not being produced from one another, as effects from causes, but barely following, constitute many actions in the drama, and consequently make it many plays.
'But by pursuing closely[1] 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 on a subject which deserves it; and to represent the passions, (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 n, or rather, under the name of Rollo, the Story of Bassianus and Geta 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 upon 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 Sejanus and Catiline, has given us this oleo n of a play, this unnatural mixture of comedy and tragedy; which to me sounds just as ridiculously as the history of David with the merry humours of Golia's[2]. In Sejanus you may take notice of the scene betwixt Livia and the physician, which is a pleasant satire upon the artificial
