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For if this were the case this other soul would need again another soul to make it live and this again another, and so on ad infinitum, which is absurd. The soul lives through itself. The same thing applies to angels. They live through their own being; and that is why souls and angels are called in the Sacred Scriptures spirits. A spirit is something that is fine and light and incomposite.
The play is in the main a yet lighter thing, and more wayward and capricious in build, more formless and fantastic in plot, more incomposite altogether than that first heir of Shakespeare's comic invention, which on its own ground is perfect in its consistency, blameless in composition and coherence; while in Love's Labour's Lost the fancy for the most part runs wild as the wind, and the structure of the story is as that of a house of clouds which the wind builds and unbuilds at pleasure.
That this fifth act is unequal in point of interest to the better part of the preceding acts with which it is connected by so light and loose a tie of convenience is as indisputable as that the style of the last scene savours now and then, and for some space together, more strongly than ever of Fletcher's most especial and distinctive qualities, or that the whole structure of the play if judged by any strict rule of pure art is incomposite and incongruous, wanting in unity, consistency, and coherence of interest.
Hence the simple and perfectly incomposite is prior to this, which must be either one, or not one; and if not one, it must either be many, or nothing. But with respect to nothing, if it signifies that which is perfectly void, it will signify something vain. But if it signifies the arcane, this will not even be that which is simple.
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