A Short View of the Immorality and Profaneness of the English Stage/Chapter I

THE INTRODUCTION.

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

CHAP. I.

The Immodeſty of the Stage.

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

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

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

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

To argue the Matter more at large.

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

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

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

1ſt. The Poets make Women ſpeak Smuttily. Of This the Places before mention'd are ſufficient Evidence: And if there was occaſion they might be Multiplyed to a much greater Number: Indeed the Comedies are ſeldom clear of theſe Blemiſhes: And ſometimes you have them in Tragedy. For Inſtance. The Orphans Monimia makes a very improper Deſcription; And the Royal Leonora in the Spaniſh Friar, runs a ſtrange Length in the Hiſtory of Love p. 50. And, do Princeſſes uſe to make their Reports with ſuch fulſom Freedoms? Certainly this Leonora was the firſt Queen of her Family. Such raptures are too Laſcivious for Joan of Naples. Are theſe the Tender Things Mr. Dryden ſays the Ladys call on him for? I ſuppoſe he means the Ladys that are too Modeſt to ſhow their Faces in the Pit. This Entertainment can be fairly deſign'd for none but ſuch. Indeed it hits their Palate exactly. It regales their Lewdneſs, graces their Character, and keeps up their Spirits for their Vocation: Now to bring Women under ſuch Miſbehaviour is Violence to their Native Modeſty, and a Miſpreſentation of their Sex. For Modeſty as Mr. Rapin 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 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, 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, Hoyden, and Miſs Prue. 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, and Belinda 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. I ſhall diſcover them for once, and let them ſtand like Rocks in the Margin. Now here properly ſpeaking the Actors quit the Stage, and remove from Fiction, into Life. Here they converſe with the Boxes, and Pit, and addreſs directly to the Audience. Theſe Preliminarie and concluding Parts, are deſign'd to juſtify the Conduct of the Play, and beſpeak the Favour of the Company. Upon ſuch Occaſions one would imagine if ever, the Ladys ſhould be uſed with Reſpect, and the Meaſures of Decency obſerv'd, But here we have Lewdneſs without Shame or Example: Here the Poet exceeds himſelf. Here are ſuch Strains as would turn the Stomach, of an ordinary Debauchee, and be almoſt nauſeous in the Stews. And to make it the more agreeable, Women are Commonly pick'd out for this Service. Thus the Poet Courts the good opinion of the Audience. This is the Deſert he regales the Ladys with at the Cloſe of the Entertainment: It ſeems He thinks They have admirable Palats! Nothing can be a greater Breach of Manners then ſuch Liberties as theſe. If a Man would ſtudy to outrage Quality and Vertue, he could not do it more Effectually. But

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

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

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

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

2ly. The Men who talk intemperately are generally Slaves; I believe Dordalus the Pandar, and Luſiteles 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. And afterwards he gives Leſbonicus a great deal of ſober advice, 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, Palæſtrio, Dordalus, and Stratilax are the Perſons. And the Women they diſcourſe with, are two of them Slaves, and the third a Wench. But with our Dramatiſts, the caſe is otherwiſe. With us Smuttineſs is abſolute and unconfin'd. 'Tis under no reſtraint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imaginable. This is in earneſt to be very hearty in the cauſe! To give Title and Figure to Ill Manners is the utmoſt that can be done. If Lewdneſs will not thrive under ſuch encouragement it muſt e'en Miſcarry!

4ly. Plautus his Prologues and Epilogues are inoffenſive. 'Tis true, Lambinus pretends to fetch a double entendre out of that to 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, 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. He is uneaſy and bluſters, and threatens, but his Paſſion goes off in Generals. He Paints no Images of his Extravagance, nor deſcends to any nauſeous particulars.

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

Terence appear'd when Breeding was more exact, and the Town better poliſh'd; And he manages accordingly: He has 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. But Comedy is ſtrangly improved ſince that time; For Dalinda has a great deal more Courage, tho' the loſs of her Virtue was her own 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.

The Slaves in this Comedian are kept in order and civilly bred. They Guard and Fence when occaſion requires, and ſtep handſomly over a dirty place. The 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, 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. And therefore 'tis Horaces Rule.

Nec immunda crepent ignominioſaque dicta. Offenduntur enim quibus eſt Equus & Pater, & res.

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. And in Greece no Woman above the degree of a Slave was treated abroad by any but Relations. 'Tis probable the old Comedy was ſilenced at Athens upon this Score, as well as for Defamation. For as Ariſtotle obſerves the new Set of Comedians 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.

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. 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; 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. 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. 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. 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. Æſchylus in his next Play complements his Country with a great deal of Addreſs in the Perſons of the Eumenides. They are very Gentile and Poetical in their Civilities: Among other things They wiſh the Virgins may all Marry and make the Country Populous: Here the Poet do's but juſt glance upon the Subject of Love; and yet he governs the 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, 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.

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, the Offenſiveneſs of the Idea is ſcreen'd off and broken by Metaphorical and diſtant Expreſſions. In another Play 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 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 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,. 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. 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

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.

, &c.

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

To proceed. Hermione complains againſt Andromache becauſe ſhe was entertain'd by her Huſband: 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, 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. The Moſt tender Expreſſion ſtands clear of ill Meaning. Had Oſmin parted with Almeria as civilly as theſe Two met, it had been much better. That Rant of ſmut and profainneſs 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. 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.

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. '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.

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,* 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. 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.

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

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. 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, 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, 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. 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,. 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, that after they had built their penſile City, and fortifyed the Air, their next buſineſs was to demand their ancient Soveragnity: If Jupiter refuſed to quit, they were to declare a Holy War againſt Him, and the reſt of the Confederate Gods, and to cut off the Communication between Heaven and Earth. Piſthæterus grows very warm in his new Intereſt, and ſwears by Jove that Men ought to Sacrifice to the Birds, and not to Jupiter. And if things came to a Rupture, and Jupiter grew Troubleſome, he undertakes 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, 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. 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. I might add many other Inſtances, and ſome more Scandalous than any I have mentioned; But theſe are ſufficient to ſhew the Authors Sentiment: And is it any wonder an Atheiſt ſhould miſbehave himſelf in point of Modeſty? What can we expect leſs from thoſe who laugh at the Being of a God, at the Doctrines of Providence, and the Diſtinctions of Good and Evil? A Sceptick has no notion of Conſcience, no Reliſh for Virtue, nor is under any Moral reſtraints from Hope or Fear. Such a one has nothing to do but to conſult his Eaſe, and gratifie his Vanity, and fill his Pocket. But how theſe Ends are compaſſed, he has no ſqueamiſhneſs, or Scruples about it. 'Tis true when the Methods of Lewdneſs will Take, they are generally moſt agreeable. This way ſuits their Talent, and ſcreens their practiſe, and obliges their Malice. For nothing is a greater Eye-ſore to theſe Men, then Virtue and Regularity. What a pleaſure is it then to be admired for Miſcheif, to be reveng'd on Religion, and to ſee Vice proſper and improve under our Hands! To return: Beſide Ariſtophanes Atheiſme, I have a Second objection to his Authority, and that is want of Judgment. If we examine his Plays we ſhall find his Characters improper, or ununiform; either wrong at firſt, or unſteady in the Right. For the purpoſe. In his ''Nubes. A. 3. S. 3. p. 146. 150''. He puts dirty expreſſions in the Mouth of his Man of Probity, makes him declaim vitiouſly againſt Vice, and Corrects ſcurrility with Impudence; Now what can be more idle and ſenceleſs, than ſuch Conduct as this? Epecially when this Juſtus as he calls him had told them in the beginning of his ſpeech, that People uſed to be well ſlaſh'd for ſuch Fooling, when Government and Diſcipline were in their due Force. The Chorus of his Ranæ ſlides 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, 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. Theſe Comical Levities come with an ill Grace from Æſchylus. His Character was quite different both in Reality, and in the Play before us. He is all along repreſented as a Perſon of a ſerious Temper, of a reſerv'd Loftineſs, Cholerick, and tender of his Honour to an Exceſs, and almoſt in a rage at the Affront of a Rival, and being forc'd to enter the Liſts with Euripides. The caſe ſtanding thus, neither the Man, nor the Buſineſs, would admit of Drolling. Another Inſtance of his want of Conduct we have in his Concionatores. Here Blepyrus and ſome others of his Legiſlative Aſſembly, talk at a very dirty inſipid rate. The Loweſt of the Mob, can hardly jeſt with leſs Wit, and more Lewdneſs. And to make their Diſcourſe more remarkable; Theſe douty Members were juſt going to the Houſe, and had their Heads full of the Good of the Nation, when they entertain'd themſelves thus decently. 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, 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. 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. 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, 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. 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, 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. 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.

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

Fletchers Faithfull Shepheardeſs is remarkably Moral, and a ſort of Exhortation to Chaſtity. This Play met with ill Judges, 'twas Hiſs'd before half Acted, and ſeems to have ſuffer'd on the account of its Innocence. Soon after ''Ben. Johnſon 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.

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. 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, '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.