IN treating this Head, I hope the Reader does not expect that I should set down Chapter and Page, and give him the Citations at Length. To do this would be a very unacceptable and Foreign Employment. Indeed the Pas­sages, many of them, are in no Condi­tion to be handled: He that is desirous to see these Flowers let him do it in their own Soil: 'Tis my business rather to kill the Root than Transplant it. But that the Poets may not complain of In­justice; I shall point to the Infection at a Distance, and refer in General to Play and Person.

Now among the Curiosities of this kind we may reckon Mrs. Pinchwife, Horner, and Lady Fidget in the Country Wife; Widdow Blackacre and Olivia in the Plain Dealer. These, tho' not all the exceptionable Characters, are the most remarkable. I'm sorry the Author should stoop his Wit thus Low, and use his Un­derstanding so unkindly. Some People [Page 4] appear Coarse, and Slovenly out of Po­verty: They can't well go to the Charge of Sense. They are Offensive like Beggars for want of Necessaries. But this is none of the Plain Dealer's case; He can afford his Muse a better Dress when he pleases. But then the Rule is; where the Motive is the less, the Fault is the greater. To proceed. Jacinta, Elvira, Dalinda, and Lady Plyant, in the Mock Astrologer, Spanish Friar, Love Trium­phant and Double Dealer, forget them­selves extreamly: And almost all the Characters in the Old Batchelour, are foul and nauseous. Love for Love, and the Relapse, strike sometimes upon this Sand, and so likewise does Don Sebastian.

I don't pretend to have read the Stage Through, neither am I Particular to my Utmost. Here is quoting enough unless 'twere better: Besides, I may have occasion to mention somewhat of this kind afterwards. But from what has been hinted already, the Reader may be over furnish'd. Here is a large Collecti­on of Debauchery; such Pieces are rarely to be met with: 'Tis Sometimes pain­ted at Length too, and appears in great Variety of Progress and Practise. It wears almost all sorts of Dresses to engage the Fancy, and fasten upon the [Page 5] Memory, and keep up the Charm from Languishing. Sometimes you have it in Image and Description; sometimes by way of Allusion; sometimes in Disguise; and sometimes without it. And what can be the Meaning of such a Repre­sentation, unless it be to Tincture the Audience, to extinguish Shame, and make Lewdness a Diversion? This is the natural Consequence, and therefore one would think 'twas the Intention too. Such Licentious Discourse tends to no point but to stain the Imagination, to awaken Folly, and to weaken the De­fences of Virtue: It was upon the ac­count of these Disorders that Plato ba­nish'd Poets his Common Wealth: And one of the Fathers calls Poetry, Vinum Daemonum an intoxicating Draught, made up by the Devils Dispensatory.

I grant the Abuse of a Thing is no Argument against the use of it. How­ever Young people particularly, should not entertain themselves with a Lewd Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty may probably raise those Passions which can neither be discharged without Trou­ble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust his Virtue too far, for fear it should give [Page 6] him the slip! But the danger of such an Entertainment is but part of the Objection: 'Tis all Scandal and meanness into the bargain: it does in effect de­grade Human Nature, sinks Reason into Appetite, and breaks down the Distinctions between Man and Beast. Goats and Monkeys if they could speak, would express their Brutality in such Lan­guage as This.

To argue the Matter more at large.

Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very Coarse Diversion, the Entertainment of those who are generally least both in Sense, and Station. The looser part of the Mob, have no true relish of Decency and Honour, and want Education, and Thought, to furnish out a gentile Con­versation. Barrenness of Fancy makes them often take up with those Scanda­lous Liberties. A Vitious Imagination may blot a great deal of Paper at this rate with ease enough: And 'tis possible Convenience may sometimes invite to the Expedient. The Modern Poets seem to use Smut as the Old Ones did Machines, to relieve a fainting Invention. When Pegasus is jaded, and would stand still, he is apt like other Tits, to run into e­very Puddle.

[Page 7] Obscenity in any Company is a ru­stick uncreditable Talent; but among Women 'tis particularly rude. Such Talk would be very affrontive in Conversa­tion, and not endur'd by any Lady of Reputation. Whence then comes it to Pass that those Liberties which disoblige so much in Conversation, should enter­tain upon the Stage. Do the Women leave all the regards to Decency and Conscience behind them when they come to the Play-House? Or does the Place transform their Inclinations, and turn their former Aversions into Pleasure? Or were Their pretences to Sobriety elsewhere nothing but Hypocrisy and Grimace? Such Suppositions as these are all Satyr and Invective: They are rude Imputa­tions upon the whole Sex. To treat the Ladys with such stuff is no better than taking their Money to abuse them. It supposes their Imagination vitious, and their Memories ill furnish'd: That they are practised in the Language of the Stews, and pleas'd with the Scenes of Brutish­ness. When at the same time the Cu­stoms of Education, and the Laws of Decency, are so very cautious, and re­serv'd in regard to Women: I say so very reserv'd, that 'tis almost a Fault for them to Understand they are ill Used. [Page 8] They can't discover their Disgust without disadvantage, nor Blush without disser­vice to their Modesty. To appear with any skill in such Cant, looks as if they had fallen upon ill Conversation; or Managed their Curiosity amiss. In a word, He that treats the Ladys with such Dis­course, must conclude either that they like it, or they do not. To suppose the first, is a gross Reflection upon their Virtue. And as for the latter case, it entertains them with their own Aver­sion; which is ill Nature, and ill Man­ners enough in all Conscience. And in this Particular, Custom and Conscience, the Forms of Breeding, and the Maxims of Religion are on the same side. In other Instances Vice is often too fashi­onable; But here a Man can't be a Sin­ner, without being a Clown.

In this respect the Stage is faulty to a Scandalous degree of Nauseousness and Aggravation. For

1st. The Poets make Women speak Smuttily. Of This the Places before mention'd are sufficient Evidence: And if there was occasion they might be Mul­tiplyed to a much greater Number: Indeed the Comedies are seldom clear of these Blemishes: And sometimes you have them in Tragedy. For Instance. [Page 9] The Orphans Monimia makes a very im­proper Description; And the Royal Le­onora in the Spanish Friar, runs a strange Length in the History of Love p. 50. And do Princesses use to make their Re­ports with such fulsom Freedoms? Cer­tainly this Leonora was the first Queen of her Family. Such raptures are too Lascivious for Joan of Naples. Are these the Tender Things Mr. Dryden says the Ladys call on him for? I suppose he means the Ladys that are too Modest to show their Faces in the Pit. This Entertainment can be fairly design'd for none but such. Indeed it hits their Pa­late exactly. It regales their Lewdness, graces their Character, and keeps up their Spirits for their Vocation: Now to bring Women under such Misbeha­viour is Violence to their Native Mo­desty, and a Mispresentation of their Sex. For Modesty as Mr. Rapin observes, is Reflect up­on Aristot. &c. the Character of Women. To repre­sent them without this Quality, is to make Monsters of them, and throw them out of their Kind. Euripides, who was no negligent Observer of Humane Nature, is always careful of this Deco­rum. Eurip. Hippolit. Thus Phaedra when possess'd with an infamous Passion, takes all imagina­ble pains to conceal it. She is as re­gular [Page 10] and reserv'd in her Language as the most virtuous Matron. 'Tis true, the force of Shame and Desire; The Scandal of Satisfying, and the difficulty of parting with her Inclinations, disor­der her to Distraction. However, her Frensy is not Lewd; She keeps her Modesty even after She has lost her Wits. Had Shakespear secur'd this point for his young Virgin Ophelia, the Hamlet. Play had been better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he should have set her a swimming a little sooner. To keep her alive only to sully her Reputation, and discover the Rankness of her Breath, was very Cruel. But it may be said the Freedoms of Distraction go for nothing, a Feavour has no Faults, and a Man non Compos, may kill without Murther. It may be so: But then such People ought to be kept in dark Rooms and without Company. To shew them, or let them loose, is somewhat unreasona­ble. But after all, the Modern Stage seems to depend upon this Expedient. Women are sometimes represented Silly, and sometimes Mad, to enlarge their Li­berty, and screen their Impudence from Censure: This Tolitick Contrivance we Don Quix­ot. Relapse Love for Love. have in Marcella, Hoyden, and Miss Prue. [Page 11] However it amounts to this Confession; that Women when they have their Un­derstandings about them ought to con­verse otherwise. In fine; Modesty is the distinguishing Vertue of that Sex, and serves both for Ornament and Defence: Modesty was design'd by Providence as a Guard to Virtue; And that it might be always at Hand, 'tis wrought into the Mechanism of the Body. 'Tis like­wise proportion'd 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.

[Page 12] 2ly. They Represent their single La­dys, and Persons of Condition, under these Disorders of Liberty, This makes the Irregularity still more Monstrous and a greater Contradiction to Nature, and Probability: But rather than not be Vitious, they will venture to spoil a Character. This mismanagement we have partly seen already. Jacinta, and Belinda Mock Astrologer. Old Batch­elour. are farther proof. And the Double Dealer is particularly remarkable. There are but Four Ladys in this Play, and Three of the biggest of them are Whores. A Great Compliment to Quality to tell them there is not above a quarter of them Honest! This was not the Roman Breeding, Te­rence and Plautus his Strumpets were Little people; but of this more hereaf­ter.

3dly. They have oftentimes not so much as the poor refuge of a Double Meaning to fly to. So that you are un­der a necessity either of taking Ribal­dry or Nonsence. And when the Sen­tence has two Handles, the worst is generally turn'd to the Audience. The Matter is so Contrived that the Smut and Scum of the Thought rises uppermost; And like a Picture drawn to Sight, looks always upon the Company.

[Page 13] 4ly. And which is still more extraor­dinary: the Prologues, and Epilogues are Mock Astrologer. Country Wife. Cleomenes. Old Batch­elour. sometimes Scandalous to the last degree. I shall discover them for once, and let them stand like Rocks in the Margin. Now here properly speaking the Actors quit the Stage, and remove from Fiction into Life. Here they converse with the Boxes, and Pit, and address direct­ly to the Audience. These Preliminaries and concluding Parts, are design'd to justify the Conduct of the Play, and be­speak the Favour of the Company. Up­on such Occasions one would imagine if ever, the Ladys should be used with Respect, and the Measures of Decency observ'd, But here we have Lewdness without Shame or Example: Here the Poet exceeds himself. Here are such Strains as would turn the Stomach of an ordinary Debauchee, and be almost nau­seous in the Stews. And to make it the more agreeable, Women are Commonly pick'd out for this Service. Thus the Poet Courts the good opinion of the Au­dience. This is the Desert he regales the Ladys with at the Close of the En­tertainment: It seems He thinks They have admirable Palats! Nothing can be a greater Breach of Manners then such Liberties as these. If a Man would stu­dy [Page 14] to outrage Quality and, Vertue, he could not do it more Effectually. But

5thly. Smut is still more insufferable with respect to Religion. The Heathen Religion was in a great Measure a My­stery of Iniquity. Lewdness was Conse­crated in the Temples, as well as practis­ed in the Stews. Their Deitys were great Examples of Vice, and worship'd with their own Inclination. 'Tis no wonder therefore their Poetry should be tinctured with their Belief, and that the Stage should borrow some of the Liber­ties of their Theology. This made Mer­curys Procuring, and Jupiters Adultery the more passable in Amphitrion: Upon Plant. this Score Gymnasium is less Monstrous in Praying the Gods to send her store of Gal­lants. And thus Chaeraea defends his Ad­venture Cistellar. by the Precedent of Jupiter and Terent. Eunuch. Danae. But the Christian Religion is quite of an other Complexion. Both its Pre­cepts, and Authorities, are the highest discouragement to Licentiousness. It for­bids the remotest Tendencies to Evil, Banishes the Follies of Conversation, and Obliges up to Sobriety of Thought. That which might pass for Raillery, and Entertainment in Heathenism, is detesta­ble in Christianity. The Restraint of the Precept, and the Quality of the [Page 15] Deity, and the Expectations of Futurity quite alter the Case.

But notwithstanding the Latitudes of Paganism, the Roman and Greek The­atres were much more inoffensive than ours. To begin with Plautus. This Co­median, tho' the most exceptionable, is modest upon the Comparison. For

1st. He rarely gives any of the above mention'd Liberties to Women; And when these are any Instances of the contrary, 'tis only in prostituted and Vul­gar People; And even these, don't comè up to the Grossness of the Modern Stage: Asinar.

For the Purpose. Cleaereta the Procu­ris borders a little upon Rudeness: Lena Cistellar. and Bacchis the Strumpet are Airy Bacchid. and somewhat over-merry, but not A l'Anglois obscene. Chalinus in Womans Casin. Cloaths is the most remarkable. Pasi­compa Mercat. Act. 3. Charinus his Wench talks too free­ly to Lysimachus; And so does Sophro­clidisca Slave to Lamnoselene. And lastly: Persa. Phronesiam a Woman of the Town uses a Trucul. double entendre to Stratophanes. These are the most censurable Passages, and I think all of them with relation to Wo­men; which considering how the World goes is very moderate. Several of our Single Plays shall far out-do all This put together. And yet Plautus has upon the [Page 16] matter left us 20 entire Comedies. So that in short, these Roman Lasses are meer Vestal Virgins, comparatively speak­ing.

2ly. The Men who talk intemperate­ly are generally Slaves; I believe Dor­dalus Persa. the Pandar, and Lusiteles will be found the only exception: And Trinum. this latter young Gentleman; drops but one over airy expression: And for this Freedom, the Poet seems to make him give Satisfaction in the rest of his Character. He disputes very handsom­ly by himself against irregular Love; The Discourse between him and Philto is instructive and well managed. And afterwards he gives Lesbonicus a great Act. 2. 1. deal of sober advice, and declaims hearti­ly Act. 2. 2. against Luxury and Lewdness! Now by confining his Rudeness to lit­tle People, the Fault is much extenuated. For First, the representation is more Naturally this way; And which is still better, 'tis not so likely to pass into Imitation: Slaves and Clowns are not big enough to spread Infection; and set up an ill Fashion. 'Tis possible the Poet might contrive these Pesants Of­fensive to discountenance the Practise. Thus the Heilots in Sparta were made drunk to keep Intemperance out of [Page 17] Credit. I don't mention this as if I ap­prov'd the Expedient, but only to show it a circumstance of Mitigation and Excuse.

Farther, These Slaves and Pandars, Seldom run over, and play their Gam­bols before Women. There are but Four Instances of this Kind as I remem­ber, Olympio, Palaestrio, Dordalus, and Casin Mil. Glor. Pers. Trucul. Stratilax are the Persons. And the Wo­men they discourse with, are two of them Slaves, and the third a Wench. But with our Dramatists, the case is otherwise. With us Smuttiness is abso­lute and unconfin'd. 'Tis under no re­straint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imagi­nable. This is in earnest to be very hearty in the cause! To give Title and Figure to Ill Manners is the utmost that can be done. If Lewdness will not thrive under such encouragement it must e'en Miscarry!

4ly. Plautus his Prologues and Epilogues are inoffensive. 'Tis true, Lambinus pre­tends to fetch a double entendre out of that to Poenulus, but I think there is a Strain in the Construction. His Prologue to the Captivi is worth the observing.

Pray mind the Play. The next words give the reason why it deserves regar­ding.

We see here the Poet confesses Smut a scandalous Entertainment. That such Liberties ought to fall under Neglect, to lie unmention'd, and be blotted out of Memory.

And that this was not a Copy of his Countenance we may learn from his Com­positions. His best Plays are almost alwaies Modest and clean Complexion'd. His Amphitrio excepting the ungenuine Ad­dition is such. His Epidicus the Master-Piece of his whole Collection is inoffensive Throughout: And so are his Menechmi, Rudens, and Trinummus, which may be reckon'd amongst some of his next Best. His Truculentus another fine Play (tho' not entire) with a Heathen Allowance, is pretty Passable. To be short: Where he is most a Poet, he is generally least a Buffoon. And where the Enter­tainment is Smut, there is rarely any other Dish well dress'd: The Contri­vance [Page 19] is commonly wretched, the Sence lean and full of Quibbles. So that his Understanding seems to have left him when he began to abuse it.

To conclude, Plautus does not dilate upon the Progress, Successes, and Dis­appointments of Love, in the Modern way. This is nice Ground, and there­fore He either stands off, or walks grave­ly over it, He has some regard to the Retirements of Modesty, and the Dignity of Humane Nature, and does not seem to make Lewdness his Business. To give an Instance. Silenium is much gone in Love, but Modest withall, tho' former­ly Cistellar. A. 1. debauch'd.

She is sorry her Spark was forced from her, and in Danger of being lost. But then she keeps within compass and never flies out into Indecency. Alcesi­marchus is strangely smitten with this Silenium, and almost distracted to reco­ver her. He is uneasy and blusters, and Ibid. A. 2. threatens, but his Passion goes off in Generals. He Paints no Images of his Extravagance, nor descends to any nause­ous particulars.

And yet after all, Plautus wrote in an Age not perfectly refin'd, and often seems to design his Plays for a Vulgar Capacity. 'Twas upon this view I sup­pose [Page 20] his Characters exceed Nature, and his ill Features are drawn too large: His old Men over credulous, his Misers Roman­tick, and his Coxcombs improbably singular. And 'tis likely for this reason his Slaves might have too much Li­berty.

Terence appear'd when Breeding was more exact, and the Town better polish'd; And he manages accordingly: He has Heauton but one faulty bordering Expression, which is that of Chremes to Cliti­pho. This single Sentence apart, the rest of his Book is (I think) unsullied and fit for the nicest Conversation. I mean only in referrence to the Argument in Hand, for there are things in Him, which I have no intention to warrant. He is Extreamly careful in the Beha­viour of his Women. Neither Glycerium in Andria, Pamphila in Eunuchus, or Pamphila in Adelphi, Phanium in Phor­mio, or Philumena in Hecyra, have any share of Conversation upon the Stage. such Freedom was then thought too much for the Reservedness of a Maiden-Cha­racter. 'Tis true in Heautontimoroumenos the Poets Plot obliged Antiphila to go under the Disguise of Bacchis her Maid. Upon this Occasion they hold a little Discourse together. But then Bacchis [Page 21] tho' she was a Woman of the Town, be­haves her self with all the Decency ima­ginable. She does not talk in the Lan­guage of her Profession. But commends Antiphila for her Virtue: Antiphila only says how constant she has been to Chinia, seems surprised at his Arrival, and salutes him civilly upon't, and we hear no more from her. Mr. Dryden seems to refer to this Conduct in his Dramatick Poesie. He censures the Ro­mans for making Mutes of their single Wo­men. This He calls the Breeding of the Old Elizabeth way, which was for Maids to be seen and not to be heard. Under Favour the old Discipline would be very serviceable upon the Stage. As matters go, the Mutes are much to few. For certainly 'tis better to say nothing, than talk out of Character, and to ill purpose.

To return. The Virgin injured by Chaerea does nothing but weep, and won't so much as speak her misfortune to the Eunuch. Women. But Comedy is strangly im­proved since that time; For Dalinda has a great deal more Courage, tho' the loss of her Virtue was her own Love Tri­ump. Fault.

But Terence has that regard for Wo­men, that he won't so much as touch upon an ill Subject before them. Thus [Page 22] Chremes was ashamed to mention any thing about his Sons Lewdness when his Wife was present.

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. The Eunuch A. 5. 4. 5. Adelph. A. 2. 3. Poet did not think Littleness and low Education a good Excuse for Ribaldry. He knew Infection at the weakest, might seize on some Constitutions: Besides, the Audience was a Superior Presence, and ought to be considered. For how Neg­ligent soever People may'be at Home, yet when they come before their Betters 'tis Manners to look wholsom.

Now tho' Plautus might have the richer Invention; Terence was always thought the more judicious Comedian. His Raillery is not only finer, and his stile better polish'd; but his Characters are more just, and he seems to have reach'd farther into Life than the other. To take Leave of this Author, even his Serumpets are better behaved than our honest Women, than our Women of Quality of the English Stage. Bacchis in Heautontimoroumenos, and Bacchis in [Page 23] Hocyra, may serve for example. They are both modest, and converse not un­becoming their Sex. Thais the most accomplish'd in her way, has a great deal of Spirit and wheadling in her Cha­racter, Eunuch. but talks no Smut.

Thus we see with what Caution and So­briety of Language Terence manages. 'Tis possible this Conduct might be his own Modesty, and result from Judgment and Inclination. But however his Fancy stood, he was sensible the Coarse way would not do. The Stage was then under Discipline, the publick Censors formi­dable, and the Office of the Choragus was originally to prevent the Excesses of Liberty.

To this we may add that Nobless had Casaub. Annot, in Curcul Plauti. no Relish for Obscenity; 'twas the ready way to Disoblige them. And therefore 'tis Horaces Rule.

The Old Romans were particularly care­full their Women might not be affronted in Conversation: For this reason the Un­married kept off from Entertainments for Var. apud. Nonium. fear of learning new Language. And in [Page 24] Greece no Woman above the degree of a Slave, was treated abroad by any but Corn. Nep. Relations. 'Tis probable the old Comedy was silenced at Athens upon this Score, as well as for Defamation. For as Aristotle observes the new Set of Come­dians Arist. Lib. 4. de Mor. cap. 14. were much more modest than the former. In this celebrated Republick, if the Poets wrote any thing against Re­ligion or Good Manners, They were Vit. Eu­rip. ed Cantab. 1694. tryed for their Misbehaviour, and ly­able to the highest Forfeitures.

It may not be amiss to observe that there are no Instances of debauching Married Women, in Plautus, nor Terence, no nor yet in Aristophanes. But on our Stage how common is it to make a Lord, a Knight, or an Alderman a Cuckold? The Schemes of Success are beaten out with great Variety, and almost drawn up in­to a Science. How many Snares are laid for the undermining of Virtue, and with what Triumph is the Victory pro­claim'd? The Finess of the Plot, and the Life of the Entertainment often lies in these Contrivances. But the Romans had a different sence of these Matters, and saw thro' the consequences of them. The Government was awake upon the Theatre, and would not suffer the Abuses of Honour, and Family, to pass into [Page 25] Diversion. And before we part with these Comedians we may take notice that there are no Smutty Songs in their Plays; in which the English are extreamly Scan­dalous. Love for Love. Love Tri­ump. &c. Now to work up their Lewd­ness with Verse, and Musick, dou­bles the Force of the Mischief. It makes it more portable and at Hand, and drives it Stronger upon Fancy and Practice.

To dispatch the Latins all together. Seneca is clean throughout the Piece, and stands generally off from the point of Love. He has no Courting unless in p. 14. Ed Scriv. his Hercules Furens: And here the Ty­rant Lycus addresses Megara very brief­ly, and in Modest and remote Lan­guage. In his Thebais, Oedipus's Incest is re­ported at large, but without any choaking Description. 'Tis granted Phaedra speaks her Passion plainly out, and owns the strength of the Impression, and is far less prudent than in Euripides. But tho' her Hippol. Thoughts appear too freely, her Lan­guage is under Discipline.

Let us now Travel from Italy into Greece, and take a view of the Theatre at Athens. In this City the Stage had both its beginning and highest Improve­ment. Aeschylus was the first who ap­pear'd with any Reputation. His Genius [Page 26] seems noble, and his Mind generous, willing to transfuse it self into the Au­dience, and inspire them with a Spirit of Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing. There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick Ardour, to awaken, warm, and push forward to Action. But his Mettal is not always under Management. His In­clination for the Sublime; carrys him too far: He is sometimes Embarrass'd with Epithites. His Metaphors are too stiff, and far fetch'd; and he rises rather in Sound, than in Sence. However generally speak­ing, his Materials are both shining and solid, and his Thoughts lofty, and un­common. This Tragedian had always a nice regard to Good Manners. He knew corrupting the People was the greatest disservice to the Commonwealth; And that Publick Ruine was the effect of general Debauchery. For this reason he declines the Business of Amours, and de­clares expresly against it. Now here we can't expect any length of Testimony. A [...]oph. Ran. 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 [...] I meet with shall be produced.

[Page 27] 1st. Orestes was obliged by the Oracle Xonpop. 263. Ed. Steph. to revenge his Fathers Death in the Murther of his Mother. When he was going to kill her, he Mentions her Cruel­ty, but waves her Adultery. Euripides Orest. 48. Ed Can­tab. approv'd this Reservedness and makes his Electra practise it upon the same occasion Aeschylus in his next Play complements his Country with a great deal of Ad­dress in the Persons of the Eumenides. They are very Gentile and Poetical in their Civilities: Among other things They wish the Virgins may all Marry and make the Country Populous: Here the Poet do's but just glance upon the Sub­ject of Love; and yet he governs the [...]. 305. Expression with such care, that the wishes contain a Hint to Sobriety, and carry a Face of Virtue along with them.

The Double Dealer runs Riot upon such an Occasion as this; and gives Lord Touchwood a mixture of Smut and p. 79. Pedantry to conclude with, and yet this Lord was one of his best Characters: But Poets are now grown Absolute with­in themselves, and may put Sence and Quality upon what Drudgeries they please. To return. Danaus cautions his Daugh­ters very handsomly in point of Beha­viour. They were in a strange Country, and had Poverty and Dependance to [Page 28] 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.

Our Poets I suppose would call this Preaching, and think it a dull Business. However I can't forbear saying an ho­nest Heathen is none of the worst Men: A very indifferent Religion well Believ­ed, will go a great way.

To proceed. Sophocles appear'd next upon the Stage, and was in earnest an Extraordinary Person. His Conduct is more Artificial, and his Stile more just, than that of Aeschylus. His Characters are well drawn, and Uniform with themselves: His Incidents, are often sur­prising, and his Plots unprecipitated. There is nothing but what is Great, and Solemn Throughout. The Reasoning is well Coloured. The Figures are some­times Bold, but not Extravagant. There are no Flights of Bombast, no Towring above Nature and Possibility: In short, Don Sebast. p. 12. nothing like Don Sebastians Reigning in his Atomes.

[Page 29] This Tragedian like Aeschylus does not often concern himself with Amours, and when he does, nothing can be more tem­perate, and decent. For example where the Incest of Oedipus is described, the Of­fensiveness of the Idea is screen'd off and broken by Metaphorical and distant Ex­pressions. Oedip. Tyran. Ed Steph. In another Play Creon resolves to put Antigone to Death for presuming to bury Polynices. This Lady and Haemon Creons Son were very far engaged; Hae­mon endeavours to disswade his Father from Antigones Execution: He tells him the burying her Brother tho' against his Order, was a popular Action. And that the People would resent her being punish'd: Antig 242. 244. But never so much as mentions his own Concern unless in one Line; which was so obscure that Creon misunderstood him. Antigone amongst her other Misfortunes la­ments her dying Young and Single, but says not one word about Haemon. The Poet takes care not to bring these two Lovers upon the Stage together, for fear they might prove unmanagable? Had They been with us, they had met with kinder treatment. They might have had Interviews and Time and Freedom enough. Enough to mud their Fancy, to tarnish their Quality, and make their Passion Scandalous. In the Relation of Haemons Death, his Love is related too, and that with all the Life and Pathos im­aginable. [Page 30] But the Description is within the Terms of Honour: The tendernesses are Solemn, as well as Soft: They move to Pity and Concern, and go no farther. Ibdi. 264, In his Trachiniae the Chorus owns the Force of Love next to irresistable; gently hints the Intrigues of the Gods, and then passes on to a handsome Image of the Combat Teach, 348. between Achelous and Hercules. We see how lightly the Poet touches upon an a­morous Theme: He glides along like a Swallow upon the Water, and skims the Surface, without dipping a Feather.

Sophocles will afford us no more, let us therefore take a view of Euripides. 'Tis the Method of this Author to decline the Singularities of the Stage, and to appear with an Air of Conversation. He delivers great Thoughts in Common Language, and is dress'd more like a Gentleman than a Player. His Distinction lies in the per­spicuity of his Stile; In Maxim, and Moral Reflection; In his peculiar Hap­piness for touching the Passions, especially that of Pity: And lastly, in exhausting the Cause, and arguing pro and Con, up­on the streach of Reason. So much by way of Character. And as for the Mat­ter before us He is entirely Ours. We have had an Instance or two already in Electra and Phaedra: To go on to the rest. In his Hippolitus He calls Whoring, stupid­ness [Page 31] and playing the Fool. And to be Chast and regular, is with him, as well as with Aeschylus, [...]. As muchas to say 'tis the Consequence of Sence, and right [...]. Ed Cant. 241: 250. 252. Thinking. Phaedra when her Thoughts were embarrass'd with Hippolitus, endea­vours to disentangle her self by Argument. She declaims with a great deal of Satyr a­gainst intemperate Women; she conclud­ed rather to die then dishonour her Hus­band and Stain her Family. The Ble­mishes of Parents, as she goes on, often stuck upon their Children, and made them appear with Disadvantage. Upon this, the Chorus is transported with the Vir­tue of her Resolution and crys out

The Scholiast upon these verses of Hip­politus.

Makes this Paraphrase. ‘Th [...] Mind should be clean and unsulli [...] [Page 32] that the Muses being Virgins their Per­formances should agree with their Con­dition.’

To proceed. Hermione complains a­gainst Andromache because she was enter­tain'd by her Husband: For this Andro­mache tells her she talk'd too much for a Androm. p. 303. Young Woman, and discover'd her Opi­nion too far. Achilles at the first Sight of Clytemnestra, lets her understand he was as much taken with the Sobriety of her Air, as with the rest of her fine Face and Per­son. Jphig in Aulid. p. 51. She receives the Complement kind­ly, and commends hint for commending Modesty. Menelaus and Helen after a long Absence manage the surprize of their good Fortune handsomly. The Most ten­der Helen. 277, 278. Expressions stands clear of ill Mean­ing. Had Osmin parted with Almeria as civilly as these Two met, it had been much better. That Rant of smut and pro­fainness Mourning. Bride. p. 36. might have been spared. The Rea­der shall have some of it.

Were it not for the Creed, these Poets would be crampt in their Courtship, and Mightily at a loss for a Simile! But Os­min is in a wonderful Passion. And [Page 33] truly I think his Wits, are in some dan­ger, as well as his Patience. You shall hear.

Sinking Ease, and Wasting Air, I confess are strange comforts; This Comparison is somewhat oddly equip'd, but Lovers like sick People may say what they please! Almeria takes this Speech for a Pattern, and suits it exactly in her return.

Bolts of Ice? Yes most certainly! For the Cold is struck up into her Head, as you may perceive by what follows.

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:

One would think she was learning a Spa­nel to Sett. But there's something be­hind.

These Figures are some of them as stiff as Statues, and put me in mind of Sylvesters Dubartas.

I take it, the other Verses are somewhat of Kin to These, and shall leave them to Spanish Fiyar. Ep. Ded. Mr. Dryden's Reflection. But then as for Soothing Softness, Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain; It puts me to another stand. For to talk a little in the way of the Stage. This Litter of Epithetes makes the Poem look like a Bitch overstock'd with Pup­pies, and sucks the Sence almost to skin and Bone. But all this may pass in a Play­house: False Rhetorick and false Jewells, do well together. To return to Euripides. Cassandra in reporting the Misfortunes of [Page 35] the Greeks stops at the Adulteries of Cly­temnestra and Aegiala And gives this hand­some reason for making a Halt.

Some Things are dangerous in report, as well as practise, and many times a Dis­ease in the Description. This Euripides was aware of and manag'd accordingly, and was remarkably regular both in stile, and Manners. How wretchedly do we fall short of the Decencies of Heathenism! There's nothing more ridiculous than Mo­desty Plain Dealer. p. 21. on our Stage. '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 Provok'd Wife. p. 41. Backward, and Vertue and Vice had changed Place.

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 [Page 36] Sight of? And must he needs come Abroad when he breaths Infection, and leaves the Tokens upon the Company? What then must we know nothing? Look you! All Experiments are not worth the making. 'Tis much better to be ignorant of a Dis­ease then to catch it. Who would wound himself for Information about Pain, or smell a Stench for the sake of the Disco­very? But I shall have occasion to en­counter this Objection afterwards, Remarks upon Quix­ot. and therefore shall dismiss it at present.

The Play-house at Athens has been hi­therto in Order, but are there no Instances to the contrary? Do's not Aristophanes take great Liberties and make Women speak extraordinary Sentences? He do's so. But his Precedent fignifies nothing in the case. For

1st. We have both the Reason of the Thing, and all the Advantage of Autho­rity on the other side. We have the Pra­ctise and Opinion of Men of much greater Sence, and Learning then Himself. The best Philosophers and Poets, Criticks and Orators, both Greek and Latin, both An­tient and Modern, give the Cause against him. But Aristophanes his own Plays are sufficient to ruin his Authority. For

1st, He discovers himself a downright Atheist. This Charge will be easily Made [Page 37] good against him by his Comparing his Nubes with other Plays. The Design of his Nubes was to expose Socrates, and make a Town jest of him. Now this Philosopher was not only a Person of great Sence and Probity, but was likewise suppos'd to refine upon the Heathen Theology, to throw off the Fabulous part of it, and to endeavour to bring it back to the Standard of Natural Religion. And therefore Justin Martyr and some others of the Fathers, look'd on him as a Person of no Pagan Belief, and thought he suffer'd for the Unity of the God-Head. This Man Aristophanes makes fine sport with as he fancies: He puts him in a Fools Coat, and then points at him. He makes Socrates instruct his Disciple Strepsiades in a new Religion, and tell him that he did not own the Gods in the vulgar Notion. He brings him in elswhere affirm­ing Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel. that the Clouds are the only Deities. Which is the same Lash which Juvenal gives the Jews, because they worship'd but one single Soveraign Being.

Socrates goes on with his Lecture of Divinity and declares very roundly that there is no such thing as Jupiter. After­wards p. 106. he advances farther, and endeavours [Page 38] to get Strepsiades under Articles to acknow­ledge no other Gods, but Chaos, the Clouds, Nub. p. 110. and the Tongue. At last the Poet brings the Philosopher to publick Pennance for his Singularities. He sets fire to his School for teaching Young People (as he pretends) to dispute against Law and Justice; for advancing Atheistick Notions, and bur­lesquing the Religion of the Country. Act. 5. p. 176.

That Socrates was no Atheist is clear from Instances enough. To mention but one. The Confidence he had in his Dae­mon, or Genius by which he governed his Affairs puts it beyond all dispute. How­ever [...]. 'tis plain Aristophanes was not of his Religion. The Comedian was by no means for correcting the Common Perswasion. So that he must either be an Orthodox Heathen or nothing at all. Let us see then with what Respect he treats the Receiv'd Divinities. This Play, where one would not expect it, discovers somewhat of his Devotion. In the beginning of it Phidip­pides, who was a sort of New-Market Spark, swears by Jocky Neptune, that he had a Nub. p. 86 strange Kindness for his Father Strepsiades. upon this the old Man replies; No Jocky, if you love me; that Deity has almost undone me. This was making somewhat bold with Neptune who was Jupiters Brother, Soveraign of a whole Element, and had no [Page 39] less than the Third Share of the Universe! Certainly Aristophanes had no Venture at Sea, or else must think the Trident signi­fied but very little. But this is meer Ce­remony to what follows. In his first Play Plutus pretends he had a mind to oblige only Men of Probity, but Jupiter had made him blind on purpose that he might not distinguish Honest men from Knaves: For to be plain Jupiter had a Pique against Good people. Towards the end of this Comedy Mercury is abused by Cario, and Plut. A. 1. Sc. 2. acts a ridiculous, and lessening part him­self. Afterwards he complains heavily that since Plutus was cured of his Blind­ness, the business of Sacrifing fell off, and the Gods were ready to starve. This Mer­cury has the same ill Usage with the Poets, Knaves, Informers, and Lewd Women; From all this stuff put together, his mean­ing is pretty plain, viz. That Religion was no better than an Imposture suppor­ted by Art, and Ignorance: And that when Men's Understandings were awake, and their Eyes a little open, they would have more discretion than to be at any expence about the Gods.

This I take to be part of the Moral of his Fable. If we look farther into him we shall see more of his Mind. His Ranae makes Merry with theHeathen Scheme of [Page 40] Heaven and Hell. Here Charon and the Stygian Frogs are brought in Comically enough. And that you may understand his opinion more perfectly we are told, that He that Bilks his Catamite after a Sodomitical Abuse, is thrown into the Com­mon shore of Hades. And what Company do you think he is lodg'd with? Why with those who Perjure themselves, with those who Kick their Fathers and Mothers? It seems in the Poets Justice a Man Ram. p. 188. might as good be false to his Oath, as to his Lewdness. To disappoint the Stews, is every jot as great a Crime; as to fly in the Face of Nature, and outrage our Parents. His Quartering his Malefactors thus critically, was without question on purpose to Banter the perswasion of fu­ture Punishment. In the same Play Xan­thias bids Aeacus answer him by Jove, [...]. This little Scoun­drel of a Slave has the Manners to make Jupiters Quality no better than his own. To go on with him: In his Aves he speaks out to purpose. Here Pisthetaerus tells Epops that if the Birds would build a Castle in the Air, they might intercept the Fumes of the Sacrifices, and starve the Gods unless they would come too, and be Tri­butary. It seems the Birds had very good Pretences to execute this project; for they [Page 41] were ancienter than Jupiter and Saturn, and Govern'd before the Gods. And to speak truth were more capable of the Function. Their Adviser goes on to inform 536. 538. 546. them, that after they had built their pensile City, and fortifyed the Air, their next business was to demand their ancient Soveragnity: If Jupiter refused to quit, they were to declare a Holy War against Him, and the rest of the Confe­derate Gods, and to cut off the Commu­nication between Heaven and Earth. Pisthaeterus grows very warm in his 542. new Interest, and swears by Jove that Men ought to Sacrifice to the Birds, and not to Jupiter. And if things came to a Rupture, and Jupiter grew Trouble­some, 582. he undertakes to send a Detache­ment of Eagles against Him; with Orders to storm his Palace with Flambeaux, and fire it about his Ears. At last to prevent the Calamities of a War, Hercules Ibid. proposes an Accomodation, and is willing Jupiter should Resign. Neptune calls him a Block-head for his pains, because he was Heir at Law, and after Jupiters Decease was of Course to succeed in his Domini­ons: Once more, and I have done: In Eirene, Trygaeus speaks in a menacing 602. way. That unless Jupiter gave him Sa­tisfaction in his business, he would inform [Page 42] against Him as a disaffected Person, and a betrayer of the Liberties of Greece. I Eiren. 616. might add many other Instances, and some more Scandalous than any I have mentioned; But these are sufficient to shew the Authors Sentiment: And is it any wonder an Atheist should misbehave him­self in point of Modesty? What can we expect less from those who laugh at the Being of a God, at the Doctrines of Pro­vidence, and the Distinctions of Good and Evil? A Sceptick has no notion of Con­science; no Relish for Virtue, nor is under any Moral restraints from Hope or Fear. Such a one has nothing to do but to con­sult his Ease, and gratifie his Vanity, and fill his Pocket. But how these Ends are compassed, he has no squeamishness, or Scruples about it. 'Tis true when the Methods of Lewdness will Take, they are generally most agreeable. This way suits their Talent, and screens their pra­ctise, and obliges their Malice. For no­thing is a greater Eye-sore to these Men, then Virtue and Regularity. What a pleasure is it then to be admired for Mis­cheif, to be reveng'd on Religion, and to see Vice prosper and improve under our Hands! To return: Beside Aristophanes; Atheisme, I have a Second objection to his Authority, and that is want of Judg­ment. [Page 43] If we examine his Plays we shall find his Characters improper, or ununi­form; either wrong at first, or unsteady in the Right. For the purpose. In his Nubes. A. 3. S. 3. p. 146. 150. He puts dirty expressions in the Mouth of his Man of Probity, makes him declaim vitiously a­gainst Vice, and Corrects scurrility with Im­pudence; Now what can be more idle and senceless, than such Conduct as this? Epecially when this Justus as he calls him had told them in the beginning of his speech, that People used to be well slash'd for such Fooling, when Govern­ment and Discipline were in their due Force. The Chorus of his Ranae slides p. 142. p. 200. into the same Inconsistency of Pre­cept, and Practise. Farther, in the Progress of this Play; Aeschylus falls a rallying contrary to his Humour, and jests away his own Arguments at a very un­seasonable Juncture, when he was disputing for no less prize than the Laureatship. This Tragedian after he had play'd 242. a little with the Story of Bellerophon, goes on in the same strain; And charges Euri­pides that he had furnish'd all sorts of Peo­ple with Saweiness and Prattle. The Schools and Academies were spoil'd by this means; So that the Boys were often whip'd, aud the Boatswains drubb'd, for [Page 44] their Chattering. These Comical Le­vities P. 244. come with an ill Grace from Aeschylus. His Character was quite dif­ferent both in Reality, and in the Play before us. He is all along represented as a Person of a serious Temper, of a re­serv'd Loftiness, Cholerick, and tender of his Honour to an Excess, and almost in a rage at the Affront of a Rival, and being forc'd to enter the Lists with Eu­ripides. The case standing thus, neither the Man, nor the Business, would admit of Drolling. Another Instance of his want of Conduct we have in his Concianotores. Here Blepyrus and some others of his Le­gislative Assembly, talk at a very dirty in­sipid rate. The Lowest of the Mob, can hardly jest with less Wit, and more Lewdness. And to make their Discourse more remarkable; These douty Mem­bers were just going to the House, and had their Heads full of the Good of the Nation, when they entertain'd themselves thus decently. And are these little Buf­foons fit to consult de Arduis Régni, &c. to [...] give Authority to Law, and Rules for pub­lick Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and the Solemnity of their Office? To make his Parliament-Men play the Fool thus egregiously, must needs have a great deal of Decorum, and State-Policy in the [Page 45] Contrivance; And is just as wise as if a Painter should have Drawn them in the Habit of Jack-Puddings, and Merry-Andrews. But Aristophanes has still higher Flights of Absurdity. He won't so much as spare the Gods but makes them act these little Parts of Clownishness and Infamy. Bac­chus and Hercules in his Ranae are forced to talk Smut and rally like Link-boys, and do almost all the Tricks of Bartholomew-Fair. To mention something that will bear the quoting. Bacchus enquires of Her­cules the readiest way to Hades, or the o­ther World. He bids him either Hang, or Poyson himself, and he can't miss the Road. This is Hercules's Humour to a Tittle! And represents him as much to the Life, as an Ape would do the Grand Ranae p. 186. p. 182. Signior at a publick Audience! This with a short Sentence or two of Lewd­ness, is the hardest of Hercules his Usage: And 'tis well he escaped so; for Bacchus is treated much worse. He appears under the disadvantages of a Clownish Debaush, and a Coward. And is terribly afraid of a Spectre. When p. 192. 194, 196. he comes before Aeacus, this Judge is ve­ry rough with him; and tries his preten­ces to a Deity by Bastinado: Bacchus howls in the drubbing and had almost spoil'd all. Act 2. Sc. 6. [Page 46] Now do's this paultry Behaviour agree with the Heathen Theology, with the Common Opinion concerning Bacchus and Hercules? Do's a Blew-Cap and a Ladle, become the Sons of Jupiter and the Ob­jects of Religious Worship? Those who at the lowest, were counted the Conque­rors of the World, and more than Men both by Birth and Enterprizes? Sopho­cles and Euripides make these two Per­sons manage at a quite different rate of Decency. 'Tis no defence to say Aristo­phanes wrot Comedy, and so was obliged to make his Scenes more diverting. This excuse I say is defective; for a Comedian ought to imitate Life and Probability, no less than a Tragedian. To Metomorphose Characters, and present Contradictions to Common Belief, is to write, Farce instead of Plays. Such Comedians like Thespis ought to have a travelling Stage, and take the Air with Porcupines and Dromedaryes. If 'tis said that Gravity and greatness do's not suit the Complection and Enter­tainment of Comedy. To this I answer, that therefore the Persons should be cho­sen accordingly. They should have no­thing in their known Humour, and Con­dition too Noble, and solemn for Trif­ling. 'Tis Horaces advice.

[Page 47] Aut famam sequere, aut convenientia finge Scriptor. De. Art. Poet.

Let us remember that Operations always resemble the Nature from whence they flow. Great Persons should therefore have a correspondent Behaviour assign'd them. To make Beings much Superior to the Biggest of Mankind, talk below the Least, is absurd and ridicules. This Aristophanes seems sensible of in his de­fence of Aeschylus. Here Euripides objects Ranae p. 242. to Aeschylus, that he was too rumbling, noisy, and bombastick, over affecting that which Horace calls

Ampullas, & sesquipedalia Verba.

To this Aeschylus Answers, that the Thoughts, and Designs of Heroes must be deliver'd in Expressions proportioned to their Greatness. It being likely that the Demi-Gods spoke up to their Dignity and Stature: And as they were distin­guish'd by the richness of their Habit, so they had a more Magnificent Language than other Mortals. To this Euripides replys nothing; from whence you may conclude the Poet thought the Apology not unreasonable. In short Aristophanes [Page 48] 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. Ranae A 1. Sc. 1. Con­cionat. His Buffoonery is commonly too strong for his Judgment. This makes him let sly his jests without regard to Person or occasion: And thus by Springing the Game too soon, the Diversion is lost. I could make several other Material Ob­jections against the Conduct of his Plays; But this being not necessary I shall ob­serve in the

3d. Place. That notwithstanding the scandalous Liberty for which Aristophanes is so remarkable; yet in his Lucid In­tervalls, when Sence and Sobriety return upon him, he pronounces against his own Practise. In the contest between Aeschylus and Euripides, Bacchus is made the Um­pire of the Controversie. Aeschylus begins Ranae p. 238. with a Question, and asks Euripides what 'tis which makes a Poet ad­mired? He answers. 'Tis for the ad­dress of his Conduct, and the handsome Turns of Morality in his Poems. 'Tis because his performance has a tendency to form the Audience to Virtue, and Im­provement. Aeschylus demands of him [Page 49] farther; But suppose you debauched the Age, and made an Honest and a brave Peo­ple Lewd, and good for nothing, what do you deserve then? Here Bacchus inter­poses, and crys out, what does he deserve? A Halter! pray don't ask so plain a questi­on. And afterwards we are told, that Poets are valuable only for describing Things useful, in Life and Religion, for polishing Inventions, and setting off great Examples with Lustre, and Advantage. In the pro­gress p. 240. of the Dispute, Aeschylus taxes Euri­pides with being too uncautious in his Re­presentations; And tells him that Poets ought to conceal that which is vicious in Story; And entertain with nothing but Virtue, and Sobriety: He goes on repri­manding Euripides for his Dramatick in­cests, Strumpets, and Amours: And as for himself, to his best remembrance, He ne­ver brought any Love-Intrigues upon the p. 242. 244. Stage.

This is very significant expostulation: and contains very good Rules for the Trial of the Muses: But if the English Stage, should be obliged to this Test; Aristophanes must set fire to it, and that with much more reason than to Socrates his School. Now that Aeschylus spoke Aristo­phanes's Sense is pretty plain: For first; As to the Business of Love, Aristophanes al­ways [Page 50] declines it; He never patches up a Play with Courtship, and Whining, tho' he wrote nothing but Comedy. In the next place the Chorus which is usually the Poets Interpreter, speaks honourably of Aes­chylus even to a Preference; And at last 255. 267. Judge Bacchus gives Sentence for him.

Thus we see Aristophanes Confutes his own Lewdness, and comes in Evidence against himself. This with the other two Exceptions I have made good against him, are sufficient to take off the Force of the Precedent, and make him an insignificant Authority.

To what I have observ'd from the Stage of the Antients, I could add the Autho­rities of Aristotle, and Quintilian, both ex­traordinary Persons, but I shall reserve their Testimony till Afterwards.

To come Home, and near our own Times: The English Theatre from Queen Elizabeth to King Charles II. will af­ford us something not inconsiderable to our purpose.

As for Shakespear, he is too guilty to make an Evidence: But I think he gains not much by his Misbehaviour; He has commonly Plautus's Fate, where there is most Smut, there is least Sense.

Ben. Johnson is much more re­serv'd in his Plays, and declares plainly [Page 51] for Modesty in his Discoveries, some of his Words are these.

A just Writer whom he calls a True Artificer, will avoid Obscene and Effemi­nate Phrase. Where Manners and Fashions Discov. p. 700. are Corrupted, Language is so too. The excess of Feasts and Apparel, are the Notes of a Sick State, and the Wantonness of Language p. 701. of a sick Mind. A little after he returns to the Argument, and applies his Reason­ing more particularly to the Stage. Poetry, (says he) and Picture, both behold Plea­sure, and profit, as their common Object, but should abstain from all base Pleasures, least they should wholly Err from their End; And while they seek to better Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and Jests upon the best Men, are most likely to ex­cite Laughter. But this is truly leaping from the Stage to the Tumbrill again, reducing all Wit to the Original Dung-Cart. More might p. 706. 717. be cited to this purpose, but that may serve for an other Occasion: In the mean time I shall go on to Beaumont and Fletch­er.

Fletchers Faithfull Shepheardess is remark­ably Moral, and a sort of Exhortation to Chastity. This Play met with ill Judg­es, 'twas Hiss'd before half Acted, and seems to have suffer'd on the account of its Innocence. Soon after Ben. Johnson Beauments, &c. Works. [Page 52] and Beaumont appear justifying the Au­thor in a Copy of Verses. And as Beaumont commends Modesty in Fletcher, so he is commended himself by Mr. Earl for the Ibid. same Quality.

And as I remember Jasper Main has some stroaks to the same purpose. Fletcher is Ibid. still more full for the Cause. Indeed no­thing can be more express. He delivers himself by way of Prologue; where the Poet speaks in his own Person. The Pro­logue to the Woman-Hater, very frankly lets the Audience know what they are to ex­pect. If there be any amongst you, (says he) that come to hear Lascivious Scenes, let them depart; For I do pronounce this, to the ut­ter discomfort of all two-penny Gallery Men, you shall no Bawdry in it. We find in those days Smut was the expectation of a Coarse Palate, and relish'd by none but two-penny Customers. In the Knight of the Burning Pestle, part of the Prologue runs thus. They were banish'd the Theatre at Athens, and from Rome hiss'd, that brought Parasites on the Stage with Apish Actions, or Fools with uncivil Habits, or Courtezans with immodest words. Afterwards Prologue, who represents a Per­son, gives us more to the same purpose.

I have quoted nothing but Comedy in this Author. The Coronation is another. And the Prologue tells you there is

Thus these Poets are in their Judgments clearly ours. 'Tis true their Hand was not always steady. But thus much may be aver'd, that Fletcher's later Plays are the most inoffensive. This is either a sign of the Poets Reformation; or that the ex­ceptionable Passages belong'd to Beaumont, who dyed first.

To these Authorities of our own Nati­on, I shall add a considerable Testimony out of Mr. Corneille. This Author was [Page 54] sensible that tho' the Expression of his Theodore. Ed. Roven. Ep. Ded. Theodore was altogether unsmutty, ‘Yet the bare Idea of Prostitution uneffected, shock'd the Audience, and made the Play miscarry. The Poet protests he took great care to alter the natural Complexion of the Image, and to convey it decently to the Fancy; and deliver'd only some part of the History as inoffensively as pos­sible. And after all his Screening and Con­duct, the Modesty of the Audience would not endure that little, the Subject forced him upon. He is positive 'the Comedies St. Augustine declaim'd against, were not such as the French. For theirs are not spe­ctacles of Turpitude, as that Father justly calls those of his Time. The French ge­nerally speaking, containing nothing but examples of Innocence, Piety and Vertue.’

In this Citation we have the Opinion of the Poet, the Practise of the French The­atre, and the Sense of that Nation, and all very full to our purpose.

To conclude this Chapter. By what has been offer'd, it appears that the Present English Stage is superlatively Scandalous. It exceeds the Liberties of all Times and Coun­tries: It has not so much as the poor plea of a Precedent, to which most other ill Things may claim a pretence. 'Tis most­ly meer Discovery and Invention: A new [Page 55] World of Vice found out, and planted with all the Industry imaginable. Aristo­phanes himself, how bad soever in other respects, does not amplyfie, and flourish, and run through all the Topicks of Lewd­ness like these Men. The Miscellany Poems are likewise horribly Licentious. They are sometimes Collections from Antiqui­ty, and osten, the worst parts of the worst Poets. And to mend the Matter, the Chri­stian Translation, is more nauseous than the Pagan Original. Such stuff I believe was never seen, and suffer'd before. In a word, If Poverty and Diseases, the Dishonour of Families, and the Debauching of King­doms, are such valuable Advantages, then I confess these Books deserve encourage­ment. But if the Case is otherwise, I hum­bly conceive the Proceeding should be so too.

AN other Instance of the Disorders of the Stage is their Profaness: This Charge may come under these two par­ticulars.

• 1st. Their Cursing and Swearing.
• 2dly. Their Abuse of Religion and Holy Scripture.

1st Their Cursing and Swearing.

What is more frequent then their wishes of Hell, and Confusion, Devils and Disea­ses, all the Plagues of this World, and the next, to each other? And as for Swearing; 'tis used by all Persons, and upon all Occasions: By Heroes, and Pal­troons; by Gentlemen, and Clowns: Love, and Quarrels, Success, and Disappoint­ment, Temper, and Passion, must be var­nish'd, and set off with Oaths. At some times, and with some Poets Swearing is no ordinary Relief. It stands up in the room of Sense, gives Spirit to a flat Ex­pression, and makes a Period Musical and Round. In short, 'tis almost all the Rheto­rick, [Page 57] 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, as if they had a mind to steal Gad for God. a Swearing, and break the Commande­ment without Sin. At another time the Oaths are clipt, but not so much with­in the Ring, but that the Image and Superscription are visible. These expe­dients, I conceive are more for variety, then Conscience: For when the fit comes on them, they make no difficulty of Swearing at Length. Instances of all these kinds may be met with in the Old Batche­lour, Double Dealer, and Love for Love. And to mention no more, Don Quixot, the Provok'd Wife, and the Relapse, are particularly rampant and scandalous. The English Stage exceed their predecessors in this, as well as other Branches of immorality. Shakespear is comparatively sober, Ben Jonson is still more regular; And as for Beaument and Fletcher, In their Plays they are commonly Profligate Per­sons that Swear, and even those are re­prov'd for't. Besides, the Oaths are not so full of Hell and Defiance, as in the Moderns.

So much for matter of Fact: And as for point of Law, I hope there needs not [Page 58] many words to prove Swearing a Sin: For what is more provoking than con­tempt, and what Sin more contemptuous than common Swearing? what can be more Insolent and Irreligious, than to bring in God to attest our Trifles, to give Security for our Follies, and to make part of our Diversion? To Play with Majesty and Omnipotence in this manner, is to render it cheap and despicable. How can such Customes as these consist with the belief of Providence or Revelation? The Poets are of all People most to blame. They want even the Plea of Bullies and Shar­pers. There's no Rencounters, no starts of Passion, no suddain Accidents to discom­pose them. They swear in Solitude and cool Blood, under Thought and Delibe­ration, for Business, and for Exercise: This is a terrible Circumstance; It makes all Malice Prepence, and enflames the Guilt, and the Reckoning.

And if Religion signifies nothing, (as I am afraid it does with some People) there is Law, as well as Gospel against Swearing. 3d, Jac. 1. cap. 21. is expresly against the Playhouse. It runs thus.

FOR the preventing and avoiding of the great abuse of the holy Name of God, in Stage Plays, Enterludes &c. Be it enacted by out vereign Lord &c. That if at any time, or times, [Page 59] after the End of this present Session of Parli­ament; any Person or Persons do, or shall, in any Stage Play, Enterlude, Shew &c. Ieastingly or Profanly, speak or use the Holy Name of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity, which are not to be spoken, but with Fear and Reverence; shall forfeit for every such offence, by him or them committed, ten pounds: The one Mosty thereof to the King's Majesty, his heirs; and Successors, the other Mosty there­of to him, or them, that will sue for the same in any Court of Record at Westminster, wherein no essoin, protection, or wager of Law shall be allow'd.

By this Act not only direct Swearing, but all vain Invocation of the Name of God is forbidden. This Statute well ex­ecuted would mend the Poets, or sweep the Box: And the Stage must either re­form, or not thrive upon Profaness.

3dly Swearing in the Playhouse is an ungentlemanly, as well as an unchristian Practice. The Ladies make a considera­ble part of the Audience. Now Swearing before Women is reckon'd a Breach of good Behaviour, and therefore a civil Atheist will forbear it. The custom seems to go upon this Presumption; that the Impressions of Religion are strongest in Women, and more generally spread. And that it must be very disagreeable to them, to hear the Majesty of God treated with [Page 60] so little respect. Besides: Oaths are a boistrous and tempestiuous sort of Conver­sation; Generally the effects of Passion, and spoken with Noise, and Heat. Swear­ing looks like the beginning of a Quar­rel, to which Women have an aversion: As being neither armed by Nature, nor disciplin'd by Custome for such rough Disputes. A Woman will start at a Sol­diers Oath, almost as much as at the Report of his Pistol: And therefore a well Bred Man will no more Swear, than Fight in the Company of Ladies.

A Second Branch of the Profaness of the Stage is their Abuse of Religion, and Holy Scripture. And here sometimes they don't stop short of Blasphemy. To cite all that might be Collected of this kind would be tedious. I shall give the Rea­der enough to justifie the Charge, and I hope to abhor the Practice.

To begin with the Mock-Astrologer. In the First Act the Scene is a Chappel; And that the Use of such Consecrated places may be the better understood, the time is taken up in Courtship, Raillery, and ridiculing Devotion. Jacinta takes her turn among the rest. She Interrupts Theodosia, and cries out: why Sister, Si­ster—will you pray? what injury have I ever done you that you pray in my Company? [Page 61] Wildblood Swears by Mahomet, rallies smut­tily upon the other World, and gives the preference to the Turkish Paradise! This p. 31. Gentleman to incourage Jacinta to a Com­plyance in Debauchery, tells her Heaven p. 37. is all Eyes and no Tongue. That is, it sees Wickedness but conceals it. He Courts much at the same rate a little before. When a Man comes to a great Lady, he is fain to approach her with Fear, and Reve­rence, methinks there's something of Godli­ness p. 24. in't. Here you have the Scripture burlesqu'd, and the Pulpit Admonition ap­ply'd Hebr. 12. to Whoring. Afterwards Jacinta out of her great Breeding and Christia­nity, swears by Alla, and Mahomet, and 34. 36. makes a Jest upon Hell. Wildblood tells his Man that such undesigning Rogues as he, make a Drudge of poor Providence. And Maskall to show his proficiency under his Masters, replies to Bellamy, who would have had him told a Lie. Sir upon the 55. Faith of a Sinner you have had my last Lie already. I have not one more to do me Cre­dit, as I hope to be saved Sir.

In the close of the Play, They make sport with Apparitions and Fiends. One of the Devils sneezes, upon this they give him the Blessing of the Occasion, and con­clude he has got cold by being too long out of the Fire. 59.

[Page 62] The Orphan lays the Scene in Christen­dom, and takes the same care of Religion. Castalio Complements his Mistress to Adoration.

Polydor when upon the attempt to de­bauch Monimia puts up this ejaculation.

Thus the Stage worships the true God in Blasphemy, as the Lindians did Hercules by Cursing and throwing stones. This Lactan. Polydor has another Flight of Profaness, but that has got a certain Protection, and therefore must not be disturb'd.

In the Old Batchelour, Vain-love asks Bel­mour, could you be content to go to Heaven?

Bell. Hum, not immediatly in my Con­scence, not heartily.—This is playing I p. 19. take it with Edge-Tools. To go to Hea­ven in jeast, is the way to go to Hell in earnest. In the Fourth Act, Lewdness is represented with that Gaity, as if the Crime was purely imaginary, and lay on­ly in ignorance and preciseness. Have you throughly consider'd (says Fondlewife) how detestable, how Heinous, and how crying a Sin [Page 63] 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 p. 28. his part; For thy iniquity will fall on his Head. I suppose this fit of Buffoonry and profa­ness, was to settle the Conscience of young Beginners, and to make the Terrors of Religion insignificant. Bellmour desires Laetitia to give him leave to swear by her Eyes and her Lips: He kisses the Strumpet, and tells her, Eternity was in that Moment. p. 31. Laetitia is horibly profane in her Apology to her Husband; but having the Stage-Protection of Smut for her Guard, we must let her alone. Fondlewife stalks un­der 38. the same shelter, and abuses a plain Text of Scripture to an impudent Meaning. p. 39. A little before, Laetitia when her Intrigue with Bellmour was almost discover'd, sup­ports her self with this Consideration. All my comfort lies in his impudence, and Hea­ven be prais'd, he has a Considerable Portion. p. 39. This is the Play-house Grace, and thus Lewdness is made a part of Devotion! Ther's another Instance still behind: 'Tis that of Sharper to Vain-Love, and lies thus.

I have been a kind of God Father to you, yonder: I have promis'd and vow'd something in your Name, which I think you are bound Id. 49. to Perform. For Christians to droll upon [Page 64] their Baptism is somewhat extraordinary; But since the Bible can't escape, 'tis the less wonder to make bold with the Ca­techisme.

In the Double Dealer, Lady Plyant cries out Jesu and talks Smut in the same Sen­tence. Sr. Paul Plyant whom the Poet Double Dealer. 34. dub'd a Fool when he made him a Knight, talks very Piously! Blessed be Providence, a Poor unworthy Sinner, I am mightily be­holden 36. to Providence: And the same word is thrice repeated upon an odd occasion. 55. The meaning must be that Providence is a ridiculous supposition, and that none but Blockheads pretend to Religion. But the Poet can discover himself farther if need be. Lady Froth is pleas'd to call Jehu a Hackney Coachman. Upon this, Brisk re­plies, p. 40. If Jehu was a Hackney Coachman, I am answer'd—you may put that into the Marginal Notes tho', to prevent Criti­cisms—only mark it with a small Aste­risme and say,—Jehu was formerly a Hackney Coachman. This for a heavy Piece of Prosaness, is no doubt thought a lucky one, because it burlesques the Text, and the Comment, all under one. I could go on with the Double Dealer but he'll come in my way afterwards, and so I shall part with him at present. Let us now take a veiw of Don Sebastian. And here [Page 65] the Reader can't be long unfurnish'd. Dorax shall speak first.

But Dorax was a Renegado, what then? He had renounc'd Christianity, but not Providence. Besides; such hideous Sen­tences ought not to be put in the Mouth of the Devil. For that which is not fit to be heard, is not fit to be spoken. But to some Peoplean Atheistical Rant is as good as a Flourish of Trumpets. To proceed. An­tonio tho' a profess'd Christian, mends the matter very little. He is looking on a Lot which he had drawn for his Life: This proving unlucky, after the preamble of a Curse or two, he calls it,

Thus the Poet prepares his Bullies for the other World! Hell and Damnation are strange entertaining words upon the Stage! Were it otherwise, the Sense in these [Page 66] Lines, would be almost as bad as the Con­science. The Poem warms and rises in the working: And the next Flight is ex­treamly remarkable:

Very Solemnly and Religiously express'd! Lucian and Celsus could not have ridicu­led the Resurrection better! Certainly the Poet never expects to be there. Such a light Turn would have agreed much bet­ter to a Man who was in the Dark, and was feeling for his Stockings. But let those who talk of Fumbling for their Limbs, take care they don't find them too fast. In the Fourth Act Mustapha dates his Exaltation to Tumult, from the second Night of the Month Abib. Thus you have Id. p. 83. Exod, 12, 13. the Holy Text abused by Captain Tom; And the Bible torn by the Rabble! The Design of this Liberty I can't understand, unless it be to make Mustapha as consider­able as Moses; and the prevalence of a Tumult, as much a Miracle as the Delive­rance out of Aegypt. We have heard this Au­thor hitherto in his Characters, let us hear him now in his own Person. In his De­dication of Aurenge Zebe he is so hardy as [Page 67] to affirm that he who is too lightly recon­ciled after high Provocation, may Recom­mend himself to the World for a Christian, but I should hardly trust him for a Friend. And why is a Christian not fit to make a Friend of? Are the Principles of Chri­stianity defective, and the Laws of it Ill contriv'd? Are the Interests and Capacities of Mankind overlook'd? Did our Great Master bind us to Disadvantage, and make our Duty our Misfortune? And did he grudge us all the Pleasures and Securities of Friendship? Are not all these horrid Suppositions? Are they not a flat Contra­diction to the Bible, and a Satyr on the Attributes of the Deity? Our Saviour tells us we must forgive until Seventy times Seven; That is, we must never be tired out of Clemency and Good Nature. He has taught us to pray for the Forgiveness of our own Sins, only upon the Conditi­on of forgiving others. Here is no ex­ception upon the Repetition of the Fault, or the Quality of the Provocation. Mr. Dryden to do him right, do's not dispute the Precept. He confesses this is the way to be a Christian: But for all that he should hardly trust him for a Friend. And why so? Because the Italian Proverb says, He Ibid. that forgives the second time is a Fool. This Lewd Proverb comes in for Authority, [Page 68] and is a piece of very pertinent Blasphe­my! Thus in some Peoples Logick one proof from Atheisin, is worth Ten from the New Testament. But here the Poet ar­gues no better than he Believes. For most certainly, a Christian of all others is best qualifyed for Friendship. For He that loves his Neighbour as himself, and carries Be­nevolence and Good Nature beyond the Heights of Philosophy: He that is not govern'd by Vanity, or Design; He that prefers his Conscience to his Life, and has Courage to Maintain his Reason; He that is thus qualified must be a good Friend; And he that falls short, is no good Chri­stian. And since the Poet is pleas'd to find fault with Christianity, let us examine his own Scheme. Our Minds (says he) are perpetually wrought on by the Temperament of our Bodies, which makes me suspect they are nearer Allyed than either our Philosophers, or School Divines will allow them to be. The Ibid. meaning is, he suspects our Souls are no­thing but Organiz'd Matter. Or in plain English, our Souls are nothing but our Bo­dies. And then when the Body dies you may guess what becomes of them! Thus the Authorities of Religion are weaken'd, and the prospect of the other World almost shut up. And is this a likely Supposition for Sin­cerity and good Nature? Do's Honour [Page 69] use to rise upon the Ruines of Conscience? And are People the best Friends where they have the least Reason to be so? But not only the Inclinations to Friend­ship must Languish upon this Scheme, but the very Powers of it are as it were destroy'd. By this Systeme no Man can say his Soul is his own. He can't be assured the same Colours of Reason and Desire will last. Any little Accident from without may metamorphose his Fan­cy, and push him upon a new set of Thoughts. Matter and Motion are the most Humorsom Capricious Things in Na­ture; and withall, the most Arbitrary and uncontroll'd. And can Constancy proceed from Chance, Choice from Fate, and Vir­tue from Necessity? In short a Man at this rate must be a Friend or an Enemy in spite of his Teeth, and just as long as the Atoms please and no longer. Every Change in Figure and Impulse, must alter the Idea, and wear off the former Impres­sion. So that by these Principles, Friend­ship will depend on the Seasons, and we must look in the Weather Glass for our Inclinations. But this 'tis to Refine upon Revelation, and grow wiser than Wis­dom! The same Author in his Dedicati­on of Juvenal and Persius, has these words: My Lord, I am come to the last Petition of Ded. p. 51. [Page 70] Abraham; If there be ten Righteous Lines in this vast Preface, spare it for their sake; and also spare the next City because it is but a little one. Here the Poet stands for A­braham; and the Patron for God Almigh­ty: And where lies the Wit of all this? In the Decency of the Comparison? I doubt not. And for the next City he would have spared, he is out in the Allusion. 'Tis no Zoar, but much ra­ther Sodom and Gomorrah, Let them take care the Fire and Brimstone does not fol­low: And that those who are so bold with Abraham's Petition, are not forced to that of Dives. To beg Protection for a Lewd Book in Scripture Phrase, is ve­ry extraordinary! 'Tis in effect to Pro­stitute the Holy Rhetorick, and send the Bible to the Brothell! I can hardly ima­gin why these Tombs of Antiquity were raked in, and disturb'd? Unless it were to conjure up a departed Vice, and revive the Pagan Impurities: Unless it were to raise the Stench of the Vault, and Poy­son the Living with the Dead. Indeed Ju­venal has a very untoward way with him in some of his Satyrs. His Pen has such a Libertine stroak that 'tis a Question whether the Practise, or the Reproof, the Age, or the Author, were the more Licen­tious. He teaches those Vices he would [Page 71] correct, and writes more like a Pimp, than a Poet. And truly I think there is but little of Lewdness lost in the Tran­slation. The Sixth and Eleventh Satyrs are Particularly remarkable. Such nau­seous stuff is almost enough to debauch the Alphabet, and make the Language scandalous. One would almost be sorry for the privilege of Speech, and the In­vention of Letters, to see them thus wret­chedly abused. And since the Business must be undertaken, why was not the Thought Blanched, the Expression made remote, and the ill Features cast into shadows? I'm mistaken if we have not Lewdness enough of our own Growth, without Im­porting from our Neighbours. No. This can't be. An Author must have Right done him and be shown in his own shape, and Complexion. Yes by all means! Vice must be disrobed, and People poy­son'd, and all for the sake of Justice! To do Right to such an Author is to burn him. I hope Modesty is much better than Resemblance. The Imitation of an ill Thing is the worse for being exact: And sometimes to report a Fault is to repeat it.

To return to his Plays. In Love Tri­umphant, Garcia makes Veramond this Com­pliment:

What is meant by his Genius, in this place, is not easy to Discover, only that 'tis something which is a better Guard than Heaven. But 'tis no Matter for the Sense, as long as the Profaness is clear. In this Act, Colonel Sancho lets Carlos know the old Jew is dead, which he calls good news.

Carl.What Jew?

Sanch. Why the rich Jew my Father, He is gone to the Bosom, of Abraham his Father, and I his Christian Son am left sole Heir. Id. p. 11. A very mannerly Story! But why does the Poet acquaint us with Sanchos Religi­on? The case is pretty plain: 'tis to give a lustre to his Profaness, and make him burlesque St. Luke with the better Grace. Alphonso complains to Victoria that Na­ture doats with Age. His reason is, because Id p. 11. Brother and Sister can't Marry as they did at first: 'Tis very well! We know what Nature means in the Language of Christianity, and especially under the No­tion of a Law-giver. Alphonso goes on, and compares the Possession of Incestuous Love to Heaven. Yes, 'tis Eternity in Little. p. 34.

[Page 73] It seems Lovers must be distracted or there's no diversion. A Flight of Mad­ness like a Faulcons Lessening, makes them the more gaz'd at! I am now com­ing to some of the Poets Divinity. And here Vengeance is said to be so sweet a Morsel,

This belike is the meaning of those Texts, that God is good and Gracious, and slow to anger, and does not willingly afflict the Children of Men! From expounding the Bible he goes to the Common Prayer. And as Carlos interprets the Office of Matrimony, For Better; for Worse, is for Virgin for Whore; And that the Reference might not be p 62. mistaken, the Poet is careful to put the Words in Italick, and great Letters. And by the way, He falls under the Penalty of the Ist. Eliz. cap. 2. Statute for Depraving the Common Prayer.

Sancho upon reading a Letter which he did not like, cries Damn it, it must be all p. 63. Orthodox. Damn and Orthodox clapt toge­ther, make a lively Rant, because it looks like Cursing the Creed. The most extra­ordinary Passage is behind; Sancho was unhappily Married: Carlos tells him, For your Comfort, Marriage they say is Holy. San­cho replies: Ay, and so is Martyrdom as they say, but both of them are good for just nothing, but to make an end of a Mans Life. p. 72. [Page 74] I shall make no Reflections upon This: There needs no Reading upon a Mon­ster: 'Tis shown enough by its own Deformity. Love for Love has a Strain like this, and therefore I shall put them together: Scandal solicits Mrs. Foresight; She threatens to tell her Husband. He replys, He will die a Martyr rather then disclaim his Passion. Here we have Adul­tery Love for Love. p. 4 [...]. dignified with the stile of Martyr­dom: As if 'twas as Honourable to perish in Defence of Whoring, as to dye for the Faith of Christianity. But these Martyrs will be a great while in burning, And therefore let no body strive to grace the Adventure, or encrease the Number. And now I am in this Play the Reader shall have more. Jeremy who was bred at the University, calls the Natural Inclinations to Eating and Drinking, Whoreson Appe­tites. This is strange Language! The Manicheans who made Creation the work of the Devil, could scarcely have been thus Coarse. But the Poet was Jeremy's Tutor, 26. and so that Mystery is at an end. Sr. Samson carries on the Expostulation, rails at the Structure of Human Bodies, and says, Nature has been Provident only to p. 27. Bears, and Spiders; This is the Authors Paraphrase on the 139 Psalm; And thus he gives God thanks for the Advantage [Page 75] of his Being! The Play advances from one wickedness to another, from the Works of God, to the Abuse of his Word. Foresight confesses 'tis Natural for Men to mistake. Scandal replies, You say true, Man p. 47. will err, meer Man will err—but you are something more—There have been wise Men; but they were such as you—Men who consulted the Stars, and were observers of Omens—Solomon was wise but how?—by his Judgment in Astrology. 'Tis very well! Solomon and Foresight had their Understandings qualified alike. And pray what was Foresight? Why an Illiterate Fellow. A pretender to Dreams, Astrology, Palmistry &c. This is the Poets account Vid. Per­son. Dram. of Solomon's Supernatural Knowledge! Thus the wisest Prince is dwindled into a Gypsie! And the Glorious Miracle re­solved into Dotage, and Figure-flinging! Scandal continues his Banter, and says, the wise Men of the East owed their Instruction to a Star; which is rightly observ'd by Gre­gory the Great in favour of Astrology. This was the Star which shone at our Saviour's Birth. Now who could imagine by the Levity of the occasion, that the Author thought it any better than an Ignis Fa­tuus, or Sydrophel's Kite in Hudibras? Sr. Sampson and the fine Angelica, after some lewd raillery continue the Allegory, and [Page 76] drive it up into Profaness. For this rea­son the Citation must be imperfect.

Sr. Samps. Sampson's a very good Name for—your Sampsons were strong Dogs from the Beginning.

Angel.Have a care—If you remem­ber p. 80. the strongest Sampson of your Name, pull'd an old House over his Head at last. Here you have the Sacred History burlesqu'd, and Sampson once more brought into the House of Dagon, to make sport for the Philistines! To draw towards an end of this Play. Tattle would have carried off Valentine's Mistress. This later, expres­ses his Resentment in a most Divine man­ner! Tattle I thank you, you would have in­terposed between me and Heaven, but Provi­dence has laid Purgatory in your way. Thus Heaven is debas'd into an Amour, p. 91. and Providence brought in to direct the Paultry concerns of the Stage! Angelica concludes much in the same strain. Men are generally Hypocrites and Infidels, they pre­tend to Worship, but have neither Zeal, nor Faith; How few like Valentine would per­severe unto Martyrdom? &c. Here you have the Language of the Scriptures, and p. 92. 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, [Page 77] and Worship'd up to Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady to say of her self. And had it not been for the profane Allusion, would have been cold enough in all Con­science.

The Provok'd Wife furnishes the Au­dience with a Drunken Atheistical Catch: 'Tis true this Song is afterwards said to be Full of Sin and Impudence. But why Prov. Wife p. 38. then was it made? This Confession is a miserable Salvo; And the Antidote is much weaker than the Poyson: 'Tis just as if a Man should set a House in a Flame, and think to make amends by crying Fire in the Streets. In the last Act Rasor makes his Discovery of the Plot against Belinda in Scripture phrase. I'le give it the Rea­der in the Authors Dialogue.

Belind.I must know who put you upon Id. p. 77. all this Mischief.

Rasor.Sathan and his Equipage. Wo­man tempted me, Lust weaken'd,—And so the Devil overcame me: As fell Adam so fell I.

Belind.Then pray Mr. Adam will you make us acquainted with your Eve?

Rasor unmasks Madamoselle and says,This is the Woman that tempted me: But this is the Serpent (meaning Lady Fanciful) [Page 78] that tempted the Woman; And if my Prayers might be heard, her punishment for so doing should be like the Serpents of old, &c. This Rasor in what we hear of him before, is all Roguery, and Debauch: But now he en­ters in Sackcloth, and talks like Tribulation in the Alchemist. His Character is chang'd to make him the more profane; And his Habit, as well as Discourse, is a Jest upon Religion. I am forced to omit one Line of his Confession. The Design of it is to make the Bible deliver an obscene Thought: And because the Text would not bend into a Lewd Application; He alters the words for his purpose, but pas­ses it for Scripture still. This sort of Entertainment is frequent in the Relapse. Lord Foplington laughs at the publick So­lemnities of Religion, as if 'twas a ridi­culous piece of Ignorance, to pretend to the Worship of a God. He discourses with Berinthia and Amanda in this man­ner: Why Faith Madam,—Sunday is a vile Day, I must confess. A man must have Relapse. p. 32, 33. very little to do at Church that can give an account of the Sermon. And a little af­ter: To Mind the Prayers or the Sermon, is to mind what one should not do. Lory tells young Fashion, I have been in a la­mentable Fright ever since that Conscience had the Impudence to intrude into your Company. [Page 79] His Master makes him this Comfortable Answer. Be at peace, it will come no more:—I have kick'd it down stairs. A little before he breaks out into this Rapture. Now Conscience I defie thee! By the way p. 44, 45. we may observe, that this young Fashion is the Poets Favorite. Berinthia and Wor­thy, Vid. I fra. two Characters of Figure, determine the point thus in defence of Pimping.

Berinth.Well, I would be glad to have no Bodies Sins to answer for but my own. But p. 51. where there is a necessity—

Worth.Right as you say, where there is a Necessity; a Christian is bound to help his Neighbour.

Nurse, after a great deal of ProfaneStuff concludes her expostulation in these words: But his Worship (Young Fashion) over-flows with his Mercy and his Bounty; He is not only pleas'd to forgive us our Sins—but which is more than all, has prevail'd with me p. 96, 97. to become the Wife of thy Bosom: This is very heavy, and ill dress'd. And an A­theist must be sharp set to relish it. The Vertuous Amanda makes no scruple to charge the Bible with untruths.

[Page 80] Thus this Lady abuses her self, to­gether with the Scripture, and shews her Sense, and her Religion, to be much of a Size.

Berinthia, after she has given in a Scheme for the debauching Amanda, is thus ac­costed by Worthy: Thou Angel of Light, let me fall down and adore thee! A most Seraphick Compliment to a Procuress! p. 91. And 'tis possible some Angel or other, may thank him for't in due time.

I am quite tired with these wretched Sentences. The sight indeed is horrible, and I am almost unwilling to shew it. However they shall be Produced like Ma­lefactors, not for Pomp, but Execution. Snakes and Vipers, must sometimes be look'd on, to destroy them. I can't for­bear expressing my self with some warmth under these Provocations. What Christi­an can be unconcern'd at such intolerable Abuses? What can be a juster Reason for indignation than Insolence and A­theism? Resentment can never be better shown, nor Aversion more seasonably ex­ecuted! Nature made the Ferment and Rising of the Blood, for such occasions as This. On what unhappy Times are we fallen! The Oracles of Truth, the Laws of Omnipotence, and the Fate of Eternity are Laught at and despis'd! That the Poets [Page 81] should be suffer'd to play upon the Bible, and Christianity be Hooted off the Stage! Christianity that from such feeble begin­ings made so stupendious a progress! That over-bore all the Oppositions of Po­wer, and Learning; and with Twelve poor Men, outstretch'd the Roman Empire. That this glorious Religion so reasonable in its Doctrine, so well attested by Mira­cles, by Martyrs, by all the Evidence that Fact is capable of, should become the Di­version of the Town, and the Scorn of Buf­foons! And where, and by whom is all this Out-rage committed? why not by Julian, or Porphirie, not among Turks or Heathens, but in a Christian Country, in a Reform'd Church, and in the Face of Authority! Well! I perceive the Devil was a Saint in his Oracles, to what he is in his Plays. His Blasphemies are as much improv'd as his Stile, and one would think the Muse was Legion! I suppose the Reader may be sa­tisfied already: But if he desires farther proof, there's something more flamingly impious behind.

The Christian Almeida when Sebastian was in danger, Raves and Foames like one Possess'd,

In the next page, she bellows again much after the same manner. The Double Dea­ler to say the least of him, follows his Master in this Road, Passibus aequis. Sr. Paul Plyant one would think had done his part: But the ridiculing Providence won't satisfie all People: And therefore the next attempt is somewhat bolder.

Sr. Paul.Hold your self contented my Double Dealer. p. 19. Lady Plyant,—I find Passion coming upon me by Inspiration. In Love Triumphant, Carlos is by the Constitution of the Play p. 17. a Christian; and therefore must be con­strued in the sense of his Religion. This Man blunders out this horrible expression. Nature has given me my Portion in Sense with a P——to her. &c. The Reader may see the Hellish Syllable at Length if he pleases. This Curse is borrow'd for Young Fashion in the Relapse. The Dou­ble Dealer is not yet exhausted. Cynthia p. 44. the Top Lady grows Thoughtful. Upon the question she relates her Contemplation. Cynth. I am thinking (says she) that tho' Double Dealer. p. 18. Marriage makes Man and Wife one Flesh, it leaves them two Fools. This Jest is made upon a Text in Genesis, and afterwards Gen. 2. St. Math. 9. applyed by our Saviour to the case of Di­vorse. [Page 83] Love for Love will give us a far­ther account of this Authors Proficiency in the Scriptures. Our Blessed Saviour af­firms himself to be the Way, the Truth, and the Light, that he came to bear witness to the Truth, and that his Word is Truth. These expressions were remembred to good purpose. For Valentine in his pre­tended Madness tells Buckram the Law­yer; I am Truth,—I am Truth.—­Who's that, that's out of his way, I am Truth, Love, &c. p. 59. 61. and can set him right. Now a Poet that had not been smitten with the pleasure of Blasphemy, would never have furnish'd Frensy with Inspiration; nor put our Sa­viours Words in the Mouth of a Mad­man. Lady Brute, after some struggle between Conscience and Lewdness, de­clares in Favour of the later. She says the part of a downright Wife is to Cuckold her Husband. And tho' this is against the Provok'd Wife. strict Statute Law of Religion, yet if there p. 3. was a Court of Chancery in Heaven, she p. 4. should be sure to cast him.

This Brass is double guilt. First, It supposes no Equity in Heaven. And Second­ly, If there was, Adultery would not be pu­nish'd! The Poet afterwards acquaints us by this Lady, that Blasphemy is no Wo­mans Sin. Why then does she fall into p. 65. it? Why in the mid'st of Temper and [Page 84] Reasoning? What makes him break in upon his own Rules? Is Blasphemy never unseasonable upon the Stage, And does it always bring its excuse along with it? The Relapse goes on in the same strain. When Young Fashion had a prospect of cheating his Elder Brother, he tells Lory, Providence thou see'st at last takes care of Men of Merit. Berinthia who has engag'd Relapse. p. 19. to corrupt Amanda for Worthy; attacks her with this Speech, Mr. Worthy used you like a Text, he took you all to peices, and p. 96. it seems was particular in her Commen­dation, Thus she runs on for several Lines, in a Lewd, and Profane Allegory. In the Application she speaks out the De­sign, and concludes with this pious Ex­hortation! Now consider what has been said, and Heaven give you Grace to put it in pra­ctise; that is to play the Whore. There are few of these last Quotations, but what are plain Blasphemy, and within the Law. They look reeking as it were from Pandaemonium, and almost smell of Fire and Brimstone. This is an Eruption of Hell with a witness! I almost wonder the smoak of it has not darken'd the Sun, and turn'd the Air to Plague and Poyson! These are outrageous Provocations; E­nough to arm all Nature in Revenge; To exhaust the Judgments, of Heaven, [Page 85] and sink the Island in the Sea! What a spite have these Men to the God that made them. How do They Rebell upon his Bounty, and attack him with his own Reason? These Giants in Wickedness, how would they ravage with a Stature Proportionable? They that can Swagger in Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had Strength to their Good-Will? And what can be the Ground of this Confidence, and the Reason of such horrid Presumption? Why the Scripture will best satisfie the que­stion. Because sentence against an Evil work is not excuted speedily, therefore the heart Eccles. 8. 11. of the Sons of Men, is fully set in them to do Evil.

Clemency is weakness with some Peo­ple; And the Goodness of God which should lead them to Repentance, does but harden them the more. They conclude he wants Power to punish, because he has patience to forbear. Because there is a Space be­tween Blasphemy and Vengeance; and they don't perish in the Act of Defiance; Because they are not blasted with Light­ning, transfixt with Thunder, and Guard­ed off with Devils, they think there's no such matter as a day of Reckoning. But let no Man be Deceiv'd, God is not mock'd; Gal. 6. not without danger they may be assur'd. Let them retreat in time, before the Floods [Page 86] run over them: Before they come to that place, where Madness will have no Mu­sick, nor Blasphemy any Diversion.

And here it may not be amiss to look a little into the Behaviour of the Hea­thens. Now 'tis no wonder to find them run riot upon this Subject. The Cha­racters of their Gods were not unblemish'd. Their prospect of the other World, was but dim; neither were they under the Terrors of Revelation. However, they are few of them so bad as the Moderns.

Terence does not run often upon this rock. 'Tis true Chaerea falls into an ill Eunuch. Rapture after his Success. Chremes bids his Wife not tire the Gods with Thanks: Heautell. A. 5. 1. Adelp. A. 5. 7. And Aeschinus is quite sick of the Religious part of the Weding. These Instances; excep­ting his Swearing, are the most, (and I think near all the) exceptionable Passages of this Author.

Plautus is much more bold. But then his sally's are generally made by Slaves and Pandars.

This makes the Example less dange­rous, and is some sort of extenuation. I grant this imperfect excuse wont serve Lyconides. Aulu [...]. A. 2. 4. Palaestra. Rud. A. 1. 3. [...]. obus. Trucul. A. 2. 4. him always. There are some Instances where his Persons of better Figure are are guilty of lewd Defences, Profane Flights, and Sawcy Expostulation. But the Roman Deities were Beings of ill Fame, [Page 87] 'tis the less wonder therefore if the Poets were familiar with them. However, Plautus has something good in him, and enough to condemn the Practise. Pleusides would gladly have had the Gods changed the method of Things, in some Particulars. He would have had frank good Humour'd People long live'd, and close-fisted Knaves die Young. To this Periplectimenes Gravely answers, That 'tis great Ignorance, and Misbehaviour Mil. Glor. to Censure the Conduct of the Gods, or speak dishonorably of them. In his Pseudolus the Procurer Ballio talks Profanely. Upon which Pseudolus makes this Reflection. This Fellow makes nothing of Religion, how can we trust him in other matters? For the Gods whom all People have the greatest rea­son to fear, are most slighted by him. Pseud. A. 1. 3.

The Greek Tragedians are more staunch, and write nearer the Scheme of Natural Religion. 'Tis true, they have somebold expressions: But then they generally re­prove the Liberty, and punish the Men. Prometheus in Aeschylus blusters with a great deal of Noise, and Stubborness. He Prom. vinct. 57. is not for changing Conditions with Mer­cury: And chuses rather to be miserable, than to submit even to Jupiter himself. The Chorus rebuke him for his Pride, and threaten him with greater Punishment. And the Poet to make all sure brings him [Page 88] to Execution before the end of the Play. He discharges Thunder and Lightning at his Head; shakes his Rock with an Earth­quake, turns the Air into Whirl-wind, and draws up all the Terrors of Nature to make him an example. In his Expedi­tion against Thebes, Eteocles expects Ca­paneus would be destroy'd for his Blas­phemies. Which happen'd accordingly. p. 92. On the other hand; Amphiaraus being a person of Virtue, and Piety, they are afraid least he should succeed. For a Religious Enemy is almost invincible. Darius's Ghost p. 101. lays Xerxes's ruin upon the excess of his Ambition. 'Twas, because he made a Bridge over the Hellespont, used Neptune contume­liously, and thought himself Superiour to Hea­ven. This Ghost tells the Chorus that the [...]. 161. Persian Army miscarried for the out-rages they did to Religion, for breaking down the Altars, and plundering the Gods. 164.

Ajax's Distraction is represented as ju­dicial in Sophocles. 'Twas inflicted for his Pride and Atheism. ‘When his Fa­ther Ajax. plagell. bid him be brave but Religious withall, he haughtily replyed that 'twas for Cowards to beg the Assistance of the Gods; as for his part, he hoped to Con­quer without them. And when Miner­va encouraged him to charge the Ene­my.’

‘He made her this Lewd and insuffer­able Answer. Pray withdraw, and give your Countenance elswhere, I want no Goddesses to help me do my Business. This Insolence made Minerva hate him; and was the cause of his Madness and self Murther.’ To proceed. The Cho­rus condemns the Liberty of Jocasta, who obliquely charged a Practise upon the Ora­cle: Oedip. Tyran. p. 187. Tho' after all, she did not tax Apollo, but his Ministers.

The same Chorus recommends Piety, and Relyance upon the Gods, and threatens Pride and Irreligion with Destruction. In Antigone, Tiresias advises Creon to wave p. 188. the Rigour of his Edict, And not let the Body of Polynices lie unburied, and ex­pos'd. He tells him the Altars were al­ready polluted with Humane Flesh. This had made the Language of the Birds un­intelligible, Antig. p. 256. and confounded the marks of Augury. Creon replies in a rage, and says he would not consent to the Burial of Polynices: No, tho' 'twere to prevent the Eagle's throwing part of the Carkass in Jove's Chair of State. This was a bold Flight; but 'tis not long before he pays for't. Soon after, his Son, and Queen, kill [Page 90] themselves. And in the close the Poet who speaks in the Chorus, explains the Misfortune, and points upon the Cause, and affirms that Creon was punish'd for his Haughtiness and Impiety. To go on to his Trachiniae. Hercules in all the ex­tremity of his Torture does not fall foul upon Religion. 'Tis true, He shows as much Impatience as 'tis possible. His Person, his pain, and the Occasion of it, were very extraordinary. These circum­stances make it somewhat natural for him to complain above the common rate. The Greatness of his Spirit, the Feavour of his Blood, and the Rage of his Passion, could hardly fail of putting Force, and and Vehemence into his Expressions. Tho' to deal clearly he seems better furnish'd with Rhetorick, than true Fortitude. But after all, his Disorders are not altogether [...]. ungovern'd. He is uneasy, but not impi­ous, and profane.

I grant Hercules Oeteus in Seneca, swag­gers at a strange Rhodomontading rate. But the Conduct of this Author is very in­different. He makes a meer Salamander of his Hero, and lets him declaim with too much of Length, Curiosity and Affe­ctation, for one in his Condition: He ha­rangues it with great plenty of Points, and Sentences in the Fire, and lies frying, and [Page 91] Philosophizing for near a hundred Lines together. In fine, this Play is so injudi­ciously manag'd, that Heinsius is confi­dent 'twas written by neither of the Se­neca's, but by some later Author of a lower Class. To return to Sophocle's Trachiniae. Hyllus reproaches the Gods with Neglect, because they gave Hercules no Assistance, and glances upon Jupiter himself. This Trach. p. 375. sally is not so throughly corrected as for­merly. 'Tis true the Chorus make some little satisfaction immediately after. They resolve all surprizes of Misfortune, all Re­volutions of States or Families, into the will and Permission of Jupitur. This by implication, They make an argument for acquiescence. Besides, the Poet had laid in a sort of caution against Misconstructi­on before. For the Messenger tells De­janeira that we ought not to Murmur at Trach. p. 340. the Conduct of Jupiter.

This for a Heathen is something tho' not enough, Cleomenes's Rant seems an im­itation of Hyllus, Only 'tis bolder, and has nothing of the rashness of Youth to Cleom. p. 54. excuse it. Besides Sophocles throws in somewhat by way of Preservative.

[Page 92] Whereas in Cleomenes the Boy Cleonidas has the better on the wrong side, and seems to carry the cause of Atheism a­gainst his Father. This Scene of a Famine Id. p. 55. Mr. Dryden calls a Beauty; and yet Me­thinks Cleora is not very Charming! Her part is to tell you the Child suck'd to no purpose.

There's a Description of Sucking for you! And truly one would think the Muse on't were scarsely wean'd. This Lady's fancy is just Slip-Stocking-high; and she seems to want Sense, more than her Breakfast. If this Passage would not shine, the Poet should have let it alone. 'Tis Horace's advice.

The greatest part of the Life of this Scene is spent in impious Rants, and Athei­stical Disputes. To do the Author right, his Characters never want Spirits for such Service, either full or Fasting. Some peo­ple [Page 93] love to say the worst Things in the best manner; To perfume their Poysons, and give an Air to Deformity.

There is one ill Sentence in Sophocles behind. Philoctetes calls the Gods [...], Philoet. 402. and Libells their Administration. 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, and declares 419. his Assurance that the Gods will do Ju­stice, and prays frequently to them. The Conclusion of this Play is remarkably Moral. Here Hercules appears in Ma­chine; aquaints Philoctetes with his own glorious Condition; That his Happiness was the Reward of Virtue, and the Pur­chase of Merit. He charges him to pay a due regard to Religion; For Piety would recommend him to Jupiter more than any other Qualification. It went into the o­ther World with People and they found their Account in't both Living and Dead. p. 431.

Upon the whole; The Plays of Aeschy­lus and Sophocles are formed upon Models of Virtue: They joyn Innocence with [Page 94] Pleasure, and design the Improvement, of the Audience.

In Euripides's Bacchae, Pentheus is pull'd in pieces for using Bacchus with Disrespect. And the Chorus observes that God never fails to punish Impiety, and Contempt Act. 2. of Religion. Polyphemus blusters Atheisti­cally, and pretends to be as great as Ju­piter: But then his Eye is burnt out in the fifth Act. And the Chorus in Hera­clidae affirm it next to Madness not to p. 295. worship the Gods. I grant he has some profane Passages stand uncorrected, and what wonder is it to see a Pagan Miscar­ry? Seneca, as he was inferiour in Judg­ment to the Greeks, so he is more frequent, and uncautious, in his Flights of extrava­gance. His Hero's and Heroines, are ex­cessively bold with the Superior Beings. They rave to Distraction, and he does not often call them to an account for't. 'Tis true Ajax Oileus is made an Example for Blaspheming in a Storm. He is first struck with Thunder, and then carried to Agam. Act. 3. the Bottom: The Modern Poets, proceed upon the Liberties of Seneca, Their Mad­men are very seldom reckon'd wirh. They are profane without Censure, and defie the Living God with success. Nay, in some respect they exceed even Seneca him­self. He slies out only under Impatience; And never falls into these Fits without [Page 95] Torture, and hard Usage. But the Eng­lish Stage are unprovok'd in their Irreli­gion, and Blaspheme for their Pleasure. But supposing the Theatres of Rome, and Athens as bad as possible, what Defence is all This? Can we argue from Heathen­ism to Christianity? How can the pra­ctise be the same, where the Rule is so very different? Have we not a clearer Light to direct us, and greater Punish­ments to make us afraid. Is there no Di­stinction between Truth and Fiction, be­tween Majesty and a Pageant? Must God be treated like an Idol, and the Scriptures banter'd like Homers Elysium, and Hesiods Theogonia? Are these the Returns we make Him for his Supernatural Assistance? For the more perfect Discovery of Him­self, the stooping of his Greatness, and the Wonders of his Love. Can't we refuse the Happiness without affronting the Of­fer? Must we add Contempt to Disobe­dience, and Out-rage to Ingratitude? Is there no Diversion without Insulting the God that made us, the Goodness that would save us, and the Power that can damn us? Let us not flatter our selves, Words won't go for Nothing. Profaness is a most Provoking Contempt, and a Crime of the deepest dye. To break through the Laws of a Kingdom is bad [Page 96] enough; But to make Ballads upon the Statute-Book, and a Jest of Authority, is much worse. Atheists may fancy what they please, but God will Arise and Main­tain his own Cause, and Vindicate his Ho­nour in due time.

To conclude. Profaness tho' never so well corrected is not to be endured. It ought to be Banish'd without Proviso, or Limitation. No pretence of Character or Punishment, can excuse it; or any Stage-Discipline make it tolerable. 'Tis grating to Christian Ears, dishonourable to the Majesty of God, and dangerous in the Example. And in a Word, It tends to no point, unless it be to wear off the horrour of the Practise, to weaken the force of Conscience, and teach the Lan­guage of the Damn'd.

THE Satyr of the Stage upon the Clergy is extreamly Particular. In other cases, They level at a single Mark, and confine themselves to Persons. But here their Buffoonry takes an unusual Com­pass; They shoot Chain'd-shot, and strike at Universals. They play upon the Cha­racter, and endeavour to expose not only the Men, but the Business. 'Tis true, the Clergy are no small Rub in the Poets way. 'Tis by their Ministrations that Religion is perpetuated, the other World Refresh'd, and the Interest of Virtue kept up. Vice will never have an unlimited Range, nor Conscience be totally subdued, as long as People are so easy as to be Priest-ridden! As long as these Men are look'd on as the Messengers of Heaven, and the Supports of Government, and enjoy their old Pre­tentions in Credit and Authority; as long as this Grievance continues, the Stage must decline of Course, and Atheism give Ground, and Lewdness lie under Censure, [Page 98] and Discouragment. Therefore that Li­berty may not be embarrass'd, nor Princi­ples make Head against Pleasure, the Cler­gy must be attack'd, and rendred Ridicu­lous.

To represent a Person fairly and with­out disservice to his Reputation, two Things are to be observ'd. First He must not be ill used by others: Nor Secondly be made to Play the Fool Himself. This latter way of Abuse is rather the worst, because here a Man is a sort of Felo de se; and appears Ridiculous by his own fault. The Contradiction of both these Me­thods is practised by the Stage. To make sure work on't, they leave no stone un­turn'd, The whole Common place of Rude­ness is run through. They strain their Invention and their Malice: And over­look nothing in ill Nature, or ill Manners, to gain their point.

To give some Instances of their Civili­ty! In the Spanish Fryer, Dominick is made a Pimp for Lorenzo; He is call'd a parcel of Holy Guts and Garbage, and said to [...] 20. have room in his Belly for his Church steeple.

Dominick has a great many of these Compliments bestow'd upon him. And to make the Railing more effectual, you have a general stroke or two upon the Pro­fession. Would you know what are the [Page 99] Infiallible Church Remedies. Why 'tis to Lie Impudently, and Swear Devoutly. A p. 37. little before this Dominick Counterfits him­self sick, retires, and leaves Lorenzo and Elvira together; And then the Remark upon the Intrigue follows. ‘You see Madam (says Lorenzo) 'tis Interest go­verns p. 23. all the World. He Preaches against Sin, why? Because he gets by't: He holds his Tongue; why? because so much more is bidden for his Silence. 'Tis but giving a Man his Price, and Principles of Church are bought off as easily as they are in State: No man will be a Rogue for nothing; but Compensation must be made, so much Gold for so much Honesty; and then a Church-man will break the Rules of Chess. For the Black Bishop, will skip into the White, and the White into the Black, without Con­sidering whether the remove be Law­ful.’

At last Dominick is discover'd to the Company, makes a dishonourable Exit, and is push'd off the Stage by the Rabble. This is great Justice! The Poet takes care to make him first a Knave, and then an Exam­ple: But his hand is not even. For Lewd Lorenzo comes off with Flying Colours. 'Tis not the Fault which is corrected but [Page 100] the Priest. The Authors Discipline is sel­dom without a Biass. He commonly gives the Laity the Pleasure of an ill Action, and the Clergy the Punishment.

To proceed. Horner in his general Re­marks upon Men, delivers it as a sort of Maxim, that your Church-man is the grea­test Atheist. In this Play Harcourt puts on Country Wife p. 6. the Habit of a Divine. Alithea does not think him what he appears; but Sparkish who could not see so far, endeavours to divert her Suspicion. I tell you (says he) this is Ned Harcourt of Cambridge, you see he has a sneaking Colledge look. Afterwards his Character is sufficiently abused by p. 35. Sparkish and Lucy; but not so much as by Himself. He tells you in an Aside he must Ibid. suit his Stile to his Coat. Upon this wise Recollection, He talks like a servile, im­pertinent Fop,

In the Orphan, The Young Soldier Chamont calls the Chaplain Sr. Gravity, and treats him with the Language of Thee, and Thou. The Chaplain instead of re­turning the Contempt; Flatters Chamont in his Folly, and pays a Respect to his Pride. The Cavalier encouraged I sup­pose by this Sneaking, proceeds to all the Excesses of Rudeness,

After a little Pause for Breath, the Rai­ling improves.

The Bottom of the Page is down-right Porters Rhetorick.

The Old Batchelour has a Throw at the Dissenting Ministers. The Pimp Setter pro­vides [Page 102] their Habit for Bellmour to Debauch Laetitia. The Dialogue runs thus.

Bell.And hast thou Provided Necessaries? Setter. All, all Sir, the large Sanctified Hat, and the little precise Band, with a Swingeing long Spiritual Cloak, to cover Carnal Kna­very,—not forgetting the black Patch which Tribulation Spintext wears as I'm inform'd upon one Eye, as a penal Mourning for the Old Batch. p. 19. 20.—Offences of his Youth &c.

Barnaby calls another of that Character Mr. Prig, and Fondlewife carrys on the Humour lewdly in Play-house Cant; And to hook the Church of England into the Abuse, he tacks a Chaplain to the End of the Description.

Lucy gives an other Proof of the Poets p. 27. good Will, but all little Scurilities are not p. 41. worth repeating.

In the Double Dealer the discourse be­tween Maskwell and Saygrace is very no­table. Maskwell had a design to cheat Mel­lifont of his Mistress, and engages the Cha­plain in the Intrigue: There must be a Levite in the case; For without one of them have a singer in't, no Plot publick, or pri­vate, can expect to prosper.

To go on in the order of the Play. p. 71.

Maskwell calls out at Sagraces door, Mr. Saygrace Mr. Saygrace.

The other answers, Sweet sir I will but [Page 103] pen the last line of an Acrostick, and be with you in the twingling of an Ejaculation, in the pronouncing of an Amen. &c.

Mask.Nay good Mr. Saygrace do not prolong the time, &c.

Saygrace.You shall prevail, I would break off in the middle of a Sermon to do you Pleasure.

Mask.You could not do me a greater—­except—the business inhand—have you provided a Habit for Mellifont?

Saygr.I have, &c.

Mask.have you stich'd the Gownsleeve, that he may be puzled and wast time in putting it on?

Saygr.I have; the Gown will not be in­dued without Perplexity. There is a little more profane, and abusive stuff behind, but let that pass.

The Author of Don Sebastian strikes at the Bishops through the sides of the Mufti, and borrows the Name of the Turk, to make the Christian ridiculous. He knows the transition from one Religion to the other is natural, the Application ea­sy, and the Audience but too well prepar'd. And should they be at a loss he has else­where given them a Key to understand him.

[Page 104] However that the Sense may be per­fectly intelligible, he makes the Invective General, changes the Language, and rails in the stile of Christendom.

Benducar speaks,

So much the better, for 'tis a sign they are not beaten to the Trade. The next Lines are an Illustration taken from a Tay­lor.

This Benducar was a rare Spokesman for a first Minister; And would have fit­ted John of Leyden most exactly!

In the Fourth Act the Mufti is Depos'd and Captain Tom reads him a shrewd Lec­ture at parting. But let that pass.

To go on, Mustapha threatens his great Patriark to put him to the Rack. Now you shall hear what an answer of Fortitude and Discretion is made for the Mufti.

Mufti.I hope you will not be so barbarous to torture me. We may Preach Suffering to others, but alass holy Flesh is too well pamper'd [Page 105] to endure Martyrdom. By the way, if flin­ching p. 96. from Suffering is a proof of Holy Flesh, the Poet is much a Saint in his Con­stitution, witness his Dedication of King Arthun.

In Cleomenes, Cassandra rails against Re­ligion at the Altar, and in the midst of a publick Solemnity.

She goes on in a mighty Huff, and charges the Gods and Priesthood with Confederacy, and Imposture. This Rant is very unlikely at Alexandria. No Peo­ple are more bigotted in their Superstiti­on than the Aegyptians; Nor any more resenting of such an Affront. This Satyr then must be strangely out of Fashion, and probability. No matter for that; it may work by way of Inference, and be ser­viceable at Home. And 'tis a handsom Compliment to Libertines and Atheists.

We have much such another swagge­ring against Priests in Oedipus.

And since They are thus Lively, I have one word or two to say to the Play.

When Aegeon brought the News of King Polybus's Death, Oedipus was won­derfully surpriz'd at the Relation.

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

And which is more, Oedipus must be ac­quainted with his Age, having spent the greatest part of his time with him at Co­rinth. So that in short, the pith of the Story lies in this Circumstance. A Prince of Ninety years was dead, and one who was wondred at for dying no sooner. And now why so much Exclamation upon this occasion? Why must all the Powers in Being be Summon'd in to make the News [Page 107] Credible? This Posse of Interjections would have been more seasonably raised if the Man had been alive; for that by the Poets Confession had been much the stranger Thing. However Oedipus is almost out of his Wits about the Matter, and is Ur­gent for an account of Particulars.

This is an empty ill proportion'd Rant, and without warrant in Nature or Anti­quity. Sophocles does not represent Oedi­pus in such Raptures of Extravagant sur­prize. In the next page there's another Flight about Polybus his Death somewhat like This. It begins with a Noverint Uni­versi. You would think Oedipus was go­ing to make a Bond.

This is scarce Sence, be it known.

This Fustian puts me in mind of a Cou­plet of Taylors the Water Poet, which for [Page 108] the Beauty of the Thought are not very unlike.

I grant Mr. Dryden clears himself of this Act in his Vindication of the Duke of Guise. But then why did he let these crude Fancies pass uncorrected in his Friend? Such fluttering ungovern'd Tran­sports, are fitter for a Boys Declamation then a Tragedy. But I shall trouble my self no farther with this Play. To return therefore to the Argument in Hand. In the Provok'd Wife Sir John Brute puts on the Habit of a Clergyman, counterfeits himself drunk; quarrels with the Constable, and is knock'd down and seiz'd. He rails, swears, curses, is lewd and profane, to all the Heights of Madness and Debauchery: The Officers and Justice break jests upon Provok'd Wife. p. 45, 46, 51, 52. him, and make him a sort of Representa­tive of his Order.

This is rare Protestant Diversion, and very much for the Credit of the Reforma­tion! The Church of England, I mean the Men of Her, is the only Communion in the World, that will endure such Inso­lences as these: The Relapse is if possible more singularly abusive. Bull the Chaplain [Page 109] wishes the Married couple joy, in Lan­guage Relapse. p. 74. horribly Smutty and Profane. To transcribe it would blot the Paper to much. In the next Page Young Fashion desires Bull to make hast to Sr. Tun-belly. He answers very decently, I fly my good Lord. p. 75. At the end of this Act Bull speaks to the Case of Bigamy, and determines it thus. I do confess to take two Husbands for the Satis­faction of—is to commit the Sin of Exorbi­tancy, but to do it for the peace of the Spirit, is no more then to be Drunk by way of Phy­sick; besides to prevent a Parents wrath is to avoid the Sin of Disobedience, for when the Parent is Angry, the Child is froward: The Conclusion is insolently Profane, and let it lie: The spirit of this Thought is borrow'd from Ben Johnsons Bartholomew-Fair, only the Profaness is mightily im­proved, and the Abuse thrown off the Meeting House, upon the Church. The Wit of the Parents being angry, and the Child froward, is all his own. Bull has p. 86. more of this Heavy stuff upon his Hands. He tells Young Fashion Your Worships good­ness is unspeakable, yet there is one thing seems a point of Conscience; And Conscience is a tender Babe. &c. p. 97.

These Poets I observe when They grow lazy, and are inclined to Nonsence, they commonly get a Clergy-man to speak it. [Page 110] Thus they pass their own Dulness for Humour, and gratifie their Ease, and their Malice at once. Coupler instructs Young Fashion which way Bull was to be mana­ged. He tells him as Chaplains go now, he must be brib'd high, he wants Money, Pre­ferment, Wine, and a Whore. Let this be procur­ed for him, and I'll warrant thee he speaks Truth like an Oracle. 89.

A few Lines forward, the Rudeness is still more gross, and dash'd with Smut, the common Play-house Ingredient. 'Tis not long before Coupler falls into his old Civilities. He tells Young Fashion, Last Night the Devil run away with the Parson of Fatgoose Living. Afterwards Bull is plen­tifully p. 94. rail'd on in down right Bil­lings-gate: made to appear Silly, Servile, and Profane; and treated both in Posture and Language, with the utmost Con­tempt. p. 95, 97. 105.

I could cite more Plays to this purpose; But these are sufficient to show the Tem­per of the Stage,

Thus we see how hearty these People are in their Ill Will! How they attack Religion under every Form, and pursue the Priesthood through all the Subdivi­sions of Opinion. Neither Jews nor Hea­thens, Turks nor Christians, Rome nor Geneva, Church nor Conventicle, can e­scape [Page 111] 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 Execution. The Abuse is often both gross and clumsey, and the Wit as wretched as the Manners. Nay Talking won't always satisfy them. They must ridicule the Habit as well as the Function, of the Clergy. 'Tis not enough for them to play the Fool unless they do it in Pontificalibus. The Farce must be play'd in a Religious Figure, and under the Distinctions of their Office! Thus the Abuse strikes stronger upon the sense; The contempt is better spread, and the little Idea is apt to return upon the same Appearance.

And now does this Rudeness go upon any Authorities? Was the Priesthood alwaies thought thus insignificant, and do the Antient Poets palt it in this Manner? This Point shall be tried, I shall run through the most considerable Authors that the Reader may see how they treat the Argument. Homer stands highest upon the Roll, and is the first Poet both in Time, and Quality; I shall therefore begin with him. Tis true he wrote no [Page 112] Plays; but for Decency, Practise, and gene­ral Opinion, his Judgment may well be taken, Let us see then how the Priests are treated in his Poem, and what sort of Rank they hold.

Chryses Apollo's Priest appears at a Council of War with his Crown and guilt Scepter. He offers a valuable Ransom for his Daughter; and presses his Relation to Apollo. All the Army excepting Aga­memnon are willing to consider his Cha­racter, and comply with his Proposals. But this General refuses to part with the Lady, and sends away her Father with disrespect. Apollo thought himself affron­ted with this Usage, and revenges the In­dignity in a Plague.

Adrastus and Amphius the Sons of Me­rops a Prophet, commanded a considerable extent of Country in Troas, and brought Il. B. p. 91. a Body of Men to King Priam's Assistance. And Ennomus the Augur commanded the Ibid. p. 92. Troops of Mysia for the Besieged.

Phegeus and Idaeus were the Sons of Dares the Priest of Vulcan. They appear Il. E p. 154. 155. in an Equipage of Quality, and charge Di­omedes the third Hero in the Grecian [Page 113] Army. Idaeus after the Misfortune of the Combat, is brought off by Vulcan. Dolo­pion was Priest to Scamander, and regarded Il. E. p. 154, 155. like the God he Belong'd to,

Ulisses in his return from Troy, took Ismarus by Storm, and makes Prize of the whole Town, excepting Maron, and his Family. This Maron was Apollo's Priest, and preserv'd out of respect to his Fun­ction: He presents Ulisses nobly in Gold, Plate, and Wine; And this Hero makes an honourable Mention of him, both as to his Quality, and way of Living. Odyss. I p. 174. 181.

These are all the Priests I find Men­tioned in Homer; And we see how fairly the Poet treats them, and what sort of Figure they made in the World.

To the Testimony of Homer, I shall joyn that of Virgil, who tho' He follows at a great distance of Time, was an Au­thor of the first Rank, and wrote the same kind of Poetry with the other. Now Virgil tho' he is very extraordinary in his Genius, in the Compass of his Lear­ning, in the Musick and Majesty of his Stile; yet the exactness of his Judgment seems to be his peculiar, and most di­stinguishing Talent. He had the truest [Page 114] Relish imaginable, and always described Things according to Nature, Custom, and Decency. He wrote with the grea­test Command of Temper, and Superio­rity of good Sense. He is never lost in smoak and Rapture, nor overborn with Poetick Fury; but keeps his Fancy warm and his Reason Cool at the same time. Now this great Master of Propriety never Mentions any Priests without some Marks of Advantage. To give some Instances as they lie in Order.

When the Trojans were consulting what was to be done with the Wooden-Horse, and some were for lodging it within the Walls; Laocoon appears against this Opi­nion at the Head of a numerous Party, harangues with a great deal of Sense, and Resolution, and examines the Machine with his Lance. In fine, He advised so well, and went so far in the Discovery of the Stratagem; that if the Trojans had not been ungovernable, and as it were stupified by Fate and Folly, he had saved the Town. Aenid. 2.

Trojaque nunc stares Priamique arx alta maneres.

This Laocoon was Neptunes Priest, and either Son to Priam, or Brother to An­chises, [Page 115] who was of the Royal Family. Ruaus. in Loc. The next we meet with is Pantheus Apollo's Priest. He is call'd Pantheus O­triades, which is an argument his Father was well known. His acquaintance with Aeneas to whose House he was carrying his little Grandson, argues him to be a Person of Condition. Pantheus after a Aeneid 2. short relation of the Posture of Affairs, joyns Aeneas's little Handful of Men, char­ges in with him when the Town was seiz'd, and fired, and at last dies Handsomly Ibid. in the Action.

The next is Anius King of Delos, Prince and Priest in one Person.

Rex Anius, rex idem hominum Phaebique Sacerdos. Aeneid. 3.

When Aeneas was outed at Troy, and in quest of a new Country, he came to an Anchor at Delos; Anius meets him in a Religious Habit, receives him civilly, and obliges him with his Oracle. In the Ibid. Book now Mention'd we have another of Apollo's Priests, his name is Helenus, Son of Priam and King of Chaonia. He en­tertains Aeneas with a great deal of Friend­ship, and Magnificence, gives him many material Directions, and makes him a rich Present at parting. To this Prince if you [Page 116] Please we may joyn a Princess of the same Profession; and that is Rhea Silvia Daugh­ter to Numitor King of Alba, and Mo­ther to Romulus, and Remus. This Lady Virgil calls—regina Sacerdos a Royal Priestess. Farther. When Aeneas made a Aenead. 1st. Visit upon Business to the shades Below, He had for his Guide, the famous Sibylla Cu­maea, Aen. 6. who Belong'd to Apollo. When he came thither amongst the rest of his Ac­quantance he saw Polybaetes a Priest of Ceres. This Polybaetes is mention'd with the three Sons of Antenor, with Glaucus, and Thersilochus, who Commanded in Cheif in the Trojan Auxiliaries: So that you may know his Quality by his Com­pany. When Aeneas had passed on far­ther, he saw Orpheus in Elysium: The Poet calls him the Thracian Priest. There needs not be much said of Orpheus; He is famous for his skill in Musick, Poetry, and Religious Ceremonies, He was one Ibid. of the Hero's of Antiquity, and a principal Adventurer in the Expedition for the Gol­den-Fleece.

In the Seventh Aeneid the Poet gives in a List of the Princes, and General Officers who came into the Assistance of Turnus; Amongst the rest he tells you,

This Priest he commends both for his Courage and his skill in Physick, Natural Magick, and Phlosophy. He understood the Virtue of Plants, and could lay Pas­sions and Poysons asleep. His death was extreamly regretted by his Country, who made a Pompous aud Solemn Mour­ning for him.

The Potitij, and the Pinarij Mention'd Aeneid 8. were as Livy observes, chosen Lib. 1. out of the first Quality of the Country, and had the Priesthood hereditary to their Family. To go on, Aemonides, and Chlo­reus make a glistering Figure in the Feild, and are very remarkable for the Curiosity of their Armour, and Habit. Aemonides's Finery is passed over in general.

But the Equipage of Chloreus is flou­rish'd out at Length, and as I remember admired by Macrobius as one of the Master [Page 118] peices of Virgil in Description. In short; He is all Gold, Purple, Scarlet, and Em­broydery; and as rich as Nature, Art, and Aeneid. 11. Rhetorick can make him. To these I might add Rhamnes, Asylas, and Tolum­nius, who were all Persons of Condition, Aeneid. 9. 10. 11. and had Considerable Posts in the Army.

It may be these last were not strictly Priests. Their Function was rather Pro­phetick. They interpreted the Resoluti­ons of the Gods, by the voice of Birds, the Inspection of Sacrifices, and their Ob­servations of Thunder. This made their Character counted Sacred, and their Re­lation to the Deity particular. And there­fore [...]. the Romans ranged them in the Or­der of the Priests.

Thus we see the admired Homer, and Virgil, always treat the Priests fairly, and describe them in Circumstances of Credit: If 'tis said that the Instances I have given are mostly in Names of Fiction, and in Persons who had no Being, unless in the Poets fancy. I answer, I am not concern'd in the History of the Relation. Whether the Muster is true or false, 'tis all one to my purpose. This is certain, had the Priests been People of such slen­der Consideration as our Stage Poets en­deavour to make them; they must have [Page 119] appear'd in a different Figure; or rather have been left out as too little for that sort of Poem. But Homer and Virgil, had other Sentiments of Matters: They were govern'd by the Reason of Things, and the common usage of the World. They knew the Priesthood a very reputable Em­ployment, and always esteem'd as such. To have used the Priests ill, They must have call'd their own Discretion in que­stion: They must have run into impro­priety, and fallen soul upon Custom, Manners, and Religion. Now 'twas not their way to play the Knave and the Fool together: They had more Sense than to do a silly Thing, only for the Satisfacti­on of doing an ill one.

I shall now go on to enquire what the Greek Tragedians will afford us upon the present Subject. There are but two Plays in Aeschylus where the Ministers of the Gods are represented. The one is in his Eumenides, and here Apollo's Priestess only opens the Play, and appears no more. The other is in his Seige of Thebes. In this Tragedy the Prophet Amphiaraus is one of the Seven Commanders against the Town. He has the Character of a Modest, Brave Officer, and of one who rather affected to be great in Action, than Noise.

[Page 120] In Sophocle's Oedipus Tyrannus. Jupiter's Priest has a short part. He appears at the Head of an Address, and delivers the Ha­rangue by the King's Order. Oedipus in his Passion treats Tiresias ruggedly; Ti­resias Oedip. Tyr. p. 148. replies with Spirit and Freedom, and plainly tell him he was none of his Ser­vant but Apollo's.

And here we may observe that all Oe­dipus his reproaches relate to Tiresias's per­son, there is no such Thing as a general Im­putation upon his Function: But the Eng­lish Oedipus makes the Priesthood an Im­posturous Profession; and rails at the whole Order. In the next Tragedy, Creon p. 38. charges Tiresias with subornation; and that he intended to make a Penny of his Prince. The Priest holds up his Cha­racter, speaks to the ill Usage with an Air of Gravity, calls the King Son, and Ant [...]. p. 250, 258, foretells him his Misfortune.

To go on to Euripides, for Sophocles has nothing more. This Poet in his Phaenissae brings in Tiresias with a very unaccepta­ble report from the Oracle. He tells Creon that either his Son must die, or the City be lost. Creon keeps himself within Temper, and gives no ill Language. And even [Page 121] when Moenecius had kill'd himself, he Eurip. Phaeniss. p. 158, 159. neither complains of the Gods, nor re­proaches the Prophet.

In his Bacchae, Tiresias is honourably used by Cadmus; And Pentheus who threatned him, is afterwards punish'd for Bacch. Act. 1. Act. 4. Jon. Act 5. his Impiety. In another Play Apollo's Priestess comes in upon a creditable ac­count, and is respectfully treated. Iphige­nia Iphig. in Aulid. & in Taur. Agamemnon's Daughter is made Priest­ess to Diana; and her Father thought himself happy in her Employment. These are all the Priests I remember represented in Euripides. To conclude the antient Tragedians together: Seneca seems to fol­low the Conduct of Euripides, and secures Tiresias from being outraged. Oedipus car­ries it smoothly with him and only desires him to out with the Oracle, and de­clare the Guilty Person. This Tiresias ex­cuses, Oedip. and afterwards the Heat of the ex­postulation falls upon Creon. Calchas if not strictly a Priest, was an Auger, and had a Religious Relation. Upon this ac­count Agamemnon calls him interpres Deo­rum; The Reporter of Fate, and the God's Nuntio; And gives him an honourable Troad. A. 2. p. 193. Character.

This Author is done; I shall therefore pass on to the Comedians. And here, A­ristophanes is so declared an Atheist, that [Page 122] I think him not worth the citing. Be­sides, he has but little upon the Argument: And where he does engage it, the Priests have every jot as good Quarter as the Gods. As for Terence, he neither represents any Plut. Ran. Aves. Priests, nor so much as mentions them. Chrysalus in Plautus describes Theotimus Diana's Priest, as a Person of Quality, and Baccl id. Act. 2. 53. Figure. In his Rudens we have a Priest­ess upon the Stage, which is the only In­stance in this Poet. She entertains the two Women who were wrecked, and is Rud. A. 1. 5. A. 2. 3. commended for her hospitable Temper. The Procurer Labrax swaggers that he will force the Temple, and begins the Attack. Demades a Gentleman, is surprized at his Insolence, and threatens him with Revenge. The report of so bold an attempt made him cry out. Quis homo est tanta Confidentia; [...]. 2. 5. qui sacerdotem audeat Violare? It seems in those Days 'twas very infamous to af­front a Holy Character, and break in up­on the Guards of Religion! Thus we see how the Antient Poets behaved them­selves in the Argument. Priests seldom appear in their Plays. And when they come 'tis Business of Credit that brings them. They are treated like Persons of Condition. They Act up to their Rela­tion; neither sneak, nor prevaricate, nor do any thing unbecoming their Office.

[Page 123] And now a word or two of the Mo­derns.

The famous Corneille and Moliere, bring no Priests of any kind upon the Stage. The former leaves out Tiresias in his Oedi­pus: Tho' this Omission balks his Thought, and maims the Fable. What therefore but the regard to Religion could keep him from the use of this Liberty? As I am inform'd the same Reservedness is practis'd in Spain, and Italy: And that there is no Theatre in Europe excepting the English, that en­tertains the Audience with Priests.

This is certainly the right method, and best secures the Outworks of Piety. The Holy Function is much too Solemn to be play'd with. Christianity is for no Fooling, neither the Place, the Occasion nor the Actors are fit for such a Representation. To bring the Church into the Playhouse, is the way to bring the Playhouse into the Church. 'Tis apt to turn Religion into Romance; and make unthinking People conclude that all Serious Matters are no­thing but Farce, Fiction, and Design. 'Tis true the Tragedies at Athens were a sort of Homilies, and design'd for the Instruction of the People. To this purpose they are all Clean, Solemn, and Sententious. Plau­tus likewise informs us that the Comedians used to teach the People Morality. The Rud. A. 4. S. 7. [Page 124] case standing thus 'tis less suprizing to find the Priests sometimes Appear. The Play had grave Argument, and Pagan In­dulgence, to plead in its behalf. But our Poets steer by an other Compass. Their Aim is to destroy Religion, their Preach­ing is against Sermons; and their Busi­ness, but Diversion at the best. In short, Let the Character be never so well ma­naged no Christian Priest (especially,) ought to come upon the Stage. For where the Business is an Abuse, and the place a Profanation; the demureness of the Man­ner, is but a poor excuse. Monsieur Racine is an Exception to what I have observ'd in France. In his Athalia, Joida the High-Priest has a large part. But then the Poet does him Justice in his Station; he makes him Honest and Brave, and gives him a shining Character throughout. Mathan is another Priest in the same Tra­gedy. He turns Renegado, and revolts from God to Baal. He is a very ill Man but makes a considerable Appearance, and is one of the Top of Athaliahs Faction. And as for the Blemishes of his Life, they all stick upon his own Honour, and reach no farther than his Person: In fine the Play is a very Religious Poem; 'Tis upon the Matter all Sermon and Anthem. And if it were not designed for the The­atre, I have nothing to object.

[Page 125] Let us now just look over our own Country-men till King Charles the Second. Shakespear takes the Freedom to represent the Clergy in several of his Plays: But for the most part he holds up the Fun­ction, and makes them neither Act, nor Suffer any thing unhandsom. In one Play or two He is much bolder with the Or­der. Measure for Mea­sure. Much a do about Nothing. Twelf-Night. Henry 4th pt. 1st Hen, 6, pt. 3d. Romeo and Ju­liet. Merry Wives of Windfor. Sr. Hugh Evans a Priest is too Comi­cal and Secular in his Humour. How­ever he understands his Post, and converses with the Freedom of a Gentleman. I grant in Loves Labour lost the Curate plays the Fool egregiously; And so does the Poet too, for the whole Play is a very silly one. In the History of Sr. John Old-Castle, Sr. John, Parson of Wrotham Swears, Games, Wenches, Pads, Tilts, and Drinks: This is extreamly bad, and like the Au­thor of the Relapse &c. Only with this difference; Shakespears Sr. John has some Advantage in his Character. He appears Loyal, and Stout; He brings in Sr. John Acton, and other Rebels Prisoners. He is rewarded by the King, and the Judge uses him Civilly and with Respect. In short He is represented Lewd, but not Little; And the Disgrace falls rather on the Person, then the Office. But the Relapsers busi­ness, is to sink the Notion, and Mur­ther the Character, and make the Fun­ction [Page 126] despicable: So that upon the whole, Shakespear is by much the gentiler E­nemy.

Towards the End of the Silent Woman, Ben Johnson brings in a Clergy-man, and a Civilian in their Habits. But then he premises a handsom Excuse, acquaints the Audience, that the Persons are but borrow'd, and throws in a Salvo for the Honour of either profession. In the Third Act, we have another Clergy-man; He is abused by Cutberd, and a little by Morose. But his Lady checks him for the ill Bree­ding of the Usage. In his Magnetick Lady, Tale of a Tub, and Sad Sheapherd, there are Priests which manage but untowardly. But these Plays were his last Works, which Essay of Dramat. &c. Mr. Dryden calls his Dotages. This Au­thor has no more Priests, and therefore we'll take Leave.

Beaumont and Fletcher in the Faithful Shepheardess, The False one, A Wife for a Month, and the Knight of Malta, give, us both Priests and Bishops, part Heathen and part Christian: But all of them save their Reputation and make a creditable Appearance. The Priests in the Scornful Lady, and Spanish Curate are ill used. The first is made a Fool, and the other a Knave. Indeed they seem to be brought in on purpose to make sport, and disserve [Page 127] Religion. And so much for Beaumont and Fletcher.

Thus we see the English Stage has always been out of Order, but never to the Degree 'tis at present.

I shall now take Leave of the Poets, and touch a little upon History and Argu­ment.

And here I shall briefly shew the Right the Clergy have to Regard, and fair Usage, upon these Three following Accounts.

• I. Because of their Relation to the Deity.
• II. Because of the Importance of their Of­fice.
• III. They have prescription for their Pri­vilege. Their Function has been in Possessi­on of Esteem in all Ages, and Countries.

I. Vpon the account of their Relation to the Deity.

The Holy Order is appropriated to the Divine Worship: And a Priest has the peculiar Honour to Belong to nothing less then God Almighty. Now the Credit of the Service always rises in proportion to the Quality and Greatness of the Master. And for this Reason 'tis more Honourable to serve a Prince, than a private Person. To apply this. Christian Priests are the Principal Ministers of Gods Kingdom. [Page 128] They Represent his Person, Publish his Laws, Pass his Pardons, and Preside in his Worship. To expose a Priest much more to burlesque his Function, is an Affront to the Diety. All indignities done to Am­bassadors, are interpreted upon their Ma­sters, and reveng'd as such. To outrage the Ministers of Religion, is in effect to deny the Being, or Providence of God; And to treat the Bible like a Romance. As much as to say the Stories of an other World are nothing but a little Priest­craft, and therefore I am resolv'd to Lash the Profession. But to droll upon the Institutions of God; To make his Mini­sters cheap, and his Authority contempti­ble; To do this is little less than open de­fyance. Tis a sort of Challenge to awa­ken his Vengeance, to exert his Omni­potence; and do Right to his Honour. If the Profession of a Courtier was un­fashionable, a Princes Commission thought a Scandal, and the Magistracy laught at for their Business; the Monarch had need look to himself in time; He may conclude his Person is despis'd, his Authority but a Jest, and the People ready either to change their Master, or set up for them­selves. Government and Religion, no less than Trade Subsist upon Reputation. 'Tis true God can't be Deposed, neither does [Page 129] his Happiness depend upon Homage. But since he does not Govern by Omnipotence, since he leaves Men to their Liberty, Ac­knowledgment must sink, and Obedience decline, in proportion to the Lessenings of Authority. How provoking an Indignity of this kind must be, is easy to imagine.

II. The Functions and Authorities of Religion have a great Influence on So­ciety. The Interest of this Life lies very much in the Belief of another. So that if our Hopes were bounded with Sight, and Sense, if Eternity was out of the Case, General Advantage, and Publick Reason, and Secular Policy, would oblige us to be just to the Priesthood. For Priests, and Religion always stand and fall together; Now Religion is the Basis of Govern­ment, and Man is a wretched Compani­on without it. When Conscience takes its Leave, Good Faith, and Good Nature goes with it. Atheism is all Self, Mean and Mercenary. The Atheist has no Hereafter, and therefore will be sure to make the most of this World. Interest, and Pleasure, are the Gods he Worships, and to these he'll Sacrifice every Thing else.

III. The Priest-hood ought to be fairly treated, because it has prescription for this Privilege. This is so evident a [Page 130] 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

Ist. For the Jews. Josephus tells us the Line of Aaron made some of the best Pe­digrees, De Bell. Judaic. and that the Priests were reckon'd among the Principal Nobility.

By the Old Testament we are inform'd that the High-Priest was the Second Per­son Deut 17. 9. 10. 2 Chron. 19. 8. in the Kingdom. The Body of that Order had Civil Jurisdiction. And the Priests continued Part of the Magistracy in the time of our Saviour. Jehoiada the Math. 27. Act. 4. Vid seldon de Synedr. High-Priest was thought an Alliance big enough for the Royal Family. He Mar­ried the Kings Daughter; His Interest and Authority was so great that he broke the Usurpation under Athalia; and was at the Head of the Restauration. And lastly the 2. Cbron. 22. 23. Assamonean Race were both Kings and Priests. Joseph.

To Proceed. The Aegyptian Monarchy was one of the most antient and best po­lish'd upon Record. Here Arts and Sci­ences, the Improvment of Reason, and the Splendor of Life had its first Rise. Hither 'twas that Plato and most of the Celebrated Philosophers travel'd for their Learning. Now in this Kingdom the [Page 131] Priests made no vulgar Figure. These with the Military Men were the Body of the Nobility, and Gentry. Besides the Business of Religion, the Priests were the Publick Annalists and kept the Records of History, and Government. They were many of them bred in Courts, for­med the Education of their Princes, and assisted at their Councils. When Joseph Diod. Sici was Viceroy of Aegypt, and in all the height of his Pomp, and Power, the King Married him to the Daughter of Poti­pherah Priest of On. The Text says Pha­raoh Gen. 41. gave him her to Wife. This shows the Match was deliberate Choice, and Royal Favour, no stooping of Quality, or Condescensions of Love, on Joseph's Side.

To pass on. The Persian Magi, and the Druids, of Gaul were of a Religious Profession, and consign'd to the Service of the Gods. Now all these were at the upper End of the Government, and had a great share of Regard and Authority. Porph. de Abstin. Lib. 4. Cae­sar de Bell. Gall. Lib. 6 The Body of the Indians as Diodorus Si­culus reports is divided into Seven parts. The first is the Clan of the Bramines, the Priests, and Philosophers of that Coun­try. ‘This Division is the least in Num­ber, but the first in Degree. Their Pri­vileges are extraordinary. They are ex­empted [Page 132] from Taxes, and Live Indepen­dent of Authority. They are called to the Sacrifices, and take care of Funerals; They are look'd on as the Favourites of the Gods, and thought skillful in the Doctrins of an other Life: And upon these accounts are largely consider'd in Presents, and Acknowledgment.’ The Priestesses of Argos were so Considerable, that Time is dated from them, and they stand for a Reign in Chronology. The Brave Romans are commended by Polybius Lib. 6. for their Devotion to the Gods; Indeed they gave great Proof of their being in earnest; For when their Cheif Magistrates, their Consuls themselves, met any of the Vestals, they held down their Fasces, and stoop'd their Sword and Mace to Re­ligion. Sen, in Controv.

The Priest-hood was for sometime con­fin'd to the Patrician Order, that is to the Upper Nobility. And afterwards the Emperours were generally High-Priests themselves. The Romans in distress en­deavour'd to make Friends with Coriolanus whom they had banish'd before. To this purpose they furnish'd out several So­lemn Embasayes. Now the Regulation of the Ceremony, and the Remarks of the Historian; plainly discover that the Body [...] of the Priests were thought not inferior [Page 133] to any other. One Testimony from Tully and I have done. 'Tis in his Harangue to the College of the Priests. Cum multa divinitus, Pontifices, a majoribus nostris in­venta atque instituta sunt; tum nihil pre­clarius ProDom ad Pontif. qaum quòd vos eosdem et Religioni­bus Deorum immortalium, & summe Rei publicae praeesse voluerunt. &c. i. e. Amongst the many laudable Instances of our Ancestors Prudence, and Capacity, I know nothing bet­ter contrived then their placing your Order at the Helm, and setting the same Persons at the Head both of Religion, and Govern­ment. Thus we see what Rank the Priest-hood held among the Jews, and how Na­ture taught the Heathen to regard it. And is it not now possess'd of as fair pretences as formerly? Is Christianity any disad­vantage to the Holy Office. And does the Dignity of a Religion lessen the Pub­lick Administrations in't? The Priests of the most High God and of Idolatry, can't be compared without Injury. To argue for the Preference is a Reflection upon the Creed. 'Tis true the Jewish Priest-hood was instituted by God: But every Thing Divine is not of Equal Consideration. Realities are more valuable than Types; And as the Apostle argues, the Order of Melchizedeck is greater than that of Aaron. The Author, (I mean the imme­diate Hebr. 7. [Page 134] one,) the Authorities, the Business, and the End, of the Christian Priest-hood, are more Noble than those of the Jewish. For is not Christ greater than Moses, Heaven better than the Land of Canaan, and the Eucharist to be prefer'd to all the Sacrifices, and Expiations of the Law? Thus the Right, and the Reason of Things stands. And as for Fact, the Christian World have not been backward in their Acknowledgments. Ever since the first Conversion of Princes, the Priest-hood has had no small share of Temporal Ad­vantage. The Codes, Novels, and Church History, are Sufficient Evidence what Sense Constantine and his Successors had of these Matters. But I shall not detain the Rea­der in remote Instances.

To proceed then to Times and Coun­tries more generally known. The Peo­ple of France are branched into three Di­visions, of these the Clergy, are the First. And in consequence of this Privilege, at Davila Filmers Freehold­ers Grand Irq. the Assembly of the States, they are first admitted to Harangue before the King.

In Hungary the Bishops are very Con­siderable, and some of them great Officers of State. In Poland they are Senators that Miraeus De Statu [...] is part of the Upper Nobless. In Musco­vy the Bishops have an Honourable Sta­tion: and the Present Czar is descended [Page 135] from the Patriarchal Line. I suppose I Fletchers Embassy. Puffen­derf In­trodu­ction. à l' Hi­stoire. need say nothing of Italy. In Spain the Sees generally are better endow'd than elswhere, and Wealth alwaies draws Considerati­on. The Bishops hold their Lands by a Military Noble Tenure, and are excused from Personal Attendance. And to come toward an end; They are Earls and Dukes Heglint Cogmogk. in France, and Soveraign Princes, in Ger­many. In England the Bishops are Lords of Parliament: And the Law in plain words distinguishes the Upper House into the Spiri­tual and Temporal Nobility. And several 2, Hen. 8. cap. 22. 26, Hen. 8 cap. 2. 1. Edw. 6. cap. 12, &c. Preamb. Statutes call the Bishops Nobles by direct Implication. To mention nothing more, their Heraldry is regulated by Garter, and Blazon'd by Stones, which none under the Nobility can pretend to. In this Country of ours, Persons of the First Quality have been in Orders: To give an Instance of some few. Odo Brother to William the Conquerour was Bishop of Baieux, and Earl of Kent. King Stephens Brother was Bi­shop of Winchester. Nevill Arch-Bishop of York was Brother to the Great Earl of Warwick, and Cardinal Pool was of the Royal Family. To come a little lower, and to our own Times. And here we may reckon not a few Persons of Noble Descent in Holy Orders. Witness the Berklyes, Comptons, Montagues, Crews, [Page 136] and Norths; The Annesleys, Finches, Grayhams &c. And as for the Gentry, there are not many good Familes in Eng­land, but either have, or have had a Cler­gy-man in them,

In short; The Priest-hood is the pro­fession of a Gentleman. A Parson notwith­standing the ignorant Pride of some Peo­ple, is a Name of Credit, and Authori­ty, both in Religion, and Law. The Ad­dition of Clerk is at least equal to that of Gentleman. Were it otherwise the Pro­fession would in many cases be a kind of Punishment. But the Law is far from be­ing so singular as to make Orders a Dis­advantage to Degree. No, The Honour of the Family continues, and the Her al­dry is every jot as safe in the Church, as 'twas in the State. And yet when the Laity are taken leave of, not Gentleman but Clerk is usually written. This Cu­stom is an argument the Change is not made for the worse, that the Spiritual Distinction is as valuable as the other; And to speak Modestly, that the first Ad­dition is not lost, but Cover'd. Did the Subject require it, this Point might be far­ther made good. For the stile of a high­er Secular Honour is continued as well with Priest-hood as without it. A Church­man who is either Baronet, or Baron, [Page 137] writes himself so, notwithstanding His Clerkship. Indeed we can't well ima­gine the Clergy degraded from Pater­nal Honour without a strange Reflection on the Country; without supposing Julian at the Helm, the Laws Antichristian, and Infidelity in the very Constitution. To make the Ministers of Religion less upon the score of their Function, would be a Penalty on the Gospel, and a contempt of the God of Christianity. 'Tis our Sa­viours reasoning; He that despises you, de­spises S. Luke. 10. Me, and he that Despises Me, Despises Him that sent me.

I hope what I have offer'd on this Subject will not be misunderstood. There is no Vanity in necessary Defence. To wipe off Aspersions, and rescue Things from Mistake, is but bare Justice: Besides, where the Honour of God, and the Pub­lick Interest are concern'd, a Man is bound to speak. To argue from a resembling Instance. He that has the Kings Com­mission ought to Maintain it. To let it suffer under Rudeness is to betray it. To be tame and silent in such cases, is not Modesty but Meanness, Humility obliges no Man to desert his Trust; To throw up his Privilege, and prove false to his Character. And is our Saviours Autho­rity inferiour to that of Princes? Are the Kingdoms of this World more Glo­rious [Page 138] than that of the next? And can the Concerns of Time be greater than those of Eternity? If not, the reasoning above mention'd must hold in the Application.

And now by this time I conceive the ill Manners of the Stage may be in some measure apparent; And that the Clergy deserve none of that Coarse Usage which it puts upon them. I confess I know no Profession that has made a more credita­ble Figure, that has better Customs for their Privileges, and better Reasons to maintain them. And here setting aside the point of Conscience, where lies the De­cency of falling foul upon this Order? What Propriety is there in Misrepresenta­tion? In confounding Respects, disguising Features, and painting Things out of all Colour and Complexion? This crossing upon Nature and Reason, is great Igno­rance, and out of Rule. And now what Pleasure is there in Misbehaviour and A­buse? Is it such an Entertainment to see Religion worryed by Atheism, and Things the most Solemn and Significant tumbled and tost by Buffoons? A Man may laugh at a Puppy's tearing a Wardrobe, but I think 'twere altogether as discrect to beat him off. Well! but the Clergy mismanage sometimes, and they must be told of their Faults. What then? Are the Poets their Ordinaries? Is the Pulpit under the Dis­cipline [Page 139] of the Stage? And are those fit to correct the Church, that are not fit to come into it? Besides, What makes them fly out upon the Function; and rail by wholesale? Is the Priesthood a crime, and the service of God a Disadvantage? I grant Persons and Things are not always suited. A good Post may be ill kept, but then the Censure should keep close to the Fault, and the Office not suffer for the Manager. The Clergy may have their Failings some­times like others, but what then? The Character is still untarnish'd. The Men may be Little, but the Priests are not so. And therefore like other People, they ought to be treated by their best Distinction.

If 'tis Objected that the Clergy in Plays are commonly Chaplains, And that these Belonging to Persons of Quality they were obliged to represent them servile and sub­missive. To this I Answer

1st. In my former remark, that the Stage often outrages the whole Order, without regard to any particular Office. But were it not so in the

2d. Place, They quite overlook the Character, and mistake the Business of Chaplains. They are no Servants, neither Moral Essays. do they Belong to any Body, but God Al­mighty. This Point I have fully proved in another, Treatise, and thither. I refer the Reader

THE Lines of Virtue and Vice are Struck out by Nature in very Le­gible Distinctions; They tend to a diffe­rent Point, and in the greater Instances the Space between them is easily perceiv'd. Nothing can be more unlike than the Ori­ginal Forms of these Qualities: The First has all the sweetness, Charms, and Gra­ces imaginable; The other has the Air of a Post ill Carved into a Monster, and looks both foolish and Frightful together. These are the Native Appearances of good and Evil: And they that endeavour to blot the Distinctions, to rub out the Colours, or change the Marks, are extreamly to blame. 'Tis confessed as long as the Mind is a­wake, and Conscience goes true, there's no fear of being imposed on. But when Vice is varnish'd over with Pleasure, and comes in the Shape of Convenience, the case grows somewhat dangerous; for then [Page 141] the Fancy may be gain'd, and the Guards corrupted, and Reason suborn'd against it self. And thus a Disguise often passes when the Person would otherwise be stopt. To put Lewdness into a Thriving con­dition, to give it an Equipage of Quality, and to treat it with Ceremony and Re­spect, is the way to confound the Under­standing, to fortifie the Charm, and to make the Mischief invincible. Innocence is often owing to Fear, and Appetite is kept under by Shame; But when these Restraints are once taken off, when Profit and Liberty lie on the same side, and a Man can Debauch himself into Credit, what can be expected in such a case, but that Pleasure should grow Absolute, and Madness carry all before it? The Stage seem eager to bring Matters to this Issue; They have made a considerable progress, and are still pushing their Point with all the Vigour imaginable. If this be not their Aim why is Lewdness so much con­sider'd in Character and Success? Why are their Favourites Atheistical, and their fine Gentleman debauched? To what pur­pose is Vice thus prefer'd, thus ornamen­ted, and caress'd, unless for Imitation? That matter of Fact stands thus, I shall make good by several Instances: To be­gin then with their Men of Breeding and [Page 142] Figure. Wild-blood sets up for Debauch­ery, Ridicules Marriage, and Swears by Moch A­strol. p. 3. &c. Mock A­strol. p. 57, 59. Spanish Fryar. p. 61. Country Wife. p. 25. Old Batch. Double Dealer. p. 34. Mahomet. Bellamy makes sport with the Devil, and Lorenzo is vitious and calls his Father Bawdy Magistrate. Horner is horridly Smutty, and Harcourt false to his Friend who used him kindly. In the Plain Dealer Freeman talks coarsely, cheats the Widdow, debauches her Son, and makes him undutiful. Bellmour is Lewd and Profane, And Mellefont puts Careless in the best way he can to debauch Lady Plyant. These Sparks generally Marry up the Top Ladys, and those that do not, are brought to no Pennance, but go off with the Character of Fine Gentlemen: In Don-Sebastian, Antonio an Atheistical Bully is rewarded with the Lady Moraima, and half the Muffty's Estate. Valentine in Love for Love is (if I may so call him) Love for Love. p. 90. the Hero of the Play; This Spark the Poet would pass for a Person of Virtue, but he speaks to late. 'Tis true, He was hearty in his Affection to Angelica. Now without question, to be in Love with a fine Lady of 30000 Pounds is a great Virtue! But then abating this single Com­mendation, Valentine is altogether com­pounded of Vice. He is a prodigal De­bauchee, Love for Love. p. 6, 7. 25. 61. 89. 91. unnatural, and Profane, Obscene, Sawcy, and undutiful, And yet this Li­bertine [Page 143] is crown'd for the Man of Merit, has his Wishes thrown into his Lap, and makes the Happy Exit. I perceive we should have a rare set of Virtues if these Poets had the making of them! How they hug a Vitious Character, and how profuse are they in their Liberalities to Lewdness? In the Provok'd Wife, Con­stant Swears at Length, solicits Lady Brute, Confesses himself Lewd, and pre­fers Debauchery to Marriage. He handles the last Sybject very notably and worth the Hearing. There is (says he) a poor sordid Slavery in Marriage, that turns the flowing Tide of Honour, and sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature, Avarice, Sloth, Cowardize, and Dirt, are all its Product.—But then Constan­cy (alias Whoring) is a Brave, Free, Haughty, Generous, Agent. This is admirable stuff both for the Rhetorick and the Reason! The p. 35. Character of Young Fashion in the Relapse is of the same Staunchness, but this the Reader may have in another Place.

To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing, Smutty, Atheistical Man. These Quali­fications it seems compleat the Idea of Honour. They are the Top-Improve­ments of Fortune, and the distinguishing Glories of Birth and Breeding! This is [Page 144] the Stage-Test for Quality, and those that can't stand it, ought to be Disclaim'd. The Restraints of Conscience and the Pedantry of Virtue, are unbecoming a Cavalier: Future Securities, and Reach­ing beyond Life, are vulgar Provisions: If he falls a Thinking at this rate, he for­feits his Honour; For his Head was only made to run against a Post! Here you have a Man of Breeding and Figure that bur­lesques the Bible, Swears, and talks Smut to Ladies, speaks ill of his Friend be­hind his Back, and betraies his Interest. A fine Gentleman that has neither Ho­nesty, nor Honour, Conscience, nor Man­ners, Good Nature, nor civil Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of Religion and the Scandals of Conversation. These Worshipful Things are the Poets Favourites: They appear at the Head of the Fashion; and shine in Cha­racter, and Equipage. If there is any Sense stirring, They must have it, tho' the rest of the Stage suffer never so much by the Partiality. And what can be the Meaning of this wretched Distribution of Honour? Is it not to give Credit and Countenance to Vice, and to shame young People out of all pretences to Conscience, and Regu­larity? They seem forc'd to turn Lewd in their own Defence: They can't other­wise [Page 145] justifie themselves to the Fashion, nor keep up the Character of Gentlemen: Thus People not well furnish'd with Thought, and Experience, are debauch'd both in Pra­ctise and Principle. And thus Religion grows uncreditable, and passes for ill Edu­cation. The Stage seldom gives Quarter to any Thing that's serviceable or Signi­ficant, but persecutes Worth, and Good­ness under every Appearance. He that would be safe from their Satir must take care to disguise himself in Vice, and hang out the Colours of Debauchery. How often is Learning, Industry, and Fruga­lity, ridiculed in Comedy? The rich Ci­tizens are often Misers, and Cuckolds, and the Universities, Schools of Pedantry upon this score. In short; Libertinism and Profaness, Dressing, Idleness, and Gal­lantry, are the only valuable Qualities. As if People were not apt enough of themselves to be Lazy, Lewd, and Ex­travagant, unless they were prick'd for­ward, and provok'd by Glory, and Re­putation. Thus the Marks of Honour, and Infamy are misapplyed, and the I­dea's of Virtue and Vice confounded. Thus Monstrousness goes for Proportion, and the Blemishes of Human Nature, make up the Beauties of it.

[Page 146] The fine Ladies are of the same Cut with the Gentlemen; Moraima is scanda­lously rude to her Father, helps him to a beating, and runs away with Antonio. An­gelica talks sawcily to her Uncle, and Belin­da Don Sebist. Love for Love. p. 20 Provok'd Wife. p. 64. Chap. 1. & 2. confesses her Inclination for a Gallant. And as I have observ'd already, the Top­ing Ladies in the Mock Astrologer, Spa­nish Fryar, Country Wife, Old Batchelour, Orphan, Double Dealer, and Love Trium­phant, are smutty, and sometimes Pro­fane.

And was Licentiousness and irreligion, alwaies a mark of Honour? No; I don't perceive but that the old Poets had an other Notion of Accomplishment, and bred their people of Condition a different way. Philolaches in Plautus laments his being debauch'd; and dilates upon the Ad­vantages of Virtue, and Regularity. Lusi­teles another Young Gentleman disputes Mostel. A. 1. 2. handsomly by himself against Lewdness. And the discourse between him and Philto is Trinum. A. 2. 1. Moral, and well managed. And after­wards he lashes Luxury and Debauching A. 2. 2. with a great deal of Warmth, and Satir. Chremes in Terence is a modest young Gen­tleman, he is afraid of being surpriz'd by [...]. A. 3. 3. Thais, and seems careful not to sully his Reputation. And Pamphilus in Hecyra re­solves rather to be govern'd by Duty, than Inclination. Hecyr. A. 3. 4.

[Page 147] Plautus's Pinacium tells her Friend Pa­negyric that they ought to acquit them­selves fairly to their Husbands, tho' These should fail in their Regards towards them. For all good People will do justice tho' they don't receive it. Lady Brute in the Stich. A. 1. 1. Provok'd Wife is govern'd by different maxims. She is debauch'd with ill Usage, says Virtue is an Ass, and a Gallant's worth p. 3. forty on't. Pinacium goes on to another Head of Duty, and declares that a Daugh­ter can never respect her Father too much, and that Disobedience has a great deal of scandal, and Lewdness in't. The Lady Stich. A. 1. 2. Jacinta as I remember does not treat her Father at this rate of Decency. Let us hear a little of her Behaviour. The Mock Astrologer makes the Men draw, and frights the Ladys with the Apprehension of a Quarrel. Upon this; Theodosia crys what will become of us! Jacinta answers, we'll die for Company: nothing vexes me but that I am not a Man, to have one thrust at that malicious old Father of mine, before I go. p. 60. Afterwards the old Gentleman Alonzo threatens his Daughters with a Nunnery. Jacinta spars again and says, I would have thee to know thou graceless old Man, that I defy a Nunnery: name a Nunnery once more and I disown thee for my Father. I could carry on the Comparison between the old Ibid. [Page 148] and Modern Poets somewhat farther. But this may suffice.

Thus we see what a fine time Lewd People have on the English Stage. No Cen­sure, no mark of Insamy, no Mortification must touch them. They keep their Ho­nour untarnish'd, and carry off the Advan­tage of their Character. They are set up for the Standard of Behaviour, and the Masters of Ceremony and Sense. And at last that the Example may work the better, they generally make them rich, and hap­py, and reward them with their own De­sires.

Mr. Dryden in the Preface to his Mock-Astrologer, confesses himself blamed for this Practise. For making debauch'd Per­sons his Protagonists, or chief Persons of the Drama; And for making them happy in the Conclusion of the Play, against the Law of Comedy, which is to reward Virtue, and pu­nish Vice. To this Objection He makes a lame Defence. And answers

1st. That he knows no such Law constantly observ'd in Comedy by the Antient or Modern Poets. What then? Poets are not always exactly in Rule. It may be a good Law tho' 'tis not constantly observ'd, some Laws are constantly broken, and yet ne're the worse for all that. He goes on, and pleads the Authorities of Plautus, and Terence. I grant there are Instances of [Page 149] Favour to vitious young People in those Authors, but to this I reply

1st. That those Poets had a greater com­pass of Liberty in their Religion. Debau­chery did not lie under those Discourage­ments of Scandal, and penalty, with them as it does with us. Unless therefore He can prove Heathenism, and Christianity the same, his precedents will do him little service.

2ly. Horace who was as good a judge of the Stage, as either of those Comedians, seems to be of another Opinion. He con­demns the obscenities of Plautus, and tells you Men of Fortune and Quality in his time; would not endure immodest Satir. De Art. Poet. 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. This is a demonstration that Vice was not Ibid. the Inclination of the Muses in those days; and that Horace beleiv'd the chief business of a Poem was, to Instruct the Audience. He adds farther that the Chorus ought to turn upon the Argument of the Drama, and support the Design of the Acts. That [Page 150] They ought to speak in Defence of Vir­tue, and Frugality, and show a Regard to Religion. Now from the Rule of the Chorus, we may conclude his Judgment for the Play. For as he observes, there must be a Uniformity between the Chorus and the Acts: They must have the same View, and be all of a Piece. From hence 'tis plain that Horace would have no im­moral Character have either Countenance or good Fortune, upon the Stage. If 'tis said the very mention of the Chorus shews the Directions were intended for Trage­dy. To this

I answer, that the Consequence is not good. For the use of a Chorus is not incon­sistent with Comedy. The antient Come­dians had it. Aristophanes is an Instance. I know 'tis said the Chorus was left out in that they call the New Comedy. But I can't see the conclusiveness of this Asser­tion. For Aristophanes his Plutus is New Comedy with a Chorus in't. And Aristotle [...]. Schol. who lived after this Revolution of the Stage, mentions nothing of the Omission of the Chorus. He rather supposes its con­tinuance by saying the Chorus was added by the Government long after the Invention of Comedy. 'Tis true Plautus and Terence Libr. de Poet. cap. 5. have none, but those before them proba­bly might. Moliere has now reviv'd them; [...]. [Page 151] And Horace might be of his Opinion, for ought wee know to the contrary.

Lastly. Horace having expresly men­tioned the beginning and progress of Co­medy, discovers himself more fully: He advises a Poet to form his Work upon the Precepts of Socrates and Plato, and the Models of Moral Philosophy. This was the way to preserve Decency, and to assign a proper Fate and Behaviour to every Character. Now if Horace would have his Poet govern'd by the Maxims of Ibid. Morality, he must oblige him to Sobriety of Conduct, and a just distribution of Re­wards, and Punishments.

Mr. Dryden makes Homewards, and endeavours to fortifie himself in Modern Authority. He lets us know that Ben Johnson after whom he may be proud to Err, gives him more than one example of this Conduct; That in the Alchemist is notorius, where neither Face nor his Master are Fref Mock-Astrol. corrected according to their Demerits. But how Proud soever Mr. Dryden may be of an Errour, he has not so much of Ben Jonson's company as he pretends. His Instance of Face &c. in the Alchemist is rather notorious against his Purpose then for it.

For Face did not Council his Master Lovewit to debauch the Widdow; neither [Page 152] is it clear that the Matter went thus far. He might gain her consent upon Terms of Honour for ought appears to the con­trary. 'Tis true Face who was one of the Principal Cheats is Pardon'd and con­sider'd. But then his Master confesses himself kind to a fault. He owns this Indulgence was a Breach of Justice, and unbecoming the Gravity of an old Man. And then desires the Audience to excuse him upon the Score of the Temptation. But Face continued in the Cousenage till the last without Repentance. Under favour I Ibid. conceive this is a Mistake. For does not Face make an Apology before he leaves the Stage? Does he not set himself at the Bar, arraign his own Practise, and cast the Cause upon the Clemency of the Com­pany? And are not all these Signs of the Dislike of what he had done? Thus care­ful the Poet is to prevent the Ill Impres­sions of his Play! He brings both Man and Master to Confession. He dismisses them like Malefactours; And moves for their Pardon before he gives them their Discharge. But the Mock-Astrologer has a gentler Hand: Wild-Blood and Jacinta are more generously used: There is no Acknowledgment exacted; no Hard­ship put upon them: They are permit­ted to talk on in their Libertine way to [Page 153] the Last: And take Leave without the least Appearance of Reformation. The Mock-Astrologer urges Ben Johnson's Silent Woman as an other Precedent to his pur­pose. For there Dauphine confesses him­self in Love with all the Collegiate Lady's. And yet this naughty Dauphine is Crowned in the end with the Possession of his Uncles Estate, and with the hopes of all his Mistresses. Ibid. This Charge, as I take it, is somewhat too severe. I grant Dauphine Professes himself in Love with the Collegiate Ladies at first. But when they invited him to a private Visit, he makes them no Promise; but rather appears tired, and willing to disengage. Dauphine therefore is not al­together so naughty as this Author repre­sents him.

Ben Johnson's Fox is clearly against Mr. Dryden. And here I have his own Con­fession for proof. He declares the Poets Essay of Drama­tick Po­etry. end in this Play was the Punishment of Vice, and the Reward of Virtue. Ben was forced to strain for this piece of Justice, and p. 28. break through the Unity of Design. This Mr. Dryden remarks upon him: How ever he is pleased to commend the Per­formance, and calls it an excellent Fifth Act.

Ben Johnson shall speak for himself af­terwards in the Character of a Critick; [Page 154] In the mean time I shall take a Testimo­ny or two from Shakespear. And here we may observe the admir'd Falstaffe goes off in Disappointment. He is thrown out of Favour as being a Rake, and dies like a Rat behind the Hangings. The Plea­sure he had given, would not excuse him. The Poet was not so partial, as to let his Humour compound for his Lewdness. If 'tis objected that this remark is wide of the Point, because Falstaffe is repre­sented in Tragedy, where the Laws of Justice are more strickly observ'd To this I answer, that you may call Henry the Fourth and Fifth, Tragedies if you please. But for all that, Falstaffe wears no Buskins, his Character is perfectly Co­mical from end to end.

The next Instance shall be in Flowerdale the Prodigal. This Spark notwithstan­ding his Extravagance, makes a lucky Hand on't at last, and marries up a rich [...]. Lady. But then the Poet qualifies him for his good Fortune, and mends his Man­ners with his Circumstances. He makes him repent, and leave off his Intemperance, Swearing &c. And when his Father warn'd him against a Relapse, He answers very soberly,

Heaven helping me I'le hate the Course of Hell.

[Page 155] I could give some instances of this kind out of Beaumount and Fletcher, But there's no need of any farther Quotation; For Mr. Dryden is not satisfied with his Apology from Authority: He does as good as own that this may be construed no better than defending one ill practise by another. To prevent this very reasonable objection he endeavours to vindicate his Precedents from the Reason of the Thing. To this pur­pose he makes a wide difference between the Rules of Tragedy and Comedy. That Vice must be impartially prosecuted in the first, be­cause the Persons are Great &c.

It seems then Executions are only for Greatness, and Quality. Justice is not to strike much lower than a Prince. Pri­vate People may do what they please. They are too few for Mischief, and too Little for Punishment! This would be admirable Doctrine for Newgate, and give us a general Goal-Delivery without more ado. But in Tragedy (says the Mock Astrologer.) the Crimes are likewise Hor­rid, so that there is a necessity for Severity and Example. And how stands the matter in Comedy? Quite otherwise. There the Faults are but the sallies of Youth, and the Frailties of Human Nature. For Ibid. Instance. There is nothing but a little Whoring, Pimping. Gaming, Profaness &c, And who could be so hard hearted [Page 156] to give a Man any Trouble for This? Such Rigours would be strangely Inhu­mane! A Poet is a better natur'd Thing I can assure you. These little Miscar­rages move Pity and Commiseration, and are not such as must of necessity be Punish'd. Ibid. This is comfortable Casuistry! But to be Serious. Is Dissolution of Manners such a Peccadillo? Does a Profligate Conscience deserve nothing but Commiseration? And are People damn'd only for Humane Frail­ties? I perceive the Laws of Religion and those of the Stage differ extreamly! The strength of his Defence lies in this choice Maxim, that the Cheif End of Comedy is Delight. He questions whether Instruction has any thing to do in Comedy; If it has, he is sure 'tis no more then its secondary end: For the business of the Poet is to make you laugh. Granting the Truth of this Prin­ciple, Ibid. I somewhat question the servicea­bleness of it. For is there no Diversion to be had unless Vice appears prosperous, and rides at the Head of Success. One would think such a preposterous, distri­bution of Rewards, should rather shock the Reason, and raise the Indignation of the Audience. To laugh without rea­son is the Pleasure of Fools, and against it, of something worse. The exposing of Knavery, and making Lewdness ridiculous, is a much better occasion for Laughter. [Page 157] And this with submission I take to be the End of Comedy. And therefore it does not differ from Tragedy in the End, but in the Means. Instruction is the princi­pal Design of both. The one works by Terror, the other by Insamy. 'Tis true, they don't move in the same Line, but they meet in the same point at last. For this Opinion I have good Authority, be­sides what has been cited already.

1st. Monsieur Rapin affirms ‘That De­light is the End that Poetry aims at, but not the Principal one. For Poetry being an Art, ought to be profitable by the qua­lity of it's own nature, and by the Essen­tial Subordination that all Arts should have to Polity, whose End in General is Rapin Re­flect. &c. p. 10. the publick Good. This is the Judg­ment of Aristotle and of Horace his chief Interpreter.’ Ben Johnson in his Dedica­tory Epistle of his Fox has somewhat con­siderable upon this Argument; And de­claims with a great deal of zeal, spirit, and good Sense, against the Licentiousness of the Stage. He lays it down for a Princi­ple, ‘That 'tis impossible to be a good Poet without being a good Man. That he (a good Poet) is said to be able to inform Young Men to all good Discipline, and enflame grown Men to all great Virtues &c.—That the general complaint was that the Writers of those days had no­thing [Page 158] remaining in them of the Dignity of a Poet, but the abused Name. That now, especially in Stage Poetry, nothing but Ribaldry, Profanation, Blasphemy, all Licence of Offence to God and Man, is practised. He confesses a great part of this Charge is over-true, and is sorry he dares not deny it. But then he hopes all are not embark'd in this bold Adventure for Hell. For my part (says he) I can, and from a most clear Conscience affirm; That I have ever trembled to think to­wards the least Profaness, and loath'd the Use of such foul, and unwash'd Bawdry, as is now made the Food of the Scene.—­The encrease of which Lust in Liberty, what Learned or Liberal Soul does not abhor? In whole Enterludes nothing but the Filth of the Time is utter'd—with Brothelry able to violate the Ear of a Pa­gan, and Blasphemy, to turn the Blood of a Christian to Water. He continues, that the Insolence of these Men had brought the Muses into Disgrace, and made Poetry the lowest scorn of the Age. He appeals to his Patrons the Universities, that his Labour has been heretofore, and mostly in this his latest Work, to reduce not only the antient Forms, but Manners of the Scene, the innocence and the Doc­trine, which is the Principal End of Poesy, [Page 159] to inform Men in the best Reason of Li­ving. Lastly he adds, that 'he has imi­tated the Conduct of the Antients in this Play, The goings out (or Conclusions) of whose Comedies, were not always joy­ful but oft-times the Bawds, the Slaves, the Rivals, ye and the Masters are mul­ted, and fitly, it being the Office of a Comick Poet (mark that!) to imitate Ju­stice, and Instruct to Life &c.’ Say you so! Why then if Ben Johnson knew any thing of the Matter, Divertisment and Laugh­ing is not as Mr. Dryden affirms, the Chief End of Comedy. This Testimony is so ve­ry full and clear, that it needs no ex­plaining, nor any enforcement from Rea­soning, and Consequence:

And because Laughing and Pleasure has such an unlimited Prerogative upon the Stage, I shall add a Citation or two from Aristotle concerning this Matter. Now this great Man ‘calls those Buffoons, and Impertinents, who rally without any regard to Persons or Things, to Decency, or good Manners. That there is a great difference between Ribaldry, and handsom Rallying. He that would perform ex­actly, must keep within the Character of Virtue, and Breeding. He goes on, and tells us that the old Comedians enter­tain'd the Audience with Smut, but the [Page 160] Modern ones avoided that Liberty, and grew more reserv'd. This latter way he says was much more proper and Gentile then the other. That in his Opinion Rallying, no less than Railing, ought to be under the Discipline of Law; That he who is ridden by his Jests, and minds nothing but the business of Laughing, is himself Ridiculous. And that a Man of Education and Sense, is so far from going Libr. 4. de. Morib. cap. 14. these Lengths that he wont so much as endure the hearing some sort of Buf­foonry.’

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, [Page 161] Knavery, we pay too much for't. Some Pleasures, are Childish and others abo­minable; And upon the whole, Pleasure, absolutely speaking, is no good Thing.’ De Mor. Lib. 10. cap. 2. And so much for the Philosopher. And because Ribaldry is used for Sport, a pas­sage or two from Quintilian, may not be unseasonable. This Orator does not only Condemn the grosser Instances, but cuts off all the Double-Entendre's at a Blow. He comes up to the Regularity of Thought, and tells us ‘that the Meaning, as well as the Words of Discourse must be unsullied.’ Institut; Lib. 6. c. 3. And in the same Chapter he adds that ‘A Man of Probity has always a Reserve in his Freedoms, and Converses within the Rules of Modesty, and Character.And that Mirth at the expence of Vir­tue, is an Over-purchase, Nimium enim risus pretium est si probitatis impendio con­stat.’

Thus we see how these great Masters qualify Diversion, and tie it up to Pro­visoes, and Conditions. Indeed to make Delight the main business of Comedy is an unreasonable and dangerous Principle. It opens the way to all Licentiousness, and Confounds the distinction between Mirth, and Madness. For if Diversion is the Chief End, it must be had at any Price, No serviceable Expedient must be refused, [Page 162] tho' never so scandalous. And thus the worst Things are said, and the best abus'd; Religion is insulted, and the most serious Matters turn'd into Ridicule! As if the Blindside of an Audience ought to be caress'd, and their Folly and Atheism en­tertain'd in the first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is Poyson'd! For can one die of an easier Disease than Diversion? But Raillery a­part, certainly Mirth and Laughing, with­out respect to the Cause, are not such supreme Satisfactions! A man has some­times Pleasure in losing his Wits. Fren­sy, and Possession, will shake the Lungs, and brighten the Face; and yet I suppose they are not much to be coveted. How­ever, now we know the Reason of the Profaness, and Obscenity of the Stage, of their Hellish Cursing, and Swearing, and in short of their great Industry to make God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make People Laugh! A most admirable justifi­cation! What can be more engaging to an Audience, then to see a Poet thus A­theistically brave? To see him charge up to the Canons Mouth, and defy the Ven­geance of Heaven to serve them? Besides, there may be somewhat of Convenience in the Case. To fetch Diversion out of [Page 163] Innocence is no such easy matter. There's no succeeding it may be in this method, without Sweat, and Drudging. Clean Wit, inoffensive Humour, and handsom Contrivance, require Time, and Thought. And who would be at this Expence, when the Purchase is so cheap another way? 'Tis possible a Poet may not alwaies have Sense enough by him for such an Occa­sion. And since we are upon supposals, it may be the Audience is not to be gain'd without straining a Point, and giving a Loose to Conscience: And when People are sick, are they not to be Humour'd? In fine, We must make them Laugh, right or wrong, for Delight is the Cheif End of Comedy. Delight! He should have said Debauchery: That's the English of the Word, and the Consequence of the Pra­ctise. But the Original Design of Comedy was otherwise: And granting 'twas not so, what then? If the Ends of Things are naught, they must be mended. Mis­chief is the Chief end of Malice, would it be then a Blemish in Ill Nature to change Temper, and relent into Goodness? The Chief End of a Madman it may be is to Fire a House, must we not then bind him in his Bed? To conclude. If De­light without Restraint, or Distinction, without Conscience or Shame, is the Su­pream [Page 164] Law of Comedy, 'twere well if we had less on't. Arbitrary Pleasure, is more dangerous than Arbitrary Power. No­thing is more Brutal than to be aban­don'd to Appetite; And nothing more wretched than to serve in such a Design. The Mock-Astrologer to clear himself of this Imputation, is glad to give up his Principle at Last. Least any Man should think (says He) that I write this to make Libertinism amiable, or that I cared not to debase the end, and Institution of Comedy. (It seems then Delight is not the Chief end.) I must farther declare that we make not Vitious Persons Happy, but only as Hea­ven makes Sinners so. &c. If this will hold, all's well. But Heaven does not forgive without Repentance. Let us see then what Satisfaction he requires from his Wild-Blood, and what Discipline he puts him under. Why, He helps him to his Mistress, he Marries him to a Lady of Birth and Fortune. And now do you think He has not made him an Example, and punish'd him to some Purpose! These are frightful Severities! Who would be vitious when such Terrors hang over his Head? And does Heaven make Sinners happy upon these Conditions? Sure some People have a good Opinion of Vice, or a very ill one of Marriage, otherwise they [Page 165] would have Charged the Penance a lit­tle more. But I have nothing farther with the Mock-Astrologer.

And now for the Conclusion of a Chap­ter, I shall give some Instances of the Manners of the Stage, and that with re­spect to Poetry, and Ceremony. Manners in the Language of Poetry, is a Propriety of Actions, and Persons. To succeed in this business, there must always be a re­gard had to Age, Sex, and Condition: And nothing put into the Mouths of Per­sons which disagrees with any of these Cir­cumstances. 'Tis not enough to say a witty Thing, unless it be spoken by a likely Person, and upon a Proper occa­sion. But my Design will lead me to this Subject afterwards, and therefore I shall say no more of it at present, but proceed to apply the Remark.

One Instance of Impropriety in Manners both Poetical and Moral, is their ma­king Women, and Women of Quality talk Smuttily. This I have proved upon them already, and could cite many more places to the same Purpose were it ne­cessary.

But I shall go on, and give the Rea­der some other examples of Decency, Judgment, and Probability. Don-Sebas­tian will help us in some measure. Here [Page 166] the Mufti makes a foolish Speech to the Rabble, and jests upon his own Religi­on. He tells them, tho' your Tyrant is a Lawful Emperour, yet your Lawful Empe­rour is but a Tyrant,—That your Empe­rour is a Tyrant is most Manifest, for you were born to be Turks, out he has play'd the Turk with you. And now is not this Man p. 85 sit to Manage the Alcoran, and to be set up for on Oracle of State? Captain Tom should have had this Speech by right: But the Poet had a farther Design, and any thing is good enough for a Mufti.

Sebastian after all the violence of his Repentance, his grasping at self Murther, and Resolutions for the Cell, is strangely pleased with the Remembrance of his In­cest, and wishes the Repetition of it: And Almeida out of her Princely Modesty, and singular Compunction, is of the same mind. This is somewhat surprising! [...]. Oedipus and Jocasta in Sophocles don't Re­pent at this rate. No: The horror of the first Discovery continues upon their Spirits: They never relapse into any fits of Intemperance, nor entertain them­selves with a lewd Memory. This sort of Behaviour is not only more Instructive but more Natural too. It being very un­likely one should wish the Repeating a Crime, when He was almost Distracted [Page 167] 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 p. 32. much eagerness, is somewhat Unusual.

If we step to the Spanish Fryar He will afford us a Flight worth the observing. 'Tis part of the Addresses of Torrismond to Leonora.

These are strange Compliments! Tor­rismond calls his Queen Rebel to her head, when he was both her General and her Lover. This is powerful Rhetorick to Court a Queen with! Enough one would think to have made the Affair desperate. But he has a Remedy at hand. The Poets Nostrum of Profaness cures all. He does as good as tell Her, she may Sin as much as she has a mind to. Her Face is a Protection to her Conscience. For [Page 168] Heaven is under a necessity to forgive a Handsom Woman. To say all this ought to be pass'd over in Torrismond on the score of his Passion, is to make the Excuse more scandalous than the Fault, if possible. Such Raptures are fit only for Bedlam, or a place which I shan't name. Love Triumphant will furnish another Rant not altogether inconsiderable. Here Celadea a Maiden Lady when she was afraid her Spark would be married to another, calls out presently for a Chaos. She is for pulling the World about her ears, tumbling all the Elements together, and expostulates with Heaven for making Humane Nature otherwise than it should have been.

Now to my fancy, if she had call'd for a Chair instead of a Chaos, trip'd off, and kept her folly to her self, the Woman had been much wiser. And since we have shown our Skill in vaulting on the High Ropes, a little Tumbling on the Stage, may not do amiss for variety.

Now then for a jest or two. Don Go­mez Spanish Fryar. p. 36. shall begin: And here he'le give us [Page 169] a Gingle upon the double meaning of a word.

I think, says Dominick the Fryar, it was my good Angel that sent me hither so opportunely. Gomez suspects him brib'd for no credi­table business and answers.

Gom.Ay, whose good Angels sent you hi­ther, that you know best Father.

These Spaniards will entertain us with more of this fine Raillery. Colonel San­cho in Love Triumphant has a great stroak at it. He says his Bride Dalinda is no more Dalinda, but Dalilah the Philistine. p 70. This Colonel as great a Soldier as he is, is quite puzzled at a Herald. He thinks they call him Herod, or some such Jewish Name. Here you have a good Officer p 61. spoil'd for a miserable jest. And yet af­ter all, this Sancho tho' he can't pronounce Herald, knows what 'tis to be Laconick, which is somewhat more out of his way. Thraso in Terence was a man of the same Enuch. size in Sense, but for all that he does not quibble. Albanact Captain of the Guards, King Arth. p. 2. is much about as witty as Sancho. It seems Emmeline Heiress to the Duke of Cornwal was Blind. Albanact takes the rise of his Thought from hence; And observes that as Blind as she is, Coswald would have no blind Bargain of her. Car­los tells Sancho he is sure of his Mistress, Love Tri­um. p. 26. [Page 170] and has no more to do but to take out a License.

Sancho replies, Indeed I have her License for it. Carlos is somewhat angry at this Gingle, and cries, what quibling too in your Prosperity? Adversity it seems is the only time for punning. Truly I think so too. For 'tis a sign a Man is much Distress'd when he flies to such an Expedient. How­ever, Carlos needed not to have been so touchy: For He can stoop as low him­self upon occasion. We must know then that Sancho had made Himself a Hunch'd Back, to counterfeit the Conde Alonzo. The two Colonels being in the same Disguise, were just upon the edg of a Quarrel. After some Preliminaries in Railing, Sancho cries, Don't provoke me; I am mischeivously bent.

Carlos replies, Nay, you are Bent enough in Conscience, but I have a Bent Fist for Boxing. Here you have a brace of Quib­bles started in a Line and a half. And which is worst of all, they come from Carlos, from a Character of Sense; And therefore the Poet, not the Soldier, must an­swer for them.

I shall now give the Reader a few In­stances of the Gourtship of the Stage, and how decently they treat the Women, and Quality of both Sexes. The Women who [Page 171] are secured from Affronts by Custom, and have a Privilege for Respect, are sometimes but roughly saluted by these Men of Address. And to bar the Defence, this Coarseness does not alwaies come from Clowns, and Women-haters; but from Persons of Figure, neither singular, nor ill Bred. And which is still worse, The Satir falls on blindly without Di­stinction, and strikes at the whole Sex.

Enter Raymond a Noble-man in the p. 47. Spanish Fryar.

I did not know before that a Man's Dross lay in his Ribs; I believe some­times it lies Higher. But the Philosophy, the Religion, and the Ceremony of these Lines, are too tender to be touched. Creon Oedip. p. 3. a Prince in Oedipus, railes in General at the Sex, and at the same time is violent­ly in Love with Euridice. This upon the Matter, is just as natural, as 'tis Civil. If any one would understand what the Curse of all tender hearted Women is, Bel­mour will inform him. What is it then?

[Page 172] 'Tis the Pox. If this be true, the Wo­men Old Batch. p. 41. had need lay in a stock of ill Nature betimes. It seems 'tis their only preser­vative. It guards their Virtue, and their Health, and is all they have to trust to. Sharper another Man of Sense in this Play, talks much at the same rate. Belinda would know of him where he got that ex­cellent Talent of Railing?

Sharp.Madam the Talent was Born with me.—I confess I have taken care to im­prove it, to qualisie me for the Society of p. 35. Ladies. Horner, a Topping Character in the Country Wife, is advised to avoid Wo­men, and hate them as they do him. He Answers.

Because I do hate them, and would hate them yet more, I'll frequent e'm; you may see by Marriage, nothing makes a Man hate a Woman more than her Constant Conver­sation. There is still something more Coarse p. 22. upon the Sex spoken by Dorax but it is a Don Sebast. p 5. privileged Expression, and as such I must leave it. The Relapse mends the Contri­vance of the Satir, refines upon the Man­ner, and to make the Discourse the more probable, obliges the Ladies to abuse themselves. And because I should be loath to tire the Reader, Berinthia shall close the Argument. This Lady having under­took [Page 173] the Employment of a Procuress, makes this remark upon it to her self.

Berinth.So here is fine work! But there was no avoiding it.—Besides, I begin to Fancy there may be as much Pleasure in carrying on another Bodies Intrigue, as ones own. This is at least certain, It ex­ercises almost all the Entertaining Faculties of a Woman. For there is Employment for Hypocrisie, Invention, Deceit, Flattery, Mischief, and Lying.

Let us now see what Quarter the Stage gives to Quality. And here we shall find them extreamly free, and familiar. They dress up the Lords in Nick Names, and expose them in Characters of Contempt. Double Dealer. Person. Dram. Relapse. Provok'd Wife. Lord Froth is explain'd a Solemn Coxcomb; And Lord Rake, and Lord Foplington give you their Talent in their Title. Lord Plausible in the Plain Dealer Acts a ri­diculous Part, but is with all very civil. He tells Manly he never attempted to abuse any Person, The other answers; What? p. 4. you were afraid? Manly goes on and de­clares He would call a Rascal by no other Title, tho' his Father had left him a Dukes. That p. 2. is, he would call a Duke a Rascal. This I confess is very much Plain Dealing. Such Freedoms would appear but odly in Life, especially without Provocation. I must own the Poet to be an Author of [Page 174] good Sense; But under favour, these jests, if we may call them so, are somewhat high Season'd, the Humour seems over­strain'd, and the Character push'd too far. To proceed. Mustapha was selling Don Alvarez for a Slave. The Merchant asks what Virtues he has. Mustapha replies. Don Sebast. p. 16. Virtues quoth ah! He is of a great Family and Rich, what other Virtues would'st thou have in a Nobleman? Don Carlos in Love Triumphant stands for a Gentleman, and a Man of Sense, and out-throws Musta­pha a Bars Length. He tells us Nature has given Sancho an empty Noddle, but Fortune in revenge has fill'd his Pockets: p. 17. just a Lords Estate in Land and Wit. This is a handsom Compliment to the Nobi­lity! And my Lord Salisbury had no doubt of it a good Bargain of the Dedication. Don Quix. part. 2. p. 37. Teresa's general Description of a Countess is considerable in its Kind: But only 'tis in no Condition to appear. In the Re­lapse, Sir Tunbelly who had Mistaken Young Fashion for Lord Foplington, was after­wards undeceiv'd; and before the sur­prize was quite over, puts the Question, is it then possible that this should be the true Lord Foplington at last? The Nobleman removes the scruple with great Civility and Discretion! Lord Fopl. Why what do you see in his Face to make you doubt of [Page 175] 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. Relapse. p. 84.

I'm sorry to hear Modern Quality de­generates so much. But by the way, these Liberties are altogether new. They are unpractised by the Latin Comedians, and by the English too till very lately, as the p. 24. Plain Dealer observes. And as for Moliere in France, he pretends to fly his Satir no higher than a Marquis. L' Ombre de Moliere

And has our Stage a particular Privi­lege? Is their Charter inlarg'd, and are they on the same Foot of Freedom with the Slaves in the Saturnalia? Must all Men be handled alike? Must their Roughness be needs play'd upon Title? And can't they lash the Vice without pointing upon the Quality? If as Mr. Dryden rightly defines it, a Play ought to be a just Image of Humane Nature; EssayDram poet. p. 5. Why are not the Decencies of Life, and the Respects of Conversation observ'd? Why must the Customes of Countries be Cross'd upon, and the Regards of Ho­nour overlook'd? What necessity is there to kick the Coronets about the Stage, and to make a Man a Lord, only in order to [Page 176] make him a Coxcomb. I hope the Poets don't intend to revive the old Project of Levelling, and Vote down the House of Peers. In earnest, the Play-house is an admirable School of Behaviour! This is their way of managing Ceremony, distinguishing Degree, and Entertaining the Boxes! But I shall leave them at present to the En­joyment of their Talent, and proceed to another Argument.

HAving in the foregoing Chapters dis­cover'd some part of the Disorders of the English Stage; I shall in this Last, present the Reader with a short View of the Sense of Antiquity, To which I shall add some Modern Authorities; From all which it will appear that Plays have ge­nerally been look'd on as the Nurseries of Vice, the Corrupters of Youth, and the Grievance of the Country where they are suffer'd.

This proof from Testimony shall be ranged under these three Heads.

Under the First, I shall cite some of the most celebrated Heathen Philosophers, Orators, and Historians; Men of the big­gest Consideration, for Sense, Learning, and Figure. The

Second, Shall consist of the Laws and Constitutions of Princes, &c. The

Third, Will be drawn from Church- Re­cords, from Fathers, and Councils of unex­ceptionable [Page 234] Authority, both as to Persons, and Time.

Ist. I shall produce some of the most celebrated Heathen Philosophers &c. To begin with Plato. This Philosopher tells us that ‘Plays raise the Passions, and per­vert Plat. de Repub. Lib. 10. Euseb. Praepar. Evarg. the use of them, and by consequence are dangerous to Morality. For this Reason he banishes these Diversions his Common-Wealth.’

Xenophon who was both a Man of Let­ters and a great General, commends the Persians for the Discipline of their Edu­cation. Cyropaed. p. 34. ‘They won't (says he) so much as suffer their Youth to hear any thing that's Amorous or Tawdry.’ They were afraid want of Ballast might make them miscarry, and that 'twas dangerous to add weight to the Byass of Na­ture.

Aristotle lays it down for a Rule ‘that the Law ought to forbid Young People the seeing of Comedies. Such permissions Polit. Lib. 7. cap. 1 [...] 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.’ This Philosopher who had look'd as far into Humane Nature as any Man, observes Polit. Lib. 8. farther. ‘That the force of Musick and Action is very affecting. It commands the Audience and changes the Passions to [Page 235] a Resemblance of the Matter before them.’ So that where the Representation is foul, the Thoughts of the Company must suffer.

Tully crys out upon ‘Licentious Plays Tusc. Quest. Lib. 4. De Leg. Lib. 1. and Poems, as the bane of Sobriety, and wise Thinking: That Comedy subsists upon Lewdness, and that Pleasure is the Root of all Evil.’

Livy, reports the Original of Plays a­mong the Romans. ‘He tells us they were brought in upon the score of Re­ligion, to pacifie the Gods, and remove a Mortality. But then He adds that the Motives are sometimes good, when the Means are stark naught: That the Re­medy Dec. 1. Lib. 7. in this case was worse than the Disease, and the Atonement more Infec­tious then the Plague.’

Valerius Maximus, Contemporary with Livy, gives much the same Account of the rise of Theatres at Rome. ‘'T was De­votion which built them. And as for the Performances of those Places, which Mr. Dryden calls the Ornaments, this Au­thor censures as the Blemishes of Peace.’ And which is more, He affirms ‘They were the Occasions of Civil Distractions; And that the State first Blush'd, and then Bled, for the Entertainment. He Lib. 2: cap. 4. concludes the consequences of Plays in­tolerable; [Page 236] And that the Massilienses did well cap. 6. in clearing the Country of them. Seneca complains heartily of the Extravagance and Debauchery of the Age: And how forward People were to improve in that which was naught. That scarce any Body would apply themselves to the Study of Nature and Morality, unless when the Play-House was shut, or the Weather foul. That there was no body to teach Philosophy, because there was no body to Learn it: But that the Stage had Nur­series, and Company enough. This Mis­application of time and Fancy, made Knowledge in so ill a Condition. This was the Cause the Hints of Antiquity were no better pursued; that some In­ventions were sunk, and that Humane Reason grew Downwards rather than Natural Quest. Lib. 7. cap. 32. otherwise. And elswhere he avers that there is nothing more destructive to Good Manners then to run Idling to see Sights. For there Vice makes an insensible Ap­proach, Epist. 7. and steals upon us in the Dis­guise of pleasure.’

‘Tacitus relating how Nero hired de­cay'd Gentlemen for the Stage, com­plains A [...]al. Lib. 14. cap. 14. of the Mismanagement; 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 [Page 237] have set them above an ill practise, than driven them apon't.’

And in another place, He informs us that ‘the German Women were Guard­ed against danger, and kept their Honour De Mor. German! cap. 19. out of Harms way, by having no Play-Houses amongst them.’

Plays, in the Opinion of the Judicious Symposiac. Lib. 7. De Audi­end Poet. p. 15. Ed. par. Plutark are dangerous to corrupt Young People; And therefore Stage Poetry when it grows too hardy, and Licentious, ought to be checkt. This was the Opi­nion of these Celebrated Authors with respect to Theatres: They Charge them with the Corruption of Principles, and Manners, and lay in all imaginable Cau­tion against them. And yet these Men had seldom any thing but this World in their Scheme; and form'd their Judg­ments only upon Natural Light, and Com­mon Experience. We see then to what sort of Conduct we are oblig'd. The case is plain; Unless we are little enough to re­nounce our Reason, and fall short of Phi­losophy, and live under the Pitch of Hea­thenism.

To these Testimonies I shall add a Couple of Poets, who both seem good Judges of the Affair in Hand.

The first is Ovid, who in his Book De Arte Amandi, gives his Reader to under­stand [Page 238] that the Play-House was the most likely Place for him to Forage in: Here would be choice of all sorts: Nothing be­ing more common than to see Beauty sur­priz'd, Women debauch'd, and Wenches Pick'd up at these Diversions.

And afterwards relating the imperfect beginning of Plays at the Rape of the Sa­bine Virgins, he adds,

This Author sometime after wrote the Remedy of Love. Here he pretends to Pre­scribe for Prudence, if not for Sobriety. And to this purpose, He forbids the see­ing of Plays, and the reading of Poets, especially some of them. Such Recreations being apt to seed the Distemper, and make the Patient relapse.

In his De Tristibus, He endeavours to make some Amends for his scandalous Poems, and gives Augustus a sort of Plan for a Publick Reformation. Amongst other Things, he advises the suppressing of Plays, as being the promoters of Lewdness, and Dissolution of Manners.

To the Testimony of Ovid, I could add Plautus, Propertius, and Juvenal, but being not willing to overburthen the Rea­der, I shall content my self with the Plain-Dealer as one better known at Home.

This Poet in his Dedication to Lady B, some Emiment Procuress, pleads the Me­rits of his Function, and insists on being Billeted upon free Quarter. Madam (says he) I think a Poet ought to be as free of [Page 240] your [...] Play-Houses: since he contributes to the support of both, and is as necessary to such as you, as the Ballad­singer 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. Ep. Ded. This is franck Evidence, and ne're the less true, for the Air of a Jest.

I shall now in the Second

Place proceed to the Censures of the State; And show in a few Words how much the Stage stands discouraged by the Laws of other Countrys and our own.

To begin with the Athenians. This Plut. De Glor. A­theniens. People tho' none of the worst Friends to the Play-House ‘thought a Comedy so un­reputable a Performance, that they made a Law that no Judge of the Ariopagus should make one.’

The Lacedemonians, who were remark­able Plut. La­con Insti­tut. for the Wisdom of their Laws, the Sobriety of their Manners, and their Bree­ding of brave Men. This Government would not endure the Stage in any Form, nor under any Regulation.

To pass on to the Romans. Tully in­forms Cic. de Re­pub. Lib. 4. cited by, St. Augu­stine. Libr. 2. de. ci [...]. dei. cap. 13. us that ‘their Predecessours counted all Stage-Plays uncreditable and Scanda­lous. In so much that any Roman who turn'd Actor was not only to be Degraded, but likewise as it were disincorporated, [Page 241] and unnaturalized by the Order of the Censors.’

St. Augustine in the same Book, com­mends L [...] 2. cap. 29. the Romans for refusing the Jus Ci­vitatis to Players, for seizing their Freedoms, and making them perfectly Foreign to their Government.

We read in Livy that the Young Peo­ple Dec. 1. Libr. 7. in Rome kept the Fabulae Attellanae to themselves. ‘They would not suffer this Diversion to be blemish'd by the Stage. For this reason, as the Historian observes, Ab Ilistri­onibus Pol­lui. the Actors of the Fabulae Atellanae were neither expell'd their Tribe, nor refused to serve in Arms; Both which Penalties it ap­pears the Common Players lay under.’

In the Theodosian Code, Players are call'd Personae inhonestae; that is, to Translate it XV. Cod. Theod. Tit. vii. p. 375. softly, Persons Maim'd, and Blemish'd in their Reputation. Their Pictures might be seen at the Play-House, but were not permitted to hang in any creditable Place of the Town, Upon this Text Gothofred tells us the Function of Players was counted scandalous in loco Ho­nesto. by the Civil Law. L. 4. And turpe mu­nus. that those who came upon the Stage to di­vert the people, had a mark of Infamy set upon them. Famosi sunt ex Edicto. L. 1. §. 6. de his qui notantur infamia. Gothofred. Ibid. p. 376.

I shall now come down to our own Constitution. And I find by 39. Eliz. cap. 4. 1. Jae. cap. 7. That [Page 242] all Bearwards, Common Players of Enterludes, Counterfeit Egyptians &c. shall be taken, ad­judged and deem'd Rogues, Uagabonds, and slur­dy beggars, and shall sustain all pain and Punish­ment, as by this Act is in that behalf appointed. The Penalties are infamous to the last de­gree, and Capital too, unless they give o­ver. 'Tis true, the first Act excepts those Players which belong to a Baron or other Perso­nage of higher Degree, and are authorized to Play under the hand and Seal of Aimes of such Baron, or Personage. But by the later Statute this Privilege of Licensing is taken away: And all of them are expresly brought under the Penalty without Distinction.

About the Year 1580, there was a Pe­tition made to Queen Elizabeth for sup­pressing of Play-Houses. 'Tis somewhat remarkable, and therefore I shall tran­scribe some part of the Relation.

Many Godly Citizens, and other well dis­posed Gentlemen of London, considering that Play-Houses and Dicing-Houses, were Traps for Young Gentlemen and others, and per­ceiving the many Inconveniencies and great damage that would ensue upon the long suf­fering of the same, not only to particular Persons but to the whole City; And that it would also be a great disparagement to the Governours, and a dishonour to the Govern­ment of this Honourable City, if they should [Page 243] any longer continue, acquainted some Pious Magistrates therewith, desiring them to take some Course for the suppression of Common Play-Houses, &c. within the City of London and Liberties thereof; who thereupon made hum­ble suit to Queen Elizabeth and her Privy Council, and obtain'd leave of her Majesty to thrust the Players out of the City, and to Rawlidge his Monster, lately found out, &c. p. 2, 3, 4. pull down all Play-Houses, and Dicing-Houses within their Liberties, which accor­dingly was effected. And the Play-Houses in Grace-Church-street &c. were quite put down and suppress'd.

I shall give a Modern Instance or two Gazett Roterdam: Dec. 20. Paris. from France, and so conclude these Autho­rities.

In the Year 1696. we are inform'd by a Dutch Print, M. L' Archevéque appuyé &c. ‘That the Lord Arch-Bishop support'd by the interest of some Reli­gious Persons at Court, has done his ut­most to suppress the Publick Theatres by degrees; or at least to clear them of Profaness.’

And last Summer the Gazetts in the Paris Article affirm. ‘That the King has order'd the Italian Players to retire out French Amsterdam Harlem Gazetts. Paris, May. 17. 1697. of France because they did not observe his Majesties Orders, but represented im­modest Pieces, and did not correct their Obscenities, and indecent Gestures.’

[Page 244] The same Intelligence the next week af­ter, acquaints us ‘that some Persons of the first Quality at Court, who were the Protectors of these Comedians, had so­licited the French King to recal his Or­der against them, but their Request had no success.’

And here to put an end to the Modern Authorities, I shall subjoyn a sort of Pa­storal Letter publish'd about two years since by the Bishop of Arras in Flanders. The Reader shall have as much of it as concerns him in both Languages.