That many rules have been advanced without consulting nature or reason, we cannot but suspect, when we find it peremptorily decreed by the ancient masters, that only three speaking personages should appear at once upon the stage; a law, which, as the variety and intricacy of modern plays has made it impossible to be observed, we now violate without scruple, and, as experience proves, without inconvenience.
The original of this precept was merely accidental. Tragedy was a monody or solitary song in honour of Bacchus, improved afterwards into a dialogue by the addition of another speaker; but the ancients, remembering that the tragedy was at first pronounced only by one, durst not for some time venture beyond two; at last, when custom and impunity had made them daring, they extended their liberty to the admission of three, but restrained themselves by a critical edict from further exorbitance.
By what accident the number of acts was limited to five, I know not that any author has informed us; but certainly it is not determined by any necessity arising either from the nature of action, or propriety of exhibition. An act is only the representation of such a part of the business of the play as proceeds in an unbroken tenor, or without any intermediate pause. Nothing is more evident than that of every real, and by consequence of every dramatick action, the intervals may be more or fewer than five; and indeed the rule is upon the English stage every day broken in effect without any other mischief than that which arises from an absurd endeavour to observe it in appearance. Whenever the scene is shifted the act ceases, since
