Scene into the following, to be oblig'd, every Moment, to excite a new Concern, and take Party in a new Scene of Action?
But tho' this Rule of Unity of Action be common to dramatic and epic Poetry; we may still observe a Difference betwixt them, which may, perhaps, deserve our Attention. In both these Species of Composition, tis requisite the Action be one and simple, in order to preserve the Concern or Sympathy entire and undiverted: But in epic or narrative Poetry, this Rule is also establish'd upon another Foundation, viz. the Necessity, that is incumbent on every Writer, to form some Plan or Design, before he enter on any Discourse or Narration, and to comprehend his Subject in some general Aspect or united View, which may be the constant Object of his Attention. As the Author is entirely lost in dramatic Compositions, and the Spectator supposes himself to be really present at the Actions represented; this Reason has no Place with regard to the Stage; but any Dialogue or Conversation may be introduc'd, which, without Improbability, might have pass'd in that determinate Portion of Space, represented by the Theatre. Hence in all our English Comedies, even those of Congreve, the Unity of Action is never strictly observ'd; but the Poet thinks it sufficient, if his Personages be any way related to each other, by Blood, or by living in the same Family; and he afterwards introduces them inparticular
