had not leisure to be good poets, Beaumont, Fletcher, and Johnnson, (who were only capable of bringing us to that degree of perfection which we have,) were just then leaving the world; as if in an age of so much horrour, wit, and those milder studies of humanity, had no farther business among us. But the Muses, who ever follow peace, went to plant in another country: it was then, that the great Cardinal of Richelieu began to take them into his protection; and that, by his encouragement, Corneille n, and some other Frenchmen, reformed their theatre, (which before was as much below ours, as it now surpasses it and the rest of Europe). But because Crites in his discourse for the ancients has prevented me, by observing[1] many rules of the stage which the moderns have borrowed from them, I shall only, in short, demand of you, whether you are not convinced that of all nations the French have best observed them? In the unity of time you find them so scrupulous, that it yet remains a dispute among their poets, whether the artificial day of twelve hours, more or less, be not meant by Aristotle, rather than the natural one of twenty-four; and consequently, whether all plays ought not to be reduced into that compass. This I can testify, that in all their dramas writ within these last twenty years and upwards, I have not observed any that have extended the time to thirty hours: in the unity of place they are full as scrupulous; for many of their criticks limit it to that very spot of ground where the play is supposed to begin; none of them exceed the compass of the same town
- ↑ touching upon, A.
