their speeches being so many declamations, which tire us with the length; so that instead of persuading us to grieve for their imaginary heroes, we are concerned for our own trouble, as we are in tedious[1] visits of bad company; we are in pain till they are gone. When the French stage came to be reformed by Cardinal Richelieu, those long harangues were introduced to comply with the gravity of a churchman. Look upon the Cinna and the Pompey; they are not so properly to be called plays, as long discourses of reason of state; and Polieucte in matters of religion is as solemn as the long stops upon our organs n. Since that time it is grown into a custom, and their actors speak by the hour-glass, like our parsons[2];[3] nay, they account it the grace of their parts, and think themselves disparaged by the poet, if they may not twice or thrice in a play entertain the audience with a speech of an hundred lines[4] I deny not but his may suit well enough with the French; for as we, who are a more sullen people, come to be diverted at our plays, so they, who are of an airy and gay temper, come thither to make themselves more serious: and this I conceive to be one reason why comedies are[5] more pleasing to us, and tragedies to them. But to speak generally: it cannot be denied that short speeches and replies are more apt to move the passions and beget concernment in us, than the
