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 were at one in referring their judgement of the drama to purely ethical standards of value, and that the conception of aesthetic value, which means so much for modern thought, was in the main beyond the scope of Elizabethan criticism.

So far as the character of the particular plays put on the stage was material, the case for the defence grew stronger as these approached more nearly to literature. Thus Thomas Nashe, whose Pierce Penilesse His Supplication (1592) contains by far the most effective of the apologies for the drama from a popular point of view, is in a position, not only to vaunt the respectability of English actors as compared with the 'squirting baudie comedians' of beyond the seas, to repudiate the idea that rowdy apprentices were wanted in the theatres at all, and to claim a distinct superiority for play-going over gaming, whoreing and drinking as a pastime for courtiers and other idle men; but also to give point to his glorification of the moral purpose of tragedy and comedy by a special reference to the chronicle plays then at the height of their success, 'wherein our forefathers valiant acts, that haue line long buried in rustie brasse and worme-eaten bookes, are reuiued, and they themselues raised from the graue of obliuion, and brought to pleade their aged honours in open presence; than which, what can be a sharper reproofe to these degenerate, effeminate dayes of ours?' Nashe can even illustrate his contention from the Talbot scenes of Shakespeare's 1 Henry VI; and it is indeed the ultimate paradox of the Puritan controversy that a movement, which was undoubtedly designed in the interests of honest and clean living, would have had the result, if it had been successful, of shutting out the world from the possibilities of a Shakespeare.

After the publication of the Anatomie of Abuses in 1583 there was some slackening in the literary warfare carried on by the Puritans. The duty of abstinence from plays becomes a commonplace of treatises on morals and devotion, and the preachers continue to complain, but the only specialist pamphlet during the next quarter of a century is the comparatively unimportant Mirrour of Monsters (1587) by another cast playwright, William Rankins. It must be doubtful whether this was due to any decrease in the strength of the sentiment against the stage. But the trial of forces was over, and for a time there was little further advance to be made. Something, as will be seen in the next chapter, had been won, so far as the observance of Sunday was concerned; on the other hand, the main issue had been pretty definitely lost. Moreover, there were other things to be thought of;