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committer: Roger Frank <rfrank@pglaf.org> 2025-10-14 18:48:17 -0700
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+*** START OF THE PROJECT GUTENBERG EBOOK 44645 ***
+
+Transcriber's note: Text enclosed by underscores is in italics (_italics_).
+
+The errata have been applied without further annotation. Otherwise no
+attempt has been made to distinguish likely typographical errors from the
+natural variability of 17th century orthography.
+
+A few short phrases proved illegible on the scan: these are marked
+<|lacuna|>.
+
+The marginal notes have been changed to footnotes, marked thus [123].
+
+       *       *       *       *       *
+
+A SHORT
+
+VIEW
+
+OF THE
+
+_Immorality, and Profaneness_
+
+OF THE
+
+English Stage,
+
+TOGETHER
+
+With the Sence of Antiquity
+upon this Argument,
+
+By _JEREMY COLLIER_, M.A.
+
+_London_, Printed for S. Keble at the _Turk's-Head_
+in _Fleetstreet_, R. Sare at _Gray's-Inn-Gate_,
+and H. Hindmarsh against the _Exchange_ in
+_Cornhil_. 1698.
+
+
+
+
+THE
+
+PREFACE
+
+_Being convinc'd that nothing has gone farther in Debauching the Age than
+the_ Stage Poets, _and_ Play-House, _I thought I could not employ my time
+better than in writing against them. These Men sure_, take Vertue and
+Regularity, _for_ great Enemies, _why else is their_ Disaffection _so very_
+Remarkable? _It must be said, They have made their_ Attack _with great_
+Courage, _and_ gain'd _no inconsiderable_ Advantage. _But it seems_
+Lewdness without Atheism, _is but_ half their Business. Conscience _might
+possibly recover, and_ Revenge _be thought on; and therefore like_
+Foot-Pads, _they must not only_ Rob, _but_ Murther. _To do them right_
+their Measures _are_ Politickly taken: _To make sure work on't, there's
+nothing like_ Destroying of Principles; Practise _must_ follow _of_ Course.
+_For to have_ no good Principles, _is to have_ no Reason to be Good. _Now
+'tis not to be expected that people should_ check _their_ Appetites, _and_
+balk _their_ Satisfactions, _they don't know why. If_ Virtue _has no_
+Prospect, _'tis not worth the owning. Who would be_ troubled _with_
+Conscience _if 'tis only a_ Bugbear, _and has nothing_ in't _but_ Vision,
+_and the_ Spleen?
+
+_My_ Collection _from the_ English Stage, _is much short of what_ They _are
+able to furnish. An_ Inventory _of their_ Ware-House _would have been a
+large_ Work: _But being afraid of over charging the_ Reader, _I thought a_
+Pattern _might do_.
+
+_In_ Translating _the_ Fathers, _I have endeavour'd to keep_ close _to
+their_ Meaning: _However, in_ some few places, _I have taken the_ Liberty
+of throwing in a Word or two; _To_ clear _the_ Sense, _to_ preserve _the_
+Spirit _of the_ Original, _and keep the_ English _upon its Legs_.
+
+_There's one thing more to acquaint the_ Reader _with; 'Tis that I have
+Ventured to_ change _the_ Terms _of_ Mistress _and_ Lover, _for_ others
+_somewhat more_ Plain, _but much more_ Proper. _I don't look upon This as
+any_ failure _in_ Civility. _As_ Good _and_ Evil _are_ different _in_
+Themselves, _so they ought to be_ differently Mark'd. _To_ confound _them
+in_ Speech, _is the way to_ confound _them in_ Practise. Ill Qualities
+_ought to have_ ill Names, _to prevent their being_ Catching. _Indeed_
+Things _are in a great measure_ Govern'd _by_ Words: _To_ Guild _over a
+foul_ Character, _serves only to perplex the_ Idea, _to encourage the_ Bad,
+_and mislead the_ Unwary. _To treat_ Honour, _and_ Infamy _alike, is an_
+injury _to_ Virtue, _and a sort of_ Levelling _in_ Morality. _I confess, I
+have no_ Ceremony _for_ Debauchery. _For to_ Compliment Vice, _is but_ one
+Remove _from_ worshipping _the_ Devil.
+
+_March 5th. 1697/8._
+
+
+
+
+THE
+
+CONTENTS.
+
+
+
+  CHAP. I.
+
+  _The Introduction._                                                Page 1
+
+  _The_ Immodesty _of the_ Stage.                                      p. 3
+
+  _The_ Ill Consequences _of this_ Liberty.                            p. 5
+
+  Immodesty _a Breach_ of good Behaviour.                              p. 6
+
+  _The_ Stage _faulty in this respect to a very_ Scandalous degree.    p. 8
+
+  Modesty _the_ Character _of_ Women.                                  p. 9
+
+  _The Natural_ Serviceableness _of this_ Quality.                    p. 11
+
+  Immodesty _much more insufferable, under the_ Christian, _than
+      under the_ Heathen _Religion_.                                  p. 14
+
+  _The_ Roman, _and_ Greek Theatres _more_ inoffensive _than the_
+      English.                                                        p. 15
+
+  _This proved from_ Plautus.                                         Ibid.
+
+  _From_ Terence.                                                     p. 20
+
+  _From_ Seneca's Tragedies.                                          p. 25
+
+  _The_ Comparison _carried on to the_ Theatre _at_ Athens.           Ibid.
+
+  _A short_ Character _of_ Æschylus.                                  p. 26
+
+  _The_ Cleaness _of his_ Expression.                                 p. 27
+
+  _The_ Genius _and_ Conduct _of_ Sophocles.                          p. 28
+
+  _The_ Sobriety _of his_ Plays.                                      p. 29
+
+  Euripides'_s_ Character distinguished _from the two_ former.        p. 30
+
+  _The_ Reserv'dness _of his_ Stile.                                  p. 31
+
+  All _Humours not fit for_ Representation.                           p. 35
+
+  _A_ Censure _of_ Aristophanes.                                      p. 36
+
+  Aristophanes _his Testimony_ against himself.                       p. 48
+
+                       { Ben. Johnson.                                p. 51
+  _The Authorities of_ { Beaumont & Fletcher.                         p. 52
+                       { _And_ Corneille.                             p. 53
+                         _against the_ present Stage.
+
+  CHAP. II.
+
+  The _Prophaneness_ of the _Stage_.
+
+  _This_ Charge _prov'd upon them_,
+
+  I. _By their_ Cursing _and_ Swearing.                               p. 57
+
+  _The_ English Stage _formerly less hardy in this respect_.          Ibid.
+
+  _The_ provokingness _of this Sin_.                                  p. 58
+
+  _This Offence_ punishable _by_ Law, _and how far_.                  p. 59
+
+  Swearing _in the_ Play House _an_ Un-Gentlemanly, _as well as an_
+      Un-Christian practise.
+
+  _A_ Second _Branch of the_ Profaness _of the_ Stage, _consisting in
+      their Abuse of_ Religion, _and the_ Holy Scriptures.            p. 60
+
+  _Instances of this Liberty in the_ Mock Astrologer.                   Ib.
+
+  _In the_ Orphan.                                                    p. 62
+
+  _In the_ Old Batchelour, _and_ Double Dealer.                   p. 63, 64
+
+  _In_ Don Sebastian.                                                 p. 65
+
+  _Breif Remarks upon a Passage or two in the_ Dedications _of_
+      Aurenge Zebe, _and the_ Translation _of_ Juvenal.           p. 66, 69
+
+  _Farther Instances of_ Profaneness _in_ Love Triumphant.            p. 72
+
+  _In_ Love for Love.                                                 p. 74
+
+  _In the_ provok'd Wife.                                             p. 77
+
+  _And in the_ Relapse.                                               p. 78
+
+  _The_ Horrid Impiety _of this_ Liberty.                             p. 80
+
+  _The_ Stage _guilty of down right_ Blasphemy.
+
+  _This_ Charge _made good from several of the_ Plays _above
+      mention'd_.                                                     p. 82
+
+  _The Comparative Regularity of the_ Heathen Stage, _exemplyfied in_
+      Terence, _and_ Plautus.                                         p. 86
+
+  _And in the_ Greek Tragedians.                                      p. 87
+
+  Seneca _more exceptionable than the_ Greeks, _but not so faulty as
+      the_ Modern Stage.                                              p. 94
+
+  _This_ outraging _of_ Religion Intolerable.                         p. 95
+
+  CHAP. III.
+
+  _The_ Clergy _abused by the_ Stage.                                 p. 98
+
+  _This Usage both_ { _Unpresidented_.                               p. 112
+              _And_ { _Unreasonable_.                                p. 127
+
+  _The Misbehaviour of the_ Stage _upon this account_.               p. 138
+
+  CHAP. IV.
+
+  Immorality encouraged _by the_ Stage.                              p. 140
+
+  _The_ Stage Poets _make_ Libertines _their_ Top-Characters, _and
+      give them_ Success _in their_ Debauchery.                      p. 142
+
+  _A_ Character _of their_ fine Gentleman.                           p. 143
+
+  _Their_ fine Ladies _Accomplish'd much after the same manner_.     p. 146
+
+  _The_ Young People _of_ Figure _in_ Plautus _and_ Terence, _have a
+      greater regard to_ Morality.                                    Ibid.
+
+  _The Defence in the_ Preface _to the_ Mock-Astrologer, _not
+      sufficient_.                                                   p. 148
+
+  _The_ Christian _Religion makes a great_ difference _in the Case_. p. 149
+
+  Horace _of a Contrary Opinion to the_ Mock-Astrologer.             p. 150
+
+  _The_ Mock-Astrologer's _Instances from_ Ben Johnson
+      _Unserviceable_.                                               p. 151
+
+  _The Authority of_ Shakespear _against the_ Mock-Astrologer.       p. 154
+
+  _His_ Maxim _founded on the difference between_ Tragedy, _and_
+      Comedy, _a_ Mistake.                                           p. 155
+
+  Delight _not the Chief-End of_ Comedy.                             p. 157
+
+  _This Assertion prov'd against the_ Mock-Astrologer _from the
+      Testimonies of_ Rapin.                                          Ibid.
+
+  _And_ Ben Johnson.                                                 p. 158
+
+  Aristotle, _and_ Quintilian, _cited to the same purpose_      p. 159, 161
+
+  _To make_ Delight _the main Business in_ Comedy, _dangerous, and
+      unreasonable_.                                                 p. 162
+
+  _The improper Conduct of the_ Stage _with respect to Poetry, and
+      Ceremony_.                                                     p. 165
+
+  _Extravagant Rants._                                               p. 167
+
+  _Gingles in the_ Spanish Fryar, King Arthur, _and_ Love
+      Triumphant.                                                    p. 169
+
+  Women _roughly treated by the_ Stage.                              p. 171
+
+  _Their coarse Usage of the_ Nobility.                              p. 173
+
+  _These Freedoms peculiar to the_ English Stage.                    p. 175
+
+  CHAP. V.
+
+  SECT. I.
+
+  _Remarks upon Amphytrion._                                         p. 177
+
+  _The_ Machines _prophane, smutty, and out of the Character_.       p. 178
+
+  _The singularity of the Poet in this point._                       p. 180
+
+  _Blasphemy in Absalom and Achitophel._                             p. 184
+
+  _A_ Poem _upon the Fall of the_ Angels, _call'd a Fairy way of
+      Writing_.                                                      p. 189
+
+  _The_ Punishment _of the_ Damned ridiculed.                        p. 192
+
+  SECT. II.
+
+  _Remarks on the_ Comical History _of_ Don Quixot.                  p. 196
+
+  _The_ Poets horrible Prophaneness.                                 p. 197
+
+  _His want of_ Modesty, _and_ Regard _to the_ Audience.             p. 202
+
+  All _Imitations of Nature not proper for the_ Stage.               p. 204
+
+  _The_ Poets _Talent in Raillery, and_ Dedication.                  p. 205
+
+  SECT. III.
+
+  _Remarks on the_ Relapse.                                          p. 209
+
+  _A Misnommer in the Title of the_ Play.                            p. 210
+
+  _The_ Moral _Vitious_.                                             p. 211
+
+  _The_ Plot _ill Contriv'd_.                                        p. 212
+
+  _The_ Manners _or_ Characters _out of Order_.                      p. 218
+
+  _The three_ Dramatick Unities _broken_.                            p. 228
+
+  CHAP. VI.
+
+  _The Opinion of the_ Heathen _Philosophers_, _Orators_, _and
+      Historians_, _concerning the_ Stage.                           p. 233
+
+  _The_ Stage _censured by the_ State. _This proved from the_
+      Constitutions _of_ Athens, Sparta, _and_ Rome.                 p. 240
+
+  _Farther Instances of this publick Discountentance in the_
+      Theodosian Code.                                               p. 241
+
+  _In our own_ Statute Book.                                         p. 242
+
+  _And in the late Order of the_ French King.                        p. 243
+
+  _An_ Order _of the Bishop of_ Arras _against_ Plays.               p. 245
+
+  _The_ Stage _Condemn'd by the_ Primitive Church.                   p. 250
+
+  _The_ Councils _of_ Illiberis, Arles, &c. _cited_.                  Ibid.
+
+  _The Testimony's of the_ Fathers _against the_ Stage,
+      _particularly, of_ Theophilus Antiochenus.                     p. 252
+
+  _Of_ Tertullian.                                                   p. 253
+
+  _Of_ Clemens Alexandrinus.                                         p. 260
+
+  _Of_ Minutius Foelix.                                              p. 261
+
+  _Of St._ Cyprian.                                                   Ibid.
+
+  Lactantius.                                                        p. 265
+
+  _St._ Chrisostom.                                                  p. 267
+
+  _St._ Hierom.                                                      p. 272
+
+  _And St._ Augustine _cited to the same purpose_.                   p. 273
+
+  _The Censure of the_ Fathers, _and_ Councils _&c. applicable to
+      the_ English Stage.                                            p. 276
+
+  _The Conclusion._                                                  p. 280
+
+
+
+
+
+
+_ERRATA._
+
+
+Page 31 Margin for [Greek: Kôron], r. [Greek: Môron]. p. 37. l. 1. for _by
+his_, r. _his_. l. 2. for _other_, r. _his other_. l. 25. for _præstr_, r.
+_præter_. p. 39. l. 18. for _Poets_, _Knaves_, r. _Poets Knaves_. p. 44. l.
+14. for _Concianotores_, r. _Concionatores_. p. 45. l. 25. for _Debaush_,
+r. _Debauchee_. p. 46. l. 9. for _Enterprizes_, r. _Enterprize_. p. 47. l.
+9. for _ridicules_, r. _ridiculous_. p. 52. l. 1. for _justifying_, r. _and
+justifie_. p. 60. l. 2. for _tempestiuous_, r. _tempestuous_. l. 31. for
+_pray_, r. _should pray_. p. 80. for _executed_, r. _exerted_. p. 108. l.
+4. for _Antarkick_. r. _Antartick_. p. 117. l. 12. for _Angitia_, r.
+_Angitiæ_. p. 121. l. 24. for _Auger_, r. _Augur_. p. 135. margin, for
+_Heglins Cogmog_, r. _Heylins Cosmog_. p. 154. l. 22. dele up. p. 163. l.
+28. for _then_, r. _therefore_. p. 183. l. 6. for _to_, r. _too_. p. 186.
+l. 6. dele _And_. p. 191. l. 18. for _Circumstance_, r. _Circumstances_. p.
+222. l. 9. for _Cup_, r. _a Cup_. p. 237. l. 2. for _apon't_, r. _upon't_.
+245. l. 25. for _Le_, r. _Les_. p. 257. l. 28. for _Correspondence_ r.
+_this Correspondence_. p. 272. l. 9. for _himself_. r. _themselves_.
+
+The Litteral mistakes the Reader is Desired to Correct.
+
+
+
+
+  _Essays upon several Moral Subjects in two parts the Second Edition
+  Corrected and Enlarged by_ Jeremy Collier, _M.A._
+
+  _Human Prudence, or the Art by which a man may raise himself and his
+  Fortune to Grandure, the Seventh Edition._
+
+  _An Answer to all the Excuses and Pretences that men usually make for
+  their not coming to the Holy Communion, by a Divine of the Church of_
+  England: _Fitted for the meanest Capacity, and proper to be given away by
+  such Persons as are Charitably Inclin'd. Price 3 pence._
+
+
+
+
+THE INTRODUCTION.
+
+
+The business of _Plays_ is to recomend Virtue, and discountenance Vice; To
+shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and
+the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the
+Singularities of Pride and Fancy, to make Folly and Falsehood contemptible,
+and to bring every Thing that is Ill Under Infamy, and Neglect. This Design
+has been oddly pursued by the English _Stage_. Our _Poets_ write with a
+different View, and are gone into an other Interest. 'Tis true, were their
+Intentions fair, they might be _Serviceable_ to this _Purpose_. They have
+in a great measure the Springs of Thought and Inclination in their Power.
+_Show_, _Musick_, _Action_, and _Rhetorick_, are moving Entertainments; and
+rightly employ'd would be very significant. But Force and Motion are Things
+indifferent, and the Use lies chiefly in the Application. These Advantages
+are now, in the Enemies Hand, and under a very dangerous Management. Like
+Cannon seized they are pointed the wrong way, and by the Strength of the
+Defence the Mischief is made the greater. That this Complaint is not
+unreasonable I shall endeavour to prove by shewing the Misbehaviour of the
+_Stage_ with respect to _Morality_, and _Religion_. Their _Liberties_, in
+the Following Particulars are intolerable. _viz._ Their _Smuttiness_ of
+_Expression_; Their _Swearing_, _Profainness_, and _Lewd Application of
+Scripture_; Their _Abuse_ of the _Clergy_; Their _making_ their _Top
+Characters Libertines_, and giving them _Success_ in their _Debauchery_.
+This Charge, with some other Irregularities, I shall make good against the
+_Stage_, and shew both the _Novelty_ and _Scandal_ of the _Practise_. And
+first, I shall begin with the _Rankness_, and _Indecency_ of their
+_Language_.
+
+
+
+
+CHAP. I.
+
+_The Immodesty of the_ Stage.
+
+
+In treating this Head, I hope the Reader does not expect that I should set
+down Chapter and Page, and give him the Citations at Length. To do this
+would be a very unacceptable and Foreign Employment. Indeed the Passages,
+many of them, are in no Condition to be handled: He that is desirous to see
+these Flowers let him do it in their own Soil: 'Tis my business rather to
+kill the _Root_ than _Transplant_ it. But that the Poets may not complain
+of Injustice; I shall point to the Infection at a Distance, and refer in
+General to _Play_ and _Person_.
+
+Now among the Curiosities of this kind we may reckon Mrs. _Pinchwife_,
+_Horner_, and Lady _Fidget_ in the _Country Wife_; Widdow _Blackacre_ and
+_Olivia_ in the _Plain Dealer_. These, tho' not all the exceptionable
+_Characters_, are the most remarkable. I'm sorry the Author should stoop
+his Wit thus Low, and use his Understanding so unkindly. Some People appear
+Coarse, and Slovenly out of Poverty: They can't well go to the Charge of
+Sense. They are Offensive like Beggars for want of Necessaries. But this is
+none of the _Plain Dealer_'s case; He can afford his Muse a better Dress
+when he pleases. But then the Rule is, where the Motive is the less, the
+Fault is the greater. To proceed. _Jacinta_, _Elvira_, _Dalinda_, and _Lady
+Plyant_, in the _Mock Astrologer_, _Spanish Friar_, _Love Triumphant_ and
+_Double Dealer_, forget themselves extreamly: And almost all the
+_Characters_ in the _Old Batchelour_, are foul and nauseous. _Love_ for
+_Love_, and the _Relapse_, strike sometimes upon this _Sand_, and so
+likewise does _Don Sebastian_.
+
+I don't pretend to have read the _Stage_ Through, neither am I Particular
+to my Utmost. Here is quoting enough unless 'twere better: Besides, I may
+have occasion to mention somewhat of this kind afterwards. But from what
+has been hinted already, the Reader may be over furnish'd. Here is a large
+Collection of Debauchery; such _Pieces_ are rarely to be met with: 'Tis
+Sometimes painted at Length too, and appears in great Variety of Progress
+and Practise. It wears almost all sorts of Dresses to engage the Fancy, and
+fasten upon the Memory, and keep up the Charm from Languishing. Sometimes
+you have it in Image and Description; sometimes by way of Allusion;
+sometimes in Disguise; and sometimes without it. And what can be the
+Meaning of such a Representation, unless it be to Tincture the Audience, to
+extinguish Shame, and make Lewdness a Diversion? This is the natural
+Consequence, and therefore one would think 'twas the Intention too. Such
+Licentious Discourse tends to no point but to stain the Imagination, to
+awaken Folly, and to weaken the Defences of Virtue: It was upon the account
+of these Disorders that _Plato_ banish'd Poets his _Common Wealth_: And one
+of the _Fathers_ calls _Poetry_, _Vinum Dæmonum_ an intoxicating _Draught_,
+made up by the Devils _Dispensatory_.
+
+I grant the Abuse of a Thing is no Argument against the use of it. However
+Young people particularly, should not entertain themselves with a Lewd
+Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty
+may probably raise those Passions which can neither be discharged without
+Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust
+his Virtue too far, for fear it should give him the slip! But the danger of
+such an Entertainment is but part of the Objection: 'Tis all Scandal and
+meanness into the bargain: it does in effect degrade Human Nature, sinks
+Reason into Appetite, and breaks down the Distinctions between Man and
+Beast. Goats and Monkeys if they could speak, would express their Brutality
+in such Language as This.
+
+To argue the Matter more at large.
+
+Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very
+Coarse Diversion, the Entertainment of those who are generally least both
+in Sense, and Station. The looser part of the _Mob_, have no true relish of
+Decency and Honour, and want Education, and Thought, to furnish out a
+gentile Conversation. Barrenness of Fancy makes them often take up with
+those Scandalous Liberties. A Vitious Imagination may blot a great deal of
+Paper at this rate with ease enough: And 'tis possible Convenience may
+sometimes invite to the Expedient. The Modern Poets seem to use _Smut_ as
+the Old Ones did _Machines_, to relieve a fainting Invention. When
+_Pegasus_ is jaded, and would stand still, he is apt like other _Tits_ to
+run into every Puddle.
+
+Obscenity in any Company is a rustick uncreditable Talent; but among Women
+'tis particularly rude. Such Talk would be very affrontive in Conversation,
+and not endur'd by any Lady of Reputation. Whence then comes it to Pass
+that those Liberties which disoblige so much in Conversation, should
+entertain upon the _Stage_. Do the Women leave all the regards to Decency
+and Conscience behind them when they come to the _Play-House_? Or does the
+Place transform their Inclinations, and turn their former Aversions into
+Pleasure? Or were Their pretences to Sobriety elsewhere nothing but
+Hypocrisy and Grimace? Such Suppositions as these are all Satyr and
+Invective: They are rude Imputations upon the whole Sex. To treat the Ladys
+with such stuff is no better than taking their Money to abuse them. It
+supposes their Imagination vitious, and their Memories ill furnish'd: That
+they are practised in the Language of the Stews, and pleas'd with the
+Scenes of Brutishness. When at the same time the Customs of Education, and
+the Laws of Decency, are so very cautious, and reserv'd in regard to Women:
+I say so very reserv'd, that 'tis almost a Fault for them to Understand
+they are ill Used. They can't discover their Disgust without disadvantage,
+nor Blush without disservice to their Modesty. To appear with any skill in
+such Cant, looks as if they had fallen upon ill Conversation; or Managed
+their Curiosity amiss. In a word, He that treats the Ladys with such
+Discourse, must conclude either that they like it, or they do not. To
+suppose the first, is a gross Reflection upon their Virtue. And as for the
+latter case, it entertains them with their own Aversion; which is ill
+Nature, and ill Manners enough in all Conscience. And in this Particular,
+Custom and Conscience, the Forms of Breeding, and the Maxims of Religion
+are on the same side. In other Instances Vice is often too fashionable; But
+here a Man can't be a Sinner, without being a Clown.
+
+In this respect the _Stage_ is faulty to a Scandalous degree of
+Nauseousness and Aggravation. For
+
+_1st._ The _Poets_ make _Women_ speak Smuttily. Of This the Places before
+mention'd are sufficient Evidence: And if there was occasion they might be
+Multiplyed to a much greater Number: Indeed the _Comedies_ are seldom clear
+of these Blemishes: And sometimes you have them in _Tragedy_. For Instance.
+The _Orphans Monimia_ makes a very improper Description; And the Royal
+_Leonora_ in the _Spanish Friar_, runs a strange Length in the History of
+Love _p._ 50. And, do Princesses use to make their Reports with such fulsom
+Freedoms? Certainly this _Leonora_ was the first Queen of her Family. Such
+raptures are too Lascivious for _Joan_ of _Naples_. Are these the _Tender
+Things_ Mr. _Dryden_ says the Ladys call on him for? I suppose he means the
+_Ladys_ that are too Modest to show their Faces in the _Pit_. This
+Entertainment can be fairly design'd for none but such. Indeed it hits
+their Palate exactly. It regales their Lewdness, graces their Character,
+and keeps up their Spirits for their Vocation: Now to bring Women under
+such Misbehaviour is Violence to their Native Modesty, and a
+Mispresentation of their Sex. For Modesty as Mr. _Rapin_[1] observes, is
+the _Character_ of Women. To represent them without this Quality, is to
+make Monsters of them, and throw them out of their Kind. _Euripides_, who
+was no negligent Observer of Humane Nature, is always careful of this
+Decorum. Thus _Phædra_[2] when possess'd with an infamous Passion, takes
+all imaginable pains to conceal it. She is as regular and reserv'd in her
+Language as the most virtuous Matron. 'Tis true, the force of Shame and
+Desire; The Scandal of Satisfying, and the difficulty of parting with her
+Inclinations, disorder her to Distraction. However, her Frensy is not Lewd;
+She keeps her Modesty even after She has lost her Wits. Had _Shakespear_
+secur'd this point for his young Virgin _Ophelia_,[3] the _Play_ had been
+better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he
+should have set her a swimming a little sooner. To keep her alive only to
+sully her Reputation, and discover the Rankness of her Breath, was very
+Cruel. But it may be said the Freedoms of Distraction go for nothing, a
+Feavour has no Faults, and a Man _non Compos_, may kill without Murther. It
+may be so: But then such People ought to be kept in dark Rooms and without
+Company. To shew them, or let them loose, is somewhat unreasonable. But
+after all, the Modern _Stage_ seems to depend upon this Expedient. Women
+are sometimes represented _Silly_, and sometimes _Mad_, to enlarge their
+Liberty, and screen their Impudence from Censure: This Politick Contrivance
+we have in _Marcella_,[4] _Hoyden_,[5] and Miss _Prue_.[6] However it
+amounts to this Confession; that Women when they have their Understandings
+about them ought to converse otherwise. In fine; Modesty is the
+distinguishing Vertue of that Sex, and serves both for Ornament and
+Defence: Modesty was design'd by Providence as a Guard to Virtue; And that
+it might be always at Hand, 'tis wrought into the Mechanism of the Body.
+'Tis likewise proportioned to the occasions of Life, and strongest in Youth
+when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences
+are to Health; whatever is ungrateful to the first, is prejudicial to the
+latter. The Enemy no sooner approaches, but the Blood rises in Opposition,
+and looks Defyance to an Indecency. It supplys the room of Reasoning, and
+Collection: Intuitive Knowledge can scarcely make a quicker Impression; And
+what then can be a surer Guide to the Unexperienced? It teaches by suddain
+Instinct and Aversion; This is both a ready and a powerful Method of
+instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the
+Sensation, are of singular Use. They serve to awaken Reason, and prevent
+surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
+Temptation kept at proper Distance.
+
+_2ly._ They Represent their single Ladys, and Persons of Condition, under
+these Disorders of Liberty, This makes the Irregularity still more
+Monstrous and a greater Contradiction to Nature, and Probability: But
+rather than not be Vitious, they will venture to spoil a Character. This
+mismanagement we have partly seen already. _Jacinta_,[7] and _Belinda_[8]
+are farther proof. And the _Double Dealer_ is particularly remarkable.
+There are but _Four_ Ladys in this _Play_, and _Three_ of the biggest of
+them are Whores. A Great Compliment to Quality to tell them there is not
+above a quarter of them Honest! This was not the Roman Breeding, _Terence_
+and _Plautus_ his Strumpets were Little people; but of this more hereafter.
+
+_3dly._ They have oftentimes not so much as the poor refuge of a Double
+Meaning to fly to. So that you are under a necessity either of taking
+Ribaldry or Nonsence. And when the Sentence has two Handles, the worst is
+generally turn'd to the Audience. The Matter is so Contrived that the Smut
+and Scum of the Thought rises uppermost; And like a Picture drawn to
+_Sight_, looks always upon the Company.
+
+_4ly._ And which is still more extraordinary: the _Prologues_, and
+_Epilogues_ are sometimes Scandalous to the last degree.[9] I shall
+discover them for once, and let them stand like Rocks in the Margin. Now
+here properly speaking the _Actors_ quit the _Stage_, and remove from
+Fiction, into Life. Here they converse with the _Boxes_, and _Pit_, and
+address directly to the Audience. These Preliminarie and concluding Parts,
+are design'd to justify the Conduct of the _Play_, and bespeak the Favour
+of the Company. Upon such Occasions one would imagine if ever, the Ladys
+should be used with Respect, and the Measures of Decency observ'd, But here
+we have Lewdness without Shame or Example: Here the _Poet_ exceeds himself.
+Here are such Strains as would turn the Stomach, of an ordinary Debauchee,
+and be almost nauseous in the _Stews_. And to make it the more agreeable,
+Women are Commonly pick'd out for this Service. Thus the _Poet_ Courts the
+good opinion of the Audience. This is the Desert he regales the Ladys with
+at the Close of the Entertainment: It seems He thinks They have admirable
+Palats! Nothing can be a greater Breach of Manners then such Liberties as
+these. If a Man would study to outrage _Quality_ and Vertue, he could not
+do it more Effectually. But
+
+_5thly._ Smut is still more insufferable with respect to Religion. The
+Heathen Religion was in a great Measure a _Mystery_ of _Iniquity_. Lewdness
+was Consecrated in the Temples, as well as practised in the _Stews_. Their
+Deitys were great Examples of Vice, and worship'd with their own
+Inclination. 'Tis no wonder therefore their Poetry should be tinctured with
+their Belief, and that the _Stage_ should borrow some of the Liberties of
+their Theology. This made _Mercurys_ Procuring, and _Jupiters_ Adultery the
+more passable in _Amphitrion_[10]: Upon this Score _Gymnasium_[11] is less
+Monstrous in Praying the Gods to send her store of Gallants. And thus
+_Chæræa_[12] defends his Adventure by the Precedent of _Jupiter_ and
+_Danæ_. But the Christian Religion is quite of an other Complexion. Both
+its Precepts, and Authorities, are the highest discouragement to
+Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the
+Follies of Conversation, and Obliges up to Sobriety of Thought. That which
+might pass for Raillery, and Entertainment in Heathenism, is detestable in
+Christianity. The Restraint of the Precept, and the Quality of the Deity,
+and the Expectations of Futurity quite alter the Case.
+
+But notwithstanding the Latitudes of Paganism, the Roman and Greek
+_Theatres_ were much more inoffensive than ours. To begin with _Plautus_.
+This Comedian, tho' the most exceptionable, is modest upon the Comparison.
+For
+
+_1st._ He rarely gives any of the above mention'd Liberties to Women; And
+when there are any Instances of the contrary, 'tis only in prostituted and
+Vulgar People; And even these, don't come up to the Grossness of the
+_Modern Stage_.
+
+For the Purpose. _Cleæreta_[13] the Procuris borders a little upon
+Rudeness: _Lena_[14] and _Bacchis_[15] the Strumpet are Airy and somewhat
+over-merry, but not _A l'Anglois_ obscene. _Chalinus_[16] in Womans Cloaths
+is the most remarkable. _Pasicompa Charinus_ his Wench talks too freely to
+_Lysimachus_;[17] And so does _Sophroclidisca_ _Slave_ to
+_Lemnoselene_.[18] And lastly: _Phronesiam_ a Woman of the _Town_ uses a
+double entendre to _Stratophanes_.[19] These are the most censurable
+Passages, and I think all of them with relation to Women; which considering
+how the World goes is very moderate. Several of _our_ Single _Plays_ shall
+far out-do all This put together. And yet _Plautus_ has upon the matter
+left us 20 entire _Comedies_. So that in short, these Roman Lasses are meer
+_Vestal Virgins_, comparatively speaking.
+
+_2ly._ The _Men_ who talk intemperately are generally _Slaves_; I believe
+_Dordalus_[20] the Pandar, and _Lusiteles_[21] will be found the only
+exception: And this latter young Gentleman; drops but one over airy
+expression: And for this Freedom, the Poet seems to make him give
+Satisfaction in the rest of his Character. He disputes very handsomly by
+himself against irregular Love; The Discourse between him and _Philto_ is
+instructive and well managed.[22] And afterwards he gives _Lesbonicus_ a
+great deal of sober advice,[23] and declaims heartily against Luxury and
+Lewdness! Now by confining his Rudeness to little People, the Fault is much
+extenuated. For First, the representation is more Naturally this way; And
+which is still better, 'tis not so likely to pass into Imitation: Slaves
+and Clowns are not big enough to spread Infection; and set up an ill
+Fashion. 'Tis possible the _Poet_ might contrive these _Pesants Offensive_
+to discountenance the Practise. Thus the _Heilots_ in _Sparta_ were made
+drunk to keep Intemperance out of Credit. I don't mention this as if I
+approv'd the Expedient, but only to show it a circumstance of Mitigation
+and Excuse.
+
+Farther, These _Slaves_ and Pandars, Seldom run over, and play their
+Gambols before Women. There are but Four Instances of this Kind as I
+remember, _Olympio_,[24] _Palæstrio_,[25] _Dordalus_,[26] and
+_Stratilax_[27] are the Persons. And the Women they discourse with, are two
+of them Slaves, and the third a Wench. But with our _Dramatists_, the case
+is otherwise. With us _Smuttiness_ is absolute and unconfin'd. 'Tis under
+no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen
+talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and
+Frequency imaginable. This is in earnest to be very hearty in the cause! To
+give Title and Figure to Ill Manners is the utmost that can be done. If
+Lewdness will not thrive under such encouragement it must e'en Miscarry!
+
+_4ly._ _Plautus_ his _Prologues_ and _Epilogues_ are inoffensive. 'Tis
+true, _Lambinus_ pretends to fetch a double _entendre_ out of that to
+_Poenulus_, but I think there is a Strain in the Construction. His
+_Prologue_ to the _Captivi_ is worth the observing.
+
+  _Fabulæ huic operam date._
+
+_Pray mind the Play._ The next words give the reason why it deserves
+regarding.
+
+  _Non enim pertractate facta est
+  Neque spurcidici insunt versus immemorabiles._
+
+We see here the Poet confesses Smut a scandalous Entertainment. That such
+Liberties ought to fall under Neglect, to lie unmention'd, and be blotted
+out of Memory.
+
+And that this was not a Copy of his Countenance we may learn from his
+Compositions. His best _Plays_ are almost alwaies Modest and clean
+Complexion'd. His _Amphitrio_ excepting the ungenuine Addition is such. His
+_Epidicus_ the Master-Piece of his whole Collection is inoffensive
+Throughout: And so are his _Menechmi_, _Rudens_, and _Trinummus_, which may
+be reckon'd amongst some of his next Best. His _Truculentus_ another fine
+_Play_ (tho' not entire) with a Heathen Allowance, is pretty Passable. To
+be short: Where he is most a Poet, he is generally least a Buffoon. And
+where the Entertainment is Smut, there is rarely any other Dish well
+dress'd: The Contrivance is commonly wretched, the Sence lean and full of
+Quibbles. So that his Understanding seems to have left him when he began to
+abuse it.
+
+To conclude, _Plautus_ does not dilate upon the Progress, Successes, and
+Disappointments of _Love_, in the _Modern_ way. This is nice Ground, and
+therefore He either stands off, or walks gravely over it, He has some
+regard to the Retirements of Modesty, and the Dignity of Humane Nature, and
+does not seem to make Lewdness his Business. To give an Instance.
+_Silenium_ is much gone in Love,[28] but Modest withall, tho' formerly
+debauch'd.
+
+She is sorry her Spark was forced from her, and in Danger of being lost.
+But then she keeps within compass and never flies out into Indecency.
+_Alcesimarchus_ is strangely smitten with this _Silenium_, and almost
+distracted to recover her.[29] He is uneasy and blusters, and threatens,
+but his Passion goes off in Generals. He Paints no Images of his
+Extravagance, nor descends to any nauseous particulars.
+
+And yet after all, _Plautus_ wrote in an Age not perfectly refin'd, and
+often seems to design his _Plays_ for a Vulgar Capacity. 'Twas upon this
+view I suppose his _Characters_ exceed Nature, and his ill Features are
+drawn too large: His old Men over credulous, his Misers Romantick, and his
+Coxcombs improbably singular. And 'tis likely for this reason his _Slaves_
+might have too much Liberty.
+
+_Terence_ appear'd when Breeding was more exact, and the _Town_ better
+polish'd; And he manages accordingly: He has[30] but one faulty bordering
+Expression, which is that of _Chremes_ to _Clitipho_. This single Sentence
+apart, the rest of his Book is (I think) unsullied and fit for the nicest
+Conversation. I mean only in referrence to the Argument in Hand, for there
+are things in Him, which I have no intention to warrant. He is Extreamly
+careful in the Behaviour of his Women. Neither _Glycerium_ in _Andria_,
+_Pamphila_ in _Eunuchus_, or _Pamphila_ in _Adelphi_, _Phanium_ in
+_Phormio_, or _Philumena_ in _Hecyra_, have any share of Conversation upon
+the _Stage_. such Freedom was then thought too much for the Reservedness of
+a Maiden-Character. 'Tis true in _Heautontimoroumenos_ the _Poets_ Plot
+obliged _Antiphila_, to go under the Disguise of _Bacchis_ her Maid. Upon
+this Occasion they hold a little Discourse together. But then _Bacchis_
+tho' she was a Woman of the _Town_, behaves her self with all the Decency
+imaginable. She does not talk in the Language of her Profession. But
+commends _Antiphila_ for her Virtue: _Antiphila_ only says how constant she
+has been to _Chinia_, seems surprised at his Arrival, and salutes him
+civilly upon't, and we hear no more from her. Mr. _Dryden_ seems to refer
+to this Conduct in his Dramatick _Poesie_. He censures the _Romans_ for
+making _Mutes_ of their single Women. This He calls the _Breeding of the
+Old_ Elizabeth _way, which was for Maids to be seen and not to be heard_.
+Under Favour the old Discipline would be very serviceable upon the _Stage_.
+As matters go, the _Mutes_ are much to few. For certainly 'tis better to
+say nothing, than talk out of Character, and to ill purpose.
+
+To return. The Virgin injured by _Chærea_ does nothing but weep, and won't
+so much as speak her misfortune to the Women.[31] But Comedy is strangly
+improved since that time; For _Dalinda_[32] has a great deal more Courage,
+tho' the loss of her Virtue was her own Fault.
+
+But _Terence_ has that regard for Women, that he won't so much as touch
+upon an ill Subject before them. Thus _Chremes_ was ashamed to mention any
+thing about his Sons Lewdness when his Wife was present.
+
+  _Pudet dicere hac præsente verbum turpe._[33]
+
+The Slaves in this Comedian are kept in order and civilly bred. They Guard
+and Fence when occasion requires, and step handsomly over a dirty
+place.[34] The Poet did not think Littleness and low Education a good
+Excuse for Ribaldry. He knew Infection at the weakest, might seize on some
+Constitutions: Besides, the Audience was a Superior Presence, and ought to
+be considered. For how Negligent soever People may be at Home, yet when
+they come before their Betters 'tis Manners to look wholsom.
+
+Now tho' _Plautus_ might have the richer Invention; _Terence_ was always
+thought the more judicious Comedian. His Raillery is not only finer, and
+his stile better polish'd; but his _Characters_ are more just, and he seems
+to have reach'd farther into Life than the other. To take Leave of this
+Author, even his Strumpets are better behaved than our honest Women, than
+our Women of Quality of the English _Stage_. _Bacchis_ in
+_Heautontimoroumenos_ and _Bacchis_ in _Hecyra_, may serve for example.
+They are both modest, and converse not unbecoming their Sex. _Thais_ the
+most accomplish'd in her way,[35] has a great deal of Spirit and wheadling
+in her Character, but talks no Smut.
+
+Thus we see with what Caution and Sobriety of Language _Terence_ manages.
+'Tis possible this Conduct might be his own Modesty, and result from
+judgment and Inclination. But however his Fancy stood, he was sensible the
+Coarse way would not do. The _Stage_ was then under Discipline, the publick
+_Censors_ formidable, and the Office of the _Choragus_ was originally to
+prevent the Excesses of Liberty.
+
+To this we may add the _Nobless_ had no Relish for Obscenity; 'twas the
+ready way to Disoblige them.[36] And therefore 'tis _Horaces_ Rule.
+
+  _Nec immunda crepent ignominiosaque dicta.
+  Offenduntur enim quibus est Equus & Pater, & res._[37]
+
+The Old _Romans_ were particularly carefull their Women might not be
+affronted in Conversation: For this reason the Unmarried kept off from
+Entertainments for fear of learning new Language.[38] And in _Greece_ no
+Woman above the degree of a _Slave_ was treated abroad by any but
+Relations.[39] 'Tis probable the old Comedy was silenced at _Athens_ upon
+this Score, as well as for Defamation. For as _Aristotle_[40] observes the
+new Set of Comedians were much more modest than the former. In this
+celebrated Republick, if the _Poets_ wrote any thing against Religion or
+Good Manners, They were tryed for their Misbehaviour, and lyable to the
+highest Forfeitures.[41]
+
+It may not be amiss to observe that there are no Instances of debauching
+Married Women, in _Plautus_, nor _Terence_, no nor yet in _Aristophanes_.
+But on our _Stage_ how common is it to make a Lord, a Knight, or an
+Alderman a Cuckold? The Schemes of Success are beaten out with great
+Variety, and almost drawn up into a Science. How many Snares are laid for
+the undermining of Virtue, and with what Triumph is the Victory proclaim'd?
+The Finess of the _Plot_, and the Life of the Entertainment often lies in
+these Contrivances. But the _Romans_ had a different sence of these
+Matters, and saw thro' the consequences of them. The Government was awake
+upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
+pass into Diversion. And before we part with these _Comedians_ we may take
+notice that there are no Smutty Songs in their _Plays_; in which the
+_English_ are extreamly Scandalous.[42] Now to work up their Lewdness with
+Verse, and Musick, doubles the Force of the Mischief. It makes it more
+portable and at Hand, and drives it Stronger upon Fancy and Practice.
+
+To dispatch the _Latins_ all together. _Seneca_ is clean throughout the
+Piece, and stands generally off from the point of Love. He has no Courting
+unless in his _Hercules Furens_;[43] And here the Tyrant _Lycus_ addresses
+_Megara_ very briefly, and in Modest and remote Language. In his _Thebais_,
+_Oedipus_'s Incest is reported at large, but without any choaking
+Description. 'Tis granted _Phædra_ speaks her Passion plainly out, and owns
+the strength of the Impression, and is far less prudent than in
+_Euripides_.[44] But tho' her Thoughts appear too freely, her Language is
+under Discipline.
+
+Let us now Travel from _Italy_ into _Greece_, and take a view of the
+Theatre at _Athens_. In this City the _Stage_ had both its beginning and
+highest Improvement. _Æschylus_ was the first who appear'd with any
+Reputation. His Genius seems noble, and his Mind generous, willing to
+transfuse it self into the Audience, and inspire them with a Spirit of
+Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing.
+There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
+Ardour, to awaken, warm, and push forward to Action. But his Mettal is not
+always under Management. His Inclination for the _Sublime_; carrys him too
+far: He is sometimes Embarrass'd with _Epithites_. His Metaphors are too
+stiff, and far fetch'd; and he rises rather in Sound, than in Sence.
+However generally speaking, his Materials are both shining and solid, and
+his Thoughts lofty, and uncommon. This Tragedian had always a nice regard
+to Good Manners. He knew corrupting the People was the greatest disservice
+to the Commonwealth; And that Publick Ruine was the effect of general
+Debauchery. For this reason he declines the Business of Amours, and
+declares expresly against it.[45] Now here we can't expect any length of
+Testimony. His aversion to the subject makes him touch very sparingly upon
+it. But in this case there is no need of much citation. His very Omissions
+are Arguments, and his Evidence is the stronger for being short. That
+little I meet with shall be produced.
+
+_1st._ Orestes was obliged by the Oracle to revenge his Fathers Death in
+the Murther of his Mother.[46] When he was going to kill her, he Mentions
+her Cruelty, but waves her Adultery. _Euripides_ approv'd this Reservedness
+and makes his _Electra_ practise it upon the same occasion.[47] _Æschylus_
+in his next Play complements his Country with a great deal of Address in
+the Persons of the _Eumenides_.[48] They are very Gentile and Poetical in
+their Civilities: Among other things They wish the Virgins may all Marry
+and make the Country Populous: Here the _Poet_ do's but just glance upon
+the Subject of Love; and yet he governs the Expression with such care, that
+the wishes contain a Hint to Sobriety, and carry a Face of Virtue along
+with them.
+
+The _Double Dealer_ runs Riot upon such an Occasion as this; and gives Lord
+_Touchwood_ a mixture of Smut and Pedantry to conclude with,[49] and yet
+this Lord was one of his best Characters: But _Poets_ are now grown
+Absolute within themselves, and may put Sence and Quality upon what
+Drudgeries they please. To return. _Danaus_ cautions his Daughters very
+handsomly in point of Behaviour. They were in a strange Country, and had
+Poverty and Dependance to struggle with: These were circumstances of
+Danger, and might make him the more pressing. He leaves therefore a solemn
+Charge with them for their Security, bids them never to subsist upon
+Infamy, but to prefer their Virtue to their Life.
+
+  [Greek: Monon phylaxai tas d' epistolas patros][50]
+  [Greek: To sôphronein timôsa tou biou pleon.]
+
+Our _Poets_ I suppose would call this Preaching, and think it a dull
+Business. However I can't forbear saying an honest Heathen is none of the
+worst Men: A very indifferent Religion well Believed, will go a great way.
+
+To proceed. _Sophocles_ appear'd next upon the _Stage_, and was in earnest
+an Extraordinary Person. His Conduct is more Artificial, and his Stile more
+just, than that of _Æschylus_. His Characters are well drawn, and Uniform
+with themselves: His _Incidents_, are often surprising, and his _Plots_
+unprecipitated. There is nothing but what is Great, and Solemn Throughout.
+The Reasoning is well Coloured. The Figures are sometimes Bold, but not
+Extravagant. There are no Flights of Bombast, no Towring above Nature and
+Possibility: In short, Nothing like Don _Sebastians_ Reigning in his
+_Atomes_.[51]
+
+This Tragedian like _Æschylus_ does not often concern himself with
+_Amours_, and when he does, nothing can be more temperate, and decent. For
+example where the Incest of _Oedipus_ is described,[52] the Offensiveness
+of the Idea is screen'd off and broken by Metaphorical and distant
+Expressions. In another _Play_[53] _Creon_ resolves to put _Antigone_ to
+Death for presuming to bury _Polynices_. This Lady and _Hæmon_ _Creons_ Son
+were very far engaged; _Hæmon_ endeavours to disswade his Father from
+_Antigones_ Execution: He tells him the burying her Brother tho' against
+his Order, was a popular Action. And that the People would resent her being
+punish'd: But never so much as mentions his own Concern unless in one Line;
+which was so obscure that _Creon_ misunderstood him. _Antigone_ amongst her
+other Misfortunes laments her dying Young and Single, but says not one word
+about _Hæmon_. The _Poet_ takes care not to bring these two Lovers upon the
+_Stage_ together, for fear they might prove unmanagable? Had They been with
+us, they had met with kinder treatment. They might have had Interviews and
+Time and Freedom enough. Enough to mud their Fancy, to tarnish their
+Quality, and make their Passion Scandalous. In the Relation of _Hæmons_
+Death, his Love is related too, and that with all the Life and _Pathos_
+imaginable. But the Description is within the Terms of Honour: The
+tendernesses are Solemn, as well as Soft: They move to [54]Pity and
+Concern, and go no farther. In his _Trachiniæ_ the _Chorus_ owns the Force
+of Love next to irresistable; gently hints the Intrigues of the Gods, and
+then passes on to a handsome [55]Image of the Combat between _Achelous_ and
+_Hercules_. We see how lightly the _Poet_ touches upon an amorous Theme: He
+glides along like a Swallow upon the Water, and skims the Surface, without
+dipping a Feather.
+
+_Sophocles_ will afford us no more, let us therefore take a view of
+_Euripides_. 'Tis the Method of this Author to decline the Singularities of
+the _Stage_, and to appear with an Air of Conversation. He delivers great
+Thoughts in Common Language, and is dress'd more like a Gentleman than a
+_Player_. His Distinction lies in the perspicuity of his Stile; In Maxim,
+and Moral Reflection; In his peculiar Happiness for touching the Passions,
+especially that of Pity; And lastly, in exhausting the Cause, and arguing
+_pro_ and _Con_, upon the streach of Reason. So much by way of Character.
+And as for the Matter before us He is entirely Ours. We have had an
+Instance or two already in _Electra_ and _Phædra_: To go on to the rest. In
+his _Hippolitus_ He calls _Whoring_, stupidness and playing the Fool. And
+to be Chast and regular, is with him, as well as with _Æschylus_, [Greek:
+Sôphronein]. As much as to say 'tis the Consequence of Sence, and right
+Thinking. _Phædra_ when her Thoughts were embarrass'd with _Hippolitus_,
+endeavours to disentangle her self by Argument.[56] She declaims with a
+great deal of Satyr against intemperate Women; she concluded rather to die
+then dishonour her Husband and Stain her Family. The Blemishes of Parents,
+as she goes on, often stuck upon their Children, and made them appear with
+Disadvantage. Upon this, the _Chorus_ is transported with the Virtue of her
+Resolution and crys out
+
+  [Greek: Pheu Pheu. To sôphron hôs hapantachou kalon][57]
+  [Greek: kai do xan esthlên enbrotois komizetai.]
+
+  _How becoming a Quality is Modesty in all Places._
+  _How strangly does it burnish a Character, and oblige ones Reputation?_
+
+The Scholiast upon these verses of _Hippolitus_.
+
+  [Greek: Soi ton de plekton Stephanon ex akêra]
+  [Greek: Leimônos], &c.
+
+Makes this Paraphrase, 'Tha[......] Mind should be clean and
+unsulli[......] that the Muses being Virgins their Performances should
+agree with their Condition.'
+
+To proceed. _Hermione_ complains against _Andromache_ because she was
+entertain'd by her Husband[58]: For this _Andromache_ tells her she talk'd
+too much for a Young Woman, and discover'd her Opinion too far. _Achilles_
+at the first Sight of _Clytemnestra_, lets her understand he was as much
+taken with the Sobriety of her Air,[59] as with the rest of her fine Face
+and Person. She receives the Complement kindly, and commends him for
+commending Modesty. _Menelaus_ and _Helen_ after a long Absence manage the
+surprize of their good Fortune handsomly.[60] The Most tender Expression
+stands clear of ill Meaning. Had _Osmin_ parted with _Almeria_ as civilly
+as these Two met,[61] it had been much better. That Rant of smut and
+profainness might have been spared. The _Reader_ shall have some of it.
+
+  _O my_ Almeria;
+  _What do that Damn'd endure but to despair,
+  But knowing Heaven, to know it lost for ever._
+
+Were it not for the _Creed_, these _Poets_ would be crampt in their
+Courtship, and Mightily at a loss for a Simile! But _Osmin_ is in a
+wonderful Passion. And truly I think his Wits, are in some danger, as well
+as his Patience. You shall hear.
+
+  _What are Wracks, and, Whips, and Wheels to this;
+  Are they not soothing softness, sinking Ease,
+  And wasting Air to this?_
+
+_Sinking Ease, and Wasting Air_, I confess are strange comforts; This
+Comparison is somewhat oddly equip'd, but Lovers like sick People may say
+what they please! _Almeria_ takes this Speech for a Pattern, and suits it
+exactly in her return.
+
+  _O I am struck, thy words are Bolts of Ice?
+  Which shot into my Breast now melt and chill me._
+
+_Bolts of Ice?_ Yes most certainly! For the Cold is struck up into her
+Head, as you may perceive by what follows.
+
+  _I chatter, shake, and faint with thrilling Fears._
+
+By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no
+jesting, for the Lady is very bad. She won't be held up by any Means, but
+Crys out:
+
+  ----_lower yet, down down_;
+
+One would think she was learning a Spanel to _Sett_. But there's something
+behind.
+
+  ----_no more we'll lift our Eyes,
+  But prone and dumb, Rot the firm Face of Earth,
+  With Rivers of incessant scalding Rain._
+
+These Figures are some of them as stiff as Statues, and put me in mind of
+_Sylvesters Dubartas_.
+
+  _Now when the Winters keener breath began
+  To Crystallize, the Baltick Ocean,
+  To glaze the Lakes, to bridle up the Floods,
+  And periwig with Snow the bald pate woods._
+
+I take it, the other Verses are somewhat of Kin to These, and shall leave
+them to Mr. _Dryden's_ Reflection.[62] But then as for _Soothing Softness,
+Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain_;
+It puts me to another stand. For to talk a little in the way of the
+_Stage_. This Litter of _Epithetes_ makes the _Poem_ look like a Bitch
+overstock'd with Puppies, and sucks the Sence almost to skin and Bone. But
+all this may pass in a _Playhouse_: False Rhetorick and false Jewells, do
+well together. To return to _Euripides_. _Cassandra_ in reporting the
+Misfortunes of the _Greeks_ stops at the Adulteries of _Clytemnestra_ and
+_Ægiala_ And gives this handsome reason for making a Halt.
+
+  [Greek: Sigan ameinon taischra, mêde mousa moi][63]
+  [Greek: Genoit aoidos hêtis hymnêsei kaka.]
+
+  _Foul Things are best unsaid, I am for no Muse,
+  That loves to flourish on Debauchery._
+
+
+Some Things are dangerous in report, as well as practise, and many times a
+Disease in the Description. This _Euripides_ was aware of and manag'd
+accordingly, and was remarkably regular both in stile, and Manners. How
+wretchedly do we fall short of the Decencies of Heathenism! There's nothing
+more ridiculous than Modesty on our _Stage_.[64] 'Tis counted an ill bred
+Quality, and almost sham'd out of Use. One would think Mankind were not the
+same, that Reason was to be read Backward, and Vertue and Vice had changed
+Place.[65]
+
+What then? Must Life be huddled over, Nature left imperfect, and the Humour
+of the Town not shown? And pray where lies the Grievance of all This? Must
+we relate whatever is done, and is every Thing fit for Representation? is a
+Man that has the Plague proper to make a Sight of? And must he needs come
+Abroad when he breaths Infection, and leaves the _Tokens_ upon the Company?
+What then must we know nothing? Look you! All Experiments are not worth the
+making. 'Tis much better to be ignorant of a Disease then to catch it. Who
+would wound himself for Information about Pain, or smell a Stench for the
+sake of the Discovery? But I shall have occasion to encounter this
+Objection afterwards,[66] and therefore shall dismiss it at present.
+
+The _Play-house_ at _Athens_ has been hitherto in Order, but are there no
+Instances to the contrary? Do's not _Aristophanes_ take great Liberties and
+make Women speak extraordinary Sentences? He do's so. But his Precedent
+signifies nothing in the case. For
+
+_1st._ We have both the Reason of the Thing, and all the Advantage of
+Authority on the other side. We have the Practise and Opinion of Men of
+much greater Sence, and Learning then Himself. The best Philosophers and
+Poets, Criticks and Orators, both Greek and Latin, both Antient and Modern,
+give the Cause against him. But _Aristophanes_ his own _Plays_ are
+sufficient to ruin his Authority. For
+
+_1st_, He discovers himself a downright Atheist. This Charge will be easily
+Made good against him by Comparing his _Nubes_ with his other _Plays_. The
+Design of his _Nubes_ was to expose _Socrates_, and make a Town jest of
+him. Now this Philosopher was not only a Person of great Sence and Probity,
+but was likewise suppos'd to refine upon the Heathen Theology, to throw off
+the Fabulous part of it, and to endeavour to bring it back to the Standard
+of Natural Religion. And therefore _Justin Martyr_ and some others of the
+_Fathers_, look'd on him as a Person of no Pagan Belief, and thought he
+suffer'd for the Unity of the God-Head. This Man _Aristophanes_ makes fine
+sport with as he fancies: He puts him in a Fools Coat, and then points at
+him. He makes _Socrates_ instruct his Disciple _Strepsiades_ in a new
+Religion, and tell him that _he did not own the Gods in the vulgar Notion_.
+He brings him in elswhere affirming that the _Clouds are the only
+Deities_.[67] Which is the same Lash which _Juvenal_ gives the _Jews_,
+because they worship'd but one single Soveraign Being.
+
+  _Nil præter Nubes & Coeli numen adorant._[68]
+
+_Socrates_ goes on with his Lecture of Divinity and declares very roundly
+that there is no such thing as _Jupiter_.[69] Afterwards he advances
+farther, and endeavours to get _Strepsiades_ under Articles to acknowledge
+no other Gods, but _Chaos_, the _Clouds_, and the _Tongue_.[70] At last the
+_Poet_ brings the Philosopher to publick Pennance for his Singularities. He
+sets fire to his _School_ for teaching Young People (as he pretends) to
+dispute against Law and Justice; for advancing Atheistick Notions, and
+burlesquing the Religion of the Country.[71]
+
+That _Socrates_ was no Atheist is clear from Instances enough. To mention
+but one. The Confidence he had in his _Dæmon_, or _Genius_ by which he
+governed his Affairs puts it beyond all dispute.[72] However 'tis plain
+_Aristophanes_ was not of his Religion. The _Comedian_ was by no means for
+correcting the Common Perswasion. So that he must either be an Orthodox
+Heathen or nothing at all. Let us see then with what Respect he treats the
+Receiv'd _Divinities_. This _Play_, where one would not expect it,
+discovers somewhat of his Devotion. In the beginning of it _Phidippides_,
+who was a sort or _New-Market_ Spark, swears by _Jocky Neptune_,[73] that
+he had a strange Kindness for his Father _Strepsiades_. upon this the old
+Man replies; _No Jocky, if you love me; that Deity has almost undone me_.
+This was making somewhat bold with _Neptune_ who was _Jupiters_ Brother,
+_Soveraign_ of a whole _Element_, and had no less than the Third Share of
+the Universe! Certainly _Aristophanes_ had no Venture at Sea, or else must
+think the _Trident_ signified but very little. But this is meer Ceremony to
+what follows. In his first _Play_ _Plutus_ pretends he had a mind to oblige
+only Men of Probity, but _Jupiter_ had made him blind on purpose that he
+might not distinguish Honest men from Knaves: For to be plain _Jupiter_ had
+a Pique against Good people. Towards the end of this _Comedy Mercury_ is
+abused by _Cario_,[74] and acts a ridiculous, and lessening part himself.
+Afterwards he complains heavily that since _Plutus_ was cured of his
+Blindness, the business of Sacrifing fell off, and the Gods were ready to
+starve. This _Mercury_ has the same ill Usage with the _Poets_ Knaves,
+Informers, and Lewd Women; From all this stuff put together, his meaning is
+pretty plain, _viz._ That Religion was no better than an Imposture
+supported by Art, and Ignorance: And that when Men's Understandings were
+awake, and their Eyes a little open, they would have more discretion than
+to be at any expence about the Gods.
+
+This I take to be part of the Moral of his Fable. If we look farther into
+him we shall see more of his Mind. His _Ranæ_ makes Merry with the Heathen
+Scheme of Heaven and Hell. Here _Charon_ and the _Stygian Frogs_ are
+brought in Comically enough. And that you may understand his opinion more
+perfectly we are told, that He that Bilks his _Catamite_ after a
+_Sodomitical_ Abuse, is thrown into the Common shore of _Hades_. And what
+Company do you think he is lodg'd with? Why with those who Perjure
+themselves, with those who Kick their Fathers and Mothers? It seems in the
+_Poets_ Justice a Man might as good be false to his Oath, as to his
+Lewdness.[75] To disappoint the _Stews_, is every jot as great a Crime; as
+to fly in the Face of Nature, and outrage our Parents. His Quartering his
+Malefactors thus critically, was without question on purpose to Banter the
+perswasion of future Punishment. In the same _Play_ _Xanthias_ bids _Æacus_
+answer him by _Jove_, [Greek: Hos hêmin estin homomastigias]. This little
+Scoundrel of a Slave has the Manners to make _Jupiters_ Quality no better
+than his own. To go on with him: In his _Aves_ he speaks out to purpose.
+Here _Pisthetærus_ tells _Epops_ that if the _Birds_ would build a Castle
+in the Air, they might intercept the Fumes of the Sacrifices, and starve
+the Gods unless they would come too, and be Tributary. It seems the _Birds_
+had very good Pretences to execute this project; for they were ancienter
+than _Jupiter_ and _Saturn_,  and Govern'd before the Gods. And to speak
+truth were more capable of the Function. Their Adviser goes on to inform
+them,[76]  that after they had built their pensile City, and fortifyed the
+Air, their next business was to demand their ancient Soveragnity: If
+_Jupiter_ refused to quit, they were to declare a Holy War against Him, and
+the rest of the Confederate Gods, and to cut off the Communication between
+Heaven and Earth. _Pisthæterus_[77] grows very warm in his new Interest,
+and swears by _Jove_ that Men ought to Sacrifice to the _Birds_, and not to
+_Jupiter_. And if things came to a Rupture, and _Jupiter_ grew Troublesome,
+he undertakes[78] to send a Detachement of Eagles against Him; with Orders
+to storm his Palace with Flambeaux, and fire it about his Ears. At last to
+prevent the Calamities of a War, _Hercules_ proposes an Accomodation,[79]
+and is willing _Jupiter_ should Resign. _Neptune_ calls him a Block-head
+for his pains, because he was Heir at _Law_, and after _Jupiters_ Decease
+was of Course to succeed in his Dominions: Once more, and I have done: In
+_Eirene_, _Trygæus_ speaks in a menacing way.[80] That unless _Jupiter_
+gave him Satisfaction in his business, he would inform against Him as a
+disaffected Person, and a betrayer of the Liberties of _Greece_.[81] I
+might add many other Instances, and some more Scandalous than any I have
+mentioned; But these are sufficient to shew the Authors Sentiment: And is
+it any wonder an Atheist should misbehave himself in point of Modesty? What
+can we expect less from those who laugh at the Being of a God, at the
+Doctrines of Providence, and the Distinctions of Good and Evil? A
+_Sceptick_ has no notion of Conscience, no Relish for Virtue, nor is under
+any Moral restraints from Hope or Fear. Such a one has nothing to do but to
+consult his Ease, and gratifie his Vanity, and fill his Pocket. But how
+these Ends are compassed, he has no squeamishness, or Scruples about it.
+'Tis true when the Methods of Lewdness will Take, they are generally most
+agreeable. This way suits their Talent, and screens their practise, and
+obliges their Malice. For nothing is a greater Eye-sore to these Men, then
+Virtue and Regularity. What a pleasure is it then to be admired for
+Mischeif, to be reveng'd on Religion, and to see Vice prosper and improve
+under our Hands! To return: Beside _Aristophanes_ Atheisme, I have a Second
+objection to his Authority, and that is want of Judgment. If we examine his
+_Plays_ we shall find his Characters improper, or ununiform; either wrong
+at first, or unsteady in the Right. For the purpose. In his _Nubes. A. 3.
+S. 3. p. 146. 150_. He puts dirty expressions in the Mouth of his Man of
+Probity, makes him declaim vitiously against Vice, and Corrects scurrility
+with Impudence; Now what can be more idle and senceless, than such Conduct
+as this? Epecially when this _Justus_ as he calls him had told them in the
+beginning of his speech, that People used to be well slash'd for such
+Fooling, when Government and Discipline were in their due Force. The
+_Chorus_ of his _Ranæ_ slides[82] into the same Inconsistency of Precept,
+and Practise. Farther, in the Progress of this _Play_; _Æschylus_ falls a
+rallying contrary to his Humour, and jests away his own Arguments at a very
+unseasonable Juncture, when he was disputing for no less prize than the
+Laureatship. This _Tragedian_ after he had play'd a little with the Story
+of _Bellerophon_,[83] goes on in the same strain; And charges _Euripides_
+that he had furnish'd all sorts of People with Sawciness and Prattle. The
+_Schools_ and _Academies_ were spoil'd by this means; So that the Boys were
+often whip'd, and the Boatswains drubb'd, for their Chattering.[84] These
+Comical Levities come with an ill Grace from _Æschylus_. His Character was
+quite different both in Reality, and in the _Play_ before us. He is all
+along represented as a Person of a serious Temper, of a reserv'd Loftiness,
+Cholerick, and tender of his Honour to an Excess, and almost in a rage at
+the Affront of a Rival, and being forc'd to enter the Lists with
+_Euripides_. The case standing thus, neither the Man, nor the Business,
+would admit of Drolling. Another Instance of his want of Conduct we have in
+his _Concionatores_. Here _Blepyrus_ and some others of his Legislative
+Assembly, talk at a very dirty insipid rate. The Lowest of the _Mob_, can
+hardly jest with less Wit, and more Lewdness. And to make their Discourse
+more remarkable; These douty Members were just going to the _House_, and
+had their Heads full of the Good of the Nation, when they entertain'd
+themselves thus decently[85]. And are these little Buffoons fit to consult
+_de Arduis Regni, &c._ to give Authority to Law, and Rules for publick
+Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and
+the Solemnity of their Office? To make his _Parliament-Men_ play the Fool
+thus egregiously, must needs have a great deal of Decorum, and State-Policy
+in the Contrivance; And is just as wise as if a _Painter_ should have Drawn
+them in the Habit of _Jack-Puddings_, and _Merry-Andrews_. But
+_Aristophanes_ has still higher Flights of Absurdity. He won't so much as
+spare the Gods but makes them act these little Parts of Clownishness and
+Infamy. _Bacchus_ and _Hercules_ in his _Ranæ_ are forced to talk Smut and
+rally like _Link-boys_, and do almost all the Tricks of _Bartholomew-Fair_.
+To mention something that will bear the quoting. _Bacchus_ enquires of
+_Hercules_ the readiest way to _Hades_, or the other World. He bids him
+either Hang, or Poyson himself, and he can't miss the Road. This is
+_Hercules's_ Humour to a Tittle! And represents him as much to the Life, as
+an _Ape_ would do the _Grand Signior_ at a publick Audience! This with a
+short Sentence or two of Lewdness,[86] is the hardest of _Hercules_ his
+Usage: And 'tis well he escaped so; for _Bacchus_ is treated much worse. He
+appears under the disadvantages of a Clownish Debauchee, and a Coward. And
+is terribly afraid of a _Spectre_.[87] When he comes before _Æacus_, this
+Judge is very rough with him; and tries his pretences to a Deity by
+Bastinado: _Bacchus_ howls in the drubbing and had almost spoil'd all.[88]
+Now do's this paultry Behaviour agree with the Heathen Theology, with the
+Common Opinion concerning _Bacchus_ and _Hercules_? Do's a _Blew-Cap_ and a
+_Ladle_, become the Sons of _Jupiter_ and the Objects of Religious Worship?
+Those who at the lowest, were counted the Conquerors of the World, and more
+than Men both by Birth and Enterprize? _Sophocles_ and _Euripides_ make
+these two Persons manage at a quite different rate of Decency. 'Tis no
+defence to say _Aristophanes_ wrot Comedy, and so was obliged to make his
+Scenes more diverting. This excuse I say is defective; for a Comedian ought
+to imitate Life and Probability, no less than a Tragedian. To Metomorphose
+_Characters_, and present Contradictions to Common Belief, is to write,
+_Farce_ instead of _Plays_. Such Comedians like _Thespis_ ought to have a
+travelling _Stage_, and take the Air with _Porcupines_ and _Dromedaryes_.
+If 'tis said that Gravity and greatness do's not suit the Complection and
+Entertainment of Comedy. To this I answer, that therefore the _Persons_
+should be chosen accordingly. They should have nothing in their known
+Humour, and Condition too Noble, and solemn for Trifling. 'Tis _Horaces_
+advice.
+
+  _Aut famam sequere, aut convenientia finge Scriptor._ De. Art. Poet.
+
+Let us remember that Operations always resemble the Nature from whence they
+flow. Great Persons should therefore have a correspondent Behaviour
+assign'd them. To make _Beings_ much Superior to the Biggest of Mankind,
+talk below the Least, is absurd and ridiculous. This _Aristophanes_ seems
+sensible of in his defence of _Æschylus_. Here _Euripides_ objects to
+_Æschylus_,[89] that he was too rumbling, noisy, and bombastick, over
+affecting that which _Horace_ calls
+
+  _Ampulla, & sesquipedalia Verba._
+
+To this _Æschylus_  Answers, that the Thoughts, and Designs of _Heroes_
+must be deliver'd in Expressions proportioned to their Greatness. It being
+likely that the Demi-Gods spoke up to their Dignity and Stature: And as
+they were distinguish'd by the richness of their Habit, so they had a more
+Magnificent Language than other Mortals. To this _Euripides_ replys
+nothing; from whence you may conclude the _Poet_ thought the Apology not
+unreasonable. In short _Aristophanes_ had Sense but he does not always use
+it. He is not equal, and uniforme. Sometimes you have him flat and foolish
+a good while together. And where he has Spirit, 'tis oftentimes lavished
+away to little purpose.[90] His Buffoonery is commonly too strong for his
+Judgment. This makes him let fly his jests without regard to Person or
+occasion: And thus by Springing the _Game_ too soon, the Diversion is lost.
+I could make several other Material Objections against the Conduct of his
+_Plays_; But this being not necessary I shall observe in the
+
+_3d._ Place. That notwithstanding the scandalous Liberty for which
+_Aristophanes_ is so remarkable; yet in his Lucid Intervalls, when Sence
+and Sobriety return upon him, he pronounces against his own Practise. In
+the contest between _Æschylus_ and _Euripides_, _Bacchus_ is made the
+Umpire of the Controversie. _Æschylus_ begins with a Question,[91] and asks
+_Euripides_ what 'tis which makes a _Poet_ admired? He answers. 'Tis for
+the address of his Conduct, and the handsome Turns of Morality in his
+Poems. 'Tis because his performance has a tendency to form the Audience to
+Virtue, and Improvement, _Æschylus_ demands of him farther; But suppose you
+debauched the Age, and made an Honest and a brave People Lewd, and good for
+nothing, what do you deserve then? Here _Bacchus_ interposes, and crys out,
+what does he deserve? A Halter! pray don't ask so plain a question. And
+afterwards we are told, that _Poets_ are valuable only for describing
+Things useful, in Life and Religion, for polishing Inventions, and setting
+off great Examples with Lustre, and Advantage.[92] In the progress of the
+Dispute, _Æschylus_ taxes _Euripides_ with being too uncautious in his
+Representations; And tells him that Poets ought to conceal that which is
+vicious in Story; And entertain with nothing but Virtue, and Sobriety: He
+goes on reprimanding _Euripides_ for his Dramatick incests, Strumpets, and
+Amours: And as for himself, to his best remembrance, He never brought any
+Love-Intrigues upon the Stage.[93]
+
+This is very significant expostulation: and contains very good Rules for
+the Trial of the _Muses_: But if the English _Stage_, should be obliged to
+this Test; _Aristophanes_ must set fire to it, and that with much more
+reason than to _Socrates_ his _School_. Now that _Æschylus_ spoke
+_Aristophanes_'s Sense is pretty plain: For first; As to the Business of
+Love, _Aristophanes_ always declines it; He never patches up a _Play_ with
+_Courtship_, and _Whining_, tho' he wrote nothing but _Comedy_. In the next
+place the _Chorus_ which is usually the _Poets_ Interpreter, speaks
+honourably of _Æschylus_ even to a Preference;[94] And at last Judge
+_Bacchus_ gives Sentence for him.
+
+Thus we see _Aristophanes_ Confutes his own Lewdness, and comes in Evidence
+against himself. This with the other two Exceptions I have made good
+against him, are sufficient to take off the Force of the _Precedent_, and
+make him an insignificant Authority.
+
+To what I have observ'd from the _Stage_ of the Antients, I could add the
+Authorities of _Aristotle_, and _Quintilian_, both extraordinary Persons,
+but I shall reserve their Testimony till Afterwards.
+
+To come Home, and near our own Times: The English Theatre from Queen
+_Elizabeth_ to King _Charles_ II. will afford us something not
+inconsiderable to our purpose.
+
+As for _Shakespear_, he is too guilty to make an Evidence: But I think he
+gains not much by his Misbehaviour; He has commonly _Plautus's Fate_, where
+there is most Smut, there is least Sense.
+
+_Ben. Johnson_ is much more reserv'd in his _Plays_, and declares plainly
+for Modesty in his _Discoveries_, some of his Words are these.
+
+A just Writer whom he calls a _True Artificer_, will avoid _Obscene_ and
+_Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is
+so too.[95] The excess of Feasts and Apparel, are the Notes of A Sick
+State, and the Wantonness of Language of a sick Mind_.[96] A little after
+he returns to the Argument, and applies his Reasoning more particularly to
+the Stage. _Poetry_, (says he) _and Picture, both behold Pleasure, and
+profit, as their common Object, but should abstain from all base Pleasures,
+least they should wholly Err from their End; And while they seek to better
+Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and
+Jests upon the best Men, are most likely to excite Laughter. But this is
+truly leaping from the Stage to the Tumbrill again, reducing all Wit to the
+Original Dung-Cart_.[97] More might be cited to this purpose, but that may
+serve for an other Occasion: In the mean time I shall go on to _Beaumont_
+and _Fletcher_.
+
+_Fletchers Faithfull Shepheardess_ is remarkably Moral, and a sort of
+Exhortation to Chastity. This _Play_ met with ill Judges, 'twas Hiss'd
+before half _Acted_, and seems to have suffer'd on the account of its
+Innocence.[98] Soon after _Ben. Johnson_ and _Beaumont_ appear and justifie
+the Author in a Copy of Verses. And as _Beaumont_ commends Modesty in
+_Fletcher_, so he is commended himself by Mr. _Earl_ for the same
+Quality.[99]
+
+  _Such Passions, Such Expressions meet my Eye,
+  Such Wit untainted with Obscenity._
+
+And as I remember _Jasper Main_ has some stroaks to the same purpose.[100]
+_Fletcher_ is still more full for the Cause. Indeed nothing can be more
+express. He delivers himself by way of _Prologue_; where the _Poet_ speaks
+in his own Person. The _Prologue_ to the _Woman-Hater_, very frankly lets
+the Audience know what they are to expect. _If there be any amongst you,
+(says he) that come to hear Lascivious Scenes, let them depart; For I do
+pronounce this, to the utter discomfort of all two-penny Gallery Men, you
+shall no Bawdry in it._ We find in those days Smut was the expectation of a
+Coarse Palate, and relish'd by none but two-penny Customers. In the
+_Knight_ of the _Burning Pestle_, part of the _Prologue_ runs thus. _They
+were banish'd the Theatre at_ Athens, _and from_ Rome _hiss'd, that brought
+Parasites on the Stage with Apish Actions, or Fools with uncivil Habits, or
+Courtezans with immodest words_. Afterwards _Prologue_, who represents a
+Person, gives us more to the same purpose.
+
+  ----_Fly far from hence.
+  All private taxes, immodest phrases,
+  Whatever way but look like Vitious.
+  For wicked mirth, never true Pleasure brings;
+  For honest Minds, are pleas'd with honest things._
+
+I have quoted nothing but Comedy in this Author. The _Coronation_ is
+another. And the _Prologue_ tells you there is
+
+  _No Undermirth such as does lard the Scene,
+  For Coarse Delight, the Language here is clean.
+  And confident our Poet bad me say,
+  He'll bate you but the Folly of a Play.
+  For which altho' dull Souls his Pen despise;
+  Who think it yet too early to be wise.
+  The Nobles yet will thank his Muse, at least
+  Excuse him, cause his Thought aim'd at the Best._
+
+Thus these _Poets_ are in their Judgments clearly ours. 'Tis true their
+Hand was not always steady. But thus much may be aver'd, that _Fletcher's_
+later _Plays_ are the most inoffensive. This is either a sign of the
+_Poets_ Reformation; or that the exceptionable Passages belonged to
+_Beaumont_, who dyed first.
+
+To these Authorities of our own Nation, I shall add a considerable
+Testimony out of Mr. _Corneille_. This Author was sensible that tho' the
+Expression of his _Theodore_ was altogether unsmutty,[101] 'Yet the bare
+Idea of Prostitution uneffected, shock'd the Audience, and made the Play
+miscarry. The _Poet_ protests he took great care to alter the natural
+Complexion of the Image, and to convey it decently to the Fancy; and
+delivered only some part of the History as inoffensively as possible. And
+after all his Screening and Conduct, the Modesty of the Audience would not
+endure that little, the Subject forced him upon. He is positive 'the
+Comedies St. _Augustine_ declaim'd against, were not such as the _French_.
+For theirs are not spectacles of Turpitude, as that Father justly calls
+those of his Time. The _French_ generally speaking, containing nothing but
+examples of Innocence, Piety and Virtue.'
+
+In this Citation we have the Opinion of the _Poet_, the Practise of the
+_French_ Theatre, and the Sense of that _Nation_, and all very full to our
+purpose.
+
+To conclude this _Chapter_. By what has been offer'd, it appears that the
+_Present English Stage_ is superlatively Scandalous. It exceeds the
+Liberties of all Times and Countries: It has not so much as the poor plea
+of a _Precedent_, to which most other ill Things may claim a pretence. 'Tis
+mostly meer Discovery and Invention: A new World of Vice found out, and
+planted with all the Industry imaginable. _Aristophanes_ himself, how bad
+soever in other respects, does not amplyfie, and flourish, and run through
+all the Topicks of Lewdness like these Men. The _Miscellany Poems_ are
+likewise horribly Licentious. They are sometimes Collections from
+Antiquity, and often, the worst parts of the worst _Poets_. And to mend the
+Matter, the Christian _Translation_, is more nauseous than the _Pagan_
+Original. Such stuff I believe was never seen, and suffer'd before. In a
+word, If Poverty and Diseases, the Dishonour of Families, and the
+Debauching of Kingdoms, are such valuable Advantages, then I confess these
+Books deserve encouragement. But if the Case is otherwise, I humbly
+conceive the Proceeding should be so too.
+
+
+
+
+CHAP. II.
+
+_The Profaness of the_ Stage.
+
+
+An other Instance of the Disorders of the _Stage_ is their _Profaness_:
+This Charge may come under these two particulars.
+
+  _1st. Their Cursing and Swearing._
+  _2dly. Their Abuse of Religion and Holy Scripture._
+
+_1st Their Cursing and Swearing._
+
+What is more frequent then their wishes of Hell, and Confusion, Devils, and
+Diseases, all the Plagues of this World, and the next, to each other? And
+as for Swearing; 'tis used by all Persons, and upon all Occasions: By
+Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels,
+Success, and Disappointment, Temper, and Passion, must be varnish'd, and
+set off with _Oaths_. At some times, and with some _Poets_ Swearing is no
+ordinary Releif. It stands up in the room of Sense, gives Spirit to a flat
+Expression, and makes a Period Musical and Round. In short, 'tis almost all
+the Rhetorick, and Reason some People are Masters of: The manner of
+performance is different. Some times they mince the matter; change the
+Letter, and keep the Sense,[102] as if they had a mind to steal a Swearing,
+and break the Commandement without Sin. At another time the Oaths are
+clipt, but not so much within the Ring, but that the _Image and
+Superscription_ are visible. These expedients, I conceive are more for
+variety, then Conscience: For when the fit comes on them, they make no
+difficulty of Swearing at Length. Instances of all these kinds may be met
+with in the _Old Batchelour_, _Double Dealer_, and _Love for Love_. And to
+mention no more, _Don Quixot_, the _Provok'd Wife_, and the _Relapse_, are
+particularly rampant and scandalous. The _English Stage_ exceed their
+predecessors in this, as well as other Branches of immorality. _Shakespear_
+is comparatively sober, _Ben Jonson_ is still more regular; And as for
+_Beaument_ and _Fletcher_, In their _Plays_ they are commonly Profligate
+Persons that Swear, and even those are reprov'd for't. Besides, the Oaths
+are not so full of Hell and Defiance, as in the Moderns.
+
+So much for matter of Fact: And as for point of Law, I hope there needs not
+many words to prove Swearing a Sin: For what is more provoking than
+contempt, and what Sin more contemptuous than common Swearing? what can be
+more Insolent and Irreligious, than to bring in God to attest our Trifles,
+to give Security for our Follies, and to make part of our Diversion? To
+Play with Majesty and Omnipotence in this manner, is to render it cheap and
+despicable. How can such Customes as these consist with the belief of
+Providence or Revelation? The _Poets_ are of all People most to blame. They
+want even the Plea of _Bullies_ and _Sharpers_. There's no Rencounters, no
+starts of Passion, no suddain Accidents to discompose them. They swear in
+Solitude and cool Blood, under Thought and Deliberation, for Business, and
+for Exercise: This is a terrible Circumstance; It makes all _Malice
+Prepence_, and enflames the Guilt, and the Reckoning.
+
+And if Religion signifies nothing, (as I am afraid it does with some
+People) there is Law, as well as Gospel against _Swearing_.  _3d Jac. 1
+cap. 21._ is expresly against the _Playhouse_. It runs thus.
+
+  For the preventing and avoiding of the great abuse of the holy Name of
+  God, in Stage Plays, Enterludes &c. Be it enacted by our Sovereign Lord
+  &c. That if at any time, or times, after the End of this present Session
+  of Parliament; any Person or Persons do, or shall in any Stage Play,
+  Enterlude, Show, &c. Jeastingly or Profanly, speak or use the Holy Name
+  of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity,
+  which are not to be spoken, but with Fear and Reverence; shall forfeit
+  for every such offence, by him or them committed, ten pounds: The one
+  Moity thereof to the King's Majesty, his Heirs; and Successors, the other
+  Moity thereof to him, or them, that will sue for the same in any Court of
+  Record at Westminster, wherein no essoin, protection, or wager of Law
+  shall be allow'd.
+
+By this _Act_ not only direct Swearing, but all vain Invocation of the Name
+of God is forbidden. This _Statute_ well executed would mend the _Poets_,
+or sweep the _Box_: And the _Stage_ must either reform, or not thrive upon
+Profaness.
+
+_3dly_ Swearing in the _Playhouse_ is an ungentlemanly, as well as an
+unchristian Practice. The _Ladies_ make a considerable part of the
+_Audience_. Now Swearing before Women is reckon'd a Breach of good
+Behaviour, and therefore a civil Atheist will forbear it. The custom seems
+to go upon this Presumption; that the Impressions of Religion are strongest
+in Women, and more generally spread. And that it must be very disagreeable
+to them, to hear the Majesty of God treated with so little respect.
+Besides: Oaths are a boistrous and tempestuous sort of Conversation;
+Generally the effects of Passion, and spoken with Noise, and Heat. Swearing
+looks like the beginning of a Quarrel, to which Women have an aversion: As
+being neither armed by Nature, nor disciplin'd by Custome for such rough
+Disputes. A Woman will start at a Soldiers Oath, almost as much as at the
+Report of his Pistol: And therefore a well Bred Man will no more Swear,
+than Fight in the Company of Ladies.
+
+A _Second_ Branch of the Profaness of the _Stage_ is their Abuse of
+Religion, and _Holy Scripture_. And here sometimes they don't stop short of
+Blasphemy. To cite all that might be Collected of this kind would be
+tedious. I shall give the _Reader_ enough to justifie the Charge, and I
+hope to abhor the Practice.
+
+To begin with the _Mock-Astrologer_. In the First _Act_ the _Scene_ is a
+_Chappel_; And that the Use of such Consecrated places may be the better
+understood, the time is taken up in Courtship, Raillery, and ridiculing
+Devotion. _Jacinta_ takes her turn among the rest. She Interrupts
+_Theodosia_, and cries out: _why Sister, Sister----will you pray? what
+injury have I ever done you that you should pray in my Company?_
+
+_Wildblood_ Swears by _Mahomet_, rallies smuttily upon the other World, and
+gives the preference to the Turkish Paradise[103]! This Gentleman to
+incourage _Jacinta_ to a Complyance in Debauchery, tells her _Heaven is all
+Eyes and no Tongue._[104] That is, it sees Wickedness but conceals it. He
+Courts much at the same rate a little before. _When a Man comes to a great
+Lady, he is fain to approach her with Fear, and Reverence, methinks there's
+something of Godliness in't_.[105] Here you have the Scripture burlesqu'd,
+and the Pulpit Admonition apply'd to Whoring.[106] Afterwards _Jacinta_ out
+of her great Breeding and Christianity, swears by _Alla_, and _Mahomet_,
+and makes a Jest upon Hell.[107] _Wildblood_ tells his Man that _such
+undesigning Rogues as he, make a Drudge of poor Providence_. And _Maskall_
+to show his proficiency under his Masters, replies to _Bellamy_, who would
+have had him told a Lie.[108] _Sir upon the Faith of a Sinner you have had
+my last Lie already. I have not one more to do me Credit, as I hope to be
+saved Sir._
+
+In the close of the _Play_, They make sport with Apparitions and Fiends.
+One of the Devils sneezes, upon this they give him the Blessing of the
+Occasion, and conclude _he has got cold by being too long out of the
+Fire_.[109]
+
+The _Orphan_ lays the Scene in Christendom, and takes the same care of
+Religion. _Castalio_ Complements his Mistress to Adoration.
+
+  _No Tongue my Pleasure and my Pain can tell:
+  'Tis Heaven to have thee, and without thee Hell._ [110]
+
+_Polydor_ when upon the attempt to debauch _Monimia_, puts up this
+ejaculation.
+
+  _Blessed Heaven assist me but in this dear Hour_: [111]
+
+Thus the _Stage_ worships the true God in Blasphemy, as the _Lindians_ did
+_Hercules_ by Cursing and throwing stones.[112] This _Polydor_ has another
+Flight of Profaness, but that has got a certain _Protection_, and therefore
+must not be disturb'd.
+
+In the _Old Batchelour_, _Vain-love_ asks _Belmour_, _could you be content
+to go to Heaven_?
+
+_Bell. Hum, not immediatly in my Conscence, not heartily._[113]----This is
+playing I take it with Edge-Tools. To go to Heaven in jeast, is the way to
+go to Hell in earnest. In the Fourth _Act_, Lewdness is represented with
+that Gaity, as if the Crime was purely imaginary, and lay only in ignorance
+and preciseness. _Have you throughly consider'd (says Fondlewife) how
+detestable, how Heinous, and how crying a Sin the Sin of Adultery is? have
+you weighed I say? For it is a very weighty Sin: and, altho' it may
+lie----yet thy Husband must also bear his part; For thy iniquity will fall
+on his Head_.[114] I suppose this fit of Buffoonry and profaness, was to
+settle the Conscience of young Beginners, and to make the Terrors of
+Religion insignificant. _Bellmour_ desires _Lætitia to give him leave to
+swear by her Eyes and her Lips_: He kisses the Strumpet, and tells her,
+_Eternity was in that Moment_.[115] _Lætitia_ is horibly profane in her
+Apology to her Husband; but having the _Stage-Protection_ of Smut for her
+Guard, we must let her alone.[116] _Fondlewife_ stalks under the same
+shelter, and abuses a plain Text of Scripture to an impudent Meaning.[117]
+A little before, _Lætitia_ when her Intrigue with _Bellmour_ was almost
+discover'd, supports her self with this Consideration. _All my comfort lies
+in his impudence, and Heaven be prais'd, he has a Considerable
+Portion_.[118] This is the _Play-house_ Grace, and thus Lewdness is made a
+part of Devotion! Ther's another Instance still behind: 'Tis that of
+_Sharper_ to _Vain-Love_, and lies thus.
+
+_I have been a kind of God Father to you, yonder: I have promis'd and vow'd
+something in your Name, which I think you are bound to Perform_.[119] For
+Christians to droll upon their Baptism is somewhat extraordinary; But since
+the _Bible_ can't escape, 'tis the less wonder to make bold with the
+_Catechisme_.
+
+In the _Double Dealer_, Lady _Plyant_ cries out _Jesu_ and talks Smut in
+the same Sentence.[120] Sr. _Paul Plyant_ whom the Poet dub'd a Fool when
+he made him a Knight, talks very Piously! _Blessed be Providence, a Poor
+unworthy Sinner, I am mightily beholden to Providence_[121]: And the same
+word is thrice repeated upon an odd occasion.[122] The meaning must be that
+_Providence_ is a ridiculous supposition, and that none but Blockheads
+pretend to Religion. But the Poet can discover himself farther if need be.
+Lady _Froth_ is pleas'd to call _Jehu_ _a Hackney Coachman_.[123] Upon
+this, _Brisk_ replies, _If Jehu was a Hackney Coachman, I am
+answer'd----you may put that into the Marginal Notes tho', to prevent
+Criticisms----only mark it with a small Asterisme and say----Jehu was
+formerly a Hackney Coachman._ This for a heavy Piece of Profaness, is no
+doubt thought a lucky one, because it burlesques the Text, and the Comment,
+all under one. I could go on with the _Double Dealer_ but he'll come in my
+way afterwards, and so I shall part with him at present. Let us now take a
+veiw of _Don Sebastian_. And here the _Reader_ can't be long unfurnish'd.
+_Dorax_ shall speak first.
+
+    _Shall I trust Heaven
+  With my revenge? then where's my satisfaction?
+  No, it must be my own, I scorn a Proxy._[124]
+
+But _Dorax_ was a Renegado, what then? He had renounc'd Christianity, but
+not Providence. Besides; such hideous Sentences ought not to be put in the
+Mouth of the Devil. For that which is not fit to be heard, is not fit to be
+spoken. But to some people an Atheistical Rant is as good as a Flourish of
+Trumpets. To proceed. _Antonio_ tho' a profess'd Christian, mends the
+matter very little. He is looking on a Lot which he had drawn for his Life:
+This proving unlucky, after the preamble of a Curse or two, he calls it,
+
+  _As black as Hell, an other lucky saying!
+  I think the Devils in me:----good again,
+  I cannot speak one syllable but tends
+  To Death or to Damnation._[125]
+
+Thus the Poet prepares his Bullies for the other World! Hell and Damnation
+are strange entertaining words upon the _Stage_! Were it otherwise, the
+Sense in these Lines, would be almost as bad as the Conscience. The _Poem_
+warms and rises in the working: And the next Flight is extreamly
+remarkable:
+
+  _Not the last sounding could surprize me more,
+  That summons drowsy Mortals to their doom,
+  When call'd in hast they fumble for their Limbs:_[126]
+
+Very Solemnly and Religiously express'd! _Lucian_ and _Celsus_ could not
+have ridiculed the Resurrection better! Certainly the Poet never expects to
+be there. Such a light Turn would have agreed much better to a Man who was
+in the Dark, and was feeling for his Stockings. But let those who talk of
+_Fumbling_ for their Limbs, take care they don't find them too fast. In the
+Fourth _Act_ _Mustapha_ dates his _Exaltation to Tumult_, _from the second
+Night of the Month_ Abib.[127] Thus you have the Holy Text abused by
+Captain _Tom_; And the Bible torn by the Rabble! The Design of this Liberty
+I can't understand, unless it be to make _Mustapha_ as considerable as
+_Moses_; and the prevalence of a Tumult, as much a Miracle as the
+Deliverance out of _Ægypt_. We have heard this Author hitherto in his
+_Characters_, let us hear him now in his own Person. In his _Dedication of
+Aurenge Zebe_ he is so hardy as to affirm that _he who is too lightly
+reconciled after high Provocation, may Recommend himself to the World for a
+Christian, but I should hardly trust him for a Friend_. And why is a
+Christian not fit to make a Friend of? Are the Principles of Christianity
+defective, and the Laws of it Ill contriv'd? Are the Interests and
+Capacities of Mankind overlook'd? Did our Great Master bind us to
+Disadvantage, and make our Duty our Misfortune? And did he grudge us all
+the Pleasures and Securities of Friendship? Are not all these horrid
+Suppositions? Are they not a flat Contradiction to the _Bible_, and a Satyr
+on the Attributes of the Deity? Our Saviour tells us we must _forgive until
+Seventy times Seven_; That is, we must never be tired out of Clemency and
+Good Nature. He has taught us to pray for the Forgiveness of our own Sins,
+only upon the Condition of forgiving others. Here is no exception upon the
+Repetition of the Fault, or the Quality of the Provocation. Mr. _Dryden_ to
+do him right, do's not dispute the Precept. He confesses this is the way to
+be a Christian: But for all that he _should hardly trust him for a Friend_.
+And why so? Because the Italian Proverb says, _He that forgives the second
+time is a Fool._[128] This Lewd Proverb comes in for Authority, and is a
+piece of very pertinent Blasphemy! Thus in some Peoples _Logick_ one proof
+from Atheism, is worth Ten from the _New Testament_. But here the _Poet_
+argues no better than he Believes. For most certainly, a Christian of all
+others is best qualified for Friendship. For He that loves his Neighbour as
+himself, and carries Benevolence and Good Nature beyond the Heights of
+Philosophy: He that is not govern'd by Vanity, or Design; He that prefers
+his Conscience to his Life, and has Courage to Maintain his Reason; He that
+is thus qualified must be a good Friend; And he that falls short, is no
+good Christian. And since the _Poet_ is pleas'd to find fault with
+Christianity, let us examine his own Scheme. _Our Minds (says he) are
+perpetually wrought on by the Temperament of our Bodies, which makes me
+suspect they are nearer Allyed than either our Philosophers, or School
+Divines will allow them to be._[129] The meaning is, he suspects our Souls
+are nothing but Organiz'd Matter. Or in plain English, our _Souls_ are
+nothing but our Bodies. And then when the Body dies you may guess what
+becomes of them! Thus the Authorities of Religion are weaken'd, and the
+prospect of the other World almost shut up. And is this a likely
+Supposition for Sincerity and good Nature? Do's Honour use to rise upon the
+Ruines of Conscience? And are People the best Friends where they have the
+least Reason to be so? But not only the Inclinations to Friendship must
+Languish upon this Scheme, but the very Powers of it are as it were
+destroy'd. By this Systeme no Man can say his Soul is his own. He can't be
+assured the same Colours of Reason and Desire will last. Any little
+Accident from _without_ may metamorphose his Fancy, and push him upon a new
+set of Thoughts. _Matter_ and _Motion_ are the most Humorsom Capricious
+Things in Nature; and withall, the most Arbitrary and uncontroll'd. And can
+Constancy proceed from Chance, Choice from Fate, and Virtue from Necessity?
+In short a Man at this rate must be a Friend or an Enemy in spite of his
+Teeth, and just as long as the _Atoms_ please and no longer. Every Change
+in _Figure_ and _Impulse_, must alter the Idea, and wear off the former
+Impression. So that by these Principles, Friendship will depend on the
+_Seasons_, and we must look in the _Weather Glass_ for our Inclinations.
+But this 'tis to Refine upon Revelation, and grow wiser than Wisdom! The
+same Author in his Dedication of _Juvenal_ and _Persius_, has these words:
+_My Lord, I am come to the last Petition of_ Abraham;[130] _If there be ten
+Righteous Lines in this vast Preface, spare it for their sake; and also
+spare the next City because it is but a little one_. Here the Poet stands
+for _Abraham_; and the Patron for God Almighty: And where lies the Wit of
+all this? In the Decency of the Comparison? I doubt not. And for the _next
+City_ he would have spared, he is out in the Allusion. 'Tis no _Zoar_, but
+much rather _Sodom_ and _Gomorrah_, Let them take care the Fire and
+Brimstone does not follow: And that those who are so bold with _Abraham_'s
+Petition, are not forced to that of _Dives_. To beg Protection for a Lewd
+Book in _Scripture Phrase_, is very extraordinary! 'Tis in effect to
+Prostitute the Holy Rhetorick, and send the _Bible_ to the _Brothell_! I
+can hardly imagin why these Tombs of Antiquity were raked in, and
+disturb'd? Unless it were to conjure up a departed Vice, and revive the
+Pagan Impurities: Unless it were to raise the Stench of the Vault, and
+Poyson the Living with the Dead. Indeed _Juvenal_ has a very untoward way
+with him in some of his Satyrs. His Pen has such a Libertine stroak that
+'tis a Question whether the Practise, or the Reproof, the Age, or the
+Author, were the more Licentious. He teaches those Vices he would correct,
+and writes more like a Pimp, than a _Poet_. And truly I think there is but
+little of Lewdness lost in the _Translation_. The Sixth and Eleventh
+_Satyrs_ are Particularly remarkable. Such nauseous stuff is almost enough
+to debauch the _Alphabet_, and make the Language scandalous. One would
+almost be sorry for the privilege of _Speech_, and the Invention of
+_Letters_, to see them thus wretchedly abused. And since the Business must
+be undertaken, why was not the Thought Blanched, the Expression made
+remote, and the ill Features cast into shadows? I'm mistaken if we have not
+Lewdness enough of our own Growth, without Importing from our Neighbours.
+No. This can't be. An Author must have Right done him, and be shown in his
+own shape, and Complexion. Yes by all means! Vice must be disrobed, and
+People poyson'd, and all for the sake of Justice! To do Right to such an
+Author is to burn him. I hope Modesty is much better than Resemblance. The
+Imitation of an ill Thing is the worse for being exact: And sometimes to
+report a Fault is to repeat it.
+
+To return to his _Plays_. In _Love Triumphant_, _Garcia_ makes _Veramond_
+this Compliment:
+
+  _May Heaven and your brave Son, and above all,
+  Your own prevailing Genius guard your Age._[131]
+
+What is meant by his Genius, in this place, is not easy to Discover, only
+that 'tis something which is a better Guard than Heaven. But 'tis no Matter
+for the Sense, as long as the Profaness is clear. In this _Act_, Colonel
+_Sancho_ lets _Carlos_ know the old Jew is dead, which he calls good news.
+
+Carl. _What Jew?_
+
+Sanch. _Why the rich Jew my Father. He is gone to the Bosom, of_ Abraham
+_his Father, and I his Christian Son am left sole Heir_.[132] A very
+mannerly Story! But why does the Poet acquaint us with _Sanchos_ Religion?
+The case is pretty plain: 'tis to give a lustre to his Profaness, and make
+him burlesque St. _Luke_ with the better Grace. _Alphonso_ complains to
+_Victoria_ that _Nature doats with Age_.[133] His reason is, because
+Brother and Sister can't Marry as they did at first: 'Tis very well! We
+know what _Nature_ means in the Language of Christianity, and especially
+under the Notion of a Law-giver. _Alphonso_ goes on, and compares the
+Possession of Incestuous Love to Heaven. Yes, 'tis _Eternity in
+Little_.[134]
+
+It seems Lovers must be distracted or there's no diversion. A Flight of
+Madness like a Faulcons _Lessening_, makes them the more gaz'd at! I am now
+coming to some of the Poets Divinity. And here _Vengeance is said to be so
+sweet a Morsel_,
+
+  _That Heaven reserves it for its proper Tast._[135]
+
+This belike is the meaning of those Texts, _that God is good and Gracious,
+and slow to anger, and does not willingly afflict the Children of Men_!
+From expounding the Bible he goes to the _Common Prayer_. And as _Carlos_
+interprets the _Office_ of _Matrimony_, For Better, for Worse, is _for
+Virgin for Whore_;[136] And that the Reference might not be mistaken, the
+Poet is careful to put the Words in _Italick_, and great Letters. And by
+the way, He falls under the _Penalty_ of the Statute for Depraving the
+_Common Prayer_.[137]
+
+_Sancho_ upon reading a Letter which he did not like, cries _Damn it, it
+must be all Orthodox_.[138] _Damn_ and _Orthodox_ clapt together, make a
+lively Rant, because it looks like Cursing the _Creeds_. The most
+extraordinary passage is behind; _Sancho_ was unhappily Married: _Carlos
+tells him, For your Comfort, Marriage they say is Holy. Sancho_ replies:
+_Ay, and so is Martyrdom as they say, but both of them are good for just
+nothing, but to make an end of a Mans Life_.[139] I shall make no
+Reflections upon This: There needs no Reading upon a Monster: 'Tis shown
+enough by its own Deformity. _Love for Love_ has a Strain like this, and
+therefore I shall put them together: _Scandal_ solicits Mrs. _Foresight_;
+She threatens to tell her Husband. He replys, _He will die a Martyr rather
+then disclaim his Passion_.[140] Here we have Adultery dignified with the
+stile of Martyrdom: As if 'twas as Honourable to perish in Defence of
+Whoring, as to dye for the Faith of Christianity. But these _Martyrs_ will
+be a great while in burning, And therefore let no body strive to grace the
+Adventure, or encrease the Number. And now I am in this _Play_ the Reader
+shall have more. _Jeremy_ who was bred at the University, calls the Natural
+Inclinations to Eating and Drinking, _Whoreson Appetites_. This is strange
+Language! The _Manicheans_ who made Creation the work of the Devil, could
+scarcely have been thus Coarse.[141] But the _Poet_ was _Jeremy's_ Tutor,
+and so that Mystery is at an end. Sr. _Samson_ carries on the
+Expostulation, rails at the Structure of Human Bodies, and says,[142]
+_Nature has been Provident only to Bears, and Spiders_; This is the Authors
+Paraphrase on the 139 _Psalm_; And thus he gives God thanks for the
+Advantage of his Being! The _Play_ advances from one wickedness to another,
+from the _Works_ of God, to the Abuse of his Word. Foresight _confesses
+'tis Natural for Men to mistake_.[143] Scandal _replies, You say true, Man
+will err, meer Man will err----but you are something more----There have
+been wise Men; but they were such as you----Men who consulted the Stars,
+and, were observers of Omens_----Solomon _was wise but how?----by his
+judgment in Astrology._ 'Tis very well! _Solomon_ and _Foresight_ had their
+Understandings qualified alike. And pray what was _Foresight_? Why an
+_Illiterate Fellow_. _A pretender to Dreams, Astrology, Palmistry_ &c. This
+is the _Poets_ account of _Solomon's_ Supernatural Knowledge![144] Thus the
+wisest Prince is dwindled into a Gypsie! And the Glorious Miracle resolved
+into Dotage, and Figure-flinging! _Scandal_ continues his Banter, and says,
+the _wise Men of the East owed their Instruction to a Star; which is
+rightly observ'd by_ Gregory _the Great in favour of Astrology_. This was
+the Star which shone at our Saviour's Birth. Now who could imagine by the
+Levity of the occasion, that the Author thought it any better than an
+_Ignis Fatuus_, or _Sydrophel's_ Kite in _Hudibras_? Sr. _Sampson_ and the
+fine _Angelica_, after some lewd raillery continue the Allegory, and drive
+it up into Profaness. For this reason the Citation must be imperfect.
+
+_Sr._ Samps. Sampson'_s a very good Name for----your_ Sampsons _were strong
+Dogs from the Beginning_.[145]
+
+Angel. _Have a care----If you remember the strongest_ Sampson _of your
+Name, pull'd an old House over his Head at last_. Here you have the Sacred
+History burlesqu'd, and _Sampson_ once more brought into the House of
+_Dagon_, to make sport for the _Philistines_! To draw towards an end of
+this _Play. Tattle_ would have carried off _Valentine_'s Mistress. This
+later, expresses his Resentment in a most Divine manner! Tattle _I thank
+you, you would have interposed between me and Heaven, but Providence has
+laid Purgatory in your way_.[146] Thus Heaven is debas'd into an Amour, and
+Providence brought in to direct the Paultry concerns of the _Stage!
+Angelica_ concludes much in the same strain: _Men are generally Hypocrites
+And Infidels, they pretend to Worship, but have neither Zeal, nor Faith;
+How few like_ Valentine _would persevere unto Martyrdom? &c._[147] Here you
+have the Language of the _Scriptures_, and the most solemn Instances of
+Religion, prostituted to Courtship and Romance! Here you have a Mistress
+made God Almighty, Ador'd with Zeal and Faith, and Worship'd up to
+Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady
+to say of her self. And had it not been for the profane Allusion, would
+have been cold enough in all Conscience.
+
+The _Provok'd Wife_ furnishes the Audience with a Drunken Atheistical
+Catch: 'Tis true this Song is afterwards said to be _Full of Sin and
+Impudence_.[148] But why then was it made? This Confession is a miserable
+_Salvo_; And the Antidote is much weaker than the Poyson: 'Tis just as if a
+Man should set a House in a Flame, and think to make amends by crying
+_Fire_ in the Streets. In the last _Act Rasor_ makes his Discovery of the
+Plot against _Belinda_ in _Scripture_ phrase. I'le give it the _Reader_ in
+the Authors Dialogue.
+
+Belind. _I must know who put you upon all this Mischief._[149]
+
+Rasor. _Sathan And his Equipage. Woman tempted me, Lust weaken'd,----And so
+the Devil overcame me: As fell_ Adam _so fell I_.
+
+Belind. _Then pray Mr._ Adam _will you make us acquainted with your_ Eve?
+
+_Rasor_ unmasks _Madamoselle_ and says, _This is the Woman that tempted me:
+But this is the Serpent_ (meaning Lady _Fanciful_) _that tempted the Woman;
+And if my Prayers might be heard, her punishment for so doing should be
+like the Serpents of old, &c._ This _Rasor_ in what we hear of him before,
+is all Roguery, and Debauch: But now he enters in _Sackcloth_; and talks
+like _Tribulation_ in the _Alchemist_. His Character is chang'd to make him
+the more profane; And his Habit, as well as Discourse, is a Jest upon
+Religion. I am forced to omit one Line of his Confession. The Design of it
+is to make the _Bible_ deliver an obscene Thought: And because the Text
+would not bend into a Lewd Application; He alters the words for his
+purpose, but passes it for Scripture still. This sort of Entertainment is
+frequent in the _Relapse_. Lord _Foplington_ laughs at the publick
+Solemnities of Religion, as if 'twas a ridiculous piece of Ignorance, to
+pretend to the Worship of a God. He discourses with _Berinthia_ and
+_Amanda_ in this manner[150]: _Why Faith Madam,----Sunday is a vile Day, I
+must confess. A man must have very little to do at Church that can give an
+account of the Sermon._ And a little after: _is to mind what one should not
+do. Lory_ tells young _Fashion, I have been in a lamentable Fright ever
+since that Conscience had the Impudence to intrude into your Company_. His
+Master makes him this Comfortable Answer. _Be at peace, it will come no
+more:----I have kick'd it down stairs._ A little before he breaks out into
+this Rapture. Now Conscience I defie thee![151] By the way we may observe,
+that this young _Fashion_ is the _Poets_ Favorite.[152] _Berinthia_ and
+_Worthy_, two _Characters_ of Figure, determine the point thus in defence
+of Pimping.
+
+Berinth. _Well, I would be glad to have no Bodies Sins to answer for but my
+own. But where there is a necessity_----[153]
+
+Worth. _Right as you say, where there is a Necessity; A Christian is bound
+to help his Neighbour._
+
+_Nurse_, after a great deal of Profane Stuff concludes her expostulation in
+these words: _But his Worship_ (_Young_ Fashion) _over-flows with his Mercy
+and his Bounty; He is not only pleas'd to forgive us our Sins----but which
+is more than all, has prevail'd with me to become the Wife of thy
+Bosom_:[154] This is very heavy, and ill dress'd. And an Atheist must be
+sharp set to relish it. The Vertuous _Amanda_, makes no scruple to charge
+the Bible with untruths.
+
+  --_What Slippery stuff are Men compos'd of?
+  Sure the Account of their Creation's false,
+  And 'twas the Womans Rib that they were form'd of._[155]
+
+Thus this Lady abuses her self, together with the Scripture, and shews her
+Sense, and her Religion, to be much of a Size.
+
+_Berinthia_, after she has given in a Scheme for the debauching _Amanda_,
+is thus accosted by _Worthy_: _Thou Angel of Light, let me fall down and,
+adore thee_![156] A most Seraphick Compliment to a Procuress! And 'tis
+possible some Angel or other, may thank him for't in due time.
+
+I am quite tired with these wretched Sentences. The sight indeed is
+horrible, and I am almost unwilling to shew it. However they shall be
+Produced like Malefactors, not for Pomp, but Execution. Snakes and Vipers,
+must sometimes be look'd on, to destroy them. I can't forbear expressing my
+self with some warmth under these Provocations. What Christian can be
+unconcern'd at such intolerable Abuses? What can be a juster Reason for
+indignation than Insolence and Atheism? Resentment can never be better
+shown, nor Aversion more seasonably exerted! Nature made the Ferment and
+Rising of the Blood, for such occasions as This. On what unhappy Times are
+we fallen! The Oracles of Truth, the Laws of Omnipotence, and the Fate of
+Eternity are Laught at and despis'd! That the _Poets_ should be suffer'd to
+play upon the _Bible_, and Christianity be Hooted off the _Stage_!
+Christianity that from such feeble beginings made so stupendious a
+progress! That over-bore all the Oppositions of Power, and Learning; and
+with Twelve poor Men, outstretch'd the Roman Empire. That this glorious
+Religion so reasonable in its Doctrine, so well attested by Miracles, by
+Martyrs, by all the Evidence that _Fact_ is capable of, should become the
+Diversion of the Town, and the Scorn of Buffoons! And where, and by whom is
+all this Out-rage committed? why not by _Julian_, or _Porphirie_, not among
+Turks or Heathens, but in a Christian Country, in a Reform'd Church, and in
+the Face of Authority! Well! I perceive the Devil was a Saint in his
+_Oracles_, to what he is in his _Plays_. His Blasphemies are as much
+improv'd as his Stile, and one would think the Muse was _Legion_! I suppose
+the _Reader_ may be satisfied already: But if he desires farther proof,
+there's something more flamingly impious behind.
+
+The Christian _Almeida_ when _Sebastian_ was in danger, Raves and Foames
+like one Possess'd,
+
+  _But is there Heaven, for I begin to doubt?[157]
+  Now take your swing ye impious Sin unpunish'd,
+  Eternal Providence seems over watch'd,
+  And with a slumbring Nod assents to Murther._
+
+In the next _page_, she bellows again much after the same manner. The
+_Double Dealer_ to say the least of him, follows his Master in this Road,
+_Passibus æquis_. Sr. _Paul Plyant_ one would think had done his part: But
+the ridiculing _Providence_ won't satisfie all People: And therefore the
+next attempt is somewhat bolder.
+
+_Sr._ Paul. _Hold your self contented my Lady_ Plyant,----_I find Passion
+coming upon me by Inspiration_.[158] In _Love Triumphant_, _Carlos_ is by
+the Constitution of the _Play_ a Christian;[159] and therefore must be
+construed in the sense of his Religion. This Man blunders out this horrible
+expression. _Nature has given me my Portion in Sense with a P---- to her.
+&c._ The _Reader_ may see the Hellish Syllable at Length if he pleases.
+This Curse is borrow'd for _Young Fashion_ in the _Relapse_.[160] The
+_Double Dealer_ is not yet exhausted. _Cynthia the Top Lady grows
+Thoughtful._ Upon the question she relates her Contemplation. Cynth. _I am
+thinking (says she) that tho' Marriage makes Man and Wife one Flesh, it
+leaves them two Fools._[161] This Jest is made upon a Text in
+_Genesis_,[162] and afterwards applyed by our Saviour to the case of
+Divorse. _Love for Love_ will give us a farther account of this Authors
+Proficiency in the _Scriptures_. Our Blessed Saviour affirms himself _to be
+the Way, the Truth, and the Light, that he came to bear witness to the
+Truth, and that his Word is Truth_. These expressions were remembred to
+good purpose. For _Valentine_ in his pretended Madness tells _Buckram_ the
+Lawyer; _I am Truth,----I am Truth----Who's that, that's out of his way, I
+am Truth, and can set him right._[163] Now a _Poet_ that had not been
+smitten with the pleasure of Blasphemy, would never have furnish'd Frensy
+with Inspiration; nor put our Saviours Words in the Mouth of a Madman.
+_Lady Brute_, after some struggle between Conscience and Lewdness, declares
+in Favour of the later. She says the _part of a downright Wife is to
+Cuckold her Husband_.[164] And tho' this is _against the strict Statute Law
+of Religion, yet if there was a Court of Chancery in Heaven, she should be
+sure to cast him_.[165]
+
+This Brass is double guilt. _First_, It supposes no Equity in Heaven. And
+_Secondly_, If there was, _Adultery_ would not be punish'd! The _Poet_
+afterwards acquaints us by this Lady, that Blasphemy is no Womans Sin.[166]
+Why then does she fall into it? Why in the mid'st of Temper and Reasoning?
+What makes him break in upon his own Rules? Is Blasphemy never unseasonable
+upon the Stage, And does it always bring its excuse along with it? The
+_Relapse_ goes on in the same strain. When Young _Fashion_ had a prospect
+of cheating his Elder Brother, he tells _Lory, Providence thou see'st at
+last takes care of Men of Merit.[167] Berinthia_ who has engag'd to corrupt
+_Amanda_ for _Worthy_; attacks her with this Speech, _Mr_. Worthy _used you
+like A Text, he took you all to peices_,[168] and it seems was particular
+in her Commendation, Thus she runs on for several Lines, in a Lewd, and
+Profane Allegory. In the Application she speaks out the Design, and
+concludes with this pious Exhortation! _Now consider what has been said,
+and Heaven give you Grace to put it in practise_; that is to play the
+Whore. There are few of these last Quotations, but what are plain
+Blasphemy, and within the _Law_. They look reeking as it were from
+_Pandæmonium_, and almost smell of Fire and Brimstone. This is an Eruption
+of Hell with a witness! I almost wonder the smoak of it has not darken'd
+the Sun, and turn'd the Air to Plague and Poyson! These are outrageous
+Provocations; Enough to arm all Nature in Revenge; To exhaust the
+Judgments, of Heaven, and sink the _Island_ in the Sea! What a spite have
+these Men to the God that made them. How do They Rebell upon his Bounty,
+and attack him with his own Reason? These Giants in Wickedness, how would
+they ravage with a Stature Proportionable? They that can Swagger in
+Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had
+Strength to their Good-Will? And what can be the Ground of this Confidence,
+and the Reason of such horrid Presumption? Why the _Scripture_ will best
+satisfie the question. _Because sentence against An Evil work is not
+excuted speedily, therefore the heart of the Sons of Men, is fully set in
+them to do Evil._[169]
+
+Clemency is weakness with some People; _And the Goodness of God which
+should lead them to Repentance, does but harden them the more_. They
+conclude he wants Power to punish, because he has patience to forbear.
+Because there is a Space between Blasphemy and Vengeance; and they don't
+perish in the Act of Defiance; Because they are not blasted with Lightning,
+transfixt with Thunder, and Guarded off with Devils, they think there's no
+such matter as a day of Reckoning. _But let no Man be Deceiv'd, God is not
+mock'd_;[170] not without danger they may be assur'd. Let them retreat in
+time, before the _Floods run over them_: Before they come to that place,
+where Madness will have no Musick, nor Blasphemy any Diversion.
+
+And here it may not be amiss to look a little into the Behaviour of the
+_Heathens_. Now 'tis no wonder to find them run riot upon this Subject. The
+Characters of their Gods were not unblemish'd. Their prospect of the other
+World, was but dim; neither were they under the Terrors of _Revelation_.
+However, they are few of them so bad as the _Moderns_.
+
+_Terence_ does not run often upon this rock. 'Tis true _Chærea_ falls into
+an ill Rapture after his Success.[171] _Chremes_ bids his Wife not tire the
+Gods with Thanks:[172] And _Æschinus_ is quite sick of the Religious part
+of the Weding.[173] These Instances; excepting his Swearing, are the most,
+(and I think near all the) exceptionable Passages of this _Author_.
+
+_Plautus_ is much more bold. But then his sally's are generally made by
+_Slaves_ and _Pandars_.
+
+This makes the Example less dangerous, and is some sort of extenuation. I
+grant this imperfect excuse wont serve him always. There are some Instances
+where his _Persons_ of better Figure are guilty of lewd Defences, Profane
+Flights, and Sawcy Expostulation.[174] But the _Roman_ Deities were
+_Beings_ of ill Fame, 'tis the less wonder therefore if the _Poets_ were
+familiar with them. However, _Plautus_ has something good in him, and
+enough to condemn the Practise. _Pleusides would gladly have had the Gods
+changed the method of Things, in some Particulars. He would have had frank
+good Humour'd People long live'd, and close-fisted Knaves die Young._ To
+this _Periplectimenes_ Gravely answers, _That 'tis great Ignorance, and
+Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of
+them_.[175] In his _Pseudolus_ the Procurer _Ballio_ talks Profanely. Upon
+which _Pseudolus_ makes this Reflection. _This Fellow makes nothing of
+Religion, how can we trust him in other matters? For the Gods whom all
+People have the greatest reason to fear, are most slighted by him._[176]
+
+The Greek Tragedians are more staunch, and write nearer the Scheme of
+Natural Religion. 'Tis true, they have some bold expressions: But then they
+generally reprove the Liberty, and punish the Men. _Prometheus_ in
+_Æschylus_ blusters with a great deal of Noise, and Stubborness.[177] He is
+not for changing Conditions with _Mercury_: And chuses rather to be
+miserable, than to submit even to _Jupiter_ himself. The _Chorus_ rebuke
+him for his Pride, and threaten him with greater Punishment. And the _Poet_
+to make all sure brings him to Execution before the end of the _Play_. He
+discharges Thunder and Lightning at his Head; shakes his Rock with an
+Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of
+Nature to make him an example. In his _Expedition against Thebes_,
+_Eteocles_ expects _Capaneus_ would be destroy'd for his Blasphemies.[178]
+Which happen'd accordingly. On the other hand; _Amphiaraus_ being a person
+of Virtue, and Piety, they are afraid least he should succeed. _For a
+Religious Enemy is almost invincible._[179] _Darius_'s Ghost lays
+_Xerxes_'s ruin upon the excess of his Ambition, _'Twas, because he made a
+Bridge over the_ Hellespont, _used_ Neptune _contumeliously, and, thought
+himself Superiour to Heaven._[180] This Ghost tells the _Chorus that the
+Persian Army miscarried for the out-rages they did to Religion, for
+breaking down the Altars, and plundering the Gods_.[181]
+
+_Ajax_'s Distraction is represented as judicial in _Sophocles_. 'Twas
+inflicted for his _Pride_ and _Atheism_.[182] 'When his Father bid him be
+brave but Religious withall, he haughtily replyed that 'twas, for Cowards
+to beg the Assistance of the Gods; as for his part, he hoped to Conquer
+without them. And when _Minerva_ encouraged him to charge the Enemy,
+
+  [Greek: To t' antiphônei deinon arrêton t' epos,]
+
+'He made her this Lewd and insufferable Answer. Pray withdraw, and give
+your Countenance elswhere, I want no Goddesses to help me do my Business.
+This Insolence made _Minerva_ hate him; and was the cause of his Madness
+and self Murther.' To proceed. The _Chorus_ condemns the Liberty of
+_Jocasta_, who obliquely charged a Practise upon the _Oracle_:[183] Tho'
+after all, she did not tax _Apollo_, but his Ministers.
+
+The same _Chorus_ recommends Piety, and Relyance upon the Gods, and
+threatens Pride and Irreligion with Destruction. In _Antigone_,[184]
+_Tiresias_ advises _Creon_ to wave the Rigour of his _Edict_, And not let
+the Body of _Polynices_ lie unburied, and expos'd. He tells him the Altars
+were already polluted with Humane Flesh. This had made the Language of the
+Birds unintelligible, and confounded the marks of _Augury_.[185] _Creon_
+replies in a rage, and says he would not consent to the Burial of
+_Polynices_: No, tho' 'twere to prevent the Eagle's throwing part of the
+Carkass in _Jove_'s _Chair_ of _State_. This was a bold Flight; but 'tis
+not long before he pays for't. Soon after, his Son, and Queen, kill
+themselves. And in the close the Poet who speaks in the _Chorus_, explains
+the Misfortune, and points upon the Cause, and affirms that _Creon_ was
+punish'd for his Haughtiness and Impiety. To go on to his _Trachiniæ_.
+_Hercules_ in all the extremity of his Torture does not fall foul upon
+Religion. 'Tis true, He shows as much Impatience as 'tis possible. His
+Person, his pain, and the Occasion of it, were very extraordinary. These
+circumstances make it somewhat natural for him to complain above the common
+rate. The Greatness of his Spirit, the Feavour of his Blood, and the Rage
+of his Passion, could hardly fail of putting Force, and Vehemence into his
+Expressions. Tho' to deal clearly he seems better furnish'd with Rhetorick,
+than true Fortitude.[186] But after all, his Disorders are not altogether
+ungovern'd. He is uneasy, but not impious, and profane.
+
+I grant _Hercules Oeteus_ in _Seneca_, swaggers at a strange Rhodomontading
+rate. But the Conduct of this Author is very indifferent. He makes a meer
+_Salamander_ of his _Hero_, and lets him declaim with too much of Length,
+Curiosity and Affectation, for one in his Condition: He harangues it with
+great plenty of Points, and Sentences in the Fire, and lies frying, and
+Philosophizing for near a hundred Lines together. In fine, this Play is so
+injudiciously manag'd, that _Heinsius_ is confident 'twas written by
+neither of the _Seneca's_, but by some later Author of a lower _Class_. To
+return to _Sophocle_'s _Trachiniæ_. _Hyllus_ reproaches the Gods with
+Neglect, because they gave _Hercules_ no Assistance, and glances upon
+_Jupiter_ himself.[187] This sally is not so thoroughly corrected as
+formerly. 'Tis true the _Chorus_ make some little satisfaction immediately
+after. They resolve all surprizes of Misfortune, all Revolutions of States
+or Families, into the will and Permission of _Jupitur_. This by
+implication, They make an argument for acquiescence. Besides, the Poet had
+laid in a sort of caution against Misconstruction before. For the
+_Messenger_ tells _Dejaneira_ that we ought not to Murmur at the Conduct of
+_Jupiter_.[188]
+
+  ----[Greek: Tou logou d' ou chrê Phthonon]
+  [Greek: Gonai proseinai Zeus hotou praktôr phanê.]
+
+This for a Heathen is something tho' not enough, _Cleomenes_'s Rant seems
+an imitation of _Hyllus_, Only 'tis bolder, and has nothing of the rashness
+of Youth to excuse it.[189] Besides _Sophocles_ throws in somewhat by way
+of Preservative. Whereas in _Cleomenes_ the Boy _Cleonidas_ has the better
+on the wrong side, and seems to carry the cause of Atheism against his
+Father.[190] This _Scene_ of a _Famine_ Mr. _Dryden_ calls a Beauty; and
+yet Methinks _Cleora_ is not very Charming! Her part is to tell you the
+Child suck'd to no purpose.
+
+  _It pull'd and pull'd but now but nothing came,
+  At last it drew so hard that the Blood follow'd.
+  And that Red Milk I found upon its Lips,
+  Which made me swoon for Fear._[191]
+
+There's a Description of Sucking for you! And truly one would think the
+Muse on't were scarsely wean'd. This Lady's fancy is just
+_Slip-Stocking-high_; and she seems to want Sense, more than her Breakfast.
+If this Passage would not shine, the Poet should have let it alone. 'Tis
+_Horace_'s advice.
+
+                    ----_et quæ
+  Desperes tractata nitescere posse relinquas._[192]
+
+The greatest part of the Life of this _Scene_ is spent in impious Rants,
+and Atheistical Disputes. To do the Author right, his _Characters_ never
+want Spirits for such Service, either full or Fasting. Some people love to
+say the worst Things in the best manner; To perfume their Poysons, and give
+an Air to Deformity.
+
+There is one ill Sentence in _Sophocles_ behind. _Philoctetes_ calls the
+Gods [Greek: Kakoi], and Libells their Administration.[193] This Officer we
+must understand was left upon a Solitary Island, ill used by his Friends,
+and harrass'd with Poverty and Ulcers, for Ten years together. These, under
+the Ignorance of Paganism, were trying Circumstances, and take off somewhat
+of the Malignity of the Complaint. Afterwards He seems to repent,[194] and
+declares his Assurance that the Gods will do Justice, and prays frequently
+to them. The Conclusion of this Play is remarkably Moral. Here _Hercules_
+appears in _Machine_; aquaints _Philoctetes_ with his own glorious
+Condition; That his Happiness was the Reward of Virtue, and the Purchase of
+Merit. He charges him to pay a due regard to Religion; For Piety would
+recommend him to _Jupiter_ more than any other Qualification. It went into
+the other World with People and they found their Account in't both Living
+and Dead.[195]
+
+Upon the whole; The _Plays_ of _Æschylus_ and _Sophocles_ are formed upon
+Models of Virtue: They joyn Innocence with Pleasure, and design the
+Improvement, of the _Audience_.
+
+In _Euripides's Bacchæ, Pentheus_ is pull'd in pieces for using _Bacchus_
+with Disrespect. And the _Chorus_ observes that God never fails to punish
+Impiety, and Contempt of Religion.[196] _Polyphemus_ blusters
+Atheistically, and pretends to be as great as _Jupiter_: But then his Eye
+is burnt out in the fifth Act.[197] And the _Chorus_ in _Heraclidæ_ affirm
+it next to Madness not to worship the Gods. I grant he has some profane
+Passages stand uncorrected, and what wonder is it to see a _Pagan_
+Miscarry? _Seneca_, as he was inferiour in Judgment to the _Greeks_, so he
+is more frequent, and uncautious, in his Flights of extravagance. His
+Hero's and Heroines, are excessively bold with the Superior Beings. They
+rave to Distraction, and he does not often call them to an account for't.
+'Tis true _Ajax Oileus_ is made an Example for Blaspheming in a Storm. He
+is first struck with Thunder, and then carried to the Bottom.[198] The
+Modern _Poets_, proceed upon the Liberties of _Seneca_, Their Madmen are
+very seldom reckon'd with. They are profane without Censure, and defie the
+_Living God_ with success. Nay, in some respect they exceed even _Seneca_
+himself. He flies out only under Impatience; And never falls into these
+Fits without Torture, and hard Usage. But the _English Stage_ are
+unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But
+supposing the _Theatres_ of _Rome_, and _Athens_ as bad as possible, what
+Defence is all This? Can we argue from _Heathenism_ to _Christianity_? How
+can the _practise_ be the same, where the _Rule_ is so very different? Have
+we not a clearer Light to direct us, and greater Punishments to make us
+afraid. Is there no Distinction between Truth and Fiction, between Majesty
+and a Pageant? Must God be treated like an Idol, and the _Scriptures_
+banter'd like _Homers Elysium_, and _Hesiods Theogonia_? Are these the
+Returns we make Him for his Supernatural Assistance? For the more perfect
+Discovery of Himself, the stooping of his Greatness, and the Wonders of his
+Love. Can't we refuse the Happiness without affronting the Offer? Must we
+add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no
+Diversion without Insulting the God that made us, the Goodness that would
+save us, and the Power that can damn us? Let us not flatter our selves,
+_Words_ won't go for Nothing. Profaness is a most Provoking Contempt, and a
+Crime of the deepest dye. To break through the Laws of a Kingdom is bad
+enough; But to make _Ballads_ upon the _Statute-Book_, and a Jest of
+Authority, is much worse. Atheists may fancy what they please, but God will
+_Arise and Maintain his own Cause_, and Vindicate his Honour in due time.
+
+To conclude. Profaness tho' never so well corrected is not to be endured.
+It ought to be Banish'd without _Proviso_, or Limitation. No pretence of
+_Character_ or Punishment, can excuse it; or any _Stage-Discipline_ make it
+tolerable. 'Tis grating to _Christian_ Ears, dishonourable to the Majesty
+of God, and dangerous in the Example. And in a Word, It tends to no point,
+unless it be to wear off the horrour of the Practise, to weaken the force
+of Conscience, and teach the Language of the Damn'd.
+
+
+
+
+CHAP. III.
+
+_The Clergy abused by the_ Stage.
+
+
+The Satyr of the _Stage_ upon the _Clergy_ is extreamly Particular. In
+other cases, They level at a single Mark, and confine themselves to
+Persons. But here their Buffoonry takes an unusual Compass; They shoot
+Chain'd-shot, and strike at Universals. They play upon the _Character_, and
+endeavour to expose not only the Men, but the Business. 'Tis true, the
+Clergy are no small Rub in the _Poets_ way. 'Tis by their Ministrations
+that Religion is perpetuated, the other World Refresh'd, and the Interest
+of Virtue kept up. Vice will never have an unlimited Range, nor Conscience
+be totally subdued, as long as People are so easy as to be Priest-ridden!
+As long as these Men are look'd on as the Messengers of Heaven, and the
+Supports of Government, and enjoy their old Pretentions in Credit and
+Authority; as long as this Grievance continues, the _Stage_ must decline of
+Course, and Atheism give Ground, and Lewdness lie under Censure, and
+Discouragment. Therefore that Liberty may not be embarrass'd, nor
+Principles make Head against Pleasure, the _Clergy_ must be attack'd, and
+rendred Ridiculous.
+
+To represent a Person fairly and without disservice to his Reputation, two
+Things are to be observ'd. First He must not be ill used by others: Nor
+Secondly be made to Play the Fool Himself. This latter way of Abuse is
+rather the worst, because here a Man is a sort of _Felo de se_; and appears
+Ridiculous by his own fault. The Contradiction of both these Methods is
+practised by the _Stage_. To make sure work on't, they leave no stone
+unturn'd, The whole _Common place_ of Rudeness is run through. They strain
+their Invention and their Malice: And overlook nothing in ill Nature, or
+ill Manners, to gain their point.
+
+To give some Instances of their Civility! In the _Spanish Fryer, Dominick_
+is made a Pimp for _Lorenzo_;[199] He is call'd _a parcel of Holy Guts and
+Garbage_, and said _to have room in his Belly for his Church steeple_.
+
+_Dominick_ has a great many of these Compliments bestow'd upon him. And to
+make the Railing more effectual, you have a general stroke or two upon the
+Profession. Would you know what are the _Infallible Church Remedies_. Why
+'tis to _Lie Impudently_, and _Swear Devoutly_.[200] A little before this
+_Dominick_ Counterfits himself sick, retires, and leaves _Lorenzo_ and
+_Elvira_ together; And then the Remark upon the Intrigue follows. 'You see
+Madam (says _Lorenzo_)[201] 'tis Interest governs all the World. He
+Preaches against Sin, why? Because he gets by't: He holds his Tongue; why?
+because so much more is bidden for his Silence. 'Tis but giving a Man his
+Price, and Principles of _Church_ are bought off as easily as they are in
+_State_: No man will be a Rogue for nothing; but Compensation must be made,
+so much Gold for so much Honesty; and then a Church-man will break the
+Rules of Chess. For the Black Bishop, will skip into the White, and the
+White into the Black, without Considering whether the remove be Lawful.
+
+At last _Dominick_ is discover'd to the Company, makes a dishonourable
+_Exit_, and is push'd off the _Stage_ by the Rabble. This is great Justice!
+The Poet takes care to make him first a Knave, and then an Example: But his
+hand is not even. For Lewd _Lorenzo_ comes off with _Flying Colours_. 'Tis
+not the Fault which is corrected but the Priest. The Authors Discipline is
+seldom without a Biass. He commonly gives the _Laity_ the Pleasure of an
+ill Action, and the _Clergy_ the Punishment.
+
+To proceed. _Horner_ in his general Remarks upon Men, delivers it as a sort
+of Maxim, _that your Church-man is the greatest Atheist_. In this Play
+_Harcourt_ puts on the Habit of a Divine.[202] _Alithea_ does not think him
+what he appears; but _Sparkish_ who could not see so far, endeavours to
+divert her Suspicion. _I tell you (says he) this is Ned_ Harcourt _of_
+Cambridge, _you see he has a sneaking Colledge look_.[203] Afterwards his
+Character is sufficiently abused by _Sparkish_ and _Lucy_; but not so much
+as by Himself.[204] He tells you in an _Aside_ _he must suit his Stile to
+his Coat_. Upon this wise Recollection, He talks like a servile,
+impertinent Fop,
+
+In the _Orphan_, The Young Soldier _Chamont_ calls the Chaplain Sr.
+_Gravity_, and treats him with the Language of _Thee_, and _Thou_. The
+Chaplain instead of returning the Contempt; Flatters _Chamont_ in his
+Folly, and pays a Respect to his Pride. The Cavalier encouraged I suppose
+by this Sneaking, proceeds to all the Excesses of Rudeness,
+
+  ----_is there not one
+  Of all thy Tribe that's Honest in your School?
+  The Pride of your Superiours makes ye Slaves:
+  Ye all live Loathsome, Sneaking, Servile lives:
+  Not free enough to Practise generous Truth,
+  'Tho ye pretend to teach it to the World._[205]
+
+After a little Pause for Breath, the Railing improves.
+
+  _If thou wouldst have me not contemn thy Office,
+  And Character, think all thy Brethren Knaves,
+  Thy Trade a Cheat, and thou its worst Professour
+  Inform me; for I tell thee Priest I'le know._[206]
+
+The Bottom of the Page is down-right Porters Rhetorick.
+
+  _Art thou then
+  So far concern'd in't?----
+  Curse on that formal steady Villains Face!
+  Just so do all Bawds look; Nay Bawds they say;
+  Can Pray upon Occasion; talk of Heaven;
+  Turn up their Gogling Eye-balls, rail at Vice;
+  Dissemble, Lye, and Preach like any Priest,
+  Art thou a Bawd?_[207]
+
+The _Old Batchelour_ has a Throw at the _Dissenting Ministers_. The _Pimp
+Setter_ provides their Habit for _Bellmour_ to Debauch _Lætitia_. The
+Dialogue runs thus.
+
+Bell. _And hast thou Provided Necessaries?_
+
+Setter. _All, all Sir, the large Sanctified Hat, and the little precise
+Band, with a Swingeing long Spiritual Cloak, to cover Carnal Knavery,--not
+forgetting the black Patch which Tribulation_ Spintext _wears as I'm
+inform'd upon one Eye, as a penal Mourning for the----Offences of his
+Youth_ &c.[208]
+
+_Barnaby_ calls another of that Character Mr. _Prig_, and _Fondlewife_
+carrys on the Humour lewdly in _Play-house Cant_; And to hook the _Church_
+of _England_ into the Abuse, he tacks a _Chaplain_ to the End of the
+Description.[209]
+
+_Lucy_ gives an other Proof of the _Poets_ good Will, but all little
+Scurilities are not worth repeating.[210]
+
+In the _Double Dealer_ the discourse between _Maskwell_ and _Saygrace_ is
+very notable. _Maskwell_ had a design to cheat _Mellifont_ of his Mistress,
+and engages the Chaplain in the Intrigue: There must be a _Levite_ in the
+cafe; _For without one of them have a finger in't, no Plot publick, or
+private, can expect to prosper_.[211]
+
+To go on in the order of the _Play_.
+
+_Maskwell_ calls out at _Saygraces door_, Mr. _Saygrace_ Mr. _Saygrace_.
+
+The other answers, _Sweet sir I will but pen the last line of an Acrostick,
+and be with you in the twingling of an Ejaculation, in the pronouncing of
+an_ Amen. _&c._
+
+Mask. _Nay good Mr._ Saygrace _do not prolong the time_, &c.
+
+Saygrace. _You shall prevail, I would break off in the middle of a Sermon
+to do you Pleasure._
+
+Mask. _You could not do me a greater----except----the business in
+hand----have you provided a Habit for Mellifont?_
+
+Saygr. _I have_, &c.
+
+Mask. _have you stich'd the Gownsleeve, that he may be puzled and wast time
+in putting it on?_
+
+Saygr. _I have; the Gown will not be indued without Perplexity._ There is a
+little more profane, and abusive stuff behind, but let that pass.
+
+The Author of _Don Sebastian_ strikes at the _Bishops_ through the sides of
+the _Mufti_, and borrows the Name of the _Turk_, to make the _Christian_
+ridiculous. He knows the transition from one Religion to the other is
+natural, the Application easy, and the Audience but too well prepar'd. And
+should they be at a loss he has elsewhere given them a _Key_ to understand
+him.
+
+  _For Priests of all Religions are the same._[212]
+
+However that the Sense may be perfectly intelligible, he makes the
+Invective General, changes the Language, and rails in the stile of
+Christendom.
+
+_Benducar_ speaks,
+
+  ----_Churchmen tho' they itch to govern all,
+  Are silly, woful, awkard Polititians,
+  They make lame Mischief tho' they mean it well._
+
+So much the better, for 'tis a sign they are not beaten to the Trade. The
+next Lines are an Illustration taken from a _Taylor_.
+
+  _Their Intrest is not finely drawn and hid,
+  But seams are coarsly bungled up and seen._[213]
+
+This _Benducar_ was a rare Spokesman for a first _Minister_; And would have
+fitted _John_ of _Leyden_ most exactly!
+
+In the Fourth _Act_ the Mufti is _Depos'd_ and _Captain Tom_ reads him a
+shrewd Lecture at parting. But let that pass:
+
+To go on, _Mustapha_ threatens his great Patriark to put him to the Rack.
+Now you shall hear what an answer of Fortitude and Discretion is made for
+the _Mufti_.
+
+Mufti. _I hope you will not be so barbarous to torture me. We may Preach
+Suffering to others, but alas holy Flesh is too well pamper'd to endure
+Martyrdom._[214] By the way, if flinching from _Suffering_ is a proof of
+_Holy Flesh_, the _Poet_ is much a Saint in his Constitution, witness his
+_Dedication_ of _King Arthur_.
+
+In _Cleomenes, Cassandra_ rails against Religion at the Altar, and in the
+midst of a publick Solemnity.
+
+  _Accurs'd be thou Grass-eating fodderd God!
+  Accurs'd thy Temple! more accurs'd thy Priests!_[215]
+
+She goes on in a mighty Huff, and charges the Gods and Priesthood with
+Confederacy, and Imposture, This Rant is very unlikely at _Alexandria_. No
+People are more bigotted in their Superstition than the _Ægyptians_; Nor
+any more resenting of such an Affront. This Satyr then must be strangely
+out of Fashion, and probability. No matter for that; it may work by way of
+Inference, and be serviceable at Home. And 'tis a handsom Compliment to
+Libertines and Atheists.
+
+We have much such another swaggering against Priests in _Oedipus_.
+
+  _Why seek I Truth from thee?
+  The smiles of Courtiers and the Harlots tears,
+  The Tradesmens Oaths, and Mourning of an Heir,
+  Are Truths to what Priests tell.
+  O why has Priesthood privilege to Lie,
+  And yet to be believ'd!_[216]
+
+And since They are thus Lively, I have one word or two to say to the
+_Play_.
+
+When _Ægeon_ brought the News of King _Polybus_'s Death, _Oedipus_ was
+wonderfully surpriz'd at the Relation.
+
+  _O all ye Powers is't possible? what, Dead!_[217]
+
+And why not? was the Man invulnerable or immortal? Nothing of that: He was
+only Fourscore and Ten years old, that was his main security. And if you
+will believe the Poet he
+
+  _Fell like Autumn Fruit that mellow'd long,
+  Ev'n wondred at because he dropt no sooner._[218]
+
+And which is more, _Oedipus_ must be acquainted with his Age, having spent
+the greatest part of his time with him at _Corinth_. So that in short, the
+pith of the Story lies in this Circumstance. A Prince of Ninety years was
+dead, and one who was wondred at for dying no sooner. And now why so much
+Exclamation upon this occasion? Why must all the _Powers_ in Being be
+Summon'd in to make the News Credible? This _Posse_ of _Interjections_
+would have been more seasonably raised if the Man had been alive; for that
+by the Poets Confession had been much the stranger Thing. However _Oedipus_
+is almost out of his Wits about the Matter, and is Urgent for an account of
+Particulars.
+
+  _That so the Tempest of my joys may rise
+  By just degrees, and hit at last the Stars._[219]
+
+This is an empty ill proportion'd Rant, and without warrant in Nature or
+Antiquity. _Sophocles_ does not represent _Oedipus_. in such Raptures of
+Extravagant surprize. In the next page there's another Flight about
+_Polybus_ his Death somewhat like This. It begins with a _Noverint
+Universi._ You would think _Oedipus_ was going to make a _Bond_.
+
+  _Know, be it known to the limits of the World_;
+
+This is scarce Sence, be it known.
+
+  _Yet farther, let it pass yon dazling roof
+  The Mansion of the Gods, and strike them deaf
+  With Everlasting peals of Thundring joy._
+
+This Fustian puts me in mind of a _Couplet_ of _Taylors_ the _Water_ Poet,
+which for the Beauty of the Thought are not very unlike.
+
+  _What if A Humble Bee should chance to strike,
+  With the But-End of an Antartick Pole._
+
+I grant Mr. _Dryden_ clears himself of this _Act_ in his _Vindication_ of
+the _Duke_ of _Guise_. But then why did he let these crude Fancies pass
+uncorrected in his Friend? Such fluttering ungovern'd Transports, are
+fitter for a Boys _Declamation_ then a _Tragedy_. But I shall trouble my
+self no farther with this _Play_. To return therefore to the Argument in
+Hand. In the _Provok'd Wife_ Sir _John Brute_ puts on the Habit of a
+Clergyman, counterfeits himself drunk; quarrels with the _Constable_, and
+is knock'd down and seiz'd. He rails, swears, curses, is lewd and profane,
+to all the Heights of Madness and Debauchery: The _Officers_ and _Justice_
+break jests upon him, and make him a sort of Representative of his
+_Order_.[220]
+
+This is rare _Protestant_ Diversion, and very much for the Credit of the
+_Reformation_! The Church of _England_, I mean the Men of Her, is the only
+Communion in the World, that will endure such Insolences as these: The
+_Relapse_ is if possible more singularly abusive. _Bull_ the Chaplain
+wishes the Married couple joy, in Language horribly Smutty and
+Profane.[221] To transcribe it would blot the Paper to much. In the next
+_Page_ _Young Fashion_ desires _Bull_ to make hast to Sr. _Tun-belly_. He
+answers very decently, _I fly my good Lord_.[222] At the end of this _Act
+Bull_ speaks to the Case of _Bigamy_, and determines it thus. _I do confess
+to take two Husbands for the Satisfaction of ---- is to commit the Sin of
+Exorbitancy, but to do it for the peace of the Spirit, is no more then to
+be Drunk by way of Physick; besides to prevent a Parents wrath is to avoid
+the Sin of Disobedience, for when the Parent is Angry, the Child is
+froward_: The Conclusion is insolently Profane, and let it lie: The spirit
+of this Thought is borrow'd from Ben _Johnsons_ _Bartholomew-Fair_, only
+the Profaness is mightily improved, and the Abuse thrown off the _Meeting
+House_, upon the _Church_. The Wit of the _Parents being angry_, and the
+_Child froward_, is all his own.[223] _Bull_ has more of this Heavy stuff
+upon his Hands. He tells _Young Fashion_ _Your Worships goodness is
+unspeakable, yet there is one thing seems a point of Conscience; And
+Conscience is a tender Babe_. &c.[224]
+
+These _Poets_ I observe when They grow lazy, and are inclined to Nonsence,
+they commonly get a Clergy-man to speak it. Thus they pass their own
+Dulness for Humour, and gratifie their Ease, and their Malice at once.
+_Coupler_ instructs _Young Fashion_ which way _Bull_ was to be managed. He
+tells him as _Chaplains go now, he must be brib'd high, he wants Money,
+Preferment, Wine, and a Whore. Let this be procured for him, and I'll
+warrant thee he speaks Truth like an Oracle_.[225]
+
+A few Lines forward, the Rudeness is still more gross, and dash'd with
+Smut, the common _Play-house_ Ingredient. 'Tis not long before _Coupler_
+falls into his old Civilities. He tells _Young Fashion, Last Night the
+Devil run away with the Parson of_ Fatgoose _Living_.[226] Afterwards
+_Bull_ is plentifully rail'd on in down right _Billings-gate_: made to
+appear Silly, Servile, and Profane; and treated both in Posture and
+Language, with the utmost Contempt.[227]
+
+I could cite more _Plays_ to this purpose; But these are sufficient to show
+the Temper of the _Stage_.
+
+Thus we see how hearty these People are in their Ill Will! How they attack
+Religion under every Form, and pursue the Priesthood through all the
+Subdivisions of Opinion. Neither _Jews_ nor _Heathens, Turks_ nor
+_Christians_, _Rome_ nor _Geneva_, _Church_ nor _Conventicle_, can escape
+them. They are afraid least Virtue should have any Quarters undisturbed,
+Conscience any Corner to retire to, or God be Worship'd in any Place. 'Tis
+true their Force seldom carries up to their Malice: They are too eager in
+the Combat to be happy in the the Execution. The Abuse is often both gross
+and clumsey, and the Wit as wretched as the Manners. Nay Talking won't
+always satisfy them. They must ridicule the _Habit_ as well as the
+Function, of the Clergy. 'Tis not enough for them to play the Fool unless
+they do it in _Pontificalibus_. The Farce must be play'd in a Religious
+Figure, and under the Distinctions of their Office! Thus the Abuse strikes
+stronger upon the sense; The contempt is better spread, and the little
+_Idea_ is apt to return upon the same Appearance.
+
+And now does this Rudeness go upon any Authorities? Was the Priesthood
+alwaies thought thus insignificant, and do the Antient Poets palt it in
+this Manner? This Point shall be tried, I shall run through the most
+considerable Authors that the Reader may see how they treat the Argument.
+_Homer_ stands highest upon the Roll, and is the first Poet both in Time,
+and Quality; I shall therefore begin with him. Tis true he wrote no
+_Plays_; but for Decency, Practise, and general Opinion, his Judgment may
+well be taken, Let us see then how the _Priests_ are treated in his _Poem_,
+and what sort of Rank they hold.
+
+_Chryses Apollo_'s Priest appears at a Council of War with his Crown and
+guilt Scepter. He offers a valuable Ransom for his Daughter; and presses
+his Relation to _Apollo_. All the Army excepting _Agamemnon_ are willing to
+consider his Character, and comply with his Proposals. But this _General_
+refuses to part with the Lady, and sends away her Father with disrespect.
+_Apollo_ thought himself affronted with this Usage, and revenges the
+Indignity in a Plague.
+
+  [Greek: Houneka ton Chrysên êtimês' arêtêra][228]
+  [Greek: Atreidês.]
+
+_Adrastus_ and _Amphius_ the Sons of _Merops_ a _Prophet_, commanded a
+considerable extent of Country in _Troas_,[229] and brought a Body of Men
+to King _Priam's_ Assistance.[230] And _Ennomus_ the Augur commanded the
+Troops of _Mysia_ for the Besieged.
+
+_Phegeus_ and _Idæus_ were the Sons of _Dares_ the Priest of _Vulcan_.[231]
+They appear in an Equipage of Quality, and charge _Diomedes_ the third Hero
+in the _Grecian_ Army. _Idæus_ after the Misfortune of the Combat, is
+brought off by _Vulcan_. _Dolopion_ was _Priest_ to _Scamander_,[232] and
+regarded like the God he _Belong'd_ to,
+
+  [Greek: Theos d' hôs tieto dêmô.][233]
+
+_Ulisses_ in his return from _Troy_, took _Ismarus_ by Storm, and makes
+Prize of the whole Town, excepting _Maron_, and his Family. This _Maron_
+was _Apollo's Priest_, and preserv'd out of respect to his Function: He
+presents _Ulisses_ nobly in Gold, Plate, and Wine; And this Hero makes an
+honourable Mention of him, both as to his Quality, and way of Living.[234]
+
+These are all the _Priests_ I find Mentioned in _Homer_; And we see how
+fairly the Poet treats them, and what sort of Figure they made in the
+World.
+
+To the Testimony of _Homer_, I shall joyn that of _Virgil_, who tho' He
+follows at a great distance of Time, was an Author of the first Rank, and
+wrote the same kind of Poetry with the other. Now _Virgil_ tho' he is very
+extraordinary in his Genius, in the Compass of his Learning, in the Musick
+and Majesty of his Stile; yet the exactness of his Judgment seems to be his
+peculiar, and most distinguishing Talent. He had the truest Relish
+imaginable, and always described Things according to _Nature_, _Custom_,
+and _Decency_. He wrote with the greatest Command of _Temper_, and
+_Superiority_ of good _Sense_. He is never lost in smoak and Rapture, nor
+overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at
+the same time. Now this great Master of Propriety never Mentions any
+_Priests_ without some _Marks_ of _Advantage_. To give some Instances as
+they lie in Order.
+
+When the _Trojans_ were consulting what was to be done with the
+_Wooden-Horse_, and some were for lodging it within the Walls; _Laocoon_
+appears against this Opinion at the Head of a numerous Party, harangues
+with a great deal of Sense, and Resolution, and examines the _Machine_ with
+his Lance. In fine, He advised so well, and went so far in the Discovery of
+the Stratagem; that if the _Trojans_ had not been ungovernable, and as it
+were stupified by Fate and Folly, he had saved the Town.[235]
+
+  _Trojaque nunc stares Priamique arx alta maneres_.
+
+This _Laocoon_ was _Neptunes_ Priest, and either Son to _Priam_, or Brother
+to _Anchises_, who was of the Royal Family.[236] The next we meet with is
+_Pantheus Apollo's_ Priest. He is call'd _Pantheus Otriades_, which is an
+argument his Father was well known. His acquaintance with _Æneas_ to whose
+House he was carrying his little Grandson, argues him to be a Person of
+Condition.[237] _Pantheus_ after a short relation of the Posture of
+Affairs, joyns _Æneas_'s little Handful of Men, charges in with him when
+the Town was seiz'd, and fired, and at last dies Handsomly in the
+Action.[238]
+
+The next is _Anius_ King of _Delos_, Prince and _Priest_ in one Person.
+
+  _Rex Anius, rex idem hominum Phoebique Sacerdos._[239]
+
+When _Æneas_ was outed at _Troy_, and in quest of a new Country, he came to
+an Anchor at _Delos_; _Anius_ meets him in a Religious Habit, receives him
+civilly, and obliges him with his _Oracle_.[240] In the Book now Mention'd
+we have another of _Apollo's_ Priests, his name is _Helenus_, Son of
+_Priam_ and King of _Chaonia_. He entertains _Æneas_ with a great deal of
+Friendship, and Magnificence, gives him many material Directions, and makes
+him a rich Present at parting. To this Prince if you Please we may joyn a
+Princess of the same Profession; and that is _Rhea Silvia_ Daughter to
+_Numitor_ King of _Alba_, and Mother to _Romulus_, and _Remus_. This Lady
+_Virgil_ calls----_regina Sacerdos_ a Royal Priestess.[241] Farther. When
+_Æneas_ made a Visit upon Business to the _shades Below_, He had for his
+Guide, the famous _Sibylla Cumæa_, who Belong'd to _Apollo_.[242] When he
+came thither amongst the rest of his Acquantance he saw _Polybætes_ a
+Priest of _Ceres_. This _Polybætes_ is mention'd with the three Sons of
+_Antenor_, with _Glaucus_, and _Thersilochus_, who Commanded in Cheif in
+the _Trojan Auxiliaries_: So that you may know his Quality by his Company.
+When _Æneas_ had passed on farther, he saw _Orpheus_ in _Elysium_: The Poet
+calls him the _Thracian_ Priest. There needs not be much said of _Orpheus_;
+He is famous for his skill in Musick, Poetry, and Religious
+Ceremonies,[243] He was one of the Hero's of Antiquity, and a principal
+Adventurer in the Expedition for the _Golden-Fleece_.
+
+In the Seventh _Æneid_ the Poet gives in a List of the Princes, and General
+Officers who came into the Assistance of _Turnus_; Amongst the rest he
+tells you,
+
+  _Quin & Marrubia venit de gente Sacerdos,
+  Archippi regis missu fortissimus Umbro._
+
+This _Priest_ he commends both for his Courage and his skill in Physick,
+Natural Magick, and Phlosophy. He understood the Virtue of _Plants_, and
+could lay Passions and Poysons asleep. His death was extreamly regretted by
+his Country, who made a Pompous and Solemn Mourning for him.
+
+  _Te nemus Angitiæ, vitrea te Fucinus unda,
+  Te liquidi flevere lacus._[244]
+
+The _Potitij_, and the _Pinarij_ Mention'd _Æneid 8._[245] were as _Livy_
+observes, chosen out of the first Quality of the Country, and had the
+_Priesthood_ hereditary to their Family. To go on, _Æmonides_, and
+_Chloreus_ make a glittering Figure in the _Feild_, and are very remarkable
+for the Curiosity of their Armour, and Habit. _Æmonides_'s _Finery_ is
+passed over in general.
+
+  _Totus collucens veste atque insignibus armis._[246]
+
+But the Equipage of _Chloreus_ is flourish'd out at Length, and as I
+remember admired by _Macrobius_ as one of the Master peices of _Virgil_ in
+Description. In short; He is all Gold, Purple, Scarlet, and
+Embroydery;[247] and as rich as Nature, Art, and Rhetorick can make him. To
+these I might add _Rhamnes_, _Asylas_, and _Tolumnius_, who were all
+Persons of Condition, and had Considerable Posts in the Army.[248]
+
+It may be these last were not strictly _Priests_. Their Function was rather
+_Prophetick_. They interpreted the Resolutions of the Gods, by the voice of
+Birds, the Inspection of Sacrifices, and their Observations of Thunder.
+This made their Character counted Sacred, and their Relation to the Deity
+particular. And therefore the _Romans_ ranged them in the _Order_ of the
+_Priests_.[249]
+
+Thus we see the admired _Homer_, and _Virgil_, always treat the _Priests_
+fairly, and describe them in Circumstances of Credit: If 'tis said that the
+Instances I have given are mostly in Names of _Fiction_, and in Persons who
+had no Being, unless in the Poets fancy. I answer, I am not concern'd in
+the History of the Relation. Whether the Muster is true or false, 'tis all
+one to my purpose. This is certain, had the _Priests_ been People of such
+slender Consideration as our _Stage Poets_ endeavour to make them; they
+must have appear'd in a different Figure; or rather have been left out as
+too little for that sort of _Poem_. But _Homer_ and _Virgil_ had other
+Sentiments of Matters: They were governed by the Reason of Things, and the
+common usage of the World. They knew the _Priesthood_ a very reputable
+Employment, and always esteem'd as such. To have used the _Priests_ ill,
+They must have call'd their own Discretion in question: They must have run
+into impropriety, and fallen foul upon Custom, Manners, and Religion. Now
+'twas not their way to play the Knave and the Fool together: They had more
+Sense than to do a silly Thing, only for the Satisfaction of doing an ill
+one.
+
+I shall now go on to enquire what the Greek _Tragedians_ will afford us
+upon the present Subject. There are but two _Plays_ in _Æschylus_ where the
+_Ministers_ of the Gods are represented. The one is in his _Eumenides_, and
+here _Apollo_'s _Priestess_ only opens the _Play_ and appears no more. The
+other is in his _Seige_ of _Thebes_. In this Tragedy the _Prophet
+Amphiaraus_ is one of the Seven Commanders against the _Town_. He has the
+Character of a Modest, Brave Officer, and of one who rather affected to be
+great in Action, than Noise.
+
+In _Sophocle_'s _Oedipus Tyrannus_, _Jupiter's Priest_ has a short part. He
+appears at the Head of an _Address_, and delivers the Harangue by the
+King's Order. _Oedipus_ in his Passion treats _Tiresias_ ruggedly;[250]
+_Tiresias_ replies with Spirit and Freedom; and plainly tell him he was
+none of his _Servant_ but _Apollo_'s.
+
+  [Greek: Ou gar ti soi zô doulos alla loxia][251]
+
+And here we may observe that all _Oedipus_ his reproaches relate to
+_Tiresias_'s person, there is no such Thing as a general Imputation upon
+his Function: But the _English Oedipus_ makes the _Priesthood_ an
+Imposturous Profession;[252] and rails at the whole _Order_. In the next
+Tragedy, _Creon_ charges _Tiresias_ with subornation; and that he intended
+to make a Penny of his Prince. The _Priest_ holds up his Character, speaks
+to the ill Usage with an Air of Gravity, calls the King _Son_, and
+foretells him his Misfortune.[253]
+
+To go on to _Euripides_, for _Sophocles_ has nothing more. This Poet in his
+_Phænissæ_ brings in _Tiresias_ with a very unacceptable report from the
+_Oracle_. He tells _Creon_ that either his Son must die, or the City be
+lost. _Creon_ keeps himself within Temper, and gives no ill Language. And
+even when _Moenecius_ had kill'd himself, he neither complains of the Gods,
+nor reproaches the _Prophet_.[254]
+
+In his _Bacchæ_, _Tiresias_ is honourably used by _Cadmus_; And _Pentheus_
+who threatned him, is afterwards punish'd for his Impiety.[255] In another
+_Play_ _Apollo_'s _Priestess_ comes in upon a creditable account, and is
+respectfully treated.[256] _Iphigenia_ _Agamemnon_'s Daughter is made
+_Priestess_ to _Diana_; and her Father thought himself happy in her
+Employment.[257] These are all the _Priests_ I remember represented in
+_Euripides_. To conclude the antient _Tragedians_ together: _Seneca_ seems
+to follow the Conduct of _Euripides_, and secures _Tiresias_ from being
+outraged. _Oedipus_ carries it smoothly with him and only desires him to
+out with the Oracle, and declare the Guilty Person. This _Tiresias_
+excuses, and afterwards the Heat of the expostulation falls upon
+_Creon_.[258] _Calchas_ if not strictly a _Priest_, was an _Augur_, and had
+a Religious Relation. Upon this account _Agamemnon_ calls him _interpres
+Deorum_; The Reporter of Fate, and the God's _Nuntio_; And gives him an
+honourable Character.[259]
+
+This Author is done; I shall therefore pass on to the _Comedians_. And
+here, _Aristophanes_ is so declared an Atheist, that I think him not worth
+the citing. Besides, he has but little upon the Argument: And where he does
+engage it, the _Priests_ have every jot as good Quarter as the Gods.[260]
+As for _Terence_, he neither represents any _Priests_, nor so much as
+mentions them. _Chrysalus_ in _Plautus_ describes _Theotimus Diana's
+Priest_, as a Person of Quality, and Figure.[261] In his _Rudens_ we have a
+_Priestess_ upon the _Stage_, which is the only Instance in this
+_Poet_.[262] She entertains the two Women who were wrecked, and is
+commended for her hospitable Temper. The Procurer _Labrax_ swaggers that he
+will force the Temple, and begins the Attack. _Demades_ a Gentleman, is
+surprized at his Insolence, and threatens him with Revenge. The report of
+so bold an attempt made him cry out. _Quis homo est tanta Confidentia; qui
+sacerdotem andeat Violare?_[263] It seems in those Days 'twas very infamous
+to affront a _Holy Character_, and break in upon the _Guards_ of Religion!
+Thus we see how the Antient Poets behaved themselves in the Argument.
+_Priests_ seldom appear in their _Plays_. And when they come 'tis Business
+of Credit that brings them. They are treated like Persons of Condition.
+They Act up to their Relation; neither sneak, nor prevaricate, nor do any
+thing unbecoming their Office.
+
+And now a word or two of the _Moderns_.
+
+The famous _Corneille_ and _Moliere_, bring no _Priests_ of any kind upon
+the _Stage_. The former leaves out _Tiresias_ in his _Oedipus_: Tho' this
+Omission balks his Thought, and maims the _Fable_. What therefore but the
+regard to Religion could keep him from the use of this Liberty? As I am
+informed the same Reservedness is practis'd in _Spain_, and _Italy_: And
+that there is no Theatre in _Europe_ excepting the _English_, that
+entertains the _Audience_ with _Priests_.
+
+This is certainly the right method, and best secures the Outworks of Piety.
+The Holy Function is much too Solemn to be play'd with. Christianity is for
+no Fooling, neither the _Place_, the _Occasion_ nor the _Actors_ are fit
+for such a Representation. To bring the _Church_ into the _Playhouse_, is
+the way to bring the _Playhouse_ into the _Church_. 'Tis apt to turn
+Religion into _Romance_, and make unthinking People conclude that all
+Serious Matters are nothing but _Farce_, _Fiction_, and _Design_. 'Tis true
+the _Tragedies_ at _Athens_ were a sort of _Homilies_, and design'd for the
+Instruction of the People: To this purpose they are all Clean, Solemn, and
+Sententious. _Plautus_ likewise informs us that the _Comedians_ used to
+teach the People Morality.[264] The case standing thus 'tis less suprizing
+to find the _Priests_ sometimes Appear. The Play had grave Argument, and
+Pagan Indulgence, to plead in its behalf. But our _Poets_ steer by an other
+_Compass_. Their Aim is to _destroy_ Religion, their _Preaching_ is against
+_Sermons_; and their Business, but Diversion at the best. In short, Let the
+Character be never so well managed no Christian _Priest_ (especially,)
+ought to come upon the _Stage_. For where the Business is an Abuse, and the
+place a Profanation; the demureness of the Manner, is but a poor excuse.
+Monsieur _Racine_ is an Exception to what I have observ'd in _France_. In
+his _Athalia_, _Joida_ the _High-Priest_ has a large part. But then the
+Poet does him Justice in his Station; he makes him Honest and Brave, and
+gives him a shining Character throughout. _Mathan_ is another _Priest_ in
+the same Tragedy. He turns Renegado, and revolts from God to _Baal_. He is
+a very ill Man but makes a considerable Appearance, and is one of the Top
+of _Athaliahs_ Faction. And as for the _Blemishes_ of his Life, they all
+stick upon his own Honour, and reach no farther than his Person: In fine
+the _Play_ is a very Religious Poem; 'Tis upon the Matter all _Sermon_ and
+_Anthem_. And if it were not designed for the _Theatre_, I have nothing to
+object.
+
+Let us now just look over our own Country-men till King _Charles_ the
+Second. _Shakespear_ takes the Freedom to represent the _Clergy_ in several
+of his _Plays_: But for the most part he holds up the _Function_, and makes
+them neither Act, nor Suffer any thing unhandsom. In one Play or two He is
+much bolder with the _Order_.[265] Sr. _Hugh Evans_ a _Priest_ is too
+Comical and Secular in his Humour. However he understands his Post, and
+converses with the Freedom of a Gentleman. I grant in _Loves Labour lost_
+the _Curate_ plays the Fool egregiously; And so does the _Poet_ too, for
+the whole _Play_ is a very silly one. In the History of Sr. _John
+Old-Castle_, Sr. _John, Parson_ of _Wrotham_ Swears, Games, Wenches, Pads,
+Tilts, and Drinks: This is extreamly bad, and like the Author of the
+_Relapse_ &c. Only with this difference; _Shakespears_, Sr. _John_ has some
+Advantage in his Character. He appears Loyal, and Stout; He brings in Sr.
+_John Acton_, and other Rebels Prisoners. He is rewarded by the King, and
+the Judge uses him Civilly and with Respect. In short He is represented
+Lewd, but not Little; And the Disgrace falls rather on the Person, then the
+Office. But the _Relapsers_ business, is to sink the Notion, and Murther
+the Character, and make the Function despicable: So that upon the whole,
+_Shakespear_ is by much the gentiler Enemy.
+
+Towards the End of the _Silent Woman_, _Ben Johnson_ brings in a
+_Clergy-man_, and a _Civilian_ in their _Habits_. But then he premises a
+handsom Excuse, acquaints the _Audience_, that the _Persons_ are but
+borrowed, and throws in a _Salvo_ for the Honour of either profession. In
+the Third _Act_, we have another _Clergy-man_; He is abused by _Cutberd_,
+and a little by _Morose_. But his Lady checks him for the ill Breeding of
+the Usage. In his _Magnetick Lady_, _Tale of a Tub_, and _Sad Sheapherd_,
+there are _Priests_ which manage but untowardly. But these _Plays_ were his
+_last Works_, which Mr. _Dryden_ calls _his Dotages_.[266] This Author has
+no more _Priests_, and therefore we'll take Leave.
+
+_Beaumont_ and _Fletcher_ in the _Faithful Shepheardess_, _The False one_,
+_A Wife for a Month_, and the _Knight of Malta_, give, us both _Priests_
+and _Bishops_, part Heathen and part Christian: But all of them save their
+Reputation and make a creditable Appearance. The _Priests_ in the _Scornful
+Lady_, and _Spanish Curate_ are ill used. The first is made a Fool, and the
+other a Knave. Indeed they seem to be brought in on purpose to make sport,
+and disserve Religion. And so much for _Beaumont_ and _Fletcher_.
+
+Thus we see the English _Stage_ has always been out of Order, but never to
+the Degree 'tis at present.
+
+I shall now take Leave of the _Poets_, and touch a little upon History and
+Argument.
+
+And here I shall briefly shew the Right the _Clergy_ have to Regard, and
+fair Usage, upon these Three following Accounts.
+
+I. _Because of their Relation to the Deity._
+
+II. _Because of the Importance of their Office._
+
+III. _They have prescription for their Privilege. Their function has been
+in Possession of Esteem in all Ages, and Countries._
+
+
+I. _Upon the account of their Relation to the Deity._
+
+The Holy _Order_ is appropriated to the Divine Worship: And a _Priest_ has
+the peculiar Honour to _Belong_ to nothing less then God Almighty. Now the
+Credit of the _Service_ always rises in proportion to the Quality and
+Greatness of the Master. And for this Reason 'tis more Honourable to serve
+a Prince, than a private Person. To apply this. Christian _Priests_ are the
+Principal Ministers of Gods Kingdom. They Represent his Person, Publish his
+Laws, Pass his Pardons, and Preside in his Worship. To expose a _Priest_
+much more to burlesque his Function, is an Affront to the Diety. All
+indignities done to Ambassadors, are interpreted upon their Masters, and
+reveng'd as such. To outrage the _Ministers_ of Religion, is in effect to
+deny the Being, or Providence of God; And to treat the _Bible_ like a
+_Romance_. As much as to say the Stories of an other World are nothing but
+a little _Priest-craft_, and therefore I am resolv'd to Lash the
+Profession. But to droll upon the Institutions of God; To make his
+Ministers cheap, and his Authority contemptible; To do this is little less
+than open defyance. Tis a sort of Challenge to awaken his Vengeance, to
+exert his Omnipotence; and do Right to his Honour. If the Profession of a
+Courtier was unfashionable, a Princes Commission thought a Scandal, and the
+_Magistracy_ laught at for their Business; the Monarch had need look to
+himself in time; He may conclude his Person is despis'd, his Authority but
+a Jest, and the People ready either to change their Master, or set up for
+themselves. Government and Religion, no less than _Trade_ Subsist upon
+Reputation. 'Tis true God can't be Deposed, neither does his Happiness
+depend upon Homage; But since he does not Govern by Omnipotence, since he
+leaves Men to their Liberty, Acknowledgment must sink, and Obedience
+decline, in proportion to the Lessenings of Authority. How provoking an
+Indignity of this kind must be, is easy to imagine.
+
+II. The Functions and Authorities of Religion have a great Influence on
+_Society_. The Interest of this Life lies very much in the Belief of
+another. So that if our Hopes were bounded with _Sight_, and _Sense_, if
+_Eternity_ was out of the Case, General Advantage, and Publick Reason, and
+Secular Policy, would oblige us to be just to the _Priesthood_. For
+_Priests_, and Religion always stand and fall together; Now Religion is the
+Basis of Government, and Man is a wretched Companion without it. When
+Conscience takes its Leave, Good Faith, and Good Nature goes with it.
+_Atheism_ is all Self, Mean and Mercenary. The _Atheist_ has no
+_Hereafter_, and therefore will be sure to make the most of this World.
+Interest, and Pleasure, are the Gods he Worships, and to these he'll
+Sacrifice every Thing else.
+
+III. The _Priest-hood_ ought to be fairly treated, because it has
+prescription for this Privilege. This is so evident a Truth,  that there is
+hardly any Age or Country, but affords sufficient Proof. A just Discourse
+upon this Subject would be a large Book, but I shall just skim it over and
+pass on. and
+
+_1st._ For the Jews. _Josephus_ tells us the Line of _Aaron_ made some of
+the best Pedigrees, and that the _Priests_ were reckon'd among the
+Principal Nobility.[267]
+
+By the Old _Testament_ we are inform'd that the _High-Priest_ was the
+Second Person in the Kingdom.[268] The Body of that _Order_ had Civil
+Jurisdiction. And the _Priests_ continued Part of the Magistracy in the
+time of our Saviour. _Jehoiada_ the _High-Priest_ was thought an Alliance
+big enough for the Royal Family.[269] He Married the Kings Daughter; His
+Interest and Authority was so great that he broke the Usurpation under
+_Athalia_; and was at the Head of the Restauration. And lastly the
+_Assamonean_ Race were both Kings and Priests.[270]
+
+To Proceed. The _Ægyptian_  Monarchy was one of the most antient and best
+polish'd upon Record. Here Arts and Sciences, the Improvment of Reason, and
+the Splendor of Life had its first Rise. Hither 'twas that _Plato_ and most
+of the Celebrated Philosophers travel'd for their Learning. Now in this
+Kingdom the _Priests_ made no vulgar Figure. These with the Military Men
+were the Body of the Nobility, and Gentry. Besides the Business of
+Religion, the _Priests_ were the Publick _Annalists_ and kept the Records
+of _History_, and _Government_. They were many of them bred in Courts,
+formed the Education of their Princes, and assisted at their Councils.[271]
+When _Joseph_ was Viceroy of _Ægypt_, and in all the height of his Pomp,
+and Power, the King Married him to the Daughter of _Potipherah Priest_ of
+_On_. The Text says _Pharaoh gave him her to Wife_.[272] This shows the
+Match was deliberate Choice, and Royal Favour, no stooping of Quality, or
+Condescensions of Love, on _Joseph_'s Side.
+
+To pass on. The _Persian Magi_, and the _Druids_, of _Gaul_ were of a
+Religious Profession, and consign'd to the Service of the Gods. Now all
+these were at the upper End of the Government, and had a great share of
+Regard and Authority.[273] The Body of the _Indians_ as _Diodorus Siculus_
+reports is divided into Seven parts. The first is the _Clan_ of the
+_Bramines_, the _Priests_, and Philosophers of that Country. 'This Division
+is the least in Number, but the first in Degree. Their Privileges are
+extraordinary. They are exempted from Taxes, and Live Independent of
+Authority. They are called to the Sacrifices, and take care of Funerals;
+They are look'd on as the Favourites of the Gods, and thought skillful in
+the Doctrins of an other Life: And upon these accounts are largely
+consider'd in Presents, and Acknowledgment. The _Priestesses_ of _Argos_
+were so Considerable, that _Time_ is dated from them, and they stand for a
+Reign in _Chronology_.[274] The Brave _Romans_ are commended by _Polybius_
+for their Devotion to the Gods; Indeed they gave great Proof of their being
+in earnest; For when thier Cheif Magistrates, their Consuls themselves, met
+any of the _Vestals_, they held down their _Fasces_, and stoop'd their
+_Sword_ and _Mace_ to Religion.[275]
+
+The _Priest-hood_ was for sometime confin'd to the _Patrician_ Order, that
+is to the Upper Nobility. And afterwards the _Emperours_ were generally
+_High-Priests_ themselves. The Romans in distress endeavour'd to make
+Friends with _Coriolanus_ whom they had banish'd before. To this purpose
+they furnish'd out several _Solemn_ Embasayes. Now the Regulation of the
+Ceremony, and the Remarks of the Historian;[276] plainly discover that the
+_Body_ of the _Priests_ were thought not inferior to any other. One
+Testimony from _Tully_ and I have done. 'Tis in his Harangue to the College
+of the _Priests_.[277] _Cum multa divinitus, Pontifices, a majoribus
+nostris inventa atque instituta sunt; tum nihil preclarius quam quòd vos
+eosdem et Religionibus Deorum immortalium, & summe Rei publicæ præesse
+voluerunt._ &c. _i. e. Amongst the many laudable Instances of our Ancestors
+Prudence, and Capacity, I know nothing better contrived then their placing
+your Order at the Helm, and setting the same Persons at the Head both of
+Religion, and Government._ Thus we see what _Rank_ the _Priest-hood_ held
+among the _Jews_, and how Nature taught the _Heathen_ to regard it. And is
+it not now possess'd of as fair pretences as formerly? Is Christianity any
+disadvantage to the Holy Office. And does the Dignity of a Religion lessen
+the Publick Administrations in't? The _Priests of the most High God_ and of
+_Idolatry_, can't be compared without Injury. To argue for the Preference
+is a Reflection upon the _Creed_. 'Tis true the _Jewish Priest-hood_ was
+instituted by God: But every Thing Divine is not of Equal Consideration.
+_Realities_ are more valuable than _Types_; And as the Apostle argues, the
+_Order_ of _Melchizedeck_ is greater than that of _Aaron_.[278] The Author,
+(I mean the immediate one,) the Authorities, the Business, and the End, of
+the _Christian Priest-hood_, are more Noble than those of the _Jewish_. For
+is not _Christ_ greater than _Moses_, _Heaven_ better than the Land of
+_Canaan_, and the _Eucharist_ to be prefer'd to all the _Sacrifices_, and
+_Expiations_ of the _Law_? Thus the Right, and the Reason of Things stands.
+And as for _Fact_, the Christian World have not been backward in their
+Acknowledgments. Ever since the first Conversion of Princes, the
+_Priest-hood_ has had no small share of Temporal Advantage. The _Codes_,
+_Novels_, and _Church History_, are Sufficient Evidence what Sense
+_Constantine_ and his Successors had of these Matters. But I shall not
+detain the _Reader_ in remote Instances.
+
+To proceed then to Times and Countries more generally known. The People of
+_France_ are branched into three Divisions, of these the _Clergy_, are the
+First. And in consequence of this Privilege, at the Assembly of the
+_States_, they are first admitted to Harangue before the King.[279]
+
+In _Hungary_ the _Bishops_ are very Considerable, and some of them great
+Officers of _State_.[280] In _Poland_ they are _Senators_ that is part of
+the Upper _Nobless_. In _Muscovy_ the _Bishops_ have an Honourable Station;
+and the Present Czar is descended from the _Patriarchal_ Line.[281] I
+suppose I need say nothing of _Italy_. In _Spain_ the _Sees_ generally are
+better endowed than elswhere, and Wealth alwaies draws Consideration.[282]
+The _Bishops_ hold their Lands by a Military Noble _Tenure_, and are
+excused from Personal Attendance. And to come toward an end; They are Earls
+and Dukes in _France_, and Soveraign Princes, in _Germany_.[283] In
+_England_ the _Bishops_ are Lords of Parliament: And the _Law_ in plain
+words distinguishes the _Upper House_ into the _Spiritual_ and _Temporal
+Nobility_. And several _Statutes_ call the Bishops _Nobles_ by direct
+Implication.[284] To mention nothing more, their _Heraldry_ is regulated by
+_Garter_, and _Blazon'd_ by _Stones_, which none under the _Nobility_ can
+pretend to. In this Country of ours, Persons of the First Quality have been
+in _Orders_; To give an Instance of some few. _Odo_ Brother to _William_
+the _Conquerour_ was _Bishop_ of _Baieux_, and Earl of _Kent_. King
+_Stephens_ Brother was _Bishop_ of _Winchester_. _Nevill Arch-Bishop_ of
+_York_ was Brother to the Great Earl of _Warwick_, and _Cardinal Pool_ was
+of the Royal Family. To come a little lower, and to our own Times. And here
+we may reckon not a few Persons of Noble Descent in Holy _Orders_. Witness
+the _Berklyes_, _Comptons_, _Montagues_, _Crews_, and _Norths_; The
+_Annesleys_, _Finches_, _Grayhams_ &c. And as for the Gentry, there are not
+many good Families in _England_, but either have, or have had a
+_Clergy-man_ in them,
+
+In short; The _Priest-hood_ is the profession of a Gentleman. A _Parson_
+notwithstanding the ignorant Pride of some People, is a Name of Credit, and
+Authority, both in Religion, and _Law_. The _Addition_ of _Clerk_ is at
+least equal to that of Gentleman. Were it otherwise the _Profession_ would
+in many cases be a kind of Punishment. But the _Law_ is far from being so
+singular as to make _Orders_ a Disadvantage to _Degree_. No, The Honour of
+the Family continues, and the _Heraldry_ is every jot as safe in the
+_Church_, as 'twas in the _State_. And yet when the _Laity_ are taken leave
+of, not _Gentleman_ but _Clerk_ is usually written. This Custom is an
+argument the Change is not made for the worse, that the Spiritual
+Distinction is as valuable as the other; And to speak Modestly, that the
+first _Addition_ is not lost, but Cover'd. Did the Subject require it, this
+Point might be farther made good. For the stile of a higher Secular Honour
+is continued as well with _Priest-hood_ as without it. A Church-man who is
+either _Baronet, or Baron_, writes himself so, notwithstanding His
+_Clerkship_. Indeed we can't well imagine the Clergy degraded from Paternal
+Honour without a strange Reflection on the Country; without supposing
+_Julian_ at the Helm, the _Laws_ Antichristian, and _Infidelity_ in the
+very _Constitution_. To make the Ministers of Religion less upon the score
+of their Function, would be a Penalty on the _Gospel_, and a contempt of
+the God of Christianity. 'Tis our Saviours reasoning; _He that despises
+you, despises Me, and he that Despises Me, Despises Him that sent me._[285]
+
+I hope what I have offer'd on this Subject will not be misunderstood. There
+is no Vanity in necessary Defence. To wipe off Aspersions, and rescue
+Things from Mistake, is but bare Justice: Besides, where the Honour of God,
+and the Publick Interest are concern'd, a Man is bound to speak. To argue
+from a resembling Instance. He that has the Kings Commission ought to
+Maintain it. To let it suffer under Rudeness is to betray it. To be tame
+and silent in such cases, is not Modesty but Meanness, Humility obliges no
+Man to desert his Trust; To throw up his Privilege, and prove false to his
+Character. And is our Saviours Authority inferiour to that of Princes? Are
+the Kingdoms of this World more Glorious than that of the next? And can the
+Concerns of Time be greater than those of Eternity? If not, the reasoning
+above mention'd must hold in the Application.
+
+And now by this time I conceive the ill Manners of the _Stage_ may be in
+some measure apparent; And that the _Clergy_ deserve none of that Coarse
+Usage which it puts upon them. I confess I know no _Profession_ that has
+made a more creditable Figure, that has better Customs for their
+Privileges, and better Reasons to maintain them. And here setting aside the
+point of Conscience, where lies the Decency of falling foul upon this
+_Order_? What Propriety is there in Misrepresentation? In confounding
+Respects, disguising Features, and painting Things out of all Colour and
+Complexion? This crossing upon Nature and Reason, is great Ignorance, and
+out of Rule. And now what Pleasure is there in Misbehaviour and Abuse? Is
+it such an Entertainment to see Religion worryed by Atheism, and Things the
+most Solemn and Significant tumbled and tost by Buffoons? A Man may laugh
+at a Puppy's tearing a Wardrobe, but I think 'twere altogether as discreet
+to beat him off. Well! but the _Clergy_ mismanage sometimes, and they must
+be told of their Faults. What then? Are the _Poets_ their _Ordinaries_? Is
+the _Pulpit_ under the Discipline of the _Stage_? And are those fit to
+correct the Church, that are not fit to come into it? Besides, What makes
+them fly out upon the _Function_; and rail by wholesale? Is the
+_Priesthood_ a crime, and the service of God a disadvantage? I grant
+Persons and Things are not always suited. A good _Post_ may be ill kept,
+but then the Censure should keep close to the Fault, and the Office not
+suffer for the Manager. The _Clergy_ may have their Failings sometimes like
+others, but what then? The _Character_ is still untarnish'd. The _Men_ may
+be Little, but the _Priests_ are not so. And therefore like other People,
+they ought to be treated by their best Distinction.
+
+If 'tis Objected that the _Clergy_ in _Plays_ are commonly _Chaplains_, And
+that these _Belonging_ to Persons of Quality they were obliged to represent
+them servile and submissive. To this I Answer
+
+_1st._ In my former remark, that the _Stage_ often outrages the whole
+_Order_, without regard to any particular Office. But were it not so in the
+
+_2d._ Place, They quite overlook the Character, and mistake the Business of
+_Chaplains_. They are no _Servants_, neither do they _Belong_ to any
+_Body_, but God Almighty. This Point I have fully proved in another,
+_Treatise_,[286] and thither I refer the _Reader_.
+
+
+
+
+CHAP. IV.
+
+_The Stage-Poets make their Principal Persons Vitious, and reward them at
+the End of the Play._
+
+
+The Lines of Virtue and Vice are Struck out by Nature in very Legible
+Distinctions; They tend to a different Point, and in the greater Instances
+the Space between them is easily perceiv'd. Nothing can be more unlike than
+the Original Forms of these Qualities: The First has all the sweetness,
+Charms, and Graces imaginable; The other has the Air of a _Post_ ill Carved
+into a _Monster_, and looks both foolish and Frightful together. These are
+the Native Appearances of good and Evil: And they that endeavour to blot
+the Distinctions, to rub out the Colours, or change the Marks, are
+extreamly to blame. 'Tis confessed as long as the Mind is awake, and
+Conscience goes true, there's no fear of being imposed on. But when Vice is
+varnish'd over with Pleasure, and comes in the Shape of Convenience, the
+case grows somewhat dangerous; for then the Fancy may be gain'd, and the
+Guards corrupted, and Reason suborn'd against it self. And thus a
+_Disguise_ often passes when the Person would otherwise be stopt. To put
+_Lewdness_ into a Thriving condition, to give it an Equipage of Quality,
+and to treat it with Ceremony and Respect, is the way to confound the
+Understanding, to fortifie the Charm, and to make the Mischief invincible.
+Innocence is often owing to Fear, and Appetite is kept under by Shame; But
+when these Restraints are once taken off, when Profit and Liberty lie on
+the same side, and a Man can Debauch himself into Credit, what can be
+expected in such a case, but that Pleasure should grow Absolute, and
+Madness carry all before it? The _Stage_ seem eager to bring Matters to
+this Issue; They have made a considerable progress, and are still pushing
+their Point with all the Vigour imaginable. If this be not their Aim why is
+_Lewdness_ so much consider'd in Character and Success? Why are their
+Favourites Atheistical, and their fine Gentleman debauched? To what purpose
+is _Vice_ thus prefer'd, thus ornamented, and caress'd, unless for
+Imitation? That matter of Fact stands thus, I shall make good by several
+Instances: To begin then with their Men of Breeding and Figure.
+_Wild-blood_ sets up for _Debauchery_, Ridicules Marriage, and Swears by
+_Mahomet_.[287] _Bellamy_ makes sport with the Devil,[288] and _Lorenzo_ is
+vitious and calls his Father _Bawdy Magistrate.[289] Horner_ is horridly
+Smutty, and _Harcourt_ false to his Friend who used him kindly.[290] In the
+_Plain Dealer_ _Freeman_ talks coarsely, cheats the Widdow, debauches her
+Son, and makes him undutiful. _Bellmour_ is Lewd and Profane,[291] And
+_Mellefont_ puts _Careless_ in the best way he can to debauch _Lady
+Plyant_.[292] These _Sparks_ generally Marry up the Top Ladys, and those
+that do not, are brought to no Pennance, but go off with the Character of
+Fine Gentlemen: In _Don-Sebastian_, _Antonio_ an Atheistical Bully is
+rewarded with the Lady _Moraima_, and half the _Muffty_'s Estate.
+_Valentine_ in _Love for Love_ is (if I may so call him) the Hero of the
+_Play_;[293] This Spark the _Poet_ would pass for a Person of Virtue, but
+he speaks to late. 'Tis true, He was hearty in his Affection to _Angelica_.
+Now without question, to be in Love with a fine Lady of 30000 Pounds is a
+great Virtue! But then abating this single Commendation, _Valentine_ is
+altogether compounded of Vice.[294] He is a prodigal Debauchee, unnatural,
+and Profane, Obscene, Sawcy, and undutiful, And yet this Libertine is
+crown'd for the Man of Merit, has his Wishes thrown into his Lap, and makes
+the Happy _Exit_. I perceive we should have a rare set of _Virtues_ if
+these _Poets_ had the making of them! How they hug a Vitious Character, and
+how profuse are they in their Liberalities to Lewdness? In the _Provoked
+Wife_, _Constant_ Swears at Length, solicits Lady _Brute_, Confesses
+himself Lewd, and prefers Debauchery to Marriage. He handles the last
+Sybject very notably and worth the Hearing. _There is_ (says he) _a poor
+sordid Slavery in Marriage, that turns the flowing Tide of Honour, and
+sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature,
+Avarice, Sloth, Cowardize, and Dirt, are all its Product_.--But then
+_Constancy (alias Whoring) is a Brave, Free, Haughty, Generous, Agent_.
+This is admirable stuff both for the Rhetorick and the Reason![295] The
+Character _Young Fashion_ in the _Relapse_ is of the same Staunchness, but
+this the _Reader_ may have in another Place.
+
+To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing,
+Smutty, Atheistical Man. These Qualifications it seems compleat the _Idea_
+of Honour. They are the Top-Improvements of Fortune, and the distinguishing
+Glories of Birth and Breeding! This is the _Stage-Test_ for _Quality_, and
+those that can't stand it, ought to be _Disclaim'd_. The Restraints of
+Conscience and the Pedantry of Virtue, are unbecoming a Cavalier: Future
+Securities, and Reaching beyond Life, are vulgar Provisions: If he falls a
+Thinking at this rate, he forfeits his Honour; For his Head was only made
+to run against a Post! Here you have a Man of Breeding and Figure that
+burlesques the _Bible_, Swears, and talks Smut to Ladies, speaks ill of his
+Friend behind his Back, and betraies his Interest. A fine Gentleman that
+has neither Honesty, nor Honour, Conscience, nor Manners, Good Nature, nor
+civil Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of
+Religion and the Scandals of Conversation. These Worshipful Things are the
+_Poets_ Favourites: They appear at the Head of the _Fashion_; and shine in
+Character, and Equipage. If there is any Sense stirring, They must have it,
+tho' the rest of the _Stage_ suffer never so much by the Partiality. And
+what can be the Meaning of this wretched Distribution of Honour? Is it not
+to give Credit and Countenance to Vice, and to shame young People out of
+all pretences to Conscience, and Regularity? They seem forc'd to turn Lewd
+in their own Defence: They can't otherwise justifie themselves to the
+Fashion, nor keep up the Character of Gentlemen: Thus People not well
+furnish'd with Thought, and Experience, are debauch'd both in Practise and
+Principle. And thus Religion grows uncreditable, and passes for ill
+Education. The _Stage_ seldom gives Quarter to any Thing that's serviceable
+or Significant, but persecutes Worth, and Goodness under every Appearance.
+He that would be safe from their Satir must take care to disguise himself
+in Vice, and hang out the _Colours_ of Debauchery. How often is Learning,
+Industry, and Frugality, ridiculed in Comedy? The rich Citizens are often
+Misers, and Cuckolds, and the _Universities_, Schools of Pedantry upon this
+score. In short, Libertinism and Profaness, Dressing, Idleness, and
+Gallantry, are the only valuable Qualities. As if People were not apt
+enough of themselves to be Lazy, Lewd, and Extravagant, unless they were
+prick'd forward, and provok'd by Glory, and Reputation. Thus the Marks of
+Honour, and Infamy are misapplyed, and the Idea's of Virtue and Vice
+confounded. Thus Monstrousness goes for Proportion, and the Blemishes of
+Human Nature, make up the Beauties of it.
+
+The fine Ladies are of the same Cut with the Gentlemen; _Moraima_ is
+scandalously rude to her Father, helps him to a beating, and runs away with
+_Antonio_.[296] _Angelica_ talks sawcily to her Uncle,[297] and _Belinda_
+confesses her Inclination for a Gallant.[298] And as I have observ'd
+already,[299] the Toping Ladies in the _Mock Astrologer_, _Spanish Fryar_,
+_Country Wife_, _Old Batchelour_, _Orphan_, _Double Dealer_, and _Love
+Triumphant_, are smutty, and sometimes Profane.
+
+And was Licentiousness and irreligion, alwaies a mark of Honour? No; I
+don't perceive but that the old _Poets_ had an other Notion of
+Accomplishment, and bred their people of Condition a different way.
+_Philolaches_ in _Plautus_ laments his being debauch'd; and dilates upon
+the Advantages of Virtue, and Regularity.[300] _Lusiteles_ another Young
+Gentleman disputes handsomly by himself against Lewdness. And the discourse
+between him and _Philto_ is Moral, and well managed.[301] And afterwards he
+lashes Luxury and Debauching with a great deal of Warmth, and Satir.[302]
+_Chremes_ in _Terence_ is a modest young Gentleman, he is afraid of being
+surpriz'd by _Thais_, and seems careful not to sully his Reputation.[303]
+And _Pamphilus_ in _Hecyra_ resolves rather to be govern'd by Duty, than
+Inclination.[304]
+
+_Plautus_'s _Pinacium_ tells her Friend _Panegyric_ that they ought to
+acquit themselves fairly to their Husbands, tho' These should fail in their
+Regards towards them.[305] For all good People will do justice tho' they
+don't receive it. Lady _Brute_ in the _Provok'd Wife_ is govern'd by
+different maxims. She is debauch'd with ill Usage, says _Virtue is an Ass,
+and a Gallant's worth forty on't_.[306] _Pinacium_ goes on to another Head
+of Duty, and declares that a Daughter can never respect her Father too
+much, and that Disobedience has a great deal of scandal, and Lewdness
+in't.[307] The Lady _Jacinta_ as I remember does not treat her Father at
+this rate of Decency. Let us hear a little of her Behaviour. The _Mock
+Astrologer_ makes the Men draw, and frights the Ladys with the Apprehension
+of a Quarrel. Upon this; _Theodosia_ crys _what will become of us!_
+_Jacinta_ answers, _we'll die for Company: nothing vexes me but that I am
+not a Man, to have one thrust at that malicious old Father of mine, before
+I go_.[308] Afterwards the old Gentleman _Alonzo_ threatens his Daughters
+with a Nunnery. _Jacinta_ spars again and says, _I would have thee to know
+thou graceless old Man, that I defy a Nunnery: name a Nunnery once more and
+I disown thee for my Father_.[309] I could carry on the Comparison between
+the old and Modern Poets somewhat farther. But this may suffice.
+
+Thus we see what a fine time Lewd People have on the _English Stage_. No
+Censure, no mark of Infamy, no Mortification must touch them. They keep
+their Honour untarnish'd, and carry off the Advantage of their Character.
+They are set up for the Standard of Behaviour, and the Masters of Ceremony
+and Sense. And at last that the Example may work the better, they generally
+make them rich, and happy, and reward them with their own Desires.
+
+Mr. _Dryden_ in the _Preface_ to his _Mock-Astrologer_, confesses himself
+blamed for this Practise. _For making debauch'd Persons his_ Protagonists,
+_or chief Persons of the Drama; And, for making them happy in the
+Conclusion of the Play, against the Law of Comedy, which is to reward
+Virtue, and punish Vice_. To this Objection He makes a lame Defence. And
+answers
+
+_1st._ _That he knows no such Law constantly observ'd in Comedy by the
+Antient or Modern Poets._ What then? _Poets_ are not always exactly in
+Rule. It may be a good Law tho' 'tis not constantly observ'd, some Laws are
+constantly broken, and yet ne're the worse for all that. He goes on, and
+pleads the Authorities of _Plautus_, and _Terence_. I grant there are
+Instances of Favour to vitious young People in those Authors, but to this I
+reply
+
+_1st._ That those _Poets_ had a greater compass of Liberty in their
+Religion. Debauchery did not lie under those Discouragements of Scandal,
+and penalty, with them as it does with us. Unless therefore He can prove
+_Heathenism_, and _Christianity_ the same, his _precedents_ will do him
+little service.
+
+_2ly._ _Horace_ who was as good a judge of the _Stage_, as either of those
+_Comedians_, seems to be of another Opinion. He condemns the obscenities of
+_Plautus_, and tells you Men of Fortune and Quality in his time; would not
+endure immodest Satir.[310] He continues, that Poets were formerly admired
+for the great services they did. For teaching Matters relating to Religion,
+and Government; For refining the Manners, tempering the Passions, and
+improving the Understandings of Mankind: For making them more useful in
+Domestick Relations, and the publick Capacities of Life.[311] This is a
+demonstration that Vice was not the Inclination of the Muses in those days;
+and that _Horace_ beleiv'd the chief business of a _Poem_ was, to Instruct
+the Audience. He adds farther that the _Chorus_ ought to turn upon the
+Argument of the _Drama_, and support the Design of the _Acts_. That They
+ought to speak in Defence of Virtue, and Frugality, and show a Regard to
+Religion. Now from the Rule of the _Chorus_, we may conclude his Judgment
+for the _Play_. For as he observes, there must be a Uniformity between the
+_Chorus_ and the _Acts_: They must have the same View, and be all of a
+Piece. From hence 'tis plain that _Horace_ would have no immoral
+_Character_ have either Countenance or good Fortune, upon the _Stage_. If
+'tis said the very mention of the _Chorus_ shews the Directions were
+intended for _Tragedy_. To this
+
+I answer, that the Consequence is not good. For the use of a _Chorus_ is
+not inconsistent with _Comedy_. The antient _Comedians_ had it.
+_Aristophanes_ is an Instance. I know 'tis said the _Chorus_ was left out
+in that they call the _New Comedy_. But I can't see the conclusiveness of
+this Assertion. For _Aristophanes_ his _Plutus_ is _New Comedy_ with a
+_Chorus_ in't.[312] And _Aristotle_ who lived after this Revolution of the
+_Stage_, mentions nothing of the Omission of the _Chorus_. He rather
+supposes its continuance by saying the _Chorus was added by the Government
+long after the Invention of Comedy_.[313] 'Tis true _Plautus_ and _Terence_
+have none, but those before them probably might. _Moliere_ has now reviv'd
+them,[314] And _Horace_ might be of his Opinion, for ought wee know to the
+contrary.
+
+_Lastly._ _Horace_ having expresly mentioned the beginning and progress of
+_Comedy_, discovers himself more fully: He advises a _Poet_ to form his
+Work upon the Precepts of _Socrates_ and _Plato_, and the Models of Moral
+Philosophy. This was the way to preserve Decency, and to assign a proper
+Fate and Behaviour to every _Character_.[315] Now if _Horace_ would have
+his _Poet_ govern'd by the Maxims of Morality, he must oblige him to
+Sobriety of Conduct, and a just distribution of Rewards, and Punishments.
+
+Mr. _Dryden_ makes Homewards, and endeavours to fortifie himself in Modern
+Authority. He lets us know that _Ben Johnson after whom he may he proud to
+Err, gives him more than one example of this Conduct_;[316] _That in the_
+Alchemist _is notorius_, where neither _Face_ nor his _Master_ are
+corrected according to their Demerits. But how Proud soever Mr. _Dryden_
+may be of an Errour, he has not so much of _Ben Jonson_'s company as he
+pretends. His Instance of _Face &c._ in the _Alchemist_ is rather
+_notorious_ against his Purpose then for it.
+
+For _Face_ did not Council his Master _Lovewit_ to debauch the Widdow;
+neither is it clear that the Matter went thus far. He might gain her
+consent upon Terms of Honour for ought appears to the contrary. 'Tis true
+_Face_ who was one of the Principal Cheats is Pardon'd and consider'd. But
+then his Master confesses himself kind to a fault. He owns this Indulgence
+was a Breach of Justice, and unbecoming the Gravity of an old Man. And then
+desires the Audience to excuse him upon the Score of the Temptation. But
+_Face continued, in the Cousenage till the last without Repentance_.[317]
+Under favour I conceive this is a Mistake. For does not _Face_ make an
+Apology before he leaves the _Stage_? Does he not set himself at the _Bar_,
+arraign his own Practise, and cast the Cause upon the Clemency of the
+Company? And are not all these Signs of the Dislike of what he had done?
+Thus careful the _Poet_ is to prevent the Ill Impressions of his _Play_! He
+brings both Man and Master to Confession. He dismisses them like
+Malefactours; And moves for their Pardon before he gives them their
+Discharge. But the _Mock-Astrologer_ has a gentler Hand: _Wild-Blood_ and
+_Jacinta_ are more generously used: There is no Acknowledgment exacted; no
+Hardship put upon them: They are permitted to talk on in their Libertine
+way to the Last: And take Leave without the least Appearance of
+Reformation. The _Mock-Astrologer_ urges _Ben Johnson's_ _Silent Woman_ as
+an other _Precedent_ to his purpose. For _there_ Dauphine _confesses
+himself in Love with all the Collegiate Lady's_. _And yet this naughty_
+Dauphine _is Crowned in the end with the Possession of his Uncles Estate,
+and with the hopes of all his Mistresses_.[318] This Charge, as I take it,
+is somewhat too severe. I grant _Dauphine_ Professes himself in Love with
+the Collegiate Ladies at first. But when they invited him to a private
+Visit, he makes them no Promise; but rather appears tired, and willing to
+disengage. _Dauphine_ therefore is not altogether so naughty as this Author
+represents him.
+
+_Ben Johnson's_ _Fox_ is clearly against Mr. _Dryden_. And here I have his
+own Confession for proof. He declares the _Poets end in this Play was the
+Punishment of Vice, and the Reward of Virtue_.[319] _Ben_ was forced to
+strain for this piece of Justice, and break through the _Unity of Design_.
+This Mr. _Dryden_ remarks upon him: How ever he is pleased to commend the
+Performance, and calls it an excellent _Fifth Act_.
+
+_Ben Johnson_ shall speak for himself afterwards in the Character of a
+Critick; In the mean time I shall take a Testimony or two from
+_Shakespear_. And here we may observe the admir'd _Falstaffe_ goes off in
+Disappointment. He is thrown out of Favour as being a _Rake_, and dies like
+a Rat behind the Hangings. The Pleasure he had given, would not excuse him.
+The _Poet_ was not so partial, as to let his Humour compound for his
+Lewdness. If 'tis objected that this remark is wide of the Point, because
+_Falstaffe_ is represented in Tragedy, where the Laws of Justice are more
+strickly observ'd, To this I answer, that you may call _Henry_ the Fourth
+and Fifth, Tragedies if you please. But for all that, _Falstaffe_ wears no
+_Buskins_, his Character is perfectly Comical from end to end.
+
+The next Instance shall be in _Flowerdale_ the _Prodigal_. This Spark
+notwithstanding his Extravagance, makes a lucky Hand on't at last, and
+marries a rich Lady.[320] But then the Poet qualifies him for his good
+Fortune, and mends his Manners with his Circumstances. He makes him repent,
+and leave off his Intemperance, Swearing _&c._ And when his Father warn'd
+him against a Relapse, He answers very soberly,
+
+  _Heaven helping me I'le hate the Course of Hell._
+
+I could give some instances of this kind out of _Beaumount_ and _Fletcher_,
+But there's no need of any farther Quotation; For Mr. _Dryden_ is not
+satisfied with his Apology from Authority: He does as good as own that this
+may be construed no better than defending one ill practise by another. To
+prevent this very reasonable objection he endeavours to vindicate his
+_Precedents_ from the Reason of the Thing. To this purpose he _makes a wide
+difference between the Rules of Tragedy and Comedy. That Vice must be
+impartially prosecuted in the first, because the Persons are Great &c._
+
+It seems then _Executions_ are only for _Greatness_; and _Quality_.
+_Justice_ is not to strike much _lower_ than a _Prince_. _Private People_
+may do what they _please_. They are too _few_ for _Mischief_, and too
+_Little_ for _Punishment_! This would be admirable Doctrine for _Newgate_,
+and give us a general _Goal-Delivery_ without more ado. But in _Tragedy_
+(says the _Mock Astrologer_.) _the Crimes are likewise Horrid_, so that
+there is a necessity for Severity and Example. And how stands the matter in
+_Comedy_? Quite otherwise. There the _Faults are but the follies of Youth,
+and the Frailties of Human Nature_.[321] For Instance. There is nothing but
+a little Whoring, Pimping, Gaming, Profaness _&c_, And who could be so hard
+hearted to give a Man any Trouble for This? Such Rigours would be strangely
+Inhumane! A _Poet_ is a better natur'd Thing I can assure you. These little
+Miscarrages _move Pity and Commiseration, and are not such as must of
+necessity be Punish'd_.[322] This is comfortable Casuistry! But to be
+Serious. Is Dissolution of Manners such a Peccadillo? Does a Profligate
+Conscience deserve nothing but Commiseration? And are People damn'd only
+for _Humane Frailties_? I perceive the Laws of Religion and those of the
+_Stage_ differ extreamly! The strength of his Defence lies in this choice
+Maxim, that the _Cheif End of Comedy is Delight_. He questions _whether
+Instruction has any thing to do in Comedy_; If it has, he is sure _'tis no
+more then its secondary end_: _For the business of the Poet is to make you
+laugh_.[323] Granting the Truth of this Principle, I somewhat question the
+serviceableness of it. For is there no Diversion to be had unless Vice
+appears prosperous, and rides at the Head of Success. One would think such
+a preposterous, distribution of Rewards, should rather shock the Reason,
+and raise the Indignation of the _Audience_. To laugh without reason is the
+Pleasure of Fools, and against it, of something worse. The exposing of
+Knavery, and making _Lewdness_ ridiculous, is a much better occasion for
+Laughter. And this with submission I take to be the End of _Comedy_. And
+therefore it does not differ from _Tragedy_ in the End, but in the _Means_.
+Instruction is the principal Design of both. The one works by Terror, the
+other by Infamy. 'Tis true, they don't move in the same Line, but they meet
+in the same point at last. For this Opinion I have good Authority, besides
+what has been cited already.
+
+_1st._ Monsieur _Rapin_ affirms 'That Delight is the End that Poetry aims
+at, but not the Principal one. For Poetry being an Art, ought to be
+profitable by the quality of it's own nature, and by the Essential
+Subordination that all Arts should have to Polity, whose End in General is
+the publick Good. This is the Judgment of _Aristotle_ and of _Horace_ his
+chief Interpreter.[324] _Ben Johnson_ in his Dedicatory Epistle of his
+_Fox_ has somewhat considerable upon this Argument; And declaims with a
+great deal of zeal, spirit, and good Sense, against the Licentiousness of
+the _Stage_. He lays it down for a Principle, 'That 'tis impossible to be a
+good _Poet_ without being a good _Man_. That he (a good Poet) is said to be
+able to inform Young Men to all good Discipline, and enflame grown Men to
+all great Virtues &c.--That the general complaint was that the _Writers_ of
+those days had nothing remaining in them of the Dignity of a _Poet_, but
+the abused Name. That now, especially in Stage Poetry, nothing but
+Ribaldry, Profanation, _Blasphemy_, all Licence of Offence to God and Man,
+is practised. He confesses a great part of this Charge is over-true, and is
+sorry he dares not deny it. But then he hopes all are not embark'd in this
+bold Adventure for Hell. For my part (says he) I can, and from a most clear
+Conscience affirm; That I have ever trembled to think towards the least
+Profaness, and loath'd the Use of such foul, and unwash'd Bawdry, as is now
+made the Food of the _Scene_.--The encrease of which Lust in Liberty, what
+Learned or Liberal Soul does not abhor? In whole _Enterludes_ nothing but
+the Filth of the Time is utter'd--with Brothelry able to violate the Ear of
+a _Pagan_, and Blasphemy, to turn the Blood of a Christian to Water. He
+continues, that the Insolence of these Men had brought the _Muses_ into
+Disgrace, and made _Poetry_ the lowest scorn of the Age. He appeals to his
+Patrons the _Universities_, that his Labour has been heretofore, and mostly
+in this his latest Work, to reduce not only the antient Forms, but Manners
+of the _Scene_, the Innocence and the Doctrine, which is the Principal End
+of Poesy, to inform Men in the best Reason of Living.' Lastly he adds, that
+'he has imitated the Conduct of the Antients in this _Play_, The goings out
+(or Conclusions) of whose _Comedies_, were not always joyful but oft-times
+the Bawds, the Slaves, the Rivals, ye and the Masters are multed, and
+fitly, it being the Office of a _Comick Poet_ (mark that!) to imitate
+Justice, and Instruct to Life _&c._' Say you so! Why then if _Ben Johnson_
+knew any thing of the Matter, Divertisment and Laughing is not as Mr.
+_Dryden_ affirms, the _Chief End_ of _Comedy_. This Testimony is so very
+full and clear, that it needs no explaining, nor any enforcement from
+Reasoning, and Consequence.
+
+And because Laughing and Pleasure has such an unlimited Prerogative upon
+the _Stage_, I shall add a Citation or two from _Aristotle_ concerning this
+Matter. Now this great Man 'calls those Buffoons, and Impertinents, who
+rally without any regard to Persons or Things, to Decency, or good Manners.
+That there is a great difference between Ribaldry, and handsom Rallying. He
+that would perform exactly, must keep within the Character of Virtue, and
+Breeding. He goes on, and tells us that the old Comedians entertain'd the
+Audience with Smut, but the Modern ones avoided that Liberty, and grew more
+reserv'd. This latter way he says was much more proper and Gentile then the
+other. That in his Opinion Rallying, no less than Railing, ought to be
+under the Discipline of Law; That he who is ridden by his _Jests_, and
+minds nothing but the business of _Laughing_, is himself Ridiculous. And
+that a Man of Education and Sense, is so far from going these Lengths that
+he wont so much as endure the hearing some sort of Buffoonry.'[325]
+
+And as to the point of Delight in general, the same Author affirms, 'that
+scandalous Satisfactions are not properly Pleasures. 'Tis only Distemper,
+and false Appetite which makes them palatable. And a Man that is sick,
+seldom has his Tast true. Besides, supposing we throw Capacity out of the
+Question, and make Experiment and Sensation the Judge; Granting this, we
+ought not to chop at every Bait, nor Fly out at every Thing that strikes
+the Fancy. The meer Agreableness must not overbear us, without
+distinguishing upon the Quality, and the Means. Pleasure how charming
+soever, must not be fetched out of Vice. An Estate is a pretty thing, but
+if we purchase by Falshood, and Knavery, we pay too much for't. Some
+Pleasures, are Childish and others abominable; And upon the whole,
+Pleasure, absolutely speaking, is no good Thing.'[326] And so much for the
+Philosopher. And because _Ribaldry_ is used for Sport, a passage or two
+from _Quintilian_, may not be unseasonable. This Orator does not only
+Condemn the grosser Instances, but cuts off all the _Double-Entendre's_ at
+a Blow. He comes up to the Regularity of Thought, and tells us 'that the
+Meaning, as well as the Words of Discourse must be unsullied.'[327] And in
+the same _Chapter_ he adds that 'A Man of Probity has always a Reserve in
+his Freedoms, and Converses within the Rules of Modesty, and Character. And
+that Mirth at the expence of Virtue, is an Over-purchase,' _Nimium enim
+risus pretium est si probitatis impendio constat_.
+
+Thus we see how these great _Masters_ qualify Diversion, and tie it up to
+_Provisoes,_ and Conditions. Indeed to make _Delight_ the main business of
+_Comedy_ is an unreasonable and dangerous Principle. It opens the way to
+all Licentiousness, and Confounds the distinction between Mirth, and
+Madness. For if Diversion is the _Chief End_, it must be had at any Price,
+No serviceable Expedient must be refused, tho' never so scandalous. And
+thus the worst Things are said, and best abus'd; Religion is insulted, and
+the most serious Matters turn'd into Ridicule! As if the Blindside of an
+Audience ought to be caress'd, and their Folly and Atheism entertain'd in
+the first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is
+Poyson'd! For can one die of an easier Disease than Diversion? But Raillery
+apart, certainly Mirth and Laughing, without respect to the Cause, are not
+such supreme Satisfactions! A man has sometimes Pleasure in losing his
+Wits. Frensy, and _Possession_, will shake the Lungs, and brighten the
+Face; and yet I suppose they are not much to be coveted. However, now we
+know the Reason of the Profaness, and Obscenity of the _Stage_, of their
+Hellish Cursing, and Swearing, and in short of their great Industry to make
+God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make
+People Laugh! A most admirable justification! What can be more engaging to
+an _Audience_, then to see a _Poet_ thus Atheistically brave? To see him
+charge up to the Canons Mouth, and defy the Vengeance of Heaven to serve
+them? Besides, there may be somewhat of Convenience in the Case. To fetch
+Diversion out of Innocence is no such easy matter. There's no succeeding it
+may be in this method, without Sweat, and Drudging. Clean Wit, inoffensive
+Humour, and handsom Contrivance, require Time, and Thought. And who would
+be at this Expence, when the Purchase is so cheap another way? 'Tis
+possible a _Poet_ may not alwaies have Sense enough by him for such an
+Occasion. And since we are upon supposals, it may be the _Audience_ is not
+to be gain'd without straining a Point, and giving a Loose to Conscience:
+And when People are sick, are they not to be Humour'd? In sine, We must
+make them Laugh, right or wrong, for _Delight_ is the _Cheif End of
+Comedy_. _Delight!_ He should have said _Debauchery_: That's the English of
+the Word, and the Consequence of the Practise. But the Original Design of
+_Comedy_ was otherwise: And granting 'twas not so, what then? If the _Ends_
+of Thing are naught, they must be mended. Mischief is the Chief end of
+Malice, would it be then a Blemish in Ill Nature to change Temper, and
+relent into Goodness? The Chief _End_ of a Madman it may be is to Fire a
+House, must we not therefore bind him in his Bed? To conclude. If _Delight_
+without Restraint, or Distinction without Conscience or Shame, is the
+Supream Law of _Comedy_, 'twere well if we had less on't. Arbitrary
+Pleasure, is more dangerous than Arbitrary Power. Nothing is more Brutal
+than to be abandon'd to Appetite; And nothing more wretched than to serve
+in such a Design. The _Mock-Astrologer_ to clear himself of this
+Imputation, is glad to give up his Principle at Last. _Least any Man should
+think_ (says He) _that I write this to make Libertinism amiable, or that I
+cared not to debase the end, and Institution of_ Comedy. (It seems then
+_Delight_ is not the Chief end.) _I must farther declare that we make not
+Vitious Persons Happy, but only as Heaven makes Sinners so._ &c. If this
+will hold, all's well. But _Heaven_ does not forgive without Repentance.
+Let us see then what Satisfaction he requires from his _Wild-Blood_, and
+what Discipline he puts him under. Why, He helps him to his Mistress, he
+Marries him to a Lady of Birth and Fortune. And now do you think He has not
+made him an Example, and punish'd him to some Purpose! These are frightful
+Severities! Who would be vitious when such Terrors hang over his Head? And
+does _Heaven make Sinners happy_ upon these Conditions? Sure some People
+have a good Opinion of Vice, or a very ill one of Marriage, otherwise they
+would have Charged the Penance a little more. But I have nothing farther
+with the _Mock-Astrologer_.
+
+And now for the Conclusion of a _Chapter_, I shall give some Instances of
+the _Manners_ of the _Stage_, and that with respect to Poetry, and
+Ceremony. _Manners_ in the Language of Poetry, is a Propriety of Actions,
+and Persons. To succeed in this business, there must always be a regard had
+to Age, Sex, and Condition: And nothing put into the Mouths of Persons
+which disagrees with any of these Circumstances. 'Tis not enough to say a
+witty Thing, unless it be spoken by a likely Person, and upon a Proper
+occasion. But my Design will lead me to this Subject afterwards, and
+therefore I shall say no more of it at present, but proceed to apply the
+Remark.
+
+One Instance of Impropriety in _Manners_ both Poetical and Moral, is their
+making Women, and Women of Quality talk Smuttily. This I have proved upon
+them already, and could cite many more places to the same Purpose were it
+necessary.
+
+But I shall go on, and give the _Reader_ some other examples of Decency,
+Judgment, and Probability. _Don Sebastian_ will help us in some measure.
+Here the _Mufti_ makes a foolish Speech to the Rabble, and jests upon his
+own Religion. He tells them, _tho' your Tyrant is a Lawful Emperour, yet
+your Lawful Emperour is but a Tyrant,----That your Emperour is a Tyrant is
+most Manifest, for you were born to be Turks, but he has play'd the Turk
+with you._ And now is not this Man fit to Manage the _Alcoran_, and to be
+set up for on Oracle of State? _Captain Tom_ should have had this Speech by
+right: But the _Poet_ had a farther Design, and any thing is good enough
+for a _Mufti_.
+
+_Sebastian_ after all the violence of his Repentance, his grasping at self
+Murther, and Resolutions for the _Cell_, is strangely pleased with the
+Remembrance of his _Incest_, and wishes the Repetition of it: And _Almeida_
+out of her Princely Modesty, and singular Compunction, is of the same mind.
+This is somewhat surprising! _Oedipus_ and _Jocasta_ in _Sophocles_ don't
+Repent at this rate. No: The horror of the first Discovery continues upon
+their Spirits: They never relapse into any fits of Intemperance, nor
+entertain themselves with a lewd Memory. This sort of Behaviour is not only
+more Instructive but more Natural too. It being very unlikely one should
+wish the Repeating a Crime, when He was almost Distracted at the thoughts
+on't, At the thoughts on't, tho' 'twas comitted under all the Circumstances
+of excuse. Now when Ignorance and meer Mistake are so very disquieting,
+'tis very strange if a Man should plague his Mind with the Aggravations of
+Knowledge; To carry Aversion, and Desire, in their full strength upon the
+same Object; To fly and pursue with so much eagerness, is somewhat
+Unusual.[328]
+
+If we step to the _Spanish Fryar_ He will afford us a Flight worth the
+observing. 'Tis part of the Addresses of _Torrismond_ to _Leonora_.
+
+  _You are so Beautiful
+  So wondrous Fair, you justifie Rebellion;
+  As if that faultless Face could make no Sin,
+  But Heaven by looking on it must forgive._
+
+These are strange Compliments! _Torrismond_ calls his Queen Rebel to her
+head, when he was both her General and her Lover. This is powerful
+Rhetorick to Court a Queen with! Enough one would think to have made the
+Affair desperate. But he has a Remedy at hand. The _Poets Nostrum_ of
+Profaness cures all. He does as good as tell Her, she may Sin as much as
+she has a mind to. Her Face is a Protection to her Conscience. For Heaven
+is under a necessity to forgive a Handsom Woman. To say all this ought to
+be pass'd over in _Torrismond_ on the score of his Passion, is to make the
+Excuse more scandalous than the Fault, if possible. Such Raptures are fit
+only for _Bedlam_, or a place which I shan't name. _Love Triumphant_ will
+furnish another Rant not altogether inconsiderable. Here _Celadea_ a Maiden
+Lady when she was afraid her Spark would be married to another, calls out
+presently for a _Chaos_. She is for pulling the World about her ears,
+tumbling all the Elements together, and expostulates with Heaven for making
+Humane Nature otherwise than it should have been.
+
+  _Great Nature break thy chain that links together
+  The Fabrick of this Globe, and make a Chaos,
+  Like that within my Soul._----[329]
+
+Now to my fancy, if she had call'd for a _Chair_ instead of a _Chaos_,
+trip'd off, and kept her folly to her self, the Woman had been much wiser.
+And since we have shown our Skill in vaulting on the High Ropes, a little
+_Tumbling_ on the _Stage_, may not do amiss for variety.
+
+Now then for a jest or two. _Don Gomez_ shall begin:[330] And here he'le
+give us a Gingle upon the double meaning of a word.
+
+_I think_, says _Dominick_ the Fryar, _it was my good Angel that sent me
+hither so opportunely_. _Gomez_ suspects him brib'd for no creditable
+business and answers.
+
+Gom. _Ay, whose good Angels sent you hither, that you know best, Father._
+
+These _Spaniards_ will entertain us with more of this fine Raillery.
+Colonel _Sancho_ in _Love Triumphant_ has a great stroak at it. He says his
+Bride _Dalinda_ is no more _Dalinda_, but _Dalilah_ the _Philistine_.[331]
+This Colonel as great a Soldier as he is, is quite puzzled at a _Herald_.
+He _thinks they call him_ Herod, _or some such Jewish Name_. Here you have
+a good Officer spoil'd for a miserable jest.[332] And yet after all, this
+_Sancho_ tho' he can't pronounce _Herald_, knows what 'tis to be
+_Laconick_, which is somewhat more out of his way. _Thraso_ in
+_Terence_[333] was a man of the same size in Sense, but for all that he
+does not quibble. _Albanact_ Captain of the Guards,[334] is much about as
+witty as _Sancho_. It seems _Emmeline_ Heiress to the Duke of _Cornwal_ was
+Blind. _Albanact_ takes the rise of his Thought from hence; And observes
+_that as Blind as she is, Coswald would have no blind Bargain of her_.
+_Carlos_ tells _Sancho_ he is sure of his Mistress,[335] and _has no more
+to do but to take out a License_.
+
+_Sancho_ replies, _Indeed I have her License for it_. _Carlos_ is somewhat
+angry at this Gingle, and cries, _what quibling too in your Prosperity_?
+Adversity it seems is the only time for _punning_. Truly I think so too.
+For 'tis a sign a Man is much Distress'd when he flies to such an
+Expedient. However, _Carlos_ needed not to have been so touchy: For He can
+stoop as low himself upon occasion. We must know then that _Sancho_ had
+made Himself a Hunch'd Back, to counterfeit the _Conde Alonzo_. The two
+Colonels being in the same Disguise, were just upon the edg of a Quarrel.
+After some Preliminaries in Railing, _Sancho_ cries, _Don't provoke me; I
+am mischeivously bent_.
+
+Carlos replies, _Nay, you are_ Bent _enough in Conscience, but I have a_
+Bent Fist _for Boxing_. Here you have a brace of Quibbles started in a Line
+and a half. And which is worst of all, they come from _Carlos_, from a
+_Character_ of Sense; And therefore the poet, not the _Soldier_, must
+answer for them.
+
+I shall now give the _Reader_ a few Instances of the Courtship of the
+_Stage_, and how decently they treat the Women, and _Quality_ of both
+_Sexes_. The _Women_ who are secured from Affronts by Custom, and have a
+Privilege for Respect, are sometimes but roughly saluted by these Men of
+Address. And to bar the Defence, this Coarseness does not alwaies come from
+Clowns, and Women-haters; but from _Persons_ of Figure, neither singular,
+nor ill Bred. And which is still worse, The Satir falls on blindly without
+Distinction, and strikes at the whole _Sex_.
+
+Enter _Raymond_ a Noble-man in the _Spanish Fryar_.[336]
+
+  _O Vertue! Vertue! What art thou become?
+  That men should leave thee for that Toy a woman,
+  Made from the dross and refuse of a Man;
+  Heaven took him sleeping when he made her too,
+  Had Man been waking he had nee'r consented._
+
+I did not know before that a Man's Dross lay in his _Ribs_; I believe
+sometimes it lies Higher. But the Philosophy, the Religion, and the
+Ceremony of these Lines, are too tender to be touched. _Creon_ a Prince in
+_Oedipus_,[337] railes in General at the _Sex_, and at the same time is
+violently in Love with _Euridice_. This upon the Matter, is just as
+natural, as 'tis Civil. If any one would understand what the _Curse of all
+tender hearted Women is, Belmour_ will inform him. What is it then? 'Tis
+the _Pox_.[338] If this be true, the Women had need lay in a stock of ill
+Nature betimes. It seems 'tis their only preservative. It guards their
+Virtue, and their Health, and is all they have to trust to. _Sharper_
+another Man of Sense in this _Play_, talks much at the same rate. _Belinda_
+would know of him _where he got that excellent Talent of Railing_?
+
+Sharp. _Madam the Talent was Born with me.----I confess I have taken care
+to improve it, to qualifie me for the Society of Ladies._[339] _Horner_, a
+Topping _Character_ in the _Country Wife_, is advised to _avoid Women, and
+hate them as they do him_. _He Answers._
+
+_Because I do hate them, and would hate them yet more, I'll frequent e'm;
+you may see by Marriage, nothing makes a Man hate a Woman more than her
+Constant Conversation._[340] There is still something more Coarse upon the
+_Sex_ spoken by _Dorax_[341] but it is a privileged Expression, and as such
+I must leave it. The _Relapse_ mends the Contrivance of the Satir, refines
+upon the Manner, and to make the Discourse the more probable, obliges the
+Ladies to abuse themselves. And because I should be loath to tire the
+_Reader, Berenthia_ shall close the Argument. This Lady having undertook
+the Employment of a _Procuress_, makes this remark upon it to her self.
+
+Berinth. _So here is fine work! But there was no avoiding it.----Besides, I
+begin to Fancy there may be as much Pleasure in carrying on another Bodies
+Intrigue, as ones own. This is at least certain, It exercises almost all
+the Entertaining Faculties of a Woman. For there is Employment for
+Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying._
+
+Let us now see what Quarter the _Stage_ gives to _Quality_. And here we
+shall find them extreamly free, and familiar. They dress up the _Lords_ in
+Nick Names, and expose them in _Characters_ of Contempt. _Lord Froth_ is
+explain'd a _Solemn Coxcomb_;[342] And _Lord Rake_, and _Lord Foplington_
+give you their Talent in their Title.[343] Lord _Plausible_ in the _Plain
+Dealer_ Acts a ridiculous Part, but is with all very civil. He tells _Manly
+he never attempted to abuse any Person_, The other answers; _What? you were
+afraid?_[344] _Manly_ goes on and declares _He would call a Rascal by no
+other Title, tho' his Father had left him a Dukes_.[345] That is, he would
+call a Duke a Rascal. This I confess is very much _Plain Dealing_. Such
+Freedoms would appear but odly in Life, especially without Provocation. I
+must own the _Poet_ to be an Author of good Sense; But under favour, these
+jests, if we may call them so, are somewhat high Season'd, the Humour seems
+overstrain'd, and the _Character_ push'd too far. To proceed. _Mustapha_
+was selling _Don Alvarez_ for a Slave. The Merchant asks _what Virtues he
+has_.[346] _Mustapha_ replies. _Virtues quoth ah! He is of a great Family
+and Rich, what other Virtues would'st thou have in a Nobleman?_ Don
+_Carlos_ in _Love Triumphant_ stands for a Gentleman, and a Man of Sense,
+and out-throws _Mustapha_ a Bars Length. He tells us _Nature has given_
+Sancho _an empty Noddle, but Fortune in revenge has fill'd his Pockets:
+just a Lords Estate in Land and Wit_.[347] This is a handsom Compliment to
+the Nobility! And my Lord _Salisbury_ had no doubt of it a good Bargain of
+the _Dedication_.[348] _Teresa's_ general Description of a Countess is
+considerable in its Kind: But only 'tis in no Condition to appear. In the
+_Relapse_, Sir _Tunbelly_ who had Mistaken Young _Fashion_ for Lord
+_Foplington_, was afterwards undeceiv'd; and before the surprize was quite
+over, puts the Question, _is it then possible that this should be the true
+Lord_ Foplington _at Last_? The Nobleman removes the scruple with great
+Civility and Discretion! _Lord_ Fopl. _Why what do you see in his Face to
+make you doubt of it? Sir without presuming to have an extraordinary
+Opinion of my Figure, give me leave to tell you, if you had seen as many
+Lords as I have done you would not think it Impossible A Person of a worse
+Taille then mine might be a Modern Man of Quality._[349]
+
+I'm sorry to hear _Modern Quality_ degenerates so much. But by the way,
+these Liberties are altogether new. They are unpractised by the Latin
+_Comedians_, and by the _English_ too till very lately, as the _Plain
+Dealer_ observes.[350] And as for _Moliere_ in _France_, he pretends to fly
+his Satir no higher than a Marquis.[351]
+
+And has our _Stage_ a particular Privilege? Is their _Charter_ inlarg'd,
+and are they on the same Foot of Freedom with the _Slaves_ in the
+_Saturnalia_? Must all Men be handled alike? Must their Roughness be needs
+play'd upon Title? And can't they lash the Vice without pointing upon the
+_Quality_? If as Mr. _Dryden_ rightly defines it, a _Play ought to be a
+just Image of Humane Nature_;[352] Why are not the Decencies of Life, and,
+the Respects of Conversation observ'd? Why must the Customes of Countries
+be Cross'd upon, and the Regards of Honour overlook'd? What necessity is
+there to kick the _Coronets_ about the _Stage_, and to make a Man a Lord,
+only in order to make him a Coxcomb. I hope the _Poets_ don't intend to
+revive the old Project of Levelling and _Vote_ down the House of _Peers_.
+In earnest, the _Play-house_ is an admirable School of Behaviour! This is
+their way of managing Ceremony, distinguishing Degree, and Entertaining the
+_Boxes_! But I shall leave them at present to the Enjoyment of their
+Talent, and proceed to another Argument.
+
+
+
+
+CHAP. V.
+
+_Remarks upon_ Amphytrion, King Arthur, Don Quixote, _and the_ Relapse.
+
+
+SECTION I.
+
+The following _Plays_, excepting the Last, will fall under the same Heads
+of Commendation with the Former. However, since the _Poets_ have here been
+prodigal in their Expence, and dress'd themselves with more Curiosity then
+ordinary, they deserve a proportionable Regard. So much Finery must not be
+Crowded. I shall therefore make Elbow-Room for their Figure, and allow them
+the Compass of a distinct Chapter.
+
+To begin with _Amphytrion_. In this _Play_ Mr. _Dryden_ represents
+_Jupiter_ with the Attributes of the supream Being: He furnishes him with
+Omnipotence, makes him the Creator of Nature, and the Arbiter of Fate, puts
+all the Functions of Providence in his Hand, and describes him with the
+Majesty of the true God.[353] And when he has put Him in this glorious
+Equipage, he brings him out for Diversion. He makes him express himself in
+the most intemperate Raptures:[354] He is willing to _Renounce_ his
+_Heaven_ for his Brutality, and employ a whole _Eternity_ in Lewdness. He
+draws his Debauch at its full Length, with all the Art, and Heightings, and
+Foulness of Idea immaginable. This _Jupiter_ is not contented with his
+success against _Amphitrion_, unless he brings _Alcmena_ into the
+Confederacy, and makes her a Party _ex post Facto_. He would not have her
+think of her _Husband_, but her _Lover_, that is, her _Whoremaster_. 'Tis
+not the success, but the manner of gaining it which is all in all. 'Tis the
+Vice which is the charming Circumstance. Innocence and Regularity, are
+dangerous Companions; They spoil Satisfaction, and make every Thing
+insipid! Unless People take care to discharge their Virtue, and clear off
+their Conscience, their Senses will vanish immediately! For _Jupiter_, says
+he,[355] would _owe nothing to a Name so dull as Husband_. And in the next
+Page.
+
+  _That very name of Wife And Marriage
+  Is poyson to the dearest sweets of Love._[356]
+
+I would give the _Reader_ some more of these fine Sentences, but that they
+are too much out of Order to appear. The truth is, Our _Stage-Poets_ seem
+to fence against Censure by the excess of Lewdness; And to make the
+overgrown size of a Crime, a Ground for Impunity. As if a Malefactor should
+project his Escape by appearing too scandalous for Publick Tryal. However,
+This is their Armour of Proof, this is the Strength they retreat to. They
+are fortified in Smut, and almost impregnable in Stench, so that where they
+deserve most, there's no coming at them. To proceed. I desire to know what
+Authority Mr. _Dryden_ has for this extraordinary Representation? His
+Original _Plautus_, is no President. Indeed _Plautus_ is the only bold
+Heathen that ever made _Jupiter_ tread the _Stage_. But then he stops far
+short of the Liberties of the _English Amphitrion. Jupiter_ at _Rome_, and
+_London_, have the same unaccountable Design; but the Methods of pursuit
+are very different. The First, does not solicit in scandalous Language, nor
+flourish upon his Lewdness, nor endeavours to set it up for the Fashion.
+_Plautus_ had some regard to the Height of the Character, and the Opinion
+of his Country, and the Restraints of Modesty. The Sallies of
+_Aristophanes_ do not come up to the case; And if they did, I have cut off
+the Succours from that Quarter already. _Terence's Chærea_. is the next
+bold Man:[357] However, here the Fable of _Jupiter_ and _Danae_ are just
+glanced at, and the Expression is clean; and He that tells the Story, a
+Young Libertine. These are all circumstances of extenuation, and give quite
+another Complexion to the Thing. As for the _Greek Tragedians_ and
+_Seneca_, there's no Prescription can be drawn from them. They mention
+_Jupiter_ in Terms of Magnificence and Respect, and make his Actions, and
+his Nature of a piece. But it may be the Celebrated _Homer_, and _Virgil_
+may give Mr. _Dryden_ some Countenance. Not at all. _Virgil's Jupiter_ is
+alwaies great, and solemn, and keeps up the port of a Deity. 'Tis true,
+_Homer_ does not guard the Idea with that exactness, but then He never
+sinks the Character into Obscenity. The most exceptionable passage is that
+where _Jupiter_ relates his Love Adventures to _Juno_. Here this pretended
+Deity is charm'd with _Venus_'s Girdle, is in the height of his Courtship,
+and under the Ascendant of his Passion. This 'tis confess'd was a slippery
+Place, and yet the Poet makes a shift to keep his Feet. His _Jupiter_ is
+Little, but not nauseous; The Story, tho' improper, will bear the telling,
+and look Conversation in the Face. However; These Freedoms of _Homer_ were
+counted intolerable: I shall not insist on the Censures of _Justin Martyr_,
+or _Clemens Alexandrinus_: Even the Heathen could not endure them. The
+Poets are lashed by _Plato_ upon this Score; For planting Vice in Heaven,
+and making their Gods infectious; If Mr. _Dryden_ answers that _Jupiter_
+can do us no Harm.[358] He is known to be an Idol of Lewd Memory, and
+therefore his Example can have no Force: Under Favour this is a mistake:
+For won't Pitch daub when a dirty Hand throws it; or can't a Toad spit
+Poyson because she's ugly? Ribaldry is dangerous under any Circumstances of
+Representation. And as _Menander_ and St. _Paul_ express it, _Evil
+Communications corrupt good Manners_. I mention them both, because if the
+_Apostle_ should be dislik'd, the _Comedian_ may pass. But after all, Mr.
+_Dryden_ has not so much as a Heathen President for his Singularities. What
+then made him fall into them? Was it the Decency of the Thing, and the
+Propriety of _Character_, and Behaviour? By no means. For as I have
+observ'd before, Nature and Operations, ought to be proportion'd, and
+Behaviour suited to the Dignity of Being. To draw a Monkey in Royal Robes,
+and a Prince in _Antick_, would be Farce upon Colours, entertain like a
+Monster, and please only upon the score of Deformity. Why then does Mr.
+_Dryden_ cross upon Nature and Authority, and go off as he Confesses, from
+the Plan of _Plautus_, and _Moliere_? Tho' by the way, the English
+_Amphitryon_ has borrow'd most of the Libertine Thoughts of _Moliere_, and
+improv'd them. But to the former question. Why must the beaten Road be
+left? He tells us, _That the difference of our_ Stage _from the Roman and
+the French did so require it_.[359] That is, our _Stage_ must be much more
+Licentious. For you are to observe that Mr. _Dryden_, and his Fraternity,
+have help'd to debauch the _Town_, and Poyson their Pleasures to an unusal
+Degree: And therefore the Diet must be dress'd to the Palate of the
+_Company_. And since they are made _Scepticks_, they must be entertain'd as
+such. That the English _Amphitryon_ was contriv'd with this View is too
+plain to be better interpreted. To what purpose else does _Jupiter_ appear
+in the shape of _Jehovah_? Why are the incommunicable _Attributes_
+burlesqu'd, and Omnipotence applyed to Acts of Infamy? To what end can such
+Horrible stuff as this serve, unless to expose the Notion, and extinguish
+the Belief of a Deity? The Perfections of God, are Himself. To ridicule his
+Attributes and his Being, are but two words for the same Thing. These
+Attributes are bestow'd on _Jupiter_ with great Prodigality, and afterwards
+execrably outrag'd. The Case being thus, the Cover of an Idol, is too thin
+a pretence to Screen the Blasphemy. Nothing but Mr. _Dryden's Absolom_ and
+_Achitophel_ can out-do This. Here I confess the Motion of his Pen is
+bolder, and the Strokes more Black'd. Here we have Blasphemy on the top of
+the Letter, without any trouble of Inference, or Construction. This Poem
+runs all upon Scripture Names, Upon Suppositions of the true Religion, and
+the right Object of Worship. Here Profaness is shut out from Defence, and
+lies open without Colour or Evasion. Here are no Pagan Divinities in the
+Scheme, so that all the Atheistick Raillery must point upon the true God.
+In the beginning we are told that _Absalom_ was _David's_ Natural Son: So
+then there's a blot in his _Scutcheon_ and a Blemish upon his Birth. The
+_Poet_ will make admirable use of this, remark presently! This _Absalom_ it
+seems was very extraordinary in his Person and Performances. Mr. _Dryden_
+does not certainly know how this came about, and therefore enquires of
+himself in the first place,
+
+  _Whether inspired with a diviner Lust,
+  His Father got him_----[360]
+
+This is down right Defiance of the Living God! Here you have the very
+Essence and Spirit of Blasphemy, and the Holy Ghost brought in upon the
+most hideous Occasion. I question whether the Torments and Despair of the
+Damn'd, dare venture at such Flights as these. They are beyond Description,
+I Pray God they may not be beyond Pardon too. I can't forbear saying, that
+the next bad Thing to the writing these Impieties, is to Suffer them. To
+return to _Amphitryon_. _Phoebus_ and _Mercury_ have _Manners_ assign'd
+very disagreeable to their Condition. The later abating Propriety of
+Language, talks more like a _Water-man_ than a Deity. They rail against the
+Gods, and call _Mars_ and _Vulcan_ the _two Fools of Heaven. Mercury_ is
+pert upon his Father _Jupiter_, makes jests upon his Pleasures, and his
+Greatness, and is horribly smutty and profane.[361] And all this
+Misbehaviour comes from him in his own shape, and in the sublimity of his
+Character. Had He run Riot in the Disguise of _Sofia_, the Discourse and
+the Person had been better adjusted, and the Extravagance more Pardonable.
+But here the Decorum is quite lost. To see the _Immortals_ play such
+Gambols, and the biggest Beings do the least Actions, is strangely
+unnatural. An Emperour in the Grimaces of an Ape, or the Diversions of a
+Kitten, would not be half so ridiculous. Now as Monsieur _Rapin_ observes,
+without Decorum there can be no _probability_, nor without Probability any
+true Beauty. Nature must be minded, otherwise Things will look forced,
+tawdry, and chimerical. Mr. _Dryden_ discourses very handsomly on this
+occasion in his _Preface_ to _Albion_ and _Albanius_.[362] He informs us,
+_That Wit has been truly defin'd a propriety of Words and Thoughts.----That
+Propriety of Thought is that Fancy which arises naturally from the
+Subject._ Why then without doubt, the Quality, of Characters should be
+taken care of, and great Persons appear like themselves. Yes, yes, all this
+is granted by implication, and Mr. _Dryden_ comes still nearer to the
+present case. He tells us, that _Propriety is to be observed, even in
+Machines; And that the Gods are all to manage their Peculiar Provinces_. He
+instances in some of their respective Employments; but I don't find that
+any of them were to talk Lewdly. No. He plainly supposes the contrary. For
+as he goes on, _If they were to speak upon the Stage it would follow of
+necessity, that the Expressions should be Lofty, Figurative, and
+Majestical_. It seems then their Behaviour should be agreeable to their
+Greatness. Why then are not these Rules observ'd, in the _Machines_ of
+_Amphitrion_? As I take it, Obscenity has not the Air of Majesty, nor any
+Alliance with the _Sublime_. And as for the _Figurative_ Part, 'tis
+generally of the same Cut with the _Lofty_: The Smut shines clear, and
+strong, through the Metaphor, and is no better screen'd than the Sun by a
+Glass Window. To use _Mercury_ thus ill, and make the God of Eloquence
+speak so unlike himself is somewhat strange! But tho' the _Antients_ knew
+nothing of it, there are Considerations above those of _Decency_. And when
+this happens, _A Rule must rather be trespass'd on, than a Beauty left
+out_. 'Tis Mr. _Dryden's_ opinion in his _Cleomenes_, where he breaks the
+_Unity of Time_, to describe the _Beauty_ of a Famine.[363] Now Beauty is
+an arbitrary Advantage, and depends upon Custom and Fancy. With some People
+the Blackest Complexions are the handsomest. 'Tis to these _African_
+Criticks that Mr. _Dryden_ seems to make his Appeal. And without doubt he
+bespeaks their Favour, and strikes their Imagination luckily enough. For to
+lodge Divinity and Scandal together; To make the Gods throw _Stars_, like
+_Snow-balls_ at one another, but especially to Court in Smut, and rally in
+Blasphemy, is most admirably entertaining! This is much better than all the
+Niceties of _Decorum_. 'Tis handsomly contriv'd to slur the Notion of a
+Superiour Nature, to disarm the Terrors of Religion, and make the Court
+Above as Romantick as that of the _Fairies_. A Libertine when his
+Conscience is thus reliev'd, and Atheism sits easie upon his Spirits, can't
+help being grateful upon the Occasion. Meer Interest will oblige him to cry
+up the Performance, and solicit for the _Poets_ Reputation! Before I take
+leave of these _Machines_, it may not be amiss to enquire why the Gods are
+brought into the _Spiritual Court_.[364] Now I suppose the Creditableness
+of the Business, and the _Poets_ Kindness to those _Places_, are the
+principal Reasons of their coming. However. He might have a farther Design
+in his Head, and that is, to bring _Thebes_ to _London_, and to show the
+Antiquity of _Doctors Commons_. For if you will believe _Mercury_, this
+Conference between him and _Phoebus_ was held three thousand years
+ago.[365] Thus _Shakespear_ makes _Hector_ talk about _Aristotles_
+Philosophy,[366] and calls Sr. _John Old Castle_, _Protestant_.[367] I had
+not mention'd this Discovery in Chronology, but that Mr. _Dryden_ falls
+upon _Ben Johnson_, for making _Cataline give Fire at the Face of a Cloud_,
+before Guns were invented.
+
+By the Pattern of these pretended _Deities_, we may guess what sort of
+_Mortals_ we are likely to meet with. Neither are we mistaken. For
+_Phædra_, is bad enough in all Conscience, but _Bromia_ is a meer Original.
+Indeed when Mr. _Dryden_ makes _Jupiter_, and _Jupiter_ makes the Women,
+little less can be expected. So much for _Amphitrion_.
+
+I shall pass on to _King Arthur_ for a word or two.[368] Now here is a
+strange jumble and Hotch potch of Matters, if you mind it. Here we have
+_Genii_, and _Angels_, _Cupids_, _Syrens_, and _Devils_; _Venus_ and St.
+_George_, _Pan_ and the _Parson_, the Hell of Heathenism, and the Hell of
+_Revelation_; A fit of Smut, and then a Jest about Original Sin. And why
+are Truth and Fiction, Heathenism and Christianity, the most Serious and
+the most Trifling Things blended together, and thrown into one Form of
+Diversion? Why is all this done unless it be to ridicule the whole, and
+make one as incredible as the other? His _Airy_ and _Earthy Spirits_
+discourse of the first state of Devils, of their _Chief_ of their Revolt,
+their Punishment, and Impostures. This Mr. _Dryden_ very Religiously calls
+a _Fairy way of Writing, which depends only on the Force of
+Imagination_.[369] What then is the Fall of the Angels a Romance? Has it no
+basis of Truth, nothing to support it, but strength of Fancy, and Poetick
+Invention? After He had mention'd Hell, Devils, _&c_. and given us a sort
+of _Bible_ description of these formidable Things; I say after he had
+formed his Poem in this manner, I am surprized to hear him call it a _Fairy
+kind of Writing_. Is the History of _Tophet_ no better prov'd than that of
+_Styx_? Is the Lake of _Brimstone_ and that of _Phlegeton_ alike dreadful?
+And have we as much Reason to believe the Torments of _Titius_ and
+_Prometheus_, as those of the Devils and Damn'd? These are lamentable
+Consequences! And yet I can't well see how the _Poet_ can avoid them. But
+setting aside this miserable Gloss in the _Dedication_, the Representation
+it self is scandalously irreligious. To droll upon the Vengeance of Heaven,
+and the Miseries of the Damn'd, is a sad Instance of Christianity! Those
+that bring Devils upon the _Stage_, can hardly believe them any where else.
+Besides, the Effects of such an Entertainment must needs be admirable! To
+see Hell thus play'd with is a mighty Refreshment to a lewd Conscience, and
+a byass'd Understanding. It heartens the Young Libertine, and confirms the
+well-wishers to Atheism, and makes Vice bold, and enterprising. Such
+Diversions serve to dispel the Gloom, and guild the Horrors of the _Shades
+below_, and are a sort of Ensurance against Damnation. One would think
+these _Poets_ went upon absolute Certainty, and could demonstrate a Scheme
+of Infidelity. If they could, They had much better keep the Secret. The
+divulging it tends only to debauch Mankind, and shake the Securities of
+Civil Life. However, if they have been in the other World and find it
+empty, and uninhabited, and are acquainted with all the Powers, and Places,
+in Being; If they can show the Impostures of Religion, and the
+Contradictions of Common Belief, they have something to say for themselves.
+Have they then infallible Proof and Mathematick Evidence for these
+Discoveries? No Man had ever the Confidence to say This; And if He should,
+he would be but laughed at for his Folly. No Conclusions can exceed the
+Evidence of their Principles; you may as well build a Castle in the Air, as
+raise a Demonstration upon a Bottom of Uncertainty. And is any Man so vain
+as to pretend to know the Extent of Nature, and the Stretch of Possibility,
+and the Force of the Powers Invisible? So that notwithstanding the Boldness
+of this _Opera_, there may be such a Place as Hell; And if so, a Discourse
+about Devils, will be no _Fairy way of Writing_. For a _Fairy way of
+Writing_, is nothing but a _History of Fiction_; A subject of Imaginary
+Beings; such as never had any existence in Time, or Nature. And if as
+Monsieur _Rapin_ observes, _Poetry_ requires a mixture of Truth and
+_Fable_; Mr. _Dryden_ may make his advantage, for his _Play_ is much better
+founded on Reality than He was aware of.
+
+It may not be improper to consider in a word or two, what a frightfull Idea
+the _Holy Scriptures_ give us of Hell. 'Tis describ'd by all the
+Circumstances of Terror, by every Thing dreadful to Sense, and amazing to
+Thought. The Place, the Company, the Duration, are all Considerations of
+Astonishment. And why has God given us this solemn warning? Is it not to
+awaken our Fears, and guard our Happiness; To restrain the Disorders of
+Appetite, and to keep us within Reason, and Duty? And as for the _Apostate
+Angels_, the _Scriptures_ inform us of their lost Condition, of their
+Malice and Power, of their active Industry and Experience; and all these
+Qualities Correspondent to the Bulk of their Nature, the Antiquity of their
+Being, and the Misery of their State. In short, They are painted in all the
+formidable Appearances imaginable, to alarm our Caution, and put us upon
+the utmost Defence.
+
+Let us see now how Mr. _Dryden_ represents these unhappy Spirits, and their
+Place of Abode. Why very entertainingly! Those that have a true Tast for
+Atheism were never better regaled. One would think by this _Play_ the
+Devils were meer Mormo's and Bugbears, fit only to fright Children and
+Fools. They rally upon Hell and Damnation, with a great deal of Air and
+Pleasantry; and appear like _Robin Good-fellow_, only to make the Company
+laugh. _Philidel_: Is call'd a _Puling Sprite_. And why so? For this pious
+reason, because
+
+  _He trembles at the yawning Gulph of Hell,
+  Nor dares approach the Flames least he should Singe
+  His gaudy silken Wings.
+  He sighs when he should plunge a Soul in Sulphur,
+  As with Compassion touch'd of Foolish Man_.[370]
+
+The answer is, _What a half Devil's he_.
+
+You see how admirably it runs all upon the Christian Scheme! Sometimes they
+are _Half-Devils_, and sometimes _Hopeful-Devils_, and what you please to
+make sport with. _Grimbald_ is afraid of being _whooped through Hell at his
+return_, for miscarrying in his Business. It seems there is great Leisure
+for Diversion! There's _Whooping_ in Hell, instead of _Weeping_ and
+_Wailing_! One would fancy Mr. _Dryden_ had Daylight and Company, when
+these Lines were written. I know his Courage is extraordinary; But sure
+such Thoughts could never bear up against Solitude and a Candle!
+
+And now since he has diverted himself with the _Terrors_ of _Christianity_,
+I dont wonder he, should treat those that Preach them with so much
+Civility! enter _Poet_ in the Habit of a _Peasant_.
+
+  _We ha' cheated the Parson we'el cheat him again,
+  For why should a Blockhead have one in ten?
+  For prating so long like a Booklearned Sot,
+  Till Pudding, and Dumpling burn to pot._
+
+These are fine comprehensive stroaks! Here you have the _Iliads_ in a
+Nutshell! Two or three courtly words take in the whole Clergy; And what is
+wanting in Wit, is made up in Abuse, and that's as well. This is an
+admirable _Harvest Catch_, and the poor Tith-stealers stand highly
+indebted. They might have been tired with Cheating in _Prose_, had not they
+not been thus seasonably releiv'd in Doggrell! But now there is Musick in
+playing the Knave. A Countryman now may fill his Barn, and humour his ill
+Manners, and sing his Conscience asleep, and all under one. I dont question
+but these _four Lines_ steal many a Pound in the year. Whether the _Muse_
+stands indictable or not, the Law must determine: But after all, I must say
+the Design is notably laid. For Place and Person, for Relish and
+Convenience; nothing could have been better. The Method is very short,
+clear, and Practicable. 'Tis a fine portable Infection, and costs no more
+Carriage than the Plague.
+
+Well! the Clergy must be contented: It might possibly have been worse for
+them if they had been in his favour: For he has sometimes a very unlucky
+way of showing his Kindness. He commends the _Earl of Leicester for
+considering the Friend, more than the Cause_;[371] that is, for his
+Partiality; The Marquess of _Halifax_ for _quitting the Helm, at the
+approach of a Storm_;[372] As if Pilots were made only for fair Weather.
+'Tis Presum'd these Noble Persons are unconcern'd in this Character.
+However the _Poet_ has shown his skill in Panegyrick, and 'tis only for
+that I mention it. He commends _Atticus_ for his Trimming, and _Tally_ for
+his Cowardize, and speaks meanly of the Bravery of _Cato_.[373] Afterwards
+he professes his Zeal for the Publick welfare, and is pleas'd to _see the
+Nation so well secur'd from Foreign Attempts_ &c.[374] However he is in
+some pain about the Coming of the _Gauls_; 'Tis possible for fear they
+should invade the _Muses_, and carry the _Opera's_ into Captivity, and
+deprive us of _the Ornaments of Peace_.
+
+And now He has serv'd his Friends, he comes in the last place like a modest
+Man, to commend Himself. He tells us there were a great many _Beauties_ in
+the Original Draught of this _Play_. But it seems Time has since tarnish'd
+their Complexion. And He gives _Heroick_ Reasons for their not appearing.
+To speak Truth, (all Politicks apart,) there are strange Flights of Honour,
+and Consistencies of Pretention in this Dedication! But I shall forbear the
+Blazon of the _Atcheivment_, for fear I should commend as unluckily as
+Himself.
+
+
+
+
+SECT. II.
+
+_Remarks upon Don Quixot, &c._
+
+
+Mr. _Durfey_ being somewhat particular in his Genius and Civilities, I
+shall consider him in a word or two by himself. This Poet writes from the
+_Romance_ of an ingenious Author: By this means his Sense, and _Characters_
+are cut out to his Hand. He has wisely planted himself upon the shoulders
+of a _Giant_; but whether his Discoveries answer the advantage of his
+standing, the Reader must judge.
+
+What I have to object against Mr. _Durfey_ shall most of it be ranged under
+these three Heads.
+
+I. _His Profaness with respect to Religion and the_ Holy Scriptures.
+
+II. _His Abuse of the Clergy._
+
+III. _His want of Modesty and Regard to the Audience._
+
+
+I. _His Profaness, &c._
+
+And here my first Instance shall be in a bold _Song_ against Providence.
+
+  _Providence that formed the Fair
+    In such a charming Skin,
+  Their Outside made his only care,
+    And never look'd within._[375]
+
+Here the _Poet_ tells you Providence makes Mankind by halves, huddles up
+the Soul, and takes the least care of the better Moyety. This is direct
+blaspheming the Creation, and a Satir upon God Almighty. His next advance
+is to droll upon the Resurrection.
+
+  _Sleep and indulge thy self with Rest,
+  Nor dream thou e're shalt rise again._[376]
+
+His Third Song makes a jest of the _Fall_, rails upon _Adam_ and _Eve_, and
+burlesques the Conduct of _God Almighty_ for not making Mankind over again.
+
+  _When the World first knew Creation,[377]
+  A Rogue was a Top-Profession,
+  When there was no more in all Nature but Four,
+  There were two of them in Transgression.
+
+  He that first to mend the Matter,
+  Made Laws to bind our Nature,
+  Should have found a way,
+  To make Wills obey,
+  And have Modell'd new the Creature_.
+
+In this and the following page, the _Redemption_ of the World is treated
+with the same respect with the _Creation_. The word _Redeemer_, which among
+Christians is appropriated to our Blessed Saviour, and like the Jewish
+Tetragrammaton peculiarly reserv'd to the Deity; This adorable Name
+(_Redeemer and Dear Redeemer_,) is applyed to the ridiculous Don _Quixote_.
+These Insolencies are too big for the Correction of a Pen, and therefore I
+shall leave them. After this horrible abuse of the Works, and Attributes of
+God, he goes on to make sport with his Vengeance. He makes the Torments of
+Hell a very Comical Entertainment: As if they were only Flames in Painting,
+and Terrors in _Romance_. The _Stygian Frogs_ in _Aristophanes_ are not
+represented with more Levity, and Drolling. That the _Reader_ may see I do
+him no wrong, I shall quote the places which is the main Reason why I have
+transcrib'd the rest of his Profaness.
+
+  _Appear ye fat Feinds that in Limbo do groan,
+  That were when in Flesh the same souls with his own:
+  You that always in Lucifers Kitchin reside,
+  'Mongst Sea-coal and Kettles, and Grease newly try'd:
+  That pamper'd each day with a Garbidge of Souls,
+  Broil Rashers of Fools for a Breakfast on Coals._
+
+In the Epilogue you have the History of _Balaam_'s Ass exposed, and the
+Beast brought upon the _Stage_ to laugh at the Miracle the better;
+
+  _And as 'tis said a parlous Ass once spoke,
+  When Crab-tree Cudgel did his rage provoke.
+  So if you are not civil,----I fear
+  He'el speak again.----_
+
+In the second _Part_ the Devil is brought upon the _Stage_.[378] He cries
+as _he hopes to be Saved_. And _Sancho warrants him a good Christian_.
+Truly I think he may have more of Christianity in him than the Poet. For he
+trembles at that God, with whom the other makes Diversion.
+
+I shall omit the mention of several outrages of this Kind, besides his deep
+mouth'd swearing, which is frequent, and pass on to the Second Head, which
+is His Abuse of the Clergy. And since Reveal'd Religion has been thus
+horribly treated, 'tis no Wonder if the _Ministers_ of it have the same
+Usage.
+
+And here we are likely to meet with some passages extraordinary enough. For
+to give Mr. _Durfey_ his due, when he meddles with Church men he lays about
+him like a Knight Errant: Here his Wit and his Malice, are generally in
+extreams, tho' not of the same Kind. To begin. He makes the Curate _Perez_
+assist at the ridiculous Ceremony of _Don Quixots_ Knighting.[379]
+Afterwards Squire _Sancho_ confessing his mistake to _Quixote_, tells him,
+_Ah consider dear Sir no man is born wise_. And what if he was born wise?
+He may be _Bred_ a Fool, if he has not a care. But how does he prove this
+Memorable Sentence? Because a _Bishop is no more than another man without
+Grace and Good Breeding_. I must needs say if the _Poet_ had any share of
+either of these Qualities, he would be less bold with his Superiors; and
+not give his Clowns the Liberty to droll thus heavily upon a solemn
+_Character_. This _Sancho_ Mr. _Durfey_ takes care to inform us is _a dry
+shrewd Country Fellow_, The reason of this Character is for the strength of
+it somewhat surprising.[380] 'Tis because _he blunders out Proverbs upon
+all Occasions, tho' never so far from the purpose_. Now if blundring and
+talking nothing to the purpose, is an argument of _Shrewdness_; some
+Peoples _Plays_ are very shrewd Performances. To proceed. _Sancho_
+complains of his being married, because it hindred him from better offers.
+_Perez_ the Curate is sorry for this Misfortune. _For as I remember_ says
+he _'twas my luck to give_ Teresa _and you the Blessing_. To this _Sancho_
+replies. _A Plague on your Blessing! I perceive I shall have reason to wish
+you hang'd for your Blessing----Good finisher of Fornication, good
+Conjunction Copulative._[381] For this irreverence and Profaness _Perez_
+threatens him with Excommunication. _Sancho_ tells him, _I care not, I
+shall lose nothing by it but a nap in the Afternoon._ In his Second Part,
+_Jodolet_ a Priest is call'd a _Holy Cormorant_, and made to dispatch _half
+a Turkey, and a Bottle of Malaga for his Breakfast_.[382] Here one Country
+Girl chides another for her sawcyness. _D'ee_ (says she) _make a Pimp of a
+Priest?_ _Sancho_ interposes with his usual shrewdness: _A Pimp of a
+Priest, why is that such a Miracle?_ In the Second _Scene_ the Poet
+Provides himself another Priest to abuse.[383] _Mannel_ the Steward calls
+_Bernardo_ the Chaplain Mr. _Cuff-Cushion_, and tells him a _Whore is a
+Pulpit he loves_.----In settling the _Characters Mannel_ is given out for
+_a witty pleasant Fellow_. And now you see he comes up to Expectation. To
+the Blind all _Colours_ are alike, and Rudeness, and Raillery are the same
+thing![384] Afterwards, _Bernardo_ says _Grace_ upon the _Stage_; and I
+suppose Prays to God to bless the Entertainment of the Devil. Before they
+rise from Table, the _Poet_ contrives a Quarrel between _Don Quixot_ and
+_Bernardo_. The Priest railes on the Knight, and calls him _Don Coxcomb_
+&c. By this time you may imagine the Knight heartily Provok'd, ready to
+buckle on his _Bason_, and draw out for the Combat, Let us hear his
+Resentment.
+
+Don Quix. _Oh thou old black Fox with a Fire brand in thy Tail, thou very
+Priest: Thou Kindler of all Mischeifs in all Nations. De'e hear Homily: Did
+not the Reverence I bear these Nobles----I would so thrum your Cassock you
+Church Vermin_.[385]
+
+At last he bids _Bernardo_ adieu in Language too Profane and Scandalous to
+relate.[386] In the Fourth _Act_ His Song calls the Clergy _Black Cattle_,
+and says _no Body now minds what they say_. I could alledge more of his
+Courtship to the _Order_, but the _Reader_ might possibly be tired, and
+therefore I shall proceed in the
+
+_Third_, place to his want of Modesty, and Regard to the Audience. As for
+Smut _Sancho_ and _Teresa_ talk it broad, and single sens'd, for almost a
+page together.[387] _Mary_ the _Buxsom_ has likewise her share of this
+Accomplishment. The first Epilogue is Garnish'd with a Couplet of it;[388]
+_Marcella_ the Maiden Shepherdess raves in Raptures of Indecency; And
+sometimes you have it mixt up with Profaness, to make the Composition the
+stronger.[389] But this entertainment being no Novelty, I shall pass it
+over; And the rather because there are some other Rarities which are not to
+be met with else where.
+
+Here he diverts the Ladies with the Charming Rhetorick of _Snotty-Nose,
+filthy Vermin in the Beard, Nitty Jerkin, and Louse Snapper, with the
+Letter in the Chamber-pot, and natural Evacuation_;[390] with an abusive
+description of a Countess, and a rude story of a certain Lady, and with
+some other varieties of this Kind, too coarse to be named. This is rare
+stuff for Ladies, and Quality! There is more of _Physick_, than _Comedy_ in
+such Sentences as these. _Crocus Metallorum_ will scarse turn the Stomack
+more effectually. 'Tis possible Mr. _Durfey_ might design it for a
+_Receipt_. And being Conscious the _Play_ was too dear, threw a Vomit into
+the Bargain.[391] I wonder Mr. _Durfey_ should have no more regard to the
+_Boxes_ and _Pitt_! That a Man who has _studied the Scenes of Decency and
+Good Manners with so much Zeal_, should practise with so little Address!
+Certainly _indefatigable Diligence, Care and Pains_, was never more
+unfortunate![392] In his _third Part_, _Buxsome_ swears faster, and is more
+scandalous, and impertinent, than in the other two. At these Liberties, and
+some in _Sancho_, the Ladies took Check. This Censure Mr. _Durfey_ seems
+heartily sorry for. He is _extreamly concern'd that the Ladies, that
+Essential part of the Audience_, should think his Performance _nauseous and
+undecent_.[393] That is, he is very sorry they brought their Wits, or their
+Modesty along with them. However Mr. _Durfey_ is not so Ceremonious as to
+submit: He is resolved to keep the Field against the Ladies; And endeavours
+to defend himself by saying, _I know no other way in Nature to do the
+Characters right, but to make a Romp, speak like a Romp, and a clownish
+Boor blunder_ &c.[394]
+
+By his favour, all Imitations tho' never so well Counterfeited are not
+proper for the _Stage_. To present Nature under every Appearance would be
+an odd undertaking. A Midnight _Cart_, or a _Dunghil_ would be no
+Ornamental _Scene_. Nastyness, and dirty Conversation are of the same kind.
+For _Words_ are a Picture to the Ear, as Colours and _Surface_ are to the
+Eye. Such Discourses are like dilating upon Ulcers, and Leprosies: The more
+_Natural_, the worse; for the Disgust always rises with the Life of the
+Description. Offensive Language like offensive Smells, does but make a
+Man's Senses a burthen, and affords him nothing but Loathing and Aversion.
+Beastliness in Behaviour, gives a disparaging Idea of Humane Nature, and
+almost makes us sorry we are of the same Kind. For these reasons 'tis a
+Maxime in Good Breeding never to shock the Senses, or Imagination. This
+Rule holds strongest before _Women_, and especially when they come to be
+entertain'd. The Diversion ought to be suited to the Audience; For nothing
+pleases which is disproportion'd to Capacity, and Gust. The Rudenesses and
+broad Jests of Beggars, are just as acceptable to Ladies as their Rags, and
+Cleanliness. To treat Persons of Condition like the _Mob_, is to degrade
+their Birth, and affront their Breeding. It levells them with the lowest
+Education. For the size of a Man's Sense, and Improvement, is discovered by
+his Pleasures, as much as by any thing else.
+
+But to remove from _Scenes of Decency_, to _Scenes_ of Wit. And here
+_Mannel_ and _Sancho_, two _pleasant sharp Fellows_, will divert us
+extreamly.[395] _Mannel_ in the Disguise of a Lady addresses the Dutchess
+in this manner. _Illustrious Beauty----I must desire to know whether the
+most purifidiferous Don_ Quixote _of the Manchissima, and his
+Squireiferous_ Panca, _be in this Company or no_. This is the Ladies
+speech! Now comes _Sancho_. _Why look you forsooth, without any more
+Flourishes, the Governour_ Panca _is here, and Don_ Quixotissimo _too;
+therefore most afflictedissimous Matronissima, speak what you willissimus,
+for we are all ready to be your Servitorissimus_.[396]
+
+I dare not go on, for fear of overlaying the _Reader_. He may cloy himself
+at his Leisure. The _Scene_ between the _Taylor_ and _Gardiner_, lies much
+in the same Latitude of Understanding.[397]
+
+The Third _Part_ presents a set of _Poppets_, which is a Thought good
+enough; for this Play is only fit to move upon _Wires_. 'Tis pity these
+little _Machines_ appear'd no sooner, for then the Sense, and the _Actors_
+had been well adjusted. In explaining the _Persons_, He acquaints us that
+_Carasco is a Witty Man_. I can't tell what the Gentleman might be in other
+Places, but I'm Satisfied he is a Fool in his _Play_. But some _Poets_ are
+as great Judges of Wit, as they are an instance; And have the Theory and
+the Practise just alike.
+
+Mr. _Durfeys Epistles Dedicatory_ are to the full as diverting as his
+_Comedies_. A little of them may not be amiss.
+
+In his first, He thus addresses the _Dutches_ of _Ormond_. _'Tis Madam from
+your Graces Prosperous Influence that I date my Good Fortune._ To _Date_
+from time and Place, is vulgar and ordinary, and many a _Letter_ has
+miscarried with it: But to do it from an _Influence_, is Astrological, and
+surprizing, and agrees extreamly with the _Hemisphere of the
+Play-house_.[398] These Flights one would easily imagine were the _Poor
+Off-spring_ of Mr. _Durfey's Brain_, as he very judiciously phrases
+it.[399]
+
+One Paragraph in his Dedication to Mr. _Montague_ is perfect _Quixotism_;
+One would almost think him enchanted. I'll give the Reader a Tast.
+
+_Had your Eye's shot the haughty Austerity upon me of a right
+Courtier,----your valued minutes had never been disturb'd with dilatory
+Trifles of this Nature, but my Heart on dull Consideration of your Merit,
+had supinely wish'd you prosperity at a Distance._[400] I'm afraid the
+_Poet_ was under some Apprehensions of the Temper he complains of. For to
+my thinking, there is a great deal of _Supiness_, and _dull Consideration_
+in these Periods. He tells his Patron _his Smiles have embolden'd him_. I
+confess I can't see how He could forbear smiling at such Entertainment.
+However Mr. _Durfey_ takes Things by the best Handle, and is resolv'd to be
+happy in his Interpretation. But to be serious. Were I the Author, I would
+discharge my Muse unless she prov'd kinder. His way is rather to cultivate
+his Lungs, and Sing to other Peoples Sense; For to finish him in a word, he
+is _Vox, & præterea nihil_. I speak this only on Supposition that the rest
+of his Performances are like These. Which because I have not perused I can
+judge of no farther than by the Rule of _ex pede Herculem_. I shall
+conclude with Monsieur _Boileau's Art_ of _Poetry_. This citation may
+possibly be of some service to Mr. _Durfey_; For if not concern'd in the
+Application, he may at least be precaution'd by the Advice.
+
+          The Translation runs thus.
+
+  _I like an Author that Reforms the Age;
+  And keeps the right Decorum of the Stage:
+  That always pleases by just Reasons Rule:
+  But for a tedious Droll a Quibbling Fool,
+  Who with low nauseous Baudry fills his Plays;
+  Let him begone and on two Tressells raise
+  Some_ Smithfield _Stage, where he may act his Pranks,
+  And make_ Jack-puddings _speak to Mountebanks_.[401]
+
+
+
+
+SECT. III.
+
+_Remarks upon the_ Relapse.
+
+
+The _Relapse_ shall follow _Don Quixot_; upon the account of some Alliance
+between them. And because this _Author_ swaggers so much in his _Preface_,
+and seems to look big upon his Performance, I shall spend a few more
+thoughts than ordinary upon his _Play_, and examine it briefly in the
+_Fable_, the _Moral_, the _Characters_, _&c._ The Fable I take to be as
+follows.
+
+Fashion _a Lewd, Prodigal, younger Brother; is reduced to extremity: Upon
+his arrival from his Travels, he meets with_ Coupler, _an old sharping
+Match-maker_; _This Man puts him upon a project of cheating his Elder
+Brother Lord_ Foplington, _of a rich Fortune_. _Young_ Fashion _being
+refused a Summ of Money by his Brother, goes into_ Couplers _Plot, bubbles
+Sir_ Tunbelly _of his Daughter, and makes himself Master of a fair Estate_.
+
+From the Form and Constitution of the _Fable_, I observe
+
+1st. That there is a _Misnommer_ in the Title. The _Play_ should not have
+been call'd the _Relapse, or Virtue in Danger_: _Lovelace_, and _Amanda_,
+from whose _Characters_ these Names are drawn, are Persons of Inferiour
+Consideration. _Lovelace_ sinks in the middle of the _Fourth_ Act, and we
+hear no more of him till towards the End of the _Fifth_, where he enters
+once more, but then 'tis as _Cato_ did the Senate house, only to go out
+again. And as for _Amanda_ she has nothing to do but to stand a shock of
+Courtship, and carry off her Virtue. This I confess is a great task in the
+_Play-house_, but no main matter in the _Play_.
+
+The _Intrigue_, and the _Discovery_, the great Revolution and success,
+turns upon _Young Fashion_. He without Competition, is the Principal Person
+in the _Comedy_. And therefore the _Younger Brother_, or the _Fortunate
+Cheat_, had been much a more proper Name. Now when a _Poet_ can't rig out a
+_Title Page_, 'tis but a bad sign of his holding out to the _Epilogue_.
+
+_2ly._ I observe the _Moral_ is vitious: It points the wrong way, and puts
+the _Prize_ into the wrong Hand. It seems to make _Lewdness_ the reason of
+_Desert_, and gives _Young Fashion_ a second Fortune, only for Debauching
+away his First. A short view of his _Character_, will make good this
+Reflection. To begin with him: He confesses himself a _Rake_, swears, and
+Blasphemes, Curses, and Challenges his Elder Brother, cheats him of his
+Mistress, and gets him laid by the Heels in a Dog-Kennel. And what was the
+ground of all this unnatural quarrelling and outrage? Why the main of it
+was only because Lord _Foplington_ refused to supply his Luxury, and make
+good his Extravagance. This _Young Fashion_ after all, is the _Poets_ Man
+of Merit. He provides, a _Plot_ and a Fortune, on purpose for him. To speak
+freely, A Lewd Character seldom wants good Luck in _Comedy_. So that when
+ever you see a thorough Libertine, you may almost swear he is in a rising
+way, and that the _Poet_ intends to make him a great Man. In short; This
+_Play_ perverts the End of _Comedy_: Which as Monsieur _Rapin_ observes
+ought to regard Reformation, and publick Improvement. But the _Relapser_
+had a more fashionable Fancy in his Head.[402] His _Moral_ holds forth this
+notable Instruction.
+
+_1st._ That all _Younger Brothers_ should be careful to run out their
+Circumstances as Fast, and as Ill as they can. And when they have put their
+Affairs in this posture of Advantage, they may conclude themselves in the
+high Road to Wealth, and Success. For as _Fashion_ Blasphemously applies
+it, _Providence takes care of Men of Merit._[403]
+
+_2ly._ That when a Man is press'd, his business is not to be govern'd by
+Scruples, or formalize upon Conscience and Honesty. The quickest Expedients
+are the best; For in such cases the Occasion justifies the Means, and a
+Knight of the _Post_, is as good as one of the _Garter_. In the
+
+_3d._ Place it may not be improper to look a little into the _Plot_. Here
+the _Poet_ ought to play the Politician if ever. This part should have some
+stroaks, of Conduct, and strains of Invention more then ordinary. There
+should be something that is admirable, and unexpected to surprize the
+Audience. And all this Finess must work by gentle degrees, by a due
+preparation of _Incidents_, and by Instruments which are probable.[404]
+'Tis Mr. _Rapins_ remark, that without probability _every Thing is lame and
+Faulty_. Where there is no pretence to _Miracle_ and _Machine_, matters
+must not exceed the force of Beleif. To produce effects without proportion;
+and likelyhood in the Cause, is Farce, and Magick, and looks more like
+Conjuring than Conduct. Let us examine the _Relapser_ by these Rules. To
+discover his _Plot_, we must lay open somewhat more of the _Fable_.
+
+'Lord _Foplington_ a Town Beau, had agreed to Marry the Daughter of Sir.
+_Tun-belly Clumsey_ a Country Gentleman, who lived Fifty miles from
+_London_. Notwithstanding this small distance, the Lord had never seen his
+Mistress, nor the Knight his Son in Law. Both parties out of their great
+Wisdom, leave the treating the Match to _Coupler_. When all the
+preliminaries of Settlement were adjusted, and Lord _Foplington_ expected
+by Sir _Tun-belly_ in a few days, _Coupler_ betrays his Trust to _Young
+Fashion_. He advises him to go down before his Brother: To Counterfeit his
+Person, and pretend that the strength of his Inclinations brought him
+thither before his time, and without his Retinue. And to make him pass upon
+Sir _Tun-belly_, _Coupler_ gives him his _Letter_, which was to be Lord
+_Foplingtons_ Credential. _Young Fashion_ thus provided, posts down to Sir
+_Tun-belly_, is received for Lord _Foplington_, and by the help of a little
+Folly and Knavery in the Family, Marries the young Lady without her Fathers
+Knowledge, and a week before the Appointment.
+
+This is the Main of the Contrivance. The Counterturn in Lord _Foplingtons_
+appearing afterwards, and the Support of the main _Plot_, by _Bulls_, and
+_Nurses_ attesting the Marriage, contain's little of Moment. And here we
+may observe that Lord _Foplington_ has an unlucky Disagreement in his
+_Character_; This Misfortune sits hard upon the credibility of the Design.
+Tis true he was Formal and Fantastick, Smitten with Dress, and Equipage,
+and it may be vapour'd by his Perfumes But his Behaviour is far from that
+of an Ideot.[405] This being granted, 'tis very unlikely this Lord with his
+five Thousand pounds _per annum_, should leave the choise of his Mistress
+to _Coupler_, and take her Person and Fortune upon _Content_. To court thus
+blindfold, and by _Proxy_, does not agree with the Method of an Estate, nor
+the Niceness of a _Beau_. However the _Poet_ makes him engage Hand over
+Head, without so much as the sight of her Picture.[406] His going down to
+Sir _Tun-belly_ was as extraordinary as his Courtship. He had never seen
+this Gentleman. He must know him to be beyond Measure suspicious, and that
+there was no Admittance without _Couplers_ Letter. This _Letter_ which was,
+the Key to the Castle, he forgot to take with him, and tells you _'twas
+stolen by his Brother Tam_. And for his part he neither had the Discretion
+to get another, nor yet to produce that written by him to Sir
+_Tun-belly_.[407] Had common Sense been consulted upon this Occasion, the
+_Plot_ had been at an End, and the _Play_ had sunk in the Fourth _Act_. The
+Remainder subsists purely upon the strength of Folly, and of Folly
+altogether improbable, and out of _Character_. The _Salvo_ of Sir _John
+Friendly's_ appearing at last, and vouching for Lord _Foplington_, won't
+mend the matter. For as the _Story_ informs us, Lord _Foplington_ never
+depended on this Reserve.[408] He knew nothing of this Gentleman being in
+the Country, nor where he Lived. The truth is, Sir _John_ was left in
+_Town_, and the Lord had neither concerted his journey with him, nor
+engaged his Assistance.[409]
+
+Let us now see how Sir. _Tun-belly_ hangs together. This Gentleman the
+_Poet_ makes a _Justice_ of _Peace_, and a _Deputy Lieutenant_, and seats
+him fifty Miles from _London_: But by his Character you would take him for
+one of _Hercules_'s Monsters, or some Gyant in _Guy_ of _Warwick_. His
+Behaviour is altogether _Romance_, and has nothing agreeable to Time, or
+Country. When _Fashion_, and _Lory_, went down, they find the Bridge drawn
+up, the Gates barr'd, and the Blunderbuss cock'd at the first civil
+Question. And when Sir _Tun-belly_ had notice of this formidable
+Appearance, he Sallies out with the _Posse_ of the Family, and marches
+against a Couple of Strangers with a _Life Gaurd_ of Halberds, Sythes, and
+Pitchforks. And to make sure work, Young _Hoyden_ is lock'd up at the first
+approach of the Enemy. Here you have prudence and wariness to the excess of
+Fable, and Frensy. And yet this mighty man of suspition, trusts _Coupler_
+with the Disposal of his only Daughter, and his Estate into the Bargain.
+And what was this _Coupler_? Why, a sharper by _Character_, and little
+better by Profession. Farther. Lord _Foplington_ and the Knight, are but a
+days Journey asunder, and yet by their treating by Proxy, and Commission,
+one would Fancy a dozen Degrees of _Latitude_ betwixt them. And as for
+Young _Fashion_, excepting _Couplers_ Letter, he has all imaginable Marks
+of Imposture upon him. He comes before his Time, and without the Retinue
+expected, and has nothing of the Air of Lord _Foplington's_ Conversation.
+When Sir _Tun-belly_ ask'd him, _pray where are your Coaches and Servants
+my Lord_? He makes a trifling excuse. _Sir, that I might give you and your
+Fair Daughter a proof how impatient I am to be nearer akin to you, I left
+my Equipage to follow me, and came away Post, with only one Servant._[410]
+To be in such a Hurry of Inclination for a Person he never saw, is somewhat
+strange! Besides, 'tis very unlikely Lord _Foplington_ should hazard his
+Complexion on Horseback, out ride his Figure, and appear a Bridegroom in
+_Deshabille_. You may as soon perswade a Peacock out of his Train, as a
+_Beau_ out of his Equipage; especially upon such an Occasion. Lord
+_Foplington_ would scarsely speak to his Brother just come a _Shore_, till
+the Grand Committee of _Taylors, Seamtresses, &c._ was dispatch'd.[411]
+Pomp, and Curiosity were this Lords Inclination; why then should he
+mortifie without necessity, make his first Approaches thus out of Form and
+present himself to his Mistress at such Disadvantage? And as this is the
+Character of Lord _Foplington_, so 'tis reasonable to suppose Sir
+_Tunbelly_ acquainted with it. An enquiry into the Humour and management of
+a Son in Law, is very natural and Customary. So that we can't without
+Violence to Sense, suppose Sir _Tunbelly_ a Stranger to Lord _Foplington_'s
+Singularities. These Reasons were enough in all Conscience to make Sir
+_Tunbelly_ suspect a Juggle, and that _Fashion_ was no better then a
+Counterfeit. Why then was the _Credential_ swallow'd without chewing, why
+was not _Hoyden_ lock'd up, and a pause made for farther Enquiry? Did this
+_Justice_ never hear of such a Thing as Knavery, or had he ever greater
+reason to guard against it? More wary steps might well have been expected
+from Sir _Tunbelly_. To run from one extream of Caution, to another of
+Credulity, is highly improbable. In short, either Lord _Foplington_ and Sir
+_Tunbelly_ are Fools, or they are not. If they are, where lies the Cunning
+in over-reaching them? What Conquest can there be without Opposition? If
+they are not Fools, why does the _Poet_ make them so? Why is their Conduct
+so gross, so particolour'd, and inconsistent? Take them either way, and the
+_Plot_ miscarries. The first supposition makes it dull, and the later,
+incredible. So much for the _Plot_. I shall now in the
+
+_4th_. Place touch briefly upon the _Manners_.
+
+The _Manners_ in the Language of the _Stage_ have a signification somewhat
+particular. _Aristotle_ and _Rapin_ call them the Causes and Principles of
+Action. They are formed upon the Diversities of Age, and Sex, of Fortune,
+Capacity, and Education. The propriety of _Manners_ consists in a
+Conformity of Practise, and Principle; of Nature, and Behaviour. For the
+purpose. An old Man must not appear with the Profuseness and Levity of
+Youth; A Gentleman must not talk like a Clown, nor a Country Girl like a
+Town Jilt. And when the _Characters_ are feign'd 'tis _Horace_'s Rule to
+keep them Uniform, and consistent, and agreeable to their first setting
+out. The _Poet_ must be careful to hold his _Persons_ tight to their
+_Calling_ and pretentions. He must not shift, and shuffle, their
+Understandings; Let them skip from Wits to Blockheads, nor from Courtiers
+to Pedants; On the other hand. If their business is playing the Fool, keep
+them strictly to their Duty, and never indulge them in fine Sentences. To
+manage otherwise, is to desert _Nature_, and makes the _Play_ appear
+monstrous, and Chimerical. So that instead of an _Image of Life_, 'tis
+rather an Image of Impossibility. To apply some of these remarks to the
+_Relapser_.
+
+The fine _Berinthia_, one of the Top-Characters, is impudent and Profane.
+_Lovelace_ would engage her Secrecy, and bids her Swear. She answers _I
+do_.
+
+_Lov._ By what?
+
+Berinth. _By Woman._
+
+Lov. _That's Swearing by my Deity, do it by your own, or I shan't believe
+you._
+
+Berinth. _By Man then._[412]
+
+This Lady promises _Worthy_ her Endeavours to corrupt _Amanda_; and then
+They make a Profane jest upon the Office.[413] In the progress of the
+_Play_ after a great deal of Lewd Discourse with _Lovelace_, _Berinthia_ is
+carried off into a Closet, and Lodged in a _Scene_ of Debauch.[414] Here is
+Decency, and Reservedness, to a great exactness! Monsieur _Rapin_ blames
+_Ariosto_, and _Tasso_, for representing two of their Women over free, and
+airy.[415] These _Poets_ says he, _rob Women of their Character, which is
+Modesty_. Mr. _Rymer_ is of the same Opinion: His words are these. _Nature
+knows nothing in the Manners which so properly, and particularly
+distinguish a Woman, as her Modesty.----An impudent Woman is fit only to be
+kicked, and expos'd in Comedy._[416]
+
+Now _Berinthia_ appears in _Comedy_ 'tis true; but neither to be _kick'd_,
+nor _expos'd_. She makes a Considerable Figure, has good Usage, keeps the
+best Company, and goes off without Censure, or Disadvantage. Let us now
+take a Turn or two with Sir _Tun-belly's_ Heiress of 1500 pounds a year.
+This Young Lady swears, talks smut, and is upon the matter just as
+rag-manner'd as _Mary the Buxsome_. 'Tis plain the _Relapser_ copyed Mr.
+_Durfey's_ Original, which is a sign he was somewhat Pinch'd. Now this
+_Character_ was no great Beauty in _Buxsome_; But it becomes the Knights
+Daughter much worse. _Buxsome_ was a poor Pesant, which made her Rudeness
+more natural, and expected. But _Deputy Lieutenants_ Children don't use to
+appear with the Behaviour of Beggars. To breed all People alike, and make
+no distinction between a _Seat_, and a _Cottage_, is not over artful, nor
+very ceremonious to the Country Gentlemen. The _Relapser_ gives _Miss_ a
+pretty Soliloquy, I'll transcribe it for _the Reader_.
+
+She swears by her Maker, _'tis well I have a Husband a coming, or I'de
+Marry the Baker I would so. No body can knock at the Gate, but presently I
+must be lock'd up, and, here's the Young Gray-hound----can run loose about
+the House all day long, she can, 'tis very well!_![417] Afterwards her
+Language is too Lewd to be quoted. Here is a Compound of Ill Manners, and
+Contradiction Is this a good Resemblance of Quality, a Description of a
+great Heiress, and the effect of a Cautious Education? By her Coarsness you
+would think her Bred upon a Common, and by her Confidence, in the Nursery
+of the _Play-house_. I suppose the _Relapser_ Fancies the calling her _Miss
+Hoyden_ is enough to justifie her Ill Manners. By his favour, this is a
+Mistake. To represent her thus unhewn, he should have suited her Condition
+to her Name, a little better. For there is no Charm in _Words_ as to
+matters of Breeding, An unfashionable Name won't make a Man a Clown.
+Education is not form'd upon Sounds, and Syllables, but upon Circumstances,
+and Quality. So that if he was resolv'd to have shown her thus unpolish'd,
+he should have made her keep _Sheep_, or brought her up at the _Wash-Boul_.
+
+Sir _Tun-belly_ accosts Young _Fashion_ much at the same rate of
+Accomplishment.[418] My Lord,----_I humbly crave leave to bid you Welcome
+in a Cup of Sack-wine_. One would imagine the _Poet_ was overdozed before
+he gave the _Justice_ a Glass. For _Sack-wine_ is too low for a _Petty
+Constable_. This peasantly expression agrees neither with the Gentlemans
+Figure, nor with the rest of his Behaviour. I find we should have a
+Creditable _Magistracy_, if the _Relapser_ had the Making them. Here the
+_Characters_ are pinch'd in Sense, and stinted to short Allowance. At an
+other time they are over-indulged, and treated above Expectation.
+
+For the purpose. Vanity and Formalizing is Lord _Foplingtons_ part. To let
+him speak without Aukwardness, and Affectation, is to put him out of his
+Element. There must be Gumm and stiffening in his Discourse to make it
+natural However, the _Relapser_ has taken a fancy to his Person, and given
+him some of the most Gentile raillery in the whole _Play_. To give an
+Instance or two. This Lord in Discourse with _Fashion_ forgets his Name,
+flies out into Sense, and smooth expression, out talks his Brother, and
+abating the starch'd Similitude of a _Watch_, discovers nothing of
+Affectation, for almost a _Page_ together.[419] He relapses into the same
+Intemperance of good Sense, in an other Dialogue between him and his
+Brother. I shall cite a little of it.
+
+_Y._ Fash. _Unless you are so kind to assist me in redeeming my Annuity, I
+know no Remedy, but to go take a Purse_.
+
+_L._ Fopl. _Why Faith_ Tam----_to give you my Sense of the Thing, I do
+think taking a Purse the best Remedy in the World, for if you succeed, you
+are releiv'd that way, if you are taken----you are reliev'd to'ther_.[420]
+
+_Fashion_ being disappointed of a supply quarrels his Elder Brother, and
+calls him _the Prince of Coxcombs_.[421]
+
+_L._ Fopl. _Sir I am proud of being at the Head of so prevailing a party._
+
+_Y._ Fash. _Will nothing then provoke thee? draw Coward._
+
+_L._ Fopl. _Look you_ Tam, _your poverty makes your Life so burdensome to
+you, you would provoke me to a Quarrel, in hopes either to slip through my
+Lungs into my Estate, or else to get your self run through the Guts, to put
+an end to your Pain. But I shall disappoint you in both_. &c.
+
+This Drolling has too much Spirit, the Air of it is too free, and too
+handsomly turn'd for Lord _Foplingtons_ Character. I grant the _Relapser_
+could not aford to lose these Sentences. The Scene would have suffer'd by
+the Omission. But then he should have contriv'd the matter so, as that they
+might, have been spoken by Young _Fashion_ in _Asides_, or by some other
+more proper Person. To go on. Miss _Hoyden_ sparkles too much in
+Conversation. The _Poet_ must needs give her a shining Line or two,[422]
+which serves only to make the rest of her dullness the more remarkable.
+Sir. _Tun-belly_ falls into the same Misfortune of a Wit, and rallies above
+the force of his Capacity.[423] But the place having a mixture of
+Profaness, I shall forbear to cite it. Now to what purpose should a Fools
+Coat be embroider'd? Finery in the wrong place is but expensive
+Ridiculousness. Besides, I don't perceive the _Relapser_ was in any
+Condition to be thus liberal. And when a _Poet_ is not overstock'd, to
+squander away his Wit among his _Block-heads_, is meer Distraction. His men
+of Sense will smart for this prodigality. _Lovelace_ in his discourse of
+_Friendship_, shall be the first Instance. _Friendship_ (says he) _is said
+to be a plant of tedious growth, its Root composed of tender_ Fibers, nice
+in their Tast, _&c._ By this Description the Palate of a _Fiber_, should be
+somewhat more _nice_ and distinguishing, then the _Poets_ Judgment. Let us
+examin some more of his Witty People. Young _Fashion_ fancies by _Misses_
+forward Behaviour, she would have a whole _Kennel_ of _Beaux_ after her at
+_London_. And then _Hey to the Park, and the Play, and the Church, and the
+Devil_.[424] Here I conceive the ranging of the Period is amiss. For if he
+had put the _Play_, and the _Devil_ together, the Order of Nature, and the
+Air of Probability had been much better observ'd.
+
+Afterwards _Coupler_ being out of Breath in coming up stairs to _Fashion_,
+asks him _why the ---- canst thou not lodge upon the Ground-floor_?[425]
+
+_Y._ Fash. _Because I love to lye as near Heaven as I can._ One would think
+a Spark just come off his Travels, and had made the _Tour_ of _Italy_ and
+_France_, might have rallied with a better Grace! However if he lodg'd in a
+_Garret_, 'tis a good _Local_ jest. I had almost forgot one pretty
+remarkable Sentence of _Fashion_ to _Lory._[426] _I shall shew thee_ (says
+he) _the excess of my Passion by being very calm_. Now since this
+_Gentleman_ was in a vein of talking Philosophy to his Man, I'm sorry he
+broke of so quickly. Had he gone on and shown him the _Excess_ of a Storm
+and no Wind stirring, the Topick had been spent, and the Thought improv'd
+to the utmost.
+
+Let us now pass onto _Worthy_, the _Relapsers_ fine Gentleman. This Spark
+sets up for Sense, and Address, and is to have nothing of Affectation or
+Conscience to spoil his Character. However to say no more of him, he grows
+Foppish in the last _Scene_, and courts _Amanda_ in Fustian, and Pedantry.
+First, He gives his Periods a turn of Versification, and talks _Prose_ to
+her in _Meeter_. Now this is just as agreeable as it would be to _Ride_
+with one Leg, and _Walk_ with the other. But let him speak for himself. His
+first business is to bring _Amanda_ to an Aversion for her Husband; And
+therefore he perswades her to _Rouse up that Spirit Women ought to bear;
+and slight your God if he neglects his Angel_.[427] He goes on with his
+Orisons. _With Arms of Ice receive his Cold Embraces and keep your Fire for
+those that come in Flames._ Fire and Flames, is Mettal upon Mettal; 'Tis
+false Heraldry. _Extend the Arms of Mercy to his Aid. His zeal may give him
+Title to your Pity, altho' his Merit cannot claim your Love._[428] Here you
+have _Arms_ brought in again by Head and shoulders. I suppose the design
+was to keep up the Situation of the _Allegory_. But the latter part of the
+Speech is very Pithy. He would have her resign her Vertue out of Civility,
+and abuse her Husband on Principles of good Nature. _Worthy_ pursues his
+point, and Rises in his Address. He falls into a Fit of Dissection, and
+hopes to gain his Mistress by Cutting his Throat. He is for _Ripping up his
+Faithful Breast_, to prove the Reality of his Passion. Now when a Man
+Courts with his Heart in his Hand, it must be great Cruelty to refuse him!
+No Butcher could have Thought of a more moving Expedient! However, _Amanda_
+continues obstinate, and is not in the usual Humour of the _Stage_. Upon
+this, like a well bred Lover he seizes her by Force, and threatens to Kill
+her. _Nay struggle not for all's in vain, or Death, or Victory, I am
+determin'd._[429] In this rencounter the Lady proves too nimble, and slips
+through his Fingers. Upon this disappointment, he cries, _there's Divinity
+about her, and she has dispenc'd some Portion on't to me_. His Passion is
+Metamorphos'd in the Turn of a hand: He is refin'd into a _Platonick_
+Admirer, and goes off as like a _Town Spark_ as you would wish. And so much
+for the _Poets_ fine Gentleman.
+
+I should now examine the _Relapser's Thoughts and Expressions_, which are
+two other Things of Consideration in a _Play_. The _Thoughts_ or
+_Sentiments are the Expressions of the Manners, as Words are of the
+Thoughts_.[430] But the view of the _Characters_ has in some measure
+prevented this Enquiry. Leaving this Argument therefore, I shall consider
+his _Play_ with respect to the
+
+_Three Unities_ of Time, Place, and Action.
+
+And here the _Reader_ may please to take notice, that the Design of these
+Rules, is to conceal the Fiction of the _Stage_, to make the _Play_ appear
+Natural, and to give it an Air of Reality, and _Conversation_.
+
+The largest compass for the first _Unity_ is Twenty Four Hours: But a
+lesser proportion is more regular. To be exact, the Time of the History, or
+_Fable_, should not exceed that of the _Representation_: Or in other words,
+the whole Business of the _Play_, should not be much longer than the Time
+it takes up in _Playing_.
+
+The Second _Unity_ is that of _Place_. To observe it, the _Scene_ must not
+wander from one Town, or Country to another. It must continue in the same
+House, Street, or at farthest in the same City, where it was first laid.
+The Reason of this Rule depends upon the _First_. Now the Compass of _Time_
+being strait, that of _Space_ must bear a Correspondent Proportion. Long
+journeys in _Plays_ are impracticable. The Distances of _Place_ must be
+suited to Leisure, and Possibility, otherwise the supposition will appear
+unnatural and absurd. The
+
+Third _Unity_ is that of _Action_; It consists in contriving the chief
+Business of the _Play_ single, and making the concerns of one Person
+distinguishably great above the rest. All the Forces of the _Stage_ must as
+it were serve Under one _General_: And the lesser Intrigues or Underplots,
+have some Relation to the Main. The very Oppositions must be useful, and
+appear only to be Conquer'd, and Countermin'd. To represent Two
+considerable Actions independent of each other, Destroys the beauty of
+Subordination, weakens the Contrivance, and dilutes the pleasure. It splits
+the _Play_, and makes the _Poem_ double. He that would see more upon this
+subject may consult _Corneille_.[431] To bring these Remarks to the Case in
+hand. And here we may observe how the _Relapser_ fails in all the _Rules_
+above mention'd.
+
+_1st._ His _Play_ by modest Computation takes up a weeks Work, but five
+days you must allow it at the lowest. One day must be spent in the First,
+Second, and part of the Third _Act_, before Lord _Foplington_ sets forward
+to Sir _Tun-belly_. Now the Length of the Distance, the Pomp of the
+Retinue, and the Niceness of the Person being consider'd; the journey down,
+and up again, cannot be laid under four days.[432] To put this out of
+doubt, Lord, _Foplington_ is particularly careful to tell _Coupler_, how
+concern'd he was not to overdrive _for fear of disordering his
+Coach-Horses_. The Laws of _Place_, are no better observ'd than those of
+_Time_. In the Third _Act_ the _Play_ is in _Town_, in the Fourth _Act_
+'tis stroll'd Fifty Miles off, and in the Fifth _Act_ in _London_ again.
+Here _Pegasus_ stretches it to purpose! This _Poet_ is fit to ride a Match
+with Witches. _Juliana Cox_ never Switched a Broom stock with more
+Expedition! This is exactly
+
+  _Titus_ at _Walton Town_, and _Titus_ at _Islington_.
+
+One would think by the probability of matters, the _Plot_ had been stolen
+from Dr. _O----s_.
+
+The _Poet's_ Success in the last _Unity_ of _Action_ is much the same with
+the former. _Lovelace_, _Amanda_, and _Berinthia_, have no share in the
+main Business. These Second rate _Characters_ are a detatched Body: Their
+Interest is perfectly Foreign, and they are neither Friends, nor Enemies to
+the _Plot_. _Young Fashion_ does not so much as see them till the Close of
+the Fifth _Act_, and then they meet only to fill the _Stage_: And yet these
+_Persons_ are in the _Poets_ account very considerable; Insomuch that he
+has misnamed his _Play_ from the Figure of two of them. This strangness of
+_Persons_, distinct Company, and inconnexion of Affairs, destroys the Unity
+of the _Poem_. The contrivance is just as wise as it would be to cut a
+Diamond in two. There is a loss of Lustre in the Division. Increasing the
+Number, abates the Value, and by making it more, you make it less.
+
+Thus far I have examin'd the _Dramatick_ Merits of the _Play_. And upon
+enquiry, it appears a Heap of Irregularities. There is neither Propriety in
+the _Name_, nor Contrivance in the _Plot_, nor Decorum in the _Characters_.
+'Tis a thorough Contradition to Nature, and impossible in _Time_, and
+_Place_. Its _Shining Graces_ as the Author calls them,[433] are
+_Blasphemy_ and _Baudy_, together with a mixture of _Oaths_, and _Cursing_.
+Upon the whole; The _Relapser's_ Judgment, and his Morals, are pretty well
+adjusted. The _Poet_, is not much better than the _Man_. As for the
+_Profane_ part, 'tis hideous and superlative.[434] But this I have
+consider'd elsewhere. All that I shall observe here is, that the Author was
+sensible of this Objection. His Defence in his _Preface_ is most wretched:
+He pretends to know nothing of the Matter, and that _'tis all Printed_;
+Which only proves his Confidence equal to the rest of his Virtues. To
+out-face Evidence in this manner, is next to the affirming there's no such
+Sin as _Blasphemy_, which is the greatest Blasphemy of all. His Apology
+consists in railing at the _Clergy_; a certain sign of ill Principles, and
+ill Manners. This He does at an unusual rate of Rudeness and Spite. He
+calls them the Saints with Screw'd _Faces, and wry Mouths_. And after a
+great deal of scurrilous Abuse too gross to be mention'd, he adds;[435] _If
+any Man happens to be offended at a story of a Cock and a Bull, and a
+Priest and a Bull-dog, I beg his Pardon_, &c. This is brave _Bear-Garden_
+Language! The _Relapser_ would do well to transport his Muse to
+_Samourgan_.[436] There 'tis likely he might find Leisure to lick his
+_Abortive Brat_ into shape; And meet with proper Business for his Temper,
+and encouragement for his Talent.
+
+
+
+
+CHAP. VI.
+
+_The Opinion of_ Paganism, _of the_ Church, _and_ State, _concerning the_
+Stage.
+
+
+Having in the foregoing _Chapters_ discover'd some part of the Disorders of
+the _English Stage_; I shall in this Last, present the _Reader_ with a
+short View of the Sense of _Antiquity_, To which I shall add some _Modern_
+Authorities; From all which it will appear that _Plays_ have generally been
+look'd on as the _Nurseries_ of _Vice_, the _Corrupters_ of _Youth_, and
+the _Grievance_ of the _Country_ where they are suffer'd.
+
+This proof from _Testimony_ shall be ranged under these three Heads.
+
+Under the _First_, I shall cite some of the most celebrated _Heathen
+Philosophers_, Orators, and Historians; Men of the biggest Consideration,
+for Sense, Learning, and Figure. The
+
+_Second_, Shall consist of the _Laws_ and _Constitutions_ of _Princes, &c._
+The
+
+_Third_, Will be drawn from _Church-Records_, from _Fathers_, and
+_Councils_ of unexceptionable Authority, both as to Persons, and Time.
+
+_1st._ I shall produce some of the most celebrated Heathen Philosophers
+_&c._ To begin with _Plato_. 'This Philosopher tells us that _Plays_ raise
+the Passions, and pervert the use of them, and by consequence are dangerous
+to Morality. For this Reason he banishes these Diversions his
+_Common-Wealth_.'[437]
+
+_Xenophon_ who was both a Man of _Letters_ and a great _General_, commends
+the _Persians_ for the Discipline of their Education. 'They won't (says he)
+so much as suffer their Youth to hear any thing that's Amorous or
+Tawdry.'[438] They were afraid want of Ballast might make them miscarry,
+and that 'twas dangerous to add weight to the Byass of Nature.
+
+_Aristole_ lays it down for a Rule 'that the Law ought to forbid Young
+People the seeing of _Comedies_. Such permissions not being safe till Age
+and Discipline had confirm'd them in sobriety, fortified their Virtue, and
+made them as it were proof against Debauchery.'[439] This Philosopher who
+had look'd as far into Humane Nature as any Man, observes farther. 'That
+the force of Musick and _Action_ is very affecting. It commands the
+Audience and changes the Passions to a Resemblance of the Matter before
+them.'[440] So that where the Representation is foul, the Thoughts of the
+Company must suffer.
+
+_Tully_ crys out upon 'Licentious _Plays_ and _Poems_, as the bane of
+Sobriety, and wise Thinking: That _Comedy_ subsists upon Lewdness, and that
+Pleasure is the Root, of all Evil.'[441]
+
+_Livy_, reports the Original of _Plays_ among the _Romans_. 'He tells us
+they were brought in upon the score of Religion, to pacifie the Gods, and
+remove a _Mortality_. But then He adds that the Motives are sometimes good,
+when the Means are stark naught: That the Remedy in this case was worse
+than the Disease, and the Atonement more Infectious then the Plague.'[442]
+
+_Valerius Maximus_, Contemporary with _Livy_, gives much the same Account
+of the rise of _Theatres_ at _Rome_. 'Twas Devotion which built them. And
+as for the Performances of those Places, which Mr. _Dryden_ calls the
+_Ornaments_, this Author censures as the Blemishes of _Peace_.' And which
+is more, He affirms 'They were the Occasions of Civil Distractions; And
+that the _State_ first Blush'd, and then Bled, for the Entertainment.[443]
+He concludes the consequences of _Plays_ intolerable;[444] And that the
+_Massilienses_ did well in clearing the Country of them. _Seneca_ complains
+heartily of the Extravagance and Debauchery of the Age: And how forward
+People were to improve in that which was naught. That scarce any Body would
+apply themselves to the Study of Nature and Morality, unless when the
+_Play-House_ was shut, or the Weather foul. That there was no body to teach
+_Philosophy_, because there was no body to Learn it: But that the _Stage_
+had _Nurseries_, and Company enough. This Misapplication of time and Fancy,
+made Knowledge in so ill a Condition. This was the Cause the Hints of
+Antiquity were no better pursued; that some Inventions were sunk, and that
+Humane Reason grew Downwards rather than otherwise.[445] And elswhere he
+avers that there is nothing more destructive to Good Manners then to run
+Idling to see _Sights_. For there Vice makes an insensible Approach, and
+steals upon us in the Disguise of pleasure.[446]
+
+'_Tacitus_ relating how _Nero_ hired decay'd Gentlemen for the _Stage_,
+complains of the Mismanagement;[447] And lets us know 'twas the part of a
+Prince to releive their Necessity, and not to Tempt it. And that his Bounty
+should rather 'have set them above an ill practise, than driven them
+upon't.'
+
+And in another place, He informs us that 'the German Women were Guarded
+against danger, and kept their Honour out of Harms way, by having no
+_Play-Houses_ amongst them.'[448]
+
+_Plays_, in the Opinion of the Judicious _Plutark_ are dangerous to corrupt
+Young People; And therefore _Stage_ Poetry when it grows too hardy, and
+Licentious, ought to be checkt.[449] This was the Opinion of these
+Celebrated _Authors_ with respect to _Theatres_: They Charge them with the
+Corruption of Principles, and Manners, and lay in all imaginable Caution
+against them. And yet these Men had seldom any thing but this World in
+their Scheme; and form'd their Judgments only upon Natural Light, and
+Common Experience. We see then to what sort of Conduct we are oblig'd. The
+case is plain; Unless we are little enough to renounce our Reason, and fall
+short of Philosophy, and live _under_ the Pitch of _Heathenism_.
+
+To these Testimonies I shall add a Couple of _Poets_, who both seem good
+Judges of the Affair in Hand.
+
+The first is _Ovid_, who in his Book _De  Arte Amandi_, gives his _Reader_
+to understand that the _Play-House_ was the most likely Place for him to
+Forage in. Here would be choice of all sorts: Nothing being more common
+than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at
+these Diversions.
+
+  _Sed tu præcique curvis venare Theatris,
+  Hæc loca sunt voto fertiliora tuo.
+  ---- ruit ad celebres cultissima Fæmina Ludos;
+  Copia judicium sæpe morata meum est.
+  Spectatum veniunt, veniunt Spectentur ut ipsæ;
+  Ille locus casti damna pudoris habet._[450]
+
+And afterwards relating the imperfect beginning of _Plays_ at the Rape of
+the _Sabine_ Virgins, he adds,
+
+  _Silicit exillo solennia more Theatra
+  Nunc quoque formosis insidiosa manent._
+
+This _Author_ some time after wrote the _Remedy_ of _Love_. Here he
+pretends to Prescribe for Prudence, if not for Sobriety. And to this
+purpose, He forbids the seeing of _Plays_, and the reading of _Poets_,
+especially some of them. Such Recreations being apt to feed the
+_Distemper_, and make the _Patient_ relapse.
+
+  _At tanti tibi sit non indulgere Theatris
+  Dum bene de cacuo Pectore cedat amor.
+  Enervant animos Citharæ, Cantusque, lyraque
+  Et vox, & numeris brachia mota suis.
+  Illic assidue ficti saltantur amantes,
+  Quid, caveas, actor, quid juvet, arte docet_.[451]
+
+In his _De Tristibus_, He endeavours to make some Amends for his scandalous
+_Poems_, and gives _Augustus_ a sort of _Plan_ for a Publick _Reformation_.
+Amongst other Things, he advises the suppressing of _Plays_, as being the
+promoters of Lewdness, and Dissolution of Manners.
+
+  _Ut tamen hoc fatear ludi quoque semina præbent
+  Nequitiæ, tolli tota Theatra jube._[452]
+
+To the Testimony of _Ovid_, I could add _Plautus_, _Propertius_, and
+_Juvenal_, but being not willing to overburthen the _Reader_, I shall
+content my self with the _Plain-Dealer_ as one better known at _Home_.
+
+This _Poet_ in his _Dedication_ to _Lady B_, some Eminent _Procuress_,
+pleads the Merits of his Function, and insists on being Billeted upon _free
+Quarter_. _Madam_ (says he) _I think a Poet ought to be as free of your
+Houses, as of the Play-Houses: since he contributes to the support of both,
+and is as necessary to such as you, as the Ballad-singer to the Pick-purse,
+in Convening the Cullies at the Theatres to be pick'd up, and Carried to a
+supper, and Bed, at your Houses._[453] This is franck Evidence, and ne're
+the less true, for the Air of a Jest.
+
+I shall now in the Second Place proceed to the _Censures_ of the _State_;
+And show in a few Words how much the _Stage_ stands discouraged by the
+_Laws_ of other Countrys and our own.
+
+To begin with the _Athenians_.[454] This People tho' none of the worst
+Freinds to the _Play-House_ 'thought a _Comedy_ so unreputable a
+Performance, that they made a Law that no Judge of the _Ariopagus_ should
+make one.'
+
+The _Lacedemonians_,[455] who were remarkable for the Wisdom of their
+_Laws_, the Sobriety of their _Manners_, and their Breeding of brave Men.
+This _Government_ would not endure the _Stage_ in any Form, nor under any
+Regulation.
+
+To pass on to the _Romans_. _Tully_[456] informs us that their
+_Predecessours_ 'counted all _Stage-Plays_ uncreditable and Scandalous. In
+so much that any _Roman_ who turn'd _Actor_ was not only to be Degraded,
+but likewise as it were disincorporated, and unnaturalized by the _Order_
+of the _Censors_.
+
+St. _Augustine_ in the same Book,[457] commends the _Romans_ for refusing
+the _Jus Civitatis_ to _Players_, for seizing their Freedoms, and making
+them perfectly Foreign to their _Government_.
+
+We read in _Livy_[458] that the Young People in _Rome_ kept the _Fabulæ
+Attellanæ_ to themselves. 'They would not suffer this Diversion to be
+blemish'd by the _Stage_. For this reason, as the Historian observes,[459]
+the _Actors_ of the _Fabulæ Atellanæ_ were neither expell'd their _Tribe_,
+nor refused to serve in _Arms_; Both which Penalties it appears the _Common
+Players_ lay under.'
+
+In the Theodosian _Code_, _Players_ are call'd _Personæ inhonestæ_;[460]
+that is, to _Translate_ it softly, Persons Maim'd, and Blemish'd in their
+Reputation. Their _Pictures_ might be seen at the _Play-House_, but were
+not permitted to hang in any creditable Place[461] of the _Town_, Upon this
+_Text_ _Gothofred_ tells us the Function of Players was counted
+scandalous[462] by the _Civil Law_, L. 4. And that those who came upon the
+_Stage_ to divert the people, had a mark of Infamy set upon them. _Famosi
+sunt ex Edicto._ [463]
+
+I shall now come down to our own _Constitution_. And I find by 39 _Eliz.
+cap. 4. 1. Jac. cap. 7_. That all Bearwards, Common Players of Enterludes,
+Counterfeit Egyptians &c. shall be taken, adjudged and deem'd Rogues,
+Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment,
+as by this Act is in that behalf appointed. The _Penalties_ are infamous to
+the last degree, and _Capital_ too, unless they give over. 'Tis true, the
+first _Act_ excepts those Players which belong to a Baron or other
+Personage of higher Degree, and are authorized to Play under the hand and
+Seal of Armes of such Baron, or Personage. But by the later _Statute_ this
+Privilege of _Licensing_ is taken away: And all of them are expresly
+brought under the Penalty without Distinction.
+
+About the Year 1580, there was a Petition made to Queen _Elizabeth_ for
+suppressing of _Play-Houses_. 'Tis somewhat remarkable, and therefore I
+shall transcribe some part of the Relation.
+
+_Many Godly Citizens, and other well disposed Gentlemen of_ London,
+_considering that_ Play-Houses _and_ Dicing-Houses, _were Traps for Young
+Gentlemen and others, and perceiving the many Inconveniencies and great
+damage that would ensue upon the long suffering of the same, not only to
+particular Persons but to the whole City; And that it would also be a great
+disparagement to the Governours, and a dishonour to the Government of this
+Honourable City, if they should any longer continue, acquainted some Pious
+Magistrates therewith, desiring them to take some Course for the
+suppression of Common_ Play-Houses, _&c. within the City of_ London _and
+Liberties thereof; who thereupon made humble suit to Queen_ Elizabeth _and
+her Privy Council, and obtain'd leave of her Majesty to thrust the Players
+out of the City and to pull down all_ Play-Houses, _and_ Dicing-Houses
+_within their Liberties, which accordingly was effected.[464] And the
+Play-Houses in_ Grace-Church-street _&c. were quite put down and
+suppress'd_.
+
+I shall give a Modern Instance or two from _France_ and so conclude these
+Authorities.
+
+In the Year 1696. we are inform'd by a Dutch _Print_,[465] M. _L'
+Archevéque appuyé_ &c. That the Lord Arch-Bishop 'support'd by the interest
+of some Religious Persons at Court, has done his utmost to suppress the
+_Publick Theatres_ by degrees; or at least to clear them of Profaness.'
+
+And last Summer the _Gazetts_ in the _Paris Article_ affirm.[466] That the
+King has 'order'd the _Italian Players_ to retire out of _France_ because
+they did not observe his _Majesties Orders_, but represented immodest
+_Pieces_, and did not correct their _Obscenities_, and indecent
+_Gestures_.'
+
+The same _Intelligence_ the next week after, acquaints us, 'that some
+Persons of the first _Quality_ at Court, who were the Protectors of these
+_Comedians_, had solicited the French King to recal his _Order_ against
+them, but their Request had no success.'
+
+And here to put an end to the Modern Authorities, I shall subjoyn a sort of
+_Pastoral Letter_ publish'd about two years since by the Bishop of _Arras_
+in _Flanders_. The _Reader_ shall have as much of it as concerns him in
+both Languages.
+
+
+
+
+MANDEMENT
+
+DE MONSEIGNEUR
+
+_L'Illustrissime Et Reverendissime_
+
+EVEQUE D'ARRAS
+
+CONTRE LA COMEDIE.
+
+GUY DE SEVE DE ROCHE CHOUART _par la grace de Dieu & du Saint Siége
+Apostolique Evéque d' Arras, A tous fideles dela Ville d'Arras Salut &
+Benediction. Il faut ignorer sa Religion pour ne pas connoître l'horreur
+qu'elle a marquée dans tous les temps des Spectacles, & de la Comédie en
+particulier. Les saints Peres la condamnent dans leurs écrits; Ils la
+regardent comme un reste du paganisme, & Comme une école d'impureté.
+L'Eglise l' a toûjours regardée avec abomination, & si elle n'a pas
+absolument rejetté de son sein ceux qui exercent ce mêtier infame &
+scandaleux, elle les prive publiquement des Sacremens & n'oublie rien pour
+marquer en toutes rencountres son aversion pour cet ètat & pour l'inspirer
+a ses Enfans. Des Rituels de Dioceses tres reglés les mettent au nombre des
+personnes que les Curés sont obligés de traiter comme excommunies; Celui de
+Paris les joint aux Sorciers, & aux Magiciens, & les regarde comme
+manifestement infames; Les Eveques les plus saints leur font refuser
+publiquement, les Sacremens; Nous avons veu un des premiers Eveques de
+France ne vouloir pas par cette raison recevoir au mariage un homme de cet
+état; un autre ne vouloir pas leur accorder la terre Sainte; Et dans les
+Statuts d'un prelat bien plus illustre per son merite par sa Pieté, & par
+l'austerité de sa vie que par la pourpre dont il est revestu, on les trouve
+avec les concubinaires, les Usuriers, les Blasphemateurs, les Femmes
+debauchées, les excommuniés denoncés, les Infames, les Simoniaque's, &
+autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser
+publiquement la Communion_.
+
+_Il est donc impossible de justifyer la Comedie sans vouloir condamner
+l'Eglise, les saints peres, les plus saint Prelats, mais il ne l'est pas
+moins de justifiër ceux qui par leur assistance a ces spectacles non
+seulement prennent part au mal qui s'y fait, mais contribuent en même temps
+à retenir ces malheureux ministres de Satan dans une profession, qui les
+separant des Sâcremens de l'Eglise les met dans un état perpetuel de peché
+& hors de salut s'ils ne l'abandonnnent._---- ----
+
+
+_Et à egard des Comediens & Commediennes, Nous defendons trés expressement
+à nos pasteurs & à nos Confesseurs des les recevoir aux Sacremens si cé
+n'est qu'ils aient fait Penitence de leur peché, donné des preuves
+d'amendment, renoncé a leur Etat, & repare par une satisfaction publique
+telle que nous jugerons à propos de leur ordonner, le Scandale public
+qu'ils ont donné. Fait & ordonné à Arras le quatriéme jour de Decembre mil
+six cent quatre-vingt quinze._[467]
+
+  _Guy Evéque d'Arras
+           Et plus bas
+         Par Monseigneur_
+
+            CARON.
+
+
+In English thus,
+
+_An Order of the most Illustrious and most Reverend Lord Bishop of_ Arras
+_against_ Plays.
+
+'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &c. Bishop of _Arras_.
+To all the Faithful in the Town of _Arras_ Health and Benediction. A man
+must be very ignorant of his Religion, not to know the great disgust it has
+always declar'd, for _Publick Sights_, and for _Plays_ in particular. The
+Holy _Fathers_ condemn them in their writings; They look upon them as
+reliques of Heathenism, and Schools of Debauchery. They have been always
+abominated by the Church; And notwithstanding those who are concern'd in
+this Scandalous Profession; are not absolutely expell'd by a Formal
+Excommunication, yet She publickly refuses them the Sacraments, and omits
+nothing upon all occasions, to show her aversion for this Employment, and
+to transfuse the same sentiments into her Children. The _Rituals_ of the
+best govern'd Dioceses, have ranged the _Players_ among those whom the
+Parish Priests are oblig'd to treat as Excommunicated Persons. The _Ritual_
+of _Paris_ joyns them with Sorcerers, and Magicians, and looks upon them as
+notoriously infamous; The most eminent Bishops for Piety, have publickly
+denied them the Sacraments: For this reason, we our selves have known one
+of the most considerable Bishops in _France_, turn back a _Player_ that
+came to be Married; And an other of the same order, refused to bury them in
+Consecrated Ground. And by the _Orders_ of a Bishop, who is much more
+illustrious for his worth, for his Piety, and the Strictness of his Life,
+than for the _Purple_ in his Habit; They are thrown amongst Fornicators,
+Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the
+Infamous, and Simoniacal, and other Scandalous Persons who are in the List
+of those who ought publickly to be barr'd Communion.
+
+'Unless therfore we have a mind to condemn the Church, the Holy Fathers,
+and the most holy Bishops, 'tis impossible to justifie _Plays_; neither is
+the Defence of those less impracticable, who by their Countenance of these
+Diversions, not only have their share of the Mischief there done, but
+contribute at the same time to fix these unhappy Ministers of Satan in a
+Profession, which by depriving them of the Sacraments of the Church, leaves
+them under a constant necessity of Sinning, and out of all hopes of being
+saved, unless they give it over.----'
+
+From the general Unlawfulness of _Plays_, the Bishop proceeds to argue more
+strongly against seeing them at times which are more particularly devoted
+to Piety, and Humiliation: And therefore he strickly forbids his Diocess
+the _Play-House_ in _Advent_, _Lent_, or under any publick _Calamity_. And
+at last concludes in this Manner.
+
+'As for the Case of _Players_ both Men, and Women, we expresly forbid all
+our Rectors, Pastors, and Confessours, to admit them to the Sacraments,
+unless they shall repent them of their Crime, make proof of their
+Reformation, renounce their _Business_, and retrieve the Scandal they have
+given, by such publick Satisfaction as we shall think proper to injoyn
+them. Made and Decreed at _Arras_ the fourth day of _December 1695._
+
+_Guy_ Bishop of _Arras_. &c.
+
+I shall now in the Third Place, give a short account of the sense of the
+_Primitive_ Church concerning the _Stage_: And first I shall instance in
+her _Councils_.
+
+The Council of _Illiberis_, or _Collioure_ in _Spain_, decrees,[468]
+
+'That it shall not be lawful for any Woman who is either in full Communion
+or a probationer for Baptism, to Marry, or Entertain any _Comedians_ or
+_Actors_; whoever takes this Liberty shall be Excommunicated.'
+
+The first Council of _Arles_, runs thus,[469]
+
+'Concerning _Players_, we have thought fit to Excommunicate them as long as
+they continue to _Act_.'
+
+The Second Council of _Arles_ made their _20th_ Canon to the same purpose,
+and almost in the same words.[470]
+
+The Third Council of _Carthage_, of which St. _Augustine_ was a Member,
+ordains,[471]
+
+'That the Sons of Bishops, or other Clergy-men should not be permitted to
+furnish out Publick _Shews_, or _Plays_[472] or be present at them: Such
+sort of Pagan _Entertainments_ being forbidden all the _Laity_. It being
+always unlawful for all Christians to come amongst _Blasphemers_.
+
+This last branch shews the _Canon_ was Principally levell'd against the
+_Play-House_: And the reason of the Prohibition, holds every jot as strong
+against the _English_, as against the _Roman Stage_.
+
+By the 35th _Canon_ of this _Council_ 'tis decreed,
+
+'That _Actors_ or others belonging to the _Stage_, who are either
+_Converts_, or _Penitents_ upon a Relapse, shall not be denied Admission
+into the Church.' This is farther proof, that _Players_ as long as they
+kept to their Employment were bar'd _Communion_.
+
+Another _African Council_ declares,[473]
+
+'That the Testimony of People of ill Reputation, of _Players_, and others
+of such scandalous Employments, shall not be admitted against any Person.'
+
+The Second _Council_ of _Chaalon_ sets forth,[474]
+
+'That Clergy men ought to abstain from all over-engaging Entertainments in
+Musick or _Show_. (_oculorum auriumque illecebris_.) And as for the smutty,
+and Licentious Insolence of _Players_, and Buffoons, let them not only
+decline the Hearing it themselves, but likewise conclude the _Laity_
+oblig'd to the same Conduct.
+
+I could cite many more Authorities of this Kind, but being conscious of the
+Niceness of the _Age_, I shall forbear, and proceed to the Testimony of the
+_Fathers_.
+
+
+
+To begin with _Theophilus_ Bishop of _Antioch_, who lived in the Second
+_Century_.
+
+''Tis not lawful (says he)[475] for us to be present at the _Prizes_ or
+your _Gladiators_, least by this means we should be _Accessaries_ to the
+Murthers there committed. Neither dare we presume upon the Liberty of your
+other _Shews_,[476] least our Senses should be tinctur'd, and disoblig'd,
+with Indecency, and Profaness. The Tragical Distractions of _Tereus_ and
+_Thyestes_, are Nonsense to us. We are for seeing no Representations of
+Lewdness. The Stage-Adulteries of the _Gods_, and _Hero's_, are
+unwarrantable Entertainments: And so much the worse, because the Mercenary
+_Players_ set them off with all the Charms and Advantages of Speaking. God
+forbid that _Christians_ who are remarkable for Modesty, and Reserv'dness;
+who are obliged to Discipline, and train'd up in Virtue, God forbid I say,
+that we should dishonour our Thoughts, much less our Practise, with such
+Wickedness as This!'
+
+_Tertullian_ who liv'd at the latter end of this Century is copious upon
+this subject; I shall translate but some Part of it. In his Apologetick, He
+thus addresses the Heathens.[477]
+
+'We keep off from your publick _Shews_, because we can't understand the
+Warrant of their Original. There's Superstition and Idolatry in the Case:
+And we dislike the Entertainment because we dislike the reason of its
+Institution. Besides, We have nothing to do with the Frensies of the
+_Race-Ground_, the Lewdness of the _Play-House_, or the Barbarities of the
+_Bear-Garden_. The _Epicureans_ had the Liberty to state the Notion, and
+determine the Object of Pleasure. Why can't we have the same Privilege?
+What Offence is it then if we differ from you in the Idea of Satisfaction?
+If we won't understand to brighten our Humour, and live pleasantly, where's
+the harm? If any body has the worst on't, 'tis only our selves.'
+
+His Book _de Spectaculis_ was wrote on purpose to diswade the Christians,
+from the publick Diversions of the _Heathens_, of which the _Play-House_
+was one. In his first Chapter He gives them to understand, 'That the Tenour
+of their Faith, the Reason of Principle, and the Order of Discipline, had
+bar'd them the Entertainments of the _Town_. And therefore He exhorts them
+to refresh their Memories, to run up to their Baptism, and recollect their
+first Engagements. For without care, Pleasure is a strange bewitching
+Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse
+of Liberty, make a man's Conscience wink, and suborn his Reason against
+himself.
+
+'But as he goes on,[478] some peoples Faith is either too full of Scruples,
+or too barren of Sense. Nothing will serve to settle them but a plain Text
+of _Scripture_. They hover in uncertainty because 'tis not said as expresly
+thou shalt not go to the _Play-House_, as 'tis thou shalt not Kill. But
+this looks more like Fencing than Argument. For we have the Meaning of the
+prohibition tho' not the sound, in the first _Psalm. Blessed is the Man
+that walks not in the Council of the Ungodly, nor stands in the way of
+Sinners, nor sits in the Seat of the Scornful._
+
+'The _Censors_ whose business 'twas to take care of Regularity and
+Manners,[479] look'd on these _Play-Houses_ as no other than _Batteries_
+upon Virtue and Sobriety, and for this reason often pull'd them down before
+they were well built, so that here we can argue from the _Precedents_ of
+meer _Nature_, and plead the _Heathens_ against themselves. Upon this view
+_Pompey_ the Great, when he built his _Dramatick_ Bawdy-House, clapp'd a
+_Chappel_ a Top on't. He would not let it go under the Name of a
+Play-House, but conven'd the people to a Solemn Dedication, and called it
+_Venus's_ Temple; Giving them to understand at the same time that there
+were _Benches_ under it for Diversion. He was afraid if he had not gone
+this way to work, The _Censors_ might afterwards have razed the Monument,
+and branded his Memory. Thus a Scandalous pile of Building was protected:
+The Temple, cover'd the _Play-House_, and Discipline was baffled by
+_Superstition_. But the Design is notably suited to the Patronage of
+_Bacchus_[480] and _Venus_. These two Confederate Devils of Lust and
+Intemperance, do well together. The very Functions of the _Players_
+resemble their _Protectors_, and are instances of Service and
+Acknowledgment. Their Motion is effeminate, and their Gestures vitious and
+Significant: And thus they worship the Luxury of one _Idoll_, and the
+Lewdness of the other.
+
+'And granting the Regards of Quality, the Advantages of Age, or Temper, may
+fortifie some People;[481] granting Modesty secur'd, and the Diversion as
+it were refin'd by this Means: Yet a Man must not expect to stand by
+perfectly unmoved, and impregnable. No body can be pleas'd without Sensible
+Impressions. Nor can such Perceptions be received without a Train of
+Passions attending them. These Consequences will be sure to work back upon
+their Causes, solicite the Fancy, and heighten the Original Pleasure. But
+if a Man pretends to be a _Stoick_ at _Plays_, he falls under another
+Imputation. For where there is no Impression, there can be no Pleasure: And
+then the _Spectator_ is very much Impertinent, in going where he gets
+nothing for his Pains. And if this were all; I suppose Christians have
+something else to do than to ramble about to no purpose.[482]
+
+'Even those very Magistrates who abet the _Stage_, discountenance the
+_Players_. They stigmatize their _Character_, and cramp their Freedoms. The
+whole Tribe of them is thrown out of all Honour and Privilege. They are
+neither suffer'd to be Lords, nor Gentlemen: To come within the _Senate_,
+or harangue the People, or so much as to be Members of a _Common-Council_.
+Now what Caprice and Inconsistency is this! To love what we punish, and
+lessen those whom we admire! To cry up the Mystery, and censure the
+practise; For a Man to be as it were eclips'd upon the score of Merit is
+certainly an odd sort of Justice! True. But the Inference lies stronger
+another way. What a Confession then is this of an Ill Business; when the
+very Excellency of it is not without Infamy?
+
+'Since therefore Humane Prudence has thought fit to degrade the _Stage_,
+notwithstanding the Divertingness of it. Since Pleasure can't make them an
+Interest Here, nor shelter them from Censure.[483] How will They be able to
+stand the shock of Divine Justice, and what _Reckoning_ have they _Reason_
+to expect Hereafter?
+
+'All things consider'd 'tis no wonder such People should fall under
+_Possession_. God knows we have had a sad Example of this already. A
+certain Woman went to the _Play-House_, and brought the Devil Home with
+Her.[484] And when the Unclean Spirit was press'd in the _Exorcism_ and
+ask'd how he durst attack a Christian. I have done nothing (says he) but
+what I can justify. For I seiz'd her upon my own Ground. Indeed, how many
+Instances have we of others who have apostatiz'd from God, by this
+Correspondence with the Devil? What _Communion has Light with Darkness? No
+Man can serve two Masters_, nor have Life and Death in him at the same
+time.
+
+'Will you not then avoid this Seat of Infection?[485] The very Air suffers
+by their Impurities; And they almost Pronounce the Plague. What tho' the
+performance may be in some measure pretty and entertaining? What tho'
+Innocence, yes and Virtue too, shines through some part of it? 'Tis not the
+custom to prepare Poyson unpalatable, nor make up Ratzbane with Rhubarb and
+Sena. No. To have the Mischief speed, they must oblige the Sense, and make
+the Dose pleasant. Thus the Devil throws in a Cordial Drop to make the
+Draught go down; And steals some few Ingredients from the _Dispensatory_ of
+Heaven. In short, look upon all the engaging Sentences of the Stage; Their
+flights of Fortitude, and Philosophy, the Loftiness of their Stile, the
+Musick of the Cadence, and the Finess of the Conduct; Look upon it only I
+say as Honey dropping from the Bowels of a Toad, or the Bag of a Spider:
+Let your Health over-rule your Pleasure, and don't die of a little
+_Liquorishness_.
+
+'In earnest Christian, our time for Entertainment is not yet:[486] you are
+two craving and ill managed if you are so violent for Delight. And let me
+tell you, no wiser than you should be, if you count such Things
+Satisfaction. Some Philosophers placed their Happiness in bare
+Tranquillity. Easiness of Thought, and Absence of Pain, was all they aim'd
+at. But this it seems won't Satisfie Thee. Thou liest sighing and hankering
+after the _Play-house_. Prethee recollect thy self: Thou knowest Death
+ought to be our Pleasure, And therefore I hope Life may be a little without
+it. Are not our Desires the same with the Apostles, _To be Dissolv'd and to
+be with Christ_. Let us act up to our pretentions, and let Pleasure be true
+to Inclination.
+
+'But if you can't wait for Delight; if you must be put into present
+Possession, wee'l cast the Cause upon that Issue.[487] Now were you not
+unreasonable, you would perceive the Liberalities of Providence, and find
+your self almost in the midst of Satisfaction. For what can be more
+transporting than the Friendship of Heaven, and the Discovery of Truth,
+than the Sense of our Mistakes, and the Pardon of our Sins? What greater
+Pleasure can there be, than to scorn being _Pleas'd_? To contemn the World?
+And to be a Slave to Nothing? 'Tis a mighty satisfaction I take it, to have
+a clear Conscience;
+
+To make Life no Burthen, nor Death any Terror! To trample upon the _Pagan_
+Deities; To batter _Principalities_ and _Powers_, and force the Devils to
+Resign![488] These are the Delights, these are the noble Entertainments of
+Christians: And besides the advantage of the Quality, they are always at
+hand, and cost us nothing.'
+
+_Clemens_ _Alexandrinus_ affirms[489] 'That the _Circus_ and _Theatre_ may
+not improperly be call'd the _Chair_ of _Pestilence_.----Away then with
+these Lewd, Ungodly Diversions, and which are but Impertinence at the Best.
+What part of Impudence either in words or practise, is omitted by the
+Stage? Don't the Buffoons take almost all manner of Liberties, and plunge
+through Thick and Thin, to make a jest? Now those who are affected with a
+vitious satisfaction, will be haunted with the Idea, and spread the
+Infection. But if a man is not entertain'd to what purpose should he go
+Thither? Why should he be fond where he finds nothing, and court that which
+sleeps upon the Sense? If 'tis said these Diversions are taken only to
+unbend the Mind, and refresh Nature a little. To this I answer. That the
+spaces between Business should not be fill'd up with such Rubbish. A wise
+man has a Guard upon his Recreations, and always prefers, the Profitable to
+the Pleasant.'
+
+_Minutius Felix_ delivers his Sense in these Words:[490]
+
+'As for us, who rate our Degree by our Virtue, and value our selves more
+upon our Lives, than our Fortunes; we decline your Pompous _Shews_, and
+publick Entertainments. And good Reason we have for our Aversion. These
+Things have their Rise from Idols, and are the Train of a false Religion.
+The Pleasure is ill Descended, and likewise Vitious and ensnaring. For who
+can do less than abominate, the Clamorous Disorders of the _Race-Ground_,
+and the profession of Murther at the _Prize_. And for the _Stage_, there
+you have more Lewdness, tho' not a jot less of Distraction. Sometimes your
+_Mimicks_, are so Scandalous and Expressing, that 'tis almost hard to
+distinguish between the _Fact_ and the _Representation_. Sometimes a
+Luscious _Actor_ shall whine you into Love, and give the Disease that he
+Counterfeits.'
+
+St. _Cyprian_ or the Author _de Spectaculis_, will furnish us farther.
+
+Here this Father argues against those who thought the _Play-House_ no
+unlawful Diversion, because 'twas not Condemn'd by express _Scripture_.
+'Let meer Modesty (says he) supply the _Holy Text_: And let _Nature_ govern
+where _Revelation_ does not reach. Some Things are too black to lie upon
+_Paper_, and are more strongly forbidden, because unmention'd. The Divine
+Wisdom must have had a low Opinion of _Christians_, had it descended to
+particulars in this Case. Silence is sometimes the best Method for
+Authority. To Forbid often puts People in mind of what they should not do;
+And thus the force of the Precept is lost by naming the Crime. Besides,
+what need we any farther Instruction? Discipline and general Restraint
+makes up the Meaning of the Law; and common Reason will tell you what the
+Scripture has left unsaid. I would have every one examine his own Thoughts,
+and inquire at Home into the Duties of his Profession. This is a good way
+to secure him from Indecency. For those Rules which a Man has work'd out
+for himself he commonly makes most use of.'----And after having describ'd
+the infamous Diversions of the _Play-house_; He expostulates in this
+Manner.
+
+'What business has a Christian at such Places as these? A Christian who has
+not the Liberty so much as to think of an ill Thing. Why does he entertain
+himself with Lewd Representations? Has he a mind to discharge his Modesty,
+and be flesh'd for the _Practise_? Yes. this is the Consequence. By using
+to see these Things, hee'l learn to do them.----What need I mention the
+Levities, and Impertinence in _Comedies_, or the ranting Distractions of
+_Tragedy_? Were these Things unconcern'd with Idolatry, Christians ought
+not to be at them. For were they not highly Criminal, the Foolery of them
+is egregious, and unbecoming the Gravity of _Beleivers_.----
+
+'As I have often said these Foppish, these pernicious Diversions, must be
+avoided. We must set a Guard upon our Senses, and keep the Sentinal always
+upon Duty. To make Vice familiar to the ear, is the way to recommend it.
+And since the mind of Man has a Natural Bent to Extravagance; how is it
+likely to hold out under Example, and Invitation? If you push that which
+totters already, whether will it tumble? In earnest, we must draw off our
+Inclinations from these Vanities. A Christian has much better _Sights_ than
+these to look at. He has solid Satisfactions in his Power, which will
+please, and improve him at the same time.
+
+'Would a Christian be agreeably Refresh'd? Let him read the _Scriptures_:
+Here the Entertainment will suit his Character, and be big enough for his
+Quality.--Beloved, how noble, how moving how profitable a pleasure is it to
+be thus employed? To have our Expectations always in prospect, and be
+intent on the Glories of Heaven?'
+
+He has a great deal more upon this Subject in his _Epistles_ to _Donatus_
+and _Eucratius_, which are undoubtedly genuine. The later being somewhat
+remarkable, I shall Translate part of it for the _Reader_. [491]
+
+'Dear Brother, your usual Kindness, together with your desire of releiving
+your own Modesty and mine, has put you upon asking my Thoughts concerning a
+certain _Player_ in your Neighbourhood; whether such a Person ought to be
+allow'd the Privilege of _Communion_. This Man it seems continues in his
+Scandalous Profession, and keeps a Nursery under him. He teaches that which
+'twas a Crime in him to learn, sets up for a Master of Debauch, and
+Propagates the lewd Mystery. The case standing thus, 'tis my Opinion that
+the Admission of such a _Member_ would be a Breach of the Discipline of the
+Gospel, and a Presumption upon the Divine Majesty: Neither do I think it
+fit the Honour of the Church should suffer by so Infamous a
+Correspondence.'
+
+_Lactantius_'s Testimony shall come next. This Author in his _Divine
+Institutions_,[492] which he Dedicates to _Constantine_ the Great, cautions
+the Christians against the _Play-House_, from the Disorder, and danger of
+those places. For as he observes.
+
+'The debauching of Virgins, and the Amours of Strumpets, are the Subject of
+_Comedy_. And here the Rule is, the more Rhetorick the more Mischeif, and
+the best _Poets_ are the worst Common-Wealths-men. For the Harmony and
+Ornament of the Composition serves only to recommend the Argument, to
+fortifie the Charm, and engage the Memory. At last he concludes with this
+advice.
+
+'Let us avoid therefore these Diversions, least somewhat of the Malignity
+should seize us. Our Minds should be quiet and Compos'd, and not over-run
+with Amusements. Besides a Habit of Pleasure is an ensnaring Circumstance.
+'Tis apt to make us forget God, and grow cool in the Offices of
+Virtue.[493]
+
+'Should a Man have a Stage at Home, would not his Reputation suffer
+extreamly, and all people count him a notorious Libertine? most
+undoubtedly. Now the Place does not alter the Property. The Practise at the
+_Play-House_ is the same thing, only there he has more Company to keep him
+in Countenance.
+
+'A well work'd _Poem_ is a powerful piece of Imposture: It masters the
+Fancy, and hurries it no Body knows whither.----If therefore we would be
+govern'd by Reason let us stand off from the Temptation, such Pleasures can
+have no good Meaning. Like delicious Morsels they subdue the Palate, and
+flatter us only to cut our Throats. Let us prefer Reality to Appearance,
+Service, to Show; and Eternity to Time.[494]
+
+'As God makes Virtue the Condition of Glory, and trains men up to Happiness
+by Hardship and Industry. So the Devils road to Destruction lies through
+Sensuality and _Epicurism_. And as pretended Evils lead us on to
+uncounterfeited Bliss; So Visionary Satisfactions are the causes of Real
+Misery. In short, These Inviting Things are all stratagem. Let us, take
+care the softness and Importunity of the Pleasure does not surprise us, nor
+the Bait bring us within the snare. The Senses are more than _Out-Works_,
+and should be defended accordingly.'
+
+I shall pass over St. _Ambrose_,[495] and go on to St. _Chrisostome_. This
+_Father_ is copious upon the Subject, I could translate some _Sheets_ from
+him were it necessary. But length being not my Business, a few Lines may
+serve to discover his Opinion. His _15 Homily ad Populum Antiochenum_, runs
+thus.
+
+'Most People fancy the Unlawfulness of going to _Plays_ is not clear. But
+by their favour, a world of Disorders are the Consequences of such a
+Liberty. For frequenting the _Play-House_ has brought Whoring and Ribaldry
+into Vogue, and finish'd all the parts of Debauchery.'
+
+Afterwards he seems to make the supposition better than the _Fact_, and
+argues upon a feign'd Case.
+
+'Let us not only avoid downright Sinning, but the Tendencies to it. Some
+Indifferent Things are fatal in the Consequence, and strike us at the
+Rebound. Now who would chuse his standing within an Inch of a Fall; or swim
+upon the Verge of a Whirlpool? He that walks upon a Precipice, shakes tho'
+he does not tumble. And commonly his Concern brings him to the Bottom. The
+Case is much the same in reference to Conscience, and Morality. He that
+won't keep his Distance from the Gulph, is oftentimes suck'd in by the
+Eddy; and the least oversight is enough to undo Him.'
+
+In his 37 Homily upon the Eleventh Chapter of St. _Matthew_ he declaims
+more at large against the Stage.
+
+'Smutty Songs (says he) are much more abominable than Stench and Ordure.
+And which is most to be lamented, you are not at all uneasy at such
+Licentiousness. You Laugh when you should Frown; and Commend what you ought
+to abhor.----Heark you, you can keep the Language of your own House in
+order: If your Servants or your Childrens Tongues run Riot, they presently
+smart for't. And yet at the _Play-House_ you are quite another Thing. These
+little Buffoons have a strange Ascendant! A luscious Sentence is hugely
+welcome from their Mouth: And instead of Censure, they have thanks and
+encouragement for their Pains. Now if a Man would be so just as to wonder
+at himself, here's Madness, and Contradiction in Abundance.
+
+'But I know you'l say what's this to me, I neither sing nor pronounce, any
+of this Lewd stuff? Granting your Plea, what do you get by't? If you don't
+repeat these Scurrilities, you are very willing to hear them. Now whether
+the Ear, or the Tongue is mismanaged, comes much to the same reckoning. The
+difference of the _Organ_, does not alter the Action so mightily, as you
+may imagine. But pray how do you prove you don't repeat them? They may be
+your Discourse, or the Entertainments of your Closet for ought we know to
+the contrary. This is certain; you hear them with pleasure in your Face,
+and make it your business to run after them: And to my Mind, these are
+strong Arguments of your Approbation.
+
+'I desire to ask you a Question. Suppose you hear any wretches Blaspheme,
+are you in any Rapture about it? And do your Gestures appear airy, and
+obliged? Far from it. I doubt not but your blood grows chill, and your Ears
+are stopt at the Presumption. And what's the Reason of this Aversion in
+your Behaviour? Why 'tis because you don't use to Blaspheme, your self.
+Pray clear your self the same way from the Charge of Obscenity. Wee'l then
+believe you don't talk Smut, when we percieve you careful not to hear it.
+Lewd Sonnets, and Serenades are quite different from the Prescriptions of
+Virtue. This is strange Nourishment for a Christian to take in! I don't
+wonder you should lose your Health, when you feed thus Foul. It may be
+Chastity is no such easy Task! Innocence moves upon an Ascent, at least for
+sometime. Now those who are always Laughing can never strain up Hill. If
+the best preparations of Care will just do, what must become of those that
+are dissolv'd in Pleasure, and lie under the Instructions of
+Debauchery?----Have you not heard how that St. _Paul_ exhorts us _to
+rejoyce in the Lord_? He said _in the Lord_; not in the Devil. But alas!
+what leisure have you to Mind St. _Paul_? How should you be sensible of
+your Faults, when your Head is always kept Hot, and as it were intoxicated
+with Buffooning?'---- ----He goes on, and lashes the Impudence of the
+_Stage_ with a great deal of Satir and Severity; and at last proposes this
+Objection.
+
+'You'l say, I can give you many Instances where the _Play-House_ has done
+no Harm. Don't mistake. Throwing away of Time and ill example, has a great
+deal of Harm in't; And thus far you are guilty at the best. For granting
+your own Virtue impenetrable, and out of Reach, Granting the Protection of
+your Temper has brought you off unhurt, are all People thus Fortified? By
+no means. However, many a weak Brother has ventur'd after you, and
+miscarried upon your _Precedent_. And since you make others thus _Faulty_,
+how can you be _Innocent_ your self? All the People undone There, will lay
+their Ruine at your Door. The Company are all Accessary to the Mischeif of
+the Place. For were there no _Audience_, we should have no _Acting_. And
+therefore those who joyn in the Crime, will ne're be parted in the
+Punishment. Granting your Modesty has secur'd you, which by the way I
+believe nothing of; yet since many have been debauch'd by the _Play-House_,
+you must expect a severe Reckning for giving them Encouragement. Tho' after
+all, as Virtuous as you are, I doubt not, you wou'd have been much Better,
+had you kept away.
+
+'In fine, Let us not dispute to no purpose; The practise won't bear a
+Defence! Where the Cause is naught 'tis in vain to rack our Reason, and
+strain for Pretences. The best excuse for what is past, is to stand clear
+from the danger, and do so no more.'
+
+One citation more from St. _Chrysostom_, and I take Leave. In the Preface
+of his Commentary upon St. _John_'s Gospel speaking of _Plays_ and other
+Publick _Shews_, he has these words.
+
+'But what need I branch out the Lewdness of those _Spectacles_, and be
+particular in Description? For what's there to be met with but Lewd
+Laughing, but Smut, Railing, and Buffoonry? In a word. 'Tis all Scandal and
+Confusion. Observe me, I speak to you all; Let none who partake of this
+_Holy-Table_, unqualifie themselves with such Mortal Diversions.'
+
+St. _Hierom_ on the _1st_. Verse 32 _Psal._ makes this Exposition upon the
+_Text_.
+
+'Some are delighted with the Satisfactions of this World, some with the
+_Circus_, and some with the _Theatre_: But the Psalmist commands every good
+Man _to delight himself in the Lord_.----For as _Isaiah_ speaks, _woe to
+them that put bitter for sweet, and sweet for bitter_.' And in his
+Epistles[496] he cautions the Ladies against having any thing to do with
+the _Play-House_, against Lewd Songs, and Ill Conversation. Because they
+set ill Humours at work, Caress the Fancy, and make pleasure a Conveyance
+for Destruction.'
+
+In the _6th._ Book of his Comentary on _Ezechiel_ he lets us
+understand;[497] 'That when we depart out of _Ægypt_ we must refine our
+Inclinations, and change our Delights into Aversion. And after some other
+Instances, He tells us we must decline the _Theatres_, and all other
+dangerous Diversions, which stain the Innocence of the Soul, and slip into
+the _Will_ through the Senses.'
+
+St. _Augustine_ in his _5th_. Epistle to _Marcellinus_ will afford us
+something upon the same Argument.
+
+'The prosperity of Sinners is their greatest Unhappiness. If one may say
+so, They are most Punish'd when they are overlook'd. By this means their
+bad Temper is encourag'd, and they are more inclin'd to be false to
+themselves; And we know an Enemy _within_, is more dangerous than one
+_without_. But the perverse Reasonings of the Generality, make different
+Conclusions. They fancy the World goes wonderfully well when People make a
+Figure. When a Man is a Prince in his Fortune, but a Begger in his Vertue;
+Has a great many fine Things about him, but not so much as one good Quality
+to deserve them. When the _Play-Houses_ go up, and Religion go's down. When
+Prodigality is admir'd, and Charity laugh'd at. When the _Players_ can
+revel with the Rich Man's purse, And the Poor have scarse enough to keep
+Life and Soul together.----When God suffers these Things to flourish, we
+may be sure he is most Angry. Present Impunity, is the deepest Revenge. But
+when he cuts off the Supplies of Luxury, and disables the Powers of
+Extravagance, then as one may say, he is mercifully severe.'
+
+In his _1st._ Book _de consensu Evangelistarum_,[498] He answers an
+objection of the _Heathens_, and comes up to the Case in Hand.
+
+'Their Complaint as if the Times were less happy since the Appearance of
+Christianity is very unreasonable. Let them read their own Philosophers:
+There they'l find those very Things censured, which they now are so uneasy
+to part with; This Remark must shut up their Mouths, and convince them of
+the Excellency of our Religion. For pray what Satisfactions have they lost?
+None that I know of, excepting some Licentious ones, which they abused to
+the Dishonour of their Creatour. But it may be the Times are bad because
+the _Theatres_ are Tumbling almost every where. The _Theaters_ those
+_Cages_ of _Uncleaness_, and publick Schools of Debauchery.----And what's
+the Reason of their running to Ruine? Why 'tis the Reformation of the Age:
+'Tis because those Lewd Practises are out of Fashion, which first built and
+kept them in Countenance. Their own _Tully_'s Commendation of the _Actor
+Roscius_ is remarkable. He was so much a Master (says he) that none but
+himself was worthy to Tread the _Stage_. And on the other hand, so good a
+Man, that he was the most unfit Person of the Gang to come There. And is
+not this a plain Confession of the Lewdness of the _Play-House_; And that
+the better a Man was, the more he was obliged to forbear it?'
+
+I could go on, much farther with St. _Augustine_, but I love to be as brief
+as may be. I could likewise run through the succeeding _Centuries_, and
+collect Evidence all along. But I conceive the best Ages, and the biggest
+Authorities, may be sufficient: And these the _Reader_ has had already.
+However, one Instance more from the _Moderns_ may not be amiss. _Didacus de
+Tapia_ an eminent _Spaniard_, shall close the _Evidence_. This Author in
+debating the Question whether _Players_ might be admitted to the
+_Sacrament_, amongst other things encounters an Objection. Some People it
+seems pretended there was some good to be learn'd at the _Play-House_. To
+these, he makes this reply.
+
+'Granting your Supposition, (says He) your Inference is naught. Do People
+use to send their Daughters to the _Stews_ for Discipline? And yet it may
+be, they might meet some there lamenting their own Debauchery. No Man will
+breed his Son upon the _High-way_, to harden his Courage; Neither will any
+one go on board a Leaky Vessel, to learn the Art of shifting in a Wreck the
+better. My conclusion is, let no body go to the Infamous _Play-House_. A
+place of such staring Contradiction to the Strictness and Sobriety of
+Religion: A Place hated by God, and haunted by the Devil. Let no man I say
+learn to relish any thing that's said there; For 'tis all but Poyson
+handsomly prepared.' [499]
+
+Thus I have presented the _Reader_ with a short View of the Sense of
+_Christianity_. This was the opinion of the _Church_ for the first 500
+Years. And thus she has Censured the _Stage_ both in _Councils_, and Single
+_Authorities_. And since the Satir of the _Fathers_ comes full upon the
+_Modern Poets_, their Caution must be applicable. The parity of the Case
+makes their Reasons take place, and their Authority revive upon us. If we
+are _Christians_, the _Canons_ of _Councils_, and the Sense of the
+Primitive _Church_ must have a weight. The very Time is a good argument of
+it self. Then the _Apostolical Traditions_ were fresh, and undisputed; and
+the _Church_ much better agreed than she has been since. Then, Discipline
+was in Force, and Virtue Flourish'd, and People lived up to their
+_Profession_. And as for the _Persons_, they are beyond all exception.
+Their _Station_, their Learning, and Sufficiency was very Considerable;
+Their Piety and Resolution, extraordinary. They acted generously, and wrote
+freely, and were always above the little Regards of Interest or Danger. To
+be short; They were, as we may say the _Worthies_ of _Christendom_, the
+Flower of Humane Nature, and the Top of their _Species_. Nothing can be
+better establish'd, than the Credit of these _Fathers_: Their Affirmation
+goes a great way in a proof; And we might argue upon the strength of their
+_Character_.
+
+But supposing them contented to wave their Privilege, and dispute upon the
+Level. Granting this, the _Stage_ would be undone by them. The Force of
+their Reasoning, and the bare _Intrinsick_ of the Argument, would be
+abundantly sufficient to carry the Cause.
+
+But it may be objected, is the Resemblance exact between Old _Rome_ and
+_London_, will the Paralel hold out, and has the _English Stage_ any Thing
+so bad as the _Dancing_ of the _Pantomimi_? I don't say that: The _Modern
+Gestures_ tho' bold and Lewd too sometimes, are not altogether so
+scandalous as the _Roman_. Here then we can make them some little
+Abatement.
+
+And to go as far in their _Excuse_ as we can, 'tis probable their _Musick_
+may not be altogether so exceptionable as that of the _Antients_. I don't
+say this part of the Entertainment is directly vitious, because I am not
+willing to Censure at Uncertainties. Those who frequent the _Play-House_
+are the most competent Judges: But this I must say, the Performances of
+this kind are much too fine for the _Place_. 'Twere to be wish'd that
+either the _Plays_ were better, or the _Musick_ worse. I'm sorry to see
+_Art_ so meanly Prostituted: Atheism ought to have nothing Charming in its
+_Retinue_. 'Tis great Pity _Debauchery_ should have the Assistance of a
+fine Hand, to whet the Appetite, and play it down.
+
+Now granting the _Play-House-Musick_ not vitious in the Composition, yet
+the design of it is to refresh the _Idea_'s of the Action, to keep _Time_
+with the _Poem_, and be true to the _Subject_. For this Reason among others
+the _Tunes_ are generally Airy and Gailliardizing; They are contriv'd on
+purpose to excite a sportive Humour, and spread a Gaity upon the Spirits.
+To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep.
+This sort of Musick warms the Passions, and unlocks the Fancy, and makes it
+open to Pleasure like a Flower to the Sun. It helps a Luscious Sentence to
+slide, drowns the Discords of _Atheism_, and keeps off the Aversions of
+Conscience. It throws a Man off his Guard, makes way for an ill Impresion,
+and is most Commodiously planted to do Mischief. A Lewd _Play_ with good
+Musick is like a Loadstone _Arm'd_, it draws much stronger than before.
+
+Now why should it be in the power of a few mercenary Hands to play People
+out of their Senses, to run away with their Understandings, and wind their
+Passions about their Fingers as they list? Musick is almost as dangerous as
+Gunpowder; And it may be requires looking after no less than the _Press_,
+or the _Mint_. 'Tis possible a Publick Regulation might not be amiss. No
+less a Philosopher than _Plato_ seems to be of this Opinion. He is clearly
+for keeping up the old grave, and solemn way of _Playing_. He lays a mighty
+stress upon this Observation: He does not stick to affirm, that to extend
+the _Science_, and alter the _Notes_, is the way to have the _Laws_
+repeal'd and to unsettle the _Constitution_.[500] I suppose He imagined
+that if the Power of _Sounds_, the Temper of Constitutions, and the
+Diversities of Age, were well studied; If this were done, and some general
+Permissions formed upon the Enquiry, the _Commonwealth_ might find their
+Account in't.
+
+_Tully_ does not carry the Speculation thus high: However, he owns it has a
+weight in't, and should not be overlook'd.[501] He denies not but that when
+the Musick is soft, exquisite, and airy, 'tis dangerous and ensnaring. He
+commends the Discipline of the ancient _Greeks_, for fencing against this
+Inconvenience. He tells us the _Lacedemonians_ fixt the number of Strings
+for the Harp, by express _Law_. And afterwards silenc'd _Timotheus_,[502]
+and seiz'd his Harp, for having One String above publick Allowance. To
+return. If the _English Stage_ is more reserv'd than the _Roman_ in the
+Case above mention'd: If they have any advantage in their _Instrumental_
+Musick, they loose it in their _Vocal_. Their _Songs_ are often rampantly
+Lewd, and Irreligious to a flaming Excess. Here you have the very _Spirit_
+and _Essence_ of Vice drawn off strong scented, and thrown into a little
+Compass. Now the _Antients_ as we have seen already were inoffensive in
+this respect.
+
+To go on. As to Rankness of Language we have seen how deeply the _Moderns_
+stand charged upon the Comparison. And as for their Caressing of
+Libertines, their ridiculing of Vertue, their horrible Profaness, and
+Blasphemies, there's nothing in _Antiquity_ can reach them.
+
+Now were the _Stage_ in a Condition to wipe off any of these Imputations,
+which They are not, there are two Things besides which would stick upon
+them, and [......] an ill Effect upon the _Audience_.
+
+The first is their dilating so much upon the Argument of Love.
+
+This Subject is generally treated Home, and in the most tender and
+passionate manner imaginable. Tis often the governing Concern: The
+Incidents make way, and the _Plot_ turns upon't. As matters go, the Company
+expect it: And it may be the _Poets_ can neither Write, nor Live without
+it. This is a cunning way enough of stealing upon the Blind Side, and
+Practising upon the Weakness of humane Nature. People love to see their
+_Passions_ painted no less than their _Persons_: And like _Narcissus_ are
+apt to dote on their own Image. This Bent of self Admiration recommends the
+Business of _Amours_, and engages the Inclination. And which is more, these
+Love-representations oftentimes call up the Spirits, and set them on work.
+The _Play_ is acted over again in the _Scene_ of Fancy, and the first
+Imitation becomes a Model. _Love_ has generally a _Party Within_; And when
+the Wax is prepared, the Impression is easily made. Thus the Disease of the
+Stage grows Catching: It throws its own _Amours_ among the Company, and
+forms these Passions when it does not find them. And when they are born
+before, they thrive extreamly in this _Nursery_. Here they seldom fail
+either of Grouth, or Complexion. They grow strong, and they grow Charming
+too. This is the best Place to recover a Languishing Amour, to rowse it
+from Sleep, and retrieve it from Indifference. And thus Desire becomes
+Absolute, and forces the Oppositions of Decency and Shame. And if the
+Misfortune does not go thus far, the consequences are none of the best. The
+Passions are up in Arms, and there's a mighty Contest between Duty, and
+Inclination. The Mind is over-run with Amusements, and commonly good for
+nothing sometime after.
+
+I don't say the _Stage_ Fells all before them, and disables the whole
+_Audience_: 'Tis a hard Battle where none escapes. However, Their
+_Triumphs_ and their _Tropheys_ are unspeakable. Neither need we much
+wonder at the Matter. They are dangerously Prepar'd for Conquest, and
+Empire. There's Nature, and Passion, and Life, in all the Circumstances of
+their _Action_. Their Declamation, their _Mein_ their Gestures, and their
+Equipage, are very moving and significant. Now when the Subject is
+agreeable, a lively Representation, and a Passionate way of Expression,
+make wild work, and have a strange Force upon the Blood, and Temper.
+
+And then as for the General Strains of Courtship, there can be nothing more
+Profane and extravagant. The Hero's Mistress is no less than his Deity. She
+disposes of his Reason, prescribes his Motions, and Commands his Interest.
+What Soveraign Respect, what Religious Address, what Idolizing Raptures are
+we pester'd with? _Shrines_ and _Offerings_ and Adorations, are nothing
+upon such solemn Occasions. Thus Love and Devotion, Ceremony and Worship
+are Confounded; And God, and his Creatures treated both alike! These Shreds
+of Distraction are often brought from the _Play-House_ into Conversation:
+And thus the _Sparks_ are taught to Court their Mistresses, in the same
+Language they say their _Prayers_.
+
+A Second Thing which I have to object against the _Stage_ is their
+encouraging Revenge. What is more Common than Duels and Quarrelling in
+their _Characters_ of Figure? Those Practises which are infamous in Reason,
+_Capital_ in _Law_, and Damnable in Religion, are the Credit of the
+_Stage_. Thus Rage and Resentment, Blood and Barbarity, are almost Deified:
+Pride goes for Greatness, and _Fiends_ and _Hero's_ are made of the same
+Mettal. To give Instances were needless, nothing is more frequent. And in
+this respect the _French Dramatists_ have been to blame no less than the
+_English_.[503] And thus the Notion of Honour is mistated, the Maxims of
+Christianity despised, and the Peace of the World disturb'd. I grant this
+desperate Custom is no _Original_ of the _Stage_. But then why was not the
+Growth of it check'd? I thought the _Poets_ business had not been to back
+false Reasoning and ill Practise; and to fix us in Frensy and Mistake! Yes.
+They have done their endeavour to cherish the Malignity, and keep the
+Disorder in Countenance. They have made it both the Mark, and the Merit of
+a Man of Honour; and set it off with _Quality_, and Commendation. But I
+have discours'd on this Subject elswhere,[504] and therefore shall pursue
+it no farther.
+
+To draw towards an End. And here I must observe that these two later
+Exceptions are but Petty Mismanagements with respect to the Former. And
+when the best are thus bad, what are the worst? What must we say of the
+more foul Representations, of all the Impudence in Language and Gesture?
+Can this Stuff be the Inclination of _Ladies_? Is a _Reading_ upon Vice so
+Entertaining, and do they love to see the _Stews Dissected_ before them?
+One would think the Dishonour of their own Sex, the Discovery of so much
+Lewdness, and the treating Human Nature so very Coarsly, could have little
+Satisfaction in't. Let us set Conscience aside, and throw the other World
+out of the Question: These Interests are but the greatest, but not all. The
+_Ladies_ have other Motives to confine them. The Restraints of Decency, and
+the Considerations of Honour, are sufficient to keep them at Home. But
+hoping They will be just to themselves I shall wave this unacceptable
+Argument. I shall only add, that a Surprize ought not to be Censured.
+Accidents are no Faults. The strictest Virtue may sometimes stumble upon an
+_Ill Sight_. But Choise, and Frequency, and ill Ground, conclude strongly
+for Inclination. To be assured of the inoffensiveness of the _Play_ is no
+more than a Necessary Precaution. Indeed the _Players_ should be generally
+discouraged. They have no relish of Modesty, nor any scruples upon the
+Quality of the Treat. The grossest _Dish_ when 'twill down is as ready as
+the Best. To say Money is their Business and they must _Live_, is the Plea
+of _Pick pockets_, and _High way men_. These later may as well pretend
+their _Vocation_ for a Lewd practise as the other. But
+
+To give the Charge its due Compass: To comprehend the whole _Audience_, and
+take in the Motives of Religon.
+
+And here I can't imagine how we can reconcile such Liberties with our
+Profession. These Entertainments are as it were Litterally renounc'd in
+_Baptism_. They are the _Vanities of the wicked World, and the Works of the
+Devil_, in the most open, and emphatical Signification. _What Communion has
+Light with Darkness, and what concord has Christ with Belial._[505] Call
+you this Diversion? Can Profaness be such an irresistable Delight? Does the
+Crime of the Performance make the Spirit of the Satisfaction, and is the
+Scorn of Christianity the Entertainment of Christians? Is it such a
+Pleasure to hear the _Scriptures_ burlesqu'd? Is Ribaldry so very obliging,
+and _Atheism_ so Charming a Quality? Are we indeed willing to quit the
+Privilege of our Nature; to surrender our _Charter_ of Immortality, and
+throw up the Pretences to another Life? It may be so! But then we should do
+well to remember that _Nothing_ is not in our Power. Our Desires did not
+make us, neither can they unmake us. But I hope our wishes are not so mean,
+and that we have a better sense of the Dignity of our _Being_. And if so,
+how can we be pleas'd with those Things which would degrade us into Brutes,
+which ridicule our _Creed_, and turn all our Expectations into _Romance_.
+
+And after all, the Jest on't is, these Men would make us believe their
+design is Virtue and Reformation. In good time! They are likely to combat
+Vice with success, who destroy the Principles of Good and Evil! Take them
+at the best, and they do no more than expose a little Humour, and
+Formality. But then, as the Matter is manag'd, the Correction is much worse
+than the Fault. They laugh at _Pedantry_, and teach _Atheism_, cure a
+Pimple, and give the Plague. I heartily wish they would have let us alone.
+To exchange Virtue for Behaviour is a hard Bargain. Is not plain Honesty
+much better than Hypocrisy well Dress'd? What's Sight good for without
+Substance? What is a well Bred Libertine but a well bred Knave? One that
+can't prefer Conscience to Pleasure, without calling himself Fool: And will
+sell his Friend, or his Father, if need be, for his Convenience.
+
+In short: Nothing can be more disserviceable to Probity and Religion, than
+the management of the _Stage_. It cherishes those Passions, and rewards
+those Vices, which 'tis the business of Reason to discountenance. It
+strikes at the Root of Principle, draws off the Inclinations from Virtue,
+and spoils good Education: 'Tis the most effectual means to baffle the
+Force of Discipline, to emasculate peoples Spirits, and Debauch their
+Manners. How _many_ of the Unwary have these _Syrens_ devour'd? And how
+often has the best Blood been tainted, with this Infection? What
+Disappointment of Parents, what Confusion in Families, and What Beggery in
+Estates have been hence occasion'd? And which is still worse, the Mischief
+spreads dayly, and the Malignity grows more envenom'd. The Feavour works up
+towards Madness; and will scarcely endure to be touch'd. And what hope is
+there of Health when the _Patient_ strikes in with the Disease, and flies
+in the Face of the _Remedy_? Can Religion retrive us? Yes, when we don't
+despise it. But while our _Notions_ are naught, our _Lives_ will hardly be
+otherwise. What can the Assistance of the Church signify to those who are
+more ready to Rally the _Preacher_, than Practise the _Sermon_? To those
+who are overgrown with Pleasure, and hardned in Ill Custom? Who have
+neither Patience to hear, nor Conscience to take hold of? You may almost as
+well feed a Man without a Mouth, as give Advice where there's no
+disposition to receive it. 'Tis true; as long as there is Life there's
+Hope. Sometimes the Force of Argument, and the Grace of God, and the
+anguish of Affliction, may strike through the Prejudice, and make their way
+into the Soul. But these circumstances don't always meet, and then the Case
+is extreamly dangerous. For this miserable Temper, we may thank the _Stage_
+in a great Measure: And therefore, if I mistake not, They have the least
+pretence to Favour, and the most, need of Repentance, of all Men Living.
+
+_THE END._
+
+
+NOTES (In margin in the Original).[1] _Reflect upon_ Aristot. &c.
+
+[2] _Eurip. Hippolit._
+
+[3] _Hamlet._
+
+[4] _Don Quixot._
+
+[5] _Relapse._
+
+[6] _Love for Love._
+
+[7] _Mock Astrologer._
+
+[8] _Old Batchelour._
+
+[9] _Mock Astrologer. Country Wife. Cleomenes. Old Batchelour._
+
+[10] _Plaut._
+
+[11] _Cistellar._
+
+[12] _Terent. Eunuch._
+
+[13] _Asinar._
+
+[14] _Cistellar._
+
+[15] _Bacchid._
+
+[16] _Casin._
+
+[17] _Mercat. Act. 3._
+
+[18] _Persa._
+
+[19] _Trucul._
+
+[20] _Persa._
+
+[21] _Trinum._
+
+[22] _Act. 2. 1._
+
+[23] _Act. 2. 2._
+
+[24] _Casin._
+
+[25] _Mil. Glor._
+
+[26] _Pers._
+
+[27] _Trucul._
+
+[28] _Cistellear. A. 1._
+
+[29] _Ibid. A. 2._
+
+[30] _Heauton._
+
+[31] _Eunuch._
+
+[32] _Love Triump._
+
+[33] _Heauton. A. 5. 4._
+
+[34] _Eunuch A. 5. 4. 5._ _Adelph. A. 2. 3._
+
+[35] _Eunuch._
+
+[36] _Casaub. Annot. in Curcul. Plauti._
+
+[37] _De A te Poet._
+
+[38] _Var. apud. Nonium._
+
+[39] _Corn. Nep._
+
+[40] _Arist. Lib. 4. de Mor. cap. 14._
+
+[41] _Vit. Eurip. ed Cantab. 1694._
+
+[42] _Love for Love._ _Love Triump. &c._
+
+[43] _p. 14. Ed. Scriv._
+
+[44] _Hippol._
+
+[45] _Aristoph. Ran._
+
+[46] [Greek: Choêphor.] _253, Ed. Steph._
+
+[47] _Orest. 48. Ed. Cantab._
+
+[48] [Greek: Eumen.] _305._
+
+[49] _p. 79._
+
+[50] [Greek: Hiket.] 340.
+
+[51] _Don Sebast. p. 12._
+
+[52] _Oedip. Tyran. Ed Steph._
+
+[53] _Antig. 242. 244._
+
+[54] _Ibid. 264._
+
+[55] _Trach. 348._
+
+[56] [Greek: Môria to Môron] _Ed. Cant. 241. 250. 252._
+
+[57] _Ibid. 232. 233._
+
+[58] _Androm. p. 303._
+
+[59] _Iphig. in Aulid. p. 51._
+
+[60] _Helen. 277, 278._
+
+[61] _Mourning Bride. p. 36._
+
+[62] _Spanish Fryar. Ep. Ded._
+
+[63] _Troad. p. 146._
+
+[64] _Plain Dealer. p. 21._
+
+[65] _Provok'd Wife. p. 41._
+
+[66] _Remarks upon Quixot._
+
+[67] _Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel._
+
+[68] _Sat. 14._
+
+[69] _p. 106._
+
+[70] _Nub. p. 110._
+
+[71] _Act. 5. p. 176._
+
+[72] _Plat. Apol. Socrat._
+
+[73] _Nub. p. 86._
+
+[74] _Plut. A. 1. Sc. 2._
+
+[75] _Ran. p. 188._
+
+[76] _536. 538. 546._
+
+[77] _542._
+
+[78] _582._
+
+[79] _Ibid._
+
+[80] _602._
+
+[81] _Eiren._ 616.
+
+[82] _p. 142._ _p. 200._
+
+[83] _242._
+
+[84] _p. 244._
+
+[85] _p._ [......] _p._ [......]
+
+[86] _Ranæ_ _p. 186._ _p. 182._
+
+[87] _p. 192, 194, 196._
+
+[88] _Act 2. Sc. 6._
+
+[89] _Ranæ p. 242._
+
+[90] _Ranæ A. 1. Sc. 1. Concionat._
+
+[91] _Ranæ p. 238._
+
+[92] _p. 240._
+
+[93] _p. 242. 244._
+
+[94] 255. 267.
+
+[95] _Discov. p. 700._
+
+[96] _p. 701._
+
+[97] _p. 706. 717._
+
+[98] _Beauments_, &c. _Works_.
+
+[99] _Ibid._
+
+[100] _Ibid._
+
+[101] _Theodore. Ed. Roven. Ep. Ded._
+
+[102] _Gad for God._
+
+[103] _p. 31._
+
+[104] _p. 37._
+
+[105] _p. 24._
+
+[106] _Hebr. 12._
+
+[107] _34. 36._
+
+[108] _55._
+
+[109] _59._
+
+[110] _Orph. p. 20._
+
+[111] _p. 31._
+
+[112] _Lactan._
+
+[113] _p. 19._
+
+[114] _p. 28._
+
+[115] _p. 31._
+
+[116] _38._
+
+[117] _p. 39._
+
+[118] _p. 39._
+
+[119] _Id. 49._
+
+[120] _Double Dealer. 34._
+
+[121] _36._
+
+[122] _55._
+
+[123] _p. 40._
+
+[124] _Sebast. p. 9._
+
+[125] _Id. p. 10._
+
+[126] _p. 47._
+
+[127] _Id. p. 83._  _Exod. 12, 13._
+
+[128] _Ibid._
+
+[129] _Ibid._
+
+[130] _Ded. p. 51._
+
+[131] _Love Triumph. p. 3._
+
+[132] _Id. p. 11._
+
+[133] _Id. p. 11._
+
+[134] _p. 34._
+
+[135] _58._
+
+[136] _p. 62._
+
+[137] _1st. Eliz. cap. 2._
+
+[138] _p. 63._
+
+[139] _p. 72._
+
+[140] _Love for Love. p. 42._
+
+[141] _26._
+
+[142] _p. 27._
+
+[143] _p. 47._
+
+[144] _Vid. Person. Dram._
+
+[145] _p. 80._
+
+[146] _p. 91._
+
+[147] _p. 92._
+
+[148] _Prov. Wife p. 38._
+
+[149] _Id. p. 77._
+
+[150] _Relapse. p. 32, 33._
+
+[151] _p. 44, 45._
+
+[152] _Vid. Infra._
+
+[153] _p. 51._
+
+[154] _p. 96, 97._
+
+[155] _Ibid._
+
+[156] _p.91._
+
+[157] _Don. Sebastian. p. 51._
+
+[158] _Double Dealer. p. 19._
+
+[159] _p. 17._
+
+[160] _p. 44._
+
+[161] _Double Dealer. p. 18._
+
+[162] _Gen. 2. St. Math. 9._
+
+[163] _Love, &c. p. 59, 61._
+
+[164] _Provok'd Wife. p. 3._
+
+[165] _p. 4._
+
+[166] _p. 65._
+
+[167] _Relapse. p. 19._
+
+[168] _p. 96._
+
+[169] _Eccles. 8. 11._
+
+[170] _Gal. 6._
+
+[171] _Eunuch._
+
+[172] _Heauton. A. 5. 1._
+
+[173] _Adelp. A. 5. 7._
+
+[174] _Lyconides. Aulular. A. 2. 4.  Palæstra. Rud. A. 1. 3.  Dinarchus.
+Trucul. A. 2. 4._
+
+[175] _Mil. Glor._
+
+[176] _Pseud. A. 1. 3._
+
+[177] _Prom. vinct. 57._
+
+[178] _p. 92._
+
+[179] _p. 101._
+
+[180] [Greek: Pers.] _161._
+
+[181] _164._
+
+[182] _Ajax. Flagell._
+
+[183] _Oedip. Tyran. p. 187._
+
+[184] _p. 188._
+
+[185] _Antig. p. 256._
+
+[186] _Trach. p. [......]._
+
+[187] _Trach. p. 375._
+
+[188] _Trach. p. 340._
+
+[189] _Cleom. p. 54._
+
+[190] _Id. p. 55._
+
+[191] _p. 54._
+
+[192] _De Art. Poet._
+
+[193] _Philoct. 402._
+
+[194] _419._
+
+[195] _p. 431._
+
+[196] _Act. 2._
+
+[197] _p. 295._
+
+[198] _Agam. Act. 3._
+
+[199] _20._
+
+[200] _p. 37._
+
+[201] _p. 23._
+
+[202] _Country Wife p. 6._
+
+[203] _p. 35._
+
+[204] _Ibid._
+
+[205] _p. 25._
+
+[206] _p. 26._
+
+[207] _Ibid._
+
+[208] _Old Batch. p. 19, 20._
+
+[209] _p. 27._
+
+[210] _p. 41._
+
+[211] _p. 71._
+
+[212] _Absal. and Achi._
+
+[213] p. 24.
+
+[214] _p. 96._
+
+[215] _p. 32._
+
+[216] _Oedip. p. 38._
+
+[217] _p. 43._
+
+[218] _Ibid._
+
+[219] _Ibid._
+
+[220] _Provok'd Wife. p. 45, 46, 52, 52._
+
+[221] _Relapse. p. 74._
+
+[222] _p. 75._
+
+[223] _p. 86._
+
+[224] _p. 97._
+
+[225] _89._
+
+[226] _p. 94._
+
+[227] _p. 95, 97, 105._
+
+[228] Hom. _Il. [alpha]. p. 3. & dein. Ed. Screvel._
+
+[229] _Il. B. p. 91._
+
+[230] _Ibid. p. 92._
+
+[231] _Il. E. p. 154, 155._
+
+[232] _Il. E. p. 154, 155._
+
+[233] _Ibid. p. 158._
+
+[234] _Odyss. I p. 174, 181._
+
+[235] _Ænid. 2._
+
+[236] _Ruaus. in Loc._
+
+[237] _Æneid 2._
+
+[238] _Ibid._
+
+[239] _Æneid. 3._
+
+[240] _Ibid._
+
+[241] _Ænead. 1st._
+
+[242] _Æn. 6._
+
+[243] _Ibid._
+
+[244] _Æneid. 7._
+
+[245] _Lib. 1._
+
+[246] _Æneid. 10._
+
+[247] _Æneid. 11._
+
+[248] _Æneid. 9. 10. 11._
+
+[249] _Guther. de jure veter. pontif._
+
+[250] _Oedip. Tyr. p. 148._
+
+[251] _Ibid. 169._
+
+[252] _p. 38._
+
+[253] _Antig. p. 250, 258._
+
+[254] _Eurip. Phoeniss. p. 158, 159._
+
+[255] _Bacch. Act. 1. Act. 4._
+
+[256] _Jon. Act 5._
+
+[257] _Iphig. in Aulid. & in Taur._
+
+[258] _Oedip._
+
+[259] _Troad. A. 2. p. 193._
+
+[260] _Plut. Ran. Aves._
+
+[261] _Bacchid. Act. 2. 5. 3._
+
+[262] _Rud. A. 1. 5. A. 2. 3._
+
+[263] _Act [......]_
+
+[264] _Rud. A. 4. S. 7._
+
+[265] _Measure for Measure._ _Much a do about Nothing._ _Twelf-Night._
+_Henry 4th pt. 1st._ _Hen. 6. pt. 3d._ _Romeo and Juliet._  _Merry Wives of
+Windsor._
+
+[266] _Essay of Dramat. &c._
+
+[267] _De Bell. Judaic._
+
+[268] _Deut. 17. 9. 20. 2. Chron. 19. 8._
+
+[269] _Math. 27. Act. 4.  Vid. seldon de Synedr._
+
+[270] _Joseph._
+
+[271] _Diod. Sic._
+
+[272] _Gen. 41._
+
+[273] _Porph. de Abstin. Lib. 4. Cæsar de Bell. Gall. Lib. 6_
+
+[274] _Lib. 6._
+
+[275] _Ser. in Controv._
+
+[276] _Dion. Halic._
+
+[277] _Pro Dom. ad Pontif._
+
+[278] _Hebr. 7._
+
+[279] _Davila Filmers Freeholders Grand Inq._
+
+[280] _Miræus De Statu Relig. Christ._
+
+[281] _Fletchers Embassy._
+
+[282] _Puffendorf Introduction à l'Histoire._
+
+[283] _Heylins Cosgmog._
+
+[284] _2, Hen. 8. cap.  22._ _26, Hen. 8 cap 2._ _1. Edw. 6. cap. 12, &c.
+Preamb._
+
+[285] _S. Luke 12._
+
+[286] _Moral Essays._
+
+[287] _Mock Astrol. p. 3, &c._
+
+[288] _Mock Astrol. p. 57, 59._
+
+[289] _Spanish Fryar. p. 61._
+
+[290] _Country Wife. p. 25._
+
+[291] _Old Batch._
+
+[292] _Double Dealer. p. 34._
+
+[293] _Love for Love p. 90._
+
+[294] _Love for Love. p. 6, 7. 25. 61. 89. 91._
+
+[295] _p. 35._
+
+[296] _Don Sebast._
+
+[297] _Love for Love. p. 20._
+
+[298] _Provok'd Wife. p. 64._
+
+[299] _Chap. 1. & 2._
+
+[300] _Mostel. A. 1. 2._ _Trinum. A. 2. 1. A. 2. 2._ _Enuch. A. 3. 3._
+_Hecyr. A. 3. 4._
+
+[301] _Trinum. A. 2. 1._
+
+[302] _A. 2. 2._
+
+[303] _Enuch. A. 3. 3._
+
+[304] _Hecyr. A. 3. 4._
+
+[305] _Stich A. 1. 1._
+
+[306] _p. 3._
+
+[307] _Stich. A. 1. 2._
+
+[308] _p. 60._
+
+[309] _Ibid._
+
+[310] _De Art. Poet._
+
+[311] _Ibid._
+
+[312] _[......] Schol._
+
+[313] _Libr. de Poet. cap. 5._
+
+[314] _Psyche._
+
+[315] _Ibid._
+
+[316] _Pref. Mock. Astrol._
+
+[317] _Ibid._
+
+[318] _Ibid._
+
+[319] _Essay of Dramatick Poetry. p. 28._
+
+[320] _The London Prodigall._
+
+[321] _Ibid._
+
+[322] _Ibid._
+
+[323] _Ibid._
+
+[324] _Rapin Reflect. &c. p. 10._
+
+[325] _Libr. 4. de Morib. cap. 14._
+
+[326] _De Mor. Lib. 10, cap. 2._
+
+[327] _Institut. Lib. 6; c. 3._
+
+[328] _p. 32._
+
+[329] _p. 52._
+
+[330] _Spanish Fryar. p. 36._
+
+[331] _p. 70._
+
+[332] _p. 61._
+
+[333] _Enuch._
+
+[334] _King Arth. p. 2._
+
+[335] _Love Trium. p. 26._
+
+[336] _p. 47._
+
+[337] _Oedip. p. 3._
+
+[338] _Old Batch. p. 41._
+
+[339] _p. 35._
+
+[340] _p. 22._
+
+[341] _Don. Sebast. p. 5._
+
+[342] _Double Dealer. Person. Dram._ _Relapse._ _Provok'd Wife._ _p. 4. p.
+2._
+
+[343] _Relapse._
+
+[344] _p. 4._
+
+[345] _p. 2._
+
+[346] _Don Sebast. p. 16._
+
+[347] _p. 17._
+
+[348] _Don. Quix. part. 2. p. 37._
+
+[349] _Relapse. p. 84._
+
+[350] _p. 24._
+
+[351] _L'Ombre de Moliere_
+
+[352] _Essay Dram. poet. p. 5._
+
+[353] _Amphit. p. 1, 2, 3, 8, 9._
+
+[354] _p. 8. 17._
+
+[355] _p. 18._
+
+[356] _19._
+
+[357] _Eunuch._
+
+[358] _Euseb. præpar. Evang._
+
+[359] _Ep. Ded._
+
+[360] _p. 1._
+
+[361] _p. 3, 16, etc._
+
+[362] _p. 1._
+
+[363] _Pref._
+
+[364] _p. 1._
+
+[365] _19._
+
+[366] _Troil. and Cressid._
+
+[367] _The Hist. of Sr. John Old Castle._
+
+[368] _King Arthur._
+
+[369] _Ep. Ded._
+
+[370] _p. 6._
+
+[371] _Ep. Ded. Don Sebast._
+
+[372] _Ded. King Arthur._
+
+[373] _Sebast. K. Arth._
+
+[374] _Ibid._
+
+[375] _Part 1st. p. 20._
+
+[376] _p. 20._
+
+[377] _p. 37._
+
+[378] _p. 13._
+
+[379] _Part. 1. p. 13._
+
+[380] _Person. Dram._
+
+[381] _p. 51._
+
+[382] _p. 3._
+
+[383] _p. 7._
+
+[384] _p. 10._
+
+[385] _p. 41._
+
+[386] _p. 47._
+
+[387] _Part. 1st. p. 7, 8. pt. 2d. p. 57._
+
+[388] _pt. 2d. p. 60;_
+
+[389] _pt. 1st. p. 38. pt. 2d. p. 14._
+
+[390] _pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36, 49. pt. 2d. p. 37.
+44._
+
+[391] _Pref. pt. 3d._
+
+[392] _Ibid._
+
+[393] _Pref._
+
+[394] _Ibid._
+
+[395] _Person. Dram._
+
+[396] _pt. 2d. p. 31._
+
+[397] _p. 51._
+
+[398] _Pref. pt. 1st._
+
+[399] _Ibid._
+
+[400] _pt. 3d._
+
+[401] _p. 53._
+
+[402] _Reflect, &c. p. 131._
+
+[403] _Relapse. p. 19_
+
+[404] _Reflect._ _p. 133._
+
+[405] p. 27.
+
+[406] _p. 79._
+
+[407] _Ibid._
+
+[408] _p. 81._
+
+[409] _p. 83._
+
+[410] _p. 59._
+
+[411] _p. 11._
+
+[412] _p. 47._
+
+[413] _p. 51._
+
+[414] _p. 74._
+
+[415] _Reflect. p. 40._
+
+[416] _Tragedies of the last Age consider'd, &c. p. 113, 114._
+
+[417] _p. 59._
+
+[418] _p. 61._
+
+[419] _p. 42._
+
+[420] _p. 43._
+
+[421] _p. 44._
+
+[422] _p. 64. At top._
+
+[423] _p. 85._
+
+[424] _p. 64._
+
+[425] _p. 94._
+
+[426] _p. 15._
+
+[427] _p. 99._
+
+[428] _Ibid._
+
+[429] _p. 100._
+
+[430] _Rapin Reflect, &c._
+
+[431] _Discourse des Trois Unitez. pt. 3d._
+
+[432] _p. 88._
+
+[433] _Pref._
+
+[434] _see Chap. 2d._
+
+[435] _Pref._
+
+[436] _An Academy in Lithuania, for the Education of Bears. Pere Auvill
+Voyage en Divers Etats, &c. p. 240._
+
+[437] _Plat. de Repub. Lib. 10. Euseb. Præpar. Evang._
+
+[438] _Cyropæd. p. 34_
+
+[439] _Polit. Lib. 7. c. p. 12._
+
+[440] _Polit. Lib. 8._
+
+[441] _Tusc. Quest. Lib. 4. De Leg. Lib. 1._
+
+[442] _Dec. 1. Lib. 7._
+
+[443] _Lib. 2. cap. 4._
+
+[444] _cap. 6._
+
+[445] _Natural Quest. Lib. 7. cap. 32._
+
+[446] _Epist. 7._
+
+[447] _Annal. Lib 14. cap. 14._
+
+[448] _De Mor. German. cap. 19_
+
+[449] _Symposiac. Lib. 7.  De Audiend. Poet. p. 15. Ed. Par._
+
+[450] _Lib. 1._
+
+[451] _Remed. Amor._
+
+[452] _Lib. 2._
+
+[453] _Ep. Ded._
+
+[454] _Plut. De Glor. Atheniens._
+
+[455] _Plut. Lacon. Institut._
+
+[456] _Cic. de Repub. Lib. 4. cited by, St. Augustine. Libr. 2. de civ.
+dei. cap. 13._
+
+[457] _Lib. 2. cap. 29._
+
+[458] _Dec. 1. Libr. 7._
+
+[459] _Ab Histrionibus Pollui._
+
+[460] _XV. Cod. Theod. Tit. vii. p.375._
+
+[461] _in loco Honesto._
+
+[462] _turpe munus._
+
+[463] _L. 1. §. 6. de his qui notantur infamia. Gothofred. Ibid. p. 376._
+
+[464] _Rawlidge his Monster, lately found out, &c. p. 2, 3, 4._
+
+[465] _Gazett Roterdam: Dec. 20. Paris._
+
+[466] _French Amsterdam Harlem Gazetts. Paris, May. 17th. 1697._
+
+[467] _Trois lettres Pastorales De Monseigneur L'Eveque D'Arras &c. A Delf.
+1697._
+
+[468] _Ann. 305._ _Can. 67._
+
+[469] _Ann. 314. Can. 5._
+
+[470] _Ann. 452._
+
+[471] _Ann. 397. Can. 11._
+
+[472] _Secularia spectacula, which manifestly comprehends the Stage._
+
+[473] _Ann. 424. Can. 96_
+
+[474] _Concil. Cabilon. Ann. 813. Can. 9._
+
+[475] _Libr. 3. ad Autol._
+
+[476] _Spectacula._
+
+[477] _Chap. 38._
+
+[478] _Chap. 3._
+
+[479] _Ibid. Cap. 10._
+
+[480] _The Play-houses were dedicated to Bacchus._
+
+[481] _Ibid. cap. 15._
+
+[482] _Ibid. cap. 22._
+
+[483] _Ibid. cap. 23._
+
+[484] _Ibid. cap. 26._
+
+[485] _Ibid. cap. 27._
+
+[486] _Ibid. cap. 28._
+
+[487] _Ibid. cap. 29._
+
+[488] _By Exorcisms_
+
+[489] _Lib. 3. Pædag. Ann. 204. cap. 11._
+
+[490] _Ann. 206._
+
+[491] _Ad Eucrat._
+
+[492] _Lib. 6. cap. 20._
+
+[493] _Ibid. cap. 21._
+
+[494] _Ibid. cap. 22._
+
+[495] _In Psal. 119._
+
+[496] _Ep. 9. 12. Advers. Jovinian. Lib. 2. cap. 7._
+
+[497] _Chap. 20._
+
+[498] _cap. 33._
+
+[499] _Didac. &c. in D. Thom. p. 546._
+
+[500] _De Repub. L. 4._
+
+[501] _Cic. de Leg. L. 2._
+
+[502] _A Famous Musician_
+
+[503] _Vid. Corneille Cid, Cinna & Pompee._
+
+[504] _Moral Essays._
+
+[505] _2 Cor. 6. 14._
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44645 ***
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+    A Short View of the Immorality of the English Stage
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 44645 ***</div>
+
+  <table class="sp3 transnote nothand" title="Transcriber's note" summary="Transcriber's note">
+    <tr>
+      <td class="w25">Transcriber's note:</td>
+      <td>
+        <p>The errata have been applied. They appear in the text <span class="correction"
+        title="explanation will pop up">like this</span>, and the explanation will appear when the
+        mouse pointer is moved over the marked passage. Otherwise no attempt has been made to
+        distinguish likely typographical errors from the natural variability of 17th century
+        orthography.</p>
+        <p class="sp0">A few short phrases proved illegible on the scan: these are marked
+        [......].</p>
+      </td>
+    </tr>
+  </table>
+
+  <table class="sp2 transnote handonly" title="Transcriber's note" summary="Transcriber's note">
+    <tr>
+      <td class="w25">Transcriber's note:</td>
+      <td>
+        <p>The errata have been applied without further annotation. Otherwise no attempt has been
+        made to distinguish likely typographical errors from the natural variability of 17th century
+        orthography.</p>
+        <p>The marginal notes have been changed to footnotes, marked thus <sup><a
+        href="#side123">[123]</a></sup>.</p>
+        <p class="sp0">A few short phrases proved illegible on the scan: these are marked
+        [......].</p>
+      </td>
+    </tr>
+  </table>
+
+  <p class="ac" style="margin-bottom:1.8ex;">A SHORT</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger"><span
+  class="gsp">VIEW</span></span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">OF THE</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>Immorality, and
+  Profaneness</i></span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">OF THE</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">English Stage,</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="smaller">TOGETHER</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">With the Sence of Antiquity<br/>
+  upon this Argument,</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">By <span class="gsp"><i>JEREMY
+  COLLIER</i></span>, M.A.</span></p>
+
+  <p class="sp5 ac" style="margin-bottom:4.7ex;"><span class="larger"><i>London</i>, Printed for
+  <b>S. Keble</b> at the <i>Turk's-Head</i><br/>
+  in <i>Fleetstreet</i>, <b>R. Sare</b> at <i>Gray's-Inn-Gate</i>,<br/>
+  and <b>H. Hindmarsh</b> against the <i>Exchange</i> in<br/>
+  <i>Cornhil</i>. 1698.</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">THE</span></p>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">PREFACE</span></h1>
+
+  <p><i>Being convinc'd that nothing has gone farther in Debauching the Age than the</i> Stage
+  Poets, <i>and</i> Play-House, <i>I thought I could not employ my time better than in writing
+  against them. These Men sure</i>, take Vertue and Regularity, <i>for</i> great Enemies, <i>why
+  else is their</i> Disaffection <i>so very</i> Remarkable? <i>It must be said, They have made
+  their</i> Attack <i>with great</i> Courage, <i>and</i> gain'd <i>no inconsiderable</i> Advantage.
+  <i>But it seems</i> Lewdness without Atheism, <i>is but</i> half their Business. Conscience
+  <i>might possibly recover, and</i> Revenge <i>be thought on; and therefore like</i> Foot-Pads,
+  <i>they must not only</i> Rob, <i>but</i> Murther. <i>To do them right</i> their Measures
+  <i>are</i> Politickly taken: <i>To make sure work on't, there's nothing like</i> Destroying of
+  Principles; Practise <i>must</i> follow <i>of</i> Course. <i>For to have</i> no good Principles,
+  <i>is to have</i> no Reason to be Good. <i>Now 'tis not to be expected that people should</i>
+  check <i>their</i> Appetites, <i>and</i> balk <i>their</i> Satisfactions, <i>they don't know why.
+  If</i> Virtue <i>has no</i> Prospect, <i>'tis not worth the owning. Who would be</i> troubled
+  <i>with</i> Conscience <i>if 'tis only a</i> Bugbear, <i>and has nothing</i> in't <i>but</i>
+  Vision, <i>and the</i> Spleen?</p>
+
+  <p><i>My</i> Collection <i>from the</i> English Stage, <i>is much short of what</i> They <i>are
+  able to furnish. An</i> Inventory <i>of their</i> Ware-House <i>would have been a large</i> Work:
+  <i>But being afraid of over charging the</i> Reader, <i>I thought a</i> Pattern <i>might
+  do</i>.</p>
+
+  <p><i>In</i> Translating <i>the</i> Fathers, <i>I have endeavour'd to keep</i> close <i>to
+  their</i> Meaning: <i>However, in</i> some few places, <i>I have taken the</i> Liberty of throwing
+  in a Word or two; <i>To</i> clear <i>the</i> Sense, <i>to</i> preserve <i>the</i> Spirit <i>of
+  the</i> Original, <i>and keep the</i> English <i>upon its Legs</i>.</p>
+
+  <p><i>There's one thing more to acquaint the</i> Reader <i>with; 'Tis that I have Ventured to</i>
+  change <i>the</i> Terms <i>of</i> Mistress <i>and</i> Lover, <i>for</i> others <i>somewhat
+  more</i> Plain, <i>but much more</i> Proper. <i>I don't look upon This as any</i> failure
+  <i>in</i> Civility. <i>As</i> Good <i>and</i> Evil <i>are</i> different <i>in</i> Themselves,
+  <i>so they ought to be</i> differently Mark'd. <i>To</i> confound <i>them in</i> Speech, <i>is the
+  way to</i> confound <i>them in</i> Practise. Ill Qualities <i>ought to have</i> ill Names, <i>to
+  prevent their being</i> Catching. <i>Indeed</i> Things <i>are in a great measure</i> Govern'd
+  <i>by</i> Words: <i>To</i> Guild <i>over a foul</i> Character, <i>serves only to perplex the</i>
+  Idea, <i>to encourage the</i> Bad, <i>and mislead the</i> Unwary. <i>To treat</i> Honour,
+  <i>and</i> Infamy <i>alike, is an</i> injury <i>to</i> Virtue, <i>and a sort of</i> Levelling
+  <i>in</i> Morality. <i>I confess, I have no</i> Ceremony <i>for</i> Debauchery. <i>For to</i>
+  Compliment Vice, <i>is but</i> one Remove <i>from</i> worshipping <i>the</i> Devil.</p>
+
+  <p class="sp5 ac"><i>March 5th. 169<span class="ifrac"><span class="ifracn">7</span><span
+  class="ifracd">8</span></span>.</i></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">THE</span></p>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">CONTENTS.</span></h1>
+
+  <table class="sp5 mc w50" title="Table of contents" summary="Table of contents">
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. I.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Introduction.</i></td>
+      <td class="ar vbm wnw">Page <a href="#page1">1</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Immodesty <i>of the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page3">3</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Ill Consequences <i>of this</i> Liberty.</td>
+      <td class="ar vbm wnw">p. <a href="#page5">5</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immodesty <i>a Breach</i> of good Behaviour.</td>
+      <td class="ar vbm wnw">p. <a href="#page6">6</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>faulty in this respect to a very</i> Scandalous
+      degree.</td>
+      <td class="ar vbm wnw">p. <a href="#page8">8</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Modesty <i>the</i> Character <i>of</i> Women.</td>
+      <td class="ar vbm wnw">p. <a href="#page9">9</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Natural</i> Serviceableness <i>of this</i> Quality.</td>
+      <td class="ar vbm wnw">p. <a href="#page11">11</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immodesty <i>much more insufferable, under the</i> Christian, <i>than under
+      the</i> Heathen <i>Religion</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page14">14</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Roman, <i>and</i> Greek Theatres <i>more</i> inoffensive <i>than
+      the</i> English.</td>
+      <td class="ar vbm wnw">p. <a href="#page15">15</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This proved from</i> Plautus.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>From</i> Terence.</td>
+      <td class="ar vbm wnw">p. <a href="#page20">20</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>From</i> Seneca's Tragedies.</td>
+      <td class="ar vbm wnw">p. <a href="#page25">25</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Comparison <i>carried on to the</i> Theatre <i>at</i>
+      Athens.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A short</i> Character <i>of</i> Æschylus.</td>
+      <td class="ar vbm wnw">p. <a href="#page26">26</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Cleaness <i>of his</i> Expression.</td>
+      <td class="ar vbm wnw">p. <a href="#page27">27</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Genius <i>and</i> Conduct <i>of</i> Sophocles.</td>
+      <td class="ar vbm wnw">p. <a href="#page28">28</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>The</i> Sobriety <i>of his</i> Plays.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page29">29</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Euripides'<i>s</i> Character distinguished <i>from the two</i> former.</td>
+      <td class="ar vbm wnw">p. <a href="#page30">30</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Reserv'dness <i>of his</i> Stile.</td>
+      <td class="ar vbm wnw">p. <a href="#page31">31</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">All <i>Humours not fit for</i> Representation.</td>
+      <td class="ar vbm wnw">p. <a href="#page35">35</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Censure <i>of</i> Aristophanes.</td>
+      <td class="ar vbm wnw">p. <a href="#page36">36</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Aristophanes <i>his Testimony</i> against himself.</td>
+      <td class="ar vbm wnw">p. <a href="#page48">48</a></td>
+    </tr>
+    <tr class="pb05">
+      <td style="padding:0">
+        <table class="vmi" title="Inner" summary="Inner">
+          <tr>
+            <td><br/>
+            <i>The Authorities of</i></td>
+            <td class="vmi brace"><img src="images/lbrace3.png" class="brace" alt="brace"/></td>
+            <td class="vmi">Ben. Johnson.<br/>
+            Beaumont &amp; Fletcher.<br/>
+            <i>And</i> Corneille.<br/>
+            <i>against the</i> present Stage.</td>
+          </tr>
+        </table>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page51">51</a><br/>
+      p. <a href="#page52">52</a><br/>
+      p. <a href="#page53">53</a><br/>
+      &nbsp;</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. II.</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">The <i>Prophaneness</i> of the <i>Stage</i>.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> Charge <i>prov'd upon them</i>,</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">I. <i>By their</i> Cursing <i>and</i> Swearing.</td>
+      <td class="ar vbm wnw">p. <a href="#page57">57</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> English Stage <i>formerly less hardy in this respect</i>.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> provokingness <i>of this Sin</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page58">58</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This Offence</i> punishable <i>by</i> Law, <i>and how far</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page59">59</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Swearing <i>in the</i> Play House <i>an</i> Un-Gentlemanly, <i>as well as
+      an</i> Un-Christian practise.</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Second <i>Branch of the</i> Profaness <i>of the</i> Stage,
+      <i>consisting in their Abuse of</i> Religion, <i>and the</i> Holy Scriptures.</td>
+      <td class="ar vbm wnw">p. <a href="#page60">60</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Instances of this Liberty in the</i> Mock Astrologer.</td>
+      <td class="ar vbm wnw">Ib.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In the</i> Orphan.</td>
+      <td class="ar vbm wnw">p. <a href="#page62">62</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>In the</i> Old Batchelour, <i>and</i> Double Dealer.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page63">63</a>, <a href="#page64">64</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In</i> Don Sebastian.</td>
+      <td class="ar vbm wnw">p. <a href="#page65">65</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Breif Remarks upon a Passage or two in the</i> Dedications <i>of</i>
+      Aurenge Zebe, <i>and the</i> Translation <i>of</i> Juvenal.</td>
+      <td class="ar vbm wnw">p. <a href="#page66">66</a>, <a href="#page69">69</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Farther Instances of</i> Profaneness <i>in</i> Love Triumphant.</td>
+      <td class="ar vbm wnw">p. <a href="#page72">72</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In</i> Love for Love.</td>
+      <td class="ar vbm wnw">p. <a href="#page74">74</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In the</i> provok'd Wife.</td>
+      <td class="ar vbm wnw">p. <a href="#page77">77</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the</i> Relapse.</td>
+      <td class="ar vbm wnw">p. <a href="#page78">78</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Horrid Impiety <i>of this</i> Liberty.</td>
+      <td class="ar vbm wnw">p. <a href="#page80">80</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>guilty of down right</i> Blasphemy.</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> Charge <i>made good from several of the</i> Plays <i>above
+      mention'd</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page82">82</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Comparative Regularity of the</i> Heathen Stage, <i>exemplyfied
+      in</i> Terence, <i>and</i> Plautus.</td>
+      <td class="ar vbm wnw">p. <a href="#page86">86</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the</i> Greek Tragedians.</td>
+      <td class="ar vbm wnw">p. <a href="#page87">87</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Seneca <i>more exceptionable than the</i> Greeks, <i>but not so faulty as
+      the</i> Modern Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page94">94</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> outraging <i>of</i> Religion Intolerable.</td>
+      <td class="ar vbm wnw">p. <a href="#page95">95</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. III.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Clergy <i>abused by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page98">98</a></td>
+    </tr>
+    <tr class="pb05">
+      <td style="padding:0">
+        <table class="vmi" title="Inner" summary="Inner">
+          <tr>
+            <td class="vmi ar"><i>This Usage both</i><br/>
+            <i>And</i></td>
+            <td class="vmi brace"><img src="images/lbrace2.png" class="brace" alt="brace"/></td>
+            <td class="vmi"><i>Unpresidented</i>.<br/>
+            <i>Unreasonable</i>.</td>
+          </tr>
+        </table>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page112">112</a><br/>
+      p. <a href="#page127">127</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Misbehaviour of the</i> Stage <i>upon this account</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page138">138</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">
+        <p class="sp0">CHAP. IV.</p>
+      </td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immorality encouraged <i>by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page140">140</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage Poets <i>make</i> Libertines <i>their</i> Top-Characters,
+      <i>and give them</i> Success <i>in their</i> Debauchery.</td>
+      <td class="ar vbm wnw">p. <a href="#page142">142</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Character <i>of their</i> fine Gentleman.</td>
+      <td class="ar vbm wnw">p. <a href="#page143">143</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Their</i> fine Ladies <i>Accomplish'd much after the same
+      manner</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page146">146</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Young People <i>of</i> Figure <i>in</i> Plautus <i>and</i>
+      Terence, <i>have a greater regard to</i> Morality.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Defence in the</i> Preface <i>to the</i> Mock-Astrologer, <i>not
+      sufficient</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page148">148</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Christian <i>Religion makes a great</i> difference <i>in the
+      Case</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page149">149</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Horace <i>of a Contrary Opinion to the</i> Mock-Astrologer.</td>
+      <td class="ar vbm wnw">p. <a href="#page150">150</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Mock-Astrologer's <i>Instances from</i> Ben Johnson
+      <i>Unserviceable</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page151">151</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Authority of</i> Shakespear <i>against the</i> Mock-Astrologer.</td>
+      <td class="ar vbm wnw">p. <a href="#page154">154</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>His</i> Maxim <i>founded on the difference between</i> Tragedy,
+      <i>and</i> Comedy, <i>a</i> Mistake.</td>
+      <td class="ar vbm wnw">p. <a href="#page155">155</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Delight <i>not the Chief-End of</i> Comedy.</td>
+      <td class="ar vbm wnw">p. <a href="#page157">157</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This Assertion prov'd against the</i> Mock-Astrologer <i>from the
+      Testimonies of</i> Rapin.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And</i> Ben Johnson.</td>
+      <td class="ar vbm wnw">p. <a href="#page158">158</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Aristotle, <i>and</i> Quintilian, <i>cited to the same purpose</i></td>
+      <td class="ar vbm wnw">p. <a href="#page159">159</a>, <a href="#page161">161</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>To make</i> Delight <i>the main Business in</i> Comedy, <i>dangerous, and
+        unreasonable</i>.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page162">162</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The improper Conduct of the</i> Stage <i>with respect to Poetry, and
+      Ceremony</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page165">165</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Extravagant Rants.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page167">167</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Gingles in the</i> Spanish Fryar, King Arthur, <i>and</i> Love
+      Triumphant.</td>
+      <td class="ar vbm wnw">p. <a href="#page169">169</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Women <i>roughly treated by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page171">171</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Their coarse Usage of the</i> Nobility.</td>
+      <td class="ar vbm wnw">p. <a href="#page173">173</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>These Freedoms peculiar to the</i> English Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page175">175</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. V.</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. I.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks upon Amphytrion.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page177">177</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Machines <i>prophane, smutty, and out of the Character</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page178">178</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The singularity of the Poet in this point.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page180">180</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Blasphemy in Absalom and Achitophel.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page184">184</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Poem <i>upon the Fall of the</i> Angels, <i>call'd a Fairy way of
+      Writing</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page189">189</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Punishment <i>of the</i> Damned ridiculed.</td>
+      <td class="ar vbm wnw">p. <a href="#page192">192</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. II.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks on the</i> Comical History <i>of</i> Don Quixot.</td>
+      <td class="ar vbm wnw">p. <a href="#page196">196</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Poets horrible Prophaneness.</td>
+      <td class="ar vbm wnw">p. <a href="#page197">197</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>His want of</i> Modesty, <i>and</i> Regard <i>to the</i> Audience.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page202">202</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">All <i>Imitations of Nature not proper for the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page204">204</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Poets <i>Talent in Raillery, and</i> Dedication.</td>
+      <td class="ar vbm wnw">p. <a href="#page205">205</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. III.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks on the</i> Relapse.</td>
+      <td class="ar vbm wnw">p. <a href="#page209">209</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A Misnommer in the Title of the</i> Play.</td>
+      <td class="ar vbm wnw">p. <a href="#page210">210</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Moral <i>Vitious</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page211">211</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Plot <i>ill Contriv'd</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page212">212</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Manners <i>or</i> Characters <i>out of Order</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page218">218</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The three</i> Dramatick Unities <i>broken</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page228">228</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. VI.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Opinion of the</i> Heathen <i>Philosophers</i>, <i>Orators</i>,
+      <i>and Historians</i>, <i>concerning the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page233">233</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>censured by the</i> State. <i>This proved from the</i>
+      Constitutions <i>of</i> Athens, Sparta, <i>and</i> Rome.</td>
+      <td class="ar vbm wnw">p. <a href="#page240">240</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Farther Instances of this publick Discountentance in the</i> Theodosian
+      Code.</td>
+      <td class="ar vbm wnw">p. <a href="#page241">241</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In our own</i> Statute Book.</td>
+      <td class="ar vbm wnw">p. <a href="#page242">242</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the late Order of the</i> French King.</td>
+      <td class="ar vbm wnw">p. <a href="#page243">243</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>An</i> Order <i>of the Bishop of</i> Arras <i>against</i> Plays.</td>
+      <td class="ar vbm wnw">p. <a href="#page245">245</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>The</i> Stage <i>Condemn'd by the</i> Primitive Church.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page250">250</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Councils <i>of</i> Illiberis, Arles, &amp;c. <i>cited</i>.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Testimony's of the</i> Fathers <i>against the</i> Stage,
+      <i>particularly, of</i> Theophilus Antiochenus.</td>
+      <td class="ar vbm wnw">p. <a href="#page252">252</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Tertullian.</td>
+      <td class="ar vbm wnw">p. <a href="#page253">253</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Clemens Alexandrinus.</td>
+      <td class="ar vbm wnw">p. <a href="#page260">260</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Minutius F&#x0153;lix.</td>
+      <td class="ar vbm wnw">p. <a href="#page261">261</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of St.</i> Cyprian.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Lactantius.</td>
+      <td class="ar vbm wnw">p. <a href="#page265">265</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>St.</i> Chrisostom.</td>
+      <td class="ar vbm wnw">p. <a href="#page267">267</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>St.</i> Hierom.</td>
+      <td class="ar vbm wnw">p. <a href="#page272">272</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And St.</i> Augustine <i>cited to the same purpose</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page273">273</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Censure of the</i> Fathers, <i>and</i> Councils <i>&amp;c.
+      applicable to the</i> English Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page276">276</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Conclusion.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page280">280</a></td>
+    </tr>
+  </table>
+
+  <p class="sp3 ac"><span class="gsp"><i>ERRATA.</i></span></p>
+
+  <p>Page <a href="#page31">31</a> Margin for <span title="Kôron"
+  class="fsn">&Kappa;&#x1FF6;&rho;&omicron;&nu;</span>, r. <span title="Môron"
+  class="fsn">&Mu;&#x1FF6;&rho;&omicron;&nu;</span>. p. <a href="#page37">37</a>. l. 1. for <i>by
+  his</i>, r. <i>his</i>. l. 2. for <i>other</i>, r. <i>his other</i>. l. 25. for <i>præstr</i>, r.
+  <i>præter</i>. p. <a href="#page39">39</a>. l. 18. for <i>Poets</i>, <i>Knaves</i>, r. <i>Poets
+  Knaves</i>. p. <a href="#page44">44</a>. l. 14. for <i>Concianotores</i>, r. <i>Concionatores</i>.
+  p. <a href="#page45">45</a>. l. 25. for <i>Debaush</i>, r. <i>Debauchee</i>. p. <a
+  href="#page46">46</a>. l. 9. for <i>Enterprizes</i>, r. <i>Enterprize</i>. p. <a
+  href="#page47">47</a>. l. 9. for <i>ridicules</i>, r. <i>ridiculous</i>. p. <a
+  href="#page52">52</a>. l. 1. for <i>justifying</i>, r. <i>and justifie</i>. p. <a
+  href="#page60">60</a>. l. 2. for <i>tempestiuous</i>, r. <i>tempestuous</i>. l. 31. for
+  <i>pray</i>, r. <i>should pray</i>. p. <a href="#page80">80</a>. for <i>executed</i>, r.
+  <i>exerted</i>. p. <a href="#page108">108</a>. l. 4. for <i>Antarkick</i>. r. <i>Antartick</i>. p.
+  <a href="#page117">117</a>. l. 12. for <i>Angitia</i>, r. <i>Angitiæ</i>. p. <a
+  href="#page121">121</a>. l. 24. for <i>Auger</i>, r. <i>Augur</i>. p. <a href="#page135">135</a>.
+  margin, for <i>Heglins Cogmog</i>, r. <i>Heylins Cosmog</i>. p. <a href="#page154">154</a>. l. 22.
+  dele up. p. <a href="#page163">163</a>. l. 28. for <i>then</i>, r. <i>therefore</i>. p. <a
+  href="#page183">183</a>. l. 6. for <i>to</i>, r. <i>too</i>. p. <a href="#page186">186</a>. l. 6.
+  dele <i>And</i>. p. <a href="#page191">191</a>. l. 18. for <i>Circumstance</i>, r.
+  <i>Circumstances</i>. p. <a href="#page222">222</a>. l. 9. for <i>Cup</i>, r. <i>a Cup</i>. p. <a
+  href="#page237">237</a>. l. 2. for <i>apon't</i>, r. <i>upon't</i>. <a href="#page245">245</a>. l.
+  25. for <i>Le</i>, r. <i>Les</i>. p. <a href="#page257">257</a>. l. 28. for <i>Correspondence</i>
+  r. <i>this Correspondence</i>. p. <a href="#page272">272</a>. l. 9. for <i>himself</i>. r.
+  <i>themselves</i>.</p>
+
+  <p class="sp5">The Litteral mistakes the Reader is Desired to Correct.</p>
+
+  <div class="bq1 sp5">
+    <p><i>Essays upon several Moral Subjects in two parts the Second Edition Corrected and Enlarged
+    by</i> Jeremy Collier, <i>M.A.</i></p>
+    <p><i>Human Prudence, or the Art by which a man may raise himself and his Fortune to Grandure,
+    the Seventh Edition.</i></p>
+    <p class="sp0"><i>An Answer to all the Excuses and Pretences that men usually make for their not
+    coming to the Holy Communion, by a Divine of the Church of</i> England: <i>Fitted for the
+    meanest Capacity, and proper to be given away by such Persons as are Charitably Inclin'd. Price
+    3 pence.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page1">{1}</span></div>
+
+  <h1 class="sp3 ac" style="margin-bottom:1.8ex;"><span class="larger">THE INTRODUCTION.</span></h1>
+
+  <p class="sp5">The business of <i>Plays</i> is to recomend Virtue, and discountenance Vice; To
+  shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and the Unhappy Conclusions
+  of Violence and Injustice: 'Tis to expose the Singularities of Pride and Fancy, to make Folly and
+  Falsehood contemptible, and to bring every Thing that is Ill Under Infamy, and Neglect. This
+  Design has been oddly pursued by the English <i>Stage</i>. Our <i>Poets</i> write with a different
+  View, and are gone into an other Interest. 'Tis true, were their Intentions fair, they might be
+  <i>Serviceable</i> to this <i>Purpose</i>. They have in a great measure the Springs of Thought and
+  Inclination in their Power. <i>Show</i>, <i>Musick</i>, <i>Action</i>, and <i>Rhetorick</i>, are
+  moving Entertainments; and rightly employ'd would be very <span class="pagenum"
+  id="page2">{2}</span>significant. But Force and Motion are Things indifferent, and the Use lies
+  chiefly in the Application. These Advantages are now, in the Enemies Hand, and under a very
+  dangerous Management. Like Cannon seized they are pointed the wrong way, and by the Strength of
+  the Defence the Mischief is made the greater. That this Complaint is not unreasonable I shall
+  endeavour to prove by shewing the Misbehaviour of the <i>Stage</i> with respect to
+  <i>Morality</i>, and <i>Religion</i>. Their <i>Liberties</i>, in the Following Particulars are
+  intolerable. <i>viz.</i> Their <i>Smuttiness</i> of <i>Expression</i>; Their <i>Swearing</i>,
+  <i>Profainness</i>, and <i>Lewd Application of Scripture</i>; Their <i>Abuse</i> of the
+  <i>Clergy</i>; Their <i>making</i> their <i>Top Characters Libertines</i>, and giving them
+  <i>Success</i> in their <i>Debauchery</i>. This Charge, with some other Irregularities, I shall
+  make good against the <i>Stage</i>, and shew both the <i>Novelty</i> and <i>Scandal</i> of the
+  <i>Practise</i>. And first, I shall begin with the <i>Rankness</i>, and <i>Indecency</i> of their
+  <i>Language</i>.</p>
+
+  <div><span class="pagenum" id="page3">{3}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  I.</span></h1>
+
+  <h2 class="sp3"><i>The Immodesty of the</i> Stage.</h2>
+
+  <p>In treating this Head, I hope the Reader does not expect that I should set down Chapter and
+  Page, and give him the Citations at Length. To do this would be a very unacceptable and Foreign
+  Employment. Indeed the Passages, many of them, are in no Condition to be handled: He that is
+  desirous to see these Flowers let him do it in their own Soil: 'Tis my business rather to kill the
+  <i>Root</i> than <i>Transplant</i> it. But that the Poets may not complain of Injustice; I shall
+  point to the Infection at a Distance, and refer in General to <i>Play</i> and <i>Person</i>.</p>
+
+  <p>Now among the Curiosities of this kind we may reckon Mrs. <i>Pinchwife</i>, <i>Horner</i>, and
+  Lady <i>Fidget</i> in the <i>Country Wife</i>; Widdow <i>Blackacre</i> and <i>Olivia</i> in the
+  <i>Plain Dealer</i>. These, tho' not all the exceptionable <i>Characters</i>, are the most
+  remarkable. I'm sorry the Author should stoop his Wit thus Low, and use his Understanding so
+  unkindly. Some People <span class="pagenum" id="page4">{4}</span>appear Coarse, and Slovenly out
+  of Poverty: They can't well go to the Charge of Sense. They are Offensive like Beggars for want of
+  Necessaries. But this is none of the <i>Plain Dealer</i>'s case; He can afford his Muse a better
+  Dress when he pleases. But then the Rule is, where the Motive is the less, the Fault is the
+  greater. To proceed. <i>Jacinta</i>, <i>Elvira</i>, <i>Dalinda</i>, and <i>Lady Plyant</i>, in the
+  <i>Mock Astrologer</i>, <i>Spanish Friar</i>, <i>Love Triumphant</i> and <i>Double Dealer</i>,
+  forget themselves extreamly: And almost all the <i>Characters</i> in the <i>Old Batchelour</i>,
+  are foul and nauseous. <i>Love</i> for <i>Love</i>, and the <i>Relapse</i>, strike sometimes upon
+  this <i>Sand</i>, and so likewise does <i>Don Sebastian</i>.</p>
+
+  <p>I don't pretend to have read the <i>Stage</i> Through, neither am I Particular to my Utmost.
+  Here is quoting enough unless 'twere better: Besides, I may have occasion to mention somewhat of
+  this kind afterwards. But from what has been hinted already, the Reader may be over furnish'd.
+  Here is a large Collection of Debauchery; such <i>Pieces</i> are rarely to be met with: 'Tis
+  Sometimes painted at Length too, and appears in great Variety of Progress and Practise. It wears
+  almost all sorts of Dresses to engage the Fancy, and fasten upon the <span class="pagenum"
+  id="page5">{5}</span>Memory, and keep up the Charm from Languishing. Sometimes you have it in
+  Image and Description; sometimes by way of Allusion; sometimes in Disguise; and sometimes without
+  it. And what can be the Meaning of such a Representation, unless it be to Tincture the Audience,
+  to extinguish Shame, and make Lewdness a Diversion? This is the natural Consequence, and therefore
+  one would think 'twas the Intention too. Such Licentious Discourse tends to no point but to stain
+  the Imagination, to awaken Folly, and to weaken the Defences of Virtue: It was upon the account of
+  these Disorders that <i>Plato</i> banish'd Poets his <i>Common Wealth</i>: And one of the
+  <i>Fathers</i> calls <i>Poetry</i>, <i>Vinum Dæmonum</i> an intoxicating <i>Draught</i>, made up
+  by the Devils <i>Dispensatory</i>.</p>
+
+  <p>I grant the Abuse of a Thing is no Argument against the use of it. However Young people
+  particularly, should not entertain themselves with a Lewd Picture; especially when 'tis drawn by a
+  Masterly Hand. For such a Liberty may probably raise those Passions which can neither be
+  discharged without Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust his
+  Virtue too far, for fear it should give <span class="pagenum" id="page6">{6}</span>him the slip!
+  But the danger of such an Entertainment is but part of the Objection: 'Tis all Scandal and
+  meanness into the bargain: it does in effect degrade Human Nature, sinks Reason into Appetite, and
+  breaks down the Distinctions between Man and Beast. Goats and Monkeys if they could speak, would
+  express their Brutality in such Language as This.</p>
+
+  <p>To argue the Matter more at large.</p>
+
+  <p>Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very Coarse Diversion, the
+  Entertainment of those who are generally least both in Sense, and Station. The looser part of the
+  <i>Mob</i>, have no true relish of Decency and Honour, and want Education, and Thought, to furnish
+  out a gentile Conversation. Barrenness of Fancy makes them often take up with those Scandalous
+  Liberties. A Vitious Imagination may blot a great deal of Paper at this rate with ease enough: And
+  'tis possible Convenience may sometimes invite to the Expedient. The Modern Poets seem to use
+  <i>Smut</i> as the Old Ones did <i>Machines</i>, to relieve a fainting Invention. When
+  <i>Pegasus</i> is jaded, and would stand still, he is apt like other <i>Tits</i> to run into every
+  Puddle.</p>
+
+  <div><span class="pagenum" id="page7">{7}</span></div>
+
+  <p>Obscenity in any Company is a rustick uncreditable Talent; but among Women 'tis particularly
+  rude. Such Talk would be very affrontive in Conversation, and not endur'd by any Lady of
+  Reputation. Whence then comes it to Pass that those Liberties which disoblige so much in
+  Conversation, should entertain upon the <i>Stage</i>. Do the Women leave all the regards to
+  Decency and Conscience behind them when they come to the <i>Play-House</i>? Or does the Place
+  transform their Inclinations, and turn their former Aversions into Pleasure? Or were Their
+  pretences to Sobriety elsewhere nothing but Hypocrisy and Grimace? Such Suppositions as these are
+  all Satyr and Invective: They are rude Imputations upon the whole Sex. To treat the Ladys with
+  such stuff is no better than taking their Money to abuse them. It supposes their Imagination
+  vitious, and their Memories ill furnish'd: That they are practised in the Language of the Stews,
+  and pleas'd with the Scenes of Brutishness. When at the same time the Customs of Education, and
+  the Laws of Decency, are so very cautious, and reserv'd in regard to Women: I say so very
+  reserv'd, that 'tis almost a Fault for them to Understand they are ill Used. <span class="pagenum"
+  id="page8">{8}</span>They can't discover their Disgust without disadvantage, nor Blush without
+  disservice to their Modesty. To appear with any skill in such Cant, looks as if they had fallen
+  upon ill Conversation; or Managed their Curiosity amiss. In a word, He that treats the Ladys with
+  such Discourse, must conclude either that they like it, or they do not. To suppose the first, is a
+  gross Reflection upon their Virtue. And as for the latter case, it entertains them with their own
+  Aversion; which is ill Nature, and ill Manners enough in all Conscience. And in this Particular,
+  Custom and Conscience, the Forms of Breeding, and the Maxims of Religion are on the same side. In
+  other Instances Vice is often too fashionable; But here a Man can't be a Sinner, without being a
+  Clown.</p>
+
+  <p>In this respect the <i>Stage</i> is faulty to a Scandalous degree of Nauseousness and
+  Aggravation. For</p>
+
+  <p><i>1st.</i> The <i>Poets</i> make <i>Women</i> speak Smuttily. Of This the Places before
+  mention'd are sufficient Evidence: And if there was occasion they might be Multiplyed to a much
+  greater Number: Indeed the <i>Comedies</i> are seldom clear of these Blemishes: And sometimes you
+  have them in <i>Tragedy</i>. For Instance. <span class="pagenum" id="page9">{9}</span>The
+  <i>Orphans Monimia</i> makes a very improper Description; And the Royal <i>Leonora</i> in the
+  <i>Spanish Friar</i>, runs a strange Length in the History of Love <i>p.</i> 50. And, do
+  Princesses use to make their Reports with such fulsom Freedoms? Certainly this <i>Leonora</i> was
+  the first Queen of her Family. Such raptures are too Lascivious for <i>Joan</i> of <i>Naples</i>.
+  Are these the <i>Tender Things</i> Mr. <i>Dryden</i> says the Ladys call on him for? I suppose he
+  means the <i>Ladys</i> that are too Modest to show their Faces in the <i>Pit</i>. This
+  Entertainment can be fairly design'd for none but such. Indeed it hits their Palate exactly. It
+  regales their Lewdness, graces their Character, and keeps up their Spirits for their Vocation: Now
+  to bring Women under such Misbehaviour is Violence to their Native Modesty, and a Mispresentation
+  of their Sex. For Modesty as Mr. <i>Rapin</i><span class="leftmar"><i>Reflect upon Aristot.
+  &amp;c.</i><br/>
+  <i>Eurip. Hippolit.</i></span><sup class="handonly" id="ref1"><a href="#side1">[1]</a></sup>
+  observes, is the <i>Character</i> of Women. To represent them without this Quality, is to make
+  Monsters of them, and throw them out of their Kind. <i>Euripides</i>, who was no negligent
+  Observer of Humane Nature, is always careful of this Decorum. Thus <i>Phædra</i><sup
+  class="handonly" id="ref2"><a href="#side2">[2]</a></sup> when possess'd with an infamous Passion,
+  takes all imaginable pains to conceal it. She is as <span class="pagenum"
+  id="page10">{10}</span>regular and reserv'd in her Language as the most virtuous Matron. 'Tis
+  true, the force of Shame and Desire; The Scandal of Satisfying, and the difficulty of parting with
+  her Inclinations, disorder her to Distraction. However, her Frensy is not Lewd; She keeps her
+  Modesty even after She has lost her Wits. Had <i>Shakespear</i> secur'd this point for his young
+  Virgin <i>Ophelia</i>,<span class="leftmar"><i>Hamlet.</i></span><sup class="handonly"
+  id="ref3"><a href="#side3">[3]</a></sup> the <i>Play</i> had been better contriv'd. Since he was
+  resolv'd to drown the Lady like a Kitten, he should have set her a swimming a little sooner. To
+  keep her alive only to sully her Reputation, and discover the Rankness of her Breath, was very
+  Cruel. But it may be said the Freedoms of Distraction go for nothing, a Feavour has no Faults, and
+  a Man <i>non Compos</i>, may kill without Murther. It may be so: But then such People ought to be
+  kept in dark Rooms and without Company. To shew them, or let them loose, is somewhat unreasonable.
+  But after all, the Modern <i>Stage</i> seems to depend upon this Expedient. Women are sometimes
+  represented <i>Silly</i>, and sometimes <i>Mad</i>, to enlarge their Liberty, and screen their
+  Impudence from Censure: This Politick Contrivance we have in <i>Marcella</i>,<span
+  class="leftmar"><i>Don Quixot. Relapse. Love for Love.</i></span><sup class="handonly"
+  id="ref4"><a href="#side4">[4]</a></sup> <i>Hoyden</i>,<sup class="handonly" id="ref5"><a
+  href="#side5">[5]</a></sup> and Miss <i>Prue</i>.<sup class="handonly" id="ref6"><a
+  href="#side6">[6]</a></sup> However <span class="pagenum" id="page11">{11}</span>it amounts to
+  this Confession; that Women when they have their Understandings about them ought to converse
+  otherwise. In fine; Modesty is the distinguishing Vertue of that Sex, and serves both for Ornament
+  and Defence: Modesty was design'd by Providence as a Guard to Virtue; And that it might be always
+  at Hand, 'tis wrought into the Mechanism of the Body. 'Tis likewise proportioned to the occasions
+  of Life, and strongest in Youth when Passion is so too. 'Tis a Quality as true to Innocence, as
+  the Sences are to Health; whatever is ungrateful to the first, is prejudicial to the latter. The
+  Enemy no sooner approaches, but the Blood rises in Opposition, and looks Defyance to an Indecency.
+  It supplys the room of Reasoning, and Collection: Intuitive Knowledge can scarcely make a quicker
+  Impression; And what then can be a surer Guide to the Unexperienced? It teaches by suddain
+  Instinct and Aversion; This is both a ready and a powerful Method of instruction. The Tumult of
+  the Blood and Spirits, and the Uneasiness of the Sensation, are of singular Use. They serve to
+  awaken Reason, and prevent surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
+  Temptation kept at proper Distance.</p>
+
+  <div><span class="pagenum" id="page12">{12}</span></div>
+
+  <p><i>2ly.</i> They Represent their single Ladys, and Persons of Condition, under these Disorders
+  of Liberty, This makes the Irregularity still more Monstrous and a greater Contradiction to
+  Nature, and Probability: But rather than not be Vitious, they will venture to spoil a Character.
+  This mismanagement we have partly seen already. <i>Jacinta</i>,<span class="leftmar"><i>Mock
+  Astrologer. Old Batchelour.</i></span><sup class="handonly" id="ref7"><a
+  href="#side7">[7]</a></sup> and <i>Belinda</i><sup class="handonly" id="ref8"><a
+  href="#side8">[8]</a></sup> are farther proof. And the <i>Double Dealer</i> is particularly
+  remarkable. There are but <i>Four</i> Ladys in this <i>Play</i>, and <i>Three</i> of the biggest
+  of them are Whores. A Great Compliment to Quality to tell them there is not above a quarter of
+  them Honest! This was not the Roman Breeding, <i>Terence</i> and <i>Plautus</i> his Strumpets were
+  Little people; but of this more hereafter.</p>
+
+  <p><i>3dly.</i> They have oftentimes not so much as the poor refuge of a Double Meaning to fly to.
+  So that you are under a necessity either of taking Ribaldry or Nonsence. And when the Sentence has
+  two Handles, the worst is generally turn'd to the Audience. The Matter is so Contrived that the
+  Smut and Scum of the Thought rises uppermost; And like a Picture drawn to <i>Sight</i>, looks
+  always upon the Company.</p>
+
+  <div><span class="pagenum" id="page13">{13}</span></div>
+
+  <p><i>4ly.</i> And which is still more extraordinary: the <i>Prologues</i>, and <i>Epilogues</i>
+  are sometimes Scandalous to the last degree.<span class="leftmar"><i>Mock Astrologer. Country
+  Wife. Cleomenes. Old Batchelour.</i></span><sup class="handonly" id="ref9"><a
+  href="#side9">[9]</a></sup> I shall discover them for once, and let them stand like Rocks in the
+  Margin. Now here properly speaking the <i>Actors</i> quit the <i>Stage</i>, and remove from
+  Fiction, into Life. Here they converse with the <i>Boxes</i>, and <i>Pit</i>, and address directly
+  to the Audience. These Preliminarie and concluding Parts, are design'd to justify the Conduct of
+  the <i>Play</i>, and bespeak the Favour of the Company. Upon such Occasions one would imagine if
+  ever, the Ladys should be used with Respect, and the Measures of Decency observ'd, But here we
+  have Lewdness without Shame or Example: Here the <i>Poet</i> exceeds himself. Here are such
+  Strains as would turn the Stomach, of an ordinary Debauchee, and be almost nauseous in the
+  <i>Stews</i>. And to make it the more agreeable, Women are Commonly pick'd out for this Service.
+  Thus the <i>Poet</i> Courts the good opinion of the Audience. This is the Desert he regales the
+  Ladys with at the Close of the Entertainment: It seems He thinks They have admirable Palats!
+  Nothing can be a greater Breach of Manners then such Liberties as these. If a Man would <span
+  class="pagenum" id="page14">{14}</span>study to outrage <i>Quality</i> and Vertue, he could not do
+  it more Effectually. But</p>
+
+  <p><i>5thly.</i> Smut is still more insufferable with respect to Religion. The Heathen Religion
+  was in a great Measure a <i>Mystery</i> of <i>Iniquity</i>. Lewdness was Consecrated in the
+  Temples, as well as practised in the <i>Stews</i>. Their Deitys were great Examples of Vice, and
+  worship'd with their own Inclination. 'Tis no wonder therefore their Poetry should be tinctured
+  with their Belief, and that the <i>Stage</i> should borrow some of the Liberties of their
+  Theology. This made <i>Mercurys</i> Procuring, and <i>Jupiters</i> Adultery the more passable in
+  <i>Amphitrion</i><span class="leftmar"><i>Plaut.</i><br/>
+  <i>Cistellar.</i><br/>
+  <i>Terent. Eunuch.</i></span><sup class="handonly" id="ref10"><a href="#side10">[10]</a></sup>:
+  Upon this Score <i>Gymnasium</i><sup class="handonly" id="ref11"><a href="#side11">[11]</a></sup>
+  is less Monstrous in Praying the Gods to send her store of Gallants. And thus <i>Chæræa</i><sup
+  class="handonly" id="ref12"><a href="#side12">[12]</a></sup> defends his Adventure by the
+  Precedent of <i>Jupiter</i> and <i>Danæ</i>. But the Christian Religion is quite of an other
+  Complexion. Both its Precepts, and Authorities, are the highest discouragement to Licentiousness.
+  It forbids the remotest Tendencies to Evil, Banishes the Follies of Conversation, and Obliges up
+  to Sobriety of Thought. That which might pass for Raillery, and Entertainment in Heathenism, is
+  detestable in Christianity. The Restraint of the Precept, and the Quality of the <span
+  class="pagenum" id="page15">{15}</span>Deity, and the Expectations of Futurity quite alter the
+  Case.</p>
+
+  <p>But notwithstanding the Latitudes of Paganism, the Roman and Greek <i>Theatres</i> were much
+  more inoffensive than ours. To begin with <i>Plautus</i>. This Comedian, tho' the most
+  exceptionable, is modest upon the Comparison. For</p>
+
+  <p><i>1st.</i> He rarely gives any of the above mention'd Liberties to Women; And when there are
+  any Instances of the contrary, 'tis only in prostituted and Vulgar People; And even these, don't
+  come up to the Grossness of the <i>Modern Stage</i>.</p>
+
+  <p>For the Purpose. <i>Cleæreta</i><span class="leftmar"><i>Asinar.</i><br/>
+  <i>Cistellar.</i><br/>
+  <i>Bacchid.</i><br/>
+  <i>Casin.</i><br/>
+  <i>Mercat. Act. 3.</i><br/>
+  <i>Persa.</i><br/>
+  <i>Trucul.</i></span><sup class="handonly" id="ref13"><a href="#side13">[13]</a></sup> the
+  Procuris borders a little upon Rudeness: <i>Lena</i><sup class="handonly" id="ref14"><a
+  href="#side14">[14]</a></sup> and <i>Bacchis</i><sup class="handonly" id="ref15"><a
+  href="#side15">[15]</a></sup> the Strumpet are Airy and somewhat  over-merry, but not <i>A
+  l'Anglois</i> obscene. <i>Chalinus</i><sup class="handonly" id="ref16"><a
+  href="#side16">[16]</a></sup> in Womans Cloaths is the most remarkable. <i>Pasicompa Charinus</i>
+  his Wench talks too freely to <i>Lysimachus</i>;<sup class="handonly" id="ref17"><a
+  href="#side17">[17]</a></sup> And so does <i>Sophroclidisca</i> <i>Slave</i> to
+  <i>Lemnoselene</i>.<sup class="handonly" id="ref18"><a href="#side18">[18]</a></sup> And lastly:
+  <i>Phronesiam</i> a Woman of the <i>Town</i> uses a double entendre to <i>Stratophanes</i>.<sup
+  class="handonly" id="ref19"><a href="#side19">[19]</a></sup> These are the most censurable
+  Passages, and I think all of them with relation to Women; which considering how the World goes is
+  very moderate. Several of <i>our</i> Single <i>Plays</i> shall far out-do all This put together.
+  And yet <i>Plautus</i> has upon the <span class="pagenum" id="page16">{16}</span>matter left us 20
+  entire <i>Comedies</i>. So that in short, these Roman Lasses are meer <i>Vestal Virgins</i>,
+  comparatively speaking.</p>
+
+  <p><i>2ly.</i> The <i>Men</i> who talk intemperately are generally <i>Slaves</i>; I believe
+  <i>Dordalus</i><span class="leftmar"><i>Persa.</i><br/>
+  <i>Trinum.</i></span><sup class="handonly" id="ref20"><a href="#side20">[20]</a></sup> the Pandar,
+  and <i>Lusiteles</i><sup class="handonly" id="ref21"><a href="#side21">[21]</a></sup> will be
+  found the only exception: And this latter young Gentleman; drops but one over airy expression: And
+  for this Freedom, the Poet seems to make him give Satisfaction in the rest of his Character. He
+  disputes very handsomly by himself against irregular Love; The Discourse between him and
+  <i>Philto</i> is instructive and well managed.<span class="leftmar"><i>Act. 2. 1.</i><br/>
+  <i>Act. 2. 2.</i></span><sup class="handonly" id="ref22"><a href="#side22">[22]</a></sup> And
+  afterwards he gives <i>Lesbonicus</i> a great deal of sober advice,<sup class="handonly"
+  id="ref23"><a href="#side23">[23]</a></sup> and declaims heartily against Luxury and Lewdness! Now
+  by confining his Rudeness to little People, the Fault is much extenuated. For First, the
+  representation is more Naturally this way; And which is still better, 'tis not so likely to pass
+  into Imitation: Slaves and Clowns are not big enough to spread Infection; and set up an ill
+  Fashion. 'Tis possible the <i>Poet</i> might contrive these <i>Pesants Offensive</i> to
+  discountenance the Practise. Thus the <i>Heilots</i> in <i>Sparta</i> were made drunk to keep
+  Intemperance out of <span class="pagenum" id="page17">{17}</span>Credit. I don't mention this as
+  if I approv'd the Expedient, but only to show it a circumstance of Mitigation and Excuse.</p>
+
+  <p>Farther, These <i>Slaves</i> and Pandars, Seldom run over, and play their Gambols before Women.
+  There are but Four Instances of this Kind as I remember, <i>Olympio</i>,<span
+  class="leftmar"><i>Casin.<br/>
+  Mil. Glor.<br/>
+  Pers.<br/>
+  Trucul.</i></span><sup class="handonly" id="ref24"><a href="#side24">[24]</a></sup>
+  <i>Palæstrio</i>,<sup class="handonly" id="ref25"><a href="#side25">[25]</a></sup>
+  <i>Dordalus</i>,<sup class="handonly" id="ref26"><a href="#side26">[26]</a></sup> and
+  <i>Stratilax</i><sup class="handonly" id="ref27"><a href="#side27">[27]</a></sup> are the Persons.
+  And the Women they discourse with, are two of them Slaves, and the third a Wench. But with our
+  <i>Dramatists</i>, the case is otherwise. With us <i>Smuttiness</i> is absolute and unconfin'd.
+  'Tis under no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to
+  Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imaginable. This is in earnest
+  to be very hearty in the cause! To give Title and Figure to Ill Manners is the utmost that can be
+  done. If Lewdness will not thrive under such encouragement it must e'en Miscarry!</p>
+
+  <p><i>4ly.</i> <i>Plautus</i> his <i>Prologues</i> and <i>Epilogues</i> are inoffensive. 'Tis
+  true, <i>Lambinus</i> pretends to fetch a double <i>entendre</i> out of that to
+  <i>P&#x0153;nulus</i>, but I think there is a Strain in the Construction. His <i>Prologue</i> to
+  the <i>Captivi</i> is worth the observing.</p>
+
+  <div><span class="pagenum" id="page18">{18}</span></div>
+
+  <div class="poem">
+    <p><i>Fabulæ huic operam date.</i></p>
+  </div>
+
+  <p><i>Pray mind the Play.</i> The next words give the reason why it deserves regarding.</p>
+
+  <div class="poem">
+    <p><i>Non enim pertractate facta est</i></p>
+    <p><i>Neque spurcidici insunt versus immemorabiles.</i></p>
+  </div>
+
+  <p>We see here the Poet confesses Smut a scandalous Entertainment. That such Liberties ought to
+  fall under Neglect, to lie unmention'd, and be blotted out of Memory.</p>
+
+  <p>And that this was not a Copy of his Countenance we may learn from his Compositions. His best
+  <i>Plays</i> are almost alwaies Modest and clean Complexion'd. His <i>Amphitrio</i> excepting the
+  ungenuine Addition is such. His <i>Epidicus</i> the Master-Piece of his whole Collection is
+  inoffensive Throughout: And so are his <i>Menechmi</i>, <i>Rudens</i>, and <i>Trinummus</i>, which
+  may be reckon'd amongst some of his next Best. His <i>Truculentus</i> another fine <i>Play</i>
+  (tho' not entire) with a Heathen Allowance, is pretty Passable. To be short: Where he is most a
+  Poet, he is generally least a Buffoon. And where the Entertainment is Smut, there is rarely any
+  other Dish well dress'd: The <span class="pagenum" id="page19">{19}</span>Contrivance is commonly
+  wretched, the Sence lean and full of Quibbles. So that his Understanding seems to have left him
+  when he began to abuse it.</p>
+
+  <p>To conclude, <i>Plautus</i> does not dilate upon the Progress, Successes, and Disappointments
+  of <i>Love</i>, in the <i>Modern</i> way. This is nice Ground, and therefore He either stands off,
+  or walks gravely over it, He has some regard to the Retirements of Modesty, and the Dignity of
+  Humane Nature, and does not seem to make Lewdness his Business. To give an Instance.
+  <i>Silenium</i> is much gone in Love,<span class="leftmar"><i>Cistellear. A. 1.</i></span><sup
+  class="handonly" id="ref28"><a href="#side28">[28]</a></sup> but Modest withall, tho' formerly
+  debauch'd.</p>
+
+  <p>She is sorry her Spark was forced from her, and in Danger of being lost. But then she keeps
+  within compass and never flies out into Indecency. <i>Alcesimarchus</i> is strangely smitten with
+  this <i>Silenium</i>, and almost distracted to recover her.<span class="leftmar"><i>Ibid. A.
+  2.</i></span><sup class="handonly" id="ref29"><a href="#side29">[29]</a></sup> He is uneasy and
+  blusters, and threatens, but his Passion goes off in Generals. He Paints no Images of his
+  Extravagance, nor descends to any nauseous particulars.</p>
+
+  <p>And yet after all, <i>Plautus</i> wrote in an Age not perfectly refin'd, and often seems to
+  design his <i>Plays</i> for a Vulgar Capacity. 'Twas upon this view I <span class="pagenum"
+  id="page20">{20}</span>suppose his <i>Characters</i> exceed Nature, and his ill Features are drawn
+  too large: His old Men over credulous, his Misers Romantick, and his Coxcombs improbably singular.
+  And 'tis likely for this reason his <i>Slaves</i> might have too much Liberty.</p>
+
+  <p><i>Terence</i> appear'd when Breeding was more exact, and the <i>Town</i> better polish'd; And
+  he manages accordingly: He has<span class="leftmar"><i>Heauton.</i></span><sup class="handonly"
+  id="ref30"><a href="#side30">[30]</a></sup> but one faulty bordering Expression, which is that of
+  <i>Chremes</i> to <i>Clitipho</i>. This single Sentence apart, the rest of his Book is (I think)
+  unsullied and fit for the nicest Conversation. I mean only in referrence to the Argument in Hand,
+  for there are things in Him, which I have no intention to warrant. He is Extreamly careful in the
+  Behaviour of his Women. Neither <i>Glycerium</i> in <i>Andria</i>, <i>Pamphila</i> in
+  <i>Eunuchus</i>, or <i>Pamphila</i> in <i>Adelphi</i>, <i>Phanium</i> in <i>Phormio</i>, or
+  <i>Philumena</i> in <i>Hecyra</i>, have any share of Conversation upon the <i>Stage</i>. such
+  Freedom was then thought too much for the Reservedness of a Maiden-Character. 'Tis true in
+  <i>Heautontimoroumenos</i> the <i>Poets</i> Plot obliged <i>Antiphila</i>, to go under the
+  Disguise of <i>Bacchis</i> her Maid. Upon this Occasion they hold a little Discourse together. But
+  then <i>Bacchis</i> <span class="pagenum" id="page21">{21}</span>tho' she was a Woman of the
+  <i>Town</i>, behaves her self with all the Decency imaginable. She does not talk in the Language
+  of her Profession. But commends <i>Antiphila</i> for her Virtue: <i>Antiphila</i> only says how
+  constant she has been to <i>Chinia</i>, seems surprised at his Arrival, and salutes him civilly
+  upon't, and we hear no more from her. Mr. <i>Dryden</i> seems to refer to this Conduct in his
+  Dramatick <i>Poesie</i>. He censures the <i>Romans</i> for making <i>Mutes</i> of their single
+  Women. This He calls the <i>Breeding of the Old</i> Elizabeth <i>way, which was for Maids to be
+  seen and not to be heard</i>. Under Favour the old Discipline would be very serviceable upon the
+  <i>Stage</i>. As matters go, the <i>Mutes</i> are much to few. For certainly 'tis better to say
+  nothing, than talk out of Character, and to ill purpose.</p>
+
+  <p>To return. The Virgin injured by <i>Chærea</i> does nothing but weep, and won't so much as
+  speak her misfortune to the Women.<span class="leftmar"><i>Eunuch.</i><br/>
+  <i>Love Triump.</i></span><sup class="handonly" id="ref31"><a href="#side31">[31]</a></sup> But
+  Comedy is strangly improved since that time; For <i>Dalinda</i><sup class="handonly" id="ref32"><a
+  href="#side32">[32]</a></sup> has a great deal more Courage, tho' the loss of her Virtue was her
+  own Fault.</p>
+
+  <p>But <i>Terence</i> has that regard for Women, that he won't so much as touch upon an ill
+  Subject before them. Thus <span class="pagenum" id="page22">{22}</span><i>Chremes</i> was ashamed
+  to mention any thing about his Sons Lewdness when his Wife was present.</p>
+
+  <div class="poem">
+    <p><i>Pudet dicere hac præsente verbum turpe.</i><span class="leftmar"><i>Heauton. A. 5.
+    4.</i></span><sup class="handonly" id="ref33"><a href="#side33">[33]</a></sup></p>
+  </div>
+
+  <p>The Slaves in this Comedian are kept in order and civilly bred. They Guard and Fence when
+  occasion requires, and step handsomly over a dirty place.<span class="leftmar"><i>Eunuch A. 5. 4.
+  5.</i><br/>
+  <i>Adelph. A. 2. 3.</i></span><sup class="handonly" id="ref34"><a href="#side34">[34]</a></sup>
+  The Poet did not think Littleness and low Education a good Excuse for Ribaldry. He knew Infection
+  at the weakest, might seize on some Constitutions: Besides, the Audience was a Superior Presence,
+  and ought to be considered. For how Negligent soever People may be at Home, yet when they come
+  before their Betters 'tis Manners to look wholsom.</p>
+
+  <p>Now tho' <i>Plautus</i> might have the richer Invention; <i>Terence</i> was always thought the
+  more judicious Comedian. His Raillery is not only finer, and his stile better polish'd; but his
+  <i>Characters</i> are more just, and he seems to have reach'd farther into Life than the other. To
+  take Leave of this Author, even his Strumpets are better behaved than our honest Women, than our
+  Women of Quality of the English <i>Stage</i>. <i>Bacchis</i> in <i>Heautontimoroumenos</i> and
+  <i>Bacchis</i> in <span class="pagenum" id="page23">{23}</span><i>Hecyra</i>, may serve for
+  example. They are both modest, and converse not unbecoming their Sex. <i>Thais</i> the most
+  accomplish'd in her way,<span class="leftmar"><i>Eunuch.</i></span><sup class="handonly"
+  id="ref35"><a href="#side35">[35]</a></sup> has a great deal of Spirit and wheadling in her
+  Character, but talks no Smut.</p>
+
+  <p>Thus we see with what Caution and Sobriety of Language <i>Terence</i> manages. 'Tis possible
+  this Conduct might be his own Modesty, and result from judgment and Inclination. But however his
+  Fancy stood, he was sensible the Coarse way would not do. The <i>Stage</i> was then under
+  Discipline, the publick <i>Censors</i> formidable, and the Office of the <i>Choragus</i> was
+  originally to prevent the Excesses of Liberty.</p>
+
+  <p>To this we may add the <i>Nobless</i> had no Relish for Obscenity; 'twas the ready way to
+  Disoblige them.<span class="leftmar"><i>Casaub. Annot. in Curcul. Plauti.</i></span><sup
+  class="handonly" id="ref36"><a href="#side36">[36]</a></sup> And therefore 'tis <i>Horaces</i>
+  Rule.</p>
+
+  <div class="poem">
+    <p><i>Nec immunda crepent ignominiosaque dicta.</i></p>
+    <p><i>Offenduntur enim quibus est Equus &amp; Pater, &amp; res.</i><span class="leftmar"><i>De A
+    te Poet.</i></span><sup class="handonly" id="ref37"><a href="#side37">[37]</a></sup></p>
+  </div>
+
+  <p>The Old <i>Romans</i> were particularly carefull their Women might not be affronted in
+  Conversation: For this reason the Unmarried kept off from Entertainments for fear of learning new
+  Language.<span class="leftmar"><i>Var. apud. Nonium.</i><br/>
+  <i>Corn. Nep.</i><br/>
+  <i>Arist. Lib. 4. de Mor. cap. 14.</i><br/>
+  <i>Vit. Eurip. ed Cantab. 1694.</i></span><sup class="handonly" id="ref38"><a
+  href="#side38">[38]</a></sup> And in <span class="pagenum" id="page24">{24}</span><i>Greece</i> no
+  Woman above the degree of a <i>Slave</i> was treated abroad by any but Relations.<sup
+  class="handonly" id="ref39"><a href="#side39">[39]</a></sup> 'Tis probable the old Comedy was
+  silenced at <i>Athens</i> upon this Score, as well as for Defamation. For as <i>Aristotle</i><sup
+  class="handonly" id="ref40"><a href="#side40">[40]</a></sup> observes the new Set of Comedians
+  were much more modest than the former. In this celebrated Republick, if the <i>Poets</i> wrote any
+  thing against Religion or Good Manners, They were tryed for their Misbehaviour, and lyable to the
+  highest Forfeitures.<sup class="handonly" id="ref41"><a href="#side41">[41]</a></sup></p>
+
+  <p>It may not be amiss to observe that there are no Instances of debauching Married Women, in
+  <i>Plautus</i>, nor <i>Terence</i>, no nor yet in <i>Aristophanes</i>. But on our <i>Stage</i> how
+  common is it to make a Lord, a Knight, or an Alderman a Cuckold? The Schemes of Success are beaten
+  out with great Variety, and almost drawn up into a Science. How many Snares are laid for the
+  undermining of Virtue, and with what Triumph is the Victory proclaim'd? The Finess of the
+  <i>Plot</i>, and the Life of the Entertainment often lies in these Contrivances. But the
+  <i>Romans</i> had a different sence of these Matters, and saw thro' the consequences of them. The
+  Government was awake upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
+  pass into <span class="pagenum" id="page25">{25}</span>Diversion. And before we part with these
+  <i>Comedians</i> we may take notice that there are no Smutty Songs in their <i>Plays</i>; in which
+  the <i>English</i> are extreamly Scandalous.<span class="leftmar"><i>Love for Love.</i><br/>
+  <i>Love Triump. &amp;c.</i></span><sup class="handonly" id="ref42"><a
+  href="#side42">[42]</a></sup> Now to work up their Lewdness with Verse, and Musick, doubles the
+  Force of the Mischief. It makes it more portable and at Hand, and drives it Stronger upon Fancy
+  and Practice.</p>
+
+  <p>To dispatch the <i>Latins</i> all together. <i>Seneca</i> is clean throughout the Piece, and
+  stands generally off from the point of Love. He has no Courting unless in his <i>Hercules
+  Furens</i>;<span class="leftmar"><i>p. 14. Ed. Scriv.</i></span><sup class="handonly"
+  id="ref43"><a href="#side43">[43]</a></sup> And here the Tyrant <i>Lycus</i> addresses
+  <i>Megara</i> very briefly, and in Modest and remote Language. In his <i>Thebais</i>,
+  <i>Oedipus</i>'s Incest is reported at large, but without any choaking Description. 'Tis granted
+  <i>Phædra</i> speaks her Passion plainly out, and owns the strength of the Impression, and is far
+  less prudent than in <i>Euripides</i>.<span class="leftmar"><i>Hippol.</i></span><sup
+  class="handonly" id="ref44"><a href="#side44">[44]</a></sup> But tho' her Thoughts appear too
+  freely, her Language is under Discipline.</p>
+
+  <p>Let us now Travel from <i>Italy</i> into <i>Greece</i>, and take a view of the Theatre at
+  <i>Athens</i>. In this City the <i>Stage</i> had both its beginning and highest Improvement.
+  <i>Æschylus</i> was the first who appear'd with any Reputation. His Genius <span class="pagenum"
+  id="page26">{26}</span>seems noble, and his Mind generous, willing to transfuse it self into the
+  Audience, and inspire them with a Spirit of Bravery. To this purpose his Stile is Pompous,
+  Martial, and Enterprizing. There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
+  Ardour, to awaken, warm, and push forward to Action. But his Mettal is not always under
+  Management. His Inclination for the <i>Sublime</i>; carrys him too far: He is sometimes
+  Embarrass'd with <i>Epithites</i>. His Metaphors are too stiff, and far fetch'd; and he rises
+  rather in Sound, than in Sence. However generally speaking, his Materials are both shining and
+  solid, and his Thoughts lofty, and uncommon. This Tragedian had always a nice regard to Good
+  Manners. He knew corrupting the People was the greatest disservice to the Commonwealth; And that
+  Publick Ruine was the effect of general Debauchery. For this reason he declines the Business of
+  Amours, and declares expresly against it.<span class="leftmar"><i>Aristoph. Ran.</i></span><sup
+  class="handonly" id="ref45"><a href="#side45">[45]</a></sup> Now here we can't expect any length
+  of Testimony. His aversion to the subject makes him touch very sparingly upon it. But in this case
+  there is no need of much citation. His very Omissions are Arguments, and his Evidence is the
+  stronger for being short. That little I meet with shall be produced.</p>
+
+  <div><span class="pagenum" id="page27">{27}</span></div>
+
+  <p><i>1st.</i> Orestes was obliged by the Oracle to revenge his Fathers Death in the Murther of
+  his Mother.<span class="leftmar"><span title="Choêphor."
+  class="fsn">&Chi;&omicron;&eta;&phi;&omicron;&rho;.</span> <i>253, Ed. Steph.</i><br/>
+  <i>Orest. 48. Ed. Cantab.</i><br/>
+  <span title="Eumen." class="fsn">&Epsilon;&upsilon;&mu;&epsilon;&nu;.</span>
+  <i>305.</i></span><sup class="handonly" id="ref46"><a href="#side46">[46]</a></sup> When he was
+  going to kill her, he Mentions her Cruelty, but waves her Adultery. <i>Euripides</i> approv'd this
+  Reservedness and makes his <i>Electra</i> practise it upon the same occasion.<sup class="handonly"
+  id="ref47"><a href="#side47">[47]</a></sup> <i>Æschylus</i> in his next Play complements his
+  Country with a great deal of Address in the Persons of the <i>Eumenides</i>.<sup class="handonly"
+  id="ref48"><a href="#side48">[48]</a></sup> They are very Gentile and Poetical in their
+  Civilities: Among other things They wish the Virgins may all Marry and make the Country Populous:
+  Here the <i>Poet</i> do's but just glance upon the Subject of Love; and yet he governs the
+  Expression with such care, that the wishes contain a Hint to Sobriety, and carry a Face of Virtue
+  along with them.</p>
+
+  <p>The <i>Double Dealer</i> runs Riot upon such an Occasion as this; and gives Lord
+  <i>Touchwood</i> a mixture of Smut and Pedantry to conclude with,<span class="leftmar"><i>p.
+  79.</i></span><sup class="handonly" id="ref49"><a href="#side49">[49]</a></sup> and yet this Lord
+  was one of his best Characters: But <i>Poets</i> are now grown Absolute within themselves, and may
+  put Sence and Quality upon what Drudgeries they please. To return. <i>Danaus</i> cautions his
+  Daughters very handsomly in point of Behaviour. They were in a strange Country, and had Poverty
+  and Dependance to <span class="pagenum" id="page28">{28}</span>struggle with: These were
+  circumstances of Danger, and might make him the more pressing. He leaves therefore a solemn Charge
+  with them for their Security, bids them never to subsist upon Infamy, but to prefer their Virtue
+  to their Life.</p>
+
+  <div class="poem">
+    <p><span title="Monon phylaxai tas d' epistolas patros"
+    class="fsn">&Mu;&#x1F79;&nu;&omicron;&nu; &phi;&#x1F7B;&lambda;&alpha;&xi;&alpha;&iota;
+    &tau;&#x1F71;&sigmaf; &delta;' &#x1F10;&pi;&iota;&sigma;&tau;&omicron;&lambda;&#x1F70;&sigmaf;
+    &pi;&alpha;&tau;&rho;&#x1F78;&sigmaf;</span><span class="leftmar"><span title="Hiket."
+    class="fsn">&#x1F39;&kappa;&#x1F73;&tau;.</span> 340.</span><sup class="handonly" id="ref50"><a
+    href="#side50">[50]</a></sup></p>
+    <p><span title="To sôphronein timôsa tou biou pleon." class="fsn">&Tau;&#x1F78;
+    &sigma;&omega;&phi;&rho;&omicron;&nu;&epsilon;&#x1FD6;&nu; &tau;&iota;&mu;&#x1FF6;&sigma;&alpha;
+    &tau;&omicron;&upsilon; &beta;&#x1F77;&omicron;&upsilon;
+    &pi;&lambda;&#x1F73;&omicron;&nu;.</span></p>
+  </div>
+
+  <p>Our <i>Poets</i> I suppose would call this Preaching, and think it a dull Business. However I
+  can't forbear saying an honest Heathen is none of the worst Men: A very indifferent Religion well
+  Believed, will go a great way.</p>
+
+  <p>To proceed. <i>Sophocles</i> appear'd next upon the <i>Stage</i>, and was in earnest an
+  Extraordinary Person. His Conduct is more Artificial, and his Stile more just, than that of
+  <i>Æschylus</i>. His Characters are well drawn, and Uniform with themselves: His <i>Incidents</i>,
+  are often surprising, and his <i>Plots</i> unprecipitated. There is nothing but what is Great, and
+  Solemn Throughout. The Reasoning is well Coloured. The Figures are sometimes Bold, but not
+  Extravagant. There are no Flights of Bombast, no Towring above Nature and Possibility: In short,
+  Nothing like Don <i>Sebastians</i> Reigning in his <i>Atomes</i>.<span class="leftmar"><i>Don
+  Sebast. p. 12.</i></span><sup class="handonly" id="ref51"><a href="#side51">[51]</a></sup></p>
+
+  <div><span class="pagenum" id="page29">{29}</span></div>
+
+  <p>This Tragedian like <i>Æschylus</i> does not often concern himself with <i>Amours</i>, and when
+  he does, nothing can be more temperate, and decent. For example where the Incest of <i>Oedipus</i>
+  is described,<span class="leftmar"><i>Oedip. Tyran. Ed Steph.</i><br/>
+  <i>Antig. 242. 244.</i></span><sup class="handonly" id="ref52"><a href="#side52">[52]</a></sup>
+  the Offensiveness of the Idea is screen'd off and broken by Metaphorical and distant Expressions.
+  In another <i>Play</i><sup class="handonly" id="ref53"><a href="#side53">[53]</a></sup>
+  <i>Creon</i> resolves to put <i>Antigone</i> to Death for presuming to bury <i>Polynices</i>. This
+  Lady and <i>Hæmon</i> <i>Creons</i> Son were very far engaged; <i>Hæmon</i> endeavours to disswade
+  his Father from <i>Antigones</i> Execution: He tells him the burying her Brother tho' against his
+  Order, was a popular Action. And that the People would resent her being punish'd: But never so
+  much as mentions his own Concern unless in one Line; which was so obscure that <i>Creon</i>
+  misunderstood him. <i>Antigone</i> amongst her other Misfortunes laments her dying Young and
+  Single, but says not one word about <i>Hæmon</i>. The <i>Poet</i> takes care not to bring these
+  two Lovers upon the <i>Stage</i> together, for fear they might prove unmanagable? Had They been
+  with us, they had met with kinder treatment. They might have had Interviews and Time and Freedom
+  enough. Enough to mud their Fancy, to tarnish their Quality, and make their Passion Scandalous. In
+  the Relation of <i>Hæmons</i> Death, his Love is related too, and that with all the Life and
+  <i>Pathos</i> <span class="pagenum" id="page30">{30}</span>imaginable. But the Description is
+  within the Terms of Honour: The tendernesses are Solemn, as well as Soft: They move to <span
+  class="leftmar"><i>Ibid. 264.</i></span><sup class="handonly" id="ref54"><a
+  href="#side54">[54]</a></sup>Pity and Concern, and go no farther. In his <i>Trachiniæ</i> the
+  <i>Chorus</i> owns the Force of Love next to irresistable; gently hints the Intrigues of the Gods,
+  and then passes on to a handsome <span class="leftmar"><i>Trach. 348.</i></span><sup
+  class="handonly" id="ref55"><a href="#side55">[55]</a></sup>Image of the Combat between
+  <i>Achelous</i> and <i>Hercules</i>. We see how lightly the <i>Poet</i> touches upon an amorous
+  Theme: He glides along like a Swallow upon the Water, and skims the Surface, without dipping a
+  Feather.</p>
+
+  <p><i>Sophocles</i> will afford us no more, let us therefore take a view of <i>Euripides</i>. 'Tis
+  the Method of this Author to decline the Singularities of the <i>Stage</i>, and to appear with an
+  Air of Conversation. He delivers great Thoughts in Common Language, and is dress'd more like a
+  Gentleman than a <i>Player</i>. His Distinction lies in the perspicuity of his Stile; In Maxim,
+  and Moral Reflection; In his peculiar Happiness for touching the Passions, especially that of
+  Pity; And lastly, in exhausting the Cause, and arguing <i>pro</i> and <i>Con</i>, upon the streach
+  of Reason. So much by way of Character. And as for the Matter before us He is entirely Ours. We
+  have had an Instance or two already in <i>Electra</i> and <i>Phædra</i>: To go on to the rest. In
+  his <i>Hippolitus</i> He calls <i>Whoring</i>, <span class="pagenum"
+  id="page31">{31}</span>stupidness and playing the Fool. And to be Chast and regular, is with him,
+  as well as with <i>Æschylus</i>, <span title="Sôphronein"
+  class="fsn">&Sigma;&omega;&phi;&rho;&omicron;&nu;&epsilon;&#x1FD6;&nu;</span>. As much as to say
+  'tis the Consequence of Sence, and right Thinking. <i>Phædra</i> when her Thoughts were
+  embarrass'd with <i>Hippolitus</i>, endeavours to disentangle her self by Argument.<span
+  class="leftmar"><span title="Môria to Môron" class="fsn">&Mu;&omega;&rho;&#x1F77;&alpha;
+  &tau;&#x1F78; &Mu;&#x1FF6;&rho;&omicron;&nu;</span> <i>Ed. Cant. 241. 250. 252.</i></span><sup
+  class="handonly" id="ref56"><a href="#side56">[56]</a></sup> She declaims with a great deal of
+  Satyr against intemperate Women; she concluded rather to die then dishonour her Husband and Stain
+  her Family. The Blemishes of Parents, as she goes on, often stuck upon their Children, and made
+  them appear with Disadvantage. Upon this, the <i>Chorus</i> is transported with the Virtue of her
+  Resolution and crys out</p>
+
+  <div class="poem">
+    <p><span title="Pheu Pheu. To sôphron hôs hapantachou
+    kalon" class="fsn">&Phi;&epsilon;&#x1FE6; &Phi;&epsilon;&#x1FE6;. &Tau;&#x1F78;
+    &sigma;&#x1FF6;&phi;&rho;&omicron;&nu; &#x1F65;&sigmaf;
+    &#x1F01;&pi;&alpha;&nu;&tau;&alpha;&chi;&omicron;&#x1FE6;
+    &kappa;&alpha;&lambda;&#x1F78;&nu;</span><span class="leftmar"><i>Ibid. 232. 233.</i></span><sup
+    class="handonly" id="ref57"><a href="#side57">[57]</a></sup></p>
+    <p><span title="kai do xan esthlên enbrotois komizetai." class="fsn">&kappa;&alpha;&#x1F77;
+    &delta;&#x1F79; &xi;&alpha;&nu; &#x1F10;&sigma;&theta;&lambda;&eta;&nu;
+    &#x1F10;&nu;&beta;&rho;&omicron;&tau;&omicron;&#x1FD6;&sigmaf;
+    &kappa;&omicron;&mu;&#x1F77;&zeta;&epsilon;&tau;&alpha;&iota;.</span></p>
+    <p class="stanza"><i>How becoming a Quality is Modesty in all Places.</i></p>
+    <p><i>How strangly does it burnish a Character, and oblige ones Reputation?</i></p>
+  </div>
+
+  <p>The Scholiast upon these verses of <i>Hippolitus</i>.</p>
+
+  <div class="poem">
+    <p><span title="Soi ton de plekton Stephanon ex akêra" class="fsn">&Sigma;&omicron;&#x1F77;
+    &tau;&#x1F79;&nu; &delta;&epsilon; &pi;&lambda;&epsilon;&kappa;&tau;&#x1F78;&nu;
+    &Sigma;&tau;&epsilon;&phi;&alpha;&nu;&omicron;&nu; &epsilon;&xi;
+    &#x1F00;&kappa;&eta;&rho;&#x1F71;</span></p>
+    <p><span title="Leimônos" class="fsn">&Lambda;&epsilon;&iota;&mu;&#x1FF6;&nu;&omicron;&sigmaf;</span>,
+    &amp;c.</p>
+  </div>
+
+  <p>Makes this Paraphrase, 'Tha[......] Mind should be clean and unsulli[......] <span
+  class="pagenum" id="page32">{32}</span>that the Muses being Virgins their Performances should
+  agree with their Condition.'</p>
+
+  <p>To proceed. <i>Hermione</i> complains against <i>Andromache</i> because she was entertain'd by
+  her Husband<span class="leftmar"><i>Androm. p. 303.</i><br/>
+  <i>Iphig. in Aulid. p. 51.</i><br/>
+  <i>Helen. 277, 278.</i><br/>
+  <i>Mourning Bride. p. 36.</i></span><sup class="handonly" id="ref58"><a
+  href="#side58">[58]</a></sup>: For this <i>Andromache</i> tells her she talk'd too much for a
+  Young Woman, and discover'd her Opinion too far. <i>Achilles</i> at the first Sight of
+  <i>Clytemnestra</i>, lets her understand he was as much taken with the Sobriety of her Air,<sup
+  class="handonly" id="ref59"><a href="#side59">[59]</a></sup> as with the rest of her fine Face and
+  Person. She receives the Complement kindly, and commends him for commending Modesty.
+  <i>Menelaus</i> and <i>Helen</i> after a long Absence manage the surprize of their good Fortune
+  handsomly.<sup class="handonly" id="ref60"><a href="#side60">[60]</a></sup> The Most tender
+  Expression stands clear of ill Meaning. Had <i>Osmin</i> parted with <i>Almeria</i> as civilly as
+  these Two met,<sup class="handonly" id="ref61"><a href="#side61">[61]</a></sup> it had been much
+  better. That Rant of smut and profainness might have been spared. The <i>Reader</i> shall have
+  some of it.</p>
+
+  <div class="poem">
+    <p><i>O my</i> Almeria;</p>
+    <p><i>What do that Damn'd endure but to despair,</i></p>
+    <p><i>But knowing Heaven, to know it lost for ever.</i></p>
+  </div>
+
+  <p>Were it not for the <i>Creed</i>, these <i>Poets</i> would be crampt in their Courtship, and
+  Mightily at a loss for a Simile! But <i>Osmin</i> is in a wonderful Passion. And <span
+  class="pagenum" id="page33">{33}</span>truly I think his Wits, are in some danger, as well as his
+  Patience. You shall hear.</p>
+
+  <div class="poem">
+    <p><i>What are Wracks, and, Whips, and Wheels to this;</i></p>
+    <p><i>Are they not soothing softness, sinking Ease,</i></p>
+    <p><i>And wasting Air to this?</i></p>
+  </div>
+
+  <p><i>Sinking Ease, and Wasting Air</i>, I confess are strange comforts; This Comparison is
+  somewhat oddly equip'd, but Lovers like sick People may say what they please! <i>Almeria</i> takes
+  this Speech for a Pattern, and suits it exactly in her return.</p>
+
+  <div class="poem">
+    <p><i>O I am struck, thy words are Bolts of Ice?</i></p>
+    <p><i>Which shot into my Breast now melt and chill me.</i></p>
+  </div>
+
+  <p><i>Bolts of Ice?</i> Yes most certainly! For the Cold is struck up into her Head, as you may
+  perceive by what follows.</p>
+
+  <div class="poem">
+    <p><i>I chatter, shake, and faint with thrilling Fears.</i></p>
+  </div>
+
+  <p>By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no jesting, for the Lady
+  is very bad. She won't be held up by any Means, but Crys out:</p>
+
+  <div><span class="pagenum" id="page34">{34}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>lower yet, down down</i>;</p>
+  </div>
+
+  <p>One would think she was learning a Spanel to <i>Sett</i>. But there's something behind.</p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>no more we'll lift our Eyes,</i></p>
+    <p><i>But prone and dumb, Rot the firm Face of Earth,</i></p>
+    <p><i>With Rivers of incessant scalding Rain.</i></p>
+  </div>
+
+  <p>These Figures are some of them as stiff as Statues, and put me in mind of <i>Sylvesters
+  Dubartas</i>.</p>
+
+  <div class="poem">
+    <p><i>Now when the Winters keener breath began</i></p>
+    <p><i>To Crystallize, the Baltick Ocean,</i></p>
+    <p><i>To glaze the Lakes, to bridle up the Floods,</i></p>
+    <p><i>And periwig with Snow the bald pate woods.</i></p>
+  </div>
+
+  <p>I take it, the other Verses are somewhat of Kin to These, and shall leave them to Mr.
+  <i>Dryden's</i> Reflection.<span class="leftmar"><i>Spanish Fryar. Ep. Ded.</i></span><sup
+  class="handonly" id="ref62"><a href="#side62">[62]</a></sup> But then as for <i>Soothing Softness,
+  Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain</i>; It puts me to another
+  stand. For to talk a little in the way of the <i>Stage</i>. This Litter of <i>Epithetes</i> makes
+  the <i>Poem</i> look like a Bitch overstock'd with Puppies, and sucks the Sence almost to skin and
+  Bone. But all this may pass in a <i>Playhouse</i>: False Rhetorick and false Jewells, do well
+  together. To return to <i>Euripides</i>. <i>Cassandra</i> in reporting the Misfortunes of <span
+  class="pagenum" id="page35">{35}</span>the <i>Greeks</i> stops at the Adulteries of
+  <i>Clytemnestra</i> and <i>Ægiala</i> And gives this handsome reason for making a Halt.</p>
+
+  <div class="poem sp3">
+    <p><span title="Sigan ameinon taischra, mêde mousa moi"
+    class="fsn">&Sigma;&iota;&gamma;&#x1FB6;&nu; &#x1F04;&mu;&epsilon;&iota;&nu;&omicron;&nu;
+    &tau;&#x1F00;&iota;&sigma;&chi;&rho;&#x1F70;, &mu;&eta;&delta;&#x1F73;
+    &mu;&omicron;&#x1FE6;&sigma;&alpha; &mu;&omicron;&#x1FD6;</span><span class="leftmar"><i>Troad.
+    p. 146.</i></span><sup class="handonly" id="ref63"><a href="#side63">[63]</a></sup></p>
+    <p><span title="Genoit aoidos hêtis hymnêsei kaka."
+    class="fsn">&Gamma;&#x1F73;&nu;&omicron;&iota;&tau;
+    &#x1F00;&omicron;&iota;&delta;&#x1F78;&sigmaf; &#x1F25;&tau;&iota;&sigmaf;
+    &#x1F51;&mu;&nu;&#x1F75;&sigma;&epsilon;&iota; &kappa;&alpha;&kappa;&#x1F70;.</span></p>
+    <p class="stanza"><i>Foul Things are best unsaid, I am for no Muse,</i></p>
+    <p><i>That loves to flourish on Debauchery.</i></p>
+  </div>
+
+  <p>Some Things are dangerous in report, as well as practise, and many times a Disease in the
+  Description. This <i>Euripides</i> was aware of and manag'd accordingly, and was remarkably
+  regular both in stile, and Manners. How wretchedly do we fall short of the Decencies of
+  Heathenism! There's nothing more ridiculous than Modesty on our <i>Stage</i>.<span
+  class="leftmar"><i>Plain Dealer. p. 21.</i></span><sup class="handonly" id="ref64"><a
+  href="#side64">[64]</a></sup> 'Tis counted an ill bred Quality, and almost sham'd out of Use. One
+  would think Mankind were not the same, that Reason was to be read Backward, and Vertue and Vice
+  had changed Place.<span class="leftmar"><i>Provok'd Wife. p. 41.</i></span><sup class="handonly"
+  id="ref65"><a href="#side65">[65]</a></sup></p>
+
+  <p>What then? Must Life be huddled over, Nature left imperfect, and the Humour of the Town not
+  shown? And pray where lies the Grievance of all This? Must we relate whatever is done, and is
+  every Thing fit for Representation? is a Man that has the Plague proper to make a <span
+  class="pagenum" id="page36">{36}</span>Sight of? And must he needs come Abroad when he breaths
+  Infection, and leaves the <i>Tokens</i> upon the Company? What then must we know nothing? Look
+  you! All Experiments are not worth the making. 'Tis much better to be ignorant of a Disease then
+  to catch it. Who would wound himself for Information about Pain, or smell a Stench for the sake of
+  the Discovery? But I shall have occasion to encounter this Objection afterwards,<span
+  class="nothand">*</span><span class="leftmar">* <i>Remarks upon Quixot.</i></span><sup
+  class="handonly" id="ref66"><a href="#side66">[66]</a></sup> and therefore shall dismiss it at
+  present.</p>
+
+  <p>The <i>Play-house</i> at <i>Athens</i> has been hitherto in Order, but are there no Instances
+  to the contrary? Do's not <i>Aristophanes</i> take great Liberties and make Women speak
+  extraordinary Sentences? He do's so. But his Precedent signifies nothing in the case. For</p>
+
+  <p><i>1st.</i> We have both the Reason of the Thing, and all the Advantage of Authority on the
+  other side. We have the Practise and Opinion of Men of much greater Sence, and Learning then
+  Himself. The best Philosophers and Poets, Criticks and Orators, both Greek and Latin, both Antient
+  and Modern, give the Cause against him. But <i>Aristophanes</i> his own <i>Plays</i> are
+  sufficient to ruin his Authority. For</p>
+
+  <p><i>1st</i>, He discovers himself a downright Atheist. This Charge will be easily Made <span
+  class="pagenum" id="page37">{37}</span>good against him <span class="correction"
+  title="Original reads 'by his', wrongly
+  corrected to 'his' by Errata">by</span> Comparing his <i>Nubes</i> with <span class="correction"
+  title="Original reads 'other', corrected by
+  Errata">his other</span> <i>Plays</i>. The Design of his <i>Nubes</i> was to expose
+  <i>Socrates</i>, and make a Town jest of him. Now this Philosopher was not only a Person of great
+  Sence and Probity, but was likewise suppos'd to refine upon the Heathen Theology, to throw off the
+  Fabulous part of it, and to endeavour to bring it back to the Standard of Natural Religion. And
+  therefore <i>Justin Martyr</i> and some others of the <i>Fathers</i>, look'd on him as a Person of
+  no Pagan Belief, and thought he suffer'd for the Unity of the God-Head. This Man
+  <i>Aristophanes</i> makes fine sport with as he fancies: He puts him in a Fools Coat, and then
+  points at him. He makes <i>Socrates</i> instruct his Disciple <i>Strepsiades</i> in a new
+  Religion, and tell him that <i>he did not own the Gods in the vulgar Notion</i>. He brings him in
+  elswhere affirming that the <i>Clouds are the only Deities</i>.<span class="leftmar"><i>Nub. Act.
+  1. Sc. 3. p. 104. Ed. Amstel.</i></span><sup class="handonly" id="ref67"><a
+  href="#side67">[67]</a></sup> Which is the same Lash which <i>Juvenal</i> gives the <i>Jews</i>,
+  because they worship'd but one single Soveraign Being.</p>
+
+  <div class="poem">
+    <p><i>Nil <span class="correction" title="Original reads 'præetr', corrected by
+    Errata">præter</span> Nubes &amp; C&#x0153;li numen adorant.</i><span class="leftmar"><i>Sat.
+    14.</i></span><sup class="handonly" id="ref68"><a href="#side68">[68]</a></sup></p>
+  </div>
+
+  <p><i>Socrates</i> goes on with his Lecture of Divinity and declares very roundly that there is no
+  such thing as <i>Jupiter</i>.<span class="leftmar"><i>p. 106.</i></span><sup class="handonly"
+  id="ref69"><a href="#side69">[69]</a></sup> Afterwards he advances farther, and endeavours <span
+  class="pagenum" id="page38">{38}</span>to get <i>Strepsiades</i> under Articles to acknowledge no
+  other Gods, but <i>Chaos</i>, the <i>Clouds</i>, and the <i>Tongue</i>.<span
+  class="leftmar"><i>Nub. p. 110.</i></span><sup class="handonly" id="ref70"><a
+  href="#side70">[70]</a></sup> At last the <i>Poet</i> brings the Philosopher to publick Pennance
+  for his Singularities. He sets fire to his <i>School</i> for teaching Young People (as he
+  pretends) to dispute against Law and Justice; for advancing Atheistick Notions, and burlesquing
+  the Religion of the Country.<span class="leftmar"><i>Act. 5. p. 176.</i></span><sup
+  class="handonly" id="ref71"><a href="#side71">[71]</a></sup></p>
+
+  <p>That <i>Socrates</i> was no Atheist is clear from Instances enough. To mention but one. The
+  Confidence he had in his <i>Dæmon</i>, or <i>Genius</i> by which he governed his Affairs puts it
+  beyond all dispute.<span class="leftmar"><i>Plat. Apol. Socrat.</i></span><sup class="handonly"
+  id="ref72"><a href="#side72">[72]</a></sup> However 'tis plain <i>Aristophanes</i> was not of his
+  Religion. The <i>Comedian</i> was by no means for correcting the Common Perswasion. So that he
+  must either be an Orthodox Heathen or nothing at all. Let us see then with what Respect he treats
+  the Receiv'd <i>Divinities</i>. This <i>Play</i>, where one would not expect it, discovers
+  somewhat of his Devotion. In the beginning of it <i>Phidippides</i>, who was a sort or
+  <i>New-Market</i> Spark, swears by <i>Jocky Neptune</i>,<span class="leftmar"><i>Nub. p.
+  86.</i></span><sup class="handonly" id="ref73"><a href="#side73">[73]</a></sup> that he had a
+  strange Kindness for his Father <i>Strepsiades</i>. upon this the old Man replies; <i>No Jocky, if
+  you love me; that Deity has almost undone me</i>. This was making somewhat bold with
+  <i>Neptune</i> who was <i>Jupiters</i> Brother, <i>Soveraign</i> of a whole <i>Element</i>, and
+  had no <span class="pagenum" id="page39">{39}</span>less than the Third Share of the Universe!
+  Certainly <i>Aristophanes</i> had no Venture at Sea, or else must think the <i>Trident</i>
+  signified but very little. But this is meer Ceremony to what follows. In his first <i>Play</i>
+  <i>Plutus</i> pretends he had a mind to oblige only Men of Probity, but <i>Jupiter</i> had made
+  him blind on purpose that he might not distinguish Honest men from Knaves: For to be plain
+  <i>Jupiter</i> had a Pique against Good people. Towards the end of this <i>Comedy Mercury</i> is
+  abused by <i>Cario</i>,<span class="leftmar"><i>Plut. A. 1. Sc. 2.</i></span><sup class="handonly"
+  id="ref74"><a href="#side74">[74]</a></sup> and acts a ridiculous, and lessening part himself.
+  Afterwards he complains heavily that since <i>Plutus</i> was cured of his Blindness, the business
+  of Sacrifing fell off, and the Gods were ready to starve. This <i>Mercury</i> has the same ill
+  Usage with the <span class="correction" title="Original reads 'Poets, Knaves',
+  corrected by Errata"><i>Poets</i> Knaves</span>, Informers, and Lewd Women; From all this stuff
+  put together, his meaning is pretty plain, <i>viz.</i> That Religion was no better than an
+  Imposture supported by Art, and Ignorance: And that when Men's Understandings were awake, and
+  their Eyes a little open, they would have more discretion than to be at any expence about the
+  Gods.</p>
+
+  <p>This I take to be part of the Moral of his Fable. If we look farther into him we shall see more
+  of his Mind. His <i>Ranæ</i> makes Merry with the Heathen Scheme of <span class="pagenum"
+  id="page40">{40}</span>Heaven and Hell. Here <i>Charon</i> and the <i>Stygian Frogs</i> are
+  brought in Comically enough. And that you may understand his opinion more perfectly we are told,
+  that He that Bilks his <i>Catamite</i> after a <i>Sodomitical</i> Abuse, is thrown into the Common
+  shore of <i>Hades</i>. And what Company do you think he is lodg'd with? Why with those who Perjure
+  themselves, with those who Kick their Fathers and Mothers? It seems in the <i>Poets</i> Justice a
+  Man might as good be false to his Oath, as to his Lewdness.<span class="leftmar"><i>Ran. p.
+  188.</i></span><sup class="handonly" id="ref75"><a href="#side75">[75]</a></sup> To disappoint the
+  <i>Stews</i>, is every jot as great a Crime; as to fly in the Face of Nature, and outrage our
+  Parents. His Quartering his Malefactors thus critically, was without question on purpose to Banter
+  the perswasion of future Punishment. In the same <i>Play</i> <i>Xanthias</i> bids <i>Æacus</i>
+  answer him by <i>Jove</i>, <span title="Hos hêmin estin homomastigias"
+  class="fsn">&#x1F4D;&sigmaf; &#x1F21;&mu;&#x1F76;&nu; &#x1F10;&sigma;&tau;&#x1F76;&nu;
+  &#x1F41;&mu;&omicron;&mu;&alpha;&sigma;&tau;&iota;&gamma;&#x1F77;&alpha;&sigmaf;</span>. This
+  little Scoundrel of a Slave has the Manners to make <i>Jupiters</i> Quality no better than his
+  own. To go on with him: In his <i>Aves</i> he speaks out to purpose. Here <i>Pisthetærus</i> tells
+  <i>Epops</i> that if the <i>Birds</i> would build a Castle in the Air, they might intercept the
+  Fumes of the Sacrifices, and starve the Gods unless they would come too, and be Tributary. It
+  seems the <i>Birds</i> had very good Pretences to execute this project; for they <span
+  class="pagenum" id="page41">{41}</span>were ancienter than <i>Jupiter</i> and <i>Saturn</i>,  and
+  Govern'd before the Gods. And to speak truth were more capable of the Function. Their Adviser goes
+  on to inform them,<span class="leftmar"><i>536. 538. 546.</i></span><sup class="handonly"
+  id="ref76"><a href="#side76">[76]</a></sup>  that after they had built their pensile City, and
+  fortifyed the Air, their next business was to demand their ancient Soveragnity: If <i>Jupiter</i>
+  refused to quit, they were to declare a Holy War against Him, and the rest of the Confederate
+  Gods, and to cut off the Communication between Heaven and Earth. <i>Pisthæterus</i><span
+  class="leftmar"><i>542.</i></span><sup class="handonly" id="ref77"><a
+  href="#side77">[77]</a></sup> grows very warm in his new Interest, and swears by <i>Jove</i> that
+  Men ought to Sacrifice to the <i>Birds</i>, and not to <i>Jupiter</i>. And if things came to a
+  Rupture, and <i>Jupiter</i> grew Troublesome, he undertakes<span
+  class="leftmar"><i>582.</i></span><sup class="handonly" id="ref78"><a
+  href="#side78">[78]</a></sup> to send a Detachement of Eagles against Him; with Orders to storm
+  his Palace with Flambeaux, and fire it about his Ears. At last to prevent the Calamities of a War,
+  <i>Hercules</i> proposes an Accomodation,<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref79"><a href="#side79">[79]</a></sup> and is willing <i>Jupiter</i> should
+  Resign. <i>Neptune</i> calls him a Block-head for his pains, because he was Heir at <i>Law</i>,
+  and after <i>Jupiters</i> Decease was of Course to succeed in his Dominions: Once more, and I have
+  done: In <i>Eirene</i>, <i>Trygæus</i> speaks in a menacing way.<span
+  class="leftmar"><i>602.</i></span><sup class="handonly" id="ref80"><a
+  href="#side80">[80]</a></sup> That unless <i>Jupiter</i> gave him Satisfaction in his business, he
+  would inform <span class="pagenum" id="page42">{42}</span>against Him as a disaffected Person, and
+  a betrayer of the Liberties of <i>Greece</i>.<span class="leftmar"><i>Eiren.</i> 616.</span><sup
+  class="handonly" id="ref81"><a href="#side81">[81]</a></sup> I might add many other Instances, and
+  some more Scandalous than any I have mentioned; But these are sufficient to shew the Authors
+  Sentiment: And is it any wonder an Atheist should misbehave himself in point of Modesty? What can
+  we expect less from those who laugh at the Being of a God, at the Doctrines of Providence, and the
+  Distinctions of Good and Evil? A <i>Sceptick</i> has no notion of Conscience, no Relish for
+  Virtue, nor is under any Moral restraints from Hope or Fear. Such a one has nothing to do but to
+  consult his Ease, and gratifie his Vanity, and fill his Pocket. But how these Ends are compassed,
+  he has no squeamishness, or Scruples about it. 'Tis true when the Methods of Lewdness will Take,
+  they are generally most agreeable. This way suits their Talent, and screens their practise, and
+  obliges their Malice. For nothing is a greater Eye-sore to these Men, then Virtue and Regularity.
+  What a pleasure is it then to be admired for Mischeif, to be reveng'd on Religion, and to see Vice
+  prosper and improve under our Hands! To return: Beside <i>Aristophanes</i> Atheisme, I have a
+  Second objection to his Authority, and that is want of <span class="pagenum"
+  id="page43">{43}</span>Judgment. If we examine his <i>Plays</i> we shall find his Characters
+  improper, or ununiform; either wrong at first, or unsteady in the Right. For the purpose. In his
+  <i>Nubes. A. 3. S. 3. p. 146. 150</i>. He puts dirty expressions in the Mouth of his Man of
+  Probity, makes him declaim vitiously against Vice, and Corrects scurrility with Impudence; Now
+  what can be more idle and senceless, than such Conduct as this? Epecially when this <i>Justus</i>
+  as he calls him had told them in the beginning of his speech, that People used to be well slash'd
+  for such Fooling, when Government and Discipline were in their due Force. The <i>Chorus</i> of his
+  <i>Ranæ</i> slides<span class="leftmar"><i>p. 142.</i> <i>p. 200.</i></span><sup class="handonly"
+  id="ref82"><a href="#side82">[82]</a></sup> into the same Inconsistency of Precept, and Practise.
+  Farther, in the Progress of this <i>Play</i>; <i>Æschylus</i> falls a rallying contrary to his
+  Humour, and jests away his own Arguments at a very unseasonable Juncture, when he was disputing
+  for no less prize than the Laureatship. This <i>Tragedian</i> after he had play'd a little with
+  the Story of <i>Bellerophon</i>,<span class="leftmar"><i>242.</i></span><sup class="handonly"
+  id="ref83"><a href="#side83">[83]</a></sup> goes on in the same strain; And charges
+  <i>Euripides</i> that he had furnish'd all sorts of People with Sawciness and Prattle. The
+  <i>Schools</i> and <i>Academies</i> were spoil'd by this means; So that the Boys were often
+  whip'd, and the Boatswains drubb'd, for <span class="pagenum" id="page44">{44}</span>their
+  Chattering.<span class="leftmar"><i>p. 244.</i></span><sup class="handonly" id="ref84"><a
+  href="#side84">[84]</a></sup> These Comical Levities come with an ill Grace from <i>Æschylus</i>.
+  His Character was quite different both in Reality, and in the <i>Play</i> before us. He is all
+  along represented as a Person of a serious Temper, of a reserv'd Loftiness, Cholerick, and tender
+  of his Honour to an Excess, and almost in a rage at the Affront of a Rival, and being forc'd to
+  enter the Lists with <i>Euripides</i>. The case standing thus, neither the Man, nor the Business,
+  would admit of Drolling. Another Instance of his want of Conduct we have in his <i><span
+  class="correction" title="Original reads 'Concianotores',
+  corrected by Errata">Concionatores</span></i>. Here <i>Blepyrus</i> and some others of his
+  Legislative Assembly, talk at a very dirty insipid rate. The Lowest of the <i>Mob</i>, can hardly
+  jest with less Wit, and more Lewdness. And to make their Discourse more remarkable; These douty
+  Members were just going to the <i>House</i>, and had their Heads full of the Good of the Nation,
+  when they entertain'd themselves thus decently<span class="leftmar"><i>p.</i> [......] <i>p.</i>
+  [......]</span><sup class="handonly" id="ref85"><a href="#side85">[85]</a></sup>. And are these
+  little Buffoons fit to consult <i>de Arduis Regni, &amp;c.</i> to give Authority to Law, and Rules
+  for publick Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and the
+  Solemnity of their Office? To make his <i>Parliament-Men</i> play the Fool thus egregiously, must
+  needs have a great deal of Decorum, and State-Policy in the <span class="pagenum"
+  id="page45">{45}</span>Contrivance; And is just as wise as if a <i>Painter</i> should have Drawn
+  them in the Habit of <i>Jack-Puddings</i>, and <i>Merry-Andrews</i>. But <i>Aristophanes</i> has
+  still higher Flights of Absurdity. He won't so much as spare the Gods but makes them act these
+  little Parts of Clownishness and Infamy. <i>Bacchus</i> and <i>Hercules</i> in his <i>Ranæ</i> are
+  forced to talk Smut and rally like <i>Link-boys</i>, and do almost all the Tricks of
+  <i>Bartholomew-Fair</i>. To mention something that will bear the quoting. <i>Bacchus</i> enquires
+  of <i>Hercules</i> the readiest way to <i>Hades</i>, or the other World. He bids him either Hang,
+  or Poyson himself, and he can't miss the Road. This is <i>Hercules's</i> Humour to a Tittle! And
+  represents him as much to the Life, as an <i>Ape</i> would do the <i>Grand Signior</i> at a
+  publick Audience! This with a short Sentence or two of Lewdness,<span class="leftmar"><i>Ranæ</i>
+  <i>p. 186.</i> <i>p. 182.</i></span><sup class="handonly" id="ref86"><a
+  href="#side86">[86]</a></sup> is the hardest of <i>Hercules</i> his Usage: And 'tis well he
+  escaped so; for <i>Bacchus</i> is treated much worse. He appears under the disadvantages of a
+  Clownish <span class="correction" title="Original reads 'Debaush', corrected by
+  Errata">Debauchee</span>, and a Coward. And is terribly afraid of a <i>Spectre</i>.<span
+  class="leftmar"><i>p. 192, 194, 196.</i></span><sup class="handonly" id="ref87"><a
+  href="#side87">[87]</a></sup> When he comes before <i>Æacus</i>, this Judge is very rough with
+  him; and tries his pretences to a Deity by Bastinado: <i>Bacchus</i> howls in the drubbing and had
+  almost spoil'd all.<span class="leftmar"><i>Act 2. Sc. 6.</i></span><sup class="handonly"
+  id="ref88"><a href="#side88">[88]</a></sup> <span class="pagenum" id="page46">{46}</span>Now do's
+  this paultry Behaviour agree with the Heathen Theology, with the Common Opinion concerning
+  <i>Bacchus</i> and <i>Hercules</i>? Do's a <i>Blew-Cap</i> and a <i>Ladle</i>, become the Sons of
+  <i>Jupiter</i> and the Objects of Religious Worship? Those who at the lowest, were counted the
+  Conquerors of the World, and more than Men both by Birth and <span class="correction"
+  title="Original reads 'Enterprizes', corrected
+  by Errata">Enterprize</span>? <i>Sophocles</i> and <i>Euripides</i> make these two Persons manage
+  at a quite different rate of Decency. 'Tis no defence to say <i>Aristophanes</i> wrot Comedy, and
+  so was obliged to make his Scenes more diverting. This excuse I say is defective; for a Comedian
+  ought to imitate Life and Probability, no less than a Tragedian. To Metomorphose
+  <i>Characters</i>, and present Contradictions to Common Belief, is to write, <i>Farce</i> instead
+  of <i>Plays</i>. Such Comedians like <i>Thespis</i> ought to have a travelling <i>Stage</i>, and
+  take the Air with <i>Porcupines</i> and <i>Dromedaryes</i>. If 'tis said that Gravity and
+  greatness do's not suit the Complection and Entertainment of Comedy. To this I answer, that
+  therefore the <i>Persons</i> should be chosen accordingly. They should have nothing in their known
+  Humour, and Condition too Noble, and solemn for Trifling. 'Tis <i>Horaces</i> advice.</p>
+
+  <div><span class="pagenum" id="page47">{47}</span></div>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Aut famam sequere, aut convenientia finge Scriptor.</i> De. Art. Poet.</p>
+  </div>
+
+  <p>Let us remember that Operations always resemble the Nature from whence they flow. Great Persons
+  should therefore have a correspondent Behaviour assign'd them. To make <i>Beings</i> much Superior
+  to the Biggest of Mankind, talk below the Least, is absurd and <span class="correction"
+  title="Original reads 'ridicules', corrected by
+  Errata">ridiculous</span>. This <i>Aristophanes</i> seems sensible of in his defence of
+  <i>Æschylus</i>. Here <i>Euripides</i> objects to <i>Æschylus</i>,<span class="leftmar"><i>Ranæ p.
+  242.</i></span><sup class="handonly" id="ref89"><a href="#side89">[89]</a></sup> that he was too
+  rumbling, noisy, and bombastick, over affecting that which <i>Horace</i> calls</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Ampulla, &amp; sesquipedalia Verba.</i></p>
+  </div>
+
+  <p>To this <i>Æschylus</i>  Answers, that the Thoughts, and Designs of <i>Heroes</i> must be
+  deliver'd in Expressions proportioned to their Greatness. It being likely that the Demi-Gods spoke
+  up to their Dignity and Stature: And as they were distinguish'd by the richness of their Habit, so
+  they had a more Magnificent Language than other Mortals. To this <i>Euripides</i> replys nothing;
+  from whence you may conclude the <i>Poet</i> thought the Apology not unreasonable. In short
+  <i>Aristophanes</i> <span class="pagenum" id="page48">{48}</span>had Sense but he does not always
+  use it. He is not equal, and uniforme. Sometimes you have him flat and foolish a good while
+  together. And where he has Spirit, 'tis oftentimes lavished away to little purpose.<span
+  class="leftmar"><i>Ranæ A. 1. Sc. 1. Concionat.</i></span><sup class="handonly" id="ref90"><a
+  href="#side90">[90]</a></sup> His Buffoonery is commonly too strong for his Judgment. This makes
+  him let fly his jests without regard to Person or occasion: And thus by Springing the <i>Game</i>
+  too soon, the Diversion is lost. I could make several other Material Objections against the
+  Conduct of his <i>Plays</i>; But this being not necessary I shall observe in the</p>
+
+  <p><i>3d.</i> Place. That notwithstanding the scandalous Liberty for which <i>Aristophanes</i> is
+  so remarkable; yet in his Lucid Intervalls, when Sence and Sobriety return upon him, he pronounces
+  against his own Practise. In the contest between <i>Æschylus</i> and <i>Euripides</i>,
+  <i>Bacchus</i> is made the Umpire of the Controversie. <i>Æschylus</i> begins with a
+  Question,<span class="leftmar"><i>Ranæ p. 238.</i></span><sup class="handonly" id="ref91"><a
+  href="#side91">[91]</a></sup> and asks <i>Euripides</i> what 'tis which makes a <i>Poet</i>
+  admired? He answers. 'Tis for the address of his Conduct, and the handsome Turns of Morality in
+  his Poems. 'Tis because his performance has a tendency to form the Audience to Virtue, and
+  Improvement, <i>Æschylus</i> demands of him <span class="pagenum" id="page49">{49}</span>farther;
+  But suppose you debauched the Age, and made an Honest and a brave People Lewd, and good for
+  nothing, what do you deserve then? Here <i>Bacchus</i> interposes, and crys out, what does he
+  deserve? A Halter! pray don't ask so plain a question. And afterwards we are told, that
+  <i>Poets</i> are valuable only for describing Things useful, in Life and Religion, for polishing
+  Inventions, and setting off great Examples with Lustre, and Advantage.<span class="leftmar"><i>p.
+  240.</i></span><sup class="handonly" id="ref92"><a href="#side92">[92]</a></sup> In the progress
+  of the Dispute, <i>Æschylus</i> taxes <i>Euripides</i> with being too uncautious in his
+  Representations; And tells him that Poets ought to conceal that which is vicious in Story; And
+  entertain with nothing but Virtue, and Sobriety: He goes on reprimanding <i>Euripides</i> for his
+  Dramatick incests, Strumpets, and Amours: And as for himself, to his best remembrance, He never
+  brought any Love-Intrigues upon the Stage.<span class="leftmar"><i>p. 242. 244.</i></span><sup
+  class="handonly" id="ref93"><a href="#side93">[93]</a></sup></p>
+
+  <p>This is very significant expostulation: and contains very good Rules for the Trial of the
+  <i>Muses</i>: But if the English <i>Stage</i>, should be obliged to this Test; <i>Aristophanes</i>
+  must set fire to it, and that with much more reason than to <i>Socrates</i> his <i>School</i>. Now
+  that <i>Æschylus</i> spoke <i>Aristophanes</i>'s Sense is pretty plain: For first; As to the
+  Business of Love, <i>Aristophanes</i> <span class="pagenum" id="page50">{50}</span>always declines
+  it; He never patches up a <i>Play</i> with <i>Courtship</i>, and <i>Whining</i>, tho' he wrote
+  nothing but <i>Comedy</i>. In the next place the <i>Chorus</i> which is usually the <i>Poets</i>
+  Interpreter, speaks honourably of <i>Æschylus</i> even to a Preference;<span class="leftmar">255.
+  267.</span><sup class="handonly" id="ref94"><a href="#side94">[94]</a></sup> And at last Judge
+  <i>Bacchus</i> gives Sentence for him.</p>
+
+  <p>Thus we see <i>Aristophanes</i> Confutes his own Lewdness, and comes in Evidence against
+  himself. This with the other two Exceptions I have made good against him, are sufficient to take
+  off the Force of the <i>Precedent</i>, and make him an insignificant Authority.</p>
+
+  <p>To what I have observ'd from the <i>Stage</i> of the Antients, I could add the Authorities of
+  <i>Aristotle</i>, and <i>Quintilian</i>, both extraordinary Persons, but I shall reserve their
+  Testimony till Afterwards.</p>
+
+  <p>To come Home, and near our own Times: The English Theatre from Queen <i>Elizabeth</i> to King
+  <i>Charles</i> II. will afford us something not inconsiderable to our purpose.</p>
+
+  <p>As for <i>Shakespear</i>, he is too guilty to make an Evidence: But I think he gains not much
+  by his Misbehaviour; He has commonly <i>Plautus's Fate</i>, where there is most Smut, there is
+  least Sense.</p>
+
+  <p><i>Ben. Johnson</i> is much more reserv'd in his <i>Plays</i>, and declares plainly <span
+  class="pagenum" id="page51">{51}</span>for Modesty in his <i>Discoveries</i>, some of his Words
+  are these.</p>
+
+  <p>A just Writer whom he calls a <i>True Artificer</i>, will avoid <i>Obscene</i> and
+  <i>Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is so too.<span
+  class="leftmar"><i>Discov. p. 700.</i></span><sup class="handonly" id="ref95"><a
+  href="#side95">[95]</a></sup> The excess of Feasts and Apparel, are the Notes of A Sick State, and
+  the Wantonness of Language of a sick Mind</i>.<span class="leftmar"><i>p. 701.</i></span><sup
+  class="handonly" id="ref96"><a href="#side96">[96]</a></sup> A little after he returns to the
+  Argument, and applies his Reasoning more particularly to the Stage. <i>Poetry</i>, (says he)
+  <i>and Picture, both behold Pleasure, and profit, as their common Object, but should abstain from
+  all base Pleasures, least they should wholly Err from their End; And while they seek to better
+  Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and Jests upon the best Men,
+  are most likely to excite Laughter. But this is truly leaping from the Stage to the Tumbrill
+  again, reducing all Wit to the Original Dung-Cart</i>.<span class="leftmar"><i>p. 706.
+  717.</i></span><sup class="handonly" id="ref97"><a href="#side97">[97]</a></sup> More might be
+  cited to this purpose, but that may serve for an other Occasion: In the mean time I shall go on to
+  <i>Beaumont</i> and <i>Fletcher</i>.</p>
+
+  <p><i>Fletchers Faithfull Shepheardess</i> is remarkably Moral, and a sort of Exhortation to
+  Chastity. This <i>Play</i> met with ill Judges, 'twas Hiss'd before half <i>Acted</i>, and seems
+  to have suffer'd on the account of its Innocence.<span class="leftmar"><i>Beauments</i>, &amp;c.
+  <i>Works</i>.<br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref98"><a href="#side98">[98]</a></sup> Soon after
+  <i>Ben. Johnson</i> <span class="pagenum" id="page52">{52}</span>and <i>Beaumont</i> appear <span
+  class="correction" title="Original reads 'justifying', corrected
+  by Errata">and justifie</span> the Author in a Copy of Verses. And as <i>Beaumont</i> commends
+  Modesty in <i>Fletcher</i>, so he is commended himself by Mr. <i>Earl</i> for the same
+  Quality.<sup class="handonly" id="ref99"><a href="#side99">[99]</a></sup></p>
+
+  <div class="poem">
+    <p><i>Such Passions, Such Expressions meet my Eye,</i></p>
+    <p><i>Such Wit untainted with Obscenity.</i></p>
+  </div>
+
+  <p>And as I remember <i>Jasper Main</i> has some stroaks to the same purpose.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref100"><a
+  href="#side100">[100]</a></sup> <i>Fletcher</i> is still more full for the Cause. Indeed nothing
+  can be more express. He delivers himself by way of <i>Prologue</i>; where the <i>Poet</i> speaks
+  in his own Person. The <i>Prologue</i> to the <i>Woman-Hater</i>, very frankly lets the Audience
+  know what they are to expect. <i>If there be any amongst you, (says he) that come to hear
+  Lascivious Scenes, let them depart; For I do pronounce this, to the utter discomfort of all
+  two-penny Gallery Men, you shall no Bawdry in it.</i> We find in those days Smut was the
+  expectation of a Coarse Palate, and relish'd by none but two-penny Customers. In the <i>Knight</i>
+  of the <i>Burning Pestle</i>, part of the <i>Prologue</i> runs thus. <i>They were banish'd the
+  Theatre at</i> Athens, <i>and from</i> Rome <i>hiss'd, that brought Parasites on the Stage with
+  Apish Actions, or Fools with uncivil Habits, or Courtezans with immodest words</i>. Afterwards
+  <i>Prologue</i>, who represents a Person, gives us more to the same purpose.</p>
+
+  <div><span class="pagenum" id="page53">{53}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>Fly far from hence.</i></p>
+    <p><i>All private taxes, immodest phrases,</i></p>
+    <p><i>Whatever way but look like Vitious.</i></p>
+    <p><i>For wicked mirth, never true Pleasure brings;</i></p>
+    <p><i>For honest Minds, are pleas'd with honest things.</i></p>
+  </div>
+
+  <p>I have quoted nothing but Comedy in this Author. The <i>Coronation</i> is another. And the
+  <i>Prologue</i> tells you there is</p>
+
+  <div class="poem">
+    <p><i>No Undermirth such as does lard the Scene,</i></p>
+    <p><i>For Coarse Delight, the Language here is clean.</i></p>
+    <p><i>And confident our Poet bad me say,</i></p>
+    <p><i>He'll bate you but the Folly of a Play.</i></p>
+    <p><i>For which altho' dull Souls his Pen despise;</i></p>
+    <p><i>Who think it yet too early to be wise.</i></p>
+    <p><i>The Nobles yet will thank his Muse, at least</i></p>
+    <p><i>Excuse him, cause his Thought aim'd at the Best.</i></p>
+  </div>
+
+  <p>Thus these <i>Poets</i> are in their Judgments clearly ours. 'Tis true their Hand was not
+  always steady. But thus much may be aver'd, that <i>Fletcher's</i> later <i>Plays</i> are the most
+  inoffensive. This is either a sign of the <i>Poets</i> Reformation; or that the exceptionable
+  Passages belonged to <i>Beaumont</i>, who dyed first.</p>
+
+  <p>To these Authorities of our own Nation, I shall add a considerable Testimony out of Mr.
+  <i>Corneille</i>. This Author was <span class="pagenum" id="page54">{54}</span>sensible that tho'
+  the Expression of his <i>Theodore</i> was altogether unsmutty,<span class="leftmar"><i>Theodore.
+  Ed. Roven. Ep. Ded.</i></span><sup class="handonly" id="ref101"><a href="#side101">[101]</a></sup>
+  'Yet the bare Idea of Prostitution uneffected, shock'd the Audience, and made the Play miscarry.
+  The <i>Poet</i> protests he took great care to alter the natural Complexion of the Image, and to
+  convey it decently to the Fancy; and delivered only some part of the History as inoffensively as
+  possible. And after all his Screening and Conduct, the Modesty of the Audience would not endure
+  that little, the Subject forced him upon. He is positive 'the Comedies St. <i>Augustine</i>
+  declaim'd against, were not such as the <i>French</i>. For theirs are not spectacles of Turpitude,
+  as that Father justly calls those of his Time. The <i>French</i> generally speaking, containing
+  nothing but examples of Innocence, Piety and Virtue.'</p>
+
+  <p>In this Citation we have the Opinion of the <i>Poet</i>, the Practise of the <i>French</i>
+  Theatre, and the Sense of that <i>Nation</i>, and all very full to our purpose.</p>
+
+  <p class="sp5">To conclude this <i>Chapter</i>. By what has been offer'd, it appears that the
+  <i>Present English Stage</i> is superlatively Scandalous. It exceeds the Liberties of all Times
+  and Countries: It has not so much as the poor plea of a <i>Precedent</i>, to which most other ill
+  Things may claim a pretence. 'Tis mostly meer Discovery and Invention: A new <span class="pagenum"
+  id="page55">{55}</span>World of Vice found out, and planted with all the Industry imaginable.
+  <i>Aristophanes</i> himself, how bad soever in other respects, does not amplyfie, and flourish,
+  and run through all the Topicks of Lewdness like these Men. The <i>Miscellany Poems</i> are
+  likewise horribly Licentious. They are sometimes Collections from Antiquity, and often, the worst
+  parts of the worst <i>Poets</i>. And to mend the Matter, the Christian <i>Translation</i>, is more
+  nauseous than the <i>Pagan</i> Original. Such stuff I believe was never seen, and suffer'd before.
+  In a word, If Poverty and Diseases, the Dishonour of Families, and the Debauching of Kingdoms, are
+  such valuable Advantages, then I confess these Books deserve encouragement. But if the Case is
+  otherwise, I humbly conceive the Proceeding should be so too.</p>
+
+  <div><span class="pagenum" id="page56">{56}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  II.</span></h1>
+
+  <h2 class="sp3"><i>The Profaness of the</i> Stage.</h2>
+
+  <p>An other Instance of the Disorders of the <i>Stage</i> is their <i>Profaness</i>: This Charge
+  may come under these two particulars.</p>
+
+  <div class="poem">
+    <p><i>1st. Their Cursing and Swearing.</i></p>
+    <p><i>2dly. Their Abuse of Religion and Holy Scripture.</i></p>
+  </div>
+
+  <p><i>1st Their Cursing and Swearing.</i></p>
+
+  <p>What is more frequent then their wishes of Hell, and Confusion, Devils, and Diseases, all the
+  Plagues of this World, and the next, to each other? And as for Swearing; 'tis used by all Persons,
+  and upon all Occasions: By Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels,
+  Success, and Disappointment, Temper, and Passion, must be varnish'd, and set off with
+  <i>Oaths</i>. At some times, and with some <i>Poets</i> Swearing is no ordinary Releif. It stands
+  up in the room of Sense, gives Spirit to a flat Expression, and makes a Period Musical and Round.
+  In short, 'tis almost all the <span class="pagenum" id="page57">{57}</span>Rhetorick, and Reason
+  some People are Masters of: The manner of performance is different. Some times they mince the
+  matter; change the Letter, and keep the Sense,<span class="leftmar"><i>Gad for God.</i></span><sup
+  class="handonly" id="ref102"><a href="#side102">[102]</a></sup> as if they had a mind to steal a
+  Swearing, and break the Commandement without Sin. At another time the Oaths are clipt, but not so
+  much within the Ring, but that the <i>Image and Superscription</i> are visible. These expedients,
+  I conceive are more for variety, then Conscience: For when the fit comes on them, they make no
+  difficulty of Swearing at Length. Instances of all these kinds may be met with in the <i>Old
+  Batchelour</i>, <i>Double Dealer</i>, and <i>Love for Love</i>. And to mention no more, <i>Don
+  Quixot</i>, the <i>Provok'd Wife</i>, and the <i>Relapse</i>, are particularly rampant and
+  scandalous. The <i>English Stage</i> exceed their predecessors in this, as well as other Branches
+  of immorality. <i>Shakespear</i> is comparatively sober, <i>Ben Jonson</i> is still more regular;
+  And as for <i>Beaument</i> and <i>Fletcher</i>, In their <i>Plays</i> they are commonly Profligate
+  Persons that Swear, and even those are reprov'd for't. Besides, the Oaths are not so full of Hell
+  and Defiance, as in the Moderns.</p>
+
+  <p>So much for matter of Fact: And as for point of Law, I hope there needs not <span
+  class="pagenum" id="page58">{58}</span>many words to prove Swearing a Sin: For what is more
+  provoking than contempt, and what Sin more contemptuous than common Swearing? what can be more
+  Insolent and Irreligious, than to bring in God to attest our Trifles, to give Security for our
+  Follies, and to make part of our Diversion? To Play with Majesty and Omnipotence in this manner,
+  is to render it cheap and despicable. How can such Customes as these consist with the belief of
+  Providence or Revelation? The <i>Poets</i> are of all People most to blame. They want even the
+  Plea of <i>Bullies</i> and <i>Sharpers</i>. There's no Rencounters, no starts of Passion, no
+  suddain Accidents to discompose them. They swear in Solitude and cool Blood, under Thought and
+  Deliberation, for Business, and for Exercise: This is a terrible Circumstance; It makes all
+  <i>Malice Prepence</i>, and enflames the Guilt, and the Reckoning.</p>
+
+  <p>And if Religion signifies nothing, (as I am afraid it does with some People) there is Law, as
+  well as Gospel against <i>Swearing</i>.  <i>3d Jac. 1 cap. 21.</i> is expresly against the
+  <i>Playhouse</i>. It runs thus.</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><b>For the preventing and avoiding of the great abuse of the holy Name of God, in
+    Stage Plays, Enterludes &amp;c. Be it enacted by our Sovereign Lord &amp;c. That if at any time,
+    or times, <span class="pagenum" id="page59">{59}</span>after the End of this present Session of
+    Parliament; any Person or Persons do, or shall in any Stage Play, Enterlude, Show, &amp;c.
+    Jeastingly or Profanly, speak or use the Holy Name of God, or of Christ</b> Jesus, <b>or of the
+    Holy Ghost, or of the Trinity, which are not to be spoken, but with Fear and Reverence; shall
+    forfeit for every such offence, by him or them committed, ten pounds: The one Moity thereof to
+    the King's Majesty, his Heirs; and Successors, the other Moity thereof to him, or them, that
+    will sue for the same in any Court of Record at Westminster, wherein no essoin, protection, or
+    wager of Law shall be allow'd.</b></p>
+  </div>
+
+  <p>By this <i>Act</i> not only direct Swearing, but all vain Invocation of the Name of God is
+  forbidden. This <i>Statute</i> well executed would mend the <i>Poets</i>, or sweep the <i>Box</i>:
+  And the <i>Stage</i> must either reform, or not thrive upon Profaness.</p>
+
+  <p><i>3dly</i> Swearing in the <i>Playhouse</i> is an ungentlemanly, as well as an unchristian
+  Practice. The <i>Ladies</i> make a considerable part of the <i>Audience</i>. Now Swearing before
+  Women is reckon'd a Breach of good Behaviour, and therefore a civil Atheist will forbear it. The
+  custom seems to go upon this Presumption; that the Impressions of Religion are strongest in Women,
+  and more generally spread. And that it must be very disagreeable to them, to hear the Majesty of
+  God treated with <span class="pagenum" id="page60">{60}</span>so little respect. Besides: Oaths
+  are a boistrous and <span class="correction" title="Original reads 'tempestiuous', corrected
+  by Errata">tempestuous</span> sort of Conversation; Generally the effects of Passion, and spoken
+  with Noise, and Heat. Swearing looks like the beginning of a Quarrel, to which Women have an
+  aversion: As being neither armed by Nature, nor disciplin'd by Custome for such rough Disputes. A
+  Woman will start at a Soldiers Oath, almost as much as at the Report of his Pistol: And therefore
+  a well Bred Man will no more Swear, than Fight in the Company of Ladies.</p>
+
+  <p>A <i>Second</i> Branch of the Profaness of the <i>Stage</i> is their Abuse of Religion, and
+  <i>Holy Scripture</i>. And here sometimes they don't stop short of Blasphemy. To cite all that
+  might be Collected of this kind would be tedious. I shall give the <i>Reader</i> enough to
+  justifie the Charge, and I hope to abhor the Practice.</p>
+
+  <p>To begin with the <i>Mock-Astrologer</i>. In the First <i>Act</i> the <i>Scene</i> is a
+  <i>Chappel</i>; And that the Use of such Consecrated places may be the better understood, the time
+  is taken up in Courtship, Raillery, and ridiculing Devotion. <i>Jacinta</i> takes her turn among
+  the rest. She Interrupts <i>Theodosia</i>, and cries out: <i>why Sister, Sister&mdash;&mdash;will
+  you pray? what injury have I ever done you that you <span class="correction"
+  title="Original reads 'pray', corrected by
+  Errata">should pray</span> in my Company?</i></p>
+
+  <div><span class="pagenum" id="page61">{61}</span></div>
+
+  <p><i>Wildblood</i> Swears by <i>Mahomet</i>, rallies smuttily upon the other World, and gives the
+  preference to the Turkish Paradise<span class="leftmar"><i>p. 31.</i></span><sup class="handonly"
+  id="ref103"><a href="#side103">[103]</a></sup>! This Gentleman to incourage <i>Jacinta</i> to a
+  Complyance in Debauchery, tells her <i>Heaven is all Eyes and no Tongue.</i><span
+  class="leftmar"><i>p. 37.</i></span><sup class="handonly" id="ref104"><a
+  href="#side104">[104]</a></sup> That is, it sees Wickedness but conceals it. He Courts much at the
+  same rate a little before. <i>When a Man comes to a great Lady, he is fain to approach her with
+  Fear, and Reverence, methinks there's something of Godliness in't</i>.<span class="leftmar"><i>p.
+  24.</i></span><sup class="handonly" id="ref105"><a href="#side105">[105]</a></sup> Here you have
+  the Scripture burlesqu'd, and the Pulpit Admonition apply'd to Whoring.<span
+  class="leftmar"><i>Hebr. 12.</i><br/>
+  <i>34. 36.</i></span><sup class="handonly" id="ref106"><a href="#side106">[106]</a></sup>
+  Afterwards <i>Jacinta</i> out of her great Breeding and Christianity, swears by <i>Alla</i>, and
+  <i>Mahomet</i>, and makes a Jest upon Hell.<sup class="handonly" id="ref107"><a
+  href="#side107">[107]</a></sup> <i>Wildblood</i> tells his Man that <i>such undesigning Rogues as
+  he, make a Drudge of poor Providence</i>. And <i>Maskall</i> to show his proficiency under his
+  Masters, replies to <i>Bellamy</i>, who would have had him told a Lie.<span
+  class="leftmar"><i>55.</i></span><sup class="handonly" id="ref108"><a
+  href="#side108">[108]</a></sup> <i>Sir upon the Faith of a Sinner you have had my last Lie
+  already. I have not one more to do me Credit, as I hope to be saved Sir.</i></p>
+
+  <p>In the close of the <i>Play</i>, They make sport with Apparitions and Fiends. One of the Devils
+  sneezes, upon this they give him the Blessing of the Occasion, and conclude <i>he has got cold by
+  being too long out of the Fire</i>.<span class="leftmar"><i>59.</i></span><sup class="handonly"
+  id="ref109"><a href="#side109">[109]</a></sup></p>
+
+  <div><span class="pagenum" id="page62">{62}</span></div>
+
+  <p>The <i>Orphan</i> lays the Scene in Christendom, and takes the same care of Religion.
+  <i>Castalio</i> Complements his Mistress to Adoration.</p>
+
+  <div class="poem">
+    <p><i>No Tongue my Pleasure and my Pain can tell:</i></p>
+    <p><i>'Tis Heaven to have thee, and without thee Hell.</i> <span class="leftmar"><i>Orph. p.
+    20.</i></span><sup class="handonly" id="ref110"><a href="#side110">[110]</a></sup></p>
+  </div>
+
+  <p><i>Polydor</i> when upon the attempt to debauch <i>Monimia</i>, puts up this ejaculation.</p>
+
+  <div class="poem">
+    <p><i>Blessed Heaven assist me but in this dear Hour</i>: <span class="leftmar"><i>p.
+    31.</i></span><sup class="handonly" id="ref111"><a href="#side111">[111]</a></sup></p>
+  </div>
+
+  <p>Thus the <i>Stage</i> worships the true God in Blasphemy, as the <i>Lindians</i> did
+  <i>Hercules</i> by Cursing and throwing stones.<span class="leftmar"><i>Lactan.</i></span><sup
+  class="handonly" id="ref112"><a href="#side112">[112]</a></sup> This <i>Polydor</i> has another
+  Flight of Profaness, but that has got a certain <i>Protection</i>, and therefore must not be
+  disturb'd.</p>
+
+  <p>In the <i>Old Batchelour</i>, <i>Vain-love</i> asks <i>Belmour</i>, <i>could you be content to
+  go to Heaven</i>?</p>
+
+  <p><i>Bell. Hum, not immediatly in my Conscence, not heartily.</i><span class="leftmar"><i>p.
+  19.</i></span><sup class="handonly" id="ref113"><a
+  href="#side113">[113]</a></sup>&mdash;&mdash;This is playing I take it with Edge-Tools. To go to
+  Heaven in jeast, is the way to go to Hell in earnest. In the Fourth <i>Act</i>, Lewdness is
+  represented with that Gaity, as if the Crime was purely imaginary, and lay only in ignorance and
+  preciseness. <i>Have you throughly consider'd (says Fondlewife) how detestable, how Heinous, and
+  how crying a Sin <span class="pagenum" id="page63">{63}</span>the Sin of Adultery is? have you
+  weighed I say? For it is a very weighty Sin: and, altho' it may lie&mdash;&mdash;yet thy Husband
+  must also bear his part; For thy iniquity will fall on his Head</i>.<span class="leftmar"><i>p.
+  28.</i></span><sup class="handonly" id="ref114"><a href="#side114">[114]</a></sup> I suppose this
+  fit of Buffoonry and profaness, was to settle the Conscience of young Beginners, and to make the
+  Terrors of Religion insignificant. <i>Bellmour</i> desires <i>Lætitia to give him leave to swear
+  by her Eyes and her Lips</i>: He kisses the Strumpet, and tells her, <i>Eternity was in that
+  Moment</i>.<span class="leftmar"><i>p. 31.</i><br/>
+  <i>38.</i><br/>
+  <i>p. 39.</i><br/>
+  <i>p. 39.</i></span><sup class="handonly" id="ref115"><a href="#side115">[115]</a></sup>
+  <i>Lætitia</i> is horibly profane in her Apology to her Husband; but having the
+  <i>Stage-Protection</i> of Smut for her Guard, we must let her alone.<sup class="handonly"
+  id="ref116"><a href="#side116">[116]</a></sup> <i>Fondlewife</i> stalks under the same shelter,
+  and abuses a plain Text of Scripture to an impudent Meaning.<sup class="handonly" id="ref117"><a
+  href="#side117">[117]</a></sup> A little before, <i>Lætitia</i> when her Intrigue with
+  <i>Bellmour</i> was almost discover'd, supports her self with this Consideration. <i>All my
+  comfort lies in his impudence, and Heaven be prais'd, he has a Considerable Portion</i>.<sup
+  class="handonly" id="ref118"><a href="#side118">[118]</a></sup> This is the <i>Play-house</i>
+  Grace, and thus Lewdness is made a part of Devotion! Ther's another Instance still behind: 'Tis
+  that of <i>Sharper</i> to <i>Vain-Love</i>, and lies thus.</p>
+
+  <p><i>I have been a kind of God Father to you, yonder: I have promis'd and vow'd something in your
+  Name, which I think you are bound to Perform</i>.<span class="leftmar"><i>Id. 49.</i></span><sup
+  class="handonly" id="ref119"><a href="#side119">[119]</a></sup> For Christians to droll upon <span
+  class="pagenum" id="page64">{64}</span>their Baptism is somewhat extraordinary; But since the
+  <i>Bible</i> can't escape, 'tis the less wonder to make bold with the <i>Catechisme</i>.</p>
+
+  <p>In the <i>Double Dealer</i>, Lady <i>Plyant</i> cries out <i>Jesu</i> and talks Smut in the
+  same Sentence.<span class="leftmar"><i>Double Dealer. 34.</i></span><sup class="handonly"
+  id="ref120"><a href="#side120">[120]</a></sup> Sr. <i>Paul Plyant</i> whom the Poet dub'd a Fool
+  when he made him a Knight, talks very Piously! <i>Blessed be Providence, a Poor unworthy Sinner, I
+  am mightily beholden to Providence</i><span class="leftmar"><i>36.</i><br/>
+  <i>55.</i></span><sup class="handonly" id="ref121"><a href="#side121">[121]</a></sup>: And the
+  same word is thrice repeated upon an odd occasion.<sup class="handonly" id="ref122"><a
+  href="#side122">[122]</a></sup> The meaning must be that <i>Providence</i> is a ridiculous
+  supposition, and that none but Blockheads pretend to Religion. But the Poet can discover himself
+  farther if need be. Lady <i>Froth</i> is pleas'd to call <i>Jehu</i> <i>a Hackney
+  Coachman</i>.<span class="leftmar"><i>p. 40.</i></span><sup class="handonly" id="ref123"><a
+  href="#side123">[123]</a></sup> Upon this, <i>Brisk</i> replies, <i>If Jehu was a Hackney
+  Coachman, I am answer'd&mdash;&mdash;you may put that into the Marginal Notes tho', to prevent
+  Criticisms&mdash;&mdash;only mark it with a small Asterisme and say&mdash;&mdash;Jehu was formerly
+  a Hackney Coachman.</i> This for a heavy Piece of Profaness, is no doubt thought a lucky one,
+  because it burlesques the Text, and the Comment, all under one. I could go on with the <i>Double
+  Dealer</i> but he'll come in my way afterwards, and so I shall part with him at present. Let us
+  now take a veiw of <i>Don Sebastian</i>. And here <span class="pagenum" id="page65">{65}</span>the
+  <i>Reader</i> can't be long unfurnish'd. <i>Dorax</i> shall speak first.</p>
+
+  <div class="poem">
+    <p style="margin-left:0.70em"><i>Shall I trust Heaven</i></p>
+    <p><i>With my revenge? then where's my satisfaction?</i></p>
+    <p><i>No, it must be my own, I scorn a Proxy.</i><span class="leftmar"><i>Sebast. p.
+    9.</i></span><sup class="handonly" id="ref124"><a href="#side124">[124]</a></sup></p>
+  </div>
+
+  <p>But <i>Dorax</i> was a Renegado, what then? He had renounc'd Christianity, but not Providence.
+  Besides; such hideous Sentences ought not to be put in the Mouth of the Devil. For that which is
+  not fit to be heard, is not fit to be spoken. But to some people an Atheistical Rant is as good as
+  a Flourish of Trumpets. To proceed. <i>Antonio</i> tho' a profess'd Christian, mends the matter
+  very little. He is looking on a Lot which he had drawn for his Life: This proving unlucky, after
+  the preamble of a Curse or two, he calls it,</p>
+
+  <div class="poem">
+    <p><i>As black as Hell, an other lucky saying!</i></p>
+    <p><i>I think the Devils in me:&mdash;&mdash;good again,</i></p>
+    <p><i>I cannot speak one syllable but tends</i></p>
+    <p><i>To Death or to Damnation.</i><span class="leftmar"><i>Id. p. 10.</i></span><sup
+    class="handonly" id="ref125"><a href="#side125">[125]</a></sup></p>
+  </div>
+
+  <p>Thus the Poet prepares his Bullies for the other World! Hell and Damnation are strange
+  entertaining words upon the <i>Stage</i>! Were it otherwise, the Sense in these <span
+  class="pagenum" id="page66">{66}</span>Lines, would be almost as bad as the Conscience. The
+  <i>Poem</i> warms and rises in the working: And the next Flight is extreamly remarkable:</p>
+
+  <div class="poem">
+    <p><i>Not the last sounding could surprize me more,</i></p>
+    <p><i>That summons drowsy Mortals to their doom,</i></p>
+    <p><i>When call'd in hast they fumble for their Limbs:</i><span class="leftmar"><i>p.
+    47.</i></span><sup class="handonly" id="ref126"><a href="#side126">[126]</a></sup></p>
+  </div>
+
+  <p>Very Solemnly and Religiously express'd! <i>Lucian</i> and <i>Celsus</i> could not have
+  ridiculed the Resurrection better! Certainly the Poet never expects to be there. Such a light Turn
+  would have agreed much better to a Man who was in the Dark, and was feeling for his Stockings. But
+  let those who talk of <i>Fumbling</i> for their Limbs, take care they don't find them too fast. In
+  the Fourth <i>Act</i> <i>Mustapha</i> dates his <i>Exaltation to Tumult</i>, <i>from the second
+  Night of the Month</i> Abib.<span class="leftmar"><i>Id. p. 83.</i><br/>
+  <i>Exod. 12, 13.</i></span><sup class="handonly" id="ref127"><a href="#side127">[127]</a></sup>
+  Thus you have the Holy Text abused by Captain <i>Tom</i>; And the Bible torn by the Rabble! The
+  Design of this Liberty I can't understand, unless it be to make <i>Mustapha</i> as considerable as
+  <i>Moses</i>; and the prevalence of a Tumult, as much a Miracle as the Deliverance out of
+  <i>Ægypt</i>. We have heard this Author hitherto in his <i>Characters</i>, let us hear him now in
+  his own Person. In his <i>Dedication of Aurenge Zebe</i> he is so hardy as <span class="pagenum"
+  id="page67">{67}</span>to affirm that <i>he who is too lightly reconciled after high Provocation,
+  may Recommend himself to the World for a Christian, but I should hardly trust him for a
+  Friend</i>. And why is a Christian not fit to make a Friend of? Are the Principles of Christianity
+  defective, and the Laws of it Ill contriv'd? Are the Interests and Capacities of Mankind
+  overlook'd? Did our Great Master bind us to Disadvantage, and make our Duty our Misfortune? And
+  did he grudge us all the Pleasures and Securities of Friendship? Are not all these horrid
+  Suppositions? Are they not a flat Contradiction to the <i>Bible</i>, and a Satyr on the Attributes
+  of the Deity? Our Saviour tells us we must <i>forgive until Seventy times Seven</i>; That is, we
+  must never be tired out of Clemency and Good Nature. He has taught us to pray for the Forgiveness
+  of our own Sins, only upon the Condition of forgiving others. Here is no exception upon the
+  Repetition of the Fault, or the Quality of the Provocation. Mr. <i>Dryden</i> to do him right,
+  do's not dispute the Precept. He confesses this is the way to be a Christian: But for all that he
+  <i>should hardly trust him for a Friend</i>. And why so? Because the Italian Proverb says, <i>He
+  that forgives the second time is a Fool.</i><span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref128"><a href="#side128">[128]</a></sup> This Lewd Proverb comes in for
+  Authority, <span class="pagenum" id="page68">{68}</span>and is a piece of very pertinent
+  Blasphemy! Thus in some Peoples <i>Logick</i> one proof from Atheism, is worth Ten from the <i>New
+  Testament</i>. But here the <i>Poet</i> argues no better than he Believes. For most certainly, a
+  Christian of all others is best qualified for Friendship. For He that loves his Neighbour as
+  himself, and carries Benevolence and Good Nature beyond the Heights of Philosophy: He that is not
+  govern'd by Vanity, or Design; He that prefers his Conscience to his Life, and has Courage to
+  Maintain his Reason; He that is thus qualified must be a good Friend; And he that falls short, is
+  no good Christian. And since the <i>Poet</i> is pleas'd to find fault with Christianity, let us
+  examine his own Scheme. <i>Our Minds (says he) are perpetually wrought on by the Temperament of
+  our Bodies, which makes me suspect they are nearer Allyed than either our Philosophers, or School
+  Divines will allow them to be.</i><span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref129"><a href="#side129">[129]</a></sup> The meaning is, he suspects our Souls are nothing
+  but Organiz'd Matter. Or in plain English, our <i>Souls</i> are nothing but our Bodies. And then
+  when the Body dies you may guess what becomes of them! Thus the Authorities of Religion are
+  weaken'd, and the prospect of the other World almost shut up. And is this a likely Supposition for
+  Sincerity and good Nature? Do's Honour <span class="pagenum" id="page69">{69}</span>use to rise
+  upon the Ruines of Conscience? And are People the best Friends where they have the least Reason to
+  be so? But not only the Inclinations to Friendship must Languish upon this Scheme, but the very
+  Powers of it are as it were destroy'd. By this Systeme no Man can say his Soul is his own. He
+  can't be assured the same Colours of Reason and Desire will last. Any little Accident from
+  <i>without</i> may metamorphose his Fancy, and push him upon a new set of Thoughts. <i>Matter</i>
+  and <i>Motion</i> are the most Humorsom Capricious Things in Nature; and withall, the most
+  Arbitrary and uncontroll'd. And can Constancy proceed from Chance, Choice from Fate, and Virtue
+  from Necessity? In short a Man at this rate must be a Friend or an Enemy in spite of his Teeth,
+  and just as long as the <i>Atoms</i> please and no longer. Every Change in <i>Figure</i> and
+  <i>Impulse</i>, must alter the Idea, and wear off the former Impression. So that by these
+  Principles, Friendship will depend on the <i>Seasons</i>, and we must look in the <i>Weather
+  Glass</i> for our Inclinations. But this 'tis to Refine upon Revelation, and grow wiser than
+  Wisdom! The same Author in his Dedication of <i>Juvenal</i> and <i>Persius</i>, has these words:
+  <i>My Lord, I am come to the last Petition of</i> <span class="pagenum"
+  id="page70">{70}</span>Abraham;<span class="leftmar"><i>Ded. p. 51.</i></span><sup
+  class="handonly" id="ref130"><a href="#side130">[130]</a></sup> <i>If there be ten Righteous Lines
+  in this vast Preface, spare it for their sake; and also spare the next City because it is but a
+  little one</i>. Here the Poet stands for <i>Abraham</i>; and the Patron for God Almighty: And
+  where lies the Wit of all this? In the Decency of the Comparison? I doubt not. And for the <i>next
+  City</i> he would have spared, he is out in the Allusion. 'Tis no <i>Zoar</i>, but much rather
+  <i>Sodom</i> and <i>Gomorrah</i>, Let them take care the Fire and Brimstone does not follow: And
+  that those who are so bold with <i>Abraham</i>'s Petition, are not forced to that of <i>Dives</i>.
+  To beg Protection for a Lewd Book in <i>Scripture Phrase</i>, is very extraordinary! 'Tis in
+  effect to Prostitute the Holy Rhetorick, and send the <i>Bible</i> to the <i>Brothell</i>! I can
+  hardly imagin why these Tombs of Antiquity were raked in, and disturb'd? Unless it were to conjure
+  up a departed Vice, and revive the Pagan Impurities: Unless it were to raise the Stench of the
+  Vault, and Poyson the Living with the Dead. Indeed <i>Juvenal</i> has a very untoward way with him
+  in some of his Satyrs. His Pen has such a Libertine stroak that 'tis a Question whether the
+  Practise, or the Reproof, the Age, or the Author, were the more Licentious. He teaches those Vices
+  he would <span class="pagenum" id="page71">{71}</span>correct, and writes more like a Pimp, than a
+  <i>Poet</i>. And truly I think there is but little of Lewdness lost in the <i>Translation</i>. The
+  Sixth and Eleventh <i>Satyrs</i> are Particularly remarkable. Such nauseous stuff is almost enough
+  to debauch the <i>Alphabet</i>, and make the Language scandalous. One would almost be sorry for
+  the privilege of <i>Speech</i>, and the Invention of <i>Letters</i>, to see them thus wretchedly
+  abused. And since the Business must be undertaken, why was not the Thought Blanched, the
+  Expression made remote, and the ill Features cast into shadows? I'm mistaken if we have not
+  Lewdness enough of our own Growth, without Importing from our Neighbours. No. This can't be. An
+  Author must have Right done him, and be shown in his own shape, and Complexion. Yes by all means!
+  Vice must be disrobed, and People poyson'd, and all for the sake of Justice! To do Right to such
+  an Author is to burn him. I hope Modesty is much better than Resemblance. The Imitation of an ill
+  Thing is the worse for being exact: And sometimes to report a Fault is to repeat it.</p>
+
+  <p>To return to his <i>Plays</i>. In <i>Love Triumphant</i>, <i>Garcia</i> makes <i>Veramond</i>
+  this Compliment:</p>
+
+  <div><span class="pagenum" id="page72">{72}</span></div>
+
+  <div class="poem">
+    <p><i>May Heaven and your brave Son, and above all,</i></p>
+    <p><i>Your own prevailing Genius guard your Age.</i><span class="leftmar"><i>Love Triumph. p.
+    3.</i></span><sup class="handonly" id="ref131"><a href="#side131">[131]</a></sup></p>
+  </div>
+
+  <p>What is meant by his Genius, in this place, is not easy to Discover, only that 'tis something
+  which is a better Guard than Heaven. But 'tis no Matter for the Sense, as long as the Profaness is
+  clear. In this <i>Act</i>, Colonel <i>Sancho</i> lets <i>Carlos</i> know the old Jew is dead,
+  which he calls good news.</p>
+
+  <p>Carl. <i>What Jew?</i></p>
+
+  <p>Sanch. <i>Why the rich Jew my Father. He is gone to the Bosom, of</i> Abraham <i>his Father,
+  and I his Christian Son am left sole Heir</i>.<span class="leftmar"><i>Id. p. 11.</i></span><sup
+  class="handonly" id="ref132"><a href="#side132">[132]</a></sup> A very mannerly Story! But why
+  does the Poet acquaint us with <i>Sanchos</i> Religion? The case is pretty plain: 'tis to give a
+  lustre to his Profaness, and make him burlesque St. <i>Luke</i> with the better Grace.
+  <i>Alphonso</i> complains to <i>Victoria</i> that <i>Nature doats with Age</i>.<span
+  class="leftmar"><i>Id. p. 11.</i></span><sup class="handonly" id="ref133"><a
+  href="#side133">[133]</a></sup> His reason is, because Brother and Sister can't Marry as they did
+  at first: 'Tis very well! We know what <i>Nature</i> means in the Language of Christianity, and
+  especially under the Notion of a Law-giver. <i>Alphonso</i> goes on, and compares the Possession
+  of Incestuous Love to Heaven. Yes, 'tis <i>Eternity in Little</i>.<span class="leftmar"><i>p.
+  34.</i></span><sup class="handonly" id="ref134"><a href="#side134">[134]</a></sup></p>
+
+  <div><span class="pagenum" id="page73">{73}</span></div>
+
+  <p>It seems Lovers must be distracted or there's no diversion. A Flight of Madness like a Faulcons
+  <i>Lessening</i>, makes them the more gaz'd at! I am now coming to some of the Poets Divinity. And
+  here <i>Vengeance is said to be so sweet a Morsel</i>,</p>
+
+  <div class="poem">
+    <p><i>That Heaven reserves it for its proper Tast.</i><span
+    class="leftmar"><i>58.</i></span><sup class="handonly" id="ref135"><a
+    href="#side135">[135]</a></sup></p>
+  </div>
+
+  <p>This belike is the meaning of those Texts, <i>that God is good and Gracious, and slow to anger,
+  and does not willingly afflict the Children of Men</i>! From expounding the Bible he goes to the
+  <i>Common Prayer</i>. And as <i>Carlos</i> interprets the <i>Office</i> of <i>Matrimony</i>,
+  <b>For Better, for Worse</b>, is <i>for Virgin for Whore</i>;<span class="leftmar"><i>p.
+  62.</i></span><sup class="handonly" id="ref136"><a href="#side136">[136]</a></sup> And that the
+  Reference might not be mistaken, the Poet is careful to put the Words in <i>Italick</i>, and great
+  Letters. And by the way, He falls under the <i>Penalty</i> of the Statute for Depraving the
+  <i>Common Prayer</i>.<span class="leftmar"><i>1st. Eliz. cap. 2.</i></span><sup class="handonly"
+  id="ref137"><a href="#side137">[137]</a></sup></p>
+
+  <p><i>Sancho</i> upon reading a Letter which he did not like, cries <i>Damn it, it must be all
+  Orthodox</i>.<span class="leftmar"><i>p. 63.</i></span><sup class="handonly" id="ref138"><a
+  href="#side138">[138]</a></sup> <i>Damn</i> and <i>Orthodox</i> clapt together, make a lively
+  Rant, because it looks like Cursing the <i>Creeds</i>. The most extraordinary passage is behind;
+  <i>Sancho</i> was unhappily Married: <i>Carlos tells him, For your Comfort, Marriage they say is
+  Holy. Sancho</i> replies:  <i>Ay, and so is Martyrdom as they say, but both of them are good for
+  just nothing, but to make an end of a Mans Life</i>.<span class="leftmar"><i>p. 72.</i></span><sup
+  class="handonly" id="ref139"><a href="#side139">[139]</a></sup> <span class="pagenum"
+  id="page74">{74}</span>I shall make no Reflections upon This: There needs no Reading upon a
+  Monster: 'Tis shown enough by its own Deformity. <i>Love for Love</i> has a Strain like this, and
+  therefore I shall put them together: <i>Scandal</i> solicits Mrs. <i>Foresight</i>; She threatens
+  to tell her Husband. He replys, <i>He will die a Martyr rather then disclaim his Passion</i>.<span
+  class="leftmar"><i>Love for Love. p. 42.</i></span><sup class="handonly" id="ref140"><a
+  href="#side140">[140]</a></sup> Here we have Adultery dignified with the stile of Martyrdom: As if
+  'twas as Honourable to perish in Defence of Whoring, as to dye for the Faith of Christianity. But
+  these <i>Martyrs</i> will be a great while in burning, And therefore let no body strive to grace
+  the Adventure, or encrease the Number. And now I am in this <i>Play</i> the Reader shall have
+  more. <i>Jeremy</i> who was bred at the University, calls the Natural Inclinations to Eating and
+  Drinking, <i>Whoreson Appetites</i>. This is strange Language! The <i>Manicheans</i> who made
+  Creation the work of the Devil, could scarcely have been thus Coarse.<span
+  class="leftmar"><i>26.</i></span><sup class="handonly" id="ref141"><a
+  href="#side141">[141]</a></sup> But the <i>Poet</i> was <i>Jeremy's</i> Tutor, and so that Mystery
+  is at an end. Sr. <i>Samson</i> carries on the Expostulation, rails at the Structure of Human
+  Bodies, and says,<span class="leftmar"><i>p. 27.</i></span><sup class="handonly" id="ref142"><a
+  href="#side142">[142]</a></sup> <i>Nature has been Provident only to Bears, and Spiders</i>; This
+  is the Authors Paraphrase on the 139 <i>Psalm</i>; And thus he gives God thanks for the Advantage
+  <span class="pagenum" id="page75">{75}</span>of his Being! The <i>Play</i> advances from one
+  wickedness to another, from the <i>Works</i> of God, to the Abuse of his Word. Foresight
+  <i>confesses 'tis Natural for Men to mistake</i>.<span class="leftmar"><i>p. 47.</i></span><sup
+  class="handonly" id="ref143"><a href="#side143">[143]</a></sup> Scandal <i>replies, You say true,
+  Man will err, meer Man will err&mdash;&mdash;but you are something more&mdash;&mdash;There have
+  been wise Men; but they were such as you&mdash;&mdash;Men who consulted the Stars, and, were
+  observers of Omens</i>&mdash;&mdash;Solomon <i>was wise but how?&mdash;&mdash;by his judgment in
+  Astrology.</i> 'Tis very well! <i>Solomon</i> and <i>Foresight</i> had their Understandings
+  qualified alike. And pray what was <i>Foresight</i>? Why an <i>Illiterate Fellow</i>. <i>A
+  pretender to Dreams, Astrology, Palmistry</i> &amp;c. This is the <i>Poets</i> account of
+  <i>Solomon's</i> Supernatural Knowledge!<span class="leftmar"><i>Vid. Person. Dram.</i></span><sup
+  class="handonly" id="ref144"><a href="#side144">[144]</a></sup> Thus the wisest Prince is dwindled
+  into a Gypsie! And the Glorious Miracle resolved into Dotage, and Figure-flinging! <i>Scandal</i>
+  continues his Banter, and says, the <i>wise Men of the East owed their Instruction to a Star;
+  which is rightly observ'd by</i> Gregory <i>the Great in favour of Astrology</i>. This was the
+  Star which shone at our Saviour's Birth. Now who could imagine by the Levity of the occasion, that
+  the Author thought it any better than an <i>Ignis Fatuus</i>, or <i>Sydrophel's</i> Kite in
+  <i>Hudibras</i>? Sr. <i>Sampson</i> and the fine <i>Angelica</i>, after some lewd raillery
+  continue the Allegory, and <span class="pagenum" id="page76">{76}</span>drive it up into
+  Profaness. For this reason the Citation must be imperfect.</p>
+
+  <p><i>Sr.</i> Samps. Sampson'<i>s a very good Name for&mdash;&mdash;your</i> Sampsons <i>were
+  strong Dogs from the Beginning</i>.<span class="leftmar"><i>p. 80.</i></span><sup class="handonly"
+  id="ref145"><a href="#side145">[145]</a></sup></p>
+
+  <p>Angel. <i>Have a care&mdash;&mdash;If you remember the strongest</i> Sampson <i>of your Name,
+  pull'd an old House over his Head at last</i>. Here you have the Sacred History burlesqu'd, and
+  <i>Sampson</i> once more brought into the House of <i>Dagon</i>, to make sport for the
+  <i>Philistines</i>! To draw towards an end of this <i>Play. Tattle</i> would have carried off
+  <i>Valentine</i>'s Mistress. This later, expresses his Resentment in a most Divine manner! Tattle
+  <i>I thank you, you would have interposed between me and Heaven, but Providence has laid Purgatory
+  in your way</i>.<span class="leftmar"><i>p. 91.</i></span><sup class="handonly" id="ref146"><a
+  href="#side146">[146]</a></sup> Thus Heaven is debas'd into an Amour, and Providence brought in to
+  direct the Paultry concerns of the <i>Stage! Angelica</i> concludes much in the same strain:
+  <i>Men are generally Hypocrites And Infidels, they pretend to Worship, but have neither Zeal, nor
+  Faith; How few like</i> Valentine <i>would persevere unto Martyrdom? &amp;c.</i><span
+  class="leftmar"><i>p. 92.</i></span><sup class="handonly" id="ref147"><a
+  href="#side147">[147]</a></sup> Here you have the Language of the <i>Scriptures</i>, and the most
+  solemn Instances of Religion, prostituted to Courtship and Romance! Here you have a Mistress made
+  God Almighty, Ador'd with Zeal and Faith, <span class="pagenum" id="page77">{77}</span>and
+  Worship'd up to Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady to say
+  of her self. And had it not been for the profane Allusion, would have been cold enough in all
+  Conscience.</p>
+
+  <p>The <i>Provok'd Wife</i> furnishes the Audience with a Drunken Atheistical Catch: 'Tis true
+  this Song is afterwards said to be <i>Full of Sin and Impudence</i>.<span class="leftmar"><i>Prov.
+  Wife p. 38.</i></span><sup class="handonly" id="ref148"><a href="#side148">[148]</a></sup> But why
+  then was it made? This Confession is a miserable <i>Salvo</i>; And the Antidote is much weaker
+  than the Poyson: 'Tis just as if a Man should set a House in a Flame, and think to make amends by
+  crying <i>Fire</i> in the Streets. In the last <i>Act Rasor</i> makes his Discovery of the Plot
+  against <i>Belinda</i> in <i>Scripture</i> phrase. I'le give it the <i>Reader</i> in the Authors
+  Dialogue.</p>
+
+  <p>Belind. <i>I must know who put you upon all this Mischief.</i><span class="leftmar"><i>Id. p.
+  77.</i></span><sup class="handonly" id="ref149"><a href="#side149">[149]</a></sup></p>
+
+  <p>Rasor. <i>Sathan And his Equipage. Woman tempted me, Lust weaken'd,&mdash;&mdash;And so the
+  Devil overcame me: As fell</i> Adam <i>so fell I</i>.</p>
+
+  <p>Belind. <i>Then pray Mr.</i> Adam <i>will you make us acquainted with your</i> Eve?</p>
+
+  <p><i>Rasor</i> unmasks <i>Madamoselle</i> and says, <i>This is the Woman that tempted me: But
+  this is the Serpent</i> (meaning Lady <i>Fanciful</i>) <span class="pagenum"
+  id="page78">{78}</span><i>that tempted the Woman; And if my Prayers might be heard, her punishment
+  for so doing should be like the Serpents of old, &amp;c.</i> This <i>Rasor</i> in what we hear of
+  him before, is all Roguery, and Debauch: But now he enters in <i>Sackcloth</i>; and talks like
+  <i>Tribulation</i> in the <i>Alchemist</i>. His Character is chang'd to make him the more profane;
+  And his Habit, as well as Discourse, is a Jest upon Religion. I am forced to omit one Line of his
+  Confession. The Design of it is to make the <i>Bible</i> deliver an obscene Thought: And because
+  the Text would not bend into a Lewd Application; He alters the words for his purpose, but passes
+  it for Scripture still. This sort of Entertainment is frequent in the <i>Relapse</i>. Lord
+  <i>Foplington</i> laughs at the publick Solemnities of Religion, as if 'twas a ridiculous piece of
+  Ignorance, to pretend to the Worship of a God. He discourses with <i>Berinthia</i> and
+  <i>Amanda</i> in this manner<span class="leftmar"><i>Relapse. p. 32, 33.</i></span><sup
+  class="handonly" id="ref150"><a href="#side150">[150]</a></sup>: <i>Why Faith
+  Madam,&mdash;&mdash;Sunday is a vile Day, I must confess. A man must have very little to do at
+  Church that can give an account of the Sermon.</i> And a little after: <i>is to mind what one
+  should not do. Lory</i> tells young <i>Fashion, I have been in a lamentable Fright ever since that
+  Conscience had the Impudence to intrude into your Company</i>. <span class="pagenum"
+  id="page79">{79}</span>His Master makes him this Comfortable Answer. <i>Be at peace, it will come
+  no more:&mdash;&mdash;I have kick'd it down stairs.</i> A little before he breaks out into this
+  Rapture. Now Conscience I defie thee!<span class="leftmar"><i>p. 44, 45.</i><br/>
+  <i>Vid. Infra.</i></span><sup class="handonly" id="ref151"><a href="#side151">[151]</a></sup> By
+  the way we may observe, that this young <i>Fashion</i> is the <i>Poets</i> Favorite.<sup
+  class="handonly" id="ref152"><a href="#side152">[152]</a></sup> <i>Berinthia</i> and
+  <i>Worthy</i>, two <i>Characters</i> of Figure, determine the point thus in defence of
+  Pimping.</p>
+
+  <p>Berinth. <i>Well, I would be glad to have no Bodies Sins to answer for but my own. But where
+  there is a necessity</i>&mdash;&mdash;<span class="leftmar"><i>p. 51.</i></span><sup
+  class="handonly" id="ref153"><a href="#side153">[153]</a></sup></p>
+
+  <p>Worth. <i>Right as you say, where there is a Necessity; A Christian is bound to help his
+  Neighbour.</i></p>
+
+  <p><i>Nurse</i>, after a great deal of Profane Stuff concludes her expostulation in these words:
+  <i>But his Worship</i> (<i>Young</i> Fashion) <i>over-flows with his Mercy and his Bounty; He is
+  not only pleas'd to forgive us our Sins&mdash;&mdash;but which is more than all, has prevail'd
+  with me to become the Wife of thy Bosom</i>:<span class="leftmar"><i>p. 96, 97.</i></span><sup
+  class="handonly" id="ref154"><a href="#side154">[154]</a></sup> This is very heavy, and ill
+  dress'd. And an Atheist must be sharp set to relish it. The Vertuous <i>Amanda</i>, makes no
+  scruple to charge the Bible with untruths.</p>
+
+  <div class="poem">
+    <p>&mdash;<i>What Slippery stuff are Men compos'd of?</i></p>
+    <p><i>Sure the Account of their Creation's false,</i></p>
+    <p><i>And 'twas the Womans Rib that they were form'd of.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref155"><a
+    href="#side155">[155]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page80">{80}</span></div>
+
+  <p>Thus this Lady abuses her self, together with the Scripture, and shews her Sense, and her
+  Religion, to be much of a Size.</p>
+
+  <p><i>Berinthia</i>, after she has given in a Scheme for the debauching <i>Amanda</i>, is thus
+  accosted by <i>Worthy</i>: <i>Thou Angel of Light, let me fall down and, adore thee</i>!<span
+  class="leftmar"><i>p.91.</i></span><sup class="handonly" id="ref156"><a
+  href="#side156">[156]</a></sup> A most Seraphick Compliment to a Procuress! And 'tis possible some
+  Angel or other, may thank him for't in due time.</p>
+
+  <p>I am quite tired with these wretched Sentences. The sight indeed is horrible, and I am almost
+  unwilling to shew it. However they shall be Produced like Malefactors, not for Pomp, but
+  Execution. Snakes and Vipers, must sometimes be look'd on, to destroy them. I can't forbear
+  expressing my self with some warmth under these Provocations. What Christian can be unconcern'd at
+  such intolerable Abuses? What can be a juster Reason for indignation than Insolence and Atheism?
+  Resentment can never be better shown, nor Aversion more seasonably <span class="correction"
+  title="Original reads 'executed', corrected by
+  Errata">exerted</span>! Nature made the Ferment and Rising of the Blood, for such occasions as
+  This. On what unhappy Times are we fallen! The Oracles of Truth, the Laws of Omnipotence, and the
+  Fate of Eternity are Laught at and despis'd! That the <i>Poets</i> <span class="pagenum"
+  id="page81">{81}</span>should be suffer'd to play upon the <i>Bible</i>, and Christianity be
+  Hooted off the <i>Stage</i>! Christianity that from such feeble beginings made so stupendious a
+  progress! That over-bore all the Oppositions of Power, and Learning; and with Twelve poor Men,
+  outstretch'd the Roman Empire. That this glorious Religion so reasonable in its Doctrine, so well
+  attested by Miracles, by Martyrs, by all the Evidence that <i>Fact</i> is capable of, should
+  become the Diversion of the Town, and the Scorn of Buffoons! And where, and by whom is all this
+  Out-rage committed? why not by <i>Julian</i>, or <i>Porphirie</i>, not among Turks or Heathens,
+  but in a Christian Country, in a Reform'd Church, and in the Face of Authority! Well! I perceive
+  the Devil was a Saint in his <i>Oracles</i>, to what he is in his <i>Plays</i>. His Blasphemies
+  are as much improv'd as his Stile, and one would think the Muse was <i>Legion</i>! I suppose the
+  <i>Reader</i> may be satisfied already: But if he desires farther proof, there's something more
+  flamingly impious behind.</p>
+
+  <p>The Christian <i>Almeida</i> when <i>Sebastian</i> was in danger, Raves and Foames like one
+  Possess'd,</p>
+
+  <div class="poem">
+    <p><i>But is there Heaven, for I begin to doubt?<span class="leftmar"><i>Don. Sebastian. p.
+    51.</i></span><sup class="handonly" id="ref157"><a href="#side157">[157]</a></sup></i></p>
+    <p><i>Now take your swing ye impious Sin unpunish'd,</i></p>
+    <p><i>Eternal Providence seems over watch'd,</i></p>
+    <p><i>And with a slumbring Nod assents to Murther.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page82">{82}</span></div>
+
+  <p>In the next <i>page</i>, she bellows again much after the same manner. The <i>Double Dealer</i>
+  to say the least of him, follows his Master in this Road, <i>Passibus æquis</i>. Sr. <i>Paul
+  Plyant</i> one would think had done his part: But the ridiculing <i>Providence</i> won't satisfie
+  all People: And therefore the next attempt is somewhat bolder.</p>
+
+  <p><i>Sr.</i> Paul. <i>Hold your self contented my Lady</i> Plyant,&mdash;&mdash;<i>I find Passion
+  coming upon me by Inspiration</i>.<span class="leftmar"><i>Double Dealer. p. 19.</i><br/>
+  <i>p. 17.</i><br/>
+  <i>p. 44.</i></span><sup class="handonly" id="ref158"><a href="#side158">[158]</a></sup> In
+  <i>Love Triumphant</i>, <i>Carlos</i> is by the Constitution of the <i>Play</i> a Christian;<sup
+  class="handonly" id="ref159"><a href="#side159">[159]</a></sup> and therefore must be construed in
+  the sense of his Religion. This Man blunders out this horrible expression. <i>Nature has given me
+  my Portion in Sense with a P&mdash;&mdash; to her. &amp;c.</i> The <i>Reader</i> may see the
+  Hellish Syllable at Length if he pleases. This Curse is borrow'd for <i>Young Fashion</i> in the
+  <i>Relapse</i>.<sup class="handonly" id="ref160"><a href="#side160">[160]</a></sup> The <i>Double
+  Dealer</i> is not yet exhausted. <i>Cynthia the Top Lady grows Thoughtful.</i> Upon the question
+  she relates her Contemplation. Cynth. <i>I am thinking (says she) that tho' Marriage makes Man and
+  Wife one Flesh, it leaves them two Fools.</i><span class="leftmar"><i>Double Dealer. p.
+  18.</i><br/>
+  <i>Gen. 2.<br/>
+  St. Math. 9.</i></span><sup class="handonly" id="ref161"><a href="#side161">[161]</a></sup> This
+  Jest is made upon a Text in <i>Genesis</i>,<sup class="handonly" id="ref162"><a
+  href="#side162">[162]</a></sup> and afterwards applyed by our Saviour to the case of <span
+  class="pagenum" id="page83">{83}</span>Divorse. <i>Love for Love</i> will give us a farther
+  account of this Authors Proficiency in the <i>Scriptures</i>. Our Blessed Saviour affirms himself
+  <i>to be the Way, the Truth, and the Light, that he came to bear witness to the Truth, and that
+  his Word is Truth</i>. These expressions were remembred to good purpose. For <i>Valentine</i> in
+  his pretended Madness tells <i>Buckram</i> the Lawyer; <i>I am Truth,&mdash;&mdash;I am
+  Truth&mdash;&mdash;Who's that, that's out of his way, I am Truth, and can set him right.</i><span
+  class="leftmar"><i>Love, &amp;c. p. 59, 61.</i></span><sup class="handonly" id="ref163"><a
+  href="#side163">[163]</a></sup> Now a <i>Poet</i> that had not been smitten with the pleasure of
+  Blasphemy, would never have furnish'd Frensy with Inspiration; nor put our Saviours Words in the
+  Mouth of a Madman. <i>Lady Brute</i>, after some struggle between Conscience and Lewdness,
+  declares in Favour of the later. She says the <i>part of a downright Wife is to Cuckold her
+  Husband</i>.<span class="leftmar"><i>Provok'd Wife. p. 3.</i></span><sup class="handonly"
+  id="ref164"><a href="#side164">[164]</a></sup> And tho' this is <i>against the strict Statute Law
+  of Religion, yet if there was a Court of Chancery in Heaven, she should be sure to cast
+  him</i>.<span class="leftmar"><i>p. 4.</i></span><sup class="handonly" id="ref165"><a
+  href="#side165">[165]</a></sup></p>
+
+  <p>This Brass is double guilt. <i>First</i>, It supposes no Equity in Heaven. And <i>Secondly</i>,
+  If there was, <i>Adultery</i> would not be punish'd! The <i>Poet</i> afterwards acquaints us by
+  this Lady, that Blasphemy is no Womans Sin.<span class="leftmar"><i>p. 65.</i></span><sup
+  class="handonly" id="ref166"><a href="#side166">[166]</a></sup> Why then does she fall into it?
+  Why in the mid'st of Temper and <span class="pagenum" id="page84">{84}</span>Reasoning? What makes
+  him break in upon his own Rules? Is Blasphemy never unseasonable upon the Stage, And does it
+  always bring its excuse along with it? The <i>Relapse</i> goes on in the same strain. When Young
+  <i>Fashion</i> had a prospect of cheating his Elder Brother, he tells <i>Lory, Providence thou
+  see'st at last takes care of Men of Merit.<span class="leftmar"><i>Relapse. p. 19.</i></span><sup
+  class="handonly" id="ref167"><a href="#side167">[167]</a></sup> Berinthia</i> who has engag'd to
+  corrupt <i>Amanda</i> for <i>Worthy</i>; attacks her with this Speech, <i>Mr</i>. Worthy <i>used
+  you like A Text, he took you all to peices</i>,<span class="leftmar"><i>p. 96.</i></span><sup
+  class="handonly" id="ref168"><a href="#side168">[168]</a></sup> and it seems was particular in her
+  Commendation, Thus she runs on for several Lines, in a Lewd, and Profane Allegory. In the
+  Application she speaks out the Design, and concludes with this pious Exhortation! <i>Now consider
+  what has been said, and Heaven give you Grace to put it in practise</i>; that is to play the
+  Whore. There are few of these last Quotations, but what are plain Blasphemy, and within the
+  <i>Law</i>. They look reeking as it were from <i>Pandæmonium</i>, and almost smell of Fire and
+  Brimstone. This is an Eruption of Hell with a witness! I almost wonder the smoak of it has not
+  darken'd the Sun, and turn'd the Air to Plague and Poyson! These are outrageous Provocations;
+  Enough to arm all Nature in Revenge; To exhaust the Judgments, of Heaven, <span class="pagenum"
+  id="page85">{85}</span>and sink the <i>Island</i> in the Sea! What a spite have these Men to the
+  God that made them. How do They Rebell upon his Bounty, and attack him with his own Reason? These
+  Giants in Wickedness, how would they ravage with a Stature Proportionable? They that can Swagger
+  in Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had Strength to their
+  Good-Will? And what can be the Ground of this Confidence, and the Reason of such horrid
+  Presumption? Why the <i>Scripture</i> will best satisfie the question. <i>Because sentence against
+  An Evil work is not excuted speedily, therefore the heart of the Sons of Men, is fully set in them
+  to do Evil.</i><span class="leftmar"><i>Eccles. 8. 11.</i></span><sup class="handonly"
+  id="ref169"><a href="#side169">[169]</a></sup></p>
+
+  <p>Clemency is weakness with some People; <i>And the Goodness of God which should lead them to
+  Repentance, does but harden them the more</i>. They conclude he wants Power to punish, because he
+  has patience to forbear. Because there is a Space between Blasphemy and Vengeance; and they don't
+  perish in the Act of Defiance; Because they are not blasted with Lightning, transfixt with
+  Thunder, and Guarded off with Devils, they think there's no such matter as a day of Reckoning.
+  <i>But let no Man be Deceiv'd, God is not mock'd</i>;<span class="leftmar"><i>Gal.
+  6.</i></span><sup class="handonly" id="ref170"><a href="#side170">[170]</a></sup> not without
+  danger they may be assur'd. Let them retreat in time, before the <i>Floods <span class="pagenum"
+  id="page86">{86}</span>run over them</i>: Before they come to that place, where Madness will have
+  no Musick, nor Blasphemy any Diversion.</p>
+
+  <p>And here it may not be amiss to look a little into the Behaviour of the <i>Heathens</i>. Now
+  'tis no wonder to find them run riot upon this Subject. The Characters of their Gods were not
+  unblemish'd. Their prospect of the other World, was but dim; neither were they under the Terrors
+  of <i>Revelation</i>. However, they are few of them so bad as the <i>Moderns</i>.</p>
+
+  <p><i>Terence</i> does not run often upon this rock. 'Tis true <i>Chærea</i> falls into an ill
+  Rapture after his Success.<span class="leftmar"><i>Eunuch.</i><br/>
+  <i>Heauton. A. 5. 1.</i><br/>
+  <i>Adelp. A. 5. 7.</i></span><sup class="handonly" id="ref171"><a href="#side171">[171]</a></sup>
+  <i>Chremes</i> bids his Wife not tire the Gods with Thanks:<sup class="handonly" id="ref172"><a
+  href="#side172">[172]</a></sup> And <i>Æschinus</i> is quite sick of the Religious part of the
+  Weding.<sup class="handonly" id="ref173"><a href="#side173">[173]</a></sup> These Instances;
+  excepting his Swearing, are the most, (and I think near all the) exceptionable Passages of this
+  <i>Author</i>.</p>
+
+  <p><i>Plautus</i> is much more bold. But then his sally's are generally made by <i>Slaves</i> and
+  <i>Pandars</i>.</p>
+
+  <p>This makes the Example less dangerous, and is some sort of extenuation. I grant this imperfect
+  excuse wont serve him always. There are some Instances where his <i>Persons</i> of better Figure
+  are guilty of lewd Defences, Profane Flights, and Sawcy Expostulation.<span
+  class="leftmar"><i>Lyconides. Aulular. A. 2. 4.<br/>
+  Palæstra. Rud. A. 1. 3.<br/>
+  Dinarchus. Trucul. A. 2. 4.</i></span><sup class="handonly" id="ref174"><a
+  href="#side174">[174]</a></sup> But the <i>Roman</i> Deities were <i>Beings</i> of ill Fame, <span
+  class="pagenum" id="page87">{87}</span>'tis the less wonder therefore if the <i>Poets</i> were
+  familiar with them. However, <i>Plautus</i> has something good in him, and enough to condemn the
+  Practise. <i>Pleusides would gladly have had the Gods changed the method of Things, in some
+  Particulars. He would have had frank good Humour'd People long live'd, and close-fisted Knaves die
+  Young.</i> To this <i>Periplectimenes</i> Gravely answers, <i>That 'tis great Ignorance, and
+  Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of them</i>.<span
+  class="leftmar"><i>Mil. Glor.</i></span><sup class="handonly" id="ref175"><a
+  href="#side175">[175]</a></sup> In his <i>Pseudolus</i> the Procurer <i>Ballio</i> talks
+  Profanely. Upon which <i>Pseudolus</i> makes this Reflection. <i>This Fellow makes nothing of
+  Religion, how can we trust him in other matters? For the Gods whom all People have the greatest
+  reason to fear, are most slighted by him.</i><span class="leftmar"><i>Pseud. A. 1.
+  3.</i></span><sup class="handonly" id="ref176"><a href="#side176">[176]</a></sup></p>
+
+  <p>The Greek Tragedians are more staunch, and write nearer the Scheme of Natural Religion. 'Tis
+  true, they have some bold expressions: But then they generally reprove the Liberty, and punish the
+  Men. <i>Prometheus</i> in <i>Æschylus</i> blusters with a great deal of Noise, and
+  Stubborness.<span class="leftmar"><i>Prom. vinct. 57.</i></span><sup class="handonly"
+  id="ref177"><a href="#side177">[177]</a></sup> He is not for changing Conditions with
+  <i>Mercury</i>: And chuses rather to be miserable, than to submit even to <i>Jupiter</i> himself.
+  The <i>Chorus</i> rebuke him for his Pride, and threaten him with greater Punishment. And the
+  <i>Poet</i> to make all sure brings him <span class="pagenum" id="page88">{88}</span>to Execution
+  before the end of the <i>Play</i>. He discharges Thunder and Lightning at his Head; shakes his
+  Rock with an Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of Nature to
+  make him an example. In his <i>Expedition against Thebes</i>, <i>Eteocles</i> expects
+  <i>Capaneus</i> would be destroy'd for his Blasphemies.<span class="leftmar"><i>p.
+  92.</i></span><sup class="handonly" id="ref178"><a href="#side178">[178]</a></sup> Which happen'd
+  accordingly. On the other hand; <i>Amphiaraus</i> being a person of Virtue, and Piety, they are
+  afraid least he should succeed. <i>For a Religious Enemy is almost invincible.</i><span
+  class="leftmar"><i>p. 101.</i></span><sup class="handonly" id="ref179"><a
+  href="#side179">[179]</a></sup> <i>Darius</i>'s Ghost lays <i>Xerxes</i>'s ruin upon the excess of
+  his Ambition, <i>'Twas, because he made a Bridge over the</i> Hellespont, <i>used</i> Neptune
+  <i>contumeliously, and, thought himself Superiour to Heaven.</i><span class="leftmar"><span
+  title="Pers." class="fsn">&Pi;&epsilon;&rho;&sigma;.</span> <i>161.</i></span><sup
+  class="handonly" id="ref180"><a href="#side180">[180]</a></sup> This Ghost tells the <i>Chorus
+  that the Persian Army miscarried for the out-rages they did to Religion, for breaking down the
+  Altars, and plundering the Gods</i>.<span class="leftmar"><i>164.</i></span><sup class="handonly"
+  id="ref181"><a href="#side181">[181]</a></sup></p>
+
+  <p><i>Ajax</i>'s Distraction is represented as judicial in <i>Sophocles</i>. 'Twas inflicted for
+  his <i>Pride</i> and <i>Atheism</i>.<span class="leftmar"><i>Ajax. Flagell.</i></span><sup
+  class="handonly" id="ref182"><a href="#side182">[182]</a></sup> 'When his Father bid him be brave
+  but Religious withall, he haughtily replyed that 'twas, for Cowards to beg the Assistance of the
+  Gods; as for his part, he hoped to Conquer without them. And when <i>Minerva</i> encouraged him to
+  charge the Enemy,</p>
+
+  <div><span class="pagenum" id="page89">{89}</span></div>
+
+  <div class="poem">
+    <p><span title="To t' antiphônei deinon arrêton t' epos," class="fsn">&Tau;&omicron; &tau;'
+    &#x1F00;&nu;&tau;&iota;&phi;&omega;&nu;&epsilon;&#x1F76; &delta;&epsilon;&iota;&nu;&#x1F78;&nu;
+    &#x1F00;&rho;&rho;&eta;&tau;&omicron;&nu; &tau;' &#x1F14;&pi;&omicron;&sigmaf;,</span></p>
+  </div>
+
+  <p>'He made her this Lewd and insufferable Answer. Pray withdraw, and give your Countenance
+  elswhere, I want no Goddesses to help me do my Business. This Insolence made <i>Minerva</i> hate
+  him; and was the cause of his Madness and self Murther.' To proceed. The <i>Chorus</i> condemns
+  the Liberty of <i>Jocasta</i>, who obliquely charged a Practise upon the <i>Oracle</i>:<span
+  class="leftmar"><i>Oedip. Tyran. p. 187.</i></span><sup class="handonly" id="ref183"><a
+  href="#side183">[183]</a></sup> Tho' after all, she did not tax <i>Apollo</i>, but his
+  Ministers.</p>
+
+  <p>The same <i>Chorus</i> recommends Piety, and Relyance upon the Gods, and threatens Pride and
+  Irreligion with Destruction. In <i>Antigone</i>,<span class="leftmar"><i>p. 188.</i></span><sup
+  class="handonly" id="ref184"><a href="#side184">[184]</a></sup> <i>Tiresias</i> advises
+  <i>Creon</i> to wave the Rigour of his <i>Edict</i>, And not let the Body of <i>Polynices</i> lie
+  unburied, and expos'd. He tells him the Altars were already polluted with Humane Flesh. This had
+  made the Language of the Birds unintelligible, and confounded the marks of <i>Augury</i>.<span
+  class="leftmar"><i>Antig. p. 256.</i></span><sup class="handonly" id="ref185"><a
+  href="#side185">[185]</a></sup> <i>Creon</i> replies in a rage, and says he would not consent to
+  the Burial of <i>Polynices</i>: No, tho' 'twere to prevent the Eagle's throwing part of the
+  Carkass in <i>Jove</i>'s <i>Chair</i> of <i>State</i>. This was a bold Flight; but 'tis not long
+  before he pays for't. Soon after, his Son, and Queen, kill <span class="pagenum"
+  id="page90">{90}</span>themselves. And in the close the Poet who speaks in the <i>Chorus</i>,
+  explains the Misfortune, and points upon the Cause, and affirms that <i>Creon</i> was punish'd for
+  his Haughtiness and Impiety. To go on to his <i>Trachiniæ</i>. <i>Hercules</i> in all the
+  extremity of his Torture does not fall foul upon Religion. 'Tis true, He shows as much Impatience
+  as 'tis possible. His Person, his pain, and the Occasion of it, were very extraordinary. These
+  circumstances make it somewhat natural for him to complain above the common rate. The Greatness of
+  his Spirit, the Feavour of his Blood, and the Rage of his Passion, could hardly fail of putting
+  Force, and Vehemence into his Expressions. Tho' to deal clearly he seems better furnish'd with
+  Rhetorick, than true Fortitude.<span class="leftmar"><i>Trach. p. [......].</i></span><sup
+  class="handonly" id="ref186"><a href="#side186">[186]</a></sup> But after all, his Disorders are
+  not altogether ungovern'd. He is uneasy, but not impious, and profane.</p>
+
+  <p>I grant <i>Hercules Oeteus</i> in <i>Seneca</i>, swaggers at a strange Rhodomontading rate. But
+  the Conduct of this Author is very indifferent. He makes a meer <i>Salamander</i> of his
+  <i>Hero</i>, and lets him declaim with too much of Length, Curiosity and Affectation, for one in
+  his Condition: He harangues it with great plenty of Points, and Sentences in the Fire, and lies
+  frying, and <span class="pagenum" id="page91">{91}</span>Philosophizing for near a hundred Lines
+  together. In fine, this Play is so injudiciously manag'd, that <i>Heinsius</i> is confident 'twas
+  written by neither of the <i>Seneca's</i>, but by some later Author of a lower <i>Class</i>. To
+  return to <i>Sophocle</i>'s <i>Trachiniæ</i>. <i>Hyllus</i> reproaches the Gods with Neglect,
+  because they gave <i>Hercules</i> no Assistance, and glances upon <i>Jupiter</i> himself.<span
+  class="leftmar"><i>Trach. p. 375.</i></span><sup class="handonly" id="ref187"><a
+  href="#side187">[187]</a></sup> This sally is not so thoroughly corrected as formerly. 'Tis true
+  the <i>Chorus</i> make some little satisfaction immediately after. They resolve all surprizes of
+  Misfortune, all Revolutions of States or Families, into the will and Permission of <i>Jupitur</i>.
+  This by implication, They make an argument for acquiescence. Besides, the Poet had laid in a sort
+  of caution against Misconstruction before. For the <i>Messenger</i> tells <i>Dejaneira</i> that we
+  ought not to Murmur at the Conduct of <i>Jupiter</i>.<span class="leftmar"><i>Trach. p.
+  340.</i></span><sup class="handonly" id="ref188"><a href="#side188">[188]</a></sup></p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<span title="Tou logou d' ou chrê Phthonon" class="fsn">&Tau;&omicron;&#x1FE6;
+    &lambda;&#x1F79;&gamma;&omicron;&upsilon; &delta;' &#x1F40;&upsilon; &chi;&rho;&#x1F74;
+    &Phi;&theta;&#x1F79;&nu;&omicron;&nu;</span></p>
+    <p><span title="Gonai proseinai Zeus hotou praktôr
+    phanê." class="fsn">&Gamma;&#x1F79;&nu;&alpha;&iota;
+    &pi;&rho;&omicron;&sigma;&epsilon;&#x1FD6;&nu;&alpha;&iota; &Zeta;&epsilon;&#x1F7A;&sigmaf;
+    &#x1F45;&tau;&omicron;&upsilon; &pi;&rho;&#x1F71;&kappa;&tau;&omega;&rho;
+    &phi;&alpha;&nu;&#x1FC6;.</span></p>
+  </div>
+
+  <p>This for a Heathen is something tho' not enough, <i>Cleomenes</i>'s Rant seems an imitation of
+  <i>Hyllus</i>, Only 'tis bolder, and has nothing of the rashness of Youth to excuse it.<span
+  class="leftmar"><i>Cleom. p. 54.</i></span><sup class="handonly" id="ref189"><a
+  href="#side189">[189]</a></sup> Besides <i>Sophocles</i> throws in somewhat by way of
+  Preservative. <span class="pagenum" id="page92">{92}</span>Whereas in <i>Cleomenes</i> the Boy
+  <i>Cleonidas</i> has the better on the wrong side, and seems to carry the cause of Atheism against
+  his Father.<span class="leftmar"><i>Id. p. 55.</i></span><sup class="handonly" id="ref190"><a
+  href="#side190">[190]</a></sup> This <i>Scene</i> of a <i>Famine</i> Mr. <i>Dryden</i> calls a
+  Beauty; and yet Methinks <i>Cleora</i> is not very Charming! Her part is to tell you the Child
+  suck'd to no purpose.</p>
+
+  <div class="poem">
+    <p><i>It pull'd and pull'd but now but nothing came,</i></p>
+    <p><i>At last it drew so hard that the Blood follow'd.</i></p>
+    <p><i>And that Red Milk I found upon its Lips,</i></p>
+    <p><i>Which made me swoon for Fear.</i><span class="leftmar"><i>p. 54.</i></span><sup
+    class="handonly" id="ref191"><a href="#side191">[191]</a></sup></p>
+  </div>
+
+  <p>There's a Description of Sucking for you! And truly one would think the Muse on't were scarsely
+  wean'd. This Lady's fancy is just <i>Slip-Stocking-high</i>; and she seems to want Sense, more
+  than her Breakfast. If this Passage would not shine, the Poet should have let it alone. 'Tis
+  <i>Horace</i>'s advice.</p>
+
+  <div class="poem">
+    <p style="margin-left:6.30em">&mdash;&mdash;<i>et quæ</i></p>
+    <p><i>Desperes tractata nitescere posse relinquas.</i><span class="leftmar"><i>De Art.
+    Poet.</i></span><sup class="handonly" id="ref192"><a href="#side192">[192]</a></sup></p>
+  </div>
+
+  <p>The greatest part of the Life of this <i>Scene</i> is spent in impious Rants, and Atheistical
+  Disputes. To do the Author right, his <i>Characters</i> never want Spirits for such Service,
+  either full or Fasting. Some <span class="pagenum" id="page93">{93}</span>people love to say the
+  worst Things in the best manner; To perfume their Poysons, and give an Air to Deformity.</p>
+
+  <p>There is one ill Sentence in <i>Sophocles</i> behind. <i>Philoctetes</i> calls the Gods <span
+  title="Kakoi" class="fsn">&Kappa;&alpha;&kappa;&#x1F78;&iota;</span>, and Libells their
+  Administration.<span class="leftmar"><i>Philoct. 402.</i></span><sup class="handonly"
+  id="ref193"><a href="#side193">[193]</a></sup> This Officer we must understand was left upon a
+  Solitary Island, ill used by his Friends, and harrass'd with Poverty and Ulcers, for Ten years
+  together. These, under the Ignorance of Paganism, were trying Circumstances, and take off somewhat
+  of the Malignity of the Complaint. Afterwards He seems to repent,<span
+  class="leftmar"><i>419.</i></span><sup class="handonly" id="ref194"><a
+  href="#side194">[194]</a></sup> and declares his Assurance that the Gods will do Justice, and
+  prays frequently to them. The Conclusion of this Play is remarkably Moral. Here <i>Hercules</i>
+  appears in <i>Machine</i>; aquaints <i>Philoctetes</i> with his own glorious Condition; That his
+  Happiness was the Reward of Virtue, and the Purchase of Merit. He charges him to pay a due regard
+  to Religion; For Piety would recommend him to <i>Jupiter</i> more than any other Qualification. It
+  went into the other World with People and they found their Account in't both Living and Dead.<span
+  class="leftmar"><i>p. 431.</i></span><sup class="handonly" id="ref195"><a
+  href="#side195">[195]</a></sup></p>
+
+  <p>Upon the whole; The <i>Plays</i> of <i>Æschylus</i> and <i>Sophocles</i> are formed upon Models
+  of Virtue: They joyn Innocence with <span class="pagenum" id="page94">{94}</span>Pleasure, and
+  design the Improvement, of the <i>Audience</i>.</p>
+
+  <p>In <i>Euripides's Bacchæ, Pentheus</i> is pull'd in pieces for using <i>Bacchus</i> with
+  Disrespect. And the <i>Chorus</i> observes that God never fails to punish Impiety, and Contempt of
+  Religion.<span class="leftmar"><i>Act. 2.</i><br/>
+  <i>p. 295.</i></span><sup class="handonly" id="ref196"><a href="#side196">[196]</a></sup>
+  <i>Polyphemus</i> blusters Atheistically, and pretends to be as great as <i>Jupiter</i>: But then
+  his Eye is burnt out in the fifth Act.<sup class="handonly" id="ref197"><a
+  href="#side197">[197]</a></sup> And the <i>Chorus</i> in <i>Heraclidæ</i> affirm it next to
+  Madness not to worship the Gods. I grant he has some profane Passages stand uncorrected, and what
+  wonder is it to see a <i>Pagan</i> Miscarry? <i>Seneca</i>, as he was inferiour in Judgment to the
+  <i>Greeks</i>, so he is more frequent, and uncautious, in his Flights of extravagance. His Hero's
+  and Heroines, are excessively bold with the Superior Beings. They rave to Distraction, and he does
+  not often call them to an account for't. 'Tis true <i>Ajax Oileus</i> is made an Example for
+  Blaspheming in a Storm. He is first struck with Thunder, and then carried to the Bottom.<span
+  class="leftmar"><i>Agam. Act. 3.</i></span><sup class="handonly" id="ref198"><a
+  href="#side198">[198]</a></sup> The Modern <i>Poets</i>, proceed upon the Liberties of
+  <i>Seneca</i>, Their Madmen are very seldom reckon'd with. They are profane without Censure, and
+  defie the <i>Living God</i> with success. Nay, in some respect they exceed even <i>Seneca</i>
+  himself. He flies out only under Impatience; And never falls into these Fits without <span
+  class="pagenum" id="page95">{95}</span>Torture, and hard Usage. But the <i>English Stage</i> are
+  unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But supposing the
+  <i>Theatres</i> of <i>Rome</i>, and <i>Athens</i> as bad as possible, what Defence is all This?
+  Can we argue from <i>Heathenism</i> to <i>Christianity</i>? How can the <i>practise</i> be the
+  same, where the <i>Rule</i> is so very different? Have we not a clearer Light to direct us, and
+  greater Punishments to make us afraid. Is there no Distinction between Truth and Fiction, between
+  Majesty and a Pageant? Must God be treated like an Idol, and the <i>Scriptures</i> banter'd like
+  <i>Homers Elysium</i>, and <i>Hesiods Theogonia</i>? Are these the Returns we make Him for his
+  Supernatural Assistance? For the more perfect Discovery of Himself, the stooping of his Greatness,
+  and the Wonders of his Love. Can't we refuse the Happiness without affronting the Offer? Must we
+  add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no Diversion without Insulting
+  the God that made us, the Goodness that would save us, and the Power that can damn us? Let us not
+  flatter our selves, <i>Words</i> won't go for Nothing. Profaness is a most Provoking Contempt, and
+  a Crime of the deepest dye. To break through the Laws of a Kingdom is bad <span class="pagenum"
+  id="page96">{96}</span>enough; But to make <i>Ballads</i> upon the <i>Statute-Book</i>, and a Jest
+  of Authority, is much worse. Atheists may fancy what they please, but God will <i>Arise and
+  Maintain his own Cause</i>, and Vindicate his Honour in due time.</p>
+
+  <p class="sp5">To conclude. Profaness tho' never so well corrected is not to be endured. It ought
+  to be Banish'd without <i>Proviso</i>, or Limitation. No pretence of <i>Character</i> or
+  Punishment, can excuse it; or any <i>Stage-Discipline</i> make it tolerable. 'Tis grating to
+  <i>Christian</i> Ears, dishonourable to the Majesty of God, and dangerous in the Example. And in a
+  Word, It tends to no point, unless it be to wear off the horrour of the Practise, to weaken the
+  force of Conscience, and teach the Language of the Damn'd.</p>
+
+  <div><span class="pagenum" id="page97">{97}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  III.</span></h1>
+
+  <h2 class="sp3"><i>The Clergy abused by the</i> Stage.</h2>
+
+  <p>The Satyr of the <i>Stage</i> upon the <i>Clergy</i> is extreamly Particular. In other cases,
+  They level at a single Mark, and confine themselves to Persons. But here their Buffoonry takes an
+  unusual Compass; They shoot Chain'd-shot, and strike at Universals. They play upon the
+  <i>Character</i>, and endeavour to expose not only the Men, but the Business. 'Tis true, the
+  Clergy are no small Rub in the <i>Poets</i> way. 'Tis by their Ministrations that Religion is
+  perpetuated, the other World Refresh'd, and the Interest of Virtue kept up. Vice will never have
+  an unlimited Range, nor Conscience be totally subdued, as long as People are so easy as to be
+  Priest-ridden! As long as these Men are look'd on as the Messengers of Heaven, and the Supports of
+  Government, and enjoy their old Pretentions in Credit and Authority; as long as this Grievance
+  continues, the <i>Stage</i> must decline of Course, and Atheism give Ground, and Lewdness lie
+  under Censure, <span class="pagenum" id="page98">{98}</span>and Discouragment. Therefore that
+  Liberty may not be embarrass'd, nor Principles make Head against Pleasure, the <i>Clergy</i> must
+  be attack'd, and rendred Ridiculous.</p>
+
+  <p>To represent a Person fairly and without disservice to his Reputation, two Things are to be
+  observ'd. First He must not be ill used by others: Nor Secondly be made to Play the Fool Himself.
+  This latter way of Abuse is rather the worst, because here a Man is a sort of <i>Felo de se</i>;
+  and appears Ridiculous by his own fault. The Contradiction of both these Methods is practised by
+  the <i>Stage</i>. To make sure work on't, they leave no stone unturn'd, The whole <i>Common
+  place</i> of Rudeness is run through. They strain their Invention and their Malice: And overlook
+  nothing in ill Nature, or ill Manners, to gain their point.</p>
+
+  <p>To give some Instances of their Civility! In the <i>Spanish Fryer, Dominick</i> is made a Pimp
+  for <i>Lorenzo</i>;<span class="leftmar"><i>20.</i></span><sup class="handonly" id="ref199"><a
+  href="#side199">[199]</a></sup> He is call'd <i>a parcel of Holy Guts and Garbage</i>, and said
+  <i>to have room in his Belly for his Church steeple</i>.</p>
+
+  <p><i>Dominick</i> has a great many of these Compliments bestow'd upon him. And to make the
+  Railing more effectual, you have a general stroke or two upon the Profession. Would you know what
+  are the <span class="pagenum" id="page99">{99}</span><i>Infallible Church Remedies</i>. Why 'tis
+  to <i>Lie Impudently</i>, and <i>Swear Devoutly</i>.<span class="leftmar"><i>p. 37.</i></span><sup
+  class="handonly" id="ref200"><a href="#side200">[200]</a></sup> A little before this
+  <i>Dominick</i> Counterfits himself sick, retires, and leaves <i>Lorenzo</i> and <i>Elvira</i>
+  together; And then the Remark upon the Intrigue follows. 'You see Madam (says <i>Lorenzo</i>)<span
+  class="leftmar"><i>p. 23.</i></span><sup class="handonly" id="ref201"><a
+  href="#side201">[201]</a></sup> 'tis Interest governs all the World. He Preaches against Sin, why?
+  Because he gets by't: He holds his Tongue; why? because so much more is bidden for his Silence.
+  'Tis but giving a Man his Price, and Principles of <i>Church</i> are bought off as easily as they
+  are in <i>State</i>: No man will be a Rogue for nothing; but Compensation must be made, so much
+  Gold for so much Honesty; and then a Church-man will break the Rules of Chess. For the Black
+  Bishop, will skip into the White, and the White into the Black, without Considering whether the
+  remove be Lawful.</p>
+
+  <p>At last <i>Dominick</i> is discover'd to the Company, makes a dishonourable <i>Exit</i>, and is
+  push'd off the <i>Stage</i> by the Rabble. This is great Justice! The Poet takes care to make him
+  first a Knave, and then an Example: But his hand is not even. For Lewd <i>Lorenzo</i> comes off
+  with <i>Flying Colours</i>. 'Tis not the Fault which is corrected but <span class="pagenum"
+  id="page100">{100}</span>the Priest. The Authors Discipline is seldom without a Biass. He commonly
+  gives the <i>Laity</i> the Pleasure of an ill Action, and the <i>Clergy</i> the Punishment.</p>
+
+  <p>To proceed. <i>Horner</i> in his general Remarks upon Men, delivers it as a sort of Maxim,
+  <i>that your Church-man is the greatest Atheist</i>. In this Play <i>Harcourt</i> puts on the
+  Habit of a Divine.<span class="leftmar"><i>Country Wife p. 6.</i></span><sup class="handonly"
+  id="ref202"><a href="#side202">[202]</a></sup> <i>Alithea</i> does not think him what he appears;
+  but <i>Sparkish</i> who could not see so far, endeavours to divert her Suspicion. <i>I tell you
+  (says he) this is Ned</i> Harcourt <i>of</i> Cambridge, <i>you see he has a sneaking Colledge
+  look</i>.<span class="leftmar"><i>p. 35.</i></span><sup class="handonly" id="ref203"><a
+  href="#side203">[203]</a></sup> Afterwards his Character is sufficiently abused by <i>Sparkish</i>
+  and <i>Lucy</i>; but not so much as by Himself.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref204"><a href="#side204">[204]</a></sup> He tells you in an <i>Aside</i>
+  <i>he must suit his Stile to his Coat</i>. Upon this wise Recollection, He talks like a servile,
+  impertinent Fop,</p>
+
+  <p>In the <i>Orphan</i>, The Young Soldier <i>Chamont</i> calls the Chaplain Sr. <i>Gravity</i>,
+  and treats him with the Language of <i>Thee</i>, and <i>Thou</i>. The Chaplain instead of
+  returning the Contempt; Flatters <i>Chamont</i> in his Folly, and pays a Respect to his Pride. The
+  Cavalier encouraged I suppose by this Sneaking, proceeds to all the Excesses of Rudeness,</p>
+
+  <div><span class="pagenum" id="page101">{101}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>is there not one</i></p>
+    <p><i>Of all thy Tribe that's Honest in your School?</i></p>
+    <p><i>The Pride of your Superiours makes ye Slaves:</i></p>
+    <p><i>Ye all live Loathsome, Sneaking, Servile lives:</i></p>
+    <p><i>Not free enough to Practise generous Truth,</i></p>
+    <p><i>'Tho ye pretend to teach it to the World.</i><span class="leftmar"><i>p.
+    25.</i></span><sup class="handonly" id="ref205"><a href="#side205">[205]</a></sup></p>
+  </div>
+
+  <p>After a little Pause for Breath, the Railing improves.</p>
+
+  <div class="poem">
+    <p><i>If thou wouldst have me not contemn thy Office,</i></p>
+    <p><i>And Character, think all thy Brethren Knaves,</i></p>
+    <p><i>Thy Trade a Cheat, and thou its worst Professour</i></p>
+    <p><i>Inform me; for I tell thee Priest I'le know.</i><span class="leftmar"><i>p.
+    26.</i></span><sup class="handonly" id="ref206"><a href="#side206">[206]</a></sup></p>
+  </div>
+
+  <p>The Bottom of the Page is down-right Porters Rhetorick.</p>
+
+  <div class="poem">
+    <p><i>Art thou then</i></p>
+    <p><i>So far concern'd in't?&mdash;&mdash;</i></p>
+    <p><i>Curse on that formal steady Villains Face!</i></p>
+    <p><i>Just so do all Bawds look; Nay Bawds they say;</i></p>
+    <p><i>Can Pray upon Occasion; talk of Heaven;</i></p>
+    <p><i>Turn up their Gogling Eye-balls, rail at Vice;</i></p>
+    <p><i>Dissemble, Lye, and Preach like any Priest,</i></p>
+    <p><i>Art thou a Bawd?</i><span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+    id="ref207"><a href="#side207">[207]</a></sup></p>
+  </div>
+
+  <p>The <i>Old Batchelour</i> has a Throw at the <i>Dissenting Ministers</i>. The <i>Pimp
+  Setter</i> <span class="pagenum" id="page102">{102}</span>provides their Habit for <i>Bellmour</i>
+  to Debauch <i>Lætitia</i>. The Dialogue runs thus.</p>
+
+  <p>Bell. <i>And hast thou Provided Necessaries?</i></p>
+
+  <p>Setter. <i>All, all Sir, the large Sanctified Hat, and the little precise Band, with a
+  Swingeing long Spiritual Cloak, to cover Carnal Knavery,&mdash;not forgetting the black Patch
+  which Tribulation</i> Spintext <i>wears as I'm inform'd upon one Eye, as a penal Mourning for
+  the&mdash;&mdash;Offences of his Youth</i> &amp;c.<span class="leftmar"><i>Old Batch. p. 19,
+  20.</i></span><sup class="handonly" id="ref208"><a href="#side208">[208]</a></sup></p>
+
+  <p><i>Barnaby</i> calls another of that Character Mr. <i>Prig</i>, and <i>Fondlewife</i> carrys on
+  the Humour lewdly in <i>Play-house Cant</i>; And to hook the <i>Church</i> of <i>England</i> into
+  the Abuse, he tacks a <i>Chaplain</i> to the End of the Description.<span class="leftmar"><i>p.
+  27.</i></span><sup class="handonly" id="ref209"><a href="#side209">[209]</a></sup></p>
+
+  <p><i>Lucy</i> gives an other Proof of the <i>Poets</i> good Will, but all little Scurilities are
+  not worth repeating.<span class="leftmar"><i>p. 41.</i></span><sup class="handonly" id="ref210"><a
+  href="#side210">[210]</a></sup></p>
+
+  <p>In the <i>Double Dealer</i> the discourse between <i>Maskwell</i> and <i>Saygrace</i> is very
+  notable. <i>Maskwell</i> had a design to cheat <i>Mellifont</i> of his Mistress, and engages the
+  Chaplain in the Intrigue: There must be a <i>Levite</i> in the cafe; <i>For without one of them
+  have a finger in't, no Plot publick, or private, can expect to prosper</i>.<span
+  class="leftmar"><i>p. 71.</i></span><sup class="handonly" id="ref211"><a
+  href="#side211">[211]</a></sup></p>
+
+  <p>To go on in the order of the <i>Play</i>.</p>
+
+  <p><i>Maskwell</i> calls out at <i>Saygraces door</i>, Mr. <i>Saygrace</i> Mr.
+  <i>Saygrace</i>.</p>
+
+  <p>The other answers, <i>Sweet sir I will but <span class="pagenum" id="page103">{103}</span>pen
+  the last line of an Acrostick, and be with you in the twingling of an Ejaculation, in the
+  pronouncing of an</i> Amen. <i>&amp;c.</i></p>
+
+  <p>Mask. <i>Nay good Mr.</i> Saygrace <i>do not prolong the time</i>, &amp;c.</p>
+
+  <p>Saygrace. <i>You shall prevail, I would break off in the middle of a Sermon to do you
+  Pleasure.</i></p>
+
+  <p>Mask. <i>You could not do me a greater&mdash;&mdash;except&mdash;&mdash;the business in
+  hand&mdash;&mdash;have you provided a Habit for Mellifont?</i></p>
+
+  <p>Saygr. <i>I have</i>, &amp;c.</p>
+
+  <p>Mask. <i>have you stich'd the Gownsleeve, that he may be puzled and wast time in putting it
+  on?</i></p>
+
+  <p>Saygr. <i>I have; the Gown will not be indued without Perplexity.</i> There is a little more
+  profane, and abusive stuff behind, but let that pass.</p>
+
+  <p>The Author of <i>Don Sebastian</i> strikes at the <i>Bishops</i> through the sides of the
+  <i>Mufti</i>, and borrows the Name of the <i>Turk</i>, to make the <i>Christian</i> ridiculous. He
+  knows the transition from one Religion to the other is natural, the Application easy, and the
+  Audience but too well prepar'd. And should they be at a loss he has elsewhere given them a
+  <i>Key</i> to understand him.</p>
+
+  <div class="poem">
+    <p><i>For Priests of all Religions are the same.</i><span class="leftmar"><i>Absal. and
+    Achi.</i></span><sup class="handonly" id="ref212"><a href="#side212">[212]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page104">{104}</span></div>
+
+  <p>However that the Sense may be perfectly intelligible, he makes the Invective General, changes
+  the Language, and rails in the stile of Christendom.</p>
+
+  <p><i>Benducar</i> speaks,</p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>Churchmen tho' they itch to govern all,</i></p>
+    <p><i>Are silly, woful, awkard Polititians,</i></p>
+    <p><i>They make lame Mischief tho' they mean it well.</i></p>
+  </div>
+
+  <p>So much the better, for 'tis a sign they are not beaten to the Trade. The next Lines are an
+  Illustration taken from a <i>Taylor</i>.</p>
+
+  <div class="poem">
+    <p><i>Their Intrest is not finely drawn and hid,</i></p>
+    <p><i>But seams are coarsly bungled up and seen.</i><span class="leftmar">p. 24.</span><sup
+    class="handonly" id="ref213"><a href="#side213">[213]</a></sup></p>
+  </div>
+
+  <p>This <i>Benducar</i> was a rare Spokesman for a first <i>Minister</i>; And would have fitted
+  <i>John</i> of <i>Leyden</i> most exactly!</p>
+
+  <p>In the Fourth <i>Act</i> the Mufti is <i>Depos'd</i> and <i>Captain Tom</i> reads him a shrewd
+  Lecture at parting. But let that pass:</p>
+
+  <p>To go on, <i>Mustapha</i> threatens his great Patriark to put him to the Rack. Now you shall
+  hear what an answer of Fortitude and Discretion is made for the <i>Mufti</i>.</p>
+
+  <p>Mufti. <i>I hope you will not be so barbarous to torture me. We may Preach Suffering to others,
+  but alas holy Flesh is too well pamper'd <span class="pagenum" id="page105">{105}</span>to endure
+  Martyrdom.</i><span class="leftmar"><i>p. 96.</i></span><sup class="handonly" id="ref214"><a
+  href="#side214">[214]</a></sup> By the way, if flinching from <i>Suffering</i> is a proof of
+  <i>Holy Flesh</i>, the <i>Poet</i> is much a Saint in his Constitution, witness his
+  <i>Dedication</i> of <i>King Arthur</i>.</p>
+
+  <p>In <i>Cleomenes, Cassandra</i> rails against Religion at the Altar, and in the midst of a
+  publick Solemnity.</p>
+
+  <div class="poem">
+    <p><i>Accurs'd be thou Grass-eating fodderd God!</i></p>
+    <p><i>Accurs'd thy Temple! more accurs'd thy Priests!</i><span class="leftmar"><i>p.
+    32.</i></span><sup class="handonly" id="ref215"><a href="#side215">[215]</a></sup></p>
+  </div>
+
+  <p>She goes on in a mighty Huff, and charges the Gods and Priesthood with Confederacy, and
+  Imposture, This Rant is very unlikely at <i>Alexandria</i>. No People are more bigotted in their
+  Superstition than the <i>Ægyptians</i>; Nor any more resenting of such an Affront. This Satyr then
+  must be strangely out of Fashion, and probability. No matter for that; it may work by way of
+  Inference, and be serviceable at Home. And 'tis a handsom Compliment to Libertines and
+  Atheists.</p>
+
+  <p>We have much such another swaggering against Priests in <i>Oedipus</i>.</p>
+
+  <div class="poem">
+    <p><i>Why seek I Truth from thee?</i></p>
+    <p><i>The smiles of Courtiers and the Harlots tears,</i></p>
+    <p><i>The Tradesmens Oaths, and Mourning of an Heir,</i></p>
+    <p><i>Are Truths to what Priests tell.</i></p>
+    <p><i>O why has Priesthood privilege to Lie,</i></p>
+    <p><i>And yet to be believ'd!</i><span class="leftmar"><i>Oedip. p. 38.</i></span><sup
+    class="handonly" id="ref216"><a href="#side216">[216]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page106">{106}</span></div>
+
+  <p>And since They are thus Lively, I have one word or two to say to the <i>Play</i>.</p>
+
+  <p>When <i>Ægeon</i> brought the News of King <i>Polybus</i>'s Death, <i>Oedipus</i> was
+  wonderfully surpriz'd at the Relation.</p>
+
+  <div class="poem">
+    <p><i>O all ye Powers is't possible? what, Dead!</i><span class="leftmar"><i>p.
+    43.</i></span><sup class="handonly" id="ref217"><a href="#side217">[217]</a></sup></p>
+  </div>
+
+  <p>And why not? was the Man invulnerable or immortal? Nothing of that: He was only Fourscore and
+  Ten years old, that was his main security. And if you will believe the Poet he</p>
+
+  <div class="poem">
+    <p><i>Fell like Autumn Fruit that mellow'd long,</i></p>
+    <p><i>Ev'n wondred at because he dropt no sooner.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref218"><a
+    href="#side218">[218]</a></sup></p>
+  </div>
+
+  <p>And which is more, <i>Oedipus</i> must be acquainted with his Age, having spent the greatest
+  part of his time with him at <i>Corinth</i>. So that in short, the pith of the Story lies in this
+  Circumstance. A Prince of Ninety years was dead, and one who was wondred at for dying no sooner.
+  And now why so much Exclamation upon this occasion? Why must all the <i>Powers</i> in Being be
+  Summon'd in to make the News <span class="pagenum" id="page107">{107}</span>Credible? This
+  <i>Posse</i> of <i>Interjections</i> would have been more seasonably raised if the Man had been
+  alive; for that by the Poets Confession had been much the stranger Thing. However <i>Oedipus</i>
+  is almost out of his Wits about the Matter, and is Urgent for an account of Particulars.</p>
+
+  <div class="poem">
+    <p><i>That so the Tempest of my joys may rise</i></p>
+    <p><i>By just degrees, and hit at last the Stars.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref219"><a
+    href="#side219">[219]</a></sup></p>
+  </div>
+
+  <p>This is an empty ill proportion'd Rant, and without warrant in Nature or Antiquity.
+  <i>Sophocles</i> does not represent <i>Oedipus</i>. in such Raptures of Extravagant surprize. In
+  the next page there's another Flight about <i>Polybus</i> his Death somewhat like This. It begins
+  with a <i>Noverint Universi.</i> You would think <i>Oedipus</i> was going to make a
+  <i>Bond</i>.</p>
+
+  <div class="poem">
+    <p><i>Know, be it known to the limits of the World</i>;</p>
+  </div>
+
+  <p>This is scarce Sence, be it known.</p>
+
+  <div class="poem">
+    <p><i>Yet farther, let it pass yon dazling roof</i></p>
+    <p><i>The Mansion of the Gods, and strike them deaf</i></p>
+    <p><i>With Everlasting peals of Thundring joy.</i></p>
+  </div>
+
+  <p>This Fustian puts me in mind of a <i>Couplet</i> of <i>Taylors</i> the <i>Water</i> Poet, which
+  for <span class="pagenum" id="page108">{108}</span>the Beauty of the Thought are not very
+  unlike.</p>
+
+  <div class="poem">
+    <p><i>What if A Humble Bee should chance to strike,</i></p>
+    <p><i>With the But-End of an <span class="correction"
+    title="Original reads 'Antarkick', corrected by
+    Errata">Antartick</span> Pole.</i></p>
+  </div>
+
+  <p>I grant Mr. <i>Dryden</i> clears himself of this <i>Act</i> in his <i>Vindication</i> of the
+  <i>Duke</i> of <i>Guise</i>. But then why did he let these crude Fancies pass uncorrected in his
+  Friend? Such fluttering ungovern'd Transports, are fitter for a Boys <i>Declamation</i> then a
+  <i>Tragedy</i>. But I shall trouble my self no farther with this <i>Play</i>. To return therefore
+  to the Argument in Hand. In the <i>Provok'd Wife</i> Sir <i>John Brute</i> puts on the Habit of a
+  Clergyman, counterfeits himself drunk; quarrels with the <i>Constable</i>, and is knock'd down and
+  seiz'd. He rails, swears, curses, is lewd and profane, to all the Heights of Madness and
+  Debauchery: The <i>Officers</i> and <i>Justice</i> break jests upon him, and make him a sort of
+  Representative of his <i>Order</i>.<span class="leftmar"><i>Provok'd Wife. p. 45, 46, 52,
+  52.</i></span><sup class="handonly" id="ref220"><a href="#side220">[220]</a></sup></p>
+
+  <p>This is rare <i>Protestant</i> Diversion, and very much for the Credit of the
+  <i>Reformation</i>! The Church of <i>England</i>, I mean the Men of Her, is the only Communion in
+  the World, that will endure such Insolences as these: The <i>Relapse</i> is if possible more
+  singularly abusive. <i>Bull</i> the Chaplain <span class="pagenum" id="page109">{109}</span>wishes
+  the Married couple joy, in Language horribly Smutty and Profane.<span class="leftmar"><i>Relapse.
+  p. 74.</i></span><sup class="handonly" id="ref221"><a href="#side221">[221]</a></sup> To
+  transcribe it would blot the Paper to much. In the next <i>Page</i> <i>Young Fashion</i> desires
+  <i>Bull</i> to make hast to Sr. <i>Tun-belly</i>. He answers very decently, <i>I fly my good
+  Lord</i>.<span class="leftmar"><i>p. 75.</i></span><sup class="handonly" id="ref222"><a
+  href="#side222">[222]</a></sup> At the end of this <i>Act Bull</i> speaks to the Case of
+  <i>Bigamy</i>, and determines it thus. <i>I do confess to take two Husbands for the Satisfaction
+  of &mdash;&mdash; is to commit the Sin of Exorbitancy, but to do it for the peace of the Spirit,
+  is no more then to be Drunk by way of Physick; besides to prevent a Parents wrath is to avoid the
+  Sin of Disobedience, for when the Parent is Angry, the Child is froward</i>: The Conclusion is
+  insolently Profane, and let it lie: The spirit of this Thought is borrow'd from Ben
+  <i>Johnsons</i> <i>Bartholomew-Fair</i>, only the Profaness is mightily improved, and the Abuse
+  thrown off the <i>Meeting House</i>, upon the <i>Church</i>. The Wit of the <i>Parents being
+  angry</i>, and the <i>Child froward</i>, is all his own.<span class="leftmar"><i>p.
+  86.</i></span><sup class="handonly" id="ref223"><a href="#side223">[223]</a></sup> <i>Bull</i> has
+  more of this Heavy stuff upon his Hands. He tells <i>Young Fashion</i> <i>Your Worships goodness
+  is unspeakable, yet there is one thing seems a point of Conscience; And Conscience is a tender
+  Babe</i>. &amp;c.<span class="leftmar"><i>p. 97.</i></span><sup class="handonly" id="ref224"><a
+  href="#side224">[224]</a></sup></p>
+
+  <p>These <i>Poets</i> I observe when They grow lazy, and are inclined to Nonsence, they commonly
+  get a Clergy-man to speak it. <span class="pagenum" id="page110">{110}</span>Thus they pass their
+  own Dulness for Humour, and gratifie their Ease, and their Malice at once. <i>Coupler</i>
+  instructs <i>Young Fashion</i> which way <i>Bull</i> was to be managed. He tells him as
+  <i>Chaplains go now, he must be brib'd high, he wants Money, Preferment, Wine, and a Whore. Let
+  this be procured for him, and I'll warrant thee he speaks Truth like an Oracle</i>.<span
+  class="leftmar"><i>89.</i></span><sup class="handonly" id="ref225"><a
+  href="#side225">[225]</a></sup></p>
+
+  <p>A few Lines forward, the Rudeness is still more gross, and dash'd with Smut, the common
+  <i>Play-house</i> Ingredient. 'Tis not long before <i>Coupler</i> falls into his old Civilities.
+  He tells <i>Young Fashion, Last Night the Devil run away with the Parson of</i> Fatgoose
+  <i>Living</i>.<span class="leftmar"><i>p. 94.</i></span><sup class="handonly" id="ref226"><a
+  href="#side226">[226]</a></sup> Afterwards <i>Bull</i> is plentifully rail'd on in down right
+  <i>Billings-gate</i>: made to appear Silly, Servile, and Profane; and treated both in Posture and
+  Language, with the utmost Contempt.<span class="leftmar"><i>p. 95, 97, 105.</i></span><sup
+  class="handonly" id="ref227"><a href="#side227">[227]</a></sup></p>
+
+  <p>I could cite more <i>Plays</i> to this purpose; But these are sufficient to show the Temper of
+  the <i>Stage</i>.</p>
+
+  <p>Thus we see how hearty these People are in their Ill Will! How they attack Religion under every
+  Form, and pursue the Priesthood through all the Subdivisions of Opinion. Neither <i>Jews</i> nor
+  <i>Heathens, Turks</i> nor <i>Christians</i>, <i>Rome</i> nor <i>Geneva</i>, <i>Church</i> nor
+  <i>Conventicle</i>, can <span class="pagenum" id="page111">{111}</span>escape them. They are
+  afraid least Virtue should have any Quarters undisturbed, Conscience any Corner to retire to, or
+  God be Worship'd in any Place. 'Tis true their Force seldom carries up to their Malice: They are
+  too eager in the Combat to be happy in the the Execution. The Abuse is often both gross and
+  clumsey, and the Wit as wretched as the Manners. Nay Talking won't always satisfy them. They must
+  ridicule the <i>Habit</i> as well as the Function, of the Clergy. 'Tis not enough for them to play
+  the Fool unless they do it in <i>Pontificalibus</i>. The Farce must be play'd in a Religious
+  Figure, and under the Distinctions of their Office! Thus the Abuse strikes stronger upon the
+  sense; The contempt is better spread, and the little <i>Idea</i> is apt to return upon the same
+  Appearance.</p>
+
+  <p>And now does this Rudeness go upon any Authorities? Was the Priesthood alwaies thought thus
+  insignificant, and do the Antient Poets palt it in this Manner? This Point shall be tried, I shall
+  run through the most considerable Authors that the Reader may see how they treat the Argument.
+  <i>Homer</i> stands highest upon the Roll, and is the first Poet both in Time, and Quality; I
+  shall therefore begin with him. Tis true he wrote no <span class="pagenum"
+  id="page112">{112}</span><i>Plays</i>; but for Decency, Practise, and general Opinion, his
+  Judgment may well be taken, Let us see then how the <i>Priests</i> are treated in his <i>Poem</i>,
+  and what sort of Rank they hold.</p>
+
+  <p><i>Chryses Apollo</i>'s Priest appears at a Council of War with his Crown and guilt Scepter. He
+  offers a valuable Ransom for his Daughter; and presses his Relation to <i>Apollo</i>. All the Army
+  excepting <i>Agamemnon</i> are willing to consider his Character, and comply with his Proposals.
+  But this <i>General</i> refuses to part with the Lady, and sends away her Father with disrespect.
+  <i>Apollo</i> thought himself affronted with this Usage, and revenges the Indignity in a
+  Plague.</p>
+
+  <div class="poem">
+    <p><span title="Houneka ton Chrysên êtimês' arêtêra"
+    class="fsn">&omicron;&#x1F55;&nu;&epsilon;&kappa;&alpha; &tau;&#x1F78;&nu;
+    &Chi;&rho;&#x1F7B;&sigma;&eta;&nu; &#x1F20;&tau;&#x1F77;&mu;&eta;&sigma;'
+    &#x1F00;&rho;&eta;&tau;&#x1FC6;&rho;&alpha;</span><span class="leftmar">Hom. <i>Il. <span
+    title="a" class="fsn">&alpha;</span>. p. 3. &amp; dein.<br/>
+    Ed. Screvel.</i></span><sup class="handonly" id="ref228"><a href="#side228">[228]</a></sup></p>
+    <p><span title="Atreidês." class="fsn">&#x1F08;&tau;&rho;&epsilon;&#x1F77;&delta;&eta;&sigmaf;.</span></p>
+  </div>
+
+  <p><i>Adrastus</i> and <i>Amphius</i> the Sons of <i>Merops</i> a <i>Prophet</i>, commanded a
+  considerable extent of Country in <i>Troas</i>,<span class="leftmar"><i>Il. B. p. 91.</i><br/>
+  <i>Ibid. p. 92.</i></span><sup class="handonly" id="ref229"><a href="#side229">[229]</a></sup> and
+  brought a Body of Men to King <i>Priam's</i> Assistance.<sup class="handonly" id="ref230"><a
+  href="#side230">[230]</a></sup> And <i>Ennomus</i> the Augur commanded the Troops of <i>Mysia</i>
+  for the Besieged.</p>
+
+  <p><i>Phegeus</i> and <i>Idæus</i> were the Sons of <i>Dares</i> the Priest of <i>Vulcan</i>.<span
+  class="leftmar"><i>Il. E. p. 154, 155.</i></span><sup class="handonly" id="ref231"><a
+  href="#side231">[231]</a></sup> They appear in an Equipage of Quality, and charge <i>Diomedes</i>
+  the third Hero in the <i>Grecian</i> <span class="pagenum" id="page113">{113}</span>Army.
+  <i>Idæus</i> after the Misfortune of the Combat, is brought off by <i>Vulcan</i>. <i>Dolopion</i>
+  was <i>Priest</i> to <i>Scamander</i>,<span class="leftmar"><i>Il. E. p. 154, 155.</i></span><sup
+  class="handonly" id="ref232"><a href="#side232">[232]</a></sup> and regarded like the God he
+  <i>Belong'd</i> to,</p>
+
+  <div class="poem">
+    <p><span title="Theos d' hôs tieto dêmô." class="fsn">&Theta;&epsilon;&#x1F78;&sigmaf; &delta;'
+    &#x1F65;&sigmaf; &tau;&#x1F77;&epsilon;&tau;&omicron; &delta;&#x1F75;&mu;&omega;.</span><span
+    class="leftmar"><i>Ibid. p. 158.</i></span><sup class="handonly" id="ref233"><a
+    href="#side233">[233]</a></sup></p>
+  </div>
+
+  <p><i>Ulisses</i> in his return from <i>Troy</i>, took <i>Ismarus</i> by Storm, and makes Prize of
+  the whole Town, excepting <i>Maron</i>, and his Family. This <i>Maron</i> was <i>Apollo's
+  Priest</i>, and preserv'd out of respect to his Function: He presents <i>Ulisses</i> nobly in
+  Gold, Plate, and Wine; And this Hero makes an honourable Mention of him, both as to his Quality,
+  and way of Living.<span class="leftmar"><i>Odyss. I p. 174, 181.</i></span><sup class="handonly"
+  id="ref234"><a href="#side234">[234]</a></sup></p>
+
+  <p>These are all the <i>Priests</i> I find Mentioned in <i>Homer</i>; And we see how fairly the
+  Poet treats them, and what sort of Figure they made in the World.</p>
+
+  <p>To the Testimony of <i>Homer</i>, I shall joyn that of <i>Virgil</i>, who tho' He follows at a
+  great distance of Time, was an Author of the first Rank, and wrote the same kind of Poetry with
+  the other. Now <i>Virgil</i> tho' he is very extraordinary in his Genius, in the Compass of his
+  Learning, in the Musick and Majesty of his Stile; yet the exactness of his Judgment seems to be
+  his peculiar, and most distinguishing Talent. He had the truest <span class="pagenum"
+  id="page114">{114}</span>Relish imaginable, and always described Things according to
+  <i>Nature</i>, <i>Custom</i>, and <i>Decency</i>. He wrote with the greatest Command of
+  <i>Temper</i>, and <i>Superiority</i> of good <i>Sense</i>. He is never lost in smoak and Rapture,
+  nor overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at the same time. Now
+  this great Master of Propriety never Mentions any <i>Priests</i> without some <i>Marks</i> of
+  <i>Advantage</i>. To give some Instances as they lie in Order.</p>
+
+  <p>When the <i>Trojans</i> were consulting what was to be done with the <i>Wooden-Horse</i>, and
+  some were for lodging it within the Walls; <i>Laocoon</i> appears against this Opinion at the Head
+  of a numerous Party, harangues with a great deal of Sense, and Resolution, and examines the
+  <i>Machine</i> with his Lance. In fine, He advised so well, and went so far in the Discovery of
+  the Stratagem; that if the <i>Trojans</i> had not been ungovernable, and as it were stupified by
+  Fate and Folly, he had saved the Town.<span class="leftmar"><i>Ænid. 2.</i></span><sup
+  class="handonly" id="ref235"><a href="#side235">[235]</a></sup></p>
+
+  <div class="poem">
+    <p><i>Trojaque nunc stares Priamique arx alta maneres</i>.</p>
+  </div>
+
+  <p>This <i>Laocoon</i> was <i>Neptunes</i> Priest, and either Son to <i>Priam</i>, or Brother to
+  <span class="pagenum" id="page115">{115}</span><i>Anchises</i>, who was of the Royal Family.<span
+  class="leftmar"><i>Ruaus. in Loc.</i></span><sup class="handonly" id="ref236"><a
+  href="#side236">[236]</a></sup> The next we meet with is <i>Pantheus Apollo's</i> Priest. He is
+  call'd <i>Pantheus Otriades</i>, which is an argument his Father was well known. His acquaintance
+  with <i>Æneas</i> to whose House he was carrying his little Grandson, argues him to be a Person of
+  Condition.<span class="leftmar"><i>Æneid 2.</i></span><sup class="handonly" id="ref237"><a
+  href="#side237">[237]</a></sup> <i>Pantheus</i> after a short relation of the Posture of Affairs,
+  joyns <i>Æneas</i>'s little Handful of Men, charges in with him when the Town was seiz'd, and
+  fired, and at last dies Handsomly in the Action.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref238"><a href="#side238">[238]</a></sup></p>
+
+  <p>The next is <i>Anius</i> King of <i>Delos</i>, Prince and <i>Priest</i> in one Person.</p>
+
+  <div class="poem">
+    <p><i>Rex Anius, rex idem hominum Ph&#x0153;bique Sacerdos.</i><span class="leftmar"><i>Æneid.
+    3.</i></span><sup class="handonly" id="ref239"><a href="#side239">[239]</a></sup></p>
+  </div>
+
+  <p>When <i>Æneas</i> was outed at <i>Troy</i>, and in quest of a new Country, he came to an Anchor
+  at <i>Delos</i>; <i>Anius</i> meets him in a Religious Habit, receives him civilly, and obliges
+  him with his <i>Oracle</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref240"><a href="#side240">[240]</a></sup> In the Book now Mention'd we have another of
+  <i>Apollo's</i> Priests, his name is <i>Helenus</i>, Son of <i>Priam</i> and King of
+  <i>Chaonia</i>. He entertains <i>Æneas</i> with a great deal of Friendship, and Magnificence,
+  gives him many material Directions, and makes him a rich Present at parting. To this Prince if you
+  <span class="pagenum" id="page116">{116}</span>Please we may joyn a Princess of the same
+  Profession; and that is <i>Rhea Silvia</i> Daughter to <i>Numitor</i> King of <i>Alba</i>, and
+  Mother to <i>Romulus</i>, and <i>Remus</i>. This Lady <i>Virgil</i> calls&mdash;&mdash;<i>regina
+  Sacerdos</i> a Royal Priestess.<span class="leftmar"><i>Ænead. 1st.</i></span><sup
+  class="handonly" id="ref241"><a href="#side241">[241]</a></sup> Farther. When <i>Æneas</i> made a
+  Visit upon Business to the <i>shades Below</i>, He had for his Guide, the famous <i>Sibylla
+  Cumæa</i>, who Belong'd to <i>Apollo</i>.<span class="leftmar"><i>Æn. 6.</i></span><sup
+  class="handonly" id="ref242"><a href="#side242">[242]</a></sup> When he came thither amongst the
+  rest of his Acquantance he saw <i>Polybætes</i> a Priest of <i>Ceres</i>. This <i>Polybætes</i> is
+  mention'd with the three Sons of <i>Antenor</i>, with <i>Glaucus</i>, and <i>Thersilochus</i>, who
+  Commanded in Cheif in the <i>Trojan Auxiliaries</i>: So that you may know his Quality by his
+  Company. When <i>Æneas</i> had passed on farther, he saw <i>Orpheus</i> in <i>Elysium</i>: The
+  Poet calls him the <i>Thracian</i> Priest. There needs not be much said of <i>Orpheus</i>; He is
+  famous for his skill in Musick, Poetry, and Religious Ceremonies,<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref243"><a
+  href="#side243">[243]</a></sup> He was one of the Hero's of Antiquity, and a principal Adventurer
+  in the Expedition for the <i>Golden-Fleece</i>.</p>
+
+  <p>In the Seventh <i>Æneid</i> the Poet gives in a List of the Princes, and General Officers who
+  came into the Assistance of <i>Turnus</i>; Amongst the rest he tells you,</p>
+
+  <div><span class="pagenum" id="page117">{117}</span></div>
+
+  <div class="poem">
+    <p><i>Quin &amp; Marrubia venit de gente Sacerdos,</i></p>
+    <p><i>Archippi regis missu fortissimus Umbro.</i></p>
+  </div>
+
+  <p>This <i>Priest</i> he commends both for his Courage and his skill in Physick, Natural Magick,
+  and Phlosophy. He understood the Virtue of <i>Plants</i>, and could lay Passions and Poysons
+  asleep. His death was extreamly regretted by his Country, who made a Pompous and Solemn Mourning
+  for him.</p>
+
+  <div class="poem">
+    <p><i>Te nemus <span class="correction" title="Original reads 'Angitia', corrected by
+    Errata">Angitiæ</span>, vitrea te Fucinus unda,</i></p>
+    <p><i>Te liquidi flevere lacus.</i><span class="leftmar"><i>Æneid. 7.</i></span><sup
+    class="handonly" id="ref244"><a href="#side244">[244]</a></sup></p>
+  </div>
+
+  <p>The <i>Potitij</i>, and the <i>Pinarij</i> Mention'd <i>Æneid 8.</i><span
+  class="leftmar"><i>Lib. 1.</i></span><sup class="handonly" id="ref245"><a
+  href="#side245">[245]</a></sup> were as <i>Livy</i> observes, chosen out of the first Quality of
+  the Country, and had the <i>Priesthood</i> hereditary to their Family. To go on, <i>Æmonides</i>,
+  and <i>Chloreus</i> make a glittering Figure in the <i>Feild</i>, and are very remarkable for the
+  Curiosity of their Armour, and Habit. <i>Æmonides</i>'s <i>Finery</i> is passed over in
+  general.</p>
+
+  <div class="poem">
+    <p><i>Totus collucens veste atque insignibus armis.</i><span class="leftmar"><i>Æneid.
+    10.</i></span><sup class="handonly" id="ref246"><a href="#side246">[246]</a></sup></p>
+  </div>
+
+  <p>But the Equipage of <i>Chloreus</i> is flourish'd out at Length, and as I remember admired by
+  <i>Macrobius</i> as one of the Master <span class="pagenum" id="page118">{118}</span>peices of
+  <i>Virgil</i> in Description. In short; He is all Gold, Purple, Scarlet, and Embroydery;<span
+  class="leftmar"><i>Æneid. 11.</i></span><sup class="handonly" id="ref247"><a
+  href="#side247">[247]</a></sup> and as rich as Nature, Art, and Rhetorick can make him. To these I
+  might add <i>Rhamnes</i>, <i>Asylas</i>, and <i>Tolumnius</i>, who were all Persons of Condition,
+  and had Considerable Posts in the Army.<span class="leftmar"><i>Æneid. 9. 10. 11.</i></span><sup
+  class="handonly" id="ref248"><a href="#side248">[248]</a></sup></p>
+
+  <p>It may be these last were not strictly <i>Priests</i>. Their Function was rather
+  <i>Prophetick</i>. They interpreted the Resolutions of the Gods, by the voice of Birds, the
+  Inspection of Sacrifices, and their Observations of Thunder. This made their Character counted
+  Sacred, and their Relation to the Deity particular. And therefore the <i>Romans</i> ranged them in
+  the <i>Order</i> of the <i>Priests</i>.<span class="leftmar"><i>Guther. de jure veter.
+  pontif.</i></span><sup class="handonly" id="ref249"><a href="#side249">[249]</a></sup></p>
+
+  <p>Thus we see the admired <i>Homer</i>, and <i>Virgil</i>, always treat the <i>Priests</i>
+  fairly, and describe them in Circumstances of Credit: If 'tis said that the Instances I have given
+  are mostly in Names of <i>Fiction</i>, and in Persons who had no Being, unless in the Poets fancy.
+  I answer, I am not concern'd in the History of the Relation. Whether the Muster is true or false,
+  'tis all one to my purpose. This is certain, had the <i>Priests</i> been People of such slender
+  Consideration as our <i>Stage Poets</i> endeavour to make them; they must have <span
+  class="pagenum" id="page119">{119}</span>appear'd in a different Figure; or rather have been left
+  out as too little for that sort of <i>Poem</i>. But <i>Homer</i> and <i>Virgil</i> had other
+  Sentiments of Matters: They were governed by the Reason of Things, and the common usage of the
+  World. They knew the <i>Priesthood</i> a very reputable Employment, and always esteem'd as such.
+  To have used the <i>Priests</i> ill, They must have call'd their own Discretion in question: They
+  must have run into impropriety, and fallen foul upon Custom, Manners, and Religion. Now 'twas not
+  their way to play the Knave and the Fool together: They had more Sense than to do a silly Thing,
+  only for the Satisfaction of doing an ill one.</p>
+
+  <p>I shall now go on to enquire what the Greek <i>Tragedians</i> will afford us upon the present
+  Subject. There are but two <i>Plays</i> in <i>Æschylus</i> where the <i>Ministers</i> of the Gods
+  are represented. The one is in his <i>Eumenides</i>, and here <i>Apollo</i>'s <i>Priestess</i>
+  only opens the <i>Play</i> and appears no more. The other is in his <i>Seige</i> of <i>Thebes</i>.
+  In this Tragedy the <i>Prophet Amphiaraus</i> is one of the Seven Commanders against the
+  <i>Town</i>. He has the Character of a Modest, Brave Officer, and of one who rather affected to be
+  great in Action, than Noise.</p>
+
+  <div><span class="pagenum" id="page120">{120}</span></div>
+
+  <p>In <i>Sophocle</i>'s <i>Oedipus Tyrannus</i>, <i>Jupiter's Priest</i> has a short part. He
+  appears at the Head of an <i>Address</i>, and delivers the Harangue by the King's Order.
+  <i>Oedipus</i> in his Passion treats <i>Tiresias</i> ruggedly;<span class="leftmar"><i>Oedip. Tyr.
+  p. 148.</i></span><sup class="handonly" id="ref250"><a href="#side250">[250]</a></sup>
+  <i>Tiresias</i> replies with Spirit and Freedom; and plainly tell him he was none of his
+  <i>Servant</i> but <i>Apollo</i>'s.</p>
+
+  <div class="poem">
+    <p><span title="Ou gar ti soi zô doulos alla loxia" class="fsn">&#x1F48;&upsilon;
+    &gamma;&#x1F71;&rho; &tau;&#x1F77; &sigma;&omicron;&#x1F76; &zeta;&#x1FF6;
+    &delta;&omicron;&#x1FE6;&lambda;&omicron;&sigmaf; &#x1F00;&lambda;&lambda;&#x1F71;
+    &lambda;&omicron;&xi;&#x1F77;&alpha;</span><span class="leftmar"><i>Ibid. 169.</i></span><sup
+    class="handonly" id="ref251"><a href="#side251">[251]</a></sup></p>
+  </div>
+
+  <p>And here we may observe that all <i>Oedipus</i> his reproaches relate to <i>Tiresias</i>'s
+  person, there is no such Thing as a general Imputation upon his Function: But the <i>English
+  Oedipus</i> makes the <i>Priesthood</i> an Imposturous Profession;<span class="leftmar"><i>p.
+  38.</i></span><sup class="handonly" id="ref252"><a href="#side252">[252]</a></sup> and rails at
+  the whole <i>Order</i>. In the next Tragedy, <i>Creon</i> charges <i>Tiresias</i> with
+  subornation; and that he intended to make a Penny of his Prince. The <i>Priest</i> holds up his
+  Character, speaks to the ill Usage with an Air of Gravity, calls the King <i>Son</i>, and
+  foretells him his Misfortune.<span class="leftmar"><i>Antig. p. 250, 258.</i></span><sup
+  class="handonly" id="ref253"><a href="#side253">[253]</a></sup></p>
+
+  <p>To go on to <i>Euripides</i>, for <i>Sophocles</i> has nothing more. This Poet in his
+  <i>Phænissæ</i> brings in <i>Tiresias</i> with a very unacceptable report from the <i>Oracle</i>.
+  He tells <i>Creon</i> that either his Son must die, or the City be lost. <i>Creon</i> keeps
+  himself within Temper, and gives no ill Language. And even <span class="pagenum"
+  id="page121">{121}</span>when <i>M&#x0153;necius</i> had kill'd himself, he neither complains of
+  the Gods, nor reproaches the <i>Prophet</i>.<span class="leftmar"><i>Eurip. Ph&#x0153;niss. p.
+  158, 159.</i></span><sup class="handonly" id="ref254"><a href="#side254">[254]</a></sup></p>
+
+  <p>In his <i>Bacchæ</i>, <i>Tiresias</i> is honourably used by <i>Cadmus</i>; And <i>Pentheus</i>
+  who threatned him, is afterwards punish'd for his Impiety.<span class="leftmar"><i>Bacch. Act. 1.
+  Act. 4.</i></span><sup class="handonly" id="ref255"><a href="#side255">[255]</a></sup> In another
+  <i>Play</i> <i>Apollo</i>'s <i>Priestess</i> comes in upon a creditable account, and is
+  respectfully treated.<span class="leftmar"><i>Jon. Act 5.</i></span><sup class="handonly"
+  id="ref256"><a href="#side256">[256]</a></sup> <i>Iphigenia</i> <i>Agamemnon</i>'s Daughter is
+  made <i>Priestess</i> to <i>Diana</i>; and her Father thought himself happy in her
+  Employment.<span class="leftmar"><i>Iphig. in Aulid. &amp; in Taur.</i></span><sup
+  class="handonly" id="ref257"><a href="#side257">[257]</a></sup> These are all the <i>Priests</i> I
+  remember represented in <i>Euripides</i>. To conclude the antient <i>Tragedians</i> together:
+  <i>Seneca</i> seems to follow the Conduct of <i>Euripides</i>, and secures <i>Tiresias</i> from
+  being outraged. <i>Oedipus</i> carries it smoothly with him and only desires him to out with the
+  Oracle, and declare the Guilty Person. This <i>Tiresias</i> excuses, and afterwards the Heat of
+  the expostulation falls upon <i>Creon</i>.<span class="leftmar"><i>Oedip.</i></span><sup
+  class="handonly" id="ref258"><a href="#side258">[258]</a></sup> <i>Calchas</i> if not strictly a
+  <i>Priest</i>, was an <i><span class="correction" title="Original reads 'Auger', corrected by
+  Errata">Augur</span></i>, and had a Religious Relation. Upon this account <i>Agamemnon</i> calls
+  him <i>interpres Deorum</i>; The Reporter of Fate, and the God's <i>Nuntio</i>; And gives him an
+  honourable Character.<span class="leftmar"><i>Troad. A. 2. p. 193.</i></span><sup class="handonly"
+  id="ref259"><a href="#side259">[259]</a></sup></p>
+
+  <p>This Author is done; I shall therefore pass on to the <i>Comedians</i>. And here,
+  <i>Aristophanes</i> is so declared an Atheist, that <span class="pagenum"
+  id="page122">{122}</span>I think him not worth the citing. Besides, he has but little upon the
+  Argument: And where he does engage it, the <i>Priests</i> have every jot as good Quarter as the
+  Gods.<span class="leftmar"><i>Plut. Ran. Aves.</i></span><sup class="handonly" id="ref260"><a
+  href="#side260">[260]</a></sup> As for <i>Terence</i>, he neither represents any <i>Priests</i>,
+  nor so much as mentions them. <i>Chrysalus</i> in <i>Plautus</i> describes <i>Theotimus Diana's
+  Priest</i>, as a Person of Quality, and Figure.<span class="leftmar"><i>Bacchid. Act. 2. 5.
+  3.</i></span><sup class="handonly" id="ref261"><a href="#side261">[261]</a></sup> In his
+  <i>Rudens</i> we have a <i>Priestess</i> upon the <i>Stage</i>, which is the only Instance in this
+  <i>Poet</i>.<span class="leftmar"><i>Rud. A. 1. 5. A. 2. 3.</i></span><sup class="handonly"
+  id="ref262"><a href="#side262">[262]</a></sup> She entertains the two Women who were wrecked, and
+  is commended for her hospitable Temper. The Procurer <i>Labrax</i> swaggers that he will force the
+  Temple, and begins the Attack. <i>Demades</i> a Gentleman, is surprized at his Insolence, and
+  threatens him with Revenge. The report of so bold an attempt made him cry out. <i>Quis homo est
+  tanta Confidentia; qui sacerdotem andeat Violare?</i><span class="leftmar"><i>Act
+  [......]</i></span><sup class="handonly" id="ref263"><a href="#side263">[263]</a></sup> It seems
+  in those Days 'twas very infamous to affront a <i>Holy Character</i>, and break in upon the
+  <i>Guards</i> of Religion! Thus we see how the Antient Poets behaved themselves in the Argument.
+  <i>Priests</i> seldom appear in their <i>Plays</i>. And when they come 'tis Business of Credit
+  that brings them. They are treated like Persons of Condition. They Act up to their Relation;
+  neither sneak, nor prevaricate, nor do any thing unbecoming their Office.</p>
+
+  <div><span class="pagenum" id="page123">{123}</span></div>
+
+  <p>And now a word or two of the <i>Moderns</i>.</p>
+
+  <p>The famous <i>Corneille</i> and <i>Moliere</i>, bring no <i>Priests</i> of any kind upon the
+  <i>Stage</i>. The former leaves out <i>Tiresias</i> in his <i>Oedipus</i>: Tho' this Omission
+  balks his Thought, and maims the <i>Fable</i>. What therefore but the regard to Religion could
+  keep him from the use of this Liberty? As I am informed the same Reservedness is practis'd in
+  <i>Spain</i>, and <i>Italy</i>: And that there is no Theatre in <i>Europe</i> excepting the
+  <i>English</i>, that entertains the <i>Audience</i> with <i>Priests</i>.</p>
+
+  <p>This is certainly the right method, and best secures the Outworks of Piety. The Holy Function
+  is much too Solemn to be play'd with. Christianity is for no Fooling, neither the <i>Place</i>,
+  the <i>Occasion</i> nor the <i>Actors</i> are fit for such a Representation. To bring the
+  <i>Church</i> into the <i>Playhouse</i>, is the way to bring the <i>Playhouse</i> into the
+  <i>Church</i>. 'Tis apt to turn Religion into <i>Romance</i>, and make unthinking People conclude
+  that all Serious Matters are nothing but <i>Farce</i>, <i>Fiction</i>, and <i>Design</i>. 'Tis
+  true the <i>Tragedies</i> at <i>Athens</i> were a sort of <i>Homilies</i>, and design'd for the
+  Instruction of the People: To this purpose they are all Clean, Solemn, and Sententious.
+  <i>Plautus</i> likewise informs us that the <i>Comedians</i> used to teach the People
+  Morality.<span class="leftmar"><i>Rud. A. 4. S. 7.</i></span><sup class="handonly" id="ref264"><a
+  href="#side264">[264]</a></sup> The <span class="pagenum" id="page124">{124}</span>case standing
+  thus 'tis less suprizing to find the <i>Priests</i> sometimes Appear. The Play had grave Argument,
+  and Pagan Indulgence, to plead in its behalf. But our <i>Poets</i> steer by an other
+  <i>Compass</i>. Their Aim is to <i>destroy</i> Religion, their <i>Preaching</i> is against
+  <i>Sermons</i>; and their Business, but Diversion at the best. In short, Let the Character be
+  never so well managed no Christian <i>Priest</i> (especially,) ought to come upon the
+  <i>Stage</i>. For where the Business is an Abuse, and the place a Profanation; the demureness of
+  the Manner, is but a poor excuse. Monsieur <i>Racine</i> is an Exception to what I have observ'd
+  in <i>France</i>. In his <i>Athalia</i>, <i>Joida</i> the <i>High-Priest</i> has a large part. But
+  then the Poet does him Justice in his Station; he makes him Honest and Brave, and gives him a
+  shining Character throughout. <i>Mathan</i> is another <i>Priest</i> in the same Tragedy. He turns
+  Renegado, and revolts from God to <i>Baal</i>. He is a very ill Man but makes a considerable
+  Appearance, and is one of the Top of <i>Athaliahs</i> Faction. And as for the <i>Blemishes</i> of
+  his Life, they all stick upon his own Honour, and reach no farther than his Person: In fine the
+  <i>Play</i> is a very Religious Poem; 'Tis upon the Matter all <i>Sermon</i> and <i>Anthem</i>.
+  And if it were not designed for the <i>Theatre</i>, I have nothing to object.</p>
+
+  <div><span class="pagenum" id="page125">{125}</span></div>
+
+  <p>Let us now just look over our own Country-men till King <i>Charles</i> the Second.
+  <i>Shakespear</i> takes the Freedom to represent the <i>Clergy</i> in several of his <i>Plays</i>:
+  But for the most part he holds up the <i>Function</i>, and makes them neither Act, nor Suffer any
+  thing unhandsom. In one Play or two He is much bolder with the <i>Order</i>.<span
+  class="leftmar"><i>Measure for Measure.</i><br/>
+  <i>Much a do about Nothing.</i><br/>
+  <i>Twelf-Night.</i><br/>
+  <i>Henry 4th pt. 1st.</i><br/>
+  <i>Hen. 6. pt. 3d.</i><br/>
+  <i>Romeo and Juliet.</i><br/>
+  * <i>Merry Wives of Windsor.</i></span><sup class="handonly" id="ref265"><a
+  href="#side265">[265]</a></sup> <span class="nothand">*</span>Sr. <i>Hugh Evans</i> a
+  <i>Priest</i> is too Comical and Secular in his Humour. However he understands his Post, and
+  converses with the Freedom of a Gentleman. I grant in <i>Loves Labour lost</i> the <i>Curate</i>
+  plays the Fool egregiously; And so does the <i>Poet</i> too, for the whole <i>Play</i> is a very
+  silly one. In the History of Sr. <i>John Old-Castle</i>, Sr. <i>John, Parson</i> of <i>Wrotham</i>
+  Swears, Games, Wenches, Pads, Tilts, and Drinks: This is extreamly bad, and like the Author of the
+  <i>Relapse</i> &amp;c. Only with this difference; <i>Shakespears</i>, Sr. <i>John</i> has some
+  Advantage in his Character. He appears Loyal, and Stout; He brings in Sr. <i>John Acton</i>, and
+  other Rebels Prisoners. He is rewarded by the King, and the Judge uses him Civilly and with
+  Respect. In short He is represented Lewd, but not Little; And the Disgrace falls rather on the
+  Person, then the Office. But the <i>Relapsers</i> business, is to sink the Notion, and Murther the
+  Character, and make the <span class="pagenum" id="page126">{126}</span>Function despicable: So
+  that upon the whole, <i>Shakespear</i> is by much the gentiler Enemy.</p>
+
+  <p>Towards the End of the <i>Silent Woman</i>, <i>Ben Johnson</i> brings in a <i>Clergy-man</i>,
+  and a <i>Civilian</i> in their <i>Habits</i>. But then he premises a handsom Excuse, acquaints the
+  <i>Audience</i>, that the <i>Persons</i> are but borrowed, and throws in a <i>Salvo</i> for the
+  Honour of either profession. In the Third <i>Act</i>, we have another <i>Clergy-man</i>; He is
+  abused by <i>Cutberd</i>, and a little by <i>Morose</i>. But his Lady checks him for the ill
+  Breeding of the Usage. In his <i>Magnetick Lady</i>, <i>Tale of a Tub</i>, and <i>Sad
+  Sheapherd</i>, there are <i>Priests</i> which manage but untowardly. But these <i>Plays</i> were
+  his <i>last Works</i>, which Mr. <i>Dryden</i> calls <i>his Dotages</i>.<span
+  class="leftmar"><i>Essay of Dramat. &amp;c.</i></span><sup class="handonly" id="ref266"><a
+  href="#side266">[266]</a></sup> This Author has no more <i>Priests</i>, and therefore we'll take
+  Leave.</p>
+
+  <p><i>Beaumont</i> and <i>Fletcher</i> in the <i>Faithful Shepheardess</i>, <i>The False one</i>,
+  <i>A Wife for a Month</i>, and the <i>Knight of Malta</i>, give, us both <i>Priests</i> and
+  <i>Bishops</i>, part Heathen and part Christian: But all of them save their Reputation and make a
+  creditable Appearance. The <i>Priests</i> in the <i>Scornful Lady</i>, and <i>Spanish Curate</i>
+  are ill used. The first is made a Fool, and the other a Knave. Indeed they seem to be brought in
+  on purpose to make sport, and disserve <span class="pagenum" id="page127">{127}</span>Religion.
+  And so much for <i>Beaumont</i> and <i>Fletcher</i>.</p>
+
+  <p>Thus we see the English <i>Stage</i> has always been out of Order, but never to the Degree 'tis
+  at present.</p>
+
+  <p>I shall now take Leave of the <i>Poets</i>, and touch a little upon History and Argument.</p>
+
+  <p>And here I shall briefly shew the Right the <i>Clergy</i> have to Regard, and fair Usage, upon
+  these Three following Accounts.</p>
+
+  <p>I. <i>Because of their Relation to the Deity.</i></p>
+
+  <p>II. <i>Because of the Importance of their Office.</i></p>
+
+  <p class="sp3">III. <i>They have prescription for their Privilege. Their function has been in
+  Possession of Esteem in all Ages, and Countries.</i></p>
+
+  <p>I. <i>Upon the account of their Relation to the Deity.</i></p>
+
+  <p>The Holy <i>Order</i> is appropriated to the Divine Worship: And a <i>Priest</i> has the
+  peculiar Honour to <i>Belong</i> to nothing less then God Almighty. Now the Credit of the
+  <i>Service</i> always rises in proportion to the Quality and Greatness of the Master. And for this
+  Reason 'tis more Honourable to serve a Prince, than a private Person. To apply this. Christian
+  <i>Priests</i> are the Principal Ministers of Gods Kingdom. <span class="pagenum"
+  id="page128">{128}</span>They Represent his Person, Publish his Laws, Pass his Pardons, and
+  Preside in his Worship. To expose a <i>Priest</i> much more to burlesque his Function, is an
+  Affront to the Diety. All indignities done to Ambassadors, are interpreted upon their Masters, and
+  reveng'd as such. To outrage the <i>Ministers</i> of Religion, is in effect to deny the Being, or
+  Providence of God; And to treat the <i>Bible</i> like a <i>Romance</i>. As much as to say the
+  Stories of an other World are nothing but a little <i>Priest-craft</i>, and therefore I am
+  resolv'd to Lash the Profession. But to droll upon the Institutions of God; To make his Ministers
+  cheap, and his Authority contemptible; To do this is little less than open defyance. Tis a sort of
+  Challenge to awaken his Vengeance, to exert his Omnipotence; and do Right to his Honour. If the
+  Profession of a Courtier was unfashionable, a Princes Commission thought a Scandal, and the
+  <i>Magistracy</i> laught at for their Business; the Monarch had need look to himself in time; He
+  may conclude his Person is despis'd, his Authority but a Jest, and the People ready either to
+  change their Master, or set up for themselves. Government and Religion, no less than <i>Trade</i>
+  Subsist upon Reputation. 'Tis true God can't be Deposed, neither does <span class="pagenum"
+  id="page129">{129}</span>his Happiness depend upon Homage; But since he does not Govern by
+  Omnipotence, since he leaves Men to their Liberty, Acknowledgment must sink, and Obedience
+  decline, in proportion to the Lessenings of Authority. How provoking an Indignity of this kind
+  must be, is easy to imagine.</p>
+
+  <p>II. The Functions and Authorities of Religion have a great Influence on <i>Society</i>. The
+  Interest of this Life lies very much in the Belief of another. So that if our Hopes were bounded
+  with <i>Sight</i>, and <i>Sense</i>, if <i>Eternity</i> was out of the Case, General Advantage,
+  and Publick Reason, and Secular Policy, would oblige us to be just to the <i>Priesthood</i>. For
+  <i>Priests</i>, and Religion always stand and fall together; Now Religion is the Basis of
+  Government, and Man is a wretched Companion without it. When Conscience takes its Leave, Good
+  Faith, and Good Nature goes with it. <i>Atheism</i> is all Self, Mean and Mercenary. The
+  <i>Atheist</i> has no <i>Hereafter</i>, and therefore will be sure to make the most of this World.
+  Interest, and Pleasure, are the Gods he Worships, and to these he'll Sacrifice every Thing
+  else.</p>
+
+  <p>III. The <i>Priest-hood</i> ought to be fairly treated, because it has  prescription for this
+  Privilege. This is so evident a <span class="pagenum" id="page130">{130}</span>Truth,  that there
+  is hardly any Age or Country, but affords sufficient Proof. A just Discourse upon this Subject
+  would be a large Book, but I shall just skim it over and pass on. and</p>
+
+  <p><i>1st.</i> For the Jews. <i>Josephus</i> tells us the Line of <i>Aaron</i> made some of the
+  best Pedigrees, and that the <i>Priests</i> were reckon'd among the Principal Nobility.<span
+  class="leftmar"><i>De Bell. Judaic.</i></span><sup class="handonly" id="ref267"><a
+  href="#side267">[267]</a></sup></p>
+
+  <p>By the Old <i>Testament</i> we are inform'd that the <i>High-Priest</i> was the Second Person
+  in the Kingdom.<span class="leftmar"><i>Deut. 17. 9. 20. 2. Chron. 19. 8.</i></span><sup
+  class="handonly" id="ref268"><a href="#side268">[268]</a></sup> The Body of that <i>Order</i> had
+  Civil Jurisdiction. And the <i>Priests</i> continued Part of the Magistracy in the time of our
+  Saviour. <i>Jehoiada</i> the <i>High-Priest</i> was thought an Alliance big enough for the Royal
+  Family.<span class="leftmar"><i>Math. 27. Act. 4.<br/>
+  Vid. seldon de Synedr.</i></span><sup class="handonly" id="ref269"><a
+  href="#side269">[269]</a></sup> He Married the Kings Daughter; His Interest and Authority was so
+  great that he broke the Usurpation under <i>Athalia</i>; and was at the Head of the Restauration.
+  And lastly the <i>Assamonean</i> Race were both Kings and Priests.<span
+  class="leftmar"><i>Joseph.</i></span><sup class="handonly" id="ref270"><a
+  href="#side270">[270]</a></sup></p>
+
+  <p>To Proceed. The <i>Ægyptian</i>  Monarchy was one of the most antient and best polish'd upon
+  Record. Here Arts and Sciences, the Improvment of Reason, and the Splendor of Life had its first
+  Rise. Hither 'twas that <i>Plato</i> and most of the Celebrated Philosophers travel'd for their
+  Learning. Now in this Kingdom the <span class="pagenum" id="page131">{131}</span><i>Priests</i>
+  made no vulgar Figure. These with the Military Men were the Body of the Nobility, and Gentry.
+  Besides the Business of Religion, the <i>Priests</i> were the Publick <i>Annalists</i> and kept
+  the Records of <i>History</i>, and <i>Government</i>. They were many of them bred in Courts,
+  formed the Education of their Princes, and assisted at their Councils.<span
+  class="leftmar"><i>Diod. Sic.</i></span><sup class="handonly" id="ref271"><a
+  href="#side271">[271]</a></sup> When <i>Joseph</i> was Viceroy of <i>Ægypt</i>, and in all the
+  height of his Pomp, and Power, the King Married him to the Daughter of <i>Potipherah Priest</i> of
+  <i>On</i>. The Text says <i>Pharaoh gave him her to Wife</i>.<span class="leftmar"><i>Gen.
+  41.</i></span><sup class="handonly" id="ref272"><a href="#side272">[272]</a></sup> This shows the
+  Match was deliberate Choice, and Royal Favour, no stooping of Quality, or Condescensions of Love,
+  on <i>Joseph</i>'s Side.</p>
+
+  <p>To pass on. The <i>Persian Magi</i>, and the <i>Druids</i>, of <i>Gaul</i> were of a Religious
+  Profession, and consign'd to the Service of the Gods. Now all these were at the upper End of the
+  Government, and had a great share of Regard and Authority.<span class="leftmar"><i>Porph. de
+  Abstin. Lib. 4.<br/>
+  Cæsar de Bell. Gall. Lib. 6</i></span><sup class="handonly" id="ref273"><a
+  href="#side273">[273]</a></sup> The Body of the <i>Indians</i> as <i>Diodorus Siculus</i> reports
+  is divided into Seven parts. The first is the <i>Clan</i> of the <i>Bramines</i>, the
+  <i>Priests</i>, and Philosophers of that Country. 'This Division is the least in Number, but the
+  first in Degree. Their Privileges are extraordinary. They are <span class="pagenum"
+  id="page132">{132}</span>exempted from Taxes, and Live Independent of Authority. They are called
+  to the Sacrifices, and take care of Funerals; They are look'd on as the Favourites of the Gods,
+  and thought skillful in the Doctrins of an other Life: And upon these accounts are largely
+  consider'd in Presents, and Acknowledgment. The <i>Priestesses</i> of <i>Argos</i> were so
+  Considerable, that <i>Time</i> is dated from them, and they stand for a Reign in
+  <i>Chronology</i>.<span class="leftmar"><i>Lib. 6.</i></span><sup class="handonly" id="ref274"><a
+  href="#side274">[274]</a></sup> The Brave <i>Romans</i> are commended by <i>Polybius</i> for their
+  Devotion to the Gods; Indeed they gave great Proof of their being in earnest; For when thier Cheif
+  Magistrates, their Consuls themselves, met any of the <i>Vestals</i>, they held down their
+  <i>Fasces</i>, and stoop'd their <i>Sword</i> and <i>Mace</i> to Religion.<span
+  class="leftmar"><i>Ser. in Controv.</i></span><sup class="handonly" id="ref275"><a
+  href="#side275">[275]</a></sup></p>
+
+  <p>The <i>Priest-hood</i> was for sometime confin'd to the <i>Patrician</i> Order, that is to the
+  Upper Nobility. And afterwards the <i>Emperours</i> were generally <i>High-Priests</i> themselves.
+  The Romans in distress endeavour'd to make Friends with <i>Coriolanus</i> whom they had banish'd
+  before. To this purpose they furnish'd out several <i>Solemn</i> Embasayes. Now the Regulation of
+  the Ceremony, and the Remarks of the Historian;<span class="leftmar"><i>Dion.
+  Halic.</i></span><sup class="handonly" id="ref276"><a href="#side276">[276]</a></sup> plainly
+  discover that the <i>Body</i> of the <i>Priests</i> were thought not inferior <span
+  class="pagenum" id="page133">{133}</span>to any other. One Testimony from <i>Tully</i> and I have
+  done. 'Tis in his Harangue to the College of the <i>Priests</i>.<span class="leftmar"><i>Pro Dom.
+  ad Pontif.</i></span><sup class="handonly" id="ref277"><a href="#side277">[277]</a></sup> <i>Cum
+  multa divinitus, Pontifices, a majoribus nostris inventa atque instituta sunt; tum nihil
+  preclarius quam quòd vos eosdem et Religionibus Deorum immortalium, &amp; summe Rei publicæ
+  præesse voluerunt.</i> &amp;c. <i>i. e. Amongst the many laudable Instances of our Ancestors
+  Prudence, and Capacity, I know nothing better contrived then their placing your Order at the Helm,
+  and setting the same Persons at the Head both of Religion, and Government.</i> Thus we see what
+  <i>Rank</i> the <i>Priest-hood</i> held among the <i>Jews</i>, and how Nature taught the
+  <i>Heathen</i> to regard it. And is it not now possess'd of as fair pretences as formerly? Is
+  Christianity any disadvantage to the Holy Office. And does the Dignity of a Religion lessen the
+  Publick Administrations in't? The <i>Priests of the most High God</i> and of <i>Idolatry</i>,
+  can't be compared without Injury. To argue for the Preference is a Reflection upon the
+  <i>Creed</i>. 'Tis true the <i>Jewish Priest-hood</i> was instituted by God: But every Thing
+  Divine is not of Equal Consideration. <i>Realities</i> are more valuable than <i>Types</i>; And as
+  the Apostle argues, the <i>Order</i> of <i>Melchizedeck</i> is greater than that of
+  <i>Aaron</i>.<span class="leftmar"><i>Hebr. 7.</i></span><sup class="handonly" id="ref278"><a
+  href="#side278">[278]</a></sup> The Author, (I mean the <span class="pagenum"
+  id="page134">{134}</span>immediate one,) the Authorities, the Business, and the End, of the
+  <i>Christian Priest-hood</i>, are more Noble than those of the <i>Jewish</i>. For is not
+  <i>Christ</i> greater than <i>Moses</i>, <i>Heaven</i> better than the Land of <i>Canaan</i>, and
+  the <i>Eucharist</i> to be prefer'd to all the <i>Sacrifices</i>, and <i>Expiations</i> of the
+  <i>Law</i>? Thus the Right, and the Reason of Things stands. And as for <i>Fact</i>, the Christian
+  World have not been backward in their Acknowledgments. Ever since the first Conversion of Princes,
+  the <i>Priest-hood</i> has had no small share of Temporal Advantage. The <i>Codes</i>,
+  <i>Novels</i>, and <i>Church History</i>, are Sufficient Evidence what Sense <i>Constantine</i>
+  and his Successors had of these Matters. But I shall not detain the <i>Reader</i> in remote
+  Instances.</p>
+
+  <p>To proceed then to Times and Countries more generally known. The People of <i>France</i> are
+  branched into three Divisions, of these the <i>Clergy</i>, are the First. And in consequence of
+  this Privilege, at the Assembly of the <i>States</i>, they are first admitted to Harangue before
+  the King.<span class="leftmar"><i>Davila Filmers Freeholders Grand Inq.</i></span><sup
+  class="handonly" id="ref279"><a href="#side279">[279]</a></sup></p>
+
+  <p>In <i>Hungary</i> the <i>Bishops</i> are very Considerable, and some of them great Officers of
+  <i>State</i>.<span class="leftmar"><i>Miræus De Statu Relig. Christ.</i></span><sup
+  class="handonly" id="ref280"><a href="#side280">[280]</a></sup> In <i>Poland</i> they are
+  <i>Senators</i> that is part of the Upper <i>Nobless</i>. In <i>Muscovy</i> the <i>Bishops</i>
+  have an Honourable Station; and the Present Czar is descended <span class="pagenum"
+  id="page135">{135}</span>from the <i>Patriarchal</i> Line.<span class="leftmar"><i>Fletchers
+  Embassy.</i></span><sup class="handonly" id="ref281"><a href="#side281">[281]</a></sup> I suppose
+  I need say nothing of <i>Italy</i>. In <i>Spain</i> the <i>Sees</i> generally are better endowed
+  than elswhere, and Wealth alwaies draws Consideration.<span class="leftmar"><i>Puffendorf
+  Introduction à l'Histoire.</i><br/>
+  <i><span class="correction" title="Original reads 'Heglins Coggmogk.',
+  corrected by Errata">Heylins Cosgmog.</span></i></span><sup class="handonly" id="ref282"><a
+  href="#side282">[282]</a></sup> The <i>Bishops</i> hold their Lands by a Military Noble
+  <i>Tenure</i>, and are excused from Personal Attendance. And to come toward an end; They are Earls
+  and Dukes in <i>France</i>, and Soveraign Princes, in <i>Germany</i>.<sup class="handonly"
+  id="ref283"><a href="#side283">[283]</a></sup> In <i>England</i> the <i>Bishops</i> are Lords of
+  Parliament: And the <i>Law</i> in plain words distinguishes the <i>Upper House</i> into the
+  <i>Spiritual</i> and <i>Temporal Nobility</i>. And several <i>Statutes</i> call the Bishops
+  <i>Nobles</i> by direct Implication.<span class="leftmar"><i>2, Hen. 8. cap.  22.</i><br/>
+  <i>26, Hen. 8 cap 2.</i><br/>
+  <i>1. Edw. 6. cap. 12, &amp;c. Preamb.</i></span><sup class="handonly" id="ref284"><a
+  href="#side284">[284]</a></sup> To mention nothing more, their <i>Heraldry</i> is regulated by
+  <i>Garter</i>, and <i>Blazon'd</i> by <i>Stones</i>, which none under the <i>Nobility</i> can
+  pretend to. In this Country of ours, Persons of the First Quality have been in <i>Orders</i>; To
+  give an Instance of some few. <i>Odo</i> Brother to <i>William</i> the <i>Conquerour</i> was
+  <i>Bishop</i> of <i>Baieux</i>, and Earl of <i>Kent</i>. King <i>Stephens</i> Brother was
+  <i>Bishop</i> of <i>Winchester</i>. <i>Nevill Arch-Bishop</i> of <i>York</i> was Brother to the
+  Great Earl of <i>Warwick</i>, and <i>Cardinal Pool</i> was of the Royal Family. To come a little
+  lower, and to our own Times. And here we may reckon not a few Persons of Noble Descent in Holy
+  <i>Orders</i>. Witness the <i>Berklyes</i>, <i>Comptons</i>, <i>Montagues</i>, <i>Crews</i>, <span
+  class="pagenum" id="page136">{136}</span>and <i>Norths</i>; The <i>Annesleys</i>, <i>Finches</i>,
+  <i>Grayhams</i> &amp;c. And as for the Gentry, there are not many good Families in <i>England</i>,
+  but either have, or have had a <i>Clergy-man</i> in them,</p>
+
+  <p>In short; The <i>Priest-hood</i> is the profession of a Gentleman. A <i>Parson</i>
+  notwithstanding the ignorant Pride of some People, is a Name of Credit, and Authority, both in
+  Religion, and <i>Law</i>. The <i>Addition</i> of <i>Clerk</i> is at least equal to that of
+  Gentleman. Were it otherwise the <i>Profession</i> would in many cases be a kind of Punishment.
+  But the <i>Law</i> is far from being so singular as to make <i>Orders</i> a Disadvantage to
+  <i>Degree</i>. No, The Honour of the Family continues, and the <i>Heraldry</i> is every jot as
+  safe in the <i>Church</i>, as 'twas in the <i>State</i>. And yet when the <i>Laity</i> are taken
+  leave of, not <i>Gentleman</i> but <i>Clerk</i> is usually written. This Custom is an argument the
+  Change is not made for the worse, that the Spiritual Distinction is as valuable as the other; And
+  to speak Modestly, that the first <i>Addition</i> is not lost, but Cover'd. Did the Subject
+  require it, this Point might be farther made good. For the stile of a higher Secular Honour is
+  continued as well with <i>Priest-hood</i> as without it. A Church-man who is either <i>Baronet, or
+  Baron</i>, <span class="pagenum" id="page137">{137}</span>writes himself so, notwithstanding His
+  <i>Clerkship</i>. Indeed we can't well imagine the Clergy degraded from Paternal Honour without a
+  strange Reflection on the Country; without supposing <i>Julian</i> at the Helm, the <i>Laws</i>
+  Antichristian, and <i>Infidelity</i> in the very <i>Constitution</i>. To make the Ministers of
+  Religion less upon the score of their Function, would be a Penalty on the <i>Gospel</i>, and a
+  contempt of the God of Christianity. 'Tis our Saviours reasoning; <i>He that despises you,
+  despises Me, and he that Despises Me, Despises Him that sent me.</i><span class="leftmar"><i>S.
+  Luke 12.</i></span><sup class="handonly" id="ref285"><a href="#side285">[285]</a></sup></p>
+
+  <p>I hope what I have offer'd on this Subject will not be misunderstood. There is no Vanity in
+  necessary Defence. To wipe off Aspersions, and rescue Things from Mistake, is but bare Justice:
+  Besides, where the Honour of God, and the Publick Interest are concern'd, a Man is bound to speak.
+  To argue from a resembling Instance. He that has the Kings Commission ought to Maintain it. To let
+  it suffer under Rudeness is to betray it. To be tame and silent in such cases, is not Modesty but
+  Meanness, Humility obliges no Man to desert his Trust; To throw up his Privilege, and prove false
+  to his Character. And is our Saviours Authority inferiour to that of Princes? Are the Kingdoms of
+  this World more <span class="pagenum" id="page138">{138}</span>Glorious than that of the next? And
+  can the Concerns of Time be greater than those of Eternity? If not, the reasoning above mention'd
+  must hold in the Application.</p>
+
+  <p>And now by this time I conceive the ill Manners of the <i>Stage</i> may be in some measure
+  apparent; And that the <i>Clergy</i> deserve none of that Coarse Usage which it puts upon them. I
+  confess I know no <i>Profession</i> that has made a more creditable Figure, that has better
+  Customs for their Privileges, and better Reasons to maintain them. And here setting aside the
+  point of Conscience, where lies the Decency of falling foul upon this <i>Order</i>? What Propriety
+  is there in Misrepresentation? In confounding Respects, disguising Features, and painting Things
+  out of all Colour and Complexion? This crossing upon Nature and Reason, is great Ignorance, and
+  out of Rule. And now what Pleasure is there in Misbehaviour and Abuse? Is it such an Entertainment
+  to see Religion worryed by Atheism, and Things the most Solemn and Significant tumbled and tost by
+  Buffoons? A Man may laugh at a Puppy's tearing a Wardrobe, but I think 'twere altogether as
+  discreet to beat him off. Well! but the <i>Clergy</i> mismanage sometimes, and they must be told
+  of their Faults. What then? Are the <i>Poets</i> their <i>Ordinaries</i>? Is the <i>Pulpit</i>
+  under the <span class="pagenum" id="page139">{139}</span>Discipline of the <i>Stage</i>? And are
+  those fit to correct the Church, that are not fit to come into it? Besides, What makes them fly
+  out upon the <i>Function</i>; and rail by wholesale? Is the <i>Priesthood</i> a crime, and the
+  service of God a disadvantage? I grant Persons and Things are not always suited. A good
+  <i>Post</i> may be ill kept, but then the Censure should keep close to the Fault, and the Office
+  not suffer for the Manager. The <i>Clergy</i> may have their Failings sometimes like others, but
+  what then? The <i>Character</i> is still untarnish'd. The <i>Men</i> may be Little, but the
+  <i>Priests</i> are not so. And therefore like other People, they ought to be treated by their best
+  Distinction.</p>
+
+  <p>If 'tis Objected that the <i>Clergy</i> in <i>Plays</i> are commonly <i>Chaplains</i>, And that
+  these <i>Belonging</i> to Persons of Quality they were obliged to represent them servile and
+  submissive. To this I Answer</p>
+
+  <p><i>1st.</i> In my former remark, that the <i>Stage</i> often outrages the whole <i>Order</i>,
+  without regard to any particular Office. But were it not so in the</p>
+
+  <p class="sp5"><i>2d.</i> Place, They quite overlook the Character, and mistake the Business of
+  <i>Chaplains</i>. They are no <i>Servants</i>, neither do they <i>Belong</i> to any <i>Body</i>,
+  but God Almighty. This Point I have fully proved in another, <i>Treatise</i>,<span
+  class="leftmar"><i>Moral Essays.</i></span><sup class="handonly" id="ref286"><a
+  href="#side286">[286]</a></sup> and thither I refer the <i>Reader</i>.</p>
+
+  <div><span class="pagenum" id="page140">{140}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  IV.</span></h1>
+
+  <h2 class="sp3"><i>The Stage-Poets make their Principal Persons Vitious, and reward them at the
+  End of the Play.</i></h2>
+
+  <p>The Lines of Virtue and Vice are Struck out by Nature in very Legible Distinctions; They tend
+  to a different Point, and in the greater Instances the Space between them is easily perceiv'd.
+  Nothing can be more unlike than the Original Forms of these Qualities: The First has all the
+  sweetness, Charms, and Graces imaginable; The other has the Air of a <i>Post</i> ill Carved into a
+  <i>Monster</i>, and looks both foolish and Frightful together. These are the Native Appearances of
+  good and Evil: And they that endeavour to blot the Distinctions, to rub out the Colours, or change
+  the Marks, are extreamly to blame. 'Tis confessed as long as the Mind is awake, and Conscience
+  goes true, there's no fear of being imposed on. But when Vice is varnish'd over with Pleasure, and
+  comes in the Shape of Convenience, the case grows somewhat dangerous; for then <span
+  class="pagenum" id="page141">{141}</span>the Fancy may be gain'd, and the Guards corrupted, and
+  Reason suborn'd against it self. And thus a <i>Disguise</i> often passes when the Person would
+  otherwise be stopt. To put <i>Lewdness</i> into a Thriving condition, to give it an Equipage of
+  Quality, and to treat it with Ceremony and Respect, is the way to confound the Understanding, to
+  fortifie the Charm, and to make the Mischief invincible. Innocence is often owing to Fear, and
+  Appetite is kept under by Shame; But when these Restraints are once taken off, when Profit and
+  Liberty lie on the same side, and a Man can Debauch himself into Credit, what can be expected in
+  such a case, but that Pleasure should grow Absolute, and Madness carry all before it? The
+  <i>Stage</i> seem eager to bring Matters to this Issue; They have made a considerable progress,
+  and are still pushing their Point with all the Vigour imaginable. If this be not their Aim why is
+  <i>Lewdness</i> so much consider'd in Character and Success? Why are their Favourites Atheistical,
+  and their fine Gentleman debauched? To what purpose is <i>Vice</i> thus prefer'd, thus ornamented,
+  and caress'd, unless for Imitation? That matter of Fact stands thus, I shall make good by several
+  Instances: To begin then with their Men of Breeding and <span class="pagenum"
+  id="page142">{142}</span>Figure. <i>Wild-blood</i> sets up for <i>Debauchery</i>, Ridicules
+  Marriage, and Swears by <i>Mahomet</i>.<span class="leftmar"><i>Mock Astrol. p. 3,
+  &amp;c.</i><br/>
+  <i>Mock Astrol. p. 57, 59.</i><br/>
+  <i>Spanish Fryar. p. 61.</i><br/>
+  <i>Country Wife. p. 25.</i><br/>
+  <i>Old Batch.</i><br/>
+  <i>Double Dealer. p. 34.</i><br/>
+  <i>Love for Love p. 90.</i></span><sup class="handonly" id="ref287"><a
+  href="#side287">[287]</a></sup> <i>Bellamy</i> makes sport with the Devil,<sup class="handonly"
+  id="ref288"><a href="#side288">[288]</a></sup> and <i>Lorenzo</i> is vitious and calls his Father
+  <i>Bawdy Magistrate.<sup class="handonly" id="ref289"><a href="#side289">[289]</a></sup>
+  Horner</i> is horridly Smutty, and <i>Harcourt</i> false to his Friend who used him kindly.<sup
+  class="handonly" id="ref290"><a href="#side290">[290]</a></sup> In the <i>Plain Dealer</i>
+  <i>Freeman</i> talks coarsely, cheats the Widdow, debauches her Son, and makes him undutiful.
+  <i>Bellmour</i> is Lewd and Profane,<sup class="handonly" id="ref291"><a
+  href="#side291">[291]</a></sup> And <i>Mellefont</i> puts <i>Careless</i> in the best way he can
+  to debauch <i>Lady Plyant</i>.<sup class="handonly" id="ref292"><a href="#side292">[292]</a></sup>
+  These <i>Sparks</i> generally Marry up the Top Ladys, and those that do not, are brought to no
+  Pennance, but go off with the Character of Fine Gentlemen: In <i>Don-Sebastian</i>, <i>Antonio</i>
+  an Atheistical Bully is rewarded with the Lady <i>Moraima</i>, and half the <i>Muffty</i>'s
+  Estate. <i>Valentine</i> in <i>Love for Love</i> is (if I may so call him) the Hero of the
+  <i>Play</i>;<sup class="handonly" id="ref293"><a href="#side293">[293]</a></sup> This Spark the
+  <i>Poet</i> would pass for a Person of Virtue, but he speaks to late. 'Tis true, He was hearty in
+  his Affection to <i>Angelica</i>. Now without question, to be in Love with a fine Lady of 30000
+  Pounds is a great Virtue! But then abating this single Commendation, <i>Valentine</i> is
+  altogether compounded of Vice.<span class="leftmar"><i>Love for Love. p. 6, 7. 25. 61. 89.
+  91.</i></span><sup class="handonly" id="ref294"><a href="#side294">[294]</a></sup> He is a
+  prodigal Debauchee, unnatural, and Profane, Obscene, Sawcy, and undutiful, And yet this <span
+  class="pagenum" id="page143">{143}</span>Libertine is crown'd for the Man of Merit, has his Wishes
+  thrown into his Lap, and makes the Happy <i>Exit</i>. I perceive we should have a rare set of
+  <i>Virtues</i> if these <i>Poets</i> had the making of them! How they hug a Vitious Character, and
+  how profuse are they in their Liberalities to Lewdness? In the <i>Provoked Wife</i>,
+  <i>Constant</i> Swears at Length, solicits Lady <i>Brute</i>, Confesses himself Lewd, and prefers
+  Debauchery to Marriage. He handles the last Sybject very notably and worth the Hearing. <i>There
+  is</i> (says he) <i>a poor sordid Slavery in Marriage, that turns the flowing Tide of Honour, and
+  sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature, Avarice, Sloth,
+  Cowardize, and Dirt, are all its Product</i>.&mdash;But then <i>Constancy (alias Whoring) is a
+  Brave, Free, Haughty, Generous, Agent</i>. This is admirable stuff both for the Rhetorick and the
+  Reason!<span class="leftmar"><i>p. 35.</i></span><sup class="handonly" id="ref295"><a
+  href="#side295">[295]</a></sup> The Character <i>Young Fashion</i> in the <i>Relapse</i> is of the
+  same Staunchness, but this the <i>Reader</i> may have in another Place.</p>
+
+  <p>To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing, Smutty, Atheistical Man.
+  These Qualifications it seems compleat the <i>Idea</i> of Honour. They are the Top-Improvements of
+  Fortune, and the distinguishing Glories of Birth and Breeding! This is <span class="pagenum"
+  id="page144">{144}</span>the <i>Stage-Test</i> for <i>Quality</i>, and those that can't stand it,
+  ought to be <i>Disclaim'd</i>. The Restraints of Conscience and the Pedantry of Virtue, are
+  unbecoming a Cavalier: Future Securities, and Reaching beyond Life, are vulgar Provisions: If he
+  falls a Thinking at this rate, he forfeits his Honour; For his Head was only made to run against a
+  Post! Here you have a Man of Breeding and Figure that burlesques the <i>Bible</i>, Swears, and
+  talks Smut to Ladies, speaks ill of his Friend behind his Back, and betraies his Interest. A fine
+  Gentleman that has neither Honesty, nor Honour, Conscience, nor Manners, Good Nature, nor civil
+  Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of Religion and the Scandals of
+  Conversation. These Worshipful Things are the <i>Poets</i> Favourites: They appear at the Head of
+  the <i>Fashion</i>; and shine in Character, and Equipage. If there is any Sense stirring, They
+  must have it, tho' the rest of the <i>Stage</i> suffer never so much by the Partiality. And what
+  can be the Meaning of this wretched Distribution of Honour? Is it not to give Credit and
+  Countenance to Vice, and to shame young People out of all pretences to Conscience, and Regularity?
+  They seem forc'd to turn Lewd in their own Defence: They can't <span class="pagenum"
+  id="page145">{145}</span>otherwise justifie themselves to the Fashion, nor keep up the Character
+  of Gentlemen: Thus People not well furnish'd with Thought, and Experience, are debauch'd both in
+  Practise and Principle. And thus Religion grows uncreditable, and passes for ill Education. The
+  <i>Stage</i> seldom gives Quarter to any Thing that's serviceable or Significant, but persecutes
+  Worth, and Goodness under every Appearance. He that would be safe from their Satir must take care
+  to disguise himself in Vice, and hang out the <i>Colours</i> of Debauchery. How often is Learning,
+  Industry, and Frugality, ridiculed in Comedy? The rich Citizens are often Misers, and Cuckolds,
+  and the <i>Universities</i>, Schools of Pedantry upon this score. In short, Libertinism and
+  Profaness, Dressing, Idleness, and Gallantry, are the only valuable Qualities. As if People were
+  not apt enough of themselves to be Lazy, Lewd, and Extravagant, unless they were prick'd forward,
+  and provok'd by Glory, and Reputation. Thus the Marks of Honour, and Infamy are misapplyed, and
+  the Idea's of Virtue and Vice confounded. Thus Monstrousness goes for Proportion, and the
+  Blemishes of Human Nature, make up the Beauties of it.</p>
+
+  <div><span class="pagenum" id="page146">{146}</span></div>
+
+  <p>The fine Ladies are of the same Cut with the Gentlemen; <i>Moraima</i> is scandalously rude to
+  her Father, helps him to a beating, and runs away with <i>Antonio</i>.<span class="leftmar"><i>Don
+  Sebast.</i><br/>
+  <i>Love for Love. p. 20.</i><br/>
+  <i>Provok'd Wife. p. 64.</i><br/>
+  <i>Chap. 1. &amp; 2.</i></span><sup class="handonly" id="ref296"><a
+  href="#side296">[296]</a></sup> <i>Angelica</i> talks sawcily to her Uncle,<sup class="handonly"
+  id="ref297"><a href="#side297">[297]</a></sup> and <i>Belinda</i> confesses her Inclination for a
+  Gallant.<sup class="handonly" id="ref298"><a href="#side298">[298]</a></sup> And as I have
+  observ'd already,<sup class="handonly" id="ref299"><a href="#side299">[299]</a></sup> the Toping
+  Ladies in the <i>Mock Astrologer</i>, <i>Spanish Fryar</i>, <i>Country Wife</i>, <i>Old
+  Batchelour</i>, <i>Orphan</i>, <i>Double Dealer</i>, and <i>Love Triumphant</i>, are smutty, and
+  sometimes Profane.</p>
+
+  <p>And was Licentiousness and irreligion, alwaies a mark of Honour? No; I don't perceive but that
+  the old <i>Poets</i> had an other Notion of Accomplishment, and bred their people of Condition a
+  different way. <i>Philolaches</i> in <i>Plautus</i> laments his being debauch'd; and dilates upon
+  the Advantages of Virtue, and Regularity.<span class="leftmar"><i>Mostel. A. 1. 2.</i><br/>
+  <i>Trinum. A. 2. 1. A. 2. 2.</i><br/>
+  <i>Enuch. A. 3. 3.</i><br/>
+  <i>Hecyr. A. 3. 4.</i></span><sup class="handonly" id="ref300"><a href="#side300">[300]</a></sup>
+  <i>Lusiteles</i> another Young Gentleman disputes handsomly by himself against Lewdness. And the
+  discourse between him and <i>Philto</i> is Moral, and well managed.<sup class="handonly"
+  id="ref301"><a href="#side301">[301]</a></sup> And afterwards he lashes Luxury and Debauching with
+  a great deal of Warmth, and Satir.<sup class="handonly" id="ref302"><a
+  href="#side302">[302]</a></sup> <i>Chremes</i> in <i>Terence</i> is a modest young Gentleman, he
+  is afraid of being surpriz'd by <i>Thais</i>, and seems careful not to sully his Reputation.<sup
+  class="handonly" id="ref303"><a href="#side303">[303]</a></sup> And <i>Pamphilus</i> in
+  <i>Hecyra</i> resolves rather to be govern'd by Duty, than Inclination.<sup class="handonly"
+  id="ref304"><a href="#side304">[304]</a></sup></p>
+
+  <div><span class="pagenum" id="page147">{147}</span></div>
+
+  <p><i>Plautus</i>'s <i>Pinacium</i> tells her Friend <i>Panegyric</i> that they ought to acquit
+  themselves fairly to their Husbands, tho' These should fail in their Regards towards them.<span
+  class="leftmar"><i>Stich A. 1. 1.</i></span><sup class="handonly" id="ref305"><a
+  href="#side305">[305]</a></sup> For all good People will do justice tho' they don't receive it.
+  Lady <i>Brute</i> in the <i>Provok'd Wife</i> is govern'd by different maxims. She is debauch'd
+  with ill Usage, says <i>Virtue is an Ass, and a Gallant's worth forty on't</i>.<span
+  class="leftmar"><i>p. 3.</i></span><sup class="handonly" id="ref306"><a
+  href="#side306">[306]</a></sup> <i>Pinacium</i> goes on to another Head of Duty, and declares that
+  a Daughter can never respect her Father too much, and that Disobedience has a great deal of
+  scandal, and Lewdness in't.<span class="leftmar"><i>Stich. A. 1. 2.</i></span><sup
+  class="handonly" id="ref307"><a href="#side307">[307]</a></sup> The Lady <i>Jacinta</i> as I
+  remember does not treat her Father at this rate of Decency. Let us hear a little of her Behaviour.
+  The <i>Mock Astrologer</i> makes the Men draw, and frights the Ladys with the Apprehension of a
+  Quarrel. Upon this; <i>Theodosia</i> crys <i>what will become of us!</i> <i>Jacinta</i> answers,
+  <i>we'll die for Company: nothing vexes me but that I am not a Man, to have one thrust at that
+  malicious old Father of mine, before I go</i>.<span class="leftmar"><i>p. 60.</i></span><sup
+  class="handonly" id="ref308"><a href="#side308">[308]</a></sup> Afterwards the old Gentleman
+  <i>Alonzo</i> threatens his Daughters with a Nunnery. <i>Jacinta</i> spars again and says, <i>I
+  would have thee to know thou graceless old Man, that I defy a Nunnery: name a Nunnery once more
+  and I disown thee for my Father</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref309"><a href="#side309">[309]</a></sup> I could carry on the Comparison between the old
+  <span class="pagenum" id="page148">{148}</span>and Modern Poets somewhat farther. But this may
+  suffice.</p>
+
+  <p>Thus we see what a fine time Lewd People have on the <i>English Stage</i>. No Censure, no mark
+  of Infamy, no Mortification must touch them. They keep their Honour untarnish'd, and carry off the
+  Advantage of their Character. They are set up for the Standard of Behaviour, and the Masters of
+  Ceremony and Sense. And at last that the Example may work the better, they generally make them
+  rich, and happy, and reward them with their own Desires.</p>
+
+  <p>Mr. <i>Dryden</i> in the <i>Preface</i> to his <i>Mock-Astrologer</i>, confesses himself blamed
+  for this Practise. <i>For making debauch'd Persons his</i> Protagonists, <i>or chief Persons of
+  the Drama; And, for making them happy in the Conclusion of the Play, against the Law of Comedy,
+  which is to reward Virtue, and punish Vice</i>. To this Objection He makes a lame Defence. And
+  answers</p>
+
+  <p><i>1st.</i> <i>That he knows no such Law constantly observ'd in Comedy by the Antient or Modern
+  Poets.</i> What then? <i>Poets</i> are not always exactly in Rule. It may be a good Law tho' 'tis
+  not constantly observ'd, some Laws are constantly broken, and yet ne're the worse for all that. He
+  goes on, and pleads the Authorities of <i>Plautus</i>, and <i>Terence</i>. I grant there are
+  Instances of <span class="pagenum" id="page149">{149}</span>Favour to vitious young People in
+  those Authors, but to this I reply</p>
+
+  <p><i>1st.</i> That those <i>Poets</i> had a greater compass of Liberty in their Religion.
+  Debauchery did not lie under those Discouragements of Scandal, and penalty, with them as it does
+  with us. Unless therefore He can prove <i>Heathenism</i>, and <i>Christianity</i> the same, his
+  <i>precedents</i> will do him little service.</p>
+
+  <p><i>2ly.</i> <i>Horace</i> who was as good a judge of the <i>Stage</i>, as either of those
+  <i>Comedians</i>, seems to be of another Opinion. He condemns the obscenities of <i>Plautus</i>,
+  and tells you Men of Fortune and Quality in his time; would not endure immodest Satir.<span
+  class="leftmar"><i>De Art. Poet.</i></span><sup class="handonly" id="ref310"><a
+  href="#side310">[310]</a></sup> He continues, that Poets were formerly admired for the great
+  services they did. For teaching Matters relating to Religion, and Government; For refining the
+  Manners, tempering the Passions, and improving the Understandings of Mankind: For making them more
+  useful in Domestick Relations, and the publick Capacities of Life.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref311"><a
+  href="#side311">[311]</a></sup> This is a demonstration that Vice was not the Inclination of the
+  Muses in those days; and that <i>Horace</i> beleiv'd the chief business of a <i>Poem</i> was, to
+  Instruct the Audience. He adds farther that the <i>Chorus</i> ought to turn upon the Argument of
+  the <i>Drama</i>, and support the Design of the <i>Acts</i>. That <span class="pagenum"
+  id="page150">{150}</span>They ought to speak in Defence of Virtue, and Frugality, and show a
+  Regard to Religion. Now from the Rule of the <i>Chorus</i>, we may conclude his Judgment for the
+  <i>Play</i>. For as he observes, there must be a Uniformity between the <i>Chorus</i> and the
+  <i>Acts</i>: They must have the same View, and be all of a Piece. From hence 'tis plain that
+  <i>Horace</i> would have no immoral <i>Character</i> have either Countenance or good Fortune, upon
+  the <i>Stage</i>. If 'tis said the very mention of the <i>Chorus</i> shews the Directions were
+  intended for <i>Tragedy</i>. To this</p>
+
+  <p>I answer, that the Consequence is not good. For the use of a <i>Chorus</i> is not inconsistent
+  with <i>Comedy</i>. The antient <i>Comedians</i> had it. <i>Aristophanes</i> is an Instance. I
+  know 'tis said the <i>Chorus</i> was left out in that they call the <i>New Comedy</i>. But I can't
+  see the conclusiveness of this Assertion. For <i>Aristophanes</i> his <i>Plutus</i> is <i>New
+  Comedy</i> with a <i>Chorus</i> in't.<span class="leftmar"><i>[......] Schol.</i></span><sup
+  class="handonly" id="ref312"><a href="#side312">[312]</a></sup> And <i>Aristotle</i> who lived
+  after this Revolution of the <i>Stage</i>, mentions nothing of the Omission of the <i>Chorus</i>.
+  He rather supposes its continuance by saying the <i>Chorus was added by the Government long after
+  the Invention of Comedy</i>.<span class="leftmar"><i>Libr. de Poet. cap. 5.</i></span><sup
+  class="handonly" id="ref313"><a href="#side313">[313]</a></sup> 'Tis true <i>Plautus</i> and
+  <i>Terence</i> have none, but those before them probably might. <i>Moliere</i> has now reviv'd
+  them,<span class="leftmar"><i>Psyche.</i></span><sup class="handonly" id="ref314"><a
+  href="#side314">[314]</a></sup> <span class="pagenum" id="page151">{151}</span>And <i>Horace</i>
+  might be of his Opinion, for ought wee know to the contrary.</p>
+
+  <p><i>Lastly.</i> <i>Horace</i> having expresly mentioned the beginning and progress of
+  <i>Comedy</i>, discovers himself more fully: He advises a <i>Poet</i> to form his Work upon the
+  Precepts of <i>Socrates</i> and <i>Plato</i>, and the Models of Moral Philosophy. This was the way
+  to preserve Decency, and to assign a proper Fate and Behaviour to every <i>Character</i>.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref315"><a
+  href="#side315">[315]</a></sup> Now if <i>Horace</i> would have his <i>Poet</i> govern'd by the
+  Maxims of Morality, he must oblige him to Sobriety of Conduct, and a just distribution of Rewards,
+  and Punishments.</p>
+
+  <p>Mr. <i>Dryden</i> makes Homewards, and endeavours to fortifie himself in Modern Authority. He
+  lets us know that <i>Ben Johnson after whom he may he proud to Err, gives him more than one
+  example of this Conduct</i>;<span class="leftmar"><i>Pref. Mock. Astrol.</i></span><sup
+  class="handonly" id="ref316"><a href="#side316">[316]</a></sup> <i>That in the</i> Alchemist <i>is
+  notorius</i>, where neither <i>Face</i> nor his <i>Master</i> are corrected according to their
+  Demerits. But how Proud soever Mr. <i>Dryden</i> may be of an Errour, he has not so much of <i>Ben
+  Jonson</i>'s company as he pretends. His Instance of <i>Face &amp;c.</i> in the <i>Alchemist</i>
+  is rather <i>notorious</i> against his Purpose then for it.</p>
+
+  <p>For <i>Face</i> did not Council his Master <i>Lovewit</i> to debauch the Widdow; neither <span
+  class="pagenum" id="page152">{152}</span>is it clear that the Matter went thus far. He might gain
+  her consent upon Terms of Honour for ought appears to the contrary. 'Tis true <i>Face</i> who was
+  one of the Principal Cheats is Pardon'd and consider'd. But then his Master confesses himself kind
+  to a fault. He owns this Indulgence was a Breach of Justice, and unbecoming the Gravity of an old
+  Man. And then desires the Audience to excuse him upon the Score of the Temptation. But <i>Face
+  continued, in the Cousenage till the last without Repentance</i>.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref317"><a
+  href="#side317">[317]</a></sup> Under favour I conceive this is a Mistake. For does not
+  <i>Face</i> make an Apology before he leaves the <i>Stage</i>? Does he not set himself at the
+  <i>Bar</i>, arraign his own Practise, and cast the Cause upon the Clemency of the Company? And are
+  not all these Signs of the Dislike of what he had done? Thus careful the <i>Poet</i> is to prevent
+  the Ill Impressions of his <i>Play</i>! He brings both Man and Master to Confession. He dismisses
+  them like Malefactours; And moves for their Pardon before he gives them their Discharge. But the
+  <i>Mock-Astrologer</i> has a gentler Hand: <i>Wild-Blood</i> and <i>Jacinta</i> are more
+  generously used: There is no Acknowledgment exacted; no Hardship put upon them: They are permitted
+  to talk on in their Libertine way to <span class="pagenum" id="page153">{153}</span>the Last: And
+  take Leave without the least Appearance of Reformation. The <i>Mock-Astrologer</i> urges <i>Ben
+  Johnson's</i> <i>Silent Woman</i> as an other <i>Precedent</i> to his purpose. For <i>there</i>
+  Dauphine <i>confesses himself in Love with all the Collegiate Lady's</i>. <i>And yet this
+  naughty</i> Dauphine <i>is Crowned in the end with the Possession of his Uncles Estate, and with
+  the hopes of all his Mistresses</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref318"><a href="#side318">[318]</a></sup> This Charge, as I take it, is somewhat too severe.
+  I grant <i>Dauphine</i> Professes himself in Love with the Collegiate Ladies at first. But when
+  they invited him to a private Visit, he makes them no Promise; but rather appears tired, and
+  willing to disengage. <i>Dauphine</i> therefore is not altogether so naughty as this Author
+  represents him.</p>
+
+  <p><i>Ben Johnson's</i> <i>Fox</i> is clearly against Mr. <i>Dryden</i>. And here I have his own
+  Confession for proof. He declares the <i>Poets end in this Play was the Punishment of Vice, and
+  the Reward of Virtue</i>.<span class="leftmar"><i>Essay of Dramatick Poetry. p. 28.</i></span><sup
+  class="handonly" id="ref319"><a href="#side319">[319]</a></sup> <i>Ben</i> was forced to strain
+  for this piece of Justice, and break through the <i>Unity of Design</i>. This Mr. <i>Dryden</i>
+  remarks upon him: How ever he is pleased to commend the Performance, and calls it an excellent
+  <i>Fifth Act</i>.</p>
+
+  <p><i>Ben Johnson</i> shall speak for himself afterwards in the Character of a Critick; <span
+  class="pagenum" id="page154">{154}</span>In the mean time I shall take a Testimony or two from
+  <i>Shakespear</i>. And here we may observe the admir'd <i>Falstaffe</i> goes off in
+  Disappointment. He is thrown out of Favour as being a <i>Rake</i>, and dies like a Rat behind the
+  Hangings. The Pleasure he had given, would not excuse him. The <i>Poet</i> was not so partial, as
+  to let his Humour compound for his Lewdness. If 'tis objected that this remark is wide of the
+  Point, because <i>Falstaffe</i> is represented in Tragedy, where the Laws of Justice are more
+  strickly observ'd, To this I answer, that you may call <i>Henry</i> the Fourth and Fifth,
+  Tragedies if you please. But for all that, <i>Falstaffe</i> wears no <i>Buskins</i>, his Character
+  is perfectly Comical from end to end.</p>
+
+  <p>The next Instance shall be in <i>Flowerdale</i> the <i>Prodigal</i>. This Spark notwithstanding
+  his Extravagance, makes a lucky Hand on't at last, and <span class="correction"
+  title="Original reads 'marries up', corrected
+  by Errata">marries</span> a rich Lady.<span class="leftmar"><i>The London
+  Prodigall.</i></span><sup class="handonly" id="ref320"><a href="#side320">[320]</a></sup> But then
+  the Poet qualifies him for his good Fortune, and mends his Manners with his Circumstances. He
+  makes him repent, and leave off his Intemperance, Swearing <i>&amp;c.</i> And when his Father
+  warn'd him against a Relapse, He answers very soberly,</p>
+
+  <div class="poem">
+    <p><i>Heaven helping me I'le hate the Course of Hell.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page155">{155}</span></div>
+
+  <p>I could give some instances of this kind out of <i>Beaumount</i> and <i>Fletcher</i>, But
+  there's no need of any farther Quotation; For Mr. <i>Dryden</i> is not satisfied with his Apology
+  from Authority: He does as good as own that this may be construed no better than defending one ill
+  practise by another. To prevent this very reasonable objection he endeavours to vindicate his
+  <i>Precedents</i> from the Reason of the Thing. To this purpose he <i>makes a wide difference
+  between the Rules of Tragedy and Comedy. That Vice must be impartially prosecuted in the first,
+  because the Persons are Great &amp;c.</i></p>
+
+  <p>It seems then <i>Executions</i> are only for <i>Greatness</i>; and <i>Quality</i>.
+  <i>Justice</i> is not to strike much <i>lower</i> than a <i>Prince</i>. <i>Private People</i> may
+  do what they <i>please</i>. They are too <i>few</i> for <i>Mischief</i>, and too <i>Little</i> for
+  <i>Punishment</i>! This would be admirable Doctrine for <i>Newgate</i>, and give us a general
+  <i>Goal-Delivery</i> without more ado. But in <i>Tragedy</i> (says the <i>Mock Astrologer</i>.)
+  <i>the Crimes are likewise Horrid</i>, so that there is a necessity for Severity and Example. And
+  how stands the matter in <i>Comedy</i>? Quite otherwise. There the <i>Faults are but the follies
+  of Youth, and the Frailties of Human Nature</i>.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref321"><a href="#side321">[321]</a></sup> For Instance. There is nothing but
+  a little Whoring, Pimping, Gaming, Profaness <i>&amp;c</i>, And who could be so hard hearted <span
+  class="pagenum" id="page156">{156}</span>to give a Man any Trouble for This? Such Rigours would be
+  strangely Inhumane! A <i>Poet</i> is a better natur'd Thing I can assure you. These little
+  Miscarrages <i>move Pity and Commiseration, and are not such as must of necessity be
+  Punish'd</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref322"><a
+  href="#side322">[322]</a></sup> This is comfortable Casuistry! But to be Serious. Is Dissolution
+  of Manners such a Peccadillo? Does a Profligate Conscience deserve nothing but Commiseration? And
+  are People damn'd only for <i>Humane Frailties</i>? I perceive the Laws of Religion and those of
+  the <i>Stage</i> differ extreamly! The strength of his Defence lies in this choice Maxim, that the
+  <i>Cheif End of Comedy is Delight</i>. He questions <i>whether Instruction has any thing to do in
+  Comedy</i>; If it has, he is sure <i>'tis no more then its secondary end</i>: <i>For the business
+  of the Poet is to make you laugh</i>.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref323"><a href="#side323">[323]</a></sup> Granting the Truth of this
+  Principle, I somewhat question the serviceableness of it. For is there no Diversion to be had
+  unless Vice appears prosperous, and rides at the Head of Success. One would think such a
+  preposterous, distribution of Rewards, should rather shock the Reason, and raise the Indignation
+  of the <i>Audience</i>. To laugh without reason is the Pleasure of Fools, and against it, of
+  something worse. The exposing of Knavery, and making <i>Lewdness</i> ridiculous, is a much better
+  occasion for Laughter. <span class="pagenum" id="page157">{157}</span>And this with submission I
+  take to be the End of <i>Comedy</i>. And therefore it does not differ from <i>Tragedy</i> in the
+  End, but in the <i>Means</i>. Instruction is the principal Design of both. The one works by
+  Terror, the other by Infamy. 'Tis true, they don't move in the same Line, but they meet in the
+  same point at last. For this Opinion I have good Authority, besides what has been cited
+  already.</p>
+
+  <p><i>1st.</i> Monsieur <i>Rapin</i> affirms 'That Delight is the End that Poetry aims at, but not
+  the Principal one. For Poetry being an Art, ought to be profitable by the quality of it's own
+  nature, and by the Essential Subordination that all Arts should have to Polity, whose End in
+  General is the publick Good. This is the Judgment of <i>Aristotle</i> and of <i>Horace</i> his
+  chief Interpreter.<span class="leftmar"><i>Rapin Reflect. &amp;c. p. 10.</i></span><sup
+  class="handonly" id="ref324"><a href="#side324">[324]</a></sup> <i>Ben Johnson</i> in his
+  Dedicatory Epistle of his <i>Fox</i> has somewhat considerable upon this Argument; And declaims
+  with a great deal of zeal, spirit, and good Sense, against the Licentiousness of the <i>Stage</i>.
+  He lays it down for a Principle, 'That 'tis impossible to be a good <i>Poet</i> without being a
+  good <i>Man</i>. That he (a good Poet) is said to be able to inform Young Men to all good
+  Discipline, and enflame grown Men to all great Virtues &amp;c.&mdash;That the general complaint
+  was that the <i>Writers</i> of those days had <span class="pagenum"
+  id="page158">{158}</span>nothing remaining in them of the Dignity of a <i>Poet</i>, but the abused
+  Name. That now, especially in Stage Poetry, nothing but Ribaldry, Profanation, <i>Blasphemy</i>,
+  all Licence of Offence to God and Man, is practised. He confesses a great part of this Charge is
+  over-true, and is sorry he dares not deny it. But then he hopes all are not embark'd in this bold
+  Adventure for Hell. For my part (says he) I can, and from a most clear Conscience affirm; That I
+  have ever trembled to think towards the least Profaness, and loath'd the Use of such foul, and
+  unwash'd Bawdry, as is now made the Food of the <i>Scene</i>.&mdash;The encrease of which Lust in
+  Liberty, what Learned or Liberal Soul does not abhor? In whole <i>Enterludes</i> nothing but the
+  Filth of the Time is utter'd&mdash;with Brothelry able to violate the Ear of a <i>Pagan</i>, and
+  Blasphemy, to turn the Blood of a Christian to Water. He continues, that the Insolence of these
+  Men had brought the <i>Muses</i> into Disgrace, and made <i>Poetry</i> the lowest scorn of the
+  Age. He appeals to his Patrons the <i>Universities</i>, that his Labour has been heretofore, and
+  mostly in this his latest Work, to reduce not only the antient Forms, but Manners of the
+  <i>Scene</i>, the Innocence and the Doctrine, which is the <b>Principal End</b> of Poesy, <span
+  class="pagenum" id="page159">{159}</span>to inform Men in the best Reason of Living.' Lastly he
+  adds, that 'he has imitated the Conduct of the Antients in this <i>Play</i>, The goings out (or
+  Conclusions) of whose <i>Comedies</i>, were not always joyful but oft-times the Bawds, the Slaves,
+  the Rivals, ye and the Masters are multed, and fitly, it being the Office of a <i>Comick Poet</i>
+  (mark that!) to imitate Justice, and Instruct to Life <i>&amp;c.</i>' Say you so! Why then if
+  <i>Ben Johnson</i> knew any thing of the Matter, Divertisment and Laughing is not as Mr.
+  <i>Dryden</i> affirms, the <i>Chief End</i> of <i>Comedy</i>. This Testimony is so very full and
+  clear, that it needs no explaining, nor any enforcement from Reasoning, and Consequence.</p>
+
+  <p>And because Laughing and Pleasure has such an unlimited Prerogative upon the <i>Stage</i>, I
+  shall add a Citation or two from <i>Aristotle</i> concerning this Matter. Now this great Man
+  'calls those Buffoons, and Impertinents, who rally without any regard to Persons or Things, to
+  Decency, or good Manners. That there is a great difference between Ribaldry, and handsom Rallying.
+  He that would perform exactly, must keep within the Character of Virtue, and Breeding. He goes on,
+  and tells us that the old Comedians entertain'd the Audience with Smut, but the <span
+  class="pagenum" id="page160">{160}</span>Modern ones avoided that Liberty, and grew more reserv'd.
+  This latter way he says was much more proper and Gentile then the other. That in his Opinion
+  Rallying, no less than Railing, ought to be under the Discipline of Law; That he who is ridden by
+  his <i>Jests</i>, and minds nothing but the business of <i>Laughing</i>, is himself Ridiculous.
+  And that a Man of Education and Sense, is so far from going these Lengths that he wont so much as
+  endure the hearing some sort of Buffoonry.'<span class="leftmar"><i>Libr. 4. de Morib. cap.
+  14.</i></span><sup class="handonly" id="ref325"><a href="#side325">[325]</a></sup></p>
+
+  <p>And as to the point of Delight in general, the same Author affirms, 'that scandalous
+  Satisfactions are not properly Pleasures. 'Tis only Distemper, and false Appetite which makes them
+  palatable. And a Man that is sick, seldom has his Tast true. Besides, supposing we throw Capacity
+  out of the Question, and make Experiment and Sensation the Judge; Granting this, we ought not to
+  chop at every Bait, nor Fly out at every Thing that strikes the Fancy. The meer Agreableness must
+  not overbear us, without distinguishing upon the Quality, and the Means. Pleasure how charming
+  soever, must not be fetched out of Vice. An Estate is a pretty thing, but if we purchase by
+  Falshood, and Knavery, <span class="pagenum" id="page161">{161}</span>we pay too much for't. Some
+  Pleasures, are Childish and others abominable; And upon the whole, Pleasure, absolutely speaking,
+  is no good Thing.'<span class="leftmar"><i>De Mor. Lib. 10, cap. 2.</i></span><sup
+  class="handonly" id="ref326"><a href="#side326">[326]</a></sup> And so much for the Philosopher.
+  And because <i>Ribaldry</i> is used for Sport, a passage or two from <i>Quintilian</i>, may not be
+  unseasonable. This Orator does not only Condemn the grosser Instances, but cuts off all the
+  <i>Double-Entendre's</i> at a Blow. He comes up to the Regularity of Thought, and tells us 'that
+  the Meaning, as well as the Words of Discourse must be unsullied.'<span
+  class="leftmar"><i>Institut. Lib. 6; c. 3.</i></span><sup class="handonly" id="ref327"><a
+  href="#side327">[327]</a></sup> And in the same <i>Chapter</i> he adds that 'A Man of Probity has
+  always a Reserve in his Freedoms, and Converses within the Rules of Modesty, and Character. And
+  that Mirth at the expence of Virtue, is an Over-purchase,' <i>Nimium enim risus pretium est si
+  probitatis impendio constat</i>.</p>
+
+  <p>Thus we see how these great <i>Masters</i> qualify Diversion, and tie it up to
+  <i>Provisoes,</i> and Conditions. Indeed to make <i>Delight</i> the main business of <i>Comedy</i>
+  is an unreasonable and dangerous Principle. It opens the way to all Licentiousness, and Confounds
+  the distinction between Mirth, and Madness. For if Diversion is the <i>Chief End</i>, it must be
+  had at any Price, No serviceable Expedient must be refused, <span class="pagenum"
+  id="page162">{162}</span>tho' never so scandalous. And thus the worst Things are said, and best
+  abus'd; Religion is insulted, and the most serious Matters turn'd into Ridicule! As if the
+  Blindside of an Audience ought to be caress'd, and their Folly and Atheism entertain'd in the
+  first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is Poyson'd! For can one die
+  of an easier Disease than Diversion? But Raillery apart, certainly Mirth and Laughing, without
+  respect to the Cause, are not such supreme Satisfactions! A man has sometimes Pleasure in losing
+  his Wits. Frensy, and <i>Possession</i>, will shake the Lungs, and brighten the Face; and yet I
+  suppose they are not much to be coveted. However, now we know the Reason of the Profaness, and
+  Obscenity of the <i>Stage</i>, of their Hellish Cursing, and Swearing, and in short of their great
+  Industry to make God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make People
+  Laugh! A most admirable justification! What can be more engaging to an <i>Audience</i>, then to
+  see a <i>Poet</i> thus Atheistically brave? To see him charge up to the Canons Mouth, and defy the
+  Vengeance of Heaven to serve them? Besides, there may be somewhat of Convenience in the Case. To
+  fetch Diversion out of <span class="pagenum" id="page163">{163}</span>Innocence is no such easy
+  matter. There's no succeeding it may be in this method, without Sweat, and Drudging. Clean Wit,
+  inoffensive Humour, and handsom Contrivance, require Time, and Thought. And who would be at this
+  Expence, when the Purchase is so cheap another way? 'Tis possible a <i>Poet</i> may not alwaies
+  have Sense enough by him for such an Occasion. And since we are upon supposals, it may be the
+  <i>Audience</i> is not to be gain'd without straining a Point, and giving a Loose to Conscience:
+  And when People are sick, are they not to be Humour'd? In sine, We must make them Laugh, right or
+  wrong, for <i>Delight</i> is the <i>Cheif End of Comedy</i>. <i>Delight!</i> He should have said
+  <i>Debauchery</i>: That's the English of the Word, and the Consequence of the Practise. But the
+  Original Design of <i>Comedy</i> was otherwise: And granting 'twas not so, what then? If the
+  <i>Ends</i> of Thing are naught, they must be mended. Mischief is the Chief end of Malice, would
+  it be then a Blemish in Ill Nature to change Temper, and relent into Goodness? The Chief
+  <i>End</i> of a Madman it may be is to Fire a House, must we not <span class="correction"
+  title="Original reads 'then', corrected by
+  Errata">therefore</span> bind him in his Bed? To conclude. If <i>Delight</i> without Restraint, or
+  Distinction without Conscience or Shame, is the <span class="pagenum"
+  id="page164">{164}</span>Supream Law of <i>Comedy</i>, 'twere well if we had less on't. Arbitrary
+  Pleasure, is more dangerous than Arbitrary Power. Nothing is more Brutal than to be abandon'd to
+  Appetite; And nothing more wretched than to serve in such a Design. The <i>Mock-Astrologer</i> to
+  clear himself of this Imputation, is glad to give up his Principle at Last. <i>Least any Man
+  should think</i> (says He) <i>that I write this to make Libertinism amiable, or that I cared not
+  to debase the end, and Institution of</i> Comedy. (It seems then <i>Delight</i> is not the Chief
+  end.) <i>I must farther declare that we make not Vitious Persons Happy, but only as Heaven makes
+  Sinners so.</i> &amp;c. If this will hold, all's well. But <i>Heaven</i> does not forgive without
+  Repentance. Let us see then what Satisfaction he requires from his <i>Wild-Blood</i>, and what
+  Discipline he puts him under. Why, He helps him to his Mistress, he Marries him to a Lady of Birth
+  and Fortune. And now do you think He has not made him an Example, and punish'd him to some
+  Purpose! These are frightful Severities! Who would be vitious when such Terrors hang over his
+  Head? And does <i>Heaven make Sinners happy</i> upon these Conditions? Sure some People have a
+  good Opinion of Vice, or a very ill one of Marriage, otherwise they <span class="pagenum"
+  id="page165">{165}</span>would have Charged the Penance a little more. But I have nothing farther
+  with the <i>Mock-Astrologer</i>.</p>
+
+  <p>And now for the Conclusion of a <i>Chapter</i>, I shall give some Instances of the
+  <i>Manners</i> of the <i>Stage</i>, and that with respect to Poetry, and Ceremony. <i>Manners</i>
+  in the Language of Poetry, is a Propriety of Actions, and Persons. To succeed in this business,
+  there must always be a regard had to Age, Sex, and Condition: And nothing put into the Mouths of
+  Persons which disagrees with any of these Circumstances. 'Tis not enough to say a witty Thing,
+  unless it be spoken by a likely Person, and upon a Proper occasion. But my Design will lead me to
+  this Subject afterwards, and therefore I shall say no more of it at present, but proceed to apply
+  the Remark.</p>
+
+  <p>One Instance of Impropriety in <i>Manners</i> both Poetical and Moral, is their making Women,
+  and Women of Quality talk Smuttily. This I have proved upon them already, and could cite many more
+  places to the same Purpose were it necessary.</p>
+
+  <p>But I shall go on, and give the <i>Reader</i> some other examples of Decency, Judgment, and
+  Probability. <i>Don Sebastian</i> will help us in some measure. Here <span class="pagenum"
+  id="page166">{166}</span>the <i>Mufti</i> makes a foolish Speech to the Rabble, and jests upon his
+  own Religion. He tells them, <i>tho' your Tyrant is a Lawful Emperour, yet your Lawful Emperour is
+  but a Tyrant,&mdash;&mdash;That your Emperour is a Tyrant is most Manifest, for you were born to
+  be Turks, but he has play'd the Turk with you.</i> And now is not this Man fit to Manage the
+  <i>Alcoran</i>, and to be set up for on Oracle of State? <i>Captain Tom</i> should have had this
+  Speech by right: But the <i>Poet</i> had a farther Design, and any thing is good enough for a
+  <i>Mufti</i>.</p>
+
+  <p><i>Sebastian</i> after all the violence of his Repentance, his grasping at self Murther, and
+  Resolutions for the <i>Cell</i>, is strangely pleased with the Remembrance of his <i>Incest</i>,
+  and wishes the Repetition of it: And <i>Almeida</i> out of her Princely Modesty, and singular
+  Compunction, is of the same mind. This is somewhat surprising! <i>Oedipus</i> and <i>Jocasta</i>
+  in <i>Sophocles</i> don't Repent at this rate. No: The horror of the first Discovery continues
+  upon their Spirits: They never relapse into any fits of Intemperance, nor entertain themselves
+  with a lewd Memory. This sort of Behaviour is not only more Instructive but more Natural too. It
+  being very unlikely one should wish the Repeating a Crime, when He was almost Distracted <span
+  class="pagenum" id="page167">{167}</span>at the thoughts on't, At the thoughts on't, tho' 'twas
+  comitted under all the Circumstances of excuse. Now when Ignorance and meer Mistake are so very
+  disquieting, 'tis very strange if a Man should plague his Mind with the Aggravations of Knowledge;
+  To carry Aversion, and Desire, in their full strength upon the same Object; To fly and pursue with
+  so much eagerness, is somewhat Unusual.<span class="leftmar"><i>p. 32.</i></span><sup
+  class="handonly" id="ref328"><a href="#side328">[328]</a></sup></p>
+
+  <p>If we step to the <i>Spanish Fryar</i> He will afford us a Flight worth the observing. 'Tis
+  part of the Addresses of <i>Torrismond</i> to <i>Leonora</i>.</p>
+
+  <div class="poem">
+    <p><i>You are so Beautiful</i></p>
+    <p><i>So wondrous Fair, you justifie Rebellion;</i></p>
+    <p><i>As if that faultless Face could make no Sin,</i></p>
+    <p><i>But Heaven by looking on it must forgive.</i></p>
+  </div>
+
+  <p>These are strange Compliments! <i>Torrismond</i> calls his Queen Rebel to her head, when he was
+  both her General and her Lover. This is powerful Rhetorick to Court a Queen with! Enough one would
+  think to have made the Affair desperate. But he has a Remedy at hand. The <i>Poets Nostrum</i> of
+  Profaness cures all. He does as good as tell Her, she may Sin as much as she has a mind to. Her
+  Face is a Protection to her Conscience. For <span class="pagenum" id="page168">{168}</span>Heaven
+  is under a necessity to forgive a Handsom Woman. To say all this ought to be pass'd over in
+  <i>Torrismond</i> on the score of his Passion, is to make the Excuse more scandalous than the
+  Fault, if possible. Such Raptures are fit only for <i>Bedlam</i>, or a place which I shan't name.
+  <i>Love Triumphant</i> will furnish another Rant not altogether inconsiderable. Here
+  <i>Celadea</i> a Maiden Lady when she was afraid her Spark would be married to another, calls out
+  presently for a <i>Chaos</i>. She is for pulling the World about her ears, tumbling all the
+  Elements together, and expostulates with Heaven for making Humane Nature otherwise than it should
+  have been.</p>
+
+  <div class="poem">
+    <p><i>Great Nature break thy chain that links together</i></p>
+    <p><i>The Fabrick of this Globe, and make a Chaos,</i></p>
+    <p><i>Like that within my Soul.</i>&mdash;&mdash;<span class="leftmar"><i>p. 52.</i></span><sup
+    class="handonly" id="ref329"><a href="#side329">[329]</a></sup></p>
+  </div>
+
+  <p>Now to my fancy, if she had call'd for a <i>Chair</i> instead of a <i>Chaos</i>, trip'd off,
+  and kept her folly to her self, the Woman had been much wiser. And since we have shown our Skill
+  in vaulting on the High Ropes, a little <i>Tumbling</i> on the <i>Stage</i>, may not do amiss for
+  variety.</p>
+
+  <p>Now then for a jest or two. <i>Don Gomez</i> shall begin:<span class="leftmar"><i>Spanish
+  Fryar. p. 36.</i></span><sup class="handonly" id="ref330"><a href="#side330">[330]</a></sup> And
+  here he'le give us <span class="pagenum" id="page169">{169}</span>a Gingle upon the double meaning
+  of a word.</p>
+
+  <p><i>I think</i>, says <i>Dominick</i> the Fryar, <i>it was my good Angel that sent me hither so
+  opportunely</i>. <i>Gomez</i> suspects him brib'd for no creditable business and answers.</p>
+
+  <p>Gom. <i>Ay, whose good Angels sent you hither, that you know best, Father.</i></p>
+
+  <p>These <i>Spaniards</i> will entertain us with more of this fine Raillery. Colonel <i>Sancho</i>
+  in <i>Love Triumphant</i> has a great stroak at it. He says his Bride <i>Dalinda</i> is no more
+  <i>Dalinda</i>, but <i>Dalilah</i> the <i>Philistine</i>.<span class="leftmar"><i>p.
+  70.</i></span><sup class="handonly" id="ref331"><a href="#side331">[331]</a></sup> This Colonel as
+  great a Soldier as he is, is quite puzzled at a <i>Herald</i>. He <i>thinks they call him</i>
+  Herod, <i>or some such Jewish Name</i>. Here you have a good Officer spoil'd for a miserable
+  jest.<span class="leftmar"><i>p. 61.</i></span><sup class="handonly" id="ref332"><a
+  href="#side332">[332]</a></sup> And yet after all, this <i>Sancho</i> tho' he can't pronounce
+  <i>Herald</i>, knows what 'tis to be <i>Laconick</i>, which is somewhat more out of his way.
+  <i>Thraso</i> in <i>Terence</i><span class="leftmar"><i>Enuch.</i><br/>
+  <i>King Arth. p. 2.</i></span><sup class="handonly" id="ref333"><a href="#side333">[333]</a></sup>
+  was a man of the same size in Sense, but for all that he does not quibble. <i>Albanact</i> Captain
+  of the Guards,<sup class="handonly" id="ref334"><a href="#side334">[334]</a></sup> is much about
+  as witty as <i>Sancho</i>. It seems <i>Emmeline</i> Heiress to the Duke of <i>Cornwal</i> was
+  Blind. <i>Albanact</i> takes the rise of his Thought from hence; And observes <i>that as Blind as
+  she is, Coswald would have no blind Bargain of her</i>. <i>Carlos</i> tells <i>Sancho</i> he is
+  sure of his Mistress,<span class="leftmar"><i>Love Trium. p. 26.</i></span><sup class="handonly"
+  id="ref335"><a href="#side335">[335]</a></sup> <span class="pagenum" id="page170">{170}</span>and
+  <i>has no more to do but to take out a License</i>.</p>
+
+  <p><i>Sancho</i> replies, <i>Indeed I have her License for it</i>. <i>Carlos</i> is somewhat angry
+  at this Gingle, and cries, <i>what quibling too in your Prosperity</i>? Adversity it seems is the
+  only time for <i>punning</i>. Truly I think so too. For 'tis a sign a Man is much Distress'd when
+  he flies to such an Expedient. However, <i>Carlos</i> needed not to have been so touchy: For He
+  can stoop as low himself upon occasion. We must know then that <i>Sancho</i> had made Himself a
+  Hunch'd Back, to counterfeit the <i>Conde Alonzo</i>. The two Colonels being in the same Disguise,
+  were just upon the edg of a Quarrel. After some Preliminaries in Railing, <i>Sancho</i> cries,
+  <i>Don't provoke me; I am mischeivously bent</i>.</p>
+
+  <p>Carlos replies, <i>Nay, you are</i> <b>Bent</b> <i>enough in Conscience, but I have a</i>
+  <b>Bent</b> Fist <i>for Boxing</i>. Here you have a brace of Quibbles started in a Line and a
+  half. And which is worst of all, they come from <i>Carlos</i>, from a <i>Character</i> of Sense;
+  And therefore the poet, not the <i>Soldier</i>, must answer for them.</p>
+
+  <p>I shall now give the <i>Reader</i> a few Instances of the Courtship of the <i>Stage</i>, and
+  how decently they treat the Women, and <i>Quality</i> of both <i>Sexes</i>. The <i>Women</i> who
+  <span class="pagenum" id="page171">{171}</span>are secured from Affronts by Custom, and have a
+  Privilege for Respect, are sometimes but roughly saluted by these Men of Address. And to bar the
+  Defence, this Coarseness does not alwaies come from Clowns, and Women-haters; but from
+  <i>Persons</i> of Figure, neither singular, nor ill Bred. And which is still worse, The Satir
+  falls on blindly without Distinction, and strikes at the whole <i>Sex</i>.</p>
+
+  <p>Enter <i>Raymond</i> a Noble-man in the <i>Spanish Fryar</i>.<span class="leftmar"><i>p.
+  47.</i></span><sup class="handonly" id="ref336"><a href="#side336">[336]</a></sup></p>
+
+  <div class="poem">
+    <p><i>O Vertue! Vertue! What art thou become?</i></p>
+    <p><i>That men should leave thee for that Toy a woman,</i></p>
+    <p><i>Made from the dross and refuse of a Man;</i></p>
+    <p><i>Heaven took him sleeping when he made her too,</i></p>
+    <p><i>Had Man been waking he had nee'r consented.</i></p>
+  </div>
+
+  <p>I did not know before that a Man's Dross lay in his <i>Ribs</i>; I believe sometimes it lies
+  Higher. But the Philosophy, the Religion, and the Ceremony of these Lines, are too tender to be
+  touched. <i>Creon</i> a Prince in <i>Oedipus</i>,<span class="leftmar"><i>Oedip. p.
+  3.</i></span><sup class="handonly" id="ref337"><a href="#side337">[337]</a></sup> railes in
+  General at the <i>Sex</i>, and at the same time is violently in Love with <i>Euridice</i>. This
+  upon the Matter, is just as natural, as 'tis Civil. If any one would understand what the <i>Curse
+  of all tender hearted Women is, Belmour</i> will inform him. What is it then? <span
+  class="pagenum" id="page172">{172}</span>'Tis the <i>Pox</i>.<span class="leftmar"><i>Old Batch.
+  p. 41.</i></span><sup class="handonly" id="ref338"><a href="#side338">[338]</a></sup> If this be
+  true, the Women had need lay in a stock of ill Nature betimes. It seems 'tis their only
+  preservative. It guards their Virtue, and their Health, and is all they have to trust to.
+  <i>Sharper</i> another Man of Sense in this <i>Play</i>, talks much at the same rate.
+  <i>Belinda</i> would know of him <i>where he got that excellent Talent of Railing</i>?</p>
+
+  <p>Sharp. <i>Madam the Talent was Born with me.&mdash;&mdash;I confess I have taken care to
+  improve it, to qualifie me for the Society of Ladies.</i><span class="leftmar"><i>p.
+  35.</i></span><sup class="handonly" id="ref339"><a href="#side339">[339]</a></sup> <i>Horner</i>,
+  a Topping <i>Character</i> in the <i>Country Wife</i>, is advised to <i>avoid Women, and hate them
+  as they do him</i>. <i>He Answers.</i></p>
+
+  <p><i>Because I do hate them, and would hate them yet more, I'll frequent e'm; you may see by
+  Marriage, nothing makes a Man hate a Woman more than her Constant Conversation.</i><span
+  class="leftmar"><i>p. 22.</i><br/>
+  <i>Don. Sebast. p. 5.</i></span><sup class="handonly" id="ref340"><a
+  href="#side340">[340]</a></sup> There is still something more Coarse upon the <i>Sex</i> spoken by
+  <i>Dorax</i><sup class="handonly" id="ref341"><a href="#side341">[341]</a></sup> but it is a
+  privileged Expression, and as such I must leave it. The <i>Relapse</i> mends the Contrivance of
+  the Satir, refines upon the Manner, and to make the Discourse the more probable, obliges the
+  Ladies to abuse themselves. And because I should be loath to tire the <i>Reader, Berenthia</i>
+  shall close the Argument. This Lady having <span class="pagenum"
+  id="page173">{173}</span>undertook the Employment of a <i>Procuress</i>, makes this remark upon it
+  to her self.</p>
+
+  <p>Berinth. <i>So here is fine work! But there was no avoiding it.&mdash;&mdash;Besides, I begin
+  to Fancy there may be as much Pleasure in carrying on another Bodies Intrigue, as ones own. This
+  is at least certain, It exercises almost all the Entertaining Faculties of a Woman. For there is
+  Employment for Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying.</i></p>
+
+  <p>Let us now see what Quarter the <i>Stage</i> gives to <i>Quality</i>. And here we shall find
+  them extreamly free, and familiar. They dress up the <i>Lords</i> in Nick Names, and expose them
+  in <i>Characters</i> of Contempt. <i>Lord Froth</i> is explain'd a <i>Solemn Coxcomb</i>;<span
+  class="leftmar"><i>Double Dealer. Person. Dram.</i><br/>
+  <i>Relapse.</i><br/>
+  <i>Provok'd Wife.</i><br/>
+  <i>p. 4. p. 2.</i></span><sup class="handonly" id="ref342"><a href="#side342">[342]</a></sup> And
+  <i>Lord Rake</i>, and <i>Lord Foplington</i> give you their Talent in their Title.<sup
+  class="handonly" id="ref343"><a href="#side343">[343]</a></sup> Lord <i>Plausible</i> in the
+  <i>Plain Dealer</i> Acts a ridiculous Part, but is with all very civil. He tells <i>Manly he never
+  attempted to abuse any Person</i>, The other answers; <i>What? you were afraid?</i><sup
+  class="handonly" id="ref344"><a href="#side344">[344]</a></sup> <i>Manly</i> goes on and declares
+  <i>He would call a Rascal by no other Title, tho' his Father had left him a Dukes</i>.<sup
+  class="handonly" id="ref345"><a href="#side345">[345]</a></sup> That is, he would call a Duke a
+  Rascal. This I confess is very much <i>Plain Dealing</i>. Such Freedoms would appear but odly in
+  Life, especially without Provocation. I must own the <i>Poet</i> to be an Author of <span
+  class="pagenum" id="page174">{174}</span>good Sense; But under favour, these jests, if we may call
+  them so, are somewhat high Season'd, the Humour seems overstrain'd, and the <i>Character</i>
+  push'd too far. To proceed. <i>Mustapha</i> was selling <i>Don Alvarez</i> for a Slave. The
+  Merchant asks <i>what Virtues he has</i>.<span class="leftmar"><i>Don Sebast. p.
+  16.</i></span><sup class="handonly" id="ref346"><a href="#side346">[346]</a></sup> <i>Mustapha</i>
+  replies. <i>Virtues quoth ah! He is of a great Family and Rich, what other Virtues would'st thou
+  have in a Nobleman?</i> Don <i>Carlos</i> in <i>Love Triumphant</i> stands for a Gentleman, and a
+  Man of Sense, and out-throws <i>Mustapha</i> a Bars Length. He tells us <i>Nature has given</i>
+  Sancho <i>an empty Noddle, but Fortune in revenge has fill'd his Pockets: just a Lords Estate in
+  Land and Wit</i>.<span class="leftmar"><i>p. 17.</i></span><sup class="handonly" id="ref347"><a
+  href="#side347">[347]</a></sup> This is a handsom Compliment to the Nobility! And my Lord
+  <i>Salisbury</i> had no doubt of it a good Bargain of the <i>Dedication</i>.<span
+  class="leftmar"><i>Don. Quix. part. 2. p. 37.</i></span><sup class="handonly" id="ref348"><a
+  href="#side348">[348]</a></sup> <i>Teresa's</i> general Description of a Countess is considerable
+  in its Kind: But only 'tis in no Condition to appear. In the <i>Relapse</i>, Sir <i>Tunbelly</i>
+  who had Mistaken Young <i>Fashion</i> for Lord <i>Foplington</i>, was afterwards undeceiv'd; and
+  before the surprize was quite over, puts the Question, <i>is it then possible that this should be
+  the true Lord</i> Foplington <i>at Last</i>? The Nobleman removes the scruple with great Civility
+  and Discretion! <i>Lord</i> Fopl. <i>Why what do you see in his Face to make you doubt of <span
+  class="pagenum" id="page175">{175}</span>it? Sir without presuming to have an extraordinary
+  Opinion of my Figure, give me leave to tell you, if you had seen as many Lords as I have done you
+  would not think it Impossible A Person of a worse Taille then mine might be a Modern Man of
+  Quality.</i><span class="leftmar"><i>Relapse. p. 84.</i></span><sup class="handonly"
+  id="ref349"><a href="#side349">[349]</a></sup></p>
+
+  <p>I'm sorry to hear <i>Modern Quality</i> degenerates so much. But by the way, these Liberties
+  are altogether new. They are unpractised by the Latin <i>Comedians</i>, and by the <i>English</i>
+  too till very lately, as the <i>Plain Dealer</i> observes.<span class="leftmar"><i>p.
+  24.</i><br/>
+  <i>L'Ombre de Moliere</i></span><sup class="handonly" id="ref350"><a
+  href="#side350">[350]</a></sup> And as for <i>Moliere</i> in <i>France</i>, he pretends to fly his
+  Satir no higher than a Marquis.<sup class="handonly" id="ref351"><a
+  href="#side351">[351]</a></sup></p>
+
+  <p class="sp5">And has our <i>Stage</i> a particular Privilege? Is their <i>Charter</i> inlarg'd,
+  and are they on the same Foot of Freedom with the <i>Slaves</i> in the <i>Saturnalia</i>? Must all
+  Men be handled alike? Must their Roughness be needs play'd upon Title? And can't they lash the
+  Vice without pointing upon the <i>Quality</i>? If as Mr. <i>Dryden</i> rightly defines it, a
+  <i>Play ought to be a just Image of Humane Nature</i>;<span class="leftmar"><i>Essay Dram. poet.
+  p. 5.</i></span><sup class="handonly" id="ref352"><a href="#side352">[352]</a></sup> Why are not
+  the Decencies of Life, and, the Respects of Conversation observ'd? Why must the Customes of
+  Countries be Cross'd upon, and the Regards of Honour overlook'd? What necessity is there to kick
+  the <i>Coronets</i> about the <i>Stage</i>, and to make a Man a Lord, only in order to <span
+  class="pagenum" id="page176">{176}</span>make him a Coxcomb. I hope the <i>Poets</i> don't intend
+  to revive the old Project of Levelling and <i>Vote</i> down the House of <i>Peers</i>. In earnest,
+  the <i>Play-house</i> is an admirable School of Behaviour! This is their way of managing Ceremony,
+  distinguishing Degree, and Entertaining the <i>Boxes</i>! But I shall leave them at present to the
+  Enjoyment of their Talent, and proceed to another Argument.</p>
+
+  <div><span class="pagenum" id="page177">{177}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  V.</span></h1>
+
+  <h2 class="sp3"><i>Remarks upon</i> Amphytrion, King Arthur, Don Quixote, <i>and the</i>
+  Relapse.</h2>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECTION</span>
+  I.</span></h3>
+
+  <p>The following <i>Plays</i>, excepting the Last, will fall under the same Heads of Commendation
+  with the Former. However, since the <i>Poets</i> have here been prodigal in their Expence, and
+  dress'd themselves with more Curiosity then ordinary, they deserve a proportionable Regard. So
+  much Finery must not be Crowded. I shall therefore make Elbow-Room for their Figure, and allow
+  them the Compass of a distinct Chapter.</p>
+
+  <p>To begin with <i>Amphytrion</i>. In this <i>Play</i> Mr. <i>Dryden</i> represents
+  <i>Jupiter</i> with the Attributes of the supream Being: He furnishes him with Omnipotence, makes
+  him the Creator of Nature, and the Arbiter of Fate, puts all the Functions of Providence in his
+  Hand, and describes him with the Majesty of the true God.<span class="leftmar"><i>Amphit. p. 1, 2,
+  3, 8, 9.</i></span><sup class="handonly" id="ref353"><a href="#side353">[353]</a></sup> And when
+  he has put Him in this glorious <span class="pagenum" id="page178">{178}</span>Equipage, he brings
+  him out for Diversion. He makes him express himself in the most intemperate Raptures:<span
+  class="leftmar"><i>p. 8. 17.</i></span><sup class="handonly" id="ref354"><a
+  href="#side354">[354]</a></sup> He is willing to <i>Renounce</i> his <i>Heaven</i> for his
+  Brutality, and employ a whole <i>Eternity</i> in Lewdness. He draws his Debauch at its full
+  Length, with all the Art, and Heightings, and Foulness of Idea immaginable. This <i>Jupiter</i> is
+  not contented with his success against <i>Amphitrion</i>, unless he brings <i>Alcmena</i> into the
+  Confederacy, and makes her a Party <i>ex post Facto</i>. He would not have her think of her
+  <i>Husband</i>, but her <i>Lover</i>, that is, her <i>Whoremaster</i>. 'Tis not the success, but
+  the manner of gaining it which is all in all. 'Tis the Vice which is the charming Circumstance.
+  Innocence and Regularity, are dangerous Companions; They spoil Satisfaction, and make every Thing
+  insipid! Unless People take care to discharge their Virtue, and clear off their Conscience, their
+  Senses will vanish immediately! For <i>Jupiter</i>, says he,<span class="leftmar"><i>p.
+  18.</i></span><sup class="handonly" id="ref355"><a href="#side355">[355]</a></sup> would <i>owe
+  nothing to a Name so dull as Husband</i>. And in the next Page.</p>
+
+  <div class="poem">
+    <p><i>That very name of Wife And Marriage</i></p>
+    <p><i>Is poyson to the dearest sweets of Love.</i><span class="leftmar"><i>19.</i></span><sup
+    class="handonly" id="ref356"><a href="#side356">[356]</a></sup></p>
+  </div>
+
+  <p>I would give the <i>Reader</i> some more of these fine Sentences, but that they are <span
+  class="pagenum" id="page179">{179}</span>too much out of Order to appear. The truth is, Our
+  <i>Stage-Poets</i> seem to fence against Censure by the excess of Lewdness; And to make the
+  overgrown size of a Crime, a Ground for Impunity. As if a Malefactor should project his Escape by
+  appearing too scandalous for Publick Tryal. However, This is their Armour of Proof, this is the
+  Strength they retreat to. They are fortified in Smut, and almost impregnable in Stench, so that
+  where they deserve most, there's no coming at them. To proceed. I desire to know what Authority
+  Mr. <i>Dryden</i> has for this extraordinary Representation? His Original <i>Plautus</i>, is no
+  President. Indeed <i>Plautus</i> is the only bold Heathen that ever made <i>Jupiter</i> tread the
+  <i>Stage</i>. But then he stops far short of the Liberties of the <i>English Amphitrion.
+  Jupiter</i> at <i>Rome</i>, and <i>London</i>, have the same unaccountable Design; but the Methods
+  of pursuit are very different. The First, does not solicit in scandalous Language, nor flourish
+  upon his Lewdness, nor endeavours to set it up for the Fashion. <i>Plautus</i> had some regard to
+  the Height of the Character, and the Opinion of his Country, and the Restraints of Modesty. The
+  Sallies of <i>Aristophanes</i> do not come up to the case; And if they did, I have cut off the
+  Succours from that <span class="pagenum" id="page180">{180}</span>Quarter already. <i>Terence's
+  Chærea</i>. is the next bold Man:<span class="leftmar"><i>Eunuch.</i></span><sup class="handonly"
+  id="ref357"><a href="#side357">[357]</a></sup> However, here the Fable of <i>Jupiter</i> and
+  <i>Danae</i> are just glanced at, and the Expression is clean; and He that tells the Story, a
+  Young Libertine. These are all circumstances of extenuation, and give quite another Complexion to
+  the Thing. As for the <i>Greek Tragedians</i> and <i>Seneca</i>, there's no Prescription can be
+  drawn from them. They mention <i>Jupiter</i> in Terms of Magnificence and Respect, and make his
+  Actions, and his Nature of a piece. But it may be the Celebrated <i>Homer</i>, and <i>Virgil</i>
+  may give Mr. <i>Dryden</i> some Countenance. Not at all. <i>Virgil's Jupiter</i> is alwaies great,
+  and solemn, and keeps up the port of a Deity. 'Tis true, <i>Homer</i> does not guard the Idea with
+  that exactness, but then He never sinks the Character into Obscenity. The most exceptionable
+  passage is that where <i>Jupiter</i> relates his Love Adventures to <i>Juno</i>. Here this
+  pretended Deity is charm'd with <i>Venus</i>'s Girdle, is in the height of his Courtship, and
+  under the Ascendant of his Passion. This 'tis confess'd was a slippery Place, and yet the Poet
+  makes a shift to keep his Feet. His <i>Jupiter</i> is Little, but not nauseous; The Story, tho'
+  improper, will bear the telling, and look Conversation in the Face. However; These <span
+  class="pagenum" id="page181">{181}</span>Freedoms of <i>Homer</i> were counted intolerable: I
+  shall not insist on the Censures of <i>Justin Martyr</i>, or <i>Clemens Alexandrinus</i>: Even the
+  Heathen could not endure them. The Poets are lashed by <i>Plato</i> upon this Score; For planting
+  Vice in Heaven, and making their Gods infectious; If Mr. <i>Dryden</i> answers that <i>Jupiter</i>
+  can do us no Harm.<span class="leftmar"><i>Euseb. præpar. Evang.</i></span><sup class="handonly"
+  id="ref358"><a href="#side358">[358]</a></sup> He is known to be an Idol of Lewd Memory, and
+  therefore his Example can have no Force: Under Favour this is a mistake: For won't Pitch daub when
+  a dirty Hand throws it; or can't a Toad spit Poyson because she's ugly? Ribaldry is dangerous
+  under any Circumstances of Representation. And as <i>Menander</i> and St. <i>Paul</i> express it,
+  <i>Evil Communications corrupt good Manners</i>. I mention them both, because if the
+  <i>Apostle</i> should be dislik'd, the <i>Comedian</i> may pass. But after all, Mr. <i>Dryden</i>
+  has not so much as a Heathen President for his Singularities. What then made him fall into them?
+  Was it the Decency of the Thing, and the Propriety of <i>Character</i>, and Behaviour? By no
+  means. For as I have observ'd before, Nature and Operations, ought to be proportion'd, and
+  Behaviour suited to the Dignity of Being. To draw a Monkey in Royal Robes, and a Prince in
+  <i>Antick</i>, would be Farce upon <span class="pagenum" id="page182">{182}</span>Colours,
+  entertain like a Monster, and please only upon the score of Deformity. Why then does Mr.
+  <i>Dryden</i> cross upon Nature and Authority, and go off as he Confesses, from the Plan of
+  <i>Plautus</i>, and <i>Moliere</i>? Tho' by the way, the English <i>Amphitryon</i> has borrow'd
+  most of the Libertine Thoughts of <i>Moliere</i>, and improv'd them. But to the former question.
+  Why must the beaten Road be left? He tells us, <i>That the difference of our</i> Stage <i>from the
+  Roman and the French did so require it</i>.<span class="leftmar"><i>Ep. Ded.</i></span><sup
+  class="handonly" id="ref359"><a href="#side359">[359]</a></sup> That is, our <i>Stage</i> must be
+  much more Licentious. For you are to observe that Mr. <i>Dryden</i>, and his Fraternity, have
+  help'd to debauch the <i>Town</i>, and Poyson their Pleasures to an unusal Degree: And therefore
+  the Diet must be dress'd to the Palate of the <i>Company</i>. And since they are made
+  <i>Scepticks</i>, they must be entertain'd as such. That the English <i>Amphitryon</i> was
+  contriv'd with this View is too plain to be better interpreted. To what purpose else does
+  <i>Jupiter</i> appear in the shape of <i>Jehovah</i>? Why are the incommunicable <i>Attributes</i>
+  burlesqu'd, and Omnipotence applyed to Acts of Infamy? To what end can such Horrible stuff as this
+  serve, unless to expose the Notion, and extinguish the Belief of a Deity? The Perfections of God,
+  are Himself. To <span class="pagenum" id="page183">{183}</span>ridicule his Attributes and his
+  Being, are but two words for the same Thing. These Attributes are bestow'd on <i>Jupiter</i> with
+  great Prodigality, and afterwards execrably outrag'd. The Case being thus, the Cover of an Idol,
+  is <span class="correction" title="Original reads 'to', corrected by Errata">too</span> thin a
+  pretence to Screen the Blasphemy. Nothing but Mr. <i>Dryden's Absolom</i> and <i>Achitophel</i>
+  can out-do This. Here I confess the Motion of his Pen is bolder, and the Strokes more Black'd.
+  Here we have Blasphemy on the top of the Letter, without any trouble of Inference, or
+  Construction. This Poem runs all upon Scripture Names, Upon Suppositions of the true Religion, and
+  the right Object of Worship. Here Profaness is shut out from Defence, and lies open without Colour
+  or Evasion. Here are no Pagan Divinities in the Scheme, so that all the Atheistick Raillery must
+  point upon the true God. In the beginning we are told that <i>Absalom</i> was <i>David's</i>
+  Natural Son: So then there's a blot in his <i>Scutcheon</i> and a Blemish upon his Birth. The
+  <i>Poet</i> will make admirable use of this, remark presently! This <i>Absalom</i> it seems was
+  very extraordinary in his Person and Performances. Mr. <i>Dryden</i> does not certainly know how
+  this came about, and therefore enquires of himself in the first place,</p>
+
+  <div><span class="pagenum" id="page184">{184}</span></div>
+
+  <div class="poem">
+    <p><i>Whether inspired with a diviner Lust,</i></p>
+    <p><i>His Father got him</i>&mdash;&mdash;<span class="leftmar"><i>p. 1.</i></span><sup
+    class="handonly" id="ref360"><a href="#side360">[360]</a></sup></p>
+  </div>
+
+  <p>This is down right Defiance of the Living God! Here you have the very Essence and Spirit of
+  Blasphemy, and the Holy Ghost brought in upon the most hideous Occasion. I question whether the
+  Torments and Despair of the Damn'd, dare venture at such Flights as these. They are beyond
+  Description, I Pray God they may not be beyond Pardon too. I can't forbear saying, that the next
+  bad Thing to the writing these Impieties, is to Suffer them. To return to <i>Amphitryon</i>.
+  <i>Ph&#x0153;bus</i> and <i>Mercury</i> have <i>Manners</i> assign'd very disagreeable to their
+  Condition. The later abating Propriety of Language, talks more like a <i>Water-man</i> than a
+  Deity. They rail against the Gods, and call <i>Mars</i> and <i>Vulcan</i> the <i>two Fools of
+  Heaven. Mercury</i> is pert upon his Father <i>Jupiter</i>, makes jests upon his Pleasures, and
+  his Greatness, and is horribly smutty and profane.<span class="leftmar"><i>p. 3, 16,
+  etc.</i></span><sup class="handonly" id="ref361"><a href="#side361">[361]</a></sup> And all this
+  Misbehaviour comes from him in his own shape, and in the sublimity of his Character. Had He run
+  Riot in the Disguise of <i>Sofia</i>, the Discourse and the Person had been better adjusted, and
+  the Extravagance more Pardonable. <span class="pagenum" id="page185">{185}</span>But here the
+  Decorum is quite lost. To see the <i>Immortals</i> play such Gambols, and the biggest Beings do
+  the least Actions, is strangely unnatural. An Emperour in the Grimaces of an Ape, or the
+  Diversions of a Kitten, would not be half so ridiculous. Now as Monsieur <i>Rapin</i> observes,
+  without Decorum there can be no <i>probability</i>, nor without Probability any true Beauty.
+  Nature must be minded, otherwise Things will look forced, tawdry, and chimerical. Mr.
+  <i>Dryden</i> discourses very handsomly on this occasion in his <i>Preface</i> to <i>Albion</i>
+  and <i>Albanius</i>.<span class="leftmar"><i>p. 1.</i></span><sup class="handonly" id="ref362"><a
+  href="#side362">[362]</a></sup> He informs us, <i>That Wit has been truly defin'd a propriety of
+  Words and Thoughts.&mdash;&mdash;That Propriety of Thought is that Fancy which arises naturally
+  from the Subject.</i> Why then without doubt, the Quality, of Characters should be taken care of,
+  and great Persons appear like themselves. Yes, yes, all this is granted by implication, and Mr.
+  <i>Dryden</i> comes still nearer to the present case. He tells us, that <i>Propriety is to be
+  observed, even in Machines; And that the Gods are all to manage their Peculiar Provinces</i>. He
+  instances in some of their respective Employments; but I don't find that any of them were to talk
+  Lewdly. No. He plainly supposes the contrary. For as he goes on, <i>If they were to speak upon
+  <span class="pagenum" id="page186">{186}</span>the Stage it would follow of necessity, that the
+  Expressions should be Lofty, Figurative, and Majestical</i>. It seems then their Behaviour should
+  be agreeable to their Greatness. Why then are not these Rules observ'd, in the <i>Machines</i> of
+  <i>Amphitrion</i>? <span class="correction" title="Original reads 'And as', corrected by
+  Errata">As</span> I take it, Obscenity has not the Air of Majesty, nor any Alliance with the
+  <i>Sublime</i>. And as for the <i>Figurative</i> Part, 'tis generally of the same Cut with the
+  <i>Lofty</i>: The Smut shines clear, and strong, through the Metaphor, and is no better screen'd
+  than the Sun by a Glass Window. To use <i>Mercury</i> thus ill, and make the God of Eloquence
+  speak so unlike himself is somewhat strange! But tho' the <i>Antients</i> knew nothing of it,
+  there are Considerations above those of <i>Decency</i>. And when this happens, <i>A Rule must
+  rather be trespass'd on, than a Beauty left out</i>. 'Tis Mr. <i>Dryden's</i> opinion in his
+  <i>Cleomenes</i>, where he breaks the <i>Unity of Time</i>, to describe the <i>Beauty</i> of a
+  Famine.<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref363"><a
+  href="#side363">[363]</a></sup> Now Beauty is an arbitrary Advantage, and depends upon Custom and
+  Fancy. With some People the Blackest Complexions are the handsomest. 'Tis to these <i>African</i>
+  Criticks that Mr. <i>Dryden</i> seems to make his Appeal. And without doubt he bespeaks their
+  Favour, and strikes their Imagination luckily enough. For to lodge Divinity and Scandal together;
+  To make <span class="pagenum" id="page187">{187}</span>the Gods throw <i>Stars</i>, like
+  <i>Snow-balls</i> at one another, but especially to Court in Smut, and rally in Blasphemy, is most
+  admirably entertaining! This is much better than all the Niceties of <i>Decorum</i>. 'Tis
+  handsomly contriv'd to slur the Notion of a Superiour Nature, to disarm the Terrors of Religion,
+  and make the Court Above as Romantick as that of the <i>Fairies</i>. A Libertine when his
+  Conscience is thus reliev'd, and Atheism sits easie upon his Spirits, can't help being grateful
+  upon the Occasion. Meer Interest will oblige him to cry up the Performance, and solicit for the
+  <i>Poets</i> Reputation! Before I take leave of these <i>Machines</i>, it may not be amiss to
+  enquire why the Gods are brought into the <i>Spiritual Court</i>.<span class="leftmar"><i>p.
+  1.</i></span><sup class="handonly" id="ref364"><a href="#side364">[364]</a></sup> Now I suppose
+  the Creditableness of the Business, and the <i>Poets</i> Kindness to those <i>Places</i>, are the
+  principal Reasons of their coming. However. He might have a farther Design in his Head, and that
+  is, to bring <i>Thebes</i> to <i>London</i>, and to show the Antiquity of <i>Doctors Commons</i>.
+  For if you will believe <i>Mercury</i>, this Conference between him and <i>Ph&#x0153;bus</i> was
+  held three thousand years ago.<span class="leftmar"><i>19.</i></span><sup class="handonly"
+  id="ref365"><a href="#side365">[365]</a></sup> Thus <i>Shakespear</i> makes <i>Hector</i> talk
+  about <i>Aristotles</i> Philosophy,<span class="leftmar"><i>Troil. and Cressid.</i><br/>
+  <i>The Hist. of Sr. John Old Castle.</i></span><sup class="handonly" id="ref366"><a
+  href="#side366">[366]</a></sup> and calls Sr. <i>John Old Castle</i>, <i>Protestant</i>.<sup
+  class="handonly" id="ref367"><a href="#side367">[367]</a></sup> I had not mention'd this Discovery
+  in Chronology, <span class="pagenum" id="page188">{188}</span>but that Mr. <i>Dryden</i> falls
+  upon <i>Ben Johnson</i>, for making <i>Cataline give Fire at the Face of a Cloud</i>, before Guns
+  were invented.</p>
+
+  <p>By the Pattern of these pretended <i>Deities</i>, we may guess what sort of <i>Mortals</i> we
+  are likely to meet with. Neither are we mistaken. For <i>Phædra</i>, is bad enough in all
+  Conscience, but <i>Bromia</i> is a meer Original. Indeed when Mr. <i>Dryden</i> makes
+  <i>Jupiter</i>, and <i>Jupiter</i> makes the Women, little less can be expected. So much for
+  <i>Amphitrion</i>.</p>
+
+  <p>I shall pass on to <i>King Arthur</i> for a word or two.<span class="leftmar"><i>King
+  Arthur.</i></span><sup class="handonly" id="ref368"><a href="#side368">[368]</a></sup> Now here is
+  a strange jumble and Hotch potch of Matters, if you mind it. Here we have <i>Genii</i>, and
+  <i>Angels</i>, <i>Cupids</i>, <i>Syrens</i>, and <i>Devils</i>; <i>Venus</i> and St.
+  <i>George</i>, <i>Pan</i> and the <i>Parson</i>, the Hell of Heathenism, and the Hell of
+  <i>Revelation</i>; A fit of Smut, and then a Jest about Original Sin. And why are Truth and
+  Fiction, Heathenism and Christianity, the most Serious and the most Trifling Things blended
+  together, and thrown into one Form of Diversion? Why is all this done unless it be to ridicule the
+  whole, and make one as incredible as the other? His <i>Airy</i> and <i>Earthy Spirits</i>
+  discourse of the first state of Devils, of their <i>Chief</i> of their Revolt, their Punishment,
+  and <span class="pagenum" id="page189">{189}</span>Impostures. This Mr. <i>Dryden</i> very
+  Religiously calls a <i>Fairy way of Writing, which depends only on the Force of
+  Imagination</i>.<span class="leftmar"><i>Ep. Ded.</i></span><sup class="handonly" id="ref369"><a
+  href="#side369">[369]</a></sup> What then is the Fall of the Angels a Romance? Has it no basis of
+  Truth, nothing to support it, but strength of Fancy, and Poetick Invention? After He had mention'd
+  Hell, Devils, <i>&amp;c</i>. and given us a sort of <i>Bible</i> description of these formidable
+  Things; I say after he had formed his Poem in this manner, I am surprized to hear him call it a
+  <i>Fairy kind of Writing</i>. Is the History of <i>Tophet</i> no better prov'd than that of
+  <i>Styx</i>? Is the Lake of <i>Brimstone</i> and that of <i>Phlegeton</i> alike dreadful? And have
+  we as much Reason to believe the Torments of <i>Titius</i> and <i>Prometheus</i>, as those of the
+  Devils and Damn'd? These are lamentable Consequences! And yet I can't well see how the <i>Poet</i>
+  can avoid them. But setting aside this miserable Gloss in the <i>Dedication</i>, the
+  Representation it self is scandalously irreligious. To droll upon the Vengeance of Heaven, and the
+  Miseries of the Damn'd, is a sad Instance of Christianity! Those that bring Devils upon the
+  <i>Stage</i>, can hardly believe them any where else. Besides, the Effects of such an
+  Entertainment must needs be admirable! To see Hell thus play'd with is a mighty Refreshment to a
+  lewd <span class="pagenum" id="page190">{190}</span>Conscience, and a byass'd Understanding. It
+  heartens the Young Libertine, and confirms the well-wishers to Atheism, and makes Vice bold, and
+  enterprising. Such Diversions serve to dispel the Gloom, and guild the Horrors of the <i>Shades
+  below</i>, and are a sort of Ensurance against Damnation. One would think these <i>Poets</i> went
+  upon absolute Certainty, and could demonstrate a Scheme of Infidelity. If they could, They had
+  much better keep the Secret. The divulging it tends only to debauch Mankind, and shake the
+  Securities of Civil Life. However, if they have been in the other World and find it empty, and
+  uninhabited, and are acquainted with all the Powers, and Places, in Being; If they can show the
+  Impostures of Religion, and the Contradictions of Common Belief, they have something to say for
+  themselves. Have they then infallible Proof and Mathematick Evidence for these Discoveries? No Man
+  had ever the Confidence to say This; And if He should, he would be but laughed at for his Folly.
+  No Conclusions can exceed the Evidence of their Principles; you may as well build a Castle in the
+  Air, as raise a Demonstration upon a Bottom of Uncertainty. And is any Man so vain as to pretend
+  to know the Extent of Nature, and the Stretch of Possibility, <span class="pagenum"
+  id="page191">{191}</span>and the Force of the Powers Invisible? So that notwithstanding the
+  Boldness of this <i>Opera</i>, there may be such a Place as Hell; And if so, a Discourse about
+  Devils, will be no <i>Fairy way of Writing</i>. For a <i>Fairy way of Writing</i>, is nothing but
+  a <i>History of Fiction</i>; A subject of Imaginary Beings; such as never had any existence in
+  Time, or Nature. And if as Monsieur <i>Rapin</i> observes, <i>Poetry</i> requires a mixture of
+  Truth and <i>Fable</i>; Mr. <i>Dryden</i> may make his advantage, for his <i>Play</i> is much
+  better founded on Reality than He was aware of.</p>
+
+  <p>It may not be improper to consider in a word or two, what a frightfull Idea the <i>Holy
+  Scriptures</i> give us of Hell. 'Tis describ'd by all the <span class="correction"
+  title="Original reads 'Circumstance', corrected
+  by Errata">Circumstances</span> of Terror, by every Thing dreadful to Sense, and amazing to
+  Thought. The Place, the Company, the Duration, are all Considerations of Astonishment. And why has
+  God given us this solemn warning? Is it not to awaken our Fears, and guard our Happiness; To
+  restrain the Disorders of Appetite, and to keep us within Reason, and Duty? And as for the
+  <i>Apostate Angels</i>, the <i>Scriptures</i> inform us of their lost Condition, of their Malice
+  and Power, of their active Industry and Experience; and all these Qualities <span class="pagenum"
+  id="page192">{192}</span>Correspondent to the Bulk of their Nature, the Antiquity of their Being,
+  and the Misery of their State. In short, They are painted in all the formidable Appearances
+  imaginable, to alarm our Caution, and put us upon the utmost Defence.</p>
+
+  <p>Let us see now how Mr. <i>Dryden</i> represents these unhappy Spirits, and their Place of
+  Abode. Why very entertainingly! Those that have a true Tast for Atheism were never better regaled.
+  One would think by this <i>Play</i> the Devils were meer Mormo's and Bugbears, fit only to fright
+  Children and Fools. They rally upon Hell and Damnation, with a great deal of Air and Pleasantry;
+  and appear like <i>Robin Good-fellow</i>, only to make the Company laugh. <i>Philidel</i>: Is
+  call'd a <i>Puling Sprite</i>. And why so? For this pious reason, because</p>
+
+  <div class="poem">
+    <p><i>He trembles at the yawning Gulph of Hell,</i></p>
+    <p><i>Nor dares approach the Flames least he should Singe</i></p>
+    <p><i>His gaudy silken Wings.</i></p>
+    <p><i>He sighs when he should plunge a Soul in Sulphur,</i></p>
+    <p><i>As with Compassion touch'd of Foolish Man</i>.<span class="leftmar"><i>p.
+    6.</i></span><sup class="handonly" id="ref370"><a href="#side370">[370]</a></sup></p>
+  </div>
+
+  <p>The answer is, <i>What a half Devil's he</i>.</p>
+
+  <div><span class="pagenum" id="page193">{193}</span></div>
+
+  <p>You see how admirably it runs all upon the Christian Scheme! Sometimes they are
+  <i>Half-Devils</i>, and sometimes <i>Hopeful-Devils</i>, and what you please to make sport with.
+  <i>Grimbald</i> is afraid of being <i>whooped through Hell at his return</i>, for miscarrying in
+  his Business. It seems there is great Leisure for Diversion! There's <i>Whooping</i> in Hell,
+  instead of <i>Weeping</i> and <i>Wailing</i>! One would fancy Mr. <i>Dryden</i> had Daylight and
+  Company, when these Lines were written. I know his Courage is extraordinary; But sure such
+  Thoughts could never bear up against Solitude and a Candle!</p>
+
+  <p>And now since he has diverted himself with the <i>Terrors</i> of <i>Christianity</i>, I dont
+  wonder he, should treat those that Preach them with so much Civility! enter <i>Poet</i> in the
+  Habit of a <i>Peasant</i>.</p>
+
+  <div class="poem">
+    <p><i>We ha' cheated the Parson we'el cheat him again,</i></p>
+    <p><i>For why should a Blockhead have one in ten?</i></p>
+    <p><i>For prating so long like a Booklearned Sot,</i></p>
+    <p><i>Till Pudding, and Dumpling burn to pot.</i></p>
+  </div>
+
+  <p>These are fine comprehensive stroaks! Here you have the <i>Iliads</i> in a Nutshell! Two or
+  three courtly words take in the whole Clergy; And what is wanting in <span class="pagenum"
+  id="page194">{194}</span>Wit, is made up in Abuse, and that's as well. This is an admirable
+  <i>Harvest Catch</i>, and the poor Tith-stealers stand highly indebted. They might have been tired
+  with Cheating in <i>Prose</i>, had not they not been thus seasonably releiv'd in Doggrell! But now
+  there is Musick in playing the Knave. A Countryman now may fill his Barn, and humour his ill
+  Manners, and sing his Conscience asleep, and all under one. I dont question but these <i>four
+  Lines</i> steal many a Pound in the year. Whether the <i>Muse</i> stands indictable or not, the
+  Law must determine: But after all, I must say the Design is notably laid. For Place and Person,
+  for Relish and Convenience; nothing could have been better. The Method is very short, clear, and
+  Practicable. 'Tis a fine portable Infection, and costs no more Carriage than the Plague.</p>
+
+  <p>Well! the Clergy must be contented: It might possibly have been worse for them if they had been
+  in his favour: For he has sometimes a very unlucky way of showing his Kindness. He commends the
+  <i>Earl of Leicester for considering the Friend, more than the Cause</i>;<span
+  class="leftmar"><i>Ep. Ded. Don Sebast.</i></span><sup class="handonly" id="ref371"><a
+  href="#side371">[371]</a></sup> that is, for his Partiality; The Marquess of <i>Halifax</i> for
+  <i>quitting the Helm, at the approach of a Storm</i>;<span class="leftmar"><i>Ded. King
+  Arthur.</i></span><sup class="handonly" id="ref372"><a href="#side372">[372]</a></sup> As if
+  Pilots were made only for fair <span class="pagenum" id="page195">{195}</span>Weather. 'Tis
+  Presum'd these Noble Persons are unconcern'd in this Character. However the <i>Poet</i> has shown
+  his skill in Panegyrick, and 'tis only for that I mention it. He commends <i>Atticus</i> for his
+  Trimming, and <i>Tally</i> for his Cowardize, and speaks meanly of the Bravery of
+  <i>Cato</i>.<span class="leftmar"><i>Sebast. K. Arth.</i><br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref373"><a href="#side373">[373]</a></sup> Afterwards
+  he professes his Zeal for the Publick welfare, and is pleas'd to <i>see the Nation so well secur'd
+  from Foreign Attempts</i> &amp;c.<sup class="handonly" id="ref374"><a
+  href="#side374">[374]</a></sup> However he is in some pain about the Coming of the <i>Gauls</i>;
+  'Tis possible for fear they should invade the <i>Muses</i>, and carry the <i>Opera's</i> into
+  Captivity, and deprive us of <i>the Ornaments of Peace</i>.</p>
+
+  <p class="sp5">And now He has serv'd his Friends, he comes in the last place like a modest Man, to
+  commend Himself. He tells us there were a great many <i>Beauties</i> in the Original Draught of
+  this <i>Play</i>. But it seems Time has since tarnish'd their Complexion. And He gives
+  <i>Heroick</i> Reasons for their not appearing. To speak Truth, (all Politicks apart,) there are
+  strange Flights of Honour, and Consistencies of Pretention in this Dedication! But I shall forbear
+  the Blazon of the <i>Atcheivment</i>, for fear I should commend as unluckily as Himself.</p>
+
+  <div><span class="pagenum" id="page196">{196}</span></div>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECT</span>.
+  II.</span></h3>
+
+  <h4 class="sp3"><i>Remarks upon Don Quixot, &amp;c.</i></h4>
+
+  <p>Mr. <i>Durfey</i> being somewhat particular in his Genius and Civilities, I shall consider him
+  in a word or two by himself. This Poet writes from the <i>Romance</i> of an ingenious Author: By
+  this means his Sense, and <i>Characters</i> are cut out to his Hand. He has wisely planted himself
+  upon the shoulders of a <i>Giant</i>; but whether his Discoveries answer the advantage of his
+  standing, the Reader must judge.</p>
+
+  <p>What I have to object against Mr. <i>Durfey</i> shall most of it be ranged under these three
+  Heads.</p>
+
+  <p>I. <i>His Profaness with respect to Religion and the</i> Holy Scriptures.</p>
+
+  <p>II. <i>His Abuse of the Clergy.</i></p>
+
+  <p class="sp3">III. <i>His want of Modesty and Regard to the Audience.</i></p>
+
+  <p>I. <i>His Profaness, &amp;c.</i></p>
+
+  <p>And here my first Instance shall be in a bold <i>Song</i> against Providence.</p>
+
+  <div><span class="pagenum" id="page197">{197}</span></div>
+
+  <div class="poem">
+    <p><i>Providence that formed the Fair</i></p>
+    <p style="margin-left:0.70em"><i>In such a charming Skin,</i></p>
+    <p><i>Their Outside made his only care,</i></p>
+    <p style="margin-left:0.70em"><i>And never look'd within.</i><span class="leftmar"><i>Part 1st.
+    p. 20.</i></span><sup class="handonly" id="ref375"><a href="#side375">[375]</a></sup></p>
+  </div>
+
+  <p>Here the <i>Poet</i> tells you Providence makes Mankind by halves, huddles up the Soul, and
+  takes the least care of the better Moyety. This is direct blaspheming the Creation, and a Satir
+  upon God Almighty. His next advance is to droll upon the Resurrection.</p>
+
+  <div class="poem">
+    <p><i>Sleep and indulge thy self with Rest,</i></p>
+    <p><i>Nor dream thou e're shalt rise again.</i><span class="leftmar"><i>p. 20.</i></span><sup
+    class="handonly" id="ref376"><a href="#side376">[376]</a></sup></p>
+  </div>
+
+  <p>His Third Song makes a jest of the <i>Fall</i>, rails upon <i>Adam</i> and <i>Eve</i>, and
+  burlesques the Conduct of <i>God Almighty</i> for not making Mankind over again.</p>
+
+  <div class="poem">
+    <p><i>When the World first knew Creation,<span class="leftmar"><i>p. 37.</i></span><sup
+    class="handonly" id="ref377"><a href="#side377">[377]</a></sup></i></p>
+    <p><i>A Rogue was a Top-Profession,</i></p>
+    <p><i>When there was no more in all Nature but Four,</i></p>
+    <p><i>There were two of them in Transgression.</i></p>
+    <p class="stanza"><i>He that first to mend the Matter,</i></p>
+    <p><i>Made Laws to bind our Nature,</i></p>
+    <p><i>Should have found a way,</i></p>
+    <p><i>To make Wills obey,</i></p>
+    <p><i>And have Modell'd new the Creature</i>.</p>
+  </div>
+
+  <div><span class="pagenum" id="page198">{198}</span></div>
+
+  <p>In this and the following page, the <i>Redemption</i> of the World is treated with the same
+  respect with the <i>Creation</i>. The word <i>Redeemer</i>, which among Christians is appropriated
+  to our Blessed Saviour, and like the Jewish Tetragrammaton peculiarly reserv'd to the Deity; This
+  adorable Name (<i>Redeemer and Dear Redeemer</i>,) is applyed to the ridiculous Don
+  <i>Quixote</i>. These Insolencies are too big for the Correction of a Pen, and therefore I shall
+  leave them. After this horrible abuse of the Works, and Attributes of God, he goes on to make
+  sport with his Vengeance. He makes the Torments of Hell a very Comical Entertainment: As if they
+  were only Flames in Painting, and Terrors in <i>Romance</i>. The <i>Stygian Frogs</i> in
+  <i>Aristophanes</i> are not represented with more Levity, and Drolling. That the <i>Reader</i> may
+  see I do him no wrong, I shall quote the places which is the main Reason why I have transcrib'd
+  the rest of his Profaness.</p>
+
+  <div><span class="pagenum" id="page199">{199}</span></div>
+
+  <div class="poem">
+    <p><i>Appear ye fat Feinds that in Limbo do groan,</i></p>
+    <p><i>That were when in Flesh the same souls with his own:</i></p>
+    <p><i>You that always in Lucifers Kitchin reside,</i></p>
+    <p><i>'Mongst Sea-coal and Kettles, and Grease newly try'd:</i></p>
+    <p><i>That pamper'd each day with a Garbidge of Souls,</i></p>
+    <p><i>Broil Rashers of Fools for a Breakfast on Coals.</i></p>
+  </div>
+
+  <p>In the Epilogue you have the History of <i>Balaam</i>'s Ass exposed, and the Beast brought upon
+  the <i>Stage</i> to laugh at the Miracle the better;</p>
+
+  <div class="poem">
+    <p><i>And as 'tis said a parlous Ass once spoke,</i></p>
+    <p><i>When Crab-tree Cudgel did his rage provoke.</i></p>
+    <p><i>So if you are not civil,&mdash;&mdash;I fear</i></p>
+    <p><i>He'el speak again.&mdash;&mdash;</i></p>
+  </div>
+
+  <p>In the second <i>Part</i> the Devil is brought upon the <i>Stage</i>.<span
+  class="leftmar"><i>p. 13.</i></span><sup class="handonly" id="ref378"><a
+  href="#side378">[378]</a></sup> He cries as <i>he hopes to be Saved</i>. And <i>Sancho warrants
+  him a good Christian</i>. Truly I think he may have more of Christianity in him than the Poet. For
+  he trembles at that God, with whom the other makes Diversion.</p>
+
+  <p>I shall omit the mention of several outrages of this Kind, besides his deep mouth'd swearing,
+  which is frequent, and pass on to the Second Head, which is His Abuse of the Clergy. And since
+  Reveal'd Religion has been thus horribly treated, <span class="pagenum"
+  id="page200">{200}</span>'tis no Wonder if the <i>Ministers</i> of it have the same Usage.</p>
+
+  <p>And here we are likely to meet with some passages extraordinary enough. For to give Mr.
+  <i>Durfey</i> his due, when he meddles with Church men he lays about him like a Knight Errant:
+  Here his Wit and his Malice, are generally in extreams, tho' not of the same Kind. To begin. He
+  makes the Curate <i>Perez</i> assist at the ridiculous Ceremony of <i>Don Quixots</i>
+  Knighting.<span class="leftmar"><i>Part. 1. p. 13.</i></span><sup class="handonly" id="ref379"><a
+  href="#side379">[379]</a></sup> Afterwards Squire <i>Sancho</i> confessing his mistake to
+  <i>Quixote</i>, tells him, <i>Ah consider dear Sir no man is born wise</i>. And what if he was
+  born wise? He may be <i>Bred</i> a Fool, if he has not a care. But how does he prove this
+  Memorable Sentence? Because a <i>Bishop is no more than another man without Grace and Good
+  Breeding</i>. I must needs say if the <i>Poet</i> had any share of either of these Qualities, he
+  would be less bold with his Superiors; and not give his Clowns the Liberty to droll thus heavily
+  upon a solemn <i>Character</i>. This <i>Sancho</i> Mr. <i>Durfey</i> takes care to inform us is
+  <i>a dry shrewd Country Fellow</i>, The reason of this Character is for the strength of it
+  somewhat surprising.<span class="leftmar"><i>Person. Dram.</i></span><sup class="handonly"
+  id="ref380"><a href="#side380">[380]</a></sup> 'Tis because <i>he blunders out Proverbs upon all
+  Occasions, tho' never so far from the purpose</i>. Now if blundring and talking nothing <span
+  class="pagenum" id="page201">{201}</span>to the purpose, is an argument of <i>Shrewdness</i>; some
+  Peoples <i>Plays</i> are very shrewd Performances. To proceed. <i>Sancho</i> complains of his
+  being married, because it hindred him from better offers. <i>Perez</i> the Curate is sorry for
+  this Misfortune. <i>For as I remember</i> says he <i>'twas my luck to give</i> Teresa <i>and you
+  the Blessing</i>. To this <i>Sancho</i> replies. <i>A Plague on your Blessing! I perceive I shall
+  have reason to wish you hang'd for your Blessing&mdash;&mdash;Good finisher of Fornication, good
+  Conjunction Copulative.</i><span class="leftmar"><i>p. 51.</i></span><sup class="handonly"
+  id="ref381"><a href="#side381">[381]</a></sup> For this irreverence and Profaness <i>Perez</i>
+  threatens him with Excommunication. <i>Sancho</i> tells him, <i>I care not, I shall lose nothing
+  by it but a nap in the Afternoon.</i> In his Second Part, <i>Jodolet</i> a Priest is call'd a
+  <i>Holy Cormorant</i>, and made to dispatch <i>half a Turkey, and a Bottle of Malaga for his
+  Breakfast</i>.<span class="leftmar"><i>p. 3.</i></span><sup class="handonly" id="ref382"><a
+  href="#side382">[382]</a></sup> Here one Country Girl chides another for her sawcyness.
+  <i>D'ee</i> (says she) <i>make a Pimp of a Priest?</i> <i>Sancho</i> interposes with his usual
+  shrewdness: <i>A Pimp of a Priest, why is that such a Miracle?</i> In the Second <i>Scene</i> the
+  Poet Provides himself another Priest to abuse.<span class="leftmar"><i>p. 7.</i></span><sup
+  class="handonly" id="ref383"><a href="#side383">[383]</a></sup> <i>Mannel</i> the Steward calls
+  <i>Bernardo</i> the Chaplain Mr. <i>Cuff-Cushion</i>, and tells him a <i>Whore is a Pulpit he
+  loves</i>.&mdash;&mdash;In settling the <i>Characters Mannel</i> is given out for <i>a witty
+  pleasant Fellow</i>. And now you see he comes up to Expectation. To the Blind all <i>Colours</i>
+  <span class="pagenum" id="page202">{202}</span>are alike, and Rudeness, and Raillery are the same
+  thing!<span class="leftmar"><i>p. 10.</i></span><sup class="handonly" id="ref384"><a
+  href="#side384">[384]</a></sup> Afterwards, <i>Bernardo</i> says <i>Grace</i> upon the
+  <i>Stage</i>; and I suppose Prays to God to bless the Entertainment of the Devil. Before they rise
+  from Table, the <i>Poet</i> contrives a Quarrel between <i>Don Quixot</i> and <i>Bernardo</i>. The
+  Priest railes on the Knight, and calls him <i>Don Coxcomb</i> &amp;c. By this time you may imagine
+  the Knight heartily Provok'd, ready to buckle on his <i>Bason</i>, and draw out for the Combat,
+  Let us hear his Resentment.</p>
+
+  <p>Don Quix. <i>Oh thou old black Fox with a Fire brand in thy Tail, thou very Priest: Thou
+  Kindler of all Mischeifs in all Nations. De'e hear Homily: Did not the Reverence I bear these
+  Nobles&mdash;&mdash;I would so thrum your Cassock you Church Vermin</i>.<span
+  class="leftmar"><i>p. 41.</i></span><sup class="handonly" id="ref385"><a
+  href="#side385">[385]</a></sup></p>
+
+  <p>At last he bids <i>Bernardo</i> adieu in Language too Profane and Scandalous to relate.<span
+  class="leftmar"><i>p. 47.</i></span><sup class="handonly" id="ref386"><a
+  href="#side386">[386]</a></sup> In the Fourth <i>Act</i> His Song calls the Clergy <i>Black
+  Cattle</i>, and says <i>no Body now minds what they say</i>. I could alledge more of his Courtship
+  to the <i>Order</i>, but the <i>Reader</i> might possibly be tired, and therefore I shall proceed
+  in the</p>
+
+  <p><i>Third</i>, place to his want of Modesty, and Regard to the Audience. As for Smut
+  <i>Sancho</i> and <i>Teresa</i> talk it broad, and single sens'd, for almost a page together.<span
+  class="leftmar"><i>Part. 1st. p. 7, 8. pt. 2d. p. 57.</i></span><sup class="handonly"
+  id="ref387"><a href="#side387">[387]</a></sup> <i>Mary</i> the <i>Buxsom</i> has likewise her
+  share <span class="pagenum" id="page203">{203}</span>of this Accomplishment. The first Epilogue is
+  Garnish'd with a Couplet of it;<span class="leftmar"><i>pt. 2d. p. 60;</i></span><sup
+  class="handonly" id="ref388"><a href="#side388">[388]</a></sup> <i>Marcella</i> the Maiden
+  Shepherdess raves in Raptures of Indecency; And sometimes you have it mixt up with Profaness, to
+  make the Composition the stronger.<span class="leftmar"><i>pt. 1st. p. 38. pt. 2d. p.
+  14.</i></span><sup class="handonly" id="ref389"><a href="#side389">[389]</a></sup> But this
+  entertainment being no Novelty, I shall pass it over; And the rather because there are some other
+  Rarities which are not to be met with else where.</p>
+
+  <p>Here he diverts the Ladies with the Charming Rhetorick of <i>Snotty-Nose, filthy Vermin in the
+  Beard, Nitty Jerkin, and Louse Snapper, with the Letter in the Chamber-pot, and natural
+  Evacuation</i>;<span class="leftmar"><i>pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36, 49. pt.
+  2d. p. 37. 44.</i></span><sup class="handonly" id="ref390"><a href="#side390">[390]</a></sup> with
+  an abusive description of a Countess, and a rude story of a certain Lady, and with some other
+  varieties of this Kind, too coarse to be named. This is rare stuff for Ladies, and Quality! There
+  is more of <i>Physick</i>, than <i>Comedy</i> in such Sentences as these. <i>Crocus Metallorum</i>
+  will scarse turn the Stomack more effectually. 'Tis possible Mr. <i>Durfey</i> might design it for
+  a <i>Receipt</i>. And being Conscious the <i>Play</i> was too dear, threw a Vomit into the
+  Bargain.<span class="leftmar"><i>Pref. pt. 3d.</i></span><sup class="handonly" id="ref391"><a
+  href="#side391">[391]</a></sup> I wonder Mr. <i>Durfey</i> should have no more regard to the
+  <i>Boxes</i> and <i>Pitt</i>! That a Man who has <i>studied the Scenes of Decency and Good Manners
+  with so much Zeal</i>, should practise with so little Address! Certainly <i>indefatigable
+  Diligence, <span class="pagenum" id="page204">{204}</span>Care and Pains</i>, was never more
+  unfortunate!<span class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref392"><a
+  href="#side392">[392]</a></sup> In his <i>third Part</i>, <i>Buxsome</i> swears faster, and is
+  more scandalous, and impertinent, than in the other two. At these Liberties, and some in
+  <i>Sancho</i>, the Ladies took Check. This Censure Mr. <i>Durfey</i> seems heartily sorry for. He
+  is <i>extreamly concern'd that the Ladies, that Essential part of the Audience</i>, should think
+  his Performance <i>nauseous and undecent</i>.<span class="leftmar"><i>Pref.</i></span><sup
+  class="handonly" id="ref393"><a href="#side393">[393]</a></sup> That is, he is very sorry they
+  brought their Wits, or their Modesty along with them. However Mr. <i>Durfey</i> is not so
+  Ceremonious as to submit: He is resolved to keep the Field against the Ladies; And endeavours to
+  defend himself by saying, <i>I know no other way in Nature to do the Characters right, but to make
+  a Romp, speak like a Romp, and a clownish Boor blunder</i> &amp;c.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref394"><a
+  href="#side394">[394]</a></sup></p>
+
+  <p>By his favour, all Imitations tho' never so well Counterfeited are not proper for the
+  <i>Stage</i>. To present Nature under every Appearance would be an odd undertaking. A Midnight
+  <i>Cart</i>, or a <i>Dunghil</i> would be no Ornamental <i>Scene</i>. Nastyness, and dirty
+  Conversation are of the same kind. For <i>Words</i> are a Picture to the Ear, as Colours and
+  <i>Surface</i> are to the Eye. Such Discourses are like dilating upon Ulcers, and Leprosies: The
+  more <span class="pagenum" id="page205">{205}</span><i>Natural</i>, the worse; for the Disgust
+  always rises with the Life of the Description. Offensive Language like offensive Smells, does but
+  make a Man's Senses a burthen, and affords him nothing but Loathing and Aversion. Beastliness in
+  Behaviour, gives a disparaging Idea of Humane Nature, and almost makes us sorry we are of the same
+  Kind. For these reasons 'tis a Maxime in Good Breeding never to shock the Senses, or Imagination.
+  This Rule holds strongest before <i>Women</i>, and especially when they come to be entertain'd.
+  The Diversion ought to be suited to the Audience; For nothing pleases which is disproportion'd to
+  Capacity, and Gust. The Rudenesses and broad Jests of Beggars, are just as acceptable to Ladies as
+  their Rags, and Cleanliness. To treat Persons of Condition like the <i>Mob</i>, is to degrade
+  their Birth, and affront their Breeding. It levells them with the lowest Education. For the size
+  of a Man's Sense, and Improvement, is discovered by his Pleasures, as much as by any thing
+  else.</p>
+
+  <p>But to remove from <i>Scenes of Decency</i>, to <i>Scenes</i> of Wit. And here <i>Mannel</i>
+  and <i>Sancho</i>, two <i>pleasant sharp Fellows</i>, will divert us extreamly.<span
+  class="leftmar"><i>Person. Dram.</i></span><sup class="handonly" id="ref395"><a
+  href="#side395">[395]</a></sup> <i>Mannel</i> in the Disguise of a Lady addresses the Dutchess in
+  this <span class="pagenum" id="page206">{206}</span>manner. <i>Illustrious Beauty&mdash;&mdash;I
+  must desire to know whether the most purifidiferous Don</i> Quixote <i>of the Manchissima, and his
+  Squireiferous</i> Panca, <i>be in this Company or no</i>. This is the Ladies speech! Now comes
+  <i>Sancho</i>. <i>Why look you forsooth, without any more Flourishes, the Governour</i> Panca
+  <i>is here, and Don</i> Quixotissimo <i>too; therefore most afflictedissimous Matronissima, speak
+  what you willissimus, for we are all ready to be your Servitorissimus</i>.<span
+  class="leftmar"><i>pt. 2d. p. 31.</i></span><sup class="handonly" id="ref396"><a
+  href="#side396">[396]</a></sup></p>
+
+  <p>I dare not go on, for fear of overlaying the <i>Reader</i>. He may cloy himself at his Leisure.
+  The <i>Scene</i> between the <i>Taylor</i> and <i>Gardiner</i>, lies much in the same Latitude of
+  Understanding.<span class="leftmar"><i>p. 51.</i></span><sup class="handonly" id="ref397"><a
+  href="#side397">[397]</a></sup></p>
+
+  <p>The Third <i>Part</i> presents a set of <i>Poppets</i>, which is a Thought good enough; for
+  this Play is only fit to move upon <i>Wires</i>. 'Tis pity these little <i>Machines</i> appear'd
+  no sooner, for then the Sense, and the <i>Actors</i> had been well adjusted. In explaining the
+  <i>Persons</i>, He acquaints us that <i>Carasco is a Witty Man</i>. I can't tell what the
+  Gentleman might be in other Places, but I'm Satisfied he is a Fool in his <i>Play</i>. But some
+  <i>Poets</i> are as great Judges of Wit, as they are an instance; And have the Theory and the
+  Practise just alike.</p>
+
+  <p>Mr. <i>Durfeys Epistles Dedicatory</i> are to the full as diverting as his <i>Comedies</i>. A
+  little of them may not be amiss.</p>
+
+  <div><span class="pagenum" id="page207">{207}</span></div>
+
+  <p>In his first, He thus addresses the <i>Dutches</i> of <i>Ormond</i>. <i>'Tis Madam from your
+  Graces Prosperous Influence that I date my Good Fortune.</i> To <i>Date</i> from time and Place,
+  is vulgar and ordinary, and many a <i>Letter</i> has miscarried with it: But to do it from an
+  <i>Influence</i>, is Astrological, and surprizing, and agrees extreamly with the <i>Hemisphere of
+  the Play-house</i>.<span class="leftmar"><i>Pref. pt. 1st.</i><br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref398"><a href="#side398">[398]</a></sup> These
+  Flights one would easily imagine were the <i>Poor Off-spring</i> of Mr. <i>Durfey's Brain</i>, as
+  he very judiciously phrases it.<sup class="handonly" id="ref399"><a
+  href="#side399">[399]</a></sup></p>
+
+  <p>One Paragraph in his Dedication to Mr. <i>Montague</i> is perfect <i>Quixotism</i>; One would
+  almost think him enchanted. I'll give the Reader a Tast.</p>
+
+  <p><i>Had your Eye's shot the haughty Austerity upon me of a right Courtier,&mdash;&mdash;your
+  valued minutes had never been disturb'd with dilatory Trifles of this Nature, but my Heart on dull
+  Consideration of your Merit, had supinely wish'd you prosperity at a Distance.</i><span
+  class="leftmar"><i>pt. 3d.</i></span><sup class="handonly" id="ref400"><a
+  href="#side400">[400]</a></sup> I'm afraid the <i>Poet</i> was under some Apprehensions of the
+  Temper he complains of. For to my thinking, there is a great deal of <i>Supiness</i>, and <i>dull
+  Consideration</i> in these Periods. He tells his Patron <i>his Smiles have embolden'd him</i>. I
+  confess I can't see how He could forbear smiling at such Entertainment. However Mr. <i>Durfey</i>
+  takes Things by the best Handle, and is resolv'd <span class="pagenum" id="page208">{208}</span>to
+  be happy in his Interpretation. But to be serious. Were I the Author, I would discharge my Muse
+  unless she prov'd kinder. His way is rather to cultivate his Lungs, and Sing to other Peoples
+  Sense; For to finish him in a word, he is <i>Vox, &amp; præterea nihil</i>. I speak this only on
+  Supposition that the rest of his Performances are like These. Which because I have not perused I
+  can judge of no farther than by the Rule of <i>ex pede Herculem</i>. I shall conclude with
+  Monsieur <i>Boileau's Art</i> of <i>Poetry</i>. This citation may possibly be of some service to
+  Mr. <i>Durfey</i>; For if not concern'd in the Application, he may at least be precaution'd by the
+  Advice.</p>
+
+  <div class="poem sp5">
+    <p style="margin-left:2.80em">The Translation runs thus.</p>
+    <p class="stanza"><i>I like an Author that Reforms the Age;</i></p>
+    <p><i>And keeps the right Decorum of the Stage:</i></p>
+    <p><i>That always pleases by just Reasons Rule:</i></p>
+    <p><i>But for a tedious Droll a Quibbling Fool,</i></p>
+    <p><i>Who with low nauseous Baudry fills his Plays;</i></p>
+    <p><i>Let him begone and on two Tressells raise</i></p>
+    <p><i>Some</i> Smithfield <i>Stage, where he may act his Pranks,</i></p>
+    <p><i>And make</i> Jack-puddings <i>speak to Mountebanks</i>.<span class="leftmar"><i>p.
+    53.</i></span><sup class="handonly" id="ref401"><a href="#side401">[401]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page209">{209}</span></div>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECT</span>.
+  III.</span></h3>
+
+  <h4 class="sp3"><i>Remarks upon the</i> Relapse.</h4>
+
+  <p>The <i>Relapse</i> shall follow <i>Don Quixot</i>; upon the account of some Alliance between
+  them. And because this <i>Author</i> swaggers so much in his <i>Preface</i>, and seems to look big
+  upon his Performance, I shall spend a few more thoughts than ordinary upon his <i>Play</i>, and
+  examine it briefly in the <i>Fable</i>, the <i>Moral</i>, the <i>Characters</i>, <i>&amp;c.</i>
+  The Fable I take to be as follows.</p>
+
+  <p>Fashion <i>a Lewd, Prodigal, younger Brother; is reduced to extremity: Upon his arrival from
+  his Travels, he meets with</i> Coupler, <i>an old sharping Match-maker</i>; <i>This Man puts him
+  upon a project of cheating his Elder Brother Lord</i> Foplington, <i>of a rich Fortune</i>.
+  <i>Young</i> Fashion <i>being refused a Summ of Money by his Brother, goes into</i> Couplers
+  <i>Plot, bubbles Sir</i> Tunbelly <i>of his Daughter, and makes himself Master of a fair
+  Estate</i>.</p>
+
+  <p>From the Form and Constitution of the <i>Fable</i>, I observe</p>
+
+  <p>1st. That there is a <i>Misnommer</i> in the Title. The <i>Play</i> should not have been call'd
+  the <i>Relapse, or Virtue in Danger</i>: <span class="pagenum"
+  id="page210">{210}</span><i>Lovelace</i>, and <i>Amanda</i>, from whose <i>Characters</i> these
+  Names are drawn, are Persons of Inferiour Consideration. <i>Lovelace</i> sinks in the middle of
+  the <i>Fourth</i> Act, and we hear no more of him till towards the End of the <i>Fifth</i>, where
+  he enters once more, but then 'tis as <i>Cato</i> did the Senate house, only to go out again. And
+  as for <i>Amanda</i> she has nothing to do but to stand a shock of Courtship, and carry off her
+  Virtue. This I confess is a great task in the <i>Play-house</i>, but no main matter in the
+  <i>Play</i>.</p>
+
+  <p>The <i>Intrigue</i>, and the <i>Discovery</i>, the great Revolution and success, turns upon
+  <i>Young Fashion</i>. He without Competition, is the Principal Person in the <i>Comedy</i>. And
+  therefore the <i>Younger Brother</i>, or the <i>Fortunate Cheat</i>, had been much a more proper
+  Name. Now when a <i>Poet</i> can't rig out a <i>Title Page</i>, 'tis but a bad sign of his holding
+  out to the <i>Epilogue</i>.</p>
+
+  <p><i>2ly.</i> I observe the <i>Moral</i> is vitious: It points the wrong way, and puts the
+  <i>Prize</i> into the wrong Hand. It seems to make <i>Lewdness</i> the reason of <i>Desert</i>,
+  and gives <i>Young Fashion</i> a second Fortune, only for Debauching away his First. A short view
+  of his <i>Character</i>, will make good this Reflection. To begin with him: He confesses himself a
+  <i>Rake</i>, swears, and <span class="pagenum" id="page211">{211}</span>Blasphemes, Curses, and
+  Challenges his Elder Brother, cheats him of his Mistress, and gets him laid by the Heels in a
+  Dog-Kennel. And what was the ground of all this unnatural quarrelling and outrage? Why the main of
+  it was only because Lord <i>Foplington</i> refused to supply his Luxury, and make good his
+  Extravagance. This <i>Young Fashion</i> after all, is the <i>Poets</i> Man of Merit. He provides,
+  a <i>Plot</i> and a Fortune, on purpose for him. To speak freely, A Lewd Character seldom wants
+  good Luck in <i>Comedy</i>. So that when ever you see a thorough Libertine, you may almost swear
+  he is in a rising way, and that the <i>Poet</i> intends to make him a great Man. In short; This
+  <i>Play</i> perverts the End of <i>Comedy</i>: Which as Monsieur <i>Rapin</i> observes ought to
+  regard Reformation, and publick Improvement. But the <i>Relapser</i> had a more fashionable Fancy
+  in his Head.<span class="leftmar"><i>Reflect, &amp;c. p. 131.</i></span><sup class="handonly"
+  id="ref402"><a href="#side402">[402]</a></sup> His <i>Moral</i> holds forth this notable
+  Instruction.</p>
+
+  <p><i>1st.</i> That all <i>Younger Brothers</i> should be careful to run out their Circumstances
+  as Fast, and as Ill as they can. And when they have put their Affairs in this posture of
+  Advantage, they may conclude themselves in the high Road to Wealth, and Success. For as
+  <i>Fashion</i> Blasphemously applies it, <i>Providence takes care of Men of Merit.</i><span
+  class="leftmar"><i>Relapse. p. 19</i></span><sup class="handonly" id="ref403"><a
+  href="#side403">[403]</a></sup></p>
+
+  <div><span class="pagenum" id="page212">{212}</span></div>
+
+  <p><i>2ly.</i> That when a Man is press'd, his business is not to be govern'd by Scruples, or
+  formalize upon Conscience and Honesty. The quickest Expedients are the best; For in such cases the
+  Occasion justifies the Means, and a Knight of the <i>Post</i>, is as good as one of the
+  <i>Garter</i>. In the</p>
+
+  <p><i>3d.</i> Place it may not be improper to look a little into the <i>Plot</i>. Here the
+  <i>Poet</i> ought to play the Politician if ever. This part should have some stroaks, of Conduct,
+  and strains of Invention more then ordinary. There should be something that is admirable, and
+  unexpected to surprize the Audience. And all this Finess must work by gentle degrees, by a due
+  preparation of <i>Incidents</i>, and by Instruments which are probable.<span
+  class="leftmar"><i>Reflect.</i> <i>p. 133.</i></span><sup class="handonly" id="ref404"><a
+  href="#side404">[404]</a></sup> 'Tis Mr. <i>Rapins</i> remark, that without probability <i>every
+  Thing is lame and Faulty</i>. Where there is no pretence to <i>Miracle</i> and <i>Machine</i>,
+  matters must not exceed the force of Beleif. To produce effects without proportion; and likelyhood
+  in the Cause, is Farce, and Magick, and looks more like Conjuring than Conduct. Let us examine the
+  <i>Relapser</i> by these Rules. To discover his <i>Plot</i>, we must lay open somewhat more of the
+  <i>Fable</i>.</p>
+
+  <p>'Lord <i>Foplington</i> a Town Beau, had agreed to Marry the Daughter of Sir. <span
+  class="pagenum" id="page213">{213}</span><i>Tun-belly Clumsey</i> a Country Gentleman, who lived
+  Fifty miles from <i>London</i>. Notwithstanding this small distance, the Lord had never seen his
+  Mistress, nor the Knight his Son in Law. Both parties out of their great Wisdom, leave the
+  treating the Match to <i>Coupler</i>. When all the preliminaries of Settlement were adjusted, and
+  Lord <i>Foplington</i> expected by Sir <i>Tun-belly</i> in a few days, <i>Coupler</i> betrays his
+  Trust to <i>Young Fashion</i>. He advises him to go down before his Brother: To Counterfeit his
+  Person, and pretend that the strength of his Inclinations brought him thither before his time, and
+  without his Retinue. And to make him pass upon Sir <i>Tun-belly</i>, <i>Coupler</i> gives him his
+  <i>Letter</i>, which was to be Lord <i>Foplingtons</i> Credential. <i>Young Fashion</i> thus
+  provided, posts down to Sir <i>Tun-belly</i>, is received for Lord <i>Foplington</i>, and by the
+  help of a little Folly and Knavery in the Family, Marries the young Lady without her Fathers
+  Knowledge, and a week before the Appointment.</p>
+
+  <p>This is the Main of the Contrivance. The Counterturn in Lord <i>Foplingtons</i> appearing
+  afterwards, and the Support of the main <i>Plot</i>, by <i>Bulls</i>, and <i>Nurses</i> attesting
+  the Marriage, contain's little of Moment. And here we may observe that <span class="pagenum"
+  id="page214">{214}</span>Lord <i>Foplington</i> has an unlucky Disagreement in his
+  <i>Character</i>; This Misfortune sits hard upon the credibility of the Design. Tis true he was
+  Formal and Fantastick, Smitten with Dress, and Equipage, and it may be vapour'd by his Perfumes
+  But his Behaviour is far from that of an Ideot.<span class="leftmar">p. 27.</span><sup
+  class="handonly" id="ref405"><a href="#side405">[405]</a></sup> This being granted, 'tis very
+  unlikely this Lord with his five Thousand pounds <i>per annum</i>, should leave the choise of his
+  Mistress to <i>Coupler</i>, and take her Person and Fortune upon <i>Content</i>. To court thus
+  blindfold, and by <i>Proxy</i>, does not agree with the Method of an Estate, nor the Niceness of a
+  <i>Beau</i>. However the <i>Poet</i> makes him engage Hand over Head, without so much as the sight
+  of her Picture.<span class="leftmar"><i>p. 79.</i></span><sup class="handonly" id="ref406"><a
+  href="#side406">[406]</a></sup> His going down to Sir <i>Tun-belly</i> was as extraordinary as his
+  Courtship. He had never seen this Gentleman. He must know him to be beyond Measure suspicious, and
+  that there was no Admittance without <i>Couplers</i> Letter. This <i>Letter</i> which was, the Key
+  to the Castle, he forgot to take with him, and tells you <i>'twas stolen by his Brother Tam</i>.
+  And for his part he neither had the Discretion to get another, nor yet to produce that written by
+  him to Sir <i>Tun-belly</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref407"><a href="#side407">[407]</a></sup> Had common Sense been consulted upon this Occasion,
+  the <i>Plot</i> had been at an End, and the <i>Play</i> had sunk <span class="pagenum"
+  id="page215">{215}</span>in the Fourth <i>Act</i>. The Remainder subsists purely upon the strength
+  of Folly, and of Folly altogether improbable, and out of <i>Character</i>. The <i>Salvo</i> of Sir
+  <i>John Friendly's</i> appearing at last, and vouching for Lord <i>Foplington</i>, won't mend the
+  matter. For as the <i>Story</i> informs us, Lord <i>Foplington</i> never depended on this
+  Reserve.<span class="leftmar"><i>p. 81.</i></span><sup class="handonly" id="ref408"><a
+  href="#side408">[408]</a></sup> He knew nothing of this Gentleman being in the Country, nor where
+  he Lived. The truth is, Sir <i>John</i> was left in <i>Town</i>, and the Lord had neither
+  concerted his journey with him, nor engaged his Assistance.<span class="leftmar"><i>p.
+  83.</i></span><sup class="handonly" id="ref409"><a href="#side409">[409]</a></sup></p>
+
+  <p>Let us now see how Sir. <i>Tun-belly</i> hangs together. This Gentleman the <i>Poet</i> makes a
+  <i>Justice</i> of <i>Peace</i>, and a <i>Deputy Lieutenant</i>, and seats him fifty Miles from
+  <i>London</i>: But by his Character you would take him for one of <i>Hercules</i>'s Monsters, or
+  some Gyant in <i>Guy</i> of <i>Warwick</i>. His Behaviour is altogether <i>Romance</i>, and has
+  nothing agreeable to Time, or Country. When <i>Fashion</i>, and <i>Lory</i>, went down, they find
+  the Bridge drawn up, the Gates barr'd, and the Blunderbuss cock'd at the first civil Question. And
+  when Sir <i>Tun-belly</i> had notice of this formidable Appearance, he Sallies out with the
+  <i>Posse</i> of the Family, and marches against a Couple of Strangers with a <i>Life Gaurd</i> of
+  Halberds, Sythes, <span class="pagenum" id="page216">{216}</span>and Pitchforks. And to make sure
+  work, Young <i>Hoyden</i> is lock'd up at the first approach of the Enemy. Here you have prudence
+  and wariness to the excess of Fable, and Frensy. And yet this mighty man of suspition, trusts
+  <i>Coupler</i> with the Disposal of his only Daughter, and his Estate into the Bargain. And what
+  was this <i>Coupler</i>? Why, a sharper by <i>Character</i>, and little better by Profession.
+  Farther. Lord <i>Foplington</i> and the Knight, are but a days Journey asunder, and yet by their
+  treating by Proxy, and Commission, one would Fancy a dozen Degrees of <i>Latitude</i> betwixt
+  them. And as for Young <i>Fashion</i>, excepting <i>Couplers</i> Letter, he has all imaginable
+  Marks of Imposture upon him. He comes before his Time, and without the Retinue expected, and has
+  nothing of the Air of Lord <i>Foplington's</i> Conversation. When Sir <i>Tun-belly</i> ask'd him,
+  <i>pray where are your Coaches and Servants my Lord</i>? He makes a trifling excuse. <i>Sir, that
+  I might give you and your Fair Daughter a proof how impatient I am to be nearer akin to you, I
+  left my Equipage to follow me, and came away Post, with only one Servant.</i><span
+  class="leftmar"><i>p. 59.</i></span><sup class="handonly" id="ref410"><a
+  href="#side410">[410]</a></sup> To be in such a Hurry of Inclination for a Person he never saw, is
+  somewhat strange! Besides, 'tis very unlikely Lord <i>Foplington</i> should hazard his <span
+  class="pagenum" id="page217">{217}</span>Complexion on Horseback, out ride his Figure, and appear
+  a Bridegroom in <i>Deshabille</i>. You may as soon perswade a Peacock out of his Train, as a
+  <i>Beau</i> out of his Equipage; especially upon such an Occasion. Lord <i>Foplington</i> would
+  scarsely speak to his Brother just come a <i>Shore</i>, till the Grand Committee of <i>Taylors,
+  Seamtresses, &amp;c.</i> was dispatch'd.<span class="leftmar"><i>p. 11.</i></span><sup
+  class="handonly" id="ref411"><a href="#side411">[411]</a></sup> Pomp, and Curiosity were this
+  Lords Inclination; why then should he mortifie without necessity, make his first Approaches thus
+  out of Form and present himself to his Mistress at such Disadvantage? And as this is the Character
+  of Lord <i>Foplington</i>, so 'tis reasonable to suppose Sir <i>Tunbelly</i> acquainted with it.
+  An enquiry into the Humour and management of a Son in Law, is very natural and Customary. So that
+  we can't without Violence to Sense, suppose Sir <i>Tunbelly</i> a Stranger to Lord
+  <i>Foplington</i>'s Singularities. These Reasons were enough in all Conscience to make Sir
+  <i>Tunbelly</i> suspect a Juggle, and that <i>Fashion</i> was no better then a Counterfeit. Why
+  then was the <i>Credential</i> swallow'd without chewing, why was not <i>Hoyden</i> lock'd up, and
+  a pause made for farther Enquiry? Did this <i>Justice</i> never hear of such a Thing as Knavery,
+  or had he ever greater reason to guard against it? More wary steps <span class="pagenum"
+  id="page218">{218}</span>might well have been expected from Sir <i>Tunbelly</i>. To run from one
+  extream of Caution, to another of Credulity, is highly improbable. In short, either Lord
+  <i>Foplington</i> and Sir <i>Tunbelly</i> are Fools, or they are not. If they are, where lies the
+  Cunning in over-reaching them? What Conquest can there be without Opposition? If they are not
+  Fools, why does the <i>Poet</i> make them so? Why is their Conduct so gross, so particolour'd, and
+  inconsistent? Take them either way, and the <i>Plot</i> miscarries. The first supposition makes it
+  dull, and the later, incredible. So much for the <i>Plot</i>. I shall now in the</p>
+
+  <p><i>4th</i>. Place touch briefly upon the <i>Manners</i>.</p>
+
+  <p>The <i>Manners</i> in the Language of the <i>Stage</i> have a signification somewhat
+  particular. <i>Aristotle</i> and <i>Rapin</i> call them the Causes and Principles of Action. They
+  are formed upon the Diversities of Age, and Sex, of Fortune, Capacity, and Education. The
+  propriety of <i>Manners</i> consists in a Conformity of Practise, and Principle; of Nature, and
+  Behaviour. For the purpose. An old Man must not appear with the Profuseness and Levity of Youth; A
+  Gentleman must not talk like a Clown, nor a Country Girl like a Town Jilt. And when the
+  <i>Characters</i> are feign'd <span class="pagenum" id="page219">{219}</span>'tis <i>Horace</i>'s
+  Rule to keep them Uniform, and consistent, and agreeable to their first setting out. The
+  <i>Poet</i> must be careful to hold his <i>Persons</i> tight to their <i>Calling</i> and
+  pretentions. He must not shift, and shuffle, their Understandings; Let them skip from Wits to
+  Blockheads, nor from Courtiers to Pedants; On the other hand. If their business is playing the
+  Fool, keep them strictly to their Duty, and never indulge them in fine Sentences. To manage
+  otherwise, is to desert <i>Nature</i>, and makes the <i>Play</i> appear monstrous, and Chimerical.
+  So that instead of an <i>Image of Life</i>, 'tis rather an Image of Impossibility. To apply some
+  of these remarks to the <i>Relapser</i>.</p>
+
+  <p>The fine <i>Berinthia</i>, one of the Top-Characters, is impudent and Profane. <i>Lovelace</i>
+  would engage her Secrecy, and bids her Swear. She answers <i>I do</i>.</p>
+
+  <p><i>Lov.</i> By what?</p>
+
+  <p>Berinth. <i>By Woman.</i></p>
+
+  <p>Lov. <i>That's Swearing by my Deity, do it by your own, or I shan't believe you.</i></p>
+
+  <p>Berinth. <i>By Man then.</i><span class="leftmar"><i>p. 47.</i></span><sup class="handonly"
+  id="ref412"><a href="#side412">[412]</a></sup></p>
+
+  <p>This Lady promises <i>Worthy</i> her Endeavours to corrupt <i>Amanda</i>; and then They make a
+  Profane jest upon the Office.<span class="leftmar"><i>p. 51.</i></span><sup class="handonly"
+  id="ref413"><a href="#side413">[413]</a></sup> In the progress of the <i>Play</i> after a great
+  deal of Lewd Discourse with <i>Lovelace</i>, <span class="pagenum"
+  id="page220">{220}</span><i>Berinthia</i> is carried off into a Closet, and Lodged in a
+  <i>Scene</i> of Debauch.<span class="leftmar"><i>p. 74.</i></span><sup class="handonly"
+  id="ref414"><a href="#side414">[414]</a></sup> Here is Decency, and Reservedness, to a great
+  exactness! Monsieur <i>Rapin</i> blames <i>Ariosto</i>, and <i>Tasso</i>, for representing two of
+  their Women over free, and airy.<span class="leftmar"><i>Reflect. p. 40.</i></span><sup
+  class="handonly" id="ref415"><a href="#side415">[415]</a></sup> These <i>Poets</i> says he, <i>rob
+  Women of their Character, which is Modesty</i>. Mr. <i>Rymer</i> is of the same Opinion: His words
+  are these. <i>Nature knows nothing in the Manners which so properly, and particularly distinguish
+  a Woman, as her Modesty.&mdash;&mdash;An impudent Woman is fit only to be kicked, and expos'd in
+  Comedy.</i><span class="leftmar"><i>Tragedies of the last Age consider'd, &amp;c. p. 113,
+  114.</i></span><sup class="handonly" id="ref416"><a href="#side416">[416]</a></sup></p>
+
+  <p>Now <i>Berinthia</i> appears in <i>Comedy</i> 'tis true; but neither to be <i>kick'd</i>, nor
+  <i>expos'd</i>. She makes a Considerable Figure, has good Usage, keeps the best Company, and goes
+  off without Censure, or Disadvantage. Let us now take a Turn or two with Sir <i>Tun-belly's</i>
+  Heiress of 1500 pounds a year. This Young Lady swears, talks smut, and is upon the matter just as
+  rag-manner'd as <i>Mary the Buxsome</i>. 'Tis plain the <i>Relapser</i> copyed Mr. <i>Durfey's</i>
+  Original, which is a sign he was somewhat Pinch'd. Now this <i>Character</i> was no great Beauty
+  in <i>Buxsome</i>; But it becomes the Knights Daughter much worse. <i>Buxsome</i> was a poor
+  Pesant, which made her Rudeness more natural, and expected. But <i>Deputy Lieutenants</i> Children
+  don't <span class="pagenum" id="page221">{221}</span>use to appear with the Behaviour of Beggars.
+  To breed all People alike, and make no distinction between a <i>Seat</i>, and a <i>Cottage</i>, is
+  not over artful, nor very ceremonious to the Country Gentlemen. The <i>Relapser</i> gives
+  <i>Miss</i> a pretty Soliloquy, I'll transcribe it for <i>the Reader</i>.</p>
+
+  <p>She swears by her Maker, <i>'tis well I have a Husband a coming, or I'de Marry the Baker I
+  would so. No body can knock at the Gate, but presently I must be lock'd up, and, here's the Young
+  Gray-hound&mdash;&mdash;can run loose about the House all day long, she can, 'tis very
+  well!</i>!<span class="leftmar"><i>p. 59.</i></span><sup class="handonly" id="ref417"><a
+  href="#side417">[417]</a></sup> Afterwards her Language is too Lewd to be quoted. Here is a
+  Compound of Ill Manners, and Contradiction Is this a good Resemblance of Quality, a Description of
+  a great Heiress, and the effect of a Cautious Education? By her Coarsness you would think her Bred
+  upon a Common, and by her Confidence, in the Nursery of the <i>Play-house</i>. I suppose the
+  <i>Relapser</i> Fancies the calling her <i>Miss Hoyden</i> is enough to justifie her Ill Manners.
+  By his favour, this is a Mistake. To represent her thus unhewn, he should have suited her
+  Condition to her Name, a little better. For there is no Charm in <i>Words</i> as to matters of
+  Breeding, An unfashionable Name won't make a Man a Clown. Education is not form'd upon <span
+  class="pagenum" id="page222">{222}</span>Sounds, and Syllables, but upon Circumstances, and
+  Quality. So that if he was resolv'd to have shown her thus unpolish'd, he should have made her
+  keep <i>Sheep</i>, or brought her up at the <i>Wash-Boul</i>.</p>
+
+  <p>Sir <i>Tun-belly</i> accosts Young <i>Fashion</i> much at the same rate of Accomplishment.<span
+  class="leftmar"><i>p. 61.</i></span><sup class="handonly" id="ref418"><a
+  href="#side418">[418]</a></sup> My Lord,&mdash;&mdash;<i>I humbly crave leave to bid you Welcome
+  in <span class="correction" title="Original reads 'Cup', corrected by
+  Errata">a Cup</span> of Sack-wine</i>. One would imagine the <i>Poet</i> was overdozed before he
+  gave the <i>Justice</i> a Glass. For <i>Sack-wine</i> is too low for a <i>Petty Constable</i>.
+  This peasantly expression agrees neither with the Gentlemans Figure, nor with the rest of his
+  Behaviour. I find we should have a Creditable <i>Magistracy</i>, if the <i>Relapser</i> had the
+  Making them. Here the <i>Characters</i> are pinch'd in Sense, and stinted to short Allowance. At
+  an other time they are over-indulged, and treated above Expectation.</p>
+
+  <p>For the purpose. Vanity and Formalizing is Lord <i>Foplingtons</i> part. To let him speak
+  without Aukwardness, and Affectation, is to put him out of his Element. There must be Gumm and
+  stiffening in his Discourse to make it natural However, the <i>Relapser</i> has taken a fancy to
+  his Person, and given him some of the most Gentile raillery in the whole <i>Play</i>. To give an
+  Instance or two. This Lord <span class="pagenum" id="page223">{223}</span>in Discourse with
+  <i>Fashion</i> forgets his Name, flies out into Sense, and smooth expression, out talks his
+  Brother, and abating the starch'd Similitude of a <i>Watch</i>, discovers nothing of Affectation,
+  for almost a <i>Page</i> together.<span class="leftmar"><i>p. 42.</i></span><sup class="handonly"
+  id="ref419"><a href="#side419">[419]</a></sup> He relapses into the same Intemperance of good
+  Sense, in an other Dialogue between him and his Brother. I shall cite a little of it.</p>
+
+  <p><i>Y.</i> Fash. <i>Unless you are so kind to assist me in redeeming my Annuity, I know no
+  Remedy, but to go take a Purse</i>.</p>
+
+  <p><i>L.</i> Fopl. <i>Why Faith</i> Tam&mdash;&mdash;<i>to give you my Sense of the Thing, I do
+  think taking a Purse the best Remedy in the World, for if you succeed, you are releiv'd that way,
+  if you are taken&mdash;&mdash;you are reliev'd to'ther</i>.<span class="leftmar"><i>p.
+  43.</i></span><sup class="handonly" id="ref420"><a href="#side420">[420]</a></sup></p>
+
+  <p><i>Fashion</i> being disappointed of a supply quarrels his Elder Brother, and calls him <i>the
+  Prince of Coxcombs</i>.<span class="leftmar"><i>p. 44.</i></span><sup class="handonly"
+  id="ref421"><a href="#side421">[421]</a></sup></p>
+
+  <p><i>L.</i> Fopl. <i>Sir I am proud of being at the Head of so prevailing a party.</i></p>
+
+  <p><i>Y.</i> Fash. <i>Will nothing then provoke thee? draw Coward.</i></p>
+
+  <p><i>L.</i> Fopl. <i>Look you</i> Tam, <i>your poverty makes your Life so burdensome to you, you
+  would provoke me to a Quarrel, in hopes either to slip through my Lungs into my Estate, or else to
+  get your self run through the Guts, to put an end to your Pain. But I shall disappoint you in
+  both</i>. &amp;c.</p>
+
+  <div><span class="pagenum" id="page224">{224}</span></div>
+
+  <p>This Drolling has too much Spirit, the Air of it is too free, and too handsomly turn'd for Lord
+  <i>Foplingtons</i> Character. I grant the <i>Relapser</i> could not aford to lose these Sentences.
+  The Scene would have suffer'd by the Omission. But then he should have contriv'd the matter so, as
+  that they might, have been spoken by Young <i>Fashion</i> in <i>Asides</i>, or by some other more
+  proper Person. To go on. Miss <i>Hoyden</i> sparkles too much in Conversation. The <i>Poet</i>
+  must needs give her a shining Line or two,<span class="leftmar"><i>p. 64. At top.</i></span><sup
+  class="handonly" id="ref422"><a href="#side422">[422]</a></sup> which serves only to make the rest
+  of her dullness the more remarkable. Sir. <i>Tun-belly</i> falls into the same Misfortune of a
+  Wit, and rallies above the force of his Capacity.<span class="leftmar"><i>p. 85.</i></span><sup
+  class="handonly" id="ref423"><a href="#side423">[423]</a></sup> But the place having a mixture of
+  Profaness, I shall forbear to cite it. Now to what purpose should a Fools Coat be embroider'd?
+  Finery in the wrong place is but expensive Ridiculousness. Besides, I don't perceive the
+  <i>Relapser</i> was in any Condition to be thus liberal. And when a <i>Poet</i> is not
+  overstock'd, to squander away his Wit among his <i>Block-heads</i>, is meer Distraction. His men
+  of Sense will smart for this prodigality. <i>Lovelace</i> in his discourse of <i>Friendship</i>,
+  shall be the first Instance. <i>Friendship</i> (says he) <i>is said to be a plant of tedious
+  growth, its Root composed of tender</i> Fibers, <span class="pagenum"
+  id="page225">{225}</span>nice in their Tast, <i>&amp;c.</i> By this Description the Palate of a
+  <i>Fiber</i>, should be somewhat more <i>nice</i> and distinguishing, then the <i>Poets</i>
+  Judgment. Let us examin some more of his Witty People. Young <i>Fashion</i> fancies by
+  <i>Misses</i> forward Behaviour, she would have a whole <i>Kennel</i> of <i>Beaux</i> after her at
+  <i>London</i>. And then <i>Hey to the Park, and the Play, and the Church, and the Devil</i>.<span
+  class="leftmar"><i>p. 64.</i></span><sup class="handonly" id="ref424"><a
+  href="#side424">[424]</a></sup> Here I conceive the ranging of the Period is amiss. For if he had
+  put the <i>Play</i>, and the <i>Devil</i> together, the Order of Nature, and the Air of
+  Probability had been much better observ'd.</p>
+
+  <p>Afterwards <i>Coupler</i> being out of Breath in coming up stairs to <i>Fashion</i>, asks him
+  <i>why the &mdash;&mdash; canst thou not lodge upon the Ground-floor</i>?<span
+  class="leftmar"><i>p. 94.</i></span><sup class="handonly" id="ref425"><a
+  href="#side425">[425]</a></sup></p>
+
+  <p><i>Y.</i> Fash. <i>Because I love to lye as near Heaven as I can.</i> One would think a Spark
+  just come off his Travels, and had made the <i>Tour</i> of <i>Italy</i> and <i>France</i>, might
+  have rallied with a better Grace! However if he lodg'd in a <i>Garret</i>, 'tis a good
+  <i>Local</i> jest. I had almost forgot one pretty remarkable Sentence of <i>Fashion</i> to
+  <i>Lory.</i><span class="leftmar"><i>p. 15.</i></span><sup class="handonly" id="ref426"><a
+  href="#side426">[426]</a></sup> <i>I shall shew thee</i> (says he) <i>the excess of my Passion by
+  being very calm</i>. Now since this <i>Gentleman</i> was in a vein of talking Philosophy to his
+  Man, I'm sorry he broke of so quickly. Had he gone on and shown <span class="pagenum"
+  id="page226">{226}</span>him the <i>Excess</i> of a Storm and no Wind stirring, the Topick had
+  been spent, and the Thought improv'd to the utmost.</p>
+
+  <p>Let us now pass onto <i>Worthy</i>, the <i>Relapsers</i> fine Gentleman. This Spark sets up for
+  Sense, and Address, and is to have nothing of Affectation or Conscience to spoil his Character.
+  However to say no more of him, he grows Foppish in the last <i>Scene</i>, and courts <i>Amanda</i>
+  in Fustian, and Pedantry. First, He gives his Periods a turn of Versification, and talks
+  <i>Prose</i> to her in <i>Meeter</i>. Now this is just as agreeable as it would be to <i>Ride</i>
+  with one Leg, and <i>Walk</i> with the other. But let him speak for himself. His first business is
+  to bring <i>Amanda</i> to an Aversion for her Husband; And therefore he perswades her to <i>Rouse
+  up that Spirit Women ought to bear; and slight your God if he neglects his Angel</i>.<span
+  class="leftmar"><i>p. 99.</i></span><sup class="handonly" id="ref427"><a
+  href="#side427">[427]</a></sup> He goes on with his Orisons. <i>With Arms of Ice receive his Cold
+  Embraces and keep your Fire for those that come in Flames.</i> Fire and Flames, is Mettal upon
+  Mettal; 'Tis false Heraldry. <i>Extend the Arms of Mercy to his Aid. His zeal may give him Title
+  to your Pity, altho' his Merit cannot claim your Love.</i><span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref428"><a
+  href="#side428">[428]</a></sup> Here you have <i>Arms</i> brought in again by Head and shoulders.
+  I suppose the design was to keep up the Situation of the <i>Allegory</i>. But the latter <span
+  class="pagenum" id="page227">{227}</span>part of the Speech is very Pithy. He would have her
+  resign her Vertue out of Civility, and abuse her Husband on Principles of good Nature.
+  <i>Worthy</i> pursues his point, and Rises in his Address. He falls into a Fit of Dissection, and
+  hopes to gain his Mistress by Cutting his Throat. He is for <i>Ripping up his Faithful Breast</i>,
+  to prove the Reality of his Passion. Now when a Man Courts with his Heart in his Hand, it must be
+  great Cruelty to refuse him! No Butcher could have Thought of a more moving Expedient! However,
+  <i>Amanda</i> continues obstinate, and is not in the usual Humour of the <i>Stage</i>. Upon this,
+  like a well bred Lover he seizes her by Force, and threatens to Kill her. <i>Nay struggle not for
+  all's in vain, or Death, or Victory, I am determin'd.</i><span class="leftmar"><i>p.
+  100.</i></span><sup class="handonly" id="ref429"><a href="#side429">[429]</a></sup> In this
+  rencounter the Lady proves too nimble, and slips through his Fingers. Upon this disappointment, he
+  cries, <i>there's Divinity about her, and she has dispenc'd some Portion on't to me</i>. His
+  Passion is Metamorphos'd in the Turn of a hand: He is refin'd into a <i>Platonick</i> Admirer, and
+  goes off as like a <i>Town Spark</i> as you would wish. And so much for the <i>Poets</i> fine
+  Gentleman.</p>
+
+  <p>I should now examine the <i>Relapser's Thoughts and Expressions</i>, which are two other Things
+  of Consideration in a <i>Play</i>. <span class="pagenum" id="page228">{228}</span>The
+  <i>Thoughts</i> or <i>Sentiments are the Expressions of the Manners, as Words are of the
+  Thoughts</i>.<span class="leftmar"><i>Rapin Reflect, &amp;c.</i></span><sup class="handonly"
+  id="ref430"><a href="#side430">[430]</a></sup> But the view of the <i>Characters</i> has in some
+  measure prevented this Enquiry. Leaving this Argument therefore, I shall consider his <i>Play</i>
+  with respect to the</p>
+
+  <p><i>Three Unities</i> of Time, Place, and Action.</p>
+
+  <p>And here the <i>Reader</i> may please to take notice, that the Design of these Rules, is to
+  conceal the Fiction of the <i>Stage</i>, to make the <i>Play</i> appear Natural, and to give it an
+  Air of Reality, and <i>Conversation</i>.</p>
+
+  <p>The largest compass for the first <i>Unity</i> is Twenty Four Hours: But a lesser proportion is
+  more regular. To be exact, the Time of the History, or <i>Fable</i>, should not exceed that of the
+  <i>Representation</i>: Or in other words, the whole Business of the <i>Play</i>, should not be
+  much longer than the Time it takes up in <i>Playing</i>.</p>
+
+  <p>The Second <i>Unity</i> is that of <i>Place</i>. To observe it, the <i>Scene</i> must not
+  wander from one Town, or Country to another. It must continue in the same House, Street, or at
+  farthest in the same City, where it was first laid. The Reason of this Rule depends upon the
+  <i>First</i>. Now the Compass of <i>Time</i> being strait, that of <i>Space</i> must bear a
+  Correspondent Proportion. <span class="pagenum" id="page229">{229}</span>Long journeys in
+  <i>Plays</i> are impracticable. The Distances of <i>Place</i> must be suited to Leisure, and
+  Possibility, otherwise the supposition will appear unnatural and absurd. The</p>
+
+  <p>Third <i>Unity</i> is that of <i>Action</i>; It consists in contriving the chief Business of
+  the <i>Play</i> single, and making the concerns of one Person distinguishably great above the
+  rest. All the Forces of the <i>Stage</i> must as it were serve Under one <i>General</i>: And the
+  lesser Intrigues or Underplots, have some Relation to the Main. The very Oppositions must be
+  useful, and appear only to be Conquer'd, and Countermin'd. To represent Two considerable Actions
+  independent of each other, Destroys the beauty of Subordination, weakens the Contrivance, and
+  dilutes the pleasure. It splits the <i>Play</i>, and makes the <i>Poem</i> double. He that would
+  see more upon this subject may consult <i>Corneille</i>.<span class="leftmar"><i>Discourse des
+  Trois Unitez. pt. 3d.</i></span><sup class="handonly" id="ref431"><a
+  href="#side431">[431]</a></sup> To bring these Remarks to the Case in hand. And here we may
+  observe how the <i>Relapser</i> fails in all the <i>Rules</i> above mention'd.</p>
+
+  <p><i>1st.</i> His <i>Play</i> by modest Computation takes up a weeks Work, but five days you must
+  allow it at the lowest. One day must be spent in the First, Second, and part of the Third
+  <i>Act</i>, before Lord <i>Foplington</i> sets forward to Sir <i>Tun-belly</i>. Now the Length
+  <span class="pagenum" id="page230">{230}</span>of the Distance, the Pomp of the Retinue, and the
+  Niceness of the Person being consider'd; the journey down, and up again, cannot be laid under four
+  days.<span class="leftmar"><i>p. 88.</i></span><sup class="handonly" id="ref432"><a
+  href="#side432">[432]</a></sup> To put this out of doubt, Lord, <i>Foplington</i> is particularly
+  careful to tell <i>Coupler</i>, how concern'd he was not to overdrive <i>for fear of disordering
+  his Coach-Horses</i>. The Laws of <i>Place</i>, are no better observ'd than those of <i>Time</i>.
+  In the Third <i>Act</i> the <i>Play</i> is in <i>Town</i>, in the Fourth <i>Act</i> 'tis stroll'd
+  Fifty Miles off, and in the Fifth <i>Act</i> in <i>London</i> again. Here <i>Pegasus</i> stretches
+  it to purpose! This <i>Poet</i> is fit to ride a Match with Witches. <i>Juliana Cox</i> never
+  Switched a Broom stock with more Expedition! This is exactly</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Titus</i> at <i>Walton Town</i>, and <i>Titus</i> at <i>Islington</i>.</p>
+  </div>
+
+  <p>One would think by the probability of matters, the <i>Plot</i> had been stolen from Dr.
+  <i>O&mdash;&mdash;s</i>.</p>
+
+  <p>The <i>Poet's</i> Success in the last <i>Unity</i> of <i>Action</i> is much the same with the
+  former. <i>Lovelace</i>, <i>Amanda</i>, and <i>Berinthia</i>, have no share in the main Business.
+  These Second rate <i>Characters</i> are a detatched Body: Their Interest is perfectly Foreign, and
+  they are neither Friends, nor Enemies to <span class="pagenum" id="page231">{231}</span>the
+  <i>Plot</i>. <i>Young Fashion</i> does not so much as see them till the Close of the Fifth
+  <i>Act</i>, and then they meet only to fill the <i>Stage</i>: And yet these <i>Persons</i> are in
+  the <i>Poets</i> account very considerable; Insomuch that he has misnamed his <i>Play</i> from the
+  Figure of two of them. This strangness of <i>Persons</i>, distinct Company, and inconnexion of
+  Affairs, destroys the Unity of the <i>Poem</i>. The contrivance is just as wise as it would be to
+  cut a Diamond in two. There is a loss of Lustre in the Division. Increasing the Number, abates the
+  Value, and by making it more, you make it less.</p>
+
+  <p class="sp5">Thus far I have examin'd the <i>Dramatick</i> Merits of the <i>Play</i>. And upon
+  enquiry, it appears a Heap of Irregularities. There is neither Propriety in the <i>Name</i>, nor
+  Contrivance in the <i>Plot</i>, nor Decorum in the <i>Characters</i>. 'Tis a thorough Contradition
+  to Nature, and impossible in <i>Time</i>, and <i>Place</i>. Its <i>Shining Graces</i> as the
+  Author calls them,<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref433"><a
+  href="#side433">[433]</a></sup> are <i>Blasphemy</i> and <i>Baudy</i>, together with a mixture of
+  <i>Oaths</i>, and <i>Cursing</i>. Upon the whole; The <i>Relapser's</i> Judgment, and his Morals,
+  are pretty well adjusted. The <i>Poet</i>, is not much better than the <i>Man</i>. As for the
+  <i>Profane</i> part, 'tis hideous and superlative.<span class="leftmar"><i>see Chap.
+  2d.</i></span><sup class="handonly" id="ref434"><a href="#side434">[434]</a></sup> But this I have
+  consider'd elsewhere. All that I shall observe here is, that the Author was <span class="pagenum"
+  id="page232">{232}</span>sensible of this Objection. His Defence in his <i>Preface</i> is most
+  wretched: He pretends to know nothing of the Matter, and that <i>'tis all Printed</i>; Which only
+  proves his Confidence equal to the rest of his Virtues. To out-face Evidence in this manner, is
+  next to the affirming there's no such Sin as <i>Blasphemy</i>, which is the greatest Blasphemy of
+  all. His Apology consists in railing at the <i>Clergy</i>; a certain sign of ill Principles, and
+  ill Manners. This He does at an unusual rate of Rudeness and Spite. He calls them the Saints with
+  Screw'd <i>Faces, and wry Mouths</i>. And after a great deal of scurrilous Abuse too gross to be
+  mention'd, he adds;<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref435"><a
+  href="#side435">[435]</a></sup> <i>If any Man happens to be offended at a story of a Cock and a
+  Bull, and a Priest and a Bull-dog, I beg his Pardon</i>, &amp;c. This is brave <i>Bear-Garden</i>
+  Language! The <i>Relapser</i> would do well to transport his Muse to <i>Samourgan</i>.<span
+  class="nothand">*</span><span class="leftmar">* <i>An Academy in Lithuania, for the Education of
+  Bears. Pere Auvill Voyage en Divers Etats, &amp;c. p. 240.</i></span><sup class="handonly"
+  id="ref436"><a href="#side436">[436]</a></sup> There 'tis likely he might find Leisure to lick his
+  <i>Abortive Brat</i> into shape; And meet with proper Business for his Temper, and encouragement
+  for his Talent.</p>
+
+  <div><span class="pagenum" id="page233">{233}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  VI.</span></h1>
+
+  <h2 class="sp3"><i>The Opinion of</i> Paganism, <i>of the</i> Church, <i>and</i> State,
+  <i>concerning the</i> Stage.</h2>
+
+  <p>Having in the foregoing <i>Chapters</i> discover'd some part of the Disorders of the <i>English
+  Stage</i>; I shall in this Last, present the <i>Reader</i> with a short View of the Sense of
+  <i>Antiquity</i>, To which I shall add some <i>Modern</i> Authorities; From all which it will
+  appear that <i>Plays</i> have generally been look'd on as the <i>Nurseries</i> of <i>Vice</i>, the
+  <i>Corrupters</i> of <i>Youth</i>, and the <i>Grievance</i> of the <i>Country</i> where they are
+  suffer'd.</p>
+
+  <p>This proof from <i>Testimony</i> shall be ranged under these three Heads.</p>
+
+  <p>Under the <i>First</i>, I shall cite some of the most celebrated <i>Heathen Philosophers</i>,
+  Orators, and Historians; Men of the biggest Consideration, for Sense, Learning, and Figure.
+  The</p>
+
+  <p><i>Second</i>, Shall consist of the <i>Laws</i> and <i>Constitutions</i> of <i>Princes,
+  &amp;c.</i> The</p>
+
+  <p><i>Third</i>, Will be drawn from <i>Church-Records</i>, from <i>Fathers</i>, and
+  <i>Councils</i> of <span class="pagenum" id="page234">{234}</span>unexceptionable Authority, both
+  as to Persons, and Time.</p>
+
+  <p><i>1st.</i> I shall produce some of the most celebrated Heathen Philosophers <i>&amp;c.</i> To
+  begin with <i>Plato</i>. 'This Philosopher tells us that <i>Plays</i> raise the Passions, and
+  pervert the use of them, and by consequence are dangerous to Morality. For this Reason he banishes
+  these Diversions his <i>Common-Wealth</i>.'<span class="leftmar"><i>Plat. de Repub. Lib. 10.<br/>
+  Euseb. Præpar. Evang.</i></span><sup class="handonly" id="ref437"><a
+  href="#side437">[437]</a></sup></p>
+
+  <p><i>Xenophon</i> who was both a Man of <i>Letters</i> and a great <i>General</i>, commends the
+  <i>Persians</i> for the Discipline of their Education. 'They won't (says he) so much as suffer
+  their Youth to hear any thing that's Amorous or Tawdry.'<span class="leftmar"><i>Cyropæd. p.
+  34</i></span><sup class="handonly" id="ref438"><a href="#side438">[438]</a></sup> They were afraid
+  want of Ballast might make them miscarry, and that 'twas dangerous to add weight to the Byass of
+  Nature.</p>
+
+  <p><i>Aristole</i> lays it down for a Rule 'that the Law ought to forbid Young People the seeing
+  of <i>Comedies</i>. Such permissions not being safe till Age and Discipline had confirm'd them in
+  sobriety, fortified their Virtue, and made them as it were proof against Debauchery.'<span
+  class="leftmar"><i>Polit. Lib. 7. c. p. 12.</i></span><sup class="handonly" id="ref439"><a
+  href="#side439">[439]</a></sup> This Philosopher who had look'd as far into Humane Nature as any
+  Man, observes farther. 'That the force of Musick and <i>Action</i> is very affecting. It commands
+  the Audience and changes the Passions to <span class="pagenum" id="page235">{235}</span>a
+  Resemblance of the Matter before them.'<span class="leftmar"><i>Polit. Lib. 8.</i></span><sup
+  class="handonly" id="ref440"><a href="#side440">[440]</a></sup> So that where the Representation
+  is foul, the Thoughts of the Company must suffer.</p>
+
+  <p><i>Tully</i> crys out upon 'Licentious <i>Plays</i> and <i>Poems</i>, as the bane of Sobriety,
+  and wise Thinking: That <i>Comedy</i> subsists upon Lewdness, and that Pleasure is the Root, of
+  all Evil.'<span class="leftmar"><i>Tusc. Quest. Lib. 4.<br/>
+  De Leg. Lib. 1.</i></span><sup class="handonly" id="ref441"><a href="#side441">[441]</a></sup></p>
+
+  <p><i>Livy</i>, reports the Original of <i>Plays</i> among the <i>Romans</i>. 'He tells us they
+  were brought in upon the score of Religion, to pacifie the Gods, and remove a <i>Mortality</i>.
+  But then He adds that the Motives are sometimes good, when the Means are stark naught: That the
+  Remedy in this case was worse than the Disease, and the Atonement more Infectious then the
+  Plague.'<span class="leftmar"><i>Dec. 1. Lib. 7.</i></span><sup class="handonly" id="ref442"><a
+  href="#side442">[442]</a></sup></p>
+
+  <p><i>Valerius Maximus</i>, Contemporary with <i>Livy</i>, gives much the same Account of the rise
+  of <i>Theatres</i> at <i>Rome</i>. 'Twas Devotion which built them. And as for the Performances of
+  those Places, which Mr. <i>Dryden</i> calls the <i>Ornaments</i>, this Author censures as the
+  Blemishes of <i>Peace</i>.' And which is more, He affirms 'They were the Occasions of Civil
+  Distractions; And that the <i>State</i> first Blush'd, and then Bled, for the Entertainment.<span
+  class="leftmar"><i>Lib. 2. cap. 4.</i><br/>
+  <i>cap. 6.</i></span><sup class="handonly" id="ref443"><a href="#side443">[443]</a></sup> He
+  concludes the consequences of <i>Plays</i> <span class="pagenum"
+  id="page236">{236}</span>intolerable;<sup class="handonly" id="ref444"><a
+  href="#side444">[444]</a></sup> And that the <i>Massilienses</i> did well in clearing the Country
+  of them. <i>Seneca</i> complains heartily of the Extravagance and Debauchery of the Age: And how
+  forward People were to improve in that which was naught. That scarce any Body would apply
+  themselves to the Study of Nature and Morality, unless when the <i>Play-House</i> was shut, or the
+  Weather foul. That there was no body to teach <i>Philosophy</i>, because there was no body to
+  Learn it: But that the <i>Stage</i> had <i>Nurseries</i>, and Company enough. This Misapplication
+  of time and Fancy, made Knowledge in so ill a Condition. This was the Cause the Hints of Antiquity
+  were no better pursued; that some Inventions were sunk, and that Humane Reason grew Downwards
+  rather than otherwise.<span class="leftmar"><i>Natural Quest. Lib. 7. cap. 32.</i></span><sup
+  class="handonly" id="ref445"><a href="#side445">[445]</a></sup> And elswhere he avers that there
+  is nothing more destructive to Good Manners then to run Idling to see <i>Sights</i>. For there
+  Vice makes an insensible Approach, and steals upon us in the Disguise of pleasure.<span
+  class="leftmar"><i>Epist. 7.</i></span><sup class="handonly" id="ref446"><a
+  href="#side446">[446]</a></sup></p>
+
+  <p>'<i>Tacitus</i> relating how <i>Nero</i> hired decay'd Gentlemen for the <i>Stage</i>,
+  complains of the Mismanagement;<span class="leftmar"><i>Annal. Lib 14. cap. 14.</i></span><sup
+  class="handonly" id="ref447"><a href="#side447">[447]</a></sup> And lets us know 'twas the part of
+  a Prince to releive their Necessity, and not to Tempt it. And that his Bounty should rather <span
+  class="pagenum" id="page237">{237}</span>'have set them above an ill practise, than driven them
+  <span class="correction" title="Original reads 'apon't', corrected by
+  Errata">upon't</span>.'</p>
+
+  <p>And in another place, He informs us that 'the German Women were Guarded against danger, and
+  kept their Honour out of Harms way, by having no <i>Play-Houses</i> amongst them.'<span
+  class="leftmar"><i>De Mor. German. cap. 19</i></span><sup class="handonly" id="ref448"><a
+  href="#side448">[448]</a></sup></p>
+
+  <p><i>Plays</i>, in the Opinion of the Judicious <i>Plutark</i> are dangerous to corrupt Young
+  People; And therefore <i>Stage</i> Poetry when it grows too hardy, and Licentious, ought to be
+  checkt.<span class="leftmar"><i>Symposiac. Lib. 7.<br/>
+  De Audiend. Poet. p. 15. Ed. Par.</i></span><sup class="handonly" id="ref449"><a
+  href="#side449">[449]</a></sup> This was the Opinion of these Celebrated <i>Authors</i> with
+  respect to <i>Theatres</i>: They Charge them with the Corruption of Principles, and Manners, and
+  lay in all imaginable Caution against them. And yet these Men had seldom any thing but this World
+  in their Scheme; and form'd their Judgments only upon Natural Light, and Common Experience. We see
+  then to what sort of Conduct we are oblig'd. The case is plain; Unless we are little enough to
+  renounce our Reason, and fall short of Philosophy, and live <i>under</i> the Pitch of
+  <i>Heathenism</i>.</p>
+
+  <p>To these Testimonies I shall add a Couple of <i>Poets</i>, who both seem good Judges of the
+  Affair in Hand.</p>
+
+  <p>The first is <i>Ovid</i>, who in his Book <i>De  Arte Amandi</i>, gives his <i>Reader</i> to
+  <span class="pagenum" id="page238">{238}</span>understand that the <i>Play-House</i> was the most
+  likely Place for him to Forage in. Here would be choice of all sorts: Nothing being more common
+  than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at these Diversions.</p>
+
+  <div class="poem">
+    <p><i>Sed tu præcique curvis venare Theatris,</i></p>
+    <p><i>Hæc loca sunt voto fertiliora tuo.</i></p>
+    <p><i>&mdash;&mdash; ruit ad celebres cultissima Fæmina Ludos;</i></p>
+    <p><i>Copia judicium sæpe morata meum est.</i></p>
+    <p><i>Spectatum veniunt, veniunt Spectentur ut ipsæ;</i></p>
+    <p><i>Ille locus casti damna pudoris habet.</i><span class="leftmar"><i>Lib. 1.</i></span><sup
+    class="handonly" id="ref450"><a href="#side450">[450]</a></sup></p>
+  </div>
+
+  <p>And afterwards relating the imperfect beginning of <i>Plays</i> at the Rape of the
+  <i>Sabine</i> Virgins, he adds,</p>
+
+  <div class="poem">
+    <p><i>Silicit exillo solennia more Theatra</i></p>
+    <p><i>Nunc quoque formosis insidiosa manent.</i></p>
+  </div>
+
+  <p>This <i>Author</i> some time after wrote the <i>Remedy</i> of <i>Love</i>. Here he pretends to
+  Prescribe for Prudence, if not for Sobriety. And to this purpose, He forbids the seeing of
+  <i>Plays</i>, and the reading of <i>Poets</i>, especially some of them. Such Recreations being apt
+  to feed the <i>Distemper</i>, and make the <i>Patient</i> relapse.</p>
+
+  <div><span class="pagenum" id="page239">{239}</span></div>
+
+  <div class="poem">
+    <p><i>At tanti tibi sit non indulgere Theatris</i></p>
+    <p><i>Dum bene de cacuo Pectore cedat amor.</i></p>
+    <p><i>Enervant animos Citharæ, Cantusque, lyraque</i></p>
+    <p><i>Et vox, &amp; numeris brachia mota suis.</i></p>
+    <p><i>Illic assidue ficti saltantur amantes,</i></p>
+    <p><i>Quid, caveas, actor, quid juvet, arte docet</i>.<span class="leftmar"><i>Remed.
+    Amor.</i></span><sup class="handonly" id="ref451"><a href="#side451">[451]</a></sup></p>
+  </div>
+
+  <p>In his <i>De Tristibus</i>, He endeavours to make some Amends for his scandalous <i>Poems</i>,
+  and gives <i>Augustus</i> a sort of <i>Plan</i> for a Publick <i>Reformation</i>. Amongst other
+  Things, he advises the suppressing of <i>Plays</i>, as being the promoters of Lewdness, and
+  Dissolution of Manners.</p>
+
+  <div class="poem">
+    <p><i>Ut tamen hoc fatear ludi quoque semina præbent</i></p>
+    <p><i>Nequitiæ, tolli tota Theatra jube.</i><span class="leftmar"><i>Lib. 2.</i></span><sup
+    class="handonly" id="ref452"><a href="#side452">[452]</a></sup></p>
+  </div>
+
+  <p>To the Testimony of <i>Ovid</i>, I could add <i>Plautus</i>, <i>Propertius</i>, and
+  <i>Juvenal</i>, but being not willing to overburthen the <i>Reader</i>, I shall content my self
+  with the <i>Plain-Dealer</i> as one better known at <i>Home</i>.</p>
+
+  <p>This <i>Poet</i> in his <i>Dedication</i> to <i>Lady B</i>, some Eminent <i>Procuress</i>,
+  pleads the Merits of his Function, and insists on being Billeted upon <i>free Quarter</i>.
+  <i>Madam</i> (says he) <i>I think a Poet ought to be as free of <span class="pagenum"
+  id="page240">{240}</span>your Houses, as of the Play-Houses: since he contributes to the support
+  of both, and is as necessary to such as you, as the Ballad-singer to the Pick-purse, in Convening
+  the Cullies at the Theatres to be pick'd up, and Carried to a supper, and Bed, at your
+  Houses.</i><span class="leftmar"><i>Ep. Ded.</i></span><sup class="handonly" id="ref453"><a
+  href="#side453">[453]</a></sup> This is franck Evidence, and ne're the less true, for the Air of a
+  Jest.</p>
+
+  <p>I shall now in the Second Place proceed to the <i>Censures</i> of the <i>State</i>; And show in
+  a few Words how much the <i>Stage</i> stands discouraged by the <i>Laws</i> of other Countrys and
+  our own.</p>
+
+  <p>To begin with the <i>Athenians</i>.<span class="leftmar"><i>Plut. De Glor.
+  Atheniens.</i></span><sup class="handonly" id="ref454"><a href="#side454">[454]</a></sup> This
+  People tho' none of the worst Freinds to the <i>Play-House</i> 'thought a <i>Comedy</i> so
+  unreputable a Performance, that they made a Law that no Judge of the <i>Ariopagus</i> should make
+  one.'</p>
+
+  <p>The <i>Lacedemonians</i>,<span class="leftmar"><i>Plut. Lacon. Institut.</i></span><sup
+  class="handonly" id="ref455"><a href="#side455">[455]</a></sup> who were remarkable for the Wisdom
+  of their <i>Laws</i>, the Sobriety of their <i>Manners</i>, and their Breeding of brave Men. This
+  <i>Government</i> would not endure the <i>Stage</i> in any Form, nor under any Regulation.</p>
+
+  <p>To pass on to the <i>Romans</i>. <i>Tully</i><span class="leftmar"><i>Cic. de Repub. Lib. 4.
+  cited by, St. Augustine. Libr. 2. de civ. dei. cap. 13.</i></span><sup class="handonly"
+  id="ref456"><a href="#side456">[456]</a></sup> informs us that their <i>Predecessours</i> 'counted
+  all <i>Stage-Plays</i> uncreditable and Scandalous. In so much that any <i>Roman</i> who turn'd
+  <i>Actor</i> was not only to be Degraded, but likewise as it were disincorporated, <span
+  class="pagenum" id="page241">{241}</span>and unnaturalized by the <i>Order</i> of the
+  <i>Censors</i>.</p>
+
+  <p>St. <i>Augustine</i> in the same Book,<span class="leftmar"><i>Lib. 2. cap. 29.</i></span><sup
+  class="handonly" id="ref457"><a href="#side457">[457]</a></sup> commends the <i>Romans</i> for
+  refusing the <i>Jus Civitatis</i> to <i>Players</i>, for seizing their Freedoms, and making them
+  perfectly Foreign to their <i>Government</i>.</p>
+
+  <p>We read in <i>Livy</i><span class="leftmar"><i>Dec. 1. Libr. 7.</i></span><sup class="handonly"
+  id="ref458"><a href="#side458">[458]</a></sup> that the Young People in <i>Rome</i> kept the
+  <i>Fabulæ Attellanæ</i> to themselves. 'They would not suffer this Diversion to be blemish'd by
+  the <i>Stage</i>. For this reason, as the Historian observes,<span class="leftmar"><i>Ab
+  Histrionibus Pollui.</i></span><sup class="handonly" id="ref459"><a
+  href="#side459">[459]</a></sup> the <i>Actors</i> of the <i>Fabulæ Atellanæ</i> were neither
+  expell'd their <i>Tribe</i>, nor refused to serve in <i>Arms</i>; Both which Penalties it appears
+  the <i>Common Players</i> lay under.'</p>
+
+  <p>In the Theodosian <i>Code</i>, <i>Players</i> are call'd <i>Personæ inhonestæ</i>;<span
+  class="leftmar"><i>XV. Cod. Theod. Tit. vii. p.375.</i></span><sup class="handonly" id="ref460"><a
+  href="#side460">[460]</a></sup> that is, to <i>Translate</i> it softly, Persons Maim'd, and
+  Blemish'd in their Reputation. Their <i>Pictures</i> might be seen at the <i>Play-House</i>, but
+  were not permitted to hang in any creditable Place<span class="nothand">*</span><span
+  class="leftmar">* <i>in loco Honesto.</i></span><sup class="handonly" id="ref461"><a
+  href="#side461">[461]</a></sup> of the <i>Town</i>, Upon this <i>Text</i> <i>Gothofred</i> tells
+  us the Function of Players was counted scandalous<span class="nothand">*</span><span
+  class="leftmar">* <i>turpe munus.</i></span><sup class="handonly" id="ref462"><a
+  href="#side462">[462]</a></sup> by the <i>Civil Law</i>, L. 4. And that those who came upon the
+  <i>Stage</i> to divert the people, had a mark of Infamy set upon them. <i>Famosi sunt ex
+  Edicto.</i> <span class="leftmar"><i>L. 1. §. 6. de his qui notantur infamia. Gothofred. Ibid. p.
+  376.</i></span><sup class="handonly" id="ref463"><a href="#side463">[463]</a></sup></p>
+
+  <p>I shall now come down to our own <i>Constitution</i>. And I find by 39 <i>Eliz. cap. 4. 1. Jac.
+  cap. 7</i>. That <span class="pagenum" id="page242">{242}</span><b>all Bearwards, Common Players
+  of Enterludes, Counterfeit Egyptians &amp;c. shall be taken, adjudged and deem'd Rogues,
+  Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment, as by this Act is in
+  that behalf appointed.</b> The <i>Penalties</i> are infamous to the last degree, and
+  <i>Capital</i> too, unless they give over. 'Tis true, the first <i>Act</i> excepts those
+  <b>Players which belong to a Baron or other Personage of higher Degree, and are authorized to Play
+  under the hand and Seal of Armes of such Baron, or Personage</b>. But by the later <i>Statute</i>
+  this Privilege of <i>Licensing</i> is taken away: And all of them are expresly brought under the
+  Penalty without Distinction.</p>
+
+  <p>About the Year 1580, there was a Petition made to Queen <i>Elizabeth</i> for suppressing of
+  <i>Play-Houses</i>. 'Tis somewhat remarkable, and therefore I shall transcribe some part of the
+  Relation.</p>
+
+  <p><i>Many Godly Citizens, and other well disposed Gentlemen of</i> London, <i>considering
+  that</i> Play-Houses <i>and</i> Dicing-Houses, <i>were Traps for Young Gentlemen and others, and
+  perceiving the many Inconveniencies and great damage that would ensue upon the long suffering of
+  the same, not only to particular Persons but to the whole City; And that it would also be a great
+  disparagement to the Governours, and a dishonour to the Government of this Honourable City, if
+  they should <span class="pagenum" id="page243">{243}</span>any longer continue, acquainted some
+  Pious Magistrates therewith, desiring them to take some Course for the suppression of Common</i>
+  Play-Houses, <i>&amp;c. within the City of</i> London <i>and Liberties thereof; who thereupon made
+  humble suit to Queen</i> Elizabeth <i>and her Privy Council, and obtain'd leave of her Majesty to
+  thrust the Players out of the City and to pull down all</i> Play-Houses, <i>and</i> Dicing-Houses
+  <i>within their Liberties, which accordingly was effected.<span class="leftmar"><i>Rawlidge his
+  Monster, lately found out, &amp;c. p. 2, 3, 4.</i></span><sup class="handonly" id="ref464"><a
+  href="#side464">[464]</a></sup> And the Play-Houses in</i> Grace-Church-street <i>&amp;c. were
+  quite put down and suppress'd</i>.</p>
+
+  <p>I shall give a Modern Instance or two from <i>France</i> and so conclude these Authorities.</p>
+
+  <p>In the Year 1696. we are inform'd by a Dutch <i>Print</i>,<span class="leftmar"><i>Gazett
+  Roterdam: Dec. 20. Paris.</i></span><sup class="handonly" id="ref465"><a
+  href="#side465">[465]</a></sup> M. <i>L' Archevéque appuyé</i> &amp;c. That the Lord Arch-Bishop
+  'support'd by the interest of some Religious Persons at Court, has done his utmost to suppress the
+  <i>Publick Theatres</i> by degrees; or at least to clear them of Profaness.'</p>
+
+  <p>And last Summer the <i>Gazetts</i> in the <i>Paris Article</i> affirm.<span
+  class="leftmar"><i>French Amsterdam Harlem Gazetts. Paris, May. 17th. 1697.</i></span><sup
+  class="handonly" id="ref466"><a href="#side466">[466]</a></sup> That the King has 'order'd the
+  <i>Italian Players</i> to retire out of <i>France</i> because they did not observe his
+  <i>Majesties Orders</i>, but represented immodest <i>Pieces</i>, and did not correct their
+  <i>Obscenities</i>, and indecent <i>Gestures</i>.'</p>
+
+  <div><span class="pagenum" id="page244">{244}</span></div>
+
+  <p>The same <i>Intelligence</i> the next week after, acquaints us, 'that some Persons of the first
+  <i>Quality</i> at Court, who were the Protectors of these <i>Comedians</i>, had solicited the
+  French King to recal his <i>Order</i> against them, but their Request had no success.'</p>
+
+  <p class="sp5">And here to put an end to the Modern Authorities, I shall subjoyn a sort of
+  <i>Pastoral Letter</i> publish'd about two years since by the Bishop of <i>Arras</i> in
+  <i>Flanders</i>. The <i>Reader</i> shall have as much of it as concerns him in both Languages.</p>
+
+  <div><span class="pagenum" id="page245">{245}</span></div>
+
+  <p class="ac" style="margin-bottom:0.7ex;"><span class="xx-larger">MANDEMENT</span></p>
+
+  <p class="ac" style="margin-bottom:0.6ex;"><span class="x-larger">DE MONSEIGNEUR</span></p>
+
+  <p class="ac" style="margin-bottom:0.5ex;"><span class="larger"><i>L'Illustrissime Et
+  Reverendissime</i></span></p>
+
+  <p class="ac" style="margin-bottom:0.9ex;"><span class="x-larger">EVEQUE D'ARRAS</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">CONTRE LA COMEDIE.</span></p>
+
+  <p>GUY DE SEVE DE ROCHE CHOUART <i>par la grace de Dieu &amp; du Saint Siége Apostolique Evéque d'
+  Arras, A tous fideles dela Ville d'Arras Salut &amp; Benediction. Il faut ignorer sa Religion pour
+  ne pas connoître l'horreur qu'elle a marquée dans tous les temps des Spectacles, &amp; de la
+  Comédie en particulier. Les saints Peres la condamnent dans leurs écrits; Ils la regardent comme
+  un reste du paganisme, &amp; Comme une école d'impureté. L'Eglise l' a toûjours regardée avec
+  abomination, &amp; si elle n'a pas absolument rejetté de son sein ceux qui exercent ce mêtier
+  infame &amp; scandaleux, elle les prive publiquement des Sacremens &amp; n'oublie rien pour
+  marquer en toutes rencountres son aversion pour cet ètat &amp; pour l'inspirer a ses Enfans. Des
+  Rituels de Dioceses tres reglés les mettent au nombre des personnes que les Curés sont obligés de
+  traiter comme excommunies; Celui de Paris les joint aux Sorciers, &amp; aux Magiciens, &amp; les
+  regarde comme manifestement infames; <span class="correction"
+  title="Original reads 'Le', corrected by Errata">Les</span> Eveques les plus saints leur font
+  refuser publiquement, les Sacremens; Nous avons veu un des premiers Eveques de France ne vouloir
+  pas par cette raison recevoir au mariage un homme de cet état; un autre ne vouloir pas leur
+  accorder la terre Sainte; Et dans <span class="pagenum" id="page246">{246}</span>les Statuts d'un
+  prelat bien plus illustre per son merite par sa Pieté, &amp; par l'austerité de sa vie que par la
+  pourpre dont il est revestu, on les trouve avec les concubinaires, les Usuriers, les
+  Blasphemateurs, les Femmes debauchées, les excommuniés denoncés, les Infames, les Simoniaque's,
+  &amp; autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser publiquement la
+  Communion</i>.</p>
+
+  <p class="sp3"><i>Il est donc impossible de justifyer la Comedie sans vouloir condamner l'Eglise,
+  les saints peres, les plus saint Prelats, mais il ne l'est pas moins de justifiër ceux qui par
+  leur assistance a ces spectacles non seulement prennent part au mal qui s'y fait, mais contribuent
+  en même temps à retenir ces malheureux ministres de Satan dans une profession, qui les separant
+  des Sâcremens de l'Eglise les met dans un état perpetuel de peché &amp; hors de salut s'ils ne
+  l'abandonnnent.</i>&mdash;&mdash; &mdash;&mdash;</p>
+
+  <p><i>Et à egard des Comediens &amp; Commediennes, Nous defendons trés expressement à nos pasteurs
+  &amp; à nos Confesseurs des les recevoir aux Sacremens si cé n'est qu'ils aient fait Penitence de
+  leur peché, donné des preuves d'amendment, renoncé a leur Etat, &amp; repare par une satisfaction
+  publique telle que nous jugerons à propos de leur ordonner, le Scandale public qu'ils ont donné.
+  Fait &amp; ordonné à Arras le quatriéme jour de Decembre mil six cent quatre-vingt
+  quinze.</i><span class="leftmar"><i>Trois lettres Pastorales De Monseigneur L'Eveque D'Arras
+  &amp;c. A Delf. 1697.</i></span><sup class="handonly" id="ref467"><a
+  href="#side467">[467]</a></sup></p>
+
+  <div class="poem sp3">
+    <p><i>Guy Evéque d'Arras</i></p>
+    <p style="margin-left:3.15em"><i>Et plus bas</i></p>
+    <p style="margin-left:2.45em"><i>Par Monseigneur</i></p>
+    <p style="margin-left:3.50em" class="stanza"><span class="x-larger">CARON.</span></p>
+  </div>
+
+  <div><span class="pagenum" id="page247">{247}</span></div>
+
+  <p class="ac">In English thus,</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>An Order of the most
+  Illustrious and most Reverend Lord Bishop of</i> Arras <i>against</i> Plays.</span></p>
+
+  <p>'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &amp;c. Bishop of <i>Arras</i>. To all the
+  Faithful in the Town of <i>Arras</i> Health and Benediction. A man must be very ignorant of his
+  Religion, not to know the great disgust it has always declar'd, for <i>Publick Sights</i>, and for
+  <i>Plays</i> in particular. The Holy <i>Fathers</i> condemn them in their writings; They look upon
+  them as reliques of Heathenism, and Schools of Debauchery. They have been always abominated by the
+  Church; And notwithstanding those who are concern'd in this Scandalous Profession; are not
+  absolutely expell'd by a Formal Excommunication, yet She publickly refuses them the Sacraments,
+  and omits nothing upon all occasions, to show her aversion for this Employment, and to transfuse
+  <span class="pagenum" id="page248">{248}</span>the same sentiments into her Children. The
+  <i>Rituals</i> of the best govern'd Dioceses, have ranged the <i>Players</i> among those whom the
+  Parish Priests are oblig'd to treat as Excommunicated Persons. The <i>Ritual</i> of <i>Paris</i>
+  joyns them with Sorcerers, and Magicians, and looks upon them as notoriously infamous; The most
+  eminent Bishops for Piety, have publickly denied them the Sacraments: For this reason, we our
+  selves have known one of the most considerable Bishops in <i>France</i>, turn back a <i>Player</i>
+  that came to be Married; And an other of the same order, refused to bury them in Consecrated
+  Ground. And by the <i>Orders</i> of a Bishop, who is much more illustrious for his worth, for his
+  Piety, and the Strictness of his Life, than for the <i>Purple</i> in his Habit; They are thrown
+  amongst Fornicators, Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the
+  Infamous, and Simoniacal, and other Scandalous Persons who are in the List of those who ought
+  publickly to be barr'd Communion.</p>
+
+  <p>'Unless therfore we have a mind to condemn the Church, the Holy Fathers, and the most holy
+  Bishops, 'tis impossible to justifie <i>Plays</i>; neither is the Defence of those less
+  impracticable, who <span class="pagenum" id="page249">{249}</span>by their Countenance of these
+  Diversions, not only have their share of the Mischief there done, but contribute at the same time
+  to fix these unhappy Ministers of Satan in a Profession, which by depriving them of the Sacraments
+  of the Church, leaves them under a constant necessity of Sinning, and out of all hopes of being
+  saved, unless they give it over.&mdash;&mdash;'</p>
+
+  <p>From the general Unlawfulness of <i>Plays</i>, the Bishop proceeds to argue more strongly
+  against seeing them at times which are more particularly devoted to Piety, and Humiliation: And
+  therefore he strickly forbids his Diocess the <i>Play-House</i> in <i>Advent</i>, <i>Lent</i>, or
+  under any publick <i>Calamity</i>. And at last concludes in this Manner.</p>
+
+  <p>'As for the Case of <i>Players</i> both Men, and Women, we expresly forbid all our Rectors,
+  Pastors, and Confessours, to admit them to the Sacraments, unless they shall repent them of their
+  Crime, make proof of their Reformation, renounce their <i>Business</i>, and retrieve the Scandal
+  they have given, by such publick Satisfaction as we shall think proper to injoyn them. Made and
+  Decreed at <i>Arras</i> the fourth day of <i>December 1695.</i></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>Guy</i> Bishop of
+  <i>Arras</i>. &amp;c.</span></p>
+
+  <div><span class="pagenum" id="page250">{250}</span></div>
+
+  <p>I shall now in the Third Place, give a short account of the sense of the <i>Primitive</i>
+  Church concerning the <i>Stage</i>: And first I shall instance in her <i>Councils</i>.</p>
+
+  <p>The Council of <i>Illiberis</i>, or <i>Collioure</i> in <i>Spain</i>, decrees,<span
+  class="leftmar"><i>Ann. 305.</i> <i>Can. 67.</i></span><sup class="handonly" id="ref468"><a
+  href="#side468">[468]</a></sup></p>
+
+  <p>'That it shall not be lawful for any Woman who is either in full Communion or a probationer for
+  Baptism, to Marry, or Entertain any <i>Comedians</i> or <i>Actors</i>; whoever takes this Liberty
+  shall be Excommunicated.'</p>
+
+  <p>The first Council of <i>Arles</i>, runs thus,<span class="leftmar"><i>Ann. 314. Can.
+  5.</i></span><sup class="handonly" id="ref469"><a href="#side469">[469]</a></sup></p>
+
+  <p>'Concerning <i>Players</i>, we have thought fit to Excommunicate them as long as they continue
+  to <i>Act</i>.'</p>
+
+  <p>The Second Council of <i>Arles</i> made their <i>20th</i> Canon to the same purpose, and almost
+  in the same words.<span class="leftmar"><i>Ann. 452.</i></span><sup class="handonly"
+  id="ref470"><a href="#side470">[470]</a></sup></p>
+
+  <p>The Third Council of <i>Carthage</i>, of which St. <i>Augustine</i> was a Member, ordains,<span
+  class="leftmar"><i>Ann. 397. Can. 11.</i></span><sup class="handonly" id="ref471"><a
+  href="#side471">[471]</a></sup></p>
+
+  <p>'That the Sons of Bishops, or other Clergy-men should not be permitted to furnish out Publick
+  <i>Shews</i>, or <i>Plays</i><span class="nothand">*</span><span class="leftmar">* <i>Secularia
+  spectacula, which manifestly comprehends the Stage.</i></span><sup class="handonly" id="ref472"><a
+  href="#side472">[472]</a></sup> or be present at them: Such sort of Pagan <i>Entertainments</i>
+  being forbidden all the <i>Laity</i>. It being always unlawful for all Christians to come amongst
+  <i>Blasphemers</i>.</p>
+
+  <div><span class="pagenum" id="page251">{251}</span></div>
+
+  <p>This last branch shews the <i>Canon</i> was Principally levell'd against the <i>Play-House</i>:
+  And the reason of the Prohibition, holds every jot as strong against the <i>English</i>, as
+  against the <i>Roman Stage</i>.</p>
+
+  <p>By the 35th <i>Canon</i> of this <i>Council</i> 'tis decreed,</p>
+
+  <p>'That <i>Actors</i> or others belonging to the <i>Stage</i>, who are either <i>Converts</i>, or
+  <i>Penitents</i> upon a Relapse, shall not be denied Admission into the Church.' This is farther
+  proof, that <i>Players</i> as long as they kept to their Employment were bar'd
+  <i>Communion</i>.</p>
+
+  <p>Another <i>African Council</i> declares,<span class="leftmar"><i>Ann. 424. Can.
+  96</i></span><sup class="handonly" id="ref473"><a href="#side473">[473]</a></sup></p>
+
+  <p>'That the Testimony of People of ill Reputation, of <i>Players</i>, and others of such
+  scandalous Employments, shall not be admitted against any Person.'</p>
+
+  <p>The Second <i>Council</i> of <i>Chaalon</i> sets forth,<span class="leftmar"><i>Concil.
+  Cabilon. Ann. 813. Can. 9.</i></span><sup class="handonly" id="ref474"><a
+  href="#side474">[474]</a></sup></p>
+
+  <p>'That Clergy men ought to abstain from all over-engaging Entertainments in Musick or
+  <i>Show</i>. (<i>oculorum auriumque illecebris</i>.) And as for the smutty, and Licentious
+  Insolence of <i>Players</i>, and Buffoons, let them not only decline the Hearing it themselves,
+  but likewise conclude the <i>Laity</i> oblig'd to the same Conduct.</p>
+
+  <p class="sp4">I could cite many more Authorities of this Kind, but being conscious of the <span
+  class="pagenum" id="page252">{252}</span>Niceness of the <i>Age</i>, I shall forbear, and proceed
+  to the Testimony of the <i>Fathers</i>.</p>
+
+  <p>To begin with <i>Theophilus</i> Bishop of <i>Antioch</i>, who lived in the Second
+  <i>Century</i>.</p>
+
+  <p>''Tis not lawful (says he)<span class="leftmar"><i>Libr. 3. ad Autol.</i></span><sup
+  class="handonly" id="ref475"><a href="#side475">[475]</a></sup> for us to be present at the
+  <i>Prizes</i> or your <i>Gladiators</i>, least by this means we should be <i>Accessaries</i> to
+  the Murthers there committed. Neither dare we presume upon the Liberty of your other
+  <i>Shews</i>,<span class="nothand">*</span><span class="leftmar">* <i>Spectacula.</i></span><sup
+  class="handonly" id="ref476"><a href="#side476">[476]</a></sup> least our Senses should be
+  tinctur'd, and disoblig'd, with Indecency, and Profaness. The Tragical Distractions of
+  <i>Tereus</i> and <i>Thyestes</i>, are Nonsense to us. We are for seeing no Representations of
+  Lewdness. The Stage-Adulteries of the <i>Gods</i>, and <i>Hero's</i>, are unwarrantable
+  Entertainments: And so much the worse, because the Mercenary <i>Players</i> set them off with all
+  the Charms and Advantages of Speaking. God forbid that <i>Christians</i> who are remarkable for
+  Modesty, and Reserv'dness; who are obliged to Discipline, and train'd up in Virtue, God forbid I
+  say, that we should dishonour our Thoughts, much less our Practise, with such Wickedness as
+  This!'</p>
+
+  <p><i>Tertullian</i> who liv'd at the latter end of this Century is copious upon this subject; I
+  shall translate but some Part of <span class="pagenum" id="page253">{253}</span>it. In his
+  Apologetick, He thus addresses the Heathens.<span class="leftmar"><i>Chap. 38.</i></span><sup
+  class="handonly" id="ref477"><a href="#side477">[477]</a></sup></p>
+
+  <p>'We keep off from your publick <i>Shews</i>, because we can't understand the Warrant of their
+  Original. There's Superstition and Idolatry in the Case: And we dislike the Entertainment because
+  we dislike the reason of its Institution. Besides, We have nothing to do with the Frensies of the
+  <i>Race-Ground</i>, the Lewdness of the <i>Play-House</i>, or the Barbarities of the
+  <i>Bear-Garden</i>. The <i>Epicureans</i> had the Liberty to state the Notion, and determine the
+  Object of Pleasure. Why can't we have the same Privilege? What Offence is it then if we differ
+  from you in the Idea of Satisfaction? If we won't understand to brighten our Humour, and live
+  pleasantly, where's the harm? If any body has the worst on't, 'tis only our selves.'</p>
+
+  <p>His Book <i>de Spectaculis</i> was wrote on purpose to diswade the Christians, from the publick
+  Diversions of the <i>Heathens</i>, of which the <i>Play-House</i> was one. In his first Chapter He
+  gives them to understand, 'That the Tenour of their Faith, the Reason of Principle, and the Order
+  of Discipline, had bar'd them the Entertainments of the <i>Town</i>. And therefore He exhorts them
+  to refresh their <span class="pagenum" id="page254">{254}</span>Memories, to run up to their
+  Baptism, and recollect their first Engagements. For without care, Pleasure is a strange bewitching
+  Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse of Liberty, make a man's
+  Conscience wink, and suborn his Reason against himself.</p>
+
+  <p>'But as he goes on,<span class="leftmar"><i>Chap. 3.</i></span><sup class="handonly"
+  id="ref478"><a href="#side478">[478]</a></sup> some peoples Faith is either too full of Scruples,
+  or too barren of Sense. Nothing will serve to settle them but a plain Text of <i>Scripture</i>.
+  They hover in uncertainty because 'tis not said as expresly thou shalt not go to the
+  <i>Play-House</i>, as 'tis thou shalt not Kill. But this looks more like Fencing than Argument.
+  For we have the Meaning of the prohibition tho' not the sound, in the first <i>Psalm. Blessed is
+  the Man that walks not in the Council of the Ungodly, nor stands in the way of Sinners, nor sits
+  in the Seat of the Scornful.</i></p>
+
+  <p>'The <i>Censors</i> whose business 'twas to take care of Regularity and Manners,<span
+  class="leftmar"><i>Ibid. Cap. 10.</i></span><sup class="handonly" id="ref479"><a
+  href="#side479">[479]</a></sup> look'd on these <i>Play-Houses</i> as no other than
+  <i>Batteries</i> upon Virtue and Sobriety, and for this reason often pull'd them down before they
+  were well built, so that here we can argue from the <i>Precedents</i> of meer <i>Nature</i>, and
+  plead the <i>Heathens</i> against themselves. Upon this <span class="pagenum"
+  id="page255">{255}</span>view <i>Pompey</i> the Great, when he built his <i>Dramatick</i>
+  Bawdy-House, clapp'd a <i>Chappel</i> a Top on't. He would not let it go under the Name of a
+  Play-House, but conven'd the people to a Solemn Dedication, and called it <i>Venus's</i> Temple;
+  Giving them to understand at the same time that there were <i>Benches</i> under it for Diversion.
+  He was afraid if he had not gone this way to work, The <i>Censors</i> might afterwards have razed
+  the Monument, and branded his Memory. Thus a Scandalous pile of Building was protected: The
+  Temple, cover'd the <i>Play-House</i>, and Discipline was baffled by <i>Superstition</i>. But the
+  Design is notably suited to the Patronage of <i>Bacchus</i><span class="nothand">*</span><span
+  class="leftmar">* <i>The Play-houses were dedicated to Bacchus.</i></span><sup class="handonly"
+  id="ref480"><a href="#side480">[480]</a></sup> and <i>Venus</i>. These two Confederate Devils of
+  Lust and Intemperance, do well together. The very Functions of the <i>Players</i> resemble their
+  <i>Protectors</i>, and are instances of Service and Acknowledgment. Their Motion is effeminate,
+  and their Gestures vitious and Significant: And thus they worship the Luxury of one <i>Idoll</i>,
+  and the Lewdness of the other.</p>
+
+  <p>'And granting the Regards of Quality, the Advantages of Age, or Temper, may fortifie some
+  People;<span class="leftmar"><i>Ibid. cap. 15.</i></span><sup class="handonly" id="ref481"><a
+  href="#side481">[481]</a></sup> granting Modesty secur'd, and the Diversion as it were refin'd by
+  this Means: Yet a Man <span class="pagenum" id="page256">{256}</span>must not expect to stand by
+  perfectly unmoved, and impregnable. No body can be pleas'd without Sensible Impressions. Nor can
+  such Perceptions be received without a Train of Passions attending them. These Consequences will
+  be sure to work back upon their Causes, solicite the Fancy, and heighten the Original Pleasure.
+  But if a Man pretends to be a <i>Stoick</i> at <i>Plays</i>, he falls under another Imputation.
+  For where there is no Impression, there can be no Pleasure: And then the <i>Spectator</i> is very
+  much Impertinent, in going where he gets nothing for his Pains. And if this were all; I suppose
+  Christians have something else to do than to ramble about to no purpose.<span
+  class="leftmar"><i>Ibid. cap. 22.</i></span><sup class="handonly" id="ref482"><a
+  href="#side482">[482]</a></sup></p>
+
+  <p>'Even those very Magistrates who abet the <i>Stage</i>, discountenance the <i>Players</i>. They
+  stigmatize their <i>Character</i>, and cramp their Freedoms. The whole Tribe of them is thrown out
+  of all Honour and Privilege. They are neither suffer'd to be Lords, nor Gentlemen: To come within
+  the <i>Senate</i>, or harangue the People, or so much as to be Members of a <i>Common-Council</i>.
+  Now what Caprice and Inconsistency is this! To love what we punish, and lessen those whom we
+  admire! To cry up the Mystery, and <span class="pagenum" id="page257">{257}</span>censure the
+  practise; For a Man to be as it were eclips'd upon the score of Merit is certainly an odd sort of
+  Justice! True. But the Inference lies stronger another way. What a Confession then is this of an
+  Ill Business; when the very Excellency of it is not without Infamy?</p>
+
+  <p>'Since therefore Humane Prudence has thought fit to degrade the <i>Stage</i>, notwithstanding
+  the Divertingness of it. Since Pleasure can't make them an Interest Here, nor shelter them from
+  Censure.<span class="leftmar"><i>Ibid. cap. 23.</i></span><sup class="handonly" id="ref483"><a
+  href="#side483">[483]</a></sup> How will They be able to stand the shock of Divine Justice, and
+  what <i>Reckoning</i> have they <i>Reason</i> to expect Hereafter?</p>
+
+  <p>'All things consider'd 'tis no wonder such People should fall under <i>Possession</i>. God
+  knows we have had a sad Example of this already. A certain Woman went to the <i>Play-House</i>,
+  and brought the Devil Home with Her.<span class="leftmar"><i>Ibid. cap. 26.</i></span><sup
+  class="handonly" id="ref484"><a href="#side484">[484]</a></sup> And when the Unclean Spirit was
+  press'd in the <i>Exorcism</i> and ask'd how he durst attack a Christian. I have done nothing
+  (says he) but what I can justify. For I seiz'd her upon my own Ground. Indeed, how many Instances
+  have we of others who have apostatiz'd from God, by <span class="correction"
+  title="Original reads 'Correspondence',
+  corrected by Errata">this Correspondence</span> with the Devil? What <i>Communion has Light with
+  Darkness? No Man can serve <span class="pagenum" id="page258">{258}</span>two Masters</i>, nor
+  have Life and Death in him at the same time.</p>
+
+  <p>'Will you not then avoid this Seat of Infection?<span class="leftmar"><i>Ibid. cap.
+  27.</i></span><sup class="handonly" id="ref485"><a href="#side485">[485]</a></sup> The very Air
+  suffers by their Impurities; And they almost Pronounce the Plague. What tho' the performance may
+  be in some measure pretty and entertaining? What tho' Innocence, yes and Virtue too, shines
+  through some part of it? 'Tis not the custom to prepare Poyson unpalatable, nor make up Ratzbane
+  with Rhubarb and Sena. No. To have the Mischief speed, they must oblige the Sense, and make the
+  Dose pleasant. Thus the Devil throws in a Cordial Drop to make the Draught go down; And steals
+  some few Ingredients from the <i>Dispensatory</i> of Heaven. In short, look upon all the engaging
+  Sentences of the Stage; Their flights of Fortitude, and Philosophy, the Loftiness of their Stile,
+  the Musick of the Cadence, and the Finess of the Conduct; Look upon it only I say as Honey
+  dropping from the Bowels of a Toad, or the Bag of a Spider: Let your Health over-rule your
+  Pleasure, and don't die of a little <i>Liquorishness</i>.</p>
+
+  <p>'In earnest Christian, our time for Entertainment is not yet:<span class="leftmar"><i>Ibid.
+  cap. 28.</i></span><sup class="handonly" id="ref486"><a href="#side486">[486]</a></sup> you are
+  two craving and ill managed if you are so violent <span class="pagenum"
+  id="page259">{259}</span>for Delight. And let me tell you, no wiser than you should be, if you
+  count such Things Satisfaction. Some Philosophers placed their Happiness in bare Tranquillity.
+  Easiness of Thought, and Absence of Pain, was all they aim'd at. But this it seems won't Satisfie
+  Thee. Thou liest sighing and hankering after the <i>Play-house</i>. Prethee recollect thy self:
+  Thou knowest Death ought to be our Pleasure, And therefore I hope Life may be a little without it.
+  Are not our Desires the same with the Apostles, <i>To be Dissolv'd and to be with Christ</i>. Let
+  us act up to our pretentions, and let Pleasure be true to Inclination.</p>
+
+  <p>'But if you can't wait for Delight; if you must be put into present Possession, wee'l cast the
+  Cause upon that Issue.<span class="leftmar"><i>Ibid. cap. 29.</i></span><sup class="handonly"
+  id="ref487"><a href="#side487">[487]</a></sup> Now were you not unreasonable, you would perceive
+  the Liberalities of Providence, and find your self almost in the midst of Satisfaction. For what
+  can be more transporting than the Friendship of Heaven, and the Discovery of Truth, than the Sense
+  of our Mistakes, and the Pardon of our Sins? What greater Pleasure can there be, than to scorn
+  being <i>Pleas'd</i>? To contemn the World? And to be a Slave to Nothing? 'Tis a mighty
+  satisfaction I take it, to have a clear Conscience;</p>
+
+  <div><span class="pagenum" id="page260">{260}</span></div>
+
+  <p>To make Life no Burthen, nor Death any Terror! To trample upon the <i>Pagan</i> Deities; To
+  batter <i>Principalities</i> and <i>Powers</i>, and force the Devils to Resign!<span
+  class="nothand">*</span><span class="leftmar">* <i>By Exorcisms</i></span><sup class="handonly"
+  id="ref488"><a href="#side488">[488]</a></sup> These are the Delights, these are the noble
+  Entertainments of Christians: And besides the advantage of the Quality, they are always at hand,
+  and cost us nothing.'</p>
+
+  <p><i>Clemens</i> <i>Alexandrinus</i> affirms<span class="leftmar"><i>Lib. 3. Pædag. Ann. 204.
+  cap. 11.</i></span><sup class="handonly" id="ref489"><a href="#side489">[489]</a></sup> 'That the
+  <i>Circus</i> and <i>Theatre</i> may not improperly be call'd the <i>Chair</i> of
+  <i>Pestilence</i>.&mdash;&mdash;Away then with these Lewd, Ungodly Diversions, and which are but
+  Impertinence at the Best. What part of Impudence either in words or practise, is omitted by the
+  Stage? Don't the Buffoons take almost all manner of Liberties, and plunge through Thick and Thin,
+  to make a jest? Now those who are affected with a vitious satisfaction, will be haunted with the
+  Idea, and spread the Infection. But if a man is not entertain'd to what purpose should he go
+  Thither? Why should he be fond where he finds nothing, and court that which sleeps upon the Sense?
+  If 'tis said these Diversions are taken only to unbend the Mind, and refresh Nature a little. To
+  this I answer. That the spaces between Business should not <span class="pagenum"
+  id="page261">{261}</span>be fill'd up with such Rubbish. A wise man has a Guard upon his
+  Recreations, and always prefers, the Profitable to the Pleasant.'</p>
+
+  <p><i>Minutius Felix</i> delivers his Sense in these Words:<span class="leftmar"><i>Ann.
+  206.</i></span><sup class="handonly" id="ref490"><a href="#side490">[490]</a></sup></p>
+
+  <p>'As for us, who rate our Degree by our Virtue, and value our selves more upon our Lives, than
+  our Fortunes; we decline your Pompous <i>Shews</i>, and publick Entertainments. And good Reason we
+  have for our Aversion. These Things have their Rise from Idols, and are the Train of a false
+  Religion. The Pleasure is ill Descended, and likewise Vitious and ensnaring. For who can do less
+  than abominate, the Clamorous Disorders of the <i>Race-Ground</i>, and the profession of Murther
+  at the <i>Prize</i>. And for the <i>Stage</i>, there you have more Lewdness, tho' not a jot less
+  of Distraction. Sometimes your <i>Mimicks</i>, are so Scandalous and Expressing, that 'tis almost
+  hard to distinguish between the <i>Fact</i> and the <i>Representation</i>. Sometimes a Luscious
+  <i>Actor</i> shall whine you into Love, and give the Disease that he Counterfeits.'</p>
+
+  <p>St. <i>Cyprian</i> or the Author <i>de Spectaculis</i>, will furnish us farther.</p>
+
+  <p>Here this Father argues against those who thought the <i>Play-House</i> no unlawful <span
+  class="pagenum" id="page262">{262}</span>Diversion, because 'twas not Condemn'd by express
+  <i>Scripture</i>. 'Let meer Modesty (says he) supply the <i>Holy Text</i>: And let <i>Nature</i>
+  govern where <i>Revelation</i> does not reach. Some Things are too black to lie upon <i>Paper</i>,
+  and are more strongly forbidden, because unmention'd. The Divine Wisdom must have had a low
+  Opinion of <i>Christians</i>, had it descended to particulars in this Case. Silence is sometimes
+  the best Method for Authority. To Forbid often puts People in mind of what they should not do; And
+  thus the force of the Precept is lost by naming the Crime. Besides, what need we any farther
+  Instruction? Discipline and general Restraint makes up the Meaning of the Law; and common Reason
+  will tell you what the Scripture has left unsaid. I would have every one examine his own Thoughts,
+  and inquire at Home into the Duties of his Profession. This is a good way to secure him from
+  Indecency. For those Rules which a Man has work'd out for himself he commonly makes most use
+  of.'&mdash;&mdash;And after having describ'd the infamous Diversions of the <i>Play-house</i>; He
+  expostulates in this Manner.</p>
+
+  <p>'What business has a Christian at such Places as these? A Christian who has not <span
+  class="pagenum" id="page263">{263}</span>the Liberty so much as to think of an ill Thing. Why does
+  he entertain himself with Lewd Representations? Has he a mind to discharge his Modesty, and be
+  flesh'd for the <i>Practise</i>? Yes. this is the Consequence. By using to see these Things, hee'l
+  learn to do them.&mdash;&mdash;What need I mention the Levities, and Impertinence in
+  <i>Comedies</i>, or the ranting Distractions of <i>Tragedy</i>? Were these Things unconcern'd with
+  Idolatry, Christians ought not to be at them. For were they not highly Criminal, the Foolery of
+  them is egregious, and unbecoming the Gravity of <i>Beleivers</i>.&mdash;&mdash;</p>
+
+  <p>'As I have often said these Foppish, these pernicious Diversions, must be avoided. We must set
+  a Guard upon our Senses, and keep the Sentinal always upon Duty. To make Vice familiar to the ear,
+  is the way to recommend it. And since the mind of Man has a Natural Bent to Extravagance; how is
+  it likely to hold out under Example, and Invitation? If you push that which totters already,
+  whether will it tumble? In earnest, we must draw off our Inclinations from these Vanities. A
+  Christian has much better <i>Sights</i> than these to look at. He has solid Satisfactions in his
+  <span class="pagenum" id="page264">{264}</span>Power, which will please, and improve him at the
+  same time.</p>
+
+  <p>'Would a Christian be agreeably Refresh'd? Let him read the <i>Scriptures</i>: Here the
+  Entertainment will suit his Character, and be big enough for his Quality.&mdash;Beloved, how
+  noble, how moving how profitable a pleasure is it to be thus employed? To have our Expectations
+  always in prospect, and be intent on the Glories of Heaven?'</p>
+
+  <p>He has a great deal more upon this Subject in his <i>Epistles</i> to <i>Donatus</i> and
+  <i>Eucratius</i>, which are undoubtedly genuine. The later being somewhat remarkable, I shall
+  Translate part of it for the <i>Reader</i>. <span class="leftmar"><i>Ad Eucrat.</i></span><sup
+  class="handonly" id="ref491"><a href="#side491">[491]</a></sup></p>
+
+  <p>'Dear Brother, your usual Kindness, together with your desire of releiving your own Modesty and
+  mine, has put you upon asking my Thoughts concerning a certain <i>Player</i> in your
+  Neighbourhood; whether such a Person ought to be allow'd the Privilege of <i>Communion</i>. This
+  Man it seems continues in his Scandalous Profession, and keeps a Nursery under him. He teaches
+  that which 'twas a Crime in him to learn, sets up for a Master of Debauch, and Propagates the lewd
+  Mystery. The case standing thus, 'tis my Opinion that the Admission of such a <i>Member</i> would
+  be a Breach of the <span class="pagenum" id="page265">{265}</span>Discipline of the Gospel, and a
+  Presumption upon the Divine Majesty: Neither do I think it fit the Honour of the Church should
+  suffer by so Infamous a Correspondence.'</p>
+
+  <p><i>Lactantius</i>'s Testimony shall come next. This Author in his <i>Divine
+  Institutions</i>,<span class="leftmar"><i>Lib. 6. cap. 20.</i></span><sup class="handonly"
+  id="ref492"><a href="#side492">[492]</a></sup> which he Dedicates to <i>Constantine</i> the Great,
+  cautions the Christians against the <i>Play-House</i>, from the Disorder, and danger of those
+  places. For as he observes.</p>
+
+  <p>'The debauching of Virgins, and the Amours of Strumpets, are the Subject of <i>Comedy</i>. And
+  here the Rule is, the more Rhetorick the more Mischeif, and the best <i>Poets</i> are the worst
+  Common-Wealths-men. For the Harmony and Ornament of the Composition serves only to recommend the
+  Argument, to fortifie the Charm, and engage the Memory. At last he concludes with this advice.</p>
+
+  <p>'Let us avoid therefore these Diversions, least somewhat of the Malignity should seize us. Our
+  Minds should be quiet and Compos'd, and not over-run with Amusements. Besides a Habit of Pleasure
+  is an ensnaring Circumstance. 'Tis apt to make us forget God, and grow cool in the Offices of
+  Virtue.<span class="leftmar"><i>Ibid. cap. 21.</i></span><sup class="handonly" id="ref493"><a
+  href="#side493">[493]</a></sup></p>
+
+  <div><span class="pagenum" id="page266">{266}</span></div>
+
+  <p>'Should a Man have a Stage at Home, would not his Reputation suffer extreamly, and all people
+  count him a notorious Libertine? most undoubtedly. Now the Place does not alter the Property. The
+  Practise at the <i>Play-House</i> is the same thing, only there he has more Company to keep him in
+  Countenance.</p>
+
+  <p>'A well work'd <i>Poem</i> is a powerful piece of Imposture: It masters the Fancy, and hurries
+  it no Body knows whither.&mdash;&mdash;If therefore we would be govern'd by Reason let us stand
+  off from the Temptation, such Pleasures can have no good Meaning. Like delicious Morsels they
+  subdue the Palate, and flatter us only to cut our Throats. Let us prefer Reality to Appearance,
+  Service, to Show; and Eternity to Time.<span class="leftmar"><i>Ibid. cap. 22.</i></span><sup
+  class="handonly" id="ref494"><a href="#side494">[494]</a></sup></p>
+
+  <p>'As God makes Virtue the Condition of Glory, and trains men up to Happiness by Hardship and
+  Industry. So the Devils road to Destruction lies through Sensuality and <i>Epicurism</i>. And as
+  pretended Evils lead us on to uncounterfeited Bliss; So Visionary Satisfactions are the causes of
+  Real Misery. In short, These Inviting Things are all stratagem. Let us, take care the softness and
+  Importunity of the Pleasure does not surprise us, nor the Bait bring <span class="pagenum"
+  id="page267">{267}</span>us within the snare. The Senses are more than <i>Out-Works</i>, and
+  should be defended accordingly.'</p>
+
+  <p>I shall pass over St. <i>Ambrose</i>,<span class="leftmar"><i>In Psal. 119.</i></span><sup
+  class="handonly" id="ref495"><a href="#side495">[495]</a></sup> and go on to St.
+  <i>Chrisostome</i>. This <i>Father</i> is copious upon the Subject, I could translate some
+  <i>Sheets</i> from him were it necessary. But length being not my Business, a few Lines may serve
+  to discover his Opinion. His <i>15 Homily ad Populum Antiochenum</i>, runs thus.</p>
+
+  <p>'Most People fancy the Unlawfulness of going to <i>Plays</i> is not clear. But by their favour,
+  a world of Disorders are the Consequences of such a Liberty. For frequenting the <i>Play-House</i>
+  has brought Whoring and Ribaldry into Vogue, and finish'd all the parts of Debauchery.'</p>
+
+  <p>Afterwards he seems to make the supposition better than the <i>Fact</i>, and argues upon a
+  feign'd Case.</p>
+
+  <p>'Let us not only avoid downright Sinning, but the Tendencies to it. Some Indifferent Things are
+  fatal in the Consequence, and strike us at the Rebound. Now who would chuse his standing within an
+  Inch of a Fall; or swim upon the Verge of a Whirlpool? He that walks upon a Precipice, shakes tho'
+  he does not tumble. And commonly his Concern brings him to the Bottom. The Case is much <span
+  class="pagenum" id="page268">{268}</span>the same in reference to Conscience, and Morality. He
+  that won't keep his Distance from the Gulph, is oftentimes suck'd in by the Eddy; and the least
+  oversight is enough to undo Him.'</p>
+
+  <p>In his 37 Homily upon the Eleventh Chapter of St. <i>Matthew</i> he declaims more at large
+  against the Stage.</p>
+
+  <p>'Smutty Songs (says he) are much more abominable than Stench and Ordure. And which is most to
+  be lamented, you are not at all uneasy at such Licentiousness. You Laugh when you should Frown;
+  and Commend what you ought to abhor.&mdash;&mdash;Heark you, you can keep the Language of your own
+  House in order: If your Servants or your Childrens Tongues run Riot, they presently smart for't.
+  And yet at the <i>Play-House</i> you are quite another Thing. These little Buffoons have a strange
+  Ascendant! A luscious Sentence is hugely welcome from their Mouth: And instead of Censure, they
+  have thanks and encouragement for their Pains. Now if a Man would be so just as to wonder at
+  himself, here's Madness, and Contradiction in Abundance.</p>
+
+  <p>'But I know you'l say what's this to me, I neither sing nor pronounce, any of this Lewd stuff?
+  Granting your Plea, <span class="pagenum" id="page269">{269}</span>what do you get by't? If you
+  don't repeat these Scurrilities, you are very willing to hear them. Now whether the Ear, or the
+  Tongue is mismanaged, comes much to the same reckoning. The difference of the <i>Organ</i>, does
+  not alter the Action so mightily, as you may imagine. But pray how do you prove you don't repeat
+  them? They may be your Discourse, or the Entertainments of your Closet for ought we know to the
+  contrary. This is certain; you hear them with pleasure in your Face, and make it your business to
+  run after them: And to my Mind, these are strong Arguments of your Approbation.</p>
+
+  <p>'I desire to ask you a Question. Suppose you hear any wretches Blaspheme, are you in any
+  Rapture about it? And do your Gestures appear airy, and obliged? Far from it. I doubt not but your
+  blood grows chill, and your Ears are stopt at the Presumption. And what's the Reason of this
+  Aversion in your Behaviour? Why 'tis because you don't use to Blaspheme, your self. Pray clear
+  your self the same way from the Charge of Obscenity. Wee'l then believe you don't talk Smut, when
+  we percieve you careful not to hear it. Lewd Sonnets, and Serenades are quite different from the
+  <span class="pagenum" id="page270">{270}</span>Prescriptions of Virtue. This is strange
+  Nourishment for a Christian to take in! I don't wonder you should lose your Health, when you feed
+  thus Foul. It may be Chastity is no such easy Task! Innocence moves upon an Ascent, at least for
+  sometime. Now those who are always Laughing can never strain up Hill. If the best preparations of
+  Care will just do, what must become of those that are dissolv'd in Pleasure, and lie under the
+  Instructions of Debauchery?&mdash;&mdash;Have you not heard how that St. <i>Paul</i> exhorts us
+  <i>to rejoyce in the Lord</i>? He said <i>in the Lord</i>; not in the Devil. But alas! what
+  leisure have you to Mind St. <i>Paul</i>? How should you be sensible of your Faults, when your
+  Head is always kept Hot, and as it were intoxicated with Buffooning?'&mdash;&mdash;
+  &mdash;&mdash;He goes on, and lashes the Impudence of the <i>Stage</i> with a great deal of Satir
+  and Severity; and at last proposes this Objection.</p>
+
+  <p>'You'l say, I can give you many Instances where the <i>Play-House</i> has done no Harm. Don't
+  mistake. Throwing away of Time and ill example, has a great deal of Harm in't; And thus far you
+  are guilty at the best. For granting your own Virtue impenetrable, and out of Reach, Granting the
+  Protection of your Temper has brought you off unhurt, <span class="pagenum"
+  id="page271">{271}</span>are all People thus Fortified? By no means. However, many a weak Brother
+  has ventur'd after you, and miscarried upon your <i>Precedent</i>. And since you make others thus
+  <i>Faulty</i>, how can you be <i>Innocent</i> your self? All the People undone There, will lay
+  their Ruine at your Door. The Company are all Accessary to the Mischeif of the Place. For were
+  there no <i>Audience</i>, we should have no <i>Acting</i>. And therefore those who joyn in the
+  Crime, will ne're be parted in the Punishment. Granting your Modesty has secur'd you, which by the
+  way I believe nothing of; yet since many have been debauch'd by the <i>Play-House</i>, you must
+  expect a severe Reckning for giving them Encouragement. Tho' after all, as Virtuous as you are, I
+  doubt not, you wou'd have been much Better, had you kept away.</p>
+
+  <p>'In fine, Let us not dispute to no purpose; The practise won't bear a Defence! Where the Cause
+  is naught 'tis in vain to rack our Reason, and strain for Pretences. The best excuse for what is
+  past, is to stand clear from the danger, and do so no more.'</p>
+
+  <p>One citation more from St. <i>Chrysostom</i>, and I take Leave. In the Preface of his
+  Commentary upon St. <i>John</i>'s Gospel speaking of <i>Plays</i> and other Publick <i>Shews</i>,
+  he has these words.</p>
+
+  <div><span class="pagenum" id="page272">{272}</span></div>
+
+  <p>'But what need I branch out the Lewdness of those <i>Spectacles</i>, and be particular in
+  Description? For what's there to be met with but Lewd Laughing, but Smut, Railing, and Buffoonry?
+  In a word. 'Tis all Scandal and Confusion. Observe me, I speak to you all; Let none who partake of
+  this <i>Holy-Table</i>, unqualifie <span class="correction"
+  title="Original reads 'himself', corrected by
+  Errata">themselves</span> with such Mortal Diversions.'</p>
+
+  <p>St. <i>Hierom</i> on the <i>1st</i>. Verse 32 <i>Psal.</i> makes this Exposition upon the
+  <i>Text</i>.</p>
+
+  <p>'Some are delighted with the Satisfactions of this World, some with the <i>Circus</i>, and some
+  with the <i>Theatre</i>: But the Psalmist commands every good Man <i>to delight himself in the
+  Lord</i>.&mdash;&mdash;For as <i>Isaiah</i> speaks, <i>woe to them that put bitter for sweet, and
+  sweet for bitter</i>.' And in his Epistles<span class="leftmar"><i>Ep. 9. 12. Advers. Jovinian.
+  Lib. 2. cap. 7.</i></span><sup class="handonly" id="ref496"><a href="#side496">[496]</a></sup> he
+  cautions the Ladies against having any thing to do with the <i>Play-House</i>, against Lewd Songs,
+  and Ill Conversation. Because they set ill Humours at work, Caress the Fancy, and make pleasure a
+  Conveyance for Destruction.'</p>
+
+  <p>In the <i>6th.</i> Book of his Comentary on <i>Ezechiel</i> he lets us understand;<span
+  class="leftmar"><i>Chap. 20.</i></span><sup class="handonly" id="ref497"><a
+  href="#side497">[497]</a></sup> 'That when we depart out of <i>Ægypt</i> we must refine our
+  Inclinations, and change our Delights into Aversion. And after some other Instances, He tells us
+  we must <span class="pagenum" id="page273">{273}</span>decline the <i>Theatres</i>, and all other
+  dangerous Diversions, which stain the Innocence of the Soul, and slip into the <i>Will</i> through
+  the Senses.'</p>
+
+  <p>St. <i>Augustine</i> in his <i>5th</i>. Epistle to <i>Marcellinus</i> will afford us something
+  upon the same Argument.</p>
+
+  <p>'The prosperity of Sinners is their greatest Unhappiness. If one may say so, They are most
+  Punish'd when they are overlook'd. By this means their bad Temper is encourag'd, and they are more
+  inclin'd to be false to themselves; And we know an Enemy <i>within</i>, is more dangerous than one
+  <i>without</i>. But the perverse Reasonings of the Generality, make different Conclusions. They
+  fancy the World goes wonderfully well when People make a Figure. When a Man is a Prince in his
+  Fortune, but a Begger in his Vertue; Has a great many fine Things about him, but not so much as
+  one good Quality to deserve them. When the <i>Play-Houses</i> go up, and Religion go's down. When
+  Prodigality is admir'd, and Charity laugh'd at. When the <i>Players</i> can revel with the Rich
+  Man's purse, And the Poor have scarse enough to keep Life and Soul together.&mdash;&mdash;When God
+  suffers these Things to flourish, we may be sure he is most Angry. Present Impunity, is the
+  deepest Revenge. But <span class="pagenum" id="page274">{274}</span>when he cuts off the Supplies
+  of Luxury, and disables the Powers of Extravagance, then as one may say, he is mercifully
+  severe.'</p>
+
+  <p>In his <i>1st.</i> Book <i>de consensu Evangelistarum</i>,<span class="leftmar"><i>cap.
+  33.</i></span><sup class="handonly" id="ref498"><a href="#side498">[498]</a></sup> He answers an
+  objection of the <i>Heathens</i>, and comes up to the Case in Hand.</p>
+
+  <p>'Their Complaint as if the Times were less happy since the Appearance of Christianity is very
+  unreasonable. Let them read their own Philosophers: There they'l find those very Things censured,
+  which they now are so uneasy to part with; This Remark must shut up their Mouths, and convince
+  them of the Excellency of our Religion. For pray what Satisfactions have they lost? None that I
+  know of, excepting some Licentious ones, which they abused to the Dishonour of their Creatour. But
+  it may be the Times are bad because the <i>Theatres</i> are Tumbling almost every where. The
+  <i>Theaters</i> those <i>Cages</i> of <i>Uncleaness</i>, and publick Schools of
+  Debauchery.&mdash;&mdash;And what's the Reason of their running to Ruine? Why 'tis the Reformation
+  of the Age: 'Tis because those Lewd Practises are out of Fashion, which first built and kept them
+  in Countenance. Their own <i>Tully</i>'s Commendation of the <i>Actor Roscius</i> is remarkable.
+  He was so much <span class="pagenum" id="page275">{275}</span>a Master (says he) that none but
+  himself was worthy to Tread the <i>Stage</i>. And on the other hand, so good a Man, that he was
+  the most unfit Person of the Gang to come There. And is not this a plain Confession of the
+  Lewdness of the <i>Play-House</i>; And that the better a Man was, the more he was obliged to
+  forbear it?'</p>
+
+  <p>I could go on, much farther with St. <i>Augustine</i>, but I love to be as brief as may be. I
+  could likewise run through the succeeding <i>Centuries</i>, and collect Evidence all along. But I
+  conceive the best Ages, and the biggest Authorities, may be sufficient: And these the
+  <i>Reader</i> has had already. However, one Instance more from the <i>Moderns</i> may not be
+  amiss. <i>Didacus de Tapia</i> an eminent <i>Spaniard</i>, shall close the <i>Evidence</i>. This
+  Author in debating the Question whether <i>Players</i> might be admitted to the <i>Sacrament</i>,
+  amongst other things encounters an Objection. Some People it seems pretended there was some good
+  to be learn'd at the <i>Play-House</i>. To these, he makes this reply.</p>
+
+  <p>'Granting your Supposition, (says He) your Inference is naught. Do People use to send their
+  Daughters to the <i>Stews</i> for Discipline? And yet it may be, they might meet some there
+  lamenting their own Debauchery. No Man will breed his Son upon the <i>High-way</i>, to harden his
+  <span class="pagenum" id="page276">{276}</span>Courage; Neither will any one go on board a Leaky
+  Vessel, to learn the Art of shifting in a Wreck the better. My conclusion is, let no body go to
+  the Infamous <i>Play-House</i>. A place of such staring Contradiction to the Strictness and
+  Sobriety of Religion: A Place hated by God, and haunted by the Devil. Let no man I say learn to
+  relish any thing that's said there; For 'tis all but Poyson handsomly prepared.' <span
+  class="leftmar"><i>Didac. &amp;c. in D. Thom. p. 546.</i></span><sup class="handonly"
+  id="ref499"><a href="#side499">[499]</a></sup></p>
+
+  <p>Thus I have presented the <i>Reader</i> with a short View of the Sense of <i>Christianity</i>.
+  This was the opinion of the <i>Church</i> for the first 500 Years. And thus she has Censured the
+  <i>Stage</i> both in <i>Councils</i>, and Single <i>Authorities</i>. And since the Satir of the
+  <i>Fathers</i> comes full upon the <i>Modern Poets</i>, their Caution must be applicable. The
+  parity of the Case makes their Reasons take place, and their Authority revive upon us. If we are
+  <i>Christians</i>, the <i>Canons</i> of <i>Councils</i>, and the Sense of the Primitive
+  <i>Church</i> must have a weight. The very Time is a good argument of it self. Then the
+  <i>Apostolical Traditions</i> were fresh, and undisputed; and the <i>Church</i> much better agreed
+  than she has been since. Then, Discipline was in Force, and Virtue Flourish'd, and People lived up
+  to their <i>Profession</i>. And as for the <i>Persons</i>, they are beyond all exception. Their
+  <i>Station</i>, their <span class="pagenum" id="page277">{277}</span>Learning, and Sufficiency was
+  very Considerable; Their Piety and Resolution, extraordinary. They acted generously, and wrote
+  freely, and were always above the little Regards of Interest or Danger. To be short; They were, as
+  we may say the <i>Worthies</i> of <i>Christendom</i>, the Flower of Humane Nature, and the Top of
+  their <i>Species</i>. Nothing can be better establish'd, than the Credit of these <i>Fathers</i>:
+  Their Affirmation goes a great way in a proof; And we might argue upon the strength of their
+  <i>Character</i>.</p>
+
+  <p>But supposing them contented to wave their Privilege, and dispute upon the Level. Granting
+  this, the <i>Stage</i> would be undone by them. The Force of their Reasoning, and the bare
+  <i>Intrinsick</i> of the Argument, would be abundantly sufficient to carry the Cause.</p>
+
+  <p>But it may be objected, is the Resemblance exact between Old <i>Rome</i> and <i>London</i>,
+  will the Paralel hold out, and has the <i>English Stage</i> any Thing so bad as the <i>Dancing</i>
+  of the <i>Pantomimi</i>? I don't say that: The <i>Modern Gestures</i> tho' bold and Lewd too
+  sometimes, are not altogether so scandalous as the <i>Roman</i>. Here then we can make them some
+  little Abatement.</p>
+
+  <p>And to go as far in their <i>Excuse</i> as we can, 'tis probable their <i>Musick</i> may not be
+  altogether so exceptionable as that of the <span class="pagenum"
+  id="page278">{278}</span><i>Antients</i>. I don't say this part of the Entertainment is directly
+  vitious, because I am not willing to Censure at Uncertainties. Those who frequent the
+  <i>Play-House</i> are the most competent Judges: But this I must say, the Performances of this
+  kind are much too fine for the <i>Place</i>. 'Twere to be wish'd that either the <i>Plays</i> were
+  better, or the <i>Musick</i> worse. I'm sorry to see <i>Art</i> so meanly Prostituted: Atheism
+  ought to have nothing Charming in its <i>Retinue</i>. 'Tis great Pity <i>Debauchery</i> should
+  have the Assistance of a fine Hand, to whet the Appetite, and play it down.</p>
+
+  <p>Now granting the <i>Play-House-Musick</i> not vitious in the Composition, yet the design of it
+  is to refresh the <i>Idea</i>'s of the Action, to keep <i>Time</i> with the <i>Poem</i>, and be
+  true to the <i>Subject</i>. For this Reason among others the <i>Tunes</i> are generally Airy and
+  Gailliardizing; They are contriv'd on purpose to excite a sportive Humour, and spread a Gaity upon
+  the Spirits. To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep. This sort
+  of Musick warms the Passions, and unlocks the Fancy, and makes it open to Pleasure like a Flower
+  to the Sun. It helps a Luscious Sentence to slide, drowns the Discords of <i>Atheism</i>, and
+  keeps off the Aversions of Conscience. It throws a Man off his Guard, makes way for an ill
+  Impresion, and is most <span class="pagenum" id="page279">{279}</span>Commodiously planted to do
+  Mischief. A Lewd <i>Play</i> with good Musick is like a Loadstone <i>Arm'd</i>, it draws much
+  stronger than before.</p>
+
+  <p>Now why should it be in the power of a few mercenary Hands to play People out of their Senses,
+  to run away with their Understandings, and wind their Passions about their Fingers as they list?
+  Musick is almost as dangerous as Gunpowder; And it may be requires looking after no less than the
+  <i>Press</i>, or the <i>Mint</i>. 'Tis possible a Publick Regulation might not be amiss. No less a
+  Philosopher than <i>Plato</i> seems to be of this Opinion. He is clearly for keeping up the old
+  grave, and solemn way of <i>Playing</i>. He lays a mighty stress upon this Observation: He does
+  not stick to affirm, that to extend the <i>Science</i>, and alter the <i>Notes</i>, is the way to
+  have the <i>Laws</i> repeal'd and to unsettle the <i>Constitution</i>.<span class="leftmar"><i>De
+  Repub. L. 4.</i></span><sup class="handonly" id="ref500"><a href="#side500">[500]</a></sup> I
+  suppose He imagined that if the Power of <i>Sounds</i>, the Temper of Constitutions, and the
+  Diversities of Age, were well studied; If this were done, and some general Permissions formed upon
+  the Enquiry, the <i>Commonwealth</i> might find their Account in't.</p>
+
+  <p><i>Tully</i> does not carry the Speculation thus high: However, he owns it has a weight in't,
+  and should not be overlook'd.<span class="leftmar"><i>Cic. de Leg. L. 2.</i></span><sup
+  class="handonly" id="ref501"><a href="#side501">[501]</a></sup> He denies not but that when the
+  Musick is soft, <span class="pagenum" id="page280">{280}</span>exquisite, and airy, 'tis dangerous
+  and ensnaring. He commends the Discipline of the ancient <i>Greeks</i>, for fencing against this
+  Inconvenience. He tells us the <i>Lacedemonians</i> fixt the number of Strings for the Harp, by
+  express <i>Law</i>. And afterwards silenc'd <i>Timotheus</i>,<span class="nothand">*</span><span
+  class="leftmar">* <i>A Famous Musician</i></span><sup class="handonly" id="ref502"><a
+  href="#side502">[502]</a></sup> and seiz'd his Harp, for having One String above publick
+  Allowance. To return. If the <i>English Stage</i> is more reserv'd than the <i>Roman</i> in the
+  Case above mention'd: If they have any advantage in their <i>Instrumental</i> Musick, they loose
+  it in their <i>Vocal</i>. Their <i>Songs</i> are often rampantly Lewd, and Irreligious to a
+  flaming Excess. Here you have the very <i>Spirit</i> and <i>Essence</i> of Vice drawn off strong
+  scented, and thrown into a little Compass. Now the <i>Antients</i> as we have seen already were
+  inoffensive in this respect.</p>
+
+  <p>To go on. As to Rankness of Language we have seen how deeply the <i>Moderns</i> stand charged
+  upon the Comparison. And as for their Caressing of Libertines, their ridiculing of Vertue, their
+  horrible Profaness, and Blasphemies, there's nothing in <i>Antiquity</i> can reach them.</p>
+
+  <p>Now were the <i>Stage</i> in a Condition to wipe off any of these Imputations, which They are
+  not, there are two Things besides which would stick upon them, and [......] an ill Effect upon the
+  <i>Audience</i>.</p>
+
+  <div><span class="pagenum" id="page281">{281}</span></div>
+
+  <p>The first is their dilating so much upon the Argument of Love.</p>
+
+  <p>This Subject is generally treated Home, and in the most tender and passionate manner
+  imaginable. Tis often the governing Concern: The Incidents make way, and the <i>Plot</i> turns
+  upon't. As matters go, the Company expect it: And it may be the <i>Poets</i> can neither Write,
+  nor Live without it. This is a cunning way enough of stealing upon the Blind Side, and Practising
+  upon the Weakness of humane Nature. People love to see their <i>Passions</i> painted no less than
+  their <i>Persons</i>: And like <i>Narcissus</i> are apt to dote on their own Image. This Bent of
+  self Admiration recommends the Business of <i>Amours</i>, and engages the Inclination. And which
+  is more, these Love-representations oftentimes call up the Spirits, and set them on work. The
+  <i>Play</i> is acted over again in the <i>Scene</i> of Fancy, and the first Imitation becomes a
+  Model. <i>Love</i> has generally a <i>Party Within</i>; And when the Wax is prepared, the
+  Impression is easily made. Thus the Disease of the Stage grows Catching: It throws its own
+  <i>Amours</i> among the Company, and forms these Passions when it does not find them. And when
+  they are born before, they thrive extreamly in this <i>Nursery</i>. Here they seldom fail either
+  of Grouth, or Complexion. <span class="pagenum" id="page282">{282}</span>They grow strong, and
+  they grow Charming too. This is the best Place to recover a Languishing Amour, to rowse it from
+  Sleep, and retrieve it from Indifference. And thus Desire becomes Absolute, and forces the
+  Oppositions of Decency and Shame. And if the Misfortune does not go thus far, the consequences are
+  none of the best. The Passions are up in Arms, and there's a mighty Contest between Duty, and
+  Inclination. The Mind is over-run with Amusements, and commonly good for nothing sometime
+  after.</p>
+
+  <p>I don't say the <i>Stage</i> Fells all before them, and disables the whole <i>Audience</i>:
+  'Tis a hard Battle where none escapes. However, Their <i>Triumphs</i> and their <i>Tropheys</i>
+  are unspeakable. Neither need we much wonder at the Matter. They are dangerously Prepar'd for
+  Conquest, and Empire. There's Nature, and Passion, and Life, in all the Circumstances of their
+  <i>Action</i>. Their Declamation, their <i>Mein</i> their Gestures, and their Equipage, are very
+  moving and significant. Now when the Subject is agreeable, a lively Representation, and a
+  Passionate way of Expression, make wild work, and have a strange Force upon the Blood, and
+  Temper.</p>
+
+  <p>And then as for the General Strains of Courtship, there can be nothing more Profane and
+  extravagant. The Hero's Mistress <span class="pagenum" id="page283">{283}</span>is no less than
+  his Deity. She disposes of his Reason, prescribes his Motions, and Commands his Interest. What
+  Soveraign Respect, what Religious Address, what Idolizing Raptures are we pester'd with?
+  <i>Shrines</i> and <i>Offerings</i> and Adorations, are nothing upon such solemn Occasions. Thus
+  Love and Devotion, Ceremony and Worship are Confounded; And God, and his Creatures treated both
+  alike! These Shreds of Distraction are often brought from the <i>Play-House</i> into Conversation:
+  And thus the <i>Sparks</i> are taught to Court their Mistresses, in the same Language they say
+  their <i>Prayers</i>.</p>
+
+  <p>A Second Thing which I have to object against the <i>Stage</i> is their encouraging Revenge.
+  What is more Common than Duels and Quarrelling in their <i>Characters</i> of Figure? Those
+  Practises which are infamous in Reason, <i>Capital</i> in <i>Law</i>, and Damnable in Religion,
+  are the Credit of the <i>Stage</i>. Thus Rage and Resentment, Blood and Barbarity, are almost
+  Deified: Pride goes for Greatness, and <i>Fiends</i> and <i>Hero's</i> are made of the same
+  Mettal. To give Instances were needless, nothing is more frequent. And in this respect the
+  <i>French Dramatists</i> have been to blame no less than the <i>English</i>.<span
+  class="leftmar"><i>Vid. Corneille Cid, Cinna &amp; Pompee.</i></span><sup class="handonly"
+  id="ref503"><a href="#side503">[503]</a></sup> And thus the Notion of Honour is mistated, the
+  Maxims of Christianity despised, and the Peace of the <span class="pagenum"
+  id="page284">{284}</span>World disturb'd. I grant this desperate Custom is no <i>Original</i> of
+  the <i>Stage</i>. But then why was not the Growth of it check'd? I thought the <i>Poets</i>
+  business had not been to back false Reasoning and ill Practise; and to fix us in Frensy and
+  Mistake! Yes. They have done their endeavour to cherish the Malignity, and keep the Disorder in
+  Countenance. They have made it both the Mark, and the Merit of a Man of Honour; and set it off
+  with <i>Quality</i>, and Commendation. But I have discours'd on this Subject elswhere,<span
+  class="leftmar"><i>Moral Essays.</i></span><sup class="handonly" id="ref504"><a
+  href="#side504">[504]</a></sup> and therefore shall pursue it no farther.</p>
+
+  <p>To draw towards an End. And here I must observe that these two later Exceptions are but Petty
+  Mismanagements with respect to the Former. And when the best are thus bad, what are the worst?
+  What must we say of the more foul Representations, of all the Impudence in Language and Gesture?
+  Can this Stuff be the Inclination of <i>Ladies</i>? Is a <i>Reading</i> upon Vice so Entertaining,
+  and do they love to see the <i>Stews Dissected</i> before them? One would think the Dishonour of
+  their own Sex, the Discovery of so much Lewdness, and the treating Human Nature so very Coarsly,
+  could have little Satisfaction in't. Let us set Conscience aside, and throw the other World out of
+  the Question: These Interests are but the greatest, but not all. The <span class="pagenum"
+  id="page285">{285}</span><i>Ladies</i> have other Motives to confine them. The Restraints of
+  Decency, and the Considerations of Honour, are sufficient to keep them at Home. But hoping They
+  will be just to themselves I shall wave this unacceptable Argument. I shall only add, that a
+  Surprize ought not to be Censured. Accidents are no Faults. The strictest Virtue may sometimes
+  stumble upon an <i>Ill Sight</i>. But Choise, and Frequency, and ill Ground, conclude strongly for
+  Inclination. To be assured of the inoffensiveness of the <i>Play</i> is no more than a Necessary
+  Precaution. Indeed the <i>Players</i> should be generally discouraged. They have no relish of
+  Modesty, nor any scruples upon the Quality of the Treat. The grossest <i>Dish</i> when 'twill down
+  is as ready as the Best. To say Money is their Business and they must <i>Live</i>, is the Plea of
+  <i>Pick pockets</i>, and <i>High way men</i>. These later may as well pretend their
+  <i>Vocation</i> for a Lewd practise as the other. But</p>
+
+  <p>To give the Charge its due Compass: To comprehend the whole <i>Audience</i>, and take in the
+  Motives of Religon.</p>
+
+  <p>And here I can't imagine how we can reconcile such Liberties with our Profession. These
+  Entertainments are as it were Litterally renounc'd in <i>Baptism</i>. They are the <i>Vanities of
+  the wicked World, and the Works of the Devil</i>, in the most open, and emphatical Signification.
+  <i>What Communion <span class="pagenum" id="page286">{286}</span>has Light with Darkness, and what
+  concord has Christ with Belial.</i><span class="leftmar"><i>2 Cor. 6. 14.</i></span><sup
+  class="handonly" id="ref505"><a href="#side505">[505]</a></sup> Call you this Diversion? Can
+  Profaness be such an irresistable Delight? Does the Crime of the Performance make the Spirit of
+  the Satisfaction, and is the Scorn of Christianity the Entertainment of Christians? Is it such a
+  Pleasure to hear the <i>Scriptures</i> burlesqu'd? Is Ribaldry so very obliging, and
+  <i>Atheism</i> so Charming a Quality? Are we indeed willing to quit the Privilege of our Nature;
+  to surrender our <i>Charter</i> of Immortality, and throw up the Pretences to another Life? It may
+  be so! But then we should do well to remember that <i>Nothing</i> is not in our Power. Our Desires
+  did not make us, neither can they unmake us. But I hope our wishes are not so mean, and that we
+  have a better sense of the Dignity of our <i>Being</i>. And if so, how can we be pleas'd with
+  those Things which would degrade us into Brutes, which ridicule our <i>Creed</i>, and turn all our
+  Expectations into <i>Romance</i>.</p>
+
+  <p>And after all, the Jest on't is, these Men would make us believe their design is Virtue and
+  Reformation. In good time! They are likely to combat Vice with success, who destroy the Principles
+  of Good and Evil! Take them at the best, and they do no more than expose a little Humour, and
+  Formality. But then, as the Matter is manag'd, the Correction is much worse <span class="pagenum"
+  id="page287">{287}</span>than the Fault. They laugh at <i>Pedantry</i>, and teach <i>Atheism</i>,
+  cure a Pimple, and give the Plague. I heartily wish they would have let us alone. To exchange
+  Virtue for Behaviour is a hard Bargain. Is not plain Honesty much better than Hypocrisy well
+  Dress'd? What's Sight good for without Substance? What is a well Bred Libertine but a well bred
+  Knave? One that can't prefer Conscience to Pleasure, without calling himself Fool: And will sell
+  his Friend, or his Father, if need be, for his Convenience.</p>
+
+  <p>In short: Nothing can be more disserviceable to Probity and Religion, than the management of
+  the <i>Stage</i>. It cherishes those Passions, and rewards those Vices, which 'tis the business of
+  Reason to discountenance. It strikes at the Root of Principle, draws off the Inclinations from
+  Virtue, and spoils good Education: 'Tis the most effectual means to baffle the Force of
+  Discipline, to emasculate peoples Spirits, and Debauch their Manners. How <i>many</i> of the
+  Unwary have these <i>Syrens</i> devour'd? And how often has the best Blood been tainted, with this
+  Infection? What Disappointment of Parents, what Confusion in Families, and What Beggery in Estates
+  have been hence occasion'd? And which is still worse, the Mischief spreads dayly, and the
+  Malignity grows more envenom'd. <span class="pagenum" id="page288">{288}</span>The Feavour works
+  up towards Madness; and will scarcely endure to be touch'd. And what hope is there of Health when
+  the <i>Patient</i> strikes in with the Disease, and flies in the Face of the <i>Remedy</i>? Can
+  Religion retrive us? Yes, when we don't despise it. But while our <i>Notions</i> are naught, our
+  <i>Lives</i> will hardly be otherwise. What can the Assistance of the Church signify to those who
+  are more ready to Rally the <i>Preacher</i>, than Practise the <i>Sermon</i>? To those who are
+  overgrown with Pleasure, and hardned in Ill Custom? Who have neither Patience to hear, nor
+  Conscience to take hold of? You may almost as well feed a Man without a Mouth, as give Advice
+  where there's no disposition to receive it. 'Tis true; as long as there is Life there's Hope.
+  Sometimes the Force of Argument, and the Grace of God, and the anguish of Affliction, may strike
+  through the Prejudice, and make their way into the Soul. But these circumstances don't always
+  meet, and then the Case is extreamly dangerous. For this miserable Temper, we may thank the
+  <i>Stage</i> in a great Measure: And therefore, if I mistake not, They have the least pretence to
+  Favour, and the most, need of Repentance, of all Men Living.</p>
+
+  <p class="sp4 ac"><span class="gsp"><i>THE END.</i></span></p>
+
+  <h1 class="ac handonly" style="margin-bottom:1.8ex;"><span class="larger">NOTES (In margin in the
+  Original).</span></h1>
+
+  <p class="sp0 handonly"><a id="side1"></a><a href="#ref1">[1]</a> <i>Reflect upon</i> Aristot.
+  &amp;c.<br/>
+  <br/>
+  <a id="side2"></a><a href="#ref2">[2]</a> <i>Eurip. Hippolit.</i><br/>
+  <br/>
+  <a id="side3"></a><a href="#ref3">[3]</a> <i>Hamlet.</i><br/>
+  <br/>
+  <a id="side4"></a><a href="#ref4">[4]</a> <i>Don Quixot.</i><br/>
+  <br/>
+  <a id="side5"></a><a href="#ref5">[5]</a> <i>Relapse.</i><br/>
+  <br/>
+  <a id="side6"></a><a href="#ref6">[6]</a> <i>Love for Love.</i><br/>
+  <br/>
+  <a id="side7"></a><a href="#ref7">[7]</a> <i>Mock Astrologer.</i><br/>
+  <br/>
+  <a id="side8"></a><a href="#ref8">[8]</a> <i>Old Batchelour.</i><br/>
+  <br/>
+  <a id="side9"></a><a href="#ref9">[9]</a> <i>Mock Astrologer. Country Wife. Cleomenes. Old
+  Batchelour.</i><br/>
+  <br/>
+  <a id="side10"></a><a href="#ref10">[10]</a> <i>Plaut.</i><br/>
+  <br/>
+  <a id="side11"></a><a href="#ref11">[11]</a> <i>Cistellar.</i><br/>
+  <br/>
+  <a id="side12"></a><a href="#ref12">[12]</a> <i>Terent. Eunuch.</i><br/>
+  <br/>
+  <a id="side13"></a><a href="#ref13">[13]</a> <i>Asinar.</i><br/>
+  <br/>
+  <a id="side14"></a><a href="#ref14">[14]</a> <i>Cistellar.</i><br/>
+  <br/>
+  <a id="side15"></a><a href="#ref15">[15]</a> <i>Bacchid.</i><br/>
+  <br/>
+  <a id="side16"></a><a href="#ref16">[16]</a> <i>Casin.</i><br/>
+  <br/>
+  <a id="side17"></a><a href="#ref17">[17]</a> <i>Mercat. Act. 3.</i><br/>
+  <br/>
+  <a id="side18"></a><a href="#ref18">[18]</a> <i>Persa.</i><br/>
+  <br/>
+  <a id="side19"></a><a href="#ref19">[19]</a> <i>Trucul.</i><br/>
+  <br/>
+  <a id="side20"></a><a href="#ref20">[20]</a> <i>Persa.</i><br/>
+  <br/>
+  <a id="side21"></a><a href="#ref21">[21]</a> <i>Trinum.</i><br/>
+  <br/>
+  <a id="side22"></a><a href="#ref22">[22]</a> <i>Act. 2. 1.</i><br/>
+  <br/>
+  <a id="side23"></a><a href="#ref23">[23]</a> <i>Act. 2. 2.</i><br/>
+  <br/>
+  <a id="side24"></a><a href="#ref24">[24]</a> <i>Casin.</i><br/>
+  <br/>
+  <a id="side25"></a><a href="#ref25">[25]</a> <i>Mil. Glor.</i><br/>
+  <br/>
+  <a id="side26"></a><a href="#ref26">[26]</a> <i>Pers.</i><br/>
+  <br/>
+  <a id="side27"></a><a href="#ref27">[27]</a> <i>Trucul.</i><br/>
+  <br/>
+  <a id="side28"></a><a href="#ref28">[28]</a> <i>Cistellear. A. 1.</i><br/>
+  <br/>
+  <a id="side29"></a><a href="#ref29">[29]</a> <i>Ibid. A. 2.</i><br/>
+  <br/>
+  <a id="side30"></a><a href="#ref30">[30]</a> <i>Heauton.</i><br/>
+  <br/>
+  <a id="side31"></a><a href="#ref31">[31]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side32"></a><a href="#ref32">[32]</a> <i>Love Triump.</i><br/>
+  <br/>
+  <a id="side33"></a><a href="#ref33">[33]</a> <i>Heauton. A. 5. 4.</i><br/>
+  <br/>
+  <a id="side34"></a><a href="#ref34">[34]</a> <i>Eunuch A. 5. 4. 5.</i> <i>Adelph. A. 2.
+  3.</i><br/>
+  <br/>
+  <a id="side35"></a><a href="#ref35">[35]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side36"></a><a href="#ref36">[36]</a> <i>Casaub. Annot. in Curcul. Plauti.</i><br/>
+  <br/>
+  <a id="side37"></a><a href="#ref37">[37]</a> <i>De A te Poet.</i><br/>
+  <br/>
+  <a id="side38"></a><a href="#ref38">[38]</a> <i>Var. apud. Nonium.</i><br/>
+  <br/>
+  <a id="side39"></a><a href="#ref39">[39]</a> <i>Corn. Nep.</i><br/>
+  <br/>
+  <a id="side40"></a><a href="#ref40">[40]</a> <i>Arist. Lib. 4. de Mor. cap. 14.</i><br/>
+  <br/>
+  <a id="side41"></a><a href="#ref41">[41]</a> <i>Vit. Eurip. ed Cantab. 1694.</i><br/>
+  <br/>
+  <a id="side42"></a><a href="#ref42">[42]</a> <i>Love for Love.</i> <i>Love Triump.
+  &amp;c.</i><br/>
+  <br/>
+  <a id="side43"></a><a href="#ref43">[43]</a> <i>p. 14. Ed. Scriv.</i><br/>
+  <br/>
+  <a id="side44"></a><a href="#ref44">[44]</a> <i>Hippol.</i><br/>
+  <br/>
+  <a id="side45"></a><a href="#ref45">[45]</a> <i>Aristoph. Ran.</i><br/>
+  <br/>
+  <a id="side46"></a><a href="#ref46">[46]</a> <span title="Choêphor."
+  class="fsn">&Chi;&omicron;&eta;&phi;&omicron;&rho;.</span> <i>253, Ed. Steph.</i><br/>
+  <br/>
+  <a id="side47"></a><a href="#ref47">[47]</a> <i>Orest. 48. Ed. Cantab.</i><br/>
+  <br/>
+  <a id="side48"></a><a href="#ref48">[48]</a> <span title="Eumen."
+  class="fsn">&Epsilon;&upsilon;&mu;&epsilon;&nu;.</span> <i>305.</i><br/>
+  <br/>
+  <a id="side49"></a><a href="#ref49">[49]</a> <i>p. 79.</i><br/>
+  <br/>
+  <a id="side50"></a><a href="#ref50">[50]</a> <span title="Hiket."
+  class="fsn">&#x1F39;&kappa;&#x1F73;&tau;.</span> 340.<br/>
+  <br/>
+  <a id="side51"></a><a href="#ref51">[51]</a> <i>Don Sebast. p. 12.</i><br/>
+  <br/>
+  <a id="side52"></a><a href="#ref52">[52]</a> <i>Oedip. Tyran. Ed Steph.</i><br/>
+  <br/>
+  <a id="side53"></a><a href="#ref53">[53]</a> <i>Antig. 242. 244.</i><br/>
+  <br/>
+  <a id="side54"></a><a href="#ref54">[54]</a> <i>Ibid. 264.</i><br/>
+  <br/>
+  <a id="side55"></a><a href="#ref55">[55]</a> <i>Trach. 348.</i><br/>
+  <br/>
+  <a id="side56"></a><a href="#ref56">[56]</a> <span title="Môria to Môron"
+  class="fsn">&Mu;&omega;&rho;&#x1F77;&alpha; &tau;&#x1F78; &Mu;&#x1FF6;&rho;&omicron;&nu;</span>
+  <i>Ed. Cant. 241. 250. 252.</i><br/>
+  <br/>
+  <a id="side57"></a><a href="#ref57">[57]</a> <i>Ibid. 232. 233.</i><br/>
+  <br/>
+  <a id="side58"></a><a href="#ref58">[58]</a> <i>Androm. p. 303.</i><br/>
+  <br/>
+  <a id="side59"></a><a href="#ref59">[59]</a> <i>Iphig. in Aulid. p. 51.</i><br/>
+  <br/>
+  <a id="side60"></a><a href="#ref60">[60]</a> <i>Helen. 277, 278.</i><br/>
+  <br/>
+  <a id="side61"></a><a href="#ref61">[61]</a> <i>Mourning Bride. p. 36.</i><br/>
+  <br/>
+  <a id="side62"></a><a href="#ref62">[62]</a> <i>Spanish Fryar. Ep. Ded.</i><br/>
+  <br/>
+  <a id="side63"></a><a href="#ref63">[63]</a> <i>Troad. p. 146.</i><br/>
+  <br/>
+  <a id="side64"></a><a href="#ref64">[64]</a> <i>Plain Dealer. p. 21.</i><br/>
+  <br/>
+  <a id="side65"></a><a href="#ref65">[65]</a> <i>Provok'd Wife. p. 41.</i><br/>
+  <br/>
+  <a id="side66"></a><a href="#ref66">[66]</a> <i>Remarks upon Quixot.</i><br/>
+  <br/>
+  <a id="side67"></a><a href="#ref67">[67]</a> <i>Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel.</i><br/>
+  <br/>
+  <a id="side68"></a><a href="#ref68">[68]</a> <i>Sat. 14.</i><br/>
+  <br/>
+  <a id="side69"></a><a href="#ref69">[69]</a> <i>p. 106.</i><br/>
+  <br/>
+  <a id="side70"></a><a href="#ref70">[70]</a> <i>Nub. p. 110.</i><br/>
+  <br/>
+  <a id="side71"></a><a href="#ref71">[71]</a> <i>Act. 5. p. 176.</i><br/>
+  <br/>
+  <a id="side72"></a><a href="#ref72">[72]</a> <i>Plat. Apol. Socrat.</i><br/>
+  <br/>
+  <a id="side73"></a><a href="#ref73">[73]</a> <i>Nub. p. 86.</i><br/>
+  <br/>
+  <a id="side74"></a><a href="#ref74">[74]</a> <i>Plut. A. 1. Sc. 2.</i><br/>
+  <br/>
+  <a id="side75"></a><a href="#ref75">[75]</a> <i>Ran. p. 188.</i><br/>
+  <br/>
+  <a id="side76"></a><a href="#ref76">[76]</a> <i>536. 538. 546.</i><br/>
+  <br/>
+  <a id="side77"></a><a href="#ref77">[77]</a> <i>542.</i><br/>
+  <br/>
+  <a id="side78"></a><a href="#ref78">[78]</a> <i>582.</i><br/>
+  <br/>
+  <a id="side79"></a><a href="#ref79">[79]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side80"></a><a href="#ref80">[80]</a> <i>602.</i><br/>
+  <br/>
+  <a id="side81"></a><a href="#ref81">[81]</a> <i>Eiren.</i> 616.<br/>
+  <br/>
+  <a id="side82"></a><a href="#ref82">[82]</a> <i>p. 142.</i> <i>p. 200.</i><br/>
+  <br/>
+  <a id="side83"></a><a href="#ref83">[83]</a> <i>242.</i><br/>
+  <br/>
+  <a id="side84"></a><a href="#ref84">[84]</a> <i>p. 244.</i><br/>
+  <br/>
+  <a id="side85"></a><a href="#ref85">[85]</a> <i>p.</i> [......] <i>p.</i> [......]<br/>
+  <br/>
+  <a id="side86"></a><a href="#ref86">[86]</a> <i>Ranæ</i> <i>p. 186.</i> <i>p. 182.</i><br/>
+  <br/>
+  <a id="side87"></a><a href="#ref87">[87]</a> <i>p. 192, 194, 196.</i><br/>
+  <br/>
+  <a id="side88"></a><a href="#ref88">[88]</a> <i>Act 2. Sc. 6.</i><br/>
+  <br/>
+  <a id="side89"></a><a href="#ref89">[89]</a> <i>Ranæ p. 242.</i><br/>
+  <br/>
+  <a id="side90"></a><a href="#ref90">[90]</a> <i>Ranæ A. 1. Sc. 1. Concionat.</i><br/>
+  <br/>
+  <a id="side91"></a><a href="#ref91">[91]</a> <i>Ranæ p. 238.</i><br/>
+  <br/>
+  <a id="side92"></a><a href="#ref92">[92]</a> <i>p. 240.</i><br/>
+  <br/>
+  <a id="side93"></a><a href="#ref93">[93]</a> <i>p. 242. 244.</i><br/>
+  <br/>
+  <a id="side94"></a><a href="#ref94">[94]</a> 255. 267.<br/>
+  <br/>
+  <a id="side95"></a><a href="#ref95">[95]</a> <i>Discov. p. 700.</i><br/>
+  <br/>
+  <a id="side96"></a><a href="#ref96">[96]</a> <i>p. 701.</i><br/>
+  <br/>
+  <a id="side97"></a><a href="#ref97">[97]</a> <i>p. 706. 717.</i><br/>
+  <br/>
+  <a id="side98"></a><a href="#ref98">[98]</a> <i>Beauments</i>, &amp;c. <i>Works</i>.<br/>
+  <br/>
+  <a id="side99"></a><a href="#ref99">[99]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side100"></a><a href="#ref100">[100]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side101"></a><a href="#ref101">[101]</a> <i>Theodore. Ed. Roven. Ep. Ded.</i><br/>
+  <br/>
+  <a id="side102"></a><a href="#ref102">[102]</a> <i>Gad for God.</i><br/>
+  <br/>
+  <a id="side103"></a><a href="#ref103">[103]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side104"></a><a href="#ref104">[104]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side105"></a><a href="#ref105">[105]</a> <i>p. 24.</i><br/>
+  <br/>
+  <a id="side106"></a><a href="#ref106">[106]</a> <i>Hebr. 12.</i><br/>
+  <br/>
+  <a id="side107"></a><a href="#ref107">[107]</a> <i>34. 36.</i><br/>
+  <br/>
+  <a id="side108"></a><a href="#ref108">[108]</a> <i>55.</i><br/>
+  <br/>
+  <a id="side109"></a><a href="#ref109">[109]</a> <i>59.</i><br/>
+  <br/>
+  <a id="side110"></a><a href="#ref110">[110]</a> <i>Orph. p. 20.</i><br/>
+  <br/>
+  <a id="side111"></a><a href="#ref111">[111]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side112"></a><a href="#ref112">[112]</a> <i>Lactan.</i><br/>
+  <br/>
+  <a id="side113"></a><a href="#ref113">[113]</a> <i>p. 19.</i><br/>
+  <br/>
+  <a id="side114"></a><a href="#ref114">[114]</a> <i>p. 28.</i><br/>
+  <br/>
+  <a id="side115"></a><a href="#ref115">[115]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side116"></a><a href="#ref116">[116]</a> <i>38.</i><br/>
+  <br/>
+  <a id="side117"></a><a href="#ref117">[117]</a> <i>p. 39.</i><br/>
+  <br/>
+  <a id="side118"></a><a href="#ref118">[118]</a> <i>p. 39.</i><br/>
+  <br/>
+  <a id="side119"></a><a href="#ref119">[119]</a> <i>Id. 49.</i><br/>
+  <br/>
+  <a id="side120"></a><a href="#ref120">[120]</a> <i>Double Dealer. 34.</i><br/>
+  <br/>
+  <a id="side121"></a><a href="#ref121">[121]</a> <i>36.</i><br/>
+  <br/>
+  <a id="side122"></a><a href="#ref122">[122]</a> <i>55.</i><br/>
+  <br/>
+  <a id="side123"></a><a href="#ref123">[123]</a> <i>p. 40.</i><br/>
+  <br/>
+  <a id="side124"></a><a href="#ref124">[124]</a> <i>Sebast. p. 9.</i><br/>
+  <br/>
+  <a id="side125"></a><a href="#ref125">[125]</a> <i>Id. p. 10.</i><br/>
+  <br/>
+  <a id="side126"></a><a href="#ref126">[126]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side127"></a><a href="#ref127">[127]</a> <i>Id. p. 83.</i>  <i>Exod. 12, 13.</i><br/>
+  <br/>
+  <a id="side128"></a><a href="#ref128">[128]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side129"></a><a href="#ref129">[129]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side130"></a><a href="#ref130">[130]</a> <i>Ded. p. 51.</i><br/>
+  <br/>
+  <a id="side131"></a><a href="#ref131">[131]</a> <i>Love Triumph. p. 3.</i><br/>
+  <br/>
+  <a id="side132"></a><a href="#ref132">[132]</a> <i>Id. p. 11.</i><br/>
+  <br/>
+  <a id="side133"></a><a href="#ref133">[133]</a> <i>Id. p. 11.</i><br/>
+  <br/>
+  <a id="side134"></a><a href="#ref134">[134]</a> <i>p. 34.</i><br/>
+  <br/>
+  <a id="side135"></a><a href="#ref135">[135]</a> <i>58.</i><br/>
+  <br/>
+  <a id="side136"></a><a href="#ref136">[136]</a> <i>p. 62.</i><br/>
+  <br/>
+  <a id="side137"></a><a href="#ref137">[137]</a> <i>1st. Eliz. cap. 2.</i><br/>
+  <br/>
+  <a id="side138"></a><a href="#ref138">[138]</a> <i>p. 63.</i><br/>
+  <br/>
+  <a id="side139"></a><a href="#ref139">[139]</a> <i>p. 72.</i><br/>
+  <br/>
+  <a id="side140"></a><a href="#ref140">[140]</a> <i>Love for Love. p. 42.</i><br/>
+  <br/>
+  <a id="side141"></a><a href="#ref141">[141]</a> <i>26.</i><br/>
+  <br/>
+  <a id="side142"></a><a href="#ref142">[142]</a> <i>p. 27.</i><br/>
+  <br/>
+  <a id="side143"></a><a href="#ref143">[143]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side144"></a><a href="#ref144">[144]</a> <i>Vid. Person. Dram.</i><br/>
+  <br/>
+  <a id="side145"></a><a href="#ref145">[145]</a> <i>p. 80.</i><br/>
+  <br/>
+  <a id="side146"></a><a href="#ref146">[146]</a> <i>p. 91.</i><br/>
+  <br/>
+  <a id="side147"></a><a href="#ref147">[147]</a> <i>p. 92.</i><br/>
+  <br/>
+  <a id="side148"></a><a href="#ref148">[148]</a> <i>Prov. Wife p. 38.</i><br/>
+  <br/>
+  <a id="side149"></a><a href="#ref149">[149]</a> <i>Id. p. 77.</i><br/>
+  <br/>
+  <a id="side150"></a><a href="#ref150">[150]</a> <i>Relapse. p. 32, 33.</i><br/>
+  <br/>
+  <a id="side151"></a><a href="#ref151">[151]</a> <i>p. 44, 45.</i><br/>
+  <br/>
+  <a id="side152"></a><a href="#ref152">[152]</a> <i>Vid. Infra.</i><br/>
+  <br/>
+  <a id="side153"></a><a href="#ref153">[153]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side154"></a><a href="#ref154">[154]</a> <i>p. 96, 97.</i><br/>
+  <br/>
+  <a id="side155"></a><a href="#ref155">[155]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side156"></a><a href="#ref156">[156]</a> <i>p.91.</i><br/>
+  <br/>
+  <a id="side157"></a><a href="#ref157">[157]</a> <i>Don. Sebastian. p. 51.</i><br/>
+  <br/>
+  <a id="side158"></a><a href="#ref158">[158]</a> <i>Double Dealer. p. 19.</i><br/>
+  <br/>
+  <a id="side159"></a><a href="#ref159">[159]</a> <i>p. 17.</i><br/>
+  <br/>
+  <a id="side160"></a><a href="#ref160">[160]</a> <i>p. 44.</i><br/>
+  <br/>
+  <a id="side161"></a><a href="#ref161">[161]</a> <i>Double Dealer. p. 18.</i><br/>
+  <br/>
+  <a id="side162"></a><a href="#ref162">[162]</a> <i>Gen. 2. St. Math. 9.</i><br/>
+  <br/>
+  <a id="side163"></a><a href="#ref163">[163]</a> <i>Love, &amp;c. p. 59, 61.</i><br/>
+  <br/>
+  <a id="side164"></a><a href="#ref164">[164]</a> <i>Provok'd Wife. p. 3.</i><br/>
+  <br/>
+  <a id="side165"></a><a href="#ref165">[165]</a> <i>p. 4.</i><br/>
+  <br/>
+  <a id="side166"></a><a href="#ref166">[166]</a> <i>p. 65.</i><br/>
+  <br/>
+  <a id="side167"></a><a href="#ref167">[167]</a> <i>Relapse. p. 19.</i><br/>
+  <br/>
+  <a id="side168"></a><a href="#ref168">[168]</a> <i>p. 96.</i><br/>
+  <br/>
+  <a id="side169"></a><a href="#ref169">[169]</a> <i>Eccles. 8. 11.</i><br/>
+  <br/>
+  <a id="side170"></a><a href="#ref170">[170]</a> <i>Gal. 6.</i><br/>
+  <br/>
+  <a id="side171"></a><a href="#ref171">[171]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side172"></a><a href="#ref172">[172]</a> <i>Heauton. A. 5. 1.</i><br/>
+  <br/>
+  <a id="side173"></a><a href="#ref173">[173]</a> <i>Adelp. A. 5. 7.</i><br/>
+  <br/>
+  <a id="side174"></a><a href="#ref174">[174]</a> <i>Lyconides. Aulular. A. 2. 4.  Palæstra. Rud. A.
+  1. 3.  Dinarchus. Trucul. A. 2. 4.</i><br/>
+  <br/>
+  <a id="side175"></a><a href="#ref175">[175]</a> <i>Mil. Glor.</i><br/>
+  <br/>
+  <a id="side176"></a><a href="#ref176">[176]</a> <i>Pseud. A. 1. 3.</i><br/>
+  <br/>
+  <a id="side177"></a><a href="#ref177">[177]</a> <i>Prom. vinct. 57.</i><br/>
+  <br/>
+  <a id="side178"></a><a href="#ref178">[178]</a> <i>p. 92.</i><br/>
+  <br/>
+  <a id="side179"></a><a href="#ref179">[179]</a> <i>p. 101.</i><br/>
+  <br/>
+  <a id="side180"></a><a href="#ref180">[180]</a> <span title="Pers."
+  class="fsn">&Pi;&epsilon;&rho;&sigma;.</span> <i>161.</i><br/>
+  <br/>
+  <a id="side181"></a><a href="#ref181">[181]</a> <i>164.</i><br/>
+  <br/>
+  <a id="side182"></a><a href="#ref182">[182]</a> <i>Ajax. Flagell.</i><br/>
+  <br/>
+  <a id="side183"></a><a href="#ref183">[183]</a> <i>Oedip. Tyran. p. 187.</i><br/>
+  <br/>
+  <a id="side184"></a><a href="#ref184">[184]</a> <i>p. 188.</i><br/>
+  <br/>
+  <a id="side185"></a><a href="#ref185">[185]</a> <i>Antig. p. 256.</i><br/>
+  <br/>
+  <a id="side186"></a><a href="#ref186">[186]</a> <i>Trach. p. [......].</i><br/>
+  <br/>
+  <a id="side187"></a><a href="#ref187">[187]</a> <i>Trach. p. 375.</i><br/>
+  <br/>
+  <a id="side188"></a><a href="#ref188">[188]</a> <i>Trach. p. 340.</i><br/>
+  <br/>
+  <a id="side189"></a><a href="#ref189">[189]</a> <i>Cleom. p. 54.</i><br/>
+  <br/>
+  <a id="side190"></a><a href="#ref190">[190]</a> <i>Id. p. 55.</i><br/>
+  <br/>
+  <a id="side191"></a><a href="#ref191">[191]</a> <i>p. 54.</i><br/>
+  <br/>
+  <a id="side192"></a><a href="#ref192">[192]</a> <i>De Art. Poet.</i><br/>
+  <br/>
+  <a id="side193"></a><a href="#ref193">[193]</a> <i>Philoct. 402.</i><br/>
+  <br/>
+  <a id="side194"></a><a href="#ref194">[194]</a> <i>419.</i><br/>
+  <br/>
+  <a id="side195"></a><a href="#ref195">[195]</a> <i>p. 431.</i><br/>
+  <br/>
+  <a id="side196"></a><a href="#ref196">[196]</a> <i>Act. 2.</i><br/>
+  <br/>
+  <a id="side197"></a><a href="#ref197">[197]</a> <i>p. 295.</i><br/>
+  <br/>
+  <a id="side198"></a><a href="#ref198">[198]</a> <i>Agam. Act. 3.</i><br/>
+  <br/>
+  <a id="side199"></a><a href="#ref199">[199]</a> <i>20.</i><br/>
+  <br/>
+  <a id="side200"></a><a href="#ref200">[200]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side201"></a><a href="#ref201">[201]</a> <i>p. 23.</i><br/>
+  <br/>
+  <a id="side202"></a><a href="#ref202">[202]</a> <i>Country Wife p. 6.</i><br/>
+  <br/>
+  <a id="side203"></a><a href="#ref203">[203]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side204"></a><a href="#ref204">[204]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side205"></a><a href="#ref205">[205]</a> <i>p. 25.</i><br/>
+  <br/>
+  <a id="side206"></a><a href="#ref206">[206]</a> <i>p. 26.</i><br/>
+  <br/>
+  <a id="side207"></a><a href="#ref207">[207]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side208"></a><a href="#ref208">[208]</a> <i>Old Batch. p. 19, 20.</i><br/>
+  <br/>
+  <a id="side209"></a><a href="#ref209">[209]</a> <i>p. 27.</i><br/>
+  <br/>
+  <a id="side210"></a><a href="#ref210">[210]</a> <i>p. 41.</i><br/>
+  <br/>
+  <a id="side211"></a><a href="#ref211">[211]</a> <i>p. 71.</i><br/>
+  <br/>
+  <a id="side212"></a><a href="#ref212">[212]</a> <i>Absal. and Achi.</i><br/>
+  <br/>
+  <a id="side213"></a><a href="#ref213">[213]</a> p. 24.<br/>
+  <br/>
+  <a id="side214"></a><a href="#ref214">[214]</a> <i>p. 96.</i><br/>
+  <br/>
+  <a id="side215"></a><a href="#ref215">[215]</a> <i>p. 32.</i><br/>
+  <br/>
+  <a id="side216"></a><a href="#ref216">[216]</a> <i>Oedip. p. 38.</i><br/>
+  <br/>
+  <a id="side217"></a><a href="#ref217">[217]</a> <i>p. 43.</i><br/>
+  <br/>
+  <a id="side218"></a><a href="#ref218">[218]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side219"></a><a href="#ref219">[219]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side220"></a><a href="#ref220">[220]</a> <i>Provok'd Wife. p. 45, 46, 52, 52.</i><br/>
+  <br/>
+  <a id="side221"></a><a href="#ref221">[221]</a> <i>Relapse. p. 74.</i><br/>
+  <br/>
+  <a id="side222"></a><a href="#ref222">[222]</a> <i>p. 75.</i><br/>
+  <br/>
+  <a id="side223"></a><a href="#ref223">[223]</a> <i>p. 86.</i><br/>
+  <br/>
+  <a id="side224"></a><a href="#ref224">[224]</a> <i>p. 97.</i><br/>
+  <br/>
+  <a id="side225"></a><a href="#ref225">[225]</a> <i>89.</i><br/>
+  <br/>
+  <a id="side226"></a><a href="#ref226">[226]</a> <i>p. 94.</i><br/>
+  <br/>
+  <a id="side227"></a><a href="#ref227">[227]</a> <i>p. 95, 97, 105.</i><br/>
+  <br/>
+  <a id="side228"></a><a href="#ref228">[228]</a> Hom. <i>Il. <span title="a"
+  class="fsn">&alpha;</span>. p. 3. &amp; dein. Ed. Screvel.</i><br/>
+  <br/>
+  <a id="side229"></a><a href="#ref229">[229]</a> <i>Il. B. p. 91.</i><br/>
+  <br/>
+  <a id="side230"></a><a href="#ref230">[230]</a> <i>Ibid. p. 92.</i><br/>
+  <br/>
+  <a id="side231"></a><a href="#ref231">[231]</a> <i>Il. E. p. 154, 155.</i><br/>
+  <br/>
+  <a id="side232"></a><a href="#ref232">[232]</a> <i>Il. E. p. 154, 155.</i><br/>
+  <br/>
+  <a id="side233"></a><a href="#ref233">[233]</a> <i>Ibid. p. 158.</i><br/>
+  <br/>
+  <a id="side234"></a><a href="#ref234">[234]</a> <i>Odyss. I p. 174, 181.</i><br/>
+  <br/>
+  <a id="side235"></a><a href="#ref235">[235]</a> <i>Ænid. 2.</i><br/>
+  <br/>
+  <a id="side236"></a><a href="#ref236">[236]</a> <i>Ruaus. in Loc.</i><br/>
+  <br/>
+  <a id="side237"></a><a href="#ref237">[237]</a> <i>Æneid 2.</i><br/>
+  <br/>
+  <a id="side238"></a><a href="#ref238">[238]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side239"></a><a href="#ref239">[239]</a> <i>Æneid. 3.</i><br/>
+  <br/>
+  <a id="side240"></a><a href="#ref240">[240]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side241"></a><a href="#ref241">[241]</a> <i>Ænead. 1st.</i><br/>
+  <br/>
+  <a id="side242"></a><a href="#ref242">[242]</a> <i>Æn. 6.</i><br/>
+  <br/>
+  <a id="side243"></a><a href="#ref243">[243]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side244"></a><a href="#ref244">[244]</a> <i>Æneid. 7.</i><br/>
+  <br/>
+  <a id="side245"></a><a href="#ref245">[245]</a> <i>Lib. 1.</i><br/>
+  <br/>
+  <a id="side246"></a><a href="#ref246">[246]</a> <i>Æneid. 10.</i><br/>
+  <br/>
+  <a id="side247"></a><a href="#ref247">[247]</a> <i>Æneid. 11.</i><br/>
+  <br/>
+  <a id="side248"></a><a href="#ref248">[248]</a> <i>Æneid. 9. 10. 11.</i><br/>
+  <br/>
+  <a id="side249"></a><a href="#ref249">[249]</a> <i>Guther. de jure veter. pontif.</i><br/>
+  <br/>
+  <a id="side250"></a><a href="#ref250">[250]</a> <i>Oedip. Tyr. p. 148.</i><br/>
+  <br/>
+  <a id="side251"></a><a href="#ref251">[251]</a> <i>Ibid. 169.</i><br/>
+  <br/>
+  <a id="side252"></a><a href="#ref252">[252]</a> <i>p. 38.</i><br/>
+  <br/>
+  <a id="side253"></a><a href="#ref253">[253]</a> <i>Antig. p. 250, 258.</i><br/>
+  <br/>
+  <a id="side254"></a><a href="#ref254">[254]</a> <i>Eurip. Ph&#x0153;niss. p. 158, 159.</i><br/>
+  <br/>
+  <a id="side255"></a><a href="#ref255">[255]</a> <i>Bacch. Act. 1. Act. 4.</i><br/>
+  <br/>
+  <a id="side256"></a><a href="#ref256">[256]</a> <i>Jon. Act 5.</i><br/>
+  <br/>
+  <a id="side257"></a><a href="#ref257">[257]</a> <i>Iphig. in Aulid. &amp; in Taur.</i><br/>
+  <br/>
+  <a id="side258"></a><a href="#ref258">[258]</a> <i>Oedip.</i><br/>
+  <br/>
+  <a id="side259"></a><a href="#ref259">[259]</a> <i>Troad. A. 2. p. 193.</i><br/>
+  <br/>
+  <a id="side260"></a><a href="#ref260">[260]</a> <i>Plut. Ran. Aves.</i><br/>
+  <br/>
+  <a id="side261"></a><a href="#ref261">[261]</a> <i>Bacchid. Act. 2. 5. 3.</i><br/>
+  <br/>
+  <a id="side262"></a><a href="#ref262">[262]</a> <i>Rud. A. 1. 5. A. 2. 3.</i><br/>
+  <br/>
+  <a id="side263"></a><a href="#ref263">[263]</a> <i>Act [......]</i><br/>
+  <br/>
+  <a id="side264"></a><a href="#ref264">[264]</a> <i>Rud. A. 4. S. 7.</i><br/>
+  <br/>
+  <a id="side265"></a><a href="#ref265">[265]</a> <i>Measure for Measure.</i> <i>Much a do about
+  Nothing.</i> <i>Twelf-Night.</i> <i>Henry 4th pt. 1st.</i> <i>Hen. 6. pt. 3d.</i> <i>Romeo and
+  Juliet.</i> * <i>Merry Wives of Windsor.</i><br/>
+  <br/>
+  <a id="side266"></a><a href="#ref266">[266]</a> <i>Essay of Dramat. &amp;c.</i><br/>
+  <br/>
+  <a id="side267"></a><a href="#ref267">[267]</a> <i>De Bell. Judaic.</i><br/>
+  <br/>
+  <a id="side268"></a><a href="#ref268">[268]</a> <i>Deut. 17. 9. 20. 2. Chron. 19. 8.</i><br/>
+  <br/>
+  <a id="side269"></a><a href="#ref269">[269]</a> <i>Math. 27. Act. 4.  Vid. seldon de
+  Synedr.</i><br/>
+  <br/>
+  <a id="side270"></a><a href="#ref270">[270]</a> <i>Joseph.</i><br/>
+  <br/>
+  <a id="side271"></a><a href="#ref271">[271]</a> <i>Diod. Sic.</i><br/>
+  <br/>
+  <a id="side272"></a><a href="#ref272">[272]</a> <i>Gen. 41.</i><br/>
+  <br/>
+  <a id="side273"></a><a href="#ref273">[273]</a> <i>Porph. de Abstin. Lib. 4. Cæsar de Bell. Gall.
+  Lib. 6</i><br/>
+  <br/>
+  <a id="side274"></a><a href="#ref274">[274]</a> <i>Lib. 6.</i><br/>
+  <br/>
+  <a id="side275"></a><a href="#ref275">[275]</a> <i>Ser. in Controv.</i><br/>
+  <br/>
+  <a id="side276"></a><a href="#ref276">[276]</a> <i>Dion. Halic.</i><br/>
+  <br/>
+  <a id="side277"></a><a href="#ref277">[277]</a> <i>Pro Dom. ad Pontif.</i><br/>
+  <br/>
+  <a id="side278"></a><a href="#ref278">[278]</a> <i>Hebr. 7.</i><br/>
+  <br/>
+  <a id="side279"></a><a href="#ref279">[279]</a> <i>Davila Filmers Freeholders Grand Inq.</i><br/>
+  <br/>
+  <a id="side280"></a><a href="#ref280">[280]</a> <i>Miræus De Statu Relig. Christ.</i><br/>
+  <br/>
+  <a id="side281"></a><a href="#ref281">[281]</a> <i>Fletchers Embassy.</i><br/>
+  <br/>
+  <a id="side282"></a><a href="#ref282">[282]</a> <i>Puffendorf Introduction à l'Histoire.</i><br/>
+  <br/>
+  <a id="side283"></a><a href="#ref283">[283]</a> <i>Heylins Cosgmog.</i><br/>
+  <br/>
+  <a id="side284"></a><a href="#ref284">[284]</a> <i>2, Hen. 8. cap.  22.</i> <i>26, Hen. 8 cap
+  2.</i> <i>1. Edw. 6. cap. 12, &amp;c. Preamb.</i><br/>
+  <br/>
+  <a id="side285"></a><a href="#ref285">[285]</a> <i>S. Luke 12.</i><br/>
+  <br/>
+  <a id="side286"></a><a href="#ref286">[286]</a> <i>Moral Essays.</i><br/>
+  <br/>
+  <a id="side287"></a><a href="#ref287">[287]</a> <i>Mock Astrol. p. 3, &amp;c.</i><br/>
+  <br/>
+  <a id="side288"></a><a href="#ref288">[288]</a> <i>Mock Astrol. p. 57, 59.</i><br/>
+  <br/>
+  <a id="side289"></a><a href="#ref289">[289]</a> <i>Spanish Fryar. p. 61.</i><br/>
+  <br/>
+  <a id="side290"></a><a href="#ref290">[290]</a> <i>Country Wife. p. 25.</i><br/>
+  <br/>
+  <a id="side291"></a><a href="#ref291">[291]</a> <i>Old Batch.</i><br/>
+  <br/>
+  <a id="side292"></a><a href="#ref292">[292]</a> <i>Double Dealer. p. 34.</i><br/>
+  <br/>
+  <a id="side293"></a><a href="#ref293">[293]</a> <i>Love for Love p. 90.</i><br/>
+  <br/>
+  <a id="side294"></a><a href="#ref294">[294]</a> <i>Love for Love. p. 6, 7. 25. 61. 89.
+  91.</i><br/>
+  <br/>
+  <a id="side295"></a><a href="#ref295">[295]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side296"></a><a href="#ref296">[296]</a> <i>Don Sebast.</i><br/>
+  <br/>
+  <a id="side297"></a><a href="#ref297">[297]</a> <i>Love for Love. p. 20.</i><br/>
+  <br/>
+  <a id="side298"></a><a href="#ref298">[298]</a> <i>Provok'd Wife. p. 64.</i><br/>
+  <br/>
+  <a id="side299"></a><a href="#ref299">[299]</a> <i>Chap. 1. &amp; 2.</i><br/>
+  <br/>
+  <a id="side300"></a><a href="#ref300">[300]</a> <i>Mostel. A. 1. 2.</i> <i>Trinum. A. 2. 1. A. 2.
+  2.</i> <i>Enuch. A. 3. 3.</i> <i>Hecyr. A. 3. 4.</i><br/>
+  <br/>
+  <a id="side301"></a><a href="#ref301">[301]</a> <i>Trinum. A. 2. 1.</i><br/>
+  <br/>
+  <a id="side302"></a><a href="#ref302">[302]</a> <i>A. 2. 2.</i><br/>
+  <br/>
+  <a id="side303"></a><a href="#ref303">[303]</a> <i>Enuch. A. 3. 3.</i><br/>
+  <br/>
+  <a id="side304"></a><a href="#ref304">[304]</a> <i>Hecyr. A. 3. 4.</i><br/>
+  <br/>
+  <a id="side305"></a><a href="#ref305">[305]</a> <i>Stich A. 1. 1.</i><br/>
+  <br/>
+  <a id="side306"></a><a href="#ref306">[306]</a> <i>p. 3.</i><br/>
+  <br/>
+  <a id="side307"></a><a href="#ref307">[307]</a> <i>Stich. A. 1. 2.</i><br/>
+  <br/>
+  <a id="side308"></a><a href="#ref308">[308]</a> <i>p. 60.</i><br/>
+  <br/>
+  <a id="side309"></a><a href="#ref309">[309]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side310"></a><a href="#ref310">[310]</a> <i>De Art. Poet.</i><br/>
+  <br/>
+  <a id="side311"></a><a href="#ref311">[311]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side312"></a><a href="#ref312">[312]</a> <i>[......] Schol.</i><br/>
+  <br/>
+  <a id="side313"></a><a href="#ref313">[313]</a> <i>Libr. de Poet. cap. 5.</i><br/>
+  <br/>
+  <a id="side314"></a><a href="#ref314">[314]</a> <i>Psyche.</i><br/>
+  <br/>
+  <a id="side315"></a><a href="#ref315">[315]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side316"></a><a href="#ref316">[316]</a> <i>Pref. Mock. Astrol.</i><br/>
+  <br/>
+  <a id="side317"></a><a href="#ref317">[317]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side318"></a><a href="#ref318">[318]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side319"></a><a href="#ref319">[319]</a> <i>Essay of Dramatick Poetry. p. 28.</i><br/>
+  <br/>
+  <a id="side320"></a><a href="#ref320">[320]</a> <i>The London Prodigall.</i><br/>
+  <br/>
+  <a id="side321"></a><a href="#ref321">[321]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side322"></a><a href="#ref322">[322]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side323"></a><a href="#ref323">[323]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side324"></a><a href="#ref324">[324]</a> <i>Rapin Reflect. &amp;c. p. 10.</i><br/>
+  <br/>
+  <a id="side325"></a><a href="#ref325">[325]</a> <i>Libr. 4. de Morib. cap. 14.</i><br/>
+  <br/>
+  <a id="side326"></a><a href="#ref326">[326]</a> <i>De Mor. Lib. 10, cap. 2.</i><br/>
+  <br/>
+  <a id="side327"></a><a href="#ref327">[327]</a> <i>Institut. Lib. 6; c. 3.</i><br/>
+  <br/>
+  <a id="side328"></a><a href="#ref328">[328]</a> <i>p. 32.</i><br/>
+  <br/>
+  <a id="side329"></a><a href="#ref329">[329]</a> <i>p. 52.</i><br/>
+  <br/>
+  <a id="side330"></a><a href="#ref330">[330]</a> <i>Spanish Fryar. p. 36.</i><br/>
+  <br/>
+  <a id="side331"></a><a href="#ref331">[331]</a> <i>p. 70.</i><br/>
+  <br/>
+  <a id="side332"></a><a href="#ref332">[332]</a> <i>p. 61.</i><br/>
+  <br/>
+  <a id="side333"></a><a href="#ref333">[333]</a> <i>Enuch.</i><br/>
+  <br/>
+  <a id="side334"></a><a href="#ref334">[334]</a> <i>King Arth. p. 2.</i><br/>
+  <br/>
+  <a id="side335"></a><a href="#ref335">[335]</a> <i>Love Trium. p. 26.</i><br/>
+  <br/>
+  <a id="side336"></a><a href="#ref336">[336]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side337"></a><a href="#ref337">[337]</a> <i>Oedip. p. 3.</i><br/>
+  <br/>
+  <a id="side338"></a><a href="#ref338">[338]</a> <i>Old Batch. p. 41.</i><br/>
+  <br/>
+  <a id="side339"></a><a href="#ref339">[339]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side340"></a><a href="#ref340">[340]</a> <i>p. 22.</i><br/>
+  <br/>
+  <a id="side341"></a><a href="#ref341">[341]</a> <i>Don. Sebast. p. 5.</i><br/>
+  <br/>
+  <a id="side342"></a><a href="#ref342">[342]</a> <i>Double Dealer. Person. Dram.</i>
+  <i>Relapse.</i> <i>Provok'd Wife.</i> <i>p. 4. p. 2.</i><br/>
+  <br/>
+  <a id="side343"></a><a href="#ref343">[343]</a> <i>Relapse.</i><br/>
+  <br/>
+  <a id="side344"></a><a href="#ref344">[344]</a> <i>p. 4.</i><br/>
+  <br/>
+  <a id="side345"></a><a href="#ref345">[345]</a> <i>p. 2.</i><br/>
+  <br/>
+  <a id="side346"></a><a href="#ref346">[346]</a> <i>Don Sebast. p. 16.</i><br/>
+  <br/>
+  <a id="side347"></a><a href="#ref347">[347]</a> <i>p. 17.</i><br/>
+  <br/>
+  <a id="side348"></a><a href="#ref348">[348]</a> <i>Don. Quix. part. 2. p. 37.</i><br/>
+  <br/>
+  <a id="side349"></a><a href="#ref349">[349]</a> <i>Relapse. p. 84.</i><br/>
+  <br/>
+  <a id="side350"></a><a href="#ref350">[350]</a> <i>p. 24.</i><br/>
+  <br/>
+  <a id="side351"></a><a href="#ref351">[351]</a> <i>L'Ombre de Moliere</i><br/>
+  <br/>
+  <a id="side352"></a><a href="#ref352">[352]</a> <i>Essay Dram. poet. p. 5.</i><br/>
+  <br/>
+  <a id="side353"></a><a href="#ref353">[353]</a> <i>Amphit. p. 1, 2, 3, 8, 9.</i><br/>
+  <br/>
+  <a id="side354"></a><a href="#ref354">[354]</a> <i>p. 8. 17.</i><br/>
+  <br/>
+  <a id="side355"></a><a href="#ref355">[355]</a> <i>p. 18.</i><br/>
+  <br/>
+  <a id="side356"></a><a href="#ref356">[356]</a> <i>19.</i><br/>
+  <br/>
+  <a id="side357"></a><a href="#ref357">[357]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side358"></a><a href="#ref358">[358]</a> <i>Euseb. præpar. Evang.</i><br/>
+  <br/>
+  <a id="side359"></a><a href="#ref359">[359]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side360"></a><a href="#ref360">[360]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side361"></a><a href="#ref361">[361]</a> <i>p. 3, 16, etc.</i><br/>
+  <br/>
+  <a id="side362"></a><a href="#ref362">[362]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side363"></a><a href="#ref363">[363]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side364"></a><a href="#ref364">[364]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side365"></a><a href="#ref365">[365]</a> <i>19.</i><br/>
+  <br/>
+  <a id="side366"></a><a href="#ref366">[366]</a> <i>Troil. and Cressid.</i><br/>
+  <br/>
+  <a id="side367"></a><a href="#ref367">[367]</a> <i>The Hist. of Sr. John Old Castle.</i><br/>
+  <br/>
+  <a id="side368"></a><a href="#ref368">[368]</a> <i>King Arthur.</i><br/>
+  <br/>
+  <a id="side369"></a><a href="#ref369">[369]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side370"></a><a href="#ref370">[370]</a> <i>p. 6.</i><br/>
+  <br/>
+  <a id="side371"></a><a href="#ref371">[371]</a> <i>Ep. Ded. Don Sebast.</i><br/>
+  <br/>
+  <a id="side372"></a><a href="#ref372">[372]</a> <i>Ded. King Arthur.</i><br/>
+  <br/>
+  <a id="side373"></a><a href="#ref373">[373]</a> <i>Sebast. K. Arth.</i><br/>
+  <br/>
+  <a id="side374"></a><a href="#ref374">[374]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side375"></a><a href="#ref375">[375]</a> <i>Part 1st. p. 20.</i><br/>
+  <br/>
+  <a id="side376"></a><a href="#ref376">[376]</a> <i>p. 20.</i><br/>
+  <br/>
+  <a id="side377"></a><a href="#ref377">[377]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side378"></a><a href="#ref378">[378]</a> <i>p. 13.</i><br/>
+  <br/>
+  <a id="side379"></a><a href="#ref379">[379]</a> <i>Part. 1. p. 13.</i><br/>
+  <br/>
+  <a id="side380"></a><a href="#ref380">[380]</a> <i>Person. Dram.</i><br/>
+  <br/>
+  <a id="side381"></a><a href="#ref381">[381]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side382"></a><a href="#ref382">[382]</a> <i>p. 3.</i><br/>
+  <br/>
+  <a id="side383"></a><a href="#ref383">[383]</a> <i>p. 7.</i><br/>
+  <br/>
+  <a id="side384"></a><a href="#ref384">[384]</a> <i>p. 10.</i><br/>
+  <br/>
+  <a id="side385"></a><a href="#ref385">[385]</a> <i>p. 41.</i><br/>
+  <br/>
+  <a id="side386"></a><a href="#ref386">[386]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side387"></a><a href="#ref387">[387]</a> <i>Part. 1st. p. 7, 8. pt. 2d. p. 57.</i><br/>
+  <br/>
+  <a id="side388"></a><a href="#ref388">[388]</a> <i>pt. 2d. p. 60;</i><br/>
+  <br/>
+  <a id="side389"></a><a href="#ref389">[389]</a> <i>pt. 1st. p. 38. pt. 2d. p. 14.</i><br/>
+  <br/>
+  <a id="side390"></a><a href="#ref390">[390]</a> <i>pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36,
+  49. pt. 2d. p. 37. 44.</i><br/>
+  <br/>
+  <a id="side391"></a><a href="#ref391">[391]</a> <i>Pref. pt. 3d.</i><br/>
+  <br/>
+  <a id="side392"></a><a href="#ref392">[392]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side393"></a><a href="#ref393">[393]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side394"></a><a href="#ref394">[394]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side395"></a><a href="#ref395">[395]</a> <i>Person. Dram.</i><br/>
+  <br/>
+  <a id="side396"></a><a href="#ref396">[396]</a> <i>pt. 2d. p. 31.</i><br/>
+  <br/>
+  <a id="side397"></a><a href="#ref397">[397]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side398"></a><a href="#ref398">[398]</a> <i>Pref. pt. 1st.</i><br/>
+  <br/>
+  <a id="side399"></a><a href="#ref399">[399]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side400"></a><a href="#ref400">[400]</a> <i>pt. 3d.</i><br/>
+  <br/>
+  <a id="side401"></a><a href="#ref401">[401]</a> <i>p. 53.</i><br/>
+  <br/>
+  <a id="side402"></a><a href="#ref402">[402]</a> <i>Reflect, &amp;c. p. 131.</i><br/>
+  <br/>
+  <a id="side403"></a><a href="#ref403">[403]</a> <i>Relapse. p. 19</i><br/>
+  <br/>
+  <a id="side404"></a><a href="#ref404">[404]</a> <i>Reflect.</i> <i>p. 133.</i><br/>
+  <br/>
+  <a id="side405"></a><a href="#ref405">[405]</a> p. 27.<br/>
+  <br/>
+  <a id="side406"></a><a href="#ref406">[406]</a> <i>p. 79.</i><br/>
+  <br/>
+  <a id="side407"></a><a href="#ref407">[407]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side408"></a><a href="#ref408">[408]</a> <i>p. 81.</i><br/>
+  <br/>
+  <a id="side409"></a><a href="#ref409">[409]</a> <i>p. 83.</i><br/>
+  <br/>
+  <a id="side410"></a><a href="#ref410">[410]</a> <i>p. 59.</i><br/>
+  <br/>
+  <a id="side411"></a><a href="#ref411">[411]</a> <i>p. 11.</i><br/>
+  <br/>
+  <a id="side412"></a><a href="#ref412">[412]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side413"></a><a href="#ref413">[413]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side414"></a><a href="#ref414">[414]</a> <i>p. 74.</i><br/>
+  <br/>
+  <a id="side415"></a><a href="#ref415">[415]</a> <i>Reflect. p. 40.</i><br/>
+  <br/>
+  <a id="side416"></a><a href="#ref416">[416]</a> <i>Tragedies of the last Age consider'd, &amp;c.
+  p. 113, 114.</i><br/>
+  <br/>
+  <a id="side417"></a><a href="#ref417">[417]</a> <i>p. 59.</i><br/>
+  <br/>
+  <a id="side418"></a><a href="#ref418">[418]</a> <i>p. 61.</i><br/>
+  <br/>
+  <a id="side419"></a><a href="#ref419">[419]</a> <i>p. 42.</i><br/>
+  <br/>
+  <a id="side420"></a><a href="#ref420">[420]</a> <i>p. 43.</i><br/>
+  <br/>
+  <a id="side421"></a><a href="#ref421">[421]</a> <i>p. 44.</i><br/>
+  <br/>
+  <a id="side422"></a><a href="#ref422">[422]</a> <i>p. 64. At top.</i><br/>
+  <br/>
+  <a id="side423"></a><a href="#ref423">[423]</a> <i>p. 85.</i><br/>
+  <br/>
+  <a id="side424"></a><a href="#ref424">[424]</a> <i>p. 64.</i><br/>
+  <br/>
+  <a id="side425"></a><a href="#ref425">[425]</a> <i>p. 94.</i><br/>
+  <br/>
+  <a id="side426"></a><a href="#ref426">[426]</a> <i>p. 15.</i><br/>
+  <br/>
+  <a id="side427"></a><a href="#ref427">[427]</a> <i>p. 99.</i><br/>
+  <br/>
+  <a id="side428"></a><a href="#ref428">[428]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side429"></a><a href="#ref429">[429]</a> <i>p. 100.</i><br/>
+  <br/>
+  <a id="side430"></a><a href="#ref430">[430]</a> <i>Rapin Reflect, &amp;c.</i><br/>
+  <br/>
+  <a id="side431"></a><a href="#ref431">[431]</a> <i>Discourse des Trois Unitez. pt. 3d.</i><br/>
+  <br/>
+  <a id="side432"></a><a href="#ref432">[432]</a> <i>p. 88.</i><br/>
+  <br/>
+  <a id="side433"></a><a href="#ref433">[433]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side434"></a><a href="#ref434">[434]</a> <i>see Chap. 2d.</i><br/>
+  <br/>
+  <a id="side435"></a><a href="#ref435">[435]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side436"></a><a href="#ref436">[436]</a> <i>An Academy in Lithuania, for the Education of
+  Bears. Pere Auvill Voyage en Divers Etats, &amp;c. p. 240.</i><br/>
+  <br/>
+  <a id="side437"></a><a href="#ref437">[437]</a> <i>Plat. de Repub. Lib. 10. Euseb. Præpar.
+  Evang.</i><br/>
+  <br/>
+  <a id="side438"></a><a href="#ref438">[438]</a> <i>Cyropæd. p. 34</i><br/>
+  <br/>
+  <a id="side439"></a><a href="#ref439">[439]</a> <i>Polit. Lib. 7. c. p. 12.</i><br/>
+  <br/>
+  <a id="side440"></a><a href="#ref440">[440]</a> <i>Polit. Lib. 8.</i><br/>
+  <br/>
+  <a id="side441"></a><a href="#ref441">[441]</a> <i>Tusc. Quest. Lib. 4. De Leg. Lib. 1.</i><br/>
+  <br/>
+  <a id="side442"></a><a href="#ref442">[442]</a> <i>Dec. 1. Lib. 7.</i><br/>
+  <br/>
+  <a id="side443"></a><a href="#ref443">[443]</a> <i>Lib. 2. cap. 4.</i><br/>
+  <br/>
+  <a id="side444"></a><a href="#ref444">[444]</a> <i>cap. 6.</i><br/>
+  <br/>
+  <a id="side445"></a><a href="#ref445">[445]</a> <i>Natural Quest. Lib. 7. cap. 32.</i><br/>
+  <br/>
+  <a id="side446"></a><a href="#ref446">[446]</a> <i>Epist. 7.</i><br/>
+  <br/>
+  <a id="side447"></a><a href="#ref447">[447]</a> <i>Annal. Lib 14. cap. 14.</i><br/>
+  <br/>
+  <a id="side448"></a><a href="#ref448">[448]</a> <i>De Mor. German. cap. 19</i><br/>
+  <br/>
+  <a id="side449"></a><a href="#ref449">[449]</a> <i>Symposiac. Lib. 7.  De Audiend. Poet. p. 15.
+  Ed. Par.</i><br/>
+  <br/>
+  <a id="side450"></a><a href="#ref450">[450]</a> <i>Lib. 1.</i><br/>
+  <br/>
+  <a id="side451"></a><a href="#ref451">[451]</a> <i>Remed. Amor.</i><br/>
+  <br/>
+  <a id="side452"></a><a href="#ref452">[452]</a> <i>Lib. 2.</i><br/>
+  <br/>
+  <a id="side453"></a><a href="#ref453">[453]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side454"></a><a href="#ref454">[454]</a> <i>Plut. De Glor. Atheniens.</i><br/>
+  <br/>
+  <a id="side455"></a><a href="#ref455">[455]</a> <i>Plut. Lacon. Institut.</i><br/>
+  <br/>
+  <a id="side456"></a><a href="#ref456">[456]</a> <i>Cic. de Repub. Lib. 4. cited by, St. Augustine.
+  Libr. 2. de civ. dei. cap. 13.</i><br/>
+  <br/>
+  <a id="side457"></a><a href="#ref457">[457]</a> <i>Lib. 2. cap. 29.</i><br/>
+  <br/>
+  <a id="side458"></a><a href="#ref458">[458]</a> <i>Dec. 1. Libr. 7.</i><br/>
+  <br/>
+  <a id="side459"></a><a href="#ref459">[459]</a> <i>Ab Histrionibus Pollui.</i><br/>
+  <br/>
+  <a id="side460"></a><a href="#ref460">[460]</a> <i>XV. Cod. Theod. Tit. vii. p.375.</i><br/>
+  <br/>
+  <a id="side461"></a><a href="#ref461">[461]</a> <i>in loco Honesto.</i><br/>
+  <br/>
+  <a id="side462"></a><a href="#ref462">[462]</a> <i>turpe munus.</i><br/>
+  <br/>
+  <a id="side463"></a><a href="#ref463">[463]</a> <i>L. 1. §. 6. de his qui notantur infamia.
+  Gothofred. Ibid. p. 376.</i><br/>
+  <br/>
+  <a id="side464"></a><a href="#ref464">[464]</a> <i>Rawlidge his Monster, lately found out, &amp;c.
+  p. 2, 3, 4.</i><br/>
+  <br/>
+  <a id="side465"></a><a href="#ref465">[465]</a> <i>Gazett Roterdam: Dec. 20. Paris.</i><br/>
+  <br/>
+  <a id="side466"></a><a href="#ref466">[466]</a> <i>French Amsterdam Harlem Gazetts. Paris, May.
+  17th. 1697.</i><br/>
+  <br/>
+  <a id="side467"></a><a href="#ref467">[467]</a> <i>Trois lettres Pastorales De Monseigneur
+  L'Eveque D'Arras &amp;c. A Delf. 1697.</i><br/>
+  <br/>
+  <a id="side468"></a><a href="#ref468">[468]</a> <i>Ann. 305.</i> <i>Can. 67.</i><br/>
+  <br/>
+  <a id="side469"></a><a href="#ref469">[469]</a> <i>Ann. 314. Can. 5.</i><br/>
+  <br/>
+  <a id="side470"></a><a href="#ref470">[470]</a> <i>Ann. 452.</i><br/>
+  <br/>
+  <a id="side471"></a><a href="#ref471">[471]</a> <i>Ann. 397. Can. 11.</i><br/>
+  <br/>
+  <a id="side472"></a><a href="#ref472">[472]</a> <i>Secularia spectacula, which manifestly
+  comprehends the Stage.</i><br/>
+  <br/>
+  <a id="side473"></a><a href="#ref473">[473]</a> <i>Ann. 424. Can. 96</i><br/>
+  <br/>
+  <a id="side474"></a><a href="#ref474">[474]</a> <i>Concil. Cabilon. Ann. 813. Can. 9.</i><br/>
+  <br/>
+  <a id="side475"></a><a href="#ref475">[475]</a> <i>Libr. 3. ad Autol.</i><br/>
+  <br/>
+  <a id="side476"></a><a href="#ref476">[476]</a> <i>Spectacula.</i><br/>
+  <br/>
+  <a id="side477"></a><a href="#ref477">[477]</a> <i>Chap. 38.</i><br/>
+  <br/>
+  <a id="side478"></a><a href="#ref478">[478]</a> <i>Chap. 3.</i><br/>
+  <br/>
+  <a id="side479"></a><a href="#ref479">[479]</a> <i>Ibid. Cap. 10.</i><br/>
+  <br/>
+  <a id="side480"></a><a href="#ref480">[480]</a> <i>The Play-houses were dedicated to
+  Bacchus.</i><br/>
+  <br/>
+  <a id="side481"></a><a href="#ref481">[481]</a> <i>Ibid. cap. 15.</i><br/>
+  <br/>
+  <a id="side482"></a><a href="#ref482">[482]</a> <i>Ibid. cap. 22.</i><br/>
+  <br/>
+  <a id="side483"></a><a href="#ref483">[483]</a> <i>Ibid. cap. 23.</i><br/>
+  <br/>
+  <a id="side484"></a><a href="#ref484">[484]</a> <i>Ibid. cap. 26.</i><br/>
+  <br/>
+  <a id="side485"></a><a href="#ref485">[485]</a> <i>Ibid. cap. 27.</i><br/>
+  <br/>
+  <a id="side486"></a><a href="#ref486">[486]</a> <i>Ibid. cap. 28.</i><br/>
+  <br/>
+  <a id="side487"></a><a href="#ref487">[487]</a> <i>Ibid. cap. 29.</i><br/>
+  <br/>
+  <a id="side488"></a><a href="#ref488">[488]</a> <i>By Exorcisms</i><br/>
+  <br/>
+  <a id="side489"></a><a href="#ref489">[489]</a> <i>Lib. 3. Pædag. Ann. 204. cap. 11.</i><br/>
+  <br/>
+  <a id="side490"></a><a href="#ref490">[490]</a> <i>Ann. 206.</i><br/>
+  <br/>
+  <a id="side491"></a><a href="#ref491">[491]</a> <i>Ad Eucrat.</i><br/>
+  <br/>
+  <a id="side492"></a><a href="#ref492">[492]</a> <i>Lib. 6. cap. 20.</i><br/>
+  <br/>
+  <a id="side493"></a><a href="#ref493">[493]</a> <i>Ibid. cap. 21.</i><br/>
+  <br/>
+  <a id="side494"></a><a href="#ref494">[494]</a> <i>Ibid. cap. 22.</i><br/>
+  <br/>
+  <a id="side495"></a><a href="#ref495">[495]</a> <i>In Psal. 119.</i><br/>
+  <br/>
+  <a id="side496"></a><a href="#ref496">[496]</a> <i>Ep. 9. 12. Advers. Jovinian. Lib. 2. cap.
+  7.</i><br/>
+  <br/>
+  <a id="side497"></a><a href="#ref497">[497]</a> <i>Chap. 20.</i><br/>
+  <br/>
+  <a id="side498"></a><a href="#ref498">[498]</a> <i>cap. 33.</i><br/>
+  <br/>
+  <a id="side499"></a><a href="#ref499">[499]</a> <i>Didac. &amp;c. in D. Thom. p. 546.</i><br/>
+  <br/>
+  <a id="side500"></a><a href="#ref500">[500]</a> <i>De Repub. L. 4.</i><br/>
+  <br/>
+  <a id="side501"></a><a href="#ref501">[501]</a> <i>Cic. de Leg. L. 2.</i><br/>
+  <br/>
+  <a id="side502"></a><a href="#ref502">[502]</a> <i>A Famous Musician</i><br/>
+  <br/>
+  <a id="side503"></a><a href="#ref503">[503]</a> <i>Vid. Corneille Cid, Cinna &amp;
+  Pompee.</i><br/>
+  <br/>
+  <a id="side504"></a><a href="#ref504">[504]</a> <i>Moral Essays.</i><br/>
+  <br/>
+  <a id="side505"></a><a href="#ref505">[505]</a> <i>2 Cor. 6. 14.</i><br/>
+  <br/>
+  </p>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 44645 ***</div>
+</body>
+</html>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #44645 (https://www.gutenberg.org/ebooks/44645)
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+The Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Short View of the Immorality, and Profaneness of the English Stage
+       together with the Sense of Antiquity on this Argument
+
+Author: Jeremy Collier
+
+Release Date: January 11, 2014 [EBook #44645]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK VIEW OF IMMORALITY OF ENGLISH STAGE ***
+
+
+
+
+Produced by Jonathan Ingram, Keith Edkins and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+Transcriber's note: Text enclosed by underscores is in italics (_italics_).
+
+The errata have been applied without further annotation. Otherwise no
+attempt has been made to distinguish likely typographical errors from the
+natural variability of 17th century orthography.
+
+A few short phrases proved illegible on the scan: these are marked
+<|lacuna|>.
+
+The marginal notes have been changed to footnotes, marked thus [123].
+
+       *       *       *       *       *
+
+A SHORT
+
+VIEW
+
+OF THE
+
+_Immorality, and Profaneness_
+
+OF THE
+
+English Stage,
+
+TOGETHER
+
+With the Sence of Antiquity
+upon this Argument,
+
+By _JEREMY COLLIER_, M.A.
+
+_London_, Printed for S. Keble at the _Turk's-Head_
+in _Fleetstreet_, R. Sare at _Gray's-Inn-Gate_,
+and H. Hindmarsh against the _Exchange_ in
+_Cornhil_. 1698.
+
+
+
+
+THE
+
+PREFACE
+
+_Being convinc'd that nothing has gone farther in Debauching the Age than
+the_ Stage Poets, _and_ Play-House, _I thought I could not employ my time
+better than in writing against them. These Men sure_, take Vertue and
+Regularity, _for_ great Enemies, _why else is their_ Disaffection _so very_
+Remarkable? _It must be said, They have made their_ Attack _with great_
+Courage, _and_ gain'd _no inconsiderable_ Advantage. _But it seems_
+Lewdness without Atheism, _is but_ half their Business. Conscience _might
+possibly recover, and_ Revenge _be thought on; and therefore like_
+Foot-Pads, _they must not only_ Rob, _but_ Murther. _To do them right_
+their Measures _are_ Politickly taken: _To make sure work on't, there's
+nothing like_ Destroying of Principles; Practise _must_ follow _of_ Course.
+_For to have_ no good Principles, _is to have_ no Reason to be Good. _Now
+'tis not to be expected that people should_ check _their_ Appetites, _and_
+balk _their_ Satisfactions, _they don't know why. If_ Virtue _has no_
+Prospect, _'tis not worth the owning. Who would be_ troubled _with_
+Conscience _if 'tis only a_ Bugbear, _and has nothing_ in't _but_ Vision,
+_and the_ Spleen?
+
+_My_ Collection _from the_ English Stage, _is much short of what_ They _are
+able to furnish. An_ Inventory _of their_ Ware-House _would have been a
+large_ Work: _But being afraid of over charging the_ Reader, _I thought a_
+Pattern _might do_.
+
+_In_ Translating _the_ Fathers, _I have endeavour'd to keep_ close _to
+their_ Meaning: _However, in_ some few places, _I have taken the_ Liberty
+of throwing in a Word or two; _To_ clear _the_ Sense, _to_ preserve _the_
+Spirit _of the_ Original, _and keep the_ English _upon its Legs_.
+
+_There's one thing more to acquaint the_ Reader _with; 'Tis that I have
+Ventured to_ change _the_ Terms _of_ Mistress _and_ Lover, _for_ others
+_somewhat more_ Plain, _but much more_ Proper. _I don't look upon This as
+any_ failure _in_ Civility. _As_ Good _and_ Evil _are_ different _in_
+Themselves, _so they ought to be_ differently Mark'd. _To_ confound _them
+in_ Speech, _is the way to_ confound _them in_ Practise. Ill Qualities
+_ought to have_ ill Names, _to prevent their being_ Catching. _Indeed_
+Things _are in a great measure_ Govern'd _by_ Words: _To_ Guild _over a
+foul_ Character, _serves only to perplex the_ Idea, _to encourage the_ Bad,
+_and mislead the_ Unwary. _To treat_ Honour, _and_ Infamy _alike, is an_
+injury _to_ Virtue, _and a sort of_ Levelling _in_ Morality. _I confess, I
+have no_ Ceremony _for_ Debauchery. _For to_ Compliment Vice, _is but_ one
+Remove _from_ worshipping _the_ Devil.
+
+_March 5th. 1697/8._
+
+
+
+
+THE
+
+CONTENTS.
+
+
+
+  CHAP. I.
+
+  _The Introduction._                                                Page 1
+
+  _The_ Immodesty _of the_ Stage.                                      p. 3
+
+  _The_ Ill Consequences _of this_ Liberty.                            p. 5
+
+  Immodesty _a Breach_ of good Behaviour.                              p. 6
+
+  _The_ Stage _faulty in this respect to a very_ Scandalous degree.    p. 8
+
+  Modesty _the_ Character _of_ Women.                                  p. 9
+
+  _The Natural_ Serviceableness _of this_ Quality.                    p. 11
+
+  Immodesty _much more insufferable, under the_ Christian, _than
+      under the_ Heathen _Religion_.                                  p. 14
+
+  _The_ Roman, _and_ Greek Theatres _more_ inoffensive _than the_
+      English.                                                        p. 15
+
+  _This proved from_ Plautus.                                         Ibid.
+
+  _From_ Terence.                                                     p. 20
+
+  _From_ Seneca's Tragedies.                                          p. 25
+
+  _The_ Comparison _carried on to the_ Theatre _at_ Athens.           Ibid.
+
+  _A short_ Character _of_ �schylus.                                  p. 26
+
+  _The_ Cleaness _of his_ Expression.                                 p. 27
+
+  _The_ Genius _and_ Conduct _of_ Sophocles.                          p. 28
+
+  _The_ Sobriety _of his_ Plays.                                      p. 29
+
+  Euripides'_s_ Character distinguished _from the two_ former.        p. 30
+
+  _The_ Reserv'dness _of his_ Stile.                                  p. 31
+
+  All _Humours not fit for_ Representation.                           p. 35
+
+  _A_ Censure _of_ Aristophanes.                                      p. 36
+
+  Aristophanes _his Testimony_ against himself.                       p. 48
+
+                       { Ben. Johnson.                                p. 51
+  _The Authorities of_ { Beaumont & Fletcher.                         p. 52
+                       { _And_ Corneille.                             p. 53
+                         _against the_ present Stage.
+
+  CHAP. II.
+
+  The _Prophaneness_ of the _Stage_.
+
+  _This_ Charge _prov'd upon them_,
+
+  I. _By their_ Cursing _and_ Swearing.                               p. 57
+
+  _The_ English Stage _formerly less hardy in this respect_.          Ibid.
+
+  _The_ provokingness _of this Sin_.                                  p. 58
+
+  _This Offence_ punishable _by_ Law, _and how far_.                  p. 59
+
+  Swearing _in the_ Play House _an_ Un-Gentlemanly, _as well as an_
+      Un-Christian practise.
+
+  _A_ Second _Branch of the_ Profaness _of the_ Stage, _consisting in
+      their Abuse of_ Religion, _and the_ Holy Scriptures.            p. 60
+
+  _Instances of this Liberty in the_ Mock Astrologer.                   Ib.
+
+  _In the_ Orphan.                                                    p. 62
+
+  _In the_ Old Batchelour, _and_ Double Dealer.                   p. 63, 64
+
+  _In_ Don Sebastian.                                                 p. 65
+
+  _Breif Remarks upon a Passage or two in the_ Dedications _of_
+      Aurenge Zebe, _and the_ Translation _of_ Juvenal.           p. 66, 69
+
+  _Farther Instances of_ Profaneness _in_ Love Triumphant.            p. 72
+
+  _In_ Love for Love.                                                 p. 74
+
+  _In the_ provok'd Wife.                                             p. 77
+
+  _And in the_ Relapse.                                               p. 78
+
+  _The_ Horrid Impiety _of this_ Liberty.                             p. 80
+
+  _The_ Stage _guilty of down right_ Blasphemy.
+
+  _This_ Charge _made good from several of the_ Plays _above
+      mention'd_.                                                     p. 82
+
+  _The Comparative Regularity of the_ Heathen Stage, _exemplyfied in_
+      Terence, _and_ Plautus.                                         p. 86
+
+  _And in the_ Greek Tragedians.                                      p. 87
+
+  Seneca _more exceptionable than the_ Greeks, _but not so faulty as
+      the_ Modern Stage.                                              p. 94
+
+  _This_ outraging _of_ Religion Intolerable.                         p. 95
+
+  CHAP. III.
+
+  _The_ Clergy _abused by the_ Stage.                                 p. 98
+
+  _This Usage both_ { _Unpresidented_.                               p. 112
+              _And_ { _Unreasonable_.                                p. 127
+
+  _The Misbehaviour of the_ Stage _upon this account_.               p. 138
+
+  CHAP. IV.
+
+  Immorality encouraged _by the_ Stage.                              p. 140
+
+  _The_ Stage Poets _make_ Libertines _their_ Top-Characters, _and
+      give them_ Success _in their_ Debauchery.                      p. 142
+
+  _A_ Character _of their_ fine Gentleman.                           p. 143
+
+  _Their_ fine Ladies _Accomplish'd much after the same manner_.     p. 146
+
+  _The_ Young People _of_ Figure _in_ Plautus _and_ Terence, _have a
+      greater regard to_ Morality.                                    Ibid.
+
+  _The Defence in the_ Preface _to the_ Mock-Astrologer, _not
+      sufficient_.                                                   p. 148
+
+  _The_ Christian _Religion makes a great_ difference _in the Case_. p. 149
+
+  Horace _of a Contrary Opinion to the_ Mock-Astrologer.             p. 150
+
+  _The_ Mock-Astrologer's _Instances from_ Ben Johnson
+      _Unserviceable_.                                               p. 151
+
+  _The Authority of_ Shakespear _against the_ Mock-Astrologer.       p. 154
+
+  _His_ Maxim _founded on the difference between_ Tragedy, _and_
+      Comedy, _a_ Mistake.                                           p. 155
+
+  Delight _not the Chief-End of_ Comedy.                             p. 157
+
+  _This Assertion prov'd against the_ Mock-Astrologer _from the
+      Testimonies of_ Rapin.                                          Ibid.
+
+  _And_ Ben Johnson.                                                 p. 158
+
+  Aristotle, _and_ Quintilian, _cited to the same purpose_      p. 159, 161
+
+  _To make_ Delight _the main Business in_ Comedy, _dangerous, and
+      unreasonable_.                                                 p. 162
+
+  _The improper Conduct of the_ Stage _with respect to Poetry, and
+      Ceremony_.                                                     p. 165
+
+  _Extravagant Rants._                                               p. 167
+
+  _Gingles in the_ Spanish Fryar, King Arthur, _and_ Love
+      Triumphant.                                                    p. 169
+
+  Women _roughly treated by the_ Stage.                              p. 171
+
+  _Their coarse Usage of the_ Nobility.                              p. 173
+
+  _These Freedoms peculiar to the_ English Stage.                    p. 175
+
+  CHAP. V.
+
+  SECT. I.
+
+  _Remarks upon Amphytrion._                                         p. 177
+
+  _The_ Machines _prophane, smutty, and out of the Character_.       p. 178
+
+  _The singularity of the Poet in this point._                       p. 180
+
+  _Blasphemy in Absalom and Achitophel._                             p. 184
+
+  _A_ Poem _upon the Fall of the_ Angels, _call'd a Fairy way of
+      Writing_.                                                      p. 189
+
+  _The_ Punishment _of the_ Damned ridiculed.                        p. 192
+
+  SECT. II.
+
+  _Remarks on the_ Comical History _of_ Don Quixot.                  p. 196
+
+  _The_ Poets horrible Prophaneness.                                 p. 197
+
+  _His want of_ Modesty, _and_ Regard _to the_ Audience.             p. 202
+
+  All _Imitations of Nature not proper for the_ Stage.               p. 204
+
+  _The_ Poets _Talent in Raillery, and_ Dedication.                  p. 205
+
+  SECT. III.
+
+  _Remarks on the_ Relapse.                                          p. 209
+
+  _A Misnommer in the Title of the_ Play.                            p. 210
+
+  _The_ Moral _Vitious_.                                             p. 211
+
+  _The_ Plot _ill Contriv'd_.                                        p. 212
+
+  _The_ Manners _or_ Characters _out of Order_.                      p. 218
+
+  _The three_ Dramatick Unities _broken_.                            p. 228
+
+  CHAP. VI.
+
+  _The Opinion of the_ Heathen _Philosophers_, _Orators_, _and
+      Historians_, _concerning the_ Stage.                           p. 233
+
+  _The_ Stage _censured by the_ State. _This proved from the_
+      Constitutions _of_ Athens, Sparta, _and_ Rome.                 p. 240
+
+  _Farther Instances of this publick Discountentance in the_
+      Theodosian Code.                                               p. 241
+
+  _In our own_ Statute Book.                                         p. 242
+
+  _And in the late Order of the_ French King.                        p. 243
+
+  _An_ Order _of the Bishop of_ Arras _against_ Plays.               p. 245
+
+  _The_ Stage _Condemn'd by the_ Primitive Church.                   p. 250
+
+  _The_ Councils _of_ Illiberis, Arles, &c. _cited_.                  Ibid.
+
+  _The Testimony's of the_ Fathers _against the_ Stage,
+      _particularly, of_ Theophilus Antiochenus.                     p. 252
+
+  _Of_ Tertullian.                                                   p. 253
+
+  _Of_ Clemens Alexandrinus.                                         p. 260
+
+  _Of_ Minutius Foelix.                                              p. 261
+
+  _Of St._ Cyprian.                                                   Ibid.
+
+  Lactantius.                                                        p. 265
+
+  _St._ Chrisostom.                                                  p. 267
+
+  _St._ Hierom.                                                      p. 272
+
+  _And St._ Augustine _cited to the same purpose_.                   p. 273
+
+  _The Censure of the_ Fathers, _and_ Councils _&c. applicable to
+      the_ English Stage.                                            p. 276
+
+  _The Conclusion._                                                  p. 280
+
+
+
+
+
+
+_ERRATA._
+
+
+Page 31 Margin for [Greek: K�ron], r. [Greek: M�ron]. p. 37. l. 1. for _by
+his_, r. _his_. l. 2. for _other_, r. _his other_. l. 25. for _pr�str_, r.
+_pr�ter_. p. 39. l. 18. for _Poets_, _Knaves_, r. _Poets Knaves_. p. 44. l.
+14. for _Concianotores_, r. _Concionatores_. p. 45. l. 25. for _Debaush_,
+r. _Debauchee_. p. 46. l. 9. for _Enterprizes_, r. _Enterprize_. p. 47. l.
+9. for _ridicules_, r. _ridiculous_. p. 52. l. 1. for _justifying_, r. _and
+justifie_. p. 60. l. 2. for _tempestiuous_, r. _tempestuous_. l. 31. for
+_pray_, r. _should pray_. p. 80. for _executed_, r. _exerted_. p. 108. l.
+4. for _Antarkick_. r. _Antartick_. p. 117. l. 12. for _Angitia_, r.
+_Angiti�_. p. 121. l. 24. for _Auger_, r. _Augur_. p. 135. margin, for
+_Heglins Cogmog_, r. _Heylins Cosmog_. p. 154. l. 22. dele up. p. 163. l.
+28. for _then_, r. _therefore_. p. 183. l. 6. for _to_, r. _too_. p. 186.
+l. 6. dele _And_. p. 191. l. 18. for _Circumstance_, r. _Circumstances_. p.
+222. l. 9. for _Cup_, r. _a Cup_. p. 237. l. 2. for _apon't_, r. _upon't_.
+245. l. 25. for _Le_, r. _Les_. p. 257. l. 28. for _Correspondence_ r.
+_this Correspondence_. p. 272. l. 9. for _himself_. r. _themselves_.
+
+The Litteral mistakes the Reader is Desired to Correct.
+
+
+
+
+  _Essays upon several Moral Subjects in two parts the Second Edition
+  Corrected and Enlarged by_ Jeremy Collier, _M.A._
+
+  _Human Prudence, or the Art by which a man may raise himself and his
+  Fortune to Grandure, the Seventh Edition._
+
+  _An Answer to all the Excuses and Pretences that men usually make for
+  their not coming to the Holy Communion, by a Divine of the Church of_
+  England: _Fitted for the meanest Capacity, and proper to be given away by
+  such Persons as are Charitably Inclin'd. Price 3 pence._
+
+
+
+
+THE INTRODUCTION.
+
+
+The business of _Plays_ is to recomend Virtue, and discountenance Vice; To
+shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and
+the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the
+Singularities of Pride and Fancy, to make Folly and Falsehood contemptible,
+and to bring every Thing that is Ill Under Infamy, and Neglect. This Design
+has been oddly pursued by the English _Stage_. Our _Poets_ write with a
+different View, and are gone into an other Interest. 'Tis true, were their
+Intentions fair, they might be _Serviceable_ to this _Purpose_. They have
+in a great measure the Springs of Thought and Inclination in their Power.
+_Show_, _Musick_, _Action_, and _Rhetorick_, are moving Entertainments; and
+rightly employ'd would be very significant. But Force and Motion are Things
+indifferent, and the Use lies chiefly in the Application. These Advantages
+are now, in the Enemies Hand, and under a very dangerous Management. Like
+Cannon seized they are pointed the wrong way, and by the Strength of the
+Defence the Mischief is made the greater. That this Complaint is not
+unreasonable I shall endeavour to prove by shewing the Misbehaviour of the
+_Stage_ with respect to _Morality_, and _Religion_. Their _Liberties_, in
+the Following Particulars are intolerable. _viz._ Their _Smuttiness_ of
+_Expression_; Their _Swearing_, _Profainness_, and _Lewd Application of
+Scripture_; Their _Abuse_ of the _Clergy_; Their _making_ their _Top
+Characters Libertines_, and giving them _Success_ in their _Debauchery_.
+This Charge, with some other Irregularities, I shall make good against the
+_Stage_, and shew both the _Novelty_ and _Scandal_ of the _Practise_. And
+first, I shall begin with the _Rankness_, and _Indecency_ of their
+_Language_.
+
+
+
+
+CHAP. I.
+
+_The Immodesty of the_ Stage.
+
+
+In treating this Head, I hope the Reader does not expect that I should set
+down Chapter and Page, and give him the Citations at Length. To do this
+would be a very unacceptable and Foreign Employment. Indeed the Passages,
+many of them, are in no Condition to be handled: He that is desirous to see
+these Flowers let him do it in their own Soil: 'Tis my business rather to
+kill the _Root_ than _Transplant_ it. But that the Poets may not complain
+of Injustice; I shall point to the Infection at a Distance, and refer in
+General to _Play_ and _Person_.
+
+Now among the Curiosities of this kind we may reckon Mrs. _Pinchwife_,
+_Horner_, and Lady _Fidget_ in the _Country Wife_; Widdow _Blackacre_ and
+_Olivia_ in the _Plain Dealer_. These, tho' not all the exceptionable
+_Characters_, are the most remarkable. I'm sorry the Author should stoop
+his Wit thus Low, and use his Understanding so unkindly. Some People appear
+Coarse, and Slovenly out of Poverty: They can't well go to the Charge of
+Sense. They are Offensive like Beggars for want of Necessaries. But this is
+none of the _Plain Dealer_'s case; He can afford his Muse a better Dress
+when he pleases. But then the Rule is, where the Motive is the less, the
+Fault is the greater. To proceed. _Jacinta_, _Elvira_, _Dalinda_, and _Lady
+Plyant_, in the _Mock Astrologer_, _Spanish Friar_, _Love Triumphant_ and
+_Double Dealer_, forget themselves extreamly: And almost all the
+_Characters_ in the _Old Batchelour_, are foul and nauseous. _Love_ for
+_Love_, and the _Relapse_, strike sometimes upon this _Sand_, and so
+likewise does _Don Sebastian_.
+
+I don't pretend to have read the _Stage_ Through, neither am I Particular
+to my Utmost. Here is quoting enough unless 'twere better: Besides, I may
+have occasion to mention somewhat of this kind afterwards. But from what
+has been hinted already, the Reader may be over furnish'd. Here is a large
+Collection of Debauchery; such _Pieces_ are rarely to be met with: 'Tis
+Sometimes painted at Length too, and appears in great Variety of Progress
+and Practise. It wears almost all sorts of Dresses to engage the Fancy, and
+fasten upon the Memory, and keep up the Charm from Languishing. Sometimes
+you have it in Image and Description; sometimes by way of Allusion;
+sometimes in Disguise; and sometimes without it. And what can be the
+Meaning of such a Representation, unless it be to Tincture the Audience, to
+extinguish Shame, and make Lewdness a Diversion? This is the natural
+Consequence, and therefore one would think 'twas the Intention too. Such
+Licentious Discourse tends to no point but to stain the Imagination, to
+awaken Folly, and to weaken the Defences of Virtue: It was upon the account
+of these Disorders that _Plato_ banish'd Poets his _Common Wealth_: And one
+of the _Fathers_ calls _Poetry_, _Vinum D�monum_ an intoxicating _Draught_,
+made up by the Devils _Dispensatory_.
+
+I grant the Abuse of a Thing is no Argument against the use of it. However
+Young people particularly, should not entertain themselves with a Lewd
+Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty
+may probably raise those Passions which can neither be discharged without
+Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust
+his Virtue too far, for fear it should give him the slip! But the danger of
+such an Entertainment is but part of the Objection: 'Tis all Scandal and
+meanness into the bargain: it does in effect degrade Human Nature, sinks
+Reason into Appetite, and breaks down the Distinctions between Man and
+Beast. Goats and Monkeys if they could speak, would express their Brutality
+in such Language as This.
+
+To argue the Matter more at large.
+
+Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very
+Coarse Diversion, the Entertainment of those who are generally least both
+in Sense, and Station. The looser part of the _Mob_, have no true relish of
+Decency and Honour, and want Education, and Thought, to furnish out a
+gentile Conversation. Barrenness of Fancy makes them often take up with
+those Scandalous Liberties. A Vitious Imagination may blot a great deal of
+Paper at this rate with ease enough: And 'tis possible Convenience may
+sometimes invite to the Expedient. The Modern Poets seem to use _Smut_ as
+the Old Ones did _Machines_, to relieve a fainting Invention. When
+_Pegasus_ is jaded, and would stand still, he is apt like other _Tits_ to
+run into every Puddle.
+
+Obscenity in any Company is a rustick uncreditable Talent; but among Women
+'tis particularly rude. Such Talk would be very affrontive in Conversation,
+and not endur'd by any Lady of Reputation. Whence then comes it to Pass
+that those Liberties which disoblige so much in Conversation, should
+entertain upon the _Stage_. Do the Women leave all the regards to Decency
+and Conscience behind them when they come to the _Play-House_? Or does the
+Place transform their Inclinations, and turn their former Aversions into
+Pleasure? Or were Their pretences to Sobriety elsewhere nothing but
+Hypocrisy and Grimace? Such Suppositions as these are all Satyr and
+Invective: They are rude Imputations upon the whole Sex. To treat the Ladys
+with such stuff is no better than taking their Money to abuse them. It
+supposes their Imagination vitious, and their Memories ill furnish'd: That
+they are practised in the Language of the Stews, and pleas'd with the
+Scenes of Brutishness. When at the same time the Customs of Education, and
+the Laws of Decency, are so very cautious, and reserv'd in regard to Women:
+I say so very reserv'd, that 'tis almost a Fault for them to Understand
+they are ill Used. They can't discover their Disgust without disadvantage,
+nor Blush without disservice to their Modesty. To appear with any skill in
+such Cant, looks as if they had fallen upon ill Conversation; or Managed
+their Curiosity amiss. In a word, He that treats the Ladys with such
+Discourse, must conclude either that they like it, or they do not. To
+suppose the first, is a gross Reflection upon their Virtue. And as for the
+latter case, it entertains them with their own Aversion; which is ill
+Nature, and ill Manners enough in all Conscience. And in this Particular,
+Custom and Conscience, the Forms of Breeding, and the Maxims of Religion
+are on the same side. In other Instances Vice is often too fashionable; But
+here a Man can't be a Sinner, without being a Clown.
+
+In this respect the _Stage_ is faulty to a Scandalous degree of
+Nauseousness and Aggravation. For
+
+_1st._ The _Poets_ make _Women_ speak Smuttily. Of This the Places before
+mention'd are sufficient Evidence: And if there was occasion they might be
+Multiplyed to a much greater Number: Indeed the _Comedies_ are seldom clear
+of these Blemishes: And sometimes you have them in _Tragedy_. For Instance.
+The _Orphans Monimia_ makes a very improper Description; And the Royal
+_Leonora_ in the _Spanish Friar_, runs a strange Length in the History of
+Love _p._ 50. And, do Princesses use to make their Reports with such fulsom
+Freedoms? Certainly this _Leonora_ was the first Queen of her Family. Such
+raptures are too Lascivious for _Joan_ of _Naples_. Are these the _Tender
+Things_ Mr. _Dryden_ says the Ladys call on him for? I suppose he means the
+_Ladys_ that are too Modest to show their Faces in the _Pit_. This
+Entertainment can be fairly design'd for none but such. Indeed it hits
+their Palate exactly. It regales their Lewdness, graces their Character,
+and keeps up their Spirits for their Vocation: Now to bring Women under
+such Misbehaviour is Violence to their Native Modesty, and a
+Mispresentation of their Sex. For Modesty as Mr. _Rapin_[1] observes, is
+the _Character_ of Women. To represent them without this Quality, is to
+make Monsters of them, and throw them out of their Kind. _Euripides_, who
+was no negligent Observer of Humane Nature, is always careful of this
+Decorum. Thus _Ph�dra_[2] when possess'd with an infamous Passion, takes
+all imaginable pains to conceal it. She is as regular and reserv'd in her
+Language as the most virtuous Matron. 'Tis true, the force of Shame and
+Desire; The Scandal of Satisfying, and the difficulty of parting with her
+Inclinations, disorder her to Distraction. However, her Frensy is not Lewd;
+She keeps her Modesty even after She has lost her Wits. Had _Shakespear_
+secur'd this point for his young Virgin _Ophelia_,[3] the _Play_ had been
+better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he
+should have set her a swimming a little sooner. To keep her alive only to
+sully her Reputation, and discover the Rankness of her Breath, was very
+Cruel. But it may be said the Freedoms of Distraction go for nothing, a
+Feavour has no Faults, and a Man _non Compos_, may kill without Murther. It
+may be so: But then such People ought to be kept in dark Rooms and without
+Company. To shew them, or let them loose, is somewhat unreasonable. But
+after all, the Modern _Stage_ seems to depend upon this Expedient. Women
+are sometimes represented _Silly_, and sometimes _Mad_, to enlarge their
+Liberty, and screen their Impudence from Censure: This Politick Contrivance
+we have in _Marcella_,[4] _Hoyden_,[5] and Miss _Prue_.[6] However it
+amounts to this Confession; that Women when they have their Understandings
+about them ought to converse otherwise. In fine; Modesty is the
+distinguishing Vertue of that Sex, and serves both for Ornament and
+Defence: Modesty was design'd by Providence as a Guard to Virtue; And that
+it might be always at Hand, 'tis wrought into the Mechanism of the Body.
+'Tis likewise proportioned to the occasions of Life, and strongest in Youth
+when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences
+are to Health; whatever is ungrateful to the first, is prejudicial to the
+latter. The Enemy no sooner approaches, but the Blood rises in Opposition,
+and looks Defyance to an Indecency. It supplys the room of Reasoning, and
+Collection: Intuitive Knowledge can scarcely make a quicker Impression; And
+what then can be a surer Guide to the Unexperienced? It teaches by suddain
+Instinct and Aversion; This is both a ready and a powerful Method of
+instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the
+Sensation, are of singular Use. They serve to awaken Reason, and prevent
+surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
+Temptation kept at proper Distance.
+
+_2ly._ They Represent their single Ladys, and Persons of Condition, under
+these Disorders of Liberty, This makes the Irregularity still more
+Monstrous and a greater Contradiction to Nature, and Probability: But
+rather than not be Vitious, they will venture to spoil a Character. This
+mismanagement we have partly seen already. _Jacinta_,[7] and _Belinda_[8]
+are farther proof. And the _Double Dealer_ is particularly remarkable.
+There are but _Four_ Ladys in this _Play_, and _Three_ of the biggest of
+them are Whores. A Great Compliment to Quality to tell them there is not
+above a quarter of them Honest! This was not the Roman Breeding, _Terence_
+and _Plautus_ his Strumpets were Little people; but of this more hereafter.
+
+_3dly._ They have oftentimes not so much as the poor refuge of a Double
+Meaning to fly to. So that you are under a necessity either of taking
+Ribaldry or Nonsence. And when the Sentence has two Handles, the worst is
+generally turn'd to the Audience. The Matter is so Contrived that the Smut
+and Scum of the Thought rises uppermost; And like a Picture drawn to
+_Sight_, looks always upon the Company.
+
+_4ly._ And which is still more extraordinary: the _Prologues_, and
+_Epilogues_ are sometimes Scandalous to the last degree.[9] I shall
+discover them for once, and let them stand like Rocks in the Margin. Now
+here properly speaking the _Actors_ quit the _Stage_, and remove from
+Fiction, into Life. Here they converse with the _Boxes_, and _Pit_, and
+address directly to the Audience. These Preliminarie and concluding Parts,
+are design'd to justify the Conduct of the _Play_, and bespeak the Favour
+of the Company. Upon such Occasions one would imagine if ever, the Ladys
+should be used with Respect, and the Measures of Decency observ'd, But here
+we have Lewdness without Shame or Example: Here the _Poet_ exceeds himself.
+Here are such Strains as would turn the Stomach, of an ordinary Debauchee,
+and be almost nauseous in the _Stews_. And to make it the more agreeable,
+Women are Commonly pick'd out for this Service. Thus the _Poet_ Courts the
+good opinion of the Audience. This is the Desert he regales the Ladys with
+at the Close of the Entertainment: It seems He thinks They have admirable
+Palats! Nothing can be a greater Breach of Manners then such Liberties as
+these. If a Man would study to outrage _Quality_ and Vertue, he could not
+do it more Effectually. But
+
+_5thly._ Smut is still more insufferable with respect to Religion. The
+Heathen Religion was in a great Measure a _Mystery_ of _Iniquity_. Lewdness
+was Consecrated in the Temples, as well as practised in the _Stews_. Their
+Deitys were great Examples of Vice, and worship'd with their own
+Inclination. 'Tis no wonder therefore their Poetry should be tinctured with
+their Belief, and that the _Stage_ should borrow some of the Liberties of
+their Theology. This made _Mercurys_ Procuring, and _Jupiters_ Adultery the
+more passable in _Amphitrion_[10]: Upon this Score _Gymnasium_[11] is less
+Monstrous in Praying the Gods to send her store of Gallants. And thus
+_Ch�r�a_[12] defends his Adventure by the Precedent of _Jupiter_ and
+_Dan�_. But the Christian Religion is quite of an other Complexion. Both
+its Precepts, and Authorities, are the highest discouragement to
+Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the
+Follies of Conversation, and Obliges up to Sobriety of Thought. That which
+might pass for Raillery, and Entertainment in Heathenism, is detestable in
+Christianity. The Restraint of the Precept, and the Quality of the Deity,
+and the Expectations of Futurity quite alter the Case.
+
+But notwithstanding the Latitudes of Paganism, the Roman and Greek
+_Theatres_ were much more inoffensive than ours. To begin with _Plautus_.
+This Comedian, tho' the most exceptionable, is modest upon the Comparison.
+For
+
+_1st._ He rarely gives any of the above mention'd Liberties to Women; And
+when there are any Instances of the contrary, 'tis only in prostituted and
+Vulgar People; And even these, don't come up to the Grossness of the
+_Modern Stage_.
+
+For the Purpose. _Cle�reta_[13] the Procuris borders a little upon
+Rudeness: _Lena_[14] and _Bacchis_[15] the Strumpet are Airy and somewhat
+over-merry, but not _A l'Anglois_ obscene. _Chalinus_[16] in Womans Cloaths
+is the most remarkable. _Pasicompa Charinus_ his Wench talks too freely to
+_Lysimachus_;[17] And so does _Sophroclidisca_ _Slave_ to
+_Lemnoselene_.[18] And lastly: _Phronesiam_ a Woman of the _Town_ uses a
+double entendre to _Stratophanes_.[19] These are the most censurable
+Passages, and I think all of them with relation to Women; which considering
+how the World goes is very moderate. Several of _our_ Single _Plays_ shall
+far out-do all This put together. And yet _Plautus_ has upon the matter
+left us 20 entire _Comedies_. So that in short, these Roman Lasses are meer
+_Vestal Virgins_, comparatively speaking.
+
+_2ly._ The _Men_ who talk intemperately are generally _Slaves_; I believe
+_Dordalus_[20] the Pandar, and _Lusiteles_[21] will be found the only
+exception: And this latter young Gentleman; drops but one over airy
+expression: And for this Freedom, the Poet seems to make him give
+Satisfaction in the rest of his Character. He disputes very handsomly by
+himself against irregular Love; The Discourse between him and _Philto_ is
+instructive and well managed.[22] And afterwards he gives _Lesbonicus_ a
+great deal of sober advice,[23] and declaims heartily against Luxury and
+Lewdness! Now by confining his Rudeness to little People, the Fault is much
+extenuated. For First, the representation is more Naturally this way; And
+which is still better, 'tis not so likely to pass into Imitation: Slaves
+and Clowns are not big enough to spread Infection; and set up an ill
+Fashion. 'Tis possible the _Poet_ might contrive these _Pesants Offensive_
+to discountenance the Practise. Thus the _Heilots_ in _Sparta_ were made
+drunk to keep Intemperance out of Credit. I don't mention this as if I
+approv'd the Expedient, but only to show it a circumstance of Mitigation
+and Excuse.
+
+Farther, These _Slaves_ and Pandars, Seldom run over, and play their
+Gambols before Women. There are but Four Instances of this Kind as I
+remember, _Olympio_,[24] _Pal�strio_,[25] _Dordalus_,[26] and
+_Stratilax_[27] are the Persons. And the Women they discourse with, are two
+of them Slaves, and the third a Wench. But with our _Dramatists_, the case
+is otherwise. With us _Smuttiness_ is absolute and unconfin'd. 'Tis under
+no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen
+talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and
+Frequency imaginable. This is in earnest to be very hearty in the cause! To
+give Title and Figure to Ill Manners is the utmost that can be done. If
+Lewdness will not thrive under such encouragement it must e'en Miscarry!
+
+_4ly._ _Plautus_ his _Prologues_ and _Epilogues_ are inoffensive. 'Tis
+true, _Lambinus_ pretends to fetch a double _entendre_ out of that to
+_Poenulus_, but I think there is a Strain in the Construction. His
+_Prologue_ to the _Captivi_ is worth the observing.
+
+  _Fabul� huic operam date._
+
+_Pray mind the Play._ The next words give the reason why it deserves
+regarding.
+
+  _Non enim pertractate facta est
+  Neque spurcidici insunt versus immemorabiles._
+
+We see here the Poet confesses Smut a scandalous Entertainment. That such
+Liberties ought to fall under Neglect, to lie unmention'd, and be blotted
+out of Memory.
+
+And that this was not a Copy of his Countenance we may learn from his
+Compositions. His best _Plays_ are almost alwaies Modest and clean
+Complexion'd. His _Amphitrio_ excepting the ungenuine Addition is such. His
+_Epidicus_ the Master-Piece of his whole Collection is inoffensive
+Throughout: And so are his _Menechmi_, _Rudens_, and _Trinummus_, which may
+be reckon'd amongst some of his next Best. His _Truculentus_ another fine
+_Play_ (tho' not entire) with a Heathen Allowance, is pretty Passable. To
+be short: Where he is most a Poet, he is generally least a Buffoon. And
+where the Entertainment is Smut, there is rarely any other Dish well
+dress'd: The Contrivance is commonly wretched, the Sence lean and full of
+Quibbles. So that his Understanding seems to have left him when he began to
+abuse it.
+
+To conclude, _Plautus_ does not dilate upon the Progress, Successes, and
+Disappointments of _Love_, in the _Modern_ way. This is nice Ground, and
+therefore He either stands off, or walks gravely over it, He has some
+regard to the Retirements of Modesty, and the Dignity of Humane Nature, and
+does not seem to make Lewdness his Business. To give an Instance.
+_Silenium_ is much gone in Love,[28] but Modest withall, tho' formerly
+debauch'd.
+
+She is sorry her Spark was forced from her, and in Danger of being lost.
+But then she keeps within compass and never flies out into Indecency.
+_Alcesimarchus_ is strangely smitten with this _Silenium_, and almost
+distracted to recover her.[29] He is uneasy and blusters, and threatens,
+but his Passion goes off in Generals. He Paints no Images of his
+Extravagance, nor descends to any nauseous particulars.
+
+And yet after all, _Plautus_ wrote in an Age not perfectly refin'd, and
+often seems to design his _Plays_ for a Vulgar Capacity. 'Twas upon this
+view I suppose his _Characters_ exceed Nature, and his ill Features are
+drawn too large: His old Men over credulous, his Misers Romantick, and his
+Coxcombs improbably singular. And 'tis likely for this reason his _Slaves_
+might have too much Liberty.
+
+_Terence_ appear'd when Breeding was more exact, and the _Town_ better
+polish'd; And he manages accordingly: He has[30] but one faulty bordering
+Expression, which is that of _Chremes_ to _Clitipho_. This single Sentence
+apart, the rest of his Book is (I think) unsullied and fit for the nicest
+Conversation. I mean only in referrence to the Argument in Hand, for there
+are things in Him, which I have no intention to warrant. He is Extreamly
+careful in the Behaviour of his Women. Neither _Glycerium_ in _Andria_,
+_Pamphila_ in _Eunuchus_, or _Pamphila_ in _Adelphi_, _Phanium_ in
+_Phormio_, or _Philumena_ in _Hecyra_, have any share of Conversation upon
+the _Stage_. such Freedom was then thought too much for the Reservedness of
+a Maiden-Character. 'Tis true in _Heautontimoroumenos_ the _Poets_ Plot
+obliged _Antiphila_, to go under the Disguise of _Bacchis_ her Maid. Upon
+this Occasion they hold a little Discourse together. But then _Bacchis_
+tho' she was a Woman of the _Town_, behaves her self with all the Decency
+imaginable. She does not talk in the Language of her Profession. But
+commends _Antiphila_ for her Virtue: _Antiphila_ only says how constant she
+has been to _Chinia_, seems surprised at his Arrival, and salutes him
+civilly upon't, and we hear no more from her. Mr. _Dryden_ seems to refer
+to this Conduct in his Dramatick _Poesie_. He censures the _Romans_ for
+making _Mutes_ of their single Women. This He calls the _Breeding of the
+Old_ Elizabeth _way, which was for Maids to be seen and not to be heard_.
+Under Favour the old Discipline would be very serviceable upon the _Stage_.
+As matters go, the _Mutes_ are much to few. For certainly 'tis better to
+say nothing, than talk out of Character, and to ill purpose.
+
+To return. The Virgin injured by _Ch�rea_ does nothing but weep, and won't
+so much as speak her misfortune to the Women.[31] But Comedy is strangly
+improved since that time; For _Dalinda_[32] has a great deal more Courage,
+tho' the loss of her Virtue was her own Fault.
+
+But _Terence_ has that regard for Women, that he won't so much as touch
+upon an ill Subject before them. Thus _Chremes_ was ashamed to mention any
+thing about his Sons Lewdness when his Wife was present.
+
+  _Pudet dicere hac pr�sente verbum turpe._[33]
+
+The Slaves in this Comedian are kept in order and civilly bred. They Guard
+and Fence when occasion requires, and step handsomly over a dirty
+place.[34] The Poet did not think Littleness and low Education a good
+Excuse for Ribaldry. He knew Infection at the weakest, might seize on some
+Constitutions: Besides, the Audience was a Superior Presence, and ought to
+be considered. For how Negligent soever People may be at Home, yet when
+they come before their Betters 'tis Manners to look wholsom.
+
+Now tho' _Plautus_ might have the richer Invention; _Terence_ was always
+thought the more judicious Comedian. His Raillery is not only finer, and
+his stile better polish'd; but his _Characters_ are more just, and he seems
+to have reach'd farther into Life than the other. To take Leave of this
+Author, even his Strumpets are better behaved than our honest Women, than
+our Women of Quality of the English _Stage_. _Bacchis_ in
+_Heautontimoroumenos_ and _Bacchis_ in _Hecyra_, may serve for example.
+They are both modest, and converse not unbecoming their Sex. _Thais_ the
+most accomplish'd in her way,[35] has a great deal of Spirit and wheadling
+in her Character, but talks no Smut.
+
+Thus we see with what Caution and Sobriety of Language _Terence_ manages.
+'Tis possible this Conduct might be his own Modesty, and result from
+judgment and Inclination. But however his Fancy stood, he was sensible the
+Coarse way would not do. The _Stage_ was then under Discipline, the publick
+_Censors_ formidable, and the Office of the _Choragus_ was originally to
+prevent the Excesses of Liberty.
+
+To this we may add the _Nobless_ had no Relish for Obscenity; 'twas the
+ready way to Disoblige them.[36] And therefore 'tis _Horaces_ Rule.
+
+  _Nec immunda crepent ignominiosaque dicta.
+  Offenduntur enim quibus est Equus & Pater, & res._[37]
+
+The Old _Romans_ were particularly carefull their Women might not be
+affronted in Conversation: For this reason the Unmarried kept off from
+Entertainments for fear of learning new Language.[38] And in _Greece_ no
+Woman above the degree of a _Slave_ was treated abroad by any but
+Relations.[39] 'Tis probable the old Comedy was silenced at _Athens_ upon
+this Score, as well as for Defamation. For as _Aristotle_[40] observes the
+new Set of Comedians were much more modest than the former. In this
+celebrated Republick, if the _Poets_ wrote any thing against Religion or
+Good Manners, They were tryed for their Misbehaviour, and lyable to the
+highest Forfeitures.[41]
+
+It may not be amiss to observe that there are no Instances of debauching
+Married Women, in _Plautus_, nor _Terence_, no nor yet in _Aristophanes_.
+But on our _Stage_ how common is it to make a Lord, a Knight, or an
+Alderman a Cuckold? The Schemes of Success are beaten out with great
+Variety, and almost drawn up into a Science. How many Snares are laid for
+the undermining of Virtue, and with what Triumph is the Victory proclaim'd?
+The Finess of the _Plot_, and the Life of the Entertainment often lies in
+these Contrivances. But the _Romans_ had a different sence of these
+Matters, and saw thro' the consequences of them. The Government was awake
+upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
+pass into Diversion. And before we part with these _Comedians_ we may take
+notice that there are no Smutty Songs in their _Plays_; in which the
+_English_ are extreamly Scandalous.[42] Now to work up their Lewdness with
+Verse, and Musick, doubles the Force of the Mischief. It makes it more
+portable and at Hand, and drives it Stronger upon Fancy and Practice.
+
+To dispatch the _Latins_ all together. _Seneca_ is clean throughout the
+Piece, and stands generally off from the point of Love. He has no Courting
+unless in his _Hercules Furens_;[43] And here the Tyrant _Lycus_ addresses
+_Megara_ very briefly, and in Modest and remote Language. In his _Thebais_,
+_Oedipus_'s Incest is reported at large, but without any choaking
+Description. 'Tis granted _Ph�dra_ speaks her Passion plainly out, and owns
+the strength of the Impression, and is far less prudent than in
+_Euripides_.[44] But tho' her Thoughts appear too freely, her Language is
+under Discipline.
+
+Let us now Travel from _Italy_ into _Greece_, and take a view of the
+Theatre at _Athens_. In this City the _Stage_ had both its beginning and
+highest Improvement. _�schylus_ was the first who appear'd with any
+Reputation. His Genius seems noble, and his Mind generous, willing to
+transfuse it self into the Audience, and inspire them with a Spirit of
+Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing.
+There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
+Ardour, to awaken, warm, and push forward to Action. But his Mettal is not
+always under Management. His Inclination for the _Sublime_; carrys him too
+far: He is sometimes Embarrass'd with _Epithites_. His Metaphors are too
+stiff, and far fetch'd; and he rises rather in Sound, than in Sence.
+However generally speaking, his Materials are both shining and solid, and
+his Thoughts lofty, and uncommon. This Tragedian had always a nice regard
+to Good Manners. He knew corrupting the People was the greatest disservice
+to the Commonwealth; And that Publick Ruine was the effect of general
+Debauchery. For this reason he declines the Business of Amours, and
+declares expresly against it.[45] Now here we can't expect any length of
+Testimony. His aversion to the subject makes him touch very sparingly upon
+it. But in this case there is no need of much citation. His very Omissions
+are Arguments, and his Evidence is the stronger for being short. That
+little I meet with shall be produced.
+
+_1st._ Orestes was obliged by the Oracle to revenge his Fathers Death in
+the Murther of his Mother.[46] When he was going to kill her, he Mentions
+her Cruelty, but waves her Adultery. _Euripides_ approv'd this Reservedness
+and makes his _Electra_ practise it upon the same occasion.[47] _�schylus_
+in his next Play complements his Country with a great deal of Address in
+the Persons of the _Eumenides_.[48] They are very Gentile and Poetical in
+their Civilities: Among other things They wish the Virgins may all Marry
+and make the Country Populous: Here the _Poet_ do's but just glance upon
+the Subject of Love; and yet he governs the Expression with such care, that
+the wishes contain a Hint to Sobriety, and carry a Face of Virtue along
+with them.
+
+The _Double Dealer_ runs Riot upon such an Occasion as this; and gives Lord
+_Touchwood_ a mixture of Smut and Pedantry to conclude with,[49] and yet
+this Lord was one of his best Characters: But _Poets_ are now grown
+Absolute within themselves, and may put Sence and Quality upon what
+Drudgeries they please. To return. _Danaus_ cautions his Daughters very
+handsomly in point of Behaviour. They were in a strange Country, and had
+Poverty and Dependance to struggle with: These were circumstances of
+Danger, and might make him the more pressing. He leaves therefore a solemn
+Charge with them for their Security, bids them never to subsist upon
+Infamy, but to prefer their Virtue to their Life.
+
+  [Greek: Monon phylaxai tas d' epistolas patros][50]
+  [Greek: To s�phronein tim�sa tou biou pleon.]
+
+Our _Poets_ I suppose would call this Preaching, and think it a dull
+Business. However I can't forbear saying an honest Heathen is none of the
+worst Men: A very indifferent Religion well Believed, will go a great way.
+
+To proceed. _Sophocles_ appear'd next upon the _Stage_, and was in earnest
+an Extraordinary Person. His Conduct is more Artificial, and his Stile more
+just, than that of _�schylus_. His Characters are well drawn, and Uniform
+with themselves: His _Incidents_, are often surprising, and his _Plots_
+unprecipitated. There is nothing but what is Great, and Solemn Throughout.
+The Reasoning is well Coloured. The Figures are sometimes Bold, but not
+Extravagant. There are no Flights of Bombast, no Towring above Nature and
+Possibility: In short, Nothing like Don _Sebastians_ Reigning in his
+_Atomes_.[51]
+
+This Tragedian like _�schylus_ does not often concern himself with
+_Amours_, and when he does, nothing can be more temperate, and decent. For
+example where the Incest of _Oedipus_ is described,[52] the Offensiveness
+of the Idea is screen'd off and broken by Metaphorical and distant
+Expressions. In another _Play_[53] _Creon_ resolves to put _Antigone_ to
+Death for presuming to bury _Polynices_. This Lady and _H�mon_ _Creons_ Son
+were very far engaged; _H�mon_ endeavours to disswade his Father from
+_Antigones_ Execution: He tells him the burying her Brother tho' against
+his Order, was a popular Action. And that the People would resent her being
+punish'd: But never so much as mentions his own Concern unless in one Line;
+which was so obscure that _Creon_ misunderstood him. _Antigone_ amongst her
+other Misfortunes laments her dying Young and Single, but says not one word
+about _H�mon_. The _Poet_ takes care not to bring these two Lovers upon the
+_Stage_ together, for fear they might prove unmanagable? Had They been with
+us, they had met with kinder treatment. They might have had Interviews and
+Time and Freedom enough. Enough to mud their Fancy, to tarnish their
+Quality, and make their Passion Scandalous. In the Relation of _H�mons_
+Death, his Love is related too, and that with all the Life and _Pathos_
+imaginable. But the Description is within the Terms of Honour: The
+tendernesses are Solemn, as well as Soft: They move to [54]Pity and
+Concern, and go no farther. In his _Trachini�_ the _Chorus_ owns the Force
+of Love next to irresistable; gently hints the Intrigues of the Gods, and
+then passes on to a handsome [55]Image of the Combat between _Achelous_ and
+_Hercules_. We see how lightly the _Poet_ touches upon an amorous Theme: He
+glides along like a Swallow upon the Water, and skims the Surface, without
+dipping a Feather.
+
+_Sophocles_ will afford us no more, let us therefore take a view of
+_Euripides_. 'Tis the Method of this Author to decline the Singularities of
+the _Stage_, and to appear with an Air of Conversation. He delivers great
+Thoughts in Common Language, and is dress'd more like a Gentleman than a
+_Player_. His Distinction lies in the perspicuity of his Stile; In Maxim,
+and Moral Reflection; In his peculiar Happiness for touching the Passions,
+especially that of Pity; And lastly, in exhausting the Cause, and arguing
+_pro_ and _Con_, upon the streach of Reason. So much by way of Character.
+And as for the Matter before us He is entirely Ours. We have had an
+Instance or two already in _Electra_ and _Ph�dra_: To go on to the rest. In
+his _Hippolitus_ He calls _Whoring_, stupidness and playing the Fool. And
+to be Chast and regular, is with him, as well as with _�schylus_, [Greek:
+S�phronein]. As much as to say 'tis the Consequence of Sence, and right
+Thinking. _Ph�dra_ when her Thoughts were embarrass'd with _Hippolitus_,
+endeavours to disentangle her self by Argument.[56] She declaims with a
+great deal of Satyr against intemperate Women; she concluded rather to die
+then dishonour her Husband and Stain her Family. The Blemishes of Parents,
+as she goes on, often stuck upon their Children, and made them appear with
+Disadvantage. Upon this, the _Chorus_ is transported with the Virtue of her
+Resolution and crys out
+
+  [Greek: Pheu Pheu. To s�phron h�s hapantachou kalon][57]
+  [Greek: kai do xan esthl�n enbrotois komizetai.]
+
+  _How becoming a Quality is Modesty in all Places._
+  _How strangly does it burnish a Character, and oblige ones Reputation?_
+
+The Scholiast upon these verses of _Hippolitus_.
+
+  [Greek: Soi ton de plekton Stephanon ex ak�ra]
+  [Greek: Leim�nos], &c.
+
+Makes this Paraphrase, 'Tha[......] Mind should be clean and
+unsulli[......] that the Muses being Virgins their Performances should
+agree with their Condition.'
+
+To proceed. _Hermione_ complains against _Andromache_ because she was
+entertain'd by her Husband[58]: For this _Andromache_ tells her she talk'd
+too much for a Young Woman, and discover'd her Opinion too far. _Achilles_
+at the first Sight of _Clytemnestra_, lets her understand he was as much
+taken with the Sobriety of her Air,[59] as with the rest of her fine Face
+and Person. She receives the Complement kindly, and commends him for
+commending Modesty. _Menelaus_ and _Helen_ after a long Absence manage the
+surprize of their good Fortune handsomly.[60] The Most tender Expression
+stands clear of ill Meaning. Had _Osmin_ parted with _Almeria_ as civilly
+as these Two met,[61] it had been much better. That Rant of smut and
+profainness might have been spared. The _Reader_ shall have some of it.
+
+  _O my_ Almeria;
+  _What do that Damn'd endure but to despair,
+  But knowing Heaven, to know it lost for ever._
+
+Were it not for the _Creed_, these _Poets_ would be crampt in their
+Courtship, and Mightily at a loss for a Simile! But _Osmin_ is in a
+wonderful Passion. And truly I think his Wits, are in some danger, as well
+as his Patience. You shall hear.
+
+  _What are Wracks, and, Whips, and Wheels to this;
+  Are they not soothing softness, sinking Ease,
+  And wasting Air to this?_
+
+_Sinking Ease, and Wasting Air_, I confess are strange comforts; This
+Comparison is somewhat oddly equip'd, but Lovers like sick People may say
+what they please! _Almeria_ takes this Speech for a Pattern, and suits it
+exactly in her return.
+
+  _O I am struck, thy words are Bolts of Ice?
+  Which shot into my Breast now melt and chill me._
+
+_Bolts of Ice?_ Yes most certainly! For the Cold is struck up into her
+Head, as you may perceive by what follows.
+
+  _I chatter, shake, and faint with thrilling Fears._
+
+By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no
+jesting, for the Lady is very bad. She won't be held up by any Means, but
+Crys out:
+
+  ----_lower yet, down down_;
+
+One would think she was learning a Spanel to _Sett_. But there's something
+behind.
+
+  ----_no more we'll lift our Eyes,
+  But prone and dumb, Rot the firm Face of Earth,
+  With Rivers of incessant scalding Rain._
+
+These Figures are some of them as stiff as Statues, and put me in mind of
+_Sylvesters Dubartas_.
+
+  _Now when the Winters keener breath began
+  To Crystallize, the Baltick Ocean,
+  To glaze the Lakes, to bridle up the Floods,
+  And periwig with Snow the bald pate woods._
+
+I take it, the other Verses are somewhat of Kin to These, and shall leave
+them to Mr. _Dryden's_ Reflection.[62] But then as for _Soothing Softness,
+Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain_;
+It puts me to another stand. For to talk a little in the way of the
+_Stage_. This Litter of _Epithetes_ makes the _Poem_ look like a Bitch
+overstock'd with Puppies, and sucks the Sence almost to skin and Bone. But
+all this may pass in a _Playhouse_: False Rhetorick and false Jewells, do
+well together. To return to _Euripides_. _Cassandra_ in reporting the
+Misfortunes of the _Greeks_ stops at the Adulteries of _Clytemnestra_ and
+_�giala_ And gives this handsome reason for making a Halt.
+
+  [Greek: Sigan ameinon taischra, m�de mousa moi][63]
+  [Greek: Genoit aoidos h�tis hymn�sei kaka.]
+
+  _Foul Things are best unsaid, I am for no Muse,
+  That loves to flourish on Debauchery._
+
+
+Some Things are dangerous in report, as well as practise, and many times a
+Disease in the Description. This _Euripides_ was aware of and manag'd
+accordingly, and was remarkably regular both in stile, and Manners. How
+wretchedly do we fall short of the Decencies of Heathenism! There's nothing
+more ridiculous than Modesty on our _Stage_.[64] 'Tis counted an ill bred
+Quality, and almost sham'd out of Use. One would think Mankind were not the
+same, that Reason was to be read Backward, and Vertue and Vice had changed
+Place.[65]
+
+What then? Must Life be huddled over, Nature left imperfect, and the Humour
+of the Town not shown? And pray where lies the Grievance of all This? Must
+we relate whatever is done, and is every Thing fit for Representation? is a
+Man that has the Plague proper to make a Sight of? And must he needs come
+Abroad when he breaths Infection, and leaves the _Tokens_ upon the Company?
+What then must we know nothing? Look you! All Experiments are not worth the
+making. 'Tis much better to be ignorant of a Disease then to catch it. Who
+would wound himself for Information about Pain, or smell a Stench for the
+sake of the Discovery? But I shall have occasion to encounter this
+Objection afterwards,[66] and therefore shall dismiss it at present.
+
+The _Play-house_ at _Athens_ has been hitherto in Order, but are there no
+Instances to the contrary? Do's not _Aristophanes_ take great Liberties and
+make Women speak extraordinary Sentences? He do's so. But his Precedent
+signifies nothing in the case. For
+
+_1st._ We have both the Reason of the Thing, and all the Advantage of
+Authority on the other side. We have the Practise and Opinion of Men of
+much greater Sence, and Learning then Himself. The best Philosophers and
+Poets, Criticks and Orators, both Greek and Latin, both Antient and Modern,
+give the Cause against him. But _Aristophanes_ his own _Plays_ are
+sufficient to ruin his Authority. For
+
+_1st_, He discovers himself a downright Atheist. This Charge will be easily
+Made good against him by Comparing his _Nubes_ with his other _Plays_. The
+Design of his _Nubes_ was to expose _Socrates_, and make a Town jest of
+him. Now this Philosopher was not only a Person of great Sence and Probity,
+but was likewise suppos'd to refine upon the Heathen Theology, to throw off
+the Fabulous part of it, and to endeavour to bring it back to the Standard
+of Natural Religion. And therefore _Justin Martyr_ and some others of the
+_Fathers_, look'd on him as a Person of no Pagan Belief, and thought he
+suffer'd for the Unity of the God-Head. This Man _Aristophanes_ makes fine
+sport with as he fancies: He puts him in a Fools Coat, and then points at
+him. He makes _Socrates_ instruct his Disciple _Strepsiades_ in a new
+Religion, and tell him that _he did not own the Gods in the vulgar Notion_.
+He brings him in elswhere affirming that the _Clouds are the only
+Deities_.[67] Which is the same Lash which _Juvenal_ gives the _Jews_,
+because they worship'd but one single Soveraign Being.
+
+  _Nil pr�ter Nubes & Coeli numen adorant._[68]
+
+_Socrates_ goes on with his Lecture of Divinity and declares very roundly
+that there is no such thing as _Jupiter_.[69] Afterwards he advances
+farther, and endeavours to get _Strepsiades_ under Articles to acknowledge
+no other Gods, but _Chaos_, the _Clouds_, and the _Tongue_.[70] At last the
+_Poet_ brings the Philosopher to publick Pennance for his Singularities. He
+sets fire to his _School_ for teaching Young People (as he pretends) to
+dispute against Law and Justice; for advancing Atheistick Notions, and
+burlesquing the Religion of the Country.[71]
+
+That _Socrates_ was no Atheist is clear from Instances enough. To mention
+but one. The Confidence he had in his _D�mon_, or _Genius_ by which he
+governed his Affairs puts it beyond all dispute.[72] However 'tis plain
+_Aristophanes_ was not of his Religion. The _Comedian_ was by no means for
+correcting the Common Perswasion. So that he must either be an Orthodox
+Heathen or nothing at all. Let us see then with what Respect he treats the
+Receiv'd _Divinities_. This _Play_, where one would not expect it,
+discovers somewhat of his Devotion. In the beginning of it _Phidippides_,
+who was a sort or _New-Market_ Spark, swears by _Jocky Neptune_,[73] that
+he had a strange Kindness for his Father _Strepsiades_. upon this the old
+Man replies; _No Jocky, if you love me; that Deity has almost undone me_.
+This was making somewhat bold with _Neptune_ who was _Jupiters_ Brother,
+_Soveraign_ of a whole _Element_, and had no less than the Third Share of
+the Universe! Certainly _Aristophanes_ had no Venture at Sea, or else must
+think the _Trident_ signified but very little. But this is meer Ceremony to
+what follows. In his first _Play_ _Plutus_ pretends he had a mind to oblige
+only Men of Probity, but _Jupiter_ had made him blind on purpose that he
+might not distinguish Honest men from Knaves: For to be plain _Jupiter_ had
+a Pique against Good people. Towards the end of this _Comedy Mercury_ is
+abused by _Cario_,[74] and acts a ridiculous, and lessening part himself.
+Afterwards he complains heavily that since _Plutus_ was cured of his
+Blindness, the business of Sacrifing fell off, and the Gods were ready to
+starve. This _Mercury_ has the same ill Usage with the _Poets_ Knaves,
+Informers, and Lewd Women; From all this stuff put together, his meaning is
+pretty plain, _viz._ That Religion was no better than an Imposture
+supported by Art, and Ignorance: And that when Men's Understandings were
+awake, and their Eyes a little open, they would have more discretion than
+to be at any expence about the Gods.
+
+This I take to be part of the Moral of his Fable. If we look farther into
+him we shall see more of his Mind. His _Ran�_ makes Merry with the Heathen
+Scheme of Heaven and Hell. Here _Charon_ and the _Stygian Frogs_ are
+brought in Comically enough. And that you may understand his opinion more
+perfectly we are told, that He that Bilks his _Catamite_ after a
+_Sodomitical_ Abuse, is thrown into the Common shore of _Hades_. And what
+Company do you think he is lodg'd with? Why with those who Perjure
+themselves, with those who Kick their Fathers and Mothers? It seems in the
+_Poets_ Justice a Man might as good be false to his Oath, as to his
+Lewdness.[75] To disappoint the _Stews_, is every jot as great a Crime; as
+to fly in the Face of Nature, and outrage our Parents. His Quartering his
+Malefactors thus critically, was without question on purpose to Banter the
+perswasion of future Punishment. In the same _Play_ _Xanthias_ bids _�acus_
+answer him by _Jove_, [Greek: Hos h�min estin homomastigias]. This little
+Scoundrel of a Slave has the Manners to make _Jupiters_ Quality no better
+than his own. To go on with him: In his _Aves_ he speaks out to purpose.
+Here _Pisthet�rus_ tells _Epops_ that if the _Birds_ would build a Castle
+in the Air, they might intercept the Fumes of the Sacrifices, and starve
+the Gods unless they would come too, and be Tributary. It seems the _Birds_
+had very good Pretences to execute this project; for they were ancienter
+than _Jupiter_ and _Saturn_,  and Govern'd before the Gods. And to speak
+truth were more capable of the Function. Their Adviser goes on to inform
+them,[76]  that after they had built their pensile City, and fortifyed the
+Air, their next business was to demand their ancient Soveragnity: If
+_Jupiter_ refused to quit, they were to declare a Holy War against Him, and
+the rest of the Confederate Gods, and to cut off the Communication between
+Heaven and Earth. _Pisth�terus_[77] grows very warm in his new Interest,
+and swears by _Jove_ that Men ought to Sacrifice to the _Birds_, and not to
+_Jupiter_. And if things came to a Rupture, and _Jupiter_ grew Troublesome,
+he undertakes[78] to send a Detachement of Eagles against Him; with Orders
+to storm his Palace with Flambeaux, and fire it about his Ears. At last to
+prevent the Calamities of a War, _Hercules_ proposes an Accomodation,[79]
+and is willing _Jupiter_ should Resign. _Neptune_ calls him a Block-head
+for his pains, because he was Heir at _Law_, and after _Jupiters_ Decease
+was of Course to succeed in his Dominions: Once more, and I have done: In
+_Eirene_, _Tryg�us_ speaks in a menacing way.[80] That unless _Jupiter_
+gave him Satisfaction in his business, he would inform against Him as a
+disaffected Person, and a betrayer of the Liberties of _Greece_.[81] I
+might add many other Instances, and some more Scandalous than any I have
+mentioned; But these are sufficient to shew the Authors Sentiment: And is
+it any wonder an Atheist should misbehave himself in point of Modesty? What
+can we expect less from those who laugh at the Being of a God, at the
+Doctrines of Providence, and the Distinctions of Good and Evil? A
+_Sceptick_ has no notion of Conscience, no Relish for Virtue, nor is under
+any Moral restraints from Hope or Fear. Such a one has nothing to do but to
+consult his Ease, and gratifie his Vanity, and fill his Pocket. But how
+these Ends are compassed, he has no squeamishness, or Scruples about it.
+'Tis true when the Methods of Lewdness will Take, they are generally most
+agreeable. This way suits their Talent, and screens their practise, and
+obliges their Malice. For nothing is a greater Eye-sore to these Men, then
+Virtue and Regularity. What a pleasure is it then to be admired for
+Mischeif, to be reveng'd on Religion, and to see Vice prosper and improve
+under our Hands! To return: Beside _Aristophanes_ Atheisme, I have a Second
+objection to his Authority, and that is want of Judgment. If we examine his
+_Plays_ we shall find his Characters improper, or ununiform; either wrong
+at first, or unsteady in the Right. For the purpose. In his _Nubes. A. 3.
+S. 3. p. 146. 150_. He puts dirty expressions in the Mouth of his Man of
+Probity, makes him declaim vitiously against Vice, and Corrects scurrility
+with Impudence; Now what can be more idle and senceless, than such Conduct
+as this? Epecially when this _Justus_ as he calls him had told them in the
+beginning of his speech, that People used to be well slash'd for such
+Fooling, when Government and Discipline were in their due Force. The
+_Chorus_ of his _Ran�_ slides[82] into the same Inconsistency of Precept,
+and Practise. Farther, in the Progress of this _Play_; _�schylus_ falls a
+rallying contrary to his Humour, and jests away his own Arguments at a very
+unseasonable Juncture, when he was disputing for no less prize than the
+Laureatship. This _Tragedian_ after he had play'd a little with the Story
+of _Bellerophon_,[83] goes on in the same strain; And charges _Euripides_
+that he had furnish'd all sorts of People with Sawciness and Prattle. The
+_Schools_ and _Academies_ were spoil'd by this means; So that the Boys were
+often whip'd, and the Boatswains drubb'd, for their Chattering.[84] These
+Comical Levities come with an ill Grace from _�schylus_. His Character was
+quite different both in Reality, and in the _Play_ before us. He is all
+along represented as a Person of a serious Temper, of a reserv'd Loftiness,
+Cholerick, and tender of his Honour to an Excess, and almost in a rage at
+the Affront of a Rival, and being forc'd to enter the Lists with
+_Euripides_. The case standing thus, neither the Man, nor the Business,
+would admit of Drolling. Another Instance of his want of Conduct we have in
+his _Concionatores_. Here _Blepyrus_ and some others of his Legislative
+Assembly, talk at a very dirty insipid rate. The Lowest of the _Mob_, can
+hardly jest with less Wit, and more Lewdness. And to make their Discourse
+more remarkable; These douty Members were just going to the _House_, and
+had their Heads full of the Good of the Nation, when they entertain'd
+themselves thus decently[85]. And are these little Buffoons fit to consult
+_de Arduis Regni, &c._ to give Authority to Law, and Rules for publick
+Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and
+the Solemnity of their Office? To make his _Parliament-Men_ play the Fool
+thus egregiously, must needs have a great deal of Decorum, and State-Policy
+in the Contrivance; And is just as wise as if a _Painter_ should have Drawn
+them in the Habit of _Jack-Puddings_, and _Merry-Andrews_. But
+_Aristophanes_ has still higher Flights of Absurdity. He won't so much as
+spare the Gods but makes them act these little Parts of Clownishness and
+Infamy. _Bacchus_ and _Hercules_ in his _Ran�_ are forced to talk Smut and
+rally like _Link-boys_, and do almost all the Tricks of _Bartholomew-Fair_.
+To mention something that will bear the quoting. _Bacchus_ enquires of
+_Hercules_ the readiest way to _Hades_, or the other World. He bids him
+either Hang, or Poyson himself, and he can't miss the Road. This is
+_Hercules's_ Humour to a Tittle! And represents him as much to the Life, as
+an _Ape_ would do the _Grand Signior_ at a publick Audience! This with a
+short Sentence or two of Lewdness,[86] is the hardest of _Hercules_ his
+Usage: And 'tis well he escaped so; for _Bacchus_ is treated much worse. He
+appears under the disadvantages of a Clownish Debauchee, and a Coward. And
+is terribly afraid of a _Spectre_.[87] When he comes before _�acus_, this
+Judge is very rough with him; and tries his pretences to a Deity by
+Bastinado: _Bacchus_ howls in the drubbing and had almost spoil'd all.[88]
+Now do's this paultry Behaviour agree with the Heathen Theology, with the
+Common Opinion concerning _Bacchus_ and _Hercules_? Do's a _Blew-Cap_ and a
+_Ladle_, become the Sons of _Jupiter_ and the Objects of Religious Worship?
+Those who at the lowest, were counted the Conquerors of the World, and more
+than Men both by Birth and Enterprize? _Sophocles_ and _Euripides_ make
+these two Persons manage at a quite different rate of Decency. 'Tis no
+defence to say _Aristophanes_ wrot Comedy, and so was obliged to make his
+Scenes more diverting. This excuse I say is defective; for a Comedian ought
+to imitate Life and Probability, no less than a Tragedian. To Metomorphose
+_Characters_, and present Contradictions to Common Belief, is to write,
+_Farce_ instead of _Plays_. Such Comedians like _Thespis_ ought to have a
+travelling _Stage_, and take the Air with _Porcupines_ and _Dromedaryes_.
+If 'tis said that Gravity and greatness do's not suit the Complection and
+Entertainment of Comedy. To this I answer, that therefore the _Persons_
+should be chosen accordingly. They should have nothing in their known
+Humour, and Condition too Noble, and solemn for Trifling. 'Tis _Horaces_
+advice.
+
+  _Aut famam sequere, aut convenientia finge Scriptor._ De. Art. Poet.
+
+Let us remember that Operations always resemble the Nature from whence they
+flow. Great Persons should therefore have a correspondent Behaviour
+assign'd them. To make _Beings_ much Superior to the Biggest of Mankind,
+talk below the Least, is absurd and ridiculous. This _Aristophanes_ seems
+sensible of in his defence of _�schylus_. Here _Euripides_ objects to
+_�schylus_,[89] that he was too rumbling, noisy, and bombastick, over
+affecting that which _Horace_ calls
+
+  _Ampulla, & sesquipedalia Verba._
+
+To this _�schylus_  Answers, that the Thoughts, and Designs of _Heroes_
+must be deliver'd in Expressions proportioned to their Greatness. It being
+likely that the Demi-Gods spoke up to their Dignity and Stature: And as
+they were distinguish'd by the richness of their Habit, so they had a more
+Magnificent Language than other Mortals. To this _Euripides_ replys
+nothing; from whence you may conclude the _Poet_ thought the Apology not
+unreasonable. In short _Aristophanes_ had Sense but he does not always use
+it. He is not equal, and uniforme. Sometimes you have him flat and foolish
+a good while together. And where he has Spirit, 'tis oftentimes lavished
+away to little purpose.[90] His Buffoonery is commonly too strong for his
+Judgment. This makes him let fly his jests without regard to Person or
+occasion: And thus by Springing the _Game_ too soon, the Diversion is lost.
+I could make several other Material Objections against the Conduct of his
+_Plays_; But this being not necessary I shall observe in the
+
+_3d._ Place. That notwithstanding the scandalous Liberty for which
+_Aristophanes_ is so remarkable; yet in his Lucid Intervalls, when Sence
+and Sobriety return upon him, he pronounces against his own Practise. In
+the contest between _�schylus_ and _Euripides_, _Bacchus_ is made the
+Umpire of the Controversie. _�schylus_ begins with a Question,[91] and asks
+_Euripides_ what 'tis which makes a _Poet_ admired? He answers. 'Tis for
+the address of his Conduct, and the handsome Turns of Morality in his
+Poems. 'Tis because his performance has a tendency to form the Audience to
+Virtue, and Improvement, _�schylus_ demands of him farther; But suppose you
+debauched the Age, and made an Honest and a brave People Lewd, and good for
+nothing, what do you deserve then? Here _Bacchus_ interposes, and crys out,
+what does he deserve? A Halter! pray don't ask so plain a question. And
+afterwards we are told, that _Poets_ are valuable only for describing
+Things useful, in Life and Religion, for polishing Inventions, and setting
+off great Examples with Lustre, and Advantage.[92] In the progress of the
+Dispute, _�schylus_ taxes _Euripides_ with being too uncautious in his
+Representations; And tells him that Poets ought to conceal that which is
+vicious in Story; And entertain with nothing but Virtue, and Sobriety: He
+goes on reprimanding _Euripides_ for his Dramatick incests, Strumpets, and
+Amours: And as for himself, to his best remembrance, He never brought any
+Love-Intrigues upon the Stage.[93]
+
+This is very significant expostulation: and contains very good Rules for
+the Trial of the _Muses_: But if the English _Stage_, should be obliged to
+this Test; _Aristophanes_ must set fire to it, and that with much more
+reason than to _Socrates_ his _School_. Now that _�schylus_ spoke
+_Aristophanes_'s Sense is pretty plain: For first; As to the Business of
+Love, _Aristophanes_ always declines it; He never patches up a _Play_ with
+_Courtship_, and _Whining_, tho' he wrote nothing but _Comedy_. In the next
+place the _Chorus_ which is usually the _Poets_ Interpreter, speaks
+honourably of _�schylus_ even to a Preference;[94] And at last Judge
+_Bacchus_ gives Sentence for him.
+
+Thus we see _Aristophanes_ Confutes his own Lewdness, and comes in Evidence
+against himself. This with the other two Exceptions I have made good
+against him, are sufficient to take off the Force of the _Precedent_, and
+make him an insignificant Authority.
+
+To what I have observ'd from the _Stage_ of the Antients, I could add the
+Authorities of _Aristotle_, and _Quintilian_, both extraordinary Persons,
+but I shall reserve their Testimony till Afterwards.
+
+To come Home, and near our own Times: The English Theatre from Queen
+_Elizabeth_ to King _Charles_ II. will afford us something not
+inconsiderable to our purpose.
+
+As for _Shakespear_, he is too guilty to make an Evidence: But I think he
+gains not much by his Misbehaviour; He has commonly _Plautus's Fate_, where
+there is most Smut, there is least Sense.
+
+_Ben. Johnson_ is much more reserv'd in his _Plays_, and declares plainly
+for Modesty in his _Discoveries_, some of his Words are these.
+
+A just Writer whom he calls a _True Artificer_, will avoid _Obscene_ and
+_Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is
+so too.[95] The excess of Feasts and Apparel, are the Notes of A Sick
+State, and the Wantonness of Language of a sick Mind_.[96] A little after
+he returns to the Argument, and applies his Reasoning more particularly to
+the Stage. _Poetry_, (says he) _and Picture, both behold Pleasure, and
+profit, as their common Object, but should abstain from all base Pleasures,
+least they should wholly Err from their End; And while they seek to better
+Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and
+Jests upon the best Men, are most likely to excite Laughter. But this is
+truly leaping from the Stage to the Tumbrill again, reducing all Wit to the
+Original Dung-Cart_.[97] More might be cited to this purpose, but that may
+serve for an other Occasion: In the mean time I shall go on to _Beaumont_
+and _Fletcher_.
+
+_Fletchers Faithfull Shepheardess_ is remarkably Moral, and a sort of
+Exhortation to Chastity. This _Play_ met with ill Judges, 'twas Hiss'd
+before half _Acted_, and seems to have suffer'd on the account of its
+Innocence.[98] Soon after _Ben. Johnson_ and _Beaumont_ appear and justifie
+the Author in a Copy of Verses. And as _Beaumont_ commends Modesty in
+_Fletcher_, so he is commended himself by Mr. _Earl_ for the same
+Quality.[99]
+
+  _Such Passions, Such Expressions meet my Eye,
+  Such Wit untainted with Obscenity._
+
+And as I remember _Jasper Main_ has some stroaks to the same purpose.[100]
+_Fletcher_ is still more full for the Cause. Indeed nothing can be more
+express. He delivers himself by way of _Prologue_; where the _Poet_ speaks
+in his own Person. The _Prologue_ to the _Woman-Hater_, very frankly lets
+the Audience know what they are to expect. _If there be any amongst you,
+(says he) that come to hear Lascivious Scenes, let them depart; For I do
+pronounce this, to the utter discomfort of all two-penny Gallery Men, you
+shall no Bawdry in it._ We find in those days Smut was the expectation of a
+Coarse Palate, and relish'd by none but two-penny Customers. In the
+_Knight_ of the _Burning Pestle_, part of the _Prologue_ runs thus. _They
+were banish'd the Theatre at_ Athens, _and from_ Rome _hiss'd, that brought
+Parasites on the Stage with Apish Actions, or Fools with uncivil Habits, or
+Courtezans with immodest words_. Afterwards _Prologue_, who represents a
+Person, gives us more to the same purpose.
+
+  ----_Fly far from hence.
+  All private taxes, immodest phrases,
+  Whatever way but look like Vitious.
+  For wicked mirth, never true Pleasure brings;
+  For honest Minds, are pleas'd with honest things._
+
+I have quoted nothing but Comedy in this Author. The _Coronation_ is
+another. And the _Prologue_ tells you there is
+
+  _No Undermirth such as does lard the Scene,
+  For Coarse Delight, the Language here is clean.
+  And confident our Poet bad me say,
+  He'll bate you but the Folly of a Play.
+  For which altho' dull Souls his Pen despise;
+  Who think it yet too early to be wise.
+  The Nobles yet will thank his Muse, at least
+  Excuse him, cause his Thought aim'd at the Best._
+
+Thus these _Poets_ are in their Judgments clearly ours. 'Tis true their
+Hand was not always steady. But thus much may be aver'd, that _Fletcher's_
+later _Plays_ are the most inoffensive. This is either a sign of the
+_Poets_ Reformation; or that the exceptionable Passages belonged to
+_Beaumont_, who dyed first.
+
+To these Authorities of our own Nation, I shall add a considerable
+Testimony out of Mr. _Corneille_. This Author was sensible that tho' the
+Expression of his _Theodore_ was altogether unsmutty,[101] 'Yet the bare
+Idea of Prostitution uneffected, shock'd the Audience, and made the Play
+miscarry. The _Poet_ protests he took great care to alter the natural
+Complexion of the Image, and to convey it decently to the Fancy; and
+delivered only some part of the History as inoffensively as possible. And
+after all his Screening and Conduct, the Modesty of the Audience would not
+endure that little, the Subject forced him upon. He is positive 'the
+Comedies St. _Augustine_ declaim'd against, were not such as the _French_.
+For theirs are not spectacles of Turpitude, as that Father justly calls
+those of his Time. The _French_ generally speaking, containing nothing but
+examples of Innocence, Piety and Virtue.'
+
+In this Citation we have the Opinion of the _Poet_, the Practise of the
+_French_ Theatre, and the Sense of that _Nation_, and all very full to our
+purpose.
+
+To conclude this _Chapter_. By what has been offer'd, it appears that the
+_Present English Stage_ is superlatively Scandalous. It exceeds the
+Liberties of all Times and Countries: It has not so much as the poor plea
+of a _Precedent_, to which most other ill Things may claim a pretence. 'Tis
+mostly meer Discovery and Invention: A new World of Vice found out, and
+planted with all the Industry imaginable. _Aristophanes_ himself, how bad
+soever in other respects, does not amplyfie, and flourish, and run through
+all the Topicks of Lewdness like these Men. The _Miscellany Poems_ are
+likewise horribly Licentious. They are sometimes Collections from
+Antiquity, and often, the worst parts of the worst _Poets_. And to mend the
+Matter, the Christian _Translation_, is more nauseous than the _Pagan_
+Original. Such stuff I believe was never seen, and suffer'd before. In a
+word, If Poverty and Diseases, the Dishonour of Families, and the
+Debauching of Kingdoms, are such valuable Advantages, then I confess these
+Books deserve encouragement. But if the Case is otherwise, I humbly
+conceive the Proceeding should be so too.
+
+
+
+
+CHAP. II.
+
+_The Profaness of the_ Stage.
+
+
+An other Instance of the Disorders of the _Stage_ is their _Profaness_:
+This Charge may come under these two particulars.
+
+  _1st. Their Cursing and Swearing._
+  _2dly. Their Abuse of Religion and Holy Scripture._
+
+_1st Their Cursing and Swearing._
+
+What is more frequent then their wishes of Hell, and Confusion, Devils, and
+Diseases, all the Plagues of this World, and the next, to each other? And
+as for Swearing; 'tis used by all Persons, and upon all Occasions: By
+Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels,
+Success, and Disappointment, Temper, and Passion, must be varnish'd, and
+set off with _Oaths_. At some times, and with some _Poets_ Swearing is no
+ordinary Releif. It stands up in the room of Sense, gives Spirit to a flat
+Expression, and makes a Period Musical and Round. In short, 'tis almost all
+the Rhetorick, and Reason some People are Masters of: The manner of
+performance is different. Some times they mince the matter; change the
+Letter, and keep the Sense,[102] as if they had a mind to steal a Swearing,
+and break the Commandement without Sin. At another time the Oaths are
+clipt, but not so much within the Ring, but that the _Image and
+Superscription_ are visible. These expedients, I conceive are more for
+variety, then Conscience: For when the fit comes on them, they make no
+difficulty of Swearing at Length. Instances of all these kinds may be met
+with in the _Old Batchelour_, _Double Dealer_, and _Love for Love_. And to
+mention no more, _Don Quixot_, the _Provok'd Wife_, and the _Relapse_, are
+particularly rampant and scandalous. The _English Stage_ exceed their
+predecessors in this, as well as other Branches of immorality. _Shakespear_
+is comparatively sober, _Ben Jonson_ is still more regular; And as for
+_Beaument_ and _Fletcher_, In their _Plays_ they are commonly Profligate
+Persons that Swear, and even those are reprov'd for't. Besides, the Oaths
+are not so full of Hell and Defiance, as in the Moderns.
+
+So much for matter of Fact: And as for point of Law, I hope there needs not
+many words to prove Swearing a Sin: For what is more provoking than
+contempt, and what Sin more contemptuous than common Swearing? what can be
+more Insolent and Irreligious, than to bring in God to attest our Trifles,
+to give Security for our Follies, and to make part of our Diversion? To
+Play with Majesty and Omnipotence in this manner, is to render it cheap and
+despicable. How can such Customes as these consist with the belief of
+Providence or Revelation? The _Poets_ are of all People most to blame. They
+want even the Plea of _Bullies_ and _Sharpers_. There's no Rencounters, no
+starts of Passion, no suddain Accidents to discompose them. They swear in
+Solitude and cool Blood, under Thought and Deliberation, for Business, and
+for Exercise: This is a terrible Circumstance; It makes all _Malice
+Prepence_, and enflames the Guilt, and the Reckoning.
+
+And if Religion signifies nothing, (as I am afraid it does with some
+People) there is Law, as well as Gospel against _Swearing_.  _3d Jac. 1
+cap. 21._ is expresly against the _Playhouse_. It runs thus.
+
+  For the preventing and avoiding of the great abuse of the holy Name of
+  God, in Stage Plays, Enterludes &c. Be it enacted by our Sovereign Lord
+  &c. That if at any time, or times, after the End of this present Session
+  of Parliament; any Person or Persons do, or shall in any Stage Play,
+  Enterlude, Show, &c. Jeastingly or Profanly, speak or use the Holy Name
+  of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity,
+  which are not to be spoken, but with Fear and Reverence; shall forfeit
+  for every such offence, by him or them committed, ten pounds: The one
+  Moity thereof to the King's Majesty, his Heirs; and Successors, the other
+  Moity thereof to him, or them, that will sue for the same in any Court of
+  Record at Westminster, wherein no essoin, protection, or wager of Law
+  shall be allow'd.
+
+By this _Act_ not only direct Swearing, but all vain Invocation of the Name
+of God is forbidden. This _Statute_ well executed would mend the _Poets_,
+or sweep the _Box_: And the _Stage_ must either reform, or not thrive upon
+Profaness.
+
+_3dly_ Swearing in the _Playhouse_ is an ungentlemanly, as well as an
+unchristian Practice. The _Ladies_ make a considerable part of the
+_Audience_. Now Swearing before Women is reckon'd a Breach of good
+Behaviour, and therefore a civil Atheist will forbear it. The custom seems
+to go upon this Presumption; that the Impressions of Religion are strongest
+in Women, and more generally spread. And that it must be very disagreeable
+to them, to hear the Majesty of God treated with so little respect.
+Besides: Oaths are a boistrous and tempestuous sort of Conversation;
+Generally the effects of Passion, and spoken with Noise, and Heat. Swearing
+looks like the beginning of a Quarrel, to which Women have an aversion: As
+being neither armed by Nature, nor disciplin'd by Custome for such rough
+Disputes. A Woman will start at a Soldiers Oath, almost as much as at the
+Report of his Pistol: And therefore a well Bred Man will no more Swear,
+than Fight in the Company of Ladies.
+
+A _Second_ Branch of the Profaness of the _Stage_ is their Abuse of
+Religion, and _Holy Scripture_. And here sometimes they don't stop short of
+Blasphemy. To cite all that might be Collected of this kind would be
+tedious. I shall give the _Reader_ enough to justifie the Charge, and I
+hope to abhor the Practice.
+
+To begin with the _Mock-Astrologer_. In the First _Act_ the _Scene_ is a
+_Chappel_; And that the Use of such Consecrated places may be the better
+understood, the time is taken up in Courtship, Raillery, and ridiculing
+Devotion. _Jacinta_ takes her turn among the rest. She Interrupts
+_Theodosia_, and cries out: _why Sister, Sister----will you pray? what
+injury have I ever done you that you should pray in my Company?_
+
+_Wildblood_ Swears by _Mahomet_, rallies smuttily upon the other World, and
+gives the preference to the Turkish Paradise[103]! This Gentleman to
+incourage _Jacinta_ to a Complyance in Debauchery, tells her _Heaven is all
+Eyes and no Tongue._[104] That is, it sees Wickedness but conceals it. He
+Courts much at the same rate a little before. _When a Man comes to a great
+Lady, he is fain to approach her with Fear, and Reverence, methinks there's
+something of Godliness in't_.[105] Here you have the Scripture burlesqu'd,
+and the Pulpit Admonition apply'd to Whoring.[106] Afterwards _Jacinta_ out
+of her great Breeding and Christianity, swears by _Alla_, and _Mahomet_,
+and makes a Jest upon Hell.[107] _Wildblood_ tells his Man that _such
+undesigning Rogues as he, make a Drudge of poor Providence_. And _Maskall_
+to show his proficiency under his Masters, replies to _Bellamy_, who would
+have had him told a Lie.[108] _Sir upon the Faith of a Sinner you have had
+my last Lie already. I have not one more to do me Credit, as I hope to be
+saved Sir._
+
+In the close of the _Play_, They make sport with Apparitions and Fiends.
+One of the Devils sneezes, upon this they give him the Blessing of the
+Occasion, and conclude _he has got cold by being too long out of the
+Fire_.[109]
+
+The _Orphan_ lays the Scene in Christendom, and takes the same care of
+Religion. _Castalio_ Complements his Mistress to Adoration.
+
+  _No Tongue my Pleasure and my Pain can tell:
+  'Tis Heaven to have thee, and without thee Hell._ [110]
+
+_Polydor_ when upon the attempt to debauch _Monimia_, puts up this
+ejaculation.
+
+  _Blessed Heaven assist me but in this dear Hour_: [111]
+
+Thus the _Stage_ worships the true God in Blasphemy, as the _Lindians_ did
+_Hercules_ by Cursing and throwing stones.[112] This _Polydor_ has another
+Flight of Profaness, but that has got a certain _Protection_, and therefore
+must not be disturb'd.
+
+In the _Old Batchelour_, _Vain-love_ asks _Belmour_, _could you be content
+to go to Heaven_?
+
+_Bell. Hum, not immediatly in my Conscence, not heartily._[113]----This is
+playing I take it with Edge-Tools. To go to Heaven in jeast, is the way to
+go to Hell in earnest. In the Fourth _Act_, Lewdness is represented with
+that Gaity, as if the Crime was purely imaginary, and lay only in ignorance
+and preciseness. _Have you throughly consider'd (says Fondlewife) how
+detestable, how Heinous, and how crying a Sin the Sin of Adultery is? have
+you weighed I say? For it is a very weighty Sin: and, altho' it may
+lie----yet thy Husband must also bear his part; For thy iniquity will fall
+on his Head_.[114] I suppose this fit of Buffoonry and profaness, was to
+settle the Conscience of young Beginners, and to make the Terrors of
+Religion insignificant. _Bellmour_ desires _L�titia to give him leave to
+swear by her Eyes and her Lips_: He kisses the Strumpet, and tells her,
+_Eternity was in that Moment_.[115] _L�titia_ is horibly profane in her
+Apology to her Husband; but having the _Stage-Protection_ of Smut for her
+Guard, we must let her alone.[116] _Fondlewife_ stalks under the same
+shelter, and abuses a plain Text of Scripture to an impudent Meaning.[117]
+A little before, _L�titia_ when her Intrigue with _Bellmour_ was almost
+discover'd, supports her self with this Consideration. _All my comfort lies
+in his impudence, and Heaven be prais'd, he has a Considerable
+Portion_.[118] This is the _Play-house_ Grace, and thus Lewdness is made a
+part of Devotion! Ther's another Instance still behind: 'Tis that of
+_Sharper_ to _Vain-Love_, and lies thus.
+
+_I have been a kind of God Father to you, yonder: I have promis'd and vow'd
+something in your Name, which I think you are bound to Perform_.[119] For
+Christians to droll upon their Baptism is somewhat extraordinary; But since
+the _Bible_ can't escape, 'tis the less wonder to make bold with the
+_Catechisme_.
+
+In the _Double Dealer_, Lady _Plyant_ cries out _Jesu_ and talks Smut in
+the same Sentence.[120] Sr. _Paul Plyant_ whom the Poet dub'd a Fool when
+he made him a Knight, talks very Piously! _Blessed be Providence, a Poor
+unworthy Sinner, I am mightily beholden to Providence_[121]: And the same
+word is thrice repeated upon an odd occasion.[122] The meaning must be that
+_Providence_ is a ridiculous supposition, and that none but Blockheads
+pretend to Religion. But the Poet can discover himself farther if need be.
+Lady _Froth_ is pleas'd to call _Jehu_ _a Hackney Coachman_.[123] Upon
+this, _Brisk_ replies, _If Jehu was a Hackney Coachman, I am
+answer'd----you may put that into the Marginal Notes tho', to prevent
+Criticisms----only mark it with a small Asterisme and say----Jehu was
+formerly a Hackney Coachman._ This for a heavy Piece of Profaness, is no
+doubt thought a lucky one, because it burlesques the Text, and the Comment,
+all under one. I could go on with the _Double Dealer_ but he'll come in my
+way afterwards, and so I shall part with him at present. Let us now take a
+veiw of _Don Sebastian_. And here the _Reader_ can't be long unfurnish'd.
+_Dorax_ shall speak first.
+
+    _Shall I trust Heaven
+  With my revenge? then where's my satisfaction?
+  No, it must be my own, I scorn a Proxy._[124]
+
+But _Dorax_ was a Renegado, what then? He had renounc'd Christianity, but
+not Providence. Besides; such hideous Sentences ought not to be put in the
+Mouth of the Devil. For that which is not fit to be heard, is not fit to be
+spoken. But to some people an Atheistical Rant is as good as a Flourish of
+Trumpets. To proceed. _Antonio_ tho' a profess'd Christian, mends the
+matter very little. He is looking on a Lot which he had drawn for his Life:
+This proving unlucky, after the preamble of a Curse or two, he calls it,
+
+  _As black as Hell, an other lucky saying!
+  I think the Devils in me:----good again,
+  I cannot speak one syllable but tends
+  To Death or to Damnation._[125]
+
+Thus the Poet prepares his Bullies for the other World! Hell and Damnation
+are strange entertaining words upon the _Stage_! Were it otherwise, the
+Sense in these Lines, would be almost as bad as the Conscience. The _Poem_
+warms and rises in the working: And the next Flight is extreamly
+remarkable:
+
+  _Not the last sounding could surprize me more,
+  That summons drowsy Mortals to their doom,
+  When call'd in hast they fumble for their Limbs:_[126]
+
+Very Solemnly and Religiously express'd! _Lucian_ and _Celsus_ could not
+have ridiculed the Resurrection better! Certainly the Poet never expects to
+be there. Such a light Turn would have agreed much better to a Man who was
+in the Dark, and was feeling for his Stockings. But let those who talk of
+_Fumbling_ for their Limbs, take care they don't find them too fast. In the
+Fourth _Act_ _Mustapha_ dates his _Exaltation to Tumult_, _from the second
+Night of the Month_ Abib.[127] Thus you have the Holy Text abused by
+Captain _Tom_; And the Bible torn by the Rabble! The Design of this Liberty
+I can't understand, unless it be to make _Mustapha_ as considerable as
+_Moses_; and the prevalence of a Tumult, as much a Miracle as the
+Deliverance out of _�gypt_. We have heard this Author hitherto in his
+_Characters_, let us hear him now in his own Person. In his _Dedication of
+Aurenge Zebe_ he is so hardy as to affirm that _he who is too lightly
+reconciled after high Provocation, may Recommend himself to the World for a
+Christian, but I should hardly trust him for a Friend_. And why is a
+Christian not fit to make a Friend of? Are the Principles of Christianity
+defective, and the Laws of it Ill contriv'd? Are the Interests and
+Capacities of Mankind overlook'd? Did our Great Master bind us to
+Disadvantage, and make our Duty our Misfortune? And did he grudge us all
+the Pleasures and Securities of Friendship? Are not all these horrid
+Suppositions? Are they not a flat Contradiction to the _Bible_, and a Satyr
+on the Attributes of the Deity? Our Saviour tells us we must _forgive until
+Seventy times Seven_; That is, we must never be tired out of Clemency and
+Good Nature. He has taught us to pray for the Forgiveness of our own Sins,
+only upon the Condition of forgiving others. Here is no exception upon the
+Repetition of the Fault, or the Quality of the Provocation. Mr. _Dryden_ to
+do him right, do's not dispute the Precept. He confesses this is the way to
+be a Christian: But for all that he _should hardly trust him for a Friend_.
+And why so? Because the Italian Proverb says, _He that forgives the second
+time is a Fool._[128] This Lewd Proverb comes in for Authority, and is a
+piece of very pertinent Blasphemy! Thus in some Peoples _Logick_ one proof
+from Atheism, is worth Ten from the _New Testament_. But here the _Poet_
+argues no better than he Believes. For most certainly, a Christian of all
+others is best qualified for Friendship. For He that loves his Neighbour as
+himself, and carries Benevolence and Good Nature beyond the Heights of
+Philosophy: He that is not govern'd by Vanity, or Design; He that prefers
+his Conscience to his Life, and has Courage to Maintain his Reason; He that
+is thus qualified must be a good Friend; And he that falls short, is no
+good Christian. And since the _Poet_ is pleas'd to find fault with
+Christianity, let us examine his own Scheme. _Our Minds (says he) are
+perpetually wrought on by the Temperament of our Bodies, which makes me
+suspect they are nearer Allyed than either our Philosophers, or School
+Divines will allow them to be._[129] The meaning is, he suspects our Souls
+are nothing but Organiz'd Matter. Or in plain English, our _Souls_ are
+nothing but our Bodies. And then when the Body dies you may guess what
+becomes of them! Thus the Authorities of Religion are weaken'd, and the
+prospect of the other World almost shut up. And is this a likely
+Supposition for Sincerity and good Nature? Do's Honour use to rise upon the
+Ruines of Conscience? And are People the best Friends where they have the
+least Reason to be so? But not only the Inclinations to Friendship must
+Languish upon this Scheme, but the very Powers of it are as it were
+destroy'd. By this Systeme no Man can say his Soul is his own. He can't be
+assured the same Colours of Reason and Desire will last. Any little
+Accident from _without_ may metamorphose his Fancy, and push him upon a new
+set of Thoughts. _Matter_ and _Motion_ are the most Humorsom Capricious
+Things in Nature; and withall, the most Arbitrary and uncontroll'd. And can
+Constancy proceed from Chance, Choice from Fate, and Virtue from Necessity?
+In short a Man at this rate must be a Friend or an Enemy in spite of his
+Teeth, and just as long as the _Atoms_ please and no longer. Every Change
+in _Figure_ and _Impulse_, must alter the Idea, and wear off the former
+Impression. So that by these Principles, Friendship will depend on the
+_Seasons_, and we must look in the _Weather Glass_ for our Inclinations.
+But this 'tis to Refine upon Revelation, and grow wiser than Wisdom! The
+same Author in his Dedication of _Juvenal_ and _Persius_, has these words:
+_My Lord, I am come to the last Petition of_ Abraham;[130] _If there be ten
+Righteous Lines in this vast Preface, spare it for their sake; and also
+spare the next City because it is but a little one_. Here the Poet stands
+for _Abraham_; and the Patron for God Almighty: And where lies the Wit of
+all this? In the Decency of the Comparison? I doubt not. And for the _next
+City_ he would have spared, he is out in the Allusion. 'Tis no _Zoar_, but
+much rather _Sodom_ and _Gomorrah_, Let them take care the Fire and
+Brimstone does not follow: And that those who are so bold with _Abraham_'s
+Petition, are not forced to that of _Dives_. To beg Protection for a Lewd
+Book in _Scripture Phrase_, is very extraordinary! 'Tis in effect to
+Prostitute the Holy Rhetorick, and send the _Bible_ to the _Brothell_! I
+can hardly imagin why these Tombs of Antiquity were raked in, and
+disturb'd? Unless it were to conjure up a departed Vice, and revive the
+Pagan Impurities: Unless it were to raise the Stench of the Vault, and
+Poyson the Living with the Dead. Indeed _Juvenal_ has a very untoward way
+with him in some of his Satyrs. His Pen has such a Libertine stroak that
+'tis a Question whether the Practise, or the Reproof, the Age, or the
+Author, were the more Licentious. He teaches those Vices he would correct,
+and writes more like a Pimp, than a _Poet_. And truly I think there is but
+little of Lewdness lost in the _Translation_. The Sixth and Eleventh
+_Satyrs_ are Particularly remarkable. Such nauseous stuff is almost enough
+to debauch the _Alphabet_, and make the Language scandalous. One would
+almost be sorry for the privilege of _Speech_, and the Invention of
+_Letters_, to see them thus wretchedly abused. And since the Business must
+be undertaken, why was not the Thought Blanched, the Expression made
+remote, and the ill Features cast into shadows? I'm mistaken if we have not
+Lewdness enough of our own Growth, without Importing from our Neighbours.
+No. This can't be. An Author must have Right done him, and be shown in his
+own shape, and Complexion. Yes by all means! Vice must be disrobed, and
+People poyson'd, and all for the sake of Justice! To do Right to such an
+Author is to burn him. I hope Modesty is much better than Resemblance. The
+Imitation of an ill Thing is the worse for being exact: And sometimes to
+report a Fault is to repeat it.
+
+To return to his _Plays_. In _Love Triumphant_, _Garcia_ makes _Veramond_
+this Compliment:
+
+  _May Heaven and your brave Son, and above all,
+  Your own prevailing Genius guard your Age._[131]
+
+What is meant by his Genius, in this place, is not easy to Discover, only
+that 'tis something which is a better Guard than Heaven. But 'tis no Matter
+for the Sense, as long as the Profaness is clear. In this _Act_, Colonel
+_Sancho_ lets _Carlos_ know the old Jew is dead, which he calls good news.
+
+Carl. _What Jew?_
+
+Sanch. _Why the rich Jew my Father. He is gone to the Bosom, of_ Abraham
+_his Father, and I his Christian Son am left sole Heir_.[132] A very
+mannerly Story! But why does the Poet acquaint us with _Sanchos_ Religion?
+The case is pretty plain: 'tis to give a lustre to his Profaness, and make
+him burlesque St. _Luke_ with the better Grace. _Alphonso_ complains to
+_Victoria_ that _Nature doats with Age_.[133] His reason is, because
+Brother and Sister can't Marry as they did at first: 'Tis very well! We
+know what _Nature_ means in the Language of Christianity, and especially
+under the Notion of a Law-giver. _Alphonso_ goes on, and compares the
+Possession of Incestuous Love to Heaven. Yes, 'tis _Eternity in
+Little_.[134]
+
+It seems Lovers must be distracted or there's no diversion. A Flight of
+Madness like a Faulcons _Lessening_, makes them the more gaz'd at! I am now
+coming to some of the Poets Divinity. And here _Vengeance is said to be so
+sweet a Morsel_,
+
+  _That Heaven reserves it for its proper Tast._[135]
+
+This belike is the meaning of those Texts, _that God is good and Gracious,
+and slow to anger, and does not willingly afflict the Children of Men_!
+From expounding the Bible he goes to the _Common Prayer_. And as _Carlos_
+interprets the _Office_ of _Matrimony_, For Better, for Worse, is _for
+Virgin for Whore_;[136] And that the Reference might not be mistaken, the
+Poet is careful to put the Words in _Italick_, and great Letters. And by
+the way, He falls under the _Penalty_ of the Statute for Depraving the
+_Common Prayer_.[137]
+
+_Sancho_ upon reading a Letter which he did not like, cries _Damn it, it
+must be all Orthodox_.[138] _Damn_ and _Orthodox_ clapt together, make a
+lively Rant, because it looks like Cursing the _Creeds_. The most
+extraordinary passage is behind; _Sancho_ was unhappily Married: _Carlos
+tells him, For your Comfort, Marriage they say is Holy. Sancho_ replies:
+_Ay, and so is Martyrdom as they say, but both of them are good for just
+nothing, but to make an end of a Mans Life_.[139] I shall make no
+Reflections upon This: There needs no Reading upon a Monster: 'Tis shown
+enough by its own Deformity. _Love for Love_ has a Strain like this, and
+therefore I shall put them together: _Scandal_ solicits Mrs. _Foresight_;
+She threatens to tell her Husband. He replys, _He will die a Martyr rather
+then disclaim his Passion_.[140] Here we have Adultery dignified with the
+stile of Martyrdom: As if 'twas as Honourable to perish in Defence of
+Whoring, as to dye for the Faith of Christianity. But these _Martyrs_ will
+be a great while in burning, And therefore let no body strive to grace the
+Adventure, or encrease the Number. And now I am in this _Play_ the Reader
+shall have more. _Jeremy_ who was bred at the University, calls the Natural
+Inclinations to Eating and Drinking, _Whoreson Appetites_. This is strange
+Language! The _Manicheans_ who made Creation the work of the Devil, could
+scarcely have been thus Coarse.[141] But the _Poet_ was _Jeremy's_ Tutor,
+and so that Mystery is at an end. Sr. _Samson_ carries on the
+Expostulation, rails at the Structure of Human Bodies, and says,[142]
+_Nature has been Provident only to Bears, and Spiders_; This is the Authors
+Paraphrase on the 139 _Psalm_; And thus he gives God thanks for the
+Advantage of his Being! The _Play_ advances from one wickedness to another,
+from the _Works_ of God, to the Abuse of his Word. Foresight _confesses
+'tis Natural for Men to mistake_.[143] Scandal _replies, You say true, Man
+will err, meer Man will err----but you are something more----There have
+been wise Men; but they were such as you----Men who consulted the Stars,
+and, were observers of Omens_----Solomon _was wise but how?----by his
+judgment in Astrology._ 'Tis very well! _Solomon_ and _Foresight_ had their
+Understandings qualified alike. And pray what was _Foresight_? Why an
+_Illiterate Fellow_. _A pretender to Dreams, Astrology, Palmistry_ &c. This
+is the _Poets_ account of _Solomon's_ Supernatural Knowledge![144] Thus the
+wisest Prince is dwindled into a Gypsie! And the Glorious Miracle resolved
+into Dotage, and Figure-flinging! _Scandal_ continues his Banter, and says,
+the _wise Men of the East owed their Instruction to a Star; which is
+rightly observ'd by_ Gregory _the Great in favour of Astrology_. This was
+the Star which shone at our Saviour's Birth. Now who could imagine by the
+Levity of the occasion, that the Author thought it any better than an
+_Ignis Fatuus_, or _Sydrophel's_ Kite in _Hudibras_? Sr. _Sampson_ and the
+fine _Angelica_, after some lewd raillery continue the Allegory, and drive
+it up into Profaness. For this reason the Citation must be imperfect.
+
+_Sr._ Samps. Sampson'_s a very good Name for----your_ Sampsons _were strong
+Dogs from the Beginning_.[145]
+
+Angel. _Have a care----If you remember the strongest_ Sampson _of your
+Name, pull'd an old House over his Head at last_. Here you have the Sacred
+History burlesqu'd, and _Sampson_ once more brought into the House of
+_Dagon_, to make sport for the _Philistines_! To draw towards an end of
+this _Play. Tattle_ would have carried off _Valentine_'s Mistress. This
+later, expresses his Resentment in a most Divine manner! Tattle _I thank
+you, you would have interposed between me and Heaven, but Providence has
+laid Purgatory in your way_.[146] Thus Heaven is debas'd into an Amour, and
+Providence brought in to direct the Paultry concerns of the _Stage!
+Angelica_ concludes much in the same strain: _Men are generally Hypocrites
+And Infidels, they pretend to Worship, but have neither Zeal, nor Faith;
+How few like_ Valentine _would persevere unto Martyrdom? &c._[147] Here you
+have the Language of the _Scriptures_, and the most solemn Instances of
+Religion, prostituted to Courtship and Romance! Here you have a Mistress
+made God Almighty, Ador'd with Zeal and Faith, and Worship'd up to
+Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady
+to say of her self. And had it not been for the profane Allusion, would
+have been cold enough in all Conscience.
+
+The _Provok'd Wife_ furnishes the Audience with a Drunken Atheistical
+Catch: 'Tis true this Song is afterwards said to be _Full of Sin and
+Impudence_.[148] But why then was it made? This Confession is a miserable
+_Salvo_; And the Antidote is much weaker than the Poyson: 'Tis just as if a
+Man should set a House in a Flame, and think to make amends by crying
+_Fire_ in the Streets. In the last _Act Rasor_ makes his Discovery of the
+Plot against _Belinda_ in _Scripture_ phrase. I'le give it the _Reader_ in
+the Authors Dialogue.
+
+Belind. _I must know who put you upon all this Mischief._[149]
+
+Rasor. _Sathan And his Equipage. Woman tempted me, Lust weaken'd,----And so
+the Devil overcame me: As fell_ Adam _so fell I_.
+
+Belind. _Then pray Mr._ Adam _will you make us acquainted with your_ Eve?
+
+_Rasor_ unmasks _Madamoselle_ and says, _This is the Woman that tempted me:
+But this is the Serpent_ (meaning Lady _Fanciful_) _that tempted the Woman;
+And if my Prayers might be heard, her punishment for so doing should be
+like the Serpents of old, &c._ This _Rasor_ in what we hear of him before,
+is all Roguery, and Debauch: But now he enters in _Sackcloth_; and talks
+like _Tribulation_ in the _Alchemist_. His Character is chang'd to make him
+the more profane; And his Habit, as well as Discourse, is a Jest upon
+Religion. I am forced to omit one Line of his Confession. The Design of it
+is to make the _Bible_ deliver an obscene Thought: And because the Text
+would not bend into a Lewd Application; He alters the words for his
+purpose, but passes it for Scripture still. This sort of Entertainment is
+frequent in the _Relapse_. Lord _Foplington_ laughs at the publick
+Solemnities of Religion, as if 'twas a ridiculous piece of Ignorance, to
+pretend to the Worship of a God. He discourses with _Berinthia_ and
+_Amanda_ in this manner[150]: _Why Faith Madam,----Sunday is a vile Day, I
+must confess. A man must have very little to do at Church that can give an
+account of the Sermon._ And a little after: _is to mind what one should not
+do. Lory_ tells young _Fashion, I have been in a lamentable Fright ever
+since that Conscience had the Impudence to intrude into your Company_. His
+Master makes him this Comfortable Answer. _Be at peace, it will come no
+more:----I have kick'd it down stairs._ A little before he breaks out into
+this Rapture. Now Conscience I defie thee![151] By the way we may observe,
+that this young _Fashion_ is the _Poets_ Favorite.[152] _Berinthia_ and
+_Worthy_, two _Characters_ of Figure, determine the point thus in defence
+of Pimping.
+
+Berinth. _Well, I would be glad to have no Bodies Sins to answer for but my
+own. But where there is a necessity_----[153]
+
+Worth. _Right as you say, where there is a Necessity; A Christian is bound
+to help his Neighbour._
+
+_Nurse_, after a great deal of Profane Stuff concludes her expostulation in
+these words: _But his Worship_ (_Young_ Fashion) _over-flows with his Mercy
+and his Bounty; He is not only pleas'd to forgive us our Sins----but which
+is more than all, has prevail'd with me to become the Wife of thy
+Bosom_:[154] This is very heavy, and ill dress'd. And an Atheist must be
+sharp set to relish it. The Vertuous _Amanda_, makes no scruple to charge
+the Bible with untruths.
+
+  --_What Slippery stuff are Men compos'd of?
+  Sure the Account of their Creation's false,
+  And 'twas the Womans Rib that they were form'd of._[155]
+
+Thus this Lady abuses her self, together with the Scripture, and shews her
+Sense, and her Religion, to be much of a Size.
+
+_Berinthia_, after she has given in a Scheme for the debauching _Amanda_,
+is thus accosted by _Worthy_: _Thou Angel of Light, let me fall down and,
+adore thee_![156] A most Seraphick Compliment to a Procuress! And 'tis
+possible some Angel or other, may thank him for't in due time.
+
+I am quite tired with these wretched Sentences. The sight indeed is
+horrible, and I am almost unwilling to shew it. However they shall be
+Produced like Malefactors, not for Pomp, but Execution. Snakes and Vipers,
+must sometimes be look'd on, to destroy them. I can't forbear expressing my
+self with some warmth under these Provocations. What Christian can be
+unconcern'd at such intolerable Abuses? What can be a juster Reason for
+indignation than Insolence and Atheism? Resentment can never be better
+shown, nor Aversion more seasonably exerted! Nature made the Ferment and
+Rising of the Blood, for such occasions as This. On what unhappy Times are
+we fallen! The Oracles of Truth, the Laws of Omnipotence, and the Fate of
+Eternity are Laught at and despis'd! That the _Poets_ should be suffer'd to
+play upon the _Bible_, and Christianity be Hooted off the _Stage_!
+Christianity that from such feeble beginings made so stupendious a
+progress! That over-bore all the Oppositions of Power, and Learning; and
+with Twelve poor Men, outstretch'd the Roman Empire. That this glorious
+Religion so reasonable in its Doctrine, so well attested by Miracles, by
+Martyrs, by all the Evidence that _Fact_ is capable of, should become the
+Diversion of the Town, and the Scorn of Buffoons! And where, and by whom is
+all this Out-rage committed? why not by _Julian_, or _Porphirie_, not among
+Turks or Heathens, but in a Christian Country, in a Reform'd Church, and in
+the Face of Authority! Well! I perceive the Devil was a Saint in his
+_Oracles_, to what he is in his _Plays_. His Blasphemies are as much
+improv'd as his Stile, and one would think the Muse was _Legion_! I suppose
+the _Reader_ may be satisfied already: But if he desires farther proof,
+there's something more flamingly impious behind.
+
+The Christian _Almeida_ when _Sebastian_ was in danger, Raves and Foames
+like one Possess'd,
+
+  _But is there Heaven, for I begin to doubt?[157]
+  Now take your swing ye impious Sin unpunish'd,
+  Eternal Providence seems over watch'd,
+  And with a slumbring Nod assents to Murther._
+
+In the next _page_, she bellows again much after the same manner. The
+_Double Dealer_ to say the least of him, follows his Master in this Road,
+_Passibus �quis_. Sr. _Paul Plyant_ one would think had done his part: But
+the ridiculing _Providence_ won't satisfie all People: And therefore the
+next attempt is somewhat bolder.
+
+_Sr._ Paul. _Hold your self contented my Lady_ Plyant,----_I find Passion
+coming upon me by Inspiration_.[158] In _Love Triumphant_, _Carlos_ is by
+the Constitution of the _Play_ a Christian;[159] and therefore must be
+construed in the sense of his Religion. This Man blunders out this horrible
+expression. _Nature has given me my Portion in Sense with a P---- to her.
+&c._ The _Reader_ may see the Hellish Syllable at Length if he pleases.
+This Curse is borrow'd for _Young Fashion_ in the _Relapse_.[160] The
+_Double Dealer_ is not yet exhausted. _Cynthia the Top Lady grows
+Thoughtful._ Upon the question she relates her Contemplation. Cynth. _I am
+thinking (says she) that tho' Marriage makes Man and Wife one Flesh, it
+leaves them two Fools._[161] This Jest is made upon a Text in
+_Genesis_,[162] and afterwards applyed by our Saviour to the case of
+Divorse. _Love for Love_ will give us a farther account of this Authors
+Proficiency in the _Scriptures_. Our Blessed Saviour affirms himself _to be
+the Way, the Truth, and the Light, that he came to bear witness to the
+Truth, and that his Word is Truth_. These expressions were remembred to
+good purpose. For _Valentine_ in his pretended Madness tells _Buckram_ the
+Lawyer; _I am Truth,----I am Truth----Who's that, that's out of his way, I
+am Truth, and can set him right._[163] Now a _Poet_ that had not been
+smitten with the pleasure of Blasphemy, would never have furnish'd Frensy
+with Inspiration; nor put our Saviours Words in the Mouth of a Madman.
+_Lady Brute_, after some struggle between Conscience and Lewdness, declares
+in Favour of the later. She says the _part of a downright Wife is to
+Cuckold her Husband_.[164] And tho' this is _against the strict Statute Law
+of Religion, yet if there was a Court of Chancery in Heaven, she should be
+sure to cast him_.[165]
+
+This Brass is double guilt. _First_, It supposes no Equity in Heaven. And
+_Secondly_, If there was, _Adultery_ would not be punish'd! The _Poet_
+afterwards acquaints us by this Lady, that Blasphemy is no Womans Sin.[166]
+Why then does she fall into it? Why in the mid'st of Temper and Reasoning?
+What makes him break in upon his own Rules? Is Blasphemy never unseasonable
+upon the Stage, And does it always bring its excuse along with it? The
+_Relapse_ goes on in the same strain. When Young _Fashion_ had a prospect
+of cheating his Elder Brother, he tells _Lory, Providence thou see'st at
+last takes care of Men of Merit.[167] Berinthia_ who has engag'd to corrupt
+_Amanda_ for _Worthy_; attacks her with this Speech, _Mr_. Worthy _used you
+like A Text, he took you all to peices_,[168] and it seems was particular
+in her Commendation, Thus she runs on for several Lines, in a Lewd, and
+Profane Allegory. In the Application she speaks out the Design, and
+concludes with this pious Exhortation! _Now consider what has been said,
+and Heaven give you Grace to put it in practise_; that is to play the
+Whore. There are few of these last Quotations, but what are plain
+Blasphemy, and within the _Law_. They look reeking as it were from
+_Pand�monium_, and almost smell of Fire and Brimstone. This is an Eruption
+of Hell with a witness! I almost wonder the smoak of it has not darken'd
+the Sun, and turn'd the Air to Plague and Poyson! These are outrageous
+Provocations; Enough to arm all Nature in Revenge; To exhaust the
+Judgments, of Heaven, and sink the _Island_ in the Sea! What a spite have
+these Men to the God that made them. How do They Rebell upon his Bounty,
+and attack him with his own Reason? These Giants in Wickedness, how would
+they ravage with a Stature Proportionable? They that can Swagger in
+Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had
+Strength to their Good-Will? And what can be the Ground of this Confidence,
+and the Reason of such horrid Presumption? Why the _Scripture_ will best
+satisfie the question. _Because sentence against An Evil work is not
+excuted speedily, therefore the heart of the Sons of Men, is fully set in
+them to do Evil._[169]
+
+Clemency is weakness with some People; _And the Goodness of God which
+should lead them to Repentance, does but harden them the more_. They
+conclude he wants Power to punish, because he has patience to forbear.
+Because there is a Space between Blasphemy and Vengeance; and they don't
+perish in the Act of Defiance; Because they are not blasted with Lightning,
+transfixt with Thunder, and Guarded off with Devils, they think there's no
+such matter as a day of Reckoning. _But let no Man be Deceiv'd, God is not
+mock'd_;[170] not without danger they may be assur'd. Let them retreat in
+time, before the _Floods run over them_: Before they come to that place,
+where Madness will have no Musick, nor Blasphemy any Diversion.
+
+And here it may not be amiss to look a little into the Behaviour of the
+_Heathens_. Now 'tis no wonder to find them run riot upon this Subject. The
+Characters of their Gods were not unblemish'd. Their prospect of the other
+World, was but dim; neither were they under the Terrors of _Revelation_.
+However, they are few of them so bad as the _Moderns_.
+
+_Terence_ does not run often upon this rock. 'Tis true _Ch�rea_ falls into
+an ill Rapture after his Success.[171] _Chremes_ bids his Wife not tire the
+Gods with Thanks:[172] And _�schinus_ is quite sick of the Religious part
+of the Weding.[173] These Instances; excepting his Swearing, are the most,
+(and I think near all the) exceptionable Passages of this _Author_.
+
+_Plautus_ is much more bold. But then his sally's are generally made by
+_Slaves_ and _Pandars_.
+
+This makes the Example less dangerous, and is some sort of extenuation. I
+grant this imperfect excuse wont serve him always. There are some Instances
+where his _Persons_ of better Figure are guilty of lewd Defences, Profane
+Flights, and Sawcy Expostulation.[174] But the _Roman_ Deities were
+_Beings_ of ill Fame, 'tis the less wonder therefore if the _Poets_ were
+familiar with them. However, _Plautus_ has something good in him, and
+enough to condemn the Practise. _Pleusides would gladly have had the Gods
+changed the method of Things, in some Particulars. He would have had frank
+good Humour'd People long live'd, and close-fisted Knaves die Young._ To
+this _Periplectimenes_ Gravely answers, _That 'tis great Ignorance, and
+Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of
+them_.[175] In his _Pseudolus_ the Procurer _Ballio_ talks Profanely. Upon
+which _Pseudolus_ makes this Reflection. _This Fellow makes nothing of
+Religion, how can we trust him in other matters? For the Gods whom all
+People have the greatest reason to fear, are most slighted by him._[176]
+
+The Greek Tragedians are more staunch, and write nearer the Scheme of
+Natural Religion. 'Tis true, they have some bold expressions: But then they
+generally reprove the Liberty, and punish the Men. _Prometheus_ in
+_�schylus_ blusters with a great deal of Noise, and Stubborness.[177] He is
+not for changing Conditions with _Mercury_: And chuses rather to be
+miserable, than to submit even to _Jupiter_ himself. The _Chorus_ rebuke
+him for his Pride, and threaten him with greater Punishment. And the _Poet_
+to make all sure brings him to Execution before the end of the _Play_. He
+discharges Thunder and Lightning at his Head; shakes his Rock with an
+Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of
+Nature to make him an example. In his _Expedition against Thebes_,
+_Eteocles_ expects _Capaneus_ would be destroy'd for his Blasphemies.[178]
+Which happen'd accordingly. On the other hand; _Amphiaraus_ being a person
+of Virtue, and Piety, they are afraid least he should succeed. _For a
+Religious Enemy is almost invincible._[179] _Darius_'s Ghost lays
+_Xerxes_'s ruin upon the excess of his Ambition, _'Twas, because he made a
+Bridge over the_ Hellespont, _used_ Neptune _contumeliously, and, thought
+himself Superiour to Heaven._[180] This Ghost tells the _Chorus that the
+Persian Army miscarried for the out-rages they did to Religion, for
+breaking down the Altars, and plundering the Gods_.[181]
+
+_Ajax_'s Distraction is represented as judicial in _Sophocles_. 'Twas
+inflicted for his _Pride_ and _Atheism_.[182] 'When his Father bid him be
+brave but Religious withall, he haughtily replyed that 'twas, for Cowards
+to beg the Assistance of the Gods; as for his part, he hoped to Conquer
+without them. And when _Minerva_ encouraged him to charge the Enemy,
+
+  [Greek: To t' antiph�nei deinon arr�ton t' epos,]
+
+'He made her this Lewd and insufferable Answer. Pray withdraw, and give
+your Countenance elswhere, I want no Goddesses to help me do my Business.
+This Insolence made _Minerva_ hate him; and was the cause of his Madness
+and self Murther.' To proceed. The _Chorus_ condemns the Liberty of
+_Jocasta_, who obliquely charged a Practise upon the _Oracle_:[183] Tho'
+after all, she did not tax _Apollo_, but his Ministers.
+
+The same _Chorus_ recommends Piety, and Relyance upon the Gods, and
+threatens Pride and Irreligion with Destruction. In _Antigone_,[184]
+_Tiresias_ advises _Creon_ to wave the Rigour of his _Edict_, And not let
+the Body of _Polynices_ lie unburied, and expos'd. He tells him the Altars
+were already polluted with Humane Flesh. This had made the Language of the
+Birds unintelligible, and confounded the marks of _Augury_.[185] _Creon_
+replies in a rage, and says he would not consent to the Burial of
+_Polynices_: No, tho' 'twere to prevent the Eagle's throwing part of the
+Carkass in _Jove_'s _Chair_ of _State_. This was a bold Flight; but 'tis
+not long before he pays for't. Soon after, his Son, and Queen, kill
+themselves. And in the close the Poet who speaks in the _Chorus_, explains
+the Misfortune, and points upon the Cause, and affirms that _Creon_ was
+punish'd for his Haughtiness and Impiety. To go on to his _Trachini�_.
+_Hercules_ in all the extremity of his Torture does not fall foul upon
+Religion. 'Tis true, He shows as much Impatience as 'tis possible. His
+Person, his pain, and the Occasion of it, were very extraordinary. These
+circumstances make it somewhat natural for him to complain above the common
+rate. The Greatness of his Spirit, the Feavour of his Blood, and the Rage
+of his Passion, could hardly fail of putting Force, and Vehemence into his
+Expressions. Tho' to deal clearly he seems better furnish'd with Rhetorick,
+than true Fortitude.[186] But after all, his Disorders are not altogether
+ungovern'd. He is uneasy, but not impious, and profane.
+
+I grant _Hercules Oeteus_ in _Seneca_, swaggers at a strange Rhodomontading
+rate. But the Conduct of this Author is very indifferent. He makes a meer
+_Salamander_ of his _Hero_, and lets him declaim with too much of Length,
+Curiosity and Affectation, for one in his Condition: He harangues it with
+great plenty of Points, and Sentences in the Fire, and lies frying, and
+Philosophizing for near a hundred Lines together. In fine, this Play is so
+injudiciously manag'd, that _Heinsius_ is confident 'twas written by
+neither of the _Seneca's_, but by some later Author of a lower _Class_. To
+return to _Sophocle_'s _Trachini�_. _Hyllus_ reproaches the Gods with
+Neglect, because they gave _Hercules_ no Assistance, and glances upon
+_Jupiter_ himself.[187] This sally is not so thoroughly corrected as
+formerly. 'Tis true the _Chorus_ make some little satisfaction immediately
+after. They resolve all surprizes of Misfortune, all Revolutions of States
+or Families, into the will and Permission of _Jupitur_. This by
+implication, They make an argument for acquiescence. Besides, the Poet had
+laid in a sort of caution against Misconstruction before. For the
+_Messenger_ tells _Dejaneira_ that we ought not to Murmur at the Conduct of
+_Jupiter_.[188]
+
+  ----[Greek: Tou logou d' ou chr� Phthonon]
+  [Greek: Gonai proseinai Zeus hotou prakt�r phan�.]
+
+This for a Heathen is something tho' not enough, _Cleomenes_'s Rant seems
+an imitation of _Hyllus_, Only 'tis bolder, and has nothing of the rashness
+of Youth to excuse it.[189] Besides _Sophocles_ throws in somewhat by way
+of Preservative. Whereas in _Cleomenes_ the Boy _Cleonidas_ has the better
+on the wrong side, and seems to carry the cause of Atheism against his
+Father.[190] This _Scene_ of a _Famine_ Mr. _Dryden_ calls a Beauty; and
+yet Methinks _Cleora_ is not very Charming! Her part is to tell you the
+Child suck'd to no purpose.
+
+  _It pull'd and pull'd but now but nothing came,
+  At last it drew so hard that the Blood follow'd.
+  And that Red Milk I found upon its Lips,
+  Which made me swoon for Fear._[191]
+
+There's a Description of Sucking for you! And truly one would think the
+Muse on't were scarsely wean'd. This Lady's fancy is just
+_Slip-Stocking-high_; and she seems to want Sense, more than her Breakfast.
+If this Passage would not shine, the Poet should have let it alone. 'Tis
+_Horace_'s advice.
+
+                    ----_et qu�
+  Desperes tractata nitescere posse relinquas._[192]
+
+The greatest part of the Life of this _Scene_ is spent in impious Rants,
+and Atheistical Disputes. To do the Author right, his _Characters_ never
+want Spirits for such Service, either full or Fasting. Some people love to
+say the worst Things in the best manner; To perfume their Poysons, and give
+an Air to Deformity.
+
+There is one ill Sentence in _Sophocles_ behind. _Philoctetes_ calls the
+Gods [Greek: Kakoi], and Libells their Administration.[193] This Officer we
+must understand was left upon a Solitary Island, ill used by his Friends,
+and harrass'd with Poverty and Ulcers, for Ten years together. These, under
+the Ignorance of Paganism, were trying Circumstances, and take off somewhat
+of the Malignity of the Complaint. Afterwards He seems to repent,[194] and
+declares his Assurance that the Gods will do Justice, and prays frequently
+to them. The Conclusion of this Play is remarkably Moral. Here _Hercules_
+appears in _Machine_; aquaints _Philoctetes_ with his own glorious
+Condition; That his Happiness was the Reward of Virtue, and the Purchase of
+Merit. He charges him to pay a due regard to Religion; For Piety would
+recommend him to _Jupiter_ more than any other Qualification. It went into
+the other World with People and they found their Account in't both Living
+and Dead.[195]
+
+Upon the whole; The _Plays_ of _�schylus_ and _Sophocles_ are formed upon
+Models of Virtue: They joyn Innocence with Pleasure, and design the
+Improvement, of the _Audience_.
+
+In _Euripides's Bacch�, Pentheus_ is pull'd in pieces for using _Bacchus_
+with Disrespect. And the _Chorus_ observes that God never fails to punish
+Impiety, and Contempt of Religion.[196] _Polyphemus_ blusters
+Atheistically, and pretends to be as great as _Jupiter_: But then his Eye
+is burnt out in the fifth Act.[197] And the _Chorus_ in _Heraclid�_ affirm
+it next to Madness not to worship the Gods. I grant he has some profane
+Passages stand uncorrected, and what wonder is it to see a _Pagan_
+Miscarry? _Seneca_, as he was inferiour in Judgment to the _Greeks_, so he
+is more frequent, and uncautious, in his Flights of extravagance. His
+Hero's and Heroines, are excessively bold with the Superior Beings. They
+rave to Distraction, and he does not often call them to an account for't.
+'Tis true _Ajax Oileus_ is made an Example for Blaspheming in a Storm. He
+is first struck with Thunder, and then carried to the Bottom.[198] The
+Modern _Poets_, proceed upon the Liberties of _Seneca_, Their Madmen are
+very seldom reckon'd with. They are profane without Censure, and defie the
+_Living God_ with success. Nay, in some respect they exceed even _Seneca_
+himself. He flies out only under Impatience; And never falls into these
+Fits without Torture, and hard Usage. But the _English Stage_ are
+unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But
+supposing the _Theatres_ of _Rome_, and _Athens_ as bad as possible, what
+Defence is all This? Can we argue from _Heathenism_ to _Christianity_? How
+can the _practise_ be the same, where the _Rule_ is so very different? Have
+we not a clearer Light to direct us, and greater Punishments to make us
+afraid. Is there no Distinction between Truth and Fiction, between Majesty
+and a Pageant? Must God be treated like an Idol, and the _Scriptures_
+banter'd like _Homers Elysium_, and _Hesiods Theogonia_? Are these the
+Returns we make Him for his Supernatural Assistance? For the more perfect
+Discovery of Himself, the stooping of his Greatness, and the Wonders of his
+Love. Can't we refuse the Happiness without affronting the Offer? Must we
+add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no
+Diversion without Insulting the God that made us, the Goodness that would
+save us, and the Power that can damn us? Let us not flatter our selves,
+_Words_ won't go for Nothing. Profaness is a most Provoking Contempt, and a
+Crime of the deepest dye. To break through the Laws of a Kingdom is bad
+enough; But to make _Ballads_ upon the _Statute-Book_, and a Jest of
+Authority, is much worse. Atheists may fancy what they please, but God will
+_Arise and Maintain his own Cause_, and Vindicate his Honour in due time.
+
+To conclude. Profaness tho' never so well corrected is not to be endured.
+It ought to be Banish'd without _Proviso_, or Limitation. No pretence of
+_Character_ or Punishment, can excuse it; or any _Stage-Discipline_ make it
+tolerable. 'Tis grating to _Christian_ Ears, dishonourable to the Majesty
+of God, and dangerous in the Example. And in a Word, It tends to no point,
+unless it be to wear off the horrour of the Practise, to weaken the force
+of Conscience, and teach the Language of the Damn'd.
+
+
+
+
+CHAP. III.
+
+_The Clergy abused by the_ Stage.
+
+
+The Satyr of the _Stage_ upon the _Clergy_ is extreamly Particular. In
+other cases, They level at a single Mark, and confine themselves to
+Persons. But here their Buffoonry takes an unusual Compass; They shoot
+Chain'd-shot, and strike at Universals. They play upon the _Character_, and
+endeavour to expose not only the Men, but the Business. 'Tis true, the
+Clergy are no small Rub in the _Poets_ way. 'Tis by their Ministrations
+that Religion is perpetuated, the other World Refresh'd, and the Interest
+of Virtue kept up. Vice will never have an unlimited Range, nor Conscience
+be totally subdued, as long as People are so easy as to be Priest-ridden!
+As long as these Men are look'd on as the Messengers of Heaven, and the
+Supports of Government, and enjoy their old Pretentions in Credit and
+Authority; as long as this Grievance continues, the _Stage_ must decline of
+Course, and Atheism give Ground, and Lewdness lie under Censure, and
+Discouragment. Therefore that Liberty may not be embarrass'd, nor
+Principles make Head against Pleasure, the _Clergy_ must be attack'd, and
+rendred Ridiculous.
+
+To represent a Person fairly and without disservice to his Reputation, two
+Things are to be observ'd. First He must not be ill used by others: Nor
+Secondly be made to Play the Fool Himself. This latter way of Abuse is
+rather the worst, because here a Man is a sort of _Felo de se_; and appears
+Ridiculous by his own fault. The Contradiction of both these Methods is
+practised by the _Stage_. To make sure work on't, they leave no stone
+unturn'd, The whole _Common place_ of Rudeness is run through. They strain
+their Invention and their Malice: And overlook nothing in ill Nature, or
+ill Manners, to gain their point.
+
+To give some Instances of their Civility! In the _Spanish Fryer, Dominick_
+is made a Pimp for _Lorenzo_;[199] He is call'd _a parcel of Holy Guts and
+Garbage_, and said _to have room in his Belly for his Church steeple_.
+
+_Dominick_ has a great many of these Compliments bestow'd upon him. And to
+make the Railing more effectual, you have a general stroke or two upon the
+Profession. Would you know what are the _Infallible Church Remedies_. Why
+'tis to _Lie Impudently_, and _Swear Devoutly_.[200] A little before this
+_Dominick_ Counterfits himself sick, retires, and leaves _Lorenzo_ and
+_Elvira_ together; And then the Remark upon the Intrigue follows. 'You see
+Madam (says _Lorenzo_)[201] 'tis Interest governs all the World. He
+Preaches against Sin, why? Because he gets by't: He holds his Tongue; why?
+because so much more is bidden for his Silence. 'Tis but giving a Man his
+Price, and Principles of _Church_ are bought off as easily as they are in
+_State_: No man will be a Rogue for nothing; but Compensation must be made,
+so much Gold for so much Honesty; and then a Church-man will break the
+Rules of Chess. For the Black Bishop, will skip into the White, and the
+White into the Black, without Considering whether the remove be Lawful.
+
+At last _Dominick_ is discover'd to the Company, makes a dishonourable
+_Exit_, and is push'd off the _Stage_ by the Rabble. This is great Justice!
+The Poet takes care to make him first a Knave, and then an Example: But his
+hand is not even. For Lewd _Lorenzo_ comes off with _Flying Colours_. 'Tis
+not the Fault which is corrected but the Priest. The Authors Discipline is
+seldom without a Biass. He commonly gives the _Laity_ the Pleasure of an
+ill Action, and the _Clergy_ the Punishment.
+
+To proceed. _Horner_ in his general Remarks upon Men, delivers it as a sort
+of Maxim, _that your Church-man is the greatest Atheist_. In this Play
+_Harcourt_ puts on the Habit of a Divine.[202] _Alithea_ does not think him
+what he appears; but _Sparkish_ who could not see so far, endeavours to
+divert her Suspicion. _I tell you (says he) this is Ned_ Harcourt _of_
+Cambridge, _you see he has a sneaking Colledge look_.[203] Afterwards his
+Character is sufficiently abused by _Sparkish_ and _Lucy_; but not so much
+as by Himself.[204] He tells you in an _Aside_ _he must suit his Stile to
+his Coat_. Upon this wise Recollection, He talks like a servile,
+impertinent Fop,
+
+In the _Orphan_, The Young Soldier _Chamont_ calls the Chaplain Sr.
+_Gravity_, and treats him with the Language of _Thee_, and _Thou_. The
+Chaplain instead of returning the Contempt; Flatters _Chamont_ in his
+Folly, and pays a Respect to his Pride. The Cavalier encouraged I suppose
+by this Sneaking, proceeds to all the Excesses of Rudeness,
+
+  ----_is there not one
+  Of all thy Tribe that's Honest in your School?
+  The Pride of your Superiours makes ye Slaves:
+  Ye all live Loathsome, Sneaking, Servile lives:
+  Not free enough to Practise generous Truth,
+  'Tho ye pretend to teach it to the World._[205]
+
+After a little Pause for Breath, the Railing improves.
+
+  _If thou wouldst have me not contemn thy Office,
+  And Character, think all thy Brethren Knaves,
+  Thy Trade a Cheat, and thou its worst Professour
+  Inform me; for I tell thee Priest I'le know._[206]
+
+The Bottom of the Page is down-right Porters Rhetorick.
+
+  _Art thou then
+  So far concern'd in't?----
+  Curse on that formal steady Villains Face!
+  Just so do all Bawds look; Nay Bawds they say;
+  Can Pray upon Occasion; talk of Heaven;
+  Turn up their Gogling Eye-balls, rail at Vice;
+  Dissemble, Lye, and Preach like any Priest,
+  Art thou a Bawd?_[207]
+
+The _Old Batchelour_ has a Throw at the _Dissenting Ministers_. The _Pimp
+Setter_ provides their Habit for _Bellmour_ to Debauch _L�titia_. The
+Dialogue runs thus.
+
+Bell. _And hast thou Provided Necessaries?_
+
+Setter. _All, all Sir, the large Sanctified Hat, and the little precise
+Band, with a Swingeing long Spiritual Cloak, to cover Carnal Knavery,--not
+forgetting the black Patch which Tribulation_ Spintext _wears as I'm
+inform'd upon one Eye, as a penal Mourning for the----Offences of his
+Youth_ &c.[208]
+
+_Barnaby_ calls another of that Character Mr. _Prig_, and _Fondlewife_
+carrys on the Humour lewdly in _Play-house Cant_; And to hook the _Church_
+of _England_ into the Abuse, he tacks a _Chaplain_ to the End of the
+Description.[209]
+
+_Lucy_ gives an other Proof of the _Poets_ good Will, but all little
+Scurilities are not worth repeating.[210]
+
+In the _Double Dealer_ the discourse between _Maskwell_ and _Saygrace_ is
+very notable. _Maskwell_ had a design to cheat _Mellifont_ of his Mistress,
+and engages the Chaplain in the Intrigue: There must be a _Levite_ in the
+cafe; _For without one of them have a finger in't, no Plot publick, or
+private, can expect to prosper_.[211]
+
+To go on in the order of the _Play_.
+
+_Maskwell_ calls out at _Saygraces door_, Mr. _Saygrace_ Mr. _Saygrace_.
+
+The other answers, _Sweet sir I will but pen the last line of an Acrostick,
+and be with you in the twingling of an Ejaculation, in the pronouncing of
+an_ Amen. _&c._
+
+Mask. _Nay good Mr._ Saygrace _do not prolong the time_, &c.
+
+Saygrace. _You shall prevail, I would break off in the middle of a Sermon
+to do you Pleasure._
+
+Mask. _You could not do me a greater----except----the business in
+hand----have you provided a Habit for Mellifont?_
+
+Saygr. _I have_, &c.
+
+Mask. _have you stich'd the Gownsleeve, that he may be puzled and wast time
+in putting it on?_
+
+Saygr. _I have; the Gown will not be indued without Perplexity._ There is a
+little more profane, and abusive stuff behind, but let that pass.
+
+The Author of _Don Sebastian_ strikes at the _Bishops_ through the sides of
+the _Mufti_, and borrows the Name of the _Turk_, to make the _Christian_
+ridiculous. He knows the transition from one Religion to the other is
+natural, the Application easy, and the Audience but too well prepar'd. And
+should they be at a loss he has elsewhere given them a _Key_ to understand
+him.
+
+  _For Priests of all Religions are the same._[212]
+
+However that the Sense may be perfectly intelligible, he makes the
+Invective General, changes the Language, and rails in the stile of
+Christendom.
+
+_Benducar_ speaks,
+
+  ----_Churchmen tho' they itch to govern all,
+  Are silly, woful, awkard Polititians,
+  They make lame Mischief tho' they mean it well._
+
+So much the better, for 'tis a sign they are not beaten to the Trade. The
+next Lines are an Illustration taken from a _Taylor_.
+
+  _Their Intrest is not finely drawn and hid,
+  But seams are coarsly bungled up and seen._[213]
+
+This _Benducar_ was a rare Spokesman for a first _Minister_; And would have
+fitted _John_ of _Leyden_ most exactly!
+
+In the Fourth _Act_ the Mufti is _Depos'd_ and _Captain Tom_ reads him a
+shrewd Lecture at parting. But let that pass:
+
+To go on, _Mustapha_ threatens his great Patriark to put him to the Rack.
+Now you shall hear what an answer of Fortitude and Discretion is made for
+the _Mufti_.
+
+Mufti. _I hope you will not be so barbarous to torture me. We may Preach
+Suffering to others, but alas holy Flesh is too well pamper'd to endure
+Martyrdom._[214] By the way, if flinching from _Suffering_ is a proof of
+_Holy Flesh_, the _Poet_ is much a Saint in his Constitution, witness his
+_Dedication_ of _King Arthur_.
+
+In _Cleomenes, Cassandra_ rails against Religion at the Altar, and in the
+midst of a publick Solemnity.
+
+  _Accurs'd be thou Grass-eating fodderd God!
+  Accurs'd thy Temple! more accurs'd thy Priests!_[215]
+
+She goes on in a mighty Huff, and charges the Gods and Priesthood with
+Confederacy, and Imposture, This Rant is very unlikely at _Alexandria_. No
+People are more bigotted in their Superstition than the _�gyptians_; Nor
+any more resenting of such an Affront. This Satyr then must be strangely
+out of Fashion, and probability. No matter for that; it may work by way of
+Inference, and be serviceable at Home. And 'tis a handsom Compliment to
+Libertines and Atheists.
+
+We have much such another swaggering against Priests in _Oedipus_.
+
+  _Why seek I Truth from thee?
+  The smiles of Courtiers and the Harlots tears,
+  The Tradesmens Oaths, and Mourning of an Heir,
+  Are Truths to what Priests tell.
+  O why has Priesthood privilege to Lie,
+  And yet to be believ'd!_[216]
+
+And since They are thus Lively, I have one word or two to say to the
+_Play_.
+
+When _�geon_ brought the News of King _Polybus_'s Death, _Oedipus_ was
+wonderfully surpriz'd at the Relation.
+
+  _O all ye Powers is't possible? what, Dead!_[217]
+
+And why not? was the Man invulnerable or immortal? Nothing of that: He was
+only Fourscore and Ten years old, that was his main security. And if you
+will believe the Poet he
+
+  _Fell like Autumn Fruit that mellow'd long,
+  Ev'n wondred at because he dropt no sooner._[218]
+
+And which is more, _Oedipus_ must be acquainted with his Age, having spent
+the greatest part of his time with him at _Corinth_. So that in short, the
+pith of the Story lies in this Circumstance. A Prince of Ninety years was
+dead, and one who was wondred at for dying no sooner. And now why so much
+Exclamation upon this occasion? Why must all the _Powers_ in Being be
+Summon'd in to make the News Credible? This _Posse_ of _Interjections_
+would have been more seasonably raised if the Man had been alive; for that
+by the Poets Confession had been much the stranger Thing. However _Oedipus_
+is almost out of his Wits about the Matter, and is Urgent for an account of
+Particulars.
+
+  _That so the Tempest of my joys may rise
+  By just degrees, and hit at last the Stars._[219]
+
+This is an empty ill proportion'd Rant, and without warrant in Nature or
+Antiquity. _Sophocles_ does not represent _Oedipus_. in such Raptures of
+Extravagant surprize. In the next page there's another Flight about
+_Polybus_ his Death somewhat like This. It begins with a _Noverint
+Universi._ You would think _Oedipus_ was going to make a _Bond_.
+
+  _Know, be it known to the limits of the World_;
+
+This is scarce Sence, be it known.
+
+  _Yet farther, let it pass yon dazling roof
+  The Mansion of the Gods, and strike them deaf
+  With Everlasting peals of Thundring joy._
+
+This Fustian puts me in mind of a _Couplet_ of _Taylors_ the _Water_ Poet,
+which for the Beauty of the Thought are not very unlike.
+
+  _What if A Humble Bee should chance to strike,
+  With the But-End of an Antartick Pole._
+
+I grant Mr. _Dryden_ clears himself of this _Act_ in his _Vindication_ of
+the _Duke_ of _Guise_. But then why did he let these crude Fancies pass
+uncorrected in his Friend? Such fluttering ungovern'd Transports, are
+fitter for a Boys _Declamation_ then a _Tragedy_. But I shall trouble my
+self no farther with this _Play_. To return therefore to the Argument in
+Hand. In the _Provok'd Wife_ Sir _John Brute_ puts on the Habit of a
+Clergyman, counterfeits himself drunk; quarrels with the _Constable_, and
+is knock'd down and seiz'd. He rails, swears, curses, is lewd and profane,
+to all the Heights of Madness and Debauchery: The _Officers_ and _Justice_
+break jests upon him, and make him a sort of Representative of his
+_Order_.[220]
+
+This is rare _Protestant_ Diversion, and very much for the Credit of the
+_Reformation_! The Church of _England_, I mean the Men of Her, is the only
+Communion in the World, that will endure such Insolences as these: The
+_Relapse_ is if possible more singularly abusive. _Bull_ the Chaplain
+wishes the Married couple joy, in Language horribly Smutty and
+Profane.[221] To transcribe it would blot the Paper to much. In the next
+_Page_ _Young Fashion_ desires _Bull_ to make hast to Sr. _Tun-belly_. He
+answers very decently, _I fly my good Lord_.[222] At the end of this _Act
+Bull_ speaks to the Case of _Bigamy_, and determines it thus. _I do confess
+to take two Husbands for the Satisfaction of ---- is to commit the Sin of
+Exorbitancy, but to do it for the peace of the Spirit, is no more then to
+be Drunk by way of Physick; besides to prevent a Parents wrath is to avoid
+the Sin of Disobedience, for when the Parent is Angry, the Child is
+froward_: The Conclusion is insolently Profane, and let it lie: The spirit
+of this Thought is borrow'd from Ben _Johnsons_ _Bartholomew-Fair_, only
+the Profaness is mightily improved, and the Abuse thrown off the _Meeting
+House_, upon the _Church_. The Wit of the _Parents being angry_, and the
+_Child froward_, is all his own.[223] _Bull_ has more of this Heavy stuff
+upon his Hands. He tells _Young Fashion_ _Your Worships goodness is
+unspeakable, yet there is one thing seems a point of Conscience; And
+Conscience is a tender Babe_. &c.[224]
+
+These _Poets_ I observe when They grow lazy, and are inclined to Nonsence,
+they commonly get a Clergy-man to speak it. Thus they pass their own
+Dulness for Humour, and gratifie their Ease, and their Malice at once.
+_Coupler_ instructs _Young Fashion_ which way _Bull_ was to be managed. He
+tells him as _Chaplains go now, he must be brib'd high, he wants Money,
+Preferment, Wine, and a Whore. Let this be procured for him, and I'll
+warrant thee he speaks Truth like an Oracle_.[225]
+
+A few Lines forward, the Rudeness is still more gross, and dash'd with
+Smut, the common _Play-house_ Ingredient. 'Tis not long before _Coupler_
+falls into his old Civilities. He tells _Young Fashion, Last Night the
+Devil run away with the Parson of_ Fatgoose _Living_.[226] Afterwards
+_Bull_ is plentifully rail'd on in down right _Billings-gate_: made to
+appear Silly, Servile, and Profane; and treated both in Posture and
+Language, with the utmost Contempt.[227]
+
+I could cite more _Plays_ to this purpose; But these are sufficient to show
+the Temper of the _Stage_.
+
+Thus we see how hearty these People are in their Ill Will! How they attack
+Religion under every Form, and pursue the Priesthood through all the
+Subdivisions of Opinion. Neither _Jews_ nor _Heathens, Turks_ nor
+_Christians_, _Rome_ nor _Geneva_, _Church_ nor _Conventicle_, can escape
+them. They are afraid least Virtue should have any Quarters undisturbed,
+Conscience any Corner to retire to, or God be Worship'd in any Place. 'Tis
+true their Force seldom carries up to their Malice: They are too eager in
+the Combat to be happy in the the Execution. The Abuse is often both gross
+and clumsey, and the Wit as wretched as the Manners. Nay Talking won't
+always satisfy them. They must ridicule the _Habit_ as well as the
+Function, of the Clergy. 'Tis not enough for them to play the Fool unless
+they do it in _Pontificalibus_. The Farce must be play'd in a Religious
+Figure, and under the Distinctions of their Office! Thus the Abuse strikes
+stronger upon the sense; The contempt is better spread, and the little
+_Idea_ is apt to return upon the same Appearance.
+
+And now does this Rudeness go upon any Authorities? Was the Priesthood
+alwaies thought thus insignificant, and do the Antient Poets palt it in
+this Manner? This Point shall be tried, I shall run through the most
+considerable Authors that the Reader may see how they treat the Argument.
+_Homer_ stands highest upon the Roll, and is the first Poet both in Time,
+and Quality; I shall therefore begin with him. Tis true he wrote no
+_Plays_; but for Decency, Practise, and general Opinion, his Judgment may
+well be taken, Let us see then how the _Priests_ are treated in his _Poem_,
+and what sort of Rank they hold.
+
+_Chryses Apollo_'s Priest appears at a Council of War with his Crown and
+guilt Scepter. He offers a valuable Ransom for his Daughter; and presses
+his Relation to _Apollo_. All the Army excepting _Agamemnon_ are willing to
+consider his Character, and comply with his Proposals. But this _General_
+refuses to part with the Lady, and sends away her Father with disrespect.
+_Apollo_ thought himself affronted with this Usage, and revenges the
+Indignity in a Plague.
+
+  [Greek: Houneka ton Chrys�n �tim�s' ar�t�ra][228]
+  [Greek: Atreid�s.]
+
+_Adrastus_ and _Amphius_ the Sons of _Merops_ a _Prophet_, commanded a
+considerable extent of Country in _Troas_,[229] and brought a Body of Men
+to King _Priam's_ Assistance.[230] And _Ennomus_ the Augur commanded the
+Troops of _Mysia_ for the Besieged.
+
+_Phegeus_ and _Id�us_ were the Sons of _Dares_ the Priest of _Vulcan_.[231]
+They appear in an Equipage of Quality, and charge _Diomedes_ the third Hero
+in the _Grecian_ Army. _Id�us_ after the Misfortune of the Combat, is
+brought off by _Vulcan_. _Dolopion_ was _Priest_ to _Scamander_,[232] and
+regarded like the God he _Belong'd_ to,
+
+  [Greek: Theos d' h�s tieto d�m�.][233]
+
+_Ulisses_ in his return from _Troy_, took _Ismarus_ by Storm, and makes
+Prize of the whole Town, excepting _Maron_, and his Family. This _Maron_
+was _Apollo's Priest_, and preserv'd out of respect to his Function: He
+presents _Ulisses_ nobly in Gold, Plate, and Wine; And this Hero makes an
+honourable Mention of him, both as to his Quality, and way of Living.[234]
+
+These are all the _Priests_ I find Mentioned in _Homer_; And we see how
+fairly the Poet treats them, and what sort of Figure they made in the
+World.
+
+To the Testimony of _Homer_, I shall joyn that of _Virgil_, who tho' He
+follows at a great distance of Time, was an Author of the first Rank, and
+wrote the same kind of Poetry with the other. Now _Virgil_ tho' he is very
+extraordinary in his Genius, in the Compass of his Learning, in the Musick
+and Majesty of his Stile; yet the exactness of his Judgment seems to be his
+peculiar, and most distinguishing Talent. He had the truest Relish
+imaginable, and always described Things according to _Nature_, _Custom_,
+and _Decency_. He wrote with the greatest Command of _Temper_, and
+_Superiority_ of good _Sense_. He is never lost in smoak and Rapture, nor
+overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at
+the same time. Now this great Master of Propriety never Mentions any
+_Priests_ without some _Marks_ of _Advantage_. To give some Instances as
+they lie in Order.
+
+When the _Trojans_ were consulting what was to be done with the
+_Wooden-Horse_, and some were for lodging it within the Walls; _Laocoon_
+appears against this Opinion at the Head of a numerous Party, harangues
+with a great deal of Sense, and Resolution, and examines the _Machine_ with
+his Lance. In fine, He advised so well, and went so far in the Discovery of
+the Stratagem; that if the _Trojans_ had not been ungovernable, and as it
+were stupified by Fate and Folly, he had saved the Town.[235]
+
+  _Trojaque nunc stares Priamique arx alta maneres_.
+
+This _Laocoon_ was _Neptunes_ Priest, and either Son to _Priam_, or Brother
+to _Anchises_, who was of the Royal Family.[236] The next we meet with is
+_Pantheus Apollo's_ Priest. He is call'd _Pantheus Otriades_, which is an
+argument his Father was well known. His acquaintance with _�neas_ to whose
+House he was carrying his little Grandson, argues him to be a Person of
+Condition.[237] _Pantheus_ after a short relation of the Posture of
+Affairs, joyns _�neas_'s little Handful of Men, charges in with him when
+the Town was seiz'd, and fired, and at last dies Handsomly in the
+Action.[238]
+
+The next is _Anius_ King of _Delos_, Prince and _Priest_ in one Person.
+
+  _Rex Anius, rex idem hominum Phoebique Sacerdos._[239]
+
+When _�neas_ was outed at _Troy_, and in quest of a new Country, he came to
+an Anchor at _Delos_; _Anius_ meets him in a Religious Habit, receives him
+civilly, and obliges him with his _Oracle_.[240] In the Book now Mention'd
+we have another of _Apollo's_ Priests, his name is _Helenus_, Son of
+_Priam_ and King of _Chaonia_. He entertains _�neas_ with a great deal of
+Friendship, and Magnificence, gives him many material Directions, and makes
+him a rich Present at parting. To this Prince if you Please we may joyn a
+Princess of the same Profession; and that is _Rhea Silvia_ Daughter to
+_Numitor_ King of _Alba_, and Mother to _Romulus_, and _Remus_. This Lady
+_Virgil_ calls----_regina Sacerdos_ a Royal Priestess.[241] Farther. When
+_�neas_ made a Visit upon Business to the _shades Below_, He had for his
+Guide, the famous _Sibylla Cum�a_, who Belong'd to _Apollo_.[242] When he
+came thither amongst the rest of his Acquantance he saw _Polyb�tes_ a
+Priest of _Ceres_. This _Polyb�tes_ is mention'd with the three Sons of
+_Antenor_, with _Glaucus_, and _Thersilochus_, who Commanded in Cheif in
+the _Trojan Auxiliaries_: So that you may know his Quality by his Company.
+When _�neas_ had passed on farther, he saw _Orpheus_ in _Elysium_: The Poet
+calls him the _Thracian_ Priest. There needs not be much said of _Orpheus_;
+He is famous for his skill in Musick, Poetry, and Religious
+Ceremonies,[243] He was one of the Hero's of Antiquity, and a principal
+Adventurer in the Expedition for the _Golden-Fleece_.
+
+In the Seventh _�neid_ the Poet gives in a List of the Princes, and General
+Officers who came into the Assistance of _Turnus_; Amongst the rest he
+tells you,
+
+  _Quin & Marrubia venit de gente Sacerdos,
+  Archippi regis missu fortissimus Umbro._
+
+This _Priest_ he commends both for his Courage and his skill in Physick,
+Natural Magick, and Phlosophy. He understood the Virtue of _Plants_, and
+could lay Passions and Poysons asleep. His death was extreamly regretted by
+his Country, who made a Pompous and Solemn Mourning for him.
+
+  _Te nemus Angiti�, vitrea te Fucinus unda,
+  Te liquidi flevere lacus._[244]
+
+The _Potitij_, and the _Pinarij_ Mention'd _�neid 8._[245] were as _Livy_
+observes, chosen out of the first Quality of the Country, and had the
+_Priesthood_ hereditary to their Family. To go on, _�monides_, and
+_Chloreus_ make a glittering Figure in the _Feild_, and are very remarkable
+for the Curiosity of their Armour, and Habit. _�monides_'s _Finery_ is
+passed over in general.
+
+  _Totus collucens veste atque insignibus armis._[246]
+
+But the Equipage of _Chloreus_ is flourish'd out at Length, and as I
+remember admired by _Macrobius_ as one of the Master peices of _Virgil_ in
+Description. In short; He is all Gold, Purple, Scarlet, and
+Embroydery;[247] and as rich as Nature, Art, and Rhetorick can make him. To
+these I might add _Rhamnes_, _Asylas_, and _Tolumnius_, who were all
+Persons of Condition, and had Considerable Posts in the Army.[248]
+
+It may be these last were not strictly _Priests_. Their Function was rather
+_Prophetick_. They interpreted the Resolutions of the Gods, by the voice of
+Birds, the Inspection of Sacrifices, and their Observations of Thunder.
+This made their Character counted Sacred, and their Relation to the Deity
+particular. And therefore the _Romans_ ranged them in the _Order_ of the
+_Priests_.[249]
+
+Thus we see the admired _Homer_, and _Virgil_, always treat the _Priests_
+fairly, and describe them in Circumstances of Credit: If 'tis said that the
+Instances I have given are mostly in Names of _Fiction_, and in Persons who
+had no Being, unless in the Poets fancy. I answer, I am not concern'd in
+the History of the Relation. Whether the Muster is true or false, 'tis all
+one to my purpose. This is certain, had the _Priests_ been People of such
+slender Consideration as our _Stage Poets_ endeavour to make them; they
+must have appear'd in a different Figure; or rather have been left out as
+too little for that sort of _Poem_. But _Homer_ and _Virgil_ had other
+Sentiments of Matters: They were governed by the Reason of Things, and the
+common usage of the World. They knew the _Priesthood_ a very reputable
+Employment, and always esteem'd as such. To have used the _Priests_ ill,
+They must have call'd their own Discretion in question: They must have run
+into impropriety, and fallen foul upon Custom, Manners, and Religion. Now
+'twas not their way to play the Knave and the Fool together: They had more
+Sense than to do a silly Thing, only for the Satisfaction of doing an ill
+one.
+
+I shall now go on to enquire what the Greek _Tragedians_ will afford us
+upon the present Subject. There are but two _Plays_ in _�schylus_ where the
+_Ministers_ of the Gods are represented. The one is in his _Eumenides_, and
+here _Apollo_'s _Priestess_ only opens the _Play_ and appears no more. The
+other is in his _Seige_ of _Thebes_. In this Tragedy the _Prophet
+Amphiaraus_ is one of the Seven Commanders against the _Town_. He has the
+Character of a Modest, Brave Officer, and of one who rather affected to be
+great in Action, than Noise.
+
+In _Sophocle_'s _Oedipus Tyrannus_, _Jupiter's Priest_ has a short part. He
+appears at the Head of an _Address_, and delivers the Harangue by the
+King's Order. _Oedipus_ in his Passion treats _Tiresias_ ruggedly;[250]
+_Tiresias_ replies with Spirit and Freedom; and plainly tell him he was
+none of his _Servant_ but _Apollo_'s.
+
+  [Greek: Ou gar ti soi z� doulos alla loxia][251]
+
+And here we may observe that all _Oedipus_ his reproaches relate to
+_Tiresias_'s person, there is no such Thing as a general Imputation upon
+his Function: But the _English Oedipus_ makes the _Priesthood_ an
+Imposturous Profession;[252] and rails at the whole _Order_. In the next
+Tragedy, _Creon_ charges _Tiresias_ with subornation; and that he intended
+to make a Penny of his Prince. The _Priest_ holds up his Character, speaks
+to the ill Usage with an Air of Gravity, calls the King _Son_, and
+foretells him his Misfortune.[253]
+
+To go on to _Euripides_, for _Sophocles_ has nothing more. This Poet in his
+_Ph�niss�_ brings in _Tiresias_ with a very unacceptable report from the
+_Oracle_. He tells _Creon_ that either his Son must die, or the City be
+lost. _Creon_ keeps himself within Temper, and gives no ill Language. And
+even when _Moenecius_ had kill'd himself, he neither complains of the Gods,
+nor reproaches the _Prophet_.[254]
+
+In his _Bacch�_, _Tiresias_ is honourably used by _Cadmus_; And _Pentheus_
+who threatned him, is afterwards punish'd for his Impiety.[255] In another
+_Play_ _Apollo_'s _Priestess_ comes in upon a creditable account, and is
+respectfully treated.[256] _Iphigenia_ _Agamemnon_'s Daughter is made
+_Priestess_ to _Diana_; and her Father thought himself happy in her
+Employment.[257] These are all the _Priests_ I remember represented in
+_Euripides_. To conclude the antient _Tragedians_ together: _Seneca_ seems
+to follow the Conduct of _Euripides_, and secures _Tiresias_ from being
+outraged. _Oedipus_ carries it smoothly with him and only desires him to
+out with the Oracle, and declare the Guilty Person. This _Tiresias_
+excuses, and afterwards the Heat of the expostulation falls upon
+_Creon_.[258] _Calchas_ if not strictly a _Priest_, was an _Augur_, and had
+a Religious Relation. Upon this account _Agamemnon_ calls him _interpres
+Deorum_; The Reporter of Fate, and the God's _Nuntio_; And gives him an
+honourable Character.[259]
+
+This Author is done; I shall therefore pass on to the _Comedians_. And
+here, _Aristophanes_ is so declared an Atheist, that I think him not worth
+the citing. Besides, he has but little upon the Argument: And where he does
+engage it, the _Priests_ have every jot as good Quarter as the Gods.[260]
+As for _Terence_, he neither represents any _Priests_, nor so much as
+mentions them. _Chrysalus_ in _Plautus_ describes _Theotimus Diana's
+Priest_, as a Person of Quality, and Figure.[261] In his _Rudens_ we have a
+_Priestess_ upon the _Stage_, which is the only Instance in this
+_Poet_.[262] She entertains the two Women who were wrecked, and is
+commended for her hospitable Temper. The Procurer _Labrax_ swaggers that he
+will force the Temple, and begins the Attack. _Demades_ a Gentleman, is
+surprized at his Insolence, and threatens him with Revenge. The report of
+so bold an attempt made him cry out. _Quis homo est tanta Confidentia; qui
+sacerdotem andeat Violare?_[263] It seems in those Days 'twas very infamous
+to affront a _Holy Character_, and break in upon the _Guards_ of Religion!
+Thus we see how the Antient Poets behaved themselves in the Argument.
+_Priests_ seldom appear in their _Plays_. And when they come 'tis Business
+of Credit that brings them. They are treated like Persons of Condition.
+They Act up to their Relation; neither sneak, nor prevaricate, nor do any
+thing unbecoming their Office.
+
+And now a word or two of the _Moderns_.
+
+The famous _Corneille_ and _Moliere_, bring no _Priests_ of any kind upon
+the _Stage_. The former leaves out _Tiresias_ in his _Oedipus_: Tho' this
+Omission balks his Thought, and maims the _Fable_. What therefore but the
+regard to Religion could keep him from the use of this Liberty? As I am
+informed the same Reservedness is practis'd in _Spain_, and _Italy_: And
+that there is no Theatre in _Europe_ excepting the _English_, that
+entertains the _Audience_ with _Priests_.
+
+This is certainly the right method, and best secures the Outworks of Piety.
+The Holy Function is much too Solemn to be play'd with. Christianity is for
+no Fooling, neither the _Place_, the _Occasion_ nor the _Actors_ are fit
+for such a Representation. To bring the _Church_ into the _Playhouse_, is
+the way to bring the _Playhouse_ into the _Church_. 'Tis apt to turn
+Religion into _Romance_, and make unthinking People conclude that all
+Serious Matters are nothing but _Farce_, _Fiction_, and _Design_. 'Tis true
+the _Tragedies_ at _Athens_ were a sort of _Homilies_, and design'd for the
+Instruction of the People: To this purpose they are all Clean, Solemn, and
+Sententious. _Plautus_ likewise informs us that the _Comedians_ used to
+teach the People Morality.[264] The case standing thus 'tis less suprizing
+to find the _Priests_ sometimes Appear. The Play had grave Argument, and
+Pagan Indulgence, to plead in its behalf. But our _Poets_ steer by an other
+_Compass_. Their Aim is to _destroy_ Religion, their _Preaching_ is against
+_Sermons_; and their Business, but Diversion at the best. In short, Let the
+Character be never so well managed no Christian _Priest_ (especially,)
+ought to come upon the _Stage_. For where the Business is an Abuse, and the
+place a Profanation; the demureness of the Manner, is but a poor excuse.
+Monsieur _Racine_ is an Exception to what I have observ'd in _France_. In
+his _Athalia_, _Joida_ the _High-Priest_ has a large part. But then the
+Poet does him Justice in his Station; he makes him Honest and Brave, and
+gives him a shining Character throughout. _Mathan_ is another _Priest_ in
+the same Tragedy. He turns Renegado, and revolts from God to _Baal_. He is
+a very ill Man but makes a considerable Appearance, and is one of the Top
+of _Athaliahs_ Faction. And as for the _Blemishes_ of his Life, they all
+stick upon his own Honour, and reach no farther than his Person: In fine
+the _Play_ is a very Religious Poem; 'Tis upon the Matter all _Sermon_ and
+_Anthem_. And if it were not designed for the _Theatre_, I have nothing to
+object.
+
+Let us now just look over our own Country-men till King _Charles_ the
+Second. _Shakespear_ takes the Freedom to represent the _Clergy_ in several
+of his _Plays_: But for the most part he holds up the _Function_, and makes
+them neither Act, nor Suffer any thing unhandsom. In one Play or two He is
+much bolder with the _Order_.[265] Sr. _Hugh Evans_ a _Priest_ is too
+Comical and Secular in his Humour. However he understands his Post, and
+converses with the Freedom of a Gentleman. I grant in _Loves Labour lost_
+the _Curate_ plays the Fool egregiously; And so does the _Poet_ too, for
+the whole _Play_ is a very silly one. In the History of Sr. _John
+Old-Castle_, Sr. _John, Parson_ of _Wrotham_ Swears, Games, Wenches, Pads,
+Tilts, and Drinks: This is extreamly bad, and like the Author of the
+_Relapse_ &c. Only with this difference; _Shakespears_, Sr. _John_ has some
+Advantage in his Character. He appears Loyal, and Stout; He brings in Sr.
+_John Acton_, and other Rebels Prisoners. He is rewarded by the King, and
+the Judge uses him Civilly and with Respect. In short He is represented
+Lewd, but not Little; And the Disgrace falls rather on the Person, then the
+Office. But the _Relapsers_ business, is to sink the Notion, and Murther
+the Character, and make the Function despicable: So that upon the whole,
+_Shakespear_ is by much the gentiler Enemy.
+
+Towards the End of the _Silent Woman_, _Ben Johnson_ brings in a
+_Clergy-man_, and a _Civilian_ in their _Habits_. But then he premises a
+handsom Excuse, acquaints the _Audience_, that the _Persons_ are but
+borrowed, and throws in a _Salvo_ for the Honour of either profession. In
+the Third _Act_, we have another _Clergy-man_; He is abused by _Cutberd_,
+and a little by _Morose_. But his Lady checks him for the ill Breeding of
+the Usage. In his _Magnetick Lady_, _Tale of a Tub_, and _Sad Sheapherd_,
+there are _Priests_ which manage but untowardly. But these _Plays_ were his
+_last Works_, which Mr. _Dryden_ calls _his Dotages_.[266] This Author has
+no more _Priests_, and therefore we'll take Leave.
+
+_Beaumont_ and _Fletcher_ in the _Faithful Shepheardess_, _The False one_,
+_A Wife for a Month_, and the _Knight of Malta_, give, us both _Priests_
+and _Bishops_, part Heathen and part Christian: But all of them save their
+Reputation and make a creditable Appearance. The _Priests_ in the _Scornful
+Lady_, and _Spanish Curate_ are ill used. The first is made a Fool, and the
+other a Knave. Indeed they seem to be brought in on purpose to make sport,
+and disserve Religion. And so much for _Beaumont_ and _Fletcher_.
+
+Thus we see the English _Stage_ has always been out of Order, but never to
+the Degree 'tis at present.
+
+I shall now take Leave of the _Poets_, and touch a little upon History and
+Argument.
+
+And here I shall briefly shew the Right the _Clergy_ have to Regard, and
+fair Usage, upon these Three following Accounts.
+
+I. _Because of their Relation to the Deity._
+
+II. _Because of the Importance of their Office._
+
+III. _They have prescription for their Privilege. Their function has been
+in Possession of Esteem in all Ages, and Countries._
+
+
+I. _Upon the account of their Relation to the Deity._
+
+The Holy _Order_ is appropriated to the Divine Worship: And a _Priest_ has
+the peculiar Honour to _Belong_ to nothing less then God Almighty. Now the
+Credit of the _Service_ always rises in proportion to the Quality and
+Greatness of the Master. And for this Reason 'tis more Honourable to serve
+a Prince, than a private Person. To apply this. Christian _Priests_ are the
+Principal Ministers of Gods Kingdom. They Represent his Person, Publish his
+Laws, Pass his Pardons, and Preside in his Worship. To expose a _Priest_
+much more to burlesque his Function, is an Affront to the Diety. All
+indignities done to Ambassadors, are interpreted upon their Masters, and
+reveng'd as such. To outrage the _Ministers_ of Religion, is in effect to
+deny the Being, or Providence of God; And to treat the _Bible_ like a
+_Romance_. As much as to say the Stories of an other World are nothing but
+a little _Priest-craft_, and therefore I am resolv'd to Lash the
+Profession. But to droll upon the Institutions of God; To make his
+Ministers cheap, and his Authority contemptible; To do this is little less
+than open defyance. Tis a sort of Challenge to awaken his Vengeance, to
+exert his Omnipotence; and do Right to his Honour. If the Profession of a
+Courtier was unfashionable, a Princes Commission thought a Scandal, and the
+_Magistracy_ laught at for their Business; the Monarch had need look to
+himself in time; He may conclude his Person is despis'd, his Authority but
+a Jest, and the People ready either to change their Master, or set up for
+themselves. Government and Religion, no less than _Trade_ Subsist upon
+Reputation. 'Tis true God can't be Deposed, neither does his Happiness
+depend upon Homage; But since he does not Govern by Omnipotence, since he
+leaves Men to their Liberty, Acknowledgment must sink, and Obedience
+decline, in proportion to the Lessenings of Authority. How provoking an
+Indignity of this kind must be, is easy to imagine.
+
+II. The Functions and Authorities of Religion have a great Influence on
+_Society_. The Interest of this Life lies very much in the Belief of
+another. So that if our Hopes were bounded with _Sight_, and _Sense_, if
+_Eternity_ was out of the Case, General Advantage, and Publick Reason, and
+Secular Policy, would oblige us to be just to the _Priesthood_. For
+_Priests_, and Religion always stand and fall together; Now Religion is the
+Basis of Government, and Man is a wretched Companion without it. When
+Conscience takes its Leave, Good Faith, and Good Nature goes with it.
+_Atheism_ is all Self, Mean and Mercenary. The _Atheist_ has no
+_Hereafter_, and therefore will be sure to make the most of this World.
+Interest, and Pleasure, are the Gods he Worships, and to these he'll
+Sacrifice every Thing else.
+
+III. The _Priest-hood_ ought to be fairly treated, because it has
+prescription for this Privilege. This is so evident a Truth,  that there is
+hardly any Age or Country, but affords sufficient Proof. A just Discourse
+upon this Subject would be a large Book, but I shall just skim it over and
+pass on. and
+
+_1st._ For the Jews. _Josephus_ tells us the Line of _Aaron_ made some of
+the best Pedigrees, and that the _Priests_ were reckon'd among the
+Principal Nobility.[267]
+
+By the Old _Testament_ we are inform'd that the _High-Priest_ was the
+Second Person in the Kingdom.[268] The Body of that _Order_ had Civil
+Jurisdiction. And the _Priests_ continued Part of the Magistracy in the
+time of our Saviour. _Jehoiada_ the _High-Priest_ was thought an Alliance
+big enough for the Royal Family.[269] He Married the Kings Daughter; His
+Interest and Authority was so great that he broke the Usurpation under
+_Athalia_; and was at the Head of the Restauration. And lastly the
+_Assamonean_ Race were both Kings and Priests.[270]
+
+To Proceed. The _�gyptian_  Monarchy was one of the most antient and best
+polish'd upon Record. Here Arts and Sciences, the Improvment of Reason, and
+the Splendor of Life had its first Rise. Hither 'twas that _Plato_ and most
+of the Celebrated Philosophers travel'd for their Learning. Now in this
+Kingdom the _Priests_ made no vulgar Figure. These with the Military Men
+were the Body of the Nobility, and Gentry. Besides the Business of
+Religion, the _Priests_ were the Publick _Annalists_ and kept the Records
+of _History_, and _Government_. They were many of them bred in Courts,
+formed the Education of their Princes, and assisted at their Councils.[271]
+When _Joseph_ was Viceroy of _�gypt_, and in all the height of his Pomp,
+and Power, the King Married him to the Daughter of _Potipherah Priest_ of
+_On_. The Text says _Pharaoh gave him her to Wife_.[272] This shows the
+Match was deliberate Choice, and Royal Favour, no stooping of Quality, or
+Condescensions of Love, on _Joseph_'s Side.
+
+To pass on. The _Persian Magi_, and the _Druids_, of _Gaul_ were of a
+Religious Profession, and consign'd to the Service of the Gods. Now all
+these were at the upper End of the Government, and had a great share of
+Regard and Authority.[273] The Body of the _Indians_ as _Diodorus Siculus_
+reports is divided into Seven parts. The first is the _Clan_ of the
+_Bramines_, the _Priests_, and Philosophers of that Country. 'This Division
+is the least in Number, but the first in Degree. Their Privileges are
+extraordinary. They are exempted from Taxes, and Live Independent of
+Authority. They are called to the Sacrifices, and take care of Funerals;
+They are look'd on as the Favourites of the Gods, and thought skillful in
+the Doctrins of an other Life: And upon these accounts are largely
+consider'd in Presents, and Acknowledgment. The _Priestesses_ of _Argos_
+were so Considerable, that _Time_ is dated from them, and they stand for a
+Reign in _Chronology_.[274] The Brave _Romans_ are commended by _Polybius_
+for their Devotion to the Gods; Indeed they gave great Proof of their being
+in earnest; For when thier Cheif Magistrates, their Consuls themselves, met
+any of the _Vestals_, they held down their _Fasces_, and stoop'd their
+_Sword_ and _Mace_ to Religion.[275]
+
+The _Priest-hood_ was for sometime confin'd to the _Patrician_ Order, that
+is to the Upper Nobility. And afterwards the _Emperours_ were generally
+_High-Priests_ themselves. The Romans in distress endeavour'd to make
+Friends with _Coriolanus_ whom they had banish'd before. To this purpose
+they furnish'd out several _Solemn_ Embasayes. Now the Regulation of the
+Ceremony, and the Remarks of the Historian;[276] plainly discover that the
+_Body_ of the _Priests_ were thought not inferior to any other. One
+Testimony from _Tully_ and I have done. 'Tis in his Harangue to the College
+of the _Priests_.[277] _Cum multa divinitus, Pontifices, a majoribus
+nostris inventa atque instituta sunt; tum nihil preclarius quam qu�d vos
+eosdem et Religionibus Deorum immortalium, & summe Rei public� pr�esse
+voluerunt._ &c. _i. e. Amongst the many laudable Instances of our Ancestors
+Prudence, and Capacity, I know nothing better contrived then their placing
+your Order at the Helm, and setting the same Persons at the Head both of
+Religion, and Government._ Thus we see what _Rank_ the _Priest-hood_ held
+among the _Jews_, and how Nature taught the _Heathen_ to regard it. And is
+it not now possess'd of as fair pretences as formerly? Is Christianity any
+disadvantage to the Holy Office. And does the Dignity of a Religion lessen
+the Publick Administrations in't? The _Priests of the most High God_ and of
+_Idolatry_, can't be compared without Injury. To argue for the Preference
+is a Reflection upon the _Creed_. 'Tis true the _Jewish Priest-hood_ was
+instituted by God: But every Thing Divine is not of Equal Consideration.
+_Realities_ are more valuable than _Types_; And as the Apostle argues, the
+_Order_ of _Melchizedeck_ is greater than that of _Aaron_.[278] The Author,
+(I mean the immediate one,) the Authorities, the Business, and the End, of
+the _Christian Priest-hood_, are more Noble than those of the _Jewish_. For
+is not _Christ_ greater than _Moses_, _Heaven_ better than the Land of
+_Canaan_, and the _Eucharist_ to be prefer'd to all the _Sacrifices_, and
+_Expiations_ of the _Law_? Thus the Right, and the Reason of Things stands.
+And as for _Fact_, the Christian World have not been backward in their
+Acknowledgments. Ever since the first Conversion of Princes, the
+_Priest-hood_ has had no small share of Temporal Advantage. The _Codes_,
+_Novels_, and _Church History_, are Sufficient Evidence what Sense
+_Constantine_ and his Successors had of these Matters. But I shall not
+detain the _Reader_ in remote Instances.
+
+To proceed then to Times and Countries more generally known. The People of
+_France_ are branched into three Divisions, of these the _Clergy_, are the
+First. And in consequence of this Privilege, at the Assembly of the
+_States_, they are first admitted to Harangue before the King.[279]
+
+In _Hungary_ the _Bishops_ are very Considerable, and some of them great
+Officers of _State_.[280] In _Poland_ they are _Senators_ that is part of
+the Upper _Nobless_. In _Muscovy_ the _Bishops_ have an Honourable Station;
+and the Present Czar is descended from the _Patriarchal_ Line.[281] I
+suppose I need say nothing of _Italy_. In _Spain_ the _Sees_ generally are
+better endowed than elswhere, and Wealth alwaies draws Consideration.[282]
+The _Bishops_ hold their Lands by a Military Noble _Tenure_, and are
+excused from Personal Attendance. And to come toward an end; They are Earls
+and Dukes in _France_, and Soveraign Princes, in _Germany_.[283] In
+_England_ the _Bishops_ are Lords of Parliament: And the _Law_ in plain
+words distinguishes the _Upper House_ into the _Spiritual_ and _Temporal
+Nobility_. And several _Statutes_ call the Bishops _Nobles_ by direct
+Implication.[284] To mention nothing more, their _Heraldry_ is regulated by
+_Garter_, and _Blazon'd_ by _Stones_, which none under the _Nobility_ can
+pretend to. In this Country of ours, Persons of the First Quality have been
+in _Orders_; To give an Instance of some few. _Odo_ Brother to _William_
+the _Conquerour_ was _Bishop_ of _Baieux_, and Earl of _Kent_. King
+_Stephens_ Brother was _Bishop_ of _Winchester_. _Nevill Arch-Bishop_ of
+_York_ was Brother to the Great Earl of _Warwick_, and _Cardinal Pool_ was
+of the Royal Family. To come a little lower, and to our own Times. And here
+we may reckon not a few Persons of Noble Descent in Holy _Orders_. Witness
+the _Berklyes_, _Comptons_, _Montagues_, _Crews_, and _Norths_; The
+_Annesleys_, _Finches_, _Grayhams_ &c. And as for the Gentry, there are not
+many good Families in _England_, but either have, or have had a
+_Clergy-man_ in them,
+
+In short; The _Priest-hood_ is the profession of a Gentleman. A _Parson_
+notwithstanding the ignorant Pride of some People, is a Name of Credit, and
+Authority, both in Religion, and _Law_. The _Addition_ of _Clerk_ is at
+least equal to that of Gentleman. Were it otherwise the _Profession_ would
+in many cases be a kind of Punishment. But the _Law_ is far from being so
+singular as to make _Orders_ a Disadvantage to _Degree_. No, The Honour of
+the Family continues, and the _Heraldry_ is every jot as safe in the
+_Church_, as 'twas in the _State_. And yet when the _Laity_ are taken leave
+of, not _Gentleman_ but _Clerk_ is usually written. This Custom is an
+argument the Change is not made for the worse, that the Spiritual
+Distinction is as valuable as the other; And to speak Modestly, that the
+first _Addition_ is not lost, but Cover'd. Did the Subject require it, this
+Point might be farther made good. For the stile of a higher Secular Honour
+is continued as well with _Priest-hood_ as without it. A Church-man who is
+either _Baronet, or Baron_, writes himself so, notwithstanding His
+_Clerkship_. Indeed we can't well imagine the Clergy degraded from Paternal
+Honour without a strange Reflection on the Country; without supposing
+_Julian_ at the Helm, the _Laws_ Antichristian, and _Infidelity_ in the
+very _Constitution_. To make the Ministers of Religion less upon the score
+of their Function, would be a Penalty on the _Gospel_, and a contempt of
+the God of Christianity. 'Tis our Saviours reasoning; _He that despises
+you, despises Me, and he that Despises Me, Despises Him that sent me._[285]
+
+I hope what I have offer'd on this Subject will not be misunderstood. There
+is no Vanity in necessary Defence. To wipe off Aspersions, and rescue
+Things from Mistake, is but bare Justice: Besides, where the Honour of God,
+and the Publick Interest are concern'd, a Man is bound to speak. To argue
+from a resembling Instance. He that has the Kings Commission ought to
+Maintain it. To let it suffer under Rudeness is to betray it. To be tame
+and silent in such cases, is not Modesty but Meanness, Humility obliges no
+Man to desert his Trust; To throw up his Privilege, and prove false to his
+Character. And is our Saviours Authority inferiour to that of Princes? Are
+the Kingdoms of this World more Glorious than that of the next? And can the
+Concerns of Time be greater than those of Eternity? If not, the reasoning
+above mention'd must hold in the Application.
+
+And now by this time I conceive the ill Manners of the _Stage_ may be in
+some measure apparent; And that the _Clergy_ deserve none of that Coarse
+Usage which it puts upon them. I confess I know no _Profession_ that has
+made a more creditable Figure, that has better Customs for their
+Privileges, and better Reasons to maintain them. And here setting aside the
+point of Conscience, where lies the Decency of falling foul upon this
+_Order_? What Propriety is there in Misrepresentation? In confounding
+Respects, disguising Features, and painting Things out of all Colour and
+Complexion? This crossing upon Nature and Reason, is great Ignorance, and
+out of Rule. And now what Pleasure is there in Misbehaviour and Abuse? Is
+it such an Entertainment to see Religion worryed by Atheism, and Things the
+most Solemn and Significant tumbled and tost by Buffoons? A Man may laugh
+at a Puppy's tearing a Wardrobe, but I think 'twere altogether as discreet
+to beat him off. Well! but the _Clergy_ mismanage sometimes, and they must
+be told of their Faults. What then? Are the _Poets_ their _Ordinaries_? Is
+the _Pulpit_ under the Discipline of the _Stage_? And are those fit to
+correct the Church, that are not fit to come into it? Besides, What makes
+them fly out upon the _Function_; and rail by wholesale? Is the
+_Priesthood_ a crime, and the service of God a disadvantage? I grant
+Persons and Things are not always suited. A good _Post_ may be ill kept,
+but then the Censure should keep close to the Fault, and the Office not
+suffer for the Manager. The _Clergy_ may have their Failings sometimes like
+others, but what then? The _Character_ is still untarnish'd. The _Men_ may
+be Little, but the _Priests_ are not so. And therefore like other People,
+they ought to be treated by their best Distinction.
+
+If 'tis Objected that the _Clergy_ in _Plays_ are commonly _Chaplains_, And
+that these _Belonging_ to Persons of Quality they were obliged to represent
+them servile and submissive. To this I Answer
+
+_1st._ In my former remark, that the _Stage_ often outrages the whole
+_Order_, without regard to any particular Office. But were it not so in the
+
+_2d._ Place, They quite overlook the Character, and mistake the Business of
+_Chaplains_. They are no _Servants_, neither do they _Belong_ to any
+_Body_, but God Almighty. This Point I have fully proved in another,
+_Treatise_,[286] and thither I refer the _Reader_.
+
+
+
+
+CHAP. IV.
+
+_The Stage-Poets make their Principal Persons Vitious, and reward them at
+the End of the Play._
+
+
+The Lines of Virtue and Vice are Struck out by Nature in very Legible
+Distinctions; They tend to a different Point, and in the greater Instances
+the Space between them is easily perceiv'd. Nothing can be more unlike than
+the Original Forms of these Qualities: The First has all the sweetness,
+Charms, and Graces imaginable; The other has the Air of a _Post_ ill Carved
+into a _Monster_, and looks both foolish and Frightful together. These are
+the Native Appearances of good and Evil: And they that endeavour to blot
+the Distinctions, to rub out the Colours, or change the Marks, are
+extreamly to blame. 'Tis confessed as long as the Mind is awake, and
+Conscience goes true, there's no fear of being imposed on. But when Vice is
+varnish'd over with Pleasure, and comes in the Shape of Convenience, the
+case grows somewhat dangerous; for then the Fancy may be gain'd, and the
+Guards corrupted, and Reason suborn'd against it self. And thus a
+_Disguise_ often passes when the Person would otherwise be stopt. To put
+_Lewdness_ into a Thriving condition, to give it an Equipage of Quality,
+and to treat it with Ceremony and Respect, is the way to confound the
+Understanding, to fortifie the Charm, and to make the Mischief invincible.
+Innocence is often owing to Fear, and Appetite is kept under by Shame; But
+when these Restraints are once taken off, when Profit and Liberty lie on
+the same side, and a Man can Debauch himself into Credit, what can be
+expected in such a case, but that Pleasure should grow Absolute, and
+Madness carry all before it? The _Stage_ seem eager to bring Matters to
+this Issue; They have made a considerable progress, and are still pushing
+their Point with all the Vigour imaginable. If this be not their Aim why is
+_Lewdness_ so much consider'd in Character and Success? Why are their
+Favourites Atheistical, and their fine Gentleman debauched? To what purpose
+is _Vice_ thus prefer'd, thus ornamented, and caress'd, unless for
+Imitation? That matter of Fact stands thus, I shall make good by several
+Instances: To begin then with their Men of Breeding and Figure.
+_Wild-blood_ sets up for _Debauchery_, Ridicules Marriage, and Swears by
+_Mahomet_.[287] _Bellamy_ makes sport with the Devil,[288] and _Lorenzo_ is
+vitious and calls his Father _Bawdy Magistrate.[289] Horner_ is horridly
+Smutty, and _Harcourt_ false to his Friend who used him kindly.[290] In the
+_Plain Dealer_ _Freeman_ talks coarsely, cheats the Widdow, debauches her
+Son, and makes him undutiful. _Bellmour_ is Lewd and Profane,[291] And
+_Mellefont_ puts _Careless_ in the best way he can to debauch _Lady
+Plyant_.[292] These _Sparks_ generally Marry up the Top Ladys, and those
+that do not, are brought to no Pennance, but go off with the Character of
+Fine Gentlemen: In _Don-Sebastian_, _Antonio_ an Atheistical Bully is
+rewarded with the Lady _Moraima_, and half the _Muffty_'s Estate.
+_Valentine_ in _Love for Love_ is (if I may so call him) the Hero of the
+_Play_;[293] This Spark the _Poet_ would pass for a Person of Virtue, but
+he speaks to late. 'Tis true, He was hearty in his Affection to _Angelica_.
+Now without question, to be in Love with a fine Lady of 30000 Pounds is a
+great Virtue! But then abating this single Commendation, _Valentine_ is
+altogether compounded of Vice.[294] He is a prodigal Debauchee, unnatural,
+and Profane, Obscene, Sawcy, and undutiful, And yet this Libertine is
+crown'd for the Man of Merit, has his Wishes thrown into his Lap, and makes
+the Happy _Exit_. I perceive we should have a rare set of _Virtues_ if
+these _Poets_ had the making of them! How they hug a Vitious Character, and
+how profuse are they in their Liberalities to Lewdness? In the _Provoked
+Wife_, _Constant_ Swears at Length, solicits Lady _Brute_, Confesses
+himself Lewd, and prefers Debauchery to Marriage. He handles the last
+Sybject very notably and worth the Hearing. _There is_ (says he) _a poor
+sordid Slavery in Marriage, that turns the flowing Tide of Honour, and
+sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature,
+Avarice, Sloth, Cowardize, and Dirt, are all its Product_.--But then
+_Constancy (alias Whoring) is a Brave, Free, Haughty, Generous, Agent_.
+This is admirable stuff both for the Rhetorick and the Reason![295] The
+Character _Young Fashion_ in the _Relapse_ is of the same Staunchness, but
+this the _Reader_ may have in another Place.
+
+To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing,
+Smutty, Atheistical Man. These Qualifications it seems compleat the _Idea_
+of Honour. They are the Top-Improvements of Fortune, and the distinguishing
+Glories of Birth and Breeding! This is the _Stage-Test_ for _Quality_, and
+those that can't stand it, ought to be _Disclaim'd_. The Restraints of
+Conscience and the Pedantry of Virtue, are unbecoming a Cavalier: Future
+Securities, and Reaching beyond Life, are vulgar Provisions: If he falls a
+Thinking at this rate, he forfeits his Honour; For his Head was only made
+to run against a Post! Here you have a Man of Breeding and Figure that
+burlesques the _Bible_, Swears, and talks Smut to Ladies, speaks ill of his
+Friend behind his Back, and betraies his Interest. A fine Gentleman that
+has neither Honesty, nor Honour, Conscience, nor Manners, Good Nature, nor
+civil Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of
+Religion and the Scandals of Conversation. These Worshipful Things are the
+_Poets_ Favourites: They appear at the Head of the _Fashion_; and shine in
+Character, and Equipage. If there is any Sense stirring, They must have it,
+tho' the rest of the _Stage_ suffer never so much by the Partiality. And
+what can be the Meaning of this wretched Distribution of Honour? Is it not
+to give Credit and Countenance to Vice, and to shame young People out of
+all pretences to Conscience, and Regularity? They seem forc'd to turn Lewd
+in their own Defence: They can't otherwise justifie themselves to the
+Fashion, nor keep up the Character of Gentlemen: Thus People not well
+furnish'd with Thought, and Experience, are debauch'd both in Practise and
+Principle. And thus Religion grows uncreditable, and passes for ill
+Education. The _Stage_ seldom gives Quarter to any Thing that's serviceable
+or Significant, but persecutes Worth, and Goodness under every Appearance.
+He that would be safe from their Satir must take care to disguise himself
+in Vice, and hang out the _Colours_ of Debauchery. How often is Learning,
+Industry, and Frugality, ridiculed in Comedy? The rich Citizens are often
+Misers, and Cuckolds, and the _Universities_, Schools of Pedantry upon this
+score. In short, Libertinism and Profaness, Dressing, Idleness, and
+Gallantry, are the only valuable Qualities. As if People were not apt
+enough of themselves to be Lazy, Lewd, and Extravagant, unless they were
+prick'd forward, and provok'd by Glory, and Reputation. Thus the Marks of
+Honour, and Infamy are misapplyed, and the Idea's of Virtue and Vice
+confounded. Thus Monstrousness goes for Proportion, and the Blemishes of
+Human Nature, make up the Beauties of it.
+
+The fine Ladies are of the same Cut with the Gentlemen; _Moraima_ is
+scandalously rude to her Father, helps him to a beating, and runs away with
+_Antonio_.[296] _Angelica_ talks sawcily to her Uncle,[297] and _Belinda_
+confesses her Inclination for a Gallant.[298] And as I have observ'd
+already,[299] the Toping Ladies in the _Mock Astrologer_, _Spanish Fryar_,
+_Country Wife_, _Old Batchelour_, _Orphan_, _Double Dealer_, and _Love
+Triumphant_, are smutty, and sometimes Profane.
+
+And was Licentiousness and irreligion, alwaies a mark of Honour? No; I
+don't perceive but that the old _Poets_ had an other Notion of
+Accomplishment, and bred their people of Condition a different way.
+_Philolaches_ in _Plautus_ laments his being debauch'd; and dilates upon
+the Advantages of Virtue, and Regularity.[300] _Lusiteles_ another Young
+Gentleman disputes handsomly by himself against Lewdness. And the discourse
+between him and _Philto_ is Moral, and well managed.[301] And afterwards he
+lashes Luxury and Debauching with a great deal of Warmth, and Satir.[302]
+_Chremes_ in _Terence_ is a modest young Gentleman, he is afraid of being
+surpriz'd by _Thais_, and seems careful not to sully his Reputation.[303]
+And _Pamphilus_ in _Hecyra_ resolves rather to be govern'd by Duty, than
+Inclination.[304]
+
+_Plautus_'s _Pinacium_ tells her Friend _Panegyric_ that they ought to
+acquit themselves fairly to their Husbands, tho' These should fail in their
+Regards towards them.[305] For all good People will do justice tho' they
+don't receive it. Lady _Brute_ in the _Provok'd Wife_ is govern'd by
+different maxims. She is debauch'd with ill Usage, says _Virtue is an Ass,
+and a Gallant's worth forty on't_.[306] _Pinacium_ goes on to another Head
+of Duty, and declares that a Daughter can never respect her Father too
+much, and that Disobedience has a great deal of scandal, and Lewdness
+in't.[307] The Lady _Jacinta_ as I remember does not treat her Father at
+this rate of Decency. Let us hear a little of her Behaviour. The _Mock
+Astrologer_ makes the Men draw, and frights the Ladys with the Apprehension
+of a Quarrel. Upon this; _Theodosia_ crys _what will become of us!_
+_Jacinta_ answers, _we'll die for Company: nothing vexes me but that I am
+not a Man, to have one thrust at that malicious old Father of mine, before
+I go_.[308] Afterwards the old Gentleman _Alonzo_ threatens his Daughters
+with a Nunnery. _Jacinta_ spars again and says, _I would have thee to know
+thou graceless old Man, that I defy a Nunnery: name a Nunnery once more and
+I disown thee for my Father_.[309] I could carry on the Comparison between
+the old and Modern Poets somewhat farther. But this may suffice.
+
+Thus we see what a fine time Lewd People have on the _English Stage_. No
+Censure, no mark of Infamy, no Mortification must touch them. They keep
+their Honour untarnish'd, and carry off the Advantage of their Character.
+They are set up for the Standard of Behaviour, and the Masters of Ceremony
+and Sense. And at last that the Example may work the better, they generally
+make them rich, and happy, and reward them with their own Desires.
+
+Mr. _Dryden_ in the _Preface_ to his _Mock-Astrologer_, confesses himself
+blamed for this Practise. _For making debauch'd Persons his_ Protagonists,
+_or chief Persons of the Drama; And, for making them happy in the
+Conclusion of the Play, against the Law of Comedy, which is to reward
+Virtue, and punish Vice_. To this Objection He makes a lame Defence. And
+answers
+
+_1st._ _That he knows no such Law constantly observ'd in Comedy by the
+Antient or Modern Poets._ What then? _Poets_ are not always exactly in
+Rule. It may be a good Law tho' 'tis not constantly observ'd, some Laws are
+constantly broken, and yet ne're the worse for all that. He goes on, and
+pleads the Authorities of _Plautus_, and _Terence_. I grant there are
+Instances of Favour to vitious young People in those Authors, but to this I
+reply
+
+_1st._ That those _Poets_ had a greater compass of Liberty in their
+Religion. Debauchery did not lie under those Discouragements of Scandal,
+and penalty, with them as it does with us. Unless therefore He can prove
+_Heathenism_, and _Christianity_ the same, his _precedents_ will do him
+little service.
+
+_2ly._ _Horace_ who was as good a judge of the _Stage_, as either of those
+_Comedians_, seems to be of another Opinion. He condemns the obscenities of
+_Plautus_, and tells you Men of Fortune and Quality in his time; would not
+endure immodest Satir.[310] He continues, that Poets were formerly admired
+for the great services they did. For teaching Matters relating to Religion,
+and Government; For refining the Manners, tempering the Passions, and
+improving the Understandings of Mankind: For making them more useful in
+Domestick Relations, and the publick Capacities of Life.[311] This is a
+demonstration that Vice was not the Inclination of the Muses in those days;
+and that _Horace_ beleiv'd the chief business of a _Poem_ was, to Instruct
+the Audience. He adds farther that the _Chorus_ ought to turn upon the
+Argument of the _Drama_, and support the Design of the _Acts_. That They
+ought to speak in Defence of Virtue, and Frugality, and show a Regard to
+Religion. Now from the Rule of the _Chorus_, we may conclude his Judgment
+for the _Play_. For as he observes, there must be a Uniformity between the
+_Chorus_ and the _Acts_: They must have the same View, and be all of a
+Piece. From hence 'tis plain that _Horace_ would have no immoral
+_Character_ have either Countenance or good Fortune, upon the _Stage_. If
+'tis said the very mention of the _Chorus_ shews the Directions were
+intended for _Tragedy_. To this
+
+I answer, that the Consequence is not good. For the use of a _Chorus_ is
+not inconsistent with _Comedy_. The antient _Comedians_ had it.
+_Aristophanes_ is an Instance. I know 'tis said the _Chorus_ was left out
+in that they call the _New Comedy_. But I can't see the conclusiveness of
+this Assertion. For _Aristophanes_ his _Plutus_ is _New Comedy_ with a
+_Chorus_ in't.[312] And _Aristotle_ who lived after this Revolution of the
+_Stage_, mentions nothing of the Omission of the _Chorus_. He rather
+supposes its continuance by saying the _Chorus was added by the Government
+long after the Invention of Comedy_.[313] 'Tis true _Plautus_ and _Terence_
+have none, but those before them probably might. _Moliere_ has now reviv'd
+them,[314] And _Horace_ might be of his Opinion, for ought wee know to the
+contrary.
+
+_Lastly._ _Horace_ having expresly mentioned the beginning and progress of
+_Comedy_, discovers himself more fully: He advises a _Poet_ to form his
+Work upon the Precepts of _Socrates_ and _Plato_, and the Models of Moral
+Philosophy. This was the way to preserve Decency, and to assign a proper
+Fate and Behaviour to every _Character_.[315] Now if _Horace_ would have
+his _Poet_ govern'd by the Maxims of Morality, he must oblige him to
+Sobriety of Conduct, and a just distribution of Rewards, and Punishments.
+
+Mr. _Dryden_ makes Homewards, and endeavours to fortifie himself in Modern
+Authority. He lets us know that _Ben Johnson after whom he may he proud to
+Err, gives him more than one example of this Conduct_;[316] _That in the_
+Alchemist _is notorius_, where neither _Face_ nor his _Master_ are
+corrected according to their Demerits. But how Proud soever Mr. _Dryden_
+may be of an Errour, he has not so much of _Ben Jonson_'s company as he
+pretends. His Instance of _Face &c._ in the _Alchemist_ is rather
+_notorious_ against his Purpose then for it.
+
+For _Face_ did not Council his Master _Lovewit_ to debauch the Widdow;
+neither is it clear that the Matter went thus far. He might gain her
+consent upon Terms of Honour for ought appears to the contrary. 'Tis true
+_Face_ who was one of the Principal Cheats is Pardon'd and consider'd. But
+then his Master confesses himself kind to a fault. He owns this Indulgence
+was a Breach of Justice, and unbecoming the Gravity of an old Man. And then
+desires the Audience to excuse him upon the Score of the Temptation. But
+_Face continued, in the Cousenage till the last without Repentance_.[317]
+Under favour I conceive this is a Mistake. For does not _Face_ make an
+Apology before he leaves the _Stage_? Does he not set himself at the _Bar_,
+arraign his own Practise, and cast the Cause upon the Clemency of the
+Company? And are not all these Signs of the Dislike of what he had done?
+Thus careful the _Poet_ is to prevent the Ill Impressions of his _Play_! He
+brings both Man and Master to Confession. He dismisses them like
+Malefactours; And moves for their Pardon before he gives them their
+Discharge. But the _Mock-Astrologer_ has a gentler Hand: _Wild-Blood_ and
+_Jacinta_ are more generously used: There is no Acknowledgment exacted; no
+Hardship put upon them: They are permitted to talk on in their Libertine
+way to the Last: And take Leave without the least Appearance of
+Reformation. The _Mock-Astrologer_ urges _Ben Johnson's_ _Silent Woman_ as
+an other _Precedent_ to his purpose. For _there_ Dauphine _confesses
+himself in Love with all the Collegiate Lady's_. _And yet this naughty_
+Dauphine _is Crowned in the end with the Possession of his Uncles Estate,
+and with the hopes of all his Mistresses_.[318] This Charge, as I take it,
+is somewhat too severe. I grant _Dauphine_ Professes himself in Love with
+the Collegiate Ladies at first. But when they invited him to a private
+Visit, he makes them no Promise; but rather appears tired, and willing to
+disengage. _Dauphine_ therefore is not altogether so naughty as this Author
+represents him.
+
+_Ben Johnson's_ _Fox_ is clearly against Mr. _Dryden_. And here I have his
+own Confession for proof. He declares the _Poets end in this Play was the
+Punishment of Vice, and the Reward of Virtue_.[319] _Ben_ was forced to
+strain for this piece of Justice, and break through the _Unity of Design_.
+This Mr. _Dryden_ remarks upon him: How ever he is pleased to commend the
+Performance, and calls it an excellent _Fifth Act_.
+
+_Ben Johnson_ shall speak for himself afterwards in the Character of a
+Critick; In the mean time I shall take a Testimony or two from
+_Shakespear_. And here we may observe the admir'd _Falstaffe_ goes off in
+Disappointment. He is thrown out of Favour as being a _Rake_, and dies like
+a Rat behind the Hangings. The Pleasure he had given, would not excuse him.
+The _Poet_ was not so partial, as to let his Humour compound for his
+Lewdness. If 'tis objected that this remark is wide of the Point, because
+_Falstaffe_ is represented in Tragedy, where the Laws of Justice are more
+strickly observ'd, To this I answer, that you may call _Henry_ the Fourth
+and Fifth, Tragedies if you please. But for all that, _Falstaffe_ wears no
+_Buskins_, his Character is perfectly Comical from end to end.
+
+The next Instance shall be in _Flowerdale_ the _Prodigal_. This Spark
+notwithstanding his Extravagance, makes a lucky Hand on't at last, and
+marries a rich Lady.[320] But then the Poet qualifies him for his good
+Fortune, and mends his Manners with his Circumstances. He makes him repent,
+and leave off his Intemperance, Swearing _&c._ And when his Father warn'd
+him against a Relapse, He answers very soberly,
+
+  _Heaven helping me I'le hate the Course of Hell._
+
+I could give some instances of this kind out of _Beaumount_ and _Fletcher_,
+But there's no need of any farther Quotation; For Mr. _Dryden_ is not
+satisfied with his Apology from Authority: He does as good as own that this
+may be construed no better than defending one ill practise by another. To
+prevent this very reasonable objection he endeavours to vindicate his
+_Precedents_ from the Reason of the Thing. To this purpose he _makes a wide
+difference between the Rules of Tragedy and Comedy. That Vice must be
+impartially prosecuted in the first, because the Persons are Great &c._
+
+It seems then _Executions_ are only for _Greatness_; and _Quality_.
+_Justice_ is not to strike much _lower_ than a _Prince_. _Private People_
+may do what they _please_. They are too _few_ for _Mischief_, and too
+_Little_ for _Punishment_! This would be admirable Doctrine for _Newgate_,
+and give us a general _Goal-Delivery_ without more ado. But in _Tragedy_
+(says the _Mock Astrologer_.) _the Crimes are likewise Horrid_, so that
+there is a necessity for Severity and Example. And how stands the matter in
+_Comedy_? Quite otherwise. There the _Faults are but the follies of Youth,
+and the Frailties of Human Nature_.[321] For Instance. There is nothing but
+a little Whoring, Pimping, Gaming, Profaness _&c_, And who could be so hard
+hearted to give a Man any Trouble for This? Such Rigours would be strangely
+Inhumane! A _Poet_ is a better natur'd Thing I can assure you. These little
+Miscarrages _move Pity and Commiseration, and are not such as must of
+necessity be Punish'd_.[322] This is comfortable Casuistry! But to be
+Serious. Is Dissolution of Manners such a Peccadillo? Does a Profligate
+Conscience deserve nothing but Commiseration? And are People damn'd only
+for _Humane Frailties_? I perceive the Laws of Religion and those of the
+_Stage_ differ extreamly! The strength of his Defence lies in this choice
+Maxim, that the _Cheif End of Comedy is Delight_. He questions _whether
+Instruction has any thing to do in Comedy_; If it has, he is sure _'tis no
+more then its secondary end_: _For the business of the Poet is to make you
+laugh_.[323] Granting the Truth of this Principle, I somewhat question the
+serviceableness of it. For is there no Diversion to be had unless Vice
+appears prosperous, and rides at the Head of Success. One would think such
+a preposterous, distribution of Rewards, should rather shock the Reason,
+and raise the Indignation of the _Audience_. To laugh without reason is the
+Pleasure of Fools, and against it, of something worse. The exposing of
+Knavery, and making _Lewdness_ ridiculous, is a much better occasion for
+Laughter. And this with submission I take to be the End of _Comedy_. And
+therefore it does not differ from _Tragedy_ in the End, but in the _Means_.
+Instruction is the principal Design of both. The one works by Terror, the
+other by Infamy. 'Tis true, they don't move in the same Line, but they meet
+in the same point at last. For this Opinion I have good Authority, besides
+what has been cited already.
+
+_1st._ Monsieur _Rapin_ affirms 'That Delight is the End that Poetry aims
+at, but not the Principal one. For Poetry being an Art, ought to be
+profitable by the quality of it's own nature, and by the Essential
+Subordination that all Arts should have to Polity, whose End in General is
+the publick Good. This is the Judgment of _Aristotle_ and of _Horace_ his
+chief Interpreter.[324] _Ben Johnson_ in his Dedicatory Epistle of his
+_Fox_ has somewhat considerable upon this Argument; And declaims with a
+great deal of zeal, spirit, and good Sense, against the Licentiousness of
+the _Stage_. He lays it down for a Principle, 'That 'tis impossible to be a
+good _Poet_ without being a good _Man_. That he (a good Poet) is said to be
+able to inform Young Men to all good Discipline, and enflame grown Men to
+all great Virtues &c.--That the general complaint was that the _Writers_ of
+those days had nothing remaining in them of the Dignity of a _Poet_, but
+the abused Name. That now, especially in Stage Poetry, nothing but
+Ribaldry, Profanation, _Blasphemy_, all Licence of Offence to God and Man,
+is practised. He confesses a great part of this Charge is over-true, and is
+sorry he dares not deny it. But then he hopes all are not embark'd in this
+bold Adventure for Hell. For my part (says he) I can, and from a most clear
+Conscience affirm; That I have ever trembled to think towards the least
+Profaness, and loath'd the Use of such foul, and unwash'd Bawdry, as is now
+made the Food of the _Scene_.--The encrease of which Lust in Liberty, what
+Learned or Liberal Soul does not abhor? In whole _Enterludes_ nothing but
+the Filth of the Time is utter'd--with Brothelry able to violate the Ear of
+a _Pagan_, and Blasphemy, to turn the Blood of a Christian to Water. He
+continues, that the Insolence of these Men had brought the _Muses_ into
+Disgrace, and made _Poetry_ the lowest scorn of the Age. He appeals to his
+Patrons the _Universities_, that his Labour has been heretofore, and mostly
+in this his latest Work, to reduce not only the antient Forms, but Manners
+of the _Scene_, the Innocence and the Doctrine, which is the Principal End
+of Poesy, to inform Men in the best Reason of Living.' Lastly he adds, that
+'he has imitated the Conduct of the Antients in this _Play_, The goings out
+(or Conclusions) of whose _Comedies_, were not always joyful but oft-times
+the Bawds, the Slaves, the Rivals, ye and the Masters are multed, and
+fitly, it being the Office of a _Comick Poet_ (mark that!) to imitate
+Justice, and Instruct to Life _&c._' Say you so! Why then if _Ben Johnson_
+knew any thing of the Matter, Divertisment and Laughing is not as Mr.
+_Dryden_ affirms, the _Chief End_ of _Comedy_. This Testimony is so very
+full and clear, that it needs no explaining, nor any enforcement from
+Reasoning, and Consequence.
+
+And because Laughing and Pleasure has such an unlimited Prerogative upon
+the _Stage_, I shall add a Citation or two from _Aristotle_ concerning this
+Matter. Now this great Man 'calls those Buffoons, and Impertinents, who
+rally without any regard to Persons or Things, to Decency, or good Manners.
+That there is a great difference between Ribaldry, and handsom Rallying. He
+that would perform exactly, must keep within the Character of Virtue, and
+Breeding. He goes on, and tells us that the old Comedians entertain'd the
+Audience with Smut, but the Modern ones avoided that Liberty, and grew more
+reserv'd. This latter way he says was much more proper and Gentile then the
+other. That in his Opinion Rallying, no less than Railing, ought to be
+under the Discipline of Law; That he who is ridden by his _Jests_, and
+minds nothing but the business of _Laughing_, is himself Ridiculous. And
+that a Man of Education and Sense, is so far from going these Lengths that
+he wont so much as endure the hearing some sort of Buffoonry.'[325]
+
+And as to the point of Delight in general, the same Author affirms, 'that
+scandalous Satisfactions are not properly Pleasures. 'Tis only Distemper,
+and false Appetite which makes them palatable. And a Man that is sick,
+seldom has his Tast true. Besides, supposing we throw Capacity out of the
+Question, and make Experiment and Sensation the Judge; Granting this, we
+ought not to chop at every Bait, nor Fly out at every Thing that strikes
+the Fancy. The meer Agreableness must not overbear us, without
+distinguishing upon the Quality, and the Means. Pleasure how charming
+soever, must not be fetched out of Vice. An Estate is a pretty thing, but
+if we purchase by Falshood, and Knavery, we pay too much for't. Some
+Pleasures, are Childish and others abominable; And upon the whole,
+Pleasure, absolutely speaking, is no good Thing.'[326] And so much for the
+Philosopher. And because _Ribaldry_ is used for Sport, a passage or two
+from _Quintilian_, may not be unseasonable. This Orator does not only
+Condemn the grosser Instances, but cuts off all the _Double-Entendre's_ at
+a Blow. He comes up to the Regularity of Thought, and tells us 'that the
+Meaning, as well as the Words of Discourse must be unsullied.'[327] And in
+the same _Chapter_ he adds that 'A Man of Probity has always a Reserve in
+his Freedoms, and Converses within the Rules of Modesty, and Character. And
+that Mirth at the expence of Virtue, is an Over-purchase,' _Nimium enim
+risus pretium est si probitatis impendio constat_.
+
+Thus we see how these great _Masters_ qualify Diversion, and tie it up to
+_Provisoes,_ and Conditions. Indeed to make _Delight_ the main business of
+_Comedy_ is an unreasonable and dangerous Principle. It opens the way to
+all Licentiousness, and Confounds the distinction between Mirth, and
+Madness. For if Diversion is the _Chief End_, it must be had at any Price,
+No serviceable Expedient must be refused, tho' never so scandalous. And
+thus the worst Things are said, and best abus'd; Religion is insulted, and
+the most serious Matters turn'd into Ridicule! As if the Blindside of an
+Audience ought to be caress'd, and their Folly and Atheism entertain'd in
+the first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is
+Poyson'd! For can one die of an easier Disease than Diversion? But Raillery
+apart, certainly Mirth and Laughing, without respect to the Cause, are not
+such supreme Satisfactions! A man has sometimes Pleasure in losing his
+Wits. Frensy, and _Possession_, will shake the Lungs, and brighten the
+Face; and yet I suppose they are not much to be coveted. However, now we
+know the Reason of the Profaness, and Obscenity of the _Stage_, of their
+Hellish Cursing, and Swearing, and in short of their great Industry to make
+God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make
+People Laugh! A most admirable justification! What can be more engaging to
+an _Audience_, then to see a _Poet_ thus Atheistically brave? To see him
+charge up to the Canons Mouth, and defy the Vengeance of Heaven to serve
+them? Besides, there may be somewhat of Convenience in the Case. To fetch
+Diversion out of Innocence is no such easy matter. There's no succeeding it
+may be in this method, without Sweat, and Drudging. Clean Wit, inoffensive
+Humour, and handsom Contrivance, require Time, and Thought. And who would
+be at this Expence, when the Purchase is so cheap another way? 'Tis
+possible a _Poet_ may not alwaies have Sense enough by him for such an
+Occasion. And since we are upon supposals, it may be the _Audience_ is not
+to be gain'd without straining a Point, and giving a Loose to Conscience:
+And when People are sick, are they not to be Humour'd? In sine, We must
+make them Laugh, right or wrong, for _Delight_ is the _Cheif End of
+Comedy_. _Delight!_ He should have said _Debauchery_: That's the English of
+the Word, and the Consequence of the Practise. But the Original Design of
+_Comedy_ was otherwise: And granting 'twas not so, what then? If the _Ends_
+of Thing are naught, they must be mended. Mischief is the Chief end of
+Malice, would it be then a Blemish in Ill Nature to change Temper, and
+relent into Goodness? The Chief _End_ of a Madman it may be is to Fire a
+House, must we not therefore bind him in his Bed? To conclude. If _Delight_
+without Restraint, or Distinction without Conscience or Shame, is the
+Supream Law of _Comedy_, 'twere well if we had less on't. Arbitrary
+Pleasure, is more dangerous than Arbitrary Power. Nothing is more Brutal
+than to be abandon'd to Appetite; And nothing more wretched than to serve
+in such a Design. The _Mock-Astrologer_ to clear himself of this
+Imputation, is glad to give up his Principle at Last. _Least any Man should
+think_ (says He) _that I write this to make Libertinism amiable, or that I
+cared not to debase the end, and Institution of_ Comedy. (It seems then
+_Delight_ is not the Chief end.) _I must farther declare that we make not
+Vitious Persons Happy, but only as Heaven makes Sinners so._ &c. If this
+will hold, all's well. But _Heaven_ does not forgive without Repentance.
+Let us see then what Satisfaction he requires from his _Wild-Blood_, and
+what Discipline he puts him under. Why, He helps him to his Mistress, he
+Marries him to a Lady of Birth and Fortune. And now do you think He has not
+made him an Example, and punish'd him to some Purpose! These are frightful
+Severities! Who would be vitious when such Terrors hang over his Head? And
+does _Heaven make Sinners happy_ upon these Conditions? Sure some People
+have a good Opinion of Vice, or a very ill one of Marriage, otherwise they
+would have Charged the Penance a little more. But I have nothing farther
+with the _Mock-Astrologer_.
+
+And now for the Conclusion of a _Chapter_, I shall give some Instances of
+the _Manners_ of the _Stage_, and that with respect to Poetry, and
+Ceremony. _Manners_ in the Language of Poetry, is a Propriety of Actions,
+and Persons. To succeed in this business, there must always be a regard had
+to Age, Sex, and Condition: And nothing put into the Mouths of Persons
+which disagrees with any of these Circumstances. 'Tis not enough to say a
+witty Thing, unless it be spoken by a likely Person, and upon a Proper
+occasion. But my Design will lead me to this Subject afterwards, and
+therefore I shall say no more of it at present, but proceed to apply the
+Remark.
+
+One Instance of Impropriety in _Manners_ both Poetical and Moral, is their
+making Women, and Women of Quality talk Smuttily. This I have proved upon
+them already, and could cite many more places to the same Purpose were it
+necessary.
+
+But I shall go on, and give the _Reader_ some other examples of Decency,
+Judgment, and Probability. _Don Sebastian_ will help us in some measure.
+Here the _Mufti_ makes a foolish Speech to the Rabble, and jests upon his
+own Religion. He tells them, _tho' your Tyrant is a Lawful Emperour, yet
+your Lawful Emperour is but a Tyrant,----That your Emperour is a Tyrant is
+most Manifest, for you were born to be Turks, but he has play'd the Turk
+with you._ And now is not this Man fit to Manage the _Alcoran_, and to be
+set up for on Oracle of State? _Captain Tom_ should have had this Speech by
+right: But the _Poet_ had a farther Design, and any thing is good enough
+for a _Mufti_.
+
+_Sebastian_ after all the violence of his Repentance, his grasping at self
+Murther, and Resolutions for the _Cell_, is strangely pleased with the
+Remembrance of his _Incest_, and wishes the Repetition of it: And _Almeida_
+out of her Princely Modesty, and singular Compunction, is of the same mind.
+This is somewhat surprising! _Oedipus_ and _Jocasta_ in _Sophocles_ don't
+Repent at this rate. No: The horror of the first Discovery continues upon
+their Spirits: They never relapse into any fits of Intemperance, nor
+entertain themselves with a lewd Memory. This sort of Behaviour is not only
+more Instructive but more Natural too. It being very unlikely one should
+wish the Repeating a Crime, when He was almost Distracted at the thoughts
+on't, At the thoughts on't, tho' 'twas comitted under all the Circumstances
+of excuse. Now when Ignorance and meer Mistake are so very disquieting,
+'tis very strange if a Man should plague his Mind with the Aggravations of
+Knowledge; To carry Aversion, and Desire, in their full strength upon the
+same Object; To fly and pursue with so much eagerness, is somewhat
+Unusual.[328]
+
+If we step to the _Spanish Fryar_ He will afford us a Flight worth the
+observing. 'Tis part of the Addresses of _Torrismond_ to _Leonora_.
+
+  _You are so Beautiful
+  So wondrous Fair, you justifie Rebellion;
+  As if that faultless Face could make no Sin,
+  But Heaven by looking on it must forgive._
+
+These are strange Compliments! _Torrismond_ calls his Queen Rebel to her
+head, when he was both her General and her Lover. This is powerful
+Rhetorick to Court a Queen with! Enough one would think to have made the
+Affair desperate. But he has a Remedy at hand. The _Poets Nostrum_ of
+Profaness cures all. He does as good as tell Her, she may Sin as much as
+she has a mind to. Her Face is a Protection to her Conscience. For Heaven
+is under a necessity to forgive a Handsom Woman. To say all this ought to
+be pass'd over in _Torrismond_ on the score of his Passion, is to make the
+Excuse more scandalous than the Fault, if possible. Such Raptures are fit
+only for _Bedlam_, or a place which I shan't name. _Love Triumphant_ will
+furnish another Rant not altogether inconsiderable. Here _Celadea_ a Maiden
+Lady when she was afraid her Spark would be married to another, calls out
+presently for a _Chaos_. She is for pulling the World about her ears,
+tumbling all the Elements together, and expostulates with Heaven for making
+Humane Nature otherwise than it should have been.
+
+  _Great Nature break thy chain that links together
+  The Fabrick of this Globe, and make a Chaos,
+  Like that within my Soul._----[329]
+
+Now to my fancy, if she had call'd for a _Chair_ instead of a _Chaos_,
+trip'd off, and kept her folly to her self, the Woman had been much wiser.
+And since we have shown our Skill in vaulting on the High Ropes, a little
+_Tumbling_ on the _Stage_, may not do amiss for variety.
+
+Now then for a jest or two. _Don Gomez_ shall begin:[330] And here he'le
+give us a Gingle upon the double meaning of a word.
+
+_I think_, says _Dominick_ the Fryar, _it was my good Angel that sent me
+hither so opportunely_. _Gomez_ suspects him brib'd for no creditable
+business and answers.
+
+Gom. _Ay, whose good Angels sent you hither, that you know best, Father._
+
+These _Spaniards_ will entertain us with more of this fine Raillery.
+Colonel _Sancho_ in _Love Triumphant_ has a great stroak at it. He says his
+Bride _Dalinda_ is no more _Dalinda_, but _Dalilah_ the _Philistine_.[331]
+This Colonel as great a Soldier as he is, is quite puzzled at a _Herald_.
+He _thinks they call him_ Herod, _or some such Jewish Name_. Here you have
+a good Officer spoil'd for a miserable jest.[332] And yet after all, this
+_Sancho_ tho' he can't pronounce _Herald_, knows what 'tis to be
+_Laconick_, which is somewhat more out of his way. _Thraso_ in
+_Terence_[333] was a man of the same size in Sense, but for all that he
+does not quibble. _Albanact_ Captain of the Guards,[334] is much about as
+witty as _Sancho_. It seems _Emmeline_ Heiress to the Duke of _Cornwal_ was
+Blind. _Albanact_ takes the rise of his Thought from hence; And observes
+_that as Blind as she is, Coswald would have no blind Bargain of her_.
+_Carlos_ tells _Sancho_ he is sure of his Mistress,[335] and _has no more
+to do but to take out a License_.
+
+_Sancho_ replies, _Indeed I have her License for it_. _Carlos_ is somewhat
+angry at this Gingle, and cries, _what quibling too in your Prosperity_?
+Adversity it seems is the only time for _punning_. Truly I think so too.
+For 'tis a sign a Man is much Distress'd when he flies to such an
+Expedient. However, _Carlos_ needed not to have been so touchy: For He can
+stoop as low himself upon occasion. We must know then that _Sancho_ had
+made Himself a Hunch'd Back, to counterfeit the _Conde Alonzo_. The two
+Colonels being in the same Disguise, were just upon the edg of a Quarrel.
+After some Preliminaries in Railing, _Sancho_ cries, _Don't provoke me; I
+am mischeivously bent_.
+
+Carlos replies, _Nay, you are_ Bent _enough in Conscience, but I have a_
+Bent Fist _for Boxing_. Here you have a brace of Quibbles started in a Line
+and a half. And which is worst of all, they come from _Carlos_, from a
+_Character_ of Sense; And therefore the poet, not the _Soldier_, must
+answer for them.
+
+I shall now give the _Reader_ a few Instances of the Courtship of the
+_Stage_, and how decently they treat the Women, and _Quality_ of both
+_Sexes_. The _Women_ who are secured from Affronts by Custom, and have a
+Privilege for Respect, are sometimes but roughly saluted by these Men of
+Address. And to bar the Defence, this Coarseness does not alwaies come from
+Clowns, and Women-haters; but from _Persons_ of Figure, neither singular,
+nor ill Bred. And which is still worse, The Satir falls on blindly without
+Distinction, and strikes at the whole _Sex_.
+
+Enter _Raymond_ a Noble-man in the _Spanish Fryar_.[336]
+
+  _O Vertue! Vertue! What art thou become?
+  That men should leave thee for that Toy a woman,
+  Made from the dross and refuse of a Man;
+  Heaven took him sleeping when he made her too,
+  Had Man been waking he had nee'r consented._
+
+I did not know before that a Man's Dross lay in his _Ribs_; I believe
+sometimes it lies Higher. But the Philosophy, the Religion, and the
+Ceremony of these Lines, are too tender to be touched. _Creon_ a Prince in
+_Oedipus_,[337] railes in General at the _Sex_, and at the same time is
+violently in Love with _Euridice_. This upon the Matter, is just as
+natural, as 'tis Civil. If any one would understand what the _Curse of all
+tender hearted Women is, Belmour_ will inform him. What is it then? 'Tis
+the _Pox_.[338] If this be true, the Women had need lay in a stock of ill
+Nature betimes. It seems 'tis their only preservative. It guards their
+Virtue, and their Health, and is all they have to trust to. _Sharper_
+another Man of Sense in this _Play_, talks much at the same rate. _Belinda_
+would know of him _where he got that excellent Talent of Railing_?
+
+Sharp. _Madam the Talent was Born with me.----I confess I have taken care
+to improve it, to qualifie me for the Society of Ladies._[339] _Horner_, a
+Topping _Character_ in the _Country Wife_, is advised to _avoid Women, and
+hate them as they do him_. _He Answers._
+
+_Because I do hate them, and would hate them yet more, I'll frequent e'm;
+you may see by Marriage, nothing makes a Man hate a Woman more than her
+Constant Conversation._[340] There is still something more Coarse upon the
+_Sex_ spoken by _Dorax_[341] but it is a privileged Expression, and as such
+I must leave it. The _Relapse_ mends the Contrivance of the Satir, refines
+upon the Manner, and to make the Discourse the more probable, obliges the
+Ladies to abuse themselves. And because I should be loath to tire the
+_Reader, Berenthia_ shall close the Argument. This Lady having undertook
+the Employment of a _Procuress_, makes this remark upon it to her self.
+
+Berinth. _So here is fine work! But there was no avoiding it.----Besides, I
+begin to Fancy there may be as much Pleasure in carrying on another Bodies
+Intrigue, as ones own. This is at least certain, It exercises almost all
+the Entertaining Faculties of a Woman. For there is Employment for
+Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying._
+
+Let us now see what Quarter the _Stage_ gives to _Quality_. And here we
+shall find them extreamly free, and familiar. They dress up the _Lords_ in
+Nick Names, and expose them in _Characters_ of Contempt. _Lord Froth_ is
+explain'd a _Solemn Coxcomb_;[342] And _Lord Rake_, and _Lord Foplington_
+give you their Talent in their Title.[343] Lord _Plausible_ in the _Plain
+Dealer_ Acts a ridiculous Part, but is with all very civil. He tells _Manly
+he never attempted to abuse any Person_, The other answers; _What? you were
+afraid?_[344] _Manly_ goes on and declares _He would call a Rascal by no
+other Title, tho' his Father had left him a Dukes_.[345] That is, he would
+call a Duke a Rascal. This I confess is very much _Plain Dealing_. Such
+Freedoms would appear but odly in Life, especially without Provocation. I
+must own the _Poet_ to be an Author of good Sense; But under favour, these
+jests, if we may call them so, are somewhat high Season'd, the Humour seems
+overstrain'd, and the _Character_ push'd too far. To proceed. _Mustapha_
+was selling _Don Alvarez_ for a Slave. The Merchant asks _what Virtues he
+has_.[346] _Mustapha_ replies. _Virtues quoth ah! He is of a great Family
+and Rich, what other Virtues would'st thou have in a Nobleman?_ Don
+_Carlos_ in _Love Triumphant_ stands for a Gentleman, and a Man of Sense,
+and out-throws _Mustapha_ a Bars Length. He tells us _Nature has given_
+Sancho _an empty Noddle, but Fortune in revenge has fill'd his Pockets:
+just a Lords Estate in Land and Wit_.[347] This is a handsom Compliment to
+the Nobility! And my Lord _Salisbury_ had no doubt of it a good Bargain of
+the _Dedication_.[348] _Teresa's_ general Description of a Countess is
+considerable in its Kind: But only 'tis in no Condition to appear. In the
+_Relapse_, Sir _Tunbelly_ who had Mistaken Young _Fashion_ for Lord
+_Foplington_, was afterwards undeceiv'd; and before the surprize was quite
+over, puts the Question, _is it then possible that this should be the true
+Lord_ Foplington _at Last_? The Nobleman removes the scruple with great
+Civility and Discretion! _Lord_ Fopl. _Why what do you see in his Face to
+make you doubt of it? Sir without presuming to have an extraordinary
+Opinion of my Figure, give me leave to tell you, if you had seen as many
+Lords as I have done you would not think it Impossible A Person of a worse
+Taille then mine might be a Modern Man of Quality._[349]
+
+I'm sorry to hear _Modern Quality_ degenerates so much. But by the way,
+these Liberties are altogether new. They are unpractised by the Latin
+_Comedians_, and by the _English_ too till very lately, as the _Plain
+Dealer_ observes.[350] And as for _Moliere_ in _France_, he pretends to fly
+his Satir no higher than a Marquis.[351]
+
+And has our _Stage_ a particular Privilege? Is their _Charter_ inlarg'd,
+and are they on the same Foot of Freedom with the _Slaves_ in the
+_Saturnalia_? Must all Men be handled alike? Must their Roughness be needs
+play'd upon Title? And can't they lash the Vice without pointing upon the
+_Quality_? If as Mr. _Dryden_ rightly defines it, a _Play ought to be a
+just Image of Humane Nature_;[352] Why are not the Decencies of Life, and,
+the Respects of Conversation observ'd? Why must the Customes of Countries
+be Cross'd upon, and the Regards of Honour overlook'd? What necessity is
+there to kick the _Coronets_ about the _Stage_, and to make a Man a Lord,
+only in order to make him a Coxcomb. I hope the _Poets_ don't intend to
+revive the old Project of Levelling and _Vote_ down the House of _Peers_.
+In earnest, the _Play-house_ is an admirable School of Behaviour! This is
+their way of managing Ceremony, distinguishing Degree, and Entertaining the
+_Boxes_! But I shall leave them at present to the Enjoyment of their
+Talent, and proceed to another Argument.
+
+
+
+
+CHAP. V.
+
+_Remarks upon_ Amphytrion, King Arthur, Don Quixote, _and the_ Relapse.
+
+
+SECTION I.
+
+The following _Plays_, excepting the Last, will fall under the same Heads
+of Commendation with the Former. However, since the _Poets_ have here been
+prodigal in their Expence, and dress'd themselves with more Curiosity then
+ordinary, they deserve a proportionable Regard. So much Finery must not be
+Crowded. I shall therefore make Elbow-Room for their Figure, and allow them
+the Compass of a distinct Chapter.
+
+To begin with _Amphytrion_. In this _Play_ Mr. _Dryden_ represents
+_Jupiter_ with the Attributes of the supream Being: He furnishes him with
+Omnipotence, makes him the Creator of Nature, and the Arbiter of Fate, puts
+all the Functions of Providence in his Hand, and describes him with the
+Majesty of the true God.[353] And when he has put Him in this glorious
+Equipage, he brings him out for Diversion. He makes him express himself in
+the most intemperate Raptures:[354] He is willing to _Renounce_ his
+_Heaven_ for his Brutality, and employ a whole _Eternity_ in Lewdness. He
+draws his Debauch at its full Length, with all the Art, and Heightings, and
+Foulness of Idea immaginable. This _Jupiter_ is not contented with his
+success against _Amphitrion_, unless he brings _Alcmena_ into the
+Confederacy, and makes her a Party _ex post Facto_. He would not have her
+think of her _Husband_, but her _Lover_, that is, her _Whoremaster_. 'Tis
+not the success, but the manner of gaining it which is all in all. 'Tis the
+Vice which is the charming Circumstance. Innocence and Regularity, are
+dangerous Companions; They spoil Satisfaction, and make every Thing
+insipid! Unless People take care to discharge their Virtue, and clear off
+their Conscience, their Senses will vanish immediately! For _Jupiter_, says
+he,[355] would _owe nothing to a Name so dull as Husband_. And in the next
+Page.
+
+  _That very name of Wife And Marriage
+  Is poyson to the dearest sweets of Love._[356]
+
+I would give the _Reader_ some more of these fine Sentences, but that they
+are too much out of Order to appear. The truth is, Our _Stage-Poets_ seem
+to fence against Censure by the excess of Lewdness; And to make the
+overgrown size of a Crime, a Ground for Impunity. As if a Malefactor should
+project his Escape by appearing too scandalous for Publick Tryal. However,
+This is their Armour of Proof, this is the Strength they retreat to. They
+are fortified in Smut, and almost impregnable in Stench, so that where they
+deserve most, there's no coming at them. To proceed. I desire to know what
+Authority Mr. _Dryden_ has for this extraordinary Representation? His
+Original _Plautus_, is no President. Indeed _Plautus_ is the only bold
+Heathen that ever made _Jupiter_ tread the _Stage_. But then he stops far
+short of the Liberties of the _English Amphitrion. Jupiter_ at _Rome_, and
+_London_, have the same unaccountable Design; but the Methods of pursuit
+are very different. The First, does not solicit in scandalous Language, nor
+flourish upon his Lewdness, nor endeavours to set it up for the Fashion.
+_Plautus_ had some regard to the Height of the Character, and the Opinion
+of his Country, and the Restraints of Modesty. The Sallies of
+_Aristophanes_ do not come up to the case; And if they did, I have cut off
+the Succours from that Quarter already. _Terence's Ch�rea_. is the next
+bold Man:[357] However, here the Fable of _Jupiter_ and _Danae_ are just
+glanced at, and the Expression is clean; and He that tells the Story, a
+Young Libertine. These are all circumstances of extenuation, and give quite
+another Complexion to the Thing. As for the _Greek Tragedians_ and
+_Seneca_, there's no Prescription can be drawn from them. They mention
+_Jupiter_ in Terms of Magnificence and Respect, and make his Actions, and
+his Nature of a piece. But it may be the Celebrated _Homer_, and _Virgil_
+may give Mr. _Dryden_ some Countenance. Not at all. _Virgil's Jupiter_ is
+alwaies great, and solemn, and keeps up the port of a Deity. 'Tis true,
+_Homer_ does not guard the Idea with that exactness, but then He never
+sinks the Character into Obscenity. The most exceptionable passage is that
+where _Jupiter_ relates his Love Adventures to _Juno_. Here this pretended
+Deity is charm'd with _Venus_'s Girdle, is in the height of his Courtship,
+and under the Ascendant of his Passion. This 'tis confess'd was a slippery
+Place, and yet the Poet makes a shift to keep his Feet. His _Jupiter_ is
+Little, but not nauseous; The Story, tho' improper, will bear the telling,
+and look Conversation in the Face. However; These Freedoms of _Homer_ were
+counted intolerable: I shall not insist on the Censures of _Justin Martyr_,
+or _Clemens Alexandrinus_: Even the Heathen could not endure them. The
+Poets are lashed by _Plato_ upon this Score; For planting Vice in Heaven,
+and making their Gods infectious; If Mr. _Dryden_ answers that _Jupiter_
+can do us no Harm.[358] He is known to be an Idol of Lewd Memory, and
+therefore his Example can have no Force: Under Favour this is a mistake:
+For won't Pitch daub when a dirty Hand throws it; or can't a Toad spit
+Poyson because she's ugly? Ribaldry is dangerous under any Circumstances of
+Representation. And as _Menander_ and St. _Paul_ express it, _Evil
+Communications corrupt good Manners_. I mention them both, because if the
+_Apostle_ should be dislik'd, the _Comedian_ may pass. But after all, Mr.
+_Dryden_ has not so much as a Heathen President for his Singularities. What
+then made him fall into them? Was it the Decency of the Thing, and the
+Propriety of _Character_, and Behaviour? By no means. For as I have
+observ'd before, Nature and Operations, ought to be proportion'd, and
+Behaviour suited to the Dignity of Being. To draw a Monkey in Royal Robes,
+and a Prince in _Antick_, would be Farce upon Colours, entertain like a
+Monster, and please only upon the score of Deformity. Why then does Mr.
+_Dryden_ cross upon Nature and Authority, and go off as he Confesses, from
+the Plan of _Plautus_, and _Moliere_? Tho' by the way, the English
+_Amphitryon_ has borrow'd most of the Libertine Thoughts of _Moliere_, and
+improv'd them. But to the former question. Why must the beaten Road be
+left? He tells us, _That the difference of our_ Stage _from the Roman and
+the French did so require it_.[359] That is, our _Stage_ must be much more
+Licentious. For you are to observe that Mr. _Dryden_, and his Fraternity,
+have help'd to debauch the _Town_, and Poyson their Pleasures to an unusal
+Degree: And therefore the Diet must be dress'd to the Palate of the
+_Company_. And since they are made _Scepticks_, they must be entertain'd as
+such. That the English _Amphitryon_ was contriv'd with this View is too
+plain to be better interpreted. To what purpose else does _Jupiter_ appear
+in the shape of _Jehovah_? Why are the incommunicable _Attributes_
+burlesqu'd, and Omnipotence applyed to Acts of Infamy? To what end can such
+Horrible stuff as this serve, unless to expose the Notion, and extinguish
+the Belief of a Deity? The Perfections of God, are Himself. To ridicule his
+Attributes and his Being, are but two words for the same Thing. These
+Attributes are bestow'd on _Jupiter_ with great Prodigality, and afterwards
+execrably outrag'd. The Case being thus, the Cover of an Idol, is too thin
+a pretence to Screen the Blasphemy. Nothing but Mr. _Dryden's Absolom_ and
+_Achitophel_ can out-do This. Here I confess the Motion of his Pen is
+bolder, and the Strokes more Black'd. Here we have Blasphemy on the top of
+the Letter, without any trouble of Inference, or Construction. This Poem
+runs all upon Scripture Names, Upon Suppositions of the true Religion, and
+the right Object of Worship. Here Profaness is shut out from Defence, and
+lies open without Colour or Evasion. Here are no Pagan Divinities in the
+Scheme, so that all the Atheistick Raillery must point upon the true God.
+In the beginning we are told that _Absalom_ was _David's_ Natural Son: So
+then there's a blot in his _Scutcheon_ and a Blemish upon his Birth. The
+_Poet_ will make admirable use of this, remark presently! This _Absalom_ it
+seems was very extraordinary in his Person and Performances. Mr. _Dryden_
+does not certainly know how this came about, and therefore enquires of
+himself in the first place,
+
+  _Whether inspired with a diviner Lust,
+  His Father got him_----[360]
+
+This is down right Defiance of the Living God! Here you have the very
+Essence and Spirit of Blasphemy, and the Holy Ghost brought in upon the
+most hideous Occasion. I question whether the Torments and Despair of the
+Damn'd, dare venture at such Flights as these. They are beyond Description,
+I Pray God they may not be beyond Pardon too. I can't forbear saying, that
+the next bad Thing to the writing these Impieties, is to Suffer them. To
+return to _Amphitryon_. _Phoebus_ and _Mercury_ have _Manners_ assign'd
+very disagreeable to their Condition. The later abating Propriety of
+Language, talks more like a _Water-man_ than a Deity. They rail against the
+Gods, and call _Mars_ and _Vulcan_ the _two Fools of Heaven. Mercury_ is
+pert upon his Father _Jupiter_, makes jests upon his Pleasures, and his
+Greatness, and is horribly smutty and profane.[361] And all this
+Misbehaviour comes from him in his own shape, and in the sublimity of his
+Character. Had He run Riot in the Disguise of _Sofia_, the Discourse and
+the Person had been better adjusted, and the Extravagance more Pardonable.
+But here the Decorum is quite lost. To see the _Immortals_ play such
+Gambols, and the biggest Beings do the least Actions, is strangely
+unnatural. An Emperour in the Grimaces of an Ape, or the Diversions of a
+Kitten, would not be half so ridiculous. Now as Monsieur _Rapin_ observes,
+without Decorum there can be no _probability_, nor without Probability any
+true Beauty. Nature must be minded, otherwise Things will look forced,
+tawdry, and chimerical. Mr. _Dryden_ discourses very handsomly on this
+occasion in his _Preface_ to _Albion_ and _Albanius_.[362] He informs us,
+_That Wit has been truly defin'd a propriety of Words and Thoughts.----That
+Propriety of Thought is that Fancy which arises naturally from the
+Subject._ Why then without doubt, the Quality, of Characters should be
+taken care of, and great Persons appear like themselves. Yes, yes, all this
+is granted by implication, and Mr. _Dryden_ comes still nearer to the
+present case. He tells us, that _Propriety is to be observed, even in
+Machines; And that the Gods are all to manage their Peculiar Provinces_. He
+instances in some of their respective Employments; but I don't find that
+any of them were to talk Lewdly. No. He plainly supposes the contrary. For
+as he goes on, _If they were to speak upon the Stage it would follow of
+necessity, that the Expressions should be Lofty, Figurative, and
+Majestical_. It seems then their Behaviour should be agreeable to their
+Greatness. Why then are not these Rules observ'd, in the _Machines_ of
+_Amphitrion_? As I take it, Obscenity has not the Air of Majesty, nor any
+Alliance with the _Sublime_. And as for the _Figurative_ Part, 'tis
+generally of the same Cut with the _Lofty_: The Smut shines clear, and
+strong, through the Metaphor, and is no better screen'd than the Sun by a
+Glass Window. To use _Mercury_ thus ill, and make the God of Eloquence
+speak so unlike himself is somewhat strange! But tho' the _Antients_ knew
+nothing of it, there are Considerations above those of _Decency_. And when
+this happens, _A Rule must rather be trespass'd on, than a Beauty left
+out_. 'Tis Mr. _Dryden's_ opinion in his _Cleomenes_, where he breaks the
+_Unity of Time_, to describe the _Beauty_ of a Famine.[363] Now Beauty is
+an arbitrary Advantage, and depends upon Custom and Fancy. With some People
+the Blackest Complexions are the handsomest. 'Tis to these _African_
+Criticks that Mr. _Dryden_ seems to make his Appeal. And without doubt he
+bespeaks their Favour, and strikes their Imagination luckily enough. For to
+lodge Divinity and Scandal together; To make the Gods throw _Stars_, like
+_Snow-balls_ at one another, but especially to Court in Smut, and rally in
+Blasphemy, is most admirably entertaining! This is much better than all the
+Niceties of _Decorum_. 'Tis handsomly contriv'd to slur the Notion of a
+Superiour Nature, to disarm the Terrors of Religion, and make the Court
+Above as Romantick as that of the _Fairies_. A Libertine when his
+Conscience is thus reliev'd, and Atheism sits easie upon his Spirits, can't
+help being grateful upon the Occasion. Meer Interest will oblige him to cry
+up the Performance, and solicit for the _Poets_ Reputation! Before I take
+leave of these _Machines_, it may not be amiss to enquire why the Gods are
+brought into the _Spiritual Court_.[364] Now I suppose the Creditableness
+of the Business, and the _Poets_ Kindness to those _Places_, are the
+principal Reasons of their coming. However. He might have a farther Design
+in his Head, and that is, to bring _Thebes_ to _London_, and to show the
+Antiquity of _Doctors Commons_. For if you will believe _Mercury_, this
+Conference between him and _Phoebus_ was held three thousand years
+ago.[365] Thus _Shakespear_ makes _Hector_ talk about _Aristotles_
+Philosophy,[366] and calls Sr. _John Old Castle_, _Protestant_.[367] I had
+not mention'd this Discovery in Chronology, but that Mr. _Dryden_ falls
+upon _Ben Johnson_, for making _Cataline give Fire at the Face of a Cloud_,
+before Guns were invented.
+
+By the Pattern of these pretended _Deities_, we may guess what sort of
+_Mortals_ we are likely to meet with. Neither are we mistaken. For
+_Ph�dra_, is bad enough in all Conscience, but _Bromia_ is a meer Original.
+Indeed when Mr. _Dryden_ makes _Jupiter_, and _Jupiter_ makes the Women,
+little less can be expected. So much for _Amphitrion_.
+
+I shall pass on to _King Arthur_ for a word or two.[368] Now here is a
+strange jumble and Hotch potch of Matters, if you mind it. Here we have
+_Genii_, and _Angels_, _Cupids_, _Syrens_, and _Devils_; _Venus_ and St.
+_George_, _Pan_ and the _Parson_, the Hell of Heathenism, and the Hell of
+_Revelation_; A fit of Smut, and then a Jest about Original Sin. And why
+are Truth and Fiction, Heathenism and Christianity, the most Serious and
+the most Trifling Things blended together, and thrown into one Form of
+Diversion? Why is all this done unless it be to ridicule the whole, and
+make one as incredible as the other? His _Airy_ and _Earthy Spirits_
+discourse of the first state of Devils, of their _Chief_ of their Revolt,
+their Punishment, and Impostures. This Mr. _Dryden_ very Religiously calls
+a _Fairy way of Writing, which depends only on the Force of
+Imagination_.[369] What then is the Fall of the Angels a Romance? Has it no
+basis of Truth, nothing to support it, but strength of Fancy, and Poetick
+Invention? After He had mention'd Hell, Devils, _&c_. and given us a sort
+of _Bible_ description of these formidable Things; I say after he had
+formed his Poem in this manner, I am surprized to hear him call it a _Fairy
+kind of Writing_. Is the History of _Tophet_ no better prov'd than that of
+_Styx_? Is the Lake of _Brimstone_ and that of _Phlegeton_ alike dreadful?
+And have we as much Reason to believe the Torments of _Titius_ and
+_Prometheus_, as those of the Devils and Damn'd? These are lamentable
+Consequences! And yet I can't well see how the _Poet_ can avoid them. But
+setting aside this miserable Gloss in the _Dedication_, the Representation
+it self is scandalously irreligious. To droll upon the Vengeance of Heaven,
+and the Miseries of the Damn'd, is a sad Instance of Christianity! Those
+that bring Devils upon the _Stage_, can hardly believe them any where else.
+Besides, the Effects of such an Entertainment must needs be admirable! To
+see Hell thus play'd with is a mighty Refreshment to a lewd Conscience, and
+a byass'd Understanding. It heartens the Young Libertine, and confirms the
+well-wishers to Atheism, and makes Vice bold, and enterprising. Such
+Diversions serve to dispel the Gloom, and guild the Horrors of the _Shades
+below_, and are a sort of Ensurance against Damnation. One would think
+these _Poets_ went upon absolute Certainty, and could demonstrate a Scheme
+of Infidelity. If they could, They had much better keep the Secret. The
+divulging it tends only to debauch Mankind, and shake the Securities of
+Civil Life. However, if they have been in the other World and find it
+empty, and uninhabited, and are acquainted with all the Powers, and Places,
+in Being; If they can show the Impostures of Religion, and the
+Contradictions of Common Belief, they have something to say for themselves.
+Have they then infallible Proof and Mathematick Evidence for these
+Discoveries? No Man had ever the Confidence to say This; And if He should,
+he would be but laughed at for his Folly. No Conclusions can exceed the
+Evidence of their Principles; you may as well build a Castle in the Air, as
+raise a Demonstration upon a Bottom of Uncertainty. And is any Man so vain
+as to pretend to know the Extent of Nature, and the Stretch of Possibility,
+and the Force of the Powers Invisible? So that notwithstanding the Boldness
+of this _Opera_, there may be such a Place as Hell; And if so, a Discourse
+about Devils, will be no _Fairy way of Writing_. For a _Fairy way of
+Writing_, is nothing but a _History of Fiction_; A subject of Imaginary
+Beings; such as never had any existence in Time, or Nature. And if as
+Monsieur _Rapin_ observes, _Poetry_ requires a mixture of Truth and
+_Fable_; Mr. _Dryden_ may make his advantage, for his _Play_ is much better
+founded on Reality than He was aware of.
+
+It may not be improper to consider in a word or two, what a frightfull Idea
+the _Holy Scriptures_ give us of Hell. 'Tis describ'd by all the
+Circumstances of Terror, by every Thing dreadful to Sense, and amazing to
+Thought. The Place, the Company, the Duration, are all Considerations of
+Astonishment. And why has God given us this solemn warning? Is it not to
+awaken our Fears, and guard our Happiness; To restrain the Disorders of
+Appetite, and to keep us within Reason, and Duty? And as for the _Apostate
+Angels_, the _Scriptures_ inform us of their lost Condition, of their
+Malice and Power, of their active Industry and Experience; and all these
+Qualities Correspondent to the Bulk of their Nature, the Antiquity of their
+Being, and the Misery of their State. In short, They are painted in all the
+formidable Appearances imaginable, to alarm our Caution, and put us upon
+the utmost Defence.
+
+Let us see now how Mr. _Dryden_ represents these unhappy Spirits, and their
+Place of Abode. Why very entertainingly! Those that have a true Tast for
+Atheism were never better regaled. One would think by this _Play_ the
+Devils were meer Mormo's and Bugbears, fit only to fright Children and
+Fools. They rally upon Hell and Damnation, with a great deal of Air and
+Pleasantry; and appear like _Robin Good-fellow_, only to make the Company
+laugh. _Philidel_: Is call'd a _Puling Sprite_. And why so? For this pious
+reason, because
+
+  _He trembles at the yawning Gulph of Hell,
+  Nor dares approach the Flames least he should Singe
+  His gaudy silken Wings.
+  He sighs when he should plunge a Soul in Sulphur,
+  As with Compassion touch'd of Foolish Man_.[370]
+
+The answer is, _What a half Devil's he_.
+
+You see how admirably it runs all upon the Christian Scheme! Sometimes they
+are _Half-Devils_, and sometimes _Hopeful-Devils_, and what you please to
+make sport with. _Grimbald_ is afraid of being _whooped through Hell at his
+return_, for miscarrying in his Business. It seems there is great Leisure
+for Diversion! There's _Whooping_ in Hell, instead of _Weeping_ and
+_Wailing_! One would fancy Mr. _Dryden_ had Daylight and Company, when
+these Lines were written. I know his Courage is extraordinary; But sure
+such Thoughts could never bear up against Solitude and a Candle!
+
+And now since he has diverted himself with the _Terrors_ of _Christianity_,
+I dont wonder he, should treat those that Preach them with so much
+Civility! enter _Poet_ in the Habit of a _Peasant_.
+
+  _We ha' cheated the Parson we'el cheat him again,
+  For why should a Blockhead have one in ten?
+  For prating so long like a Booklearned Sot,
+  Till Pudding, and Dumpling burn to pot._
+
+These are fine comprehensive stroaks! Here you have the _Iliads_ in a
+Nutshell! Two or three courtly words take in the whole Clergy; And what is
+wanting in Wit, is made up in Abuse, and that's as well. This is an
+admirable _Harvest Catch_, and the poor Tith-stealers stand highly
+indebted. They might have been tired with Cheating in _Prose_, had not they
+not been thus seasonably releiv'd in Doggrell! But now there is Musick in
+playing the Knave. A Countryman now may fill his Barn, and humour his ill
+Manners, and sing his Conscience asleep, and all under one. I dont question
+but these _four Lines_ steal many a Pound in the year. Whether the _Muse_
+stands indictable or not, the Law must determine: But after all, I must say
+the Design is notably laid. For Place and Person, for Relish and
+Convenience; nothing could have been better. The Method is very short,
+clear, and Practicable. 'Tis a fine portable Infection, and costs no more
+Carriage than the Plague.
+
+Well! the Clergy must be contented: It might possibly have been worse for
+them if they had been in his favour: For he has sometimes a very unlucky
+way of showing his Kindness. He commends the _Earl of Leicester for
+considering the Friend, more than the Cause_;[371] that is, for his
+Partiality; The Marquess of _Halifax_ for _quitting the Helm, at the
+approach of a Storm_;[372] As if Pilots were made only for fair Weather.
+'Tis Presum'd these Noble Persons are unconcern'd in this Character.
+However the _Poet_ has shown his skill in Panegyrick, and 'tis only for
+that I mention it. He commends _Atticus_ for his Trimming, and _Tally_ for
+his Cowardize, and speaks meanly of the Bravery of _Cato_.[373] Afterwards
+he professes his Zeal for the Publick welfare, and is pleas'd to _see the
+Nation so well secur'd from Foreign Attempts_ &c.[374] However he is in
+some pain about the Coming of the _Gauls_; 'Tis possible for fear they
+should invade the _Muses_, and carry the _Opera's_ into Captivity, and
+deprive us of _the Ornaments of Peace_.
+
+And now He has serv'd his Friends, he comes in the last place like a modest
+Man, to commend Himself. He tells us there were a great many _Beauties_ in
+the Original Draught of this _Play_. But it seems Time has since tarnish'd
+their Complexion. And He gives _Heroick_ Reasons for their not appearing.
+To speak Truth, (all Politicks apart,) there are strange Flights of Honour,
+and Consistencies of Pretention in this Dedication! But I shall forbear the
+Blazon of the _Atcheivment_, for fear I should commend as unluckily as
+Himself.
+
+
+
+
+SECT. II.
+
+_Remarks upon Don Quixot, &c._
+
+
+Mr. _Durfey_ being somewhat particular in his Genius and Civilities, I
+shall consider him in a word or two by himself. This Poet writes from the
+_Romance_ of an ingenious Author: By this means his Sense, and _Characters_
+are cut out to his Hand. He has wisely planted himself upon the shoulders
+of a _Giant_; but whether his Discoveries answer the advantage of his
+standing, the Reader must judge.
+
+What I have to object against Mr. _Durfey_ shall most of it be ranged under
+these three Heads.
+
+I. _His Profaness with respect to Religion and the_ Holy Scriptures.
+
+II. _His Abuse of the Clergy._
+
+III. _His want of Modesty and Regard to the Audience._
+
+
+I. _His Profaness, &c._
+
+And here my first Instance shall be in a bold _Song_ against Providence.
+
+  _Providence that formed the Fair
+    In such a charming Skin,
+  Their Outside made his only care,
+    And never look'd within._[375]
+
+Here the _Poet_ tells you Providence makes Mankind by halves, huddles up
+the Soul, and takes the least care of the better Moyety. This is direct
+blaspheming the Creation, and a Satir upon God Almighty. His next advance
+is to droll upon the Resurrection.
+
+  _Sleep and indulge thy self with Rest,
+  Nor dream thou e're shalt rise again._[376]
+
+His Third Song makes a jest of the _Fall_, rails upon _Adam_ and _Eve_, and
+burlesques the Conduct of _God Almighty_ for not making Mankind over again.
+
+  _When the World first knew Creation,[377]
+  A Rogue was a Top-Profession,
+  When there was no more in all Nature but Four,
+  There were two of them in Transgression.
+
+  He that first to mend the Matter,
+  Made Laws to bind our Nature,
+  Should have found a way,
+  To make Wills obey,
+  And have Modell'd new the Creature_.
+
+In this and the following page, the _Redemption_ of the World is treated
+with the same respect with the _Creation_. The word _Redeemer_, which among
+Christians is appropriated to our Blessed Saviour, and like the Jewish
+Tetragrammaton peculiarly reserv'd to the Deity; This adorable Name
+(_Redeemer and Dear Redeemer_,) is applyed to the ridiculous Don _Quixote_.
+These Insolencies are too big for the Correction of a Pen, and therefore I
+shall leave them. After this horrible abuse of the Works, and Attributes of
+God, he goes on to make sport with his Vengeance. He makes the Torments of
+Hell a very Comical Entertainment: As if they were only Flames in Painting,
+and Terrors in _Romance_. The _Stygian Frogs_ in _Aristophanes_ are not
+represented with more Levity, and Drolling. That the _Reader_ may see I do
+him no wrong, I shall quote the places which is the main Reason why I have
+transcrib'd the rest of his Profaness.
+
+  _Appear ye fat Feinds that in Limbo do groan,
+  That were when in Flesh the same souls with his own:
+  You that always in Lucifers Kitchin reside,
+  'Mongst Sea-coal and Kettles, and Grease newly try'd:
+  That pamper'd each day with a Garbidge of Souls,
+  Broil Rashers of Fools for a Breakfast on Coals._
+
+In the Epilogue you have the History of _Balaam_'s Ass exposed, and the
+Beast brought upon the _Stage_ to laugh at the Miracle the better;
+
+  _And as 'tis said a parlous Ass once spoke,
+  When Crab-tree Cudgel did his rage provoke.
+  So if you are not civil,----I fear
+  He'el speak again.----_
+
+In the second _Part_ the Devil is brought upon the _Stage_.[378] He cries
+as _he hopes to be Saved_. And _Sancho warrants him a good Christian_.
+Truly I think he may have more of Christianity in him than the Poet. For he
+trembles at that God, with whom the other makes Diversion.
+
+I shall omit the mention of several outrages of this Kind, besides his deep
+mouth'd swearing, which is frequent, and pass on to the Second Head, which
+is His Abuse of the Clergy. And since Reveal'd Religion has been thus
+horribly treated, 'tis no Wonder if the _Ministers_ of it have the same
+Usage.
+
+And here we are likely to meet with some passages extraordinary enough. For
+to give Mr. _Durfey_ his due, when he meddles with Church men he lays about
+him like a Knight Errant: Here his Wit and his Malice, are generally in
+extreams, tho' not of the same Kind. To begin. He makes the Curate _Perez_
+assist at the ridiculous Ceremony of _Don Quixots_ Knighting.[379]
+Afterwards Squire _Sancho_ confessing his mistake to _Quixote_, tells him,
+_Ah consider dear Sir no man is born wise_. And what if he was born wise?
+He may be _Bred_ a Fool, if he has not a care. But how does he prove this
+Memorable Sentence? Because a _Bishop is no more than another man without
+Grace and Good Breeding_. I must needs say if the _Poet_ had any share of
+either of these Qualities, he would be less bold with his Superiors; and
+not give his Clowns the Liberty to droll thus heavily upon a solemn
+_Character_. This _Sancho_ Mr. _Durfey_ takes care to inform us is _a dry
+shrewd Country Fellow_, The reason of this Character is for the strength of
+it somewhat surprising.[380] 'Tis because _he blunders out Proverbs upon
+all Occasions, tho' never so far from the purpose_. Now if blundring and
+talking nothing to the purpose, is an argument of _Shrewdness_; some
+Peoples _Plays_ are very shrewd Performances. To proceed. _Sancho_
+complains of his being married, because it hindred him from better offers.
+_Perez_ the Curate is sorry for this Misfortune. _For as I remember_ says
+he _'twas my luck to give_ Teresa _and you the Blessing_. To this _Sancho_
+replies. _A Plague on your Blessing! I perceive I shall have reason to wish
+you hang'd for your Blessing----Good finisher of Fornication, good
+Conjunction Copulative._[381] For this irreverence and Profaness _Perez_
+threatens him with Excommunication. _Sancho_ tells him, _I care not, I
+shall lose nothing by it but a nap in the Afternoon._ In his Second Part,
+_Jodolet_ a Priest is call'd a _Holy Cormorant_, and made to dispatch _half
+a Turkey, and a Bottle of Malaga for his Breakfast_.[382] Here one Country
+Girl chides another for her sawcyness. _D'ee_ (says she) _make a Pimp of a
+Priest?_ _Sancho_ interposes with his usual shrewdness: _A Pimp of a
+Priest, why is that such a Miracle?_ In the Second _Scene_ the Poet
+Provides himself another Priest to abuse.[383] _Mannel_ the Steward calls
+_Bernardo_ the Chaplain Mr. _Cuff-Cushion_, and tells him a _Whore is a
+Pulpit he loves_.----In settling the _Characters Mannel_ is given out for
+_a witty pleasant Fellow_. And now you see he comes up to Expectation. To
+the Blind all _Colours_ are alike, and Rudeness, and Raillery are the same
+thing![384] Afterwards, _Bernardo_ says _Grace_ upon the _Stage_; and I
+suppose Prays to God to bless the Entertainment of the Devil. Before they
+rise from Table, the _Poet_ contrives a Quarrel between _Don Quixot_ and
+_Bernardo_. The Priest railes on the Knight, and calls him _Don Coxcomb_
+&c. By this time you may imagine the Knight heartily Provok'd, ready to
+buckle on his _Bason_, and draw out for the Combat, Let us hear his
+Resentment.
+
+Don Quix. _Oh thou old black Fox with a Fire brand in thy Tail, thou very
+Priest: Thou Kindler of all Mischeifs in all Nations. De'e hear Homily: Did
+not the Reverence I bear these Nobles----I would so thrum your Cassock you
+Church Vermin_.[385]
+
+At last he bids _Bernardo_ adieu in Language too Profane and Scandalous to
+relate.[386] In the Fourth _Act_ His Song calls the Clergy _Black Cattle_,
+and says _no Body now minds what they say_. I could alledge more of his
+Courtship to the _Order_, but the _Reader_ might possibly be tired, and
+therefore I shall proceed in the
+
+_Third_, place to his want of Modesty, and Regard to the Audience. As for
+Smut _Sancho_ and _Teresa_ talk it broad, and single sens'd, for almost a
+page together.[387] _Mary_ the _Buxsom_ has likewise her share of this
+Accomplishment. The first Epilogue is Garnish'd with a Couplet of it;[388]
+_Marcella_ the Maiden Shepherdess raves in Raptures of Indecency; And
+sometimes you have it mixt up with Profaness, to make the Composition the
+stronger.[389] But this entertainment being no Novelty, I shall pass it
+over; And the rather because there are some other Rarities which are not to
+be met with else where.
+
+Here he diverts the Ladies with the Charming Rhetorick of _Snotty-Nose,
+filthy Vermin in the Beard, Nitty Jerkin, and Louse Snapper, with the
+Letter in the Chamber-pot, and natural Evacuation_;[390] with an abusive
+description of a Countess, and a rude story of a certain Lady, and with
+some other varieties of this Kind, too coarse to be named. This is rare
+stuff for Ladies, and Quality! There is more of _Physick_, than _Comedy_ in
+such Sentences as these. _Crocus Metallorum_ will scarse turn the Stomack
+more effectually. 'Tis possible Mr. _Durfey_ might design it for a
+_Receipt_. And being Conscious the _Play_ was too dear, threw a Vomit into
+the Bargain.[391] I wonder Mr. _Durfey_ should have no more regard to the
+_Boxes_ and _Pitt_! That a Man who has _studied the Scenes of Decency and
+Good Manners with so much Zeal_, should practise with so little Address!
+Certainly _indefatigable Diligence, Care and Pains_, was never more
+unfortunate![392] In his _third Part_, _Buxsome_ swears faster, and is more
+scandalous, and impertinent, than in the other two. At these Liberties, and
+some in _Sancho_, the Ladies took Check. This Censure Mr. _Durfey_ seems
+heartily sorry for. He is _extreamly concern'd that the Ladies, that
+Essential part of the Audience_, should think his Performance _nauseous and
+undecent_.[393] That is, he is very sorry they brought their Wits, or their
+Modesty along with them. However Mr. _Durfey_ is not so Ceremonious as to
+submit: He is resolved to keep the Field against the Ladies; And endeavours
+to defend himself by saying, _I know no other way in Nature to do the
+Characters right, but to make a Romp, speak like a Romp, and a clownish
+Boor blunder_ &c.[394]
+
+By his favour, all Imitations tho' never so well Counterfeited are not
+proper for the _Stage_. To present Nature under every Appearance would be
+an odd undertaking. A Midnight _Cart_, or a _Dunghil_ would be no
+Ornamental _Scene_. Nastyness, and dirty Conversation are of the same kind.
+For _Words_ are a Picture to the Ear, as Colours and _Surface_ are to the
+Eye. Such Discourses are like dilating upon Ulcers, and Leprosies: The more
+_Natural_, the worse; for the Disgust always rises with the Life of the
+Description. Offensive Language like offensive Smells, does but make a
+Man's Senses a burthen, and affords him nothing but Loathing and Aversion.
+Beastliness in Behaviour, gives a disparaging Idea of Humane Nature, and
+almost makes us sorry we are of the same Kind. For these reasons 'tis a
+Maxime in Good Breeding never to shock the Senses, or Imagination. This
+Rule holds strongest before _Women_, and especially when they come to be
+entertain'd. The Diversion ought to be suited to the Audience; For nothing
+pleases which is disproportion'd to Capacity, and Gust. The Rudenesses and
+broad Jests of Beggars, are just as acceptable to Ladies as their Rags, and
+Cleanliness. To treat Persons of Condition like the _Mob_, is to degrade
+their Birth, and affront their Breeding. It levells them with the lowest
+Education. For the size of a Man's Sense, and Improvement, is discovered by
+his Pleasures, as much as by any thing else.
+
+But to remove from _Scenes of Decency_, to _Scenes_ of Wit. And here
+_Mannel_ and _Sancho_, two _pleasant sharp Fellows_, will divert us
+extreamly.[395] _Mannel_ in the Disguise of a Lady addresses the Dutchess
+in this manner. _Illustrious Beauty----I must desire to know whether the
+most purifidiferous Don_ Quixote _of the Manchissima, and his
+Squireiferous_ Panca, _be in this Company or no_. This is the Ladies
+speech! Now comes _Sancho_. _Why look you forsooth, without any more
+Flourishes, the Governour_ Panca _is here, and Don_ Quixotissimo _too;
+therefore most afflictedissimous Matronissima, speak what you willissimus,
+for we are all ready to be your Servitorissimus_.[396]
+
+I dare not go on, for fear of overlaying the _Reader_. He may cloy himself
+at his Leisure. The _Scene_ between the _Taylor_ and _Gardiner_, lies much
+in the same Latitude of Understanding.[397]
+
+The Third _Part_ presents a set of _Poppets_, which is a Thought good
+enough; for this Play is only fit to move upon _Wires_. 'Tis pity these
+little _Machines_ appear'd no sooner, for then the Sense, and the _Actors_
+had been well adjusted. In explaining the _Persons_, He acquaints us that
+_Carasco is a Witty Man_. I can't tell what the Gentleman might be in other
+Places, but I'm Satisfied he is a Fool in his _Play_. But some _Poets_ are
+as great Judges of Wit, as they are an instance; And have the Theory and
+the Practise just alike.
+
+Mr. _Durfeys Epistles Dedicatory_ are to the full as diverting as his
+_Comedies_. A little of them may not be amiss.
+
+In his first, He thus addresses the _Dutches_ of _Ormond_. _'Tis Madam from
+your Graces Prosperous Influence that I date my Good Fortune._ To _Date_
+from time and Place, is vulgar and ordinary, and many a _Letter_ has
+miscarried with it: But to do it from an _Influence_, is Astrological, and
+surprizing, and agrees extreamly with the _Hemisphere of the
+Play-house_.[398] These Flights one would easily imagine were the _Poor
+Off-spring_ of Mr. _Durfey's Brain_, as he very judiciously phrases
+it.[399]
+
+One Paragraph in his Dedication to Mr. _Montague_ is perfect _Quixotism_;
+One would almost think him enchanted. I'll give the Reader a Tast.
+
+_Had your Eye's shot the haughty Austerity upon me of a right
+Courtier,----your valued minutes had never been disturb'd with dilatory
+Trifles of this Nature, but my Heart on dull Consideration of your Merit,
+had supinely wish'd you prosperity at a Distance._[400] I'm afraid the
+_Poet_ was under some Apprehensions of the Temper he complains of. For to
+my thinking, there is a great deal of _Supiness_, and _dull Consideration_
+in these Periods. He tells his Patron _his Smiles have embolden'd him_. I
+confess I can't see how He could forbear smiling at such Entertainment.
+However Mr. _Durfey_ takes Things by the best Handle, and is resolv'd to be
+happy in his Interpretation. But to be serious. Were I the Author, I would
+discharge my Muse unless she prov'd kinder. His way is rather to cultivate
+his Lungs, and Sing to other Peoples Sense; For to finish him in a word, he
+is _Vox, & pr�terea nihil_. I speak this only on Supposition that the rest
+of his Performances are like These. Which because I have not perused I can
+judge of no farther than by the Rule of _ex pede Herculem_. I shall
+conclude with Monsieur _Boileau's Art_ of _Poetry_. This citation may
+possibly be of some service to Mr. _Durfey_; For if not concern'd in the
+Application, he may at least be precaution'd by the Advice.
+
+          The Translation runs thus.
+
+  _I like an Author that Reforms the Age;
+  And keeps the right Decorum of the Stage:
+  That always pleases by just Reasons Rule:
+  But for a tedious Droll a Quibbling Fool,
+  Who with low nauseous Baudry fills his Plays;
+  Let him begone and on two Tressells raise
+  Some_ Smithfield _Stage, where he may act his Pranks,
+  And make_ Jack-puddings _speak to Mountebanks_.[401]
+
+
+
+
+SECT. III.
+
+_Remarks upon the_ Relapse.
+
+
+The _Relapse_ shall follow _Don Quixot_; upon the account of some Alliance
+between them. And because this _Author_ swaggers so much in his _Preface_,
+and seems to look big upon his Performance, I shall spend a few more
+thoughts than ordinary upon his _Play_, and examine it briefly in the
+_Fable_, the _Moral_, the _Characters_, _&c._ The Fable I take to be as
+follows.
+
+Fashion _a Lewd, Prodigal, younger Brother; is reduced to extremity: Upon
+his arrival from his Travels, he meets with_ Coupler, _an old sharping
+Match-maker_; _This Man puts him upon a project of cheating his Elder
+Brother Lord_ Foplington, _of a rich Fortune_. _Young_ Fashion _being
+refused a Summ of Money by his Brother, goes into_ Couplers _Plot, bubbles
+Sir_ Tunbelly _of his Daughter, and makes himself Master of a fair Estate_.
+
+From the Form and Constitution of the _Fable_, I observe
+
+1st. That there is a _Misnommer_ in the Title. The _Play_ should not have
+been call'd the _Relapse, or Virtue in Danger_: _Lovelace_, and _Amanda_,
+from whose _Characters_ these Names are drawn, are Persons of Inferiour
+Consideration. _Lovelace_ sinks in the middle of the _Fourth_ Act, and we
+hear no more of him till towards the End of the _Fifth_, where he enters
+once more, but then 'tis as _Cato_ did the Senate house, only to go out
+again. And as for _Amanda_ she has nothing to do but to stand a shock of
+Courtship, and carry off her Virtue. This I confess is a great task in the
+_Play-house_, but no main matter in the _Play_.
+
+The _Intrigue_, and the _Discovery_, the great Revolution and success,
+turns upon _Young Fashion_. He without Competition, is the Principal Person
+in the _Comedy_. And therefore the _Younger Brother_, or the _Fortunate
+Cheat_, had been much a more proper Name. Now when a _Poet_ can't rig out a
+_Title Page_, 'tis but a bad sign of his holding out to the _Epilogue_.
+
+_2ly._ I observe the _Moral_ is vitious: It points the wrong way, and puts
+the _Prize_ into the wrong Hand. It seems to make _Lewdness_ the reason of
+_Desert_, and gives _Young Fashion_ a second Fortune, only for Debauching
+away his First. A short view of his _Character_, will make good this
+Reflection. To begin with him: He confesses himself a _Rake_, swears, and
+Blasphemes, Curses, and Challenges his Elder Brother, cheats him of his
+Mistress, and gets him laid by the Heels in a Dog-Kennel. And what was the
+ground of all this unnatural quarrelling and outrage? Why the main of it
+was only because Lord _Foplington_ refused to supply his Luxury, and make
+good his Extravagance. This _Young Fashion_ after all, is the _Poets_ Man
+of Merit. He provides, a _Plot_ and a Fortune, on purpose for him. To speak
+freely, A Lewd Character seldom wants good Luck in _Comedy_. So that when
+ever you see a thorough Libertine, you may almost swear he is in a rising
+way, and that the _Poet_ intends to make him a great Man. In short; This
+_Play_ perverts the End of _Comedy_: Which as Monsieur _Rapin_ observes
+ought to regard Reformation, and publick Improvement. But the _Relapser_
+had a more fashionable Fancy in his Head.[402] His _Moral_ holds forth this
+notable Instruction.
+
+_1st._ That all _Younger Brothers_ should be careful to run out their
+Circumstances as Fast, and as Ill as they can. And when they have put their
+Affairs in this posture of Advantage, they may conclude themselves in the
+high Road to Wealth, and Success. For as _Fashion_ Blasphemously applies
+it, _Providence takes care of Men of Merit._[403]
+
+_2ly._ That when a Man is press'd, his business is not to be govern'd by
+Scruples, or formalize upon Conscience and Honesty. The quickest Expedients
+are the best; For in such cases the Occasion justifies the Means, and a
+Knight of the _Post_, is as good as one of the _Garter_. In the
+
+_3d._ Place it may not be improper to look a little into the _Plot_. Here
+the _Poet_ ought to play the Politician if ever. This part should have some
+stroaks, of Conduct, and strains of Invention more then ordinary. There
+should be something that is admirable, and unexpected to surprize the
+Audience. And all this Finess must work by gentle degrees, by a due
+preparation of _Incidents_, and by Instruments which are probable.[404]
+'Tis Mr. _Rapins_ remark, that without probability _every Thing is lame and
+Faulty_. Where there is no pretence to _Miracle_ and _Machine_, matters
+must not exceed the force of Beleif. To produce effects without proportion;
+and likelyhood in the Cause, is Farce, and Magick, and looks more like
+Conjuring than Conduct. Let us examine the _Relapser_ by these Rules. To
+discover his _Plot_, we must lay open somewhat more of the _Fable_.
+
+'Lord _Foplington_ a Town Beau, had agreed to Marry the Daughter of Sir.
+_Tun-belly Clumsey_ a Country Gentleman, who lived Fifty miles from
+_London_. Notwithstanding this small distance, the Lord had never seen his
+Mistress, nor the Knight his Son in Law. Both parties out of their great
+Wisdom, leave the treating the Match to _Coupler_. When all the
+preliminaries of Settlement were adjusted, and Lord _Foplington_ expected
+by Sir _Tun-belly_ in a few days, _Coupler_ betrays his Trust to _Young
+Fashion_. He advises him to go down before his Brother: To Counterfeit his
+Person, and pretend that the strength of his Inclinations brought him
+thither before his time, and without his Retinue. And to make him pass upon
+Sir _Tun-belly_, _Coupler_ gives him his _Letter_, which was to be Lord
+_Foplingtons_ Credential. _Young Fashion_ thus provided, posts down to Sir
+_Tun-belly_, is received for Lord _Foplington_, and by the help of a little
+Folly and Knavery in the Family, Marries the young Lady without her Fathers
+Knowledge, and a week before the Appointment.
+
+This is the Main of the Contrivance. The Counterturn in Lord _Foplingtons_
+appearing afterwards, and the Support of the main _Plot_, by _Bulls_, and
+_Nurses_ attesting the Marriage, contain's little of Moment. And here we
+may observe that Lord _Foplington_ has an unlucky Disagreement in his
+_Character_; This Misfortune sits hard upon the credibility of the Design.
+Tis true he was Formal and Fantastick, Smitten with Dress, and Equipage,
+and it may be vapour'd by his Perfumes But his Behaviour is far from that
+of an Ideot.[405] This being granted, 'tis very unlikely this Lord with his
+five Thousand pounds _per annum_, should leave the choise of his Mistress
+to _Coupler_, and take her Person and Fortune upon _Content_. To court thus
+blindfold, and by _Proxy_, does not agree with the Method of an Estate, nor
+the Niceness of a _Beau_. However the _Poet_ makes him engage Hand over
+Head, without so much as the sight of her Picture.[406] His going down to
+Sir _Tun-belly_ was as extraordinary as his Courtship. He had never seen
+this Gentleman. He must know him to be beyond Measure suspicious, and that
+there was no Admittance without _Couplers_ Letter. This _Letter_ which was,
+the Key to the Castle, he forgot to take with him, and tells you _'twas
+stolen by his Brother Tam_. And for his part he neither had the Discretion
+to get another, nor yet to produce that written by him to Sir
+_Tun-belly_.[407] Had common Sense been consulted upon this Occasion, the
+_Plot_ had been at an End, and the _Play_ had sunk in the Fourth _Act_. The
+Remainder subsists purely upon the strength of Folly, and of Folly
+altogether improbable, and out of _Character_. The _Salvo_ of Sir _John
+Friendly's_ appearing at last, and vouching for Lord _Foplington_, won't
+mend the matter. For as the _Story_ informs us, Lord _Foplington_ never
+depended on this Reserve.[408] He knew nothing of this Gentleman being in
+the Country, nor where he Lived. The truth is, Sir _John_ was left in
+_Town_, and the Lord had neither concerted his journey with him, nor
+engaged his Assistance.[409]
+
+Let us now see how Sir. _Tun-belly_ hangs together. This Gentleman the
+_Poet_ makes a _Justice_ of _Peace_, and a _Deputy Lieutenant_, and seats
+him fifty Miles from _London_: But by his Character you would take him for
+one of _Hercules_'s Monsters, or some Gyant in _Guy_ of _Warwick_. His
+Behaviour is altogether _Romance_, and has nothing agreeable to Time, or
+Country. When _Fashion_, and _Lory_, went down, they find the Bridge drawn
+up, the Gates barr'd, and the Blunderbuss cock'd at the first civil
+Question. And when Sir _Tun-belly_ had notice of this formidable
+Appearance, he Sallies out with the _Posse_ of the Family, and marches
+against a Couple of Strangers with a _Life Gaurd_ of Halberds, Sythes, and
+Pitchforks. And to make sure work, Young _Hoyden_ is lock'd up at the first
+approach of the Enemy. Here you have prudence and wariness to the excess of
+Fable, and Frensy. And yet this mighty man of suspition, trusts _Coupler_
+with the Disposal of his only Daughter, and his Estate into the Bargain.
+And what was this _Coupler_? Why, a sharper by _Character_, and little
+better by Profession. Farther. Lord _Foplington_ and the Knight, are but a
+days Journey asunder, and yet by their treating by Proxy, and Commission,
+one would Fancy a dozen Degrees of _Latitude_ betwixt them. And as for
+Young _Fashion_, excepting _Couplers_ Letter, he has all imaginable Marks
+of Imposture upon him. He comes before his Time, and without the Retinue
+expected, and has nothing of the Air of Lord _Foplington's_ Conversation.
+When Sir _Tun-belly_ ask'd him, _pray where are your Coaches and Servants
+my Lord_? He makes a trifling excuse. _Sir, that I might give you and your
+Fair Daughter a proof how impatient I am to be nearer akin to you, I left
+my Equipage to follow me, and came away Post, with only one Servant._[410]
+To be in such a Hurry of Inclination for a Person he never saw, is somewhat
+strange! Besides, 'tis very unlikely Lord _Foplington_ should hazard his
+Complexion on Horseback, out ride his Figure, and appear a Bridegroom in
+_Deshabille_. You may as soon perswade a Peacock out of his Train, as a
+_Beau_ out of his Equipage; especially upon such an Occasion. Lord
+_Foplington_ would scarsely speak to his Brother just come a _Shore_, till
+the Grand Committee of _Taylors, Seamtresses, &c._ was dispatch'd.[411]
+Pomp, and Curiosity were this Lords Inclination; why then should he
+mortifie without necessity, make his first Approaches thus out of Form and
+present himself to his Mistress at such Disadvantage? And as this is the
+Character of Lord _Foplington_, so 'tis reasonable to suppose Sir
+_Tunbelly_ acquainted with it. An enquiry into the Humour and management of
+a Son in Law, is very natural and Customary. So that we can't without
+Violence to Sense, suppose Sir _Tunbelly_ a Stranger to Lord _Foplington_'s
+Singularities. These Reasons were enough in all Conscience to make Sir
+_Tunbelly_ suspect a Juggle, and that _Fashion_ was no better then a
+Counterfeit. Why then was the _Credential_ swallow'd without chewing, why
+was not _Hoyden_ lock'd up, and a pause made for farther Enquiry? Did this
+_Justice_ never hear of such a Thing as Knavery, or had he ever greater
+reason to guard against it? More wary steps might well have been expected
+from Sir _Tunbelly_. To run from one extream of Caution, to another of
+Credulity, is highly improbable. In short, either Lord _Foplington_ and Sir
+_Tunbelly_ are Fools, or they are not. If they are, where lies the Cunning
+in over-reaching them? What Conquest can there be without Opposition? If
+they are not Fools, why does the _Poet_ make them so? Why is their Conduct
+so gross, so particolour'd, and inconsistent? Take them either way, and the
+_Plot_ miscarries. The first supposition makes it dull, and the later,
+incredible. So much for the _Plot_. I shall now in the
+
+_4th_. Place touch briefly upon the _Manners_.
+
+The _Manners_ in the Language of the _Stage_ have a signification somewhat
+particular. _Aristotle_ and _Rapin_ call them the Causes and Principles of
+Action. They are formed upon the Diversities of Age, and Sex, of Fortune,
+Capacity, and Education. The propriety of _Manners_ consists in a
+Conformity of Practise, and Principle; of Nature, and Behaviour. For the
+purpose. An old Man must not appear with the Profuseness and Levity of
+Youth; A Gentleman must not talk like a Clown, nor a Country Girl like a
+Town Jilt. And when the _Characters_ are feign'd 'tis _Horace_'s Rule to
+keep them Uniform, and consistent, and agreeable to their first setting
+out. The _Poet_ must be careful to hold his _Persons_ tight to their
+_Calling_ and pretentions. He must not shift, and shuffle, their
+Understandings; Let them skip from Wits to Blockheads, nor from Courtiers
+to Pedants; On the other hand. If their business is playing the Fool, keep
+them strictly to their Duty, and never indulge them in fine Sentences. To
+manage otherwise, is to desert _Nature_, and makes the _Play_ appear
+monstrous, and Chimerical. So that instead of an _Image of Life_, 'tis
+rather an Image of Impossibility. To apply some of these remarks to the
+_Relapser_.
+
+The fine _Berinthia_, one of the Top-Characters, is impudent and Profane.
+_Lovelace_ would engage her Secrecy, and bids her Swear. She answers _I
+do_.
+
+_Lov._ By what?
+
+Berinth. _By Woman._
+
+Lov. _That's Swearing by my Deity, do it by your own, or I shan't believe
+you._
+
+Berinth. _By Man then._[412]
+
+This Lady promises _Worthy_ her Endeavours to corrupt _Amanda_; and then
+They make a Profane jest upon the Office.[413] In the progress of the
+_Play_ after a great deal of Lewd Discourse with _Lovelace_, _Berinthia_ is
+carried off into a Closet, and Lodged in a _Scene_ of Debauch.[414] Here is
+Decency, and Reservedness, to a great exactness! Monsieur _Rapin_ blames
+_Ariosto_, and _Tasso_, for representing two of their Women over free, and
+airy.[415] These _Poets_ says he, _rob Women of their Character, which is
+Modesty_. Mr. _Rymer_ is of the same Opinion: His words are these. _Nature
+knows nothing in the Manners which so properly, and particularly
+distinguish a Woman, as her Modesty.----An impudent Woman is fit only to be
+kicked, and expos'd in Comedy._[416]
+
+Now _Berinthia_ appears in _Comedy_ 'tis true; but neither to be _kick'd_,
+nor _expos'd_. She makes a Considerable Figure, has good Usage, keeps the
+best Company, and goes off without Censure, or Disadvantage. Let us now
+take a Turn or two with Sir _Tun-belly's_ Heiress of 1500 pounds a year.
+This Young Lady swears, talks smut, and is upon the matter just as
+rag-manner'd as _Mary the Buxsome_. 'Tis plain the _Relapser_ copyed Mr.
+_Durfey's_ Original, which is a sign he was somewhat Pinch'd. Now this
+_Character_ was no great Beauty in _Buxsome_; But it becomes the Knights
+Daughter much worse. _Buxsome_ was a poor Pesant, which made her Rudeness
+more natural, and expected. But _Deputy Lieutenants_ Children don't use to
+appear with the Behaviour of Beggars. To breed all People alike, and make
+no distinction between a _Seat_, and a _Cottage_, is not over artful, nor
+very ceremonious to the Country Gentlemen. The _Relapser_ gives _Miss_ a
+pretty Soliloquy, I'll transcribe it for _the Reader_.
+
+She swears by her Maker, _'tis well I have a Husband a coming, or I'de
+Marry the Baker I would so. No body can knock at the Gate, but presently I
+must be lock'd up, and, here's the Young Gray-hound----can run loose about
+the House all day long, she can, 'tis very well!_![417] Afterwards her
+Language is too Lewd to be quoted. Here is a Compound of Ill Manners, and
+Contradiction Is this a good Resemblance of Quality, a Description of a
+great Heiress, and the effect of a Cautious Education? By her Coarsness you
+would think her Bred upon a Common, and by her Confidence, in the Nursery
+of the _Play-house_. I suppose the _Relapser_ Fancies the calling her _Miss
+Hoyden_ is enough to justifie her Ill Manners. By his favour, this is a
+Mistake. To represent her thus unhewn, he should have suited her Condition
+to her Name, a little better. For there is no Charm in _Words_ as to
+matters of Breeding, An unfashionable Name won't make a Man a Clown.
+Education is not form'd upon Sounds, and Syllables, but upon Circumstances,
+and Quality. So that if he was resolv'd to have shown her thus unpolish'd,
+he should have made her keep _Sheep_, or brought her up at the _Wash-Boul_.
+
+Sir _Tun-belly_ accosts Young _Fashion_ much at the same rate of
+Accomplishment.[418] My Lord,----_I humbly crave leave to bid you Welcome
+in a Cup of Sack-wine_. One would imagine the _Poet_ was overdozed before
+he gave the _Justice_ a Glass. For _Sack-wine_ is too low for a _Petty
+Constable_. This peasantly expression agrees neither with the Gentlemans
+Figure, nor with the rest of his Behaviour. I find we should have a
+Creditable _Magistracy_, if the _Relapser_ had the Making them. Here the
+_Characters_ are pinch'd in Sense, and stinted to short Allowance. At an
+other time they are over-indulged, and treated above Expectation.
+
+For the purpose. Vanity and Formalizing is Lord _Foplingtons_ part. To let
+him speak without Aukwardness, and Affectation, is to put him out of his
+Element. There must be Gumm and stiffening in his Discourse to make it
+natural However, the _Relapser_ has taken a fancy to his Person, and given
+him some of the most Gentile raillery in the whole _Play_. To give an
+Instance or two. This Lord in Discourse with _Fashion_ forgets his Name,
+flies out into Sense, and smooth expression, out talks his Brother, and
+abating the starch'd Similitude of a _Watch_, discovers nothing of
+Affectation, for almost a _Page_ together.[419] He relapses into the same
+Intemperance of good Sense, in an other Dialogue between him and his
+Brother. I shall cite a little of it.
+
+_Y._ Fash. _Unless you are so kind to assist me in redeeming my Annuity, I
+know no Remedy, but to go take a Purse_.
+
+_L._ Fopl. _Why Faith_ Tam----_to give you my Sense of the Thing, I do
+think taking a Purse the best Remedy in the World, for if you succeed, you
+are releiv'd that way, if you are taken----you are reliev'd to'ther_.[420]
+
+_Fashion_ being disappointed of a supply quarrels his Elder Brother, and
+calls him _the Prince of Coxcombs_.[421]
+
+_L._ Fopl. _Sir I am proud of being at the Head of so prevailing a party._
+
+_Y._ Fash. _Will nothing then provoke thee? draw Coward._
+
+_L._ Fopl. _Look you_ Tam, _your poverty makes your Life so burdensome to
+you, you would provoke me to a Quarrel, in hopes either to slip through my
+Lungs into my Estate, or else to get your self run through the Guts, to put
+an end to your Pain. But I shall disappoint you in both_. &c.
+
+This Drolling has too much Spirit, the Air of it is too free, and too
+handsomly turn'd for Lord _Foplingtons_ Character. I grant the _Relapser_
+could not aford to lose these Sentences. The Scene would have suffer'd by
+the Omission. But then he should have contriv'd the matter so, as that they
+might, have been spoken by Young _Fashion_ in _Asides_, or by some other
+more proper Person. To go on. Miss _Hoyden_ sparkles too much in
+Conversation. The _Poet_ must needs give her a shining Line or two,[422]
+which serves only to make the rest of her dullness the more remarkable.
+Sir. _Tun-belly_ falls into the same Misfortune of a Wit, and rallies above
+the force of his Capacity.[423] But the place having a mixture of
+Profaness, I shall forbear to cite it. Now to what purpose should a Fools
+Coat be embroider'd? Finery in the wrong place is but expensive
+Ridiculousness. Besides, I don't perceive the _Relapser_ was in any
+Condition to be thus liberal. And when a _Poet_ is not overstock'd, to
+squander away his Wit among his _Block-heads_, is meer Distraction. His men
+of Sense will smart for this prodigality. _Lovelace_ in his discourse of
+_Friendship_, shall be the first Instance. _Friendship_ (says he) _is said
+to be a plant of tedious growth, its Root composed of tender_ Fibers, nice
+in their Tast, _&c._ By this Description the Palate of a _Fiber_, should be
+somewhat more _nice_ and distinguishing, then the _Poets_ Judgment. Let us
+examin some more of his Witty People. Young _Fashion_ fancies by _Misses_
+forward Behaviour, she would have a whole _Kennel_ of _Beaux_ after her at
+_London_. And then _Hey to the Park, and the Play, and the Church, and the
+Devil_.[424] Here I conceive the ranging of the Period is amiss. For if he
+had put the _Play_, and the _Devil_ together, the Order of Nature, and the
+Air of Probability had been much better observ'd.
+
+Afterwards _Coupler_ being out of Breath in coming up stairs to _Fashion_,
+asks him _why the ---- canst thou not lodge upon the Ground-floor_?[425]
+
+_Y._ Fash. _Because I love to lye as near Heaven as I can._ One would think
+a Spark just come off his Travels, and had made the _Tour_ of _Italy_ and
+_France_, might have rallied with a better Grace! However if he lodg'd in a
+_Garret_, 'tis a good _Local_ jest. I had almost forgot one pretty
+remarkable Sentence of _Fashion_ to _Lory._[426] _I shall shew thee_ (says
+he) _the excess of my Passion by being very calm_. Now since this
+_Gentleman_ was in a vein of talking Philosophy to his Man, I'm sorry he
+broke of so quickly. Had he gone on and shown him the _Excess_ of a Storm
+and no Wind stirring, the Topick had been spent, and the Thought improv'd
+to the utmost.
+
+Let us now pass onto _Worthy_, the _Relapsers_ fine Gentleman. This Spark
+sets up for Sense, and Address, and is to have nothing of Affectation or
+Conscience to spoil his Character. However to say no more of him, he grows
+Foppish in the last _Scene_, and courts _Amanda_ in Fustian, and Pedantry.
+First, He gives his Periods a turn of Versification, and talks _Prose_ to
+her in _Meeter_. Now this is just as agreeable as it would be to _Ride_
+with one Leg, and _Walk_ with the other. But let him speak for himself. His
+first business is to bring _Amanda_ to an Aversion for her Husband; And
+therefore he perswades her to _Rouse up that Spirit Women ought to bear;
+and slight your God if he neglects his Angel_.[427] He goes on with his
+Orisons. _With Arms of Ice receive his Cold Embraces and keep your Fire for
+those that come in Flames._ Fire and Flames, is Mettal upon Mettal; 'Tis
+false Heraldry. _Extend the Arms of Mercy to his Aid. His zeal may give him
+Title to your Pity, altho' his Merit cannot claim your Love._[428] Here you
+have _Arms_ brought in again by Head and shoulders. I suppose the design
+was to keep up the Situation of the _Allegory_. But the latter part of the
+Speech is very Pithy. He would have her resign her Vertue out of Civility,
+and abuse her Husband on Principles of good Nature. _Worthy_ pursues his
+point, and Rises in his Address. He falls into a Fit of Dissection, and
+hopes to gain his Mistress by Cutting his Throat. He is for _Ripping up his
+Faithful Breast_, to prove the Reality of his Passion. Now when a Man
+Courts with his Heart in his Hand, it must be great Cruelty to refuse him!
+No Butcher could have Thought of a more moving Expedient! However, _Amanda_
+continues obstinate, and is not in the usual Humour of the _Stage_. Upon
+this, like a well bred Lover he seizes her by Force, and threatens to Kill
+her. _Nay struggle not for all's in vain, or Death, or Victory, I am
+determin'd._[429] In this rencounter the Lady proves too nimble, and slips
+through his Fingers. Upon this disappointment, he cries, _there's Divinity
+about her, and she has dispenc'd some Portion on't to me_. His Passion is
+Metamorphos'd in the Turn of a hand: He is refin'd into a _Platonick_
+Admirer, and goes off as like a _Town Spark_ as you would wish. And so much
+for the _Poets_ fine Gentleman.
+
+I should now examine the _Relapser's Thoughts and Expressions_, which are
+two other Things of Consideration in a _Play_. The _Thoughts_ or
+_Sentiments are the Expressions of the Manners, as Words are of the
+Thoughts_.[430] But the view of the _Characters_ has in some measure
+prevented this Enquiry. Leaving this Argument therefore, I shall consider
+his _Play_ with respect to the
+
+_Three Unities_ of Time, Place, and Action.
+
+And here the _Reader_ may please to take notice, that the Design of these
+Rules, is to conceal the Fiction of the _Stage_, to make the _Play_ appear
+Natural, and to give it an Air of Reality, and _Conversation_.
+
+The largest compass for the first _Unity_ is Twenty Four Hours: But a
+lesser proportion is more regular. To be exact, the Time of the History, or
+_Fable_, should not exceed that of the _Representation_: Or in other words,
+the whole Business of the _Play_, should not be much longer than the Time
+it takes up in _Playing_.
+
+The Second _Unity_ is that of _Place_. To observe it, the _Scene_ must not
+wander from one Town, or Country to another. It must continue in the same
+House, Street, or at farthest in the same City, where it was first laid.
+The Reason of this Rule depends upon the _First_. Now the Compass of _Time_
+being strait, that of _Space_ must bear a Correspondent Proportion. Long
+journeys in _Plays_ are impracticable. The Distances of _Place_ must be
+suited to Leisure, and Possibility, otherwise the supposition will appear
+unnatural and absurd. The
+
+Third _Unity_ is that of _Action_; It consists in contriving the chief
+Business of the _Play_ single, and making the concerns of one Person
+distinguishably great above the rest. All the Forces of the _Stage_ must as
+it were serve Under one _General_: And the lesser Intrigues or Underplots,
+have some Relation to the Main. The very Oppositions must be useful, and
+appear only to be Conquer'd, and Countermin'd. To represent Two
+considerable Actions independent of each other, Destroys the beauty of
+Subordination, weakens the Contrivance, and dilutes the pleasure. It splits
+the _Play_, and makes the _Poem_ double. He that would see more upon this
+subject may consult _Corneille_.[431] To bring these Remarks to the Case in
+hand. And here we may observe how the _Relapser_ fails in all the _Rules_
+above mention'd.
+
+_1st._ His _Play_ by modest Computation takes up a weeks Work, but five
+days you must allow it at the lowest. One day must be spent in the First,
+Second, and part of the Third _Act_, before Lord _Foplington_ sets forward
+to Sir _Tun-belly_. Now the Length of the Distance, the Pomp of the
+Retinue, and the Niceness of the Person being consider'd; the journey down,
+and up again, cannot be laid under four days.[432] To put this out of
+doubt, Lord, _Foplington_ is particularly careful to tell _Coupler_, how
+concern'd he was not to overdrive _for fear of disordering his
+Coach-Horses_. The Laws of _Place_, are no better observ'd than those of
+_Time_. In the Third _Act_ the _Play_ is in _Town_, in the Fourth _Act_
+'tis stroll'd Fifty Miles off, and in the Fifth _Act_ in _London_ again.
+Here _Pegasus_ stretches it to purpose! This _Poet_ is fit to ride a Match
+with Witches. _Juliana Cox_ never Switched a Broom stock with more
+Expedition! This is exactly
+
+  _Titus_ at _Walton Town_, and _Titus_ at _Islington_.
+
+One would think by the probability of matters, the _Plot_ had been stolen
+from Dr. _O----s_.
+
+The _Poet's_ Success in the last _Unity_ of _Action_ is much the same with
+the former. _Lovelace_, _Amanda_, and _Berinthia_, have no share in the
+main Business. These Second rate _Characters_ are a detatched Body: Their
+Interest is perfectly Foreign, and they are neither Friends, nor Enemies to
+the _Plot_. _Young Fashion_ does not so much as see them till the Close of
+the Fifth _Act_, and then they meet only to fill the _Stage_: And yet these
+_Persons_ are in the _Poets_ account very considerable; Insomuch that he
+has misnamed his _Play_ from the Figure of two of them. This strangness of
+_Persons_, distinct Company, and inconnexion of Affairs, destroys the Unity
+of the _Poem_. The contrivance is just as wise as it would be to cut a
+Diamond in two. There is a loss of Lustre in the Division. Increasing the
+Number, abates the Value, and by making it more, you make it less.
+
+Thus far I have examin'd the _Dramatick_ Merits of the _Play_. And upon
+enquiry, it appears a Heap of Irregularities. There is neither Propriety in
+the _Name_, nor Contrivance in the _Plot_, nor Decorum in the _Characters_.
+'Tis a thorough Contradition to Nature, and impossible in _Time_, and
+_Place_. Its _Shining Graces_ as the Author calls them,[433] are
+_Blasphemy_ and _Baudy_, together with a mixture of _Oaths_, and _Cursing_.
+Upon the whole; The _Relapser's_ Judgment, and his Morals, are pretty well
+adjusted. The _Poet_, is not much better than the _Man_. As for the
+_Profane_ part, 'tis hideous and superlative.[434] But this I have
+consider'd elsewhere. All that I shall observe here is, that the Author was
+sensible of this Objection. His Defence in his _Preface_ is most wretched:
+He pretends to know nothing of the Matter, and that _'tis all Printed_;
+Which only proves his Confidence equal to the rest of his Virtues. To
+out-face Evidence in this manner, is next to the affirming there's no such
+Sin as _Blasphemy_, which is the greatest Blasphemy of all. His Apology
+consists in railing at the _Clergy_; a certain sign of ill Principles, and
+ill Manners. This He does at an unusual rate of Rudeness and Spite. He
+calls them the Saints with Screw'd _Faces, and wry Mouths_. And after a
+great deal of scurrilous Abuse too gross to be mention'd, he adds;[435] _If
+any Man happens to be offended at a story of a Cock and a Bull, and a
+Priest and a Bull-dog, I beg his Pardon_, &c. This is brave _Bear-Garden_
+Language! The _Relapser_ would do well to transport his Muse to
+_Samourgan_.[436] There 'tis likely he might find Leisure to lick his
+_Abortive Brat_ into shape; And meet with proper Business for his Temper,
+and encouragement for his Talent.
+
+
+
+
+CHAP. VI.
+
+_The Opinion of_ Paganism, _of the_ Church, _and_ State, _concerning the_
+Stage.
+
+
+Having in the foregoing _Chapters_ discover'd some part of the Disorders of
+the _English Stage_; I shall in this Last, present the _Reader_ with a
+short View of the Sense of _Antiquity_, To which I shall add some _Modern_
+Authorities; From all which it will appear that _Plays_ have generally been
+look'd on as the _Nurseries_ of _Vice_, the _Corrupters_ of _Youth_, and
+the _Grievance_ of the _Country_ where they are suffer'd.
+
+This proof from _Testimony_ shall be ranged under these three Heads.
+
+Under the _First_, I shall cite some of the most celebrated _Heathen
+Philosophers_, Orators, and Historians; Men of the biggest Consideration,
+for Sense, Learning, and Figure. The
+
+_Second_, Shall consist of the _Laws_ and _Constitutions_ of _Princes, &c._
+The
+
+_Third_, Will be drawn from _Church-Records_, from _Fathers_, and
+_Councils_ of unexceptionable Authority, both as to Persons, and Time.
+
+_1st._ I shall produce some of the most celebrated Heathen Philosophers
+_&c._ To begin with _Plato_. 'This Philosopher tells us that _Plays_ raise
+the Passions, and pervert the use of them, and by consequence are dangerous
+to Morality. For this Reason he banishes these Diversions his
+_Common-Wealth_.'[437]
+
+_Xenophon_ who was both a Man of _Letters_ and a great _General_, commends
+the _Persians_ for the Discipline of their Education. 'They won't (says he)
+so much as suffer their Youth to hear any thing that's Amorous or
+Tawdry.'[438] They were afraid want of Ballast might make them miscarry,
+and that 'twas dangerous to add weight to the Byass of Nature.
+
+_Aristole_ lays it down for a Rule 'that the Law ought to forbid Young
+People the seeing of _Comedies_. Such permissions not being safe till Age
+and Discipline had confirm'd them in sobriety, fortified their Virtue, and
+made them as it were proof against Debauchery.'[439] This Philosopher who
+had look'd as far into Humane Nature as any Man, observes farther. 'That
+the force of Musick and _Action_ is very affecting. It commands the
+Audience and changes the Passions to a Resemblance of the Matter before
+them.'[440] So that where the Representation is foul, the Thoughts of the
+Company must suffer.
+
+_Tully_ crys out upon 'Licentious _Plays_ and _Poems_, as the bane of
+Sobriety, and wise Thinking: That _Comedy_ subsists upon Lewdness, and that
+Pleasure is the Root, of all Evil.'[441]
+
+_Livy_, reports the Original of _Plays_ among the _Romans_. 'He tells us
+they were brought in upon the score of Religion, to pacifie the Gods, and
+remove a _Mortality_. But then He adds that the Motives are sometimes good,
+when the Means are stark naught: That the Remedy in this case was worse
+than the Disease, and the Atonement more Infectious then the Plague.'[442]
+
+_Valerius Maximus_, Contemporary with _Livy_, gives much the same Account
+of the rise of _Theatres_ at _Rome_. 'Twas Devotion which built them. And
+as for the Performances of those Places, which Mr. _Dryden_ calls the
+_Ornaments_, this Author censures as the Blemishes of _Peace_.' And which
+is more, He affirms 'They were the Occasions of Civil Distractions; And
+that the _State_ first Blush'd, and then Bled, for the Entertainment.[443]
+He concludes the consequences of _Plays_ intolerable;[444] And that the
+_Massilienses_ did well in clearing the Country of them. _Seneca_ complains
+heartily of the Extravagance and Debauchery of the Age: And how forward
+People were to improve in that which was naught. That scarce any Body would
+apply themselves to the Study of Nature and Morality, unless when the
+_Play-House_ was shut, or the Weather foul. That there was no body to teach
+_Philosophy_, because there was no body to Learn it: But that the _Stage_
+had _Nurseries_, and Company enough. This Misapplication of time and Fancy,
+made Knowledge in so ill a Condition. This was the Cause the Hints of
+Antiquity were no better pursued; that some Inventions were sunk, and that
+Humane Reason grew Downwards rather than otherwise.[445] And elswhere he
+avers that there is nothing more destructive to Good Manners then to run
+Idling to see _Sights_. For there Vice makes an insensible Approach, and
+steals upon us in the Disguise of pleasure.[446]
+
+'_Tacitus_ relating how _Nero_ hired decay'd Gentlemen for the _Stage_,
+complains of the Mismanagement;[447] And lets us know 'twas the part of a
+Prince to releive their Necessity, and not to Tempt it. And that his Bounty
+should rather 'have set them above an ill practise, than driven them
+upon't.'
+
+And in another place, He informs us that 'the German Women were Guarded
+against danger, and kept their Honour out of Harms way, by having no
+_Play-Houses_ amongst them.'[448]
+
+_Plays_, in the Opinion of the Judicious _Plutark_ are dangerous to corrupt
+Young People; And therefore _Stage_ Poetry when it grows too hardy, and
+Licentious, ought to be checkt.[449] This was the Opinion of these
+Celebrated _Authors_ with respect to _Theatres_: They Charge them with the
+Corruption of Principles, and Manners, and lay in all imaginable Caution
+against them. And yet these Men had seldom any thing but this World in
+their Scheme; and form'd their Judgments only upon Natural Light, and
+Common Experience. We see then to what sort of Conduct we are oblig'd. The
+case is plain; Unless we are little enough to renounce our Reason, and fall
+short of Philosophy, and live _under_ the Pitch of _Heathenism_.
+
+To these Testimonies I shall add a Couple of _Poets_, who both seem good
+Judges of the Affair in Hand.
+
+The first is _Ovid_, who in his Book _De  Arte Amandi_, gives his _Reader_
+to understand that the _Play-House_ was the most likely Place for him to
+Forage in. Here would be choice of all sorts: Nothing being more common
+than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at
+these Diversions.
+
+  _Sed tu pr�cique curvis venare Theatris,
+  H�c loca sunt voto fertiliora tuo.
+  ---- ruit ad celebres cultissima F�mina Ludos;
+  Copia judicium s�pe morata meum est.
+  Spectatum veniunt, veniunt Spectentur ut ips�;
+  Ille locus casti damna pudoris habet._[450]
+
+And afterwards relating the imperfect beginning of _Plays_ at the Rape of
+the _Sabine_ Virgins, he adds,
+
+  _Silicit exillo solennia more Theatra
+  Nunc quoque formosis insidiosa manent._
+
+This _Author_ some time after wrote the _Remedy_ of _Love_. Here he
+pretends to Prescribe for Prudence, if not for Sobriety. And to this
+purpose, He forbids the seeing of _Plays_, and the reading of _Poets_,
+especially some of them. Such Recreations being apt to feed the
+_Distemper_, and make the _Patient_ relapse.
+
+  _At tanti tibi sit non indulgere Theatris
+  Dum bene de cacuo Pectore cedat amor.
+  Enervant animos Cithar�, Cantusque, lyraque
+  Et vox, & numeris brachia mota suis.
+  Illic assidue ficti saltantur amantes,
+  Quid, caveas, actor, quid juvet, arte docet_.[451]
+
+In his _De Tristibus_, He endeavours to make some Amends for his scandalous
+_Poems_, and gives _Augustus_ a sort of _Plan_ for a Publick _Reformation_.
+Amongst other Things, he advises the suppressing of _Plays_, as being the
+promoters of Lewdness, and Dissolution of Manners.
+
+  _Ut tamen hoc fatear ludi quoque semina pr�bent
+  Nequiti�, tolli tota Theatra jube._[452]
+
+To the Testimony of _Ovid_, I could add _Plautus_, _Propertius_, and
+_Juvenal_, but being not willing to overburthen the _Reader_, I shall
+content my self with the _Plain-Dealer_ as one better known at _Home_.
+
+This _Poet_ in his _Dedication_ to _Lady B_, some Eminent _Procuress_,
+pleads the Merits of his Function, and insists on being Billeted upon _free
+Quarter_. _Madam_ (says he) _I think a Poet ought to be as free of your
+Houses, as of the Play-Houses: since he contributes to the support of both,
+and is as necessary to such as you, as the Ballad-singer to the Pick-purse,
+in Convening the Cullies at the Theatres to be pick'd up, and Carried to a
+supper, and Bed, at your Houses._[453] This is franck Evidence, and ne're
+the less true, for the Air of a Jest.
+
+I shall now in the Second Place proceed to the _Censures_ of the _State_;
+And show in a few Words how much the _Stage_ stands discouraged by the
+_Laws_ of other Countrys and our own.
+
+To begin with the _Athenians_.[454] This People tho' none of the worst
+Freinds to the _Play-House_ 'thought a _Comedy_ so unreputable a
+Performance, that they made a Law that no Judge of the _Ariopagus_ should
+make one.'
+
+The _Lacedemonians_,[455] who were remarkable for the Wisdom of their
+_Laws_, the Sobriety of their _Manners_, and their Breeding of brave Men.
+This _Government_ would not endure the _Stage_ in any Form, nor under any
+Regulation.
+
+To pass on to the _Romans_. _Tully_[456] informs us that their
+_Predecessours_ 'counted all _Stage-Plays_ uncreditable and Scandalous. In
+so much that any _Roman_ who turn'd _Actor_ was not only to be Degraded,
+but likewise as it were disincorporated, and unnaturalized by the _Order_
+of the _Censors_.
+
+St. _Augustine_ in the same Book,[457] commends the _Romans_ for refusing
+the _Jus Civitatis_ to _Players_, for seizing their Freedoms, and making
+them perfectly Foreign to their _Government_.
+
+We read in _Livy_[458] that the Young People in _Rome_ kept the _Fabul�
+Attellan�_ to themselves. 'They would not suffer this Diversion to be
+blemish'd by the _Stage_. For this reason, as the Historian observes,[459]
+the _Actors_ of the _Fabul� Atellan�_ were neither expell'd their _Tribe_,
+nor refused to serve in _Arms_; Both which Penalties it appears the _Common
+Players_ lay under.'
+
+In the Theodosian _Code_, _Players_ are call'd _Person� inhonest�_;[460]
+that is, to _Translate_ it softly, Persons Maim'd, and Blemish'd in their
+Reputation. Their _Pictures_ might be seen at the _Play-House_, but were
+not permitted to hang in any creditable Place[461] of the _Town_, Upon this
+_Text_ _Gothofred_ tells us the Function of Players was counted
+scandalous[462] by the _Civil Law_, L. 4. And that those who came upon the
+_Stage_ to divert the people, had a mark of Infamy set upon them. _Famosi
+sunt ex Edicto._ [463]
+
+I shall now come down to our own _Constitution_. And I find by 39 _Eliz.
+cap. 4. 1. Jac. cap. 7_. That all Bearwards, Common Players of Enterludes,
+Counterfeit Egyptians &c. shall be taken, adjudged and deem'd Rogues,
+Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment,
+as by this Act is in that behalf appointed. The _Penalties_ are infamous to
+the last degree, and _Capital_ too, unless they give over. 'Tis true, the
+first _Act_ excepts those Players which belong to a Baron or other
+Personage of higher Degree, and are authorized to Play under the hand and
+Seal of Armes of such Baron, or Personage. But by the later _Statute_ this
+Privilege of _Licensing_ is taken away: And all of them are expresly
+brought under the Penalty without Distinction.
+
+About the Year 1580, there was a Petition made to Queen _Elizabeth_ for
+suppressing of _Play-Houses_. 'Tis somewhat remarkable, and therefore I
+shall transcribe some part of the Relation.
+
+_Many Godly Citizens, and other well disposed Gentlemen of_ London,
+_considering that_ Play-Houses _and_ Dicing-Houses, _were Traps for Young
+Gentlemen and others, and perceiving the many Inconveniencies and great
+damage that would ensue upon the long suffering of the same, not only to
+particular Persons but to the whole City; And that it would also be a great
+disparagement to the Governours, and a dishonour to the Government of this
+Honourable City, if they should any longer continue, acquainted some Pious
+Magistrates therewith, desiring them to take some Course for the
+suppression of Common_ Play-Houses, _&c. within the City of_ London _and
+Liberties thereof; who thereupon made humble suit to Queen_ Elizabeth _and
+her Privy Council, and obtain'd leave of her Majesty to thrust the Players
+out of the City and to pull down all_ Play-Houses, _and_ Dicing-Houses
+_within their Liberties, which accordingly was effected.[464] And the
+Play-Houses in_ Grace-Church-street _&c. were quite put down and
+suppress'd_.
+
+I shall give a Modern Instance or two from _France_ and so conclude these
+Authorities.
+
+In the Year 1696. we are inform'd by a Dutch _Print_,[465] M. _L'
+Archev�que appuy�_ &c. That the Lord Arch-Bishop 'support'd by the interest
+of some Religious Persons at Court, has done his utmost to suppress the
+_Publick Theatres_ by degrees; or at least to clear them of Profaness.'
+
+And last Summer the _Gazetts_ in the _Paris Article_ affirm.[466] That the
+King has 'order'd the _Italian Players_ to retire out of _France_ because
+they did not observe his _Majesties Orders_, but represented immodest
+_Pieces_, and did not correct their _Obscenities_, and indecent
+_Gestures_.'
+
+The same _Intelligence_ the next week after, acquaints us, 'that some
+Persons of the first _Quality_ at Court, who were the Protectors of these
+_Comedians_, had solicited the French King to recal his _Order_ against
+them, but their Request had no success.'
+
+And here to put an end to the Modern Authorities, I shall subjoyn a sort of
+_Pastoral Letter_ publish'd about two years since by the Bishop of _Arras_
+in _Flanders_. The _Reader_ shall have as much of it as concerns him in
+both Languages.
+
+
+
+
+MANDEMENT
+
+DE MONSEIGNEUR
+
+_L'Illustrissime Et Reverendissime_
+
+EVEQUE D'ARRAS
+
+CONTRE LA COMEDIE.
+
+GUY DE SEVE DE ROCHE CHOUART _par la grace de Dieu & du Saint Si�ge
+Apostolique Ev�que d' Arras, A tous fideles dela Ville d'Arras Salut &
+Benediction. Il faut ignorer sa Religion pour ne pas conno�tre l'horreur
+qu'elle a marqu�e dans tous les temps des Spectacles, & de la Com�die en
+particulier. Les saints Peres la condamnent dans leurs �crits; Ils la
+regardent comme un reste du paganisme, & Comme une �cole d'impuret�.
+L'Eglise l' a to�jours regard�e avec abomination, & si elle n'a pas
+absolument rejett� de son sein ceux qui exercent ce m�tier infame &
+scandaleux, elle les prive publiquement des Sacremens & n'oublie rien pour
+marquer en toutes rencountres son aversion pour cet �tat & pour l'inspirer
+a ses Enfans. Des Rituels de Dioceses tres regl�s les mettent au nombre des
+personnes que les Cur�s sont oblig�s de traiter comme excommunies; Celui de
+Paris les joint aux Sorciers, & aux Magiciens, & les regarde comme
+manifestement infames; Les Eveques les plus saints leur font refuser
+publiquement, les Sacremens; Nous avons veu un des premiers Eveques de
+France ne vouloir pas par cette raison recevoir au mariage un homme de cet
+�tat; un autre ne vouloir pas leur accorder la terre Sainte; Et dans les
+Statuts d'un prelat bien plus illustre per son merite par sa Piet�, & par
+l'austerit� de sa vie que par la pourpre dont il est revestu, on les trouve
+avec les concubinaires, les Usuriers, les Blasphemateurs, les Femmes
+debauch�es, les excommuni�s denonc�s, les Infames, les Simoniaque's, &
+autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser
+publiquement la Communion_.
+
+_Il est donc impossible de justifyer la Comedie sans vouloir condamner
+l'Eglise, les saints peres, les plus saint Prelats, mais il ne l'est pas
+moins de justifi�r ceux qui par leur assistance a ces spectacles non
+seulement prennent part au mal qui s'y fait, mais contribuent en m�me temps
+� retenir ces malheureux ministres de Satan dans une profession, qui les
+separant des S�cremens de l'Eglise les met dans un �tat perpetuel de pech�
+& hors de salut s'ils ne l'abandonnnent._---- ----
+
+
+_Et � egard des Comediens & Commediennes, Nous defendons tr�s expressement
+� nos pasteurs & � nos Confesseurs des les recevoir aux Sacremens si c�
+n'est qu'ils aient fait Penitence de leur pech�, donn� des preuves
+d'amendment, renonc� a leur Etat, & repare par une satisfaction publique
+telle que nous jugerons � propos de leur ordonner, le Scandale public
+qu'ils ont donn�. Fait & ordonn� � Arras le quatri�me jour de Decembre mil
+six cent quatre-vingt quinze._[467]
+
+  _Guy Ev�que d'Arras
+           Et plus bas
+         Par Monseigneur_
+
+            CARON.
+
+
+In English thus,
+
+_An Order of the most Illustrious and most Reverend Lord Bishop of_ Arras
+_against_ Plays.
+
+'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &c. Bishop of _Arras_.
+To all the Faithful in the Town of _Arras_ Health and Benediction. A man
+must be very ignorant of his Religion, not to know the great disgust it has
+always declar'd, for _Publick Sights_, and for _Plays_ in particular. The
+Holy _Fathers_ condemn them in their writings; They look upon them as
+reliques of Heathenism, and Schools of Debauchery. They have been always
+abominated by the Church; And notwithstanding those who are concern'd in
+this Scandalous Profession; are not absolutely expell'd by a Formal
+Excommunication, yet She publickly refuses them the Sacraments, and omits
+nothing upon all occasions, to show her aversion for this Employment, and
+to transfuse the same sentiments into her Children. The _Rituals_ of the
+best govern'd Dioceses, have ranged the _Players_ among those whom the
+Parish Priests are oblig'd to treat as Excommunicated Persons. The _Ritual_
+of _Paris_ joyns them with Sorcerers, and Magicians, and looks upon them as
+notoriously infamous; The most eminent Bishops for Piety, have publickly
+denied them the Sacraments: For this reason, we our selves have known one
+of the most considerable Bishops in _France_, turn back a _Player_ that
+came to be Married; And an other of the same order, refused to bury them in
+Consecrated Ground. And by the _Orders_ of a Bishop, who is much more
+illustrious for his worth, for his Piety, and the Strictness of his Life,
+than for the _Purple_ in his Habit; They are thrown amongst Fornicators,
+Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the
+Infamous, and Simoniacal, and other Scandalous Persons who are in the List
+of those who ought publickly to be barr'd Communion.
+
+'Unless therfore we have a mind to condemn the Church, the Holy Fathers,
+and the most holy Bishops, 'tis impossible to justifie _Plays_; neither is
+the Defence of those less impracticable, who by their Countenance of these
+Diversions, not only have their share of the Mischief there done, but
+contribute at the same time to fix these unhappy Ministers of Satan in a
+Profession, which by depriving them of the Sacraments of the Church, leaves
+them under a constant necessity of Sinning, and out of all hopes of being
+saved, unless they give it over.----'
+
+From the general Unlawfulness of _Plays_, the Bishop proceeds to argue more
+strongly against seeing them at times which are more particularly devoted
+to Piety, and Humiliation: And therefore he strickly forbids his Diocess
+the _Play-House_ in _Advent_, _Lent_, or under any publick _Calamity_. And
+at last concludes in this Manner.
+
+'As for the Case of _Players_ both Men, and Women, we expresly forbid all
+our Rectors, Pastors, and Confessours, to admit them to the Sacraments,
+unless they shall repent them of their Crime, make proof of their
+Reformation, renounce their _Business_, and retrieve the Scandal they have
+given, by such publick Satisfaction as we shall think proper to injoyn
+them. Made and Decreed at _Arras_ the fourth day of _December 1695._
+
+_Guy_ Bishop of _Arras_. &c.
+
+I shall now in the Third Place, give a short account of the sense of the
+_Primitive_ Church concerning the _Stage_: And first I shall instance in
+her _Councils_.
+
+The Council of _Illiberis_, or _Collioure_ in _Spain_, decrees,[468]
+
+'That it shall not be lawful for any Woman who is either in full Communion
+or a probationer for Baptism, to Marry, or Entertain any _Comedians_ or
+_Actors_; whoever takes this Liberty shall be Excommunicated.'
+
+The first Council of _Arles_, runs thus,[469]
+
+'Concerning _Players_, we have thought fit to Excommunicate them as long as
+they continue to _Act_.'
+
+The Second Council of _Arles_ made their _20th_ Canon to the same purpose,
+and almost in the same words.[470]
+
+The Third Council of _Carthage_, of which St. _Augustine_ was a Member,
+ordains,[471]
+
+'That the Sons of Bishops, or other Clergy-men should not be permitted to
+furnish out Publick _Shews_, or _Plays_[472] or be present at them: Such
+sort of Pagan _Entertainments_ being forbidden all the _Laity_. It being
+always unlawful for all Christians to come amongst _Blasphemers_.
+
+This last branch shews the _Canon_ was Principally levell'd against the
+_Play-House_: And the reason of the Prohibition, holds every jot as strong
+against the _English_, as against the _Roman Stage_.
+
+By the 35th _Canon_ of this _Council_ 'tis decreed,
+
+'That _Actors_ or others belonging to the _Stage_, who are either
+_Converts_, or _Penitents_ upon a Relapse, shall not be denied Admission
+into the Church.' This is farther proof, that _Players_ as long as they
+kept to their Employment were bar'd _Communion_.
+
+Another _African Council_ declares,[473]
+
+'That the Testimony of People of ill Reputation, of _Players_, and others
+of such scandalous Employments, shall not be admitted against any Person.'
+
+The Second _Council_ of _Chaalon_ sets forth,[474]
+
+'That Clergy men ought to abstain from all over-engaging Entertainments in
+Musick or _Show_. (_oculorum auriumque illecebris_.) And as for the smutty,
+and Licentious Insolence of _Players_, and Buffoons, let them not only
+decline the Hearing it themselves, but likewise conclude the _Laity_
+oblig'd to the same Conduct.
+
+I could cite many more Authorities of this Kind, but being conscious of the
+Niceness of the _Age_, I shall forbear, and proceed to the Testimony of the
+_Fathers_.
+
+
+
+To begin with _Theophilus_ Bishop of _Antioch_, who lived in the Second
+_Century_.
+
+''Tis not lawful (says he)[475] for us to be present at the _Prizes_ or
+your _Gladiators_, least by this means we should be _Accessaries_ to the
+Murthers there committed. Neither dare we presume upon the Liberty of your
+other _Shews_,[476] least our Senses should be tinctur'd, and disoblig'd,
+with Indecency, and Profaness. The Tragical Distractions of _Tereus_ and
+_Thyestes_, are Nonsense to us. We are for seeing no Representations of
+Lewdness. The Stage-Adulteries of the _Gods_, and _Hero's_, are
+unwarrantable Entertainments: And so much the worse, because the Mercenary
+_Players_ set them off with all the Charms and Advantages of Speaking. God
+forbid that _Christians_ who are remarkable for Modesty, and Reserv'dness;
+who are obliged to Discipline, and train'd up in Virtue, God forbid I say,
+that we should dishonour our Thoughts, much less our Practise, with such
+Wickedness as This!'
+
+_Tertullian_ who liv'd at the latter end of this Century is copious upon
+this subject; I shall translate but some Part of it. In his Apologetick, He
+thus addresses the Heathens.[477]
+
+'We keep off from your publick _Shews_, because we can't understand the
+Warrant of their Original. There's Superstition and Idolatry in the Case:
+And we dislike the Entertainment because we dislike the reason of its
+Institution. Besides, We have nothing to do with the Frensies of the
+_Race-Ground_, the Lewdness of the _Play-House_, or the Barbarities of the
+_Bear-Garden_. The _Epicureans_ had the Liberty to state the Notion, and
+determine the Object of Pleasure. Why can't we have the same Privilege?
+What Offence is it then if we differ from you in the Idea of Satisfaction?
+If we won't understand to brighten our Humour, and live pleasantly, where's
+the harm? If any body has the worst on't, 'tis only our selves.'
+
+His Book _de Spectaculis_ was wrote on purpose to diswade the Christians,
+from the publick Diversions of the _Heathens_, of which the _Play-House_
+was one. In his first Chapter He gives them to understand, 'That the Tenour
+of their Faith, the Reason of Principle, and the Order of Discipline, had
+bar'd them the Entertainments of the _Town_. And therefore He exhorts them
+to refresh their Memories, to run up to their Baptism, and recollect their
+first Engagements. For without care, Pleasure is a strange bewitching
+Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse
+of Liberty, make a man's Conscience wink, and suborn his Reason against
+himself.
+
+'But as he goes on,[478] some peoples Faith is either too full of Scruples,
+or too barren of Sense. Nothing will serve to settle them but a plain Text
+of _Scripture_. They hover in uncertainty because 'tis not said as expresly
+thou shalt not go to the _Play-House_, as 'tis thou shalt not Kill. But
+this looks more like Fencing than Argument. For we have the Meaning of the
+prohibition tho' not the sound, in the first _Psalm. Blessed is the Man
+that walks not in the Council of the Ungodly, nor stands in the way of
+Sinners, nor sits in the Seat of the Scornful._
+
+'The _Censors_ whose business 'twas to take care of Regularity and
+Manners,[479] look'd on these _Play-Houses_ as no other than _Batteries_
+upon Virtue and Sobriety, and for this reason often pull'd them down before
+they were well built, so that here we can argue from the _Precedents_ of
+meer _Nature_, and plead the _Heathens_ against themselves. Upon this view
+_Pompey_ the Great, when he built his _Dramatick_ Bawdy-House, clapp'd a
+_Chappel_ a Top on't. He would not let it go under the Name of a
+Play-House, but conven'd the people to a Solemn Dedication, and called it
+_Venus's_ Temple; Giving them to understand at the same time that there
+were _Benches_ under it for Diversion. He was afraid if he had not gone
+this way to work, The _Censors_ might afterwards have razed the Monument,
+and branded his Memory. Thus a Scandalous pile of Building was protected:
+The Temple, cover'd the _Play-House_, and Discipline was baffled by
+_Superstition_. But the Design is notably suited to the Patronage of
+_Bacchus_[480] and _Venus_. These two Confederate Devils of Lust and
+Intemperance, do well together. The very Functions of the _Players_
+resemble their _Protectors_, and are instances of Service and
+Acknowledgment. Their Motion is effeminate, and their Gestures vitious and
+Significant: And thus they worship the Luxury of one _Idoll_, and the
+Lewdness of the other.
+
+'And granting the Regards of Quality, the Advantages of Age, or Temper, may
+fortifie some People;[481] granting Modesty secur'd, and the Diversion as
+it were refin'd by this Means: Yet a Man must not expect to stand by
+perfectly unmoved, and impregnable. No body can be pleas'd without Sensible
+Impressions. Nor can such Perceptions be received without a Train of
+Passions attending them. These Consequences will be sure to work back upon
+their Causes, solicite the Fancy, and heighten the Original Pleasure. But
+if a Man pretends to be a _Stoick_ at _Plays_, he falls under another
+Imputation. For where there is no Impression, there can be no Pleasure: And
+then the _Spectator_ is very much Impertinent, in going where he gets
+nothing for his Pains. And if this were all; I suppose Christians have
+something else to do than to ramble about to no purpose.[482]
+
+'Even those very Magistrates who abet the _Stage_, discountenance the
+_Players_. They stigmatize their _Character_, and cramp their Freedoms. The
+whole Tribe of them is thrown out of all Honour and Privilege. They are
+neither suffer'd to be Lords, nor Gentlemen: To come within the _Senate_,
+or harangue the People, or so much as to be Members of a _Common-Council_.
+Now what Caprice and Inconsistency is this! To love what we punish, and
+lessen those whom we admire! To cry up the Mystery, and censure the
+practise; For a Man to be as it were eclips'd upon the score of Merit is
+certainly an odd sort of Justice! True. But the Inference lies stronger
+another way. What a Confession then is this of an Ill Business; when the
+very Excellency of it is not without Infamy?
+
+'Since therefore Humane Prudence has thought fit to degrade the _Stage_,
+notwithstanding the Divertingness of it. Since Pleasure can't make them an
+Interest Here, nor shelter them from Censure.[483] How will They be able to
+stand the shock of Divine Justice, and what _Reckoning_ have they _Reason_
+to expect Hereafter?
+
+'All things consider'd 'tis no wonder such People should fall under
+_Possession_. God knows we have had a sad Example of this already. A
+certain Woman went to the _Play-House_, and brought the Devil Home with
+Her.[484] And when the Unclean Spirit was press'd in the _Exorcism_ and
+ask'd how he durst attack a Christian. I have done nothing (says he) but
+what I can justify. For I seiz'd her upon my own Ground. Indeed, how many
+Instances have we of others who have apostatiz'd from God, by this
+Correspondence with the Devil? What _Communion has Light with Darkness? No
+Man can serve two Masters_, nor have Life and Death in him at the same
+time.
+
+'Will you not then avoid this Seat of Infection?[485] The very Air suffers
+by their Impurities; And they almost Pronounce the Plague. What tho' the
+performance may be in some measure pretty and entertaining? What tho'
+Innocence, yes and Virtue too, shines through some part of it? 'Tis not the
+custom to prepare Poyson unpalatable, nor make up Ratzbane with Rhubarb and
+Sena. No. To have the Mischief speed, they must oblige the Sense, and make
+the Dose pleasant. Thus the Devil throws in a Cordial Drop to make the
+Draught go down; And steals some few Ingredients from the _Dispensatory_ of
+Heaven. In short, look upon all the engaging Sentences of the Stage; Their
+flights of Fortitude, and Philosophy, the Loftiness of their Stile, the
+Musick of the Cadence, and the Finess of the Conduct; Look upon it only I
+say as Honey dropping from the Bowels of a Toad, or the Bag of a Spider:
+Let your Health over-rule your Pleasure, and don't die of a little
+_Liquorishness_.
+
+'In earnest Christian, our time for Entertainment is not yet:[486] you are
+two craving and ill managed if you are so violent for Delight. And let me
+tell you, no wiser than you should be, if you count such Things
+Satisfaction. Some Philosophers placed their Happiness in bare
+Tranquillity. Easiness of Thought, and Absence of Pain, was all they aim'd
+at. But this it seems won't Satisfie Thee. Thou liest sighing and hankering
+after the _Play-house_. Prethee recollect thy self: Thou knowest Death
+ought to be our Pleasure, And therefore I hope Life may be a little without
+it. Are not our Desires the same with the Apostles, _To be Dissolv'd and to
+be with Christ_. Let us act up to our pretentions, and let Pleasure be true
+to Inclination.
+
+'But if you can't wait for Delight; if you must be put into present
+Possession, wee'l cast the Cause upon that Issue.[487] Now were you not
+unreasonable, you would perceive the Liberalities of Providence, and find
+your self almost in the midst of Satisfaction. For what can be more
+transporting than the Friendship of Heaven, and the Discovery of Truth,
+than the Sense of our Mistakes, and the Pardon of our Sins? What greater
+Pleasure can there be, than to scorn being _Pleas'd_? To contemn the World?
+And to be a Slave to Nothing? 'Tis a mighty satisfaction I take it, to have
+a clear Conscience;
+
+To make Life no Burthen, nor Death any Terror! To trample upon the _Pagan_
+Deities; To batter _Principalities_ and _Powers_, and force the Devils to
+Resign![488] These are the Delights, these are the noble Entertainments of
+Christians: And besides the advantage of the Quality, they are always at
+hand, and cost us nothing.'
+
+_Clemens_ _Alexandrinus_ affirms[489] 'That the _Circus_ and _Theatre_ may
+not improperly be call'd the _Chair_ of _Pestilence_.----Away then with
+these Lewd, Ungodly Diversions, and which are but Impertinence at the Best.
+What part of Impudence either in words or practise, is omitted by the
+Stage? Don't the Buffoons take almost all manner of Liberties, and plunge
+through Thick and Thin, to make a jest? Now those who are affected with a
+vitious satisfaction, will be haunted with the Idea, and spread the
+Infection. But if a man is not entertain'd to what purpose should he go
+Thither? Why should he be fond where he finds nothing, and court that which
+sleeps upon the Sense? If 'tis said these Diversions are taken only to
+unbend the Mind, and refresh Nature a little. To this I answer. That the
+spaces between Business should not be fill'd up with such Rubbish. A wise
+man has a Guard upon his Recreations, and always prefers, the Profitable to
+the Pleasant.'
+
+_Minutius Felix_ delivers his Sense in these Words:[490]
+
+'As for us, who rate our Degree by our Virtue, and value our selves more
+upon our Lives, than our Fortunes; we decline your Pompous _Shews_, and
+publick Entertainments. And good Reason we have for our Aversion. These
+Things have their Rise from Idols, and are the Train of a false Religion.
+The Pleasure is ill Descended, and likewise Vitious and ensnaring. For who
+can do less than abominate, the Clamorous Disorders of the _Race-Ground_,
+and the profession of Murther at the _Prize_. And for the _Stage_, there
+you have more Lewdness, tho' not a jot less of Distraction. Sometimes your
+_Mimicks_, are so Scandalous and Expressing, that 'tis almost hard to
+distinguish between the _Fact_ and the _Representation_. Sometimes a
+Luscious _Actor_ shall whine you into Love, and give the Disease that he
+Counterfeits.'
+
+St. _Cyprian_ or the Author _de Spectaculis_, will furnish us farther.
+
+Here this Father argues against those who thought the _Play-House_ no
+unlawful Diversion, because 'twas not Condemn'd by express _Scripture_.
+'Let meer Modesty (says he) supply the _Holy Text_: And let _Nature_ govern
+where _Revelation_ does not reach. Some Things are too black to lie upon
+_Paper_, and are more strongly forbidden, because unmention'd. The Divine
+Wisdom must have had a low Opinion of _Christians_, had it descended to
+particulars in this Case. Silence is sometimes the best Method for
+Authority. To Forbid often puts People in mind of what they should not do;
+And thus the force of the Precept is lost by naming the Crime. Besides,
+what need we any farther Instruction? Discipline and general Restraint
+makes up the Meaning of the Law; and common Reason will tell you what the
+Scripture has left unsaid. I would have every one examine his own Thoughts,
+and inquire at Home into the Duties of his Profession. This is a good way
+to secure him from Indecency. For those Rules which a Man has work'd out
+for himself he commonly makes most use of.'----And after having describ'd
+the infamous Diversions of the _Play-house_; He expostulates in this
+Manner.
+
+'What business has a Christian at such Places as these? A Christian who has
+not the Liberty so much as to think of an ill Thing. Why does he entertain
+himself with Lewd Representations? Has he a mind to discharge his Modesty,
+and be flesh'd for the _Practise_? Yes. this is the Consequence. By using
+to see these Things, hee'l learn to do them.----What need I mention the
+Levities, and Impertinence in _Comedies_, or the ranting Distractions of
+_Tragedy_? Were these Things unconcern'd with Idolatry, Christians ought
+not to be at them. For were they not highly Criminal, the Foolery of them
+is egregious, and unbecoming the Gravity of _Beleivers_.----
+
+'As I have often said these Foppish, these pernicious Diversions, must be
+avoided. We must set a Guard upon our Senses, and keep the Sentinal always
+upon Duty. To make Vice familiar to the ear, is the way to recommend it.
+And since the mind of Man has a Natural Bent to Extravagance; how is it
+likely to hold out under Example, and Invitation? If you push that which
+totters already, whether will it tumble? In earnest, we must draw off our
+Inclinations from these Vanities. A Christian has much better _Sights_ than
+these to look at. He has solid Satisfactions in his Power, which will
+please, and improve him at the same time.
+
+'Would a Christian be agreeably Refresh'd? Let him read the _Scriptures_:
+Here the Entertainment will suit his Character, and be big enough for his
+Quality.--Beloved, how noble, how moving how profitable a pleasure is it to
+be thus employed? To have our Expectations always in prospect, and be
+intent on the Glories of Heaven?'
+
+He has a great deal more upon this Subject in his _Epistles_ to _Donatus_
+and _Eucratius_, which are undoubtedly genuine. The later being somewhat
+remarkable, I shall Translate part of it for the _Reader_. [491]
+
+'Dear Brother, your usual Kindness, together with your desire of releiving
+your own Modesty and mine, has put you upon asking my Thoughts concerning a
+certain _Player_ in your Neighbourhood; whether such a Person ought to be
+allow'd the Privilege of _Communion_. This Man it seems continues in his
+Scandalous Profession, and keeps a Nursery under him. He teaches that which
+'twas a Crime in him to learn, sets up for a Master of Debauch, and
+Propagates the lewd Mystery. The case standing thus, 'tis my Opinion that
+the Admission of such a _Member_ would be a Breach of the Discipline of the
+Gospel, and a Presumption upon the Divine Majesty: Neither do I think it
+fit the Honour of the Church should suffer by so Infamous a
+Correspondence.'
+
+_Lactantius_'s Testimony shall come next. This Author in his _Divine
+Institutions_,[492] which he Dedicates to _Constantine_ the Great, cautions
+the Christians against the _Play-House_, from the Disorder, and danger of
+those places. For as he observes.
+
+'The debauching of Virgins, and the Amours of Strumpets, are the Subject of
+_Comedy_. And here the Rule is, the more Rhetorick the more Mischeif, and
+the best _Poets_ are the worst Common-Wealths-men. For the Harmony and
+Ornament of the Composition serves only to recommend the Argument, to
+fortifie the Charm, and engage the Memory. At last he concludes with this
+advice.
+
+'Let us avoid therefore these Diversions, least somewhat of the Malignity
+should seize us. Our Minds should be quiet and Compos'd, and not over-run
+with Amusements. Besides a Habit of Pleasure is an ensnaring Circumstance.
+'Tis apt to make us forget God, and grow cool in the Offices of
+Virtue.[493]
+
+'Should a Man have a Stage at Home, would not his Reputation suffer
+extreamly, and all people count him a notorious Libertine? most
+undoubtedly. Now the Place does not alter the Property. The Practise at the
+_Play-House_ is the same thing, only there he has more Company to keep him
+in Countenance.
+
+'A well work'd _Poem_ is a powerful piece of Imposture: It masters the
+Fancy, and hurries it no Body knows whither.----If therefore we would be
+govern'd by Reason let us stand off from the Temptation, such Pleasures can
+have no good Meaning. Like delicious Morsels they subdue the Palate, and
+flatter us only to cut our Throats. Let us prefer Reality to Appearance,
+Service, to Show; and Eternity to Time.[494]
+
+'As God makes Virtue the Condition of Glory, and trains men up to Happiness
+by Hardship and Industry. So the Devils road to Destruction lies through
+Sensuality and _Epicurism_. And as pretended Evils lead us on to
+uncounterfeited Bliss; So Visionary Satisfactions are the causes of Real
+Misery. In short, These Inviting Things are all stratagem. Let us, take
+care the softness and Importunity of the Pleasure does not surprise us, nor
+the Bait bring us within the snare. The Senses are more than _Out-Works_,
+and should be defended accordingly.'
+
+I shall pass over St. _Ambrose_,[495] and go on to St. _Chrisostome_. This
+_Father_ is copious upon the Subject, I could translate some _Sheets_ from
+him were it necessary. But length being not my Business, a few Lines may
+serve to discover his Opinion. His _15 Homily ad Populum Antiochenum_, runs
+thus.
+
+'Most People fancy the Unlawfulness of going to _Plays_ is not clear. But
+by their favour, a world of Disorders are the Consequences of such a
+Liberty. For frequenting the _Play-House_ has brought Whoring and Ribaldry
+into Vogue, and finish'd all the parts of Debauchery.'
+
+Afterwards he seems to make the supposition better than the _Fact_, and
+argues upon a feign'd Case.
+
+'Let us not only avoid downright Sinning, but the Tendencies to it. Some
+Indifferent Things are fatal in the Consequence, and strike us at the
+Rebound. Now who would chuse his standing within an Inch of a Fall; or swim
+upon the Verge of a Whirlpool? He that walks upon a Precipice, shakes tho'
+he does not tumble. And commonly his Concern brings him to the Bottom. The
+Case is much the same in reference to Conscience, and Morality. He that
+won't keep his Distance from the Gulph, is oftentimes suck'd in by the
+Eddy; and the least oversight is enough to undo Him.'
+
+In his 37 Homily upon the Eleventh Chapter of St. _Matthew_ he declaims
+more at large against the Stage.
+
+'Smutty Songs (says he) are much more abominable than Stench and Ordure.
+And which is most to be lamented, you are not at all uneasy at such
+Licentiousness. You Laugh when you should Frown; and Commend what you ought
+to abhor.----Heark you, you can keep the Language of your own House in
+order: If your Servants or your Childrens Tongues run Riot, they presently
+smart for't. And yet at the _Play-House_ you are quite another Thing. These
+little Buffoons have a strange Ascendant! A luscious Sentence is hugely
+welcome from their Mouth: And instead of Censure, they have thanks and
+encouragement for their Pains. Now if a Man would be so just as to wonder
+at himself, here's Madness, and Contradiction in Abundance.
+
+'But I know you'l say what's this to me, I neither sing nor pronounce, any
+of this Lewd stuff? Granting your Plea, what do you get by't? If you don't
+repeat these Scurrilities, you are very willing to hear them. Now whether
+the Ear, or the Tongue is mismanaged, comes much to the same reckoning. The
+difference of the _Organ_, does not alter the Action so mightily, as you
+may imagine. But pray how do you prove you don't repeat them? They may be
+your Discourse, or the Entertainments of your Closet for ought we know to
+the contrary. This is certain; you hear them with pleasure in your Face,
+and make it your business to run after them: And to my Mind, these are
+strong Arguments of your Approbation.
+
+'I desire to ask you a Question. Suppose you hear any wretches Blaspheme,
+are you in any Rapture about it? And do your Gestures appear airy, and
+obliged? Far from it. I doubt not but your blood grows chill, and your Ears
+are stopt at the Presumption. And what's the Reason of this Aversion in
+your Behaviour? Why 'tis because you don't use to Blaspheme, your self.
+Pray clear your self the same way from the Charge of Obscenity. Wee'l then
+believe you don't talk Smut, when we percieve you careful not to hear it.
+Lewd Sonnets, and Serenades are quite different from the Prescriptions of
+Virtue. This is strange Nourishment for a Christian to take in! I don't
+wonder you should lose your Health, when you feed thus Foul. It may be
+Chastity is no such easy Task! Innocence moves upon an Ascent, at least for
+sometime. Now those who are always Laughing can never strain up Hill. If
+the best preparations of Care will just do, what must become of those that
+are dissolv'd in Pleasure, and lie under the Instructions of
+Debauchery?----Have you not heard how that St. _Paul_ exhorts us _to
+rejoyce in the Lord_? He said _in the Lord_; not in the Devil. But alas!
+what leisure have you to Mind St. _Paul_? How should you be sensible of
+your Faults, when your Head is always kept Hot, and as it were intoxicated
+with Buffooning?'---- ----He goes on, and lashes the Impudence of the
+_Stage_ with a great deal of Satir and Severity; and at last proposes this
+Objection.
+
+'You'l say, I can give you many Instances where the _Play-House_ has done
+no Harm. Don't mistake. Throwing away of Time and ill example, has a great
+deal of Harm in't; And thus far you are guilty at the best. For granting
+your own Virtue impenetrable, and out of Reach, Granting the Protection of
+your Temper has brought you off unhurt, are all People thus Fortified? By
+no means. However, many a weak Brother has ventur'd after you, and
+miscarried upon your _Precedent_. And since you make others thus _Faulty_,
+how can you be _Innocent_ your self? All the People undone There, will lay
+their Ruine at your Door. The Company are all Accessary to the Mischeif of
+the Place. For were there no _Audience_, we should have no _Acting_. And
+therefore those who joyn in the Crime, will ne're be parted in the
+Punishment. Granting your Modesty has secur'd you, which by the way I
+believe nothing of; yet since many have been debauch'd by the _Play-House_,
+you must expect a severe Reckning for giving them Encouragement. Tho' after
+all, as Virtuous as you are, I doubt not, you wou'd have been much Better,
+had you kept away.
+
+'In fine, Let us not dispute to no purpose; The practise won't bear a
+Defence! Where the Cause is naught 'tis in vain to rack our Reason, and
+strain for Pretences. The best excuse for what is past, is to stand clear
+from the danger, and do so no more.'
+
+One citation more from St. _Chrysostom_, and I take Leave. In the Preface
+of his Commentary upon St. _John_'s Gospel speaking of _Plays_ and other
+Publick _Shews_, he has these words.
+
+'But what need I branch out the Lewdness of those _Spectacles_, and be
+particular in Description? For what's there to be met with but Lewd
+Laughing, but Smut, Railing, and Buffoonry? In a word. 'Tis all Scandal and
+Confusion. Observe me, I speak to you all; Let none who partake of this
+_Holy-Table_, unqualifie themselves with such Mortal Diversions.'
+
+St. _Hierom_ on the _1st_. Verse 32 _Psal._ makes this Exposition upon the
+_Text_.
+
+'Some are delighted with the Satisfactions of this World, some with the
+_Circus_, and some with the _Theatre_: But the Psalmist commands every good
+Man _to delight himself in the Lord_.----For as _Isaiah_ speaks, _woe to
+them that put bitter for sweet, and sweet for bitter_.' And in his
+Epistles[496] he cautions the Ladies against having any thing to do with
+the _Play-House_, against Lewd Songs, and Ill Conversation. Because they
+set ill Humours at work, Caress the Fancy, and make pleasure a Conveyance
+for Destruction.'
+
+In the _6th._ Book of his Comentary on _Ezechiel_ he lets us
+understand;[497] 'That when we depart out of _�gypt_ we must refine our
+Inclinations, and change our Delights into Aversion. And after some other
+Instances, He tells us we must decline the _Theatres_, and all other
+dangerous Diversions, which stain the Innocence of the Soul, and slip into
+the _Will_ through the Senses.'
+
+St. _Augustine_ in his _5th_. Epistle to _Marcellinus_ will afford us
+something upon the same Argument.
+
+'The prosperity of Sinners is their greatest Unhappiness. If one may say
+so, They are most Punish'd when they are overlook'd. By this means their
+bad Temper is encourag'd, and they are more inclin'd to be false to
+themselves; And we know an Enemy _within_, is more dangerous than one
+_without_. But the perverse Reasonings of the Generality, make different
+Conclusions. They fancy the World goes wonderfully well when People make a
+Figure. When a Man is a Prince in his Fortune, but a Begger in his Vertue;
+Has a great many fine Things about him, but not so much as one good Quality
+to deserve them. When the _Play-Houses_ go up, and Religion go's down. When
+Prodigality is admir'd, and Charity laugh'd at. When the _Players_ can
+revel with the Rich Man's purse, And the Poor have scarse enough to keep
+Life and Soul together.----When God suffers these Things to flourish, we
+may be sure he is most Angry. Present Impunity, is the deepest Revenge. But
+when he cuts off the Supplies of Luxury, and disables the Powers of
+Extravagance, then as one may say, he is mercifully severe.'
+
+In his _1st._ Book _de consensu Evangelistarum_,[498] He answers an
+objection of the _Heathens_, and comes up to the Case in Hand.
+
+'Their Complaint as if the Times were less happy since the Appearance of
+Christianity is very unreasonable. Let them read their own Philosophers:
+There they'l find those very Things censured, which they now are so uneasy
+to part with; This Remark must shut up their Mouths, and convince them of
+the Excellency of our Religion. For pray what Satisfactions have they lost?
+None that I know of, excepting some Licentious ones, which they abused to
+the Dishonour of their Creatour. But it may be the Times are bad because
+the _Theatres_ are Tumbling almost every where. The _Theaters_ those
+_Cages_ of _Uncleaness_, and publick Schools of Debauchery.----And what's
+the Reason of their running to Ruine? Why 'tis the Reformation of the Age:
+'Tis because those Lewd Practises are out of Fashion, which first built and
+kept them in Countenance. Their own _Tully_'s Commendation of the _Actor
+Roscius_ is remarkable. He was so much a Master (says he) that none but
+himself was worthy to Tread the _Stage_. And on the other hand, so good a
+Man, that he was the most unfit Person of the Gang to come There. And is
+not this a plain Confession of the Lewdness of the _Play-House_; And that
+the better a Man was, the more he was obliged to forbear it?'
+
+I could go on, much farther with St. _Augustine_, but I love to be as brief
+as may be. I could likewise run through the succeeding _Centuries_, and
+collect Evidence all along. But I conceive the best Ages, and the biggest
+Authorities, may be sufficient: And these the _Reader_ has had already.
+However, one Instance more from the _Moderns_ may not be amiss. _Didacus de
+Tapia_ an eminent _Spaniard_, shall close the _Evidence_. This Author in
+debating the Question whether _Players_ might be admitted to the
+_Sacrament_, amongst other things encounters an Objection. Some People it
+seems pretended there was some good to be learn'd at the _Play-House_. To
+these, he makes this reply.
+
+'Granting your Supposition, (says He) your Inference is naught. Do People
+use to send their Daughters to the _Stews_ for Discipline? And yet it may
+be, they might meet some there lamenting their own Debauchery. No Man will
+breed his Son upon the _High-way_, to harden his Courage; Neither will any
+one go on board a Leaky Vessel, to learn the Art of shifting in a Wreck the
+better. My conclusion is, let no body go to the Infamous _Play-House_. A
+place of such staring Contradiction to the Strictness and Sobriety of
+Religion: A Place hated by God, and haunted by the Devil. Let no man I say
+learn to relish any thing that's said there; For 'tis all but Poyson
+handsomly prepared.' [499]
+
+Thus I have presented the _Reader_ with a short View of the Sense of
+_Christianity_. This was the opinion of the _Church_ for the first 500
+Years. And thus she has Censured the _Stage_ both in _Councils_, and Single
+_Authorities_. And since the Satir of the _Fathers_ comes full upon the
+_Modern Poets_, their Caution must be applicable. The parity of the Case
+makes their Reasons take place, and their Authority revive upon us. If we
+are _Christians_, the _Canons_ of _Councils_, and the Sense of the
+Primitive _Church_ must have a weight. The very Time is a good argument of
+it self. Then the _Apostolical Traditions_ were fresh, and undisputed; and
+the _Church_ much better agreed than she has been since. Then, Discipline
+was in Force, and Virtue Flourish'd, and People lived up to their
+_Profession_. And as for the _Persons_, they are beyond all exception.
+Their _Station_, their Learning, and Sufficiency was very Considerable;
+Their Piety and Resolution, extraordinary. They acted generously, and wrote
+freely, and were always above the little Regards of Interest or Danger. To
+be short; They were, as we may say the _Worthies_ of _Christendom_, the
+Flower of Humane Nature, and the Top of their _Species_. Nothing can be
+better establish'd, than the Credit of these _Fathers_: Their Affirmation
+goes a great way in a proof; And we might argue upon the strength of their
+_Character_.
+
+But supposing them contented to wave their Privilege, and dispute upon the
+Level. Granting this, the _Stage_ would be undone by them. The Force of
+their Reasoning, and the bare _Intrinsick_ of the Argument, would be
+abundantly sufficient to carry the Cause.
+
+But it may be objected, is the Resemblance exact between Old _Rome_ and
+_London_, will the Paralel hold out, and has the _English Stage_ any Thing
+so bad as the _Dancing_ of the _Pantomimi_? I don't say that: The _Modern
+Gestures_ tho' bold and Lewd too sometimes, are not altogether so
+scandalous as the _Roman_. Here then we can make them some little
+Abatement.
+
+And to go as far in their _Excuse_ as we can, 'tis probable their _Musick_
+may not be altogether so exceptionable as that of the _Antients_. I don't
+say this part of the Entertainment is directly vitious, because I am not
+willing to Censure at Uncertainties. Those who frequent the _Play-House_
+are the most competent Judges: But this I must say, the Performances of
+this kind are much too fine for the _Place_. 'Twere to be wish'd that
+either the _Plays_ were better, or the _Musick_ worse. I'm sorry to see
+_Art_ so meanly Prostituted: Atheism ought to have nothing Charming in its
+_Retinue_. 'Tis great Pity _Debauchery_ should have the Assistance of a
+fine Hand, to whet the Appetite, and play it down.
+
+Now granting the _Play-House-Musick_ not vitious in the Composition, yet
+the design of it is to refresh the _Idea_'s of the Action, to keep _Time_
+with the _Poem_, and be true to the _Subject_. For this Reason among others
+the _Tunes_ are generally Airy and Gailliardizing; They are contriv'd on
+purpose to excite a sportive Humour, and spread a Gaity upon the Spirits.
+To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep.
+This sort of Musick warms the Passions, and unlocks the Fancy, and makes it
+open to Pleasure like a Flower to the Sun. It helps a Luscious Sentence to
+slide, drowns the Discords of _Atheism_, and keeps off the Aversions of
+Conscience. It throws a Man off his Guard, makes way for an ill Impresion,
+and is most Commodiously planted to do Mischief. A Lewd _Play_ with good
+Musick is like a Loadstone _Arm'd_, it draws much stronger than before.
+
+Now why should it be in the power of a few mercenary Hands to play People
+out of their Senses, to run away with their Understandings, and wind their
+Passions about their Fingers as they list? Musick is almost as dangerous as
+Gunpowder; And it may be requires looking after no less than the _Press_,
+or the _Mint_. 'Tis possible a Publick Regulation might not be amiss. No
+less a Philosopher than _Plato_ seems to be of this Opinion. He is clearly
+for keeping up the old grave, and solemn way of _Playing_. He lays a mighty
+stress upon this Observation: He does not stick to affirm, that to extend
+the _Science_, and alter the _Notes_, is the way to have the _Laws_
+repeal'd and to unsettle the _Constitution_.[500] I suppose He imagined
+that if the Power of _Sounds_, the Temper of Constitutions, and the
+Diversities of Age, were well studied; If this were done, and some general
+Permissions formed upon the Enquiry, the _Commonwealth_ might find their
+Account in't.
+
+_Tully_ does not carry the Speculation thus high: However, he owns it has a
+weight in't, and should not be overlook'd.[501] He denies not but that when
+the Musick is soft, exquisite, and airy, 'tis dangerous and ensnaring. He
+commends the Discipline of the ancient _Greeks_, for fencing against this
+Inconvenience. He tells us the _Lacedemonians_ fixt the number of Strings
+for the Harp, by express _Law_. And afterwards silenc'd _Timotheus_,[502]
+and seiz'd his Harp, for having One String above publick Allowance. To
+return. If the _English Stage_ is more reserv'd than the _Roman_ in the
+Case above mention'd: If they have any advantage in their _Instrumental_
+Musick, they loose it in their _Vocal_. Their _Songs_ are often rampantly
+Lewd, and Irreligious to a flaming Excess. Here you have the very _Spirit_
+and _Essence_ of Vice drawn off strong scented, and thrown into a little
+Compass. Now the _Antients_ as we have seen already were inoffensive in
+this respect.
+
+To go on. As to Rankness of Language we have seen how deeply the _Moderns_
+stand charged upon the Comparison. And as for their Caressing of
+Libertines, their ridiculing of Vertue, their horrible Profaness, and
+Blasphemies, there's nothing in _Antiquity_ can reach them.
+
+Now were the _Stage_ in a Condition to wipe off any of these Imputations,
+which They are not, there are two Things besides which would stick upon
+them, and [......] an ill Effect upon the _Audience_.
+
+The first is their dilating so much upon the Argument of Love.
+
+This Subject is generally treated Home, and in the most tender and
+passionate manner imaginable. Tis often the governing Concern: The
+Incidents make way, and the _Plot_ turns upon't. As matters go, the Company
+expect it: And it may be the _Poets_ can neither Write, nor Live without
+it. This is a cunning way enough of stealing upon the Blind Side, and
+Practising upon the Weakness of humane Nature. People love to see their
+_Passions_ painted no less than their _Persons_: And like _Narcissus_ are
+apt to dote on their own Image. This Bent of self Admiration recommends the
+Business of _Amours_, and engages the Inclination. And which is more, these
+Love-representations oftentimes call up the Spirits, and set them on work.
+The _Play_ is acted over again in the _Scene_ of Fancy, and the first
+Imitation becomes a Model. _Love_ has generally a _Party Within_; And when
+the Wax is prepared, the Impression is easily made. Thus the Disease of the
+Stage grows Catching: It throws its own _Amours_ among the Company, and
+forms these Passions when it does not find them. And when they are born
+before, they thrive extreamly in this _Nursery_. Here they seldom fail
+either of Grouth, or Complexion. They grow strong, and they grow Charming
+too. This is the best Place to recover a Languishing Amour, to rowse it
+from Sleep, and retrieve it from Indifference. And thus Desire becomes
+Absolute, and forces the Oppositions of Decency and Shame. And if the
+Misfortune does not go thus far, the consequences are none of the best. The
+Passions are up in Arms, and there's a mighty Contest between Duty, and
+Inclination. The Mind is over-run with Amusements, and commonly good for
+nothing sometime after.
+
+I don't say the _Stage_ Fells all before them, and disables the whole
+_Audience_: 'Tis a hard Battle where none escapes. However, Their
+_Triumphs_ and their _Tropheys_ are unspeakable. Neither need we much
+wonder at the Matter. They are dangerously Prepar'd for Conquest, and
+Empire. There's Nature, and Passion, and Life, in all the Circumstances of
+their _Action_. Their Declamation, their _Mein_ their Gestures, and their
+Equipage, are very moving and significant. Now when the Subject is
+agreeable, a lively Representation, and a Passionate way of Expression,
+make wild work, and have a strange Force upon the Blood, and Temper.
+
+And then as for the General Strains of Courtship, there can be nothing more
+Profane and extravagant. The Hero's Mistress is no less than his Deity. She
+disposes of his Reason, prescribes his Motions, and Commands his Interest.
+What Soveraign Respect, what Religious Address, what Idolizing Raptures are
+we pester'd with? _Shrines_ and _Offerings_ and Adorations, are nothing
+upon such solemn Occasions. Thus Love and Devotion, Ceremony and Worship
+are Confounded; And God, and his Creatures treated both alike! These Shreds
+of Distraction are often brought from the _Play-House_ into Conversation:
+And thus the _Sparks_ are taught to Court their Mistresses, in the same
+Language they say their _Prayers_.
+
+A Second Thing which I have to object against the _Stage_ is their
+encouraging Revenge. What is more Common than Duels and Quarrelling in
+their _Characters_ of Figure? Those Practises which are infamous in Reason,
+_Capital_ in _Law_, and Damnable in Religion, are the Credit of the
+_Stage_. Thus Rage and Resentment, Blood and Barbarity, are almost Deified:
+Pride goes for Greatness, and _Fiends_ and _Hero's_ are made of the same
+Mettal. To give Instances were needless, nothing is more frequent. And in
+this respect the _French Dramatists_ have been to blame no less than the
+_English_.[503] And thus the Notion of Honour is mistated, the Maxims of
+Christianity despised, and the Peace of the World disturb'd. I grant this
+desperate Custom is no _Original_ of the _Stage_. But then why was not the
+Growth of it check'd? I thought the _Poets_ business had not been to back
+false Reasoning and ill Practise; and to fix us in Frensy and Mistake! Yes.
+They have done their endeavour to cherish the Malignity, and keep the
+Disorder in Countenance. They have made it both the Mark, and the Merit of
+a Man of Honour; and set it off with _Quality_, and Commendation. But I
+have discours'd on this Subject elswhere,[504] and therefore shall pursue
+it no farther.
+
+To draw towards an End. And here I must observe that these two later
+Exceptions are but Petty Mismanagements with respect to the Former. And
+when the best are thus bad, what are the worst? What must we say of the
+more foul Representations, of all the Impudence in Language and Gesture?
+Can this Stuff be the Inclination of _Ladies_? Is a _Reading_ upon Vice so
+Entertaining, and do they love to see the _Stews Dissected_ before them?
+One would think the Dishonour of their own Sex, the Discovery of so much
+Lewdness, and the treating Human Nature so very Coarsly, could have little
+Satisfaction in't. Let us set Conscience aside, and throw the other World
+out of the Question: These Interests are but the greatest, but not all. The
+_Ladies_ have other Motives to confine them. The Restraints of Decency, and
+the Considerations of Honour, are sufficient to keep them at Home. But
+hoping They will be just to themselves I shall wave this unacceptable
+Argument. I shall only add, that a Surprize ought not to be Censured.
+Accidents are no Faults. The strictest Virtue may sometimes stumble upon an
+_Ill Sight_. But Choise, and Frequency, and ill Ground, conclude strongly
+for Inclination. To be assured of the inoffensiveness of the _Play_ is no
+more than a Necessary Precaution. Indeed the _Players_ should be generally
+discouraged. They have no relish of Modesty, nor any scruples upon the
+Quality of the Treat. The grossest _Dish_ when 'twill down is as ready as
+the Best. To say Money is their Business and they must _Live_, is the Plea
+of _Pick pockets_, and _High way men_. These later may as well pretend
+their _Vocation_ for a Lewd practise as the other. But
+
+To give the Charge its due Compass: To comprehend the whole _Audience_, and
+take in the Motives of Religon.
+
+And here I can't imagine how we can reconcile such Liberties with our
+Profession. These Entertainments are as it were Litterally renounc'd in
+_Baptism_. They are the _Vanities of the wicked World, and the Works of the
+Devil_, in the most open, and emphatical Signification. _What Communion has
+Light with Darkness, and what concord has Christ with Belial._[505] Call
+you this Diversion? Can Profaness be such an irresistable Delight? Does the
+Crime of the Performance make the Spirit of the Satisfaction, and is the
+Scorn of Christianity the Entertainment of Christians? Is it such a
+Pleasure to hear the _Scriptures_ burlesqu'd? Is Ribaldry so very obliging,
+and _Atheism_ so Charming a Quality? Are we indeed willing to quit the
+Privilege of our Nature; to surrender our _Charter_ of Immortality, and
+throw up the Pretences to another Life? It may be so! But then we should do
+well to remember that _Nothing_ is not in our Power. Our Desires did not
+make us, neither can they unmake us. But I hope our wishes are not so mean,
+and that we have a better sense of the Dignity of our _Being_. And if so,
+how can we be pleas'd with those Things which would degrade us into Brutes,
+which ridicule our _Creed_, and turn all our Expectations into _Romance_.
+
+And after all, the Jest on't is, these Men would make us believe their
+design is Virtue and Reformation. In good time! They are likely to combat
+Vice with success, who destroy the Principles of Good and Evil! Take them
+at the best, and they do no more than expose a little Humour, and
+Formality. But then, as the Matter is manag'd, the Correction is much worse
+than the Fault. They laugh at _Pedantry_, and teach _Atheism_, cure a
+Pimple, and give the Plague. I heartily wish they would have let us alone.
+To exchange Virtue for Behaviour is a hard Bargain. Is not plain Honesty
+much better than Hypocrisy well Dress'd? What's Sight good for without
+Substance? What is a well Bred Libertine but a well bred Knave? One that
+can't prefer Conscience to Pleasure, without calling himself Fool: And will
+sell his Friend, or his Father, if need be, for his Convenience.
+
+In short: Nothing can be more disserviceable to Probity and Religion, than
+the management of the _Stage_. It cherishes those Passions, and rewards
+those Vices, which 'tis the business of Reason to discountenance. It
+strikes at the Root of Principle, draws off the Inclinations from Virtue,
+and spoils good Education: 'Tis the most effectual means to baffle the
+Force of Discipline, to emasculate peoples Spirits, and Debauch their
+Manners. How _many_ of the Unwary have these _Syrens_ devour'd? And how
+often has the best Blood been tainted, with this Infection? What
+Disappointment of Parents, what Confusion in Families, and What Beggery in
+Estates have been hence occasion'd? And which is still worse, the Mischief
+spreads dayly, and the Malignity grows more envenom'd. The Feavour works up
+towards Madness; and will scarcely endure to be touch'd. And what hope is
+there of Health when the _Patient_ strikes in with the Disease, and flies
+in the Face of the _Remedy_? Can Religion retrive us? Yes, when we don't
+despise it. But while our _Notions_ are naught, our _Lives_ will hardly be
+otherwise. What can the Assistance of the Church signify to those who are
+more ready to Rally the _Preacher_, than Practise the _Sermon_? To those
+who are overgrown with Pleasure, and hardned in Ill Custom? Who have
+neither Patience to hear, nor Conscience to take hold of? You may almost as
+well feed a Man without a Mouth, as give Advice where there's no
+disposition to receive it. 'Tis true; as long as there is Life there's
+Hope. Sometimes the Force of Argument, and the Grace of God, and the
+anguish of Affliction, may strike through the Prejudice, and make their way
+into the Soul. But these circumstances don't always meet, and then the Case
+is extreamly dangerous. For this miserable Temper, we may thank the _Stage_
+in a great Measure: And therefore, if I mistake not, They have the least
+pretence to Favour, and the most, need of Repentance, of all Men Living.
+
+_THE END._
+
+
+NOTES (In margin in the Original).[1] _Reflect upon_ Aristot. &c.
+
+[2] _Eurip. Hippolit._
+
+[3] _Hamlet._
+
+[4] _Don Quixot._
+
+[5] _Relapse._
+
+[6] _Love for Love._
+
+[7] _Mock Astrologer._
+
+[8] _Old Batchelour._
+
+[9] _Mock Astrologer. Country Wife. Cleomenes. Old Batchelour._
+
+[10] _Plaut._
+
+[11] _Cistellar._
+
+[12] _Terent. Eunuch._
+
+[13] _Asinar._
+
+[14] _Cistellar._
+
+[15] _Bacchid._
+
+[16] _Casin._
+
+[17] _Mercat. Act. 3._
+
+[18] _Persa._
+
+[19] _Trucul._
+
+[20] _Persa._
+
+[21] _Trinum._
+
+[22] _Act. 2. 1._
+
+[23] _Act. 2. 2._
+
+[24] _Casin._
+
+[25] _Mil. Glor._
+
+[26] _Pers._
+
+[27] _Trucul._
+
+[28] _Cistellear. A. 1._
+
+[29] _Ibid. A. 2._
+
+[30] _Heauton._
+
+[31] _Eunuch._
+
+[32] _Love Triump._
+
+[33] _Heauton. A. 5. 4._
+
+[34] _Eunuch A. 5. 4. 5._ _Adelph. A. 2. 3._
+
+[35] _Eunuch._
+
+[36] _Casaub. Annot. in Curcul. Plauti._
+
+[37] _De A te Poet._
+
+[38] _Var. apud. Nonium._
+
+[39] _Corn. Nep._
+
+[40] _Arist. Lib. 4. de Mor. cap. 14._
+
+[41] _Vit. Eurip. ed Cantab. 1694._
+
+[42] _Love for Love._ _Love Triump. &c._
+
+[43] _p. 14. Ed. Scriv._
+
+[44] _Hippol._
+
+[45] _Aristoph. Ran._
+
+[46] [Greek: Cho�phor.] _253, Ed. Steph._
+
+[47] _Orest. 48. Ed. Cantab._
+
+[48] [Greek: Eumen.] _305._
+
+[49] _p. 79._
+
+[50] [Greek: Hiket.] 340.
+
+[51] _Don Sebast. p. 12._
+
+[52] _Oedip. Tyran. Ed Steph._
+
+[53] _Antig. 242. 244._
+
+[54] _Ibid. 264._
+
+[55] _Trach. 348._
+
+[56] [Greek: M�ria to M�ron] _Ed. Cant. 241. 250. 252._
+
+[57] _Ibid. 232. 233._
+
+[58] _Androm. p. 303._
+
+[59] _Iphig. in Aulid. p. 51._
+
+[60] _Helen. 277, 278._
+
+[61] _Mourning Bride. p. 36._
+
+[62] _Spanish Fryar. Ep. Ded._
+
+[63] _Troad. p. 146._
+
+[64] _Plain Dealer. p. 21._
+
+[65] _Provok'd Wife. p. 41._
+
+[66] _Remarks upon Quixot._
+
+[67] _Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel._
+
+[68] _Sat. 14._
+
+[69] _p. 106._
+
+[70] _Nub. p. 110._
+
+[71] _Act. 5. p. 176._
+
+[72] _Plat. Apol. Socrat._
+
+[73] _Nub. p. 86._
+
+[74] _Plut. A. 1. Sc. 2._
+
+[75] _Ran. p. 188._
+
+[76] _536. 538. 546._
+
+[77] _542._
+
+[78] _582._
+
+[79] _Ibid._
+
+[80] _602._
+
+[81] _Eiren._ 616.
+
+[82] _p. 142._ _p. 200._
+
+[83] _242._
+
+[84] _p. 244._
+
+[85] _p._ [......] _p._ [......]
+
+[86] _Ran�_ _p. 186._ _p. 182._
+
+[87] _p. 192, 194, 196._
+
+[88] _Act 2. Sc. 6._
+
+[89] _Ran� p. 242._
+
+[90] _Ran� A. 1. Sc. 1. Concionat._
+
+[91] _Ran� p. 238._
+
+[92] _p. 240._
+
+[93] _p. 242. 244._
+
+[94] 255. 267.
+
+[95] _Discov. p. 700._
+
+[96] _p. 701._
+
+[97] _p. 706. 717._
+
+[98] _Beauments_, &c. _Works_.
+
+[99] _Ibid._
+
+[100] _Ibid._
+
+[101] _Theodore. Ed. Roven. Ep. Ded._
+
+[102] _Gad for God._
+
+[103] _p. 31._
+
+[104] _p. 37._
+
+[105] _p. 24._
+
+[106] _Hebr. 12._
+
+[107] _34. 36._
+
+[108] _55._
+
+[109] _59._
+
+[110] _Orph. p. 20._
+
+[111] _p. 31._
+
+[112] _Lactan._
+
+[113] _p. 19._
+
+[114] _p. 28._
+
+[115] _p. 31._
+
+[116] _38._
+
+[117] _p. 39._
+
+[118] _p. 39._
+
+[119] _Id. 49._
+
+[120] _Double Dealer. 34._
+
+[121] _36._
+
+[122] _55._
+
+[123] _p. 40._
+
+[124] _Sebast. p. 9._
+
+[125] _Id. p. 10._
+
+[126] _p. 47._
+
+[127] _Id. p. 83._  _Exod. 12, 13._
+
+[128] _Ibid._
+
+[129] _Ibid._
+
+[130] _Ded. p. 51._
+
+[131] _Love Triumph. p. 3._
+
+[132] _Id. p. 11._
+
+[133] _Id. p. 11._
+
+[134] _p. 34._
+
+[135] _58._
+
+[136] _p. 62._
+
+[137] _1st. Eliz. cap. 2._
+
+[138] _p. 63._
+
+[139] _p. 72._
+
+[140] _Love for Love. p. 42._
+
+[141] _26._
+
+[142] _p. 27._
+
+[143] _p. 47._
+
+[144] _Vid. Person. Dram._
+
+[145] _p. 80._
+
+[146] _p. 91._
+
+[147] _p. 92._
+
+[148] _Prov. Wife p. 38._
+
+[149] _Id. p. 77._
+
+[150] _Relapse. p. 32, 33._
+
+[151] _p. 44, 45._
+
+[152] _Vid. Infra._
+
+[153] _p. 51._
+
+[154] _p. 96, 97._
+
+[155] _Ibid._
+
+[156] _p.91._
+
+[157] _Don. Sebastian. p. 51._
+
+[158] _Double Dealer. p. 19._
+
+[159] _p. 17._
+
+[160] _p. 44._
+
+[161] _Double Dealer. p. 18._
+
+[162] _Gen. 2. St. Math. 9._
+
+[163] _Love, &c. p. 59, 61._
+
+[164] _Provok'd Wife. p. 3._
+
+[165] _p. 4._
+
+[166] _p. 65._
+
+[167] _Relapse. p. 19._
+
+[168] _p. 96._
+
+[169] _Eccles. 8. 11._
+
+[170] _Gal. 6._
+
+[171] _Eunuch._
+
+[172] _Heauton. A. 5. 1._
+
+[173] _Adelp. A. 5. 7._
+
+[174] _Lyconides. Aulular. A. 2. 4.  Pal�stra. Rud. A. 1. 3.  Dinarchus.
+Trucul. A. 2. 4._
+
+[175] _Mil. Glor._
+
+[176] _Pseud. A. 1. 3._
+
+[177] _Prom. vinct. 57._
+
+[178] _p. 92._
+
+[179] _p. 101._
+
+[180] [Greek: Pers.] _161._
+
+[181] _164._
+
+[182] _Ajax. Flagell._
+
+[183] _Oedip. Tyran. p. 187._
+
+[184] _p. 188._
+
+[185] _Antig. p. 256._
+
+[186] _Trach. p. [......]._
+
+[187] _Trach. p. 375._
+
+[188] _Trach. p. 340._
+
+[189] _Cleom. p. 54._
+
+[190] _Id. p. 55._
+
+[191] _p. 54._
+
+[192] _De Art. Poet._
+
+[193] _Philoct. 402._
+
+[194] _419._
+
+[195] _p. 431._
+
+[196] _Act. 2._
+
+[197] _p. 295._
+
+[198] _Agam. Act. 3._
+
+[199] _20._
+
+[200] _p. 37._
+
+[201] _p. 23._
+
+[202] _Country Wife p. 6._
+
+[203] _p. 35._
+
+[204] _Ibid._
+
+[205] _p. 25._
+
+[206] _p. 26._
+
+[207] _Ibid._
+
+[208] _Old Batch. p. 19, 20._
+
+[209] _p. 27._
+
+[210] _p. 41._
+
+[211] _p. 71._
+
+[212] _Absal. and Achi._
+
+[213] p. 24.
+
+[214] _p. 96._
+
+[215] _p. 32._
+
+[216] _Oedip. p. 38._
+
+[217] _p. 43._
+
+[218] _Ibid._
+
+[219] _Ibid._
+
+[220] _Provok'd Wife. p. 45, 46, 52, 52._
+
+[221] _Relapse. p. 74._
+
+[222] _p. 75._
+
+[223] _p. 86._
+
+[224] _p. 97._
+
+[225] _89._
+
+[226] _p. 94._
+
+[227] _p. 95, 97, 105._
+
+[228] Hom. _Il. [alpha]. p. 3. & dein. Ed. Screvel._
+
+[229] _Il. B. p. 91._
+
+[230] _Ibid. p. 92._
+
+[231] _Il. E. p. 154, 155._
+
+[232] _Il. E. p. 154, 155._
+
+[233] _Ibid. p. 158._
+
+[234] _Odyss. I p. 174, 181._
+
+[235] _�nid. 2._
+
+[236] _Ruaus. in Loc._
+
+[237] _�neid 2._
+
+[238] _Ibid._
+
+[239] _�neid. 3._
+
+[240] _Ibid._
+
+[241] _�nead. 1st._
+
+[242] _�n. 6._
+
+[243] _Ibid._
+
+[244] _�neid. 7._
+
+[245] _Lib. 1._
+
+[246] _�neid. 10._
+
+[247] _�neid. 11._
+
+[248] _�neid. 9. 10. 11._
+
+[249] _Guther. de jure veter. pontif._
+
+[250] _Oedip. Tyr. p. 148._
+
+[251] _Ibid. 169._
+
+[252] _p. 38._
+
+[253] _Antig. p. 250, 258._
+
+[254] _Eurip. Phoeniss. p. 158, 159._
+
+[255] _Bacch. Act. 1. Act. 4._
+
+[256] _Jon. Act 5._
+
+[257] _Iphig. in Aulid. & in Taur._
+
+[258] _Oedip._
+
+[259] _Troad. A. 2. p. 193._
+
+[260] _Plut. Ran. Aves._
+
+[261] _Bacchid. Act. 2. 5. 3._
+
+[262] _Rud. A. 1. 5. A. 2. 3._
+
+[263] _Act [......]_
+
+[264] _Rud. A. 4. S. 7._
+
+[265] _Measure for Measure._ _Much a do about Nothing._ _Twelf-Night._
+_Henry 4th pt. 1st._ _Hen. 6. pt. 3d._ _Romeo and Juliet._  _Merry Wives of
+Windsor._
+
+[266] _Essay of Dramat. &c._
+
+[267] _De Bell. Judaic._
+
+[268] _Deut. 17. 9. 20. 2. Chron. 19. 8._
+
+[269] _Math. 27. Act. 4.  Vid. seldon de Synedr._
+
+[270] _Joseph._
+
+[271] _Diod. Sic._
+
+[272] _Gen. 41._
+
+[273] _Porph. de Abstin. Lib. 4. C�sar de Bell. Gall. Lib. 6_
+
+[274] _Lib. 6._
+
+[275] _Ser. in Controv._
+
+[276] _Dion. Halic._
+
+[277] _Pro Dom. ad Pontif._
+
+[278] _Hebr. 7._
+
+[279] _Davila Filmers Freeholders Grand Inq._
+
+[280] _Mir�us De Statu Relig. Christ._
+
+[281] _Fletchers Embassy._
+
+[282] _Puffendorf Introduction � l'Histoire._
+
+[283] _Heylins Cosgmog._
+
+[284] _2, Hen. 8. cap.  22._ _26, Hen. 8 cap 2._ _1. Edw. 6. cap. 12, &c.
+Preamb._
+
+[285] _S. Luke 12._
+
+[286] _Moral Essays._
+
+[287] _Mock Astrol. p. 3, &c._
+
+[288] _Mock Astrol. p. 57, 59._
+
+[289] _Spanish Fryar. p. 61._
+
+[290] _Country Wife. p. 25._
+
+[291] _Old Batch._
+
+[292] _Double Dealer. p. 34._
+
+[293] _Love for Love p. 90._
+
+[294] _Love for Love. p. 6, 7. 25. 61. 89. 91._
+
+[295] _p. 35._
+
+[296] _Don Sebast._
+
+[297] _Love for Love. p. 20._
+
+[298] _Provok'd Wife. p. 64._
+
+[299] _Chap. 1. & 2._
+
+[300] _Mostel. A. 1. 2._ _Trinum. A. 2. 1. A. 2. 2._ _Enuch. A. 3. 3._
+_Hecyr. A. 3. 4._
+
+[301] _Trinum. A. 2. 1._
+
+[302] _A. 2. 2._
+
+[303] _Enuch. A. 3. 3._
+
+[304] _Hecyr. A. 3. 4._
+
+[305] _Stich A. 1. 1._
+
+[306] _p. 3._
+
+[307] _Stich. A. 1. 2._
+
+[308] _p. 60._
+
+[309] _Ibid._
+
+[310] _De Art. Poet._
+
+[311] _Ibid._
+
+[312] _[......] Schol._
+
+[313] _Libr. de Poet. cap. 5._
+
+[314] _Psyche._
+
+[315] _Ibid._
+
+[316] _Pref. Mock. Astrol._
+
+[317] _Ibid._
+
+[318] _Ibid._
+
+[319] _Essay of Dramatick Poetry. p. 28._
+
+[320] _The London Prodigall._
+
+[321] _Ibid._
+
+[322] _Ibid._
+
+[323] _Ibid._
+
+[324] _Rapin Reflect. &c. p. 10._
+
+[325] _Libr. 4. de Morib. cap. 14._
+
+[326] _De Mor. Lib. 10, cap. 2._
+
+[327] _Institut. Lib. 6; c. 3._
+
+[328] _p. 32._
+
+[329] _p. 52._
+
+[330] _Spanish Fryar. p. 36._
+
+[331] _p. 70._
+
+[332] _p. 61._
+
+[333] _Enuch._
+
+[334] _King Arth. p. 2._
+
+[335] _Love Trium. p. 26._
+
+[336] _p. 47._
+
+[337] _Oedip. p. 3._
+
+[338] _Old Batch. p. 41._
+
+[339] _p. 35._
+
+[340] _p. 22._
+
+[341] _Don. Sebast. p. 5._
+
+[342] _Double Dealer. Person. Dram._ _Relapse._ _Provok'd Wife._ _p. 4. p.
+2._
+
+[343] _Relapse._
+
+[344] _p. 4._
+
+[345] _p. 2._
+
+[346] _Don Sebast. p. 16._
+
+[347] _p. 17._
+
+[348] _Don. Quix. part. 2. p. 37._
+
+[349] _Relapse. p. 84._
+
+[350] _p. 24._
+
+[351] _L'Ombre de Moliere_
+
+[352] _Essay Dram. poet. p. 5._
+
+[353] _Amphit. p. 1, 2, 3, 8, 9._
+
+[354] _p. 8. 17._
+
+[355] _p. 18._
+
+[356] _19._
+
+[357] _Eunuch._
+
+[358] _Euseb. pr�par. Evang._
+
+[359] _Ep. Ded._
+
+[360] _p. 1._
+
+[361] _p. 3, 16, etc._
+
+[362] _p. 1._
+
+[363] _Pref._
+
+[364] _p. 1._
+
+[365] _19._
+
+[366] _Troil. and Cressid._
+
+[367] _The Hist. of Sr. John Old Castle._
+
+[368] _King Arthur._
+
+[369] _Ep. Ded._
+
+[370] _p. 6._
+
+[371] _Ep. Ded. Don Sebast._
+
+[372] _Ded. King Arthur._
+
+[373] _Sebast. K. Arth._
+
+[374] _Ibid._
+
+[375] _Part 1st. p. 20._
+
+[376] _p. 20._
+
+[377] _p. 37._
+
+[378] _p. 13._
+
+[379] _Part. 1. p. 13._
+
+[380] _Person. Dram._
+
+[381] _p. 51._
+
+[382] _p. 3._
+
+[383] _p. 7._
+
+[384] _p. 10._
+
+[385] _p. 41._
+
+[386] _p. 47._
+
+[387] _Part. 1st. p. 7, 8. pt. 2d. p. 57._
+
+[388] _pt. 2d. p. 60;_
+
+[389] _pt. 1st. p. 38. pt. 2d. p. 14._
+
+[390] _pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36, 49. pt. 2d. p. 37.
+44._
+
+[391] _Pref. pt. 3d._
+
+[392] _Ibid._
+
+[393] _Pref._
+
+[394] _Ibid._
+
+[395] _Person. Dram._
+
+[396] _pt. 2d. p. 31._
+
+[397] _p. 51._
+
+[398] _Pref. pt. 1st._
+
+[399] _Ibid._
+
+[400] _pt. 3d._
+
+[401] _p. 53._
+
+[402] _Reflect, &c. p. 131._
+
+[403] _Relapse. p. 19_
+
+[404] _Reflect._ _p. 133._
+
+[405] p. 27.
+
+[406] _p. 79._
+
+[407] _Ibid._
+
+[408] _p. 81._
+
+[409] _p. 83._
+
+[410] _p. 59._
+
+[411] _p. 11._
+
+[412] _p. 47._
+
+[413] _p. 51._
+
+[414] _p. 74._
+
+[415] _Reflect. p. 40._
+
+[416] _Tragedies of the last Age consider'd, &c. p. 113, 114._
+
+[417] _p. 59._
+
+[418] _p. 61._
+
+[419] _p. 42._
+
+[420] _p. 43._
+
+[421] _p. 44._
+
+[422] _p. 64. At top._
+
+[423] _p. 85._
+
+[424] _p. 64._
+
+[425] _p. 94._
+
+[426] _p. 15._
+
+[427] _p. 99._
+
+[428] _Ibid._
+
+[429] _p. 100._
+
+[430] _Rapin Reflect, &c._
+
+[431] _Discourse des Trois Unitez. pt. 3d._
+
+[432] _p. 88._
+
+[433] _Pref._
+
+[434] _see Chap. 2d._
+
+[435] _Pref._
+
+[436] _An Academy in Lithuania, for the Education of Bears. Pere Auvill
+Voyage en Divers Etats, &c. p. 240._
+
+[437] _Plat. de Repub. Lib. 10. Euseb. Pr�par. Evang._
+
+[438] _Cyrop�d. p. 34_
+
+[439] _Polit. Lib. 7. c. p. 12._
+
+[440] _Polit. Lib. 8._
+
+[441] _Tusc. Quest. Lib. 4. De Leg. Lib. 1._
+
+[442] _Dec. 1. Lib. 7._
+
+[443] _Lib. 2. cap. 4._
+
+[444] _cap. 6._
+
+[445] _Natural Quest. Lib. 7. cap. 32._
+
+[446] _Epist. 7._
+
+[447] _Annal. Lib 14. cap. 14._
+
+[448] _De Mor. German. cap. 19_
+
+[449] _Symposiac. Lib. 7.  De Audiend. Poet. p. 15. Ed. Par._
+
+[450] _Lib. 1._
+
+[451] _Remed. Amor._
+
+[452] _Lib. 2._
+
+[453] _Ep. Ded._
+
+[454] _Plut. De Glor. Atheniens._
+
+[455] _Plut. Lacon. Institut._
+
+[456] _Cic. de Repub. Lib. 4. cited by, St. Augustine. Libr. 2. de civ.
+dei. cap. 13._
+
+[457] _Lib. 2. cap. 29._
+
+[458] _Dec. 1. Libr. 7._
+
+[459] _Ab Histrionibus Pollui._
+
+[460] _XV. Cod. Theod. Tit. vii. p.375._
+
+[461] _in loco Honesto._
+
+[462] _turpe munus._
+
+[463] _L. 1. �. 6. de his qui notantur infamia. Gothofred. Ibid. p. 376._
+
+[464] _Rawlidge his Monster, lately found out, &c. p. 2, 3, 4._
+
+[465] _Gazett Roterdam: Dec. 20. Paris._
+
+[466] _French Amsterdam Harlem Gazetts. Paris, May. 17th. 1697._
+
+[467] _Trois lettres Pastorales De Monseigneur L'Eveque D'Arras &c. A Delf.
+1697._
+
+[468] _Ann. 305._ _Can. 67._
+
+[469] _Ann. 314. Can. 5._
+
+[470] _Ann. 452._
+
+[471] _Ann. 397. Can. 11._
+
+[472] _Secularia spectacula, which manifestly comprehends the Stage._
+
+[473] _Ann. 424. Can. 96_
+
+[474] _Concil. Cabilon. Ann. 813. Can. 9._
+
+[475] _Libr. 3. ad Autol._
+
+[476] _Spectacula._
+
+[477] _Chap. 38._
+
+[478] _Chap. 3._
+
+[479] _Ibid. Cap. 10._
+
+[480] _The Play-houses were dedicated to Bacchus._
+
+[481] _Ibid. cap. 15._
+
+[482] _Ibid. cap. 22._
+
+[483] _Ibid. cap. 23._
+
+[484] _Ibid. cap. 26._
+
+[485] _Ibid. cap. 27._
+
+[486] _Ibid. cap. 28._
+
+[487] _Ibid. cap. 29._
+
+[488] _By Exorcisms_
+
+[489] _Lib. 3. P�dag. Ann. 204. cap. 11._
+
+[490] _Ann. 206._
+
+[491] _Ad Eucrat._
+
+[492] _Lib. 6. cap. 20._
+
+[493] _Ibid. cap. 21._
+
+[494] _Ibid. cap. 22._
+
+[495] _In Psal. 119._
+
+[496] _Ep. 9. 12. Advers. Jovinian. Lib. 2. cap. 7._
+
+[497] _Chap. 20._
+
+[498] _cap. 33._
+
+[499] _Didac. &c. in D. Thom. p. 546._
+
+[500] _De Repub. L. 4._
+
+[501] _Cic. de Leg. L. 2._
+
+[502] _A Famous Musician_
+
+[503] _Vid. Corneille Cid, Cinna & Pompee._
+
+[504] _Moral Essays._
+
+[505] _2 Cor. 6. 14._
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
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+    A Short View of the Immorality of the English Stage
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+<pre>
+
+The Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Short View of the Immorality, and Profaneness of the English Stage
+       together with the Sense of Antiquity on this Argument
+
+Author: Jeremy Collier
+
+Release Date: January 11, 2014 [EBook #44645]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK VIEW OF IMMORALITY OF ENGLISH STAGE ***
+
+
+
+
+Produced by Jonathan Ingram, Keith Edkins and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+  <table class="sp3 transnote nothand" title="Transcriber's note" summary="Transcriber's note">
+    <tr>
+      <td class="w25">Transcriber's note:</td>
+      <td>
+        <p>The errata have been applied. They appear in the text <span class="correction"
+        title="explanation will pop up">like this</span>, and the explanation will appear when the
+        mouse pointer is moved over the marked passage. Otherwise no attempt has been made to
+        distinguish likely typographical errors from the natural variability of 17th century
+        orthography.</p>
+        <p class="sp0">A few short phrases proved illegible on the scan: these are marked
+        [......].</p>
+      </td>
+    </tr>
+  </table>
+
+  <table class="sp2 transnote handonly" title="Transcriber's note" summary="Transcriber's note">
+    <tr>
+      <td class="w25">Transcriber's note:</td>
+      <td>
+        <p>The errata have been applied without further annotation. Otherwise no attempt has been
+        made to distinguish likely typographical errors from the natural variability of 17th century
+        orthography.</p>
+        <p>The marginal notes have been changed to footnotes, marked thus <sup><a
+        href="#side123">[123]</a></sup>.</p>
+        <p class="sp0">A few short phrases proved illegible on the scan: these are marked
+        [......].</p>
+      </td>
+    </tr>
+  </table>
+
+  <p class="ac" style="margin-bottom:1.8ex;">A SHORT</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger"><span
+  class="gsp">VIEW</span></span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">OF THE</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>Immorality, and
+  Profaneness</i></span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">OF THE</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">English Stage,</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="smaller">TOGETHER</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;">With the Sence of Antiquity<br/>
+  upon this Argument,</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">By <span class="gsp"><i>JEREMY
+  COLLIER</i></span>, M.A.</span></p>
+
+  <p class="sp5 ac" style="margin-bottom:4.7ex;"><span class="larger"><i>London</i>, Printed for
+  <b>S. Keble</b> at the <i>Turk's-Head</i><br/>
+  in <i>Fleetstreet</i>, <b>R. Sare</b> at <i>Gray's-Inn-Gate</i>,<br/>
+  and <b>H. Hindmarsh</b> against the <i>Exchange</i> in<br/>
+  <i>Cornhil</i>. 1698.</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">THE</span></p>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">PREFACE</span></h1>
+
+  <p><i>Being convinc'd that nothing has gone farther in Debauching the Age than the</i> Stage
+  Poets, <i>and</i> Play-House, <i>I thought I could not employ my time better than in writing
+  against them. These Men sure</i>, take Vertue and Regularity, <i>for</i> great Enemies, <i>why
+  else is their</i> Disaffection <i>so very</i> Remarkable? <i>It must be said, They have made
+  their</i> Attack <i>with great</i> Courage, <i>and</i> gain'd <i>no inconsiderable</i> Advantage.
+  <i>But it seems</i> Lewdness without Atheism, <i>is but</i> half their Business. Conscience
+  <i>might possibly recover, and</i> Revenge <i>be thought on; and therefore like</i> Foot-Pads,
+  <i>they must not only</i> Rob, <i>but</i> Murther. <i>To do them right</i> their Measures
+  <i>are</i> Politickly taken: <i>To make sure work on't, there's nothing like</i> Destroying of
+  Principles; Practise <i>must</i> follow <i>of</i> Course. <i>For to have</i> no good Principles,
+  <i>is to have</i> no Reason to be Good. <i>Now 'tis not to be expected that people should</i>
+  check <i>their</i> Appetites, <i>and</i> balk <i>their</i> Satisfactions, <i>they don't know why.
+  If</i> Virtue <i>has no</i> Prospect, <i>'tis not worth the owning. Who would be</i> troubled
+  <i>with</i> Conscience <i>if 'tis only a</i> Bugbear, <i>and has nothing</i> in't <i>but</i>
+  Vision, <i>and the</i> Spleen?</p>
+
+  <p><i>My</i> Collection <i>from the</i> English Stage, <i>is much short of what</i> They <i>are
+  able to furnish. An</i> Inventory <i>of their</i> Ware-House <i>would have been a large</i> Work:
+  <i>But being afraid of over charging the</i> Reader, <i>I thought a</i> Pattern <i>might
+  do</i>.</p>
+
+  <p><i>In</i> Translating <i>the</i> Fathers, <i>I have endeavour'd to keep</i> close <i>to
+  their</i> Meaning: <i>However, in</i> some few places, <i>I have taken the</i> Liberty of throwing
+  in a Word or two; <i>To</i> clear <i>the</i> Sense, <i>to</i> preserve <i>the</i> Spirit <i>of
+  the</i> Original, <i>and keep the</i> English <i>upon its Legs</i>.</p>
+
+  <p><i>There's one thing more to acquaint the</i> Reader <i>with; 'Tis that I have Ventured to</i>
+  change <i>the</i> Terms <i>of</i> Mistress <i>and</i> Lover, <i>for</i> others <i>somewhat
+  more</i> Plain, <i>but much more</i> Proper. <i>I don't look upon This as any</i> failure
+  <i>in</i> Civility. <i>As</i> Good <i>and</i> Evil <i>are</i> different <i>in</i> Themselves,
+  <i>so they ought to be</i> differently Mark'd. <i>To</i> confound <i>them in</i> Speech, <i>is the
+  way to</i> confound <i>them in</i> Practise. Ill Qualities <i>ought to have</i> ill Names, <i>to
+  prevent their being</i> Catching. <i>Indeed</i> Things <i>are in a great measure</i> Govern'd
+  <i>by</i> Words: <i>To</i> Guild <i>over a foul</i> Character, <i>serves only to perplex the</i>
+  Idea, <i>to encourage the</i> Bad, <i>and mislead the</i> Unwary. <i>To treat</i> Honour,
+  <i>and</i> Infamy <i>alike, is an</i> injury <i>to</i> Virtue, <i>and a sort of</i> Levelling
+  <i>in</i> Morality. <i>I confess, I have no</i> Ceremony <i>for</i> Debauchery. <i>For to</i>
+  Compliment Vice, <i>is but</i> one Remove <i>from</i> worshipping <i>the</i> Devil.</p>
+
+  <p class="sp5 ac"><i>March 5th. 169<span class="ifrac"><span class="ifracn">7</span><span
+  class="ifracd">8</span></span>.</i></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">THE</span></p>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="xxxx-larger">CONTENTS.</span></h1>
+
+  <table class="sp5 mc w50" title="Table of contents" summary="Table of contents">
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. I.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Introduction.</i></td>
+      <td class="ar vbm wnw">Page <a href="#page1">1</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Immodesty <i>of the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page3">3</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Ill Consequences <i>of this</i> Liberty.</td>
+      <td class="ar vbm wnw">p. <a href="#page5">5</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immodesty <i>a Breach</i> of good Behaviour.</td>
+      <td class="ar vbm wnw">p. <a href="#page6">6</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>faulty in this respect to a very</i> Scandalous
+      degree.</td>
+      <td class="ar vbm wnw">p. <a href="#page8">8</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Modesty <i>the</i> Character <i>of</i> Women.</td>
+      <td class="ar vbm wnw">p. <a href="#page9">9</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Natural</i> Serviceableness <i>of this</i> Quality.</td>
+      <td class="ar vbm wnw">p. <a href="#page11">11</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immodesty <i>much more insufferable, under the</i> Christian, <i>than under
+      the</i> Heathen <i>Religion</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page14">14</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Roman, <i>and</i> Greek Theatres <i>more</i> inoffensive <i>than
+      the</i> English.</td>
+      <td class="ar vbm wnw">p. <a href="#page15">15</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This proved from</i> Plautus.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>From</i> Terence.</td>
+      <td class="ar vbm wnw">p. <a href="#page20">20</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>From</i> Seneca's Tragedies.</td>
+      <td class="ar vbm wnw">p. <a href="#page25">25</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Comparison <i>carried on to the</i> Theatre <i>at</i>
+      Athens.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A short</i> Character <i>of</i> �schylus.</td>
+      <td class="ar vbm wnw">p. <a href="#page26">26</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Cleaness <i>of his</i> Expression.</td>
+      <td class="ar vbm wnw">p. <a href="#page27">27</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Genius <i>and</i> Conduct <i>of</i> Sophocles.</td>
+      <td class="ar vbm wnw">p. <a href="#page28">28</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>The</i> Sobriety <i>of his</i> Plays.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page29">29</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Euripides'<i>s</i> Character distinguished <i>from the two</i> former.</td>
+      <td class="ar vbm wnw">p. <a href="#page30">30</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Reserv'dness <i>of his</i> Stile.</td>
+      <td class="ar vbm wnw">p. <a href="#page31">31</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">All <i>Humours not fit for</i> Representation.</td>
+      <td class="ar vbm wnw">p. <a href="#page35">35</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Censure <i>of</i> Aristophanes.</td>
+      <td class="ar vbm wnw">p. <a href="#page36">36</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Aristophanes <i>his Testimony</i> against himself.</td>
+      <td class="ar vbm wnw">p. <a href="#page48">48</a></td>
+    </tr>
+    <tr class="pb05">
+      <td style="padding:0">
+        <table class="vmi" title="Inner" summary="Inner">
+          <tr>
+            <td><br/>
+            <i>The Authorities of</i></td>
+            <td class="vmi brace"><img src="images/lbrace3.png" class="brace" alt="brace"/></td>
+            <td class="vmi">Ben. Johnson.<br/>
+            Beaumont &amp; Fletcher.<br/>
+            <i>And</i> Corneille.<br/>
+            <i>against the</i> present Stage.</td>
+          </tr>
+        </table>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page51">51</a><br/>
+      p. <a href="#page52">52</a><br/>
+      p. <a href="#page53">53</a><br/>
+      &nbsp;</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. II.</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">The <i>Prophaneness</i> of the <i>Stage</i>.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> Charge <i>prov'd upon them</i>,</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">I. <i>By their</i> Cursing <i>and</i> Swearing.</td>
+      <td class="ar vbm wnw">p. <a href="#page57">57</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> English Stage <i>formerly less hardy in this respect</i>.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> provokingness <i>of this Sin</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page58">58</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This Offence</i> punishable <i>by</i> Law, <i>and how far</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page59">59</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Swearing <i>in the</i> Play House <i>an</i> Un-Gentlemanly, <i>as well as
+      an</i> Un-Christian practise.</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Second <i>Branch of the</i> Profaness <i>of the</i> Stage,
+      <i>consisting in their Abuse of</i> Religion, <i>and the</i> Holy Scriptures.</td>
+      <td class="ar vbm wnw">p. <a href="#page60">60</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Instances of this Liberty in the</i> Mock Astrologer.</td>
+      <td class="ar vbm wnw">Ib.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In the</i> Orphan.</td>
+      <td class="ar vbm wnw">p. <a href="#page62">62</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>In the</i> Old Batchelour, <i>and</i> Double Dealer.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page63">63</a>, <a href="#page64">64</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In</i> Don Sebastian.</td>
+      <td class="ar vbm wnw">p. <a href="#page65">65</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Breif Remarks upon a Passage or two in the</i> Dedications <i>of</i>
+      Aurenge Zebe, <i>and the</i> Translation <i>of</i> Juvenal.</td>
+      <td class="ar vbm wnw">p. <a href="#page66">66</a>, <a href="#page69">69</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Farther Instances of</i> Profaneness <i>in</i> Love Triumphant.</td>
+      <td class="ar vbm wnw">p. <a href="#page72">72</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In</i> Love for Love.</td>
+      <td class="ar vbm wnw">p. <a href="#page74">74</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In the</i> provok'd Wife.</td>
+      <td class="ar vbm wnw">p. <a href="#page77">77</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the</i> Relapse.</td>
+      <td class="ar vbm wnw">p. <a href="#page78">78</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Horrid Impiety <i>of this</i> Liberty.</td>
+      <td class="ar vbm wnw">p. <a href="#page80">80</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>guilty of down right</i> Blasphemy.</td>
+      <td class="wnw"></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> Charge <i>made good from several of the</i> Plays <i>above
+      mention'd</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page82">82</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Comparative Regularity of the</i> Heathen Stage, <i>exemplyfied
+      in</i> Terence, <i>and</i> Plautus.</td>
+      <td class="ar vbm wnw">p. <a href="#page86">86</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the</i> Greek Tragedians.</td>
+      <td class="ar vbm wnw">p. <a href="#page87">87</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Seneca <i>more exceptionable than the</i> Greeks, <i>but not so faulty as
+      the</i> Modern Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page94">94</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This</i> outraging <i>of</i> Religion Intolerable.</td>
+      <td class="ar vbm wnw">p. <a href="#page95">95</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. III.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Clergy <i>abused by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page98">98</a></td>
+    </tr>
+    <tr class="pb05">
+      <td style="padding:0">
+        <table class="vmi" title="Inner" summary="Inner">
+          <tr>
+            <td class="vmi ar"><i>This Usage both</i><br/>
+            <i>And</i></td>
+            <td class="vmi brace"><img src="images/lbrace2.png" class="brace" alt="brace"/></td>
+            <td class="vmi"><i>Unpresidented</i>.<br/>
+            <i>Unreasonable</i>.</td>
+          </tr>
+        </table>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page112">112</a><br/>
+      p. <a href="#page127">127</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Misbehaviour of the</i> Stage <i>upon this account</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page138">138</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">
+        <p class="sp0">CHAP. IV.</p>
+      </td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Immorality encouraged <i>by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page140">140</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage Poets <i>make</i> Libertines <i>their</i> Top-Characters,
+      <i>and give them</i> Success <i>in their</i> Debauchery.</td>
+      <td class="ar vbm wnw">p. <a href="#page142">142</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Character <i>of their</i> fine Gentleman.</td>
+      <td class="ar vbm wnw">p. <a href="#page143">143</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Their</i> fine Ladies <i>Accomplish'd much after the same
+      manner</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page146">146</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Young People <i>of</i> Figure <i>in</i> Plautus <i>and</i>
+      Terence, <i>have a greater regard to</i> Morality.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Defence in the</i> Preface <i>to the</i> Mock-Astrologer, <i>not
+      sufficient</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page148">148</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Christian <i>Religion makes a great</i> difference <i>in the
+      Case</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page149">149</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Horace <i>of a Contrary Opinion to the</i> Mock-Astrologer.</td>
+      <td class="ar vbm wnw">p. <a href="#page150">150</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Mock-Astrologer's <i>Instances from</i> Ben Johnson
+      <i>Unserviceable</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page151">151</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Authority of</i> Shakespear <i>against the</i> Mock-Astrologer.</td>
+      <td class="ar vbm wnw">p. <a href="#page154">154</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>His</i> Maxim <i>founded on the difference between</i> Tragedy,
+      <i>and</i> Comedy, <i>a</i> Mistake.</td>
+      <td class="ar vbm wnw">p. <a href="#page155">155</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Delight <i>not the Chief-End of</i> Comedy.</td>
+      <td class="ar vbm wnw">p. <a href="#page157">157</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>This Assertion prov'd against the</i> Mock-Astrologer <i>from the
+      Testimonies of</i> Rapin.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And</i> Ben Johnson.</td>
+      <td class="ar vbm wnw">p. <a href="#page158">158</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Aristotle, <i>and</i> Quintilian, <i>cited to the same purpose</i></td>
+      <td class="ar vbm wnw">p. <a href="#page159">159</a>, <a href="#page161">161</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>To make</i> Delight <i>the main Business in</i> Comedy, <i>dangerous, and
+        unreasonable</i>.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page162">162</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The improper Conduct of the</i> Stage <i>with respect to Poetry, and
+      Ceremony</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page165">165</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Extravagant Rants.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page167">167</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Gingles in the</i> Spanish Fryar, King Arthur, <i>and</i> Love
+      Triumphant.</td>
+      <td class="ar vbm wnw">p. <a href="#page169">169</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Women <i>roughly treated by the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page171">171</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Their coarse Usage of the</i> Nobility.</td>
+      <td class="ar vbm wnw">p. <a href="#page173">173</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>These Freedoms peculiar to the</i> English Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page175">175</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. V.</td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. I.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks upon Amphytrion.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page177">177</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Machines <i>prophane, smutty, and out of the Character</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page178">178</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The singularity of the Poet in this point.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page180">180</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Blasphemy in Absalom and Achitophel.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page184">184</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A</i> Poem <i>upon the Fall of the</i> Angels, <i>call'd a Fairy way of
+      Writing</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page189">189</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Punishment <i>of the</i> Damned ridiculed.</td>
+      <td class="ar vbm wnw">p. <a href="#page192">192</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. II.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks on the</i> Comical History <i>of</i> Don Quixot.</td>
+      <td class="ar vbm wnw">p. <a href="#page196">196</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Poets horrible Prophaneness.</td>
+      <td class="ar vbm wnw">p. <a href="#page197">197</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>His want of</i> Modesty, <i>and</i> Regard <i>to the</i> Audience.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page202">202</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">All <i>Imitations of Nature not proper for the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page204">204</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Poets <i>Talent in Raillery, and</i> Dedication.</td>
+      <td class="ar vbm wnw">p. <a href="#page205">205</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">SECT. III.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Remarks on the</i> Relapse.</td>
+      <td class="ar vbm wnw">p. <a href="#page209">209</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>A Misnommer in the Title of the</i> Play.</td>
+      <td class="ar vbm wnw">p. <a href="#page210">210</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Moral <i>Vitious</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page211">211</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Plot <i>ill Contriv'd</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page212">212</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Manners <i>or</i> Characters <i>out of Order</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page218">218</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The three</i> Dramatick Unities <i>broken</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page228">228</a></td>
+    </tr>
+    <tr class="pb05">
+      <td colspan="2" class="ac">CHAP. VI.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Opinion of the</i> Heathen <i>Philosophers</i>, <i>Orators</i>,
+      <i>and Historians</i>, <i>concerning the</i> Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page233">233</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Stage <i>censured by the</i> State. <i>This proved from the</i>
+      Constitutions <i>of</i> Athens, Sparta, <i>and</i> Rome.</td>
+      <td class="ar vbm wnw">p. <a href="#page240">240</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Farther Instances of this publick Discountentance in the</i> Theodosian
+      Code.</td>
+      <td class="ar vbm wnw">p. <a href="#page241">241</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>In our own</i> Statute Book.</td>
+      <td class="ar vbm wnw">p. <a href="#page242">242</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And in the late Order of the</i> French King.</td>
+      <td class="ar vbm wnw">p. <a href="#page243">243</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>An</i> Order <i>of the Bishop of</i> Arras <i>against</i> Plays.</td>
+      <td class="ar vbm wnw">p. <a href="#page245">245</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">
+        <p class="sp0"><i>The</i> Stage <i>Condemn'd by the</i> Primitive Church.</p>
+      </td>
+      <td class="ar vbm wnw">p. <a href="#page250">250</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The</i> Councils <i>of</i> Illiberis, Arles, &amp;c. <i>cited</i>.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Testimony's of the</i> Fathers <i>against the</i> Stage,
+      <i>particularly, of</i> Theophilus Antiochenus.</td>
+      <td class="ar vbm wnw">p. <a href="#page252">252</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Tertullian.</td>
+      <td class="ar vbm wnw">p. <a href="#page253">253</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Clemens Alexandrinus.</td>
+      <td class="ar vbm wnw">p. <a href="#page260">260</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of</i> Minutius F&#x0153;lix.</td>
+      <td class="ar vbm wnw">p. <a href="#page261">261</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>Of St.</i> Cyprian.</td>
+      <td class="ar vbm wnw">Ibid.</td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05">Lactantius.</td>
+      <td class="ar vbm wnw">p. <a href="#page265">265</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>St.</i> Chrisostom.</td>
+      <td class="ar vbm wnw">p. <a href="#page267">267</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>St.</i> Hierom.</td>
+      <td class="ar vbm wnw">p. <a href="#page272">272</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>And St.</i> Augustine <i>cited to the same purpose</i>.</td>
+      <td class="ar vbm wnw">p. <a href="#page273">273</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Censure of the</i> Fathers, <i>and</i> Councils <i>&amp;c.
+      applicable to the</i> English Stage.</td>
+      <td class="ar vbm wnw">p. <a href="#page276">276</a></td>
+    </tr>
+    <tr class="pb05">
+      <td class="it1p05"><i>The Conclusion.</i></td>
+      <td class="ar vbm wnw">p. <a href="#page280">280</a></td>
+    </tr>
+  </table>
+
+  <p class="sp3 ac"><span class="gsp"><i>ERRATA.</i></span></p>
+
+  <p>Page <a href="#page31">31</a> Margin for <span title="K�ron"
+  class="fsn">&Kappa;&#x1FF6;&rho;&omicron;&nu;</span>, r. <span title="M�ron"
+  class="fsn">&Mu;&#x1FF6;&rho;&omicron;&nu;</span>. p. <a href="#page37">37</a>. l. 1. for <i>by
+  his</i>, r. <i>his</i>. l. 2. for <i>other</i>, r. <i>his other</i>. l. 25. for <i>pr�str</i>, r.
+  <i>pr�ter</i>. p. <a href="#page39">39</a>. l. 18. for <i>Poets</i>, <i>Knaves</i>, r. <i>Poets
+  Knaves</i>. p. <a href="#page44">44</a>. l. 14. for <i>Concianotores</i>, r. <i>Concionatores</i>.
+  p. <a href="#page45">45</a>. l. 25. for <i>Debaush</i>, r. <i>Debauchee</i>. p. <a
+  href="#page46">46</a>. l. 9. for <i>Enterprizes</i>, r. <i>Enterprize</i>. p. <a
+  href="#page47">47</a>. l. 9. for <i>ridicules</i>, r. <i>ridiculous</i>. p. <a
+  href="#page52">52</a>. l. 1. for <i>justifying</i>, r. <i>and justifie</i>. p. <a
+  href="#page60">60</a>. l. 2. for <i>tempestiuous</i>, r. <i>tempestuous</i>. l. 31. for
+  <i>pray</i>, r. <i>should pray</i>. p. <a href="#page80">80</a>. for <i>executed</i>, r.
+  <i>exerted</i>. p. <a href="#page108">108</a>. l. 4. for <i>Antarkick</i>. r. <i>Antartick</i>. p.
+  <a href="#page117">117</a>. l. 12. for <i>Angitia</i>, r. <i>Angiti�</i>. p. <a
+  href="#page121">121</a>. l. 24. for <i>Auger</i>, r. <i>Augur</i>. p. <a href="#page135">135</a>.
+  margin, for <i>Heglins Cogmog</i>, r. <i>Heylins Cosmog</i>. p. <a href="#page154">154</a>. l. 22.
+  dele up. p. <a href="#page163">163</a>. l. 28. for <i>then</i>, r. <i>therefore</i>. p. <a
+  href="#page183">183</a>. l. 6. for <i>to</i>, r. <i>too</i>. p. <a href="#page186">186</a>. l. 6.
+  dele <i>And</i>. p. <a href="#page191">191</a>. l. 18. for <i>Circumstance</i>, r.
+  <i>Circumstances</i>. p. <a href="#page222">222</a>. l. 9. for <i>Cup</i>, r. <i>a Cup</i>. p. <a
+  href="#page237">237</a>. l. 2. for <i>apon't</i>, r. <i>upon't</i>. <a href="#page245">245</a>. l.
+  25. for <i>Le</i>, r. <i>Les</i>. p. <a href="#page257">257</a>. l. 28. for <i>Correspondence</i>
+  r. <i>this Correspondence</i>. p. <a href="#page272">272</a>. l. 9. for <i>himself</i>. r.
+  <i>themselves</i>.</p>
+
+  <p class="sp5">The Litteral mistakes the Reader is Desired to Correct.</p>
+
+  <div class="bq1 sp5">
+    <p><i>Essays upon several Moral Subjects in two parts the Second Edition Corrected and Enlarged
+    by</i> Jeremy Collier, <i>M.A.</i></p>
+    <p><i>Human Prudence, or the Art by which a man may raise himself and his Fortune to Grandure,
+    the Seventh Edition.</i></p>
+    <p class="sp0"><i>An Answer to all the Excuses and Pretences that men usually make for their not
+    coming to the Holy Communion, by a Divine of the Church of</i> England: <i>Fitted for the
+    meanest Capacity, and proper to be given away by such Persons as are Charitably Inclin'd. Price
+    3 pence.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page1">{1}</span></div>
+
+  <h1 class="sp3 ac" style="margin-bottom:1.8ex;"><span class="larger">THE INTRODUCTION.</span></h1>
+
+  <p class="sp5">The business of <i>Plays</i> is to recomend Virtue, and discountenance Vice; To
+  shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and the Unhappy Conclusions
+  of Violence and Injustice: 'Tis to expose the Singularities of Pride and Fancy, to make Folly and
+  Falsehood contemptible, and to bring every Thing that is Ill Under Infamy, and Neglect. This
+  Design has been oddly pursued by the English <i>Stage</i>. Our <i>Poets</i> write with a different
+  View, and are gone into an other Interest. 'Tis true, were their Intentions fair, they might be
+  <i>Serviceable</i> to this <i>Purpose</i>. They have in a great measure the Springs of Thought and
+  Inclination in their Power. <i>Show</i>, <i>Musick</i>, <i>Action</i>, and <i>Rhetorick</i>, are
+  moving Entertainments; and rightly employ'd would be very <span class="pagenum"
+  id="page2">{2}</span>significant. But Force and Motion are Things indifferent, and the Use lies
+  chiefly in the Application. These Advantages are now, in the Enemies Hand, and under a very
+  dangerous Management. Like Cannon seized they are pointed the wrong way, and by the Strength of
+  the Defence the Mischief is made the greater. That this Complaint is not unreasonable I shall
+  endeavour to prove by shewing the Misbehaviour of the <i>Stage</i> with respect to
+  <i>Morality</i>, and <i>Religion</i>. Their <i>Liberties</i>, in the Following Particulars are
+  intolerable. <i>viz.</i> Their <i>Smuttiness</i> of <i>Expression</i>; Their <i>Swearing</i>,
+  <i>Profainness</i>, and <i>Lewd Application of Scripture</i>; Their <i>Abuse</i> of the
+  <i>Clergy</i>; Their <i>making</i> their <i>Top Characters Libertines</i>, and giving them
+  <i>Success</i> in their <i>Debauchery</i>. This Charge, with some other Irregularities, I shall
+  make good against the <i>Stage</i>, and shew both the <i>Novelty</i> and <i>Scandal</i> of the
+  <i>Practise</i>. And first, I shall begin with the <i>Rankness</i>, and <i>Indecency</i> of their
+  <i>Language</i>.</p>
+
+  <div><span class="pagenum" id="page3">{3}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  I.</span></h1>
+
+  <h2 class="sp3"><i>The Immodesty of the</i> Stage.</h2>
+
+  <p>In treating this Head, I hope the Reader does not expect that I should set down Chapter and
+  Page, and give him the Citations at Length. To do this would be a very unacceptable and Foreign
+  Employment. Indeed the Passages, many of them, are in no Condition to be handled: He that is
+  desirous to see these Flowers let him do it in their own Soil: 'Tis my business rather to kill the
+  <i>Root</i> than <i>Transplant</i> it. But that the Poets may not complain of Injustice; I shall
+  point to the Infection at a Distance, and refer in General to <i>Play</i> and <i>Person</i>.</p>
+
+  <p>Now among the Curiosities of this kind we may reckon Mrs. <i>Pinchwife</i>, <i>Horner</i>, and
+  Lady <i>Fidget</i> in the <i>Country Wife</i>; Widdow <i>Blackacre</i> and <i>Olivia</i> in the
+  <i>Plain Dealer</i>. These, tho' not all the exceptionable <i>Characters</i>, are the most
+  remarkable. I'm sorry the Author should stoop his Wit thus Low, and use his Understanding so
+  unkindly. Some People <span class="pagenum" id="page4">{4}</span>appear Coarse, and Slovenly out
+  of Poverty: They can't well go to the Charge of Sense. They are Offensive like Beggars for want of
+  Necessaries. But this is none of the <i>Plain Dealer</i>'s case; He can afford his Muse a better
+  Dress when he pleases. But then the Rule is, where the Motive is the less, the Fault is the
+  greater. To proceed. <i>Jacinta</i>, <i>Elvira</i>, <i>Dalinda</i>, and <i>Lady Plyant</i>, in the
+  <i>Mock Astrologer</i>, <i>Spanish Friar</i>, <i>Love Triumphant</i> and <i>Double Dealer</i>,
+  forget themselves extreamly: And almost all the <i>Characters</i> in the <i>Old Batchelour</i>,
+  are foul and nauseous. <i>Love</i> for <i>Love</i>, and the <i>Relapse</i>, strike sometimes upon
+  this <i>Sand</i>, and so likewise does <i>Don Sebastian</i>.</p>
+
+  <p>I don't pretend to have read the <i>Stage</i> Through, neither am I Particular to my Utmost.
+  Here is quoting enough unless 'twere better: Besides, I may have occasion to mention somewhat of
+  this kind afterwards. But from what has been hinted already, the Reader may be over furnish'd.
+  Here is a large Collection of Debauchery; such <i>Pieces</i> are rarely to be met with: 'Tis
+  Sometimes painted at Length too, and appears in great Variety of Progress and Practise. It wears
+  almost all sorts of Dresses to engage the Fancy, and fasten upon the <span class="pagenum"
+  id="page5">{5}</span>Memory, and keep up the Charm from Languishing. Sometimes you have it in
+  Image and Description; sometimes by way of Allusion; sometimes in Disguise; and sometimes without
+  it. And what can be the Meaning of such a Representation, unless it be to Tincture the Audience,
+  to extinguish Shame, and make Lewdness a Diversion? This is the natural Consequence, and therefore
+  one would think 'twas the Intention too. Such Licentious Discourse tends to no point but to stain
+  the Imagination, to awaken Folly, and to weaken the Defences of Virtue: It was upon the account of
+  these Disorders that <i>Plato</i> banish'd Poets his <i>Common Wealth</i>: And one of the
+  <i>Fathers</i> calls <i>Poetry</i>, <i>Vinum D�monum</i> an intoxicating <i>Draught</i>, made up
+  by the Devils <i>Dispensatory</i>.</p>
+
+  <p>I grant the Abuse of a Thing is no Argument against the use of it. However Young people
+  particularly, should not entertain themselves with a Lewd Picture; especially when 'tis drawn by a
+  Masterly Hand. For such a Liberty may probably raise those Passions which can neither be
+  discharged without Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust his
+  Virtue too far, for fear it should give <span class="pagenum" id="page6">{6}</span>him the slip!
+  But the danger of such an Entertainment is but part of the Objection: 'Tis all Scandal and
+  meanness into the bargain: it does in effect degrade Human Nature, sinks Reason into Appetite, and
+  breaks down the Distinctions between Man and Beast. Goats and Monkeys if they could speak, would
+  express their Brutality in such Language as This.</p>
+
+  <p>To argue the Matter more at large.</p>
+
+  <p>Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very Coarse Diversion, the
+  Entertainment of those who are generally least both in Sense, and Station. The looser part of the
+  <i>Mob</i>, have no true relish of Decency and Honour, and want Education, and Thought, to furnish
+  out a gentile Conversation. Barrenness of Fancy makes them often take up with those Scandalous
+  Liberties. A Vitious Imagination may blot a great deal of Paper at this rate with ease enough: And
+  'tis possible Convenience may sometimes invite to the Expedient. The Modern Poets seem to use
+  <i>Smut</i> as the Old Ones did <i>Machines</i>, to relieve a fainting Invention. When
+  <i>Pegasus</i> is jaded, and would stand still, he is apt like other <i>Tits</i> to run into every
+  Puddle.</p>
+
+  <div><span class="pagenum" id="page7">{7}</span></div>
+
+  <p>Obscenity in any Company is a rustick uncreditable Talent; but among Women 'tis particularly
+  rude. Such Talk would be very affrontive in Conversation, and not endur'd by any Lady of
+  Reputation. Whence then comes it to Pass that those Liberties which disoblige so much in
+  Conversation, should entertain upon the <i>Stage</i>. Do the Women leave all the regards to
+  Decency and Conscience behind them when they come to the <i>Play-House</i>? Or does the Place
+  transform their Inclinations, and turn their former Aversions into Pleasure? Or were Their
+  pretences to Sobriety elsewhere nothing but Hypocrisy and Grimace? Such Suppositions as these are
+  all Satyr and Invective: They are rude Imputations upon the whole Sex. To treat the Ladys with
+  such stuff is no better than taking their Money to abuse them. It supposes their Imagination
+  vitious, and their Memories ill furnish'd: That they are practised in the Language of the Stews,
+  and pleas'd with the Scenes of Brutishness. When at the same time the Customs of Education, and
+  the Laws of Decency, are so very cautious, and reserv'd in regard to Women: I say so very
+  reserv'd, that 'tis almost a Fault for them to Understand they are ill Used. <span class="pagenum"
+  id="page8">{8}</span>They can't discover their Disgust without disadvantage, nor Blush without
+  disservice to their Modesty. To appear with any skill in such Cant, looks as if they had fallen
+  upon ill Conversation; or Managed their Curiosity amiss. In a word, He that treats the Ladys with
+  such Discourse, must conclude either that they like it, or they do not. To suppose the first, is a
+  gross Reflection upon their Virtue. And as for the latter case, it entertains them with their own
+  Aversion; which is ill Nature, and ill Manners enough in all Conscience. And in this Particular,
+  Custom and Conscience, the Forms of Breeding, and the Maxims of Religion are on the same side. In
+  other Instances Vice is often too fashionable; But here a Man can't be a Sinner, without being a
+  Clown.</p>
+
+  <p>In this respect the <i>Stage</i> is faulty to a Scandalous degree of Nauseousness and
+  Aggravation. For</p>
+
+  <p><i>1st.</i> The <i>Poets</i> make <i>Women</i> speak Smuttily. Of This the Places before
+  mention'd are sufficient Evidence: And if there was occasion they might be Multiplyed to a much
+  greater Number: Indeed the <i>Comedies</i> are seldom clear of these Blemishes: And sometimes you
+  have them in <i>Tragedy</i>. For Instance. <span class="pagenum" id="page9">{9}</span>The
+  <i>Orphans Monimia</i> makes a very improper Description; And the Royal <i>Leonora</i> in the
+  <i>Spanish Friar</i>, runs a strange Length in the History of Love <i>p.</i> 50. And, do
+  Princesses use to make their Reports with such fulsom Freedoms? Certainly this <i>Leonora</i> was
+  the first Queen of her Family. Such raptures are too Lascivious for <i>Joan</i> of <i>Naples</i>.
+  Are these the <i>Tender Things</i> Mr. <i>Dryden</i> says the Ladys call on him for? I suppose he
+  means the <i>Ladys</i> that are too Modest to show their Faces in the <i>Pit</i>. This
+  Entertainment can be fairly design'd for none but such. Indeed it hits their Palate exactly. It
+  regales their Lewdness, graces their Character, and keeps up their Spirits for their Vocation: Now
+  to bring Women under such Misbehaviour is Violence to their Native Modesty, and a Mispresentation
+  of their Sex. For Modesty as Mr. <i>Rapin</i><span class="leftmar"><i>Reflect upon Aristot.
+  &amp;c.</i><br/>
+  <i>Eurip. Hippolit.</i></span><sup class="handonly" id="ref1"><a href="#side1">[1]</a></sup>
+  observes, is the <i>Character</i> of Women. To represent them without this Quality, is to make
+  Monsters of them, and throw them out of their Kind. <i>Euripides</i>, who was no negligent
+  Observer of Humane Nature, is always careful of this Decorum. Thus <i>Ph�dra</i><sup
+  class="handonly" id="ref2"><a href="#side2">[2]</a></sup> when possess'd with an infamous Passion,
+  takes all imaginable pains to conceal it. She is as <span class="pagenum"
+  id="page10">{10}</span>regular and reserv'd in her Language as the most virtuous Matron. 'Tis
+  true, the force of Shame and Desire; The Scandal of Satisfying, and the difficulty of parting with
+  her Inclinations, disorder her to Distraction. However, her Frensy is not Lewd; She keeps her
+  Modesty even after She has lost her Wits. Had <i>Shakespear</i> secur'd this point for his young
+  Virgin <i>Ophelia</i>,<span class="leftmar"><i>Hamlet.</i></span><sup class="handonly"
+  id="ref3"><a href="#side3">[3]</a></sup> the <i>Play</i> had been better contriv'd. Since he was
+  resolv'd to drown the Lady like a Kitten, he should have set her a swimming a little sooner. To
+  keep her alive only to sully her Reputation, and discover the Rankness of her Breath, was very
+  Cruel. But it may be said the Freedoms of Distraction go for nothing, a Feavour has no Faults, and
+  a Man <i>non Compos</i>, may kill without Murther. It may be so: But then such People ought to be
+  kept in dark Rooms and without Company. To shew them, or let them loose, is somewhat unreasonable.
+  But after all, the Modern <i>Stage</i> seems to depend upon this Expedient. Women are sometimes
+  represented <i>Silly</i>, and sometimes <i>Mad</i>, to enlarge their Liberty, and screen their
+  Impudence from Censure: This Politick Contrivance we have in <i>Marcella</i>,<span
+  class="leftmar"><i>Don Quixot. Relapse. Love for Love.</i></span><sup class="handonly"
+  id="ref4"><a href="#side4">[4]</a></sup> <i>Hoyden</i>,<sup class="handonly" id="ref5"><a
+  href="#side5">[5]</a></sup> and Miss <i>Prue</i>.<sup class="handonly" id="ref6"><a
+  href="#side6">[6]</a></sup> However <span class="pagenum" id="page11">{11}</span>it amounts to
+  this Confession; that Women when they have their Understandings about them ought to converse
+  otherwise. In fine; Modesty is the distinguishing Vertue of that Sex, and serves both for Ornament
+  and Defence: Modesty was design'd by Providence as a Guard to Virtue; And that it might be always
+  at Hand, 'tis wrought into the Mechanism of the Body. 'Tis likewise proportioned to the occasions
+  of Life, and strongest in Youth when Passion is so too. 'Tis a Quality as true to Innocence, as
+  the Sences are to Health; whatever is ungrateful to the first, is prejudicial to the latter. The
+  Enemy no sooner approaches, but the Blood rises in Opposition, and looks Defyance to an Indecency.
+  It supplys the room of Reasoning, and Collection: Intuitive Knowledge can scarcely make a quicker
+  Impression; And what then can be a surer Guide to the Unexperienced? It teaches by suddain
+  Instinct and Aversion; This is both a ready and a powerful Method of instruction. The Tumult of
+  the Blood and Spirits, and the Uneasiness of the Sensation, are of singular Use. They serve to
+  awaken Reason, and prevent surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
+  Temptation kept at proper Distance.</p>
+
+  <div><span class="pagenum" id="page12">{12}</span></div>
+
+  <p><i>2ly.</i> They Represent their single Ladys, and Persons of Condition, under these Disorders
+  of Liberty, This makes the Irregularity still more Monstrous and a greater Contradiction to
+  Nature, and Probability: But rather than not be Vitious, they will venture to spoil a Character.
+  This mismanagement we have partly seen already. <i>Jacinta</i>,<span class="leftmar"><i>Mock
+  Astrologer. Old Batchelour.</i></span><sup class="handonly" id="ref7"><a
+  href="#side7">[7]</a></sup> and <i>Belinda</i><sup class="handonly" id="ref8"><a
+  href="#side8">[8]</a></sup> are farther proof. And the <i>Double Dealer</i> is particularly
+  remarkable. There are but <i>Four</i> Ladys in this <i>Play</i>, and <i>Three</i> of the biggest
+  of them are Whores. A Great Compliment to Quality to tell them there is not above a quarter of
+  them Honest! This was not the Roman Breeding, <i>Terence</i> and <i>Plautus</i> his Strumpets were
+  Little people; but of this more hereafter.</p>
+
+  <p><i>3dly.</i> They have oftentimes not so much as the poor refuge of a Double Meaning to fly to.
+  So that you are under a necessity either of taking Ribaldry or Nonsence. And when the Sentence has
+  two Handles, the worst is generally turn'd to the Audience. The Matter is so Contrived that the
+  Smut and Scum of the Thought rises uppermost; And like a Picture drawn to <i>Sight</i>, looks
+  always upon the Company.</p>
+
+  <div><span class="pagenum" id="page13">{13}</span></div>
+
+  <p><i>4ly.</i> And which is still more extraordinary: the <i>Prologues</i>, and <i>Epilogues</i>
+  are sometimes Scandalous to the last degree.<span class="leftmar"><i>Mock Astrologer. Country
+  Wife. Cleomenes. Old Batchelour.</i></span><sup class="handonly" id="ref9"><a
+  href="#side9">[9]</a></sup> I shall discover them for once, and let them stand like Rocks in the
+  Margin. Now here properly speaking the <i>Actors</i> quit the <i>Stage</i>, and remove from
+  Fiction, into Life. Here they converse with the <i>Boxes</i>, and <i>Pit</i>, and address directly
+  to the Audience. These Preliminarie and concluding Parts, are design'd to justify the Conduct of
+  the <i>Play</i>, and bespeak the Favour of the Company. Upon such Occasions one would imagine if
+  ever, the Ladys should be used with Respect, and the Measures of Decency observ'd, But here we
+  have Lewdness without Shame or Example: Here the <i>Poet</i> exceeds himself. Here are such
+  Strains as would turn the Stomach, of an ordinary Debauchee, and be almost nauseous in the
+  <i>Stews</i>. And to make it the more agreeable, Women are Commonly pick'd out for this Service.
+  Thus the <i>Poet</i> Courts the good opinion of the Audience. This is the Desert he regales the
+  Ladys with at the Close of the Entertainment: It seems He thinks They have admirable Palats!
+  Nothing can be a greater Breach of Manners then such Liberties as these. If a Man would <span
+  class="pagenum" id="page14">{14}</span>study to outrage <i>Quality</i> and Vertue, he could not do
+  it more Effectually. But</p>
+
+  <p><i>5thly.</i> Smut is still more insufferable with respect to Religion. The Heathen Religion
+  was in a great Measure a <i>Mystery</i> of <i>Iniquity</i>. Lewdness was Consecrated in the
+  Temples, as well as practised in the <i>Stews</i>. Their Deitys were great Examples of Vice, and
+  worship'd with their own Inclination. 'Tis no wonder therefore their Poetry should be tinctured
+  with their Belief, and that the <i>Stage</i> should borrow some of the Liberties of their
+  Theology. This made <i>Mercurys</i> Procuring, and <i>Jupiters</i> Adultery the more passable in
+  <i>Amphitrion</i><span class="leftmar"><i>Plaut.</i><br/>
+  <i>Cistellar.</i><br/>
+  <i>Terent. Eunuch.</i></span><sup class="handonly" id="ref10"><a href="#side10">[10]</a></sup>:
+  Upon this Score <i>Gymnasium</i><sup class="handonly" id="ref11"><a href="#side11">[11]</a></sup>
+  is less Monstrous in Praying the Gods to send her store of Gallants. And thus <i>Ch�r�a</i><sup
+  class="handonly" id="ref12"><a href="#side12">[12]</a></sup> defends his Adventure by the
+  Precedent of <i>Jupiter</i> and <i>Dan�</i>. But the Christian Religion is quite of an other
+  Complexion. Both its Precepts, and Authorities, are the highest discouragement to Licentiousness.
+  It forbids the remotest Tendencies to Evil, Banishes the Follies of Conversation, and Obliges up
+  to Sobriety of Thought. That which might pass for Raillery, and Entertainment in Heathenism, is
+  detestable in Christianity. The Restraint of the Precept, and the Quality of the <span
+  class="pagenum" id="page15">{15}</span>Deity, and the Expectations of Futurity quite alter the
+  Case.</p>
+
+  <p>But notwithstanding the Latitudes of Paganism, the Roman and Greek <i>Theatres</i> were much
+  more inoffensive than ours. To begin with <i>Plautus</i>. This Comedian, tho' the most
+  exceptionable, is modest upon the Comparison. For</p>
+
+  <p><i>1st.</i> He rarely gives any of the above mention'd Liberties to Women; And when there are
+  any Instances of the contrary, 'tis only in prostituted and Vulgar People; And even these, don't
+  come up to the Grossness of the <i>Modern Stage</i>.</p>
+
+  <p>For the Purpose. <i>Cle�reta</i><span class="leftmar"><i>Asinar.</i><br/>
+  <i>Cistellar.</i><br/>
+  <i>Bacchid.</i><br/>
+  <i>Casin.</i><br/>
+  <i>Mercat. Act. 3.</i><br/>
+  <i>Persa.</i><br/>
+  <i>Trucul.</i></span><sup class="handonly" id="ref13"><a href="#side13">[13]</a></sup> the
+  Procuris borders a little upon Rudeness: <i>Lena</i><sup class="handonly" id="ref14"><a
+  href="#side14">[14]</a></sup> and <i>Bacchis</i><sup class="handonly" id="ref15"><a
+  href="#side15">[15]</a></sup> the Strumpet are Airy and somewhat  over-merry, but not <i>A
+  l'Anglois</i> obscene. <i>Chalinus</i><sup class="handonly" id="ref16"><a
+  href="#side16">[16]</a></sup> in Womans Cloaths is the most remarkable. <i>Pasicompa Charinus</i>
+  his Wench talks too freely to <i>Lysimachus</i>;<sup class="handonly" id="ref17"><a
+  href="#side17">[17]</a></sup> And so does <i>Sophroclidisca</i> <i>Slave</i> to
+  <i>Lemnoselene</i>.<sup class="handonly" id="ref18"><a href="#side18">[18]</a></sup> And lastly:
+  <i>Phronesiam</i> a Woman of the <i>Town</i> uses a double entendre to <i>Stratophanes</i>.<sup
+  class="handonly" id="ref19"><a href="#side19">[19]</a></sup> These are the most censurable
+  Passages, and I think all of them with relation to Women; which considering how the World goes is
+  very moderate. Several of <i>our</i> Single <i>Plays</i> shall far out-do all This put together.
+  And yet <i>Plautus</i> has upon the <span class="pagenum" id="page16">{16}</span>matter left us 20
+  entire <i>Comedies</i>. So that in short, these Roman Lasses are meer <i>Vestal Virgins</i>,
+  comparatively speaking.</p>
+
+  <p><i>2ly.</i> The <i>Men</i> who talk intemperately are generally <i>Slaves</i>; I believe
+  <i>Dordalus</i><span class="leftmar"><i>Persa.</i><br/>
+  <i>Trinum.</i></span><sup class="handonly" id="ref20"><a href="#side20">[20]</a></sup> the Pandar,
+  and <i>Lusiteles</i><sup class="handonly" id="ref21"><a href="#side21">[21]</a></sup> will be
+  found the only exception: And this latter young Gentleman; drops but one over airy expression: And
+  for this Freedom, the Poet seems to make him give Satisfaction in the rest of his Character. He
+  disputes very handsomly by himself against irregular Love; The Discourse between him and
+  <i>Philto</i> is instructive and well managed.<span class="leftmar"><i>Act. 2. 1.</i><br/>
+  <i>Act. 2. 2.</i></span><sup class="handonly" id="ref22"><a href="#side22">[22]</a></sup> And
+  afterwards he gives <i>Lesbonicus</i> a great deal of sober advice,<sup class="handonly"
+  id="ref23"><a href="#side23">[23]</a></sup> and declaims heartily against Luxury and Lewdness! Now
+  by confining his Rudeness to little People, the Fault is much extenuated. For First, the
+  representation is more Naturally this way; And which is still better, 'tis not so likely to pass
+  into Imitation: Slaves and Clowns are not big enough to spread Infection; and set up an ill
+  Fashion. 'Tis possible the <i>Poet</i> might contrive these <i>Pesants Offensive</i> to
+  discountenance the Practise. Thus the <i>Heilots</i> in <i>Sparta</i> were made drunk to keep
+  Intemperance out of <span class="pagenum" id="page17">{17}</span>Credit. I don't mention this as
+  if I approv'd the Expedient, but only to show it a circumstance of Mitigation and Excuse.</p>
+
+  <p>Farther, These <i>Slaves</i> and Pandars, Seldom run over, and play their Gambols before Women.
+  There are but Four Instances of this Kind as I remember, <i>Olympio</i>,<span
+  class="leftmar"><i>Casin.<br/>
+  Mil. Glor.<br/>
+  Pers.<br/>
+  Trucul.</i></span><sup class="handonly" id="ref24"><a href="#side24">[24]</a></sup>
+  <i>Pal�strio</i>,<sup class="handonly" id="ref25"><a href="#side25">[25]</a></sup>
+  <i>Dordalus</i>,<sup class="handonly" id="ref26"><a href="#side26">[26]</a></sup> and
+  <i>Stratilax</i><sup class="handonly" id="ref27"><a href="#side27">[27]</a></sup> are the Persons.
+  And the Women they discourse with, are two of them Slaves, and the third a Wench. But with our
+  <i>Dramatists</i>, the case is otherwise. With us <i>Smuttiness</i> is absolute and unconfin'd.
+  'Tis under no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to
+  Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imaginable. This is in earnest
+  to be very hearty in the cause! To give Title and Figure to Ill Manners is the utmost that can be
+  done. If Lewdness will not thrive under such encouragement it must e'en Miscarry!</p>
+
+  <p><i>4ly.</i> <i>Plautus</i> his <i>Prologues</i> and <i>Epilogues</i> are inoffensive. 'Tis
+  true, <i>Lambinus</i> pretends to fetch a double <i>entendre</i> out of that to
+  <i>P&#x0153;nulus</i>, but I think there is a Strain in the Construction. His <i>Prologue</i> to
+  the <i>Captivi</i> is worth the observing.</p>
+
+  <div><span class="pagenum" id="page18">{18}</span></div>
+
+  <div class="poem">
+    <p><i>Fabul� huic operam date.</i></p>
+  </div>
+
+  <p><i>Pray mind the Play.</i> The next words give the reason why it deserves regarding.</p>
+
+  <div class="poem">
+    <p><i>Non enim pertractate facta est</i></p>
+    <p><i>Neque spurcidici insunt versus immemorabiles.</i></p>
+  </div>
+
+  <p>We see here the Poet confesses Smut a scandalous Entertainment. That such Liberties ought to
+  fall under Neglect, to lie unmention'd, and be blotted out of Memory.</p>
+
+  <p>And that this was not a Copy of his Countenance we may learn from his Compositions. His best
+  <i>Plays</i> are almost alwaies Modest and clean Complexion'd. His <i>Amphitrio</i> excepting the
+  ungenuine Addition is such. His <i>Epidicus</i> the Master-Piece of his whole Collection is
+  inoffensive Throughout: And so are his <i>Menechmi</i>, <i>Rudens</i>, and <i>Trinummus</i>, which
+  may be reckon'd amongst some of his next Best. His <i>Truculentus</i> another fine <i>Play</i>
+  (tho' not entire) with a Heathen Allowance, is pretty Passable. To be short: Where he is most a
+  Poet, he is generally least a Buffoon. And where the Entertainment is Smut, there is rarely any
+  other Dish well dress'd: The <span class="pagenum" id="page19">{19}</span>Contrivance is commonly
+  wretched, the Sence lean and full of Quibbles. So that his Understanding seems to have left him
+  when he began to abuse it.</p>
+
+  <p>To conclude, <i>Plautus</i> does not dilate upon the Progress, Successes, and Disappointments
+  of <i>Love</i>, in the <i>Modern</i> way. This is nice Ground, and therefore He either stands off,
+  or walks gravely over it, He has some regard to the Retirements of Modesty, and the Dignity of
+  Humane Nature, and does not seem to make Lewdness his Business. To give an Instance.
+  <i>Silenium</i> is much gone in Love,<span class="leftmar"><i>Cistellear. A. 1.</i></span><sup
+  class="handonly" id="ref28"><a href="#side28">[28]</a></sup> but Modest withall, tho' formerly
+  debauch'd.</p>
+
+  <p>She is sorry her Spark was forced from her, and in Danger of being lost. But then she keeps
+  within compass and never flies out into Indecency. <i>Alcesimarchus</i> is strangely smitten with
+  this <i>Silenium</i>, and almost distracted to recover her.<span class="leftmar"><i>Ibid. A.
+  2.</i></span><sup class="handonly" id="ref29"><a href="#side29">[29]</a></sup> He is uneasy and
+  blusters, and threatens, but his Passion goes off in Generals. He Paints no Images of his
+  Extravagance, nor descends to any nauseous particulars.</p>
+
+  <p>And yet after all, <i>Plautus</i> wrote in an Age not perfectly refin'd, and often seems to
+  design his <i>Plays</i> for a Vulgar Capacity. 'Twas upon this view I <span class="pagenum"
+  id="page20">{20}</span>suppose his <i>Characters</i> exceed Nature, and his ill Features are drawn
+  too large: His old Men over credulous, his Misers Romantick, and his Coxcombs improbably singular.
+  And 'tis likely for this reason his <i>Slaves</i> might have too much Liberty.</p>
+
+  <p><i>Terence</i> appear'd when Breeding was more exact, and the <i>Town</i> better polish'd; And
+  he manages accordingly: He has<span class="leftmar"><i>Heauton.</i></span><sup class="handonly"
+  id="ref30"><a href="#side30">[30]</a></sup> but one faulty bordering Expression, which is that of
+  <i>Chremes</i> to <i>Clitipho</i>. This single Sentence apart, the rest of his Book is (I think)
+  unsullied and fit for the nicest Conversation. I mean only in referrence to the Argument in Hand,
+  for there are things in Him, which I have no intention to warrant. He is Extreamly careful in the
+  Behaviour of his Women. Neither <i>Glycerium</i> in <i>Andria</i>, <i>Pamphila</i> in
+  <i>Eunuchus</i>, or <i>Pamphila</i> in <i>Adelphi</i>, <i>Phanium</i> in <i>Phormio</i>, or
+  <i>Philumena</i> in <i>Hecyra</i>, have any share of Conversation upon the <i>Stage</i>. such
+  Freedom was then thought too much for the Reservedness of a Maiden-Character. 'Tis true in
+  <i>Heautontimoroumenos</i> the <i>Poets</i> Plot obliged <i>Antiphila</i>, to go under the
+  Disguise of <i>Bacchis</i> her Maid. Upon this Occasion they hold a little Discourse together. But
+  then <i>Bacchis</i> <span class="pagenum" id="page21">{21}</span>tho' she was a Woman of the
+  <i>Town</i>, behaves her self with all the Decency imaginable. She does not talk in the Language
+  of her Profession. But commends <i>Antiphila</i> for her Virtue: <i>Antiphila</i> only says how
+  constant she has been to <i>Chinia</i>, seems surprised at his Arrival, and salutes him civilly
+  upon't, and we hear no more from her. Mr. <i>Dryden</i> seems to refer to this Conduct in his
+  Dramatick <i>Poesie</i>. He censures the <i>Romans</i> for making <i>Mutes</i> of their single
+  Women. This He calls the <i>Breeding of the Old</i> Elizabeth <i>way, which was for Maids to be
+  seen and not to be heard</i>. Under Favour the old Discipline would be very serviceable upon the
+  <i>Stage</i>. As matters go, the <i>Mutes</i> are much to few. For certainly 'tis better to say
+  nothing, than talk out of Character, and to ill purpose.</p>
+
+  <p>To return. The Virgin injured by <i>Ch�rea</i> does nothing but weep, and won't so much as
+  speak her misfortune to the Women.<span class="leftmar"><i>Eunuch.</i><br/>
+  <i>Love Triump.</i></span><sup class="handonly" id="ref31"><a href="#side31">[31]</a></sup> But
+  Comedy is strangly improved since that time; For <i>Dalinda</i><sup class="handonly" id="ref32"><a
+  href="#side32">[32]</a></sup> has a great deal more Courage, tho' the loss of her Virtue was her
+  own Fault.</p>
+
+  <p>But <i>Terence</i> has that regard for Women, that he won't so much as touch upon an ill
+  Subject before them. Thus <span class="pagenum" id="page22">{22}</span><i>Chremes</i> was ashamed
+  to mention any thing about his Sons Lewdness when his Wife was present.</p>
+
+  <div class="poem">
+    <p><i>Pudet dicere hac pr�sente verbum turpe.</i><span class="leftmar"><i>Heauton. A. 5.
+    4.</i></span><sup class="handonly" id="ref33"><a href="#side33">[33]</a></sup></p>
+  </div>
+
+  <p>The Slaves in this Comedian are kept in order and civilly bred. They Guard and Fence when
+  occasion requires, and step handsomly over a dirty place.<span class="leftmar"><i>Eunuch A. 5. 4.
+  5.</i><br/>
+  <i>Adelph. A. 2. 3.</i></span><sup class="handonly" id="ref34"><a href="#side34">[34]</a></sup>
+  The Poet did not think Littleness and low Education a good Excuse for Ribaldry. He knew Infection
+  at the weakest, might seize on some Constitutions: Besides, the Audience was a Superior Presence,
+  and ought to be considered. For how Negligent soever People may be at Home, yet when they come
+  before their Betters 'tis Manners to look wholsom.</p>
+
+  <p>Now tho' <i>Plautus</i> might have the richer Invention; <i>Terence</i> was always thought the
+  more judicious Comedian. His Raillery is not only finer, and his stile better polish'd; but his
+  <i>Characters</i> are more just, and he seems to have reach'd farther into Life than the other. To
+  take Leave of this Author, even his Strumpets are better behaved than our honest Women, than our
+  Women of Quality of the English <i>Stage</i>. <i>Bacchis</i> in <i>Heautontimoroumenos</i> and
+  <i>Bacchis</i> in <span class="pagenum" id="page23">{23}</span><i>Hecyra</i>, may serve for
+  example. They are both modest, and converse not unbecoming their Sex. <i>Thais</i> the most
+  accomplish'd in her way,<span class="leftmar"><i>Eunuch.</i></span><sup class="handonly"
+  id="ref35"><a href="#side35">[35]</a></sup> has a great deal of Spirit and wheadling in her
+  Character, but talks no Smut.</p>
+
+  <p>Thus we see with what Caution and Sobriety of Language <i>Terence</i> manages. 'Tis possible
+  this Conduct might be his own Modesty, and result from judgment and Inclination. But however his
+  Fancy stood, he was sensible the Coarse way would not do. The <i>Stage</i> was then under
+  Discipline, the publick <i>Censors</i> formidable, and the Office of the <i>Choragus</i> was
+  originally to prevent the Excesses of Liberty.</p>
+
+  <p>To this we may add the <i>Nobless</i> had no Relish for Obscenity; 'twas the ready way to
+  Disoblige them.<span class="leftmar"><i>Casaub. Annot. in Curcul. Plauti.</i></span><sup
+  class="handonly" id="ref36"><a href="#side36">[36]</a></sup> And therefore 'tis <i>Horaces</i>
+  Rule.</p>
+
+  <div class="poem">
+    <p><i>Nec immunda crepent ignominiosaque dicta.</i></p>
+    <p><i>Offenduntur enim quibus est Equus &amp; Pater, &amp; res.</i><span class="leftmar"><i>De A
+    te Poet.</i></span><sup class="handonly" id="ref37"><a href="#side37">[37]</a></sup></p>
+  </div>
+
+  <p>The Old <i>Romans</i> were particularly carefull their Women might not be affronted in
+  Conversation: For this reason the Unmarried kept off from Entertainments for fear of learning new
+  Language.<span class="leftmar"><i>Var. apud. Nonium.</i><br/>
+  <i>Corn. Nep.</i><br/>
+  <i>Arist. Lib. 4. de Mor. cap. 14.</i><br/>
+  <i>Vit. Eurip. ed Cantab. 1694.</i></span><sup class="handonly" id="ref38"><a
+  href="#side38">[38]</a></sup> And in <span class="pagenum" id="page24">{24}</span><i>Greece</i> no
+  Woman above the degree of a <i>Slave</i> was treated abroad by any but Relations.<sup
+  class="handonly" id="ref39"><a href="#side39">[39]</a></sup> 'Tis probable the old Comedy was
+  silenced at <i>Athens</i> upon this Score, as well as for Defamation. For as <i>Aristotle</i><sup
+  class="handonly" id="ref40"><a href="#side40">[40]</a></sup> observes the new Set of Comedians
+  were much more modest than the former. In this celebrated Republick, if the <i>Poets</i> wrote any
+  thing against Religion or Good Manners, They were tryed for their Misbehaviour, and lyable to the
+  highest Forfeitures.<sup class="handonly" id="ref41"><a href="#side41">[41]</a></sup></p>
+
+  <p>It may not be amiss to observe that there are no Instances of debauching Married Women, in
+  <i>Plautus</i>, nor <i>Terence</i>, no nor yet in <i>Aristophanes</i>. But on our <i>Stage</i> how
+  common is it to make a Lord, a Knight, or an Alderman a Cuckold? The Schemes of Success are beaten
+  out with great Variety, and almost drawn up into a Science. How many Snares are laid for the
+  undermining of Virtue, and with what Triumph is the Victory proclaim'd? The Finess of the
+  <i>Plot</i>, and the Life of the Entertainment often lies in these Contrivances. But the
+  <i>Romans</i> had a different sence of these Matters, and saw thro' the consequences of them. The
+  Government was awake upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
+  pass into <span class="pagenum" id="page25">{25}</span>Diversion. And before we part with these
+  <i>Comedians</i> we may take notice that there are no Smutty Songs in their <i>Plays</i>; in which
+  the <i>English</i> are extreamly Scandalous.<span class="leftmar"><i>Love for Love.</i><br/>
+  <i>Love Triump. &amp;c.</i></span><sup class="handonly" id="ref42"><a
+  href="#side42">[42]</a></sup> Now to work up their Lewdness with Verse, and Musick, doubles the
+  Force of the Mischief. It makes it more portable and at Hand, and drives it Stronger upon Fancy
+  and Practice.</p>
+
+  <p>To dispatch the <i>Latins</i> all together. <i>Seneca</i> is clean throughout the Piece, and
+  stands generally off from the point of Love. He has no Courting unless in his <i>Hercules
+  Furens</i>;<span class="leftmar"><i>p. 14. Ed. Scriv.</i></span><sup class="handonly"
+  id="ref43"><a href="#side43">[43]</a></sup> And here the Tyrant <i>Lycus</i> addresses
+  <i>Megara</i> very briefly, and in Modest and remote Language. In his <i>Thebais</i>,
+  <i>Oedipus</i>'s Incest is reported at large, but without any choaking Description. 'Tis granted
+  <i>Ph�dra</i> speaks her Passion plainly out, and owns the strength of the Impression, and is far
+  less prudent than in <i>Euripides</i>.<span class="leftmar"><i>Hippol.</i></span><sup
+  class="handonly" id="ref44"><a href="#side44">[44]</a></sup> But tho' her Thoughts appear too
+  freely, her Language is under Discipline.</p>
+
+  <p>Let us now Travel from <i>Italy</i> into <i>Greece</i>, and take a view of the Theatre at
+  <i>Athens</i>. In this City the <i>Stage</i> had both its beginning and highest Improvement.
+  <i>�schylus</i> was the first who appear'd with any Reputation. His Genius <span class="pagenum"
+  id="page26">{26}</span>seems noble, and his Mind generous, willing to transfuse it self into the
+  Audience, and inspire them with a Spirit of Bravery. To this purpose his Stile is Pompous,
+  Martial, and Enterprizing. There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
+  Ardour, to awaken, warm, and push forward to Action. But his Mettal is not always under
+  Management. His Inclination for the <i>Sublime</i>; carrys him too far: He is sometimes
+  Embarrass'd with <i>Epithites</i>. His Metaphors are too stiff, and far fetch'd; and he rises
+  rather in Sound, than in Sence. However generally speaking, his Materials are both shining and
+  solid, and his Thoughts lofty, and uncommon. This Tragedian had always a nice regard to Good
+  Manners. He knew corrupting the People was the greatest disservice to the Commonwealth; And that
+  Publick Ruine was the effect of general Debauchery. For this reason he declines the Business of
+  Amours, and declares expresly against it.<span class="leftmar"><i>Aristoph. Ran.</i></span><sup
+  class="handonly" id="ref45"><a href="#side45">[45]</a></sup> Now here we can't expect any length
+  of Testimony. His aversion to the subject makes him touch very sparingly upon it. But in this case
+  there is no need of much citation. His very Omissions are Arguments, and his Evidence is the
+  stronger for being short. That little I meet with shall be produced.</p>
+
+  <div><span class="pagenum" id="page27">{27}</span></div>
+
+  <p><i>1st.</i> Orestes was obliged by the Oracle to revenge his Fathers Death in the Murther of
+  his Mother.<span class="leftmar"><span title="Cho�phor."
+  class="fsn">&Chi;&omicron;&eta;&phi;&omicron;&rho;.</span> <i>253, Ed. Steph.</i><br/>
+  <i>Orest. 48. Ed. Cantab.</i><br/>
+  <span title="Eumen." class="fsn">&Epsilon;&upsilon;&mu;&epsilon;&nu;.</span>
+  <i>305.</i></span><sup class="handonly" id="ref46"><a href="#side46">[46]</a></sup> When he was
+  going to kill her, he Mentions her Cruelty, but waves her Adultery. <i>Euripides</i> approv'd this
+  Reservedness and makes his <i>Electra</i> practise it upon the same occasion.<sup class="handonly"
+  id="ref47"><a href="#side47">[47]</a></sup> <i>�schylus</i> in his next Play complements his
+  Country with a great deal of Address in the Persons of the <i>Eumenides</i>.<sup class="handonly"
+  id="ref48"><a href="#side48">[48]</a></sup> They are very Gentile and Poetical in their
+  Civilities: Among other things They wish the Virgins may all Marry and make the Country Populous:
+  Here the <i>Poet</i> do's but just glance upon the Subject of Love; and yet he governs the
+  Expression with such care, that the wishes contain a Hint to Sobriety, and carry a Face of Virtue
+  along with them.</p>
+
+  <p>The <i>Double Dealer</i> runs Riot upon such an Occasion as this; and gives Lord
+  <i>Touchwood</i> a mixture of Smut and Pedantry to conclude with,<span class="leftmar"><i>p.
+  79.</i></span><sup class="handonly" id="ref49"><a href="#side49">[49]</a></sup> and yet this Lord
+  was one of his best Characters: But <i>Poets</i> are now grown Absolute within themselves, and may
+  put Sence and Quality upon what Drudgeries they please. To return. <i>Danaus</i> cautions his
+  Daughters very handsomly in point of Behaviour. They were in a strange Country, and had Poverty
+  and Dependance to <span class="pagenum" id="page28">{28}</span>struggle with: These were
+  circumstances of Danger, and might make him the more pressing. He leaves therefore a solemn Charge
+  with them for their Security, bids them never to subsist upon Infamy, but to prefer their Virtue
+  to their Life.</p>
+
+  <div class="poem">
+    <p><span title="Monon phylaxai tas d' epistolas patros"
+    class="fsn">&Mu;&#x1F79;&nu;&omicron;&nu; &phi;&#x1F7B;&lambda;&alpha;&xi;&alpha;&iota;
+    &tau;&#x1F71;&sigmaf; &delta;' &#x1F10;&pi;&iota;&sigma;&tau;&omicron;&lambda;&#x1F70;&sigmaf;
+    &pi;&alpha;&tau;&rho;&#x1F78;&sigmaf;</span><span class="leftmar"><span title="Hiket."
+    class="fsn">&#x1F39;&kappa;&#x1F73;&tau;.</span> 340.</span><sup class="handonly" id="ref50"><a
+    href="#side50">[50]</a></sup></p>
+    <p><span title="To s�phronein tim�sa tou biou pleon." class="fsn">&Tau;&#x1F78;
+    &sigma;&omega;&phi;&rho;&omicron;&nu;&epsilon;&#x1FD6;&nu; &tau;&iota;&mu;&#x1FF6;&sigma;&alpha;
+    &tau;&omicron;&upsilon; &beta;&#x1F77;&omicron;&upsilon;
+    &pi;&lambda;&#x1F73;&omicron;&nu;.</span></p>
+  </div>
+
+  <p>Our <i>Poets</i> I suppose would call this Preaching, and think it a dull Business. However I
+  can't forbear saying an honest Heathen is none of the worst Men: A very indifferent Religion well
+  Believed, will go a great way.</p>
+
+  <p>To proceed. <i>Sophocles</i> appear'd next upon the <i>Stage</i>, and was in earnest an
+  Extraordinary Person. His Conduct is more Artificial, and his Stile more just, than that of
+  <i>�schylus</i>. His Characters are well drawn, and Uniform with themselves: His <i>Incidents</i>,
+  are often surprising, and his <i>Plots</i> unprecipitated. There is nothing but what is Great, and
+  Solemn Throughout. The Reasoning is well Coloured. The Figures are sometimes Bold, but not
+  Extravagant. There are no Flights of Bombast, no Towring above Nature and Possibility: In short,
+  Nothing like Don <i>Sebastians</i> Reigning in his <i>Atomes</i>.<span class="leftmar"><i>Don
+  Sebast. p. 12.</i></span><sup class="handonly" id="ref51"><a href="#side51">[51]</a></sup></p>
+
+  <div><span class="pagenum" id="page29">{29}</span></div>
+
+  <p>This Tragedian like <i>�schylus</i> does not often concern himself with <i>Amours</i>, and when
+  he does, nothing can be more temperate, and decent. For example where the Incest of <i>Oedipus</i>
+  is described,<span class="leftmar"><i>Oedip. Tyran. Ed Steph.</i><br/>
+  <i>Antig. 242. 244.</i></span><sup class="handonly" id="ref52"><a href="#side52">[52]</a></sup>
+  the Offensiveness of the Idea is screen'd off and broken by Metaphorical and distant Expressions.
+  In another <i>Play</i><sup class="handonly" id="ref53"><a href="#side53">[53]</a></sup>
+  <i>Creon</i> resolves to put <i>Antigone</i> to Death for presuming to bury <i>Polynices</i>. This
+  Lady and <i>H�mon</i> <i>Creons</i> Son were very far engaged; <i>H�mon</i> endeavours to disswade
+  his Father from <i>Antigones</i> Execution: He tells him the burying her Brother tho' against his
+  Order, was a popular Action. And that the People would resent her being punish'd: But never so
+  much as mentions his own Concern unless in one Line; which was so obscure that <i>Creon</i>
+  misunderstood him. <i>Antigone</i> amongst her other Misfortunes laments her dying Young and
+  Single, but says not one word about <i>H�mon</i>. The <i>Poet</i> takes care not to bring these
+  two Lovers upon the <i>Stage</i> together, for fear they might prove unmanagable? Had They been
+  with us, they had met with kinder treatment. They might have had Interviews and Time and Freedom
+  enough. Enough to mud their Fancy, to tarnish their Quality, and make their Passion Scandalous. In
+  the Relation of <i>H�mons</i> Death, his Love is related too, and that with all the Life and
+  <i>Pathos</i> <span class="pagenum" id="page30">{30}</span>imaginable. But the Description is
+  within the Terms of Honour: The tendernesses are Solemn, as well as Soft: They move to <span
+  class="leftmar"><i>Ibid. 264.</i></span><sup class="handonly" id="ref54"><a
+  href="#side54">[54]</a></sup>Pity and Concern, and go no farther. In his <i>Trachini�</i> the
+  <i>Chorus</i> owns the Force of Love next to irresistable; gently hints the Intrigues of the Gods,
+  and then passes on to a handsome <span class="leftmar"><i>Trach. 348.</i></span><sup
+  class="handonly" id="ref55"><a href="#side55">[55]</a></sup>Image of the Combat between
+  <i>Achelous</i> and <i>Hercules</i>. We see how lightly the <i>Poet</i> touches upon an amorous
+  Theme: He glides along like a Swallow upon the Water, and skims the Surface, without dipping a
+  Feather.</p>
+
+  <p><i>Sophocles</i> will afford us no more, let us therefore take a view of <i>Euripides</i>. 'Tis
+  the Method of this Author to decline the Singularities of the <i>Stage</i>, and to appear with an
+  Air of Conversation. He delivers great Thoughts in Common Language, and is dress'd more like a
+  Gentleman than a <i>Player</i>. His Distinction lies in the perspicuity of his Stile; In Maxim,
+  and Moral Reflection; In his peculiar Happiness for touching the Passions, especially that of
+  Pity; And lastly, in exhausting the Cause, and arguing <i>pro</i> and <i>Con</i>, upon the streach
+  of Reason. So much by way of Character. And as for the Matter before us He is entirely Ours. We
+  have had an Instance or two already in <i>Electra</i> and <i>Ph�dra</i>: To go on to the rest. In
+  his <i>Hippolitus</i> He calls <i>Whoring</i>, <span class="pagenum"
+  id="page31">{31}</span>stupidness and playing the Fool. And to be Chast and regular, is with him,
+  as well as with <i>�schylus</i>, <span title="S�phronein"
+  class="fsn">&Sigma;&omega;&phi;&rho;&omicron;&nu;&epsilon;&#x1FD6;&nu;</span>. As much as to say
+  'tis the Consequence of Sence, and right Thinking. <i>Ph�dra</i> when her Thoughts were
+  embarrass'd with <i>Hippolitus</i>, endeavours to disentangle her self by Argument.<span
+  class="leftmar"><span title="M�ria to M�ron" class="fsn">&Mu;&omega;&rho;&#x1F77;&alpha;
+  &tau;&#x1F78; &Mu;&#x1FF6;&rho;&omicron;&nu;</span> <i>Ed. Cant. 241. 250. 252.</i></span><sup
+  class="handonly" id="ref56"><a href="#side56">[56]</a></sup> She declaims with a great deal of
+  Satyr against intemperate Women; she concluded rather to die then dishonour her Husband and Stain
+  her Family. The Blemishes of Parents, as she goes on, often stuck upon their Children, and made
+  them appear with Disadvantage. Upon this, the <i>Chorus</i> is transported with the Virtue of her
+  Resolution and crys out</p>
+
+  <div class="poem">
+    <p><span title="Pheu Pheu. To s�phron h�s hapantachou
+    kalon" class="fsn">&Phi;&epsilon;&#x1FE6; &Phi;&epsilon;&#x1FE6;. &Tau;&#x1F78;
+    &sigma;&#x1FF6;&phi;&rho;&omicron;&nu; &#x1F65;&sigmaf;
+    &#x1F01;&pi;&alpha;&nu;&tau;&alpha;&chi;&omicron;&#x1FE6;
+    &kappa;&alpha;&lambda;&#x1F78;&nu;</span><span class="leftmar"><i>Ibid. 232. 233.</i></span><sup
+    class="handonly" id="ref57"><a href="#side57">[57]</a></sup></p>
+    <p><span title="kai do xan esthl�n enbrotois komizetai." class="fsn">&kappa;&alpha;&#x1F77;
+    &delta;&#x1F79; &xi;&alpha;&nu; &#x1F10;&sigma;&theta;&lambda;&eta;&nu;
+    &#x1F10;&nu;&beta;&rho;&omicron;&tau;&omicron;&#x1FD6;&sigmaf;
+    &kappa;&omicron;&mu;&#x1F77;&zeta;&epsilon;&tau;&alpha;&iota;.</span></p>
+    <p class="stanza"><i>How becoming a Quality is Modesty in all Places.</i></p>
+    <p><i>How strangly does it burnish a Character, and oblige ones Reputation?</i></p>
+  </div>
+
+  <p>The Scholiast upon these verses of <i>Hippolitus</i>.</p>
+
+  <div class="poem">
+    <p><span title="Soi ton de plekton Stephanon ex ak�ra" class="fsn">&Sigma;&omicron;&#x1F77;
+    &tau;&#x1F79;&nu; &delta;&epsilon; &pi;&lambda;&epsilon;&kappa;&tau;&#x1F78;&nu;
+    &Sigma;&tau;&epsilon;&phi;&alpha;&nu;&omicron;&nu; &epsilon;&xi;
+    &#x1F00;&kappa;&eta;&rho;&#x1F71;</span></p>
+    <p><span title="Leim�nos" class="fsn">&Lambda;&epsilon;&iota;&mu;&#x1FF6;&nu;&omicron;&sigmaf;</span>,
+    &amp;c.</p>
+  </div>
+
+  <p>Makes this Paraphrase, 'Tha[......] Mind should be clean and unsulli[......] <span
+  class="pagenum" id="page32">{32}</span>that the Muses being Virgins their Performances should
+  agree with their Condition.'</p>
+
+  <p>To proceed. <i>Hermione</i> complains against <i>Andromache</i> because she was entertain'd by
+  her Husband<span class="leftmar"><i>Androm. p. 303.</i><br/>
+  <i>Iphig. in Aulid. p. 51.</i><br/>
+  <i>Helen. 277, 278.</i><br/>
+  <i>Mourning Bride. p. 36.</i></span><sup class="handonly" id="ref58"><a
+  href="#side58">[58]</a></sup>: For this <i>Andromache</i> tells her she talk'd too much for a
+  Young Woman, and discover'd her Opinion too far. <i>Achilles</i> at the first Sight of
+  <i>Clytemnestra</i>, lets her understand he was as much taken with the Sobriety of her Air,<sup
+  class="handonly" id="ref59"><a href="#side59">[59]</a></sup> as with the rest of her fine Face and
+  Person. She receives the Complement kindly, and commends him for commending Modesty.
+  <i>Menelaus</i> and <i>Helen</i> after a long Absence manage the surprize of their good Fortune
+  handsomly.<sup class="handonly" id="ref60"><a href="#side60">[60]</a></sup> The Most tender
+  Expression stands clear of ill Meaning. Had <i>Osmin</i> parted with <i>Almeria</i> as civilly as
+  these Two met,<sup class="handonly" id="ref61"><a href="#side61">[61]</a></sup> it had been much
+  better. That Rant of smut and profainness might have been spared. The <i>Reader</i> shall have
+  some of it.</p>
+
+  <div class="poem">
+    <p><i>O my</i> Almeria;</p>
+    <p><i>What do that Damn'd endure but to despair,</i></p>
+    <p><i>But knowing Heaven, to know it lost for ever.</i></p>
+  </div>
+
+  <p>Were it not for the <i>Creed</i>, these <i>Poets</i> would be crampt in their Courtship, and
+  Mightily at a loss for a Simile! But <i>Osmin</i> is in a wonderful Passion. And <span
+  class="pagenum" id="page33">{33}</span>truly I think his Wits, are in some danger, as well as his
+  Patience. You shall hear.</p>
+
+  <div class="poem">
+    <p><i>What are Wracks, and, Whips, and Wheels to this;</i></p>
+    <p><i>Are they not soothing softness, sinking Ease,</i></p>
+    <p><i>And wasting Air to this?</i></p>
+  </div>
+
+  <p><i>Sinking Ease, and Wasting Air</i>, I confess are strange comforts; This Comparison is
+  somewhat oddly equip'd, but Lovers like sick People may say what they please! <i>Almeria</i> takes
+  this Speech for a Pattern, and suits it exactly in her return.</p>
+
+  <div class="poem">
+    <p><i>O I am struck, thy words are Bolts of Ice?</i></p>
+    <p><i>Which shot into my Breast now melt and chill me.</i></p>
+  </div>
+
+  <p><i>Bolts of Ice?</i> Yes most certainly! For the Cold is struck up into her Head, as you may
+  perceive by what follows.</p>
+
+  <div class="poem">
+    <p><i>I chatter, shake, and faint with thrilling Fears.</i></p>
+  </div>
+
+  <p>By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no jesting, for the Lady
+  is very bad. She won't be held up by any Means, but Crys out:</p>
+
+  <div><span class="pagenum" id="page34">{34}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>lower yet, down down</i>;</p>
+  </div>
+
+  <p>One would think she was learning a Spanel to <i>Sett</i>. But there's something behind.</p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>no more we'll lift our Eyes,</i></p>
+    <p><i>But prone and dumb, Rot the firm Face of Earth,</i></p>
+    <p><i>With Rivers of incessant scalding Rain.</i></p>
+  </div>
+
+  <p>These Figures are some of them as stiff as Statues, and put me in mind of <i>Sylvesters
+  Dubartas</i>.</p>
+
+  <div class="poem">
+    <p><i>Now when the Winters keener breath began</i></p>
+    <p><i>To Crystallize, the Baltick Ocean,</i></p>
+    <p><i>To glaze the Lakes, to bridle up the Floods,</i></p>
+    <p><i>And periwig with Snow the bald pate woods.</i></p>
+  </div>
+
+  <p>I take it, the other Verses are somewhat of Kin to These, and shall leave them to Mr.
+  <i>Dryden's</i> Reflection.<span class="leftmar"><i>Spanish Fryar. Ep. Ded.</i></span><sup
+  class="handonly" id="ref62"><a href="#side62">[62]</a></sup> But then as for <i>Soothing Softness,
+  Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain</i>; It puts me to another
+  stand. For to talk a little in the way of the <i>Stage</i>. This Litter of <i>Epithetes</i> makes
+  the <i>Poem</i> look like a Bitch overstock'd with Puppies, and sucks the Sence almost to skin and
+  Bone. But all this may pass in a <i>Playhouse</i>: False Rhetorick and false Jewells, do well
+  together. To return to <i>Euripides</i>. <i>Cassandra</i> in reporting the Misfortunes of <span
+  class="pagenum" id="page35">{35}</span>the <i>Greeks</i> stops at the Adulteries of
+  <i>Clytemnestra</i> and <i>�giala</i> And gives this handsome reason for making a Halt.</p>
+
+  <div class="poem sp3">
+    <p><span title="Sigan ameinon taischra, m�de mousa moi"
+    class="fsn">&Sigma;&iota;&gamma;&#x1FB6;&nu; &#x1F04;&mu;&epsilon;&iota;&nu;&omicron;&nu;
+    &tau;&#x1F00;&iota;&sigma;&chi;&rho;&#x1F70;, &mu;&eta;&delta;&#x1F73;
+    &mu;&omicron;&#x1FE6;&sigma;&alpha; &mu;&omicron;&#x1FD6;</span><span class="leftmar"><i>Troad.
+    p. 146.</i></span><sup class="handonly" id="ref63"><a href="#side63">[63]</a></sup></p>
+    <p><span title="Genoit aoidos h�tis hymn�sei kaka."
+    class="fsn">&Gamma;&#x1F73;&nu;&omicron;&iota;&tau;
+    &#x1F00;&omicron;&iota;&delta;&#x1F78;&sigmaf; &#x1F25;&tau;&iota;&sigmaf;
+    &#x1F51;&mu;&nu;&#x1F75;&sigma;&epsilon;&iota; &kappa;&alpha;&kappa;&#x1F70;.</span></p>
+    <p class="stanza"><i>Foul Things are best unsaid, I am for no Muse,</i></p>
+    <p><i>That loves to flourish on Debauchery.</i></p>
+  </div>
+
+  <p>Some Things are dangerous in report, as well as practise, and many times a Disease in the
+  Description. This <i>Euripides</i> was aware of and manag'd accordingly, and was remarkably
+  regular both in stile, and Manners. How wretchedly do we fall short of the Decencies of
+  Heathenism! There's nothing more ridiculous than Modesty on our <i>Stage</i>.<span
+  class="leftmar"><i>Plain Dealer. p. 21.</i></span><sup class="handonly" id="ref64"><a
+  href="#side64">[64]</a></sup> 'Tis counted an ill bred Quality, and almost sham'd out of Use. One
+  would think Mankind were not the same, that Reason was to be read Backward, and Vertue and Vice
+  had changed Place.<span class="leftmar"><i>Provok'd Wife. p. 41.</i></span><sup class="handonly"
+  id="ref65"><a href="#side65">[65]</a></sup></p>
+
+  <p>What then? Must Life be huddled over, Nature left imperfect, and the Humour of the Town not
+  shown? And pray where lies the Grievance of all This? Must we relate whatever is done, and is
+  every Thing fit for Representation? is a Man that has the Plague proper to make a <span
+  class="pagenum" id="page36">{36}</span>Sight of? And must he needs come Abroad when he breaths
+  Infection, and leaves the <i>Tokens</i> upon the Company? What then must we know nothing? Look
+  you! All Experiments are not worth the making. 'Tis much better to be ignorant of a Disease then
+  to catch it. Who would wound himself for Information about Pain, or smell a Stench for the sake of
+  the Discovery? But I shall have occasion to encounter this Objection afterwards,<span
+  class="nothand">*</span><span class="leftmar">* <i>Remarks upon Quixot.</i></span><sup
+  class="handonly" id="ref66"><a href="#side66">[66]</a></sup> and therefore shall dismiss it at
+  present.</p>
+
+  <p>The <i>Play-house</i> at <i>Athens</i> has been hitherto in Order, but are there no Instances
+  to the contrary? Do's not <i>Aristophanes</i> take great Liberties and make Women speak
+  extraordinary Sentences? He do's so. But his Precedent signifies nothing in the case. For</p>
+
+  <p><i>1st.</i> We have both the Reason of the Thing, and all the Advantage of Authority on the
+  other side. We have the Practise and Opinion of Men of much greater Sence, and Learning then
+  Himself. The best Philosophers and Poets, Criticks and Orators, both Greek and Latin, both Antient
+  and Modern, give the Cause against him. But <i>Aristophanes</i> his own <i>Plays</i> are
+  sufficient to ruin his Authority. For</p>
+
+  <p><i>1st</i>, He discovers himself a downright Atheist. This Charge will be easily Made <span
+  class="pagenum" id="page37">{37}</span>good against him <span class="correction"
+  title="Original reads 'by his', wrongly
+  corrected to 'his' by Errata">by</span> Comparing his <i>Nubes</i> with <span class="correction"
+  title="Original reads 'other', corrected by
+  Errata">his other</span> <i>Plays</i>. The Design of his <i>Nubes</i> was to expose
+  <i>Socrates</i>, and make a Town jest of him. Now this Philosopher was not only a Person of great
+  Sence and Probity, but was likewise suppos'd to refine upon the Heathen Theology, to throw off the
+  Fabulous part of it, and to endeavour to bring it back to the Standard of Natural Religion. And
+  therefore <i>Justin Martyr</i> and some others of the <i>Fathers</i>, look'd on him as a Person of
+  no Pagan Belief, and thought he suffer'd for the Unity of the God-Head. This Man
+  <i>Aristophanes</i> makes fine sport with as he fancies: He puts him in a Fools Coat, and then
+  points at him. He makes <i>Socrates</i> instruct his Disciple <i>Strepsiades</i> in a new
+  Religion, and tell him that <i>he did not own the Gods in the vulgar Notion</i>. He brings him in
+  elswhere affirming that the <i>Clouds are the only Deities</i>.<span class="leftmar"><i>Nub. Act.
+  1. Sc. 3. p. 104. Ed. Amstel.</i></span><sup class="handonly" id="ref67"><a
+  href="#side67">[67]</a></sup> Which is the same Lash which <i>Juvenal</i> gives the <i>Jews</i>,
+  because they worship'd but one single Soveraign Being.</p>
+
+  <div class="poem">
+    <p><i>Nil <span class="correction" title="Original reads 'pr�etr', corrected by
+    Errata">pr�ter</span> Nubes &amp; C&#x0153;li numen adorant.</i><span class="leftmar"><i>Sat.
+    14.</i></span><sup class="handonly" id="ref68"><a href="#side68">[68]</a></sup></p>
+  </div>
+
+  <p><i>Socrates</i> goes on with his Lecture of Divinity and declares very roundly that there is no
+  such thing as <i>Jupiter</i>.<span class="leftmar"><i>p. 106.</i></span><sup class="handonly"
+  id="ref69"><a href="#side69">[69]</a></sup> Afterwards he advances farther, and endeavours <span
+  class="pagenum" id="page38">{38}</span>to get <i>Strepsiades</i> under Articles to acknowledge no
+  other Gods, but <i>Chaos</i>, the <i>Clouds</i>, and the <i>Tongue</i>.<span
+  class="leftmar"><i>Nub. p. 110.</i></span><sup class="handonly" id="ref70"><a
+  href="#side70">[70]</a></sup> At last the <i>Poet</i> brings the Philosopher to publick Pennance
+  for his Singularities. He sets fire to his <i>School</i> for teaching Young People (as he
+  pretends) to dispute against Law and Justice; for advancing Atheistick Notions, and burlesquing
+  the Religion of the Country.<span class="leftmar"><i>Act. 5. p. 176.</i></span><sup
+  class="handonly" id="ref71"><a href="#side71">[71]</a></sup></p>
+
+  <p>That <i>Socrates</i> was no Atheist is clear from Instances enough. To mention but one. The
+  Confidence he had in his <i>D�mon</i>, or <i>Genius</i> by which he governed his Affairs puts it
+  beyond all dispute.<span class="leftmar"><i>Plat. Apol. Socrat.</i></span><sup class="handonly"
+  id="ref72"><a href="#side72">[72]</a></sup> However 'tis plain <i>Aristophanes</i> was not of his
+  Religion. The <i>Comedian</i> was by no means for correcting the Common Perswasion. So that he
+  must either be an Orthodox Heathen or nothing at all. Let us see then with what Respect he treats
+  the Receiv'd <i>Divinities</i>. This <i>Play</i>, where one would not expect it, discovers
+  somewhat of his Devotion. In the beginning of it <i>Phidippides</i>, who was a sort or
+  <i>New-Market</i> Spark, swears by <i>Jocky Neptune</i>,<span class="leftmar"><i>Nub. p.
+  86.</i></span><sup class="handonly" id="ref73"><a href="#side73">[73]</a></sup> that he had a
+  strange Kindness for his Father <i>Strepsiades</i>. upon this the old Man replies; <i>No Jocky, if
+  you love me; that Deity has almost undone me</i>. This was making somewhat bold with
+  <i>Neptune</i> who was <i>Jupiters</i> Brother, <i>Soveraign</i> of a whole <i>Element</i>, and
+  had no <span class="pagenum" id="page39">{39}</span>less than the Third Share of the Universe!
+  Certainly <i>Aristophanes</i> had no Venture at Sea, or else must think the <i>Trident</i>
+  signified but very little. But this is meer Ceremony to what follows. In his first <i>Play</i>
+  <i>Plutus</i> pretends he had a mind to oblige only Men of Probity, but <i>Jupiter</i> had made
+  him blind on purpose that he might not distinguish Honest men from Knaves: For to be plain
+  <i>Jupiter</i> had a Pique against Good people. Towards the end of this <i>Comedy Mercury</i> is
+  abused by <i>Cario</i>,<span class="leftmar"><i>Plut. A. 1. Sc. 2.</i></span><sup class="handonly"
+  id="ref74"><a href="#side74">[74]</a></sup> and acts a ridiculous, and lessening part himself.
+  Afterwards he complains heavily that since <i>Plutus</i> was cured of his Blindness, the business
+  of Sacrifing fell off, and the Gods were ready to starve. This <i>Mercury</i> has the same ill
+  Usage with the <span class="correction" title="Original reads 'Poets, Knaves',
+  corrected by Errata"><i>Poets</i> Knaves</span>, Informers, and Lewd Women; From all this stuff
+  put together, his meaning is pretty plain, <i>viz.</i> That Religion was no better than an
+  Imposture supported by Art, and Ignorance: And that when Men's Understandings were awake, and
+  their Eyes a little open, they would have more discretion than to be at any expence about the
+  Gods.</p>
+
+  <p>This I take to be part of the Moral of his Fable. If we look farther into him we shall see more
+  of his Mind. His <i>Ran�</i> makes Merry with the Heathen Scheme of <span class="pagenum"
+  id="page40">{40}</span>Heaven and Hell. Here <i>Charon</i> and the <i>Stygian Frogs</i> are
+  brought in Comically enough. And that you may understand his opinion more perfectly we are told,
+  that He that Bilks his <i>Catamite</i> after a <i>Sodomitical</i> Abuse, is thrown into the Common
+  shore of <i>Hades</i>. And what Company do you think he is lodg'd with? Why with those who Perjure
+  themselves, with those who Kick their Fathers and Mothers? It seems in the <i>Poets</i> Justice a
+  Man might as good be false to his Oath, as to his Lewdness.<span class="leftmar"><i>Ran. p.
+  188.</i></span><sup class="handonly" id="ref75"><a href="#side75">[75]</a></sup> To disappoint the
+  <i>Stews</i>, is every jot as great a Crime; as to fly in the Face of Nature, and outrage our
+  Parents. His Quartering his Malefactors thus critically, was without question on purpose to Banter
+  the perswasion of future Punishment. In the same <i>Play</i> <i>Xanthias</i> bids <i>�acus</i>
+  answer him by <i>Jove</i>, <span title="Hos h�min estin homomastigias"
+  class="fsn">&#x1F4D;&sigmaf; &#x1F21;&mu;&#x1F76;&nu; &#x1F10;&sigma;&tau;&#x1F76;&nu;
+  &#x1F41;&mu;&omicron;&mu;&alpha;&sigma;&tau;&iota;&gamma;&#x1F77;&alpha;&sigmaf;</span>. This
+  little Scoundrel of a Slave has the Manners to make <i>Jupiters</i> Quality no better than his
+  own. To go on with him: In his <i>Aves</i> he speaks out to purpose. Here <i>Pisthet�rus</i> tells
+  <i>Epops</i> that if the <i>Birds</i> would build a Castle in the Air, they might intercept the
+  Fumes of the Sacrifices, and starve the Gods unless they would come too, and be Tributary. It
+  seems the <i>Birds</i> had very good Pretences to execute this project; for they <span
+  class="pagenum" id="page41">{41}</span>were ancienter than <i>Jupiter</i> and <i>Saturn</i>,  and
+  Govern'd before the Gods. And to speak truth were more capable of the Function. Their Adviser goes
+  on to inform them,<span class="leftmar"><i>536. 538. 546.</i></span><sup class="handonly"
+  id="ref76"><a href="#side76">[76]</a></sup>  that after they had built their pensile City, and
+  fortifyed the Air, their next business was to demand their ancient Soveragnity: If <i>Jupiter</i>
+  refused to quit, they were to declare a Holy War against Him, and the rest of the Confederate
+  Gods, and to cut off the Communication between Heaven and Earth. <i>Pisth�terus</i><span
+  class="leftmar"><i>542.</i></span><sup class="handonly" id="ref77"><a
+  href="#side77">[77]</a></sup> grows very warm in his new Interest, and swears by <i>Jove</i> that
+  Men ought to Sacrifice to the <i>Birds</i>, and not to <i>Jupiter</i>. And if things came to a
+  Rupture, and <i>Jupiter</i> grew Troublesome, he undertakes<span
+  class="leftmar"><i>582.</i></span><sup class="handonly" id="ref78"><a
+  href="#side78">[78]</a></sup> to send a Detachement of Eagles against Him; with Orders to storm
+  his Palace with Flambeaux, and fire it about his Ears. At last to prevent the Calamities of a War,
+  <i>Hercules</i> proposes an Accomodation,<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref79"><a href="#side79">[79]</a></sup> and is willing <i>Jupiter</i> should
+  Resign. <i>Neptune</i> calls him a Block-head for his pains, because he was Heir at <i>Law</i>,
+  and after <i>Jupiters</i> Decease was of Course to succeed in his Dominions: Once more, and I have
+  done: In <i>Eirene</i>, <i>Tryg�us</i> speaks in a menacing way.<span
+  class="leftmar"><i>602.</i></span><sup class="handonly" id="ref80"><a
+  href="#side80">[80]</a></sup> That unless <i>Jupiter</i> gave him Satisfaction in his business, he
+  would inform <span class="pagenum" id="page42">{42}</span>against Him as a disaffected Person, and
+  a betrayer of the Liberties of <i>Greece</i>.<span class="leftmar"><i>Eiren.</i> 616.</span><sup
+  class="handonly" id="ref81"><a href="#side81">[81]</a></sup> I might add many other Instances, and
+  some more Scandalous than any I have mentioned; But these are sufficient to shew the Authors
+  Sentiment: And is it any wonder an Atheist should misbehave himself in point of Modesty? What can
+  we expect less from those who laugh at the Being of a God, at the Doctrines of Providence, and the
+  Distinctions of Good and Evil? A <i>Sceptick</i> has no notion of Conscience, no Relish for
+  Virtue, nor is under any Moral restraints from Hope or Fear. Such a one has nothing to do but to
+  consult his Ease, and gratifie his Vanity, and fill his Pocket. But how these Ends are compassed,
+  he has no squeamishness, or Scruples about it. 'Tis true when the Methods of Lewdness will Take,
+  they are generally most agreeable. This way suits their Talent, and screens their practise, and
+  obliges their Malice. For nothing is a greater Eye-sore to these Men, then Virtue and Regularity.
+  What a pleasure is it then to be admired for Mischeif, to be reveng'd on Religion, and to see Vice
+  prosper and improve under our Hands! To return: Beside <i>Aristophanes</i> Atheisme, I have a
+  Second objection to his Authority, and that is want of <span class="pagenum"
+  id="page43">{43}</span>Judgment. If we examine his <i>Plays</i> we shall find his Characters
+  improper, or ununiform; either wrong at first, or unsteady in the Right. For the purpose. In his
+  <i>Nubes. A. 3. S. 3. p. 146. 150</i>. He puts dirty expressions in the Mouth of his Man of
+  Probity, makes him declaim vitiously against Vice, and Corrects scurrility with Impudence; Now
+  what can be more idle and senceless, than such Conduct as this? Epecially when this <i>Justus</i>
+  as he calls him had told them in the beginning of his speech, that People used to be well slash'd
+  for such Fooling, when Government and Discipline were in their due Force. The <i>Chorus</i> of his
+  <i>Ran�</i> slides<span class="leftmar"><i>p. 142.</i> <i>p. 200.</i></span><sup class="handonly"
+  id="ref82"><a href="#side82">[82]</a></sup> into the same Inconsistency of Precept, and Practise.
+  Farther, in the Progress of this <i>Play</i>; <i>�schylus</i> falls a rallying contrary to his
+  Humour, and jests away his own Arguments at a very unseasonable Juncture, when he was disputing
+  for no less prize than the Laureatship. This <i>Tragedian</i> after he had play'd a little with
+  the Story of <i>Bellerophon</i>,<span class="leftmar"><i>242.</i></span><sup class="handonly"
+  id="ref83"><a href="#side83">[83]</a></sup> goes on in the same strain; And charges
+  <i>Euripides</i> that he had furnish'd all sorts of People with Sawciness and Prattle. The
+  <i>Schools</i> and <i>Academies</i> were spoil'd by this means; So that the Boys were often
+  whip'd, and the Boatswains drubb'd, for <span class="pagenum" id="page44">{44}</span>their
+  Chattering.<span class="leftmar"><i>p. 244.</i></span><sup class="handonly" id="ref84"><a
+  href="#side84">[84]</a></sup> These Comical Levities come with an ill Grace from <i>�schylus</i>.
+  His Character was quite different both in Reality, and in the <i>Play</i> before us. He is all
+  along represented as a Person of a serious Temper, of a reserv'd Loftiness, Cholerick, and tender
+  of his Honour to an Excess, and almost in a rage at the Affront of a Rival, and being forc'd to
+  enter the Lists with <i>Euripides</i>. The case standing thus, neither the Man, nor the Business,
+  would admit of Drolling. Another Instance of his want of Conduct we have in his <i><span
+  class="correction" title="Original reads 'Concianotores',
+  corrected by Errata">Concionatores</span></i>. Here <i>Blepyrus</i> and some others of his
+  Legislative Assembly, talk at a very dirty insipid rate. The Lowest of the <i>Mob</i>, can hardly
+  jest with less Wit, and more Lewdness. And to make their Discourse more remarkable; These douty
+  Members were just going to the <i>House</i>, and had their Heads full of the Good of the Nation,
+  when they entertain'd themselves thus decently<span class="leftmar"><i>p.</i> [......] <i>p.</i>
+  [......]</span><sup class="handonly" id="ref85"><a href="#side85">[85]</a></sup>. And are these
+  little Buffoons fit to consult <i>de Arduis Regni, &amp;c.</i> to give Authority to Law, and Rules
+  for publick Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and the
+  Solemnity of their Office? To make his <i>Parliament-Men</i> play the Fool thus egregiously, must
+  needs have a great deal of Decorum, and State-Policy in the <span class="pagenum"
+  id="page45">{45}</span>Contrivance; And is just as wise as if a <i>Painter</i> should have Drawn
+  them in the Habit of <i>Jack-Puddings</i>, and <i>Merry-Andrews</i>. But <i>Aristophanes</i> has
+  still higher Flights of Absurdity. He won't so much as spare the Gods but makes them act these
+  little Parts of Clownishness and Infamy. <i>Bacchus</i> and <i>Hercules</i> in his <i>Ran�</i> are
+  forced to talk Smut and rally like <i>Link-boys</i>, and do almost all the Tricks of
+  <i>Bartholomew-Fair</i>. To mention something that will bear the quoting. <i>Bacchus</i> enquires
+  of <i>Hercules</i> the readiest way to <i>Hades</i>, or the other World. He bids him either Hang,
+  or Poyson himself, and he can't miss the Road. This is <i>Hercules's</i> Humour to a Tittle! And
+  represents him as much to the Life, as an <i>Ape</i> would do the <i>Grand Signior</i> at a
+  publick Audience! This with a short Sentence or two of Lewdness,<span class="leftmar"><i>Ran�</i>
+  <i>p. 186.</i> <i>p. 182.</i></span><sup class="handonly" id="ref86"><a
+  href="#side86">[86]</a></sup> is the hardest of <i>Hercules</i> his Usage: And 'tis well he
+  escaped so; for <i>Bacchus</i> is treated much worse. He appears under the disadvantages of a
+  Clownish <span class="correction" title="Original reads 'Debaush', corrected by
+  Errata">Debauchee</span>, and a Coward. And is terribly afraid of a <i>Spectre</i>.<span
+  class="leftmar"><i>p. 192, 194, 196.</i></span><sup class="handonly" id="ref87"><a
+  href="#side87">[87]</a></sup> When he comes before <i>�acus</i>, this Judge is very rough with
+  him; and tries his pretences to a Deity by Bastinado: <i>Bacchus</i> howls in the drubbing and had
+  almost spoil'd all.<span class="leftmar"><i>Act 2. Sc. 6.</i></span><sup class="handonly"
+  id="ref88"><a href="#side88">[88]</a></sup> <span class="pagenum" id="page46">{46}</span>Now do's
+  this paultry Behaviour agree with the Heathen Theology, with the Common Opinion concerning
+  <i>Bacchus</i> and <i>Hercules</i>? Do's a <i>Blew-Cap</i> and a <i>Ladle</i>, become the Sons of
+  <i>Jupiter</i> and the Objects of Religious Worship? Those who at the lowest, were counted the
+  Conquerors of the World, and more than Men both by Birth and <span class="correction"
+  title="Original reads 'Enterprizes', corrected
+  by Errata">Enterprize</span>? <i>Sophocles</i> and <i>Euripides</i> make these two Persons manage
+  at a quite different rate of Decency. 'Tis no defence to say <i>Aristophanes</i> wrot Comedy, and
+  so was obliged to make his Scenes more diverting. This excuse I say is defective; for a Comedian
+  ought to imitate Life and Probability, no less than a Tragedian. To Metomorphose
+  <i>Characters</i>, and present Contradictions to Common Belief, is to write, <i>Farce</i> instead
+  of <i>Plays</i>. Such Comedians like <i>Thespis</i> ought to have a travelling <i>Stage</i>, and
+  take the Air with <i>Porcupines</i> and <i>Dromedaryes</i>. If 'tis said that Gravity and
+  greatness do's not suit the Complection and Entertainment of Comedy. To this I answer, that
+  therefore the <i>Persons</i> should be chosen accordingly. They should have nothing in their known
+  Humour, and Condition too Noble, and solemn for Trifling. 'Tis <i>Horaces</i> advice.</p>
+
+  <div><span class="pagenum" id="page47">{47}</span></div>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Aut famam sequere, aut convenientia finge Scriptor.</i> De. Art. Poet.</p>
+  </div>
+
+  <p>Let us remember that Operations always resemble the Nature from whence they flow. Great Persons
+  should therefore have a correspondent Behaviour assign'd them. To make <i>Beings</i> much Superior
+  to the Biggest of Mankind, talk below the Least, is absurd and <span class="correction"
+  title="Original reads 'ridicules', corrected by
+  Errata">ridiculous</span>. This <i>Aristophanes</i> seems sensible of in his defence of
+  <i>�schylus</i>. Here <i>Euripides</i> objects to <i>�schylus</i>,<span class="leftmar"><i>Ran� p.
+  242.</i></span><sup class="handonly" id="ref89"><a href="#side89">[89]</a></sup> that he was too
+  rumbling, noisy, and bombastick, over affecting that which <i>Horace</i> calls</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Ampulla, &amp; sesquipedalia Verba.</i></p>
+  </div>
+
+  <p>To this <i>�schylus</i>  Answers, that the Thoughts, and Designs of <i>Heroes</i> must be
+  deliver'd in Expressions proportioned to their Greatness. It being likely that the Demi-Gods spoke
+  up to their Dignity and Stature: And as they were distinguish'd by the richness of their Habit, so
+  they had a more Magnificent Language than other Mortals. To this <i>Euripides</i> replys nothing;
+  from whence you may conclude the <i>Poet</i> thought the Apology not unreasonable. In short
+  <i>Aristophanes</i> <span class="pagenum" id="page48">{48}</span>had Sense but he does not always
+  use it. He is not equal, and uniforme. Sometimes you have him flat and foolish a good while
+  together. And where he has Spirit, 'tis oftentimes lavished away to little purpose.<span
+  class="leftmar"><i>Ran� A. 1. Sc. 1. Concionat.</i></span><sup class="handonly" id="ref90"><a
+  href="#side90">[90]</a></sup> His Buffoonery is commonly too strong for his Judgment. This makes
+  him let fly his jests without regard to Person or occasion: And thus by Springing the <i>Game</i>
+  too soon, the Diversion is lost. I could make several other Material Objections against the
+  Conduct of his <i>Plays</i>; But this being not necessary I shall observe in the</p>
+
+  <p><i>3d.</i> Place. That notwithstanding the scandalous Liberty for which <i>Aristophanes</i> is
+  so remarkable; yet in his Lucid Intervalls, when Sence and Sobriety return upon him, he pronounces
+  against his own Practise. In the contest between <i>�schylus</i> and <i>Euripides</i>,
+  <i>Bacchus</i> is made the Umpire of the Controversie. <i>�schylus</i> begins with a
+  Question,<span class="leftmar"><i>Ran� p. 238.</i></span><sup class="handonly" id="ref91"><a
+  href="#side91">[91]</a></sup> and asks <i>Euripides</i> what 'tis which makes a <i>Poet</i>
+  admired? He answers. 'Tis for the address of his Conduct, and the handsome Turns of Morality in
+  his Poems. 'Tis because his performance has a tendency to form the Audience to Virtue, and
+  Improvement, <i>�schylus</i> demands of him <span class="pagenum" id="page49">{49}</span>farther;
+  But suppose you debauched the Age, and made an Honest and a brave People Lewd, and good for
+  nothing, what do you deserve then? Here <i>Bacchus</i> interposes, and crys out, what does he
+  deserve? A Halter! pray don't ask so plain a question. And afterwards we are told, that
+  <i>Poets</i> are valuable only for describing Things useful, in Life and Religion, for polishing
+  Inventions, and setting off great Examples with Lustre, and Advantage.<span class="leftmar"><i>p.
+  240.</i></span><sup class="handonly" id="ref92"><a href="#side92">[92]</a></sup> In the progress
+  of the Dispute, <i>�schylus</i> taxes <i>Euripides</i> with being too uncautious in his
+  Representations; And tells him that Poets ought to conceal that which is vicious in Story; And
+  entertain with nothing but Virtue, and Sobriety: He goes on reprimanding <i>Euripides</i> for his
+  Dramatick incests, Strumpets, and Amours: And as for himself, to his best remembrance, He never
+  brought any Love-Intrigues upon the Stage.<span class="leftmar"><i>p. 242. 244.</i></span><sup
+  class="handonly" id="ref93"><a href="#side93">[93]</a></sup></p>
+
+  <p>This is very significant expostulation: and contains very good Rules for the Trial of the
+  <i>Muses</i>: But if the English <i>Stage</i>, should be obliged to this Test; <i>Aristophanes</i>
+  must set fire to it, and that with much more reason than to <i>Socrates</i> his <i>School</i>. Now
+  that <i>�schylus</i> spoke <i>Aristophanes</i>'s Sense is pretty plain: For first; As to the
+  Business of Love, <i>Aristophanes</i> <span class="pagenum" id="page50">{50}</span>always declines
+  it; He never patches up a <i>Play</i> with <i>Courtship</i>, and <i>Whining</i>, tho' he wrote
+  nothing but <i>Comedy</i>. In the next place the <i>Chorus</i> which is usually the <i>Poets</i>
+  Interpreter, speaks honourably of <i>�schylus</i> even to a Preference;<span class="leftmar">255.
+  267.</span><sup class="handonly" id="ref94"><a href="#side94">[94]</a></sup> And at last Judge
+  <i>Bacchus</i> gives Sentence for him.</p>
+
+  <p>Thus we see <i>Aristophanes</i> Confutes his own Lewdness, and comes in Evidence against
+  himself. This with the other two Exceptions I have made good against him, are sufficient to take
+  off the Force of the <i>Precedent</i>, and make him an insignificant Authority.</p>
+
+  <p>To what I have observ'd from the <i>Stage</i> of the Antients, I could add the Authorities of
+  <i>Aristotle</i>, and <i>Quintilian</i>, both extraordinary Persons, but I shall reserve their
+  Testimony till Afterwards.</p>
+
+  <p>To come Home, and near our own Times: The English Theatre from Queen <i>Elizabeth</i> to King
+  <i>Charles</i> II. will afford us something not inconsiderable to our purpose.</p>
+
+  <p>As for <i>Shakespear</i>, he is too guilty to make an Evidence: But I think he gains not much
+  by his Misbehaviour; He has commonly <i>Plautus's Fate</i>, where there is most Smut, there is
+  least Sense.</p>
+
+  <p><i>Ben. Johnson</i> is much more reserv'd in his <i>Plays</i>, and declares plainly <span
+  class="pagenum" id="page51">{51}</span>for Modesty in his <i>Discoveries</i>, some of his Words
+  are these.</p>
+
+  <p>A just Writer whom he calls a <i>True Artificer</i>, will avoid <i>Obscene</i> and
+  <i>Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is so too.<span
+  class="leftmar"><i>Discov. p. 700.</i></span><sup class="handonly" id="ref95"><a
+  href="#side95">[95]</a></sup> The excess of Feasts and Apparel, are the Notes of A Sick State, and
+  the Wantonness of Language of a sick Mind</i>.<span class="leftmar"><i>p. 701.</i></span><sup
+  class="handonly" id="ref96"><a href="#side96">[96]</a></sup> A little after he returns to the
+  Argument, and applies his Reasoning more particularly to the Stage. <i>Poetry</i>, (says he)
+  <i>and Picture, both behold Pleasure, and profit, as their common Object, but should abstain from
+  all base Pleasures, least they should wholly Err from their End; And while they seek to better
+  Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and Jests upon the best Men,
+  are most likely to excite Laughter. But this is truly leaping from the Stage to the Tumbrill
+  again, reducing all Wit to the Original Dung-Cart</i>.<span class="leftmar"><i>p. 706.
+  717.</i></span><sup class="handonly" id="ref97"><a href="#side97">[97]</a></sup> More might be
+  cited to this purpose, but that may serve for an other Occasion: In the mean time I shall go on to
+  <i>Beaumont</i> and <i>Fletcher</i>.</p>
+
+  <p><i>Fletchers Faithfull Shepheardess</i> is remarkably Moral, and a sort of Exhortation to
+  Chastity. This <i>Play</i> met with ill Judges, 'twas Hiss'd before half <i>Acted</i>, and seems
+  to have suffer'd on the account of its Innocence.<span class="leftmar"><i>Beauments</i>, &amp;c.
+  <i>Works</i>.<br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref98"><a href="#side98">[98]</a></sup> Soon after
+  <i>Ben. Johnson</i> <span class="pagenum" id="page52">{52}</span>and <i>Beaumont</i> appear <span
+  class="correction" title="Original reads 'justifying', corrected
+  by Errata">and justifie</span> the Author in a Copy of Verses. And as <i>Beaumont</i> commends
+  Modesty in <i>Fletcher</i>, so he is commended himself by Mr. <i>Earl</i> for the same
+  Quality.<sup class="handonly" id="ref99"><a href="#side99">[99]</a></sup></p>
+
+  <div class="poem">
+    <p><i>Such Passions, Such Expressions meet my Eye,</i></p>
+    <p><i>Such Wit untainted with Obscenity.</i></p>
+  </div>
+
+  <p>And as I remember <i>Jasper Main</i> has some stroaks to the same purpose.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref100"><a
+  href="#side100">[100]</a></sup> <i>Fletcher</i> is still more full for the Cause. Indeed nothing
+  can be more express. He delivers himself by way of <i>Prologue</i>; where the <i>Poet</i> speaks
+  in his own Person. The <i>Prologue</i> to the <i>Woman-Hater</i>, very frankly lets the Audience
+  know what they are to expect. <i>If there be any amongst you, (says he) that come to hear
+  Lascivious Scenes, let them depart; For I do pronounce this, to the utter discomfort of all
+  two-penny Gallery Men, you shall no Bawdry in it.</i> We find in those days Smut was the
+  expectation of a Coarse Palate, and relish'd by none but two-penny Customers. In the <i>Knight</i>
+  of the <i>Burning Pestle</i>, part of the <i>Prologue</i> runs thus. <i>They were banish'd the
+  Theatre at</i> Athens, <i>and from</i> Rome <i>hiss'd, that brought Parasites on the Stage with
+  Apish Actions, or Fools with uncivil Habits, or Courtezans with immodest words</i>. Afterwards
+  <i>Prologue</i>, who represents a Person, gives us more to the same purpose.</p>
+
+  <div><span class="pagenum" id="page53">{53}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>Fly far from hence.</i></p>
+    <p><i>All private taxes, immodest phrases,</i></p>
+    <p><i>Whatever way but look like Vitious.</i></p>
+    <p><i>For wicked mirth, never true Pleasure brings;</i></p>
+    <p><i>For honest Minds, are pleas'd with honest things.</i></p>
+  </div>
+
+  <p>I have quoted nothing but Comedy in this Author. The <i>Coronation</i> is another. And the
+  <i>Prologue</i> tells you there is</p>
+
+  <div class="poem">
+    <p><i>No Undermirth such as does lard the Scene,</i></p>
+    <p><i>For Coarse Delight, the Language here is clean.</i></p>
+    <p><i>And confident our Poet bad me say,</i></p>
+    <p><i>He'll bate you but the Folly of a Play.</i></p>
+    <p><i>For which altho' dull Souls his Pen despise;</i></p>
+    <p><i>Who think it yet too early to be wise.</i></p>
+    <p><i>The Nobles yet will thank his Muse, at least</i></p>
+    <p><i>Excuse him, cause his Thought aim'd at the Best.</i></p>
+  </div>
+
+  <p>Thus these <i>Poets</i> are in their Judgments clearly ours. 'Tis true their Hand was not
+  always steady. But thus much may be aver'd, that <i>Fletcher's</i> later <i>Plays</i> are the most
+  inoffensive. This is either a sign of the <i>Poets</i> Reformation; or that the exceptionable
+  Passages belonged to <i>Beaumont</i>, who dyed first.</p>
+
+  <p>To these Authorities of our own Nation, I shall add a considerable Testimony out of Mr.
+  <i>Corneille</i>. This Author was <span class="pagenum" id="page54">{54}</span>sensible that tho'
+  the Expression of his <i>Theodore</i> was altogether unsmutty,<span class="leftmar"><i>Theodore.
+  Ed. Roven. Ep. Ded.</i></span><sup class="handonly" id="ref101"><a href="#side101">[101]</a></sup>
+  'Yet the bare Idea of Prostitution uneffected, shock'd the Audience, and made the Play miscarry.
+  The <i>Poet</i> protests he took great care to alter the natural Complexion of the Image, and to
+  convey it decently to the Fancy; and delivered only some part of the History as inoffensively as
+  possible. And after all his Screening and Conduct, the Modesty of the Audience would not endure
+  that little, the Subject forced him upon. He is positive 'the Comedies St. <i>Augustine</i>
+  declaim'd against, were not such as the <i>French</i>. For theirs are not spectacles of Turpitude,
+  as that Father justly calls those of his Time. The <i>French</i> generally speaking, containing
+  nothing but examples of Innocence, Piety and Virtue.'</p>
+
+  <p>In this Citation we have the Opinion of the <i>Poet</i>, the Practise of the <i>French</i>
+  Theatre, and the Sense of that <i>Nation</i>, and all very full to our purpose.</p>
+
+  <p class="sp5">To conclude this <i>Chapter</i>. By what has been offer'd, it appears that the
+  <i>Present English Stage</i> is superlatively Scandalous. It exceeds the Liberties of all Times
+  and Countries: It has not so much as the poor plea of a <i>Precedent</i>, to which most other ill
+  Things may claim a pretence. 'Tis mostly meer Discovery and Invention: A new <span class="pagenum"
+  id="page55">{55}</span>World of Vice found out, and planted with all the Industry imaginable.
+  <i>Aristophanes</i> himself, how bad soever in other respects, does not amplyfie, and flourish,
+  and run through all the Topicks of Lewdness like these Men. The <i>Miscellany Poems</i> are
+  likewise horribly Licentious. They are sometimes Collections from Antiquity, and often, the worst
+  parts of the worst <i>Poets</i>. And to mend the Matter, the Christian <i>Translation</i>, is more
+  nauseous than the <i>Pagan</i> Original. Such stuff I believe was never seen, and suffer'd before.
+  In a word, If Poverty and Diseases, the Dishonour of Families, and the Debauching of Kingdoms, are
+  such valuable Advantages, then I confess these Books deserve encouragement. But if the Case is
+  otherwise, I humbly conceive the Proceeding should be so too.</p>
+
+  <div><span class="pagenum" id="page56">{56}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  II.</span></h1>
+
+  <h2 class="sp3"><i>The Profaness of the</i> Stage.</h2>
+
+  <p>An other Instance of the Disorders of the <i>Stage</i> is their <i>Profaness</i>: This Charge
+  may come under these two particulars.</p>
+
+  <div class="poem">
+    <p><i>1st. Their Cursing and Swearing.</i></p>
+    <p><i>2dly. Their Abuse of Religion and Holy Scripture.</i></p>
+  </div>
+
+  <p><i>1st Their Cursing and Swearing.</i></p>
+
+  <p>What is more frequent then their wishes of Hell, and Confusion, Devils, and Diseases, all the
+  Plagues of this World, and the next, to each other? And as for Swearing; 'tis used by all Persons,
+  and upon all Occasions: By Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels,
+  Success, and Disappointment, Temper, and Passion, must be varnish'd, and set off with
+  <i>Oaths</i>. At some times, and with some <i>Poets</i> Swearing is no ordinary Releif. It stands
+  up in the room of Sense, gives Spirit to a flat Expression, and makes a Period Musical and Round.
+  In short, 'tis almost all the <span class="pagenum" id="page57">{57}</span>Rhetorick, and Reason
+  some People are Masters of: The manner of performance is different. Some times they mince the
+  matter; change the Letter, and keep the Sense,<span class="leftmar"><i>Gad for God.</i></span><sup
+  class="handonly" id="ref102"><a href="#side102">[102]</a></sup> as if they had a mind to steal a
+  Swearing, and break the Commandement without Sin. At another time the Oaths are clipt, but not so
+  much within the Ring, but that the <i>Image and Superscription</i> are visible. These expedients,
+  I conceive are more for variety, then Conscience: For when the fit comes on them, they make no
+  difficulty of Swearing at Length. Instances of all these kinds may be met with in the <i>Old
+  Batchelour</i>, <i>Double Dealer</i>, and <i>Love for Love</i>. And to mention no more, <i>Don
+  Quixot</i>, the <i>Provok'd Wife</i>, and the <i>Relapse</i>, are particularly rampant and
+  scandalous. The <i>English Stage</i> exceed their predecessors in this, as well as other Branches
+  of immorality. <i>Shakespear</i> is comparatively sober, <i>Ben Jonson</i> is still more regular;
+  And as for <i>Beaument</i> and <i>Fletcher</i>, In their <i>Plays</i> they are commonly Profligate
+  Persons that Swear, and even those are reprov'd for't. Besides, the Oaths are not so full of Hell
+  and Defiance, as in the Moderns.</p>
+
+  <p>So much for matter of Fact: And as for point of Law, I hope there needs not <span
+  class="pagenum" id="page58">{58}</span>many words to prove Swearing a Sin: For what is more
+  provoking than contempt, and what Sin more contemptuous than common Swearing? what can be more
+  Insolent and Irreligious, than to bring in God to attest our Trifles, to give Security for our
+  Follies, and to make part of our Diversion? To Play with Majesty and Omnipotence in this manner,
+  is to render it cheap and despicable. How can such Customes as these consist with the belief of
+  Providence or Revelation? The <i>Poets</i> are of all People most to blame. They want even the
+  Plea of <i>Bullies</i> and <i>Sharpers</i>. There's no Rencounters, no starts of Passion, no
+  suddain Accidents to discompose them. They swear in Solitude and cool Blood, under Thought and
+  Deliberation, for Business, and for Exercise: This is a terrible Circumstance; It makes all
+  <i>Malice Prepence</i>, and enflames the Guilt, and the Reckoning.</p>
+
+  <p>And if Religion signifies nothing, (as I am afraid it does with some People) there is Law, as
+  well as Gospel against <i>Swearing</i>.  <i>3d Jac. 1 cap. 21.</i> is expresly against the
+  <i>Playhouse</i>. It runs thus.</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><b>For the preventing and avoiding of the great abuse of the holy Name of God, in
+    Stage Plays, Enterludes &amp;c. Be it enacted by our Sovereign Lord &amp;c. That if at any time,
+    or times, <span class="pagenum" id="page59">{59}</span>after the End of this present Session of
+    Parliament; any Person or Persons do, or shall in any Stage Play, Enterlude, Show, &amp;c.
+    Jeastingly or Profanly, speak or use the Holy Name of God, or of Christ</b> Jesus, <b>or of the
+    Holy Ghost, or of the Trinity, which are not to be spoken, but with Fear and Reverence; shall
+    forfeit for every such offence, by him or them committed, ten pounds: The one Moity thereof to
+    the King's Majesty, his Heirs; and Successors, the other Moity thereof to him, or them, that
+    will sue for the same in any Court of Record at Westminster, wherein no essoin, protection, or
+    wager of Law shall be allow'd.</b></p>
+  </div>
+
+  <p>By this <i>Act</i> not only direct Swearing, but all vain Invocation of the Name of God is
+  forbidden. This <i>Statute</i> well executed would mend the <i>Poets</i>, or sweep the <i>Box</i>:
+  And the <i>Stage</i> must either reform, or not thrive upon Profaness.</p>
+
+  <p><i>3dly</i> Swearing in the <i>Playhouse</i> is an ungentlemanly, as well as an unchristian
+  Practice. The <i>Ladies</i> make a considerable part of the <i>Audience</i>. Now Swearing before
+  Women is reckon'd a Breach of good Behaviour, and therefore a civil Atheist will forbear it. The
+  custom seems to go upon this Presumption; that the Impressions of Religion are strongest in Women,
+  and more generally spread. And that it must be very disagreeable to them, to hear the Majesty of
+  God treated with <span class="pagenum" id="page60">{60}</span>so little respect. Besides: Oaths
+  are a boistrous and <span class="correction" title="Original reads 'tempestiuous', corrected
+  by Errata">tempestuous</span> sort of Conversation; Generally the effects of Passion, and spoken
+  with Noise, and Heat. Swearing looks like the beginning of a Quarrel, to which Women have an
+  aversion: As being neither armed by Nature, nor disciplin'd by Custome for such rough Disputes. A
+  Woman will start at a Soldiers Oath, almost as much as at the Report of his Pistol: And therefore
+  a well Bred Man will no more Swear, than Fight in the Company of Ladies.</p>
+
+  <p>A <i>Second</i> Branch of the Profaness of the <i>Stage</i> is their Abuse of Religion, and
+  <i>Holy Scripture</i>. And here sometimes they don't stop short of Blasphemy. To cite all that
+  might be Collected of this kind would be tedious. I shall give the <i>Reader</i> enough to
+  justifie the Charge, and I hope to abhor the Practice.</p>
+
+  <p>To begin with the <i>Mock-Astrologer</i>. In the First <i>Act</i> the <i>Scene</i> is a
+  <i>Chappel</i>; And that the Use of such Consecrated places may be the better understood, the time
+  is taken up in Courtship, Raillery, and ridiculing Devotion. <i>Jacinta</i> takes her turn among
+  the rest. She Interrupts <i>Theodosia</i>, and cries out: <i>why Sister, Sister&mdash;&mdash;will
+  you pray? what injury have I ever done you that you <span class="correction"
+  title="Original reads 'pray', corrected by
+  Errata">should pray</span> in my Company?</i></p>
+
+  <div><span class="pagenum" id="page61">{61}</span></div>
+
+  <p><i>Wildblood</i> Swears by <i>Mahomet</i>, rallies smuttily upon the other World, and gives the
+  preference to the Turkish Paradise<span class="leftmar"><i>p. 31.</i></span><sup class="handonly"
+  id="ref103"><a href="#side103">[103]</a></sup>! This Gentleman to incourage <i>Jacinta</i> to a
+  Complyance in Debauchery, tells her <i>Heaven is all Eyes and no Tongue.</i><span
+  class="leftmar"><i>p. 37.</i></span><sup class="handonly" id="ref104"><a
+  href="#side104">[104]</a></sup> That is, it sees Wickedness but conceals it. He Courts much at the
+  same rate a little before. <i>When a Man comes to a great Lady, he is fain to approach her with
+  Fear, and Reverence, methinks there's something of Godliness in't</i>.<span class="leftmar"><i>p.
+  24.</i></span><sup class="handonly" id="ref105"><a href="#side105">[105]</a></sup> Here you have
+  the Scripture burlesqu'd, and the Pulpit Admonition apply'd to Whoring.<span
+  class="leftmar"><i>Hebr. 12.</i><br/>
+  <i>34. 36.</i></span><sup class="handonly" id="ref106"><a href="#side106">[106]</a></sup>
+  Afterwards <i>Jacinta</i> out of her great Breeding and Christianity, swears by <i>Alla</i>, and
+  <i>Mahomet</i>, and makes a Jest upon Hell.<sup class="handonly" id="ref107"><a
+  href="#side107">[107]</a></sup> <i>Wildblood</i> tells his Man that <i>such undesigning Rogues as
+  he, make a Drudge of poor Providence</i>. And <i>Maskall</i> to show his proficiency under his
+  Masters, replies to <i>Bellamy</i>, who would have had him told a Lie.<span
+  class="leftmar"><i>55.</i></span><sup class="handonly" id="ref108"><a
+  href="#side108">[108]</a></sup> <i>Sir upon the Faith of a Sinner you have had my last Lie
+  already. I have not one more to do me Credit, as I hope to be saved Sir.</i></p>
+
+  <p>In the close of the <i>Play</i>, They make sport with Apparitions and Fiends. One of the Devils
+  sneezes, upon this they give him the Blessing of the Occasion, and conclude <i>he has got cold by
+  being too long out of the Fire</i>.<span class="leftmar"><i>59.</i></span><sup class="handonly"
+  id="ref109"><a href="#side109">[109]</a></sup></p>
+
+  <div><span class="pagenum" id="page62">{62}</span></div>
+
+  <p>The <i>Orphan</i> lays the Scene in Christendom, and takes the same care of Religion.
+  <i>Castalio</i> Complements his Mistress to Adoration.</p>
+
+  <div class="poem">
+    <p><i>No Tongue my Pleasure and my Pain can tell:</i></p>
+    <p><i>'Tis Heaven to have thee, and without thee Hell.</i> <span class="leftmar"><i>Orph. p.
+    20.</i></span><sup class="handonly" id="ref110"><a href="#side110">[110]</a></sup></p>
+  </div>
+
+  <p><i>Polydor</i> when upon the attempt to debauch <i>Monimia</i>, puts up this ejaculation.</p>
+
+  <div class="poem">
+    <p><i>Blessed Heaven assist me but in this dear Hour</i>: <span class="leftmar"><i>p.
+    31.</i></span><sup class="handonly" id="ref111"><a href="#side111">[111]</a></sup></p>
+  </div>
+
+  <p>Thus the <i>Stage</i> worships the true God in Blasphemy, as the <i>Lindians</i> did
+  <i>Hercules</i> by Cursing and throwing stones.<span class="leftmar"><i>Lactan.</i></span><sup
+  class="handonly" id="ref112"><a href="#side112">[112]</a></sup> This <i>Polydor</i> has another
+  Flight of Profaness, but that has got a certain <i>Protection</i>, and therefore must not be
+  disturb'd.</p>
+
+  <p>In the <i>Old Batchelour</i>, <i>Vain-love</i> asks <i>Belmour</i>, <i>could you be content to
+  go to Heaven</i>?</p>
+
+  <p><i>Bell. Hum, not immediatly in my Conscence, not heartily.</i><span class="leftmar"><i>p.
+  19.</i></span><sup class="handonly" id="ref113"><a
+  href="#side113">[113]</a></sup>&mdash;&mdash;This is playing I take it with Edge-Tools. To go to
+  Heaven in jeast, is the way to go to Hell in earnest. In the Fourth <i>Act</i>, Lewdness is
+  represented with that Gaity, as if the Crime was purely imaginary, and lay only in ignorance and
+  preciseness. <i>Have you throughly consider'd (says Fondlewife) how detestable, how Heinous, and
+  how crying a Sin <span class="pagenum" id="page63">{63}</span>the Sin of Adultery is? have you
+  weighed I say? For it is a very weighty Sin: and, altho' it may lie&mdash;&mdash;yet thy Husband
+  must also bear his part; For thy iniquity will fall on his Head</i>.<span class="leftmar"><i>p.
+  28.</i></span><sup class="handonly" id="ref114"><a href="#side114">[114]</a></sup> I suppose this
+  fit of Buffoonry and profaness, was to settle the Conscience of young Beginners, and to make the
+  Terrors of Religion insignificant. <i>Bellmour</i> desires <i>L�titia to give him leave to swear
+  by her Eyes and her Lips</i>: He kisses the Strumpet, and tells her, <i>Eternity was in that
+  Moment</i>.<span class="leftmar"><i>p. 31.</i><br/>
+  <i>38.</i><br/>
+  <i>p. 39.</i><br/>
+  <i>p. 39.</i></span><sup class="handonly" id="ref115"><a href="#side115">[115]</a></sup>
+  <i>L�titia</i> is horibly profane in her Apology to her Husband; but having the
+  <i>Stage-Protection</i> of Smut for her Guard, we must let her alone.<sup class="handonly"
+  id="ref116"><a href="#side116">[116]</a></sup> <i>Fondlewife</i> stalks under the same shelter,
+  and abuses a plain Text of Scripture to an impudent Meaning.<sup class="handonly" id="ref117"><a
+  href="#side117">[117]</a></sup> A little before, <i>L�titia</i> when her Intrigue with
+  <i>Bellmour</i> was almost discover'd, supports her self with this Consideration. <i>All my
+  comfort lies in his impudence, and Heaven be prais'd, he has a Considerable Portion</i>.<sup
+  class="handonly" id="ref118"><a href="#side118">[118]</a></sup> This is the <i>Play-house</i>
+  Grace, and thus Lewdness is made a part of Devotion! Ther's another Instance still behind: 'Tis
+  that of <i>Sharper</i> to <i>Vain-Love</i>, and lies thus.</p>
+
+  <p><i>I have been a kind of God Father to you, yonder: I have promis'd and vow'd something in your
+  Name, which I think you are bound to Perform</i>.<span class="leftmar"><i>Id. 49.</i></span><sup
+  class="handonly" id="ref119"><a href="#side119">[119]</a></sup> For Christians to droll upon <span
+  class="pagenum" id="page64">{64}</span>their Baptism is somewhat extraordinary; But since the
+  <i>Bible</i> can't escape, 'tis the less wonder to make bold with the <i>Catechisme</i>.</p>
+
+  <p>In the <i>Double Dealer</i>, Lady <i>Plyant</i> cries out <i>Jesu</i> and talks Smut in the
+  same Sentence.<span class="leftmar"><i>Double Dealer. 34.</i></span><sup class="handonly"
+  id="ref120"><a href="#side120">[120]</a></sup> Sr. <i>Paul Plyant</i> whom the Poet dub'd a Fool
+  when he made him a Knight, talks very Piously! <i>Blessed be Providence, a Poor unworthy Sinner, I
+  am mightily beholden to Providence</i><span class="leftmar"><i>36.</i><br/>
+  <i>55.</i></span><sup class="handonly" id="ref121"><a href="#side121">[121]</a></sup>: And the
+  same word is thrice repeated upon an odd occasion.<sup class="handonly" id="ref122"><a
+  href="#side122">[122]</a></sup> The meaning must be that <i>Providence</i> is a ridiculous
+  supposition, and that none but Blockheads pretend to Religion. But the Poet can discover himself
+  farther if need be. Lady <i>Froth</i> is pleas'd to call <i>Jehu</i> <i>a Hackney
+  Coachman</i>.<span class="leftmar"><i>p. 40.</i></span><sup class="handonly" id="ref123"><a
+  href="#side123">[123]</a></sup> Upon this, <i>Brisk</i> replies, <i>If Jehu was a Hackney
+  Coachman, I am answer'd&mdash;&mdash;you may put that into the Marginal Notes tho', to prevent
+  Criticisms&mdash;&mdash;only mark it with a small Asterisme and say&mdash;&mdash;Jehu was formerly
+  a Hackney Coachman.</i> This for a heavy Piece of Profaness, is no doubt thought a lucky one,
+  because it burlesques the Text, and the Comment, all under one. I could go on with the <i>Double
+  Dealer</i> but he'll come in my way afterwards, and so I shall part with him at present. Let us
+  now take a veiw of <i>Don Sebastian</i>. And here <span class="pagenum" id="page65">{65}</span>the
+  <i>Reader</i> can't be long unfurnish'd. <i>Dorax</i> shall speak first.</p>
+
+  <div class="poem">
+    <p style="margin-left:0.70em"><i>Shall I trust Heaven</i></p>
+    <p><i>With my revenge? then where's my satisfaction?</i></p>
+    <p><i>No, it must be my own, I scorn a Proxy.</i><span class="leftmar"><i>Sebast. p.
+    9.</i></span><sup class="handonly" id="ref124"><a href="#side124">[124]</a></sup></p>
+  </div>
+
+  <p>But <i>Dorax</i> was a Renegado, what then? He had renounc'd Christianity, but not Providence.
+  Besides; such hideous Sentences ought not to be put in the Mouth of the Devil. For that which is
+  not fit to be heard, is not fit to be spoken. But to some people an Atheistical Rant is as good as
+  a Flourish of Trumpets. To proceed. <i>Antonio</i> tho' a profess'd Christian, mends the matter
+  very little. He is looking on a Lot which he had drawn for his Life: This proving unlucky, after
+  the preamble of a Curse or two, he calls it,</p>
+
+  <div class="poem">
+    <p><i>As black as Hell, an other lucky saying!</i></p>
+    <p><i>I think the Devils in me:&mdash;&mdash;good again,</i></p>
+    <p><i>I cannot speak one syllable but tends</i></p>
+    <p><i>To Death or to Damnation.</i><span class="leftmar"><i>Id. p. 10.</i></span><sup
+    class="handonly" id="ref125"><a href="#side125">[125]</a></sup></p>
+  </div>
+
+  <p>Thus the Poet prepares his Bullies for the other World! Hell and Damnation are strange
+  entertaining words upon the <i>Stage</i>! Were it otherwise, the Sense in these <span
+  class="pagenum" id="page66">{66}</span>Lines, would be almost as bad as the Conscience. The
+  <i>Poem</i> warms and rises in the working: And the next Flight is extreamly remarkable:</p>
+
+  <div class="poem">
+    <p><i>Not the last sounding could surprize me more,</i></p>
+    <p><i>That summons drowsy Mortals to their doom,</i></p>
+    <p><i>When call'd in hast they fumble for their Limbs:</i><span class="leftmar"><i>p.
+    47.</i></span><sup class="handonly" id="ref126"><a href="#side126">[126]</a></sup></p>
+  </div>
+
+  <p>Very Solemnly and Religiously express'd! <i>Lucian</i> and <i>Celsus</i> could not have
+  ridiculed the Resurrection better! Certainly the Poet never expects to be there. Such a light Turn
+  would have agreed much better to a Man who was in the Dark, and was feeling for his Stockings. But
+  let those who talk of <i>Fumbling</i> for their Limbs, take care they don't find them too fast. In
+  the Fourth <i>Act</i> <i>Mustapha</i> dates his <i>Exaltation to Tumult</i>, <i>from the second
+  Night of the Month</i> Abib.<span class="leftmar"><i>Id. p. 83.</i><br/>
+  <i>Exod. 12, 13.</i></span><sup class="handonly" id="ref127"><a href="#side127">[127]</a></sup>
+  Thus you have the Holy Text abused by Captain <i>Tom</i>; And the Bible torn by the Rabble! The
+  Design of this Liberty I can't understand, unless it be to make <i>Mustapha</i> as considerable as
+  <i>Moses</i>; and the prevalence of a Tumult, as much a Miracle as the Deliverance out of
+  <i>�gypt</i>. We have heard this Author hitherto in his <i>Characters</i>, let us hear him now in
+  his own Person. In his <i>Dedication of Aurenge Zebe</i> he is so hardy as <span class="pagenum"
+  id="page67">{67}</span>to affirm that <i>he who is too lightly reconciled after high Provocation,
+  may Recommend himself to the World for a Christian, but I should hardly trust him for a
+  Friend</i>. And why is a Christian not fit to make a Friend of? Are the Principles of Christianity
+  defective, and the Laws of it Ill contriv'd? Are the Interests and Capacities of Mankind
+  overlook'd? Did our Great Master bind us to Disadvantage, and make our Duty our Misfortune? And
+  did he grudge us all the Pleasures and Securities of Friendship? Are not all these horrid
+  Suppositions? Are they not a flat Contradiction to the <i>Bible</i>, and a Satyr on the Attributes
+  of the Deity? Our Saviour tells us we must <i>forgive until Seventy times Seven</i>; That is, we
+  must never be tired out of Clemency and Good Nature. He has taught us to pray for the Forgiveness
+  of our own Sins, only upon the Condition of forgiving others. Here is no exception upon the
+  Repetition of the Fault, or the Quality of the Provocation. Mr. <i>Dryden</i> to do him right,
+  do's not dispute the Precept. He confesses this is the way to be a Christian: But for all that he
+  <i>should hardly trust him for a Friend</i>. And why so? Because the Italian Proverb says, <i>He
+  that forgives the second time is a Fool.</i><span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref128"><a href="#side128">[128]</a></sup> This Lewd Proverb comes in for
+  Authority, <span class="pagenum" id="page68">{68}</span>and is a piece of very pertinent
+  Blasphemy! Thus in some Peoples <i>Logick</i> one proof from Atheism, is worth Ten from the <i>New
+  Testament</i>. But here the <i>Poet</i> argues no better than he Believes. For most certainly, a
+  Christian of all others is best qualified for Friendship. For He that loves his Neighbour as
+  himself, and carries Benevolence and Good Nature beyond the Heights of Philosophy: He that is not
+  govern'd by Vanity, or Design; He that prefers his Conscience to his Life, and has Courage to
+  Maintain his Reason; He that is thus qualified must be a good Friend; And he that falls short, is
+  no good Christian. And since the <i>Poet</i> is pleas'd to find fault with Christianity, let us
+  examine his own Scheme. <i>Our Minds (says he) are perpetually wrought on by the Temperament of
+  our Bodies, which makes me suspect they are nearer Allyed than either our Philosophers, or School
+  Divines will allow them to be.</i><span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref129"><a href="#side129">[129]</a></sup> The meaning is, he suspects our Souls are nothing
+  but Organiz'd Matter. Or in plain English, our <i>Souls</i> are nothing but our Bodies. And then
+  when the Body dies you may guess what becomes of them! Thus the Authorities of Religion are
+  weaken'd, and the prospect of the other World almost shut up. And is this a likely Supposition for
+  Sincerity and good Nature? Do's Honour <span class="pagenum" id="page69">{69}</span>use to rise
+  upon the Ruines of Conscience? And are People the best Friends where they have the least Reason to
+  be so? But not only the Inclinations to Friendship must Languish upon this Scheme, but the very
+  Powers of it are as it were destroy'd. By this Systeme no Man can say his Soul is his own. He
+  can't be assured the same Colours of Reason and Desire will last. Any little Accident from
+  <i>without</i> may metamorphose his Fancy, and push him upon a new set of Thoughts. <i>Matter</i>
+  and <i>Motion</i> are the most Humorsom Capricious Things in Nature; and withall, the most
+  Arbitrary and uncontroll'd. And can Constancy proceed from Chance, Choice from Fate, and Virtue
+  from Necessity? In short a Man at this rate must be a Friend or an Enemy in spite of his Teeth,
+  and just as long as the <i>Atoms</i> please and no longer. Every Change in <i>Figure</i> and
+  <i>Impulse</i>, must alter the Idea, and wear off the former Impression. So that by these
+  Principles, Friendship will depend on the <i>Seasons</i>, and we must look in the <i>Weather
+  Glass</i> for our Inclinations. But this 'tis to Refine upon Revelation, and grow wiser than
+  Wisdom! The same Author in his Dedication of <i>Juvenal</i> and <i>Persius</i>, has these words:
+  <i>My Lord, I am come to the last Petition of</i> <span class="pagenum"
+  id="page70">{70}</span>Abraham;<span class="leftmar"><i>Ded. p. 51.</i></span><sup
+  class="handonly" id="ref130"><a href="#side130">[130]</a></sup> <i>If there be ten Righteous Lines
+  in this vast Preface, spare it for their sake; and also spare the next City because it is but a
+  little one</i>. Here the Poet stands for <i>Abraham</i>; and the Patron for God Almighty: And
+  where lies the Wit of all this? In the Decency of the Comparison? I doubt not. And for the <i>next
+  City</i> he would have spared, he is out in the Allusion. 'Tis no <i>Zoar</i>, but much rather
+  <i>Sodom</i> and <i>Gomorrah</i>, Let them take care the Fire and Brimstone does not follow: And
+  that those who are so bold with <i>Abraham</i>'s Petition, are not forced to that of <i>Dives</i>.
+  To beg Protection for a Lewd Book in <i>Scripture Phrase</i>, is very extraordinary! 'Tis in
+  effect to Prostitute the Holy Rhetorick, and send the <i>Bible</i> to the <i>Brothell</i>! I can
+  hardly imagin why these Tombs of Antiquity were raked in, and disturb'd? Unless it were to conjure
+  up a departed Vice, and revive the Pagan Impurities: Unless it were to raise the Stench of the
+  Vault, and Poyson the Living with the Dead. Indeed <i>Juvenal</i> has a very untoward way with him
+  in some of his Satyrs. His Pen has such a Libertine stroak that 'tis a Question whether the
+  Practise, or the Reproof, the Age, or the Author, were the more Licentious. He teaches those Vices
+  he would <span class="pagenum" id="page71">{71}</span>correct, and writes more like a Pimp, than a
+  <i>Poet</i>. And truly I think there is but little of Lewdness lost in the <i>Translation</i>. The
+  Sixth and Eleventh <i>Satyrs</i> are Particularly remarkable. Such nauseous stuff is almost enough
+  to debauch the <i>Alphabet</i>, and make the Language scandalous. One would almost be sorry for
+  the privilege of <i>Speech</i>, and the Invention of <i>Letters</i>, to see them thus wretchedly
+  abused. And since the Business must be undertaken, why was not the Thought Blanched, the
+  Expression made remote, and the ill Features cast into shadows? I'm mistaken if we have not
+  Lewdness enough of our own Growth, without Importing from our Neighbours. No. This can't be. An
+  Author must have Right done him, and be shown in his own shape, and Complexion. Yes by all means!
+  Vice must be disrobed, and People poyson'd, and all for the sake of Justice! To do Right to such
+  an Author is to burn him. I hope Modesty is much better than Resemblance. The Imitation of an ill
+  Thing is the worse for being exact: And sometimes to report a Fault is to repeat it.</p>
+
+  <p>To return to his <i>Plays</i>. In <i>Love Triumphant</i>, <i>Garcia</i> makes <i>Veramond</i>
+  this Compliment:</p>
+
+  <div><span class="pagenum" id="page72">{72}</span></div>
+
+  <div class="poem">
+    <p><i>May Heaven and your brave Son, and above all,</i></p>
+    <p><i>Your own prevailing Genius guard your Age.</i><span class="leftmar"><i>Love Triumph. p.
+    3.</i></span><sup class="handonly" id="ref131"><a href="#side131">[131]</a></sup></p>
+  </div>
+
+  <p>What is meant by his Genius, in this place, is not easy to Discover, only that 'tis something
+  which is a better Guard than Heaven. But 'tis no Matter for the Sense, as long as the Profaness is
+  clear. In this <i>Act</i>, Colonel <i>Sancho</i> lets <i>Carlos</i> know the old Jew is dead,
+  which he calls good news.</p>
+
+  <p>Carl. <i>What Jew?</i></p>
+
+  <p>Sanch. <i>Why the rich Jew my Father. He is gone to the Bosom, of</i> Abraham <i>his Father,
+  and I his Christian Son am left sole Heir</i>.<span class="leftmar"><i>Id. p. 11.</i></span><sup
+  class="handonly" id="ref132"><a href="#side132">[132]</a></sup> A very mannerly Story! But why
+  does the Poet acquaint us with <i>Sanchos</i> Religion? The case is pretty plain: 'tis to give a
+  lustre to his Profaness, and make him burlesque St. <i>Luke</i> with the better Grace.
+  <i>Alphonso</i> complains to <i>Victoria</i> that <i>Nature doats with Age</i>.<span
+  class="leftmar"><i>Id. p. 11.</i></span><sup class="handonly" id="ref133"><a
+  href="#side133">[133]</a></sup> His reason is, because Brother and Sister can't Marry as they did
+  at first: 'Tis very well! We know what <i>Nature</i> means in the Language of Christianity, and
+  especially under the Notion of a Law-giver. <i>Alphonso</i> goes on, and compares the Possession
+  of Incestuous Love to Heaven. Yes, 'tis <i>Eternity in Little</i>.<span class="leftmar"><i>p.
+  34.</i></span><sup class="handonly" id="ref134"><a href="#side134">[134]</a></sup></p>
+
+  <div><span class="pagenum" id="page73">{73}</span></div>
+
+  <p>It seems Lovers must be distracted or there's no diversion. A Flight of Madness like a Faulcons
+  <i>Lessening</i>, makes them the more gaz'd at! I am now coming to some of the Poets Divinity. And
+  here <i>Vengeance is said to be so sweet a Morsel</i>,</p>
+
+  <div class="poem">
+    <p><i>That Heaven reserves it for its proper Tast.</i><span
+    class="leftmar"><i>58.</i></span><sup class="handonly" id="ref135"><a
+    href="#side135">[135]</a></sup></p>
+  </div>
+
+  <p>This belike is the meaning of those Texts, <i>that God is good and Gracious, and slow to anger,
+  and does not willingly afflict the Children of Men</i>! From expounding the Bible he goes to the
+  <i>Common Prayer</i>. And as <i>Carlos</i> interprets the <i>Office</i> of <i>Matrimony</i>,
+  <b>For Better, for Worse</b>, is <i>for Virgin for Whore</i>;<span class="leftmar"><i>p.
+  62.</i></span><sup class="handonly" id="ref136"><a href="#side136">[136]</a></sup> And that the
+  Reference might not be mistaken, the Poet is careful to put the Words in <i>Italick</i>, and great
+  Letters. And by the way, He falls under the <i>Penalty</i> of the Statute for Depraving the
+  <i>Common Prayer</i>.<span class="leftmar"><i>1st. Eliz. cap. 2.</i></span><sup class="handonly"
+  id="ref137"><a href="#side137">[137]</a></sup></p>
+
+  <p><i>Sancho</i> upon reading a Letter which he did not like, cries <i>Damn it, it must be all
+  Orthodox</i>.<span class="leftmar"><i>p. 63.</i></span><sup class="handonly" id="ref138"><a
+  href="#side138">[138]</a></sup> <i>Damn</i> and <i>Orthodox</i> clapt together, make a lively
+  Rant, because it looks like Cursing the <i>Creeds</i>. The most extraordinary passage is behind;
+  <i>Sancho</i> was unhappily Married: <i>Carlos tells him, For your Comfort, Marriage they say is
+  Holy. Sancho</i> replies:  <i>Ay, and so is Martyrdom as they say, but both of them are good for
+  just nothing, but to make an end of a Mans Life</i>.<span class="leftmar"><i>p. 72.</i></span><sup
+  class="handonly" id="ref139"><a href="#side139">[139]</a></sup> <span class="pagenum"
+  id="page74">{74}</span>I shall make no Reflections upon This: There needs no Reading upon a
+  Monster: 'Tis shown enough by its own Deformity. <i>Love for Love</i> has a Strain like this, and
+  therefore I shall put them together: <i>Scandal</i> solicits Mrs. <i>Foresight</i>; She threatens
+  to tell her Husband. He replys, <i>He will die a Martyr rather then disclaim his Passion</i>.<span
+  class="leftmar"><i>Love for Love. p. 42.</i></span><sup class="handonly" id="ref140"><a
+  href="#side140">[140]</a></sup> Here we have Adultery dignified with the stile of Martyrdom: As if
+  'twas as Honourable to perish in Defence of Whoring, as to dye for the Faith of Christianity. But
+  these <i>Martyrs</i> will be a great while in burning, And therefore let no body strive to grace
+  the Adventure, or encrease the Number. And now I am in this <i>Play</i> the Reader shall have
+  more. <i>Jeremy</i> who was bred at the University, calls the Natural Inclinations to Eating and
+  Drinking, <i>Whoreson Appetites</i>. This is strange Language! The <i>Manicheans</i> who made
+  Creation the work of the Devil, could scarcely have been thus Coarse.<span
+  class="leftmar"><i>26.</i></span><sup class="handonly" id="ref141"><a
+  href="#side141">[141]</a></sup> But the <i>Poet</i> was <i>Jeremy's</i> Tutor, and so that Mystery
+  is at an end. Sr. <i>Samson</i> carries on the Expostulation, rails at the Structure of Human
+  Bodies, and says,<span class="leftmar"><i>p. 27.</i></span><sup class="handonly" id="ref142"><a
+  href="#side142">[142]</a></sup> <i>Nature has been Provident only to Bears, and Spiders</i>; This
+  is the Authors Paraphrase on the 139 <i>Psalm</i>; And thus he gives God thanks for the Advantage
+  <span class="pagenum" id="page75">{75}</span>of his Being! The <i>Play</i> advances from one
+  wickedness to another, from the <i>Works</i> of God, to the Abuse of his Word. Foresight
+  <i>confesses 'tis Natural for Men to mistake</i>.<span class="leftmar"><i>p. 47.</i></span><sup
+  class="handonly" id="ref143"><a href="#side143">[143]</a></sup> Scandal <i>replies, You say true,
+  Man will err, meer Man will err&mdash;&mdash;but you are something more&mdash;&mdash;There have
+  been wise Men; but they were such as you&mdash;&mdash;Men who consulted the Stars, and, were
+  observers of Omens</i>&mdash;&mdash;Solomon <i>was wise but how?&mdash;&mdash;by his judgment in
+  Astrology.</i> 'Tis very well! <i>Solomon</i> and <i>Foresight</i> had their Understandings
+  qualified alike. And pray what was <i>Foresight</i>? Why an <i>Illiterate Fellow</i>. <i>A
+  pretender to Dreams, Astrology, Palmistry</i> &amp;c. This is the <i>Poets</i> account of
+  <i>Solomon's</i> Supernatural Knowledge!<span class="leftmar"><i>Vid. Person. Dram.</i></span><sup
+  class="handonly" id="ref144"><a href="#side144">[144]</a></sup> Thus the wisest Prince is dwindled
+  into a Gypsie! And the Glorious Miracle resolved into Dotage, and Figure-flinging! <i>Scandal</i>
+  continues his Banter, and says, the <i>wise Men of the East owed their Instruction to a Star;
+  which is rightly observ'd by</i> Gregory <i>the Great in favour of Astrology</i>. This was the
+  Star which shone at our Saviour's Birth. Now who could imagine by the Levity of the occasion, that
+  the Author thought it any better than an <i>Ignis Fatuus</i>, or <i>Sydrophel's</i> Kite in
+  <i>Hudibras</i>? Sr. <i>Sampson</i> and the fine <i>Angelica</i>, after some lewd raillery
+  continue the Allegory, and <span class="pagenum" id="page76">{76}</span>drive it up into
+  Profaness. For this reason the Citation must be imperfect.</p>
+
+  <p><i>Sr.</i> Samps. Sampson'<i>s a very good Name for&mdash;&mdash;your</i> Sampsons <i>were
+  strong Dogs from the Beginning</i>.<span class="leftmar"><i>p. 80.</i></span><sup class="handonly"
+  id="ref145"><a href="#side145">[145]</a></sup></p>
+
+  <p>Angel. <i>Have a care&mdash;&mdash;If you remember the strongest</i> Sampson <i>of your Name,
+  pull'd an old House over his Head at last</i>. Here you have the Sacred History burlesqu'd, and
+  <i>Sampson</i> once more brought into the House of <i>Dagon</i>, to make sport for the
+  <i>Philistines</i>! To draw towards an end of this <i>Play. Tattle</i> would have carried off
+  <i>Valentine</i>'s Mistress. This later, expresses his Resentment in a most Divine manner! Tattle
+  <i>I thank you, you would have interposed between me and Heaven, but Providence has laid Purgatory
+  in your way</i>.<span class="leftmar"><i>p. 91.</i></span><sup class="handonly" id="ref146"><a
+  href="#side146">[146]</a></sup> Thus Heaven is debas'd into an Amour, and Providence brought in to
+  direct the Paultry concerns of the <i>Stage! Angelica</i> concludes much in the same strain:
+  <i>Men are generally Hypocrites And Infidels, they pretend to Worship, but have neither Zeal, nor
+  Faith; How few like</i> Valentine <i>would persevere unto Martyrdom? &amp;c.</i><span
+  class="leftmar"><i>p. 92.</i></span><sup class="handonly" id="ref147"><a
+  href="#side147">[147]</a></sup> Here you have the Language of the <i>Scriptures</i>, and the most
+  solemn Instances of Religion, prostituted to Courtship and Romance! Here you have a Mistress made
+  God Almighty, Ador'd with Zeal and Faith, <span class="pagenum" id="page77">{77}</span>and
+  Worship'd up to Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady to say
+  of her self. And had it not been for the profane Allusion, would have been cold enough in all
+  Conscience.</p>
+
+  <p>The <i>Provok'd Wife</i> furnishes the Audience with a Drunken Atheistical Catch: 'Tis true
+  this Song is afterwards said to be <i>Full of Sin and Impudence</i>.<span class="leftmar"><i>Prov.
+  Wife p. 38.</i></span><sup class="handonly" id="ref148"><a href="#side148">[148]</a></sup> But why
+  then was it made? This Confession is a miserable <i>Salvo</i>; And the Antidote is much weaker
+  than the Poyson: 'Tis just as if a Man should set a House in a Flame, and think to make amends by
+  crying <i>Fire</i> in the Streets. In the last <i>Act Rasor</i> makes his Discovery of the Plot
+  against <i>Belinda</i> in <i>Scripture</i> phrase. I'le give it the <i>Reader</i> in the Authors
+  Dialogue.</p>
+
+  <p>Belind. <i>I must know who put you upon all this Mischief.</i><span class="leftmar"><i>Id. p.
+  77.</i></span><sup class="handonly" id="ref149"><a href="#side149">[149]</a></sup></p>
+
+  <p>Rasor. <i>Sathan And his Equipage. Woman tempted me, Lust weaken'd,&mdash;&mdash;And so the
+  Devil overcame me: As fell</i> Adam <i>so fell I</i>.</p>
+
+  <p>Belind. <i>Then pray Mr.</i> Adam <i>will you make us acquainted with your</i> Eve?</p>
+
+  <p><i>Rasor</i> unmasks <i>Madamoselle</i> and says, <i>This is the Woman that tempted me: But
+  this is the Serpent</i> (meaning Lady <i>Fanciful</i>) <span class="pagenum"
+  id="page78">{78}</span><i>that tempted the Woman; And if my Prayers might be heard, her punishment
+  for so doing should be like the Serpents of old, &amp;c.</i> This <i>Rasor</i> in what we hear of
+  him before, is all Roguery, and Debauch: But now he enters in <i>Sackcloth</i>; and talks like
+  <i>Tribulation</i> in the <i>Alchemist</i>. His Character is chang'd to make him the more profane;
+  And his Habit, as well as Discourse, is a Jest upon Religion. I am forced to omit one Line of his
+  Confession. The Design of it is to make the <i>Bible</i> deliver an obscene Thought: And because
+  the Text would not bend into a Lewd Application; He alters the words for his purpose, but passes
+  it for Scripture still. This sort of Entertainment is frequent in the <i>Relapse</i>. Lord
+  <i>Foplington</i> laughs at the publick Solemnities of Religion, as if 'twas a ridiculous piece of
+  Ignorance, to pretend to the Worship of a God. He discourses with <i>Berinthia</i> and
+  <i>Amanda</i> in this manner<span class="leftmar"><i>Relapse. p. 32, 33.</i></span><sup
+  class="handonly" id="ref150"><a href="#side150">[150]</a></sup>: <i>Why Faith
+  Madam,&mdash;&mdash;Sunday is a vile Day, I must confess. A man must have very little to do at
+  Church that can give an account of the Sermon.</i> And a little after: <i>is to mind what one
+  should not do. Lory</i> tells young <i>Fashion, I have been in a lamentable Fright ever since that
+  Conscience had the Impudence to intrude into your Company</i>. <span class="pagenum"
+  id="page79">{79}</span>His Master makes him this Comfortable Answer. <i>Be at peace, it will come
+  no more:&mdash;&mdash;I have kick'd it down stairs.</i> A little before he breaks out into this
+  Rapture. Now Conscience I defie thee!<span class="leftmar"><i>p. 44, 45.</i><br/>
+  <i>Vid. Infra.</i></span><sup class="handonly" id="ref151"><a href="#side151">[151]</a></sup> By
+  the way we may observe, that this young <i>Fashion</i> is the <i>Poets</i> Favorite.<sup
+  class="handonly" id="ref152"><a href="#side152">[152]</a></sup> <i>Berinthia</i> and
+  <i>Worthy</i>, two <i>Characters</i> of Figure, determine the point thus in defence of
+  Pimping.</p>
+
+  <p>Berinth. <i>Well, I would be glad to have no Bodies Sins to answer for but my own. But where
+  there is a necessity</i>&mdash;&mdash;<span class="leftmar"><i>p. 51.</i></span><sup
+  class="handonly" id="ref153"><a href="#side153">[153]</a></sup></p>
+
+  <p>Worth. <i>Right as you say, where there is a Necessity; A Christian is bound to help his
+  Neighbour.</i></p>
+
+  <p><i>Nurse</i>, after a great deal of Profane Stuff concludes her expostulation in these words:
+  <i>But his Worship</i> (<i>Young</i> Fashion) <i>over-flows with his Mercy and his Bounty; He is
+  not only pleas'd to forgive us our Sins&mdash;&mdash;but which is more than all, has prevail'd
+  with me to become the Wife of thy Bosom</i>:<span class="leftmar"><i>p. 96, 97.</i></span><sup
+  class="handonly" id="ref154"><a href="#side154">[154]</a></sup> This is very heavy, and ill
+  dress'd. And an Atheist must be sharp set to relish it. The Vertuous <i>Amanda</i>, makes no
+  scruple to charge the Bible with untruths.</p>
+
+  <div class="poem">
+    <p>&mdash;<i>What Slippery stuff are Men compos'd of?</i></p>
+    <p><i>Sure the Account of their Creation's false,</i></p>
+    <p><i>And 'twas the Womans Rib that they were form'd of.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref155"><a
+    href="#side155">[155]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page80">{80}</span></div>
+
+  <p>Thus this Lady abuses her self, together with the Scripture, and shews her Sense, and her
+  Religion, to be much of a Size.</p>
+
+  <p><i>Berinthia</i>, after she has given in a Scheme for the debauching <i>Amanda</i>, is thus
+  accosted by <i>Worthy</i>: <i>Thou Angel of Light, let me fall down and, adore thee</i>!<span
+  class="leftmar"><i>p.91.</i></span><sup class="handonly" id="ref156"><a
+  href="#side156">[156]</a></sup> A most Seraphick Compliment to a Procuress! And 'tis possible some
+  Angel or other, may thank him for't in due time.</p>
+
+  <p>I am quite tired with these wretched Sentences. The sight indeed is horrible, and I am almost
+  unwilling to shew it. However they shall be Produced like Malefactors, not for Pomp, but
+  Execution. Snakes and Vipers, must sometimes be look'd on, to destroy them. I can't forbear
+  expressing my self with some warmth under these Provocations. What Christian can be unconcern'd at
+  such intolerable Abuses? What can be a juster Reason for indignation than Insolence and Atheism?
+  Resentment can never be better shown, nor Aversion more seasonably <span class="correction"
+  title="Original reads 'executed', corrected by
+  Errata">exerted</span>! Nature made the Ferment and Rising of the Blood, for such occasions as
+  This. On what unhappy Times are we fallen! The Oracles of Truth, the Laws of Omnipotence, and the
+  Fate of Eternity are Laught at and despis'd! That the <i>Poets</i> <span class="pagenum"
+  id="page81">{81}</span>should be suffer'd to play upon the <i>Bible</i>, and Christianity be
+  Hooted off the <i>Stage</i>! Christianity that from such feeble beginings made so stupendious a
+  progress! That over-bore all the Oppositions of Power, and Learning; and with Twelve poor Men,
+  outstretch'd the Roman Empire. That this glorious Religion so reasonable in its Doctrine, so well
+  attested by Miracles, by Martyrs, by all the Evidence that <i>Fact</i> is capable of, should
+  become the Diversion of the Town, and the Scorn of Buffoons! And where, and by whom is all this
+  Out-rage committed? why not by <i>Julian</i>, or <i>Porphirie</i>, not among Turks or Heathens,
+  but in a Christian Country, in a Reform'd Church, and in the Face of Authority! Well! I perceive
+  the Devil was a Saint in his <i>Oracles</i>, to what he is in his <i>Plays</i>. His Blasphemies
+  are as much improv'd as his Stile, and one would think the Muse was <i>Legion</i>! I suppose the
+  <i>Reader</i> may be satisfied already: But if he desires farther proof, there's something more
+  flamingly impious behind.</p>
+
+  <p>The Christian <i>Almeida</i> when <i>Sebastian</i> was in danger, Raves and Foames like one
+  Possess'd,</p>
+
+  <div class="poem">
+    <p><i>But is there Heaven, for I begin to doubt?<span class="leftmar"><i>Don. Sebastian. p.
+    51.</i></span><sup class="handonly" id="ref157"><a href="#side157">[157]</a></sup></i></p>
+    <p><i>Now take your swing ye impious Sin unpunish'd,</i></p>
+    <p><i>Eternal Providence seems over watch'd,</i></p>
+    <p><i>And with a slumbring Nod assents to Murther.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page82">{82}</span></div>
+
+  <p>In the next <i>page</i>, she bellows again much after the same manner. The <i>Double Dealer</i>
+  to say the least of him, follows his Master in this Road, <i>Passibus �quis</i>. Sr. <i>Paul
+  Plyant</i> one would think had done his part: But the ridiculing <i>Providence</i> won't satisfie
+  all People: And therefore the next attempt is somewhat bolder.</p>
+
+  <p><i>Sr.</i> Paul. <i>Hold your self contented my Lady</i> Plyant,&mdash;&mdash;<i>I find Passion
+  coming upon me by Inspiration</i>.<span class="leftmar"><i>Double Dealer. p. 19.</i><br/>
+  <i>p. 17.</i><br/>
+  <i>p. 44.</i></span><sup class="handonly" id="ref158"><a href="#side158">[158]</a></sup> In
+  <i>Love Triumphant</i>, <i>Carlos</i> is by the Constitution of the <i>Play</i> a Christian;<sup
+  class="handonly" id="ref159"><a href="#side159">[159]</a></sup> and therefore must be construed in
+  the sense of his Religion. This Man blunders out this horrible expression. <i>Nature has given me
+  my Portion in Sense with a P&mdash;&mdash; to her. &amp;c.</i> The <i>Reader</i> may see the
+  Hellish Syllable at Length if he pleases. This Curse is borrow'd for <i>Young Fashion</i> in the
+  <i>Relapse</i>.<sup class="handonly" id="ref160"><a href="#side160">[160]</a></sup> The <i>Double
+  Dealer</i> is not yet exhausted. <i>Cynthia the Top Lady grows Thoughtful.</i> Upon the question
+  she relates her Contemplation. Cynth. <i>I am thinking (says she) that tho' Marriage makes Man and
+  Wife one Flesh, it leaves them two Fools.</i><span class="leftmar"><i>Double Dealer. p.
+  18.</i><br/>
+  <i>Gen. 2.<br/>
+  St. Math. 9.</i></span><sup class="handonly" id="ref161"><a href="#side161">[161]</a></sup> This
+  Jest is made upon a Text in <i>Genesis</i>,<sup class="handonly" id="ref162"><a
+  href="#side162">[162]</a></sup> and afterwards applyed by our Saviour to the case of <span
+  class="pagenum" id="page83">{83}</span>Divorse. <i>Love for Love</i> will give us a farther
+  account of this Authors Proficiency in the <i>Scriptures</i>. Our Blessed Saviour affirms himself
+  <i>to be the Way, the Truth, and the Light, that he came to bear witness to the Truth, and that
+  his Word is Truth</i>. These expressions were remembred to good purpose. For <i>Valentine</i> in
+  his pretended Madness tells <i>Buckram</i> the Lawyer; <i>I am Truth,&mdash;&mdash;I am
+  Truth&mdash;&mdash;Who's that, that's out of his way, I am Truth, and can set him right.</i><span
+  class="leftmar"><i>Love, &amp;c. p. 59, 61.</i></span><sup class="handonly" id="ref163"><a
+  href="#side163">[163]</a></sup> Now a <i>Poet</i> that had not been smitten with the pleasure of
+  Blasphemy, would never have furnish'd Frensy with Inspiration; nor put our Saviours Words in the
+  Mouth of a Madman. <i>Lady Brute</i>, after some struggle between Conscience and Lewdness,
+  declares in Favour of the later. She says the <i>part of a downright Wife is to Cuckold her
+  Husband</i>.<span class="leftmar"><i>Provok'd Wife. p. 3.</i></span><sup class="handonly"
+  id="ref164"><a href="#side164">[164]</a></sup> And tho' this is <i>against the strict Statute Law
+  of Religion, yet if there was a Court of Chancery in Heaven, she should be sure to cast
+  him</i>.<span class="leftmar"><i>p. 4.</i></span><sup class="handonly" id="ref165"><a
+  href="#side165">[165]</a></sup></p>
+
+  <p>This Brass is double guilt. <i>First</i>, It supposes no Equity in Heaven. And <i>Secondly</i>,
+  If there was, <i>Adultery</i> would not be punish'd! The <i>Poet</i> afterwards acquaints us by
+  this Lady, that Blasphemy is no Womans Sin.<span class="leftmar"><i>p. 65.</i></span><sup
+  class="handonly" id="ref166"><a href="#side166">[166]</a></sup> Why then does she fall into it?
+  Why in the mid'st of Temper and <span class="pagenum" id="page84">{84}</span>Reasoning? What makes
+  him break in upon his own Rules? Is Blasphemy never unseasonable upon the Stage, And does it
+  always bring its excuse along with it? The <i>Relapse</i> goes on in the same strain. When Young
+  <i>Fashion</i> had a prospect of cheating his Elder Brother, he tells <i>Lory, Providence thou
+  see'st at last takes care of Men of Merit.<span class="leftmar"><i>Relapse. p. 19.</i></span><sup
+  class="handonly" id="ref167"><a href="#side167">[167]</a></sup> Berinthia</i> who has engag'd to
+  corrupt <i>Amanda</i> for <i>Worthy</i>; attacks her with this Speech, <i>Mr</i>. Worthy <i>used
+  you like A Text, he took you all to peices</i>,<span class="leftmar"><i>p. 96.</i></span><sup
+  class="handonly" id="ref168"><a href="#side168">[168]</a></sup> and it seems was particular in her
+  Commendation, Thus she runs on for several Lines, in a Lewd, and Profane Allegory. In the
+  Application she speaks out the Design, and concludes with this pious Exhortation! <i>Now consider
+  what has been said, and Heaven give you Grace to put it in practise</i>; that is to play the
+  Whore. There are few of these last Quotations, but what are plain Blasphemy, and within the
+  <i>Law</i>. They look reeking as it were from <i>Pand�monium</i>, and almost smell of Fire and
+  Brimstone. This is an Eruption of Hell with a witness! I almost wonder the smoak of it has not
+  darken'd the Sun, and turn'd the Air to Plague and Poyson! These are outrageous Provocations;
+  Enough to arm all Nature in Revenge; To exhaust the Judgments, of Heaven, <span class="pagenum"
+  id="page85">{85}</span>and sink the <i>Island</i> in the Sea! What a spite have these Men to the
+  God that made them. How do They Rebell upon his Bounty, and attack him with his own Reason? These
+  Giants in Wickedness, how would they ravage with a Stature Proportionable? They that can Swagger
+  in Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had Strength to their
+  Good-Will? And what can be the Ground of this Confidence, and the Reason of such horrid
+  Presumption? Why the <i>Scripture</i> will best satisfie the question. <i>Because sentence against
+  An Evil work is not excuted speedily, therefore the heart of the Sons of Men, is fully set in them
+  to do Evil.</i><span class="leftmar"><i>Eccles. 8. 11.</i></span><sup class="handonly"
+  id="ref169"><a href="#side169">[169]</a></sup></p>
+
+  <p>Clemency is weakness with some People; <i>And the Goodness of God which should lead them to
+  Repentance, does but harden them the more</i>. They conclude he wants Power to punish, because he
+  has patience to forbear. Because there is a Space between Blasphemy and Vengeance; and they don't
+  perish in the Act of Defiance; Because they are not blasted with Lightning, transfixt with
+  Thunder, and Guarded off with Devils, they think there's no such matter as a day of Reckoning.
+  <i>But let no Man be Deceiv'd, God is not mock'd</i>;<span class="leftmar"><i>Gal.
+  6.</i></span><sup class="handonly" id="ref170"><a href="#side170">[170]</a></sup> not without
+  danger they may be assur'd. Let them retreat in time, before the <i>Floods <span class="pagenum"
+  id="page86">{86}</span>run over them</i>: Before they come to that place, where Madness will have
+  no Musick, nor Blasphemy any Diversion.</p>
+
+  <p>And here it may not be amiss to look a little into the Behaviour of the <i>Heathens</i>. Now
+  'tis no wonder to find them run riot upon this Subject. The Characters of their Gods were not
+  unblemish'd. Their prospect of the other World, was but dim; neither were they under the Terrors
+  of <i>Revelation</i>. However, they are few of them so bad as the <i>Moderns</i>.</p>
+
+  <p><i>Terence</i> does not run often upon this rock. 'Tis true <i>Ch�rea</i> falls into an ill
+  Rapture after his Success.<span class="leftmar"><i>Eunuch.</i><br/>
+  <i>Heauton. A. 5. 1.</i><br/>
+  <i>Adelp. A. 5. 7.</i></span><sup class="handonly" id="ref171"><a href="#side171">[171]</a></sup>
+  <i>Chremes</i> bids his Wife not tire the Gods with Thanks:<sup class="handonly" id="ref172"><a
+  href="#side172">[172]</a></sup> And <i>�schinus</i> is quite sick of the Religious part of the
+  Weding.<sup class="handonly" id="ref173"><a href="#side173">[173]</a></sup> These Instances;
+  excepting his Swearing, are the most, (and I think near all the) exceptionable Passages of this
+  <i>Author</i>.</p>
+
+  <p><i>Plautus</i> is much more bold. But then his sally's are generally made by <i>Slaves</i> and
+  <i>Pandars</i>.</p>
+
+  <p>This makes the Example less dangerous, and is some sort of extenuation. I grant this imperfect
+  excuse wont serve him always. There are some Instances where his <i>Persons</i> of better Figure
+  are guilty of lewd Defences, Profane Flights, and Sawcy Expostulation.<span
+  class="leftmar"><i>Lyconides. Aulular. A. 2. 4.<br/>
+  Pal�stra. Rud. A. 1. 3.<br/>
+  Dinarchus. Trucul. A. 2. 4.</i></span><sup class="handonly" id="ref174"><a
+  href="#side174">[174]</a></sup> But the <i>Roman</i> Deities were <i>Beings</i> of ill Fame, <span
+  class="pagenum" id="page87">{87}</span>'tis the less wonder therefore if the <i>Poets</i> were
+  familiar with them. However, <i>Plautus</i> has something good in him, and enough to condemn the
+  Practise. <i>Pleusides would gladly have had the Gods changed the method of Things, in some
+  Particulars. He would have had frank good Humour'd People long live'd, and close-fisted Knaves die
+  Young.</i> To this <i>Periplectimenes</i> Gravely answers, <i>That 'tis great Ignorance, and
+  Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of them</i>.<span
+  class="leftmar"><i>Mil. Glor.</i></span><sup class="handonly" id="ref175"><a
+  href="#side175">[175]</a></sup> In his <i>Pseudolus</i> the Procurer <i>Ballio</i> talks
+  Profanely. Upon which <i>Pseudolus</i> makes this Reflection. <i>This Fellow makes nothing of
+  Religion, how can we trust him in other matters? For the Gods whom all People have the greatest
+  reason to fear, are most slighted by him.</i><span class="leftmar"><i>Pseud. A. 1.
+  3.</i></span><sup class="handonly" id="ref176"><a href="#side176">[176]</a></sup></p>
+
+  <p>The Greek Tragedians are more staunch, and write nearer the Scheme of Natural Religion. 'Tis
+  true, they have some bold expressions: But then they generally reprove the Liberty, and punish the
+  Men. <i>Prometheus</i> in <i>�schylus</i> blusters with a great deal of Noise, and
+  Stubborness.<span class="leftmar"><i>Prom. vinct. 57.</i></span><sup class="handonly"
+  id="ref177"><a href="#side177">[177]</a></sup> He is not for changing Conditions with
+  <i>Mercury</i>: And chuses rather to be miserable, than to submit even to <i>Jupiter</i> himself.
+  The <i>Chorus</i> rebuke him for his Pride, and threaten him with greater Punishment. And the
+  <i>Poet</i> to make all sure brings him <span class="pagenum" id="page88">{88}</span>to Execution
+  before the end of the <i>Play</i>. He discharges Thunder and Lightning at his Head; shakes his
+  Rock with an Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of Nature to
+  make him an example. In his <i>Expedition against Thebes</i>, <i>Eteocles</i> expects
+  <i>Capaneus</i> would be destroy'd for his Blasphemies.<span class="leftmar"><i>p.
+  92.</i></span><sup class="handonly" id="ref178"><a href="#side178">[178]</a></sup> Which happen'd
+  accordingly. On the other hand; <i>Amphiaraus</i> being a person of Virtue, and Piety, they are
+  afraid least he should succeed. <i>For a Religious Enemy is almost invincible.</i><span
+  class="leftmar"><i>p. 101.</i></span><sup class="handonly" id="ref179"><a
+  href="#side179">[179]</a></sup> <i>Darius</i>'s Ghost lays <i>Xerxes</i>'s ruin upon the excess of
+  his Ambition, <i>'Twas, because he made a Bridge over the</i> Hellespont, <i>used</i> Neptune
+  <i>contumeliously, and, thought himself Superiour to Heaven.</i><span class="leftmar"><span
+  title="Pers." class="fsn">&Pi;&epsilon;&rho;&sigma;.</span> <i>161.</i></span><sup
+  class="handonly" id="ref180"><a href="#side180">[180]</a></sup> This Ghost tells the <i>Chorus
+  that the Persian Army miscarried for the out-rages they did to Religion, for breaking down the
+  Altars, and plundering the Gods</i>.<span class="leftmar"><i>164.</i></span><sup class="handonly"
+  id="ref181"><a href="#side181">[181]</a></sup></p>
+
+  <p><i>Ajax</i>'s Distraction is represented as judicial in <i>Sophocles</i>. 'Twas inflicted for
+  his <i>Pride</i> and <i>Atheism</i>.<span class="leftmar"><i>Ajax. Flagell.</i></span><sup
+  class="handonly" id="ref182"><a href="#side182">[182]</a></sup> 'When his Father bid him be brave
+  but Religious withall, he haughtily replyed that 'twas, for Cowards to beg the Assistance of the
+  Gods; as for his part, he hoped to Conquer without them. And when <i>Minerva</i> encouraged him to
+  charge the Enemy,</p>
+
+  <div><span class="pagenum" id="page89">{89}</span></div>
+
+  <div class="poem">
+    <p><span title="To t' antiph�nei deinon arr�ton t' epos," class="fsn">&Tau;&omicron; &tau;'
+    &#x1F00;&nu;&tau;&iota;&phi;&omega;&nu;&epsilon;&#x1F76; &delta;&epsilon;&iota;&nu;&#x1F78;&nu;
+    &#x1F00;&rho;&rho;&eta;&tau;&omicron;&nu; &tau;' &#x1F14;&pi;&omicron;&sigmaf;,</span></p>
+  </div>
+
+  <p>'He made her this Lewd and insufferable Answer. Pray withdraw, and give your Countenance
+  elswhere, I want no Goddesses to help me do my Business. This Insolence made <i>Minerva</i> hate
+  him; and was the cause of his Madness and self Murther.' To proceed. The <i>Chorus</i> condemns
+  the Liberty of <i>Jocasta</i>, who obliquely charged a Practise upon the <i>Oracle</i>:<span
+  class="leftmar"><i>Oedip. Tyran. p. 187.</i></span><sup class="handonly" id="ref183"><a
+  href="#side183">[183]</a></sup> Tho' after all, she did not tax <i>Apollo</i>, but his
+  Ministers.</p>
+
+  <p>The same <i>Chorus</i> recommends Piety, and Relyance upon the Gods, and threatens Pride and
+  Irreligion with Destruction. In <i>Antigone</i>,<span class="leftmar"><i>p. 188.</i></span><sup
+  class="handonly" id="ref184"><a href="#side184">[184]</a></sup> <i>Tiresias</i> advises
+  <i>Creon</i> to wave the Rigour of his <i>Edict</i>, And not let the Body of <i>Polynices</i> lie
+  unburied, and expos'd. He tells him the Altars were already polluted with Humane Flesh. This had
+  made the Language of the Birds unintelligible, and confounded the marks of <i>Augury</i>.<span
+  class="leftmar"><i>Antig. p. 256.</i></span><sup class="handonly" id="ref185"><a
+  href="#side185">[185]</a></sup> <i>Creon</i> replies in a rage, and says he would not consent to
+  the Burial of <i>Polynices</i>: No, tho' 'twere to prevent the Eagle's throwing part of the
+  Carkass in <i>Jove</i>'s <i>Chair</i> of <i>State</i>. This was a bold Flight; but 'tis not long
+  before he pays for't. Soon after, his Son, and Queen, kill <span class="pagenum"
+  id="page90">{90}</span>themselves. And in the close the Poet who speaks in the <i>Chorus</i>,
+  explains the Misfortune, and points upon the Cause, and affirms that <i>Creon</i> was punish'd for
+  his Haughtiness and Impiety. To go on to his <i>Trachini�</i>. <i>Hercules</i> in all the
+  extremity of his Torture does not fall foul upon Religion. 'Tis true, He shows as much Impatience
+  as 'tis possible. His Person, his pain, and the Occasion of it, were very extraordinary. These
+  circumstances make it somewhat natural for him to complain above the common rate. The Greatness of
+  his Spirit, the Feavour of his Blood, and the Rage of his Passion, could hardly fail of putting
+  Force, and Vehemence into his Expressions. Tho' to deal clearly he seems better furnish'd with
+  Rhetorick, than true Fortitude.<span class="leftmar"><i>Trach. p. [......].</i></span><sup
+  class="handonly" id="ref186"><a href="#side186">[186]</a></sup> But after all, his Disorders are
+  not altogether ungovern'd. He is uneasy, but not impious, and profane.</p>
+
+  <p>I grant <i>Hercules Oeteus</i> in <i>Seneca</i>, swaggers at a strange Rhodomontading rate. But
+  the Conduct of this Author is very indifferent. He makes a meer <i>Salamander</i> of his
+  <i>Hero</i>, and lets him declaim with too much of Length, Curiosity and Affectation, for one in
+  his Condition: He harangues it with great plenty of Points, and Sentences in the Fire, and lies
+  frying, and <span class="pagenum" id="page91">{91}</span>Philosophizing for near a hundred Lines
+  together. In fine, this Play is so injudiciously manag'd, that <i>Heinsius</i> is confident 'twas
+  written by neither of the <i>Seneca's</i>, but by some later Author of a lower <i>Class</i>. To
+  return to <i>Sophocle</i>'s <i>Trachini�</i>. <i>Hyllus</i> reproaches the Gods with Neglect,
+  because they gave <i>Hercules</i> no Assistance, and glances upon <i>Jupiter</i> himself.<span
+  class="leftmar"><i>Trach. p. 375.</i></span><sup class="handonly" id="ref187"><a
+  href="#side187">[187]</a></sup> This sally is not so thoroughly corrected as formerly. 'Tis true
+  the <i>Chorus</i> make some little satisfaction immediately after. They resolve all surprizes of
+  Misfortune, all Revolutions of States or Families, into the will and Permission of <i>Jupitur</i>.
+  This by implication, They make an argument for acquiescence. Besides, the Poet had laid in a sort
+  of caution against Misconstruction before. For the <i>Messenger</i> tells <i>Dejaneira</i> that we
+  ought not to Murmur at the Conduct of <i>Jupiter</i>.<span class="leftmar"><i>Trach. p.
+  340.</i></span><sup class="handonly" id="ref188"><a href="#side188">[188]</a></sup></p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<span title="Tou logou d' ou chr� Phthonon" class="fsn">&Tau;&omicron;&#x1FE6;
+    &lambda;&#x1F79;&gamma;&omicron;&upsilon; &delta;' &#x1F40;&upsilon; &chi;&rho;&#x1F74;
+    &Phi;&theta;&#x1F79;&nu;&omicron;&nu;</span></p>
+    <p><span title="Gonai proseinai Zeus hotou prakt�r
+    phan�." class="fsn">&Gamma;&#x1F79;&nu;&alpha;&iota;
+    &pi;&rho;&omicron;&sigma;&epsilon;&#x1FD6;&nu;&alpha;&iota; &Zeta;&epsilon;&#x1F7A;&sigmaf;
+    &#x1F45;&tau;&omicron;&upsilon; &pi;&rho;&#x1F71;&kappa;&tau;&omega;&rho;
+    &phi;&alpha;&nu;&#x1FC6;.</span></p>
+  </div>
+
+  <p>This for a Heathen is something tho' not enough, <i>Cleomenes</i>'s Rant seems an imitation of
+  <i>Hyllus</i>, Only 'tis bolder, and has nothing of the rashness of Youth to excuse it.<span
+  class="leftmar"><i>Cleom. p. 54.</i></span><sup class="handonly" id="ref189"><a
+  href="#side189">[189]</a></sup> Besides <i>Sophocles</i> throws in somewhat by way of
+  Preservative. <span class="pagenum" id="page92">{92}</span>Whereas in <i>Cleomenes</i> the Boy
+  <i>Cleonidas</i> has the better on the wrong side, and seems to carry the cause of Atheism against
+  his Father.<span class="leftmar"><i>Id. p. 55.</i></span><sup class="handonly" id="ref190"><a
+  href="#side190">[190]</a></sup> This <i>Scene</i> of a <i>Famine</i> Mr. <i>Dryden</i> calls a
+  Beauty; and yet Methinks <i>Cleora</i> is not very Charming! Her part is to tell you the Child
+  suck'd to no purpose.</p>
+
+  <div class="poem">
+    <p><i>It pull'd and pull'd but now but nothing came,</i></p>
+    <p><i>At last it drew so hard that the Blood follow'd.</i></p>
+    <p><i>And that Red Milk I found upon its Lips,</i></p>
+    <p><i>Which made me swoon for Fear.</i><span class="leftmar"><i>p. 54.</i></span><sup
+    class="handonly" id="ref191"><a href="#side191">[191]</a></sup></p>
+  </div>
+
+  <p>There's a Description of Sucking for you! And truly one would think the Muse on't were scarsely
+  wean'd. This Lady's fancy is just <i>Slip-Stocking-high</i>; and she seems to want Sense, more
+  than her Breakfast. If this Passage would not shine, the Poet should have let it alone. 'Tis
+  <i>Horace</i>'s advice.</p>
+
+  <div class="poem">
+    <p style="margin-left:6.30em">&mdash;&mdash;<i>et qu�</i></p>
+    <p><i>Desperes tractata nitescere posse relinquas.</i><span class="leftmar"><i>De Art.
+    Poet.</i></span><sup class="handonly" id="ref192"><a href="#side192">[192]</a></sup></p>
+  </div>
+
+  <p>The greatest part of the Life of this <i>Scene</i> is spent in impious Rants, and Atheistical
+  Disputes. To do the Author right, his <i>Characters</i> never want Spirits for such Service,
+  either full or Fasting. Some <span class="pagenum" id="page93">{93}</span>people love to say the
+  worst Things in the best manner; To perfume their Poysons, and give an Air to Deformity.</p>
+
+  <p>There is one ill Sentence in <i>Sophocles</i> behind. <i>Philoctetes</i> calls the Gods <span
+  title="Kakoi" class="fsn">&Kappa;&alpha;&kappa;&#x1F78;&iota;</span>, and Libells their
+  Administration.<span class="leftmar"><i>Philoct. 402.</i></span><sup class="handonly"
+  id="ref193"><a href="#side193">[193]</a></sup> This Officer we must understand was left upon a
+  Solitary Island, ill used by his Friends, and harrass'd with Poverty and Ulcers, for Ten years
+  together. These, under the Ignorance of Paganism, were trying Circumstances, and take off somewhat
+  of the Malignity of the Complaint. Afterwards He seems to repent,<span
+  class="leftmar"><i>419.</i></span><sup class="handonly" id="ref194"><a
+  href="#side194">[194]</a></sup> and declares his Assurance that the Gods will do Justice, and
+  prays frequently to them. The Conclusion of this Play is remarkably Moral. Here <i>Hercules</i>
+  appears in <i>Machine</i>; aquaints <i>Philoctetes</i> with his own glorious Condition; That his
+  Happiness was the Reward of Virtue, and the Purchase of Merit. He charges him to pay a due regard
+  to Religion; For Piety would recommend him to <i>Jupiter</i> more than any other Qualification. It
+  went into the other World with People and they found their Account in't both Living and Dead.<span
+  class="leftmar"><i>p. 431.</i></span><sup class="handonly" id="ref195"><a
+  href="#side195">[195]</a></sup></p>
+
+  <p>Upon the whole; The <i>Plays</i> of <i>�schylus</i> and <i>Sophocles</i> are formed upon Models
+  of Virtue: They joyn Innocence with <span class="pagenum" id="page94">{94}</span>Pleasure, and
+  design the Improvement, of the <i>Audience</i>.</p>
+
+  <p>In <i>Euripides's Bacch�, Pentheus</i> is pull'd in pieces for using <i>Bacchus</i> with
+  Disrespect. And the <i>Chorus</i> observes that God never fails to punish Impiety, and Contempt of
+  Religion.<span class="leftmar"><i>Act. 2.</i><br/>
+  <i>p. 295.</i></span><sup class="handonly" id="ref196"><a href="#side196">[196]</a></sup>
+  <i>Polyphemus</i> blusters Atheistically, and pretends to be as great as <i>Jupiter</i>: But then
+  his Eye is burnt out in the fifth Act.<sup class="handonly" id="ref197"><a
+  href="#side197">[197]</a></sup> And the <i>Chorus</i> in <i>Heraclid�</i> affirm it next to
+  Madness not to worship the Gods. I grant he has some profane Passages stand uncorrected, and what
+  wonder is it to see a <i>Pagan</i> Miscarry? <i>Seneca</i>, as he was inferiour in Judgment to the
+  <i>Greeks</i>, so he is more frequent, and uncautious, in his Flights of extravagance. His Hero's
+  and Heroines, are excessively bold with the Superior Beings. They rave to Distraction, and he does
+  not often call them to an account for't. 'Tis true <i>Ajax Oileus</i> is made an Example for
+  Blaspheming in a Storm. He is first struck with Thunder, and then carried to the Bottom.<span
+  class="leftmar"><i>Agam. Act. 3.</i></span><sup class="handonly" id="ref198"><a
+  href="#side198">[198]</a></sup> The Modern <i>Poets</i>, proceed upon the Liberties of
+  <i>Seneca</i>, Their Madmen are very seldom reckon'd with. They are profane without Censure, and
+  defie the <i>Living God</i> with success. Nay, in some respect they exceed even <i>Seneca</i>
+  himself. He flies out only under Impatience; And never falls into these Fits without <span
+  class="pagenum" id="page95">{95}</span>Torture, and hard Usage. But the <i>English Stage</i> are
+  unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But supposing the
+  <i>Theatres</i> of <i>Rome</i>, and <i>Athens</i> as bad as possible, what Defence is all This?
+  Can we argue from <i>Heathenism</i> to <i>Christianity</i>? How can the <i>practise</i> be the
+  same, where the <i>Rule</i> is so very different? Have we not a clearer Light to direct us, and
+  greater Punishments to make us afraid. Is there no Distinction between Truth and Fiction, between
+  Majesty and a Pageant? Must God be treated like an Idol, and the <i>Scriptures</i> banter'd like
+  <i>Homers Elysium</i>, and <i>Hesiods Theogonia</i>? Are these the Returns we make Him for his
+  Supernatural Assistance? For the more perfect Discovery of Himself, the stooping of his Greatness,
+  and the Wonders of his Love. Can't we refuse the Happiness without affronting the Offer? Must we
+  add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no Diversion without Insulting
+  the God that made us, the Goodness that would save us, and the Power that can damn us? Let us not
+  flatter our selves, <i>Words</i> won't go for Nothing. Profaness is a most Provoking Contempt, and
+  a Crime of the deepest dye. To break through the Laws of a Kingdom is bad <span class="pagenum"
+  id="page96">{96}</span>enough; But to make <i>Ballads</i> upon the <i>Statute-Book</i>, and a Jest
+  of Authority, is much worse. Atheists may fancy what they please, but God will <i>Arise and
+  Maintain his own Cause</i>, and Vindicate his Honour in due time.</p>
+
+  <p class="sp5">To conclude. Profaness tho' never so well corrected is not to be endured. It ought
+  to be Banish'd without <i>Proviso</i>, or Limitation. No pretence of <i>Character</i> or
+  Punishment, can excuse it; or any <i>Stage-Discipline</i> make it tolerable. 'Tis grating to
+  <i>Christian</i> Ears, dishonourable to the Majesty of God, and dangerous in the Example. And in a
+  Word, It tends to no point, unless it be to wear off the horrour of the Practise, to weaken the
+  force of Conscience, and teach the Language of the Damn'd.</p>
+
+  <div><span class="pagenum" id="page97">{97}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  III.</span></h1>
+
+  <h2 class="sp3"><i>The Clergy abused by the</i> Stage.</h2>
+
+  <p>The Satyr of the <i>Stage</i> upon the <i>Clergy</i> is extreamly Particular. In other cases,
+  They level at a single Mark, and confine themselves to Persons. But here their Buffoonry takes an
+  unusual Compass; They shoot Chain'd-shot, and strike at Universals. They play upon the
+  <i>Character</i>, and endeavour to expose not only the Men, but the Business. 'Tis true, the
+  Clergy are no small Rub in the <i>Poets</i> way. 'Tis by their Ministrations that Religion is
+  perpetuated, the other World Refresh'd, and the Interest of Virtue kept up. Vice will never have
+  an unlimited Range, nor Conscience be totally subdued, as long as People are so easy as to be
+  Priest-ridden! As long as these Men are look'd on as the Messengers of Heaven, and the Supports of
+  Government, and enjoy their old Pretentions in Credit and Authority; as long as this Grievance
+  continues, the <i>Stage</i> must decline of Course, and Atheism give Ground, and Lewdness lie
+  under Censure, <span class="pagenum" id="page98">{98}</span>and Discouragment. Therefore that
+  Liberty may not be embarrass'd, nor Principles make Head against Pleasure, the <i>Clergy</i> must
+  be attack'd, and rendred Ridiculous.</p>
+
+  <p>To represent a Person fairly and without disservice to his Reputation, two Things are to be
+  observ'd. First He must not be ill used by others: Nor Secondly be made to Play the Fool Himself.
+  This latter way of Abuse is rather the worst, because here a Man is a sort of <i>Felo de se</i>;
+  and appears Ridiculous by his own fault. The Contradiction of both these Methods is practised by
+  the <i>Stage</i>. To make sure work on't, they leave no stone unturn'd, The whole <i>Common
+  place</i> of Rudeness is run through. They strain their Invention and their Malice: And overlook
+  nothing in ill Nature, or ill Manners, to gain their point.</p>
+
+  <p>To give some Instances of their Civility! In the <i>Spanish Fryer, Dominick</i> is made a Pimp
+  for <i>Lorenzo</i>;<span class="leftmar"><i>20.</i></span><sup class="handonly" id="ref199"><a
+  href="#side199">[199]</a></sup> He is call'd <i>a parcel of Holy Guts and Garbage</i>, and said
+  <i>to have room in his Belly for his Church steeple</i>.</p>
+
+  <p><i>Dominick</i> has a great many of these Compliments bestow'd upon him. And to make the
+  Railing more effectual, you have a general stroke or two upon the Profession. Would you know what
+  are the <span class="pagenum" id="page99">{99}</span><i>Infallible Church Remedies</i>. Why 'tis
+  to <i>Lie Impudently</i>, and <i>Swear Devoutly</i>.<span class="leftmar"><i>p. 37.</i></span><sup
+  class="handonly" id="ref200"><a href="#side200">[200]</a></sup> A little before this
+  <i>Dominick</i> Counterfits himself sick, retires, and leaves <i>Lorenzo</i> and <i>Elvira</i>
+  together; And then the Remark upon the Intrigue follows. 'You see Madam (says <i>Lorenzo</i>)<span
+  class="leftmar"><i>p. 23.</i></span><sup class="handonly" id="ref201"><a
+  href="#side201">[201]</a></sup> 'tis Interest governs all the World. He Preaches against Sin, why?
+  Because he gets by't: He holds his Tongue; why? because so much more is bidden for his Silence.
+  'Tis but giving a Man his Price, and Principles of <i>Church</i> are bought off as easily as they
+  are in <i>State</i>: No man will be a Rogue for nothing; but Compensation must be made, so much
+  Gold for so much Honesty; and then a Church-man will break the Rules of Chess. For the Black
+  Bishop, will skip into the White, and the White into the Black, without Considering whether the
+  remove be Lawful.</p>
+
+  <p>At last <i>Dominick</i> is discover'd to the Company, makes a dishonourable <i>Exit</i>, and is
+  push'd off the <i>Stage</i> by the Rabble. This is great Justice! The Poet takes care to make him
+  first a Knave, and then an Example: But his hand is not even. For Lewd <i>Lorenzo</i> comes off
+  with <i>Flying Colours</i>. 'Tis not the Fault which is corrected but <span class="pagenum"
+  id="page100">{100}</span>the Priest. The Authors Discipline is seldom without a Biass. He commonly
+  gives the <i>Laity</i> the Pleasure of an ill Action, and the <i>Clergy</i> the Punishment.</p>
+
+  <p>To proceed. <i>Horner</i> in his general Remarks upon Men, delivers it as a sort of Maxim,
+  <i>that your Church-man is the greatest Atheist</i>. In this Play <i>Harcourt</i> puts on the
+  Habit of a Divine.<span class="leftmar"><i>Country Wife p. 6.</i></span><sup class="handonly"
+  id="ref202"><a href="#side202">[202]</a></sup> <i>Alithea</i> does not think him what he appears;
+  but <i>Sparkish</i> who could not see so far, endeavours to divert her Suspicion. <i>I tell you
+  (says he) this is Ned</i> Harcourt <i>of</i> Cambridge, <i>you see he has a sneaking Colledge
+  look</i>.<span class="leftmar"><i>p. 35.</i></span><sup class="handonly" id="ref203"><a
+  href="#side203">[203]</a></sup> Afterwards his Character is sufficiently abused by <i>Sparkish</i>
+  and <i>Lucy</i>; but not so much as by Himself.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref204"><a href="#side204">[204]</a></sup> He tells you in an <i>Aside</i>
+  <i>he must suit his Stile to his Coat</i>. Upon this wise Recollection, He talks like a servile,
+  impertinent Fop,</p>
+
+  <p>In the <i>Orphan</i>, The Young Soldier <i>Chamont</i> calls the Chaplain Sr. <i>Gravity</i>,
+  and treats him with the Language of <i>Thee</i>, and <i>Thou</i>. The Chaplain instead of
+  returning the Contempt; Flatters <i>Chamont</i> in his Folly, and pays a Respect to his Pride. The
+  Cavalier encouraged I suppose by this Sneaking, proceeds to all the Excesses of Rudeness,</p>
+
+  <div><span class="pagenum" id="page101">{101}</span></div>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>is there not one</i></p>
+    <p><i>Of all thy Tribe that's Honest in your School?</i></p>
+    <p><i>The Pride of your Superiours makes ye Slaves:</i></p>
+    <p><i>Ye all live Loathsome, Sneaking, Servile lives:</i></p>
+    <p><i>Not free enough to Practise generous Truth,</i></p>
+    <p><i>'Tho ye pretend to teach it to the World.</i><span class="leftmar"><i>p.
+    25.</i></span><sup class="handonly" id="ref205"><a href="#side205">[205]</a></sup></p>
+  </div>
+
+  <p>After a little Pause for Breath, the Railing improves.</p>
+
+  <div class="poem">
+    <p><i>If thou wouldst have me not contemn thy Office,</i></p>
+    <p><i>And Character, think all thy Brethren Knaves,</i></p>
+    <p><i>Thy Trade a Cheat, and thou its worst Professour</i></p>
+    <p><i>Inform me; for I tell thee Priest I'le know.</i><span class="leftmar"><i>p.
+    26.</i></span><sup class="handonly" id="ref206"><a href="#side206">[206]</a></sup></p>
+  </div>
+
+  <p>The Bottom of the Page is down-right Porters Rhetorick.</p>
+
+  <div class="poem">
+    <p><i>Art thou then</i></p>
+    <p><i>So far concern'd in't?&mdash;&mdash;</i></p>
+    <p><i>Curse on that formal steady Villains Face!</i></p>
+    <p><i>Just so do all Bawds look; Nay Bawds they say;</i></p>
+    <p><i>Can Pray upon Occasion; talk of Heaven;</i></p>
+    <p><i>Turn up their Gogling Eye-balls, rail at Vice;</i></p>
+    <p><i>Dissemble, Lye, and Preach like any Priest,</i></p>
+    <p><i>Art thou a Bawd?</i><span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+    id="ref207"><a href="#side207">[207]</a></sup></p>
+  </div>
+
+  <p>The <i>Old Batchelour</i> has a Throw at the <i>Dissenting Ministers</i>. The <i>Pimp
+  Setter</i> <span class="pagenum" id="page102">{102}</span>provides their Habit for <i>Bellmour</i>
+  to Debauch <i>L�titia</i>. The Dialogue runs thus.</p>
+
+  <p>Bell. <i>And hast thou Provided Necessaries?</i></p>
+
+  <p>Setter. <i>All, all Sir, the large Sanctified Hat, and the little precise Band, with a
+  Swingeing long Spiritual Cloak, to cover Carnal Knavery,&mdash;not forgetting the black Patch
+  which Tribulation</i> Spintext <i>wears as I'm inform'd upon one Eye, as a penal Mourning for
+  the&mdash;&mdash;Offences of his Youth</i> &amp;c.<span class="leftmar"><i>Old Batch. p. 19,
+  20.</i></span><sup class="handonly" id="ref208"><a href="#side208">[208]</a></sup></p>
+
+  <p><i>Barnaby</i> calls another of that Character Mr. <i>Prig</i>, and <i>Fondlewife</i> carrys on
+  the Humour lewdly in <i>Play-house Cant</i>; And to hook the <i>Church</i> of <i>England</i> into
+  the Abuse, he tacks a <i>Chaplain</i> to the End of the Description.<span class="leftmar"><i>p.
+  27.</i></span><sup class="handonly" id="ref209"><a href="#side209">[209]</a></sup></p>
+
+  <p><i>Lucy</i> gives an other Proof of the <i>Poets</i> good Will, but all little Scurilities are
+  not worth repeating.<span class="leftmar"><i>p. 41.</i></span><sup class="handonly" id="ref210"><a
+  href="#side210">[210]</a></sup></p>
+
+  <p>In the <i>Double Dealer</i> the discourse between <i>Maskwell</i> and <i>Saygrace</i> is very
+  notable. <i>Maskwell</i> had a design to cheat <i>Mellifont</i> of his Mistress, and engages the
+  Chaplain in the Intrigue: There must be a <i>Levite</i> in the cafe; <i>For without one of them
+  have a finger in't, no Plot publick, or private, can expect to prosper</i>.<span
+  class="leftmar"><i>p. 71.</i></span><sup class="handonly" id="ref211"><a
+  href="#side211">[211]</a></sup></p>
+
+  <p>To go on in the order of the <i>Play</i>.</p>
+
+  <p><i>Maskwell</i> calls out at <i>Saygraces door</i>, Mr. <i>Saygrace</i> Mr.
+  <i>Saygrace</i>.</p>
+
+  <p>The other answers, <i>Sweet sir I will but <span class="pagenum" id="page103">{103}</span>pen
+  the last line of an Acrostick, and be with you in the twingling of an Ejaculation, in the
+  pronouncing of an</i> Amen. <i>&amp;c.</i></p>
+
+  <p>Mask. <i>Nay good Mr.</i> Saygrace <i>do not prolong the time</i>, &amp;c.</p>
+
+  <p>Saygrace. <i>You shall prevail, I would break off in the middle of a Sermon to do you
+  Pleasure.</i></p>
+
+  <p>Mask. <i>You could not do me a greater&mdash;&mdash;except&mdash;&mdash;the business in
+  hand&mdash;&mdash;have you provided a Habit for Mellifont?</i></p>
+
+  <p>Saygr. <i>I have</i>, &amp;c.</p>
+
+  <p>Mask. <i>have you stich'd the Gownsleeve, that he may be puzled and wast time in putting it
+  on?</i></p>
+
+  <p>Saygr. <i>I have; the Gown will not be indued without Perplexity.</i> There is a little more
+  profane, and abusive stuff behind, but let that pass.</p>
+
+  <p>The Author of <i>Don Sebastian</i> strikes at the <i>Bishops</i> through the sides of the
+  <i>Mufti</i>, and borrows the Name of the <i>Turk</i>, to make the <i>Christian</i> ridiculous. He
+  knows the transition from one Religion to the other is natural, the Application easy, and the
+  Audience but too well prepar'd. And should they be at a loss he has elsewhere given them a
+  <i>Key</i> to understand him.</p>
+
+  <div class="poem">
+    <p><i>For Priests of all Religions are the same.</i><span class="leftmar"><i>Absal. and
+    Achi.</i></span><sup class="handonly" id="ref212"><a href="#side212">[212]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page104">{104}</span></div>
+
+  <p>However that the Sense may be perfectly intelligible, he makes the Invective General, changes
+  the Language, and rails in the stile of Christendom.</p>
+
+  <p><i>Benducar</i> speaks,</p>
+
+  <div class="poem">
+    <p>&mdash;&mdash;<i>Churchmen tho' they itch to govern all,</i></p>
+    <p><i>Are silly, woful, awkard Polititians,</i></p>
+    <p><i>They make lame Mischief tho' they mean it well.</i></p>
+  </div>
+
+  <p>So much the better, for 'tis a sign they are not beaten to the Trade. The next Lines are an
+  Illustration taken from a <i>Taylor</i>.</p>
+
+  <div class="poem">
+    <p><i>Their Intrest is not finely drawn and hid,</i></p>
+    <p><i>But seams are coarsly bungled up and seen.</i><span class="leftmar">p. 24.</span><sup
+    class="handonly" id="ref213"><a href="#side213">[213]</a></sup></p>
+  </div>
+
+  <p>This <i>Benducar</i> was a rare Spokesman for a first <i>Minister</i>; And would have fitted
+  <i>John</i> of <i>Leyden</i> most exactly!</p>
+
+  <p>In the Fourth <i>Act</i> the Mufti is <i>Depos'd</i> and <i>Captain Tom</i> reads him a shrewd
+  Lecture at parting. But let that pass:</p>
+
+  <p>To go on, <i>Mustapha</i> threatens his great Patriark to put him to the Rack. Now you shall
+  hear what an answer of Fortitude and Discretion is made for the <i>Mufti</i>.</p>
+
+  <p>Mufti. <i>I hope you will not be so barbarous to torture me. We may Preach Suffering to others,
+  but alas holy Flesh is too well pamper'd <span class="pagenum" id="page105">{105}</span>to endure
+  Martyrdom.</i><span class="leftmar"><i>p. 96.</i></span><sup class="handonly" id="ref214"><a
+  href="#side214">[214]</a></sup> By the way, if flinching from <i>Suffering</i> is a proof of
+  <i>Holy Flesh</i>, the <i>Poet</i> is much a Saint in his Constitution, witness his
+  <i>Dedication</i> of <i>King Arthur</i>.</p>
+
+  <p>In <i>Cleomenes, Cassandra</i> rails against Religion at the Altar, and in the midst of a
+  publick Solemnity.</p>
+
+  <div class="poem">
+    <p><i>Accurs'd be thou Grass-eating fodderd God!</i></p>
+    <p><i>Accurs'd thy Temple! more accurs'd thy Priests!</i><span class="leftmar"><i>p.
+    32.</i></span><sup class="handonly" id="ref215"><a href="#side215">[215]</a></sup></p>
+  </div>
+
+  <p>She goes on in a mighty Huff, and charges the Gods and Priesthood with Confederacy, and
+  Imposture, This Rant is very unlikely at <i>Alexandria</i>. No People are more bigotted in their
+  Superstition than the <i>�gyptians</i>; Nor any more resenting of such an Affront. This Satyr then
+  must be strangely out of Fashion, and probability. No matter for that; it may work by way of
+  Inference, and be serviceable at Home. And 'tis a handsom Compliment to Libertines and
+  Atheists.</p>
+
+  <p>We have much such another swaggering against Priests in <i>Oedipus</i>.</p>
+
+  <div class="poem">
+    <p><i>Why seek I Truth from thee?</i></p>
+    <p><i>The smiles of Courtiers and the Harlots tears,</i></p>
+    <p><i>The Tradesmens Oaths, and Mourning of an Heir,</i></p>
+    <p><i>Are Truths to what Priests tell.</i></p>
+    <p><i>O why has Priesthood privilege to Lie,</i></p>
+    <p><i>And yet to be believ'd!</i><span class="leftmar"><i>Oedip. p. 38.</i></span><sup
+    class="handonly" id="ref216"><a href="#side216">[216]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page106">{106}</span></div>
+
+  <p>And since They are thus Lively, I have one word or two to say to the <i>Play</i>.</p>
+
+  <p>When <i>�geon</i> brought the News of King <i>Polybus</i>'s Death, <i>Oedipus</i> was
+  wonderfully surpriz'd at the Relation.</p>
+
+  <div class="poem">
+    <p><i>O all ye Powers is't possible? what, Dead!</i><span class="leftmar"><i>p.
+    43.</i></span><sup class="handonly" id="ref217"><a href="#side217">[217]</a></sup></p>
+  </div>
+
+  <p>And why not? was the Man invulnerable or immortal? Nothing of that: He was only Fourscore and
+  Ten years old, that was his main security. And if you will believe the Poet he</p>
+
+  <div class="poem">
+    <p><i>Fell like Autumn Fruit that mellow'd long,</i></p>
+    <p><i>Ev'n wondred at because he dropt no sooner.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref218"><a
+    href="#side218">[218]</a></sup></p>
+  </div>
+
+  <p>And which is more, <i>Oedipus</i> must be acquainted with his Age, having spent the greatest
+  part of his time with him at <i>Corinth</i>. So that in short, the pith of the Story lies in this
+  Circumstance. A Prince of Ninety years was dead, and one who was wondred at for dying no sooner.
+  And now why so much Exclamation upon this occasion? Why must all the <i>Powers</i> in Being be
+  Summon'd in to make the News <span class="pagenum" id="page107">{107}</span>Credible? This
+  <i>Posse</i> of <i>Interjections</i> would have been more seasonably raised if the Man had been
+  alive; for that by the Poets Confession had been much the stranger Thing. However <i>Oedipus</i>
+  is almost out of his Wits about the Matter, and is Urgent for an account of Particulars.</p>
+
+  <div class="poem">
+    <p><i>That so the Tempest of my joys may rise</i></p>
+    <p><i>By just degrees, and hit at last the Stars.</i><span
+    class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref219"><a
+    href="#side219">[219]</a></sup></p>
+  </div>
+
+  <p>This is an empty ill proportion'd Rant, and without warrant in Nature or Antiquity.
+  <i>Sophocles</i> does not represent <i>Oedipus</i>. in such Raptures of Extravagant surprize. In
+  the next page there's another Flight about <i>Polybus</i> his Death somewhat like This. It begins
+  with a <i>Noverint Universi.</i> You would think <i>Oedipus</i> was going to make a
+  <i>Bond</i>.</p>
+
+  <div class="poem">
+    <p><i>Know, be it known to the limits of the World</i>;</p>
+  </div>
+
+  <p>This is scarce Sence, be it known.</p>
+
+  <div class="poem">
+    <p><i>Yet farther, let it pass yon dazling roof</i></p>
+    <p><i>The Mansion of the Gods, and strike them deaf</i></p>
+    <p><i>With Everlasting peals of Thundring joy.</i></p>
+  </div>
+
+  <p>This Fustian puts me in mind of a <i>Couplet</i> of <i>Taylors</i> the <i>Water</i> Poet, which
+  for <span class="pagenum" id="page108">{108}</span>the Beauty of the Thought are not very
+  unlike.</p>
+
+  <div class="poem">
+    <p><i>What if A Humble Bee should chance to strike,</i></p>
+    <p><i>With the But-End of an <span class="correction"
+    title="Original reads 'Antarkick', corrected by
+    Errata">Antartick</span> Pole.</i></p>
+  </div>
+
+  <p>I grant Mr. <i>Dryden</i> clears himself of this <i>Act</i> in his <i>Vindication</i> of the
+  <i>Duke</i> of <i>Guise</i>. But then why did he let these crude Fancies pass uncorrected in his
+  Friend? Such fluttering ungovern'd Transports, are fitter for a Boys <i>Declamation</i> then a
+  <i>Tragedy</i>. But I shall trouble my self no farther with this <i>Play</i>. To return therefore
+  to the Argument in Hand. In the <i>Provok'd Wife</i> Sir <i>John Brute</i> puts on the Habit of a
+  Clergyman, counterfeits himself drunk; quarrels with the <i>Constable</i>, and is knock'd down and
+  seiz'd. He rails, swears, curses, is lewd and profane, to all the Heights of Madness and
+  Debauchery: The <i>Officers</i> and <i>Justice</i> break jests upon him, and make him a sort of
+  Representative of his <i>Order</i>.<span class="leftmar"><i>Provok'd Wife. p. 45, 46, 52,
+  52.</i></span><sup class="handonly" id="ref220"><a href="#side220">[220]</a></sup></p>
+
+  <p>This is rare <i>Protestant</i> Diversion, and very much for the Credit of the
+  <i>Reformation</i>! The Church of <i>England</i>, I mean the Men of Her, is the only Communion in
+  the World, that will endure such Insolences as these: The <i>Relapse</i> is if possible more
+  singularly abusive. <i>Bull</i> the Chaplain <span class="pagenum" id="page109">{109}</span>wishes
+  the Married couple joy, in Language horribly Smutty and Profane.<span class="leftmar"><i>Relapse.
+  p. 74.</i></span><sup class="handonly" id="ref221"><a href="#side221">[221]</a></sup> To
+  transcribe it would blot the Paper to much. In the next <i>Page</i> <i>Young Fashion</i> desires
+  <i>Bull</i> to make hast to Sr. <i>Tun-belly</i>. He answers very decently, <i>I fly my good
+  Lord</i>.<span class="leftmar"><i>p. 75.</i></span><sup class="handonly" id="ref222"><a
+  href="#side222">[222]</a></sup> At the end of this <i>Act Bull</i> speaks to the Case of
+  <i>Bigamy</i>, and determines it thus. <i>I do confess to take two Husbands for the Satisfaction
+  of &mdash;&mdash; is to commit the Sin of Exorbitancy, but to do it for the peace of the Spirit,
+  is no more then to be Drunk by way of Physick; besides to prevent a Parents wrath is to avoid the
+  Sin of Disobedience, for when the Parent is Angry, the Child is froward</i>: The Conclusion is
+  insolently Profane, and let it lie: The spirit of this Thought is borrow'd from Ben
+  <i>Johnsons</i> <i>Bartholomew-Fair</i>, only the Profaness is mightily improved, and the Abuse
+  thrown off the <i>Meeting House</i>, upon the <i>Church</i>. The Wit of the <i>Parents being
+  angry</i>, and the <i>Child froward</i>, is all his own.<span class="leftmar"><i>p.
+  86.</i></span><sup class="handonly" id="ref223"><a href="#side223">[223]</a></sup> <i>Bull</i> has
+  more of this Heavy stuff upon his Hands. He tells <i>Young Fashion</i> <i>Your Worships goodness
+  is unspeakable, yet there is one thing seems a point of Conscience; And Conscience is a tender
+  Babe</i>. &amp;c.<span class="leftmar"><i>p. 97.</i></span><sup class="handonly" id="ref224"><a
+  href="#side224">[224]</a></sup></p>
+
+  <p>These <i>Poets</i> I observe when They grow lazy, and are inclined to Nonsence, they commonly
+  get a Clergy-man to speak it. <span class="pagenum" id="page110">{110}</span>Thus they pass their
+  own Dulness for Humour, and gratifie their Ease, and their Malice at once. <i>Coupler</i>
+  instructs <i>Young Fashion</i> which way <i>Bull</i> was to be managed. He tells him as
+  <i>Chaplains go now, he must be brib'd high, he wants Money, Preferment, Wine, and a Whore. Let
+  this be procured for him, and I'll warrant thee he speaks Truth like an Oracle</i>.<span
+  class="leftmar"><i>89.</i></span><sup class="handonly" id="ref225"><a
+  href="#side225">[225]</a></sup></p>
+
+  <p>A few Lines forward, the Rudeness is still more gross, and dash'd with Smut, the common
+  <i>Play-house</i> Ingredient. 'Tis not long before <i>Coupler</i> falls into his old Civilities.
+  He tells <i>Young Fashion, Last Night the Devil run away with the Parson of</i> Fatgoose
+  <i>Living</i>.<span class="leftmar"><i>p. 94.</i></span><sup class="handonly" id="ref226"><a
+  href="#side226">[226]</a></sup> Afterwards <i>Bull</i> is plentifully rail'd on in down right
+  <i>Billings-gate</i>: made to appear Silly, Servile, and Profane; and treated both in Posture and
+  Language, with the utmost Contempt.<span class="leftmar"><i>p. 95, 97, 105.</i></span><sup
+  class="handonly" id="ref227"><a href="#side227">[227]</a></sup></p>
+
+  <p>I could cite more <i>Plays</i> to this purpose; But these are sufficient to show the Temper of
+  the <i>Stage</i>.</p>
+
+  <p>Thus we see how hearty these People are in their Ill Will! How they attack Religion under every
+  Form, and pursue the Priesthood through all the Subdivisions of Opinion. Neither <i>Jews</i> nor
+  <i>Heathens, Turks</i> nor <i>Christians</i>, <i>Rome</i> nor <i>Geneva</i>, <i>Church</i> nor
+  <i>Conventicle</i>, can <span class="pagenum" id="page111">{111}</span>escape them. They are
+  afraid least Virtue should have any Quarters undisturbed, Conscience any Corner to retire to, or
+  God be Worship'd in any Place. 'Tis true their Force seldom carries up to their Malice: They are
+  too eager in the Combat to be happy in the the Execution. The Abuse is often both gross and
+  clumsey, and the Wit as wretched as the Manners. Nay Talking won't always satisfy them. They must
+  ridicule the <i>Habit</i> as well as the Function, of the Clergy. 'Tis not enough for them to play
+  the Fool unless they do it in <i>Pontificalibus</i>. The Farce must be play'd in a Religious
+  Figure, and under the Distinctions of their Office! Thus the Abuse strikes stronger upon the
+  sense; The contempt is better spread, and the little <i>Idea</i> is apt to return upon the same
+  Appearance.</p>
+
+  <p>And now does this Rudeness go upon any Authorities? Was the Priesthood alwaies thought thus
+  insignificant, and do the Antient Poets palt it in this Manner? This Point shall be tried, I shall
+  run through the most considerable Authors that the Reader may see how they treat the Argument.
+  <i>Homer</i> stands highest upon the Roll, and is the first Poet both in Time, and Quality; I
+  shall therefore begin with him. Tis true he wrote no <span class="pagenum"
+  id="page112">{112}</span><i>Plays</i>; but for Decency, Practise, and general Opinion, his
+  Judgment may well be taken, Let us see then how the <i>Priests</i> are treated in his <i>Poem</i>,
+  and what sort of Rank they hold.</p>
+
+  <p><i>Chryses Apollo</i>'s Priest appears at a Council of War with his Crown and guilt Scepter. He
+  offers a valuable Ransom for his Daughter; and presses his Relation to <i>Apollo</i>. All the Army
+  excepting <i>Agamemnon</i> are willing to consider his Character, and comply with his Proposals.
+  But this <i>General</i> refuses to part with the Lady, and sends away her Father with disrespect.
+  <i>Apollo</i> thought himself affronted with this Usage, and revenges the Indignity in a
+  Plague.</p>
+
+  <div class="poem">
+    <p><span title="Houneka ton Chrys�n �tim�s' ar�t�ra"
+    class="fsn">&omicron;&#x1F55;&nu;&epsilon;&kappa;&alpha; &tau;&#x1F78;&nu;
+    &Chi;&rho;&#x1F7B;&sigma;&eta;&nu; &#x1F20;&tau;&#x1F77;&mu;&eta;&sigma;'
+    &#x1F00;&rho;&eta;&tau;&#x1FC6;&rho;&alpha;</span><span class="leftmar">Hom. <i>Il. <span
+    title="a" class="fsn">&alpha;</span>. p. 3. &amp; dein.<br/>
+    Ed. Screvel.</i></span><sup class="handonly" id="ref228"><a href="#side228">[228]</a></sup></p>
+    <p><span title="Atreid�s." class="fsn">&#x1F08;&tau;&rho;&epsilon;&#x1F77;&delta;&eta;&sigmaf;.</span></p>
+  </div>
+
+  <p><i>Adrastus</i> and <i>Amphius</i> the Sons of <i>Merops</i> a <i>Prophet</i>, commanded a
+  considerable extent of Country in <i>Troas</i>,<span class="leftmar"><i>Il. B. p. 91.</i><br/>
+  <i>Ibid. p. 92.</i></span><sup class="handonly" id="ref229"><a href="#side229">[229]</a></sup> and
+  brought a Body of Men to King <i>Priam's</i> Assistance.<sup class="handonly" id="ref230"><a
+  href="#side230">[230]</a></sup> And <i>Ennomus</i> the Augur commanded the Troops of <i>Mysia</i>
+  for the Besieged.</p>
+
+  <p><i>Phegeus</i> and <i>Id�us</i> were the Sons of <i>Dares</i> the Priest of <i>Vulcan</i>.<span
+  class="leftmar"><i>Il. E. p. 154, 155.</i></span><sup class="handonly" id="ref231"><a
+  href="#side231">[231]</a></sup> They appear in an Equipage of Quality, and charge <i>Diomedes</i>
+  the third Hero in the <i>Grecian</i> <span class="pagenum" id="page113">{113}</span>Army.
+  <i>Id�us</i> after the Misfortune of the Combat, is brought off by <i>Vulcan</i>. <i>Dolopion</i>
+  was <i>Priest</i> to <i>Scamander</i>,<span class="leftmar"><i>Il. E. p. 154, 155.</i></span><sup
+  class="handonly" id="ref232"><a href="#side232">[232]</a></sup> and regarded like the God he
+  <i>Belong'd</i> to,</p>
+
+  <div class="poem">
+    <p><span title="Theos d' h�s tieto d�m�." class="fsn">&Theta;&epsilon;&#x1F78;&sigmaf; &delta;'
+    &#x1F65;&sigmaf; &tau;&#x1F77;&epsilon;&tau;&omicron; &delta;&#x1F75;&mu;&omega;.</span><span
+    class="leftmar"><i>Ibid. p. 158.</i></span><sup class="handonly" id="ref233"><a
+    href="#side233">[233]</a></sup></p>
+  </div>
+
+  <p><i>Ulisses</i> in his return from <i>Troy</i>, took <i>Ismarus</i> by Storm, and makes Prize of
+  the whole Town, excepting <i>Maron</i>, and his Family. This <i>Maron</i> was <i>Apollo's
+  Priest</i>, and preserv'd out of respect to his Function: He presents <i>Ulisses</i> nobly in
+  Gold, Plate, and Wine; And this Hero makes an honourable Mention of him, both as to his Quality,
+  and way of Living.<span class="leftmar"><i>Odyss. I p. 174, 181.</i></span><sup class="handonly"
+  id="ref234"><a href="#side234">[234]</a></sup></p>
+
+  <p>These are all the <i>Priests</i> I find Mentioned in <i>Homer</i>; And we see how fairly the
+  Poet treats them, and what sort of Figure they made in the World.</p>
+
+  <p>To the Testimony of <i>Homer</i>, I shall joyn that of <i>Virgil</i>, who tho' He follows at a
+  great distance of Time, was an Author of the first Rank, and wrote the same kind of Poetry with
+  the other. Now <i>Virgil</i> tho' he is very extraordinary in his Genius, in the Compass of his
+  Learning, in the Musick and Majesty of his Stile; yet the exactness of his Judgment seems to be
+  his peculiar, and most distinguishing Talent. He had the truest <span class="pagenum"
+  id="page114">{114}</span>Relish imaginable, and always described Things according to
+  <i>Nature</i>, <i>Custom</i>, and <i>Decency</i>. He wrote with the greatest Command of
+  <i>Temper</i>, and <i>Superiority</i> of good <i>Sense</i>. He is never lost in smoak and Rapture,
+  nor overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at the same time. Now
+  this great Master of Propriety never Mentions any <i>Priests</i> without some <i>Marks</i> of
+  <i>Advantage</i>. To give some Instances as they lie in Order.</p>
+
+  <p>When the <i>Trojans</i> were consulting what was to be done with the <i>Wooden-Horse</i>, and
+  some were for lodging it within the Walls; <i>Laocoon</i> appears against this Opinion at the Head
+  of a numerous Party, harangues with a great deal of Sense, and Resolution, and examines the
+  <i>Machine</i> with his Lance. In fine, He advised so well, and went so far in the Discovery of
+  the Stratagem; that if the <i>Trojans</i> had not been ungovernable, and as it were stupified by
+  Fate and Folly, he had saved the Town.<span class="leftmar"><i>�nid. 2.</i></span><sup
+  class="handonly" id="ref235"><a href="#side235">[235]</a></sup></p>
+
+  <div class="poem">
+    <p><i>Trojaque nunc stares Priamique arx alta maneres</i>.</p>
+  </div>
+
+  <p>This <i>Laocoon</i> was <i>Neptunes</i> Priest, and either Son to <i>Priam</i>, or Brother to
+  <span class="pagenum" id="page115">{115}</span><i>Anchises</i>, who was of the Royal Family.<span
+  class="leftmar"><i>Ruaus. in Loc.</i></span><sup class="handonly" id="ref236"><a
+  href="#side236">[236]</a></sup> The next we meet with is <i>Pantheus Apollo's</i> Priest. He is
+  call'd <i>Pantheus Otriades</i>, which is an argument his Father was well known. His acquaintance
+  with <i>�neas</i> to whose House he was carrying his little Grandson, argues him to be a Person of
+  Condition.<span class="leftmar"><i>�neid 2.</i></span><sup class="handonly" id="ref237"><a
+  href="#side237">[237]</a></sup> <i>Pantheus</i> after a short relation of the Posture of Affairs,
+  joyns <i>�neas</i>'s little Handful of Men, charges in with him when the Town was seiz'd, and
+  fired, and at last dies Handsomly in the Action.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref238"><a href="#side238">[238]</a></sup></p>
+
+  <p>The next is <i>Anius</i> King of <i>Delos</i>, Prince and <i>Priest</i> in one Person.</p>
+
+  <div class="poem">
+    <p><i>Rex Anius, rex idem hominum Ph&#x0153;bique Sacerdos.</i><span class="leftmar"><i>�neid.
+    3.</i></span><sup class="handonly" id="ref239"><a href="#side239">[239]</a></sup></p>
+  </div>
+
+  <p>When <i>�neas</i> was outed at <i>Troy</i>, and in quest of a new Country, he came to an Anchor
+  at <i>Delos</i>; <i>Anius</i> meets him in a Religious Habit, receives him civilly, and obliges
+  him with his <i>Oracle</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref240"><a href="#side240">[240]</a></sup> In the Book now Mention'd we have another of
+  <i>Apollo's</i> Priests, his name is <i>Helenus</i>, Son of <i>Priam</i> and King of
+  <i>Chaonia</i>. He entertains <i>�neas</i> with a great deal of Friendship, and Magnificence,
+  gives him many material Directions, and makes him a rich Present at parting. To this Prince if you
+  <span class="pagenum" id="page116">{116}</span>Please we may joyn a Princess of the same
+  Profession; and that is <i>Rhea Silvia</i> Daughter to <i>Numitor</i> King of <i>Alba</i>, and
+  Mother to <i>Romulus</i>, and <i>Remus</i>. This Lady <i>Virgil</i> calls&mdash;&mdash;<i>regina
+  Sacerdos</i> a Royal Priestess.<span class="leftmar"><i>�nead. 1st.</i></span><sup
+  class="handonly" id="ref241"><a href="#side241">[241]</a></sup> Farther. When <i>�neas</i> made a
+  Visit upon Business to the <i>shades Below</i>, He had for his Guide, the famous <i>Sibylla
+  Cum�a</i>, who Belong'd to <i>Apollo</i>.<span class="leftmar"><i>�n. 6.</i></span><sup
+  class="handonly" id="ref242"><a href="#side242">[242]</a></sup> When he came thither amongst the
+  rest of his Acquantance he saw <i>Polyb�tes</i> a Priest of <i>Ceres</i>. This <i>Polyb�tes</i> is
+  mention'd with the three Sons of <i>Antenor</i>, with <i>Glaucus</i>, and <i>Thersilochus</i>, who
+  Commanded in Cheif in the <i>Trojan Auxiliaries</i>: So that you may know his Quality by his
+  Company. When <i>�neas</i> had passed on farther, he saw <i>Orpheus</i> in <i>Elysium</i>: The
+  Poet calls him the <i>Thracian</i> Priest. There needs not be much said of <i>Orpheus</i>; He is
+  famous for his skill in Musick, Poetry, and Religious Ceremonies,<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref243"><a
+  href="#side243">[243]</a></sup> He was one of the Hero's of Antiquity, and a principal Adventurer
+  in the Expedition for the <i>Golden-Fleece</i>.</p>
+
+  <p>In the Seventh <i>�neid</i> the Poet gives in a List of the Princes, and General Officers who
+  came into the Assistance of <i>Turnus</i>; Amongst the rest he tells you,</p>
+
+  <div><span class="pagenum" id="page117">{117}</span></div>
+
+  <div class="poem">
+    <p><i>Quin &amp; Marrubia venit de gente Sacerdos,</i></p>
+    <p><i>Archippi regis missu fortissimus Umbro.</i></p>
+  </div>
+
+  <p>This <i>Priest</i> he commends both for his Courage and his skill in Physick, Natural Magick,
+  and Phlosophy. He understood the Virtue of <i>Plants</i>, and could lay Passions and Poysons
+  asleep. His death was extreamly regretted by his Country, who made a Pompous and Solemn Mourning
+  for him.</p>
+
+  <div class="poem">
+    <p><i>Te nemus <span class="correction" title="Original reads 'Angitia', corrected by
+    Errata">Angiti�</span>, vitrea te Fucinus unda,</i></p>
+    <p><i>Te liquidi flevere lacus.</i><span class="leftmar"><i>�neid. 7.</i></span><sup
+    class="handonly" id="ref244"><a href="#side244">[244]</a></sup></p>
+  </div>
+
+  <p>The <i>Potitij</i>, and the <i>Pinarij</i> Mention'd <i>�neid 8.</i><span
+  class="leftmar"><i>Lib. 1.</i></span><sup class="handonly" id="ref245"><a
+  href="#side245">[245]</a></sup> were as <i>Livy</i> observes, chosen out of the first Quality of
+  the Country, and had the <i>Priesthood</i> hereditary to their Family. To go on, <i>�monides</i>,
+  and <i>Chloreus</i> make a glittering Figure in the <i>Feild</i>, and are very remarkable for the
+  Curiosity of their Armour, and Habit. <i>�monides</i>'s <i>Finery</i> is passed over in
+  general.</p>
+
+  <div class="poem">
+    <p><i>Totus collucens veste atque insignibus armis.</i><span class="leftmar"><i>�neid.
+    10.</i></span><sup class="handonly" id="ref246"><a href="#side246">[246]</a></sup></p>
+  </div>
+
+  <p>But the Equipage of <i>Chloreus</i> is flourish'd out at Length, and as I remember admired by
+  <i>Macrobius</i> as one of the Master <span class="pagenum" id="page118">{118}</span>peices of
+  <i>Virgil</i> in Description. In short; He is all Gold, Purple, Scarlet, and Embroydery;<span
+  class="leftmar"><i>�neid. 11.</i></span><sup class="handonly" id="ref247"><a
+  href="#side247">[247]</a></sup> and as rich as Nature, Art, and Rhetorick can make him. To these I
+  might add <i>Rhamnes</i>, <i>Asylas</i>, and <i>Tolumnius</i>, who were all Persons of Condition,
+  and had Considerable Posts in the Army.<span class="leftmar"><i>�neid. 9. 10. 11.</i></span><sup
+  class="handonly" id="ref248"><a href="#side248">[248]</a></sup></p>
+
+  <p>It may be these last were not strictly <i>Priests</i>. Their Function was rather
+  <i>Prophetick</i>. They interpreted the Resolutions of the Gods, by the voice of Birds, the
+  Inspection of Sacrifices, and their Observations of Thunder. This made their Character counted
+  Sacred, and their Relation to the Deity particular. And therefore the <i>Romans</i> ranged them in
+  the <i>Order</i> of the <i>Priests</i>.<span class="leftmar"><i>Guther. de jure veter.
+  pontif.</i></span><sup class="handonly" id="ref249"><a href="#side249">[249]</a></sup></p>
+
+  <p>Thus we see the admired <i>Homer</i>, and <i>Virgil</i>, always treat the <i>Priests</i>
+  fairly, and describe them in Circumstances of Credit: If 'tis said that the Instances I have given
+  are mostly in Names of <i>Fiction</i>, and in Persons who had no Being, unless in the Poets fancy.
+  I answer, I am not concern'd in the History of the Relation. Whether the Muster is true or false,
+  'tis all one to my purpose. This is certain, had the <i>Priests</i> been People of such slender
+  Consideration as our <i>Stage Poets</i> endeavour to make them; they must have <span
+  class="pagenum" id="page119">{119}</span>appear'd in a different Figure; or rather have been left
+  out as too little for that sort of <i>Poem</i>. But <i>Homer</i> and <i>Virgil</i> had other
+  Sentiments of Matters: They were governed by the Reason of Things, and the common usage of the
+  World. They knew the <i>Priesthood</i> a very reputable Employment, and always esteem'd as such.
+  To have used the <i>Priests</i> ill, They must have call'd their own Discretion in question: They
+  must have run into impropriety, and fallen foul upon Custom, Manners, and Religion. Now 'twas not
+  their way to play the Knave and the Fool together: They had more Sense than to do a silly Thing,
+  only for the Satisfaction of doing an ill one.</p>
+
+  <p>I shall now go on to enquire what the Greek <i>Tragedians</i> will afford us upon the present
+  Subject. There are but two <i>Plays</i> in <i>�schylus</i> where the <i>Ministers</i> of the Gods
+  are represented. The one is in his <i>Eumenides</i>, and here <i>Apollo</i>'s <i>Priestess</i>
+  only opens the <i>Play</i> and appears no more. The other is in his <i>Seige</i> of <i>Thebes</i>.
+  In this Tragedy the <i>Prophet Amphiaraus</i> is one of the Seven Commanders against the
+  <i>Town</i>. He has the Character of a Modest, Brave Officer, and of one who rather affected to be
+  great in Action, than Noise.</p>
+
+  <div><span class="pagenum" id="page120">{120}</span></div>
+
+  <p>In <i>Sophocle</i>'s <i>Oedipus Tyrannus</i>, <i>Jupiter's Priest</i> has a short part. He
+  appears at the Head of an <i>Address</i>, and delivers the Harangue by the King's Order.
+  <i>Oedipus</i> in his Passion treats <i>Tiresias</i> ruggedly;<span class="leftmar"><i>Oedip. Tyr.
+  p. 148.</i></span><sup class="handonly" id="ref250"><a href="#side250">[250]</a></sup>
+  <i>Tiresias</i> replies with Spirit and Freedom; and plainly tell him he was none of his
+  <i>Servant</i> but <i>Apollo</i>'s.</p>
+
+  <div class="poem">
+    <p><span title="Ou gar ti soi z� doulos alla loxia" class="fsn">&#x1F48;&upsilon;
+    &gamma;&#x1F71;&rho; &tau;&#x1F77; &sigma;&omicron;&#x1F76; &zeta;&#x1FF6;
+    &delta;&omicron;&#x1FE6;&lambda;&omicron;&sigmaf; &#x1F00;&lambda;&lambda;&#x1F71;
+    &lambda;&omicron;&xi;&#x1F77;&alpha;</span><span class="leftmar"><i>Ibid. 169.</i></span><sup
+    class="handonly" id="ref251"><a href="#side251">[251]</a></sup></p>
+  </div>
+
+  <p>And here we may observe that all <i>Oedipus</i> his reproaches relate to <i>Tiresias</i>'s
+  person, there is no such Thing as a general Imputation upon his Function: But the <i>English
+  Oedipus</i> makes the <i>Priesthood</i> an Imposturous Profession;<span class="leftmar"><i>p.
+  38.</i></span><sup class="handonly" id="ref252"><a href="#side252">[252]</a></sup> and rails at
+  the whole <i>Order</i>. In the next Tragedy, <i>Creon</i> charges <i>Tiresias</i> with
+  subornation; and that he intended to make a Penny of his Prince. The <i>Priest</i> holds up his
+  Character, speaks to the ill Usage with an Air of Gravity, calls the King <i>Son</i>, and
+  foretells him his Misfortune.<span class="leftmar"><i>Antig. p. 250, 258.</i></span><sup
+  class="handonly" id="ref253"><a href="#side253">[253]</a></sup></p>
+
+  <p>To go on to <i>Euripides</i>, for <i>Sophocles</i> has nothing more. This Poet in his
+  <i>Ph�niss�</i> brings in <i>Tiresias</i> with a very unacceptable report from the <i>Oracle</i>.
+  He tells <i>Creon</i> that either his Son must die, or the City be lost. <i>Creon</i> keeps
+  himself within Temper, and gives no ill Language. And even <span class="pagenum"
+  id="page121">{121}</span>when <i>M&#x0153;necius</i> had kill'd himself, he neither complains of
+  the Gods, nor reproaches the <i>Prophet</i>.<span class="leftmar"><i>Eurip. Ph&#x0153;niss. p.
+  158, 159.</i></span><sup class="handonly" id="ref254"><a href="#side254">[254]</a></sup></p>
+
+  <p>In his <i>Bacch�</i>, <i>Tiresias</i> is honourably used by <i>Cadmus</i>; And <i>Pentheus</i>
+  who threatned him, is afterwards punish'd for his Impiety.<span class="leftmar"><i>Bacch. Act. 1.
+  Act. 4.</i></span><sup class="handonly" id="ref255"><a href="#side255">[255]</a></sup> In another
+  <i>Play</i> <i>Apollo</i>'s <i>Priestess</i> comes in upon a creditable account, and is
+  respectfully treated.<span class="leftmar"><i>Jon. Act 5.</i></span><sup class="handonly"
+  id="ref256"><a href="#side256">[256]</a></sup> <i>Iphigenia</i> <i>Agamemnon</i>'s Daughter is
+  made <i>Priestess</i> to <i>Diana</i>; and her Father thought himself happy in her
+  Employment.<span class="leftmar"><i>Iphig. in Aulid. &amp; in Taur.</i></span><sup
+  class="handonly" id="ref257"><a href="#side257">[257]</a></sup> These are all the <i>Priests</i> I
+  remember represented in <i>Euripides</i>. To conclude the antient <i>Tragedians</i> together:
+  <i>Seneca</i> seems to follow the Conduct of <i>Euripides</i>, and secures <i>Tiresias</i> from
+  being outraged. <i>Oedipus</i> carries it smoothly with him and only desires him to out with the
+  Oracle, and declare the Guilty Person. This <i>Tiresias</i> excuses, and afterwards the Heat of
+  the expostulation falls upon <i>Creon</i>.<span class="leftmar"><i>Oedip.</i></span><sup
+  class="handonly" id="ref258"><a href="#side258">[258]</a></sup> <i>Calchas</i> if not strictly a
+  <i>Priest</i>, was an <i><span class="correction" title="Original reads 'Auger', corrected by
+  Errata">Augur</span></i>, and had a Religious Relation. Upon this account <i>Agamemnon</i> calls
+  him <i>interpres Deorum</i>; The Reporter of Fate, and the God's <i>Nuntio</i>; And gives him an
+  honourable Character.<span class="leftmar"><i>Troad. A. 2. p. 193.</i></span><sup class="handonly"
+  id="ref259"><a href="#side259">[259]</a></sup></p>
+
+  <p>This Author is done; I shall therefore pass on to the <i>Comedians</i>. And here,
+  <i>Aristophanes</i> is so declared an Atheist, that <span class="pagenum"
+  id="page122">{122}</span>I think him not worth the citing. Besides, he has but little upon the
+  Argument: And where he does engage it, the <i>Priests</i> have every jot as good Quarter as the
+  Gods.<span class="leftmar"><i>Plut. Ran. Aves.</i></span><sup class="handonly" id="ref260"><a
+  href="#side260">[260]</a></sup> As for <i>Terence</i>, he neither represents any <i>Priests</i>,
+  nor so much as mentions them. <i>Chrysalus</i> in <i>Plautus</i> describes <i>Theotimus Diana's
+  Priest</i>, as a Person of Quality, and Figure.<span class="leftmar"><i>Bacchid. Act. 2. 5.
+  3.</i></span><sup class="handonly" id="ref261"><a href="#side261">[261]</a></sup> In his
+  <i>Rudens</i> we have a <i>Priestess</i> upon the <i>Stage</i>, which is the only Instance in this
+  <i>Poet</i>.<span class="leftmar"><i>Rud. A. 1. 5. A. 2. 3.</i></span><sup class="handonly"
+  id="ref262"><a href="#side262">[262]</a></sup> She entertains the two Women who were wrecked, and
+  is commended for her hospitable Temper. The Procurer <i>Labrax</i> swaggers that he will force the
+  Temple, and begins the Attack. <i>Demades</i> a Gentleman, is surprized at his Insolence, and
+  threatens him with Revenge. The report of so bold an attempt made him cry out. <i>Quis homo est
+  tanta Confidentia; qui sacerdotem andeat Violare?</i><span class="leftmar"><i>Act
+  [......]</i></span><sup class="handonly" id="ref263"><a href="#side263">[263]</a></sup> It seems
+  in those Days 'twas very infamous to affront a <i>Holy Character</i>, and break in upon the
+  <i>Guards</i> of Religion! Thus we see how the Antient Poets behaved themselves in the Argument.
+  <i>Priests</i> seldom appear in their <i>Plays</i>. And when they come 'tis Business of Credit
+  that brings them. They are treated like Persons of Condition. They Act up to their Relation;
+  neither sneak, nor prevaricate, nor do any thing unbecoming their Office.</p>
+
+  <div><span class="pagenum" id="page123">{123}</span></div>
+
+  <p>And now a word or two of the <i>Moderns</i>.</p>
+
+  <p>The famous <i>Corneille</i> and <i>Moliere</i>, bring no <i>Priests</i> of any kind upon the
+  <i>Stage</i>. The former leaves out <i>Tiresias</i> in his <i>Oedipus</i>: Tho' this Omission
+  balks his Thought, and maims the <i>Fable</i>. What therefore but the regard to Religion could
+  keep him from the use of this Liberty? As I am informed the same Reservedness is practis'd in
+  <i>Spain</i>, and <i>Italy</i>: And that there is no Theatre in <i>Europe</i> excepting the
+  <i>English</i>, that entertains the <i>Audience</i> with <i>Priests</i>.</p>
+
+  <p>This is certainly the right method, and best secures the Outworks of Piety. The Holy Function
+  is much too Solemn to be play'd with. Christianity is for no Fooling, neither the <i>Place</i>,
+  the <i>Occasion</i> nor the <i>Actors</i> are fit for such a Representation. To bring the
+  <i>Church</i> into the <i>Playhouse</i>, is the way to bring the <i>Playhouse</i> into the
+  <i>Church</i>. 'Tis apt to turn Religion into <i>Romance</i>, and make unthinking People conclude
+  that all Serious Matters are nothing but <i>Farce</i>, <i>Fiction</i>, and <i>Design</i>. 'Tis
+  true the <i>Tragedies</i> at <i>Athens</i> were a sort of <i>Homilies</i>, and design'd for the
+  Instruction of the People: To this purpose they are all Clean, Solemn, and Sententious.
+  <i>Plautus</i> likewise informs us that the <i>Comedians</i> used to teach the People
+  Morality.<span class="leftmar"><i>Rud. A. 4. S. 7.</i></span><sup class="handonly" id="ref264"><a
+  href="#side264">[264]</a></sup> The <span class="pagenum" id="page124">{124}</span>case standing
+  thus 'tis less suprizing to find the <i>Priests</i> sometimes Appear. The Play had grave Argument,
+  and Pagan Indulgence, to plead in its behalf. But our <i>Poets</i> steer by an other
+  <i>Compass</i>. Their Aim is to <i>destroy</i> Religion, their <i>Preaching</i> is against
+  <i>Sermons</i>; and their Business, but Diversion at the best. In short, Let the Character be
+  never so well managed no Christian <i>Priest</i> (especially,) ought to come upon the
+  <i>Stage</i>. For where the Business is an Abuse, and the place a Profanation; the demureness of
+  the Manner, is but a poor excuse. Monsieur <i>Racine</i> is an Exception to what I have observ'd
+  in <i>France</i>. In his <i>Athalia</i>, <i>Joida</i> the <i>High-Priest</i> has a large part. But
+  then the Poet does him Justice in his Station; he makes him Honest and Brave, and gives him a
+  shining Character throughout. <i>Mathan</i> is another <i>Priest</i> in the same Tragedy. He turns
+  Renegado, and revolts from God to <i>Baal</i>. He is a very ill Man but makes a considerable
+  Appearance, and is one of the Top of <i>Athaliahs</i> Faction. And as for the <i>Blemishes</i> of
+  his Life, they all stick upon his own Honour, and reach no farther than his Person: In fine the
+  <i>Play</i> is a very Religious Poem; 'Tis upon the Matter all <i>Sermon</i> and <i>Anthem</i>.
+  And if it were not designed for the <i>Theatre</i>, I have nothing to object.</p>
+
+  <div><span class="pagenum" id="page125">{125}</span></div>
+
+  <p>Let us now just look over our own Country-men till King <i>Charles</i> the Second.
+  <i>Shakespear</i> takes the Freedom to represent the <i>Clergy</i> in several of his <i>Plays</i>:
+  But for the most part he holds up the <i>Function</i>, and makes them neither Act, nor Suffer any
+  thing unhandsom. In one Play or two He is much bolder with the <i>Order</i>.<span
+  class="leftmar"><i>Measure for Measure.</i><br/>
+  <i>Much a do about Nothing.</i><br/>
+  <i>Twelf-Night.</i><br/>
+  <i>Henry 4th pt. 1st.</i><br/>
+  <i>Hen. 6. pt. 3d.</i><br/>
+  <i>Romeo and Juliet.</i><br/>
+  * <i>Merry Wives of Windsor.</i></span><sup class="handonly" id="ref265"><a
+  href="#side265">[265]</a></sup> <span class="nothand">*</span>Sr. <i>Hugh Evans</i> a
+  <i>Priest</i> is too Comical and Secular in his Humour. However he understands his Post, and
+  converses with the Freedom of a Gentleman. I grant in <i>Loves Labour lost</i> the <i>Curate</i>
+  plays the Fool egregiously; And so does the <i>Poet</i> too, for the whole <i>Play</i> is a very
+  silly one. In the History of Sr. <i>John Old-Castle</i>, Sr. <i>John, Parson</i> of <i>Wrotham</i>
+  Swears, Games, Wenches, Pads, Tilts, and Drinks: This is extreamly bad, and like the Author of the
+  <i>Relapse</i> &amp;c. Only with this difference; <i>Shakespears</i>, Sr. <i>John</i> has some
+  Advantage in his Character. He appears Loyal, and Stout; He brings in Sr. <i>John Acton</i>, and
+  other Rebels Prisoners. He is rewarded by the King, and the Judge uses him Civilly and with
+  Respect. In short He is represented Lewd, but not Little; And the Disgrace falls rather on the
+  Person, then the Office. But the <i>Relapsers</i> business, is to sink the Notion, and Murther the
+  Character, and make the <span class="pagenum" id="page126">{126}</span>Function despicable: So
+  that upon the whole, <i>Shakespear</i> is by much the gentiler Enemy.</p>
+
+  <p>Towards the End of the <i>Silent Woman</i>, <i>Ben Johnson</i> brings in a <i>Clergy-man</i>,
+  and a <i>Civilian</i> in their <i>Habits</i>. But then he premises a handsom Excuse, acquaints the
+  <i>Audience</i>, that the <i>Persons</i> are but borrowed, and throws in a <i>Salvo</i> for the
+  Honour of either profession. In the Third <i>Act</i>, we have another <i>Clergy-man</i>; He is
+  abused by <i>Cutberd</i>, and a little by <i>Morose</i>. But his Lady checks him for the ill
+  Breeding of the Usage. In his <i>Magnetick Lady</i>, <i>Tale of a Tub</i>, and <i>Sad
+  Sheapherd</i>, there are <i>Priests</i> which manage but untowardly. But these <i>Plays</i> were
+  his <i>last Works</i>, which Mr. <i>Dryden</i> calls <i>his Dotages</i>.<span
+  class="leftmar"><i>Essay of Dramat. &amp;c.</i></span><sup class="handonly" id="ref266"><a
+  href="#side266">[266]</a></sup> This Author has no more <i>Priests</i>, and therefore we'll take
+  Leave.</p>
+
+  <p><i>Beaumont</i> and <i>Fletcher</i> in the <i>Faithful Shepheardess</i>, <i>The False one</i>,
+  <i>A Wife for a Month</i>, and the <i>Knight of Malta</i>, give, us both <i>Priests</i> and
+  <i>Bishops</i>, part Heathen and part Christian: But all of them save their Reputation and make a
+  creditable Appearance. The <i>Priests</i> in the <i>Scornful Lady</i>, and <i>Spanish Curate</i>
+  are ill used. The first is made a Fool, and the other a Knave. Indeed they seem to be brought in
+  on purpose to make sport, and disserve <span class="pagenum" id="page127">{127}</span>Religion.
+  And so much for <i>Beaumont</i> and <i>Fletcher</i>.</p>
+
+  <p>Thus we see the English <i>Stage</i> has always been out of Order, but never to the Degree 'tis
+  at present.</p>
+
+  <p>I shall now take Leave of the <i>Poets</i>, and touch a little upon History and Argument.</p>
+
+  <p>And here I shall briefly shew the Right the <i>Clergy</i> have to Regard, and fair Usage, upon
+  these Three following Accounts.</p>
+
+  <p>I. <i>Because of their Relation to the Deity.</i></p>
+
+  <p>II. <i>Because of the Importance of their Office.</i></p>
+
+  <p class="sp3">III. <i>They have prescription for their Privilege. Their function has been in
+  Possession of Esteem in all Ages, and Countries.</i></p>
+
+  <p>I. <i>Upon the account of their Relation to the Deity.</i></p>
+
+  <p>The Holy <i>Order</i> is appropriated to the Divine Worship: And a <i>Priest</i> has the
+  peculiar Honour to <i>Belong</i> to nothing less then God Almighty. Now the Credit of the
+  <i>Service</i> always rises in proportion to the Quality and Greatness of the Master. And for this
+  Reason 'tis more Honourable to serve a Prince, than a private Person. To apply this. Christian
+  <i>Priests</i> are the Principal Ministers of Gods Kingdom. <span class="pagenum"
+  id="page128">{128}</span>They Represent his Person, Publish his Laws, Pass his Pardons, and
+  Preside in his Worship. To expose a <i>Priest</i> much more to burlesque his Function, is an
+  Affront to the Diety. All indignities done to Ambassadors, are interpreted upon their Masters, and
+  reveng'd as such. To outrage the <i>Ministers</i> of Religion, is in effect to deny the Being, or
+  Providence of God; And to treat the <i>Bible</i> like a <i>Romance</i>. As much as to say the
+  Stories of an other World are nothing but a little <i>Priest-craft</i>, and therefore I am
+  resolv'd to Lash the Profession. But to droll upon the Institutions of God; To make his Ministers
+  cheap, and his Authority contemptible; To do this is little less than open defyance. Tis a sort of
+  Challenge to awaken his Vengeance, to exert his Omnipotence; and do Right to his Honour. If the
+  Profession of a Courtier was unfashionable, a Princes Commission thought a Scandal, and the
+  <i>Magistracy</i> laught at for their Business; the Monarch had need look to himself in time; He
+  may conclude his Person is despis'd, his Authority but a Jest, and the People ready either to
+  change their Master, or set up for themselves. Government and Religion, no less than <i>Trade</i>
+  Subsist upon Reputation. 'Tis true God can't be Deposed, neither does <span class="pagenum"
+  id="page129">{129}</span>his Happiness depend upon Homage; But since he does not Govern by
+  Omnipotence, since he leaves Men to their Liberty, Acknowledgment must sink, and Obedience
+  decline, in proportion to the Lessenings of Authority. How provoking an Indignity of this kind
+  must be, is easy to imagine.</p>
+
+  <p>II. The Functions and Authorities of Religion have a great Influence on <i>Society</i>. The
+  Interest of this Life lies very much in the Belief of another. So that if our Hopes were bounded
+  with <i>Sight</i>, and <i>Sense</i>, if <i>Eternity</i> was out of the Case, General Advantage,
+  and Publick Reason, and Secular Policy, would oblige us to be just to the <i>Priesthood</i>. For
+  <i>Priests</i>, and Religion always stand and fall together; Now Religion is the Basis of
+  Government, and Man is a wretched Companion without it. When Conscience takes its Leave, Good
+  Faith, and Good Nature goes with it. <i>Atheism</i> is all Self, Mean and Mercenary. The
+  <i>Atheist</i> has no <i>Hereafter</i>, and therefore will be sure to make the most of this World.
+  Interest, and Pleasure, are the Gods he Worships, and to these he'll Sacrifice every Thing
+  else.</p>
+
+  <p>III. The <i>Priest-hood</i> ought to be fairly treated, because it has  prescription for this
+  Privilege. This is so evident a <span class="pagenum" id="page130">{130}</span>Truth,  that there
+  is hardly any Age or Country, but affords sufficient Proof. A just Discourse upon this Subject
+  would be a large Book, but I shall just skim it over and pass on. and</p>
+
+  <p><i>1st.</i> For the Jews. <i>Josephus</i> tells us the Line of <i>Aaron</i> made some of the
+  best Pedigrees, and that the <i>Priests</i> were reckon'd among the Principal Nobility.<span
+  class="leftmar"><i>De Bell. Judaic.</i></span><sup class="handonly" id="ref267"><a
+  href="#side267">[267]</a></sup></p>
+
+  <p>By the Old <i>Testament</i> we are inform'd that the <i>High-Priest</i> was the Second Person
+  in the Kingdom.<span class="leftmar"><i>Deut. 17. 9. 20. 2. Chron. 19. 8.</i></span><sup
+  class="handonly" id="ref268"><a href="#side268">[268]</a></sup> The Body of that <i>Order</i> had
+  Civil Jurisdiction. And the <i>Priests</i> continued Part of the Magistracy in the time of our
+  Saviour. <i>Jehoiada</i> the <i>High-Priest</i> was thought an Alliance big enough for the Royal
+  Family.<span class="leftmar"><i>Math. 27. Act. 4.<br/>
+  Vid. seldon de Synedr.</i></span><sup class="handonly" id="ref269"><a
+  href="#side269">[269]</a></sup> He Married the Kings Daughter; His Interest and Authority was so
+  great that he broke the Usurpation under <i>Athalia</i>; and was at the Head of the Restauration.
+  And lastly the <i>Assamonean</i> Race were both Kings and Priests.<span
+  class="leftmar"><i>Joseph.</i></span><sup class="handonly" id="ref270"><a
+  href="#side270">[270]</a></sup></p>
+
+  <p>To Proceed. The <i>�gyptian</i>  Monarchy was one of the most antient and best polish'd upon
+  Record. Here Arts and Sciences, the Improvment of Reason, and the Splendor of Life had its first
+  Rise. Hither 'twas that <i>Plato</i> and most of the Celebrated Philosophers travel'd for their
+  Learning. Now in this Kingdom the <span class="pagenum" id="page131">{131}</span><i>Priests</i>
+  made no vulgar Figure. These with the Military Men were the Body of the Nobility, and Gentry.
+  Besides the Business of Religion, the <i>Priests</i> were the Publick <i>Annalists</i> and kept
+  the Records of <i>History</i>, and <i>Government</i>. They were many of them bred in Courts,
+  formed the Education of their Princes, and assisted at their Councils.<span
+  class="leftmar"><i>Diod. Sic.</i></span><sup class="handonly" id="ref271"><a
+  href="#side271">[271]</a></sup> When <i>Joseph</i> was Viceroy of <i>�gypt</i>, and in all the
+  height of his Pomp, and Power, the King Married him to the Daughter of <i>Potipherah Priest</i> of
+  <i>On</i>. The Text says <i>Pharaoh gave him her to Wife</i>.<span class="leftmar"><i>Gen.
+  41.</i></span><sup class="handonly" id="ref272"><a href="#side272">[272]</a></sup> This shows the
+  Match was deliberate Choice, and Royal Favour, no stooping of Quality, or Condescensions of Love,
+  on <i>Joseph</i>'s Side.</p>
+
+  <p>To pass on. The <i>Persian Magi</i>, and the <i>Druids</i>, of <i>Gaul</i> were of a Religious
+  Profession, and consign'd to the Service of the Gods. Now all these were at the upper End of the
+  Government, and had a great share of Regard and Authority.<span class="leftmar"><i>Porph. de
+  Abstin. Lib. 4.<br/>
+  C�sar de Bell. Gall. Lib. 6</i></span><sup class="handonly" id="ref273"><a
+  href="#side273">[273]</a></sup> The Body of the <i>Indians</i> as <i>Diodorus Siculus</i> reports
+  is divided into Seven parts. The first is the <i>Clan</i> of the <i>Bramines</i>, the
+  <i>Priests</i>, and Philosophers of that Country. 'This Division is the least in Number, but the
+  first in Degree. Their Privileges are extraordinary. They are <span class="pagenum"
+  id="page132">{132}</span>exempted from Taxes, and Live Independent of Authority. They are called
+  to the Sacrifices, and take care of Funerals; They are look'd on as the Favourites of the Gods,
+  and thought skillful in the Doctrins of an other Life: And upon these accounts are largely
+  consider'd in Presents, and Acknowledgment. The <i>Priestesses</i> of <i>Argos</i> were so
+  Considerable, that <i>Time</i> is dated from them, and they stand for a Reign in
+  <i>Chronology</i>.<span class="leftmar"><i>Lib. 6.</i></span><sup class="handonly" id="ref274"><a
+  href="#side274">[274]</a></sup> The Brave <i>Romans</i> are commended by <i>Polybius</i> for their
+  Devotion to the Gods; Indeed they gave great Proof of their being in earnest; For when thier Cheif
+  Magistrates, their Consuls themselves, met any of the <i>Vestals</i>, they held down their
+  <i>Fasces</i>, and stoop'd their <i>Sword</i> and <i>Mace</i> to Religion.<span
+  class="leftmar"><i>Ser. in Controv.</i></span><sup class="handonly" id="ref275"><a
+  href="#side275">[275]</a></sup></p>
+
+  <p>The <i>Priest-hood</i> was for sometime confin'd to the <i>Patrician</i> Order, that is to the
+  Upper Nobility. And afterwards the <i>Emperours</i> were generally <i>High-Priests</i> themselves.
+  The Romans in distress endeavour'd to make Friends with <i>Coriolanus</i> whom they had banish'd
+  before. To this purpose they furnish'd out several <i>Solemn</i> Embasayes. Now the Regulation of
+  the Ceremony, and the Remarks of the Historian;<span class="leftmar"><i>Dion.
+  Halic.</i></span><sup class="handonly" id="ref276"><a href="#side276">[276]</a></sup> plainly
+  discover that the <i>Body</i> of the <i>Priests</i> were thought not inferior <span
+  class="pagenum" id="page133">{133}</span>to any other. One Testimony from <i>Tully</i> and I have
+  done. 'Tis in his Harangue to the College of the <i>Priests</i>.<span class="leftmar"><i>Pro Dom.
+  ad Pontif.</i></span><sup class="handonly" id="ref277"><a href="#side277">[277]</a></sup> <i>Cum
+  multa divinitus, Pontifices, a majoribus nostris inventa atque instituta sunt; tum nihil
+  preclarius quam qu�d vos eosdem et Religionibus Deorum immortalium, &amp; summe Rei public�
+  pr�esse voluerunt.</i> &amp;c. <i>i. e. Amongst the many laudable Instances of our Ancestors
+  Prudence, and Capacity, I know nothing better contrived then their placing your Order at the Helm,
+  and setting the same Persons at the Head both of Religion, and Government.</i> Thus we see what
+  <i>Rank</i> the <i>Priest-hood</i> held among the <i>Jews</i>, and how Nature taught the
+  <i>Heathen</i> to regard it. And is it not now possess'd of as fair pretences as formerly? Is
+  Christianity any disadvantage to the Holy Office. And does the Dignity of a Religion lessen the
+  Publick Administrations in't? The <i>Priests of the most High God</i> and of <i>Idolatry</i>,
+  can't be compared without Injury. To argue for the Preference is a Reflection upon the
+  <i>Creed</i>. 'Tis true the <i>Jewish Priest-hood</i> was instituted by God: But every Thing
+  Divine is not of Equal Consideration. <i>Realities</i> are more valuable than <i>Types</i>; And as
+  the Apostle argues, the <i>Order</i> of <i>Melchizedeck</i> is greater than that of
+  <i>Aaron</i>.<span class="leftmar"><i>Hebr. 7.</i></span><sup class="handonly" id="ref278"><a
+  href="#side278">[278]</a></sup> The Author, (I mean the <span class="pagenum"
+  id="page134">{134}</span>immediate one,) the Authorities, the Business, and the End, of the
+  <i>Christian Priest-hood</i>, are more Noble than those of the <i>Jewish</i>. For is not
+  <i>Christ</i> greater than <i>Moses</i>, <i>Heaven</i> better than the Land of <i>Canaan</i>, and
+  the <i>Eucharist</i> to be prefer'd to all the <i>Sacrifices</i>, and <i>Expiations</i> of the
+  <i>Law</i>? Thus the Right, and the Reason of Things stands. And as for <i>Fact</i>, the Christian
+  World have not been backward in their Acknowledgments. Ever since the first Conversion of Princes,
+  the <i>Priest-hood</i> has had no small share of Temporal Advantage. The <i>Codes</i>,
+  <i>Novels</i>, and <i>Church History</i>, are Sufficient Evidence what Sense <i>Constantine</i>
+  and his Successors had of these Matters. But I shall not detain the <i>Reader</i> in remote
+  Instances.</p>
+
+  <p>To proceed then to Times and Countries more generally known. The People of <i>France</i> are
+  branched into three Divisions, of these the <i>Clergy</i>, are the First. And in consequence of
+  this Privilege, at the Assembly of the <i>States</i>, they are first admitted to Harangue before
+  the King.<span class="leftmar"><i>Davila Filmers Freeholders Grand Inq.</i></span><sup
+  class="handonly" id="ref279"><a href="#side279">[279]</a></sup></p>
+
+  <p>In <i>Hungary</i> the <i>Bishops</i> are very Considerable, and some of them great Officers of
+  <i>State</i>.<span class="leftmar"><i>Mir�us De Statu Relig. Christ.</i></span><sup
+  class="handonly" id="ref280"><a href="#side280">[280]</a></sup> In <i>Poland</i> they are
+  <i>Senators</i> that is part of the Upper <i>Nobless</i>. In <i>Muscovy</i> the <i>Bishops</i>
+  have an Honourable Station; and the Present Czar is descended <span class="pagenum"
+  id="page135">{135}</span>from the <i>Patriarchal</i> Line.<span class="leftmar"><i>Fletchers
+  Embassy.</i></span><sup class="handonly" id="ref281"><a href="#side281">[281]</a></sup> I suppose
+  I need say nothing of <i>Italy</i>. In <i>Spain</i> the <i>Sees</i> generally are better endowed
+  than elswhere, and Wealth alwaies draws Consideration.<span class="leftmar"><i>Puffendorf
+  Introduction � l'Histoire.</i><br/>
+  <i><span class="correction" title="Original reads 'Heglins Coggmogk.',
+  corrected by Errata">Heylins Cosgmog.</span></i></span><sup class="handonly" id="ref282"><a
+  href="#side282">[282]</a></sup> The <i>Bishops</i> hold their Lands by a Military Noble
+  <i>Tenure</i>, and are excused from Personal Attendance. And to come toward an end; They are Earls
+  and Dukes in <i>France</i>, and Soveraign Princes, in <i>Germany</i>.<sup class="handonly"
+  id="ref283"><a href="#side283">[283]</a></sup> In <i>England</i> the <i>Bishops</i> are Lords of
+  Parliament: And the <i>Law</i> in plain words distinguishes the <i>Upper House</i> into the
+  <i>Spiritual</i> and <i>Temporal Nobility</i>. And several <i>Statutes</i> call the Bishops
+  <i>Nobles</i> by direct Implication.<span class="leftmar"><i>2, Hen. 8. cap.  22.</i><br/>
+  <i>26, Hen. 8 cap 2.</i><br/>
+  <i>1. Edw. 6. cap. 12, &amp;c. Preamb.</i></span><sup class="handonly" id="ref284"><a
+  href="#side284">[284]</a></sup> To mention nothing more, their <i>Heraldry</i> is regulated by
+  <i>Garter</i>, and <i>Blazon'd</i> by <i>Stones</i>, which none under the <i>Nobility</i> can
+  pretend to. In this Country of ours, Persons of the First Quality have been in <i>Orders</i>; To
+  give an Instance of some few. <i>Odo</i> Brother to <i>William</i> the <i>Conquerour</i> was
+  <i>Bishop</i> of <i>Baieux</i>, and Earl of <i>Kent</i>. King <i>Stephens</i> Brother was
+  <i>Bishop</i> of <i>Winchester</i>. <i>Nevill Arch-Bishop</i> of <i>York</i> was Brother to the
+  Great Earl of <i>Warwick</i>, and <i>Cardinal Pool</i> was of the Royal Family. To come a little
+  lower, and to our own Times. And here we may reckon not a few Persons of Noble Descent in Holy
+  <i>Orders</i>. Witness the <i>Berklyes</i>, <i>Comptons</i>, <i>Montagues</i>, <i>Crews</i>, <span
+  class="pagenum" id="page136">{136}</span>and <i>Norths</i>; The <i>Annesleys</i>, <i>Finches</i>,
+  <i>Grayhams</i> &amp;c. And as for the Gentry, there are not many good Families in <i>England</i>,
+  but either have, or have had a <i>Clergy-man</i> in them,</p>
+
+  <p>In short; The <i>Priest-hood</i> is the profession of a Gentleman. A <i>Parson</i>
+  notwithstanding the ignorant Pride of some People, is a Name of Credit, and Authority, both in
+  Religion, and <i>Law</i>. The <i>Addition</i> of <i>Clerk</i> is at least equal to that of
+  Gentleman. Were it otherwise the <i>Profession</i> would in many cases be a kind of Punishment.
+  But the <i>Law</i> is far from being so singular as to make <i>Orders</i> a Disadvantage to
+  <i>Degree</i>. No, The Honour of the Family continues, and the <i>Heraldry</i> is every jot as
+  safe in the <i>Church</i>, as 'twas in the <i>State</i>. And yet when the <i>Laity</i> are taken
+  leave of, not <i>Gentleman</i> but <i>Clerk</i> is usually written. This Custom is an argument the
+  Change is not made for the worse, that the Spiritual Distinction is as valuable as the other; And
+  to speak Modestly, that the first <i>Addition</i> is not lost, but Cover'd. Did the Subject
+  require it, this Point might be farther made good. For the stile of a higher Secular Honour is
+  continued as well with <i>Priest-hood</i> as without it. A Church-man who is either <i>Baronet, or
+  Baron</i>, <span class="pagenum" id="page137">{137}</span>writes himself so, notwithstanding His
+  <i>Clerkship</i>. Indeed we can't well imagine the Clergy degraded from Paternal Honour without a
+  strange Reflection on the Country; without supposing <i>Julian</i> at the Helm, the <i>Laws</i>
+  Antichristian, and <i>Infidelity</i> in the very <i>Constitution</i>. To make the Ministers of
+  Religion less upon the score of their Function, would be a Penalty on the <i>Gospel</i>, and a
+  contempt of the God of Christianity. 'Tis our Saviours reasoning; <i>He that despises you,
+  despises Me, and he that Despises Me, Despises Him that sent me.</i><span class="leftmar"><i>S.
+  Luke 12.</i></span><sup class="handonly" id="ref285"><a href="#side285">[285]</a></sup></p>
+
+  <p>I hope what I have offer'd on this Subject will not be misunderstood. There is no Vanity in
+  necessary Defence. To wipe off Aspersions, and rescue Things from Mistake, is but bare Justice:
+  Besides, where the Honour of God, and the Publick Interest are concern'd, a Man is bound to speak.
+  To argue from a resembling Instance. He that has the Kings Commission ought to Maintain it. To let
+  it suffer under Rudeness is to betray it. To be tame and silent in such cases, is not Modesty but
+  Meanness, Humility obliges no Man to desert his Trust; To throw up his Privilege, and prove false
+  to his Character. And is our Saviours Authority inferiour to that of Princes? Are the Kingdoms of
+  this World more <span class="pagenum" id="page138">{138}</span>Glorious than that of the next? And
+  can the Concerns of Time be greater than those of Eternity? If not, the reasoning above mention'd
+  must hold in the Application.</p>
+
+  <p>And now by this time I conceive the ill Manners of the <i>Stage</i> may be in some measure
+  apparent; And that the <i>Clergy</i> deserve none of that Coarse Usage which it puts upon them. I
+  confess I know no <i>Profession</i> that has made a more creditable Figure, that has better
+  Customs for their Privileges, and better Reasons to maintain them. And here setting aside the
+  point of Conscience, where lies the Decency of falling foul upon this <i>Order</i>? What Propriety
+  is there in Misrepresentation? In confounding Respects, disguising Features, and painting Things
+  out of all Colour and Complexion? This crossing upon Nature and Reason, is great Ignorance, and
+  out of Rule. And now what Pleasure is there in Misbehaviour and Abuse? Is it such an Entertainment
+  to see Religion worryed by Atheism, and Things the most Solemn and Significant tumbled and tost by
+  Buffoons? A Man may laugh at a Puppy's tearing a Wardrobe, but I think 'twere altogether as
+  discreet to beat him off. Well! but the <i>Clergy</i> mismanage sometimes, and they must be told
+  of their Faults. What then? Are the <i>Poets</i> their <i>Ordinaries</i>? Is the <i>Pulpit</i>
+  under the <span class="pagenum" id="page139">{139}</span>Discipline of the <i>Stage</i>? And are
+  those fit to correct the Church, that are not fit to come into it? Besides, What makes them fly
+  out upon the <i>Function</i>; and rail by wholesale? Is the <i>Priesthood</i> a crime, and the
+  service of God a disadvantage? I grant Persons and Things are not always suited. A good
+  <i>Post</i> may be ill kept, but then the Censure should keep close to the Fault, and the Office
+  not suffer for the Manager. The <i>Clergy</i> may have their Failings sometimes like others, but
+  what then? The <i>Character</i> is still untarnish'd. The <i>Men</i> may be Little, but the
+  <i>Priests</i> are not so. And therefore like other People, they ought to be treated by their best
+  Distinction.</p>
+
+  <p>If 'tis Objected that the <i>Clergy</i> in <i>Plays</i> are commonly <i>Chaplains</i>, And that
+  these <i>Belonging</i> to Persons of Quality they were obliged to represent them servile and
+  submissive. To this I Answer</p>
+
+  <p><i>1st.</i> In my former remark, that the <i>Stage</i> often outrages the whole <i>Order</i>,
+  without regard to any particular Office. But were it not so in the</p>
+
+  <p class="sp5"><i>2d.</i> Place, They quite overlook the Character, and mistake the Business of
+  <i>Chaplains</i>. They are no <i>Servants</i>, neither do they <i>Belong</i> to any <i>Body</i>,
+  but God Almighty. This Point I have fully proved in another, <i>Treatise</i>,<span
+  class="leftmar"><i>Moral Essays.</i></span><sup class="handonly" id="ref286"><a
+  href="#side286">[286]</a></sup> and thither I refer the <i>Reader</i>.</p>
+
+  <div><span class="pagenum" id="page140">{140}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  IV.</span></h1>
+
+  <h2 class="sp3"><i>The Stage-Poets make their Principal Persons Vitious, and reward them at the
+  End of the Play.</i></h2>
+
+  <p>The Lines of Virtue and Vice are Struck out by Nature in very Legible Distinctions; They tend
+  to a different Point, and in the greater Instances the Space between them is easily perceiv'd.
+  Nothing can be more unlike than the Original Forms of these Qualities: The First has all the
+  sweetness, Charms, and Graces imaginable; The other has the Air of a <i>Post</i> ill Carved into a
+  <i>Monster</i>, and looks both foolish and Frightful together. These are the Native Appearances of
+  good and Evil: And they that endeavour to blot the Distinctions, to rub out the Colours, or change
+  the Marks, are extreamly to blame. 'Tis confessed as long as the Mind is awake, and Conscience
+  goes true, there's no fear of being imposed on. But when Vice is varnish'd over with Pleasure, and
+  comes in the Shape of Convenience, the case grows somewhat dangerous; for then <span
+  class="pagenum" id="page141">{141}</span>the Fancy may be gain'd, and the Guards corrupted, and
+  Reason suborn'd against it self. And thus a <i>Disguise</i> often passes when the Person would
+  otherwise be stopt. To put <i>Lewdness</i> into a Thriving condition, to give it an Equipage of
+  Quality, and to treat it with Ceremony and Respect, is the way to confound the Understanding, to
+  fortifie the Charm, and to make the Mischief invincible. Innocence is often owing to Fear, and
+  Appetite is kept under by Shame; But when these Restraints are once taken off, when Profit and
+  Liberty lie on the same side, and a Man can Debauch himself into Credit, what can be expected in
+  such a case, but that Pleasure should grow Absolute, and Madness carry all before it? The
+  <i>Stage</i> seem eager to bring Matters to this Issue; They have made a considerable progress,
+  and are still pushing their Point with all the Vigour imaginable. If this be not their Aim why is
+  <i>Lewdness</i> so much consider'd in Character and Success? Why are their Favourites Atheistical,
+  and their fine Gentleman debauched? To what purpose is <i>Vice</i> thus prefer'd, thus ornamented,
+  and caress'd, unless for Imitation? That matter of Fact stands thus, I shall make good by several
+  Instances: To begin then with their Men of Breeding and <span class="pagenum"
+  id="page142">{142}</span>Figure. <i>Wild-blood</i> sets up for <i>Debauchery</i>, Ridicules
+  Marriage, and Swears by <i>Mahomet</i>.<span class="leftmar"><i>Mock Astrol. p. 3,
+  &amp;c.</i><br/>
+  <i>Mock Astrol. p. 57, 59.</i><br/>
+  <i>Spanish Fryar. p. 61.</i><br/>
+  <i>Country Wife. p. 25.</i><br/>
+  <i>Old Batch.</i><br/>
+  <i>Double Dealer. p. 34.</i><br/>
+  <i>Love for Love p. 90.</i></span><sup class="handonly" id="ref287"><a
+  href="#side287">[287]</a></sup> <i>Bellamy</i> makes sport with the Devil,<sup class="handonly"
+  id="ref288"><a href="#side288">[288]</a></sup> and <i>Lorenzo</i> is vitious and calls his Father
+  <i>Bawdy Magistrate.<sup class="handonly" id="ref289"><a href="#side289">[289]</a></sup>
+  Horner</i> is horridly Smutty, and <i>Harcourt</i> false to his Friend who used him kindly.<sup
+  class="handonly" id="ref290"><a href="#side290">[290]</a></sup> In the <i>Plain Dealer</i>
+  <i>Freeman</i> talks coarsely, cheats the Widdow, debauches her Son, and makes him undutiful.
+  <i>Bellmour</i> is Lewd and Profane,<sup class="handonly" id="ref291"><a
+  href="#side291">[291]</a></sup> And <i>Mellefont</i> puts <i>Careless</i> in the best way he can
+  to debauch <i>Lady Plyant</i>.<sup class="handonly" id="ref292"><a href="#side292">[292]</a></sup>
+  These <i>Sparks</i> generally Marry up the Top Ladys, and those that do not, are brought to no
+  Pennance, but go off with the Character of Fine Gentlemen: In <i>Don-Sebastian</i>, <i>Antonio</i>
+  an Atheistical Bully is rewarded with the Lady <i>Moraima</i>, and half the <i>Muffty</i>'s
+  Estate. <i>Valentine</i> in <i>Love for Love</i> is (if I may so call him) the Hero of the
+  <i>Play</i>;<sup class="handonly" id="ref293"><a href="#side293">[293]</a></sup> This Spark the
+  <i>Poet</i> would pass for a Person of Virtue, but he speaks to late. 'Tis true, He was hearty in
+  his Affection to <i>Angelica</i>. Now without question, to be in Love with a fine Lady of 30000
+  Pounds is a great Virtue! But then abating this single Commendation, <i>Valentine</i> is
+  altogether compounded of Vice.<span class="leftmar"><i>Love for Love. p. 6, 7. 25. 61. 89.
+  91.</i></span><sup class="handonly" id="ref294"><a href="#side294">[294]</a></sup> He is a
+  prodigal Debauchee, unnatural, and Profane, Obscene, Sawcy, and undutiful, And yet this <span
+  class="pagenum" id="page143">{143}</span>Libertine is crown'd for the Man of Merit, has his Wishes
+  thrown into his Lap, and makes the Happy <i>Exit</i>. I perceive we should have a rare set of
+  <i>Virtues</i> if these <i>Poets</i> had the making of them! How they hug a Vitious Character, and
+  how profuse are they in their Liberalities to Lewdness? In the <i>Provoked Wife</i>,
+  <i>Constant</i> Swears at Length, solicits Lady <i>Brute</i>, Confesses himself Lewd, and prefers
+  Debauchery to Marriage. He handles the last Sybject very notably and worth the Hearing. <i>There
+  is</i> (says he) <i>a poor sordid Slavery in Marriage, that turns the flowing Tide of Honour, and
+  sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature, Avarice, Sloth,
+  Cowardize, and Dirt, are all its Product</i>.&mdash;But then <i>Constancy (alias Whoring) is a
+  Brave, Free, Haughty, Generous, Agent</i>. This is admirable stuff both for the Rhetorick and the
+  Reason!<span class="leftmar"><i>p. 35.</i></span><sup class="handonly" id="ref295"><a
+  href="#side295">[295]</a></sup> The Character <i>Young Fashion</i> in the <i>Relapse</i> is of the
+  same Staunchness, but this the <i>Reader</i> may have in another Place.</p>
+
+  <p>To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing, Smutty, Atheistical Man.
+  These Qualifications it seems compleat the <i>Idea</i> of Honour. They are the Top-Improvements of
+  Fortune, and the distinguishing Glories of Birth and Breeding! This is <span class="pagenum"
+  id="page144">{144}</span>the <i>Stage-Test</i> for <i>Quality</i>, and those that can't stand it,
+  ought to be <i>Disclaim'd</i>. The Restraints of Conscience and the Pedantry of Virtue, are
+  unbecoming a Cavalier: Future Securities, and Reaching beyond Life, are vulgar Provisions: If he
+  falls a Thinking at this rate, he forfeits his Honour; For his Head was only made to run against a
+  Post! Here you have a Man of Breeding and Figure that burlesques the <i>Bible</i>, Swears, and
+  talks Smut to Ladies, speaks ill of his Friend behind his Back, and betraies his Interest. A fine
+  Gentleman that has neither Honesty, nor Honour, Conscience, nor Manners, Good Nature, nor civil
+  Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of Religion and the Scandals of
+  Conversation. These Worshipful Things are the <i>Poets</i> Favourites: They appear at the Head of
+  the <i>Fashion</i>; and shine in Character, and Equipage. If there is any Sense stirring, They
+  must have it, tho' the rest of the <i>Stage</i> suffer never so much by the Partiality. And what
+  can be the Meaning of this wretched Distribution of Honour? Is it not to give Credit and
+  Countenance to Vice, and to shame young People out of all pretences to Conscience, and Regularity?
+  They seem forc'd to turn Lewd in their own Defence: They can't <span class="pagenum"
+  id="page145">{145}</span>otherwise justifie themselves to the Fashion, nor keep up the Character
+  of Gentlemen: Thus People not well furnish'd with Thought, and Experience, are debauch'd both in
+  Practise and Principle. And thus Religion grows uncreditable, and passes for ill Education. The
+  <i>Stage</i> seldom gives Quarter to any Thing that's serviceable or Significant, but persecutes
+  Worth, and Goodness under every Appearance. He that would be safe from their Satir must take care
+  to disguise himself in Vice, and hang out the <i>Colours</i> of Debauchery. How often is Learning,
+  Industry, and Frugality, ridiculed in Comedy? The rich Citizens are often Misers, and Cuckolds,
+  and the <i>Universities</i>, Schools of Pedantry upon this score. In short, Libertinism and
+  Profaness, Dressing, Idleness, and Gallantry, are the only valuable Qualities. As if People were
+  not apt enough of themselves to be Lazy, Lewd, and Extravagant, unless they were prick'd forward,
+  and provok'd by Glory, and Reputation. Thus the Marks of Honour, and Infamy are misapplyed, and
+  the Idea's of Virtue and Vice confounded. Thus Monstrousness goes for Proportion, and the
+  Blemishes of Human Nature, make up the Beauties of it.</p>
+
+  <div><span class="pagenum" id="page146">{146}</span></div>
+
+  <p>The fine Ladies are of the same Cut with the Gentlemen; <i>Moraima</i> is scandalously rude to
+  her Father, helps him to a beating, and runs away with <i>Antonio</i>.<span class="leftmar"><i>Don
+  Sebast.</i><br/>
+  <i>Love for Love. p. 20.</i><br/>
+  <i>Provok'd Wife. p. 64.</i><br/>
+  <i>Chap. 1. &amp; 2.</i></span><sup class="handonly" id="ref296"><a
+  href="#side296">[296]</a></sup> <i>Angelica</i> talks sawcily to her Uncle,<sup class="handonly"
+  id="ref297"><a href="#side297">[297]</a></sup> and <i>Belinda</i> confesses her Inclination for a
+  Gallant.<sup class="handonly" id="ref298"><a href="#side298">[298]</a></sup> And as I have
+  observ'd already,<sup class="handonly" id="ref299"><a href="#side299">[299]</a></sup> the Toping
+  Ladies in the <i>Mock Astrologer</i>, <i>Spanish Fryar</i>, <i>Country Wife</i>, <i>Old
+  Batchelour</i>, <i>Orphan</i>, <i>Double Dealer</i>, and <i>Love Triumphant</i>, are smutty, and
+  sometimes Profane.</p>
+
+  <p>And was Licentiousness and irreligion, alwaies a mark of Honour? No; I don't perceive but that
+  the old <i>Poets</i> had an other Notion of Accomplishment, and bred their people of Condition a
+  different way. <i>Philolaches</i> in <i>Plautus</i> laments his being debauch'd; and dilates upon
+  the Advantages of Virtue, and Regularity.<span class="leftmar"><i>Mostel. A. 1. 2.</i><br/>
+  <i>Trinum. A. 2. 1. A. 2. 2.</i><br/>
+  <i>Enuch. A. 3. 3.</i><br/>
+  <i>Hecyr. A. 3. 4.</i></span><sup class="handonly" id="ref300"><a href="#side300">[300]</a></sup>
+  <i>Lusiteles</i> another Young Gentleman disputes handsomly by himself against Lewdness. And the
+  discourse between him and <i>Philto</i> is Moral, and well managed.<sup class="handonly"
+  id="ref301"><a href="#side301">[301]</a></sup> And afterwards he lashes Luxury and Debauching with
+  a great deal of Warmth, and Satir.<sup class="handonly" id="ref302"><a
+  href="#side302">[302]</a></sup> <i>Chremes</i> in <i>Terence</i> is a modest young Gentleman, he
+  is afraid of being surpriz'd by <i>Thais</i>, and seems careful not to sully his Reputation.<sup
+  class="handonly" id="ref303"><a href="#side303">[303]</a></sup> And <i>Pamphilus</i> in
+  <i>Hecyra</i> resolves rather to be govern'd by Duty, than Inclination.<sup class="handonly"
+  id="ref304"><a href="#side304">[304]</a></sup></p>
+
+  <div><span class="pagenum" id="page147">{147}</span></div>
+
+  <p><i>Plautus</i>'s <i>Pinacium</i> tells her Friend <i>Panegyric</i> that they ought to acquit
+  themselves fairly to their Husbands, tho' These should fail in their Regards towards them.<span
+  class="leftmar"><i>Stich A. 1. 1.</i></span><sup class="handonly" id="ref305"><a
+  href="#side305">[305]</a></sup> For all good People will do justice tho' they don't receive it.
+  Lady <i>Brute</i> in the <i>Provok'd Wife</i> is govern'd by different maxims. She is debauch'd
+  with ill Usage, says <i>Virtue is an Ass, and a Gallant's worth forty on't</i>.<span
+  class="leftmar"><i>p. 3.</i></span><sup class="handonly" id="ref306"><a
+  href="#side306">[306]</a></sup> <i>Pinacium</i> goes on to another Head of Duty, and declares that
+  a Daughter can never respect her Father too much, and that Disobedience has a great deal of
+  scandal, and Lewdness in't.<span class="leftmar"><i>Stich. A. 1. 2.</i></span><sup
+  class="handonly" id="ref307"><a href="#side307">[307]</a></sup> The Lady <i>Jacinta</i> as I
+  remember does not treat her Father at this rate of Decency. Let us hear a little of her Behaviour.
+  The <i>Mock Astrologer</i> makes the Men draw, and frights the Ladys with the Apprehension of a
+  Quarrel. Upon this; <i>Theodosia</i> crys <i>what will become of us!</i> <i>Jacinta</i> answers,
+  <i>we'll die for Company: nothing vexes me but that I am not a Man, to have one thrust at that
+  malicious old Father of mine, before I go</i>.<span class="leftmar"><i>p. 60.</i></span><sup
+  class="handonly" id="ref308"><a href="#side308">[308]</a></sup> Afterwards the old Gentleman
+  <i>Alonzo</i> threatens his Daughters with a Nunnery. <i>Jacinta</i> spars again and says, <i>I
+  would have thee to know thou graceless old Man, that I defy a Nunnery: name a Nunnery once more
+  and I disown thee for my Father</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref309"><a href="#side309">[309]</a></sup> I could carry on the Comparison between the old
+  <span class="pagenum" id="page148">{148}</span>and Modern Poets somewhat farther. But this may
+  suffice.</p>
+
+  <p>Thus we see what a fine time Lewd People have on the <i>English Stage</i>. No Censure, no mark
+  of Infamy, no Mortification must touch them. They keep their Honour untarnish'd, and carry off the
+  Advantage of their Character. They are set up for the Standard of Behaviour, and the Masters of
+  Ceremony and Sense. And at last that the Example may work the better, they generally make them
+  rich, and happy, and reward them with their own Desires.</p>
+
+  <p>Mr. <i>Dryden</i> in the <i>Preface</i> to his <i>Mock-Astrologer</i>, confesses himself blamed
+  for this Practise. <i>For making debauch'd Persons his</i> Protagonists, <i>or chief Persons of
+  the Drama; And, for making them happy in the Conclusion of the Play, against the Law of Comedy,
+  which is to reward Virtue, and punish Vice</i>. To this Objection He makes a lame Defence. And
+  answers</p>
+
+  <p><i>1st.</i> <i>That he knows no such Law constantly observ'd in Comedy by the Antient or Modern
+  Poets.</i> What then? <i>Poets</i> are not always exactly in Rule. It may be a good Law tho' 'tis
+  not constantly observ'd, some Laws are constantly broken, and yet ne're the worse for all that. He
+  goes on, and pleads the Authorities of <i>Plautus</i>, and <i>Terence</i>. I grant there are
+  Instances of <span class="pagenum" id="page149">{149}</span>Favour to vitious young People in
+  those Authors, but to this I reply</p>
+
+  <p><i>1st.</i> That those <i>Poets</i> had a greater compass of Liberty in their Religion.
+  Debauchery did not lie under those Discouragements of Scandal, and penalty, with them as it does
+  with us. Unless therefore He can prove <i>Heathenism</i>, and <i>Christianity</i> the same, his
+  <i>precedents</i> will do him little service.</p>
+
+  <p><i>2ly.</i> <i>Horace</i> who was as good a judge of the <i>Stage</i>, as either of those
+  <i>Comedians</i>, seems to be of another Opinion. He condemns the obscenities of <i>Plautus</i>,
+  and tells you Men of Fortune and Quality in his time; would not endure immodest Satir.<span
+  class="leftmar"><i>De Art. Poet.</i></span><sup class="handonly" id="ref310"><a
+  href="#side310">[310]</a></sup> He continues, that Poets were formerly admired for the great
+  services they did. For teaching Matters relating to Religion, and Government; For refining the
+  Manners, tempering the Passions, and improving the Understandings of Mankind: For making them more
+  useful in Domestick Relations, and the publick Capacities of Life.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref311"><a
+  href="#side311">[311]</a></sup> This is a demonstration that Vice was not the Inclination of the
+  Muses in those days; and that <i>Horace</i> beleiv'd the chief business of a <i>Poem</i> was, to
+  Instruct the Audience. He adds farther that the <i>Chorus</i> ought to turn upon the Argument of
+  the <i>Drama</i>, and support the Design of the <i>Acts</i>. That <span class="pagenum"
+  id="page150">{150}</span>They ought to speak in Defence of Virtue, and Frugality, and show a
+  Regard to Religion. Now from the Rule of the <i>Chorus</i>, we may conclude his Judgment for the
+  <i>Play</i>. For as he observes, there must be a Uniformity between the <i>Chorus</i> and the
+  <i>Acts</i>: They must have the same View, and be all of a Piece. From hence 'tis plain that
+  <i>Horace</i> would have no immoral <i>Character</i> have either Countenance or good Fortune, upon
+  the <i>Stage</i>. If 'tis said the very mention of the <i>Chorus</i> shews the Directions were
+  intended for <i>Tragedy</i>. To this</p>
+
+  <p>I answer, that the Consequence is not good. For the use of a <i>Chorus</i> is not inconsistent
+  with <i>Comedy</i>. The antient <i>Comedians</i> had it. <i>Aristophanes</i> is an Instance. I
+  know 'tis said the <i>Chorus</i> was left out in that they call the <i>New Comedy</i>. But I can't
+  see the conclusiveness of this Assertion. For <i>Aristophanes</i> his <i>Plutus</i> is <i>New
+  Comedy</i> with a <i>Chorus</i> in't.<span class="leftmar"><i>[......] Schol.</i></span><sup
+  class="handonly" id="ref312"><a href="#side312">[312]</a></sup> And <i>Aristotle</i> who lived
+  after this Revolution of the <i>Stage</i>, mentions nothing of the Omission of the <i>Chorus</i>.
+  He rather supposes its continuance by saying the <i>Chorus was added by the Government long after
+  the Invention of Comedy</i>.<span class="leftmar"><i>Libr. de Poet. cap. 5.</i></span><sup
+  class="handonly" id="ref313"><a href="#side313">[313]</a></sup> 'Tis true <i>Plautus</i> and
+  <i>Terence</i> have none, but those before them probably might. <i>Moliere</i> has now reviv'd
+  them,<span class="leftmar"><i>Psyche.</i></span><sup class="handonly" id="ref314"><a
+  href="#side314">[314]</a></sup> <span class="pagenum" id="page151">{151}</span>And <i>Horace</i>
+  might be of his Opinion, for ought wee know to the contrary.</p>
+
+  <p><i>Lastly.</i> <i>Horace</i> having expresly mentioned the beginning and progress of
+  <i>Comedy</i>, discovers himself more fully: He advises a <i>Poet</i> to form his Work upon the
+  Precepts of <i>Socrates</i> and <i>Plato</i>, and the Models of Moral Philosophy. This was the way
+  to preserve Decency, and to assign a proper Fate and Behaviour to every <i>Character</i>.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref315"><a
+  href="#side315">[315]</a></sup> Now if <i>Horace</i> would have his <i>Poet</i> govern'd by the
+  Maxims of Morality, he must oblige him to Sobriety of Conduct, and a just distribution of Rewards,
+  and Punishments.</p>
+
+  <p>Mr. <i>Dryden</i> makes Homewards, and endeavours to fortifie himself in Modern Authority. He
+  lets us know that <i>Ben Johnson after whom he may he proud to Err, gives him more than one
+  example of this Conduct</i>;<span class="leftmar"><i>Pref. Mock. Astrol.</i></span><sup
+  class="handonly" id="ref316"><a href="#side316">[316]</a></sup> <i>That in the</i> Alchemist <i>is
+  notorius</i>, where neither <i>Face</i> nor his <i>Master</i> are corrected according to their
+  Demerits. But how Proud soever Mr. <i>Dryden</i> may be of an Errour, he has not so much of <i>Ben
+  Jonson</i>'s company as he pretends. His Instance of <i>Face &amp;c.</i> in the <i>Alchemist</i>
+  is rather <i>notorious</i> against his Purpose then for it.</p>
+
+  <p>For <i>Face</i> did not Council his Master <i>Lovewit</i> to debauch the Widdow; neither <span
+  class="pagenum" id="page152">{152}</span>is it clear that the Matter went thus far. He might gain
+  her consent upon Terms of Honour for ought appears to the contrary. 'Tis true <i>Face</i> who was
+  one of the Principal Cheats is Pardon'd and consider'd. But then his Master confesses himself kind
+  to a fault. He owns this Indulgence was a Breach of Justice, and unbecoming the Gravity of an old
+  Man. And then desires the Audience to excuse him upon the Score of the Temptation. But <i>Face
+  continued, in the Cousenage till the last without Repentance</i>.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref317"><a
+  href="#side317">[317]</a></sup> Under favour I conceive this is a Mistake. For does not
+  <i>Face</i> make an Apology before he leaves the <i>Stage</i>? Does he not set himself at the
+  <i>Bar</i>, arraign his own Practise, and cast the Cause upon the Clemency of the Company? And are
+  not all these Signs of the Dislike of what he had done? Thus careful the <i>Poet</i> is to prevent
+  the Ill Impressions of his <i>Play</i>! He brings both Man and Master to Confession. He dismisses
+  them like Malefactours; And moves for their Pardon before he gives them their Discharge. But the
+  <i>Mock-Astrologer</i> has a gentler Hand: <i>Wild-Blood</i> and <i>Jacinta</i> are more
+  generously used: There is no Acknowledgment exacted; no Hardship put upon them: They are permitted
+  to talk on in their Libertine way to <span class="pagenum" id="page153">{153}</span>the Last: And
+  take Leave without the least Appearance of Reformation. The <i>Mock-Astrologer</i> urges <i>Ben
+  Johnson's</i> <i>Silent Woman</i> as an other <i>Precedent</i> to his purpose. For <i>there</i>
+  Dauphine <i>confesses himself in Love with all the Collegiate Lady's</i>. <i>And yet this
+  naughty</i> Dauphine <i>is Crowned in the end with the Possession of his Uncles Estate, and with
+  the hopes of all his Mistresses</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref318"><a href="#side318">[318]</a></sup> This Charge, as I take it, is somewhat too severe.
+  I grant <i>Dauphine</i> Professes himself in Love with the Collegiate Ladies at first. But when
+  they invited him to a private Visit, he makes them no Promise; but rather appears tired, and
+  willing to disengage. <i>Dauphine</i> therefore is not altogether so naughty as this Author
+  represents him.</p>
+
+  <p><i>Ben Johnson's</i> <i>Fox</i> is clearly against Mr. <i>Dryden</i>. And here I have his own
+  Confession for proof. He declares the <i>Poets end in this Play was the Punishment of Vice, and
+  the Reward of Virtue</i>.<span class="leftmar"><i>Essay of Dramatick Poetry. p. 28.</i></span><sup
+  class="handonly" id="ref319"><a href="#side319">[319]</a></sup> <i>Ben</i> was forced to strain
+  for this piece of Justice, and break through the <i>Unity of Design</i>. This Mr. <i>Dryden</i>
+  remarks upon him: How ever he is pleased to commend the Performance, and calls it an excellent
+  <i>Fifth Act</i>.</p>
+
+  <p><i>Ben Johnson</i> shall speak for himself afterwards in the Character of a Critick; <span
+  class="pagenum" id="page154">{154}</span>In the mean time I shall take a Testimony or two from
+  <i>Shakespear</i>. And here we may observe the admir'd <i>Falstaffe</i> goes off in
+  Disappointment. He is thrown out of Favour as being a <i>Rake</i>, and dies like a Rat behind the
+  Hangings. The Pleasure he had given, would not excuse him. The <i>Poet</i> was not so partial, as
+  to let his Humour compound for his Lewdness. If 'tis objected that this remark is wide of the
+  Point, because <i>Falstaffe</i> is represented in Tragedy, where the Laws of Justice are more
+  strickly observ'd, To this I answer, that you may call <i>Henry</i> the Fourth and Fifth,
+  Tragedies if you please. But for all that, <i>Falstaffe</i> wears no <i>Buskins</i>, his Character
+  is perfectly Comical from end to end.</p>
+
+  <p>The next Instance shall be in <i>Flowerdale</i> the <i>Prodigal</i>. This Spark notwithstanding
+  his Extravagance, makes a lucky Hand on't at last, and <span class="correction"
+  title="Original reads 'marries up', corrected
+  by Errata">marries</span> a rich Lady.<span class="leftmar"><i>The London
+  Prodigall.</i></span><sup class="handonly" id="ref320"><a href="#side320">[320]</a></sup> But then
+  the Poet qualifies him for his good Fortune, and mends his Manners with his Circumstances. He
+  makes him repent, and leave off his Intemperance, Swearing <i>&amp;c.</i> And when his Father
+  warn'd him against a Relapse, He answers very soberly,</p>
+
+  <div class="poem">
+    <p><i>Heaven helping me I'le hate the Course of Hell.</i></p>
+  </div>
+
+  <div><span class="pagenum" id="page155">{155}</span></div>
+
+  <p>I could give some instances of this kind out of <i>Beaumount</i> and <i>Fletcher</i>, But
+  there's no need of any farther Quotation; For Mr. <i>Dryden</i> is not satisfied with his Apology
+  from Authority: He does as good as own that this may be construed no better than defending one ill
+  practise by another. To prevent this very reasonable objection he endeavours to vindicate his
+  <i>Precedents</i> from the Reason of the Thing. To this purpose he <i>makes a wide difference
+  between the Rules of Tragedy and Comedy. That Vice must be impartially prosecuted in the first,
+  because the Persons are Great &amp;c.</i></p>
+
+  <p>It seems then <i>Executions</i> are only for <i>Greatness</i>; and <i>Quality</i>.
+  <i>Justice</i> is not to strike much <i>lower</i> than a <i>Prince</i>. <i>Private People</i> may
+  do what they <i>please</i>. They are too <i>few</i> for <i>Mischief</i>, and too <i>Little</i> for
+  <i>Punishment</i>! This would be admirable Doctrine for <i>Newgate</i>, and give us a general
+  <i>Goal-Delivery</i> without more ado. But in <i>Tragedy</i> (says the <i>Mock Astrologer</i>.)
+  <i>the Crimes are likewise Horrid</i>, so that there is a necessity for Severity and Example. And
+  how stands the matter in <i>Comedy</i>? Quite otherwise. There the <i>Faults are but the follies
+  of Youth, and the Frailties of Human Nature</i>.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref321"><a href="#side321">[321]</a></sup> For Instance. There is nothing but
+  a little Whoring, Pimping, Gaming, Profaness <i>&amp;c</i>, And who could be so hard hearted <span
+  class="pagenum" id="page156">{156}</span>to give a Man any Trouble for This? Such Rigours would be
+  strangely Inhumane! A <i>Poet</i> is a better natur'd Thing I can assure you. These little
+  Miscarrages <i>move Pity and Commiseration, and are not such as must of necessity be
+  Punish'd</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref322"><a
+  href="#side322">[322]</a></sup> This is comfortable Casuistry! But to be Serious. Is Dissolution
+  of Manners such a Peccadillo? Does a Profligate Conscience deserve nothing but Commiseration? And
+  are People damn'd only for <i>Humane Frailties</i>? I perceive the Laws of Religion and those of
+  the <i>Stage</i> differ extreamly! The strength of his Defence lies in this choice Maxim, that the
+  <i>Cheif End of Comedy is Delight</i>. He questions <i>whether Instruction has any thing to do in
+  Comedy</i>; If it has, he is sure <i>'tis no more then its secondary end</i>: <i>For the business
+  of the Poet is to make you laugh</i>.<span class="leftmar"><i>Ibid.</i></span><sup
+  class="handonly" id="ref323"><a href="#side323">[323]</a></sup> Granting the Truth of this
+  Principle, I somewhat question the serviceableness of it. For is there no Diversion to be had
+  unless Vice appears prosperous, and rides at the Head of Success. One would think such a
+  preposterous, distribution of Rewards, should rather shock the Reason, and raise the Indignation
+  of the <i>Audience</i>. To laugh without reason is the Pleasure of Fools, and against it, of
+  something worse. The exposing of Knavery, and making <i>Lewdness</i> ridiculous, is a much better
+  occasion for Laughter. <span class="pagenum" id="page157">{157}</span>And this with submission I
+  take to be the End of <i>Comedy</i>. And therefore it does not differ from <i>Tragedy</i> in the
+  End, but in the <i>Means</i>. Instruction is the principal Design of both. The one works by
+  Terror, the other by Infamy. 'Tis true, they don't move in the same Line, but they meet in the
+  same point at last. For this Opinion I have good Authority, besides what has been cited
+  already.</p>
+
+  <p><i>1st.</i> Monsieur <i>Rapin</i> affirms 'That Delight is the End that Poetry aims at, but not
+  the Principal one. For Poetry being an Art, ought to be profitable by the quality of it's own
+  nature, and by the Essential Subordination that all Arts should have to Polity, whose End in
+  General is the publick Good. This is the Judgment of <i>Aristotle</i> and of <i>Horace</i> his
+  chief Interpreter.<span class="leftmar"><i>Rapin Reflect. &amp;c. p. 10.</i></span><sup
+  class="handonly" id="ref324"><a href="#side324">[324]</a></sup> <i>Ben Johnson</i> in his
+  Dedicatory Epistle of his <i>Fox</i> has somewhat considerable upon this Argument; And declaims
+  with a great deal of zeal, spirit, and good Sense, against the Licentiousness of the <i>Stage</i>.
+  He lays it down for a Principle, 'That 'tis impossible to be a good <i>Poet</i> without being a
+  good <i>Man</i>. That he (a good Poet) is said to be able to inform Young Men to all good
+  Discipline, and enflame grown Men to all great Virtues &amp;c.&mdash;That the general complaint
+  was that the <i>Writers</i> of those days had <span class="pagenum"
+  id="page158">{158}</span>nothing remaining in them of the Dignity of a <i>Poet</i>, but the abused
+  Name. That now, especially in Stage Poetry, nothing but Ribaldry, Profanation, <i>Blasphemy</i>,
+  all Licence of Offence to God and Man, is practised. He confesses a great part of this Charge is
+  over-true, and is sorry he dares not deny it. But then he hopes all are not embark'd in this bold
+  Adventure for Hell. For my part (says he) I can, and from a most clear Conscience affirm; That I
+  have ever trembled to think towards the least Profaness, and loath'd the Use of such foul, and
+  unwash'd Bawdry, as is now made the Food of the <i>Scene</i>.&mdash;The encrease of which Lust in
+  Liberty, what Learned or Liberal Soul does not abhor? In whole <i>Enterludes</i> nothing but the
+  Filth of the Time is utter'd&mdash;with Brothelry able to violate the Ear of a <i>Pagan</i>, and
+  Blasphemy, to turn the Blood of a Christian to Water. He continues, that the Insolence of these
+  Men had brought the <i>Muses</i> into Disgrace, and made <i>Poetry</i> the lowest scorn of the
+  Age. He appeals to his Patrons the <i>Universities</i>, that his Labour has been heretofore, and
+  mostly in this his latest Work, to reduce not only the antient Forms, but Manners of the
+  <i>Scene</i>, the Innocence and the Doctrine, which is the <b>Principal End</b> of Poesy, <span
+  class="pagenum" id="page159">{159}</span>to inform Men in the best Reason of Living.' Lastly he
+  adds, that 'he has imitated the Conduct of the Antients in this <i>Play</i>, The goings out (or
+  Conclusions) of whose <i>Comedies</i>, were not always joyful but oft-times the Bawds, the Slaves,
+  the Rivals, ye and the Masters are multed, and fitly, it being the Office of a <i>Comick Poet</i>
+  (mark that!) to imitate Justice, and Instruct to Life <i>&amp;c.</i>' Say you so! Why then if
+  <i>Ben Johnson</i> knew any thing of the Matter, Divertisment and Laughing is not as Mr.
+  <i>Dryden</i> affirms, the <i>Chief End</i> of <i>Comedy</i>. This Testimony is so very full and
+  clear, that it needs no explaining, nor any enforcement from Reasoning, and Consequence.</p>
+
+  <p>And because Laughing and Pleasure has such an unlimited Prerogative upon the <i>Stage</i>, I
+  shall add a Citation or two from <i>Aristotle</i> concerning this Matter. Now this great Man
+  'calls those Buffoons, and Impertinents, who rally without any regard to Persons or Things, to
+  Decency, or good Manners. That there is a great difference between Ribaldry, and handsom Rallying.
+  He that would perform exactly, must keep within the Character of Virtue, and Breeding. He goes on,
+  and tells us that the old Comedians entertain'd the Audience with Smut, but the <span
+  class="pagenum" id="page160">{160}</span>Modern ones avoided that Liberty, and grew more reserv'd.
+  This latter way he says was much more proper and Gentile then the other. That in his Opinion
+  Rallying, no less than Railing, ought to be under the Discipline of Law; That he who is ridden by
+  his <i>Jests</i>, and minds nothing but the business of <i>Laughing</i>, is himself Ridiculous.
+  And that a Man of Education and Sense, is so far from going these Lengths that he wont so much as
+  endure the hearing some sort of Buffoonry.'<span class="leftmar"><i>Libr. 4. de Morib. cap.
+  14.</i></span><sup class="handonly" id="ref325"><a href="#side325">[325]</a></sup></p>
+
+  <p>And as to the point of Delight in general, the same Author affirms, 'that scandalous
+  Satisfactions are not properly Pleasures. 'Tis only Distemper, and false Appetite which makes them
+  palatable. And a Man that is sick, seldom has his Tast true. Besides, supposing we throw Capacity
+  out of the Question, and make Experiment and Sensation the Judge; Granting this, we ought not to
+  chop at every Bait, nor Fly out at every Thing that strikes the Fancy. The meer Agreableness must
+  not overbear us, without distinguishing upon the Quality, and the Means. Pleasure how charming
+  soever, must not be fetched out of Vice. An Estate is a pretty thing, but if we purchase by
+  Falshood, and Knavery, <span class="pagenum" id="page161">{161}</span>we pay too much for't. Some
+  Pleasures, are Childish and others abominable; And upon the whole, Pleasure, absolutely speaking,
+  is no good Thing.'<span class="leftmar"><i>De Mor. Lib. 10, cap. 2.</i></span><sup
+  class="handonly" id="ref326"><a href="#side326">[326]</a></sup> And so much for the Philosopher.
+  And because <i>Ribaldry</i> is used for Sport, a passage or two from <i>Quintilian</i>, may not be
+  unseasonable. This Orator does not only Condemn the grosser Instances, but cuts off all the
+  <i>Double-Entendre's</i> at a Blow. He comes up to the Regularity of Thought, and tells us 'that
+  the Meaning, as well as the Words of Discourse must be unsullied.'<span
+  class="leftmar"><i>Institut. Lib. 6; c. 3.</i></span><sup class="handonly" id="ref327"><a
+  href="#side327">[327]</a></sup> And in the same <i>Chapter</i> he adds that 'A Man of Probity has
+  always a Reserve in his Freedoms, and Converses within the Rules of Modesty, and Character. And
+  that Mirth at the expence of Virtue, is an Over-purchase,' <i>Nimium enim risus pretium est si
+  probitatis impendio constat</i>.</p>
+
+  <p>Thus we see how these great <i>Masters</i> qualify Diversion, and tie it up to
+  <i>Provisoes,</i> and Conditions. Indeed to make <i>Delight</i> the main business of <i>Comedy</i>
+  is an unreasonable and dangerous Principle. It opens the way to all Licentiousness, and Confounds
+  the distinction between Mirth, and Madness. For if Diversion is the <i>Chief End</i>, it must be
+  had at any Price, No serviceable Expedient must be refused, <span class="pagenum"
+  id="page162">{162}</span>tho' never so scandalous. And thus the worst Things are said, and best
+  abus'd; Religion is insulted, and the most serious Matters turn'd into Ridicule! As if the
+  Blindside of an Audience ought to be caress'd, and their Folly and Atheism entertain'd in the
+  first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is Poyson'd! For can one die
+  of an easier Disease than Diversion? But Raillery apart, certainly Mirth and Laughing, without
+  respect to the Cause, are not such supreme Satisfactions! A man has sometimes Pleasure in losing
+  his Wits. Frensy, and <i>Possession</i>, will shake the Lungs, and brighten the Face; and yet I
+  suppose they are not much to be coveted. However, now we know the Reason of the Profaness, and
+  Obscenity of the <i>Stage</i>, of their Hellish Cursing, and Swearing, and in short of their great
+  Industry to make God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make People
+  Laugh! A most admirable justification! What can be more engaging to an <i>Audience</i>, then to
+  see a <i>Poet</i> thus Atheistically brave? To see him charge up to the Canons Mouth, and defy the
+  Vengeance of Heaven to serve them? Besides, there may be somewhat of Convenience in the Case. To
+  fetch Diversion out of <span class="pagenum" id="page163">{163}</span>Innocence is no such easy
+  matter. There's no succeeding it may be in this method, without Sweat, and Drudging. Clean Wit,
+  inoffensive Humour, and handsom Contrivance, require Time, and Thought. And who would be at this
+  Expence, when the Purchase is so cheap another way? 'Tis possible a <i>Poet</i> may not alwaies
+  have Sense enough by him for such an Occasion. And since we are upon supposals, it may be the
+  <i>Audience</i> is not to be gain'd without straining a Point, and giving a Loose to Conscience:
+  And when People are sick, are they not to be Humour'd? In sine, We must make them Laugh, right or
+  wrong, for <i>Delight</i> is the <i>Cheif End of Comedy</i>. <i>Delight!</i> He should have said
+  <i>Debauchery</i>: That's the English of the Word, and the Consequence of the Practise. But the
+  Original Design of <i>Comedy</i> was otherwise: And granting 'twas not so, what then? If the
+  <i>Ends</i> of Thing are naught, they must be mended. Mischief is the Chief end of Malice, would
+  it be then a Blemish in Ill Nature to change Temper, and relent into Goodness? The Chief
+  <i>End</i> of a Madman it may be is to Fire a House, must we not <span class="correction"
+  title="Original reads 'then', corrected by
+  Errata">therefore</span> bind him in his Bed? To conclude. If <i>Delight</i> without Restraint, or
+  Distinction without Conscience or Shame, is the <span class="pagenum"
+  id="page164">{164}</span>Supream Law of <i>Comedy</i>, 'twere well if we had less on't. Arbitrary
+  Pleasure, is more dangerous than Arbitrary Power. Nothing is more Brutal than to be abandon'd to
+  Appetite; And nothing more wretched than to serve in such a Design. The <i>Mock-Astrologer</i> to
+  clear himself of this Imputation, is glad to give up his Principle at Last. <i>Least any Man
+  should think</i> (says He) <i>that I write this to make Libertinism amiable, or that I cared not
+  to debase the end, and Institution of</i> Comedy. (It seems then <i>Delight</i> is not the Chief
+  end.) <i>I must farther declare that we make not Vitious Persons Happy, but only as Heaven makes
+  Sinners so.</i> &amp;c. If this will hold, all's well. But <i>Heaven</i> does not forgive without
+  Repentance. Let us see then what Satisfaction he requires from his <i>Wild-Blood</i>, and what
+  Discipline he puts him under. Why, He helps him to his Mistress, he Marries him to a Lady of Birth
+  and Fortune. And now do you think He has not made him an Example, and punish'd him to some
+  Purpose! These are frightful Severities! Who would be vitious when such Terrors hang over his
+  Head? And does <i>Heaven make Sinners happy</i> upon these Conditions? Sure some People have a
+  good Opinion of Vice, or a very ill one of Marriage, otherwise they <span class="pagenum"
+  id="page165">{165}</span>would have Charged the Penance a little more. But I have nothing farther
+  with the <i>Mock-Astrologer</i>.</p>
+
+  <p>And now for the Conclusion of a <i>Chapter</i>, I shall give some Instances of the
+  <i>Manners</i> of the <i>Stage</i>, and that with respect to Poetry, and Ceremony. <i>Manners</i>
+  in the Language of Poetry, is a Propriety of Actions, and Persons. To succeed in this business,
+  there must always be a regard had to Age, Sex, and Condition: And nothing put into the Mouths of
+  Persons which disagrees with any of these Circumstances. 'Tis not enough to say a witty Thing,
+  unless it be spoken by a likely Person, and upon a Proper occasion. But my Design will lead me to
+  this Subject afterwards, and therefore I shall say no more of it at present, but proceed to apply
+  the Remark.</p>
+
+  <p>One Instance of Impropriety in <i>Manners</i> both Poetical and Moral, is their making Women,
+  and Women of Quality talk Smuttily. This I have proved upon them already, and could cite many more
+  places to the same Purpose were it necessary.</p>
+
+  <p>But I shall go on, and give the <i>Reader</i> some other examples of Decency, Judgment, and
+  Probability. <i>Don Sebastian</i> will help us in some measure. Here <span class="pagenum"
+  id="page166">{166}</span>the <i>Mufti</i> makes a foolish Speech to the Rabble, and jests upon his
+  own Religion. He tells them, <i>tho' your Tyrant is a Lawful Emperour, yet your Lawful Emperour is
+  but a Tyrant,&mdash;&mdash;That your Emperour is a Tyrant is most Manifest, for you were born to
+  be Turks, but he has play'd the Turk with you.</i> And now is not this Man fit to Manage the
+  <i>Alcoran</i>, and to be set up for on Oracle of State? <i>Captain Tom</i> should have had this
+  Speech by right: But the <i>Poet</i> had a farther Design, and any thing is good enough for a
+  <i>Mufti</i>.</p>
+
+  <p><i>Sebastian</i> after all the violence of his Repentance, his grasping at self Murther, and
+  Resolutions for the <i>Cell</i>, is strangely pleased with the Remembrance of his <i>Incest</i>,
+  and wishes the Repetition of it: And <i>Almeida</i> out of her Princely Modesty, and singular
+  Compunction, is of the same mind. This is somewhat surprising! <i>Oedipus</i> and <i>Jocasta</i>
+  in <i>Sophocles</i> don't Repent at this rate. No: The horror of the first Discovery continues
+  upon their Spirits: They never relapse into any fits of Intemperance, nor entertain themselves
+  with a lewd Memory. This sort of Behaviour is not only more Instructive but more Natural too. It
+  being very unlikely one should wish the Repeating a Crime, when He was almost Distracted <span
+  class="pagenum" id="page167">{167}</span>at the thoughts on't, At the thoughts on't, tho' 'twas
+  comitted under all the Circumstances of excuse. Now when Ignorance and meer Mistake are so very
+  disquieting, 'tis very strange if a Man should plague his Mind with the Aggravations of Knowledge;
+  To carry Aversion, and Desire, in their full strength upon the same Object; To fly and pursue with
+  so much eagerness, is somewhat Unusual.<span class="leftmar"><i>p. 32.</i></span><sup
+  class="handonly" id="ref328"><a href="#side328">[328]</a></sup></p>
+
+  <p>If we step to the <i>Spanish Fryar</i> He will afford us a Flight worth the observing. 'Tis
+  part of the Addresses of <i>Torrismond</i> to <i>Leonora</i>.</p>
+
+  <div class="poem">
+    <p><i>You are so Beautiful</i></p>
+    <p><i>So wondrous Fair, you justifie Rebellion;</i></p>
+    <p><i>As if that faultless Face could make no Sin,</i></p>
+    <p><i>But Heaven by looking on it must forgive.</i></p>
+  </div>
+
+  <p>These are strange Compliments! <i>Torrismond</i> calls his Queen Rebel to her head, when he was
+  both her General and her Lover. This is powerful Rhetorick to Court a Queen with! Enough one would
+  think to have made the Affair desperate. But he has a Remedy at hand. The <i>Poets Nostrum</i> of
+  Profaness cures all. He does as good as tell Her, she may Sin as much as she has a mind to. Her
+  Face is a Protection to her Conscience. For <span class="pagenum" id="page168">{168}</span>Heaven
+  is under a necessity to forgive a Handsom Woman. To say all this ought to be pass'd over in
+  <i>Torrismond</i> on the score of his Passion, is to make the Excuse more scandalous than the
+  Fault, if possible. Such Raptures are fit only for <i>Bedlam</i>, or a place which I shan't name.
+  <i>Love Triumphant</i> will furnish another Rant not altogether inconsiderable. Here
+  <i>Celadea</i> a Maiden Lady when she was afraid her Spark would be married to another, calls out
+  presently for a <i>Chaos</i>. She is for pulling the World about her ears, tumbling all the
+  Elements together, and expostulates with Heaven for making Humane Nature otherwise than it should
+  have been.</p>
+
+  <div class="poem">
+    <p><i>Great Nature break thy chain that links together</i></p>
+    <p><i>The Fabrick of this Globe, and make a Chaos,</i></p>
+    <p><i>Like that within my Soul.</i>&mdash;&mdash;<span class="leftmar"><i>p. 52.</i></span><sup
+    class="handonly" id="ref329"><a href="#side329">[329]</a></sup></p>
+  </div>
+
+  <p>Now to my fancy, if she had call'd for a <i>Chair</i> instead of a <i>Chaos</i>, trip'd off,
+  and kept her folly to her self, the Woman had been much wiser. And since we have shown our Skill
+  in vaulting on the High Ropes, a little <i>Tumbling</i> on the <i>Stage</i>, may not do amiss for
+  variety.</p>
+
+  <p>Now then for a jest or two. <i>Don Gomez</i> shall begin:<span class="leftmar"><i>Spanish
+  Fryar. p. 36.</i></span><sup class="handonly" id="ref330"><a href="#side330">[330]</a></sup> And
+  here he'le give us <span class="pagenum" id="page169">{169}</span>a Gingle upon the double meaning
+  of a word.</p>
+
+  <p><i>I think</i>, says <i>Dominick</i> the Fryar, <i>it was my good Angel that sent me hither so
+  opportunely</i>. <i>Gomez</i> suspects him brib'd for no creditable business and answers.</p>
+
+  <p>Gom. <i>Ay, whose good Angels sent you hither, that you know best, Father.</i></p>
+
+  <p>These <i>Spaniards</i> will entertain us with more of this fine Raillery. Colonel <i>Sancho</i>
+  in <i>Love Triumphant</i> has a great stroak at it. He says his Bride <i>Dalinda</i> is no more
+  <i>Dalinda</i>, but <i>Dalilah</i> the <i>Philistine</i>.<span class="leftmar"><i>p.
+  70.</i></span><sup class="handonly" id="ref331"><a href="#side331">[331]</a></sup> This Colonel as
+  great a Soldier as he is, is quite puzzled at a <i>Herald</i>. He <i>thinks they call him</i>
+  Herod, <i>or some such Jewish Name</i>. Here you have a good Officer spoil'd for a miserable
+  jest.<span class="leftmar"><i>p. 61.</i></span><sup class="handonly" id="ref332"><a
+  href="#side332">[332]</a></sup> And yet after all, this <i>Sancho</i> tho' he can't pronounce
+  <i>Herald</i>, knows what 'tis to be <i>Laconick</i>, which is somewhat more out of his way.
+  <i>Thraso</i> in <i>Terence</i><span class="leftmar"><i>Enuch.</i><br/>
+  <i>King Arth. p. 2.</i></span><sup class="handonly" id="ref333"><a href="#side333">[333]</a></sup>
+  was a man of the same size in Sense, but for all that he does not quibble. <i>Albanact</i> Captain
+  of the Guards,<sup class="handonly" id="ref334"><a href="#side334">[334]</a></sup> is much about
+  as witty as <i>Sancho</i>. It seems <i>Emmeline</i> Heiress to the Duke of <i>Cornwal</i> was
+  Blind. <i>Albanact</i> takes the rise of his Thought from hence; And observes <i>that as Blind as
+  she is, Coswald would have no blind Bargain of her</i>. <i>Carlos</i> tells <i>Sancho</i> he is
+  sure of his Mistress,<span class="leftmar"><i>Love Trium. p. 26.</i></span><sup class="handonly"
+  id="ref335"><a href="#side335">[335]</a></sup> <span class="pagenum" id="page170">{170}</span>and
+  <i>has no more to do but to take out a License</i>.</p>
+
+  <p><i>Sancho</i> replies, <i>Indeed I have her License for it</i>. <i>Carlos</i> is somewhat angry
+  at this Gingle, and cries, <i>what quibling too in your Prosperity</i>? Adversity it seems is the
+  only time for <i>punning</i>. Truly I think so too. For 'tis a sign a Man is much Distress'd when
+  he flies to such an Expedient. However, <i>Carlos</i> needed not to have been so touchy: For He
+  can stoop as low himself upon occasion. We must know then that <i>Sancho</i> had made Himself a
+  Hunch'd Back, to counterfeit the <i>Conde Alonzo</i>. The two Colonels being in the same Disguise,
+  were just upon the edg of a Quarrel. After some Preliminaries in Railing, <i>Sancho</i> cries,
+  <i>Don't provoke me; I am mischeivously bent</i>.</p>
+
+  <p>Carlos replies, <i>Nay, you are</i> <b>Bent</b> <i>enough in Conscience, but I have a</i>
+  <b>Bent</b> Fist <i>for Boxing</i>. Here you have a brace of Quibbles started in a Line and a
+  half. And which is worst of all, they come from <i>Carlos</i>, from a <i>Character</i> of Sense;
+  And therefore the poet, not the <i>Soldier</i>, must answer for them.</p>
+
+  <p>I shall now give the <i>Reader</i> a few Instances of the Courtship of the <i>Stage</i>, and
+  how decently they treat the Women, and <i>Quality</i> of both <i>Sexes</i>. The <i>Women</i> who
+  <span class="pagenum" id="page171">{171}</span>are secured from Affronts by Custom, and have a
+  Privilege for Respect, are sometimes but roughly saluted by these Men of Address. And to bar the
+  Defence, this Coarseness does not alwaies come from Clowns, and Women-haters; but from
+  <i>Persons</i> of Figure, neither singular, nor ill Bred. And which is still worse, The Satir
+  falls on blindly without Distinction, and strikes at the whole <i>Sex</i>.</p>
+
+  <p>Enter <i>Raymond</i> a Noble-man in the <i>Spanish Fryar</i>.<span class="leftmar"><i>p.
+  47.</i></span><sup class="handonly" id="ref336"><a href="#side336">[336]</a></sup></p>
+
+  <div class="poem">
+    <p><i>O Vertue! Vertue! What art thou become?</i></p>
+    <p><i>That men should leave thee for that Toy a woman,</i></p>
+    <p><i>Made from the dross and refuse of a Man;</i></p>
+    <p><i>Heaven took him sleeping when he made her too,</i></p>
+    <p><i>Had Man been waking he had nee'r consented.</i></p>
+  </div>
+
+  <p>I did not know before that a Man's Dross lay in his <i>Ribs</i>; I believe sometimes it lies
+  Higher. But the Philosophy, the Religion, and the Ceremony of these Lines, are too tender to be
+  touched. <i>Creon</i> a Prince in <i>Oedipus</i>,<span class="leftmar"><i>Oedip. p.
+  3.</i></span><sup class="handonly" id="ref337"><a href="#side337">[337]</a></sup> railes in
+  General at the <i>Sex</i>, and at the same time is violently in Love with <i>Euridice</i>. This
+  upon the Matter, is just as natural, as 'tis Civil. If any one would understand what the <i>Curse
+  of all tender hearted Women is, Belmour</i> will inform him. What is it then? <span
+  class="pagenum" id="page172">{172}</span>'Tis the <i>Pox</i>.<span class="leftmar"><i>Old Batch.
+  p. 41.</i></span><sup class="handonly" id="ref338"><a href="#side338">[338]</a></sup> If this be
+  true, the Women had need lay in a stock of ill Nature betimes. It seems 'tis their only
+  preservative. It guards their Virtue, and their Health, and is all they have to trust to.
+  <i>Sharper</i> another Man of Sense in this <i>Play</i>, talks much at the same rate.
+  <i>Belinda</i> would know of him <i>where he got that excellent Talent of Railing</i>?</p>
+
+  <p>Sharp. <i>Madam the Talent was Born with me.&mdash;&mdash;I confess I have taken care to
+  improve it, to qualifie me for the Society of Ladies.</i><span class="leftmar"><i>p.
+  35.</i></span><sup class="handonly" id="ref339"><a href="#side339">[339]</a></sup> <i>Horner</i>,
+  a Topping <i>Character</i> in the <i>Country Wife</i>, is advised to <i>avoid Women, and hate them
+  as they do him</i>. <i>He Answers.</i></p>
+
+  <p><i>Because I do hate them, and would hate them yet more, I'll frequent e'm; you may see by
+  Marriage, nothing makes a Man hate a Woman more than her Constant Conversation.</i><span
+  class="leftmar"><i>p. 22.</i><br/>
+  <i>Don. Sebast. p. 5.</i></span><sup class="handonly" id="ref340"><a
+  href="#side340">[340]</a></sup> There is still something more Coarse upon the <i>Sex</i> spoken by
+  <i>Dorax</i><sup class="handonly" id="ref341"><a href="#side341">[341]</a></sup> but it is a
+  privileged Expression, and as such I must leave it. The <i>Relapse</i> mends the Contrivance of
+  the Satir, refines upon the Manner, and to make the Discourse the more probable, obliges the
+  Ladies to abuse themselves. And because I should be loath to tire the <i>Reader, Berenthia</i>
+  shall close the Argument. This Lady having <span class="pagenum"
+  id="page173">{173}</span>undertook the Employment of a <i>Procuress</i>, makes this remark upon it
+  to her self.</p>
+
+  <p>Berinth. <i>So here is fine work! But there was no avoiding it.&mdash;&mdash;Besides, I begin
+  to Fancy there may be as much Pleasure in carrying on another Bodies Intrigue, as ones own. This
+  is at least certain, It exercises almost all the Entertaining Faculties of a Woman. For there is
+  Employment for Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying.</i></p>
+
+  <p>Let us now see what Quarter the <i>Stage</i> gives to <i>Quality</i>. And here we shall find
+  them extreamly free, and familiar. They dress up the <i>Lords</i> in Nick Names, and expose them
+  in <i>Characters</i> of Contempt. <i>Lord Froth</i> is explain'd a <i>Solemn Coxcomb</i>;<span
+  class="leftmar"><i>Double Dealer. Person. Dram.</i><br/>
+  <i>Relapse.</i><br/>
+  <i>Provok'd Wife.</i><br/>
+  <i>p. 4. p. 2.</i></span><sup class="handonly" id="ref342"><a href="#side342">[342]</a></sup> And
+  <i>Lord Rake</i>, and <i>Lord Foplington</i> give you their Talent in their Title.<sup
+  class="handonly" id="ref343"><a href="#side343">[343]</a></sup> Lord <i>Plausible</i> in the
+  <i>Plain Dealer</i> Acts a ridiculous Part, but is with all very civil. He tells <i>Manly he never
+  attempted to abuse any Person</i>, The other answers; <i>What? you were afraid?</i><sup
+  class="handonly" id="ref344"><a href="#side344">[344]</a></sup> <i>Manly</i> goes on and declares
+  <i>He would call a Rascal by no other Title, tho' his Father had left him a Dukes</i>.<sup
+  class="handonly" id="ref345"><a href="#side345">[345]</a></sup> That is, he would call a Duke a
+  Rascal. This I confess is very much <i>Plain Dealing</i>. Such Freedoms would appear but odly in
+  Life, especially without Provocation. I must own the <i>Poet</i> to be an Author of <span
+  class="pagenum" id="page174">{174}</span>good Sense; But under favour, these jests, if we may call
+  them so, are somewhat high Season'd, the Humour seems overstrain'd, and the <i>Character</i>
+  push'd too far. To proceed. <i>Mustapha</i> was selling <i>Don Alvarez</i> for a Slave. The
+  Merchant asks <i>what Virtues he has</i>.<span class="leftmar"><i>Don Sebast. p.
+  16.</i></span><sup class="handonly" id="ref346"><a href="#side346">[346]</a></sup> <i>Mustapha</i>
+  replies. <i>Virtues quoth ah! He is of a great Family and Rich, what other Virtues would'st thou
+  have in a Nobleman?</i> Don <i>Carlos</i> in <i>Love Triumphant</i> stands for a Gentleman, and a
+  Man of Sense, and out-throws <i>Mustapha</i> a Bars Length. He tells us <i>Nature has given</i>
+  Sancho <i>an empty Noddle, but Fortune in revenge has fill'd his Pockets: just a Lords Estate in
+  Land and Wit</i>.<span class="leftmar"><i>p. 17.</i></span><sup class="handonly" id="ref347"><a
+  href="#side347">[347]</a></sup> This is a handsom Compliment to the Nobility! And my Lord
+  <i>Salisbury</i> had no doubt of it a good Bargain of the <i>Dedication</i>.<span
+  class="leftmar"><i>Don. Quix. part. 2. p. 37.</i></span><sup class="handonly" id="ref348"><a
+  href="#side348">[348]</a></sup> <i>Teresa's</i> general Description of a Countess is considerable
+  in its Kind: But only 'tis in no Condition to appear. In the <i>Relapse</i>, Sir <i>Tunbelly</i>
+  who had Mistaken Young <i>Fashion</i> for Lord <i>Foplington</i>, was afterwards undeceiv'd; and
+  before the surprize was quite over, puts the Question, <i>is it then possible that this should be
+  the true Lord</i> Foplington <i>at Last</i>? The Nobleman removes the scruple with great Civility
+  and Discretion! <i>Lord</i> Fopl. <i>Why what do you see in his Face to make you doubt of <span
+  class="pagenum" id="page175">{175}</span>it? Sir without presuming to have an extraordinary
+  Opinion of my Figure, give me leave to tell you, if you had seen as many Lords as I have done you
+  would not think it Impossible A Person of a worse Taille then mine might be a Modern Man of
+  Quality.</i><span class="leftmar"><i>Relapse. p. 84.</i></span><sup class="handonly"
+  id="ref349"><a href="#side349">[349]</a></sup></p>
+
+  <p>I'm sorry to hear <i>Modern Quality</i> degenerates so much. But by the way, these Liberties
+  are altogether new. They are unpractised by the Latin <i>Comedians</i>, and by the <i>English</i>
+  too till very lately, as the <i>Plain Dealer</i> observes.<span class="leftmar"><i>p.
+  24.</i><br/>
+  <i>L'Ombre de Moliere</i></span><sup class="handonly" id="ref350"><a
+  href="#side350">[350]</a></sup> And as for <i>Moliere</i> in <i>France</i>, he pretends to fly his
+  Satir no higher than a Marquis.<sup class="handonly" id="ref351"><a
+  href="#side351">[351]</a></sup></p>
+
+  <p class="sp5">And has our <i>Stage</i> a particular Privilege? Is their <i>Charter</i> inlarg'd,
+  and are they on the same Foot of Freedom with the <i>Slaves</i> in the <i>Saturnalia</i>? Must all
+  Men be handled alike? Must their Roughness be needs play'd upon Title? And can't they lash the
+  Vice without pointing upon the <i>Quality</i>? If as Mr. <i>Dryden</i> rightly defines it, a
+  <i>Play ought to be a just Image of Humane Nature</i>;<span class="leftmar"><i>Essay Dram. poet.
+  p. 5.</i></span><sup class="handonly" id="ref352"><a href="#side352">[352]</a></sup> Why are not
+  the Decencies of Life, and, the Respects of Conversation observ'd? Why must the Customes of
+  Countries be Cross'd upon, and the Regards of Honour overlook'd? What necessity is there to kick
+  the <i>Coronets</i> about the <i>Stage</i>, and to make a Man a Lord, only in order to <span
+  class="pagenum" id="page176">{176}</span>make him a Coxcomb. I hope the <i>Poets</i> don't intend
+  to revive the old Project of Levelling and <i>Vote</i> down the House of <i>Peers</i>. In earnest,
+  the <i>Play-house</i> is an admirable School of Behaviour! This is their way of managing Ceremony,
+  distinguishing Degree, and Entertaining the <i>Boxes</i>! But I shall leave them at present to the
+  Enjoyment of their Talent, and proceed to another Argument.</p>
+
+  <div><span class="pagenum" id="page177">{177}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  V.</span></h1>
+
+  <h2 class="sp3"><i>Remarks upon</i> Amphytrion, King Arthur, Don Quixote, <i>and the</i>
+  Relapse.</h2>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECTION</span>
+  I.</span></h3>
+
+  <p>The following <i>Plays</i>, excepting the Last, will fall under the same Heads of Commendation
+  with the Former. However, since the <i>Poets</i> have here been prodigal in their Expence, and
+  dress'd themselves with more Curiosity then ordinary, they deserve a proportionable Regard. So
+  much Finery must not be Crowded. I shall therefore make Elbow-Room for their Figure, and allow
+  them the Compass of a distinct Chapter.</p>
+
+  <p>To begin with <i>Amphytrion</i>. In this <i>Play</i> Mr. <i>Dryden</i> represents
+  <i>Jupiter</i> with the Attributes of the supream Being: He furnishes him with Omnipotence, makes
+  him the Creator of Nature, and the Arbiter of Fate, puts all the Functions of Providence in his
+  Hand, and describes him with the Majesty of the true God.<span class="leftmar"><i>Amphit. p. 1, 2,
+  3, 8, 9.</i></span><sup class="handonly" id="ref353"><a href="#side353">[353]</a></sup> And when
+  he has put Him in this glorious <span class="pagenum" id="page178">{178}</span>Equipage, he brings
+  him out for Diversion. He makes him express himself in the most intemperate Raptures:<span
+  class="leftmar"><i>p. 8. 17.</i></span><sup class="handonly" id="ref354"><a
+  href="#side354">[354]</a></sup> He is willing to <i>Renounce</i> his <i>Heaven</i> for his
+  Brutality, and employ a whole <i>Eternity</i> in Lewdness. He draws his Debauch at its full
+  Length, with all the Art, and Heightings, and Foulness of Idea immaginable. This <i>Jupiter</i> is
+  not contented with his success against <i>Amphitrion</i>, unless he brings <i>Alcmena</i> into the
+  Confederacy, and makes her a Party <i>ex post Facto</i>. He would not have her think of her
+  <i>Husband</i>, but her <i>Lover</i>, that is, her <i>Whoremaster</i>. 'Tis not the success, but
+  the manner of gaining it which is all in all. 'Tis the Vice which is the charming Circumstance.
+  Innocence and Regularity, are dangerous Companions; They spoil Satisfaction, and make every Thing
+  insipid! Unless People take care to discharge their Virtue, and clear off their Conscience, their
+  Senses will vanish immediately! For <i>Jupiter</i>, says he,<span class="leftmar"><i>p.
+  18.</i></span><sup class="handonly" id="ref355"><a href="#side355">[355]</a></sup> would <i>owe
+  nothing to a Name so dull as Husband</i>. And in the next Page.</p>
+
+  <div class="poem">
+    <p><i>That very name of Wife And Marriage</i></p>
+    <p><i>Is poyson to the dearest sweets of Love.</i><span class="leftmar"><i>19.</i></span><sup
+    class="handonly" id="ref356"><a href="#side356">[356]</a></sup></p>
+  </div>
+
+  <p>I would give the <i>Reader</i> some more of these fine Sentences, but that they are <span
+  class="pagenum" id="page179">{179}</span>too much out of Order to appear. The truth is, Our
+  <i>Stage-Poets</i> seem to fence against Censure by the excess of Lewdness; And to make the
+  overgrown size of a Crime, a Ground for Impunity. As if a Malefactor should project his Escape by
+  appearing too scandalous for Publick Tryal. However, This is their Armour of Proof, this is the
+  Strength they retreat to. They are fortified in Smut, and almost impregnable in Stench, so that
+  where they deserve most, there's no coming at them. To proceed. I desire to know what Authority
+  Mr. <i>Dryden</i> has for this extraordinary Representation? His Original <i>Plautus</i>, is no
+  President. Indeed <i>Plautus</i> is the only bold Heathen that ever made <i>Jupiter</i> tread the
+  <i>Stage</i>. But then he stops far short of the Liberties of the <i>English Amphitrion.
+  Jupiter</i> at <i>Rome</i>, and <i>London</i>, have the same unaccountable Design; but the Methods
+  of pursuit are very different. The First, does not solicit in scandalous Language, nor flourish
+  upon his Lewdness, nor endeavours to set it up for the Fashion. <i>Plautus</i> had some regard to
+  the Height of the Character, and the Opinion of his Country, and the Restraints of Modesty. The
+  Sallies of <i>Aristophanes</i> do not come up to the case; And if they did, I have cut off the
+  Succours from that <span class="pagenum" id="page180">{180}</span>Quarter already. <i>Terence's
+  Ch�rea</i>. is the next bold Man:<span class="leftmar"><i>Eunuch.</i></span><sup class="handonly"
+  id="ref357"><a href="#side357">[357]</a></sup> However, here the Fable of <i>Jupiter</i> and
+  <i>Danae</i> are just glanced at, and the Expression is clean; and He that tells the Story, a
+  Young Libertine. These are all circumstances of extenuation, and give quite another Complexion to
+  the Thing. As for the <i>Greek Tragedians</i> and <i>Seneca</i>, there's no Prescription can be
+  drawn from them. They mention <i>Jupiter</i> in Terms of Magnificence and Respect, and make his
+  Actions, and his Nature of a piece. But it may be the Celebrated <i>Homer</i>, and <i>Virgil</i>
+  may give Mr. <i>Dryden</i> some Countenance. Not at all. <i>Virgil's Jupiter</i> is alwaies great,
+  and solemn, and keeps up the port of a Deity. 'Tis true, <i>Homer</i> does not guard the Idea with
+  that exactness, but then He never sinks the Character into Obscenity. The most exceptionable
+  passage is that where <i>Jupiter</i> relates his Love Adventures to <i>Juno</i>. Here this
+  pretended Deity is charm'd with <i>Venus</i>'s Girdle, is in the height of his Courtship, and
+  under the Ascendant of his Passion. This 'tis confess'd was a slippery Place, and yet the Poet
+  makes a shift to keep his Feet. His <i>Jupiter</i> is Little, but not nauseous; The Story, tho'
+  improper, will bear the telling, and look Conversation in the Face. However; These <span
+  class="pagenum" id="page181">{181}</span>Freedoms of <i>Homer</i> were counted intolerable: I
+  shall not insist on the Censures of <i>Justin Martyr</i>, or <i>Clemens Alexandrinus</i>: Even the
+  Heathen could not endure them. The Poets are lashed by <i>Plato</i> upon this Score; For planting
+  Vice in Heaven, and making their Gods infectious; If Mr. <i>Dryden</i> answers that <i>Jupiter</i>
+  can do us no Harm.<span class="leftmar"><i>Euseb. pr�par. Evang.</i></span><sup class="handonly"
+  id="ref358"><a href="#side358">[358]</a></sup> He is known to be an Idol of Lewd Memory, and
+  therefore his Example can have no Force: Under Favour this is a mistake: For won't Pitch daub when
+  a dirty Hand throws it; or can't a Toad spit Poyson because she's ugly? Ribaldry is dangerous
+  under any Circumstances of Representation. And as <i>Menander</i> and St. <i>Paul</i> express it,
+  <i>Evil Communications corrupt good Manners</i>. I mention them both, because if the
+  <i>Apostle</i> should be dislik'd, the <i>Comedian</i> may pass. But after all, Mr. <i>Dryden</i>
+  has not so much as a Heathen President for his Singularities. What then made him fall into them?
+  Was it the Decency of the Thing, and the Propriety of <i>Character</i>, and Behaviour? By no
+  means. For as I have observ'd before, Nature and Operations, ought to be proportion'd, and
+  Behaviour suited to the Dignity of Being. To draw a Monkey in Royal Robes, and a Prince in
+  <i>Antick</i>, would be Farce upon <span class="pagenum" id="page182">{182}</span>Colours,
+  entertain like a Monster, and please only upon the score of Deformity. Why then does Mr.
+  <i>Dryden</i> cross upon Nature and Authority, and go off as he Confesses, from the Plan of
+  <i>Plautus</i>, and <i>Moliere</i>? Tho' by the way, the English <i>Amphitryon</i> has borrow'd
+  most of the Libertine Thoughts of <i>Moliere</i>, and improv'd them. But to the former question.
+  Why must the beaten Road be left? He tells us, <i>That the difference of our</i> Stage <i>from the
+  Roman and the French did so require it</i>.<span class="leftmar"><i>Ep. Ded.</i></span><sup
+  class="handonly" id="ref359"><a href="#side359">[359]</a></sup> That is, our <i>Stage</i> must be
+  much more Licentious. For you are to observe that Mr. <i>Dryden</i>, and his Fraternity, have
+  help'd to debauch the <i>Town</i>, and Poyson their Pleasures to an unusal Degree: And therefore
+  the Diet must be dress'd to the Palate of the <i>Company</i>. And since they are made
+  <i>Scepticks</i>, they must be entertain'd as such. That the English <i>Amphitryon</i> was
+  contriv'd with this View is too plain to be better interpreted. To what purpose else does
+  <i>Jupiter</i> appear in the shape of <i>Jehovah</i>? Why are the incommunicable <i>Attributes</i>
+  burlesqu'd, and Omnipotence applyed to Acts of Infamy? To what end can such Horrible stuff as this
+  serve, unless to expose the Notion, and extinguish the Belief of a Deity? The Perfections of God,
+  are Himself. To <span class="pagenum" id="page183">{183}</span>ridicule his Attributes and his
+  Being, are but two words for the same Thing. These Attributes are bestow'd on <i>Jupiter</i> with
+  great Prodigality, and afterwards execrably outrag'd. The Case being thus, the Cover of an Idol,
+  is <span class="correction" title="Original reads 'to', corrected by Errata">too</span> thin a
+  pretence to Screen the Blasphemy. Nothing but Mr. <i>Dryden's Absolom</i> and <i>Achitophel</i>
+  can out-do This. Here I confess the Motion of his Pen is bolder, and the Strokes more Black'd.
+  Here we have Blasphemy on the top of the Letter, without any trouble of Inference, or
+  Construction. This Poem runs all upon Scripture Names, Upon Suppositions of the true Religion, and
+  the right Object of Worship. Here Profaness is shut out from Defence, and lies open without Colour
+  or Evasion. Here are no Pagan Divinities in the Scheme, so that all the Atheistick Raillery must
+  point upon the true God. In the beginning we are told that <i>Absalom</i> was <i>David's</i>
+  Natural Son: So then there's a blot in his <i>Scutcheon</i> and a Blemish upon his Birth. The
+  <i>Poet</i> will make admirable use of this, remark presently! This <i>Absalom</i> it seems was
+  very extraordinary in his Person and Performances. Mr. <i>Dryden</i> does not certainly know how
+  this came about, and therefore enquires of himself in the first place,</p>
+
+  <div><span class="pagenum" id="page184">{184}</span></div>
+
+  <div class="poem">
+    <p><i>Whether inspired with a diviner Lust,</i></p>
+    <p><i>His Father got him</i>&mdash;&mdash;<span class="leftmar"><i>p. 1.</i></span><sup
+    class="handonly" id="ref360"><a href="#side360">[360]</a></sup></p>
+  </div>
+
+  <p>This is down right Defiance of the Living God! Here you have the very Essence and Spirit of
+  Blasphemy, and the Holy Ghost brought in upon the most hideous Occasion. I question whether the
+  Torments and Despair of the Damn'd, dare venture at such Flights as these. They are beyond
+  Description, I Pray God they may not be beyond Pardon too. I can't forbear saying, that the next
+  bad Thing to the writing these Impieties, is to Suffer them. To return to <i>Amphitryon</i>.
+  <i>Ph&#x0153;bus</i> and <i>Mercury</i> have <i>Manners</i> assign'd very disagreeable to their
+  Condition. The later abating Propriety of Language, talks more like a <i>Water-man</i> than a
+  Deity. They rail against the Gods, and call <i>Mars</i> and <i>Vulcan</i> the <i>two Fools of
+  Heaven. Mercury</i> is pert upon his Father <i>Jupiter</i>, makes jests upon his Pleasures, and
+  his Greatness, and is horribly smutty and profane.<span class="leftmar"><i>p. 3, 16,
+  etc.</i></span><sup class="handonly" id="ref361"><a href="#side361">[361]</a></sup> And all this
+  Misbehaviour comes from him in his own shape, and in the sublimity of his Character. Had He run
+  Riot in the Disguise of <i>Sofia</i>, the Discourse and the Person had been better adjusted, and
+  the Extravagance more Pardonable. <span class="pagenum" id="page185">{185}</span>But here the
+  Decorum is quite lost. To see the <i>Immortals</i> play such Gambols, and the biggest Beings do
+  the least Actions, is strangely unnatural. An Emperour in the Grimaces of an Ape, or the
+  Diversions of a Kitten, would not be half so ridiculous. Now as Monsieur <i>Rapin</i> observes,
+  without Decorum there can be no <i>probability</i>, nor without Probability any true Beauty.
+  Nature must be minded, otherwise Things will look forced, tawdry, and chimerical. Mr.
+  <i>Dryden</i> discourses very handsomly on this occasion in his <i>Preface</i> to <i>Albion</i>
+  and <i>Albanius</i>.<span class="leftmar"><i>p. 1.</i></span><sup class="handonly" id="ref362"><a
+  href="#side362">[362]</a></sup> He informs us, <i>That Wit has been truly defin'd a propriety of
+  Words and Thoughts.&mdash;&mdash;That Propriety of Thought is that Fancy which arises naturally
+  from the Subject.</i> Why then without doubt, the Quality, of Characters should be taken care of,
+  and great Persons appear like themselves. Yes, yes, all this is granted by implication, and Mr.
+  <i>Dryden</i> comes still nearer to the present case. He tells us, that <i>Propriety is to be
+  observed, even in Machines; And that the Gods are all to manage their Peculiar Provinces</i>. He
+  instances in some of their respective Employments; but I don't find that any of them were to talk
+  Lewdly. No. He plainly supposes the contrary. For as he goes on, <i>If they were to speak upon
+  <span class="pagenum" id="page186">{186}</span>the Stage it would follow of necessity, that the
+  Expressions should be Lofty, Figurative, and Majestical</i>. It seems then their Behaviour should
+  be agreeable to their Greatness. Why then are not these Rules observ'd, in the <i>Machines</i> of
+  <i>Amphitrion</i>? <span class="correction" title="Original reads 'And as', corrected by
+  Errata">As</span> I take it, Obscenity has not the Air of Majesty, nor any Alliance with the
+  <i>Sublime</i>. And as for the <i>Figurative</i> Part, 'tis generally of the same Cut with the
+  <i>Lofty</i>: The Smut shines clear, and strong, through the Metaphor, and is no better screen'd
+  than the Sun by a Glass Window. To use <i>Mercury</i> thus ill, and make the God of Eloquence
+  speak so unlike himself is somewhat strange! But tho' the <i>Antients</i> knew nothing of it,
+  there are Considerations above those of <i>Decency</i>. And when this happens, <i>A Rule must
+  rather be trespass'd on, than a Beauty left out</i>. 'Tis Mr. <i>Dryden's</i> opinion in his
+  <i>Cleomenes</i>, where he breaks the <i>Unity of Time</i>, to describe the <i>Beauty</i> of a
+  Famine.<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref363"><a
+  href="#side363">[363]</a></sup> Now Beauty is an arbitrary Advantage, and depends upon Custom and
+  Fancy. With some People the Blackest Complexions are the handsomest. 'Tis to these <i>African</i>
+  Criticks that Mr. <i>Dryden</i> seems to make his Appeal. And without doubt he bespeaks their
+  Favour, and strikes their Imagination luckily enough. For to lodge Divinity and Scandal together;
+  To make <span class="pagenum" id="page187">{187}</span>the Gods throw <i>Stars</i>, like
+  <i>Snow-balls</i> at one another, but especially to Court in Smut, and rally in Blasphemy, is most
+  admirably entertaining! This is much better than all the Niceties of <i>Decorum</i>. 'Tis
+  handsomly contriv'd to slur the Notion of a Superiour Nature, to disarm the Terrors of Religion,
+  and make the Court Above as Romantick as that of the <i>Fairies</i>. A Libertine when his
+  Conscience is thus reliev'd, and Atheism sits easie upon his Spirits, can't help being grateful
+  upon the Occasion. Meer Interest will oblige him to cry up the Performance, and solicit for the
+  <i>Poets</i> Reputation! Before I take leave of these <i>Machines</i>, it may not be amiss to
+  enquire why the Gods are brought into the <i>Spiritual Court</i>.<span class="leftmar"><i>p.
+  1.</i></span><sup class="handonly" id="ref364"><a href="#side364">[364]</a></sup> Now I suppose
+  the Creditableness of the Business, and the <i>Poets</i> Kindness to those <i>Places</i>, are the
+  principal Reasons of their coming. However. He might have a farther Design in his Head, and that
+  is, to bring <i>Thebes</i> to <i>London</i>, and to show the Antiquity of <i>Doctors Commons</i>.
+  For if you will believe <i>Mercury</i>, this Conference between him and <i>Ph&#x0153;bus</i> was
+  held three thousand years ago.<span class="leftmar"><i>19.</i></span><sup class="handonly"
+  id="ref365"><a href="#side365">[365]</a></sup> Thus <i>Shakespear</i> makes <i>Hector</i> talk
+  about <i>Aristotles</i> Philosophy,<span class="leftmar"><i>Troil. and Cressid.</i><br/>
+  <i>The Hist. of Sr. John Old Castle.</i></span><sup class="handonly" id="ref366"><a
+  href="#side366">[366]</a></sup> and calls Sr. <i>John Old Castle</i>, <i>Protestant</i>.<sup
+  class="handonly" id="ref367"><a href="#side367">[367]</a></sup> I had not mention'd this Discovery
+  in Chronology, <span class="pagenum" id="page188">{188}</span>but that Mr. <i>Dryden</i> falls
+  upon <i>Ben Johnson</i>, for making <i>Cataline give Fire at the Face of a Cloud</i>, before Guns
+  were invented.</p>
+
+  <p>By the Pattern of these pretended <i>Deities</i>, we may guess what sort of <i>Mortals</i> we
+  are likely to meet with. Neither are we mistaken. For <i>Ph�dra</i>, is bad enough in all
+  Conscience, but <i>Bromia</i> is a meer Original. Indeed when Mr. <i>Dryden</i> makes
+  <i>Jupiter</i>, and <i>Jupiter</i> makes the Women, little less can be expected. So much for
+  <i>Amphitrion</i>.</p>
+
+  <p>I shall pass on to <i>King Arthur</i> for a word or two.<span class="leftmar"><i>King
+  Arthur.</i></span><sup class="handonly" id="ref368"><a href="#side368">[368]</a></sup> Now here is
+  a strange jumble and Hotch potch of Matters, if you mind it. Here we have <i>Genii</i>, and
+  <i>Angels</i>, <i>Cupids</i>, <i>Syrens</i>, and <i>Devils</i>; <i>Venus</i> and St.
+  <i>George</i>, <i>Pan</i> and the <i>Parson</i>, the Hell of Heathenism, and the Hell of
+  <i>Revelation</i>; A fit of Smut, and then a Jest about Original Sin. And why are Truth and
+  Fiction, Heathenism and Christianity, the most Serious and the most Trifling Things blended
+  together, and thrown into one Form of Diversion? Why is all this done unless it be to ridicule the
+  whole, and make one as incredible as the other? His <i>Airy</i> and <i>Earthy Spirits</i>
+  discourse of the first state of Devils, of their <i>Chief</i> of their Revolt, their Punishment,
+  and <span class="pagenum" id="page189">{189}</span>Impostures. This Mr. <i>Dryden</i> very
+  Religiously calls a <i>Fairy way of Writing, which depends only on the Force of
+  Imagination</i>.<span class="leftmar"><i>Ep. Ded.</i></span><sup class="handonly" id="ref369"><a
+  href="#side369">[369]</a></sup> What then is the Fall of the Angels a Romance? Has it no basis of
+  Truth, nothing to support it, but strength of Fancy, and Poetick Invention? After He had mention'd
+  Hell, Devils, <i>&amp;c</i>. and given us a sort of <i>Bible</i> description of these formidable
+  Things; I say after he had formed his Poem in this manner, I am surprized to hear him call it a
+  <i>Fairy kind of Writing</i>. Is the History of <i>Tophet</i> no better prov'd than that of
+  <i>Styx</i>? Is the Lake of <i>Brimstone</i> and that of <i>Phlegeton</i> alike dreadful? And have
+  we as much Reason to believe the Torments of <i>Titius</i> and <i>Prometheus</i>, as those of the
+  Devils and Damn'd? These are lamentable Consequences! And yet I can't well see how the <i>Poet</i>
+  can avoid them. But setting aside this miserable Gloss in the <i>Dedication</i>, the
+  Representation it self is scandalously irreligious. To droll upon the Vengeance of Heaven, and the
+  Miseries of the Damn'd, is a sad Instance of Christianity! Those that bring Devils upon the
+  <i>Stage</i>, can hardly believe them any where else. Besides, the Effects of such an
+  Entertainment must needs be admirable! To see Hell thus play'd with is a mighty Refreshment to a
+  lewd <span class="pagenum" id="page190">{190}</span>Conscience, and a byass'd Understanding. It
+  heartens the Young Libertine, and confirms the well-wishers to Atheism, and makes Vice bold, and
+  enterprising. Such Diversions serve to dispel the Gloom, and guild the Horrors of the <i>Shades
+  below</i>, and are a sort of Ensurance against Damnation. One would think these <i>Poets</i> went
+  upon absolute Certainty, and could demonstrate a Scheme of Infidelity. If they could, They had
+  much better keep the Secret. The divulging it tends only to debauch Mankind, and shake the
+  Securities of Civil Life. However, if they have been in the other World and find it empty, and
+  uninhabited, and are acquainted with all the Powers, and Places, in Being; If they can show the
+  Impostures of Religion, and the Contradictions of Common Belief, they have something to say for
+  themselves. Have they then infallible Proof and Mathematick Evidence for these Discoveries? No Man
+  had ever the Confidence to say This; And if He should, he would be but laughed at for his Folly.
+  No Conclusions can exceed the Evidence of their Principles; you may as well build a Castle in the
+  Air, as raise a Demonstration upon a Bottom of Uncertainty. And is any Man so vain as to pretend
+  to know the Extent of Nature, and the Stretch of Possibility, <span class="pagenum"
+  id="page191">{191}</span>and the Force of the Powers Invisible? So that notwithstanding the
+  Boldness of this <i>Opera</i>, there may be such a Place as Hell; And if so, a Discourse about
+  Devils, will be no <i>Fairy way of Writing</i>. For a <i>Fairy way of Writing</i>, is nothing but
+  a <i>History of Fiction</i>; A subject of Imaginary Beings; such as never had any existence in
+  Time, or Nature. And if as Monsieur <i>Rapin</i> observes, <i>Poetry</i> requires a mixture of
+  Truth and <i>Fable</i>; Mr. <i>Dryden</i> may make his advantage, for his <i>Play</i> is much
+  better founded on Reality than He was aware of.</p>
+
+  <p>It may not be improper to consider in a word or two, what a frightfull Idea the <i>Holy
+  Scriptures</i> give us of Hell. 'Tis describ'd by all the <span class="correction"
+  title="Original reads 'Circumstance', corrected
+  by Errata">Circumstances</span> of Terror, by every Thing dreadful to Sense, and amazing to
+  Thought. The Place, the Company, the Duration, are all Considerations of Astonishment. And why has
+  God given us this solemn warning? Is it not to awaken our Fears, and guard our Happiness; To
+  restrain the Disorders of Appetite, and to keep us within Reason, and Duty? And as for the
+  <i>Apostate Angels</i>, the <i>Scriptures</i> inform us of their lost Condition, of their Malice
+  and Power, of their active Industry and Experience; and all these Qualities <span class="pagenum"
+  id="page192">{192}</span>Correspondent to the Bulk of their Nature, the Antiquity of their Being,
+  and the Misery of their State. In short, They are painted in all the formidable Appearances
+  imaginable, to alarm our Caution, and put us upon the utmost Defence.</p>
+
+  <p>Let us see now how Mr. <i>Dryden</i> represents these unhappy Spirits, and their Place of
+  Abode. Why very entertainingly! Those that have a true Tast for Atheism were never better regaled.
+  One would think by this <i>Play</i> the Devils were meer Mormo's and Bugbears, fit only to fright
+  Children and Fools. They rally upon Hell and Damnation, with a great deal of Air and Pleasantry;
+  and appear like <i>Robin Good-fellow</i>, only to make the Company laugh. <i>Philidel</i>: Is
+  call'd a <i>Puling Sprite</i>. And why so? For this pious reason, because</p>
+
+  <div class="poem">
+    <p><i>He trembles at the yawning Gulph of Hell,</i></p>
+    <p><i>Nor dares approach the Flames least he should Singe</i></p>
+    <p><i>His gaudy silken Wings.</i></p>
+    <p><i>He sighs when he should plunge a Soul in Sulphur,</i></p>
+    <p><i>As with Compassion touch'd of Foolish Man</i>.<span class="leftmar"><i>p.
+    6.</i></span><sup class="handonly" id="ref370"><a href="#side370">[370]</a></sup></p>
+  </div>
+
+  <p>The answer is, <i>What a half Devil's he</i>.</p>
+
+  <div><span class="pagenum" id="page193">{193}</span></div>
+
+  <p>You see how admirably it runs all upon the Christian Scheme! Sometimes they are
+  <i>Half-Devils</i>, and sometimes <i>Hopeful-Devils</i>, and what you please to make sport with.
+  <i>Grimbald</i> is afraid of being <i>whooped through Hell at his return</i>, for miscarrying in
+  his Business. It seems there is great Leisure for Diversion! There's <i>Whooping</i> in Hell,
+  instead of <i>Weeping</i> and <i>Wailing</i>! One would fancy Mr. <i>Dryden</i> had Daylight and
+  Company, when these Lines were written. I know his Courage is extraordinary; But sure such
+  Thoughts could never bear up against Solitude and a Candle!</p>
+
+  <p>And now since he has diverted himself with the <i>Terrors</i> of <i>Christianity</i>, I dont
+  wonder he, should treat those that Preach them with so much Civility! enter <i>Poet</i> in the
+  Habit of a <i>Peasant</i>.</p>
+
+  <div class="poem">
+    <p><i>We ha' cheated the Parson we'el cheat him again,</i></p>
+    <p><i>For why should a Blockhead have one in ten?</i></p>
+    <p><i>For prating so long like a Booklearned Sot,</i></p>
+    <p><i>Till Pudding, and Dumpling burn to pot.</i></p>
+  </div>
+
+  <p>These are fine comprehensive stroaks! Here you have the <i>Iliads</i> in a Nutshell! Two or
+  three courtly words take in the whole Clergy; And what is wanting in <span class="pagenum"
+  id="page194">{194}</span>Wit, is made up in Abuse, and that's as well. This is an admirable
+  <i>Harvest Catch</i>, and the poor Tith-stealers stand highly indebted. They might have been tired
+  with Cheating in <i>Prose</i>, had not they not been thus seasonably releiv'd in Doggrell! But now
+  there is Musick in playing the Knave. A Countryman now may fill his Barn, and humour his ill
+  Manners, and sing his Conscience asleep, and all under one. I dont question but these <i>four
+  Lines</i> steal many a Pound in the year. Whether the <i>Muse</i> stands indictable or not, the
+  Law must determine: But after all, I must say the Design is notably laid. For Place and Person,
+  for Relish and Convenience; nothing could have been better. The Method is very short, clear, and
+  Practicable. 'Tis a fine portable Infection, and costs no more Carriage than the Plague.</p>
+
+  <p>Well! the Clergy must be contented: It might possibly have been worse for them if they had been
+  in his favour: For he has sometimes a very unlucky way of showing his Kindness. He commends the
+  <i>Earl of Leicester for considering the Friend, more than the Cause</i>;<span
+  class="leftmar"><i>Ep. Ded. Don Sebast.</i></span><sup class="handonly" id="ref371"><a
+  href="#side371">[371]</a></sup> that is, for his Partiality; The Marquess of <i>Halifax</i> for
+  <i>quitting the Helm, at the approach of a Storm</i>;<span class="leftmar"><i>Ded. King
+  Arthur.</i></span><sup class="handonly" id="ref372"><a href="#side372">[372]</a></sup> As if
+  Pilots were made only for fair <span class="pagenum" id="page195">{195}</span>Weather. 'Tis
+  Presum'd these Noble Persons are unconcern'd in this Character. However the <i>Poet</i> has shown
+  his skill in Panegyrick, and 'tis only for that I mention it. He commends <i>Atticus</i> for his
+  Trimming, and <i>Tally</i> for his Cowardize, and speaks meanly of the Bravery of
+  <i>Cato</i>.<span class="leftmar"><i>Sebast. K. Arth.</i><br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref373"><a href="#side373">[373]</a></sup> Afterwards
+  he professes his Zeal for the Publick welfare, and is pleas'd to <i>see the Nation so well secur'd
+  from Foreign Attempts</i> &amp;c.<sup class="handonly" id="ref374"><a
+  href="#side374">[374]</a></sup> However he is in some pain about the Coming of the <i>Gauls</i>;
+  'Tis possible for fear they should invade the <i>Muses</i>, and carry the <i>Opera's</i> into
+  Captivity, and deprive us of <i>the Ornaments of Peace</i>.</p>
+
+  <p class="sp5">And now He has serv'd his Friends, he comes in the last place like a modest Man, to
+  commend Himself. He tells us there were a great many <i>Beauties</i> in the Original Draught of
+  this <i>Play</i>. But it seems Time has since tarnish'd their Complexion. And He gives
+  <i>Heroick</i> Reasons for their not appearing. To speak Truth, (all Politicks apart,) there are
+  strange Flights of Honour, and Consistencies of Pretention in this Dedication! But I shall forbear
+  the Blazon of the <i>Atcheivment</i>, for fear I should commend as unluckily as Himself.</p>
+
+  <div><span class="pagenum" id="page196">{196}</span></div>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECT</span>.
+  II.</span></h3>
+
+  <h4 class="sp3"><i>Remarks upon Don Quixot, &amp;c.</i></h4>
+
+  <p>Mr. <i>Durfey</i> being somewhat particular in his Genius and Civilities, I shall consider him
+  in a word or two by himself. This Poet writes from the <i>Romance</i> of an ingenious Author: By
+  this means his Sense, and <i>Characters</i> are cut out to his Hand. He has wisely planted himself
+  upon the shoulders of a <i>Giant</i>; but whether his Discoveries answer the advantage of his
+  standing, the Reader must judge.</p>
+
+  <p>What I have to object against Mr. <i>Durfey</i> shall most of it be ranged under these three
+  Heads.</p>
+
+  <p>I. <i>His Profaness with respect to Religion and the</i> Holy Scriptures.</p>
+
+  <p>II. <i>His Abuse of the Clergy.</i></p>
+
+  <p class="sp3">III. <i>His want of Modesty and Regard to the Audience.</i></p>
+
+  <p>I. <i>His Profaness, &amp;c.</i></p>
+
+  <p>And here my first Instance shall be in a bold <i>Song</i> against Providence.</p>
+
+  <div><span class="pagenum" id="page197">{197}</span></div>
+
+  <div class="poem">
+    <p><i>Providence that formed the Fair</i></p>
+    <p style="margin-left:0.70em"><i>In such a charming Skin,</i></p>
+    <p><i>Their Outside made his only care,</i></p>
+    <p style="margin-left:0.70em"><i>And never look'd within.</i><span class="leftmar"><i>Part 1st.
+    p. 20.</i></span><sup class="handonly" id="ref375"><a href="#side375">[375]</a></sup></p>
+  </div>
+
+  <p>Here the <i>Poet</i> tells you Providence makes Mankind by halves, huddles up the Soul, and
+  takes the least care of the better Moyety. This is direct blaspheming the Creation, and a Satir
+  upon God Almighty. His next advance is to droll upon the Resurrection.</p>
+
+  <div class="poem">
+    <p><i>Sleep and indulge thy self with Rest,</i></p>
+    <p><i>Nor dream thou e're shalt rise again.</i><span class="leftmar"><i>p. 20.</i></span><sup
+    class="handonly" id="ref376"><a href="#side376">[376]</a></sup></p>
+  </div>
+
+  <p>His Third Song makes a jest of the <i>Fall</i>, rails upon <i>Adam</i> and <i>Eve</i>, and
+  burlesques the Conduct of <i>God Almighty</i> for not making Mankind over again.</p>
+
+  <div class="poem">
+    <p><i>When the World first knew Creation,<span class="leftmar"><i>p. 37.</i></span><sup
+    class="handonly" id="ref377"><a href="#side377">[377]</a></sup></i></p>
+    <p><i>A Rogue was a Top-Profession,</i></p>
+    <p><i>When there was no more in all Nature but Four,</i></p>
+    <p><i>There were two of them in Transgression.</i></p>
+    <p class="stanza"><i>He that first to mend the Matter,</i></p>
+    <p><i>Made Laws to bind our Nature,</i></p>
+    <p><i>Should have found a way,</i></p>
+    <p><i>To make Wills obey,</i></p>
+    <p><i>And have Modell'd new the Creature</i>.</p>
+  </div>
+
+  <div><span class="pagenum" id="page198">{198}</span></div>
+
+  <p>In this and the following page, the <i>Redemption</i> of the World is treated with the same
+  respect with the <i>Creation</i>. The word <i>Redeemer</i>, which among Christians is appropriated
+  to our Blessed Saviour, and like the Jewish Tetragrammaton peculiarly reserv'd to the Deity; This
+  adorable Name (<i>Redeemer and Dear Redeemer</i>,) is applyed to the ridiculous Don
+  <i>Quixote</i>. These Insolencies are too big for the Correction of a Pen, and therefore I shall
+  leave them. After this horrible abuse of the Works, and Attributes of God, he goes on to make
+  sport with his Vengeance. He makes the Torments of Hell a very Comical Entertainment: As if they
+  were only Flames in Painting, and Terrors in <i>Romance</i>. The <i>Stygian Frogs</i> in
+  <i>Aristophanes</i> are not represented with more Levity, and Drolling. That the <i>Reader</i> may
+  see I do him no wrong, I shall quote the places which is the main Reason why I have transcrib'd
+  the rest of his Profaness.</p>
+
+  <div><span class="pagenum" id="page199">{199}</span></div>
+
+  <div class="poem">
+    <p><i>Appear ye fat Feinds that in Limbo do groan,</i></p>
+    <p><i>That were when in Flesh the same souls with his own:</i></p>
+    <p><i>You that always in Lucifers Kitchin reside,</i></p>
+    <p><i>'Mongst Sea-coal and Kettles, and Grease newly try'd:</i></p>
+    <p><i>That pamper'd each day with a Garbidge of Souls,</i></p>
+    <p><i>Broil Rashers of Fools for a Breakfast on Coals.</i></p>
+  </div>
+
+  <p>In the Epilogue you have the History of <i>Balaam</i>'s Ass exposed, and the Beast brought upon
+  the <i>Stage</i> to laugh at the Miracle the better;</p>
+
+  <div class="poem">
+    <p><i>And as 'tis said a parlous Ass once spoke,</i></p>
+    <p><i>When Crab-tree Cudgel did his rage provoke.</i></p>
+    <p><i>So if you are not civil,&mdash;&mdash;I fear</i></p>
+    <p><i>He'el speak again.&mdash;&mdash;</i></p>
+  </div>
+
+  <p>In the second <i>Part</i> the Devil is brought upon the <i>Stage</i>.<span
+  class="leftmar"><i>p. 13.</i></span><sup class="handonly" id="ref378"><a
+  href="#side378">[378]</a></sup> He cries as <i>he hopes to be Saved</i>. And <i>Sancho warrants
+  him a good Christian</i>. Truly I think he may have more of Christianity in him than the Poet. For
+  he trembles at that God, with whom the other makes Diversion.</p>
+
+  <p>I shall omit the mention of several outrages of this Kind, besides his deep mouth'd swearing,
+  which is frequent, and pass on to the Second Head, which is His Abuse of the Clergy. And since
+  Reveal'd Religion has been thus horribly treated, <span class="pagenum"
+  id="page200">{200}</span>'tis no Wonder if the <i>Ministers</i> of it have the same Usage.</p>
+
+  <p>And here we are likely to meet with some passages extraordinary enough. For to give Mr.
+  <i>Durfey</i> his due, when he meddles with Church men he lays about him like a Knight Errant:
+  Here his Wit and his Malice, are generally in extreams, tho' not of the same Kind. To begin. He
+  makes the Curate <i>Perez</i> assist at the ridiculous Ceremony of <i>Don Quixots</i>
+  Knighting.<span class="leftmar"><i>Part. 1. p. 13.</i></span><sup class="handonly" id="ref379"><a
+  href="#side379">[379]</a></sup> Afterwards Squire <i>Sancho</i> confessing his mistake to
+  <i>Quixote</i>, tells him, <i>Ah consider dear Sir no man is born wise</i>. And what if he was
+  born wise? He may be <i>Bred</i> a Fool, if he has not a care. But how does he prove this
+  Memorable Sentence? Because a <i>Bishop is no more than another man without Grace and Good
+  Breeding</i>. I must needs say if the <i>Poet</i> had any share of either of these Qualities, he
+  would be less bold with his Superiors; and not give his Clowns the Liberty to droll thus heavily
+  upon a solemn <i>Character</i>. This <i>Sancho</i> Mr. <i>Durfey</i> takes care to inform us is
+  <i>a dry shrewd Country Fellow</i>, The reason of this Character is for the strength of it
+  somewhat surprising.<span class="leftmar"><i>Person. Dram.</i></span><sup class="handonly"
+  id="ref380"><a href="#side380">[380]</a></sup> 'Tis because <i>he blunders out Proverbs upon all
+  Occasions, tho' never so far from the purpose</i>. Now if blundring and talking nothing <span
+  class="pagenum" id="page201">{201}</span>to the purpose, is an argument of <i>Shrewdness</i>; some
+  Peoples <i>Plays</i> are very shrewd Performances. To proceed. <i>Sancho</i> complains of his
+  being married, because it hindred him from better offers. <i>Perez</i> the Curate is sorry for
+  this Misfortune. <i>For as I remember</i> says he <i>'twas my luck to give</i> Teresa <i>and you
+  the Blessing</i>. To this <i>Sancho</i> replies. <i>A Plague on your Blessing! I perceive I shall
+  have reason to wish you hang'd for your Blessing&mdash;&mdash;Good finisher of Fornication, good
+  Conjunction Copulative.</i><span class="leftmar"><i>p. 51.</i></span><sup class="handonly"
+  id="ref381"><a href="#side381">[381]</a></sup> For this irreverence and Profaness <i>Perez</i>
+  threatens him with Excommunication. <i>Sancho</i> tells him, <i>I care not, I shall lose nothing
+  by it but a nap in the Afternoon.</i> In his Second Part, <i>Jodolet</i> a Priest is call'd a
+  <i>Holy Cormorant</i>, and made to dispatch <i>half a Turkey, and a Bottle of Malaga for his
+  Breakfast</i>.<span class="leftmar"><i>p. 3.</i></span><sup class="handonly" id="ref382"><a
+  href="#side382">[382]</a></sup> Here one Country Girl chides another for her sawcyness.
+  <i>D'ee</i> (says she) <i>make a Pimp of a Priest?</i> <i>Sancho</i> interposes with his usual
+  shrewdness: <i>A Pimp of a Priest, why is that such a Miracle?</i> In the Second <i>Scene</i> the
+  Poet Provides himself another Priest to abuse.<span class="leftmar"><i>p. 7.</i></span><sup
+  class="handonly" id="ref383"><a href="#side383">[383]</a></sup> <i>Mannel</i> the Steward calls
+  <i>Bernardo</i> the Chaplain Mr. <i>Cuff-Cushion</i>, and tells him a <i>Whore is a Pulpit he
+  loves</i>.&mdash;&mdash;In settling the <i>Characters Mannel</i> is given out for <i>a witty
+  pleasant Fellow</i>. And now you see he comes up to Expectation. To the Blind all <i>Colours</i>
+  <span class="pagenum" id="page202">{202}</span>are alike, and Rudeness, and Raillery are the same
+  thing!<span class="leftmar"><i>p. 10.</i></span><sup class="handonly" id="ref384"><a
+  href="#side384">[384]</a></sup> Afterwards, <i>Bernardo</i> says <i>Grace</i> upon the
+  <i>Stage</i>; and I suppose Prays to God to bless the Entertainment of the Devil. Before they rise
+  from Table, the <i>Poet</i> contrives a Quarrel between <i>Don Quixot</i> and <i>Bernardo</i>. The
+  Priest railes on the Knight, and calls him <i>Don Coxcomb</i> &amp;c. By this time you may imagine
+  the Knight heartily Provok'd, ready to buckle on his <i>Bason</i>, and draw out for the Combat,
+  Let us hear his Resentment.</p>
+
+  <p>Don Quix. <i>Oh thou old black Fox with a Fire brand in thy Tail, thou very Priest: Thou
+  Kindler of all Mischeifs in all Nations. De'e hear Homily: Did not the Reverence I bear these
+  Nobles&mdash;&mdash;I would so thrum your Cassock you Church Vermin</i>.<span
+  class="leftmar"><i>p. 41.</i></span><sup class="handonly" id="ref385"><a
+  href="#side385">[385]</a></sup></p>
+
+  <p>At last he bids <i>Bernardo</i> adieu in Language too Profane and Scandalous to relate.<span
+  class="leftmar"><i>p. 47.</i></span><sup class="handonly" id="ref386"><a
+  href="#side386">[386]</a></sup> In the Fourth <i>Act</i> His Song calls the Clergy <i>Black
+  Cattle</i>, and says <i>no Body now minds what they say</i>. I could alledge more of his Courtship
+  to the <i>Order</i>, but the <i>Reader</i> might possibly be tired, and therefore I shall proceed
+  in the</p>
+
+  <p><i>Third</i>, place to his want of Modesty, and Regard to the Audience. As for Smut
+  <i>Sancho</i> and <i>Teresa</i> talk it broad, and single sens'd, for almost a page together.<span
+  class="leftmar"><i>Part. 1st. p. 7, 8. pt. 2d. p. 57.</i></span><sup class="handonly"
+  id="ref387"><a href="#side387">[387]</a></sup> <i>Mary</i> the <i>Buxsom</i> has likewise her
+  share <span class="pagenum" id="page203">{203}</span>of this Accomplishment. The first Epilogue is
+  Garnish'd with a Couplet of it;<span class="leftmar"><i>pt. 2d. p. 60;</i></span><sup
+  class="handonly" id="ref388"><a href="#side388">[388]</a></sup> <i>Marcella</i> the Maiden
+  Shepherdess raves in Raptures of Indecency; And sometimes you have it mixt up with Profaness, to
+  make the Composition the stronger.<span class="leftmar"><i>pt. 1st. p. 38. pt. 2d. p.
+  14.</i></span><sup class="handonly" id="ref389"><a href="#side389">[389]</a></sup> But this
+  entertainment being no Novelty, I shall pass it over; And the rather because there are some other
+  Rarities which are not to be met with else where.</p>
+
+  <p>Here he diverts the Ladies with the Charming Rhetorick of <i>Snotty-Nose, filthy Vermin in the
+  Beard, Nitty Jerkin, and Louse Snapper, with the Letter in the Chamber-pot, and natural
+  Evacuation</i>;<span class="leftmar"><i>pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36, 49. pt.
+  2d. p. 37. 44.</i></span><sup class="handonly" id="ref390"><a href="#side390">[390]</a></sup> with
+  an abusive description of a Countess, and a rude story of a certain Lady, and with some other
+  varieties of this Kind, too coarse to be named. This is rare stuff for Ladies, and Quality! There
+  is more of <i>Physick</i>, than <i>Comedy</i> in such Sentences as these. <i>Crocus Metallorum</i>
+  will scarse turn the Stomack more effectually. 'Tis possible Mr. <i>Durfey</i> might design it for
+  a <i>Receipt</i>. And being Conscious the <i>Play</i> was too dear, threw a Vomit into the
+  Bargain.<span class="leftmar"><i>Pref. pt. 3d.</i></span><sup class="handonly" id="ref391"><a
+  href="#side391">[391]</a></sup> I wonder Mr. <i>Durfey</i> should have no more regard to the
+  <i>Boxes</i> and <i>Pitt</i>! That a Man who has <i>studied the Scenes of Decency and Good Manners
+  with so much Zeal</i>, should practise with so little Address! Certainly <i>indefatigable
+  Diligence, <span class="pagenum" id="page204">{204}</span>Care and Pains</i>, was never more
+  unfortunate!<span class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref392"><a
+  href="#side392">[392]</a></sup> In his <i>third Part</i>, <i>Buxsome</i> swears faster, and is
+  more scandalous, and impertinent, than in the other two. At these Liberties, and some in
+  <i>Sancho</i>, the Ladies took Check. This Censure Mr. <i>Durfey</i> seems heartily sorry for. He
+  is <i>extreamly concern'd that the Ladies, that Essential part of the Audience</i>, should think
+  his Performance <i>nauseous and undecent</i>.<span class="leftmar"><i>Pref.</i></span><sup
+  class="handonly" id="ref393"><a href="#side393">[393]</a></sup> That is, he is very sorry they
+  brought their Wits, or their Modesty along with them. However Mr. <i>Durfey</i> is not so
+  Ceremonious as to submit: He is resolved to keep the Field against the Ladies; And endeavours to
+  defend himself by saying, <i>I know no other way in Nature to do the Characters right, but to make
+  a Romp, speak like a Romp, and a clownish Boor blunder</i> &amp;c.<span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref394"><a
+  href="#side394">[394]</a></sup></p>
+
+  <p>By his favour, all Imitations tho' never so well Counterfeited are not proper for the
+  <i>Stage</i>. To present Nature under every Appearance would be an odd undertaking. A Midnight
+  <i>Cart</i>, or a <i>Dunghil</i> would be no Ornamental <i>Scene</i>. Nastyness, and dirty
+  Conversation are of the same kind. For <i>Words</i> are a Picture to the Ear, as Colours and
+  <i>Surface</i> are to the Eye. Such Discourses are like dilating upon Ulcers, and Leprosies: The
+  more <span class="pagenum" id="page205">{205}</span><i>Natural</i>, the worse; for the Disgust
+  always rises with the Life of the Description. Offensive Language like offensive Smells, does but
+  make a Man's Senses a burthen, and affords him nothing but Loathing and Aversion. Beastliness in
+  Behaviour, gives a disparaging Idea of Humane Nature, and almost makes us sorry we are of the same
+  Kind. For these reasons 'tis a Maxime in Good Breeding never to shock the Senses, or Imagination.
+  This Rule holds strongest before <i>Women</i>, and especially when they come to be entertain'd.
+  The Diversion ought to be suited to the Audience; For nothing pleases which is disproportion'd to
+  Capacity, and Gust. The Rudenesses and broad Jests of Beggars, are just as acceptable to Ladies as
+  their Rags, and Cleanliness. To treat Persons of Condition like the <i>Mob</i>, is to degrade
+  their Birth, and affront their Breeding. It levells them with the lowest Education. For the size
+  of a Man's Sense, and Improvement, is discovered by his Pleasures, as much as by any thing
+  else.</p>
+
+  <p>But to remove from <i>Scenes of Decency</i>, to <i>Scenes</i> of Wit. And here <i>Mannel</i>
+  and <i>Sancho</i>, two <i>pleasant sharp Fellows</i>, will divert us extreamly.<span
+  class="leftmar"><i>Person. Dram.</i></span><sup class="handonly" id="ref395"><a
+  href="#side395">[395]</a></sup> <i>Mannel</i> in the Disguise of a Lady addresses the Dutchess in
+  this <span class="pagenum" id="page206">{206}</span>manner. <i>Illustrious Beauty&mdash;&mdash;I
+  must desire to know whether the most purifidiferous Don</i> Quixote <i>of the Manchissima, and his
+  Squireiferous</i> Panca, <i>be in this Company or no</i>. This is the Ladies speech! Now comes
+  <i>Sancho</i>. <i>Why look you forsooth, without any more Flourishes, the Governour</i> Panca
+  <i>is here, and Don</i> Quixotissimo <i>too; therefore most afflictedissimous Matronissima, speak
+  what you willissimus, for we are all ready to be your Servitorissimus</i>.<span
+  class="leftmar"><i>pt. 2d. p. 31.</i></span><sup class="handonly" id="ref396"><a
+  href="#side396">[396]</a></sup></p>
+
+  <p>I dare not go on, for fear of overlaying the <i>Reader</i>. He may cloy himself at his Leisure.
+  The <i>Scene</i> between the <i>Taylor</i> and <i>Gardiner</i>, lies much in the same Latitude of
+  Understanding.<span class="leftmar"><i>p. 51.</i></span><sup class="handonly" id="ref397"><a
+  href="#side397">[397]</a></sup></p>
+
+  <p>The Third <i>Part</i> presents a set of <i>Poppets</i>, which is a Thought good enough; for
+  this Play is only fit to move upon <i>Wires</i>. 'Tis pity these little <i>Machines</i> appear'd
+  no sooner, for then the Sense, and the <i>Actors</i> had been well adjusted. In explaining the
+  <i>Persons</i>, He acquaints us that <i>Carasco is a Witty Man</i>. I can't tell what the
+  Gentleman might be in other Places, but I'm Satisfied he is a Fool in his <i>Play</i>. But some
+  <i>Poets</i> are as great Judges of Wit, as they are an instance; And have the Theory and the
+  Practise just alike.</p>
+
+  <p>Mr. <i>Durfeys Epistles Dedicatory</i> are to the full as diverting as his <i>Comedies</i>. A
+  little of them may not be amiss.</p>
+
+  <div><span class="pagenum" id="page207">{207}</span></div>
+
+  <p>In his first, He thus addresses the <i>Dutches</i> of <i>Ormond</i>. <i>'Tis Madam from your
+  Graces Prosperous Influence that I date my Good Fortune.</i> To <i>Date</i> from time and Place,
+  is vulgar and ordinary, and many a <i>Letter</i> has miscarried with it: But to do it from an
+  <i>Influence</i>, is Astrological, and surprizing, and agrees extreamly with the <i>Hemisphere of
+  the Play-house</i>.<span class="leftmar"><i>Pref. pt. 1st.</i><br/>
+  <i>Ibid.</i></span><sup class="handonly" id="ref398"><a href="#side398">[398]</a></sup> These
+  Flights one would easily imagine were the <i>Poor Off-spring</i> of Mr. <i>Durfey's Brain</i>, as
+  he very judiciously phrases it.<sup class="handonly" id="ref399"><a
+  href="#side399">[399]</a></sup></p>
+
+  <p>One Paragraph in his Dedication to Mr. <i>Montague</i> is perfect <i>Quixotism</i>; One would
+  almost think him enchanted. I'll give the Reader a Tast.</p>
+
+  <p><i>Had your Eye's shot the haughty Austerity upon me of a right Courtier,&mdash;&mdash;your
+  valued minutes had never been disturb'd with dilatory Trifles of this Nature, but my Heart on dull
+  Consideration of your Merit, had supinely wish'd you prosperity at a Distance.</i><span
+  class="leftmar"><i>pt. 3d.</i></span><sup class="handonly" id="ref400"><a
+  href="#side400">[400]</a></sup> I'm afraid the <i>Poet</i> was under some Apprehensions of the
+  Temper he complains of. For to my thinking, there is a great deal of <i>Supiness</i>, and <i>dull
+  Consideration</i> in these Periods. He tells his Patron <i>his Smiles have embolden'd him</i>. I
+  confess I can't see how He could forbear smiling at such Entertainment. However Mr. <i>Durfey</i>
+  takes Things by the best Handle, and is resolv'd <span class="pagenum" id="page208">{208}</span>to
+  be happy in his Interpretation. But to be serious. Were I the Author, I would discharge my Muse
+  unless she prov'd kinder. His way is rather to cultivate his Lungs, and Sing to other Peoples
+  Sense; For to finish him in a word, he is <i>Vox, &amp; pr�terea nihil</i>. I speak this only on
+  Supposition that the rest of his Performances are like These. Which because I have not perused I
+  can judge of no farther than by the Rule of <i>ex pede Herculem</i>. I shall conclude with
+  Monsieur <i>Boileau's Art</i> of <i>Poetry</i>. This citation may possibly be of some service to
+  Mr. <i>Durfey</i>; For if not concern'd in the Application, he may at least be precaution'd by the
+  Advice.</p>
+
+  <div class="poem sp5">
+    <p style="margin-left:2.80em">The Translation runs thus.</p>
+    <p class="stanza"><i>I like an Author that Reforms the Age;</i></p>
+    <p><i>And keeps the right Decorum of the Stage:</i></p>
+    <p><i>That always pleases by just Reasons Rule:</i></p>
+    <p><i>But for a tedious Droll a Quibbling Fool,</i></p>
+    <p><i>Who with low nauseous Baudry fills his Plays;</i></p>
+    <p><i>Let him begone and on two Tressells raise</i></p>
+    <p><i>Some</i> Smithfield <i>Stage, where he may act his Pranks,</i></p>
+    <p><i>And make</i> Jack-puddings <i>speak to Mountebanks</i>.<span class="leftmar"><i>p.
+    53.</i></span><sup class="handonly" id="ref401"><a href="#side401">[401]</a></sup></p>
+  </div>
+
+  <div><span class="pagenum" id="page209">{209}</span></div>
+
+  <h3 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">SECT</span>.
+  III.</span></h3>
+
+  <h4 class="sp3"><i>Remarks upon the</i> Relapse.</h4>
+
+  <p>The <i>Relapse</i> shall follow <i>Don Quixot</i>; upon the account of some Alliance between
+  them. And because this <i>Author</i> swaggers so much in his <i>Preface</i>, and seems to look big
+  upon his Performance, I shall spend a few more thoughts than ordinary upon his <i>Play</i>, and
+  examine it briefly in the <i>Fable</i>, the <i>Moral</i>, the <i>Characters</i>, <i>&amp;c.</i>
+  The Fable I take to be as follows.</p>
+
+  <p>Fashion <i>a Lewd, Prodigal, younger Brother; is reduced to extremity: Upon his arrival from
+  his Travels, he meets with</i> Coupler, <i>an old sharping Match-maker</i>; <i>This Man puts him
+  upon a project of cheating his Elder Brother Lord</i> Foplington, <i>of a rich Fortune</i>.
+  <i>Young</i> Fashion <i>being refused a Summ of Money by his Brother, goes into</i> Couplers
+  <i>Plot, bubbles Sir</i> Tunbelly <i>of his Daughter, and makes himself Master of a fair
+  Estate</i>.</p>
+
+  <p>From the Form and Constitution of the <i>Fable</i>, I observe</p>
+
+  <p>1st. That there is a <i>Misnommer</i> in the Title. The <i>Play</i> should not have been call'd
+  the <i>Relapse, or Virtue in Danger</i>: <span class="pagenum"
+  id="page210">{210}</span><i>Lovelace</i>, and <i>Amanda</i>, from whose <i>Characters</i> these
+  Names are drawn, are Persons of Inferiour Consideration. <i>Lovelace</i> sinks in the middle of
+  the <i>Fourth</i> Act, and we hear no more of him till towards the End of the <i>Fifth</i>, where
+  he enters once more, but then 'tis as <i>Cato</i> did the Senate house, only to go out again. And
+  as for <i>Amanda</i> she has nothing to do but to stand a shock of Courtship, and carry off her
+  Virtue. This I confess is a great task in the <i>Play-house</i>, but no main matter in the
+  <i>Play</i>.</p>
+
+  <p>The <i>Intrigue</i>, and the <i>Discovery</i>, the great Revolution and success, turns upon
+  <i>Young Fashion</i>. He without Competition, is the Principal Person in the <i>Comedy</i>. And
+  therefore the <i>Younger Brother</i>, or the <i>Fortunate Cheat</i>, had been much a more proper
+  Name. Now when a <i>Poet</i> can't rig out a <i>Title Page</i>, 'tis but a bad sign of his holding
+  out to the <i>Epilogue</i>.</p>
+
+  <p><i>2ly.</i> I observe the <i>Moral</i> is vitious: It points the wrong way, and puts the
+  <i>Prize</i> into the wrong Hand. It seems to make <i>Lewdness</i> the reason of <i>Desert</i>,
+  and gives <i>Young Fashion</i> a second Fortune, only for Debauching away his First. A short view
+  of his <i>Character</i>, will make good this Reflection. To begin with him: He confesses himself a
+  <i>Rake</i>, swears, and <span class="pagenum" id="page211">{211}</span>Blasphemes, Curses, and
+  Challenges his Elder Brother, cheats him of his Mistress, and gets him laid by the Heels in a
+  Dog-Kennel. And what was the ground of all this unnatural quarrelling and outrage? Why the main of
+  it was only because Lord <i>Foplington</i> refused to supply his Luxury, and make good his
+  Extravagance. This <i>Young Fashion</i> after all, is the <i>Poets</i> Man of Merit. He provides,
+  a <i>Plot</i> and a Fortune, on purpose for him. To speak freely, A Lewd Character seldom wants
+  good Luck in <i>Comedy</i>. So that when ever you see a thorough Libertine, you may almost swear
+  he is in a rising way, and that the <i>Poet</i> intends to make him a great Man. In short; This
+  <i>Play</i> perverts the End of <i>Comedy</i>: Which as Monsieur <i>Rapin</i> observes ought to
+  regard Reformation, and publick Improvement. But the <i>Relapser</i> had a more fashionable Fancy
+  in his Head.<span class="leftmar"><i>Reflect, &amp;c. p. 131.</i></span><sup class="handonly"
+  id="ref402"><a href="#side402">[402]</a></sup> His <i>Moral</i> holds forth this notable
+  Instruction.</p>
+
+  <p><i>1st.</i> That all <i>Younger Brothers</i> should be careful to run out their Circumstances
+  as Fast, and as Ill as they can. And when they have put their Affairs in this posture of
+  Advantage, they may conclude themselves in the high Road to Wealth, and Success. For as
+  <i>Fashion</i> Blasphemously applies it, <i>Providence takes care of Men of Merit.</i><span
+  class="leftmar"><i>Relapse. p. 19</i></span><sup class="handonly" id="ref403"><a
+  href="#side403">[403]</a></sup></p>
+
+  <div><span class="pagenum" id="page212">{212}</span></div>
+
+  <p><i>2ly.</i> That when a Man is press'd, his business is not to be govern'd by Scruples, or
+  formalize upon Conscience and Honesty. The quickest Expedients are the best; For in such cases the
+  Occasion justifies the Means, and a Knight of the <i>Post</i>, is as good as one of the
+  <i>Garter</i>. In the</p>
+
+  <p><i>3d.</i> Place it may not be improper to look a little into the <i>Plot</i>. Here the
+  <i>Poet</i> ought to play the Politician if ever. This part should have some stroaks, of Conduct,
+  and strains of Invention more then ordinary. There should be something that is admirable, and
+  unexpected to surprize the Audience. And all this Finess must work by gentle degrees, by a due
+  preparation of <i>Incidents</i>, and by Instruments which are probable.<span
+  class="leftmar"><i>Reflect.</i> <i>p. 133.</i></span><sup class="handonly" id="ref404"><a
+  href="#side404">[404]</a></sup> 'Tis Mr. <i>Rapins</i> remark, that without probability <i>every
+  Thing is lame and Faulty</i>. Where there is no pretence to <i>Miracle</i> and <i>Machine</i>,
+  matters must not exceed the force of Beleif. To produce effects without proportion; and likelyhood
+  in the Cause, is Farce, and Magick, and looks more like Conjuring than Conduct. Let us examine the
+  <i>Relapser</i> by these Rules. To discover his <i>Plot</i>, we must lay open somewhat more of the
+  <i>Fable</i>.</p>
+
+  <p>'Lord <i>Foplington</i> a Town Beau, had agreed to Marry the Daughter of Sir. <span
+  class="pagenum" id="page213">{213}</span><i>Tun-belly Clumsey</i> a Country Gentleman, who lived
+  Fifty miles from <i>London</i>. Notwithstanding this small distance, the Lord had never seen his
+  Mistress, nor the Knight his Son in Law. Both parties out of their great Wisdom, leave the
+  treating the Match to <i>Coupler</i>. When all the preliminaries of Settlement were adjusted, and
+  Lord <i>Foplington</i> expected by Sir <i>Tun-belly</i> in a few days, <i>Coupler</i> betrays his
+  Trust to <i>Young Fashion</i>. He advises him to go down before his Brother: To Counterfeit his
+  Person, and pretend that the strength of his Inclinations brought him thither before his time, and
+  without his Retinue. And to make him pass upon Sir <i>Tun-belly</i>, <i>Coupler</i> gives him his
+  <i>Letter</i>, which was to be Lord <i>Foplingtons</i> Credential. <i>Young Fashion</i> thus
+  provided, posts down to Sir <i>Tun-belly</i>, is received for Lord <i>Foplington</i>, and by the
+  help of a little Folly and Knavery in the Family, Marries the young Lady without her Fathers
+  Knowledge, and a week before the Appointment.</p>
+
+  <p>This is the Main of the Contrivance. The Counterturn in Lord <i>Foplingtons</i> appearing
+  afterwards, and the Support of the main <i>Plot</i>, by <i>Bulls</i>, and <i>Nurses</i> attesting
+  the Marriage, contain's little of Moment. And here we may observe that <span class="pagenum"
+  id="page214">{214}</span>Lord <i>Foplington</i> has an unlucky Disagreement in his
+  <i>Character</i>; This Misfortune sits hard upon the credibility of the Design. Tis true he was
+  Formal and Fantastick, Smitten with Dress, and Equipage, and it may be vapour'd by his Perfumes
+  But his Behaviour is far from that of an Ideot.<span class="leftmar">p. 27.</span><sup
+  class="handonly" id="ref405"><a href="#side405">[405]</a></sup> This being granted, 'tis very
+  unlikely this Lord with his five Thousand pounds <i>per annum</i>, should leave the choise of his
+  Mistress to <i>Coupler</i>, and take her Person and Fortune upon <i>Content</i>. To court thus
+  blindfold, and by <i>Proxy</i>, does not agree with the Method of an Estate, nor the Niceness of a
+  <i>Beau</i>. However the <i>Poet</i> makes him engage Hand over Head, without so much as the sight
+  of her Picture.<span class="leftmar"><i>p. 79.</i></span><sup class="handonly" id="ref406"><a
+  href="#side406">[406]</a></sup> His going down to Sir <i>Tun-belly</i> was as extraordinary as his
+  Courtship. He had never seen this Gentleman. He must know him to be beyond Measure suspicious, and
+  that there was no Admittance without <i>Couplers</i> Letter. This <i>Letter</i> which was, the Key
+  to the Castle, he forgot to take with him, and tells you <i>'twas stolen by his Brother Tam</i>.
+  And for his part he neither had the Discretion to get another, nor yet to produce that written by
+  him to Sir <i>Tun-belly</i>.<span class="leftmar"><i>Ibid.</i></span><sup class="handonly"
+  id="ref407"><a href="#side407">[407]</a></sup> Had common Sense been consulted upon this Occasion,
+  the <i>Plot</i> had been at an End, and the <i>Play</i> had sunk <span class="pagenum"
+  id="page215">{215}</span>in the Fourth <i>Act</i>. The Remainder subsists purely upon the strength
+  of Folly, and of Folly altogether improbable, and out of <i>Character</i>. The <i>Salvo</i> of Sir
+  <i>John Friendly's</i> appearing at last, and vouching for Lord <i>Foplington</i>, won't mend the
+  matter. For as the <i>Story</i> informs us, Lord <i>Foplington</i> never depended on this
+  Reserve.<span class="leftmar"><i>p. 81.</i></span><sup class="handonly" id="ref408"><a
+  href="#side408">[408]</a></sup> He knew nothing of this Gentleman being in the Country, nor where
+  he Lived. The truth is, Sir <i>John</i> was left in <i>Town</i>, and the Lord had neither
+  concerted his journey with him, nor engaged his Assistance.<span class="leftmar"><i>p.
+  83.</i></span><sup class="handonly" id="ref409"><a href="#side409">[409]</a></sup></p>
+
+  <p>Let us now see how Sir. <i>Tun-belly</i> hangs together. This Gentleman the <i>Poet</i> makes a
+  <i>Justice</i> of <i>Peace</i>, and a <i>Deputy Lieutenant</i>, and seats him fifty Miles from
+  <i>London</i>: But by his Character you would take him for one of <i>Hercules</i>'s Monsters, or
+  some Gyant in <i>Guy</i> of <i>Warwick</i>. His Behaviour is altogether <i>Romance</i>, and has
+  nothing agreeable to Time, or Country. When <i>Fashion</i>, and <i>Lory</i>, went down, they find
+  the Bridge drawn up, the Gates barr'd, and the Blunderbuss cock'd at the first civil Question. And
+  when Sir <i>Tun-belly</i> had notice of this formidable Appearance, he Sallies out with the
+  <i>Posse</i> of the Family, and marches against a Couple of Strangers with a <i>Life Gaurd</i> of
+  Halberds, Sythes, <span class="pagenum" id="page216">{216}</span>and Pitchforks. And to make sure
+  work, Young <i>Hoyden</i> is lock'd up at the first approach of the Enemy. Here you have prudence
+  and wariness to the excess of Fable, and Frensy. And yet this mighty man of suspition, trusts
+  <i>Coupler</i> with the Disposal of his only Daughter, and his Estate into the Bargain. And what
+  was this <i>Coupler</i>? Why, a sharper by <i>Character</i>, and little better by Profession.
+  Farther. Lord <i>Foplington</i> and the Knight, are but a days Journey asunder, and yet by their
+  treating by Proxy, and Commission, one would Fancy a dozen Degrees of <i>Latitude</i> betwixt
+  them. And as for Young <i>Fashion</i>, excepting <i>Couplers</i> Letter, he has all imaginable
+  Marks of Imposture upon him. He comes before his Time, and without the Retinue expected, and has
+  nothing of the Air of Lord <i>Foplington's</i> Conversation. When Sir <i>Tun-belly</i> ask'd him,
+  <i>pray where are your Coaches and Servants my Lord</i>? He makes a trifling excuse. <i>Sir, that
+  I might give you and your Fair Daughter a proof how impatient I am to be nearer akin to you, I
+  left my Equipage to follow me, and came away Post, with only one Servant.</i><span
+  class="leftmar"><i>p. 59.</i></span><sup class="handonly" id="ref410"><a
+  href="#side410">[410]</a></sup> To be in such a Hurry of Inclination for a Person he never saw, is
+  somewhat strange! Besides, 'tis very unlikely Lord <i>Foplington</i> should hazard his <span
+  class="pagenum" id="page217">{217}</span>Complexion on Horseback, out ride his Figure, and appear
+  a Bridegroom in <i>Deshabille</i>. You may as soon perswade a Peacock out of his Train, as a
+  <i>Beau</i> out of his Equipage; especially upon such an Occasion. Lord <i>Foplington</i> would
+  scarsely speak to his Brother just come a <i>Shore</i>, till the Grand Committee of <i>Taylors,
+  Seamtresses, &amp;c.</i> was dispatch'd.<span class="leftmar"><i>p. 11.</i></span><sup
+  class="handonly" id="ref411"><a href="#side411">[411]</a></sup> Pomp, and Curiosity were this
+  Lords Inclination; why then should he mortifie without necessity, make his first Approaches thus
+  out of Form and present himself to his Mistress at such Disadvantage? And as this is the Character
+  of Lord <i>Foplington</i>, so 'tis reasonable to suppose Sir <i>Tunbelly</i> acquainted with it.
+  An enquiry into the Humour and management of a Son in Law, is very natural and Customary. So that
+  we can't without Violence to Sense, suppose Sir <i>Tunbelly</i> a Stranger to Lord
+  <i>Foplington</i>'s Singularities. These Reasons were enough in all Conscience to make Sir
+  <i>Tunbelly</i> suspect a Juggle, and that <i>Fashion</i> was no better then a Counterfeit. Why
+  then was the <i>Credential</i> swallow'd without chewing, why was not <i>Hoyden</i> lock'd up, and
+  a pause made for farther Enquiry? Did this <i>Justice</i> never hear of such a Thing as Knavery,
+  or had he ever greater reason to guard against it? More wary steps <span class="pagenum"
+  id="page218">{218}</span>might well have been expected from Sir <i>Tunbelly</i>. To run from one
+  extream of Caution, to another of Credulity, is highly improbable. In short, either Lord
+  <i>Foplington</i> and Sir <i>Tunbelly</i> are Fools, or they are not. If they are, where lies the
+  Cunning in over-reaching them? What Conquest can there be without Opposition? If they are not
+  Fools, why does the <i>Poet</i> make them so? Why is their Conduct so gross, so particolour'd, and
+  inconsistent? Take them either way, and the <i>Plot</i> miscarries. The first supposition makes it
+  dull, and the later, incredible. So much for the <i>Plot</i>. I shall now in the</p>
+
+  <p><i>4th</i>. Place touch briefly upon the <i>Manners</i>.</p>
+
+  <p>The <i>Manners</i> in the Language of the <i>Stage</i> have a signification somewhat
+  particular. <i>Aristotle</i> and <i>Rapin</i> call them the Causes and Principles of Action. They
+  are formed upon the Diversities of Age, and Sex, of Fortune, Capacity, and Education. The
+  propriety of <i>Manners</i> consists in a Conformity of Practise, and Principle; of Nature, and
+  Behaviour. For the purpose. An old Man must not appear with the Profuseness and Levity of Youth; A
+  Gentleman must not talk like a Clown, nor a Country Girl like a Town Jilt. And when the
+  <i>Characters</i> are feign'd <span class="pagenum" id="page219">{219}</span>'tis <i>Horace</i>'s
+  Rule to keep them Uniform, and consistent, and agreeable to their first setting out. The
+  <i>Poet</i> must be careful to hold his <i>Persons</i> tight to their <i>Calling</i> and
+  pretentions. He must not shift, and shuffle, their Understandings; Let them skip from Wits to
+  Blockheads, nor from Courtiers to Pedants; On the other hand. If their business is playing the
+  Fool, keep them strictly to their Duty, and never indulge them in fine Sentences. To manage
+  otherwise, is to desert <i>Nature</i>, and makes the <i>Play</i> appear monstrous, and Chimerical.
+  So that instead of an <i>Image of Life</i>, 'tis rather an Image of Impossibility. To apply some
+  of these remarks to the <i>Relapser</i>.</p>
+
+  <p>The fine <i>Berinthia</i>, one of the Top-Characters, is impudent and Profane. <i>Lovelace</i>
+  would engage her Secrecy, and bids her Swear. She answers <i>I do</i>.</p>
+
+  <p><i>Lov.</i> By what?</p>
+
+  <p>Berinth. <i>By Woman.</i></p>
+
+  <p>Lov. <i>That's Swearing by my Deity, do it by your own, or I shan't believe you.</i></p>
+
+  <p>Berinth. <i>By Man then.</i><span class="leftmar"><i>p. 47.</i></span><sup class="handonly"
+  id="ref412"><a href="#side412">[412]</a></sup></p>
+
+  <p>This Lady promises <i>Worthy</i> her Endeavours to corrupt <i>Amanda</i>; and then They make a
+  Profane jest upon the Office.<span class="leftmar"><i>p. 51.</i></span><sup class="handonly"
+  id="ref413"><a href="#side413">[413]</a></sup> In the progress of the <i>Play</i> after a great
+  deal of Lewd Discourse with <i>Lovelace</i>, <span class="pagenum"
+  id="page220">{220}</span><i>Berinthia</i> is carried off into a Closet, and Lodged in a
+  <i>Scene</i> of Debauch.<span class="leftmar"><i>p. 74.</i></span><sup class="handonly"
+  id="ref414"><a href="#side414">[414]</a></sup> Here is Decency, and Reservedness, to a great
+  exactness! Monsieur <i>Rapin</i> blames <i>Ariosto</i>, and <i>Tasso</i>, for representing two of
+  their Women over free, and airy.<span class="leftmar"><i>Reflect. p. 40.</i></span><sup
+  class="handonly" id="ref415"><a href="#side415">[415]</a></sup> These <i>Poets</i> says he, <i>rob
+  Women of their Character, which is Modesty</i>. Mr. <i>Rymer</i> is of the same Opinion: His words
+  are these. <i>Nature knows nothing in the Manners which so properly, and particularly distinguish
+  a Woman, as her Modesty.&mdash;&mdash;An impudent Woman is fit only to be kicked, and expos'd in
+  Comedy.</i><span class="leftmar"><i>Tragedies of the last Age consider'd, &amp;c. p. 113,
+  114.</i></span><sup class="handonly" id="ref416"><a href="#side416">[416]</a></sup></p>
+
+  <p>Now <i>Berinthia</i> appears in <i>Comedy</i> 'tis true; but neither to be <i>kick'd</i>, nor
+  <i>expos'd</i>. She makes a Considerable Figure, has good Usage, keeps the best Company, and goes
+  off without Censure, or Disadvantage. Let us now take a Turn or two with Sir <i>Tun-belly's</i>
+  Heiress of 1500 pounds a year. This Young Lady swears, talks smut, and is upon the matter just as
+  rag-manner'd as <i>Mary the Buxsome</i>. 'Tis plain the <i>Relapser</i> copyed Mr. <i>Durfey's</i>
+  Original, which is a sign he was somewhat Pinch'd. Now this <i>Character</i> was no great Beauty
+  in <i>Buxsome</i>; But it becomes the Knights Daughter much worse. <i>Buxsome</i> was a poor
+  Pesant, which made her Rudeness more natural, and expected. But <i>Deputy Lieutenants</i> Children
+  don't <span class="pagenum" id="page221">{221}</span>use to appear with the Behaviour of Beggars.
+  To breed all People alike, and make no distinction between a <i>Seat</i>, and a <i>Cottage</i>, is
+  not over artful, nor very ceremonious to the Country Gentlemen. The <i>Relapser</i> gives
+  <i>Miss</i> a pretty Soliloquy, I'll transcribe it for <i>the Reader</i>.</p>
+
+  <p>She swears by her Maker, <i>'tis well I have a Husband a coming, or I'de Marry the Baker I
+  would so. No body can knock at the Gate, but presently I must be lock'd up, and, here's the Young
+  Gray-hound&mdash;&mdash;can run loose about the House all day long, she can, 'tis very
+  well!</i>!<span class="leftmar"><i>p. 59.</i></span><sup class="handonly" id="ref417"><a
+  href="#side417">[417]</a></sup> Afterwards her Language is too Lewd to be quoted. Here is a
+  Compound of Ill Manners, and Contradiction Is this a good Resemblance of Quality, a Description of
+  a great Heiress, and the effect of a Cautious Education? By her Coarsness you would think her Bred
+  upon a Common, and by her Confidence, in the Nursery of the <i>Play-house</i>. I suppose the
+  <i>Relapser</i> Fancies the calling her <i>Miss Hoyden</i> is enough to justifie her Ill Manners.
+  By his favour, this is a Mistake. To represent her thus unhewn, he should have suited her
+  Condition to her Name, a little better. For there is no Charm in <i>Words</i> as to matters of
+  Breeding, An unfashionable Name won't make a Man a Clown. Education is not form'd upon <span
+  class="pagenum" id="page222">{222}</span>Sounds, and Syllables, but upon Circumstances, and
+  Quality. So that if he was resolv'd to have shown her thus unpolish'd, he should have made her
+  keep <i>Sheep</i>, or brought her up at the <i>Wash-Boul</i>.</p>
+
+  <p>Sir <i>Tun-belly</i> accosts Young <i>Fashion</i> much at the same rate of Accomplishment.<span
+  class="leftmar"><i>p. 61.</i></span><sup class="handonly" id="ref418"><a
+  href="#side418">[418]</a></sup> My Lord,&mdash;&mdash;<i>I humbly crave leave to bid you Welcome
+  in <span class="correction" title="Original reads 'Cup', corrected by
+  Errata">a Cup</span> of Sack-wine</i>. One would imagine the <i>Poet</i> was overdozed before he
+  gave the <i>Justice</i> a Glass. For <i>Sack-wine</i> is too low for a <i>Petty Constable</i>.
+  This peasantly expression agrees neither with the Gentlemans Figure, nor with the rest of his
+  Behaviour. I find we should have a Creditable <i>Magistracy</i>, if the <i>Relapser</i> had the
+  Making them. Here the <i>Characters</i> are pinch'd in Sense, and stinted to short Allowance. At
+  an other time they are over-indulged, and treated above Expectation.</p>
+
+  <p>For the purpose. Vanity and Formalizing is Lord <i>Foplingtons</i> part. To let him speak
+  without Aukwardness, and Affectation, is to put him out of his Element. There must be Gumm and
+  stiffening in his Discourse to make it natural However, the <i>Relapser</i> has taken a fancy to
+  his Person, and given him some of the most Gentile raillery in the whole <i>Play</i>. To give an
+  Instance or two. This Lord <span class="pagenum" id="page223">{223}</span>in Discourse with
+  <i>Fashion</i> forgets his Name, flies out into Sense, and smooth expression, out talks his
+  Brother, and abating the starch'd Similitude of a <i>Watch</i>, discovers nothing of Affectation,
+  for almost a <i>Page</i> together.<span class="leftmar"><i>p. 42.</i></span><sup class="handonly"
+  id="ref419"><a href="#side419">[419]</a></sup> He relapses into the same Intemperance of good
+  Sense, in an other Dialogue between him and his Brother. I shall cite a little of it.</p>
+
+  <p><i>Y.</i> Fash. <i>Unless you are so kind to assist me in redeeming my Annuity, I know no
+  Remedy, but to go take a Purse</i>.</p>
+
+  <p><i>L.</i> Fopl. <i>Why Faith</i> Tam&mdash;&mdash;<i>to give you my Sense of the Thing, I do
+  think taking a Purse the best Remedy in the World, for if you succeed, you are releiv'd that way,
+  if you are taken&mdash;&mdash;you are reliev'd to'ther</i>.<span class="leftmar"><i>p.
+  43.</i></span><sup class="handonly" id="ref420"><a href="#side420">[420]</a></sup></p>
+
+  <p><i>Fashion</i> being disappointed of a supply quarrels his Elder Brother, and calls him <i>the
+  Prince of Coxcombs</i>.<span class="leftmar"><i>p. 44.</i></span><sup class="handonly"
+  id="ref421"><a href="#side421">[421]</a></sup></p>
+
+  <p><i>L.</i> Fopl. <i>Sir I am proud of being at the Head of so prevailing a party.</i></p>
+
+  <p><i>Y.</i> Fash. <i>Will nothing then provoke thee? draw Coward.</i></p>
+
+  <p><i>L.</i> Fopl. <i>Look you</i> Tam, <i>your poverty makes your Life so burdensome to you, you
+  would provoke me to a Quarrel, in hopes either to slip through my Lungs into my Estate, or else to
+  get your self run through the Guts, to put an end to your Pain. But I shall disappoint you in
+  both</i>. &amp;c.</p>
+
+  <div><span class="pagenum" id="page224">{224}</span></div>
+
+  <p>This Drolling has too much Spirit, the Air of it is too free, and too handsomly turn'd for Lord
+  <i>Foplingtons</i> Character. I grant the <i>Relapser</i> could not aford to lose these Sentences.
+  The Scene would have suffer'd by the Omission. But then he should have contriv'd the matter so, as
+  that they might, have been spoken by Young <i>Fashion</i> in <i>Asides</i>, or by some other more
+  proper Person. To go on. Miss <i>Hoyden</i> sparkles too much in Conversation. The <i>Poet</i>
+  must needs give her a shining Line or two,<span class="leftmar"><i>p. 64. At top.</i></span><sup
+  class="handonly" id="ref422"><a href="#side422">[422]</a></sup> which serves only to make the rest
+  of her dullness the more remarkable. Sir. <i>Tun-belly</i> falls into the same Misfortune of a
+  Wit, and rallies above the force of his Capacity.<span class="leftmar"><i>p. 85.</i></span><sup
+  class="handonly" id="ref423"><a href="#side423">[423]</a></sup> But the place having a mixture of
+  Profaness, I shall forbear to cite it. Now to what purpose should a Fools Coat be embroider'd?
+  Finery in the wrong place is but expensive Ridiculousness. Besides, I don't perceive the
+  <i>Relapser</i> was in any Condition to be thus liberal. And when a <i>Poet</i> is not
+  overstock'd, to squander away his Wit among his <i>Block-heads</i>, is meer Distraction. His men
+  of Sense will smart for this prodigality. <i>Lovelace</i> in his discourse of <i>Friendship</i>,
+  shall be the first Instance. <i>Friendship</i> (says he) <i>is said to be a plant of tedious
+  growth, its Root composed of tender</i> Fibers, <span class="pagenum"
+  id="page225">{225}</span>nice in their Tast, <i>&amp;c.</i> By this Description the Palate of a
+  <i>Fiber</i>, should be somewhat more <i>nice</i> and distinguishing, then the <i>Poets</i>
+  Judgment. Let us examin some more of his Witty People. Young <i>Fashion</i> fancies by
+  <i>Misses</i> forward Behaviour, she would have a whole <i>Kennel</i> of <i>Beaux</i> after her at
+  <i>London</i>. And then <i>Hey to the Park, and the Play, and the Church, and the Devil</i>.<span
+  class="leftmar"><i>p. 64.</i></span><sup class="handonly" id="ref424"><a
+  href="#side424">[424]</a></sup> Here I conceive the ranging of the Period is amiss. For if he had
+  put the <i>Play</i>, and the <i>Devil</i> together, the Order of Nature, and the Air of
+  Probability had been much better observ'd.</p>
+
+  <p>Afterwards <i>Coupler</i> being out of Breath in coming up stairs to <i>Fashion</i>, asks him
+  <i>why the &mdash;&mdash; canst thou not lodge upon the Ground-floor</i>?<span
+  class="leftmar"><i>p. 94.</i></span><sup class="handonly" id="ref425"><a
+  href="#side425">[425]</a></sup></p>
+
+  <p><i>Y.</i> Fash. <i>Because I love to lye as near Heaven as I can.</i> One would think a Spark
+  just come off his Travels, and had made the <i>Tour</i> of <i>Italy</i> and <i>France</i>, might
+  have rallied with a better Grace! However if he lodg'd in a <i>Garret</i>, 'tis a good
+  <i>Local</i> jest. I had almost forgot one pretty remarkable Sentence of <i>Fashion</i> to
+  <i>Lory.</i><span class="leftmar"><i>p. 15.</i></span><sup class="handonly" id="ref426"><a
+  href="#side426">[426]</a></sup> <i>I shall shew thee</i> (says he) <i>the excess of my Passion by
+  being very calm</i>. Now since this <i>Gentleman</i> was in a vein of talking Philosophy to his
+  Man, I'm sorry he broke of so quickly. Had he gone on and shown <span class="pagenum"
+  id="page226">{226}</span>him the <i>Excess</i> of a Storm and no Wind stirring, the Topick had
+  been spent, and the Thought improv'd to the utmost.</p>
+
+  <p>Let us now pass onto <i>Worthy</i>, the <i>Relapsers</i> fine Gentleman. This Spark sets up for
+  Sense, and Address, and is to have nothing of Affectation or Conscience to spoil his Character.
+  However to say no more of him, he grows Foppish in the last <i>Scene</i>, and courts <i>Amanda</i>
+  in Fustian, and Pedantry. First, He gives his Periods a turn of Versification, and talks
+  <i>Prose</i> to her in <i>Meeter</i>. Now this is just as agreeable as it would be to <i>Ride</i>
+  with one Leg, and <i>Walk</i> with the other. But let him speak for himself. His first business is
+  to bring <i>Amanda</i> to an Aversion for her Husband; And therefore he perswades her to <i>Rouse
+  up that Spirit Women ought to bear; and slight your God if he neglects his Angel</i>.<span
+  class="leftmar"><i>p. 99.</i></span><sup class="handonly" id="ref427"><a
+  href="#side427">[427]</a></sup> He goes on with his Orisons. <i>With Arms of Ice receive his Cold
+  Embraces and keep your Fire for those that come in Flames.</i> Fire and Flames, is Mettal upon
+  Mettal; 'Tis false Heraldry. <i>Extend the Arms of Mercy to his Aid. His zeal may give him Title
+  to your Pity, altho' his Merit cannot claim your Love.</i><span
+  class="leftmar"><i>Ibid.</i></span><sup class="handonly" id="ref428"><a
+  href="#side428">[428]</a></sup> Here you have <i>Arms</i> brought in again by Head and shoulders.
+  I suppose the design was to keep up the Situation of the <i>Allegory</i>. But the latter <span
+  class="pagenum" id="page227">{227}</span>part of the Speech is very Pithy. He would have her
+  resign her Vertue out of Civility, and abuse her Husband on Principles of good Nature.
+  <i>Worthy</i> pursues his point, and Rises in his Address. He falls into a Fit of Dissection, and
+  hopes to gain his Mistress by Cutting his Throat. He is for <i>Ripping up his Faithful Breast</i>,
+  to prove the Reality of his Passion. Now when a Man Courts with his Heart in his Hand, it must be
+  great Cruelty to refuse him! No Butcher could have Thought of a more moving Expedient! However,
+  <i>Amanda</i> continues obstinate, and is not in the usual Humour of the <i>Stage</i>. Upon this,
+  like a well bred Lover he seizes her by Force, and threatens to Kill her. <i>Nay struggle not for
+  all's in vain, or Death, or Victory, I am determin'd.</i><span class="leftmar"><i>p.
+  100.</i></span><sup class="handonly" id="ref429"><a href="#side429">[429]</a></sup> In this
+  rencounter the Lady proves too nimble, and slips through his Fingers. Upon this disappointment, he
+  cries, <i>there's Divinity about her, and she has dispenc'd some Portion on't to me</i>. His
+  Passion is Metamorphos'd in the Turn of a hand: He is refin'd into a <i>Platonick</i> Admirer, and
+  goes off as like a <i>Town Spark</i> as you would wish. And so much for the <i>Poets</i> fine
+  Gentleman.</p>
+
+  <p>I should now examine the <i>Relapser's Thoughts and Expressions</i>, which are two other Things
+  of Consideration in a <i>Play</i>. <span class="pagenum" id="page228">{228}</span>The
+  <i>Thoughts</i> or <i>Sentiments are the Expressions of the Manners, as Words are of the
+  Thoughts</i>.<span class="leftmar"><i>Rapin Reflect, &amp;c.</i></span><sup class="handonly"
+  id="ref430"><a href="#side430">[430]</a></sup> But the view of the <i>Characters</i> has in some
+  measure prevented this Enquiry. Leaving this Argument therefore, I shall consider his <i>Play</i>
+  with respect to the</p>
+
+  <p><i>Three Unities</i> of Time, Place, and Action.</p>
+
+  <p>And here the <i>Reader</i> may please to take notice, that the Design of these Rules, is to
+  conceal the Fiction of the <i>Stage</i>, to make the <i>Play</i> appear Natural, and to give it an
+  Air of Reality, and <i>Conversation</i>.</p>
+
+  <p>The largest compass for the first <i>Unity</i> is Twenty Four Hours: But a lesser proportion is
+  more regular. To be exact, the Time of the History, or <i>Fable</i>, should not exceed that of the
+  <i>Representation</i>: Or in other words, the whole Business of the <i>Play</i>, should not be
+  much longer than the Time it takes up in <i>Playing</i>.</p>
+
+  <p>The Second <i>Unity</i> is that of <i>Place</i>. To observe it, the <i>Scene</i> must not
+  wander from one Town, or Country to another. It must continue in the same House, Street, or at
+  farthest in the same City, where it was first laid. The Reason of this Rule depends upon the
+  <i>First</i>. Now the Compass of <i>Time</i> being strait, that of <i>Space</i> must bear a
+  Correspondent Proportion. <span class="pagenum" id="page229">{229}</span>Long journeys in
+  <i>Plays</i> are impracticable. The Distances of <i>Place</i> must be suited to Leisure, and
+  Possibility, otherwise the supposition will appear unnatural and absurd. The</p>
+
+  <p>Third <i>Unity</i> is that of <i>Action</i>; It consists in contriving the chief Business of
+  the <i>Play</i> single, and making the concerns of one Person distinguishably great above the
+  rest. All the Forces of the <i>Stage</i> must as it were serve Under one <i>General</i>: And the
+  lesser Intrigues or Underplots, have some Relation to the Main. The very Oppositions must be
+  useful, and appear only to be Conquer'd, and Countermin'd. To represent Two considerable Actions
+  independent of each other, Destroys the beauty of Subordination, weakens the Contrivance, and
+  dilutes the pleasure. It splits the <i>Play</i>, and makes the <i>Poem</i> double. He that would
+  see more upon this subject may consult <i>Corneille</i>.<span class="leftmar"><i>Discourse des
+  Trois Unitez. pt. 3d.</i></span><sup class="handonly" id="ref431"><a
+  href="#side431">[431]</a></sup> To bring these Remarks to the Case in hand. And here we may
+  observe how the <i>Relapser</i> fails in all the <i>Rules</i> above mention'd.</p>
+
+  <p><i>1st.</i> His <i>Play</i> by modest Computation takes up a weeks Work, but five days you must
+  allow it at the lowest. One day must be spent in the First, Second, and part of the Third
+  <i>Act</i>, before Lord <i>Foplington</i> sets forward to Sir <i>Tun-belly</i>. Now the Length
+  <span class="pagenum" id="page230">{230}</span>of the Distance, the Pomp of the Retinue, and the
+  Niceness of the Person being consider'd; the journey down, and up again, cannot be laid under four
+  days.<span class="leftmar"><i>p. 88.</i></span><sup class="handonly" id="ref432"><a
+  href="#side432">[432]</a></sup> To put this out of doubt, Lord, <i>Foplington</i> is particularly
+  careful to tell <i>Coupler</i>, how concern'd he was not to overdrive <i>for fear of disordering
+  his Coach-Horses</i>. The Laws of <i>Place</i>, are no better observ'd than those of <i>Time</i>.
+  In the Third <i>Act</i> the <i>Play</i> is in <i>Town</i>, in the Fourth <i>Act</i> 'tis stroll'd
+  Fifty Miles off, and in the Fifth <i>Act</i> in <i>London</i> again. Here <i>Pegasus</i> stretches
+  it to purpose! This <i>Poet</i> is fit to ride a Match with Witches. <i>Juliana Cox</i> never
+  Switched a Broom stock with more Expedition! This is exactly</p>
+
+  <div class="bq1 sp2">
+    <p class="sp0"><i>Titus</i> at <i>Walton Town</i>, and <i>Titus</i> at <i>Islington</i>.</p>
+  </div>
+
+  <p>One would think by the probability of matters, the <i>Plot</i> had been stolen from Dr.
+  <i>O&mdash;&mdash;s</i>.</p>
+
+  <p>The <i>Poet's</i> Success in the last <i>Unity</i> of <i>Action</i> is much the same with the
+  former. <i>Lovelace</i>, <i>Amanda</i>, and <i>Berinthia</i>, have no share in the main Business.
+  These Second rate <i>Characters</i> are a detatched Body: Their Interest is perfectly Foreign, and
+  they are neither Friends, nor Enemies to <span class="pagenum" id="page231">{231}</span>the
+  <i>Plot</i>. <i>Young Fashion</i> does not so much as see them till the Close of the Fifth
+  <i>Act</i>, and then they meet only to fill the <i>Stage</i>: And yet these <i>Persons</i> are in
+  the <i>Poets</i> account very considerable; Insomuch that he has misnamed his <i>Play</i> from the
+  Figure of two of them. This strangness of <i>Persons</i>, distinct Company, and inconnexion of
+  Affairs, destroys the Unity of the <i>Poem</i>. The contrivance is just as wise as it would be to
+  cut a Diamond in two. There is a loss of Lustre in the Division. Increasing the Number, abates the
+  Value, and by making it more, you make it less.</p>
+
+  <p class="sp5">Thus far I have examin'd the <i>Dramatick</i> Merits of the <i>Play</i>. And upon
+  enquiry, it appears a Heap of Irregularities. There is neither Propriety in the <i>Name</i>, nor
+  Contrivance in the <i>Plot</i>, nor Decorum in the <i>Characters</i>. 'Tis a thorough Contradition
+  to Nature, and impossible in <i>Time</i>, and <i>Place</i>. Its <i>Shining Graces</i> as the
+  Author calls them,<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref433"><a
+  href="#side433">[433]</a></sup> are <i>Blasphemy</i> and <i>Baudy</i>, together with a mixture of
+  <i>Oaths</i>, and <i>Cursing</i>. Upon the whole; The <i>Relapser's</i> Judgment, and his Morals,
+  are pretty well adjusted. The <i>Poet</i>, is not much better than the <i>Man</i>. As for the
+  <i>Profane</i> part, 'tis hideous and superlative.<span class="leftmar"><i>see Chap.
+  2d.</i></span><sup class="handonly" id="ref434"><a href="#side434">[434]</a></sup> But this I have
+  consider'd elsewhere. All that I shall observe here is, that the Author was <span class="pagenum"
+  id="page232">{232}</span>sensible of this Objection. His Defence in his <i>Preface</i> is most
+  wretched: He pretends to know nothing of the Matter, and that <i>'tis all Printed</i>; Which only
+  proves his Confidence equal to the rest of his Virtues. To out-face Evidence in this manner, is
+  next to the affirming there's no such Sin as <i>Blasphemy</i>, which is the greatest Blasphemy of
+  all. His Apology consists in railing at the <i>Clergy</i>; a certain sign of ill Principles, and
+  ill Manners. This He does at an unusual rate of Rudeness and Spite. He calls them the Saints with
+  Screw'd <i>Faces, and wry Mouths</i>. And after a great deal of scurrilous Abuse too gross to be
+  mention'd, he adds;<span class="leftmar"><i>Pref.</i></span><sup class="handonly" id="ref435"><a
+  href="#side435">[435]</a></sup> <i>If any Man happens to be offended at a story of a Cock and a
+  Bull, and a Priest and a Bull-dog, I beg his Pardon</i>, &amp;c. This is brave <i>Bear-Garden</i>
+  Language! The <i>Relapser</i> would do well to transport his Muse to <i>Samourgan</i>.<span
+  class="nothand">*</span><span class="leftmar">* <i>An Academy in Lithuania, for the Education of
+  Bears. Pere Auvill Voyage en Divers Etats, &amp;c. p. 240.</i></span><sup class="handonly"
+  id="ref436"><a href="#side436">[436]</a></sup> There 'tis likely he might find Leisure to lick his
+  <i>Abortive Brat</i> into shape; And meet with proper Business for his Temper, and encouragement
+  for his Talent.</p>
+
+  <div><span class="pagenum" id="page233">{233}</span></div>
+
+  <h1 class="ac" style="margin-bottom:1.8ex;"><span class="larger"><span class="gsp">CHAP</span>.
+  VI.</span></h1>
+
+  <h2 class="sp3"><i>The Opinion of</i> Paganism, <i>of the</i> Church, <i>and</i> State,
+  <i>concerning the</i> Stage.</h2>
+
+  <p>Having in the foregoing <i>Chapters</i> discover'd some part of the Disorders of the <i>English
+  Stage</i>; I shall in this Last, present the <i>Reader</i> with a short View of the Sense of
+  <i>Antiquity</i>, To which I shall add some <i>Modern</i> Authorities; From all which it will
+  appear that <i>Plays</i> have generally been look'd on as the <i>Nurseries</i> of <i>Vice</i>, the
+  <i>Corrupters</i> of <i>Youth</i>, and the <i>Grievance</i> of the <i>Country</i> where they are
+  suffer'd.</p>
+
+  <p>This proof from <i>Testimony</i> shall be ranged under these three Heads.</p>
+
+  <p>Under the <i>First</i>, I shall cite some of the most celebrated <i>Heathen Philosophers</i>,
+  Orators, and Historians; Men of the biggest Consideration, for Sense, Learning, and Figure.
+  The</p>
+
+  <p><i>Second</i>, Shall consist of the <i>Laws</i> and <i>Constitutions</i> of <i>Princes,
+  &amp;c.</i> The</p>
+
+  <p><i>Third</i>, Will be drawn from <i>Church-Records</i>, from <i>Fathers</i>, and
+  <i>Councils</i> of <span class="pagenum" id="page234">{234}</span>unexceptionable Authority, both
+  as to Persons, and Time.</p>
+
+  <p><i>1st.</i> I shall produce some of the most celebrated Heathen Philosophers <i>&amp;c.</i> To
+  begin with <i>Plato</i>. 'This Philosopher tells us that <i>Plays</i> raise the Passions, and
+  pervert the use of them, and by consequence are dangerous to Morality. For this Reason he banishes
+  these Diversions his <i>Common-Wealth</i>.'<span class="leftmar"><i>Plat. de Repub. Lib. 10.<br/>
+  Euseb. Pr�par. Evang.</i></span><sup class="handonly" id="ref437"><a
+  href="#side437">[437]</a></sup></p>
+
+  <p><i>Xenophon</i> who was both a Man of <i>Letters</i> and a great <i>General</i>, commends the
+  <i>Persians</i> for the Discipline of their Education. 'They won't (says he) so much as suffer
+  their Youth to hear any thing that's Amorous or Tawdry.'<span class="leftmar"><i>Cyrop�d. p.
+  34</i></span><sup class="handonly" id="ref438"><a href="#side438">[438]</a></sup> They were afraid
+  want of Ballast might make them miscarry, and that 'twas dangerous to add weight to the Byass of
+  Nature.</p>
+
+  <p><i>Aristole</i> lays it down for a Rule 'that the Law ought to forbid Young People the seeing
+  of <i>Comedies</i>. Such permissions not being safe till Age and Discipline had confirm'd them in
+  sobriety, fortified their Virtue, and made them as it were proof against Debauchery.'<span
+  class="leftmar"><i>Polit. Lib. 7. c. p. 12.</i></span><sup class="handonly" id="ref439"><a
+  href="#side439">[439]</a></sup> This Philosopher who had look'd as far into Humane Nature as any
+  Man, observes farther. 'That the force of Musick and <i>Action</i> is very affecting. It commands
+  the Audience and changes the Passions to <span class="pagenum" id="page235">{235}</span>a
+  Resemblance of the Matter before them.'<span class="leftmar"><i>Polit. Lib. 8.</i></span><sup
+  class="handonly" id="ref440"><a href="#side440">[440]</a></sup> So that where the Representation
+  is foul, the Thoughts of the Company must suffer.</p>
+
+  <p><i>Tully</i> crys out upon 'Licentious <i>Plays</i> and <i>Poems</i>, as the bane of Sobriety,
+  and wise Thinking: That <i>Comedy</i> subsists upon Lewdness, and that Pleasure is the Root, of
+  all Evil.'<span class="leftmar"><i>Tusc. Quest. Lib. 4.<br/>
+  De Leg. Lib. 1.</i></span><sup class="handonly" id="ref441"><a href="#side441">[441]</a></sup></p>
+
+  <p><i>Livy</i>, reports the Original of <i>Plays</i> among the <i>Romans</i>. 'He tells us they
+  were brought in upon the score of Religion, to pacifie the Gods, and remove a <i>Mortality</i>.
+  But then He adds that the Motives are sometimes good, when the Means are stark naught: That the
+  Remedy in this case was worse than the Disease, and the Atonement more Infectious then the
+  Plague.'<span class="leftmar"><i>Dec. 1. Lib. 7.</i></span><sup class="handonly" id="ref442"><a
+  href="#side442">[442]</a></sup></p>
+
+  <p><i>Valerius Maximus</i>, Contemporary with <i>Livy</i>, gives much the same Account of the rise
+  of <i>Theatres</i> at <i>Rome</i>. 'Twas Devotion which built them. And as for the Performances of
+  those Places, which Mr. <i>Dryden</i> calls the <i>Ornaments</i>, this Author censures as the
+  Blemishes of <i>Peace</i>.' And which is more, He affirms 'They were the Occasions of Civil
+  Distractions; And that the <i>State</i> first Blush'd, and then Bled, for the Entertainment.<span
+  class="leftmar"><i>Lib. 2. cap. 4.</i><br/>
+  <i>cap. 6.</i></span><sup class="handonly" id="ref443"><a href="#side443">[443]</a></sup> He
+  concludes the consequences of <i>Plays</i> <span class="pagenum"
+  id="page236">{236}</span>intolerable;<sup class="handonly" id="ref444"><a
+  href="#side444">[444]</a></sup> And that the <i>Massilienses</i> did well in clearing the Country
+  of them. <i>Seneca</i> complains heartily of the Extravagance and Debauchery of the Age: And how
+  forward People were to improve in that which was naught. That scarce any Body would apply
+  themselves to the Study of Nature and Morality, unless when the <i>Play-House</i> was shut, or the
+  Weather foul. That there was no body to teach <i>Philosophy</i>, because there was no body to
+  Learn it: But that the <i>Stage</i> had <i>Nurseries</i>, and Company enough. This Misapplication
+  of time and Fancy, made Knowledge in so ill a Condition. This was the Cause the Hints of Antiquity
+  were no better pursued; that some Inventions were sunk, and that Humane Reason grew Downwards
+  rather than otherwise.<span class="leftmar"><i>Natural Quest. Lib. 7. cap. 32.</i></span><sup
+  class="handonly" id="ref445"><a href="#side445">[445]</a></sup> And elswhere he avers that there
+  is nothing more destructive to Good Manners then to run Idling to see <i>Sights</i>. For there
+  Vice makes an insensible Approach, and steals upon us in the Disguise of pleasure.<span
+  class="leftmar"><i>Epist. 7.</i></span><sup class="handonly" id="ref446"><a
+  href="#side446">[446]</a></sup></p>
+
+  <p>'<i>Tacitus</i> relating how <i>Nero</i> hired decay'd Gentlemen for the <i>Stage</i>,
+  complains of the Mismanagement;<span class="leftmar"><i>Annal. Lib 14. cap. 14.</i></span><sup
+  class="handonly" id="ref447"><a href="#side447">[447]</a></sup> And lets us know 'twas the part of
+  a Prince to releive their Necessity, and not to Tempt it. And that his Bounty should rather <span
+  class="pagenum" id="page237">{237}</span>'have set them above an ill practise, than driven them
+  <span class="correction" title="Original reads 'apon't', corrected by
+  Errata">upon't</span>.'</p>
+
+  <p>And in another place, He informs us that 'the German Women were Guarded against danger, and
+  kept their Honour out of Harms way, by having no <i>Play-Houses</i> amongst them.'<span
+  class="leftmar"><i>De Mor. German. cap. 19</i></span><sup class="handonly" id="ref448"><a
+  href="#side448">[448]</a></sup></p>
+
+  <p><i>Plays</i>, in the Opinion of the Judicious <i>Plutark</i> are dangerous to corrupt Young
+  People; And therefore <i>Stage</i> Poetry when it grows too hardy, and Licentious, ought to be
+  checkt.<span class="leftmar"><i>Symposiac. Lib. 7.<br/>
+  De Audiend. Poet. p. 15. Ed. Par.</i></span><sup class="handonly" id="ref449"><a
+  href="#side449">[449]</a></sup> This was the Opinion of these Celebrated <i>Authors</i> with
+  respect to <i>Theatres</i>: They Charge them with the Corruption of Principles, and Manners, and
+  lay in all imaginable Caution against them. And yet these Men had seldom any thing but this World
+  in their Scheme; and form'd their Judgments only upon Natural Light, and Common Experience. We see
+  then to what sort of Conduct we are oblig'd. The case is plain; Unless we are little enough to
+  renounce our Reason, and fall short of Philosophy, and live <i>under</i> the Pitch of
+  <i>Heathenism</i>.</p>
+
+  <p>To these Testimonies I shall add a Couple of <i>Poets</i>, who both seem good Judges of the
+  Affair in Hand.</p>
+
+  <p>The first is <i>Ovid</i>, who in his Book <i>De  Arte Amandi</i>, gives his <i>Reader</i> to
+  <span class="pagenum" id="page238">{238}</span>understand that the <i>Play-House</i> was the most
+  likely Place for him to Forage in. Here would be choice of all sorts: Nothing being more common
+  than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at these Diversions.</p>
+
+  <div class="poem">
+    <p><i>Sed tu pr�cique curvis venare Theatris,</i></p>
+    <p><i>H�c loca sunt voto fertiliora tuo.</i></p>
+    <p><i>&mdash;&mdash; ruit ad celebres cultissima F�mina Ludos;</i></p>
+    <p><i>Copia judicium s�pe morata meum est.</i></p>
+    <p><i>Spectatum veniunt, veniunt Spectentur ut ips�;</i></p>
+    <p><i>Ille locus casti damna pudoris habet.</i><span class="leftmar"><i>Lib. 1.</i></span><sup
+    class="handonly" id="ref450"><a href="#side450">[450]</a></sup></p>
+  </div>
+
+  <p>And afterwards relating the imperfect beginning of <i>Plays</i> at the Rape of the
+  <i>Sabine</i> Virgins, he adds,</p>
+
+  <div class="poem">
+    <p><i>Silicit exillo solennia more Theatra</i></p>
+    <p><i>Nunc quoque formosis insidiosa manent.</i></p>
+  </div>
+
+  <p>This <i>Author</i> some time after wrote the <i>Remedy</i> of <i>Love</i>. Here he pretends to
+  Prescribe for Prudence, if not for Sobriety. And to this purpose, He forbids the seeing of
+  <i>Plays</i>, and the reading of <i>Poets</i>, especially some of them. Such Recreations being apt
+  to feed the <i>Distemper</i>, and make the <i>Patient</i> relapse.</p>
+
+  <div><span class="pagenum" id="page239">{239}</span></div>
+
+  <div class="poem">
+    <p><i>At tanti tibi sit non indulgere Theatris</i></p>
+    <p><i>Dum bene de cacuo Pectore cedat amor.</i></p>
+    <p><i>Enervant animos Cithar�, Cantusque, lyraque</i></p>
+    <p><i>Et vox, &amp; numeris brachia mota suis.</i></p>
+    <p><i>Illic assidue ficti saltantur amantes,</i></p>
+    <p><i>Quid, caveas, actor, quid juvet, arte docet</i>.<span class="leftmar"><i>Remed.
+    Amor.</i></span><sup class="handonly" id="ref451"><a href="#side451">[451]</a></sup></p>
+  </div>
+
+  <p>In his <i>De Tristibus</i>, He endeavours to make some Amends for his scandalous <i>Poems</i>,
+  and gives <i>Augustus</i> a sort of <i>Plan</i> for a Publick <i>Reformation</i>. Amongst other
+  Things, he advises the suppressing of <i>Plays</i>, as being the promoters of Lewdness, and
+  Dissolution of Manners.</p>
+
+  <div class="poem">
+    <p><i>Ut tamen hoc fatear ludi quoque semina pr�bent</i></p>
+    <p><i>Nequiti�, tolli tota Theatra jube.</i><span class="leftmar"><i>Lib. 2.</i></span><sup
+    class="handonly" id="ref452"><a href="#side452">[452]</a></sup></p>
+  </div>
+
+  <p>To the Testimony of <i>Ovid</i>, I could add <i>Plautus</i>, <i>Propertius</i>, and
+  <i>Juvenal</i>, but being not willing to overburthen the <i>Reader</i>, I shall content my self
+  with the <i>Plain-Dealer</i> as one better known at <i>Home</i>.</p>
+
+  <p>This <i>Poet</i> in his <i>Dedication</i> to <i>Lady B</i>, some Eminent <i>Procuress</i>,
+  pleads the Merits of his Function, and insists on being Billeted upon <i>free Quarter</i>.
+  <i>Madam</i> (says he) <i>I think a Poet ought to be as free of <span class="pagenum"
+  id="page240">{240}</span>your Houses, as of the Play-Houses: since he contributes to the support
+  of both, and is as necessary to such as you, as the Ballad-singer to the Pick-purse, in Convening
+  the Cullies at the Theatres to be pick'd up, and Carried to a supper, and Bed, at your
+  Houses.</i><span class="leftmar"><i>Ep. Ded.</i></span><sup class="handonly" id="ref453"><a
+  href="#side453">[453]</a></sup> This is franck Evidence, and ne're the less true, for the Air of a
+  Jest.</p>
+
+  <p>I shall now in the Second Place proceed to the <i>Censures</i> of the <i>State</i>; And show in
+  a few Words how much the <i>Stage</i> stands discouraged by the <i>Laws</i> of other Countrys and
+  our own.</p>
+
+  <p>To begin with the <i>Athenians</i>.<span class="leftmar"><i>Plut. De Glor.
+  Atheniens.</i></span><sup class="handonly" id="ref454"><a href="#side454">[454]</a></sup> This
+  People tho' none of the worst Freinds to the <i>Play-House</i> 'thought a <i>Comedy</i> so
+  unreputable a Performance, that they made a Law that no Judge of the <i>Ariopagus</i> should make
+  one.'</p>
+
+  <p>The <i>Lacedemonians</i>,<span class="leftmar"><i>Plut. Lacon. Institut.</i></span><sup
+  class="handonly" id="ref455"><a href="#side455">[455]</a></sup> who were remarkable for the Wisdom
+  of their <i>Laws</i>, the Sobriety of their <i>Manners</i>, and their Breeding of brave Men. This
+  <i>Government</i> would not endure the <i>Stage</i> in any Form, nor under any Regulation.</p>
+
+  <p>To pass on to the <i>Romans</i>. <i>Tully</i><span class="leftmar"><i>Cic. de Repub. Lib. 4.
+  cited by, St. Augustine. Libr. 2. de civ. dei. cap. 13.</i></span><sup class="handonly"
+  id="ref456"><a href="#side456">[456]</a></sup> informs us that their <i>Predecessours</i> 'counted
+  all <i>Stage-Plays</i> uncreditable and Scandalous. In so much that any <i>Roman</i> who turn'd
+  <i>Actor</i> was not only to be Degraded, but likewise as it were disincorporated, <span
+  class="pagenum" id="page241">{241}</span>and unnaturalized by the <i>Order</i> of the
+  <i>Censors</i>.</p>
+
+  <p>St. <i>Augustine</i> in the same Book,<span class="leftmar"><i>Lib. 2. cap. 29.</i></span><sup
+  class="handonly" id="ref457"><a href="#side457">[457]</a></sup> commends the <i>Romans</i> for
+  refusing the <i>Jus Civitatis</i> to <i>Players</i>, for seizing their Freedoms, and making them
+  perfectly Foreign to their <i>Government</i>.</p>
+
+  <p>We read in <i>Livy</i><span class="leftmar"><i>Dec. 1. Libr. 7.</i></span><sup class="handonly"
+  id="ref458"><a href="#side458">[458]</a></sup> that the Young People in <i>Rome</i> kept the
+  <i>Fabul� Attellan�</i> to themselves. 'They would not suffer this Diversion to be blemish'd by
+  the <i>Stage</i>. For this reason, as the Historian observes,<span class="leftmar"><i>Ab
+  Histrionibus Pollui.</i></span><sup class="handonly" id="ref459"><a
+  href="#side459">[459]</a></sup> the <i>Actors</i> of the <i>Fabul� Atellan�</i> were neither
+  expell'd their <i>Tribe</i>, nor refused to serve in <i>Arms</i>; Both which Penalties it appears
+  the <i>Common Players</i> lay under.'</p>
+
+  <p>In the Theodosian <i>Code</i>, <i>Players</i> are call'd <i>Person� inhonest�</i>;<span
+  class="leftmar"><i>XV. Cod. Theod. Tit. vii. p.375.</i></span><sup class="handonly" id="ref460"><a
+  href="#side460">[460]</a></sup> that is, to <i>Translate</i> it softly, Persons Maim'd, and
+  Blemish'd in their Reputation. Their <i>Pictures</i> might be seen at the <i>Play-House</i>, but
+  were not permitted to hang in any creditable Place<span class="nothand">*</span><span
+  class="leftmar">* <i>in loco Honesto.</i></span><sup class="handonly" id="ref461"><a
+  href="#side461">[461]</a></sup> of the <i>Town</i>, Upon this <i>Text</i> <i>Gothofred</i> tells
+  us the Function of Players was counted scandalous<span class="nothand">*</span><span
+  class="leftmar">* <i>turpe munus.</i></span><sup class="handonly" id="ref462"><a
+  href="#side462">[462]</a></sup> by the <i>Civil Law</i>, L. 4. And that those who came upon the
+  <i>Stage</i> to divert the people, had a mark of Infamy set upon them. <i>Famosi sunt ex
+  Edicto.</i> <span class="leftmar"><i>L. 1. �. 6. de his qui notantur infamia. Gothofred. Ibid. p.
+  376.</i></span><sup class="handonly" id="ref463"><a href="#side463">[463]</a></sup></p>
+
+  <p>I shall now come down to our own <i>Constitution</i>. And I find by 39 <i>Eliz. cap. 4. 1. Jac.
+  cap. 7</i>. That <span class="pagenum" id="page242">{242}</span><b>all Bearwards, Common Players
+  of Enterludes, Counterfeit Egyptians &amp;c. shall be taken, adjudged and deem'd Rogues,
+  Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment, as by this Act is in
+  that behalf appointed.</b> The <i>Penalties</i> are infamous to the last degree, and
+  <i>Capital</i> too, unless they give over. 'Tis true, the first <i>Act</i> excepts those
+  <b>Players which belong to a Baron or other Personage of higher Degree, and are authorized to Play
+  under the hand and Seal of Armes of such Baron, or Personage</b>. But by the later <i>Statute</i>
+  this Privilege of <i>Licensing</i> is taken away: And all of them are expresly brought under the
+  Penalty without Distinction.</p>
+
+  <p>About the Year 1580, there was a Petition made to Queen <i>Elizabeth</i> for suppressing of
+  <i>Play-Houses</i>. 'Tis somewhat remarkable, and therefore I shall transcribe some part of the
+  Relation.</p>
+
+  <p><i>Many Godly Citizens, and other well disposed Gentlemen of</i> London, <i>considering
+  that</i> Play-Houses <i>and</i> Dicing-Houses, <i>were Traps for Young Gentlemen and others, and
+  perceiving the many Inconveniencies and great damage that would ensue upon the long suffering of
+  the same, not only to particular Persons but to the whole City; And that it would also be a great
+  disparagement to the Governours, and a dishonour to the Government of this Honourable City, if
+  they should <span class="pagenum" id="page243">{243}</span>any longer continue, acquainted some
+  Pious Magistrates therewith, desiring them to take some Course for the suppression of Common</i>
+  Play-Houses, <i>&amp;c. within the City of</i> London <i>and Liberties thereof; who thereupon made
+  humble suit to Queen</i> Elizabeth <i>and her Privy Council, and obtain'd leave of her Majesty to
+  thrust the Players out of the City and to pull down all</i> Play-Houses, <i>and</i> Dicing-Houses
+  <i>within their Liberties, which accordingly was effected.<span class="leftmar"><i>Rawlidge his
+  Monster, lately found out, &amp;c. p. 2, 3, 4.</i></span><sup class="handonly" id="ref464"><a
+  href="#side464">[464]</a></sup> And the Play-Houses in</i> Grace-Church-street <i>&amp;c. were
+  quite put down and suppress'd</i>.</p>
+
+  <p>I shall give a Modern Instance or two from <i>France</i> and so conclude these Authorities.</p>
+
+  <p>In the Year 1696. we are inform'd by a Dutch <i>Print</i>,<span class="leftmar"><i>Gazett
+  Roterdam: Dec. 20. Paris.</i></span><sup class="handonly" id="ref465"><a
+  href="#side465">[465]</a></sup> M. <i>L' Archev�que appuy�</i> &amp;c. That the Lord Arch-Bishop
+  'support'd by the interest of some Religious Persons at Court, has done his utmost to suppress the
+  <i>Publick Theatres</i> by degrees; or at least to clear them of Profaness.'</p>
+
+  <p>And last Summer the <i>Gazetts</i> in the <i>Paris Article</i> affirm.<span
+  class="leftmar"><i>French Amsterdam Harlem Gazetts. Paris, May. 17th. 1697.</i></span><sup
+  class="handonly" id="ref466"><a href="#side466">[466]</a></sup> That the King has 'order'd the
+  <i>Italian Players</i> to retire out of <i>France</i> because they did not observe his
+  <i>Majesties Orders</i>, but represented immodest <i>Pieces</i>, and did not correct their
+  <i>Obscenities</i>, and indecent <i>Gestures</i>.'</p>
+
+  <div><span class="pagenum" id="page244">{244}</span></div>
+
+  <p>The same <i>Intelligence</i> the next week after, acquaints us, 'that some Persons of the first
+  <i>Quality</i> at Court, who were the Protectors of these <i>Comedians</i>, had solicited the
+  French King to recal his <i>Order</i> against them, but their Request had no success.'</p>
+
+  <p class="sp5">And here to put an end to the Modern Authorities, I shall subjoyn a sort of
+  <i>Pastoral Letter</i> publish'd about two years since by the Bishop of <i>Arras</i> in
+  <i>Flanders</i>. The <i>Reader</i> shall have as much of it as concerns him in both Languages.</p>
+
+  <div><span class="pagenum" id="page245">{245}</span></div>
+
+  <p class="ac" style="margin-bottom:0.7ex;"><span class="xx-larger">MANDEMENT</span></p>
+
+  <p class="ac" style="margin-bottom:0.6ex;"><span class="x-larger">DE MONSEIGNEUR</span></p>
+
+  <p class="ac" style="margin-bottom:0.5ex;"><span class="larger"><i>L'Illustrissime Et
+  Reverendissime</i></span></p>
+
+  <p class="ac" style="margin-bottom:0.9ex;"><span class="x-larger">EVEQUE D'ARRAS</span></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="larger">CONTRE LA COMEDIE.</span></p>
+
+  <p>GUY DE SEVE DE ROCHE CHOUART <i>par la grace de Dieu &amp; du Saint Si�ge Apostolique Ev�que d'
+  Arras, A tous fideles dela Ville d'Arras Salut &amp; Benediction. Il faut ignorer sa Religion pour
+  ne pas conno�tre l'horreur qu'elle a marqu�e dans tous les temps des Spectacles, &amp; de la
+  Com�die en particulier. Les saints Peres la condamnent dans leurs �crits; Ils la regardent comme
+  un reste du paganisme, &amp; Comme une �cole d'impuret�. L'Eglise l' a to�jours regard�e avec
+  abomination, &amp; si elle n'a pas absolument rejett� de son sein ceux qui exercent ce m�tier
+  infame &amp; scandaleux, elle les prive publiquement des Sacremens &amp; n'oublie rien pour
+  marquer en toutes rencountres son aversion pour cet �tat &amp; pour l'inspirer a ses Enfans. Des
+  Rituels de Dioceses tres regl�s les mettent au nombre des personnes que les Cur�s sont oblig�s de
+  traiter comme excommunies; Celui de Paris les joint aux Sorciers, &amp; aux Magiciens, &amp; les
+  regarde comme manifestement infames; <span class="correction"
+  title="Original reads 'Le', corrected by Errata">Les</span> Eveques les plus saints leur font
+  refuser publiquement, les Sacremens; Nous avons veu un des premiers Eveques de France ne vouloir
+  pas par cette raison recevoir au mariage un homme de cet �tat; un autre ne vouloir pas leur
+  accorder la terre Sainte; Et dans <span class="pagenum" id="page246">{246}</span>les Statuts d'un
+  prelat bien plus illustre per son merite par sa Piet�, &amp; par l'austerit� de sa vie que par la
+  pourpre dont il est revestu, on les trouve avec les concubinaires, les Usuriers, les
+  Blasphemateurs, les Femmes debauch�es, les excommuni�s denonc�s, les Infames, les Simoniaque's,
+  &amp; autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser publiquement la
+  Communion</i>.</p>
+
+  <p class="sp3"><i>Il est donc impossible de justifyer la Comedie sans vouloir condamner l'Eglise,
+  les saints peres, les plus saint Prelats, mais il ne l'est pas moins de justifi�r ceux qui par
+  leur assistance a ces spectacles non seulement prennent part au mal qui s'y fait, mais contribuent
+  en m�me temps � retenir ces malheureux ministres de Satan dans une profession, qui les separant
+  des S�cremens de l'Eglise les met dans un �tat perpetuel de pech� &amp; hors de salut s'ils ne
+  l'abandonnnent.</i>&mdash;&mdash; &mdash;&mdash;</p>
+
+  <p><i>Et � egard des Comediens &amp; Commediennes, Nous defendons tr�s expressement � nos pasteurs
+  &amp; � nos Confesseurs des les recevoir aux Sacremens si c� n'est qu'ils aient fait Penitence de
+  leur pech�, donn� des preuves d'amendment, renonc� a leur Etat, &amp; repare par une satisfaction
+  publique telle que nous jugerons � propos de leur ordonner, le Scandale public qu'ils ont donn�.
+  Fait &amp; ordonn� � Arras le quatri�me jour de Decembre mil six cent quatre-vingt
+  quinze.</i><span class="leftmar"><i>Trois lettres Pastorales De Monseigneur L'Eveque D'Arras
+  &amp;c. A Delf. 1697.</i></span><sup class="handonly" id="ref467"><a
+  href="#side467">[467]</a></sup></p>
+
+  <div class="poem sp3">
+    <p><i>Guy Ev�que d'Arras</i></p>
+    <p style="margin-left:3.15em"><i>Et plus bas</i></p>
+    <p style="margin-left:2.45em"><i>Par Monseigneur</i></p>
+    <p style="margin-left:3.50em" class="stanza"><span class="x-larger">CARON.</span></p>
+  </div>
+
+  <div><span class="pagenum" id="page247">{247}</span></div>
+
+  <p class="ac">In English thus,</p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>An Order of the most
+  Illustrious and most Reverend Lord Bishop of</i> Arras <i>against</i> Plays.</span></p>
+
+  <p>'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &amp;c. Bishop of <i>Arras</i>. To all the
+  Faithful in the Town of <i>Arras</i> Health and Benediction. A man must be very ignorant of his
+  Religion, not to know the great disgust it has always declar'd, for <i>Publick Sights</i>, and for
+  <i>Plays</i> in particular. The Holy <i>Fathers</i> condemn them in their writings; They look upon
+  them as reliques of Heathenism, and Schools of Debauchery. They have been always abominated by the
+  Church; And notwithstanding those who are concern'd in this Scandalous Profession; are not
+  absolutely expell'd by a Formal Excommunication, yet She publickly refuses them the Sacraments,
+  and omits nothing upon all occasions, to show her aversion for this Employment, and to transfuse
+  <span class="pagenum" id="page248">{248}</span>the same sentiments into her Children. The
+  <i>Rituals</i> of the best govern'd Dioceses, have ranged the <i>Players</i> among those whom the
+  Parish Priests are oblig'd to treat as Excommunicated Persons. The <i>Ritual</i> of <i>Paris</i>
+  joyns them with Sorcerers, and Magicians, and looks upon them as notoriously infamous; The most
+  eminent Bishops for Piety, have publickly denied them the Sacraments: For this reason, we our
+  selves have known one of the most considerable Bishops in <i>France</i>, turn back a <i>Player</i>
+  that came to be Married; And an other of the same order, refused to bury them in Consecrated
+  Ground. And by the <i>Orders</i> of a Bishop, who is much more illustrious for his worth, for his
+  Piety, and the Strictness of his Life, than for the <i>Purple</i> in his Habit; They are thrown
+  amongst Fornicators, Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the
+  Infamous, and Simoniacal, and other Scandalous Persons who are in the List of those who ought
+  publickly to be barr'd Communion.</p>
+
+  <p>'Unless therfore we have a mind to condemn the Church, the Holy Fathers, and the most holy
+  Bishops, 'tis impossible to justifie <i>Plays</i>; neither is the Defence of those less
+  impracticable, who <span class="pagenum" id="page249">{249}</span>by their Countenance of these
+  Diversions, not only have their share of the Mischief there done, but contribute at the same time
+  to fix these unhappy Ministers of Satan in a Profession, which by depriving them of the Sacraments
+  of the Church, leaves them under a constant necessity of Sinning, and out of all hopes of being
+  saved, unless they give it over.&mdash;&mdash;'</p>
+
+  <p>From the general Unlawfulness of <i>Plays</i>, the Bishop proceeds to argue more strongly
+  against seeing them at times which are more particularly devoted to Piety, and Humiliation: And
+  therefore he strickly forbids his Diocess the <i>Play-House</i> in <i>Advent</i>, <i>Lent</i>, or
+  under any publick <i>Calamity</i>. And at last concludes in this Manner.</p>
+
+  <p>'As for the Case of <i>Players</i> both Men, and Women, we expresly forbid all our Rectors,
+  Pastors, and Confessours, to admit them to the Sacraments, unless they shall repent them of their
+  Crime, make proof of their Reformation, renounce their <i>Business</i>, and retrieve the Scandal
+  they have given, by such publick Satisfaction as we shall think proper to injoyn them. Made and
+  Decreed at <i>Arras</i> the fourth day of <i>December 1695.</i></p>
+
+  <p class="ac" style="margin-bottom:1.8ex;"><span class="x-larger"><i>Guy</i> Bishop of
+  <i>Arras</i>. &amp;c.</span></p>
+
+  <div><span class="pagenum" id="page250">{250}</span></div>
+
+  <p>I shall now in the Third Place, give a short account of the sense of the <i>Primitive</i>
+  Church concerning the <i>Stage</i>: And first I shall instance in her <i>Councils</i>.</p>
+
+  <p>The Council of <i>Illiberis</i>, or <i>Collioure</i> in <i>Spain</i>, decrees,<span
+  class="leftmar"><i>Ann. 305.</i> <i>Can. 67.</i></span><sup class="handonly" id="ref468"><a
+  href="#side468">[468]</a></sup></p>
+
+  <p>'That it shall not be lawful for any Woman who is either in full Communion or a probationer for
+  Baptism, to Marry, or Entertain any <i>Comedians</i> or <i>Actors</i>; whoever takes this Liberty
+  shall be Excommunicated.'</p>
+
+  <p>The first Council of <i>Arles</i>, runs thus,<span class="leftmar"><i>Ann. 314. Can.
+  5.</i></span><sup class="handonly" id="ref469"><a href="#side469">[469]</a></sup></p>
+
+  <p>'Concerning <i>Players</i>, we have thought fit to Excommunicate them as long as they continue
+  to <i>Act</i>.'</p>
+
+  <p>The Second Council of <i>Arles</i> made their <i>20th</i> Canon to the same purpose, and almost
+  in the same words.<span class="leftmar"><i>Ann. 452.</i></span><sup class="handonly"
+  id="ref470"><a href="#side470">[470]</a></sup></p>
+
+  <p>The Third Council of <i>Carthage</i>, of which St. <i>Augustine</i> was a Member, ordains,<span
+  class="leftmar"><i>Ann. 397. Can. 11.</i></span><sup class="handonly" id="ref471"><a
+  href="#side471">[471]</a></sup></p>
+
+  <p>'That the Sons of Bishops, or other Clergy-men should not be permitted to furnish out Publick
+  <i>Shews</i>, or <i>Plays</i><span class="nothand">*</span><span class="leftmar">* <i>Secularia
+  spectacula, which manifestly comprehends the Stage.</i></span><sup class="handonly" id="ref472"><a
+  href="#side472">[472]</a></sup> or be present at them: Such sort of Pagan <i>Entertainments</i>
+  being forbidden all the <i>Laity</i>. It being always unlawful for all Christians to come amongst
+  <i>Blasphemers</i>.</p>
+
+  <div><span class="pagenum" id="page251">{251}</span></div>
+
+  <p>This last branch shews the <i>Canon</i> was Principally levell'd against the <i>Play-House</i>:
+  And the reason of the Prohibition, holds every jot as strong against the <i>English</i>, as
+  against the <i>Roman Stage</i>.</p>
+
+  <p>By the 35th <i>Canon</i> of this <i>Council</i> 'tis decreed,</p>
+
+  <p>'That <i>Actors</i> or others belonging to the <i>Stage</i>, who are either <i>Converts</i>, or
+  <i>Penitents</i> upon a Relapse, shall not be denied Admission into the Church.' This is farther
+  proof, that <i>Players</i> as long as they kept to their Employment were bar'd
+  <i>Communion</i>.</p>
+
+  <p>Another <i>African Council</i> declares,<span class="leftmar"><i>Ann. 424. Can.
+  96</i></span><sup class="handonly" id="ref473"><a href="#side473">[473]</a></sup></p>
+
+  <p>'That the Testimony of People of ill Reputation, of <i>Players</i>, and others of such
+  scandalous Employments, shall not be admitted against any Person.'</p>
+
+  <p>The Second <i>Council</i> of <i>Chaalon</i> sets forth,<span class="leftmar"><i>Concil.
+  Cabilon. Ann. 813. Can. 9.</i></span><sup class="handonly" id="ref474"><a
+  href="#side474">[474]</a></sup></p>
+
+  <p>'That Clergy men ought to abstain from all over-engaging Entertainments in Musick or
+  <i>Show</i>. (<i>oculorum auriumque illecebris</i>.) And as for the smutty, and Licentious
+  Insolence of <i>Players</i>, and Buffoons, let them not only decline the Hearing it themselves,
+  but likewise conclude the <i>Laity</i> oblig'd to the same Conduct.</p>
+
+  <p class="sp4">I could cite many more Authorities of this Kind, but being conscious of the <span
+  class="pagenum" id="page252">{252}</span>Niceness of the <i>Age</i>, I shall forbear, and proceed
+  to the Testimony of the <i>Fathers</i>.</p>
+
+  <p>To begin with <i>Theophilus</i> Bishop of <i>Antioch</i>, who lived in the Second
+  <i>Century</i>.</p>
+
+  <p>''Tis not lawful (says he)<span class="leftmar"><i>Libr. 3. ad Autol.</i></span><sup
+  class="handonly" id="ref475"><a href="#side475">[475]</a></sup> for us to be present at the
+  <i>Prizes</i> or your <i>Gladiators</i>, least by this means we should be <i>Accessaries</i> to
+  the Murthers there committed. Neither dare we presume upon the Liberty of your other
+  <i>Shews</i>,<span class="nothand">*</span><span class="leftmar">* <i>Spectacula.</i></span><sup
+  class="handonly" id="ref476"><a href="#side476">[476]</a></sup> least our Senses should be
+  tinctur'd, and disoblig'd, with Indecency, and Profaness. The Tragical Distractions of
+  <i>Tereus</i> and <i>Thyestes</i>, are Nonsense to us. We are for seeing no Representations of
+  Lewdness. The Stage-Adulteries of the <i>Gods</i>, and <i>Hero's</i>, are unwarrantable
+  Entertainments: And so much the worse, because the Mercenary <i>Players</i> set them off with all
+  the Charms and Advantages of Speaking. God forbid that <i>Christians</i> who are remarkable for
+  Modesty, and Reserv'dness; who are obliged to Discipline, and train'd up in Virtue, God forbid I
+  say, that we should dishonour our Thoughts, much less our Practise, with such Wickedness as
+  This!'</p>
+
+  <p><i>Tertullian</i> who liv'd at the latter end of this Century is copious upon this subject; I
+  shall translate but some Part of <span class="pagenum" id="page253">{253}</span>it. In his
+  Apologetick, He thus addresses the Heathens.<span class="leftmar"><i>Chap. 38.</i></span><sup
+  class="handonly" id="ref477"><a href="#side477">[477]</a></sup></p>
+
+  <p>'We keep off from your publick <i>Shews</i>, because we can't understand the Warrant of their
+  Original. There's Superstition and Idolatry in the Case: And we dislike the Entertainment because
+  we dislike the reason of its Institution. Besides, We have nothing to do with the Frensies of the
+  <i>Race-Ground</i>, the Lewdness of the <i>Play-House</i>, or the Barbarities of the
+  <i>Bear-Garden</i>. The <i>Epicureans</i> had the Liberty to state the Notion, and determine the
+  Object of Pleasure. Why can't we have the same Privilege? What Offence is it then if we differ
+  from you in the Idea of Satisfaction? If we won't understand to brighten our Humour, and live
+  pleasantly, where's the harm? If any body has the worst on't, 'tis only our selves.'</p>
+
+  <p>His Book <i>de Spectaculis</i> was wrote on purpose to diswade the Christians, from the publick
+  Diversions of the <i>Heathens</i>, of which the <i>Play-House</i> was one. In his first Chapter He
+  gives them to understand, 'That the Tenour of their Faith, the Reason of Principle, and the Order
+  of Discipline, had bar'd them the Entertainments of the <i>Town</i>. And therefore He exhorts them
+  to refresh their <span class="pagenum" id="page254">{254}</span>Memories, to run up to their
+  Baptism, and recollect their first Engagements. For without care, Pleasure is a strange bewitching
+  Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse of Liberty, make a man's
+  Conscience wink, and suborn his Reason against himself.</p>
+
+  <p>'But as he goes on,<span class="leftmar"><i>Chap. 3.</i></span><sup class="handonly"
+  id="ref478"><a href="#side478">[478]</a></sup> some peoples Faith is either too full of Scruples,
+  or too barren of Sense. Nothing will serve to settle them but a plain Text of <i>Scripture</i>.
+  They hover in uncertainty because 'tis not said as expresly thou shalt not go to the
+  <i>Play-House</i>, as 'tis thou shalt not Kill. But this looks more like Fencing than Argument.
+  For we have the Meaning of the prohibition tho' not the sound, in the first <i>Psalm. Blessed is
+  the Man that walks not in the Council of the Ungodly, nor stands in the way of Sinners, nor sits
+  in the Seat of the Scornful.</i></p>
+
+  <p>'The <i>Censors</i> whose business 'twas to take care of Regularity and Manners,<span
+  class="leftmar"><i>Ibid. Cap. 10.</i></span><sup class="handonly" id="ref479"><a
+  href="#side479">[479]</a></sup> look'd on these <i>Play-Houses</i> as no other than
+  <i>Batteries</i> upon Virtue and Sobriety, and for this reason often pull'd them down before they
+  were well built, so that here we can argue from the <i>Precedents</i> of meer <i>Nature</i>, and
+  plead the <i>Heathens</i> against themselves. Upon this <span class="pagenum"
+  id="page255">{255}</span>view <i>Pompey</i> the Great, when he built his <i>Dramatick</i>
+  Bawdy-House, clapp'd a <i>Chappel</i> a Top on't. He would not let it go under the Name of a
+  Play-House, but conven'd the people to a Solemn Dedication, and called it <i>Venus's</i> Temple;
+  Giving them to understand at the same time that there were <i>Benches</i> under it for Diversion.
+  He was afraid if he had not gone this way to work, The <i>Censors</i> might afterwards have razed
+  the Monument, and branded his Memory. Thus a Scandalous pile of Building was protected: The
+  Temple, cover'd the <i>Play-House</i>, and Discipline was baffled by <i>Superstition</i>. But the
+  Design is notably suited to the Patronage of <i>Bacchus</i><span class="nothand">*</span><span
+  class="leftmar">* <i>The Play-houses were dedicated to Bacchus.</i></span><sup class="handonly"
+  id="ref480"><a href="#side480">[480]</a></sup> and <i>Venus</i>. These two Confederate Devils of
+  Lust and Intemperance, do well together. The very Functions of the <i>Players</i> resemble their
+  <i>Protectors</i>, and are instances of Service and Acknowledgment. Their Motion is effeminate,
+  and their Gestures vitious and Significant: And thus they worship the Luxury of one <i>Idoll</i>,
+  and the Lewdness of the other.</p>
+
+  <p>'And granting the Regards of Quality, the Advantages of Age, or Temper, may fortifie some
+  People;<span class="leftmar"><i>Ibid. cap. 15.</i></span><sup class="handonly" id="ref481"><a
+  href="#side481">[481]</a></sup> granting Modesty secur'd, and the Diversion as it were refin'd by
+  this Means: Yet a Man <span class="pagenum" id="page256">{256}</span>must not expect to stand by
+  perfectly unmoved, and impregnable. No body can be pleas'd without Sensible Impressions. Nor can
+  such Perceptions be received without a Train of Passions attending them. These Consequences will
+  be sure to work back upon their Causes, solicite the Fancy, and heighten the Original Pleasure.
+  But if a Man pretends to be a <i>Stoick</i> at <i>Plays</i>, he falls under another Imputation.
+  For where there is no Impression, there can be no Pleasure: And then the <i>Spectator</i> is very
+  much Impertinent, in going where he gets nothing for his Pains. And if this were all; I suppose
+  Christians have something else to do than to ramble about to no purpose.<span
+  class="leftmar"><i>Ibid. cap. 22.</i></span><sup class="handonly" id="ref482"><a
+  href="#side482">[482]</a></sup></p>
+
+  <p>'Even those very Magistrates who abet the <i>Stage</i>, discountenance the <i>Players</i>. They
+  stigmatize their <i>Character</i>, and cramp their Freedoms. The whole Tribe of them is thrown out
+  of all Honour and Privilege. They are neither suffer'd to be Lords, nor Gentlemen: To come within
+  the <i>Senate</i>, or harangue the People, or so much as to be Members of a <i>Common-Council</i>.
+  Now what Caprice and Inconsistency is this! To love what we punish, and lessen those whom we
+  admire! To cry up the Mystery, and <span class="pagenum" id="page257">{257}</span>censure the
+  practise; For a Man to be as it were eclips'd upon the score of Merit is certainly an odd sort of
+  Justice! True. But the Inference lies stronger another way. What a Confession then is this of an
+  Ill Business; when the very Excellency of it is not without Infamy?</p>
+
+  <p>'Since therefore Humane Prudence has thought fit to degrade the <i>Stage</i>, notwithstanding
+  the Divertingness of it. Since Pleasure can't make them an Interest Here, nor shelter them from
+  Censure.<span class="leftmar"><i>Ibid. cap. 23.</i></span><sup class="handonly" id="ref483"><a
+  href="#side483">[483]</a></sup> How will They be able to stand the shock of Divine Justice, and
+  what <i>Reckoning</i> have they <i>Reason</i> to expect Hereafter?</p>
+
+  <p>'All things consider'd 'tis no wonder such People should fall under <i>Possession</i>. God
+  knows we have had a sad Example of this already. A certain Woman went to the <i>Play-House</i>,
+  and brought the Devil Home with Her.<span class="leftmar"><i>Ibid. cap. 26.</i></span><sup
+  class="handonly" id="ref484"><a href="#side484">[484]</a></sup> And when the Unclean Spirit was
+  press'd in the <i>Exorcism</i> and ask'd how he durst attack a Christian. I have done nothing
+  (says he) but what I can justify. For I seiz'd her upon my own Ground. Indeed, how many Instances
+  have we of others who have apostatiz'd from God, by <span class="correction"
+  title="Original reads 'Correspondence',
+  corrected by Errata">this Correspondence</span> with the Devil? What <i>Communion has Light with
+  Darkness? No Man can serve <span class="pagenum" id="page258">{258}</span>two Masters</i>, nor
+  have Life and Death in him at the same time.</p>
+
+  <p>'Will you not then avoid this Seat of Infection?<span class="leftmar"><i>Ibid. cap.
+  27.</i></span><sup class="handonly" id="ref485"><a href="#side485">[485]</a></sup> The very Air
+  suffers by their Impurities; And they almost Pronounce the Plague. What tho' the performance may
+  be in some measure pretty and entertaining? What tho' Innocence, yes and Virtue too, shines
+  through some part of it? 'Tis not the custom to prepare Poyson unpalatable, nor make up Ratzbane
+  with Rhubarb and Sena. No. To have the Mischief speed, they must oblige the Sense, and make the
+  Dose pleasant. Thus the Devil throws in a Cordial Drop to make the Draught go down; And steals
+  some few Ingredients from the <i>Dispensatory</i> of Heaven. In short, look upon all the engaging
+  Sentences of the Stage; Their flights of Fortitude, and Philosophy, the Loftiness of their Stile,
+  the Musick of the Cadence, and the Finess of the Conduct; Look upon it only I say as Honey
+  dropping from the Bowels of a Toad, or the Bag of a Spider: Let your Health over-rule your
+  Pleasure, and don't die of a little <i>Liquorishness</i>.</p>
+
+  <p>'In earnest Christian, our time for Entertainment is not yet:<span class="leftmar"><i>Ibid.
+  cap. 28.</i></span><sup class="handonly" id="ref486"><a href="#side486">[486]</a></sup> you are
+  two craving and ill managed if you are so violent <span class="pagenum"
+  id="page259">{259}</span>for Delight. And let me tell you, no wiser than you should be, if you
+  count such Things Satisfaction. Some Philosophers placed their Happiness in bare Tranquillity.
+  Easiness of Thought, and Absence of Pain, was all they aim'd at. But this it seems won't Satisfie
+  Thee. Thou liest sighing and hankering after the <i>Play-house</i>. Prethee recollect thy self:
+  Thou knowest Death ought to be our Pleasure, And therefore I hope Life may be a little without it.
+  Are not our Desires the same with the Apostles, <i>To be Dissolv'd and to be with Christ</i>. Let
+  us act up to our pretentions, and let Pleasure be true to Inclination.</p>
+
+  <p>'But if you can't wait for Delight; if you must be put into present Possession, wee'l cast the
+  Cause upon that Issue.<span class="leftmar"><i>Ibid. cap. 29.</i></span><sup class="handonly"
+  id="ref487"><a href="#side487">[487]</a></sup> Now were you not unreasonable, you would perceive
+  the Liberalities of Providence, and find your self almost in the midst of Satisfaction. For what
+  can be more transporting than the Friendship of Heaven, and the Discovery of Truth, than the Sense
+  of our Mistakes, and the Pardon of our Sins? What greater Pleasure can there be, than to scorn
+  being <i>Pleas'd</i>? To contemn the World? And to be a Slave to Nothing? 'Tis a mighty
+  satisfaction I take it, to have a clear Conscience;</p>
+
+  <div><span class="pagenum" id="page260">{260}</span></div>
+
+  <p>To make Life no Burthen, nor Death any Terror! To trample upon the <i>Pagan</i> Deities; To
+  batter <i>Principalities</i> and <i>Powers</i>, and force the Devils to Resign!<span
+  class="nothand">*</span><span class="leftmar">* <i>By Exorcisms</i></span><sup class="handonly"
+  id="ref488"><a href="#side488">[488]</a></sup> These are the Delights, these are the noble
+  Entertainments of Christians: And besides the advantage of the Quality, they are always at hand,
+  and cost us nothing.'</p>
+
+  <p><i>Clemens</i> <i>Alexandrinus</i> affirms<span class="leftmar"><i>Lib. 3. P�dag. Ann. 204.
+  cap. 11.</i></span><sup class="handonly" id="ref489"><a href="#side489">[489]</a></sup> 'That the
+  <i>Circus</i> and <i>Theatre</i> may not improperly be call'd the <i>Chair</i> of
+  <i>Pestilence</i>.&mdash;&mdash;Away then with these Lewd, Ungodly Diversions, and which are but
+  Impertinence at the Best. What part of Impudence either in words or practise, is omitted by the
+  Stage? Don't the Buffoons take almost all manner of Liberties, and plunge through Thick and Thin,
+  to make a jest? Now those who are affected with a vitious satisfaction, will be haunted with the
+  Idea, and spread the Infection. But if a man is not entertain'd to what purpose should he go
+  Thither? Why should he be fond where he finds nothing, and court that which sleeps upon the Sense?
+  If 'tis said these Diversions are taken only to unbend the Mind, and refresh Nature a little. To
+  this I answer. That the spaces between Business should not <span class="pagenum"
+  id="page261">{261}</span>be fill'd up with such Rubbish. A wise man has a Guard upon his
+  Recreations, and always prefers, the Profitable to the Pleasant.'</p>
+
+  <p><i>Minutius Felix</i> delivers his Sense in these Words:<span class="leftmar"><i>Ann.
+  206.</i></span><sup class="handonly" id="ref490"><a href="#side490">[490]</a></sup></p>
+
+  <p>'As for us, who rate our Degree by our Virtue, and value our selves more upon our Lives, than
+  our Fortunes; we decline your Pompous <i>Shews</i>, and publick Entertainments. And good Reason we
+  have for our Aversion. These Things have their Rise from Idols, and are the Train of a false
+  Religion. The Pleasure is ill Descended, and likewise Vitious and ensnaring. For who can do less
+  than abominate, the Clamorous Disorders of the <i>Race-Ground</i>, and the profession of Murther
+  at the <i>Prize</i>. And for the <i>Stage</i>, there you have more Lewdness, tho' not a jot less
+  of Distraction. Sometimes your <i>Mimicks</i>, are so Scandalous and Expressing, that 'tis almost
+  hard to distinguish between the <i>Fact</i> and the <i>Representation</i>. Sometimes a Luscious
+  <i>Actor</i> shall whine you into Love, and give the Disease that he Counterfeits.'</p>
+
+  <p>St. <i>Cyprian</i> or the Author <i>de Spectaculis</i>, will furnish us farther.</p>
+
+  <p>Here this Father argues against those who thought the <i>Play-House</i> no unlawful <span
+  class="pagenum" id="page262">{262}</span>Diversion, because 'twas not Condemn'd by express
+  <i>Scripture</i>. 'Let meer Modesty (says he) supply the <i>Holy Text</i>: And let <i>Nature</i>
+  govern where <i>Revelation</i> does not reach. Some Things are too black to lie upon <i>Paper</i>,
+  and are more strongly forbidden, because unmention'd. The Divine Wisdom must have had a low
+  Opinion of <i>Christians</i>, had it descended to particulars in this Case. Silence is sometimes
+  the best Method for Authority. To Forbid often puts People in mind of what they should not do; And
+  thus the force of the Precept is lost by naming the Crime. Besides, what need we any farther
+  Instruction? Discipline and general Restraint makes up the Meaning of the Law; and common Reason
+  will tell you what the Scripture has left unsaid. I would have every one examine his own Thoughts,
+  and inquire at Home into the Duties of his Profession. This is a good way to secure him from
+  Indecency. For those Rules which a Man has work'd out for himself he commonly makes most use
+  of.'&mdash;&mdash;And after having describ'd the infamous Diversions of the <i>Play-house</i>; He
+  expostulates in this Manner.</p>
+
+  <p>'What business has a Christian at such Places as these? A Christian who has not <span
+  class="pagenum" id="page263">{263}</span>the Liberty so much as to think of an ill Thing. Why does
+  he entertain himself with Lewd Representations? Has he a mind to discharge his Modesty, and be
+  flesh'd for the <i>Practise</i>? Yes. this is the Consequence. By using to see these Things, hee'l
+  learn to do them.&mdash;&mdash;What need I mention the Levities, and Impertinence in
+  <i>Comedies</i>, or the ranting Distractions of <i>Tragedy</i>? Were these Things unconcern'd with
+  Idolatry, Christians ought not to be at them. For were they not highly Criminal, the Foolery of
+  them is egregious, and unbecoming the Gravity of <i>Beleivers</i>.&mdash;&mdash;</p>
+
+  <p>'As I have often said these Foppish, these pernicious Diversions, must be avoided. We must set
+  a Guard upon our Senses, and keep the Sentinal always upon Duty. To make Vice familiar to the ear,
+  is the way to recommend it. And since the mind of Man has a Natural Bent to Extravagance; how is
+  it likely to hold out under Example, and Invitation? If you push that which totters already,
+  whether will it tumble? In earnest, we must draw off our Inclinations from these Vanities. A
+  Christian has much better <i>Sights</i> than these to look at. He has solid Satisfactions in his
+  <span class="pagenum" id="page264">{264}</span>Power, which will please, and improve him at the
+  same time.</p>
+
+  <p>'Would a Christian be agreeably Refresh'd? Let him read the <i>Scriptures</i>: Here the
+  Entertainment will suit his Character, and be big enough for his Quality.&mdash;Beloved, how
+  noble, how moving how profitable a pleasure is it to be thus employed? To have our Expectations
+  always in prospect, and be intent on the Glories of Heaven?'</p>
+
+  <p>He has a great deal more upon this Subject in his <i>Epistles</i> to <i>Donatus</i> and
+  <i>Eucratius</i>, which are undoubtedly genuine. The later being somewhat remarkable, I shall
+  Translate part of it for the <i>Reader</i>. <span class="leftmar"><i>Ad Eucrat.</i></span><sup
+  class="handonly" id="ref491"><a href="#side491">[491]</a></sup></p>
+
+  <p>'Dear Brother, your usual Kindness, together with your desire of releiving your own Modesty and
+  mine, has put you upon asking my Thoughts concerning a certain <i>Player</i> in your
+  Neighbourhood; whether such a Person ought to be allow'd the Privilege of <i>Communion</i>. This
+  Man it seems continues in his Scandalous Profession, and keeps a Nursery under him. He teaches
+  that which 'twas a Crime in him to learn, sets up for a Master of Debauch, and Propagates the lewd
+  Mystery. The case standing thus, 'tis my Opinion that the Admission of such a <i>Member</i> would
+  be a Breach of the <span class="pagenum" id="page265">{265}</span>Discipline of the Gospel, and a
+  Presumption upon the Divine Majesty: Neither do I think it fit the Honour of the Church should
+  suffer by so Infamous a Correspondence.'</p>
+
+  <p><i>Lactantius</i>'s Testimony shall come next. This Author in his <i>Divine
+  Institutions</i>,<span class="leftmar"><i>Lib. 6. cap. 20.</i></span><sup class="handonly"
+  id="ref492"><a href="#side492">[492]</a></sup> which he Dedicates to <i>Constantine</i> the Great,
+  cautions the Christians against the <i>Play-House</i>, from the Disorder, and danger of those
+  places. For as he observes.</p>
+
+  <p>'The debauching of Virgins, and the Amours of Strumpets, are the Subject of <i>Comedy</i>. And
+  here the Rule is, the more Rhetorick the more Mischeif, and the best <i>Poets</i> are the worst
+  Common-Wealths-men. For the Harmony and Ornament of the Composition serves only to recommend the
+  Argument, to fortifie the Charm, and engage the Memory. At last he concludes with this advice.</p>
+
+  <p>'Let us avoid therefore these Diversions, least somewhat of the Malignity should seize us. Our
+  Minds should be quiet and Compos'd, and not over-run with Amusements. Besides a Habit of Pleasure
+  is an ensnaring Circumstance. 'Tis apt to make us forget God, and grow cool in the Offices of
+  Virtue.<span class="leftmar"><i>Ibid. cap. 21.</i></span><sup class="handonly" id="ref493"><a
+  href="#side493">[493]</a></sup></p>
+
+  <div><span class="pagenum" id="page266">{266}</span></div>
+
+  <p>'Should a Man have a Stage at Home, would not his Reputation suffer extreamly, and all people
+  count him a notorious Libertine? most undoubtedly. Now the Place does not alter the Property. The
+  Practise at the <i>Play-House</i> is the same thing, only there he has more Company to keep him in
+  Countenance.</p>
+
+  <p>'A well work'd <i>Poem</i> is a powerful piece of Imposture: It masters the Fancy, and hurries
+  it no Body knows whither.&mdash;&mdash;If therefore we would be govern'd by Reason let us stand
+  off from the Temptation, such Pleasures can have no good Meaning. Like delicious Morsels they
+  subdue the Palate, and flatter us only to cut our Throats. Let us prefer Reality to Appearance,
+  Service, to Show; and Eternity to Time.<span class="leftmar"><i>Ibid. cap. 22.</i></span><sup
+  class="handonly" id="ref494"><a href="#side494">[494]</a></sup></p>
+
+  <p>'As God makes Virtue the Condition of Glory, and trains men up to Happiness by Hardship and
+  Industry. So the Devils road to Destruction lies through Sensuality and <i>Epicurism</i>. And as
+  pretended Evils lead us on to uncounterfeited Bliss; So Visionary Satisfactions are the causes of
+  Real Misery. In short, These Inviting Things are all stratagem. Let us, take care the softness and
+  Importunity of the Pleasure does not surprise us, nor the Bait bring <span class="pagenum"
+  id="page267">{267}</span>us within the snare. The Senses are more than <i>Out-Works</i>, and
+  should be defended accordingly.'</p>
+
+  <p>I shall pass over St. <i>Ambrose</i>,<span class="leftmar"><i>In Psal. 119.</i></span><sup
+  class="handonly" id="ref495"><a href="#side495">[495]</a></sup> and go on to St.
+  <i>Chrisostome</i>. This <i>Father</i> is copious upon the Subject, I could translate some
+  <i>Sheets</i> from him were it necessary. But length being not my Business, a few Lines may serve
+  to discover his Opinion. His <i>15 Homily ad Populum Antiochenum</i>, runs thus.</p>
+
+  <p>'Most People fancy the Unlawfulness of going to <i>Plays</i> is not clear. But by their favour,
+  a world of Disorders are the Consequences of such a Liberty. For frequenting the <i>Play-House</i>
+  has brought Whoring and Ribaldry into Vogue, and finish'd all the parts of Debauchery.'</p>
+
+  <p>Afterwards he seems to make the supposition better than the <i>Fact</i>, and argues upon a
+  feign'd Case.</p>
+
+  <p>'Let us not only avoid downright Sinning, but the Tendencies to it. Some Indifferent Things are
+  fatal in the Consequence, and strike us at the Rebound. Now who would chuse his standing within an
+  Inch of a Fall; or swim upon the Verge of a Whirlpool? He that walks upon a Precipice, shakes tho'
+  he does not tumble. And commonly his Concern brings him to the Bottom. The Case is much <span
+  class="pagenum" id="page268">{268}</span>the same in reference to Conscience, and Morality. He
+  that won't keep his Distance from the Gulph, is oftentimes suck'd in by the Eddy; and the least
+  oversight is enough to undo Him.'</p>
+
+  <p>In his 37 Homily upon the Eleventh Chapter of St. <i>Matthew</i> he declaims more at large
+  against the Stage.</p>
+
+  <p>'Smutty Songs (says he) are much more abominable than Stench and Ordure. And which is most to
+  be lamented, you are not at all uneasy at such Licentiousness. You Laugh when you should Frown;
+  and Commend what you ought to abhor.&mdash;&mdash;Heark you, you can keep the Language of your own
+  House in order: If your Servants or your Childrens Tongues run Riot, they presently smart for't.
+  And yet at the <i>Play-House</i> you are quite another Thing. These little Buffoons have a strange
+  Ascendant! A luscious Sentence is hugely welcome from their Mouth: And instead of Censure, they
+  have thanks and encouragement for their Pains. Now if a Man would be so just as to wonder at
+  himself, here's Madness, and Contradiction in Abundance.</p>
+
+  <p>'But I know you'l say what's this to me, I neither sing nor pronounce, any of this Lewd stuff?
+  Granting your Plea, <span class="pagenum" id="page269">{269}</span>what do you get by't? If you
+  don't repeat these Scurrilities, you are very willing to hear them. Now whether the Ear, or the
+  Tongue is mismanaged, comes much to the same reckoning. The difference of the <i>Organ</i>, does
+  not alter the Action so mightily, as you may imagine. But pray how do you prove you don't repeat
+  them? They may be your Discourse, or the Entertainments of your Closet for ought we know to the
+  contrary. This is certain; you hear them with pleasure in your Face, and make it your business to
+  run after them: And to my Mind, these are strong Arguments of your Approbation.</p>
+
+  <p>'I desire to ask you a Question. Suppose you hear any wretches Blaspheme, are you in any
+  Rapture about it? And do your Gestures appear airy, and obliged? Far from it. I doubt not but your
+  blood grows chill, and your Ears are stopt at the Presumption. And what's the Reason of this
+  Aversion in your Behaviour? Why 'tis because you don't use to Blaspheme, your self. Pray clear
+  your self the same way from the Charge of Obscenity. Wee'l then believe you don't talk Smut, when
+  we percieve you careful not to hear it. Lewd Sonnets, and Serenades are quite different from the
+  <span class="pagenum" id="page270">{270}</span>Prescriptions of Virtue. This is strange
+  Nourishment for a Christian to take in! I don't wonder you should lose your Health, when you feed
+  thus Foul. It may be Chastity is no such easy Task! Innocence moves upon an Ascent, at least for
+  sometime. Now those who are always Laughing can never strain up Hill. If the best preparations of
+  Care will just do, what must become of those that are dissolv'd in Pleasure, and lie under the
+  Instructions of Debauchery?&mdash;&mdash;Have you not heard how that St. <i>Paul</i> exhorts us
+  <i>to rejoyce in the Lord</i>? He said <i>in the Lord</i>; not in the Devil. But alas! what
+  leisure have you to Mind St. <i>Paul</i>? How should you be sensible of your Faults, when your
+  Head is always kept Hot, and as it were intoxicated with Buffooning?'&mdash;&mdash;
+  &mdash;&mdash;He goes on, and lashes the Impudence of the <i>Stage</i> with a great deal of Satir
+  and Severity; and at last proposes this Objection.</p>
+
+  <p>'You'l say, I can give you many Instances where the <i>Play-House</i> has done no Harm. Don't
+  mistake. Throwing away of Time and ill example, has a great deal of Harm in't; And thus far you
+  are guilty at the best. For granting your own Virtue impenetrable, and out of Reach, Granting the
+  Protection of your Temper has brought you off unhurt, <span class="pagenum"
+  id="page271">{271}</span>are all People thus Fortified? By no means. However, many a weak Brother
+  has ventur'd after you, and miscarried upon your <i>Precedent</i>. And since you make others thus
+  <i>Faulty</i>, how can you be <i>Innocent</i> your self? All the People undone There, will lay
+  their Ruine at your Door. The Company are all Accessary to the Mischeif of the Place. For were
+  there no <i>Audience</i>, we should have no <i>Acting</i>. And therefore those who joyn in the
+  Crime, will ne're be parted in the Punishment. Granting your Modesty has secur'd you, which by the
+  way I believe nothing of; yet since many have been debauch'd by the <i>Play-House</i>, you must
+  expect a severe Reckning for giving them Encouragement. Tho' after all, as Virtuous as you are, I
+  doubt not, you wou'd have been much Better, had you kept away.</p>
+
+  <p>'In fine, Let us not dispute to no purpose; The practise won't bear a Defence! Where the Cause
+  is naught 'tis in vain to rack our Reason, and strain for Pretences. The best excuse for what is
+  past, is to stand clear from the danger, and do so no more.'</p>
+
+  <p>One citation more from St. <i>Chrysostom</i>, and I take Leave. In the Preface of his
+  Commentary upon St. <i>John</i>'s Gospel speaking of <i>Plays</i> and other Publick <i>Shews</i>,
+  he has these words.</p>
+
+  <div><span class="pagenum" id="page272">{272}</span></div>
+
+  <p>'But what need I branch out the Lewdness of those <i>Spectacles</i>, and be particular in
+  Description? For what's there to be met with but Lewd Laughing, but Smut, Railing, and Buffoonry?
+  In a word. 'Tis all Scandal and Confusion. Observe me, I speak to you all; Let none who partake of
+  this <i>Holy-Table</i>, unqualifie <span class="correction"
+  title="Original reads 'himself', corrected by
+  Errata">themselves</span> with such Mortal Diversions.'</p>
+
+  <p>St. <i>Hierom</i> on the <i>1st</i>. Verse 32 <i>Psal.</i> makes this Exposition upon the
+  <i>Text</i>.</p>
+
+  <p>'Some are delighted with the Satisfactions of this World, some with the <i>Circus</i>, and some
+  with the <i>Theatre</i>: But the Psalmist commands every good Man <i>to delight himself in the
+  Lord</i>.&mdash;&mdash;For as <i>Isaiah</i> speaks, <i>woe to them that put bitter for sweet, and
+  sweet for bitter</i>.' And in his Epistles<span class="leftmar"><i>Ep. 9. 12. Advers. Jovinian.
+  Lib. 2. cap. 7.</i></span><sup class="handonly" id="ref496"><a href="#side496">[496]</a></sup> he
+  cautions the Ladies against having any thing to do with the <i>Play-House</i>, against Lewd Songs,
+  and Ill Conversation. Because they set ill Humours at work, Caress the Fancy, and make pleasure a
+  Conveyance for Destruction.'</p>
+
+  <p>In the <i>6th.</i> Book of his Comentary on <i>Ezechiel</i> he lets us understand;<span
+  class="leftmar"><i>Chap. 20.</i></span><sup class="handonly" id="ref497"><a
+  href="#side497">[497]</a></sup> 'That when we depart out of <i>�gypt</i> we must refine our
+  Inclinations, and change our Delights into Aversion. And after some other Instances, He tells us
+  we must <span class="pagenum" id="page273">{273}</span>decline the <i>Theatres</i>, and all other
+  dangerous Diversions, which stain the Innocence of the Soul, and slip into the <i>Will</i> through
+  the Senses.'</p>
+
+  <p>St. <i>Augustine</i> in his <i>5th</i>. Epistle to <i>Marcellinus</i> will afford us something
+  upon the same Argument.</p>
+
+  <p>'The prosperity of Sinners is their greatest Unhappiness. If one may say so, They are most
+  Punish'd when they are overlook'd. By this means their bad Temper is encourag'd, and they are more
+  inclin'd to be false to themselves; And we know an Enemy <i>within</i>, is more dangerous than one
+  <i>without</i>. But the perverse Reasonings of the Generality, make different Conclusions. They
+  fancy the World goes wonderfully well when People make a Figure. When a Man is a Prince in his
+  Fortune, but a Begger in his Vertue; Has a great many fine Things about him, but not so much as
+  one good Quality to deserve them. When the <i>Play-Houses</i> go up, and Religion go's down. When
+  Prodigality is admir'd, and Charity laugh'd at. When the <i>Players</i> can revel with the Rich
+  Man's purse, And the Poor have scarse enough to keep Life and Soul together.&mdash;&mdash;When God
+  suffers these Things to flourish, we may be sure he is most Angry. Present Impunity, is the
+  deepest Revenge. But <span class="pagenum" id="page274">{274}</span>when he cuts off the Supplies
+  of Luxury, and disables the Powers of Extravagance, then as one may say, he is mercifully
+  severe.'</p>
+
+  <p>In his <i>1st.</i> Book <i>de consensu Evangelistarum</i>,<span class="leftmar"><i>cap.
+  33.</i></span><sup class="handonly" id="ref498"><a href="#side498">[498]</a></sup> He answers an
+  objection of the <i>Heathens</i>, and comes up to the Case in Hand.</p>
+
+  <p>'Their Complaint as if the Times were less happy since the Appearance of Christianity is very
+  unreasonable. Let them read their own Philosophers: There they'l find those very Things censured,
+  which they now are so uneasy to part with; This Remark must shut up their Mouths, and convince
+  them of the Excellency of our Religion. For pray what Satisfactions have they lost? None that I
+  know of, excepting some Licentious ones, which they abused to the Dishonour of their Creatour. But
+  it may be the Times are bad because the <i>Theatres</i> are Tumbling almost every where. The
+  <i>Theaters</i> those <i>Cages</i> of <i>Uncleaness</i>, and publick Schools of
+  Debauchery.&mdash;&mdash;And what's the Reason of their running to Ruine? Why 'tis the Reformation
+  of the Age: 'Tis because those Lewd Practises are out of Fashion, which first built and kept them
+  in Countenance. Their own <i>Tully</i>'s Commendation of the <i>Actor Roscius</i> is remarkable.
+  He was so much <span class="pagenum" id="page275">{275}</span>a Master (says he) that none but
+  himself was worthy to Tread the <i>Stage</i>. And on the other hand, so good a Man, that he was
+  the most unfit Person of the Gang to come There. And is not this a plain Confession of the
+  Lewdness of the <i>Play-House</i>; And that the better a Man was, the more he was obliged to
+  forbear it?'</p>
+
+  <p>I could go on, much farther with St. <i>Augustine</i>, but I love to be as brief as may be. I
+  could likewise run through the succeeding <i>Centuries</i>, and collect Evidence all along. But I
+  conceive the best Ages, and the biggest Authorities, may be sufficient: And these the
+  <i>Reader</i> has had already. However, one Instance more from the <i>Moderns</i> may not be
+  amiss. <i>Didacus de Tapia</i> an eminent <i>Spaniard</i>, shall close the <i>Evidence</i>. This
+  Author in debating the Question whether <i>Players</i> might be admitted to the <i>Sacrament</i>,
+  amongst other things encounters an Objection. Some People it seems pretended there was some good
+  to be learn'd at the <i>Play-House</i>. To these, he makes this reply.</p>
+
+  <p>'Granting your Supposition, (says He) your Inference is naught. Do People use to send their
+  Daughters to the <i>Stews</i> for Discipline? And yet it may be, they might meet some there
+  lamenting their own Debauchery. No Man will breed his Son upon the <i>High-way</i>, to harden his
+  <span class="pagenum" id="page276">{276}</span>Courage; Neither will any one go on board a Leaky
+  Vessel, to learn the Art of shifting in a Wreck the better. My conclusion is, let no body go to
+  the Infamous <i>Play-House</i>. A place of such staring Contradiction to the Strictness and
+  Sobriety of Religion: A Place hated by God, and haunted by the Devil. Let no man I say learn to
+  relish any thing that's said there; For 'tis all but Poyson handsomly prepared.' <span
+  class="leftmar"><i>Didac. &amp;c. in D. Thom. p. 546.</i></span><sup class="handonly"
+  id="ref499"><a href="#side499">[499]</a></sup></p>
+
+  <p>Thus I have presented the <i>Reader</i> with a short View of the Sense of <i>Christianity</i>.
+  This was the opinion of the <i>Church</i> for the first 500 Years. And thus she has Censured the
+  <i>Stage</i> both in <i>Councils</i>, and Single <i>Authorities</i>. And since the Satir of the
+  <i>Fathers</i> comes full upon the <i>Modern Poets</i>, their Caution must be applicable. The
+  parity of the Case makes their Reasons take place, and their Authority revive upon us. If we are
+  <i>Christians</i>, the <i>Canons</i> of <i>Councils</i>, and the Sense of the Primitive
+  <i>Church</i> must have a weight. The very Time is a good argument of it self. Then the
+  <i>Apostolical Traditions</i> were fresh, and undisputed; and the <i>Church</i> much better agreed
+  than she has been since. Then, Discipline was in Force, and Virtue Flourish'd, and People lived up
+  to their <i>Profession</i>. And as for the <i>Persons</i>, they are beyond all exception. Their
+  <i>Station</i>, their <span class="pagenum" id="page277">{277}</span>Learning, and Sufficiency was
+  very Considerable; Their Piety and Resolution, extraordinary. They acted generously, and wrote
+  freely, and were always above the little Regards of Interest or Danger. To be short; They were, as
+  we may say the <i>Worthies</i> of <i>Christendom</i>, the Flower of Humane Nature, and the Top of
+  their <i>Species</i>. Nothing can be better establish'd, than the Credit of these <i>Fathers</i>:
+  Their Affirmation goes a great way in a proof; And we might argue upon the strength of their
+  <i>Character</i>.</p>
+
+  <p>But supposing them contented to wave their Privilege, and dispute upon the Level. Granting
+  this, the <i>Stage</i> would be undone by them. The Force of their Reasoning, and the bare
+  <i>Intrinsick</i> of the Argument, would be abundantly sufficient to carry the Cause.</p>
+
+  <p>But it may be objected, is the Resemblance exact between Old <i>Rome</i> and <i>London</i>,
+  will the Paralel hold out, and has the <i>English Stage</i> any Thing so bad as the <i>Dancing</i>
+  of the <i>Pantomimi</i>? I don't say that: The <i>Modern Gestures</i> tho' bold and Lewd too
+  sometimes, are not altogether so scandalous as the <i>Roman</i>. Here then we can make them some
+  little Abatement.</p>
+
+  <p>And to go as far in their <i>Excuse</i> as we can, 'tis probable their <i>Musick</i> may not be
+  altogether so exceptionable as that of the <span class="pagenum"
+  id="page278">{278}</span><i>Antients</i>. I don't say this part of the Entertainment is directly
+  vitious, because I am not willing to Censure at Uncertainties. Those who frequent the
+  <i>Play-House</i> are the most competent Judges: But this I must say, the Performances of this
+  kind are much too fine for the <i>Place</i>. 'Twere to be wish'd that either the <i>Plays</i> were
+  better, or the <i>Musick</i> worse. I'm sorry to see <i>Art</i> so meanly Prostituted: Atheism
+  ought to have nothing Charming in its <i>Retinue</i>. 'Tis great Pity <i>Debauchery</i> should
+  have the Assistance of a fine Hand, to whet the Appetite, and play it down.</p>
+
+  <p>Now granting the <i>Play-House-Musick</i> not vitious in the Composition, yet the design of it
+  is to refresh the <i>Idea</i>'s of the Action, to keep <i>Time</i> with the <i>Poem</i>, and be
+  true to the <i>Subject</i>. For this Reason among others the <i>Tunes</i> are generally Airy and
+  Gailliardizing; They are contriv'd on purpose to excite a sportive Humour, and spread a Gaity upon
+  the Spirits. To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep. This sort
+  of Musick warms the Passions, and unlocks the Fancy, and makes it open to Pleasure like a Flower
+  to the Sun. It helps a Luscious Sentence to slide, drowns the Discords of <i>Atheism</i>, and
+  keeps off the Aversions of Conscience. It throws a Man off his Guard, makes way for an ill
+  Impresion, and is most <span class="pagenum" id="page279">{279}</span>Commodiously planted to do
+  Mischief. A Lewd <i>Play</i> with good Musick is like a Loadstone <i>Arm'd</i>, it draws much
+  stronger than before.</p>
+
+  <p>Now why should it be in the power of a few mercenary Hands to play People out of their Senses,
+  to run away with their Understandings, and wind their Passions about their Fingers as they list?
+  Musick is almost as dangerous as Gunpowder; And it may be requires looking after no less than the
+  <i>Press</i>, or the <i>Mint</i>. 'Tis possible a Publick Regulation might not be amiss. No less a
+  Philosopher than <i>Plato</i> seems to be of this Opinion. He is clearly for keeping up the old
+  grave, and solemn way of <i>Playing</i>. He lays a mighty stress upon this Observation: He does
+  not stick to affirm, that to extend the <i>Science</i>, and alter the <i>Notes</i>, is the way to
+  have the <i>Laws</i> repeal'd and to unsettle the <i>Constitution</i>.<span class="leftmar"><i>De
+  Repub. L. 4.</i></span><sup class="handonly" id="ref500"><a href="#side500">[500]</a></sup> I
+  suppose He imagined that if the Power of <i>Sounds</i>, the Temper of Constitutions, and the
+  Diversities of Age, were well studied; If this were done, and some general Permissions formed upon
+  the Enquiry, the <i>Commonwealth</i> might find their Account in't.</p>
+
+  <p><i>Tully</i> does not carry the Speculation thus high: However, he owns it has a weight in't,
+  and should not be overlook'd.<span class="leftmar"><i>Cic. de Leg. L. 2.</i></span><sup
+  class="handonly" id="ref501"><a href="#side501">[501]</a></sup> He denies not but that when the
+  Musick is soft, <span class="pagenum" id="page280">{280}</span>exquisite, and airy, 'tis dangerous
+  and ensnaring. He commends the Discipline of the ancient <i>Greeks</i>, for fencing against this
+  Inconvenience. He tells us the <i>Lacedemonians</i> fixt the number of Strings for the Harp, by
+  express <i>Law</i>. And afterwards silenc'd <i>Timotheus</i>,<span class="nothand">*</span><span
+  class="leftmar">* <i>A Famous Musician</i></span><sup class="handonly" id="ref502"><a
+  href="#side502">[502]</a></sup> and seiz'd his Harp, for having One String above publick
+  Allowance. To return. If the <i>English Stage</i> is more reserv'd than the <i>Roman</i> in the
+  Case above mention'd: If they have any advantage in their <i>Instrumental</i> Musick, they loose
+  it in their <i>Vocal</i>. Their <i>Songs</i> are often rampantly Lewd, and Irreligious to a
+  flaming Excess. Here you have the very <i>Spirit</i> and <i>Essence</i> of Vice drawn off strong
+  scented, and thrown into a little Compass. Now the <i>Antients</i> as we have seen already were
+  inoffensive in this respect.</p>
+
+  <p>To go on. As to Rankness of Language we have seen how deeply the <i>Moderns</i> stand charged
+  upon the Comparison. And as for their Caressing of Libertines, their ridiculing of Vertue, their
+  horrible Profaness, and Blasphemies, there's nothing in <i>Antiquity</i> can reach them.</p>
+
+  <p>Now were the <i>Stage</i> in a Condition to wipe off any of these Imputations, which They are
+  not, there are two Things besides which would stick upon them, and [......] an ill Effect upon the
+  <i>Audience</i>.</p>
+
+  <div><span class="pagenum" id="page281">{281}</span></div>
+
+  <p>The first is their dilating so much upon the Argument of Love.</p>
+
+  <p>This Subject is generally treated Home, and in the most tender and passionate manner
+  imaginable. Tis often the governing Concern: The Incidents make way, and the <i>Plot</i> turns
+  upon't. As matters go, the Company expect it: And it may be the <i>Poets</i> can neither Write,
+  nor Live without it. This is a cunning way enough of stealing upon the Blind Side, and Practising
+  upon the Weakness of humane Nature. People love to see their <i>Passions</i> painted no less than
+  their <i>Persons</i>: And like <i>Narcissus</i> are apt to dote on their own Image. This Bent of
+  self Admiration recommends the Business of <i>Amours</i>, and engages the Inclination. And which
+  is more, these Love-representations oftentimes call up the Spirits, and set them on work. The
+  <i>Play</i> is acted over again in the <i>Scene</i> of Fancy, and the first Imitation becomes a
+  Model. <i>Love</i> has generally a <i>Party Within</i>; And when the Wax is prepared, the
+  Impression is easily made. Thus the Disease of the Stage grows Catching: It throws its own
+  <i>Amours</i> among the Company, and forms these Passions when it does not find them. And when
+  they are born before, they thrive extreamly in this <i>Nursery</i>. Here they seldom fail either
+  of Grouth, or Complexion. <span class="pagenum" id="page282">{282}</span>They grow strong, and
+  they grow Charming too. This is the best Place to recover a Languishing Amour, to rowse it from
+  Sleep, and retrieve it from Indifference. And thus Desire becomes Absolute, and forces the
+  Oppositions of Decency and Shame. And if the Misfortune does not go thus far, the consequences are
+  none of the best. The Passions are up in Arms, and there's a mighty Contest between Duty, and
+  Inclination. The Mind is over-run with Amusements, and commonly good for nothing sometime
+  after.</p>
+
+  <p>I don't say the <i>Stage</i> Fells all before them, and disables the whole <i>Audience</i>:
+  'Tis a hard Battle where none escapes. However, Their <i>Triumphs</i> and their <i>Tropheys</i>
+  are unspeakable. Neither need we much wonder at the Matter. They are dangerously Prepar'd for
+  Conquest, and Empire. There's Nature, and Passion, and Life, in all the Circumstances of their
+  <i>Action</i>. Their Declamation, their <i>Mein</i> their Gestures, and their Equipage, are very
+  moving and significant. Now when the Subject is agreeable, a lively Representation, and a
+  Passionate way of Expression, make wild work, and have a strange Force upon the Blood, and
+  Temper.</p>
+
+  <p>And then as for the General Strains of Courtship, there can be nothing more Profane and
+  extravagant. The Hero's Mistress <span class="pagenum" id="page283">{283}</span>is no less than
+  his Deity. She disposes of his Reason, prescribes his Motions, and Commands his Interest. What
+  Soveraign Respect, what Religious Address, what Idolizing Raptures are we pester'd with?
+  <i>Shrines</i> and <i>Offerings</i> and Adorations, are nothing upon such solemn Occasions. Thus
+  Love and Devotion, Ceremony and Worship are Confounded; And God, and his Creatures treated both
+  alike! These Shreds of Distraction are often brought from the <i>Play-House</i> into Conversation:
+  And thus the <i>Sparks</i> are taught to Court their Mistresses, in the same Language they say
+  their <i>Prayers</i>.</p>
+
+  <p>A Second Thing which I have to object against the <i>Stage</i> is their encouraging Revenge.
+  What is more Common than Duels and Quarrelling in their <i>Characters</i> of Figure? Those
+  Practises which are infamous in Reason, <i>Capital</i> in <i>Law</i>, and Damnable in Religion,
+  are the Credit of the <i>Stage</i>. Thus Rage and Resentment, Blood and Barbarity, are almost
+  Deified: Pride goes for Greatness, and <i>Fiends</i> and <i>Hero's</i> are made of the same
+  Mettal. To give Instances were needless, nothing is more frequent. And in this respect the
+  <i>French Dramatists</i> have been to blame no less than the <i>English</i>.<span
+  class="leftmar"><i>Vid. Corneille Cid, Cinna &amp; Pompee.</i></span><sup class="handonly"
+  id="ref503"><a href="#side503">[503]</a></sup> And thus the Notion of Honour is mistated, the
+  Maxims of Christianity despised, and the Peace of the <span class="pagenum"
+  id="page284">{284}</span>World disturb'd. I grant this desperate Custom is no <i>Original</i> of
+  the <i>Stage</i>. But then why was not the Growth of it check'd? I thought the <i>Poets</i>
+  business had not been to back false Reasoning and ill Practise; and to fix us in Frensy and
+  Mistake! Yes. They have done their endeavour to cherish the Malignity, and keep the Disorder in
+  Countenance. They have made it both the Mark, and the Merit of a Man of Honour; and set it off
+  with <i>Quality</i>, and Commendation. But I have discours'd on this Subject elswhere,<span
+  class="leftmar"><i>Moral Essays.</i></span><sup class="handonly" id="ref504"><a
+  href="#side504">[504]</a></sup> and therefore shall pursue it no farther.</p>
+
+  <p>To draw towards an End. And here I must observe that these two later Exceptions are but Petty
+  Mismanagements with respect to the Former. And when the best are thus bad, what are the worst?
+  What must we say of the more foul Representations, of all the Impudence in Language and Gesture?
+  Can this Stuff be the Inclination of <i>Ladies</i>? Is a <i>Reading</i> upon Vice so Entertaining,
+  and do they love to see the <i>Stews Dissected</i> before them? One would think the Dishonour of
+  their own Sex, the Discovery of so much Lewdness, and the treating Human Nature so very Coarsly,
+  could have little Satisfaction in't. Let us set Conscience aside, and throw the other World out of
+  the Question: These Interests are but the greatest, but not all. The <span class="pagenum"
+  id="page285">{285}</span><i>Ladies</i> have other Motives to confine them. The Restraints of
+  Decency, and the Considerations of Honour, are sufficient to keep them at Home. But hoping They
+  will be just to themselves I shall wave this unacceptable Argument. I shall only add, that a
+  Surprize ought not to be Censured. Accidents are no Faults. The strictest Virtue may sometimes
+  stumble upon an <i>Ill Sight</i>. But Choise, and Frequency, and ill Ground, conclude strongly for
+  Inclination. To be assured of the inoffensiveness of the <i>Play</i> is no more than a Necessary
+  Precaution. Indeed the <i>Players</i> should be generally discouraged. They have no relish of
+  Modesty, nor any scruples upon the Quality of the Treat. The grossest <i>Dish</i> when 'twill down
+  is as ready as the Best. To say Money is their Business and they must <i>Live</i>, is the Plea of
+  <i>Pick pockets</i>, and <i>High way men</i>. These later may as well pretend their
+  <i>Vocation</i> for a Lewd practise as the other. But</p>
+
+  <p>To give the Charge its due Compass: To comprehend the whole <i>Audience</i>, and take in the
+  Motives of Religon.</p>
+
+  <p>And here I can't imagine how we can reconcile such Liberties with our Profession. These
+  Entertainments are as it were Litterally renounc'd in <i>Baptism</i>. They are the <i>Vanities of
+  the wicked World, and the Works of the Devil</i>, in the most open, and emphatical Signification.
+  <i>What Communion <span class="pagenum" id="page286">{286}</span>has Light with Darkness, and what
+  concord has Christ with Belial.</i><span class="leftmar"><i>2 Cor. 6. 14.</i></span><sup
+  class="handonly" id="ref505"><a href="#side505">[505]</a></sup> Call you this Diversion? Can
+  Profaness be such an irresistable Delight? Does the Crime of the Performance make the Spirit of
+  the Satisfaction, and is the Scorn of Christianity the Entertainment of Christians? Is it such a
+  Pleasure to hear the <i>Scriptures</i> burlesqu'd? Is Ribaldry so very obliging, and
+  <i>Atheism</i> so Charming a Quality? Are we indeed willing to quit the Privilege of our Nature;
+  to surrender our <i>Charter</i> of Immortality, and throw up the Pretences to another Life? It may
+  be so! But then we should do well to remember that <i>Nothing</i> is not in our Power. Our Desires
+  did not make us, neither can they unmake us. But I hope our wishes are not so mean, and that we
+  have a better sense of the Dignity of our <i>Being</i>. And if so, how can we be pleas'd with
+  those Things which would degrade us into Brutes, which ridicule our <i>Creed</i>, and turn all our
+  Expectations into <i>Romance</i>.</p>
+
+  <p>And after all, the Jest on't is, these Men would make us believe their design is Virtue and
+  Reformation. In good time! They are likely to combat Vice with success, who destroy the Principles
+  of Good and Evil! Take them at the best, and they do no more than expose a little Humour, and
+  Formality. But then, as the Matter is manag'd, the Correction is much worse <span class="pagenum"
+  id="page287">{287}</span>than the Fault. They laugh at <i>Pedantry</i>, and teach <i>Atheism</i>,
+  cure a Pimple, and give the Plague. I heartily wish they would have let us alone. To exchange
+  Virtue for Behaviour is a hard Bargain. Is not plain Honesty much better than Hypocrisy well
+  Dress'd? What's Sight good for without Substance? What is a well Bred Libertine but a well bred
+  Knave? One that can't prefer Conscience to Pleasure, without calling himself Fool: And will sell
+  his Friend, or his Father, if need be, for his Convenience.</p>
+
+  <p>In short: Nothing can be more disserviceable to Probity and Religion, than the management of
+  the <i>Stage</i>. It cherishes those Passions, and rewards those Vices, which 'tis the business of
+  Reason to discountenance. It strikes at the Root of Principle, draws off the Inclinations from
+  Virtue, and spoils good Education: 'Tis the most effectual means to baffle the Force of
+  Discipline, to emasculate peoples Spirits, and Debauch their Manners. How <i>many</i> of the
+  Unwary have these <i>Syrens</i> devour'd? And how often has the best Blood been tainted, with this
+  Infection? What Disappointment of Parents, what Confusion in Families, and What Beggery in Estates
+  have been hence occasion'd? And which is still worse, the Mischief spreads dayly, and the
+  Malignity grows more envenom'd. <span class="pagenum" id="page288">{288}</span>The Feavour works
+  up towards Madness; and will scarcely endure to be touch'd. And what hope is there of Health when
+  the <i>Patient</i> strikes in with the Disease, and flies in the Face of the <i>Remedy</i>? Can
+  Religion retrive us? Yes, when we don't despise it. But while our <i>Notions</i> are naught, our
+  <i>Lives</i> will hardly be otherwise. What can the Assistance of the Church signify to those who
+  are more ready to Rally the <i>Preacher</i>, than Practise the <i>Sermon</i>? To those who are
+  overgrown with Pleasure, and hardned in Ill Custom? Who have neither Patience to hear, nor
+  Conscience to take hold of? You may almost as well feed a Man without a Mouth, as give Advice
+  where there's no disposition to receive it. 'Tis true; as long as there is Life there's Hope.
+  Sometimes the Force of Argument, and the Grace of God, and the anguish of Affliction, may strike
+  through the Prejudice, and make their way into the Soul. But these circumstances don't always
+  meet, and then the Case is extreamly dangerous. For this miserable Temper, we may thank the
+  <i>Stage</i> in a great Measure: And therefore, if I mistake not, They have the least pretence to
+  Favour, and the most, need of Repentance, of all Men Living.</p>
+
+  <p class="sp4 ac"><span class="gsp"><i>THE END.</i></span></p>
+
+  <h1 class="ac handonly" style="margin-bottom:1.8ex;"><span class="larger">NOTES (In margin in the
+  Original).</span></h1>
+
+  <p class="sp0 handonly"><a id="side1"></a><a href="#ref1">[1]</a> <i>Reflect upon</i> Aristot.
+  &amp;c.<br/>
+  <br/>
+  <a id="side2"></a><a href="#ref2">[2]</a> <i>Eurip. Hippolit.</i><br/>
+  <br/>
+  <a id="side3"></a><a href="#ref3">[3]</a> <i>Hamlet.</i><br/>
+  <br/>
+  <a id="side4"></a><a href="#ref4">[4]</a> <i>Don Quixot.</i><br/>
+  <br/>
+  <a id="side5"></a><a href="#ref5">[5]</a> <i>Relapse.</i><br/>
+  <br/>
+  <a id="side6"></a><a href="#ref6">[6]</a> <i>Love for Love.</i><br/>
+  <br/>
+  <a id="side7"></a><a href="#ref7">[7]</a> <i>Mock Astrologer.</i><br/>
+  <br/>
+  <a id="side8"></a><a href="#ref8">[8]</a> <i>Old Batchelour.</i><br/>
+  <br/>
+  <a id="side9"></a><a href="#ref9">[9]</a> <i>Mock Astrologer. Country Wife. Cleomenes. Old
+  Batchelour.</i><br/>
+  <br/>
+  <a id="side10"></a><a href="#ref10">[10]</a> <i>Plaut.</i><br/>
+  <br/>
+  <a id="side11"></a><a href="#ref11">[11]</a> <i>Cistellar.</i><br/>
+  <br/>
+  <a id="side12"></a><a href="#ref12">[12]</a> <i>Terent. Eunuch.</i><br/>
+  <br/>
+  <a id="side13"></a><a href="#ref13">[13]</a> <i>Asinar.</i><br/>
+  <br/>
+  <a id="side14"></a><a href="#ref14">[14]</a> <i>Cistellar.</i><br/>
+  <br/>
+  <a id="side15"></a><a href="#ref15">[15]</a> <i>Bacchid.</i><br/>
+  <br/>
+  <a id="side16"></a><a href="#ref16">[16]</a> <i>Casin.</i><br/>
+  <br/>
+  <a id="side17"></a><a href="#ref17">[17]</a> <i>Mercat. Act. 3.</i><br/>
+  <br/>
+  <a id="side18"></a><a href="#ref18">[18]</a> <i>Persa.</i><br/>
+  <br/>
+  <a id="side19"></a><a href="#ref19">[19]</a> <i>Trucul.</i><br/>
+  <br/>
+  <a id="side20"></a><a href="#ref20">[20]</a> <i>Persa.</i><br/>
+  <br/>
+  <a id="side21"></a><a href="#ref21">[21]</a> <i>Trinum.</i><br/>
+  <br/>
+  <a id="side22"></a><a href="#ref22">[22]</a> <i>Act. 2. 1.</i><br/>
+  <br/>
+  <a id="side23"></a><a href="#ref23">[23]</a> <i>Act. 2. 2.</i><br/>
+  <br/>
+  <a id="side24"></a><a href="#ref24">[24]</a> <i>Casin.</i><br/>
+  <br/>
+  <a id="side25"></a><a href="#ref25">[25]</a> <i>Mil. Glor.</i><br/>
+  <br/>
+  <a id="side26"></a><a href="#ref26">[26]</a> <i>Pers.</i><br/>
+  <br/>
+  <a id="side27"></a><a href="#ref27">[27]</a> <i>Trucul.</i><br/>
+  <br/>
+  <a id="side28"></a><a href="#ref28">[28]</a> <i>Cistellear. A. 1.</i><br/>
+  <br/>
+  <a id="side29"></a><a href="#ref29">[29]</a> <i>Ibid. A. 2.</i><br/>
+  <br/>
+  <a id="side30"></a><a href="#ref30">[30]</a> <i>Heauton.</i><br/>
+  <br/>
+  <a id="side31"></a><a href="#ref31">[31]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side32"></a><a href="#ref32">[32]</a> <i>Love Triump.</i><br/>
+  <br/>
+  <a id="side33"></a><a href="#ref33">[33]</a> <i>Heauton. A. 5. 4.</i><br/>
+  <br/>
+  <a id="side34"></a><a href="#ref34">[34]</a> <i>Eunuch A. 5. 4. 5.</i> <i>Adelph. A. 2.
+  3.</i><br/>
+  <br/>
+  <a id="side35"></a><a href="#ref35">[35]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side36"></a><a href="#ref36">[36]</a> <i>Casaub. Annot. in Curcul. Plauti.</i><br/>
+  <br/>
+  <a id="side37"></a><a href="#ref37">[37]</a> <i>De A te Poet.</i><br/>
+  <br/>
+  <a id="side38"></a><a href="#ref38">[38]</a> <i>Var. apud. Nonium.</i><br/>
+  <br/>
+  <a id="side39"></a><a href="#ref39">[39]</a> <i>Corn. Nep.</i><br/>
+  <br/>
+  <a id="side40"></a><a href="#ref40">[40]</a> <i>Arist. Lib. 4. de Mor. cap. 14.</i><br/>
+  <br/>
+  <a id="side41"></a><a href="#ref41">[41]</a> <i>Vit. Eurip. ed Cantab. 1694.</i><br/>
+  <br/>
+  <a id="side42"></a><a href="#ref42">[42]</a> <i>Love for Love.</i> <i>Love Triump.
+  &amp;c.</i><br/>
+  <br/>
+  <a id="side43"></a><a href="#ref43">[43]</a> <i>p. 14. Ed. Scriv.</i><br/>
+  <br/>
+  <a id="side44"></a><a href="#ref44">[44]</a> <i>Hippol.</i><br/>
+  <br/>
+  <a id="side45"></a><a href="#ref45">[45]</a> <i>Aristoph. Ran.</i><br/>
+  <br/>
+  <a id="side46"></a><a href="#ref46">[46]</a> <span title="Cho�phor."
+  class="fsn">&Chi;&omicron;&eta;&phi;&omicron;&rho;.</span> <i>253, Ed. Steph.</i><br/>
+  <br/>
+  <a id="side47"></a><a href="#ref47">[47]</a> <i>Orest. 48. Ed. Cantab.</i><br/>
+  <br/>
+  <a id="side48"></a><a href="#ref48">[48]</a> <span title="Eumen."
+  class="fsn">&Epsilon;&upsilon;&mu;&epsilon;&nu;.</span> <i>305.</i><br/>
+  <br/>
+  <a id="side49"></a><a href="#ref49">[49]</a> <i>p. 79.</i><br/>
+  <br/>
+  <a id="side50"></a><a href="#ref50">[50]</a> <span title="Hiket."
+  class="fsn">&#x1F39;&kappa;&#x1F73;&tau;.</span> 340.<br/>
+  <br/>
+  <a id="side51"></a><a href="#ref51">[51]</a> <i>Don Sebast. p. 12.</i><br/>
+  <br/>
+  <a id="side52"></a><a href="#ref52">[52]</a> <i>Oedip. Tyran. Ed Steph.</i><br/>
+  <br/>
+  <a id="side53"></a><a href="#ref53">[53]</a> <i>Antig. 242. 244.</i><br/>
+  <br/>
+  <a id="side54"></a><a href="#ref54">[54]</a> <i>Ibid. 264.</i><br/>
+  <br/>
+  <a id="side55"></a><a href="#ref55">[55]</a> <i>Trach. 348.</i><br/>
+  <br/>
+  <a id="side56"></a><a href="#ref56">[56]</a> <span title="M�ria to M�ron"
+  class="fsn">&Mu;&omega;&rho;&#x1F77;&alpha; &tau;&#x1F78; &Mu;&#x1FF6;&rho;&omicron;&nu;</span>
+  <i>Ed. Cant. 241. 250. 252.</i><br/>
+  <br/>
+  <a id="side57"></a><a href="#ref57">[57]</a> <i>Ibid. 232. 233.</i><br/>
+  <br/>
+  <a id="side58"></a><a href="#ref58">[58]</a> <i>Androm. p. 303.</i><br/>
+  <br/>
+  <a id="side59"></a><a href="#ref59">[59]</a> <i>Iphig. in Aulid. p. 51.</i><br/>
+  <br/>
+  <a id="side60"></a><a href="#ref60">[60]</a> <i>Helen. 277, 278.</i><br/>
+  <br/>
+  <a id="side61"></a><a href="#ref61">[61]</a> <i>Mourning Bride. p. 36.</i><br/>
+  <br/>
+  <a id="side62"></a><a href="#ref62">[62]</a> <i>Spanish Fryar. Ep. Ded.</i><br/>
+  <br/>
+  <a id="side63"></a><a href="#ref63">[63]</a> <i>Troad. p. 146.</i><br/>
+  <br/>
+  <a id="side64"></a><a href="#ref64">[64]</a> <i>Plain Dealer. p. 21.</i><br/>
+  <br/>
+  <a id="side65"></a><a href="#ref65">[65]</a> <i>Provok'd Wife. p. 41.</i><br/>
+  <br/>
+  <a id="side66"></a><a href="#ref66">[66]</a> <i>Remarks upon Quixot.</i><br/>
+  <br/>
+  <a id="side67"></a><a href="#ref67">[67]</a> <i>Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel.</i><br/>
+  <br/>
+  <a id="side68"></a><a href="#ref68">[68]</a> <i>Sat. 14.</i><br/>
+  <br/>
+  <a id="side69"></a><a href="#ref69">[69]</a> <i>p. 106.</i><br/>
+  <br/>
+  <a id="side70"></a><a href="#ref70">[70]</a> <i>Nub. p. 110.</i><br/>
+  <br/>
+  <a id="side71"></a><a href="#ref71">[71]</a> <i>Act. 5. p. 176.</i><br/>
+  <br/>
+  <a id="side72"></a><a href="#ref72">[72]</a> <i>Plat. Apol. Socrat.</i><br/>
+  <br/>
+  <a id="side73"></a><a href="#ref73">[73]</a> <i>Nub. p. 86.</i><br/>
+  <br/>
+  <a id="side74"></a><a href="#ref74">[74]</a> <i>Plut. A. 1. Sc. 2.</i><br/>
+  <br/>
+  <a id="side75"></a><a href="#ref75">[75]</a> <i>Ran. p. 188.</i><br/>
+  <br/>
+  <a id="side76"></a><a href="#ref76">[76]</a> <i>536. 538. 546.</i><br/>
+  <br/>
+  <a id="side77"></a><a href="#ref77">[77]</a> <i>542.</i><br/>
+  <br/>
+  <a id="side78"></a><a href="#ref78">[78]</a> <i>582.</i><br/>
+  <br/>
+  <a id="side79"></a><a href="#ref79">[79]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side80"></a><a href="#ref80">[80]</a> <i>602.</i><br/>
+  <br/>
+  <a id="side81"></a><a href="#ref81">[81]</a> <i>Eiren.</i> 616.<br/>
+  <br/>
+  <a id="side82"></a><a href="#ref82">[82]</a> <i>p. 142.</i> <i>p. 200.</i><br/>
+  <br/>
+  <a id="side83"></a><a href="#ref83">[83]</a> <i>242.</i><br/>
+  <br/>
+  <a id="side84"></a><a href="#ref84">[84]</a> <i>p. 244.</i><br/>
+  <br/>
+  <a id="side85"></a><a href="#ref85">[85]</a> <i>p.</i> [......] <i>p.</i> [......]<br/>
+  <br/>
+  <a id="side86"></a><a href="#ref86">[86]</a> <i>Ran�</i> <i>p. 186.</i> <i>p. 182.</i><br/>
+  <br/>
+  <a id="side87"></a><a href="#ref87">[87]</a> <i>p. 192, 194, 196.</i><br/>
+  <br/>
+  <a id="side88"></a><a href="#ref88">[88]</a> <i>Act 2. Sc. 6.</i><br/>
+  <br/>
+  <a id="side89"></a><a href="#ref89">[89]</a> <i>Ran� p. 242.</i><br/>
+  <br/>
+  <a id="side90"></a><a href="#ref90">[90]</a> <i>Ran� A. 1. Sc. 1. Concionat.</i><br/>
+  <br/>
+  <a id="side91"></a><a href="#ref91">[91]</a> <i>Ran� p. 238.</i><br/>
+  <br/>
+  <a id="side92"></a><a href="#ref92">[92]</a> <i>p. 240.</i><br/>
+  <br/>
+  <a id="side93"></a><a href="#ref93">[93]</a> <i>p. 242. 244.</i><br/>
+  <br/>
+  <a id="side94"></a><a href="#ref94">[94]</a> 255. 267.<br/>
+  <br/>
+  <a id="side95"></a><a href="#ref95">[95]</a> <i>Discov. p. 700.</i><br/>
+  <br/>
+  <a id="side96"></a><a href="#ref96">[96]</a> <i>p. 701.</i><br/>
+  <br/>
+  <a id="side97"></a><a href="#ref97">[97]</a> <i>p. 706. 717.</i><br/>
+  <br/>
+  <a id="side98"></a><a href="#ref98">[98]</a> <i>Beauments</i>, &amp;c. <i>Works</i>.<br/>
+  <br/>
+  <a id="side99"></a><a href="#ref99">[99]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side100"></a><a href="#ref100">[100]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side101"></a><a href="#ref101">[101]</a> <i>Theodore. Ed. Roven. Ep. Ded.</i><br/>
+  <br/>
+  <a id="side102"></a><a href="#ref102">[102]</a> <i>Gad for God.</i><br/>
+  <br/>
+  <a id="side103"></a><a href="#ref103">[103]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side104"></a><a href="#ref104">[104]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side105"></a><a href="#ref105">[105]</a> <i>p. 24.</i><br/>
+  <br/>
+  <a id="side106"></a><a href="#ref106">[106]</a> <i>Hebr. 12.</i><br/>
+  <br/>
+  <a id="side107"></a><a href="#ref107">[107]</a> <i>34. 36.</i><br/>
+  <br/>
+  <a id="side108"></a><a href="#ref108">[108]</a> <i>55.</i><br/>
+  <br/>
+  <a id="side109"></a><a href="#ref109">[109]</a> <i>59.</i><br/>
+  <br/>
+  <a id="side110"></a><a href="#ref110">[110]</a> <i>Orph. p. 20.</i><br/>
+  <br/>
+  <a id="side111"></a><a href="#ref111">[111]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side112"></a><a href="#ref112">[112]</a> <i>Lactan.</i><br/>
+  <br/>
+  <a id="side113"></a><a href="#ref113">[113]</a> <i>p. 19.</i><br/>
+  <br/>
+  <a id="side114"></a><a href="#ref114">[114]</a> <i>p. 28.</i><br/>
+  <br/>
+  <a id="side115"></a><a href="#ref115">[115]</a> <i>p. 31.</i><br/>
+  <br/>
+  <a id="side116"></a><a href="#ref116">[116]</a> <i>38.</i><br/>
+  <br/>
+  <a id="side117"></a><a href="#ref117">[117]</a> <i>p. 39.</i><br/>
+  <br/>
+  <a id="side118"></a><a href="#ref118">[118]</a> <i>p. 39.</i><br/>
+  <br/>
+  <a id="side119"></a><a href="#ref119">[119]</a> <i>Id. 49.</i><br/>
+  <br/>
+  <a id="side120"></a><a href="#ref120">[120]</a> <i>Double Dealer. 34.</i><br/>
+  <br/>
+  <a id="side121"></a><a href="#ref121">[121]</a> <i>36.</i><br/>
+  <br/>
+  <a id="side122"></a><a href="#ref122">[122]</a> <i>55.</i><br/>
+  <br/>
+  <a id="side123"></a><a href="#ref123">[123]</a> <i>p. 40.</i><br/>
+  <br/>
+  <a id="side124"></a><a href="#ref124">[124]</a> <i>Sebast. p. 9.</i><br/>
+  <br/>
+  <a id="side125"></a><a href="#ref125">[125]</a> <i>Id. p. 10.</i><br/>
+  <br/>
+  <a id="side126"></a><a href="#ref126">[126]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side127"></a><a href="#ref127">[127]</a> <i>Id. p. 83.</i>  <i>Exod. 12, 13.</i><br/>
+  <br/>
+  <a id="side128"></a><a href="#ref128">[128]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side129"></a><a href="#ref129">[129]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side130"></a><a href="#ref130">[130]</a> <i>Ded. p. 51.</i><br/>
+  <br/>
+  <a id="side131"></a><a href="#ref131">[131]</a> <i>Love Triumph. p. 3.</i><br/>
+  <br/>
+  <a id="side132"></a><a href="#ref132">[132]</a> <i>Id. p. 11.</i><br/>
+  <br/>
+  <a id="side133"></a><a href="#ref133">[133]</a> <i>Id. p. 11.</i><br/>
+  <br/>
+  <a id="side134"></a><a href="#ref134">[134]</a> <i>p. 34.</i><br/>
+  <br/>
+  <a id="side135"></a><a href="#ref135">[135]</a> <i>58.</i><br/>
+  <br/>
+  <a id="side136"></a><a href="#ref136">[136]</a> <i>p. 62.</i><br/>
+  <br/>
+  <a id="side137"></a><a href="#ref137">[137]</a> <i>1st. Eliz. cap. 2.</i><br/>
+  <br/>
+  <a id="side138"></a><a href="#ref138">[138]</a> <i>p. 63.</i><br/>
+  <br/>
+  <a id="side139"></a><a href="#ref139">[139]</a> <i>p. 72.</i><br/>
+  <br/>
+  <a id="side140"></a><a href="#ref140">[140]</a> <i>Love for Love. p. 42.</i><br/>
+  <br/>
+  <a id="side141"></a><a href="#ref141">[141]</a> <i>26.</i><br/>
+  <br/>
+  <a id="side142"></a><a href="#ref142">[142]</a> <i>p. 27.</i><br/>
+  <br/>
+  <a id="side143"></a><a href="#ref143">[143]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side144"></a><a href="#ref144">[144]</a> <i>Vid. Person. Dram.</i><br/>
+  <br/>
+  <a id="side145"></a><a href="#ref145">[145]</a> <i>p. 80.</i><br/>
+  <br/>
+  <a id="side146"></a><a href="#ref146">[146]</a> <i>p. 91.</i><br/>
+  <br/>
+  <a id="side147"></a><a href="#ref147">[147]</a> <i>p. 92.</i><br/>
+  <br/>
+  <a id="side148"></a><a href="#ref148">[148]</a> <i>Prov. Wife p. 38.</i><br/>
+  <br/>
+  <a id="side149"></a><a href="#ref149">[149]</a> <i>Id. p. 77.</i><br/>
+  <br/>
+  <a id="side150"></a><a href="#ref150">[150]</a> <i>Relapse. p. 32, 33.</i><br/>
+  <br/>
+  <a id="side151"></a><a href="#ref151">[151]</a> <i>p. 44, 45.</i><br/>
+  <br/>
+  <a id="side152"></a><a href="#ref152">[152]</a> <i>Vid. Infra.</i><br/>
+  <br/>
+  <a id="side153"></a><a href="#ref153">[153]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side154"></a><a href="#ref154">[154]</a> <i>p. 96, 97.</i><br/>
+  <br/>
+  <a id="side155"></a><a href="#ref155">[155]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side156"></a><a href="#ref156">[156]</a> <i>p.91.</i><br/>
+  <br/>
+  <a id="side157"></a><a href="#ref157">[157]</a> <i>Don. Sebastian. p. 51.</i><br/>
+  <br/>
+  <a id="side158"></a><a href="#ref158">[158]</a> <i>Double Dealer. p. 19.</i><br/>
+  <br/>
+  <a id="side159"></a><a href="#ref159">[159]</a> <i>p. 17.</i><br/>
+  <br/>
+  <a id="side160"></a><a href="#ref160">[160]</a> <i>p. 44.</i><br/>
+  <br/>
+  <a id="side161"></a><a href="#ref161">[161]</a> <i>Double Dealer. p. 18.</i><br/>
+  <br/>
+  <a id="side162"></a><a href="#ref162">[162]</a> <i>Gen. 2. St. Math. 9.</i><br/>
+  <br/>
+  <a id="side163"></a><a href="#ref163">[163]</a> <i>Love, &amp;c. p. 59, 61.</i><br/>
+  <br/>
+  <a id="side164"></a><a href="#ref164">[164]</a> <i>Provok'd Wife. p. 3.</i><br/>
+  <br/>
+  <a id="side165"></a><a href="#ref165">[165]</a> <i>p. 4.</i><br/>
+  <br/>
+  <a id="side166"></a><a href="#ref166">[166]</a> <i>p. 65.</i><br/>
+  <br/>
+  <a id="side167"></a><a href="#ref167">[167]</a> <i>Relapse. p. 19.</i><br/>
+  <br/>
+  <a id="side168"></a><a href="#ref168">[168]</a> <i>p. 96.</i><br/>
+  <br/>
+  <a id="side169"></a><a href="#ref169">[169]</a> <i>Eccles. 8. 11.</i><br/>
+  <br/>
+  <a id="side170"></a><a href="#ref170">[170]</a> <i>Gal. 6.</i><br/>
+  <br/>
+  <a id="side171"></a><a href="#ref171">[171]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side172"></a><a href="#ref172">[172]</a> <i>Heauton. A. 5. 1.</i><br/>
+  <br/>
+  <a id="side173"></a><a href="#ref173">[173]</a> <i>Adelp. A. 5. 7.</i><br/>
+  <br/>
+  <a id="side174"></a><a href="#ref174">[174]</a> <i>Lyconides. Aulular. A. 2. 4.  Pal�stra. Rud. A.
+  1. 3.  Dinarchus. Trucul. A. 2. 4.</i><br/>
+  <br/>
+  <a id="side175"></a><a href="#ref175">[175]</a> <i>Mil. Glor.</i><br/>
+  <br/>
+  <a id="side176"></a><a href="#ref176">[176]</a> <i>Pseud. A. 1. 3.</i><br/>
+  <br/>
+  <a id="side177"></a><a href="#ref177">[177]</a> <i>Prom. vinct. 57.</i><br/>
+  <br/>
+  <a id="side178"></a><a href="#ref178">[178]</a> <i>p. 92.</i><br/>
+  <br/>
+  <a id="side179"></a><a href="#ref179">[179]</a> <i>p. 101.</i><br/>
+  <br/>
+  <a id="side180"></a><a href="#ref180">[180]</a> <span title="Pers."
+  class="fsn">&Pi;&epsilon;&rho;&sigma;.</span> <i>161.</i><br/>
+  <br/>
+  <a id="side181"></a><a href="#ref181">[181]</a> <i>164.</i><br/>
+  <br/>
+  <a id="side182"></a><a href="#ref182">[182]</a> <i>Ajax. Flagell.</i><br/>
+  <br/>
+  <a id="side183"></a><a href="#ref183">[183]</a> <i>Oedip. Tyran. p. 187.</i><br/>
+  <br/>
+  <a id="side184"></a><a href="#ref184">[184]</a> <i>p. 188.</i><br/>
+  <br/>
+  <a id="side185"></a><a href="#ref185">[185]</a> <i>Antig. p. 256.</i><br/>
+  <br/>
+  <a id="side186"></a><a href="#ref186">[186]</a> <i>Trach. p. [......].</i><br/>
+  <br/>
+  <a id="side187"></a><a href="#ref187">[187]</a> <i>Trach. p. 375.</i><br/>
+  <br/>
+  <a id="side188"></a><a href="#ref188">[188]</a> <i>Trach. p. 340.</i><br/>
+  <br/>
+  <a id="side189"></a><a href="#ref189">[189]</a> <i>Cleom. p. 54.</i><br/>
+  <br/>
+  <a id="side190"></a><a href="#ref190">[190]</a> <i>Id. p. 55.</i><br/>
+  <br/>
+  <a id="side191"></a><a href="#ref191">[191]</a> <i>p. 54.</i><br/>
+  <br/>
+  <a id="side192"></a><a href="#ref192">[192]</a> <i>De Art. Poet.</i><br/>
+  <br/>
+  <a id="side193"></a><a href="#ref193">[193]</a> <i>Philoct. 402.</i><br/>
+  <br/>
+  <a id="side194"></a><a href="#ref194">[194]</a> <i>419.</i><br/>
+  <br/>
+  <a id="side195"></a><a href="#ref195">[195]</a> <i>p. 431.</i><br/>
+  <br/>
+  <a id="side196"></a><a href="#ref196">[196]</a> <i>Act. 2.</i><br/>
+  <br/>
+  <a id="side197"></a><a href="#ref197">[197]</a> <i>p. 295.</i><br/>
+  <br/>
+  <a id="side198"></a><a href="#ref198">[198]</a> <i>Agam. Act. 3.</i><br/>
+  <br/>
+  <a id="side199"></a><a href="#ref199">[199]</a> <i>20.</i><br/>
+  <br/>
+  <a id="side200"></a><a href="#ref200">[200]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side201"></a><a href="#ref201">[201]</a> <i>p. 23.</i><br/>
+  <br/>
+  <a id="side202"></a><a href="#ref202">[202]</a> <i>Country Wife p. 6.</i><br/>
+  <br/>
+  <a id="side203"></a><a href="#ref203">[203]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side204"></a><a href="#ref204">[204]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side205"></a><a href="#ref205">[205]</a> <i>p. 25.</i><br/>
+  <br/>
+  <a id="side206"></a><a href="#ref206">[206]</a> <i>p. 26.</i><br/>
+  <br/>
+  <a id="side207"></a><a href="#ref207">[207]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side208"></a><a href="#ref208">[208]</a> <i>Old Batch. p. 19, 20.</i><br/>
+  <br/>
+  <a id="side209"></a><a href="#ref209">[209]</a> <i>p. 27.</i><br/>
+  <br/>
+  <a id="side210"></a><a href="#ref210">[210]</a> <i>p. 41.</i><br/>
+  <br/>
+  <a id="side211"></a><a href="#ref211">[211]</a> <i>p. 71.</i><br/>
+  <br/>
+  <a id="side212"></a><a href="#ref212">[212]</a> <i>Absal. and Achi.</i><br/>
+  <br/>
+  <a id="side213"></a><a href="#ref213">[213]</a> p. 24.<br/>
+  <br/>
+  <a id="side214"></a><a href="#ref214">[214]</a> <i>p. 96.</i><br/>
+  <br/>
+  <a id="side215"></a><a href="#ref215">[215]</a> <i>p. 32.</i><br/>
+  <br/>
+  <a id="side216"></a><a href="#ref216">[216]</a> <i>Oedip. p. 38.</i><br/>
+  <br/>
+  <a id="side217"></a><a href="#ref217">[217]</a> <i>p. 43.</i><br/>
+  <br/>
+  <a id="side218"></a><a href="#ref218">[218]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side219"></a><a href="#ref219">[219]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side220"></a><a href="#ref220">[220]</a> <i>Provok'd Wife. p. 45, 46, 52, 52.</i><br/>
+  <br/>
+  <a id="side221"></a><a href="#ref221">[221]</a> <i>Relapse. p. 74.</i><br/>
+  <br/>
+  <a id="side222"></a><a href="#ref222">[222]</a> <i>p. 75.</i><br/>
+  <br/>
+  <a id="side223"></a><a href="#ref223">[223]</a> <i>p. 86.</i><br/>
+  <br/>
+  <a id="side224"></a><a href="#ref224">[224]</a> <i>p. 97.</i><br/>
+  <br/>
+  <a id="side225"></a><a href="#ref225">[225]</a> <i>89.</i><br/>
+  <br/>
+  <a id="side226"></a><a href="#ref226">[226]</a> <i>p. 94.</i><br/>
+  <br/>
+  <a id="side227"></a><a href="#ref227">[227]</a> <i>p. 95, 97, 105.</i><br/>
+  <br/>
+  <a id="side228"></a><a href="#ref228">[228]</a> Hom. <i>Il. <span title="a"
+  class="fsn">&alpha;</span>. p. 3. &amp; dein. Ed. Screvel.</i><br/>
+  <br/>
+  <a id="side229"></a><a href="#ref229">[229]</a> <i>Il. B. p. 91.</i><br/>
+  <br/>
+  <a id="side230"></a><a href="#ref230">[230]</a> <i>Ibid. p. 92.</i><br/>
+  <br/>
+  <a id="side231"></a><a href="#ref231">[231]</a> <i>Il. E. p. 154, 155.</i><br/>
+  <br/>
+  <a id="side232"></a><a href="#ref232">[232]</a> <i>Il. E. p. 154, 155.</i><br/>
+  <br/>
+  <a id="side233"></a><a href="#ref233">[233]</a> <i>Ibid. p. 158.</i><br/>
+  <br/>
+  <a id="side234"></a><a href="#ref234">[234]</a> <i>Odyss. I p. 174, 181.</i><br/>
+  <br/>
+  <a id="side235"></a><a href="#ref235">[235]</a> <i>�nid. 2.</i><br/>
+  <br/>
+  <a id="side236"></a><a href="#ref236">[236]</a> <i>Ruaus. in Loc.</i><br/>
+  <br/>
+  <a id="side237"></a><a href="#ref237">[237]</a> <i>�neid 2.</i><br/>
+  <br/>
+  <a id="side238"></a><a href="#ref238">[238]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side239"></a><a href="#ref239">[239]</a> <i>�neid. 3.</i><br/>
+  <br/>
+  <a id="side240"></a><a href="#ref240">[240]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side241"></a><a href="#ref241">[241]</a> <i>�nead. 1st.</i><br/>
+  <br/>
+  <a id="side242"></a><a href="#ref242">[242]</a> <i>�n. 6.</i><br/>
+  <br/>
+  <a id="side243"></a><a href="#ref243">[243]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side244"></a><a href="#ref244">[244]</a> <i>�neid. 7.</i><br/>
+  <br/>
+  <a id="side245"></a><a href="#ref245">[245]</a> <i>Lib. 1.</i><br/>
+  <br/>
+  <a id="side246"></a><a href="#ref246">[246]</a> <i>�neid. 10.</i><br/>
+  <br/>
+  <a id="side247"></a><a href="#ref247">[247]</a> <i>�neid. 11.</i><br/>
+  <br/>
+  <a id="side248"></a><a href="#ref248">[248]</a> <i>�neid. 9. 10. 11.</i><br/>
+  <br/>
+  <a id="side249"></a><a href="#ref249">[249]</a> <i>Guther. de jure veter. pontif.</i><br/>
+  <br/>
+  <a id="side250"></a><a href="#ref250">[250]</a> <i>Oedip. Tyr. p. 148.</i><br/>
+  <br/>
+  <a id="side251"></a><a href="#ref251">[251]</a> <i>Ibid. 169.</i><br/>
+  <br/>
+  <a id="side252"></a><a href="#ref252">[252]</a> <i>p. 38.</i><br/>
+  <br/>
+  <a id="side253"></a><a href="#ref253">[253]</a> <i>Antig. p. 250, 258.</i><br/>
+  <br/>
+  <a id="side254"></a><a href="#ref254">[254]</a> <i>Eurip. Ph&#x0153;niss. p. 158, 159.</i><br/>
+  <br/>
+  <a id="side255"></a><a href="#ref255">[255]</a> <i>Bacch. Act. 1. Act. 4.</i><br/>
+  <br/>
+  <a id="side256"></a><a href="#ref256">[256]</a> <i>Jon. Act 5.</i><br/>
+  <br/>
+  <a id="side257"></a><a href="#ref257">[257]</a> <i>Iphig. in Aulid. &amp; in Taur.</i><br/>
+  <br/>
+  <a id="side258"></a><a href="#ref258">[258]</a> <i>Oedip.</i><br/>
+  <br/>
+  <a id="side259"></a><a href="#ref259">[259]</a> <i>Troad. A. 2. p. 193.</i><br/>
+  <br/>
+  <a id="side260"></a><a href="#ref260">[260]</a> <i>Plut. Ran. Aves.</i><br/>
+  <br/>
+  <a id="side261"></a><a href="#ref261">[261]</a> <i>Bacchid. Act. 2. 5. 3.</i><br/>
+  <br/>
+  <a id="side262"></a><a href="#ref262">[262]</a> <i>Rud. A. 1. 5. A. 2. 3.</i><br/>
+  <br/>
+  <a id="side263"></a><a href="#ref263">[263]</a> <i>Act [......]</i><br/>
+  <br/>
+  <a id="side264"></a><a href="#ref264">[264]</a> <i>Rud. A. 4. S. 7.</i><br/>
+  <br/>
+  <a id="side265"></a><a href="#ref265">[265]</a> <i>Measure for Measure.</i> <i>Much a do about
+  Nothing.</i> <i>Twelf-Night.</i> <i>Henry 4th pt. 1st.</i> <i>Hen. 6. pt. 3d.</i> <i>Romeo and
+  Juliet.</i> * <i>Merry Wives of Windsor.</i><br/>
+  <br/>
+  <a id="side266"></a><a href="#ref266">[266]</a> <i>Essay of Dramat. &amp;c.</i><br/>
+  <br/>
+  <a id="side267"></a><a href="#ref267">[267]</a> <i>De Bell. Judaic.</i><br/>
+  <br/>
+  <a id="side268"></a><a href="#ref268">[268]</a> <i>Deut. 17. 9. 20. 2. Chron. 19. 8.</i><br/>
+  <br/>
+  <a id="side269"></a><a href="#ref269">[269]</a> <i>Math. 27. Act. 4.  Vid. seldon de
+  Synedr.</i><br/>
+  <br/>
+  <a id="side270"></a><a href="#ref270">[270]</a> <i>Joseph.</i><br/>
+  <br/>
+  <a id="side271"></a><a href="#ref271">[271]</a> <i>Diod. Sic.</i><br/>
+  <br/>
+  <a id="side272"></a><a href="#ref272">[272]</a> <i>Gen. 41.</i><br/>
+  <br/>
+  <a id="side273"></a><a href="#ref273">[273]</a> <i>Porph. de Abstin. Lib. 4. C�sar de Bell. Gall.
+  Lib. 6</i><br/>
+  <br/>
+  <a id="side274"></a><a href="#ref274">[274]</a> <i>Lib. 6.</i><br/>
+  <br/>
+  <a id="side275"></a><a href="#ref275">[275]</a> <i>Ser. in Controv.</i><br/>
+  <br/>
+  <a id="side276"></a><a href="#ref276">[276]</a> <i>Dion. Halic.</i><br/>
+  <br/>
+  <a id="side277"></a><a href="#ref277">[277]</a> <i>Pro Dom. ad Pontif.</i><br/>
+  <br/>
+  <a id="side278"></a><a href="#ref278">[278]</a> <i>Hebr. 7.</i><br/>
+  <br/>
+  <a id="side279"></a><a href="#ref279">[279]</a> <i>Davila Filmers Freeholders Grand Inq.</i><br/>
+  <br/>
+  <a id="side280"></a><a href="#ref280">[280]</a> <i>Mir�us De Statu Relig. Christ.</i><br/>
+  <br/>
+  <a id="side281"></a><a href="#ref281">[281]</a> <i>Fletchers Embassy.</i><br/>
+  <br/>
+  <a id="side282"></a><a href="#ref282">[282]</a> <i>Puffendorf Introduction � l'Histoire.</i><br/>
+  <br/>
+  <a id="side283"></a><a href="#ref283">[283]</a> <i>Heylins Cosgmog.</i><br/>
+  <br/>
+  <a id="side284"></a><a href="#ref284">[284]</a> <i>2, Hen. 8. cap.  22.</i> <i>26, Hen. 8 cap
+  2.</i> <i>1. Edw. 6. cap. 12, &amp;c. Preamb.</i><br/>
+  <br/>
+  <a id="side285"></a><a href="#ref285">[285]</a> <i>S. Luke 12.</i><br/>
+  <br/>
+  <a id="side286"></a><a href="#ref286">[286]</a> <i>Moral Essays.</i><br/>
+  <br/>
+  <a id="side287"></a><a href="#ref287">[287]</a> <i>Mock Astrol. p. 3, &amp;c.</i><br/>
+  <br/>
+  <a id="side288"></a><a href="#ref288">[288]</a> <i>Mock Astrol. p. 57, 59.</i><br/>
+  <br/>
+  <a id="side289"></a><a href="#ref289">[289]</a> <i>Spanish Fryar. p. 61.</i><br/>
+  <br/>
+  <a id="side290"></a><a href="#ref290">[290]</a> <i>Country Wife. p. 25.</i><br/>
+  <br/>
+  <a id="side291"></a><a href="#ref291">[291]</a> <i>Old Batch.</i><br/>
+  <br/>
+  <a id="side292"></a><a href="#ref292">[292]</a> <i>Double Dealer. p. 34.</i><br/>
+  <br/>
+  <a id="side293"></a><a href="#ref293">[293]</a> <i>Love for Love p. 90.</i><br/>
+  <br/>
+  <a id="side294"></a><a href="#ref294">[294]</a> <i>Love for Love. p. 6, 7. 25. 61. 89.
+  91.</i><br/>
+  <br/>
+  <a id="side295"></a><a href="#ref295">[295]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side296"></a><a href="#ref296">[296]</a> <i>Don Sebast.</i><br/>
+  <br/>
+  <a id="side297"></a><a href="#ref297">[297]</a> <i>Love for Love. p. 20.</i><br/>
+  <br/>
+  <a id="side298"></a><a href="#ref298">[298]</a> <i>Provok'd Wife. p. 64.</i><br/>
+  <br/>
+  <a id="side299"></a><a href="#ref299">[299]</a> <i>Chap. 1. &amp; 2.</i><br/>
+  <br/>
+  <a id="side300"></a><a href="#ref300">[300]</a> <i>Mostel. A. 1. 2.</i> <i>Trinum. A. 2. 1. A. 2.
+  2.</i> <i>Enuch. A. 3. 3.</i> <i>Hecyr. A. 3. 4.</i><br/>
+  <br/>
+  <a id="side301"></a><a href="#ref301">[301]</a> <i>Trinum. A. 2. 1.</i><br/>
+  <br/>
+  <a id="side302"></a><a href="#ref302">[302]</a> <i>A. 2. 2.</i><br/>
+  <br/>
+  <a id="side303"></a><a href="#ref303">[303]</a> <i>Enuch. A. 3. 3.</i><br/>
+  <br/>
+  <a id="side304"></a><a href="#ref304">[304]</a> <i>Hecyr. A. 3. 4.</i><br/>
+  <br/>
+  <a id="side305"></a><a href="#ref305">[305]</a> <i>Stich A. 1. 1.</i><br/>
+  <br/>
+  <a id="side306"></a><a href="#ref306">[306]</a> <i>p. 3.</i><br/>
+  <br/>
+  <a id="side307"></a><a href="#ref307">[307]</a> <i>Stich. A. 1. 2.</i><br/>
+  <br/>
+  <a id="side308"></a><a href="#ref308">[308]</a> <i>p. 60.</i><br/>
+  <br/>
+  <a id="side309"></a><a href="#ref309">[309]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side310"></a><a href="#ref310">[310]</a> <i>De Art. Poet.</i><br/>
+  <br/>
+  <a id="side311"></a><a href="#ref311">[311]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side312"></a><a href="#ref312">[312]</a> <i>[......] Schol.</i><br/>
+  <br/>
+  <a id="side313"></a><a href="#ref313">[313]</a> <i>Libr. de Poet. cap. 5.</i><br/>
+  <br/>
+  <a id="side314"></a><a href="#ref314">[314]</a> <i>Psyche.</i><br/>
+  <br/>
+  <a id="side315"></a><a href="#ref315">[315]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side316"></a><a href="#ref316">[316]</a> <i>Pref. Mock. Astrol.</i><br/>
+  <br/>
+  <a id="side317"></a><a href="#ref317">[317]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side318"></a><a href="#ref318">[318]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side319"></a><a href="#ref319">[319]</a> <i>Essay of Dramatick Poetry. p. 28.</i><br/>
+  <br/>
+  <a id="side320"></a><a href="#ref320">[320]</a> <i>The London Prodigall.</i><br/>
+  <br/>
+  <a id="side321"></a><a href="#ref321">[321]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side322"></a><a href="#ref322">[322]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side323"></a><a href="#ref323">[323]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side324"></a><a href="#ref324">[324]</a> <i>Rapin Reflect. &amp;c. p. 10.</i><br/>
+  <br/>
+  <a id="side325"></a><a href="#ref325">[325]</a> <i>Libr. 4. de Morib. cap. 14.</i><br/>
+  <br/>
+  <a id="side326"></a><a href="#ref326">[326]</a> <i>De Mor. Lib. 10, cap. 2.</i><br/>
+  <br/>
+  <a id="side327"></a><a href="#ref327">[327]</a> <i>Institut. Lib. 6; c. 3.</i><br/>
+  <br/>
+  <a id="side328"></a><a href="#ref328">[328]</a> <i>p. 32.</i><br/>
+  <br/>
+  <a id="side329"></a><a href="#ref329">[329]</a> <i>p. 52.</i><br/>
+  <br/>
+  <a id="side330"></a><a href="#ref330">[330]</a> <i>Spanish Fryar. p. 36.</i><br/>
+  <br/>
+  <a id="side331"></a><a href="#ref331">[331]</a> <i>p. 70.</i><br/>
+  <br/>
+  <a id="side332"></a><a href="#ref332">[332]</a> <i>p. 61.</i><br/>
+  <br/>
+  <a id="side333"></a><a href="#ref333">[333]</a> <i>Enuch.</i><br/>
+  <br/>
+  <a id="side334"></a><a href="#ref334">[334]</a> <i>King Arth. p. 2.</i><br/>
+  <br/>
+  <a id="side335"></a><a href="#ref335">[335]</a> <i>Love Trium. p. 26.</i><br/>
+  <br/>
+  <a id="side336"></a><a href="#ref336">[336]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side337"></a><a href="#ref337">[337]</a> <i>Oedip. p. 3.</i><br/>
+  <br/>
+  <a id="side338"></a><a href="#ref338">[338]</a> <i>Old Batch. p. 41.</i><br/>
+  <br/>
+  <a id="side339"></a><a href="#ref339">[339]</a> <i>p. 35.</i><br/>
+  <br/>
+  <a id="side340"></a><a href="#ref340">[340]</a> <i>p. 22.</i><br/>
+  <br/>
+  <a id="side341"></a><a href="#ref341">[341]</a> <i>Don. Sebast. p. 5.</i><br/>
+  <br/>
+  <a id="side342"></a><a href="#ref342">[342]</a> <i>Double Dealer. Person. Dram.</i>
+  <i>Relapse.</i> <i>Provok'd Wife.</i> <i>p. 4. p. 2.</i><br/>
+  <br/>
+  <a id="side343"></a><a href="#ref343">[343]</a> <i>Relapse.</i><br/>
+  <br/>
+  <a id="side344"></a><a href="#ref344">[344]</a> <i>p. 4.</i><br/>
+  <br/>
+  <a id="side345"></a><a href="#ref345">[345]</a> <i>p. 2.</i><br/>
+  <br/>
+  <a id="side346"></a><a href="#ref346">[346]</a> <i>Don Sebast. p. 16.</i><br/>
+  <br/>
+  <a id="side347"></a><a href="#ref347">[347]</a> <i>p. 17.</i><br/>
+  <br/>
+  <a id="side348"></a><a href="#ref348">[348]</a> <i>Don. Quix. part. 2. p. 37.</i><br/>
+  <br/>
+  <a id="side349"></a><a href="#ref349">[349]</a> <i>Relapse. p. 84.</i><br/>
+  <br/>
+  <a id="side350"></a><a href="#ref350">[350]</a> <i>p. 24.</i><br/>
+  <br/>
+  <a id="side351"></a><a href="#ref351">[351]</a> <i>L'Ombre de Moliere</i><br/>
+  <br/>
+  <a id="side352"></a><a href="#ref352">[352]</a> <i>Essay Dram. poet. p. 5.</i><br/>
+  <br/>
+  <a id="side353"></a><a href="#ref353">[353]</a> <i>Amphit. p. 1, 2, 3, 8, 9.</i><br/>
+  <br/>
+  <a id="side354"></a><a href="#ref354">[354]</a> <i>p. 8. 17.</i><br/>
+  <br/>
+  <a id="side355"></a><a href="#ref355">[355]</a> <i>p. 18.</i><br/>
+  <br/>
+  <a id="side356"></a><a href="#ref356">[356]</a> <i>19.</i><br/>
+  <br/>
+  <a id="side357"></a><a href="#ref357">[357]</a> <i>Eunuch.</i><br/>
+  <br/>
+  <a id="side358"></a><a href="#ref358">[358]</a> <i>Euseb. pr�par. Evang.</i><br/>
+  <br/>
+  <a id="side359"></a><a href="#ref359">[359]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side360"></a><a href="#ref360">[360]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side361"></a><a href="#ref361">[361]</a> <i>p. 3, 16, etc.</i><br/>
+  <br/>
+  <a id="side362"></a><a href="#ref362">[362]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side363"></a><a href="#ref363">[363]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side364"></a><a href="#ref364">[364]</a> <i>p. 1.</i><br/>
+  <br/>
+  <a id="side365"></a><a href="#ref365">[365]</a> <i>19.</i><br/>
+  <br/>
+  <a id="side366"></a><a href="#ref366">[366]</a> <i>Troil. and Cressid.</i><br/>
+  <br/>
+  <a id="side367"></a><a href="#ref367">[367]</a> <i>The Hist. of Sr. John Old Castle.</i><br/>
+  <br/>
+  <a id="side368"></a><a href="#ref368">[368]</a> <i>King Arthur.</i><br/>
+  <br/>
+  <a id="side369"></a><a href="#ref369">[369]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side370"></a><a href="#ref370">[370]</a> <i>p. 6.</i><br/>
+  <br/>
+  <a id="side371"></a><a href="#ref371">[371]</a> <i>Ep. Ded. Don Sebast.</i><br/>
+  <br/>
+  <a id="side372"></a><a href="#ref372">[372]</a> <i>Ded. King Arthur.</i><br/>
+  <br/>
+  <a id="side373"></a><a href="#ref373">[373]</a> <i>Sebast. K. Arth.</i><br/>
+  <br/>
+  <a id="side374"></a><a href="#ref374">[374]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side375"></a><a href="#ref375">[375]</a> <i>Part 1st. p. 20.</i><br/>
+  <br/>
+  <a id="side376"></a><a href="#ref376">[376]</a> <i>p. 20.</i><br/>
+  <br/>
+  <a id="side377"></a><a href="#ref377">[377]</a> <i>p. 37.</i><br/>
+  <br/>
+  <a id="side378"></a><a href="#ref378">[378]</a> <i>p. 13.</i><br/>
+  <br/>
+  <a id="side379"></a><a href="#ref379">[379]</a> <i>Part. 1. p. 13.</i><br/>
+  <br/>
+  <a id="side380"></a><a href="#ref380">[380]</a> <i>Person. Dram.</i><br/>
+  <br/>
+  <a id="side381"></a><a href="#ref381">[381]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side382"></a><a href="#ref382">[382]</a> <i>p. 3.</i><br/>
+  <br/>
+  <a id="side383"></a><a href="#ref383">[383]</a> <i>p. 7.</i><br/>
+  <br/>
+  <a id="side384"></a><a href="#ref384">[384]</a> <i>p. 10.</i><br/>
+  <br/>
+  <a id="side385"></a><a href="#ref385">[385]</a> <i>p. 41.</i><br/>
+  <br/>
+  <a id="side386"></a><a href="#ref386">[386]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side387"></a><a href="#ref387">[387]</a> <i>Part. 1st. p. 7, 8. pt. 2d. p. 57.</i><br/>
+  <br/>
+  <a id="side388"></a><a href="#ref388">[388]</a> <i>pt. 2d. p. 60;</i><br/>
+  <br/>
+  <a id="side389"></a><a href="#ref389">[389]</a> <i>pt. 1st. p. 38. pt. 2d. p. 14.</i><br/>
+  <br/>
+  <a id="side390"></a><a href="#ref390">[390]</a> <i>pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36,
+  49. pt. 2d. p. 37. 44.</i><br/>
+  <br/>
+  <a id="side391"></a><a href="#ref391">[391]</a> <i>Pref. pt. 3d.</i><br/>
+  <br/>
+  <a id="side392"></a><a href="#ref392">[392]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side393"></a><a href="#ref393">[393]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side394"></a><a href="#ref394">[394]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side395"></a><a href="#ref395">[395]</a> <i>Person. Dram.</i><br/>
+  <br/>
+  <a id="side396"></a><a href="#ref396">[396]</a> <i>pt. 2d. p. 31.</i><br/>
+  <br/>
+  <a id="side397"></a><a href="#ref397">[397]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side398"></a><a href="#ref398">[398]</a> <i>Pref. pt. 1st.</i><br/>
+  <br/>
+  <a id="side399"></a><a href="#ref399">[399]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side400"></a><a href="#ref400">[400]</a> <i>pt. 3d.</i><br/>
+  <br/>
+  <a id="side401"></a><a href="#ref401">[401]</a> <i>p. 53.</i><br/>
+  <br/>
+  <a id="side402"></a><a href="#ref402">[402]</a> <i>Reflect, &amp;c. p. 131.</i><br/>
+  <br/>
+  <a id="side403"></a><a href="#ref403">[403]</a> <i>Relapse. p. 19</i><br/>
+  <br/>
+  <a id="side404"></a><a href="#ref404">[404]</a> <i>Reflect.</i> <i>p. 133.</i><br/>
+  <br/>
+  <a id="side405"></a><a href="#ref405">[405]</a> p. 27.<br/>
+  <br/>
+  <a id="side406"></a><a href="#ref406">[406]</a> <i>p. 79.</i><br/>
+  <br/>
+  <a id="side407"></a><a href="#ref407">[407]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side408"></a><a href="#ref408">[408]</a> <i>p. 81.</i><br/>
+  <br/>
+  <a id="side409"></a><a href="#ref409">[409]</a> <i>p. 83.</i><br/>
+  <br/>
+  <a id="side410"></a><a href="#ref410">[410]</a> <i>p. 59.</i><br/>
+  <br/>
+  <a id="side411"></a><a href="#ref411">[411]</a> <i>p. 11.</i><br/>
+  <br/>
+  <a id="side412"></a><a href="#ref412">[412]</a> <i>p. 47.</i><br/>
+  <br/>
+  <a id="side413"></a><a href="#ref413">[413]</a> <i>p. 51.</i><br/>
+  <br/>
+  <a id="side414"></a><a href="#ref414">[414]</a> <i>p. 74.</i><br/>
+  <br/>
+  <a id="side415"></a><a href="#ref415">[415]</a> <i>Reflect. p. 40.</i><br/>
+  <br/>
+  <a id="side416"></a><a href="#ref416">[416]</a> <i>Tragedies of the last Age consider'd, &amp;c.
+  p. 113, 114.</i><br/>
+  <br/>
+  <a id="side417"></a><a href="#ref417">[417]</a> <i>p. 59.</i><br/>
+  <br/>
+  <a id="side418"></a><a href="#ref418">[418]</a> <i>p. 61.</i><br/>
+  <br/>
+  <a id="side419"></a><a href="#ref419">[419]</a> <i>p. 42.</i><br/>
+  <br/>
+  <a id="side420"></a><a href="#ref420">[420]</a> <i>p. 43.</i><br/>
+  <br/>
+  <a id="side421"></a><a href="#ref421">[421]</a> <i>p. 44.</i><br/>
+  <br/>
+  <a id="side422"></a><a href="#ref422">[422]</a> <i>p. 64. At top.</i><br/>
+  <br/>
+  <a id="side423"></a><a href="#ref423">[423]</a> <i>p. 85.</i><br/>
+  <br/>
+  <a id="side424"></a><a href="#ref424">[424]</a> <i>p. 64.</i><br/>
+  <br/>
+  <a id="side425"></a><a href="#ref425">[425]</a> <i>p. 94.</i><br/>
+  <br/>
+  <a id="side426"></a><a href="#ref426">[426]</a> <i>p. 15.</i><br/>
+  <br/>
+  <a id="side427"></a><a href="#ref427">[427]</a> <i>p. 99.</i><br/>
+  <br/>
+  <a id="side428"></a><a href="#ref428">[428]</a> <i>Ibid.</i><br/>
+  <br/>
+  <a id="side429"></a><a href="#ref429">[429]</a> <i>p. 100.</i><br/>
+  <br/>
+  <a id="side430"></a><a href="#ref430">[430]</a> <i>Rapin Reflect, &amp;c.</i><br/>
+  <br/>
+  <a id="side431"></a><a href="#ref431">[431]</a> <i>Discourse des Trois Unitez. pt. 3d.</i><br/>
+  <br/>
+  <a id="side432"></a><a href="#ref432">[432]</a> <i>p. 88.</i><br/>
+  <br/>
+  <a id="side433"></a><a href="#ref433">[433]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side434"></a><a href="#ref434">[434]</a> <i>see Chap. 2d.</i><br/>
+  <br/>
+  <a id="side435"></a><a href="#ref435">[435]</a> <i>Pref.</i><br/>
+  <br/>
+  <a id="side436"></a><a href="#ref436">[436]</a> <i>An Academy in Lithuania, for the Education of
+  Bears. Pere Auvill Voyage en Divers Etats, &amp;c. p. 240.</i><br/>
+  <br/>
+  <a id="side437"></a><a href="#ref437">[437]</a> <i>Plat. de Repub. Lib. 10. Euseb. Pr�par.
+  Evang.</i><br/>
+  <br/>
+  <a id="side438"></a><a href="#ref438">[438]</a> <i>Cyrop�d. p. 34</i><br/>
+  <br/>
+  <a id="side439"></a><a href="#ref439">[439]</a> <i>Polit. Lib. 7. c. p. 12.</i><br/>
+  <br/>
+  <a id="side440"></a><a href="#ref440">[440]</a> <i>Polit. Lib. 8.</i><br/>
+  <br/>
+  <a id="side441"></a><a href="#ref441">[441]</a> <i>Tusc. Quest. Lib. 4. De Leg. Lib. 1.</i><br/>
+  <br/>
+  <a id="side442"></a><a href="#ref442">[442]</a> <i>Dec. 1. Lib. 7.</i><br/>
+  <br/>
+  <a id="side443"></a><a href="#ref443">[443]</a> <i>Lib. 2. cap. 4.</i><br/>
+  <br/>
+  <a id="side444"></a><a href="#ref444">[444]</a> <i>cap. 6.</i><br/>
+  <br/>
+  <a id="side445"></a><a href="#ref445">[445]</a> <i>Natural Quest. Lib. 7. cap. 32.</i><br/>
+  <br/>
+  <a id="side446"></a><a href="#ref446">[446]</a> <i>Epist. 7.</i><br/>
+  <br/>
+  <a id="side447"></a><a href="#ref447">[447]</a> <i>Annal. Lib 14. cap. 14.</i><br/>
+  <br/>
+  <a id="side448"></a><a href="#ref448">[448]</a> <i>De Mor. German. cap. 19</i><br/>
+  <br/>
+  <a id="side449"></a><a href="#ref449">[449]</a> <i>Symposiac. Lib. 7.  De Audiend. Poet. p. 15.
+  Ed. Par.</i><br/>
+  <br/>
+  <a id="side450"></a><a href="#ref450">[450]</a> <i>Lib. 1.</i><br/>
+  <br/>
+  <a id="side451"></a><a href="#ref451">[451]</a> <i>Remed. Amor.</i><br/>
+  <br/>
+  <a id="side452"></a><a href="#ref452">[452]</a> <i>Lib. 2.</i><br/>
+  <br/>
+  <a id="side453"></a><a href="#ref453">[453]</a> <i>Ep. Ded.</i><br/>
+  <br/>
+  <a id="side454"></a><a href="#ref454">[454]</a> <i>Plut. De Glor. Atheniens.</i><br/>
+  <br/>
+  <a id="side455"></a><a href="#ref455">[455]</a> <i>Plut. Lacon. Institut.</i><br/>
+  <br/>
+  <a id="side456"></a><a href="#ref456">[456]</a> <i>Cic. de Repub. Lib. 4. cited by, St. Augustine.
+  Libr. 2. de civ. dei. cap. 13.</i><br/>
+  <br/>
+  <a id="side457"></a><a href="#ref457">[457]</a> <i>Lib. 2. cap. 29.</i><br/>
+  <br/>
+  <a id="side458"></a><a href="#ref458">[458]</a> <i>Dec. 1. Libr. 7.</i><br/>
+  <br/>
+  <a id="side459"></a><a href="#ref459">[459]</a> <i>Ab Histrionibus Pollui.</i><br/>
+  <br/>
+  <a id="side460"></a><a href="#ref460">[460]</a> <i>XV. Cod. Theod. Tit. vii. p.375.</i><br/>
+  <br/>
+  <a id="side461"></a><a href="#ref461">[461]</a> <i>in loco Honesto.</i><br/>
+  <br/>
+  <a id="side462"></a><a href="#ref462">[462]</a> <i>turpe munus.</i><br/>
+  <br/>
+  <a id="side463"></a><a href="#ref463">[463]</a> <i>L. 1. �. 6. de his qui notantur infamia.
+  Gothofred. Ibid. p. 376.</i><br/>
+  <br/>
+  <a id="side464"></a><a href="#ref464">[464]</a> <i>Rawlidge his Monster, lately found out, &amp;c.
+  p. 2, 3, 4.</i><br/>
+  <br/>
+  <a id="side465"></a><a href="#ref465">[465]</a> <i>Gazett Roterdam: Dec. 20. Paris.</i><br/>
+  <br/>
+  <a id="side466"></a><a href="#ref466">[466]</a> <i>French Amsterdam Harlem Gazetts. Paris, May.
+  17th. 1697.</i><br/>
+  <br/>
+  <a id="side467"></a><a href="#ref467">[467]</a> <i>Trois lettres Pastorales De Monseigneur
+  L'Eveque D'Arras &amp;c. A Delf. 1697.</i><br/>
+  <br/>
+  <a id="side468"></a><a href="#ref468">[468]</a> <i>Ann. 305.</i> <i>Can. 67.</i><br/>
+  <br/>
+  <a id="side469"></a><a href="#ref469">[469]</a> <i>Ann. 314. Can. 5.</i><br/>
+  <br/>
+  <a id="side470"></a><a href="#ref470">[470]</a> <i>Ann. 452.</i><br/>
+  <br/>
+  <a id="side471"></a><a href="#ref471">[471]</a> <i>Ann. 397. Can. 11.</i><br/>
+  <br/>
+  <a id="side472"></a><a href="#ref472">[472]</a> <i>Secularia spectacula, which manifestly
+  comprehends the Stage.</i><br/>
+  <br/>
+  <a id="side473"></a><a href="#ref473">[473]</a> <i>Ann. 424. Can. 96</i><br/>
+  <br/>
+  <a id="side474"></a><a href="#ref474">[474]</a> <i>Concil. Cabilon. Ann. 813. Can. 9.</i><br/>
+  <br/>
+  <a id="side475"></a><a href="#ref475">[475]</a> <i>Libr. 3. ad Autol.</i><br/>
+  <br/>
+  <a id="side476"></a><a href="#ref476">[476]</a> <i>Spectacula.</i><br/>
+  <br/>
+  <a id="side477"></a><a href="#ref477">[477]</a> <i>Chap. 38.</i><br/>
+  <br/>
+  <a id="side478"></a><a href="#ref478">[478]</a> <i>Chap. 3.</i><br/>
+  <br/>
+  <a id="side479"></a><a href="#ref479">[479]</a> <i>Ibid. Cap. 10.</i><br/>
+  <br/>
+  <a id="side480"></a><a href="#ref480">[480]</a> <i>The Play-houses were dedicated to
+  Bacchus.</i><br/>
+  <br/>
+  <a id="side481"></a><a href="#ref481">[481]</a> <i>Ibid. cap. 15.</i><br/>
+  <br/>
+  <a id="side482"></a><a href="#ref482">[482]</a> <i>Ibid. cap. 22.</i><br/>
+  <br/>
+  <a id="side483"></a><a href="#ref483">[483]</a> <i>Ibid. cap. 23.</i><br/>
+  <br/>
+  <a id="side484"></a><a href="#ref484">[484]</a> <i>Ibid. cap. 26.</i><br/>
+  <br/>
+  <a id="side485"></a><a href="#ref485">[485]</a> <i>Ibid. cap. 27.</i><br/>
+  <br/>
+  <a id="side486"></a><a href="#ref486">[486]</a> <i>Ibid. cap. 28.</i><br/>
+  <br/>
+  <a id="side487"></a><a href="#ref487">[487]</a> <i>Ibid. cap. 29.</i><br/>
+  <br/>
+  <a id="side488"></a><a href="#ref488">[488]</a> <i>By Exorcisms</i><br/>
+  <br/>
+  <a id="side489"></a><a href="#ref489">[489]</a> <i>Lib. 3. P�dag. Ann. 204. cap. 11.</i><br/>
+  <br/>
+  <a id="side490"></a><a href="#ref490">[490]</a> <i>Ann. 206.</i><br/>
+  <br/>
+  <a id="side491"></a><a href="#ref491">[491]</a> <i>Ad Eucrat.</i><br/>
+  <br/>
+  <a id="side492"></a><a href="#ref492">[492]</a> <i>Lib. 6. cap. 20.</i><br/>
+  <br/>
+  <a id="side493"></a><a href="#ref493">[493]</a> <i>Ibid. cap. 21.</i><br/>
+  <br/>
+  <a id="side494"></a><a href="#ref494">[494]</a> <i>Ibid. cap. 22.</i><br/>
+  <br/>
+  <a id="side495"></a><a href="#ref495">[495]</a> <i>In Psal. 119.</i><br/>
+  <br/>
+  <a id="side496"></a><a href="#ref496">[496]</a> <i>Ep. 9. 12. Advers. Jovinian. Lib. 2. cap.
+  7.</i><br/>
+  <br/>
+  <a id="side497"></a><a href="#ref497">[497]</a> <i>Chap. 20.</i><br/>
+  <br/>
+  <a id="side498"></a><a href="#ref498">[498]</a> <i>cap. 33.</i><br/>
+  <br/>
+  <a id="side499"></a><a href="#ref499">[499]</a> <i>Didac. &amp;c. in D. Thom. p. 546.</i><br/>
+  <br/>
+  <a id="side500"></a><a href="#ref500">[500]</a> <i>De Repub. L. 4.</i><br/>
+  <br/>
+  <a id="side501"></a><a href="#ref501">[501]</a> <i>Cic. de Leg. L. 2.</i><br/>
+  <br/>
+  <a id="side502"></a><a href="#ref502">[502]</a> <i>A Famous Musician</i><br/>
+  <br/>
+  <a id="side503"></a><a href="#ref503">[503]</a> <i>Vid. Corneille Cid, Cinna &amp;
+  Pompee.</i><br/>
+  <br/>
+  <a id="side504"></a><a href="#ref504">[504]</a> <i>Moral Essays.</i><br/>
+  <br/>
+  <a id="side505"></a><a href="#ref505">[505]</a> <i>2 Cor. 6. 14.</i><br/>
+  <br/>
+  </p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+The Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Short View of the Immorality, and Profaneness of the English Stage
+       together with the Sense of Antiquity on this Argument
+
+Author: Jeremy Collier
+
+Release Date: January 11, 2014 [EBook #44645]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK VIEW OF IMMORALITY OF ENGLISH STAGE ***
+
+
+
+
+Produced by Jonathan Ingram, Keith Edkins and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+Transcriber's note: Text enclosed by underscores is in italics (_italics_).
+
+The errata have been applied without further annotation. Otherwise no
+attempt has been made to distinguish likely typographical errors from the
+natural variability of 17th century orthography.
+
+A few short phrases proved illegible on the scan: these are marked
+<|lacuna|>.
+
+The marginal notes have been changed to footnotes, marked thus [123].
+
+       *       *       *       *       *
+
+A SHORT
+
+VIEW
+
+OF THE
+
+_Immorality, and Profaneness_
+
+OF THE
+
+English Stage,
+
+TOGETHER
+
+With the Sence of Antiquity
+upon this Argument,
+
+By _JEREMY COLLIER_, M.A.
+
+_London_, Printed for S. Keble at the _Turk's-Head_
+in _Fleetstreet_, R. Sare at _Gray's-Inn-Gate_,
+and H. Hindmarsh against the _Exchange_ in
+_Cornhil_. 1698.
+
+
+
+
+THE
+
+PREFACE
+
+_Being convinc'd that nothing has gone farther in Debauching the Age than
+the_ Stage Poets, _and_ Play-House, _I thought I could not employ my time
+better than in writing against them. These Men sure_, take Vertue and
+Regularity, _for_ great Enemies, _why else is their_ Disaffection _so very_
+Remarkable? _It must be said, They have made their_ Attack _with great_
+Courage, _and_ gain'd _no inconsiderable_ Advantage. _But it seems_
+Lewdness without Atheism, _is but_ half their Business. Conscience _might
+possibly recover, and_ Revenge _be thought on; and therefore like_
+Foot-Pads, _they must not only_ Rob, _but_ Murther. _To do them right_
+their Measures _are_ Politickly taken: _To make sure work on't, there's
+nothing like_ Destroying of Principles; Practise _must_ follow _of_ Course.
+_For to have_ no good Principles, _is to have_ no Reason to be Good. _Now
+'tis not to be expected that people should_ check _their_ Appetites, _and_
+balk _their_ Satisfactions, _they don't know why. If_ Virtue _has no_
+Prospect, _'tis not worth the owning. Who would be_ troubled _with_
+Conscience _if 'tis only a_ Bugbear, _and has nothing_ in't _but_ Vision,
+_and the_ Spleen?
+
+_My_ Collection _from the_ English Stage, _is much short of what_ They _are
+able to furnish. An_ Inventory _of their_ Ware-House _would have been a
+large_ Work: _But being afraid of over charging the_ Reader, _I thought a_
+Pattern _might do_.
+
+_In_ Translating _the_ Fathers, _I have endeavour'd to keep_ close _to
+their_ Meaning: _However, in_ some few places, _I have taken the_ Liberty
+of throwing in a Word or two; _To_ clear _the_ Sense, _to_ preserve _the_
+Spirit _of the_ Original, _and keep the_ English _upon its Legs_.
+
+_There's one thing more to acquaint the_ Reader _with; 'Tis that I have
+Ventured to_ change _the_ Terms _of_ Mistress _and_ Lover, _for_ others
+_somewhat more_ Plain, _but much more_ Proper. _I don't look upon This as
+any_ failure _in_ Civility. _As_ Good _and_ Evil _are_ different _in_
+Themselves, _so they ought to be_ differently Mark'd. _To_ confound _them
+in_ Speech, _is the way to_ confound _them in_ Practise. Ill Qualities
+_ought to have_ ill Names, _to prevent their being_ Catching. _Indeed_
+Things _are in a great measure_ Govern'd _by_ Words: _To_ Guild _over a
+foul_ Character, _serves only to perplex the_ Idea, _to encourage the_ Bad,
+_and mislead the_ Unwary. _To treat_ Honour, _and_ Infamy _alike, is an_
+injury _to_ Virtue, _and a sort of_ Levelling _in_ Morality. _I confess, I
+have no_ Ceremony _for_ Debauchery. _For to_ Compliment Vice, _is but_ one
+Remove _from_ worshipping _the_ Devil.
+
+_March 5th. 1697/8._
+
+
+
+
+THE
+
+CONTENTS.
+
+
+
+  CHAP. I.
+
+  _The Introduction._                                                Page 1
+
+  _The_ Immodesty _of the_ Stage.                                      p. 3
+
+  _The_ Ill Consequences _of this_ Liberty.                            p. 5
+
+  Immodesty _a Breach_ of good Behaviour.                              p. 6
+
+  _The_ Stage _faulty in this respect to a very_ Scandalous degree.    p. 8
+
+  Modesty _the_ Character _of_ Women.                                  p. 9
+
+  _The Natural_ Serviceableness _of this_ Quality.                    p. 11
+
+  Immodesty _much more insufferable, under the_ Christian, _than
+      under the_ Heathen _Religion_.                                  p. 14
+
+  _The_ Roman, _and_ Greek Theatres _more_ inoffensive _than the_
+      English.                                                        p. 15
+
+  _This proved from_ Plautus.                                         Ibid.
+
+  _From_ Terence.                                                     p. 20
+
+  _From_ Seneca's Tragedies.                                          p. 25
+
+  _The_ Comparison _carried on to the_ Theatre _at_ Athens.           Ibid.
+
+  _A short_ Character _of_ Aeschylus.                                 p. 26
+
+  _The_ Cleaness _of his_ Expression.                                 p. 27
+
+  _The_ Genius _and_ Conduct _of_ Sophocles.                          p. 28
+
+  _The_ Sobriety _of his_ Plays.                                      p. 29
+
+  Euripides'_s_ Character distinguished _from the two_ former.        p. 30
+
+  _The_ Reserv'dness _of his_ Stile.                                  p. 31
+
+  All _Humours not fit for_ Representation.                           p. 35
+
+  _A_ Censure _of_ Aristophanes.                                      p. 36
+
+  Aristophanes _his Testimony_ against himself.                       p. 48
+
+                       { Ben. Johnson.                                p. 51
+  _The Authorities of_ { Beaumont & Fletcher.                         p. 52
+                       { _And_ Corneille.                             p. 53
+                         _against the_ present Stage.
+
+  CHAP. II.
+
+  The _Prophaneness_ of the _Stage_.
+
+  _This_ Charge _prov'd upon them_,
+
+  I. _By their_ Cursing _and_ Swearing.                               p. 57
+
+  _The_ English Stage _formerly less hardy in this respect_.          Ibid.
+
+  _The_ provokingness _of this Sin_.                                  p. 58
+
+  _This Offence_ punishable _by_ Law, _and how far_.                  p. 59
+
+  Swearing _in the_ Play House _an_ Un-Gentlemanly, _as well as an_
+      Un-Christian practise.
+
+  _A_ Second _Branch of the_ Profaness _of the_ Stage, _consisting in
+      their Abuse of_ Religion, _and the_ Holy Scriptures.            p. 60
+
+  _Instances of this Liberty in the_ Mock Astrologer.                   Ib.
+
+  _In the_ Orphan.                                                    p. 62
+
+  _In the_ Old Batchelour, _and_ Double Dealer.                   p. 63, 64
+
+  _In_ Don Sebastian.                                                 p. 65
+
+  _Breif Remarks upon a Passage or two in the_ Dedications _of_
+      Aurenge Zebe, _and the_ Translation _of_ Juvenal.           p. 66, 69
+
+  _Farther Instances of_ Profaneness _in_ Love Triumphant.            p. 72
+
+  _In_ Love for Love.                                                 p. 74
+
+  _In the_ provok'd Wife.                                             p. 77
+
+  _And in the_ Relapse.                                               p. 78
+
+  _The_ Horrid Impiety _of this_ Liberty.                             p. 80
+
+  _The_ Stage _guilty of down right_ Blasphemy.
+
+  _This_ Charge _made good from several of the_ Plays _above
+      mention'd_.                                                     p. 82
+
+  _The Comparative Regularity of the_ Heathen Stage, _exemplyfied in_
+      Terence, _and_ Plautus.                                         p. 86
+
+  _And in the_ Greek Tragedians.                                      p. 87
+
+  Seneca _more exceptionable than the_ Greeks, _but not so faulty as
+      the_ Modern Stage.                                              p. 94
+
+  _This_ outraging _of_ Religion Intolerable.                         p. 95
+
+  CHAP. III.
+
+  _The_ Clergy _abused by the_ Stage.                                 p. 98
+
+  _This Usage both_ { _Unpresidented_.                               p. 112
+              _And_ { _Unreasonable_.                                p. 127
+
+  _The Misbehaviour of the_ Stage _upon this account_.               p. 138
+
+  CHAP. IV.
+
+  Immorality encouraged _by the_ Stage.                              p. 140
+
+  _The_ Stage Poets _make_ Libertines _their_ Top-Characters, _and
+      give them_ Success _in their_ Debauchery.                      p. 142
+
+  _A_ Character _of their_ fine Gentleman.                           p. 143
+
+  _Their_ fine Ladies _Accomplish'd much after the same manner_.     p. 146
+
+  _The_ Young People _of_ Figure _in_ Plautus _and_ Terence, _have a
+      greater regard to_ Morality.                                    Ibid.
+
+  _The Defence in the_ Preface _to the_ Mock-Astrologer, _not
+      sufficient_.                                                   p. 148
+
+  _The_ Christian _Religion makes a great_ difference _in the Case_. p. 149
+
+  Horace _of a Contrary Opinion to the_ Mock-Astrologer.             p. 150
+
+  _The_ Mock-Astrologer's _Instances from_ Ben Johnson
+      _Unserviceable_.                                               p. 151
+
+  _The Authority of_ Shakespear _against the_ Mock-Astrologer.       p. 154
+
+  _His_ Maxim _founded on the difference between_ Tragedy, _and_
+      Comedy, _a_ Mistake.                                           p. 155
+
+  Delight _not the Chief-End of_ Comedy.                             p. 157
+
+  _This Assertion prov'd against the_ Mock-Astrologer _from the
+      Testimonies of_ Rapin.                                          Ibid.
+
+  _And_ Ben Johnson.                                                 p. 158
+
+  Aristotle, _and_ Quintilian, _cited to the same purpose_      p. 159, 161
+
+  _To make_ Delight _the main Business in_ Comedy, _dangerous, and
+      unreasonable_.                                                 p. 162
+
+  _The improper Conduct of the_ Stage _with respect to Poetry, and
+      Ceremony_.                                                     p. 165
+
+  _Extravagant Rants._                                               p. 167
+
+  _Gingles in the_ Spanish Fryar, King Arthur, _and_ Love
+      Triumphant.                                                    p. 169
+
+  Women _roughly treated by the_ Stage.                              p. 171
+
+  _Their coarse Usage of the_ Nobility.                              p. 173
+
+  _These Freedoms peculiar to the_ English Stage.                    p. 175
+
+  CHAP. V.
+
+  SECT. I.
+
+  _Remarks upon Amphytrion._                                         p. 177
+
+  _The_ Machines _prophane, smutty, and out of the Character_.       p. 178
+
+  _The singularity of the Poet in this point._                       p. 180
+
+  _Blasphemy in Absalom and Achitophel._                             p. 184
+
+  _A_ Poem _upon the Fall of the_ Angels, _call'd a Fairy way of
+      Writing_.                                                      p. 189
+
+  _The_ Punishment _of the_ Damned ridiculed.                        p. 192
+
+  SECT. II.
+
+  _Remarks on the_ Comical History _of_ Don Quixot.                  p. 196
+
+  _The_ Poets horrible Prophaneness.                                 p. 197
+
+  _His want of_ Modesty, _and_ Regard _to the_ Audience.             p. 202
+
+  All _Imitations of Nature not proper for the_ Stage.               p. 204
+
+  _The_ Poets _Talent in Raillery, and_ Dedication.                  p. 205
+
+  SECT. III.
+
+  _Remarks on the_ Relapse.                                          p. 209
+
+  _A Misnommer in the Title of the_ Play.                            p. 210
+
+  _The_ Moral _Vitious_.                                             p. 211
+
+  _The_ Plot _ill Contriv'd_.                                        p. 212
+
+  _The_ Manners _or_ Characters _out of Order_.                      p. 218
+
+  _The three_ Dramatick Unities _broken_.                            p. 228
+
+  CHAP. VI.
+
+  _The Opinion of the_ Heathen _Philosophers_, _Orators_, _and
+      Historians_, _concerning the_ Stage.                           p. 233
+
+  _The_ Stage _censured by the_ State. _This proved from the_
+      Constitutions _of_ Athens, Sparta, _and_ Rome.                 p. 240
+
+  _Farther Instances of this publick Discountentance in the_
+      Theodosian Code.                                               p. 241
+
+  _In our own_ Statute Book.                                         p. 242
+
+  _And in the late Order of the_ French King.                        p. 243
+
+  _An_ Order _of the Bishop of_ Arras _against_ Plays.               p. 245
+
+  _The_ Stage _Condemn'd by the_ Primitive Church.                   p. 250
+
+  _The_ Councils _of_ Illiberis, Arles, &c. _cited_.                  Ibid.
+
+  _The Testimony's of the_ Fathers _against the_ Stage,
+      _particularly, of_ Theophilus Antiochenus.                     p. 252
+
+  _Of_ Tertullian.                                                   p. 253
+
+  _Of_ Clemens Alexandrinus.                                         p. 260
+
+  _Of_ Minutius Foelix.                                              p. 261
+
+  _Of St._ Cyprian.                                                   Ibid.
+
+  Lactantius.                                                        p. 265
+
+  _St._ Chrisostom.                                                  p. 267
+
+  _St._ Hierom.                                                      p. 272
+
+  _And St._ Augustine _cited to the same purpose_.                   p. 273
+
+  _The Censure of the_ Fathers, _and_ Councils _&c. applicable to
+      the_ English Stage.                                            p. 276
+
+  _The Conclusion._                                                  p. 280
+
+
+
+
+
+
+_ERRATA._
+
+
+Page 31 Margin for [Greek: Koron], r. [Greek: Moron]. p. 37. l. 1. for _by
+his_, r. _his_. l. 2. for _other_, r. _his other_. l. 25. for _praestr_, r.
+_praeter_. p. 39. l. 18. for _Poets_, _Knaves_, r. _Poets Knaves_. p. 44.
+l. 14. for _Concianotores_, r. _Concionatores_. p. 45. l. 25. for
+_Debaush_, r. _Debauchee_. p. 46. l. 9. for _Enterprizes_, r. _Enterprize_.
+p. 47. l. 9. for _ridicules_, r. _ridiculous_. p. 52. l. 1. for
+_justifying_, r. _and justifie_. p. 60. l. 2. for _tempestiuous_, r.
+_tempestuous_. l. 31. for _pray_, r. _should pray_. p. 80. for _executed_,
+r. _exerted_. p. 108. l. 4. for _Antarkick_. r. _Antartick_. p. 117. l. 12.
+for _Angitia_, r. _Angitiae_. p. 121. l. 24. for _Auger_, r. _Augur_. p.
+135. margin, for _Heglins Cogmog_, r. _Heylins Cosmog_. p. 154. l. 22. dele
+up. p. 163. l. 28. for _then_, r. _therefore_. p. 183. l. 6. for _to_, r.
+_too_. p. 186. l. 6. dele _And_. p. 191. l. 18. for _Circumstance_, r.
+_Circumstances_. p. 222. l. 9. for _Cup_, r. _a Cup_. p. 237. l. 2. for
+_apon't_, r. _upon't_. 245. l. 25. for _Le_, r. _Les_. p. 257. l. 28. for
+_Correspondence_ r. _this Correspondence_. p. 272. l. 9. for _himself_. r.
+_themselves_.
+
+The Litteral mistakes the Reader is Desired to Correct.
+
+
+
+
+  _Essays upon several Moral Subjects in two parts the Second Edition
+  Corrected and Enlarged by_ Jeremy Collier, _M.A._
+
+  _Human Prudence, or the Art by which a man may raise himself and his
+  Fortune to Grandure, the Seventh Edition._
+
+  _An Answer to all the Excuses and Pretences that men usually make for
+  their not coming to the Holy Communion, by a Divine of the Church of_
+  England: _Fitted for the meanest Capacity, and proper to be given away by
+  such Persons as are Charitably Inclin'd. Price 3 pence._
+
+
+
+
+THE INTRODUCTION.
+
+
+The business of _Plays_ is to recomend Virtue, and discountenance Vice; To
+shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and
+the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the
+Singularities of Pride and Fancy, to make Folly and Falsehood contemptible,
+and to bring every Thing that is Ill Under Infamy, and Neglect. This Design
+has been oddly pursued by the English _Stage_. Our _Poets_ write with a
+different View, and are gone into an other Interest. 'Tis true, were their
+Intentions fair, they might be _Serviceable_ to this _Purpose_. They have
+in a great measure the Springs of Thought and Inclination in their Power.
+_Show_, _Musick_, _Action_, and _Rhetorick_, are moving Entertainments; and
+rightly employ'd would be very significant. But Force and Motion are Things
+indifferent, and the Use lies chiefly in the Application. These Advantages
+are now, in the Enemies Hand, and under a very dangerous Management. Like
+Cannon seized they are pointed the wrong way, and by the Strength of the
+Defence the Mischief is made the greater. That this Complaint is not
+unreasonable I shall endeavour to prove by shewing the Misbehaviour of the
+_Stage_ with respect to _Morality_, and _Religion_. Their _Liberties_, in
+the Following Particulars are intolerable. _viz._ Their _Smuttiness_ of
+_Expression_; Their _Swearing_, _Profainness_, and _Lewd Application of
+Scripture_; Their _Abuse_ of the _Clergy_; Their _making_ their _Top
+Characters Libertines_, and giving them _Success_ in their _Debauchery_.
+This Charge, with some other Irregularities, I shall make good against the
+_Stage_, and shew both the _Novelty_ and _Scandal_ of the _Practise_. And
+first, I shall begin with the _Rankness_, and _Indecency_ of their
+_Language_.
+
+
+
+
+CHAP. I.
+
+_The Immodesty of the_ Stage.
+
+
+In treating this Head, I hope the Reader does not expect that I should set
+down Chapter and Page, and give him the Citations at Length. To do this
+would be a very unacceptable and Foreign Employment. Indeed the Passages,
+many of them, are in no Condition to be handled: He that is desirous to see
+these Flowers let him do it in their own Soil: 'Tis my business rather to
+kill the _Root_ than _Transplant_ it. But that the Poets may not complain
+of Injustice; I shall point to the Infection at a Distance, and refer in
+General to _Play_ and _Person_.
+
+Now among the Curiosities of this kind we may reckon Mrs. _Pinchwife_,
+_Horner_, and Lady _Fidget_ in the _Country Wife_; Widdow _Blackacre_ and
+_Olivia_ in the _Plain Dealer_. These, tho' not all the exceptionable
+_Characters_, are the most remarkable. I'm sorry the Author should stoop
+his Wit thus Low, and use his Understanding so unkindly. Some People appear
+Coarse, and Slovenly out of Poverty: They can't well go to the Charge of
+Sense. They are Offensive like Beggars for want of Necessaries. But this is
+none of the _Plain Dealer_'s case; He can afford his Muse a better Dress
+when he pleases. But then the Rule is, where the Motive is the less, the
+Fault is the greater. To proceed. _Jacinta_, _Elvira_, _Dalinda_, and _Lady
+Plyant_, in the _Mock Astrologer_, _Spanish Friar_, _Love Triumphant_ and
+_Double Dealer_, forget themselves extreamly: And almost all the
+_Characters_ in the _Old Batchelour_, are foul and nauseous. _Love_ for
+_Love_, and the _Relapse_, strike sometimes upon this _Sand_, and so
+likewise does _Don Sebastian_.
+
+I don't pretend to have read the _Stage_ Through, neither am I Particular
+to my Utmost. Here is quoting enough unless 'twere better: Besides, I may
+have occasion to mention somewhat of this kind afterwards. But from what
+has been hinted already, the Reader may be over furnish'd. Here is a large
+Collection of Debauchery; such _Pieces_ are rarely to be met with: 'Tis
+Sometimes painted at Length too, and appears in great Variety of Progress
+and Practise. It wears almost all sorts of Dresses to engage the Fancy, and
+fasten upon the Memory, and keep up the Charm from Languishing. Sometimes
+you have it in Image and Description; sometimes by way of Allusion;
+sometimes in Disguise; and sometimes without it. And what can be the
+Meaning of such a Representation, unless it be to Tincture the Audience, to
+extinguish Shame, and make Lewdness a Diversion? This is the natural
+Consequence, and therefore one would think 'twas the Intention too. Such
+Licentious Discourse tends to no point but to stain the Imagination, to
+awaken Folly, and to weaken the Defences of Virtue: It was upon the account
+of these Disorders that _Plato_ banish'd Poets his _Common Wealth_: And one
+of the _Fathers_ calls _Poetry_, _Vinum Daemonum_ an intoxicating
+_Draught_, made up by the Devils _Dispensatory_.
+
+I grant the Abuse of a Thing is no Argument against the use of it. However
+Young people particularly, should not entertain themselves with a Lewd
+Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty
+may probably raise those Passions which can neither be discharged without
+Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust
+his Virtue too far, for fear it should give him the slip! But the danger of
+such an Entertainment is but part of the Objection: 'Tis all Scandal and
+meanness into the bargain: it does in effect degrade Human Nature, sinks
+Reason into Appetite, and breaks down the Distinctions between Man and
+Beast. Goats and Monkeys if they could speak, would express their Brutality
+in such Language as This.
+
+To argue the Matter more at large.
+
+Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very
+Coarse Diversion, the Entertainment of those who are generally least both
+in Sense, and Station. The looser part of the _Mob_, have no true relish of
+Decency and Honour, and want Education, and Thought, to furnish out a
+gentile Conversation. Barrenness of Fancy makes them often take up with
+those Scandalous Liberties. A Vitious Imagination may blot a great deal of
+Paper at this rate with ease enough: And 'tis possible Convenience may
+sometimes invite to the Expedient. The Modern Poets seem to use _Smut_ as
+the Old Ones did _Machines_, to relieve a fainting Invention. When
+_Pegasus_ is jaded, and would stand still, he is apt like other _Tits_ to
+run into every Puddle.
+
+Obscenity in any Company is a rustick uncreditable Talent; but among Women
+'tis particularly rude. Such Talk would be very affrontive in Conversation,
+and not endur'd by any Lady of Reputation. Whence then comes it to Pass
+that those Liberties which disoblige so much in Conversation, should
+entertain upon the _Stage_. Do the Women leave all the regards to Decency
+and Conscience behind them when they come to the _Play-House_? Or does the
+Place transform their Inclinations, and turn their former Aversions into
+Pleasure? Or were Their pretences to Sobriety elsewhere nothing but
+Hypocrisy and Grimace? Such Suppositions as these are all Satyr and
+Invective: They are rude Imputations upon the whole Sex. To treat the Ladys
+with such stuff is no better than taking their Money to abuse them. It
+supposes their Imagination vitious, and their Memories ill furnish'd: That
+they are practised in the Language of the Stews, and pleas'd with the
+Scenes of Brutishness. When at the same time the Customs of Education, and
+the Laws of Decency, are so very cautious, and reserv'd in regard to Women:
+I say so very reserv'd, that 'tis almost a Fault for them to Understand
+they are ill Used. They can't discover their Disgust without disadvantage,
+nor Blush without disservice to their Modesty. To appear with any skill in
+such Cant, looks as if they had fallen upon ill Conversation; or Managed
+their Curiosity amiss. In a word, He that treats the Ladys with such
+Discourse, must conclude either that they like it, or they do not. To
+suppose the first, is a gross Reflection upon their Virtue. And as for the
+latter case, it entertains them with their own Aversion; which is ill
+Nature, and ill Manners enough in all Conscience. And in this Particular,
+Custom and Conscience, the Forms of Breeding, and the Maxims of Religion
+are on the same side. In other Instances Vice is often too fashionable; But
+here a Man can't be a Sinner, without being a Clown.
+
+In this respect the _Stage_ is faulty to a Scandalous degree of
+Nauseousness and Aggravation. For
+
+_1st._ The _Poets_ make _Women_ speak Smuttily. Of This the Places before
+mention'd are sufficient Evidence: And if there was occasion they might be
+Multiplyed to a much greater Number: Indeed the _Comedies_ are seldom clear
+of these Blemishes: And sometimes you have them in _Tragedy_. For Instance.
+The _Orphans Monimia_ makes a very improper Description; And the Royal
+_Leonora_ in the _Spanish Friar_, runs a strange Length in the History of
+Love _p._ 50. And, do Princesses use to make their Reports with such fulsom
+Freedoms? Certainly this _Leonora_ was the first Queen of her Family. Such
+raptures are too Lascivious for _Joan_ of _Naples_. Are these the _Tender
+Things_ Mr. _Dryden_ says the Ladys call on him for? I suppose he means the
+_Ladys_ that are too Modest to show their Faces in the _Pit_. This
+Entertainment can be fairly design'd for none but such. Indeed it hits
+their Palate exactly. It regales their Lewdness, graces their Character,
+and keeps up their Spirits for their Vocation: Now to bring Women under
+such Misbehaviour is Violence to their Native Modesty, and a
+Mispresentation of their Sex. For Modesty as Mr. _Rapin_[1] observes, is
+the _Character_ of Women. To represent them without this Quality, is to
+make Monsters of them, and throw them out of their Kind. _Euripides_, who
+was no negligent Observer of Humane Nature, is always careful of this
+Decorum. Thus _Phaedra_[2] when possess'd with an infamous Passion, takes
+all imaginable pains to conceal it. She is as regular and reserv'd in her
+Language as the most virtuous Matron. 'Tis true, the force of Shame and
+Desire; The Scandal of Satisfying, and the difficulty of parting with her
+Inclinations, disorder her to Distraction. However, her Frensy is not Lewd;
+She keeps her Modesty even after She has lost her Wits. Had _Shakespear_
+secur'd this point for his young Virgin _Ophelia_,[3] the _Play_ had been
+better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he
+should have set her a swimming a little sooner. To keep her alive only to
+sully her Reputation, and discover the Rankness of her Breath, was very
+Cruel. But it may be said the Freedoms of Distraction go for nothing, a
+Feavour has no Faults, and a Man _non Compos_, may kill without Murther. It
+may be so: But then such People ought to be kept in dark Rooms and without
+Company. To shew them, or let them loose, is somewhat unreasonable. But
+after all, the Modern _Stage_ seems to depend upon this Expedient. Women
+are sometimes represented _Silly_, and sometimes _Mad_, to enlarge their
+Liberty, and screen their Impudence from Censure: This Politick Contrivance
+we have in _Marcella_,[4] _Hoyden_,[5] and Miss _Prue_.[6] However it
+amounts to this Confession; that Women when they have their Understandings
+about them ought to converse otherwise. In fine; Modesty is the
+distinguishing Vertue of that Sex, and serves both for Ornament and
+Defence: Modesty was design'd by Providence as a Guard to Virtue; And that
+it might be always at Hand, 'tis wrought into the Mechanism of the Body.
+'Tis likewise proportioned to the occasions of Life, and strongest in Youth
+when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences
+are to Health; whatever is ungrateful to the first, is prejudicial to the
+latter. The Enemy no sooner approaches, but the Blood rises in Opposition,
+and looks Defyance to an Indecency. It supplys the room of Reasoning, and
+Collection: Intuitive Knowledge can scarcely make a quicker Impression; And
+what then can be a surer Guide to the Unexperienced? It teaches by suddain
+Instinct and Aversion; This is both a ready and a powerful Method of
+instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the
+Sensation, are of singular Use. They serve to awaken Reason, and prevent
+surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
+Temptation kept at proper Distance.
+
+_2ly._ They Represent their single Ladys, and Persons of Condition, under
+these Disorders of Liberty, This makes the Irregularity still more
+Monstrous and a greater Contradiction to Nature, and Probability: But
+rather than not be Vitious, they will venture to spoil a Character. This
+mismanagement we have partly seen already. _Jacinta_,[7] and _Belinda_[8]
+are farther proof. And the _Double Dealer_ is particularly remarkable.
+There are but _Four_ Ladys in this _Play_, and _Three_ of the biggest of
+them are Whores. A Great Compliment to Quality to tell them there is not
+above a quarter of them Honest! This was not the Roman Breeding, _Terence_
+and _Plautus_ his Strumpets were Little people; but of this more hereafter.
+
+_3dly._ They have oftentimes not so much as the poor refuge of a Double
+Meaning to fly to. So that you are under a necessity either of taking
+Ribaldry or Nonsence. And when the Sentence has two Handles, the worst is
+generally turn'd to the Audience. The Matter is so Contrived that the Smut
+and Scum of the Thought rises uppermost; And like a Picture drawn to
+_Sight_, looks always upon the Company.
+
+_4ly._ And which is still more extraordinary: the _Prologues_, and
+_Epilogues_ are sometimes Scandalous to the last degree.[9] I shall
+discover them for once, and let them stand like Rocks in the Margin. Now
+here properly speaking the _Actors_ quit the _Stage_, and remove from
+Fiction, into Life. Here they converse with the _Boxes_, and _Pit_, and
+address directly to the Audience. These Preliminarie and concluding Parts,
+are design'd to justify the Conduct of the _Play_, and bespeak the Favour
+of the Company. Upon such Occasions one would imagine if ever, the Ladys
+should be used with Respect, and the Measures of Decency observ'd, But here
+we have Lewdness without Shame or Example: Here the _Poet_ exceeds himself.
+Here are such Strains as would turn the Stomach, of an ordinary Debauchee,
+and be almost nauseous in the _Stews_. And to make it the more agreeable,
+Women are Commonly pick'd out for this Service. Thus the _Poet_ Courts the
+good opinion of the Audience. This is the Desert he regales the Ladys with
+at the Close of the Entertainment: It seems He thinks They have admirable
+Palats! Nothing can be a greater Breach of Manners then such Liberties as
+these. If a Man would study to outrage _Quality_ and Vertue, he could not
+do it more Effectually. But
+
+_5thly._ Smut is still more insufferable with respect to Religion. The
+Heathen Religion was in a great Measure a _Mystery_ of _Iniquity_. Lewdness
+was Consecrated in the Temples, as well as practised in the _Stews_. Their
+Deitys were great Examples of Vice, and worship'd with their own
+Inclination. 'Tis no wonder therefore their Poetry should be tinctured with
+their Belief, and that the _Stage_ should borrow some of the Liberties of
+their Theology. This made _Mercurys_ Procuring, and _Jupiters_ Adultery the
+more passable in _Amphitrion_[10]: Upon this Score _Gymnasium_[11] is less
+Monstrous in Praying the Gods to send her store of Gallants. And thus
+_Chaeraea_[12] defends his Adventure by the Precedent of _Jupiter_ and
+_Danae_. But the Christian Religion is quite of an other Complexion. Both
+its Precepts, and Authorities, are the highest discouragement to
+Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the
+Follies of Conversation, and Obliges up to Sobriety of Thought. That which
+might pass for Raillery, and Entertainment in Heathenism, is detestable in
+Christianity. The Restraint of the Precept, and the Quality of the Deity,
+and the Expectations of Futurity quite alter the Case.
+
+But notwithstanding the Latitudes of Paganism, the Roman and Greek
+_Theatres_ were much more inoffensive than ours. To begin with _Plautus_.
+This Comedian, tho' the most exceptionable, is modest upon the Comparison.
+For
+
+_1st._ He rarely gives any of the above mention'd Liberties to Women; And
+when there are any Instances of the contrary, 'tis only in prostituted and
+Vulgar People; And even these, don't come up to the Grossness of the
+_Modern Stage_.
+
+For the Purpose. _Cleaereta_[13] the Procuris borders a little upon
+Rudeness: _Lena_[14] and _Bacchis_[15] the Strumpet are Airy and somewhat
+over-merry, but not _A l'Anglois_ obscene. _Chalinus_[16] in Womans Cloaths
+is the most remarkable. _Pasicompa Charinus_ his Wench talks too freely to
+_Lysimachus_;[17] And so does _Sophroclidisca_ _Slave_ to
+_Lemnoselene_.[18] And lastly: _Phronesiam_ a Woman of the _Town_ uses a
+double entendre to _Stratophanes_.[19] These are the most censurable
+Passages, and I think all of them with relation to Women; which considering
+how the World goes is very moderate. Several of _our_ Single _Plays_ shall
+far out-do all This put together. And yet _Plautus_ has upon the matter
+left us 20 entire _Comedies_. So that in short, these Roman Lasses are meer
+_Vestal Virgins_, comparatively speaking.
+
+_2ly._ The _Men_ who talk intemperately are generally _Slaves_; I believe
+_Dordalus_[20] the Pandar, and _Lusiteles_[21] will be found the only
+exception: And this latter young Gentleman; drops but one over airy
+expression: And for this Freedom, the Poet seems to make him give
+Satisfaction in the rest of his Character. He disputes very handsomly by
+himself against irregular Love; The Discourse between him and _Philto_ is
+instructive and well managed.[22] And afterwards he gives _Lesbonicus_ a
+great deal of sober advice,[23] and declaims heartily against Luxury and
+Lewdness! Now by confining his Rudeness to little People, the Fault is much
+extenuated. For First, the representation is more Naturally this way; And
+which is still better, 'tis not so likely to pass into Imitation: Slaves
+and Clowns are not big enough to spread Infection; and set up an ill
+Fashion. 'Tis possible the _Poet_ might contrive these _Pesants Offensive_
+to discountenance the Practise. Thus the _Heilots_ in _Sparta_ were made
+drunk to keep Intemperance out of Credit. I don't mention this as if I
+approv'd the Expedient, but only to show it a circumstance of Mitigation
+and Excuse.
+
+Farther, These _Slaves_ and Pandars, Seldom run over, and play their
+Gambols before Women. There are but Four Instances of this Kind as I
+remember, _Olympio_,[24] _Palaestrio_,[25] _Dordalus_,[26] and
+_Stratilax_[27] are the Persons. And the Women they discourse with, are two
+of them Slaves, and the third a Wench. But with our _Dramatists_, the case
+is otherwise. With us _Smuttiness_ is absolute and unconfin'd. 'Tis under
+no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen
+talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and
+Frequency imaginable. This is in earnest to be very hearty in the cause! To
+give Title and Figure to Ill Manners is the utmost that can be done. If
+Lewdness will not thrive under such encouragement it must e'en Miscarry!
+
+_4ly._ _Plautus_ his _Prologues_ and _Epilogues_ are inoffensive. 'Tis
+true, _Lambinus_ pretends to fetch a double _entendre_ out of that to
+_Poenulus_, but I think there is a Strain in the Construction. His
+_Prologue_ to the _Captivi_ is worth the observing.
+
+  _Fabulae huic operam date._
+
+_Pray mind the Play._ The next words give the reason why it deserves
+regarding.
+
+  _Non enim pertractate facta est
+  Neque spurcidici insunt versus immemorabiles._
+
+We see here the Poet confesses Smut a scandalous Entertainment. That such
+Liberties ought to fall under Neglect, to lie unmention'd, and be blotted
+out of Memory.
+
+And that this was not a Copy of his Countenance we may learn from his
+Compositions. His best _Plays_ are almost alwaies Modest and clean
+Complexion'd. His _Amphitrio_ excepting the ungenuine Addition is such. His
+_Epidicus_ the Master-Piece of his whole Collection is inoffensive
+Throughout: And so are his _Menechmi_, _Rudens_, and _Trinummus_, which may
+be reckon'd amongst some of his next Best. His _Truculentus_ another fine
+_Play_ (tho' not entire) with a Heathen Allowance, is pretty Passable. To
+be short: Where he is most a Poet, he is generally least a Buffoon. And
+where the Entertainment is Smut, there is rarely any other Dish well
+dress'd: The Contrivance is commonly wretched, the Sence lean and full of
+Quibbles. So that his Understanding seems to have left him when he began to
+abuse it.
+
+To conclude, _Plautus_ does not dilate upon the Progress, Successes, and
+Disappointments of _Love_, in the _Modern_ way. This is nice Ground, and
+therefore He either stands off, or walks gravely over it, He has some
+regard to the Retirements of Modesty, and the Dignity of Humane Nature, and
+does not seem to make Lewdness his Business. To give an Instance.
+_Silenium_ is much gone in Love,[28] but Modest withall, tho' formerly
+debauch'd.
+
+She is sorry her Spark was forced from her, and in Danger of being lost.
+But then she keeps within compass and never flies out into Indecency.
+_Alcesimarchus_ is strangely smitten with this _Silenium_, and almost
+distracted to recover her.[29] He is uneasy and blusters, and threatens,
+but his Passion goes off in Generals. He Paints no Images of his
+Extravagance, nor descends to any nauseous particulars.
+
+And yet after all, _Plautus_ wrote in an Age not perfectly refin'd, and
+often seems to design his _Plays_ for a Vulgar Capacity. 'Twas upon this
+view I suppose his _Characters_ exceed Nature, and his ill Features are
+drawn too large: His old Men over credulous, his Misers Romantick, and his
+Coxcombs improbably singular. And 'tis likely for this reason his _Slaves_
+might have too much Liberty.
+
+_Terence_ appear'd when Breeding was more exact, and the _Town_ better
+polish'd; And he manages accordingly: He has[30] but one faulty bordering
+Expression, which is that of _Chremes_ to _Clitipho_. This single Sentence
+apart, the rest of his Book is (I think) unsullied and fit for the nicest
+Conversation. I mean only in referrence to the Argument in Hand, for there
+are things in Him, which I have no intention to warrant. He is Extreamly
+careful in the Behaviour of his Women. Neither _Glycerium_ in _Andria_,
+_Pamphila_ in _Eunuchus_, or _Pamphila_ in _Adelphi_, _Phanium_ in
+_Phormio_, or _Philumena_ in _Hecyra_, have any share of Conversation upon
+the _Stage_. such Freedom was then thought too much for the Reservedness of
+a Maiden-Character. 'Tis true in _Heautontimoroumenos_ the _Poets_ Plot
+obliged _Antiphila_, to go under the Disguise of _Bacchis_ her Maid. Upon
+this Occasion they hold a little Discourse together. But then _Bacchis_
+tho' she was a Woman of the _Town_, behaves her self with all the Decency
+imaginable. She does not talk in the Language of her Profession. But
+commends _Antiphila_ for her Virtue: _Antiphila_ only says how constant she
+has been to _Chinia_, seems surprised at his Arrival, and salutes him
+civilly upon't, and we hear no more from her. Mr. _Dryden_ seems to refer
+to this Conduct in his Dramatick _Poesie_. He censures the _Romans_ for
+making _Mutes_ of their single Women. This He calls the _Breeding of the
+Old_ Elizabeth _way, which was for Maids to be seen and not to be heard_.
+Under Favour the old Discipline would be very serviceable upon the _Stage_.
+As matters go, the _Mutes_ are much to few. For certainly 'tis better to
+say nothing, than talk out of Character, and to ill purpose.
+
+To return. The Virgin injured by _Chaerea_ does nothing but weep, and won't
+so much as speak her misfortune to the Women.[31] But Comedy is strangly
+improved since that time; For _Dalinda_[32] has a great deal more Courage,
+tho' the loss of her Virtue was her own Fault.
+
+But _Terence_ has that regard for Women, that he won't so much as touch
+upon an ill Subject before them. Thus _Chremes_ was ashamed to mention any
+thing about his Sons Lewdness when his Wife was present.
+
+  _Pudet dicere hac praesente verbum turpe._[33]
+
+The Slaves in this Comedian are kept in order and civilly bred. They Guard
+and Fence when occasion requires, and step handsomly over a dirty
+place.[34] The Poet did not think Littleness and low Education a good
+Excuse for Ribaldry. He knew Infection at the weakest, might seize on some
+Constitutions: Besides, the Audience was a Superior Presence, and ought to
+be considered. For how Negligent soever People may be at Home, yet when
+they come before their Betters 'tis Manners to look wholsom.
+
+Now tho' _Plautus_ might have the richer Invention; _Terence_ was always
+thought the more judicious Comedian. His Raillery is not only finer, and
+his stile better polish'd; but his _Characters_ are more just, and he seems
+to have reach'd farther into Life than the other. To take Leave of this
+Author, even his Strumpets are better behaved than our honest Women, than
+our Women of Quality of the English _Stage_. _Bacchis_ in
+_Heautontimoroumenos_ and _Bacchis_ in _Hecyra_, may serve for example.
+They are both modest, and converse not unbecoming their Sex. _Thais_ the
+most accomplish'd in her way,[35] has a great deal of Spirit and wheadling
+in her Character, but talks no Smut.
+
+Thus we see with what Caution and Sobriety of Language _Terence_ manages.
+'Tis possible this Conduct might be his own Modesty, and result from
+judgment and Inclination. But however his Fancy stood, he was sensible the
+Coarse way would not do. The _Stage_ was then under Discipline, the publick
+_Censors_ formidable, and the Office of the _Choragus_ was originally to
+prevent the Excesses of Liberty.
+
+To this we may add the _Nobless_ had no Relish for Obscenity; 'twas the
+ready way to Disoblige them.[36] And therefore 'tis _Horaces_ Rule.
+
+  _Nec immunda crepent ignominiosaque dicta.
+  Offenduntur enim quibus est Equus & Pater, & res._[37]
+
+The Old _Romans_ were particularly carefull their Women might not be
+affronted in Conversation: For this reason the Unmarried kept off from
+Entertainments for fear of learning new Language.[38] And in _Greece_ no
+Woman above the degree of a _Slave_ was treated abroad by any but
+Relations.[39] 'Tis probable the old Comedy was silenced at _Athens_ upon
+this Score, as well as for Defamation. For as _Aristotle_[40] observes the
+new Set of Comedians were much more modest than the former. In this
+celebrated Republick, if the _Poets_ wrote any thing against Religion or
+Good Manners, They were tryed for their Misbehaviour, and lyable to the
+highest Forfeitures.[41]
+
+It may not be amiss to observe that there are no Instances of debauching
+Married Women, in _Plautus_, nor _Terence_, no nor yet in _Aristophanes_.
+But on our _Stage_ how common is it to make a Lord, a Knight, or an
+Alderman a Cuckold? The Schemes of Success are beaten out with great
+Variety, and almost drawn up into a Science. How many Snares are laid for
+the undermining of Virtue, and with what Triumph is the Victory proclaim'd?
+The Finess of the _Plot_, and the Life of the Entertainment often lies in
+these Contrivances. But the _Romans_ had a different sence of these
+Matters, and saw thro' the consequences of them. The Government was awake
+upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
+pass into Diversion. And before we part with these _Comedians_ we may take
+notice that there are no Smutty Songs in their _Plays_; in which the
+_English_ are extreamly Scandalous.[42] Now to work up their Lewdness with
+Verse, and Musick, doubles the Force of the Mischief. It makes it more
+portable and at Hand, and drives it Stronger upon Fancy and Practice.
+
+To dispatch the _Latins_ all together. _Seneca_ is clean throughout the
+Piece, and stands generally off from the point of Love. He has no Courting
+unless in his _Hercules Furens_;[43] And here the Tyrant _Lycus_ addresses
+_Megara_ very briefly, and in Modest and remote Language. In his _Thebais_,
+_Oedipus_'s Incest is reported at large, but without any choaking
+Description. 'Tis granted _Phaedra_ speaks her Passion plainly out, and
+owns the strength of the Impression, and is far less prudent than in
+_Euripides_.[44] But tho' her Thoughts appear too freely, her Language is
+under Discipline.
+
+Let us now Travel from _Italy_ into _Greece_, and take a view of the
+Theatre at _Athens_. In this City the _Stage_ had both its beginning and
+highest Improvement. _Aeschylus_ was the first who appear'd with any
+Reputation. His Genius seems noble, and his Mind generous, willing to
+transfuse it self into the Audience, and inspire them with a Spirit of
+Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing.
+There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
+Ardour, to awaken, warm, and push forward to Action. But his Mettal is not
+always under Management. His Inclination for the _Sublime_; carrys him too
+far: He is sometimes Embarrass'd with _Epithites_. His Metaphors are too
+stiff, and far fetch'd; and he rises rather in Sound, than in Sence.
+However generally speaking, his Materials are both shining and solid, and
+his Thoughts lofty, and uncommon. This Tragedian had always a nice regard
+to Good Manners. He knew corrupting the People was the greatest disservice
+to the Commonwealth; And that Publick Ruine was the effect of general
+Debauchery. For this reason he declines the Business of Amours, and
+declares expresly against it.[45] Now here we can't expect any length of
+Testimony. His aversion to the subject makes him touch very sparingly upon
+it. But in this case there is no need of much citation. His very Omissions
+are Arguments, and his Evidence is the stronger for being short. That
+little I meet with shall be produced.
+
+_1st._ Orestes was obliged by the Oracle to revenge his Fathers Death in
+the Murther of his Mother.[46] When he was going to kill her, he Mentions
+her Cruelty, but waves her Adultery. _Euripides_ approv'd this Reservedness
+and makes his _Electra_ practise it upon the same occasion.[47] _Aeschylus_
+in his next Play complements his Country with a great deal of Address in
+the Persons of the _Eumenides_.[48] They are very Gentile and Poetical in
+their Civilities: Among other things They wish the Virgins may all Marry
+and make the Country Populous: Here the _Poet_ do's but just glance upon
+the Subject of Love; and yet he governs the Expression with such care, that
+the wishes contain a Hint to Sobriety, and carry a Face of Virtue along
+with them.
+
+The _Double Dealer_ runs Riot upon such an Occasion as this; and gives Lord
+_Touchwood_ a mixture of Smut and Pedantry to conclude with,[49] and yet
+this Lord was one of his best Characters: But _Poets_ are now grown
+Absolute within themselves, and may put Sence and Quality upon what
+Drudgeries they please. To return. _Danaus_ cautions his Daughters very
+handsomly in point of Behaviour. They were in a strange Country, and had
+Poverty and Dependance to struggle with: These were circumstances of
+Danger, and might make him the more pressing. He leaves therefore a solemn
+Charge with them for their Security, bids them never to subsist upon
+Infamy, but to prefer their Virtue to their Life.
+
+  [Greek: Monon phylaxai tas d' epistolas patros][50]
+  [Greek: To sophronein timosa tou biou pleon.]
+
+Our _Poets_ I suppose would call this Preaching, and think it a dull
+Business. However I can't forbear saying an honest Heathen is none of the
+worst Men: A very indifferent Religion well Believed, will go a great way.
+
+To proceed. _Sophocles_ appear'd next upon the _Stage_, and was in earnest
+an Extraordinary Person. His Conduct is more Artificial, and his Stile more
+just, than that of _Aeschylus_. His Characters are well drawn, and Uniform
+with themselves: His _Incidents_, are often surprising, and his _Plots_
+unprecipitated. There is nothing but what is Great, and Solemn Throughout.
+The Reasoning is well Coloured. The Figures are sometimes Bold, but not
+Extravagant. There are no Flights of Bombast, no Towring above Nature and
+Possibility: In short, Nothing like Don _Sebastians_ Reigning in his
+_Atomes_.[51]
+
+This Tragedian like _Aeschylus_ does not often concern himself with
+_Amours_, and when he does, nothing can be more temperate, and decent. For
+example where the Incest of _Oedipus_ is described,[52] the Offensiveness
+of the Idea is screen'd off and broken by Metaphorical and distant
+Expressions. In another _Play_[53] _Creon_ resolves to put _Antigone_ to
+Death for presuming to bury _Polynices_. This Lady and _Haemon_ _Creons_
+Son were very far engaged; _Haemon_ endeavours to disswade his Father from
+_Antigones_ Execution: He tells him the burying her Brother tho' against
+his Order, was a popular Action. And that the People would resent her being
+punish'd: But never so much as mentions his own Concern unless in one Line;
+which was so obscure that _Creon_ misunderstood him. _Antigone_ amongst her
+other Misfortunes laments her dying Young and Single, but says not one word
+about _Haemon_. The _Poet_ takes care not to bring these two Lovers upon
+the _Stage_ together, for fear they might prove unmanagable? Had They been
+with us, they had met with kinder treatment. They might have had Interviews
+and Time and Freedom enough. Enough to mud their Fancy, to tarnish their
+Quality, and make their Passion Scandalous. In the Relation of _Haemons_
+Death, his Love is related too, and that with all the Life and _Pathos_
+imaginable. But the Description is within the Terms of Honour: The
+tendernesses are Solemn, as well as Soft: They move to [54]Pity and
+Concern, and go no farther. In his _Trachiniae_ the _Chorus_ owns the Force
+of Love next to irresistable; gently hints the Intrigues of the Gods, and
+then passes on to a handsome [55]Image of the Combat between _Achelous_ and
+_Hercules_. We see how lightly the _Poet_ touches upon an amorous Theme: He
+glides along like a Swallow upon the Water, and skims the Surface, without
+dipping a Feather.
+
+_Sophocles_ will afford us no more, let us therefore take a view of
+_Euripides_. 'Tis the Method of this Author to decline the Singularities of
+the _Stage_, and to appear with an Air of Conversation. He delivers great
+Thoughts in Common Language, and is dress'd more like a Gentleman than a
+_Player_. His Distinction lies in the perspicuity of his Stile; In Maxim,
+and Moral Reflection; In his peculiar Happiness for touching the Passions,
+especially that of Pity; And lastly, in exhausting the Cause, and arguing
+_pro_ and _Con_, upon the streach of Reason. So much by way of Character.
+And as for the Matter before us He is entirely Ours. We have had an
+Instance or two already in _Electra_ and _Phaedra_: To go on to the rest.
+In his _Hippolitus_ He calls _Whoring_, stupidness and playing the Fool.
+And to be Chast and regular, is with him, as well as with _Aeschylus_,
+[Greek: Sophronein]. As much as to say 'tis the Consequence of Sence, and
+right Thinking. _Phaedra_ when her Thoughts were embarrass'd with
+_Hippolitus_, endeavours to disentangle her self by Argument.[56] She
+declaims with a great deal of Satyr against intemperate Women; she
+concluded rather to die then dishonour her Husband and Stain her Family.
+The Blemishes of Parents, as she goes on, often stuck upon their Children,
+and made them appear with Disadvantage. Upon this, the _Chorus_ is
+transported with the Virtue of her Resolution and crys out
+
+  [Greek: Pheu Pheu. To sophron hos hapantachou kalon][57]
+  [Greek: kai do xan esthlen enbrotois komizetai.]
+
+  _How becoming a Quality is Modesty in all Places._
+  _How strangly does it burnish a Character, and oblige ones Reputation?_
+
+The Scholiast upon these verses of _Hippolitus_.
+
+  [Greek: Soi ton de plekton Stephanon ex akera]
+  [Greek: Leimonos], &c.
+
+Makes this Paraphrase, 'Tha[......] Mind should be clean and
+unsulli[......] that the Muses being Virgins their Performances should
+agree with their Condition.'
+
+To proceed. _Hermione_ complains against _Andromache_ because she was
+entertain'd by her Husband[58]: For this _Andromache_ tells her she talk'd
+too much for a Young Woman, and discover'd her Opinion too far. _Achilles_
+at the first Sight of _Clytemnestra_, lets her understand he was as much
+taken with the Sobriety of her Air,[59] as with the rest of her fine Face
+and Person. She receives the Complement kindly, and commends him for
+commending Modesty. _Menelaus_ and _Helen_ after a long Absence manage the
+surprize of their good Fortune handsomly.[60] The Most tender Expression
+stands clear of ill Meaning. Had _Osmin_ parted with _Almeria_ as civilly
+as these Two met,[61] it had been much better. That Rant of smut and
+profainness might have been spared. The _Reader_ shall have some of it.
+
+  _O my_ Almeria;
+  _What do that Damn'd endure but to despair,
+  But knowing Heaven, to know it lost for ever._
+
+Were it not for the _Creed_, these _Poets_ would be crampt in their
+Courtship, and Mightily at a loss for a Simile! But _Osmin_ is in a
+wonderful Passion. And truly I think his Wits, are in some danger, as well
+as his Patience. You shall hear.
+
+  _What are Wracks, and, Whips, and Wheels to this;
+  Are they not soothing softness, sinking Ease,
+  And wasting Air to this?_
+
+_Sinking Ease, and Wasting Air_, I confess are strange comforts; This
+Comparison is somewhat oddly equip'd, but Lovers like sick People may say
+what they please! _Almeria_ takes this Speech for a Pattern, and suits it
+exactly in her return.
+
+  _O I am struck, thy words are Bolts of Ice?
+  Which shot into my Breast now melt and chill me._
+
+_Bolts of Ice?_ Yes most certainly! For the Cold is struck up into her
+Head, as you may perceive by what follows.
+
+  _I chatter, shake, and faint with thrilling Fears._
+
+By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no
+jesting, for the Lady is very bad. She won't be held up by any Means, but
+Crys out:
+
+  ----_lower yet, down down_;
+
+One would think she was learning a Spanel to _Sett_. But there's something
+behind.
+
+  ----_no more we'll lift our Eyes,
+  But prone and dumb, Rot the firm Face of Earth,
+  With Rivers of incessant scalding Rain._
+
+These Figures are some of them as stiff as Statues, and put me in mind of
+_Sylvesters Dubartas_.
+
+  _Now when the Winters keener breath began
+  To Crystallize, the Baltick Ocean,
+  To glaze the Lakes, to bridle up the Floods,
+  And periwig with Snow the bald pate woods._
+
+I take it, the other Verses are somewhat of Kin to These, and shall leave
+them to Mr. _Dryden's_ Reflection.[62] But then as for _Soothing Softness,
+Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain_;
+It puts me to another stand. For to talk a little in the way of the
+_Stage_. This Litter of _Epithetes_ makes the _Poem_ look like a Bitch
+overstock'd with Puppies, and sucks the Sence almost to skin and Bone. But
+all this may pass in a _Playhouse_: False Rhetorick and false Jewells, do
+well together. To return to _Euripides_. _Cassandra_ in reporting the
+Misfortunes of the _Greeks_ stops at the Adulteries of _Clytemnestra_ and
+_Aegiala_ And gives this handsome reason for making a Halt.
+
+  [Greek: Sigan ameinon taischra, mede mousa moi][63]
+  [Greek: Genoit aoidos hetis hymnesei kaka.]
+
+  _Foul Things are best unsaid, I am for no Muse,
+  That loves to flourish on Debauchery._
+
+
+Some Things are dangerous in report, as well as practise, and many times a
+Disease in the Description. This _Euripides_ was aware of and manag'd
+accordingly, and was remarkably regular both in stile, and Manners. How
+wretchedly do we fall short of the Decencies of Heathenism! There's nothing
+more ridiculous than Modesty on our _Stage_.[64] 'Tis counted an ill bred
+Quality, and almost sham'd out of Use. One would think Mankind were not the
+same, that Reason was to be read Backward, and Vertue and Vice had changed
+Place.[65]
+
+What then? Must Life be huddled over, Nature left imperfect, and the Humour
+of the Town not shown? And pray where lies the Grievance of all This? Must
+we relate whatever is done, and is every Thing fit for Representation? is a
+Man that has the Plague proper to make a Sight of? And must he needs come
+Abroad when he breaths Infection, and leaves the _Tokens_ upon the Company?
+What then must we know nothing? Look you! All Experiments are not worth the
+making. 'Tis much better to be ignorant of a Disease then to catch it. Who
+would wound himself for Information about Pain, or smell a Stench for the
+sake of the Discovery? But I shall have occasion to encounter this
+Objection afterwards,[66] and therefore shall dismiss it at present.
+
+The _Play-house_ at _Athens_ has been hitherto in Order, but are there no
+Instances to the contrary? Do's not _Aristophanes_ take great Liberties and
+make Women speak extraordinary Sentences? He do's so. But his Precedent
+signifies nothing in the case. For
+
+_1st._ We have both the Reason of the Thing, and all the Advantage of
+Authority on the other side. We have the Practise and Opinion of Men of
+much greater Sence, and Learning then Himself. The best Philosophers and
+Poets, Criticks and Orators, both Greek and Latin, both Antient and Modern,
+give the Cause against him. But _Aristophanes_ his own _Plays_ are
+sufficient to ruin his Authority. For
+
+_1st_, He discovers himself a downright Atheist. This Charge will be easily
+Made good against him by Comparing his _Nubes_ with his other _Plays_. The
+Design of his _Nubes_ was to expose _Socrates_, and make a Town jest of
+him. Now this Philosopher was not only a Person of great Sence and Probity,
+but was likewise suppos'd to refine upon the Heathen Theology, to throw off
+the Fabulous part of it, and to endeavour to bring it back to the Standard
+of Natural Religion. And therefore _Justin Martyr_ and some others of the
+_Fathers_, look'd on him as a Person of no Pagan Belief, and thought he
+suffer'd for the Unity of the God-Head. This Man _Aristophanes_ makes fine
+sport with as he fancies: He puts him in a Fools Coat, and then points at
+him. He makes _Socrates_ instruct his Disciple _Strepsiades_ in a new
+Religion, and tell him that _he did not own the Gods in the vulgar Notion_.
+He brings him in elswhere affirming that the _Clouds are the only
+Deities_.[67] Which is the same Lash which _Juvenal_ gives the _Jews_,
+because they worship'd but one single Soveraign Being.
+
+  _Nil praeter Nubes & Coeli numen adorant._[68]
+
+_Socrates_ goes on with his Lecture of Divinity and declares very roundly
+that there is no such thing as _Jupiter_.[69] Afterwards he advances
+farther, and endeavours to get _Strepsiades_ under Articles to acknowledge
+no other Gods, but _Chaos_, the _Clouds_, and the _Tongue_.[70] At last the
+_Poet_ brings the Philosopher to publick Pennance for his Singularities. He
+sets fire to his _School_ for teaching Young People (as he pretends) to
+dispute against Law and Justice; for advancing Atheistick Notions, and
+burlesquing the Religion of the Country.[71]
+
+That _Socrates_ was no Atheist is clear from Instances enough. To mention
+but one. The Confidence he had in his _Daemon_, or _Genius_ by which he
+governed his Affairs puts it beyond all dispute.[72] However 'tis plain
+_Aristophanes_ was not of his Religion. The _Comedian_ was by no means for
+correcting the Common Perswasion. So that he must either be an Orthodox
+Heathen or nothing at all. Let us see then with what Respect he treats the
+Receiv'd _Divinities_. This _Play_, where one would not expect it,
+discovers somewhat of his Devotion. In the beginning of it _Phidippides_,
+who was a sort or _New-Market_ Spark, swears by _Jocky Neptune_,[73] that
+he had a strange Kindness for his Father _Strepsiades_. upon this the old
+Man replies; _No Jocky, if you love me; that Deity has almost undone me_.
+This was making somewhat bold with _Neptune_ who was _Jupiters_ Brother,
+_Soveraign_ of a whole _Element_, and had no less than the Third Share of
+the Universe! Certainly _Aristophanes_ had no Venture at Sea, or else must
+think the _Trident_ signified but very little. But this is meer Ceremony to
+what follows. In his first _Play_ _Plutus_ pretends he had a mind to oblige
+only Men of Probity, but _Jupiter_ had made him blind on purpose that he
+might not distinguish Honest men from Knaves: For to be plain _Jupiter_ had
+a Pique against Good people. Towards the end of this _Comedy Mercury_ is
+abused by _Cario_,[74] and acts a ridiculous, and lessening part himself.
+Afterwards he complains heavily that since _Plutus_ was cured of his
+Blindness, the business of Sacrifing fell off, and the Gods were ready to
+starve. This _Mercury_ has the same ill Usage with the _Poets_ Knaves,
+Informers, and Lewd Women; From all this stuff put together, his meaning is
+pretty plain, _viz._ That Religion was no better than an Imposture
+supported by Art, and Ignorance: And that when Men's Understandings were
+awake, and their Eyes a little open, they would have more discretion than
+to be at any expence about the Gods.
+
+This I take to be part of the Moral of his Fable. If we look farther into
+him we shall see more of his Mind. His _Ranae_ makes Merry with the Heathen
+Scheme of Heaven and Hell. Here _Charon_ and the _Stygian Frogs_ are
+brought in Comically enough. And that you may understand his opinion more
+perfectly we are told, that He that Bilks his _Catamite_ after a
+_Sodomitical_ Abuse, is thrown into the Common shore of _Hades_. And what
+Company do you think he is lodg'd with? Why with those who Perjure
+themselves, with those who Kick their Fathers and Mothers? It seems in the
+_Poets_ Justice a Man might as good be false to his Oath, as to his
+Lewdness.[75] To disappoint the _Stews_, is every jot as great a Crime; as
+to fly in the Face of Nature, and outrage our Parents. His Quartering his
+Malefactors thus critically, was without question on purpose to Banter the
+perswasion of future Punishment. In the same _Play_ _Xanthias_ bids
+_Aeacus_ answer him by _Jove_, [Greek: Hos hemin estin homomastigias]. This
+little Scoundrel of a Slave has the Manners to make _Jupiters_ Quality no
+better than his own. To go on with him: In his _Aves_ he speaks out to
+purpose. Here _Pisthetaerus_ tells _Epops_ that if the _Birds_ would build
+a Castle in the Air, they might intercept the Fumes of the Sacrifices, and
+starve the Gods unless they would come too, and be Tributary. It seems the
+_Birds_ had very good Pretences to execute this project; for they were
+ancienter than _Jupiter_ and _Saturn_,  and Govern'd before the Gods. And
+to speak truth were more capable of the Function. Their Adviser goes on to
+inform them,[76]  that after they had built their pensile City, and
+fortifyed the Air, their next business was to demand their ancient
+Soveragnity: If _Jupiter_ refused to quit, they were to declare a Holy War
+against Him, and the rest of the Confederate Gods, and to cut off the
+Communication between Heaven and Earth. _Pisthaeterus_[77] grows very warm
+in his new Interest, and swears by _Jove_ that Men ought to Sacrifice to
+the _Birds_, and not to _Jupiter_. And if things came to a Rupture, and
+_Jupiter_ grew Troublesome, he undertakes[78] to send a Detachement of
+Eagles against Him; with Orders to storm his Palace with Flambeaux, and
+fire it about his Ears. At last to prevent the Calamities of a War,
+_Hercules_ proposes an Accomodation,[79] and is willing _Jupiter_ should
+Resign. _Neptune_ calls him a Block-head for his pains, because he was Heir
+at _Law_, and after _Jupiters_ Decease was of Course to succeed in his
+Dominions: Once more, and I have done: In _Eirene_, _Trygaeus_ speaks in a
+menacing way.[80] That unless _Jupiter_ gave him Satisfaction in his
+business, he would inform against Him as a disaffected Person, and a
+betrayer of the Liberties of _Greece_.[81] I might add many other
+Instances, and some more Scandalous than any I have mentioned; But these
+are sufficient to shew the Authors Sentiment: And is it any wonder an
+Atheist should misbehave himself in point of Modesty? What can we expect
+less from those who laugh at the Being of a God, at the Doctrines of
+Providence, and the Distinctions of Good and Evil? A _Sceptick_ has no
+notion of Conscience, no Relish for Virtue, nor is under any Moral
+restraints from Hope or Fear. Such a one has nothing to do but to consult
+his Ease, and gratifie his Vanity, and fill his Pocket. But how these Ends
+are compassed, he has no squeamishness, or Scruples about it. 'Tis true
+when the Methods of Lewdness will Take, they are generally most agreeable.
+This way suits their Talent, and screens their practise, and obliges their
+Malice. For nothing is a greater Eye-sore to these Men, then Virtue and
+Regularity. What a pleasure is it then to be admired for Mischeif, to be
+reveng'd on Religion, and to see Vice prosper and improve under our Hands!
+To return: Beside _Aristophanes_ Atheisme, I have a Second objection to his
+Authority, and that is want of Judgment. If we examine his _Plays_ we shall
+find his Characters improper, or ununiform; either wrong at first, or
+unsteady in the Right. For the purpose. In his _Nubes. A. 3. S. 3. p. 146.
+150_. He puts dirty expressions in the Mouth of his Man of Probity, makes
+him declaim vitiously against Vice, and Corrects scurrility with Impudence;
+Now what can be more idle and senceless, than such Conduct as this?
+Epecially when this _Justus_ as he calls him had told them in the beginning
+of his speech, that People used to be well slash'd for such Fooling, when
+Government and Discipline were in their due Force. The _Chorus_ of his
+_Ranae_ slides[82] into the same Inconsistency of Precept, and Practise.
+Farther, in the Progress of this _Play_; _Aeschylus_ falls a rallying
+contrary to his Humour, and jests away his own Arguments at a very
+unseasonable Juncture, when he was disputing for no less prize than the
+Laureatship. This _Tragedian_ after he had play'd a little with the Story
+of _Bellerophon_,[83] goes on in the same strain; And charges _Euripides_
+that he had furnish'd all sorts of People with Sawciness and Prattle. The
+_Schools_ and _Academies_ were spoil'd by this means; So that the Boys were
+often whip'd, and the Boatswains drubb'd, for their Chattering.[84] These
+Comical Levities come with an ill Grace from _Aeschylus_. His Character was
+quite different both in Reality, and in the _Play_ before us. He is all
+along represented as a Person of a serious Temper, of a reserv'd Loftiness,
+Cholerick, and tender of his Honour to an Excess, and almost in a rage at
+the Affront of a Rival, and being forc'd to enter the Lists with
+_Euripides_. The case standing thus, neither the Man, nor the Business,
+would admit of Drolling. Another Instance of his want of Conduct we have in
+his _Concionatores_. Here _Blepyrus_ and some others of his Legislative
+Assembly, talk at a very dirty insipid rate. The Lowest of the _Mob_, can
+hardly jest with less Wit, and more Lewdness. And to make their Discourse
+more remarkable; These douty Members were just going to the _House_, and
+had their Heads full of the Good of the Nation, when they entertain'd
+themselves thus decently[85]. And are these little Buffoons fit to consult
+_de Arduis Regni, &c._ to give Authority to Law, and Rules for publick
+Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and
+the Solemnity of their Office? To make his _Parliament-Men_ play the Fool
+thus egregiously, must needs have a great deal of Decorum, and State-Policy
+in the Contrivance; And is just as wise as if a _Painter_ should have Drawn
+them in the Habit of _Jack-Puddings_, and _Merry-Andrews_. But
+_Aristophanes_ has still higher Flights of Absurdity. He won't so much as
+spare the Gods but makes them act these little Parts of Clownishness and
+Infamy. _Bacchus_ and _Hercules_ in his _Ranae_ are forced to talk Smut and
+rally like _Link-boys_, and do almost all the Tricks of _Bartholomew-Fair_.
+To mention something that will bear the quoting. _Bacchus_ enquires of
+_Hercules_ the readiest way to _Hades_, or the other World. He bids him
+either Hang, or Poyson himself, and he can't miss the Road. This is
+_Hercules's_ Humour to a Tittle! And represents him as much to the Life, as
+an _Ape_ would do the _Grand Signior_ at a publick Audience! This with a
+short Sentence or two of Lewdness,[86] is the hardest of _Hercules_ his
+Usage: And 'tis well he escaped so; for _Bacchus_ is treated much worse. He
+appears under the disadvantages of a Clownish Debauchee, and a Coward. And
+is terribly afraid of a _Spectre_.[87] When he comes before _Aeacus_, this
+Judge is very rough with him; and tries his pretences to a Deity by
+Bastinado: _Bacchus_ howls in the drubbing and had almost spoil'd all.[88]
+Now do's this paultry Behaviour agree with the Heathen Theology, with the
+Common Opinion concerning _Bacchus_ and _Hercules_? Do's a _Blew-Cap_ and a
+_Ladle_, become the Sons of _Jupiter_ and the Objects of Religious Worship?
+Those who at the lowest, were counted the Conquerors of the World, and more
+than Men both by Birth and Enterprize? _Sophocles_ and _Euripides_ make
+these two Persons manage at a quite different rate of Decency. 'Tis no
+defence to say _Aristophanes_ wrot Comedy, and so was obliged to make his
+Scenes more diverting. This excuse I say is defective; for a Comedian ought
+to imitate Life and Probability, no less than a Tragedian. To Metomorphose
+_Characters_, and present Contradictions to Common Belief, is to write,
+_Farce_ instead of _Plays_. Such Comedians like _Thespis_ ought to have a
+travelling _Stage_, and take the Air with _Porcupines_ and _Dromedaryes_.
+If 'tis said that Gravity and greatness do's not suit the Complection and
+Entertainment of Comedy. To this I answer, that therefore the _Persons_
+should be chosen accordingly. They should have nothing in their known
+Humour, and Condition too Noble, and solemn for Trifling. 'Tis _Horaces_
+advice.
+
+  _Aut famam sequere, aut convenientia finge Scriptor._ De. Art. Poet.
+
+Let us remember that Operations always resemble the Nature from whence they
+flow. Great Persons should therefore have a correspondent Behaviour
+assign'd them. To make _Beings_ much Superior to the Biggest of Mankind,
+talk below the Least, is absurd and ridiculous. This _Aristophanes_ seems
+sensible of in his defence of _Aeschylus_. Here _Euripides_ objects to
+_Aeschylus_,[89] that he was too rumbling, noisy, and bombastick, over
+affecting that which _Horace_ calls
+
+  _Ampulla, & sesquipedalia Verba._
+
+To this _Aeschylus_  Answers, that the Thoughts, and Designs of _Heroes_
+must be deliver'd in Expressions proportioned to their Greatness. It being
+likely that the Demi-Gods spoke up to their Dignity and Stature: And as
+they were distinguish'd by the richness of their Habit, so they had a more
+Magnificent Language than other Mortals. To this _Euripides_ replys
+nothing; from whence you may conclude the _Poet_ thought the Apology not
+unreasonable. In short _Aristophanes_ had Sense but he does not always use
+it. He is not equal, and uniforme. Sometimes you have him flat and foolish
+a good while together. And where he has Spirit, 'tis oftentimes lavished
+away to little purpose.[90] His Buffoonery is commonly too strong for his
+Judgment. This makes him let fly his jests without regard to Person or
+occasion: And thus by Springing the _Game_ too soon, the Diversion is lost.
+I could make several other Material Objections against the Conduct of his
+_Plays_; But this being not necessary I shall observe in the
+
+_3d._ Place. That notwithstanding the scandalous Liberty for which
+_Aristophanes_ is so remarkable; yet in his Lucid Intervalls, when Sence
+and Sobriety return upon him, he pronounces against his own Practise. In
+the contest between _Aeschylus_ and _Euripides_, _Bacchus_ is made the
+Umpire of the Controversie. _Aeschylus_ begins with a Question,[91] and
+asks _Euripides_ what 'tis which makes a _Poet_ admired? He answers. 'Tis
+for the address of his Conduct, and the handsome Turns of Morality in his
+Poems. 'Tis because his performance has a tendency to form the Audience to
+Virtue, and Improvement, _Aeschylus_ demands of him farther; But suppose
+you debauched the Age, and made an Honest and a brave People Lewd, and good
+for nothing, what do you deserve then? Here _Bacchus_ interposes, and crys
+out, what does he deserve? A Halter! pray don't ask so plain a question.
+And afterwards we are told, that _Poets_ are valuable only for describing
+Things useful, in Life and Religion, for polishing Inventions, and setting
+off great Examples with Lustre, and Advantage.[92] In the progress of the
+Dispute, _Aeschylus_ taxes _Euripides_ with being too uncautious in his
+Representations; And tells him that Poets ought to conceal that which is
+vicious in Story; And entertain with nothing but Virtue, and Sobriety: He
+goes on reprimanding _Euripides_ for his Dramatick incests, Strumpets, and
+Amours: And as for himself, to his best remembrance, He never brought any
+Love-Intrigues upon the Stage.[93]
+
+This is very significant expostulation: and contains very good Rules for
+the Trial of the _Muses_: But if the English _Stage_, should be obliged to
+this Test; _Aristophanes_ must set fire to it, and that with much more
+reason than to _Socrates_ his _School_. Now that _Aeschylus_ spoke
+_Aristophanes_'s Sense is pretty plain: For first; As to the Business of
+Love, _Aristophanes_ always declines it; He never patches up a _Play_ with
+_Courtship_, and _Whining_, tho' he wrote nothing but _Comedy_. In the next
+place the _Chorus_ which is usually the _Poets_ Interpreter, speaks
+honourably of _Aeschylus_ even to a Preference;[94] And at last Judge
+_Bacchus_ gives Sentence for him.
+
+Thus we see _Aristophanes_ Confutes his own Lewdness, and comes in Evidence
+against himself. This with the other two Exceptions I have made good
+against him, are sufficient to take off the Force of the _Precedent_, and
+make him an insignificant Authority.
+
+To what I have observ'd from the _Stage_ of the Antients, I could add the
+Authorities of _Aristotle_, and _Quintilian_, both extraordinary Persons,
+but I shall reserve their Testimony till Afterwards.
+
+To come Home, and near our own Times: The English Theatre from Queen
+_Elizabeth_ to King _Charles_ II. will afford us something not
+inconsiderable to our purpose.
+
+As for _Shakespear_, he is too guilty to make an Evidence: But I think he
+gains not much by his Misbehaviour; He has commonly _Plautus's Fate_, where
+there is most Smut, there is least Sense.
+
+_Ben. Johnson_ is much more reserv'd in his _Plays_, and declares plainly
+for Modesty in his _Discoveries_, some of his Words are these.
+
+A just Writer whom he calls a _True Artificer_, will avoid _Obscene_ and
+_Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is
+so too.[95] The excess of Feasts and Apparel, are the Notes of A Sick
+State, and the Wantonness of Language of a sick Mind_.[96] A little after
+he returns to the Argument, and applies his Reasoning more particularly to
+the Stage. _Poetry_, (says he) _and Picture, both behold Pleasure, and
+profit, as their common Object, but should abstain from all base Pleasures,
+least they should wholly Err from their End; And while they seek to better
+Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and
+Jests upon the best Men, are most likely to excite Laughter. But this is
+truly leaping from the Stage to the Tumbrill again, reducing all Wit to the
+Original Dung-Cart_.[97] More might be cited to this purpose, but that may
+serve for an other Occasion: In the mean time I shall go on to _Beaumont_
+and _Fletcher_.
+
+_Fletchers Faithfull Shepheardess_ is remarkably Moral, and a sort of
+Exhortation to Chastity. This _Play_ met with ill Judges, 'twas Hiss'd
+before half _Acted_, and seems to have suffer'd on the account of its
+Innocence.[98] Soon after _Ben. Johnson_ and _Beaumont_ appear and justifie
+the Author in a Copy of Verses. And as _Beaumont_ commends Modesty in
+_Fletcher_, so he is commended himself by Mr. _Earl_ for the same
+Quality.[99]
+
+  _Such Passions, Such Expressions meet my Eye,
+  Such Wit untainted with Obscenity._
+
+And as I remember _Jasper Main_ has some stroaks to the same purpose.[100]
+_Fletcher_ is still more full for the Cause. Indeed nothing can be more
+express. He delivers himself by way of _Prologue_; where the _Poet_ speaks
+in his own Person. The _Prologue_ to the _Woman-Hater_, very frankly lets
+the Audience know what they are to expect. _If there be any amongst you,
+(says he) that come to hear Lascivious Scenes, let them depart; For I do
+pronounce this, to the utter discomfort of all two-penny Gallery Men, you
+shall no Bawdry in it._ We find in those days Smut was the expectation of a
+Coarse Palate, and relish'd by none but two-penny Customers. In the
+_Knight_ of the _Burning Pestle_, part of the _Prologue_ runs thus. _They
+were banish'd the Theatre at_ Athens, _and from_ Rome _hiss'd, that brought
+Parasites on the Stage with Apish Actions, or Fools with uncivil Habits, or
+Courtezans with immodest words_. Afterwards _Prologue_, who represents a
+Person, gives us more to the same purpose.
+
+  ----_Fly far from hence.
+  All private taxes, immodest phrases,
+  Whatever way but look like Vitious.
+  For wicked mirth, never true Pleasure brings;
+  For honest Minds, are pleas'd with honest things._
+
+I have quoted nothing but Comedy in this Author. The _Coronation_ is
+another. And the _Prologue_ tells you there is
+
+  _No Undermirth such as does lard the Scene,
+  For Coarse Delight, the Language here is clean.
+  And confident our Poet bad me say,
+  He'll bate you but the Folly of a Play.
+  For which altho' dull Souls his Pen despise;
+  Who think it yet too early to be wise.
+  The Nobles yet will thank his Muse, at least
+  Excuse him, cause his Thought aim'd at the Best._
+
+Thus these _Poets_ are in their Judgments clearly ours. 'Tis true their
+Hand was not always steady. But thus much may be aver'd, that _Fletcher's_
+later _Plays_ are the most inoffensive. This is either a sign of the
+_Poets_ Reformation; or that the exceptionable Passages belonged to
+_Beaumont_, who dyed first.
+
+To these Authorities of our own Nation, I shall add a considerable
+Testimony out of Mr. _Corneille_. This Author was sensible that tho' the
+Expression of his _Theodore_ was altogether unsmutty,[101] 'Yet the bare
+Idea of Prostitution uneffected, shock'd the Audience, and made the Play
+miscarry. The _Poet_ protests he took great care to alter the natural
+Complexion of the Image, and to convey it decently to the Fancy; and
+delivered only some part of the History as inoffensively as possible. And
+after all his Screening and Conduct, the Modesty of the Audience would not
+endure that little, the Subject forced him upon. He is positive 'the
+Comedies St. _Augustine_ declaim'd against, were not such as the _French_.
+For theirs are not spectacles of Turpitude, as that Father justly calls
+those of his Time. The _French_ generally speaking, containing nothing but
+examples of Innocence, Piety and Virtue.'
+
+In this Citation we have the Opinion of the _Poet_, the Practise of the
+_French_ Theatre, and the Sense of that _Nation_, and all very full to our
+purpose.
+
+To conclude this _Chapter_. By what has been offer'd, it appears that the
+_Present English Stage_ is superlatively Scandalous. It exceeds the
+Liberties of all Times and Countries: It has not so much as the poor plea
+of a _Precedent_, to which most other ill Things may claim a pretence. 'Tis
+mostly meer Discovery and Invention: A new World of Vice found out, and
+planted with all the Industry imaginable. _Aristophanes_ himself, how bad
+soever in other respects, does not amplyfie, and flourish, and run through
+all the Topicks of Lewdness like these Men. The _Miscellany Poems_ are
+likewise horribly Licentious. They are sometimes Collections from
+Antiquity, and often, the worst parts of the worst _Poets_. And to mend the
+Matter, the Christian _Translation_, is more nauseous than the _Pagan_
+Original. Such stuff I believe was never seen, and suffer'd before. In a
+word, If Poverty and Diseases, the Dishonour of Families, and the
+Debauching of Kingdoms, are such valuable Advantages, then I confess these
+Books deserve encouragement. But if the Case is otherwise, I humbly
+conceive the Proceeding should be so too.
+
+
+
+
+CHAP. II.
+
+_The Profaness of the_ Stage.
+
+
+An other Instance of the Disorders of the _Stage_ is their _Profaness_:
+This Charge may come under these two particulars.
+
+  _1st. Their Cursing and Swearing._
+  _2dly. Their Abuse of Religion and Holy Scripture._
+
+_1st Their Cursing and Swearing._
+
+What is more frequent then their wishes of Hell, and Confusion, Devils, and
+Diseases, all the Plagues of this World, and the next, to each other? And
+as for Swearing; 'tis used by all Persons, and upon all Occasions: By
+Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels,
+Success, and Disappointment, Temper, and Passion, must be varnish'd, and
+set off with _Oaths_. At some times, and with some _Poets_ Swearing is no
+ordinary Releif. It stands up in the room of Sense, gives Spirit to a flat
+Expression, and makes a Period Musical and Round. In short, 'tis almost all
+the Rhetorick, and Reason some People are Masters of: The manner of
+performance is different. Some times they mince the matter; change the
+Letter, and keep the Sense,[102] as if they had a mind to steal a Swearing,
+and break the Commandement without Sin. At another time the Oaths are
+clipt, but not so much within the Ring, but that the _Image and
+Superscription_ are visible. These expedients, I conceive are more for
+variety, then Conscience: For when the fit comes on them, they make no
+difficulty of Swearing at Length. Instances of all these kinds may be met
+with in the _Old Batchelour_, _Double Dealer_, and _Love for Love_. And to
+mention no more, _Don Quixot_, the _Provok'd Wife_, and the _Relapse_, are
+particularly rampant and scandalous. The _English Stage_ exceed their
+predecessors in this, as well as other Branches of immorality. _Shakespear_
+is comparatively sober, _Ben Jonson_ is still more regular; And as for
+_Beaument_ and _Fletcher_, In their _Plays_ they are commonly Profligate
+Persons that Swear, and even those are reprov'd for't. Besides, the Oaths
+are not so full of Hell and Defiance, as in the Moderns.
+
+So much for matter of Fact: And as for point of Law, I hope there needs not
+many words to prove Swearing a Sin: For what is more provoking than
+contempt, and what Sin more contemptuous than common Swearing? what can be
+more Insolent and Irreligious, than to bring in God to attest our Trifles,
+to give Security for our Follies, and to make part of our Diversion? To
+Play with Majesty and Omnipotence in this manner, is to render it cheap and
+despicable. How can such Customes as these consist with the belief of
+Providence or Revelation? The _Poets_ are of all People most to blame. They
+want even the Plea of _Bullies_ and _Sharpers_. There's no Rencounters, no
+starts of Passion, no suddain Accidents to discompose them. They swear in
+Solitude and cool Blood, under Thought and Deliberation, for Business, and
+for Exercise: This is a terrible Circumstance; It makes all _Malice
+Prepence_, and enflames the Guilt, and the Reckoning.
+
+And if Religion signifies nothing, (as I am afraid it does with some
+People) there is Law, as well as Gospel against _Swearing_.  _3d Jac. 1
+cap. 21._ is expresly against the _Playhouse_. It runs thus.
+
+  For the preventing and avoiding of the great abuse of the holy Name of
+  God, in Stage Plays, Enterludes &c. Be it enacted by our Sovereign Lord
+  &c. That if at any time, or times, after the End of this present Session
+  of Parliament; any Person or Persons do, or shall in any Stage Play,
+  Enterlude, Show, &c. Jeastingly or Profanly, speak or use the Holy Name
+  of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity,
+  which are not to be spoken, but with Fear and Reverence; shall forfeit
+  for every such offence, by him or them committed, ten pounds: The one
+  Moity thereof to the King's Majesty, his Heirs; and Successors, the other
+  Moity thereof to him, or them, that will sue for the same in any Court of
+  Record at Westminster, wherein no essoin, protection, or wager of Law
+  shall be allow'd.
+
+By this _Act_ not only direct Swearing, but all vain Invocation of the Name
+of God is forbidden. This _Statute_ well executed would mend the _Poets_,
+or sweep the _Box_: And the _Stage_ must either reform, or not thrive upon
+Profaness.
+
+_3dly_ Swearing in the _Playhouse_ is an ungentlemanly, as well as an
+unchristian Practice. The _Ladies_ make a considerable part of the
+_Audience_. Now Swearing before Women is reckon'd a Breach of good
+Behaviour, and therefore a civil Atheist will forbear it. The custom seems
+to go upon this Presumption; that the Impressions of Religion are strongest
+in Women, and more generally spread. And that it must be very disagreeable
+to them, to hear the Majesty of God treated with so little respect.
+Besides: Oaths are a boistrous and tempestuous sort of Conversation;
+Generally the effects of Passion, and spoken with Noise, and Heat. Swearing
+looks like the beginning of a Quarrel, to which Women have an aversion: As
+being neither armed by Nature, nor disciplin'd by Custome for such rough
+Disputes. A Woman will start at a Soldiers Oath, almost as much as at the
+Report of his Pistol: And therefore a well Bred Man will no more Swear,
+than Fight in the Company of Ladies.
+
+A _Second_ Branch of the Profaness of the _Stage_ is their Abuse of
+Religion, and _Holy Scripture_. And here sometimes they don't stop short of
+Blasphemy. To cite all that might be Collected of this kind would be
+tedious. I shall give the _Reader_ enough to justifie the Charge, and I
+hope to abhor the Practice.
+
+To begin with the _Mock-Astrologer_. In the First _Act_ the _Scene_ is a
+_Chappel_; And that the Use of such Consecrated places may be the better
+understood, the time is taken up in Courtship, Raillery, and ridiculing
+Devotion. _Jacinta_ takes her turn among the rest. She Interrupts
+_Theodosia_, and cries out: _why Sister, Sister----will you pray? what
+injury have I ever done you that you should pray in my Company?_
+
+_Wildblood_ Swears by _Mahomet_, rallies smuttily upon the other World, and
+gives the preference to the Turkish Paradise[103]! This Gentleman to
+incourage _Jacinta_ to a Complyance in Debauchery, tells her _Heaven is all
+Eyes and no Tongue._[104] That is, it sees Wickedness but conceals it. He
+Courts much at the same rate a little before. _When a Man comes to a great
+Lady, he is fain to approach her with Fear, and Reverence, methinks there's
+something of Godliness in't_.[105] Here you have the Scripture burlesqu'd,
+and the Pulpit Admonition apply'd to Whoring.[106] Afterwards _Jacinta_ out
+of her great Breeding and Christianity, swears by _Alla_, and _Mahomet_,
+and makes a Jest upon Hell.[107] _Wildblood_ tells his Man that _such
+undesigning Rogues as he, make a Drudge of poor Providence_. And _Maskall_
+to show his proficiency under his Masters, replies to _Bellamy_, who would
+have had him told a Lie.[108] _Sir upon the Faith of a Sinner you have had
+my last Lie already. I have not one more to do me Credit, as I hope to be
+saved Sir._
+
+In the close of the _Play_, They make sport with Apparitions and Fiends.
+One of the Devils sneezes, upon this they give him the Blessing of the
+Occasion, and conclude _he has got cold by being too long out of the
+Fire_.[109]
+
+The _Orphan_ lays the Scene in Christendom, and takes the same care of
+Religion. _Castalio_ Complements his Mistress to Adoration.
+
+  _No Tongue my Pleasure and my Pain can tell:
+  'Tis Heaven to have thee, and without thee Hell._ [110]
+
+_Polydor_ when upon the attempt to debauch _Monimia_, puts up this
+ejaculation.
+
+  _Blessed Heaven assist me but in this dear Hour_: [111]
+
+Thus the _Stage_ worships the true God in Blasphemy, as the _Lindians_ did
+_Hercules_ by Cursing and throwing stones.[112] This _Polydor_ has another
+Flight of Profaness, but that has got a certain _Protection_, and therefore
+must not be disturb'd.
+
+In the _Old Batchelour_, _Vain-love_ asks _Belmour_, _could you be content
+to go to Heaven_?
+
+_Bell. Hum, not immediatly in my Conscence, not heartily._[113]----This is
+playing I take it with Edge-Tools. To go to Heaven in jeast, is the way to
+go to Hell in earnest. In the Fourth _Act_, Lewdness is represented with
+that Gaity, as if the Crime was purely imaginary, and lay only in ignorance
+and preciseness. _Have you throughly consider'd (says Fondlewife) how
+detestable, how Heinous, and how crying a Sin the Sin of Adultery is? have
+you weighed I say? For it is a very weighty Sin: and, altho' it may
+lie----yet thy Husband must also bear his part; For thy iniquity will fall
+on his Head_.[114] I suppose this fit of Buffoonry and profaness, was to
+settle the Conscience of young Beginners, and to make the Terrors of
+Religion insignificant. _Bellmour_ desires _Laetitia to give him leave to
+swear by her Eyes and her Lips_: He kisses the Strumpet, and tells her,
+_Eternity was in that Moment_.[115] _Laetitia_ is horibly profane in her
+Apology to her Husband; but having the _Stage-Protection_ of Smut for her
+Guard, we must let her alone.[116] _Fondlewife_ stalks under the same
+shelter, and abuses a plain Text of Scripture to an impudent Meaning.[117]
+A little before, _Laetitia_ when her Intrigue with _Bellmour_ was almost
+discover'd, supports her self with this Consideration. _All my comfort lies
+in his impudence, and Heaven be prais'd, he has a Considerable
+Portion_.[118] This is the _Play-house_ Grace, and thus Lewdness is made a
+part of Devotion! Ther's another Instance still behind: 'Tis that of
+_Sharper_ to _Vain-Love_, and lies thus.
+
+_I have been a kind of God Father to you, yonder: I have promis'd and vow'd
+something in your Name, which I think you are bound to Perform_.[119] For
+Christians to droll upon their Baptism is somewhat extraordinary; But since
+the _Bible_ can't escape, 'tis the less wonder to make bold with the
+_Catechisme_.
+
+In the _Double Dealer_, Lady _Plyant_ cries out _Jesu_ and talks Smut in
+the same Sentence.[120] Sr. _Paul Plyant_ whom the Poet dub'd a Fool when
+he made him a Knight, talks very Piously! _Blessed be Providence, a Poor
+unworthy Sinner, I am mightily beholden to Providence_[121]: And the same
+word is thrice repeated upon an odd occasion.[122] The meaning must be that
+_Providence_ is a ridiculous supposition, and that none but Blockheads
+pretend to Religion. But the Poet can discover himself farther if need be.
+Lady _Froth_ is pleas'd to call _Jehu_ _a Hackney Coachman_.[123] Upon
+this, _Brisk_ replies, _If Jehu was a Hackney Coachman, I am
+answer'd----you may put that into the Marginal Notes tho', to prevent
+Criticisms----only mark it with a small Asterisme and say----Jehu was
+formerly a Hackney Coachman._ This for a heavy Piece of Profaness, is no
+doubt thought a lucky one, because it burlesques the Text, and the Comment,
+all under one. I could go on with the _Double Dealer_ but he'll come in my
+way afterwards, and so I shall part with him at present. Let us now take a
+veiw of _Don Sebastian_. And here the _Reader_ can't be long unfurnish'd.
+_Dorax_ shall speak first.
+
+    _Shall I trust Heaven
+  With my revenge? then where's my satisfaction?
+  No, it must be my own, I scorn a Proxy._[124]
+
+But _Dorax_ was a Renegado, what then? He had renounc'd Christianity, but
+not Providence. Besides; such hideous Sentences ought not to be put in the
+Mouth of the Devil. For that which is not fit to be heard, is not fit to be
+spoken. But to some people an Atheistical Rant is as good as a Flourish of
+Trumpets. To proceed. _Antonio_ tho' a profess'd Christian, mends the
+matter very little. He is looking on a Lot which he had drawn for his Life:
+This proving unlucky, after the preamble of a Curse or two, he calls it,
+
+  _As black as Hell, an other lucky saying!
+  I think the Devils in me:----good again,
+  I cannot speak one syllable but tends
+  To Death or to Damnation._[125]
+
+Thus the Poet prepares his Bullies for the other World! Hell and Damnation
+are strange entertaining words upon the _Stage_! Were it otherwise, the
+Sense in these Lines, would be almost as bad as the Conscience. The _Poem_
+warms and rises in the working: And the next Flight is extreamly
+remarkable:
+
+  _Not the last sounding could surprize me more,
+  That summons drowsy Mortals to their doom,
+  When call'd in hast they fumble for their Limbs:_[126]
+
+Very Solemnly and Religiously express'd! _Lucian_ and _Celsus_ could not
+have ridiculed the Resurrection better! Certainly the Poet never expects to
+be there. Such a light Turn would have agreed much better to a Man who was
+in the Dark, and was feeling for his Stockings. But let those who talk of
+_Fumbling_ for their Limbs, take care they don't find them too fast. In the
+Fourth _Act_ _Mustapha_ dates his _Exaltation to Tumult_, _from the second
+Night of the Month_ Abib.[127] Thus you have the Holy Text abused by
+Captain _Tom_; And the Bible torn by the Rabble! The Design of this Liberty
+I can't understand, unless it be to make _Mustapha_ as considerable as
+_Moses_; and the prevalence of a Tumult, as much a Miracle as the
+Deliverance out of _Aegypt_. We have heard this Author hitherto in his
+_Characters_, let us hear him now in his own Person. In his _Dedication of
+Aurenge Zebe_ he is so hardy as to affirm that _he who is too lightly
+reconciled after high Provocation, may Recommend himself to the World for a
+Christian, but I should hardly trust him for a Friend_. And why is a
+Christian not fit to make a Friend of? Are the Principles of Christianity
+defective, and the Laws of it Ill contriv'd? Are the Interests and
+Capacities of Mankind overlook'd? Did our Great Master bind us to
+Disadvantage, and make our Duty our Misfortune? And did he grudge us all
+the Pleasures and Securities of Friendship? Are not all these horrid
+Suppositions? Are they not a flat Contradiction to the _Bible_, and a Satyr
+on the Attributes of the Deity? Our Saviour tells us we must _forgive until
+Seventy times Seven_; That is, we must never be tired out of Clemency and
+Good Nature. He has taught us to pray for the Forgiveness of our own Sins,
+only upon the Condition of forgiving others. Here is no exception upon the
+Repetition of the Fault, or the Quality of the Provocation. Mr. _Dryden_ to
+do him right, do's not dispute the Precept. He confesses this is the way to
+be a Christian: But for all that he _should hardly trust him for a Friend_.
+And why so? Because the Italian Proverb says, _He that forgives the second
+time is a Fool._[128] This Lewd Proverb comes in for Authority, and is a
+piece of very pertinent Blasphemy! Thus in some Peoples _Logick_ one proof
+from Atheism, is worth Ten from the _New Testament_. But here the _Poet_
+argues no better than he Believes. For most certainly, a Christian of all
+others is best qualified for Friendship. For He that loves his Neighbour as
+himself, and carries Benevolence and Good Nature beyond the Heights of
+Philosophy: He that is not govern'd by Vanity, or Design; He that prefers
+his Conscience to his Life, and has Courage to Maintain his Reason; He that
+is thus qualified must be a good Friend; And he that falls short, is no
+good Christian. And since the _Poet_ is pleas'd to find fault with
+Christianity, let us examine his own Scheme. _Our Minds (says he) are
+perpetually wrought on by the Temperament of our Bodies, which makes me
+suspect they are nearer Allyed than either our Philosophers, or School
+Divines will allow them to be._[129] The meaning is, he suspects our Souls
+are nothing but Organiz'd Matter. Or in plain English, our _Souls_ are
+nothing but our Bodies. And then when the Body dies you may guess what
+becomes of them! Thus the Authorities of Religion are weaken'd, and the
+prospect of the other World almost shut up. And is this a likely
+Supposition for Sincerity and good Nature? Do's Honour use to rise upon the
+Ruines of Conscience? And are People the best Friends where they have the
+least Reason to be so? But not only the Inclinations to Friendship must
+Languish upon this Scheme, but the very Powers of it are as it were
+destroy'd. By this Systeme no Man can say his Soul is his own. He can't be
+assured the same Colours of Reason and Desire will last. Any little
+Accident from _without_ may metamorphose his Fancy, and push him upon a new
+set of Thoughts. _Matter_ and _Motion_ are the most Humorsom Capricious
+Things in Nature; and withall, the most Arbitrary and uncontroll'd. And can
+Constancy proceed from Chance, Choice from Fate, and Virtue from Necessity?
+In short a Man at this rate must be a Friend or an Enemy in spite of his
+Teeth, and just as long as the _Atoms_ please and no longer. Every Change
+in _Figure_ and _Impulse_, must alter the Idea, and wear off the former
+Impression. So that by these Principles, Friendship will depend on the
+_Seasons_, and we must look in the _Weather Glass_ for our Inclinations.
+But this 'tis to Refine upon Revelation, and grow wiser than Wisdom! The
+same Author in his Dedication of _Juvenal_ and _Persius_, has these words:
+_My Lord, I am come to the last Petition of_ Abraham;[130] _If there be ten
+Righteous Lines in this vast Preface, spare it for their sake; and also
+spare the next City because it is but a little one_. Here the Poet stands
+for _Abraham_; and the Patron for God Almighty: And where lies the Wit of
+all this? In the Decency of the Comparison? I doubt not. And for the _next
+City_ he would have spared, he is out in the Allusion. 'Tis no _Zoar_, but
+much rather _Sodom_ and _Gomorrah_, Let them take care the Fire and
+Brimstone does not follow: And that those who are so bold with _Abraham_'s
+Petition, are not forced to that of _Dives_. To beg Protection for a Lewd
+Book in _Scripture Phrase_, is very extraordinary! 'Tis in effect to
+Prostitute the Holy Rhetorick, and send the _Bible_ to the _Brothell_! I
+can hardly imagin why these Tombs of Antiquity were raked in, and
+disturb'd? Unless it were to conjure up a departed Vice, and revive the
+Pagan Impurities: Unless it were to raise the Stench of the Vault, and
+Poyson the Living with the Dead. Indeed _Juvenal_ has a very untoward way
+with him in some of his Satyrs. His Pen has such a Libertine stroak that
+'tis a Question whether the Practise, or the Reproof, the Age, or the
+Author, were the more Licentious. He teaches those Vices he would correct,
+and writes more like a Pimp, than a _Poet_. And truly I think there is but
+little of Lewdness lost in the _Translation_. The Sixth and Eleventh
+_Satyrs_ are Particularly remarkable. Such nauseous stuff is almost enough
+to debauch the _Alphabet_, and make the Language scandalous. One would
+almost be sorry for the privilege of _Speech_, and the Invention of
+_Letters_, to see them thus wretchedly abused. And since the Business must
+be undertaken, why was not the Thought Blanched, the Expression made
+remote, and the ill Features cast into shadows? I'm mistaken if we have not
+Lewdness enough of our own Growth, without Importing from our Neighbours.
+No. This can't be. An Author must have Right done him, and be shown in his
+own shape, and Complexion. Yes by all means! Vice must be disrobed, and
+People poyson'd, and all for the sake of Justice! To do Right to such an
+Author is to burn him. I hope Modesty is much better than Resemblance. The
+Imitation of an ill Thing is the worse for being exact: And sometimes to
+report a Fault is to repeat it.
+
+To return to his _Plays_. In _Love Triumphant_, _Garcia_ makes _Veramond_
+this Compliment:
+
+  _May Heaven and your brave Son, and above all,
+  Your own prevailing Genius guard your Age._[131]
+
+What is meant by his Genius, in this place, is not easy to Discover, only
+that 'tis something which is a better Guard than Heaven. But 'tis no Matter
+for the Sense, as long as the Profaness is clear. In this _Act_, Colonel
+_Sancho_ lets _Carlos_ know the old Jew is dead, which he calls good news.
+
+Carl. _What Jew?_
+
+Sanch. _Why the rich Jew my Father. He is gone to the Bosom, of_ Abraham
+_his Father, and I his Christian Son am left sole Heir_.[132] A very
+mannerly Story! But why does the Poet acquaint us with _Sanchos_ Religion?
+The case is pretty plain: 'tis to give a lustre to his Profaness, and make
+him burlesque St. _Luke_ with the better Grace. _Alphonso_ complains to
+_Victoria_ that _Nature doats with Age_.[133] His reason is, because
+Brother and Sister can't Marry as they did at first: 'Tis very well! We
+know what _Nature_ means in the Language of Christianity, and especially
+under the Notion of a Law-giver. _Alphonso_ goes on, and compares the
+Possession of Incestuous Love to Heaven. Yes, 'tis _Eternity in
+Little_.[134]
+
+It seems Lovers must be distracted or there's no diversion. A Flight of
+Madness like a Faulcons _Lessening_, makes them the more gaz'd at! I am now
+coming to some of the Poets Divinity. And here _Vengeance is said to be so
+sweet a Morsel_,
+
+  _That Heaven reserves it for its proper Tast._[135]
+
+This belike is the meaning of those Texts, _that God is good and Gracious,
+and slow to anger, and does not willingly afflict the Children of Men_!
+From expounding the Bible he goes to the _Common Prayer_. And as _Carlos_
+interprets the _Office_ of _Matrimony_, For Better, for Worse, is _for
+Virgin for Whore_;[136] And that the Reference might not be mistaken, the
+Poet is careful to put the Words in _Italick_, and great Letters. And by
+the way, He falls under the _Penalty_ of the Statute for Depraving the
+_Common Prayer_.[137]
+
+_Sancho_ upon reading a Letter which he did not like, cries _Damn it, it
+must be all Orthodox_.[138] _Damn_ and _Orthodox_ clapt together, make a
+lively Rant, because it looks like Cursing the _Creeds_. The most
+extraordinary passage is behind; _Sancho_ was unhappily Married: _Carlos
+tells him, For your Comfort, Marriage they say is Holy. Sancho_ replies:
+_Ay, and so is Martyrdom as they say, but both of them are good for just
+nothing, but to make an end of a Mans Life_.[139] I shall make no
+Reflections upon This: There needs no Reading upon a Monster: 'Tis shown
+enough by its own Deformity. _Love for Love_ has a Strain like this, and
+therefore I shall put them together: _Scandal_ solicits Mrs. _Foresight_;
+She threatens to tell her Husband. He replys, _He will die a Martyr rather
+then disclaim his Passion_.[140] Here we have Adultery dignified with the
+stile of Martyrdom: As if 'twas as Honourable to perish in Defence of
+Whoring, as to dye for the Faith of Christianity. But these _Martyrs_ will
+be a great while in burning, And therefore let no body strive to grace the
+Adventure, or encrease the Number. And now I am in this _Play_ the Reader
+shall have more. _Jeremy_ who was bred at the University, calls the Natural
+Inclinations to Eating and Drinking, _Whoreson Appetites_. This is strange
+Language! The _Manicheans_ who made Creation the work of the Devil, could
+scarcely have been thus Coarse.[141] But the _Poet_ was _Jeremy's_ Tutor,
+and so that Mystery is at an end. Sr. _Samson_ carries on the
+Expostulation, rails at the Structure of Human Bodies, and says,[142]
+_Nature has been Provident only to Bears, and Spiders_; This is the Authors
+Paraphrase on the 139 _Psalm_; And thus he gives God thanks for the
+Advantage of his Being! The _Play_ advances from one wickedness to another,
+from the _Works_ of God, to the Abuse of his Word. Foresight _confesses
+'tis Natural for Men to mistake_.[143] Scandal _replies, You say true, Man
+will err, meer Man will err----but you are something more----There have
+been wise Men; but they were such as you----Men who consulted the Stars,
+and, were observers of Omens_----Solomon _was wise but how?----by his
+judgment in Astrology._ 'Tis very well! _Solomon_ and _Foresight_ had their
+Understandings qualified alike. And pray what was _Foresight_? Why an
+_Illiterate Fellow_. _A pretender to Dreams, Astrology, Palmistry_ &c. This
+is the _Poets_ account of _Solomon's_ Supernatural Knowledge![144] Thus the
+wisest Prince is dwindled into a Gypsie! And the Glorious Miracle resolved
+into Dotage, and Figure-flinging! _Scandal_ continues his Banter, and says,
+the _wise Men of the East owed their Instruction to a Star; which is
+rightly observ'd by_ Gregory _the Great in favour of Astrology_. This was
+the Star which shone at our Saviour's Birth. Now who could imagine by the
+Levity of the occasion, that the Author thought it any better than an
+_Ignis Fatuus_, or _Sydrophel's_ Kite in _Hudibras_? Sr. _Sampson_ and the
+fine _Angelica_, after some lewd raillery continue the Allegory, and drive
+it up into Profaness. For this reason the Citation must be imperfect.
+
+_Sr._ Samps. Sampson'_s a very good Name for----your_ Sampsons _were strong
+Dogs from the Beginning_.[145]
+
+Angel. _Have a care----If you remember the strongest_ Sampson _of your
+Name, pull'd an old House over his Head at last_. Here you have the Sacred
+History burlesqu'd, and _Sampson_ once more brought into the House of
+_Dagon_, to make sport for the _Philistines_! To draw towards an end of
+this _Play. Tattle_ would have carried off _Valentine_'s Mistress. This
+later, expresses his Resentment in a most Divine manner! Tattle _I thank
+you, you would have interposed between me and Heaven, but Providence has
+laid Purgatory in your way_.[146] Thus Heaven is debas'd into an Amour, and
+Providence brought in to direct the Paultry concerns of the _Stage!
+Angelica_ concludes much in the same strain: _Men are generally Hypocrites
+And Infidels, they pretend to Worship, but have neither Zeal, nor Faith;
+How few like_ Valentine _would persevere unto Martyrdom? &c._[147] Here you
+have the Language of the _Scriptures_, and the most solemn Instances of
+Religion, prostituted to Courtship and Romance! Here you have a Mistress
+made God Almighty, Ador'd with Zeal and Faith, and Worship'd up to
+Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady
+to say of her self. And had it not been for the profane Allusion, would
+have been cold enough in all Conscience.
+
+The _Provok'd Wife_ furnishes the Audience with a Drunken Atheistical
+Catch: 'Tis true this Song is afterwards said to be _Full of Sin and
+Impudence_.[148] But why then was it made? This Confession is a miserable
+_Salvo_; And the Antidote is much weaker than the Poyson: 'Tis just as if a
+Man should set a House in a Flame, and think to make amends by crying
+_Fire_ in the Streets. In the last _Act Rasor_ makes his Discovery of the
+Plot against _Belinda_ in _Scripture_ phrase. I'le give it the _Reader_ in
+the Authors Dialogue.
+
+Belind. _I must know who put you upon all this Mischief._[149]
+
+Rasor. _Sathan And his Equipage. Woman tempted me, Lust weaken'd,----And so
+the Devil overcame me: As fell_ Adam _so fell I_.
+
+Belind. _Then pray Mr._ Adam _will you make us acquainted with your_ Eve?
+
+_Rasor_ unmasks _Madamoselle_ and says, _This is the Woman that tempted me:
+But this is the Serpent_ (meaning Lady _Fanciful_) _that tempted the Woman;
+And if my Prayers might be heard, her punishment for so doing should be
+like the Serpents of old, &c._ This _Rasor_ in what we hear of him before,
+is all Roguery, and Debauch: But now he enters in _Sackcloth_; and talks
+like _Tribulation_ in the _Alchemist_. His Character is chang'd to make him
+the more profane; And his Habit, as well as Discourse, is a Jest upon
+Religion. I am forced to omit one Line of his Confession. The Design of it
+is to make the _Bible_ deliver an obscene Thought: And because the Text
+would not bend into a Lewd Application; He alters the words for his
+purpose, but passes it for Scripture still. This sort of Entertainment is
+frequent in the _Relapse_. Lord _Foplington_ laughs at the publick
+Solemnities of Religion, as if 'twas a ridiculous piece of Ignorance, to
+pretend to the Worship of a God. He discourses with _Berinthia_ and
+_Amanda_ in this manner[150]: _Why Faith Madam,----Sunday is a vile Day, I
+must confess. A man must have very little to do at Church that can give an
+account of the Sermon._ And a little after: _is to mind what one should not
+do. Lory_ tells young _Fashion, I have been in a lamentable Fright ever
+since that Conscience had the Impudence to intrude into your Company_. His
+Master makes him this Comfortable Answer. _Be at peace, it will come no
+more:----I have kick'd it down stairs._ A little before he breaks out into
+this Rapture. Now Conscience I defie thee![151] By the way we may observe,
+that this young _Fashion_ is the _Poets_ Favorite.[152] _Berinthia_ and
+_Worthy_, two _Characters_ of Figure, determine the point thus in defence
+of Pimping.
+
+Berinth. _Well, I would be glad to have no Bodies Sins to answer for but my
+own. But where there is a necessity_----[153]
+
+Worth. _Right as you say, where there is a Necessity; A Christian is bound
+to help his Neighbour._
+
+_Nurse_, after a great deal of Profane Stuff concludes her expostulation in
+these words: _But his Worship_ (_Young_ Fashion) _over-flows with his Mercy
+and his Bounty; He is not only pleas'd to forgive us our Sins----but which
+is more than all, has prevail'd with me to become the Wife of thy
+Bosom_:[154] This is very heavy, and ill dress'd. And an Atheist must be
+sharp set to relish it. The Vertuous _Amanda_, makes no scruple to charge
+the Bible with untruths.
+
+  --_What Slippery stuff are Men compos'd of?
+  Sure the Account of their Creation's false,
+  And 'twas the Womans Rib that they were form'd of._[155]
+
+Thus this Lady abuses her self, together with the Scripture, and shews her
+Sense, and her Religion, to be much of a Size.
+
+_Berinthia_, after she has given in a Scheme for the debauching _Amanda_,
+is thus accosted by _Worthy_: _Thou Angel of Light, let me fall down and,
+adore thee_![156] A most Seraphick Compliment to a Procuress! And 'tis
+possible some Angel or other, may thank him for't in due time.
+
+I am quite tired with these wretched Sentences. The sight indeed is
+horrible, and I am almost unwilling to shew it. However they shall be
+Produced like Malefactors, not for Pomp, but Execution. Snakes and Vipers,
+must sometimes be look'd on, to destroy them. I can't forbear expressing my
+self with some warmth under these Provocations. What Christian can be
+unconcern'd at such intolerable Abuses? What can be a juster Reason for
+indignation than Insolence and Atheism? Resentment can never be better
+shown, nor Aversion more seasonably exerted! Nature made the Ferment and
+Rising of the Blood, for such occasions as This. On what unhappy Times are
+we fallen! The Oracles of Truth, the Laws of Omnipotence, and the Fate of
+Eternity are Laught at and despis'd! That the _Poets_ should be suffer'd to
+play upon the _Bible_, and Christianity be Hooted off the _Stage_!
+Christianity that from such feeble beginings made so stupendious a
+progress! That over-bore all the Oppositions of Power, and Learning; and
+with Twelve poor Men, outstretch'd the Roman Empire. That this glorious
+Religion so reasonable in its Doctrine, so well attested by Miracles, by
+Martyrs, by all the Evidence that _Fact_ is capable of, should become the
+Diversion of the Town, and the Scorn of Buffoons! And where, and by whom is
+all this Out-rage committed? why not by _Julian_, or _Porphirie_, not among
+Turks or Heathens, but in a Christian Country, in a Reform'd Church, and in
+the Face of Authority! Well! I perceive the Devil was a Saint in his
+_Oracles_, to what he is in his _Plays_. His Blasphemies are as much
+improv'd as his Stile, and one would think the Muse was _Legion_! I suppose
+the _Reader_ may be satisfied already: But if he desires farther proof,
+there's something more flamingly impious behind.
+
+The Christian _Almeida_ when _Sebastian_ was in danger, Raves and Foames
+like one Possess'd,
+
+  _But is there Heaven, for I begin to doubt?[157]
+  Now take your swing ye impious Sin unpunish'd,
+  Eternal Providence seems over watch'd,
+  And with a slumbring Nod assents to Murther._
+
+In the next _page_, she bellows again much after the same manner. The
+_Double Dealer_ to say the least of him, follows his Master in this Road,
+_Passibus aequis_. Sr. _Paul Plyant_ one would think had done his part: But
+the ridiculing _Providence_ won't satisfie all People: And therefore the
+next attempt is somewhat bolder.
+
+_Sr._ Paul. _Hold your self contented my Lady_ Plyant,----_I find Passion
+coming upon me by Inspiration_.[158] In _Love Triumphant_, _Carlos_ is by
+the Constitution of the _Play_ a Christian;[159] and therefore must be
+construed in the sense of his Religion. This Man blunders out this horrible
+expression. _Nature has given me my Portion in Sense with a P---- to her.
+&c._ The _Reader_ may see the Hellish Syllable at Length if he pleases.
+This Curse is borrow'd for _Young Fashion_ in the _Relapse_.[160] The
+_Double Dealer_ is not yet exhausted. _Cynthia the Top Lady grows
+Thoughtful._ Upon the question she relates her Contemplation. Cynth. _I am
+thinking (says she) that tho' Marriage makes Man and Wife one Flesh, it
+leaves them two Fools._[161] This Jest is made upon a Text in
+_Genesis_,[162] and afterwards applyed by our Saviour to the case of
+Divorse. _Love for Love_ will give us a farther account of this Authors
+Proficiency in the _Scriptures_. Our Blessed Saviour affirms himself _to be
+the Way, the Truth, and the Light, that he came to bear witness to the
+Truth, and that his Word is Truth_. These expressions were remembred to
+good purpose. For _Valentine_ in his pretended Madness tells _Buckram_ the
+Lawyer; _I am Truth,----I am Truth----Who's that, that's out of his way, I
+am Truth, and can set him right._[163] Now a _Poet_ that had not been
+smitten with the pleasure of Blasphemy, would never have furnish'd Frensy
+with Inspiration; nor put our Saviours Words in the Mouth of a Madman.
+_Lady Brute_, after some struggle between Conscience and Lewdness, declares
+in Favour of the later. She says the _part of a downright Wife is to
+Cuckold her Husband_.[164] And tho' this is _against the strict Statute Law
+of Religion, yet if there was a Court of Chancery in Heaven, she should be
+sure to cast him_.[165]
+
+This Brass is double guilt. _First_, It supposes no Equity in Heaven. And
+_Secondly_, If there was, _Adultery_ would not be punish'd! The _Poet_
+afterwards acquaints us by this Lady, that Blasphemy is no Womans Sin.[166]
+Why then does she fall into it? Why in the mid'st of Temper and Reasoning?
+What makes him break in upon his own Rules? Is Blasphemy never unseasonable
+upon the Stage, And does it always bring its excuse along with it? The
+_Relapse_ goes on in the same strain. When Young _Fashion_ had a prospect
+of cheating his Elder Brother, he tells _Lory, Providence thou see'st at
+last takes care of Men of Merit.[167] Berinthia_ who has engag'd to corrupt
+_Amanda_ for _Worthy_; attacks her with this Speech, _Mr_. Worthy _used you
+like A Text, he took you all to peices_,[168] and it seems was particular
+in her Commendation, Thus she runs on for several Lines, in a Lewd, and
+Profane Allegory. In the Application she speaks out the Design, and
+concludes with this pious Exhortation! _Now consider what has been said,
+and Heaven give you Grace to put it in practise_; that is to play the
+Whore. There are few of these last Quotations, but what are plain
+Blasphemy, and within the _Law_. They look reeking as it were from
+_Pandaemonium_, and almost smell of Fire and Brimstone. This is an Eruption
+of Hell with a witness! I almost wonder the smoak of it has not darken'd
+the Sun, and turn'd the Air to Plague and Poyson! These are outrageous
+Provocations; Enough to arm all Nature in Revenge; To exhaust the
+Judgments, of Heaven, and sink the _Island_ in the Sea! What a spite have
+these Men to the God that made them. How do They Rebell upon his Bounty,
+and attack him with his own Reason? These Giants in Wickedness, how would
+they ravage with a Stature Proportionable? They that can Swagger in
+Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had
+Strength to their Good-Will? And what can be the Ground of this Confidence,
+and the Reason of such horrid Presumption? Why the _Scripture_ will best
+satisfie the question. _Because sentence against An Evil work is not
+excuted speedily, therefore the heart of the Sons of Men, is fully set in
+them to do Evil._[169]
+
+Clemency is weakness with some People; _And the Goodness of God which
+should lead them to Repentance, does but harden them the more_. They
+conclude he wants Power to punish, because he has patience to forbear.
+Because there is a Space between Blasphemy and Vengeance; and they don't
+perish in the Act of Defiance; Because they are not blasted with Lightning,
+transfixt with Thunder, and Guarded off with Devils, they think there's no
+such matter as a day of Reckoning. _But let no Man be Deceiv'd, God is not
+mock'd_;[170] not without danger they may be assur'd. Let them retreat in
+time, before the _Floods run over them_: Before they come to that place,
+where Madness will have no Musick, nor Blasphemy any Diversion.
+
+And here it may not be amiss to look a little into the Behaviour of the
+_Heathens_. Now 'tis no wonder to find them run riot upon this Subject. The
+Characters of their Gods were not unblemish'd. Their prospect of the other
+World, was but dim; neither were they under the Terrors of _Revelation_.
+However, they are few of them so bad as the _Moderns_.
+
+_Terence_ does not run often upon this rock. 'Tis true _Chaerea_ falls into
+an ill Rapture after his Success.[171] _Chremes_ bids his Wife not tire the
+Gods with Thanks:[172] And _Aeschinus_ is quite sick of the Religious part
+of the Weding.[173] These Instances; excepting his Swearing, are the most,
+(and I think near all the) exceptionable Passages of this _Author_.
+
+_Plautus_ is much more bold. But then his sally's are generally made by
+_Slaves_ and _Pandars_.
+
+This makes the Example less dangerous, and is some sort of extenuation. I
+grant this imperfect excuse wont serve him always. There are some Instances
+where his _Persons_ of better Figure are guilty of lewd Defences, Profane
+Flights, and Sawcy Expostulation.[174] But the _Roman_ Deities were
+_Beings_ of ill Fame, 'tis the less wonder therefore if the _Poets_ were
+familiar with them. However, _Plautus_ has something good in him, and
+enough to condemn the Practise. _Pleusides would gladly have had the Gods
+changed the method of Things, in some Particulars. He would have had frank
+good Humour'd People long live'd, and close-fisted Knaves die Young._ To
+this _Periplectimenes_ Gravely answers, _That 'tis great Ignorance, and
+Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of
+them_.[175] In his _Pseudolus_ the Procurer _Ballio_ talks Profanely. Upon
+which _Pseudolus_ makes this Reflection. _This Fellow makes nothing of
+Religion, how can we trust him in other matters? For the Gods whom all
+People have the greatest reason to fear, are most slighted by him._[176]
+
+The Greek Tragedians are more staunch, and write nearer the Scheme of
+Natural Religion. 'Tis true, they have some bold expressions: But then they
+generally reprove the Liberty, and punish the Men. _Prometheus_ in
+_Aeschylus_ blusters with a great deal of Noise, and Stubborness.[177] He
+is not for changing Conditions with _Mercury_: And chuses rather to be
+miserable, than to submit even to _Jupiter_ himself. The _Chorus_ rebuke
+him for his Pride, and threaten him with greater Punishment. And the _Poet_
+to make all sure brings him to Execution before the end of the _Play_. He
+discharges Thunder and Lightning at his Head; shakes his Rock with an
+Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of
+Nature to make him an example. In his _Expedition against Thebes_,
+_Eteocles_ expects _Capaneus_ would be destroy'd for his Blasphemies.[178]
+Which happen'd accordingly. On the other hand; _Amphiaraus_ being a person
+of Virtue, and Piety, they are afraid least he should succeed. _For a
+Religious Enemy is almost invincible._[179] _Darius_'s Ghost lays
+_Xerxes_'s ruin upon the excess of his Ambition, _'Twas, because he made a
+Bridge over the_ Hellespont, _used_ Neptune _contumeliously, and, thought
+himself Superiour to Heaven._[180] This Ghost tells the _Chorus that the
+Persian Army miscarried for the out-rages they did to Religion, for
+breaking down the Altars, and plundering the Gods_.[181]
+
+_Ajax_'s Distraction is represented as judicial in _Sophocles_. 'Twas
+inflicted for his _Pride_ and _Atheism_.[182] 'When his Father bid him be
+brave but Religious withall, he haughtily replyed that 'twas, for Cowards
+to beg the Assistance of the Gods; as for his part, he hoped to Conquer
+without them. And when _Minerva_ encouraged him to charge the Enemy,
+
+  [Greek: To t' antiphonei deinon arreton t' epos,]
+
+'He made her this Lewd and insufferable Answer. Pray withdraw, and give
+your Countenance elswhere, I want no Goddesses to help me do my Business.
+This Insolence made _Minerva_ hate him; and was the cause of his Madness
+and self Murther.' To proceed. The _Chorus_ condemns the Liberty of
+_Jocasta_, who obliquely charged a Practise upon the _Oracle_:[183] Tho'
+after all, she did not tax _Apollo_, but his Ministers.
+
+The same _Chorus_ recommends Piety, and Relyance upon the Gods, and
+threatens Pride and Irreligion with Destruction. In _Antigone_,[184]
+_Tiresias_ advises _Creon_ to wave the Rigour of his _Edict_, And not let
+the Body of _Polynices_ lie unburied, and expos'd. He tells him the Altars
+were already polluted with Humane Flesh. This had made the Language of the
+Birds unintelligible, and confounded the marks of _Augury_.[185] _Creon_
+replies in a rage, and says he would not consent to the Burial of
+_Polynices_: No, tho' 'twere to prevent the Eagle's throwing part of the
+Carkass in _Jove_'s _Chair_ of _State_. This was a bold Flight; but 'tis
+not long before he pays for't. Soon after, his Son, and Queen, kill
+themselves. And in the close the Poet who speaks in the _Chorus_, explains
+the Misfortune, and points upon the Cause, and affirms that _Creon_ was
+punish'd for his Haughtiness and Impiety. To go on to his _Trachiniae_.
+_Hercules_ in all the extremity of his Torture does not fall foul upon
+Religion. 'Tis true, He shows as much Impatience as 'tis possible. His
+Person, his pain, and the Occasion of it, were very extraordinary. These
+circumstances make it somewhat natural for him to complain above the common
+rate. The Greatness of his Spirit, the Feavour of his Blood, and the Rage
+of his Passion, could hardly fail of putting Force, and Vehemence into his
+Expressions. Tho' to deal clearly he seems better furnish'd with Rhetorick,
+than true Fortitude.[186] But after all, his Disorders are not altogether
+ungovern'd. He is uneasy, but not impious, and profane.
+
+I grant _Hercules Oeteus_ in _Seneca_, swaggers at a strange Rhodomontading
+rate. But the Conduct of this Author is very indifferent. He makes a meer
+_Salamander_ of his _Hero_, and lets him declaim with too much of Length,
+Curiosity and Affectation, for one in his Condition: He harangues it with
+great plenty of Points, and Sentences in the Fire, and lies frying, and
+Philosophizing for near a hundred Lines together. In fine, this Play is so
+injudiciously manag'd, that _Heinsius_ is confident 'twas written by
+neither of the _Seneca's_, but by some later Author of a lower _Class_. To
+return to _Sophocle_'s _Trachiniae_. _Hyllus_ reproaches the Gods with
+Neglect, because they gave _Hercules_ no Assistance, and glances upon
+_Jupiter_ himself.[187] This sally is not so thoroughly corrected as
+formerly. 'Tis true the _Chorus_ make some little satisfaction immediately
+after. They resolve all surprizes of Misfortune, all Revolutions of States
+or Families, into the will and Permission of _Jupitur_. This by
+implication, They make an argument for acquiescence. Besides, the Poet had
+laid in a sort of caution against Misconstruction before. For the
+_Messenger_ tells _Dejaneira_ that we ought not to Murmur at the Conduct of
+_Jupiter_.[188]
+
+  ----[Greek: Tou logou d' ou chre Phthonon]
+  [Greek: Gonai proseinai Zeus hotou praktor phane.]
+
+This for a Heathen is something tho' not enough, _Cleomenes_'s Rant seems
+an imitation of _Hyllus_, Only 'tis bolder, and has nothing of the rashness
+of Youth to excuse it.[189] Besides _Sophocles_ throws in somewhat by way
+of Preservative. Whereas in _Cleomenes_ the Boy _Cleonidas_ has the better
+on the wrong side, and seems to carry the cause of Atheism against his
+Father.[190] This _Scene_ of a _Famine_ Mr. _Dryden_ calls a Beauty; and
+yet Methinks _Cleora_ is not very Charming! Her part is to tell you the
+Child suck'd to no purpose.
+
+  _It pull'd and pull'd but now but nothing came,
+  At last it drew so hard that the Blood follow'd.
+  And that Red Milk I found upon its Lips,
+  Which made me swoon for Fear._[191]
+
+There's a Description of Sucking for you! And truly one would think the
+Muse on't were scarsely wean'd. This Lady's fancy is just
+_Slip-Stocking-high_; and she seems to want Sense, more than her Breakfast.
+If this Passage would not shine, the Poet should have let it alone. 'Tis
+_Horace_'s advice.
+
+                    ----_et quae
+  Desperes tractata nitescere posse relinquas._[192]
+
+The greatest part of the Life of this _Scene_ is spent in impious Rants,
+and Atheistical Disputes. To do the Author right, his _Characters_ never
+want Spirits for such Service, either full or Fasting. Some people love to
+say the worst Things in the best manner; To perfume their Poysons, and give
+an Air to Deformity.
+
+There is one ill Sentence in _Sophocles_ behind. _Philoctetes_ calls the
+Gods [Greek: Kakoi], and Libells their Administration.[193] This Officer we
+must understand was left upon a Solitary Island, ill used by his Friends,
+and harrass'd with Poverty and Ulcers, for Ten years together. These, under
+the Ignorance of Paganism, were trying Circumstances, and take off somewhat
+of the Malignity of the Complaint. Afterwards He seems to repent,[194] and
+declares his Assurance that the Gods will do Justice, and prays frequently
+to them. The Conclusion of this Play is remarkably Moral. Here _Hercules_
+appears in _Machine_; aquaints _Philoctetes_ with his own glorious
+Condition; That his Happiness was the Reward of Virtue, and the Purchase of
+Merit. He charges him to pay a due regard to Religion; For Piety would
+recommend him to _Jupiter_ more than any other Qualification. It went into
+the other World with People and they found their Account in't both Living
+and Dead.[195]
+
+Upon the whole; The _Plays_ of _Aeschylus_ and _Sophocles_ are formed upon
+Models of Virtue: They joyn Innocence with Pleasure, and design the
+Improvement, of the _Audience_.
+
+In _Euripides's Bacchae, Pentheus_ is pull'd in pieces for using _Bacchus_
+with Disrespect. And the _Chorus_ observes that God never fails to punish
+Impiety, and Contempt of Religion.[196] _Polyphemus_ blusters
+Atheistically, and pretends to be as great as _Jupiter_: But then his Eye
+is burnt out in the fifth Act.[197] And the _Chorus_ in _Heraclidae_ affirm
+it next to Madness not to worship the Gods. I grant he has some profane
+Passages stand uncorrected, and what wonder is it to see a _Pagan_
+Miscarry? _Seneca_, as he was inferiour in Judgment to the _Greeks_, so he
+is more frequent, and uncautious, in his Flights of extravagance. His
+Hero's and Heroines, are excessively bold with the Superior Beings. They
+rave to Distraction, and he does not often call them to an account for't.
+'Tis true _Ajax Oileus_ is made an Example for Blaspheming in a Storm. He
+is first struck with Thunder, and then carried to the Bottom.[198] The
+Modern _Poets_, proceed upon the Liberties of _Seneca_, Their Madmen are
+very seldom reckon'd with. They are profane without Censure, and defie the
+_Living God_ with success. Nay, in some respect they exceed even _Seneca_
+himself. He flies out only under Impatience; And never falls into these
+Fits without Torture, and hard Usage. But the _English Stage_ are
+unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But
+supposing the _Theatres_ of _Rome_, and _Athens_ as bad as possible, what
+Defence is all This? Can we argue from _Heathenism_ to _Christianity_? How
+can the _practise_ be the same, where the _Rule_ is so very different? Have
+we not a clearer Light to direct us, and greater Punishments to make us
+afraid. Is there no Distinction between Truth and Fiction, between Majesty
+and a Pageant? Must God be treated like an Idol, and the _Scriptures_
+banter'd like _Homers Elysium_, and _Hesiods Theogonia_? Are these the
+Returns we make Him for his Supernatural Assistance? For the more perfect
+Discovery of Himself, the stooping of his Greatness, and the Wonders of his
+Love. Can't we refuse the Happiness without affronting the Offer? Must we
+add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no
+Diversion without Insulting the God that made us, the Goodness that would
+save us, and the Power that can damn us? Let us not flatter our selves,
+_Words_ won't go for Nothing. Profaness is a most Provoking Contempt, and a
+Crime of the deepest dye. To break through the Laws of a Kingdom is bad
+enough; But to make _Ballads_ upon the _Statute-Book_, and a Jest of
+Authority, is much worse. Atheists may fancy what they please, but God will
+_Arise and Maintain his own Cause_, and Vindicate his Honour in due time.
+
+To conclude. Profaness tho' never so well corrected is not to be endured.
+It ought to be Banish'd without _Proviso_, or Limitation. No pretence of
+_Character_ or Punishment, can excuse it; or any _Stage-Discipline_ make it
+tolerable. 'Tis grating to _Christian_ Ears, dishonourable to the Majesty
+of God, and dangerous in the Example. And in a Word, It tends to no point,
+unless it be to wear off the horrour of the Practise, to weaken the force
+of Conscience, and teach the Language of the Damn'd.
+
+
+
+
+CHAP. III.
+
+_The Clergy abused by the_ Stage.
+
+
+The Satyr of the _Stage_ upon the _Clergy_ is extreamly Particular. In
+other cases, They level at a single Mark, and confine themselves to
+Persons. But here their Buffoonry takes an unusual Compass; They shoot
+Chain'd-shot, and strike at Universals. They play upon the _Character_, and
+endeavour to expose not only the Men, but the Business. 'Tis true, the
+Clergy are no small Rub in the _Poets_ way. 'Tis by their Ministrations
+that Religion is perpetuated, the other World Refresh'd, and the Interest
+of Virtue kept up. Vice will never have an unlimited Range, nor Conscience
+be totally subdued, as long as People are so easy as to be Priest-ridden!
+As long as these Men are look'd on as the Messengers of Heaven, and the
+Supports of Government, and enjoy their old Pretentions in Credit and
+Authority; as long as this Grievance continues, the _Stage_ must decline of
+Course, and Atheism give Ground, and Lewdness lie under Censure, and
+Discouragment. Therefore that Liberty may not be embarrass'd, nor
+Principles make Head against Pleasure, the _Clergy_ must be attack'd, and
+rendred Ridiculous.
+
+To represent a Person fairly and without disservice to his Reputation, two
+Things are to be observ'd. First He must not be ill used by others: Nor
+Secondly be made to Play the Fool Himself. This latter way of Abuse is
+rather the worst, because here a Man is a sort of _Felo de se_; and appears
+Ridiculous by his own fault. The Contradiction of both these Methods is
+practised by the _Stage_. To make sure work on't, they leave no stone
+unturn'd, The whole _Common place_ of Rudeness is run through. They strain
+their Invention and their Malice: And overlook nothing in ill Nature, or
+ill Manners, to gain their point.
+
+To give some Instances of their Civility! In the _Spanish Fryer, Dominick_
+is made a Pimp for _Lorenzo_;[199] He is call'd _a parcel of Holy Guts and
+Garbage_, and said _to have room in his Belly for his Church steeple_.
+
+_Dominick_ has a great many of these Compliments bestow'd upon him. And to
+make the Railing more effectual, you have a general stroke or two upon the
+Profession. Would you know what are the _Infallible Church Remedies_. Why
+'tis to _Lie Impudently_, and _Swear Devoutly_.[200] A little before this
+_Dominick_ Counterfits himself sick, retires, and leaves _Lorenzo_ and
+_Elvira_ together; And then the Remark upon the Intrigue follows. 'You see
+Madam (says _Lorenzo_)[201] 'tis Interest governs all the World. He
+Preaches against Sin, why? Because he gets by't: He holds his Tongue; why?
+because so much more is bidden for his Silence. 'Tis but giving a Man his
+Price, and Principles of _Church_ are bought off as easily as they are in
+_State_: No man will be a Rogue for nothing; but Compensation must be made,
+so much Gold for so much Honesty; and then a Church-man will break the
+Rules of Chess. For the Black Bishop, will skip into the White, and the
+White into the Black, without Considering whether the remove be Lawful.
+
+At last _Dominick_ is discover'd to the Company, makes a dishonourable
+_Exit_, and is push'd off the _Stage_ by the Rabble. This is great Justice!
+The Poet takes care to make him first a Knave, and then an Example: But his
+hand is not even. For Lewd _Lorenzo_ comes off with _Flying Colours_. 'Tis
+not the Fault which is corrected but the Priest. The Authors Discipline is
+seldom without a Biass. He commonly gives the _Laity_ the Pleasure of an
+ill Action, and the _Clergy_ the Punishment.
+
+To proceed. _Horner_ in his general Remarks upon Men, delivers it as a sort
+of Maxim, _that your Church-man is the greatest Atheist_. In this Play
+_Harcourt_ puts on the Habit of a Divine.[202] _Alithea_ does not think him
+what he appears; but _Sparkish_ who could not see so far, endeavours to
+divert her Suspicion. _I tell you (says he) this is Ned_ Harcourt _of_
+Cambridge, _you see he has a sneaking Colledge look_.[203] Afterwards his
+Character is sufficiently abused by _Sparkish_ and _Lucy_; but not so much
+as by Himself.[204] He tells you in an _Aside_ _he must suit his Stile to
+his Coat_. Upon this wise Recollection, He talks like a servile,
+impertinent Fop,
+
+In the _Orphan_, The Young Soldier _Chamont_ calls the Chaplain Sr.
+_Gravity_, and treats him with the Language of _Thee_, and _Thou_. The
+Chaplain instead of returning the Contempt; Flatters _Chamont_ in his
+Folly, and pays a Respect to his Pride. The Cavalier encouraged I suppose
+by this Sneaking, proceeds to all the Excesses of Rudeness,
+
+  ----_is there not one
+  Of all thy Tribe that's Honest in your School?
+  The Pride of your Superiours makes ye Slaves:
+  Ye all live Loathsome, Sneaking, Servile lives:
+  Not free enough to Practise generous Truth,
+  'Tho ye pretend to teach it to the World._[205]
+
+After a little Pause for Breath, the Railing improves.
+
+  _If thou wouldst have me not contemn thy Office,
+  And Character, think all thy Brethren Knaves,
+  Thy Trade a Cheat, and thou its worst Professour
+  Inform me; for I tell thee Priest I'le know._[206]
+
+The Bottom of the Page is down-right Porters Rhetorick.
+
+  _Art thou then
+  So far concern'd in't?----
+  Curse on that formal steady Villains Face!
+  Just so do all Bawds look; Nay Bawds they say;
+  Can Pray upon Occasion; talk of Heaven;
+  Turn up their Gogling Eye-balls, rail at Vice;
+  Dissemble, Lye, and Preach like any Priest,
+  Art thou a Bawd?_[207]
+
+The _Old Batchelour_ has a Throw at the _Dissenting Ministers_. The _Pimp
+Setter_ provides their Habit for _Bellmour_ to Debauch _Laetitia_. The
+Dialogue runs thus.
+
+Bell. _And hast thou Provided Necessaries?_
+
+Setter. _All, all Sir, the large Sanctified Hat, and the little precise
+Band, with a Swingeing long Spiritual Cloak, to cover Carnal Knavery,--not
+forgetting the black Patch which Tribulation_ Spintext _wears as I'm
+inform'd upon one Eye, as a penal Mourning for the----Offences of his
+Youth_ &c.[208]
+
+_Barnaby_ calls another of that Character Mr. _Prig_, and _Fondlewife_
+carrys on the Humour lewdly in _Play-house Cant_; And to hook the _Church_
+of _England_ into the Abuse, he tacks a _Chaplain_ to the End of the
+Description.[209]
+
+_Lucy_ gives an other Proof of the _Poets_ good Will, but all little
+Scurilities are not worth repeating.[210]
+
+In the _Double Dealer_ the discourse between _Maskwell_ and _Saygrace_ is
+very notable. _Maskwell_ had a design to cheat _Mellifont_ of his Mistress,
+and engages the Chaplain in the Intrigue: There must be a _Levite_ in the
+cafe; _For without one of them have a finger in't, no Plot publick, or
+private, can expect to prosper_.[211]
+
+To go on in the order of the _Play_.
+
+_Maskwell_ calls out at _Saygraces door_, Mr. _Saygrace_ Mr. _Saygrace_.
+
+The other answers, _Sweet sir I will but pen the last line of an Acrostick,
+and be with you in the twingling of an Ejaculation, in the pronouncing of
+an_ Amen. _&c._
+
+Mask. _Nay good Mr._ Saygrace _do not prolong the time_, &c.
+
+Saygrace. _You shall prevail, I would break off in the middle of a Sermon
+to do you Pleasure._
+
+Mask. _You could not do me a greater----except----the business in
+hand----have you provided a Habit for Mellifont?_
+
+Saygr. _I have_, &c.
+
+Mask. _have you stich'd the Gownsleeve, that he may be puzled and wast time
+in putting it on?_
+
+Saygr. _I have; the Gown will not be indued without Perplexity._ There is a
+little more profane, and abusive stuff behind, but let that pass.
+
+The Author of _Don Sebastian_ strikes at the _Bishops_ through the sides of
+the _Mufti_, and borrows the Name of the _Turk_, to make the _Christian_
+ridiculous. He knows the transition from one Religion to the other is
+natural, the Application easy, and the Audience but too well prepar'd. And
+should they be at a loss he has elsewhere given them a _Key_ to understand
+him.
+
+  _For Priests of all Religions are the same._[212]
+
+However that the Sense may be perfectly intelligible, he makes the
+Invective General, changes the Language, and rails in the stile of
+Christendom.
+
+_Benducar_ speaks,
+
+  ----_Churchmen tho' they itch to govern all,
+  Are silly, woful, awkard Polititians,
+  They make lame Mischief tho' they mean it well._
+
+So much the better, for 'tis a sign they are not beaten to the Trade. The
+next Lines are an Illustration taken from a _Taylor_.
+
+  _Their Intrest is not finely drawn and hid,
+  But seams are coarsly bungled up and seen._[213]
+
+This _Benducar_ was a rare Spokesman for a first _Minister_; And would have
+fitted _John_ of _Leyden_ most exactly!
+
+In the Fourth _Act_ the Mufti is _Depos'd_ and _Captain Tom_ reads him a
+shrewd Lecture at parting. But let that pass:
+
+To go on, _Mustapha_ threatens his great Patriark to put him to the Rack.
+Now you shall hear what an answer of Fortitude and Discretion is made for
+the _Mufti_.
+
+Mufti. _I hope you will not be so barbarous to torture me. We may Preach
+Suffering to others, but alas holy Flesh is too well pamper'd to endure
+Martyrdom._[214] By the way, if flinching from _Suffering_ is a proof of
+_Holy Flesh_, the _Poet_ is much a Saint in his Constitution, witness his
+_Dedication_ of _King Arthur_.
+
+In _Cleomenes, Cassandra_ rails against Religion at the Altar, and in the
+midst of a publick Solemnity.
+
+  _Accurs'd be thou Grass-eating fodderd God!
+  Accurs'd thy Temple! more accurs'd thy Priests!_[215]
+
+She goes on in a mighty Huff, and charges the Gods and Priesthood with
+Confederacy, and Imposture, This Rant is very unlikely at _Alexandria_. No
+People are more bigotted in their Superstition than the _Aegyptians_; Nor
+any more resenting of such an Affront. This Satyr then must be strangely
+out of Fashion, and probability. No matter for that; it may work by way of
+Inference, and be serviceable at Home. And 'tis a handsom Compliment to
+Libertines and Atheists.
+
+We have much such another swaggering against Priests in _Oedipus_.
+
+  _Why seek I Truth from thee?
+  The smiles of Courtiers and the Harlots tears,
+  The Tradesmens Oaths, and Mourning of an Heir,
+  Are Truths to what Priests tell.
+  O why has Priesthood privilege to Lie,
+  And yet to be believ'd!_[216]
+
+And since They are thus Lively, I have one word or two to say to the
+_Play_.
+
+When _Aegeon_ brought the News of King _Polybus_'s Death, _Oedipus_ was
+wonderfully surpriz'd at the Relation.
+
+  _O all ye Powers is't possible? what, Dead!_[217]
+
+And why not? was the Man invulnerable or immortal? Nothing of that: He was
+only Fourscore and Ten years old, that was his main security. And if you
+will believe the Poet he
+
+  _Fell like Autumn Fruit that mellow'd long,
+  Ev'n wondred at because he dropt no sooner._[218]
+
+And which is more, _Oedipus_ must be acquainted with his Age, having spent
+the greatest part of his time with him at _Corinth_. So that in short, the
+pith of the Story lies in this Circumstance. A Prince of Ninety years was
+dead, and one who was wondred at for dying no sooner. And now why so much
+Exclamation upon this occasion? Why must all the _Powers_ in Being be
+Summon'd in to make the News Credible? This _Posse_ of _Interjections_
+would have been more seasonably raised if the Man had been alive; for that
+by the Poets Confession had been much the stranger Thing. However _Oedipus_
+is almost out of his Wits about the Matter, and is Urgent for an account of
+Particulars.
+
+  _That so the Tempest of my joys may rise
+  By just degrees, and hit at last the Stars._[219]
+
+This is an empty ill proportion'd Rant, and without warrant in Nature or
+Antiquity. _Sophocles_ does not represent _Oedipus_. in such Raptures of
+Extravagant surprize. In the next page there's another Flight about
+_Polybus_ his Death somewhat like This. It begins with a _Noverint
+Universi._ You would think _Oedipus_ was going to make a _Bond_.
+
+  _Know, be it known to the limits of the World_;
+
+This is scarce Sence, be it known.
+
+  _Yet farther, let it pass yon dazling roof
+  The Mansion of the Gods, and strike them deaf
+  With Everlasting peals of Thundring joy._
+
+This Fustian puts me in mind of a _Couplet_ of _Taylors_ the _Water_ Poet,
+which for the Beauty of the Thought are not very unlike.
+
+  _What if A Humble Bee should chance to strike,
+  With the But-End of an Antartick Pole._
+
+I grant Mr. _Dryden_ clears himself of this _Act_ in his _Vindication_ of
+the _Duke_ of _Guise_. But then why did he let these crude Fancies pass
+uncorrected in his Friend? Such fluttering ungovern'd Transports, are
+fitter for a Boys _Declamation_ then a _Tragedy_. But I shall trouble my
+self no farther with this _Play_. To return therefore to the Argument in
+Hand. In the _Provok'd Wife_ Sir _John Brute_ puts on the Habit of a
+Clergyman, counterfeits himself drunk; quarrels with the _Constable_, and
+is knock'd down and seiz'd. He rails, swears, curses, is lewd and profane,
+to all the Heights of Madness and Debauchery: The _Officers_ and _Justice_
+break jests upon him, and make him a sort of Representative of his
+_Order_.[220]
+
+This is rare _Protestant_ Diversion, and very much for the Credit of the
+_Reformation_! The Church of _England_, I mean the Men of Her, is the only
+Communion in the World, that will endure such Insolences as these: The
+_Relapse_ is if possible more singularly abusive. _Bull_ the Chaplain
+wishes the Married couple joy, in Language horribly Smutty and
+Profane.[221] To transcribe it would blot the Paper to much. In the next
+_Page_ _Young Fashion_ desires _Bull_ to make hast to Sr. _Tun-belly_. He
+answers very decently, _I fly my good Lord_.[222] At the end of this _Act
+Bull_ speaks to the Case of _Bigamy_, and determines it thus. _I do confess
+to take two Husbands for the Satisfaction of ---- is to commit the Sin of
+Exorbitancy, but to do it for the peace of the Spirit, is no more then to
+be Drunk by way of Physick; besides to prevent a Parents wrath is to avoid
+the Sin of Disobedience, for when the Parent is Angry, the Child is
+froward_: The Conclusion is insolently Profane, and let it lie: The spirit
+of this Thought is borrow'd from Ben _Johnsons_ _Bartholomew-Fair_, only
+the Profaness is mightily improved, and the Abuse thrown off the _Meeting
+House_, upon the _Church_. The Wit of the _Parents being angry_, and the
+_Child froward_, is all his own.[223] _Bull_ has more of this Heavy stuff
+upon his Hands. He tells _Young Fashion_ _Your Worships goodness is
+unspeakable, yet there is one thing seems a point of Conscience; And
+Conscience is a tender Babe_. &c.[224]
+
+These _Poets_ I observe when They grow lazy, and are inclined to Nonsence,
+they commonly get a Clergy-man to speak it. Thus they pass their own
+Dulness for Humour, and gratifie their Ease, and their Malice at once.
+_Coupler_ instructs _Young Fashion_ which way _Bull_ was to be managed. He
+tells him as _Chaplains go now, he must be brib'd high, he wants Money,
+Preferment, Wine, and a Whore. Let this be procured for him, and I'll
+warrant thee he speaks Truth like an Oracle_.[225]
+
+A few Lines forward, the Rudeness is still more gross, and dash'd with
+Smut, the common _Play-house_ Ingredient. 'Tis not long before _Coupler_
+falls into his old Civilities. He tells _Young Fashion, Last Night the
+Devil run away with the Parson of_ Fatgoose _Living_.[226] Afterwards
+_Bull_ is plentifully rail'd on in down right _Billings-gate_: made to
+appear Silly, Servile, and Profane; and treated both in Posture and
+Language, with the utmost Contempt.[227]
+
+I could cite more _Plays_ to this purpose; But these are sufficient to show
+the Temper of the _Stage_.
+
+Thus we see how hearty these People are in their Ill Will! How they attack
+Religion under every Form, and pursue the Priesthood through all the
+Subdivisions of Opinion. Neither _Jews_ nor _Heathens, Turks_ nor
+_Christians_, _Rome_ nor _Geneva_, _Church_ nor _Conventicle_, can escape
+them. They are afraid least Virtue should have any Quarters undisturbed,
+Conscience any Corner to retire to, or God be Worship'd in any Place. 'Tis
+true their Force seldom carries up to their Malice: They are too eager in
+the Combat to be happy in the the Execution. The Abuse is often both gross
+and clumsey, and the Wit as wretched as the Manners. Nay Talking won't
+always satisfy them. They must ridicule the _Habit_ as well as the
+Function, of the Clergy. 'Tis not enough for them to play the Fool unless
+they do it in _Pontificalibus_. The Farce must be play'd in a Religious
+Figure, and under the Distinctions of their Office! Thus the Abuse strikes
+stronger upon the sense; The contempt is better spread, and the little
+_Idea_ is apt to return upon the same Appearance.
+
+And now does this Rudeness go upon any Authorities? Was the Priesthood
+alwaies thought thus insignificant, and do the Antient Poets palt it in
+this Manner? This Point shall be tried, I shall run through the most
+considerable Authors that the Reader may see how they treat the Argument.
+_Homer_ stands highest upon the Roll, and is the first Poet both in Time,
+and Quality; I shall therefore begin with him. Tis true he wrote no
+_Plays_; but for Decency, Practise, and general Opinion, his Judgment may
+well be taken, Let us see then how the _Priests_ are treated in his _Poem_,
+and what sort of Rank they hold.
+
+_Chryses Apollo_'s Priest appears at a Council of War with his Crown and
+guilt Scepter. He offers a valuable Ransom for his Daughter; and presses
+his Relation to _Apollo_. All the Army excepting _Agamemnon_ are willing to
+consider his Character, and comply with his Proposals. But this _General_
+refuses to part with the Lady, and sends away her Father with disrespect.
+_Apollo_ thought himself affronted with this Usage, and revenges the
+Indignity in a Plague.
+
+  [Greek: Houneka ton Chrysen etimes' aretera][228]
+  [Greek: Atreides.]
+
+_Adrastus_ and _Amphius_ the Sons of _Merops_ a _Prophet_, commanded a
+considerable extent of Country in _Troas_,[229] and brought a Body of Men
+to King _Priam's_ Assistance.[230] And _Ennomus_ the Augur commanded the
+Troops of _Mysia_ for the Besieged.
+
+_Phegeus_ and _Idaeus_ were the Sons of _Dares_ the Priest of
+_Vulcan_.[231] They appear in an Equipage of Quality, and charge _Diomedes_
+the third Hero in the _Grecian_ Army. _Idaeus_ after the Misfortune of the
+Combat, is brought off by _Vulcan_. _Dolopion_ was _Priest_ to
+_Scamander_,[232] and regarded like the God he _Belong'd_ to,
+
+  [Greek: Theos d' hos tieto demo.][233]
+
+_Ulisses_ in his return from _Troy_, took _Ismarus_ by Storm, and makes
+Prize of the whole Town, excepting _Maron_, and his Family. This _Maron_
+was _Apollo's Priest_, and preserv'd out of respect to his Function: He
+presents _Ulisses_ nobly in Gold, Plate, and Wine; And this Hero makes an
+honourable Mention of him, both as to his Quality, and way of Living.[234]
+
+These are all the _Priests_ I find Mentioned in _Homer_; And we see how
+fairly the Poet treats them, and what sort of Figure they made in the
+World.
+
+To the Testimony of _Homer_, I shall joyn that of _Virgil_, who tho' He
+follows at a great distance of Time, was an Author of the first Rank, and
+wrote the same kind of Poetry with the other. Now _Virgil_ tho' he is very
+extraordinary in his Genius, in the Compass of his Learning, in the Musick
+and Majesty of his Stile; yet the exactness of his Judgment seems to be his
+peculiar, and most distinguishing Talent. He had the truest Relish
+imaginable, and always described Things according to _Nature_, _Custom_,
+and _Decency_. He wrote with the greatest Command of _Temper_, and
+_Superiority_ of good _Sense_. He is never lost in smoak and Rapture, nor
+overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at
+the same time. Now this great Master of Propriety never Mentions any
+_Priests_ without some _Marks_ of _Advantage_. To give some Instances as
+they lie in Order.
+
+When the _Trojans_ were consulting what was to be done with the
+_Wooden-Horse_, and some were for lodging it within the Walls; _Laocoon_
+appears against this Opinion at the Head of a numerous Party, harangues
+with a great deal of Sense, and Resolution, and examines the _Machine_ with
+his Lance. In fine, He advised so well, and went so far in the Discovery of
+the Stratagem; that if the _Trojans_ had not been ungovernable, and as it
+were stupified by Fate and Folly, he had saved the Town.[235]
+
+  _Trojaque nunc stares Priamique arx alta maneres_.
+
+This _Laocoon_ was _Neptunes_ Priest, and either Son to _Priam_, or Brother
+to _Anchises_, who was of the Royal Family.[236] The next we meet with is
+_Pantheus Apollo's_ Priest. He is call'd _Pantheus Otriades_, which is an
+argument his Father was well known. His acquaintance with _Aeneas_ to whose
+House he was carrying his little Grandson, argues him to be a Person of
+Condition.[237] _Pantheus_ after a short relation of the Posture of
+Affairs, joyns _Aeneas_'s little Handful of Men, charges in with him when
+the Town was seiz'd, and fired, and at last dies Handsomly in the
+Action.[238]
+
+The next is _Anius_ King of _Delos_, Prince and _Priest_ in one Person.
+
+  _Rex Anius, rex idem hominum Phoebique Sacerdos._[239]
+
+When _Aeneas_ was outed at _Troy_, and in quest of a new Country, he came
+to an Anchor at _Delos_; _Anius_ meets him in a Religious Habit, receives
+him civilly, and obliges him with his _Oracle_.[240] In the Book now
+Mention'd we have another of _Apollo's_ Priests, his name is _Helenus_, Son
+of _Priam_ and King of _Chaonia_. He entertains _Aeneas_ with a great deal
+of Friendship, and Magnificence, gives him many material Directions, and
+makes him a rich Present at parting. To this Prince if you Please we may
+joyn a Princess of the same Profession; and that is _Rhea Silvia_ Daughter
+to _Numitor_ King of _Alba_, and Mother to _Romulus_, and _Remus_. This
+Lady _Virgil_ calls----_regina Sacerdos_ a Royal Priestess.[241] Farther.
+When _Aeneas_ made a Visit upon Business to the _shades Below_, He had for
+his Guide, the famous _Sibylla Cumaea_, who Belong'd to _Apollo_.[242] When
+he came thither amongst the rest of his Acquantance he saw _Polybaetes_ a
+Priest of _Ceres_. This _Polybaetes_ is mention'd with the three Sons of
+_Antenor_, with _Glaucus_, and _Thersilochus_, who Commanded in Cheif in
+the _Trojan Auxiliaries_: So that you may know his Quality by his Company.
+When _Aeneas_ had passed on farther, he saw _Orpheus_ in _Elysium_: The
+Poet calls him the _Thracian_ Priest. There needs not be much said of
+_Orpheus_; He is famous for his skill in Musick, Poetry, and Religious
+Ceremonies,[243] He was one of the Hero's of Antiquity, and a principal
+Adventurer in the Expedition for the _Golden-Fleece_.
+
+In the Seventh _Aeneid_ the Poet gives in a List of the Princes, and
+General Officers who came into the Assistance of _Turnus_; Amongst the rest
+he tells you,
+
+  _Quin & Marrubia venit de gente Sacerdos,
+  Archippi regis missu fortissimus Umbro._
+
+This _Priest_ he commends both for his Courage and his skill in Physick,
+Natural Magick, and Phlosophy. He understood the Virtue of _Plants_, and
+could lay Passions and Poysons asleep. His death was extreamly regretted by
+his Country, who made a Pompous and Solemn Mourning for him.
+
+  _Te nemus Angitiae, vitrea te Fucinus unda,
+  Te liquidi flevere lacus._[244]
+
+The _Potitij_, and the _Pinarij_ Mention'd _Aeneid 8._[245] were as _Livy_
+observes, chosen out of the first Quality of the Country, and had the
+_Priesthood_ hereditary to their Family. To go on, _Aemonides_, and
+_Chloreus_ make a glittering Figure in the _Feild_, and are very remarkable
+for the Curiosity of their Armour, and Habit. _Aemonides_'s _Finery_ is
+passed over in general.
+
+  _Totus collucens veste atque insignibus armis._[246]
+
+But the Equipage of _Chloreus_ is flourish'd out at Length, and as I
+remember admired by _Macrobius_ as one of the Master peices of _Virgil_ in
+Description. In short; He is all Gold, Purple, Scarlet, and
+Embroydery;[247] and as rich as Nature, Art, and Rhetorick can make him. To
+these I might add _Rhamnes_, _Asylas_, and _Tolumnius_, who were all
+Persons of Condition, and had Considerable Posts in the Army.[248]
+
+It may be these last were not strictly _Priests_. Their Function was rather
+_Prophetick_. They interpreted the Resolutions of the Gods, by the voice of
+Birds, the Inspection of Sacrifices, and their Observations of Thunder.
+This made their Character counted Sacred, and their Relation to the Deity
+particular. And therefore the _Romans_ ranged them in the _Order_ of the
+_Priests_.[249]
+
+Thus we see the admired _Homer_, and _Virgil_, always treat the _Priests_
+fairly, and describe them in Circumstances of Credit: If 'tis said that the
+Instances I have given are mostly in Names of _Fiction_, and in Persons who
+had no Being, unless in the Poets fancy. I answer, I am not concern'd in
+the History of the Relation. Whether the Muster is true or false, 'tis all
+one to my purpose. This is certain, had the _Priests_ been People of such
+slender Consideration as our _Stage Poets_ endeavour to make them; they
+must have appear'd in a different Figure; or rather have been left out as
+too little for that sort of _Poem_. But _Homer_ and _Virgil_ had other
+Sentiments of Matters: They were governed by the Reason of Things, and the
+common usage of the World. They knew the _Priesthood_ a very reputable
+Employment, and always esteem'd as such. To have used the _Priests_ ill,
+They must have call'd their own Discretion in question: They must have run
+into impropriety, and fallen foul upon Custom, Manners, and Religion. Now
+'twas not their way to play the Knave and the Fool together: They had more
+Sense than to do a silly Thing, only for the Satisfaction of doing an ill
+one.
+
+I shall now go on to enquire what the Greek _Tragedians_ will afford us
+upon the present Subject. There are but two _Plays_ in _Aeschylus_ where
+the _Ministers_ of the Gods are represented. The one is in his _Eumenides_,
+and here _Apollo_'s _Priestess_ only opens the _Play_ and appears no more.
+The other is in his _Seige_ of _Thebes_. In this Tragedy the _Prophet
+Amphiaraus_ is one of the Seven Commanders against the _Town_. He has the
+Character of a Modest, Brave Officer, and of one who rather affected to be
+great in Action, than Noise.
+
+In _Sophocle_'s _Oedipus Tyrannus_, _Jupiter's Priest_ has a short part. He
+appears at the Head of an _Address_, and delivers the Harangue by the
+King's Order. _Oedipus_ in his Passion treats _Tiresias_ ruggedly;[250]
+_Tiresias_ replies with Spirit and Freedom; and plainly tell him he was
+none of his _Servant_ but _Apollo_'s.
+
+  [Greek: Ou gar ti soi zo doulos alla loxia][251]
+
+And here we may observe that all _Oedipus_ his reproaches relate to
+_Tiresias_'s person, there is no such Thing as a general Imputation upon
+his Function: But the _English Oedipus_ makes the _Priesthood_ an
+Imposturous Profession;[252] and rails at the whole _Order_. In the next
+Tragedy, _Creon_ charges _Tiresias_ with subornation; and that he intended
+to make a Penny of his Prince. The _Priest_ holds up his Character, speaks
+to the ill Usage with an Air of Gravity, calls the King _Son_, and
+foretells him his Misfortune.[253]
+
+To go on to _Euripides_, for _Sophocles_ has nothing more. This Poet in his
+_Phaenissae_ brings in _Tiresias_ with a very unacceptable report from the
+_Oracle_. He tells _Creon_ that either his Son must die, or the City be
+lost. _Creon_ keeps himself within Temper, and gives no ill Language. And
+even when _Moenecius_ had kill'd himself, he neither complains of the Gods,
+nor reproaches the _Prophet_.[254]
+
+In his _Bacchae_, _Tiresias_ is honourably used by _Cadmus_; And _Pentheus_
+who threatned him, is afterwards punish'd for his Impiety.[255] In another
+_Play_ _Apollo_'s _Priestess_ comes in upon a creditable account, and is
+respectfully treated.[256] _Iphigenia_ _Agamemnon_'s Daughter is made
+_Priestess_ to _Diana_; and her Father thought himself happy in her
+Employment.[257] These are all the _Priests_ I remember represented in
+_Euripides_. To conclude the antient _Tragedians_ together: _Seneca_ seems
+to follow the Conduct of _Euripides_, and secures _Tiresias_ from being
+outraged. _Oedipus_ carries it smoothly with him and only desires him to
+out with the Oracle, and declare the Guilty Person. This _Tiresias_
+excuses, and afterwards the Heat of the expostulation falls upon
+_Creon_.[258] _Calchas_ if not strictly a _Priest_, was an _Augur_, and had
+a Religious Relation. Upon this account _Agamemnon_ calls him _interpres
+Deorum_; The Reporter of Fate, and the God's _Nuntio_; And gives him an
+honourable Character.[259]
+
+This Author is done; I shall therefore pass on to the _Comedians_. And
+here, _Aristophanes_ is so declared an Atheist, that I think him not worth
+the citing. Besides, he has but little upon the Argument: And where he does
+engage it, the _Priests_ have every jot as good Quarter as the Gods.[260]
+As for _Terence_, he neither represents any _Priests_, nor so much as
+mentions them. _Chrysalus_ in _Plautus_ describes _Theotimus Diana's
+Priest_, as a Person of Quality, and Figure.[261] In his _Rudens_ we have a
+_Priestess_ upon the _Stage_, which is the only Instance in this
+_Poet_.[262] She entertains the two Women who were wrecked, and is
+commended for her hospitable Temper. The Procurer _Labrax_ swaggers that he
+will force the Temple, and begins the Attack. _Demades_ a Gentleman, is
+surprized at his Insolence, and threatens him with Revenge. The report of
+so bold an attempt made him cry out. _Quis homo est tanta Confidentia; qui
+sacerdotem andeat Violare?_[263] It seems in those Days 'twas very infamous
+to affront a _Holy Character_, and break in upon the _Guards_ of Religion!
+Thus we see how the Antient Poets behaved themselves in the Argument.
+_Priests_ seldom appear in their _Plays_. And when they come 'tis Business
+of Credit that brings them. They are treated like Persons of Condition.
+They Act up to their Relation; neither sneak, nor prevaricate, nor do any
+thing unbecoming their Office.
+
+And now a word or two of the _Moderns_.
+
+The famous _Corneille_ and _Moliere_, bring no _Priests_ of any kind upon
+the _Stage_. The former leaves out _Tiresias_ in his _Oedipus_: Tho' this
+Omission balks his Thought, and maims the _Fable_. What therefore but the
+regard to Religion could keep him from the use of this Liberty? As I am
+informed the same Reservedness is practis'd in _Spain_, and _Italy_: And
+that there is no Theatre in _Europe_ excepting the _English_, that
+entertains the _Audience_ with _Priests_.
+
+This is certainly the right method, and best secures the Outworks of Piety.
+The Holy Function is much too Solemn to be play'd with. Christianity is for
+no Fooling, neither the _Place_, the _Occasion_ nor the _Actors_ are fit
+for such a Representation. To bring the _Church_ into the _Playhouse_, is
+the way to bring the _Playhouse_ into the _Church_. 'Tis apt to turn
+Religion into _Romance_, and make unthinking People conclude that all
+Serious Matters are nothing but _Farce_, _Fiction_, and _Design_. 'Tis true
+the _Tragedies_ at _Athens_ were a sort of _Homilies_, and design'd for the
+Instruction of the People: To this purpose they are all Clean, Solemn, and
+Sententious. _Plautus_ likewise informs us that the _Comedians_ used to
+teach the People Morality.[264] The case standing thus 'tis less suprizing
+to find the _Priests_ sometimes Appear. The Play had grave Argument, and
+Pagan Indulgence, to plead in its behalf. But our _Poets_ steer by an other
+_Compass_. Their Aim is to _destroy_ Religion, their _Preaching_ is against
+_Sermons_; and their Business, but Diversion at the best. In short, Let the
+Character be never so well managed no Christian _Priest_ (especially,)
+ought to come upon the _Stage_. For where the Business is an Abuse, and the
+place a Profanation; the demureness of the Manner, is but a poor excuse.
+Monsieur _Racine_ is an Exception to what I have observ'd in _France_. In
+his _Athalia_, _Joida_ the _High-Priest_ has a large part. But then the
+Poet does him Justice in his Station; he makes him Honest and Brave, and
+gives him a shining Character throughout. _Mathan_ is another _Priest_ in
+the same Tragedy. He turns Renegado, and revolts from God to _Baal_. He is
+a very ill Man but makes a considerable Appearance, and is one of the Top
+of _Athaliahs_ Faction. And as for the _Blemishes_ of his Life, they all
+stick upon his own Honour, and reach no farther than his Person: In fine
+the _Play_ is a very Religious Poem; 'Tis upon the Matter all _Sermon_ and
+_Anthem_. And if it were not designed for the _Theatre_, I have nothing to
+object.
+
+Let us now just look over our own Country-men till King _Charles_ the
+Second. _Shakespear_ takes the Freedom to represent the _Clergy_ in several
+of his _Plays_: But for the most part he holds up the _Function_, and makes
+them neither Act, nor Suffer any thing unhandsom. In one Play or two He is
+much bolder with the _Order_.[265] Sr. _Hugh Evans_ a _Priest_ is too
+Comical and Secular in his Humour. However he understands his Post, and
+converses with the Freedom of a Gentleman. I grant in _Loves Labour lost_
+the _Curate_ plays the Fool egregiously; And so does the _Poet_ too, for
+the whole _Play_ is a very silly one. In the History of Sr. _John
+Old-Castle_, Sr. _John, Parson_ of _Wrotham_ Swears, Games, Wenches, Pads,
+Tilts, and Drinks: This is extreamly bad, and like the Author of the
+_Relapse_ &c. Only with this difference; _Shakespears_, Sr. _John_ has some
+Advantage in his Character. He appears Loyal, and Stout; He brings in Sr.
+_John Acton_, and other Rebels Prisoners. He is rewarded by the King, and
+the Judge uses him Civilly and with Respect. In short He is represented
+Lewd, but not Little; And the Disgrace falls rather on the Person, then the
+Office. But the _Relapsers_ business, is to sink the Notion, and Murther
+the Character, and make the Function despicable: So that upon the whole,
+_Shakespear_ is by much the gentiler Enemy.
+
+Towards the End of the _Silent Woman_, _Ben Johnson_ brings in a
+_Clergy-man_, and a _Civilian_ in their _Habits_. But then he premises a
+handsom Excuse, acquaints the _Audience_, that the _Persons_ are but
+borrowed, and throws in a _Salvo_ for the Honour of either profession. In
+the Third _Act_, we have another _Clergy-man_; He is abused by _Cutberd_,
+and a little by _Morose_. But his Lady checks him for the ill Breeding of
+the Usage. In his _Magnetick Lady_, _Tale of a Tub_, and _Sad Sheapherd_,
+there are _Priests_ which manage but untowardly. But these _Plays_ were his
+_last Works_, which Mr. _Dryden_ calls _his Dotages_.[266] This Author has
+no more _Priests_, and therefore we'll take Leave.
+
+_Beaumont_ and _Fletcher_ in the _Faithful Shepheardess_, _The False one_,
+_A Wife for a Month_, and the _Knight of Malta_, give, us both _Priests_
+and _Bishops_, part Heathen and part Christian: But all of them save their
+Reputation and make a creditable Appearance. The _Priests_ in the _Scornful
+Lady_, and _Spanish Curate_ are ill used. The first is made a Fool, and the
+other a Knave. Indeed they seem to be brought in on purpose to make sport,
+and disserve Religion. And so much for _Beaumont_ and _Fletcher_.
+
+Thus we see the English _Stage_ has always been out of Order, but never to
+the Degree 'tis at present.
+
+I shall now take Leave of the _Poets_, and touch a little upon History and
+Argument.
+
+And here I shall briefly shew the Right the _Clergy_ have to Regard, and
+fair Usage, upon these Three following Accounts.
+
+I. _Because of their Relation to the Deity._
+
+II. _Because of the Importance of their Office._
+
+III. _They have prescription for their Privilege. Their function has been
+in Possession of Esteem in all Ages, and Countries._
+
+
+I. _Upon the account of their Relation to the Deity._
+
+The Holy _Order_ is appropriated to the Divine Worship: And a _Priest_ has
+the peculiar Honour to _Belong_ to nothing less then God Almighty. Now the
+Credit of the _Service_ always rises in proportion to the Quality and
+Greatness of the Master. And for this Reason 'tis more Honourable to serve
+a Prince, than a private Person. To apply this. Christian _Priests_ are the
+Principal Ministers of Gods Kingdom. They Represent his Person, Publish his
+Laws, Pass his Pardons, and Preside in his Worship. To expose a _Priest_
+much more to burlesque his Function, is an Affront to the Diety. All
+indignities done to Ambassadors, are interpreted upon their Masters, and
+reveng'd as such. To outrage the _Ministers_ of Religion, is in effect to
+deny the Being, or Providence of God; And to treat the _Bible_ like a
+_Romance_. As much as to say the Stories of an other World are nothing but
+a little _Priest-craft_, and therefore I am resolv'd to Lash the
+Profession. But to droll upon the Institutions of God; To make his
+Ministers cheap, and his Authority contemptible; To do this is little less
+than open defyance. Tis a sort of Challenge to awaken his Vengeance, to
+exert his Omnipotence; and do Right to his Honour. If the Profession of a
+Courtier was unfashionable, a Princes Commission thought a Scandal, and the
+_Magistracy_ laught at for their Business; the Monarch had need look to
+himself in time; He may conclude his Person is despis'd, his Authority but
+a Jest, and the People ready either to change their Master, or set up for
+themselves. Government and Religion, no less than _Trade_ Subsist upon
+Reputation. 'Tis true God can't be Deposed, neither does his Happiness
+depend upon Homage; But since he does not Govern by Omnipotence, since he
+leaves Men to their Liberty, Acknowledgment must sink, and Obedience
+decline, in proportion to the Lessenings of Authority. How provoking an
+Indignity of this kind must be, is easy to imagine.
+
+II. The Functions and Authorities of Religion have a great Influence on
+_Society_. The Interest of this Life lies very much in the Belief of
+another. So that if our Hopes were bounded with _Sight_, and _Sense_, if
+_Eternity_ was out of the Case, General Advantage, and Publick Reason, and
+Secular Policy, would oblige us to be just to the _Priesthood_. For
+_Priests_, and Religion always stand and fall together; Now Religion is the
+Basis of Government, and Man is a wretched Companion without it. When
+Conscience takes its Leave, Good Faith, and Good Nature goes with it.
+_Atheism_ is all Self, Mean and Mercenary. The _Atheist_ has no
+_Hereafter_, and therefore will be sure to make the most of this World.
+Interest, and Pleasure, are the Gods he Worships, and to these he'll
+Sacrifice every Thing else.
+
+III. The _Priest-hood_ ought to be fairly treated, because it has
+prescription for this Privilege. This is so evident a Truth,  that there is
+hardly any Age or Country, but affords sufficient Proof. A just Discourse
+upon this Subject would be a large Book, but I shall just skim it over and
+pass on. and
+
+_1st._ For the Jews. _Josephus_ tells us the Line of _Aaron_ made some of
+the best Pedigrees, and that the _Priests_ were reckon'd among the
+Principal Nobility.[267]
+
+By the Old _Testament_ we are inform'd that the _High-Priest_ was the
+Second Person in the Kingdom.[268] The Body of that _Order_ had Civil
+Jurisdiction. And the _Priests_ continued Part of the Magistracy in the
+time of our Saviour. _Jehoiada_ the _High-Priest_ was thought an Alliance
+big enough for the Royal Family.[269] He Married the Kings Daughter; His
+Interest and Authority was so great that he broke the Usurpation under
+_Athalia_; and was at the Head of the Restauration. And lastly the
+_Assamonean_ Race were both Kings and Priests.[270]
+
+To Proceed. The _Aegyptian_  Monarchy was one of the most antient and best
+polish'd upon Record. Here Arts and Sciences, the Improvment of Reason, and
+the Splendor of Life had its first Rise. Hither 'twas that _Plato_ and most
+of the Celebrated Philosophers travel'd for their Learning. Now in this
+Kingdom the _Priests_ made no vulgar Figure. These with the Military Men
+were the Body of the Nobility, and Gentry. Besides the Business of
+Religion, the _Priests_ were the Publick _Annalists_ and kept the Records
+of _History_, and _Government_. They were many of them bred in Courts,
+formed the Education of their Princes, and assisted at their Councils.[271]
+When _Joseph_ was Viceroy of _Aegypt_, and in all the height of his Pomp,
+and Power, the King Married him to the Daughter of _Potipherah Priest_ of
+_On_. The Text says _Pharaoh gave him her to Wife_.[272] This shows the
+Match was deliberate Choice, and Royal Favour, no stooping of Quality, or
+Condescensions of Love, on _Joseph_'s Side.
+
+To pass on. The _Persian Magi_, and the _Druids_, of _Gaul_ were of a
+Religious Profession, and consign'd to the Service of the Gods. Now all
+these were at the upper End of the Government, and had a great share of
+Regard and Authority.[273] The Body of the _Indians_ as _Diodorus Siculus_
+reports is divided into Seven parts. The first is the _Clan_ of the
+_Bramines_, the _Priests_, and Philosophers of that Country. 'This Division
+is the least in Number, but the first in Degree. Their Privileges are
+extraordinary. They are exempted from Taxes, and Live Independent of
+Authority. They are called to the Sacrifices, and take care of Funerals;
+They are look'd on as the Favourites of the Gods, and thought skillful in
+the Doctrins of an other Life: And upon these accounts are largely
+consider'd in Presents, and Acknowledgment. The _Priestesses_ of _Argos_
+were so Considerable, that _Time_ is dated from them, and they stand for a
+Reign in _Chronology_.[274] The Brave _Romans_ are commended by _Polybius_
+for their Devotion to the Gods; Indeed they gave great Proof of their being
+in earnest; For when thier Cheif Magistrates, their Consuls themselves, met
+any of the _Vestals_, they held down their _Fasces_, and stoop'd their
+_Sword_ and _Mace_ to Religion.[275]
+
+The _Priest-hood_ was for sometime confin'd to the _Patrician_ Order, that
+is to the Upper Nobility. And afterwards the _Emperours_ were generally
+_High-Priests_ themselves. The Romans in distress endeavour'd to make
+Friends with _Coriolanus_ whom they had banish'd before. To this purpose
+they furnish'd out several _Solemn_ Embasayes. Now the Regulation of the
+Ceremony, and the Remarks of the Historian;[276] plainly discover that the
+_Body_ of the _Priests_ were thought not inferior to any other. One
+Testimony from _Tully_ and I have done. 'Tis in his Harangue to the College
+of the _Priests_.[277] _Cum multa divinitus, Pontifices, a majoribus
+nostris inventa atque instituta sunt; tum nihil preclarius quam quod vos
+eosdem et Religionibus Deorum immortalium, & summe Rei publicae praeesse
+voluerunt._ &c. _i. e. Amongst the many laudable Instances of our Ancestors
+Prudence, and Capacity, I know nothing better contrived then their placing
+your Order at the Helm, and setting the same Persons at the Head both of
+Religion, and Government._ Thus we see what _Rank_ the _Priest-hood_ held
+among the _Jews_, and how Nature taught the _Heathen_ to regard it. And is
+it not now possess'd of as fair pretences as formerly? Is Christianity any
+disadvantage to the Holy Office. And does the Dignity of a Religion lessen
+the Publick Administrations in't? The _Priests of the most High God_ and of
+_Idolatry_, can't be compared without Injury. To argue for the Preference
+is a Reflection upon the _Creed_. 'Tis true the _Jewish Priest-hood_ was
+instituted by God: But every Thing Divine is not of Equal Consideration.
+_Realities_ are more valuable than _Types_; And as the Apostle argues, the
+_Order_ of _Melchizedeck_ is greater than that of _Aaron_.[278] The Author,
+(I mean the immediate one,) the Authorities, the Business, and the End, of
+the _Christian Priest-hood_, are more Noble than those of the _Jewish_. For
+is not _Christ_ greater than _Moses_, _Heaven_ better than the Land of
+_Canaan_, and the _Eucharist_ to be prefer'd to all the _Sacrifices_, and
+_Expiations_ of the _Law_? Thus the Right, and the Reason of Things stands.
+And as for _Fact_, the Christian World have not been backward in their
+Acknowledgments. Ever since the first Conversion of Princes, the
+_Priest-hood_ has had no small share of Temporal Advantage. The _Codes_,
+_Novels_, and _Church History_, are Sufficient Evidence what Sense
+_Constantine_ and his Successors had of these Matters. But I shall not
+detain the _Reader_ in remote Instances.
+
+To proceed then to Times and Countries more generally known. The People of
+_France_ are branched into three Divisions, of these the _Clergy_, are the
+First. And in consequence of this Privilege, at the Assembly of the
+_States_, they are first admitted to Harangue before the King.[279]
+
+In _Hungary_ the _Bishops_ are very Considerable, and some of them great
+Officers of _State_.[280] In _Poland_ they are _Senators_ that is part of
+the Upper _Nobless_. In _Muscovy_ the _Bishops_ have an Honourable Station;
+and the Present Czar is descended from the _Patriarchal_ Line.[281] I
+suppose I need say nothing of _Italy_. In _Spain_ the _Sees_ generally are
+better endowed than elswhere, and Wealth alwaies draws Consideration.[282]
+The _Bishops_ hold their Lands by a Military Noble _Tenure_, and are
+excused from Personal Attendance. And to come toward an end; They are Earls
+and Dukes in _France_, and Soveraign Princes, in _Germany_.[283] In
+_England_ the _Bishops_ are Lords of Parliament: And the _Law_ in plain
+words distinguishes the _Upper House_ into the _Spiritual_ and _Temporal
+Nobility_. And several _Statutes_ call the Bishops _Nobles_ by direct
+Implication.[284] To mention nothing more, their _Heraldry_ is regulated by
+_Garter_, and _Blazon'd_ by _Stones_, which none under the _Nobility_ can
+pretend to. In this Country of ours, Persons of the First Quality have been
+in _Orders_; To give an Instance of some few. _Odo_ Brother to _William_
+the _Conquerour_ was _Bishop_ of _Baieux_, and Earl of _Kent_. King
+_Stephens_ Brother was _Bishop_ of _Winchester_. _Nevill Arch-Bishop_ of
+_York_ was Brother to the Great Earl of _Warwick_, and _Cardinal Pool_ was
+of the Royal Family. To come a little lower, and to our own Times. And here
+we may reckon not a few Persons of Noble Descent in Holy _Orders_. Witness
+the _Berklyes_, _Comptons_, _Montagues_, _Crews_, and _Norths_; The
+_Annesleys_, _Finches_, _Grayhams_ &c. And as for the Gentry, there are not
+many good Families in _England_, but either have, or have had a
+_Clergy-man_ in them,
+
+In short; The _Priest-hood_ is the profession of a Gentleman. A _Parson_
+notwithstanding the ignorant Pride of some People, is a Name of Credit, and
+Authority, both in Religion, and _Law_. The _Addition_ of _Clerk_ is at
+least equal to that of Gentleman. Were it otherwise the _Profession_ would
+in many cases be a kind of Punishment. But the _Law_ is far from being so
+singular as to make _Orders_ a Disadvantage to _Degree_. No, The Honour of
+the Family continues, and the _Heraldry_ is every jot as safe in the
+_Church_, as 'twas in the _State_. And yet when the _Laity_ are taken leave
+of, not _Gentleman_ but _Clerk_ is usually written. This Custom is an
+argument the Change is not made for the worse, that the Spiritual
+Distinction is as valuable as the other; And to speak Modestly, that the
+first _Addition_ is not lost, but Cover'd. Did the Subject require it, this
+Point might be farther made good. For the stile of a higher Secular Honour
+is continued as well with _Priest-hood_ as without it. A Church-man who is
+either _Baronet, or Baron_, writes himself so, notwithstanding His
+_Clerkship_. Indeed we can't well imagine the Clergy degraded from Paternal
+Honour without a strange Reflection on the Country; without supposing
+_Julian_ at the Helm, the _Laws_ Antichristian, and _Infidelity_ in the
+very _Constitution_. To make the Ministers of Religion less upon the score
+of their Function, would be a Penalty on the _Gospel_, and a contempt of
+the God of Christianity. 'Tis our Saviours reasoning; _He that despises
+you, despises Me, and he that Despises Me, Despises Him that sent me._[285]
+
+I hope what I have offer'd on this Subject will not be misunderstood. There
+is no Vanity in necessary Defence. To wipe off Aspersions, and rescue
+Things from Mistake, is but bare Justice: Besides, where the Honour of God,
+and the Publick Interest are concern'd, a Man is bound to speak. To argue
+from a resembling Instance. He that has the Kings Commission ought to
+Maintain it. To let it suffer under Rudeness is to betray it. To be tame
+and silent in such cases, is not Modesty but Meanness, Humility obliges no
+Man to desert his Trust; To throw up his Privilege, and prove false to his
+Character. And is our Saviours Authority inferiour to that of Princes? Are
+the Kingdoms of this World more Glorious than that of the next? And can the
+Concerns of Time be greater than those of Eternity? If not, the reasoning
+above mention'd must hold in the Application.
+
+And now by this time I conceive the ill Manners of the _Stage_ may be in
+some measure apparent; And that the _Clergy_ deserve none of that Coarse
+Usage which it puts upon them. I confess I know no _Profession_ that has
+made a more creditable Figure, that has better Customs for their
+Privileges, and better Reasons to maintain them. And here setting aside the
+point of Conscience, where lies the Decency of falling foul upon this
+_Order_? What Propriety is there in Misrepresentation? In confounding
+Respects, disguising Features, and painting Things out of all Colour and
+Complexion? This crossing upon Nature and Reason, is great Ignorance, and
+out of Rule. And now what Pleasure is there in Misbehaviour and Abuse? Is
+it such an Entertainment to see Religion worryed by Atheism, and Things the
+most Solemn and Significant tumbled and tost by Buffoons? A Man may laugh
+at a Puppy's tearing a Wardrobe, but I think 'twere altogether as discreet
+to beat him off. Well! but the _Clergy_ mismanage sometimes, and they must
+be told of their Faults. What then? Are the _Poets_ their _Ordinaries_? Is
+the _Pulpit_ under the Discipline of the _Stage_? And are those fit to
+correct the Church, that are not fit to come into it? Besides, What makes
+them fly out upon the _Function_; and rail by wholesale? Is the
+_Priesthood_ a crime, and the service of God a disadvantage? I grant
+Persons and Things are not always suited. A good _Post_ may be ill kept,
+but then the Censure should keep close to the Fault, and the Office not
+suffer for the Manager. The _Clergy_ may have their Failings sometimes like
+others, but what then? The _Character_ is still untarnish'd. The _Men_ may
+be Little, but the _Priests_ are not so. And therefore like other People,
+they ought to be treated by their best Distinction.
+
+If 'tis Objected that the _Clergy_ in _Plays_ are commonly _Chaplains_, And
+that these _Belonging_ to Persons of Quality they were obliged to represent
+them servile and submissive. To this I Answer
+
+_1st._ In my former remark, that the _Stage_ often outrages the whole
+_Order_, without regard to any particular Office. But were it not so in the
+
+_2d._ Place, They quite overlook the Character, and mistake the Business of
+_Chaplains_. They are no _Servants_, neither do they _Belong_ to any
+_Body_, but God Almighty. This Point I have fully proved in another,
+_Treatise_,[286] and thither I refer the _Reader_.
+
+
+
+
+CHAP. IV.
+
+_The Stage-Poets make their Principal Persons Vitious, and reward them at
+the End of the Play._
+
+
+The Lines of Virtue and Vice are Struck out by Nature in very Legible
+Distinctions; They tend to a different Point, and in the greater Instances
+the Space between them is easily perceiv'd. Nothing can be more unlike than
+the Original Forms of these Qualities: The First has all the sweetness,
+Charms, and Graces imaginable; The other has the Air of a _Post_ ill Carved
+into a _Monster_, and looks both foolish and Frightful together. These are
+the Native Appearances of good and Evil: And they that endeavour to blot
+the Distinctions, to rub out the Colours, or change the Marks, are
+extreamly to blame. 'Tis confessed as long as the Mind is awake, and
+Conscience goes true, there's no fear of being imposed on. But when Vice is
+varnish'd over with Pleasure, and comes in the Shape of Convenience, the
+case grows somewhat dangerous; for then the Fancy may be gain'd, and the
+Guards corrupted, and Reason suborn'd against it self. And thus a
+_Disguise_ often passes when the Person would otherwise be stopt. To put
+_Lewdness_ into a Thriving condition, to give it an Equipage of Quality,
+and to treat it with Ceremony and Respect, is the way to confound the
+Understanding, to fortifie the Charm, and to make the Mischief invincible.
+Innocence is often owing to Fear, and Appetite is kept under by Shame; But
+when these Restraints are once taken off, when Profit and Liberty lie on
+the same side, and a Man can Debauch himself into Credit, what can be
+expected in such a case, but that Pleasure should grow Absolute, and
+Madness carry all before it? The _Stage_ seem eager to bring Matters to
+this Issue; They have made a considerable progress, and are still pushing
+their Point with all the Vigour imaginable. If this be not their Aim why is
+_Lewdness_ so much consider'd in Character and Success? Why are their
+Favourites Atheistical, and their fine Gentleman debauched? To what purpose
+is _Vice_ thus prefer'd, thus ornamented, and caress'd, unless for
+Imitation? That matter of Fact stands thus, I shall make good by several
+Instances: To begin then with their Men of Breeding and Figure.
+_Wild-blood_ sets up for _Debauchery_, Ridicules Marriage, and Swears by
+_Mahomet_.[287] _Bellamy_ makes sport with the Devil,[288] and _Lorenzo_ is
+vitious and calls his Father _Bawdy Magistrate.[289] Horner_ is horridly
+Smutty, and _Harcourt_ false to his Friend who used him kindly.[290] In the
+_Plain Dealer_ _Freeman_ talks coarsely, cheats the Widdow, debauches her
+Son, and makes him undutiful. _Bellmour_ is Lewd and Profane,[291] And
+_Mellefont_ puts _Careless_ in the best way he can to debauch _Lady
+Plyant_.[292] These _Sparks_ generally Marry up the Top Ladys, and those
+that do not, are brought to no Pennance, but go off with the Character of
+Fine Gentlemen: In _Don-Sebastian_, _Antonio_ an Atheistical Bully is
+rewarded with the Lady _Moraima_, and half the _Muffty_'s Estate.
+_Valentine_ in _Love for Love_ is (if I may so call him) the Hero of the
+_Play_;[293] This Spark the _Poet_ would pass for a Person of Virtue, but
+he speaks to late. 'Tis true, He was hearty in his Affection to _Angelica_.
+Now without question, to be in Love with a fine Lady of 30000 Pounds is a
+great Virtue! But then abating this single Commendation, _Valentine_ is
+altogether compounded of Vice.[294] He is a prodigal Debauchee, unnatural,
+and Profane, Obscene, Sawcy, and undutiful, And yet this Libertine is
+crown'd for the Man of Merit, has his Wishes thrown into his Lap, and makes
+the Happy _Exit_. I perceive we should have a rare set of _Virtues_ if
+these _Poets_ had the making of them! How they hug a Vitious Character, and
+how profuse are they in their Liberalities to Lewdness? In the _Provoked
+Wife_, _Constant_ Swears at Length, solicits Lady _Brute_, Confesses
+himself Lewd, and prefers Debauchery to Marriage. He handles the last
+Sybject very notably and worth the Hearing. _There is_ (says he) _a poor
+sordid Slavery in Marriage, that turns the flowing Tide of Honour, and
+sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature,
+Avarice, Sloth, Cowardize, and Dirt, are all its Product_.--But then
+_Constancy (alias Whoring) is a Brave, Free, Haughty, Generous, Agent_.
+This is admirable stuff both for the Rhetorick and the Reason![295] The
+Character _Young Fashion_ in the _Relapse_ is of the same Staunchness, but
+this the _Reader_ may have in another Place.
+
+To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing,
+Smutty, Atheistical Man. These Qualifications it seems compleat the _Idea_
+of Honour. They are the Top-Improvements of Fortune, and the distinguishing
+Glories of Birth and Breeding! This is the _Stage-Test_ for _Quality_, and
+those that can't stand it, ought to be _Disclaim'd_. The Restraints of
+Conscience and the Pedantry of Virtue, are unbecoming a Cavalier: Future
+Securities, and Reaching beyond Life, are vulgar Provisions: If he falls a
+Thinking at this rate, he forfeits his Honour; For his Head was only made
+to run against a Post! Here you have a Man of Breeding and Figure that
+burlesques the _Bible_, Swears, and talks Smut to Ladies, speaks ill of his
+Friend behind his Back, and betraies his Interest. A fine Gentleman that
+has neither Honesty, nor Honour, Conscience, nor Manners, Good Nature, nor
+civil Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of
+Religion and the Scandals of Conversation. These Worshipful Things are the
+_Poets_ Favourites: They appear at the Head of the _Fashion_; and shine in
+Character, and Equipage. If there is any Sense stirring, They must have it,
+tho' the rest of the _Stage_ suffer never so much by the Partiality. And
+what can be the Meaning of this wretched Distribution of Honour? Is it not
+to give Credit and Countenance to Vice, and to shame young People out of
+all pretences to Conscience, and Regularity? They seem forc'd to turn Lewd
+in their own Defence: They can't otherwise justifie themselves to the
+Fashion, nor keep up the Character of Gentlemen: Thus People not well
+furnish'd with Thought, and Experience, are debauch'd both in Practise and
+Principle. And thus Religion grows uncreditable, and passes for ill
+Education. The _Stage_ seldom gives Quarter to any Thing that's serviceable
+or Significant, but persecutes Worth, and Goodness under every Appearance.
+He that would be safe from their Satir must take care to disguise himself
+in Vice, and hang out the _Colours_ of Debauchery. How often is Learning,
+Industry, and Frugality, ridiculed in Comedy? The rich Citizens are often
+Misers, and Cuckolds, and the _Universities_, Schools of Pedantry upon this
+score. In short, Libertinism and Profaness, Dressing, Idleness, and
+Gallantry, are the only valuable Qualities. As if People were not apt
+enough of themselves to be Lazy, Lewd, and Extravagant, unless they were
+prick'd forward, and provok'd by Glory, and Reputation. Thus the Marks of
+Honour, and Infamy are misapplyed, and the Idea's of Virtue and Vice
+confounded. Thus Monstrousness goes for Proportion, and the Blemishes of
+Human Nature, make up the Beauties of it.
+
+The fine Ladies are of the same Cut with the Gentlemen; _Moraima_ is
+scandalously rude to her Father, helps him to a beating, and runs away with
+_Antonio_.[296] _Angelica_ talks sawcily to her Uncle,[297] and _Belinda_
+confesses her Inclination for a Gallant.[298] And as I have observ'd
+already,[299] the Toping Ladies in the _Mock Astrologer_, _Spanish Fryar_,
+_Country Wife_, _Old Batchelour_, _Orphan_, _Double Dealer_, and _Love
+Triumphant_, are smutty, and sometimes Profane.
+
+And was Licentiousness and irreligion, alwaies a mark of Honour? No; I
+don't perceive but that the old _Poets_ had an other Notion of
+Accomplishment, and bred their people of Condition a different way.
+_Philolaches_ in _Plautus_ laments his being debauch'd; and dilates upon
+the Advantages of Virtue, and Regularity.[300] _Lusiteles_ another Young
+Gentleman disputes handsomly by himself against Lewdness. And the discourse
+between him and _Philto_ is Moral, and well managed.[301] And afterwards he
+lashes Luxury and Debauching with a great deal of Warmth, and Satir.[302]
+_Chremes_ in _Terence_ is a modest young Gentleman, he is afraid of being
+surpriz'd by _Thais_, and seems careful not to sully his Reputation.[303]
+And _Pamphilus_ in _Hecyra_ resolves rather to be govern'd by Duty, than
+Inclination.[304]
+
+_Plautus_'s _Pinacium_ tells her Friend _Panegyric_ that they ought to
+acquit themselves fairly to their Husbands, tho' These should fail in their
+Regards towards them.[305] For all good People will do justice tho' they
+don't receive it. Lady _Brute_ in the _Provok'd Wife_ is govern'd by
+different maxims. She is debauch'd with ill Usage, says _Virtue is an Ass,
+and a Gallant's worth forty on't_.[306] _Pinacium_ goes on to another Head
+of Duty, and declares that a Daughter can never respect her Father too
+much, and that Disobedience has a great deal of scandal, and Lewdness
+in't.[307] The Lady _Jacinta_ as I remember does not treat her Father at
+this rate of Decency. Let us hear a little of her Behaviour. The _Mock
+Astrologer_ makes the Men draw, and frights the Ladys with the Apprehension
+of a Quarrel. Upon this; _Theodosia_ crys _what will become of us!_
+_Jacinta_ answers, _we'll die for Company: nothing vexes me but that I am
+not a Man, to have one thrust at that malicious old Father of mine, before
+I go_.[308] Afterwards the old Gentleman _Alonzo_ threatens his Daughters
+with a Nunnery. _Jacinta_ spars again and says, _I would have thee to know
+thou graceless old Man, that I defy a Nunnery: name a Nunnery once more and
+I disown thee for my Father_.[309] I could carry on the Comparison between
+the old and Modern Poets somewhat farther. But this may suffice.
+
+Thus we see what a fine time Lewd People have on the _English Stage_. No
+Censure, no mark of Infamy, no Mortification must touch them. They keep
+their Honour untarnish'd, and carry off the Advantage of their Character.
+They are set up for the Standard of Behaviour, and the Masters of Ceremony
+and Sense. And at last that the Example may work the better, they generally
+make them rich, and happy, and reward them with their own Desires.
+
+Mr. _Dryden_ in the _Preface_ to his _Mock-Astrologer_, confesses himself
+blamed for this Practise. _For making debauch'd Persons his_ Protagonists,
+_or chief Persons of the Drama; And, for making them happy in the
+Conclusion of the Play, against the Law of Comedy, which is to reward
+Virtue, and punish Vice_. To this Objection He makes a lame Defence. And
+answers
+
+_1st._ _That he knows no such Law constantly observ'd in Comedy by the
+Antient or Modern Poets._ What then? _Poets_ are not always exactly in
+Rule. It may be a good Law tho' 'tis not constantly observ'd, some Laws are
+constantly broken, and yet ne're the worse for all that. He goes on, and
+pleads the Authorities of _Plautus_, and _Terence_. I grant there are
+Instances of Favour to vitious young People in those Authors, but to this I
+reply
+
+_1st._ That those _Poets_ had a greater compass of Liberty in their
+Religion. Debauchery did not lie under those Discouragements of Scandal,
+and penalty, with them as it does with us. Unless therefore He can prove
+_Heathenism_, and _Christianity_ the same, his _precedents_ will do him
+little service.
+
+_2ly._ _Horace_ who was as good a judge of the _Stage_, as either of those
+_Comedians_, seems to be of another Opinion. He condemns the obscenities of
+_Plautus_, and tells you Men of Fortune and Quality in his time; would not
+endure immodest Satir.[310] He continues, that Poets were formerly admired
+for the great services they did. For teaching Matters relating to Religion,
+and Government; For refining the Manners, tempering the Passions, and
+improving the Understandings of Mankind: For making them more useful in
+Domestick Relations, and the publick Capacities of Life.[311] This is a
+demonstration that Vice was not the Inclination of the Muses in those days;
+and that _Horace_ beleiv'd the chief business of a _Poem_ was, to Instruct
+the Audience. He adds farther that the _Chorus_ ought to turn upon the
+Argument of the _Drama_, and support the Design of the _Acts_. That They
+ought to speak in Defence of Virtue, and Frugality, and show a Regard to
+Religion. Now from the Rule of the _Chorus_, we may conclude his Judgment
+for the _Play_. For as he observes, there must be a Uniformity between the
+_Chorus_ and the _Acts_: They must have the same View, and be all of a
+Piece. From hence 'tis plain that _Horace_ would have no immoral
+_Character_ have either Countenance or good Fortune, upon the _Stage_. If
+'tis said the very mention of the _Chorus_ shews the Directions were
+intended for _Tragedy_. To this
+
+I answer, that the Consequence is not good. For the use of a _Chorus_ is
+not inconsistent with _Comedy_. The antient _Comedians_ had it.
+_Aristophanes_ is an Instance. I know 'tis said the _Chorus_ was left out
+in that they call the _New Comedy_. But I can't see the conclusiveness of
+this Assertion. For _Aristophanes_ his _Plutus_ is _New Comedy_ with a
+_Chorus_ in't.[312] And _Aristotle_ who lived after this Revolution of the
+_Stage_, mentions nothing of the Omission of the _Chorus_. He rather
+supposes its continuance by saying the _Chorus was added by the Government
+long after the Invention of Comedy_.[313] 'Tis true _Plautus_ and _Terence_
+have none, but those before them probably might. _Moliere_ has now reviv'd
+them,[314] And _Horace_ might be of his Opinion, for ought wee know to the
+contrary.
+
+_Lastly._ _Horace_ having expresly mentioned the beginning and progress of
+_Comedy_, discovers himself more fully: He advises a _Poet_ to form his
+Work upon the Precepts of _Socrates_ and _Plato_, and the Models of Moral
+Philosophy. This was the way to preserve Decency, and to assign a proper
+Fate and Behaviour to every _Character_.[315] Now if _Horace_ would have
+his _Poet_ govern'd by the Maxims of Morality, he must oblige him to
+Sobriety of Conduct, and a just distribution of Rewards, and Punishments.
+
+Mr. _Dryden_ makes Homewards, and endeavours to fortifie himself in Modern
+Authority. He lets us know that _Ben Johnson after whom he may he proud to
+Err, gives him more than one example of this Conduct_;[316] _That in the_
+Alchemist _is notorius_, where neither _Face_ nor his _Master_ are
+corrected according to their Demerits. But how Proud soever Mr. _Dryden_
+may be of an Errour, he has not so much of _Ben Jonson_'s company as he
+pretends. His Instance of _Face &c._ in the _Alchemist_ is rather
+_notorious_ against his Purpose then for it.
+
+For _Face_ did not Council his Master _Lovewit_ to debauch the Widdow;
+neither is it clear that the Matter went thus far. He might gain her
+consent upon Terms of Honour for ought appears to the contrary. 'Tis true
+_Face_ who was one of the Principal Cheats is Pardon'd and consider'd. But
+then his Master confesses himself kind to a fault. He owns this Indulgence
+was a Breach of Justice, and unbecoming the Gravity of an old Man. And then
+desires the Audience to excuse him upon the Score of the Temptation. But
+_Face continued, in the Cousenage till the last without Repentance_.[317]
+Under favour I conceive this is a Mistake. For does not _Face_ make an
+Apology before he leaves the _Stage_? Does he not set himself at the _Bar_,
+arraign his own Practise, and cast the Cause upon the Clemency of the
+Company? And are not all these Signs of the Dislike of what he had done?
+Thus careful the _Poet_ is to prevent the Ill Impressions of his _Play_! He
+brings both Man and Master to Confession. He dismisses them like
+Malefactours; And moves for their Pardon before he gives them their
+Discharge. But the _Mock-Astrologer_ has a gentler Hand: _Wild-Blood_ and
+_Jacinta_ are more generously used: There is no Acknowledgment exacted; no
+Hardship put upon them: They are permitted to talk on in their Libertine
+way to the Last: And take Leave without the least Appearance of
+Reformation. The _Mock-Astrologer_ urges _Ben Johnson's_ _Silent Woman_ as
+an other _Precedent_ to his purpose. For _there_ Dauphine _confesses
+himself in Love with all the Collegiate Lady's_. _And yet this naughty_
+Dauphine _is Crowned in the end with the Possession of his Uncles Estate,
+and with the hopes of all his Mistresses_.[318] This Charge, as I take it,
+is somewhat too severe. I grant _Dauphine_ Professes himself in Love with
+the Collegiate Ladies at first. But when they invited him to a private
+Visit, he makes them no Promise; but rather appears tired, and willing to
+disengage. _Dauphine_ therefore is not altogether so naughty as this Author
+represents him.
+
+_Ben Johnson's_ _Fox_ is clearly against Mr. _Dryden_. And here I have his
+own Confession for proof. He declares the _Poets end in this Play was the
+Punishment of Vice, and the Reward of Virtue_.[319] _Ben_ was forced to
+strain for this piece of Justice, and break through the _Unity of Design_.
+This Mr. _Dryden_ remarks upon him: How ever he is pleased to commend the
+Performance, and calls it an excellent _Fifth Act_.
+
+_Ben Johnson_ shall speak for himself afterwards in the Character of a
+Critick; In the mean time I shall take a Testimony or two from
+_Shakespear_. And here we may observe the admir'd _Falstaffe_ goes off in
+Disappointment. He is thrown out of Favour as being a _Rake_, and dies like
+a Rat behind the Hangings. The Pleasure he had given, would not excuse him.
+The _Poet_ was not so partial, as to let his Humour compound for his
+Lewdness. If 'tis objected that this remark is wide of the Point, because
+_Falstaffe_ is represented in Tragedy, where the Laws of Justice are more
+strickly observ'd, To this I answer, that you may call _Henry_ the Fourth
+and Fifth, Tragedies if you please. But for all that, _Falstaffe_ wears no
+_Buskins_, his Character is perfectly Comical from end to end.
+
+The next Instance shall be in _Flowerdale_ the _Prodigal_. This Spark
+notwithstanding his Extravagance, makes a lucky Hand on't at last, and
+marries a rich Lady.[320] But then the Poet qualifies him for his good
+Fortune, and mends his Manners with his Circumstances. He makes him repent,
+and leave off his Intemperance, Swearing _&c._ And when his Father warn'd
+him against a Relapse, He answers very soberly,
+
+  _Heaven helping me I'le hate the Course of Hell._
+
+I could give some instances of this kind out of _Beaumount_ and _Fletcher_,
+But there's no need of any farther Quotation; For Mr. _Dryden_ is not
+satisfied with his Apology from Authority: He does as good as own that this
+may be construed no better than defending one ill practise by another. To
+prevent this very reasonable objection he endeavours to vindicate his
+_Precedents_ from the Reason of the Thing. To this purpose he _makes a wide
+difference between the Rules of Tragedy and Comedy. That Vice must be
+impartially prosecuted in the first, because the Persons are Great &c._
+
+It seems then _Executions_ are only for _Greatness_; and _Quality_.
+_Justice_ is not to strike much _lower_ than a _Prince_. _Private People_
+may do what they _please_. They are too _few_ for _Mischief_, and too
+_Little_ for _Punishment_! This would be admirable Doctrine for _Newgate_,
+and give us a general _Goal-Delivery_ without more ado. But in _Tragedy_
+(says the _Mock Astrologer_.) _the Crimes are likewise Horrid_, so that
+there is a necessity for Severity and Example. And how stands the matter in
+_Comedy_? Quite otherwise. There the _Faults are but the follies of Youth,
+and the Frailties of Human Nature_.[321] For Instance. There is nothing but
+a little Whoring, Pimping, Gaming, Profaness _&c_, And who could be so hard
+hearted to give a Man any Trouble for This? Such Rigours would be strangely
+Inhumane! A _Poet_ is a better natur'd Thing I can assure you. These little
+Miscarrages _move Pity and Commiseration, and are not such as must of
+necessity be Punish'd_.[322] This is comfortable Casuistry! But to be
+Serious. Is Dissolution of Manners such a Peccadillo? Does a Profligate
+Conscience deserve nothing but Commiseration? And are People damn'd only
+for _Humane Frailties_? I perceive the Laws of Religion and those of the
+_Stage_ differ extreamly! The strength of his Defence lies in this choice
+Maxim, that the _Cheif End of Comedy is Delight_. He questions _whether
+Instruction has any thing to do in Comedy_; If it has, he is sure _'tis no
+more then its secondary end_: _For the business of the Poet is to make you
+laugh_.[323] Granting the Truth of this Principle, I somewhat question the
+serviceableness of it. For is there no Diversion to be had unless Vice
+appears prosperous, and rides at the Head of Success. One would think such
+a preposterous, distribution of Rewards, should rather shock the Reason,
+and raise the Indignation of the _Audience_. To laugh without reason is the
+Pleasure of Fools, and against it, of something worse. The exposing of
+Knavery, and making _Lewdness_ ridiculous, is a much better occasion for
+Laughter. And this with submission I take to be the End of _Comedy_. And
+therefore it does not differ from _Tragedy_ in the End, but in the _Means_.
+Instruction is the principal Design of both. The one works by Terror, the
+other by Infamy. 'Tis true, they don't move in the same Line, but they meet
+in the same point at last. For this Opinion I have good Authority, besides
+what has been cited already.
+
+_1st._ Monsieur _Rapin_ affirms 'That Delight is the End that Poetry aims
+at, but not the Principal one. For Poetry being an Art, ought to be
+profitable by the quality of it's own nature, and by the Essential
+Subordination that all Arts should have to Polity, whose End in General is
+the publick Good. This is the Judgment of _Aristotle_ and of _Horace_ his
+chief Interpreter.[324] _Ben Johnson_ in his Dedicatory Epistle of his
+_Fox_ has somewhat considerable upon this Argument; And declaims with a
+great deal of zeal, spirit, and good Sense, against the Licentiousness of
+the _Stage_. He lays it down for a Principle, 'That 'tis impossible to be a
+good _Poet_ without being a good _Man_. That he (a good Poet) is said to be
+able to inform Young Men to all good Discipline, and enflame grown Men to
+all great Virtues &c.--That the general complaint was that the _Writers_ of
+those days had nothing remaining in them of the Dignity of a _Poet_, but
+the abused Name. That now, especially in Stage Poetry, nothing but
+Ribaldry, Profanation, _Blasphemy_, all Licence of Offence to God and Man,
+is practised. He confesses a great part of this Charge is over-true, and is
+sorry he dares not deny it. But then he hopes all are not embark'd in this
+bold Adventure for Hell. For my part (says he) I can, and from a most clear
+Conscience affirm; That I have ever trembled to think towards the least
+Profaness, and loath'd the Use of such foul, and unwash'd Bawdry, as is now
+made the Food of the _Scene_.--The encrease of which Lust in Liberty, what
+Learned or Liberal Soul does not abhor? In whole _Enterludes_ nothing but
+the Filth of the Time is utter'd--with Brothelry able to violate the Ear of
+a _Pagan_, and Blasphemy, to turn the Blood of a Christian to Water. He
+continues, that the Insolence of these Men had brought the _Muses_ into
+Disgrace, and made _Poetry_ the lowest scorn of the Age. He appeals to his
+Patrons the _Universities_, that his Labour has been heretofore, and mostly
+in this his latest Work, to reduce not only the antient Forms, but Manners
+of the _Scene_, the Innocence and the Doctrine, which is the Principal End
+of Poesy, to inform Men in the best Reason of Living.' Lastly he adds, that
+'he has imitated the Conduct of the Antients in this _Play_, The goings out
+(or Conclusions) of whose _Comedies_, were not always joyful but oft-times
+the Bawds, the Slaves, the Rivals, ye and the Masters are multed, and
+fitly, it being the Office of a _Comick Poet_ (mark that!) to imitate
+Justice, and Instruct to Life _&c._' Say you so! Why then if _Ben Johnson_
+knew any thing of the Matter, Divertisment and Laughing is not as Mr.
+_Dryden_ affirms, the _Chief End_ of _Comedy_. This Testimony is so very
+full and clear, that it needs no explaining, nor any enforcement from
+Reasoning, and Consequence.
+
+And because Laughing and Pleasure has such an unlimited Prerogative upon
+the _Stage_, I shall add a Citation or two from _Aristotle_ concerning this
+Matter. Now this great Man 'calls those Buffoons, and Impertinents, who
+rally without any regard to Persons or Things, to Decency, or good Manners.
+That there is a great difference between Ribaldry, and handsom Rallying. He
+that would perform exactly, must keep within the Character of Virtue, and
+Breeding. He goes on, and tells us that the old Comedians entertain'd the
+Audience with Smut, but the Modern ones avoided that Liberty, and grew more
+reserv'd. This latter way he says was much more proper and Gentile then the
+other. That in his Opinion Rallying, no less than Railing, ought to be
+under the Discipline of Law; That he who is ridden by his _Jests_, and
+minds nothing but the business of _Laughing_, is himself Ridiculous. And
+that a Man of Education and Sense, is so far from going these Lengths that
+he wont so much as endure the hearing some sort of Buffoonry.'[325]
+
+And as to the point of Delight in general, the same Author affirms, 'that
+scandalous Satisfactions are not properly Pleasures. 'Tis only Distemper,
+and false Appetite which makes them palatable. And a Man that is sick,
+seldom has his Tast true. Besides, supposing we throw Capacity out of the
+Question, and make Experiment and Sensation the Judge; Granting this, we
+ought not to chop at every Bait, nor Fly out at every Thing that strikes
+the Fancy. The meer Agreableness must not overbear us, without
+distinguishing upon the Quality, and the Means. Pleasure how charming
+soever, must not be fetched out of Vice. An Estate is a pretty thing, but
+if we purchase by Falshood, and Knavery, we pay too much for't. Some
+Pleasures, are Childish and others abominable; And upon the whole,
+Pleasure, absolutely speaking, is no good Thing.'[326] And so much for the
+Philosopher. And because _Ribaldry_ is used for Sport, a passage or two
+from _Quintilian_, may not be unseasonable. This Orator does not only
+Condemn the grosser Instances, but cuts off all the _Double-Entendre's_ at
+a Blow. He comes up to the Regularity of Thought, and tells us 'that the
+Meaning, as well as the Words of Discourse must be unsullied.'[327] And in
+the same _Chapter_ he adds that 'A Man of Probity has always a Reserve in
+his Freedoms, and Converses within the Rules of Modesty, and Character. And
+that Mirth at the expence of Virtue, is an Over-purchase,' _Nimium enim
+risus pretium est si probitatis impendio constat_.
+
+Thus we see how these great _Masters_ qualify Diversion, and tie it up to
+_Provisoes,_ and Conditions. Indeed to make _Delight_ the main business of
+_Comedy_ is an unreasonable and dangerous Principle. It opens the way to
+all Licentiousness, and Confounds the distinction between Mirth, and
+Madness. For if Diversion is the _Chief End_, it must be had at any Price,
+No serviceable Expedient must be refused, tho' never so scandalous. And
+thus the worst Things are said, and best abus'd; Religion is insulted, and
+the most serious Matters turn'd into Ridicule! As if the Blindside of an
+Audience ought to be caress'd, and their Folly and Atheism entertain'd in
+the first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is
+Poyson'd! For can one die of an easier Disease than Diversion? But Raillery
+apart, certainly Mirth and Laughing, without respect to the Cause, are not
+such supreme Satisfactions! A man has sometimes Pleasure in losing his
+Wits. Frensy, and _Possession_, will shake the Lungs, and brighten the
+Face; and yet I suppose they are not much to be coveted. However, now we
+know the Reason of the Profaness, and Obscenity of the _Stage_, of their
+Hellish Cursing, and Swearing, and in short of their great Industry to make
+God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make
+People Laugh! A most admirable justification! What can be more engaging to
+an _Audience_, then to see a _Poet_ thus Atheistically brave? To see him
+charge up to the Canons Mouth, and defy the Vengeance of Heaven to serve
+them? Besides, there may be somewhat of Convenience in the Case. To fetch
+Diversion out of Innocence is no such easy matter. There's no succeeding it
+may be in this method, without Sweat, and Drudging. Clean Wit, inoffensive
+Humour, and handsom Contrivance, require Time, and Thought. And who would
+be at this Expence, when the Purchase is so cheap another way? 'Tis
+possible a _Poet_ may not alwaies have Sense enough by him for such an
+Occasion. And since we are upon supposals, it may be the _Audience_ is not
+to be gain'd without straining a Point, and giving a Loose to Conscience:
+And when People are sick, are they not to be Humour'd? In sine, We must
+make them Laugh, right or wrong, for _Delight_ is the _Cheif End of
+Comedy_. _Delight!_ He should have said _Debauchery_: That's the English of
+the Word, and the Consequence of the Practise. But the Original Design of
+_Comedy_ was otherwise: And granting 'twas not so, what then? If the _Ends_
+of Thing are naught, they must be mended. Mischief is the Chief end of
+Malice, would it be then a Blemish in Ill Nature to change Temper, and
+relent into Goodness? The Chief _End_ of a Madman it may be is to Fire a
+House, must we not therefore bind him in his Bed? To conclude. If _Delight_
+without Restraint, or Distinction without Conscience or Shame, is the
+Supream Law of _Comedy_, 'twere well if we had less on't. Arbitrary
+Pleasure, is more dangerous than Arbitrary Power. Nothing is more Brutal
+than to be abandon'd to Appetite; And nothing more wretched than to serve
+in such a Design. The _Mock-Astrologer_ to clear himself of this
+Imputation, is glad to give up his Principle at Last. _Least any Man should
+think_ (says He) _that I write this to make Libertinism amiable, or that I
+cared not to debase the end, and Institution of_ Comedy. (It seems then
+_Delight_ is not the Chief end.) _I must farther declare that we make not
+Vitious Persons Happy, but only as Heaven makes Sinners so._ &c. If this
+will hold, all's well. But _Heaven_ does not forgive without Repentance.
+Let us see then what Satisfaction he requires from his _Wild-Blood_, and
+what Discipline he puts him under. Why, He helps him to his Mistress, he
+Marries him to a Lady of Birth and Fortune. And now do you think He has not
+made him an Example, and punish'd him to some Purpose! These are frightful
+Severities! Who would be vitious when such Terrors hang over his Head? And
+does _Heaven make Sinners happy_ upon these Conditions? Sure some People
+have a good Opinion of Vice, or a very ill one of Marriage, otherwise they
+would have Charged the Penance a little more. But I have nothing farther
+with the _Mock-Astrologer_.
+
+And now for the Conclusion of a _Chapter_, I shall give some Instances of
+the _Manners_ of the _Stage_, and that with respect to Poetry, and
+Ceremony. _Manners_ in the Language of Poetry, is a Propriety of Actions,
+and Persons. To succeed in this business, there must always be a regard had
+to Age, Sex, and Condition: And nothing put into the Mouths of Persons
+which disagrees with any of these Circumstances. 'Tis not enough to say a
+witty Thing, unless it be spoken by a likely Person, and upon a Proper
+occasion. But my Design will lead me to this Subject afterwards, and
+therefore I shall say no more of it at present, but proceed to apply the
+Remark.
+
+One Instance of Impropriety in _Manners_ both Poetical and Moral, is their
+making Women, and Women of Quality talk Smuttily. This I have proved upon
+them already, and could cite many more places to the same Purpose were it
+necessary.
+
+But I shall go on, and give the _Reader_ some other examples of Decency,
+Judgment, and Probability. _Don Sebastian_ will help us in some measure.
+Here the _Mufti_ makes a foolish Speech to the Rabble, and jests upon his
+own Religion. He tells them, _tho' your Tyrant is a Lawful Emperour, yet
+your Lawful Emperour is but a Tyrant,----That your Emperour is a Tyrant is
+most Manifest, for you were born to be Turks, but he has play'd the Turk
+with you._ And now is not this Man fit to Manage the _Alcoran_, and to be
+set up for on Oracle of State? _Captain Tom_ should have had this Speech by
+right: But the _Poet_ had a farther Design, and any thing is good enough
+for a _Mufti_.
+
+_Sebastian_ after all the violence of his Repentance, his grasping at self
+Murther, and Resolutions for the _Cell_, is strangely pleased with the
+Remembrance of his _Incest_, and wishes the Repetition of it: And _Almeida_
+out of her Princely Modesty, and singular Compunction, is of the same mind.
+This is somewhat surprising! _Oedipus_ and _Jocasta_ in _Sophocles_ don't
+Repent at this rate. No: The horror of the first Discovery continues upon
+their Spirits: They never relapse into any fits of Intemperance, nor
+entertain themselves with a lewd Memory. This sort of Behaviour is not only
+more Instructive but more Natural too. It being very unlikely one should
+wish the Repeating a Crime, when He was almost Distracted at the thoughts
+on't, At the thoughts on't, tho' 'twas comitted under all the Circumstances
+of excuse. Now when Ignorance and meer Mistake are so very disquieting,
+'tis very strange if a Man should plague his Mind with the Aggravations of
+Knowledge; To carry Aversion, and Desire, in their full strength upon the
+same Object; To fly and pursue with so much eagerness, is somewhat
+Unusual.[328]
+
+If we step to the _Spanish Fryar_ He will afford us a Flight worth the
+observing. 'Tis part of the Addresses of _Torrismond_ to _Leonora_.
+
+  _You are so Beautiful
+  So wondrous Fair, you justifie Rebellion;
+  As if that faultless Face could make no Sin,
+  But Heaven by looking on it must forgive._
+
+These are strange Compliments! _Torrismond_ calls his Queen Rebel to her
+head, when he was both her General and her Lover. This is powerful
+Rhetorick to Court a Queen with! Enough one would think to have made the
+Affair desperate. But he has a Remedy at hand. The _Poets Nostrum_ of
+Profaness cures all. He does as good as tell Her, she may Sin as much as
+she has a mind to. Her Face is a Protection to her Conscience. For Heaven
+is under a necessity to forgive a Handsom Woman. To say all this ought to
+be pass'd over in _Torrismond_ on the score of his Passion, is to make the
+Excuse more scandalous than the Fault, if possible. Such Raptures are fit
+only for _Bedlam_, or a place which I shan't name. _Love Triumphant_ will
+furnish another Rant not altogether inconsiderable. Here _Celadea_ a Maiden
+Lady when she was afraid her Spark would be married to another, calls out
+presently for a _Chaos_. She is for pulling the World about her ears,
+tumbling all the Elements together, and expostulates with Heaven for making
+Humane Nature otherwise than it should have been.
+
+  _Great Nature break thy chain that links together
+  The Fabrick of this Globe, and make a Chaos,
+  Like that within my Soul._----[329]
+
+Now to my fancy, if she had call'd for a _Chair_ instead of a _Chaos_,
+trip'd off, and kept her folly to her self, the Woman had been much wiser.
+And since we have shown our Skill in vaulting on the High Ropes, a little
+_Tumbling_ on the _Stage_, may not do amiss for variety.
+
+Now then for a jest or two. _Don Gomez_ shall begin:[330] And here he'le
+give us a Gingle upon the double meaning of a word.
+
+_I think_, says _Dominick_ the Fryar, _it was my good Angel that sent me
+hither so opportunely_. _Gomez_ suspects him brib'd for no creditable
+business and answers.
+
+Gom. _Ay, whose good Angels sent you hither, that you know best, Father._
+
+These _Spaniards_ will entertain us with more of this fine Raillery.
+Colonel _Sancho_ in _Love Triumphant_ has a great stroak at it. He says his
+Bride _Dalinda_ is no more _Dalinda_, but _Dalilah_ the _Philistine_.[331]
+This Colonel as great a Soldier as he is, is quite puzzled at a _Herald_.
+He _thinks they call him_ Herod, _or some such Jewish Name_. Here you have
+a good Officer spoil'd for a miserable jest.[332] And yet after all, this
+_Sancho_ tho' he can't pronounce _Herald_, knows what 'tis to be
+_Laconick_, which is somewhat more out of his way. _Thraso_ in
+_Terence_[333] was a man of the same size in Sense, but for all that he
+does not quibble. _Albanact_ Captain of the Guards,[334] is much about as
+witty as _Sancho_. It seems _Emmeline_ Heiress to the Duke of _Cornwal_ was
+Blind. _Albanact_ takes the rise of his Thought from hence; And observes
+_that as Blind as she is, Coswald would have no blind Bargain of her_.
+_Carlos_ tells _Sancho_ he is sure of his Mistress,[335] and _has no more
+to do but to take out a License_.
+
+_Sancho_ replies, _Indeed I have her License for it_. _Carlos_ is somewhat
+angry at this Gingle, and cries, _what quibling too in your Prosperity_?
+Adversity it seems is the only time for _punning_. Truly I think so too.
+For 'tis a sign a Man is much Distress'd when he flies to such an
+Expedient. However, _Carlos_ needed not to have been so touchy: For He can
+stoop as low himself upon occasion. We must know then that _Sancho_ had
+made Himself a Hunch'd Back, to counterfeit the _Conde Alonzo_. The two
+Colonels being in the same Disguise, were just upon the edg of a Quarrel.
+After some Preliminaries in Railing, _Sancho_ cries, _Don't provoke me; I
+am mischeivously bent_.
+
+Carlos replies, _Nay, you are_ Bent _enough in Conscience, but I have a_
+Bent Fist _for Boxing_. Here you have a brace of Quibbles started in a Line
+and a half. And which is worst of all, they come from _Carlos_, from a
+_Character_ of Sense; And therefore the poet, not the _Soldier_, must
+answer for them.
+
+I shall now give the _Reader_ a few Instances of the Courtship of the
+_Stage_, and how decently they treat the Women, and _Quality_ of both
+_Sexes_. The _Women_ who are secured from Affronts by Custom, and have a
+Privilege for Respect, are sometimes but roughly saluted by these Men of
+Address. And to bar the Defence, this Coarseness does not alwaies come from
+Clowns, and Women-haters; but from _Persons_ of Figure, neither singular,
+nor ill Bred. And which is still worse, The Satir falls on blindly without
+Distinction, and strikes at the whole _Sex_.
+
+Enter _Raymond_ a Noble-man in the _Spanish Fryar_.[336]
+
+  _O Vertue! Vertue! What art thou become?
+  That men should leave thee for that Toy a woman,
+  Made from the dross and refuse of a Man;
+  Heaven took him sleeping when he made her too,
+  Had Man been waking he had nee'r consented._
+
+I did not know before that a Man's Dross lay in his _Ribs_; I believe
+sometimes it lies Higher. But the Philosophy, the Religion, and the
+Ceremony of these Lines, are too tender to be touched. _Creon_ a Prince in
+_Oedipus_,[337] railes in General at the _Sex_, and at the same time is
+violently in Love with _Euridice_. This upon the Matter, is just as
+natural, as 'tis Civil. If any one would understand what the _Curse of all
+tender hearted Women is, Belmour_ will inform him. What is it then? 'Tis
+the _Pox_.[338] If this be true, the Women had need lay in a stock of ill
+Nature betimes. It seems 'tis their only preservative. It guards their
+Virtue, and their Health, and is all they have to trust to. _Sharper_
+another Man of Sense in this _Play_, talks much at the same rate. _Belinda_
+would know of him _where he got that excellent Talent of Railing_?
+
+Sharp. _Madam the Talent was Born with me.----I confess I have taken care
+to improve it, to qualifie me for the Society of Ladies._[339] _Horner_, a
+Topping _Character_ in the _Country Wife_, is advised to _avoid Women, and
+hate them as they do him_. _He Answers._
+
+_Because I do hate them, and would hate them yet more, I'll frequent e'm;
+you may see by Marriage, nothing makes a Man hate a Woman more than her
+Constant Conversation._[340] There is still something more Coarse upon the
+_Sex_ spoken by _Dorax_[341] but it is a privileged Expression, and as such
+I must leave it. The _Relapse_ mends the Contrivance of the Satir, refines
+upon the Manner, and to make the Discourse the more probable, obliges the
+Ladies to abuse themselves. And because I should be loath to tire the
+_Reader, Berenthia_ shall close the Argument. This Lady having undertook
+the Employment of a _Procuress_, makes this remark upon it to her self.
+
+Berinth. _So here is fine work! But there was no avoiding it.----Besides, I
+begin to Fancy there may be as much Pleasure in carrying on another Bodies
+Intrigue, as ones own. This is at least certain, It exercises almost all
+the Entertaining Faculties of a Woman. For there is Employment for
+Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying._
+
+Let us now see what Quarter the _Stage_ gives to _Quality_. And here we
+shall find them extreamly free, and familiar. They dress up the _Lords_ in
+Nick Names, and expose them in _Characters_ of Contempt. _Lord Froth_ is
+explain'd a _Solemn Coxcomb_;[342] And _Lord Rake_, and _Lord Foplington_
+give you their Talent in their Title.[343] Lord _Plausible_ in the _Plain
+Dealer_ Acts a ridiculous Part, but is with all very civil. He tells _Manly
+he never attempted to abuse any Person_, The other answers; _What? you were
+afraid?_[344] _Manly_ goes on and declares _He would call a Rascal by no
+other Title, tho' his Father had left him a Dukes_.[345] That is, he would
+call a Duke a Rascal. This I confess is very much _Plain Dealing_. Such
+Freedoms would appear but odly in Life, especially without Provocation. I
+must own the _Poet_ to be an Author of good Sense; But under favour, these
+jests, if we may call them so, are somewhat high Season'd, the Humour seems
+overstrain'd, and the _Character_ push'd too far. To proceed. _Mustapha_
+was selling _Don Alvarez_ for a Slave. The Merchant asks _what Virtues he
+has_.[346] _Mustapha_ replies. _Virtues quoth ah! He is of a great Family
+and Rich, what other Virtues would'st thou have in a Nobleman?_ Don
+_Carlos_ in _Love Triumphant_ stands for a Gentleman, and a Man of Sense,
+and out-throws _Mustapha_ a Bars Length. He tells us _Nature has given_
+Sancho _an empty Noddle, but Fortune in revenge has fill'd his Pockets:
+just a Lords Estate in Land and Wit_.[347] This is a handsom Compliment to
+the Nobility! And my Lord _Salisbury_ had no doubt of it a good Bargain of
+the _Dedication_.[348] _Teresa's_ general Description of a Countess is
+considerable in its Kind: But only 'tis in no Condition to appear. In the
+_Relapse_, Sir _Tunbelly_ who had Mistaken Young _Fashion_ for Lord
+_Foplington_, was afterwards undeceiv'd; and before the surprize was quite
+over, puts the Question, _is it then possible that this should be the true
+Lord_ Foplington _at Last_? The Nobleman removes the scruple with great
+Civility and Discretion! _Lord_ Fopl. _Why what do you see in his Face to
+make you doubt of it? Sir without presuming to have an extraordinary
+Opinion of my Figure, give me leave to tell you, if you had seen as many
+Lords as I have done you would not think it Impossible A Person of a worse
+Taille then mine might be a Modern Man of Quality._[349]
+
+I'm sorry to hear _Modern Quality_ degenerates so much. But by the way,
+these Liberties are altogether new. They are unpractised by the Latin
+_Comedians_, and by the _English_ too till very lately, as the _Plain
+Dealer_ observes.[350] And as for _Moliere_ in _France_, he pretends to fly
+his Satir no higher than a Marquis.[351]
+
+And has our _Stage_ a particular Privilege? Is their _Charter_ inlarg'd,
+and are they on the same Foot of Freedom with the _Slaves_ in the
+_Saturnalia_? Must all Men be handled alike? Must their Roughness be needs
+play'd upon Title? And can't they lash the Vice without pointing upon the
+_Quality_? If as Mr. _Dryden_ rightly defines it, a _Play ought to be a
+just Image of Humane Nature_;[352] Why are not the Decencies of Life, and,
+the Respects of Conversation observ'd? Why must the Customes of Countries
+be Cross'd upon, and the Regards of Honour overlook'd? What necessity is
+there to kick the _Coronets_ about the _Stage_, and to make a Man a Lord,
+only in order to make him a Coxcomb. I hope the _Poets_ don't intend to
+revive the old Project of Levelling and _Vote_ down the House of _Peers_.
+In earnest, the _Play-house_ is an admirable School of Behaviour! This is
+their way of managing Ceremony, distinguishing Degree, and Entertaining the
+_Boxes_! But I shall leave them at present to the Enjoyment of their
+Talent, and proceed to another Argument.
+
+
+
+
+CHAP. V.
+
+_Remarks upon_ Amphytrion, King Arthur, Don Quixote, _and the_ Relapse.
+
+
+SECTION I.
+
+The following _Plays_, excepting the Last, will fall under the same Heads
+of Commendation with the Former. However, since the _Poets_ have here been
+prodigal in their Expence, and dress'd themselves with more Curiosity then
+ordinary, they deserve a proportionable Regard. So much Finery must not be
+Crowded. I shall therefore make Elbow-Room for their Figure, and allow them
+the Compass of a distinct Chapter.
+
+To begin with _Amphytrion_. In this _Play_ Mr. _Dryden_ represents
+_Jupiter_ with the Attributes of the supream Being: He furnishes him with
+Omnipotence, makes him the Creator of Nature, and the Arbiter of Fate, puts
+all the Functions of Providence in his Hand, and describes him with the
+Majesty of the true God.[353] And when he has put Him in this glorious
+Equipage, he brings him out for Diversion. He makes him express himself in
+the most intemperate Raptures:[354] He is willing to _Renounce_ his
+_Heaven_ for his Brutality, and employ a whole _Eternity_ in Lewdness. He
+draws his Debauch at its full Length, with all the Art, and Heightings, and
+Foulness of Idea immaginable. This _Jupiter_ is not contented with his
+success against _Amphitrion_, unless he brings _Alcmena_ into the
+Confederacy, and makes her a Party _ex post Facto_. He would not have her
+think of her _Husband_, but her _Lover_, that is, her _Whoremaster_. 'Tis
+not the success, but the manner of gaining it which is all in all. 'Tis the
+Vice which is the charming Circumstance. Innocence and Regularity, are
+dangerous Companions; They spoil Satisfaction, and make every Thing
+insipid! Unless People take care to discharge their Virtue, and clear off
+their Conscience, their Senses will vanish immediately! For _Jupiter_, says
+he,[355] would _owe nothing to a Name so dull as Husband_. And in the next
+Page.
+
+  _That very name of Wife And Marriage
+  Is poyson to the dearest sweets of Love._[356]
+
+I would give the _Reader_ some more of these fine Sentences, but that they
+are too much out of Order to appear. The truth is, Our _Stage-Poets_ seem
+to fence against Censure by the excess of Lewdness; And to make the
+overgrown size of a Crime, a Ground for Impunity. As if a Malefactor should
+project his Escape by appearing too scandalous for Publick Tryal. However,
+This is their Armour of Proof, this is the Strength they retreat to. They
+are fortified in Smut, and almost impregnable in Stench, so that where they
+deserve most, there's no coming at them. To proceed. I desire to know what
+Authority Mr. _Dryden_ has for this extraordinary Representation? His
+Original _Plautus_, is no President. Indeed _Plautus_ is the only bold
+Heathen that ever made _Jupiter_ tread the _Stage_. But then he stops far
+short of the Liberties of the _English Amphitrion. Jupiter_ at _Rome_, and
+_London_, have the same unaccountable Design; but the Methods of pursuit
+are very different. The First, does not solicit in scandalous Language, nor
+flourish upon his Lewdness, nor endeavours to set it up for the Fashion.
+_Plautus_ had some regard to the Height of the Character, and the Opinion
+of his Country, and the Restraints of Modesty. The Sallies of
+_Aristophanes_ do not come up to the case; And if they did, I have cut off
+the Succours from that Quarter already. _Terence's Chaerea_. is the next
+bold Man:[357] However, here the Fable of _Jupiter_ and _Danae_ are just
+glanced at, and the Expression is clean; and He that tells the Story, a
+Young Libertine. These are all circumstances of extenuation, and give quite
+another Complexion to the Thing. As for the _Greek Tragedians_ and
+_Seneca_, there's no Prescription can be drawn from them. They mention
+_Jupiter_ in Terms of Magnificence and Respect, and make his Actions, and
+his Nature of a piece. But it may be the Celebrated _Homer_, and _Virgil_
+may give Mr. _Dryden_ some Countenance. Not at all. _Virgil's Jupiter_ is
+alwaies great, and solemn, and keeps up the port of a Deity. 'Tis true,
+_Homer_ does not guard the Idea with that exactness, but then He never
+sinks the Character into Obscenity. The most exceptionable passage is that
+where _Jupiter_ relates his Love Adventures to _Juno_. Here this pretended
+Deity is charm'd with _Venus_'s Girdle, is in the height of his Courtship,
+and under the Ascendant of his Passion. This 'tis confess'd was a slippery
+Place, and yet the Poet makes a shift to keep his Feet. His _Jupiter_ is
+Little, but not nauseous; The Story, tho' improper, will bear the telling,
+and look Conversation in the Face. However; These Freedoms of _Homer_ were
+counted intolerable: I shall not insist on the Censures of _Justin Martyr_,
+or _Clemens Alexandrinus_: Even the Heathen could not endure them. The
+Poets are lashed by _Plato_ upon this Score; For planting Vice in Heaven,
+and making their Gods infectious; If Mr. _Dryden_ answers that _Jupiter_
+can do us no Harm.[358] He is known to be an Idol of Lewd Memory, and
+therefore his Example can have no Force: Under Favour this is a mistake:
+For won't Pitch daub when a dirty Hand throws it; or can't a Toad spit
+Poyson because she's ugly? Ribaldry is dangerous under any Circumstances of
+Representation. And as _Menander_ and St. _Paul_ express it, _Evil
+Communications corrupt good Manners_. I mention them both, because if the
+_Apostle_ should be dislik'd, the _Comedian_ may pass. But after all, Mr.
+_Dryden_ has not so much as a Heathen President for his Singularities. What
+then made him fall into them? Was it the Decency of the Thing, and the
+Propriety of _Character_, and Behaviour? By no means. For as I have
+observ'd before, Nature and Operations, ought to be proportion'd, and
+Behaviour suited to the Dignity of Being. To draw a Monkey in Royal Robes,
+and a Prince in _Antick_, would be Farce upon Colours, entertain like a
+Monster, and please only upon the score of Deformity. Why then does Mr.
+_Dryden_ cross upon Nature and Authority, and go off as he Confesses, from
+the Plan of _Plautus_, and _Moliere_? Tho' by the way, the English
+_Amphitryon_ has borrow'd most of the Libertine Thoughts of _Moliere_, and
+improv'd them. But to the former question. Why must the beaten Road be
+left? He tells us, _That the difference of our_ Stage _from the Roman and
+the French did so require it_.[359] That is, our _Stage_ must be much more
+Licentious. For you are to observe that Mr. _Dryden_, and his Fraternity,
+have help'd to debauch the _Town_, and Poyson their Pleasures to an unusal
+Degree: And therefore the Diet must be dress'd to the Palate of the
+_Company_. And since they are made _Scepticks_, they must be entertain'd as
+such. That the English _Amphitryon_ was contriv'd with this View is too
+plain to be better interpreted. To what purpose else does _Jupiter_ appear
+in the shape of _Jehovah_? Why are the incommunicable _Attributes_
+burlesqu'd, and Omnipotence applyed to Acts of Infamy? To what end can such
+Horrible stuff as this serve, unless to expose the Notion, and extinguish
+the Belief of a Deity? The Perfections of God, are Himself. To ridicule his
+Attributes and his Being, are but two words for the same Thing. These
+Attributes are bestow'd on _Jupiter_ with great Prodigality, and afterwards
+execrably outrag'd. The Case being thus, the Cover of an Idol, is too thin
+a pretence to Screen the Blasphemy. Nothing but Mr. _Dryden's Absolom_ and
+_Achitophel_ can out-do This. Here I confess the Motion of his Pen is
+bolder, and the Strokes more Black'd. Here we have Blasphemy on the top of
+the Letter, without any trouble of Inference, or Construction. This Poem
+runs all upon Scripture Names, Upon Suppositions of the true Religion, and
+the right Object of Worship. Here Profaness is shut out from Defence, and
+lies open without Colour or Evasion. Here are no Pagan Divinities in the
+Scheme, so that all the Atheistick Raillery must point upon the true God.
+In the beginning we are told that _Absalom_ was _David's_ Natural Son: So
+then there's a blot in his _Scutcheon_ and a Blemish upon his Birth. The
+_Poet_ will make admirable use of this, remark presently! This _Absalom_ it
+seems was very extraordinary in his Person and Performances. Mr. _Dryden_
+does not certainly know how this came about, and therefore enquires of
+himself in the first place,
+
+  _Whether inspired with a diviner Lust,
+  His Father got him_----[360]
+
+This is down right Defiance of the Living God! Here you have the very
+Essence and Spirit of Blasphemy, and the Holy Ghost brought in upon the
+most hideous Occasion. I question whether the Torments and Despair of the
+Damn'd, dare venture at such Flights as these. They are beyond Description,
+I Pray God they may not be beyond Pardon too. I can't forbear saying, that
+the next bad Thing to the writing these Impieties, is to Suffer them. To
+return to _Amphitryon_. _Phoebus_ and _Mercury_ have _Manners_ assign'd
+very disagreeable to their Condition. The later abating Propriety of
+Language, talks more like a _Water-man_ than a Deity. They rail against the
+Gods, and call _Mars_ and _Vulcan_ the _two Fools of Heaven. Mercury_ is
+pert upon his Father _Jupiter_, makes jests upon his Pleasures, and his
+Greatness, and is horribly smutty and profane.[361] And all this
+Misbehaviour comes from him in his own shape, and in the sublimity of his
+Character. Had He run Riot in the Disguise of _Sofia_, the Discourse and
+the Person had been better adjusted, and the Extravagance more Pardonable.
+But here the Decorum is quite lost. To see the _Immortals_ play such
+Gambols, and the biggest Beings do the least Actions, is strangely
+unnatural. An Emperour in the Grimaces of an Ape, or the Diversions of a
+Kitten, would not be half so ridiculous. Now as Monsieur _Rapin_ observes,
+without Decorum there can be no _probability_, nor without Probability any
+true Beauty. Nature must be minded, otherwise Things will look forced,
+tawdry, and chimerical. Mr. _Dryden_ discourses very handsomly on this
+occasion in his _Preface_ to _Albion_ and _Albanius_.[362] He informs us,
+_That Wit has been truly defin'd a propriety of Words and Thoughts.----That
+Propriety of Thought is that Fancy which arises naturally from the
+Subject._ Why then without doubt, the Quality, of Characters should be
+taken care of, and great Persons appear like themselves. Yes, yes, all this
+is granted by implication, and Mr. _Dryden_ comes still nearer to the
+present case. He tells us, that _Propriety is to be observed, even in
+Machines; And that the Gods are all to manage their Peculiar Provinces_. He
+instances in some of their respective Employments; but I don't find that
+any of them were to talk Lewdly. No. He plainly supposes the contrary. For
+as he goes on, _If they were to speak upon the Stage it would follow of
+necessity, that the Expressions should be Lofty, Figurative, and
+Majestical_. It seems then their Behaviour should be agreeable to their
+Greatness. Why then are not these Rules observ'd, in the _Machines_ of
+_Amphitrion_? As I take it, Obscenity has not the Air of Majesty, nor any
+Alliance with the _Sublime_. And as for the _Figurative_ Part, 'tis
+generally of the same Cut with the _Lofty_: The Smut shines clear, and
+strong, through the Metaphor, and is no better screen'd than the Sun by a
+Glass Window. To use _Mercury_ thus ill, and make the God of Eloquence
+speak so unlike himself is somewhat strange! But tho' the _Antients_ knew
+nothing of it, there are Considerations above those of _Decency_. And when
+this happens, _A Rule must rather be trespass'd on, than a Beauty left
+out_. 'Tis Mr. _Dryden's_ opinion in his _Cleomenes_, where he breaks the
+_Unity of Time_, to describe the _Beauty_ of a Famine.[363] Now Beauty is
+an arbitrary Advantage, and depends upon Custom and Fancy. With some People
+the Blackest Complexions are the handsomest. 'Tis to these _African_
+Criticks that Mr. _Dryden_ seems to make his Appeal. And without doubt he
+bespeaks their Favour, and strikes their Imagination luckily enough. For to
+lodge Divinity and Scandal together; To make the Gods throw _Stars_, like
+_Snow-balls_ at one another, but especially to Court in Smut, and rally in
+Blasphemy, is most admirably entertaining! This is much better than all the
+Niceties of _Decorum_. 'Tis handsomly contriv'd to slur the Notion of a
+Superiour Nature, to disarm the Terrors of Religion, and make the Court
+Above as Romantick as that of the _Fairies_. A Libertine when his
+Conscience is thus reliev'd, and Atheism sits easie upon his Spirits, can't
+help being grateful upon the Occasion. Meer Interest will oblige him to cry
+up the Performance, and solicit for the _Poets_ Reputation! Before I take
+leave of these _Machines_, it may not be amiss to enquire why the Gods are
+brought into the _Spiritual Court_.[364] Now I suppose the Creditableness
+of the Business, and the _Poets_ Kindness to those _Places_, are the
+principal Reasons of their coming. However. He might have a farther Design
+in his Head, and that is, to bring _Thebes_ to _London_, and to show the
+Antiquity of _Doctors Commons_. For if you will believe _Mercury_, this
+Conference between him and _Phoebus_ was held three thousand years
+ago.[365] Thus _Shakespear_ makes _Hector_ talk about _Aristotles_
+Philosophy,[366] and calls Sr. _John Old Castle_, _Protestant_.[367] I had
+not mention'd this Discovery in Chronology, but that Mr. _Dryden_ falls
+upon _Ben Johnson_, for making _Cataline give Fire at the Face of a Cloud_,
+before Guns were invented.
+
+By the Pattern of these pretended _Deities_, we may guess what sort of
+_Mortals_ we are likely to meet with. Neither are we mistaken. For
+_Phaedra_, is bad enough in all Conscience, but _Bromia_ is a meer
+Original. Indeed when Mr. _Dryden_ makes _Jupiter_, and _Jupiter_ makes the
+Women, little less can be expected. So much for _Amphitrion_.
+
+I shall pass on to _King Arthur_ for a word or two.[368] Now here is a
+strange jumble and Hotch potch of Matters, if you mind it. Here we have
+_Genii_, and _Angels_, _Cupids_, _Syrens_, and _Devils_; _Venus_ and St.
+_George_, _Pan_ and the _Parson_, the Hell of Heathenism, and the Hell of
+_Revelation_; A fit of Smut, and then a Jest about Original Sin. And why
+are Truth and Fiction, Heathenism and Christianity, the most Serious and
+the most Trifling Things blended together, and thrown into one Form of
+Diversion? Why is all this done unless it be to ridicule the whole, and
+make one as incredible as the other? His _Airy_ and _Earthy Spirits_
+discourse of the first state of Devils, of their _Chief_ of their Revolt,
+their Punishment, and Impostures. This Mr. _Dryden_ very Religiously calls
+a _Fairy way of Writing, which depends only on the Force of
+Imagination_.[369] What then is the Fall of the Angels a Romance? Has it no
+basis of Truth, nothing to support it, but strength of Fancy, and Poetick
+Invention? After He had mention'd Hell, Devils, _&c_. and given us a sort
+of _Bible_ description of these formidable Things; I say after he had
+formed his Poem in this manner, I am surprized to hear him call it a _Fairy
+kind of Writing_. Is the History of _Tophet_ no better prov'd than that of
+_Styx_? Is the Lake of _Brimstone_ and that of _Phlegeton_ alike dreadful?
+And have we as much Reason to believe the Torments of _Titius_ and
+_Prometheus_, as those of the Devils and Damn'd? These are lamentable
+Consequences! And yet I can't well see how the _Poet_ can avoid them. But
+setting aside this miserable Gloss in the _Dedication_, the Representation
+it self is scandalously irreligious. To droll upon the Vengeance of Heaven,
+and the Miseries of the Damn'd, is a sad Instance of Christianity! Those
+that bring Devils upon the _Stage_, can hardly believe them any where else.
+Besides, the Effects of such an Entertainment must needs be admirable! To
+see Hell thus play'd with is a mighty Refreshment to a lewd Conscience, and
+a byass'd Understanding. It heartens the Young Libertine, and confirms the
+well-wishers to Atheism, and makes Vice bold, and enterprising. Such
+Diversions serve to dispel the Gloom, and guild the Horrors of the _Shades
+below_, and are a sort of Ensurance against Damnation. One would think
+these _Poets_ went upon absolute Certainty, and could demonstrate a Scheme
+of Infidelity. If they could, They had much better keep the Secret. The
+divulging it tends only to debauch Mankind, and shake the Securities of
+Civil Life. However, if they have been in the other World and find it
+empty, and uninhabited, and are acquainted with all the Powers, and Places,
+in Being; If they can show the Impostures of Religion, and the
+Contradictions of Common Belief, they have something to say for themselves.
+Have they then infallible Proof and Mathematick Evidence for these
+Discoveries? No Man had ever the Confidence to say This; And if He should,
+he would be but laughed at for his Folly. No Conclusions can exceed the
+Evidence of their Principles; you may as well build a Castle in the Air, as
+raise a Demonstration upon a Bottom of Uncertainty. And is any Man so vain
+as to pretend to know the Extent of Nature, and the Stretch of Possibility,
+and the Force of the Powers Invisible? So that notwithstanding the Boldness
+of this _Opera_, there may be such a Place as Hell; And if so, a Discourse
+about Devils, will be no _Fairy way of Writing_. For a _Fairy way of
+Writing_, is nothing but a _History of Fiction_; A subject of Imaginary
+Beings; such as never had any existence in Time, or Nature. And if as
+Monsieur _Rapin_ observes, _Poetry_ requires a mixture of Truth and
+_Fable_; Mr. _Dryden_ may make his advantage, for his _Play_ is much better
+founded on Reality than He was aware of.
+
+It may not be improper to consider in a word or two, what a frightfull Idea
+the _Holy Scriptures_ give us of Hell. 'Tis describ'd by all the
+Circumstances of Terror, by every Thing dreadful to Sense, and amazing to
+Thought. The Place, the Company, the Duration, are all Considerations of
+Astonishment. And why has God given us this solemn warning? Is it not to
+awaken our Fears, and guard our Happiness; To restrain the Disorders of
+Appetite, and to keep us within Reason, and Duty? And as for the _Apostate
+Angels_, the _Scriptures_ inform us of their lost Condition, of their
+Malice and Power, of their active Industry and Experience; and all these
+Qualities Correspondent to the Bulk of their Nature, the Antiquity of their
+Being, and the Misery of their State. In short, They are painted in all the
+formidable Appearances imaginable, to alarm our Caution, and put us upon
+the utmost Defence.
+
+Let us see now how Mr. _Dryden_ represents these unhappy Spirits, and their
+Place of Abode. Why very entertainingly! Those that have a true Tast for
+Atheism were never better regaled. One would think by this _Play_ the
+Devils were meer Mormo's and Bugbears, fit only to fright Children and
+Fools. They rally upon Hell and Damnation, with a great deal of Air and
+Pleasantry; and appear like _Robin Good-fellow_, only to make the Company
+laugh. _Philidel_: Is call'd a _Puling Sprite_. And why so? For this pious
+reason, because
+
+  _He trembles at the yawning Gulph of Hell,
+  Nor dares approach the Flames least he should Singe
+  His gaudy silken Wings.
+  He sighs when he should plunge a Soul in Sulphur,
+  As with Compassion touch'd of Foolish Man_.[370]
+
+The answer is, _What a half Devil's he_.
+
+You see how admirably it runs all upon the Christian Scheme! Sometimes they
+are _Half-Devils_, and sometimes _Hopeful-Devils_, and what you please to
+make sport with. _Grimbald_ is afraid of being _whooped through Hell at his
+return_, for miscarrying in his Business. It seems there is great Leisure
+for Diversion! There's _Whooping_ in Hell, instead of _Weeping_ and
+_Wailing_! One would fancy Mr. _Dryden_ had Daylight and Company, when
+these Lines were written. I know his Courage is extraordinary; But sure
+such Thoughts could never bear up against Solitude and a Candle!
+
+And now since he has diverted himself with the _Terrors_ of _Christianity_,
+I dont wonder he, should treat those that Preach them with so much
+Civility! enter _Poet_ in the Habit of a _Peasant_.
+
+  _We ha' cheated the Parson we'el cheat him again,
+  For why should a Blockhead have one in ten?
+  For prating so long like a Booklearned Sot,
+  Till Pudding, and Dumpling burn to pot._
+
+These are fine comprehensive stroaks! Here you have the _Iliads_ in a
+Nutshell! Two or three courtly words take in the whole Clergy; And what is
+wanting in Wit, is made up in Abuse, and that's as well. This is an
+admirable _Harvest Catch_, and the poor Tith-stealers stand highly
+indebted. They might have been tired with Cheating in _Prose_, had not they
+not been thus seasonably releiv'd in Doggrell! But now there is Musick in
+playing the Knave. A Countryman now may fill his Barn, and humour his ill
+Manners, and sing his Conscience asleep, and all under one. I dont question
+but these _four Lines_ steal many a Pound in the year. Whether the _Muse_
+stands indictable or not, the Law must determine: But after all, I must say
+the Design is notably laid. For Place and Person, for Relish and
+Convenience; nothing could have been better. The Method is very short,
+clear, and Practicable. 'Tis a fine portable Infection, and costs no more
+Carriage than the Plague.
+
+Well! the Clergy must be contented: It might possibly have been worse for
+them if they had been in his favour: For he has sometimes a very unlucky
+way of showing his Kindness. He commends the _Earl of Leicester for
+considering the Friend, more than the Cause_;[371] that is, for his
+Partiality; The Marquess of _Halifax_ for _quitting the Helm, at the
+approach of a Storm_;[372] As if Pilots were made only for fair Weather.
+'Tis Presum'd these Noble Persons are unconcern'd in this Character.
+However the _Poet_ has shown his skill in Panegyrick, and 'tis only for
+that I mention it. He commends _Atticus_ for his Trimming, and _Tally_ for
+his Cowardize, and speaks meanly of the Bravery of _Cato_.[373] Afterwards
+he professes his Zeal for the Publick welfare, and is pleas'd to _see the
+Nation so well secur'd from Foreign Attempts_ &c.[374] However he is in
+some pain about the Coming of the _Gauls_; 'Tis possible for fear they
+should invade the _Muses_, and carry the _Opera's_ into Captivity, and
+deprive us of _the Ornaments of Peace_.
+
+And now He has serv'd his Friends, he comes in the last place like a modest
+Man, to commend Himself. He tells us there were a great many _Beauties_ in
+the Original Draught of this _Play_. But it seems Time has since tarnish'd
+their Complexion. And He gives _Heroick_ Reasons for their not appearing.
+To speak Truth, (all Politicks apart,) there are strange Flights of Honour,
+and Consistencies of Pretention in this Dedication! But I shall forbear the
+Blazon of the _Atcheivment_, for fear I should commend as unluckily as
+Himself.
+
+
+
+
+SECT. II.
+
+_Remarks upon Don Quixot, &c._
+
+
+Mr. _Durfey_ being somewhat particular in his Genius and Civilities, I
+shall consider him in a word or two by himself. This Poet writes from the
+_Romance_ of an ingenious Author: By this means his Sense, and _Characters_
+are cut out to his Hand. He has wisely planted himself upon the shoulders
+of a _Giant_; but whether his Discoveries answer the advantage of his
+standing, the Reader must judge.
+
+What I have to object against Mr. _Durfey_ shall most of it be ranged under
+these three Heads.
+
+I. _His Profaness with respect to Religion and the_ Holy Scriptures.
+
+II. _His Abuse of the Clergy._
+
+III. _His want of Modesty and Regard to the Audience._
+
+
+I. _His Profaness, &c._
+
+And here my first Instance shall be in a bold _Song_ against Providence.
+
+  _Providence that formed the Fair
+    In such a charming Skin,
+  Their Outside made his only care,
+    And never look'd within._[375]
+
+Here the _Poet_ tells you Providence makes Mankind by halves, huddles up
+the Soul, and takes the least care of the better Moyety. This is direct
+blaspheming the Creation, and a Satir upon God Almighty. His next advance
+is to droll upon the Resurrection.
+
+  _Sleep and indulge thy self with Rest,
+  Nor dream thou e're shalt rise again._[376]
+
+His Third Song makes a jest of the _Fall_, rails upon _Adam_ and _Eve_, and
+burlesques the Conduct of _God Almighty_ for not making Mankind over again.
+
+  _When the World first knew Creation,[377]
+  A Rogue was a Top-Profession,
+  When there was no more in all Nature but Four,
+  There were two of them in Transgression.
+
+  He that first to mend the Matter,
+  Made Laws to bind our Nature,
+  Should have found a way,
+  To make Wills obey,
+  And have Modell'd new the Creature_.
+
+In this and the following page, the _Redemption_ of the World is treated
+with the same respect with the _Creation_. The word _Redeemer_, which among
+Christians is appropriated to our Blessed Saviour, and like the Jewish
+Tetragrammaton peculiarly reserv'd to the Deity; This adorable Name
+(_Redeemer and Dear Redeemer_,) is applyed to the ridiculous Don _Quixote_.
+These Insolencies are too big for the Correction of a Pen, and therefore I
+shall leave them. After this horrible abuse of the Works, and Attributes of
+God, he goes on to make sport with his Vengeance. He makes the Torments of
+Hell a very Comical Entertainment: As if they were only Flames in Painting,
+and Terrors in _Romance_. The _Stygian Frogs_ in _Aristophanes_ are not
+represented with more Levity, and Drolling. That the _Reader_ may see I do
+him no wrong, I shall quote the places which is the main Reason why I have
+transcrib'd the rest of his Profaness.
+
+  _Appear ye fat Feinds that in Limbo do groan,
+  That were when in Flesh the same souls with his own:
+  You that always in Lucifers Kitchin reside,
+  'Mongst Sea-coal and Kettles, and Grease newly try'd:
+  That pamper'd each day with a Garbidge of Souls,
+  Broil Rashers of Fools for a Breakfast on Coals._
+
+In the Epilogue you have the History of _Balaam_'s Ass exposed, and the
+Beast brought upon the _Stage_ to laugh at the Miracle the better;
+
+  _And as 'tis said a parlous Ass once spoke,
+  When Crab-tree Cudgel did his rage provoke.
+  So if you are not civil,----I fear
+  He'el speak again.----_
+
+In the second _Part_ the Devil is brought upon the _Stage_.[378] He cries
+as _he hopes to be Saved_. And _Sancho warrants him a good Christian_.
+Truly I think he may have more of Christianity in him than the Poet. For he
+trembles at that God, with whom the other makes Diversion.
+
+I shall omit the mention of several outrages of this Kind, besides his deep
+mouth'd swearing, which is frequent, and pass on to the Second Head, which
+is His Abuse of the Clergy. And since Reveal'd Religion has been thus
+horribly treated, 'tis no Wonder if the _Ministers_ of it have the same
+Usage.
+
+And here we are likely to meet with some passages extraordinary enough. For
+to give Mr. _Durfey_ his due, when he meddles with Church men he lays about
+him like a Knight Errant: Here his Wit and his Malice, are generally in
+extreams, tho' not of the same Kind. To begin. He makes the Curate _Perez_
+assist at the ridiculous Ceremony of _Don Quixots_ Knighting.[379]
+Afterwards Squire _Sancho_ confessing his mistake to _Quixote_, tells him,
+_Ah consider dear Sir no man is born wise_. And what if he was born wise?
+He may be _Bred_ a Fool, if he has not a care. But how does he prove this
+Memorable Sentence? Because a _Bishop is no more than another man without
+Grace and Good Breeding_. I must needs say if the _Poet_ had any share of
+either of these Qualities, he would be less bold with his Superiors; and
+not give his Clowns the Liberty to droll thus heavily upon a solemn
+_Character_. This _Sancho_ Mr. _Durfey_ takes care to inform us is _a dry
+shrewd Country Fellow_, The reason of this Character is for the strength of
+it somewhat surprising.[380] 'Tis because _he blunders out Proverbs upon
+all Occasions, tho' never so far from the purpose_. Now if blundring and
+talking nothing to the purpose, is an argument of _Shrewdness_; some
+Peoples _Plays_ are very shrewd Performances. To proceed. _Sancho_
+complains of his being married, because it hindred him from better offers.
+_Perez_ the Curate is sorry for this Misfortune. _For as I remember_ says
+he _'twas my luck to give_ Teresa _and you the Blessing_. To this _Sancho_
+replies. _A Plague on your Blessing! I perceive I shall have reason to wish
+you hang'd for your Blessing----Good finisher of Fornication, good
+Conjunction Copulative._[381] For this irreverence and Profaness _Perez_
+threatens him with Excommunication. _Sancho_ tells him, _I care not, I
+shall lose nothing by it but a nap in the Afternoon._ In his Second Part,
+_Jodolet_ a Priest is call'd a _Holy Cormorant_, and made to dispatch _half
+a Turkey, and a Bottle of Malaga for his Breakfast_.[382] Here one Country
+Girl chides another for her sawcyness. _D'ee_ (says she) _make a Pimp of a
+Priest?_ _Sancho_ interposes with his usual shrewdness: _A Pimp of a
+Priest, why is that such a Miracle?_ In the Second _Scene_ the Poet
+Provides himself another Priest to abuse.[383] _Mannel_ the Steward calls
+_Bernardo_ the Chaplain Mr. _Cuff-Cushion_, and tells him a _Whore is a
+Pulpit he loves_.----In settling the _Characters Mannel_ is given out for
+_a witty pleasant Fellow_. And now you see he comes up to Expectation. To
+the Blind all _Colours_ are alike, and Rudeness, and Raillery are the same
+thing![384] Afterwards, _Bernardo_ says _Grace_ upon the _Stage_; and I
+suppose Prays to God to bless the Entertainment of the Devil. Before they
+rise from Table, the _Poet_ contrives a Quarrel between _Don Quixot_ and
+_Bernardo_. The Priest railes on the Knight, and calls him _Don Coxcomb_
+&c. By this time you may imagine the Knight heartily Provok'd, ready to
+buckle on his _Bason_, and draw out for the Combat, Let us hear his
+Resentment.
+
+Don Quix. _Oh thou old black Fox with a Fire brand in thy Tail, thou very
+Priest: Thou Kindler of all Mischeifs in all Nations. De'e hear Homily: Did
+not the Reverence I bear these Nobles----I would so thrum your Cassock you
+Church Vermin_.[385]
+
+At last he bids _Bernardo_ adieu in Language too Profane and Scandalous to
+relate.[386] In the Fourth _Act_ His Song calls the Clergy _Black Cattle_,
+and says _no Body now minds what they say_. I could alledge more of his
+Courtship to the _Order_, but the _Reader_ might possibly be tired, and
+therefore I shall proceed in the
+
+_Third_, place to his want of Modesty, and Regard to the Audience. As for
+Smut _Sancho_ and _Teresa_ talk it broad, and single sens'd, for almost a
+page together.[387] _Mary_ the _Buxsom_ has likewise her share of this
+Accomplishment. The first Epilogue is Garnish'd with a Couplet of it;[388]
+_Marcella_ the Maiden Shepherdess raves in Raptures of Indecency; And
+sometimes you have it mixt up with Profaness, to make the Composition the
+stronger.[389] But this entertainment being no Novelty, I shall pass it
+over; And the rather because there are some other Rarities which are not to
+be met with else where.
+
+Here he diverts the Ladies with the Charming Rhetorick of _Snotty-Nose,
+filthy Vermin in the Beard, Nitty Jerkin, and Louse Snapper, with the
+Letter in the Chamber-pot, and natural Evacuation_;[390] with an abusive
+description of a Countess, and a rude story of a certain Lady, and with
+some other varieties of this Kind, too coarse to be named. This is rare
+stuff for Ladies, and Quality! There is more of _Physick_, than _Comedy_ in
+such Sentences as these. _Crocus Metallorum_ will scarse turn the Stomack
+more effectually. 'Tis possible Mr. _Durfey_ might design it for a
+_Receipt_. And being Conscious the _Play_ was too dear, threw a Vomit into
+the Bargain.[391] I wonder Mr. _Durfey_ should have no more regard to the
+_Boxes_ and _Pitt_! That a Man who has _studied the Scenes of Decency and
+Good Manners with so much Zeal_, should practise with so little Address!
+Certainly _indefatigable Diligence, Care and Pains_, was never more
+unfortunate![392] In his _third Part_, _Buxsome_ swears faster, and is more
+scandalous, and impertinent, than in the other two. At these Liberties, and
+some in _Sancho_, the Ladies took Check. This Censure Mr. _Durfey_ seems
+heartily sorry for. He is _extreamly concern'd that the Ladies, that
+Essential part of the Audience_, should think his Performance _nauseous and
+undecent_.[393] That is, he is very sorry they brought their Wits, or their
+Modesty along with them. However Mr. _Durfey_ is not so Ceremonious as to
+submit: He is resolved to keep the Field against the Ladies; And endeavours
+to defend himself by saying, _I know no other way in Nature to do the
+Characters right, but to make a Romp, speak like a Romp, and a clownish
+Boor blunder_ &c.[394]
+
+By his favour, all Imitations tho' never so well Counterfeited are not
+proper for the _Stage_. To present Nature under every Appearance would be
+an odd undertaking. A Midnight _Cart_, or a _Dunghil_ would be no
+Ornamental _Scene_. Nastyness, and dirty Conversation are of the same kind.
+For _Words_ are a Picture to the Ear, as Colours and _Surface_ are to the
+Eye. Such Discourses are like dilating upon Ulcers, and Leprosies: The more
+_Natural_, the worse; for the Disgust always rises with the Life of the
+Description. Offensive Language like offensive Smells, does but make a
+Man's Senses a burthen, and affords him nothing but Loathing and Aversion.
+Beastliness in Behaviour, gives a disparaging Idea of Humane Nature, and
+almost makes us sorry we are of the same Kind. For these reasons 'tis a
+Maxime in Good Breeding never to shock the Senses, or Imagination. This
+Rule holds strongest before _Women_, and especially when they come to be
+entertain'd. The Diversion ought to be suited to the Audience; For nothing
+pleases which is disproportion'd to Capacity, and Gust. The Rudenesses and
+broad Jests of Beggars, are just as acceptable to Ladies as their Rags, and
+Cleanliness. To treat Persons of Condition like the _Mob_, is to degrade
+their Birth, and affront their Breeding. It levells them with the lowest
+Education. For the size of a Man's Sense, and Improvement, is discovered by
+his Pleasures, as much as by any thing else.
+
+But to remove from _Scenes of Decency_, to _Scenes_ of Wit. And here
+_Mannel_ and _Sancho_, two _pleasant sharp Fellows_, will divert us
+extreamly.[395] _Mannel_ in the Disguise of a Lady addresses the Dutchess
+in this manner. _Illustrious Beauty----I must desire to know whether the
+most purifidiferous Don_ Quixote _of the Manchissima, and his
+Squireiferous_ Panca, _be in this Company or no_. This is the Ladies
+speech! Now comes _Sancho_. _Why look you forsooth, without any more
+Flourishes, the Governour_ Panca _is here, and Don_ Quixotissimo _too;
+therefore most afflictedissimous Matronissima, speak what you willissimus,
+for we are all ready to be your Servitorissimus_.[396]
+
+I dare not go on, for fear of overlaying the _Reader_. He may cloy himself
+at his Leisure. The _Scene_ between the _Taylor_ and _Gardiner_, lies much
+in the same Latitude of Understanding.[397]
+
+The Third _Part_ presents a set of _Poppets_, which is a Thought good
+enough; for this Play is only fit to move upon _Wires_. 'Tis pity these
+little _Machines_ appear'd no sooner, for then the Sense, and the _Actors_
+had been well adjusted. In explaining the _Persons_, He acquaints us that
+_Carasco is a Witty Man_. I can't tell what the Gentleman might be in other
+Places, but I'm Satisfied he is a Fool in his _Play_. But some _Poets_ are
+as great Judges of Wit, as they are an instance; And have the Theory and
+the Practise just alike.
+
+Mr. _Durfeys Epistles Dedicatory_ are to the full as diverting as his
+_Comedies_. A little of them may not be amiss.
+
+In his first, He thus addresses the _Dutches_ of _Ormond_. _'Tis Madam from
+your Graces Prosperous Influence that I date my Good Fortune._ To _Date_
+from time and Place, is vulgar and ordinary, and many a _Letter_ has
+miscarried with it: But to do it from an _Influence_, is Astrological, and
+surprizing, and agrees extreamly with the _Hemisphere of the
+Play-house_.[398] These Flights one would easily imagine were the _Poor
+Off-spring_ of Mr. _Durfey's Brain_, as he very judiciously phrases
+it.[399]
+
+One Paragraph in his Dedication to Mr. _Montague_ is perfect _Quixotism_;
+One would almost think him enchanted. I'll give the Reader a Tast.
+
+_Had your Eye's shot the haughty Austerity upon me of a right
+Courtier,----your valued minutes had never been disturb'd with dilatory
+Trifles of this Nature, but my Heart on dull Consideration of your Merit,
+had supinely wish'd you prosperity at a Distance._[400] I'm afraid the
+_Poet_ was under some Apprehensions of the Temper he complains of. For to
+my thinking, there is a great deal of _Supiness_, and _dull Consideration_
+in these Periods. He tells his Patron _his Smiles have embolden'd him_. I
+confess I can't see how He could forbear smiling at such Entertainment.
+However Mr. _Durfey_ takes Things by the best Handle, and is resolv'd to be
+happy in his Interpretation. But to be serious. Were I the Author, I would
+discharge my Muse unless she prov'd kinder. His way is rather to cultivate
+his Lungs, and Sing to other Peoples Sense; For to finish him in a word, he
+is _Vox, & praeterea nihil_. I speak this only on Supposition that the rest
+of his Performances are like These. Which because I have not perused I can
+judge of no farther than by the Rule of _ex pede Herculem_. I shall
+conclude with Monsieur _Boileau's Art_ of _Poetry_. This citation may
+possibly be of some service to Mr. _Durfey_; For if not concern'd in the
+Application, he may at least be precaution'd by the Advice.
+
+          The Translation runs thus.
+
+  _I like an Author that Reforms the Age;
+  And keeps the right Decorum of the Stage:
+  That always pleases by just Reasons Rule:
+  But for a tedious Droll a Quibbling Fool,
+  Who with low nauseous Baudry fills his Plays;
+  Let him begone and on two Tressells raise
+  Some_ Smithfield _Stage, where he may act his Pranks,
+  And make_ Jack-puddings _speak to Mountebanks_.[401]
+
+
+
+
+SECT. III.
+
+_Remarks upon the_ Relapse.
+
+
+The _Relapse_ shall follow _Don Quixot_; upon the account of some Alliance
+between them. And because this _Author_ swaggers so much in his _Preface_,
+and seems to look big upon his Performance, I shall spend a few more
+thoughts than ordinary upon his _Play_, and examine it briefly in the
+_Fable_, the _Moral_, the _Characters_, _&c._ The Fable I take to be as
+follows.
+
+Fashion _a Lewd, Prodigal, younger Brother; is reduced to extremity: Upon
+his arrival from his Travels, he meets with_ Coupler, _an old sharping
+Match-maker_; _This Man puts him upon a project of cheating his Elder
+Brother Lord_ Foplington, _of a rich Fortune_. _Young_ Fashion _being
+refused a Summ of Money by his Brother, goes into_ Couplers _Plot, bubbles
+Sir_ Tunbelly _of his Daughter, and makes himself Master of a fair Estate_.
+
+From the Form and Constitution of the _Fable_, I observe
+
+1st. That there is a _Misnommer_ in the Title. The _Play_ should not have
+been call'd the _Relapse, or Virtue in Danger_: _Lovelace_, and _Amanda_,
+from whose _Characters_ these Names are drawn, are Persons of Inferiour
+Consideration. _Lovelace_ sinks in the middle of the _Fourth_ Act, and we
+hear no more of him till towards the End of the _Fifth_, where he enters
+once more, but then 'tis as _Cato_ did the Senate house, only to go out
+again. And as for _Amanda_ she has nothing to do but to stand a shock of
+Courtship, and carry off her Virtue. This I confess is a great task in the
+_Play-house_, but no main matter in the _Play_.
+
+The _Intrigue_, and the _Discovery_, the great Revolution and success,
+turns upon _Young Fashion_. He without Competition, is the Principal Person
+in the _Comedy_. And therefore the _Younger Brother_, or the _Fortunate
+Cheat_, had been much a more proper Name. Now when a _Poet_ can't rig out a
+_Title Page_, 'tis but a bad sign of his holding out to the _Epilogue_.
+
+_2ly._ I observe the _Moral_ is vitious: It points the wrong way, and puts
+the _Prize_ into the wrong Hand. It seems to make _Lewdness_ the reason of
+_Desert_, and gives _Young Fashion_ a second Fortune, only for Debauching
+away his First. A short view of his _Character_, will make good this
+Reflection. To begin with him: He confesses himself a _Rake_, swears, and
+Blasphemes, Curses, and Challenges his Elder Brother, cheats him of his
+Mistress, and gets him laid by the Heels in a Dog-Kennel. And what was the
+ground of all this unnatural quarrelling and outrage? Why the main of it
+was only because Lord _Foplington_ refused to supply his Luxury, and make
+good his Extravagance. This _Young Fashion_ after all, is the _Poets_ Man
+of Merit. He provides, a _Plot_ and a Fortune, on purpose for him. To speak
+freely, A Lewd Character seldom wants good Luck in _Comedy_. So that when
+ever you see a thorough Libertine, you may almost swear he is in a rising
+way, and that the _Poet_ intends to make him a great Man. In short; This
+_Play_ perverts the End of _Comedy_: Which as Monsieur _Rapin_ observes
+ought to regard Reformation, and publick Improvement. But the _Relapser_
+had a more fashionable Fancy in his Head.[402] His _Moral_ holds forth this
+notable Instruction.
+
+_1st._ That all _Younger Brothers_ should be careful to run out their
+Circumstances as Fast, and as Ill as they can. And when they have put their
+Affairs in this posture of Advantage, they may conclude themselves in the
+high Road to Wealth, and Success. For as _Fashion_ Blasphemously applies
+it, _Providence takes care of Men of Merit._[403]
+
+_2ly._ That when a Man is press'd, his business is not to be govern'd by
+Scruples, or formalize upon Conscience and Honesty. The quickest Expedients
+are the best; For in such cases the Occasion justifies the Means, and a
+Knight of the _Post_, is as good as one of the _Garter_. In the
+
+_3d._ Place it may not be improper to look a little into the _Plot_. Here
+the _Poet_ ought to play the Politician if ever. This part should have some
+stroaks, of Conduct, and strains of Invention more then ordinary. There
+should be something that is admirable, and unexpected to surprize the
+Audience. And all this Finess must work by gentle degrees, by a due
+preparation of _Incidents_, and by Instruments which are probable.[404]
+'Tis Mr. _Rapins_ remark, that without probability _every Thing is lame and
+Faulty_. Where there is no pretence to _Miracle_ and _Machine_, matters
+must not exceed the force of Beleif. To produce effects without proportion;
+and likelyhood in the Cause, is Farce, and Magick, and looks more like
+Conjuring than Conduct. Let us examine the _Relapser_ by these Rules. To
+discover his _Plot_, we must lay open somewhat more of the _Fable_.
+
+'Lord _Foplington_ a Town Beau, had agreed to Marry the Daughter of Sir.
+_Tun-belly Clumsey_ a Country Gentleman, who lived Fifty miles from
+_London_. Notwithstanding this small distance, the Lord had never seen his
+Mistress, nor the Knight his Son in Law. Both parties out of their great
+Wisdom, leave the treating the Match to _Coupler_. When all the
+preliminaries of Settlement were adjusted, and Lord _Foplington_ expected
+by Sir _Tun-belly_ in a few days, _Coupler_ betrays his Trust to _Young
+Fashion_. He advises him to go down before his Brother: To Counterfeit his
+Person, and pretend that the strength of his Inclinations brought him
+thither before his time, and without his Retinue. And to make him pass upon
+Sir _Tun-belly_, _Coupler_ gives him his _Letter_, which was to be Lord
+_Foplingtons_ Credential. _Young Fashion_ thus provided, posts down to Sir
+_Tun-belly_, is received for Lord _Foplington_, and by the help of a little
+Folly and Knavery in the Family, Marries the young Lady without her Fathers
+Knowledge, and a week before the Appointment.
+
+This is the Main of the Contrivance. The Counterturn in Lord _Foplingtons_
+appearing afterwards, and the Support of the main _Plot_, by _Bulls_, and
+_Nurses_ attesting the Marriage, contain's little of Moment. And here we
+may observe that Lord _Foplington_ has an unlucky Disagreement in his
+_Character_; This Misfortune sits hard upon the credibility of the Design.
+Tis true he was Formal and Fantastick, Smitten with Dress, and Equipage,
+and it may be vapour'd by his Perfumes But his Behaviour is far from that
+of an Ideot.[405] This being granted, 'tis very unlikely this Lord with his
+five Thousand pounds _per annum_, should leave the choise of his Mistress
+to _Coupler_, and take her Person and Fortune upon _Content_. To court thus
+blindfold, and by _Proxy_, does not agree with the Method of an Estate, nor
+the Niceness of a _Beau_. However the _Poet_ makes him engage Hand over
+Head, without so much as the sight of her Picture.[406] His going down to
+Sir _Tun-belly_ was as extraordinary as his Courtship. He had never seen
+this Gentleman. He must know him to be beyond Measure suspicious, and that
+there was no Admittance without _Couplers_ Letter. This _Letter_ which was,
+the Key to the Castle, he forgot to take with him, and tells you _'twas
+stolen by his Brother Tam_. And for his part he neither had the Discretion
+to get another, nor yet to produce that written by him to Sir
+_Tun-belly_.[407] Had common Sense been consulted upon this Occasion, the
+_Plot_ had been at an End, and the _Play_ had sunk in the Fourth _Act_. The
+Remainder subsists purely upon the strength of Folly, and of Folly
+altogether improbable, and out of _Character_. The _Salvo_ of Sir _John
+Friendly's_ appearing at last, and vouching for Lord _Foplington_, won't
+mend the matter. For as the _Story_ informs us, Lord _Foplington_ never
+depended on this Reserve.[408] He knew nothing of this Gentleman being in
+the Country, nor where he Lived. The truth is, Sir _John_ was left in
+_Town_, and the Lord had neither concerted his journey with him, nor
+engaged his Assistance.[409]
+
+Let us now see how Sir. _Tun-belly_ hangs together. This Gentleman the
+_Poet_ makes a _Justice_ of _Peace_, and a _Deputy Lieutenant_, and seats
+him fifty Miles from _London_: But by his Character you would take him for
+one of _Hercules_'s Monsters, or some Gyant in _Guy_ of _Warwick_. His
+Behaviour is altogether _Romance_, and has nothing agreeable to Time, or
+Country. When _Fashion_, and _Lory_, went down, they find the Bridge drawn
+up, the Gates barr'd, and the Blunderbuss cock'd at the first civil
+Question. And when Sir _Tun-belly_ had notice of this formidable
+Appearance, he Sallies out with the _Posse_ of the Family, and marches
+against a Couple of Strangers with a _Life Gaurd_ of Halberds, Sythes, and
+Pitchforks. And to make sure work, Young _Hoyden_ is lock'd up at the first
+approach of the Enemy. Here you have prudence and wariness to the excess of
+Fable, and Frensy. And yet this mighty man of suspition, trusts _Coupler_
+with the Disposal of his only Daughter, and his Estate into the Bargain.
+And what was this _Coupler_? Why, a sharper by _Character_, and little
+better by Profession. Farther. Lord _Foplington_ and the Knight, are but a
+days Journey asunder, and yet by their treating by Proxy, and Commission,
+one would Fancy a dozen Degrees of _Latitude_ betwixt them. And as for
+Young _Fashion_, excepting _Couplers_ Letter, he has all imaginable Marks
+of Imposture upon him. He comes before his Time, and without the Retinue
+expected, and has nothing of the Air of Lord _Foplington's_ Conversation.
+When Sir _Tun-belly_ ask'd him, _pray where are your Coaches and Servants
+my Lord_? He makes a trifling excuse. _Sir, that I might give you and your
+Fair Daughter a proof how impatient I am to be nearer akin to you, I left
+my Equipage to follow me, and came away Post, with only one Servant._[410]
+To be in such a Hurry of Inclination for a Person he never saw, is somewhat
+strange! Besides, 'tis very unlikely Lord _Foplington_ should hazard his
+Complexion on Horseback, out ride his Figure, and appear a Bridegroom in
+_Deshabille_. You may as soon perswade a Peacock out of his Train, as a
+_Beau_ out of his Equipage; especially upon such an Occasion. Lord
+_Foplington_ would scarsely speak to his Brother just come a _Shore_, till
+the Grand Committee of _Taylors, Seamtresses, &c._ was dispatch'd.[411]
+Pomp, and Curiosity were this Lords Inclination; why then should he
+mortifie without necessity, make his first Approaches thus out of Form and
+present himself to his Mistress at such Disadvantage? And as this is the
+Character of Lord _Foplington_, so 'tis reasonable to suppose Sir
+_Tunbelly_ acquainted with it. An enquiry into the Humour and management of
+a Son in Law, is very natural and Customary. So that we can't without
+Violence to Sense, suppose Sir _Tunbelly_ a Stranger to Lord _Foplington_'s
+Singularities. These Reasons were enough in all Conscience to make Sir
+_Tunbelly_ suspect a Juggle, and that _Fashion_ was no better then a
+Counterfeit. Why then was the _Credential_ swallow'd without chewing, why
+was not _Hoyden_ lock'd up, and a pause made for farther Enquiry? Did this
+_Justice_ never hear of such a Thing as Knavery, or had he ever greater
+reason to guard against it? More wary steps might well have been expected
+from Sir _Tunbelly_. To run from one extream of Caution, to another of
+Credulity, is highly improbable. In short, either Lord _Foplington_ and Sir
+_Tunbelly_ are Fools, or they are not. If they are, where lies the Cunning
+in over-reaching them? What Conquest can there be without Opposition? If
+they are not Fools, why does the _Poet_ make them so? Why is their Conduct
+so gross, so particolour'd, and inconsistent? Take them either way, and the
+_Plot_ miscarries. The first supposition makes it dull, and the later,
+incredible. So much for the _Plot_. I shall now in the
+
+_4th_. Place touch briefly upon the _Manners_.
+
+The _Manners_ in the Language of the _Stage_ have a signification somewhat
+particular. _Aristotle_ and _Rapin_ call them the Causes and Principles of
+Action. They are formed upon the Diversities of Age, and Sex, of Fortune,
+Capacity, and Education. The propriety of _Manners_ consists in a
+Conformity of Practise, and Principle; of Nature, and Behaviour. For the
+purpose. An old Man must not appear with the Profuseness and Levity of
+Youth; A Gentleman must not talk like a Clown, nor a Country Girl like a
+Town Jilt. And when the _Characters_ are feign'd 'tis _Horace_'s Rule to
+keep them Uniform, and consistent, and agreeable to their first setting
+out. The _Poet_ must be careful to hold his _Persons_ tight to their
+_Calling_ and pretentions. He must not shift, and shuffle, their
+Understandings; Let them skip from Wits to Blockheads, nor from Courtiers
+to Pedants; On the other hand. If their business is playing the Fool, keep
+them strictly to their Duty, and never indulge them in fine Sentences. To
+manage otherwise, is to desert _Nature_, and makes the _Play_ appear
+monstrous, and Chimerical. So that instead of an _Image of Life_, 'tis
+rather an Image of Impossibility. To apply some of these remarks to the
+_Relapser_.
+
+The fine _Berinthia_, one of the Top-Characters, is impudent and Profane.
+_Lovelace_ would engage her Secrecy, and bids her Swear. She answers _I
+do_.
+
+_Lov._ By what?
+
+Berinth. _By Woman._
+
+Lov. _That's Swearing by my Deity, do it by your own, or I shan't believe
+you._
+
+Berinth. _By Man then._[412]
+
+This Lady promises _Worthy_ her Endeavours to corrupt _Amanda_; and then
+They make a Profane jest upon the Office.[413] In the progress of the
+_Play_ after a great deal of Lewd Discourse with _Lovelace_, _Berinthia_ is
+carried off into a Closet, and Lodged in a _Scene_ of Debauch.[414] Here is
+Decency, and Reservedness, to a great exactness! Monsieur _Rapin_ blames
+_Ariosto_, and _Tasso_, for representing two of their Women over free, and
+airy.[415] These _Poets_ says he, _rob Women of their Character, which is
+Modesty_. Mr. _Rymer_ is of the same Opinion: His words are these. _Nature
+knows nothing in the Manners which so properly, and particularly
+distinguish a Woman, as her Modesty.----An impudent Woman is fit only to be
+kicked, and expos'd in Comedy._[416]
+
+Now _Berinthia_ appears in _Comedy_ 'tis true; but neither to be _kick'd_,
+nor _expos'd_. She makes a Considerable Figure, has good Usage, keeps the
+best Company, and goes off without Censure, or Disadvantage. Let us now
+take a Turn or two with Sir _Tun-belly's_ Heiress of 1500 pounds a year.
+This Young Lady swears, talks smut, and is upon the matter just as
+rag-manner'd as _Mary the Buxsome_. 'Tis plain the _Relapser_ copyed Mr.
+_Durfey's_ Original, which is a sign he was somewhat Pinch'd. Now this
+_Character_ was no great Beauty in _Buxsome_; But it becomes the Knights
+Daughter much worse. _Buxsome_ was a poor Pesant, which made her Rudeness
+more natural, and expected. But _Deputy Lieutenants_ Children don't use to
+appear with the Behaviour of Beggars. To breed all People alike, and make
+no distinction between a _Seat_, and a _Cottage_, is not over artful, nor
+very ceremonious to the Country Gentlemen. The _Relapser_ gives _Miss_ a
+pretty Soliloquy, I'll transcribe it for _the Reader_.
+
+She swears by her Maker, _'tis well I have a Husband a coming, or I'de
+Marry the Baker I would so. No body can knock at the Gate, but presently I
+must be lock'd up, and, here's the Young Gray-hound----can run loose about
+the House all day long, she can, 'tis very well!_![417] Afterwards her
+Language is too Lewd to be quoted. Here is a Compound of Ill Manners, and
+Contradiction Is this a good Resemblance of Quality, a Description of a
+great Heiress, and the effect of a Cautious Education? By her Coarsness you
+would think her Bred upon a Common, and by her Confidence, in the Nursery
+of the _Play-house_. I suppose the _Relapser_ Fancies the calling her _Miss
+Hoyden_ is enough to justifie her Ill Manners. By his favour, this is a
+Mistake. To represent her thus unhewn, he should have suited her Condition
+to her Name, a little better. For there is no Charm in _Words_ as to
+matters of Breeding, An unfashionable Name won't make a Man a Clown.
+Education is not form'd upon Sounds, and Syllables, but upon Circumstances,
+and Quality. So that if he was resolv'd to have shown her thus unpolish'd,
+he should have made her keep _Sheep_, or brought her up at the _Wash-Boul_.
+
+Sir _Tun-belly_ accosts Young _Fashion_ much at the same rate of
+Accomplishment.[418] My Lord,----_I humbly crave leave to bid you Welcome
+in a Cup of Sack-wine_. One would imagine the _Poet_ was overdozed before
+he gave the _Justice_ a Glass. For _Sack-wine_ is too low for a _Petty
+Constable_. This peasantly expression agrees neither with the Gentlemans
+Figure, nor with the rest of his Behaviour. I find we should have a
+Creditable _Magistracy_, if the _Relapser_ had the Making them. Here the
+_Characters_ are pinch'd in Sense, and stinted to short Allowance. At an
+other time they are over-indulged, and treated above Expectation.
+
+For the purpose. Vanity and Formalizing is Lord _Foplingtons_ part. To let
+him speak without Aukwardness, and Affectation, is to put him out of his
+Element. There must be Gumm and stiffening in his Discourse to make it
+natural However, the _Relapser_ has taken a fancy to his Person, and given
+him some of the most Gentile raillery in the whole _Play_. To give an
+Instance or two. This Lord in Discourse with _Fashion_ forgets his Name,
+flies out into Sense, and smooth expression, out talks his Brother, and
+abating the starch'd Similitude of a _Watch_, discovers nothing of
+Affectation, for almost a _Page_ together.[419] He relapses into the same
+Intemperance of good Sense, in an other Dialogue between him and his
+Brother. I shall cite a little of it.
+
+_Y._ Fash. _Unless you are so kind to assist me in redeeming my Annuity, I
+know no Remedy, but to go take a Purse_.
+
+_L._ Fopl. _Why Faith_ Tam----_to give you my Sense of the Thing, I do
+think taking a Purse the best Remedy in the World, for if you succeed, you
+are releiv'd that way, if you are taken----you are reliev'd to'ther_.[420]
+
+_Fashion_ being disappointed of a supply quarrels his Elder Brother, and
+calls him _the Prince of Coxcombs_.[421]
+
+_L._ Fopl. _Sir I am proud of being at the Head of so prevailing a party._
+
+_Y._ Fash. _Will nothing then provoke thee? draw Coward._
+
+_L._ Fopl. _Look you_ Tam, _your poverty makes your Life so burdensome to
+you, you would provoke me to a Quarrel, in hopes either to slip through my
+Lungs into my Estate, or else to get your self run through the Guts, to put
+an end to your Pain. But I shall disappoint you in both_. &c.
+
+This Drolling has too much Spirit, the Air of it is too free, and too
+handsomly turn'd for Lord _Foplingtons_ Character. I grant the _Relapser_
+could not aford to lose these Sentences. The Scene would have suffer'd by
+the Omission. But then he should have contriv'd the matter so, as that they
+might, have been spoken by Young _Fashion_ in _Asides_, or by some other
+more proper Person. To go on. Miss _Hoyden_ sparkles too much in
+Conversation. The _Poet_ must needs give her a shining Line or two,[422]
+which serves only to make the rest of her dullness the more remarkable.
+Sir. _Tun-belly_ falls into the same Misfortune of a Wit, and rallies above
+the force of his Capacity.[423] But the place having a mixture of
+Profaness, I shall forbear to cite it. Now to what purpose should a Fools
+Coat be embroider'd? Finery in the wrong place is but expensive
+Ridiculousness. Besides, I don't perceive the _Relapser_ was in any
+Condition to be thus liberal. And when a _Poet_ is not overstock'd, to
+squander away his Wit among his _Block-heads_, is meer Distraction. His men
+of Sense will smart for this prodigality. _Lovelace_ in his discourse of
+_Friendship_, shall be the first Instance. _Friendship_ (says he) _is said
+to be a plant of tedious growth, its Root composed of tender_ Fibers, nice
+in their Tast, _&c._ By this Description the Palate of a _Fiber_, should be
+somewhat more _nice_ and distinguishing, then the _Poets_ Judgment. Let us
+examin some more of his Witty People. Young _Fashion_ fancies by _Misses_
+forward Behaviour, she would have a whole _Kennel_ of _Beaux_ after her at
+_London_. And then _Hey to the Park, and the Play, and the Church, and the
+Devil_.[424] Here I conceive the ranging of the Period is amiss. For if he
+had put the _Play_, and the _Devil_ together, the Order of Nature, and the
+Air of Probability had been much better observ'd.
+
+Afterwards _Coupler_ being out of Breath in coming up stairs to _Fashion_,
+asks him _why the ---- canst thou not lodge upon the Ground-floor_?[425]
+
+_Y._ Fash. _Because I love to lye as near Heaven as I can._ One would think
+a Spark just come off his Travels, and had made the _Tour_ of _Italy_ and
+_France_, might have rallied with a better Grace! However if he lodg'd in a
+_Garret_, 'tis a good _Local_ jest. I had almost forgot one pretty
+remarkable Sentence of _Fashion_ to _Lory._[426] _I shall shew thee_ (says
+he) _the excess of my Passion by being very calm_. Now since this
+_Gentleman_ was in a vein of talking Philosophy to his Man, I'm sorry he
+broke of so quickly. Had he gone on and shown him the _Excess_ of a Storm
+and no Wind stirring, the Topick had been spent, and the Thought improv'd
+to the utmost.
+
+Let us now pass onto _Worthy_, the _Relapsers_ fine Gentleman. This Spark
+sets up for Sense, and Address, and is to have nothing of Affectation or
+Conscience to spoil his Character. However to say no more of him, he grows
+Foppish in the last _Scene_, and courts _Amanda_ in Fustian, and Pedantry.
+First, He gives his Periods a turn of Versification, and talks _Prose_ to
+her in _Meeter_. Now this is just as agreeable as it would be to _Ride_
+with one Leg, and _Walk_ with the other. But let him speak for himself. His
+first business is to bring _Amanda_ to an Aversion for her Husband; And
+therefore he perswades her to _Rouse up that Spirit Women ought to bear;
+and slight your God if he neglects his Angel_.[427] He goes on with his
+Orisons. _With Arms of Ice receive his Cold Embraces and keep your Fire for
+those that come in Flames._ Fire and Flames, is Mettal upon Mettal; 'Tis
+false Heraldry. _Extend the Arms of Mercy to his Aid. His zeal may give him
+Title to your Pity, altho' his Merit cannot claim your Love._[428] Here you
+have _Arms_ brought in again by Head and shoulders. I suppose the design
+was to keep up the Situation of the _Allegory_. But the latter part of the
+Speech is very Pithy. He would have her resign her Vertue out of Civility,
+and abuse her Husband on Principles of good Nature. _Worthy_ pursues his
+point, and Rises in his Address. He falls into a Fit of Dissection, and
+hopes to gain his Mistress by Cutting his Throat. He is for _Ripping up his
+Faithful Breast_, to prove the Reality of his Passion. Now when a Man
+Courts with his Heart in his Hand, it must be great Cruelty to refuse him!
+No Butcher could have Thought of a more moving Expedient! However, _Amanda_
+continues obstinate, and is not in the usual Humour of the _Stage_. Upon
+this, like a well bred Lover he seizes her by Force, and threatens to Kill
+her. _Nay struggle not for all's in vain, or Death, or Victory, I am
+determin'd._[429] In this rencounter the Lady proves too nimble, and slips
+through his Fingers. Upon this disappointment, he cries, _there's Divinity
+about her, and she has dispenc'd some Portion on't to me_. His Passion is
+Metamorphos'd in the Turn of a hand: He is refin'd into a _Platonick_
+Admirer, and goes off as like a _Town Spark_ as you would wish. And so much
+for the _Poets_ fine Gentleman.
+
+I should now examine the _Relapser's Thoughts and Expressions_, which are
+two other Things of Consideration in a _Play_. The _Thoughts_ or
+_Sentiments are the Expressions of the Manners, as Words are of the
+Thoughts_.[430] But the view of the _Characters_ has in some measure
+prevented this Enquiry. Leaving this Argument therefore, I shall consider
+his _Play_ with respect to the
+
+_Three Unities_ of Time, Place, and Action.
+
+And here the _Reader_ may please to take notice, that the Design of these
+Rules, is to conceal the Fiction of the _Stage_, to make the _Play_ appear
+Natural, and to give it an Air of Reality, and _Conversation_.
+
+The largest compass for the first _Unity_ is Twenty Four Hours: But a
+lesser proportion is more regular. To be exact, the Time of the History, or
+_Fable_, should not exceed that of the _Representation_: Or in other words,
+the whole Business of the _Play_, should not be much longer than the Time
+it takes up in _Playing_.
+
+The Second _Unity_ is that of _Place_. To observe it, the _Scene_ must not
+wander from one Town, or Country to another. It must continue in the same
+House, Street, or at farthest in the same City, where it was first laid.
+The Reason of this Rule depends upon the _First_. Now the Compass of _Time_
+being strait, that of _Space_ must bear a Correspondent Proportion. Long
+journeys in _Plays_ are impracticable. The Distances of _Place_ must be
+suited to Leisure, and Possibility, otherwise the supposition will appear
+unnatural and absurd. The
+
+Third _Unity_ is that of _Action_; It consists in contriving the chief
+Business of the _Play_ single, and making the concerns of one Person
+distinguishably great above the rest. All the Forces of the _Stage_ must as
+it were serve Under one _General_: And the lesser Intrigues or Underplots,
+have some Relation to the Main. The very Oppositions must be useful, and
+appear only to be Conquer'd, and Countermin'd. To represent Two
+considerable Actions independent of each other, Destroys the beauty of
+Subordination, weakens the Contrivance, and dilutes the pleasure. It splits
+the _Play_, and makes the _Poem_ double. He that would see more upon this
+subject may consult _Corneille_.[431] To bring these Remarks to the Case in
+hand. And here we may observe how the _Relapser_ fails in all the _Rules_
+above mention'd.
+
+_1st._ His _Play_ by modest Computation takes up a weeks Work, but five
+days you must allow it at the lowest. One day must be spent in the First,
+Second, and part of the Third _Act_, before Lord _Foplington_ sets forward
+to Sir _Tun-belly_. Now the Length of the Distance, the Pomp of the
+Retinue, and the Niceness of the Person being consider'd; the journey down,
+and up again, cannot be laid under four days.[432] To put this out of
+doubt, Lord, _Foplington_ is particularly careful to tell _Coupler_, how
+concern'd he was not to overdrive _for fear of disordering his
+Coach-Horses_. The Laws of _Place_, are no better observ'd than those of
+_Time_. In the Third _Act_ the _Play_ is in _Town_, in the Fourth _Act_
+'tis stroll'd Fifty Miles off, and in the Fifth _Act_ in _London_ again.
+Here _Pegasus_ stretches it to purpose! This _Poet_ is fit to ride a Match
+with Witches. _Juliana Cox_ never Switched a Broom stock with more
+Expedition! This is exactly
+
+  _Titus_ at _Walton Town_, and _Titus_ at _Islington_.
+
+One would think by the probability of matters, the _Plot_ had been stolen
+from Dr. _O----s_.
+
+The _Poet's_ Success in the last _Unity_ of _Action_ is much the same with
+the former. _Lovelace_, _Amanda_, and _Berinthia_, have no share in the
+main Business. These Second rate _Characters_ are a detatched Body: Their
+Interest is perfectly Foreign, and they are neither Friends, nor Enemies to
+the _Plot_. _Young Fashion_ does not so much as see them till the Close of
+the Fifth _Act_, and then they meet only to fill the _Stage_: And yet these
+_Persons_ are in the _Poets_ account very considerable; Insomuch that he
+has misnamed his _Play_ from the Figure of two of them. This strangness of
+_Persons_, distinct Company, and inconnexion of Affairs, destroys the Unity
+of the _Poem_. The contrivance is just as wise as it would be to cut a
+Diamond in two. There is a loss of Lustre in the Division. Increasing the
+Number, abates the Value, and by making it more, you make it less.
+
+Thus far I have examin'd the _Dramatick_ Merits of the _Play_. And upon
+enquiry, it appears a Heap of Irregularities. There is neither Propriety in
+the _Name_, nor Contrivance in the _Plot_, nor Decorum in the _Characters_.
+'Tis a thorough Contradition to Nature, and impossible in _Time_, and
+_Place_. Its _Shining Graces_ as the Author calls them,[433] are
+_Blasphemy_ and _Baudy_, together with a mixture of _Oaths_, and _Cursing_.
+Upon the whole; The _Relapser's_ Judgment, and his Morals, are pretty well
+adjusted. The _Poet_, is not much better than the _Man_. As for the
+_Profane_ part, 'tis hideous and superlative.[434] But this I have
+consider'd elsewhere. All that I shall observe here is, that the Author was
+sensible of this Objection. His Defence in his _Preface_ is most wretched:
+He pretends to know nothing of the Matter, and that _'tis all Printed_;
+Which only proves his Confidence equal to the rest of his Virtues. To
+out-face Evidence in this manner, is next to the affirming there's no such
+Sin as _Blasphemy_, which is the greatest Blasphemy of all. His Apology
+consists in railing at the _Clergy_; a certain sign of ill Principles, and
+ill Manners. This He does at an unusual rate of Rudeness and Spite. He
+calls them the Saints with Screw'd _Faces, and wry Mouths_. And after a
+great deal of scurrilous Abuse too gross to be mention'd, he adds;[435] _If
+any Man happens to be offended at a story of a Cock and a Bull, and a
+Priest and a Bull-dog, I beg his Pardon_, &c. This is brave _Bear-Garden_
+Language! The _Relapser_ would do well to transport his Muse to
+_Samourgan_.[436] There 'tis likely he might find Leisure to lick his
+_Abortive Brat_ into shape; And meet with proper Business for his Temper,
+and encouragement for his Talent.
+
+
+
+
+CHAP. VI.
+
+_The Opinion of_ Paganism, _of the_ Church, _and_ State, _concerning the_
+Stage.
+
+
+Having in the foregoing _Chapters_ discover'd some part of the Disorders of
+the _English Stage_; I shall in this Last, present the _Reader_ with a
+short View of the Sense of _Antiquity_, To which I shall add some _Modern_
+Authorities; From all which it will appear that _Plays_ have generally been
+look'd on as the _Nurseries_ of _Vice_, the _Corrupters_ of _Youth_, and
+the _Grievance_ of the _Country_ where they are suffer'd.
+
+This proof from _Testimony_ shall be ranged under these three Heads.
+
+Under the _First_, I shall cite some of the most celebrated _Heathen
+Philosophers_, Orators, and Historians; Men of the biggest Consideration,
+for Sense, Learning, and Figure. The
+
+_Second_, Shall consist of the _Laws_ and _Constitutions_ of _Princes, &c._
+The
+
+_Third_, Will be drawn from _Church-Records_, from _Fathers_, and
+_Councils_ of unexceptionable Authority, both as to Persons, and Time.
+
+_1st._ I shall produce some of the most celebrated Heathen Philosophers
+_&c._ To begin with _Plato_. 'This Philosopher tells us that _Plays_ raise
+the Passions, and pervert the use of them, and by consequence are dangerous
+to Morality. For this Reason he banishes these Diversions his
+_Common-Wealth_.'[437]
+
+_Xenophon_ who was both a Man of _Letters_ and a great _General_, commends
+the _Persians_ for the Discipline of their Education. 'They won't (says he)
+so much as suffer their Youth to hear any thing that's Amorous or
+Tawdry.'[438] They were afraid want of Ballast might make them miscarry,
+and that 'twas dangerous to add weight to the Byass of Nature.
+
+_Aristole_ lays it down for a Rule 'that the Law ought to forbid Young
+People the seeing of _Comedies_. Such permissions not being safe till Age
+and Discipline had confirm'd them in sobriety, fortified their Virtue, and
+made them as it were proof against Debauchery.'[439] This Philosopher who
+had look'd as far into Humane Nature as any Man, observes farther. 'That
+the force of Musick and _Action_ is very affecting. It commands the
+Audience and changes the Passions to a Resemblance of the Matter before
+them.'[440] So that where the Representation is foul, the Thoughts of the
+Company must suffer.
+
+_Tully_ crys out upon 'Licentious _Plays_ and _Poems_, as the bane of
+Sobriety, and wise Thinking: That _Comedy_ subsists upon Lewdness, and that
+Pleasure is the Root, of all Evil.'[441]
+
+_Livy_, reports the Original of _Plays_ among the _Romans_. 'He tells us
+they were brought in upon the score of Religion, to pacifie the Gods, and
+remove a _Mortality_. But then He adds that the Motives are sometimes good,
+when the Means are stark naught: That the Remedy in this case was worse
+than the Disease, and the Atonement more Infectious then the Plague.'[442]
+
+_Valerius Maximus_, Contemporary with _Livy_, gives much the same Account
+of the rise of _Theatres_ at _Rome_. 'Twas Devotion which built them. And
+as for the Performances of those Places, which Mr. _Dryden_ calls the
+_Ornaments_, this Author censures as the Blemishes of _Peace_.' And which
+is more, He affirms 'They were the Occasions of Civil Distractions; And
+that the _State_ first Blush'd, and then Bled, for the Entertainment.[443]
+He concludes the consequences of _Plays_ intolerable;[444] And that the
+_Massilienses_ did well in clearing the Country of them. _Seneca_ complains
+heartily of the Extravagance and Debauchery of the Age: And how forward
+People were to improve in that which was naught. That scarce any Body would
+apply themselves to the Study of Nature and Morality, unless when the
+_Play-House_ was shut, or the Weather foul. That there was no body to teach
+_Philosophy_, because there was no body to Learn it: But that the _Stage_
+had _Nurseries_, and Company enough. This Misapplication of time and Fancy,
+made Knowledge in so ill a Condition. This was the Cause the Hints of
+Antiquity were no better pursued; that some Inventions were sunk, and that
+Humane Reason grew Downwards rather than otherwise.[445] And elswhere he
+avers that there is nothing more destructive to Good Manners then to run
+Idling to see _Sights_. For there Vice makes an insensible Approach, and
+steals upon us in the Disguise of pleasure.[446]
+
+'_Tacitus_ relating how _Nero_ hired decay'd Gentlemen for the _Stage_,
+complains of the Mismanagement;[447] And lets us know 'twas the part of a
+Prince to releive their Necessity, and not to Tempt it. And that his Bounty
+should rather 'have set them above an ill practise, than driven them
+upon't.'
+
+And in another place, He informs us that 'the German Women were Guarded
+against danger, and kept their Honour out of Harms way, by having no
+_Play-Houses_ amongst them.'[448]
+
+_Plays_, in the Opinion of the Judicious _Plutark_ are dangerous to corrupt
+Young People; And therefore _Stage_ Poetry when it grows too hardy, and
+Licentious, ought to be checkt.[449] This was the Opinion of these
+Celebrated _Authors_ with respect to _Theatres_: They Charge them with the
+Corruption of Principles, and Manners, and lay in all imaginable Caution
+against them. And yet these Men had seldom any thing but this World in
+their Scheme; and form'd their Judgments only upon Natural Light, and
+Common Experience. We see then to what sort of Conduct we are oblig'd. The
+case is plain; Unless we are little enough to renounce our Reason, and fall
+short of Philosophy, and live _under_ the Pitch of _Heathenism_.
+
+To these Testimonies I shall add a Couple of _Poets_, who both seem good
+Judges of the Affair in Hand.
+
+The first is _Ovid_, who in his Book _De  Arte Amandi_, gives his _Reader_
+to understand that the _Play-House_ was the most likely Place for him to
+Forage in. Here would be choice of all sorts: Nothing being more common
+than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at
+these Diversions.
+
+  _Sed tu praecique curvis venare Theatris,
+  Haec loca sunt voto fertiliora tuo.
+  ---- ruit ad celebres cultissima Faemina Ludos;
+  Copia judicium saepe morata meum est.
+  Spectatum veniunt, veniunt Spectentur ut ipsae;
+  Ille locus casti damna pudoris habet._[450]
+
+And afterwards relating the imperfect beginning of _Plays_ at the Rape of
+the _Sabine_ Virgins, he adds,
+
+  _Silicit exillo solennia more Theatra
+  Nunc quoque formosis insidiosa manent._
+
+This _Author_ some time after wrote the _Remedy_ of _Love_. Here he
+pretends to Prescribe for Prudence, if not for Sobriety. And to this
+purpose, He forbids the seeing of _Plays_, and the reading of _Poets_,
+especially some of them. Such Recreations being apt to feed the
+_Distemper_, and make the _Patient_ relapse.
+
+  _At tanti tibi sit non indulgere Theatris
+  Dum bene de cacuo Pectore cedat amor.
+  Enervant animos Citharae, Cantusque, lyraque
+  Et vox, & numeris brachia mota suis.
+  Illic assidue ficti saltantur amantes,
+  Quid, caveas, actor, quid juvet, arte docet_.[451]
+
+In his _De Tristibus_, He endeavours to make some Amends for his scandalous
+_Poems_, and gives _Augustus_ a sort of _Plan_ for a Publick _Reformation_.
+Amongst other Things, he advises the suppressing of _Plays_, as being the
+promoters of Lewdness, and Dissolution of Manners.
+
+  _Ut tamen hoc fatear ludi quoque semina praebent
+  Nequitiae, tolli tota Theatra jube._[452]
+
+To the Testimony of _Ovid_, I could add _Plautus_, _Propertius_, and
+_Juvenal_, but being not willing to overburthen the _Reader_, I shall
+content my self with the _Plain-Dealer_ as one better known at _Home_.
+
+This _Poet_ in his _Dedication_ to _Lady B_, some Eminent _Procuress_,
+pleads the Merits of his Function, and insists on being Billeted upon _free
+Quarter_. _Madam_ (says he) _I think a Poet ought to be as free of your
+Houses, as of the Play-Houses: since he contributes to the support of both,
+and is as necessary to such as you, as the Ballad-singer to the Pick-purse,
+in Convening the Cullies at the Theatres to be pick'd up, and Carried to a
+supper, and Bed, at your Houses._[453] This is franck Evidence, and ne're
+the less true, for the Air of a Jest.
+
+I shall now in the Second Place proceed to the _Censures_ of the _State_;
+And show in a few Words how much the _Stage_ stands discouraged by the
+_Laws_ of other Countrys and our own.
+
+To begin with the _Athenians_.[454] This People tho' none of the worst
+Freinds to the _Play-House_ 'thought a _Comedy_ so unreputable a
+Performance, that they made a Law that no Judge of the _Ariopagus_ should
+make one.'
+
+The _Lacedemonians_,[455] who were remarkable for the Wisdom of their
+_Laws_, the Sobriety of their _Manners_, and their Breeding of brave Men.
+This _Government_ would not endure the _Stage_ in any Form, nor under any
+Regulation.
+
+To pass on to the _Romans_. _Tully_[456] informs us that their
+_Predecessours_ 'counted all _Stage-Plays_ uncreditable and Scandalous. In
+so much that any _Roman_ who turn'd _Actor_ was not only to be Degraded,
+but likewise as it were disincorporated, and unnaturalized by the _Order_
+of the _Censors_.
+
+St. _Augustine_ in the same Book,[457] commends the _Romans_ for refusing
+the _Jus Civitatis_ to _Players_, for seizing their Freedoms, and making
+them perfectly Foreign to their _Government_.
+
+We read in _Livy_[458] that the Young People in _Rome_ kept the _Fabulae
+Attellanae_ to themselves. 'They would not suffer this Diversion to be
+blemish'd by the _Stage_. For this reason, as the Historian observes,[459]
+the _Actors_ of the _Fabulae Atellanae_ were neither expell'd their
+_Tribe_, nor refused to serve in _Arms_; Both which Penalties it appears
+the _Common Players_ lay under.'
+
+In the Theodosian _Code_, _Players_ are call'd _Personae inhonestae_;[460]
+that is, to _Translate_ it softly, Persons Maim'd, and Blemish'd in their
+Reputation. Their _Pictures_ might be seen at the _Play-House_, but were
+not permitted to hang in any creditable Place[461] of the _Town_, Upon this
+_Text_ _Gothofred_ tells us the Function of Players was counted
+scandalous[462] by the _Civil Law_, L. 4. And that those who came upon the
+_Stage_ to divert the people, had a mark of Infamy set upon them. _Famosi
+sunt ex Edicto._ [463]
+
+I shall now come down to our own _Constitution_. And I find by 39 _Eliz.
+cap. 4. 1. Jac. cap. 7_. That all Bearwards, Common Players of Enterludes,
+Counterfeit Egyptians &c. shall be taken, adjudged and deem'd Rogues,
+Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment,
+as by this Act is in that behalf appointed. The _Penalties_ are infamous to
+the last degree, and _Capital_ too, unless they give over. 'Tis true, the
+first _Act_ excepts those Players which belong to a Baron or other
+Personage of higher Degree, and are authorized to Play under the hand and
+Seal of Armes of such Baron, or Personage. But by the later _Statute_ this
+Privilege of _Licensing_ is taken away: And all of them are expresly
+brought under the Penalty without Distinction.
+
+About the Year 1580, there was a Petition made to Queen _Elizabeth_ for
+suppressing of _Play-Houses_. 'Tis somewhat remarkable, and therefore I
+shall transcribe some part of the Relation.
+
+_Many Godly Citizens, and other well disposed Gentlemen of_ London,
+_considering that_ Play-Houses _and_ Dicing-Houses, _were Traps for Young
+Gentlemen and others, and perceiving the many Inconveniencies and great
+damage that would ensue upon the long suffering of the same, not only to
+particular Persons but to the whole City; And that it would also be a great
+disparagement to the Governours, and a dishonour to the Government of this
+Honourable City, if they should any longer continue, acquainted some Pious
+Magistrates therewith, desiring them to take some Course for the
+suppression of Common_ Play-Houses, _&c. within the City of_ London _and
+Liberties thereof; who thereupon made humble suit to Queen_ Elizabeth _and
+her Privy Council, and obtain'd leave of her Majesty to thrust the Players
+out of the City and to pull down all_ Play-Houses, _and_ Dicing-Houses
+_within their Liberties, which accordingly was effected.[464] And the
+Play-Houses in_ Grace-Church-street _&c. were quite put down and
+suppress'd_.
+
+I shall give a Modern Instance or two from _France_ and so conclude these
+Authorities.
+
+In the Year 1696. we are inform'd by a Dutch _Print_,[465] M. _L'
+Archeveque appuye_ &c. That the Lord Arch-Bishop 'support'd by the interest
+of some Religious Persons at Court, has done his utmost to suppress the
+_Publick Theatres_ by degrees; or at least to clear them of Profaness.'
+
+And last Summer the _Gazetts_ in the _Paris Article_ affirm.[466] That the
+King has 'order'd the _Italian Players_ to retire out of _France_ because
+they did not observe his _Majesties Orders_, but represented immodest
+_Pieces_, and did not correct their _Obscenities_, and indecent
+_Gestures_.'
+
+The same _Intelligence_ the next week after, acquaints us, 'that some
+Persons of the first _Quality_ at Court, who were the Protectors of these
+_Comedians_, had solicited the French King to recal his _Order_ against
+them, but their Request had no success.'
+
+And here to put an end to the Modern Authorities, I shall subjoyn a sort of
+_Pastoral Letter_ publish'd about two years since by the Bishop of _Arras_
+in _Flanders_. The _Reader_ shall have as much of it as concerns him in
+both Languages.
+
+
+
+
+MANDEMENT
+
+DE MONSEIGNEUR
+
+_L'Illustrissime Et Reverendissime_
+
+EVEQUE D'ARRAS
+
+CONTRE LA COMEDIE.
+
+GUY DE SEVE DE ROCHE CHOUART _par la grace de Dieu & du Saint Siege
+Apostolique Eveque d' Arras, A tous fideles dela Ville d'Arras Salut &
+Benediction. Il faut ignorer sa Religion pour ne pas connoitre l'horreur
+qu'elle a marquee dans tous les temps des Spectacles, & de la Comedie en
+particulier. Les saints Peres la condamnent dans leurs ecrits; Ils la
+regardent comme un reste du paganisme, & Comme une ecole d'impurete.
+L'Eglise l' a toujours regardee avec abomination, & si elle n'a pas
+absolument rejette de son sein ceux qui exercent ce metier infame &
+scandaleux, elle les prive publiquement des Sacremens & n'oublie rien pour
+marquer en toutes rencountres son aversion pour cet etat & pour l'inspirer
+a ses Enfans. Des Rituels de Dioceses tres regles les mettent au nombre des
+personnes que les Cures sont obliges de traiter comme excommunies; Celui de
+Paris les joint aux Sorciers, & aux Magiciens, & les regarde comme
+manifestement infames; Les Eveques les plus saints leur font refuser
+publiquement, les Sacremens; Nous avons veu un des premiers Eveques de
+France ne vouloir pas par cette raison recevoir au mariage un homme de cet
+etat; un autre ne vouloir pas leur accorder la terre Sainte; Et dans les
+Statuts d'un prelat bien plus illustre per son merite par sa Piete, & par
+l'austerite de sa vie que par la pourpre dont il est revestu, on les trouve
+avec les concubinaires, les Usuriers, les Blasphemateurs, les Femmes
+debauchees, les excommunies denonces, les Infames, les Simoniaque's, &
+autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser
+publiquement la Communion_.
+
+_Il est donc impossible de justifyer la Comedie sans vouloir condamner
+l'Eglise, les saints peres, les plus saint Prelats, mais il ne l'est pas
+moins de justifier ceux qui par leur assistance a ces spectacles non
+seulement prennent part au mal qui s'y fait, mais contribuent en meme temps
+a retenir ces malheureux ministres de Satan dans une profession, qui les
+separant des Sacremens de l'Eglise les met dans un etat perpetuel de peche
+& hors de salut s'ils ne l'abandonnnent._---- ----
+
+
+_Et a egard des Comediens & Commediennes, Nous defendons tres expressement
+a nos pasteurs & a nos Confesseurs des les recevoir aux Sacremens si ce
+n'est qu'ils aient fait Penitence de leur peche, donne des preuves
+d'amendment, renonce a leur Etat, & repare par une satisfaction publique
+telle que nous jugerons a propos de leur ordonner, le Scandale public
+qu'ils ont donne. Fait & ordonne a Arras le quatrieme jour de Decembre mil
+six cent quatre-vingt quinze._[467]
+
+  _Guy Eveque d'Arras
+           Et plus bas
+         Par Monseigneur_
+
+            CARON.
+
+
+In English thus,
+
+_An Order of the most Illustrious and most Reverend Lord Bishop of_ Arras
+_against_ Plays.
+
+'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &c. Bishop of _Arras_.
+To all the Faithful in the Town of _Arras_ Health and Benediction. A man
+must be very ignorant of his Religion, not to know the great disgust it has
+always declar'd, for _Publick Sights_, and for _Plays_ in particular. The
+Holy _Fathers_ condemn them in their writings; They look upon them as
+reliques of Heathenism, and Schools of Debauchery. They have been always
+abominated by the Church; And notwithstanding those who are concern'd in
+this Scandalous Profession; are not absolutely expell'd by a Formal
+Excommunication, yet She publickly refuses them the Sacraments, and omits
+nothing upon all occasions, to show her aversion for this Employment, and
+to transfuse the same sentiments into her Children. The _Rituals_ of the
+best govern'd Dioceses, have ranged the _Players_ among those whom the
+Parish Priests are oblig'd to treat as Excommunicated Persons. The _Ritual_
+of _Paris_ joyns them with Sorcerers, and Magicians, and looks upon them as
+notoriously infamous; The most eminent Bishops for Piety, have publickly
+denied them the Sacraments: For this reason, we our selves have known one
+of the most considerable Bishops in _France_, turn back a _Player_ that
+came to be Married; And an other of the same order, refused to bury them in
+Consecrated Ground. And by the _Orders_ of a Bishop, who is much more
+illustrious for his worth, for his Piety, and the Strictness of his Life,
+than for the _Purple_ in his Habit; They are thrown amongst Fornicators,
+Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the
+Infamous, and Simoniacal, and other Scandalous Persons who are in the List
+of those who ought publickly to be barr'd Communion.
+
+'Unless therfore we have a mind to condemn the Church, the Holy Fathers,
+and the most holy Bishops, 'tis impossible to justifie _Plays_; neither is
+the Defence of those less impracticable, who by their Countenance of these
+Diversions, not only have their share of the Mischief there done, but
+contribute at the same time to fix these unhappy Ministers of Satan in a
+Profession, which by depriving them of the Sacraments of the Church, leaves
+them under a constant necessity of Sinning, and out of all hopes of being
+saved, unless they give it over.----'
+
+From the general Unlawfulness of _Plays_, the Bishop proceeds to argue more
+strongly against seeing them at times which are more particularly devoted
+to Piety, and Humiliation: And therefore he strickly forbids his Diocess
+the _Play-House_ in _Advent_, _Lent_, or under any publick _Calamity_. And
+at last concludes in this Manner.
+
+'As for the Case of _Players_ both Men, and Women, we expresly forbid all
+our Rectors, Pastors, and Confessours, to admit them to the Sacraments,
+unless they shall repent them of their Crime, make proof of their
+Reformation, renounce their _Business_, and retrieve the Scandal they have
+given, by such publick Satisfaction as we shall think proper to injoyn
+them. Made and Decreed at _Arras_ the fourth day of _December 1695._
+
+_Guy_ Bishop of _Arras_. &c.
+
+I shall now in the Third Place, give a short account of the sense of the
+_Primitive_ Church concerning the _Stage_: And first I shall instance in
+her _Councils_.
+
+The Council of _Illiberis_, or _Collioure_ in _Spain_, decrees,[468]
+
+'That it shall not be lawful for any Woman who is either in full Communion
+or a probationer for Baptism, to Marry, or Entertain any _Comedians_ or
+_Actors_; whoever takes this Liberty shall be Excommunicated.'
+
+The first Council of _Arles_, runs thus,[469]
+
+'Concerning _Players_, we have thought fit to Excommunicate them as long as
+they continue to _Act_.'
+
+The Second Council of _Arles_ made their _20th_ Canon to the same purpose,
+and almost in the same words.[470]
+
+The Third Council of _Carthage_, of which St. _Augustine_ was a Member,
+ordains,[471]
+
+'That the Sons of Bishops, or other Clergy-men should not be permitted to
+furnish out Publick _Shews_, or _Plays_[472] or be present at them: Such
+sort of Pagan _Entertainments_ being forbidden all the _Laity_. It being
+always unlawful for all Christians to come amongst _Blasphemers_.
+
+This last branch shews the _Canon_ was Principally levell'd against the
+_Play-House_: And the reason of the Prohibition, holds every jot as strong
+against the _English_, as against the _Roman Stage_.
+
+By the 35th _Canon_ of this _Council_ 'tis decreed,
+
+'That _Actors_ or others belonging to the _Stage_, who are either
+_Converts_, or _Penitents_ upon a Relapse, shall not be denied Admission
+into the Church.' This is farther proof, that _Players_ as long as they
+kept to their Employment were bar'd _Communion_.
+
+Another _African Council_ declares,[473]
+
+'That the Testimony of People of ill Reputation, of _Players_, and others
+of such scandalous Employments, shall not be admitted against any Person.'
+
+The Second _Council_ of _Chaalon_ sets forth,[474]
+
+'That Clergy men ought to abstain from all over-engaging Entertainments in
+Musick or _Show_. (_oculorum auriumque illecebris_.) And as for the smutty,
+and Licentious Insolence of _Players_, and Buffoons, let them not only
+decline the Hearing it themselves, but likewise conclude the _Laity_
+oblig'd to the same Conduct.
+
+I could cite many more Authorities of this Kind, but being conscious of the
+Niceness of the _Age_, I shall forbear, and proceed to the Testimony of the
+_Fathers_.
+
+
+
+To begin with _Theophilus_ Bishop of _Antioch_, who lived in the Second
+_Century_.
+
+''Tis not lawful (says he)[475] for us to be present at the _Prizes_ or
+your _Gladiators_, least by this means we should be _Accessaries_ to the
+Murthers there committed. Neither dare we presume upon the Liberty of your
+other _Shews_,[476] least our Senses should be tinctur'd, and disoblig'd,
+with Indecency, and Profaness. The Tragical Distractions of _Tereus_ and
+_Thyestes_, are Nonsense to us. We are for seeing no Representations of
+Lewdness. The Stage-Adulteries of the _Gods_, and _Hero's_, are
+unwarrantable Entertainments: And so much the worse, because the Mercenary
+_Players_ set them off with all the Charms and Advantages of Speaking. God
+forbid that _Christians_ who are remarkable for Modesty, and Reserv'dness;
+who are obliged to Discipline, and train'd up in Virtue, God forbid I say,
+that we should dishonour our Thoughts, much less our Practise, with such
+Wickedness as This!'
+
+_Tertullian_ who liv'd at the latter end of this Century is copious upon
+this subject; I shall translate but some Part of it. In his Apologetick, He
+thus addresses the Heathens.[477]
+
+'We keep off from your publick _Shews_, because we can't understand the
+Warrant of their Original. There's Superstition and Idolatry in the Case:
+And we dislike the Entertainment because we dislike the reason of its
+Institution. Besides, We have nothing to do with the Frensies of the
+_Race-Ground_, the Lewdness of the _Play-House_, or the Barbarities of the
+_Bear-Garden_. The _Epicureans_ had the Liberty to state the Notion, and
+determine the Object of Pleasure. Why can't we have the same Privilege?
+What Offence is it then if we differ from you in the Idea of Satisfaction?
+If we won't understand to brighten our Humour, and live pleasantly, where's
+the harm? If any body has the worst on't, 'tis only our selves.'
+
+His Book _de Spectaculis_ was wrote on purpose to diswade the Christians,
+from the publick Diversions of the _Heathens_, of which the _Play-House_
+was one. In his first Chapter He gives them to understand, 'That the Tenour
+of their Faith, the Reason of Principle, and the Order of Discipline, had
+bar'd them the Entertainments of the _Town_. And therefore He exhorts them
+to refresh their Memories, to run up to their Baptism, and recollect their
+first Engagements. For without care, Pleasure is a strange bewitching
+Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse
+of Liberty, make a man's Conscience wink, and suborn his Reason against
+himself.
+
+'But as he goes on,[478] some peoples Faith is either too full of Scruples,
+or too barren of Sense. Nothing will serve to settle them but a plain Text
+of _Scripture_. They hover in uncertainty because 'tis not said as expresly
+thou shalt not go to the _Play-House_, as 'tis thou shalt not Kill. But
+this looks more like Fencing than Argument. For we have the Meaning of the
+prohibition tho' not the sound, in the first _Psalm. Blessed is the Man
+that walks not in the Council of the Ungodly, nor stands in the way of
+Sinners, nor sits in the Seat of the Scornful._
+
+'The _Censors_ whose business 'twas to take care of Regularity and
+Manners,[479] look'd on these _Play-Houses_ as no other than _Batteries_
+upon Virtue and Sobriety, and for this reason often pull'd them down before
+they were well built, so that here we can argue from the _Precedents_ of
+meer _Nature_, and plead the _Heathens_ against themselves. Upon this view
+_Pompey_ the Great, when he built his _Dramatick_ Bawdy-House, clapp'd a
+_Chappel_ a Top on't. He would not let it go under the Name of a
+Play-House, but conven'd the people to a Solemn Dedication, and called it
+_Venus's_ Temple; Giving them to understand at the same time that there
+were _Benches_ under it for Diversion. He was afraid if he had not gone
+this way to work, The _Censors_ might afterwards have razed the Monument,
+and branded his Memory. Thus a Scandalous pile of Building was protected:
+The Temple, cover'd the _Play-House_, and Discipline was baffled by
+_Superstition_. But the Design is notably suited to the Patronage of
+_Bacchus_[480] and _Venus_. These two Confederate Devils of Lust and
+Intemperance, do well together. The very Functions of the _Players_
+resemble their _Protectors_, and are instances of Service and
+Acknowledgment. Their Motion is effeminate, and their Gestures vitious and
+Significant: And thus they worship the Luxury of one _Idoll_, and the
+Lewdness of the other.
+
+'And granting the Regards of Quality, the Advantages of Age, or Temper, may
+fortifie some People;[481] granting Modesty secur'd, and the Diversion as
+it were refin'd by this Means: Yet a Man must not expect to stand by
+perfectly unmoved, and impregnable. No body can be pleas'd without Sensible
+Impressions. Nor can such Perceptions be received without a Train of
+Passions attending them. These Consequences will be sure to work back upon
+their Causes, solicite the Fancy, and heighten the Original Pleasure. But
+if a Man pretends to be a _Stoick_ at _Plays_, he falls under another
+Imputation. For where there is no Impression, there can be no Pleasure: And
+then the _Spectator_ is very much Impertinent, in going where he gets
+nothing for his Pains. And if this were all; I suppose Christians have
+something else to do than to ramble about to no purpose.[482]
+
+'Even those very Magistrates who abet the _Stage_, discountenance the
+_Players_. They stigmatize their _Character_, and cramp their Freedoms. The
+whole Tribe of them is thrown out of all Honour and Privilege. They are
+neither suffer'd to be Lords, nor Gentlemen: To come within the _Senate_,
+or harangue the People, or so much as to be Members of a _Common-Council_.
+Now what Caprice and Inconsistency is this! To love what we punish, and
+lessen those whom we admire! To cry up the Mystery, and censure the
+practise; For a Man to be as it were eclips'd upon the score of Merit is
+certainly an odd sort of Justice! True. But the Inference lies stronger
+another way. What a Confession then is this of an Ill Business; when the
+very Excellency of it is not without Infamy?
+
+'Since therefore Humane Prudence has thought fit to degrade the _Stage_,
+notwithstanding the Divertingness of it. Since Pleasure can't make them an
+Interest Here, nor shelter them from Censure.[483] How will They be able to
+stand the shock of Divine Justice, and what _Reckoning_ have they _Reason_
+to expect Hereafter?
+
+'All things consider'd 'tis no wonder such People should fall under
+_Possession_. God knows we have had a sad Example of this already. A
+certain Woman went to the _Play-House_, and brought the Devil Home with
+Her.[484] And when the Unclean Spirit was press'd in the _Exorcism_ and
+ask'd how he durst attack a Christian. I have done nothing (says he) but
+what I can justify. For I seiz'd her upon my own Ground. Indeed, how many
+Instances have we of others who have apostatiz'd from God, by this
+Correspondence with the Devil? What _Communion has Light with Darkness? No
+Man can serve two Masters_, nor have Life and Death in him at the same
+time.
+
+'Will you not then avoid this Seat of Infection?[485] The very Air suffers
+by their Impurities; And they almost Pronounce the Plague. What tho' the
+performance may be in some measure pretty and entertaining? What tho'
+Innocence, yes and Virtue too, shines through some part of it? 'Tis not the
+custom to prepare Poyson unpalatable, nor make up Ratzbane with Rhubarb and
+Sena. No. To have the Mischief speed, they must oblige the Sense, and make
+the Dose pleasant. Thus the Devil throws in a Cordial Drop to make the
+Draught go down; And steals some few Ingredients from the _Dispensatory_ of
+Heaven. In short, look upon all the engaging Sentences of the Stage; Their
+flights of Fortitude, and Philosophy, the Loftiness of their Stile, the
+Musick of the Cadence, and the Finess of the Conduct; Look upon it only I
+say as Honey dropping from the Bowels of a Toad, or the Bag of a Spider:
+Let your Health over-rule your Pleasure, and don't die of a little
+_Liquorishness_.
+
+'In earnest Christian, our time for Entertainment is not yet:[486] you are
+two craving and ill managed if you are so violent for Delight. And let me
+tell you, no wiser than you should be, if you count such Things
+Satisfaction. Some Philosophers placed their Happiness in bare
+Tranquillity. Easiness of Thought, and Absence of Pain, was all they aim'd
+at. But this it seems won't Satisfie Thee. Thou liest sighing and hankering
+after the _Play-house_. Prethee recollect thy self: Thou knowest Death
+ought to be our Pleasure, And therefore I hope Life may be a little without
+it. Are not our Desires the same with the Apostles, _To be Dissolv'd and to
+be with Christ_. Let us act up to our pretentions, and let Pleasure be true
+to Inclination.
+
+'But if you can't wait for Delight; if you must be put into present
+Possession, wee'l cast the Cause upon that Issue.[487] Now were you not
+unreasonable, you would perceive the Liberalities of Providence, and find
+your self almost in the midst of Satisfaction. For what can be more
+transporting than the Friendship of Heaven, and the Discovery of Truth,
+than the Sense of our Mistakes, and the Pardon of our Sins? What greater
+Pleasure can there be, than to scorn being _Pleas'd_? To contemn the World?
+And to be a Slave to Nothing? 'Tis a mighty satisfaction I take it, to have
+a clear Conscience;
+
+To make Life no Burthen, nor Death any Terror! To trample upon the _Pagan_
+Deities; To batter _Principalities_ and _Powers_, and force the Devils to
+Resign![488] These are the Delights, these are the noble Entertainments of
+Christians: And besides the advantage of the Quality, they are always at
+hand, and cost us nothing.'
+
+_Clemens_ _Alexandrinus_ affirms[489] 'That the _Circus_ and _Theatre_ may
+not improperly be call'd the _Chair_ of _Pestilence_.----Away then with
+these Lewd, Ungodly Diversions, and which are but Impertinence at the Best.
+What part of Impudence either in words or practise, is omitted by the
+Stage? Don't the Buffoons take almost all manner of Liberties, and plunge
+through Thick and Thin, to make a jest? Now those who are affected with a
+vitious satisfaction, will be haunted with the Idea, and spread the
+Infection. But if a man is not entertain'd to what purpose should he go
+Thither? Why should he be fond where he finds nothing, and court that which
+sleeps upon the Sense? If 'tis said these Diversions are taken only to
+unbend the Mind, and refresh Nature a little. To this I answer. That the
+spaces between Business should not be fill'd up with such Rubbish. A wise
+man has a Guard upon his Recreations, and always prefers, the Profitable to
+the Pleasant.'
+
+_Minutius Felix_ delivers his Sense in these Words:[490]
+
+'As for us, who rate our Degree by our Virtue, and value our selves more
+upon our Lives, than our Fortunes; we decline your Pompous _Shews_, and
+publick Entertainments. And good Reason we have for our Aversion. These
+Things have their Rise from Idols, and are the Train of a false Religion.
+The Pleasure is ill Descended, and likewise Vitious and ensnaring. For who
+can do less than abominate, the Clamorous Disorders of the _Race-Ground_,
+and the profession of Murther at the _Prize_. And for the _Stage_, there
+you have more Lewdness, tho' not a jot less of Distraction. Sometimes your
+_Mimicks_, are so Scandalous and Expressing, that 'tis almost hard to
+distinguish between the _Fact_ and the _Representation_. Sometimes a
+Luscious _Actor_ shall whine you into Love, and give the Disease that he
+Counterfeits.'
+
+St. _Cyprian_ or the Author _de Spectaculis_, will furnish us farther.
+
+Here this Father argues against those who thought the _Play-House_ no
+unlawful Diversion, because 'twas not Condemn'd by express _Scripture_.
+'Let meer Modesty (says he) supply the _Holy Text_: And let _Nature_ govern
+where _Revelation_ does not reach. Some Things are too black to lie upon
+_Paper_, and are more strongly forbidden, because unmention'd. The Divine
+Wisdom must have had a low Opinion of _Christians_, had it descended to
+particulars in this Case. Silence is sometimes the best Method for
+Authority. To Forbid often puts People in mind of what they should not do;
+And thus the force of the Precept is lost by naming the Crime. Besides,
+what need we any farther Instruction? Discipline and general Restraint
+makes up the Meaning of the Law; and common Reason will tell you what the
+Scripture has left unsaid. I would have every one examine his own Thoughts,
+and inquire at Home into the Duties of his Profession. This is a good way
+to secure him from Indecency. For those Rules which a Man has work'd out
+for himself he commonly makes most use of.'----And after having describ'd
+the infamous Diversions of the _Play-house_; He expostulates in this
+Manner.
+
+'What business has a Christian at such Places as these? A Christian who has
+not the Liberty so much as to think of an ill Thing. Why does he entertain
+himself with Lewd Representations? Has he a mind to discharge his Modesty,
+and be flesh'd for the _Practise_? Yes. this is the Consequence. By using
+to see these Things, hee'l learn to do them.----What need I mention the
+Levities, and Impertinence in _Comedies_, or the ranting Distractions of
+_Tragedy_? Were these Things unconcern'd with Idolatry, Christians ought
+not to be at them. For were they not highly Criminal, the Foolery of them
+is egregious, and unbecoming the Gravity of _Beleivers_.----
+
+'As I have often said these Foppish, these pernicious Diversions, must be
+avoided. We must set a Guard upon our Senses, and keep the Sentinal always
+upon Duty. To make Vice familiar to the ear, is the way to recommend it.
+And since the mind of Man has a Natural Bent to Extravagance; how is it
+likely to hold out under Example, and Invitation? If you push that which
+totters already, whether will it tumble? In earnest, we must draw off our
+Inclinations from these Vanities. A Christian has much better _Sights_ than
+these to look at. He has solid Satisfactions in his Power, which will
+please, and improve him at the same time.
+
+'Would a Christian be agreeably Refresh'd? Let him read the _Scriptures_:
+Here the Entertainment will suit his Character, and be big enough for his
+Quality.--Beloved, how noble, how moving how profitable a pleasure is it to
+be thus employed? To have our Expectations always in prospect, and be
+intent on the Glories of Heaven?'
+
+He has a great deal more upon this Subject in his _Epistles_ to _Donatus_
+and _Eucratius_, which are undoubtedly genuine. The later being somewhat
+remarkable, I shall Translate part of it for the _Reader_. [491]
+
+'Dear Brother, your usual Kindness, together with your desire of releiving
+your own Modesty and mine, has put you upon asking my Thoughts concerning a
+certain _Player_ in your Neighbourhood; whether such a Person ought to be
+allow'd the Privilege of _Communion_. This Man it seems continues in his
+Scandalous Profession, and keeps a Nursery under him. He teaches that which
+'twas a Crime in him to learn, sets up for a Master of Debauch, and
+Propagates the lewd Mystery. The case standing thus, 'tis my Opinion that
+the Admission of such a _Member_ would be a Breach of the Discipline of the
+Gospel, and a Presumption upon the Divine Majesty: Neither do I think it
+fit the Honour of the Church should suffer by so Infamous a
+Correspondence.'
+
+_Lactantius_'s Testimony shall come next. This Author in his _Divine
+Institutions_,[492] which he Dedicates to _Constantine_ the Great, cautions
+the Christians against the _Play-House_, from the Disorder, and danger of
+those places. For as he observes.
+
+'The debauching of Virgins, and the Amours of Strumpets, are the Subject of
+_Comedy_. And here the Rule is, the more Rhetorick the more Mischeif, and
+the best _Poets_ are the worst Common-Wealths-men. For the Harmony and
+Ornament of the Composition serves only to recommend the Argument, to
+fortifie the Charm, and engage the Memory. At last he concludes with this
+advice.
+
+'Let us avoid therefore these Diversions, least somewhat of the Malignity
+should seize us. Our Minds should be quiet and Compos'd, and not over-run
+with Amusements. Besides a Habit of Pleasure is an ensnaring Circumstance.
+'Tis apt to make us forget God, and grow cool in the Offices of
+Virtue.[493]
+
+'Should a Man have a Stage at Home, would not his Reputation suffer
+extreamly, and all people count him a notorious Libertine? most
+undoubtedly. Now the Place does not alter the Property. The Practise at the
+_Play-House_ is the same thing, only there he has more Company to keep him
+in Countenance.
+
+'A well work'd _Poem_ is a powerful piece of Imposture: It masters the
+Fancy, and hurries it no Body knows whither.----If therefore we would be
+govern'd by Reason let us stand off from the Temptation, such Pleasures can
+have no good Meaning. Like delicious Morsels they subdue the Palate, and
+flatter us only to cut our Throats. Let us prefer Reality to Appearance,
+Service, to Show; and Eternity to Time.[494]
+
+'As God makes Virtue the Condition of Glory, and trains men up to Happiness
+by Hardship and Industry. So the Devils road to Destruction lies through
+Sensuality and _Epicurism_. And as pretended Evils lead us on to
+uncounterfeited Bliss; So Visionary Satisfactions are the causes of Real
+Misery. In short, These Inviting Things are all stratagem. Let us, take
+care the softness and Importunity of the Pleasure does not surprise us, nor
+the Bait bring us within the snare. The Senses are more than _Out-Works_,
+and should be defended accordingly.'
+
+I shall pass over St. _Ambrose_,[495] and go on to St. _Chrisostome_. This
+_Father_ is copious upon the Subject, I could translate some _Sheets_ from
+him were it necessary. But length being not my Business, a few Lines may
+serve to discover his Opinion. His _15 Homily ad Populum Antiochenum_, runs
+thus.
+
+'Most People fancy the Unlawfulness of going to _Plays_ is not clear. But
+by their favour, a world of Disorders are the Consequences of such a
+Liberty. For frequenting the _Play-House_ has brought Whoring and Ribaldry
+into Vogue, and finish'd all the parts of Debauchery.'
+
+Afterwards he seems to make the supposition better than the _Fact_, and
+argues upon a feign'd Case.
+
+'Let us not only avoid downright Sinning, but the Tendencies to it. Some
+Indifferent Things are fatal in the Consequence, and strike us at the
+Rebound. Now who would chuse his standing within an Inch of a Fall; or swim
+upon the Verge of a Whirlpool? He that walks upon a Precipice, shakes tho'
+he does not tumble. And commonly his Concern brings him to the Bottom. The
+Case is much the same in reference to Conscience, and Morality. He that
+won't keep his Distance from the Gulph, is oftentimes suck'd in by the
+Eddy; and the least oversight is enough to undo Him.'
+
+In his 37 Homily upon the Eleventh Chapter of St. _Matthew_ he declaims
+more at large against the Stage.
+
+'Smutty Songs (says he) are much more abominable than Stench and Ordure.
+And which is most to be lamented, you are not at all uneasy at such
+Licentiousness. You Laugh when you should Frown; and Commend what you ought
+to abhor.----Heark you, you can keep the Language of your own House in
+order: If your Servants or your Childrens Tongues run Riot, they presently
+smart for't. And yet at the _Play-House_ you are quite another Thing. These
+little Buffoons have a strange Ascendant! A luscious Sentence is hugely
+welcome from their Mouth: And instead of Censure, they have thanks and
+encouragement for their Pains. Now if a Man would be so just as to wonder
+at himself, here's Madness, and Contradiction in Abundance.
+
+'But I know you'l say what's this to me, I neither sing nor pronounce, any
+of this Lewd stuff? Granting your Plea, what do you get by't? If you don't
+repeat these Scurrilities, you are very willing to hear them. Now whether
+the Ear, or the Tongue is mismanaged, comes much to the same reckoning. The
+difference of the _Organ_, does not alter the Action so mightily, as you
+may imagine. But pray how do you prove you don't repeat them? They may be
+your Discourse, or the Entertainments of your Closet for ought we know to
+the contrary. This is certain; you hear them with pleasure in your Face,
+and make it your business to run after them: And to my Mind, these are
+strong Arguments of your Approbation.
+
+'I desire to ask you a Question. Suppose you hear any wretches Blaspheme,
+are you in any Rapture about it? And do your Gestures appear airy, and
+obliged? Far from it. I doubt not but your blood grows chill, and your Ears
+are stopt at the Presumption. And what's the Reason of this Aversion in
+your Behaviour? Why 'tis because you don't use to Blaspheme, your self.
+Pray clear your self the same way from the Charge of Obscenity. Wee'l then
+believe you don't talk Smut, when we percieve you careful not to hear it.
+Lewd Sonnets, and Serenades are quite different from the Prescriptions of
+Virtue. This is strange Nourishment for a Christian to take in! I don't
+wonder you should lose your Health, when you feed thus Foul. It may be
+Chastity is no such easy Task! Innocence moves upon an Ascent, at least for
+sometime. Now those who are always Laughing can never strain up Hill. If
+the best preparations of Care will just do, what must become of those that
+are dissolv'd in Pleasure, and lie under the Instructions of
+Debauchery?----Have you not heard how that St. _Paul_ exhorts us _to
+rejoyce in the Lord_? He said _in the Lord_; not in the Devil. But alas!
+what leisure have you to Mind St. _Paul_? How should you be sensible of
+your Faults, when your Head is always kept Hot, and as it were intoxicated
+with Buffooning?'---- ----He goes on, and lashes the Impudence of the
+_Stage_ with a great deal of Satir and Severity; and at last proposes this
+Objection.
+
+'You'l say, I can give you many Instances where the _Play-House_ has done
+no Harm. Don't mistake. Throwing away of Time and ill example, has a great
+deal of Harm in't; And thus far you are guilty at the best. For granting
+your own Virtue impenetrable, and out of Reach, Granting the Protection of
+your Temper has brought you off unhurt, are all People thus Fortified? By
+no means. However, many a weak Brother has ventur'd after you, and
+miscarried upon your _Precedent_. And since you make others thus _Faulty_,
+how can you be _Innocent_ your self? All the People undone There, will lay
+their Ruine at your Door. The Company are all Accessary to the Mischeif of
+the Place. For were there no _Audience_, we should have no _Acting_. And
+therefore those who joyn in the Crime, will ne're be parted in the
+Punishment. Granting your Modesty has secur'd you, which by the way I
+believe nothing of; yet since many have been debauch'd by the _Play-House_,
+you must expect a severe Reckning for giving them Encouragement. Tho' after
+all, as Virtuous as you are, I doubt not, you wou'd have been much Better,
+had you kept away.
+
+'In fine, Let us not dispute to no purpose; The practise won't bear a
+Defence! Where the Cause is naught 'tis in vain to rack our Reason, and
+strain for Pretences. The best excuse for what is past, is to stand clear
+from the danger, and do so no more.'
+
+One citation more from St. _Chrysostom_, and I take Leave. In the Preface
+of his Commentary upon St. _John_'s Gospel speaking of _Plays_ and other
+Publick _Shews_, he has these words.
+
+'But what need I branch out the Lewdness of those _Spectacles_, and be
+particular in Description? For what's there to be met with but Lewd
+Laughing, but Smut, Railing, and Buffoonry? In a word. 'Tis all Scandal and
+Confusion. Observe me, I speak to you all; Let none who partake of this
+_Holy-Table_, unqualifie themselves with such Mortal Diversions.'
+
+St. _Hierom_ on the _1st_. Verse 32 _Psal._ makes this Exposition upon the
+_Text_.
+
+'Some are delighted with the Satisfactions of this World, some with the
+_Circus_, and some with the _Theatre_: But the Psalmist commands every good
+Man _to delight himself in the Lord_.----For as _Isaiah_ speaks, _woe to
+them that put bitter for sweet, and sweet for bitter_.' And in his
+Epistles[496] he cautions the Ladies against having any thing to do with
+the _Play-House_, against Lewd Songs, and Ill Conversation. Because they
+set ill Humours at work, Caress the Fancy, and make pleasure a Conveyance
+for Destruction.'
+
+In the _6th._ Book of his Comentary on _Ezechiel_ he lets us
+understand;[497] 'That when we depart out of _Aegypt_ we must refine our
+Inclinations, and change our Delights into Aversion. And after some other
+Instances, He tells us we must decline the _Theatres_, and all other
+dangerous Diversions, which stain the Innocence of the Soul, and slip into
+the _Will_ through the Senses.'
+
+St. _Augustine_ in his _5th_. Epistle to _Marcellinus_ will afford us
+something upon the same Argument.
+
+'The prosperity of Sinners is their greatest Unhappiness. If one may say
+so, They are most Punish'd when they are overlook'd. By this means their
+bad Temper is encourag'd, and they are more inclin'd to be false to
+themselves; And we know an Enemy _within_, is more dangerous than one
+_without_. But the perverse Reasonings of the Generality, make different
+Conclusions. They fancy the World goes wonderfully well when People make a
+Figure. When a Man is a Prince in his Fortune, but a Begger in his Vertue;
+Has a great many fine Things about him, but not so much as one good Quality
+to deserve them. When the _Play-Houses_ go up, and Religion go's down. When
+Prodigality is admir'd, and Charity laugh'd at. When the _Players_ can
+revel with the Rich Man's purse, And the Poor have scarse enough to keep
+Life and Soul together.----When God suffers these Things to flourish, we
+may be sure he is most Angry. Present Impunity, is the deepest Revenge. But
+when he cuts off the Supplies of Luxury, and disables the Powers of
+Extravagance, then as one may say, he is mercifully severe.'
+
+In his _1st._ Book _de consensu Evangelistarum_,[498] He answers an
+objection of the _Heathens_, and comes up to the Case in Hand.
+
+'Their Complaint as if the Times were less happy since the Appearance of
+Christianity is very unreasonable. Let them read their own Philosophers:
+There they'l find those very Things censured, which they now are so uneasy
+to part with; This Remark must shut up their Mouths, and convince them of
+the Excellency of our Religion. For pray what Satisfactions have they lost?
+None that I know of, excepting some Licentious ones, which they abused to
+the Dishonour of their Creatour. But it may be the Times are bad because
+the _Theatres_ are Tumbling almost every where. The _Theaters_ those
+_Cages_ of _Uncleaness_, and publick Schools of Debauchery.----And what's
+the Reason of their running to Ruine? Why 'tis the Reformation of the Age:
+'Tis because those Lewd Practises are out of Fashion, which first built and
+kept them in Countenance. Their own _Tully_'s Commendation of the _Actor
+Roscius_ is remarkable. He was so much a Master (says he) that none but
+himself was worthy to Tread the _Stage_. And on the other hand, so good a
+Man, that he was the most unfit Person of the Gang to come There. And is
+not this a plain Confession of the Lewdness of the _Play-House_; And that
+the better a Man was, the more he was obliged to forbear it?'
+
+I could go on, much farther with St. _Augustine_, but I love to be as brief
+as may be. I could likewise run through the succeeding _Centuries_, and
+collect Evidence all along. But I conceive the best Ages, and the biggest
+Authorities, may be sufficient: And these the _Reader_ has had already.
+However, one Instance more from the _Moderns_ may not be amiss. _Didacus de
+Tapia_ an eminent _Spaniard_, shall close the _Evidence_. This Author in
+debating the Question whether _Players_ might be admitted to the
+_Sacrament_, amongst other things encounters an Objection. Some People it
+seems pretended there was some good to be learn'd at the _Play-House_. To
+these, he makes this reply.
+
+'Granting your Supposition, (says He) your Inference is naught. Do People
+use to send their Daughters to the _Stews_ for Discipline? And yet it may
+be, they might meet some there lamenting their own Debauchery. No Man will
+breed his Son upon the _High-way_, to harden his Courage; Neither will any
+one go on board a Leaky Vessel, to learn the Art of shifting in a Wreck the
+better. My conclusion is, let no body go to the Infamous _Play-House_. A
+place of such staring Contradiction to the Strictness and Sobriety of
+Religion: A Place hated by God, and haunted by the Devil. Let no man I say
+learn to relish any thing that's said there; For 'tis all but Poyson
+handsomly prepared.' [499]
+
+Thus I have presented the _Reader_ with a short View of the Sense of
+_Christianity_. This was the opinion of the _Church_ for the first 500
+Years. And thus she has Censured the _Stage_ both in _Councils_, and Single
+_Authorities_. And since the Satir of the _Fathers_ comes full upon the
+_Modern Poets_, their Caution must be applicable. The parity of the Case
+makes their Reasons take place, and their Authority revive upon us. If we
+are _Christians_, the _Canons_ of _Councils_, and the Sense of the
+Primitive _Church_ must have a weight. The very Time is a good argument of
+it self. Then the _Apostolical Traditions_ were fresh, and undisputed; and
+the _Church_ much better agreed than she has been since. Then, Discipline
+was in Force, and Virtue Flourish'd, and People lived up to their
+_Profession_. And as for the _Persons_, they are beyond all exception.
+Their _Station_, their Learning, and Sufficiency was very Considerable;
+Their Piety and Resolution, extraordinary. They acted generously, and wrote
+freely, and were always above the little Regards of Interest or Danger. To
+be short; They were, as we may say the _Worthies_ of _Christendom_, the
+Flower of Humane Nature, and the Top of their _Species_. Nothing can be
+better establish'd, than the Credit of these _Fathers_: Their Affirmation
+goes a great way in a proof; And we might argue upon the strength of their
+_Character_.
+
+But supposing them contented to wave their Privilege, and dispute upon the
+Level. Granting this, the _Stage_ would be undone by them. The Force of
+their Reasoning, and the bare _Intrinsick_ of the Argument, would be
+abundantly sufficient to carry the Cause.
+
+But it may be objected, is the Resemblance exact between Old _Rome_ and
+_London_, will the Paralel hold out, and has the _English Stage_ any Thing
+so bad as the _Dancing_ of the _Pantomimi_? I don't say that: The _Modern
+Gestures_ tho' bold and Lewd too sometimes, are not altogether so
+scandalous as the _Roman_. Here then we can make them some little
+Abatement.
+
+And to go as far in their _Excuse_ as we can, 'tis probable their _Musick_
+may not be altogether so exceptionable as that of the _Antients_. I don't
+say this part of the Entertainment is directly vitious, because I am not
+willing to Censure at Uncertainties. Those who frequent the _Play-House_
+are the most competent Judges: But this I must say, the Performances of
+this kind are much too fine for the _Place_. 'Twere to be wish'd that
+either the _Plays_ were better, or the _Musick_ worse. I'm sorry to see
+_Art_ so meanly Prostituted: Atheism ought to have nothing Charming in its
+_Retinue_. 'Tis great Pity _Debauchery_ should have the Assistance of a
+fine Hand, to whet the Appetite, and play it down.
+
+Now granting the _Play-House-Musick_ not vitious in the Composition, yet
+the design of it is to refresh the _Idea_'s of the Action, to keep _Time_
+with the _Poem_, and be true to the _Subject_. For this Reason among others
+the _Tunes_ are generally Airy and Gailliardizing; They are contriv'd on
+purpose to excite a sportive Humour, and spread a Gaity upon the Spirits.
+To banish all Gravity and Scruple, and lay Thinking and Reflection a sleep.
+This sort of Musick warms the Passions, and unlocks the Fancy, and makes it
+open to Pleasure like a Flower to the Sun. It helps a Luscious Sentence to
+slide, drowns the Discords of _Atheism_, and keeps off the Aversions of
+Conscience. It throws a Man off his Guard, makes way for an ill Impresion,
+and is most Commodiously planted to do Mischief. A Lewd _Play_ with good
+Musick is like a Loadstone _Arm'd_, it draws much stronger than before.
+
+Now why should it be in the power of a few mercenary Hands to play People
+out of their Senses, to run away with their Understandings, and wind their
+Passions about their Fingers as they list? Musick is almost as dangerous as
+Gunpowder; And it may be requires looking after no less than the _Press_,
+or the _Mint_. 'Tis possible a Publick Regulation might not be amiss. No
+less a Philosopher than _Plato_ seems to be of this Opinion. He is clearly
+for keeping up the old grave, and solemn way of _Playing_. He lays a mighty
+stress upon this Observation: He does not stick to affirm, that to extend
+the _Science_, and alter the _Notes_, is the way to have the _Laws_
+repeal'd and to unsettle the _Constitution_.[500] I suppose He imagined
+that if the Power of _Sounds_, the Temper of Constitutions, and the
+Diversities of Age, were well studied; If this were done, and some general
+Permissions formed upon the Enquiry, the _Commonwealth_ might find their
+Account in't.
+
+_Tully_ does not carry the Speculation thus high: However, he owns it has a
+weight in't, and should not be overlook'd.[501] He denies not but that when
+the Musick is soft, exquisite, and airy, 'tis dangerous and ensnaring. He
+commends the Discipline of the ancient _Greeks_, for fencing against this
+Inconvenience. He tells us the _Lacedemonians_ fixt the number of Strings
+for the Harp, by express _Law_. And afterwards silenc'd _Timotheus_,[502]
+and seiz'd his Harp, for having One String above publick Allowance. To
+return. If the _English Stage_ is more reserv'd than the _Roman_ in the
+Case above mention'd: If they have any advantage in their _Instrumental_
+Musick, they loose it in their _Vocal_. Their _Songs_ are often rampantly
+Lewd, and Irreligious to a flaming Excess. Here you have the very _Spirit_
+and _Essence_ of Vice drawn off strong scented, and thrown into a little
+Compass. Now the _Antients_ as we have seen already were inoffensive in
+this respect.
+
+To go on. As to Rankness of Language we have seen how deeply the _Moderns_
+stand charged upon the Comparison. And as for their Caressing of
+Libertines, their ridiculing of Vertue, their horrible Profaness, and
+Blasphemies, there's nothing in _Antiquity_ can reach them.
+
+Now were the _Stage_ in a Condition to wipe off any of these Imputations,
+which They are not, there are two Things besides which would stick upon
+them, and [......] an ill Effect upon the _Audience_.
+
+The first is their dilating so much upon the Argument of Love.
+
+This Subject is generally treated Home, and in the most tender and
+passionate manner imaginable. Tis often the governing Concern: The
+Incidents make way, and the _Plot_ turns upon't. As matters go, the Company
+expect it: And it may be the _Poets_ can neither Write, nor Live without
+it. This is a cunning way enough of stealing upon the Blind Side, and
+Practising upon the Weakness of humane Nature. People love to see their
+_Passions_ painted no less than their _Persons_: And like _Narcissus_ are
+apt to dote on their own Image. This Bent of self Admiration recommends the
+Business of _Amours_, and engages the Inclination. And which is more, these
+Love-representations oftentimes call up the Spirits, and set them on work.
+The _Play_ is acted over again in the _Scene_ of Fancy, and the first
+Imitation becomes a Model. _Love_ has generally a _Party Within_; And when
+the Wax is prepared, the Impression is easily made. Thus the Disease of the
+Stage grows Catching: It throws its own _Amours_ among the Company, and
+forms these Passions when it does not find them. And when they are born
+before, they thrive extreamly in this _Nursery_. Here they seldom fail
+either of Grouth, or Complexion. They grow strong, and they grow Charming
+too. This is the best Place to recover a Languishing Amour, to rowse it
+from Sleep, and retrieve it from Indifference. And thus Desire becomes
+Absolute, and forces the Oppositions of Decency and Shame. And if the
+Misfortune does not go thus far, the consequences are none of the best. The
+Passions are up in Arms, and there's a mighty Contest between Duty, and
+Inclination. The Mind is over-run with Amusements, and commonly good for
+nothing sometime after.
+
+I don't say the _Stage_ Fells all before them, and disables the whole
+_Audience_: 'Tis a hard Battle where none escapes. However, Their
+_Triumphs_ and their _Tropheys_ are unspeakable. Neither need we much
+wonder at the Matter. They are dangerously Prepar'd for Conquest, and
+Empire. There's Nature, and Passion, and Life, in all the Circumstances of
+their _Action_. Their Declamation, their _Mein_ their Gestures, and their
+Equipage, are very moving and significant. Now when the Subject is
+agreeable, a lively Representation, and a Passionate way of Expression,
+make wild work, and have a strange Force upon the Blood, and Temper.
+
+And then as for the General Strains of Courtship, there can be nothing more
+Profane and extravagant. The Hero's Mistress is no less than his Deity. She
+disposes of his Reason, prescribes his Motions, and Commands his Interest.
+What Soveraign Respect, what Religious Address, what Idolizing Raptures are
+we pester'd with? _Shrines_ and _Offerings_ and Adorations, are nothing
+upon such solemn Occasions. Thus Love and Devotion, Ceremony and Worship
+are Confounded; And God, and his Creatures treated both alike! These Shreds
+of Distraction are often brought from the _Play-House_ into Conversation:
+And thus the _Sparks_ are taught to Court their Mistresses, in the same
+Language they say their _Prayers_.
+
+A Second Thing which I have to object against the _Stage_ is their
+encouraging Revenge. What is more Common than Duels and Quarrelling in
+their _Characters_ of Figure? Those Practises which are infamous in Reason,
+_Capital_ in _Law_, and Damnable in Religion, are the Credit of the
+_Stage_. Thus Rage and Resentment, Blood and Barbarity, are almost Deified:
+Pride goes for Greatness, and _Fiends_ and _Hero's_ are made of the same
+Mettal. To give Instances were needless, nothing is more frequent. And in
+this respect the _French Dramatists_ have been to blame no less than the
+_English_.[503] And thus the Notion of Honour is mistated, the Maxims of
+Christianity despised, and the Peace of the World disturb'd. I grant this
+desperate Custom is no _Original_ of the _Stage_. But then why was not the
+Growth of it check'd? I thought the _Poets_ business had not been to back
+false Reasoning and ill Practise; and to fix us in Frensy and Mistake! Yes.
+They have done their endeavour to cherish the Malignity, and keep the
+Disorder in Countenance. They have made it both the Mark, and the Merit of
+a Man of Honour; and set it off with _Quality_, and Commendation. But I
+have discours'd on this Subject elswhere,[504] and therefore shall pursue
+it no farther.
+
+To draw towards an End. And here I must observe that these two later
+Exceptions are but Petty Mismanagements with respect to the Former. And
+when the best are thus bad, what are the worst? What must we say of the
+more foul Representations, of all the Impudence in Language and Gesture?
+Can this Stuff be the Inclination of _Ladies_? Is a _Reading_ upon Vice so
+Entertaining, and do they love to see the _Stews Dissected_ before them?
+One would think the Dishonour of their own Sex, the Discovery of so much
+Lewdness, and the treating Human Nature so very Coarsly, could have little
+Satisfaction in't. Let us set Conscience aside, and throw the other World
+out of the Question: These Interests are but the greatest, but not all. The
+_Ladies_ have other Motives to confine them. The Restraints of Decency, and
+the Considerations of Honour, are sufficient to keep them at Home. But
+hoping They will be just to themselves I shall wave this unacceptable
+Argument. I shall only add, that a Surprize ought not to be Censured.
+Accidents are no Faults. The strictest Virtue may sometimes stumble upon an
+_Ill Sight_. But Choise, and Frequency, and ill Ground, conclude strongly
+for Inclination. To be assured of the inoffensiveness of the _Play_ is no
+more than a Necessary Precaution. Indeed the _Players_ should be generally
+discouraged. They have no relish of Modesty, nor any scruples upon the
+Quality of the Treat. The grossest _Dish_ when 'twill down is as ready as
+the Best. To say Money is their Business and they must _Live_, is the Plea
+of _Pick pockets_, and _High way men_. These later may as well pretend
+their _Vocation_ for a Lewd practise as the other. But
+
+To give the Charge its due Compass: To comprehend the whole _Audience_, and
+take in the Motives of Religon.
+
+And here I can't imagine how we can reconcile such Liberties with our
+Profession. These Entertainments are as it were Litterally renounc'd in
+_Baptism_. They are the _Vanities of the wicked World, and the Works of the
+Devil_, in the most open, and emphatical Signification. _What Communion has
+Light with Darkness, and what concord has Christ with Belial._[505] Call
+you this Diversion? Can Profaness be such an irresistable Delight? Does the
+Crime of the Performance make the Spirit of the Satisfaction, and is the
+Scorn of Christianity the Entertainment of Christians? Is it such a
+Pleasure to hear the _Scriptures_ burlesqu'd? Is Ribaldry so very obliging,
+and _Atheism_ so Charming a Quality? Are we indeed willing to quit the
+Privilege of our Nature; to surrender our _Charter_ of Immortality, and
+throw up the Pretences to another Life? It may be so! But then we should do
+well to remember that _Nothing_ is not in our Power. Our Desires did not
+make us, neither can they unmake us. But I hope our wishes are not so mean,
+and that we have a better sense of the Dignity of our _Being_. And if so,
+how can we be pleas'd with those Things which would degrade us into Brutes,
+which ridicule our _Creed_, and turn all our Expectations into _Romance_.
+
+And after all, the Jest on't is, these Men would make us believe their
+design is Virtue and Reformation. In good time! They are likely to combat
+Vice with success, who destroy the Principles of Good and Evil! Take them
+at the best, and they do no more than expose a little Humour, and
+Formality. But then, as the Matter is manag'd, the Correction is much worse
+than the Fault. They laugh at _Pedantry_, and teach _Atheism_, cure a
+Pimple, and give the Plague. I heartily wish they would have let us alone.
+To exchange Virtue for Behaviour is a hard Bargain. Is not plain Honesty
+much better than Hypocrisy well Dress'd? What's Sight good for without
+Substance? What is a well Bred Libertine but a well bred Knave? One that
+can't prefer Conscience to Pleasure, without calling himself Fool: And will
+sell his Friend, or his Father, if need be, for his Convenience.
+
+In short: Nothing can be more disserviceable to Probity and Religion, than
+the management of the _Stage_. It cherishes those Passions, and rewards
+those Vices, which 'tis the business of Reason to discountenance. It
+strikes at the Root of Principle, draws off the Inclinations from Virtue,
+and spoils good Education: 'Tis the most effectual means to baffle the
+Force of Discipline, to emasculate peoples Spirits, and Debauch their
+Manners. How _many_ of the Unwary have these _Syrens_ devour'd? And how
+often has the best Blood been tainted, with this Infection? What
+Disappointment of Parents, what Confusion in Families, and What Beggery in
+Estates have been hence occasion'd? And which is still worse, the Mischief
+spreads dayly, and the Malignity grows more envenom'd. The Feavour works up
+towards Madness; and will scarcely endure to be touch'd. And what hope is
+there of Health when the _Patient_ strikes in with the Disease, and flies
+in the Face of the _Remedy_? Can Religion retrive us? Yes, when we don't
+despise it. But while our _Notions_ are naught, our _Lives_ will hardly be
+otherwise. What can the Assistance of the Church signify to those who are
+more ready to Rally the _Preacher_, than Practise the _Sermon_? To those
+who are overgrown with Pleasure, and hardned in Ill Custom? Who have
+neither Patience to hear, nor Conscience to take hold of? You may almost as
+well feed a Man without a Mouth, as give Advice where there's no
+disposition to receive it. 'Tis true; as long as there is Life there's
+Hope. Sometimes the Force of Argument, and the Grace of God, and the
+anguish of Affliction, may strike through the Prejudice, and make their way
+into the Soul. But these circumstances don't always meet, and then the Case
+is extreamly dangerous. For this miserable Temper, we may thank the _Stage_
+in a great Measure: And therefore, if I mistake not, They have the least
+pretence to Favour, and the most, need of Repentance, of all Men Living.
+
+_THE END._
+
+
+NOTES (In margin in the Original).[1] _Reflect upon_ Aristot. &c.
+
+[2] _Eurip. Hippolit._
+
+[3] _Hamlet._
+
+[4] _Don Quixot._
+
+[5] _Relapse._
+
+[6] _Love for Love._
+
+[7] _Mock Astrologer._
+
+[8] _Old Batchelour._
+
+[9] _Mock Astrologer. Country Wife. Cleomenes. Old Batchelour._
+
+[10] _Plaut._
+
+[11] _Cistellar._
+
+[12] _Terent. Eunuch._
+
+[13] _Asinar._
+
+[14] _Cistellar._
+
+[15] _Bacchid._
+
+[16] _Casin._
+
+[17] _Mercat. Act. 3._
+
+[18] _Persa._
+
+[19] _Trucul._
+
+[20] _Persa._
+
+[21] _Trinum._
+
+[22] _Act. 2. 1._
+
+[23] _Act. 2. 2._
+
+[24] _Casin._
+
+[25] _Mil. Glor._
+
+[26] _Pers._
+
+[27] _Trucul._
+
+[28] _Cistellear. A. 1._
+
+[29] _Ibid. A. 2._
+
+[30] _Heauton._
+
+[31] _Eunuch._
+
+[32] _Love Triump._
+
+[33] _Heauton. A. 5. 4._
+
+[34] _Eunuch A. 5. 4. 5._ _Adelph. A. 2. 3._
+
+[35] _Eunuch._
+
+[36] _Casaub. Annot. in Curcul. Plauti._
+
+[37] _De A te Poet._
+
+[38] _Var. apud. Nonium._
+
+[39] _Corn. Nep._
+
+[40] _Arist. Lib. 4. de Mor. cap. 14._
+
+[41] _Vit. Eurip. ed Cantab. 1694._
+
+[42] _Love for Love._ _Love Triump. &c._
+
+[43] _p. 14. Ed. Scriv._
+
+[44] _Hippol._
+
+[45] _Aristoph. Ran._
+
+[46] [Greek: Choephor.] _253, Ed. Steph._
+
+[47] _Orest. 48. Ed. Cantab._
+
+[48] [Greek: Eumen.] _305._
+
+[49] _p. 79._
+
+[50] [Greek: Hiket.] 340.
+
+[51] _Don Sebast. p. 12._
+
+[52] _Oedip. Tyran. Ed Steph._
+
+[53] _Antig. 242. 244._
+
+[54] _Ibid. 264._
+
+[55] _Trach. 348._
+
+[56] [Greek: Moria to Moron] _Ed. Cant. 241. 250. 252._
+
+[57] _Ibid. 232. 233._
+
+[58] _Androm. p. 303._
+
+[59] _Iphig. in Aulid. p. 51._
+
+[60] _Helen. 277, 278._
+
+[61] _Mourning Bride. p. 36._
+
+[62] _Spanish Fryar. Ep. Ded._
+
+[63] _Troad. p. 146._
+
+[64] _Plain Dealer. p. 21._
+
+[65] _Provok'd Wife. p. 41._
+
+[66] _Remarks upon Quixot._
+
+[67] _Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel._
+
+[68] _Sat. 14._
+
+[69] _p. 106._
+
+[70] _Nub. p. 110._
+
+[71] _Act. 5. p. 176._
+
+[72] _Plat. Apol. Socrat._
+
+[73] _Nub. p. 86._
+
+[74] _Plut. A. 1. Sc. 2._
+
+[75] _Ran. p. 188._
+
+[76] _536. 538. 546._
+
+[77] _542._
+
+[78] _582._
+
+[79] _Ibid._
+
+[80] _602._
+
+[81] _Eiren._ 616.
+
+[82] _p. 142._ _p. 200._
+
+[83] _242._
+
+[84] _p. 244._
+
+[85] _p._ [......] _p._ [......]
+
+[86] _Ranae_ _p. 186._ _p. 182._
+
+[87] _p. 192, 194, 196._
+
+[88] _Act 2. Sc. 6._
+
+[89] _Ranae p. 242._
+
+[90] _Ranae A. 1. Sc. 1. Concionat._
+
+[91] _Ranae p. 238._
+
+[92] _p. 240._
+
+[93] _p. 242. 244._
+
+[94] 255. 267.
+
+[95] _Discov. p. 700._
+
+[96] _p. 701._
+
+[97] _p. 706. 717._
+
+[98] _Beauments_, &c. _Works_.
+
+[99] _Ibid._
+
+[100] _Ibid._
+
+[101] _Theodore. Ed. Roven. Ep. Ded._
+
+[102] _Gad for God._
+
+[103] _p. 31._
+
+[104] _p. 37._
+
+[105] _p. 24._
+
+[106] _Hebr. 12._
+
+[107] _34. 36._
+
+[108] _55._
+
+[109] _59._
+
+[110] _Orph. p. 20._
+
+[111] _p. 31._
+
+[112] _Lactan._
+
+[113] _p. 19._
+
+[114] _p. 28._
+
+[115] _p. 31._
+
+[116] _38._
+
+[117] _p. 39._
+
+[118] _p. 39._
+
+[119] _Id. 49._
+
+[120] _Double Dealer. 34._
+
+[121] _36._
+
+[122] _55._
+
+[123] _p. 40._
+
+[124] _Sebast. p. 9._
+
+[125] _Id. p. 10._
+
+[126] _p. 47._
+
+[127] _Id. p. 83._  _Exod. 12, 13._
+
+[128] _Ibid._
+
+[129] _Ibid._
+
+[130] _Ded. p. 51._
+
+[131] _Love Triumph. p. 3._
+
+[132] _Id. p. 11._
+
+[133] _Id. p. 11._
+
+[134] _p. 34._
+
+[135] _58._
+
+[136] _p. 62._
+
+[137] _1st. Eliz. cap. 2._
+
+[138] _p. 63._
+
+[139] _p. 72._
+
+[140] _Love for Love. p. 42._
+
+[141] _26._
+
+[142] _p. 27._
+
+[143] _p. 47._
+
+[144] _Vid. Person. Dram._
+
+[145] _p. 80._
+
+[146] _p. 91._
+
+[147] _p. 92._
+
+[148] _Prov. Wife p. 38._
+
+[149] _Id. p. 77._
+
+[150] _Relapse. p. 32, 33._
+
+[151] _p. 44, 45._
+
+[152] _Vid. Infra._
+
+[153] _p. 51._
+
+[154] _p. 96, 97._
+
+[155] _Ibid._
+
+[156] _p.91._
+
+[157] _Don. Sebastian. p. 51._
+
+[158] _Double Dealer. p. 19._
+
+[159] _p. 17._
+
+[160] _p. 44._
+
+[161] _Double Dealer. p. 18._
+
+[162] _Gen. 2. St. Math. 9._
+
+[163] _Love, &c. p. 59, 61._
+
+[164] _Provok'd Wife. p. 3._
+
+[165] _p. 4._
+
+[166] _p. 65._
+
+[167] _Relapse. p. 19._
+
+[168] _p. 96._
+
+[169] _Eccles. 8. 11._
+
+[170] _Gal. 6._
+
+[171] _Eunuch._
+
+[172] _Heauton. A. 5. 1._
+
+[173] _Adelp. A. 5. 7._
+
+[174] _Lyconides. Aulular. A. 2. 4.  Palaestra. Rud. A. 1. 3.  Dinarchus.
+Trucul. A. 2. 4._
+
+[175] _Mil. Glor._
+
+[176] _Pseud. A. 1. 3._
+
+[177] _Prom. vinct. 57._
+
+[178] _p. 92._
+
+[179] _p. 101._
+
+[180] [Greek: Pers.] _161._
+
+[181] _164._
+
+[182] _Ajax. Flagell._
+
+[183] _Oedip. Tyran. p. 187._
+
+[184] _p. 188._
+
+[185] _Antig. p. 256._
+
+[186] _Trach. p. [......]._
+
+[187] _Trach. p. 375._
+
+[188] _Trach. p. 340._
+
+[189] _Cleom. p. 54._
+
+[190] _Id. p. 55._
+
+[191] _p. 54._
+
+[192] _De Art. Poet._
+
+[193] _Philoct. 402._
+
+[194] _419._
+
+[195] _p. 431._
+
+[196] _Act. 2._
+
+[197] _p. 295._
+
+[198] _Agam. Act. 3._
+
+[199] _20._
+
+[200] _p. 37._
+
+[201] _p. 23._
+
+[202] _Country Wife p. 6._
+
+[203] _p. 35._
+
+[204] _Ibid._
+
+[205] _p. 25._
+
+[206] _p. 26._
+
+[207] _Ibid._
+
+[208] _Old Batch. p. 19, 20._
+
+[209] _p. 27._
+
+[210] _p. 41._
+
+[211] _p. 71._
+
+[212] _Absal. and Achi._
+
+[213] p. 24.
+
+[214] _p. 96._
+
+[215] _p. 32._
+
+[216] _Oedip. p. 38._
+
+[217] _p. 43._
+
+[218] _Ibid._
+
+[219] _Ibid._
+
+[220] _Provok'd Wife. p. 45, 46, 52, 52._
+
+[221] _Relapse. p. 74._
+
+[222] _p. 75._
+
+[223] _p. 86._
+
+[224] _p. 97._
+
+[225] _89._
+
+[226] _p. 94._
+
+[227] _p. 95, 97, 105._
+
+[228] Hom. _Il. [alpha]. p. 3. & dein. Ed. Screvel._
+
+[229] _Il. B. p. 91._
+
+[230] _Ibid. p. 92._
+
+[231] _Il. E. p. 154, 155._
+
+[232] _Il. E. p. 154, 155._
+
+[233] _Ibid. p. 158._
+
+[234] _Odyss. I p. 174, 181._
+
+[235] _Aenid. 2._
+
+[236] _Ruaus. in Loc._
+
+[237] _Aeneid 2._
+
+[238] _Ibid._
+
+[239] _Aeneid. 3._
+
+[240] _Ibid._
+
+[241] _Aenead. 1st._
+
+[242] _Aen. 6._
+
+[243] _Ibid._
+
+[244] _Aeneid. 7._
+
+[245] _Lib. 1._
+
+[246] _Aeneid. 10._
+
+[247] _Aeneid. 11._
+
+[248] _Aeneid. 9. 10. 11._
+
+[249] _Guther. de jure veter. pontif._
+
+[250] _Oedip. Tyr. p. 148._
+
+[251] _Ibid. 169._
+
+[252] _p. 38._
+
+[253] _Antig. p. 250, 258._
+
+[254] _Eurip. Phoeniss. p. 158, 159._
+
+[255] _Bacch. Act. 1. Act. 4._
+
+[256] _Jon. Act 5._
+
+[257] _Iphig. in Aulid. & in Taur._
+
+[258] _Oedip._
+
+[259] _Troad. A. 2. p. 193._
+
+[260] _Plut. Ran. Aves._
+
+[261] _Bacchid. Act. 2. 5. 3._
+
+[262] _Rud. A. 1. 5. A. 2. 3._
+
+[263] _Act [......]_
+
+[264] _Rud. A. 4. S. 7._
+
+[265] _Measure for Measure._ _Much a do about Nothing._ _Twelf-Night._
+_Henry 4th pt. 1st._ _Hen. 6. pt. 3d._ _Romeo and Juliet._  _Merry Wives of
+Windsor._
+
+[266] _Essay of Dramat. &c._
+
+[267] _De Bell. Judaic._
+
+[268] _Deut. 17. 9. 20. 2. Chron. 19. 8._
+
+[269] _Math. 27. Act. 4.  Vid. seldon de Synedr._
+
+[270] _Joseph._
+
+[271] _Diod. Sic._
+
+[272] _Gen. 41._
+
+[273] _Porph. de Abstin. Lib. 4. Caesar de Bell. Gall. Lib. 6_
+
+[274] _Lib. 6._
+
+[275] _Ser. in Controv._
+
+[276] _Dion. Halic._
+
+[277] _Pro Dom. ad Pontif._
+
+[278] _Hebr. 7._
+
+[279] _Davila Filmers Freeholders Grand Inq._
+
+[280] _Miraeus De Statu Relig. Christ._
+
+[281] _Fletchers Embassy._
+
+[282] _Puffendorf Introduction a l'Histoire._
+
+[283] _Heylins Cosgmog._
+
+[284] _2, Hen. 8. cap.  22._ _26, Hen. 8 cap 2._ _1. Edw. 6. cap. 12, &c.
+Preamb._
+
+[285] _S. Luke 12._
+
+[286] _Moral Essays._
+
+[287] _Mock Astrol. p. 3, &c._
+
+[288] _Mock Astrol. p. 57, 59._
+
+[289] _Spanish Fryar. p. 61._
+
+[290] _Country Wife. p. 25._
+
+[291] _Old Batch._
+
+[292] _Double Dealer. p. 34._
+
+[293] _Love for Love p. 90._
+
+[294] _Love for Love. p. 6, 7. 25. 61. 89. 91._
+
+[295] _p. 35._
+
+[296] _Don Sebast._
+
+[297] _Love for Love. p. 20._
+
+[298] _Provok'd Wife. p. 64._
+
+[299] _Chap. 1. & 2._
+
+[300] _Mostel. A. 1. 2._ _Trinum. A. 2. 1. A. 2. 2._ _Enuch. A. 3. 3._
+_Hecyr. A. 3. 4._
+
+[301] _Trinum. A. 2. 1._
+
+[302] _A. 2. 2._
+
+[303] _Enuch. A. 3. 3._
+
+[304] _Hecyr. A. 3. 4._
+
+[305] _Stich A. 1. 1._
+
+[306] _p. 3._
+
+[307] _Stich. A. 1. 2._
+
+[308] _p. 60._
+
+[309] _Ibid._
+
+[310] _De Art. Poet._
+
+[311] _Ibid._
+
+[312] _[......] Schol._
+
+[313] _Libr. de Poet. cap. 5._
+
+[314] _Psyche._
+
+[315] _Ibid._
+
+[316] _Pref. Mock. Astrol._
+
+[317] _Ibid._
+
+[318] _Ibid._
+
+[319] _Essay of Dramatick Poetry. p. 28._
+
+[320] _The London Prodigall._
+
+[321] _Ibid._
+
+[322] _Ibid._
+
+[323] _Ibid._
+
+[324] _Rapin Reflect. &c. p. 10._
+
+[325] _Libr. 4. de Morib. cap. 14._
+
+[326] _De Mor. Lib. 10, cap. 2._
+
+[327] _Institut. Lib. 6; c. 3._
+
+[328] _p. 32._
+
+[329] _p. 52._
+
+[330] _Spanish Fryar. p. 36._
+
+[331] _p. 70._
+
+[332] _p. 61._
+
+[333] _Enuch._
+
+[334] _King Arth. p. 2._
+
+[335] _Love Trium. p. 26._
+
+[336] _p. 47._
+
+[337] _Oedip. p. 3._
+
+[338] _Old Batch. p. 41._
+
+[339] _p. 35._
+
+[340] _p. 22._
+
+[341] _Don. Sebast. p. 5._
+
+[342] _Double Dealer. Person. Dram._ _Relapse._ _Provok'd Wife._ _p. 4. p.
+2._
+
+[343] _Relapse._
+
+[344] _p. 4._
+
+[345] _p. 2._
+
+[346] _Don Sebast. p. 16._
+
+[347] _p. 17._
+
+[348] _Don. Quix. part. 2. p. 37._
+
+[349] _Relapse. p. 84._
+
+[350] _p. 24._
+
+[351] _L'Ombre de Moliere_
+
+[352] _Essay Dram. poet. p. 5._
+
+[353] _Amphit. p. 1, 2, 3, 8, 9._
+
+[354] _p. 8. 17._
+
+[355] _p. 18._
+
+[356] _19._
+
+[357] _Eunuch._
+
+[358] _Euseb. praepar. Evang._
+
+[359] _Ep. Ded._
+
+[360] _p. 1._
+
+[361] _p. 3, 16, etc._
+
+[362] _p. 1._
+
+[363] _Pref._
+
+[364] _p. 1._
+
+[365] _19._
+
+[366] _Troil. and Cressid._
+
+[367] _The Hist. of Sr. John Old Castle._
+
+[368] _King Arthur._
+
+[369] _Ep. Ded._
+
+[370] _p. 6._
+
+[371] _Ep. Ded. Don Sebast._
+
+[372] _Ded. King Arthur._
+
+[373] _Sebast. K. Arth._
+
+[374] _Ibid._
+
+[375] _Part 1st. p. 20._
+
+[376] _p. 20._
+
+[377] _p. 37._
+
+[378] _p. 13._
+
+[379] _Part. 1. p. 13._
+
+[380] _Person. Dram._
+
+[381] _p. 51._
+
+[382] _p. 3._
+
+[383] _p. 7._
+
+[384] _p. 10._
+
+[385] _p. 41._
+
+[386] _p. 47._
+
+[387] _Part. 1st. p. 7, 8. pt. 2d. p. 57._
+
+[388] _pt. 2d. p. 60;_
+
+[389] _pt. 1st. p. 38. pt. 2d. p. 14._
+
+[390] _pt. 1st. p. 7, 8. pt. 2d. p. 52. pt. 2d. p. 36, 49. pt. 2d. p. 37.
+44._
+
+[391] _Pref. pt. 3d._
+
+[392] _Ibid._
+
+[393] _Pref._
+
+[394] _Ibid._
+
+[395] _Person. Dram._
+
+[396] _pt. 2d. p. 31._
+
+[397] _p. 51._
+
+[398] _Pref. pt. 1st._
+
+[399] _Ibid._
+
+[400] _pt. 3d._
+
+[401] _p. 53._
+
+[402] _Reflect, &c. p. 131._
+
+[403] _Relapse. p. 19_
+
+[404] _Reflect._ _p. 133._
+
+[405] p. 27.
+
+[406] _p. 79._
+
+[407] _Ibid._
+
+[408] _p. 81._
+
+[409] _p. 83._
+
+[410] _p. 59._
+
+[411] _p. 11._
+
+[412] _p. 47._
+
+[413] _p. 51._
+
+[414] _p. 74._
+
+[415] _Reflect. p. 40._
+
+[416] _Tragedies of the last Age consider'd, &c. p. 113, 114._
+
+[417] _p. 59._
+
+[418] _p. 61._
+
+[419] _p. 42._
+
+[420] _p. 43._
+
+[421] _p. 44._
+
+[422] _p. 64. At top._
+
+[423] _p. 85._
+
+[424] _p. 64._
+
+[425] _p. 94._
+
+[426] _p. 15._
+
+[427] _p. 99._
+
+[428] _Ibid._
+
+[429] _p. 100._
+
+[430] _Rapin Reflect, &c._
+
+[431] _Discourse des Trois Unitez. pt. 3d._
+
+[432] _p. 88._
+
+[433] _Pref._
+
+[434] _see Chap. 2d._
+
+[435] _Pref._
+
+[436] _An Academy in Lithuania, for the Education of Bears. Pere Auvill
+Voyage en Divers Etats, &c. p. 240._
+
+[437] _Plat. de Repub. Lib. 10. Euseb. Praepar. Evang._
+
+[438] _Cyropaed. p. 34_
+
+[439] _Polit. Lib. 7. c. p. 12._
+
+[440] _Polit. Lib. 8._
+
+[441] _Tusc. Quest. Lib. 4. De Leg. Lib. 1._
+
+[442] _Dec. 1. Lib. 7._
+
+[443] _Lib. 2. cap. 4._
+
+[444] _cap. 6._
+
+[445] _Natural Quest. Lib. 7. cap. 32._
+
+[446] _Epist. 7._
+
+[447] _Annal. Lib 14. cap. 14._
+
+[448] _De Mor. German. cap. 19_
+
+[449] _Symposiac. Lib. 7.  De Audiend. Poet. p. 15. Ed. Par._
+
+[450] _Lib. 1._
+
+[451] _Remed. Amor._
+
+[452] _Lib. 2._
+
+[453] _Ep. Ded._
+
+[454] _Plut. De Glor. Atheniens._
+
+[455] _Plut. Lacon. Institut._
+
+[456] _Cic. de Repub. Lib. 4. cited by, St. Augustine. Libr. 2. de civ.
+dei. cap. 13._
+
+[457] _Lib. 2. cap. 29._
+
+[458] _Dec. 1. Libr. 7._
+
+[459] _Ab Histrionibus Pollui._
+
+[460] _XV. Cod. Theod. Tit. vii. p.375._
+
+[461] _in loco Honesto._
+
+[462] _turpe munus._
+
+[463] _L. 1. s. 6. de his qui notantur infamia. Gothofred. Ibid. p. 376._
+
+[464] _Rawlidge his Monster, lately found out, &c. p. 2, 3, 4._
+
+[465] _Gazett Roterdam: Dec. 20. Paris._
+
+[466] _French Amsterdam Harlem Gazetts. Paris, May. 17th. 1697._
+
+[467] _Trois lettres Pastorales De Monseigneur L'Eveque D'Arras &c. A Delf.
+1697._
+
+[468] _Ann. 305._ _Can. 67._
+
+[469] _Ann. 314. Can. 5._
+
+[470] _Ann. 452._
+
+[471] _Ann. 397. Can. 11._
+
+[472] _Secularia spectacula, which manifestly comprehends the Stage._
+
+[473] _Ann. 424. Can. 96_
+
+[474] _Concil. Cabilon. Ann. 813. Can. 9._
+
+[475] _Libr. 3. ad Autol._
+
+[476] _Spectacula._
+
+[477] _Chap. 38._
+
+[478] _Chap. 3._
+
+[479] _Ibid. Cap. 10._
+
+[480] _The Play-houses were dedicated to Bacchus._
+
+[481] _Ibid. cap. 15._
+
+[482] _Ibid. cap. 22._
+
+[483] _Ibid. cap. 23._
+
+[484] _Ibid. cap. 26._
+
+[485] _Ibid. cap. 27._
+
+[486] _Ibid. cap. 28._
+
+[487] _Ibid. cap. 29._
+
+[488] _By Exorcisms_
+
+[489] _Lib. 3. Paedag. Ann. 204. cap. 11._
+
+[490] _Ann. 206._
+
+[491] _Ad Eucrat._
+
+[492] _Lib. 6. cap. 20._
+
+[493] _Ibid. cap. 21._
+
+[494] _Ibid. cap. 22._
+
+[495] _In Psal. 119._
+
+[496] _Ep. 9. 12. Advers. Jovinian. Lib. 2. cap. 7._
+
+[497] _Chap. 20._
+
+[498] _cap. 33._
+
+[499] _Didac. &c. in D. Thom. p. 546._
+
+[500] _De Repub. L. 4._
+
+[501] _Cic. de Leg. L. 2._
+
+[502] _A Famous Musician_
+
+[503] _Vid. Corneille Cid, Cinna & Pompee._
+
+[504] _Moral Essays._
+
+[505] _2 Cor. 6. 14._
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of A Short View of the Immorality, and
+Profaneness of the English Stage, by Jeremy Collier
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author	Roger Frank <rfrank@pglaf.org>	2025-10-14 18:48:17 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-14 18:48:17 -0700
commit	088a01907ddd686179e294fb02382cd1dc8a62a8 (patch)
tree	ce17f85372c3ded73d05e29f5544ae01274236c4