of the third act, after Chremes and Pythias were gone off; in the same play you have likewise Dorias beginning the fourth act alone; and after she had made a relation of what was done at the Soldier's[1] entertainment, (which by the way was very inartificial, because she was presumed to speak directly to the audience, and to acquaint them with what was necessary to be known, but yet should have been so contrived by the poet as to have been told by persons of the drama to one another, and so by them to have come to the knowledge of the people,) she quits the stage, and Phædria enters next, alone likewise: he also gives you an account of himself, and of his returning from the country, in monologue; to which unnatural way of narration Terence is subject in all his plays. In his Adelphi, or Brothers, Syrus and Demea enter after the scene was broken by the departure of Sostrata, Geta, and Canthara; and indeed you can scarce look into any of his comedies, where you will not presently discover the same interruption.
'But as they have failed both in laying of their plots, and in the management[2], swerving from the rules of their own art by misrepresenting nature to us, in which they have ill satisfied one intention of a play, which was delight; so in the instructive part they have erred worse: instead of punishing vice and rewarding virtue, they have often shewn a prosperous wickedness, and an unhappy piety: they have set before us a bloody image of revenge in Medea, and given her dragons to convey her safe from punish-
