Of a separate and independent action or intrigue there is a clear example in Addifon's Cato. The fubject of this tragedy is the death of Cato, a noble perfonage, and fupported by the author with much dignity. But all the love scenes in the play; the paffion of Cato's two fons for Lucia, and that of Juba for Cato's daughter, are mere episodes. They break the unity of the subject; and form a very unfeasonable junction of gallantry with high fentiments of patriotism.

Unity of action must not however be confounded. with fimplicity of plot. Unity and fimplicity import different things in dramatic compofition. The plot is fimple, when a small number of incidents is introduced into it. With refpect to plots the antients were more fimple, than the moderns. The Greek tragedies appear indeed to be too naked, and destitute of interesting events. The moderns admit a much greater variety of incidents; which is certainly an improvement, as it renders the entertainment more animated and more inftructive. It may however be carried too far; for an overcharge of action and intrigue produces perplexity and embarrassment. Of this the Mourning Bride of Congreve is an example. The incidents fucceed each other too rapidly; and the catastrophe, which ought to be plain and fimple, is artificial and intricate.

Unity of action must be maintained not only in the general conftruction of the fable, but in all the acts and fcenes of the play. The divifion of every play into five

acts is founded merely on common practice, and the authority of Horace ;

Neve minor, neu fit quinto productior actu

Fabula.

There is nothing in nature, which fixes this rule. On the Greek ftage the divifion by acts was unknown. The word act never occurs once in the Poetics of Ariftotle. Practice however has established this division; and the poet must be careful, that each act terminate in a proper place. The first act should contain a clear expofition of the fubject. It fhould excite curiosity, and introduce the perfonages to the acquaintance of the fpectators. During the fecond, third, and fourth acts, the plot fhould gradually thicken. The paffions fhould be kept constantly awake. There should be no fcenes of idle conversation, or mere declamation. The fufpenfe and concern of the fpectators fhould be excited more and more. This is the great excellency of Shakefpeare. Sentiment, paffion, pity, and terror fhould pervade every tragedy.

In the fifth act, which is the feat of the catastrophe, the author fhould moft fully display his art and genius. The first requifite is, that the unravelling of the plot be brought about by probable and natural means. Secondly, the catastrophe should be simple, depending on few events, and including but few perfons. Paffionate fenfibility languithes, when divided among many objects.

Laftly, in the catastrophe every thing fhould be warm and glowing; and the poet must be fimple, ferious, and pathetic; ufing no language, but that of nature.

It is not effential to the cataftrophe of a tragedy, that it end happily. Sufficient diftrefs and agitation with many tender emotions may be raised in the course of the play. But in general the fpirit of tragedy leans to the fide of leaving the impreffion of virtuous forrow strong upon the mind.

A curious queftion here occurs; how happens it, that the emotions of forrow in tragedy afford gratification to the mind? It feems to be the conftitution of our nature, that all the focial paffions should be attended with pleasure. Hence nothing is more pleafing, than love and friendship. Pity is for wife ends a strong inftinct; and it neceffarily produces fome diftrefs on account of its fympathy with fufferers. The heart is at the fame moment warmed by kindness, and afflicted by diftrefs. Upon the whole the state of the mind is agree. able. We are pleased with ourselves, not only for our benevolence, but for our fenfibility. The pain of fympathy is alfo diminished by recollecting that the diftrefs is not real; and by the power of action and sentiment, of language and poetry.

After treating of the acts of a play it is proper to notice the scenes. The entrance of a new perfon upon the stage forms, what is called a new fcene. These

A a

fcenes, or fucceffive converfations, fhould be closely çonnected; and much of the art of dramatic compofition confists in maintaining this connexion. For this purpose two rules must be observed. 1. During the course of one act the stage should never be left empty a moment, for this would make a gap in the reprefentation. Whenever the ftage is evacuated, the act is clofed. This rule is generally observed by French tragedians; but it is much neglected by the English. 2. No person should come upon the ftage, or leave it, without fome apparent reason. If this rule be neglected, the dramatis perfonæ are little better, than fo many puppets; for the drama profeffes imitation of real tranfactions.

To unity of action critics have added the unities of time and place. Unity of place requires the fcene never to be shifted; that the action of the play continue in the fame place, where it began. Unity of time, strictly taken, requires that the time of the action be no longer, than the time, allowed for the representation of the play. Ariftotle however permits the action to comprehend a whole day. Thefe rules are intended to bring the imitation nearer to reality.

Among the Greeks there was no divifion of acts. In modern times the practice has prevailed of fufpending the fpectacle fome little time between the acts. This practice gives latitude to the imagination, and renders ftrict confinement to time and place lefs necef

fary. Upon this account therefore too ftrict an obfervance of thefe unities fhould not be preferred to higher beauties of execution, nor to the introduction of more pathetic fituations. But tranfgreffions of these unities, though they may be often advantageous, ought not to be too frequent, nor violent. Hurrying the

fpectator from one diftant city to another, or making feveral days or weeks pafs during the reprefentation, would fhock the imagination too much, and therefore cannot be allowed in a dramatic writer.

Having examined dramatic action, we shall now attend to the characters, most proper to be exhibited in a tragedy. Several critics affirm that the nature of tragedy requires the principal perfonages to be always of high or princely rank; as the fufferings of fuch perfons feize the heart the moft forcibly. But this is more fpecious, than folid. For the diftreffes of Defdemona, Monimia, and Belvidera, intereft us as much, as if they had been princeffes or queens. It is fufficient, that in tragedy there be nothing degrading or mean in the perfonages exhibited. High rank may render the specta. cle more fplendid; but it is the tale itself, and the art of the poet, that make it interefting and pathetic.

In defcribing his characters the poet fhould be careful fo to order the incidents, which relate to them, as to impress the spectators with favorable ideas of virtue, and of the Divine administration. Pity fhould be rais ed for the virtuous in diftrefs; and the author should