Some two or three plays, affecting to follow the
construction adopted by the Greek and Roman stage, are certainly to be
found in the Elizabethan repertory, but they had been little favoured
by the playgoers of the time, and may fairly be viewed as exceptions
proving the rule that our drama is essentially romantic. Indeed, our
old dramatists were induced by the absence of scenery to rely more and
more upon the imagination of their audience. As Mr. Collier observes:
"If the old poets had been obliged to confine themselves merely to the
changes that could at that early date have been exhibited by the
removal of painted canvas or boarding, we should have lost much of
that boundless diversity of situation and character allowed by this
happy absence of restraint." At the same time, the liberty these
writers permitted themselves did not escape criticism from the devout
adherents of the classical theatre. Sir Philip Sidney, in his "Apology
for Poetry," 1595, is severe upon the "defectious" nature of the
English drama, especially as to its disregard of the unities of time
and place.
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