Transcriber's note: Text enclosed by underscores is in italics (_italics_).
The errata have been applied without further annotation. Otherwise no
attempt has been made to distinguish likely typographical errors from the
natural variability of 17th century orthography.
A few short phrases proved illegible on the scan: these are marked
<|lacuna|>.
The marginal notes have been changed to footnotes, marked thus [123].
* * * * *
A SHORT
VIEW
OF THE
_Immorality, and Profaneness_
OF THE
English Stage,
TOGETHER
With the Sence of Antiquity
upon this Argument,
By _JEREMY COLLIER_, M.A.
_London_, Printed for S. Keble at the _Turk's-Head_
in _Fleetstreet_, R. Sare at _Gray's-Inn-Gate_,
and H. Hindmarsh against the _Exchange_ in
_Cornhil_. 1698.
THE
PREFACE
_Being convinc'd that nothing has gone farther in Debauching the Age than
the_ Stage Poets, _and_ Play-House, _I thought I could not employ my time
better than in writing against them. These Men sure_, take Vertue and
Regularity, _for_ great Enemies, _why else is their_ Disaffection _so very_
Remarkable? _It must be said, They have made their_ Attack _with great_
Courage, _and_ gain'd _no inconsiderable_ Advantage. _But it seems_
Lewdness without Atheism, _is but_ half their Business. Conscience _might
possibly recover, and_ Revenge _be thought on; and therefore like_
Foot-Pads, _they must not only_ Rob, _but_ Murther. _To do them right_
their Measures _are_ Politickly taken: _To make sure work on't, there's
nothing like_ Destroying of Principles; Practise _must_ follow _of_ Course.
_For to have_ no good Principles, _is to have_ no Reason to be Good. _Now
'tis not to be expected that people should_ check _their_ Appetites, _and_
balk _their_ Satisfactions, _they don't know why. If_ Virtue _has no_
Prospect, _'tis not worth the owning. Who would be_ troubled _with_
Conscience _if 'tis only a_ Bugbear, _and has nothing_ in't _but_ Vision,
_and the_ Spleen?
_My_ Collection _from the_ English Stage, _is much short of what_ They _are
able to furnish. An_ Inventory _of their_ Ware-House _would have been a
large_ Work: _But being afraid of over charging the_ Reader, _I thought a_
Pattern _might do_.
_In_ Translating _the_ Fathers, _I have endeavour'd to keep_ close _to
their_ Meaning: _However, in_ some few places, _I have taken the_ Liberty
of throwing in a Word or two; _To_ clear _the_ Sense, _to_ preserve _the_
Spirit _of the_ Original, _and keep the_ English _upon its Legs_.
_There's one thing more to acquaint the_ Reader _with; 'Tis that I have
Ventured to_ change _the_ Terms _of_ Mistress _and_ Lover, _for_ others
_somewhat more_ Plain, _but much more_ Proper. _I don't look upon This as
any_ failure _in_ Civility. _As_ Good _and_ Evil _are_ different _in_
Themselves, _so they ought to be_ differently Mark'd. _To_ confound _them
in_ Speech, _is the way to_ confound _them in_ Practise. Ill Qualities
_ought to have_ ill Names, _to prevent their being_ Catching. _Indeed_
Things _are in a great measure_ Govern'd _by_ Words: _To_ Guild _over a
foul_ Character, _serves only to perplex the_ Idea, _to encourage the_ Bad,
_and mislead the_ Unwary. _To treat_ Honour, _and_ Infamy _alike, is an_
injury _to_ Virtue, _and a sort of_ Levelling _in_ Morality. _I confess, I
have no_ Ceremony _for_ Debauchery. _For to_ Compliment Vice, _is but_ one
Remove _from_ worshipping _the_ Devil.
_March 5th. 1697/8._
THE
CONTENTS.
CHAP. I.
_The Introduction._ Page 1
_The_ Immodesty _of the_ Stage. p. 3
_The_ Ill Consequences _of this_ Liberty. p. 5
Immodesty _a Breach_ of good Behaviour. p. 6
_The_ Stage _faulty in this respect to a very_ Scandalous degree. p. 8
Modesty _the_ Character _of_ Women. p. 9
_The Natural_ Serviceableness _of this_ Quality. p. 11
Immodesty _much more insufferable, under the_ Christian, _than
under the_ Heathen _Religion_. p. 14
_The_ Roman, _and_ Greek Theatres _more_ inoffensive _than the_
English. p. 15
_This proved from_ Plautus. Ibid.
_From_ Terence. p. 20
_From_ Seneca's Tragedies. p. 25
_The_ Comparison _carried on to the_ Theatre _at_ Athens. Ibid.
_A short_ Character _of_ Æschylus. p. 26
_The_ Cleaness _of his_ Expression. p. 27
_The_ Genius _and_ Conduct _of_ Sophocles. p. 28
_The_ Sobriety _of his_ Plays. p. 29
Euripides'_s_ Character distinguished _from the two_ former. p. 30
_The_ Reserv'dness _of his_ Stile. p. 31
All _Humours not fit for_ Representation. p. 35
_A_ Censure _of_ Aristophanes. p. 36
Aristophanes _his Testimony_ against himself. p. 48
{ Ben. Johnson. p. 51
_The Authorities of_ { Beaumont & Fletcher. p. 52
{ _And_ Corneille. p. 53
_against the_ present Stage.
CHAP. II.
The _Prophaneness_ of the _Stage_.
_This_ Charge _prov'd upon them_,
I. _By their_ Cursing _and_ Swearing. p. 57
_The_ English Stage _formerly less hardy in this respect_. Ibid.
_The_ provokingness _of this Sin_. p. 58
_This Offence_ punishable _by_ Law, _and how far_. p. 59
Swearing _in the_ Play House _an_ Un-Gentlemanly, _as well as an_
Un-Christian practise.
_A_ Second _Branch of the_ Profaness _of the_ Stage, _consisting in
their Abuse of_ Religion, _and the_ Holy Scriptures. p. 60
_Instances of this Liberty in the_ Mock Astrologer. Ib.
_In the_ Orphan. p. 62
_In the_ Old Batchelour, _and_ Double Dealer. p. 63, 64
_In_ Don Sebastian. p. 65
_Breif Remarks upon a Passage or two in the_ Dedications _of_
Aurenge Zebe, _and the_ Translation _of_ Juvenal. p. 66, 69
_Farther Instances of_ Profaneness _in_ Love Triumphant. p. 72
_In_ Love for Love. p. 74
_In the_ provok'd Wife. p. 77
_And in the_ Relapse. p. 78
_The_ Horrid Impiety _of this_ Liberty. p. 80
_The_ Stage _guilty of down right_ Blasphemy.
_This_ Charge _made good from several of the_ Plays _above
mention'd_. p. 82
_The Comparative Regularity of the_ Heathen Stage, _exemplyfied in_
Terence, _and_ Plautus. p. 86
_And in the_ Greek Tragedians. p. 87
Seneca _more exceptionable than the_ Greeks, _but not so faulty as
the_ Modern Stage. p. 94
_This_ outraging _of_ Religion Intolerable. p. 95
CHAP. III.
_The_ Clergy _abused by the_ Stage. p. 98
_This Usage both_ { _Unpresidented_. p. 112
_And_ { _Unreasonable_. p. 127
_The Misbehaviour of the_ Stage _upon this account_. p. 138
CHAP. IV.
Immorality encouraged _by the_ Stage. p. 140
_The_ Stage Poets _make_ Libertines _their_ Top-Characters, _and
give them_ Success _in their_ Debauchery. p. 142
_A_ Character _of their_ fine Gentleman. p. 143
_Their_ fine Ladies _Accomplish'd much after the same manner_. p. 146
_The_ Young People _of_ Figure _in_ Plautus _and_ Terence, _have a
greater regard to_ Morality. Ibid.
_The Defence in the_ Preface _to the_ Mock-Astrologer, _not
sufficient_. p. 148
_The_ Christian _Religion makes a great_ difference _in the Case_. p. 149
Horace _of a Contrary Opinion to the_ Mock-Astrologer. p. 150
_The_ Mock-Astrologer's _Instances from_ Ben Johnson
_Unserviceable_. p. 151
_The Authority of_ Shakespear _against the_ Mock-Astrologer. p. 154
_His_ Maxim _founded on the difference between_ Tragedy, _and_
Comedy, _a_ Mistake. p. 155
Delight _not the Chief-End of_ Comedy. p. 157
_This Assertion prov'd against the_ Mock-Astrologer _from the
Testimonies of_ Rapin. Ibid.
_And_ Ben Johnson. p. 158
Aristotle, _and_ Quintilian, _cited to the same purpose_ p. 159, 161
_To make_ Delight _the main Business in_ Comedy, _dangerous, and
unreasonable_. p. 162
_The improper Conduct of the_ Stage _with respect to Poetry, and
Ceremony_. p. 165
_Extravagant Rants._ p. 167
_Gingles in the_ Spanish Fryar, King Arthur, _and_ Love
Triumphant. p. 169
Women _roughly treated by the_ Stage. p. 171
_Their coarse Usage of the_ Nobility. p. 173
_These Freedoms peculiar to the_ English Stage. p. 175
CHAP. V.
SECT. I.
_Remarks upon Amphytrion._ p. 177
_The_ Machines _prophane, smutty, and out of the Character_. p. 178
_The singularity of the Poet in this point._ p. 180
_Blasphemy in Absalom and Achitophel._ p. 184
_A_ Poem _upon the Fall of the_ Angels, _call'd a Fairy way of
Writing_. p. 189
_The_ Punishment _of the_ Damned ridiculed. p. 192
SECT. II.
_Remarks on the_ Comical History _of_ Don Quixot. p. 196
_The_ Poets horrible Prophaneness. p. 197
_His want of_ Modesty, _and_ Regard _to the_ Audience. p. 202
All _Imitations of Nature not proper for the_ Stage. p. 204
_The_ Poets _Talent in Raillery, and_ Dedication. p. 205
SECT. III.
_Remarks on the_ Relapse. p. 209
_A Misnommer in the Title of the_ Play. p. 210
_The_ Moral _Vitious_. p. 211
_The_ Plot _ill Contriv'd_. p. 212
_The_ Manners _or_ Characters _out of Order_. p. 218
_The three_ Dramatick Unities _broken_. p. 228
CHAP. VI.
_The Opinion of the_ Heathen _Philosophers_, _Orators_, _and
Historians_, _concerning the_ Stage. p. 233
_The_ Stage _censured by the_ State. _This proved from the_
Constitutions _of_ Athens, Sparta, _and_ Rome. p. 240
_Farther Instances of this publick Discountentance in the_
Theodosian Code. p. 241
_In our own_ Statute Book. p. 242
_And in the late Order of the_ French King. p. 243
_An_ Order _of the Bishop of_ Arras _against_ Plays. p. 245
_The_ Stage _Condemn'd by the_ Primitive Church. p. 250
_The_ Councils _of_ Illiberis, Arles, &c. _cited_. Ibid.
_The Testimony's of the_ Fathers _against the_ Stage,
_particularly, of_ Theophilus Antiochenus. p. 252
_Of_ Tertullian. p. 253
_Of_ Clemens Alexandrinus. p. 260
_Of_ Minutius Foelix. p. 261
_Of St._ Cyprian. Ibid.
Lactantius. p. 265
_St._ Chrisostom. p. 267
_St._ Hierom. p. 272
_And St._ Augustine _cited to the same purpose_. p. 273
_The Censure of the_ Fathers, _and_ Councils _&c. applicable to
the_ English Stage. p. 276
_The Conclusion._ p. 280
_ERRATA._
Page 31 Margin for [Greek: Kôron], r. [Greek: Môron]. p. 37. l. 1. for _by
his_, r. _his_. l. 2. for _other_, r. _his other_. l. 25. for _præstr_, r.
_præter_. p. 39. l. 18. for _Poets_, _Knaves_, r. _Poets Knaves_. p. 44. l.
14. for _Concianotores_, r. _Concionatores_. p. 45. l. 25. for _Debaush_,
r. _Debauchee_. p. 46. l. 9. for _Enterprizes_, r. _Enterprize_. p. 47. l.
9. for _ridicules_, r. _ridiculous_. p. 52. l. 1. for _justifying_, r. _and
justifie_. p. 60. l. 2. for _tempestiuous_, r. _tempestuous_. l. 31. for
_pray_, r. _should pray_. p. 80. for _executed_, r. _exerted_. p. 108. l.
4. for _Antarkick_. r. _Antartick_. p. 117. l. 12. for _Angitia_, r.
_Angitiæ_. p. 121. l. 24. for _Auger_, r. _Augur_. p. 135. margin, for
_Heglins Cogmog_, r. _Heylins Cosmog_. p. 154. l. 22. dele up. p. 163. l.
28. for _then_, r. _therefore_. p. 183. l. 6. for _to_, r. _too_. p. 186.
l. 6. dele _And_. p. 191. l. 18. for _Circumstance_, r. _Circumstances_. p.
222. l. 9. for _Cup_, r. _a Cup_. p. 237. l. 2. for _apon't_, r. _upon't_.
245. l. 25. for _Le_, r. _Les_. p. 257. l. 28. for _Correspondence_ r.
_this Correspondence_. p. 272. l. 9. for _himself_. r. _themselves_.
The Litteral mistakes the Reader is Desired to Correct.
_Essays upon several Moral Subjects in two parts the Second Edition
Corrected and Enlarged by_ Jeremy Collier, _M.A._
_Human Prudence, or the Art by which a man may raise himself and his
Fortune to Grandure, the Seventh Edition._
_An Answer to all the Excuses and Pretences that men usually make for
their not coming to the Holy Communion, by a Divine of the Church of_
England: _Fitted for the meanest Capacity, and proper to be given away by
such Persons as are Charitably Inclin'd. Price 3 pence._
THE INTRODUCTION.
The business of _Plays_ is to recomend Virtue, and discountenance Vice; To
shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and
the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the
Singularities of Pride and Fancy, to make Folly and Falsehood contemptible,
and to bring every Thing that is Ill Under Infamy, and Neglect. This Design
has been oddly pursued by the English _Stage_. Our _Poets_ write with a
different View, and are gone into an other Interest. 'Tis true, were their
Intentions fair, they might be _Serviceable_ to this _Purpose_. They have
in a great measure the Springs of Thought and Inclination in their Power.
_Show_, _Musick_, _Action_, and _Rhetorick_, are moving Entertainments; and
rightly employ'd would be very significant. But Force and Motion are Things
indifferent, and the Use lies chiefly in the Application. These Advantages
are now, in the Enemies Hand, and under a very dangerous Management. Like
Cannon seized they are pointed the wrong way, and by the Strength of the
Defence the Mischief is made the greater. That this Complaint is not
unreasonable I shall endeavour to prove by shewing the Misbehaviour of the
_Stage_ with respect to _Morality_, and _Religion_. Their _Liberties_, in
the Following Particulars are intolerable. _viz._ Their _Smuttiness_ of
_Expression_; Their _Swearing_, _Profainness_, and _Lewd Application of
Scripture_; Their _Abuse_ of the _Clergy_; Their _making_ their _Top
Characters Libertines_, and giving them _Success_ in their _Debauchery_.
This Charge, with some other Irregularities, I shall make good against the
_Stage_, and shew both the _Novelty_ and _Scandal_ of the _Practise_. And
first, I shall begin with the _Rankness_, and _Indecency_ of their
_Language_.
CHAP. I.
_The Immodesty of the_ Stage.
In treating this Head, I hope the Reader does not expect that I should set
down Chapter and Page, and give him the Citations at Length. To do this
would be a very unacceptable and Foreign Employment. Indeed the Passages,
many of them, are in no Condition to be handled: He that is desirous to see
these Flowers let him do it in their own Soil: 'Tis my business rather to
kill the _Root_ than _Transplant_ it. But that the Poets may not complain
of Injustice; I shall point to the Infection at a Distance, and refer in
General to _Play_ and _Person_.
Now among the Curiosities of this kind we may reckon Mrs. _Pinchwife_,
_Horner_, and Lady _Fidget_ in the _Country Wife_; Widdow _Blackacre_ and
_Olivia_ in the _Plain Dealer_. These, tho' not all the exceptionable
_Characters_, are the most remarkable. I'm sorry the Author should stoop
his Wit thus Low, and use his Understanding so unkindly. Some People appear
Coarse, and Slovenly out of Poverty: They can't well go to the Charge of
Sense. They are Offensive like Beggars for want of Necessaries. But this is
none of the _Plain Dealer_'s case; He can afford his Muse a better Dress
when he pleases. But then the Rule is, where the Motive is the less, the
Fault is the greater. To proceed. _Jacinta_, _Elvira_, _Dalinda_, and _Lady
Plyant_, in the _Mock Astrologer_, _Spanish Friar_, _Love Triumphant_ and
_Double Dealer_, forget themselves extreamly: And almost all the
_Characters_ in the _Old Batchelour_, are foul and nauseous. _Love_ for
_Love_, and the _Relapse_, strike sometimes upon this _Sand_, and so
likewise does _Don Sebastian_.
I don't pretend to have read the _Stage_ Through, neither am I Particular
to my Utmost. Here is quoting enough unless 'twere better: Besides, I may
have occasion to mention somewhat of this kind afterwards. But from what
has been hinted already, the Reader may be over furnish'd. Here is a large
Collection of Debauchery; such _Pieces_ are rarely to be met with: 'Tis
Sometimes painted at Length too, and appears in great Variety of Progress
and Practise. It wears almost all sorts of Dresses to engage the Fancy, and
fasten upon the Memory, and keep up the Charm from Languishing. Sometimes
you have it in Image and Description; sometimes by way of Allusion;
sometimes in Disguise; and sometimes without it. And what can be the
Meaning of such a Representation, unless it be to Tincture the Audience, to
extinguish Shame, and make Lewdness a Diversion? This is the natural
Consequence, and therefore one would think 'twas the Intention too. Such
Licentious Discourse tends to no point but to stain the Imagination, to
awaken Folly, and to weaken the Defences of Virtue: It was upon the account
of these Disorders that _Plato_ banish'd Poets his _Common Wealth_: And one
of the _Fathers_ calls _Poetry_, _Vinum Dæmonum_ an intoxicating _Draught_,
made up by the Devils _Dispensatory_.
I grant the Abuse of a Thing is no Argument against the use of it. However
Young people particularly, should not entertain themselves with a Lewd
Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty
may probably raise those Passions which can neither be discharged without
Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust
his Virtue too far, for fear it should give him the slip! But the danger of
such an Entertainment is but part of the Objection: 'Tis all Scandal and
meanness into the bargain: it does in effect degrade Human Nature, sinks
Reason into Appetite, and breaks down the Distinctions between Man and
Beast. Goats and Monkeys if they could speak, would express their Brutality
in such Language as This.
To argue the Matter more at large.
Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very
Coarse Diversion, the Entertainment of those who are generally least both
in Sense, and Station. The looser part of the _Mob_, have no true relish of
Decency and Honour, and want Education, and Thought, to furnish out a
gentile Conversation. Barrenness of Fancy makes them often take up with
those Scandalous Liberties. A Vitious Imagination may blot a great deal of
Paper at this rate with ease enough: And 'tis possible Convenience may
sometimes invite to the Expedient. The Modern Poets seem to use _Smut_ as
the Old Ones did _Machines_, to relieve a fainting Invention. When
_Pegasus_ is jaded, and would stand still, he is apt like other _Tits_ to
run into every Puddle.
Obscenity in any Company is a rustick uncreditable Talent; but among Women
'tis particularly rude. Such Talk would be very affrontive in Conversation,
and not endur'd by any Lady of Reputation. Whence then comes it to Pass
that those Liberties which disoblige so much in Conversation, should
entertain upon the _Stage_. Do the Women leave all the regards to Decency
and Conscience behind them when they come to the _Play-House_? Or does the
Place transform their Inclinations, and turn their former Aversions into
Pleasure? Or were Their pretences to Sobriety elsewhere nothing but
Hypocrisy and Grimace? Such Suppositions as these are all Satyr and
Invective: They are rude Imputations upon the whole Sex. To treat the Ladys
with such stuff is no better than taking their Money to abuse them. It
supposes their Imagination vitious, and their Memories ill furnish'd: That
they are practised in the Language of the Stews, and pleas'd with the
Scenes of Brutishness. When at the same time the Customs of Education, and
the Laws of Decency, are so very cautious, and reserv'd in regard to Women:
I say so very reserv'd, that 'tis almost a Fault for them to Understand
they are ill Used. They can't discover their Disgust without disadvantage,
nor Blush without disservice to their Modesty. To appear with any skill in
such Cant, looks as if they had fallen upon ill Conversation; or Managed
their Curiosity amiss. In a word, He that treats the Ladys with such
Discourse, must conclude either that they like it, or they do not. To
suppose the first, is a gross Reflection upon their Virtue. And as for the
latter case, it entertains them with their own Aversion; which is ill
Nature, and ill Manners enough in all Conscience. And in this Particular,
Custom and Conscience, the Forms of Breeding, and the Maxims of Religion
are on the same side. In other Instances Vice is often too fashionable; But
here a Man can't be a Sinner, without being a Clown.
In this respect the _Stage_ is faulty to a Scandalous degree of
Nauseousness and Aggravation. For
_1st._ The _Poets_ make _Women_ speak Smuttily. Of This the Places before
mention'd are sufficient Evidence: And if there was occasion they might be
Multiplyed to a much greater Number: Indeed the _Comedies_ are seldom clear
of these Blemishes: And sometimes you have them in _Tragedy_. For Instance.
The _Orphans Monimia_ makes a very improper Description; And the Royal
_Leonora_ in the _Spanish Friar_, runs a strange Length in the History of
Love _p._ 50. And, do Princesses use to make their Reports with such fulsom
Freedoms? Certainly this _Leonora_ was the first Queen of her Family. Such
raptures are too Lascivious for _Joan_ of _Naples_. Are these the _Tender
Things_ Mr. _Dryden_ says the Ladys call on him for? I suppose he means the
_Ladys_ that are too Modest to show their Faces in the _Pit_. This
Entertainment can be fairly design'd for none but such. Indeed it hits
their Palate exactly. It regales their Lewdness, graces their Character,
and keeps up their Spirits for their Vocation: Now to bring Women under
such Misbehaviour is Violence to their Native Modesty, and a
Mispresentation of their Sex. For Modesty as Mr. _Rapin_[1] observes, is
the _Character_ of Women. To represent them without this Quality, is to
make Monsters of them, and throw them out of their Kind. _Euripides_, who
was no negligent Observer of Humane Nature, is always careful of this
Decorum. Thus _Phædra_[2] when possess'd with an infamous Passion, takes
all imaginable pains to conceal it. She is as regular and reserv'd in her
Language as the most virtuous Matron. 'Tis true, the force of Shame and
Desire; The Scandal of Satisfying, and the difficulty of parting with her
Inclinations, disorder her to Distraction. However, her Frensy is not Lewd;
She keeps her Modesty even after She has lost her Wits. Had _Shakespear_
secur'd this point for his young Virgin _Ophelia_,[3] the _Play_ had been
better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he
should have set her a swimming a little sooner. To keep her alive only to
sully her Reputation, and discover the Rankness of her Breath, was very
Cruel. But it may be said the Freedoms of Distraction go for nothing, a
Feavour has no Faults, and a Man _non Compos_, may kill without Murther. It
may be so: But then such People ought to be kept in dark Rooms and without
Company. To shew them, or let them loose, is somewhat unreasonable. But
after all, the Modern _Stage_ seems to depend upon this Expedient. Women
are sometimes represented _Silly_, and sometimes _Mad_, to enlarge their
Liberty, and screen their Impudence from Censure: This Politick Contrivance
we have in _Marcella_,[4] _Hoyden_,[5] and Miss _Prue_.[6] However it
amounts to this Confession; that Women when they have their Understandings
about them ought to converse otherwise. In fine; Modesty is the
distinguishing Vertue of that Sex, and serves both for Ornament and
Defence: Modesty was design'd by Providence as a Guard to Virtue; And that
it might be always at Hand, 'tis wrought into the Mechanism of the Body.
'Tis likewise proportioned to the occasions of Life, and strongest in Youth
when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences
are to Health; whatever is ungrateful to the first, is prejudicial to the
latter. The Enemy no sooner approaches, but the Blood rises in Opposition,
and looks Defyance to an Indecency. It supplys the room of Reasoning, and
Collection: Intuitive Knowledge can scarcely make a quicker Impression; And
what then can be a surer Guide to the Unexperienced? It teaches by suddain
Instinct and Aversion; This is both a ready and a powerful Method of
instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the
Sensation, are of singular Use. They serve to awaken Reason, and prevent
surprize. Thus the Distinctions of Good and Evil are refresh'd, and the
Temptation kept at proper Distance.
_2ly._ They Represent their single Ladys, and Persons of Condition, under
these Disorders of Liberty, This makes the Irregularity still more
Monstrous and a greater Contradiction to Nature, and Probability: But
rather than not be Vitious, they will venture to spoil a Character. This
mismanagement we have partly seen already. _Jacinta_,[7] and _Belinda_[8]
are farther proof. And the _Double Dealer_ is particularly remarkable.
There are but _Four_ Ladys in this _Play_, and _Three_ of the biggest of
them are Whores. A Great Compliment to Quality to tell them there is not
above a quarter of them Honest! This was not the Roman Breeding, _Terence_
and _Plautus_ his Strumpets were Little people; but of this more hereafter.
_3dly._ They have oftentimes not so much as the poor refuge of a Double
Meaning to fly to. So that you are under a necessity either of taking
Ribaldry or Nonsence. And when the Sentence has two Handles, the worst is
generally turn'd to the Audience. The Matter is so Contrived that the Smut
and Scum of the Thought rises uppermost; And like a Picture drawn to
_Sight_, looks always upon the Company.
_4ly._ And which is still more extraordinary: the _Prologues_, and
_Epilogues_ are sometimes Scandalous to the last degree.[9] I shall
discover them for once, and let them stand like Rocks in the Margin. Now
here properly speaking the _Actors_ quit the _Stage_, and remove from
Fiction, into Life. Here they converse with the _Boxes_, and _Pit_, and
address directly to the Audience. These Preliminarie and concluding Parts,
are design'd to justify the Conduct of the _Play_, and bespeak the Favour
of the Company. Upon such Occasions one would imagine if ever, the Ladys
should be used with Respect, and the Measures of Decency observ'd, But here
we have Lewdness without Shame or Example: Here the _Poet_ exceeds himself.
Here are such Strains as would turn the Stomach, of an ordinary Debauchee,
and be almost nauseous in the _Stews_. And to make it the more agreeable,
Women are Commonly pick'd out for this Service. Thus the _Poet_ Courts the
good opinion of the Audience. This is the Desert he regales the Ladys with
at the Close of the Entertainment: It seems He thinks They have admirable
Palats! Nothing can be a greater Breach of Manners then such Liberties as
these. If a Man would study to outrage _Quality_ and Vertue, he could not
do it more Effectually. But
_5thly._ Smut is still more insufferable with respect to Religion. The
Heathen Religion was in a great Measure a _Mystery_ of _Iniquity_. Lewdness
was Consecrated in the Temples, as well as practised in the _Stews_. Their
Deitys were great Examples of Vice, and worship'd with their own
Inclination. 'Tis no wonder therefore their Poetry should be tinctured with
their Belief, and that the _Stage_ should borrow some of the Liberties of
their Theology. This made _Mercurys_ Procuring, and _Jupiters_ Adultery the
more passable in _Amphitrion_[10]: Upon this Score _Gymnasium_[11] is less
Monstrous in Praying the Gods to send her store of Gallants. And thus
_Chæræa_[12] defends his Adventure by the Precedent of _Jupiter_ and
_Danæ_. But the Christian Religion is quite of an other Complexion. Both
its Precepts, and Authorities, are the highest discouragement to
Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the
Follies of Conversation, and Obliges up to Sobriety of Thought. That which
might pass for Raillery, and Entertainment in Heathenism, is detestable in
Christianity. The Restraint of the Precept, and the Quality of the Deity,
and the Expectations of Futurity quite alter the Case.
But notwithstanding the Latitudes of Paganism, the Roman and Greek
_Theatres_ were much more inoffensive than ours. To begin with _Plautus_.
This Comedian, tho' the most exceptionable, is modest upon the Comparison.
For
_1st._ He rarely gives any of the above mention'd Liberties to Women; And
when there are any Instances of the contrary, 'tis only in prostituted and
Vulgar People; And even these, don't come up to the Grossness of the
_Modern Stage_.
For the Purpose. _Cleæreta_[13] the Procuris borders a little upon
Rudeness: _Lena_[14] and _Bacchis_[15] the Strumpet are Airy and somewhat
over-merry, but not _A l'Anglois_ obscene. _Chalinus_[16] in Womans Cloaths
is the most remarkable. _Pasicompa Charinus_ his Wench talks too freely to
_Lysimachus_;[17] And so does _Sophroclidisca_ _Slave_ to
_Lemnoselene_.[18] And lastly: _Phronesiam_ a Woman of the _Town_ uses a
double entendre to _Stratophanes_.[19] These are the most censurable
Passages, and I think all of them with relation to Women; which considering
how the World goes is very moderate. Several of _our_ Single _Plays_ shall
far out-do all This put together. And yet _Plautus_ has upon the matter
left us 20 entire _Comedies_. So that in short, these Roman Lasses are meer
_Vestal Virgins_, comparatively speaking.
_2ly._ The _Men_ who talk intemperately are generally _Slaves_; I believe
_Dordalus_[20] the Pandar, and _Lusiteles_[21] will be found the only
exception: And this latter young Gentleman; drops but one over airy
expression: And for this Freedom, the Poet seems to make him give
Satisfaction in the rest of his Character. He disputes very handsomly by
himself against irregular Love; The Discourse between him and _Philto_ is
instructive and well managed.[22] And afterwards he gives _Lesbonicus_ a
great deal of sober advice,[23] and declaims heartily against Luxury and
Lewdness! Now by confining his Rudeness to little People, the Fault is much
extenuated. For First, the representation is more Naturally this way; And
which is still better, 'tis not so likely to pass into Imitation: Slaves
and Clowns are not big enough to spread Infection; and set up an ill
Fashion. 'Tis possible the _Poet_ might contrive these _Pesants Offensive_
to discountenance the Practise. Thus the _Heilots_ in _Sparta_ were made
drunk to keep Intemperance out of Credit. I don't mention this as if I
approv'd the Expedient, but only to show it a circumstance of Mitigation
and Excuse.
Farther, These _Slaves_ and Pandars, Seldom run over, and play their
Gambols before Women. There are but Four Instances of this Kind as I
remember, _Olympio_,[24] _Palæstrio_,[25] _Dordalus_,[26] and
_Stratilax_[27] are the Persons. And the Women they discourse with, are two
of them Slaves, and the third a Wench. But with our _Dramatists_, the case
is otherwise. With us _Smuttiness_ is absolute and unconfin'd. 'Tis under
no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen
talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and
Frequency imaginable. This is in earnest to be very hearty in the cause! To
give Title and Figure to Ill Manners is the utmost that can be done. If
Lewdness will not thrive under such encouragement it must e'en Miscarry!
_4ly._ _Plautus_ his _Prologues_ and _Epilogues_ are inoffensive. 'Tis
true, _Lambinus_ pretends to fetch a double _entendre_ out of that to
_Poenulus_, but I think there is a Strain in the Construction. His
_Prologue_ to the _Captivi_ is worth the observing.
_Fabulæ huic operam date._
_Pray mind the Play._ The next words give the reason why it deserves
regarding.
_Non enim pertractate facta est
Neque spurcidici insunt versus immemorabiles._
We see here the Poet confesses Smut a scandalous Entertainment. That such
Liberties ought to fall under Neglect, to lie unmention'd, and be blotted
out of Memory.
And that this was not a Copy of his Countenance we may learn from his
Compositions. His best _Plays_ are almost alwaies Modest and clean
Complexion'd. His _Amphitrio_ excepting the ungenuine Addition is such. His
_Epidicus_ the Master-Piece of his whole Collection is inoffensive
Throughout: And so are his _Menechmi_, _Rudens_, and _Trinummus_, which may
be reckon'd amongst some of his next Best. His _Truculentus_ another fine
_Play_ (tho' not entire) with a Heathen Allowance, is pretty Passable. To
be short: Where he is most a Poet, he is generally least a Buffoon. And
where the Entertainment is Smut, there is rarely any other Dish well
dress'd: The Contrivance is commonly wretched, the Sence lean and full of
Quibbles. So that his Understanding seems to have left him when he began to
abuse it.
To conclude, _Plautus_ does not dilate upon the Progress, Successes, and
Disappointments of _Love_, in the _Modern_ way. This is nice Ground, and
therefore He either stands off, or walks gravely over it, He has some
regard to the Retirements of Modesty, and the Dignity of Humane Nature, and
does not seem to make Lewdness his Business. To give an Instance.
_Silenium_ is much gone in Love,[28] but Modest withall, tho' formerly
debauch'd.
She is sorry her Spark was forced from her, and in Danger of being lost.
But then she keeps within compass and never flies out into Indecency.
_Alcesimarchus_ is strangely smitten with this _Silenium_, and almost
distracted to recover her.[29] He is uneasy and blusters, and threatens,
but his Passion goes off in Generals. He Paints no Images of his
Extravagance, nor descends to any nauseous particulars.
And yet after all, _Plautus_ wrote in an Age not perfectly refin'd, and
often seems to design his _Plays_ for a Vulgar Capacity. 'Twas upon this
view I suppose his _Characters_ exceed Nature, and his ill Features are
drawn too large: His old Men over credulous, his Misers Romantick, and his
Coxcombs improbably singular. And 'tis likely for this reason his _Slaves_
might have too much Liberty.
_Terence_ appear'd when Breeding was more exact, and the _Town_ better
polish'd; And he manages accordingly: He has[30] but one faulty bordering
Expression, which is that of _Chremes_ to _Clitipho_. This single Sentence
apart, the rest of his Book is (I think) unsullied and fit for the nicest
Conversation. I mean only in referrence to the Argument in Hand, for there
are things in Him, which I have no intention to warrant. He is Extreamly
careful in the Behaviour of his Women. Neither _Glycerium_ in _Andria_,
_Pamphila_ in _Eunuchus_, or _Pamphila_ in _Adelphi_, _Phanium_ in
_Phormio_, or _Philumena_ in _Hecyra_, have any share of Conversation upon
the _Stage_. such Freedom was then thought too much for the Reservedness of
a Maiden-Character. 'Tis true in _Heautontimoroumenos_ the _Poets_ Plot
obliged _Antiphila_, to go under the Disguise of _Bacchis_ her Maid. Upon
this Occasion they hold a little Discourse together. But then _Bacchis_
tho' she was a Woman of the _Town_, behaves her self with all the Decency
imaginable. She does not talk in the Language of her Profession. But
commends _Antiphila_ for her Virtue: _Antiphila_ only says how constant she
has been to _Chinia_, seems surprised at his Arrival, and salutes him
civilly upon't, and we hear no more from her. Mr. _Dryden_ seems to refer
to this Conduct in his Dramatick _Poesie_. He censures the _Romans_ for
making _Mutes_ of their single Women. This He calls the _Breeding of the
Old_ Elizabeth _way, which was for Maids to be seen and not to be heard_.
Under Favour the old Discipline would be very serviceable upon the _Stage_.
As matters go, the _Mutes_ are much to few. For certainly 'tis better to
say nothing, than talk out of Character, and to ill purpose.
To return. The Virgin injured by _Chærea_ does nothing but weep, and won't
so much as speak her misfortune to the Women.[31] But Comedy is strangly
improved since that time; For _Dalinda_[32] has a great deal more Courage,
tho' the loss of her Virtue was her own Fault.
But _Terence_ has that regard for Women, that he won't so much as touch
upon an ill Subject before them. Thus _Chremes_ was ashamed to mention any
thing about his Sons Lewdness when his Wife was present.
_Pudet dicere hac præsente verbum turpe._[33]
The Slaves in this Comedian are kept in order and civilly bred. They Guard
and Fence when occasion requires, and step handsomly over a dirty
place.[34] The Poet did not think Littleness and low Education a good
Excuse for Ribaldry. He knew Infection at the weakest, might seize on some
Constitutions: Besides, the Audience was a Superior Presence, and ought to
be considered. For how Negligent soever People may be at Home, yet when
they come before their Betters 'tis Manners to look wholsom.
Now tho' _Plautus_ might have the richer Invention; _Terence_ was always
thought the more judicious Comedian. His Raillery is not only finer, and
his stile better polish'd; but his _Characters_ are more just, and he seems
to have reach'd farther into Life than the other. To take Leave of this
Author, even his Strumpets are better behaved than our honest Women, than
our Women of Quality of the English _Stage_. _Bacchis_ in
_Heautontimoroumenos_ and _Bacchis_ in _Hecyra_, may serve for example.
They are both modest, and converse not unbecoming their Sex. _Thais_ the
most accomplish'd in her way,[35] has a great deal of Spirit and wheadling
in her Character, but talks no Smut.
Thus we see with what Caution and Sobriety of Language _Terence_ manages.
'Tis possible this Conduct might be his own Modesty, and result from
judgment and Inclination. But however his Fancy stood, he was sensible the
Coarse way would not do. The _Stage_ was then under Discipline, the publick
_Censors_ formidable, and the Office of the _Choragus_ was originally to
prevent the Excesses of Liberty.
To this we may add the _Nobless_ had no Relish for Obscenity; 'twas the
ready way to Disoblige them.[36] And therefore 'tis _Horaces_ Rule.
_Nec immunda crepent ignominiosaque dicta.
Offenduntur enim quibus est Equus & Pater, & res._[37]
The Old _Romans_ were particularly carefull their Women might not be
affronted in Conversation: For this reason the Unmarried kept off from
Entertainments for fear of learning new Language.[38] And in _Greece_ no
Woman above the degree of a _Slave_ was treated abroad by any but
Relations.[39] 'Tis probable the old Comedy was silenced at _Athens_ upon
this Score, as well as for Defamation. For as _Aristotle_[40] observes the
new Set of Comedians were much more modest than the former. In this
celebrated Republick, if the _Poets_ wrote any thing against Religion or
Good Manners, They were tryed for their Misbehaviour, and lyable to the
highest Forfeitures.[41]
It may not be amiss to observe that there are no Instances of debauching
Married Women, in _Plautus_, nor _Terence_, no nor yet in _Aristophanes_.
But on our _Stage_ how common is it to make a Lord, a Knight, or an
Alderman a Cuckold? The Schemes of Success are beaten out with great
Variety, and almost drawn up into a Science. How many Snares are laid for
the undermining of Virtue, and with what Triumph is the Victory proclaim'd?
The Finess of the _Plot_, and the Life of the Entertainment often lies in
these Contrivances. But the _Romans_ had a different sence of these
Matters, and saw thro' the consequences of them. The Government was awake
upon the Theatre, and would not suffer the Abuses of Honour, and Family, to
pass into Diversion. And before we part with these _Comedians_ we may take
notice that there are no Smutty Songs in their _Plays_; in which the
_English_ are extreamly Scandalous.[42] Now to work up their Lewdness with
Verse, and Musick, doubles the Force of the Mischief. It makes it more
portable and at Hand, and drives it Stronger upon Fancy and Practice.
To dispatch the _Latins_ all together. _Seneca_ is clean throughout the
Piece, and stands generally off from the point of Love. He has no Courting
unless in his _Hercules Furens_;[43] And here the Tyrant _Lycus_ addresses
_Megara_ very briefly, and in Modest and remote Language. In his _Thebais_,
_Oedipus_'s Incest is reported at large, but without any choaking
Description. 'Tis granted _Phædra_ speaks her Passion plainly out, and owns
the strength of the Impression, and is far less prudent than in
_Euripides_.[44] But tho' her Thoughts appear too freely, her Language is
under Discipline.
Let us now Travel from _Italy_ into _Greece_, and take a view of the
Theatre at _Athens_. In this City the _Stage_ had both its beginning and
highest Improvement. _Æschylus_ was the first who appear'd with any
Reputation. His Genius seems noble, and his Mind generous, willing to
transfuse it self into the Audience, and inspire them with a Spirit of
Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing.
There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick
Ardour, to awaken, warm, and push forward to Action. But his Mettal is not
always under Management. His Inclination for the _Sublime_; carrys him too
far: He is sometimes Embarrass'd with _Epithites_. His Metaphors are too
stiff, and far fetch'd; and he rises rather in Sound, than in Sence.
However generally speaking, his Materials are both shining and solid, and
his Thoughts lofty, and uncommon. This Tragedian had always a nice regard
to Good Manners. He knew corrupting the People was the greatest disservice
to the Commonwealth; And that Publick Ruine was the effect of general
Debauchery. For this reason he declines the Business of Amours, and
declares expresly against it.[45] Now here we can't expect any length of
Testimony. His aversion to the subject makes him touch very sparingly upon
it. But in this case there is no need of much citation. His very Omissions
are Arguments, and his Evidence is the stronger for being short. That
little I meet with shall be produced.
_1st._ Orestes was obliged by the Oracle to revenge his Fathers Death in
the Murther of his Mother.[46] When he was going to kill her, he Mentions
her Cruelty, but waves her Adultery. _Euripides_ approv'd this Reservedness
and makes his _Electra_ practise it upon the same occasion.[47] _Æschylus_
in his next Play complements his Country with a great deal of Address in
the Persons of the _Eumenides_.[48] They are very Gentile and Poetical in
their Civilities: Among other things They wish the Virgins may all Marry
and make the Country Populous: Here the _Poet_ do's but just glance upon
the Subject of Love; and yet he governs the Expression with such care, that
the wishes contain a Hint to Sobriety, and carry a Face of Virtue along
with them.
The _Double Dealer_ runs Riot upon such an Occasion as this; and gives Lord
_Touchwood_ a mixture of Smut and Pedantry to conclude with,[49] and yet
this Lord was one of his best Characters: But _Poets_ are now grown
Absolute within themselves, and may put Sence and Quality upon what
Drudgeries they please. To return. _Danaus_ cautions his Daughters very
handsomly in point of Behaviour. They were in a strange Country, and had
Poverty and Dependance to struggle with: These were circumstances of
Danger, and might make him the more pressing. He leaves therefore a solemn
Charge with them for their Security, bids them never to subsist upon
Infamy, but to prefer their Virtue to their Life.
[Greek: Monon phylaxai tas d' epistolas patros][50]
[Greek: To sôphronein timôsa tou biou pleon.]
Our _Poets_ I suppose would call this Preaching, and think it a dull
Business. However I can't forbear saying an honest Heathen is none of the
worst Men: A very indifferent Religion well Believed, will go a great way.
To proceed. _Sophocles_ appear'd next upon the _Stage_, and was in earnest
an Extraordinary Person. His Conduct is more Artificial, and his Stile more
just, than that of _Æschylus_. His Characters are well drawn, and Uniform
with themselves: His _Incidents_, are often surprising, and his _Plots_
unprecipitated. There is nothing but what is Great, and Solemn Throughout.
The Reasoning is well Coloured. The Figures are sometimes Bold, but not
Extravagant. There are no Flights of Bombast, no Towring above Nature and
Possibility: In short, Nothing like Don _Sebastians_ Reigning in his
_Atomes_.[51]
This Tragedian like _Æschylus_ does not often concern himself with
_Amours_, and when he does, nothing can be more temperate, and decent. For
example where the Incest of _Oedipus_ is described,[52] the Offensiveness
of the Idea is screen'd off and broken by Metaphorical and distant
Expressions. In another _Play_[53] _Creon_ resolves to put _Antigone_ to
Death for presuming to bury _Polynices_. This Lady and _Hæmon_ _Creons_ Son
were very far engaged; _Hæmon_ endeavours to disswade his Father from
_Antigones_ Execution: He tells him the burying her Brother tho' against
his Order, was a popular Action. And that the People would resent her being
punish'd: But never so much as mentions his own Concern unless in one Line;
which was so obscure that _Creon_ misunderstood him. _Antigone_ amongst her
other Misfortunes laments her dying Young and Single, but says not one word
about _Hæmon_. The _Poet_ takes care not to bring these two Lovers upon the
_Stage_ together, for fear they might prove unmanagable? Had They been with
us, they had met with kinder treatment. They might have had Interviews and
Time and Freedom enough. Enough to mud their Fancy, to tarnish their
Quality, and make their Passion Scandalous. In the Relation of _Hæmons_
Death, his Love is related too, and that with all the Life and _Pathos_
imaginable. But the Description is within the Terms of Honour: The
tendernesses are Solemn, as well as Soft: They move to [54]Pity and
Concern, and go no farther. In his _Trachiniæ_ the _Chorus_ owns the Force
of Love next to irresistable; gently hints the Intrigues of the Gods, and
then passes on to a handsome [55]Image of the Combat between _Achelous_ and
_Hercules_. We see how lightly the _Poet_ touches upon an amorous Theme: He
glides along like a Swallow upon the Water, and skims the Surface, without
dipping a Feather.
_Sophocles_ will afford us no more, let us therefore take a view of
_Euripides_. 'Tis the Method of this Author to decline the Singularities of
the _Stage_, and to appear with an Air of Conversation. He delivers great
Thoughts in Common Language, and is dress'd more like a Gentleman than a
_Player_. His Distinction lies in the perspicuity of his Stile; In Maxim,
and Moral Reflection; In his peculiar Happiness for touching the Passions,
especially that of Pity; And lastly, in exhausting the Cause, and arguing
_pro_ and _Con_, upon the streach of Reason. So much by way of Character.
And as for the Matter before us He is entirely Ours. We have had an
Instance or two already in _Electra_ and _Phædra_: To go on to the rest. In
his _Hippolitus_ He calls _Whoring_, stupidness and playing the Fool. And
to be Chast and regular, is with him, as well as with _Æschylus_, [Greek:
Sôphronein]. As much as to say 'tis the Consequence of Sence, and right
Thinking. _Phædra_ when her Thoughts were embarrass'd with _Hippolitus_,
endeavours to disentangle her self by Argument.[56] She declaims with a
great deal of Satyr against intemperate Women; she concluded rather to die
then dishonour her Husband and Stain her Family. The Blemishes of Parents,
as she goes on, often stuck upon their Children, and made them appear with
Disadvantage. Upon this, the _Chorus_ is transported with the Virtue of her
Resolution and crys out
[Greek: Pheu Pheu. To sôphron hôs hapantachou kalon][57]
[Greek: kai do xan esthlên enbrotois komizetai.]
_How becoming a Quality is Modesty in all Places._
_How strangly does it burnish a Character, and oblige ones Reputation?_
The Scholiast upon these verses of _Hippolitus_.
[Greek: Soi ton de plekton Stephanon ex akêra]
[Greek: Leimônos], &c.
Makes this Paraphrase, 'Tha[......] Mind should be clean and
unsulli[......] that the Muses being Virgins their Performances should
agree with their Condition.'
To proceed. _Hermione_ complains against _Andromache_ because she was
entertain'd by her Husband[58]: For this _Andromache_ tells her she talk'd
too much for a Young Woman, and discover'd her Opinion too far. _Achilles_
at the first Sight of _Clytemnestra_, lets her understand he was as much
taken with the Sobriety of her Air,[59] as with the rest of her fine Face
and Person. She receives the Complement kindly, and commends him for
commending Modesty. _Menelaus_ and _Helen_ after a long Absence manage the
surprize of their good Fortune handsomly.[60] The Most tender Expression
stands clear of ill Meaning. Had _Osmin_ parted with _Almeria_ as civilly
as these Two met,[61] it had been much better. That Rant of smut and
profainness might have been spared. The _Reader_ shall have some of it.
_O my_ Almeria;
_What do that Damn'd endure but to despair,
But knowing Heaven, to know it lost for ever._