18. Bear in mind that this subject should contain one action only, seeing to it that the story in no manner be episodic; I mean the introduction of other things which are beside the main purpose; nor that any member be omitted which might ruin the whole of the context. There is no use in advising that it should take place in the period of one sun, tho this is the view of Aristotle; but we lose our respect for him when we mingle tragic style with the humbleness of mean comedy. Let it take place in as little time as possible, except when the poet is writing history in which some years have to pass; these he can relegate to the space between the acts, wherein, if necessary, he can have a character go on some journey; a thing that greatly offends whoever perceives it. But let not him who is offended go to see them. 19. Oh! how lost in admiration are many at this very time at seeing that years are passed in an affair to which an artificial day sets a limit; tho for this they would not allow the mathematical day! But, considering that the wrath of a seated Spaniard is immoderate, when in two hours there is not presented to him everything from Genesis to the Last Judgment, I deem it most fitting, if it be for us here to please him, for us to adjust everything so that it succeeds. 20. The subject once chosen, write in prose, and divide the matter into three acts of time, seeing to it, if possible, that in each one the space of the day be not broken. Captain Virués, a worthy wit, divided comedy into three acts, which before had gone on all fours, as on baby's feet, for comedies were then infants. I wrote them myself, when eleven or twelve years of age, of four acts and of four sheets of paper, for a sheet contained each act; and then it was the fashion that for the three intermissions were made three little _entremeses_, but today scarce one, and then a dance, for the dancing is so important in comedy that Aristotle approves of it, and Athenaeus, Plato, and Xenophon treat of it, though this last disapproves of indecorous dancing; and for this reason he is vexed at Callipides, wherein he pretends to ape the ancient chorus. The matter divided into two parts, see to the connection from the beginning until the action runs down; but do not permit the untying of the plot until reaching the last scene; for the crowd, knowing what the end is, will turn its face to the door and its shoulder to what it has awaited three hours face to face; for in what appears nothing more is to be known. 21. Very seldom should the stage remain without someone speaking, because the crowd becomes restless in these intervals and the story spins itself out at great length; for, besides its being a great defect, the avoidance of it increases grace and artifice.