The features of this type have often been mentioned in connection with particular plays, but it may be convenient to collect them in a composite picture. In structure and technic French models are mainly followed. Very long speeches, indeed, are rare, bloodshed and violence are permitted on the stage, and there is a good deal of incident; but bloodshed and horrors after the Elizabethan style no longer appear. Comedy also has disappeared, and is tabooed even in adaptations of Shakespeare or of Restoration plays. Comedy is reserved for the farce which is always performed after a tragedy. Each tragedy concerns itself with a single plot, involving only from six to ten persons, and observing the unities, even after Johnson's salutary condemnation of them. There are few changes of scene, ordinarily none within an act. With the disappearance of other medieval characteristics there has also departed the medieval freedom in respect to the suitability of an action for the stage. The range of incidents possible for presentation is very limited; exposition is largely by narrative; supernatural elements, common in Lee, are unusual; the ghost at last rests in peace. Madness, however, is still retained, especially in the case of the long-suffering heroine. Battles, armies, stage spectacles of all kinds, are restricted, though the scenes may be elaborate, and processions, sacrifices, even music and songs are permissible. The first essential for the action is a love story, the second some kind of historical setting. The fatal or hazardous loves of princes and queens are the themes; Eastern, classic, or early English courts are the scenes. The love story itself often keeps to the form customary in the heroic plays. Two rivals in love, two heroines, major and minor, a tyrant, an intriguing minister, and the accompanying confidants appear again and again to assist in similar stories of jealousy, ambition, and villany. The old Elizabethan motives continue, as "Rape" and "The Fate of Villany," the titles of two plays acted in 1729-30, may witness, but usually they are refined and tamed. Incest and rape are averted; the tyrant in love with the heroine only threatens; the villain who pursues casts suspicion on her virtue but abstains from violence; the two brothers, or the son and the father, in love with the same lady sometimes find renunciation possible. Unjustified jealousy is perhaps the leading motive, and there are many feeble imitations of "Othello." A secret marriage, a long-lost son, and marriages, either for revenge or in order to save a lover, are common elements in the plot. Hero and heroine are examples of virtue. Their difficulties or ruin are sometimes due to one fatal error duly emphasized, or they may be due wholly to the machinations of the villain. In the latter case, poetic justice is usually regarded and the good are saved.