Backed by this knowledge he selected, adapted, and rejected methods at
discretion, and stood finally and definitely by the fundamental
principles of the native English drama, placing all his action on the
stage and fearlessly admitting light humorous elements to relieve the
strain of too insistent emotion or suspense. That in one place he went
too far in this direction cannot be denied: the episode of the shaving
of Grim the Collier is a bad error of judgment, founded on a right
motive but horribly mismanaged. That mistake, however, is so glaring
that it must have been obvious to all succeeding writers; it could not
seriously affect their judgment of the methods employed in the rest of
the play. It is these methods that we must understand.

First, to sketch the plot. Damon and Pythias with their servant Stephano
arrive in Syracuse in the reign of the tyrant, Dionysius. There Damon is
arrested on the denunciation of the informer Carisophus, and is
sentenced to death as a spy. Reprieve for six months is allowed him on
the pledge of Pythias's life as bail, and at the last minute he returns,
just in time to save the life of his devoted and willing friend. Such
signal proofs of the sincerity of their affection win for both of them
not only life but royal favour, the king turning from his evil ways to
follow their counsel. A character of importance not mentioned here is
Aristippus, 'a pleasant gentleman' and a successful courtier, whose
friendship with Carisophus, an alliance hollow, suspicious, and most
unloving on one side at least, forms an admirable foil for the true
friendship of Damon and Pythias.

There is no division into acts and scenes, but the omission amounts to
little more than the absence of those words from the printed copy, since
the plot is most carefully arranged--witness the gradual introduction of
the characters and preparation for the arrest of Damon--and the stage