If there is one main action and that action is completed then the audience know exactly what is going on.
But if there are sub-plots and other things that are not fully completed then there will be an element of suspense, t will keep the audience interested.
The unity of action says that there is only room in one play for one major action. Everything in the play has to do with the completion of this action.
If there are two actions in one play it is not one play, it is then two.
In the prologue to the tragedy of Aurung- zebe, or the Great Mogul (\6*i^, he says that he finds it more difficult to please himself than his audience, and is inclined to damn his own play : Not that it's worse than what before he writ, But he has now another taste of wit ; And, to confess a truth, though out of time, Grows weary of his long-loved mistress, Rhyme. Whether the existing French school of drama is superior or inferior to the English. Whether the Elizabethan dramatists were in all points superior to those of Dry den's own time. Whether plays arc more perfect in proportion as they conform to the dramatic rules laid down by the ancients. Whether the substitution of rhyme for blank verse in serious plays is an improvement.
Passion, he proceeds, is too fierce to be bound in fetters; and the sense of Shakespeare's unapproachable superiority, Shakespeare, whose masterpieces dispense with rhyme, inclines him to quit the stage altogether. The first point is considered in the remarks ofj Crites (Sir Robert Howard), with which the discussion opens.
DRYDEN AN ESSAY OF DRAMATIC POESY ARNOLD OXFORD UNIVERSITY PRESS LONDON EDINBURGH GLASGOW NEW YORK TORONTO MELBOURNE CAPE TOWN BOMBAY HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY 9 DRYDEN AN ESSAY OF DRAMATIC POESY EDITED WITH NOTES BY THOMAS ARNOLD, M. In that drama, when prose was not employed, the use of rhyme was an essential feature.
COLL., OXFORD AND FELLOW OF THE ROYAL UNIVERSITY OF IRELAND THIRD EDITION, REVISED BY WILLIAM T. Charles II, having been much in Paris during his exile, had been captivated by the French drama, then in the powerful hands of Corneille and Moliere.
Nevertheless his original contention, however under the pressure of dejection, and the sense perhaps of flagging powers, he may afterwards have been willing to abandon it, cannot be lightly set aside as either weak or unimportant; a point on which I shall have something to say presently. In connexion with it the speaker deals with the fourth point, assuming without proof that regard to the unities of Time and JPlace, inasmuch as it tends to heighten tjip illusion of reality, must placejthe authors who pay it above those w Eo~negkct it.
Five critical questions are handled in the Essay, viz. \Eugenius J(Lord Buckhurst) answers him, pointing out the narrow range of the Greek drama, and several defects which its greatest admirers cannot deny.