according to the laws of dramatic composition generally accepted in Pope's day, a play must observe the unities of subject, place, and time. That is, it must have one main theme, not a number of diverse stories, for its plot; all the scenes must be laid in one place, or as nearly so as possible; and the action must be begun and finished within the space of twenty-four hours. '286 Curious:' fastidious, over-particular. '288 by a love to parts:' by too diligent attention to particular parts of a work of art, which hinders them from forming a true judgment of the work as a whole. '289 Conceit:' an uncommon or fantastic expression of thought. "Conceits" had been much sought after by the poets who wrote in the first half of the seventeenth century. '297 True Wit:' here opposed to the "conceit" of which Pope has been speaking. It is defined as a natural idea expressed in fit words. '299 whose truth ... find:' of whose truth we find ourselves at once convinced. '308 take upon content:' take for granted. '311-317' Show how Pope uses the simile of the "prismatic glass" to distinguish between "false eloquence" and "true expression." '319 decent:' becoming. '328 Fungoso:' a character in Ben Jonson's 'Every Man out of his Humour'. He is the son of a miserly farmer, and tries hard, though all in vain, to imitate the dress and manners of a fine gentleman. '329 These sparks:' these would-be dandies. '337 Numbers:' rhythm, meter. '341 haunt Parnassus: read poetry.--ear:' note that in Pope's day this word rhymed with "repair" and "there." '344 These:' critics who care for the meter only in poetry insist on the proper number of syllables in a line, no matter what sort of sound or sense results. For instance, they do not object to a series of "open vowels," 'i.e.' hiatuses caused by the juxtaposition of such words as "tho" and "oft," "the" and "ear." Line 345 is composed especially to show how feeble a rhythm results from such a succession of "open vowels." They do not object to bolstering up a line with "expletives," such as "do" in l. 346, nor to using ten "low words," 'i.e.' short, monosyllabic words to make up a line. '347' With this line Pope passes unconsciously from speaking of bad critics to denouncing some of the errors of bad poets, who keep on using hackneyed phrases and worn-out metrical devices. '356 Alexandrine:' a line of six iambic feet, such as l. 357, written especially to illustrate this form. Why does Pope use the adjective "needless" here? '361 Denham's strength ... Waller's sweetness:'