"But, by pursuing close[ly] one Argument, which is not cloyed with many Turns; the French have gained more liberty for Verse, in which they write. They have leisure to dwell upon a subject which deserves it; and to represent the passions [p. 542] (which we have acknowledged to be the Poet's work) without being hurried from one thing to another, as we are in the plays of CALDERON; which we have seen lately upon our theatres, under the name of Spanish Plots.
"I have taken notice but of one Tragedy of ours; whose Plot has that uniformity and unity of Design in it, which I have commended in the French; and that is, ROLLO, or rather under the name of ROLLO, the story of BASSANIUS and GOETA, in HERODIAN. There, indeed, the plot is neither large nor intricate; but just enough to fill the minds of the audience, not to cloy them. Besides, you see it founded on the truth of History; only the time of the Action is not reduceable to the strictness of the Rules. And you see, in some places, a little farce mingled, which is below the dignity of the other parts. And in this, all our Poets are extremely peccant; even BEN. JOHNSON himself, in SEFANUS and CATILINE, has given this Oleo [hodge-podge] of a Play, this unnatural mixture of Comedy and Tragedy; which, to me, sounds just as ridiculous as The History of DAVID, with the merry humours of GOLIAS. In SEFANUS, you may take notice of the Scene between LIVIA and the Physician; which is a pleasant satire upon the artificial helps of beauty. In CATILINE, you may see the Parliament of Women; the little envies of them to one another; and all that passes betwixt CURIO and FULVIA. Scenes, admirable in their kind, but of an ill mingle with the rest.
"But I return again to the French Writers: who, as I have said, do not burden themselves too much with Plot; which has been reproached to them by an Ingenious Person of our nation, as a fault. For he says, 'They commonly make but one person considerable in a Play. They dwell upon him and his concernments; while the rest of the persons are only subservient to set him off.' If he intends this by it, that there is one person in the Play who is of greater dignity than the rest; he must tax not only theirs, but those of the Ancients, and (which he would be loath to do) the best of ours. For it 'tis impossible but that one person must be more conspicuous in it than any other; and consequently the greatest share in the Action must devolve on him. We see it so in the management of all affairs. Even in the most equal aristocracy, the balance cannot be so justly poised, but some one will be superior to the rest, either in parts, fortune, interest, or the consideration of some glorious exploit; which will reduce [lead] the greatest part of business into his hands.
"But if he would have us to imagine, that in exalting of one character, the rest of them are neglected; and that all of them have not some share or other in the Action of the Play: I desire him to produce any of CORNEILLE's Tragedies, wherein every person, like so many servants in a well governed family, has not some employment; and who is not necessary to the carrying on of the Plot, or, at least, to your understanding it.
"There are, indeed, some protactic persons [precursors] in the Ancients; whom they make use of in their Plays, either to hear or give the Relation; but the French avoid this with great address; making their Narrations only to, or by such, who are some way interessed [interested] in the main Design.
"And now I am speaking of RELATIONS; I cannot take a fitter opportunity to add this, in favour of the French, that they often use them with better judgement, more apropos than the English do.
"Not that I commend NARRATIONS in general; but there are two sorts of them:
"One, of those things which are antecedent to the Play, and are related to make the Conduct of it more clear to us. But 'tis a fault to choose such subjects for the Stage, as will inforce us upon that rock: because we see that they are seldom listened to by the audience; and that it is, many times, the ruin of the play. For, being once let pass without attention, the audience can never recover themselves to understand the Plot; and, indeed, it is somewhat unreasonable that they should be put to so much trouble, as that, to comprehend what passes in their sight, they must have recourse to what was done, perhaps ten or twenty years ago.
"But there is another sort of RELATIONS, that is, of things happening in the Action of a Play, and supposed to be done behind the scenes: and this is, many times, both convenient and beautiful. For by it, the French avoid the tumult, which we are subject to in England, by representing duels, battles, and such like; which renders our Stage too like the theatres where they fight for prizes [i.e., theatres used as Fencing Schools, for Assaults of Arms, &c.]. For what is more ridiculous than to represent an army, with a drum and five men behind it? All which, the hero on the other side, is to drive in before him. Or to see a duel fought, and one slain with two or three thrusts of the foils? which we know are so blunted, that we might give a man an hour to kill another, in good earnest, with them.
"I have observed that in all our Tragedies, the audience cannot forbear laughing, when the Actors are to die. 'Tis the most comic part of the whole Play.