allow. In comedy I would not exceed twenty-four or thirty hours: for the plot, accidents, and persons of comedy are small, and may be naturally turned in a little compass: But in tragedy the design is weighty, and the persons great; therefore there will naturally be required a greater space of time in which to move them. And this though Ben Johnson has not told us, yet it is manifestly his opinion: for you see that to his comedies he allows generally but twenty-four hours; to his two tragedies, Sejanus and Catiline, a much larger time: though he-draws both of them into as narrow a compass as he can: For he shews you only the latter end of Sejanus his favour, and the conspiracy of Catiline already ripe, and just breaking out into action.
But as it is an errour on the one side, to make too great a disproportion betwixt the imaginary time of the play, and the real time of its representation; so on the other side, it is an over-sight to compress the accidents of a play into a narrower compass than that in which they could naturally be produced. Of this last errour the French are seldom guilty, because the thinness of their plots prevents them from it; but few Englishmen, except Ben Johnson, have ever made a plot with variety of design in it, included in twenty- four hours, which was altogether natural. For this reason, I prefer The Silent Woman before all other plays, I think justly; as I do its author, in judgment, above all other poets. Yet of the two, I think that errour the most pardonable, which in too straight a compass crowds together many accidents; since it produces more variety, and consequently more
