that the beauty of the whole be kept entire, and that the variety become not a perplexed and confused mass of accidents, you will find it infinitely pleasing to be led in a labyrinth of design, where you see some of your way before you, yet discern not the end till you arrive at it. And that all this is practicable, I can produce for examples many of our English plays: as The Maid's Tragedy, The Alchemist, The Silent Woman: I was going to have named The Fox n, but that the unity of design seems not exactly observed in it; for there appear[1] two actions in the play; the first naturally ending with the fourth act; the second forced from it in the fifth: which yet is the less to be condemned in him, because the disguise of Volpone, though it suited not with his character as a crafty or covetous person, agreed well enough with that of a voluptuary; and by it the poet gained the end at which he aym'd[2], the punishment of vice, and the reward of virtue, both[3] which that disguise produced. So that to judge equally of it, it was an excellent fifth act, but not so naturally proceeding from the former.
But to leave this, and pass to the latter part of Lisideius his discourse, which concerns relations: I must acknowledge with him, that the French have reason to hide[4] that part of the action which would occasion too much tumult on the stage, and to choose[5] rather to have it made known by narration to the audience. Farther, I think it very convenient, for the reasons he has given, that all incredible actions
