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diff --git a/old/44645-h/44645-h.htm b/old/44645-h/44645-h.htm new file mode 100644 index 0000000..fafb603 --- /dev/null +++ b/old/44645-h/44645-h.htm @@ -0,0 +1,8200 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <link rel="coverpage" href="images/cover.jpg" /> + <title> + A Short View of the Immorality of the English Stage + </title> + + <style type="text/css"> + /*---------------------------------------- Default settings for tags -------------------------------------*/ + a:hover { color:red } + a:link { color:blue;text-decoration:none; } + a:visited { color:blue;text-decoration:none; } + body { margin-left:15%; margin-right:10%; text-align:justify; } + h1, h2, h3, h4 { text-align:center; font-size:100%; font-weight:normal; margin-bottom:3ex; margin-top:0ex; } + img { border:0; margin-bottom:0ex; margin-top:0ex; } + p { margin-bottom:3ex; margin-top:0ex; } + sup { font-style:normal; font-size:80%; } + table { border-collapse:collapse; } + td { padding:0 0.5em; text-align:left; vertical-align:top; border:0;} + /*------------------------------------------- Paragraph spacings -----------------------------------------*/ + p.sp0 { margin-bottom:0ex; } + p.stanza { margin-top:2ex; } + .poem>p { margin-bottom:0ex; padding-left:3em; text-indent:-3em; text-align:left; } + .sp2, div.sp2, table.sp2 { margin-bottom:3ex; } + .sp3, div.sp3, table.sp3 { margin-bottom:4.5ex; } + .sp4 { margin-bottom:6ex; } + .sp5, div.sp5, table.sp5 { margin-bottom:7.5ex; } + /*---------------------------------------------- Font sizing ---------------------------------------------*/ + .smaller { font-size:83%; } + .larger { font-size:120%; } + .x-larger { font-size:144%; } + .xx-larger { font-size:182%; } + .xxxx-larger { font-size:249%; } + /*-------------------------------------------- Text Decoration -------------------------------------------*/ + .gsp { letter-spacing:0.2em } + .fsn { font-style:normal; } + .wnw { white-space:nowrap; } + /*-------------------------------------- Non-Table Text Positioning --------------------------------------*/ + .bq1 { margin-left:3%; margin-right:3%; } + .ifrac { white-space:nowrap; font-size:69%; text-align:center; display:inline-block; vertical-align:-0.5em; margin-left:0.2em; } + .ifracd { display:block; line-height:1em; padding:0 0.1em; border-top:1px solid; } + .ifracn { display:block; line-height:1em; padding:0 0.1em; } + .pagenum { position:absolute; right:5%; font-size:83%; text-align:right; font-style:normal; } + .smaller .pagenum { font-size:100%; } + /*---------------------------------------- Table Text Positioning ----------------------------------------*/ + .it1p05 { padding-left:1.5em; text-indent:-1.0em; } + .ac, .ac>p { text-align:center;} + .ar { text-align:right;} + .mc { margin:0 auto; max-width:99%; } + .vbm { vertical-align:bottom; } + .vmi { vertical-align:middle; } + /*------------------------------------------- Padding and width ------------------------------------------*/ + .transnote { padding:10px; background-color:#ccccff; } + .pb05, .pb05>td { padding-bottom:0.5em; } + td.brace { padding:0 2px; } + .brace { width:0.45em; } + .w25 { width:25%; } + .w50 { width:50%; } + /*-------------------------------------- Media-selective formatting --------------------------------------*/ + @media screen,print { + p.handonly, h1.handonly, table.handonly, sup.handonly{ display:none; } + .leftmar { display:inline; position: absolute; left: 1%; right: 86%; font-size: smaller; text-align:right; } + table.nothand { display:table; } + .correction { border-bottom:thin dotted red; } + .poem { margin-left:8em; margin-right:8em; margin-bottom:3ex; text-align:left; } + } + @media handheld { + body { margin-left:1%; margin-right:1%; } + p.handonly, h1.handonly { display:block; } + sup.handonly { display:inline; } + table.handonly { display:table; } + table.nothand, .leftmar { display:none; } + .correction { border-bottom:0; } + .poem { margin-left:1em; margin-right:1em; margin-bottom:3ex; text-align:left; } + table.w50 { width:99%; } + } + </style> +</head> +<body> + + +<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> Ęschylus.</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 & 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/> + </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, &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 Fœlix.</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>&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="Kōron" + class="fsn">Κῶρον</span>, r. <span title="Mōron" + class="fsn">Μῶρον</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>pręstr</i>, r. + <i>pręter</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>Angitię</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 Dęmonum</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. + &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>Phędra</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>Chęręa</i><sup + class="handonly" id="ref12"><a href="#side12">[12]</a></sup> defends his Adventure by the + Precedent of <i>Jupiter</i> and <i>Danę</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>Cleęreta</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>Palęstrio</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>Pœnulus</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>Fabulę 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>Chęrea</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 pręsente 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 & Pater, & 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. &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>Phędra</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>Ęschylus</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="Choźphor." + class="fsn">Χοηφορ.</span> <i>253, Ed. Steph.</i><br/> + <i>Orest. 48. Ed. Cantab.</i><br/> + <span title="Eumen." class="fsn">Ευμεν.</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>Ęschylus</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">Μόνον φύλαξαι + τάς δ' ἐπιστολὰς + πατρὸς</span><span class="leftmar"><span title="Hiket." + class="fsn">Ἱκέτ.</span> 340.</span><sup class="handonly" id="ref50"><a + href="#side50">[50]</a></sup></p> + <p><span title="To sōphronein timōsa tou biou pleon." class="fsn">Τὸ + σωφρονεῖν τιμῶσα + του βίου + πλέον.</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>Ęschylus</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>Ęschylus</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>Hęmon</i> <i>Creons</i> Son were very far engaged; <i>Hęmon</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>Hęmon</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>Hęmons</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>Trachinię</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>Phędra</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>Ęschylus</i>, <span title="Sōphronein" + class="fsn">Σωφρονεῖν</span>. As much as to say + 'tis the Consequence of Sence, and right Thinking. <i>Phędra</i> when her Thoughts were + embarrass'd with <i>Hippolitus</i>, endeavours to disentangle her self by Argument.<span + class="leftmar"><span title="Mōria to Mōron" class="fsn">Μωρία + τὸ Μῶρον</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 sōphron hōs hapantachou + kalon" class="fsn">Φεῦ Φεῦ. Τὸ + σῶφρον ὥς + ἁπανταχοῦ + καλὸν</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 esthlźn enbrotois komizetai." class="fsn">καί + δό ξαν ἐσθλην + ἐνβροτοῖς + κομίζεται.</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 akźra" class="fsn">Σοί + τόν δε πλεκτὸν + Στεφανον εξ + ἀκηρά</span></p> + <p><span title="Leimōnos" class="fsn">Λειμῶνος</span>, + &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>——<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>——<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>Ęgiala</i> And gives this handsome reason for making a Halt.</p> + + <div class="poem sp3"> + <p><span title="Sigan ameinon taischra, mźde mousa moi" + class="fsn">Σιγᾶν ἄμεινον + τἀισχρὰ, μηδέ + μοῦσα μοῖ</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 hźtis hymnźsei kaka." + class="fsn">Γένοιτ + ἀοιδὸς ἥτις + ὑμνήσει κακὰ.</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 'pręetr', corrected by + Errata">pręter</span> Nubes & Cœli 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>Dęmon</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>Ranę</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>Ęacus</i> + answer him by <i>Jove</i>, <span title="Hos hźmin estin homomastigias" + class="fsn">Ὅς ἡμὶν ἐστὶν + ὁμομαστιγίας</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>Pisthetęrus</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>Pisthęterus</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>Trygęus</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>Ranę</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>Ęschylus</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>Ęschylus</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, &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>Ranę</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>Ranę</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>Ęacus</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>Ęschylus</i>. Here <i>Euripides</i> objects to <i>Ęschylus</i>,<span class="leftmar"><i>Ranę 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, & sesquipedalia Verba.</i></p> + </div> + + <p>To this <i>Ęschylus</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>Ranę 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>Ęschylus</i> and <i>Euripides</i>, + <i>Bacchus</i> is made the Umpire of the Controversie. <i>Ęschylus</i> begins with a + Question,<span class="leftmar"><i>Ranę 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>Ęschylus</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>Ęschylus</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>Ęschylus</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>Ęschylus</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>, &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>——<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 &c. Be it enacted by our Sovereign Lord &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, &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——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>——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——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>Lętitia 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>Lętitia</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>Lętitia</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——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.</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:——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>Ęgypt</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——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</i>——Solomon <i>was wise but how?——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> &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——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——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? &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,——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, &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,——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:——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>——<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——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>—<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 ęquis</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,——<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—— to her. &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,——I am + Truth——Who's that, that's out of his way, I am Truth, and can set him right.</i><span + class="leftmar"><i>Love, &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>Pandęmonium</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>Chęrea</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>Ęschinus</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/> + Palęstra. 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>Ęschylus</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">Περσ.</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' antiphōnei deinon arrźton t' epos," class="fsn">Το τ' + ἀντιφωνεὶ δεινὸν + ἀρρητον τ' ἔπος,</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>Trachinię</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>Trachinię</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>——<span title="Tou logou d' ou chrź Phthonon" class="fsn">Τοῦ + λόγου δ' ὀυ χρὴ + Φθόνον</span></p> + <p><span title="Gonai proseinai Zeus hotou praktōr + phanź." class="fsn">Γόναι + προσεῖναι Ζεὺς + ὅτου πράκτωρ + φανῆ.</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">——<i>et quę</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">Κακὸι</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>Ęschylus</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 Bacchę, 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>Heraclidę</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>——<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?——</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>Lętitia</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,—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——Offences of his Youth</i> &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>&c.</i></p> + + <p>Mask. <i>Nay good Mr.</i> Saygrace <i>do not prolong the time</i>, &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——except——the business in + hand——have you provided a Habit for Mellifont?</i></p> + + <p>Saygr. <i>I have</i>, &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>——<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>Ęgyptians</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>Ęgeon</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 —— 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>. &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 Chrysźn źtimźs' arźtźra" + class="fsn">οὕνεκα τὸν + Χρύσην ἠτίμησ' + ἀρητῆρα</span><span class="leftmar">Hom. <i>Il. <span + title="a" class="fsn">α</span>. p. 3. & dein.<br/> + Ed. Screvel.</i></span><sup class="handonly" id="ref228"><a href="#side228">[228]</a></sup></p> + <p><span title="Atreidźs." class="fsn">Ἀτρείδης.</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>Idęus</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>Idęus</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' hōs tieto dźmō." class="fsn">Θεὸς δ' + ὥς τίετο δήμω.</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>Ęnid. 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>Ęneas</i> to whose House he was carrying his little Grandson, argues him to be a Person of + Condition.<span class="leftmar"><i>Ęneid 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>Ęneas</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 Phœbique Sacerdos.</i><span class="leftmar"><i>Ęneid. + 3.</i></span><sup class="handonly" id="ref239"><a href="#side239">[239]</a></sup></p> + </div> + + <p>When <i>Ęneas</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>Ęneas</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——<i>regina + Sacerdos</i> a Royal Priestess.<span class="leftmar"><i>Ęnead. 1st.</i></span><sup + class="handonly" id="ref241"><a href="#side241">[241]</a></sup> Farther. When <i>Ęneas</i> made a + Visit upon Business to the <i>shades Below</i>, He had for his Guide, the famous <i>Sibylla + Cumęa</i>, who Belong'd to <i>Apollo</i>.<span class="leftmar"><i>Ęn. 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>Polybętes</i> a Priest of <i>Ceres</i>. This <i>Polybętes</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>Ęneas</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>Ęneid</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 & 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">Angitię</span>, vitrea te Fucinus unda,</i></p> + <p><i>Te liquidi flevere lacus.</i><span class="leftmar"><i>Ęneid. 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>Ęneid 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>Ęmonides</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>Ęmonides</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>Ęneid. + 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>Ęneid. 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>Ęneid. 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>Ęschylus</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 zō doulos alla loxia" class="fsn">Ὀυ + γάρ τί σοὶ ζῶ + δοῦλος ἀλλά + λοξία</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>Phęnissę</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>Mœnecius</i> had kill'd himself, he neither complains of + the Gods, nor reproaches the <i>Prophet</i>.<span class="leftmar"><i>Eurip. Phœniss. p. + 158, 159.</i></span><sup class="handonly" id="ref254"><a href="#side254">[254]</a></sup></p> + + <p>In his <i>Bacchę</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. & 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> &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. &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>Ęgyptian</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>Ęgypt</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/> + Cęsar 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 quņd vos eosdem et Religionibus Deorum immortalium, & summe Rei publicę + pręesse voluerunt.</i> &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>Miręus 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 ą 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, &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> &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, + &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>.—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. & 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 &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>&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 &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>&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. &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 &c.—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>.—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—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>&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> &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,——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>——<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.——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.——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 + Chęrea</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. prępar. 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>——<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>Phœbus</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.——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>Phœbus</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>Phędra</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>&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> &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, &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, &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,——I fear</i></p> + <p><i>He'el speak again.——</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——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>.——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> &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——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> &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——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,——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, & pręterea 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>&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, &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, &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.——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, &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——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,——<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——<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——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>. &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>&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 —— 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, &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——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>, &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, &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, + &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>&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. Prępar. 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>Cyropęd. 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 pręcique curvis venare Theatris,</i></p> + <p><i>Hęc loca sunt voto fertiliora tuo.</i></p> + <p><i>—— ruit ad celebres cultissima Fęmina Ludos;</i></p> + <p><i>Copia judicium sępe morata meum est.</i></p> + <p><i>Spectatum veniunt, veniunt Spectentur ut ipsę;</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 Citharę, Cantusque, lyraque</i></p> + <p><i>Et vox, & 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 prębent</i></p> + <p><i>Nequitię, 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>Fabulę Attellanę</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>Fabulę Atellanę</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>Personę inhonestę</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 &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>&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, &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>&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> &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 & du Saint Siége Apostolique Evéque d' + Arras, A tous fideles dela Ville d'Arras Salut & Benediction. Il faut ignorer sa Religion pour + ne pas connoītre 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 toūjours regardée avec + abomination, & si elle n'a pas absolument rejetté de son sein ceux qui exercent ce mźtier + infame & scandaleux, elle les prive publiquement des Sacremens & n'oublie rien pour + marquer en toutes rencountres son aversion pour cet čtat & 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; <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, & 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</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 justifiėr ceux qui par + leur assistance a ces spectacles non seulement prennent part au mal qui s'y fait, mais contribuent + en mźme temps ą retenir ces malheureux ministres de Satan dans une profession, qui les separant + des Sācremens de l'Eglise les met dans un état perpetuel de peché & hors de salut s'ils ne + l'abandonnnent.</i>—— ——</p> + + <p><i>Et ą egard des Comediens & Commediennes, Nous defendons trés expressement ą nos pasteurs + & ą 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 ą propos de leur ordonner, le Scandale public qu'ils ont donné. + Fait & ordonné ą 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 + &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, &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.——'</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>. &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. Pędag. 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>.——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.'——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.——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>.——</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.—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.——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.——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?——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?'—— + ——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>.——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>Ęgypt</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.——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.——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. &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 & 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. + &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. + &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="Choźphor." + class="fsn">Χοηφορ.</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">Ευμεν.</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">Ἱκέτ.</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="Mōria to Mōron" + class="fsn">Μωρία τὸ Μῶρον</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>Ranę</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>Ranę p. 242.</i><br/> + <br/> + <a id="side90"></a><a href="#ref90">[90]</a> <i>Ranę A. 1. Sc. 1. Concionat.</i><br/> + <br/> + <a id="side91"></a><a href="#ref91">[91]</a> <i>Ranę 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>, &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, &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. Palęstra. 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">Περσ.</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">α</span>. p. 3. & 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>Ęnid. 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>Ęneid 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>Ęneid. 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>Ęnead. 1st.</i><br/> + <br/> + <a id="side242"></a><a href="#ref242">[242]</a> <i>Ęn. 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>Ęneid. 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>Ęneid. 10.</i><br/> + <br/> + <a id="side247"></a><a href="#ref247">[247]</a> <i>Ęneid. 11.</i><br/> + <br/> + <a id="side248"></a><a href="#ref248">[248]</a> <i>Ęneid. 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. Phœniss. 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. & 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. &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. Cęsar 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>Miręus 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 ą 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, &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, &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. & 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. &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. prępar. 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, &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, &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, &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, &c. p. 240.</i><br/> + <br/> + <a id="side437"></a><a href="#ref437">[437]</a> <i>Plat. de Repub. Lib. 10. Euseb. Prępar. + Evang.</i><br/> + <br/> + <a id="side438"></a><a href="#ref438">[438]</a> <i>Cyropęd. 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, &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 &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. Pędag. 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. &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 & + 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> + + + + + +End of the Project Gutenberg EBook of A Short View of the Immorality, and +Profaneness of the English Stage, by Jeremy Collier + +*** END OF THIS PROJECT GUTENBERG EBOOK VIEW OF IMMORALITY OF ENGLISH STAGE *** + +***** This file should be named 44645-h.htm or 44645-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/4/6/4/44645/ + +Produced by Jonathan Ingram, Keith Edkins and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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