should he imagine the soul of man more heavy than his senses? Does not the eye pass from an unpleasant object to a pleasant in a much shorter time than is required to this? and does not the unpleasantness of the first commend the beauty of the latter? The old rule of logick n might have convinced him, that contraries, when placed near, set off each other. A continued gravity keeps the spirit too much bent; we must refresh it sometimes, as we bait in a journey that we may go on with greater ease. A scene of mirth, mixed with tragedy, has the same effect upon us which our musick has betwixt the acts; which we find[1] a relief to us from the best plots and language of the stage, if the discourses have been long. I must therefore have stronger arguments, ere I am convinced that compassion and mirth in the same subject destroy each other; and in the mean time cannot but conclude, to the honour of our nation, that we have invented, increased, and perfected a more pleasant way of writing for the stage, than was ever known to the ancients or moderns of any nation, which is tragi-comedy.
'And this leads me to wonder why Lisideius and many others should cry up the barrenness of the French plots, above the variety and copiousness of the English. Their plots are single; they carry on one design, which is pushed forward by all the actors, every scene in the play contributing and moving towards it. Our plays[2], besides the main design, have under-plots or by-concernments, of less considerable persons and intrigues, which are carried on with the
