It will be asked, how the drama moves, if it is not credited.  It is credited with all the credit due to a drama.  It is credited, whenever it moves, as a just picture of a real original; as representing to the auditor what he would himself feel, if he were to do or suffer what is there feigned to be suffered or to be done.  The reflection that strikes the heart is not, that the evils before us are real evils, but that they are evils to which we ourselves may be exposed.  If there be any fallacy, it is not that we fancy the players, but that we fancy ourselves unhappy for a moment; but we rather lament the possibility than suppose the presence of misery, as a mother weeps over her babe, when she remembers that death may take it from her.  The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real, they would please no more.

Imitations produce pain or pleasure, not because they are mistaken for realities, but because they bring realities to mind.  When the imagination is recreated by a painted landscape, the trees are not supposed capable to give us shade, or the fountains coolness; but we consider, how we should be pleased with such fountains playing beside us, and such woods waving over us.  We are agitated in reading the history of Henry the Fifth, yet no man takes his book for the field of Agencourt.  A dramatick exhibition is a book recited with concomitants that encrease or diminish its effect.  Familiar comedy is often more powerful in the theatre, than on the page; imperial tragedy is always less.  The humour of Petruchio may be heightened by grimace; but what voice or what gesture can hope to add dignity or force to the soliloquy of Cato.

A play read, affects the mind like a play acted.  It is therefore evident, that the action is not supposed to be real; and it follows, that between the acts a longer or shorter time may be allowed to pass, and that no more account of space or duration is to be taken by the auditor of a drama, than by the reader of a narrative, before whom may pass in an hour the life of a hero, or the revolutions of an empire.

Whether Shakespeare knew the unities, and rejected them by design, or deviated from them by happy ignorance, it is, I think, impossible to decide, and useless to enquire.  We may reasonably suppose, that, when he rose to notice, he did not want the counsels and admonitions of scholars and criticks, and that he at last deliberately persisted in a practice, which he might have begun by chance.  As nothing is essential to the fable, but unity of action, and as the unities of time and place arise evidently from false assumptions, and, by circumscribing the extent of the drama, lessen its variety, I cannot think it much to be lamented, that they were not known by him, or not observed:  Nor, if such another poet could arise, should I very vehemently reproach him, that his first act passed at Venice, and his next in Cyprus.  Such violations of rules merely positive, become the comprehensive genius of Shakespeare, and such censures are suitable to the minute and slender criticism of Voltaire: