and full growth of the play: we may call it properly the counter-turn[1], which destroys that expectation, imbroils the action in new difficulties, and leaves you far distant from that hope in which it found you; as you may have observed in a violent stream resisted by a narrow passage,—it runs round to an eddy, and carries back the waters with more swiftness than it brought them on. Lastly, the Catastrophe, which the Grecians called λύσις, the French le dénouement, and we the discovery, or unravelling of the plot: there you see all things settling again upon their first foundations; and, the obstacles which hindered the design or action of the play once removed, it ends with that resemblance of truth and nature, that the audience are satisfied with the conduct of it. Thus this great man delivered to us the image of a play; and I must confess it is so lively, that from thence much light has been derived to the forming it more perfectly into acts and scenes: but what poet first limited to five the number of the acts, I know not; only we see it so firmly established in the time of Horace, that he gives it for a rule in comedy,—Neu brevior quinto, neu sit produdior actu. n So that you see the Grecians cannot be said to have consummated this art; writing rather by entrances, than by acts, and having rather a general indigested notion of a play, than knowing how and where to bestow the particular graces of it.
'But since the Spaniards at this day allow but three acts, which they call Jornadas n, to a play, and the Italians in many of theirs follow them, when I condemn the ancients, I declare it is not altogether
- ↑ A has, ' Thirdly the Catastasis or Counterturn': the rest om.
