The works of John Dryden, now first collected in eighteen volumes. Volume 15Dryden, John
General
The works of John Dryden, now first collected in eighteen volumes. Volume 15
Dryden, John
English literature
For the second unity, which is that of place, the ancients meant by
it, that the scene ought to be continued through the play, in the same
place where it was laid in the beginning: for the stage, on which it
is represented, being but one and the same place, it is unnatural to
conceive it many; and those far distant from one another. I will not
deny, but by the variation of painted scenes, the fancy (which in
these cases will contribute to its own deceit) may sometimes imagine
it several places, with some appearance of probability; yet it still
carries the greater likelihood of truth, if those places be supposed
so near each other, as in the same town or city, which may all be
comprehended under the larger denomination of one place: for a greater
distance will bear no proportion to the shortness of time which is
allotted, in the acting, to pass from one of them to another. For the
observation of this, next to the ancients, the French are to be most
commended. They tie themselves so strictly to the unity of place, that
you never see in any of their plays, a scene changed in the middle of
an act: if the act begins in a garden, a street, or chamber, 'tis ended
in the same place; and that you may know it to be the same, the stage
is so supplied with persons, that it is never empty all the time: he
who enters second, has business with him who was on before; and before
the second quits the stage, a third appears who has business with
him. This Corneille calls _la liaison des Scenes_, the continuity or
joining of the scenes; and 'tis a good mark of a well-contrived play,
when all the persons are known to each other, and every one of them has
some affairs with all the rest.
As for the third unity, which is that of action, the ancients meant no
other by it than what the logicians do by their _finis_, the end or
scope of any action; that which is the first in intention, and last in
execution. Now the poet is to aim at one great and complete action,
to the carrying on of which all things in his play, even the very
obstacles, are to be subservient; and the reason of this is as evident
as any of the former.
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