DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.48955#0206
2Go THE THREE UNITIES. Ch. XXIII.
he osten evacuates the stage, and leaves it empty
sor others. Iphigenia in Tauris, aster pronoun-
cing a soliloquy in the firsl scene, leaves the place
os action, and is succeeded by Oresses and Pyla.
des : they , aster seme conversation , walk off ;
and Iphigenia re-enters, accompanied with the
chorus. In the Alc.eji.cs, which is of the same
author , the place of action is void at the end os
the third act. It is true, that to.cover the irregu-
larity, and topreserve the representation in motion,
Euripides is careful to sill the stage without loss of
time -. but this still is an interruption , and a link
of the chain broken; for during the change of the
adors, there must be a space os time, during
which the stage is occupied by neither let. It
makes indeed a more remarkable interruption, to
change the place of action as well as the adors;
but that was not practicable upon the Grecian
stage.
It is hard to say ppon what model Terence has
formed his plays. Having no chorus, there is a
pause in the representation at the end of every ad.
But advantage is not taken of the cessation , even
to vary the place of adion : for the street is always,
qhosen , where every thing pussing may be seen by
every person; and by that choice , the most spright-
jy and interesting parts' of. the adion , which com-
monly pass within doors, arc; excluded; witness
the last ad of the Eunuch. He hath submitted to
the like ssavery with resped to time. In a word, a
he osten evacuates the stage, and leaves it empty
sor others. Iphigenia in Tauris, aster pronoun-
cing a soliloquy in the firsl scene, leaves the place
os action, and is succeeded by Oresses and Pyla.
des : they , aster seme conversation , walk off ;
and Iphigenia re-enters, accompanied with the
chorus. In the Alc.eji.cs, which is of the same
author , the place of action is void at the end os
the third act. It is true, that to.cover the irregu-
larity, and topreserve the representation in motion,
Euripides is careful to sill the stage without loss of
time -. but this still is an interruption , and a link
of the chain broken; for during the change of the
adors, there must be a space os time, during
which the stage is occupied by neither let. It
makes indeed a more remarkable interruption, to
change the place of action as well as the adors;
but that was not practicable upon the Grecian
stage.
It is hard to say ppon what model Terence has
formed his plays. Having no chorus, there is a
pause in the representation at the end of every ad.
But advantage is not taken of the cessation , even
to vary the place of adion : for the street is always,
qhosen , where every thing pussing may be seen by
every person; and by that choice , the most spright-
jy and interesting parts' of. the adion , which com-
monly pass within doors, arc; excluded; witness
the last ad of the Eunuch. He hath submitted to
the like ssavery with resped to time. In a word, a