and ride the beginning of the course, they suffer you not to behold him[1], till he is in sight of the goal, and just upon you.
'For the second unity, which is that of Place, the ancients meant by it, that the scene ought to be continued through the play, in the same place where it was laid in the beginning: for, the stage on which it is represented being but one and the same place, it is unnatural to conceive it many,— and those far distant from one another. I will not deny but, by the variation of painted scenes, the fancy, which in these cases will contribute to its own deceit, may sometimes imagine it several places, with some appearance of probability; yet it still carries the greater likelihood of truth, if those places be supposed so near each other, as in the same town or city; which may all be comprehended under the larger denomination of one place; for a greater distance will bear no proportion to the shortness of time which is allotted, in the acting, to pass from one of them to another; for the observation of this, next to the ancients, the French are to be most commended. They tie themselves so strictly to the unity of place, that you never see in any of their plays, a scene changed in the middle of an act: if the act begins in a garden, a street, or chamber, 'tis ended in the same place; and that you may know it to be the same, the stage is so supplied with persons, that it is never empty all the time: he who enters second[2], has business with him who was on before; and before the second quits the stage, a third appears who has business with him. This
