COR. No, I assure you, signior. If those laws you speak of had been delivered us 'ab initio', and in their present virtue and perfection, there had been some reason of obeying their powers; but 'tis extant, that that which we call 'Comoedia', was at first nothing but a simple and continued song, sung by one only person, till Susario invented a second; after him, Epicharmus a third; Phormus and Chionides devised to have four actors, with a prologue and chorus; to which Cratinus, long after, added a fifth and sixth: Eupolis, more; Aristophanes, more than they; every man in the dignity of his spirit and judgment supplied something. And, though that in him this kind of poem appeared absolute, and fully perfect, yet how is the face of it changed since, in Menander, Philemon, Cecilius, Plautus, and the rest! who have utterly excluded the chorus, altered the property of the persons, their names, and natures, and augmented it with all liberty, according to the elegancy and disposition of those times wherein they wrote. I see not then, but we should enjoy the same license, or free power to illustrate and heighten our invention, as they did; and not be tied to those strict and regular forms which the niceness of a few, who are nothing but form, would thrust upon us. MIT. Well, we will not dispute of this now; but what's his scene? COR. Marry, 'Insula Fortunata', sir. MIT. O, the Fortunate Island: mass, he has bound himself to a strict law there. COR. Why so? MIT. He cannot lightly alter the scene, without crossing the seas. COR. He needs not, having a whole island to run through, I think. MIT. No! how comes it then, that in some one play we see so many seas, countries, and kingdoms, passed over with such admirable dexterity? COR. O, that but shews how well the authors can travel in their vocation, and outrun the apprehension of their auditory. But, leaving this, I would they would begin at once: this protraction is able to sour the best-settled patience in the theatre. [THE THIRD SOUNDING. MIT. They have answered your wish, sir; they sound. COR. O, here comes the Prologue. [ENTER PROLOGUE. Now, sir, if you had staid a little longer, I meant to have spoke your prologue for you i'faith. PROL. Marry, with all my heart, sir, you shall do it yet, and I thank you. [GOING. COR. Nay, nay, stay, stay; hear you? PROL. You could not have studied to have done me a greater benefit at the instant; for I protest to you, I am unperfect, and, had I spoke it, I must of necessity have been out. COR. Why, but do you speak this seriously? PROL. Seriously! ay, wit's my help, do I; and esteem myself indebted to your kindness for it. COR. For what? PROL. Why, for undertaking the prologue for me. COR. How! did I undertake it for you?