or city. The unity of action in all plays is yet more conspicuous; for they do not burden them with underplots, as the English do: which is the reason why many scenes of our tragi-comedies carry on a design that is nothing of kin to the main plot; and that we see two distinct webs in a play, like those in ill-wrought stuffs; and two actions, that is, two plays, carried on together, to the confounding of the audience; who, before they are warm in their concernments for one part, are diverted to another; and by that means espouse the interest of neither. From hence likewise it arises, that the one half of our actors are not known to the other. They keep their distances, as if they were Mountagues and Capulets, and seldom begin an acquaintance till the last scene of the fifth act, when they are all to meet upon the stage. There is no theatre in the world has anything so absurd as the English tragi-comedy; 'tis a drama of our own invention, and the fashion of it is enough to proclaim it so; here a course of mirth, there another of sadness and passion, and a third of honour and a duel[1]: thus, in two hours and a half, we run through all the fits of Bedlam. The French affords you as much variety on the same day, but they do it not so unseasonably, or mal á propos, as we: our poets present you the play and the farce together; and our stages still retain somewhat of the original civility of the Red Bull n:
Atque ursum et pugiles media inter carmina poscunt n.
The end of tragedies or serious plays, says Aristotle, is to beget admiration, compassion, or concernment;
- ↑ a third of Honour, and fourth a Duel, A.
