"But if we examine the general rules laid down for plays by strict reason, we shall find the errors equally gross; for the great foundation which is laid to build upon, is nothing as it is generally stated, as will appear upon the examination of the particulars." These particulars in due time shall be examined. In the mean while, let us consider what this great foundation is, which he says is nothing, as it is generally stated. I never heard of any other foundation of Dramatic Poesy than the imitation of nature; neither was there ever pretended any other by the ancients or moderns, or me, who endeavour to follow them in that rule. This I have plainly said in my definition of a play; that it is a just and lively image of human nature, &c. Thus the foundation, as it is generally stated, will stand sure, if this definition of a play be true; if it be not, he ought to have made his exception against it, by proving that a play is not an imitation of nature, but somewhat else, which he is pleased to think it. But 'tis very plain, that he has mistaken the foundation for that which is built upon it, though not immediately: for the direct and immediate consequence is this; if nature be to be imitated, then there is a rule for imitating nature rightly, otherwise there may be an end, and no means conducing to it. Hitherto I have proceeded by demonstration; but as our divines, when they have proved a Deity, because there is order, and have inferred that this Deity ought to be worshipped, differ afterwards in the manner of the worship; so, having laid down, that nature is to be imitated, and that proposition proving the next, that then there are means which conduce to the imitating of nature, I dare proceed no farther positively; but have only laid down some opinions of the ancients and moderns, and of my own, as means which they used, and which I thought probable for the attaining of that end. Those means are the same which my antagonist calls the foundations, how properly the world may judge; and to prove that this is his meaning, he clears it immediately to you, by enumerating those rules or propositions against which he makes his particular exceptions; as, namely, those of time and place, in these words: "First, we are told the plot should not be so ridiculously contrived, as to crowd two several countries into one stage; secondly, to cramp the accidents of many years or days into the representation of two hours and an half; and, lastly, a conclusion drawn, that the only remaining dispute is, concerning time, whether it should be contained in twelve or twenty-four hours; and the place to be limited to that spot of ground where the play is supposed to begin: and this is called nearest nature; for that is concluded most natural, which is most probable, and nearest to that which it presents." Thus he has only made a small mistake, of the means conducing to the end for the end itself, and of the superstructure for the foundation: But he proceeds: