
by
representing
one
chief
part
make
the
whole
known
by
some
sleight
to
the
Spectators
,
without
multiplying
the
principal
Action
,
and
without
retrenching
any
of
the
necessary
Beauties
to
the
perfection
of
his
Work
;
and
if
by
chance
he
should
meet
in
the
same
Story
with
two
or
more
Actions
,
so
considerable
,
that
they
each
of
them
deserved
a
Play
,
and
so
independent
or
opposite
to
each
other
,
as
not
to
be
reconciled
;
he
ought
to
make
Two
or
More
plays
of
them
,
or
chuse
the
most
Important
,
and
particularly
,
the
most
Pathetick
for
his
Subject
.
Thus
the
Suppliants
of
Euripides
do
not
contain
the
whole
War
of
Thebes
,
but
only
the
Burial
of
the
two
Princes
of
Argos
.
Hecuba
contains
not
the
taking
of
Troy
,
but
the
last
misfortunes
of
that
Queen
in
her
Captivity
.
The
Ajax
of
Sophocles
,
shews
not
all
the
Exploits
of
War
of
that
Hero
,
nor
his
Disputes
with
Ulysses
for
the
Arms
of
Achilles
,
but
only
represents
his
madness
,
which
was
the
cause
of
his
Death
;
and
so
we
may
say
of
most
of
the
ancient
Plays
.
But
in
all
these
the
Poets
have
shewed
so
much
Art
,
as
to
instruct
the
Spectators
,
either
by
Narrations
,
Discourses
,
Complaints
,
or
other
sleights
of
the
Art
,
in
all
the
Circumstances
of
those
Stories
which
they
treated
.
As
likewise
,
when
the
Subjects
,
that
fell
into
their
Hands
,
were
of
too
great
an
Extent
to
be
comprehended
in
one
Play
,
and
having
in
them
many
Actions
of
equal
importance
,
they
have
made
different
Pictures
of
that
,
which
could
not
be
comprehended
under
one
Image
.
Euripides
has
not
confounded
the
Sacrifice
of
Iphigenia
in
Aulis
,
with
the
Adventures
of
the
same
Princess
in
Scythia
.
Aeschylus
in
one
Play
causes
Agamemnon
to
be
murdered
by
Clytemnestra
;
and
in
another
brings
her
to
punishment
for
it
;
and
from
thence
it
comes
amongst
the
Ancients
,
many
Plays
have
the
same
Name
,
and
often
many
Events
of
the
same
Story
are
represented
in
different
Plays
,
which
indeed
was
some
ways
necessary
in
Athens
;
for
as
their
Poets
were
to
work
for
the
Solemnity
of
the
four
great
Feasts
or
Holy-days
,
and
to
have
four
Plays
for
each
of
them
;
of
which
there
were
three
to
be
Serious
,
and
the
fourth
Satyrical
or
Comical
,
which
made
up
the
Tetralogy
.
I
am
of
Opinion
,
they
took
all
their
Subjects
from
the
same
Story
,
as
I
have
shewed
more
at
length
in
my
Terence
Justified
.
Now
,
as
to
the
manner
of
bringing
many
different
Incidents
into
one
Action
,
and
to
make
a
Poem
of
them
,
which
shall
naturally
contain
many
Acts
,
and
different
Scenes
;
to
explain
this
well
,
I
return
to
the
comparison
of
Painting
,
which
I
have
so
often
us'd
already
.
We
have
said
that
a
Picture
can
represent
but
one
Action
,
but
it
ought
to
be
understood
one
principal
Action
,
for
the
Painter
may
very
well
place
in
the
same
Picture
many
Actions
,
which
depend
upon
that
chief
Action
,
which
he
pretends
principally
to
represent
.
And
indeed
there
is
no
one
action
of
Life
so
single
,
but
it
was
preceeded
,
accompanied
,
and
followed
by
many
others
,
all
which
do
compose
it
,
and
give
it
its
Being
:
Therefore
the
Painter
must
,
whether
he
will
or
no
,
draw
these
subordinate
Actions
,
or
else
his
principal
one
is
imperfect
.
If
he
paints
the
Sacrifice
of
Iphigenia
,
he
cannot
place
her
all
alone
at
the
foot
of
Diana's
Altar
,
or
without
any
body
,
but
Chalchas
who
is
to
sacrifice
her
;
but
rather
,
following
the
Example
of
the
Painter
Tim●ntes
,
he
will
place
there
all
the
Grecian
Princes
with
sad
Countenances
;
Menelaus
her
Uncle
shall
be
extreamly
afflicted
;
Clytemnestra
,
her
Mother
,
sh●ll
be
expressed
all
in
Tears
and
despair
;
and
Agamemnon
,
her
Father
,
with
a
Vail
upon
his
Face
,
to
hide
the
weakness
of
his
Nature
to
the
chief
of
the
Greeks
,
and
yet
allow
something
by
this
slight
to
the
excess
of
his
Grief
;
he
will
not
forget
to
make
Diana
appear
in
the
Sky
,
ready
to
stop
the
Arm
and
Sword
of
Chalchas
,
because
all
these
Actions
do
as
it
were
wait
upon
,
and
make
up
this
doleful
Religious
Action
,
which
else
would
be
weak
and
naked
of
all
its
Ornaments
,
without
all
these
ingenious
Circumstances
.
'T
is
in
the
same
manner
,
that
a
Dramatick
Poem
ought
not
to
contain
above
one
Action
,
but
it
must
be
brought
upon
the
Stage
entire
,
with
all
its
Dependencies
,
and
nothing
must
be
forgot
of
those
Circumstances
,
which
naturally
are
appropriated
to
it
:
And
of
this
I
think
I
need
not
propose
any
Example
;
but
it
will
not
be
amiss
to
give
our
Poet
one
Advertisement
,
which
is
,
That
if
the
principal
Action
be
in
the
Story
loaded
with
too
many
Incidents
,
he
must
reject
the
least
important
,
and
least
pathetick
ones
;
and
on
the
contrary
,
if
the
Story
want
those
Incidents
,
he
must
supply
that
want
by
his
own
Fancy
,
which
he
may
do
two
ways
.
First
,
either
by
inventing
some
Intrigues
,
which
naturally
might
make
a
part
of
the
principal
Action
:
Thus
the
Author
of
the
Tragedy
of
the
Horatius's
has
very
well
invented
the
Marriage
of
Sabina
,
Sister
to
the
Curiatius's
,
with
the
Eldest
of
their
Enemies
,
that
so
he
might
introduce
the
Passions
of
a
Wife
,
to
mingle
with
those
of
Camilla
,
who
was
a
Maid
,
and
in
love
with
one
of
the
Curiatius's
.
Secondly
,
He
may
seek
out
in
Story
,
things
that
have
happened
before
or
after
the
Action
,
which
makes
the
Subject
of
his
Play
,
and
with
Art
joyn
them
to
his
Plot
,
saving
still
the
differences
of
times
and
places
,
according
as
we
shall
shew
in
the
following
Chapters
.
This
has
been
observed
by
the
Author
of
Cleopatra
,
who
makes
Octavia
,
Antony's
Wife
,
come
privately
to
Alexandria
,
and
so
has
the
pleasure
of
shewing
so
great
a
Lady
with
all
her
generous
Sentiments
.
But
we
are
to
observe
here
,
that
the
Poet
,
as
near
as
he
can
,
ought
to
take
his
Action
as
single
as
possible
;
because
he
will
still
be
so
much
the
more
Master
of
the
Passions
,
and
other
Ornaments
of
his
Play
,
which
by
that
means
he
can
shew
to
the
best
advantage
;
whereas
,
if
he
meets
with
them
in
Story
,
they
will
still
be
clogg'd
with
some
Circumstances
,
which
will
constrain
the
whole
Design
,
and
give
him
a
great
deal
of
trouble
;
and
in
short
,
little
and
single
Subjects
in
the
hands
of
an
ingenious
Poet
,
who
knows
how
to
work
them
,
Du
Ryers
,
which
though
it
had
no
fund
in
Story
,
nevertheless
ravished
the
Audience
,
by
the
force
of
the
Passions
,
and
richness
of
the
Style
.
And
on
the
contrary
,
all
those
,
who
in
the
same
Poem
,
have
brought
in
divers
illustrious
important
Actions
,
have
stifled
the
Beauty
of
them
all
,
in
not
giving
room
enough
to
the
Passions
,
as
we
have
experienced
in
some
Plays
,
where
all
the
Actions
,
though
in
some
measure
depending
on
a
principal
one
,
yet
were
so
strong
in
themselves
,
that
they
hindred
each
other
,
and
were
every
one
of
them
capable
of
being
the
subject
of
a
Play
.
CHAP.
IV.
Of
the
Continuity
of
the
Action
.
AFter
the
Poet
has
chosen
the
Subject
or
Story
,
which
he
thinks
capable
of
the
Ornaments
of
Dramatick
Poetry
,
But
when
we
say
,
that
the
chief
Persons
in
the
Play
are
always
to
be
in
Action
,
we
do
not
mean
by
that
,
the
Hero
or
Heroine
of
the
Play
,
for
they
often
Act
the
least
,
and
yet
suffer
the
most
in
the
whole
Business
;
for
in
regard
to
the
Continuity
of
the
Action
,
the
Principal
Actors
are
those
who
carry
on
the
Intrigue
or
business
of
the
Play
,
it
may
be
a
Slave
,
a
waiting
Woman
,
a
Cheat
,
or
some
such
Person
;
and
for
the
Continuity
,
't
is
enough
if
the
least
Actor
is
but
doing
,
provided
it
be
necessarily
,
and
that
the
Spectator
from
his
working
may
naturally
expect
some
important
change
or
adventure
in
the
Subject
.
'T
is
worth
observing
too
,
that
often
in
appearance
the
Action
of
the
Stage
ceases
,
though
it
be
not
really
so
;
which
happens
when
the
Poet
prepares
an
Incident
,
which
is
to
appear
afterwards
,
and
of
which
one
of
the
Actors
speaks
slightly
,
and
en
passant
,
which
is
an
Artifice
of
the
Poets
.
The
Example
is
very
ingenious
in
the
Ajax
of
Sophocles
,
where
the
Action
seems
entirely
to
cease
in
the
beginning
of
the
Third
Act
,
but
is
continued
by
a
Messenger
,
who
comes
and
tells
of
Teucers
Arrival
in
the
Camp
,
and
of
all
that
had
been
done
there
since
his
coming
,
concerning
his
Brothers
Fury
,
and
the
Cure
of
it
,
by
which
means
the
Action
is
not
only
well
renewed
,
but
continued
;
because
in
the
precedent
Acts
,
Ajax
often
speaks
,
and
complains
of
the
length
of
his
Brothers
absence
,
which
makes
all
the
Spectators
wish
his
return
,
as
a
means
to
save
Ajax
himself
,
so
that
when
the
news
of
his
Arrival
is
brought
,
it
appears
that
the
Action
had
not
ceased
at
all
,
for
Teucer
was
acting
in
the
Camp
for
his
Brother
according
to
the
expectation
of
the
Audience
;
of
all
which
nevertheless
there
comes
nothing
to
pass
of
what
they
hop'd
,
and
't
is
in
that
that
consists
the
Poets
chief
Art
,
to
promise
that
which
never
comes
to
pass
,
and
to
bring
that
to
pass
which
he
does
not
promise
.
'T
is
necessary
to
observe
here
besides
,
that
the
Theatral
Action
does
not
always
cease
,
though
all
the
Actors
be
in
Repose
,
and
as
it
were
without
Action
;
because
that
sometimes
't
is
a
necessary
Action
of
the
Play
,
that
they
all
should
be
so
;
and
the
Spectator
expects
some
Event
from
the
Actors
doing
of
nothing
.
This
we
shall
make
clear
by
Examples
,
and
particularly
by
the
Plutus
of
Aristophanes
,
where
we
see
that
after
the
Second
Act
,
the
Actors
carry
Plutus
to
the
Temple
of
Aesculapius
,
to
cure
him
of
his
Blindness
,
where
they
go
to
Bed
to
sleep
,
and
remain
without
Action
;
for
this
Sleep
and
Repose
was
the
Natural
state
,
in
which
they
were
to
be
,
to
receive
from
that
God
,
the
favour
of
being
cured
,
and
is
by
consequent
a
necessary
Action
to
the
Stage
.
By
which
it
appears
,
This
Chapter
may
receive
some
more
light
by
the
Treatise
I
have
made
upon
the
third
Comedy
of
Terence
,
where
I
have
touch'd
this
matter
,
and
by
what
I
have
done
upon
that
Author
,
it
will
be
easie
to
find
,
how
to
examine
the
Ancients
,
if
one
would
discover
the
Artifices
,
which
they
use
to
observe
in
this
Continuity
of
the
Action
of
the
Theatre
.
CHAP.
V.
Of
the
Subjects
with
two
Walks
,
whereof
one
is
by
Modern
Authors
called
Episode
.
OUR
Modern
Authors
do
now
by
an
Episode
mean
a
Second
Story
,
which
comes
as
it
were
cross
the
principal
Subject
of
the
Play
,
and
some
for
this
Reason
call
it
a
Play
with
two
Walks
;
but
the
Ancient
Poets
have
not
known
,
or
at
least
have
not
practis'd
this
Multiplicity
of
Subjects
:
Aristotle
makes
no
mention
of
it
,
and
I
know
no
Example
of
it
,
except
some
will
say
that
the
Orestes
of
Euripides
is
of
this
kind
,
because
there
are
two
Marriages
concluded
in
the
Catastrophe
;
but
there
is
not
in
the
Body
Body
of
the
Play
any
mixture
of
Intrigues
,
to
carry
on
those
two
Amours
,
and
bring
them
to
this
Conclusion
.
Comedy
has
been
otherwise
managed
,
for
having
received
many
more
Changes
than
Tragedy
,
from
what
they
Both
were
at
first
;
it
has
admitted
of
this
mixture
of
two
Stories
in
the
same
Play
:
And
we
have
yet
some
in
Plautus
,
and
a
great
many
in
Terence
,
who
may
afford
an
Instruction
how
to
compose
with
Art
and
Grace
that
sort
of
Plays
better
than
Plautus
.
But
however
,
not
standing
here
upon
the
word
Episode
,
which
amongst
the
Ancients
signified
quite
another
thing
.
I
am
content
the
signification
of
the
Word
should
be
according
to
our
Modern
Authors
;
and
do
allow
that
Tragedy
may
have
some
Episodes
,
as
well
as
the
Epick
Poems
,
and
not
unlike
them
;
but
in
Tragedy
there
are
two
things
to
be
observed
.
First
,
That
these
Episodes
,
or
Second
Stories
be
so
incorporated
into
the
chief
Subject
,
that
they
cannot
be
separated
from
it
,
without
spoiling
the
whole
Play
;
for
else
the
Episode
would
be
looked
upon
as
a
superfluous
and
troublesome
part
,
which
would
but
hinder
the
Union
of
the
chief
Adventures
,
and
slacken
the
motion
of
the
Incidents
,
which
tend
to
a
Conclusion
;
as
indeed
in
the
Play
,
of
our
time
the
most
applauded
,
the
Episode
of
the
Princesses
love
has
been
condemned
by
all
,
The
other
Observation
to
be
made
about
these
Episodes
,
is
,
That
the
second
Story
must
not
be
equal
in
its
Subject
,
nor
in
its
Necessity
,
to
that
which
is
the
foundation
of
the
Play
,
but
it
must
be
subordinate
to
it
,
and
so
depend
upon
it
,
that
the
Events
of
the
principal
Subject
cause
the
Passions
of
the
Episode
;
and
that
the
Catastrophe
of
the
first
produce
naturally
and
of
its
self
the
Catastrophe
of
the
second
,
or
else
the
principal
Action
would
be
no
longer
so
.
These
are
the
two
Reflections
,
which
I
have
made
upon
the
Episodes
of
our
Modern
Poets
,
which
may
give
hints
to
better
understandings
than
mine
,
to
make
some
more
considerable
ones
.
CHAP.
VI.
Of
the
Unity
of
Place
.
AFter
the
Poet
has
order'd
his
Subject
according
to
the
Rules
we
have
given
,
or
it
may
be
Better
,
which
his
own
Industry
and
Study
may
furnish
him
with
;
he
must
reflect
,
that
the
best
part
of
it
must
be
represented
by
Actors
,
which
must
be
upon
a
Stage
fix'd
and
determinated
;
for
to
make
his
Actors
appear
in
different
places
,
would
render
his
Play
ridiculous
,
by
the
want
of
Probability
,
which
is
to
be
the
foundation
of
it
.
This
Rule
of
Unity
of
Place
begins
now
to
be
look'd
upon
as
certain
;
but
yet
the
ignorant
,
and
some
others
of
weak
judgment
,
do
still
imagine
that
it
cannot
but
be
repugnant
to
the
Beauty
of
the
Incidents
of
a
Play
;
because
that
they
,
happening
often
in
great
distance
of
place
,
cannot
but
lose
by
this
constraint
;
and
therefore
whatsoever
Reason
you
oppose
against
their
imaginations
,
they
fancy
a
false
impossibility
in
the
Execution
,
and
reject
stubbornly
all
that
's
said
to
convince
them
;
on
the
other
side
,
those
that
are
but
half
read
in
Antiquity
,
do
well
perceive
the
strength
of
what
it
alledg'd
for
this
Rule
,
but
yet
they
make
Objections
so
unbecoming
a
literate
thinking
man
,
that
they
have
often
mov'd
pity
in
me
,
though
I
had
more
mind
to
laugh
at
them
.
'T
is
the
property
of
little
Genius's
not
to
be
able
to
comprehend
many
things
at
the
same
time
,
so
as
to
reduce
them
to
a
point
;
their
judgment
not
being
able
to
assemble
so
many
images
as
they
must
have
present
all
at
once
;
and
therefore
they
make
so
many
difficulties
,
that
't
is
easie
to
see
,
they
would
be
glad
that
there
were
Reasons
wanting
to
convince
them
.
As
for
the
truely
Learned
,
they
are
thoroughly
convinc'd
of
the
necessity
of
this
Rule
,
because
they
see
clearly
that
Probability
can
no
ways
be
preserv'd
without
it
;
but
I
may
boldly
say
,
that
hitherto
no
one
of
them
has
explain'd
this
Rule
,
and
made
it
intelligible
,
either
because
we
do
not
take
the
Pains
of
making
all
the
necessary
reflexions
upon
the
Works
of
the
Ancients
,
to
discover
the
Art
which
is
most
commonly
hid
in
them
,
and
which
always
ought
to
be
so
,
without
an
apparent
necessity
of
the
Subject
or
the
Interest
of
the
Actors
;
or
else
because
no
body
strives
to
go
beyond
the
first
great
Masters
,
and
what
They
have
neglected
is
given
over
most
commonly
by
their
Followers
.
Aristotle
has
said
nothing
of
it
,
and
I
believe
he
omitted
it
,
because
that
this
Rule
was
in
his
time
too
well
known
;
the
Chorus's
,
which
ordinarily
remain'd
upon
the
Stage
from
one
end
of
the
Play
to
the
other
,
marking
the
unity
of
the
Scene
too
visibly
to
need
a
Rule
for
it
;
and
indeed
,
would
it
not
have
been
ridiculous
,
that
in
the
Play
call'd
the
Seven
before
Thebes
,
the
young
Women
who
make
the
Chorus
,
should
have
found
themselves
sometimes
before
the
Palace
of
the
King
,
and
sometimes
in
the
Camp
of
the
Enemies
,
without
ever
stirring
from
the
same
place
;
and
the
Three
famous
Tragedians
of
the
Greeks
,
whose
Works
we
have
,
are
so
punctual
in
the
Observation
of
this
Rule
,
and
do
so
often
make
their
Actors
say
,
where
they
are
,
and
whence
they
come
;
that
Aristotle
must
have
suppos'd
too
much
Ignorance
in
his
Age
,
and
in
those
who
should
read
these
Poets
,
if
he
had
gone
about
to
Explain
so
settled
a
Rule
.
But
since
the
Ignorance
and
Barbarity
of
some
past
Ages
have
brought
such
disorder
upon
the
Stage
,
to
make
people
in
the
Play
appear
in
different
parts
of
the
World
on
the
same
Stage
,
it
will
not
be
amiss
to
give
here
at
length
the
Reason
of
this
Rule
,
so
well
practis'd
by
the
Ancients
,
and
that
in
honour
of
some
of
our
Modern
Poets
,
who
have
very
handsomly
imitated
them
.
To
understand
it
then
,
we
must
have
recourse
to
our
ordinary
Principle
,
which
is
,
that
the
Stage
is
but
a
Representation
of
things
;
and
yet
we
are
not
to
imagine
,
that
there
is
any
thing
of
what
we
really
see
,
but
we
must
think
the
things
themselves
are
there
of
which
the
Images
are
before
us
.
This
Truth
,
well
understood
,
makes
us
to
know
that
the
place
cannot
change
in
the
rest
of
the
Play
,
since
it
cannot
change
in
the
Representation
,
for
one
and
the
same
Image
remaining
in
the
same
state
,
cannot
represent
two
different
things
;
now
it
is
highly
improbable
,
that
the
same
space
,
and
the
same
floor
,
which
receive
no
change
at
all
,
should
represent
two
different
places
;
as
for
Example
,
France
and
Denmark
;
or
within
Paris
it self
,
the
Tueilleries
and
the
Exchange
;
at
least
to
do
it
with
some
sort
of
colour
,
one
should
have
of
that
sort
of
Theatres
which
turn
quite
round
and
entire
,
that
so
the
Place
might
change
as
well
as
the
Persons
acting
;
and
to
do
this
,
the
Subject
of
the
Play
ought
to
furnish
some
Reason
for
this
change
,
and
as
that
cannot
well
happen
,
but
by
the
Power
of
God
Almighty
,
who
changes
as
he
pleases
the
Face
of
Nature
,
I
doubt
it
would
be
hard
to
make
a
reasonable
Play
without
a
dozen
Miracles
at
least
.
Let
it
then
be
allowed
for
a
certain
truth
,
that
the
Place
,
where
the
first
Actor
,
who
opens
the
Play
,
is
suppos'd
to
be
,
ought
to
be
the
same
place
to
the
end
of
the
Play
;
and
that
,
it
not
being
in
the
ordinary
course
of
Nature
,
that
the
place
can
receive
any
change
,
there
can
be
none
likewise
in
the
Representation
;
and
by
consequent
,
that
all
your
other
Actors
cannot
rationally
appear
in
any
other
place
.
But
we
must
remember
,
that
this
Place
,
which
cannot
be
suppos'd
to
change
,
is
the
Area
or
floor
of
the
Stage
,
upon
which
the
Actors
walk
,
and
which
the
Ancients
call'd
by
the
name
of
Proscenium
;
for
as
that
represents
that
spot
of
ground
,
upon
which
the
persons
represented
did
actually
walk
and
discourse
,
which
could
not
turn
about
or
change
on
a
sudden
,
or
without
a
Miracle
,
so
when
you
have
once
chosen
the
place
where
you
intend
your
Action
to
be
begun
,
you
must
suppose
it
immovable
in
all
the
rest
of
the
Play
,
as
it
was
in
effect
and
really
.
'T
is
not
the
same
with
the
sides
and
end
of
the
Theatre
,
for
as
they
do
but
represent
those
things
which
did
actually
environ
the
Persons
acting
,
and
which
might
receive
some
change
,
they
may
likewise
receive
some
in
the
Representation
,
and
't
is
in
that
that
consists
the
changing
of
Scenes
,
and
other
Ornaments
of
Decoration
,
which
always
ravish
the
People
,
and
please
the
best
Judges
,
when
they
are
well
done
;
so
we
have
seen
upon
our
Stage
a
Temple
adorn'd
with
a
Noble
Front
of
Architecture
,
which
coming
to
be
set
open
shew'd
the
inside
of
it
,
where
in
Perspective
were
descryed
Pillars
and
an
Altar
,
and
all
the
other
Ornaments
of
a
Church
extremly
well
done
;
so
that
the
place
did
not
change
,
and
yet
had
a
fine
Decoration
.
We
are
not
nevertheless
to
imagine
,
that
the
Poets
Capricio
is
to
rule
these
Decorations
;
for
he
must
find
some
colour
and
appearance
for
it
in
his
Subject
.
So
for
Example
,
he
might
feign
a
Palace
upon
the
Sea
side
,
forsaken
,
and
left
to
be
inhabited
by
poor
Fishermen
;
a
Prince
landing
,
or
being
cast
away
there
,
might
adorn
it
with
all
the
rich
Furniture
fit
for
it
;
after
this
by
some
Accident
it
might
be
set
on
fire
;
and
then
behind
it
the
Sea
might
appear
,
upon
which
one
might
represent
a
Sea
Fight
;
so
that
in
all
the
five
changes
of
the
Stage
,
the
unity
of
Place
would
still
be
ingeniously
preserv'd
;
not
but
that
the
very
floor
or
Proscenium
may
change
too
,
provided
it
be
superficially
,
as
if
some
River
should
overflow
it
,
as
the
Tyber
did
in
the
time
of
Augustus
;
or
if
Flames
came
out
of
the
Earth
and
cover'd
the
face
of
it
,
in
all
these
cases
the
unity
of
place
would
not
be
broke
.
But
as
I
have
said
already
,
the
Subject
of
the
Play
must
furnish
probable
Reasons
for
these
changes
,
which
I
repeat
the
oftner
,
because
I
am
still
afraid
,
that
it
will
not
make
Impression
enough
in
the
Reader
.
'T
is
not
enough
neither
to
say
,
that
the
Floor
or
Stage
should
represent
a
place
immoveable
;
it
must
besides
be
a
place
suppos'd
open
in
the
reality
,
as
it
appears
in
the
Representation
;
for
since
the
Actors
are
suppos'd
to
go
and
come
from
one
end
of
it
to
the
other
,
there
cannot
be
any
solid
body
between
,
to
hinder
either
their
sight
or
motion
;
therefore
the
Ancients
did
use
to
chuse
for
the
place
of
their
Scene
in
Tragedies
some
publick
place
,
as
that
before
the
gate
of
a
Palace
;
and
in
their
Comedies
some
part
of
a
Town
,
where
different
Streets
met
,
and
where
the
Houses
of
the
principal
Actors
were
suppos'd
to
be
;
because
these
places
were
most
fitly
represented
by
the
empty
Stage
,
adorn'd
with
the
Figures
of
those
Houses
.
Not
that
they
always
followed
this
,
for
in
the
Suppliants
,
and
in
the
Ion
of
Euripides
,
the
Scene
is
before
a
Temple
;
and
in
the
Ajax
of
Sophocles
,
the
Scene
is
before
his
Tent
,
pitch'd
in
the
Corner
of
a
Forrest
;
in
the
Rudens
of
Plautus
,
it
is
before
the
Temple
,
and
some
scatter'd
Houses
,
from
whence
one
sees
the
Sea
.
And
indeed
all
this
depends
upon
the
Poets
Invention
,
who
according
to
his
Subject
chuses
the
place
,
the
most
convenient
for
all
that
he
has
a
mind
to
represent
,
and
adorns
it
with
some
agreeable
Appearance
.
One
may
judge
from
all
this
,
how
ridiculous
was
the
Wall
in
the
Thisbe
of
Poet
Theophile
,
it
being
plac'd
upon
the
Stage
;
and
Pyramus
and
She
whispering
through
it
,
and
when
they
went
out
,
the
Wall
sunk
,
that
the
other
Actors
might
see
one
another
:
For
besides
that
the
two
places
on
each
side
of
the
Wall
represented
the
two
Chambers
of
Pyramus
and
Thisbe
;
and
that
it
was
contrary
to
all
appearance
of
Reason
,
that
in
the
same
place
the
King
should
come
and
talk
with
his
Confidents
,
and
much
less
that
a
Lion
should
come
and
fright
Thisbe
there
;
I
would
fain
know
,
by
what
suppos'd
means
in
the
action
it self
,
this
Wall
could
become
visible
and
invisible
?
and
by
what
enchantment
it
was
sometimes
in
being
,
and
then
ceas'd
quite
to
be
again
?
The
fault
is
not
less
in
those
,
who
suppose
things
done
upon
the
Stage
,
which
have
not
been
seen
by
the
Spectators
,
it
not
being
probable
they
could
have
been
done
without
being
seen
,
or
else
things
must
be
suppos'd
to
have
been
invisible
in
the
reality
of
the
action
;
upon
which
I
think
one
of
our
Modern
Poets
fell
into
a
great
Errour
of
this
kind
,
having
plac'd
a
Bastion
upon
the
Stage
,
and
having
afterwards
caus'd
the
Town
to
be
taken
by
that
Bastion
,
which
was
never
seen
to
be
either
attack'd
or
defended
.
As
for
the
Extent
which
the
Poet
may
allow
to
the
Scene
he
chuses
,
when
it
is
not
in
a
House
but
open
,
I
believe
it
may
be
as
far
as
a
man
can
see
another
Walk
,
and
yet
not
know
perfectly
that
't
is
he
;
for
to
take
a
larger
space
would
be
ridiculous
,
it
being
improbable
that
two
people
being
each
of
them
at
one
end
of
the
Stage
,
without
any
Object
between
,
should
look
at
one
another
,
and
yet
not
see
one
another
;
whereas
this
distance
,
which
we
allow
often
,
contributes
to
the
working
of
the
Play
by
the
mistakes
and
doubts
which
a
man
may
make
by
seeing
another
at
a
distance
;
to
which
the
Theatres
of
the
Ancients
do
very
well
agree
;
for
being
,
as
they
were
,
threescore
yards
in
front
among
the
Romans
,
and
little
less
among
the
Graecians
,
it
was
pretty
near
the
proportion
we
allow
them
.
I
desire
the
Reader
besides
to
consider
,
that
if
the
Poet
did
represent
by
his
Stage
all
the
Places
and
Rooms
of
a
Palace
,
or
all
the
Streets
of
a
Town
,
he
should
make
the
Spectators
see
not
onely
all
that
happened
in
his
Story
,
but
all
that
was
done
besides
in
that
Palace
,
or
in
the
Town
;
for
there
is
no
Reason
to
hinder
the
Spectators
from
seeing
all
that
,
nor
why
they
should
see
one
thing
sooner
than
another
,
particularly
considering
,
that
since
they
can
see
at
the
same
time
into
the
Garden
of
the
Palace
,
and
into
the
Kings
Cabinet
,
according
to
the
Subject
of
the
Play
,
they
must
likewise
hear
and
see
all
that
is
done
there
,
besides
the
Theatral
Action
;
except
there
were
an
Enchantment
to
shew
onely
that
which
the
Poet
had
a
mind
to
,
and
to
hide
all
that
was
not
of
his
Subject
;
besides
the
Stage
would
never
be
empty
of
any
of
the
Actors
,
except
they
went
out
of
the
Palace
or
Town
,
for
since
the
place
represents
the
Palace
with
its
Garden
,
Court
,
and
other
Appartments
,
one
cannot
forbear
seeing
any
one
who
should
go
from
any
of
those
Appartments
into
the
Court
or
Garden
;
and
by
consequent
,
as
long
as
any
of
the
Actors
were
in
the
Extent
represented
by
the
Stage
,
they
cannot
avoid
being
seen
:
To
which
it
cannot
be
answer'd
,
that
to
mark
the
different
Appartments
,
there
may
be
Curtains
to
shut
and
draw
;
for
these
Curtains
are
fit
for
nothing
,
but
to
toss
their
Inventors
in
them
,
like
Dogs
in
a
Blanket
.
I
have
spoken
so
clearly
of
this
in
my
Terence
Justified
,
that
I
have
nothing
more
to
say
against
this
gross
Piece
of
Ignorance
.
If
it
be
said
besides
,
that
the
Poet
has
the
liberty
of
shewing
and
hiding
what
he
pleases
;
I
grant
it
,
provided
there
be
a
probability
that
one
thing
be
seen
,
and
another
not
;
but
there
would
need
a
singular
Invention
to
contrive
,
that
ever
and
anon
the
same
Persons
,
acting
and
speaking
in
a
Palace
,
should
be
seen
,
and
not
be
seen
;
for
that
would
be
making
of
the
Walls
to
sink
and
rise
,
go
backwards
and
forwards
every
moment
.
This
may
be
enough
to
shew
the
error
of
those
,
who
upon
the
same
Scene
represent
Spain
and
France
,
making
their
Stage
,
not
onely
almost
as
big
as
the
Earth
,
but
likewise
causing
the
same
Floor
to
represent
at
the
same
time
things
so
far
distant
from
one
another
,
and
that
without
any
apparent
cause
of
so
prodigious
a
change
.
We
may
likewise
observe
,
how
they
are
mistaken
,
that
suppose
in
one
side
of
the
Stage
one
part
of
the
Town
,
as
for
example
,
the
Louvre
,
and
on
the
other
side
another
part
,
as
the
Place
Royal
;
thinking
by
this
fine
Invention
to
preserve
the
unity
of
Place
.
Indeed
if
two
Parts
or
Quarters
of
a
Town
,
thus
suppos'd
,
were
not
far
from
one
another
,
and
the
space
between
were
really
empty
of
Houses
,
such
a
thing
were
not
improper
;
but
if
between
the
two
places
,
there
are
many
Houses
and
solid
bodies
,
I
would
then
ask
,
how
it
comes
to
pass
that
those
Houses
do
not
fill
up
the
empty
place
of
the
Stage
;
and
how
,
if
they
do
,
an
Actor
can
see
another
Place
at
the
other
end
of
the
Stage
,
beyond
all
these
Houses
;
Let
it
then
be
setled
for
a
constant
Maxim
,
That
the
Proscenium
,
or
floor
of
the
Stage
,
can
represent
nothing
but
some
open
place
of
an
ordinary
extent
,
where
those
,
that
are
represented
by
the
Actors
,
might
naturally
be
in
the
truth
of
the
Action
;
Aulis
,
Eleusis
,
or
Argos
,
Thus
in
the
Prologue
of
the
last
Comedy
of
Plautus
,
the
Poet
,
explaining
the
Place
of
the
Scene
,
says
,
Et
en
suite
id
est
Plotheensium
regionem
,
eamque
non
totam
,
sed
extremam
illius
partem
in
qua
habitare
fingitur
Phronesion
meretrix
.
that
he
begs
of
the
Romans
a
little
space
in
the
middle
of
their
noble
Buildings
to
transport
thither
the
Town
of
Athens
,
without
the
help
of
Architects
;
upon
which
Samuel
Petit
observes
,
that
we
ought
not
to
imagine
that
Plautus
pretends
to
place
all
the
City
of
Athens
in
that
of
Rome
,
but
onely
a
small
part
of
it
,
where
the
things
represented
in
the
Play
did
come
to
pass
,
to
wit
,
the
Quarter
of
the
Plotaeans
,
and
of
all
that
Quarter
only
the
place
,
where
Phronesion
liv'd
,
I
abridge
here
the
Town
of
Athens
,
upon
this
Stage
,
during
this
Play
,
and
in
this
House
lives
Phronesion
.
These
are
the
only
Authorities
of
any
either
Ancient
or
Modern
Authors
,
that
I
have
found
concerning
the
place
of
the
Scene
.
Castelvetro
indeed
says
,
that
Tragedy
requires
but
a
small
space
;
but
since
he
has
not
explain'd
himself
better
,
we
are
not
bound
to
guess
in
his
favour
.
These
things
then
once
setled
for
the
Doctrine
or
Theory
;
I
have
thought
of
what
follows
for
the
Practical
part
.
The
Poet
does
not
desire
to
represent
to
his
Spectators
all
the
particulars
of
his
story
,
but
the
principal
and
most
moving
circumstances
,
and
thus
he
is
oblig'd
to
some
part
out
of
the
sight
of
the
Spectators
;
and
indeed
he
ought
not
to
do
it
,
Besides
,
he
must
observe
,
whether
or
no
in
his
Subject
there
be
not
some
Circumstances
or
notable
Incident
,
which
it
will
be
necessary
to
preserve
for
the
beauty
of
his
Play
,
and
which
cannot
happen
but
in
a
certain
place
,
for
then
he
must
accommodate
to
that
the
rest
of
his
parts
;
so
he
that
would
shew
Celadon
half
dead
upon
the
Shore
and
found
there
by
Galatea
,
must
of
necessity
place
his
Scene
upon
the
bank
of
a
River
,
and
accommodate
to
it
the
rest
of
the
Theatral
Action
.
Plautus
followed
this
method
in
his
Rudens
,
where
he
desir'd
to
shew
the
relicks
of
a
Shipwrack
,
and
therefore
was
forc'd
to
place
his
Scene
on
the
Sea
side
,
where
all
the
rest
of
his
Adventures
are
very
dexterously
brought
to
pass
.
The
Poet
,
having
chosen
the
place
,
must
examine
next
,
what
things
are
fittest
to
be
shewed
with
delight
to
the
Spectators
,
and
be
sure
to
represent
them
;
as
for
the
others
not
so
fit
to
be
seen
,
they
must
be
told
some
way
,
that
they
may
be
suppos'd
done
,
and
that
in
places
so
near
the
Stage
,
that
the
Actor
who
tells
them
,
may
be
suppos'd
to
have
been
there
and
back
again
,
from
the
time
he
has
been
absent
from
the
Stage
,
or
else
he
must
be
suppos'd
gone
before
the
Play
began
,
for
then
he
may
come
as
far
off
as
you
will
.
All
which
Terence
hath
observ'd
in
his
third
Comedy
,
where
the
two
Slaves
,
Syrus
,
and
Dromo
,
had
been
sent
a
great
while
before
for
Clitophon's
Mistress
;
and
by
consequent
,
all
that
Syrus
tells
of
their
Negotiation
is
very
credible
,
what
time
so
ever
there
needed
for
the
dressing
of
the
Lady
,
and
the
doing
of
all
the
rest
.
And
if
the
things
or
places
to
be
spoke
of
in
the
Play
,
have
been
done
too
far
from
the
Scene
,
or
are
in
themselves
too
remote
,
Italy
,
Spain
,
and
France
,
and
indeed
except
the
Horatius
of
Corneille
,
I
doubt
whether
we
have
one
Play
,
where
the
unity
of
the
Scene
is
rigorously
observ'd
,
at
least
,
I
am
sure
I
have
not
seen
any
.
It
is
necessary
to
give
one
advertisement
more
to
the
Poet
in
this
place
,
which
is
,
that
none
of
his
Actors
ought
to
come
upon
the
Scene
without
some
apparent
Reason
,
since
else
it
is
not
probable
they
should
be
there
;
and
he
must
avoid
to
follow
the
Example
of
a
Poet
,
who
made
a
Princess
come
a
purpose
out
of
her
Tent
upon
the
Stage
which
was
before
it
,
to
say
some
passionate
complaints
of
a
secret
Misfortune
of
hers
,
for
it
was
much
more
probable
that
she
should
make
them
in
her
Tent
:
Therefore
he
ought
to
have
feign'd
either
that
the
Company
of
some
people
in
the
Tent
,
was
importunate
and
troublesome
to
her
,
and
that
to
avoid
them
she
came
out
,
or
else
he
ought
to
have
given
her
some
sudden
impatience
to
look
out
,
and
then
,
as
naturally
upon
reflexions
of
our
Misfortunes
we
are
carried
to
expressions
of
them
,
he
might
have
put
in
her
mouth
what
words
he
had
thought
necessary
for
his
Subject
.
Thus
when
the
passion
of
some
person
upon
the
Scene
is
to
be
shew'd
by
some
Narration
,
which
the
Spectator
has
had
already
,
and
which
cannot
be
repeated
without
disgust
,
one
must
suppose
the
thing
to
have
been
told
that
Person
in
some
place
near
the
Scene
,
and
make
him
come
in
near
towards
the
end
of
it
with
words
in
his
mouth
,
expressing
the
knowledg
of
the
thing
,
and
causing
the
passion
he
is
to
shew
afterwards
upon
the
Stage
.
The
Examples
of
this
are
frequent
among
the
Ancients
,
and
the
imitation
of
them
cannot
but
succeed
well
.
CHAP.
VII
.
The
Extent
of
the
Theatral
Action
,
or
of
the
time
fit
to
be
allowed
a
Dramatick
Poem
.
THERE
is
no
question
more
debated
than
This
,
which
I
am
now
treating
.
The
Poets
make
it
their
discourse
,
and
the
Players
scarce
talk
of
any
thing
else
,
as
well
as
those
who
frequent
the
Theatres
;
nay
,
the
Ladies
in
their
Ruelles
undertake
to
decide
it
,
and
all
this
while
the
thing
is
so
little
understood
,
that
I
have
a
great
deal
of
Reason
to
endeavour
to
explain
it
carefully
.
To
talk
with
some
knowledge
then
of
this
Matter
,
one
must
consider
that
a
Dramatick
Poem
has
two
sorts
of
Time
,
each
of
which
has
a
different
and
proper
lasting
.
The
first
is
the
true
Time
of
the
Representation
;
for
though
this
sort
of
Poem
be
but
an
Image
,
and
so
ought
to
be
consider'd
as
having
a
representative
Being
;
nevertheless
one
ought
to
consider
,
that
there
is
a
reality
in
the
very
Representation
,
for
realy
the
Actors
are
seen
and
heard
,
the
Verses
are
really
pronounc'd
,
and
one
suffers
really
either
pleasure
or
pain
in
assisting
at
these
Representations
,
and
there
is
a
real
time
spent
in
amusing
the
Audience
,
that
is
from
the
opening
of
the
Stage
to
the
end
of
the
Play
:
This
time
is
call'd
the
lasting
of
the
Representation
.
Of
this
time
the
measure
can
be
no
other
,
but
so
much
time
as
will
reasonably
spend
the
patience
of
the
Audience
,
for
this
sort
of
Poem
being
made
for
pleasure
,
it
ought
not
to
weary
and
fatigate
the
mind
;
and
it
must
not
likewise
be
so
short
,
as
that
the
Spectators
go
away
with
an
opinion
of
not
having
been
well
nor
enough
diverted
.
In
all
this
,
Experience
is
the
faithfullest
Guide
,
and
tells
us
most
commonly
,
that
a
Play
cannot
last
above
three
hours
without
wearying
of
us
,
nor
less
without
coming
short
of
pleasing
us
.
I
have
seen
a
very
learned
Gentleman
,
who
was
present
at
the
Representation
of
the
Pastor
Fido
in
Italy
,
who
told
me
,
that
never
was
any
thing
so
tedious
,
it
having
lasted
too
long
,
and
that
this
Play
,
which
ravishes
the
Reader
,
because
he
can
lay
it
by
when
he
will
,
had
most
horridly
disgusted
the
Spectators
.
There
is
another
observation
to
be
made
here
,
which
is
,
that
the
time
,
which
we
allow
the
Representation
,
may
be
spent
many
other
wayes
.
The
Ancients
had
in
their
Tragedies
many
different
mixtures
,
as
Mimes
,
Pantomimes
,
and
other
Buffoons
.
These
Diversions
pleas'd
the
people
,
and
yet
I
do
not
believe
they
made
the
Representations
longer
than
those
of
our
time
;
for
besides
that
these
Interludes
were
short
,
their
Tragedies
themselves
were
not
of
above
a
thousand
Verses
,
and
those
Verses
much
shorter
than
our
Heroick
ones
.
Therefore
the
Poet
must
take
great
care
,
that
if
his
Play
be
of
the
ordinary
length
,
his
Interludes
be
not
too
long
,
for
let
them
be
never
so
pleasing
they
will
disquiet
the
Spectator
in
the
Impatience
,
which
he
will
naturally
have
to
know
the
Event
and
Success
of
the
Story
.
The
other
Time
of
the
Dramatick
Poem
,
is
that
of
the
Action
represented
,
so
●ar
as
it
is
considered
as
a
true
Action
,
and
containing
all
that
space
which
is
necessary
to
the
performing
of
those
things
,
which
are
to
be
expos'd
to
the
knowledge
of
the
Spectators
,
from
the
first
to
the
last
Act
of
the
Play
.
Now
this
Time
is
the
chief
Time
,
not
only
because
't
is
natural
to
the
Poem
,
but
because
also
it
all
depends
on
the
Poets
Invention
,
and
is
made
known
by
the
Mouth
of
his
Actors
,
according
as
his
Ingenuity
can
suggest
him
the
means
of
doing
it
,
and
this
is
the
Time
so
much
talk'd
of
in
our
days
.
The
three
Greek
Tragicks
,
Aeschylus
,
Euripides
,
and
Sophocles
allow
but
a
few
houres
to
the
lasting
of
the
Theatral
Action
in
their
Poems
;
but
their
Example
was
not
followed
by
the
Poets
who
succeeded
them
;
for
Aristotle
blames
those
of
his
time
,
for
giving
too
long
an
Extent
to
the
lasting
of
their
Plays
,
which
makes
him
set
down
the
Rule
,
or
rather
renew
it
from
the
Model
of
the
Ancients
,
saying
,
That
Tragedy
ought
to
be
comprehended
in
the
Revolution
of
one
Sun
.
I
do
not
know
,
whether
this
Rule
was
observ'd
by
those
that
came
after
him
,
as
by
the
Authors
of
those
Tragedies
which
carry
the
Name
of
Seneca
,
which
are
regular
enough
in
this
Circumstance
:
But
for
all
those
that
I
have
seen
,
which
were
made
at
the
re-establishment
of
Learning
in
Spain
and
France
,
they
are
not
only
irregular
in
this
point
,
but
in
all
the
other
most
sensible
Rules
,
insomuch
that
one
would
admire
,
that
Men
of
Learning
should
be
the
Authors
of
them
:
When
I
first
had
the
Honour
to
be
near
Cardinal
Richelieu
,
I
found
the
Stage
in
great
esteem
,
but
loaded
with
all
these
Errors
,
and
particularly
with
that
,
of
exceeding
the
Time
,
fit
to
be
allowed
in
Tragedy
;
I
spoke
of
it
in
those
Plays
which
were
acted
at
Court
;
but
I
was
generally
oppos'd
,
and
most
commonly
turned
into
Ridicule
both
by
the
Poets
,
the
Actors
,
and
the
Spectators
;
and
when
I
,
to
defend
my self
,
began
to
alledge
the
Ancients
,
I
was
paid
with
this
Answer
,
That
what
they
had
done
was
well
for
their
time
,
but
now
a
days
they
would
be
laugh'd
at
,
if
they
were
here
:
As
if
the
general
Reason
of
Mankind
could
grow
old
with
time
;
and
accordingly
we
see
,
that
at
last
it
has
prevailed
over
Prejudice
and
Ignorance
,
to
make
all
the
World
confess
,
that
the
Time
of
a
Tragedy
ought
to
be
short
and
limited
:
But
because
,
even
in
this
,
there
are
different
Interpretations
given
to
Aristotle
,
and
that
some
Poets
do
believe
,
to
circumscribe
too
narrowly
the
lasting
of
the
Theatral
Action
would
be
to
spoil
most
of
the
Incidents
;
I
will
here
give
the
true
Explanation
of
the
Rule
,
and
ways
of
practising
it
with
Success
.
Aristotle
has
said
,
that
one
of
the
principal
differences
,
which
is
between
an
Epick
Poem
and
a
Tragedy
,
is
,
That
the
First
is
not
limited
in
any
time
,
and
that
the
Second
is
comprehended
in
the
Revolution
of
one
Sun
.
Now
,
though
Aristotle
does
express
himself
in
few
words
,
yet
I
cannot
understand
,
how
there
was
ground
for
so
much
Dispute
:
For
since
he
says
,
the
Revolution
of
one
Sun
,
it
cannot
be
meant
,
the
Annual
Revolution
,
for
that
is
the
time
generally
allowed
to
an
Epick
Poem
,
and
there
is
none
of
the
most
Indulgent
,
that
have
offer'd
to
extend
the
Rule
to
that
excess
in
Tragedy
.
It
remains
then
to
say
,
he
means
the
Diurnal
Revolution
;
but
as
the
day
is
considered
two
ways
,
the
one
with
regard
to
the
Primum
mobile
,
which
is
call'd
the
Natural
day
,
and
is
of
twenty
four
Hours
,
and
the
other
by
the
Suns
presence
upon
the
Horizon
,
between
his
rising
and
setting
,
which
is
call'd
the
Artificial
Day
.
It
is
necessary
to
observe
,
that
Aristotle
means
only
the
Artificial
Day
,
in
the
extent
of
which
,
he
makes
the
Theatral
Action
to
be
comprehended
.
Castelvetro
and
Picolomini
,
upon
Aristotles
Poetick
,
are
of
this
Opinion
against
Seigni
,
who
extends
the
Rule
to
the
Natural
day
of
24
hours
.
The
Reason
of
this
is
certain
,
and
founded
upon
the
Nature
of
Dramatick
Poems
;
for
this
sort
of
Poem
ought
to
carry
a
sensible
Image
of
the
Actions
of
Humane
Life
;
now
we
do
not
see
,
that
regularly
men
are
busie
before
day
▪
nor
much
after
night
,
and
accordingly
,
in
all
well
governed
places
,
there
are
Magistrates
to
watch
those
,
who
employ
the
night
naturally
design'd
for
rest
,
in
the
Actions
of
the
day
.
Besides
,
we
have
said
,
and
it
cannot
be
called
in
question
;
that
the
Theatral
Action
ought
to
be
one
,
and
not
comprehend
any
other
Actions
,
which
are
not
necessary
to
the
Intrigue
of
the
Stage
.
Now
how
can
that
be
observed
in
a
Play
of
24
hours
?
would
it
not
be
a
necessity
,
that
the
Persons
Acting
should
sleep
,
and
eat
,
and
busie
themselves
in
many
things
,
which
would
not
be
of
the
Subject
of
the
Play
,
and
though
the
Poet
should
say
nothing
of
it
,
yet
the
Spectators
must
needs
conceive
it
so
.
But
besides
,
the
Action
of
the
Stage
is
to
be
continued
,
and
not
interrupted
or
broken
.
Now
that
could
not
be
in
a
Play
of
twenty
four
hours
;
Nature
could
not
,
without
some
rest
,
endure
so
long
an
Action
;
since
all
that
Men
can
commonly
do
,
is
to
be
in
Action
for
the
day
time
.
Moreover
,
we
cannot
omit
a
Reason
of
the
Ancients
,
which
originally
is
Essential
to
Tragedy
,
which
is
,
that
the
Choruses
,
which
they
used
,
did
not
regularly
use
to
stir
off
the
Stage
for
the
whole
Play
,
or
at
least
from
the
time
they
first
came
on
;
and
I
do
not
know
with
what
appearance
of
Probability
,
the
Spectators
could
have
been
perswaded
,
that
People
,
who
were
never
out
of
their
sight
,
should
have
staid
twenty
four
hours
in
that
place
;
nor
how
in
the
truth
of
the
Action
,
they
could
imagine
,
that
those
,
whom
they
represented
,
had
pass'd
all
that
time
without
satisfying
some
necessities
of
Nature
.
After
all
,
we
can
never
better
understand
Aristotle
,
than
by
those
three
Excellent
Tragick
Poets
,
whom
he
always
proposes
for
Examples
,
who
have
regularly
observ'd
,
not
to
give
above
12
hours
to
their
Plays
:
And
I
do
not
think
,
that
there
are
any
of
their
Works
which
do
comprehend
the
whole
space
between
the
rising
and
seeting
of
the
Sun
.
It
being
most
certain
,
that
their
Stage
generally
opens
after
Sun-rise
,
and
is
shut
up
before
Sun-set
,
as
one
may
observe
in
the
Comedies
of
Plautus
and
Terence
.
What
we
have
said
hitherto
of
Aristotle's
Rule
might
suffer
some
difficulty
in
those
Plays
,
which
represent
Actions
that
happened
in
the
Night
,
if
we
did
not
own
,
Tragedy
endeavours
to
comprehend
its
Action
in
the
Revolution
of
one
Sun
,
or
in
changing
that
time
a
little
;
for
by
that
means
he
lets
us
know
,
that
the
Poet
is
not
always
bound
to
place
his
Action
between
Sun-rising
and
Sun-setting
,
But
without
standing
upon
this
scrupulous
niceness
,
I
must
tell
the
Poet
,
that
he
need
not
fear
to
spoil
his
Play
,
by
straitning
his
Incidents
in
so
small
a
compass
of
time
;
for
quite
contrary
,
't
is
that
,
which
shall
make
his
Play
agreeable
and
wonderful
;
't
is
that
,
which
will
afford
him
the
means
of
introducing
extraordinary
surprizes
and
passions
,
which
he
may
carry
,
as
far
as
he
will
;
let
him
consider
well
Horatius
,
Cinna
,
Polyeuct
,
and
Nicomedes
,
the
latter
works
of
Mounsieur
Corneille
,
and
I
believe
,
he
cannot
but
agree
to
it
.
Now
to
contribute
for
my
share
to
the
necessary
means
of
practising
this
Rule
,
I
here
deliver
my
thoughts
.
First
,
Let
the
Poet
be
very
careful
in
chusing
the
day
,
in
which
he
will
comprehend
all
the
Intrigues
of
his
Play
,
and
that
choice
ought
generally
to
be
made
from
the
most
Noble
Incident
of
the
whole
Story
,
that
is
,
from
that
Incident
,
which
is
to
make
the
Catastrophe
,
and
to
which
all
others
do
tend
,
like
Lines
to
their
Center
;
and
if
he
be
free
to
take
what
day
he
will
,
his
best
will
be
to
pitch
upon
that
,
which
will
most
easily
bear
the
Assemblage
and
Concurrence
of
all
the
Incidents
of
the
Stage
.
So
Corneille
,
being
to
represent
the
Death
of
Pompey
,
took
the
last
day
of
his
Life
,
because
he
could
not
do
otherwise
;
but
when
he
was
to
make
his
Cinna
,
he
chose
what
day
he
pleas'd
for
to
facilitate
the
bringing
in
of
the
Conspiration
of
Cinna
,
with
the
deliberation
of
Augustus
,
whether
he
should
forsake
the
Empire
or
no.
The
choice
being
thus
made
,
the
next
slight
is
,
to
open
your
Stage
,
as
near
,
as
t
is
possible
,
to
the
Catastrophe
,
that
you
may
employ
less
time
in
the
negotiation
part
,
and
have
more
Liberty
in
extending
the
Passions
and
Discourses
which
may
please
;
but
to
Execute
this
luckily
,
the
Incidents
must
be
prepar'd
by
ingenious
Contrivances
,
and
that
must
appear
upon
occasion
in
the
whole
Conduct
of
the
Action
.
This
we
may
observe
in
the
Jo●
of
Euripides
,
the
Amphytrion
of
Plautus
,
and
the
Andria
of
Terence
.
Corneille
practises
it
likewise
well
in
Horatius
and
Cinna
.
The
Stage
in
Horatius
is
opened
but
a
moment
before
the
Combat
of
the
three
Horatius's
against
the
three
Curiatius's
,
who
are
told
of
their
being
chosen
to
fight
against
each
other
,
as
soon
as
they
come
upon
the
Stage
.
And
Cinna
had
already
made
his
Conspiracy
,
before
the
opening
of
the
Stage
,
which
opens
just
before
the
Sacrifice
,
which
was
to
be
the
pretext
of
the
Execution
of
it
.
Things
being
thus
dispos'd
,
the
Poet
must
next
study
to
bring
together
the
Incidents
all
in
one
day
,
so
Artfully
,
that
there
appear
no
Force
nor
Constraint
in
the
effecting
of
it
:
And
to
succeed
in
this
,
he
must
rectify
the
time
of
those
things
,
that
happened
before
the
opening
of
the
Stage
;
and
suppose
,
some
of
them
to
come
to
pass
that
day
,
though
they
really
happened
before
;
but
he
must
joyn
them
with
so
much
Art
,
as
they
may
seem
to
be
naturally
connexed
,
and
not
put
together
by
the
Poets
Invention
.
Thus
Sophocles
makes
,
that
Creon
,
who
was
sent
to
Delphos
to
consult
the
Oracle
,
comes
back
just
at
the
same
time
that
the
news
comes
to
Thebes
,
of
the
Death
of
Polybius
King
of
Corinth
,
though
these
two
things
did
not
happen
on
the
same
day
.
So
Plautus
makes
Amphitryon
return
victorious
that
very
night
that
Alcmena
is
brought
to
Bed
of
Hercules
.
But
that
which
one
must
particularly
have
a
care
of
,
is
,
not
to
conjoyn
the
time
of
the
Incidents
with
so
much
●●…cipitation
,
that
Probability
be
destroyed
by
it
,
as
in
the
Suppliants
of
Euripides
,
the
Captiv's
of
Plautus
and
some
other
pieces
of
the
Ancients
,
which
I
cannot
approve
of
,
though
for
some
other
Considerations
they
are
not
unexcusable
.
They
are
indeed
according
to
the
Rule
of
time
,
but
without
any
of
the
Graces
of
the
Art
.
In
a
word
,
we
must
still
remember
,
that
Aristotle
in
giving
his
Rule
of
the
confining
Tragedy
to
the
Revolution
of
one
Sun
,
means
,
that
the
Poet
ought
so
to
press
his
imagination
,
as
to
order
all
the
Events
of
his
Theatre
in
that
time
,
but
so
,
as
not
to
offend
Probability
,
which
is
always
the
principal
Rule
,
and
without
which
all
the
others
become
no
Rules
at
all
.
CHAP.
VIII
.
Of
the
Preparation
of
the
Incidents
.
IT
may
be
some
may
Imagine
,
that
the
Instruction
we
are
going
to
give
the
Poet
in
this
Discourse
,
will
be
injurious
to
him
,
and
,
contrary
to
our
promise
,
destroy
all
the
Graces
of
the
Stage
:
for
say
they
,
if
the
Incidents
must
be
prepar'd
some
time
before
they
happen
,
without
doubt
they
will
likewise
be
prevented
,
and
so
be
no
longer
surprizing
,
in
which
consists
all
their
beauty
,
and
without
which
the
Spectator
has
no
pleasure
,
nor
can
the
Poet
pretend
to
any
glory
in
his
Art
.
To
this
I
answer
,
That
there
is
a
great
deal
of
difference
between
preparing
an
Incident
,
and
preventing
it
,
for
an
Incident
is
then
prevented
,
when
it
is
foreseen
,
but
it
ought
not
to
be
foreseen
though
it
be
prepar'd
.
To
explain
our selves
better
upon
this
matter
,
we
are
to
understand
that
there
are
some
things
in
the
Composition
of
a
Theatral
Action
,
which
do
carry
the
minds
of
the
Spectators
naturally
and
almost
necessarily
,
to
the
knowledge
of
some
others
;
so
that
as
soon
as
the
first
are
either
said
or
done
,
one
may
conclude
easily
those
that
depend
upon
them
,
and
that
is
call'd
an
Incident
prevented
;
and
we
do
allow
all
these
Preventions
to
be
faulty
in
a
Dramatick
Poem
,
because
they
spoil
the
Events
,
and
make
them
of
no
effect
in
the
Imagination
of
the
Spectators
,
who
most
commonly
expect
things
contrary
to
what
they
see
,
and
seem
to
be
promis'd
.
But
there
are
another
sort
of
things
,
which
are
to
be
laid
as
a
foundation
to
build
others
upon
,
The
,
Seeds
of
a
future
Harvest
;
as
if
he
would
say
,
that
just
as
the
Grain
or
Seed
contains
in
it self
the
force
and
virtue
of
producing
in
its
time
Flowers
and
Fruit
;
and
yet
Nature
has
so
fram'd
it
,
as
that
one
cannot
discover
any
likelihood
of
such
a
Production
,
by
the
sight
of
the
Seed
;
so
must
the
Discourses
and
other
considerations
to
prepare
an
Incident
,
enclose
it
so
secretly
,
and
hide
it
so
well
,
as
nothing
can
be
guess'd
of
the
Event
from
them
.
This
Excellent
Man
brings
divers
Examples
of
this
,
and
particularly
,
that
taken
from
the
Aeneid
of
Virgil
:
For
he
observes
,
that
to
make
way
for
the
kind
reception
,
which
Dido
gives
to
Aeneas
and
his
Trojans
,
Virgil
tells
us
,
how
Queen
Dido
had
caus'd
the
Story
of
the
War
of
Troy
to
be
painted
in
a
Temple
,
where
Aeneas
himself
was
represented
,
fighting
in
the
midst
of
the
Greeks
;
for
then
this
painting
seems
only
an
Object
for
the
admiration
of
Aeneas
,
to
see
that
the
Trojans
misfortunes
were
already
known
all
the
World
over
;
but
the
secret
is
,
that
it
serves
to
give
a
foundation
in
the
Mind
of
Dido
to
the
kind
welcome
she
makes
to
those
,
to
whose
ill
fortune
in
all
probability
she
had
already
given
some
compassion
.
As
for
the
Dramatick
Poem
,
In
the
first
Example
,
he
kills
Cleopatra
by
the
violence
of
a
Poyson
,
so
strong
,
that
Rhodogune
discovers
the
effect
of
it
,
before
Antiochus
has
pronounc'd
ten
Verses
.
Indeed
,
that
Cleopatra
was
wicked
and
enrag'd
enough
to
poison
her self
,
that
she
might
poison
her
Son
and
Rhodogune
,
That
is
very
well
prepar'd
in
all
the
precedent
Acts
,
where
her
hatred
,
ambition
,
and
fury
appear
to
the
height
,
having
kill'd
her
husband
with
her
own
hand
,
and
destroyed
one
of
her
Sons
to
preserve
her self
upon
the
Throne
;
but
that
the
effect
of
the
poyson
should
be
so
sudden
,
as
to
be
discover'd
in
so
small
a
space
of
time
,
That
is
not
prepar'd
enough
,
because
,
the
thing
being
rare
in
it self
,
Cleopatra
should
have
said
,
when
she
hopes
by
it
to
destroy
Antiochus
and
Rhodogune
,
how
strong
a
Poyson
she
had
prepar'd
,
and
how
sudden
its
Effect
would
be
,
and
should
have
express'd
joy
at
it
;
by
which
means
,
she
would
have
prepar'd
the
Incident
,
without
preventing
it
.
The
Event
,
I
say
,
would
have
been
prepar'd
;
for
so
sudden
a
Poison
,
as
she
had
mention'd
,
would
have
been
expected
to
work
that
Effect
it
did
upon
her self
;
but
withall
it
would
not
have
been
prevented
,
because
the
Audience
would
have
thought
,
that
she
had
said
it
as
designing
it
for
the
destruction
of
the
Innocent
,
and
so
there
would
not
have
been
any
means
of
foreseeing
,
that
she
should
have
suffer'd
by
it
her self
.
The
other
Example
is
in
all
the
Exactness
that
a
Dramatick
Poem
can
wish
,
which
must
needs
make
us
confess
,
that
when
Monsieur
Corneille
has
well
meditated
upon
the
conduct
of
an
Incident
,
there
is
no
Author
,
either
among
the
Ancient
or
Modern
Poets
,
that
executes
it
better
.
In
his
Theodora
,
there
are
five
notable
Incidents
,
to
wit
the
death
of
Flavia
;
the
deliverance
of
Theodora
from
that
infamous
place
,
to
which
she
had
been
condemn'd
;
the
death
of
Didymus
and
Theodora
by
the
hands
of
Marcella
;
the
death
of
Marcella
by
her
own
hand
;
and
the
wound
of
Placidus
endeavouring
to
kill
himself
;
all
these
Incidents
are
so
well
prepar'd
,
that
there
is
not
one
,
which
might
not
probably
come
to
pass
in
consequence
of
those
things
which
preceded
it
.
That
Flavia
should
dye
that
day
,
is
not
strange
;
since
't
is
often
said
that
she
is
desperately
ill
;
but
when
that
is
said
,
't
is
onely
to
give
a
pretext
to
the
fury
of
Marcella
,
and
to
those
violent
means
she
uses
of
being
reveng'd
of
Theodora
,
without
giving
an
Impression
that
her
Daughter
should
really
dye
so
soon
,
That
Didymus
should
expose
himself
to
save
Theodora
,
in
giving
her
his
Clothes
;
that
might
well
be
,
since
he
appears
very
passionately
in
love
with
her
,
and
that
Theodora
did
not
reject
his
love
but
only
out
of
Religion
;
but
when
this
passion
is
talk'd
of
upon
the
Stage
,
it
seems
in
appearance
to
be
,
to
foment
the
Jealousie
of
Placidius
,
without
any
likely-hood
of
foreseeing
so
Extraordinary
an
Action
.
That
Marcella
should
with
her
own
hands
kill
Didymus
and
Theodora
,
that
is
probable
,
she
knew
the
love
of
Placidius
,
and
the
resolution
he
had
taken
to
save
the
two
Lovers
,
she
saw
him
arm'd
,
and
followed
by
a
great
number
of
his
Friends
,
all
these
are
preparations
enough
to
make
that
Woman
revenge
the
death
of
her
Daughter
,
and
all
the
injuries
she
had
receiv'd
by
one
furious
transport
in
an
occasion
so
precipitated
;
and
nevertheless
,
though
one
could
not
from
all
these
things
expect
this
Event
,
yet
they
have
all
their
necessary
Colours
,
when
they
appear
upon
the
Stage
.
The
same
happens
in
the
death
of
Marcella
;
she
had
persecuted
Placidius
,
and
injur'd
him
in
the
person
he
most
tenderly
lov'd
;
she
sees
him
with
his
Sword
drawn
,
and
being
animated
with
nothing
but
furious
Sentiments
,
she
was
resolv'd
not
to
fall
under
the
power
of
her
Enemy
,
from
these
Circumstances
it
follows
,
that
probably
she
might
kill
her self
,
and
that
she
was
press'd
to
make
that
desperate
end
.
As
for
Placidius
,
who
endeavours
to
kill
himself
,
after
having
seen
his
Mistress
murder'd
by
the
hand
of
his
Enemy
,
't
is
an
Incident
well
prepar'd
,
because
of
the
Excessive
love
he
bore
her
,
and
by
the
disposition
he
appears
to
be
in
,
to
forsake
all
the
Grandeur
of
the
World
to
possess
her
,
who
was
his
Soveraign
felicity
;
and
nevertheless
,
of
all
these
Considerations
one
could
presume
naturally
nothing
more
,
than
that
he
would
do
all
he
could
to
save
her
.
Thus
so
many
different
Events
arise
from
one
another
,
and
without
any
precipitation
in
the
Body
of
the
Story
.
I
know
not
how
Mr.
Corneille
may
value
this
Play
,
but
I
say
that
in
my
mind
it
is
his
Master-piece
,
for
though
in
the
Subject
,
the
punishment
,
to
which
Theodora
is
condemn'd
,
does
something
ossend
the
modesty
of
the
Spectators
;
yet
all
the
rest
is
in
so
much
regularity
,
and
there
is
so
much
Art
and
Conduct
shewed
by
the
Poet
,
that
if
the
choice
of
the
Subject
had
answer'd
the
skill
of
the
Author
,
I
believe
we
might
propose
this
Play
as
a
most
perfect
Model
.
He
that
would
cite
here
all
the
Plays
of
the
Ancients
,
where
the
Incidents
are
well
prepar'd
,
would
be
oblig'd
to
copy
whole
Poems
,
for
they
have
always
done
it
with
great
Art
and
Judgment
.
See
the
Curculion
of
Plautus
,
there
is
a
Ring
,
which
serves
to
find
out
Planasion
,
to
be
a
freeborn
Woman
and
the
Sister
of
Terapontigonus
,
when
't
was
no
ways
possible
to
foresee
this
Event
;
but
it
is
so
well
prepar'd
in
all
the
Play
,
where
this
Ring
is
employed
in
a
great
many
other
Intrigues
,
that
it
is
not
at
all
forc'd
,
though
much
against
the
Expectation
of
the
Spectators
:
And
when
this
Ring
is
stol'n
from
the
Souldier
,
and
that
from
thence
it
runs
through
a
great
many
hands
,
't
is
for
some
present
action
,
which
has
no
regard
to
the
Catastrophe
,
the
event
of
which
could
not
thence
be
foreseen
.
And
when
in
the
4th
Act
,
Cappadore
says
,
that
he
had
paid
but
ten
Mines
of
Silver
for
that
Maid
,
't
is
probably
,
onely
to
explain
the
profit
the
makes
by
selling
her
for
thirty
;
but
't
is
in
effect
to
prepare
the
Narration
which
Planesion
makes
her self
of
her
own
Adventure
.
So
in
his
Trinummus
,
Carmides
arrives
at
a
nick
of
time
,
from
a
long
Voyage
,
for
a
very
diverting
Incident
,
meeting
with
a
Cheat
which
was
suppos'd
to
come
from
him
,
but
That
is
very
well
prepar'd
by
the
discourse
of
Calicles
in
the
first
Act
,
and
by
that
of
his
Slave
in
the
second
.
And
nevertheless
when
Calicles
speaks
of
the
absence
of
his
Friend
,
't
is
onely
to
make
known
the
fidelity
he
owes
him
;
and
that
which
the
Slave
says
of
his
return
,
is
onely
to
make
his
Son
Telesbonicus
be
afraid
of
his
Fathers
just
severity
.
In
a
word
,
I
deliver
here
all
that
I
can
say
of
this
matter
,
which
is
,
that
the
Events
are
always
precipitated
,
when
there
has
been
nothing
said
before
,
from
whence
they
might
probably
proceed
,
as
when
a
man
appears
expresly
in
the
end
of
the
Play
,
of
whom
there
has
not
been
one
word
said
all
along
,
and
yet
this
man
comes
to
make
the
winding
up
of
the
Plot.
Or
when
towards
the
end
,
there
is
some
important
Action
done
,
which
has
no
coherence
with
all
that
pass'd
before
;
for
though
the
Spectators
love
to
be
surpriz'd
,
yet
't
is
still
with
probability
;
and
they
are
not
bound
to
suppose
any
thing
,
but
what
follows
naturally
these
things
which
the
Poet
shews
.
The
Theatre
is
a
world
by
it self
,
where
all
is
comprehended
in
the
notions
and
extent
of
the
Action
represented
,
and
has
no
communication
with
the
great
World
,
onely
so
far
as
the
Poet
himself
extends
it
,
by
the
knowledge
which
with
Art
he
dispenses
abroad
.
But
the
main
thing
to
be
remembred
,
is
,
that
all
that
is
said
or
done
as
a
Preparative
or
Seed
for
things
to
come
,
must
have
so
apparent
a
Reason
,
and
so
powerful
a
Colour
to
be
said
and
done
in
that
place
,
that
it
may
seem
to
have
been
introduc'd
only
for
that
,
and
that
it
never
give
a
hint
to
prevent
those
Incidents
,
which
it
is
to
prepare
.
CHAP.
IX
.
Of
the
Catastrophe
or
Issue
of
the
Dramatick
Poem
.
I
Do
not
think
it
necessary
here
to
trouble
my self
much
about
the
explication
of
this
word
Catastrophe
.
'T
is
taken
ordinarily
,
I
know
,
for
some
sad
calamitous
disaster
,
which
terminates
some
great
design
,
for
my
part
I
understand
by
this
word
a
sudden
change
of
the
first
Dispositions
of
the
Stage
,
The
principal
Observation
has
a
dependance
on
what
has
been
said
in
the
last
Chapter
,
which
was
,
that
Incidents
,
not
prepar'd
,
offended
against
Probability
,
by
being
too
much
hastned
at
last
:
For
this
fault
appears
no
where
so
much
as
in
the
Catastophe
.
First
,
the
Catastrophe
is
the
term
of
all
the
Affairs
of
the
Stage
,
by
consequent
they
must
be
dispos'd
by
times
,
that
they
may
arrive
there
easily
.
Secondly
,
't
is
the
Center
of
the
Poem
,
therefore
all
the
other
parts
,
like
lines
,
cannot
be
drawn
straight
to
any
other
point
.
Thirdly
,
't
is
the
last
expectation
of
the
Audience
therefore
all
things
ought
to
be
so
well
order'd
,
that
when
they
fall
out
,
it
may
not
be
ask'd
,
by
which
way
they
came
to
pass
,
and
therefore
there
needs
for
it
,
as
for
the
most
considerable
Event
,
the
greatest
and
most
judicious
Preparations
.
Aristotle
,
and
all
his
Followers
,
would
have
the
Catastrophe
drawn
from
the
very
middle
of
all
the
business
of
the
Stage
,
and
that
the
very
knots
,
which
seem
to
embarrass
the
whole
Subject
,
should
at
last
serve
for
the
opening
of
it
,
as
if
they
were
laid
for
that
purpose
.
Therefore
they
always
valued
this
way
of
ending
a
Tragedy
,
much
more
than
That
which
was
founded
upon
the
presence
or
favour
of
some
God
;
and
when
they
did
make
use
of
Gods
in
Machines
,
they
always
desir'd
,
that
in
the
Body
of
the
Play
,
there
should
be
reasonable
Dispositions
for
it
,
either
by
the
particular
care
that
That
God
took
of
that
Hero
,
or
by
the
interest
the
God
might
take
in
the
Theatral
Action
,
or
by
a
natural
and
rational
expectation
of
the
assistance
of
some
God
,
or
some
such
Inventions
.
Yet
this
first
Rule
may
seem
useless
in
those
Plays
,
where
the
Catastrophe
is
known
either
by
the
Story
or
Title
,
as
the
Death
of
Caesar
,
and
such
like
,
Therefore
in
this
Case
,
without
omitting
any
of
the
necessary
preparations
we
have
mention'd
,
one
may
do
thus
.
The
Poet
must
so
manage
all
the
Affairs
of
the
Stage
,
that
the
Spectators
may
be
inwardly
perswaded
,
that
That
person
,
whose
life
and
fortune
are
threatned
,
ought
not
to
die
:
For
by
this
Art
he
keeps
them
in
sentiments
of
pity
and
commiseration
,
which
encrease
and
become
very
tender
at
the
last
point
of
his
Misfortune
,
and
the
more
one
finds
motives
to
believe
,
he
should
not
die
,
the
more
one
is
concern'd
,
when
one
knows
he
must
,
the
injustice
of
his
Enemies
raises
a
stronger
aversion
in
us
for
them
,
and
his
disgrace
is
pitied
even
with
tears
.
We
have
seen
the
Examples
of
this
in
Mariamne
,
and
the
Earl
of
Essex
,
though
,
in
many
other
things
,
they
were
very
defective
Plays
.
But
if
the
Catastrophe
be
not
known
,
and
that
the
Poet
designs
,
that
,
for
the
greater
Ornament
of
his
Play
,
it
should
unfold
all
the
Intrigues
of
it
by
a
suprizing
Novelty
;
he
must
be
very
careful
not
to
discover
it
too
soon
,
and
particularly
order
it
so
that
none
of
his
preparations
do
prevent
it
,
for
not
only
then
it
would
become
useless
and
disagreeable
,
but
as
soon
as
ever
it
should
be
known
,
the
Theatre
would
grow
dull
,
and
be
without
Charms
for
the
Audience
:
And
we
are
not
in
this
Circumstance
to
govern
our selves
by
what
happens
in
a
Play
,
that
we
have
seen
,
or
of
which
the
Catastrophe
is
known
;
for
they
do
still
please
,
because
the
Spectators
in
that
case
consider
things
only
as
they
pass
,
and
give
them
no
greater
extent
,
than
the
Poet
would
have
them
.
They
confine
all
their
understanding
to
the
pretexts
and
colours
,
which
he
advances
,
without
going
any
further
,
and
being
all
along
satisfied
of
the
Motives
of
the
chief
Actions
,
they
do
not
prevent
those
,
which
are
not
made
known
to
them
,
so
that
,
their
imagination
being
deceiv'd
by
the
art
of
the
Poet
,
their
pleasure
lasts
still
.
Whereas
in
the
other
Case
,
when
the
Catastrophe
is
prevented
by
the
want
of
Art
in
the
Poet
,
the
Spectators
are
disgusted
,
not
so
much
that
they
know
the
thing
,
as
because
they
are
perswaded
,
that
they
ought
not
to
know
it
,
and
their
discontent
in
these
occasions
proceeds
less
from
their
knowledge
,
though
certain
,
than
from
the
imprudence
and
ill
conduct
of
the
Poet.
The
last
Rule
is
,
that
the
Catastrophe
do
entirely
finish
the
Dramatick
Poem
,
that
is
,
that
there
be
nothing
left
of
what
the
Spectators
ought
to
know
,
for
if
they
have
reason
to
ask
,
What
became
of
such
a
one
concern'd
in
the
Intrigues
of
the
Stage
?
or
if
they
have
just
Subject
to
enquire
,
What
are
the
Sentiments
of
one
of
the
chief
Actors
,
after
the
last
event
which
makes
the
Catastrophe
?
Then
,
I
say
,
the
Play
is
not
well
finish'd
,
and
wanted
yet
a
stroke
or
two
,
and
if
the
Spectators
are
not
yet
fully
satisfied
,
the
Poet
certainly
has
not
done
his
duty
.
'T
was
a
considerable
fault
in
Panthea
,
who
by
her
death
leaves
a
reasonable
desire
to
the
Spectators
,
to
know
what
became
of
Araspes
,
who
was
so
passionately
in
love
with
her
:
Whereas
on
the
contrary
,
in
the
Earl
of
Essex
,
Queen
Elizabeth
speaks
as
she
ought
,
after
the
death
of
the
Earl
,
and
so
finishes
the
Catastrophe
perfectly
.
But
to
avoid
this
inconvenience
,
the
Poet
must
not
fall
into
another
,
that
is
,
to
add
to
the
Catastrophe
superfluous
Discourses
and
Actions
,
of
no
use
as
to
the
concluding
the
Play
,
which
the
Spectators
neither
look
for
,
nor
are
willing
to
hear
;
such
is
the
Complaint
of
the
Wife
of
Alexander
,
Son
of
Herod
,
after
the
death
of
her
Husband
,
of
which
I
shall
speak
in
the
Chapter
of
Pathetick
Discourses
;
and
such
is
likewise
the
Explication
of
the
Oracle
in
Horatius
,
for
that
having
had
nothing
to
do
with
the
Plot
,
the
Spectators
never
think
on
't
,
nor
care
to
have
it
interpreted
.
I
might
lengthen
this
Discourse
with
many
more
Remarks
,
as
well
upon
the
Tragedies
as
the
Comedies
of
the
Ancients
;
but
since
all
Catastrophes
turn
upon
these
Principles
,
which
I
have
laid
down
,
it
will
be
easie
in
reading
their
Works
to
see
which
are
well
or
ill
finish'd
.
The
Tragick
Poets
have
generally
taken
more
care
than
the
Comick
,
and
amongst
the
Comick
,
Terence
is
the
most
exact
;
for
Aristophanes
and
Plautus
have
left
the
best
part
of
theirs
unfinish'd
.
I
leave
our
Modern
Authors
to
themselves
,
they
generally
are
willing
to
be
believ'd
infallible
,
and
when
any
body
shews
them
that
they
might
have
done
better
,
they
are
so
much
the
more
angry
,
as
they
find
themselves
convinc'd
,
and
not
able
to
oppose
the
strength
of
reason
.
The
End
of
the
second
Book
.
THE
ART
OF
THE
STAGE
.
Book
the
Third
.
Chapter
the
First
.
Of
the
Actors
or
Persons
to
be
brought
upon
the
Stage
,
and
what
the
Poet
is
to
observe
about
them
.
I
Do
not
design
here
to
instruct
the
Players
,
but
the
Poet
,
who
will
find
in
this
Chapter
some
Observations
for
the
better
disposing
of
the
Drammatick
Poem
,
as
to
the
persons
that
are
to
appear
upon
the
Stage
.
But
before
we
begin
them
,
it
will
not
be
amiss
to
observe
to
the
Reader
a
thing
which
will
make
us
make
a
wish
in
favour
of
our
Stage
,
when
we
reflect
upon
the
Magnificency
of
the
Representations
of
the
Antients
,
which
is
,
that
in
many
places
of
their
Poems
,
where
we
see
but
one
Actor
nam'd
,
he
did
not
appear
alone
upon
the
Stage
;
but
on
the
contrary
,
when
it
was
a
Prince
,
or
Princess
,
or
some
Person
of
Eminent
Quality
,
he
was
followed
by
a
very
great
Retinue
,
suitable
to
his
Dignity
;
sometimes
of
Courtiers
,
sometimes
of
Souldiers
,
and
always
of
Persons
proper
to
the
Subject
of
the
Play
:
Nay
,
a
rich
Citizen
appear'd
with
a
great
many
Servants
,
and
a
publick
Curtizan
,
if
she
were
of
free
condition
,
and
Mistress
of
her
own
actions
,
had
always
a
great
many
Maids
and
Servants
about
her
;
and
in
short
,
Persons
of
Quality
were
always
well
accompanied
,
except
some
particular
reason
requir'd
they
should
be
alone
,
which
may
be
easily
perceiv'd
by
the
Verses
,
or
the
Nature
of
the
Action
.
So
Ajax
in
Sophocles
is
alone
when
he
kills
himself
;
and
this
the
Antients
did
for
two
Reasons
;
first
to
fill
their
Stage
,
which
was
much
bigger
than
ours
,
and
the
other
to
make
their
Representation
more
magnificent
;
whereas
now
five
or
six
People
fill
our
Stage
,
and
besides
,
the
Players
cannot
be
at
the
charge
of
more
for
pure
Ornament
sake
.
The
truth
of
this
appears
in
most
of
the
Antients
Plays
,
but
particularly
in
the
seven
before
Thebes
,
where
Eteocles
,
who
opens
the
Scene
,
seems
to
be
alone
,
because
there
is
no
body
speaks
but
he
,
but
it
is
clear
that
he
was
followed
by
a
very
great
number
of
Persons
,
to
whom
he
addresses
himself
,
and
gives
them
different
Orders
for
the
Defence
of
the
Town
.
Orestes
seems
to
be
alone
in
the
Electra
of
Euripides
,
and
yet
one
may
see
that
he
speaks
to
a
great
many
Servants
who
followed
him
,
whom
he
commands
to
enter
his
Sisters
house
,
who
did
not
know
him
,
and
is
angry
with
her
Husband
for
letting
so
many
People
of
Quality
come
into
his
house
.
I
cannot
omit
here
the
mistake
that
some
Authors
have
made
in
interpreting
Euripides
;
for
having
not
observ'd
that
Hyppolitus
is
followed
by
a
company
of
Hunters
,
with
whom
he
comes
back
singing
a
Hymn
in
the
honour
of
Diana
,
they
have
taken
him
to
be
alone
,
and
that
they
who
sung
were
the
Chorus
of
the
Tragedy
;
whereas
the
Chorus
in
that
Play
is
compos'd
of
Women
,
followers
of
Phoedra
,
who
only
come
upon
the
Stage
after
Hyppolitus
and
his
Company
have
sung
their
Hymn
,
and
one
of
them
Entertains
him
some
time
about
the
respect
due
to
Venus
;
after
which
Dialogue
Hyppolitus
commands
his
People
to
go
and
prepare
his
Dinner
at
his
own
house
,
out
of
which
they
follow
him
again
,
when
by
his
Fathers
command
he
is
forc'd
to
withdraw
.
But
Plutarch
affords
us
a
proof
of
the
state
with
which
the
chief
Actors
us'd
to
appear
upon
the
Stage
,
in
a
pleasant
Story
he
tells
in
the
life
of
Phocion
;
for
a
Player
being
to
represent
a
Queen
and
his
Attendance
,
which
was
to
be
numerous
,
not
being
ready
,
he
refused
to
come
upon
the
Stage
,
whereupon
Melanthius
Choragus
,
whose
Office
it
was
to
see
all
things
well
in
order
,
thrust
him
by
force
upon
the
Stage
,
with
these
words
,
Doest
not
thou
see
that
Phocion
's
Wife
,
whose
Husband
governs
us
all
,
is
seen
every
day
in
the
Street
attended
but
with
one
Maid
:
At
which
all
the
People
fell
a
laughing
,
and
by
that
Railery
he
excus'd
the
defect
of
the
Representation
;
which
by
the
by
may
serve
our
Poets
for
an
Advertisement
,
to
Read
carefully
the
Works
of
the
Antients
,
and
not
trust
to
the
Printed
Glosses
or
Interpreters
;
but
now
let
us
come
to
our
other
more
necessary
Observations
.
And
to
begin
,
it
has
been
often
ask'd
how
many
Actors
may
be
brought
on
at
once
,
speaking
and
acting
upon
the
Stage
,
in
the
same
Scene
.
Some
have
confin'd
us
to
Three
,
taking
their
Rule
from
Horace's
Art
of
Poetry
;
but
Experience
is
the
best
Judg
in
these
Cases
;
and
Horace
,
I
believe
,
is
not
so
well
understood
as
he
should
be
.
'T
is
true
,
that
the
Stage
having
attain'd
to
have
Three
Actors
in
the
time
of
Sophocles
,
who
brought
Drammatick
Poetry
to
its
perfection
;
the
Greeks
seldom
bring
any
more
than
Three
Actors
at
a
time
upon
the
Stage
,
if
there
be
a
Fourth
,
he
generally
is
silent
;
and
indeed
a
Scene
is
not
ill
fill'd
when
Three
chief
Actors
are
discoursing
at
once
upon
the
Scene
.
But
the
Answer
to
this
Question
depends
not
so
much
upon
the
number
of
Persons
,
as
upon
the
order
or
confusion
that
would
follow
if
too
many
were
speaking
in
the
same
Scene
;
and
therefore
I
am
of
Opinion
,
that
the
Poet
may
bring
on
as
many
as
he
pleases
,
provided
neither
their
number
,
nor
their
discourses
do
confound
the
Spectators
Attention
;
and
there
will
be
no
confusion
if
the
Actors
Names
,
and
their
Concerns
be
so
known
as
to
give
a
true
understanding
of
what
is
in
Action
:
Three
Actors
indeed
seldom
bring
any
confusion
,
because
there
is
no
Spectator
so
simple
,
but
he
can
easily
distinguish
their
words
and
designs
;
but
still
the
Poet
must
consider
what
necessity
he
lies
under
;
for
if
his
Subject
requires
that
Four
or
Five
should
appear
and
discourse
in
the
same
Scene
,
if
he
performs
it
with
distinction
,
and
without
obscurity
,
I
don't
believe
any
body
will
say
he
goes
against
the
Rules
,
there
being
nothing
there
against
probability
.
The
Examples
of
this
are
frequent
in
the
Comick
Poets
,
both
Greek
and
Latine
;
and
as
for
Horace
,
Our
second
Observation
is
,
that
the
Poet
must
bring
no
Actor
upon
the
Stage
that
is
not
known
to
the
Spectators
as
soon
as
he
appears
,
and
that
not
only
as
to
his
Name
and
Person
,
but
also
as
to
the
Sentiments
he
brings
upon
the
Stage
,
else
the
Spectator
will
be
puzzled
,
and
the
Poets
fine
Discourses
will
be
lost
,
because
the
Audience
will
not
know
how
to
apply
them
;
and
I
have
seen
often
20
or
30
noble
Verses
thrown
away
because
the
Spectator
knew
not
him
that
spoke
them
,
nor
how
to
apply
them
.
The
Antients
never
fail'd
in
this
,
to
which
the
Choruses
were
a
great
help
to
them
;
for
they
never
leaving
the
Stage
,
generally
as
soon
as
a
new
Actor
came
on
,
they
nam'd
him
with
some
expressions
of
fear
,
astonishment
or
joy
,
according
as
the
Subject
requir'd
;
but
if
he
were
a
stranger
,
and
unknown
to
the
Chorus
,
then
he
nam'd
himself
,
giving
some
account
of
his
good
or
bad
Fortune
,
or
some
confident
of
his
,
declar'd
it
without
affectation
,
either
by
pitying
him
,
or
seeming
to
be
concern'd
for
the
doubtful
success
of
his
Enterprize
.
As
for
us
who
have
no
Choruses
,
we
must
,
instead
of
them
,
make
some
of
those
Actors
speak
who
are
already
upon
the
Stage
,
and
known
;
and
if
we
open
an
Act
with
Persons
unknown
,
they
must
themselves
declare
their
condition
,
or
some
of
their
Followers
must
by
the
by
,
and
without
affectation
insinuate
it
:
But
if
it
be
necessary
that
an
Actor
should
be
incognito
both
as
to
his
Name
and
Quality
,
in
order
to
his
being
known
with
more
pleasure
towards
the
end
of
the
Play
,
then
the
Spectators
must
at
least
know
that
he
is
incognito
;
and
in
a
word
all
confusion
must
be
avoided
,
and
it
will
be
well
if
the
Spectators
conceive
something
in
general
concerning
the
Inteterests
of
this
new
Actor
;
not
indeed
so
far
as
to
discover
or
prevent
an
Incident
,
but
so
much
as
is
necessary
to
facilitate
their
easier
comprehending
all
that
is
to
be
said
afterwards
.
The
Third
Observation
is
,
That
the
Actors
do
always
come
on
,
and
go
off
of
the
Scene
with
some
probable
reason
,
which
makes
it
more
proper
for
them
to
do
so
than
otherwise
,
and
yet
that
must
not
be
done
grosly
,
but
by
nice
and
natural
pretexts
.
For
any
Art
that
discovers
it self
too
much
,
loses
its
grace
;
and
yet
it
is
not
necessary
that
the
reason
which
makes
the
Actors
go
on
and
off
should
always
take
effect
;
quite
contrary
,
the
less
things
succeed
according
to
their
first
appearance
,
the
more
pleasing
and
surprising
they
are
.
'T
is
one
of
the
beauties
of
the
Stage
,
that
things
cross
one
another
,
and
so
produce
unforeseen
Events
;
and
when
an
Actor
is
upon
the
Stage
,
his
good
or
bad
Fortune
is
in
the
Poets
hands
,
though
the
reason
that
brought
him
on
be
not
at
all
conformable
to
what
he
meets
with
there
.
As
for
the
Practice
of
this
Rule
,
I
must
desire
our
Poets
to
have
recourse
to
the
Antients
,
and
to
observe
with
what
Art
they
govern
themselves
;
for
the
Reading
of
one
Poem
of
theirs
,
particularly
of
Sophocles
,
will
give
them
more
light
in
this
matter
,
than
all
the
Allegations
with
which
I
might
swell
this
Treatise
.
The
Fourth
Observation
is
about
a
Dispute
which
I
have
often
been
witness
to
,
which
is
,
Whether
or
no
in
the
same
Act
the
same
Actor
may
appear
more
than
once
?
First
,
To
answer
this
Question
right
,
it
is
necessary
to
distinguish
the
Plays
;
for
in
a
Comedy
,
the
Subject
whereof
is
taken
from
the
meaner
sort
of
People
,
it
would
not
be
amiss
that
the
Persons
concern'd
should
appear
more
than
once
in
an
Act
,
because
they
are
People
whose
business
is
not
weighty
,
their
actions
quick
,
and
the
manner
of
their
life
unquiet
,
and
their
Intrigues
,
most
of
them
happening
in
the
Neighbourhood
,
so
that
they
need
but
a
little
time
to
go
and
come
;
but
in
a
Tragedy
,
where
they
are
most
commonly
Kings
and
Princes
,
where
their
manner
of
living
is
very
different
,
their
actions
all
full
of
gravity
and
weight
,
it
does
not
appear
easie
nor
reasonable
to
make
them
appear
more
than
once
in
an
Act
;
for
their
Intrigues
are
generally
with
Persons
remote
,
their
Designs
great
,
and
which
are
not
to
be
brought
to
pass
but
by
slow
means
,
and
with
great
circumspection
,
so
that
more
time
is
regularly
requir'd
to
move
all
the
Springs
of
their
Affairs
.
Secondly
,
In
both
these
sorts
of
Poems
,
one
must
consider
the
condition
of
the
Persons
;
for
in
a
Slave
or
Servant
it
would
be
nothing
to
see
him
often
in
an
Act
,
but
it
would
be
something
strange
in
a
Man
or
Woman
of
Quality
,
if
some
very
extraordinary
reason
did
not
oblige
them
to
precipitate
their
Actions
.
Thirdly
,
We
are
to
consider
how
far
an
Actor
went
,
and
if
the
thing
he
went
about
requir'd
much
time
;
or
if
he
had
some
reason
to
return
so
soon
;
for
the
place
he
went
to
being
near
,
and
having
but
a
short
business
,
and
being
obliged
to
return
immediately
,
all
these
are
circumstances
which
may
bring
an
Actor
upon
the
Stage
twice
in
an
Act
,
without
offending
against
the
Rules
.
Plautus
does
it
very
ingeniously
in
many
of
his
Comedys
,
but
I
know
no
Example
of
it
in
any
Tragedys
of
the
Antients
.
Monsieur
Corneille
indeed
in
his
Horatius
brings
his
Hero
twice
on
in
the
same
Act
,
because
he
went
but
from
the
Hall
of
his
Pallace
to
his
Fathers
Chamber
,
to
take
his
leave
of
him
before
he
engaged
in
the
Combate
between
the
Six
Brothers
.
But
for
my
part
,
I
should
counsel
the
Poet
to
do
it
as
little
as
possible
,
and
with
great
circumspection
;
for
,
methinks
,
it
is
a
little
undecent
to
see
a
Person
of
Quality
go
and
come
so
suddenly
,
and
Act
with
so
much
appearance
of
precipitation
.
The
Fifth
Observation
is
about
a
thing
which
the
Antients
never
fail'd
in
,
and
the
Modern
Writers
often
have
,
which
is
,
to
bring
their
Principal
Actors
on
,
upon
the
opening
of
the
Stage
,
and
indeed
with
a
great
deal
of
reason
,
because
their
Persons
being
considered
as
the
Principal
Subject
of
all
the
Adventures
of
the
Play
,
and
as
the
Center
to
which
all
the
other
Lines
are
to
be
drawn
,
the
Spectators
desire
to
see
them
at
first
,
and
all
that
is
said
or
done
before
their
Arrival
gives
them
more
impatience
than
pleasure
,
and
is
often
reckoned
for
nothing
:
And
besides
,
they
often
take
the
first
Actor
of
Quality
for
the
Hero
of
the
Play
,
and
when
they
are
undeceiv'd
,
find
themselves
in
confusion
and
perplexed
;
therefore
those
Authors
who
bring
not
on
their
Chief
Actor
till
the
Third
or
Fourth
Act
,
are
much
to
blame
,
for
that
causes
in
the
Audience
so
much
impatience
and
uncertainty
,
that
it
is
afterwards
very
hard
to
satisfie
them
;
not
but
that
in
some
occasions
one
may
luckily
defer
the
bringing
on
a
chief
Actor
for
a
while
,
but
then
that
must
give
some
extraordinary
grace
to
the
Play
,
and
be
order'd
so
,
as
not
to
confound
the
Spectators
Application
.
The
Sixth
Observation
is
,
That
the
chief
Actors
ought
to
appear
as
often
,
ans
stay
as
long
as
possible
upon
the
Stage
;
First
,
because
they
are
always
the
best
Actors
,
and
so
satisfie
most
;
then
they
are
the
best
cloth'd
,
and
so
please
the
Spectators
,
who
are
taken
with
their
Dress
:
And
lastly
,
because
they
have
the
finest
things
to
say
,
and
the
noblest
passions
to
shew
;
in
which
,
to
say
truth
,
consists
the
greatest
charm
of
the
Stage
;
and
besides
,
the
whole
Event
being
to
turn
upon
them
,
the
Spectator
rejoyces
and
grieves
with
them
,
fears
and
hopes
as
they
do
,
and
always
has
some
inward
concern
according
to
the
present
state
of
their
Affairs
.
This
makes
me
not
approve
of
Seneca
,
who
in
a
Play
where
Agamemnon
is
the
chief
Hero
,
and
is
kill'd
,
makes
him
say
not
above
two
and
twenty
Verses
in
all
.
The
best
Advice
I
can
give
the
Poet
in
this
matter
,
is
not
to
have
any
thing
told
by
way
of
Narrative
,
which
may
be
any
ways
decently
perform'd
by
the
chief
Actors
themselves
;
but
if
the
Subject
cannot
suffer
that
the
chief
Actors
should
appear
every
Act
,
he
must
endeavour
that
that
Act
where
they
do
not
appear
,
be
fill'd
with
some
great
circumstance
of
the
Story
,
and
that
the
second
Parts
may
repair
the
want
of
the
first
by
some
noble
and
majestick
Adventure
,
else
it
is
certain
the
Play
will
pall
and
languish
.
The
Seventh
and
last
Observation
of
this
Chapter
is
particular
enough
,
and
it
may
be
at
first
will
not
be
rellished
by
all
our
Poets
;
but
I
desire
them
to
examine
it
in
the
practice
,
before
they
judg
of
it
here
upon
the
Paper
.
To
explain
my self
rightly
,
we
must
observe
,
that
where
an
Actor
appears
first
upon
the
Stage
,
he
may
come
on
in
one
of
these
Three
Dispositions
,
either
in
a
moderate
,
calm
temper
,
or
in
a
violent
passion
,
or
in
a
disposition
something
moved
,
but
not
rais'd
to
the
high
pitch
of
Transport
;
and
that
may
be
call'd
a
half-passion
.
Now
in
the
first
case
an
Actor
may
easily
acquit
himself
,
for
it
comes
so
near
our
natural
temper
,
that
few
fail
to
personate
it
well
.
In
the
second
case
likewise
of
violent
Transport
,
good
Actors
seldom
fail
to
represent
it
well
,
because
Experience
has
taught
them
how
far
their
Voice
and
Action
is
to
be
strain'd
in
such
a
case
;
but
as
it
is
much
easier
to
go
from
one
Extremity
to
another
,
than
to
stop
with
discretion
in
the
middle
;
so
the
Actors
,
though
they
can
easily
represent
these
two
Sentiments
directly
opposite
,
they
do
not
always
succeed
when
they
are
to
come
upon
the
Stage
with
the
Sentiment
of
a
half-passion
,
which
passes
a
little
our
natural
Tranquillity
,
and
yet
rises
not
to
the
extremest
violence
;
and
the
reason
is
,
that
not
being
stirr'd
of
themselves
,
and
yet
not
daring
to
rise
to
the
highest
pitch
of
violence
,
't
is
hard
for
them
to
find
that
just
temper
to
enter
into
this
half
passion
;
from
hence
it
comes
,
that
they
often
provoke
the
laughter
of
the
Audience
,
by
delivering
with
an
ill
grace
,
and
unconcernedly
,
that
which
requires
some
Emotion
,
or
appearing
overallarm'd
at
that
which
does
not
in
its
nature
so
highly
affect
the
Spectators
.
Therefore
my
Observation
to
the
Poet
is
,
that
he
first
put
some
more
moderate
words
in
his
Actors
mouth
,
before
he
raises
him
to
that
half-passion
,
that
he
may
grow
warm
by
little
and
little
,
and
that
his
Voice
may
rise
by
degrees
,
and
all
his
gestures
acquire
more
and
more
motion
with
his
Discourse
;
and
as
for
the
Actor
,
I
will
tell
him
what
in
this
case
I
have
seen
Mondory
,
the
best
Actor
of
our
days
do
,
which
was
,
that
in
these
occasions
having
taken
a
turn
or
two
upon
the
Stage
,
and
with
some
posture
suitable
to
his
Part
,
as
lifting
up
his
Hands
and
Eyes
,
or
the
like
;
having
begun
to
move
himself
,
he
brought
himself
to
the
true
point
of
a
half-passion
,
and
so
came
sensibly
out
of
the
natural
state
of
Indifferency
in
which
he
came
on
upon
the
Stage
;
withal
,
retaining
his
motions
so
as
they
should
not
go
too
far
.
All
this
will
be
better
understood
by
both
Poets
and
Actors
,
if
they
please
to
make
some
Reflections
at
Reheasals
,
and
have
the
Comedians
own
Opinions
who
are
best
Judges
,
having
often
experienced
this
,
and
other
Methods
of
performing
a
half-passion
.
Chapter
the
Second
.
Of
Discourses
in
general
.
IF
we
consider
Tragedy
in
its
own
nature
,
it
implies
so
much
Action
,
that
it
seems
not
to
have
any
room
left
for
Discourse
:
'T
is
called
a
Dramma
,
which
signifies
an
Action
,
and
the
Persons
concern'd
are
called
Actors
,
as
those
that
are
present
are
nam'd
Spectators
,
or
Lookers
on
,
not
Hearers
.
And
indeed
all
the
Discourses
of
Tragedy
ought
to
be
as
the
Actions
of
those
that
appear
upon
the
Stage
;
for
there
to
speak
,
is
to
act
,
there
being
not
there
any
Speeches
invented
by
the
Poet
to
shew
his
Eloquence
.
So
we
see
that
the
Narration
of
the
Death
of
Hyppolitus
in
Seneca
,
is
rather
the
action
of
a
Man
frightned
at
the
Monster
that
he
saw
come
out
of
the
Sea
,
and
at
the
sad
Adventure
which
befel
Hyppolitus
.
In
a
word
,
all
Discourses
upon
the
Stage
are
but
the
Accessaries
of
Action
,
though
the
whole
Play
in
its
Representation
consists
in
Discourses
.
'T
is
they
that
are
the
chief
work
of
the
Poet
,
and
in
which
he
Employs
all
the
strength
of
his
wit
;
all
that
he
invents
,
is
in
order
to
have
it
well
deliver'd
upon
the
Stage
,
and
he
supposes
many
actions
that
they
may
serve
for
Subject
of
those
Discourses
.
Thus
he
seeks
all
ways
to
make
love
,
joy
,
hatred
,
grief
,
and
the
rest
of
our
passions
speak
upon
the
Stage
;
and
yet
if
we
examine
rightly
this
Poem
,
the
best
part
of
the
actions
are
but
in
the
imagination
of
the
Spectator
,
to
whom
the
Poet
by
his
Art
makes
them
as
it
were
visible
,
though
there
be
nothing
sensible
but
the
Discourses
.
And
we
may
observe
in
two
of
the
Greek
Poets
,
that
though
Euripides's
Tragedys
are
fill'd
with
more
Incidents
and
Actions
than
those
of
Sophocles
,
yet
they
had
not
so
good
success
upon
the
Stage
of
Athens
;
neither
are
they
now
so
pleasant
to
read
;
the
reason
whereof
is
,
that
the
Discourses
of
Sophocles
are
more
Eloquent
,
and
more
Judicious
than
those
of
Euripides
.
Nay
,
those
Dramma's
which
carry
the
name
of
Seneca
,
howsoever
irregular
and
defective
they
are
in
other
things
,
do
nevertheless
pass
very
well
,
by
reason
of
the
sense
and
force
of
some
Discourses
that
are
in
them
.
And
we
have
still
a
greater
proof
of
this
in
the
Works
of
our
Corneille
;
for
that
which
has
so
clearly
set
him
above
all
the
Poets
of
his
time
has
not
been
the
Plot
,
or
Regularity
of
his
Plays
,
but
the
Discourses
,
and
the
noble
ways
of
Expressing
those
violent
passions
which
he
introduces
,
even
so
far
,
that
we
see
very
irregular
actions
in
them
so
accompapanied
with
ingenious
and
pathetick
Expressions
,
that
the
fault
could
not
be
perceiv'd
but
by
the
Learned
Observers
,
the
beauty
of
the
Thoughts
and
Language
dazling
the
understanding
of
all
the
rest
of
the
Audience
,
and
taking
away
from
them
the
liberty
of
judging
of
any
thing
else
.
For
Example
,
it
was
not
very
probable
that
Rodrigues
,
all
bloody
with
the
Murder
of
his
Mistress's
Father
,
should
go
and
make
her
a
Visit
,
nor
that
she
should
receive
it
,
and
yet
their
conversation
is
so
pleasing
and
full
of
such
noble
Sentiments
,
that
few
have
observ'd
that
Indecency
,
and
they
that
did
were
willing
to
suffer
it
.
Again
,
when
Don
Sanche
brings
his
Sword
to
Chimene
,
he
ought
not
to
let
her
run
on
in
those
mistaken
Complaints
,
since
with
one
word
he
could
undeceive
her
;
but
that
which
she
says
is
so
agreeable
,
that
the
Spectator
cannot
wish
Don
Sanche
had
been
more
prudent
.
All
the
Learned
men
in
the
Drammatick
Art
tell
us
,
that
those
Plays
which
they
call
Polymythes
,
that
is
,
loaded
with
many
Incidents
,
either
are
bad
,
or
at
least
none
of
the
best
;
but
they
have
not
given
the
reason
,
which
in
my
judgment
is
,
because
they
are
all
taken
up
in
action
,
and
so
leaving
no
room
for
Discourses
,
the
Subject
is
as
it
were
stifled
for
want
of
Air
;
and
on
the
contrary
,
a
Play
which
has
but
few
Incidents
,
and
a
small
Intrigue
,
but
fill'd
with
Excellent
Language
,
and
thought
,
can
seldom
fail
of
pleasing
.
We
must
nevertheless
observe
some
difference
in
this
Point
between
Comedy
and
Tragedy
;
for
Comedy
,
whose
business
lies
among
the
common
sort
of
People
,
not
so
capable
of
gravity
and
thought
,
as
the
Tragick
Actors
,
is
much
more
in
action
than
in
Discourses
;
there
is
required
there
little
Eloquence
,
and
much
Intrigue
.
Terence
is
pleasanter
to
read
than
Plautus
,
because
he
is
more
Elegant
,
but
Plautus
took
better
with
the
Romans
,
because
he
is
fuller
of
action
.
Terence
has
many
serious
Moral
sayings
,
which
is
not
the
proper
work
of
Comedy
,
where
the
Spectators
design
is
to
laugh
.
Plautus
is
full
of
Intrigues
,
from
which
many
Jests
,
and
ingenious
Raileries
are
created
,
and
that
's
the
thing
we
wish
for
in
Comedy
.
I
could
wish
therefore
that
our
Poets
would
excel
in
the
Art
of
Rhetorick
,
and
study
Oratory
and
Eloquence
to
the
bottom
;
for
we
are
not
to
imagine
,
that
it
consists
in
some
puns
and
quibbles
,
to
make
the
Citizens
and
Country
Gentlemen
laugh
,
nor
in
some
Antitheses
,
or
other
Figures
often
ill
employ'd
;
no
,
the
Poet
ought
to
know
all
the
passions
,
the
springs
,
that
bring
them
on
,
and
the
way
of
expressing
them
with
Order
,
Energy
,
and
Judgment
.
He
may
see
many
Examples
of
this
amongst
the
Antient
Poets
,
who
best
can
shew
him
the
way
of
pleasing
,
and
acquiring
Reputation
.
I
,
for
my
part
,
pretend
to
nothing
here
,
but
to
give
him
my
particular
Observations
,
which
at
least
may
serve
him
to
make
better
of
his
own
.
But
to
do
this
with
order
,
I
consider
there
are
generally
in
a
Play
Four
sorts
of
Discourses
,
Narrations
,
Deliberations
,
Didactick
Discourses
or
Instructions
,
and
Pathetick
Discourses
,
or
the
motions
of
passions
.
This
is
the
Method
which
I
establish
to
explain
my self
,
to
which
any
body
may
add
what
they
think
necessary
,
and
take
away
all
that
they
shall
judg
superfluous
;
and
in
a
word
,
change
all
that
shall
not
please
them
,
and
have
my
free
consent
to
do
it
.
Chapter
the
Third
.
Of
Narrations
.
THese
Narrations
which
happen
in
a
Drammatick
Poem
,
do
generally
regard
two
sorts
of
things
;
either
those
which
have
happened
before
the
opening
of
the
Stage
,
wheresoever
they
came
to
pass
;
nay
,
though
it
be
long
before
;
or
else
they
regard
those
things
which
happen
off
of
the
Scene
in
the
Contexture
of
the
Theatral
action
,
after
once
the
Stage
is
open
,
and
within
the
Extent
of
time
that
it
requires
.
As
to
the
first
sort
which
are
brought
into
the
body
of
the
Poem
,
for
the
better
understanding
of
things
which
happened
before
the
opening
of
the
Stage
,
they
may
regularly
be
us'd
in
the
beginning
of
the
Play
,
that
they
may
give
a
Foundation
to
the
whole
Action
,
and
prepare
the
Incidents
,
and
by
that
means
facilitate
to
the
Spectator
the
understanding
of
all
the
rest
;
or
else
they
may
be
made
use
of
toward
the
end
of
the
Poem
,
and
serve
to
the
Catastrophe
,
or
the
untying
and
opening
of
all
the
Plot.
Not
but
that
they
may
be
made
in
other
parts
of
the
Play
,
as
we
see
it
done
in
a
Play
call'd
Virginia
,
where
the
chiefest
Narration
is
in
the
Fourth
Act
,
and
is
perform'd
with
great
grace
▪
and
equal
success
;
but
in
that
part
of
the
Play
't
is
very
dangerous
to
use
them
;
for
they
run
a
hazard
of
either
discovering
the
Catastrophe
,
which
is
near
at
hand
,
or
else
they
leave
the
Stage
in
some
obscurity
,
and
the
Spectators
ill
inform'd
of
many
circumstances
,
for
having
too
long
delay'd
the
opening
of
them
;
so
that
to
avoid
both
these
Inconveniences
,
the
Poet
must
have
a
very
steddy
hand
,
since
he
must
order
it
so
as
his
Narration
do
not
in
the
least
prevent
the
beauty
of
the
Catastrophe
;
nor
his
first
acts
be
less
intelligible
for
having
kept
back
his
Narration
.
As
for
those
things
which
happen
in
the
course
of
the
Action
,
the
recital
of
them
is
to
be
made
as
they
happen
;
or
if
it
be
thought
necessary
,
or
more
pleasing
to
delay
them
,
there
must
be
us'd
some
Art
to
feed
the
Spectators
desire
of
knowing
them
without
impatience
;
or
else
you
must
quite
stifle
his
Expectation
,
that
he
may
be
the
better
surpriz'd
when
they
come
to
pass
.
But
we
must
remember
besides
,
that
these
Recitals
or
Narrations
are
introduced
only
to
instruct
the
Spectator
about
what
passes
off
of
the
Scene
;
for
to
relate
either
those
things
that
have
been
seen
,
or
might
have
been
seen
,
as
being
suppos'd
to
have
been
done
upon
the
Stage
,
would
certainly
be
very
ridiculous
;
and
besides
,
those
things
that
give
ground
to
these
Incident
Narrations
,
ought
to
be
very
considerable
,
or
else
they
are
to
be
avoided
,
and
the
thing
to
be
insinuated
into
the
Audience
by
some
words
scattered
here
and
there
either
before
or
after
.
Now
all
these
Narrations
do
enter
into
the
Composition
of
the
Drammatick
Poem
,
for
two
ends
,
either
to
make
it
clear
and
intelligible
,
or
to
adorn
and
set
it
out
;
but
against
both
these
ends
the
Poet
often
falls
into
Errours
,
which
destroy
his
first
Intention
.
The
first
is
,
when
his
Narration
is
obscure
,
and
loaded
with
circumstances
hard
for
the
Audience
to
retain
distinctly
;
such
are
Genealogical
ones
(
which
Scaliger
blames
in
Homer
;
or
a
great
number
of
Names
,
with
a
Chain
of
actions
embroylu'd
one
in
in
another
;
for
the
Spectator
will
not
give
himself
the
trouble
to
observe
and
retain
all
these
different
Idaea's
,
he
coming
to
the
Stage
only
for
his
pleasure
,
and
in
the
mean
time
for
want
of
remembring
all
this
,
he
remains
in
the
dark
as
to
the
rest
of
the
Play
,
and
is
disgusted
for
all
the
time
he
stays
.
Such
a
Story
might
be
that
of
the
three
Brothers
,
and
three
Sisters
,
which
is
describ'd
in
Astraea
,
and
that
of
the
two
Children
born
of
two
Women
,
who
had
each
of
them
married
one
anothers
Sons
;
if
any
body
should
upon
such
Stories
found
the
whole
Intrigue
of
a
Play
,
he
might
be
sure
no
body
would
understand
it
,
and
by
consequent
it
would
have
few
Spectators
.
The
Second
fault
of
Narrations
is
when
they
are
taedious
,
and
they
are
always
taedious
when
they
do
not
contain
things
necessary
or
agreeable
;
as
also
when
they
are
made
with
weak
and
faint
Expressions
,
such
as
do
not
captivate
the
Spectators
favour
or
attention
,
which
by
consequent
must
pall
,
and
make
him
give
over
minding
the
Play
;
and
this
happens
likewise
when
they
are
too
long
;
for
variety
being
the
life
of
the
Stage
,
and
that
being
wanting
,
the
best
things
grow
dull
,
and
weigh
upon
the
Spectator
,
who
takes
it
ill
to
be
fix'd
to
one
Subject
without
diversity
for
so
long
a
time
;
and
though
it
may
be
the
capacity
of
some
would
carry
them
thorow
to
comprehend
it
all
,
yet
being
come
for
diversion
,
they
will
not
take
the
pains
to
do
it
,
which
joyn'd
with
the
incapacity
of
others
to
hearken
to
so
long
a
Story
,
causes
at
last
a
general
disgust
in
the
whole
Audience
.
We
may
moreover
make
this
distinction
upon
the
length
of
Narrations
,
for
they
may
be
so
either
for
the
matter
,
when
they
are
fill'd
with
too
great
a
number
of
Incidents
,
and
Persons
,
of
Names
and
Places
;
or
they
may
be
so
out
of
the
form
for
the
many
words
they
contain
,
as
when
the
circumstances
of
an
Action
are
too
much
exaggerated
and
particulariz'd
in
minute
and
insignificant
things
;
and
when
the
Expressions
are
too
full
of
Epithets
,
Adverbs
▪
or
other
unnecessary
terms
,
with
Repetitions
of
the
same
thing
,
though
in
a
different
way
.
And
indeed
,
to
examine
the
difference
of
these
two
sorts
of
lengths
in
Narrations
,
we
may
say
,
that
the
first
is
vicious
in
any
place
of
the
Play
wheresoever
it
is
plac'd
:
For
first
,
at
the
opening
of
the
Stage
,
the
Spectator
,
who
thinks
all
that
Recital
necessary
for
the
understanding
of
the
Play
,
endeavours
to
retain
it
all
in
his
memory
;
but
finding
his
Imagination
confounded
,
and
his
Memory
distracted
with
so
many
things
,
he
is
first
vex'd
with
himself
,
and
then
with
the
Poet
,
and
at
last
gives
out
,
without
minding
any
more
of
the
whole
Poem
.
These
long
Narrations
are
not
better
plac'd
in
the
course
of
the
Action
,
for
those
things
which
come
to
pass
after
the
opening
of
the
Stage
,
because
it
will
never
be
thought
probable
that
so
many
things
should
have
come
to
pass
in
so
little
a
time
;
(
as
for
Example
,
the
Interval
of
an
Act
seems
to
be
)
not
but
that
it
is
ordinary
to
suppose
in
that
time
a
Battle
,
a
Conspiracy
,
or
some
such
other
Event
;
but
to
do
it
with
probability
,
the
Poet
deceives
the
Spectator
,
and
busies
him
with
something
else
that
is
agreeable
,
that
so
he
may
be
insensibly
persuaded
that
there
has
been
time
enough
for
all
the
rest
;
but
that
which
is
particularly
to
be
heeded
in
that
place
is
,
that
at
that
time
the
Stage
is
in
all
the
hurry
of
Action
,
and
in
the
turns
of
Incidents
,
which
these
long
Narrations
do
cool
and
pall
,
whereas
a
true
Narration
ought
to
quicken
the
Stage
,
and
lay
the
foundation
of
some
new
passion
,
which
to
obtain
,
it
must
be
short
,
pithy
,
and
full
of
life
and
warmth
.
The
contrary
of
this
appears
in
that
Narration
,
which
the
Rich
in
Imagination
makes
in
the
Play
call'd
the
Visionaires
.
When
these
long
Narrations
happen
towards
the
Catastrophe
,
they
are
then
absolutely
insupportable
;
for
the
Spectator
,
who
is
impatient
to
see
which
way
the
Intrigue
turns
,
has
all
his
pleasure
spoil'd
just
in
the
time
when
he
ought
to
receive
the
most
,
which
is
so
much
the
more
dangerous
for
the
success
of
the
Play
,
because
the
Audience
is
already
tir'd
and
dispos'd
to
give
out
.
In
a
word
,
I
think
it
may
be
a
kind
of
General
Rule
,
that
Narrations
may
be
longer
at
the
opening
of
the
Stage
than
any
where
else
,
because
the
Spectator
is
fresh
,
and
willing
to
give
attention
,
and
his
memory
receives
agreeably
all
those
new
Idaa's
,
in
hopes
they
are
to
contribute
to
the
pleasure
which
is
prepar'd
for
him
;
and
also
that
they
are
as
much
to
be
avoided
at
the
Catastrophe
,
where
they
do
so
chock
the
Audience
,
who
is
then
impatient
to
know
the
Event
,
that
no
Figures
of
Rhetorick
can
make
him
amends
.
See
,
amongst
others
,
how
dexterous
Plautus
is
in
the
Narration
of
the
knowing
of
Planesia
,
at
the
end
of
the
Curculio
;
't
is
one
of
the
most
regular
Narrations
that
he
has
.
Besides
these
Cautions
,
it
will
not
be
amiss
to
observe
,
that
these
Narrations
may
be
made
in
two
manners
;
either
all
of
a
piece
,
where
a
Story
is
told
that
is
to
give
a
foundation
to
all
the
Plot
of
the
Play
;
(
though
they
that
among
the
Poets
do
it
best
,
have
some
Pathetick
or
other
ingenious
Interruptions
)
as
the
Orestes
of
Euripides
,
and
in
the
Comical
kind
,
the
Hecyra
of
Terence
,
and
the
Pseudolus
of
Plautus
in
the
first
Acts
do
sufficiently
illustrate
:
Or
else
,
these
Narrations
are
made
by
piece-meals
,
according
as
the
Poet
thinks
fit
to
hide
or
discover
any
part
of
his
Subject
,
to
frame
the
different
Acts
with
more
Ornament
,
as
one
may
see
in
the
Sphigenia
of
Euripides
,
and
in
the
Oedypus
Tyrannus
of
Sophocles
,
where
the
Story
is
told
by
different
Persons
,
and
at
different
times
;
which
may
be
perform'd
,
when
he
that
makes
part
of
a
Narration
knows
not
all
the
Story
,
or
when
for
some
other
necessary
reason
which
must
appear
so
to
the
Audience
,
he
will
not
tell
all
he
knows
;
or
when
he
is
interrupted
by
some
body
else
(
which
must
be
done
with
great
Art
,
and
not
by
bringing
on
a
purpose
a
man
who
has
nothing
else
to
do
in
the
rest
of
the
Play
,
but
to
interrupt
that
Actor
;
)
Or
lastly
,
when
those
things
that
are
necessary
to
be
known
,
are
not
yet
come
to
pass
,
as
Corneille
has
most
ingeniously
practised
in
his
Horatius
;
for
by
opening
his
Stage
after
the
Truce
concluded
,
he
has
found
a
way
to
bring
(
uriatius
to
Rome
,
and
there
has
reserv'd
to
himself
to
make
different
Narrations
of
the
Combate
of
the
three
Brothers
in
such
places
of
his
Play
as
he
thinks
the
fittest
to
change
the
state
of
Affairs
upon
his
Stage
.
I
may
assure
our
Poets
,
that
a
Narration
thus
ingeniously
divided
,
requires
great
Art
and
Meditatution
to
consider
how
far
one
may
carry
each
part
of
it
,
and
to
give
all
the
necessary
grounds
and
colours
to
the
Audience
,
for
leaving
off
in
such
a
place
,
and
beginning
again
in
such
another
;
and
indeed
such
a
Narration
well
managed
,
produces
an
admirable
Effect
;
for
leaving
the
Spectator
always
in
the
expectation
of
some
Novelty
,
it
warms
his
desire
,
and
entertains
his
impatience
;
and
then
the
new
discoveries
that
are
made
in
the
rest
of
the
Narration
furnish
the
Stage
with
Subjects
to
vary
all
the
Motions
and
Passions
of
the
Actors
.
Narrations
may
besides
be
considered
as
simply
and
plainly
telling
the
Tale
,
or
as
exaggerating
pathetically
the
circumstances
of
the
Adventure
.
In
the
first
case
they
ought
to
be
short
,
because
they
are
without
motion
or
ornament
,
and
yet
they
are
often
necessary
,
as
when
some
important
Advice
is
to
be
given
to
obviate
some
pressing
mischief
.
Pathetick
Narrations
are
always
the
finest
,
and
the
only
indeed
fit
to
come
upon
the
Stage
,
when
they
are
contain'd
within
the
bounds
of
a
reasonable
Exaggeration
;
then
the
mixture
of
fear
,
astonishment
,
imprecations
,
and
the
like
,
according
to
the
circumstances
of
the
Story
is
fit
,
and
produces
a
good
Effect
.
But
particularly
,
these
passions
ought
to
be
mingled
in
the
Narration
,
when
the
person
to
whom
it
is
made
is
not
at
all
ignorant
of
the
whole
Story
,
and
yet
there
is
a
necessity
of
informing
the
Audience
by
him
;
and
I
believe
that
I
first
found
out
this
sleight
,
to
avoid
absurdity
in
doing
of
it
;
for
in
this
case
it
would
be
ridiculous
to
make
to
him
a
plain
Story
which
he
knows
already
;
therefore
to
avoid
that
one
must
bring
in
natural
passions
growing
from
the
Story
it self
,
and
the
present
state
of
the
Affairs
of
the
Stage
,
either
by
Complaints
,
or
Sentiments
of
joy
,
or
fear
;
for
by
this
means
the
Story
is
told
▪
and
yet
no
affected
cold
Narration
brought
on
against
all
the
Rules
of
probability
.
Such
is
the
Narration
of
the
Death
of
Clitemnestra
in
the
Electra
of
Euripides
,
and
such
is
the
discourse
of
Tecmessa
in
Sophocles
in
his
Ajax
,
where
the
Poet
makes
her
make
an
ingenious
Narration
of
all
that
the
Spectators
were
ignorant
of
under
pretext
of
complaining
of
her
own
misfortunes
,
and
the
Narration
of
Sosias
.
In
Amphytrio
is
one
of
the
most
ingenious
ones
,
where
the
Poet
,
that
he
may
instruct
the
Audience
about
Amphytrio's
Voyage
,
and
the
War
,
makes
that
Slave
meditate
to
himself
what
News
he
shall
tell
his
Mistress
,
for
by
that
means
,
though
the
Narration
be
made
to
himself
,
and
very
pleasant
things
in
it
,
fit
for
a
Slaves
wit
to
say
,
yet
at
the
same
time
the
Spectator
is
informed
of
every
thing
,
without
any
apparent
affectation
.
But
in
these
Narrations
the
Poet
must
be
very
careful
to
keep
up
the
humour
,
so
as
nothing
of
a
studied
Recital
do
appear
,
for
then
't
is
faulty
,
as
done
on
purpose
for
the
Spectators
.
Therefore
I
can
never
advise
him
to
use
a
certain
way
,
common
enough
now
adays
,
which
is
when
an
Actor
knows
some
part
of
the
Story
,
though
the
Spectators
are
not
informed
of
any
part
of
it
;
in
this
case
I
say
Poets
do
often
make
another
Repeat
that
which
the
Actor
knows
already
,
saying
only
,
You
know
such
a
thing
,
and
then
adding
,
Now
here
is
the
rest
which
you
do
not
know
.
To
say
truth
,
this
appears
to
me
very
gross
,
and
it
were
better
to
let
that
which
the
Actor
knows
already
,
be
expressed
to
the
Audience
by
some
motions
of
passion
,
and
then
find
some
ingenious
pretext
to
tell
the
rest
in
an
ordinary
Narration
.
That
which
remains
now
to
be
done
upon
this
Subject
,
is
to
explain
some
Rules
,
from
which
,
without
absurdity
the
Poet
cannot
depart
.
The
first
is
,
that
he
who
makes
the
Narration
be
rationally
suppos'd
to
know
perfectly
the
thing
he
tells
,
or
else
he
cannot
be
thought
to
tell
it
with
any
probability
.
Secondly
,
That
on
his
side
,
there
be
some
apparent
and
powerful
reason
for
him
to
tell
it
,
either
by
the
necessity
of
giving
notice
to
some
other
person
,
or
by
some
well-grounded
curiosity
,
or
by
the
Authority
he
has
over
the
person
that
speaks
with
him
,
or
some
such
considerations
.
Thirdly
,
He
that
hears
him
must
have
some
just
Subject
to
be
inform'd
of
the
thing
that
is
told
him
,
and
I
for
my
part
cannot
bear
that
a
Varlet
should
out
of
simple
curiosity
be
entertain'd
with
the
Adventures
of
a
great
Prince
,
as
the
Poet
has
done
in
Rhodogune
;
for
Narrations
are
always
flat
that
are
not
made
to
a
person
concern'd
for
want
of
passions
to
animate
both
the
Audience
,
and
the
Man
that
makes
the
Recital
.
Besides
,
a
Narration
ought
to
be
made
in
a
fit
place
,
where
probably
both
he
that
hears
,
and
he
that
speaks
,
might
be
suppos'd
to
meet
;
wherefore
I
cannot
approve
that
in
the
Hall
of
a
Pallace
,
where
probably
People
go
and
come
continually
,
there
should
be
a
long
Narration
made
of
secret
Adventures
which
ought
not
to
be
discover'd
without
great
precaution
for
the
danger
that
attends
their
being
revealed
;
and
therefore
I
never
could
conceive
how
Mr.
Corneille
▪
can
bring
to
pass
with
decency
that
.
In
the
same
place
Cinna
tells
Aemilia
all
the
circumstances
of
a
great
Conspiracy
against
Augustus
,
and
yet
in
that
very
place
Augustus
holds
a
secret
counsel
of
his
two
intimate
Favourites
;
for
if
it
be
a
publick
place
,
as
it
seems
to
be
,
since
Augustus
sends
away
all
his
Courtiers
and
Attendance
to
talk
alone
with
his
friends
,
what
probability
is
there
that
Cinna
should
there
visit
Aemilia
,
with
a
Discourse
of
about
130
Verses
,
and
a
discovery
of
the
most
dangerous
Affairs
in
the
World
,
which
might
be
over-heard
by
some
body
going
or
coming
;
and
if
the
place
be
private
,
and
suppos'd
the
Emperor's
Closet
,
who
dismisses
those
he
would
not
have
participant
of
his
secret
,
how
is
it
possible
that
Cinna
should
come
there
to
talk
all
that
to
Aemilia
?
And
how
is
it
probable
that
Aemilia
should
break
out
into
outragious
Complaints
and
Invectives
against
Augustus
?
This
is
my
Objection
,
to
which
Monsieur
Corneille
may
be
pleas'd
to
give
an
Answer
when
he
thinks
fit
.
'T
is
not
less
necessary
to
chuse
a
fit
time
to
make
a
Narration
probable
;
for
there
are
some
times
which
will
not
bear
a
long
Discourse
:
But
I
do
not
take
heed
that
insensibly
I
am
discovering
the
faults
of
our
Modern
Writers
,
who
,
it
may
be
,
will
not
allow
them
to
be
so
,
or
at
least
will
not
be
pleas'd
with
the
discovery
;
let
the
Poet
then
seek
out
of
himself
Examples
of
ill
Narrations
,
and
not
expect
from
me
that
I
should
discredit
the
best
part
of
our
Plays
,
many
of
which
have
been
so
favourably
receiv'd
either
by
the
too
much
complaisance
,
or
the
ignorance
of
those
who
did
not
understand
their
faults
.
Chapter
the
Fourth
.
Of
Deliberations
.
MY
design
is
not
here
to
teach
that
part
of
Rhetorick
which
they
call
the
genus
deliberativum
,
by
which
is
shew'd
the
Art
of
saying
ones
Opinion
floridly
in
all
matters
,
in
which
counsel
is
askt
.
Our
Poet
ought
not
to
stay
till
he
be
upon
the
Stage
to
be
instructed
in
those
Principles
which
are
all
comprehended
under
the
name
of
the
Theory
of
the
Stage
.
Drammatick
Poetry
is
a
kind
of
Quintessence
of
all
the
Precepts
of
Eloquence
that
are
found
in
Authors
,
because
they
must
be
us'd
in
it
,
but
with
so
much
Judgment
and
Art
,
and
so
nicely
,
that
it
must
often
seem
that
one
has
quite
laid
them
aside
,
the
genius
of
the
Stage
being
such
,
that
a
thing
that
does
not
appear
,
contains
in
it
very
often
the
greatest
Artifice
,
and
a
Sentiment
that
shall
imperceptibly
have
been
conveyed
into
the
mind
of
the
Audience
,
an
imperfect
Narration
,
an
Adventure
,
begun
in
appearance
without
design
,
are
capable
alone
of
making
a
Play
take
,
by
giving
a
foundation
secretly
to
the
strongest
passions
,
and
by
that
means
preparing
a
noble
Catastrophe
;
and
without
doubt
there
is
much
skill
requir'd
for
any
body
to
perform
this
,
without
which
one
cannot
pretend
to
true
glory
in
the
Art
.
I
begin
therefore
with
this
Advertisement
,
which
I
think
very
considerable
in
matter
of
Deliberations
,
which
is
,
that
they
in
their
own
nature
are
not
fit
for
the
Stage
,
because
the
Theatre
being
a
place
of
Action
,
all
things
ought
to
be
in
agitation
,
either
by
Events
which
cross
one
another
,
or
by
Passions
born
out
of
those
Incidents
,
as
Lightning
and
Thunder
from
the
Clouds
.
In
a
word
,
't
is
a
place
where
every
body
is
disquieted
and
in
disorder
;
and
as
soon
as
ever
the
calm
and
quiet
succeed
,
the
Play
is
at
an
end
,
or
grows
very
dull
all
the
while
that
the
Action
is
suspended
;
how
is
it
possible
then
that
Deliberations
should
have
any
part
in
the
business
?
They
are
sedate
and
quiet
things
where
Moderation
and
Temper
ought
chiefly
to
appear
.
He
that
asks
counsel
does
it
with
tranquillity
,
at
least
in
appearance
,
and
they
that
are
called
to
counsel
ought
less
to
be
troubled
either
with
Passion
or
Interest
,
they
must
speak
with
all
the
clearness
of
Reason
,
and
argue
upon
the
discovery
,
and
not
in
the
Clouds
,
and
darkness
of
Passion
;
and
if
they
grow
but
warm
,
they
are
presently
suspected
of
some
secret
Interest
;
so
that
without
very
great
Art
,
it
will
be
hard
to
reconcile
them
to
the
Scene
,
without
making
the
Stage
lose
its
grace
,
and
grow
dull
.
It
may
be
answered
,
that
the
Stage
abounds
in
Deliberations
,
and
that
the
Antients
have
them
in
most
Acts
of
their
Plays
;
and
for
the
Moderns
,
Monsieur
Corneille
excels
in
them
,
and
has
scarce
any
thing
in
his
Poems
so
moving
,
and
so
much
admir'd
,
witness
his
Stanzas
in
the
mouth
of
Rodrigues
in
the
Cid
.
Aemilia
in
Cinna
deliberates
pleasingly
between
the
danger
she
exposes
Cinna
to
,
and
the
revenge
she
covets
.
Cinna
deliberates
between
the
Obligations
he
has
to
Augustus
,
and
the
love
he
bears
his
Mistress
;
and
Augustus
deliberates
what
to
do
in
this
last
Conjuration
,
in
which
his
Favourite
was
the
chief
man
to
murder
him
.
To
all
this
I
answer
,
That
these
are
not
the
true
sort
of
Deliberations
which
I
am
treating
of
,
though
they
do
shew
Irresolution
,
and
a
dispute
between
opposite
Considerations
;
they
are
rather
to
be
plac'd
in
the
rank
of
Pathetick
Discourses
,
which
make
the
best
Actions
of
the
Stage
.
You
see
minds
agitated
by
different
Passions
,
and
still
carryed
into
extremes
,
of
which
the
Spectator
cannot
foresee
the
Event
;
all
their
Discourses
have
the
true
Theatral
Character
,
they
are
impetuous
and
figurative
,
and
shew
you
rather
the
Image
of
a
Soul
tormented
in
the
midst
of
his
Executioners
,
than
one
consulting
in
the
midst
of
his
Friends
.
'T
is
not
therefore
this
sort
of
Deliberations
that
I
exclude
;
on
the
contrary
,
I
exhort
all
our
Poets
to
bring
them
upon
the
Stage
,
as
much
as
the
Subject
will
afford
,
and
to
examine
carefully
with
what
variety
and
Art
they
are
managed
by
the
Antients
,
and
in
the
Works
of
Monsieur
Corneille
,
for
if
he
be
well
consider'd
,
't
will
be
found
that
't
is
in
that
principally
that
consists
that
which
in
him
is
called
Admirable
,
and
the
thing
which
has
made
him
so
famous
.
I
only
speak
then
of
those
Deliberations
which
are
made
designedly
,
and
are
Representations
of
the
like
Consults
made
in
Courts
upon
some
important
Affair
.
We
have
two
Examples
remarkable
in
Corneille
,
that
in
the
Play
called
Cinna
,
where
Augustus
deliberates
whether
he
shall
leave
the
Empire
or
no
;
and
the
other
in
a
Play
called
The
Death
of
Pompey
,
where
King
Ptolomeus
deliberates
what
he
shall
do
with
so
great
a
Man
,
newly
arrived
in
his
Country
;
and
these
two
Deliberations
have
succeeded
likewise
very
differently
,
for
that
of
Augustus
pleas'd
the
Audience
to
a
wonder
,
and
the
other
of
Ptolomaeus
passes
for
a
very
common
,
ordinary
Discourse
;
and
that
very
difference
of
the
success
of
these
two
Deliberations
,
confirms
me
in
my
Opinion
,
that
they
are
dangerous
upon
the
Stage
,
and
have
afforded
me
likewise
the
occasion
of
making
some
Reflections
which
may
contribute
to
make
them
please
.
The
first
is
,
That
the
Subject
of
the
Deliberation
ought
to
be
great
,
noble
,
and
extraordinary
,
and
not
of
such
things
as
fall
every
day
in
debate
in
Princes
Councils
,
and
't
is
in
this
for
one
,
that
the
Deliberation
of
Augustus
carrys
it
from
that
of
Ptolomaeus
,
for
it
is
not
ordinary
that
a
Monarch
should
have
the
thought
of
laying
down
the
Soveraignty
,
and
bring
so
important
a
Point
to
be
debated
by
two
Friends
.
There
was
but
one
Example
of
such
a
thing
before
Augustus's
time
,
and
we
have
had
but
three
since
,
of
which
the
Queen
of
Sweden
makes
still
an
Illustrious
Remembrance
.
But
it
was
not
a
thing
so
rare
to
see
Ptolomaeus
deliberate
about
the
Life
and
Liberty
of
Pompey
;
't
was
an
important
Affair
,
but
no
extraordinary
one
,
which
made
the
difference
in
the
success
of
the
thing
.
Ptolomy
might
deliberate
upon
such
a
Subject
,
but
the
Spectators
receive
no
pleasure
from
the
thing
,
being
done
in
their
hearing
▪
because
it
contributes
nothing
to
their
Intrigues
,
nor
the
untying
of
the
knot
of
the
Play
.
Secondly
,
The
Motive
of
a
Deliberation
that
is
brought
upon
the
Stage
,
ought
to
be
necessary
and
urgent
,
not
only
in
the
Person
of
him
that
deliberates
,
but
in
relation
also
to
all
the
Persons
concerned
in
the
Action
.
The
Deliberation
of
Augustus
in
Cinna
may
serve
here
for
an
Example
:
For
it
seems
necessary
that
it
should
be
brought
upon
the
Stage
,
that
the
Audience
might
see
the
goodness
of
the
Emperor
,
and
the
passionate
transports
of
Fury
that
Cinna
was
guilty
of
,
and
all
that
happens
afterwards
between
Cinna
,
Aemilia
,
and
Maximus
,
has
its
force
and
beauty
from
what
Cinna
himself
had
given
in
counsel
to
Augustus
.
Thirdly
,
In
these
Deliberations
the
Discourses
must
be
noble
and
proportionable
to
the
greatness
of
the
Subject
,
that
is
,
that
they
come
from
a
profound
meditation
,
and
be
expressed
with
great
strength
of
thought
,
for
not
being
capable
of
any
great
figures
,
they
must
be
upheld
by
strong
sense
and
reasoning
.
This
likewise
is
observ'd
in
the
Deliberation
of
Augustus
,
where
Maximus
and
Cinna
do
say
very
surprising
things
.
Fourthly
,
One
must
observe
never
to
stay
till
the
Stage
is
in
the
heat
of
Action
,
and
the
depth
of
Intrigues
,
to
bring
on
these
Deliberations
,
because
they
cool
the
Stage
,
and
so
defeat
the
Expectations
of
the
Audience
,
and
yet
I
would
not
place
them
in
the
beginning
neither
,
as
that
of
Ptolomy
is
in
Corneille
,
because
then
there
has
not
been
any
passion
agitated
which
might
produce
such
a
Deliberation
;
but
I
would
place
them
in
the
beginning
of
the
second
or
third
Act
,
that
they
may
have
some
foundation
upon
what
is
already
done
,
and
some
influence
upon
what
remains
to
do
.
They
ought
likewise
not
to
be
made
all
of
a
breath
,
without
interruption
from
some
of
the
Counsellors
,
for
that
gives
at
least
a
little
warmth
to
the
coolness
of
the
Stage
.
But
above
all
,
I
think
they
ought
to
be
as
short
as
possible
,
for
they
cannot
be
long
without
being
tedious
in
prolix
reasonings
void
of
figures
,
which
nevertheless
I
would
have
the
Poet
strive
to
bring
in
as
Apostrophes
,
Prosopopoeas
,
Hypotyposes
,
and
such
like
;
in
which
much
Art
must
be
used
,
because
regularly
these
figures
do
not
enter
into
Deliberations
.
But
that
which
above
all
things
I
think
necessary
is
,
that
the
Persons
advis'd
with
,
be
concern'd
in
the
thing
propos'd
,
because
then
't
is
not
a
plain
Advice
,
but
it
has
something
of
the
Theatral
Action
;
then
the
Spectator
too
is
much
more
concern'd
,
as
appears
very
well
in
the
case
of
Augustus
,
who
being
made
to
advise
about
the
most
important
thing
of
his
Life
,
with
two
treacherous
Friends
,
and
the
Audience
being
already
inform'd
of
the
hatred
of
Aemilia
,
and
the
love
of
Cinna
,
they
are
all
attentive
to
what
they
say
,
every
Spectator
having
a
curiosity
to
know
how
they
will
come
off
,
so
that
all
that
they
say
is
hearkened
to
,
and
not
a
word
of
it
lost
;
and
when
after
all
the
Emperour
is
yet
kind
to
both
these
Traitors
,
the
Spectators
begin
to
think
they
will
relent
of
their
Treason
,
and
particularly
when
they
see
Maximus
and
Cinna
afterwards
a
little
in
suspense
,
and
then
when
at
last
they
see
them
persevere
in
their
design
,
they
cannot
imagine
how
the
thing
will
turn
,
nor
what
will
be
the
Event
;
so
that
this
Deliberation
is
upheld
by
the
Interest
of
those
who
advise
,
and
does
it self
influence
all
the
other
Affairs
of
the
Stage
.
I
have
nothing
more
upon
this
Subject
,
but
one
general
Observation
,
which
is
,
That
few
People
that
go
to
Plays
do
approve
of
the
Examining
and
Condemning
of
Criminals
upon
the
Stage
,
which
nevertheless
we
see
frequently
represented
there
,
and
the
reason
is
,
because
that
when
it
comes
to
that
formality
,
't
is
generally
perform'd
by
the
worst
Actors
,
who
being
seated
and
out
of
action
,
and
having
a
few
scurvy
Verses
(
which
in
such
an
occasion
can
hardly
be
made
better
)
to
recite
.
The
Audience
can
hardly
forbear
laughing
,
so
far
are
they
from
being
concern'd
.
I
know
no
remedy
for
this
but
to
endeavour
to
order
the
Story
so
,
as
it
shall
not
require
such
a
dull
piece
of
Pageantry
,
so
little
capable
of
deserving
any
applause
from
the
Audience
.
Chapter
the
Fifth
.
Of
Didactick
Discourses
or
Instructions
.
THis
is
a
new
Subject
in
our
Drammatick
Art
,
I
not
having
found
any
thing
in
those
Authors
who
have
compos'd
great
Volumes
about
it
;
and
I
am
the
first
that
have
made
observations
upon
it
,
such
as
I
may
boldly
say
ought
not
to
be
despised
by
our
Poets
.
I
understand
then
by
Didactick
Discourses
those
Maxims
and
general
Propositions
which
contain
known
Truths
,
and
are
only
apply'd
in
the
Play
,
according
as
the
Subject
will
allow
,
tending
more
to
instruct
the
Audience
in
the
Rules
of
Morality
,
than
to
explain
any
part
of
the
Intrigue
a
foot
.
An
Example
may
illustrate
the
thing
better
.
Suppose
then
the
Poet
had
a
mind
to
treat
this
Proposition
.
The
Gods
are
just
,
and
were
they
not
so
,
they
would
cease
to
be
Gods
.
Or
this
;
A
general
Instinct
cannot
be
suspected
of
Errour
.
Or
this
;
A
Subject
that
Rebels
against
his
Prince
is
Criminal
.
I
say
,
That
a
Poet
often
endeavours
to
set
out
some
of
these
Maxims
by
a
great
number
of
Verses
,
upon
which
he
demurs
a
great
while
,
leaving
all
that
time
his
Subject
,
and
the
Intrigue
of
the
Stage
,
and
keeping
himself
still
upon
general
Notions
.
Now
as
to
these
Didactick
Discourses
,
I
distinguish
them
into
two
sorts
,
some
I
call
Physical
,
and
the
others
Moral
ones
.
I
call
those
Physical
or
Natural
,
which
make
a
deduction
or
description
of
the
Nature
,
Qualities
,
or
Effects
of
any
thing
without
distinction
,
whether
it
be
in
the
rank
of
natural
or
supernatural
things
;
or
of
the
number
of
Artificial
Compounds
.
Under
the
notion
of
Moral
Discourses
,
I
comprehend
all
those
Instructions
which
contain
any
Maxim
of
Religion
,
or
Politicks
,
or
Oeconomicks
,
or
that
any
ways
regard
humane
Life
To
come
after
this
to
my
Observations
,
we
must
lay
it
down
as
a
Maxim
,
That
all
these
Didactick
Discourses
are
of
their
own
nature
unfit
for
the
Stage
,
because
they
are
cold
,
and
without
motion
,
being
general
things
which
only
tend
to
Instruct
the
mind
,
but
not
to
move
the
heart
,
so
that
the
action
of
the
Stage
,
which
ought
to
warm
our
affections
,
becomes
by
them
dull
and
indifferent
.
Young
People
who
come
to
read
Euripides
and
Sophocles
,
admire
the
first
much
more
than
the
latter
,
and
yet
Sophocles
almost
always
carry'd
the
prize
from
Euripides
upon
the
Stage
,
and
that
by
the
Judgment
of
all
the
Athenians
.
This
mistake
of
the
young
Reader
proceeds
from
this
,
that
they
being
themselves
not
throughly
instructed
in
those
Maxims
,
and
finding
a
great
many
of
them
in
Euripides
,
as
well
about
Religion
,
as
Politicks
and
Moral
ones
,
they
are
charm'd
to
see
such
Truths
so
nobly
expressed
,
and
the
things
themselves
being
new
to
them
,
please
them
beyond
measure
.
'T
is
for
this
that
Quintilian
in
his
Precepts
of
Rhetorick
advises
young
People
to
the
Lecture
of
Euripides
before
Sophocles
.
In
all
which
they
do
not
observe
that
Sophocles
makes
the
groundwork
of
his
Plays
,
of
those
very
Truths
,
as
well
as
Euripides
;
but
he
does
it
with
so
much
Art
,
that
he
utters
them
in
a
Pathetick
manner
,
as
well
as
in
a
Didactick
one
,
whereby
the
People
of
Athens
departed
almost
always
pleased
and
charm'd
by
the
high
passions
which
Sophocles
fills
his
Stage
with
,
but
were
more
us'd
to
Euripides's
Maxims
,
which
he
so
often
beats
over
to
them
,
and
by
that
means
did
not
consider
them
as
any
thing
rare
and
extraordinary
:
And
from
thence
it
proceeds
,
that
in
our
Modern
Plays
,
those
very
places
in
which
the
Poets
have
labour'd
by
noble
Verses
,
and
high
words
to
express
,
some
great
Maxim
,
have
least
succeeded
,
because
that
falling
into
the
Didactick
way
,
they
forsake
the
business
of
the
Stage
,
and
let
the
action
cool
.
From
thence
it
comes
likewise
that
all
Actors
that
appear
with
the
Pedantick
Character
of
teaching
,
such
as
are
the
Governour
of
a
young
Prince
,
a
Doctor
,
a
Governess
,
or
the
like
,
are
still
ill
receiv'd
by
the
Audience
;
the
very
presence
of
them
displeases
and
imprints
the
Character
of
Ridicule
upon
the
most
serious
Piece
.
I
am
confident
that
if
the
Linco
in
Pastor
sido
appear'd
upon
our
Stage
,
he
would
be
hiss'd
off
of
it
,
notwithstanding
all
the
good
counsel
he
gives
Sylvio
;
and
that
which
makes
me
believe
it
the
sooner
,
is
that
one
of
our
best
Modern
Plays
lost
half
its
due
applause
,
by
there
being
a
Governour
to
a
young
Prince
,
who
was
giving
him
Advice
in
the
midst
of
most
violent
passions
,
with
which
he
was
tormented
,
that
being
neither
the
Time
,
nor
the
Stage
the
Place
for
such
Instructions
.
We
do
not
see
neither
that
either
Astrologers
,
Conjurers
,
High
Priests
,
or
any
of
that
Character
,
do
much
take
,
for
the
very
reason
that
they
can
hardly
speak
without
pretending
to
teach
,
or
else
talk
in
generals
of
the
power
of
the
Gods
,
the
wonderful
Effects
of
Nature
,
and
such
things
which
cannot
fail
of
being
tedious
,
when
they
are
prolixely
expressed
.
Scaliger
will
not
allow
them
in
the
very
Epick
Poems
,
much
less
can
they
be
receiv'd
in
the
Drammatick
,
but
ought
to
be
quite
banish'd
the
Stage
.
We
must
observe
besides
,
that
Physical
Instructions
about
Nature
,
and
its
Effects
,
are
yet
less
welcom
than
Moral
ones
,
because
that
't
is
hard
an
Actor
should
speak
so
long
as
to
explain
the
nature
of
a
thing
,
without
disgusting
the
Audience
,
which
soon
grows
weary
of
being
ill
taught
the
thing
the
Poet
would
have
him
learn
;
which
,
together
with
the
little
concern
the
no
passion
of
the
Stage
raises
in
him
,
makes
the
whole
very
disagreeable
.
We
have
a
notable
Example
of
this
in
Mariamne
,
where
a
long
Discourse
is
made
of
the
Nature
of
Dreams
,
the
thing
is
very
fine
,
and
the
nature
of
them
well
explain'd
;
but
it
interrupts
an
agitation
of
the
Stage
,
begun
by
Herode's
trouble
at
his
waking
;
the
Audience
would
fain
know
the
cause
of
his
disturbance
,
and
the
particulars
of
his
Dream
:
But
instead
of
that
,
there
is
a
long
Discourse
of
the
Nature
of
Dreams
in
general
,
to
which
the
Spectator
gives
but
little
attention
,
as
being
thereby
disappointed
of
his
chief
expectation
.
To
all
this
it
may
be
objected
,
That
the
Stage
is
a
place
of
publick
Instruction
,
and
that
the
Drammatick
Poet
is
to
instruct
,
as
well
as
please
;
and
therefore
that
Didactick
Discourses
may
be
proper
enough
,
or
at
least
ought
not
to
be
condemned
.
I
confess
that
the
Stage
is
a
place
of
Instruction
▪
but
we
must
well
understand
how
that
is
meant
.
The
Poet
ought
to
bring
his
whole
Action
before
the
Spectator
,
which
ought
to
be
so
represented
with
all
its
circumstances
,
that
the
Audience
be
fully
Instructed
;
for
as
Drammatick
Poetry
does
but
imitate
humane
actions
,
it
does
it
only
to
instruct
us
by
them
,
and
that
it
does
directly
,
and
properly
:
But
for
Moral
Maxims
,
which
may
incite
us
either
to
the
love
of
Virtue
,
or
stir
us
up
to
hate
Vice
;
it
does
it
indirectly
,
and
by
the
Entermise
of
the
Actions
themselves
;
That
't
is
better
to
embrace
Vertue
through
the
hazard
of
Persecution
,
than
to
follow
Vice
even
with
hopes
of
Impunity
▪
'T
is
thus
principally
that
the
Stage
ought
to
be
Instructive
to
the
Publick
by
the
knowledg
of
things
represented
;
and
I
have
always
observ'd
,
that
it
is
not
agreeable
to
the
Audience
,
that
a
Man
who
swerves
from
the
way
of
Vertue
,
should
be
set
right
,
and
repent
,
by
the
strength
of
Precepts
and
Sentences
:
We
rather
desire
it
should
be
by
some
Adventure
that
presses
him
,
and
forces
him
to
take
up
reasonable
and
vertuous
Sentiments
.
We
should
hardly
endure
that
Herode
should
recal
his
Sentence
against
Mariamne
,
upon
a
Remonstrance
of
one
of
the
seven
Wise
Men
of
Greece
;
but
we
are
pleas'd
to
see
,
that
after
the
Death
of
the
Queen
,
his
Love
becomes
his
Tormentor
;
and
having
opened
his
Eyes
,
drives
him
into
so
sincere
a
Repentance
,
that
he
is
ready
to
sacrifice
his
Life
to
the
regret
he
has
for
his
Crime
.
As
for
the
other
way
of
Teaching
Morality
,
it
depends
much
on
the
ingeniousness
of
the
Poet
,
when
he
strengthens
his
Theatral
Action
with
divers
pithy
and
bold
Truths
,
which
being
imperceptibly
work'd
into
his
Play
,
are
as
it
were
the
nerves
and
strength
of
it
.
For
,
in
a
word
,
that
which
I
condemn
in
common
Didacticks
,
is
their
stile
and
manner
of
expression
,
not
the
things
themselves
,
since
those
great
Truths
which
are
as
it
were
the
foundation
of
the
conduct
of
humane
actions
,
I
am
so
far
from
banishing
them
off
the
Stage
,
that
quite
contrary
,
I
think
them
very
necessary
and
ornamental
,
which
to
attain
,
I
give
these
following
Observations
.
First
,
These
general
Maxims
must
be
so
fastened
to
the
Subject
,
and
link'd
by
many
circumstances
with
the
Persons
acting
,
that
the
Actor
may
seem
to
think
more
of
that
concern
of
his
,
he
is
about
,
than
of
saying
fine
things
,
that
is
,
to
speak
in
terms
of
Rhetorick
,
he
must
reduce
the
Thesis
to
the
Hypothesis
,
and
of
universal
Propositions
,
make
particular
Applications
;
for
by
this
means
the
Poet
avoids
the
suspicion
of
aiming
to
Instruct
pedantickly
,
since
his
Actors
do
not
leave
their
business
which
they
are
about
.
For
Example
,
I
would
not
have
an
Actor
spend
many
words
to
prove
that
,
Vertue
is
always
persecuted
;
but
he
may
say
to
the
Party
concern'd
,
Do
you
think
to
have
better
measure
than
Vertue
has
always
had
?
and
can
you
expect
to
be
priviledg'd
from
Persecution
more
than
Socrates
or
Cato
?
And
so
continue
a
little
speaking
still
to
the
Party
present
,
and
upon
the
Subject
in
hand
,
by
which
means
these
Discourses
seem
a
little
to
keep
off
from
being
too
general
Precepts
,
and
so
disgust
the
less
.
Secondly
,
In
all
these
occasions
the
Poet
must
use
figurative
Speech
,
either
by
Interrogation
,
Irony
,
or
others
that
his
fancy
shall
suggest
;
for
these
Figures
,
by
not
circumstancing
minutely
the
general
Propositions
,
make
them
more
florid
,
and
so
by
ornaments
free
them
from
the
Didactick
Character
.
As
for
Example
,
if
there
be
a
design
of
advising
a
young
Woman
to
obey
her
Parents
;
instead
of
Preaching
downright
obedience
to
her
,
I
think
an
Irony
would
do
better
▪
As
thus
;
That
's
a
fine
way
indeed
,
for
a
vertuous
young
Lady
to
attain
the
reputation
of
a
good
Daughter
,
to
be
carryed
away
by
her
own
passions
,
and
neglect
not
only
the
censure
of
the
best
sort
of
People
,
but
break
through
all
the
fences
of
duty
and
honour
.
My
third
Observation
is
,
That
when
any
of
these
great
Maxims
are
to
be
propos'd
bluntly
and
in
plain
words
,
it
be
done
in
as
few
as
may
be
;
by
that
means
they
do
not
cool
the
Stage
,
but
add
something
to
the
variety
of
it
;
but
there
must
be
care
taken
that
this
do
not
happen
in
the
midst
of
a
violent
passion
;
for
besides
that
in
those
cases
men
do
not
naturally
speak
sentences
,
the
Actour
cannot
then
appear
with
that
moderation
which
those
reflections
require
.
Seneca
is
very
guilty
of
this
fault
in
all
his
tragedies
where
most
commonly
in
the
heat
of
passion
all
his
fine
Common
places
are
bestowed
upon
the
Audience
.
We
have
nevertheless
some
Examples
of
Didactick
,
Propositions
made
in
direct
terms
,
and
at
length
not
without
some
success
in
Corneille
,
which
to
attain
as
well
as
he
,
requires
the
same
Ingenuity
and
Art
▪
The
Expressions
must
be
strong
,
and
seem
to
have
been
said
only
for
that
particular
Subject
to
which
they
are
applyed
,
and
that
requires
a
particular
genius
,
and
much
study
to
accomplish
.
I
have
observ'd
besides
,
that
common
Truths
,
though
in
a
Didactick
stile
,
yet
do
very
well
upon
the
Stage
in
the
mouth
of
a
Rogue
or
a
Cheat
▪
when
his
Character
is
known
;
for
the
Spectator
is
delighted
to
see
him
cunningly
use
all
the
Maxims
and
Discourses
of
a
good
man
to
intents
and
purposes
quite
contrary
,
so
that
by
that
means
't
is
all
figurative
,
and
moves
the
Attention
of
the
Audience
.
One
may
likewise
successfully
enough
burlesk
all
these
common
Truths
,
but
that
can
be
perform'd
no
where
but
in
Comedy
,
where
by
that
means
they
forsake
their
natural
state
,
and
are
disguiz'd
under
a
new
appearance
,
which
causes
both
variety
and
ornament
.
But
Tragedy
in
its
own
nature
is
too
grave
to
admit
of
any
thing
so
low
and
buffoon
as
this
would
be
;
neither
do
I
remember
to
have
met
with
any
thing
of
that
kind
in
any
serious
Tragedy
;
I
say
serious
Tragedy
,
because
that
in
Satyrical
Tragedy
there
was
admitted
a
mixture
of
Heroick
Actions
,
and
low
Buffooneries
;
and
therefore
this
disguizing
of
serious
Precepts
might
have
room
among
the
rest
in
them
.
Chapter
the
Sixth
.
Of
Pathetick
Discourses
;
or
of
the
Passions
and
Motions
of
the
Mind
.
I
Do
not
undertake
in
this
Chapter
to
teach
the
Nature
of
Passions
,
nor
their
different
Species
,
nor
their
extraordinary
Effects
;
all
Moral
Authors
do
that
sufficiently
.
I
do
not
think
neither
that
it
is
necessary
to
shew
here
the
Art
of
using
them
in
order
to
persuade
,
after
all
that
Aristotle
has
said
upon
that
Subject
in
his
second
Book
of
Rhetorick
;
so
that
I
will
avoid
all
Repetitions
of
that
nature
,
and
not
so
much
as
touch
upon
any
thing
that
is
contain'd
in
his
Poeticks
,
or
his
Interpreters
Commentaries
,
where
may
be
seen
which
are
the
Passions
fittest
for
the
Stage
,
and
how
they
are
to
be
manag'd
.
Monsieur
de
la
Menardiere
had
made
two
Chapters
in
his
Poeticks
on
this
Subject
,
so
learned
and
so
proper
,
that
they
alone
would
silence
me
,
if
I
offer'd
at
this
matter
,
they
being
able
to
satisfie
the
most
curious
in
that
Subject
.
I
consider
therefore
here
the
Passions
,
as
they
are
plac'd
in
Discourse
,
and
thereupon
I
bring
my
Observations
towards
employing
of
them
with
conduct
upon
the
Stage
.
In
a
word
,
I
only
intend
to
shew
with
what
Art
a
Pathetick
or
Moving
Discourse
ought
to
be
regulated
so
as
to
make
it
agreeable
to
the
Spectators
,
by
the
impression
it
is
to
make
on
them
.
First
then
,
The
Cause
which
is
to
produce
a
Motion
in
the
Actors
themselves
,
and
then
in
the
Audience
,
ought
to
be
something
true
,
or
believ'd
to
be
so
,
not
only
by
the
Actor
who
speaks
(
who
would
be
ridiculous
to
make
a
great
Discourse
of
Grief
or
Joy
for
a
thing
he
should
know
to
be
false
)
but
also
by
the
Spectators
,
who
probably
would
not
be
concern'd
if
they
knew
that
the
Subject
he
had
to
complain
or
rejoyce
were
fictitious
;
and
if
it
so
fall
out
,
that
by
the
rest
of
the
Story
,
the
Spectator
must
know
a
thing
contrary
to
the
belief
of
the
Actor
:
As
for
Example
,
that
a
Princess
is
alive
,
though
a
Lover
believe
her
dead
:
I
say
,
if
in
that
case
one
would
have
the
Passion
take
with
the
Audience
,
there
must
not
be
a
long
Complaint
mingled
with
Sentiments
of
kindness
and
grief
;
but
the
Actor
must
be
presently
transported
into
Rage
,
that
the
Spectators
may
be
touched
by
his
violent
despair
,
and
feel
a
great
deal
of
compassion
,
if
in
that
Errour
he
happens
to
kill
himself
,
as
we
see
it
falls
out
in
Pyramus
and
Thisbe
in
both
kinds
;
for
the
long
Discourse
he
makes
upon
the
suspicion
he
is
in
,
that
a
Lion
has
kill'd
his
Mistress
,
does
not
much
affect
the
Audience
;
but
when
he
draws
his
Sword
to
sacrifice
his
Life
to
the
Manes
of
his
dead
Mistress
,
and
so
expiate
his
negligence
in
his
own
blood
,
there
is
hardly
one
of
the
Audience
that
does
not
shake
with
horrour
;
and
upon
this
occasion
I
remember
I
saw
a
young
Lady
,
who
had
never
been
at
a
Play
before
,
cry
out
to
her
Mother
,
that
Pyramus
ought
to
be
told
that
his
Mistress
was
not
dead
,
which
made
me
make
this
Judgment
,
that
the
Poet
ought
not
to
have
deferr'd
so
long
bringing
his
Actor
to
the
moving
part
;
three
or
four
Lines
had
been
enough
to
have
explain'd
his
belief
of
her
death
,
and
then
all
the
rest
ought
to
have
been
pronounc'd
,
his
Sword
drawn
,
and
in
the
nearest
disposition
to
death
,
which
would
certainly
have
produc'd
immediate
horrour
and
compassion
in
the
Audience
.
Not
but
that
it
happens
often
that
the
Actor
may
lament
or
rejoyce
at
something
he
thinks
true
,
while
the
Audience
nevertheless
must
know
that
it
is
false
.
As
for
Example
,
if
the
Story
requires
that
in
the
Person
of
that
Actor
there
be
feigned
a
Passion
,
of
which
the
Cause
is
false
,
with
a
design
to
have
it
believ'd
true
by
another
,
and
by
that
means
discover
some
secret
;
't
is
good
that
the
Spectators
should
be
inform'd
that
he
who
feigns
the
Passion
has
no
true
Subject
for
it
,
because
then
they
have
the
pleasure
of
the
Contrivance
,
to
see
the
Disguise
well
acted
;
but
he
that
is
deceiv'd
,
ought
not
to
make
any
long
Pathetick
Discourses
,
because
that
would
not
move
the
Spectators
.
It
will
suffice
that
in
few
words
he
shew
the
impression
the
fiction
has
made
upon
him
,
and
what
Event
may
be
from
thence
expected
.
In
a
word
,
in
all
such
cases
the
Poet
is
to
examine
which
of
the
two
will
best
please
the
Audience
to
see
a
circumventing
design
well
Executed
,
or
to
be
concern'd
for
the
Complaint
made
by
an
innocent
,
unwary
person
;
for
if
they
are
pleas'd
in
the
Cheat
,
they
must
be
inform'd
of
it
,
if
in
the
Complaint
,
the
falseness
of
the
Grief
must
be
conceal'd
from
him
,
that
they
may
believe
as
well
as
the
Party
grieved
,
that
he
has
reason
to
be
afflicted
.
Secondly
,
'T
is
not
enough
that
the
Cause
of
some
extraordinary
Motion
of
the
Mind
be
true
,
but
it
must
also
(
to
be
agreeably
represented
upon
the
Stage
)
be
reasonable
and
probable
,
according
to
the
receiv'd
Opinions
of
Mankind
;
for
if
any
Actor
should
fly
into
a
passion
of
Anger
,
without
reason
,
he
would
be
look'd
upon
as
a
Mad-man
,
instead
of
being
pitied
;
not
but
that
there
are
some
passions
whose
Subject
is
false
,
which
nevertheless
are
very
agreeable
,
though
they
are
not
reasonable
in
their
grounds
,
for
Example
Jealousie
;
but
the
nature
of
this
passion
is
to
be
without
any
foundation
in
truth
or
reason
,
for
else
it
would
not
be
Jealousie
,
but
a
just
Indignation
which
would
inspire
the
Spectators
with
hatred
against
the
Woman
,
and
compassion
for
the
Husband
;
whereas
quite
contrary
,
we
have
naturally
aversion
for
a
jealous
Man
,
and
compassion
for
a
poor
Woman
innocently
persecuted
by
him
.
The
same
may
be
said
of
Covetousness
,
which
will
still
be
so
much
the
more
diverting
,
if
the
cares
and
fears
in
keeping
of
a
Treasure
,
with
distrust
of
all
sorts
of
People
,
be
without
grounds
;
or
rather
,
we
may
say
that
the
Discourses
which
are
made
to
express
these
passions
,
do
not
so
much
please
the
Spectator
,
by
making
him
concern'd
for
those
that
speak
,
as
they
do
it
by
giving
him
a
sort
of
compassion
mingled
with
Sentiments
of
scorn
and
derision
for
the
misery
and
folly
of
those
that
are
tyranniz'd
over
by
them
;
at
least
those
are
the
thoughts
which
I
had
in
reading
the
second
Comedy
of
Plautus
,
called
Aulularia
.
Thirdly
,
To
make
a
Complaint
that
shall
touch
and
concern
the
Audience
,
the
cause
of
it
must
be
just
,
for
else
no
body
will
enter
into
the
Sentiments
of
the
grieved
Person
.
For
Example
,
if
an
Actor
should
express
great
affliction
for
not
having
been
able
to
Execute
a
Conspiracy
against
a
good
Prince
,
or
some
great
piece
of
Treachery
against
his
Country
,
he
would
be
look'd
upon
as
a
wicked
,
and
not
an
unhappy
Person
,
and
all
that
he
could
say
would
but
encrease
the
Peoples
aversion
to
him
.
Besides
all
these
Considerations
,
if
the
Pathetick
Discourse
be
not
necessary
,
that
is
to
say
,
expected
and
desired
by
the
Spectators
,
it
will
be
very
nauseous
to
them
,
let
the
Poets
Art
be
what
it
will
.
That
a
Husband
should
be
griev'd
for
the
loss
of
his
Wife
,
is
so
natural
,
that
we
need
not
be
brought
to
the
Stage
to
see
Examples
of
it
;
but
that
Herode
should
first
condemn
his
Wife
in
a
transport
of
Rage
,
in
spight
of
all
the
tender
thoughts
inspir'd
by
his
love
;
it
excites
our
curiosity
to
know
what
his
thoughts
are
after
such
an
Action
.
That
Masinissa
,
forced
by
the
Romans
,
should
send
his
Wife
Poison
,
though
passionately
in
love
with
her
,
and
she
die
of
it
,
one
cannot
but
desire
to
know
what
that
unfortunate
Prince
can
say
or
do
after
so
desperate
an
Adventure
.
But
that
for
Example
.
The
Wife
of
Alexander
,
Son
to
Mariamne
,
should
come
and
make
great
lamentations
upon
the
Body
of
her
Husband
,
whom
Herode
had
put
to
death
without
any
other
motive
,
that
because
she
was
his
Wife
,
that
was
very
superfluous
,
and
did
not
prove
very
agreeable
to
the
Audience
,
who
knew
well
enough
that
she
had
reason
to
grieve
,
but
not
upon
the
Stage
,
the
Spectators
knowing
already
all
that
she
could
say
upon
that
Subject
;
and
from
thence
we
must
likewise
infer
,
that
all
Confidents
and
Attendants
of
Princes
,
though
they
are
very
necessary
Persons
upon
the
Stage
,
for
the
union
of
all
the
Intrigues
,
yet
they
cannot
be
suppos'd
to
carry
their
lamentations
and
reflections
on
their
Masters
misfortunes
very
far
,
because
every
body
knows
that
they
are
things
of
course
in
true
Friends
,
and
faithful
Servants
,
and
so
not
extraordinary
enough
for
the
Stage
.
The
same
thing
may
be
said
of
the
chief
Actors
,
when
their
Interests
are
not
grounded
upon
sensible
Motives
.
For
Example
;
If
a
Rival
having
sought
his
Mistress
only
for
her
Fortune
,
and
not
out
of
any
Inclination
from
his
heart
,
should
complain
of
having
lost
her
,
it
would
produce
no
Effect
in
the
Minds
of
the
Audience
,
his
lamentations
having
no
ground
in
nature
or
reason
.
But
one
of
the
chiefest
Observations
of
all
is
this
,
That
all
passions
that
are
not
founded
upon
Opinions
and
Customs
conformable
to
those
of
the
Spectators
,
are
sure
to
be
cold
,
and
of
no
effect
,
because
they
being
already
possessed
with
an
Opinion
contrary
to
the
Action
of
the
Player
,
cannot
approve
of
any
thing
he
says
or
does
in
another
sense
.
For
Example
;
The
grief
of
one
who
had
undertaken
to
kill
a
Tyrant
,
and
fail'd
in
his
design
,
would
not
move
us
in
France
,
so
much
as
it
would
have
done
the
People
at
Athens
,
because
we
living
in
a
Monarchy
,
look
upon
the
Persons
of
Kings
as
Sacred
,
be
they
never
so
unjust
;
whereas
the
Athenians
,
bred
up
in
a
popular
State
,
hated
all
Monarchs
,
and
could
not
endure
the
name
of
them
.
Thus
,
for
the
same
reason
,
those
Pathetick
Discourses
,
which
we
read
in
the
Greek
and
Latine
Comedys
,
will
never
take
with
us
,
as
they
did
upon
the
Stages
of
the
Antients
,
because
we
have
but
little
Conformity
to
the
Rules
of
their
Lives
,
in
many
things
more
abominably
licentious
than
ours
;
and
in
others
,
their
Customs
were
so
various
;
as
that
which
was
a
Jest
and
a
Concern
to
them
,
can
be
none
to
us
,
who
have
not
so
much
as
the
same
things
,
to
wit
,
the
Cheats
of
their
Slaves
,
nor
the
Hunger
of
their
Parasites
;
which
made
Rotron
,
one
of
our
Poets
,
miscarry
in
a
Play
of
Plautus's
,
where
his
Parasite
talks
of
nothing
but
eating
,
and
is
so
horrible
a
Glutton
,
that
we
could
not
bear
him
,
having
no
such
People
amongst
us
;
all
our
Debauche
lying
rather
in
drinking
than
eating
;
and
in
that
too
we
mingle
Songs
and
Catches
.
'T
is
for
this
reason
too
I
imagine
that
Tragedys
taken
out
of
the
Stories
of
Scripture
,
are
not
so
agreeable
,
for
all
the
Pathetick
Motions
are
founded
upon
Vertues
that
have
not
much
Conformity
with
the
Rules
of
our
Life
,
to
which
may
be
added
,
that
being
scarce
pious
enough
to
suffer
Devotion
in
the
Churches
themselves
,
it
cannot
be
expected
we
should
love
it
upon
the
Stage
;
and
none
do
but
those
who
are
touch'd
with
a
true
Christian
Piety
,
and
they
are
infinitely
pleas'd
at
such
Representations
.
Having
thus
observ'd
what
concerns
the
Cause
and
Motive
of
Theatral
Passions
,
I
have
likewise
made
some
Reflections
upon
the
manner
of
managing
of
them
in
a
Pathetick
Discourse
.
The
first
Observation
is
,
That
it
is
not
enough
to
raise
a
passion
upon
a
good
Incident
,
and
to
begin
with
strong
Lines
,
but
it
must
be
carry'd
to
the
point
of
its
fulness
.
'T
is
not
enough
to
have
shaken
the
Minds
of
the
Audience
,
you
must
ravish
them
;
and
to
do
it
,
you
must
seek
matter
,
either
in
the
greatness
of
your
Subject
,
or
in
the
different
Motives
and
Colours
which
environ
it
;
but
particularly
in
the
strength
and
richness
of
your
own
Imagination
,
which
ought
to
be
warm'd
,
and
elevated
,
and
as
it
were
,
be
in
labour
to
bring
forth
something
worthy
of
admiration
.
In
this
particularly
Monsieur
Corneille
does
excel
,
for
he
has
a
most
discerning
Judgment
to
distinguish
between
rich
passions
,
and
the
common
ones
,
and
then
he
drives
them
to
their
just
period
,
with
the
greatest
felicity
imaginable
,
but
which
cannot
be
but
the
Effect
of
strong
and
lasting
Meditations
.
The
difficulty
here
lies
in
the
exactness
of
measure
;
for
as
you
are
not
to
starve
your
Hearers
appetite
,
so
you
must
have
as
great
a
care
not
to
cloy
him
;
you
must
give
him
the
height
of
satisfaction
,
without
over-powering
him
with
satiety
.
He
that
in
this
case
will
do
more
than
he
can
,
does
often
less
than
he
should
.
This
is
a
fault
observ'd
not
only
in
Lucan's
Pharsalia
,
but
in
most
of
Seneca's
Tragedys
,
and
particularly
in
his
Hercules
Oeteus
,
where
the
Author
has
given
up
himself
to
the
fecundity
of
his
own
wit
,
not
considering
that
the
excess
of
it
might
sometimes
be
insupportable
;
and
yet
I
could
wish
our
Poets
rather
guilty
of
this
noble
fault
,
than
of
that
mean
one
of
sterility
:
For
we
have
seen
often
upon
our
Stages
,
passions
begun
and
forsaken
half
way
,
or
at
least
pursued
with
so
little
Art
and
warmth
,
that
they
had
been
less
defectuous
if
they
had
stop'd
in
the
beginning
of
their
career
.
To
give
this
measure
exactly
,
is
impossible
;
the
Poet
must
examine
what
his
Subject
,
the
force
of
his
Discourse
,
and
the
beauty
of
the
Passion
will
afford
;
let
him
consult
his
Friends
,
and
use
all
his
Judgment
in
so
nice
a
point
.
But
he
must
be
very
careful
not
to
spend
all
the
strength
of
a
passion
at
first
;
he
must
reserve
some
thoughts
for
the
continuation
of
it
;
for
the
same
passion
continued
and
held
up
by
divers
Incidents
,
with
a
change
of
appearances
,
must
certainly
be
much
more
agreeable
than
a
new
passion
in
every
Scene
;
and
't
is
in
that
Monsieur
Corneille
is
admirable
in
the
Cid
,
for
being
to
shew
the
state
of
a
generous
Mind
distracted
by
the
Sentiments
of
Honour
,
and
the
tendernesses
of
a
violent
Love
,
he
produces
the
Monuments
of
these
passions
by
degrees
,
keeping
still
,
till
the
end
many
of
his
noblest
Thoughts
and
Expressions
,
which
if
he
had
not
been
very
judicious
,
he
might
have
us'd
at
first
;
he
has
done
the
same
thing
in
Horatius
,
and
most
of
his
Plays
.
'T
is
true
,
that
to
imitate
him
requires
a
great
deal
of
felicity
and
conduct
;
but
whosoever
shall
carefully
study
the
Antient
Drammaticks
,
and
apply
himself
to
a
diligent
understanding
of
the
Morals
of
Life
,
will
always
be
rich
enough
to
answer
these
Intellectual
Expences
.
Secondly
,
To
guide
these
Pathetick
Motions
to
the
point
of
their
true
Extent
,
it
must
be
done
with
order
,
and
by
following
the
Motions
of
Nature
,
with
a
regard
to
the
quality
of
the
things
that
are
said
.
The
order
of
Nature
is
very
different
,
for
sometimes
the
Mind
breaks
out
into
violent
Transports
,
which
not
being
able
to
hold
,
it
returns
to
some
Moderation
,
or
rather
some
Relaxation
of
its
own
Excess
,
the
passion
remaining
still
very
sensible
at
other
times
,
the
Soul
moves
slowly
,
and
agitating
it self
by
degrees
,
arrives
to
the
highest
Transport
,
even
to
sounding
away
.
Now
to
regulate
a
Pathetick
Discourse
upon
these
different
orders
,
there
is
no
Advice
can
be
given
,
the
Poets
prudence
must
guide
him
according
to
the
Characters
of
the
persons
,
and
the
present
state
of
the
Stage
.
Yet
he
must
always
remember
that
Pathetick
Discourses
are
not
to
end
just
as
they
begin
;
but
after
the
greatest
violence
he
may
bring
the
passion
to
some
moderation
,
so
far
as
to
doubt
and
debate
;
and
as
those
who
understand
suiting
of
Colours
,
never
place
two
Extremes
together
,
because
that
would
be
too
harsh
.
One
must
not
likewise
in
the
passions
of
the
Stage
fall
from
one
extremity
to
another
;
nor
of
a
sudden
calm
into
some
great
agitation
,
without
some
precedent
reason
to
arrive
at
that
Tranquillity
.
Yet
it
may
happen
that
even
in
those
Extremes
some
very
ornamental
passage
may
be
plac'd
,
but
great
circumspection
is
requisite
.
As
to
the
order
of
the
nature
of
the
things
that
are
to
be
said
,
the
Mind
is
not
to
be
hurried
from
one
Motion
to
another
,
without
connexion
or
dependance
upon
what
has
been
said
;
nor
is
it
to
leap
from
one
consideration
to
another
,
and
then
back
again
to
the
first
;
the
Subject
of
which
the
Actor
is
to
speak
,
ought
to
be
carefully
considered
;
the
place
,
time
,
and
other
particulars
,
which
may
contribute
to
the
passion
,
and
then
of
all
that
make
up
the
most
judicious
and
moving
discourse
that
may
be
:
For
Example
,
if
an
Actour
is
to
make
imprecations
against
any
one
,
he
ought
to
observe
the
order
in
which
they
naturally
may
happen
,
for
it
would
be
absurd
to
see
him
wish
to
his
Enemy
at
last
a
curse
which
would
be
but
the
consequent
of
his
first
imprecation
.
To
order
must
be
added
Figures
,
I
mean
those
great
Figures
which
express
the
things
themselves
,
not
those
little
boyish
ones
which
play
in
words
,
such
as
Antitheses
,
which
always
spoil
a
pathetick
discourse
because
they
seem
affected
and
Scholar
like
,
shewing
rather
a
quiet
then
a
troubled
mind
.
The
Figures
too
ought
to
be
very
various
,
and
not
staid
too
long
upon
,
because
a
mind
that
is
in
agitation
cannot
talk
long
the
same
way
;
the
Figures
of
tenderness
and
grief
ought
to
be
mingled
with
those
of
fury
and
rage
:
a
man
is
to
complain
and
sigh
,
and
not
to
roar
or
scold
,
and
he
is
seldom
to
break
out
into
the
highest
violence
,
but
when
there
is
enough
to
make
him
rave
,
for
that
agitation
of
the
mind
has
no
limits
and
goes
much
further
,
then
the
motions
of
grief
,
anger
or
despair
.
To
all
this
may
be
objected
,
that
a
pathetick
discourse
thus
managed
and
governed
by
rules
cannot
fail
of
appearing
affected
,
and
shew
the
very
art
it
is
made
by
not
representing
naturally
by
consequent
the
state
of
the
humane
mind
,
which
acts
according
to
its
Idea's
and
motives
without
any
rule
but
confusion
and
disorder
.
To
Answer
this
we
must
say
,
that
this
disorder
in
the
words
of
a
man
is
a
fault
which
weakens
even
the
impression
which
else
his
passion
would
make
,
and
therefore
ought
to
be
reform'd
upon
the
Stage
,
which
suffers
nothing
imperfect
;
but
in
doing
of
it
there
ought
to
be
a
mixture
of
the
greatest
figures
,
that
still
the
Image
of
the
Motions
of
a
troubled
Mind
may
remain
.
Thus
by
an
orderly
Method
one
reforms
the
defect
of
Nature
in
her
Transports
,
and
by
a
sensible
variety
of
figures
,
one
keeps
some
resemblance
of
the
disorder
of
Nature
.
This
is
all
that
I
can
say
,
that
is
any
ways
singular
upon
so
common
a
Subject
.
Chapter
the
Seventh
.
Of
the
Figures
.
ALL
those
ingenious
Varieties
of
Speech
which
the
Learned
have
invented
,
whereby
to
express
their
thoughts
in
a
nobler
way
than
the
vulgar
,
and
which
are
call'd
Figures
of
Rhetorick
,
are
without
doubt
the
most
notable
ornaments
of
Discourse
;
for
by
them
every
thing
appears
to
a
greater
advantage
:
'T
is
they
that
give
the
grace
to
Narrations
,
probability
to
all
other
reasonings
,
and
strength
to
the
passions
,
and
without
them
all
our
Discourses
are
low
,
mean
,
and
popular
,
disagreeable
,
and
without
effect
.
Therefore
the
best
Advice
one
can
give
to
a
Poet
,
is
,
that
he
should
be
perfect
in
the
knowledg
of
the
Figures
,
by
studying
carefully
what
the
Professors
of
Rhetorick
have
writ
on
that
Subject
,
and
which
we
shall
not
here
repeat
:
Yet
let
him
remember
,
that
't
is
not
enough
to
read
and
know
their
names
and
distinctions
,
but
let
him
diligently
examine
their
Energy
,
and
what
Effect
they
are
like
to
produce
upon
the
Stage
:
Neither
ought
that
to
suffice
without
knowing
,
and
that
particularly
,
how
to
apply
them
,
and
vary
them
,
to
produce
the
Effect
we
have
observ'd
in
the
precedent
Chapter
;
he
must
know
when
to
use
the
impetuous
ones
,
and
when
to
employ
the
milder
,
such
as
Ironies
,
according
to
the
diversity
of
his
Subject
,
and
the
Effect
he
desires
they
should
produce
.
For
Example
;
If
it
be
necessary
that
an
Actor
should
leave
the
Stage
in
a
great
rage
,
then
he
must
be
mov'd
by
degrees
,
beginning
by
the
softer
Figures
,
and
at
last
be
raised
to
the
highest
Transports
a
Soul
is
capable
of
;
but
if
on
the
contrary
an
Actor
is
to
grow
calm
before
he
goes
off
,
then
't
is
best
beginning
with
violent
Figures
,
and
such
as
most
express
the
impetuosity
of
a
disturb'd
Mind
,
till
by
little
and
little
he
becomes
more
moderate
,
and
gives
room
to
use
gentler
Expressions
.
To
make
our
Poet
expert
in
this
,
he
ought
,
besides
reading
of
the
Antients
,
to
frequent
the
Stage
much
;
for
there
,
much
better
than
in
Books
,
he
may
observe
good
or
ill
Figures
,
and
when
they
are
well
or
ill
plac'd
,
and
to
help
him
a
little
,
I
will
communicate
those
Observations
I
my self
have
made
.
First
,
He
will
discover
that
which
I
have
said
elsewhere
,
which
is
,
that
nothing
is
to
be
expressed
without
Figures
upon
the
Stage
:
And
if
the
simplest
Shepherds
are
clothed
in
Silk
,
and
wear
Silver
Sheephooks
,
every
thing
they
say
ought
likewise
to
be
adorn'd
,
and
have
its
grace
,
even
so
much
,
that
those
very
things
which
seem
least
capable
of
that
Imbellishment
,
must
be
order'd
with
so
much
imperceptible
Art
,
that
no
Figures
appear
,
and
yet
be
there
secretly
and
nicely
applyed
;
for
if
Poetry
is
the
Kingdom
of
Figures
,
the
Stage
is
its
Throne
,
from
whence
it
conveys
by
appearances
well
managed
by
him
that
speaks
,
Sentiments
into
the
Soul
of
the
hearers
,
which
are
not
really
in
his
.
But
let
him
observe
likewise
,
that
as
there
is
great
difference
between
Tragedy
and
Comedy
,
they
have
also
their
different
Figures
.
Tragedy
,
as
it
is
always
serious
and
great
,
employs
none
but
noble
Figures
,
which
draw
their
force
from
the
Sentiments
of
the
Stage
,
and
when
we
mingle
Allusions
,
or
Antitheses
,
or
Equivocal
,
Proverbial
ways
of
speaking
,
it
degenerates
immediately
,
and
loses
all
its
Majesty
.
'T
is
quite
otherwise
with
Comedy
,
which
having
none
but
vulgar
Sentiments
,
it
rejects
not
Proverbs
,
nor
any
thing
that
may
contribute
to
make
a
Jest
,
that
being
its
Character
,
and
the
best
part
of
its
Ornaments
;
nay
,
't
is
hard
Comedy
should
rise
without
a
fall
,
for
no
sooner
does
it
aim
at
solid
Discourses
,
or
Figures
fit
for
Tragedy
,
but
we
laugh
it
out
of
doors
,
as
we
would
do
a
Chambermaid
that
should
talk
nothing
but
Romance
;
therefore
't
is
hard
that
the
Figures
for
one
of
these
Poems
should
be
aptly
used
in
the
other
without
great
wariness
,
and
that
Plautus
has
done
in
some
of
his
Plays
with
success
.
Besides
,
among
those
Figures
which
are
great
and
serious
,
the
Poet
may
observe
some
to
be
fitter
for
the
Stage
than
others
.
For
Example
,
Apostrophes
,
which
I
have
always
observ'd
to
do
very
well
;
for
they
suppose
either
a
true
person
who
is
absent
to
be
present
,
or
some
feigned
person
which
is
but
in
the
Idaea
of
Fiction
,
such
as
Vertue
,
ones
Country
;
and
thereupon
the
Actor
talks
to
them
as
present
,
which
is
extremely
Theatral
,
because
it
makes
two
persons
where
there
is
but
one
;
and
though
the
deceit
is
visible
enough
,
yet
being
an
effect
of
the
passion
of
the
Actor
,
it
carrys
along
with
it
the
Imagination
of
the
Audience
,
and
that
particularly
when
he
that
speaks
is
alone
;
for
then
there
can
be
no
mistake
in
the
Mind
of
the
Spectators
;
for
't
is
plain
,
that
the
person
to
whom
the
Actor
speaks
,
is
a
Fiction
of
his
own
brain
,
his
Discourse
not
being
applicable
to
any
other
.
Monsieur
Corneille
uses
this
Figure
frequently
,
and
Stiblinus
esteems
extremely
the
complaints
of
Hecuba
in
the
Troades
of
Euripides
,
by
reason
of
this
Figure
,
which
is
there
frequently
and
beautifully
made
use
of
.
But
in
the
practice
of
this
there
are
two
faults
to
be
avoided
;
the
first
is
not
to
have
it
too
often
,
for
then
,
besides
the
want
of
variety
,
which
argues
want
of
Invention
to
please
;
it
grows
likewise
troublesom
,
by
making
too
many
imaginary
persons
,
and
in
this
kind
one
of
our
Authors
was
faulty
,
who
in
the
same
Play
,
and
that
a
piece
of
no
great
length
made
an
Actor
speak
at
least
a
dozen
times
to
Heaven
.
The
other
fault
to
be
avoided
is
,
that
an
Actor
speaking
to
a
King
,
a
Father
,
a
Judge
,
or
some
person
to
whom
respect
is
due
,
ought
not
to
fall
into
a
long
Apostrophe
to
an
Imaginary
person
,
because
it
is
against
the
Rules
of
decency
,
that
a
man
should
leave
addressing
to
a
person
of
Authority
,
to
talk
to
a
thing
absent
,
or
a
Chymera
of
his
own
brain
;
not
but
that
if
it
were
extreme
short
,
and
the
Discourse
presently
continued
to
the
person
present
,
it
might
very
well
pass
;
as
in
this
Example
.
O
Nature
!
who
knowest
how
true
I
have
always
been
to
thy
Sentiments
,
speak
here
in
my
defence
.
And
then
continuing
and
addressing
to
his
Father
,
say
,
'T
is
she
,
O
my
Father
,
that
must
justifie
what
I
have
done
,
&c.
By
this
slight
the
Figure
brings
force
and
variety
to
the
Discourse
,
and
yet
does
nothing
against
the
Laws
of
Respect
,
so
small
a
Transport
being
very
allowable
to
a
man
passionate
and
innocent
,
and
the
quick
return
brings
all
things
in
order
again
.
Prosopopaea's
quite
contrary
are
very
unlucky
upon
the
Stage
;
for
though
,
as
well
as
Apostrophes
,
that
Figure
supposes
persons
that
are
not
,
and
makes
dumb
things
speak
,
yet
it
generally
creates
confusion
,
because
the
Actor
already
represents
a
person
that
is
not
,
and
this
person
represented
makes
another
feign'd
person
speak
by
his
mouth
,
which
makes
a
double
Fiction
,
and
much
obscurity
;
for
very
few
of
the
Audience
are
either
able
,
or
attentive
enough
to
observe
the
Actors
passing
from
his
own
Discourse
,
to
that
of
the
suppos'd
person
in
this
Figure
,
the
least
noise
,
or
other
diversion
at
that
time
being
enough
to
make
them
lose
the
Chain
,
and
so
confound
the
Discourses
attributed
to
the
feign'd
person
by
Prosopopaea
,
with
those
that
the
Actor
makes
in
his
own
person
.
I
dare
affirm
besides
,
that
to
the
people
the
beauty
of
this
Figure
is
not
sensible
upon
the
Stage
,
but
rather
troublesom
,
because
of
their
want
of
skill
and
application
to
distinguish
things
.
For
Example
;
They
see
an
Actor
who
acts
the
King
,
and
are
possest
that
all
that
he
says
is
the
Discourse
of
the
King
he
represents
;
so
that
if
he
comes
to
make
a
Prosopopaea
,
by
supposing
that
either
Vertue
,
or
Love
,
or
such
like
things
speak
to
him
,
they
are
mightily
puzzled
;
for
,
though
they
have
sense
enough
to
know
that
this
speech
of
Love
or
Vertue
does
not
properly
belong
to
the
King
,
yet
they
penetrate
not
the
Mystery
of
that
double
Fiction
of
a
King
represented
,
and
speaking
by
the
mouth
of
an
Actor
,
and
of
Vertue
likewise
speaking
by
the
mouth
of
the
same
King
;
therefore
this
Figure
is
to
be
avoided
,
and
cannot
well
be
brought
upon
the
Stage
,
or
if
it
is
sometimes
,
it
must
be
in
Narrations
,
and
then
it
must
be
very
short
,
or
in
Soliloques
,
otherwise
called
Monologues
,
where
the
Poet
must
use
much
Industry
to
shew
what
the
thing
is
he
feigns
,
and
makes
speak
in
the
Prosopopaea
,
that
so
there
may
be
no
obscurity
nor
room
for
mistake
,
neither
is
he
to
judge
of
the
use
of
this
Figure
by
its
being
employed
in
Epick
Poems
and
Orations
;
for
they
being
generally
design'd
to
be
read
at
leisure
,
it
is
easie
upon
any
obscurity
to
look
back
and
discover
where
the
difficulty
lyes
;
but
in
the
Stage
where
the
best
part
of
the
Audience
is
made
up
of
the
unlearned
,
and
where
the
thing
passes
in
Discourse
of
a
sudden
without
repeal
,
there
is
no
remedy
for
those
who
are
once
fallen
into
obscurity
,
but
to
remain
in
it
;
and
in
Orations
,
the
obscurity
cannot
be
so
great
,
because
there
the
person
that
speaks
makes
no
double
Fiction
,
and
so
is
easily
understood
.
Irony
is
a
Drammatick
Figure
,
and
of
its
own
nature
very
Theatral
;
for
by
saying
in
jest
or
scorn
the
contrary
of
that
which
it
really
means
,
it
carrys
a
kind
of
disguise
,
and
makes
an
agreeable
Effect
.
Exclamations
are
extreme
proper
for
the
Stage
,
as
being
the
marks
of
a
Mind
much
mov'd
with
passion
.
Hyperbole
is
of
the
same
rank
,
because
the
words
there
carrying
ones
Imagination
further
than
their
natural
sense
,
it
is
fittest
for
the
Stage
where
all
things
are
to
be
magnified
,
as
if
it
were
continual
Inchantment
and
Illusion
.
Interrogation
,
which
Scaliger
says
is
only
a
Figure
by
use
,
and
not
of
its
own
nature
,
is
likewise
the
mark
of
an
agitated
Mind
,
and
by
consequent
Theatral
.
And
amongst
them
all
,
certainly
Imprecation
will
be
judg'd
Theatral
,
as
being
the
Effect
of
a
violent
Transport
,
and
its
Discourse
ought
to
be
impetuous
,
with
bold
expressions
,
and
words
full
of
Extremes
.
This
I
think
may
suffice
for
our
Poet
,
without
making
an
unnecessary
repetition
of
what
the
Rhetoricians
may
have
taught
him
,
and
which
he
may
read
with
great
profit
in
Scaliger's
Poeticks
.
Chapter
the
Eighth
.
Of
Monologues
,
or
Discourses
made
by
a
single
Person
.
THough
I
have
not
met
with
the
word
Monologue
amongst
Antient
Authors
,
who
have
treated
of
the
Stage
;
and
that
Scaliger
himself
,
who
has
not
forgot
any
curiosity
upon
this
Subject
,
has
nothing
of
it
;
I
shall
not
nevertheless
forbear
to
say
something
of
it
according
to
the
meaning
of
our
Modern
Poets
.
To
being
therefore
by
a
necessary
Observation
we
must
not
confound
the
Monodia
of
the
Antients
with
that
which
we
call
now
Monologue
;
for
though
the
first
is
some
piece
of
Poetry
,
sung
or
recited
by
one
man
alone
,
yet
custom
has
fixt
its
signification
to
those
Funeral
Songs
which
were
sung
by
one
of
the
Quire
,
in
honour
of
the
Dead
;
and
't
is
thought
that
the
Musician
Olympus
was
the
first
that
us'd
it
,
in
memory
and
favour
of
Python
,
as
Aristoxenes
affirms
;
which
makes
me
wonder
at
one
of
our
Modern
Authors
,
who
says
,
that
the
Monodia
was
a
Poem
compos'd
under
the
name
of
one
person
,
such
as
the
Cassandra
of
Lycophron
.
Besides
,
there
are
among
the
Learned
some
who
will
not
receive
the
Greek
word
for
a
Discourse
made
by
one
man
by
himself
,
but
say
it
means
a
Discourse
in
every
thing
one
and
like
its
self
without
variety
.
For
my
part
I
believe
that
in
our
time
we
have
call'd
Monologues
that
which
the
Antients
call'd
the
Discourse
of
a
single
person
Monoprosωpon
,
as
many
Eclogues
both
Greek
and
Latine
,
and
many
Discourses
of
the
Chorus's
in
Plays
,
which
Stiblinus
calls
Monodias
,
as
the
Discourse
of
Electra
alone
in
Euripides
,
and
another
of
the
same
in
Sophocles
,
though
she
speaks
in
the
presence
of
the
Quire
.
I
confess
that
it
is
sometimes
very
pleasant
to
see
a
man
upon
the
Stage
lay
open
his
heart
,
and
speak
boldly
of
his
most
secret
thoughts
,
explain
his
designs
,
and
give
a
vent
to
all
that
his
passion
suggests
;
but
without
doubt
it
is
very
hard
to
make
an
Actor
do
it
with
probability
.
The
Antients
could
not
bring
in
these
Monologues
,
because
of
the
Chorus
,
which
never
,
or
very
seldom
left
the
Stage
;
and
except
that
Monologue
which
Ajax
in
Sophocles
makes
at
the
corner
of
a
Wood
upon
the
point
of
killing
himself
while
the
Chorus
was
gone
out
to
look
for
him
;
I
do
not
believe
there
is
any
other
in
the
Five
and
thirty
Greek
Tragedies
which
are
left
.
I
know
very
well
that
in
many
Scenes
there
is
but
one
Actor
nam'd
;
but
if
we
observe
narrowly
,
we
shall
always
find
that
he
is
not
alone
upon
the
Stage
,
and
that
his
Discourse
is
directed
to
some
that
follow
him
,
though
they
are
not
set
down
at
the
beginning
of
the
Scenes
.
As
for
Prologues
,
they
are
indeed
made
by
one
single
Actor
,
but
not
in
the
nature
of
Monologues
;
't
is
a
thing
by
it self
,
which
indeed
among
the
Antients
was
one
part
of
the
Drammatick
Poem
,
but
not
of
the
Theatral
Action
;
't
is
a
Discourse
made
to
the
Spectators
,
to
instruct
them
of
the
Story
which
begun
amongst
the
Antients
as
soon
as
the
Chorus
came
on
.
The
two
Latine
Comick
Poets
have
many
Monologues
in
all
their
Plays
,
some
of
them
are
brought
in
properly
and
according
to
reason
,
others
not
.
I
shall
not
here
make
any
Criticism
upon
them
,
but
give
my
Opinion
what
Rules
are
to
be
observ'd
to
make
a
Monologue
with
probability
.
First
of
all
,
an
Actor
must
never
make
a
Monologue
,
while
he
addresses
himself
to
the
Audience
,
with
a
design
to
inform
them
of
something
they
are
to
know
;
but
there
must
be
found
out
something
in
the
Truth
of
the
Action
that
may
be
colourable
to
make
him
speak
in
that
manner
.
Else
'T
is
a
fault
in
the
Representation
,
of
which
both
Plautus
and
Terence
are
guilty
.
Secondly
,
When
he
that
thinks
he
speaks
alone
is
over
heard
by
chance
,
by
some
other
he
must
then
be
reputed
to
speak
softly
,
because
it
is
not
probable
that
a
man
by
himself
should
speak
so
loud
as
Players
must
do
to
be
heard
by
the
Audience
.
I
confess
indeed
with
Scaliger
,
that
this
is
one
of
the
faults
of
the
Stage
,
which
must
be
excus'd
only
by
the
necessity
of
Representation
,
it
being
impossible
to
represent
the
thoughts
of
a
man
otherwise
than
by
his
words
;
but
that
which
makes
this
fault
the
more
apparent
,
is
,
when
another
Actor
hears
all
that
that
man
says
,
who
speaks
alone
;
and
though
it
may
happen
that
a
man
may
speak
aloud
of
that
which
he
ought
only
to
think
,
and
which
he
intends
only
to
say
to
himself
,
yet
that
being
a
gross
Imprudence
,
ought
not
to
be
represented
upon
the
Stage
.
Therefore
in
these
Cases
one
must
either
find
out
a
probable
reason
to
make
the
Actor
speak
aloud
,
which
is
very
hard
to
do
,
or
else
the
Poet
ought
to
use
such
Art
in
the
Composition
of
the
Monologue
,
as
that
the
Actor
should
sometimes
raise
his
voice
in
saying
certain
words
only
,
and
speak
with
a
low
voice
in
others
,
that
so
the
Actor
who
is
within
hearing
might
be
suppos'd
to
hear
some
spoke
with
passion
,
and
not
the
others
,
as
being
spoke
softly
,
and
in
the
mean
time
the
other
Actor
upon
what
he
does
hear
might
make
some
Exclamations
,
and
seem
concern'd
that
he
could
not
hear
the
rest
.
Nay
,
when
the
Actor
,
who
should
speak
the
Monologue
,
should
speak
softly
,
then
the
other
Actor
should
observe
all
his
Actions
,
as
of
a
man
much
taken
up
with
his
own
thoughts
,
and
in
a
deep
study
;
and
it
may
be
this
way
the
probability
of
the
Stage
might
be
preserv'd
with
some
addition
of
ornament
to
the
Scene
in
hand
;
but
to
execute
this
well
,
one
must
not
meet
with
proud
,
impertinent
Players
,
who
taking
no
Advice
but
from
their
own
Ignorance
and
presumption
,
think
they
perform
all
things
admirably
well
;
for
a
Scene
of
this
nature
would
hardly
succeed
,
except
as
docile
Actors
as
those
of
the
new
Company
of
the
Marest
were
wont
to
be
,
undertook
it
.
The
third
Observation
about
Monologues
,
is
to
make
them
so
,
as
not
to
chock
the
probability
of
the
circumstances
of
time
&
place
:
For
Example
;
It
would
be
absurd
to
put
a
Monologue
in
the
mouth
of
a
General
of
an
Army
,
who
should
be
in
the
middle
of
a
Town
just
storm'd
by
his
Army
.
There
would
be
likewise
little
probability
if
a
Lover
should
hear
of
some
great
danger
his
Mistress
were
in
,
and
instead
of
running
to
her
relief
,
should
stand
still
and
make
a
long
complaint
against
the
Stars
,
he
would
be
as
little
forgiven
in
the
Representation
,
as
in
the
Reality
;
so
that
in
a
word
,
all
that
can
be
done
,
is
still
to
keep
to
the
Rules
of
probability
and
decency
as
the
only
Guide
of
the
Stage
.
Chapter
the
Ninth
.
Of
a
Partes
,
or
Discourses
made
to
ones
self
in
the
presence
of
others
.
IT
often
happens
upon
the
Stage
,
that
one
Party
speaks
in
the
presence
of
another
who
hears
and
sees
him
,
and
that
nevertheless
his
words
represent
some
thought
known
to
no
body
but
himself
.
There
are
very
few
of
those
to
be
met
with
in
the
Greek
Poets
,
and
except
a
Verse
or
two
that
the
Chorus
speaks
after
some
long
Discourse
of
an
Actor
;
or
when
a
new
Actor
comes
upon
the
Stage
,
I
do
not
know
of
any
other
Example
,
and
this
may
serve
to
give
us
a
hint
how
cautious
we
are
to
be
in
observing
the
probability
of
the
Stage
,
since
in
a
matter
of
forty
Poems
they
have
so
rarely
taken
the
liberty
of
representing
a
man's
secret
thoughts
by
words
spoke
aloud
.
The
Romans
have
taken
much
more
licence
in
this
kind
;
Terence
not
quite
so
much
as
Plautus
,
who
makes
a
partes
very
frequently
,
and
often
intollerably
absurd
.
Seneca
the
Tragedian
is
not
more
regular
in
this
,
than
in
any
other
of
the
Rules
of
the
Stage
;
for
in
his
Agamemnon
,
Clytemnestra
makes
an
a
parte
of
seventeen
Verses
.
Our
Moderns
,
who
have
imitated
the
Antients
much
more
in
their
faults
,
than
in
their
Excellencies
,
make
likewise
such
absurd
a
partes
,
that
the
most
gross
among
the
common
people
can
hardly
bear
them
.
I
know
that
those
a
partes
do
sometimes
make
very
good
sport
upon
the
Stage
,
and
't
is
often
necessary
to
introduce
them
to
make
known
to
the
Spectators
some
secret
thought
of
some
Actor
,
without
which
they
would
be
in
the
dark
:
As
for
Example
;
When
an
Actor
dissembles
,
but
at
the
same
time
it
seems
a
little
hard
to
conceive
(
though
Scaliger
by
a
great
Indulgence
for
the
Stage
allows
it
)
that
an
Actor
shall
speak
loud
enough
to
be
heard
by
the
Audience
,
and
yet
not
be
over-heard
by
another
Actor
who
stands
by
him
;
and
that
which
is
worse
is
,
that
to
feign
he
does
not
hear
him
,
he
is
forc'd
to
make
twenty
ridiculous
Grimaces
.
Let
us
see
therefore
if
by
Art
we
can
any
ways
render
these
a
partes
,
if
not
entirely
probable
,
at
least
supportable
to
the
Stage
.
In
order
to
this
I
divide
them
into
three
sorts
;
the
first
,
when
two
Actors
,
each
of
them
at
one
corner
of
the
Stage
speak
as
it
were
to
themselves
of
their
own
concerns
,
making
as
if
they
did
neither
see
nor
hear
one
another
.
The
second
sort
is
,
when
one
Actor
speaks
,
supposing
the
other
Actor
whom
he
sees
and
hears
,
not
to
see
nor
hear
him
.
The
third
sort
is
,
when
both
Actors
hearing
and
seeing
one
another
,
one
of
them
for
some
sudden
consideration
,
speaks
as
if
he
were
not
heard
by
the
other
.
Now
,
to
order
it
so
in
all
these
occasions
,
that
the
Spectators
Judgment
shall
not
be
chock'd
by
any
improbability
,
I
have
bethought
my self
what
might
be
done
.
First
then
,
an
a
parte
ought
to
be
very
short
,
and
contain
very
few
words
;
particularly
,
when
in
all
the
rest
of
the
Action
both
Actors
see
and
hear
one
another
;
and
indeed
about
half
a
score
,
or
a
dozen
words
,
or
one
Verse
,
are
the
measure
of
a
just
a
parte
;
the
best
of
all
is
an
a
parte
of
one
word
,
because
even
in
the
nature
of
things
,
one
word
may
slip
from
us
,
and
not
be
over-heard
by
him
that
speaks
to
us
:
But
long
a
partes
,
such
as
Plautus
makes
,
are
unexcusable
,
because
they
put
the
other
Actor
quite
out
of
countenance
,
and
make
him
,
that
he
knows
not
at
last
what
posture
to
be
in
,
to
make
the
Audience
believe
he
does
not
hear
the
other
,
who
speaks
aloud
so
long
,
and
so
near
him
.
Besides
,
one
must
take
ones
time
very
well
to
make
an
a
parte
.
An
Actor
who
is
serious
in
talking
,
not
being
lightly
to
be
interrupted
by
another
,
without
some
probable
colour
for
his
stopping
in
the
middle
of
a
Discourse
,
which
must
give
the
other
who
is
to
make
the
a
parte
,
an
opportunity
to
make
it
handsomly
;
and
if
he
that
is
speaking
does
as
it
were
interrupt
himself
,
by
saying
something
softly
,
which
ought
not
to
be
over-heard
,
he
that
hearkens
must
wonder
at
his
ceasing
to
speak
,
and
either
know
or
think
he
ghesses
the
true
reason
of
it
,
for
else
it
would
be
unnatural
that
a
man
should
speak
and
be
silent
by
fits
,
and
they
that
stand
by
,
neither
be
surpriz'd
at
it
,
nor
ghess
at
the
cause
.
The
Poet
therefore
must
take
either
the
time
of
an
Exclamation
,
or
some
such
other
Figure
,
whereby
an
Actor
may
be
suppos'd
to
be
in
a
condition
not
to
speak
for
some
moments
,
nor
to
hearken
to
what
another
says
,
and
at
that
time
a
few
words
,
or
half
a
Verse
may
be
put
in
another
Actors
mouth
,
to
make
a
reasonable
a
parte
.
If
it
happens
so
that
the
time
in
which
one
Actor
makes
his
a
parte
,
is
sensible
to
the
other
,
he
must
say
some
word
that
marks
his
astonishment
of
the
others
distractfulness
,
either
feigning
that
he
did
not
hear
him
well
,
or
mistook
him
,
or
so
.
We
have
an
Example
of
this
in
Plautus's
Mostellaria
,
where
Tranion
having
made
an
a
parte
,
Theuropides
asks
him
what
it
is
he
mumbles
to
himself
,
which
shews
the
Slave
to
have
spoke
softly
.
The
same
Poet
does
the
like
in
his
Aulularia
,
had
rather
be
hang'd
than
serve
any
longer
such
a
covetous
,
mad
Fellow
as
Euclio
:
Euclio
answers
,
See
how
this
Jade
murmurs
something
to
her self
.
When
two
Actors
see
not
one
another
,
and
each
of
them
make
an
a
parte
,
one
of
them
must
still
be
suppos'd
to
be
sometimes
silent
.
For
Example
;
If
a
Lover
be
to
make
a
complaint
in
some
solitary
place
,
where
another
Lady
comes
to
look
something
she
has
lost
,
I
think
the
Lover
ought
to
be
in
some
great
Extacy
of
grief
to
give
the
Lady
time
to
speak
,
and
then
the
Lady
ought
to
be
employ'd
in
looking
what
she
came
for
,
to
give
the
Lover
time
to
continue
his
complaint
,
and
then
these
a
partes
may
be
longer
than
the
ordinary
ones
.
There
are
some
occasions
where
they
may
be
yet
longer
;
as
if
one
of
the
Actors
does
not
see
the
other
,
and
is
doing
something
which
requires
some
time
,
he
that
sees
him
,
without
being
seen
,
may
make
a
Discourse
that
shall
last
as
long
as
his
Action
.
For
Example
;
If
a
covetous
man
tell
his
money
,
the
Thief
that
sees
him
may
make
an
a
parte
,
that
shall
last
all
that
time
;
nay
it
is
necessary
there
should
be
one
then
,
there
being
no
greater
fault
upon
the
Stage
than
to
have
it
silent
;
and
whatsoever
is
doing
,
some
body
or
other
must
speak
,
and
there
is
to
be
no
cessation
of
that
,
but
in
the
Intervals
of
the
Acts
;
nay
,
if
something
falls
out
in
the
Play
,
that
may
seem
naturally
to
strike
them
all
dumb
,
yet
one
Actor
ought
to
be
kept
on
purpose
to
say
something
of
their
silence
,
lest
the
Action
should
cease
in
the
middle
of
an
Act
or
Scene
.
From
these
general
Observations
,
the
Poet
may
easily
govern
himself
so
as
to
make
a
judicious
a
parte
;
but
if
he
desires
more
light
upon
this
Subject
,
let
him
read
Monsieur
de
la
Menardiere
,
in
his
sixth
Chapter
of
his
Poeticks
,
where
he
makes
many
judicious
Remarks
;
only
I
cannot
agree
to
two
Observations
he
makes
;
the
first
is
,
when
he
says
that
Poets
might
make
more
reasonable
a
partes
,
if
it
were
written
on
one
side
of
the
Stage
.
For
Example
;
This
is
the
Louvre
,
and
on
the
other
side
,
This
is
the
Palace
Royal
;
for
the
Stage
cannot
comprehend
two
places
so
far
distant
from
one
another
.
I
thought
at
my
first
reading
him
,
that
it
was
a
raillery
he
made
upon
our
Modern
Poets
absurdities
,
but
having
afterwards
observ'd
that
in
the
eighth
Chapter
he
makes
his
Stage
contain
a
whole
City
,
I
saw
he
was
in
earnest
.
The
other
thing
in
which
we
disagree
is
,
that
he
cites
Scaliger
in
the
one
and
twentieth
Book
of
his
Poeticks
,
to
shew
that
he
condemns
all
a
partes
upon
the
Stage
;
for
Scaliger
in
that
place
does
not
say
one
word
of
it
;
he
describes
in
that
Chapter
the
Theatre
of
the
Antients
,
and
having
spoke
of
the
Scene
,
which
represented
the
Actors
Houses
,
and
of
the
Proscenion
,
or
Forescene
,
where
they
appear'd
;
and
of
the
Orchestra
design'd
for
the
Musick
and
Dancers
,
he
reproaches
the
French
Nation
with
so
gross
an
Ignorance
in
his
time
,
that
they
had
not
so
much
as
a
Painted
Cloth
or
Hanging
to
hide
those
Things
and
Actors
which
were
not
to
be
seen
:
In
France
,
says
he
,
they
Act
Plays
so
,
that
all
things
are
expos'd
to
the
Eyes
of
the
Spectators
;
all
the
Decorations
appear
upon
the
Stage
,
the
Actors
never
disappear
;
onely
those
that
are
silent
,
are
reputed
absent
:
But
certainly
it
must
be
very
ridiculous
,
that
the
Spectators
should
know
that
you
hear
and
see
,
and
yet
you
your self
should
not
hear
nor
see
what
is
said
of
you
in
your
own
presence
,
as
if
you
were
not
where
you
are
:
Whereas
the
true
Art
of
the
Poet
is
to
suspend
the
Attention
of
the
Audience
,
and
make
them
always
expect
some
Novelty
;
but
there
,
far
from
that
,
Satiety
is
upon
one
,
before
ones
Appetite
is
rais'd
.
Thus
it
is
that
Scaliger
describes
the
old
French
Stage
;
which
I
have
alledg'd
elsewhere
,
to
prove
the
difference
between
that
and
our
Stage
,
as
it
is
brought
to
Perfection
at
this
time
,
and
to
what
Splendour
it
might
be
brought
,
by
following
the
Example
of
the
Ancients
.
But
Scaliger's
Design
,
as
it
appears
,
was
not
here
to
speak
of
ill
Apartes
,
as
may
appear
to
any
who
shall
carefully
read
what
he
writes
there
of
the
Fabrick
of
the
Ancient
Theatres
.
Chapter
the
Tenth
.
Of
the
Acts.
WE
call
Act
that
Fifth
part
of
a
Drammatick
Poem
which
is
begun
and
ended
with
Musick
,
and
consists
,
in
our
Plays
,
of
about
Three
hundred
Verses
,
or
thereabouts
.
The
ancient
Greek
Poets
knew
not
the
Name
,
though
they
had
the
Thing
;
for
their
Episodes
(
which
,
according
to
Aristotle
,
were
that
which
was
contained
between
two
Singings
of
the
Chorus
)
was
the
same
thing
,
and
our
Musick
answers
their
Chorus
.
The
Romans
have
had
the
Word
,
(
as
we
from
them
)
but
not
,
I
believe
,
always
;
for
at
first
it
signified
a
whole
Play
,
as
the
Word
Dramma
did
among
the
Greeks
:
but
,
I
believe
,
when
Comedy
came
to
lose
its
Choruses
,
and
had
nothing
left
but
Dancing
,
Musick
,
and
Buffooning
,
for
Interludes
,
then
the
Poets
bethought
themselves
to
distinguish
their
Plays
by
Acts
,
for
to
take
off
the
Confusion
that
must
else
have
been
in
reading
of
them
.
And
this
,
I
think
,
hapned
but
late
neither
;
for
we
see
nothing
of
it
in
those
who
were
Contemporaries
with
Terence
.
First
then
,
we
must
know
,
that
Poets
have
generally
agreed
,
that
all
Drammas
regularly
should
have
neither
more
nor
less
than
Five
Acts
:
And
the
Proof
of
this
is
in
the
general
Observation
of
it
;
but
for
the
Reason
,
I
do
not
know
whether
there
be
any
founded
in
Nature
.
Rhetorick
has
this
advantage
over
Poetry
in
the
Parts
of
Oration
,
that
the
Exord
,
Narration
,
Confirmation
,
and
Peroration
,
are
founded
upon
a
way
of
Discoursing
natural
to
all
Men
;
for
every
one
always
makes
some
little
Preface
,
then
passes
to
the
thing
he
has
to
say
,
which
he
confirms
by
Reason
,
and
,
as
he
makes
an
end
,
endeavours
to
gain
the
Favour
of
those
that
hear
him
.
But
for
the
Five
Acts
of
the
Drammatick
Poem
,
they
have
not
been
fram'd
upon
any
such
ground
;
only
they
owe
their
being
to
the
many
Observations
of
the
Poets
,
who
have
studied
to
find
out
what
would
be
most
agreeable
to
their
Spectators
.
First
then
,
having
perceived
that
it
was
not
possible
for
their
Spectators
to
have
a
continued
Attention
to
the
Reciting
of
Fifteen
or
Sixteen
hundred
Verses
,
without
interruption
,
they
used
Choruses
,
whose
Singing
and
Dancing
eas'd
the
Impatience
of
the
Spectators
,
and
put
them
in
good
humour
to
hear
the
Remainder
of
the
Dramma
:
and
for
the
same
reason
they
divided
it
into
Five
Parts
,
which
hapned
so
well
,
that
whether
it
be
that
that
is
a
Proportion
that
just
hits
the
Weakness
of
the
Audience
,
or
that
by
Custom
we
are
made
Friends
to
it
,
't
is
certain
,
that
we
do
not
naturally
like
a
Play
that
has
more
or
less
than
Five
Acts
,
which
divide
the
Time
of
so
many
Hours
as
we
can
well
spare
to
a
Diversion
,
without
making
it
a
Toil.
We
see
by
experience
,
that
the
Italian
Comedians
,
who
fail
in
this
,
by
making
only
Three
Acts
,
according
to
their
ill-received
Custom
,
make
the
First
Act
so
very
long
,
that
it
is
most
importunately
tedious
.
I
should
therefore
advise
the
Poet
to
make
Five
Acts
,
and
each
of
them
of
about
Three
hundred
Verses
,
or
little
more
,
having
always
observ'd
,
that
the
Patience
of
the
Audience
seldom
reaches
beyond
Sixteen
hundred
Verses
;
and
every
body
knows
,
that
two
of
the
most
Ingenious
and
Magnificent
of
our
Plays
have
miscarried
for
having
been
too
long
:
For
't
is
an
ordinary
thing
to
see
the
Spectators
applaud
a
Play
of
a
good
just
Length
,
though
with
some
Faults
,
rather
than
admire
an
exact
accomplish'd
one
,
that
is
too
long
.
We
can
find
Excuses
for
the
Poet
in
any
thing
else
;
but
Weariness
and
Satiety
have
that
particular
to
them
,
that
they
make
even
the
best
things
insupportable
to
us
.
Let
the
Poet
then
seek
among
the
Ancients
the
Observation
of
this
Rule
.
The
Greeks
have
both
known
and
practised
this
Division
of
the
Drammatick
Poem
,
but
not
all
alike
.
It
is
pretty
apparent
in
Sophocles
:
Aeschylus
had
not
attain'd
in
his
time
the
exactness
of
the
Rules
;
and
as
for
Euripides
,
he
always
does
so
embarass
himself
with
Prologues
,
that
his
Plays
seem
often
to
have
Six
Acts
,
and
sometimes
Seven
.
Besides
,
it
seems
that
in
some
Plays
the
Chorus
sings
in
the
middle
of
an
Act
,
and
so
interrupts
the
Sequel
;
which
is
confirm'd
by
Horace
,
who
gives
it
for
a
Rule
,
That
the
Chorus
should
sing
nothing
in
the
middle
of
the
Acts
,
that
is
not
proper
to
the
Subject
.
But
this
regards
a
Criticism
not
useful
in
our
days
,
by
which
perhaps
we
might
doubt
of
the
Choruses
singing
in
the
middle
of
an
Act
:
For
either
the
Chorus
did
not
sing
,
or
the
Verses
are
ill
placed
in
our
Impressions
,
as
we
can
make
appear
by
divers
Plays
of
Aristophanes
,
and
in
the
Bacchants
of
Euripides
.
As
for
the
Latin
Tragedies
,
which
we
have
under
the
Name
of
Seneca
,
I
think
our
Poet
may
forbear
imitating
them
in
the
Structure
,
as
in
all
the
rest
,
except
in
the
Refinedness
of
the
Thoughts
?
for
to
me
nothing
seems
so
ridiculous
,
and
withal
so
tedious
,
as
to
see
one
Man
alone
make
an
Act
,
without
any
Variety
;
and
that
a
Ghost
,
a
God
,
or
some
Heroe
,
shall
make
at
the
same
time
the
Prologue
,
and
,
according
to
Euripides
,
an
Act
too
.
It
is
not
so
easie
to
give
Advice
about
Aristophanes's
Comedies
;
for
they
have
all
of
them
a
Prologue
,
after
the
way
of
the
Greek
Tragedy
;
but
the
Plays
are
not
all
alike
:
some
of
them
are
very
regular
,
and
others
so
full
of
confusion
,
that
it
is
very
hard
to
name
the
Acts
distinctly
;
as
in
that
called
The
Birds
,
where
it
is
hard
to
say
which
is
the
first
Singing
of
the
Chorus
,
nor
how
many
Acts
there
is
,
nor
where
the
Second
begins
:
And
we
see
that
the
Interpreters
have
not
marked
the
Acts
in
our
Impressions
,
finding
them
too
much
out
of
order
to
be
easily
methodiz'd
.
Though
,
I
think
,
the
greatest
difficulty
has
been
,
either
out
of
the
Licence
of
old
or
middle
Comedy
,
or
by
the
Corruption
of
the
Copies
,
which
Time
partly
dispersed
,
and
the
Ignorance
of
the
Compilers
and
Printers
has
ill
re-establish'd
.
Plautus's
Comedies
have
been
liable
to
the
same
Misfortunes
in
many
places
,
where
there
are
whole
Scenes
lost
,
others
added
,
and
Acts
confounded
,
as
in
the
Mostellaria
,
of
which
the
Scene
which
is
reckoned
the
Third
of
the
First
Act
,
ought
to
be
the
First
of
the
Fourth
:
For
after
the
Second
Scene
of
the
Third
Act
,
the
Stage
is
empty
,
and
without
Action
,
Theuropides
and
Tranion
entring
into
Simon
's
House
to
visit
him
,
and
no
other
Actor
remains
upon
the
Stage
;
so
that
the
Musick
or
the
Mimes
ought
to
have
mark'd
the
Interval
of
an
Act
in
this
place
:
but
the
Scene
which
is
counted
for
the
Second
of
the
Fourth
Act
,
ought
to
be
added
to
this
,
which
is
put
for
the
First
of
the
Third
Act
;
for
there
is
no
distinction
neither
of
Time
nor
Action
between
them
,
the
Stage
having
still
the
same
Persons
present
,
and
the
same
Discourses
going
on
;
and
so
these
two
together
must
make
the
First
of
the
Fourth
Act
,
since
between
that
which
is
put
for
the
last
of
the
Third
Act
,
and
these
two
,
there
is
no
separation
;
for
Theuropides
is
still
upon
the
Stage
,
being
neither
gone
off
,
nor
come
on
again
:
so
that
the
Interludes
have
no
time
wherein
they
may
be
inserted
to
distinguish
the
Acts.
As
for
Terence's
Comedies
,
they
may
be
a
Model
for
a
great
many
things
,
to
those
who
have
a
mind
to
gain
Reputation
,
and
excel
in
this
Art
.
It
has
been
ask'd
sometimes
,
When
one
may
say
properly
,
that
an
Act
is
finished
?
And
it
has
been
answered
by
Donatus
,
That
the
Reason
which
oblig'd
Menander
to
take
away
the
Chorus
from
Comedy
,
and
likewise
forc'd
Poets
to
confound
their
Acts
,
so
as
no
body
could
distinguish
them
,
was
,
that
the
Spectators
were
grown
so
impatient
,
that
they
withdrew
as
soon
as
the
Actors
disappear'd
from
off
the
Stage
,
to
make
room
for
the
Musick
,
which
was
to
mark
the
Interval
of
the
Acts.
For
,
I
think
,
he
spoke
as
a
Man
not
thorowly
instructed
in
the
Matters
of
the
Stage
.
For
the
Impatience
of
the
Spectators
must
needs
be
greater
,
if
their
Attention
had
no
ease
;
and
still
more
,
if
the
Acts
were
not
broken
,
nor
distinguish'd
,
as
that
must
be
,
if
the
last
Scene
of
an
Act
was
immediately
rack'd
to
the
first
of
the
next
;
for
then
the
Theatre
being
never
without
Actor
or
Action
,
you
could
not
naturally
part
that
,
which
was
not
separated
by
any
Interval
of
Time
.
Besides
,
the
Musick
among
the
Ancients
was
very
agreeable
,
and
did
not
,
as
now
a
days
,
consist
of
two
or
three
scurvy
Violins
,
but
was
one
of
the
greatest
Diversions
of
their
Comedies
;
and
the
Masters
of
those
Musical
Compositions
had
their
Names
graven
in
all
Publick
Inscriptions
,
with
those
of
the
Poet
,
and
Chief
Histrio
or
Player
.
To
which
,
if
we
add
the
other
Interludes
,
of
Mimes
,
Dances
,
and
Buffooning
,
we
may
easily
judge
,
that
there
was
less
reason
to
be
impatient
in
the
Intervals
of
the
Acts
,
than
in
the
Acts
themselves
;
particularly
,
if
some
scurvy
Actor
were
to
come
on
to
spoil
a
Part
,
such
as
formerly
was
Pellio
,
who
acted
so
ill
in
Plautus's
Epidicus
,
that
the
Poet
affronted
him
publickly
the
next
day
,
when
the
Bacchides
was
represented
.
Besides
,
we
do
not
see
any
where
but
in
Plautus
,
that
the
Acts
are
not
well
distinguish'd
;
(
and
in
him
too
't
is
the
fault
of
the
Printers
.
)
Neither
do
I
think
that
his
Plays
were
so
little
diverting
,
as
to
need
such
a
scurvy
Contrivance
to
fix
the
Spectators
Attention
;
for
his
Plays
have
more
Action
,
and
are
not
so
serious
as
Terence's
,
and
always
succeeded
better
in
the
Representation
,
though
Terence's
pleas'd
the
Reader
better
,
as
having
Passions
better
govern'd
,
more
elegant
Expressions
,
and
modester
Characters
.
But
to
come
to
Donatus
;
he
shews
himself
that
he
was
not
very
sure
of
what
he
writ
,
when
he
adds
,
That
the
Learned
were
not
all
agreed
,
that
it
was
for
this
reason
that
Menander
took
away
the
Chorus
from
Comedy
,
and
confounded
the
Acts.
Besides
,
that
which
makes
me
think
that
he
speaks
as
a
man
that
did
not
very
well
understand
the
Stage
,
is
what
he
says
of
Terences
Eunuchus
,
That
the
Acts
are
there
more
confounded
,
than
in
any
other
of
his
Plays
,
and
that
none
but
the
Learned
can
distinguish
them
well
.
In
which
(
says
he
)
the
Poet
has
made
but
one
Act
of
all
five
,
that
the
Spectator
might
scarce
have
the
time
to
breathe
,
and
to
hinder
him
by
the
continuation
of
the
Events
from
rising
before
the
Scenes
were
taken
away
:
For
't
is
most
certain
,
that
this
Comedy
is
one
of
those
in
which
the
Acts
are
best
distinguish'd
,
though
the
Scenes
are
also
best
knit
together
;
for
at
the
end
of
every
Act
the
Actors
say
precisely
where
they
are
going
,
and
what
they
are
going
to
do
;
and
they
that
begin
the
next
Act
tell
whence
they
come
,
and
why
they
come
on
upon
the
Stage
;
so
that
there
is
not
the
least
suspicion
of
that
imaginary
confusion
,
of
which
Donatus
speaks
.
Nay
,
the
Latines
are
generally
so
careful
to
make
the
distinction
remarkable
,
that
Plautus
having
made
Pseudolus
go
out
the
last
man
in
the
first
Act
,
and
come
in
the
first
man
in
the
second
,
because
that
is
against
the
Rules
,
and
that
it
might
cause
some
confusion
,
he
makes
him
say
these
words
as
he
goes
out
;
While
I
retire
to
my
house
there
to
call
the
great
Council
of
all
my
Cheats
,
the
Musick
will
divert
you
.
And
for
this
reason
in
the
Heautontimorumenos
of
Terence
,
Menedemus
,
who
makes
an
end
of
the
fourth
Act
,
and
begins
the
fifth
,
says
precisely
,
That
he
had
been
some
time
absent
,
that
he
had
been
in
the
remotest
part
of
his
house
,
where
he
had
seen
Clitipho
shut
himself
up
with
Bacchide
;
so
that
there
is
no
room
to
believe
that
confusion
of
Acts
,
as
Donatus
would
have
it
,
and
indeed
may
say
,
that
in
most
of
the
Latine
Comicks
,
it
is
only
by
the
ignorance
of
those
who
have
marked
the
Acts
,
that
there
is
any
confusion
,
as
in
the
Amphytrio
of
Plautus
,
where
the
fourth
Act
ought
to
begin
by
that
Scene
which
is
put
for
the
last
of
the
third
Act
;
and
in
the
Heautontimorumenos
of
Terence
,
where
the
fourth
Act
should
begin
at
the
Scene
cited
for
the
second
,
that
which
is
mark'd
for
the
first
belonging
properly
to
the
third
Act
,
it
is
then
much
more
reasonable
to
believe
what
we
have
said
,
which
is
,
that
the
Actor
in
these
occasions
where
he
seems
to
continue
an
Act
,
did
mingle
with
the
Mimes
,
and
other
Interlude
Actors
,
as
in
Tragedy
with
the
Chorus
,
or
that
the
Copys
are
corrupted
,
and
Scenes
lost
;
or
at
least
some
Verses
which
might
have
justified
the
Poets
Art
;
as
it
has
happened
to
Plautus
in
many
places
,
of
which
I
speak
more
at
length
in
my
Observations
.
But
let
us
come
now
to
the
Instruction
of
the
Poet
about
the
division
and
structure
of
his
Acts.
Having
then
chosen
his
Subject
,
he
must
remember
to
take
the
Action
he
has
a
mind
to
represent
in
its
last
point
,
After
this
,
he
must
consider
that
which
Aristotle
says
of
Episodes
;
for
the
Drammatick
Poem
has
three
things
differing
from
each
other
,
which
are
the
Constitution
of
the
Fable
or
Story
,
the
Composition
of
the
Tragedy
,
which
is
properly
,
the
disposing
of
the
Acts
and
Scenes
,
and
the
versification
or
Poetry
.
The
constitution
of
the
Fable
is
the
Invention
and
Order
of
the
Subject
,
whether
from
Story
,
or
receiv'd
Fables
,
or
the
Imagination
of
the
Poet.
Aristotle
,
by
the
Constitution
of
the
Fable
,
means
only
that
part
of
the
Story
or
Subject
which
comprehends
the
Theatral
Action
,
that
is
,
which
happens
after
the
opening
of
the
Stage
,
and
is
of
Opinion
,
that
all
that
is
done
before
,
is
out
of
the
Constitution
of
the
Fable
;
and
for
this
reason
,
speaking
of
probability
,
he
says
,
That
it
is
lawful
for
the
Poet
to
suppose
something
against
probability
,
provided
it
be
without
the
Fable
,
that
is
,
in
those
things
which
are
done
before
the
opening
of
the
Stage
,
and
are
to
be
made
known
afterwards
by
some
Actor
;
and
he
brings
for
Example
Sophocles
in
his
Oedypus
,
in
which
he
supposes
in
the
part
which
happens
before
the
overture
of
the
Stage
,
that
Oedypus
did
not
know
how
King
Laius
died
,
which
was
not
at
all
probable
.
But
for
my
part
,
I
am
of
Opinion
that
the
Constitution
of
the
Fable
ought
to
comprehend
the
whole
Story
of
the
Stage
;
for
that
which
happens
before
the
opening
,
is
as
much
of
the
Subject
,
as
that
which
happens
when
the
Stage
is
open
;
and
I
cannot
consent
that
the
Poet
should
suppose
any
Incidents
against
probability
in
those
Adventures
which
precede
the
Action
represented
,
because
that
they
being
a
foundation
for
things
which
happen
afterwards
upon
the
Stage
,
it
breaks
all
the
Chain
of
Events
,
it
being
against
all
order
that
a
thing
probable
should
be
built
upon
an
improbable
one
;
and
the
Poet
is
less
to
be
excus'd
in
this
,
than
in
any
thing
;
for
the
Incidents
which
are
before
the
opening
of
the
Stage
,
are
in
his
power
,
whereas
often
in
the
sequel
of
the
Play
the
Events
constrain
each
other
,
and
take
away
some
of
the
Author's
liberty
.
The
Composition
of
the
Tragedy
is
the
disposition
of
the
Acts
and
Scenes
,
that
is
,
of
the
Episodes
,
which
are
to
be
added
to
the
Constitution
of
the
Fable
,
to
give
it
its
just
proportion
,
in
which
often
consists
the
greatest
beauty
of
the
Poem
,
as
it
is
the
greatest
Art
of
the
Poet
;
for
the
same
Subject
,
that
is
,
the
same
Constitution
of
Fable
,
without
altering
the
Fund
or
the
Events
,
may
have
a
Disposition
of
Acts
and
Scenes
so
differing
,
that
is
,
the
Episodes
so
diversly
order'd
,
that
there
may
be
a
very
good
,
and
a
very
bad
Tragedy
made
of
it
.
For
Example
,
that
Cinna
had
resolv'd
to
kill
Augustus
,
and
engaged
divers
of
his
Friends
in
the
Design
,
is
of
the
Constitution
of
the
Fable
,
but
that
he
comes
and
tells
the
Design
to
Emilia
,
repeating
to
her
the
very
words
he
had
us'd
to
excite
the
Conspirators
,
that
is
of
the
Composition
of
the
Tragedy
,
or
Disposition
of
the
Acts
;
for
without
changing
either
the
Fund
of
the
Events
of
the
Fable
,
another
besides
Cinna
might
have
related
the
Conspiracy
,
and
to
another
person
than
Emilia
;
but
such
a
Narration
would
not
have
had
the
same
Effect
;
and
't
is
in
that
that
Mr.
Corneille
does
particularly
excel
;
for
he
has
an
Art
of
placing
in
his
distribution
of
the
Acts
and
Scenes
,
such
Incidents
as
afford
him
most
lively
,
moving
passions
,
and
another
man
,
without
changing
any
thing
in
the
Subject
,
would
place
the
same
Incidents
so
as
to
draw
little
of
beauty
from
them
.
This
has
made
me
often
wonder
at
some
Learned
men
,
and
well
read
in
Aristotle
,
who
have
confounded
the
Constitution
of
the
Fable
with
the
Disposition
of
the
Tragedy
.
For
the
Philosopher
says
in
express
words
,
That
after
having
constituted
the
Fable
,
you
must
insert
the
Episodes
,
that
is
,
all
the
Pathetick
Discourses
,
Narrations
,
Descriptions
,
&c.
and
take
care
that
they
naturally
flow
from
the
Fable
or
Subject
.
As
to
the
versification
,
which
is
the
last
part
,
that
depends
upon
the
Talent
the
Poet
has
receiv'd
,
and
his
study
in
the
Art
,
which
will
help
him
to
cultivate
and
polish
Nature
.
To
come
then
again
to
our
Subject
,
the
Poet
must
examine
if
the
Constitution
of
his
Fable
can
suffer
Episodes
;
and
if
so
,
of
what
kind
,
which
will
be
the
most
taking
,
and
in
what
place
they
will
appear
,
and
have
their
best
Effect
;
and
after
this
he
must
divide
his
Acts
so
,
as
if
possible
,
they
may
not
be
very
unequal
,
and
that
the
last
Acts
have
still
something
of
strength
and
ornament
more
than
the
first
,
either
by
the
greatness
of
the
Passions
,
the
singularity
of
the
Events
,
or
the
rarity
of
the
Show
and
Decoration
.
To
do
this
well
,
we
must
have
a
full
Idaea
or
Prospect
of
his
whole
Subject
,
and
have
it
entire
before
him
;
for
he
that
comprehends
the
whole
,
can
easily
examine
the
parts
,
and
range
them
;
but
he
that
knows
his
Subject
only
as
he
divides
it
,
runs
the
hazard
of
dividing
it
very
unequally
.
Some
have
maintain'd
,
that
every
Act
is
to
be
opened
by
a
new
Actor
that
has
not
appear'd
before
.
I
should
not
dislike
this
if
it
could
be
done
so
as
that
the
new
Actor
brought
no
confusion
upon
the
Stage
,
and
that
his
coming
on
be
so
prepar'd
,
as
that
this
variety
may
seem
natural
to
the
Subject
,
and
not
appear
to
be
the
bare
Invention
of
the
Poet
,
for
Art
that
discovers
it self
,
is
against
the
Rules
of
Art
upon
the
Stage
.
Yet
I
do
not
think
it
necessary
to
be
always
thus
practised
,
the
Poet
having
other
ways
of
diversifying
his
Acts
by
Incidents
,
Passions
,
or
some
such
thing
;
not
that
I
would
confine
the
Poet
neither
to
one
Episode
in
an
Act
,
but
if
he
produce
more
,
he
must
be
careful
that
they
do
naturally
,
and
without
affectation
,
create
one
another
;
and
one
of
our
best
Plays
was
condemn'd
for
being
too
richly
various
in
this
kind
,
so
as
the
Audience
had
not
time
to
breathe
after
the
impression
of
a
moving
Passion
;
the
Graces
of
the
Stage
must
have
time
to
be
rellish'd
,
and
like
other
humane
pleasures
,
we
lose
the
Enjoyment
of
them
,
if
we
are
either
cloy'd
with
them
,
or
have
not
the
leisure
to
tast
them
thoroughly
.
Sometimes
it
happens
that
there
are
in
a
Story
such
circumstances
,
that
they
are
not
agreeable
,
nor
decent
in
the
Representation
,
and
yet
they
might
give
rise
to
noble
Narrations
,
and
produce
Sentiments
,
of
which
the
Expressions
would
be
admirable
.
In
these
occasions
there
is
nothing
to
be
done
,
but
to
use
the
Antients
Artifice
,
which
is
to
suppose
the
things
done
.
For
Example
;
It
would
have
been
hard
and
ridiculous
to
represent
Ajax
upon
the
Stage
killing
of
Sheep
,
which
he
mistook
for
the
Greeks
in
his
rage
,
and
whipping
a
great
Ram
whom
he
thought
to
be
Vlysses
,
and
yet
it
was
fitting
to
give
some
Image
of
this
to
the
Spectators
;
therefore
Sophocles
does
not
only
make
the
recital
of
it
,
but
supposing
this
Massacre
,
arriv'd
in
the
night
,
he
opens
Ajax's
Tent
,
where
appear
these
creatures
slaughter'd
,
and
that
poor
Prince
overwhelm'd
with
grief
and
madness
.
Where
we
may
take
notice
,
that
the
Poet
avoided
to
open
the
Stage
by
the
beginning
of
Ajax's
fury
;
for
he
could
not
so
well
have
govern'd
his
Subject
,
neither
would
he
let
it
quite
pass
over
,
because
then
he
should
not
have
rais'd
compassion
in
the
minds
of
his
Spectators
.
Euripides
likewise
is
very
ingenious
,
when
he
avoids
making
Phaedras
Nurse
corrupt
Hyppolitus
upon
the
Stage
(
as
Seneca
and
our
French
Poet
Garnier
have
done
)
because
he
must
either
have
made
her
say
things
weak
,
and
of
no
effect
to
her
design
,
or
have
made
her
use
expressions
against
the
Decency
and
Majesty
of
Tragedy
;
therefore
by
making
that
young
Prince
appear
angry
at
the
old
Womans
Discourse
to
him
,
he
preserves
to
the
Stage
all
its
Sentiments
of
Vertue
,
and
yet
informs
the
Audienee
of
the
thing
that
was
necessary
for
them
to
know
.
In
a
word
,
the
most
general
Precept
is
so
to
cast
your
Subiect
,
as
to
throw
between
the
Acts
all
that
can
be
troublesom
to
the
Poet
,
or
disagreeable
to
the
Spectators
.
That
which
I
have
said
before
,
that
the
same
Actor
ought
not
to
finish
one
Act
,
and
begin
the
next
,
in
strict
regularity
is
true
,
because
that
the
Actor
that
goes
off
,
is
suppos'd
to
do
it
upon
some
important
business
,
which
requires
some
reasonable
time
,
for
the
Execution
of
it
;
and
if
he
come
in
immediately
upon
the
playing
of
a
Tune
or
two
,
the
Spectators
are
surpriz'd
to
see
him
come
back
so
soon
;
but
yet
there
are
some
Exceptions
;
for
if
the
Actor
have
but
little
to
do
,
or
go
but
a
little
way
,
he
may
begin
the
next
Act
;
and
't
is
ordinary
for
Plautus
so
to
do
;
and
Terence
does
it
sometimes
:
But
Comedy
suffers
this
better
than
Tragedy
,
because
that
the
Actors
in
the
first
being
but
of
mean
condition
,
they
may
do
any
thing
hastily
,
without
indecency
;
but
in
Tragedy
,
the
persons
being
all
Ladys
,
and
great
Men
,
their
Actions
must
be
more
grave
and
serious
.
If
the
Antient
Tragick
Poets
begun
an
Act
by
the
Actor
,
that
had
just
ended
the
preceding
Act
,
it
was
when
he
stay'd
upon
the
Scene
,
being
mingled
with
the
Chorus
;
a
thing
pretty
ordinary
with
the
Women
,
and
of
which
the
Examples
are
frequent
.
Above
all
things
,
The
Greek
Tragedys
begun
generally
by
a
Machine
,
The
Orestes
of
Euripides
begins
very
finely
,
by
exposing
that
unhappy
Prince
lying
upon
a
Couch
,
wrapp'd
up
in
his
Cloke
,
sleeping
with
disquiet
and
starts
;
his
Sister
at
his
Feet
weeping
,
the
Chorus
scarce
daring
to
tread
for
fear
of
waking
him
,
and
so
raise
his
Fury
:
all
that
is
pleasing
,
and
raises
an
expectation
of
something
extraordinary
.
The
waking
of
Herode
in
the
Mariamne
,
is
a
fine
opening
of
the
Stage
.
These
are
things
not
to
be
neglected
;
for
they
are
to
the
Poet
what
an
Exordium
is
to
the
Orator
,
to
gain
the
Attention
of
the
Audience
,
and
the
Good-will
of
his
Judges
.
Chapter
the
Eleventh
.
Of
the
Intervals
of
the
Acts.
PAinting
and
Drammatick
Poesie
,
besides
many
other
Points
that
they
meet
in
,
do
also
agree
in
this
,
that
they
cannot
possibly
give
the
entire
Image
of
that
which
they
design
to
represent
,
and
can
comprehend
but
the
least
part
of
their
Design
.
A
Picture
cannot
shew
any
Person
entire
,
nor
any
Story
but
by
halves
,
and
by
the
visible
Parts
onely
.
So
the
Stage
cannot
represent
an
Action
in
all
its
Circumstances
:
Battels
of
Armies
must
be
suppos'd
,
which
cannot
be
seen
;
and
many
other
things
,
either
undecent
,
or
frightful
.
But
likewise
as
the
Excellence
of
the
Painter
consists
in
finishing
so
rarely
well
all
that
he
does
shew
,
that
by
that
the
Spectator
may
judge
of
what
he
hides
;
so
the
Poet
must
work
with
so
much
Industry
,
that
those
things
which
he
shews
upon
the
Stage
,
may
lead
the
Spectator
to
an
easie
comprehending
of
those
which
he
either
cannot
or
ought
not
to
shew
.
'T
is
for
this
reason
that
the
Drammatick
Poets
have
made
use
of
the
Intervals
of
the
Acts
,
to
perform
those
things
which
could
not
so
well
be
done
upon
the
Stage
:
And
the
Ancients
fill'd
up
that
space
of
time
with
Choruses
,
and
other
Interludes
,
as
we
do
now
with
Musick
.
Some
may
say
,
perhaps
,
That
these
Intervals
are
not
so
very
necessary
,
because
one
might
so
continue
the
Scenes
of
a
Play
without
Interludes
or
Musick
,
that
the
Actors
who
should
disappear
,
should
be
reputed
to
do
off
of
the
Stage
,
all
that
either
could
not
,
or
ought
not
to
be
done
there
,
while
other
Actors
should
appear
and
act
their
Parts
.
This
in
it self
may
be
true
;
but
Experience
teaches
,
that
Mankind
has
not
Attention
enough
to
support
the
reading
of
one
entire
Play
,
without
interruption
:
for
even
one
Act
too
long
is
a
most
insupportable
trouble
;
and
,
as
Cicero
says
,
That
no
Man
would
make
an
Oration
of
one
Period
,
though
he
had
Breath
enough
to
recite
it
;
so
no
Auditor
would
be
content
with
a
Dramma
without
any
pause
or
stop
,
though
he
had
an
Attention
strong
enough
to
mind
it
.
Variety
is
our
greatest
Charm
;
and
by
that
means
Beauties
will
pass
upon
us
more
agreeably
,
than
a
great
and
excellent
one
,
always
the
same
.
But
besides
,
it
happens
sometimes
,
that
all
the
Actors
are
to
be
busied
for
some
time
off
of
the
Stage
,
which
then
remains
empty
;
and
so
that
time
must
be
fill'd
up
,
that
the
Audience
may
not
expect
with
disgust
and
tediousness
.
Moreover
,
if
there
were
always
some
Actor
present
upon
the
Stage
,
the
Spectators
could
not
naturally
imagine
that
an
Actor
had
employ'd
any
more
time
in
what
he
had
been
about
,
than
while
the
other
Actor
was
speaking
;
and
yet
,
it
may
be
,
that
first
Actor
must
be
suppos'd
to
need
two
or
three
Hours
to
do
his
business
in
,
which
cannot
be
thought
to
have
pass'd
away
in
half
a
quarter
of
an
Hours
Talking
by
another
,
whom
the
Audience
has
seen
all
the
while
.
But
the
Intervals
make
this
probable
enough
;
for
the
absence
of
all
the
Actors
,
with
the
Musicks
playing
,
and
the
cessation
of
the
Audiences
attention
,
do
all
contribute
to
deceive
the
Imagination
;
so
as
we
may
take
a
few
Moments
for
whole
Hours
:
and
then
when
the
Actors
return
,
and
say
what
they
have
been
doing
,
we
do
not
wonder
that
they
have
perform'd
so
much
in
so
little
a
time
.
Besides
,
the
impatience
we
are
in
to
see
the
Continuation
of
the
Story
,
makes
us
think
we
have
staid
a
great
while
,
and
so
give
the
more
allowance
for
the
things
we
hear
have
been
done
in
that
time
.
The
Poet
then
must
consider
well
in
his
Subject
what
things
cannot
well
be
expos'd
to
view
,
and
throw
them
in
the
Intervals
;
but
if
they
are
to
afford
Matter
to
any
great
Passion
or
Narration
,
there
the
Poet
's
whole
Art
will
be
necessary
,
and
the
Reading
of
the
Ancients
to
boot
,
who
will
afford
him
great
light
in
managing
those
Contrivances
.
Sometimes
the
Beauty
of
an
Action
lies
in
its
beginning
onely
,
and
then
you
must
shew
the
first
Strokes
and
Preparations
of
it
,
and
finish
it
in
the
Intervals
,
and
behind
the
Stage
:
So
we
see
that
Eteocles
and
Polinices
dispute
their
Pretensions
before
their
Mother
;
but
they
do
not
fight
and
kill
one
another
before
her
.
Otherwhile
it
happens
,
that
an
action
has
nothing
but
the
latter
part
of
it
fit
for
Representation
,
and
then
the
beginning
must
be
suppos'd
to
be
done
in
the
Intervals
,
and
the
last
Touches
onely
made
sensible
,
and
present
to
the
Spectators
.
Sophocles
,
as
we
have
observ'd
in
the
preceding
Chapter
,
has
done
this
in
his
Ajax
;
not
that
the
Poet
is
bound
to
do
this
always
at
the
end
of
an
Act
;
for
sometimes
the
thing
may
come
to
pass
somewhere
further
than
the
Place
represented
by
the
Stage
,
and
then
the
Business
may
be
related
in
the
next
Scene
.
The
greatest
Advantage
the
Poet
has
from
the
Intervals
of
the
Acts
,
is
,
that
by
that
means
he
can
throw
off
all
the
troublesom
Superfluities
of
his
Subject
.
But
he
must
have
a
care
not
to
fall
into
one
Errour
,
common
enough
among
our
Poets
,
which
is
to
suppose
a
thing
done
in
the
Interval
of
an
Act
,
which
in
all
probability
could
not
have
been
done
without
having
been
seen
by
the
Audience
.
And
this
must
happen
when
it
is
suppos'd
to
have
come
to
pass
upon
the
Place
represented
by
the
Stage
;
for
that
being
open
and
expos'd
to
the
Spectators
Eyes
,
nothing
can
probably
be
perform'd
there
,
that
shall
not
be
seen
.
I
remember
,
upon
this
Subject
,
that
I
was
once
at
a
I
lay
,
which
otherwise
was
no
ill
Drammatick
Poem
,
in
which
there
was
a
Bastion
of
a
besieg'd
Town
,
upon
which
were
armed
Men
for
its
defence
;
and
then
in
the
Interval
of
an
Act
this
Town
was
suppos'd
to
be
taken
by
Assault
,
and
yet
this
Bastion
was
neither
attack'd
nor
defended
upon
the
Stage
;
and
so
the
Spectators
remain'd
with
an
imagination
that
the
Town
was
not
taken
.
Whereas
the
Poet
might
at
least
have
said
somthing
of
the
probability
,
if
he
had
found
a
way
to
let
the
Audience
know
that
the
Town
had
been
carried
by
an
Assault
in
another
Place
,
and
so
there
had
been
no
need
of
defending
it
there
.
I
shall
not
here
enter
into
a
particular
deduction
of
the
Kinds
of
Interludes
with
which
the
Romans
mark'd
the
Intervals
of
the
Acts
in
new
Comedy
,
after
having
taken
away
the
Chorus's
.
I
shall
not
neither
say
at
what
time
it
was
that
the
Mimes
and
the
Embolarii
took
possession
of
the
Stage
,
nor
what
their
Dancing
,
Musick
,
and
Buffooning
was
;
why
they
made
use
of
Flutes
,
and
of
what
sort
they
were
that
are
nam'd
in
ancient
Inscriptions
of
Comedy
equal
and
unequal
,
right
or
left
:
all
that
concerns
onely
the
understanding
the
Stage
of
the
Ancients
,
and
not
the
Art
of
making
a
Drammatick
Poem
.
I
had
undertaken
to
treat
of
all
this
in
a
Book
which
I
should
have
called
The
Restoring
of
the
Theatre
in
France
,
to
shew
what
Ornaments
might
be
added
to
ours
from
Antiquity
;
but
I
should
here
go
too
far
from
my
Subject
,
if
I
should
lanch
into
this
Matter
.
I
will
onely
say
,
That
much
of
it
may
be
learn'd
out
of
Scaliger
,
Vitruvius
,
Julius
Pollux
,
Vossius
,
and
others
,
though
they
speak
of
these
Matters
with
ill
Methods
,
and
not
much
Application
.
Chapter
the
Twelfth
.
Of
the
Scenes
.
I
Was
in
some
doubt
whether
I
should
explain
here
all
the
different
Significations
of
the
Word
Scene
,
because
the
Learned
will
meet
with
nothing
but
what
they
know
already
;
however
,
having
consider'd
,
that
others
may
have
by
it
some
Instruction
about
the
Matters
of
the
Stage
,
I
thought
it
not
amiss
to
do
it
,
First
then
,
the
Word
Scene
,
in
its
original
and
proper
Signification
,
is
taken
for
a
Covering
of
Boughs
made
by
Art
,
from
whence
the
Feast
of
the
Tabernacles
of
the
Jews
was
call'd
Scenopegia
;
and
from
thence
too
some
People
of
Arabia
were
call'd
Scenites
.
Sometimes
too
it
signifies
a
natural
Shade
of
some
Grotto
,
or
solitary
place
;
so
Virgil
has
it
,
Tum
Sylvis
Scena
coruscis
—
Desuper
horrentíque
atrum
nemus
imminet
umbra
.
But
because
the
first
Comedies
,
or
rather
the
first
Buffooning
,
was
under
some
green
Shade
,
the
name
of
Scene
was
given
to
all
Places
where
Comedy
was
represented
;
and
Tragedy
too
,
though
transferr'd
into
great
Cities
,
yet
preserv'd
the
name
of
Scene
,
with
that
of
Theatre
,
which
signifies
a
place
for
Spectacles
.
But
then
the
Word
Scene
,
even
in
Drammatick
Poetry
,
was
taken
in
different
Significations
;
for
sometimes
it
signified
the
Place
of
Acting
,
as
we
say
,
to
be
upon
the
Scene
;
and
Pliny
has
it
,
That
Lucia
,
an
old
buffooning
Woman
,
recited
upon
the
Scene
at
the
Age
of
a
hundred
years
.
Sometimes
it
signifies
that
which
we
call
the
Decoration
of
the
Stage
;
that
is
,
all
the
Ornaments
of
painted
Cloth
which
represent
the
Place
where
the
thing
is
acted
;
and
according
to
the
three
kinds
of
Drammatick
Poetry
,
Vitruvius
teaches
how
to
make
three
sorts
of
Scenes
or
Decorations
of
the
Stage
,
fit
for
Tragedy
,
Comedy
,
and
Pastoral
;
and
from
this
Signification
is
come
the
Word
Proscenion
,
or
Forescene
,
attributed
by
the
Greeks
to
that
part
of
the
Stage
where
the
Histrions
or
Actors
did
both
act
and
speak
.
At
last
its
Signification
became
so
extended
,
as
to
express
at
once
the
Place
where
the
Actors
acted
,
and
that
where
the
Spectators
were
.
And
it
is
in
this
sense
that
the
Jurisconsult
Labeo
defines
the
Scene
,
according
to
Vlpian
.
Sometimes
likewise
it
signified
all
that
pompous
Structure
of
Buildings
,
Galleries
,
Walks
,
Seats
,
and
other
places
,
where
the
Romans
us'd
to
represent
their
Games
.
From
these
different
Significations
have
proceeded
many
Mistakes
amongst
the
Modern
Writers
,
because
they
did
not
rightly
understand
the
Ancients
,
and
so
have
confounded
the
Proscenion
with
the
Decoration
,
and
that
again
with
the
whole
Building
.
The
last
sense
in
which
the
Word
Scene
has
been
taken
,
and
which
we
particularly
need
here
,
is
,
when
it
signifies
that
part
of
an
Act
which
brings
any
Change
upon
the
Stage
,
by
the
change
of
Actors
.
The
Greeks
never
us'd
it
in
this
Signification
,
New
Comedy
,
having
taken
away
the
Choruses
.
I
do
not
find
any
thing
about
this
,
in
any
Author
ancienter
than
Donatus
;
but
since
we
have
receiv'd
it
,
it
will
not
be
amiss
to
put
here
some
Instructions
to
correct
the
Irregularities
of
Scenes
.
The
Ancients
,
who
had
no
Division
of
their
Acts
into
Parts
,
have
always
very
exactly
observ'd
the
Union
or
Dependance
of
Scenes
upon
one
another
;
for
knowing
that
the
whole
Act
could
not
contain
above
one
sensible
Action
upon
the
Stage
,
they
judg'd
very
reasonably
,
that
there
was
no
need
of
separating
the
Parts
that
should
compose
it
.
But
when
our
Poets
begun
to
write
for
the
Stage
,
they
hardly
knew
what
an
Act
or
a
Scene
was
;
they
plac'd
a
Man
upon
the
Stage
,
to
recite
there
what
they
had
compos'd
for
him
,
and
they
took
him
away
again
when
the
Capricio
of
their
Muse
pleas'd
,
and
then
brought
on
one
or
more
,
which
went
off
too
with
as
little
reason
;
so
that
one
might
have
transpos'd
any
of
their
Scenes
,
without
any
injury
to
the
Play
,
every
one
of
them
making
as
it
were
an
Act
by
it self
.
We
have
seen
upon
our
Stage
a
Captain
,
a
Poet
,
and
a
Visionary
Lover
,
all
without
having
any
thing
to
do
with
one
another
;
and
what
they
said
,
was
more
like
so
many
Scholars
Declamations
,
without
any
dependency
upon
each
other
.
Now
I
have
observ'd
,
that
there
are
four
ways
of
uniting
the
Scenes
together
;
to
wit
,
an
Union
of
Presence
,
another
of
Seeking
,
a
third
of
Noise
,
and
a
fourth
of
Time
.
The
Union
of
Presence
is
,
when
in
the
following
Scene
there
remains
upon
the
Stage
an
Actor
of
the
preceding
Scene
;
which
may
be
done
three
ways
:
Either
by
bringing
on
at
once
all
those
that
are
to
be
employ'd
in
that
Act
,
and
make
them
retire
one
after
another
,
according
to
the
diversity
of
their
Interests
;
for
still
those
who
remain
make
a
new
Scene
,
which
is
united
to
the
precedent
Scenes
by
the
Presence
of
those
who
rest
.
And
this
is
a
noble
manner
for
a
First
Act.
The
second
is
,
when
the
Actors
come
upon
the
Stage
one
after
another
,
and
none
of
the
first
go
off
;
for
then
all
the
new
Actors
make
new
Scenes
,
which
are
united
to
the
preceding
ones
by
the
Presence
of
those
who
were
already
upon
the
Stage
.
And
this
manner
is
very
good
for
a
last
Act.
The
Third
Way
is
,
when
the
Actors
go
and
come
according
to
their
Interests
and
Business
:
As
when
two
Actors
meet
upon
the
Stage
,
if
there
goes
off
but
one
,
the
second
who
remains
makes
a
new
Scene
,
and
knits
it
with
the
first
,
by
other
Actors
who
are
to
appear
;
and
this
way
is
capable
of
as
much
variety
as
the
Poet
pleases
.
The
Second
Way
of
uniting
the
Scenes
is
,
by
seeking
when
an
Actor
who
comes
upon
the
Stage
,
looks
for
him
who
went
off
;
and
the
Examples
are
very
frequent
among
the
Latine
Comick
Poets
;
but
one
must
be
very
careful
that
the
reason
for
which
one
Actor
looks
after
the
other
,
be
a
reason
taken
from
the
Subject
in
hand
,
and
sensible
to
the
Spectators
,
or
else
it
would
be
a
false
Colour
affected
,
and
of
no
effect
;
and
we
must
remember
besides
,
that
if
the
Actor
who
was
upon
the
Stage
goes
off
,
for
fear
of
being
seen
by
him
that
comes
on
,
that
does
not
make
an
union
of
Scenes
,
except
he
that
comes
on
,
comes
with
an
Intention
to
look
for
him
that
goes
off
.
Some
of
our
Moderns
have
fail'd
in
this
,
in
withdrawing
their
Actors
for
fear
of
being
seen
by
the
comers
on
,
when
the
New
Actor
had
no
Intention
to
look
for
him
that
went
off
;
for
in
this
,
far
from
being
an
union
of
Seeking
,
it
is
rather
one
of
avoiding
,
and
so
the
Scenes
would
be
united
by
the
very
Actor
who
broke
them
.
The
Union
of
Noise
is
,
when
upon
some
Noise
which
is
made
upon
the
Stage
,
an
Actor
,
who
probably
might
hear
it
,
comes
to
know
the
cause
,
and
finds
no
body
upon
the
Stage
,
that
Scene
made
by
him
is
very
well
united
to
that
which
was
made
by
those
who
went
off
,
since
the
Stage
does
not
remain
without
Action
,
and
that
a
Chorus
or
Musick
could
not
be
brought
in
without
interrupting
the
Sequel
of
the
Story
.
Plautus
has
many
Examples
of
that
.
As
for
the
last
which
is
made
by
Time
,
't
is
when
an
Actor
,
who
has
nothing
to
do
with
those
who
go
off
the
Stage
,
comes
on
,
but
in
such
a
nick
of
time
,
that
he
could
not
reasonably
be
suppos'd
to
do
it
sooner
or
later
.
We
have
a
precise
Example
of
this
in
the
Eunuchus
of
Terence
,
in
the
third
Act
where
Antipho
,
who
has
nothing
to
do
with
Chremes
,
nor
those
who
go
off
the
Stage
,
says
,
That
he
is
in
much
trouble
not
to
find
Chaerea
,
who
was
that
day
to
take
care
of
the
Dinner
for
a
Club
of
young
men
,
that
the
hour
of
the
Assignation
was
pass'd
,
and
that
he
is
going
to
look
him
,
and
so
popt
upon
him
.
Now
't
is
most
certain
Antipho
comes
on
naturally
at
the
due
time
,
and
that
Chaerea
had
fail'd
by
being
taken
up
in
the
Intrigue
,
in
which
Parmeno
had
ingag'd
him
by
making
him
pass
for
an
Eunuch
,
with
a
young
Woman
that
he
was
in
love
with
.
Yet
I
must
say
this
,
that
this
Union
of
Scenes
,
except
it
be
done
with
very
natural
Colours
,
and
great
Exactness
,
is
not
to
be
much
practis'd
.
Some
have
put
the
Question
,
What
ought
to
be
the
number
of
Scenes
in
each
Act
?
The
Poet
must
use
in
that
his
own
Judgment
;
if
there
be
very
few
,
the
Act
will
want
variety
;
if
there
be
many
,
and
short
,
the
Act
will
be
perplex'd
;
there
will
be
little
said
,
and
much
confusion
.
But
we
must
observe
that
Comedy
endures
many
more
Scenes
than
Tragedy
,
as
being
more
active
,
and
less
engaged
in
great
passions
which
take
up
time
.
The
Antients
have
sometimes
made
up
an
Act
of
one
single
Scene
,
but
I
do
think
that
taedious
,
and
much
more
when
as
in
Seneca
there
is
but
one
Actor
for
that
Scene
.
I
think
in
Tragedy
there
ought
to
be
at
least
three
Scenes
in
an
Act
,
and
that
if
there
be
above
eight
,
it
cannot
please
;
I
believe
experience
will
justifie
this
ghess
of
mine
.
I
shall
now
add
here
a
thing
,
which
it
would
be
difficult
for
me
to
place
any
where
else
with
more
order
,
which
is
a
difficulty
which
has
often
puzzled
our
best
Poets
;
and
I
shall
at
the
same
time
shew
them
how
to
avoid
it
.
It
happens
then
very
ordinarily
in
Drammatick
Poems
,
that
to
give
a
foundation
to
some
things
which
are
to
be
spoke
,
or
to
clear
some
others
which
have
been
said
already
,
there
is
a
necessity
of
doing
it
in
a
Theatral
way
,
and
by
consequent
by
an
Actor
,
but
as
often
some
other
of
the
Actors
are
not
to
know
or
hear
of
it
;
it
is
then
necessary
to
make
a
new
Scene
,
to
drive
off
those
who
are
to
be
ignorant
of
the
thing
,
and
to
bring
on
others
who
may
speak
of
it
;
and
this
I
call
a
Scene
of
Necessity
,
when
it
precedes
what
is
to
be
done
;
and
a
Scene
of
Esclaircissement
,
or
clearing
,
when
it
follows
,
and
takes
away
any
mistake
or
confusion
that
might
have
been
:
But
it
is
good
to
observe
,
that
such
Scenes
,
being
as
it
were
independent
and
loose
,
they
break
the
Union
of
the
others
,
and
often
make
the
Stage
dull
;
both
which
to
avoid
,
I
think
we
may
take
this
Method
.
First
,
To
chuse
the
person
that
is
to
speak
upon
this
occasion
,
and
the
place
where
the
Speech
shall
be
;
all
that
depends
on
the
Poets
Judgment
,
who
to
gain
Observations
,
may
read
Plautus
and
Terence
;
both
which
have
many
of
these
Scenes
;
and
for
those
of
Necessity
,
sometimes
they
are
in
the
beginning
of
the
Play
,
as
Sosia
in
Andria
,
and
Geta
in
Hecyra
,
where
both
these
Slaves
are
of
those
Actors
whom
we
call
Protatick
,
who
appear
only
at
the
opening
of
the
Stage
,
to
give
intelligence
about
the
Subject
of
the
Play
;
and
this
way
is
not
to
be
us'd
without
great
dexterity
.
As
for
that
dulness
which
such
Scenes
bring
along
with
them
when
they
are
not
in
the
beginning
,
but
in
the
body
of
the
Poem
,
it
must
be
corrected
,
by
making
the
Discourse
of
him
that
speaks
eager
and
quick
,
which
cannot
be
done
but
by
great
Figures
,
such
as
Admiration
,
Exclamation
,
&c.
or
by
some
motions
of
fear
or
joy
strongly
expressed
;
for
else
,
though
the
thing
which
is
expressed
be
necessary
,
yet
it
will
be
cold
and
dull
,
without
any
grace
,
because
there
will
be
a
plain
affectation
,
which
is
the
greatest
fault
a
Poet
can
fall
into
.
As
for
the
coming
off
of
such
Scenes
,
which
is
often
very
troublesom
,
he
may
avoid
it
by
introducing
in
the
beginning
of
an
Act
the
person
whom
he
intends
to
employ
in
any
such
Scene
,
provided
that
may
appear
probable
,
and
consist
with
the
following
Scenes
;
or
else
he
may
retain
at
the
end
of
an
Act
one
or
two
persons
to
this
end
.
But
the
most
refin'd
way
of
performing
this
is
,
to
do
it
in
the
middle
of
an
Act
by
some
body
retain'd
on
purpose
to
unite
the
following
Scene
;
and
who
in
that
interval
of
time
makes
alone
a
Scene
of
Necessity
,
or
of
Esclaircissement
,
by
taking
occasion
to
speak
of
the
different
concerns
of
the
Actors
,
who
are
gone
off
,
or
of
those
who
are
to
come
on
;
for
this
way
neither
the
person
,
nor
the
thing
,
are
affected
,
and
the
Scenes
are
not
broken
,
and
the
Stage
being
warm'd
by
the
passions
of
those
who
are
gone
off
,
is
kept
so
easily
by
those
who
are
to
come
on
next
.
In
all
this
nevertheless
I
leave
the
Judicious
Poet
his
liberty
,
only
I
have
thought
fit
to
warn
him
of
these
Inconveniencies
.
Chapter
the
Thirteenth
.
Of
Spectacles
,
Machines
,
and
Decorations
of
the
Stage
.
HAving
treated
at
length
in
my
Terence
justified
about
the
construction
of
the
Theatres
of
the
Antients
;
together
with
the
Decorations
,
Ornaments
and
Machines
,
which
were
employed
in
the
Representation
of
their
Drammatick
Poems
,
I
can
say
little
here
that
's
new
upon
that
Subject
;
therefore
I
shall
not
repeat
any
of
it
here
,
my
design
being
only
to
instruct
the
Poet
,
and
not
the
Decorator
;
but
some
Advertisements
may
not
be
amiss
to
the
first
,
to
teach
him
some
ways
how
to
add
some
external
Ornaments
to
the
Inventions
of
his
Brain
,
to
make
them
appear
with
more
grace
and
perfection
.
'T
is
certain
that
the
Ornaments
of
the
Stage
with
the
Scenes
.
Machines
,
and
Decorations
,
make
the
most
sensible
delight
of
that
ingenious
Magick
which
seems
to
make
Hero's
live
again
in
the
world
after
so
many
Ages
;
it
sets
before
us
a
new
Heaven
,
and
a
new
Earth
,
and
many
other
wonderful
appearances
of
things
which
we
imagine
present
,
though
we
know
at
the
same
time
that
they
are
not
so
,
and
that
we
are
agreeably
deceiv'd
:
These
Ornaments
make
the
Poems
themselves
more
illustrious
;
the
people
takes
them
for
Enchantments
,
and
the
men
of
understanding
are
pleas'd
to
see
the
dexterity
of
the
Artists
(
who
deservedly
attract
admiration
)
with
the
concurrence
of
so
many
Arts
and
Professions
employed
in
the
Execution
of
these
contrivances
,
to
which
all
run
with
joy
and
delight
.
It
was
for
this
that
the
People
of
Greece
and
Rome
,
though
as
Martial
as
Learned
and
Ingenious
,
did
bestow
the
richest
Decorations
upon
their
Theatres
;
there
one
might
see
the
Heavens
open
,
where
appear'd
their
Imaginary
Gods
descending
to
converse
with
Men
;
the
Air
was
often
full
of
the
noise
of
Thunder
and
Lightning
;
the
Sea
shew'd
Tempests
,
Shipwracks
,
Men
of
War
,
Gallys
,
and
Battles
:
The
Earth
did
not
only
produce
Gardens
,
Deserts
,
and
Forrests
,
with
magnificent
Temples
and
Pallaces
,
but
it
often
opened
,
and
shew'd
flaming
Abyssus's
,
Mountains
came
out
of
its
bosom
,
Furies
,
Daemons
,
and
all
the
Prodigies
of
their
fabulous
Hell
:
In
a
word
,
the
Objects
of
the
diversion
of
these
People
were
taken
from
all
the
supernatural
Effects
of
the
Divinity
,
the
Miracles
of
Nature
,
the
Master-pieces
of
Art
,
and
all
the
beautiful
contrivances
that
Imagination
could
form
for
the
adorning
their
Theatre
.
Their
Magistrates
always
strove
to
surpass
one
another
in
these
magnificencies
,
and
the
People
gave
the
highest
dignities
of
their
Government
at
this
price
:
therefore
the
Poets
,
who
saw
that
in
the
fortune
of
great
Men
there
always
was
,
and
would
be
a
fund
for
these
Illustrious
Expences
,
did
not
spare
to
fill
their
Poems
with
Incidents
,
where
the
richest
Artifices
were
employed
;
and
the
Workmen
were
pleas'd
in
adding
their
labour
and
contrivance
to
acquire
those
riches
and
fame
which
certainly
attended
the
success
of
their
undertakings
.
But
for
our
times
,
though
the
Court
does
not
dislike
these
Ornaments
,
and
that
the
People
crowd
to
see
them
,
yet
I
would
not
advise
our
Poet
to
busy
himself
much
in
these
machine
Plays
;
our
Players
are
neither
Rich
,
nor
Generous
enough
to
make
the
Expence
of
them
,
and
their
Decorators
want
ability
in
the
performance
;
I
must
add
that
our
Authors
themselv's
have
been
so
negligent
in
acquiring
the
knowledge
of
the
Ancients
ways
in
this
matter
,
and
in
their
means
of
Execution
,
that
we
need
not
wonder
if
we
see
so
many
ill
Invented
Embellishments
of
this
kind
.
Yet
one
would
think
that
our
Age
,
as
soon
as
any
might
recover
the
pristine
glory
of
the
Theatre
,
considering
the
Liberality
of
our
Princes
,
the
Application
of
our
Poets
,
the
Ingenuity
of
our
Workmen
,
and
the
Care
of
our
Comedians
,
and
that
which
we
have
seen
already
perform'd
in
this
Kingdom
,
is
,
it
may
be
,
but
a
pattern
of
what
we
may
expect
in
the
plenty
of
Peace
.
Therefore
that
we
may
not
be
wanting
to
any
thing
that
may
contribute
to
the
accomplishment
of
so
great
a
work
,
I
shall
here
communicate
some
Observations
upon
publick
Spectacles
and
Machines
,
which
I
hope
will
be
of
some
use
.
I
consider
all
publick
Spectacles
and
Decorations
of
the
Scene
three
ways
.
Some
are
of
things
;
when
the
Spectacles
are
permanent
and
immovable
;
as
a
Heaven
open
,
a
stormy
Sea
,
a
Pallace
,
or
the
like
Ornaments
.
Others
are
of
Actions
;
when
the
Spectacle
depends
principally
upon
some
extraordinary
Fact
;
as
that
one
should
throw
himself
headlong
from
a
Tower
,
or
from
a
Rock
in
the
Sea
.
The
Third
sort
is
of
those
that
are
mingled
with
Things
and
Actions
,
as
a
Sea-fight
,
where
at
the
same
time
is
the
Sea
and
Ships
,
and
Men
acting
upon
it
.
These
may
be
all
further
distinguished
into
natural
,
artificial
,
and
marvellous
.
The
Natural
ones
are
those
which
represent
the
most
agreeable
things
in
Nature
,
as
a
Desert
,
a
Mountain
on
fire
,
&c.
The
Artificial
are
those
which
shew
us
the
most
magnificent
works
of
Art
,
as
a
Temple
,
a
Pallace
.
The
Marvellous
are
those
which
suppose
some
Divine
Power
or
Magick
Production
,
as
the
descent
of
some
God
from
Heaven
,
or
the
rising
of
some
Fury
from
Hell
.
And
of
all
these
,
the
least
considerable
are
the
last
,
because
there
goes
little
contrivance
to
the
inventing
of
them
,
there
being
hardly
any
wit
so
mean
,
who
by
this
may
not
bring
in
,
or
carry
off
a
great
Intrigue
.
I
saw
once
a
Play
,
in
which
the
Author
having
brought
on
a
Rival
,
and
concern'd
him
so
deeply
in
his
Subiect
,
that
he
did
not
well
know
how
to
bring
him
off
,
bethought
himself
to
kill
him
with
a
Thunderbolt
;
the
contrivance
was
pretty
sure
;
but
if
this
sort
of
Invention
be
admitted
in
Dramma's
,
we
need
not
much
trouble
our selves
to
wind
up
the
Plot
any
other
way
;
therefore
all
these
Machines
of
Gods
and
Devils
are
to
be
us'd
with
great
discretion
,
and
great
care
to
be
taken
that
in
the
Execution
they
play
easily
,
for
else
the
people
are
apt
to
laugh
,
and
make
Railleries
of
a
God
hanging
in
the
Air
,
or
coming
down
too
fast
.
I
should
not
likewise
advise
our
Poet
to
use
frequently
those
,
where
Actions
are
to
make
the
greatest
Effect
,
because
that
all
the
success
depends
upon
the
Exactness
of
the
Comedians
,
who
are
often
so
negligent
in
the
performance
,
that
they
will
neither
study
the
manner
,
nor
time
necessary
;
or
else
they
are
so
possessed
with
an
Opinion
of
their
Abilities
,
that
they
think
it
beneath
them
to
be
inform'd
;
so
that
either
their
Idleness
,
or
their
Vanity
,
most
commonly
spoils
that
which
was
well
invented
,
and
ought
to
have
made
the
beauty
of
the
Play
.
That
which
remains
then
is
the
permanent
Decorations
,
of
what
nature
soever
they
are
;
and
to
these
I
would
confine
the
Poet
,
but
still
with
many
Precautions
:
For
,
First
,
They
are
to
be
necessary
,
insomuch
as
the
Play
cannot
be
acted
without
these
Ornaments
;
or
else
they
will
not
take
,
though
never
so
ingenious
.
And
in
this
,
I
think
,
our
Andromeda
has
not
all
its
Regularity
;
for
in
the
First
and
Fourth
Act
there
are
two
noble
Buildings
,
of
different
Architecture
,
and
no
mention
made
of
them
in
the
Play
;
since
these
two
Acts
might
be
represented
with
any
of
the
Decorations
of
the
other
three
,
without
offending
the
Poet
,
or
spoiling
any
Incident
of
his
Dramma
.
Secondly
,
These
Ornaments
must
be
agreeable
to
the
Sight
;
for
't
is
for
that
,
that
the
People
flock
to
them
.
Not
that
I
would
absolutely
forbid
the
Poet
to
put
in
things
monstrous
or
horrible
;
but
at
least
then
the
Painting
must
be
exquisite
,
that
the
Art
may
be
admir'd
.
They
must
likewise
be
modest
,
and
not
against
that
Pudour
which
the
most
dissolute
love
the
appearances
of
.
I
believe
that
the
shewing
of
Mars
and
Venus
surpris'd
in
a
Net
by
Vulcan
,
would
not
be
allowed
for
a
fine
Decoration
.
They
must
,
besides
,
be
easie
to
put
in
execution
;
that
is
,
that
the
Machinists
do
dispose
their
Machins
to
play
so
well
,
that
there
may
be
no
need
of
great
numbers
of
Hands
,
but
they
do
of
themselves
perform
to
a
Minute
;
for
the
People
cannot
endure
to
expect
long
the
Effect
of
a
Machin
,
and
when
they
do
not
hit
the
Minute
,
they
do
not
agree
with
the
Motion
and
Pretence
of
the
Actor
upon
the
Stage
,
and
so
spoil
his
Part.
It
will
likewise
be
reasonable
to
consider
,
whether
the
Place
represented
by
the
Scene
,
will
bear
in
truth
that
which
is
to
be
shewed
in
Image
;
for
else
it
would
be
a
gross
Fault
against
Probability
:
For
example
,
If
the
place
of
the
Scene
were
a
Palace
,
and
that
close
to
it
were
a
Prison
,
or
some
noisom
place
;
for
Princes
and
Great
People
do
not
live
near
such
places
.
There
must
not
likewise
be
any
Decorations
made
which
are
not
agreeable
to
the
Unity
of
Place
;
as
to
suppose
the
Scene
the
Palace
or
Chamber
of
a
Prince
,
out
of
which
there
should
be
an
immediate
Passage
to
a
great
Forest
:
For
all
these
Fictions
,
though
pleasing
to
the
Eye
,
yet
are
otherwise
,
to
our
Reason
,
which
knows
them
to
be
false
,
impossible
,
and
ridiculous
.
But
particularly
,
the
Poet
must
so
order
it
,
as
that
out
of
this
Shew
and
Decoration
some
notable
Event
may
result
in
the
Body
of
the
Play
;
that
is
,
something
that
may
contribute
either
to
the
perplexing
of
the
Plot
,
or
the
easier
unweaving
of
it
;
for
if
all
this
Shew
is
onely
for
shew
,
and
not
of
the
Essence
of
the
Piece
,
the
Men
of
Understanding
will
value
the
Decorator
for
executing
,
but
not
the
Poet
for
inventing
so
useless
an
Ornament
.
In
the
Rudens
of
Plautus
,
the
Shipwrack
that
is
there
represented
,
makes
both
the
Knot
and
the
Unweaving
of
the
Intrigue
.
The
Frogs
of
Aristophanes
have
a
vast
Decoration
,
which
serves
to
all
the
Acts
,
and
almost
to
all
the
Scenes
.
And
we
shall
find
few
among
the
Ancients
,
but
what
agree
with
our
Rules
.
I
cannot
omit
here
to
advertise
the
Poet
of
two
important
Considerations
:
The
first
that
regards
himself
,
which
is
,
That
when
the
Spectacles
are
of
Things
,
that
is
,
of
Permanent
Objects
,
they
must
,
if
possible
,
appear
at
the
first
opening
of
the
Stage
,
to
the
end
that
the
Surprise
and
Applause
of
the
People
,
which
generally
attends
such
Sights
,
may
be
over
,
before
the
Actors
begin
to
speak
:
or
,
that
if
there
be
any
necessity
of
changing
the
Decorations
,
let
it
be
done
in
the
Interval
of
an
Act
,
that
the
Workmen
may
have
the
time
necessary
for
their
Machins
moving
,
and
the
Actor
that
is
to
appear
,
that
of
dressing
himself
at
leisure
.
But
if
,
by
the
necessity
of
his
Subject
,
some
great
Change
is
to
be
in
the
middle
of
an
Act
,
let
him
contrive
his
Actors
Part
so
,
as
he
have
but
little
to
say
at
that
time
,
and
those
too
Words
of
Admiration
,
Grief
,
or
Astonishment
,
to
give
some
time
to
the
Murmur
of
the
Spectators
,
which
is
always
rais'd
upon
some
such
new
Appearance
.
The
other
Consideration
regards
the
Comedians
;
which
is
,
when
the
Spectacles
consist
of
Actions
:
that
is
,
when
the
Actors
are
to
be
in
some
posture
extraordinary
:
The
Actor
,
I
say
,
must
study
this
Posture
with
care
,
before
he
comes
to
act
it
upon
the
Stage
;
or
else
't
is
odds
but
he
performs
it
very
ill
and
not
without
danger
sometimes
to
himself
:
all
which
does
not
a
little
trouble
the
Beauty
of
the
whole
Piece
.
THE
ART
OF
THE
STAGE
.
Book
the
Fourth
.
Chapter
the
First
.
Of
the
Quantitative
Parts
of
the
Drammatick
Poem
,
and
particularly
of
the
Prologue
.
THE
Drammatiek
Poem
is
so
chang'd
since
the
time
of
Aristotle
,
that
though
we
should
make
an
Allowance
for
his
Translators
and
Intepreters
Errours
,
yet
we
think
we
have
great
reason
not
to
be
altogether
of
his
mind
,
particularly
in
the
Matter
of
which
we
are
going
to
treat
.
He
writes
,
That
Tragedy
has
Four
parts
of
Quantity
,
to
wit
,
the
Prologue
,
the
Chorus
,
the
Episode
,
and
the
Exode
;
and
to
make
them
the
more
intelligible
,
he
defines
three
of
them
thus
.
The
Prologue
(
says
he
)
is
that
part
of
the
Tragedy
which
is
before
the
Entrance
of
the
Chorus
.
The
Episode
is
all
that
is
between
the
two
Cantos
of
the
Chorus
.
And
the
Exode
is
that
part
after
which
the
Chorus
sings
no
more
.
This
I
cannot
conceive
to
be
true
,
according
to
the
present
state
of
the
Greek
Tragedies
;
neither
can
I
allow
,
that
Aristotle
has
well
distinguish'd
the
parts
of
Tragedy
as
it
was
in
his
time
,
at
least
according
to
the
Works
of
those
three
excellent
Tragick
Poets
which
have
been
transmitted
to
us
.
To
understand
this
aright
,
let
us
begin
with
the
Prologue
,
and
consider
how
many
sorts
of
Prologues
there
were
among
the
Ancients
.
The
first
sort
was
of
those
which
were
made
for
the
Interest
of
the
Poet
,
either
in
answering
the
Invectives
of
his
Adversaries
,
or
in
expounding
his
Proceeding
in
the
Play
.
Many
of
this
kind
are
to
be
found
in
Plautus
and
Terence
,
particularly
in
the
last
;
which
made
some
say
,
as
he
himself
relates
,
That
without
the
Reproaches
and
Cavils
of
the
old
Poet
,
the
new
one
would
not
have
known
what
Subject
to
have
taken
for
his
Prologues
.
There
were
other
Prologues
that
regarded
the
Interest
of
the
Comedians
,
either
to
obtain
the
Judges
or
the
Peoples
Favour
,
or
to
bespeak
their
Attention
.
Such
is
that
of
the
Pseudolus
of
Plautus
,
and
some
others
.
There
are
some
likewise
which
make
a
Mixture
of
the
Subject
of
the
Play
,
with
the
Poets
or
Comedians
Interest
;
and
this
was
indeed
the
most
ordinary
one
with
Plautus
,
as
appears
in
his
Captives
,
his
Paenulus
,
and
his
Menechmes
.
Now
these
three
sorts
of
Prologues
were
particular
to
Comedy
;
for
we
meet
with
none
such
among
the
Tragick
Poets
;
neither
do
I
think
,
that
if
they
had
us'd
them
,
that
Aristotle
would
have
reckon'd
these
sort
of
Prologues
amongst
the
Parts
of
Quantity
of
a
Tragedy
;
for
they
are
things
by
themselves
which
may
be
omitted
,
without
injuring
the
Poem
,
or
otherwise
lessening
its
true
Proportion
.
'T
is
for
this
reason
that
the
Learned
Vossius
says
,
That
the
Prologues
of
Comedy
and
Tragedy
are
very
different
,
because
in
Comedy
the
Prologue
is
as
it
were
alien
to
the
Subject
;
but
in
Tragedy
it
is
incorporated
with
it
,
and
makes
a
part
of
it
.
And
yet
I
must
say
,
That
I
think
he
is
mistaken
in
both
;
for
sometimes
in
Comedy
the
Prologue
is
fix'd
to
the
Body
of
the
Poem
,
as
in
the
Cistellaria
of
Plautus
,
where
it
contains
three
Scenes
:
and
,
on
the
other
side
,
the
Tragedian
Prologues
are
not
always
so
twisted
with
the
Subject
,
as
to
make
a
part
of
it
.
The
first
and
most
ordinary
Prologues
of
the
Greek
Tragedies
were
made
by
one
of
the
Chief
Actors
,
who
came
and
explain'd
to
the
Spectators
all
that
had
passed
in
the
Story
before
the
opening
of
the
Stage
.
We
have
of
this
sort
divers
in
Euripides
,
where
the
Actor
having
done
this
,
ends
with
some
Verses
which
give
a
beginning
to
the
Action
of
the
Poem
.
But
it
cannot
be
said
,
that
these
Prologues
make
a
part
of
the
Tragedy
;
first
,
because
they
are
Discourses
made
to
the
Spectators
,
and
by
consequent
,
faulty
,
by
mingling
the
Representation
with
the
Theatral
Action
:
Neither
are
they
necessary
,
because
those
things
which
precede
the
beginning
of
the
Play
,
ought
to
be
dexterously
told
in
the
Play
,
in
different
parts
of
it
;
and
this
Aeschylus
and
Sophocles
always
observe
.
So
that
it
is
most
certain
,
that
these
Prologues
,
which
contain
the
Argument
of
the
Play
,
are
useless
,
defective
,
and
may
be
easily
separated
from
it
.
And
therefore
we
do
not
see
that
Monsieur
Corneille
,
whom
I
always
cite
as
a
great
Master
for
the
Stage
,
has
ever
us'd
so
ill
an
Artifice
;
and
I
cannot
but
condemn
those
French
and
Italians
who
have
had
recourse
to
it
.
Euripides
makes
another
sort
of
Prologue
,
more
faulty
and
defective
still
;
to
wit
,
when
he
employs
some
of
the
Gods
to
explain
,
by
his
Omniscience
,
not
onely
all
that
was
pass'd
,
but
things
to
come
in
the
Play
,
even
to
the
Catastrophe
;
by
which
means
all
the
Events
were
forestall'd
,
than
which
there
could
not
be
a
greater
Fault
,
since
it
destroys
all
that
Expectation
and
Suspension
which
makes
the
Surprise
and
Novelty
of
the
Play
.
Now
I
do
not
think
that
Aristotle
means
this
sort
of
Prologue
neither
,
when
he
says
't
is
a
Quantitative
part
of
the
Dramma
.
The
two
sorts
of
Prologue
which
remain
for
us
to
consider
,
seem
to
agree
better
with
Aristotle's
Definition
:
The
Prologue
,
says
he
,
is
that
part
of
the
Tragedy
which
precedes
the
arrival
of
the
Chorus
upon
the
Stage
:
By
which
he
seems
rather
to
teach
us
the
Place
of
the
Prologue
,
than
its
Nature
:
And
according
to
this
Definition
,
those
Tragedies
that
begin
with
the
Chorus
,
have
no
Prologue
:
Such
are
the
Rhaesas
,
the
Persians
,
and
the
Suppliants
of
Euripides
;
and
by
consequent
,
according
to
this
Doctrine
,
they
have
not
their
due
Proportion
,
being
depriv'd
of
their
first
Quantitative
part
:
(
And
by
the
by
,
we
may
by
this
discover
the
Mistakes
of
those
who
have
given
us
Arguments
and
Preambles
upon
these
Greek
Tragedies
)
for
they
say
at
the
beginning
of
these
three
Plays
which
I
now
mention'd
,
That
the
Chorus
makes
the
Prologue
;
for
since
the
Prologue
,
according
to
Aristotle
,
ought
to
contain
all
that
is
said
before
the
Chorus
comes
on
;
't
is
impossible
for
the
Chorus
to
make
the
Prologue
;
or
if
the
Chorus
could
make
the
Prologue
,
then
Aristotles
definition
is
good
for
nothing
:
But
now
let
us
come
to
these
two
last
sorts
of
Prologues
.
One
of
them
did
use
to
contain
in
three
or
four
Scenes
made
before
the
coming
on
of
the
Chorus
,
some
things
which
concern'd
the
Theatral
Action
,
but
which
in
truth
were
not
necessary
parts
of
the
Poem
.
We
have
two
Examples
of
this
in
the
Phoenicians
,
and
in
the
Medaea
of
Euripides
.
In
the
first
Antigone
appears
upon
the
Walls
of
Thebes
,
with
her
Governour
,
who
shews
her
the
Army
of
the
besieging
Princes
,
with
some
Discourses
about
the
Commanders
of
it
,
and
this
in
some
sort
does
regard
the
Dramma
,
but
does
not
in
rigour
make
a
part
of
it
;
and
the
Author
of
the
Argument
says
expresly
,
that
all
that
Antigonus
does
upon
the
Walls
of
the
Town
,
is
absolutely
out
of
the
Theatral
Action
.
In
the
other
Tragedy
Medaea's
Children
appear
with
their
Governour
,
to
whom
Medaea's
Nurse
recommends
them
,
expressing
some
fear
for
them
in
the
fury
and
rage
of
Medaea
against
Joson
their
Father
;
and
this
at
first
seems
to
belong
to
the
Subject
,
but
yet
it
makes
no
part
of
the
Dramma
;
for
if
you
begin
the
Play
just
after
the
first
Chorus
,
you
will
not
miss
any
thing
in
it
;
and
therefore
in
both
these
Plays
the
Prologues
are
not
inseparable
from
the
body
of
the
Dramma
;
and
that
which
may
still
contribute
to
convince
us
of
this
is
,
that
in
these
Prologues
the
Poets
often
put
things
which
were
inconsistent
with
the
Rules
of
the
Stage
;
as
in
the
Agamemnon
of
Aeschylus
,
where
one
of
the
Guard
that
speaks
the
Prologue
seems
to
see
things
which
could
not
come
to
pass
in
the
time
prescrib'd
by
the
Drammatick
Poem
;
and
if
this
Prologue
were
to
be
suppos'd
part
of
the
Play
,
it
would
make
it
defective
,
and
against
all
the
Rules
.
The
other
sort
of
Prologue
plac'd
before
the
Chorus
,
contain'd
not
only
such
things
as
regarded
the
Poem
,
but
such
also
as
were
proper
,
and
incorporated
with
its
Subject
,
making
a
true
part
of
it
;
as
in
the
Sphigenia
in
Aulide
,
where
the
disquiet
of
Agamemnon
,
and
the
Narration
he
makes
to
an
old
Man
,
whom
he
sends
his
Letters
by
,
to
his
Wife
,
do
certainly
begin
the
Play
,
and
make
an
inseparable
part
of
the
Subject
;
and
if
the
definition
that
Aristotle
gives
of
Prologues
can
be
reduc'd
to
any
rational
meaning
,
it
must
be
to
this
sort
of
Prologue
;
but
yet
I
cannot
understand
neither
why
this
must
be
call'd
a
Prologue
sooner
than
any
other
part
of
the
Play
;
't
is
properly
an
Episode
,
and
its
being
before
or
after
the
Chorus
changes
nothing
in
its
nature
,
but
only
alters
its
place
;
and
this
,
in
my
Judgment
,
is
not
enough
to
make
a
just
and
true
distinction
of
the
parts
of
a
Dramma
,
who
ought
to
have
more
Essential
difference
between
each
other
.
My
Conclusion
then
is
,
that
that
which
is
properly
Prologue
,
cannot
be
reckon'd
a
part
of
the
Play
;
and
that
which
is
a
part
of
the
Play
can
no
more
be
nam'd
a
Prologue
,
than
the
other
Episodes
that
compose
the
Play
.
If
in
opposition
to
this
any
one
shall
say
,
that
in
the
beginning
of
all
the
Tragedys
of
Sophocles
and
Aeschylus
,
we
meet
with
the
same
word
that
is
in
Euripides
(
and
which
signifies
to
speak
a
Prologue
)
though
neither
of
these
Poets
design'd
a
Prologue
,
except
Sophocles
in
his
Electra
,
and
Aeschylus
in
his
Agamemnon
)
I
say
,
that
is
not
so
much
to
be
minded
,
because
the
words
signifie
likewise
to
speak
first
,
and
are
so
translated
in
the
Latine
Version
;
and
this
may
serve
to
avoid
a
mistake
upon
this
Subject
.
As
for
the
Chorus
,
of
which
Aristotle
makes
the
second
part
of
Tragedy
,
it
must
be
consider'd
in
two
different
states
;
the
first
is
,
when
the
Chorus
speaks
with
the
other
Actors
in
an
Episode
,
or
the
continuation
of
an
Act
,
for
then
the
Chorus
is
perfectly
an
Actor
concern'd
,
and
working
in
the
Intrigues
of
the
Stage
,
according
to
the
Doctrine
of
Aristotle
and
Horace
;
and
in
this
sense
the
Chorus
can
in
no
wise
be
counted
a
distinct
part
of
the
Play
.
The
other
state
in
which
we
are
to
consider
the
Chorus
is
,
Aristotles
Exodus
,
or
last
part
of
Tragedy
,
is
not
,
in
my
Opinion
,
any
whit
better
distinguish'd
;
for
if
the
Exodus
contains
all
that
is
said
after
the
Chorus
gives
over
,
From
all
this
that
we
have
said
,
it
appears
that
either
Aristotle
did
not
explain
himself
well
in
his
Definitions
,
or
that
those
Plays
which
we
have
of
the
Greek
Poets
,
did
not
serve
him
for
the
Rules
of
his
Poeticks
;
so
that
of
those
four
parts
of
quantity
of
Tragedy
,
of
which
Aristotle
makes
mention
,
we
have
but
one
left
,
which
alone
makes
up
our
whole
Tragedy
,
and
that
is
the
Episode
;
for
since
the
Episode
contain'd
all
that
was
between
the
Antient
Chorus's
,
and
that
our
musick
with
which
we
begin
and
end
our
plays
is
to
us
in
the
place
of
the
Ancient
Chorus's
,
it
is
manifest
,
that
five
Episodes
make
our
five
Acts
;
but
because
we
divide
our
Acts
into
Scenes
,
and
that
we
separate
our
Acts
by
a
considerable
distance
of
time
,
necessary
to
the
Theatral
Action
,
I
therefore
think
that
a
Drammatick
Poem
can
be
properly
said
to
have
but
two
parts
of
quantity
,
to
wit
,
Five
Acts
subdivided
into
Scenes
,
without
any
limited
number
;
and
the
four
Intervals
of
those
Acts.
If
any
one
else
has
more
light
to
shew
us
other
parts
,
I
shall
easily
subscribe
to
this
Opinion
.
Chapter
the
Second
.
Of
Episodes
according
to
the
Doctrine
of
Aristotle
.
TO
understand
this
matter
well
,
Bacchus
having
found
out
the
Art
of
cultivating
the
Vine
,
and
making
Wine
,
taught
it
Icarius
,
who
then
was
Master
of
a
little
Territory
in
Attica
,
to
which
he
gave
his
name
.
Icarius
having
presently
put
his
Skill
to
tryal
,
met
with
a
Goat
in
the
Vintage
time
,
that
was
eating
his
Grapes
,
therefore
looking
upon
him
as
an
Enemy
to
Bacchus
,
sacrificed
him
to
him
;
and
having
call'd
his
neighbours
to
this
Sacrifice
,
they
all
together
fell
a
dancing
and
singing
something
in
the
honour
of
Bacchus
,
The
Athenians
having
in
process
of
time
transferr'd
this
Ceremony
to
their
Town
;
their
best
Poets
began
to
be
concern'd
in
the
Hymn
to
Bacchus
,
and
to
strive
with
one
another
for
the
honour
of
excelling
in
it
.
They
brought
in
besides
great
Chorus's
of
Musick
and
Dances
,
with
many
turnings
and
windings
,
and
so
transferr'd
it
from
the
Temples
to
the
Theatres
,
without
any
irreverence
;
nevertheless
,
because
those
very
Theatres
were
dedicated
to
Bacchus
,
and
the
Victim
that
was
sacrificed
to
him
,
was
a
Goat
,
as
destructor
of
the
Vine
;
from
whence
this
Hymn
was
called
Tragedy
,
Country
Song
:
Thus
were
distinguish'd
these
two
Poems
,
though
they
had
the
same
beginning
in
the
same
Country
of
Icaria
,
and
by
the
same
adventure
,
according
to
Athenaeus
,
of
whose
Opinion
are
Donatus
Maximus
of
Tyr
,
and
Eustathius
.
Now
it
happening
that
by
little
and
little
the
Subjects
that
the
Poets
took
to
praise
Bacchus
,
being
exhausted
,
they
were
forc'd
to
add
little
Stories
or
Fables
,
which
they
handled
merrily
at
first
,
in
honour
of
Bacchus
.
To
confirm
this
,
Aristotle
writes
,
that
from
little
Fables
made
with
mirth
and
fooling
,
Tragedy
rose
by
degrees
to
that
perfection
it
acquir'd
in
Sophocles
time
.
Some
are
of
Opinion
that
Epigenes
the
Sycionian
was
the
Author
of
Tragedy
,
whether
it
were
that
he
first
brought
the
Song
from
the
Vintage
to
the
Town
,
or
that
he
first
instituted
the
Dispute
between
the
Poets
,
in
which
the
Conquerour
receiv'd
for
reward
the
Goat
that
was
sacrific'd
to
Bacchus
,
after
a
formal
Procession
;
the
Ceremony
of
which
describ'd
by
Plutarch
,
was
simple
enough
at
first
,
though
much
alter'd
in
his
time
:
However
,
Tragedy
remain'd
a
great
while
in
the
same
state
;
for
between
this
Epigenes
and
Thespis
,
who
first
added
an
Act
to
this
Hymn
,
there
are
reckon'd
fourteen
famous
Tragick
Poets
,
almost
all
Successors
to
one
another
;
and
't
is
of
the
Tragedies
of
that
time
that
Diogenes
Laertius
is
to
be
understood
,
when
he
writes
in
the
Life
of
Plato
,
that
the
Chorus
formerly
acted
the
whole
Tragedy
.
These
words
at
first
did
extremely
puzzle
me
,
because
the
neglect
of
Chorus's
in
our
days
,
hinder'd
me
from
penetrating
the
true
sense
of
the
Author
.
I
consider'd
Tragedy
as
I
found
it
in
Sophocles
,
and
there
I
could
not
see
any
conformity
with
Laertius's
mind
;
and
all
I
could
then
imagine
in
order
to
make
something
of
it
was
,
that
they
that
made
the
Chorus
were
likewise
the
Histrions
and
Actors
of
the
Tragedy
:
But
besides
that
thereby
I
made
no
distinction
between
the
Histrions
who
were
Actors
,
and
the
Thymelicks
,
who
were
Musicians
,
against
all
truth
of
Antiquity
.
I
found
the
difficulty
still
grow
upon
me
,
when
I
read
in
Athenaeus
,
That
antiently
all
sort
of
Tragedy
was
compos'd
only
of
the
Chorus
,
and
had
no
Histrions
or
Actors
at
all
:
For
these
last
words
did
entirely
destroy
all
my
first
thought
,
neither
could
I
any
ways
relieve
my self
by
any
of
the
Interpreters
of
these
two
Authors
,
though
so
many
Learned
men
have
commented
them
,
without
saying
one
word
of
this
;
therefore
I
began
to
go
back
to
the
first
Original
of
things
,
and
considering
that
Tragedy
at
first
was
nothing
but
an
Hymn
of
the
Pagan
Religion
,
danc'd
and
sung
by
Chorus's
of
Musick
,
I
easily
found
the
solution
of
all
my
difficulties
;
for
't
is
most
certain
,
that
in
that
time
,
and
for
almost
six
hundred
years
after
Tragedy
was
represented
only
by
the
Chorus
,
as
Laertius
has
it
,
and
had
no
Actors
,
as
Athenaeus
truly
affirms
.
At
last
Thespis
bethought
himself
of
putting
in
an
Actor
,
who
should
recite
without
singing
,
that
the
Chorus
might
take
breath
,
and
rest
themselves
;
not
that
I
think
that
Actor
spoke
alone
,
but
he
made
a
Dialogue
with
the
Coryphoeus
,
or
some
other
person
of
the
Chorus
,
who
answer'd
him
something
to
the
purpose
,
to
give
him
Subject
to
continue
his
Discourse
,
as
we
may
yet
see
in
some
fragments
of
Epicharmus
,
who
liv'd
in
that
time
.
We
must
not
think
nevertheless
,
that
Thespis
was
the
Inventor
of
Tragedy
,
as
Horace
seems
to
believe
,
but
only
that
he
introduc'd
the
first
Actor
without
singing
.
And
Plato
tells
us
,
that
Tragedy
was
in
great
credit
in
Athens
long
before
Thespis's
time
.
And
as
for
what
is
said
also
of
him
,
That
he
carryed
his
Actors
about
in
a
Cart
,
from
whence
they
spoke
many
Railleries
and
witty
Jests
against
passengers
,
that
must
not
be
understood
of
serious
Tragedy
,
for
which
there
were
already
publick
Theaters
,
but
of
Satyrical
Tragedy
,
in
which
they
represented
the
Dances
,
and
grossest
postures
of
Satyrs
and
Silenes
,
who
were
suppos'd
to
have
accompany'd
Bacchus
in
his
Voyages
,
(
for
this
Satyrical
Tragedy
was
at
first
without
Actors
,
as
well
as
the
serious
one
,
according
to
Athenaeus
)
and
came
at
last
to
that
perfection
,
that
it
was
one
of
the
four
Poems
which
made
the
Tetralogy
of
Dramma's
,
in
which
the
Poets
of
Athens
disputed
the
Prize
at
their
four
great
Holidays
.
Thespis
likewise
added
to
his
Jests
and
Railleries
the
dawbing
of
his
Actors
with
Lees
of
Wine
,
as
Horace
has
it
;
At
last
Tragedy
having
receiv'd
a
total
alteration
,
by
Recitals
in
the
Intervals
of
the
Musick
,
it
acquir'd
shortly
after
its
utmost
Perfection
;
for
Aeschylus
,
who
liv'd
fifty
years
,
or
thereabouts
,
after
Thespis
,
added
one
Actor
more
,
and
so
made
up
two
Actors
:
and
indeed
we
never
see
more
than
two
,
in
any
Scene
of
his
,
talking
together
,
except
it
be
for
a
word
or
two
put
in
by
a
third
,
and
that
too
very
seldom
,
whatever
Scaliger
says
to
the
contrary
;
Heroes
.
Sophocles
who
was
born
Ten
or
Twelve
years
after
the
Death
of
Aeschylus
,
encreas'd
the
number
of
the
Chief
Actors
to
Three
,
and
caus'd
the
Scenes
to
be
painted
with
Decorations
fitting
for
his
Subject
.
So
that
in
less
than
Fourscore
years
Tragedy
attain'd
to
its
highest
perfection
,
with
all
the
Glory
of
which
it
was
capable
.
As
for
Comedy
,
Donatus
seems
to
think
it
was
invented
by
Shepherds
and
Country
People
,
who
us'd
to
dance
about
the
Altars
of
Apollo
sirnamed
Nomian
,
and
sing
at
the
same
time
some
Hymns
in
honour
of
him
;
but
I
had
rather
believe
Athenaeus
,
who
makes
it
take
its
rise
with
Tragedy
,
and
they
were
both
consecrated
to
Bacchus
,
and
not
to
Apollo
:
Except
Donatus
would
judge
of
all
Theatral
Actions
by
the
Apollinary
Games
,
which
indeed
were
Scenick
,
and
celebrated
in
the
Honour
of
Apollo
.
I
say
then
,
That
Comedy
and
Tragedy
were
born
together
;
Clemens
Alexandrinus
,
that
the
Invention
of
Comedy
was
attributed
to
one
Sisarion
of
Icaria
;
it
may
be
,
because
he
was
the
first
that
compos'd
the
Hymns
of
Bacchus
,
after
the
Sacrifice
of
the
Goat
by
Icarius
.
And
this
may
suffice
to
appease
the
Quarrels
of
the
Learned
upon
the
Origine
of
Comedy
,
since
they
are
not
agreed
neither
in
Times
,
Places
,
nor
Persons
.
But
Comedy
had
not
the
same
progress
with
Tragedy
,
it
being
long
detain'd
in
Confusion
and
Disorder
:
Nay
,
even
in
Aristophanes's
time
,
which
was
after
Sophocles
and
Euripides
,
it
was
full
of
satyrical
Reflections
and
scandalous
Slanders
.
It
will
be
hard
for
us
to
mark
the
degrees
of
its
progress
,
from
the
time
that
it
was
a
Rural
Hymn
,
to
that
of
its
perfection
upon
the
Stage
;
because
,
as
Aristotle
says
,
it
being
not
so
noble
as
Tragedy
,
there
has
been
less
care
to
make
Observations
upon
it
;
and
the
Magistrates
were
a
great
while
before
they
concern'd
themselves
in
giving
the
Choruses
,
but
us'd
to
leave
them
to
the
Discretion
of
those
who
made
the
Comedy
.
Nevertheless
,
if
I
may
venture
to
bring
to
light
things
buried
in
so
long
an
Obscurity
,
I
think
that
it
begun
to
have
Actors
about
the
same
time
as
Tragedy
did
,
that
is
,
under
Epicharmus
the
Sicilian
,
the
Contemporary
of
Thespis
;
and
before
that
time
I
have
not
observ'd
any
Speakers
.
And
't
is
from
this
,
that
the
Sicilians
do
maintain
,
That
Comedy
was
invented
at
Syracusa
,
because
Epicharmus
was
that
Countryman
:
not
that
they
can
pretend
that
there
was
no
Comedy
before
him
,
(
for
we
have
yet
the
Fragments
of
Alcaea
,
a
Comedy
two
hundred
years
before
his
time
)
but
because
he
first
introduc'd
an
Actor
with
the
Chorus
.
We
may
say
as
much
of
Sannyrion
,
who
was
the
first
that
added
Masks
and
Buffoons
,
according
to
Athenaeus
;
and
the
same
of
Cratinus
,
who
setled
three
Actors
,
and
made
the
whole
Composition
regular
;
the
same
of
Aristophanes
,
who
gave
Comedy
a
further
perfection
;
and
so
of
all
those
whom
Diomedes
calls
the
first
Comick
Poets
,
though
they
came
a
great
while
after
Comedy
was
invented
.
Now
we
are
to
take
notice
,
that
the
Recital
of
that
Actor
or
Player
introduc'd
by
Thespis
in
Tragedy
,
and
the
number
of
which
was
since
encreas'd
by
other
Poets
,
receiv'd
the
name
of
Episode
,
as
who
should
say
,
an
additional
Discourse
,
thrown
as
it
were
across
another
;
therefore
Suidas
says
expresly
,
that
Episode
signifies
a
thing
which
is
besides
the
Subject
of
another
,
and
to
which
nevertheless
it
is
joyn'd
.
So
when
Aeschylus
and
others
did
insert
into
their
Tragedies
Actors
that
recited
a
Story
which
was
nothing
to
the
Praises
of
Bacchus
,
the
Priests
of
Bacchus
began
to
complain
of
that
neglect
,
and
said
,
that
in
those
Episodes
there
was
nothing
that
was
proper
either
to
the
Actions
or
Mysteries
of
their
God
;
which
gave
occasion
to
that
Greek
Proverb
,
〈◊〉
〈◊〉
〈◊〉
〈◊〉
〈◊〉
,
Nothing
to
Bacchus
.
And
this
Explication
of
the
Proverb
,
which
is
according
to
all
the
Ancients
,
seems
most
reasonable
:
For
to
think
,
as
some
do
,
that
in
Drammatick
Poetry
they
call'd
Episodes
all
the
Descriptions
,
Narrations
,
and
pathetick
Discourses
,
as
things
not
belonging
to
the
Subject
,
seems
very
absurd
,
since
without
those
things
the
Episodes
themselves
could
not
be
.
These
Complaints
of
Bacchus's
Priests
did
not
at
all
stop
the
Progress
of
Tragedy
,
which
by
little
and
little
went
its
Course
,
and
at
last
grew
to
such
a
distance
from
its
Originals
,
as
that
the
Episodes
became
the
Tragedy
it self
.
Therefore
now
all
the
Doctrine
and
Precepts
of
Aristotle
about
the
Episodes
,
how
to
make
them
successfully
,
is
no
more
than
the
Art
how
to
make
a
Drammatick
Poem
;
for
we
have
neither
Prologue
,
Chorus
,
nor
Exode
to
make
the
Parts
of
our
Tragedy
:
so
that
having
none
but
the
Episode
left
,
that
alone
must
be
called
the
Dramma
;
and
when
we
read
in
Athenaeus
,
That
Alexander
,
at
the
last
Feast
he
made
before
his
death
,
recited
an
Episode
of
the
Andromeda
of
Euripides
,
we
must
not
understand
it
as
Natalis
Comes
does
in
his
Marginal
Note
,
calling
it
a
Piece
added
to
make
Mirth
;
but
rather
in
the
sense
of
Aristotle
,
that
it
was
some
part
of
that
Tragedy
,
either
a
fine
Description
,
or
some
pathetick
Expression
in
some
Act
of
the
Play
.
It
being
then
agreed
,
that
the
Episodes
contain
all
that
is
between
the
Choruses
,
that
is
to
say
,
Five
Acts
,
distinguish'd
by
five
Concerts
of
Musick
,
Aristotle
gives
three
principal
Instructions
in
composing
of
these
Episodes
.
The
first
is
,
That
having
chosen
your
Story
,
and
resolv'd
how
much
of
it
you
will
bring
upon
the
Stage
,
you
must
then
cast
your
Episodes
,
that
is
,
the
Descriptions
,
Discourses
,
Passions
,
and
other
things
that
are
to
entertain
the
Stage
.
And
this
is
one
of
the
greatest
Dexterities
of
the
Poet.
The
second
is
,
That
the
Episodes
be
proper
and
natural
to
the
Story
or
Fable
;
that
is
to
say
,
drawn
from
the
very
Essence
of
the
Subject
,
and
s
fit
,
as
to
seem
to
jump
naturally
,
and
of
themselves
,
with
the
whole
Concourse
of
other
Events
.
And
't
is
out
of
the
secret
Knowledge
Men
have
of
this
Precept
,
that
we
have
often
seen
them
blame
upon
the
Stage
Narrations
that
were
not
necessary
,
superfluous
and
vain
Descriptions
,
Complaints
,
and
other
Passions
,
introduc'd
out
of
order
,
and
without
which
the
Dramma
might
not
onely
have
been
,
but
have
been
better
.
The
third
Rule
is
,
That
the
Episodes
ought
not
to
be
too
long
.
And
that
is
it
which
even
the
Common
people
every
day
condemn
upon
our
Stages
;
for
the
finest
Discourses
,
and
the
most
necessary
ones
,
have
a
Measure
,
after
which
they
become
tedious
.
To
these
three
Precepts
of
Aristotle
,
I
add
two
Observations
of
my
own
;
That
the
Drammatick
Poet
must
have
a
care
in
these
Episodes
not
to
enter
too
much
and
too
strongly
into
the
particular
of
things
;
but
he
must
onely
touch
the
beutiful
places
of
his
Subject
,
by
some
strong
Thoughts
;
because
else
there
will
appear
an
Affectation
,
and
be
too
unlike
a
Natural
Discourse
,
which
in
all
things
he
is
to
imitate
.
The
other
Observation
is
,
That
often
the
Business
of
the
Stage
does
not
suffer
that
the
Actors
should
make
long
Discourses
,
not
even
of
a
thing
necessary
;
as
if
they
were
to
go
in
haste
to
succour
some
afflicted
Person
,
or
to
avoid
their
Enemies
.
I
should
therefore
advise
the
Poet
,
in
sch
occasions
,
to
use
some
other
Means
to
instruct
the
Spectators
of
that
which
they
are
not
to
be
ignorant
of
,
or
to
do
it
at
least
in
very
few
Words
,
so
as
to
keep
the
Rules
of
Probability
.
One
great
slight
in
these
sudden
Occasions
,
is
to
explain
some
Circumstance
of
the
Story
,
which
may
serve
for
the
understanding
of
the
nearest
Events
,
and
so
reserve
to
ones
self
the
Liberty
of
explaining
the
rest
at
leisure
.
As
for
the
other
general
Instructions
that
Aristotle
gives
about
the
Episodes
,
they
are
to
be
found
in
his
Interpreters
;
but
the
Poet
must
still
remember
,
that
they
are
to
be
applied
to
the
Acts
and
Disposition
of
Tragedy
,
as
it
is
now
treated
amongst
us
it
being
most
certain
,
that
Drammatick
Poems
which
comprehend
the
Events
of
two
Stories
in
the
unity
of
one
Theatral
Action
,
were
never
called
by
the
Ancients
.
Episodick
Fables
;
because
those
Drammas
which
contain
but
one
Story
,
are
as
much
Episodick
as
the
others
;
that
is
,
they
have
as
many
Acts
or
Recitals
between
the
Choruses
,
as
we
have
already
sufficiently
explain'd
.
Chapter
the
Third
.
Of
the
Choruses
of
the
Ancients
.
WE
have
said
already
,
That
Tragedy
in
its
first
Original
was
nothing
but
a
Sacred
Hymn
sung
and
danced
to
the
Honour
of
Bacchus
;
and
that
by
little
and
little
the
Episodes
,
which
we
call
Acts
,
were
added
between
each
Chorus
.
And
we
know
likewise
,
that
now
adays
Tragedy
has
quite
lost
its
Choruses
,
as
Comedy
had
lost
his
,
even
before
the
Age
of
Plautus
.
So
that
it
may
seem
to
some
,
that
a
Discourse
of
Choruses
may
be
now
an
unnecessary
thing
for
the
Practice
of
our
Stage
.
But
besides
that
they
may
one
day
be
re-establish'd
upon
our
Theatres
,
when
we
are
well
inform'd
what
they
were
amongst
the
Ancients
,
I
think
it
very
necessary
for
me
to
explain
here
my
Thoughts
about
them
,
and
which
will
scarce
be
found
any
where
else
.
To
take
the
Chorus
not
as
it
was
at
first
,
when
alone
it
made
the
whole
Tragedy
;
but
as
it
was
in
the
time
of
Sophocles
and
Euripides
,
that
is
to
say
,
in
its
perfection
among
the
Grecians
,
I
think
we
may
define
the
Chorus
thus
.
The
Chorus
is
a
Troop
of
Actors
,
representing
the
Assembly
or
Body
of
those
Persons
who
either
were
present
,
or
probably
might
be
so
,
upon
that
Place
or
Scene
where
the
Action
is
suppos'd
to
be
transacted
.
These
Words
are
of
importance
,
and
we
are
not
to
proceed
without
well
weighing
of
them
.
Thus
we
see
,
that
in
the
Hecuba
of
Euripides
,
the
Chorus
is
of
Trojan
Women
who
were
Slaves
in
the
Camp
,
it
being
most
probable
that
they
were
at
the
Tents
of
Hecuba
,
who
was
under
the
same
Captivity
with
them
.
And
in
the
Cyclops
the
Chorus
is
of
Satyrs
,
and
that
very
ingeniously
contriv'd
;
for
no
other
sort
of
Men
could
venture
to
stay
before
the
Den
of
cruel
Polyphemus
.
In
the
Antigone
of
Sophocles
the
Chorus
is
of
the
Old
Men
of
Thebes
,
because
being
sent
for
by
Creon
to
Council
,
none
could
more
reasonably
be
thought
to
be
before
his
Palace
.
In
the
Ajax
the
Chorus
is
of
Seamen
of
Salamis
,
who
come
very
naturally
before
the
Tent
of
their
Prince
,
to
endeavour
to
do
him
some
Service
,
upon
the
noise
of
his
being
furious
and
mad
.
In
the
Prometheus
of
Aeschylus
the
Nymphs
of
the
Ocean
make
the
Chorus
,
because
in
probability
hardly
any
other
Persons
could
be
suppos'd
near
that
unfortunate
Man
,
who
was
fastned
to
a
Rock
far
from
the
commerce
of
the
rest
of
Mankind
;
and
also
in
the
Seven
before
Thebes
,
the
Young
Women
of
the
Town
make
the
Chorus
,
because
it
was
more
reasonable
to
assemble
them
before
the
Palace
,
and
make
them
stay
there
full
of
fears
and
apprehensions
,
lamenting
the
Calamity
of
the
War
,
than
to
have
plac'd
Men
there
,
who
are
suppos'd
necessary
to
the
defence
of
their
Countrey
.
And
from
this
we
may
judge
likewise
with
what
Industry
and
Ingenuity
Aristophanes
,
in
his
Play
against
Socrates
,
makes
a
Chorus
of
Clouds
,
because
he
supposes
Socrates
to
invoke
them
to
appear
at
his
Sophisms
;
as
in
another
place
he
has
made
a
Chorus
of
Birds
,
which
two
Athenians
come
and
entertain
in
a
place
full
of
Trees
,
and
out
of
the
way
,
talking
to
them
about
building
a
Town
in
the
Air.
I
make
no
Citations
here
out
of
those
Tragedies
which
go
under
the
name
of
Seneca
,
because
they
are
very
ill
Models
to
imitate
;
and
particularly
,
the
Choruses
are
very
faulty
:
for
sometimes
they
see
all
that
's
done
upon
the
Scene
,
hear
all
that
's
said
,
and
speak
very
properly
to
all
;
and
at
other
times
one
would
think
they
were
blind
,
deaf
,
and
dumb
.
In
many
of
those
Drammas
one
can
hardly
tell
who
they
represent
,
how
they
were
dress'd
,
nor
what
Reason
brings
them
upon
the
Stage
,
nor
why
they
are
of
one
Sex
,
more
than
of
another
.
Indeed
the
Verses
are
fine
,
full
of
Thoughts
,
and
overloaded
with
Conceit
;
but
may
in
most
places
be
very
well
spar'd
,
without
spoiling
any
thing
either
in
the
Sence
,
or
in
the
Representation
of
the
Poem
.
Besides
,
the
Thebaida
has
none
at
all
,
whether
it
be
lost
by
the
fault
of
the
Copyists
and
our
Printers
,
which
I
can
hardly
believe
,
because
there
would
at
least
have
remain'd
some
fragments
,
considering
that
they
were
pieces
inserted
into
the
very
body
of
the
Poem
in
many
places
;
so
that
I
am
apt
to
believe
that
the
Author
made
none
at
all
for
that
Play
;
and
this
with
some
other
conjectures
,
has
given
me
occasion
to
doubt
of
the
truth
of
what
Scaliger
affirms
so
positively
;
to
wit
,
that
Tragedy
never
was
without
Chorus's
;
for
I
incline
to
think
that
in
the
time
of
the
debauch'd
and
loose
Emperours
,
where
Mimes
,
Embolimes
,
and
Buffoons
came
in
for
Interludes
in
Tragedy
,
as
well
as
in
Comedy
,
the
Chorus
ceas'd
by
little
and
little
to
be
a
part
of
the
Drammatick
Poem
,
and
became
only
a
Troup
of
Musicians
and
Dancers
,
to
mark
the
Intervals
of
the
Acts
;
but
those
four
Greek
Poets
,
whose
works
we
have
,
have
been
much
more
exact
in
their
Chorus's
than
the
Author
of
Seneca's
Tragedys
,
as
understanding
a
great
deal
better
than
he
,
the
Art
of
composing
such
Poems
;
and
out
of
them
likewise
it
is
that
we
learn
that
the
Chorus
might
be
compos'd
of
all
sorts
of
persons
,
without
distinction
either
of
Age
or
Sex
,
nay
of
living
creatures
.
or
insensible
things
,
as
Aristophanes
has
done
,
from
which
we
may
likewise
observe
,
that
they
who
thought
the
Chorus
represented
the
people
were
something
out
;
for
we
see
that
in
his
Knights
the
people
of
Athens
is
acting
,
speaking
and
judging
the
contest
between
Cleo
and
Agoracritus
,
and
that
the
Chorus
is
of
Athenian
Knights
,
perfectly
distinguish'd
from
those
who
represent
the
people
.
And
when
Aristotle
and
Scaliger
after
him
name
the
Chorus
a
kind
of
idle
Client
,
which
gives
but
small
assistance
to
those
he
pretends
to
help
.
It
must
be
understood
only
in
comparison
of
the
other
Actors
,
who
are
generally
more
busie
;
as
also
because
the
Chorus
never
forsakes
the
place
of
the
Scene
;
whereas
the
other
Actors
often
perform
great
things
off
of
the
Stage
;
but
yet
the
Greek
Poets
have
never
chosen
for
their
Chorus
either
idle
people
(
though
they
might
be
easily
suppos'd
present
)
or
those
who
had
no
concern
in
the
business
in
hand
,
because
all
that
they
could
have
said
or
done
would
have
been
weak
and
languishing
,
of
small
,
or
no
effect
upon
the
Spectators
,
who
do
not
willingly
hear
unconcern'd
persons
in
a
Tragedy
.
Besides
,
according
to
the
Art
of
Poetry
,
both
of
Aristotle
and
Horace
,
the
Chorus
,
besides
its
singing
,
ought
to
act
a
part
of
some
concern
,
and
advance
and
forward
the
Affairs
of
the
Stage
,
as
other
Actors
do
;
and
therefore
it
is
observable
,
that
when
the
Subject
did
naturally
furnish
the
Poet
with
a
Chorus
,
he
never
borrowed
it
any
where
else
:
as
in
the
Rhaesus
of
Euripides
,
where
the
Scene
is
before
the
Tents
of
the
Generals
of
the
Trojan
Army
,
and
all
things
coming
to
pass
in
the
night
.
The
Guard
makes
the
Chorus
,
because
it
would
have
been
against
probability
that
any
other
persons
should
have
been
assembled
there
at
that
time
.
Nay
,
if
the
Principal
Actors
themselves
were
enough
in
number
,
they
made
the
Chorus
of
them
,
as
in
the
Suppliants
of
Euripides
,
where
the
seven
Princes
of
Argos
,
that
implore
Theseus's
help
to
bury
the
dead
bodies
of
their
Husbands
before
Thebes
,
make
the
Chorus
themselves
.
But
if
they
were
put
to
invent
a
Chorus
,
they
always
did
it
conformably
to
the
nature
of
their
Subject
,
and
to
the
Rules
of
probability
.
This
Aristophanes
has
ingeniously
enough
observ'd
in
Comedy
,
as
where
he
makes
a
Chorus
of
Frogs
to
sing
while
Bacchus
passing
the
Stix
in
Carons
Bark
;
and
another
of
Wasps
in
the
house
of
Philocleon
,
whose
Son
would
hinder
him
from
going
abroad
;
for
though
those
are
very
ridiculous
Imaginations
,
yet
they
are
Comical
;
well
enough
invented
in
mirth
,
and
are
not
against
the
Rules
of
his
Art
.
From
hence
we
may
likewise
judg
why
the
Chorus
was
at
last
left
out
in
new
Comedy
,
and
of
this
I
think
no
body
hitherto
has
given
a
true
reason
.
Horace
thinks
that
the
malignity
and
satyrical
humour
of
the
Poets
was
the
cause
of
it
;
for
they
made
the
Chorus's
abuse
people
so
severely
,
that
the
Magistrates
forbid
them
at
last
to
use
any
at
all
;
but
I
think
,
that
if
the
Rules
of
probability
had
not
likewise
seconded
this
prohibition
,
the
Poets
would
have
preserv'd
their
Chorus
still
,
with
conformity
to
their
Subject
,
and
that
without
too
much
Satyr
;
therefore
I
imagine
the
thing
came
to
pass
thus
.
Comedy
took
its
model
and
constitution
from
Tragedy
;
and
when
the
downright
abusing
of
living
persons
was
prohibited
,
they
generally
invented
feigned
Subjects
,
which
they
govern'd
according
to
the
Rules
of
Tragedy
;
but
as
they
were
necessitated
to
draw
Pictures
of
the
life
of
the
Vulgar
,
and
were
confin'd
by
consequent
to
mean
Events
,
they
generally
chose
the
place
of
their
Scene
in
some
Streets
before
the
houses
of
those
whom
they
suppos'd
concern'd
in
the
Story
;
and
it
was
not
very
probable
that
there
should
be
a
Troup
of
people
in
such
a
place
managing
an
Intrigue
of
inconsiderable
persons
from
morning
to
night
.
Comedy
lost
of
its
self
insensibly
the
Chorus
,
which
it
could
not
preserve
with
any
probability
.
Comedy
therefore
having
lost
its
Chorus
long
before
Tragedy
,
that
which
was
called
new
Comedy
receiv'd
Dances
,
Musick
,
and
Buffoons
,
in
the
room
of
the
Chorus
,
as
more
proper
for
the
genius
of
Comical
Poetry
.
Since
therefore
we
are
now
fully
inform'd
what
the
Chorus
was
,
let
us
see
how
it
acted
upon
the
Stage
.
At
first
it
was
plac'd
a
little
lower
than
the
Theatre
,
and
was
seated
by
it self
,
from
whence
it
rose
to
sing
and
dance
;
afterwards
it
was
plac'd
upon
the
Stage
it self
,
and
at
last
it
came
upon
the
very
Scene
,
that
is
,
behind
the
Hangings
or
Decoration
,
as
may
be
seen
in
Scaliger
,
Castelvetro
,
and
other
Authors
,
with
many
other
things
which
I
forbear
to
repeat
here
.
But
we
may
observe
besides
,
that
the
Chorus
did
not
ordinarily
appear
upon
the
Stage
,
till
after
the
Prologue
,
that
is
,
as
we
have
explain'd
it
,
till
after
one
or
many
Scenes
,
which
open'd
the
Play
,
and
were
preparatives
to
the
better
understanding
of
the
piece
,
not
being
reckon'd
among
the
Acts
or
Episods
.
This
too
is
to
be
understood
only
in
strictness
;
for
sometimes
there
was
no
Prologue
,
and
all
that
pass'd
before
the
coming
on
of
the
Chorus
was
the
first
Act
,
and
to
be
reckon'd
of
the
body
of
the
Tragedy
,
as
in
the
Ajax
of
Sophocles
;
at
other
times
the
Chorus
its
self
opened
the
Stage
,
as
in
the
Rhaesus
of
Euripides
,
because
being
compos'd
of
the
Guards
,
which
had
watch'd
all
night
,
't
was
not
probable
any
should
be
there
before
them
.
We
must
observe
besides
,
that
when
the
Chorus
once
came
on
in
regularity
,
they
were
not
suppos'd
to
go
off
till
the
end
of
the
Play
;
and
this
appears
by
all
the
Greek
Tragedys
,
where
the
Chorus
often
shews
the
Pallace
or
House
to
strangers
,
complains
,
or
seems
astonished
at
sudden
noises
made
within
;
by
all
which
it
may
be
concluded
,
it
stayed
all
along
upon
the
Stage
.
'T
is
true
,
that
sometimes
we
may
observe
it
to
come
in
and
out
,
but
that
is
extraordinarily
,
and
by
some
remarkable
Artifice
of
the
Poet
,
who
has
a
mind
that
some
Action
or
other
should
be
perform'd
upon
the
Stage
without
witness
:
As
when
Sophocles
has
a
mind
that
Ajax
should
kill
himself
upon
the
Stage
,
he
sends
out
the
Chorus
under
pretext
of
assisting
Tecmessa
,
who
is
endeavouring
to
find
out
Ajax
,
to
prevent
the
Effects
of
his
fury
(
he
having
just
left
her
with
a
Sword
in
his
hand
▪
)
Another
reason
the
Poets
have
of
sending
out
the
Chorus
is
,
when
't
is
probable
that
they
who
represent
the
Chorus
have
done
an
action
which
could
not
naturally
have
been
perform'd
upon
the
Stage
:
So
in
the
Oratrices
,
or
pleading
Women
of
Aristophanes
,
the
Women
which
compose
the
Chorus
,
go
out
at
the
end
of
the
first
Act
in
Mens
disguise
,
to
go
to
the
Council
to
have
it
there
decreed
,
that
the
Government
of
Athens
shall
be
put
into
their
hands
;
and
at
the
end
of
the
second
Act
,
they
come
back
upon
the
Scene
to
bring
their
Husbands
cloths
which
they
had
stolen
in
the
night
:
Where
by
the
by
we
may
take
notice
of
the
Ignorance
of
some
of
our
Pedants
in
their
Latine
Tragedys
,
when
at
the
end
of
each
Act
they
bring
on
a
single
Actor
to
represent
the
Chorus
,
and
declaim
some
scurvy
Verses
of
Morality
,
bringing
him
on
,
and
driving
him
off
as
they
please
,
thinking
thereby
to
fulfil
Aristotles
Rules
,
and
perfectly
imitate
the
Antients
;
whereas
their
Chorus
was
compos'd
of
many
persons
,
who
sung
and
danced
with
great
Art
,
and
were
always
brought
upon
the
Stage
for
some
good
reason
;
nor
are
we
to
imagine
,
as
some
have
done
,
that
the
Chorus
sung
and
danc'd
always
;
for
that
was
only
when
there
was
need
to
mark
the
Intervals
of
the
Acts.
In
other
places
the
Chorus
was
considered
as
any
other
Actor
,
and
the
Corypheus
,
or
chief
of
them
us'd
to
hold
Discourse
for
all
the
rest
;
or
else
being
divided
in
two
(
as
sometimes
it
was
half
on
one
side
of
the
Stage
,
and
half
on
the
other
)
the
Chiefs
of
each
side
discours'd
together
of
the
Affairs
of
the
Stage
,
as
is
to
be
seen
in
the
Agamemnon
of
Aeschylus
upon
the
death
of
that
King
.
We
see
likewise
sometimes
that
the
Chorus
after
some
Discourses
falls
a
singing
,
or
is
commanded
to
do
it
,
by
which
it
appears
,
it
did
not
sing
before
;
The
Example
is
precise
in
the
seven
before
Thebes
,
where
Prince
Eteocles
,
after
having
discoursed
with
the
Chorus
a
good
while
,
bids
him
at
last
leave
off
talking
,
and
sing
,
to
know
now
whether
they
all
danc'd
,
and
whether
the
same
persons
danc'd
that
sung
,
and
if
they
danc'd
and
played
on
Instruments
together
,
and
of
what
sort
is
that
great
diversity
of
Song
we
find
among
the
Antients
,
all
this
I
say
cannot
contribute
any
thing
to
the
composition
of
a
Drammatick
Poem
;
and
therefore
need
not
be
examin'd
,
but
in
order
to
instruct
our
Musick
,
in
case
we
should
have
a
mind
to
bring
the
Chorus's
upon
our
Theatres
.
But
we
must
not
forget
here
,
that
the
chief
Actors
did
frequently
mingle
with
the
Chorus
,
as
Electra
in
Euripides
and
Sophocles
.
Queen
Aethra
,
with
King
Adrastus
in
the
Supplicants
of
Euripides
;
and
in
these
cases
I
am
of
Opinion
,
that
those
Actors
were
the
Coryphaei's
.
Sometimes
there
was
divers
Chorus's
,
when
it
was
not
probable
that
the
same
persons
could
be
twice
upon
the
Stage
,
as
in
Christophanes
,
when
Bacchus
passes
the
River
Stix
,
to
go
to
the
Pallace
of
Pluto
,
the
Chorus
is
made
by
Frogs
;
but
when
he
is
at
the
Gate
of
the
Pallace
,
the
Chorus
is
made
by
the
Priests
,
and
the
fraternity
of
his
Mysteries
.
Sometimes
likewise
the
Chorus
did
not
come
back
time
enough
at
the
end
of
an
Act
,
being
ingag'd
somewhere
else
,
and
then
that
Act
was
mark'd
by
some
Mime
,
Musick
Dance
or
buffooning
,
taken
from
the
Subject
,
as
in
the
Oratrices
of
Aristophanes
,
the
Women
being
all
elsewhere
at
the
end
of
the
fourth
Act
,
the
Poet
makes
a
farce
of
two
old
Women
,
and
a
young
Girl
,
who
sing
and
dance
to
Instruments
,
in
expectation
of
some
Man
to
come
by
,
and
are
already
disputing
who
shall
have
him
to
make
him
obey
the
Womens
Laws
.
From
all
these
Observations
it
is
most
apparent
,
that
the
Chorus
is
nothing
but
what
we
have
describ'd
it
to
be
;
and
that
we
have
much
reason
to
wonder
that
the
Learned
,
who
have
afforded
us
so
many
curiosities
upon
the
Drammatick
Poem
,
have
not
nevertheless
discover'd
any
thing
like
this
to
us
,
though
very
important
,
to
understand
antient
Tragedy
,
and
justifie
the
probability
of
all
the
Rules
of
the
Theatre
.
For
first
,
if
the
Antient
Greek
Poets
have
made
but
few
Monologues
upon
the
Stage
,
it
is
because
it
was
not
always
easie
to
find
a
pretext
to
send
out
the
Chorus
,
and
to
have
it
come
in
again
;
and
on
the
other
side
,
a
man
could
not
in
probability
be
suppos'd
to
speak
aloud
of
secret
things
,
without
being
heard
by
persons
who
were
so
near
him
.
Secondly
,
The
Ancient
Poets
seldom
make
any
of
their
Actors
die
upon
the
Stage
,
because
it
was
not
probable
,
that
so
many
Persons
as
compos'd
the
Chorus
,
should
see
such
a
thing
done
,
and
not
endeavour
to
hinder
it
.
Thus
Aeschylus
makes
Agamemnon
be
kill'd
in
his
Palace
,
and
his
Crys
and
dying
Groans
to
be
heard
without
by
the
Chorus
,
which
deliberates
whether
they
shall
call
the
People
,
or
break
in
to
his
Relief
;
when
Clytemnestra
her self
comes
out
,
and
owns
the
Murder
,
and
its
manner
,
shewing
them
likewise
her
Husbands
dead
Body
;
which
has
made
some
imagine
,
that
Agamemnon
was
kill'd
upon
the
Stage
.
On
the
other
side
,
Sophocles
makes
the
Chorus
leave
the
Stage
,
and
brings
on
Ajax
in
a
sedate
,
calm
Resolution
of
dying
;
where
after
having
spoke
a
most
passionate
Monologue
,
he
kills
himself
with
his
own
Sword
,
from
which
none
could
hinder
him
,
he
being
alone
upon
the
Stage
.
And
by
the
by
,
that
may
serve
to
oppose
to
those
who
so
peremptorily
maintain
,
that
the
Ancients
never
shed
any
Blood
upon
the
Stage
;
for
they
have
both
done
it
,
and
avoided
it
,
and
still
with
decency
and
probability
.
Thirdly
,
The
Chorus
oblig'd
a
Poet
to
a
Continuity
of
Action
;
for
if
the
Action
ceas'd
,
it
was
not
probable
the
Chorus
should
stay
there
any
longer
,
its
Business
being
onely
depending
upon
the
Action
.
Thus
we
see
,
that
as
soon
as
Ajax's
Fury
seem'd
to
be
a
little
over
,
the
Chorus
,
which
was
made
up
of
his
Subjects
,
who
came
to
enquire
of
his
Condition
,
has
a
design
to
be
gone
;
but
is
stopp'd
by
a
Messenger
,
who
tells
them
the
Arrival
of
Teucer
,
Ajax's
Brother
,
and
the
danger
that
Minerva
had
put
Ajax
in
all
that
day
.
Moreover
,
we
may
here
conclude
,
That
the
Chorus
oblig'd
the
Poet
insensibly
to
a
necessity
of
keeping
the
Unity
of
the
Scene
;
for
since
it
was
regularly
to
stay
from
the
beginning
of
the
Dramma
to
the
end
,
without
going
out
,
't
is
most
undoubted
,
that
the
Place
could
not
change
:
for
it
would
have
been
most
ridiculous
,
that
Persons
who
never
stirr'd
,
should
have
been
transported
from
Europe
to
Asia
,
or
from
Athens
to
Thebes
,
without
ever
having
disappear'd
from
the
Spectators
Eyes
;
and
therefore
those
Poets
,
whenever
they
did
make
the
Chorus
go
off
from
the
Stage
,
were
very
careful
to
make
them
tell
where
they
went
,
that
it
might
not
be
imagin'd
that
in
carrying
off
the
Chorus
,
they
meant
to
transport
the
Scene
too
.
And
not
onely
the
Unity
of
Place
,
but
likewise
the
Measure
of
Time
convenient
to
the
Drammatick
Poem
,
may
be
learn'd
from
the
Choruses
▪
for
if
the
Poet
had
comprehended
in
his
Play
a
Year
,
a
Month
,
or
a
Week
,
how
could
he
make
the
Spectators
believe
,
that
People
who
had
always
been
in
their
Eye
,
should
have
pass'd
so
long
a
time
without
either
eating
,
drinking
,
or
sleeping
.
I
know
it
will
be
answered
,
That
there
is
an
Illusion
to
be
allow'd
upon
the
Stage
;
and
I
own
it
.
But
the
Spectators
must
still
be
deceiv'd
,
so
as
not
to
perceive
that
they
are
so
;
and
though
they
know
before
hand
that
they
are
to
be
deceiv'd
,
yet
it
must
not
be
done
so
grossly
as
to
be
perceiv'd
without
reflection
,
and
at
first
sight
.
Therefore
that
which
in
our
days
has
help'd
these
irregular
Plays
to
pass
upon
us
,
was
the
Intervals
of
the
Acts
,
where
none
remaining
upon
the
Stage
,
and
our
Musick
not
being
look'd
upon
as
a
Continuation
of
the
Action
,
the
Spectator's
Imagination
was
at
liberty
to
help
the
Poet
,
and
to
shorten
Years
and
Months
into
Moments
,
the
Eyes
having
nothing
before
them
to
contradict
this
Imagination
.
From
hence
then
it
results
naturally
,
That
the
time
of
the
Dramma
ought
to
be
very
short
,
as
we
have
shew'd
in
a
Chapter
on
purpose
.
To
make
an
end
of
this
Matter
,
we
must
observe
,
That
the
Choruses
made
all
the
Grandeur
and
Magnificence
of
the
ancient
Tragedies
;
not
onely
because
the
Stage
was
always
full
,
but
because
there
was
need
of
making
a
vast
Expence
:
for
there
was
a
great
number
of
Actors
,
Musicians
,
Dancers
,
Clothes
,
and
often
very
costly
Machins
,
as
in
the
Clouds
of
Aristophanes
;
and
it
was
among
the
Grecians
an
honourable
Profession
to
instruct
and
direct
the
Choruses
,
as
appears
by
Plato
the
Philosopher
,
who
follow'd
that
Employment
the
best
part
of
his
Youth
;
and
Aristophanes
,
we
find
,
had
the
direction
of
his
Choruses
,
particularly
of
that
of
the
Clouds
.
The
Richest
of
the
Nobility
often
bore
the
Charge
;
as
Dio
,
in
favour
of
Plato
,
who
at
first
was
one
of
the
Tragick
Poets
.
The
Magistrates
likewise
,
to
make
the
time
of
their
Administration
more
Solemn
,
did
the
same
thing
.
Sometimes
the
State
it self
,
when
they
would
do
an
extraordinary
Honour
to
some
of
their
Tragick
Poets
,
order'd
,
that
the
Charges
of
the
Chorus
should
be
allow'd
by
the
Publick
Treasury
:
And
this
the
Athenians
have
often
done
.
And
I
believe
,
that
when
the
Great
Men
forsook
the
Care
of
the
Stage
,
it
soon
fell
into
Contempt
,
the
Choruses
being
retrench'd
,
by
the
impossibility
that
the
Players
and
Poets
were
in
to
answer
such
an
Expence
;
and
afterwards
,
the
Ignorance
of
following
Ages
thought
fit
to
look
upon
them
as
useless
,
and
unfit
to
be
put
in
practice
.
New
Comedy
it self
lost
its
Choruses
,
even
in
the
most
flourishing
Drammatick
Age
;
but
that
was
rather
because
it
was
much
harder
to
give
Choruses
their
due
Probability
in
Comedy
,
than
in
Tragedy
,
though
its
Mimes
,
Musicians
,
Embolaires
,
and
such
like
,
were
not
of
a
less
Magnificence
than
the
Choruses
of
Tragedy
it self
;
and
those
who
were
the
Masters
and
Directors
in
them
,
had
as
much
Fame
when
they
succeeded
,
as
either
Aesopus
,
or
Roscius
,
or
any
of
the
Chief
Actors
of
the
Age.
This
may
be
seen
by
some
ancient
Inscriptions
of
Terence's
Comedies
,
and
other
very
considerable
Proofs
in
Antiquity
.
If
then
our
Age
could
suffer
the
re-establishment
of
the
Chorus
,
as
being
the
most
glorious
and
magnificent
Ornament
of
Tragedy
,
our
Poets
ought
in
the
first
place
to
study
the
Art
of
the
Ancients
in
that
point
,
how
ingeniously
they
invented
them
,
how
necessarily
they
brought
them
on
,
and
how
agreeably
they
made
them
speak
and
act
;
and
then
the
King
or
our
Great
Lords
,
should
be
at
the
Expence
:
Which
I
think
not
the
hardest
to
compass
,
considering
the
Profusion
we
have
seen
in
Ballets
,
Balls
,
and
Tragedies
in
this
Kingdom
.
And
lastly
,
It
would
be
necessary
to
have
Musicians
and
Dancers
capable
of
executing
the
Inventions
of
the
Poets
,
after
the
way
of
those
lively
speaking
Dances
of
the
Ancients
,
which
,
to
say
truth
,
I
think
impossible
for
us
Frenchmen
to
attain
to
,
and
I
believe
it
very
hard
for
the
Italians
.
Therefore
I
shall
not
expatiate
here
upon
the
Method
of
adding
Choruses
to
our
Tragedies
,
nor
say
what
might
be
left
out
,
and
what
taken
from
the
Ancients
,
in
conformity
to
our
Customs
;
for
that
would
deserve
a
particular
Treatise
,
I
pass
now
to
things
more
necessary
to
the
true
Understanding
of
the
Drammatick
Poem
,
and
the
Practice
of
the
Stage
.
Chapter
the
Fourth
.
Of
the
ancient
Actors
or
first
Reciters
of
Episodes
,
against
the
Opinion
of
some
Modern
Writers
.
THough
in
all
this
Work
I
have
had
no
other
Design
than
to
instruct
the
Poet
in
many
Particulars
which
I
thought
very
important
for
the
making
of
a
Dramma
;
yet
being
carried
,
by
my
own
Study
and
Enquiries
,
into
the
Discovery
of
an
Errour
of
some
of
our
Moderns
,
about
the
ancient
Reciters
of
Tragedy
,
I
could
do
no
less
than
endeavour
to
rectifie
that
Mistake
,
though
it
do
not
perfectly
regard
my
first
Design
,
which
was
onely
to
deliver
Precepts
about
Drammatick
Poetry
.
But
if
my
Readers
are
curious
enough
to
be
willing
to
know
some
Circumstances
about
the
progress
of
Tragedy
,
I
suppose
this
Discourse
may
not
be
disagreeable
to
them
.
We
have
laid
down
,
as
a
most
constant
Truth
,
That
for
many
Years
Tragedy
was
nothing
but
a
Pagan
Religious
Hymn
,
sung
and
danced
in
the
Honour
of
Bacchus
;
That
Thespis
introduc'd
an
Actor
to
recite
something
Forreign
to
that
Subject
,
which
was
call'd
an
Episode
;
That
Aeschylus
brought
on
two
Actors
,
and
Sophocles
three
,
with
other
Ornaments
,
which
brought
Tragedy
to
its
perfection
.
And
this
we
have
justified
by
the
Testimonies
of
Aristotle
,
Diogenes
Laertius
,
Athenoeus
,
Plutarch
,
Donatus
,
and
many
other
ancient
Writers
;
to
whom
I
may
add
all
those
who
since
have
writ
of
Drammatick
Poesie
.
But
Castelvetro
,
Ricoboni
,
and
some
others
,
are
of
opinion
,
that
the
Chorus
signifies
sometimes
the
Band
of
Comedians
or
Tragedians
,
and
that
't
is
in
that
sense
that
we
must
understand
that
Passage
of
Diogenes
Laertius
,
in
the
Life
of
Plato
,
which
says
,
That
formerly
the
Chorus
alone
acted
the
whole
Tragedy
:
By
which
,
says
Castelvetro
,
it
appears
,
that
the
Histrions
acted
formerly
without
Musick
or
Dancing
.
And
as
one
Absurdity
generally
engages
us
in
another
,
to
maintain
this
Errour
,
he
commits
a
greater
,
when
he
adds
,
That
the
Actor
introduc'd
by
Thespis
was
a
Buffoon
who
used
to
Sing
,
and
Dance
,
and
play
upon
some
Instrument
,
and
that
Aeschilus
after
him
brought
on
two
such
,
separating
Dancing
from
the
Singing
,
and
playing
upon
Instruments
,
and
that
Sophocles
at
last
brought
on
three
Actors
for
these
three
things
.
So
that
he
pretends
,
that
before
Thespis
the
Chorus
was
a
Troop
of
Players
or
Actors
,
and
that
those
brought
on
by
Thespis
,
Aeschilus
,
and
Sophocles
were
not
so
,
but
Singers
and
Dancers
which
certainly
is
both
false
and
ridiculous
.
First
,
there
is
no
passage
in
any
of
the
Ancients
that
can
be
cited
to
prove
,
that
they
who
associated
themselves
to
Act
Plays
were
ever
called
by
the
Word
Chorus
,
but
by
that
of
Company
:
We
have
many
Examples
of
this
in
Plautus
,
who
very
often
makes
them
appear
under
this
Name
at
the
end
of
his
Plays
to
thank
the
Spectators
,
and
in
Terence
▪
Ambivius
Turpio
complains
,
That
the
Poets
carry'd
to
other
Companies
those
Plays
that
were
easy
to
represent
;
besides
,
it
is
so
far
from
being
true
,
that
antiently
the
Plays
were
acted
by
Histrions
without
Dancing
or
Musick
;
that
on
the
contrary
't
is
most
certain
,
that
they
were
originally
danced
and
sung
by
a
Chorus
of
Musicians
without
Actors
or
Histrions
.
To
Illustrate
fully
the
truth
,
I
think
that
it
is
a
strange
mistake
to
say
that
the
Chorus
of
which
Diogenes
,
Athenoeus
,
and
Donatus
do
speak
,
when
they
say
,
That
Tragedy
was
at
first
acted
by
the
Chorus
was
a
Company
of
Comedians
,
or
reciting
Representatours
without
either
Dance
or
Musick
,
for
one
need
only
read
those
Authors
to
be
convinced
of
the
contrary
;
and
when
Athenoeus
saies
,
That
Tragedy
had
none
of
those
Histrions
which
the
Greeks
call
Hypocrites
,
or
,
Representers
of
other
Men
;
he
cannot
be
understood
of
Buffooning
,
Dancing
or
Singing
Actors
,
because
the
Greeks
had
a
great
many
of
them
,
in
Tragedy
;
particularly
in
that
which
was
called
Satyrical
Tragedy
.
Besides
,
in
the
time
,
and
before
the
time
of
Thespis
,
they
used
a
little
sort
of
Stage
called
Eileos
,
where
was
placed
a
Musician
to
answer
the
rest
of
the
Chorus
,
and
as
Tragedy
was
then
nothing
but
a
Sacred
Hymn
in
the
honour
of
Bacchus
,
the
Chorus
was
composed
of
those
who
were
Ministers
to
his
Ceremonies
,
and
who
were
hir'd
for
Money
often
to
Sing
and
Dance
in
great
Feasts
,
so
that
if
the
Actor
brought
on
by
Thespis
,
had
done
nothing
but
Sing
and
Dance
without
reciting
,
he
had
done
nothing
new
,
and
the
Priests
of
Bacchus
would
not
have
had
reason
to
complain
of
it
,
but
there
is
more
in
it
still
,
for
even
in
the
time
of
Thespis
the
Choruses
were
composed
of
Dancers
and
Singers
,
and
Athenaeus
saies
,
that
he
and
Pratinas
,
and
Phrinicus
with
other
Poets
of
that
time
,
were
Nicknam'd
Dancers
,
because
they
fitted
their
Poetry
to
the
Dance
of
the
Choruses
whom
they
used
to
teach
with
care
themselves
,
to
represent
well
in
Dancing
,
that
which
they
had
expressed
in
Verse
.
This
Pratinas
was
a
Tragick
Poet
who
lived
a
little
after
Thespis
,
and
was
contemporary
with
Aeschylus
,
and
as
Athenoeus
tells
us
,
he
writ
as
an
observation
of
his
time
,
That
when
the
People
saw
the
Players
of
Instruments
come
upon
the
Stage
without
Dancing
with
the
rest
of
the
Chorus
,
and
the
Chorus
sing
and
dance
without
playing
upon
Instruments
,
they
were
angry
at
it
,
as
a
piece
of
Novelty
against
a
received
custom
.
By
which
it
appears
,
that
the
Division
of
Musick
from
Dancing
,
which
was
then
made
by
the
Poets
,
was
a
change
in
the
Chorus
,
and
not
an
Introducing
of
new
Interludes
;
these
Choruses
were
composed
of
such
great
numbers
,
that
Aeschylus
was
forc'd
to
lessen
them
,
as
we
have
it
from
Aristotle
,
and
this
he
did
after
the
representation
of
his
Eumenides
,
and
that
Chorus
is
well
distinguished
from
the
Persons
who
recited
.
If
then
it
were
or
could
be
true
,
that
in
the
time
of
Thespis
the
Chorus
was
the
company
of
Comedians
,
or
Histrions
,
we
must
be
told
how
that
Name
was
transferr'd
from
the
Reciters
to
the
Musicians
,
and
who
first
brought
into
Tragedy
that
great
number
of
Dancers
and
Singers
of
which
we
could
not
be
ignorant
,
the
Greeks
having
been
pretty
well
informed
of
their
own
History
ever
since
the
settling
of
the
Olympiads
,
which
was
near
three
hundred
years
before
that
time
.
To
this
we
may
add
as
very
considerable
,
that
which
Aristotle
,
and
Diogenes
Laertius
say
,
That
by
the
means
of
the
three
Actors
introduc'd
by
those
three
lights
of
the
Stage
,
Thespis
,
Aeschylus
,
and
Sophocles
,
Tragedy
received
all
its
splendour
,
and
its
last
perfection
;
for
if
before
them
there
were
companies
of
Players
that
represented
reciting
,
as
they
have
done
since
,
and
that
these
three
Actors
added
,
were
only
to
sing
,
dance
,
or
play
upon
the
Instruments
;
sure
these
Authors
would
not
have
judg'd
that
so
great
a
thing
as
to
make
the
perfection
of
Tragedy
consist
in
it
;
and
when
in
these
latter
times
,
Tragedy
having
recovered
its
glory
without
all
this
Musick
,
Mimiking
,
and
Dancing
;
did
ever
any
one
yet
object
the
want
of
that
for
a
fault
,
and
that
its
true
splendour
consisted
in
those
ridiculous
Interludes
?
Besides
Thespis
brought
so
great
a
change
upon
Ancient
Tragedy
,
that
he
was
called
the
Inventor
of
it
,
and
if
there
had
been
before
his
time
,
whole
companies
of
reciting
Comedians
,
I
doubt
whether
he
would
have
deserv'd
that
name
for
only
adding
a
Buffooning
Actor
to
the
rest
.
There
is
yet
another
thing
to
confirm
this
,
which
in
my
opinion
is
important
enough
,
which
is
,
That
if
before
Thespis's
time
there
had
been
Stage
Players
,
or
Histrions
,
they
must
have
acted
without
a
Stage
,
and
without
Clothes
conformable
to
their
parts
,
and
without
any
decoration
,
for
all
these
things
were
most
certainly
brought
in
by
those
three
Poets
,
and
in
different
times
.
And
it
is
moreover
true
,
that
Aeschylus
having
Introduc'd
the
Second
Actor
,
divided
the
recitals
of
his
Actours
upon
the
Stage
,
and
Aristotle
for
this
reason
calls
the
First
Actors
part
,
The
Principal
Discourse
,
or
the
Principal
Canto
;
and
Philostrates
speaking
of
this
Second
Actor
of
Aeschylus
writes
,
That
by
this
means
he
took
off
from
the
Stage
those
long
and
tedious
Monodias
of
a
single
Actor
,
putting
in
their
room
a
Dialogue
of
Discourse
of
different
Actors
.
So
Scaliger
writes
,
that
at
the
beginning
Tragedy
was
Monoprosope
,
that
is
,
of
One
Actor
,
and
that
Aeschilus
brought
in
the
Discourse
of
two
,
by
which
it
appears
that
these
Actors
were
Reciters
and
not
Singers
or
Dancers
,
but
to
finish
the
proof
of
this
matter
we
must
know
that
by
the
general
Interpretation
of
all
the
Greek
and
Latine
Authors
that
writ
since
these
three
Poets
;
the
Histrion
,
or
Player
introduc'd
by
Thespis
is
named
Protagonist
,
that
introduced
by
Aeschylus
Deuteragonist
,
and
the
Third
added
by
Sophocles
Tritagonist
;
that
is
,
First
,
Second
,
and
Third
Actor
,
and
not
Dancer
or
Musician
.
By
the
First
they
understood
that
Actor
who
in
Tragedy
represented
the
chief
Person
of
the
Dramma
,
and
had
the
chiefest
part
,
as
appearing
most
upon
the
Scene
,
and
by
the
two
others
they
understood
those
who
acted
the
second
and
third
parts
of
the
Stage
.
Upon
this
Cicero
writes
,
That
amongst
the
Greeks
he
that
has
the
second
or
third
part
,
though
he
happen
to
have
a
stronger
voice
than
the
first
Actor
,
yet
he
moderates
it
that
he
may
not
drown
the
first
.
And
Porphyrius
says
,
That
the
Tritagonists
always
acted
with
a
low
voice
;
and
't
is
in
that
sense
that
these
names
have
in
other
cases
been
applied
to
those
Persons
who
had
the
first
,
second
,
and
third
parts
,
which
made
Demosthenes
to
affront
Aeschynes
call
him
Tritagonist
,
insinuating
thereby
,
that
he
had
been
a
Player
,
and
that
only
of
the
third
rank
,
and
no
body
will
say
,
that
in
all
these
comparisons
there
was
any
thought
of
these
Actors
being
Musicians
or
Dancers
.
Indeed
something
like
the
imagination
of
Castelvetro
has
happened
in
Comedy
:
for
where
it
was
first
received
in
Rome
,
it
had
no
Chorus
but
Interludes
of
Singers
,
Dancers
,
and
Players
upon
Instruments
,
who
altogether
marked
the
intervals
of
the
Acts
,
and
according
to
my
opinion
,
were
translated
to
the
Stage
from
the
Ludi
Scenici
,
or
Scenical
Games
.
That
they
sung
,
danc'd
,
and
play'd
upon
Instruments
all
at
once
,
appears
by
Livius
Andronicus
,
who
being
grown
old
took
an
occasion
from
the
weakness
of
his
voice
to
have
a
youth
sing
for
him
,
which
made
his
dancing
so
much
the
more
agreeable
,
as
being
freed
from
the
constraint
of
managing
his
motions
to
his
voice
:
Some
while
after
he
laid
aside
his
Instruments
likewise
,
and
then
having
his
Arms
at
liberty
to
give
the
full
grace
to
his
dancing
,
he
brought
that
Art
to
great
perfection
.
This
he
did
in
Imitation
of
the
Greeks
,
for
we
see
in
Lucian
,
that
in
Tragedy
these
three
Actions
were
formerly
united
and
performed
by
the
same
Person
of
which
the
surprisal
of
the
people
mentioned
by
Pratinas
,
and
which
we
have
already
alledged
,
is
a
sufficient
proof
.
Not
but
that
there
are
some
passages
in
Ancient
Authors
which
seem
to
say
,
that
formerly
Tragedies
and
Comedies
were
sung
and
danc'd
,
and
that
so
Artificially
that
the
Musick
and
the
postures
gave
sensible
Images
of
the
things
expressed
by
the
Verses
;
but
this
was
either
because
the
Musical
Games
(
even
in
Plato
)
comprehended
under
them
all
the
Exercises
of
Poetry
even
to
the
Drammatick
;
or
else
,
because
the
Hymns
of
Bacchus
which
were
originally
at
first
both
Tragedy
and
Comedy
,
were
always
accompanied
with
Musick
and
Dances
,
or
because
in
the
intervals
of
the
Acts
they
had
people
who
represented
by
their
dancing
;
these
things
which
had
been
spoken
in
the
Act
,
as
is
to
be
seen
in
Plutarch
and
Lucian
,
or
rather
,
most
probably
,
because
not
only
they
had
at
the
same
time
,
and
in
the
same
places
,
Actors
who
recited
Tragedy
,
but
likewise
Choruses
for
Tragedy
;
and
Mimes
for
Comedy
,
who
sung
and
danc'd
to
the
sound
of
Instruments
with
postures
which
represented
the
Persons
both
of
Men
and
Gods
.
Let
us
then
conclude
,
that
before
the
Age
of
Thespis
the
Chorus
was
nothing
but
a
company
of
Musicians
singing
and
dancing
Tragedy
as
a
Hymn
in
the
honour
of
Bacchus
,
and
that
Thespis
brought
on
the
First
Actor
,
who
by
reciting
,
divided
the
singing
of
the
Chorus
,
and
gave
a
beginning
to
the
Episodes
,
and
of
this
truth
besides
Ancient
Authors
we
have
for
Guarantees
many
modern
ones
,
as
Robortel
,
Piccolomini
,
Bernardo
Segni
,
Scaliger
,
Benius
,
Eugubinus
,
Vossius
,
Heinsius
,
Victorius
,
and
other
Interpreters
of
Aristotle
who
have
all
proved
this
Assertion
,
though
by
reasons
differing
from
those
which
we
have
here
declared
.
Chapter
the
Fifth
.
Of
Tragicomedy
.
THis
New
Word
which
seems
to
have
been
introduc'd
to
signifie
some
new
sort
of
Drammatick
Poem
,
obliges
me
to
explain
it
more
clearly
,
and
at
length
,
then
any
of
our
Modern
Authors
have
done
,
and
to
that
end
I
must
shew
all
that
in
our
Plays
is
different
from
,
or
conformable
to
the
Works
of
the
Ancients
.
The
Stage
by
little
and
little
being
come
to
its
last
perfection
,
became
a
sensible
and
moving
Image
of
all
humane
life
:
Now
there
being
three
sorts
of
conditions
or
ways
of
living
,
that
of
Great
persons
in
the
Courts
of
Kings
,
that
of
Citizens
,
and
Gentry
in
Towns
,
and
that
of
the
Country
people
in
the
Country
,
the
Stage
has
likewise
receiv'd
three
kinds
of
Drammatick
Poems
,
to
wit
,
Tragedy
,
Comedy
,
and
Pastoral
.
Tragedy
represented
the
Life
of
Princes
and
great
People
full
of
disquiets
,
suspicions
,
troubles
,
rebellions
,
wars
,
murders
,
and
all
sorts
of
violent
passions
,
and
mighty
adventures
;
whence
it
was
well
call'd
by
Theophrastus
,
The
State
of
an
Heroick
Fortune
.
Now
to
distinguish
Tragedys
by
their
Catastrophe
,
they
were
of
two
sorts
;
the
one
were
calamitous
and
bloody
in
their
Events
,
ending
generally
by
the
death
,
or
some
great
misfortune
of
the
Hero
;
the
others
were
more
happy
,
and
concluded
by
the
felicity
of
the
chief
persons
upon
the
Stage
,
and
yet
because
the
Poets
out
of
complaisance
to
the
Athenians
,
who
loved
spectacles
of
horrour
,
ended
often
their
Tragedys
by
unfortunate
Catastrophes
;
many
people
have
thought
that
the
word
Tragical
never
signifi'd
any
thing
but
some
sad
,
bloody
Event
;
and
that
a
Drammatick
Poem
could
not
be
call'd
a
Tragedy
,
if
the
Catastrophe
did
not
contain
the
death
of
the
chief
persons
in
the
Play
;
but
they
are
mistaken
,
that
word
,
in
its
true
signification
,
meaning
nothing
else
but
a
Magnificent
,
serious
,
grave
Poem
,
conformable
to
the
Agitations
and
sudden
turns
of
the
fortune
of
great
people
.
And
accordingly
in
the
nineteen
Tragedys
of
Euripides
,
many
of
them
have
a
happy
conclusion
;
and
which
is
very
remarkable
is
,
that
the
Orestes
,
which
begins
with
fury
and
rage
,
and
runs
upon
such
strong
Passions
and
Incidents
,
that
they
seem
to
promise
nothing
but
a
fatal
,
bloody
Event
;
it
nevertheless
terminated
by
the
entire
content
and
satisfaction
of
all
the
Actors
,
Helena
being
plac'd
among
the
Gods
,
and
Apollo
obliging
Orestes
and
Pylades
to
marry
Hermione
and
Electra
,
which
made
one
of
the
Antients
say
,
that
that
Play
had
a
Comical
Catastrophe
;
but
in
that
he
is
much
mistaken
,
as
well
as
Victorius
and
Stiblinus
,
who
say
the
same
thing
of
the
Electra
and
Alceste
.
Comedy
was
the
picture
of
the
Actions
of
the
people
,
in
which
were
generally
represented
the
Debaucheries
of
young
people
,
with
the
tricks
and
acts
of
Slaves
and
Courtezans
,
full
of
Railleries
and
Jests
,
and
ending
in
Marriages
,
or
some
other
pleasant
Adventure
of
common
life
;
and
this
Poem
was
so
much
confin'd
to
represent
a
popular
life
,
that
the
style
of
it
was
to
be
low
and
mean
,
the
expressions
taken
out
of
the
mouths
of
ordinary
people
;
the
passions
were
to
be
short
,
and
without
violence
.
In
a
word
,
all
the
Intrigues
were
to
be
upheld
by
slight
and
cunning
,
and
not
by
the
sublime
and
marvellous
part
of
humane
life
;
therefore
Scaliger
is
in
the
right
to
find
fault
with
Plautus
for
making
Aleesimark
appear
with
a
Dagger
,
and
a
design
to
kill
himself
,
because
that
is
an
undertaking
too
generous
for
the
Comick
Theatre
.
Donatus
likewise
blames
Terence
for
making
his
passions
too
strong
and
lasting
,
with
expressions
something
too
noble
for
his
Art
,
and
Comedy
its
self
does
not
always
in
Plautus
end
happily
as
may
be
seen
in
divers
of
his
Plays
.
Pastoral
or
Satyr
had
a
mixture
of
serious
and
pleasant
;
Hero's
and
Satyrs
were
its
Actors
;
and
this
sort
of
Poem
ought
to
be
consider'd
two
ways
;
at
first
it
was
nothing
but
a
little
Poem
call'd
Idyllium
,
or
Eclogue
,
sung
or
recited
by
one
man
alone
,
and
seldom
by
two
or
more
;
and
they
were
generally
Shepherds
,
Gardners
,
Husbandmen
,
Satyrs
,
Nymphs
,
and
all
sorts
of
Country
people
;
there
was
nothing
but
complaints
of
Lovers
,
cruelties
of
Shepherdesses
,
disputes
for
Singing
▪
Embuscadoes
of
Satyrs
,
and
ravishing
of
Nymphs
,
with
such
like
diverting
,
easy
Adventures
;
but
the
Poems
were
all
loose
pieces
,
without
any
story
,
or
necessity
of
Action
.
We
have
many
Examples
in
Theocritus
and
Virgil
,
and
many
Modern
Poets
have
imitated
them
in
Latine
.
In
the
Reign
of
Henry
the
Second
in
France
,
divers
French
Poets
made
Eclogues
in
their
own
Language
,
of
which
we
have
some
Examples
in
Ronsard
.
The
other
sort
was
a
Drammatick
Poem
,
carryed
on
according
to
the
Rules
of
the
Stage
,
where
Hero's
and
Satyrs
were
mingled
together
,
representing
both
grave
and
pleasant
,
ridiculous
things
;
and
for
that
reason
this
Poem
had
the
name
of
Satyrical
Tragedy
.
This
sort
of
Poem
had
not
any
course
among
the
Romans
,
at
least
that
ever
I
could
observe
either
in
their
Historians
or
Poets
;
that
which
they
call'd
Satyr
,
being
only
a
Copy
of
Verses
made
to
slander
or
reprove
,
and
never
us'd
for
the
Stage
,
but
with
the
Mimes
,
and
by
way
of
Interlude
.
But
among
the
Graecians
,
Satyrical
Tragedy
was
highly
valued
;
for
at
the
Feasts
of
Bacchus
,
call'd
Chytres
,
the
Poets
us'd
to
vye
with
each
other
,
and
dispute
for
the
Prize
by
this
sort
of
Poem
.
Athenaeus
,
Plato
,
Plutarch
,
and
Suidas
,
alledg
many
Examples
of
this
kind
,
and
we
have
some
fragments
,
but
no
entire
Poem
of
this
kind
,
except
the
Polyphemus
of
Euripides
:
And
I
incline
to
think
that
his
Alceste
is
one
of
that
kind
too
,
by
reason
that
Hercules
is
very
pleasant
there
with
a
Slave
,
and
does
very
Comical
Actions
;
but
I
shall
wait
the
Opinion
of
the
Learned
,
before
I
shall
determine
any
thing
in
that
Point
.
These
three
sorts
of
Poems
are
not
now
upon
the
Stage
,
in
the
same
manner
as
they
were
antiently
;
for
to
begin
with
Pastorals
,
they
are
now
a
Drammatick
Poem
,
according
to
the
Rules
of
all
other
Dramma's
,
compos'd
of
five
Acts
,
and
many
agreeable
Events
and
Intrigues
,
but
all
regarding
a
Country
life
;
so
that
we
have
borrowed
the
matter
of
the
Eclogues
from
the
Antients
,
and
applyed
it
to
the
Rules
of
Satyrical
Tragedy
.
Comedy
among
us
has
remain'd
long
,
not
only
in
meanness
and
obscurity
,
but
look'd
upon
as
infamous
,
being
chang'd
into
that
sort
of
Farce
,
which
we
still
retain
at
the
end
of
some
of
our
Tragedys
;
though
they
are
certainly
things
without
Art
,
or
Grace
,
and
only
recommendable
to
the
Rascally
sort
of
Mankind
,
who
delight
in
obscene
,
infamous
words
and
actions
.
I
know
indeed
that
sometimes
our
Poets
have
endeavour'd
to
restore
the
Comedy
of
the
Antients
,
either
by
translating
their
Works
,
or
by
otherwise
imitating
them
,
but
that
has
seldom
happened
,
and
then
without
success
too
,
for
many
reasons
;
but
particularly
,
for
not
having
chosen
Subjects
that
had
any
conformity
with
our
manners
and
customs
;
or
for
not
having
chang'd
in
the
Works
of
the
Antients
,
that
which
was
not
so
conformable
to
our
Sentiments
:
Neither
can
we
say
that
the
Comedy
of
the
Italians
has
succeeded
to
those
of
Plautus
and
Terence
,
for
they
have
observ'd
neither
the
matter
nor
form
of
them
;
their
Subjects
are
always
mingled
with
serious
Adventures
,
and
burlesk
ones
,
Hero's
and
Harlequins
;
and
generally
they
consist
but
of
three
Acts
,
without
any
order
of
Scenes
,
nor
any
thing
of
the
Conduct
of
the
Antients
.
And
indeed
I
cannot
but
admire
how
it
comes
to
pass
,
that
the
Descendents
of
the
Romans
should
be
so
unlearned
in
the
Art
of
their
Fathers
.
As
for
Tragedy
,
it
has
been
preserv'd
a
little
better
among
us
,
because
the
manners
of
our
Nobility
being
serious
and
heroick
,
they
have
with
more
pleasure
been
upon
the
Stage
the
Adventures
of
such
persons
,
and
have
shew'd
no
disposition
at
all
to
that
mixture
of
serious
and
burlesk
which
we
blame
in
the
Italians
.
But
besides
the
Niceties
of
the
Art
,
which
as
well
as
the
Italians
,
we
have
long
been
ignorant
of
;
we
have
done
two
things
,
one
of
which
is
very
reasonable
,
and
the
other
without
any
good
grounds
.
The
first
is
,
that
we
have
rejected
all
those
Storys
full
of
horrour
and
cruelty
,
which
made
the
pleasure
of
the
Roman
and
Athenian
Stages
;
and
for
this
very
reason
one
of
the
noblest
Tragedys
that
we
have
,
I
shall
not
absolutely
fall
out
with
this
name
,
but
I
shall
shew
that
it
is
at
least
superfluous
,
since
the
word
Tragedy
signifies
as
well
those
Plays
that
end
in
joy
,
as
those
that
end
in
blood
;
provided
still
the
Adventures
be
of
Illustrious
persons
.
And
besides
,
the
signification
of
the
word
Tragicomedy
is
not
true
in
the
sense
we
use
it
;
for
in
those
Plays
that
we
apply
it
to
,
there
is
nothing
at
all
Comical
,
all
is
grave
and
heroick
,
nothing
popular
and
burlesk
.
But
moreover
,
this
title
alone
may
destroy
all
the
beauty
of
a
Play
,
which
consisting
particularly
in
the
Peripetia
,
or
return
of
Affairs
,
it
may
discover
that
too
soon
;
since
the
most
agreeable
thing
in
a
Dramma
is
,
that
out
of
many
sad
and
Tragick
appearances
,
the
Event
should
at
last
be
happy
,
against
the
Expectation
of
the
whole
Audience
;
but
when
once
the
word
Tragicomedy
is
prefix'd
,
the
Catastrophe
is
presently
known
,
and
the
Audience
the
less
concern'd
with
all
the
Incidents
that
trouble
the
designs
of
the
chief
Actors
;
so
that
all
their
Pathetick
complaints
do
but
weakly
move
the
Spectator
,
who
is
prepossessed
with
an
Opinion
that
all
will
end
well
;
whereas
if
we
were
ignorant
of
the
Event
,
we
should
tremble
for
them
,
and
be
likewise
more
delighted
with
the
return
of
good
Fortune
that
should
deliver
them
.
One
thing
which
surprises
me
the
most
in
this
occasion
is
,
that
there
are
men
of
Learning
and
Parts
,
who
out
of
complaisance
to
popular
Errours
,
do
maintain
that
this
was
a
word
us'd
by
the
Romans
;
for
,
for
my
part
I
cannot
imagine
where
they
can
find
that
a
Dramma
,
containing
the
Adventures
of
heroick
persons
,
and
ending
in
a
happy
Catastrophe
,
had
the
name
of
Tragicomedy
.
We
see
nothing
of
this
in
what
remains
of
the
Works
of
the
Antients
,
nor
in
those
who
have
compil'd
fragments
,
or
written
their
own
sense
about
the
Art
and
Maxims
of
the
Stage
.
'T
is
true
that
Plautus
in
the
Prologue
to
his
Amphytrio
,
uses
the
word
Tragicomedy
;
but
as
he
is
the
only
Roman
that
has
us'd
it
,
so
has
he
done
it
in
a
sense
very
remote
from
the
use
we
make
of
it
.
That
he
is
the
only
Poet
of
the
Antients
that
has
us'd
this
word
,
is
out
of
dispute
;
and
our
Moderns
cannot
alledge
any
other
Roman
Author
,
while
the
Roman
Tongue
was
a
living
Language
;
so
that
Plautus
was
the
Coiner
of
this
word
,
which
also
fell
with
him
,
and
died
in
its
Cradle
long
before
the
Roman
Language
;
but
if
others
after
him
had
made
use
of
it
in
the
sense
he
employs
it
,
that
could
not
authorize
the
word
Tragicomedy
,
as
it
is
now
employ'd
;
and
quite
contrary
,
't
is
by
Plautus
,
that
we
will
shew
the
mistake
of
its
signification
,
and
the
ill
use
that
is
made
of
it
.
To
understand
this
well
,
we
must
repeat
here
,
that
Tragedy
and
Comedy
were
two
Poems
so
distinct
,
that
not
only
the
Adventures
,
Persons
,
and
Stile
of
the
one
,
had
nothing
common
with
the
other
;
but
even
the
Tragedians
never
acted
Comedys
,
nor
the
Comedians
Tragedy
:
They
were
as
it
were
two
different
Trades
or
Professions
;
and
accordingly
Story
gives
us
the
names
of
divers
Actors
,
who
excell'd
in
the
one
or
the
other
,
but
never
,
or
at
least
very
rarely
of
any
that
excell'd
in
both
.
We
are
to
take
notice
besides
,
that
the
Mimes
,
Pantomimes
,
Embolarii
,
the
Buffoons
,
the
Dancers
,
Musicians
,
Players
of
Instruments
,
nay
even
the
Actors
of
the
Atellane
Fables
(
which
were
the
modestest
of
all
)
were
not
admitted
among
those
who
acted
Tragedys
,
nor
likewise
among
the
Comedians
,
or
those
who
acted
Comedy
;
both
these
being
reputed
much
more
honourable
than
the
Actors
of
those
Farces
and
Interludes
;
but
the
chief
distinctive
mark
of
these
two
Poems
was
the
matter
of
their
Incidents
,
and
the
condition
of
the
persons
in
each
Poem
;
for
where
Gods
and
Kings
acted
according
to
their
gravity
and
dignity
,
that
was
call'd
Tragedy
;
but
when
the
Intrigues
of
the
Stage
were
founded
upon
the
tricks
and
behaviour
of
young
Debauchees
,
Women
and
Slaves
,
that
was
Comedy
.
And
if
we
seek
a
further
reason
for
this
,
it
will
appear
that
the
Hymn
or
Song
of
Bacchus
,
which
was
sung
and
danc'd
before
his
Altars
,
having
been
transferr'd
from
the
Country
,
to
Towns
and
Citys
,
the
Subject
of
it
was
always
taken
by
the
Poets
out
of
illustrious
and
serious
Storys
and
Fables
,
and
treated
in
a
grave
and
sublime
style
;
but
the
very
same
Hymn
remaining
in
the
Country
Villages
,
took
its
Subject
from
the
common
people
,
and
their
actions
;
and
being
treated
in
a
low
,
familiar
style
,
was
call'd
Comedy
,
though
that
name
too
at
first
was
common
to
both
sorts
of
Poems
,
till
their
Characters
being
so
very
different
,
made
them
be
distinguish'd
by
different
names
.
Now
let
us
see
in
what
sense
it
is
that
Plautus
employs
the
word
Tragicomedy
in
the
Prologue
of
his
Amphytrion
,
where
Mercury
speaks
;
and
having
desir'd
from
the
people
a
favourable
Audience
,
continues
in
these
words
.
After
this
I
will
explain
to
you
the
Subject
of
this
Tragedy
,
What
,
you
frown
,
because
I
have
call'd
this
Play
a
Tragedy
?
but
I
am
a
God
,
and
therefore
can
change
it
presently
if
you
will
,
and
without
altering
a
Verse
of
it
make
it
a
Comedy
.
Then
having
jested
a
little
,
he
goes
on
;
I
will
by
a
mixture
make
it
a
Tragicomedy
;
for
I
do
not
think
it
reasonable
that
a
Play
should
be
call'd
all
Comedy
,
where
Gods
and
Kings
come
and
act
;
how
shall
we
do
then
since
a
Slave
too
is
one
of
the
chief
Actors
?
why
,
as
I
told
you
,
we
will
make
it
a
Tragicomedy
.
After
such
plain
and
intelligible
words
,
I
cannot
imagine
how
any
body
can
say
,
that
Plautus
had
us'd
the
word
Tragicomedy
,
as
we
use
it
;
for
he
never
dreamt
of
that
signification
;
all
that
he
says
is
a
jest
,
wherein
he
joyns
the
names
of
those
two
Poems
,
as
he
had
done
the
persons
by
which
the
great
distinction
that
was
between
them
does
more
evidently
appear
;
and
that
therefore
we
have
very
ill
apply'd
that
name
to
a
Poem
,
where
all
the
Persons
and
Adventures
are
heroick
.
'T
is
for
this
that
Plautus
never
call'd
his
Amphytrio
a
Tragicomedy
,
but
because
his
Gods
and
Kings
do
not
act
according
to
their
dignity
,
but
rather
very
far
from
it
,
playing
the
fool
almost
continually
,
insomuch
that
Jupiter
and
Amphytrío
go
to
Fisty-cuffs
;
he
therefore
often
boldly
calls
it
Comedy
,
in
many
places
of
his
Prologue
.
Jupiter
,
says
he
,
will
act
himself
in
this
Comedy
,
and
by
and
by
,
Hearken
now
to
the
Argument
of
this
Comedy
;
so
that
his
Interpreters
and
Commentators
have
not
also
call'd
it
by
any
other
name
,
no
more
than
such
Antients
as
speak
of
Plautus
and
his
Works
;
as
Cicero
,
Quintilian
,
Varro
,
Aulus
Gellius
,
Volcatius
in
his
Treatise
of
the
Comick
Poets
,
Servius
,
Sextus
,
Pompeius
,
Macrobius
,
Rufinus
,
Donatus
,
Petrus
Crinitus
,
Lilius
Geraldus
,
in
his
History
of
Poets
,
Scaliger
in
his
Poetica
;
none
of
these
▪
I
say
,
have
called
his
Amphytrio
,
no
more
than
all
his
other
Plays
any
thing
else
but
a
Comedy
.
And
when
Vossius
explains
this
word
of
Tragicomedy
,
he
says
,
Plautus
gives
it
to
his
Amphytrio
,
because
he
in
that
Play
mingles
the
dignity
of
persons
with
the
lowness
of
Comical
Discourses
;
and
Festus
making
a
division
of
the
Fables
among
the
Romans
,
says
,
that
the
Tabernariae
,
were
such
as
admitted
of
persons
of
Quality
,
mingled
with
people
of
mean
Extraction
,
upon
which
Vossius
adds
,
that
the
Amphytrio
of
Plautus
is
of
that
sort
,
and
that
such
a
Play
may
be
call'd
Tragicomedy
,
or
Hilaro-Comedy
,
which
is
a
new
word
invented
by
that
Author
.
And
Scaliger
before
him
,
speaking
of
the
name
of
Tragicomedy
given
to
this
Play
,
says
,
It
is
done
in
Raillery
,
because
the
Poet
had
made
a
mixture
of
the
meanness
of
Comedy
,
with
the
dignity
of
great
persons
;
let
us
not
therefore
affirm
any
longer
,
that
this
word
Tragicomedy
was
us'd
by
the
Antients
in
our
sense
;
for
Plautus
is
the
only
one
that
has
it
,
and
that
in
a
quite
different
sense
from
ours
,
who
by
that
word
do
mean
a
Drammatick
Poem
,
of
which
the
Subject
is
Heroick
,
and
the
End
or
Catastrophe
happy
;
and
that
indeed
is
a
noble
and
agreeable
sort
of
Tragedy
much
us'd
by
the
Antients
.
The
same
fault
,
in
my
Opinion
,
is
committed
by
those
who
would
have
the
Hilaro-Tragedia
to
be
a
Dramma
,
or
Theatral
piece
in
use
among
the
Greeks
,
and
of
the
nature
of
that
which
we
call
Tragicomedy
,
which
seems
not
to
be
very
probable
.
Suidas
indeed
does
say
,
that
Rintho
,
a
Comick
Poet
,
invented
a
sort
of
Poetry
call'd
by
him
Hilaro-Tragedia
;
but
to
conclude
from
thence
,
that
it
was
a
regular
Drammatick
Poem
,
of
which
the
Subject
was
Heroick
,
and
the
End
happy
,
seems
against
all
appearance
,
first
,
because
that
it
was
a
Comick
Poet
that
invented
it
,
and
they
seldom
or
never
undertook
to
treat
any
grave
Subjects
;
or
when
they
did
,
it
was
always
to
turn
them
into
Ridicule
,
as
this
Amphytrio
of
Plautus
,
and
the
Comedys
of
Aristophanes
.
Suidas
calls
this
Play
of
his
a
Farce
.
Hesichius
calls
the
Author
Jester
and
Laugher
;
and
Varro
puts
the
name
of
Riortho
for
a
Jester
.
Besides
,
this
Invention
of
his
had
no
progress
,
and
we
have
not
heard
ever
since
,
of
any
regular
Dramma
that
has
carryed
this
title
,
nor
of
any
Poet
that
succeeded
him
in
this
kind
.
What
I
should
think
then
of
this
Hilaro-Tragedia
is
,
that
it
was
a
little
piece
of
Poetry
,
of
the
number
of
those
call'd
Mimes
,
wherein
were
mingled
serious
and
pleasant
things
,
sung
with
Voices
and
Instruments
,
and
danc'd
upon
the
Stage
with
gestures
,
expressing
the
sense
of
each
word
,
according
to
that
wonderful
way
of
the
Antients
,
so
little
known
in
our
days
;
and
this
seems
to
be
so
much
the
more
probable
,
because
Vossius
says
,
that
the
Hilaroedia
is
the
same
with
the
Hilaro-Tragedia
;
and
't
is
certain
,
that
that
,
and
the
Magedia
,
were
two
Poems
of
that
sort
,
sung
and
danc'd
upon
the
Stage
by
those
who
were
thence
call'd
Hilaroedians
,
and
Magedians
;
and
they
were
not
Drammatick
Poems
represented
by
Tragedians
or
Comedians
,
as
some
by
mistake
have
imagin'd
,
for
the
Hilaroedians
(
who
were
likewise
call'd
Simoedians
from
one
Simon
Mages
,
who
excelled
in
that
Art
)
did
dance
and
sing
a
piece
of
Poetry
agreeable
,
but
serious
;
and
though
not
so
serious
as
Tragedy
,
yet
much
of
the
same
nature
and
as
for
the
Magedians
,
they
at
first
recited
only
Discourses
of
Magick
or
natural
Causes
,
such
as
is
the
Pharmaceutra
of
Theocritus
and
Virgil
;
but
in
process
of
time
they
came
to
act
all
sort
of
lascivious
Farces
in
the
Comick
Character
,
but
much
below
it
.
The
Magedians
represented
Men
in
Womens
cloths
;
but
there
were
another
sort
who
represented
only
Women
in
Mens
cloths
,
and
those
were
call'd
the
Lisoedians
Athenaeus
remarks
many
more
particulars
about
them
not
proper
to
our
Subject
.
But
that
none
may
have
cause
to
wonder
at
what
I
say
about
Hilaro-Tragedy
,
we
must
observe
that
most
of
the
Poems
of
the
Antients
were
sung
and
danc'd
with
ingenious
Gestures
,
either
in
their
Temples
,
or
upon
the
Theatres
,
or
at
their
Feasts
In
a
word
,
in
all
publick
Pomps
and
Shows
,
either
sacred
or
profane
.
Sometimes
they
took
Odes
and
Idylliums
,
and
other
small
pieces
of
Poetry
,
as
Mnasion
did
by
the
Jambicks
of
Simonides
,
and
some
others
by
the
Verses
of
Phocilides
,
and
other
Poets
.
The
Lacedemonians
did
the
same
thing
by
the
Songs
of
Thaletas
and
Aleman
,
and
the
Paeans
of
Dionisiodorus
,
at
the
celebration
of
the
Feast
for
the
Tyrean
Victory
.
Sometimes
they
took
a
Cento
out
of
some
great
work
,
as
out
of
Hesiod
or
Homer
;
and
these
reciters
were
call'd
Homeristes
,
being
first
brought
upon
the
Stage
by
Demetrius
Phalereus
;
and
one
Hermodorus
was
famous
among
them
.
We
find
also
by
a
certain
Jason
,
cited
by
Athenaeus
,
that
in
the
great
Theatre
of
Alexandria
,
Hegesias
the
Comedian
was
a
famous
Actor
of
those
Poems
,
written
by
Herodotus
Logominus
,
a
noted
Poet
of
those
times
,
different
from
the
Historian
of
that
name
.
Nay
,
there
were
people
who
us'd
to
sing
and
dance
some
parts
of
Tragedys
and
Comedys
at
Feasts
,
and
great
Entertainments
;
and
sometimes
the
entire
Plays
were
thus
sung
and
danc'd
,
not
only
in
the
time
when
Tragedys
and
Comedys
consisted
of
the
Hymn
of
Bacchus
,
(
of
which
we
have
spoke
in
its
proper
place
)
but
even
since
they
were
reduc'd
into
Rules
,
and
made
up
of
many
Episodes
inserted
between
the
Chorus's
,
as
we
have
them
now
.
From
whence
we
see
Aristotle
calls
Aeschylus's
Dancer
Divine
,
for
having
so
rarely
danc'd
a
Play
of
his
call'd
the
Seven
before
Thebes
;
and
we
see
Seneca
makes
use
of
Pylades
,
a
rare
Tragedian
Dancer
:
and
Batyllus
as
rare
a
one
for
Comedy
,
to
insinuate
,
that
no
one
ought
to
undertake
any
thing
but
what
they
are
excellent
in
,
if
they
mean
to
succeed
.
'T
was
this
Pylades
who
rais'd
a
Dispute
before
the
people
of
Rome
against
Hylus
his
own
Scholar
,
which
of
them
two
represented
Agamemnon
best
,
either
Hylus
,
who
to
make
him
great
,
rais'd
himself
upon
his
Toes
,
or
Pylades
,
who
made
him
pensive
and
thoughtful
,
as
being
the
best
Idaea
of
a
Prince
that
was
to
take
care
of
his
Subjects
good
.
Plutarch
likewise
in
his
Table
Conversations
makes
two
great
Discourses
about
this
ingenious
way
of
representing
by
motions
and
postures
,
persons
and
actions
,
insinuating
that
Poetry
is
nothing
but
a
speaking
Dance
,
and
Dancing
a
dumb
kind
of
Poetry
,
and
condemning
at
the
same
time
the
Dances
of
Pylades
in
publick
Feasts
,
as
being
too
serious
and
passionate
.
But
,
though
these
Discourses
about
the
Antients
may
be
agreeable
and
useful
,
they
carry
me
too
far
from
my
Subject
,
upon
which
I
have
already
been
too
taedious
to
explain
only
the
word
Tragicomedy
,
our
Poets
may
reflect
whether
they
think
fit
to
use
it
still
in
its
vulgar
acceptation
,
or
whether
according
to
the
tr●e
notion
of
Tragedy
,
they
will
use
this
word
indifferently
in
all
those
Dramma's
,
of
which
the
persons
are
Heroick
,
whether
the
Catastrophes
be
happy
or
fatal
,
that
so
they
may
hinder
the
Spectator
from
discovering
the
Event
of
their
Plays
beforehand
.
An
Analysis
,
or
Examen
of
the
first
Tragedy
of
Sophocles
,
entituled
Ajax
,
upon
the
Rules
deliver'd
for
the
practice
of
the
Stage
.
IF
the
Curious
that
have
read
these
Remarks
,
are
willing
to
receive
some
satisfaction
for
their
pains
,
and
to
judg
equitably
of
the
labour
I
have
undergone
,
it
will
be
necessary
for
them
to
read
in
the
Original
this
Dramma
,
which
I
am
going
to
examine
,
and
till
then
,
if
they
condemn
or
praise
me
any
where
,
I
must
except
against
them
as
unfit
either
to
censure
or
applaud
my
Endeavours
.
All
Criticisms
have
this
property
,
that
they
oblige
the
Readers
to
view
the
piece
they
criticize
;
for
if
they
have
not
present
in
their
minds
all
those
particulars
,
upon
which
the
Rules
are
to
be
applyed
,
they
are
subject
to
doubt
of
the
beauties
and
faults
that
are
shew'd
,
and
of
the
truth
of
all
the
Criticks
Observations
.
I
am
not
ignorant
that
such
a
Discourse
is
none
of
the
most
agreeable
of
its
self
,
and
therefore
ought
not
to
impose
the
reading
of
another
Book
;
but
there
is
no
way
to
make
this
Lecture
easie
,
but
by
taking
in
both
.
It
may
be
a
bolder
man
than
my self
would
tell
you
,
that
these
Remarks
,
though
by
the
crabbedness
of
their
Criticism
they
may
fail
of
pleasing
one
way
,
yet
they
will
in
some
measure
atone
for
that
,
by
shewing
the
hidden
graces
,
and
the
great
dexterity
of
those
great
Masters
which
have
hitherto
been
little
taken
notice
of
,
or
at
least
regarded
as
casual
beauties
.
Supposing
therefore
that
my
Reader
has
just
read
Sophocles's
Ajax
,
I
begin
to
examine
it
by
the
Subject
;
for
't
is
there
that
the
Poet
himself
ought
always
to
begin
.
The
subject
of
this
Poem
is
nothing
but
the
just
Indignation
of
Ajax
against
his
Country
men
the
Graecians
,
for
preferring
Vlysses
before
himself
in
their
dispute
about
the
armour
of
Achilles
.
This
affront
in
the
person
of
a
King
and
the
bravest
man
of
the
whole
army
unjustly
and
basely
us'd
by
those
whom
he
had
so
valiantly
defended
,
and
that
by
those
Generals
who
could
not
be
ignorant
of
his
great
Actions
done
in
their
presence
,
could
not
but
be
most
highly
resented
and
therefore
afforded
a
noble
Theme
for
great
passions
.
The
fund
,
I
confess
,
seems
to
be
sterile
,
and
to
promise
little
;
but
there
lies
the
greatest
art
of
chusing
such
improvable
subjects
,
to
give
the
Poets
Imagination
the
greater
Play
;
who
it
may
be
upon
this
Anger
alone
Invented
both
his
rage
and
manner
of
dying
,
for
I
do
not
find
History
to
have
positively
determined
either
of
them
:
Ovid
speaks
onely
of
his
Anger
,
and
some
have
said
that
he
was
killed
by
Paris
;
others
that
he
was
stifled
in
mud
by
the
Trojans
,
because
he
was
Invulnerable
,
otherwise
;
for
my
part
,
I
believe
that
those
who
tell
his
death
Sophocles's
way
,
have
had
it
from
him
,
which
is
no
new
thing
in
Theatral
stories
,
the
very
Fables
,
from
thence
having
by
the
Poets
Inventions
passed
at
last
for
Authentick
Histories
.
These
two
Incidents
then
I
think
to
be
the
Poets
Invention
,
who
in
that
has
with
great
Art
,
followed
the
Rules
of
probability
,
for
a
Soul
as
fierce
and
passionate
for
Glory
as
that
of
Ajax
,
might
well
entertain
the
resolution
of
being
reveng'd
upon
his
Judges
and
his
Competitour
,
and
thereupon
run
mad
;
After
which
coming
to
himself
again
,
and
seeing
the
extravagant
and
fruitless
Effects
of
his
transport
,
he
might
well
kill
himself
out
of
shame
and
some
remainder
of
rage
.
That
which
makes
this
still
seem
to
be
the
Poets
Invention
,
is
the
prohibition
that
Menelaus
and
Agamemnon
lay
upon
Teucer
Ajax's
Brother
,
that
he
should
not
bury
Ajax's
dead
body
,
for
't
is
very
probable
that
those
two
Princes
were
not
so
inhumane
;
but
Sophocles
added
that
to
create
the
greater
compassion
for
Ajax's
calamity
,
seeing
his
brother
hardly
permitted
to
pay
him
those
funeral
rites
which
were
due
to
so
great
a
man
and
a
King
;
in
this
indeed
he
makes
something
bold
with
the
generosity
of
Menelaus
and
Agamemnon
,
but
Ajax
is
his
Hero
to
whom
he
Sacrifices
all
things
;
and
this
refusal
of
theirs
to
let
him
be
solemnly
Interred
against
the
law
of
all
Civiliz'd
Nations
,
contributes
not
a
little
to
perswade
that
they
had
used
him
Unjustly
in
the
point
of
Achilles's
Armour
,
all
which
,
makes
him
still
be
the
more
pityed
;
not
but
that
those
princes
might
have
some
shadow
of
reason
for
their
severity
,
considering
Ajax
as
one
who
had
meditated
the
ruine
of
the
chief
Captains
of
the
Graecian
Army
,
and
made
himself
as
it
were
a
publick
Rebel
whose
punishment
among
them
was
to
be
prohibited
the
solemnity
of
sepulture
.
I
am
not
Ignorant
,
That
Cointus
Calaber
,
an
Epick
Poet
,
makes
them
much
more
generous
and
with
him
they
perform
honourable
obsequies
to
his
body
.
And
in
that
he
aims
at
preserving
the
dignity
of
his
Poem
and
Hero's
,
as
Sophocles
does
of
his
,
besides
this
Ingenious
Fiction
in
his
Subject
he
brings
in
Tecmessa
Ajax's
Wife
whence
he
draws
three
or
four
very
passionate
Scenes
;
now
let
us
see
what
other
changes
he
makes
to
adjust
the
time
and
place
necessary
for
the
composition
of
his
Poem
.
As
for
the
time
,
he
shews
that
indeed
there
needs
no
longer
a
one
for
the
representation
than
for
the
real
action
.
Since
in
the
third
Act
't
is
said
,
That
Minerva
's
Anger
against
Ajax
is
to
last
but
a
day
,
and
that
if
they
could
but
watch
him
for
one
day
,
he
might
avoid
destroying
himself
.
Now
Ajax
after
this
is
all
alone
,
and
kills
himself
,
by
which
we
may
naturally
conjecture
,
that
the
Play
ends
the
same
day
that
his
madness
began
;
for
all
that
's
done
after
his
death
,
is
nothing
but
a
contestation
about
his
being
buried
,
which
is
soon
over
,
as
happening
near
the
dead
body
;
and
to
shew
that
he
does
not
employ
the
whole
day
upon
his
Stage
,
he
opens
his
Theater
in
the
morning
,
after
Ajax
had
already
run
through
the
whole
Graecian
Camp
,
exercis'd
his
fury
upon
the
Flocks
of
Sheep
,
and
carry'd
some
of
those
Animals
bound
into
his
Tent
,
which
takes
up
naturally
more
time
than
is
spent
from
the
hour
that
Vlysses
comes
to
spy
what
Ajax
did
,
to
the
time
that
Teucer
carrys
away
his
dead
body
to
have
it
bury'd
;
so
that
a
small
part
of
the
day
is
taken
up
by
his
Actors
.
The
only
Incidents
in
this
piece
is
the
return
of
Teucer
,
who
was
in
Mysia
with
an
Army
;
and
that
this
coming
of
his
might
not
appear
affected
,
he
makes
Ajax
complain
of
the
long
stay
of
his
Brother
,
who
should
have
been
back
long
before
,
and
who
was
expected
by
him
with
great
impatience
;
so
that
when
Teucer
comes
at
last
,
that
does
not
appear
so
much
a
contrivance
of
the
Poets
to
make
him
be
there
to
dispute
about
his
Brothers
Obsequies
,
as
a
natural
effect
;
the
Spectatours
being
so
prepared
that
they
are
wishing
for
his
return
of
themselves
before
he
comes
,
that
he
might
save
Ajax's
life
,
in
which
we
may
observe
another
change
that
Sophocles
makes
in
the
Story
by
this
absence
of
Teucer
,
the
reason
of
which
change
is
,
that
if
Teucer
had
been
present
in
the
Camp
during
his
brothers
Madness
,
the
Scene
being
before
Ajax's
Tent
,
't
is
very
probable
that
Teucer
would
have
taken
care
to
secure
him
,
whereas
all
other
Authors
who
speak
of
this
adventure
,
as
Cointus
Calaber
particularly
,
leave
Teucer
in
the
Army
,
but
not
able
to
save
his
brother
,
because
he
was
gone
out
of
his
Tent
to
kill
and
Massacre
the
Flocks
of
Sheep
,
and
no
body
knew
what
was
become
of
him
.
Observe
moreover
with
what
art
he
chooses
the
place
of
his
Theater
.
In
following
the
Fable
as
it
is
generally
receiv'd
,
none
of
the
Actors
have
any
Stable
or
particular
place
.
Ajax
is
abroad
in
the
Fields
;
Teucer
,
Vlysses
,
Menelaus
,
and
Agamemnon
are
in
the
Camp
;
his
Wife
Tecmessa
laments
with
her
little
Son
in
his
Tents
,
and
his
Subjects
the
Salaminians
are
either
upon
their
Ships
,
or
abroad
to
seek
out
their
Prince
.
There
was
nevertheless
a
necessity
of
bringing
all
these
people
together
,
and
to
make
them
appear
in
one
and
the
same
place
with
probability
,
and
thus
he
brings
it
to
pass
.
He
places
his
Stage
before
Ajax's
Tent
as
being
the
most
probable
place
where
all
things
should
come
to
pass
;
particularly
considering
that
there
was
a
necessity
of
making
an
afflicted
Lady
appear
before
the
Audience
,
it
would
nor
have
been
decent
to
place
her
any
where
else
,
nor
to
make
her
run
about
the
Fields
after
a
Mad-man
;
but
because
likewise
he
was
resolv'd
to
bring
the
body
of
Ajax
upon
the
Stage
,
that
he
might
the
better
shew
the
Passions
of
Tecmessa
and
Teucer
,
and
the
contestation
about
his
burial
;
he
supposes
that
there
was
a
Wood
Close
by
the
Tent
,
and
to
make
that
supposition
the
more
likely
,
he
places
Ajax's
Tent
the
last
of
all
the
Camp
,
which
is
very
artificially
intimated
in
the
first
Verses
that
Minerva
speaks
,
and
to
shew
that
the
Wood
is
hard
by
his
Tent
,
he
makes
the
Salaminians
hear
from
the
Camp
,
the
voice
of
Tecmessa
,
when
she
falls
into
loud
complaints
in
the
Wood
upon
finding
the
Dead
Body
:
Then
to
bring
Ajax
,
who
was
the
chief
Actor
,
to
his
Tent
,
he
supposes
against
the
receiv'd
Fable
,
that
he
did
not
immediately
kill
himself
after
the
slaughter
of
the
Sheep
;
but
that
he
brought
into
his
Tent
,
a
great
Ram
which
he
took
for
Vlysses
,
and
other
Creatures
which
he
took
for
the
Chief
Captains
among
the
Graecians
with
an
intent
to
make
them
linger
under
the
torment
of
his
Stripes
.
But
let
us
see
in
particular
how
each
Actor
is
brought
upon
the
Stage
,
and
goes
off
according
to
reason
.
Vlysses
comes
to
spy
what
Ajax
was
doing
,
and
Minerva
to
assist
him
against
the
fury
of
Ajax
,
Ajax
appears
by
the
command
of
Minerva
to
give
Vlysses
the
content
of
seeing
his
Enemy
in
the
condition
that
she
had
put
him
;
Ajax
returns
to
his
Tent
to
whip
the
Ram
that
he
took
for
Vlysses
,
then
Minerva
and
Vlysses
go
off
of
the
Stage
where
they
have
nothing
more
to
do
,
and
that
's
the
First
Act.
In
the
Second
Act
Tecmessa
comes
out
of
her
Tent
to
desire
succour
from
the
Salaminians
,
who
are
the
Chorus
in
this
Tragedy
,
and
then
opens
her
Tent
to
go
in
again
,
where
appears
Ajax
in
the
midst
of
the
slaughter'd
Beasts
,
but
somewhat
come
to
himself
,
which
gives
subject
to
very
fine
Discourses
between
him
,
his
Wife
,
and
his
Friends
.
In
the
Third
Act
he
comes
out
of
his
Tent
feigning
to
go
wash
himself
in
the
Sea
to
purify
himself
;
but
indeed
to
hide
the
Sword
that
Hector
gave
him
:
his
Wife
comes
out
to
follow
him
,
but
by
his
command
retires
into
her
Tent
again
,
and
he
goes
on
.
Then
appears
a
Messenger
,
who
bringing
the
news
of
the
return
of
Teucer
,
orders
from
him
that
Ajax
be
carefully
kept
;
upon
this
news
Tecmessa
goes
out
again
,
and
desires
the
Salaminians
to
help
her
to
look
Ajax
,
which
they
do
very
willingly
,
and
so
ends
the
third
Act.
In
the
Fourth
Act
Ajax
appears
in
the
Wood
near
his
Tent
,
making
complaints
of
his
misfortunes
,
and
so
falling
upon
his
Sword
,
the
Hilt
whereof
he
had
put
into
the
ground
,
which
circumstance
shews
that
his
Death
was
at
the
same
time
an
effect
of
shame
for
what
he
had
done
,
and
some
remainder
of
the
rage
he
was
possessed
with
;
at
the
very
moment
that
he
expires
the
Salaminians
come
upon
the
Stage
from
different
parts
weary
,
and
vex'd
that
they
had
sought
him
in
vain
,
and
Tecmessa
who
alone
had
gone
towards
the
Wood
,
finds
Ajax
just
expiring
,
and
cries
out
,
which
being
heard
by
the
Salaminians
they
go
to
her
:
In
the
mean
time
the
seeking
of
him
with
so
much
noise
had
easily
made
every
body
think
that
he
was
gone
out
of
the
way
on
purpose
to
kill
himself
,
and
fame
which
ordinarily
fore-runs
great
events
,
having
carried
the
news
of
his
death
to
Teucer
obliges
him
to
leave
the
Greeks
with
whom
he
was
wrangling
about
his
Brother
,
and
come
to
his
Tent
to
hear
some
news
of
him
;
and
at
the
same
time
almost
Menelaus
who
had
likewise
heard
the
news
of
his
death
comes
thither
to
forbid
his
being
buried
;
then
goes
back
to
tell
Agamemnon
of
Teucers
disobedience
to
his
Commands
;
who
at
the
same
time
goes
out
to
find
a
burying
place
for
his
Brother
,
having
first
shut
up
Tecmessa
with
her
Maids
▪
In
the
Fifth
Act
Agamemnon
comes
himself
to
put
his
Orders
in
execution
;
and
Teucer
who
sees
him
afar
off
,
comes
back
to
be
near
his
Brothers
dead
Body
,
to
defend
it
;
Vlysses
arrives
to
appease
Agamemnon
,
who
at
last
yields
and
goes
out
;
Teucer
desires
Vlysses
to
withdraw
,
lest
his
presence
trouble
the
deceased
Ghost
or
Manes
of
Ajax
who
had
been
his
Enemy
;
he
does
so
,
and
Teucer
carries
off
his
Brothers
Body
:
Now
all
these
pretexts
and
colours
for
the
going
off
,
and
coming
on
of
all
the
Actors
,
are
without
doubt
very
natural
and
probable
;
but
the
Art
with
which
the
Poet
brings
all
to
pass
,
is
so
fine
,
and
so
ingenious
,
that
one
cannot
say
that
he
affects
so
much
as
a
word
in
it
all
,
every
thing
being
so
well
contriv'd
,
that
all
appears
necessary
,
and
therein
lies
the
secret
of
the
Art
.
You
do
not
neither
see
any
Actor
upon
the
Stage
whose
name
you
do
not
presently
know
,
or
at
least
their
quality
or
concern
as
much
as
is
necessary
to
prepare
the
Attention
of
the
Spectators
.
At
the
opening
of
the
Stage
Minerva
(
easily
known
to
the
Ancients
by
the
marks
of
her
Divinity
)
discovers
Vlysses's
name
who
comes
to
her
,
and
the
design
he
has
to
spy
what
Ajax
does
;
and
when
Ajax
appears
,
one
sees
in
what
condition
he
is
,
for
Minerva
declares
it
,
and
calls
him
by
his
name
.
The
Chorus
in
its
first
Verses
shews
,
that
it
is
made
up
of
Ajax's
Friends
,
the
chief
of
them
saying
,
That
he
had
been
always
partner
of
the
good
and
ill
Fortune
of
that
Prince
,
hardly
has
Tecmessa
spoke
three
lines
,
but
the
Chorus
asking
her
about
Ajax
,
she
tells
them
that
she
can
best
inform
them
,
being
from
his
Mistress
and
Slave
become
his
lawful
Wife
.
The
Messenger
is
presently
known
by
his
Dress
,
and
by
the
first
words
he
speaks
.
When
Teucer
comes
in
the
Fourth
Act
,
the
Chorus
says
they
hear
his
voice
,
and
his
name
alone
is
enough
to
raise
the
expectation
of
some
generous
Sentiment
from
him
,
and
the
Chorus
bids
him
consider
what
to
say
to
Menelaus
who
draws
near
,
and
by
that
prepares
an
incident
of
some
new
trouble
.
When
Agamemnon
arrives
,
Teucer
says
,
That
he
came
back
quickly
,
because
he
had
seen
Agamemnon
at
a
distance
with
the
marks
of
Anger
in
his
Countenance
.
Thus
by
the
Poets
most
agreeable
Artifice
,
the
spectators
are
not
uncertain
in
the
knowledge
of
the
Actors
,
and
their
designs
,
which
always
ought
to
be
;
except
where
the
ignorance
of
their
Names
and
Interests
is
to
produce
some
rare
effect
in
the
incidents
of
the
Dramma
.
Could
these
Acts
have
been
more
judiciously
divided
?
The
first
contains
Ajax's
fury
,
the
second
his
repentance
,
the
third
the
preparations
for
his
death
,
the
fourth
his
death
,
and
the
fifth
the
Dispute
about
his
burial
,
not
that
these
Actions
are
meerly
single
,
for
they
are
accompanied
with
many
circumstances
which
much
embellish
,
and
altogether
compose
the
Acts
;
and
as
for
the
Scenes
they
are
extreamly
well
knit
together
,
as
because
there
always
remains
some
body
of
the
precedent
Scene
in
that
which
follows
except
in
the
Third
Act
,
where
the
Messenger
who
brings
the
Order
to
watch
Ajax
,
and
not
to
abandon
him
,
arrives
upon
the
Stage
just
as
Ajax
goes
off
,
which
is
one
way
of
uniting
a
Scene
,
when
he
that
comes
on
seeks
him
that
gois
off
.
And
in
the
Fourth
Act
,
though
Ajax
talks
no
longer
with
the
Chorus
which
comes
back
just
upon
the
point
he
kills
himself
,
yet
those
two
Scenes
are
united
by
the
time
,
and
the
spectacle
of
his
dead
body
,
which
remains
as
an
Actor
to
whom
the
others
arrive
.
As
for
the
Intervals
of
the
Acts
,
they
are
so
necessary
and
so
well
fill'd
by
what
is
done
off
of
the
Stage
,
that
the
continuity
of
the
Action
is
most
manifest
;
for
in
the
first
Interval
,
Vlysses
tells
the
Greeks
what
he
has
learn'd
concerning
Ajax
,
and
Ajax
continues
his
Madness
in
his
Tent
:
In
the
Second
Ajax
seeks
for
Hectors
Sword
;
and
in
the
same
Interval
Teucer
comes
to
the
Camp
and
sends
a
Messenger
according
to
Calchas's
advice
.
Between
the
Third
and
Fourth
Act
there
is
no
Interval
,
because
the
Chorus
is
gone
off
of
the
Stage
which
remaining
empty
,
makes
very
well
the
distinction
of
those
two
Acts
;
not
that
Ajax
had
been
doing
of
nothing
all
that
while
,
for
he
says
himself
that
he
had
been
fitting
his
Sword
to
kill
himself
:
The
Fourth
Interval
contains
the
return
of
Menelaus
to
Agamemnon
,
with
their
Discourse
about
Teucers's
disobedience
,
and
the
care
that
Teucer
takes
to
find
a
fit
place
to
bury
his
Brother
in
;
so
that
from
the
first
opening
of
the
Stage
there
is
not
one
moment
that
the
Actors
are
not
busie
each
according
to
their
Designs
.
Consider
besides
how
well
he
has
chosen
the
Chorus
in
this
piece
,
and
how
industriously
he
makes
him
Act.
He
makes
his
Chorus
of
Salaminians
,
who
more
probably
then
any
others
might
be
supposed
to
come
to
Ajax
,
their
Princes
Tent
upon
the
news
of
his
madness
,
as
also
to
pity
his
distraction
with
their
own
ill
fortune
;
nevertheless
he
does
not
bring
them
upon
the
Stage
at
the
beginning
,
as
he
does
his
Chorus
in
other
Plays
,
because
they
were
not
to
hear
the
Discourse
between
Minerva
and
Vlysses
,
and
besides
too
they
could
not
without
fear
have
been
in
Ajax's
presence
since
Vlysses
himself
thinks
himself
not
safe
near
him
,
though
under
the
protection
of
Minerva
;
but
he
brings
them
on
at
the
end
of
the
First
Act
,
and
makes
them
go
off
again
at
the
end
of
the
Third
Act
under
pretext
of
looking
after
Ajax
;
but
indeed
because
that
having
a
design
to
make
Ajax
kill
himself
upon
the
Stage
,
it
would
not
have
been
probable
that
his
Subjects
should
have
seen
him
undertake
such
a
thing
and
not
hinder
him
.
To
take
this
Tragedy
according
to
the
truth
of
the
Action
It
seems
not
that
the
Poet
has
done
any
thing
in
favour
of
the
Spectatours
,
so
naturally
do
all
things
fall
out
,
and
are
depending
of
each
other
,
and
yet
his
making
the
Chorus
go
out
that
Ajax
may
kill
himself
upon
the
Stage
,
is
contriv'd
on
purpose
to
shew
the
Audience
a
generous
Action
worthy
their
compassion
,
and
to
move
them
yet
to
more
tenderness
,
the
very
body
of
so
great
a
Hero
is
deny'd
burial
.
We
cannot
but
admire
besides
,
the
Art
of
his
Narrations
,
for
he
makes
Minerva
tell
the
Design
which
Ajax
had
secretly
resolv'd
upon
the
Night
before
against
all
the
Graecian
Princes
,
and
how
she
had
made
him
run
mad
to
hinder
the
execution
of
it
,
which
are
things
that
Minerva
alone
could
know
;
and
then
he
makes
Tecmessa
tell
the
remainder
of
what
he
had
done
when
he
was
in
his
Tent.
This
division
produces
two
different
effects
upon
the
Stage
;
the
first
a
Sentiment
of
Admiration
for
the
care
that
Minerva
takes
of
Vlysses
,
but
with
surprize
for
so
great
a
misfortune
in
the
Person
of
Ajax
.
The
other
is
a
Sentiment
of
Pitty
,
when
the
Spectatours
see
a
Lady
beautiful
and
well
beloved
sitting
near
a
Mad-man
her
Husband
.
We
must
not
neither
let
slip
the
Narration
which
Tecmessa
makes
summarily
of
the
ruine
of
her
Family
,
and
the
death
of
her
Parents
,
her
Captivity
,
and
then
happy
Marriage
with
Ajax
;
nor
that
of
Teucer
about
the
exchange
that
Ajax
made
of
a
Belt
with
Hector
for
a
Sword
which
he
received
from
him
;
the
first
having
serv'd
to
fasten
the
Body
of
Hector
to
the
Chariot
of
Achilles
,
and
the
other
having
been
the
Instrument
of
Ajax's
Death
,
for
though
both
these
Narrations
are
inserted
in
the
most
lively
passions
of
the
persons
that
make
them
yet
are
they
touched
with
so
much
Art
,
that
they
do
not
at
all
weaken
the
Passions
,
but
quite
contrary
heighten
them
by
giving
an
Image
of
some
new
misfortunes
;
besides
that
all
the
story
of
Ajax's
Country
,
his
Family
,
and
his
Warlike
Exploits
are
industriously
told
in
different
places
without
any
affectation
,
and
only
for
a
more
perfect
understanding
of
the
Subject
.
I
do
not
knew
whether
the
Contestation
of
Ajax's
Sepulture
would
be
agreeable
and
pathetick
in
our
age
,
but
I
make
no
question
but
that
in
Sophocles's
time
it
must
have
taken
extreamly
;
for
then
it
was
a
mark
of
the
highest
Infamy
,
and
the
extreamest
misfortune
that
could
befal
any
body
to
be
forbid
burial
,
and
without
doubt
the
Spectatours
were
moved
with
great
compassion
seeing
the
body
of
so
great
a
Prince
ready
to
receive
such
unworthy
usage
by
the
effect
of
Minervas's
anger
and
as
the
Discourses
of
the
two
Princes
,
Agamemnon
and
Menelaus
seem
well
grounded
upon
reasons
of
State
to
deprive
him
of
the
honour
of
Sepulture
;
and
on
the
other
side
,
the
reasons
of
Teucer
have
Piety
and
Generosity
on
their
side
,
I
believe
that
this
debate
which
was
conformable
to
the
manners
and
customs
of
the
Ancients
must
needs
have
been
very
agreeable
to
them
,
particularly
considering
that
Euripides
has
founded
the
Tragedy
of
the
Suppliants
in
honour
of
the
Athenians
upon
that
sole
consideration
;
and
that
it
is
not
probable
that
so
great
a
Poet
would
have
taken
a
weak
Subject
to
establish
the
glory
of
his
Country
.
As
for
the
shew
or
spectacle
he
might
have
made
Ajax
appear
in
all
his
Madness
;
but
besides
that
it
is
a
Passion
below
a
Hero
,
except
some
great
cause
excite
it
,
and
that
the
effects
of
it
are
Illustrious
;
I
believe
he
avoided
doing
of
it
,
because
it
would
have
been
hard
to
represent
him
making
a
great
slaughter
among
the
Sheep
and
Goats
without
making
him
ridiculous
and
so
deprive
the
Hero
of
that
compassion
due
to
so
great
a
Calamity
;
therefore
to
shew
the
deplorable
condition
of
so
great
a
Prince
,
and
yet
not
to
rob
the
Stage
of
any
thing
of
ornament
,
he
makes
him
appear
in
his
frenzy
indeed
,
but
something
abated
by
the
presence
of
Minerva
(
which
is
a
Figure
of
the
rage
of
Great
Men
,
which
ought
not
to
be
quite
abandoned
by
prudence
,
as
the
madness
of
the
vulgar
is
)
and
so
shews
him
sitting
in
his
Tent
in
the
first
abatement
of
his
fury
,
having
those
slaughter'd
Animals
all
about
him
with
his
Wife
,
his
little
Son
,
and
his
Friends
in
a
mournful
posture
near
him
;
all
which
does
in
my
opinion
afford
a
well
invented
spectacle
,
apt
to
raise
compassion
;
when
Ajax
comes
alittle
to
himself
,
and
that
all
his
looks
,
words
,
and
actions
have
the
character
of
shame
,
courage
,
and
fury
painted
in
them
,
the
better
to
manifest
the
excess
of
his
misery
;
add
to
this
the
tears
and
complaints
of
his
Wife
,
the
presence
of
a
little
Infant
who
cannot
speak
it self
,
but
whose
presence
gives
occasion
to
many
tender
expressions
;
and
lastly
,
the
heavy
consolations
of
his
Friends
,
I
say
,
that
it
is
hard
,
but
all
this
must
produce
a
very
pathetick
and
moving
shew
.
After
this
the
Poet
brings
him
to
his
Senses
entirely
,
but
then
the
prophetick
words
of
Calchas
which
threaten
him
that
day
particularly
with
death
,
bring
new
terrour
upon
the
Stage
,
and
that
so
much
the
stronger
,
because
the
Spectatours
thought
him
safe
by
being
returned
to
his
Senses
.
After
this
he
dies
by
his
own
hand
and
his
very
Sepulture
becomes
a
Subject
of
contestation
;
all
these
are
new
Objects
of
Compassion
which
shew
us
the
mastery
of
the
Poet
in
supplying
his
Stage
with
variety
by
changing
continually
the
Face
of
things
.
A
Project
for
Re-establishing
the
French
Theater
.
THe
Causes
which
hinder
the
French
Theater
,
from
continuing
the
Progress
it
had
made
some
years
ago
in
Cardinal
Richelieu's
time
may
be
reduced
to
six
.
1.
The
common
belief
that
to
frequent
Plays
is
a
sin
against
the
Rules
of
Christianity
.
2.
The
Infamy
with
which
the
Laws
have
noted
those
who
make
an
open
profession
of
being
Players
.
3.
The
failings
and
errours
committed
in
the
representation
of
Plays
.
4.
The
Ill
Plays
which
are
indifferently
acted
with
the
good
.
5.
Ill
Decorations
.
6.
Disorders
committed
by
the
Spectatours
.
To
begin
by
that
Generally
received
Opinion
.
'T
is
true
that
the
Ancient
Fathers
of
the
Church
always
forbid
Christians
to
frequent
the
Theaters
for
two
reasons
.
The
first
,
(
which
few
have
taken
notice
of
)
was
because
that
the
representation
of
Plays
was
Anciently
an
Act
of
Religion
,
making
a
part
of
the
Cult
and
Worship
performed
to
the
Gods
of
the
Heathens
;
this
is
out
of
dispute
,
and
may
be
easily
proved
,
if
need
were
,
by
a
thousand
Testimonies
of
the
Ancient
Writers
of
Antiquity
;
the
First
Fathers
of
the
Church
condemned
therefore
the
Christians
that
assisted
at
those
Spectacles
as
being
participant
of
Idolatry
,
which
they
had
renounc'd
by
their
Baptism
,
as
we
may
see
in
the
writings
of
Minutius
Felix
,
Tertullian
,
St.
Cyprian
,
St.
Austin
,
Lactantius
,
and
others
.
The
second
Reason
was
founded
upon
the
Indecencies
and
obscenities
said
and
committed
there
by
the
Mimes
,
Pantomimes
,
Dancers
,
and
others
who
acted
their
Dyth●rambes
,
Phales
,
Itiphales
,
Priapeas
and
other
impure
representations
which
were
proper
to
the
Cult
of
Bacchus
,
to
whom
the
Theater
was
Consecrated
as
to
its
Author
,
and
to
Venus
as
the
companion
of
Bacchus
.
As
to
the
first
Reason
then
of
the
Pagan
Religion
,
that
ceases
now
,
since
Plays
are
no
longer
a
piece
of
Worship
,
but
rather
an
Innocent
Recreation
without
any
Impious
Ceremonies
in
honour
of
the
Idols
,
but
the
Publick
must
be
well
informed
of
this
.
As
for
the
second
Reason
,
though
in
Cardinal
Richelieu's
time
all
Obscenity
was
banished
from
the
Stage
in
his
presence
,
yet
the
Publick
Theaters
do
retain
something
of
those
Indecencies
in
Farces
and
other
Poems
where
the
Authors
endeavouring
to
please
the
rabble
represent
Impudent
Stories
,
and
set
them
out
with
filthy
jests
;
which
is
a
thing
that
Christian
Religion
justly
condemns
,
and
which
all
good
Men
abhor
;
and
till
that
be
taken
away
,
and
the
Publick
Theater
as
pure
as
it
was
in
Cardinal
Richelieu's
presence
,
Plays
will
be
look'd
upon
to
be
against
good
Manners
and
the
strictness
of
the
Gospel
As
to
the
Infamy
of
those
who
take
up
the
profession
of
Players
,
it
was
justly
inflicted
upon
them
formerly
,
but
now
is
no
longer
so
.
To
understand
this
point
,
we
must
know
that
there
was
two
sorts
of
Actors
among
the
Ancients
,
the
Mimes
,
and
Dancers
,
and
the
Comedians
or
Players
,
who
are
those
that
now
act
among
us
,
and
as
these
two
sorts
of
people
were
very
different
in
the
things
that
they
represented
as
well
as
in
the
manner
,
places
,
and
habits
of
representing
,
so
were
they
very
differently
esteemed
.
The
first
in
the
later
end
of
the
Roman
Empire
were
declared
Infamous
though
at
first
they
were
not
so
,
neither
among
them
nor
amongst
the
Graecians
.
But
the
Comedians
and
Tragedians
never
were
so
disgrac'd
,
but
on
the
contrary
,
always
us'd
with
civility
and
kindness
by
all
persons
of
worth
and
quality
,
which
may
be
made
out
by
many
proofs
,
but
particularly
by
this
▪
that
the
Drammatick
Poets
themselves
acted
often
the
chief
parts
in
their
own
Plays
,
though
some
of
them
have
been
Generals
of
Armys
,
and
had
other
noble
employments
in
the
State
;
and
if
it
has
happen'd
that
the
Actors
have
in
some
Reigns
at
Rome
been
us'd
somewhat
severely
,
it
was
by
Maxim
of
State
,
for
having
sided
openly
with
Princes
reputed
Tyrants
,
but
not
at
all
for
being
Enemies
to
good
Morals
.
In
France
our
first
Acting
begun
in
Churches
,
representing
then
only
holy
Storys
,
but
it
soon
degenerated
into
buffooning
and
satyr
,
both
of
them
as
opposite
to
good
Government
,
as
to
the
purity
of
the
Christian
Religion
.
Amongst
these
Actors
who
were
nam'd
Basochiens
and
Bastelours
,
Comedy
remain'd
with
as
much
shame
as
ignorance
for
many
Ages
;
the
Libertinism
of
that
sort
of
life
drawing
away
many
young
men
of
good
Families
,
our
Princes
very
justly
noted
them
with
infamy
,
to
hinder
by
that
means
young
Debauchees
from
continuing
in
a
Society
which
was
made
incapable
of
keeping
company
with
any
other
honourable
sort
of
men
;
and
from
this
likewise
followed
,
that
persons
of
quality
scorn'd
to
contribute
any
thing
to
so
mean
a
diversion
,
and
were
far
from
imitating
the
Antients
in
their
generous
liberality
to
Comedians
.
From
these
two
Considerations
arises
a
third
,
which
still
stops
the
progress
of
Drammatick
Poesie
,
which
is
the
fault
of
Representation
.
The
Esteem
that
the
Antients
had
Plays
in
,
made
many
of
the
most
excellent
Wits
apply
themselves
that
way
,
and
the
Glory
of
the
Magistrates
,
as
well
as
the
Fortune
of
the
Choragues
or
Undertakers
being
depending
upon
the
success
of
the
Play
,
they
did
take
great
care
in
chusing
their
Actors
,
and
instructing
of
them
in
the
perfect
performance
of
their
parts
,
so
that
they
attain'd
to
have
many
rare
Actors
in
all
kinds
;
whereas
with
us
very
few
ingenuously
bred
,
have
mounted
the
Stage
,
being
hindered
from
so
doing
,
either
by
the
fear
of
committing
a
sin
,
or
by
the
apprehension
of
incurring
the
Infamy
affix'd
to
the
profession
by
the
Laws
,
from
whence
it
has
follow'd
,
that
those
who
did
undertake
it
,
being
ignorant
of
their
duty
,
perform'd
it
very
ill
in
all
its
parts
;
nay
,
so
little
knowing
they
were
in
their
own
Tongue
,
that
they
often
expressed
very
imperfectly
,
what
they
were
to
say
;
and
if
there
did
sometimes
rise
up
an
Actor
worthy
of
the
Antient
Theatre
,
he
was
so
ill
seconded
,
that
upon
his
failing
any
way
,
the
Stage
was
ready
to
sink
,
and
that
even
in
our
days
has
brought
Plays
towards
their
decay
.
The
fourth
Cause
is
founded
upon
ill
Dramma's
or
Plays
,
and
this
does
not
so
much
regard
our
Modern
Poets
,
who
,
to
say
truth
▪
have
gain'd
a
very
just
applause
by
many
excellent
pieces
of
theirs
;
but
yet
something
may
be
said
,
which
is
this
;
The
Antients
could
not
leave
us
any
store
of
ill
Dramma's
,
because
all
their
Plays
were
seen
and
examin'd
by
the
Magistrates
;
and
besides
,
their
Poets
were
not
mercenary
,
but
wrought
for
glory
as
much
as
for
gain
,
there
being
a
solemn
Prize
appointed
for
their
reward
,
which
was
deliver'd
with
great
Ceremony
at
their
greatest
Festivals
,
to
those
who
had
best
satisfied
the
Judges
,
and
the
Spectators
;
but
we
are
far
enough
from
that
Method
.
In
the
beginning
of
our
Plays
,
as
our
Poetry
was
bad
,
so
was
the
rest
of
the
Play
,
as
to
the
Rules
of
the
Stage
;
I
have
seen
some
of
eight
and
forty
Acts
or
Scenes
,
without
any
other
distinction
.
In
the
time
of
Ronsard
,
Comedy
was
a
little
more
regular
,
being
cultivated
by
Jodelle
,
Garnier
,
Belleau
,
and
some
others
,
who
contented
themselves
with
making
fine
Discourses
,
but
without
Art
,
nor
any
contrivance
in
the
Representation
.
Hardy
did
quite
contrary
,
endeavouring
to
please
the
people
by
the
variety
of
things
represented
,
but
without
any
knowledge
of
the
Rules
,
which
his
Poverty
did
not
give
him
leave
to
spend
any
time
to
study
.
At
last
Cardinal
Richelieu
encouraging
by
his
noble
generosity
the
Industry
and
Labour
of
our
Poets
,
brought
Plays
to
the
State
,
where
we
now
see
them
far
enough
from
their
true
perfection
,
nay
,
and
something
decay'd
since
his
time
.
For
,
as
every
day
there
appears
new
Poets
animated
either
by
the
desire
of
glory
or
reward
,
and
that
they
cannot
all
be
excellent
,
we
see
often
such
Plays
as
ought
not
to
be
acted
,
which
proceeds
from
the
little
experience
and
presumption
of
those
new
Poets
,
as
also
from
the
ignorance
of
the
Actors
,
who
being
capable
of
judging
only
of
some
things
,
are
nevertheless
the
only
Judges
of
all
Dramma's
,
whether
they
shall
be
acted
or
no
;
add
to
that
the
little
care
they
take
to
have
their
Plays
review'd
and
repeated
in
the
presence
of
intelligent
persons
,
before
they
come
to
be
acted
publickly
.
For
there
is
no
small
difficulty
to
judg
of
the
success
of
a
Play
,
by
the
reading
of
it
alone
;
for
very
often
those
Plays
which
read
worst
,
are
the
best
,
when
they
come
to
be
represented
;
and
on
the
contrary
,
likewise
those
which
seem
admirable
to
the
Reader
,
are
often
very
defective
upon
the
Stage
,
and
the
reason
of
this
is
,
the
difference
that
there
is
between
conceiving
an
Action
as
you
read
,
and
seeing
the
same
thing
represented
to
your
Eyes
.
Things
fine
to
say
are
not
always
so
to
see
;
and
the
pleasure
of
Reading
makes
some
things
agreeable
,
which
the
vehemency
of
Action
makes
otherwise
;
as
likewise
some
that
appear
weak
in
reading
,
are
strengthened
by
Action
;
all
which
faults
in
the
representation
,
as
they
lessen
the
Excellency
of
the
Plays
,
so
they
discredit
both
Poets
and
Actors
,
and
keep
the
people
in
the
Opinion
that
the
Stage
is
not
capable
of
much
improvement
.
The
fifth
Cause
about
the
Decorations
is
likewise
important
among
the
Antients
,
the
Magistrates
,
and
other
great
Men
,
who
us'd
to
give
publick
Spectacles
to
the
people
,
either
by
the
obligation
of
their
place
,
or
to
gain
publick
favour
,
us'd
to
be
at
the
charge
of
the
Decorations
,
the
Players
contributing
nothing
towards
it
,
and
by
that
means
those
Ornaments
were
not
only
magnificent
,
but
perfectly
answer'd
the
Poets
Intentions
.
But
now
,
that
our
Players
,
though
not
very
well
in
their
Affairs
,
nevertheless
must
undergo
all
the
charge
;
they
cannot
be
blam'd
if
they
endeavour
to
do
it
as
cheap
as
may
be
;
but
then
the
Decorations
must
be
imperfect
,
and
altogether
below
the
dignity
of
the
Poets
Invention
.
As
for
the
Disorders
of
the
Spectators
,
we
may
consider
,
that
nothing
was
more
safe
and
quiet
,
than
the
Antient
Theatres
,
the
Magistrates
being
always
present
,
and
every
thing
done
by
their
orders
;
but
amongst
us
there
is
no
order
at
all
,
but
any
sorts
of
people
wear
Swords
in
the
Pit
,
and
other
places
,
and
therewith
attack
very
often
many
peaceable
Spectators
,
who
have
no
other
defence
than
the
Authority
of
the
Laws
.
Among
the
Greeks
and
Romans
,
the
Women
were
so
safe
in
the
publick
Theatres
,
that
they
often
brought
their
Children
with
them
;
but
with
us
a
company
of
young
Debauchees
come
in
,
and
commit
a
hundred
Insolencies
,
frighting
the
Women
,
and
often
killing
those
who
take
their
protection
.
We
may
add
to
that
,
that
the
Seats
of
the
Spectators
were
so
conveniently
plac'd
among
the
Antients
,
that
every
one
was
plac'd
conveniently
,
and
there
could
be
no
disorder
in
changing
of
place
;
whereas
now
the
Pit
and
Boxes
are
equally
inconvenient
;
the
Pit
having
no
rising
,
nor
no
Seat
,
and
the
Boxes
being
too
far
off
,
and
ill
situated
;
so
that
what
with
the
disorders
of
the
Pit
,
and
inconvenience
of
the
Boxes
,
the
Theatres
are
much
forsaken
by
the
better
sort
of
people
.
To
remedy
all
these
Disorders
,
it
will
be
necessary
first
,
that
the
King
be
pleas'd
to
set
forth
a
Declaration
,
which
shall
shew
on
one
hand
how
that
Plays
being
no
longer
an
Act
of
Religion
and
Idolatry
,
as
they
were
formerly
,
but
only
a
publick
diversion
;
and
on
the
other
hand
,
that
the
Representations
being
now
perform'd
with
decency
,
and
the
Players
themselves
living
sober
,
and
not
of
debauch'd
lives
,
(
as
they
were
when
the
Edicts
were
made
,
by
which
they
are
declar'd
infamous
)
His
Majesty
doth
upon
these
considerations
make
void
all
those
former
Laws
,
forbidding
them
still
nevertheless
to
do
or
say
any
thing
upon
the
Stage
against
decency
or
good
manners
,
under
such
and
such
penalties
,
as
of
being
driven
from
the
Stage
,
and
reputed
infamous
again
.
And
to
preserve
that
Modesty
which
is
necessary
,
it
shall
be
likewise
ordered
,
that
no
single
Woman
shall
act
,
if
they
have
not
their
Father
or
Mother
in
the
Company
,
and
that
all
Widdows
shall
be
oblig'd
to
marry
within
six
months
after
their
year
is
out
for
mourning
;
and
in
that
year
shall
not
act
except
they
are
married
again
.
And
for
the
Execution
of
these
orders
his
Majesty
may
be
pleas'd
to
settle
a
person
of
probity
and
capacity
to
be
as
it
were
an
Overseer
,
Intendant
or
great
Master
of
the
Theatres
and
other
publick
Entertainments
in
France
who
shall
take
care
that
the
Stage
be
free
from
all
Scandal
,
and
shall
likewise
give
an
Account
of
the
life
and
actions
of
the
Players
.
By
this
means
the
two
first
causes
which
hinder
the
Re-establishment
of
the
Stage
must
cease
;
for
all
scandal
and
obscenities
being
banished
,
there
will
be
no
scruple
of
Conscience
in
assisting
at
Plays
;
and
the
Players
will
besides
be
in
so
good
a
reputation
,
as
not
to
fear
any
reproaches
from
the
sober
sort
of
people
.
It
was
by
such
a
declaration
as
this
that
the
Roman
Emperours
re-establish'd
the
Theater
when
it
was
fallen
into
Corruption
.
The
third
cause
must
likewise
cease
,
for
the
profession
of
Actor
being
once
made
reputable
,
all
those
who
have
any
Inclination
that
way
will
the
easilyer
take
to
it
;
and
besides
,
the
Overseer
may
himself
select
out
of
the
Schools
,
and
the
Companys
of
Country
Players
such
as
shall
be
fitting
,
and
oblige
them
to
study
the
representation
of
spectacles
as
well
as
the
Recitals
and
Expressions
of
the
Poet
,
that
so
the
whole
action
may
be
perfect
;
and
to
this
end
none
shall
be
admitted
but
by
the
Kings
Letters
Patents
delivered
to
the
Actor
by
the
Intendant
General
of
the
Theatres
,
who
shall
give
a
certificate
of
his
capacity
and
probity
,
after
having
tryed
him
in
many
ways
.
By
this
means
there
will
always
be
excellent
Actors
,
and
the
Representations
will
no
longer
be
defective
.
The
4th
cause
which
regards
the
Poets
themselves
does
require
some
distinction
for
those
of
them
who
have
already
the
approbation
of
the
publick
by
the
Excellency
and
number
of
their
works
,
shall
be
obliged
onely
to
shew
their
Plays
to
the
Overseer
General
to
see
that
there
be
no
Obscenities
nor
any
thing
against
decency
in
them
,
all
the
rest
to
remain
untouched
,
at
the
hazard
of
the
reputation
they
have
already
acquired
.
But
as
for
the
new
Poets
,
their
plays
shall
be
throughly
Examin'd
by
the
Overseer
and
reformed
according
to
his
orders
,
by
which
means
the
Stage
will
not
be
loaded
with
ill
Dramma's
,
nor
the
Players
burdened
with
rewarding
such
as
afterwards
can
be
of
no
use
to
them
.
As
for
the
Decorations
,
they
shall
be
perform'd
by
the
care
of
the
same
Overseer
,
who
shall
employ
understanding
and
able
Workmen
at
the
publick
charge
,
and
not
at
the
Players
costs
,
who
shall
have
no
Expence
to
bear
but
that
of
their
clothes
,
and
the
reward
they
shall
give
the
Authors
.
As
for
the
sixth
Cause
,
which
concerns
the
conveniency
and
safety
of
the
Spectators
,
the
King
shall
forbid
all
Pages
and
Footmen
to
enter
the
Play-house
upon
pain
of
death
,
and
prohibit
likewise
all
other
persons
,
of
what
quality
soever
,
to
wear
their
Swords
there
,
nor
any
offensive
Arms
▪
upon
the
same
penalty
,
it
being
reasonable
that
that
safety
which
cannot
be
had
here
,
out
of
respect
to
the
place
,
as
it
is
in
Churches
and
Pallaces
,
be
obtain'd
by
the
equality
of
the
Assistants
;
and
for
this
reason
some
of
the
Kings
Guards
shall
be
plac'd
at
the
doors
of
the
Play-house
,
to
take
notice
of
any
that
shall
go
about
to
contravene
this
Order
.
And
for
the
greater
conveniency
of
the
Spectators
,
the
Pit
shall
be
rais'd
,
and
fill'd
with
Seats
,
that
shall
overlook
the
Stage
,
which
will
hinder
the
quarrelling
of
the
Hectors
,
there
being
not
room
for
them
to
fight
.
But
to
perfect
the
magnificence
of
the
Stage
,
the
Overseer
shall
look
out
a
spot
of
ground
,
spacious
and
convenient
to
build
one
according
to
the
Model
of
the
Antients
,
so
that
it
be
capable
of
the
noblest
Representations
,
and
the
Seats
so
distinguish'd
,
as
that
the
common
people
need
not
mingle
with
those
of
the
best
fashion
;
and
round
about
which
shall
be
built
houses
to
lodg
two
Troups
or
Companies
of
Players
gratis
,
which
I
suppose
may
be
enough
for
the
City
of
Paris
.
And
for
the
buying
of
the
place
,
construction
of
the
Theatre
,
lodging
the
Players
,
charge
of
the
Decorations
,
and
the
Pensions
of
the
two
Houses
,
as
the
King
now
gives
them
,
with
a
Sallary
For
the
Overseer
,
and
other
such
charges
,
there
will
a
Fund
be
provided
,
without
touching
any
of
the
Kings
standing
Revenue
.
Thus
there
will
be
Remedys
sound
for
all
the
defects
of
the
Theatre
,
which
will
be
magnificent
in
all
its
parts
,
and
worthy
of
the
greatness
of
the
Court
of
France
,
and
the
City
of
Paris
,
and
the
people
will
likewise
have
some
Idaea
of
those
marvellous
Representations
which
have
been
upon
the
Stage
of
the
Palais
Cardinal
▪
and
that
of
the
little
Bourbon
,
and
by
consequent
will
be
less
envious
and
discontented
at
the
magnificent
pleasures
of
the
Court
,
and
the
great
people
.
FINIS
.