they have motions of their own), are whirled about, by the motion of the Primum Mobile in which they are contained.  That similitude expresses much of the English Stage.  For, if contrary motions may be found in Nature to agree, if a planet can go East and West at the same time; one way, by virtue of his own motion, the other, by the force of the First Mover:  it will not be difficult to imagine how the Under Plot, which is only different [from], not contrary to the great Design, may naturally be conducted along with it.

“EUGENIUS [?_LISIDEIUS_] has already shown us [p. 534], from the confession of the French poets, that the Unity of Action is sufficiently preserved, if all the imperfect actions of the Play are conducing to the main Design:  but when those petty intrigues of a Play are so ill ordered, that they have no coherence with the other; I must grant, that LISIDEIUS has reason to tax that Want of due Connection.  For Co-ordination in a Play is as dangerous and unnatural as in a State.  In the meantime, he must acknowledge, our Variety (if well ordered) will afford a greater pleasure to the audience.

“As for his other argument, that by pursuing one single Theme, they gain an advantage to express, and work up the passions [p. 533]; I wish any example he could bring from them, would make it good.  For I confess their verses are, to me, the coldest I have ever read.

“Neither, indeed, is It possible for them, in the way they take, so to express Passion as that the effects of it should appear in the concernment of an audience; their speeches being so many declamations, which tire us with the length:  so that, instead of persuading us to grieve for their imaginary heroes, we are concerned for our own trouble, as we are, in the tedious visits of bad [dull] company; we are in pain till they are gone.

“When the French Stage came to be reformed by Cardinal RICHELIEU, those long harangues were introduced, to comply with the gravity of a Churchman.  Look upon the CINNA and POMPEY!  They are not so properly to be called Plays, as long Discourses of Reason[s] of State:  and POLIEUCTE, in matters of Religion, is as solemn as the long stops upon our organs.  Since that time, it has grown into a custom; and their Actors speak by the hour glass, as our Parsons do.  Nay, they account it the grace of their parts! and think themselves disparaged by the Poet, if they may not twice or thrice in a Play, entertain the audience, with a speech of a hundred or two hundred lines.

“I deny not but this may suit well enough with the French:  for as we, who are a more sullen people, come to be diverted at our Plays; they, who are of an airy and gay temper, come thither to make themselves more serious.  And this I conceive to be one reason why Comedy is more pleasing to us, and Tragedy to them.

“But, to speak generally, it cannot be denied that short Speeches and Replies are more apt to move the passions, and beget concernment in us; than the other.  For it is unnatural for any one in a gust of passion, to speak long together; or for another, in the same condition, to suffer him without interruption.