But what, according to Castelvetro, are the conditions of stage representation? The theatre is a public place, in which a play is presented before a motley crowd,--_la moltitudine rozza_,--upon a circumscribed platform or stage, within a limited space of time. To this idea the whole of Castelvetro's dramatic system is conformed. In the first place, since the audience may be great in number, the theatre must be large, and yet the audience must be able to hear the play; accordingly, verse is added, not merely as a delightful accompaniment, but also in order that the actors may raise their voices without inconvenience and without loss of dignity.[143] In the second place, the audience is not a select gathering of choice spirits, but a motley crowd of people, drawn to the theatre for the purpose of pleasure or recreation; accordingly, abstruse themes, and in fact all technical discussions, must be eschewed by the playwright, who is thus limited, as we should say to-day, to the elemental passions and interests of man.[144] In the third place, the actors are required to move about on a raised and narrow platform; and this is the reason why deaths or deeds of violence, and many other things which cannot be acted on such a platform with convenience and dignity, should not be represented in the drama.[145] Furthermore, as will be seen later, it is on this conception of the circumscribed platform and the physical necessities of the audience and the actors, that Castelvetro bases his theory of the unities of time and place.