Chapter VI: Part 6

_3d._ Place it may not be improper to look a little into the _Plot_. Here the _Poet_ ought to play the Politician if ever. This part should have some stroaks, of Conduct, and strains of Invention more then ordinary. There should be something that is admirable, and unexpected to surprize the Audience. And all this Finess must work by gentle degrees, by a due preparation of _Incidents_, and by Instruments which are probable.[404] 'Tis Mr. _Rapins_ remark, that without probability _every Thing is lame and Faulty_. Where there is no pretence to _Miracle_ and _Machine_, matters must not exceed the force of Beleif. To produce effects without proportion; and likelyhood in the Cause, is Farce, and Magick, and looks more like Conjuring than Conduct. Let us examine the _Relapser_ by these Rules. To discover his _Plot_, we must lay open somewhat more of the _Fable_.

'Lord _Foplington_ a Town Beau, had agreed to Marry the Daughter of Sir. _Tun-belly Clumsey_ a Country Gentleman, who lived Fifty miles from _London_. Notwithstanding this small distance, the Lord had never seen his Mistress, nor the Knight his Son in Law. Both parties out of their great Wisdom, leave the treating the Match to _Coupler_. When all the preliminaries of Settlement were adjusted, and Lord _Foplington_ expected by Sir _Tun-belly_ in a few days, _Coupler_ betrays his Trust to _Young Fashion_. He advises him to go down before his Brother: To Counterfeit his Person, and pretend that the strength of his Inclinations brought him thither before his time, and without his Retinue. And to make him pass upon Sir _Tun-belly_, _Coupler_ gives him his _Letter_, which was to be Lord _Foplingtons_ Credential. _Young Fashion_ thus provided, posts down to Sir _Tun-belly_, is received for Lord _Foplington_, and by the help of a little Folly and Knavery in the Family, Marries the young Lady without her Fathers Knowledge, and a week before the Appointment.

This is the Main of the Contrivance. The Counterturn in Lord _Foplingtons_ appearing afterwards, and the Support of the main _Plot_, by _Bulls_, and _Nurses_ attesting the Marriage, contain's little of Moment. And here we may observe that Lord _Foplington_ has an unlucky Disagreement in his _Character_; This Misfortune sits hard upon the credibility of the Design. Tis true he was Formal and Fantastick, Smitten with Dress, and Equipage, and it may be vapour'd by his Perfumes But his Behaviour is far from that of an Ideot.[405] This being granted, 'tis very unlikely this Lord with his five Thousand pounds _per annum_, should leave the choise of his Mistress to _Coupler_, and take her Person and Fortune upon _Content_. To court thus blindfold, and by _Proxy_, does not agree with the Method of an Estate, nor the Niceness of a _Beau_. However the _Poet_ makes him engage Hand over Head, without so much as the sight of her Picture.[406] His going down to Sir _Tun-belly_ was as extraordinary as his Courtship. He had never seen this Gentleman. He must know him to be beyond Measure suspicious, and that there was no Admittance without _Couplers_ Letter. This _Letter_ which was, the Key to the Castle, he forgot to take with him, and tells you _'twas stolen by his Brother Tam_. And for his part he neither had the Discretion to get another, nor yet to produce that written by him to Sir _Tun-belly_.[407] Had common Sense been consulted upon this Occasion, the _Plot_ had been at an End, and the _Play_ had sunk in the Fourth _Act_. The Remainder subsists purely upon the strength of Folly, and of Folly altogether improbable, and out of _Character_. The _Salvo_ of Sir _John Friendly's_ appearing at last, and vouching for Lord _Foplington_, won't mend the matter. For as the _Story_ informs us, Lord _Foplington_ never depended on this Reserve.[408] He knew nothing of this Gentleman being in the Country, nor where he Lived. The truth is, Sir _John_ was left in _Town_, and the Lord had neither concerted his journey with him, nor engaged his Assistance.[409]

Let us now see how Sir. _Tun-belly_ hangs together. This Gentleman the _Poet_ makes a _Justice_ of _Peace_, and a _Deputy Lieutenant_, and seats him fifty Miles from _London_: But by his Character you would take him for one of _Hercules_'s Monsters, or some Gyant in _Guy_ of _Warwick_. His Behaviour is altogether _Romance_, and has nothing agreeable to Time, or Country. When _Fashion_, and _Lory_, went down, they find the Bridge drawn up, the Gates barr'd, and the Blunderbuss cock'd at the first civil Question. And when Sir _Tun-belly_ had notice of this formidable Appearance, he Sallies out with the _Posse_ of the Family, and marches against a Couple of Strangers with a _Life Gaurd_ of Halberds, Sythes, and Pitchforks. And to make sure work, Young _Hoyden_ is lock'd up at the first approach of the Enemy. Here you have prudence and wariness to the excess of Fable, and Frensy. And yet this mighty man of suspition, trusts _Coupler_ with the Disposal of his only Daughter, and his Estate into the Bargain. And what was this _Coupler_? Why, a sharper by _Character_, and little better by Profession. Farther. Lord _Foplington_ and the Knight, are but a days Journey asunder, and yet by their treating by Proxy, and Commission, one would Fancy a dozen Degrees of _Latitude_ betwixt them. And as for Young _Fashion_, excepting _Couplers_ Letter, he has all imaginable Marks of Imposture upon him. He comes before his Time, and without the Retinue expected, and has nothing of the Air of Lord _Foplington's_ Conversation. When Sir _Tun-belly_ ask'd him, _pray where are your Coaches and Servants my Lord_? He makes a trifling excuse. _Sir, that I might give you and your Fair Daughter a proof how impatient I am to be nearer akin to you, I left my Equipage to follow me, and came away Post, with only one Servant._[410] To be in such a Hurry of Inclination for a Person he never saw, is somewhat strange! Besides, 'tis very unlikely Lord _Foplington_ should hazard his Complexion on Horseback, out ride his Figure, and appear a Bridegroom in _Deshabille_. You may as soon perswade a Peacock out of his Train, as a _Beau_ out of his Equipage; especially upon such an Occasion. Lord _Foplington_ would scarsely speak to his Brother just come a _Shore_, till the Grand Committee of _Taylors, Seamtresses, &c._ was dispatch'd.[411] Pomp, and Curiosity were this Lords Inclination; why then should he mortifie without necessity, make his first Approaches thus out of Form and present himself to his Mistress at such Disadvantage? And as this is the Character of Lord _Foplington_, so 'tis reasonable to suppose Sir _Tunbelly_ acquainted with it. An enquiry into the Humour and management of a Son in Law, is very natural and Customary. So that we can't without Violence to Sense, suppose Sir _Tunbelly_ a Stranger to Lord _Foplington_'s Singularities. These Reasons were enough in all Conscience to make Sir _Tunbelly_ suspect a Juggle, and that _Fashion_ was no better then a Counterfeit. Why then was the _Credential_ swallow'd without chewing, why was not _Hoyden_ lock'd up, and a pause made for farther Enquiry? Did this _Justice_ never hear of such a Thing as Knavery, or had he ever greater reason to guard against it? More wary steps might well have been expected from Sir _Tunbelly_. To run from one extream of Caution, to another of Credulity, is highly improbable. In short, either Lord _Foplington_ and Sir _Tunbelly_ are Fools, or they are not. If they are, where lies the Cunning in over-reaching them? What Conquest can there be without Opposition? If they are not Fools, why does the _Poet_ make them so? Why is their Conduct so gross, so particolour'd, and inconsistent? Take them either way, and the _Plot_ miscarries. The first supposition makes it dull, and the later, incredible. So much for the _Plot_. I shall now in the

_4th_. Place touch briefly upon the _Manners_.

The _Manners_ in the Language of the _Stage_ have a signification somewhat particular. _Aristotle_ and _Rapin_ call them the Causes and Principles of Action. They are formed upon the Diversities of Age, and Sex, of Fortune, Capacity, and Education. The propriety of _Manners_ consists in a Conformity of Practise, and Principle; of Nature, and Behaviour. For the purpose. An old Man must not appear with the Profuseness and Levity of Youth; A Gentleman must not talk like a Clown, nor a Country Girl like a Town Jilt. And when the _Characters_ are feign'd 'tis _Horace_'s Rule to keep them Uniform, and consistent, and agreeable to their first setting out. The _Poet_ must be careful to hold his _Persons_ tight to their _Calling_ and pretentions. He must not shift, and shuffle, their Understandings; Let them skip from Wits to Blockheads, nor from Courtiers to Pedants; On the other hand. If their business is playing the Fool, keep them strictly to their Duty, and never indulge them in fine Sentences. To manage otherwise, is to desert _Nature_, and makes the _Play_ appear monstrous, and Chimerical. So that instead of an _Image of Life_, 'tis rather an Image of Impossibility. To apply some of these remarks to the _Relapser_.

The fine _Berinthia_, one of the Top-Characters, is impudent and Profane. _Lovelace_ would engage her Secrecy, and bids her Swear. She answers _I do_.

_Lov._ By what?

Berinth. _By Woman._

Lov. _That's Swearing by my Deity, do it by your own, or I shan't believe you._

Berinth. _By Man then._[412]

This Lady promises _Worthy_ her Endeavours to corrupt _Amanda_; and then They make a Profane jest upon the Office.[413] In the progress of the _Play_ after a great deal of Lewd Discourse with _Lovelace_, _Berinthia_ is carried off into a Closet, and Lodged in a _Scene_ of Debauch.[414] Here is Decency, and Reservedness, to a great exactness! Monsieur _Rapin_ blames _Ariosto_, and _Tasso_, for representing two of their Women over free, and airy.[415] These _Poets_ says he, _rob Women of their Character, which is Modesty_. Mr. _Rymer_ is of the same Opinion: His words are these. _Nature knows nothing in the Manners which so properly, and particularly distinguish a Woman, as her Modesty.----An impudent Woman is fit only to be kicked, and expos'd in Comedy._[416]

Now _Berinthia_ appears in _Comedy_ 'tis true; but neither to be _kick'd_, nor _expos'd_. She makes a Considerable Figure, has good Usage, keeps the best Company, and goes off without Censure, or Disadvantage. Let us now take a Turn or two with Sir _Tun-belly's_ Heiress of 1500 pounds a year. This Young Lady swears, talks smut, and is upon the matter just as rag-manner'd as _Mary the Buxsome_. 'Tis plain the _Relapser_ copyed Mr. _Durfey's_ Original, which is a sign he was somewhat Pinch'd. Now this _Character_ was no great Beauty in _Buxsome_; But it becomes the Knights Daughter much worse. _Buxsome_ was a poor Pesant, which made her Rudeness more natural, and expected. But _Deputy Lieutenants_ Children don't use to appear with the Behaviour of Beggars. To breed all People alike, and make no distinction between a _Seat_, and a _Cottage_, is not over artful, nor very ceremonious to the Country Gentlemen. The _Relapser_ gives _Miss_ a pretty Soliloquy, I'll transcribe it for _the Reader_.

She swears by her Maker, _'tis well I have a Husband a coming, or I'de Marry the Baker I would so. No body can knock at the Gate, but presently I must be lock'd up, and, here's the Young Gray-hound----can run loose about the House all day long, she can, 'tis very well!_![417] Afterwards her Language is too Lewd to be quoted. Here is a Compound of Ill Manners, and Contradiction Is this a good Resemblance of Quality, a Description of a great Heiress, and the effect of a Cautious Education? By her Coarsness you would think her Bred upon a Common, and by her Confidence, in the Nursery of the _Play-house_. I suppose the _Relapser_ Fancies the calling her _Miss Hoyden_ is enough to justifie her Ill Manners. By his favour, this is a Mistake. To represent her thus unhewn, he should have suited her Condition to her Name, a little better. For there is no Charm in _Words_ as to matters of Breeding, An unfashionable Name won't make a Man a Clown. Education is not form'd upon Sounds, and Syllables, but upon Circumstances, and Quality. So that if he was resolv'd to have shown her thus unpolish'd, he should have made her keep _Sheep_, or brought her up at the _Wash-Boul_.

Sir _Tun-belly_ accosts Young _Fashion_ much at the same rate of Accomplishment.[418] My Lord,----_I humbly crave leave to bid you Welcome in a Cup of Sack-wine_. One would imagine the _Poet_ was overdozed before he gave the _Justice_ a Glass. For _Sack-wine_ is too low for a _Petty Constable_. This peasantly expression agrees neither with the Gentlemans Figure, nor with the rest of his Behaviour. I find we should have a Creditable _Magistracy_, if the _Relapser_ had the Making them. Here the _Characters_ are pinch'd in Sense, and stinted to short Allowance. At an other time they are over-indulged, and treated above Expectation.

For the purpose. Vanity and Formalizing is Lord _Foplingtons_ part. To let him speak without Aukwardness, and Affectation, is to put him out of his Element. There must be Gumm and stiffening in his Discourse to make it natural However, the _Relapser_ has taken a fancy to his Person, and given him some of the most Gentile raillery in the whole _Play_. To give an Instance or two. This Lord in Discourse with _Fashion_ forgets his Name, flies out into Sense, and smooth expression, out talks his Brother, and abating the starch'd Similitude of a _Watch_, discovers nothing of Affectation, for almost a _Page_ together.[419] He relapses into the same Intemperance of good Sense, in an other Dialogue between him and his Brother. I shall cite a little of it.

_Y._ Fash. _Unless you are so kind to assist me in redeeming my Annuity, I know no Remedy, but to go take a Purse_.

_L._ Fopl. _Why Faith_ Tam----_to give you my Sense of the Thing, I do think taking a Purse the best Remedy in the World, for if you succeed, you are releiv'd that way, if you are taken----you are reliev'd to'ther_.[420]

_Fashion_ being disappointed of a supply quarrels his Elder Brother, and calls him _the Prince of Coxcombs_.[421]

_L._ Fopl. _Sir I am proud of being at the Head of so prevailing a party._

_Y._ Fash. _Will nothing then provoke thee? draw Coward._

_L._ Fopl. _Look you_ Tam, _your poverty makes your Life so burdensome to you, you would provoke me to a Quarrel, in hopes either to slip through my Lungs into my Estate, or else to get your self run through the Guts, to put an end to your Pain. But I shall disappoint you in both_. &c.

This Drolling has too much Spirit, the Air of it is too free, and too handsomly turn'd for Lord _Foplingtons_ Character. I grant the _Relapser_ could not aford to lose these Sentences. The Scene would have suffer'd by the Omission. But then he should have contriv'd the matter so, as that they might, have been spoken by Young _Fashion_ in _Asides_, or by some other more proper Person. To go on. Miss _Hoyden_ sparkles too much in Conversation. The _Poet_ must needs give her a shining Line or two,[422] which serves only to make the rest of her dullness the more remarkable. Sir. _Tun-belly_ falls into the same Misfortune of a Wit, and rallies above the force of his Capacity.[423] But the place having a mixture of Profaness, I shall forbear to cite it. Now to what purpose should a Fools Coat be embroider'd? Finery in the wrong place is but expensive Ridiculousness. Besides, I don't perceive the _Relapser_ was in any Condition to be thus liberal. And when a _Poet_ is not overstock'd, to squander away his Wit among his _Block-heads_, is meer Distraction. His men of Sense will smart for this prodigality. _Lovelace_ in his discourse of _Friendship_, shall be the first Instance. _Friendship_ (says he) _is said to be a plant of tedious growth, its Root composed of tender_ Fibers, nice in their Tast, _&c._ By this Description the Palate of a _Fiber_, should be somewhat more _nice_ and distinguishing, then the _Poets_ Judgment. Let us examin some more of his Witty People. Young _Fashion_ fancies by _Misses_ forward Behaviour, she would have a whole _Kennel_ of _Beaux_ after her at _London_. And then _Hey to the Park, and the Play, and the Church, and the Devil_.[424] Here I conceive the ranging of the Period is amiss. For if he had put the _Play_, and the _Devil_ together, the Order of Nature, and the Air of Probability had been much better observ'd.

Afterwards _Coupler_ being out of Breath in coming up stairs to _Fashion_, asks him _why the ---- canst thou not lodge upon the Ground-floor_?[425]

_Y._ Fash. _Because I love to lye as near Heaven as I can._ One would think a Spark just come off his Travels, and had made the _Tour_ of _Italy_ and _France_, might have rallied with a better Grace! However if he lodg'd in a _Garret_, 'tis a good _Local_ jest. I had almost forgot one pretty remarkable Sentence of _Fashion_ to _Lory._[426] _I shall shew thee_ (says he) _the excess of my Passion by being very calm_. Now since this _Gentleman_ was in a vein of talking Philosophy to his Man, I'm sorry he broke of so quickly. Had he gone on and shown him the _Excess_ of a Storm and no Wind stirring, the Topick had been spent, and the Thought improv'd to the utmost.

Let us now pass onto _Worthy_, the _Relapsers_ fine Gentleman. This Spark sets up for Sense, and Address, and is to have nothing of Affectation or Conscience to spoil his Character. However to say no more of him, he grows Foppish in the last _Scene_, and courts _Amanda_ in Fustian, and Pedantry. First, He gives his Periods a turn of Versification, and talks _Prose_ to her in _Meeter_. Now this is just as agreeable as it would be to _Ride_ with one Leg, and _Walk_ with the other. But let him speak for himself. His first business is to bring _Amanda_ to an Aversion for her Husband; And therefore he perswades her to _Rouse up that Spirit Women ought to bear; and slight your God if he neglects his Angel_.[427] He goes on with his Orisons. _With Arms of Ice receive his Cold Embraces and keep your Fire for those that come in Flames._ Fire and Flames, is Mettal upon Mettal; 'Tis false Heraldry. _Extend the Arms of Mercy to his Aid. His zeal may give him Title to your Pity, altho' his Merit cannot claim your Love._[428] Here you have _Arms_ brought in again by Head and shoulders. I suppose the design was to keep up the Situation of the _Allegory_. But the latter part of the Speech is very Pithy. He would have her resign her Vertue out of Civility, and abuse her Husband on Principles of good Nature. _Worthy_ pursues his point, and Rises in his Address. He falls into a Fit of Dissection, and hopes to gain his Mistress by Cutting his Throat. He is for _Ripping up his Faithful Breast_, to prove the Reality of his Passion. Now when a Man Courts with his Heart in his Hand, it must be great Cruelty to refuse him! No Butcher could have Thought of a more moving Expedient! However, _Amanda_ continues obstinate, and is not in the usual Humour of the _Stage_. Upon this, like a well bred Lover he seizes her by Force, and threatens to Kill her. _Nay struggle not for all's in vain, or Death, or Victory, I am determin'd._[429] In this rencounter the Lady proves too nimble, and slips through his Fingers. Upon this disappointment, he cries, _there's Divinity about her, and she has dispenc'd some Portion on't to me_. His Passion is Metamorphos'd in the Turn of a hand: He is refin'd into a _Platonick_ Admirer, and goes off as like a _Town Spark_ as you would wish. And so much for the _Poets_ fine Gentleman.

I should now examine the _Relapser's Thoughts and Expressions_, which are two other Things of Consideration in a _Play_. The _Thoughts_ or _Sentiments are the Expressions of the Manners, as Words are of the Thoughts_.[430] But the view of the _Characters_ has in some measure prevented this Enquiry. Leaving this Argument therefore, I shall consider his _Play_ with respect to the

_Three Unities_ of Time, Place, and Action.

And here the _Reader_ may please to take notice, that the Design of these Rules, is to conceal the Fiction of the _Stage_, to make the _Play_ appear Natural, and to give it an Air of Reality, and _Conversation_.

The largest compass for the first _Unity_ is Twenty Four Hours: But a lesser proportion is more regular. To be exact, the Time of the History, or _Fable_, should not exceed that of the _Representation_: Or in other words, the whole Business of the _Play_, should not be much longer than the Time it takes up in _Playing_.

The Second _Unity_ is that of _Place_. To observe it, the _Scene_ must not wander from one Town, or Country to another. It must continue in the same House, Street, or at farthest in the same City, where it was first laid. The Reason of this Rule depends upon the _First_. Now the Compass of _Time_ being strait, that of _Space_ must bear a Correspondent Proportion. Long journeys in _Plays_ are impracticable. The Distances of _Place_ must be suited to Leisure, and Possibility, otherwise the supposition will appear unnatural and absurd. The

Third _Unity_ is that of _Action_; It consists in contriving the chief Business of the _Play_ single, and making the concerns of one Person distinguishably great above the rest. All the Forces of the _Stage_ must as it were serve Under one _General_: And the lesser Intrigues or Underplots, have some Relation to the Main. The very Oppositions must be useful, and appear only to be Conquer'd, and Countermin'd. To represent Two considerable Actions independent of each other, Destroys the beauty of Subordination, weakens the Contrivance, and dilutes the pleasure. It splits the _Play_, and makes the _Poem_ double. He that would see more upon this subject may consult _Corneille_.[431] To bring these Remarks to the Case in hand. And here we may observe how the _Relapser_ fails in all the _Rules_ above mention'd.

_1st._ His _Play_ by modest Computation takes up a weeks Work, but five days you must allow it at the lowest. One day must be spent in the First, Second, and part of the Third _Act_, before Lord _Foplington_ sets forward to Sir _Tun-belly_. Now the Length of the Distance, the Pomp of the Retinue, and the Niceness of the Person being consider'd; the journey down, and up again, cannot be laid under four days.[432] To put this out of doubt, Lord, _Foplington_ is particularly careful to tell _Coupler_, how concern'd he was not to overdrive _for fear of disordering his Coach-Horses_. The Laws of _Place_, are no better observ'd than those of _Time_. In the Third _Act_ the _Play_ is in _Town_, in the Fourth _Act_ 'tis stroll'd Fifty Miles off, and in the Fifth _Act_ in _London_ again. Here _Pegasus_ stretches it to purpose! This _Poet_ is fit to ride a Match with Witches. _Juliana Cox_ never Switched a Broom stock with more Expedition! This is exactly

_Titus_ at _Walton Town_, and _Titus_ at _Islington_.

One would think by the probability of matters, the _Plot_ had been stolen from Dr. _O----s_.

The _Poet's_ Success in the last _Unity_ of _Action_ is much the same with the former. _Lovelace_, _Amanda_, and _Berinthia_, have no share in the main Business. These Second rate _Characters_ are a detatched Body: Their Interest is perfectly Foreign, and they are neither Friends, nor Enemies to the _Plot_. _Young Fashion_ does not so much as see them till the Close of the Fifth _Act_, and then they meet only to fill the _Stage_: And yet these _Persons_ are in the _Poets_ account very considerable; Insomuch that he has misnamed his _Play_ from the Figure of two of them. This strangness of _Persons_, distinct Company, and inconnexion of Affairs, destroys the Unity of the _Poem_. The contrivance is just as wise as it would be to cut a Diamond in two. There is a loss of Lustre in the Division. Increasing the Number, abates the Value, and by making it more, you make it less.

Thus far I have examin'd the _Dramatick_ Merits of the _Play_. And upon enquiry, it appears a Heap of Irregularities. There is neither Propriety in the _Name_, nor Contrivance in the _Plot_, nor Decorum in the _Characters_. 'Tis a thorough Contradition to Nature, and impossible in _Time_, and _Place_. Its _Shining Graces_ as the Author calls them,[433] are _Blasphemy_ and _Baudy_, together with a mixture of _Oaths_, and _Cursing_. Upon the whole; The _Relapser's_ Judgment, and his Morals, are pretty well adjusted. The _Poet_, is not much better than the _Man_. As for the _Profane_ part, 'tis hideous and superlative.[434] But this I have consider'd elsewhere. All that I shall observe here is, that the Author was sensible of this Objection. His Defence in his _Preface_ is most wretched: He pretends to know nothing of the Matter, and that _'tis all Printed_; Which only proves his Confidence equal to the rest of his Virtues. To out-face Evidence in this manner, is next to the affirming there's no such Sin as _Blasphemy_, which is the greatest Blasphemy of all. His Apology consists in railing at the _Clergy_; a certain sign of ill Principles, and ill Manners. This He does at an unusual rate of Rudeness and Spite. He calls them the Saints with Screw'd _Faces, and wry Mouths_. And after a great deal of scurrilous Abuse too gross to be mention'd, he adds;[435] _If any Man happens to be offended at a story of a Cock and a Bull, and a Priest and a Bull-dog, I beg his Pardon_, &c. This is brave _Bear-Garden_ Language! The _Relapser_ would do well to transport his Muse to _Samourgan_.[436] There 'tis likely he might find Leisure to lick his _Abortive Brat_ into shape; And meet with proper Business for his Temper, and encouragement for his Talent.

CHAP. VI.

_The Opinion of_ Paganism, _of the_ Church, _and_ State, _concerning the_ Stage.

Having in the foregoing _Chapters_ discover'd some part of the Disorders of the _English Stage_; I shall in this Last, present the _Reader_ with a short View of the Sense of _Antiquity_, To which I shall add some _Modern_ Authorities; From all which it will appear that _Plays_ have generally been look'd on as the _Nurseries_ of _Vice_, the _Corrupters_ of _Youth_, and the _Grievance_ of the _Country_ where they are suffer'd.

This proof from _Testimony_ shall be ranged under these three Heads.

Under the _First_, I shall cite some of the most celebrated _Heathen Philosophers_, Orators, and Historians; Men of the biggest Consideration, for Sense, Learning, and Figure. The

_Second_, Shall consist of the _Laws_ and _Constitutions_ of _Princes, &c._ The

_Third_, Will be drawn from _Church-Records_, from _Fathers_, and _Councils_ of unexceptionable Authority, both as to Persons, and Time.

_1st._ I shall produce some of the most celebrated Heathen Philosophers _&c._ To begin with _Plato_. 'This Philosopher tells us that _Plays_ raise the Passions, and pervert the use of them, and by consequence are dangerous to Morality. For this Reason he banishes these Diversions his _Common-Wealth_.'[437]

_Xenophon_ who was both a Man of _Letters_ and a great _General_, commends the _Persians_ for the Discipline of their Education. 'They won't (says he) so much as suffer their Youth to hear any thing that's Amorous or Tawdry.'[438] They were afraid want of Ballast might make them miscarry, and that 'twas dangerous to add weight to the Byass of Nature.

_Aristole_ lays it down for a Rule 'that the Law ought to forbid Young People the seeing of _Comedies_. Such permissions not being safe till Age and Discipline had confirm'd them in sobriety, fortified their Virtue, and made them as it were proof against Debauchery.'[439] This Philosopher who had look'd as far into Humane Nature as any Man, observes farther. 'That the force of Musick and _Action_ is very affecting. It commands the Audience and changes the Passions to a Resemblance of the Matter before them.'[440] So that where the Representation is foul, the Thoughts of the Company must suffer.

_Tully_ crys out upon 'Licentious _Plays_ and _Poems_, as the bane of Sobriety, and wise Thinking: That _Comedy_ subsists upon Lewdness, and that Pleasure is the Root, of all Evil.'[441]

_Livy_, reports the Original of _Plays_ among the _Romans_. 'He tells us they were brought in upon the score of Religion, to pacifie the Gods, and remove a _Mortality_. But then He adds that the Motives are sometimes good, when the Means are stark naught: That the Remedy in this case was worse than the Disease, and the Atonement more Infectious then the Plague.'[442]

_Valerius Maximus_, Contemporary with _Livy_, gives much the same Account of the rise of _Theatres_ at _Rome_. 'Twas Devotion which built them. And as for the Performances of those Places, which Mr. _Dryden_ calls the _Ornaments_, this Author censures as the Blemishes of _Peace_.' And which is more, He affirms 'They were the Occasions of Civil Distractions; And that the _State_ first Blush'd, and then Bled, for the Entertainment.[443] He concludes the consequences of _Plays_ intolerable;[444] And that the _Massilienses_ did well in clearing the Country of them. _Seneca_ complains heartily of the Extravagance and Debauchery of the Age: And how forward People were to improve in that which was naught. That scarce any Body would apply themselves to the Study of Nature and Morality, unless when the _Play-House_ was shut, or the Weather foul. That there was no body to teach _Philosophy_, because there was no body to Learn it: But that the _Stage_ had _Nurseries_, and Company enough. This Misapplication of time and Fancy, made Knowledge in so ill a Condition. This was the Cause the Hints of Antiquity were no better pursued; that some Inventions were sunk, and that Humane Reason grew Downwards rather than otherwise.[445] And elswhere he avers that there is nothing more destructive to Good Manners then to run Idling to see _Sights_. For there Vice makes an insensible Approach, and steals upon us in the Disguise of pleasure.[446]

'_Tacitus_ relating how _Nero_ hired decay'd Gentlemen for the _Stage_, complains of the Mismanagement;[447] And lets us know 'twas the part of a Prince to releive their Necessity, and not to Tempt it. And that his Bounty should rather 'have set them above an ill practise, than driven them upon't.'

And in another place, He informs us that 'the German Women were Guarded against danger, and kept their Honour out of Harms way, by having no _Play-Houses_ amongst them.'[448]

_Plays_, in the Opinion of the Judicious _Plutark_ are dangerous to corrupt Young People; And therefore _Stage_ Poetry when it grows too hardy, and Licentious, ought to be checkt.[449] This was the Opinion of these Celebrated _Authors_ with respect to _Theatres_: They Charge them with the Corruption of Principles, and Manners, and lay in all imaginable Caution against them. And yet these Men had seldom any thing but this World in their Scheme; and form'd their Judgments only upon Natural Light, and Common Experience. We see then to what sort of Conduct we are oblig'd. The case is plain; Unless we are little enough to renounce our Reason, and fall short of Philosophy, and live _under_ the Pitch of _Heathenism_.

To these Testimonies I shall add a Couple of _Poets_, who both seem good Judges of the Affair in Hand.

The first is _Ovid_, who in his Book _De Arte Amandi_, gives his _Reader_ to understand that the _Play-House_ was the most likely Place for him to Forage in. Here would be choice of all sorts: Nothing being more common than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at these Diversions.

_Sed tu præcique curvis venare Theatris,
Hæc loca sunt voto fertiliora tuo.
---- ruit ad celebres cultissima Fæmina Ludos;
Copia judicium sæpe morata meum est.
Spectatum veniunt, veniunt Spectentur ut ipsæ;
Ille locus casti damna pudoris habet._[450]

And afterwards relating the imperfect beginning of _Plays_ at the Rape of the _Sabine_ Virgins, he adds,

_Silicit exillo solennia more Theatra
Nunc quoque formosis insidiosa manent._

This _Author_ some time after wrote the _Remedy_ of _Love_. Here he pretends to Prescribe for Prudence, if not for Sobriety. And to this purpose, He forbids the seeing of _Plays_, and the reading of _Poets_, especially some of them. Such Recreations being apt to feed the _Distemper_, and make the _Patient_ relapse.

_At tanti tibi sit non indulgere Theatris
Dum bene de cacuo Pectore cedat amor.
Enervant animos Citharæ, Cantusque, lyraque
Et vox, & numeris brachia mota suis.
Illic assidue ficti saltantur amantes,
Quid, caveas, actor, quid juvet, arte docet_.[451]

In his _De Tristibus_, He endeavours to make some Amends for his scandalous _Poems_, and gives _Augustus_ a sort of _Plan_ for a Publick _Reformation_. Amongst other Things, he advises the suppressing of _Plays_, as being the promoters of Lewdness, and Dissolution of Manners.

_Ut tamen hoc fatear ludi quoque semina præbent
Nequitiæ, tolli tota Theatra jube._[452]

To the Testimony of _Ovid_, I could add _Plautus_, _Propertius_, and _Juvenal_, but being not willing to overburthen the _Reader_, I shall content my self with the _Plain-Dealer_ as one better known at _Home_.

This _Poet_ in his _Dedication_ to _Lady B_, some Eminent _Procuress_, pleads the Merits of his Function, and insists on being Billeted upon _free Quarter_. _Madam_ (says he) _I think a Poet ought to be as free of your Houses, as of the Play-Houses: since he contributes to the support of both, and is as necessary to such as you, as the Ballad-singer to the Pick-purse, in Convening the Cullies at the Theatres to be pick'd up, and Carried to a supper, and Bed, at your Houses._[453] This is franck Evidence, and ne're the less true, for the Air of a Jest.

I shall now in the Second Place proceed to the _Censures_ of the _State_; And show in a few Words how much the _Stage_ stands discouraged by the _Laws_ of other Countrys and our own.

To begin with the _Athenians_.[454] This People tho' none of the worst Freinds to the _Play-House_ 'thought a _Comedy_ so unreputable a Performance, that they made a Law that no Judge of the _Ariopagus_ should make one.'

The _Lacedemonians_,[455] who were remarkable for the Wisdom of their _Laws_, the Sobriety of their _Manners_, and their Breeding of brave Men. This _Government_ would not endure the _Stage_ in any Form, nor under any Regulation.

To pass on to the _Romans_. _Tully_[456] informs us that their _Predecessours_ 'counted all _Stage-Plays_ uncreditable and Scandalous. In so much that any _Roman_ who turn'd _Actor_ was not only to be Degraded, but likewise as it were disincorporated, and unnaturalized by the _Order_ of the _Censors_.

St. _Augustine_ in the same Book,[457] commends the _Romans_ for refusing the _Jus Civitatis_ to _Players_, for seizing their Freedoms, and making them perfectly Foreign to their _Government_.

We read in _Livy_[458] that the Young People in _Rome_ kept the _Fabulæ Attellanæ_ to themselves. 'They would not suffer this Diversion to be blemish'd by the _Stage_. For this reason, as the Historian observes,[459] the _Actors_ of the _Fabulæ Atellanæ_ were neither expell'd their _Tribe_, nor refused to serve in _Arms_; Both which Penalties it appears the _Common Players_ lay under.'

In the Theodosian _Code_, _Players_ are call'd _Personæ inhonestæ_;[460] that is, to _Translate_ it softly, Persons Maim'd, and Blemish'd in their Reputation. Their _Pictures_ might be seen at the _Play-House_, but were not permitted to hang in any creditable Place[461] of the _Town_, Upon this _Text_ _Gothofred_ tells us the Function of Players was counted scandalous[462] by the _Civil Law_, L. 4. And that those who came upon the _Stage_ to divert the people, had a mark of Infamy set upon them. _Famosi sunt ex Edicto._ [463]

I shall now come down to our own _Constitution_. And I find by 39 _Eliz. cap. 4. 1. Jac. cap. 7_. That all Bearwards, Common Players of Enterludes, Counterfeit Egyptians &c. shall be taken, adjudged and deem'd Rogues, Vagabonds, and sturdy beggars, and shall sustain all pain and Punishment, as by this Act is in that behalf appointed. The _Penalties_ are infamous to the last degree, and _Capital_ too, unless they give over. 'Tis true, the first _Act_ excepts those Players which belong to a Baron or other Personage of higher Degree, and are authorized to Play under the hand and Seal of Armes of such Baron, or Personage. But by the later _Statute_ this Privilege of _Licensing_ is taken away: And all of them are expresly brought under the Penalty without Distinction.

About the Year 1580, there was a Petition made to Queen _Elizabeth_ for suppressing of _Play-Houses_. 'Tis somewhat remarkable, and therefore I shall transcribe some part of the Relation.

_Many Godly Citizens, and other well disposed Gentlemen of_ London, _considering that_ Play-Houses _and_ Dicing-Houses, _were Traps for Young Gentlemen and others, and perceiving the many Inconveniencies and great damage that would ensue upon the long suffering of the same, not only to particular Persons but to the whole City; And that it would also be a great disparagement to the Governours, and a dishonour to the Government of this Honourable City, if they should any longer continue, acquainted some Pious Magistrates therewith, desiring them to take some Course for the suppression of Common_ Play-Houses, _&c. within the City of_ London _and Liberties thereof; who thereupon made humble suit to Queen_ Elizabeth _and her Privy Council, and obtain'd leave of her Majesty to thrust the Players out of the City and to pull down all_ Play-Houses, _and_ Dicing-Houses _within their Liberties, which accordingly was effected.[464] And the Play-Houses in_ Grace-Church-street _&c. were quite put down and suppress'd_.

I shall give a Modern Instance or two from _France_ and so conclude these Authorities.

In the Year 1696. we are inform'd by a Dutch _Print_,[465] M. _L' Archevéque appuyé_ &c. That the Lord Arch-Bishop 'support'd by the interest of some Religious Persons at Court, has done his utmost to suppress the _Publick Theatres_ by degrees; or at least to clear them of Profaness.'

And last Summer the _Gazetts_ in the _Paris Article_ affirm.[466] That the King has 'order'd the _Italian Players_ to retire out of _France_ because they did not observe his _Majesties Orders_, but represented immodest _Pieces_, and did not correct their _Obscenities_, and indecent _Gestures_.'

The same _Intelligence_ the next week after, acquaints us, 'that some Persons of the first _Quality_ at Court, who were the Protectors of these _Comedians_, had solicited the French King to recal his _Order_ against them, but their Request had no success.'

And here to put an end to the Modern Authorities, I shall subjoyn a sort of _Pastoral Letter_ publish'd about two years since by the Bishop of _Arras_ in _Flanders_. The _Reader_ shall have as much of it as concerns him in both Languages.

MANDEMENT

DE MONSEIGNEUR

_L'Illustrissime Et Reverendissime_

EVEQUE D'ARRAS

CONTRE LA COMEDIE.

GUY DE SEVE DE ROCHE CHOUART _par la grace de Dieu & du Saint Siége Apostolique Evéque d' Arras, A tous fideles dela Ville d'Arras Salut & Benediction. Il faut ignorer sa Religion pour ne pas connoître l'horreur qu'elle a marquée dans tous les temps des Spectacles, & de la Comédie en particulier. Les saints Peres la condamnent dans leurs écrits; Ils la regardent comme un reste du paganisme, & Comme une école d'impureté. L'Eglise l' a toûjours regardée avec abomination, & si elle n'a pas absolument rejetté de son sein ceux qui exercent ce mêtier infame & scandaleux, elle les prive publiquement des Sacremens & n'oublie rien pour marquer en toutes rencountres son aversion pour cet ètat & pour l'inspirer a ses Enfans. Des Rituels de Dioceses tres reglés les mettent au nombre des personnes que les Curés sont obligés de traiter comme excommunies; Celui de Paris les joint aux Sorciers, & aux Magiciens, & les regarde comme manifestement infames; Les Eveques les plus saints leur font refuser publiquement, les Sacremens; Nous avons veu un des premiers Eveques de France ne vouloir pas par cette raison recevoir au mariage un homme de cet état; un autre ne vouloir pas leur accorder la terre Sainte; Et dans les Statuts d'un prelat bien plus illustre per son merite par sa Pieté, & par l'austerité de sa vie que par la pourpre dont il est revestu, on les trouve avec les concubinaires, les Usuriers, les Blasphemateurs, les Femmes debauchées, les excommuniés denoncés, les Infames, les Simoniaque's, & autres personnes scandaleuses mis an nombre de ceux a qui on doit refuser publiquement la Communion_.

_Il est donc impossible de justifyer la Comedie sans vouloir condamner l'Eglise, les saints peres, les plus saint Prelats, mais il ne l'est pas moins de justifiër ceux qui par leur assistance a ces spectacles non seulement prennent part au mal qui s'y fait, mais contribuent en même temps à retenir ces malheureux ministres de Satan dans une profession, qui les separant des Sâcremens de l'Eglise les met dans un état perpetuel de peché & hors de salut s'ils ne l'abandonnnent._---- ----

_Et à egard des Comediens & Commediennes, Nous defendons trés expressement à nos pasteurs & à nos Confesseurs des les recevoir aux Sacremens si cé n'est qu'ils aient fait Penitence de leur peché, donné des preuves d'amendment, renoncé a leur Etat, & repare par une satisfaction publique telle que nous jugerons à propos de leur ordonner, le Scandale public qu'ils ont donné. Fait & ordonné à Arras le quatriéme jour de Decembre mil six cent quatre-vingt quinze._[467]

_Guy Evéque d'Arras
Et plus bas
Par Monseigneur_

CARON.

In English thus,

_An Order of the most Illustrious and most Reverend Lord Bishop of_ Arras _against_ Plays.

'GUY DE SEVE DE ROCHE CHOUART by the grace of God, &c. Bishop of _Arras_. To all the Faithful in the Town of _Arras_ Health and Benediction. A man must be very ignorant of his Religion, not to know the great disgust it has always declar'd, for _Publick Sights_, and for _Plays_ in particular. The Holy _Fathers_ condemn them in their writings; They look upon them as reliques of Heathenism, and Schools of Debauchery. They have been always abominated by the Church; And notwithstanding those who are concern'd in this Scandalous Profession; are not absolutely expell'd by a Formal Excommunication, yet She publickly refuses them the Sacraments, and omits nothing upon all occasions, to show her aversion for this Employment, and to transfuse the same sentiments into her Children. The _Rituals_ of the best govern'd Dioceses, have ranged the _Players_ among those whom the Parish Priests are oblig'd to treat as Excommunicated Persons. The _Ritual_ of _Paris_ joyns them with Sorcerers, and Magicians, and looks upon them as notoriously infamous; The most eminent Bishops for Piety, have publickly denied them the Sacraments: For this reason, we our selves have known one of the most considerable Bishops in _France_, turn back a _Player_ that came to be Married; And an other of the same order, refused to bury them in Consecrated Ground. And by the _Orders_ of a Bishop, who is much more illustrious for his worth, for his Piety, and the Strictness of his Life, than for the _Purple_ in his Habit; They are thrown amongst Fornicators, Usurers, Blasphemers, Lewd Women, and declar'd Excommunicates, amongst the Infamous, and Simoniacal, and other Scandalous Persons who are in the List of those who ought publickly to be barr'd Communion.

'Unless therfore we have a mind to condemn the Church, the Holy Fathers, and the most holy Bishops, 'tis impossible to justifie _Plays_; neither is the Defence of those less impracticable, who by their Countenance of these Diversions, not only have their share of the Mischief there done, but contribute at the same time to fix these unhappy Ministers of Satan in a Profession, which by depriving them of the Sacraments of the Church, leaves them under a constant necessity of Sinning, and out of all hopes of being saved, unless they give it over.----'

From the general Unlawfulness of _Plays_, the Bishop proceeds to argue more strongly against seeing them at times which are more particularly devoted to Piety, and Humiliation: And therefore he strickly forbids his Diocess the _Play-House_ in _Advent_, _Lent_, or under any publick _Calamity_. And at last concludes in this Manner.

'As for the Case of _Players_ both Men, and Women, we expresly forbid all our Rectors, Pastors, and Confessours, to admit them to the Sacraments, unless they shall repent them of their Crime, make proof of their Reformation, renounce their _Business_, and retrieve the Scandal they have given, by such publick Satisfaction as we shall think proper to injoyn them. Made and Decreed at _Arras_ the fourth day of _December 1695._

_Guy_ Bishop of _Arras_. &c.

I shall now in the Third Place, give a short account of the sense of the _Primitive_ Church concerning the _Stage_: And first I shall instance in her _Councils_.

The Council of _Illiberis_, or _Collioure_ in _Spain_, decrees,[468]

'That it shall not be lawful for any Woman who is either in full Communion or a probationer for Baptism, to Marry, or Entertain any _Comedians_ or _Actors_; whoever takes this Liberty shall be Excommunicated.'

The first Council of _Arles_, runs thus,[469]

'Concerning _Players_, we have thought fit to Excommunicate them as long as they continue to _Act_.'

The Second Council of _Arles_ made their _20th_ Canon to the same purpose, and almost in the same words.[470]

The Third Council of _Carthage_, of which St. _Augustine_ was a Member, ordains,[471]

'That the Sons of Bishops, or other Clergy-men should not be permitted to furnish out Publick _Shews_, or _Plays_[472] or be present at them: Such sort of Pagan _Entertainments_ being forbidden all the _Laity_. It being always unlawful for all Christians to come amongst _Blasphemers_.

This last branch shews the _Canon_ was Principally levell'd against the _Play-House_: And the reason of the Prohibition, holds every jot as strong against the _English_, as against the _Roman Stage_.

By the 35th _Canon_ of this _Council_ 'tis decreed,

'That _Actors_ or others belonging to the _Stage_, who are either _Converts_, or _Penitents_ upon a Relapse, shall not be denied Admission into the Church.' This is farther proof, that _Players_ as long as they kept to their Employment were bar'd _Communion_.

Another _African Council_ declares,[473]

'That the Testimony of People of ill Reputation, of _Players_, and others of such scandalous Employments, shall not be admitted against any Person.'

The Second _Council_ of _Chaalon_ sets forth,[474]

'That Clergy men ought to abstain from all over-engaging Entertainments in Musick or _Show_. (_oculorum auriumque illecebris_.) And as for the smutty, and Licentious Insolence of _Players_, and Buffoons, let them not only decline the Hearing it themselves, but likewise conclude the _Laity_ oblig'd to the same Conduct.

I could cite many more Authorities of this Kind, but being conscious of the Niceness of the _Age_, I shall forbear, and proceed to the Testimony of the _Fathers_.

To begin with _Theophilus_ Bishop of _Antioch_, who lived in the Second _Century_.

''Tis not lawful (says he)[475] for us to be present at the _Prizes_ or your _Gladiators_, least by this means we should be _Accessaries_ to the Murthers there committed. Neither dare we presume upon the Liberty of your other _Shews_,[476] least our Senses should be tinctur'd, and disoblig'd, with Indecency, and Profaness. The Tragical Distractions of _Tereus_ and _Thyestes_, are Nonsense to us. We are for seeing no Representations of Lewdness. The Stage-Adulteries of the _Gods_, and _Hero's_, are unwarrantable Entertainments: And so much the worse, because the Mercenary _Players_ set them off with all the Charms and Advantages of Speaking. God forbid that _Christians_ who are remarkable for Modesty, and Reserv'dness; who are obliged to Discipline, and train'd up in Virtue, God forbid I say, that we should dishonour our Thoughts, much less our Practise, with such Wickedness as This!'

_Tertullian_ who liv'd at the latter end of this Century is copious upon this subject; I shall translate but some Part of it. In his Apologetick, He thus addresses the Heathens.[477]

'We keep off from your publick _Shews_, because we can't understand the Warrant of their Original. There's Superstition and Idolatry in the Case: And we dislike the Entertainment because we dislike the reason of its Institution. Besides, We have nothing to do with the Frensies of the _Race-Ground_, the Lewdness of the _Play-House_, or the Barbarities of the _Bear-Garden_. The _Epicureans_ had the Liberty to state the Notion, and determine the Object of Pleasure. Why can't we have the same Privilege? What Offence is it then if we differ from you in the Idea of Satisfaction? If we won't understand to brighten our Humour, and live pleasantly, where's the harm? If any body has the worst on't, 'tis only our selves.'

His Book _de Spectaculis_ was wrote on purpose to diswade the Christians, from the publick Diversions of the _Heathens_, of which the _Play-House_ was one. In his first Chapter He gives them to understand, 'That the Tenour of their Faith, the Reason of Principle, and the Order of Discipline, had bar'd them the Entertainments of the _Town_. And therefore He exhorts them to refresh their Memories, to run up to their Baptism, and recollect their first Engagements. For without care, Pleasure is a strange bewitching Thing. When it gets the Ascendant, 'twill keep on Ignorance for an Excuse of Liberty, make a man's Conscience wink, and suborn his Reason against himself.

'But as he goes on,[478] some peoples Faith is either too full of Scruples, or too barren of Sense. Nothing will serve to settle them but a plain Text of _Scripture_. They hover in uncertainty because 'tis not said as expresly thou shalt not go to the _Play-House_, as 'tis thou shalt not Kill. But this looks more like Fencing than Argument. For we have the Meaning of the prohibition tho' not the sound, in the first _Psalm. Blessed is the Man that walks not in the Council of the Ungodly, nor stands in the way of Sinners, nor sits in the Seat of the Scornful._

'The _Censors_ whose business 'twas to take care of Regularity and Manners,[479] look'd on these _Play-Houses_ as no other than _Batteries_ upon Virtue and Sobriety, and for this reason often pull'd them down before they were well built, so that here we can argue from the _Precedents_ of meer _Nature_, and plead the _Heathens_ against themselves. Upon this view _Pompey_ the Great, when he built his _Dramatick_ Bawdy-House, clapp'd a _Chappel_ a Top on't. He would not let it go under the Name of a Play-House, but conven'd the people to a Solemn Dedication, and called it _Venus's_ Temple; Giving them to understand at the same time that there were _Benches_ under it for Diversion. He was afraid if he had not gone this way to work, The _Censors_ might afterwards have razed the Monument, and branded his Memory. Thus a Scandalous pile of Building was protected: The Temple, cover'd the _Play-House_, and Discipline was baffled by _Superstition_. But the Design is notably suited to the Patronage of _Bacchus_[480] and _Venus_. These two Confederate Devils of Lust and Intemperance, do well together. The very Functions of the _Players_ resemble their _Protectors_, and are instances of Service and Acknowledgment. Their Motion is effeminate, and their Gestures vitious and Significant: And thus they worship the Luxury of one _Idoll_, and the Lewdness of the other.

'And granting the Regards of Quality, the Advantages of Age, or Temper, may fortifie some People;[481] granting Modesty secur'd, and the Diversion as it were refin'd by this Means: Yet a Man must not expect to stand by perfectly unmoved, and impregnable. No body can be pleas'd without Sensible Impressions. Nor can such Perceptions be received without a Train of Passions attending them. These Consequences will be sure to work back upon their Causes, solicite the Fancy, and heighten the Original Pleasure. But if a Man pretends to be a _Stoick_ at _Plays_, he falls under another Imputation. For where there is no Impression, there can be no Pleasure: And then the _Spectator_ is very much Impertinent, in going where he gets nothing for his Pains. And if this were all; I suppose Christians have something else to do than to ramble about to no purpose.[482]

'Even those very Magistrates who abet the _Stage_, discountenance the _Players_. They stigmatize their _Character_, and cramp their Freedoms. The whole Tribe of them is thrown out of all Honour and Privilege. They are neither suffer'd to be Lords, nor Gentlemen: To come within the _Senate_, or harangue the People, or so much as to be Members of a _Common-Council_. Now what Caprice and Inconsistency is this! To love what we punish, and lessen those whom we admire! To cry up the Mystery, and censure the practise; For a Man to be as it were eclips'd upon the score of Merit is certainly an odd sort of Justice! True. But the Inference lies stronger another way. What a Confession then is this of an Ill Business; when the very Excellency of it is not without Infamy?