so torn and ill represented in our plays; they have handed down to us a perfect resemblance of her; which we, like ill copiers, neglecting to look on, have rendered monstrous, and disfigured. But, that you may know how much you are indebted to those your masters, and be ashamed to have so ill requited them, I must remember you, that all the rules by which we practise the drama at this day, (either such as relate to the justness and symmetry of the plot, or the episodical ornaments, such as descriptions, narrations, and other beauties, which are not essential to the play[1],) were delivered to us from the observations which Aristotle made, of those poets, who either lived before him, or were his contemporaries: we have added nothing of our own, except we have the confidence to say our wit is better; of which, none boast in this our age, but such as understand not theirs. Of that book which Aristotle has left us, περὶ τῆς Ποιητικῆς, Horace his Art of Poetry is an excellent comment, and, I believe, restores to us that Second Book of his concerning Comedy, which is wanting in him. n
'Out of these two have[2] been extracted the famous Rules, which the French call Des Trois Unites, or, The Three Unities, which ought to be observed in every regular play; namely, of Time, Place, and Action.
'The unity of time they comprehend in twenty-four hours, the compass of a natural day, or as near as it can be contrived; and the reason of it is obvious to every one,—that the time of the feigned action, or
