A short view of the immorality, and profaneness of the English stage together with the sense of antiquity upon this argument / by Jeremy Collier ...

CHAP. IV. The Stage-Poets make their Principal Per∣sons Vitious, and reward them at the End of the Play. (Book 4)

THE Lines of Virtue and Vice are Struck out by Nature in very Le∣gible Distinctions; They tend to a diffe∣rent Point, and in the greater Instances the Space between them is easily perceiv'd. Nothing can be more unlike than the Ori∣ginal Forms of these Qualities: The First has all the sweetness, Charms, and Gra∣ces imaginable; The other has the Air of a Post ill Carved into a Monster, and looks both foolish and Frightful together. These are the Native Appearances of good and Evil: And they that endeavour to blot the Distinctions, to rub out the Colours, or change the Marks, are extreamly to blame. 'Tis confessed as long as the Mind is a∣wake, and Conscience goes true, there's no fear of being imposed on. But when Vice is varnish'd over with Pleasure, and comes in the Shape of Convenience, the case grows somewhat dangerous; for then

the Fancy may be gain'd, and the Guards corrupted, and Reason suborn'd against it self. And thus a Disguise often passes when the Person would otherwise be stopt. To put Lewdness into a Thriving con∣dition, to give it an Equipage of Quality, and to treat it with Ceremony and Re∣spect, is the way to confound the Under∣standing, to fortifie the Charm, and to make the Mischief invincible. Innocence is often owing to Fear, and Appetite is kept under by Shame; But when these Restraints are once taken off, when Profit and Liberty lie on the same side, and a Man can Debauch himself into Credit, what can be expected in such a case, but that Pleasure should grow Absolute, and Madness carry all before it? The Stage seem eager to bring Matters to this Issue; They have made a considerable progress, and are still pushing their Point with all the Vigour imaginable. If this be not their Aim why is Lewdness so much con∣sider'd in Character and Success? Why are their Favourites Atheistical, and their fine Gentleman debauched? To what pur∣pose is Vice thus prefer'd, thus ornamen∣ted, and caress'd, unless for Imitation? That matter of Fact stands thus, I shall make good by several Instances: To be∣gin then with their Men of Breeding and

Figure. Wild-blood sets up for Debauch∣ery, Ridicules Marriage, and Swears by * 1.1 Mahomet. Bellamy makes sport with the Devil, and Lorenzo is vitious and calls his Father Bawdy Magistrate. Horner is horridly Smutty, and Harcourt false to his Friend who used him kindly. In the Plain Dealer Freeman talks coarsely, cheats the Widdow, debauches her Son, and makes him undutiful. Bellmour is Lewd and Profane, And Mellefont puts Careless in the best way he can to debauch Lady Plyant. These Sparks generally Marry up the Top Ladys, and those that do not, are brought to no Pennance, but go off with the Character of Fine Gentlemen: In Don-Sebastian, Antonio an Atheistical Bully is rewarded with the Lady Moraima, and half the Muffty's Estate. Valentine in Love for Love is (if I may so call him) * 1.2 the Hero of the Play; This Spark the Poet would pass for a Person of Virtue, but he speaks to late. 'Tis true, He was hearty in his Affection to Angelica. Now without question, to be in Love with a fine Lady of 30000 Pounds is a great Virtue! But then abating this single Com∣mendation, Valentine is altogether com∣pounded of Vice. He is a prodigal De∣bauchee, * 1.3 unnatural, and Profane, Obscene, Sawcy, and undutiful, And yet this Li∣bertine

is crown'd for the Man of Merit, has his Wishes thrown into his Lap, and makes the Happy Exit. I perceive we should have a rare set of Virtues if these Poets had the making of them! How they hug a Vitious Character, and how profuse are they in their Liberalities to Lewdness? In the Provok'd Wife, Con∣stant Swears at Length, solicits Lady Brute, Confesses himself Lewd, and pre∣fers Debauchery to Marriage. He handles the last Sybject very notably and worth the Hearing. There is (says he) a poor sordid Slavery in Marriage, that turns the flowing Tide of Honour, and sinks it to the lowest ebb of Infamy. 'Tis a Corrupted Soil, Ill Nature, Avarice, Sloth, Cowardize, and Dirt, are all its Product.—But then Constan∣cy (alias Whoring) is a Brave, Free, Haughty, Generous, Agent. This is admirable stuff both for the Rhetorick and the Reason! The * 1.4 Character of Young Fashion in the Relapse is of the same Staunchness, but this the Reader may have in another Place.

To sum up the Evidence. A fine Gentleman, is a fine Whoring, Swearing, Smutty, Atheistical Man. These Quali∣fications it seems compleat the Idea of Honour. They are the Top-Improve∣ments of Fortune, and the distinguishing Glories of Birth and Breeding! This is

the Stage-Test for Quality, and those that can't stand it, ought to be Disclaim'd. The Restraints of Conscience and the Pedantry of Virtue, are unbecoming a Cavalier: Future Securities, and Reach∣ing beyond Life, are vulgar Provisions: If he falls a Thinking at this rate, he for∣feits his Honour; For his Head was only made to run against a Post! Here you have a Man of Breeding and Figure that bur∣lesques the Bible, Swears, and talks Smut to Ladies, speaks ill of his Friend be∣hind his Back, and betraies his Interest. A fine Gentleman that has neither Ho∣nesty, nor Honour, Conscience, nor Man∣ners, Good Nature, nor civil Hypocricy. Fine, only in the Insignificancy of Life, the Abuse of Religion and the Scandals of Conversation. These Worshipful Things are the Poets Favourites: They appear at the Head of the Fashion; and shine in Cha∣racter, and Equipage. If there is any Sense stirring, They must have it, tho' the rest of the Stage suffer never so much by the Partiality. And what can be the Meaning of this wretched Distribution of Honour? Is it not to give Credit and Countenance to Vice, and to shame young People out of all pretences to Conscience, and Regu∣larity? They seem forc'd to turn Lewd in their own Defence: They can't other∣wise

justifie themselves to the Fashion, nor keep up the Character of Gentlemen: Thus People not well furnish'd with Thought, and Experience, are debauch'd both in Pra∣ctise and Principle. And thus Religion grows uncreditable, and passes for ill Edu∣cation. The Stage seldom gives Quarter to any Thing that's serviceable or Signi∣ficant, but persecutes Worth, and Good∣ness under every Appearance. He that would be safe from their Satir must take care to disguise himself in Vice, and hang out the Colours of Debauchery. How often is Learning, Industry, and Fruga∣lity, ridiculed in Comedy? The rich Ci∣tizens are often Misers, and Cuckolds, and the Universities, Schools of Pedantry upon this score. In short; Libertinism and Profaness, Dressing, Idleness, and Gal∣lantry, are the only valuable Qualities. As if People were not apt enough of themselves to be Lazy, Lewd, and Ex∣travagant, unless they were prick'd for∣ward, and provok'd by Glory, and Re∣putation. Thus the Marks of Honour, and Infamy are misapplyed, and the I∣dea's of Virtue and Vice confounded. Thus Monstrousness goes for Proportion, and the Blemishes of Human Nature, make up the Beauties of it.

The fine Ladies are of the same Cut with the Gentlemen; Moraima is scanda∣lously rude to her Father, helps him to a beating, and runs away with Antonio. An∣gelica talks sawcily to her Uncle, and Belin∣da * 1.5 confesses her Inclination for a Gallant. And as I have observ'd already, the Top∣ing Ladies in the Mock Astrologer, Spa∣nish Fryar, Country Wife, Old Batchelour, Orphan, Double Dealer, and Love Trium∣phant, are smutty, and sometimes Pro∣fane.

And was Licentiousness and irreligion, alwaies a mark of Honour? No; I don't perceive but that the old Poets had an other Notion of Accomplishment, and bred their people of Condition a different way. Philolaches in Plautus laments his being debauch'd; and dilates upon the Ad∣vantages of Virtue, and Regularity. Lusi∣teles another Young Gentleman disputes * 1.6 handsomly by himself against Lewdness. And the discourse between him and Philto is * 1.7 Moral, and well managed. And after∣wards he lashes Luxury and Debauching * 1.8 with a great deal of Warmth, and Satir. Chremes in Terence is a modest young Gen∣tleman, he is afraid of being surpriz'd by * 1.9 Thais, and seems careful not to sully his Reputation. And Pamphilus in Hecyra re∣solves rather to be govern'd by Duty, than Inclination. * 1.10

Plautus's Pinacium tells her Friend Pa∣negyric that they ought to acquit them∣selves fairly to their Husbands, tho' These should fail in their Regards towards them. For all good People will do justice tho' they don't receive it. Lady Brute in the * 1.11 Provok'd Wife is govern'd by different maxims. She is debauch'd with ill Usage, says Virtue is an Ass, and a Gallant's worth * 1.12 forty on't. Pinacium goes on to another Head of Duty, and declares that a Daugh∣ter can never respect her Father too much, and that Disobedience has a great deal of scandal, and Lewdness in't. The Lady * 1.13 Jacinta as I remember does not treat her Father at this rate of Decency. Let us hear a little of her Behaviour. The Mock Astrologer makes the Men draw, and frights the Ladys with the Apprehension of a Quarrel. Upon this; Theodosia crys what will become of us! Jacinta answers, we'll die for Company: nothing vexes me but that I am not a Man, to have one thrust at that malicious old Father of mine, before I go. * 1.14 Afterwards the old Gentleman Alonzo threatens his Daughters with a Nunnery. Jacinta spars again and says, I would have thee to know thou graceless old Man, that I defy a Nunnery: name a Nunnery once more and I disown thee for my Father. I could carry on the Comparison between the old * 1.15

and Modern Poets somewhat farther. But this may suffice.

Thus we see what a fine time Lewd People have on the English Stage. No Cen∣sure, no mark of Insamy, no Mortification must touch them. They keep their Ho∣nour untarnish'd, and carry off the Advan∣tage of their Character. They are set up for the Standard of Behaviour, and the Masters of Ceremony and Sense. And at last that the Example may work the better, they generally make them rich, and hap∣py, and reward them with their own De∣sires.

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

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

Favour to vitious young People in those Authors, but to this I reply

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

2ly. Horace who was as good a judge of the Stage, as either of those Comedians, seems to be of another Opinion. He con∣demns the obscenities of Plautus, and tells you Men of Fortune and Quality in his time; would not endure immodest Satir. * 1.16 He continues, that Poets were formerly ad∣mired for the great services they did. For teaching Matters relating to Religion, and Government; For refining the Manners, tempering the Passions, and improving the Understandings of Mankind: For ma∣king them more useful in Domestick Rela∣tions, and the publick Capacities of Life. This is a demonstration that Vice was not * 1.17 the Inclination of the Muses in those days; and that Horace beleiv'd the chief business of a Poem was, to Instruct the Audience. He adds farther that the Chorus ought to turn upon the Argument of the Drama, and support the Design of the Acts. That

They ought to speak in Defence of Vir∣tue, and Frugality, and show a Regard to Religion. Now from the Rule of the Chorus, we may conclude his Judgment for the Play. For as he observes, there must be a Uniformity between the Chorus and the Acts: They must have the same View, and be all of a Piece. From hence 'tis plain that Horace would have no im∣moral Character have either Countenance or good Fortune, upon the Stage. If 'tis said the very mention of the Chorus shews the Directions were intended for Trage∣dy. To this

I answer, that the Consequence is not good. For the use of a Chorus is not incon∣sistent with Comedy. The antient Come∣dians had it. Aristophanes is an Instance. I know 'tis said the Chorus was left out in that they call the New Comedy. But I can't see the conclusiveness of this Asser∣tion. For Aristophanes his Plutus is New Comedy with a Chorus in't. And Aristotle * 1.18 who lived after this Revolution of the Stage, mentions nothing of the Omission of the Chorus. He rather supposes its con∣tinuance by saying the Chorus was added by the Government long after the Invention of Comedy. 'Tis true Plautus and Terence * 1.19 have none, but those before them proba∣bly might. Moliere has now reviv'd them; * 1.20

And Horace might be of his Opinion, for ought wee know to the contrary.

Lastly. Horace having expresly men∣tioned the beginning and progress of Co∣medy, discovers himself more fully: He advises a Poet to form his Work upon the Precepts of Socrates and Plato, and the Models of Moral Philosophy. This was the way to preserve Decency, and to assign a proper Fate and Behaviour to every Character. Now if Horace would have his Poet govern'd by the Maxims of * 1.21 Morality, he must oblige him to Sobriety of Conduct, and a just distribution of Re∣wards, and Punishments.

Mr. Dryden makes Homewards, and endeavours to fortifie himself in Modern Authority. He lets us know that Ben Johnson after whom he may be proud to Err, gives him more than one example of this Conduct; That in the Alchemist is notorius, where neither Face nor his Master are * 1.22 corrected according to their Demerits. But how Proud soever Mr. Dryden may be of an Errour, he has not so much of Ben Jonson's company as he pretends. His Instance of Face &c. in the Alchemist is rather notorious against his Purpose then for it.

For Face did not Council his Master Lovewit to debauch the Widdow; neither

is it clear that the Matter went thus far. He might gain her consent upon Terms of Honour for ought appears to the con∣trary. 'Tis true Face who was one of the Principal Cheats is Pardon'd and con∣sider'd. But then his Master confesses himself kind to a fault. He owns this Indulgence was a Breach of Justice, and unbecoming the Gravity of an old Man. And then desires the Audience to excuse him upon the Score of the Temptation. But Face continued in the Cousenage till the last without Repentance. Under favour I * 1.23 conceive this is a Mistake. For does not Face make an Apology before he leaves the Stage? Does he not set himself at the Bar, arraign his own Practise, and cast the Cause upon the Clemency of the Com∣pany? And are not all these Signs of the Dislike of what he had done? Thus care∣ful the Poet is to prevent the Ill Impres∣sions of his Play! He brings both Man and Master to Confession. He dismisses them like Malefactours; And moves for their Pardon before he gives them their Discharge. But the Mock-Astrologer has a gentler Hand: Wild-Blood and Jacinta are more generously used: There is no Acknowledgment exacted; no Hard∣ship put upon them: They are permit∣ted to talk on in their Libertine way to

the Last: And take Leave without the least Appearance of Reformation. The Mock-Astrologer urges Ben Johnson's Silent Woman as an other Precedent to his pur∣pose. For there Dauphine confesses him∣self in Love with all the Collegiate Lady's. And yet this naughty Dauphine is Crowned in the end with the Possession of his Uncles Estate, and with the hopes of all his Mistresses. * 1.24 This Charge, as I take it, is somewhat too severe. I grant Dauphine Professes himself in Love with the Collegiate Ladies at first. But when they invited him to a private Visit, he makes them no Promise; but rather appears tired, and willing to disengage. Dauphine therefore is not al∣together so naughty as this Author repre∣sents him.

Ben Johnson's Fox is clearly against Mr. Dryden. And here I have his own Con∣fession for proof. He declares the Poets * 1.25 end in this Play was the Punishment of Vice, and the Reward of Virtue. Ben was forced to strain for this piece of Justice, and * 1.26 break through the Unity of Design. This Mr. Dryden remarks upon him: How ever he is pleased to commend the Per∣formance, and calls it an excellent Fifth Act.

Ben Johnson shall speak for himself af∣terwards in the Character of a Critick;

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

The next Instance shall be in Flowerdale the Prodigal. This Spark notwithstan∣ding his Extravagance, makes a lucky Hand on't at last, and marries up a rich * 1.27 Lady. But then the Poet qualifies him for his good Fortune, and mends his Man∣ners with his Circumstances. He makes him repent, and leave off his Intemperance, Swearing &c. And when his Father warn'd him against a Relapse, He answers very soberly,

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

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

It seems then Executions are only for Greatness, and Quality. Justice is not to strike much lower than a Prince. Pri∣vate People may do what they please. They are too few for Mischief, and too Little for Punishment! This would be admirable Doctrine for Newgate, and give us a general Goal-Delivery without more ado. But in Tragedy (says the Mock Astrologer.) the Crimes are likewise Hor∣rid, so that there is a necessity for Severity and Example. And how stands the matter in Comedy? Quite otherwise. There the Faults are but the sallies of Youth, and the Frailties of Human Nature. For * 1.28 Instance. There is nothing but a little Whoring, Pimping. Gaming, Profaness &c, And who could be so hard hearted

to give a Man any Trouble for This? Such Rigours would be strangely Inhu∣mane! A Poet is a better natur'd Thing I can assure you. These little Miscar∣rages move Pity and Commiseration, and are not such as must of necessity be Punish'd. * 1.29 This is comfortable Casuistry! But to be Serious. Is Dissolution of Manners such a Peccadillo? Does a Profligate Conscience deserve nothing but Commiseration? And are People damn'd only for Humane Frail∣ties? I perceive the Laws of Religion and those of the Stage differ extreamly! The strength of his Defence lies in this choice Maxim, that the Cheif End of Comedy is Delight. He questions whether Instruction has any thing to do in Comedy; If it has, he is sure 'tis no more then its secondary end: For the business of the Poet is to make you laugh. Granting the Truth of this Prin∣ciple, * 1.30 I somewhat question the servicea∣bleness of it. For is there no Diversion to be had unless Vice appears prosperous, and rides at the Head of Success. One would think such a preposterous, distri∣bution of Rewards, should rather shock the Reason, and raise the Indignation of the Audience. To laugh without rea∣son is the Pleasure of Fools, and against it, of something worse. The exposing of Knavery, and making Lewdness ridiculous, is a much better occasion for Laughter.

And this with submission I take to be the End of Comedy. And therefore it does not differ from Tragedy in the End, but in the Means. Instruction is the princi∣pal Design of both. The one works by Terror, the other by Insamy. 'Tis true, they don't move in the same Line, but they meet in the same point at last. For this Opinion I have good Authority, be∣sides what has been cited already.

1st. Monsieur Rapin affirms

That De∣light is the End that Poetry aims at, but not the Principal one. For Poetry being an Art, ought to be profitable by the qua∣lity of it's own nature, and by the Essen∣tial Subordination that all Arts should have to Polity, whose End in General is * 1.31 the publick Good. This is the Judg∣ment of Aristotle and of Horace his chief Interpreter.

Ben Johnson in his Dedica∣tory Epistle of his Fox has somewhat con∣siderable upon this Argument; And de∣claims with a great deal of zeal, spirit, and good Sense, against the Licentiousness of the Stage. He lays it down for a Princi∣ple,

That 'tis impossible to be a good Poet without being a good Man. That he (a good Poet) is said to be able to inform Young Men to all good Discipline, and enflame grown Men to all great Virtues &c.—That the general complaint was that the Writers of those days had no∣thing

remaining in them of the Dignity of a Poet, but the abused Name. That now, especially in Stage Poetry, nothing but Ribaldry, Profanation, Blasphemy, all Licence of Offence to God and Man, is practised. He confesses a great part of this Charge is over-true, and is sorry he dares not deny it. But then he hopes all are not embark'd in this bold Adventure for Hell. For my part (says he) I can, and from a most clear Conscience affirm; That I have ever trembled to think to∣wards the least Profaness, and loath'd the Use of such foul, and unwash'd Bawdry, as is now made the Food of the Scene.—∣The encrease of which Lust in Liberty, what Learned or Liberal Soul does not abhor? In whole Enterludes nothing but the Filth of the Time is utter'd—with Brothelry able to violate the Ear of a Pa∣gan, and Blasphemy, to turn the Blood of a Christian to Water. He continues, that the Insolence of these Men had brought the Muses into Disgrace, and made Poetry the lowest scorn of the Age. He appeals to his Patrons the Universities, that his Labour has been heretofore, and mostly in this his latest Work, to reduce not only the antient Forms, but Manners of the Scene, the innocence and the Doc∣trine, which is the Principal End of Poesy,

to inform Men in the best Reason of Li∣ving. Lastly he adds, that 'he has imi∣tated the Conduct of the Antients in this Play, The goings out (or Conclusions) of whose Comedies, were not always joy∣ful but oft-times the Bawds, the Slaves, the Rivals, ye and the Masters are mul∣ted, and fitly, it being the Office of a Comick Poet (mark that!) to imitate Ju∣stice, and Instruct to Life &c.

Say you so! Why then if Ben Johnson knew any thing of the Matter, Divertisment and Laugh∣ing is not as Mr. Dryden affirms, the Chief End of Comedy. This Testimony is so ve∣ry full and clear, that it needs no ex∣plaining, nor any enforcement from Rea∣soning, and Consequence:

And because Laughing and Pleasure has such an unlimited Prerogative upon the Stage, I shall add a Citation or two from Aristotle concerning this Matter. Now this great Man

calls those Buffoons, and Impertinents, who rally without any regard to Persons or Things, to Decency, or good Manners. That there is a great difference between Ribaldry, and handsom Rallying. He that would perform ex∣actly, must keep within the Character of Virtue, and Breeding. He goes on, and tells us that the old Comedians enter∣tain'd the Audience with Smut, but the

Modern ones avoided that Liberty, and grew more reserv'd. This latter way he says was much more proper and Gentile then the other. That in his Opinion Rallying, no less than Railing, ought to be under the Discipline of Law; That he who is ridden by his Jests, and minds nothing but the business of Laughing, is himself Ridiculous. And that a Man of Education and Sense, is so far from going * 1.32 these Lengths that he wont so much as endure the hearing some sort of Buf∣foonry.

And as to the point of Delight in ge∣neral, the same Author affirms,

that scan∣dalous Satisfactions are not properly Pleasures. 'Tis only Distemper, and false Appetite which makes them palatable. And a Man that is sick, seldom has his Tast true. Besides, supposing we throw Capacity out of the Question, and make Experiment and Sensation the Judge; Granting this, we ought not to chop at every Bait, nor Fly out at every Thing that strikes the Fancy. The meer Agreableness must not overbear us, with∣out distinguishing upon the Quality, and the Means. Pleasure how charming so∣ever, must not be fetched out of Vice. An Estate is a pretty thing, but if we purchase by Falshood, and Knavery,

Knavery, we pay too much for't. Some Pleasures, are Childish and others abo∣minable; And upon the whole, Pleasure, absolutely speaking, is no good Thing.

* 1.33 And so much for the Philosopher. And because Ribaldry is used for Sport, a pas∣sage or two from Quintilian, may not be unseasonable. This Orator does not only Condemn the grosser Instances, but cuts off all the Double-Entendre's at a Blow. He comes up to the Regularity of Thought, and tells us

that the Meaning, as well as the Words of Discourse must be unsullied.

* 1.34 And in the same Chapter he adds that

A Man of Probity has always a Reserve in his Freedoms, and Converses within the Rules of Modesty, and Character.And that Mirth at the expence of Vir∣tue, is an Over-purchase, Nimium enim risus pretium est si probitatis impendio con∣stat.

Thus we see how these great Masters qualify Diversion, and tie it up to Pro∣visoes, and Conditions. Indeed to make Delight the main business of Comedy is an unreasonable and dangerous Principle. It opens the way to all Licentiousness, and Confounds the distinction between Mirth, and Madness. For if Diversion is the Chief End, it must be had at any Price, No serviceable Expedient must be refused,

tho' never so scandalous. And thus the worst Things are said, and the best abus'd; Religion is insulted, and the most serious Matters turn'd into Ridicule! As if the Blindside of an Audience ought to be caress'd, and their Folly and Atheism en∣tertain'd in the first Place. Yes, if the Palate is pleas'd, no matter tho' the Body is Poyson'd! For can one die of an easier Disease than Diversion? But Raillery a∣part, certainly Mirth and Laughing, with∣out respect to the Cause, are not such supreme Satisfactions! A man has some∣times Pleasure in losing his Wits. Fren∣sy, and Possession, will shake the Lungs, and brighten the Face; and yet I suppose they are not much to be coveted. How∣ever, now we know the Reason of the Profaness, and Obscenity of the Stage, of their Hellish Cursing, and Swearing, and in short of their great Industry to make God, and Goodness Contemptible: 'Tis all to Satisfie the Company, and make People Laugh! A most admirable justifi∣cation! What can be more engaging to an Audience, then to see a Poet thus A∣theistically brave? To see him charge up to the Canons Mouth, and defy the Ven∣geance of Heaven to serve them? Besides, there may be somewhat of Convenience in the Case. To fetch Diversion out of

Innocence is no such easy matter. There's no succeeding it may be in this method, without Sweat, and Drudging. Clean Wit, inoffensive Humour, and handsom Contrivance, require Time, and Thought. And who would be at this Expence, when the Purchase is so cheap another way? 'Tis possible a Poet may not alwaies have Sense enough by him for such an Occa∣sion. And since we are upon supposals, it may be the Audience is not to be gain'd without straining a Point, and giving a Loose to Conscience: And when People are sick, are they not to be Humour'd? In fine, We must make them Laugh, right or wrong, for Delight is the Cheif End of Comedy. Delight! He should have said Debauchery: That's the English of the Word, and the Consequence of the Pra∣ctise. But the Original Design of Comedy was otherwise: And granting 'twas not so, what then? If the Ends of Things are naught, they must be mended. Mis∣chief is the Chief end of Malice, would it be then a Blemish in Ill Nature to change Temper, and relent into Goodness? The Chief End of a Madman it may be is to Fire a House, must we not then bind him in his Bed? To conclude. If De∣light without Restraint, or Distinction, without Conscience or Shame, is the Su∣pream

Law of Comedy, 'twere well if we had less on't. Arbitrary Pleasure, is more dangerous than Arbitrary Power. No∣thing is more Brutal than to be aban∣don'd to Appetite; And nothing more wretched than to serve in such a Design. The Mock-Astrologer to clear himself of this Imputation, is glad to give up his Principle at Last. Least any Man should think (says He) that I write this to make Libertinism amiable, or that I cared not to debase the end, and Institution of Comedy. (It seems then Delight is not the Chief end.) I must farther declare that we make not Vitious Persons Happy, but only as Hea∣ven makes Sinners so. &c. If this will hold, all's well. But Heaven does not forgive without Repentance. Let us see then what Satisfaction he requires from his Wild-Blood, and what Discipline he puts him under. Why, He helps him to his Mistress, he Marries him to a Lady of Birth and Fortune. And now do you think He has not made him an Example, and punish'd him to some Purpose! These are frightful Severities! Who would be vitious when such Terrors hang over his Head? And does Heaven make Sinners happy upon these Conditions? Sure some People have a good Opinion of Vice, or a very ill one of Marriage, otherwise they

would have Charged the Penance a lit∣tle more. But I have nothing farther with the Mock-Astrologer.

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

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

But I shall go on, and give the Rea∣der some other examples of Decency, Judgment, and Probability. Don-Sebas∣tian will help us in some measure. Here

the Mufti makes a foolish Speech to the Rabble, and jests upon his own Religi∣on. He tells them, tho' your Tyrant is a Lawful Emperour, yet your Lawful Empe∣rour is but a Tyrant,—That your Empe∣rour is a Tyrant is most Manifest, for you were born to be Turks, out he has play'd the Turk with you. And now is not this Man * 1.35 sit to Manage the Alcoran, and to be set up for on Oracle of State? Captain Tom should have had this Speech by right: But the Poet had a farther Design, and any thing is good enough for a Mufti.

Sebastian after all the violence of his Repentance, his grasping at self Murther, and Resolutions for the Cell, is strangely pleased with the Remembrance of his In∣cest, and wishes the Repetition of it: And Almeida out of her Princely Modesty, and singular Compunction, is of the same mind. This is somewhat surprising! * 1.36 Oedipus and Jocasta in Sophocles don't Re∣pent at this rate. No: The horror of the first Discovery continues upon their Spirits: They never relapse into any fits of Intemperance, nor entertain them∣selves with a lewd Memory. This sort of Behaviour is not only more Instructive but more Natural too. It being very un∣likely one should wish the Repeating a Crime, when He was almost Distracted

at the thoughts on't, At the thoughts on't, tho' 'twas comitted under all the Circumstances of excuse. Now when Ig∣norance and meer Mistake are so very disquieting, 'tis very strange if a Man should plague his Mind with the Aggrava∣tions of Knowledge; To carry Aversion, and Desire, in their full strength upon the same Object; To fly and pursue with so * 1.37 much eagerness, is somewhat Unusual.

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

You are so Beautiful So wondrous Fair, you justifie Rebellion; As if that faultless Face could make no Sin, But Heaven by looking on it must forgive.

These are strange Compliments! Tor∣rismond calls his Queen Rebel to her head, when he was both her General and her Lover. This is powerful Rhetorick to Court a Queen with! Enough one would think to have made the Affair desperate. But he has a Remedy at hand. The Poets Nostrum of Profaness cures all. He does as good as tell Her, she may Sin as much as she has a mind to. Her Face is a Protection to her Conscience. For

Heaven is under a necessity to forgive a Handsom Woman. To say all this ought to be pass'd over in Torrismond on the score of his Passion, is to make the Excuse more scandalous than the Fault, if possible. Such Raptures are fit only for Bedlam, or a place which I shan't name. Love Triumphant will furnish another Rant not altogether inconsiderable. Here Celadea a Maiden Lady when she was afraid her Spark would be married to another, calls out presently for a Chaos. She is for pulling the World about her ears, tumbling all the Elements together, and expostulates with Heaven for making Humane Nature otherwise than it should have been.

Great Nature break thy chain that links to∣gether * 1.38 The Fabrick of this Globe, and make a Chaos, Like that within my Soul.—

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

Now then for a jest or two. Don Go∣mez * 1.39 shall begin: And here he'le give us

a Gingle upon the double meaning of a word.

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

Gom.Ay, whose good Angels sent you hi∣ther, that you know best Father.

These Spaniards will entertain us with more of this fine Raillery. Colonel San∣cho in Love Triumphant has a great stroak at it. He says his Bride Dalinda is no more Dalinda, but Dalilah the Philistine. * 1.40 This Colonel as great a Soldier as he is, is quite puzzled at a Herald. He thinks they call him Herod, or some such Jewish Name. Here you have a good Officer * 1.41 spoil'd for a miserable jest. And yet af∣ter all, this Sancho tho' he can't pronounce Herald, knows what 'tis to be Laconick, which is somewhat more out of his way. Thraso in Terence was a man of the same * 1.42 size in Sense, but for all that he does not quibble. Albanact Captain of the Guards, * 1.43 is much about as witty as Sancho. It seems Emmeline Heiress to the Duke of Cornwal was Blind. Albanact takes the rise of his Thought from hence; And observes that as Blind as she is, Coswald would have no blind Bargain of her. Car∣los tells Sancho he is sure of his Mistress, * 1.44

and has no more to do but to take out a License.

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

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

I shall now give the Reader a few In∣stances of the Gourtship of the Stage, and how decently they treat the Women, and Quality of both Sexes. The Women who

are secured from Affronts by Custom, and have a Privilege for Respect, are sometimes but roughly saluted by these Men of Address. And to bar the Defence, this Coarseness does not alwaies come from Clowns, and Women-haters; but from Persons of Figure, neither singular, nor ill Bred. And which is still worse, The Satir falls on blindly without Di∣stinction, and strikes at the whole Sex.

Enter Raymond a Noble-man in the * 1.45 Spanish Fryar.

O Vertue! Vertue! What art thou become? That men should leave thee for that Toy a woman, Made from the dross and refuse of a Man; Heaven took him sleeping when he made her too, Had Man been waking he had nee'r consented.

I did not know before that a Man's Dross lay in his Ribs; I believe some∣times it lies Higher. But the Philosophy, the Religion, and the Ceremony of these Lines, are too tender to be touched. Creon * 1.46 a Prince in Oedipus, railes in General at the Sex, and at the same time is violent∣ly in Love with Euridice. This upon the Matter, is just as natural, as 'tis Civil. If any one would understand what the Curse of all tender hearted Women is, Bel∣mour will inform him. What is it then?

'Tis the Pox. If this be true, the Wo∣men * 1.47 had need lay in a stock of ill Nature betimes. It seems 'tis their only preser∣vative. It guards their Virtue, and their Health, and is all they have to trust to. Sharper another Man of Sense in this Play, talks much at the same rate. Belinda would know of him where he got that ex∣cellent Talent of Railing?

Sharp.Madam the Talent was Born with me.—I confess I have taken care to im∣prove it, to qualisie me for the Society of * 1.48 Ladies. Horner, a Topping Character in the Country Wife, is advised to avoid Wo∣men, and hate them as they do him. He Answers.

Because I do hate them, and would hate them yet more, I'll frequent e'm; you may see by Marriage, nothing makes a Man hate a Woman more than her Constant Conver∣sation. There is still something more Coarse * 1.49 upon the Sex spoken by Dorax but it is a * 1.50 privileged Expression, and as such I must leave it. The Relapse mends the Contri∣vance of the Satir, refines upon the Man∣ner, and to make the Discourse the more probable, obliges the Ladies to abuse themselves. And because I should be loath to tire the Reader, Berinthia shall close the Argument. This Lady having under∣took

the Employment of a Procuress, makes this remark upon it to her self.

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

Let us now see what Quarter the Stage gives to Quality. And here we shall find them extreamly free, and familiar. They dress up the Lords in Nick Names, and expose them in Characters of Contempt. * 1.51 Lord Froth is explain'd a Solemn Coxcomb; And Lord Rake, and Lord Foplington give you their Talent in their Title. Lord Plausible in the Plain Dealer Acts a ri∣diculous Part, but is with all very civil. He tells Manly he never attempted to abuse any Person, The other answers; What? * 1.52 you were afraid? Manly goes on and de∣clares He would call a Rascal by no other Title, tho' his Father had left him a Dukes. That * 1.53 is, he would call a Duke a Rascal. This I confess is very much Plain Dealing. Such Freedoms would appear but odly in Life, especially without Provocation. I must own the Poet to be an Author of

good Sense; But under favour, these jests, if we may call them so, are somewhat high Season'd, the Humour seems over∣strain'd, and the Character push'd too far. To proceed. Mustapha was selling Don Alvarez for a Slave. The Merchant asks what Virtues he has. Mustapha replies. * 1.54 Virtues quoth ah! He is of a great Family and Rich, what other Virtues would'st thou have in a Nobleman? Don Carlos in Love Triumphant stands for a Gentleman, and a Man of Sense, and out-throws Musta∣pha a Bars Length. He tells us Nature has given Sancho an empty Noddle, but Fortune in revenge has fill'd his Pockets: * 1.55 just a Lords Estate in Land and Wit. This is a handsom Compliment to the Nobi∣lity! And my Lord Salisbury had no doubt of it a good Bargain of the Dedication. * 1.56 Teresa's general Description of a Countess is considerable in its Kind: But only 'tis in no Condition to appear. In the Re∣lapse, Sir Tunbelly who had Mistaken Young Fashion for Lord Foplington, was after∣wards undeceiv'd; and before the sur∣prize was quite over, puts the Question, is it then possible that this should be the true Lord Foplington at last? The Nobleman removes the scruple with great Civility and Discretion! Lord Fopl. Why what do you see in his Face to make you doubt of

it? Sir without presuming to have an ex∣traordinary Opinion of my Figure, give me leave to tell you, if you had seen as many Lords as I have done, you would not think it Impossible a Person of a worse Taille then mine might be a Modern Man of Quality. * 1.57

I'm sorry to hear Modern Quality de∣generates so much. But by the way, these Liberties are altogether new. They are unpractised by the Latin Comedians, and by the English too till very lately, as the * 1.58 Plain Dealer observes. And as for Moliere in France, he pretends to fly his Satir no higher than a Marquis. * 1.59

And has our Stage a particular Privi∣lege? Is their Charter inlarg'd, and are they on the same Foot of Freedom with the Slaves in the Saturnalia? Must all Men be handled alike? Must their Roughness be needs play'd upon Title? And can't they lash the Vice without pointing upon the Quality? If as Mr. Dryden rightly defines it, a Play ought to be a just Image of Humane Nature; * 1.60 Why are not the Decencies of Life, and the Respects of Conversation observ'd? Why must the Customes of Countries be Cross'd upon, and the Regards of Ho∣nour overlook'd? What necessity is there to kick the Coronets about the Stage, and to make a Man a Lord, only in order to

make him a Coxcomb. I hope the Poets don't intend to revive the old Project of Levelling, and Vote down the House of Peers. In earnest, the Play-house is an admirable School of Behaviour! This is their way of managing Ceremony, distinguishing Degree, and Entertaining the Boxes! But I shall leave them at present to the En∣joyment of their Talent, and proceed to another Argument.

Notes

• * 1.1

  Moch A∣strol. p. 3. &c. Mock A∣strol. p. 57, 59. Spanish Fryar. p. 61. Country Wife. p. 25. Old Batch. Double Dealer. p. 34.
• * 1.2

  Love for Love. p. 90.
• * 1.3

  Love for Love. p. 6, 7. 25. 61. 89. 91.
• * 1.4

  p. 35.
• * 1.5

  Don Sebist. Love for Love. p. 20 Provok'd Wife. p. 64. Chap. 1. & 2.
• * 1.6

  Mostel. A. 1. 2.
• * 1.7

  Trinum. A. 2. 1.
• * 1.8

  A. 2. 2.
• * 1.9

  〈◊〉〈◊〉. A. 3. 3.
• * 1.10

  Hecyr. A. 3. 4.
• * 1.11

  Stich. A. 1. 1.
• * 1.12

  p. 3.
• * 1.13

  Stich. A. 1. 2.
• * 1.14

  p. 60.
• * 1.15

  Ibid.
• * 1.16

  De Art. Poet.
• * 1.17

  Ibid.
• * 1.18

  〈◊〉〈◊〉. Schol.
• * 1.19

  Libr. de Poet. cap. 5.
• * 1.20

  〈◊〉〈◊〉.
• * 1.21

  Ibid.
• * 1.22

  Fref Mock-Astrol.
• * 1.23

  Ibid.
• * 1.24

  Ibid.
• * 1.25

  Essay of Drama∣tick Po∣etry.
• * 1.26

  p. 28.
• * 1.27

  〈◊◊◊◊◊〉〈◊◊◊◊◊〉.
• * 1.28

  Ibid.
• * 1.29

  Ibid.
• * 1.30

  Ibid.
• * 1.31

  Rapin Re∣flect. &c. p. 10.
• * 1.32

  Libr. 4. de. Morib. cap. 14.
• * 1.33

  De Mor. Lib. 10. cap. 2.
• * 1.34

  Institut; Lib. 6. c. 3.
• * 1.35

  p. 85
• * 1.36

  〈◊◊〉〈◊◊〉.
• * 1.37

  p. 32.
• * 1.38

  p 52.
• * 1.39

  Spanish Fryar. p. 36.
• * 1.40

  p 70.
• * 1.41

  p 61.
• * 1.42

  Enuch.
• * 1.43

  King Arth. p. 2.
• * 1.44

  Love Tri∣um. p. 26.
• * 1.45

  p. 47.
• * 1.46

  Oedip. p. 3.
• * 1.47

  Old Batch. p. 41.
• * 1.48

  p. 35.
• * 1.49

  p. 22.
• * 1.50

  Don Sebast. p 5.
• * 1.51

  Double Dealer. Person. Dram. Relapse. Provok'd Wife.
• * 1.52

  p. 4.
• * 1.53

  p. 2.
• * 1.54

  Don Sebast. p. 16.
• * 1.55

  p. 17.
• * 1.56

  Don Quix. part. 2. p. 37.
• * 1.57

  Relapse. p. 84.
• * 1.58

  p. 24.
• * 1.59

  L' Ombre de Moliere
• * 1.60

  EssayDram poet. p. 5.