"In the Unity of TIME, you find them so scrupulous, that it yet remains a dispute among their Poets, 'Whether the artificial day, of twelve hours more or less, be not meant by ARISTOTLE, rather that the natural one of twenty-four?' and consequently, 'Whether all Plays ought not to be reduced into that compass?' This I can testify, that in all their dramas writ within these last twenty years [1645-1665] and upwards, I have not observed any, that have extended the time to thirty hours. "In the Unity of PLACE, they are full[y] as scrupulous. For many of their critics limit it to that spot of ground, where the Play is supposed to begin. None of them exceed the compass of the same town or city. "The Unity of ACTION in all their plays, is yet more conspicuous. For they do not burden them with Under Plots, as the English do; which is the reason why many Scenes of our Tragi-Comedies carry on a Design that is nothing of kin to the main Plot: and that we see two distincts webs in a Play, like those in ill-wrought stuffs; and two Actions (that is, two Plays carried on together) to the confounding of the audience: who, before they are warm in their concernments for one part, are diverted to another; and, by that means, expouse the interest of neither. "From hence likewise, it arises that one half of our Actors [_i.e., the Characters in a Play_] are not known to the other. They keep their distances, as if they were _MONTAGUES_ and _CAPULETS_; and seldom begin an acquaintance till the last Scene of the fifth Act, when they are all to meet on the Stage. "There is no _Theatre_ in the world has anything so absurd as the English Tragi-Comedy. 'Tis a Drama of our own invention; and the fashion of it is enough to proclaim it so. Here, a course of mirth; there, another of sadness and passion; a third of honour; and the fourth, a duel. Thus, in two hours and a half, we run through all the fits of Bedlam. "The French afford you as much variety, on the same day; but they do it not so unseasonably, or _mal apropos_ as we. Our Poets present you the Play and the Farce together; and our Stages still retain somewhat of the original civility of the 'Red Bull.' "_Atque ursum et pugiles media inter carmina poscunt._ "'The end of Tragedies or serious Plays,' says ARISTOTLE, 'is to beget Admiration [_wonderment_], Compassion, or Concernment.' But are not mirth and compassion things incompatible? and is it not evident, that the Poet must, of necessity, destroy the former, by intermingling the latter? that is, he must ruin the sole end and object of his Tragedy, to introduce somewhat that is forced in, and is not of the body of it! Would you not think that physician mad! who having prescribed a purge, should immediately order you to take restringents upon it?