Let it not be imagined, however, that any attempt is made here to deny the merit of modern plays which observe the unities, or to maintain that a powerful drama cannot be produced upon the lines they prescribe. Such a contention would be only repeating on the side of the opponents of this doctrine the erroneous assumptions which its advocates put forth. He who ventures to take a position so extreme can hardly escape a feeling of serious discomfort if called upon, in consequence, to decry the productions of Corneille, Racine, and Molière, to say nothing of some of the most brilliant pieces which have adorned the English stage. Nor, furthermore, need it be denied that there are conditions in which the observance of the unities may be a positive advantage. Especially will this be the case when the characters are few and all the incidents of the plot are directed to the accomplishment of a single result. The concentration of the action is likely to contribute, in such pieces, to the effect of the representation. He who sets out to imitate the simplicity of the Greek drama will usually find himself disposed to adopt, as far as possible, its form. Within its limitations great work can be accomplished by the drama which regards the unities, and, to some extent, it will be great work because of its limitations. But that the unities should be arbitrarily imposed upon every drama without exception is absurd, since the theatrical conditions that called them forth are no longer the same. That Aeschylus and Sophocles, if present with us in the flesh, would avail themselves of the greater flexibility and adaptability of the modern theater I cannot doubt. At any rate that restless spirit, Euripides, would certainly have gloried in its freedom.