A SHORT

VIEW

OF THE

Immorality, and Profaneness

OF THE

English Stage,

TOGETHER

With the Sence of Antiquity
upon this Argument,

By JEREMY COLLIER, M.A.

London, Printed for S. Keble at the Turk's-Head
in Fleetstreet, R. Sare at Gray's-Inn-Gate,
and H. Hindmarsh against the Exchange in
Cornhil. 1698.

THE

PREFACE

Being convinc'd that nothing has gone farther in Debauching the Age than the Stage Poets, and Play-House, I thought I could not employ my time better than in writing against them. These Men sure, take Vertue and Regularity, for great Enemies, why else is their Disaffection so very Remarkable? It must be said, They have made their Attack with great Courage, and gain'd no inconsiderable Advantage. But it seems Lewdness without Atheism, is but half their Business. Conscience might possibly recover, and Revenge be thought on; and therefore like Foot-Pads, they must not only Rob, but Murther. To do them right their Measures are Politickly taken: To make sure work on't, there's nothing like Destroying of Principles; Practise must follow of Course. For to have no good Principles, is to have no Reason to be Good. Now 'tis not to be expected that people should check their Appetites, and balk their Satisfactions, they don't know why. If Virtue has no Prospect, 'tis not worth the owning. Who would be troubled with Conscience if 'tis only a Bugbear, and has nothing in't but Vision, and the Spleen?

My Collection from the English Stage, is much short of what They are able to furnish. An Inventory of their Ware-House would have been a large Work: But being afraid of over charging the Reader, I thought a Pattern might do.

In Translating the Fathers, I have endeavour'd to keep close to their Meaning: However, in some few places, I have taken the Liberty of throwing in a Word or two; To clear the Sense, to preserve the Spirit of the Original, and keep the English upon its Legs.

There's one thing more to acquaint the Reader with; 'Tis that I have Ventured to change the Terms of Mistress and Lover, for others somewhat more Plain, but much more Proper. I don't look upon This as any failure in Civility. As Good and Evil are different in Themselves, so they ought to be differently Mark'd. To confound them in Speech, is the way to confound them in Practise. Ill Qualities ought to have ill Names, to prevent their being Catching. Indeed Things are in a great measure Govern'd by Words: To Guild over a foul Character, serves only to perplex the Idea, to encourage the Bad, and mislead the Unwary. To treat Honour, and Infamy alike, is an injury to Virtue, and a sort of Levelling in Morality. I confess, I have no Ceremony for Debauchery. For to Compliment Vice, is but one Remove from worshipping the Devil.

March 5th. 16978.

THE

CONTENTS.

CHAP. I.
The Introduction.	Page [1]
The Immodesty of the Stage.	p. [3]
The Ill Consequences of this Liberty.	p. [5]
Immodesty a Breach of good Behaviour.	p. [6]
The Stage faulty in this respect to a very Scandalous degree.	p. [8]
Modesty the Character of Women.	p. [9]
The Natural Serviceableness of this Quality.	p. [11]
Immodesty much more insufferable, under the Christian, than under the Heathen Religion.	p. [14]
The Roman, and Greek Theatres more inoffensive than the English.	p. [15]
This proved from Plautus.	Ibid.
From Terence.	p. [20]
From Seneca's Tragedies.	p. [25]
The Comparison carried on to the Theatre at Athens.	Ibid.
A short Character of Æschylus.	p. [26]
The Cleaness of his Expression.	p. [27]
The Genius and Conduct of Sophocles.	p. [28]
The Sobriety of his Plays.	p. [29]
Euripides's Character distinguished from the two former.	p. [30]
The Reserv'dness of his Stile.	p. [31]
All Humours not fit for Representation.	p. [35]
A Censure of Aristophanes.	p. [36]
Aristophanes his Testimony against himself.	p. [48]
The Authorities of Ben. Johnson. Beaumont & Fletcher. And Corneille. against the present Stage.	p. [51] p. [52] p. [53]
CHAP. II.
The Prophaneness of the Stage.
This Charge prov'd upon them,
I. By their Cursing and Swearing.	p. [57]
The English Stage formerly less hardy in this respect.	Ibid.
The provokingness of this Sin.	p. [58]
This Offence punishable by Law, and how far.	p. [59]
Swearing in the Play House an Un-Gentlemanly, as well as an Un-Christian practise.
A Second Branch of the Profaness of the Stage, consisting in their Abuse of Religion, and the Holy Scriptures.	p. [60]
Instances of this Liberty in the Mock Astrologer.	Ib.
In the Orphan.	p. [62]
In the Old Batchelour, and Double Dealer.	p. [63], [64]
In Don Sebastian.	p. [65]
Breif Remarks upon a Passage or two in the Dedications of Aurenge Zebe, and the Translation of Juvenal.	p. [66], [69]
Farther Instances of Profaneness in Love Triumphant.	p. [72]
In Love for Love.	p. [74]
In the provok'd Wife.	p. [77]
And in the Relapse.	p. [78]
The Horrid Impiety of this Liberty.	p. [80]
The Stage guilty of down right Blasphemy.
This Charge made good from several of the Plays above mention'd.	p. [82]
The Comparative Regularity of the Heathen Stage, exemplyfied in Terence, and Plautus.	p. [86]
And in the Greek Tragedians.	p. [87]
Seneca more exceptionable than the Greeks, but not so faulty as the Modern Stage.	p. [94]
This outraging of Religion Intolerable.	p. [95]
CHAP. III.
The Clergy abused by the Stage.	p. [98]
This Usage both And Unpresidented. Unreasonable.	p. [112] p. [127]
The Misbehaviour of the Stage upon this account.	p. [138]
CHAP. IV.
Immorality encouraged by the Stage.	p. [140]
The Stage Poets make Libertines their Top-Characters, and give them Success in their Debauchery.	p. [142]
A Character of their fine Gentleman.	p. [143]
Their fine Ladies Accomplish'd much after the same manner.	p. [146]
The Young People of Figure in Plautus and Terence, have a greater regard to Morality.	Ibid.
The Defence in the Preface to the Mock-Astrologer, not sufficient.	p. [148]
The Christian Religion makes a great difference in the Case.	p. [149]
Horace of a Contrary Opinion to the Mock-Astrologer.	p. [150]
The Mock-Astrologer's Instances from Ben Johnson Unserviceable.	p. [151]
The Authority of Shakespear against the Mock-Astrologer.	p. [154]
His Maxim founded on the difference between Tragedy, and Comedy, a Mistake.	p. [155]
Delight not the Chief-End of Comedy.	p. [157]
This Assertion prov'd against the Mock-Astrologer from the Testimonies of Rapin.	Ibid.
And Ben Johnson.	p. [158]
Aristotle, and Quintilian, cited to the same purpose	p. [159], [161]
To make Delight the main Business in Comedy, dangerous, and unreasonable.	p. [162]
The improper Conduct of the Stage with respect to Poetry, and Ceremony.	p. [165]
Extravagant Rants.	p. [167]
Gingles in the Spanish Fryar, King Arthur, and Love Triumphant.	p. [169]
Women roughly treated by the Stage.	p. [171]
Their coarse Usage of the Nobility.	p. [173]
These Freedoms peculiar to the English Stage.	p. [175]
CHAP. V.
SECT. I.
Remarks upon Amphytrion.	p. [177]
The Machines prophane, smutty, and out of the Character.	p. [178]
The singularity of the Poet in this point.	p. [180]
Blasphemy in Absalom and Achitophel.	p. [184]
A Poem upon the Fall of the Angels, call'd a Fairy way of Writing.	p. [189]
The Punishment of the Damned ridiculed.	p. [192]
SECT. II.
Remarks on the Comical History of Don Quixot.	p. [196]
The Poets horrible Prophaneness.	p. [197]
His want of Modesty, and Regard to the Audience.	p. [202]
All Imitations of Nature not proper for the Stage.	p. [204]
The Poets Talent in Raillery, and Dedication.	p. [205]
SECT. III.
Remarks on the Relapse.	p. [209]
A Misnommer in the Title of the Play.	p. [210]
The Moral Vitious.	p. [211]
The Plot ill Contriv'd.	p. [212]
The Manners or Characters out of Order.	p. [218]
The three Dramatick Unities broken.	p. [228]
CHAP. VI.
The Opinion of the Heathen Philosophers, Orators, and Historians, concerning the Stage.	p. [233]
The Stage censured by the State. This proved from the Constitutions of Athens, Sparta, and Rome.	p. [240]
Farther Instances of this publick Discountentance in the Theodosian Code.	p. [241]
In our own Statute Book.	p. [242]
And in the late Order of the French King.	p. [243]
An Order of the Bishop of Arras against Plays.	p. [245]
The Stage Condemn'd by the Primitive Church.	p. [250]
The Councils of Illiberis, Arles, &c. cited.	Ibid.
The Testimony's of the Fathers against the Stage, particularly, of Theophilus Antiochenus.	p. [252]
Of Tertullian.	p. [253]
Of Clemens Alexandrinus.	p. [260]
Of Minutius Fœlix.	p. [261]
Of St. Cyprian.	Ibid.
Lactantius.	p. [265]
St. Chrisostom.	p. [267]
St. Hierom.	p. [272]
And St. Augustine cited to the same purpose.	p. [273]
The Censure of the Fathers, and Councils &c. applicable to the English Stage.	p. [276]
The Conclusion.	p. [280]

ERRATA.

Page [31] Margin for Κῶρον, r. Μῶρον. p. [37]. l. 1. for by his, r. his. l. 2. for other, r. his other. l. 25. for præstr, r. præter. p. [39]. l. 18. for Poets, Knaves, r. Poets Knaves. p. [44]. l. 14. for Concianotores, r. Concionatores. p. [45]. l. 25. for Debaush, r. Debauchee. p. [46]. l. 9. for Enterprizes, r. Enterprize. p. [47]. l. 9. for ridicules, r. ridiculous. p. [52]. l. 1. for justifying, r. and justifie. p. [60]. l. 2. for tempestiuous, r. tempestuous. l. 31. for pray, r. should pray. p. [80]. for executed, r. exerted. p. [108]. l. 4. for Antarkick. r. Antartick. p. [117]. l. 12. for Angitia, r. Angitiæ. p. [121]. l. 24. for Auger, r. Augur. p. [135]. margin, for Heglins Cogmog, r. Heylins Cosmog. p. [154]. l. 22. dele up. p. [163]. l. 28. for then, r. therefore. p. [183]. l. 6. for to, r. too. p. [186]. l. 6. dele And. p. [191]. l. 18. for Circumstance, r. Circumstances. p. [222]. l. 9. for Cup, r. a Cup. p. [237]. l. 2. for apon't, r. upon't. [245]. l. 25. for Le, r. Les. p. [257]. l. 28. for Correspondence r. this Correspondence. p. [272]. l. 9. for himself. r. themselves.

The Litteral mistakes the Reader is Desired to Correct.

Essays upon several Moral Subjects in two parts the Second Edition Corrected and Enlarged by Jeremy Collier, M.A.

Human Prudence, or the Art by which a man may raise himself and his Fortune to Grandure, the Seventh Edition.

An Answer to all the Excuses and Pretences that men usually make for their not coming to the Holy Communion, by a Divine of the Church of England: Fitted for the meanest Capacity, and proper to be given away by such Persons as are Charitably Inclin'd. Price 3 pence.

THE INTRODUCTION.

The business of Plays is to recomend Virtue, and discountenance Vice; To shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the Singularities of Pride and Fancy, to make Folly and Falsehood contemptible, and to bring every Thing that is Ill Under Infamy, and Neglect. This Design has been oddly pursued by the English Stage. Our Poets write with a different View, and are gone into an other Interest. 'Tis true, were their Intentions fair, they might be Serviceable to this Purpose. They have in a great measure the Springs of Thought and Inclination in their Power. Show, Musick, Action, and Rhetorick, are moving Entertainments; and rightly employ'd would be very significant. But Force and Motion are Things indifferent, and the Use lies chiefly in the Application. These Advantages are now, in the Enemies Hand, and under a very dangerous Management. Like Cannon seized they are pointed the wrong way, and by the Strength of the Defence the Mischief is made the greater. That this Complaint is not unreasonable I shall endeavour to prove by shewing the Misbehaviour of the Stage with respect to Morality, and Religion. Their Liberties, in the Following Particulars are intolerable. viz. Their Smuttiness of Expression; Their Swearing, Profainness, and Lewd Application of Scripture; Their Abuse of the Clergy; Their making their Top Characters Libertines, and giving them Success in their Debauchery. This Charge, with some other Irregularities, I shall make good against the Stage, and shew both the Novelty and Scandal of the Practise. And first, I shall begin with the Rankness, and Indecency of their Language.

CHAP. I.

The Immodesty of the Stage.

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

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

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

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

To argue the Matter more at large.

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

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

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

1st. The Poets make Women speak Smuttily. Of This the Places before mention'd are sufficient Evidence: And if there was occasion they might be Multiplyed to a much greater Number: Indeed the Comedies are seldom clear of these Blemishes: And sometimes you have them in Tragedy. For Instance. The Orphans Monimia makes a very improper Description; And the Royal Leonora in the Spanish Friar, runs a strange Length in the History of Love p. 50. And, do Princesses use to make their Reports with such fulsom Freedoms? Certainly this Leonora was the first Queen of her Family. Such raptures are too Lascivious for Joan of Naples. Are these the Tender Things Mr. Dryden says the Ladys call on him for? I suppose he means the Ladys that are too Modest to show their Faces in the Pit. This Entertainment can be fairly design'd for none but such. Indeed it hits their Palate exactly. It regales their Lewdness, graces their Character, and keeps up their Spirits for their Vocation: Now to bring Women under such Misbehaviour is Violence to their Native Modesty, and a Mispresentation of their Sex. For Modesty as Mr. RapinReflect upon Aristot. &c.
Eurip. Hippolit.^[1] observes, is the Character of Women. To represent them without this Quality, is to make Monsters of them, and throw them out of their Kind. Euripides, who was no negligent Observer of Humane Nature, is always careful of this Decorum. Thus Phædra^[2] when possess'd with an infamous Passion, takes all imaginable pains to conceal it. She is as regular and reserv'd in her Language as the most virtuous Matron. 'Tis true, the force of Shame and Desire; The Scandal of Satisfying, and the difficulty of parting with her Inclinations, disorder her to Distraction. However, her Frensy is not Lewd; She keeps her Modesty even after She has lost her Wits. Had Shakespear secur'd this point for his young Virgin Ophelia,Hamlet.^[3] the Play had been better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he should have set her a swimming a little sooner. To keep her alive only to sully her Reputation, and discover the Rankness of her Breath, was very Cruel. But it may be said the Freedoms of Distraction go for nothing, a Feavour has no Faults, and a Man non Compos, may kill without Murther. It may be so: But then such People ought to be kept in dark Rooms and without Company. To shew them, or let them loose, is somewhat unreasonable. But after all, the Modern Stage seems to depend upon this Expedient. Women are sometimes represented Silly, and sometimes Mad, to enlarge their Liberty, and screen their Impudence from Censure: This Politick Contrivance we have in Marcella,Don Quixot. Relapse. Love for Love.^[4] Hoyden,^[5] and Miss Prue.^[6] However it amounts to this Confession; that Women when they have their Understandings about them ought to converse otherwise. In fine; Modesty is the distinguishing Vertue of that Sex, and serves both for Ornament and Defence: Modesty was design'd by Providence as a Guard to Virtue; And that it might be always at Hand, 'tis wrought into the Mechanism of the Body. 'Tis likewise proportioned to the occasions of Life, and strongest in Youth when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences are to Health; whatever is ungrateful to the first, is prejudicial to the latter. The Enemy no sooner approaches, but the Blood rises in Opposition, and looks Defyance to an Indecency. It supplys the room of Reasoning, and Collection: Intuitive Knowledge can scarcely make a quicker Impression; And what then can be a surer Guide to the Unexperienced? It teaches by suddain Instinct and Aversion; This is both a ready and a powerful Method of instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the Sensation, are of singular Use. They serve to awaken Reason, and prevent surprize. Thus the Distinctions of Good and Evil are refresh'd, and the Temptation kept at proper Distance.

2ly. They Represent their single Ladys, and Persons of Condition, under these Disorders of Liberty, This makes the Irregularity still more Monstrous and a greater Contradiction to Nature, and Probability: But rather than not be Vitious, they will venture to spoil a Character. This mismanagement we have partly seen already. Jacinta,Mock Astrologer. Old Batchelour.^[7] and Belinda^[8] are farther proof. And the Double Dealer is particularly remarkable. There are but Four Ladys in this Play, and Three of the biggest of them are Whores. A Great Compliment to Quality to tell them there is not above a quarter of them Honest! This was not the Roman Breeding, Terence and Plautus his Strumpets were Little people; but of this more hereafter.

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

4ly. And which is still more extraordinary: the Prologues, and Epilogues are sometimes Scandalous to the last degree.Mock Astrologer. Country Wife. Cleomenes. Old Batchelour.^[9] I shall discover them for once, and let them stand like Rocks in the Margin. Now here properly speaking the Actors quit the Stage, and remove from Fiction, into Life. Here they converse with the Boxes, and Pit, and address directly to the Audience. These Preliminarie and concluding Parts, are design'd to justify the Conduct of the Play, and bespeak the Favour of the Company. Upon such Occasions one would imagine if ever, the Ladys should be used with Respect, and the Measures of Decency observ'd, But here we have Lewdness without Shame or Example: Here the Poet exceeds himself. Here are such Strains as would turn the Stomach, of an ordinary Debauchee, and be almost nauseous in the Stews. And to make it the more agreeable, Women are Commonly pick'd out for this Service. Thus the Poet Courts the good opinion of the Audience. This is the Desert he regales the Ladys with at the Close of the Entertainment: It seems He thinks They have admirable Palats! Nothing can be a greater Breach of Manners then such Liberties as these. If a Man would study to outrage Quality and Vertue, he could not do it more Effectually. But

5thly. Smut is still more insufferable with respect to Religion. The Heathen Religion was in a great Measure a Mystery of Iniquity. Lewdness was Consecrated in the Temples, as well as practised in the Stews. Their Deitys were great Examples of Vice, and worship'd with their own Inclination. 'Tis no wonder therefore their Poetry should be tinctured with their Belief, and that the Stage should borrow some of the Liberties of their Theology. This made Mercurys Procuring, and Jupiters Adultery the more passable in AmphitrionPlaut.
Cistellar.
Terent. Eunuch.^[10]: Upon this Score Gymnasium^[11] is less Monstrous in Praying the Gods to send her store of Gallants. And thus Chæræa^[12] defends his Adventure by the Precedent of Jupiter and Danæ. But the Christian Religion is quite of an other Complexion. Both its Precepts, and Authorities, are the highest discouragement to Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the Follies of Conversation, and Obliges up to Sobriety of Thought. That which might pass for Raillery, and Entertainment in Heathenism, is detestable in Christianity. The Restraint of the Precept, and the Quality of the Deity, and the Expectations of Futurity quite alter the Case.

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

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

For the Purpose. CleæretaAsinar.
Cistellar.
Bacchid.
Casin.
Mercat. Act. 3.
Persa.
Trucul.^[13] the Procuris borders a little upon Rudeness: Lena^[14] and Bacchis^[15] the Strumpet are Airy and somewhat over-merry, but not A l'Anglois obscene. Chalinus^[16] in Womans Cloaths is the most remarkable. Pasicompa Charinus his Wench talks too freely to Lysimachus;^[17] And so does Sophroclidisca Slave to Lemnoselene.^[18] And lastly: Phronesiam a Woman of the Town uses a double entendre to Stratophanes.^[19] These are the most censurable Passages, and I think all of them with relation to Women; which considering how the World goes is very moderate. Several of our Single Plays shall far out-do all This put together. And yet Plautus has upon the matter left us 20 entire Comedies. So that in short, these Roman Lasses are meer Vestal Virgins, comparatively speaking.

2ly. The Men who talk intemperately are generally Slaves; I believe DordalusPersa.
Trinum.^[20] the Pandar, and Lusiteles^[21] will be found the only exception: And this latter young Gentleman; drops but one over airy expression: And for this Freedom, the Poet seems to make him give Satisfaction in the rest of his Character. He disputes very handsomly by himself against irregular Love; The Discourse between him and Philto is instructive and well managed.Act. 2. 1.
Act. 2. 2.^[22] And afterwards he gives Lesbonicus a great deal of sober advice,^[23] and declaims heartily against Luxury and Lewdness! Now by confining his Rudeness to little People, the Fault is much extenuated. For First, the representation is more Naturally this way; And which is still better, 'tis not so likely to pass into Imitation: Slaves and Clowns are not big enough to spread Infection; and set up an ill Fashion. 'Tis possible the Poet might contrive these Pesants Offensive to discountenance the Practise. Thus the Heilots in Sparta were made drunk to keep Intemperance out of Credit. I don't mention this as if I approv'd the Expedient, but only to show it a circumstance of Mitigation and Excuse.

Farther, These Slaves and Pandars, Seldom run over, and play their Gambols before Women. There are but Four Instances of this Kind as I remember, Olympio,Casin.
Mil. Glor.
Pers.
Trucul.^[24] Palæstrio,^[25] Dordalus,^[26] and Stratilax^[27] are the Persons. And the Women they discourse with, are two of them Slaves, and the third a Wench. But with our Dramatists, the case is otherwise. With us Smuttiness is absolute and unconfin'd. 'Tis under no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imaginable. This is in earnest to be very hearty in the cause! To give Title and Figure to Ill Manners is the utmost that can be done. If Lewdness will not thrive under such encouragement it must e'en Miscarry!

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

Fabulæ huic operam date.

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

Non enim pertractate facta est

Neque spurcidici insunt versus immemorabiles.

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

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

To conclude, Plautus does not dilate upon the Progress, Successes, and Disappointments of Love, in the Modern way. This is nice Ground, and therefore He either stands off, or walks gravely over it, He has some regard to the Retirements of Modesty, and the Dignity of Humane Nature, and does not seem to make Lewdness his Business. To give an Instance. Silenium is much gone in Love,Cistellear. A. 1.^[28] but Modest withall, tho' formerly debauch'd.

She is sorry her Spark was forced from her, and in Danger of being lost. But then she keeps within compass and never flies out into Indecency. Alcesimarchus is strangely smitten with this Silenium, and almost distracted to recover her.Ibid. A. 2.^[29] He is uneasy and blusters, and threatens, but his Passion goes off in Generals. He Paints no Images of his Extravagance, nor descends to any nauseous particulars.

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

Terence appear'd when Breeding was more exact, and the Town better polish'd; And he manages accordingly: He hasHeauton.^[30] but one faulty bordering Expression, which is that of Chremes to Clitipho. This single Sentence apart, the rest of his Book is (I think) unsullied and fit for the nicest Conversation. I mean only in referrence to the Argument in Hand, for there are things in Him, which I have no intention to warrant. He is Extreamly careful in the Behaviour of his Women. Neither Glycerium in Andria, Pamphila in Eunuchus, or Pamphila in Adelphi, Phanium in Phormio, or Philumena in Hecyra, have any share of Conversation upon the Stage. such Freedom was then thought too much for the Reservedness of a Maiden-Character. 'Tis true in Heautontimoroumenos the Poets Plot obliged Antiphila, to go under the Disguise of Bacchis her Maid. Upon this Occasion they hold a little Discourse together. But then Bacchis tho' she was a Woman of the Town, behaves her self with all the Decency imaginable. She does not talk in the Language of her Profession. But commends Antiphila for her Virtue: Antiphila only says how constant she has been to Chinia, seems surprised at his Arrival, and salutes him civilly upon't, and we hear no more from her. Mr. Dryden seems to refer to this Conduct in his Dramatick Poesie. He censures the Romans for making Mutes of their single Women. This He calls the Breeding of the Old Elizabeth way, which was for Maids to be seen and not to be heard. Under Favour the old Discipline would be very serviceable upon the Stage. As matters go, the Mutes are much to few. For certainly 'tis better to say nothing, than talk out of Character, and to ill purpose.

To return. The Virgin injured by Chærea does nothing but weep, and won't so much as speak her misfortune to the Women.Eunuch.
Love Triump.^[31] But Comedy is strangly improved since that time; For Dalinda^[32] has a great deal more Courage, tho' the loss of her Virtue was her own Fault.

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

Pudet dicere hac præsente verbum turpe.Heauton. A. 5. 4.^[33]

The Slaves in this Comedian are kept in order and civilly bred. They Guard and Fence when occasion requires, and step handsomly over a dirty place.Eunuch A. 5. 4. 5.
Adelph. A. 2. 3.^[34] The Poet did not think Littleness and low Education a good Excuse for Ribaldry. He knew Infection at the weakest, might seize on some Constitutions: Besides, the Audience was a Superior Presence, and ought to be considered. For how Negligent soever People may be at Home, yet when they come before their Betters 'tis Manners to look wholsom.

Now tho' Plautus might have the richer Invention; Terence was always thought the more judicious Comedian. His Raillery is not only finer, and his stile better polish'd; but his Characters are more just, and he seems to have reach'd farther into Life than the other. To take Leave of this Author, even his Strumpets are better behaved than our honest Women, than our Women of Quality of the English Stage. Bacchis in Heautontimoroumenos and Bacchis in Hecyra, may serve for example. They are both modest, and converse not unbecoming their Sex. Thais the most accomplish'd in her way,Eunuch.^[35] has a great deal of Spirit and wheadling in her Character, but talks no Smut.

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

To this we may add the Nobless had no Relish for Obscenity; 'twas the ready way to Disoblige them.Casaub. Annot. in Curcul. Plauti.^[36] And therefore 'tis Horaces Rule.

Nec immunda crepent ignominiosaque dicta.

Offenduntur enim quibus est Equus & Pater, & res.De A te Poet.^[37]

The Old Romans were particularly carefull their Women might not be affronted in Conversation: For this reason the Unmarried kept off from Entertainments for fear of learning new Language.Var. apud. Nonium.
Corn. Nep.
Arist. Lib. 4. de Mor. cap. 14.
Vit. Eurip. ed Cantab. 1694.^[38] And in Greece no Woman above the degree of a Slave was treated abroad by any but Relations.^[39] 'Tis probable the old Comedy was silenced at Athens upon this Score, as well as for Defamation. For as Aristotle^[40] observes the new Set of Comedians were much more modest than the former. In this celebrated Republick, if the Poets wrote any thing against Religion or Good Manners, They were tryed for their Misbehaviour, and lyable to the highest Forfeitures.^[41]

It may not be amiss to observe that there are no Instances of debauching Married Women, in Plautus, nor Terence, no nor yet in Aristophanes. But on our Stage how common is it to make a Lord, a Knight, or an Alderman a Cuckold? The Schemes of Success are beaten out with great Variety, and almost drawn up into a Science. How many Snares are laid for the undermining of Virtue, and with what Triumph is the Victory proclaim'd? The Finess of the Plot, and the Life of the Entertainment often lies in these Contrivances. But the Romans had a different sence of these Matters, and saw thro' the consequences of them. The Government was awake upon the Theatre, and would not suffer the Abuses of Honour, and Family, to pass into Diversion. And before we part with these Comedians we may take notice that there are no Smutty Songs in their Plays; in which the English are extreamly Scandalous.Love for Love.
Love Triump. &c.^[42] Now to work up their Lewdness with Verse, and Musick, doubles the Force of the Mischief. It makes it more portable and at Hand, and drives it Stronger upon Fancy and Practice.

To dispatch the Latins all together. Seneca is clean throughout the Piece, and stands generally off from the point of Love. He has no Courting unless in his Hercules Furens;p. 14. Ed. Scriv.^[43] And here the Tyrant Lycus addresses Megara very briefly, and in Modest and remote Language. In his Thebais, Oedipus's Incest is reported at large, but without any choaking Description. 'Tis granted Phædra speaks her Passion plainly out, and owns the strength of the Impression, and is far less prudent than in Euripides.Hippol.^[44] But tho' her Thoughts appear too freely, her Language is under Discipline.

Let us now Travel from Italy into Greece, and take a view of the Theatre at Athens. In this City the Stage had both its beginning and highest Improvement. Æschylus was the first who appear'd with any Reputation. His Genius seems noble, and his Mind generous, willing to transfuse it self into the Audience, and inspire them with a Spirit of Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing. There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick Ardour, to awaken, warm, and push forward to Action. But his Mettal is not always under Management. His Inclination for the Sublime; carrys him too far: He is sometimes Embarrass'd with Epithites. His Metaphors are too stiff, and far fetch'd; and he rises rather in Sound, than in Sence. However generally speaking, his Materials are both shining and solid, and his Thoughts lofty, and uncommon. This Tragedian had always a nice regard to Good Manners. He knew corrupting the People was the greatest disservice to the Commonwealth; And that Publick Ruine was the effect of general Debauchery. For this reason he declines the Business of Amours, and declares expresly against it.Aristoph. Ran.^[45] Now here we can't expect any length of Testimony. His aversion to the subject makes him touch very sparingly upon it. But in this case there is no need of much citation. His very Omissions are Arguments, and his Evidence is the stronger for being short. That little I meet with shall be produced.

1st. Orestes was obliged by the Oracle to revenge his Fathers Death in the Murther of his Mother.Χοηφορ. 253, Ed. Steph.
Orest. 48. Ed. Cantab.
Ευμεν. 305.^[46] When he was going to kill her, he Mentions her Cruelty, but waves her Adultery. Euripides approv'd this Reservedness and makes his Electra practise it upon the same occasion.^[47] Æschylus in his next Play complements his Country with a great deal of Address in the Persons of the Eumenides.^[48] They are very Gentile and Poetical in their Civilities: Among other things They wish the Virgins may all Marry and make the Country Populous: Here the Poet do's but just glance upon the Subject of Love; and yet he governs the Expression with such care, that the wishes contain a Hint to Sobriety, and carry a Face of Virtue along with them.

The Double Dealer runs Riot upon such an Occasion as this; and gives Lord Touchwood a mixture of Smut and Pedantry to conclude with,p. 79.^[49] and yet this Lord was one of his best Characters: But Poets are now grown Absolute within themselves, and may put Sence and Quality upon what Drudgeries they please. To return. Danaus cautions his Daughters very handsomly in point of Behaviour. They were in a strange Country, and had Poverty and Dependance to struggle with: These were circumstances of Danger, and might make him the more pressing. He leaves therefore a solemn Charge with them for their Security, bids them never to subsist upon Infamy, but to prefer their Virtue to their Life.

Μόνον φύλαξαι τάς δ' ἐπιστολὰς πατρὸςἹκέτ. 340.^[50]

Τὸ σωφρονεῖν τιμῶσα του βίου πλέον.

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

To proceed. Sophocles appear'd next upon the Stage, and was in earnest an Extraordinary Person. His Conduct is more Artificial, and his Stile more just, than that of Æschylus. His Characters are well drawn, and Uniform with themselves: His Incidents, are often surprising, and his Plots unprecipitated. There is nothing but what is Great, and Solemn Throughout. The Reasoning is well Coloured. The Figures are sometimes Bold, but not Extravagant. There are no Flights of Bombast, no Towring above Nature and Possibility: In short, Nothing like Don Sebastians Reigning in his Atomes.Don Sebast. p. 12.^[51]

This Tragedian like Æschylus does not often concern himself with Amours, and when he does, nothing can be more temperate, and decent. For example where the Incest of Oedipus is described,Oedip. Tyran. Ed Steph.
Antig. 242. 244.^[52] the Offensiveness of the Idea is screen'd off and broken by Metaphorical and distant Expressions. In another Play^[53] Creon resolves to put Antigone to Death for presuming to bury Polynices. This Lady and Hæmon Creons Son were very far engaged; Hæmon endeavours to disswade his Father from Antigones Execution: He tells him the burying her Brother tho' against his Order, was a popular Action. And that the People would resent her being punish'd: But never so much as mentions his own Concern unless in one Line; which was so obscure that Creon misunderstood him. Antigone amongst her other Misfortunes laments her dying Young and Single, but says not one word about Hæmon. The Poet takes care not to bring these two Lovers upon the Stage together, for fear they might prove unmanagable? Had They been with us, they had met with kinder treatment. They might have had Interviews and Time and Freedom enough. Enough to mud their Fancy, to tarnish their Quality, and make their Passion Scandalous. In the Relation of Hæmons Death, his Love is related too, and that with all the Life and Pathos imaginable. But the Description is within the Terms of Honour: The tendernesses are Solemn, as well as Soft: They move to Ibid. 264.^[54]Pity and Concern, and go no farther. In his Trachiniæ the Chorus owns the Force of Love next to irresistable; gently hints the Intrigues of the Gods, and then passes on to a handsome Trach. 348.^[55]Image of the Combat between Achelous and Hercules. We see how lightly the Poet touches upon an amorous Theme: He glides along like a Swallow upon the Water, and skims the Surface, without dipping a Feather.

Sophocles will afford us no more, let us therefore take a view of Euripides. 'Tis the Method of this Author to decline the Singularities of the Stage, and to appear with an Air of Conversation. He delivers great Thoughts in Common Language, and is dress'd more like a Gentleman than a Player. His Distinction lies in the perspicuity of his Stile; In Maxim, and Moral Reflection; In his peculiar Happiness for touching the Passions, especially that of Pity; And lastly, in exhausting the Cause, and arguing pro and Con, upon the streach of Reason. So much by way of Character. And as for the Matter before us He is entirely Ours. We have had an Instance or two already in Electra and Phædra: To go on to the rest. In his Hippolitus He calls Whoring, stupidness and playing the Fool. And to be Chast and regular, is with him, as well as with Æschylus, Σωφρονεῖν. As much as to say 'tis the Consequence of Sence, and right Thinking. Phædra when her Thoughts were embarrass'd with Hippolitus, endeavours to disentangle her self by Argument.Μωρία τὸ Μῶρον Ed. Cant. 241. 250. 252.^[56] She declaims with a great deal of Satyr against intemperate Women; she concluded rather to die then dishonour her Husband and Stain her Family. The Blemishes of Parents, as she goes on, often stuck upon their Children, and made them appear with Disadvantage. Upon this, the Chorus is transported with the Virtue of her Resolution and crys out

Φεῦ Φεῦ. Τὸ σῶφρον ὥς ἁπανταχοῦ καλὸνIbid. 232. 233.^[57]

καί δό ξαν ἐσθλην ἐνβροτοῖς κομίζεται.

How becoming a Quality is Modesty in all Places.

How strangly does it burnish a Character, and oblige ones Reputation?

The Scholiast upon these verses of Hippolitus.

Σοί τόν δε πλεκτὸν Στεφανον εξ ἀκηρά

Λειμῶνος, &c.

Makes this Paraphrase, 'Tha[......] Mind should be clean and unsulli[......] that the Muses being Virgins their Performances should agree with their Condition.'

To proceed. Hermione complains against Andromache because she was entertain'd by her HusbandAndrom. p. 303.
Iphig. in Aulid. p. 51.
Helen. 277, 278.
Mourning Bride. p. 36.^[58]: For this Andromache tells her she talk'd too much for a Young Woman, and discover'd her Opinion too far. Achilles at the first Sight of Clytemnestra, lets her understand he was as much taken with the Sobriety of her Air,^[59] as with the rest of her fine Face and Person. She receives the Complement kindly, and commends him for commending Modesty. Menelaus and Helen after a long Absence manage the surprize of their good Fortune handsomly.^[60] The Most tender Expression stands clear of ill Meaning. Had Osmin parted with Almeria as civilly as these Two met,^[61] it had been much better. That Rant of smut and profainness might have been spared. The Reader shall have some of it.

O my Almeria;

What do that Damn'd endure but to despair,

But knowing Heaven, to know it lost for ever.

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

What are Wracks, and, Whips, and Wheels to this;

Are they not soothing softness, sinking Ease,

And wasting Air to this?

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

O I am struck, thy words are Bolts of Ice?

Which shot into my Breast now melt and chill me.

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

I chatter, shake, and faint with thrilling Fears.

By the way 'tis a mighty wonder to hear a Woman Chatter! But there is no jesting, for the Lady is very bad. She won't be held up by any Means, but Crys out:

——lower yet, down down;

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

——no more we'll lift our Eyes,

But prone and dumb, Rot the firm Face of Earth,

With Rivers of incessant scalding Rain.

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

Now when the Winters keener breath began

To Crystallize, the Baltick Ocean,

To glaze the Lakes, to bridle up the Floods,

And periwig with Snow the bald pate woods.

I take it, the other Verses are somewhat of Kin to These, and shall leave them to Mr. Dryden's Reflection.Spanish Fryar. Ep. Ded.^[62] But then as for Soothing Softness, Sinking Ease, Wasting Air, thrilling Fears, and incessant scalding Rain; It puts me to another stand. For to talk a little in the way of the Stage. This Litter of Epithetes makes the Poem look like a Bitch overstock'd with Puppies, and sucks the Sence almost to skin and Bone. But all this may pass in a Playhouse: False Rhetorick and false Jewells, do well together. To return to Euripides. Cassandra in reporting the Misfortunes of the Greeks stops at the Adulteries of Clytemnestra and Ægiala And gives this handsome reason for making a Halt.

Σιγᾶν ἄμεινον τἀισχρὰ, μηδέ μοῦσα μοῖTroad. p. 146.^[63]

Γένοιτ ἀοιδὸς ἥτις ὑμνήσει κακὰ.

Foul Things are best unsaid, I am for no Muse,

That loves to flourish on Debauchery.

Some Things are dangerous in report, as well as practise, and many times a Disease in the Description. This Euripides was aware of and manag'd accordingly, and was remarkably regular both in stile, and Manners. How wretchedly do we fall short of the Decencies of Heathenism! There's nothing more ridiculous than Modesty on our Stage.Plain Dealer. p. 21.^[64] 'Tis counted an ill bred Quality, and almost sham'd out of Use. One would think Mankind were not the same, that Reason was to be read Backward, and Vertue and Vice had changed Place.Provok'd Wife. p. 41.^[65]

What then? Must Life be huddled over, Nature left imperfect, and the Humour of the Town not shown? And pray where lies the Grievance of all This? Must we relate whatever is done, and is every Thing fit for Representation? is a Man that has the Plague proper to make a Sight of? And must he needs come Abroad when he breaths Infection, and leaves the Tokens upon the Company? What then must we know nothing? Look you! All Experiments are not worth the making. 'Tis much better to be ignorant of a Disease then to catch it. Who would wound himself for Information about Pain, or smell a Stench for the sake of the Discovery? But I shall have occasion to encounter this Objection afterwards,** Remarks upon Quixot.^[66] and therefore shall dismiss it at present.

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

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

1st, He discovers himself a downright Atheist. This Charge will be easily Made good against him by Comparing his Nubes with his other Plays. The Design of his Nubes was to expose Socrates, and make a Town jest of him. Now this Philosopher was not only a Person of great Sence and Probity, but was likewise suppos'd to refine upon the Heathen Theology, to throw off the Fabulous part of it, and to endeavour to bring it back to the Standard of Natural Religion. And therefore Justin Martyr and some others of the Fathers, look'd on him as a Person of no Pagan Belief, and thought he suffer'd for the Unity of the God-Head. This Man Aristophanes makes fine sport with as he fancies: He puts him in a Fools Coat, and then points at him. He makes Socrates instruct his Disciple Strepsiades in a new Religion, and tell him that he did not own the Gods in the vulgar Notion. He brings him in elswhere affirming that the Clouds are the only Deities.Nub. Act. 1. Sc. 3. p. 104. Ed. Amstel.^[67] Which is the same Lash which Juvenal gives the Jews, because they worship'd but one single Soveraign Being.

Nil præter Nubes & Cœli numen adorant.Sat. 14.^[68]

Socrates goes on with his Lecture of Divinity and declares very roundly that there is no such thing as Jupiter.p. 106.^[69] Afterwards he advances farther, and endeavours to get Strepsiades under Articles to acknowledge no other Gods, but Chaos, the Clouds, and the Tongue.Nub. p. 110.^[70] At last the Poet brings the Philosopher to publick Pennance for his Singularities. He sets fire to his School for teaching Young People (as he pretends) to dispute against Law and Justice; for advancing Atheistick Notions, and burlesquing the Religion of the Country.Act. 5. p. 176.^[71]

That Socrates was no Atheist is clear from Instances enough. To mention but one. The Confidence he had in his Dæmon, or Genius by which he governed his Affairs puts it beyond all dispute.Plat. Apol. Socrat.^[72] However 'tis plain Aristophanes was not of his Religion. The Comedian was by no means for correcting the Common Perswasion. So that he must either be an Orthodox Heathen or nothing at all. Let us see then with what Respect he treats the Receiv'd Divinities. This Play, where one would not expect it, discovers somewhat of his Devotion. In the beginning of it Phidippides, who was a sort or New-Market Spark, swears by Jocky Neptune,Nub. p. 86.^[73] that he had a strange Kindness for his Father Strepsiades. upon this the old Man replies; No Jocky, if you love me; that Deity has almost undone me. This was making somewhat bold with Neptune who was Jupiters Brother, Soveraign of a whole Element, and had no less than the Third Share of the Universe! Certainly Aristophanes had no Venture at Sea, or else must think the Trident signified but very little. But this is meer Ceremony to what follows. In his first Play Plutus pretends he had a mind to oblige only Men of Probity, but Jupiter had made him blind on purpose that he might not distinguish Honest men from Knaves: For to be plain Jupiter had a Pique against Good people. Towards the end of this Comedy Mercury is abused by Cario,Plut. A. 1. Sc. 2.^[74] and acts a ridiculous, and lessening part himself. Afterwards he complains heavily that since Plutus was cured of his Blindness, the business of Sacrifing fell off, and the Gods were ready to starve. This Mercury has the same ill Usage with the Poets Knaves, Informers, and Lewd Women; From all this stuff put together, his meaning is pretty plain, viz. That Religion was no better than an Imposture supported by Art, and Ignorance: And that when Men's Understandings were awake, and their Eyes a little open, they would have more discretion than to be at any expence about the Gods.

This I take to be part of the Moral of his Fable. If we look farther into him we shall see more of his Mind. His Ranæ makes Merry with the Heathen Scheme of Heaven and Hell. Here Charon and the Stygian Frogs are brought in Comically enough. And that you may understand his opinion more perfectly we are told, that He that Bilks his Catamite after a Sodomitical Abuse, is thrown into the Common shore of Hades. And what Company do you think he is lodg'd with? Why with those who Perjure themselves, with those who Kick their Fathers and Mothers? It seems in the Poets Justice a Man might as good be false to his Oath, as to his Lewdness.Ran. p. 188.^[75] To disappoint the Stews, is every jot as great a Crime; as to fly in the Face of Nature, and outrage our Parents. His Quartering his Malefactors thus critically, was without question on purpose to Banter the perswasion of future Punishment. In the same Play Xanthias bids Æacus answer him by Jove, Ὅς ἡμὶν ἐστὶν ὁμομαστιγίας. This little Scoundrel of a Slave has the Manners to make Jupiters Quality no better than his own. To go on with him: In his Aves he speaks out to purpose. Here Pisthetærus tells Epops that if the Birds would build a Castle in the Air, they might intercept the Fumes of the Sacrifices, and starve the Gods unless they would come too, and be Tributary. It seems the Birds had very good Pretences to execute this project; for they were ancienter than Jupiter and Saturn, and Govern'd before the Gods. And to speak truth were more capable of the Function. Their Adviser goes on to inform them,536. 538. 546.^[76] that after they had built their pensile City, and fortifyed the Air, their next business was to demand their ancient Soveragnity: If Jupiter refused to quit, they were to declare a Holy War against Him, and the rest of the Confederate Gods, and to cut off the Communication between Heaven and Earth. Pisthæterus542.^[77] grows very warm in his new Interest, and swears by Jove that Men ought to Sacrifice to the Birds, and not to Jupiter. And if things came to a Rupture, and Jupiter grew Troublesome, he undertakes582.^[78] to send a Detachement of Eagles against Him; with Orders to storm his Palace with Flambeaux, and fire it about his Ears. At last to prevent the Calamities of a War, Hercules proposes an Accomodation,Ibid.^[79] and is willing Jupiter should Resign. Neptune calls him a Block-head for his pains, because he was Heir at Law, and after Jupiters Decease was of Course to succeed in his Dominions: Once more, and I have done: In Eirene, Trygæus speaks in a menacing way.602.^[80] That unless Jupiter gave him Satisfaction in his business, he would inform against Him as a disaffected Person, and a betrayer of the Liberties of Greece.Eiren. 616.^[81] I might add many other Instances, and some more Scandalous than any I have mentioned; But these are sufficient to shew the Authors Sentiment: And is it any wonder an Atheist should misbehave himself in point of Modesty? What can we expect less from those who laugh at the Being of a God, at the Doctrines of Providence, and the Distinctions of Good and Evil? A Sceptick has no notion of Conscience, no Relish for Virtue, nor is under any Moral restraints from Hope or Fear. Such a one has nothing to do but to consult his Ease, and gratifie his Vanity, and fill his Pocket. But how these Ends are compassed, he has no squeamishness, or Scruples about it. 'Tis true when the Methods of Lewdness will Take, they are generally most agreeable. This way suits their Talent, and screens their practise, and obliges their Malice. For nothing is a greater Eye-sore to these Men, then Virtue and Regularity. What a pleasure is it then to be admired for Mischeif, to be reveng'd on Religion, and to see Vice prosper and improve under our Hands! To return: Beside Aristophanes Atheisme, I have a Second objection to his Authority, and that is want of Judgment. If we examine his Plays we shall find his Characters improper, or ununiform; either wrong at first, or unsteady in the Right. For the purpose. In his Nubes. A. 3. S. 3. p. 146. 150. He puts dirty expressions in the Mouth of his Man of Probity, makes him declaim vitiously against Vice, and Corrects scurrility with Impudence; Now what can be more idle and senceless, than such Conduct as this? Epecially when this Justus as he calls him had told them in the beginning of his speech, that People used to be well slash'd for such Fooling, when Government and Discipline were in their due Force. The Chorus of his Ranæ slidesp. 142. p. 200.^[82] into the same Inconsistency of Precept, and Practise. Farther, in the Progress of this Play; Æschylus falls a rallying contrary to his Humour, and jests away his own Arguments at a very unseasonable Juncture, when he was disputing for no less prize than the Laureatship. This Tragedian after he had play'd a little with the Story of Bellerophon,242.^[83] goes on in the same strain; And charges Euripides that he had furnish'd all sorts of People with Sawciness and Prattle. The Schools and Academies were spoil'd by this means; So that the Boys were often whip'd, and the Boatswains drubb'd, for their Chattering.p. 244.^[84] These Comical Levities come with an ill Grace from Æschylus. His Character was quite different both in Reality, and in the Play before us. He is all along represented as a Person of a serious Temper, of a reserv'd Loftiness, Cholerick, and tender of his Honour to an Excess, and almost in a rage at the Affront of a Rival, and being forc'd to enter the Lists with Euripides. The case standing thus, neither the Man, nor the Business, would admit of Drolling. Another Instance of his want of Conduct we have in his Concionatores. Here Blepyrus and some others of his Legislative Assembly, talk at a very dirty insipid rate. The Lowest of the Mob, can hardly jest with less Wit, and more Lewdness. And to make their Discourse more remarkable; These douty Members were just going to the House, and had their Heads full of the Good of the Nation, when they entertain'd themselves thus decentlyp. [......] p. [......]^[85]. And are these little Buffoons fit to consult de Arduis Regni, &c. to give Authority to Law, and Rules for publick Life? Do's Ribaldry and Nonsence become the Dignity of their Station, and the Solemnity of their Office? To make his Parliament-Men play the Fool thus egregiously, must needs have a great deal of Decorum, and State-Policy in the Contrivance; And is just as wise as if a Painter should have Drawn them in the Habit of Jack-Puddings, and Merry-Andrews. But Aristophanes has still higher Flights of Absurdity. He won't so much as spare the Gods but makes them act these little Parts of Clownishness and Infamy. Bacchus and Hercules in his Ranæ are forced to talk Smut and rally like Link-boys, and do almost all the Tricks of Bartholomew-Fair. To mention something that will bear the quoting. Bacchus enquires of Hercules the readiest way to Hades, or the other World. He bids him either Hang, or Poyson himself, and he can't miss the Road. This is Hercules's Humour to a Tittle! And represents him as much to the Life, as an Ape would do the Grand Signior at a publick Audience! This with a short Sentence or two of Lewdness,Ranæ p. 186. p. 182.^[86] is the hardest of Hercules his Usage: And 'tis well he escaped so; for Bacchus is treated much worse. He appears under the disadvantages of a Clownish Debauchee, and a Coward. And is terribly afraid of a Spectre.p. 192, 194, 196.^[87] When he comes before Æacus, this Judge is very rough with him; and tries his pretences to a Deity by Bastinado: Bacchus howls in the drubbing and had almost spoil'd all.Act 2. Sc. 6.^[88] Now do's this paultry Behaviour agree with the Heathen Theology, with the Common Opinion concerning Bacchus and Hercules? Do's a Blew-Cap and a Ladle, become the Sons of Jupiter and the Objects of Religious Worship? Those who at the lowest, were counted the Conquerors of the World, and more than Men both by Birth and Enterprize? Sophocles and Euripides make these two Persons manage at a quite different rate of Decency. 'Tis no defence to say Aristophanes wrot Comedy, and so was obliged to make his Scenes more diverting. This excuse I say is defective; for a Comedian ought to imitate Life and Probability, no less than a Tragedian. To Metomorphose Characters, and present Contradictions to Common Belief, is to write, Farce instead of Plays. Such Comedians like Thespis ought to have a travelling Stage, and take the Air with Porcupines and Dromedaryes. If 'tis said that Gravity and greatness do's not suit the Complection and Entertainment of Comedy. To this I answer, that therefore the Persons should be chosen accordingly. They should have nothing in their known Humour, and Condition too Noble, and solemn for Trifling. 'Tis Horaces advice.

Aut famam sequere, aut convenientia finge Scriptor. De. Art. Poet.

Let us remember that Operations always resemble the Nature from whence they flow. Great Persons should therefore have a correspondent Behaviour assign'd them. To make Beings much Superior to the Biggest of Mankind, talk below the Least, is absurd and ridiculous. This Aristophanes seems sensible of in his defence of Æschylus. Here Euripides objects to Æschylus,Ranæ p. 242.^[89] that he was too rumbling, noisy, and bombastick, over affecting that which Horace calls

Ampulla, & sesquipedalia Verba.

To this Æschylus Answers, that the Thoughts, and Designs of Heroes must be deliver'd in Expressions proportioned to their Greatness. It being likely that the Demi-Gods spoke up to their Dignity and Stature: And as they were distinguish'd by the richness of their Habit, so they had a more Magnificent Language than other Mortals. To this Euripides replys nothing; from whence you may conclude the Poet thought the Apology not unreasonable. In short Aristophanes had Sense but he does not always use it. He is not equal, and uniforme. Sometimes you have him flat and foolish a good while together. And where he has Spirit, 'tis oftentimes lavished away to little purpose.Ranæ A. 1. Sc. 1. Concionat.^[90] His Buffoonery is commonly too strong for his Judgment. This makes him let fly his jests without regard to Person or occasion: And thus by Springing the Game too soon, the Diversion is lost. I could make several other Material Objections against the Conduct of his Plays; But this being not necessary I shall observe in the

3d. Place. That notwithstanding the scandalous Liberty for which Aristophanes is so remarkable; yet in his Lucid Intervalls, when Sence and Sobriety return upon him, he pronounces against his own Practise. In the contest between Æschylus and Euripides, Bacchus is made the Umpire of the Controversie. Æschylus begins with a Question,Ranæ p. 238.^[91] and asks Euripides what 'tis which makes a Poet admired? He answers. 'Tis for the address of his Conduct, and the handsome Turns of Morality in his Poems. 'Tis because his performance has a tendency to form the Audience to Virtue, and Improvement, Æschylus demands of him farther; But suppose you debauched the Age, and made an Honest and a brave People Lewd, and good for nothing, what do you deserve then? Here Bacchus interposes, and crys out, what does he deserve? A Halter! pray don't ask so plain a question. And afterwards we are told, that Poets are valuable only for describing Things useful, in Life and Religion, for polishing Inventions, and setting off great Examples with Lustre, and Advantage.p. 240.^[92] In the progress of the Dispute, Æschylus taxes Euripides with being too uncautious in his Representations; And tells him that Poets ought to conceal that which is vicious in Story; And entertain with nothing but Virtue, and Sobriety: He goes on reprimanding Euripides for his Dramatick incests, Strumpets, and Amours: And as for himself, to his best remembrance, He never brought any Love-Intrigues upon the Stage.p. 242. 244.^[93]

This is very significant expostulation: and contains very good Rules for the Trial of the Muses: But if the English Stage, should be obliged to this Test; Aristophanes must set fire to it, and that with much more reason than to Socrates his School. Now that Æschylus spoke Aristophanes's Sense is pretty plain: For first; As to the Business of Love, Aristophanes always declines it; He never patches up a Play with Courtship, and Whining, tho' he wrote nothing but Comedy. In the next place the Chorus which is usually the Poets Interpreter, speaks honourably of Æschylus even to a Preference;255. 267.^[94] And at last Judge Bacchus gives Sentence for him.

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

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

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

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

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

A just Writer whom he calls a True Artificer, will avoid Obscene and Effeminate Phrase. Where Manners and Fashions are Corrupted, Language is so too.Discov. p. 700.^[95] The excess of Feasts and Apparel, are the Notes of A Sick State, and the Wantonness of Language of a sick Mind.p. 701.^[96] A little after he returns to the Argument, and applies his Reasoning more particularly to the Stage. Poetry, (says he) and Picture, both behold Pleasure, and profit, as their common Object, but should abstain from all base Pleasures, least they should wholly Err from their End; And while they seek to better Men's Minds, Destroy their Manners, Insolent and obscene Speeches, and Jests upon the best Men, are most likely to excite Laughter. But this is truly leaping from the Stage to the Tumbrill again, reducing all Wit to the Original Dung-Cart.p. 706. 717.^[97] More might be cited to this purpose, but that may serve for an other Occasion: In the mean time I shall go on to Beaumont and Fletcher.

Fletchers Faithfull Shepheardess is remarkably Moral, and a sort of Exhortation to Chastity. This Play met with ill Judges, 'twas Hiss'd before half Acted, and seems to have suffer'd on the account of its Innocence.Beauments, &c. Works.
Ibid.^[98] Soon after Ben. Johnson and Beaumont appear and justifie the Author in a Copy of Verses. And as Beaumont commends Modesty in Fletcher, so he is commended himself by Mr. Earl for the same Quality.^[99]

Such Passions, Such Expressions meet my Eye,

Such Wit untainted with Obscenity.

And as I remember Jasper Main has some stroaks to the same purpose.Ibid.^[100] Fletcher is still more full for the Cause. Indeed nothing can be more express. He delivers himself by way of Prologue; where the Poet speaks in his own Person. The Prologue to the Woman-Hater, very frankly lets the Audience know what they are to expect. If there be any amongst you, (says he) that come to hear Lascivious Scenes, let them depart; For I do pronounce this, to the utter discomfort of all two-penny Gallery Men, you shall no Bawdry in it. We find in those days Smut was the expectation of a Coarse Palate, and relish'd by none but two-penny Customers. In the Knight of the Burning Pestle, part of the Prologue runs thus. They were banish'd the Theatre at Athens, and from Rome hiss'd, that brought Parasites on the Stage with Apish Actions, or Fools with uncivil Habits, or Courtezans with immodest words. Afterwards Prologue, who represents a Person, gives us more to the same purpose.

——Fly far from hence.

All private taxes, immodest phrases,

Whatever way but look like Vitious.

For wicked mirth, never true Pleasure brings;

For honest Minds, are pleas'd with honest things.

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

No Undermirth such as does lard the Scene,

For Coarse Delight, the Language here is clean.

And confident our Poet bad me say,

He'll bate you but the Folly of a Play.

For which altho' dull Souls his Pen despise;

Who think it yet too early to be wise.

The Nobles yet will thank his Muse, at least

Excuse him, cause his Thought aim'd at the Best.

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

To these Authorities of our own Nation, I shall add a considerable Testimony out of Mr. Corneille. This Author was sensible that tho' the Expression of his Theodore was altogether unsmutty,Theodore. Ed. Roven. Ep. Ded.^[101] 'Yet the bare Idea of Prostitution uneffected, shock'd the Audience, and made the Play miscarry. The Poet protests he took great care to alter the natural Complexion of the Image, and to convey it decently to the Fancy; and delivered only some part of the History as inoffensively as possible. And after all his Screening and Conduct, the Modesty of the Audience would not endure that little, the Subject forced him upon. He is positive 'the Comedies St. Augustine declaim'd against, were not such as the French. For theirs are not spectacles of Turpitude, as that Father justly calls those of his Time. The French generally speaking, containing nothing but examples of Innocence, Piety and Virtue.'

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

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

CHAP. II.

The Profaness of the Stage.

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

1st. Their Cursing and Swearing.

2dly. Their Abuse of Religion and Holy Scripture.

1st Their Cursing and Swearing.

What is more frequent then their wishes of Hell, and Confusion, Devils, and Diseases, all the Plagues of this World, and the next, to each other? And as for Swearing; 'tis used by all Persons, and upon all Occasions: By Heroes, and Paltroons; by Gentlemen, and Clowns: Love, and Quarrels, Success, and Disappointment, Temper, and Passion, must be varnish'd, and set off with Oaths. At some times, and with some Poets Swearing is no ordinary Releif. It stands up in the room of Sense, gives Spirit to a flat Expression, and makes a Period Musical and Round. In short, 'tis almost all the Rhetorick, and Reason some People are Masters of: The manner of performance is different. Some times they mince the matter; change the Letter, and keep the Sense,Gad for God.^[102] as if they had a mind to steal a Swearing, and break the Commandement without Sin. At another time the Oaths are clipt, but not so much within the Ring, but that the Image and Superscription are visible. These expedients, I conceive are more for variety, then Conscience: For when the fit comes on them, they make no difficulty of Swearing at Length. Instances of all these kinds may be met with in the Old Batchelour, Double Dealer, and Love for Love. And to mention no more, Don Quixot, the Provok'd Wife, and the Relapse, are particularly rampant and scandalous. The English Stage exceed their predecessors in this, as well as other Branches of immorality. Shakespear is comparatively sober, Ben Jonson is still more regular; And as for Beaument and Fletcher, In their Plays they are commonly Profligate Persons that Swear, and even those are reprov'd for't. Besides, the Oaths are not so full of Hell and Defiance, as in the Moderns.

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

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

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

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

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

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

To begin with the Mock-Astrologer. In the First Act the Scene is a Chappel; And that the Use of such Consecrated places may be the better understood, the time is taken up in Courtship, Raillery, and ridiculing Devotion. Jacinta takes her turn among the rest. She Interrupts Theodosia, and cries out: why Sister, Sister——will you pray? what injury have I ever done you that you should pray in my Company?

Wildblood Swears by Mahomet, rallies smuttily upon the other World, and gives the preference to the Turkish Paradisep. 31.^[103]! This Gentleman to incourage Jacinta to a Complyance in Debauchery, tells her Heaven is all Eyes and no Tongue.p. 37.^[104] That is, it sees Wickedness but conceals it. He Courts much at the same rate a little before. When a Man comes to a great Lady, he is fain to approach her with Fear, and Reverence, methinks there's something of Godliness in't.p. 24.^[105] Here you have the Scripture burlesqu'd, and the Pulpit Admonition apply'd to Whoring.Hebr. 12.
34. 36.^[106] Afterwards Jacinta out of her great Breeding and Christianity, swears by Alla, and Mahomet, and makes a Jest upon Hell.^[107] Wildblood tells his Man that such undesigning Rogues as he, make a Drudge of poor Providence. And Maskall to show his proficiency under his Masters, replies to Bellamy, who would have had him told a Lie.55.^[108] Sir upon the Faith of a Sinner you have had my last Lie already. I have not one more to do me Credit, as I hope to be saved Sir.

In the close of the Play, They make sport with Apparitions and Fiends. One of the Devils sneezes, upon this they give him the Blessing of the Occasion, and conclude he has got cold by being too long out of the Fire.59.^[109]

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

No Tongue my Pleasure and my Pain can tell:

'Tis Heaven to have thee, and without thee Hell. Orph. p. 20.^[110]

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

Blessed Heaven assist me but in this dear Hour: p. 31.^[111]

Thus the Stage worships the true God in Blasphemy, as the Lindians did Hercules by Cursing and throwing stones.Lactan.^[112] This Polydor has another Flight of Profaness, but that has got a certain Protection, and therefore must not be disturb'd.

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

Bell. Hum, not immediatly in my Conscence, not heartily.p. 19.^[113]——This is playing I take it with Edge-Tools. To go to Heaven in jeast, is the way to go to Hell in earnest. In the Fourth Act, Lewdness is represented with that Gaity, as if the Crime was purely imaginary, and lay only in ignorance and preciseness. Have you throughly consider'd (says Fondlewife) how detestable, how Heinous, and how crying a Sin the Sin of Adultery is? have you weighed I say? For it is a very weighty Sin: and, altho' it may lie——yet thy Husband must also bear his part; For thy iniquity will fall on his Head.p. 28.^[114] I suppose this fit of Buffoonry and profaness, was to settle the Conscience of young Beginners, and to make the Terrors of Religion insignificant. Bellmour desires Lætitia to give him leave to swear by her Eyes and her Lips: He kisses the Strumpet, and tells her, Eternity was in that Moment.p. 31.
38.
p. 39.
p. 39.^[115] Lætitia is horibly profane in her Apology to her Husband; but having the Stage-Protection of Smut for her Guard, we must let her alone.^[116] Fondlewife stalks under the same shelter, and abuses a plain Text of Scripture to an impudent Meaning.^[117] A little before, Lætitia when her Intrigue with Bellmour was almost discover'd, supports her self with this Consideration. All my comfort lies in his impudence, and Heaven be prais'd, he has a Considerable Portion.^[118] This is the Play-house Grace, and thus Lewdness is made a part of Devotion! Ther's another Instance still behind: 'Tis that of Sharper to Vain-Love, and lies thus.

I have been a kind of God Father to you, yonder: I have promis'd and vow'd something in your Name, which I think you are bound to Perform.Id. 49.^[119] For Christians to droll upon their Baptism is somewhat extraordinary; But since the Bible can't escape, 'tis the less wonder to make bold with the Catechisme.

In the Double Dealer, Lady Plyant cries out Jesu and talks Smut in the same Sentence.Double Dealer. 34.^[120] Sr. Paul Plyant whom the Poet dub'd a Fool when he made him a Knight, talks very Piously! Blessed be Providence, a Poor unworthy Sinner, I am mightily beholden to Providence36.
55.^[121]: And the same word is thrice repeated upon an odd occasion.^[122] The meaning must be that Providence is a ridiculous supposition, and that none but Blockheads pretend to Religion. But the Poet can discover himself farther if need be. Lady Froth is pleas'd to call Jehu a Hackney Coachman.p. 40.^[123] Upon this, Brisk replies, If Jehu was a Hackney Coachman, I am answer'd——you may put that into the Marginal Notes tho', to prevent Criticisms——only mark it with a small Asterisme and say——Jehu was formerly a Hackney Coachman. This for a heavy Piece of Profaness, is no doubt thought a lucky one, because it burlesques the Text, and the Comment, all under one. I could go on with the Double Dealer but he'll come in my way afterwards, and so I shall part with him at present. Let us now take a veiw of Don Sebastian. And here the Reader can't be long unfurnish'd. Dorax shall speak first.

Shall I trust Heaven

With my revenge? then where's my satisfaction?

No, it must be my own, I scorn a Proxy.Sebast. p. 9.^[124]

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

As black as Hell, an other lucky saying!

I think the Devils in me:——good again,

I cannot speak one syllable but tends

To Death or to Damnation.Id. p. 10.^[125]

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

Not the last sounding could surprize me more,

That summons drowsy Mortals to their doom,

When call'd in hast they fumble for their Limbs:p. 47.^[126]

Very Solemnly and Religiously express'd! Lucian and Celsus could not have ridiculed the Resurrection better! Certainly the Poet never expects to be there. Such a light Turn would have agreed much better to a Man who was in the Dark, and was feeling for his Stockings. But let those who talk of Fumbling for their Limbs, take care they don't find them too fast. In the Fourth Act Mustapha dates his Exaltation to Tumult, from the second Night of the Month Abib.Id. p. 83.
Exod. 12, 13.^[127] Thus you have the Holy Text abused by Captain Tom; And the Bible torn by the Rabble! The Design of this Liberty I can't understand, unless it be to make Mustapha as considerable as Moses; and the prevalence of a Tumult, as much a Miracle as the Deliverance out of Ægypt. We have heard this Author hitherto in his Characters, let us hear him now in his own Person. In his Dedication of Aurenge Zebe he is so hardy as to affirm that he who is too lightly reconciled after high Provocation, may Recommend himself to the World for a Christian, but I should hardly trust him for a Friend. And why is a Christian not fit to make a Friend of? Are the Principles of Christianity defective, and the Laws of it Ill contriv'd? Are the Interests and Capacities of Mankind overlook'd? Did our Great Master bind us to Disadvantage, and make our Duty our Misfortune? And did he grudge us all the Pleasures and Securities of Friendship? Are not all these horrid Suppositions? Are they not a flat Contradiction to the Bible, and a Satyr on the Attributes of the Deity? Our Saviour tells us we must forgive until Seventy times Seven; That is, we must never be tired out of Clemency and Good Nature. He has taught us to pray for the Forgiveness of our own Sins, only upon the Condition of forgiving others. Here is no exception upon the Repetition of the Fault, or the Quality of the Provocation. Mr. Dryden to do him right, do's not dispute the Precept. He confesses this is the way to be a Christian: But for all that he should hardly trust him for a Friend. And why so? Because the Italian Proverb says, He that forgives the second time is a Fool.Ibid.^[128] This Lewd Proverb comes in for Authority, and is a piece of very pertinent Blasphemy! Thus in some Peoples Logick one proof from Atheism, is worth Ten from the New Testament. But here the Poet argues no better than he Believes. For most certainly, a Christian of all others is best qualified for Friendship. For He that loves his Neighbour as himself, and carries Benevolence and Good Nature beyond the Heights of Philosophy: He that is not govern'd by Vanity, or Design; He that prefers his Conscience to his Life, and has Courage to Maintain his Reason; He that is thus qualified must be a good Friend; And he that falls short, is no good Christian. And since the Poet is pleas'd to find fault with Christianity, let us examine his own Scheme. Our Minds (says he) are perpetually wrought on by the Temperament of our Bodies, which makes me suspect they are nearer Allyed than either our Philosophers, or School Divines will allow them to be.Ibid.^[129] The meaning is, he suspects our Souls are nothing but Organiz'd Matter. Or in plain English, our Souls are nothing but our Bodies. And then when the Body dies you may guess what becomes of them! Thus the Authorities of Religion are weaken'd, and the prospect of the other World almost shut up. And is this a likely Supposition for Sincerity and good Nature? Do's Honour use to rise upon the Ruines of Conscience? And are People the best Friends where they have the least Reason to be so? But not only the Inclinations to Friendship must Languish upon this Scheme, but the very Powers of it are as it were destroy'd. By this Systeme no Man can say his Soul is his own. He can't be assured the same Colours of Reason and Desire will last. Any little Accident from without may metamorphose his Fancy, and push him upon a new set of Thoughts. Matter and Motion are the most Humorsom Capricious Things in Nature; and withall, the most Arbitrary and uncontroll'd. And can Constancy proceed from Chance, Choice from Fate, and Virtue from Necessity? In short a Man at this rate must be a Friend or an Enemy in spite of his Teeth, and just as long as the Atoms please and no longer. Every Change in Figure and Impulse, must alter the Idea, and wear off the former Impression. So that by these Principles, Friendship will depend on the Seasons, and we must look in the Weather Glass for our Inclinations. But this 'tis to Refine upon Revelation, and grow wiser than Wisdom! The same Author in his Dedication of Juvenal and Persius, has these words: My Lord, I am come to the last Petition of Abraham;Ded. p. 51.^[130] If there be ten Righteous Lines in this vast Preface, spare it for their sake; and also spare the next City because it is but a little one. Here the Poet stands for Abraham; and the Patron for God Almighty: And where lies the Wit of all this? In the Decency of the Comparison? I doubt not. And for the next City he would have spared, he is out in the Allusion. 'Tis no Zoar, but much rather Sodom and Gomorrah, Let them take care the Fire and Brimstone does not follow: And that those who are so bold with Abraham's Petition, are not forced to that of Dives. To beg Protection for a Lewd Book in Scripture Phrase, is very extraordinary! 'Tis in effect to Prostitute the Holy Rhetorick, and send the Bible to the Brothell! I can hardly imagin why these Tombs of Antiquity were raked in, and disturb'd? Unless it were to conjure up a departed Vice, and revive the Pagan Impurities: Unless it were to raise the Stench of the Vault, and Poyson the Living with the Dead. Indeed Juvenal has a very untoward way with him in some of his Satyrs. His Pen has such a Libertine stroak that 'tis a Question whether the Practise, or the Reproof, the Age, or the Author, were the more Licentious. He teaches those Vices he would correct, and writes more like a Pimp, than a Poet. And truly I think there is but little of Lewdness lost in the Translation. The Sixth and Eleventh Satyrs are Particularly remarkable. Such nauseous stuff is almost enough to debauch the Alphabet, and make the Language scandalous. One would almost be sorry for the privilege of Speech, and the Invention of Letters, to see them thus wretchedly abused. And since the Business must be undertaken, why was not the Thought Blanched, the Expression made remote, and the ill Features cast into shadows? I'm mistaken if we have not Lewdness enough of our own Growth, without Importing from our Neighbours. No. This can't be. An Author must have Right done him, and be shown in his own shape, and Complexion. Yes by all means! Vice must be disrobed, and People poyson'd, and all for the sake of Justice! To do Right to such an Author is to burn him. I hope Modesty is much better than Resemblance. The Imitation of an ill Thing is the worse for being exact: And sometimes to report a Fault is to repeat it.

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

May Heaven and your brave Son, and above all,

Your own prevailing Genius guard your Age.Love Triumph. p. 3.^[131]

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

Carl. What Jew?

Sanch. Why the rich Jew my Father. He is gone to the Bosom, of Abraham his Father, and I his Christian Son am left sole Heir.Id. p. 11.^[132] A very mannerly Story! But why does the Poet acquaint us with Sanchos Religion? The case is pretty plain: 'tis to give a lustre to his Profaness, and make him burlesque St. Luke with the better Grace. Alphonso complains to Victoria that Nature doats with Age.Id. p. 11.^[133] His reason is, because Brother and Sister can't Marry as they did at first: 'Tis very well! We know what Nature means in the Language of Christianity, and especially under the Notion of a Law-giver. Alphonso goes on, and compares the Possession of Incestuous Love to Heaven. Yes, 'tis Eternity in Little.p. 34.^[134]

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

That Heaven reserves it for its proper Tast.58.^[135]

This belike is the meaning of those Texts, that God is good and Gracious, and slow to anger, and does not willingly afflict the Children of Men! From expounding the Bible he goes to the Common Prayer. And as Carlos interprets the Office of Matrimony, For Better, for Worse, is for Virgin for Whore;p. 62.^[136] And that the Reference might not be mistaken, the Poet is careful to put the Words in Italick, and great Letters. And by the way, He falls under the Penalty of the Statute for Depraving the Common Prayer.1st. Eliz. cap. 2.^[137]

Sancho upon reading a Letter which he did not like, cries Damn it, it must be all Orthodox.p. 63.^[138] Damn and Orthodox clapt together, make a lively Rant, because it looks like Cursing the Creeds. The most extraordinary passage is behind; Sancho was unhappily Married: Carlos tells him, For your Comfort, Marriage they say is Holy. Sancho replies: Ay, and so is Martyrdom as they say, but both of them are good for just nothing, but to make an end of a Mans Life.p. 72.^[139] I shall make no Reflections upon This: There needs no Reading upon a Monster: 'Tis shown enough by its own Deformity. Love for Love has a Strain like this, and therefore I shall put them together: Scandal solicits Mrs. Foresight; She threatens to tell her Husband. He replys, He will die a Martyr rather then disclaim his Passion.Love for Love. p. 42.^[140] Here we have Adultery dignified with the stile of Martyrdom: As if 'twas as Honourable to perish in Defence of Whoring, as to dye for the Faith of Christianity. But these Martyrs will be a great while in burning, And therefore let no body strive to grace the Adventure, or encrease the Number. And now I am in this Play the Reader shall have more. Jeremy who was bred at the University, calls the Natural Inclinations to Eating and Drinking, Whoreson Appetites. This is strange Language! The Manicheans who made Creation the work of the Devil, could scarcely have been thus Coarse.26.^[141] But the Poet was Jeremy's Tutor, and so that Mystery is at an end. Sr. Samson carries on the Expostulation, rails at the Structure of Human Bodies, and says,p. 27.^[142] Nature has been Provident only to Bears, and Spiders; This is the Authors Paraphrase on the 139 Psalm; And thus he gives God thanks for the Advantage of his Being! The Play advances from one wickedness to another, from the Works of God, to the Abuse of his Word. Foresight confesses 'tis Natural for Men to mistake.p. 47.^[143] Scandal replies, You say true, Man will err, meer Man will err——but you are something more——There have been wise Men; but they were such as you——Men who consulted the Stars, and, were observers of Omens——Solomon was wise but how?——by his judgment in Astrology. 'Tis very well! Solomon and Foresight had their Understandings qualified alike. And pray what was Foresight? Why an Illiterate Fellow. A pretender to Dreams, Astrology, Palmistry &c. This is the Poets account of Solomon's Supernatural Knowledge!Vid. Person. Dram.^[144] Thus the wisest Prince is dwindled into a Gypsie! And the Glorious Miracle resolved into Dotage, and Figure-flinging! Scandal continues his Banter, and says, the wise Men of the East owed their Instruction to a Star; which is rightly observ'd by Gregory the Great in favour of Astrology. This was the Star which shone at our Saviour's Birth. Now who could imagine by the Levity of the occasion, that the Author thought it any better than an Ignis Fatuus, or Sydrophel's Kite in Hudibras? Sr. Sampson and the fine Angelica, after some lewd raillery continue the Allegory, and drive it up into Profaness. For this reason the Citation must be imperfect.

Sr. Samps. Sampson's a very good Name for——your Sampsons were strong Dogs from the Beginning.p. 80.^[145]

Angel. Have a care——If you remember the strongest Sampson of your Name, pull'd an old House over his Head at last. Here you have the Sacred History burlesqu'd, and Sampson once more brought into the House of Dagon, to make sport for the Philistines! To draw towards an end of this Play. Tattle would have carried off Valentine's Mistress. This later, expresses his Resentment in a most Divine manner! Tattle I thank you, you would have interposed between me and Heaven, but Providence has laid Purgatory in your way.p. 91.^[146] Thus Heaven is debas'd into an Amour, and Providence brought in to direct the Paultry concerns of the Stage! Angelica concludes much in the same strain: Men are generally Hypocrites And Infidels, they pretend to Worship, but have neither Zeal, nor Faith; How few like Valentine would persevere unto Martyrdom? &c.p. 92.^[147] Here you have the Language of the Scriptures, and the most solemn Instances of Religion, prostituted to Courtship and Romance! Here you have a Mistress made God Almighty, Ador'd with Zeal and Faith, and Worship'd up to Martyrdom! This if 'twere only for the Modesty, is strange stuff for a Lady to say of her self. And had it not been for the profane Allusion, would have been cold enough in all Conscience.

The Provok'd Wife furnishes the Audience with a Drunken Atheistical Catch: 'Tis true this Song is afterwards said to be Full of Sin and Impudence.Prov. Wife p. 38.^[148] But why then was it made? This Confession is a miserable Salvo; And the Antidote is much weaker than the Poyson: 'Tis just as if a Man should set a House in a Flame, and think to make amends by crying Fire in the Streets. In the last Act Rasor makes his Discovery of the Plot against Belinda in Scripture phrase. I'le give it the Reader in the Authors Dialogue.

Belind. I must know who put you upon all this Mischief.Id. p. 77.^[149]

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

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

Rasor unmasks Madamoselle and says, This is the Woman that tempted me: But this is the Serpent (meaning Lady Fanciful) that tempted the Woman; And if my Prayers might be heard, her punishment for so doing should be like the Serpents of old, &c. This Rasor in what we hear of him before, is all Roguery, and Debauch: But now he enters in Sackcloth; and talks like Tribulation in the Alchemist. His Character is chang'd to make him the more profane; And his Habit, as well as Discourse, is a Jest upon Religion. I am forced to omit one Line of his Confession. The Design of it is to make the Bible deliver an obscene Thought: And because the Text would not bend into a Lewd Application; He alters the words for his purpose, but passes it for Scripture still. This sort of Entertainment is frequent in the Relapse. Lord Foplington laughs at the publick Solemnities of Religion, as if 'twas a ridiculous piece of Ignorance, to pretend to the Worship of a God. He discourses with Berinthia and Amanda in this mannerRelapse. p. 32, 33.^[150]: Why Faith Madam,——Sunday is a vile Day, I must confess. A man must have very little to do at Church that can give an account of the Sermon. And a little after: is to mind what one should not do. Lory tells young Fashion, I have been in a lamentable Fright ever since that Conscience had the Impudence to intrude into your Company. His Master makes him this Comfortable Answer. Be at peace, it will come no more:——I have kick'd it down stairs. A little before he breaks out into this Rapture. Now Conscience I defie thee!p. 44, 45.
Vid. Infra.^[151] By the way we may observe, that this young Fashion is the Poets Favorite.^[152] Berinthia and Worthy, two Characters of Figure, determine the point thus in defence of Pimping.

Berinth. Well, I would be glad to have no Bodies Sins to answer for but my own. But where there is a necessity——p. 51.^[153]

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

Nurse, after a great deal of Profane Stuff concludes her expostulation in these words: But his Worship (Young Fashion) over-flows with his Mercy and his Bounty; He is not only pleas'd to forgive us our Sins——but which is more than all, has prevail'd with me to become the Wife of thy Bosom:p. 96, 97.^[154] This is very heavy, and ill dress'd. And an Atheist must be sharp set to relish it. The Vertuous Amanda, makes no scruple to charge the Bible with untruths.

—What Slippery stuff are Men compos'd of?

Sure the Account of their Creation's false,

And 'twas the Womans Rib that they were form'd of.Ibid.^[155]

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

Berinthia, after she has given in a Scheme for the debauching Amanda, is thus accosted by Worthy: Thou Angel of Light, let me fall down and, adore thee!p.91.^[156] A most Seraphick Compliment to a Procuress! And 'tis possible some Angel or other, may thank him for't in due time.

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

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

But is there Heaven, for I begin to doubt?Don. Sebastian. p. 51.^[157]

Now take your swing ye impious Sin unpunish'd,

Eternal Providence seems over watch'd,

And with a slumbring Nod assents to Murther.

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

Sr. Paul. Hold your self contented my Lady Plyant,——I find Passion coming upon me by Inspiration.Double Dealer. p. 19.
p. 17.
p. 44.^[158] In Love Triumphant, Carlos is by the Constitution of the Play a Christian;^[159] and therefore must be construed in the sense of his Religion. This Man blunders out this horrible expression. Nature has given me my Portion in Sense with a P—— to her. &c. The Reader may see the Hellish Syllable at Length if he pleases. This Curse is borrow'd for Young Fashion in the Relapse.^[160] The Double Dealer is not yet exhausted. Cynthia the Top Lady grows Thoughtful. Upon the question she relates her Contemplation. Cynth. I am thinking (says she) that tho' Marriage makes Man and Wife one Flesh, it leaves them two Fools.Double Dealer. p. 18.
Gen. 2.
St. Math. 9.^[161] This Jest is made upon a Text in Genesis,^[162] and afterwards applyed by our Saviour to the case of Divorse. Love for Love will give us a farther account of this Authors Proficiency in the Scriptures. Our Blessed Saviour affirms himself to be the Way, the Truth, and the Light, that he came to bear witness to the Truth, and that his Word is Truth. These expressions were remembred to good purpose. For Valentine in his pretended Madness tells Buckram the Lawyer; I am Truth,——I am Truth——Who's that, that's out of his way, I am Truth, and can set him right.Love, &c. p. 59, 61.^[163] Now a Poet that had not been smitten with the pleasure of Blasphemy, would never have furnish'd Frensy with Inspiration; nor put our Saviours Words in the Mouth of a Madman. Lady Brute, after some struggle between Conscience and Lewdness, declares in Favour of the later. She says the part of a downright Wife is to Cuckold her Husband.Provok'd Wife. p. 3.^[164] And tho' this is against the strict Statute Law of Religion, yet if there was a Court of Chancery in Heaven, she should be sure to cast him.p. 4.^[165]

This Brass is double guilt. First, It supposes no Equity in Heaven. And Secondly, If there was, Adultery would not be punish'd! The Poet afterwards acquaints us by this Lady, that Blasphemy is no Womans Sin.p. 65.^[166] Why then does she fall into it? Why in the mid'st of Temper and Reasoning? What makes him break in upon his own Rules? Is Blasphemy never unseasonable upon the Stage, And does it always bring its excuse along with it? The Relapse goes on in the same strain. When Young Fashion had a prospect of cheating his Elder Brother, he tells Lory, Providence thou see'st at last takes care of Men of Merit.Relapse. p. 19.^[167] Berinthia who has engag'd to corrupt Amanda for Worthy; attacks her with this Speech, Mr. Worthy used you like A Text, he took you all to peices,p. 96.^[168] and it seems was particular in her Commendation, Thus she runs on for several Lines, in a Lewd, and Profane Allegory. In the Application she speaks out the Design, and concludes with this pious Exhortation! Now consider what has been said, and Heaven give you Grace to put it in practise; that is to play the Whore. There are few of these last Quotations, but what are plain Blasphemy, and within the Law. They look reeking as it were from Pandæmonium, and almost smell of Fire and Brimstone. This is an Eruption of Hell with a witness! I almost wonder the smoak of it has not darken'd the Sun, and turn'd the Air to Plague and Poyson! These are outrageous Provocations; Enough to arm all Nature in Revenge; To exhaust the Judgments, of Heaven, and sink the Island in the Sea! What a spite have these Men to the God that made them. How do They Rebell upon his Bounty, and attack him with his own Reason? These Giants in Wickedness, how would they ravage with a Stature Proportionable? They that can Swagger in Impotence, and Blaspheme upon a Mole-Hill, what would they do if they had Strength to their Good-Will? And what can be the Ground of this Confidence, and the Reason of such horrid Presumption? Why the Scripture will best satisfie the question. Because sentence against An Evil work is not excuted speedily, therefore the heart of the Sons of Men, is fully set in them to do Evil.Eccles. 8. 11.^[169]

Clemency is weakness with some People; And the Goodness of God which should lead them to Repentance, does but harden them the more. They conclude he wants Power to punish, because he has patience to forbear. Because there is a Space between Blasphemy and Vengeance; and they don't perish in the Act of Defiance; Because they are not blasted with Lightning, transfixt with Thunder, and Guarded off with Devils, they think there's no such matter as a day of Reckoning. But let no Man be Deceiv'd, God is not mock'd;Gal. 6.^[170] not without danger they may be assur'd. Let them retreat in time, before the Floods run over them: Before they come to that place, where Madness will have no Musick, nor Blasphemy any Diversion.

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

Terence does not run often upon this rock. 'Tis true Chærea falls into an ill Rapture after his Success.Eunuch.
Heauton. A. 5. 1.
Adelp. A. 5. 7.^[171] Chremes bids his Wife not tire the Gods with Thanks:^[172] And Æschinus is quite sick of the Religious part of the Weding.^[173] These Instances; excepting his Swearing, are the most, (and I think near all the) exceptionable Passages of this Author.

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

This makes the Example less dangerous, and is some sort of extenuation. I grant this imperfect excuse wont serve him always. There are some Instances where his Persons of better Figure are guilty of lewd Defences, Profane Flights, and Sawcy Expostulation.Lyconides. Aulular. A. 2. 4.
Palæstra. Rud. A. 1. 3.
Dinarchus. Trucul. A. 2. 4.^[174] But the Roman Deities were Beings of ill Fame, 'tis the less wonder therefore if the Poets were familiar with them. However, Plautus has something good in him, and enough to condemn the Practise. Pleusides would gladly have had the Gods changed the method of Things, in some Particulars. He would have had frank good Humour'd People long live'd, and close-fisted Knaves die Young. To this Periplectimenes Gravely answers, That 'tis great Ignorance, and Misbehaviour to Censure the Conduct of the Gods, or speak dishonorably of them.Mil. Glor.^[175] In his Pseudolus the Procurer Ballio talks Profanely. Upon which Pseudolus makes this Reflection. This Fellow makes nothing of Religion, how can we trust him in other matters? For the Gods whom all People have the greatest reason to fear, are most slighted by him.Pseud. A. 1. 3.^[176]

The Greek Tragedians are more staunch, and write nearer the Scheme of Natural Religion. 'Tis true, they have some bold expressions: But then they generally reprove the Liberty, and punish the Men. Prometheus in Æschylus blusters with a great deal of Noise, and Stubborness.Prom. vinct. 57.^[177] He is not for changing Conditions with Mercury: And chuses rather to be miserable, than to submit even to Jupiter himself. The Chorus rebuke him for his Pride, and threaten him with greater Punishment. And the Poet to make all sure brings him to Execution before the end of the Play. He discharges Thunder and Lightning at his Head; shakes his Rock with an Earthquake, turns the Air into Whirl-wind, and draws up all the Terrors of Nature to make him an example. In his Expedition against Thebes, Eteocles expects Capaneus would be destroy'd for his Blasphemies.p. 92.^[178] Which happen'd accordingly. On the other hand; Amphiaraus being a person of Virtue, and Piety, they are afraid least he should succeed. For a Religious Enemy is almost invincible.p. 101.^[179] Darius's Ghost lays Xerxes's ruin upon the excess of his Ambition, 'Twas, because he made a Bridge over the Hellespont, used Neptune contumeliously, and, thought himself Superiour to Heaven.Περσ. 161.^[180] This Ghost tells the Chorus that the Persian Army miscarried for the out-rages they did to Religion, for breaking down the Altars, and plundering the Gods.164.^[181]

Ajax's Distraction is represented as judicial in Sophocles. 'Twas inflicted for his Pride and Atheism.Ajax. Flagell.^[182] 'When his Father bid him be brave but Religious withall, he haughtily replyed that 'twas, for Cowards to beg the Assistance of the Gods; as for his part, he hoped to Conquer without them. And when Minerva encouraged him to charge the Enemy,

Το τ' ἀντιφωνεὶ δεινὸν ἀρρητον τ' ἔπος,

'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.^[183] Tho' after all, she did not tax Apollo, but his Ministers.

The same Chorus recommends Piety, and Relyance upon the Gods, and threatens Pride and Irreligion with Destruction. In Antigone,p. 188.^[184] Tiresias advises Creon to wave the Rigour of his Edict, And not let the Body of Polynices lie unburied, and expos'd. He tells him the Altars were already polluted with Humane Flesh. This had made the Language of the Birds unintelligible, and confounded the marks of Augury.Antig. p. 256.^[185] Creon replies in a rage, and says he would not consent to the Burial of Polynices: No, tho' 'twere to prevent the Eagle's throwing part of the Carkass in Jove's Chair of State. This was a bold Flight; but 'tis not long before he pays for't. Soon after, his Son, and Queen, kill themselves. And in the close the Poet who speaks in the Chorus, explains the Misfortune, and points upon the Cause, and affirms that Creon was punish'd for his Haughtiness and Impiety. To go on to his Trachiniæ. Hercules in all the extremity of his Torture does not fall foul upon Religion. 'Tis true, He shows as much Impatience as 'tis possible. His Person, his pain, and the Occasion of it, were very extraordinary. These circumstances make it somewhat natural for him to complain above the common rate. The Greatness of his Spirit, the Feavour of his Blood, and the Rage of his Passion, could hardly fail of putting Force, and Vehemence into his Expressions. Tho' to deal clearly he seems better furnish'd with Rhetorick, than true Fortitude.Trach. p. [......].^[186] But after all, his Disorders are not altogether ungovern'd. He is uneasy, but not impious, and profane.

I grant Hercules Oeteus in Seneca, swaggers at a strange Rhodomontading rate. But the Conduct of this Author is very indifferent. He makes a meer Salamander of his Hero, and lets him declaim with too much of Length, Curiosity and Affectation, for one in his Condition: He harangues it with great plenty of Points, and Sentences in the Fire, and lies frying, and Philosophizing for near a hundred Lines together. In fine, this Play is so injudiciously manag'd, that Heinsius is confident 'twas written by neither of the Seneca's, but by some later Author of a lower Class. To return to Sophocle's Trachiniæ. Hyllus reproaches the Gods with Neglect, because they gave Hercules no Assistance, and glances upon Jupiter himself.Trach. p. 375.^[187] This sally is not so thoroughly corrected as formerly. 'Tis true the Chorus make some little satisfaction immediately after. They resolve all surprizes of Misfortune, all Revolutions of States or Families, into the will and Permission of Jupitur. This by implication, They make an argument for acquiescence. Besides, the Poet had laid in a sort of caution against Misconstruction before. For the Messenger tells Dejaneira that we ought not to Murmur at the Conduct of Jupiter.Trach. p. 340.^[188]

——Τοῦ λόγου δ' ὀυ χρὴ Φθόνον

Γόναι προσεῖναι Ζεὺς ὅτου πράκτωρ φανῆ.

This for a Heathen is something tho' not enough, Cleomenes's Rant seems an imitation of Hyllus, Only 'tis bolder, and has nothing of the rashness of Youth to excuse it.Cleom. p. 54.^[189] Besides Sophocles throws in somewhat by way of Preservative. Whereas in Cleomenes the Boy Cleonidas has the better on the wrong side, and seems to carry the cause of Atheism against his Father.Id. p. 55.^[190] This Scene of a Famine Mr. Dryden calls a Beauty; and yet Methinks Cleora is not very Charming! Her part is to tell you the Child suck'd to no purpose.

It pull'd and pull'd but now but nothing came,

At last it drew so hard that the Blood follow'd.

And that Red Milk I found upon its Lips,

Which made me swoon for Fear.p. 54.^[191]

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

——et quæ

Desperes tractata nitescere posse relinquas.De Art. Poet.^[192]

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

There is one ill Sentence in Sophocles behind. Philoctetes calls the Gods Κακὸι, and Libells their Administration.Philoct. 402.^[193] This Officer we must understand was left upon a Solitary Island, ill used by his Friends, and harrass'd with Poverty and Ulcers, for Ten years together. These, under the Ignorance of Paganism, were trying Circumstances, and take off somewhat of the Malignity of the Complaint. Afterwards He seems to repent,419.^[194] and declares his Assurance that the Gods will do Justice, and prays frequently to them. The Conclusion of this Play is remarkably Moral. Here Hercules appears in Machine; aquaints Philoctetes with his own glorious Condition; That his Happiness was the Reward of Virtue, and the Purchase of Merit. He charges him to pay a due regard to Religion; For Piety would recommend him to Jupiter more than any other Qualification. It went into the other World with People and they found their Account in't both Living and Dead.p. 431.^[195]

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

In Euripides's Bacchæ, Pentheus is pull'd in pieces for using Bacchus with Disrespect. And the Chorus observes that God never fails to punish Impiety, and Contempt of Religion.Act. 2.
p. 295.^[196] Polyphemus blusters Atheistically, and pretends to be as great as Jupiter: But then his Eye is burnt out in the fifth Act.^[197] And the Chorus in Heraclidæ affirm it next to Madness not to worship the Gods. I grant he has some profane Passages stand uncorrected, and what wonder is it to see a Pagan Miscarry? Seneca, as he was inferiour in Judgment to the Greeks, so he is more frequent, and uncautious, in his Flights of extravagance. His Hero's and Heroines, are excessively bold with the Superior Beings. They rave to Distraction, and he does not often call them to an account for't. 'Tis true Ajax Oileus is made an Example for Blaspheming in a Storm. He is first struck with Thunder, and then carried to the Bottom.Agam. Act. 3.^[198] The Modern Poets, proceed upon the Liberties of Seneca, Their Madmen are very seldom reckon'd with. They are profane without Censure, and defie the Living God with success. Nay, in some respect they exceed even Seneca himself. He flies out only under Impatience; And never falls into these Fits without Torture, and hard Usage. But the English Stage are unprovok'd in their Irreligion, and Blaspheme for their Pleasure. But supposing the Theatres of Rome, and Athens as bad as possible, what Defence is all This? Can we argue from Heathenism to Christianity? How can the practise be the same, where the Rule is so very different? Have we not a clearer Light to direct us, and greater Punishments to make us afraid. Is there no Distinction between Truth and Fiction, between Majesty and a Pageant? Must God be treated like an Idol, and the Scriptures banter'd like Homers Elysium, and Hesiods Theogonia? Are these the Returns we make Him for his Supernatural Assistance? For the more perfect Discovery of Himself, the stooping of his Greatness, and the Wonders of his Love. Can't we refuse the Happiness without affronting the Offer? Must we add Contempt to Disobedience, and Out-rage to Ingratitude? Is there no Diversion without Insulting the God that made us, the Goodness that would save us, and the Power that can damn us? Let us not flatter our selves, Words won't go for Nothing. Profaness is a most Provoking Contempt, and a Crime of the deepest dye. To break through the Laws of a Kingdom is bad enough; But to make Ballads upon the Statute-Book, and a Jest of Authority, is much worse. Atheists may fancy what they please, but God will Arise and Maintain his own Cause, and Vindicate his Honour in due time.

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

CHAP. III.

The Clergy abused by the Stage.

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

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

To give some Instances of their Civility! In the Spanish Fryer, Dominick is made a Pimp for Lorenzo;20.^[199] He is call'd a parcel of Holy Guts and Garbage, and said to have room in his Belly for his Church steeple.

Dominick has a great many of these Compliments bestow'd upon him. And to make the Railing more effectual, you have a general stroke or two upon the Profession. Would you know what are the Infallible Church Remedies. Why 'tis to Lie Impudently, and Swear Devoutly.p. 37.^[200] A little before this Dominick Counterfits himself sick, retires, and leaves Lorenzo and Elvira together; And then the Remark upon the Intrigue follows. 'You see Madam (says Lorenzo)p. 23.^[201] 'tis Interest governs all the World. He Preaches against Sin, why? Because he gets by't: He holds his Tongue; why? because so much more is bidden for his Silence. 'Tis but giving a Man his Price, and Principles of Church are bought off as easily as they are in State: No man will be a Rogue for nothing; but Compensation must be made, so much Gold for so much Honesty; and then a Church-man will break the Rules of Chess. For the Black Bishop, will skip into the White, and the White into the Black, without Considering whether the remove be Lawful.

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

To proceed. Horner in his general Remarks upon Men, delivers it as a sort of Maxim, that your Church-man is the greatest Atheist. In this Play Harcourt puts on the Habit of a Divine.Country Wife p. 6.^[202] Alithea does not think him what he appears; but Sparkish who could not see so far, endeavours to divert her Suspicion. I tell you (says he) this is Ned Harcourt of Cambridge, you see he has a sneaking Colledge look.p. 35.^[203] Afterwards his Character is sufficiently abused by Sparkish and Lucy; but not so much as by Himself.Ibid.^[204] He tells you in an Aside he must suit his Stile to his Coat. Upon this wise Recollection, He talks like a servile, impertinent Fop,

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

——is there not one

Of all thy Tribe that's Honest in your School?

The Pride of your Superiours makes ye Slaves:

Ye all live Loathsome, Sneaking, Servile lives:

Not free enough to Practise generous Truth,

'Tho ye pretend to teach it to the World.p. 25.^[205]

After a little Pause for Breath, the Railing improves.

If thou wouldst have me not contemn thy Office,

And Character, think all thy Brethren Knaves,

Thy Trade a Cheat, and thou its worst Professour

Inform me; for I tell thee Priest I'le know.p. 26.^[206]

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

Art thou then

So far concern'd in't?——

Curse on that formal steady Villains Face!

Just so do all Bawds look; Nay Bawds they say;

Can Pray upon Occasion; talk of Heaven;

Turn up their Gogling Eye-balls, rail at Vice;

Dissemble, Lye, and Preach like any Priest,

Art thou a Bawd?Ibid.^[207]

The Old Batchelour has a Throw at the Dissenting Ministers. The Pimp Setter provides their Habit for Bellmour to Debauch Lætitia. The Dialogue runs thus.

Bell. And hast thou Provided Necessaries?

Setter. All, all Sir, the large Sanctified Hat, and the little precise Band, with a Swingeing long Spiritual Cloak, to cover Carnal Knavery,—not forgetting the black Patch which Tribulation Spintext wears as I'm inform'd upon one Eye, as a penal Mourning for the——Offences of his Youth &c.Old Batch. p. 19, 20.^[208]

Barnaby calls another of that Character Mr. Prig, and Fondlewife carrys on the Humour lewdly in Play-house Cant; And to hook the Church of England into the Abuse, he tacks a Chaplain to the End of the Description.p. 27.^[209]

Lucy gives an other Proof of the Poets good Will, but all little Scurilities are not worth repeating.p. 41.^[210]

In the Double Dealer the discourse between Maskwell and Saygrace is very notable. Maskwell had a design to cheat Mellifont of his Mistress, and engages the Chaplain in the Intrigue: There must be a Levite in the cafe; For without one of them have a finger in't, no Plot publick, or private, can expect to prosper.p. 71.^[211]

To go on in the order of the Play.

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

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

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