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.

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

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

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

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.

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.

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

The Scholiast upon these verses of Hippolitus.

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.

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.

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

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

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

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

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

I take it, the other Verses are somewhat of Kin to These, and shall leave them to 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.

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.

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]

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.

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

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