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            <title>The antient and modern stages survey'd, or, Mr. Collier's view of the immorality and profaness of the English stage set in a true light wherein some of Mr. Collier's mistakes are rectified, and the comparative morality of the English stage is asserted upon the parallel.</title>
            <author>Drake, James, 1667-1707.</author>
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               <date>1699</date>
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                  <title>The antient and modern stages survey'd, or, Mr. Collier's view of the immorality and profaness of the English stage set in a true light wherein some of Mr. Collier's mistakes are rectified, and the comparative morality of the English stage is asserted upon the parallel.</title>
                  <author>Drake, James, 1667-1707.</author>
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               <extent>[33], 367 p.   </extent>
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                  <date>1699.</date>
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                  <note>Written by J. Drake. Cf. Halkett &amp; Laing (2nd ed.).</note>
                  <note>Errata: p. [33].</note>
                  <note>Reproduction of original in Union Theological Seminary Library, New York.</note>
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               <term>Collier, Jeremy, 1650-1726. --  Short view of the immorality and profaneness of the English stage.</term>
               <term>Theater --  Moral and ethical aspects.</term>
               <term>Theater --  England.</term>
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      <front>
         <div type="title_page">
            <pb facs="tcp:54591:1" rendition="simple:additions"/>
            <pb facs="tcp:54591:1" rendition="simple:additions"/>
            <p>
               <hi>The Antient and Mo<g ref="char:EOLhyphen"/>dern
Stages ſurvey'd.</hi>
OR,
Mr <hi>COLLIER</hi>'s View
OF THE
Immorality and Profaneſs
OF THE
<hi>Engliſh</hi> Stage
Set in a
TRUE LIGHT.</p>
            <p>Wherein ſome of Mr <hi>Collier</hi>'s Miſtakes
are rectified, and the comparative Mo<g ref="char:EOLhyphen"/>rality
of the <hi>Engliſh</hi> Stage is aſſerted
upon the Parallel.</p>
            <q>
               <l>Rode <hi>Caper</hi> Vitem, tamen hinc cum ſtabis
ad Aram,</l>
               <l>In tua quod fundi <hi>Cornua</hi> poſſit, erit.</l> 
               <bibl>Ov.</bibl>
            </q>
            <p>
               <hi>LONDON,</hi>
Printed for <hi>Abel Roper,</hi> at the <hi>Black Boy</hi> over a<g ref="char:EOLhyphen"/>gainſt
St. <hi>Dunſtans</hi> Church in <hi>Fleetſtreet.</hi> 1699.</p>
         </div>
         <div type="dedication">
            <pb facs="tcp:54591:2"/>
            <pb facs="tcp:54591:2" rendition="simple:additions"/>
            <head>TO THE
Right Honourable
CHARLES
Earl of Dorſet, and
Middleſex,
Baron Buckhurſt, one of the
Lords of His Majeſty's
Moſt Honourable Privy
Council, Lord Lieu<g ref="char:EOLhyphen"/>tenant
of the County of
Suſſex, and Knight of
the moſt Noble Order
of the Garter, &amp;c.</head>
            <opener>
               <salute>My Lord,</salute>
            </opener>
            <p>IN addreſſing to Your Lord<g ref="char:EOLhyphen"/>ſhip,
tho I betray my Am<g ref="char:EOLhyphen"/>bition,
I ſhall ſtrengthen the
<pb facs="tcp:54591:3"/>
opinion of my Integrity. For
by appealing to ſo great, and ſo
impartial a Judge, I give the
World ſufficient demonſtration,
that I truſt more to the Merit of
my Cauſe, than of my Perfor<g ref="char:EOLhyphen"/>mance,
and depend rather upon
the matter, than the manner of
what I deliver, for my Juſtifica<g ref="char:EOLhyphen"/>tion.</p>
            <p>The Tyde of Prejudice runs
high for my Adverſary, and the leſs
diſcerning part of the Town are
ſo prepoſſeſs'd with the Specious
Title, and the Plauſible Pretence
of Mr <hi>Collier</hi>'s Book, that they
think the whole Intereſt of Vir<g ref="char:EOLhyphen"/>tue
and Religion embark'd on
that Bottom. Immorality and
Prophaneſs are things ſo juſtly
abhorrd, that whoever enters
the Liſts againſt 'em, has all Good
Men for his Seconds. And their
<pb facs="tcp:54591:3"/>
zeal for the Cauſe ſo far
blinds many of 'em, that
they neither ſee, nor ſuſpect any
Defect or Treachery in their
Champion. For men are very
unwilling to hear Truth, againſt
Prejudice, and ſuffer Reaſon to
triumph over Inclination.</p>
            <p>The Town is divided in its
Judgment of the Piece, and the
whole Conteſt lies betwixt thoſe
that are Judges, and thoſe that
are not, as Cardinal <hi>Richlieu</hi> ſaid
upon another occaſion. The
latter are of the Oppoſite Facti<g ref="char:EOLhyphen"/>on,
and are as much more nu<g ref="char:EOLhyphen"/>merous
than the former; as Va<g ref="char:EOLhyphen"/>nity
and Preſumption are more
Univerſal, than Underſtanding.</p>
            <p>This makes the Prefixing your
Lordſhips name, by your own
Permiſſion, whoſe Judgment is
as little to be byaſs'd, as 'tis to
<pb facs="tcp:54591:4"/>
be queſtion'd, not only matter
of Honour to me, but of neceſ<g ref="char:EOLhyphen"/>ſary
Defence. Not that I ex<g ref="char:EOLhyphen"/>pect
any Protection for thoſe
Errors which I may have com<g ref="char:EOLhyphen"/>mitted.
They muſt be left to
the mercy of Readers of far leſs
Judgment and Candour, than
<hi>Your Honour.</hi> To be tried by
ſuch a Grand Jury, is a happi<g ref="char:EOLhyphen"/>neſs
I am ſo far from expecting,
that I know it impoſſible. But
the Deference due to ſo great a
Name may procure me a fair
hearing amongſt ſome, upon
whom a bare regard to Juſtice
wou'd hardly prevail ſo far.</p>
            <p>Did Mr <hi>Collier</hi> contend only
for the better Eſtabliſhment of
Virtue, and Reformation of
Manners, I ſhou'd be aſham'd to
appear againſt him. But there is
a Snake in the Graſs. Mr <hi>Collier</hi>
               <pb facs="tcp:54591:4"/>
undertakes the Patronage of Vir<g ref="char:EOLhyphen"/>tue,
as Cunning Men do the
Guardianſhip of rich Orphans,
only to make his Markets of it.
That this is his caſe, the follow<g ref="char:EOLhyphen"/>ing
Sheets will, I hope, ſufficient<g ref="char:EOLhyphen"/>ly
demonſtrate. His Vehemence
gives us juſt ground to ſuſpect
his Integrity, and to believe that
he has ſome conceal'd Intereſt,
or Pique at the bottom. The diſ<g ref="char:EOLhyphen"/>intereſted
enquiry after Truth is
always accompany'd with Can<g ref="char:EOLhyphen"/>dour;
where that is wanting,
there is juſt reaſon to ſuſpect ſome
further deſign. In Mr <hi>Collier</hi>'s
management, the Heat and
Smoke are too great and appa<g ref="char:EOLhyphen"/>rent
for the Fire to be long con<g ref="char:EOLhyphen"/>ceal'd.
His Deſign is manifeſtly
not to argue the Poets out of
their Faults, but to bully his
Readers out of their Under<g ref="char:EOLhyphen"/>ſtandings,
<pb facs="tcp:54591:5"/>
and by violence to al<g ref="char:EOLhyphen"/>ter
the Impreſſions already re<g ref="char:EOLhyphen"/>ceiv'd
of thoſe matters<g ref="char:punc">▪</g> which
he treats of. His Style is adapt<g ref="char:EOLhyphen"/>ed
to his purpoſe, fierce and
bold, full of vehement exagge<g ref="char:EOLhyphen"/>rations,
and haughty menaces,
he racks Sentences, and tortures
Expreſſions, to extort a Confeſ<g ref="char:EOLhyphen"/>ſion
from 'em of things to which
they are abſolute Strangers. The
conſequence of this way of wri<g ref="char:EOLhyphen"/>ting
is, that Women, and Weak
Men, whoſe Fears are ſtronger
than their Judgments, will be
aw'd into a Perſwaſion before
they are convinc'd of the Truth
of it. For ſuch People in moſt
caſes meaſure the certainty of
Aſſertions by the Confidence of
him that pronounces 'em, and
the Importance by the falſe
weight that is laid upon 'em.</p>
            <p>
               <pb facs="tcp:54591:5"/>
'Twas this conſideration, not
any extraordinary Affection for
the Stage, that engag'd me in
this Argument. I look upon it
as an attempt towards uſurping
the Soveraignty of Men's Un<g ref="char:EOLhyphen"/>derſtandings,
and reſtoring the
Tyranny of Bigottry, whoſe
Yoak we have ſcarce yet ſuffici<g ref="char:EOLhyphen"/>ently
ſhaken off. My Reaſon is
the deareſt, and freeſt part of
me, or at leaſt it ought to be ſo,
and he that puts the Dice upon
that, affronts me in the moſt
ſenſible manner. I had rather be
bubbled of my Money than my
Intellects, and ſhou'd chuſe rather
to be thought his Cully, than
his Fool. 'Tis true, theſe tricks
are not to be put upon a man
that is aware of 'em, and conſe<g ref="char:EOLhyphen"/>quently
I might have ſecur'd my
ſelf without making a publick
<pb facs="tcp:54591:6"/>
diſcovery. But I think it a Cow<g ref="char:EOLhyphen"/>ardly
piece of Caution, a ſort
of Criminal Miſpriſion to con<g ref="char:EOLhyphen"/>nive
at the cheating of others;
and while I am able to inform
'em, the Clamour of Knaves or
Fools ſhall never awe me to
Silence.</p>
            <p>That this is no extravagant
Surmiſe, no Hypochondriacal
Fancy, is evident from the Te<g ref="char:EOLhyphen"/>nour
of the whole Book, eſpe<g ref="char:EOLhyphen"/>cially
the third Chapter. Every
thing is deliver'd with an air ſo
haughty, ſo magiſterial, ſo de<g ref="char:EOLhyphen"/>ciſive,
that he ſeems rather to
ſerve us with an Injunction to
believe him, than an Argument.
That this Impoſition may be the
more tamely ſubmitted to, he
palms the Authority of the
Church upon us, and pretends
her Commiſſion to make Fools
of the Laity.</p>
            <p>
               <pb facs="tcp:54591:6"/>
The Church is by no means
oblig'd to him, for endeavour<g ref="char:EOLhyphen"/>ing
to caſt the <hi>Odium</hi> of his own
Arrogance and Ambition upon
her. How great ſoever his Zeal
for her ſervice may be, his In<g ref="char:EOLhyphen"/>diſcretion
in it does not come a
whit behind it. For to extend
the Power and Authority of the
Prieſt, he curtails the Articles of
the Church, and denies the
King's Supremacy, which ſhe has
already oblig'd him to ſwear to
the belief of.</p>
            <p>I ſhall not treſpaſs ſo far upon
Your Honour's patience, as to
recapitulate the ſeveral Invidious
things, which he fathers upon
the Church. I will hope well of
his Deſign, tho I fear the effects
of his Performance will not turn
to her Service. And I cou'd
wiſh his Motives were better,
<pb facs="tcp:54591:7"/>
or not ſo apparent. If <hi>Demetri<g ref="char:EOLhyphen"/>us</hi>
was a Stickler for the honour
of <hi>Diana,</hi> 'twas becauſe he made
Shrines for her, the intereſt of
his trade engag'd him in her
Party. Mr <hi>Collier</hi>'s Caſe is not
much different. The Poets had
ſometimes made bold to diſplay
a vicious, or a fooliſh Prieſt, and
thoſe that were Knaves in the
World, and Drolls in the Pul<g ref="char:EOLhyphen"/>pit,
had been made Cheats and
Buffoons upon the Stage. The
Mask of Formality and Sanctity
was pull'd off, and the Block-head
and the Hypocrite ſhewn
bare-fac'd. Thus the Profane
Vulgar were ſuffer'd to peep,
and pry into Myſteries. This
Mr <hi>Collier</hi> reſents as if he were
perſonally concern'd, and wou'd
perſwade the world, that to ex<g ref="char:EOLhyphen"/>poſe
Hypocriſie is to affront the
<pb facs="tcp:54591:7"/>
Church, than which her Enemies
cou'd not have ſuggeſted any
thing more malicious. How<g ref="char:EOLhyphen"/>ever,
this miſtaken Injury has
rais'd a Flame, which will coſt
the effuſion of abundance of Ink
before it is extinguiſh'd. <hi>Manet
alta Mente repoſtum,</hi> and is never
to be forgiven while Mr <hi>Collier</hi>
can wag a Gooſe-quill.</p>
            <p>Our <hi>Clergy</hi> deſervedly have
both at home and abroad the re<g ref="char:EOLhyphen"/>putation
of the moſt learned
<hi>Clergy</hi> in the World, and I ſhall
venture to affirm, that they are
the Beſt in the World. Their
Candour towards thoſe that dif<g ref="char:EOLhyphen"/>fer
from 'em in Opinion, their
Modeſty in aſſerting their own,
and their ſober Conduct in the
diſcharge of their own Conſci<g ref="char:EOLhyphen"/>ences,
and not aſſuming the do<g ref="char:EOLhyphen"/>minion
of thoſe of other men,
<pb facs="tcp:54591:8"/>
will prove what I ſay to
to be no Paradox. And there<g ref="char:EOLhyphen"/>fore
Mr <hi>Collier,</hi> in making ſo
large a demand in their names,
has obliquely traduc'd 'em, by
giving occaſion to thoſe that
don't ſufficiently know 'em, to
ſuſpect that he acts by their Ap<g ref="char:EOLhyphen"/>probation
and Authority.</p>
            <p>But I forget, that while I talk
to Your Lordſhip, I wrong the
Publick, which claims ſo great a
ſhare in your thoughts and time.
I ſhall not attempt the Character
of Your Lordſhip: For, to write
of you, as I ought, to do you
Juſtice, I muſt write like you,
which I hope I ſhall never have
the vanity to pretend to. But
the Name of <hi>My Lord Dorſet</hi> a<g ref="char:EOLhyphen"/>lone
carries more Panegyrick
than the fruitfulleſt Invention
can furniſh. Thoſe Adventurous
<pb facs="tcp:54591:8"/>
Gentlemen, that have already
tried their Strength at it, have
by their foils taught me caution.
Their Performances fall ſo ex<g ref="char:EOLhyphen"/>treamly
ſhort of the Merit of
their Subject, that when they
have exhauſted their Fancies,
their whole ſtock of Rhetorick
looks like an Oſtentation of Beg<g ref="char:EOLhyphen"/>gery.
This conſideration alone
is ſufficient to deter me from
preſuming further upon Your
Lordſhip's Goodneſs, except to
ask Pardon for my Ambition of
taking this Publick Occaſion to
declare with what profound Re<g ref="char:EOLhyphen"/>ſpect
I am</p>
            <closer>
               <salute>My Lord,</salute>
               <signed>Your Honour's Moſt humble
and devoted Servant.</signed>
            </closer>
         </div>
         <div type="table_of_contents">
            <pb facs="tcp:54591:9"/>
            <pb facs="tcp:54591:9"/>
            <head>THE
TABLE.</head>
            <list>
               <item>INtroduction. <hi>p.</hi> 1</item>
               <item>The quarrel to the Modern Stage firſt formal<g ref="char:EOLhyphen"/>ly
commenc'd in <hi>Spain.</hi> 5</item>
               <item>Shows among the Heathens of Religious parentage. 6</item>
               <item>The Drama of the ſame extraction. 7</item>
               <item>Tragedy and Comedy originally one thing 8</item>
               <item>When firſt diſtinguiſht. 9</item>
               <item>The Stage under the patronage of <hi>Bacchus. ibid</hi>
               </item>
               <item>Paganiſm a Religion contrived for popularity. 10</item>
               <item>Heathen Religion all Ceremony. 12</item>
               <item>Idolatry of the Stage, the principal argument of the
Fathers againſt it. 13</item>
               <item>Heathen Plays dangerous temptations to the new
Chriſtian Converts. 17</item>
               <item>Zeal of the Fathers againſt them not unneceſſary. 18</item>
               <item>Diſingenuity of Mr <hi>Collier.</hi> 20</item>
               <item>Idolatry the main Objection of the Fathers to the
antient Drama. 21</item>
               <item>Mimi c Shews among the <hi>Romans</hi> ſcandalouſly
lewd, the Drama not at all. 23</item>
               <item>
                  <pb facs="tcp:54591:10"/>
                  <hi>Clemens Alexandrinus</hi> falſly cited againſt the
Drama. 24</item>
               <item>The Fathers ſometimes over rigorous. 25</item>
               <item>The authority of the Fathers ſhort of the Caſe. 33</item>
               <item>
                  <hi>Caution of Mr</hi> C—II—r. ibid.</item>
               <item>
                  <hi>Plato's</hi> authority conſidered. 34</item>
               <item>Xenophon'<hi>s.</hi> 35</item>
               <item>Ariſtotle'<hi>s.</hi> 36</item>
               <item>Plays forbidden to young People upon the ſcore of the
temptations from the company. 36</item>
               <item>Licentiouſneſs not defended. 39</item>
               <item>Mr <hi>Collier</hi>'s Character of <hi>Terence</hi> and <hi>Plau<g ref="char:EOLhyphen"/>tus.</hi>
40</item>
               <item>This Character inſidious. 41</item>
               <item>His Citations patched up of incohe rent fragments. 42</item>
               <item>The invention of the <hi>Roman</hi> Comic Poets barren. 43</item>
               <item>Poetic Juſtice neglected by them. 44</item>
               <item>
                  <hi>Livie's</hi> authority abuſed. <hi>ibid.</hi>
               </item>
               <item>The Luxury and expenſiveneſs of theſe Shews, not
their immorality condemned by <hi>Livy.</hi> 46</item>
               <item>Valerius Maximus <hi>miſquoted.</hi> 47</item>
               <item>Falſeneſs and abſurdity of Mr <hi>Collier</hi>'s Para<g ref="char:EOLhyphen"/>phraſe.
48</item>
               <item>His Concluſion not to be found in <hi>Valerius</hi> 49</item>
               <item>Stage allow'd at <hi>Marſeilles.</hi> 50</item>
               <item>
                  <hi>Seneca's</hi> Authority nothing to the purpoſe <hi>ibid</hi>
               </item>
               <item>Yet perverted 52</item>
               <item>
                  <hi>Tacitus,</hi> &amp;c. impertinently cited. 54</item>
               <item>
                  <hi>Ovid</hi> and Mr <hi>Wycherley</hi> ſay nothing againſt
the Stage, but the Audience. 55</item>
               <item>Too great ſeverity of no ſervice to Morality. 56</item>
               <item>Mr <hi>Collier's</hi> licentious method of miſquoting un<g ref="char:EOLhyphen"/>ſufferable.
57</item>
               <item>
                  <pb facs="tcp:54591:10"/>
The <hi>Athenians</hi> the greateſt Friends in the World
to the Stage. 58</item>
               <item>The Law againſt Judges making of Comedies a
direct Argument againſt Mr <hi>Collier.</hi> 59</item>
               <item>The old Comedy of the <hi>Greeks</hi> exceeding licenti<g ref="char:EOLhyphen"/>ous.
60</item>
               <item>Comedy, why no proper Exerciſe for a Judge. 61</item>
               <item>Opinion of the <hi>Spartans.</hi> 62</item>
               <item>Theft tolerated at <hi>Lacedaemon.</hi> 63</item>
               <item>Character of the <hi>Spartans.</hi> 64</item>
               <item>
                  <hi>Plutarch's</hi> Authority falſified by Mr <hi>Collier.</hi> 65</item>
               <item>Politeneſs the Objection of the <hi>Spartans</hi> to the
Drama. 66</item>
               <item>All ſorts of Plays not prohibited at <hi>Lacedae<g ref="char:EOLhyphen"/>mon.
ibid.</hi>
               </item>
               <item>Morality not the reaſon of rejecting the Stage. 67</item>
               <item>Adultery tollerated at <hi>Lacedaemon.</hi> ibid.</item>
               <item>
                  <hi>Livy's</hi> Authority conſidered. 69</item>
               <item>Antient <hi>Romans</hi> an unrefined people. 70</item>
               <item>Acting of Plays firſt left off by the <hi>Roman</hi> youth,
becauſe of the difficulty. 71</item>
               <item>
                  <hi>Hiſtriones,</hi> who ſo called <hi>ibid.</hi>
               </item>
               <item>Conjectural Reaſons why Players were noted with
infamy. 73</item>
               <item>Two firſt moſt probable. 75</item>
               <item>Drama at firſt neceſſitated to uſe the Actors of the
<hi>Ludi Scenici.</hi> 76</item>
               <item>The Actors of Tragedy and Comedy therefore only
call'd <hi>Hiſtriones. ibid.</hi>
               </item>
               <item>The <hi>Praetorian</hi> Edict againſt them. 77</item>
               <item>
                  <hi>Labeos</hi> expoſition ſhews the intent of that
Edict. 78</item>
               <item>Mr <hi>Collier's</hi> Diſingenuity in this point. <hi>ibid</hi>
               </item>
               <item>
                  <pb facs="tcp:54591:11"/>
The <hi>Roman</hi> Cenſure extended only to the Merce<g ref="char:EOLhyphen"/>nary
Actors as ſuch. 79</item>
               <item>
                  <hi>Scipio</hi> and <hi>Laelius</hi> Writers to the Stage, or aſſiſting
to it. 80</item>
               <item>
                  <hi>Julius</hi> and <hi>Auguſtus Caeſar</hi> and <hi>Seneca</hi> did
the ſame. 81</item>
               <item>Law of the <hi>Theodoſian Code</hi> conſidered. 83</item>
               <item>Meaning of the <hi>Theodoſian</hi> Law. 84</item>
               <item>Parallel inſtance 85</item>
               <item>Authority from the Councils already anſwered. 87</item>
               <item>Quarrel to the Stage unjuſt. 88</item>
               <item>Antient Stage infinitely more ſcandalous and lewd
than the Modern. 89</item>
               <item>Stage dancing, as now practiſed, inoffenſive to Mo<g ref="char:EOLhyphen"/>deſty.
90</item>
               <item>Mr <hi>Collier</hi>'s notion of the extravagant power of
Muſic ridiculous. 91</item>
               <item>Power of Muſic owing to contingent circumſtances. 94</item>
               <item>Influence of ſounds indeterminate. 95</item>
               <item>Mr <hi>Collier</hi> a Platoniſt. 97</item>
               <item>Not acqnainted with the ſubject he treats of. 98</item>
               <item>His charge raſh. 99</item>
               <item>Comparative Morality of the Vocal Muſic of the
ancient and modern Stages. 100</item>
               <item>Antient Vocal muſic. 101</item>
               <item>Chorus, its Office 102</item>
               <item>
                  <hi>Their</hi> Mimi. 103</item>
               <item>Mr<g ref="char:punc">▪</g> 
                  <hi>Collier</hi>'s Objections from the Topic of Love a
Declamatory Rant. 105</item>
               <item>Meer Frenzy. 106</item>
               <item>Revenge not encouraged by the Stage. 108</item>
               <item>Inſtance in the <hi>Mourning Bride. ibid.</hi>
               </item>
               <item>Paſſion not proper in Comedy. 109</item>
               <item>
                  <pb facs="tcp:54591:11"/>
Love, Jealouly, <hi>&amp;c.</hi> how to be uſed in Come<g ref="char:EOLhyphen"/>dy.
111</item>
               <item>Expoſition of an Obſervation of <hi>Horace.</hi> 112</item>
               <item>
                  <hi>Horace</hi>'s inſtance from <hi>Terence</hi> examined. 113</item>
               <item>Tragedy, what in the Iudgment of <hi>Ariſtotle.</hi> 114</item>
               <item>Duelling and Rencounters againſt the nature and
Laws of Comedy. 115</item>
               <item>Duell in <hi>Love in a Tub</hi> againſt the rules of Co<g ref="char:EOLhyphen"/>medy.
116</item>
               <item>Comic Poet obliged to draw according to nature. 117</item>
               <item>No breach of Morality without offending againſt
the Laws of the Stage. 118</item>
               <item>Mr <hi>Collier</hi> right in his end of Stage Poetry. 120</item>
               <item>Miſtaken in his method of proſecuting that end. <hi>ibid</hi>
               </item>
               <item>Morals of a Play wherein ſhewn. 121</item>
               <item>Folly and Knavery the ſubjects of Comedy 122</item>
               <item>Mr <hi>Colller</hi>'s Character of the Antient Poets invi<g ref="char:EOLhyphen"/>dious.
124</item>
               <item>
                  <hi>Fable</hi> the principal part of a Play. 125</item>
               <item>Fable of the <hi>Oedipus</hi> of <hi>Sophocles.</hi> 126</item>
               <item>Piety of <hi>Oedipus.</hi> 129</item>
               <item>Oedipus'<hi>s Proclamation.</hi> 130</item>
               <item>Moral of the Fable defective. 131</item>
               <item>Moral of the <hi>Engliſh Oedipus</hi> the ſame. 132</item>
               <item>Meerly Speculative. <hi>ibid.</hi>
               </item>
               <item>Not very natural. 133</item>
               <item>Moral of <hi>Seneca.</hi> 137</item>
               <item>
                  <hi>Seneca</hi> the Philoſopher ſuppoſed the Author. <hi>ibid.</hi>
               </item>
               <item>His Moral neglected by the Author of the <hi>Engliſh
Oedipus. ibid.</hi>
               </item>
               <item>Summ of <hi>Seneca</hi>'s Moral 140</item>
               <item>
                  <hi>Oedipus's</hi> juſtification of himſelf. 141</item>
               <item>
                  <pb facs="tcp:54591:12"/>
Harmony of the <hi>Greek, Roman,</hi> and <hi>Engliſh</hi> Au<g ref="char:EOLhyphen"/>thors.
142</item>
               <item>Levity of Fortune not the occaſion of the fall of <hi>Oe<g ref="char:EOLhyphen"/>dipus.</hi>
143</item>
               <item>Oppoſition of Providence. <hi>ibid.</hi>
               </item>
               <item>Preſumption of <hi>Laius.</hi> 144</item>
               <item>Another Moral. <hi>ibid.</hi>
               </item>
               <item>Preſumption of <hi>Oedipus.</hi> 145</item>
               <item>
                  <hi>Oedipus</hi> in <hi>Sophocles</hi> and the reſt of the Trage<g ref="char:EOLhyphen"/>dians,
a Predeſtinarian. <hi>ibid.</hi>
               </item>
               <item>French <hi>Moral.</hi> 146</item>
               <item>Necromancy and all ſorts of Divination allowed by
the Heathens. <hi>ibid.</hi>
               </item>
               <item>Conjecture of the Reaſons that induced the Authors
of the <hi>Engliſh Oedipus</hi> to prefer the <hi>Greek</hi>
Moral to the <hi>Latin.</hi> 147</item>
               <item>
                  <hi>Seneca's</hi> Moral not proper for the <hi>Engliſh</hi>
Stage. 148</item>
               <item>
                  <hi>Greek</hi> and <hi>Roman</hi> Moral unſerviceable to vir<g ref="char:EOLhyphen"/>tue.
149</item>
               <item>
                  <hi>Oedipus,</hi> why ſo minutely examined. 150</item>
               <item>
                  <hi>Fable of</hi> Ajax Flagellifer. ibid.</item>
               <item>The Moral ſomewhat obſcure; two may be gueſſed
at. 152</item>
               <item>The Firſt not ariſing naturally from the action. 153</item>
               <item>The Second Moral not very natural. 154</item>
               <item>Fable of the <hi>Electra.</hi> 155</item>
               <item>The Moral of it. 156</item>
               <item>Fable of <hi>Antigone. ibid.</hi>
               </item>
               <item>The Moral of it. 157</item>
               <item>Oedipus Coloneus. ibid.</item>
               <item>The Fable of it. 159.</item>
               <item>No Moral. <hi>ibid.</hi>
               </item>
               <item>
                  <hi>Trachiniae,</hi> its Fable. <hi>ibid</hi>
               </item>
               <item>
                  <pb facs="tcp:54591:12"/>
Moral of <hi>Sophocles.</hi> 160</item>
               <item>
                  <hi>Philoctetes,</hi> the Fable 161</item>
               <item>No Moral. 162</item>
               <item>Speech of <hi>Hercules</hi> not pertinent to the Action. <hi>ibid.</hi>
               </item>
               <item>Character of the Plays of <hi>Euripides</hi> in gene<g ref="char:EOLhyphen"/>ral.
164</item>
               <item>Fable of the <hi>Oreſtes.</hi> 165</item>
               <item>The Characters all vitious. 167</item>
               <item>Not of a piece all through. <hi>ibid.</hi>
               </item>
               <item>The Moral of it. 168</item>
               <item>
                  <hi>The</hi> Medea, &amp;c. <hi>of</hi> Euripides. 170</item>
               <item>Fable of the <hi>Hippolitus. ibid.</hi>
               </item>
               <item>
                  <hi>Ion</hi> uſurp'd by Mr <hi>Dacier,</hi> a Moral Tragedy. 172</item>
               <item>Fable of <hi>Ion</hi> precedent to the Action. 173</item>
               <item>Fable commencing with the Action. <hi>ibid.</hi>
               </item>
               <item>Main condition of Moral Tragedy neglected in
this. 174</item>
               <item>
                  <hi>Creuſa's</hi> a wicked Character. 175</item>
               <item>
                  <hi>Ion</hi>'s Character indifferent. <hi>ibid.</hi>
               </item>
               <item>Of no ſervice to Morality. 177</item>
               <item>Hercules Furens <hi>compared with the</hi> Trachiniae
<hi>of</hi> Sophocles. ibid.</item>
               <item>Character of <hi>Aeſchylus.</hi> 178</item>
               <item>His <hi>Prometheus</hi> immoral. 180</item>
               <item>
                  <hi>Jupiter</hi> abuſed by the Poet under the Perſons of
<hi>Power</hi> and <hi>Force. ibid.</hi>
               </item>
               <item>The abuſe backed by<g ref="char:punc">▪</g> 
                  <hi>Vulcan.</hi> 181.</item>
               <item>Deficiency of the <hi>Greek</hi> Tragedy. 182</item>
               <item>Tragedy at <hi>Rome</hi> borrowed from the <hi>Greeks. ibid.</hi>
               </item>
               <item>
                  <hi>Seneca</hi> the Philoſopher, ſuppoſed the Author of
ſome of thoſe Plays that go under his name. 184</item>
               <item>
                  <hi>Seneca</hi> unjuſtly aſperſed by Mr <hi>Collier. ibid.</hi>
               </item>
               <item>
                  <hi>Seneca</hi> careleſs of Poetick Juſtice. 186</item>
               <item>
                  <pb facs="tcp:54591:13"/>
                  <hi>Ajax Oileus</hi> an improper inſtance of it. 187</item>
               <item>
                  <hi>Seneca</hi> limited by Precedent. <hi>ibid.</hi>
               </item>
               <item>Hippolytus <hi>of</hi> Seneca <hi>examined.</hi> 188</item>
               <item>More artificial than the <hi>Hyppolytus</hi> of <hi>Euri<g ref="char:EOLhyphen"/>pides.</hi>
189</item>
               <item>The reſt cloſe Copies from the <hi>Greek.</hi> 190</item>
               <item>
                  <hi>Octavia</hi> ill-contrived and inſipid. <hi>ibid.</hi>
               </item>
               <item>General Reflections on the antient Tragedy. 191</item>
               <item>
                  <hi>Ariſtotle</hi>'s diviſion of Tragedy. 192</item>
               <item>Moral Plays not much encouraged at <hi>Athens. ibid.</hi>
               </item>
               <item>
                  <hi>Alceſtis</hi> of <hi>Euripides</hi> a Moral Tragedy. 193</item>
               <item>Antients careleſs of the general Moral of the
Plays. 164</item>
               <item>Conſequence of Mr <hi>Collier</hi>'s looſe way of wri<g ref="char:EOLhyphen"/>ting.
<hi>ibid.</hi>
               </item>
               <item>Turned upon the Antients. 196</item>
               <item>
                  <hi>Socrates</hi> by this means condemned. 198</item>
               <item>
                  <hi>Aeſchylus</hi> arraigned by Mr <hi>Collier</hi>'s Prece<g ref="char:EOLhyphen"/>dent.
<hi>ibid.</hi>
               </item>
               <item>
                  <hi>And</hi> Sophocles. 199</item>
               <item>Extravagance of this way of declaiming. 200</item>
               <item>
                  <hi>Shakeſpear</hi> prefixed to all the reſt of the <hi>Engliſh</hi>
Dramatics. 201</item>
               <item>Cenſure of <hi>Hamlet</hi> unjuſt. 202</item>
               <item>Fable of <hi>Hamlet</hi> before the commencement of the
Action. <hi>ibid.</hi>
               </item>
               <item>Fable after the Action commences. 203</item>
               <item>Poetic Juſtice exactly obſerved in this Play. 204</item>
               <item>Moral of <hi>Hamlet.</hi> 205</item>
               <item>Tragedies of this Author generally Moral. 206</item>
               <item>The Orphan. 207</item>
               <item>The Moral good. <hi>ibid.</hi>
               </item>
               <item>
                  <pb facs="tcp:54591:13"/>
Mr <hi>Collier</hi>'s Zeal for the Pagan Prieſthood in
jurious to Chriſtian Miniſtry. 208</item>
               <item>
                  <hi>Don Sebaſtian</hi> a religious Play. 210</item>
               <item>Reaſons of Mr <hi>Collier's</hi> quarrel to the <hi>Cleome<g ref="char:EOLhyphen"/>nes.</hi>
211</item>
               <item>Moral wanting to the <hi>Cleomenes.</hi> 212</item>
               <item>Moral inference. 213</item>
               <item>The Poet too faithful to the Hiſtory. <hi>ibid</hi>
               </item>
               <item>Mourning Bride. 214</item>
               <item>Fable very juſt and regular. 215</item>
               <item>Moral excellent. 216</item>
               <item>Advantages of the Moderns over the Antients in
the Morals of their Fables. 218</item>
               <item>Providence not employed to promote villany. <hi>ibid.</hi>
               </item>
               <item>Nor to oppreſs Virtue. <hi>ibid</hi>
               </item>
               <item>Nor to protect Malefactors. <hi>ibid</hi>
               </item>
               <item>Modern Poets more religious than the Antients. 219</item>
               <item>The Fable of the Poets diſpoſal, Characters and Ex<g ref="char:EOLhyphen"/>preſſions
not ſo.</item>
               <item>The Fable, if any, the Evidence of the Poets Opi<g ref="char:EOLhyphen"/>nion.
220</item>
               <item>Mr <hi>Collier</hi>'s a falſe and perverſe meaſure. 221</item>
               <item>The Fable the Engine of the greateſt and most ſe<g ref="char:EOLhyphen"/>cret
Execution upon the Audience. 222</item>
               <item>Not abuſed to any ill end by our Poets. 223</item>
               <item>Apology for the Antients. 224</item>
               <item>Moral Plays not eſteemed at <hi>Athens.</hi> 225</item>
               <item>Moral and Pathetick reconciled, and united by the
Moderns. <hi>ibid.</hi>
               </item>
               <item>Poetick Juſtice neglected by the Antients in gene<g ref="char:EOLhyphen"/>ral
226</item>
               <item>Monſieur <hi>Dacier</hi>'s exception to Monſieur <hi>Cor<g ref="char:EOLhyphen"/>neille</hi>
anſwered. 228</item>
               <item>
                  <pb facs="tcp:54591:14"/>
Poetical Juſtice a modern Invention. 229</item>
               <item>The Modern Stage on this account preferable to the
Antient. 230</item>
               <item>Fable of Comedy conſidered. 231</item>
               <item>In Comedy the action and perſons low 232</item>
               <item>The correction of Folly the proper buſineſs of Comedy.</item>
               <item>Perfect virtue excluded the Comic Stage. 233</item>
               <item>Some infirmity required to qualify a Character for
Comedy. 234</item>
               <item>No Gentlemen, but men of pleaſure fit for Co<g ref="char:EOLhyphen"/>medy.
<hi>ibid.</hi>
               </item>
               <item>Comic Poetry, and Droll Painting compared. 235</item>
               <item>Such Characters real and common. 236</item>
               <item>Mr <hi>Collier</hi>'s miſtake concerning the nature of Co<g ref="char:EOLhyphen"/>medy.
237</item>
               <item>Heads of Mr <hi>Collier</hi>'s charge againſt <hi>Engliſh</hi>
Comedy. 238</item>
               <item>His firſt Article examined. 240</item>
               <item>This Rule repugnant to the nature of Comedy<g ref="char:punc">▪</g> 241</item>
               <item>Reaſon why. <hi>ibid.</hi>
               </item>
               <item>Indulgence of <hi>Plautus</hi> and <hi>Terence</hi> to vicious
young people miſplaced by Mr. <hi>Collier.</hi> 242</item>
               <item>
                  <hi>Plautus and Terence</hi> faithful Copyers from
nature 243</item>
               <item>Opinion of <hi>Horace</hi> enquired into 244</item>
               <item>This not a bare character, but a rule. 245</item>
               <item>Senſe of <hi>Horace</hi> in this place miſtaken or pre<g ref="char:EOLhyphen"/>vented
by Mr. <hi>Collier</hi> 246</item>
               <item>Parity of reaſoning betwixt Mr. <hi>Prynn</hi> and Mr
<hi>Collier</hi> 247</item>
               <item>Another outrage to <hi>Horace ibid</hi>
               </item>
               <item>Uſe of a <hi>Chorus</hi> according to <hi>Horace</hi> 248</item>
               <item>Mr <hi>Collier</hi>'s anſwer to an objection <hi>ibid.</hi>
               </item>
               <item>
                  <pb facs="tcp:54591:14"/>
A reply to Mr <hi>Collier's</hi> anſwer. <hi>ibid.</hi>
               </item>
               <item>
                  <hi>Chorus</hi> in old Comedy 251</item>
               <item>Double miſtake of Mr <hi>Collier</hi> about the <hi>Plutus</hi> of
<hi>Ariſtophanes.</hi> 252</item>
               <item>Tripartite Diviſion of the <hi>Greek</hi> Comedy. 253</item>
               <item>By this the <hi>Plutus</hi> old Comedy. <hi>ibid.</hi>
               </item>
               <item>
                  <hi>Fable</hi> of <hi>Old</hi> Comedy of what kind. 254</item>
               <item>Characters of <hi>Cratinus, Eupolis,</hi> and <hi>Ariſto<g ref="char:EOLhyphen"/>phanes</hi>
how differenced. 255</item>
               <item>
                  <hi>New</hi> Comedy how differing from the <hi>Old. ibid.</hi>
               </item>
               <item>
                  <hi>Plutus</hi> not new Comedy. 256</item>
               <item>Satire of the old Comedy particular of the gene<g ref="char:EOLhyphen"/>ral.
257</item>
               <item>
                  <hi>Ariſtophanes</hi> the beginner of the middle Come<g ref="char:EOLhyphen"/>dy.
258</item>
               <item>No Chorus in the <hi>Plutus.</hi> 259</item>
               <item>Office of the Chorus in Comedy. <hi>ibid.</hi>
               </item>
               <item>The parts Eſſential to a Chorus omitted in the <hi>Plu<g ref="char:EOLhyphen"/>tus.</hi>
260</item>
               <item>Inconcluſive inference from <hi>Ariſtotle.</hi> 263</item>
               <item>Silence of <hi>Ariſtotle</hi> no argument in this caſe. <hi>ibid</hi>
               </item>
               <item>Reaſon of <hi>Ariſtotle's</hi> ſilence in this point. 264</item>
               <item>His account of the Riſe of the Drama. <hi>ibid.</hi>
               </item>
               <item>Progreſs of Comedy obſcure. <hi>ibid.</hi>
               </item>
               <item>Brevity of <hi>Ariſtotle.</hi> 265.</item>
               <item>A particular Treatiſe of Comedy written by <hi>Ari<g ref="char:EOLhyphen"/>ſtotle,</hi>
but loſt. 266</item>
               <item>Chorus not uſed in the New Comedy. 267</item>
               <item>Chorus altogether improper for the Comic Stage in
<hi>England.</hi> 268</item>
               <item>Uſed at Puppet Shews. <hi>ibid.</hi>
               </item>
               <item>Function aſſigned the Chorus by Mr <hi>Collier.</hi> 269</item>
               <item>Original errour of Mr <hi>Collier.</hi> 270</item>
               <item>
                  <pb facs="tcp:54591:15"/>
Looſe Characters in Comedy no encouragement to
Debauchery. <hi>ibid.</hi>
               </item>
               <item>Ridiculous fear of Mr <hi>Collier.</hi> 271</item>
               <item>Theatres wrongfully accuſed by him. 272</item>
               <item>Senſe of <hi>Horace</hi> again perverted. 273</item>
               <item>
                  <hi>Horace</hi>'s advice Political, not Moral. 275</item>
               <item>
                  <hi>Manners</hi> here fignify'd Poetical not Moral. 277</item>
               <item>
                  <hi>Mr</hi> Collier'<hi>s deſcription of</hi> Poetical Man<g ref="char:EOLhyphen"/>ners.
ibid.</item>
               <item>Defective and Equivocal. 279</item>
               <item>Ariſtotle'<hi>s deſcription.</hi> 279</item>
               <item>Propriety of Manners required. 289</item>
               <item>Wherein it conſiſts. 281</item>
               <item>Similitude of Manners what. <hi>ibid.</hi>
               </item>
               <item>Equality of Manners what. 283</item>
               <item>Faults of <hi>Characters</hi> what. 284</item>
               <item>Faults of Expreſſion manifold. <hi>ibid.</hi>
               </item>
               <item>Some heads of Mr <hi>Colliers</hi> charge. 285</item>
               <item>Miſtaken in his firſt point. 286</item>
               <item>Faults of particulars no reflection upon the Sex in
general. 287</item>
               <item>Univerſals and Individuals improper Charact<g ref="char:EOLhyphen"/>ers.
288</item>
               <item>What Characters proper. 289</item>
               <item>Two ſorts of reſemblances in Poetry. 290</item>
               <item>Quality no juſt reaſon for exemption. 291</item>
               <item>Mr <hi>Collier</hi>'s Collection from the Antients very
looſely made. 292</item>
               <item>Objection to <hi>Ophelia.</hi> 293</item>
               <item>
                  <hi>Character of</hi> Ophelia. ibid.</item>
               <item>Objection groundleſs and frivolous. 295</item>
               <item>Mad Song. 296</item>
               <item>Fooliſh but inoffenſive. <hi>ibid.</hi>
               </item>
               <item>
                  <pb facs="tcp:54591:15"/>
Antients more faulty than this. 297</item>
               <item>
                  <hi>Inſtance in the</hi> Antigone <hi>oſ</hi> Sophocles. ibid, &amp;c.</item>
               <item>Inſtance in <hi>Electra</hi> of the ſame Author. 301</item>
               <item>
                  <hi>Antigone</hi> in <hi>Sophocles</hi> not ſo nice. 304</item>
               <item>
                  <hi>Caſſandra</hi> not ſo nice as Mr <hi>Collier</hi> pre<g ref="char:EOLhyphen"/>tends.
305</item>
               <item>Extravagance of <hi>Caſſandra.</hi> 306</item>
               <item>Indecency againſt Character. 307</item>
               <item>Misbehaviour of <hi>Hecuba.</hi> 310</item>
               <item>Love and tenderneſs uſed by the Moderns. Luſt
and Violence by the Antients. 311</item>
               <item>Numerous inſtances of this kind to be found <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap>
                  <hi>Euripides.</hi> 312</item>
               <item>Some referred to. <hi>ibid.</hi>
               </item>
               <item>
                  <hi>Seneca</hi> examined upon this Article. 313</item>
               <item>Miſcarriage of <hi>Phaedra.</hi> 314</item>
               <item>Modeſty of <hi>Lycus</hi> conſidered. 318</item>
               <item>Reference to other inſtances. 319</item>
               <item>Theſe faults leſs pardonable in Tragedy then in
Comedy. 320</item>
               <item>Slaves the Top Characters of the <hi>Roman</hi> Come<g ref="char:EOLhyphen"/>dy.
321</item>
               <item>Very little variety in their Plots. 322</item>
               <item>Greater Liberty taken by <hi>Ariſtophanes.</hi> 323</item>
               <item>
                  <hi>Ariſtophanes</hi> whether an Atheiſt or not, nothing
to the purpoſe. 324</item>
               <item>Mr <hi>Collier</hi>'s Argument in defence ef <hi>Socrates</hi>
conſidered. 325</item>
               <item>Rigour of the <hi>Athenians</hi> to <hi>Socrates</hi> a ſort of ac<g ref="char:EOLhyphen"/>quitment
to <hi>Ariſtophanes. ibid.</hi>
               </item>
               <item>Mr <hi>Collier</hi>'s inſtances no proof of his aſſer<g ref="char:EOLhyphen"/>tion.
327</item>
               <item>
                  <pb facs="tcp:54591:16"/>
The Opinion of the <hi>Man</hi> not meaſured by the Ex<g ref="char:EOLhyphen"/>preſſions
of the Poet at <hi>Athens. ibid.</hi>
               </item>
               <item>Liberties of <hi>Plautus</hi> greater than thoſe of the <hi>En<g ref="char:EOLhyphen"/>gliſh</hi>
Stage. 328</item>
               <item>Inſtances from the <hi>Amphitryo.</hi> 329</item>
               <item>Remarkable circumſtances of a paſſage in <hi>Amphi<g ref="char:EOLhyphen"/>tryo.</hi>
330</item>
               <item>The diſguiſe under which <hi>Mercury</hi> appears no ex<g ref="char:EOLhyphen"/>cuſe
for his misbebaviour. <hi>ibid.</hi>
               </item>
               <item>
                  <hi>Jupiter</hi> not more modeſt. 331</item>
               <item>Inſtance from the <hi>Aſinaria. ibid.</hi>
               </item>
               <item>Inſtance of ſingular Morality. 332</item>
               <item>
                  <hi>Plautus's</hi> Lovers more active than talkative. <hi>ibid.</hi>
               </item>
               <item>Inſtanced from the <hi>Curculio.</hi> 333</item>
               <item>Comparative modeſty of the Virgins of the <hi>Anti<g ref="char:EOLhyphen"/>ent</hi>
Stage hence to be obſerved. 334</item>
               <item>Mr <hi>Collier</hi>'s own exceptions taken notice of. <hi>ibid.</hi>
               </item>
               <item>His inſtances in <hi>Olympio</hi> groſly miſtaken or miſ<g ref="char:EOLhyphen"/>repreſented.
<hi>ibid.</hi>
               </item>
               <item>Another inſtance from the <hi>Aſinaria.</hi> 338</item>
               <item>
                  <hi>Slaves</hi> not the only offenders of this kind in <hi>Plau<g ref="char:EOLhyphen"/>tus.</hi>
339</item>
               <item>
                  <hi>Plautus</hi>'s Prologues and Epilogues not always in<g ref="char:EOLhyphen"/>offenſive.
340</item>
               <item>This proved from the Epilogue to the <hi>Caſina.</hi> 341</item>
               <item>Epilogue to the <hi>Aſinaria</hi> an encouragement to
Lewdneſs. 342</item>
               <item>The Epilogue to the <hi>Captivi</hi> ſomewhat ſmutty. 343</item>
               <item>Complaint of the <hi>Abuſe</hi> of the <hi>Clergy</hi> not well
grounded. 344</item>
               <item>Their relation to the Deity conſidered. 346</item>
               <item>Perſonal repreſentation of the Deity conſidered. 346</item>
               <item>
                  <pb facs="tcp:54591:16"/>
The power of the Church not lodged with the
Prieſt. 347</item>
               <item>Miſſion of St <hi>Paul</hi> and the Apoſtles what and
how circumſtantiated. 348</item>
               <item>Difference betwixt their Commiſſion, and that of
the preſent Miniſtry. 349</item>
               <item>Importance of their Office no exemption. 352</item>
               <item>Some faults not cognizable by the Ordinary. 353</item>
               <item>Prieſts not miſrepreſented, unleſs faultleſs. 355</item>
               <item>Mr <hi>Collier</hi>'s plea from Preſcription examined.
357</item>
               <item>Inſtance to the contrary from <hi>Sophocles. ibid</hi>
               </item>
               <item>
                  <hi>Euripides</hi> not more tender of Prieſts. 359</item>
               <item>
                  <hi>Seneca</hi> meddles little with them. 360</item>
               <item>
                  <hi>Euripides</hi> and <hi>Seneca</hi> full of profane expreſſions.
361</item>
               <item>Rude treatment of the Nobility a falſe Charge.
365</item>
            </list>
         </div>
         <div type="errata">
            <pb facs="tcp:54591:17"/>
            <head>ERRATA.</head>
            <p>PAge 28. l. 7. r. <hi>'em off:</hi> p. 52. l. ult. add <hi>in:</hi> p. 68. l. 22. r.
<hi>Mulciber:</hi> p. 73. l. 5. dele <hi>not:</hi> p. 74. l. 5. r. <hi>Infancy:</hi> p. 76.
l. 11. r. <hi>of:</hi> p. 86. l. 8. r. <hi>for:</hi> p. 101. l. ult. r. <hi>poſſibly:</hi> p. 132. l. 5
for <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap> 
               <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>. <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>: p. 173. l. 25. r. <hi>proud:</hi> p. 190. l. 11. r.
<hi>diſengage:</hi> p. 235. l. 25. dele <hi>not:</hi> p. 255. l. 23. r. <hi>waving par<g ref="char:EOLhyphen"/>ticular:</hi>
p. 302. l. 2. r. <hi>ſhewn. She was:</hi> p. 306. l. 17. r. <hi>puſh
her:</hi> p. 306. l. 19. r. <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>: ibid. l. 20. for <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap> p. 308
l. 2. r <hi>Indignation:</hi> 3p. 11. l. 7. r. <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>: p. 313. l. 2. add
<hi>made:</hi> p. 315. l. 18. for <hi>guge</hi> r. <hi>jugi:</hi> p. 339. l. 1. r. <hi>conſpexeris:</hi>
p. 341. l. 19. r. <hi>dare.</hi>
            </p>
            <div type="part">
               <head>Errata in the Margine.</head>
               <p>P. 23. for <hi>ſe de</hi> r. <hi>ſed &amp;:</hi> p. 29. for <hi>Verundia</hi> r. <hi>Verecundia.</hi>
p. 57. for <hi>ictaeo</hi> r. <hi>dictoeo:</hi> p. 69. r. <hi>ac:</hi> for <hi>relicta</hi> r. <hi>relicto:</hi> for
<hi>tribi</hi> r. <hi>tribu:</hi> p. 71. for <hi>victus</hi> r. <hi>victis:</hi> p. 113. for <hi>Dio</hi> r. <hi>Dii:</hi>
p. 169. r. <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>: p. 126. dele <hi>and:</hi> p. 192. dele <hi>The Moral:</hi>
p. 226. r. <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap> p. 317. r. <hi>Mr Collier's inſtances.</hi>
               </p>
            </div>
         </div>
      </front>
      <body>
         <div type="text">
            <pb n="1" facs="tcp:54591:17"/>
            <head>Mr. COLLIER's View
OF THE
Engliſh Stage, &amp;c.
Set in a
TRUE LIGHT.</head>
            <p>THe aim of all Writers is,<note place="margin">Introducti<g ref="char:EOLhyphen"/>on.</note> or
ought to be, to maintain or
propagate <hi>Truth,</hi> to inform
the <hi>Judgment,</hi> improve the <hi>
                  <g ref="char:V">Ʋ</g>nder<g ref="char:EOLhyphen"/>ſtanding,</hi>
and rectifie the <hi>Miſtakes</hi> of
<pb n="2" facs="tcp:54591:18"/>
others. Where this is the real end and
deſign of a Writer, no Itch of <hi>Popula<g ref="char:EOLhyphen"/>rity,</hi>
or Awe of <hi>Faction</hi> ought to bear
him from his Byaſs, or make him give
an inch to his <hi>Hopes,</hi> or <hi>Fears;</hi> and the
more Univerſal and Important the
Truths are, which he diſcovers, or de<g ref="char:EOLhyphen"/>fends,
the greater in proportion ought
to be the Zeal and Application.</p>
            <p>Were theſe rules conſtantly, and
prudently purſued, we might hope for
an honeſter, as well as wiſer world,
than it has been my fortune yet to
find any Memoirs of, ſince the multi<g ref="char:EOLhyphen"/>plication
of Mankind. For tho the
<hi>Declaimers</hi> of all <hi>Ages</hi> have inveighed
with great bitterneſs againſt their own
times, and extoll'd the antecedent;
yet even hence we are furniſh'd with
an argument, that all have been equal<g ref="char:EOLhyphen"/>ly
culpable, ſince thoſe times, which
we, to humble our own, affect ſo zea<g ref="char:EOLhyphen"/>louſly
to commend, our <hi>Fore-fathers</hi>
did as vehemently condemn; and if
we do not find the <hi>Topicks</hi> of <hi>Satyr</hi> to
be in every <hi>Age</hi> the ſame; we can on<g ref="char:EOLhyphen"/>ly
from thence conclude, that the
<hi>Mode, and not the Meaſure of Iniquity
is alter'd.</hi>
            </p>
            <p>
               <pb n="3" facs="tcp:54591:18"/>
But whether the rules be ſtrictly ob<g ref="char:EOLhyphen"/>ſervable,
or not, may be matter of
doubt. For, beſides that grand Se<g ref="char:EOLhyphen"/>ducer
<hi>Intereſt,</hi> which few withſtand,
<hi>Paſſion, Prejudice,</hi> and <hi>Inclination,</hi> have
an almoſt irreſiſtible Influence over us;
and even in the cooleſt, and ſevereſt
of our deliberations, we are apt to give
too much to <hi>Prejudice,</hi> and to humour
<hi>Appetite</hi> and <hi>Paſſion</hi> beyond Reaſon.</p>
            <p>That this is no uncommon caſe, moſt
of the preſent <hi>Paper-Combats</hi> demon<g ref="char:EOLhyphen"/>ſtrate,
in which the War on both ſides
is carry'd on with an obſtinacy and
fury, very diſproportionate to the
trifles generally contended for. The
Combatants enter the liſts againſt Chi<g ref="char:EOLhyphen"/>merical
Gyants of their own raiſing,
and lay about 'em like <hi>Ajax,</hi> or <hi>Cer<g ref="char:EOLhyphen"/>vantes</hi>'s
<hi>Hero,</hi> amongſt the Sheep, Gy<g ref="char:EOLhyphen"/>ants,
or Windmills, 'tis all one, if they
ſtand in their way they muſt be en<g ref="char:EOLhyphen"/>counter'd.</p>
            <p>The moſt formidable of theſe, is the
Author of the <hi>Short View of the Immora<g ref="char:EOLhyphen"/>lity
and Profaneneſs of the</hi> Engliſh <hi>Stage.</hi>
This Gentleman, ſome time or other,
between ſleeping and waking, had
happen'd to hear ſome of Mr <hi>Durfy</hi>'s
<pb n="4" facs="tcp:54591:19"/>
Rattles, and perhaps ſome ſaucy <hi>Jack</hi>
or other of the Stage diſcharge an Oath
or two, and preſently miſtaking 'em
for a noiſe of Drums, and volley of
Shot, falls to dreaming of Invaſions and
Revolutions, that the Church Artillery
was ſeiz'd, and turn'd upon it; of a
terrible Stage Plot, and a huge Army
in Ambuſcade behind the Play-houſe
Scenes; and therefore he cries out to
have the Beacons lighted, and the Bells
rung backward in every Pariſh, to
raiſe the <hi>Poſſe</hi> of Fathers, Councils, Sy<g ref="char:EOLhyphen"/>nods,
School-men, and the reſt of the
Church Militia, and caſt up Retrench<g ref="char:EOLhyphen"/>ments,
for the Vanguard of <hi>Parnaſſus</hi>
are upon 'em. Then he calls for his
<hi>Durindana</hi> of a Gooſe-quill, and thun<g ref="char:EOLhyphen"/>ders
out <hi>Anathema</hi>'s as thick as Hail ſhot.</p>
            <p>Thus inſtructed and appointed, he
draws out his forces, and charges with
ſuch violence and fury upon the For<g ref="char:EOLhyphen"/>lorn-Hope
of the Stage, that it had
been impoſſible for 'em to have ſuſtain'd
the ſhock, if <hi>Pegaſus</hi> had not been
train'd of old to the ſervice, and very
well acquainted with the temper of the
Enemies Fire.</p>
            <p>
               <pb n="5" facs="tcp:54591:19"/>
This Anti-poetick War has been
carry'd on with abundance of heat
at divers times and in divers Coun<g ref="char:EOLhyphen"/>tries;<note place="margin">The quarrel to the mo<g ref="char:EOLhyphen"/>dern Stage firſt for<g ref="char:EOLhyphen"/>mally com<g ref="char:EOLhyphen"/>menc'd in <hi>Spain.</hi>
               </note>
it broke out firſt in <hi>Spain,</hi> about
the cloſe of the laſt Century, under
<hi>Mariana</hi> a Jeſuit, who publiſhed a
Book <hi>Contra Spectacula;</hi> and after that
another, by the Special Approbation
of the Viſitor, and the Provincial of the
Jeſuits of the Province of <hi>Toledo;</hi> from
thence it travell'd into <hi>Italy,</hi> where it
was fomented by <hi>Franciſco Maria,</hi> a
<hi>Sicilian</hi> Monk, and <hi>P. Ottonelli,</hi> a Je<g ref="char:EOLhyphen"/>ſuit;
and was thence tranſlated into
<hi>England,</hi> about ſixty years ago, by
Dr <hi>Reynolds</hi> and Mr <hi>Prynne;</hi> to <hi>France,</hi>
about thirty years ago, by the Prince
of <hi>Conti,</hi> the Sieur <hi>de Voiſin, &amp;c.</hi>
and tho bury'd for ſome years
in its embers, broke out again
there not many years ago into a flame;
at which Mr <hi>Collier</hi> took fire, and
reviv'd the quarrel in <hi>England.</hi>
            </p>
            <p>All theſe diſputes have been manag'd
with great vehemence and fierceneſs
on the Agreſſor's parts, and had the
ſucceſs been anſwerable to their Reſo<g ref="char:EOLhyphen"/>lution,
the ſcatter'd rout of <hi>Parnaſſus</hi>
had been never able to have rally'd,
<pb n="6" facs="tcp:54591:20"/>
or made head again; but their Onſet
was like that of the <hi>Turks</hi> and <hi>Tartars,</hi>
the Noiſe was much greater than the
Execution. I cou'd never find that the
Muſes were famous for Martial Exploits,
or that their Votaries e're ſignaliz'd
themſelves by any extraordinary at<g ref="char:EOLhyphen"/>chievements
in the Polemicks. How
comes it then, that ſuch impetuous Aſ<g ref="char:EOLhyphen"/>ſailants
have gain'd no more upon 'em?
For as yet the very Outworks of <hi>Par<g ref="char:EOLhyphen"/>naſſus</hi>
ſeem to be in no danger. Is it
the natural ſtrength of the Place, or
Reſolution of the Defendants that
Protects 'em?</p>
            <p>Before I give a direct anſwer to theſe
queſtions, it will be neceſſary to pre<g ref="char:EOLhyphen"/>miſe
a ſhort account of the occaſion,
ſtate, and progreſs of the Controverſie,
in, and from the time of the Primitive
Fathers down to our own Times; by
which we may be enabled to make a
right Judgment, how far the preſent
Stage is affected by the Authorities,
and Arguments urg'd from 'em.</p>
            <p>It is on all hands agreed,<note place="margin">Shows a<g ref="char:EOLhyphen"/>mong tbe Heathens of Religious Pare<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>tage.</note> that the
<hi>Ludi</hi> and <hi>Spectacula</hi> of the <hi>Greeks</hi> and
<hi>Romans,</hi> were a great part of the
Solemn and Publick Worſhip of their
<pb n="7" facs="tcp:54591:20"/>
Gods, inſtituted on purpoſe to comme<g ref="char:EOLhyphen"/>morate,
or expiate ſome ſignal Benefit,
<gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> Calamity, of which thoſe Gods were
the ſuppoſed Authors, or Inſtruments:
Theſe Plays or Shows were uſually
preceeded by a Solemn Proceſſion of
the Gods to whom they were dedica<g ref="char:EOLhyphen"/>ted,
and the Prieſts and Sacrificers in
their Formalities, with the Victim in
all its Religious Pomp, (much after the
manner of the Solemn Proceſſions in uſe
amongſt the <hi>Roman</hi> Catholicks to this
day) this was ſucceeded by Vows made,
and Sacrifice perform'd upon the ſpot,
whether it were Theatre, <hi>Circus,</hi> or
any other place of publick Shows, or
Games. After all theſe were perform'd,
or finiſh'd, the Play or Show was order'd
to begin, which was alſo a principal part
of the Religious Worſhip<g ref="char:punc">▪</g> and con<g ref="char:EOLhyphen"/>cluded
the Solemnity of the day.</p>
            <p>The Dramatick Repreſentations
ſpring both from one Original, and
were inſtituted for the ſame general
end and purpoſe with the reſt of the
Heathen Games,<note place="margin">The Drama of the ſame extraction.</note> that is, for Religious
Worſhip. Theſe (if I may be allow'd
to uſe the plural number, for that
which in the Original, was but one
<pb n="8" facs="tcp:54591:21"/>
thing) were invented in honour to <hi>Bac<g ref="char:EOLhyphen"/>chus,</hi>
and conſiſted of Songs in his
praiſe, Muſick, and Dancing about a
Sacrific'd Goat, intermixt with ruſtick
raillery, ſuitable to the Genius and
Temper of the Boors, and Villagers,
that were the performers. Tragedy
and Comedy were not yet become Se<g ref="char:EOLhyphen"/>parate
Provinces in Poetry,<note place="margin">Tragedy &amp; Comedy ori<g ref="char:EOLhyphen"/>ginally one thing.</note> but either
name indifferently ſignify'd the ſame
thing, the firſt being taken from the
Sacrifice, which was a Goat, the other
from the Performers, which were the
Peaſants, or Villagers, or from the
nature of the Entertainment itſelf,
which was compos'd of Rural Muſick,
Songs, and Dances. By what ſteps
and gradations the improvements were
made, how the decorations of the
Stage were introduc'd, and when the
Drama firſt branch'd into Tragedy and
Comedy, as diſtinct members, are
pretty ſpeculations, and afford an oc<g ref="char:EOLhyphen"/>caſion,
which one, that. like Mr. <hi>Col<g ref="char:EOLhyphen"/>lier,</hi>
affected to ſhew much reading to
little purpoſe, wou'd not let ſlip; but
not being to my purpoſe, I ſhall not
proſecute 'em any farther.</p>
            <p>
               <pb n="9" facs="tcp:54591:21"/>
'Tis probable the partition of Tra<g ref="char:EOLhyphen"/>gedy
and Comedy was firſt made,<note place="margin">When first diſtinguiſht</note> when
the Poets, quitting the <hi>Dithyrambi,</hi> or
Hymns to <hi>Bacchus,</hi> betook themſelves
to the repreſentation of Stories or Fa<g ref="char:EOLhyphen"/>bles
of their own invention; the nature
of the ſubjects then becoming different,
according to the Poets choice, the
names were divided betwixt 'em
Or perhaps, that part which we now
in a reſtrain'd ſenſe call Tragedy, be<g ref="char:EOLhyphen"/>ing
firſt refin'd and improv'd, and be<g ref="char:EOLhyphen"/>coming
the ſtudy and diverſion of more
Polite Men, the other continuing long<g ref="char:EOLhyphen"/>er
in the Poſſeſſion of the Villagers,
retain'd the name of Comedy for di<g ref="char:EOLhyphen"/>ſtinction
ſake, even after its utmoſt
improvements.</p>
            <p>But when,<note place="margin">The Stage under the Patronage of <hi>Bacchus.</hi>
               </note> or howſoever this was,
tho the Sacrifice of the Goat at Plays
was left off, the <hi>Satyri</hi> in praiſe of <hi>Bac<g ref="char:EOLhyphen"/>chus</hi>
diſcontinued, and the Plays ap<g ref="char:EOLhyphen"/>pointed
indifferently in honour of any
of the Gods, as occaſion directed, that
they were, as the Auditors rightly ob<g ref="char:EOLhyphen"/>ſerved,
<hi>Nihil ad Bacchum,</hi> yet the Stage
remain'd ſacred to and under the Pro<g ref="char:EOLhyphen"/>tection
of its old Patron, who had
amongſt the <hi>Romans</hi> his Altar on the
<pb n="10" facs="tcp:54591:22"/>
Right hand of the Stage, and the par<g ref="char:EOLhyphen"/>ticular
God to whom the Play was for
that time directed, on the Left. This
was the Poſture and Condition of the
Stage in the time of the Fathers.</p>
            <p>This being the caſe, a Chriſtian cou'd
not be preſent, or aſſiſt at theſe repre<g ref="char:EOLhyphen"/>ſentations,
without openly countenanc<g ref="char:EOLhyphen"/>ing
or conforming to the Idolatrous
Worſhip of the Heathens; which the
Fathers, as became careful and pious
Paſtors, were extremely ſolicitous to
prevent. They were ſenſible of the
difficulties they had to encounter, and
the obſtacles they had to ſurmount.
The Chriſtian Religion was yet but
newly planted, and therefore till it
had taken ſufficient Root was carefully
to be cover'd and defended from the
injuries of rude Blaſts, and the conta<g ref="char:EOLhyphen"/>gion
of thoſe rank ſuperſtitious Weeds
that grew about it, by which the Root
might be kill'd, or the Soil infected,
and the Sap withdrawn.</p>
            <p>Paganiſm was a Religion, invented
at firſt to oblige and captivate the peo<g ref="char:EOLhyphen"/>ple,<note place="margin">Paganiſm a Religion contriv'd for popula<g ref="char:EOLhyphen"/>rity.</note>
and gain'd its Credit and Authority
among 'em by indulging their Senſuality,
and even gratifying their Luſts; it was
<pb n="11" facs="tcp:54591:22"/>
augmented by degrees, by ambitious,
cunning men, who, to render them<g ref="char:EOLhyphen"/>ſelves
more popular, and gain an inte<g ref="char:EOLhyphen"/>reſt
among the multitude, recommended
to 'em, under the notion of Religion,
what they found moſt acceptable to the
humour and palate of the populace.
By this means, the various Proceſſions,
Games, and Shows were introduc'd,
and became the moſt formal part of
their Solemnities, men being eaſily per<g ref="char:EOLhyphen"/>ſwaded
to like what was ſo conformable
to their inclinations, that in the exerciſe
and diſcharge of their Duties, their
Senſes were entertain'd, and their Ap<g ref="char:EOLhyphen"/>petites
flatter'd.</p>
            <p>Againſt a Superſtition thus fram'd
for Luxury, and contriv'd to cajole
the Sences, Chriſtianity was to make
its way, and to drive out thoſe Rites,
and deſtroy a Title founded upon the
preſcription of many ages, ſupported
by the authority of the Civil Govern<g ref="char:EOLhyphen"/>ment,
and fortify'd in its Poſſeſſion by
Prejudice, Inclination and Intereſt;
and all this to be done with the aſſiſt<g ref="char:EOLhyphen"/>ance
only of Truth, and Simplicity of
Doctrine and Manners; the Pomp,
and Magnificence of their Solemn Wor<g ref="char:EOLhyphen"/>ſhip
<pb n="12" facs="tcp:54591:23"/>
was abſolutely to be taken away,
and their licentious practices to be re<g ref="char:EOLhyphen"/>ſtrain'd,
and reform'd; and inſtead of
'em ſevere Principles, and an auſtere
courſe of Life were to be eſtabliſh'd,
in an Age, and amongſt a People,
whom the Submiſſion and Tribute of
all the World for ſome ages, had made
wealthy, proud and wanton.</p>
            <p>It is not therefore to be wonder'd,
if thoſe early Champions of the Goſpel
proportion'd their Zeal and Vigilance
to the preſſingneſs of the occaſion,<note place="margin">Heathen Religion all Cere<g ref="char:EOLhyphen"/>mony.</note> and
the ſtrength of the oppoſition. The
Games and Shows of the antient Hea<g ref="char:EOLhyphen"/>thens
were the parts of their Religion
the moſt generally engaging, that at<g ref="char:EOLhyphen"/>tracted
moſt, and kept the Multitude
firmeſt to 'em. The reſt of their Reli<g ref="char:EOLhyphen"/>gion
ſat but looſely about 'em, they
had no fixt, or neceſſary Faith, aud
their devotion conſiſted only in a frigid
compliance with thoſe Forms and Cere<g ref="char:EOLhyphen"/>monies,
which were purely matters of
Worſhip; their Zeal appear'd for no<g ref="char:EOLhyphen"/>thing
ſo much as their Games and
Shows. For as <hi>Varro</hi>
               <note n="*" place="margin">Pompa populo in<g ref="char:EOLhyphen"/>grata fuit, quia ludis mora. Var ro de Ling. Lat. Lib. 4.</note> and <hi>Seneca</hi>
               <note n="†" place="margin">Non igno ras quam ſit odioſa Circenſibus Pompa.</note> in<g ref="char:EOLhyphen"/>forms
us, the preparatory Solemnities
were ungrateful to the ſpectators, who
<pb n="13" facs="tcp:54591:23"/>
impatiently expected the Show. The
Fathers, who knew where their ſtrength
lay, have employ'd all their Artillery
againſt theſe Shows, their Batteries
have play'd inceſſantly upon 'em, as
the only Forts that were capable of
making reſiſtance, and ſtopping their
Progreſs.</p>
            <p>Tho the antient Fathers bent their
Rhetorick,<note place="margin">Idolatry of the Stage, the princi<g ref="char:EOLhyphen"/>pal argu<g ref="char:EOLhyphen"/>ment of the Fathers a<g ref="char:EOLhyphen"/>gainſt it.</note> with all its Force, and in
all its Forms and Figures, againſt the
Heathen Shows; tho they declaim'd
with all their Nerves, and Vehemence,
and diſplay'd all their Arguments with
the utmoſt ſtrength of Colour and Pro<g ref="char:EOLhyphen"/>portion,
yet there was nothing in which
they ſo much confided, in which they
ſo unanimouſly agreed, as the objection
drawn from the Idolatrous inſtitution
and end of 'em. They were unwar<g ref="char:EOLhyphen"/>rantable,
becauſe Idolatrous. It was
(in their opinion) impoſſible for a
Chriſtian, how well principled, or diſ<g ref="char:EOLhyphen"/>pos'd
however, to partake of the En<g ref="char:EOLhyphen"/>tertainment,
without ſharing the
Pollution, or to abſtract the Di<g ref="char:EOLhyphen"/>verſion
from the Guilt. They thought
it dangerous to truſt their Con<g ref="char:EOLhyphen"/>verts,
however fortify'd, to the
<pb n="14" facs="tcp:54591:24"/>
temptations of ſo jolly a Religion,
which was ſo far from curbing the ap<g ref="char:EOLhyphen"/>petites,
and laying any reſtraint upon
the deſires of its Proſelytes, that many
of its duties were but Pimps to their
Luſts, and almoſt all its acts of Devotion
but ſo many entertainments of their
Sences. They knew the frailty of hu<g ref="char:EOLhyphen"/>mane
Nature right well, and were
aware, that tho Faith might in ſome
be ſo ſtrong as to triumph over all
temptation, yet that Multitudes wou'd
fall before it, if they were permitted to
run the riſque.</p>
            <p>The portion of thoſe that embrac'd
Chriſtianity was Mortification, and
ſuffering, perpetual diſcouragement,
and frequent Perſecutions (till the time
of <hi>Conſtantine</hi>) their Reward was in
Reverſion; their Expectation indeed
was large, but the Proſpect was diſtant.
Now preſent Eaſe and Enjoyment are
very apt to prevail againſt a remote
Hope. In our common affairs of the
world, Futurity maintains itſelf but ill
againſt the Preſent, and neither the
greatneſs, nor the certainty of the Re<g ref="char:EOLhyphen"/>verſion,
make good head againſt imme<g ref="char:EOLhyphen"/>diate
Poſſeſſion.</p>
            <p>
               <pb n="15" facs="tcp:54591:24"/>
This was the caſe of Chriſtianity in its
Infancy. The Heathen Prieſthood was
contented with the Countenance and
Encouragement of the State, and ſub<g ref="char:EOLhyphen"/>mitted
to the directions and appoint<g ref="char:EOLhyphen"/>ment
of it, even in matters relating to
their own Myſteries; they aſſum'd no
Dominion, or Juriſdiction over private
Conſciences, either in point of Princi<g ref="char:EOLhyphen"/>ple
or Practice; but left thoſe matters
wholly to the Civil Government, which
made Laws for the regulation, and ap<g ref="char:EOLhyphen"/>pointed
Magiſtrates for the inſpection
of Men's Manners; in which regard
was had chiefly, if not only, to the
Publick Quiet and Security, to the
Preſervation and Augmentation of the
State. If a ſcrutiny was made into the
Conduct and Behaviour of particular
perſons, 'twas as they were ſubordinate
to the Publick, and might be inſtru<g ref="char:EOLhyphen"/>mental
or prejudicial to the common
welfare, either immediately, by their
practices, in wronging the State, or
thoſe under the Protection of it; or by
withdrawing themſelves from, or in<g ref="char:EOLhyphen"/>capacitating
themſelves for its ſervice;
or conſequently by debauching, and
corrupting others by their Examples.
<pb n="16" facs="tcp:54591:25"/>
In all theſe matters the Prieſt had no
concern; and therefore 'twas no won<g ref="char:EOLhyphen"/>der,
if the People receiv'd ſo eaſily,
and liv'd ſo contentedly under a Religi<g ref="char:EOLhyphen"/>on,
which, tho falſe, gave 'em ſo little
diſturbance, and ſo much ſatisfaction.
For, as for the Multitude, their Theo<g ref="char:EOLhyphen"/>logy
was like their Worſhip, ſuited and
adapted to their capacities, the one
conſiſting of ſurprizing Fables, the
other of delightful Solemnities. Thoſe
that were wiſer among 'em, and ſaw
thro their Myſteries, (who were not a
few) were many of 'em <hi>Sacris initiati,</hi>
and engaged in their ſupport; the reſt
having no higher warrant than their
own Reaſon, and nothing more certain
to ſubſtitute in the room of 'em, were
perhaps unwilling to unſettle matters,
and paying a languid Complacence,
ſuffer'd things to run on in the old
Channel; whoſe Banks ſhou'd they
break down, they knew not what
courſe the Stream wou'd take, nor how
far the Confuſion might ſpread.</p>
            <p>But the Goſpel had none of theſe
advantages, it was not contriv'd and
modell<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d for Popularity, it did not
humour the Inclinations, and indulge
<pb n="17" facs="tcp:54591:25"/>
the Appetites of the People. To the
Purity of its Doctrine, a Conformity of
Life, and Manners were requir'd, the
Paſſions were to be curb'd, and the
Deſires moderated; inſtead of Pomp
and Ceremony, Simplicity and Sobriety
were to be their Entertainments: their
rampant Gods, whoſe fabulous Hiſtories
gave countenance to Men's Luſts, and
encouragement to their Debaucheries,
were to be caſhier'd, and the know<g ref="char:EOLhyphen"/>ledge
and worſhip of the True One to
be introduc'd, whoſe Majeſty was as
awful, as the other was repreſented
frolickſome.</p>
            <p>Theſe were the conditions of Con<g ref="char:EOLhyphen"/>verſion
from Heatheniſm, and the
change muſt needs appear diſadvan<g ref="char:EOLhyphen"/>tageous
to meer Fleſh and Blood The
Fathers therefore, who knew how hard
it was to keep the Appetites in entire
ſubjection, took care to fortifie as
ſtrongly as poſſible thoſe parts, in
which they expected the Rebellion
ſhou<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d firſt break out.<note place="margin">Heathen Plays dan<g ref="char:EOLhyphen"/>ger<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>s temptations <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> new Chriſtian Converts.</note> The Plays, of
all the Heathen Solemnities, were thoſe
that gave the ſtrongeſt temptation to
the new Converts; they had ſo little
<pb n="18" facs="tcp:54591:26"/>
of the Air of Religion, that they
thought if they did not approve of the
end and deſign of 'em, they might,
without imputation, partake of the
Diverſion, in which they met with fre<g ref="char:EOLhyphen"/>quent.
Examples of Innocence and Vir<g ref="char:EOLhyphen"/>tue.
This alarm'd the Fathers, who
knew that <hi>the tranſition from one Religi<g ref="char:EOLhyphen"/>on
to another</hi> (as Mr <hi>Collier</hi> obſerves)
<hi>was natural;</hi> and juſtly apprehended,
that from a liking of the Entertain<g ref="char:EOLhyphen"/>ments
themſelves, they might proceed
to approve the occaſion of 'em; that
the ſeeming Innocence and Virtue of
'em might reconcile 'em to a Superſtition
which recommended thoſe excellent
Gifts after ſo eaſie and agreeable a
manner, or that perhaps the delights
of thoſe places might ſoften the temper
of their mind, and relax the nerves of
their zeal, and ſo unqualifie and indiſ<g ref="char:EOLhyphen"/>poſe
'em for thoſe Auſterities, which
the Poſture and Circumſtances of the
Chriſtian Religion at that time requir'd.</p>
            <p>To obviate theſe dangers, they ſum<g ref="char:EOLhyphen"/>mon'd
all their Prudence,<note place="margin">Zeal of the Fathers <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>g<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>inſt 'em not u<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ne<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>eſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ary.</note> and all their
Art; they omitted no Topick which
Rhetorick or Satyr cou'd ſupply, to
fright or perſwade Men from thoſe
<pb n="19" facs="tcp:54591:26"/>
Diverſions. Nor was all their Zeal and
Caution any more than was neceſſary,
the Danger was great, and ſo was the
Temptation; the Fort was to be main<g ref="char:EOLhyphen"/>tain'd
not only againſt an Enemy with<g ref="char:EOLhyphen"/>out,
but a ſtrong Faction within; the
Sences, Appetites, and Paſſions were
already gain'd to the Enemy's Party,
nothing remain'd but Religion and
Reaſon, to make good the defence;
thoſe Generals therefore that wou'd
hold out, when the Garriſon was in<g ref="char:EOLhyphen"/>clin'd
to Surrender, muſt not only diſ<g ref="char:EOLhyphen"/>play
their Courage and Conduct, but
exert their Authority likewiſe to the
utmoſt This the Antient Fathers did,
whoſe examples have been follow'd by
divers in our Age, tho without the
ſame Reaſon, Authority or Succeſs.</p>
            <p>Having thus open<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d the Caſe, as it
ſtood in the time of the Primitive
Chriſtians, we ſhall proceed to exa<g ref="char:EOLhyphen"/>mine,
Whether there be any manner
of Analogy between the <hi>Roman</hi> Thea<g ref="char:EOLhyphen"/>tre
(as to the particulars whereof they
are arraign'd by the Fathers) and ours?
Whether <hi>the Satyr of the Fathers comes
full upon the Modern Poets?</hi>
               <note place="margin">View <hi>p.</hi> 276.</note> Whether
<hi>the Parity of the Caſe makes their Reaſons
<pb n="20" facs="tcp:54591:27"/>
take place, and their Authority revive up<g ref="char:EOLhyphen"/>on
us?</hi>
            </p>
            <p>Thus backt,<note place="margin">p. 277.</note> as he ſuppoſes by <hi>the
Worthies of Chriſtendom, the flower ef
Human Nature, and the Top of their
Species,</hi> Mr <hi>Collier</hi> bids defiance to all
the Stage Poets in general: He de<g ref="char:EOLhyphen"/>clares
'em to be <hi>gone over into another
Intereſt,</hi>
               <note place="margin">p. 1.</note> Deſerters to the Devil,<note place="margin">p. 124.</note> 
               <hi>that aim
to deſtroy Religion,</hi>
               <note place="margin">Praef.</note> and whoſe buſineſs
is an ana of <hi>Lewdneſs and Atheiſm.</hi> For
he has a huge mind to try his ſtrength
with 'em,<note place="margin">p. 257.</note> but he dares not enter the The<g ref="char:EOLhyphen"/>atres,
they are the <hi>Devils own Ground;</hi> but
he challenges 'em to a tryal of skill at
the laudable exerciſes of the Chriſtian
Olympicks of <hi>Moorfields;</hi> which, if
they be ſo hardy as to accept, he'll call
a Ring, and for a broken Head, or
Limb, he and his Fathers defy both
North and Weſt.<note place="margin">Diſingen<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>i<g ref="char:EOLhyphen"/>r<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> of Mr. <hi>Collier.</hi>
               </note>
            </p>
            <p>But hold, Mr <hi>Vinegar!</hi> have you
any commiſſion from the Fathers to give
this Challenge in their Names? Does
it appear, that they have any ground,
or reaſon of quarrel to the preſent
Stage? I believe not; but as things
may be packt together, and tranſlated,
an able Interpreter may make 'em ſpeak
<pb n="21" facs="tcp:54591:27"/>
as he pleaſes. If they don't ſpeak to
his mind he knows how to correct 'em,
'tis but <hi>throwing in a word or two</hi> (as he
phraſes it) <hi>to clear the ſenſe, to preſerve
the Spirit of the Original,</hi>
               <note place="margin">Praef.</note> 
               <hi>and keep the
Engliſh upon its Legs.</hi> 'Tis well he has
the knack of Scowring the Fathers,
otherwiſe their Teſtimonies wou'd look
but ruſtily upon the preſent occaſion.
But he can waſh as well as ſcowr, and
underprop a failing Evidence upon
occaſion. 'Tis pity Mr <hi>Collier</hi> was not
bred to the Bar, this extraordinary
quality had been of admirable ſervice
there, to help a bad Memory, and
prompt a baſhful Witneſs. The Fa<g ref="char:EOLhyphen"/>thers,
good men, cou'd ſay but little to
the Cauſe, but Dexterity and Manage<g ref="char:EOLhyphen"/>ment
may do much, and an able Solli<g ref="char:EOLhyphen"/>citor
(like Mr <hi>Collier</hi>) will make out
notable proofs from very ſlender Evi<g ref="char:EOLhyphen"/>dence.</p>
            <p>The Fathers, as they had reaſon,<note place="margin">Idolatry the main Objestions of the Fa<g ref="char:EOLhyphen"/>thers to the Ancient Drama.</note>
prohibited Chriſtians all reſort to the
<hi>Roman</hi> Games in general, and without
diſtinction upon the account of the
Idolatry there practiſed: But what's
that to our Theatres, which have no
ſuch ſtain upon 'em? If the Heathen
<pb n="22" facs="tcp:54591:28"/>
Gods appear upon our Stage, 'tis nei<g ref="char:EOLhyphen"/>ther
for their own, nor their Worſhipers
honour. Idolatry is as much abhorr<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d,
and more expos'd there, than any
where elſe. Why then is the Satyr re<g ref="char:EOLhyphen"/>viv'd
upon it? Is there any danger that
the Spectators ſhould turn Idolaters,
from our Repreſentations? That which
ſcandaliz'd the Fathers moſt in the
Dramatick Repreſentations of Antiqui<g ref="char:EOLhyphen"/>ty
was, that their Gods were repreſent<g ref="char:EOLhyphen"/>ed
lewd, and unjuſt, Adulterers,
Pimps, <hi>&amp;c.</hi>
            </p>
            <p>
               <note n="*" place="margin">Et haec ſuntſcenico r<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>m <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>era<g ref="char:EOLhyphen"/>bilior<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> 
                  <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> do rum Comoe<g ref="char:EOLhyphen"/>diae ſcilicit &amp; Tragoediae hoc eſt fabu lae Poetarum agendae in ſpectaculis, multa rer<g ref="char:EOLhyphen"/>turpitudine ſed nulla, ſaltem, ſicut alia multa verborum obſcoenitate compoſitae quas etiam inter ſtudia quae hone<g ref="char:EOLhyphen"/>ſta, &amp; libe<g ref="char:EOLhyphen"/>ralia vocan<g ref="char:EOLhyphen"/>tur, pueri, legere diſ<g ref="char:EOLhyphen"/>cere<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> a ſenibus co<g ref="char:EOLhyphen"/>guntur. De Civit. Dei lib. 2.</note> St <hi>Auguſtine</hi> abſolves their Come<g ref="char:EOLhyphen"/>dies
and Tragedies from any fault in
the expreſſion, and accuſes only the
ſubject matter. The ſame Indictment
he prefers againſt <hi>Homer, (viz.</hi>) that
he corrupted Mens Morals by draw<g ref="char:EOLhyphen"/>ing
ſuch vicious Pictures of his Dei<g ref="char:EOLhyphen"/>ties.
<note n="*" place="margin">Aug. Conf. lib. 1. cap. 16.</note> 
               <hi>Terence</hi> falls under his diſpleaſure
likewiſe, for introducing his young
Libertine animating himſelf to, and
vindicating himſelf after a Rape, by
the example of <hi>Jupiter,</hi> whoſe In<g ref="char:EOLhyphen"/>trigue
with <hi>Danae,</hi> repreſented in a
Picture, afforded him both matter
of Encouragement and Excuſe. Not<g ref="char:EOLhyphen"/>withſtanding
which objections, this
<pb n="23" facs="tcp:54591:28"/>
               <note n="*" place="margin">Didici in eis multa verba uti<g ref="char:EOLhyphen"/>lia ſe det in rebus non vanis diſci poſſunt &amp; via tuta eſt, in qua Pu<g ref="char:EOLhyphen"/>eri ambula<g ref="char:EOLhyphen"/>rent. lib. Confeſs. 1 cap. <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>v.</note> Father confeſſes himſelf to have pro<g ref="char:EOLhyphen"/>fited
by the reading of 'em, tho he
thinks the ſame uſe might have been
made of more pious Books, which are
fitter for the uſe of Children. Thus by
the acknowledgment of this Father the
Plays were not ſo bad. as Mr <hi>Collier</hi>
wou'd infer from him. The quarrel of
the reſt of the Fathers to the Drama,
was upon the ſame account, tho Mr
Surveyor has given a wrong proſpect of
it. I hope there's no reaſon to appre<g ref="char:EOLhyphen"/>hend,
that <hi>Jupiter</hi> or <hi>Mercury</hi> ſhou'd be
drawn into precedent at this time of
day, or that any perſon of Quality
ſhou'd turn Whore-maſter, or Pimp
out of emulation.</p>
            <p>'Tis true,<note place="margin">Mimick Shews a<g ref="char:EOLhyphen"/>mong the <hi>Romans</hi> ſcandalouſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> lewd, the Drama no at all.</note> the Fathers frequently ex<g ref="char:EOLhyphen"/>claim
againſt the lewdneſs of the <hi>Roman</hi>
Theatres, which Mr <hi>Collier</hi> all along
endeavours, both by the turn and ap<g ref="char:EOLhyphen"/>plication,
to diſcharge upon the Dra<g ref="char:EOLhyphen"/>matick
Repreſentations, in which I ad<g ref="char:EOLhyphen"/>mire
his dexterity more than his inge<g ref="char:EOLhyphen"/>nuity.
For I can't ſuppoſe Mr <hi>Collier</hi>
to be ignorant, that there were divers
ſorts of <hi>Ludi Scenici,</hi> which were all
perform'd at the Theatre, of which
ſeveral were ſcandalouſly lewd; but
<pb n="24" facs="tcp:54591:29"/>
theſe he knows were no part of the
Dramatick Entertainment.</p>
            <p>But he finds Comedy and Tragedy<note place="margin">
                  <hi>Clemen's Alex<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>ndri<g ref="char:EOLhyphen"/>
                     <gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>us</hi> c<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ted against the Drama.</note>
ſometimes condemn'd for company a<g ref="char:EOLhyphen"/>mong
the other Shows of the Theatre,
and therefore he is reſolved, out of his
ſingular regard to Juſtice and Ingenuity,
that whatſoever is pronounc'd againſt
the Theatres in general, ſhall light upon
the Drama in particular, which by the
unanimous confeſſion of 'em all was
the leaſt offenſive, and conſequently
the leaſt deſerv'd it.<note place="margin">
                  <hi>View</hi> p. 260 Nec incon<g ref="char:EOLhyphen"/>cine ſtadia &amp; Theatra Peſtilentiae C<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>thaedram quis voca<g ref="char:EOLhyphen"/>verit. Pae<g ref="char:EOLhyphen"/>dag. lib. 3. cap. ii.</note> To what purpoſe
elſe is <hi>Clemens Alexandrinus</hi> cited?
He <hi>affirms, that the Circus and Theatre
may not improperly be call'd the Chair of
Peſtilence.</hi> Whence does it appear, that
the Dramatick Exerciſes are here aim'd
at? Were the <hi>Mimi, Pantomimi,</hi> and <hi>Ar<g ref="char:EOLhyphen"/>chimimi,</hi>
leſs concern'd with the Stage,
or more reſerv'd and modeſt in their
practices upon it? Were dancing na<g ref="char:EOLhyphen"/>ked,
and expreſſing lewd Poſtures leſs
criminal, or offenſive to modeſty? No,
<hi>he won't ſay that;</hi>
               <note place="margin">
                  <hi>View</hi> p. 277.</note> altho the compariſon
were made with the <hi>Engliſh</hi> Stage, which
<hi>is,</hi> (according to him) much more li<g ref="char:EOLhyphen"/>centious
than the <hi>Roman,</hi> yet that by
his own confeſſion has nothing ſo bad.
<pb n="25" facs="tcp:54591:29"/>
But ſuppoſing the Father to take his
aim from Mr <hi>Collier</hi>'s direction, and
prophetically to have levell'd at our
times, what is the wondrous guilt, that
provokes this ſevere Judgment? <hi>Noſci<g ref="char:EOLhyphen"/>tur
ex ſocio,</hi> why 'tis e'en as bad as
Horſe-racing; a very lewd diverſion
truly. Woe be to you Inhabitants of
<hi>New Market,</hi> that live in the very Seat
of Infection.</p>
            <p>But the Fathers were men,<note place="margin">The Fathers ſametimes over rigo<g ref="char:EOLhyphen"/>rous</note> meer men,
as well as Mr <hi>Collier,</hi> and ſubject as
well as he to be miſled by paſſion, and
overacted by zeal, in the tranſports of
which they were apt ſometimes to ex<g ref="char:EOLhyphen"/>tend
their rigour too far, and would
upon any terms have (as a certain
Learned Recorder has it) <hi>enough for a
decent</hi> Execution.<note place="margin">Sic &amp; Tragaedos Cothurnis extulit Diabolus, quia nemo poteſt adji<g ref="char:EOLhyphen"/>cere cubi<g ref="char:EOLhyphen"/>tum unum ad ſtaturam ſuam, men dacem face re vult Chriſtum. Tert. de Spectac. cap. 23.</note> Thus <hi>Tertullian,</hi> none
of the leaſt conſiderable among the Fa<g ref="char:EOLhyphen"/>thers,
either for his Learning or Zeal,
in this caſe eſpecially, tho he had alrea<g ref="char:EOLhyphen"/>dy
convinc'd the Ancient Tragedy of
Idolatry, a Crime ſufficient in a Chriſtian
Court of Judicature to be capital, yet muſt
needs <hi>ex abundanti</hi> bring a freſh Indict<g ref="char:EOLhyphen"/>ment
of Blaſphemy. <hi>The Devil,</hi> ſays he,
<hi>mounted the Tragedians upon Buskins, be<g ref="char:EOLhyphen"/>cauſe
he would make our Saviour a Liar, who
<pb n="26" facs="tcp:54591:30"/>
ſays, that no man can add a Cubit to his
Stature.</hi> Look to it all ye Tiptoe
Beau's.</p>
            <p>Here the Devil ſhew'd himſelf an
Engineer, to lay a Trap ſo long before
hand, to contrive and invent theſe
Buskins only to falſify in appearance,
what was ſaid a thouſand years after;
and the Father himſelf was a very <hi>Mat<g ref="char:EOLhyphen"/>chiavel</hi>
to detect, and counterplot him
at laſt. I have read of a famous <hi>Scotch</hi>
Divine, that ſignaliz'd himſelf once upon
occaſion, by much ſuch another diſco<g ref="char:EOLhyphen"/>very,
when he found out, that at the
diſmiſſion of all Creatures out of <hi>Noah</hi>'s
Ark, the reaſon why the Hawks were
ſo merciful to the Doves, as to let 'em
eſcape unhurt was, that the Propheſie
of <hi>Iſaiah,</hi> the <hi>Lamb ſhould lye down
with the Lyon,</hi> might be fulfilled. This
is the neareſt parallel that occurs to
me from all my reading, in which the
<hi>Scotch</hi> Father comes pretty near t'other
for a ſtrange reach of apprehenſion,
tho 'tis his misfortune to fall ſhort in
the importance of the diſcovery.</p>
            <p>But to wave all further inſtances of
this kind from the Fathers, which are
to be found in great plenty among 'em,
<pb n="27" facs="tcp:54591:30"/>
I leave 'em to be gather'd by thoſe that
take more delight in ſuch Flowers; and
ſhall confine my ſelf to thoſe which Mr.
<hi>Collier</hi> has pickt out for a Noſegay for
himſelf.</p>
            <p>
               <hi>To begin therefore with</hi> Theophilus
Antiochenus;<note place="margin">
                  <hi>View.</hi> p 252.</note> 
               <hi>He tells us,</hi> that the Chri<g ref="char:EOLhyphen"/>ſtians
durſt not ſee the Prizes of the <hi>Gla<g ref="char:EOLhyphen"/>diators,</hi>
for fear of becoming acceſſary to
the Murthers there committed, nor their
other Shows, upon the account of their In<g ref="char:EOLhyphen"/>dency
and Prophaneneſs.</p>
            <p>Here Mr <hi>Collier,</hi> as an earneſt of his
future fair dealing uſes the word <hi>Shows,</hi>
and becauſe perhaps 'tis the only in<g ref="char:EOLhyphen"/>ſtance
to be met with through all his
Quotations, he is reſolv'd not to loſe
the benefit of it, and therefore for fear
it ſhould ſlip by unheeded, he gives it
in a different character, and an aſteriſm
along with it, and claps in the Margin
<hi>Spectacula.</hi> By this ſample of his Fide<g ref="char:EOLhyphen"/>lity
to his Author, he thinks his per<g ref="char:EOLhyphen"/>formance
warranted to his Readers, of
whom he knows the greateſt part can't
nor the reſt he hopes won't, be at the
trouble to confront his Tranſlation with
the Text; and therefore before the
end of this very Paragraph, he throws
<pb n="28" facs="tcp:54591:31"/>
off all obligation to Truth and Juſt<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ce
and falls to managing and inſtructing
his Evidence</p>
            <p>
               <note n="*" place="margin">Ibid. Nec fas eſt nobis audi<g ref="char:EOLhyphen"/>re adulteria Deorum Hominum<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> quae ſuavi verborum modulantur mercede. Ad Autolyc. lib. 3.</note> The Stage Adulteries of the Gods and
Heroes are unwarrantable Entertainments.
And ſo much the worſe, becauſe the Merce<g ref="char:EOLhyphen"/>nary
Players ſet off 'em with all the charms
and advantages of ſpeaking.</p>
            <p>The Tranſlator very well knew, that
the Shews here aim'd at, were not the
Tragedies and Commedies of Antiqui<g ref="char:EOLhyphen"/>ty,
but the Shews of the <hi>Mimi,</hi> wherein
the Amours of the Gods or Heroes were
not related only, but ſung to Muſick
in luſcious fulſome Verſe, mimickt in
lewd dances with obſcene Geſtures and
naked Poſtures, and even the very A<g ref="char:EOLhyphen"/>dulteries
and Rapes themſelves expreſs'd
by ſcandalous actions, for which pur<g ref="char:EOLhyphen"/>poſe
the very Stews were rak'd for
Publick Proſtitutes for the Service.</p>
            <p>Theſe were the Shews, that provok'd
the juſt reſentments of the Fathers,
which had nothing in Common with
the Dramatick Repreſentations, but
the Place, and the end of their Repre<g ref="char:EOLhyphen"/>ſentation,
which were the Publick
Theatres, and Worſhip. But of all
the Publick Diverſions of the Heathens,
<pb n="29" facs="tcp:54591:31"/>
the Drama only remaining to us, to
keep the Authority upon its Legs, it
was neceſſary to give it a new directi<g ref="char:EOLhyphen"/>on,
and turn in the verſion, and there<g ref="char:EOLhyphen"/>fore
the word <hi>Players</hi> was thruſt in, to
fix the Scandal in the wrong place.</p>
            <p>That theſe were the Indecencies,
and Lewdneſs of the Theatre, ſo bit<g ref="char:EOLhyphen"/>terly
inveigh'd againſt by theſe Pious
men, I cou'd bring teſtimonies innu<g ref="char:EOLhyphen"/>merable;
but to avoid being tedious in
a plain caſe, I ſhall ſingle out St <hi>Cyprian,</hi>
who being one of the <hi>Worthies of Chriſten<g ref="char:EOLhyphen"/>dome,</hi>
and the <hi>Top of his Species,</hi> I hope
Mr <hi>Collier</hi> will not except againſt his
Evidence.<note n="*" place="margin">Theatra <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>unt faedio<g ref="char:EOLhyphen"/>ra, quo con<g ref="char:EOLhyphen"/>venis verun<g ref="char:EOLhyphen"/>dia illic om<g ref="char:EOLunhyphen"/>nis exuitur ſimul cum amictu, ve<g ref="char:EOLhyphen"/>ſtis honor corporis, &amp; pudor po<g ref="char:EOLhyphen"/>nitur, de<g ref="char:EOLhyphen"/>notanda ac contrectan<g ref="char:EOLhyphen"/>da virginitas revelatur. De Habit Virg.</note> 
               <hi>The Theatres</hi> (ſays he) <hi>are
yet more Lewd. There they ſtrip them<g ref="char:EOLhyphen"/>ſelves
of their Modeſty, as well as Clothes,
and the honour as well as ſcreen of their
Bodies is laid aſide, and Virginity expos'd
to the affronts both of View, and Touch.</hi>
Which Mr <hi>Collier</hi> knows was not pra<g ref="char:EOLhyphen"/>ctis'd
in the Drama.</p>
            <p>But our <hi>Hiſtrio-Maſtix</hi> was aware,
that there was nothing to be got by
ſquare play, therefore he has recourſe
to ſlight of hand, and palms falſe Dice
upon us. In the very next Paragraph
we find him prompting <hi>Tertullian</hi> to
<pb n="30" facs="tcp:54591:32"/>
rail at the <hi>Play-houſe,</hi> and the <hi>Bear-Garden</hi>
               <note n="*" place="margin">Nihil no<g ref="char:EOLhyphen"/>bis &amp;c. cum inſania Circi cum impudicitia Theatri cum x<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ſti vani<g ref="char:EOLhyphen"/>tate. Apolog. adv. Gent. cap. 38.</note>. Which latter, I ſuppoſe,
was brought in for the grace and dig<g ref="char:EOLhyphen"/>nity
of the Conjunction. Here the
<hi>Play-houſe,</hi> by his old way of Legerde<g ref="char:EOLhyphen"/>main,
is ſubſtituted for the <hi>Theatre;</hi>
and the moſt innocent of the <hi>Roman</hi> Di<g ref="char:EOLhyphen"/>verſions
charg'd with the Guilt and Pol<g ref="char:EOLhyphen"/>lutions
of all the reſt, with which, by
his own Confeſſion, it was not ſo much
as ſoil'd. But the ſhifting of Names le<g ref="char:EOLhyphen"/>vell'd
the Scandal right for his purpoſe,
and the unlearned Reader might per<g ref="char:EOLhyphen"/>haps
be induc'd to believe, that the
Father's quarrel lay againſt <hi>Lincolns-Inn-Fields,</hi>
and <hi>Covent-Garden;</hi> and there<g ref="char:EOLhyphen"/>fore
he was reſolv'd not to loſe the be<g ref="char:EOLhyphen"/>nefit
of ſo advantageous a Cheat, for
ſo ſmall a condeſcenſion as falſifying a
Text.</p>
            <p>With the ſame honeſt view and in<g ref="char:EOLhyphen"/>tention,
he forces <hi>Tertullian</hi> to call <hi>Pom<g ref="char:EOLhyphen"/>pey's</hi>
Theatre<note n="*" place="margin">Itaque Pomperius magnus ſolo Theatro minor, cum illam arcem omnium turpitudi<g ref="char:EOLhyphen"/>num ex<g ref="char:EOLhyphen"/>truxiſſet, veritus quandoque memoriae ſuae Cen<g ref="char:EOLunhyphen"/>ſoriam Animadver<g ref="char:EOLhyphen"/>fionem, Ve<g ref="char:EOLhyphen"/>neris aedem ſuperpoſuit, <hi>&amp;c.</hi>
               </note>, a <hi>Dramatick</hi> Bawdy<g ref="char:EOLhyphen"/>houſe.
Here, to conceal the Fathers
Age, he ſhaves off his Beard, and dreſſes
him after his own faſhion, in a Steen<g ref="char:EOLhyphen"/>kirk
and a long Wig, that he may look
like an acq<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>aintance of our Stage, and
keep his Evidence in Countenance. A
<pb n="31" facs="tcp:54591:32"/>
juſt Tranſlation wou'd not anſwer his
purpoſe, and therefore he has taken
the uſual liberty of adding or altering,
and has clapt in the <hi>Dramatick Bawdy<g ref="char:EOLhyphen"/>houſe,</hi>
to clear, that is, pervert the
ſenſe. It is no juſtification, to ſay that
he has not chang'd the Scene, that the
Place is the ſame, tho he has made
bold to change the Terms; in changing
the Terms he has chang'd the ſtate of
the caſe, and made the Author accuſe
the <hi>Drama</hi> of thoſe enormities, which
were peculiar to the Shews of the <hi>Mimi,</hi>
and inveigh'd againſt only by him.
Thus he uſes his Father like an <hi>Iriſh</hi>
Evidence, and makes him depoſe
with as much latitude, as in a Court of
Record, wou'd even in theſe corrupt
times, coſt a man his Ears.</p>
            <p>To trace him through all his Quota<g ref="char:EOLhyphen"/>tions
from the Fathers, were a task
much more tedious, than difficult. It
may ſuffice to take notice, that he keeps
to his Principle, and never quotes any
thing right, which he thinks may be
made more ſerviceable by being per<g ref="char:EOLhyphen"/>verted.
To prevent this Artifice from
being ſeen through, he endeavours,
like a Fiſh in the Water, to conceal
<pb n="32" facs="tcp:54591:33"/>
the bottom by muddying the Stream.</p>
            <p>St. <hi>Cyprian, Lactantius, Chryſoſtome</hi> and
<hi>Auguſtine</hi> are all manag'd at the ſame
rate; Mr <hi>Collier,</hi> like a ſtanch Beagle,
makes the hits, whilſt his Fathers, that
like Whelps newly enter'd, are run<g ref="char:EOLhyphen"/>ning
Riot, have much better Mouths
than Noſes, and make up a great part
of the Cry, but are of no ſervice in the
Chaſe. Thoſe that have a mind to
tumble and ſift over Mr <hi>Collier's</hi> Rub<g ref="char:EOLhyphen"/>biſh
of Antiquity, may find all his
Quotations in <hi>Prynne</hi>'s <hi>Hiſtrio-Maſtix,</hi>
honeſtly tranſcrib'd, and more
faithfully tranſlated. To which, or to
the Fathers themſelves, I refer 'em. His
Tranſlations are all of a ſtamp, to re<g ref="char:EOLhyphen"/>peat
more of 'em wou'd be tautology;
how different ſoever the Originals
might be, the Copies have all the ſame
Features and Complexions; both
Draught and Colouring agree ſo well,
that a very indifferent Judge might in<g ref="char:EOLhyphen"/>fallibly
diſcover 'em all to be Copies by
one Hand, by the Harmony of the
Faults.</p>
            <p>But to diſmiſs the Fathers, who have
been oblig'd to an unneceſſary atten<g ref="char:EOLhyphen"/>dance,
thro the diſingenuity of their
<pb n="33" facs="tcp:54591:33"/>
Tranſlator,<note place="margin">The Au<g ref="char:EOLhyphen"/>thority of the Fathers ſhort of the Caſe.</note> I ſhall once for all obſerve,
firſt, that the Authority of the Fathers
ought to affect us no farther than their
Reaſonings will come up to our caſe:
Secondly, That their Arguments drawn
from the Idolatry, lewd Repreſentati<g ref="char:EOLhyphen"/>ons,
and Cruelty practis'd upon the
<hi>Roman</hi> Stage, and at their Shows, do
not reach our Stage, where thoſe pra<g ref="char:EOLhyphen"/>ctices
are had in abhorrence. Thirdly,
That as they are cited by Mr <hi>Collier,</hi>
both their Authority and Arguments
are ſubverted by the corrupt Verſion.
If theſe three things be fairly made
out, as (I hope) they already are, we
need not be any longer alarm'd at this
unſeaſonable clamour from the Fa<g ref="char:EOLhyphen"/>thers.</p>
            <p>But tho the main ſtrength of this
<hi>Attila</hi> of the Stage lies in theſe <hi>Worthies</hi>
of <hi>Chriſtendom,</hi>
               <note place="margin">Caution of Mr <hi>C-ll-r</hi>
               </note> yet, like a cautious
Commander, leſt they ſhou'd be ſur<g ref="char:EOLhyphen"/>priz'd,
or unable to ſuſtain the ſhock
of the Stage Militia alone, he has pro<g ref="char:EOLhyphen"/>vided
an Auxiliary Body of Heathen
Philoſophers, Hiſtorians, Orators and
Poets, to guard the Paſſes, and check
the fury of the firſt Onſet. Here again
he ſhews his care by his choice, he liſts
<pb n="34" facs="tcp:54591:34"/>
the bottom by muddying the Stream.</p>
            <p>St. <hi>Cyprian, Lactantius, Chryſoſtome</hi> and
<hi>Auguſtine</hi> are all manag'd at the ſame
rate; Mr <hi>Collier,</hi> like a ſtanch Beagle,
makes the hits, whilſt his Fathers, that
like Whelps newly enter'd, are run<g ref="char:EOLhyphen"/>ning
Riot, have much better Mouths
than Noſes, and make up a great part
of the Cry, but are of no ſervice in the
Chaſe. Thoſe that have a mind to
tumble and ſift over Mr <hi>Collier's</hi> Rub<g ref="char:EOLhyphen"/>biſh
of Antiquity, may find all his
Quotations in <hi>Prynne's Hiſtrio-Maſtix,</hi>
honeſtly tranſcrib'd, and more
faithfully tranſlated. To which, or to
the Fathers themſelves, I refer 'em. His
Tranſlations are all of a ſtamp, to re<g ref="char:EOLhyphen"/>peat
more of 'em wou'd be tautology;
how different ſoever the Originals
might be, the Copies have all the ſame
Features and Complexions; both
Draught and Colouring agree ſo well,
that a very indifferent Judge might in<g ref="char:EOLhyphen"/>fallibly
diſcover 'em all to be Copies by
one Hand, by the Harmony of the
Faults.</p>
            <p>But to diſmiſs the Fathers, who have
been oblig'd to an unneceſſary atten<g ref="char:EOLhyphen"/>dance,
thro the diſingenuity of their
<pb n="33" facs="tcp:54591:34"/>
Tranſlator,<note place="margin">The Au<g ref="char:EOLhyphen"/>thority of the Fathers ſhort of the Caſe.</note> I ſhall once for all obſerve,
firſt, that the Authority of the Fathers
ought to affect us no farther than their
Reaſonings will come up to our caſe:
Secondly, That their Arguments drawn
from the Idolatry, lewd Repreſentati<g ref="char:EOLhyphen"/>ons,
and Cruelty practis'd upon the
<hi>Roman</hi> Stage, and at their Shows, do
not reach our Stage, where thoſe pra<g ref="char:EOLhyphen"/>ctices
are had in abhorrence. Thirdly,
That as they are cited by Mr <hi>Collier,</hi>
both their Authority and Arguments
are ſubverted by the corrupt Verſion.
If theſe three things be fairly made
out, as (I hope) they already are, we
need not be any longer alarm'd at this
unſeaſonable clamour from the Fa<g ref="char:EOLhyphen"/>thers.</p>
            <p>But tho the main ſtrength of this
<hi>Attila</hi> of the Stage lies in theſe <hi>Worthies</hi>
of <hi>Chriſtendom,</hi> yet,<note place="margin">Caution of Mr <hi>C-ll-r</hi>
               </note> like a cautious
Commander, leſt they ſhou'd be ſur<g ref="char:EOLhyphen"/>priz'd,
or unable to ſuſtain the ſhock
of the Stage Militia alone, he has pro<g ref="char:EOLhyphen"/>vided
an Auxiliary Body of Heathen
Philoſophers, Hiſtorians, Orators and
Poets, to guard the Paſſes, and check
the fury of the firſt Onſet. Here again
he ſhews his care by his choice, he liſts
<pb n="34" facs="tcp:54591:35"/>
none but men of the firſt Magnitude,
he's ſo ſevere that a Volunteer under
ſix foot can't paſs Muſter. But after
all, the Service of theſe Gigantick Men
does not anſwer the terror of their Bulk
and Figure; they are preſt men, that
enter the Service againſt their Wills,
and are plac'd in the Front, like a <hi>Swiſs</hi>
painted upon a Door, for ſhew, not
action. 'Tis true, they are forc'd to
appear with their Fire-locks, and give
one charge, but 'tis, like a <hi>Moorfields</hi>
Volley, without Ball, or Bloodſhed.</p>
            <p>The Leaders of theſe are a Trium<g ref="char:EOLhyphen"/>virate
of Antient <hi>Greek</hi> Philoſophers,
<hi>Plato, Xenophon,</hi> and <hi>Ariſtotle.</hi> The
firſt of theſe appears not in perſon,<note place="margin">
                  <hi>Plato</hi>'s Authority conſider'd.</note> nor
has his proxy much to ſay for him, that
I can find. Yet as little as 'tis, he ought
to have produc'd his Credentials, or
his Voice may fairly be proteſted againſt.
For a hear-ſay Evidence ought at leaſt
to be as well atteſted, as a Nuncupative
Will to make it authentick. But, after
all, what is it that he ſays, or rather
that <hi>Euſebius</hi> ſays for him? Why, <hi>that
Plays raiſe the paſſions, and pervert the uſe
of 'em, and by conſequence are dangerous
<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>o morality.</hi> But ſince he has not thought
<pb n="35" facs="tcp:54591:35"/>
fit to ſpecify either the nature or mea<g ref="char:EOLhyphen"/>ſure
of the danger, thus conſequentially
portended to morality, we need not
amuſe our ſelves any longer about
it.</p>
            <p>Much ſuch another doughty Autho<g ref="char:EOLhyphen"/>rity
is that of <hi>Xenophon.</hi>
               <note place="margin">Xenophon.</note>
               <note n="*" place="margin">Ita de venereis etiam re<g ref="char:EOLhyphen"/>bus adval<g ref="char:EOLhyphen"/>de juvenes verba non facimus, ne accidente ad vehe<g ref="char:EOLunhyphen"/>mentem in eis libid. levitate, immodice huic libi<g ref="char:EOLhyphen"/>dini ſuae indulgeant Cyropaed, lib.. p. 34</note> The <hi>Perſians</hi>
(he ſays) won't ſuffer their youth to
hear any thing, that's amorous or baw<g ref="char:EOLhyphen"/>dy.
They were afraid want of Ballaſt
might make 'em miſcarry, and that it
was dangerous to add weight to the
Byaſs of nature. This quotation is
ſtrangely drawn in; it does not ſo much
as ſquin<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap> towards his purpoſe. Here's no
mention of any thing relating to the
Drama. Bawdry indeed was forbidden
to be talk'd to thoſe, whoſe Reaſon was
not yet grown ſturdy enough to curb
the looſeneſs of their Appetites in thoſe
Countries, where the heat of the Cli<g ref="char:EOLhyphen"/>mate,
and the warmth of their Con<g ref="char:EOLhyphen"/>ſtitutions
inclin'd 'em very early, and
hurried 'em very precipitouſly to irre<g ref="char:EOLhyphen"/>gularities
of that nature. But if this
paſſage wou'd not ſerve his Cauſe,
it wou'd his vanity and oſtenta<g ref="char:EOLhyphen"/>tation
of reading, and therefore was
not to be ſlighted.</p>
            <p>
               <pb n="36" facs="tcp:54591:36"/>
Of as great ſervice is the Authority
of <hi>Ariſtotle,</hi>
               <note place="margin">Ariſtotle.</note> one ſingle doubtful expreſ<g ref="char:EOLhyphen"/>ſion
of whoſe, he would wreſt to the
overthrow of one of the moſt elaborate
and judicious of all that great Philoſo<g ref="char:EOLhyphen"/>phers
works; I mean his Art of Poe<g ref="char:EOLhyphen"/>try;
in which he has taken the pains to
preſcribe Rules for the more eaſie and
regular compoſition of Dramatick
Poems; which certainly had been in
him as well a ſcandalous, as a ridiculous
labour, if he had not thought the pra<g ref="char:EOLhyphen"/>ctice
of 'em allowable. But he's ſo far
from any ſuch indifference, that he fre<g ref="char:EOLhyphen"/>quently,
both in that piece, and other
parts of his Works, commends the
writing of Dramatick Poetry, as the
nobleſt exerciſe of the mind. Nor do
we find any where in the works of that
Philoſopher, <hi>who</hi> (by this Author's own
confeſſion) <hi>had look'd as far into humane
Nature as any man,</hi> a greater profuſion
of Rhetorick than in the praiſe <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap>
of Tragedy, which he takes to be
the higheſt exaltation of humane
Wit.<note place="margin">Plays for<g ref="char:EOLhyphen"/>bidden to young Peo<g ref="char:EOLhyphen"/>ple upon the ſcore of the tempta<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>ns from the Company.</note>
            </p>
            <p>As for this paſſage, which Mr <hi>Collier</hi>
has pickt out, and levell'd at the Co<g ref="char:EOLhyphen"/>medy
of our Age, it amounts to no more
<pb n="37" facs="tcp:54591:36"/>
than a general<note n="*" place="margin">Adol<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ſ<g ref="char:EOLhyphen"/>centulos autem &amp; <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ambo<g ref="char:EOLhyphen"/>rum &amp; Co<g ref="char:EOLhyphen"/>maediarum Spectato<g ref="char:EOLhyphen"/>res eſſe lex prohi<g ref="char:EOLhyphen"/>beat, prius quam <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>ta<g ref="char:EOLhyphen"/>tem atti<g ref="char:EOLhyphen"/>geri<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>t, <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> qua &amp; <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> caeteris accubar<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> jam <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> rit, &amp; ab omnibus, vel ebrie<g ref="char:EOLhyphen"/>tatis, vel aliarum inde naſ<g ref="char:EOLhyphen"/>centium rerum in<g ref="char:EOLhyphen"/>commodis diſcip<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>lina liberos efficiat Pol. lib 7. c. 17.</note> caution againſt truſt<g ref="char:EOLhyphen"/>ing
youth into promiſcuo<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>s Company,
ſuch as reſorted to publick places, till
they were ſufficiently fortify'd againſt
the danger of Corruption, to which
they might thereby be expos'd. <hi>Drunk<g ref="char:EOLhyphen"/>enneſs</hi>
was the Vice, which the <hi>Philo<g ref="char:EOLhyphen"/>ſopher</hi>
particularly inſtanc'd in, by
which he plainly ſhews himſelf appre<g ref="char:EOLhyphen"/>henſive
of the Company, not of the
Play; and therefore he would not have
young people truſted with the liberty,
and opportunity of contracting an ac<g ref="char:EOLhyphen"/>quaintance,
before they were arriv'd
at ſome tolerable maturity of Judgment.
But Mr <hi>Collier</hi> with a dexterity peculiar
to himſelf, palms the general term
of <hi>Debauchery,</hi> for the particular one
of <hi>Drunkenneſs</hi> upon us, that the ſuſpi<g ref="char:EOLhyphen"/>cion
might thereby be ſhifted from the
Audience to the Peformance.</p>
            <p>To back this, and cover the convey<g ref="char:EOLhyphen"/>ance,
he brings another Authority as
little to the purpoſe,<note place="margin">
                  <hi>View</hi> page 234.</note> concerning the
force and power of Muſick, from
whence he concludes, that <hi>where the
Repreſentation is foul, the thoughts of the
Audience muſt ſuffer.</hi> What muſt they
ſuffer? Wou'd the Muſick, (as power<g ref="char:EOLhyphen"/>ful
<pb n="38" facs="tcp:54591:37"/>
as he ſuppoſes it) make the Audi<g ref="char:EOLhyphen"/>ence
drunk, or in love with Drunken<g ref="char:EOLhyphen"/>neſs?
No, that was no Vice of the
Stage, whatever it might be of the
Spectators, yet even by them the Scene
was not laid at the Theatres, tho the
Plot might, and the Company perhaps
be pickt up there. I ſuppoſe this In<g ref="char:EOLhyphen"/>former,
as inveterate as his malice is
againſt Play-houſes, will ſcarce charge
'em as Schools of intemperance of that
kind, 'tis not the practice of the Stage,
not ſo much as behind the Scenes; and
I believe he will acquit Pit, Box, and
Gallery of it. For whatever ſome
may bring in their Heads, he will find
but few with Bottles in their Hands
there. This made him wave inſtancing
in the particular of <hi>Ariſtotle;</hi> the retail
ſcandal wou'd not fit our Theatres, and
therefore he lumps it among 'em by
the general name of Debauchery, and
tacks this Citation concerning Muſick
to it, which he hopes will give the
Reader an Idea more ſerviceable to his
Cauſe, than <hi>Ariſtotle</hi> intended, and
make a ſuitable impreſſion upon
him.</p>
            <p>
               <pb n="39" facs="tcp:54591:37"/>
This Philoſopher forbad the reſort
to Comedies, only to thoſe whoſe vir<g ref="char:EOLhyphen"/>tues
he durſt not truſt; not to hinder
their diverſion from the Stage, but to
prevent their corruption from the Pit,
as King <hi>Charles</hi> the 2d ſuppreſs'd Con<g ref="char:EOLhyphen"/>venticles,
for the ſake of thoſe, whoſe
principles he ſuſpected; not to diſturb
the Devotion of a few miſtaken well<g ref="char:EOLhyphen"/>meaning
Men, but to prevent the
practices of many crafty ill deſigning
ones.</p>
            <p>
               <hi>Tully</hi> cries out upon licentious <hi>Plays</hi>
and <hi>Poems,</hi>
               <note place="margin">View <hi>p.</hi> 235.</note> as the bane of Sobriety,
and wiſe thinking: That Comedy
ſubſiſts upon Lewdneſs, and that plea<g ref="char:EOLhyphen"/>ſure
is the root of all evil.</p>
            <p>No one,<note place="margin">Licentiouſ<g ref="char:EOLhyphen"/>neſs not defended.</note> I ſuppoſe, will defend Plays,
that are really licentious, or if they
ſeem to patronize any, wherein ſome
warm-headed Enthuſiaſtick Zealots pre<g ref="char:EOLhyphen"/>tend
to find or make ſome paſſages ex<g ref="char:EOLhyphen"/>ceptionable,
they are willing to leave
thoſe Paſſages, if really guilty, to the
mercy of Mr <hi>Collier</hi>'s Inquiſition, and yet
not deny their Countenance, and En<g ref="char:EOLhyphen"/>couragement
to the prevailing merit of
the main part of the performance.</p>
            <p>
               <pb n="40" facs="tcp:54591:38"/>
But here I muſt needs take notice, that
either Mr <hi>Collier</hi> or <hi>Tully,</hi> are extremely
miſtaken, or, which is all one to our
purpoſe, that this quotation does not
ſpeak the ſenſe of <hi>Tully. Plautus</hi> and
<hi>Terence</hi> are the only Comedians of his
acquaintance, whoſe works have been
preſerv'd to our times; and conſequent<g ref="char:EOLhyphen"/>ly
are the only Standards, by which
we can form any Judgment, or take
any meaſure of the <hi>Roman</hi> Comedy be<g ref="char:EOLhyphen"/>fore,
or about <hi>Cicero</hi>'s time.<note place="margin">Mr <hi>Coll.</hi> Character of <hi>Terence</hi> &amp; <hi>Plautus.</hi> View <hi>p.</hi> 20.</note> Theſe
Mr <hi>Collier</hi> aſſures us are modeſt to a
ſcruple, eſpecially <hi>Terence, who has but
one faulty bordering expreſſion.</hi> 
               <q>
                  <hi>Plautus,</hi>
who is of all antiquity the moſt excep<g ref="char:EOLhyphen"/>tionable<g ref="char:punc">▪</g>
rarely gives any ſmutty li<g ref="char:EOLhyphen"/>berties
to women, and when he does,
'tis to Vulgar and proſtituted perſons.
The men who talk intemperately are
generally Slaves.<note place="margin">Ib. p. 15, 16, <hi>&amp;c.</hi>
                  </note> The Slaves and Pan<g ref="char:EOLhyphen"/>dars
ſeldom run over, and play their
Gambols before women. <hi>Plautus</hi> 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 re<g ref="char:EOLhyphen"/>gard
to the retirements of modeſty,
<pb n="41" facs="tcp:54591:38"/>
and the dignity of humane Nature,
and does not ſeem to make lewdneſs
his Buſineſs.</q>
            </p>
            <p>This is a very fair character from an
adverſary,<note place="margin">This Cha<g ref="char:EOLhyphen"/>racter In<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>idious.</note> a friend could ſcarce have
given a more ample recommendation
upon this head. Here ſeems to be a
run of Candour and Ingenuity, for at
leaſt a dozen pages together; the anci<g ref="char:EOLhyphen"/>ent
Dramatick Writers are treated with
ſo much civility, 'tis all ſuch Halcyon
Weather, ſo fair a Sky, and ſo ſmooth
a Sea, would tempt the cautiouſeſt Pi<g ref="char:EOLhyphen"/>lot
from his Anchor; he would have
no apprehenſions of a Storm, while all
was ſo ſerene above, and ſo quiet and
calm beneath him. But this is all <hi>out of
Character,</hi> the Author forces his temper
to ſerve his deſign, and careſſes the
Ancients in pure ſpight to the Moderns,
as cunning Stateſmen ſometimes court
and cajole a Party they hate, only to
make 'em their tools againſt another
they fear, and ſo make 'em ruine each
other, and ſave themſelves both the
trouble, and the <hi>odium.</hi> This honeſt
Policy Mr <hi>Collier</hi> has made uſe of; for,
having routed (in his own vain con<g ref="char:EOLhyphen"/>ceit)
by the help of theſe Ancients,
<pb n="42" facs="tcp:54591:39"/>
the preſent <hi>Stage Poets,</hi> he makes head
upon his Confederates, and thoſe, that
in the entrance of his Book deſerv<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d no
cenſure, in the concluſion of it are al<g ref="char:EOLhyphen"/>low'd
no quarter. The more plauſibly
and ſecurely to put this Srratagem in
execution, he takes care to deſtroy his
own Authority in their favour, by
that of much better men againſt 'em,
or that are (as he manages the mat<g ref="char:EOLhyphen"/>ter)
at leaſt in appearance againſt
'em.</p>
            <p>This Author is a ſort of a <hi>Long-lane</hi>
Writer,<note place="margin">The A's<g ref="char:EOLhyphen"/>ci<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ation<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> patch'd up of incohe<g ref="char:EOLhyphen"/>rent frag<g ref="char:EOLhyphen"/>ments.</note> a Piece-Broker in Learning,
one that tacks ends and ſcraps of Au<g ref="char:EOLhyphen"/>thors
together to patch up a ſlight Au<g ref="char:EOLhyphen"/>thority,
that hangs ſo weakly together,
that it won't bear the fitting. Thus he
has linkt together two or three ill ſort<g ref="char:EOLhyphen"/>ed
ſentences out of <hi>Tully,</hi> that make as
little to his purpoſe, as if he had quo<g ref="char:EOLhyphen"/>ted
ſo many Propoſitions out of <hi>Euclid;</hi>
the truth of which, tho every body
might acknowledge, yet no body can
find the uſe of in this place. But he
found the name of Comedy joyn'd
with an invective, and therefore he
was reſolv'd, if he did not find it ſo,
to make it of his Party, before he took
<pb n="43" facs="tcp:54591:39"/>
his leave of it.<note n="*" place="margin">O prae<g ref="char:EOLhyphen"/>claram emenda<g ref="char:EOLhyphen"/>tricem vi<g ref="char:EOLhyphen"/>tae Poeti<g ref="char:EOLhyphen"/>cam, quae Amorem flagitii, &amp; levitatis autorem in Concilio Deorum c<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>llocandum putet! De Comaediâ lo<g ref="char:EOLhyphen"/>quor quae si haec flagitia non probaremus, nulla eſſet omni<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ò. Quaeſt. Tuſc. lib. 4.</note> 
               <hi>Tully</hi> complains, <hi>that
the Poets gave Love, the author of ſo ma<g ref="char:EOLhyphen"/>ny
follies and diſorders, a place among
the Deities, the irregularities of which
were the conſtant ſubject matter of the Co<g ref="char:EOLhyphen"/>medies
of his time.</hi>
            </p>
            <p>The ſeverities of a harſh old Father,<note place="margin">The Inven<g ref="char:EOLhyphen"/>tion of the <hi>Roman</hi> Co<g ref="char:EOLhyphen"/>mick Poets barren.</note>
the amours of the Rake his Son, and
the intrigues of the Knave his Servant,
or the wiles of a mercenary <hi>Proſtitute,</hi>
generally made up the buſineſs of thoſe
<hi>Comedies. Hereupon</hi> Cicero <hi>cries out,
that if 'twere not for theſe Love extrava<g ref="char:EOLhyphen"/>gances,
the</hi> Comick Poets <hi>would be deſti<g ref="char:EOLhyphen"/>tute
of a Plot.</hi> In which he ſeems ra<g ref="char:EOLhyphen"/>ther
to tax 'em with barrenneſs of <hi>In<g ref="char:EOLhyphen"/>vention,</hi>
than <hi>Immorality.</hi> 'Tis true,
the <hi>Moral</hi> of ſuch deſigns cou'd not be
very extraordinary, nor cou'd any very
edifying doctrine of application be
rais'd from the uſual <hi>Cataſtrophe</hi> of theſe
<hi>Plays.</hi> For the <hi>Poet</hi> generally took
care, after he had embroil'd matters
beyond all ſeeming poſſibility of a re<g ref="char:EOLhyphen"/>conciliation,
to diſentangle all by ſome
<pb n="44" facs="tcp:54591:40"/>
               <hi>Providential</hi> (if Mr <hi>Collier</hi> won't quar<g ref="char:EOLhyphen"/>rel
at the expreſſion) <hi>Incident,</hi> and
crown the young <hi>Libertine</hi> with his
wiſhes,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>oetick Juſtice neglected by them.</note> reconciling the Father to the
Son, and the Maſter to the Servant.
By this means Poetical Juſtice was elu<g ref="char:EOLhyphen"/>ded,
and that which ſhou'd have been
the ground and occaſion of <hi>moral In<g ref="char:EOLhyphen"/>ſtruction</hi>
loſt. The Antient <hi>Comedy</hi> was
not therefore ſo innocent as his Cha<g ref="char:EOLhyphen"/>racter,
nor ſo lewd and impure as his
corrupted Quotations wou'd make it.</p>
            <p>His next Authority is from <hi>Livy,</hi>
whoſe Evidence,<note place="margin">
                  <hi>Livie's</hi> Authority abus'd.</note> even tho it were faith<g ref="char:EOLhyphen"/>fully
reported by Mr <hi>Collier,</hi> comes not
near our caſe. For <hi>Livy</hi> ſpeaks here
of the <hi>Stage</hi> Repreſentations in general;
but the <hi>Drama,</hi> properly ſo call'd, was
not known amongſt the <hi>Romans</hi> at the
time of the Peſtilence, when the <hi>Ludi
Scenici</hi> were invented. But this is not
all, he is not contented to make a falſe
Witneſs only of this Hiſtorian, but he
muſt add Forgery to Subornation, and
put his hand to what was not his act
and deed.</p>
            <p>The Motives are ſometimes good, when
the means are ſtark naught:<note place="margin">P<g ref="char:punc">▪</g> 255.</note> That the Re<g ref="char:EOLhyphen"/>medy
in this caſe was worſe than the Diſ<g ref="char:EOLhyphen"/>eaſe,
<pb n="45" facs="tcp:54591:40"/>
and the Attonement more infectious
than the Plague.</p>
            <p>Theſe words <hi>Livy</hi> utterly diſowns;
<note n="*" place="margin">Sine car<g ref="char:EOLhyphen"/>mine ullo ſine imi<g ref="char:EOLhyphen"/>tandorum carminum actu, Lu<g ref="char:EOLhyphen"/>diones ex Hetruria acciti, ad Tibicinis modos Saltantes, haud indecoros motus more Thuſco dabant. Dec. 1. l. 7.</note> he ſays, that the <hi>Ludi Scenici</hi> intro<g ref="char:EOLhyphen"/>duc'd
upon this occaſion, conſiſted of
certain dances, or decent movements
to Muſick, perform'd by Artiſts fetch'd
out of <hi>Tuſcany,</hi> after the manner of
their Country.</p>
            <p>Where lay the force of the Contagi<g ref="char:EOLhyphen"/>on
in this? What danger of Infection
from a modeſt Dance? After this <hi>Livy</hi>
proceeds to ſhew what were the firſt
ſteps that were made towards the im<g ref="char:EOLhyphen"/>provement
of theſe <hi>Ludi Scenici,</hi> and
concludes his ſhort account of their
earlieſt Gradations with this Reflection.</p>
            <p>
               <note n="*" place="margin">Inter ali<g ref="char:EOLhyphen"/>arum par<g ref="char:EOLhyphen"/>va princi<g ref="char:EOLhyphen"/>pia rerum ludorum quoque prima ori<g ref="char:EOLhyphen"/>go ponen<g ref="char:EOLhyphen"/>da viſa eſt, ut appare<g ref="char:EOLhyphen"/>ret, quam ab ſano in<g ref="char:EOLhyphen"/>itio res in hanc vix opulentis regnis to<g ref="char:EOLhyphen"/>lerabilem inſaniam venerit. Ibid.</note> Amongſt other things that have riſen
from ſmall beginnings, I thought fit to
take notice of Plays, that I might ſhew
from how ſober an Original this exceſſive
Extravagance, which ſcarce the wealthieſt
Nations can bear, is deriv'd. <hi>This
Mr</hi> Collier <hi>tranſlates,</hi> The motives are
ſometimes good, when the means are ſtark
naught. <hi>'Tis pretty plain, that 'tis not</hi>
               <pb n="46" facs="tcp:54591:41"/>
the Immorality,<note place="margin">The Luxu<g ref="char:EOLhyphen"/>ry and Ex<g ref="char:EOLhyphen"/>penſiveneſs of theſe Shews, not their Im<g ref="char:EOLhyphen"/>morality, condemn'd by <hi>Livy.</hi>
               </note> but the exceſs of <hi>Luxu<g ref="char:EOLhyphen"/>ry</hi>
and <hi>Profuſion</hi> at theſe Shews, that
<hi>Livy</hi> condemns, by his adding that
<hi>'twas greater than the wealthieſt Nations
cou'd well bear.</hi> For 'tis to be ſuppos'd,
that wealthy people have as much need
of <hi>Morality</hi> as the poor, tho they are
not oblig'd to the ſame meaſures of
Thrift, and good Husbandry. Whe<g ref="char:EOLhyphen"/>ther
Mr <hi>Collier</hi>'s conſtruction and appli<g ref="char:EOLhyphen"/>cation
of this paſſage be the effect of his
Malice or Ignorance, I leave the World
to judge.</p>
            <p>The following is yet a more perverſe
miſconſtruction, to which both Malice
and Ignorance have clubb'd their ut<g ref="char:EOLhyphen"/>moſt,
even to emulation, ſo that 'tis
hard to diſtinguiſh which has the better
title to it. <hi>Livy</hi> tells us<note n="*" place="margin">Itaque C<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>. Genu<g ref="char:EOLhyphen"/>tio, L. Ae<g ref="char:EOLhyphen"/>mylio ma<g ref="char:EOLhyphen"/>merco ſe<g ref="char:EOLhyphen"/>cundum Coſs. cum pia<g ref="char:EOLhyphen"/>culorum magis con<g ref="char:EOLhyphen"/>quititio animos quam corpora morbi af<g ref="char:EOLhyphen"/>ficerent, &amp;c. Ibid.</note>, <hi>that the</hi> Ro<g ref="char:EOLhyphen"/>mans
<hi>were ſo ſolicitous about methods of
appeaſing the Gods, that the anxiety of it
was a greater affliction to their Minds,
than the diſeaſe to their Bodies.</hi> This our
<hi>Remarker,</hi> who out of his ſuperabun<g ref="char:EOLhyphen"/>dant
underſtanding, knew better than
the Author himſelf what ought to have
been ſaid, thinks fit to render thus,
<hi>The Remedy in this caſe is worſe than the
<pb n="47" facs="tcp:54591:41"/>
Diſeaſe, and the Atonement more infectious
than the Plague.</hi>
               <note place="margin">Valerius Maximus <hi>miſquoted,</hi>
               </note>
            </p>
            <p>Of the ſame ſtamp is the Citation
from <hi>Valerius Maximus,</hi> whom he has
quoted, whither with leſs Faith or
Uuderſtanding, is matter of doubt, for
he has given great cauſe to ſuſpect both.
This Author, ſpeaking of the Prizes of
their <hi>Gladiators,</hi> expreſſes his reſent<g ref="char:EOLhyphen"/>ments
of that barbarouscuſtom, (in which
Citizens of <hi>Rome</hi> were often butcher'd)
after this manner.<note n="*" place="margin">Proxi<g ref="char:EOLhyphen"/>mus mili<g ref="char:EOLhyphen"/>taribus in<g ref="char:EOLhyphen"/>ſtitutis ad urbana Caſtra, id eſt Thea<g ref="char:EOLhyphen"/>tra gradus faciendus eſt, quo<g ref="char:EOLhyphen"/>niam haec quo<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſae<g ref="char:EOLhyphen"/>penumero animoſas acies in ſtruxerunt ex cogita<g ref="char:EOLhyphen"/>ta<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> cultus Deorum, &amp; hominum delectati<g ref="char:EOLhyphen"/>onis cauſa, non ſine aliquo pa<g ref="char:EOLhyphen"/>cis, rubore volupta<g ref="char:EOLhyphen"/>tem, &amp; religio<g ref="char:EOLhyphen"/>nem civili ſanguine, ſenicorum portento<g ref="char:EOLhyphen"/>rum gra<g ref="char:EOLhyphen"/>tia, ma<g ref="char:EOLhyphen"/>cularunt. Lib. 2. Cap. 4. <hi>Falſeneſs and abſur<g ref="char:EOLhyphen"/>dity of Mr</hi> C—r'<hi>s Paraphraſe</hi>
               </note> 
               <hi>Theſe things which
were at firſt invented for the Worſhip of the
Gods, and delight of Men, were
converted totheir deſtruction, ſtaining both
their Religion and Diverſions, with the
Blood of Citizens, to the Scandal of Peace.</hi>
'Tis plain, that by the <hi>Animoſae Acies</hi>
this Author meant nothing but the
Nurſeries of <hi>Caeſtiarii,</hi> and <hi>Gladiators,</hi>
and that by the <hi>Civilis Sanguis</hi> he in<g ref="char:EOLhyphen"/>tended
no more of it, than was ſpilt
in <hi>arena</hi> at thoſe Prizes in quality of
<hi>Gladiators</hi> or <hi>Gaeſtiarii,</hi> in which the
Spectators had no concern further
than in the barbarity of counte<g ref="char:EOLhyphen"/>nancing,
and encouraging ſo cruel a
practice.</p>
            <p>
               <pb n="48" facs="tcp:54591:42"/>
This, tho bloody and abominable
enough to give an abhorrence to honeſt
conſiderate Heathens, won't ſuffice Mr <hi>Col<g ref="char:EOLhyphen"/>lier,</hi>
he deſpiſes ſingle Sacrifices, and calls
for <hi>Hecatombs;</hi> he's for breathing the
Veins of the State, and ſlucing the Vi<g ref="char:EOLhyphen"/>tals
of the whole Commonweath at
once. <hi>They were the occaſion of Civil Di<g ref="char:EOLhyphen"/>ſtractions;</hi>
               <note place="margin">P. 235.</note>
               <hi>and that the State firſt bluſh'd,
then bled for the Entertainmeut.</hi>
            </p>
            <p>This is rare Paraphraſing, Mr. <hi>Collier</hi>
allows himſelf a very Chriſtian latitude
in his interpretations. But leſs wou'd
not ſerve his turn, the <hi>Drama</hi> and
<hi>Arena</hi> lay at ſome diſtance in Old <hi>Rome,</hi>
and therefore this Gentleman was re<g ref="char:EOLhyphen"/>ſolv'd
to correct the Map, and bring
'em together. But what occaſi<g ref="char:EOLhyphen"/>on
for bloodſhed at a <hi>Comedy?</hi>
Why Mr. <hi>Paraphraſer</hi> wou'd inſinuate,
that the Spectators and the Actors,
like <hi>Don Quixot</hi> and the <hi>Puppets,</hi> fell
together by the Ears, and ſo embroil<g ref="char:EOLhyphen"/>ing
the State, engaged the whole Com<g ref="char:EOLhyphen"/>monwealth
in a Civil War. If I could be
perſwaded of this, I ſhould allow this
Divrſion to be altogether as Antichri<g ref="char:EOLunhyphen"/>ſtian,
as Bear-baitings or Ridings, and
could be content, that Mr <hi>Collier,</hi> like
<pb n="49" facs="tcp:54591:42"/>
               <hi>Hudibraſs</hi> ſhou'd reduce both Actors
and Spectators by force of Arms; the
Proweſs of the Champions ſeems ſo
ſo exactly equal, that I ſee no cauſe to
doubt, their Atchievements and Succeſs
proving parallel.</p>
            <p>He concludes (<hi>ſays our Paraphraſer</hi>)
the conſequence of Plays intolerable;<note place="margin">
                  <hi>Ibid.</hi> This con<g ref="char:EOLhyphen"/>cluſion not to be found in <hi>Valerius.</hi>
               </note> and
that the <hi>Maſſilienſes</hi> did well in clearing
the Country of 'em.</p>
            <p>Where he finds this concluſion I can't
tell, I am ſure not in either of the
Chapters cited by him, nor I doubt
through the whole Book. But he's a
Diſcoverer, and has good eyes, that
will ſhew him at a vaſt diſtance what
others can't ſee with the help of the
beſt Teleſcopes. What he ſays of the
<hi>Maſſilienſes</hi> (as he calls 'em) is no more
to his purpoſe, than the former Evi<g ref="char:EOLhyphen"/>dence
againſt the Gladiatorial Shews.
<hi>Valerius Maximus</hi> in his ſixth Chapter
ſays<note n="*" place="margin">Eadem Civitas (viz. <hi>Maſ<g ref="char:EOLhyphen"/>ſi<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>a</hi>) ſeve<g ref="char:EOLhyphen"/>ritatis cu<g ref="char:EOLhyphen"/>ſtos acer<g ref="char:EOLhyphen"/>rima eſt: nullum aditum in Scenam Mimis dando, quorum argumenta majore ex parte ſtuprorum continent actus, ne talia ſpectandi conſuetudo etiam imitaudi licentiam ſumat. Cap. 6.</note>, <hi>That the</hi> Marſeillians <hi>were a very
ſevere People, that wou<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>d not ſuffer the</hi>
Mimicks <hi>to appear upon their Stage, whoſe
buſineſs generally it was to preſent the acti<g ref="char:EOLhyphen"/>on
<pb n="50" facs="tcp:54591:43"/>
of Rapes to publick view, leſt the ſight
of ſuch licentious Practices, ſhou'd debauch
the Spectators to the Imitation of 'em.</hi>
            </p>
            <p>'Twere needleſs to inſiſt long upon
this paſſage, having already ſhewn the
vaſt difference between the <hi>Mimick</hi> and
<hi>Dramatick</hi> Repreſentations. I ſhall on<g ref="char:EOLhyphen"/>ly
obſerve, that this Author, by ſaying
that the people of <hi>Marſeilles</hi> deny'd
the <hi>Mimi</hi> the liberty of their Stage,<note place="margin">Stage al<g ref="char:EOLhyphen"/>low'd at <hi>Marſeilles.</hi>
               </note> in<g ref="char:EOLhyphen"/>timates
that they allow'd the Stage
there, tho under ſeverer reſtrictions
than at <hi>Rome.</hi> Now if they permitted
it amongſt 'em at all, there is no doubt
but <hi>Tragedy</hi> and <hi>Comedy</hi> (which by the
unanimous confeſſion even of their
Adverſaries, were the moſt innocent,
and inſtructive of all the <hi>Ludi Scenici</hi>)
took their turns upon it.</p>
            <p>
               <hi>S<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>neca,</hi>
               <note place="margin">
                  <hi>Seneca's</hi> Authority nothing to the purpoſe.</note> who is next produc'd, has
but little to ſay to the matter: He is a
little angry that the <hi>Romans</hi> were ſo
fond of their diverſion, as to beſtow
their whole time upon it, and neglect
the ſtudy of Philoſophy, and the im<g ref="char:EOLhyphen"/>provement
of their Reaſon. Nor was
his complaint unreaſonable; for the
<hi>Romans,</hi> who were never much ad<g ref="char:EOLhyphen"/>dicted
to <hi>Philoſophy,</hi> or any kind of
<pb n="51" facs="tcp:54591:43"/>
               <hi>Speculative</hi> Learning, were yet more
averſe to 'em than ever under the Reign
of <hi>Nero,</hi> when all ſorts of Arts and Li<g ref="char:EOLhyphen"/>terature,
thoſe excepted which contri<g ref="char:EOLhyphen"/>buted
to the Prince's pleaſures, lay un<g ref="char:EOLhyphen"/>der
publick diſcouragement; on the
other hand, the Stage, and all thoſe
Arts that gratify'd and indulg'd the
Sences, had not only the Countenance,
but the Practice and Example of the
Emperor himſelf to encourage 'em, and
to excel in any of 'em was the high road
to his Favour, and to Preferment<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap> It
is not therefore to be wonder'd, if the
<hi>Roman</hi> Youth under that general cor<g ref="char:EOLhyphen"/>ruption
ſlighted thoſe Studies, the ſe<g ref="char:EOLhyphen"/>verity
of which made 'em as well unpal<g ref="char:EOLhyphen"/>latable
as unregarded. Nor are we to
be ſurpriz'd, if <hi>Seneca</hi> declaim'd againſt
theſe Entertainments, which drew a<g ref="char:EOLhyphen"/>way,
and alienated the minds of the
People from thoſe Studies, upon the
merit of which he peculiarly picqu'd
himſelf.</p>
            <p>The ſumm of this <hi>Philoſopher's</hi> Evi<g ref="char:EOLhyphen"/>dence
amounts to no more than<note n="*" place="margin">Nihil vero tam damnoſum bonis moribus, quam in aliquo ſpectaculo deſidere; tunc enim per voluptatem vitia facilius ſurrepunt. Epict. 7.</note> that
<pb n="52" facs="tcp:54591:44"/>
he thought Idleneſs a great corrupter of
Manners, and that the Shows in uſe
among the <hi>Romans,</hi> contributed to the
making the people Idle, and tainting
'em with Luxury, and thereby ren<g ref="char:EOLhyphen"/>dring
'em more diſpos'd to Vice. His
charge againſt the Shows is in this place
general, and reſpects indifferently any
of 'em, many of which were in their
own Natures innocent, and void of of<g ref="char:EOLhyphen"/>fence,
yet were equally ſubmitted to
cenſure in this paſſage with the moſt
ſcandalous <hi>Seneca</hi> was not ſo mean a
Judge of Men,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> p<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>
                  <g ref="char:EOLhyphen"/>verted.</note> or Things, as to think
all their Shows equally reprehenſible,
but he found all liable to the ſame a<g ref="char:EOLhyphen"/>buſe,
that is, detaining the people from
their buſineſs, and giving them too great
an itch after Diverſions. But this had
not been worth our notice, were't not
to ſhew, that our modern <hi>Reformer,</hi>
tho he has been us'd to greater Stakes,
can play at ſmall Game rather
than ſtand out. For in the latter
part of this ſhort Citation he has
made a ſhift to ſteal in two falfica<g ref="char:EOLhyphen"/>tions<note n="*" place="margin">Tunc e<g ref="char:EOLhyphen"/>nim per volupta<g ref="char:EOLhyphen"/>tem, &amp;c. p. 235.</note>.</p>
            <p>For there Vice makes an inſenſible ap<g ref="char:EOLhyphen"/>proach,
and ſteals upon us the diſguiſe of
pleaſure.</p>
            <p>
               <pb n="53" facs="tcp:54591:44"/>
Here he wou'd inſinuate that the
Vice, of which the <hi>Philoſopher</hi> ſeems ſo
apprehenſive, was of the growth of the
place, to which purpoſe he tranſlates the
words. <hi>Tunc enim, For there,</hi> by which he
endeavours to make the infection local,
and renders the words, <hi>Per voluptatem,
In the diſguiſe of Pleaſure,</hi> that it may
ſeem to come artificially, and induſtri<g ref="char:EOLhyphen"/>ouſly
recommended. Whereas, all that
he ſays imports no more, than that,
when men's Minds, by the flattery of
thoſe Diverſions, were diſarm'd of that
ſeverity, that the <hi>Stoicks</hi> (of which
Sect he was) think requiſite to the
guard of Virtue, they were more eaſily
prevail'd upon, and led away by viti<g ref="char:EOLhyphen"/>ous
inclinations.</p>
            <p>There are yet behind in the Train,
<hi>Tacitus, Plutarch, Ovid,</hi> and Mr. <hi>Wy<g ref="char:EOLhyphen"/>cherley,</hi>
whom (whether to ſhew his
Judgment or his Manners I know not)
he has rankt amongſt, and under the
head of <hi>Pagan</hi> Authorities; and truly
I think he may as well make a <hi>Pagan</hi> of
him, as an Evidence in this caſe. But
that ingenious Gentleman ought not to
take it amiſs; for ſince all thoſe great
Men of Antiquity, nay, even the <hi>Fa<g ref="char:EOLhyphen"/>thers</hi>
               <pb n="54" facs="tcp:54591:45"/>
themſelves, the <hi>Worthies of Chri<g ref="char:EOLhyphen"/>ſtendom,
the Flower of Human Nature,
and the top of their Species,</hi> are obliged
every one of 'em to wear a Fool's Coat,
he has the leſs reaſon to repine at the
Livery.</p>
            <p>Theſe are all ſummon'd to make up
the Parade of Learning,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap>, &amp;c. im<g ref="char:EOLhyphen"/>pertinently cited.</note> and have no
more buſineſs than an Ambaſſador's
Coach of State at his publick Entry.
<hi>Tacitus</hi> tells us, that <hi>Nero did ill to
make the neceſſities of decay'd Gentle<g ref="char:EOLhyphen"/>men
pimp to the betraying of their ho<g ref="char:EOLhyphen"/>nour
and dignity. And that the</hi> Ger<g ref="char:EOLhyphen"/>mans
<hi>did well to keep their Wives out
of harms way.</hi> The complaint of <hi>Ta<g ref="char:EOLhyphen"/>citus</hi>
is nothing to us; his Caution in<g ref="char:EOLhyphen"/>deed
may be of ſervice, as matter of
inſtruction to Mr <hi>Collier,</hi> and his Proſe<g ref="char:EOLhyphen"/>lytes,
if he has any, who I hope will
reap the benefit of the <hi>German</hi> Exam<g ref="char:EOLhyphen"/>ple.</p>
            <p>
               <hi>Plutarch</hi> thinks, that Licentious Poets
ought to be checkt: Ay, and licentious
Criticks too, and corrected into the
bargain: tho <hi>Sancha Pancha</hi> and <hi>His
Critick</hi> were both ſubmitted to the laſh,
till one learnt Wit, and t'other Man<g ref="char:EOLhyphen"/>ners,
and both Modeſty. For ſaw<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>y
<pb n="55" facs="tcp:54591:45"/>
               <hi>Reformers,</hi> as well as lewd <hi>Poets,</hi> require
abundance of Diſcipline to keep 'em
within bounds.</p>
            <p>
               <hi>Ovid,</hi>
               <note place="margin">
                  <hi>Ovid</hi> and Mr <hi>Wy<g ref="char:EOLhyphen"/>cherly</hi> ſay nothing a<g ref="char:EOLhyphen"/>gainſt the Stage, but the Audi<g ref="char:EOLhyphen"/>ence.</note> and Mr <hi>Wycherley,</hi> as Poets,
and Men of Wit, may be joyn'd, tho
not as Heathens; and their Evidence,
being exactly of a piece, is the more
properly conſider'd together. This
amounts to a proof, that at the Thea<g ref="char:EOLhyphen"/>tres,
as well as at all other places, where
there is a promiſcuous reſort of compa<g ref="char:EOLhyphen"/>ny
of both Sexes, the buſineſs of Intrigue
will go forward. It were much to be
wiſh'd, that no body came to the <hi>Play-houſe</hi>
for a leſs innocent diverſion,
than that of the <hi>Stage;</hi> to <hi>Churches</hi>
and <hi>Conventicles</hi> with a leſs pious in<g ref="char:EOLhyphen"/>tention,
than that of <hi>Devotion;</hi> to the
<hi>Park</hi> for a leſs wholeſome refreſhment
than that of <hi>Air, &amp;c.</hi> But 'tis as much
to be fear'd, that this univerſal Refor<g ref="char:EOLhyphen"/>mation
will never be brought about,
till the accompliſhment of the Propheſie
(if I may call it ſo, without offending
Mr <hi>Collier</hi>) of one of our Poets
<q>Till Women ceaſe to Charm, and Youth
to Love.</q>
               <pb n="56" facs="tcp:54591:46"/>
So long as there are appetites,<note place="margin">Too great ſeverity of no ſervice to Morality.</note> there
will be means found to gratify 'em. I
won't deny, but that the promiſcuous
conflux of people of all Ages, Sexes,
and Conditions, facilitates enterprizes
of this nature. But I queſtion whether
an abſolute reſtraint wou'd not more
inflame the deſire, than it cou'd pre<g ref="char:EOLhyphen"/>vent
the practice; and whither the Mo<g ref="char:EOLhyphen"/>rals
of the Public wou'd not ſuffer
more by vitiating the Imaginations of
the People in general this way, than
they cou'd gain by the ſevereſt me<g ref="char:EOLhyphen"/>thods
of prohibition the other. <hi>Spain</hi>
and <hi>Italy</hi> are Countries as jealous and
vigilant in this point, as any in the
world, and yet the people ſo generally
laſcivious, that there is no place where
Virtue has leſs intereſt in the Chaſtity
of either Sex. Whereas on the con<g ref="char:EOLhyphen"/>trary,
in many places under the <hi>Line,</hi>
where the People go conſtantly naked,
the familiarity of the Objects takes
away all wantonneſs of Imagination,
which the artificial difficulties of ſome
Countries promote.</p>
            <p>But <hi>Ovid,</hi> it ſeems, does in ſome
meaſure plead guilty, and owns, that
<pb n="57" facs="tcp:54591:46"/>
not only the opportunity<note n="*" place="margin">Ludi quo<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſe<g ref="char:EOLhyphen"/>mina prae<g ref="char:EOLhyphen"/>bent Ne<g ref="char:EOLhyphen"/>quitiae. De Triſt. lib. 2.</note>, but the
buſineſs of the place ſometimes pro<g ref="char:EOLhyphen"/>motes
lewdneſs. Nor is it to be won<g ref="char:EOLhyphen"/>der'd
at, ſince ſome of the repreſenta<g ref="char:EOLhyphen"/>tions
there were ſo ſcandalouſly lewd,
as to give offence to the looſeſt of their
Poets.<note n="*" place="margin">Junctam Paſiphae<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> ictaeo credite Tauro, Vi<g ref="char:EOLhyphen"/>dimus, ac<g ref="char:EOLhyphen"/>cepit Fa<g ref="char:EOLhyphen"/>bula prilca fidem. Mart.</note> 
               <hi>Martial</hi> tells us <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>, that he ſaw
the Story of <hi>Paſiphae</hi> acted upon their
Stage. But theſe were the Repreſenta<g ref="char:EOLhyphen"/>tions
of their <hi>Mimi,</hi> the ſcandal of
which reflects no way upon the <hi>Drama,</hi>
either Antient or Modern, and will
therefore give us no occaſion to dilate
upon 'em here.</p>
            <p>I have at length run thro all his pri<g ref="char:EOLhyphen"/>vate
Authorities againſt the Stage,<note place="margin">Mr C—'s licentious Method of miſquoting unſuffera<g ref="char:EOLhyphen"/>ble.</note>
wherein I can't find ſo much as one,
which is not either impertinently, or
falſely cited, as I doubt not, but will
upon collation appear. For which rea<g ref="char:EOLhyphen"/>ſon
I have all along put the words of
the Original, or of the moſt approv'd
Verſion in the Margin, that they might
without trouble be collated, and my
charge juſtified. He owns, that he <hi>has
taken the liberty of throwing in a word or
two,</hi> (in tranſlating the Fathers) <hi>to clear
the Senſe, to preſerve the Spirit of the
Original, and keep the</hi> Engliſh <hi>upon its
<pb n="58" facs="tcp:54591:47"/>
Legs.</hi> I hope by this it appears, that
he has <hi>confounded</hi> the <hi>Senſe, corrupted</hi>
the <hi>Spirit,</hi> and ſet the <hi>Engliſh</hi> upon
<hi>Stilts.</hi> His Modeſty's too plain a coun<g ref="char:EOLhyphen"/>terfeit,
to cheat thoſe that are not wil<g ref="char:EOLhyphen"/>fully
blind, 'tis ſo ſlightly waſh'd over,
that the Braſs appears at firſt view; ſo
that whatever denomination he may
give it, like an <hi>Iriſh</hi> Half Crown, 'twill
ſoon fall to its intrinſick value. After
all, his pains in citations are as unluckily
beſtow'd, as the Malefactors Fee, who,
after he has brib'd the Ordinary, is
call'd to read over again to the Court,
and ſuffers at laſt for his ignorance.</p>
            <p>To cloſe all, and crown his Victory, Mr
<hi>Collier</hi> gives us ſome <hi>State Cenſures</hi> (as he
calls 'em) to ſhew how much the Stage
ſtands diſcourag'd by the Laws of other
Countries, and our own.</p>
            <p>To begin with the <hi>Athenians.</hi>
               <note place="margin">P 240.</note> This
People, tho none of the worſt Friends to the
Play-houſe, thought a <hi>Comedy</hi> ſo unre<g ref="char:EOLhyphen"/>putable
a Performance, that they made a
Law that no Judge of the <hi>Areopagus</hi>
ſhou'd make one.<note place="margin">The <hi>Athe<g ref="char:EOLhyphen"/>nia<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>s,</hi> the greateſt friends in the world to the Stage.</note>
            </p>
            <p>'Tis ſomething ſurprizing to find the
Authority of the <hi>Athenian</hi> State pro<g ref="char:EOLhyphen"/>duc'd
againſt the <hi>Drama,</hi> of which
<pb n="59" facs="tcp:54591:47"/>
they of all the people of the world
were the greateſt Encouragers. And
this very Law, which is urg'd againſt
<hi>Comedy</hi> in particular, is an argument of
the general Eſteem it was at that time
poſſeſt of. For, had the Writing of
<hi>Comedy</hi> been ſo unreputable a perform<g ref="char:EOLhyphen"/>ance,
as Mr <hi>Collier</hi> from this paſſage of
<hi>Plutarch</hi> wou'd inſinuate, there had
been no reaſon to ſuſpect, that any of
the Judges of the <hi>Areopagus</hi> wou'd have
been ſo madly indiſcreet, as to have
forfeited his Character and Reputation,
by ſo open and publick a Scandal; and
conſequently a proviſion by Law againſt
a folly of that nature, muſt have been
as ſenſeleſs a Caution there, as an Act
here wou'd be, to forbid any of the
twelve Judges dancing upon the Ropes,
or tumbling thro a Hoop in publick.</p>
            <p>But this Law makes directly againſt
the purpoſe it was quoted for,<note place="margin">This Law a direct Argument againſt <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> 
                  <hi>Collier.</hi>
               </note> and
ſeems plainly to argue, that <hi>Comedy</hi> was
in ſo great reputation amongſt em, that
perſons of the higheſt condition ſought
the applauſe of, and made their court
to the people by performances of that
nature. For which reaſon they found
it neceſſary to reſtrain their Judges by
<pb n="60" facs="tcp:54591:48"/>
a Law, from running into thoſe popular
amuſements.</p>
            <p>That theſe Performances were not
in fact diſhonourable amongſt the <hi>Athe<g ref="char:EOLhyphen"/>nians,</hi>
might be made appear from a
million of inſtances, were it neceſſary.
But the credit that <hi>Ariſtophanes</hi> had
among the <hi>Athenians,</hi> which was pow<g ref="char:EOLhyphen"/>erful
enough to ruine <hi>Socrates,</hi> is ſingly
ſure ſufficient to deſtroy an aſſertion ſo
weakly founded. So far were they
from having <hi>Comedy</hi> in diſgrace, that
they encourag'd, and maintain'd it at
vaſt expence to the Publick, and
thought it ſo proper an inſtrument of
Reformation<note n="*" place="margin">Apud Graecos fuit Lege conceſſum ut quod vellet Co<g ref="char:EOLhyphen"/>maedia no<g ref="char:EOLhyphen"/>minatim, &amp; de quo vellet di<g ref="char:EOLhyphen"/>ceret. Cic. de Rep. apud S. Auguſt. de Civit dei, cap. 9.</note>, that they gave it free
liberty of Speech, and priviledg'd it to
ſay any thing, and of any body by
name; and this not by connivance,
but by Law; there lay no Action of
Scandal either againſt Poet or Actors.</p>
            <p>This probably gave occaſion to the
exceſſive liberties of the old <hi>Comedy,</hi>
               <note place="margin">The old Comedy of the <hi>Greeks</hi> exceeding licentious.</note>
which at length grew ſo offenſive, as to
make way for a Reformation, and the
introduction of the new <hi>Comedy</hi> upon the
<hi>Athenian</hi> Stage. And here the reaſon why
the <hi>Areopagites</hi> were not allow'd to med<g ref="char:EOLhyphen"/>dle
or engage in <hi>Comedy,</hi> appears pretty
<pb n="61" facs="tcp:54591:48"/>
plain; for the Liberties, allow'd to the old
<hi>Comedy,</hi> naturally engag'd 'em in Parties,
Factions, and perſonal Quarrels, which a
Judge ought, to the utmoſt of his power,
to keep himſelf clear of. Beſide, the an<g ref="char:EOLhyphen"/>cient
<hi>Dramatick</hi> Writers were generally
Actors in their own Plays, which by no
means befitted the gravity of a Judge.</p>
            <p>Theſe reaſons (ſince <hi>Plutarch</hi> is ſilent)
may ſuffice to ſhew,<note place="margin">Comedy, why no proper ex<g ref="char:EOLhyphen"/>erciſe for a Iudge.</note> that the <hi>Athenians</hi>
might have a very great honour for
their Comick Writers and yet forbid
their Judges to be of the number. The
Avocation from their proper Studies, the
Laws of the Republic, the quarrels, and
conſequently the partialities they were
by the exerciſe of that ſort of Poetry
liable to be engag'd in, and the Indig<g ref="char:EOLhyphen"/>nity
to their Office, are ſufficient to
juſtify ſuch a prohibition, even amongſt
a people, that had the higheſt reſpect for
all other perſons that excell'd in this kind.</p>
            <p>Nor was their kindneſs extended
only to the <hi>Drama;</hi> for the <hi>Baccha<g ref="char:EOLhyphen"/>nalian</hi>
Games, even after the abdica<g ref="char:EOLhyphen"/>tion
of Tragedy and Comedy, tho they
held not an equal rank with the other,
yet had ſome ſhare of their Favour;
and <hi>Aeſchines,</hi> who, according to the
<pb n="62" facs="tcp:54591:49"/>
teſtimony of<note n="*" place="margin">Locata Opera tua illis Hiſtri<g ref="char:EOLhyphen"/>onibus, qui ſuſpirioſi cognomi<g ref="char:EOLhyphen"/>nantur, tertias partes ac<g ref="char:EOLhyphen"/>titabas. Demoſth. Orat. de Coron: <hi>And in the ſame Oration he calls him</hi> Tertianum Hiſtorio<g ref="char:EOLhyphen"/>nem.</note> 
               <hi>Demoſthenes,</hi> and<note n="†" place="margin">Aeſchines tertias partes in Bacchanalibus apud Ariſtodemum actitavit. Plut. Aeſchine.</note> 
               <hi>Plu<g ref="char:EOLhyphen"/>tarch,</hi>
was but a third rate Actor<note n="*" place="margin">Aeſchines legationes obiit, &amp; multas alias, &amp; ad Philippum de pace. Ibid.</note>, yet
was ſo well conſider'd by the State, as
to be ſent on ſeveral Embaſſies, and
particularly to conclude a Peace with
<hi>Philip</hi> of <hi>Macedon,</hi> than which the State
cou'd not have given him a more ho<g ref="char:EOLhyphen"/>nourable
Employment.</p>
            <p>This, I ſuppoſe, may almoſt amount
to a demonſtration, that the <hi>Athenians</hi>
had no ſuch ſcandalous opinion of the
Stage, as Mr <hi>Collier</hi> wou'd inſinuate,
making even <hi>Plutarch</hi> himſelf Judge in
the caſe. It wou'd be impertinent after
this to inſiſt upon the great Employ<g ref="char:EOLhyphen"/>ments,
with which <hi>Sophocles,</hi> and ſome
other of their Poets were honour'd;
ſince the already mention'd honours and
privileges are a ſufficient evidence of
the Publick Eſteem.</p>
            <p>
               <hi>His next State Opinion is that of the</hi>
Lacedemonians;<note place="margin">Opinion of the <hi>Spar<g ref="char:EOLhyphen"/>tans-</hi>
               </note> 
               <hi>and here after a flouriſh
of his own, he appeals to</hi> Plutarch <hi>again.</hi>
The <hi>Lacedemonians,</hi>
               <note place="margin">P. 240.</note> who were remarka<g ref="char:EOLhyphen"/>ble
<pb n="63" facs="tcp:54591:49"/>
for the Wiſdom of their Laws, and
Sobriety of their Manners, and their
breeding of brave Men: This Government
wou'd not endure the Stage in any Form,
nor under any Regulation.</p>
            <p>I find, if this Author can but make
his reading appear, 'tis no matter whe<g ref="char:EOLhyphen"/>ther
his ſenſe does or not. Here is a
Period of five lines and a half, with<g ref="char:EOLhyphen"/>out
any principal Verb. But the Au<g ref="char:EOLhyphen"/>thor
is got into his Rhetorical ſtrain,
and 'tis no matter for Grammar. For
when his Fury's up, <hi>Priſcian</hi> had beſt
ſtand out of his way; or take a bro<g ref="char:EOLhyphen"/>ken
Head quietly, or woe be to his
bones.</p>
            <p>But who told him, that the <hi>Lacede<g ref="char:EOLhyphen"/>monians</hi>
were ſo remarkable for the
Wiſdom of their Laws? They were in<g ref="char:EOLhyphen"/>deed
notorious for the unreaſonable
ſeverity and ſingularity of 'em. But I
beg Mr <hi>Collier's</hi> pardon, if ill Nature
and Singularity ben't arguments of Wiſ<g ref="char:EOLhyphen"/>dom,
a certain ſowre, ſingular <hi>Remark<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>r</hi>
may have written a Book to call his
own underſtanding in queſtion.</p>
            <p>The Gentleman,<note place="margin">Theft tole<g ref="char:EOLhyphen"/>rated at <hi>Lacede<g ref="char:EOLhyphen"/>mon,</hi>
               </note> I ſuppoſe, had heard
of a famous Law-giver call'd <hi>Lycurgus,</hi>
who was a <hi>Lacedemonian,</hi> and left his
<pb n="64" facs="tcp:54591:50"/>
Country ſeveral wholeſome Laws, the
juſt commendation of which particular
Ordinances he was reſolv'd to transfer
to the whole Body, or Syſtem of their
Laws, in which Violence, Rapine, and
Theft were not only tolerated, but re<g ref="char:EOLhyphen"/>commended
to practice and imitation;
but all ingenious Arts, lay together with
the Stage, under diſcouragement.</p>
            <p>The <hi>Spartans</hi> were a people ſome<g ref="char:EOLhyphen"/>thing
of Mr <hi>Collier's</hi> Kidney,<note place="margin">Character of the <hi>Spartans<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>
                  </hi>
               </note> Cynicks in
their Temper, Moroſe, Proud, and ill
Natur'd, that hated mortally, as well
the Improvements, as the Perſons
of their polite Neighbours the <hi>Atheni<g ref="char:EOLhyphen"/>ans,</hi>
were fond of their primitive Ruſt,
and Barbarity, had an averſion to Ele<g ref="char:EOLhyphen"/>gance,
or Neatneſs of any kind; their
principal Virtues were a ſenſeleſs inflexi<g ref="char:EOLhyphen"/>ble
obſtinacy, whether in the right or
wrong, and a ſullen ſufferance under
Adverſity. They were in ſhort incor<g ref="char:EOLhyphen"/>rigible
Humoriſts, a people that would
neither lead nor drive, men that were as
hard to be perſwaded to reform an
old abuſe, as the <hi>Iriſh</hi> formerly to leave
off drawing by their Horſes Tails,
or a <hi>Spaniard</hi> would be to part with
his Muſtachio's, or Mr <hi>Collier</hi> to re<g ref="char:EOLhyphen"/>tract
<pb n="65" facs="tcp:54591:50"/>
an Error. This Frame and Con<g ref="char:EOLhyphen"/>ſtitution
of mind, might perhaps re<g ref="char:EOLhyphen"/>commend
and endear 'em, as it ſeems
to ally 'em to a perſon of the Authors
complexion.</p>
            <p>But why did this <hi>Scourge</hi> of the <hi>Stage</hi>
ſuppreſs the reaſon of this Averſion of
the <hi>Spartans</hi> to the <hi>Drama?</hi> Was it
not for his purpoſe? Well, if he<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>s re<g ref="char:EOLhyphen"/>ſolv'd
not to to tell us, <hi>Plutarch</hi> is bet<g ref="char:EOLunhyphen"/>ter
natur'd, and will. He ſays,<note n="*" place="margin">Comae<g ref="char:EOLhyphen"/>dias, &amp; Tragaedias non ad<g ref="char:EOLhyphen"/>mittebant Lacones, ut nt<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſerio, eos qu<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>legibus contradi<g ref="char:EOLhyphen"/>cerent au<g ref="char:EOLhyphen"/>dirent. In<g ref="char:EOLhyphen"/>ſtit. Lacon. <hi>This Au<g ref="char:EOLhyphen"/>thority fal<g ref="char:EOLhyphen"/>ſified like<g ref="char:EOLhyphen"/>wiſe.</hi>
               </note> that
the <hi>Lacedemonians</hi> allow'd neither <hi>Tra<g ref="char:EOLhyphen"/>gedy</hi>
nor <hi>Comedy,</hi> that they might not
hear any thing contradictory to their
Laws.</p>
            <p>Here was an Authority in appear<g ref="char:EOLhyphen"/>ance
as ſerviceable to his purpoſe, as
the old broad Money was to the Clip<g ref="char:EOLhyphen"/>pers,
but he, like ſome of thoſe uncon<g ref="char:EOLhyphen"/>ſcionable
Artiſts, that when they had
clipt a Six-pence, woud clap a Nine<g ref="char:EOLhyphen"/>penny
ſtamp upon it, cou'd not be con<g ref="char:EOLhyphen"/>tented
with the advantage of diminu<g ref="char:EOLhyphen"/>tion,
but he by covetouſly endeavour<g ref="char:EOLhyphen"/>ing
to raiſe the value, ſpoiled the cur<g ref="char:EOLhyphen"/>rency
of his Authority.</p>
            <p>This Government (ſays he) wou'd
not endure the Stage in any form, nor
under any Regulation.</p>
            <p>
               <pb n="66" facs="tcp:54591:51"/>
What warrant has he from <hi>Plutarch</hi>
for this Aſſertion?<note place="margin">Politeneſs, the Objecti<g ref="char:EOLhyphen"/>on of the <hi>Spartans</hi> to the Dra<g ref="char:EOLhyphen"/>ma.</note> 
               <hi>Plutarch</hi> tells us,
that they did not admit <hi>Comedy</hi> nor
<hi>Tragedy,</hi> but he ſays not a ſyllable of
Forms or Regulations. The <hi>Lacede<g ref="char:EOLhyphen"/>monians</hi>
were a rough unpoliſh'd people,
that were afraid, if the ſtudy of Polite<g ref="char:EOLhyphen"/>neſs
(the inſeparable companion of the
<hi>Drama</hi>) were introduc'd, their Laws,
which were as Clowniſh, and unlickt
as themſelves, ſhou'd be affronted, and
therefore kept <hi>Tragedy</hi> and <hi>Comedy,</hi> like
Enemies, at a diſtance.</p>
            <p>But what does he mean here by the
Stage?<note place="margin">All ſorts of Plays not prohibited at <hi>Lacede<g ref="char:EOLhyphen"/>mon.</hi>
               </note> Wou'd he inſinuate, that all
ſorts of <hi>Shews</hi> and <hi>Games</hi> were prohi<g ref="char:EOLhyphen"/>bited?
If ſo, his Poſition is abſolutely
falſe; for all the rough <hi>Bear Garden</hi>
Play (if I may call it ſo) was not only
tolerated, but very much encouraged
by the State. Their Women too had
their Religious Plays,<note place="margin">Lib. 4.</note> a memorable
ſtoy of which <hi>Pauſanias</hi> * tells. And
'tis probable, that the Plays in uſe over
all the reſt of <hi>Greece,</hi> were permitted
there too in their Primitive Rudeneſs
and Simplicity, conformable to the hu<g ref="char:EOLhyphen"/>mour
of the people, and the drift of
their Policy.</p>
            <p>
               <pb n="67" facs="tcp:54591:51"/>
In the excluſion of the <hi>Drama,</hi> they
aim'd only to preſerve that Martial Spi<g ref="char:EOLhyphen"/>rit,
which by the whole courſe and
method of their Education and Exer<g ref="char:EOLhyphen"/>ciſes,
they endeavour'd to infuſe into,
and nurſe up in their youth, which they
were afraid the Delicacy and Luxury of
the <hi>Drama,</hi> as 'twas practic'd at <hi>Athens,</hi>
might ſoften, and that the Elegancy
and Pleaſure of thoſe diverſions wou'd
breed a niceneſs, which wou'd inſenſibly
create a diſguſt in their youth to the Man<g ref="char:EOLhyphen"/>ners
and Cuſtoms of their Country,
and conſequently make 'em think their
Laws harſh and unpoliſh'd.</p>
            <p>It was not therefore the Virtue of the
<hi>Spartans,</hi>
               <note place="margin">Morality, not the reaſon of rejecting the Stage.</note> nor their care of Morality,
that made 'em reject the <hi>Drama,</hi> but an
auſterity of temper, which render'd 'em
ambitious only of Military Glory. In
which, notwithſtanding their Neigh<g ref="char:EOLhyphen"/>bours
and Rivals the <hi>Athenians,</hi> with all
their Delicacy and Luxury, were their
equals, if not ſuperiours. What infecti<g ref="char:EOLhyphen"/>on
of Manners from the Stage, cou'd
that State fear, which tolerated Theft
and Adultery? Tis plain, their
fear was, leſt the natural aſperity of
their humours, which they induſtri<g ref="char:EOLhyphen"/>ouſly
<pb n="68" facs="tcp:54591:52"/>
cultivated, ſhould be ſoftned,
and their minds enervated. For the
ſame reaſon all ſorts of Learning lay
under neglect and diſcouragement.</p>
            <p>Whatever were the reaſons that in<g ref="char:EOLhyphen"/>duc'd
'em to baniſh the <hi>Drama,</hi> if Vir<g ref="char:EOLhyphen"/>tue
was not, 'tis nothing to Mr <hi>Collier</hi>'s
purpoſe. As for their <hi>breeding brave
Men,</hi> I believe they may be match'd
from the oppoſite State of <hi>Athens,</hi> both
for number and quality. But if the
<hi>Athenians</hi> rivall'd 'em in Military Glo<g ref="char:EOLhyphen"/>ry,
they infinitely excell'd 'em in all
other valuable Qualities, and had as
much more Manners, as they had Wit
or Wealth. So that if Mr <hi>Collier</hi> will
needs have them for his Champions, I
muſt oppoſe their old Antagoniſts to
'em, and leave them to decide the Fate
of <hi>Greece.</hi> For I think the oppoſition
as unequal, as that of <hi>Ovid,</hi>
               <q>
                  <l>Mulieber in Trojam, pro Trojâ ſtabat
Apollo.</l>
               </q>
            </p>
            <p>The next ſtep he takes is into <hi>Italy,</hi>
and there indeed he endeavours to
draw a mighty Republick into a League
Offenſive and Defenſive. And here,
<pb n="69" facs="tcp:54591:52"/>
by the means of St <hi>Auſtin,</hi> he draws
<hi>Tully</hi> in; but ſince <hi>Tully</hi> does not ap<g ref="char:EOLhyphen"/>pear
in <hi>propriâ personâ</hi> we ſhall not ſpend
Time and Ammunition upon him, but
paſs on to <hi>Livy:</hi>
               <note place="margin">Livy's <hi>Au<g ref="char:EOLhyphen"/>thority con<g ref="char:EOLhyphen"/>ſider'd.</hi> P. 241. Poſtqu<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>m lege <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> fabularum ab riſu, <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> ſoluto i<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>
                  <g ref="char:EOLhyphen"/>co res avo<g ref="char:EOLhyphen"/>cabatur, &amp; ludus in artem paulatim verterat, Juventus hiſtrioni<g ref="char:EOLhyphen"/>bus fabel<g ref="char:EOLhyphen"/>larum actu relictu, ipſa inter ſe more antiquo ridicula intexta ver<g ref="char:EOLhyphen"/>ſibus jactitare caepit, quae inde exodia poſtea appellata, conſerta<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>; Fabellis potiſſimum Atellanis ſunt, quod genus ludorum ab Oſcis acceptum tenuit juventus: nec ab hiſtrionibus pollui paſſa eſt. Eo inſtitutum manet, ut Actores Atellauarum nec tri<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>a moveantur, &amp; ſtipendia tanquam expertes artis Ludicrae faciant. Dec. 1. l. 7.</note> Who, making his
perſonal appearance, is more formida<g ref="char:EOLhyphen"/>ble.</p>
            <p>We read in <hi>Livy,</hi> that the young people
in <hi>Rome</hi> kept the <hi>Fabulae Atellanae</hi> to
themſelves. They wou'd not ſuffer this
diverſion to be blemiſh'd by the Stage. For
this reaſon, as the Hiſtorian obſerves, the
Actors of the <hi>Fabulae Atellanae</hi> were nei<g ref="char:EOLhyphen"/>ther
expell'd their Tribe, nor refus'd to
ſerve in Arms. Both which Penalties, it
appears, the common <hi>Players</hi> lay under.</p>
            <p>Here Mr <hi>Collier</hi> has us'd a piece of
Ingenuity uncommon with him, and
put the words, <hi>Ab Hiſtrionibus pollui</hi> in
the Margin to juſtifie his Tranſlation.
This is a ſtrain of fair play, that he has
not been perſuaded to come up to,
ſince his firſt quotation from <hi>Theophilus
<pb n="70" facs="tcp:54591:53"/>
Antiochenus.</hi> Not but that he was ſa<g ref="char:EOLhyphen"/>tisfy'd
of the reaſonableneſs of the con<g ref="char:EOLhyphen"/>duct,
(as appears by his uſing it, when
'tis for his turn) but becauſe he had
cauſe to fear the ſervice of it.</p>
            <p>In this Tranſlation is another of his
elegancies of Speech: <hi>Were neither ex<g ref="char:EOLhyphen"/>pell<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>d
their Tribe, nor</hi> refuſed <hi>to ſerve in
Arms.</hi> He means, I ſuppoſe, prohibit<g ref="char:EOLhyphen"/>ed,
or denied the liberty of ſerving in
Arms: for <hi>refus'd to ſerve in Arms</hi> is not
<hi>Engliſh.</hi>
            </p>
            <p>To underſtand this paſſage of <hi>Livy</hi>
rightly,<note place="margin">Ancient <hi>Romans</hi> an unre<g ref="char:EOLhyphen"/>fined Peo<g ref="char:EOLhyphen"/>ple.</note> we muſt conſider that the <hi>Ro<g ref="char:EOLhyphen"/>mans</hi>
in the Infancy of their State were
a ſevere ſort of people, not much un<g ref="char:EOLhyphen"/>like
in that particular to the <hi>Lacedemo<g ref="char:EOLhyphen"/>nians,</hi>
ambitious only of Empire, and
ſollicitous for nothing ſo much as the
glory of their Arms: This humour laſt<g ref="char:EOLhyphen"/>ed
ſome Ages, and grew and encreas'd
with their acquiſitions; every augmen<g ref="char:EOLhyphen"/>tation
of their State animated 'em to
new Conqueſts, and their Ambition
riſing with their hopes, ſucceſs made
'em fierce and haughty. 'Twas the
univerſality of this Spirit, (which wou'd
be dangerous to any other than a Po<g ref="char:EOLhyphen"/>pular
Government) that laid the Foun<g ref="char:EOLhyphen"/>dation,
<pb n="71" facs="tcp:54591:53"/>
and was the Inſtrument of
their future greatneſs. To ſupport,
and keep up this Spirit, all manner of
Arts here, as at <hi>Lacedemon,</hi> lay under
neglect and contempt, except ſuch as
contributed to the forming of their
Youth to hardineſs, and military vir<g ref="char:EOLhyphen"/>tue<note n="*" place="margin">Virtus ſuperſtiti<g ref="char:EOLhyphen"/>one animis Ludi quo<g ref="char:EOLhyphen"/>que Scenici nova res bellico<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>o populo, inſtituti dicuntu<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>. Et ea ipſa percgrina res ſuit. Ludiones ex Hetru<g ref="char:EOLhyphen"/>ria acciti. Ibid.</note>.
So that when there ſeem'd to
be a neceſſity of inſtituting expiatory
Plays, the <hi>Romans</hi> were ſuch abſolute
ſtrangers to things of that nature, that
they were forc'd to fetch Artiſts out of
<hi>Tuſcany.</hi>
            </p>
            <p>It is no wonder if the <hi>Romans,</hi> who<note n="*" place="margin">Imitari deinde eos ju<g ref="char:EOLhyphen"/>ventus, ſi<g ref="char:EOLhyphen"/>mul incon<g ref="char:EOLhyphen"/>ditis inter ſe jocularia fundentes verſibus, cepere. Ib. <hi>Acting of Plays firſt left off by the</hi> Roman <hi>youth, be<g ref="char:EOLhyphen"/>cauſe of the difficulty.</hi>
               </note>
were a people very proud, and con<g ref="char:EOLhyphen"/>ceited
of their own performances,
treated all thoſe Arts, and Artiſts,
which were not adapted to their pro<g ref="char:EOLhyphen"/>per
Genius with contempt, eſpecially
after they had receiv'd thoſe Improve<g ref="char:EOLhyphen"/>ments,
which render'd 'em more artifi<g ref="char:EOLhyphen"/>cial,
and conſequently more difficult.
By which means the <hi>Roman</hi> Youth,
who at firſt began to imitate the <hi>Tuſcan</hi>
Players, were forc<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d to throw up thoſe
refin'd diverſions to their<note n="†" place="margin">Verna<g ref="char:EOLhyphen"/>culis Arti<g ref="char:EOLhyphen"/>firibus. Ib.</note> 
               <hi>Slaves,</hi> and
ſtick themſelves to the old, rude, ſim<g ref="char:EOLhyphen"/>ple
way of mixing indigeſted Verſes,
and crude extempore raillery.<note place="margin">
                  <hi>Hiſtrio<g ref="char:EOLhyphen"/>
                     <gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>e<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>,</hi> who ſo called.</note> Thus
<pb n="72" facs="tcp:54591:54"/>
the <hi>Ludi Scenici</hi> being refin'd, fell whol<g ref="char:EOLhyphen"/>ly
into the hands of <hi>Mercenary Players,</hi>
who were upon this occaſion diſtin<g ref="char:EOLhyphen"/>guiſh'd
by the name of<note n="*" place="margin">Verna<g ref="char:EOLhyphen"/>culis Arti<g ref="char:EOLhyphen"/>ſicibus, <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> Hiſter <gap reason="illegible" resp="#TECH" extent="1 span">
                     <desc>〈…〉</desc>
                  </gap> Ibid.</note> 
               <hi>Hiſtriones,</hi> the
<hi>Roman</hi> Youth retaining to themſelves
only the <hi>Fabulae Atellanae,</hi> which, <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>e<g ref="char:EOLhyphen"/>cauſe
of their rudeneſs and ſimplicity,
requir'd no great skill or application,
as the other did; which, for that rea<g ref="char:EOLhyphen"/>ſon,
perhaps they were either too Satur<g ref="char:EOLhyphen"/>nine,
or too proud to learn of thoſe,
whom they eſteem'd as Vaſſals, or
Slaves.</p>
            <p>That this was the reaſon of their giv<g ref="char:EOLhyphen"/>ing
over the acting their other Plays,
and not any turpitude, or diſhoneſty in
the things themſelves, <hi>Livy</hi> himſelf de<g ref="char:EOLhyphen"/>clares,
by ſaying<note n="*" place="margin">Poſt<g ref="char:EOLhyphen"/>quam lege</note>, that after the in<g ref="char:EOLhyphen"/>troduction
of the Fable, they became
too artificial for the practice of their
youth, and therefore reſerving to
themſelves the <hi>Atellanae</hi> only, they left
the reſt of the Shews to thoſe that
made it their ſole buſineſs.</p>
            <p>'Tis obſervable, that the Hiſtorian
in this account of Plays includes not
the <hi>Drama</hi> at all; for he ſpeaks here
only of the Fables, which, after the
<hi>Satyrae,</hi> were introduc'd by one <hi>Livius,</hi>
               <pb n="73" facs="tcp:54591:54"/>
and were repeated in Verſe with action
and geſtures to Muſick. <hi>Tragedy</hi> and <hi>Come<g ref="char:EOLhyphen"/>dy</hi>
were not known to the <hi>Romans</hi> till
ſome ages after, the progreſs of their
Arms had not made them acquainted
with the Learning of <hi>Greece,</hi> and the
Wealth and Luxury of <hi>Aſia.</hi>
            </p>
            <p>This mark therefore of Infamy, which
was ſet upon the <hi>Hiſtriones</hi> (from
which (as Mr <hi>Collier</hi> obſerves) the
Actors of the <hi>Fabulae Atellanae</hi> were
exempt, can't properly ſtick upon
the Actors of <hi>Tragedy,</hi> and <hi>Come<g ref="char:EOLhyphen"/>dy</hi>
as ſuch, that Law having been
made long before the <hi>Drama</hi> was
brought to <hi>Rome</hi> from <hi>Greece</hi>
            </p>
            <p>But it was the misfortune of the
<hi>Drama</hi> to make its Publick Entry into
<hi>Rome,</hi>
               <note place="margin">Conjectural Reaſon why Players were noted with Inf<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>
                  <g ref="char:EOLhyphen"/>my.</note> not only long after this volunta<g ref="char:EOLhyphen"/>ry,
and unanimous ſeceſſion, or ſepa<g ref="char:EOLhyphen"/>ration
of the Youth of <hi>Rome</hi> from the
<hi>Mercenary Players,</hi> but even after the
Law had branded theſe latter with In<g ref="char:EOLhyphen"/>famy
and Diſgrace, by excluding 'em
from their Tribes, and denying 'em
the liberty of bearing Arms. Whether,
becauſe making a buſineſs, and profeſſi<g ref="char:EOLhyphen"/>on
of diverſion only, the <hi>Roman</hi> State,
which encourag'd thoſe exerciſes only
<pb n="74" facs="tcp:54591:55"/>
that tended towards hard'ning their
Youth, for labour and military action,
as partly thro inclination, ſo alſo out
of neceſſity and State intereſt, being in
its infamy ſurrounded by Neighbours
more potent than themſelves, and ob<g ref="char:EOLhyphen"/>lig'd
to ſubſiſt almoſt altogether upon
the purchaſe of their Swords, thought
fit, by a publick diſcouragement, to
deter their Youth from giving them<g ref="char:EOLhyphen"/>ſelves
up to an Employment, that ſo
little ſuited the poſture, and condition
of their Affairs at firſt, and the vaſt<g ref="char:EOLhyphen"/>neſs
of their Ambition afterwards. Or,
that after the firſt ſeparation, occaſion'd
(as <hi>Livy</hi> hints) rather by the incapaci<g ref="char:EOLhyphen"/>ty
and unfitneſs of the <hi>Romans</hi> for E<g ref="char:EOLhyphen"/>legancy,
and polite Exerciſe, the pra<g ref="char:EOLhyphen"/>ctice
of the Stage, fell wholly into the
hands of Slaves, and Mercenary Fo<g ref="char:EOLhyphen"/>reigners,
to joyn with whom, the Magi<g ref="char:EOLhyphen"/>ſtrates
and People, who were extremely
proud, and jealous of the honour, and
dignity of their Citizens as ſuch, thought
it ſo great an indignity and debaſement
that they made proviſion by this Law a<g ref="char:EOLhyphen"/>gainſt
it. Or, laſtly, that their <hi>Mimes</hi> &amp; <hi>Pan<g ref="char:EOLhyphen"/>tomimes</hi>
were already, before the making
of this Law, arriv'd at that lewd heighth
of impudence, that we have already
<pb n="75" facs="tcp:54591:55"/>
taken notice of, which obliged the Go<g ref="char:EOLhyphen"/>vernment
to take this method to fright
their Citizens from mixing in the pro<g ref="char:EOLhyphen"/>ctice
of ſuch impurities.</p>
            <p>Of theſe Reaſons the two firſt ſeem
joyntly to have contributed to the
production of this Law:<note place="margin">Two ſins moſt pro<g ref="char:EOLhyphen"/>bable.</note> and <hi>Livy,</hi> tho
he does not formally aſſign any reaſon
for this ſevere uſage of the Players,
yet ſeems implicitely to intimate 'em
to us in the notice that he has taken
of 'em, tho not as cauſes, yet as cir<g ref="char:EOLhyphen"/>cumſtances
conſiderable at that time.
The ſilence of <hi>Livy</hi> concerning any
ſuch licentiouſneſs in their Shews at
that time, is a ſufficient argument againſt
the laſt cauſe. For that Hiſtorian, who
upon all occaſions ſhews abundance of
zeal for the honour of his Country,
would not have fail'd to have done 'em
juſtice upon this occaſion, had this ri<g ref="char:EOLhyphen"/>gour
been the product of their Morals,
and regard to Virtue. It is apparent
therefore, that this diſcouragement of
the Shews, or rather this reſtraint of
the Action to Servants and Strangers,
was the reſult of their Policy, not
Manners, and is therefore an imperti<g ref="char:EOLhyphen"/>nent
inſtance to Mr <hi>Collier</hi>'s purpoſe,
<pb n="76" facs="tcp:54591:56"/>
who I ſuppoſe writes for the Refor<g ref="char:EOLhyphen"/>mation
of Men's Morals, not Poli<g ref="char:EOLhyphen"/>ticks.</p>
            <p>'Tis probable,<note place="margin">
                  <hi>Drama</hi> at firſt neceſ<g ref="char:EOLhyphen"/>ſitated to uſe the Actors of the <hi>Ludi Scenic<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>
                  </hi>
               </note> that when <hi>Tragedy</hi> and
<hi>Comedy</hi> came upon the <hi>Roman</hi> Stage,
being deſtitute of able Actors of a higher
Character, they were neceſſitated to
make uſe of the Actors of the <hi>Scenic
Shews,</hi> who, tho us'd to Repreſentati<g ref="char:EOLhyphen"/>ons
differing very much both in their
manner and end, yet by their pra<g ref="char:EOLhyphen"/>ctice
and pronunciation and geſtures,
had both Voice and Motion under great
command; which made the exerciſe
of the <hi>Tragick</hi> or <hi>Comick</hi> Stage, tho new
and unknown to 'em before, not dif<g ref="char:EOLhyphen"/>ficult.</p>
            <p>By this means the Actors of <hi>Tragedy</hi>
and <hi>Comedy,</hi>
               <note place="margin">The Actors of Tragedy and Come<g ref="char:EOLhyphen"/>dy, there<g ref="char:EOLhyphen"/>fore only call'd <hi>Hi<g ref="char:EOLhyphen"/>ſtriones.</hi>
               </note> who cou'd not be aim'd at
by a Law made long before any ſuch
were in being, might yet be brought
under the cenſure of it in quality of
<hi>Hiſtriones,</hi> or Scene Players before no<g ref="char:EOLhyphen"/>ted.
Thus theſe different Characters
meeting conſtantly in the perſons of the
ſame men amongſt the undiſtinguiſhing
Crowd, the Infamy of one might affect
the other.</p>
            <p>
               <pb n="77" facs="tcp:54591:56"/>
But granting the meaning and inten<g ref="char:EOLhyphen"/>tion
of that Law to reach the <hi>Dra<g ref="char:EOLhyphen"/>matick</hi>
Actors, and that uſing a craft,
which ſubmits 'em to thoſe compliances,
for which the other are cenſur'd; they
alſo are offenders againſt the deſign of
it, and conſequently are comprehend<g ref="char:EOLhyphen"/>ed
within the intent of it, and liable to
the penalty. Yet even thus this inſtance,
giving it all the ſcope that may be in
the utmoſtlatitude of conſtruction, is no
way ſerviceable to this Reformer's pur<g ref="char:EOLhyphen"/>poſe.
This would have appear'd very
plain, had the Law itſelf, inſtead of the
inſtance from <hi>Livy,</hi> been produc'd.</p>
            <p>
               <note n="*" place="margin">Praetori<g ref="char:EOLhyphen"/>an Edict.</note>
               <note n="†" place="margin">Infamia notatur qui Artis Iu<g ref="char:EOLhyphen"/>dicae, pro<g ref="char:EOLhyphen"/>nunciandi<g ref="char:EOLhyphen"/>ve cauſa in Scenam prodierit. Scena eſt, ut Labeo definit quae ludorum faciendorum cauſa quolibet loco, ubi quis conſiſtat, moveatur<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſpectaculum ſui praebiturus, poſita eſt. <hi>L.</hi> 1. <hi>&amp;</hi> 2. <hi>F. de iis qui notantur infamia.</hi>
               </note> 
               <hi>The Pretorian Edict runs thus</hi>
Whoever appears upon the Stage to ſpeak,
or act, is declar'd infamous. Which <hi>La<g ref="char:EOLhyphen"/>beo</hi>
expounds thus. The Stage is any
place fitted up for the uſe of Plays, where
any one is to appear, and by his motion
make himſelf a publick Spectacle.</p>
            <p>This Law being conceiv'd in gene<g ref="char:EOLhyphen"/>ral
terms againſt all that ſpeak or act,
upon the Stage for the diverſion of
<pb n="78" facs="tcp:54591:57"/>
the People, ſeems indeed naturally
to include <hi>Comedians,</hi> and <hi>Tragedians,</hi>
who do both ſpeak, and act upon
the Stage, and make a ſhow of them<g ref="char:EOLhyphen"/>ſelves
to the People too. Yet it does
not ſerve our Adverſaries cauſe at all,
who muſt ſhew, that their Profeſſion
was branded for the Immorality of
it, or he talks nothing to the pur<g ref="char:EOLhyphen"/>poſe.</p>
            <p>This Expoſition of <hi>Labeo</hi>'s upon
this Law,<note place="margin">
                  <hi>Labeo</hi>'s Poſition ſhews the intent of that Edict</note> like the Preamble to one of
our <hi>Acts</hi> of <hi>Parliament,</hi> may let us
into the meaning of the Letter, and
the motives that induc'd 'em to make
it. What this Learned <hi>Roman</hi> Law<g ref="char:EOLhyphen"/>yer
here obſerves as matter of of<g ref="char:EOLhyphen"/>fence,
is only, that they did, <hi>Specta<g ref="char:EOLhyphen"/>culum
ſui praebere, make a ſhew of them<g ref="char:EOLhyphen"/>ſelves</hi>
for hire; which the Pride of
the <hi>Romans</hi> might very naturally
make 'em think to be a Proſtitution
of the Dignity and Character of a
Citizen of <hi>Rome,</hi> which deſerv'd to
be puniſh'd with the privation of that
which they had diſhonour'd.</p>
            <p>To ſecure this point,<note place="margin">Mr <hi>Coll<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>ers</hi> diſingenui<g ref="char:EOLhyphen"/>ty in this point.</note> the words, <hi>ab
Hiſtrionibus pollui,</hi> which he renders
<hi>to be blemiſh'd by the Stage,</hi> are (as has
<pb n="79" facs="tcp:54591:57"/>
already been obſerv'd) put into the
Margin, by which he hopes to caſt
that blemiſh upon the Morality of the
performance, which in ſtrictneſs re<g ref="char:EOLhyphen"/>garded
only the Perſons, and Dignity
of the Actors, and that not upon any
Moral, but a Political Conſideration.
By theſe Inſtances it may appear, what
violence of Conſtruction is uſed to
rack and torture theſe antient Authors
to confeſs, and depoſe againſt their
Conſciences. Stretching the Text is
nothing with him, to ſerve his purpoſe
it muſt be diſmember'd, that he may
have the cementing the fragments as
he pleaſes; by which means he has
ſhewn 'em in more unnatural figures,
than even <hi>Poſture Clark</hi> knew; Heads
and Tails are ſo promiſcuouſly jum<g ref="char:EOLhyphen"/>bled
together, that the moſt familiar
poſture you find 'em in, is that of a
Dog couchant, with their Noſes in
their A—s.</p>
            <p>But if after all,<note place="margin">The <hi>Roman</hi> Cenſure extended only to the Mercenary Actors as ſuch.</note> this Cenſure ſhou'd
reach the <hi>Mercenary</hi> or Hireling Actors
only, and meerly upon that account, I
think 'twill be pretty evident, that
'twas not the exerciſe of their Myſtery
that made 'em ſcandalous, but the Mo<g ref="char:EOLhyphen"/>tives
<pb n="80" facs="tcp:54591:58"/>
that induc'd 'em to it. To clear this
point, let us look a little forward, and
to the former Law, we ſhall find the
following ſubjoyn'd.</p>
            <p>
               <note n="*" place="margin">Eos e<g ref="char:EOLhyphen"/>nim qui quaeſtus cauſa in certamina deſcen<g ref="char:EOLhyphen"/>dunt, &amp; omnes propter praemium in Scenam prodeun<g ref="char:EOLhyphen"/>res, famo<g ref="char:EOLhyphen"/>fos eſſe Pegaſus, &amp; Nerva filius re<g ref="char:EOLhyphen"/>ſponde<g ref="char:EOLhyphen"/>runt. <hi>L.</hi> 2. <hi>de iis qui notantur infamia.</hi>
               </note> Thoſe that enter the Liſts for the ſake
of Gain, or appear upon the Stage for
Reward, are infamous, ſays <hi>Pegaſus,</hi> and
<hi>Nerva</hi> the Son.</p>
            <p>Here 'tis plain that 'twas not the na<g ref="char:EOLhyphen"/>ture
of their Profeſſion that drew the
cenſure upon 'em, but the condition of
their exerciſing it, which was for hire,
whereby they became <hi>Mercenaries.</hi>
This diſgrace, affecting only the <hi>Mer<g ref="char:EOLhyphen"/>cenary</hi>
Actors, reflects no way upon the
<hi>Poets</hi> of the <hi>Drama,</hi> and their Perfor<g ref="char:EOLhyphen"/>mances.
For had they been ſcandalous,
'tis not to be imagin'd, that ſo many of
the greateſt men that ever <hi>Rome</hi> bred,
and the tendereſt of their honour,
wou'd have amus'd themſelves about
Works, in which they muſt have em<g ref="char:EOLhyphen"/>ploy'd
abundance of Time, Learning,
and Judgment, to forfeit their Repu<g ref="char:EOLhyphen"/>tation
and Dignity.</p>
            <p>
               <hi>Scipio Africanus</hi> and <hi>Laelius</hi> were<note place="margin">
                  <hi>Scipio</hi> and <hi>
                     <gap reason="illegible" resp="#TECH" extent="2 letters">
                        <desc>••</desc>
                     </gap>lius</hi> Writers to the Stage, <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>r aſſiſting to it.</note>
publickly ſuſpected to have aſſiſted
<hi>Terence</hi> in the compoſition of his Plays;
and the Poet, when tax'd with it, is ſo
<pb n="81" facs="tcp:54591:58"/>
far from vindicating his great Patrons,
(which had it been matter of reproach
and diminution of honour to thoſe no<g ref="char:EOLhyphen"/>ble
Perſons, he certainly would have
done) that he does in a manner con<g ref="char:EOLhyphen"/>feſs
the charge to be true, and with a
dexterity, in which he was ſingularly
happy, converts what was intended as
an imputation, to a complement upon
himſelf, and values himſelf more upon
the condeſcenſion, and friendſhip of
men of their high Character and Station,
than upon the merit of his performance;
which, this objection was rais'd to
leſſen, by dividing the honour.</p>
            <p>
               <hi>Julius</hi> and <hi>Auguſtus Caeſar,</hi>
               <note place="margin">Julius <hi>and</hi> Auguſtus Caeſar, <hi>and</hi> Seneca, <hi>&amp;c.</hi>
               </note> are both
ſaid to have buſied themſelves at va<g ref="char:EOLhyphen"/>cant
hours in Tragedy; and even <hi>Se<g ref="char:EOLhyphen"/>neca</hi>
the Philoſopher. However, Mr
<hi>Collier<g ref="char:punc">▪</g>
               </hi> has lately ſeduc'd him over to
his Party, and made a Malecontent of
him, was once very well contented,
and eaſy at a Play, and that too, not
a ſober <hi>Tragedy</hi> or <hi>Comedy,</hi>
               <note n="*" place="margin">In me<g ref="char:EOLhyphen"/>ridianum Spectacu<g ref="char:EOLhyphen"/>lumincidi luſus Spec<g ref="char:EOLhyphen"/>tans, &amp; ſa<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>les, &amp; aliquid Laxamenti Epiſt. 7.</note> but one of
their <hi>Noonday Drolls,</hi> a kind of their
<hi>Ludi Senici,</hi> more wretched and con<g ref="char:EOLhyphen"/>temptible,
than our <hi>Smithfield Farces,</hi>
and leſs modeſt. Yet his Gravity was
it ſeems refreſh'd by it, tho he's grown
<pb n="82" facs="tcp:54591:59"/>
ſo very ſqueamiſh, ſince his acquain<g ref="char:EOLhyphen"/>tance
with Mr <hi>Collier</hi> that it would be a
h<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>rd matter to reconcile <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> to a grave
<hi>Tragedy,</hi> tho of his own Wri<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ing (be<g ref="char:EOLhyphen"/>fore
his rigid new friend, Mr <hi>Collier</hi>)
ſome of which are ſuppos'd to be yet
extant amongſt his Name ſake<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>s Collecti<g ref="char:EOLhyphen"/>on
of <hi>Tragedies.</hi>
            </p>
            <p>
               <hi>Brutus,</hi> who left behind him (not<g ref="char:EOLhyphen"/>withſtanding
his fatal engagement in
the aſſaſſination of <hi>Caeſar,</hi>) as high an
Idea of his Virtue, and as a perfect
character of an excellent moral m<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>n, as
even <hi>Ca<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>o</hi> himſelf, was as great an ad<g ref="char:EOLhyphen"/>mirer
and encourager of the <hi>Drama,</hi> as
any <hi>Roman</hi> of 'em all. And <hi>Tully</hi> him<g ref="char:EOLhyphen"/>ſelf,
who had as much Vanity and Pride
as any man breathing, thought it no
diminution of his dignity and character,
to contract an intimate friendſhip with
<hi>Roſcius</hi> an Actor, and publickly to
eſpouſe his Intereſt, and defend his
Cauſe, which a man of his vanity and
caution would not have done, had the
Cenſure of that Law upon his Profeſ<g ref="char:EOLhyphen"/>ſion,
any way affected in the publick
eſteem the reputation of thoſe among
'em, that had any perſonal merit, as
<hi>Roſcius, AEſopus,</hi> and ſome others.</p>
            <p>
               <pb n="83" facs="tcp:54591:59"/>
But tho theſe, and many others of
the moſt eminent among the <hi>Romans,</hi>
were avow'd Patrons, and the ſup<g ref="char:EOLhyphen"/>pos'd
at leaſt, if not the real Author
of many of their Dramatick Pieces, yet
our <hi>Remarker</hi> finds, that in the time
of <hi>Theodoſius</hi> all ſorts of Players did
not come up to the Reputation of thoſe
Great Men,<note place="margin">Law of the <hi>Theodoſi<g ref="char:EOLhyphen"/>an Code</hi> conſidered.</note> and make the top figures
of their time, and therefore he claws
'em away with another ſwinging Au<g ref="char:EOLhyphen"/>thority.</p>
            <p>In the <hi>Theodoſian Code,</hi> Players are
call'd <hi>Perſonae inhoneſtae,</hi>
               <note place="margin">P. 241.</note> that is, to
tranſlate it ſoftly, perſons maim'd and
blemiſh'd in their Reputations. Their
<hi>Pictures</hi> might be ſeen at the Playhouſe,
but were not permitted to hang in any
creditable<note n="*" place="margin">In loco honeſto.</note> place of the Town.</p>
            <p>So ſays Mr <hi>Collier,</hi> but the Emperors
<hi>Theodoſius, Arcadius,</hi> and <hi>Honorius,</hi> by
the Authority of whom this Law was
enacted and continued in force, were
ſomewhat leſs ſevere, and ſomething
more particular, and this Gentleman<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>s
Verſion of that Law, however ſoft he
may pretend it to be, is no very fair
one. Faithfully render'd it runs thus.</p>
            <p>
               <pb n="84" facs="tcp:54591:60"/>
If,<note n="*" place="margin">Siqua in publicis Porticibus, vel in his Civitatum locis, in quibus noſtrae ſolent I<g ref="char:EOLhyphen"/>magines conſecrari pictura <gap reason="illegible" resp="#TECH" extent="3 letters">
                     <desc>•••</desc>
                  </gap>cmi<g ref="char:EOLhyphen"/>mum veſt<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> hum<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>i, &amp; rugoſis ſi<g ref="char:EOLhyphen"/>nubus Agitatorem, aut vilem offerat Hiſtrionem, illico revellatur: ne<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> unquam, poſt hac liceat in loco honeſto perſonas in honeſtas ad no<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>are. In aditu vero Circi, vel in Theatri proſceniis ut collocen<g ref="char:EOLhyphen"/>tur, non vetamus, <hi>L. Siqua. Cod. de Spectac.</hi>
               </note> in the publick Porches, or other
Places of the City where Statues uſe to be
dedicated to us, the Picture of any mean
habited Pantomime and Charioteer with
his ruffled Garment, or baſe Droll Actor
be put up, let it be immediately pull<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d
down: nor ſhall it be lawful for the future
to repreſent perſons of ſuch deſpicable Cha<g ref="char:EOLhyphen"/>racters
in places of honour. But in the
entrance of the <hi>Circus,</hi> or before the Stage
of the Theatres they may be allow'd.</p>
            <p>This,<note place="margin">Meaning of the <hi>The<g ref="char:EOLhyphen"/>odoſian</hi> Law.</note> when produc'd faithfully, and
at length, is a worſhipful Authority for
Mr <hi>Collier<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>s</hi> purpoſe, and the <hi>Strowlers</hi>
all over the Kingdom muſt needs be
extreamly mortified, when they reflect
upon this Article, and find, that they
are not yet ſo proper Companions for
the King, as to be <hi>hail fellow, well met</hi>
with him at a Publick Entry, or Au<g ref="char:EOLhyphen"/>dience.
Theſe Emperours, it ſeems,
thought it a ſort of Indignity to have
every Scoundrel <hi>Hackney Coachman,
Antick Tumbler,</hi> or <hi>Droll Actor</hi> ſet up
<pb n="85" facs="tcp:54591:60"/>
in Effigie by their own Statues, which
in the times of Paganiſm were the ob<g ref="char:EOLhyphen"/>jects
of Solemn Worſhip, and after<g ref="char:EOLhyphen"/>wards
of the higheſt veneration imagi<g ref="char:EOLhyphen"/>nable
below it. They thought it a
derogation to Majeſty (as well they
might) to have objects of ridiculous
mirth and ſcorn plac'd ſo near 'em,
and that the tickling to laughter,
which theſe produc<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d in the people,
wou'd leſſen the awful Reſpect and
Reverence expected to be paid to the
other.</p>
            <p>But not to carry matters ſo high;<note place="margin">Parallel inſtances.</note>
If any one ſhou<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d take a fancy to ſet
<hi>Tom Dogget</hi>'s Effigies in his Sailors
dreſs, familiarly cheek by jole in the
ſame, or the next Niche to the King
upon the <hi>Exchange</hi> (tho that ben<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>t ſo
ſolemn a place of honour to our Kings,
as the <hi>Roman Porticus</hi> to their Empe<g ref="char:EOLhyphen"/>rors)
I ſuppoſe it wou<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d be reſented as
an affront, and be by order pull'd
down. But if any man ſhould take a
fancy to the ſign of the <hi>King<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>s Head,</hi>
and his next Neighbour to Mr <hi>Be<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ter<g ref="char:EOLhyphen"/>ton</hi>'s,
I hardly think there would come
any order from <hi>Whitchall</hi> to demoliſh
or Lamb-black the Sign. And tho per<g ref="char:EOLhyphen"/>haps
<pb n="86" facs="tcp:54591:61"/>
the two firſt may actually be found
at <hi>Murray<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>s</hi> or ſome other eminent
Limners in the ſame Room yet I fan<g ref="char:EOLhyphen"/>cy
the Painter will hardly incur the
penalty of <hi>Crimen laeſae Majeſtatis,</hi> tho
he ſhould happen to have drawn 'em
both with the ſame Pencil too. Princes,
tho very zealous and tender of their
honour, (as they have reaſon to be)
yet are not half ſo nice and ſcrupulous
as Mr <hi>Collier.</hi> Theſe inſtances are ex<g ref="char:EOLhyphen"/>actly
parallel to, and ſhew the dif<g ref="char:EOLhyphen"/>ference
between the drift of the <hi>Theo<g ref="char:EOLhyphen"/>doſian
Code,</hi> and of his extravagant Pa<g ref="char:EOLhyphen"/>raphraſe,
which having already given
the words of, I leave the Reader to
judge of the Intention.</p>
            <p>His inſtances from our <hi>Engliſh</hi> Sta<g ref="char:EOLhyphen"/>tutes
and the Petition of his Godly Ci<g ref="char:EOLhyphen"/>tizens,
I ſhall take no notice of, both
becauſe I find it ſufficiently done al<g ref="char:EOLhyphen"/>ready
to my hands, and becauſe I
think em nothing to his purpoſe, as I
think indeed of the greateſt part of what
I have already examined; but hither<g ref="char:EOLhyphen"/>to
they ſeem'd to carry a face of
Learning and Authority, which might
miſlead the unlearnd, or ſurprize the
unwary, if they were not warn'd in
<pb n="87" facs="tcp:54591:61"/>
time of his diſingenuity in Quota<g ref="char:EOLhyphen"/>tion.</p>
            <p>His Authorities drawn from the ſe<g ref="char:EOLhyphen"/>veral
<hi>Canons</hi> of ſome <hi>Councils,</hi>
               <note place="margin">Authori<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ies from the Councils already anſwere<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>d.</note> are lia<g ref="char:EOLhyphen"/>ble
to the ſame reprehenſion with the
reſt of his Citations. But I am willing
to compound with my Reader for my
paſt prolixity, and to diſmiſs 'em with<g ref="char:EOLhyphen"/>out
any further trouble, or examinati<g ref="char:EOLhyphen"/>on;
eſpecially ſince the formal Reaſons
of em are contain<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d in the Objections
from the <hi>Fathers,</hi> and already anſwerd
there. Since therefore the Idolatry,
Lewdneſs, and Cruelty of the <hi>Roman</hi>
Shews, (which provok<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d the indignati<g ref="char:EOLhyphen"/>on
of the Fathers, and the cenſure of
thoſe Councils) are baniſht our Stage,
I ſee no reaſon, why the Batteries, that
were rais'd only to demoliſh them,
ſhou'd be continu'd againſt it. But
Mr <hi>Collier,</hi> and the Biſhop of <hi>Arras</hi> are
gotten into Confederacy, and are re<g ref="char:EOLhyphen"/>ſolv'd,
that tho the Theatres have long
ſince perform<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d their Articles on their
parts, not to allow 'em the benefit of
the Capitulation, and ſurprizing 'em,
lull'd into ſecurity by a long ceſſation
of Arms, to raze 'em utterly to the
ground.</p>
            <p>
               <pb n="88" facs="tcp:54591:62"/>
               <hi>Delenda eſt Carthago,</hi>
               <note place="margin">Quarrel to the Stage unjuſt.</note> was the word,
the ruin of the Stage was agreed upon
between 'em, but they wanted a fair
pretence of quarrel; and therefore
General <hi>Collier</hi> publiſhes a tedious <hi>Ma<g ref="char:EOLhyphen"/>nifeſto,</hi>
fill'd with ſpecious pretexts, to
give a colour to his proceedings, and
at the ſame time makes his Invaſion.
His quarrel to the Stage is like that of
the Wolf to the Lamb, when the Prey
was ready, the varniſh of Juſtice was
but a formality, that ſerv'd like a Hy<g ref="char:EOLhyphen"/>pocrite's
Grace, to make his Meal the
more decent; when the perſonal ac<g ref="char:EOLhyphen"/>cuſation
proves too light, the Family
differences are thrown into the Scale,
and he runs 1500 years backward to
make weight. Thus he makes a true
<hi>Italian</hi> grudge of it, no change of Air,
or Soil can can make it degenerate, but
it remains entail'd upon the Poſterity,
aud ſucceſſors of thoſe, between whom
it firſt began, tho the true reaſon why
it ever began, were long ſince ceas'd,
and perhaps forgotten.</p>
            <p>But after he has, like a hot mettled
Car, with a bad Noſe, over-run the
Scent, and cry'd it falſe thro all the
<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ields of Antiquity, he begins to be
<pb n="89" facs="tcp:54591:62"/>
afraid of being whipt home, and there<g ref="char:EOLhyphen"/>fore
begins to draw towards it of him<g ref="char:EOLhyphen"/>ſelf.
He's ſenſible, that the compariſon
betwixt the <hi>Roman</hi> and <hi>Engliſh</hi> Stages
will not hold water, and to anſwer
the leaks, he begins to ply the Pump,
in order to keep it afloat, but it works
as hard, and refunds as little as a Uſu<g ref="char:EOLhyphen"/>rers
Conſcience.</p>
            <p>But it may be objected,<note place="margin">P. 277.</note> is the Reſem<g ref="char:EOLhyphen"/>blance
exact between old <hi>Rome</hi> and <hi>Lon<g ref="char:EOLhyphen"/>don?</hi>
will the Parallel hold out, and has
the <hi>Engliſh Stage</hi> any thing ſo bad as the
<hi>Dancing</hi> of the Pantomimi? I don't ſay
that. The <hi>Modern Geſtures,</hi> tho bold, and
lewd too ſometimes, are not altogether ſo
ſcandalous as the <hi>Roman.</hi> Here then we
can make 'em ſome little abatement.</p>
            <p>Ay!<note place="margin">Ancient Stage infi<g ref="char:EOLhyphen"/>nitely more ſcandalous, and lewd than the Modern.</note> is that your Conſcience? can
you make but little abatemant? I find
you've a Stomach like a Horſe, nothing
riſes upon it, let it be never ſo provo<g ref="char:EOLhyphen"/>king
either, for quantity or quality.
Dancing naked with Geſtures, expreſ<g ref="char:EOLhyphen"/>ſive
of Lewdneſs between both Sexes
at a time, and publick and open pro<g ref="char:EOLhyphen"/>ſtitutions
in the repreſentations of the
Rapes and Adulteries of their Gods,
were frequently the diverſions of the
<pb n="90" facs="tcp:54591:63"/>
               <hi>Roman</hi> Theatres. All theſe provoke
no Qualms in him; he can ſcarce make
any abatement. What wou'd a queaſie
Stomach'd Atheiſt give for his di<g ref="char:EOLhyphen"/>geſtion.</p>
            <p>But where's the Boldneſs,<note place="margin">Stage dan<g ref="char:EOLhyphen"/>cing as now practiced inoffenſive to Modeſty.</note> and Lewd<g ref="char:EOLhyphen"/>neſs
of the Modern Geſtures; which
Mr <hi>Collier</hi> makes bold to charge 'em
with? I dare anſwer for the Audience,
that cou'd they find any ſuch thing in
our Dancing, they wou'd be ſo much
more reaſonable than he, that they
wou'd part with all that part of the
Entertainment. But perhaps he ſuſ<g ref="char:EOLhyphen"/>pects
ſome intentional Lewdneſs,
which is not expreſſed any way, and
thinks that Monſieur <hi>L'Abbe</hi> is fallen into
Sir <hi>Fopling Flutter's</hi> ſtratagem, and is ſpa<g ref="char:EOLhyphen"/>ring
of his Vigour in private, only to be
laviſh of it in publick, and thinks no
one Woman worth the loſs of a Cut in
a Caper, which is deſigned to make
his Court to the whole Sex. This in<g ref="char:EOLhyphen"/>deed
is a dangerous deſign, and the
diſcovery is worth Mr <hi>Collier</hi>'s time and
pains, tis a Plot upon the Virtue of
the whole Sex; therefore if he has
any ſuch thing in the Wind, e<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>en let
him follow his noſe, and cry it away as
loud as he pleaſes.</p>
            <p>
               <pb n="91" facs="tcp:54591:63"/>
Well, but he begins to relent again
already, theſe wamblings are a certain
ſign of Breeding, he's in a longing con<g ref="char:EOLhyphen"/>dition,
that's plain. Come t'other
ſtrain Sir, and up with't. So now it's
out.</p>
            <p>And to go as far in their <hi>Excuſe</hi> as we
can,<note place="margin">P. 277.</note> 'tis probable their <hi>Muſick</hi> may not
be altogether ſo exceptionable as that of the
<hi>Antients.</hi>
            </p>
            <p>Really Sir this is very kind, and con<g ref="char:EOLhyphen"/>deſcending.<note place="margin">Mr <hi>Coll's</hi> Notion of the extra<g ref="char:EOLhyphen"/>vagant Power of Muſick ri<g ref="char:EOLhyphen"/>diculous.</note>
But do you truly, and
from your heart think, that our Theatre
Muſick is not altogether ſo pernicious,
as the Muſick of the Antients? Now
were I as croſs, and captious as a Stage
Reformer, and as full of Mr. <hi>Collier</hi>'s
own Devil of Oppoſition, as himſelf,
I cou'd raiſe his, and divert the Spleen
of other People. But Foolery apart, I
deſire to know wherein conſiſts
this imaginary Force of Muſick,<note place="margin">
                  <hi>Collier</hi>'s Moral Eſ<g ref="char:EOLhyphen"/>ſay Vol. 2d P 21 <hi>Ib. P.</hi> 22.</note> that
<hi>Charms, and Tranſports, Rufflles, and
Becalms, and Governs, with</hi> ſuch <hi>an
arbitrary Authority,</hi> that can make
<hi>drunken Fellows, as ſoler, and ſhame-faced,
as one wou<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>d wiſh.</hi> If he can tell
me this, <hi>erit mihi magnus Apoll,</hi> or,
what's but one remove from him, firſt
<pb n="92" facs="tcp:54591:64"/>
               <hi>Knight</hi> of his own order of the <hi>Welch
Harp.</hi> Our Fiddlers find to their coſt
ſometimes the want of this coercive
power, but perhaps they can't play a
<hi>Dorion,</hi> and for that piece of Igno<g ref="char:EOLhyphen"/>rance
deſerve the Fate they ſometimes
meet with, when they unluckily fall
into the Company of theſe <hi>Drunken
Fellows,</hi> and get their heads broke with
their own Fiddles, in return for their
Muſick. Yet to do the Gentleman all
the Juſtice, ay and the Favour too, that
we can, in return for his late Civility,
I muſt own, that I have ſeen at a Coun<g ref="char:EOLhyphen"/>try
Wake, or ſo, one of theſe Harm o<g ref="char:EOLhyphen"/>nious
Knights of the Scrubbado, or a
Melodious <hi>Rubber</hi> of <hi>Hair</hi> and <hi>Catgut,</hi>
lug a whole Pariſh of as arrant Logs,
as thoſe that danced after <hi>Orpheus,</hi>
by the Ears after him, to the next
empty Barn, frisking, and curvetting at
ſuch a frolickſom rate, that they could
ſcarce keep their Legs together; nay,
ſuch was the power of the Melody,
that even the ſolitary deſerted Gin<g ref="char:EOLhyphen"/>gerbread
Stalls wagged after; and
all this without the help of one illegal
ſtring, and but four very untunable
ones. What cou'd <hi>Timotheus,</hi> or even
<hi>Orpheus</hi> himſelf do more.</p>
            <p>
               <pb n="93" facs="tcp:54591:64"/>
However I wou'd not have the Gen<g ref="char:EOLhyphen"/>tleman
ſwell too much in the Pride of
his Victory, I wou'd not have him in<g ref="char:EOLhyphen"/>ſult
too ſoon. For, tho poſſibly theſe
<hi>Knights</hi> of the <hi>Harp</hi> and <hi>Catgut might
know,</hi>
               <note place="margin">Moral Eſſay vol. 2. P. 21.</note>
               <hi>how to arm a ſound, and put force
and Conqueſts in it,</hi> yet had there not
been a Favourable Conjuncture of Cir<g ref="char:EOLhyphen"/>cumſtances,
the Harmony, as charming
as it was, had not ſucceeced ſo mira<g ref="char:EOLhyphen"/>culouſly,
nor produc'd ſuch extatick
Raptures. For example, had this <hi>Deſ<g ref="char:EOLhyphen"/>cendant</hi>
from <hi>Orpheus</hi> ſurpriz'd 'em at a
time, when the <hi>Holyday</hi> Clothes were
laid up in <hi>Lavender,</hi> when the Hay, or
Harveſt was abroad, or the Snow upon
the Ground, and the Cattle wanted
Foddering, when the Calf was to be
ſuckled, and the Cheeſe to be ſet, he
might have thrummed his Harp out,
and cou'd no more have ſtirred thoſe
very Clods, that leapt as mechanically
before at the firſt twang, as if they had
been meer Machines (Inſtruments ſtrung,
and tuned to an Uniſone) then he
cou'd have raiſed the Turf, they trod
upon, by vertue of <hi>Ela,</hi> and <hi>F-ffaut.</hi>
The Critical Juncture miſt, <hi>Roger</hi> had
not jogged a foot out of his way, nor
<pb n="94" facs="tcp:54591:65"/>
               <hi>Madge</hi> out of her Dairy, they had been
as regardleſs of his Harmony, as a <hi>Lon<g ref="char:EOLhyphen"/>don</hi>
Milk Maid, after the firſt week in
<hi>May;</hi> 
               <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> 
               <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ntient <hi>Britto<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>
               </hi> 
               <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> as eaſily
have been charmed from his ſcrubbing
Poſt.</p>
            <p>There are indeed certain opportuni<g ref="char:EOLhyphen"/>ties
to be found by thoſe that skilfully
watch 'em,<note place="margin">Power of Mu<g ref="char:EOLunhyphen"/>ſick owing to contin<g ref="char:EOLhyphen"/>gent cir<g ref="char:EOLhyphen"/>cumſtances.</note> wherein Mens Souls are to
be taken by ſurprize, wherein they give
themſelves up wholly to the direction
of their Senſes, when Reaſon tired
with perpetual mounting the Guard,
quits her Poſt, and leaves 'em to be
drawn away by every delightful Ob<g ref="char:EOLhyphen"/>ject,
every pleaſing Amuſement. At
theſe times Sound, Colour, Taſte, and
Smell have all an unuſual Influence; a
Face, a Voice, or any thing elſe, that
gives us pleaſure for the time, Com<g ref="char:EOLhyphen"/>mands
us, and we are hurried, like
Men in Dreams, we know not how,
nor whither. Yet this is eaſily ac<g ref="char:EOLhyphen"/>counted
for, without recourſe to natural
Magick, or any ſuitable Power in thoſe
Agents, that work upon us. Our
Souls are at theſe times, like Veſſels
adrift, at the mercy of Waves and
Winds, from what corner ſoever they
<pb n="95" facs="tcp:54591:65"/>
blow; our Senſes are the Compaſs they
ſail by, from whence thoſe Blaſts of
Paſſion come, that drive us ſo uncer<g ref="char:EOLhyphen"/>tainly
about, but 'tis without any pecu<g ref="char:EOLhyphen"/>liar
inherent force of Direction more in
one point than another.</p>
            <p>Thus far Muſick,<note place="margin">Influence of ſounds in<g ref="char:EOLhyphen"/>determi<g ref="char:EOLhyphen"/>nate.</note> as well as other
things that gives us delight, and flatter
the Senſes, may influence us. It may
when we are under a lazy diſpoſition of
mind, produce a degree of ſatisfaction
ſomething above Indolence, but the
motions of it are languid and indetermi<g ref="char:EOLhyphen"/>nate,
that incline us only to an unactive
eaſineſs of mind, a barren Pleaſure,
that dies without Iſſue, with the
Sounds that begat it; ſo little danger is
there that <hi>it ſhou'd be in the power of a
few mercenary Hands,</hi>
               <note place="margin">P. 279.</note> 
               <hi>to play the People
out of their Sences, to run away with their
underſtanding, and wind their Paſſions
about their Fingers, as they liſt.</hi> I ſup<g ref="char:EOLhyphen"/>poſe
few will take it upon this Gentle<g ref="char:EOLhyphen"/>mans
word, that <hi>Muſick is almoſt as dan<g ref="char:EOLhyphen"/>gerous,
as Gunpowder; and requires no leſs
looking after, than the Preſs or the Mint.</hi>
            </p>
            <p>This Gentleman ſure has a Noiſe of
Muſick in his head, that has put the
Stumm in his Brain into a Ferment, and
<pb n="96" facs="tcp:54591:66"/>
cauſed it to work over into all this win<g ref="char:EOLhyphen"/>dy
fancy and froth. He has been a Tale-gathering
among the Antients, and
wou<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d put his Romantick Rhapſody
upon us for Authentick. But what is
yet more unreaſonable is, that without
offering one Argument to prove either
the reaſonableneſs of his Opinion, or
the reality of his Inſtances, he dogma<g ref="char:EOLhyphen"/>tically
aſſerts things monſtrouſly, ex<g ref="char:EOLhyphen"/>ceeding
the ſtretch of the moſt capacious
faith, and yet expects that, which
alone is ſufficient to deſtroy the credit
of things infinitely more probable, the
vaſt diſtance of time ſhou'd warrant the
truth of them. As if he believed all
Mankind to be proſelyted to the Para<g ref="char:EOLhyphen"/>dox
of a certain Father <hi>certum eſt quia
impoſſibile.</hi>
            </p>
            <p>But if the Power of the Antient Muſic
was ſo great, as he would perſwade us, cer<g ref="char:EOLhyphen"/>tainly
<hi>Timotheus</hi> was a Fool for ſuffering
<hi>his harp to be ſeized for having one ſtring
above publick Allowance.</hi>
               <note place="margin">P. 280. p. 179.</note> For if <hi>altering
the notes, were the way to have the Laws
repealed, and to unſettle the Conſtitution,</hi>
he might with a twang, inſtead of ta<g ref="char:EOLhyphen"/>king
a ſtring from his Harp, have put
one about the Magiſtrates Neck, and
<pb n="97" facs="tcp:54591:66"/>
for a Song have ſet himſelf at the head
of Commonwealth. But this Author,
who is all along a <hi>Platoniſt</hi> in his Phi<g ref="char:EOLhyphen"/>loſophy,
is in this point an arrant Bigot.
The whole ſcheme and ſtrain of the
Platonick Philoſophy,<note place="margin">The Author a Platoniſt.</note> is very roman<g ref="char:EOLhyphen"/>tick
and whimſical, and like our Au<g ref="char:EOLhyphen"/>thor's
works, ſavours in every particu<g ref="char:EOLhyphen"/>lar
more ſtrongly of Fancy than Judg<g ref="char:EOLhyphen"/>ment,
yet in nothing more, than in the
imaginary power of Harmony, to which
he aſcrib<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d the Regulation, and Go<g ref="char:EOLhyphen"/>vernment
of the Univerſe, and other
Powers more fantaſtical and extrava<g ref="char:EOLhyphen"/>gant,
than that of the <hi>Pythagorean</hi>
numbers.</p>
            <p>Now were I in as croſs a mood, and
as much at leiſure to be impertinent as
this Admirer of the Antient Muſick,
who has ventur'd to affirm it as <hi>certain,</hi>
               <note place="margin">Moral Eſ<g ref="char:EOLhyphen"/>ſay, Vol. 2. <hi>P.</hi> 23.</note>
               <hi>that our Improvements of this kind, are
little better than Ale-houſe Crowds, with
reſpect to theirs.</hi> I cou'd with a cër<g ref="char:EOLhyphen"/>tainty
of Evidence, next to Demonſtra<g ref="char:EOLhyphen"/>tion,
maintain juſt the Reverſe of his
Aſſertion, and prove that the Muſick
of the Antients fell infinitely ſhort of
the Modern in point of perfection, as
well in Theory as Practice, and that,
<pb n="96" facs="tcp:54591:67"/>
               <gap reason="duplicate" extent="1 page">
                  <desc>〈1 page duplicate〉</desc>
               </gap>
               <pb n="97" facs="tcp:54591:67"/>
               <gap reason="duplicate" extent="1 page">
                  <desc>〈1 page duplicate〉</desc>
               </gap>
               <pb n="98" facs="tcp:54591:68"/>
waving the fabulous accounts, (which
none but an Enthuſiaſtick Bigot can
ſeriouſly inſiſt upon) all our Memoirs
from Antiquity will ſcarce make the
Harps of <hi>Orpheus</hi> and <hi>Arion, &amp;c.</hi> to
triumph over a Jew's Harp, or Rival a
<hi>Scotch</hi> Bagpipe.</p>
            <p>But after all,<note place="margin">Not ac<g ref="char:EOLhyphen"/>quainted with the Subject he treats of.</note> it ſeems that he has
been raving all this while in Pedantick
Bombaſt, at he knows not what. He
confeſſes that he is not acquainted with
the <hi>Play-Houſe Muſick,</hi> and that he
is no competent Judge.<note place="margin">P. 278.</note> 
               <hi>I don't ſay
this part of the Entertainment is directly
vitious, becauſe I am not willing to cen<g ref="char:EOLhyphen"/>ſure
at <g ref="char:V">Ʋ</g>ncertainties.</hi> How long, I
wonder, has he been thus modeſt? had
he been thus tender all along, he had
ſuppreſs'd his whole Book, and the
truth had ſuffer'd nothing by the loſs of
it. But in earneſt, is he deaf? or does
he wax up his ears when he goes to a
Play, as (he ſays) <hi>
                  <g ref="char:V">Ʋ</g>lyſſes</hi> did, when he
ſail'd by the <hi>Syrens?</hi> No, neither; but,
if we may believe him,<note place="margin">P. 278.</note> he never comes
there. <hi>Thoſe that frequent the Play-houſe
are the moſt competent Judges.</hi> Why
that's honeſtly ſaid, they are ſo; keep
but to this, and there's ſome hope of
<pb n="99" facs="tcp:54591:68"/>
an accommodation. But alas! tho his
zeal is a little Aguiſh now, the hot <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>it
comes on apace, and then right or
wrong, <hi>He muſt ſay, that the performances
of this kind are much too fine for the
place.</hi>
               <note place="margin">Ibid.</note>
            </p>
            <p>Tho he has never heard of one,<note place="margin">His charge raſh.</note> nor
ſeen t'other, yet he cries hang ſcruples,
the Muſick muſt be bawdy, Atheiſtical
Muſick, and the dancing <hi>bold and lewd
too ſometimes.</hi> Now whether he means
that the <hi>Fiddler</hi> himſelf is an Infidel of
a <hi>Fiddler,</hi> or that he has an unbelieving
<hi>Crowd,</hi> he is deſir'd to explain; for
they are both left to be catechiz'd by
him. But as for the ſounds produc'd
betwixt them, care has been already
taken to clear 'em, not only from guilt,
but from all manner of meaning what<g ref="char:EOLhyphen"/>ſoever.
As for the dancing, which he
calls bold, it may in one ſenſe be al<g ref="char:EOLhyphen"/>low'd
him; for it muſt be granted, that
he that ventures his neck to dance up<g ref="char:EOLhyphen"/>on
the top of a Ladder, is a very bold
Fellow. If this conceſſion be of any
uſe to him, 'tis at his ſervice, whether
the fraternity of Rope-dancers take it
well at my hands or not. But for the
Lewdneſs, I muſt remind him of his
<pb n="100" facs="tcp:54591:69"/>
appeal to <hi>thoſe who frequent the Play-houſes,</hi>
(whom he allows to be) <hi>the moſt
competent Judges.</hi> But as their Judg<g ref="char:EOLhyphen"/>ment
in theſe matters appears to be in<g ref="char:EOLhyphen"/>diſputable,
ſo the modeſty of the better
part of 'em at leaſt, (I mean the Ladies)
who are the particular favourers of this
part of the entertainment, is unqueſti<g ref="char:EOLhyphen"/>onable.
Their countenance therefore
in ſo plain a matter, which being a
queſtion of fact, admits of no other de<g ref="char:EOLhyphen"/>ciſion,
ought to be lookt upon as a defi<g ref="char:EOLhyphen"/>nitive
Judgment againſt him, and a ſuf<g ref="char:EOLhyphen"/>ficient
vindication of our <hi>Stage-dan<g ref="char:EOLhyphen"/>cing.</hi>
            </p>
            <p>I ſhould here diſmiſs this point with<g ref="char:EOLhyphen"/>out
further debate,<note place="margin">Compara<g ref="char:EOLhyphen"/>tive Mora<g ref="char:EOLhyphen"/>lity of the Vocal Muſic of the An<g ref="char:EOLhyphen"/>tient and Modern Stages.</note> if I did not find him
cloſing it on his ſide with a notorious
falſe aſſertion concerning the compara<g ref="char:EOLhyphen"/>tive
Morality of the vocal Muſick of the
Ancient and Modern Stages, which, not
deſigning to reſume this branch of the
Controverſie any more, I am bound here
to take notice of, and rectifie.</p>
            <p>If the <hi>Engliſh</hi> Stage is more reſerv'd
than the <hi>Roman</hi> in the caſe above-men<g ref="char:EOLhyphen"/>tioned.<note place="margin">P. 280.</note>
If they have any advantage in
their <hi>Inſtrumental</hi> Muſick, they loſe it in
their <hi>Vocal.</hi> Their Songs are often ram<g ref="char:EOLhyphen"/>pantly
<pb n="101" facs="tcp:54591:69"/>
lewd, and irreligious to a flaming
exceſs. Here you have the <hi>Spirit,</hi> and <hi>Eſ<g ref="char:EOLhyphen"/>ſence</hi>
of Vice drawn off ſtrong ſcented,
and thrown into a little compaſs. Now the
<hi>Antients,</hi> as we have ſeen already, were in<g ref="char:EOLhyphen"/>offenſive
in this reſpect.</p>
            <p>Here again I am at a loſs to know
whether this is a fault of ignorance or
deſign. But be it whether he pleaſes,
the falſeneſs of his aſſertion is unpar<g ref="char:EOLhyphen"/>donably
ſcandalous; for whether he
has ventur'd to affirm beyond, or con<g ref="char:EOLhyphen"/>trary
to his knowledge, 'tis manifeſt
he did it with an intention to impoſe
upon his Readers, by aſſerting that
which he could not know to be true, if
he did not certainly know it to be
falſe.</p>
            <p>The Vocal Muſick of the Antient
Stage was of two ſorts,<note place="margin">Antient Vo<g ref="char:EOLhyphen"/>cal Muſick.</note> one whereof
was interſpers'd among their Drama<g ref="char:EOLhyphen"/>tick
Writings, and conſiſted of Hymns,
and Praiſes of their Gods, which were
ſung and danced by the Chorus to cer<g ref="char:EOLhyphen"/>tain
grave Aires and Meaſures. Here
indeed the Poets muſt have been more
impertinently and perverſely lewd, than
Mr <hi>Collier</hi>
               <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>s own corrupt imagination
can poſitively make the Moderns to be,
<pb n="102" facs="tcp:54591:70"/>
if they cou'd have found room for any
thing very indecent; tho an ill natur'd
Critick, with much leſs Gall or Strain<g ref="char:EOLhyphen"/>ing,
than Mr <hi>Collier</hi> has made uſe of,
might ſhew, that they were not ſo ab<g ref="char:EOLhyphen"/>ſolutely
inoffenſive,<note place="margin">Chorus, its office.</note> as he affirms. The
Chorus repreſented the Spectators, and
their buſineſs was to make occaſional
reflections upon the ſeveral incidents
and turn of the Fable, which was the
artificial Inſtrument, the Antient Poets
us'd to convey the Moral into the Au<g ref="char:EOLhyphen"/>dience,
and teach 'em what to think
upon ſuch occaſions, and how to behave
themſelves in reference to their Gods
and Religion, and were therefore ſup<g ref="char:EOLhyphen"/>pos'd
to ſpeak the ſenſe of the Poet, or
what at leaſt he deſir'd ſhould be taken
for ſuch. Now I dare anſwer for the
meaneſt of thoſe Poets, upon whom this
Author has made his reflections, that
taking our Eſtimate of their under<g ref="char:EOLhyphen"/>ſtandings
by his own diminutive ſurvey
of 'em, there is not amongſt 'em one
ſo arrant a Blockhead, as under
the circumſtances of the Antients to
have taken more liberty, than they
did.</p>
            <p>
               <pb n="103" facs="tcp:54591:70"/>
But if their Chorus was modeſt and
harmleſs enough; the other part of
their Stage Vocal Muſick will make am<g ref="char:EOLhyphen"/>ple
amends, and make the lewdneſs of
our Poets appear, as demure as a Qua<g ref="char:EOLhyphen"/>ker
at a ſilent meeting. The Antients
had luſtier Appetites, and ſtronger Dige<g ref="char:EOLhyphen"/>ſtions,
than the Moderns, and their Poets
cookt thei<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap> Meſſes accordingly, they did
not ſtand to make minc'd Meat, or ar<g ref="char:EOLhyphen"/>tificially
to ſteal in their Ribaldry, and
diſguiſe it in nice Ragou's after the mo<g ref="char:EOLhyphen"/>dern
way; they were for whole Ser<g ref="char:EOLhyphen"/>vices,
ſubſtantial Treats of Bawdy. Nor
do I find, that it recoil'd upon the
Stomachs of the generality of their
Gueſts for many Ages together. The
Reader I ſuppoſe will immediately gueſs
that I mean the <hi>Ludi Scenici,</hi>
               <note place="margin">Their Mi<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>i.</note> which
made the Amours of their Gods, and
Heroes their ſubject, in which the
lewdeſt actions were repreſented in the
lewdeſt manner, and ſung in the moſt
fulſome luſcious Verſe. Upon our
Stage no ſuch Practices are allow<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d, if a
light wanton thought happens to creep
into a Song, 'tis not ſuffer'd to ſhew
its face bare, but is preſently maskt,
and cloathed decently in Metaphor,
<pb n="104" facs="tcp:54591:71"/>
that many wou'd not ſuſpect the mo<g ref="char:EOLhyphen"/>deſty
of it, and even the moſt ſquea<g ref="char:EOLhyphen"/>miſh
can't take offence without offering
violence; for it comes into your Com<g ref="char:EOLhyphen"/>pany
like a baſhful young ſinner, ſhe's
civil company amongſt ſober people.</p>
            <p>The Antients, 'tis plain, were not by
abundance ſo ſcrupulous; if they had,
thoſe lewd Drolls had never been
compos'd, much leſs repreſented. But
they were for all naked, without the vail
of Figure or Dreſs, they requir<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d Nudities
in Speech, as well as Action, the Au<g ref="char:EOLhyphen"/>dience
went away with ſatisfaction, and
the Poet with applauſe.</p>
            <p>By this we may ſee, that our <hi>Stage</hi>
upon the compariſon is not ſo <hi>rampantly
lewd,</hi> as Mr. <hi>Collier</hi> repreſents it, nor
the ancient ſo inoffenſive. To dilate
upon this head, would be both impro<g ref="char:EOLhyphen"/>per
and impertinent; but theſe few
hints, which, all that are acquainted
with the practice of the <hi>Roman</hi> Stage,
know to be true, whether Mr <hi>Collier</hi>
does or not, may ſuffice to ſhew what
an unfair Adverſary the Stage has met
with; and to prove that he is not an
upright, or not a competent Judge of
theſe matters, in which he unauthoriz'd
<pb n="105" facs="tcp:54591:71"/>
undertakes to determine, and arro<g ref="char:EOLhyphen"/>gantly
obtrudes his falſe Judgment upon
us.</p>
            <p>Another of his objections to the Stage
in general,<note place="margin">P. 281.</note> 
               <hi>is their dilating ſo much up<g ref="char:EOLhyphen"/>on
the Argument of Love.</hi>
            </p>
            <p>Upon this article he is very laviſh of
his Rhetorick,<note place="margin">His Obje<g ref="char:EOLhyphen"/>ctions from the Topick of Love, a Declama<g ref="char:EOLhyphen"/>tory Rant.</note> and lays about him in
Tropes and Figures, he is got into his
old road of declamation, and poſts
Whip and Spur thro his Common
place upon the ſubject. His fancy,
like a Runaway-horſe, has got the Bit
between her Teeth, and ramps over
Hedge and Ditch, to the great danger
of his Judgment; no bars or fences of
ſenſe or reaſon can ſtop her Cariere, till
jaded and out of Wind ſhe flags of her
ſelf. Here then, let us come up with
him.</p>
            <p>I don't ſay the Stage fells all before 'em,
and diſables the whole Audience:<note place="margin">P. 282.</note> 'Tis a
hard Battle, where none eſcape. However,
their Triumphs and their Trophies are
unſpeakable. Neither need we much won<g ref="char:EOLhyphen"/>der
at the matter. They are dangerouſly
prepar'd for Conqueſt and Empire. There's
Nature, and Paſſion, and Life in all the
circumſtances of their Action. Their De<g ref="char:EOLhyphen"/>clamation,
<pb n="106" facs="tcp:54591:72"/>
their Mein, their Geſtures,
and their Equipage, are very moving and
ſignificant. Now when the Subject is
agreeable, a lively repreſentation, and a
paſſionate way of expreſſion, make wild
work, and have a ſtrange force upon the
Blood and Temper.</p>
            <p>What means all this unſeaſonable
Cry <hi>Fire,</hi>
               <note place="margin">Meer Fren<g ref="char:EOLhyphen"/>zy.</note> 
               <hi>Fire,</hi> where there is not ſo
much as a ſpark? If the Audience were
meer Tinder, they were out of danger.
Sure the Author had Wildfire in
his Brains, that the thoughts of the
Players could put him into ſuch
an uproar. 'Tis granted the Actreſſes
may appear to advantage upon the
Stage, and yet their <hi>Triumphs</hi> and
<hi>Trophies</hi> not be ſo unutterable neither.
For as <hi>dangerouſly</hi> as <hi>they are prepar'd for
Conqueſt and Empire,</hi> the higheſt of
their acqueſts, that I could ever hear
of, was a good keeping, which has
fallen to the ſhare of but a few of 'em;
when multitudes of their Sex have ar<g ref="char:EOLhyphen"/>riv'd
at greater matters without any
ſuch formidable preparations. How<g ref="char:EOLhyphen"/>ever,
here's <hi>Mein,</hi> and <hi>Equipage,</hi> and
the Author ſeems afraid, leſt the raw
Squires of the Pit ſhould take em for
<pb n="107" facs="tcp:54591:72"/>
               <hi>Quality</hi> in earneſt, and be dazled with
the luſtre of the ineſtimable Treaſure
of Glaſs, and Tinſel, and ſo catch the
real Itch of Love from their counter<g ref="char:EOLhyphen"/>feit
Scrubbado. And truly there's as
much reaſon to fear, they ſhou'd be
purſu'd for their Fortunes, as their
Love off the Stage.</p>
            <p>To anſwer this Rant of Whimſie
and Extravagance ſeriouſly, were as
ridiculous an undertaking as <hi>Hudibras</hi>'s
diſpute with the Managers of his Weſt
Country Ovation, and by the ſample
we have of our Antagoniſt, the iſſue
wou<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d probably be as cleanly. But if
any one thinks an anſwer to this charge
neceſſary, he may ſee as much as it
will bear, and more than it deſerves,
in a late Piece entitled, <hi>A Review of
Mr.</hi> Collier'<hi>s View,</hi> &amp;c.</p>
            <p>
               <hi>He has yet another charge upon the
Stage left,</hi>
               <note place="margin">P. 283.</note> 
               <hi>and that is their encouraging
of Revenge.</hi> What is more common than
Duels and Quarrelling, in their Cha<g ref="char:EOLhyphen"/>racters
of Figure? Thoſe Practices, which
are infamous in Reaſon, Capital in <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>aw,
and Damnable in Religion, are the Credit
of the Stage. Thus Rage and Reſentment,
Blood and Barbarity are almoſt deified;
<pb n="108" facs="tcp:54591:73"/>
Pride goes for Greatneſs, and Fiends and
Heroes are made of the ſame metal. And
thus the notion of Honour is miſ-ſtated,
the Maxims of Chriſtianity deſpiſed, and
the Peace of the World diſturb'd</p>
            <p>One would think he had found out
another paſſage in <hi>Valerius Maximus,</hi>
and that the <hi>Civilis Sangu<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>s</hi> was abroach
again. But <hi>Rome</hi> contented him then,
now nothing leſs than the Peace of the
whole World muſt be diſturb'd about
a Bawble. Sure he thinks all the World
of the <hi>Country-Wife's</hi> opinion, that <hi>the
Player Men are the fineſt folks in it.</hi>
            </p>
            <p>But ſo far is Revenge from being
encourag'd,<note place="margin">Revenge not encou<g ref="char:EOLhyphen"/>raged by the Stage.</note> or countenanc'd by the
<hi>Stage,</hi> that to deſire and proſecute it,
is almoſt always the mark of a <hi>Tyrant,</hi>
or a <hi>Villain,</hi> in <hi>Tragedy,</hi> and <hi>Poetick
Juſtice</hi> is done upon 'em for it; it is
generally turn'd upon their own heads,
becomes the ſnare in which they are
taken, and the immediate Inſtrument
of their miſerable <hi>Cataſtrophe.</hi> Thus in
the <hi>Mourning Bride, Don Manuel,</hi> to
glut his luſt of Revenge,<note place="margin">Inſtance in the mourn<g ref="char:EOLhyphen"/>ing Bride.</note> puts himſelf
into the Place and Habit of his unhappy
Priſoner, in order to ſurprize, betray,
and inſult his own pious, afflicted
<pb n="109" facs="tcp:54591:73"/>
Daughter, over the ſuppos'd Body of
her Murther'd Husband. In this po<g ref="char:EOLhyphen"/>ſture
Poetick Juſtice overtakes him,
and he is himſelf ſurpriz'd, miſtaken
for him whom he repreſented, and
ſtabb'd by a Creature of his own,
the villanous Miniſter of his Ty<g ref="char:EOLhyphen"/>ranny,
and his chief Favourite. No<g ref="char:EOLhyphen"/>thing
is more common than this ſort of
Juſtice in <hi>Tragedy,</hi> than which nothing
can be more diametrically oppoſite, or
a greater diſcouragement to ſuch bar<g ref="char:EOLhyphen"/>barous
Practices.</p>
            <p>
               <hi>Comedy</hi> indeed does not afford us
many inſtances of this kind;<note place="margin">Paſſion not proper in Comedy.</note> 
               <hi>Rage</hi> and
<hi>Barbarity</hi> are Crimes not cognizable by
her; they are of too deep a Dye, and
the Indictment againſt 'em muſt be pre<g ref="char:EOLhyphen"/>ferr'd
at another Bar. If ſhe admits of
any thoughts of Revenge, they muſt
be ſuch as ſpring from the loweſt Claſs
of Reſentments; that flow rather from
a weakneſs of Judgment, or a perverſe<g ref="char:EOLhyphen"/>neſs
of Temper in the Parties that con<g ref="char:EOLhyphen"/>ceive
'em, than from the Juſtice of the
Cauſe, or the greatneſs of the Provo<g ref="char:EOLhyphen"/>cation.
Accordingly they ought to
have no great malignity in 'em, they
ought to ſpend themſelves in little Ma<g ref="char:EOLhyphen"/>chinations,
<pb n="110" facs="tcp:54591:74"/>
that aim no farther than
the croſſing of an Intrigue, the break<g ref="char:EOLhyphen"/>ing
of a Match, <hi>&amp;c.</hi> and never to
break out into open violence, or ravage
in Miſchief. The Paſſions have little
to do in Comedy, every one there ac<g ref="char:EOLhyphen"/>cording
to his capacity acts by deſign,
or careleſsly gives himſelf up to his hu<g ref="char:EOLhyphen"/>mour,
and indulges his pleaſure and in<g ref="char:EOLhyphen"/>clinations.
This equality of temper of
Mind, with the diverſity of Humours,
is what makes the buſineſs of Comedy.
For while this general calm laſts, all
buſily purſue their ſeveral inclinations;
and by various ways practiſe upon one
another. And the Man of Pleaſure
follows his deſign upon the rich Knave's
Wife, or Daughter, while the other is
working into his Eſtate. The Cully is the
Sharper's Exchequer, and the Fop the
Paraſite's, or Jilt's, <hi>&amp;c.</hi> which, were
the Paſſions too much agitated, and
the Storm rais'd high, wou'd become
impracticable; the Commerce wou'd
be broken off, and the Plot wholly
fruſtrated. Beſides that both the
Thoughts and Actions of Men, very
much diſorder'd by Paſſion, or fill'd
with too deep Reſentments, are natu<g ref="char:EOLhyphen"/>rally
<pb n="111" facs="tcp:54591:74"/>
violent and outrageous, and ab<g ref="char:EOLhyphen"/>ſolutely
repugnant to the Genius, and
deſtructive of the End of Comedy.</p>
            <p>I grant that ſome Paſſions,<note place="margin">Love, Jea<g ref="char:EOLhyphen"/>louſie, <hi>&amp;c.</hi> how to be uſed in Co<g ref="char:EOLhyphen"/>medy.</note> ſuch as
<hi>Love, Jealouſie, Anger,</hi> are frequent<g ref="char:EOLhyphen"/>ly,
and ſometimes juſtly employ'd in
Comedy; but then they are to be kept
under, and muſt not be ſuffer'd to get
the Aſcendant, and domineer over Rea<g ref="char:EOLhyphen"/>ſon;
if they do, they are no longer
Comick Paſſions. Love muſt not car<g ref="char:EOLhyphen"/>ry
'em beyond Gallantry, and Gaiety
of Spirit in the Pride of Succeſs, nor
further than a light diſquiet, ſuch as
may excite their Induſtry, and whet
their Invention under diſappointments.
Jealouſie muſt not hurry 'em beyond
their Cunning, or make their Impati<g ref="char:EOLhyphen"/>ence
betray their Plot. Nor muſt their
Anger break out into Flames, and puſh
'em upon raſh unadvis'd Actions. Such
Revenges therefore, as are the reſult
of Paſſions ſo moderated, and circum<g ref="char:EOLhyphen"/>ſtantiated,
are allowable in Comedy;
which can never produce any ſuch ter<g ref="char:EOLhyphen"/>rible
effects, as to deſerve all theſe fu<g ref="char:EOLhyphen"/>rious
Claps of Thunder, which Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
has diſcharg'd upon 'em.</p>
            <p>
               <pb n="112" facs="tcp:54591:75"/>
               <hi>Horace</hi> indeed tells us, that Comedy
will raiſe its voice ſometimes, and
ſcold, and ſwagger violently.</p>
            <lg>
               <l>Interdum tamen &amp; Vocem Comoedia tollit,<note place="margin">Hor. Art. Poet.</note>
               </l>
               <l>Iratuſque Chremes tumido delitigat ore.</l>
            </lg>
            <p>But this very Inſtance ſhews,<note place="margin">Expoſition of <hi>Horace's</hi> Obſervati<g ref="char:EOLhyphen"/>on.</note> that the
Paſſion of Comedy ſhou'd proceed no
farther than Scolding, or Menaces. Nor
do theſe fit every one's mouth, a Father,
a Husband, or a Maſter, when they
conceive their Authorities to be out<g ref="char:EOLhyphen"/>rag'd,
may be allow'd to vent their
Indignation, to unload their Stomachs,
and in the diſcharge of their Choler to
break out into expreſſions of Threat<g ref="char:EOLhyphen"/>ning,
or Reproach. But this is not to
be allow'd upon ſlight Provocations, or
to every Perſon in Comedy, who by
their Place and Character can pretend
to no ſuch Power, or Authority. Theſe
Rants of Paſſion are not to be indulg'd
amongſt Equals in Comedy, much leſs
to Inferiours; becauſe ſuch provocati<g ref="char:EOLhyphen"/>ons
naturally produce effects too great,
and too like Tragedy.</p>
            <p>
               <hi>Chremes,</hi> in the <hi>Heautontimorumenos</hi>
of <hi>Terence,</hi> who is produc'd by <hi>Horace</hi>
               <pb n="113" facs="tcp:54591:75"/>
as an example of the heighth of Comick
Paſſion,<note place="margin">
                  <hi>Inſtance from</hi> Te<g ref="char:EOLhyphen"/>rence ex</note> was a Husband, a Father, and
a Maſter, injur'd (at leaſt in his own
Opinion) and abus'd in all theſe capa<g ref="char:EOLhyphen"/>cities
by his Wife, his Son, and his
Slave; his Authority ſlighted, and what
was worſe, his Underſtanding, (of which
he was not a little conceited) affronted,
and He practic'd upon, and made a
Cully of by his Son, and his Slave, e<g ref="char:EOLhyphen"/>ven
in the exaltation of his Wit, and
Cunning, by his own Plot and Manage<g ref="char:EOLhyphen"/>ment.
Theſe were provocations as high
as Comedy could well admit, and con<g ref="char:EOLhyphen"/>ſequently
the rage, which they muſt
naturally produce in a man of his Tem<g ref="char:EOLhyphen"/>per,
and Opinion of his own Pru<g ref="char:EOLhyphen"/>dence,
muſt be in proportion. Yet,
what follows? <hi>Chremes</hi> does not loſe
his Reaſon in his Anger,<note n="*" place="margin">Hic, ita ut liberos eſt <gap reason="illegible" resp="#TECH" extent="1 span">
                     <desc>〈…〉</desc>
                  </gap> con<g ref="char:EOLhyphen"/>tutabitur. Sed Sy<g ref="char:EOLhyphen"/>rum—Si vivo adeo exorna<g ref="char:EOLhyphen"/>tum dabo, adeo depexum, ut dum vivat meminerit ſemper mei: Qui ſibi me pro ridiculo, ac delectamento putat. Non (ita me Dio ament) auderet facere haec Viduae mulieri, Quae in me fecit.</note> 
               <hi>His Son</hi> (he
tells you) <hi>ſhall be reduc'd by Words to
Reaſon: But as for</hi> Syrus, <hi>that Rogue, that
had made him his Sport and his Laughing-ſtock,
he would take ſuch care of him, and
put him in ſuch a Trim, he ſhould not dare
<pb n="114" facs="tcp:54591:76"/>
to put his tricks upon a Widow hereafter,
as he had done upon him.</hi> What is there
in all this, that Mr <hi>Collier</hi> with all his
Scruples about him can quarrel with?
'Tis true, a Scene or two after he falls
upon his Son, in very opprobrious terms,
and calls him Drunkard, Blockhead,
Spendthrift, Rake-hell, <hi>&amp;c.</hi> But his
Fury ſpends itſelf in a few words, and
he comes immediately to compoſition
with his Son, and is eaſily wrought to
forgive even <hi>Syrus</hi> too, ſo that all his
fury is ſpent, not to revenge the affront
receiv'd, but to reclaim his Son.</p>
            <p>But Mr <hi>Collier</hi>'s Reſentments are of
another Nature;<note place="margin">
                  <hi>P.</hi> 283. Tragedy in the Judg<g ref="char:EOLhyphen"/>ment of <hi>A<g ref="char:EOLhyphen"/>riſtotle.</hi>
               </note> 
               <hi>Rage, Bloud</hi> and <hi>Bar<g ref="char:EOLhyphen"/>barity</hi>
are the Ingredients of 'em, and
conſequently they're no compoſition for
the Ingredients of <hi>Comedy;</hi> and <hi>Tra<g ref="char:EOLhyphen"/>gedy,</hi>
as we have already ſhewn, is no
encourager of 'em, but juſt the contra<g ref="char:EOLhyphen"/>ry.
I can't ſee how he can make 'em to
be of the proper growth of the Stage.
For <hi>Tragedy,</hi> by giving 'em ſo odious
a Dreſs and Air, and ſo calamitous a
Cataſtrophe, as it always does, takes the
moſt effectual courſe abſolutely to eradi<g ref="char:EOLhyphen"/>cate
'em, and to purge the minds of the
Audience of thoſe turbulent Gueſts. Upon
<pb n="115" facs="tcp:54591:76"/>
this Proſpect it was, that <hi>Ariſtotle</hi> pro<g ref="char:EOLhyphen"/>nounc'd
ſo largely in favour of Trage<g ref="char:EOLhyphen"/>dy,
<hi>That it made Terror and Compaſſion
the inſtruments,</hi>
               <note place="margin">
                  <hi>Ariſt. P<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>
                     <g ref="char:EOLhyphen"/>et. lib. cap.</hi> 6. <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>. <hi>P.</hi> 283. Du<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>g and Ren<g ref="char:EOLhyphen"/>counters a<g ref="char:EOLhyphen"/>gainſt the Nature and Laws of Comedy.</note> 
               <hi>by which it purified and
refined thoſe very Paſſions in us, and all
of the like nature.</hi>
            </p>
            <p>But, if <hi>Tragedy</hi> be no Encourager of
ſuch Diſorders, much leſs can <hi>Comedy,</hi>
which meddles not at all with 'em, be
with any colour of Juſtice accus'd. <hi>Co<g ref="char:EOLhyphen"/>medy</hi>
has nothing to do with either
<hi>Fiends,</hi> or <hi>Heroes,</hi> whatever Stuff, or
<hi>Metal</hi> they may be made of. 'Tis in<g ref="char:EOLhyphen"/>deed
a Fault to bring Duels and Ren<g ref="char:EOLhyphen"/>counters
upon the Comick Stage, from
which ſome of our Poets can't excuſe
themſelves. But 'tis a Fault rather
againſt the rules of Poetry, and true
Dramatick Writing, than thoſe of Mo<g ref="char:EOLhyphen"/>rality.
For, in Poetry as well as Paint<g ref="char:EOLhyphen"/>ing,
we are oblig'd to draw after the
life, and conſequently to copy as well
the Blemiſhes as the Beauties of the
Original; otherwiſe the fineſt colours
we can beſtow, are no better than gay
dawbing. The fault therefore of the
Poet lies not in ſhewing the imperfecti<g ref="char:EOLhyphen"/>ons
of any of his Perſons, but in ſhew<g ref="char:EOLhyphen"/>ing
them improperly, and in the wrong
<pb n="116" facs="tcp:54591:77"/>
place, which is an Error of his Judg<g ref="char:EOLhyphen"/>ment,
not his Morals, and wou'd be as
great if he ſhou'd untowardly produce
in <hi>Comedy</hi> the higheſt Examples of He<g ref="char:EOLhyphen"/>roick
Virtue and Fortitude.</p>
            <p>An Inſtance of this kind we have in
<hi>the Comical Revenge,</hi>
               <note place="margin">Duel in Love in a Tub, againſt the rules of Comedy.</note> 
               <hi>or Love in a Tub,</hi>
of Sir <hi>George Etherege,</hi> in which the
Duel, and the Action of <hi>Bruce</hi> after it
are of a ſtrain above <hi>Comedy.</hi> Thoſe
niceties of Honour, and extravagancies
of Jealouſie and Deſpair are unnatural
on the <hi>Comick</hi> Stage; and the Reſcue
from the Ruffians, for which <hi>Bruce</hi> in
the ſame Scene is oblig'd to his Rival,
however brave and generous an action
it may appear, conſider'd ſimply in it
ſelf, is a treſpaſs againſt Juſtice and
Propriety of Manners in that place. In<g ref="char:EOLhyphen"/>deed
that whole Walk of the Play, and
the ſet of Characters peculiarly belong<g ref="char:EOLhyphen"/>ing
to it, are more nearly related to the
<hi>Buskin,</hi> than the <hi>Sock,</hi> and render the
Play one of thoſe which we improperly
call <hi>Tragicomedies.</hi> The other Walk, as
'tis one of the moſt diverting, ſo 'tis one
of the moſt natural, and beſt contriv'd
that ever came upon the <hi>Stage.</hi>
            </p>
            <p>
               <pb n="117" facs="tcp:54591:77"/>
This may ſuffice to ſhew that a <hi>Comick</hi>
Poet can't treſpaſs againſt the Laws of
Morality in this nature, without offend<g ref="char:EOLhyphen"/>ing
againſt the Laws of his own Art;
and conſequently that ſuch a fault ought
rather to be lookt upon as an Error of
his Judgment than of his Will, which
may deſerve the correction of a <hi>Critick,</hi>
but not of a <hi>Moraliſt.</hi>
            </p>
            <p>But ſuppoſing that a Writer of <hi>Come<g ref="char:EOLhyphen"/>dy</hi>
               <note place="margin">Comick Po<g ref="char:EOLhyphen"/>et obliged to draw according to nature.</note>
ſhou'd (as many of 'em have
done) either thro want of Skill or
Caution in the conduct and ma<g ref="char:EOLhyphen"/>nagement
of his Plot, ſo embroil his
Gentleman as to reduce him to the hard
choice either of accepting or refuſing a
challenge, the queſtion is, whether the
Poet ought to allow him to accept, or
anſwer it, like (what the World calls)
a Man of Honour, or to introduce him
and his Friend playing the Caſuiſts like
<hi>Philotimus</hi> and <hi>Philalethes,</hi>
               <note place="margin">
                  <hi>Collier</hi>'s Moral E<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ſay about Du<g ref="char:EOLhyphen"/>elling.</note> and argue
him out of his reſentments. In this caſe
the Poets buſineſs is to draw his Picture,
not to inform his Conſcience; which
wou'd be as ridiculous in him, as for
Sir <hi>Godfrey Kneller</hi> to ſet up for taking
Confeſſions, and enquire into the Prin<g ref="char:EOLhyphen"/>ciples
of any man, in order <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap>
               <pb n="118" facs="tcp:54591:78"/>
true draught of his Face. The Poet, as
well as the Painter is to follow, not to
pretend to lead Nature: and if cuſtom
and common practice have already de<g ref="char:EOLhyphen"/>termin'd
the Point, whether, according
to Equity, or not, the Poet exceeds his
Commiſſion, if he preſumes to run
counter to 'em. So that if a Comick
Poet be ſo far overſeen, as to bring his
Gentlemen into the Field, or but ſo far
towards it as a Challenge, there is no
taking up the matter without action, or
(which is all one to Mr <hi>Collier's</hi> objecti<g ref="char:EOLhyphen"/>on)
ſhewing a readineſs, and diſpoſition
for it on both ſides. And the Poet
ſtands in need of all his Skill, and Ad<g ref="char:EOLhyphen"/>dreſs
to ſave their Honour, and recon<g ref="char:EOLhyphen"/>cile
'em without engagement.</p>
            <p>Since therefore both by the nature of
his ſubject,<note place="margin">No breach of Morality without of<g ref="char:EOLhyphen"/>fending a<g ref="char:EOLhyphen"/>gainſt the Laws of the Stage.</note> and the rules of his art, a
<hi>Dramatick</hi> Poet is limited, and oblig'd,
he can't reaſonably be charg'd with any
thing, as a treſpaſs againſt Morality, in
which he does not offend likewiſe a<g ref="char:EOLhyphen"/>gainſt
them. For <hi>Dramatick</hi> Poetry,
like a Glaſs, ought neither to flatter,
nor to abuſe in the Image which it re<g ref="char:EOLhyphen"/>flects,
but to give them their true co<g ref="char:EOLhyphen"/>lour
and proportion, and is only valu<g ref="char:EOLhyphen"/>able
<pb n="119" facs="tcp:54591:78"/>
for being exact. If therefore any
man diſlikes the Figures, which he ſees
in it, he finds fault with Nature, not
the Poet, if thoſe Pictures be drawn
according to the life; and he might as
juſtly ſnarl at the wiſe Providence which
governs the world, becauſe he meets
more ugly Faces than handſome ones,
more Knaves and Fools than Honeſt and
Wiſe men in it, and thoſe too, generally
more proſperous and fortunate.</p>
            <p>But becauſe ſome of thoſe Gentlemen,
that have taken pains to proclaim War
againſt the preſent Stage, and have
publiſh'd their cenſures of it, ſeem to
have no true Idea of the buſineſs of a
<hi>Dramatick</hi> Poet, and have arraign'd
ſome of the preſent Writers for the
Stage, either through malice or miſ<g ref="char:EOLhyphen"/>underſtanding,
of high crimes and miſ<g ref="char:EOLhyphen"/>demeanours,
in many particulars for
doing thoſe things which the duty of a
Poet oblig'd 'em to; it may not be
amiſs, for the information of Mr <hi>Collier</hi>
more eſpecially, and thoſe whom his
furious miſgrounded invectives may
have miſ-led, to enquire into the na<g ref="char:EOLhyphen"/>ture
and Laws of <hi>Stage</hi> Poetry, and the
Practice of it, both among the Antients
<pb n="120" facs="tcp:54591:79"/>
and Moderns, as far as concerns Mora<g ref="char:EOLhyphen"/>lity,
and the depending Controverſie
only, and no farther.</p>
            <p>
               <hi>And here we may joyn iſſue with
Mr</hi> Collier,<note place="margin">
                  <hi>P.</hi> 1. Mr <hi>Collier</hi> in his end of Stage Poetry.</note> 
               <hi>and allow, that</hi> The buſineſs
of Plays is to recommend Virtue, and diſ<g ref="char:EOLhyphen"/>countenance
Vice; To ſhew the <g ref="char:V">Ʋ</g>ncertain<g ref="char:EOLhyphen"/>ty
of Humane Greatneſs, the ſudden
turns of Fate, and the unhappy Concluſions
of Violence and Injuſtice. 'Tis to expoſe
the Singularities of Pride and Fancy, to
make Folly and Falſhood contemptible, and
to bring every thing that is Ill under In<g ref="char:EOLhyphen"/>famy
and Neglect.</p>
            <p>Thus we ſet out together,<note place="margin">Miſtaken in his method of proſecu<g ref="char:EOLhyphen"/>ting that end.</note> and are
agreed upon the end of our Journey,
but we differ about the road to it. Here
therefore we part, and whether we ſhall
meet again is the queſtion. Mr <hi>Collier,</hi>
by the tenour of his diſcourſe thro the
whole Book, ſeems to think, that there
is no other way of encouraging Virtue,
and ſuppreſſing Vice, open to the Poets,
but declaiming for or againſt 'em, and
wou'd therefore have <hi>Plays</hi> to be no<g ref="char:EOLhyphen"/>thing
but meer <hi>Moral Dialogues,</hi> where<g ref="char:EOLhyphen"/>in
five or ſix perſons ſhou'd meet, and
with abundance of Zeal and Rhetorick
preach up Virtue, and decry Vice. Here<g ref="char:EOLhyphen"/>upon
<pb n="121" facs="tcp:54591:79"/>
he falls upon the Poets with all the
Rage and Fury imaginable, for introducing
in their Plays vicious Characters, ſuch as
in <hi>Tragedy, Tyrants, Treacherous Stateſ<g ref="char:EOLhyphen"/>men,
Crafty Prieſts, Rebellious Subjects,
&amp;c.</hi> In <hi>Comedy, Libertines, Whores,
Sharpers, Cullies, Fops, Pimps, Paraſites,</hi>
and the like.</p>
            <p>Now, whether this conduct of the
Poets, or his Cenſure of it be more juſti<g ref="char:EOLhyphen"/>fiable,
is the ſubject of our Enquiry. To
facilitate which, it will be proper to
eſtabliſh ſome certain Standard, by which
we may meaſure the Morality or Immo<g ref="char:EOLhyphen"/>rality
of a Dramatick Poem, and try
thereby ſome of the moſt celebrated
Pieces, as well of the Antients as Mo<g ref="char:EOLhyphen"/>derns;
that their Beauties and Deformi<g ref="char:EOLhyphen"/>ties
of this kind, either abſolute or re<g ref="char:EOLhyphen"/>ſpective,
may appear either ſeverally, or
upon collation, and the Poet be accord<g ref="char:EOLhyphen"/>ingly
juſtified or condemn'd.</p>
            <p>The Parts therefore of a Play,<note place="margin">Morals of a Play wherin ſhewn. <hi>Poet. c.</hi> 6. <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> in
which the Morals of the Play appear,
are the <hi>Fable,</hi> the <hi>Characters,</hi> and the
<hi>Diſcourſe.</hi> Of theſe the <hi>Fable</hi> (in Tra<g ref="char:EOLhyphen"/>gedy
eſpecially) is the moſt conſidera<g ref="char:EOLhyphen"/>ble,
being (according to <hi>Ariſtotle</hi>) the
<hi>Primum Mobile</hi> by which all the other
<pb n="122" facs="tcp:54591:80"/>
parts are acted and govern'd, and the
principal Inſtrument by which the Paſſi<g ref="char:EOLhyphen"/>ons
are weeded and purg'd, by laying
before the Eyes of the Spectators exam<g ref="char:EOLhyphen"/>ples
of the miſerable Cataſtrophe of Ty<g ref="char:EOLhyphen"/>ranny,
Uſurpation, Pride, Cruelty, and
Ambition, <hi>&amp;c.</hi> and to crown ſuf<g ref="char:EOLhyphen"/>fering
Virtue with Succeſs and Re<g ref="char:EOLhyphen"/>ward,
or to puniſh the unjuſt Oppreſ<g ref="char:EOLhyphen"/>ſors
of it with Ruine and Deſtruction.</p>
            <p>In <hi>Comedy,</hi>
               <note place="margin">Folly and Knavery, the Sub<g ref="char:EOLhyphen"/>jects of Co<g ref="char:EOLhyphen"/>medy.</note> as it acts in a lower
Sphere, ſo the Perſons are leſs conſide<g ref="char:EOLhyphen"/>rable.
<hi>Knaves, Miſers, Sots, Coquets,
Fops, Jilts</hi> and <hi>Cullies,</hi> all which <hi>Co<g ref="char:EOLhyphen"/>medy</hi>
corrects by rendring 'em unſuc<g ref="char:EOLhyphen"/>ceſsful,
and ſubmitting them in her
Fable, to the Practices and Stratagems
of others, after ſuch a manner, as to ex<g ref="char:EOLhyphen"/>poſe
both Knavery, Vanity, and Affectati<g ref="char:EOLhyphen"/>on,
in the concluſion, or winding up,
to the Scorn and Deriſion of the Specta<g ref="char:EOLhyphen"/>tors.
And thus by making Folly and
Knavery ridiculous to the View, Come<g ref="char:EOLhyphen"/>dy
gains her end, ſtops the contagion,
and prevents the imitation more effectu<g ref="char:EOLhyphen"/>ally
than even Philoſophy herſelf, who
deals only in Precept can do, as <hi>Horace,</hi>
and before him <hi>Ariſtotle</hi> have obſerv'd,
by preſenting that lively to the Sight,
<pb n="123" facs="tcp:54591:80"/>
which the other can only inculcate in
words.</p>
            <q>
               <l>Segnius irritant animos demiſſa per aures,<note place="margin">De Art. Poet.</note>
               </l>
               <l>Quam quae ſunt oculis ſubjecta fidelibus.</l>
            </q>
            <p>Thus while in the large Foreſt of
Humane Affections, <hi>Tragedy</hi> labours to
fell thoſe ſturdy overgrown Plants the
Paſſions, <hi>Comedy</hi> employs itſelf in
grubbing up the underwood of Vice,
Folly and Affectation; and if its Ope<g ref="char:EOLhyphen"/>rations
are of leſs importance than thoſe
of the former, they make ample amends
by their more extended, and almoſt uni<g ref="char:EOLhyphen"/>verſal
Influence.</p>
            <p>But this it ſeems is not the deſign of
the Modern <hi>Stage</hi> Poets;<note place="margin">Praef. Pag. 1, 2.</note> 
               <hi>Virtue</hi> and <hi>Re<g ref="char:EOLhyphen"/>gularity</hi>
are their <hi>Great Enemies;</hi> and to
promote <hi>Lewdneſs</hi> and <hi>Atheiſm,</hi> and to
<hi>deſtroy Principles is their buſineſs,</hi> if we
may believe Mr <hi>Collier,</hi> who has taken
abundance of malicious Pains to incenſe
the World againſt 'em; and like an ex<g ref="char:EOLhyphen"/>perienc'd
Incendiary, not only gives the
Fire, and blows the Coals, but fur<g ref="char:EOLhyphen"/>niſhes
Fuel of his own too, to encreaſe
the Flame.</p>
            <p>
               <pb n="124" facs="tcp:54591:81"/>
To inflame the Reckoning of the Mo<g ref="char:EOLhyphen"/>dern
Poets,<note place="margin">Mr. <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s Cha<g ref="char:EOLhyphen"/>racter of the Ancient Poets invi<g ref="char:EOLhyphen"/>dious.</note> eſpecially the <hi>Engliſh,</hi> by
the compariſon, he enlarges very much
upon the great Modeſty and Regard
which the <hi>Antients</hi> had to Vertue, and
<hi>Decorum,</hi> falſly inſinuating thereby as
great Neglect and Violation of 'em a<g ref="char:EOLhyphen"/>mong
the <hi>Moderns.</hi> What he has ſaid
in Commendation of the Antients, ſim<g ref="char:EOLhyphen"/>ply
and abſtractedly taken, without any
Application of compariſon, or relation to
thoſe that have exercis'd themſelves the
ſame way in this Age, and in our Country,
may be allow'd as their due; And Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s
deference to the juſt merits of thoſe
great Genius's of Antiquity wou'd turn
to his own Praiſe, if it were paid only
as a debt to Juſtice. But proceeding
from a diſingenuous deſign, invidiouſly
to depreciate the worth, and blacken
the reputation of others, the Juſtice is
ſunk in the Malice of it, and the venom
couch'd under it gives an ill Complexion
to the faireſt Part of his Productions.
That this was the motive that induc'd
Mr <hi>Collier</hi> to ſpeak honourably of the
Stage Poets, is apparent from his perpe<g ref="char:EOLhyphen"/>tual
grumbling, and ſnarling at 'em,
<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ven in the midſt of his moſt favoura<g ref="char:EOLhyphen"/>ble
<pb n="125" facs="tcp:54591:81"/>
account of 'em. For tho upon ma<g ref="char:EOLhyphen"/>ny
occaſions he declares very largely in
their favour, yet 'tis only to balance
and ſway the competition betwixt them
and the Moderns on their ſide, and by
raiſing the value of their Characters, to
depreſs the others in the eſteem of the
World. This partiality will plainly ap<g ref="char:EOLhyphen"/>pear
upon the examination of ſome of
thoſe Pieces of Antiquity, which Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
ſo juſtly commends, with ſome of
thoſe of later production, which he ſo
unjuſtly decries.</p>
            <p>Mr <hi>Collier</hi> is not content to charge
the <hi>Engliſh</hi> Poets with Faults of Negli<g ref="char:EOLhyphen"/>gence,<note place="margin">Fable the principal part of a Play.</note>
or even of licentious wanton<g ref="char:EOLhyphen"/>neſs;
but he treats 'em with the utmoſt
deſpight, and brands 'em with the In<g ref="char:EOLhyphen"/>famy
of a profeſs'd Hatred to Virtue,
a ſtudied Lewdneſs, and of ſubverting
the end and uſe of their Art. If this
were really their Aim, unqueſtionably
the Fable, which is the Principal Part,
and of greateſt Influence and Operation,
is contriv'd and modell'd ſo as to be
ſerviceable to their grand deſign. That
this may more certainly appear, we ſhall
take the Pains to analize ſome of thoſe
Plays, at which Mr <hi>Collier</hi> takes greateſt
<pb n="126" facs="tcp:54591:82"/>
offence, together with ſome of the moſt
celebrated of Antiquity.</p>
            <p>The <hi>Oedipus Tyrannus</hi> of <hi>Sophocles</hi>
has by the univerſal conſent of the learn<g ref="char:EOLhyphen"/>ed
of all Ages, the greateſt reputation
of the <hi>Dramatick</hi> Performances of An<g ref="char:EOLhyphen"/>tiquity,
I ſhall therefore begin with
that, and ſhew that the Fable of that
deſervedly admir'd Piece is by no means
ſo noble, inſtructive, and ſerviceable to
Virtue, by its main or general Moral, as
many of thoſe Plays, againſt which and
their Authors Mr <hi>Collier</hi> inveighs with
ſo much Bitterneſs.</p>
            <p>The Fable of the <hi>Oedipus</hi> is this;<note place="margin">
                  <hi>Fable of the</hi> Oedipus <hi>of</hi> Sopho<g ref="char:EOLhyphen"/>cles.</note>
               <hi>Laius,</hi> the Father of <hi>Oedipus,</hi> and King
of <hi>Thebes,</hi> was inform'd by an Oracle,
that it was his fate to be ſlain by his
own Son, who ſhould be born of his
Wife <hi>Jocaſta.</hi> To elude the threats of
the Oracle, <hi>Laius,</hi> as ſoon as the Child
was born, delivers him to one of his
Servants to be murder'd. This man,
mov'd to compaſſion by the innocence
of the Babe, inſtead of taking away his
life, perforating both his Feet, and paſ<g ref="char:EOLhyphen"/>ſing
a Bend thro 'em, hang'd him up by
the Heels, and left him to the diſpoſal
of Providence. In this poſture he was
<pb n="127" facs="tcp:54591:82"/>
found by a Domeſtick of <hi>Polybus</hi> King of
<hi>Corinth,</hi> who, taking him down, carried
him to his Maſter, who being childleſs,
receiv'd, educated, and own'd him as
his own. <hi>Oedipus</hi> being at length grown
up, and being in a conteſt of words with
a <hi>Corinthian,</hi> he reproach'd with his un<g ref="char:EOLhyphen"/>known
Birth, and being a Foundling,
of which till that moment he had by
the expreſs order of <hi>Polybus,</hi> been kept
in ignorance, reſolves to conſult the O<g ref="char:EOLhyphen"/>racle
at <hi>Delphi</hi> about his Parentage, and
is order'd by the Oracle to ſeek no fur<g ref="char:EOLhyphen"/>ther,
for that it was his deſtiny to kill
his Father, and beget Children upon his
Mother. Upon this anſwer, he reſolves
for ever to abandon <hi>Corinth,</hi> his ſup<g ref="char:EOLhyphen"/>pos'd
Country, and in order thereto,
takes his way towards <hi>Thebes,</hi> and on
the Road meets <hi>Laius,</hi> and a quarrel a<g ref="char:EOLhyphen"/>riſing
between 'em, he kills him, and
all his followers, one excepted, to whom
upon his ſupplication he gives quarter.
Arriving at <hi>Thebes,</hi> he finds that City
in great confuſion, both for the loſs of
their King, whom he knew not to be
the perſon ſlain by him upon the Road,
and for the prodigious ravage and waſte
committed by the Monſter <hi>Sphinx,</hi> who
<pb n="128" facs="tcp:54591:83"/>
diſtreſs'd 'em ſo, that they durſt ſcarce
ſtir out of their Walls. To rid them<g ref="char:EOLhyphen"/>ſelves
of the terrour of this Monſter, the
<hi>Thebans</hi> offer their Queen and Crown to
any man that could reſolve the Riddle
propounded by the <hi>Sphinx,</hi> upon the re<g ref="char:EOLhyphen"/>ſolution
of which only they were to be
quit of her. This <hi>Oedipus,</hi> notwithſtand<g ref="char:EOLhyphen"/>ing
the miſcarriage of divers before him,
who failing in their attempt were de<g ref="char:EOLhyphen"/>ſtroy'd
by her, undertakes, and ſucceed<g ref="char:EOLhyphen"/>ing
in it, the Monſter breaks her own
Neck, and he in reward, receives the
Crown, and Queen to Wife. For ſome
time <hi>Oedipus</hi> governs with great pru<g ref="char:EOLhyphen"/>dence,
and has ſeveral Children by <hi>Jo<g ref="char:EOLhyphen"/>caſta.</hi>
At length a furious Plague ari<g ref="char:EOLhyphen"/>ſing,
and making great Havock in the
City, <hi>Oedipus</hi> deputes <hi>Creon</hi> to the Ora<g ref="char:EOLhyphen"/>cle,
to conſult about the Cauſes of, and
Means to be deliver'd from the Peſti<g ref="char:EOLhyphen"/>lence.</p>
            <p>Thus far the Hiſtory of <hi>Oedipus</hi> pro<g ref="char:EOLhyphen"/>ceeds
before the Action of the Play
commences; and tho the whole action
of the Play naturally ariſes from this an<g ref="char:EOLhyphen"/>tecedent
part, yet <hi>Sophocles</hi> had very ar<g ref="char:EOLhyphen"/>tificially
reſerv'd it to be deliver'd by
way of Narration at the unravelling of
<pb n="129" facs="tcp:54591:83"/>
the Plot, which is the moſt natural and
beautiful of all Antiquity. But what is
only conſiderable to our purpoſe is, that
hitherto <hi>Oedipus</hi> bears the character of a
Juſt and a Wiſe man; and if he be in<g ref="char:EOLhyphen"/>volv'd
in any thing that bears an appear<g ref="char:EOLhyphen"/>ance
of Guilt, invincible Ignorance
(which the Schoolmen hold to be a
good Plea) is his excuſe.</p>
            <p>But if he is hitherto innocent of any
intentional Guilt, he is thro the whole
courſe of the Action exemplarily pious.
At his firſt appearance upon the Stage,<note place="margin">Piety of <hi>Oedipus.</hi>
               </note>
he ſhews an extraordinary concern for
the calamities of his Country, and an
anxious ſolicitude for a Remedy. <hi>Jupi<g ref="char:EOLhyphen"/>ter</hi>'s
<hi>Prieſt</hi> addreſſes to him, as if he
were their tutelar Deity, and tells him,
that 'twas this miſerable experiment of
his being unable to relieve 'em, that had
convinc'd him, and thoſe with him, <hi>that
he was not equal to the Gods, and had
made 'em have recourſe to their Altars.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,<note place="margin">Sophocl. Oedip. Tyrann.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>This was a bold complement from a
<hi>Prieſt,</hi> and the <hi>Prieſt</hi> of <hi>Jupiter</hi> too, the
<pb n="128" facs="tcp:54591:84"/>
               <gap reason="duplicate" extent="1 page">
                  <desc>〈1 page duplicate〉</desc>
               </gap>
               <pb n="129" facs="tcp:54591:84"/>
               <gap reason="duplicate" extent="1 page">
                  <desc>〈1 page duplicate〉</desc>
               </gap>
               <pb n="130" facs="tcp:54591:85"/>
Soveraign of the Gods. But not to in<g ref="char:EOLhyphen"/>ſiſt
too much upon this Paſſage, <hi>Creon</hi>
enters, and breaks off the Parley betwixt
'em; He brings word from the Oracle,
that the Murtherer of <hi>Laius</hi> muſt be ex<g ref="char:EOLhyphen"/>pell'd
the Territories of <hi>Thebes.</hi>
               <note place="margin">
                  <hi>Oedipus'</hi> Proclama<g ref="char:EOLhyphen"/>tion.</note> Who
was this Murtherer was yet a Secret, the
Oracle not making that diſcovery. <hi>Oe<g ref="char:EOLhyphen"/>dipus</hi>
hereupon ſummons a meeting of
the People, and makes Proclamation,
that if any one privy to the Fact wou'd
come in, and make a diſcovery, he
ſhou'd, if concern'd therein, be indem<g ref="char:EOLhyphen"/>nified
in his Perſon, and be oblig'd on<g ref="char:EOLhyphen"/>ly
to leave <hi>Thebes.</hi> But that if he cou'd
inform of any other Perſon therein con<g ref="char:EOLhyphen"/>cern'd,
he ſhou'd be liberally rewarded,
and purchaſe his Favour by ſuch Diſco<g ref="char:EOLhyphen"/>very.
And if any one, conſcious of this
matter, did out of fear for himſelf or his
Friend, obſtinately refuſe to break ſilence,
he requir'd all his Subjects not to give
him harbour or ſuſtenance, or to hold
any manner of Commerce or Correſpon<g ref="char:EOLhyphen"/>dence
with him. After this he proceeds
to imprecate the Actor or Actors of this
Regicide, and extends the curſe to his
own Houſe, if with his privity he was
protected there.</p>
            <p>
               <pb n="131" facs="tcp:54591:85"/>
But this method failing to produce
the deſir'd effect, he conſults <hi>Tireſias</hi> the
Prophet, by whom <hi>Oedipus</hi> himſelf is
accus'd of killing his Father, and com<g ref="char:EOLhyphen"/>mitting
Inceſt with his Mother; which
Accuſation being afterwards confirm'd
by the concurring report of the old Ser<g ref="char:EOLhyphen"/>vant
of <hi>Laius,</hi> by whom he was expos'd
in his Infancy, and of the Domeſtick of
<hi>Polybus,</hi> deſpairing in the horrour of
theſe involuntary crimes, he tears out
his own Eyes; and <hi>Jocaſta,</hi> who equally
ignorant was involv'd in the guilt of
Inceſt, hangs herſelf.</p>
            <p>This Plot,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 span">
                     <desc>〈…〉</desc>
                  </gap>.</note> however noble and beau<g ref="char:EOLhyphen"/>tiful
to admiration, for the Structure
and Contrivance of it, is yet very defici<g ref="char:EOLhyphen"/>ent
in the Moral, which has nothing
great or ſerviceable to Virtue in it. It
may indeed ſerve to put us in mind of
the Lubricity of Fortune, and the In<g ref="char:EOLhyphen"/>ſtability
of human Greatneſs. And this
uſe <hi>Sophocles</hi> himſelf makes of it; for
the <hi>Chorus</hi> cloſes the Tragedy with this
remark, by way of advice of the Audi<g ref="char:EOLhyphen"/>ence,
<hi>that they ſhould not raſhly meaſure
any man's Felicity by his preſent Fortune,
but wait his extremeſt Moments, to make a
true eſtimate of his Happineſs.</hi>
            </p>
            <q>
               <pb n="132" facs="tcp:54591:86"/>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>;</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>Mr <hi>Dryden,</hi>
               <note place="margin">Moral of the <hi>Engliſh Oedipus</hi> the ſame.</note> who has borrow'd this
Story from <hi>Sophocles,</hi> has ſumm'd up his
Moral in the two concluding lines of his
Play, in which not only the application
ſeems to be the ſame, but the Lines
themſelves are a contracted Paraphraſe
of <hi>Sophocles</hi> own concluſion.</p>
            <q>
               <l>Let none, tho ne're ſo virtuous, great,
and high,</l>
               <l>Be judg'd entirely bleſt before they
dye.</l>
            </q>
            <p>This Moral, as it carries nothing in
it but a lazy,<note place="margin">Meerly ſpe<g ref="char:EOLhyphen"/>culative.</note> unactive ſpeculation, can
be no great Incentive to Virtue; ſo on
the other hand, as it lays before us the
Miſeries and Calamitous Exit of a per<g ref="char:EOLhyphen"/>ſon
of ſo Heroick Virtue, it ſeems to
carry matter of diſcouragement along
<pb n="133" facs="tcp:54591:86"/>
with it; ſince the moſt conſummate Vir<g ref="char:EOLhyphen"/>tue
meets with ſo diſproportionate a re<g ref="char:EOLhyphen"/>turn.</p>
            <p>But with Reverence to the Aſhes of
<hi>Sophocles,</hi> and ſubmiſſion to the better
Judgment of Mr <hi>Dryden,</hi>
               <note place="margin">Not very natural.</note> this does not
ſeem to be the true and genuine Moral
of this Fable. For according to this Moral,
the misfortune of <hi>Oedipus</hi> ought to have
been the reſult of a kind of negligent
Oſcitation in the Gods, and a looſe ad<g ref="char:EOLhyphen"/>miniſtration
of Providence. Whereas
on the contrary it appears, that all the
Actions of <hi>Oedipus,</hi> as well thoſe that
were Pious, Wiſe, and Brave, as thoſe
that were Criminal, or rather Unfortu<g ref="char:EOLhyphen"/>nate,
were the neceſſary and unavoida<g ref="char:EOLhyphen"/>ble
Conſequences of a fixt decree of Fate,
backt by ſeveral Oracles, carried on, and
brought about by variety of Miraculous
or Providential Incidents. This <hi>Tireſi<g ref="char:EOLhyphen"/>as</hi>
ſeems to hint plainly to <hi>Oedipus,</hi> when
he tells him.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>Fortune herſelf, (or Fate) deſtroys</l>
            </q>
            <p>
               <pb n="134" facs="tcp:54591:87"/>
And <hi>Oedipus</hi> himſelf, finding by the
relation of <hi>Jocaſta,</hi> that the circumſtances
of the death of <hi>Laius,</hi> agreed with
thoſe of the perſons ſlain by him on the
Road, and beginning to be convinc'd of
his own guilt, uſhers in his account of
that action, with the fatal neceſſity that
oblig'd him to leave his own Country;
and relates his Piety, as 'twere by way
of alleviation for what follows. He
pleads, that being inform'd by the Ora<g ref="char:EOLhyphen"/>cle,
that he ſhould kill his Father, and
commit Inceſt with his Mother, he had
quitted the expectation of a Crown, and
made himſelf a voluntary, and perpe<g ref="char:EOLhyphen"/>tual
Exile from <hi>Corinth,</hi> to avoid the
Crimes he was threatned with.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>The <hi>Engliſh Oedipus</hi> is more plain, and
expreſſes himſelf more clearly in defence
of his Innocence, ev'n while he ſuſpects
himſelf to have been an Actor in the
Tragedy of <hi>Laius.</hi>
            </p>
            <q>
               <pb n="135" facs="tcp:54591:87"/>
               <l>To you good Gods, I make my laſt ap<g ref="char:EOLhyphen"/>peal,<note place="margin">Oed <hi>p.</hi> 39.</note>
               </l>
               <l>Or clear my Virtues, or my Crime re<g ref="char:EOLhyphen"/>veal:</l>
               <l>If wandring in the Maze of Fate I
run,</l>
               <l>And backward trod the paths I thought
to ſhun,</l>
               <l>Impute my Errours to your own de<g ref="char:EOLhyphen"/>cree;</l>
               <l>My Hands are guilty, but my Heart is
free.</l>
            </q>
            <p>Here <hi>Oedipus</hi> ſeems to ſuſpect the
truth of the matter, and alledges his
own Ignorance, and the decree of the
Gods in his Juſtification; but the Ghoſt
of <hi>Laius</hi> clears the point of Fatality,
and makes a better Apology for <hi>Oedi<g ref="char:EOLhyphen"/>pus,</hi>
than 'twas poſſible for him to do
for himſelf.</p>
            <q>
               <l>But he who holds my Crown,<note place="margin">Oed. p. 33.</note> Oh muſt
I ſpeak?</l>
               <l>Was doom'd to do what Nature moſt
abhors;</l>
               <l>The Gods, foreſaw it, and forbad his
being,</l>
               <l>
                  <pb n="136" facs="tcp:54591:88"/>
Before he yet was born. I broke their
Laws.</l>
               <l>And cloath'd with fleſh, the pre-exiſting
Soul.</l>
               <l>Some kinder Power, too weak for
deſtiny,</l>
               <l>Took pity, and indu'd his new form'd
Maſs</l>
               <l>With Temperance, Juſtice, Prudence,
Fortitude,</l>
               <l>And every kingly Virtue; but in
vain.</l>
               <l>For Fate, that ſent him hoodwinkt to
the world,</l>
               <l>Perform'd its work by his miſtaken
hands.</l>
            </q>
            <p>Theſe inſtances conſider'd, together
with the Order, Contrivance and Na<g ref="char:EOLhyphen"/>ture
of the Fable, as well of the <hi>Greek,</hi>
as the <hi>Engliſh</hi> Poem, will readily point
out to us a greater Moral, and more na<g ref="char:EOLhyphen"/>turally
ariſing from the ſubject, than
that which the two Poets have aſſign'd.
For it ſeems plainly to hold forth to us,
<hi>the irreſiſtable Power of Fate,</hi>
               <note place="margin">Proper Mo<g ref="char:EOLhyphen"/>ral.</note> 
               <hi>and the Va<g ref="char:EOLhyphen"/>nity
of human Wiſdom, when oppos'd to
the immutable decrees of Providence, which
converts to its own purpoſes, all our en<g ref="char:EOLhyphen"/>deavours
<pb n="137" facs="tcp:54591:88"/>
to defeat 'em, and makes our very
Oppoſition ſubſervient to its own de<g ref="char:EOLhyphen"/>ſigns.</hi>
            </p>
            <p>
               <hi>Seneca,</hi>
               <note place="margin">Moral of <hi>Seneca</hi>
               </note> who has taken this Fable from
<hi>Sophocles,</hi> with very little alteration, has
however given this turn to the Appli<g ref="char:EOLhyphen"/>cation,
in conformity to the Doctrine of
the <hi>Stoicks,</hi> who were the Predeſtina<g ref="char:EOLhyphen"/>rians
of Antiquity, and held as Ours do,
a Fatality, that directed and controul'd
all human Actions, that all things came
to paſs by pre-ordination and invincible
neceſſity, and that there was no ſuch
thing as a free Agent in the World.</p>
            <p>Some Learned Men are of opinion,<note place="margin">
                  <hi>Seneca</hi> the Philoſopher ſuppos'd the Author.</note>
that this Tragedy was written by <hi>Seneca</hi>
the <hi>Philoſopher,</hi> and this change of the
<hi>Sophoclean</hi> Moral, in favour of his Prin<g ref="char:EOLhyphen"/>ciples,
ſeems to be no deſpicable Argu<g ref="char:EOLhyphen"/>ment
on their ſide. But whether they
be in the right or wrong, I can't but
wonder that Mr <hi>Dryden</hi> ſhould over<g ref="char:EOLhyphen"/>look
this alteration, or rather amend<g ref="char:EOLhyphen"/>ment
to <hi>Sophocles</hi>'s Moral, it being the
principal part of the Play, and the mark
at which all is levell'd.<note place="margin">His Morals neglected by the Authors of the <hi>En<g ref="char:EOLhyphen"/>gliſh Oe<g ref="char:EOLhyphen"/>dipus.</hi>
               </note> But perhaps
Mr <hi>Dryden</hi> being juſtly prepoſſeſſed for
the performance of <hi>Sophocles</hi> in prefe<g ref="char:EOLhyphen"/>rence
to <hi>Seneca</hi>'s, his aim was not ſo
<pb n="138" facs="tcp:54591:89"/>
much to enquire after any improve<g ref="char:EOLhyphen"/>ments,
as additions to <hi>Sophocles</hi>'s deſign,
and by that means let ſlip this, which
was not to his purpoſe, which was to
fit it up to the <hi>Engliſh</hi> Stage; for the
uſe of which it needed not correction,
ſo much as enlargement; the ſimplicity
of the Original Fable and the Chaſms,
which the omiſſion of the <hi>Chorus</hi> muſt
neceſſarily make, requiring to be fill'd
up, and ſupply'd with an <hi>
                  <g ref="char:V">Ʋ</g>nderplot</hi> and
proper <hi>Epiſodes.</hi> And indeed he ſeems
to confeſs as much, when he ſays, that
<hi>Seneca</hi> ſupply'd <hi>'em with no new hint but
only a relation,</hi>
               <note place="margin">Preface to <hi>Oedip.</hi>
               </note> 
               <hi>which he makes of his</hi>
Tyreſias <hi>raiſing the Ghoſt of</hi> Laius.</p>
            <p>But having declar'd for the <hi>Moral</hi> of
<hi>Seneca,</hi> as more natural than that of <hi>So<g ref="char:EOLhyphen"/>phocles,</hi>
conſidering the diſproportion
both of Reputation and Merit of theſe
two Authors in the <hi>Dramatick</hi> way, I
muſt expect the cenſure of thoſe Cri<g ref="char:EOLhyphen"/>ticks,
that judge by wholeſale, or hear<g ref="char:EOLhyphen"/>ſay,
that will admit of no errour in any
Author, that themſelves, or thoſe, in
whom they have an implicit Faith, ad<g ref="char:EOLhyphen"/>mire;
nor allow any Graces to him, that
has not the good fortune to be their Fa<g ref="char:EOLhyphen"/>vourite.
I ſhall therefore produce <hi>Sene<g ref="char:EOLhyphen"/>ca</hi>'s
<pb n="139" facs="tcp:54591:89"/>
application at large in his own
words, as I have already done <hi>Sophocles</hi>'s,
and then back my opinion with an Ob<g ref="char:EOLhyphen"/>ſervation
or two, drawn from the ſtate
of the Fable, as it lies in theſe Authors,
and leave 'em to the courteſie of the
Reader.</p>
            <p>The laſt Song of the <hi>Chorus</hi> in <hi>Seneca,</hi>
which is what the Poet delivers by way
of Inſtruction, or Application to the
Audience, runs thus.</p>
            <q>
               <l>
                  <hi>Cho.</hi> Fatis agimur:<note place="margin">Senec. Oedip. p. 107.</note> cedite fatis.</l>
               <l>Non ſolicitae poſſunt curae</l>
               <l>Mutare rati ſtamina fuſi.</l>
               <l>Quicquid patimur mortale genus,</l>
               <l>Quicquid facimus, venit ex alto:</l>
               <l>Servat<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſua decreta colus</l>
               <l>Lacheſis, dura revoluta manu</l>
               <l>Omnia certo tramite vadunt;</l>
               <l>Primuſ<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> dies dedit extremum,</l>
               <l>Non illa deo vertiſſe licet,</l>
               <l>Quae nexa ſuis currunt cauſis.</l>
               <l>It cui<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ratus, prece non ulla</l>
               <l>Mobilis, ordo. <hi>Multis ipſum</hi>
               </l>
               <l>
                  <hi>Timuiſſe nocet.</hi> Multi ad fatum</l>
               <l>Venere ſuum, dum fata timent.</l>
            </q>
            <p>
               <pb n="140" facs="tcp:54591:90"/>
               <hi>The ſumm of this is;</hi>
               <note place="margin">Summ of <hi>Seneca</hi>'s Moral.</note> That there is
(<hi>according to the Doctrine of the
Stoicks</hi>) an over-ruling Providence, or
Fate, that diſpoſes and governs all things;
That the Sources of mens Fortunes, and
the Springs of their Actions are plac'd out
of their reach, inacceſſible to human Pru<g ref="char:EOLhyphen"/>dence,
and inflexible to Entreaties; that
they move in a conſtant courſe, inviolable
even to the Gods themſelves; that cauſes
and their effects are inſeparably linkt, the
firſt day (of Life) determining the laſt;
that the Caution of many has been de<g ref="char:EOLhyphen"/>ſtructive
to 'em, and that in ſhunning their
Fate, they have run upon it.</p>
            <p>That this is the moſt natural Appli<g ref="char:EOLhyphen"/>cation,
the very contrivance of the Fa<g ref="char:EOLhyphen"/>ble
in all theſe three Plays, will ſuffici<g ref="char:EOLhyphen"/>ently
make out. <hi>Seneca,</hi> and the <hi>Engliſh
Authors</hi> have, in imitation of <hi>So<g ref="char:EOLhyphen"/>phocles,</hi>
made the <hi>Parricide</hi> and <hi>Inceſt</hi>
of <hi>Oedipus</hi> the proper Act, and Deed of
<hi>Fate,</hi> of which he was only the unhap<g ref="char:EOLhyphen"/>py
and unwilling Inſtrument. Both his
Father and himſelf had been forewarn'd,
and had us'd their utmoſt endeavours
to evade the calamities that threatned
'em. But thoſe very efforts, however
ſeemingly prudent, became the Snare in
<pb n="141" facs="tcp:54591:90"/>
which they were taken, and the means
of verifying the Prediction of the Ora<g ref="char:EOLhyphen"/>cle.
For the expoſing <hi>Oedipus</hi> in his
Infancy, was the occaſion of his Igno<g ref="char:EOLhyphen"/>rance
of his true Parents, and that Ig<g ref="char:EOLhyphen"/>norance
of all his enſuing miſeries. All
theſe Authors give us a high Idea of his
Virtue and Prudence; and <hi>Seneca</hi> as
well as the aforecited Authors, makes him
ſacrifice his Expectations of a Crown,
and become a voluntary Exile out of an
Abhorrence of thoſe Crimes, which
were predicted of him.</p>
            <q>
               <l>Hic me Paternis expulit regnis Timor.</l>
               <l>This fear has baniſh'd me my Fathers Realm.</l>
            </q>
            <p>And when he had been accus'd of
the murder of <hi>Laius,</hi>
               <note place="margin">
                  <hi>Oedipus</hi>'s Juſtificati<g ref="char:EOLhyphen"/>on of him<g ref="char:EOLhyphen"/>ſelf.</note> upon the Infor<g ref="char:EOLhyphen"/>mation
of the Gods, he appeals to his
own Conſcience for his Innocence.</p>
            <q>
               <l>Obiiſſe noſtro Laium ſcelere autu<g ref="char:EOLhyphen"/>mant</l>
               <l>Superi Inferi<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſed animus contra inno<g ref="char:EOLhyphen"/>cens.</l>
               <l>Sibi<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> melius quam Deis notus, negat.</l>
               <l>
                  <pb n="142" facs="tcp:54591:91"/>
The Gods accuſe me; but my guiltleſs mind</l>
               <l>The better Judge acquits me.</l>
            </q>
            <p>And in the next Scene upon the news
of <hi>Polybus</hi>'s death, he cries out,
<q>
                  <l>Genitor ſine ulla caede defunctus ja<g ref="char:EOLhyphen"/>cet,</l>
                  <l>Teſtor, licet jam tollere ad caelum
pie</l>
                  <l>Puras nec ulla ſcelere metuentes ma<g ref="char:EOLhyphen"/>nus.</l>
                  <l>Extinct my Father by a Bloudleſs
death!</l>
                  <l>Now I may ſtretch to Heaven my
guiltleſs hands</l>
                  <l>Fearleſs of any ſtain.</l>
               </q>
            </p>
            <p>Thus they all agree to make him juſt
and virtuous in his Intentions to an He<g ref="char:EOLhyphen"/>roick
Pitch,<note place="margin">Harmony of the <hi>Greek, Roman,</hi> and <hi>En<g ref="char:EOLhyphen"/>gliſh</hi> Au<g ref="char:EOLhyphen"/>thors.</note> yet they involve him in a
Fatal Neceſſity even before his Birth, of
acting thoſe things, to which in his
Nature he had the greateſt abhorrence,
and make his Piety and Averſion to
Wickedneſs, the very means to entrap
and entangle him in that Guilt, which
he ſo induſtriouſly fled from, and which
<pb n="143" facs="tcp:54591:91"/>
occaſioned the Calamities, that after<g ref="char:EOLhyphen"/>wards
befel both himſelf and Family.</p>
            <p>The ſtructure and diſpoſition of this
Fable,<note place="margin">Levity of Fortune not the occaſion of the Fall of <hi>Oedi<g ref="char:EOLhyphen"/>pus.</hi>
               </note> afford no occaſion of complaint,
or reflection upon the Levity of For<g ref="char:EOLhyphen"/>tune,
or the Inſtability of Human Af<g ref="char:EOLhyphen"/>fairs.
For nothing is more evident,
than the ſteady and regular adminiſtra<g ref="char:EOLhyphen"/>tion
of Providence thro the whole
courſe of the misfortunes of <hi>Oedipus,</hi>
and his Family. Nothing befel them,
which was not predicted long before
hand, and of which they had not a
terrible apprehenſion, as well as a cer<g ref="char:EOLhyphen"/>tain
Expectation.<note place="margin">Oppoſition of Provi<g ref="char:EOLhyphen"/>dence.</note> And when they bent
their endeavours to defeat the decrees
of Fate, ſuch a manifeſt Series of Pro<g ref="char:EOLhyphen"/>vidential
Incidents attends their ma<g ref="char:EOLhyphen"/>nagement,
as ſuffices not only to baffle
their Cunning and Devices, but likewiſe
to ſhew the Uncontrolableneſs and Su<g ref="char:EOLhyphen"/>periority
of that Power, which influ<g ref="char:EOLhyphen"/>enced
their Counſels, and ſerv'd itſelf
of their Preſumption, as the immediate
Inſtrument to accompliſh, and effect its
Purpoſes, and at the ſame time to de<g ref="char:EOLhyphen"/>monſtrate
the Vanity of Humane oppo<g ref="char:EOLhyphen"/>ſition
to the Will of Deſtiny.</p>
            <p>
               <pb n="144" facs="tcp:54591:92"/>
Had <hi>Laius</hi> ſubmitted himſelf to the
Pleaſure of Providence,<note place="margin">Preſumpti<g ref="char:EOLhyphen"/>on of <hi>Laius.</hi>
               </note> and not pre<g ref="char:EOLhyphen"/>ſum'd
to have thwarted the Divine Ap<g ref="char:EOLhyphen"/>pointment,
and triumphed over his De<g ref="char:EOLhyphen"/>ſtiny,
his Son had not been ignorant of
his true Parentage; and being a perſon
of Inclinations ſo extraordinary Virtu<g ref="char:EOLhyphen"/>ous,
'tis morally impoſſible he ſhould
willingly have incurr'd the guilt of two
Crimes of ſo monſtrous a Size as <hi>Parri<g ref="char:EOLhyphen"/>cide</hi>
and <hi>Inceſt.</hi> Or had <hi>Oedipus</hi> ſub<g ref="char:EOLhyphen"/>miſſively
reſigned himſelf to the Con<g ref="char:EOLhyphen"/>duct
and Direction of Fate; whatever
his Regret and Abhorrence of his pre<g ref="char:EOLhyphen"/>dicted
Fortune had been, he had re<g ref="char:EOLhyphen"/>turn'd
to <hi>Corinth,</hi> and his Patience, and
Reſignation had avoided that Miſery,
which his miſtaken Piety and Oppoſi<g ref="char:EOLhyphen"/>tion
brought afterwards upon his head.</p>
            <p>
               <hi>This conſideration may ſupply us
with another Moral to this Fable,</hi>
               <note place="margin">Another Moral.</note> 
               <hi>dif<g ref="char:EOLhyphen"/>ferent
from any (that I know of) hi<g ref="char:EOLhyphen"/>therto
rais'd upon it by any Poet, either
Antient or Modern. It may inſtruct us,</hi>
that the Will of Heaven is not to be diſpu<g ref="char:EOLhyphen"/>ted
by Mortals, how ſevere ſoever, even to
Injuſtice, the Conditions of it may ſeem to
us; and that whoever ſets up his own Wiſ<g ref="char:EOLhyphen"/>dom
in oppoſition to it, ſhall in that Pre<g ref="char:EOLhyphen"/>ſumption
<pb n="145" facs="tcp:54591:92"/>
meet both his Crime and his Pu<g ref="char:EOLhyphen"/>niſhment.</p>
            <p>Nothing, if we conſider it ſimply in
itſelf, could be more heroically pious
than the reſolution of <hi>Oedipus</hi> to aban<g ref="char:EOLhyphen"/>don
a Crown,<note place="margin">Preſumption of <hi>Oedi<g ref="char:EOLhyphen"/>pus.</hi>
               </note> his Parents and Country, ra<g ref="char:EOLhyphen"/>ther
than ſuffer thoſe Pollutions with
which he was threatned. But if we
conſider the Impiety of advancing his
own Judgment in his conceit above that
of his Gods, and thinking by his own
Wiſdom, to reverſe the immutable de<g ref="char:EOLhyphen"/>crees
of deſtiny, his Vanity deſerv'd the
heavieſt chaſtiſement. The ſame may
be ſaid of his Father. It may be ob<g ref="char:EOLhyphen"/>jected,
that this irreſiſtible Predeſtinati<g ref="char:EOLhyphen"/>on
was not ſo univerſally receiv'd an
Opinion among the Antient Heathens,
but that many held the contrary; and
that conſequently 'tis but ſuppoſing <hi>Oe<g ref="char:EOLhyphen"/>dipus</hi>
one of the number, and my Mo<g ref="char:EOLhyphen"/>ral
falls to the ground.<note place="margin">
                  <hi>Oedipus</hi> in <hi>Sopho<g ref="char:EOLhyphen"/>cles,</hi> and the reſt of the Trage<g ref="char:EOLhyphen"/>dians a Pre<g ref="char:EOLhyphen"/>deſtinarian.</note> I grant it does
ſo, if he were, but the contrary appears
from the Story itſelf. For if <hi>Oedipus</hi>
did not believe ſuch a Fatality, why
did he upon the credit of an Oracle,
which muſt ſignifie no more to him than
one of <hi>Partridge,</hi> or <hi>Gadbury's</hi> Aſtrolo<g ref="char:EOLhyphen"/>gical
Banters, leave his Friends, and his
<pb n="146" facs="tcp:54591:93"/>
great Expectations? But this ſuppoſes
him a rank Fool, to abdicate for a <hi>tale
of a Tub,</hi> a Story that he did not believe<g ref="char:punc">▪</g>
If he did believe, he ought not to eſcape
the Cenſure and Puniſhment of a raſh pre<g ref="char:EOLunhyphen"/>ſumptuous man, for ſuffering his Vanity to
triumph over his Faith, and daring up<g ref="char:EOLhyphen"/>on
an inſolent opinion of his own Abi<g ref="char:EOLhyphen"/>lity
to inſult his Religion, and hope <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>o 
prevail againſt, and defeat the purpoſe
of Fate.</p>
            <p>Some French Criticks,<note place="margin">French <hi>Moral.</hi>
               </note> that ſeem ſen<g ref="char:EOLhyphen"/>ſible
of the defect of the Moral in <hi>So<g ref="char:EOLhyphen"/>phocles,</hi>
have endeavoured to ſupply
that want, by ſtarting an imaginary
Guilty, and impute as a Crime to <hi>Oedi<g ref="char:EOLhyphen"/>pus,</hi>
his curioſity to know his Fate. I
call it an imaginary Guilt, becauſe I
think it is urg'd againſt him without
Foundation. For certainly it could ne<g ref="char:EOLhyphen"/>ver
be a Sin in him, when his Paren<g ref="char:EOLhyphen"/>tage
was become doubtful to him,<note place="margin">N<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>cromancy a<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>d all ſorts of Di<g ref="char:EOLhyphen"/>vin<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>tion allowed by the Reli<g ref="char:EOLhyphen"/>gion of the Heathens.</note> to
have recourſe to ſuch means, as his Re<g ref="char:EOLhyphen"/>ligion
allow'd, to clear up his doubts,
and take off the Reproach that was
thrown upon him. Divination was ſo
far from being a Criminal Art among
the Ancient Heathens, that it was
practic'd with great Reputation in all
<pb n="147" facs="tcp:54591:93"/>
its ſeveral kinds, and the Profeſſors of
any part of it, were eſteemed as Pro<g ref="char:EOLhyphen"/>phets,
and held in great veneration.
It could not therefore be ſcandalous to
conſult 'em upon any occaſion, much
leſs the Oracle of <hi>Apollo;</hi> to repair to
which, was thought an act of high
Devotion, and was the conſtant Practice of
all the Cities and States of <hi>Greece,</hi> upon
all great and ſudden Emergencies. But
their miſtake lies in raiſing a <hi>Chriſtian</hi>
Moral upon a <hi>Pagan</hi> bottom; to fill up,
they have grafted a Doctrine many ages
younger upon the old Stock, and piec'd
out a defect with an Abſurdity.</p>
            <p>I am apt to think upon conſideration,<note place="margin">Conjecture at the Rea<g ref="char:EOLhyphen"/>ſons that Induc'd the Authors of the <hi>En<g ref="char:EOLhyphen"/>gliſh Oe<g ref="char:EOLhyphen"/>dipus</hi> to prefer the <hi>Greek</hi> Mo<g ref="char:EOLhyphen"/>ral to the <hi>Latine.</hi>
               </note>
that the Authors of the <hi>Engliſh Oedipus,</hi>
in adhering to the ſimple old <hi>Greek</hi> Mo<g ref="char:EOLhyphen"/>ral,
acted rather by Judgment and Choice,
than Overſight. For the <hi>Moral</hi> of <hi>Se<g ref="char:EOLhyphen"/>neca,</hi>
tho more naturally deducible from
the Story, is yet leſs ſerviceable, or (to
ſpeak more properly) more deſtructive
to Practical Morality, as preaching up
the Doctrine of abſolute and univerſal
Predeſtination, by which men are de<g ref="char:EOLhyphen"/>nied
the liberty of ſo much as a thought,
as free Agents, and are ſuppos'd to be
acted, and workt like Machines by an
<pb n="148" facs="tcp:54591:94"/>
inviſible, irreſiſtible Agent, which winds
'em up like Watches, and orders their
ſeveral Movements. This Doctrine, as
it deſtroys all title to Merit from the
beſt, ſo it takes off all fear of Guilt
from the moſt villanous actions, and
muſt neceſſarily (if heartily believ'd)
diſcourage men from the ſeverer and
more troubleſome Duties of Religion,
and Morality at leaſt, and diſpoſe them
to reſign themſelves looſely up to the
government of their Appetites, and in<g ref="char:EOLhyphen"/>dulge
their ſenſual Inclinations; to gra<g ref="char:EOLhyphen"/>tify
which could be no ſin, to oppoſe
'em no Virtue, and deſerve neither
blame nor thanks, according to this
Principle.</p>
            <p>Beſides the unſerviceableneſs of this
Moral to the general end of <hi>Dramatick</hi>
Poetry,<note place="margin">
                  <hi>Seneca</hi>'s Moral <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> proper for the <hi>En<g ref="char:EOLhyphen"/>gliſh</hi> Stage.</note> it was upon that Score diſabled
for the particular ſervice of the <hi>Engliſh
Stage,</hi> where it could not hope for a
favourable Reception; and might there<g ref="char:EOLhyphen"/>fore
be by theſe Authors judiciouſly re<g ref="char:EOLhyphen"/>jected.
For tho this Muſty Rag of
Heathen <hi>Stoiciſm</hi> be ſtill worn by a
Party amongſt us, that affect to diſtin<g ref="char:EOLhyphen"/>guiſh
themſelves by Oppoſition, and
Contradiction, tho to their own Prin<g ref="char:EOLhyphen"/>ciples,
<pb n="149" facs="tcp:54591:94"/>
and that pretend to act contrary
to the natural reſult of their Opinion,
and profeſs a ſeverer Morality than
their Neighbours; yet by the more Po<g ref="char:EOLhyphen"/>lite
and Civilized Part of the Nation,
who are the chief Frequenters, and Sup<g ref="char:EOLhyphen"/>port
of the <hi>Dramatick</hi> Performances, it
has been long left off, as a Principle de<g ref="char:EOLhyphen"/>ſtructive
to Humanity, Virtue, and all
good Manners; and conſequently would
have been exploded upon the Stage, and
hazarded the ſucceſs of the whole Piece.</p>
            <p>But whether this Moral were neglect<g ref="char:EOLhyphen"/>ed
by 'em out of deſign or overſight,<note place="margin">
                  <hi>Greek</hi> and <hi>Roman</hi> Moral un<g ref="char:EOLhyphen"/>ſervi<gap reason="illegible" resp="#TECH" extent="3 letters">
                     <desc>•••</desc>
                  </gap> to virtue.</note> is
not much to our purpoſe. 'Tis evident,
that neither the <hi>Greek</hi> nor <hi>Latin</hi> Moral,
have any tendency to the promotion of
Virtue, and the Reformation of Man<g ref="char:EOLhyphen"/>ners,
but rather to the contrary. So
that if Mr <hi>Collier</hi> has any thing of this
Nature to object againſt any of the
preſent Stage Poets, they may defend,
or at leaſt excuſe ſuch a ſlip by this Pre<g ref="char:EOLhyphen"/>cedent,
which being the Maſter-piece
not only of <hi>Sophocles,</hi> but of all Anti<g ref="char:EOLhyphen"/>quity;
for that reaſon, I hope Mr
<hi>Collier</hi> (who has already declard,<note place="margin">P. 28</note> that
this Author has <hi>nothing but what is great
and ſolemn throughout</hi>) will not charge
<pb n="150" facs="tcp:54591:95"/>
him with any <gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ill deſign, or acting upon
Malice prepenſe againſt Virtue. But if he
ſhould, he has already taken his Tryal
before <hi>Ariſtotle,</hi> a more competent and
more upright Judge, and ſtands acquitted
on Record, and muſt be allow'd to be
<hi>rectus in Curia.</hi>
            </p>
            <p>I have been the more particular in
examining the general Moral of this
Play,<note place="margin">
                  <hi>Oedipus,</hi> why ſo mi<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="3 letters">
                     <desc>•••</desc>
                  </gap>ly exa<g ref="char:EOLhyphen"/>mined.</note> and have conſider'd not only what
has been made of it, but what might
have been drawn from it, that I might
for the remainder be excusd from the
trouble of deſcending to minute circum<g ref="char:EOLhyphen"/>ſtances,
and for the future be allow'd
to ſumm up what I have to ſay to any
other Plays of Antiquity upon this gene<g ref="char:EOLhyphen"/>ral
head of the Fable, and ſo proceed to
our Poets, with whom alſo I ſhall be as
brief as the matter will allow me.</p>
            <p>The reſt of <hi>Sophocles</hi>'s Plays, being much
leſs conſiderable for their Succeſs in the
World, I ſhall diſpatch the conſideration
of 'em in as few words as poſſible. His
<hi>Ajax Flagellifer</hi> ſtands firſt in order,
and affords us no great matter to reflect
upon.</p>
            <p>
               <hi>Ajax,</hi>
               <note place="margin">
                  <hi>Fable of of</hi> Ajax Flagelli<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>er.</note> diſappointed and diſgrac'd in his
ſuit for the Arms of <hi>Achilles,</hi> reſents ex<g ref="char:EOLhyphen"/>treamly
<pb n="151" facs="tcp:54591:95"/>
the Injury and Indignity, and
reſolves to be reveng'd upon the whole
<hi>Grecian</hi> Army. In order thereto he
makes a Sally from his Quarter by
night, in order to kill all the Principal
Officers. <hi>Minerva,</hi> to divert the miſ<g ref="char:EOLhyphen"/>chief
intended, infatuates him, and
turns him looſe upon ſome herds of
Cattle, amongſt whom, miſtaking 'em
for <hi>Greeks,</hi> he makes moſt terrible ha<g ref="char:EOLhyphen"/>vock;
and returning to his Tent and
Sences in the morning, he perceives his
Errour, thro the confuſion, ſhame,
and vexation of which, he grows deſ<g ref="char:EOLhyphen"/>perate,
falls upon his Sword, and dies.
This is the whole of the <hi>Fable.</hi> For the
conteſt that follows between <hi>Teucer,
Menelaus,</hi> and <hi>Agamemnon,</hi> is an Epiſode
detach'd from, and has nothing to do
with, and ſcarce any dependance upon
the main Action.</p>
            <p>Here we ſee a man of Impetuous,
Ungovernable Paſſion, and of a Nice,
Capricious Honour, that conceives him<g ref="char:EOLhyphen"/>ſelf
injur'd in the moſt ſenſible part, his
honour, and meditates a Revenge pro<g ref="char:EOLhyphen"/>portioned
to the Fierceneſs of his Tem<g ref="char:EOLhyphen"/>per,
and the imagin'd Greatneſs of the
Affront. <hi>Minerva</hi> interpoſes, and turns
<pb n="152" facs="tcp:54591:96"/>
his Rage, and Fury, firſt to his further
diſgrace, and then to his deſtruction.</p>
            <p>The <hi>Moral</hi> of this Play is not very
obvious,<note place="margin">Moral ſome<g ref="char:EOLhyphen"/>what ob<g ref="char:EOLhyphen"/>ſcare.</note> and <hi>Sophocles</hi> himſelf does not
hint it at or near the concluſion of the
Play, but leaves it to be pickt out by the
Audience, or Readers; which may be
done two ways. Firſt, By conſidering
the Quality of the Inſtrument of Engine
of <hi>Ajax</hi>'s Ruine, which was a <hi>Goddeſs;</hi>
and the manner of bringing it about,
which was by making him ridiculous
thro a <hi>Deceptio Viſus,</hi> or an Illuſion of
the Sight; and then the <hi>Moral</hi> will be,
<q>
                  <l>Quos Deus vult perdere,<note place="margin">Moral.</note> prius de<g ref="char:EOLhyphen"/>mentat.</l>
                  <l>When the Gods reſolve upon a mans ru<g ref="char:EOLhyphen"/>in,
they make away his Wits.</l>
               </q>
            </p>
            <p>Or 2dly, We may conſider the Cha<g ref="char:EOLhyphen"/>racter
of the Perſon, a man of Un<g ref="char:EOLhyphen"/>daunted
Boldneſs, and Turbulent Head<g ref="char:EOLhyphen"/>ſtrong
Paſſions, and the Nature of his
Attempt, which was to kill all the
<hi>Grecian</hi> Chiefs; and then the Moral
may be</p>
            <q>
               <pb n="153" facs="tcp:54591:96"/>
               <l>—Qui non moderabitur Irae<note place="margin">2d Moral.</note>
               </l>
               <l>Infectum volet eſſe Dolor quod ſua<g ref="char:EOLhyphen"/>ſerit.—</l>
            </q>
            <p>He that ſuffers himſelf to be precipitated
into action by his Rage, will have cauſe to
rue the effects of it.</p>
            <p>The firſt of theſe is the moſt genuine,
and natural. For the misfortune of
<hi>Ajax</hi> ſeems not to ariſe ſo much from
a repentance of his Undertaking, as
from indignation, and a bitter ſenſe of
the Scorn and Contempt he had drawn
upon himſelf by ſo ridiculous a miſcar<g ref="char:EOLhyphen"/>riage,
and the trick put upon him by
<hi>Minerva.</hi>
               <note place="margin">Moral of the Author not ariſing naturally from the Action.</note> This is all that naturally a<g ref="char:EOLhyphen"/>riſes
from the Action; and the Author,
who ſeems ſenſible of the barenneſs
of his Plot, forages without his lines
to ſubſiſt his Moral. By this means
he has provided himſelf of a no<g ref="char:EOLhyphen"/>ble
Moral, which he intimates in the
cloſe of the firſt Scene, betwixt <hi>Minerva</hi>
and <hi>
                  <g ref="char:V">Ʋ</g>lyſſes,</hi> where the Goddeſs, after
having inform'd <hi>
                  <g ref="char:V">Ʋ</g>lyſſes</hi> how ſhe had
beſotted <hi>Ajax, adviſes him to take warn<g ref="char:EOLhyphen"/>ing,
and not to be ſo far tranſported upon
any good Fortune, or preſume ſo far upon his
own Proweſs as to provoke the Gods by in<g ref="char:EOLhyphen"/>ſolent
<pb n="154" facs="tcp:54591:97"/>
Language; who lov'd Modeſty, and
hated Arrogance.</hi> And about the mid<g ref="char:EOLhyphen"/>dle
of the Play, a Meſſenger relates to
the <hi>Chorus,</hi> what paſs'd between <hi>Chal<g ref="char:EOLhyphen"/>cas</hi>
and <hi>Teucer</hi> about the quarrel, and
hatred of <hi>Minerva</hi> to <hi>Ajax, Which was
for preſuming upon the ſufficience of his
own Strength and Courage, and refuſing
her Protection and Aſſiſtance, which ſhe
offer'd him againſt the</hi> Trojans. But this
is wholly without the Action (which
cannot properly ſuggeſt any ſuch thing)
and is introduc'd by way of Narration,
only to juſtifie the proceeding of <hi>Mi<g ref="char:EOLhyphen"/>nerva</hi>
againſt <hi>Ajax,</hi> and is no longer in<g ref="char:EOLhyphen"/>ſiſted
on after the death of <hi>Ajax.</hi>
            </p>
            <p>The other Moral,<note place="margin">2d Moral not very natural.</note> as it does not ſeem
to flow ſo naturally from the Fable, as
the firſt, ſo it ſeems never to have been
in <hi>Sophocles</hi>'s thoughts. For the laſt
diſgrace, and the Deſperate Action that
follow'd it, are the effect of a ſuperna<g ref="char:EOLhyphen"/>tural
Agent, (<hi>viz.) Minerva,</hi> and pro<g ref="char:EOLhyphen"/>duc'd
by a ſudden Infatuation after a
ſupernatural manner; and therefore the
Poet cou'd have no juſt occaſion to re<g ref="char:EOLhyphen"/>flect
upon the natural ill conſequences
of Paſſion, how outrageous or ungo<g ref="char:EOLhyphen"/>vernable
ſoever. For this reaſon I ſhall
<pb n="155" facs="tcp:54591:97"/>
purſue the conſideration of it no far<g ref="char:EOLhyphen"/>ther.</p>
            <p>The next in order is the <hi>Electra,</hi>
               <note place="margin">Fable of the Electra.</note> in
which there is ſcarce the ſhadow of a
Plot, nor much more of a Moral. <hi>Oreſtes</hi>
(who after the murther of his Father
<hi>Agamemnon,</hi> had by the care of his Si<g ref="char:EOLhyphen"/>ſter
<hi>Electra</hi> eſcap'd the fury of his Mo<g ref="char:EOLhyphen"/>ther
<hi>Clytemneſtra</hi> and her Paramour <hi>Ae<g ref="char:EOLhyphen"/>giſthus,</hi>)
comes to <hi>Argos</hi> with his Tu<g ref="char:EOLhyphen"/>tor,
whom he ſends to deceive his Mo<g ref="char:EOLhyphen"/>ther
with a Sham Story of his Death,
and in the mean time diſcovers himſelf
to his Siſter, with whom he conſults
about means to revenge the Death of
his Father; is introduc'd to his Mother
as a ſtranger, kills her, and afterwards
<hi>Aegiſthus.</hi>
            </p>
            <p>Thro the whole Play the Poet does
not ſo much as ſquint toward a Moral,
he lets nothing fall by which the Audi<g ref="char:EOLhyphen"/>ence
may ſo much as gueſs what he
drives at. But by the contrivance of
the Fable, wherein a Wife, that had
embrued her hands in her Husbands
blood, after having abus'd his Bed, is,
together with her Adulterer and Fellow
Murtherer, after a ſucceſſion of ſome
years of proſperous Villany, overtaken
<pb n="156" facs="tcp:54591:98"/>
by Vengeance from the hands of the Son,
and ſlain; we may conclude with <hi>Ho<g ref="char:EOLhyphen"/>race,</hi>
               <q>
                  <l>Raro antecedentem ſceleſtum</l>
                  <l>Deſeruit pede paena claudo.<note place="margin">Moral.</note>
                  </l>
               </q>
               <hi>That Divine Vengeance ſeldom fails to o<g ref="char:EOLhyphen"/>vertake
great Villanies.</hi>
            </p>
            <p>This is all the <hi>Moral</hi> that I can find
in this Play, nor do I perceive that <hi>So<g ref="char:EOLhyphen"/>phocles</hi>
himſelf took care by any overt
Expreſſion to intimate it to the Audi<g ref="char:EOLhyphen"/>ence.</p>
            <p>The <hi>Antigone</hi> is ſomething better con<g ref="char:EOLhyphen"/>triv'd.<note place="margin">Fable of the <hi>Antigone.</hi>
               </note>
               <hi>Antigone,</hi> contrary to <hi>Creon</hi>'s
order, buries her Brother <hi>Polynices. Cre<g ref="char:EOLhyphen"/>on</hi>
orders her to be ſhut up in a Cave
alive, and commands, that no body
ſhou'd relieve her. <hi>Haemon</hi> his Son
pleads for her, and unable to prevail,
goes to the Cave, and finds that <hi>Anti<g ref="char:EOLhyphen"/>gone</hi>
his Miſtreſs had hang'd herſelf.
In the interim <hi>Tyreſias</hi> comes to <hi>Creon,</hi>
and tells him, that he did amiſs, and
that he ought with all expedition to re<g ref="char:EOLhyphen"/>pair
his Fault. <hi>Creon</hi> continues obſti<g ref="char:EOLhyphen"/>nate,
and reviles the Prophet, who re<g ref="char:EOLhyphen"/>turns
the complement, and threatens
<pb n="157" facs="tcp:54591:98"/>
               <hi>Creon</hi> with the calamities that ſhou'd
come immediately upon his Family for
his Impiety and Obſtinacy, and ſo leaves
him. <hi>Creon</hi> after his departure relents,
and makes haſte to ſave <hi>Antigone,</hi> but
comes too late, and finds his Son ra<g ref="char:EOLhyphen"/>ving
for the loſs of his Miſtreſs, and
hardly eſcapes being killed by him.
<hi>Haemon</hi> kills himſelf, and his Mother up<g ref="char:EOLhyphen"/>on
the News herſelf.</p>
            <p>Here <hi>Sophocles</hi> ſpeaks out for himſelf,<note place="margin">Moral.</note>
and tell his Audience what Judgment
they are to make of theſe ſurprizing E<g ref="char:EOLhyphen"/>vents,
which had in a moment over<g ref="char:EOLhyphen"/>turned
a flouriſhing Family. The Chorus
in the Concluſion ſays
<q>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>
                  </l>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>
                  </l>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>.—</l>
               </q>
            </p>
            <p>Wiſdom is the firſt ſtep to Happineſs.
The Gods muſt not be irreverently treated.
For the great Puniſhments, that attended
the Profane liberties of ſpeech of Inſolent
Men, were Leſſons of Humility at laſt.</p>
            <p>The <hi>Oedipus Coloneus</hi> is a Play,<note place="margin">Oedipus Coloneus.</note> that
we are told was very much admir'd at
<hi>Athens;</hi> and it is no great wonder. For
it was written on purpoſe to Flatter,
<pb n="158" facs="tcp:54591:99"/>
and do honour to the <hi>Athenians,</hi> and
therefore cou'd ſcarce fail of a good re<g ref="char:EOLhyphen"/>ception.
This Policy of <hi>Sophocles</hi> will
furniſh us with both a Plot, and a Mo<g ref="char:EOLhyphen"/>ral,
which 'twill otherwiſe be hard to
find in this Play. The Poet was now
in his old age, and had long out-lived
Mr <hi>Dryden</hi>'s <hi>Fumbling Age of Poetry,</hi> and
perhaps began to be ſenſible of ſome de<g ref="char:EOLhyphen"/>cay,
and therefore to ſupport the
weight of that reputation, which he had
acquired in the vigour of his Poetry,
he pieces out the Lyons Skin with the
Foxes Tail, and ſuſpecting his own
power to move their Paſſions as for<g ref="char:EOLhyphen"/>merly,
makes uſe of their Vanity to
ſcrue them up to the deſired pitch of
Admiration and Satisfaction. This, if
the Reader pleaſes, may ſerve inſtead of
a Plot, and the ſucceſs of it may afford
us this Moral; that <hi>no people is ſo
ſtrongly fortified againſt Flattery, but that,
if their Vanity be skilfully tickled, it will
be rous'd, and exert itſelf in favour of the
Flatterer.</hi>
            </p>
            <p>This is, indeed, beſide the Action,
and in probability was not the Mo<g ref="char:EOLhyphen"/>ral,
which <hi>Sophocles</hi> intended for the
Publick; but 'tis plain, that 'twas the
<pb n="159" facs="tcp:54591:99"/>
ſecret Motive upon which he acted, and
the genuine Moral of his Conduct.</p>
            <p>The Fable of <hi>Oedipus Coloneus,</hi>
               <note place="margin">
                  <hi>Fable of</hi> Oedipus Coloneus</note> ſuch
as it is in this. <hi>Oedipus,</hi> under the
Conduct of his Daughter <hi>Antigone,</hi> ar<g ref="char:EOLhyphen"/>rives
at a Grove near <hi>Athens</hi> conſecrated
to the <hi>Furies,</hi> whither he had been di<g ref="char:EOLhyphen"/>rected
by the <hi>Oracle</hi> to go. <hi>Creon,</hi> en<g ref="char:EOLhyphen"/>deavours
to fetch him away by force;
<hi>Theſeus</hi> intervenes, and reſcues him.
<hi>Oedipus</hi> dies at laſt in the place appoint<g ref="char:EOLhyphen"/>ed
by <hi>Fate</hi> and the <hi>Oracle.</hi>
            </p>
            <p>This is a plain ſtory,<note place="margin">No Moral.</note> without either
Turn or Conſequence, upon which
there is no poſſibility of raiſing a <hi>Mo<g ref="char:EOLhyphen"/>ral.
Sophocles</hi> ſeems to have endea<g ref="char:EOLhyphen"/>voured
at ſomething like one in the
Concluſion. For when the Daughters
of <hi>Oedipus</hi> lamented immoderately his
death, the <hi>Chorus</hi> tells 'em, <hi>That they
ought not to bewail any longer one that was
come to his deſir'd end.</hi>
            </p>
            <p>The <hi>Trachiniae</hi> ſeems almoſt as little
contriv'd for Edification as the forego<g ref="char:EOLhyphen"/>ing.<note place="margin">
                  <hi>Trachi<g ref="char:EOLhyphen"/>niae</hi> its Fa<g ref="char:EOLhyphen"/>ble.</note>
               <hi>Dejanira</hi> being inform'd that <hi>Her<g ref="char:EOLhyphen"/>cules</hi>
grew amorous of his Captive <hi>Jole,</hi>
to retrieve and enſure his Affection to
her, ſends by <hi>Lichas</hi> an envenom'd
Shirt, which ſhe ſuppos'd to have been
<pb n="160" facs="tcp:54591:100"/>
dipt in a Philtre. This unhappy Pre<g ref="char:EOLhyphen"/>ſent
being upon his Back, immediately
corroded the Fleſh in ſuch manner, that
in a rage he daſh'd out <hi>Lichas</hi> the Bear<g ref="char:EOLhyphen"/>ers
Brains. <hi>Dejanira</hi> hearing the Fatal
Effects of her Errour, kills herſelf. <hi>Her<g ref="char:EOLhyphen"/>cules</hi>
having charged his Son <hi>Hyllus</hi> to
marry his Concubine <hi>Jole,</hi> burns him<g ref="char:EOLhyphen"/>ſelf.</p>
            <p>The reflection that <hi>Sophocles</hi> makes
upon all this,<note place="margin">Moral of <hi>Sopho<g ref="char:EOLhyphen"/>cles.</hi>
               </note> is, that, <hi>'tis all</hi> Jupiter'<hi>s
doing. Hyllus,</hi> in the cloſe, <hi>boldly ac<g ref="char:EOLhyphen"/>cuſes
the Gods of</hi>
               <note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>, which ſignifies Folly or In<g ref="char:EOLhyphen"/>juſtice.</note> 
               <hi>Injuſtice, for deſert<g ref="char:EOLhyphen"/>ing
their own Off-ſpring.</hi> He adds,
<q>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>,</l>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>.</l>
                  <l>Theſe things are a heavy Affliction to us,</l>
                  <l>But a ſcandal to them.</l>
               </q>
            </p>
            <p>The <hi>Chorus</hi> ſeconds his Complaint,
and ſays, that <hi>all their Calamities are of</hi>
Jupiter'<hi>s ſending.</hi>
            </p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.</q>
            <p>
               <pb n="161" facs="tcp:54591:100"/>
This Fable and Application afford ve<g ref="char:EOLhyphen"/>ry
little matter of Moral Inſtruction;
and the uſe that the Poet himſelf makes
of it, is rather a diſcouragement to
Virtue, ſince neither the Heroick Qua<g ref="char:EOLhyphen"/>lities,
nor Actions of <hi>Hercules,</hi> nor the
relation to <hi>Jupiter,</hi> could exempt him<g ref="char:EOLhyphen"/>ſelf
or Family from ſuch lamentable diſ<g ref="char:EOLhyphen"/>aſters.</p>
            <p>However, the misfortune of <hi>Dejanira</hi>
may ſerve as a caution againſt Jealouſie
and Adultery, which two failings in
conjunction, occaſion'd her ruin. And
<hi>Hercules</hi> himſelf may be an inſtance of
the dangerous conſequenees of a licen<g ref="char:EOLhyphen"/>tious
ungovern'd Flame, which at laſt
was the deſtruction of him, who had
withſtood, and baffled the utmoſt Malice
and Invention of <hi>Juno.</hi>
            </p>
            <p>The Fable of the <hi>Philoctetes</hi> is this.<note place="margin">
                  <hi>Philocte<g ref="char:EOLhyphen"/>tes,</hi> the Fable.</note>
               <hi>Philoctetes</hi> having an incurable Ulcer in
his Foot, from the bite of a Serpent in
his Voyage to <hi>Troy,</hi> was deſerted, and
left by the <hi>Greeks</hi> alone upon the deſart
Shore of <hi>Lemnos.</hi> But his Preſence be<g ref="char:EOLhyphen"/>ing
declar'd abſolutely neceſſary to the
taking of <hi>Troy, <g ref="char:V">Ʋ</g>lyſſes</hi> and <hi>Pyrrhus</hi> are
ſent to fetch him. He refuſes obſtinate<g ref="char:EOLhyphen"/>ly
to go along with 'em, but <hi>Hercules</hi>
               <pb n="162" facs="tcp:54591:101"/>
appearing, and perſwading him, he
complies.</p>
            <p>This likewiſe is a barren Story,<note place="margin">No Moral.</note> of
which <hi>Sophocles</hi> himſelf has made no
moral Uſe, and has ſcarce given occaſi<g ref="char:EOLhyphen"/>on
for any one elſe to do it.</p>
            <p>
               <hi>Philoctetes</hi> had been barbarouſly ex<g ref="char:EOLhyphen"/>pos'd
by his Confederates the <hi>Greeks,</hi> for
which he was irreconcilably angry with
'em, eſpecially <hi>
                  <g ref="char:V">Ʋ</g>lyſſes,</hi> who had been
the Executioner of their Reſolutions in
relation to him. He therefore refuſes
obſtinately to go with, or to thoſe that
had ſerv'd him ſo baſely; but <hi>Hercules</hi>
appearing, and telling him, that upon
thoſe terms, and no other, he muſt ex<g ref="char:EOLhyphen"/>pect
his cure, and proſperity, the man
had ſo much Wit in his Anger, as to
prefer Health and Fame before ſullen
Revenge, which muſt be his own as
well as their diſappointment.</p>
            <p>Mr <hi>Collier</hi> wou'd paſs the Speech of
<hi>Hercules</hi> upon us for a Moral.<note place="margin">Speech of <hi>Hercules</hi> not perti<g ref="char:EOLhyphen"/>nent to the Action. <hi>P.</hi> 93.</note> But by
his leave, how <hi>remarkably Moral ſoever
the Concluſion of this Play</hi> may be, the
morality of it no way depends upon the
Action foregoing. <hi>Hercules</hi> prevails
with <hi>Philoctetes</hi> to go with <hi>
                  <g ref="char:V">Ʋ</g>lyſſes,</hi> and
<hi>Pyrrhus</hi> promiſes him Health, Honour,
<pb n="163" facs="tcp:54591:101"/>
and Riches, and recommends the care
of Religion to him.
<q>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</q>
               <hi>Which,</hi> ſays he, <hi>Jupiter regards above all
things.</hi>
            </p>
            <p>This was indeed good advice, and
matter of Inſtruction to the Audience, as
well as <hi>Philoctetes;</hi> but not ariſing any
way from the main Action, it might as
properly have been ſaid at any other
time, and upon any other occaſion, as
this; and if it muſt ſerve for a Moral,
might as juſtly have been the Moral of
any other Play.</p>
            <p>
               <hi>Thus I have run through</hi> Sophocles,<note place="margin">Ibid.</note>
whoſe Plays (<hi>by Mr</hi> Collier'<hi>s own con<g ref="char:EOLhyphen"/>feſſion</hi>)
are form'd upon Models of Virtue,
joyn Innocence with Pleaſure, and deſign
the Improvement of the Audience.</p>
            <p>Upon this account, and the great Re<g ref="char:EOLhyphen"/>putation
of this Author, I have been
more particular with him upon this
head, than I deſign to be with any of
the reſt of the Antient <hi>Tragedians.</hi> I
have ſet before the Reader the ſeveral
Models of all his remaining Plays, and
have enquir'd into the Diſpoſition of
<pb n="164" facs="tcp:54591:102"/>
the Fable in relation to the ſervice of
<hi>Morality,</hi> that upon collation we may
with more certainty meaſure the com<g ref="char:EOLhyphen"/>parative
Morality of his and the Mo<g ref="char:EOLhyphen"/>dern
Plays on this Article.</p>
            <p>
               <hi>Euripides,</hi>
               <note place="margin">Art. Poet. Cap. xiii.</note> who came neareſt him both
in Time and Reputation, is yet more
defective in this point. <hi>Ariſtotle</hi> has
tax'd him with want of Conduct in the
<hi>Oeconomy of his Fable;</hi> but this Cenſure
being levell'd rather at the want of Ar<g ref="char:EOLhyphen"/>tifice,
than of Moral in the Plays of <hi>Eu<g ref="char:EOLhyphen"/>ripides,</hi>
I ſhall make no further uſe of it
here. The character of this Author's
works wou'd make us naturally expect,
that he ſhou'd be more careful of this
Article, than either <hi>Aeſchylus,</hi> or <hi>Sopho<g ref="char:EOLhyphen"/>cles,</hi>
who aim'd more at the Pathetick.
The Plays of <hi>Euripides</hi> betray all along
an affected Oſtentation of Learning,<note place="margin">Character of the Plays of <hi>Euripi<g ref="char:EOLhyphen"/>des</hi> in ge<g ref="char:EOLhyphen"/>neral.</note>
and as great an Ambition to be thought
a Philoſopher, as a Poet. For this rea<g ref="char:EOLhyphen"/>ſon
he abounds more in Points, and
Sentences of Morality, florid Harangues,
and ſubtle Speculations, than <hi>Sophocles;</hi>
but he does not touch the Paſſions, or
raiſe the Concern of an Audience like
him. And therefore whatever we may
think of his Dialogues conſider'd ſepa<g ref="char:EOLhyphen"/>rately,
<pb n="165" facs="tcp:54591:102"/>
and independant of one another,
his Plays in the aggregate are far inferi<g ref="char:EOLhyphen"/>our
to thoſe of <hi>Sophocles.</hi>
            </p>
            <p>
               <hi>Euripides</hi> has yet remaining nineteen
<hi>Tragedies,</hi> to examin all which, as we
have done thoſe of <hi>Sophocles,</hi> wou'd be
an impertinent, as well as a tedious la<g ref="char:EOLhyphen"/>bour,
both to the Reader and my ſelf.
I ſhall therefore content my ſelf to in<g ref="char:EOLhyphen"/>ſtance
in a few of 'em, and refer thoſe
that have the Curioſity and Patience, to
proceed further to the Author him<g ref="char:EOLhyphen"/>ſelf.</p>
            <p>The <hi>Oreſtes</hi> challenges the firſt place
upon the ſcore of its Reputation, and
the great Succeſs it had on the revival
of it, five hundred years after the
death of the Author.</p>
            <p>This play commences,<note place="margin">Fable of the <hi>Oreſtes</hi>
               </note> where the <hi>E<g ref="char:EOLhyphen"/>lectra</hi>
of <hi>Sophocles</hi> and his own conclude.
<hi>Oreſtes,</hi> by the help of his Siſter <hi>Electra,</hi>
having ſlain his Mother, is very much
troubled in mind, and haunted by Fu<g ref="char:EOLhyphen"/>ries,
and deſponds upon the account of
his Guilt. <hi>Tyndarus,</hi> his Mother's Fa<g ref="char:EOLhyphen"/>ther,
endeavours to revenge her death,
and excites the People againſt him, who
vote him to be ſton'd to death with his
Siſter. <hi>Menelaus,</hi> with his Wife <hi>Hele<g ref="char:EOLhyphen"/>na,</hi>
               <pb n="166" facs="tcp:54591:103"/>
and Daughter <hi>Hermione,</hi> arrives in
the mean time and offers his aſſiſtance to
his Nephew in this exigence, but is o<g ref="char:EOLhyphen"/>ver-aw'd
by <hi>Tyndarus,</hi> and deſerts his
Party. <hi>Pylades</hi> comes opportunely, and
perſwades <hi>Oreſtes</hi> to appear, and make
his defence in perſon, which he does,
but without ſucceſs, yet upon his pro<g ref="char:EOLhyphen"/>miſe
that his Siſter and himſelf ſhall be
their own Executioners, he is let go by
the Mob upon <hi>Parole.</hi> Being return'd
to his Siſter, they conſult about means
of <hi>Safety. Electra</hi> adviſes him and <hi>Py<g ref="char:EOLhyphen"/>lades</hi>
to ſeize upon <hi>Helen</hi> and <hi>Hermione,</hi>
to kill <hi>Helen,</hi> and to Article with <hi>Me<g ref="char:EOLhyphen"/>nelaus</hi>
for their own ſafety, with a Sword
at <hi>Hermione</hi>'s Throat; and if her Father
wou'd not comply with their demands,
firſt to diſpatch her, then themſelves.
This Project is put in execution, and
the Ladies are ſurpriz'd, <hi>Apollo</hi> reſcues
<hi>Helen,</hi> and appearing, reconciles <hi>Mene<g ref="char:EOLhyphen"/>laus</hi>
and <hi>Oreſtes,</hi> and makes a match be<g ref="char:EOLhyphen"/>twixt
him and <hi>Hermione,</hi> and betwixt
<hi>Pylades</hi> and <hi>Electra,</hi> and promiſing
happineſs to 'em all, tells 'em, that
<hi>Helen</hi> is made a Goddeſs, and ſo con<g ref="char:EOLhyphen"/>cludes
the Play.</p>
            <p>
               <pb n="167" facs="tcp:54591:103"/>
In this Play moſt of the Characters
are wicked,<note place="margin">Characters all vicious.</note> 
               <hi>Oreſtes</hi> and <hi>Electra</hi> are <hi>Par<g ref="char:EOLhyphen"/>ricides;
Tyndarus</hi> is (in his heart at
leaſt) the <hi>Murtherer</hi> of his Grand-chil<g ref="char:EOLhyphen"/>dren;
<hi>Menelaus,</hi> the <hi>Betrayer</hi> of his Ne<g ref="char:EOLhyphen"/>phew,
and Niece, whom he ought to
have protected; <hi>Helen,</hi> an <hi>infamous</hi>
Woman, and the accidental cauſe at
leaſt of the Miſeries of a great part of
<hi>Aſia</hi> and <hi>Europe,</hi> yet clear of any inten<g ref="char:EOLhyphen"/>tional
Guilt in this caſe; <hi>Pylades</hi> is en<g ref="char:EOLhyphen"/>gaged
with his Friend in an unjuſt at<g ref="char:EOLhyphen"/>tempt
to murther <hi>Helen</hi> and her Daugh<g ref="char:EOLhyphen"/>ter;
<hi>Hermione,</hi> who is next to a Mute
in the Play, is the only unexceptionable
Character.</p>
            <p>This Play begins well,<note place="margin">Not of a piece all through.</note> the Agonies
of a guilty Conſcience, the Deſpair, and
the Horrors of <hi>Oreſtes</hi> promiſe a good
Moral: But the hopes of that ſoon va<g ref="char:EOLhyphen"/>niſh;
for the firſt word of comfort from
<hi>Menelaus</hi> diſpels all his Anxiety for his
crime, and converts it to a ſolicitude for
his Safety. In order to this, he
enters upon a piece of Villany, more
execrable than that for which he was
then proſecuted, becauſe 'twas without
provocation: A Feint of that kind had
been an allowable Stratagem to have
<pb n="168" facs="tcp:54591:104"/>
brought <hi>Menelaus</hi> to Articles; but to
project it in earneſt was an unparallell'd
piece of Barbarity. But what after all
is more ſurprizing and unnatural is, that
the <hi>Cataſtrophe</hi> is happy, and the Parri<g ref="char:EOLhyphen"/>cides
rewarded, and all this ſeems to be
the reſult of <hi>Electra</hi>'s latter contrivance,
which however wicked was ſucceſsful
and proſperous.</p>
            <p>The <hi>Moral</hi> (if I may call it ſo) of
this Story is properly this,<note place="margin">Moral.</note> that there
<hi>is no dabbling in Villany, but that thoſe
that are once enter'd, muſt wade thro, if
they will be ſafe, and juſtify one Crime by
another.</hi> But that which makes the
winding up of this Play more notori<g ref="char:EOLhyphen"/>ous,
is, that the Gods are made the Ar<g ref="char:EOLhyphen"/>biters
of all; <hi>Apollo</hi> appears in perſon,
and juſtifies <hi>Oreſtes,</hi> and promiſes him
his protection, and enſures the happi<g ref="char:EOLhyphen"/>neſs
of <hi>Pylades</hi> and <hi>Electra,</hi> who had
been the ſole Incendiary and Contriver
of all this Miſchief; which is adding
Impiety to the want of Poetick Juſtice,
and making Providence acceſſary to
Parricide, and the Gods Abbetors of
Violence and Injuſtice, not to take no<g ref="char:EOLhyphen"/>tice
of the Deifying of <hi>Helena,</hi> who,
tho <hi>Jove</hi>'s Daughter, is a Woman of a
<pb n="169" facs="tcp:54591:104"/>
very infamous Character all through
the Play.</p>
            <p>I ſuppoſe the <hi>Moral</hi> of this Play will
hardly riſe in Judgment againſt the
Moderns. Nor has the <hi>Electra</hi> of
of the ſame Author any more reaſon,
it being liable to the ſame exceptions
with the former, only in this the Mur<g ref="char:EOLhyphen"/>ther
is perpetrated, in that but deſigned;
in ſhort, this Play is the ground work of
the former, and the action of this gives
the reaſon, and occaſion of all that hap<g ref="char:EOLhyphen"/>pens
in t'other. Here likewiſe the Gods
are impertinently brought in to finiſh
that, which wou'd of it ſelf have cloſed
very naturally without 'em. For after
the Death of <hi>Aegiſthus</hi> and <hi>Clytemneſtra</hi>
there was nothing more to be done. But
this Poet, who is very fond of Machines,
tho<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap> unneceſſary, after all's over brings
down <hi>Caſtor</hi> and <hi>Pollux</hi> to condemn the
Fact, acquit the Murtherers of their
Siſter, and transfer the Guilt to <hi>Apollo,</hi>
whom they accuſe of<note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> uttering a <hi>fooliſh
Oracle.</hi>
            </p>
            <p>However the Fable of this Play being
the ſame with that of the <hi>Electra</hi> of
<hi>Sophocles,</hi> we may do it the ſame Grace,
and allow it the benefit of any <hi>Moral</hi>
               <pb n="170" facs="tcp:54591:105"/>
that may be raiſed out of it, tho not
without ſome violence, as this Author
has managed it. What that is I have al<g ref="char:EOLhyphen"/>ready
obſerved in the foregoing Re<g ref="char:EOLhyphen"/>marks
upon the <hi>Electra</hi> of <hi>Sophocles.</hi>
            </p>
            <p>The <hi>Medea,</hi>
               <note place="margin">Media, <hi>&amp;c.</hi>
               </note> 
               <hi>Hippolytus, Ion, Hercules
diſtracted,</hi> and ſeveral other are likewiſe
built upon various Models. In theſe, as
in moſt of <hi>Euripides</hi>'s Plays, the Gods are
always at one end or t'other of the buſi<g ref="char:EOLhyphen"/>neſs,
they are either the Promoters of
the Crime, or the Protectors of the
Criminals. All is acted by <hi>Machine,</hi> the
<hi>Action</hi> is frequently forced, and the <hi>Cata<g ref="char:EOLhyphen"/>ſtrophe</hi>
generally unnatural. Yet notwith<g ref="char:EOLhyphen"/>ſtanding
this extraordinary licence,
which this Poet aſſumes in almoſt all his
Plays, but very few of 'em are ſo mo<g ref="char:EOLhyphen"/>dell'd
as to be ſerviceable to Virtue upon
that Score.</p>
            <p>
               <hi>Medea,</hi> after a courſe of Murthers, ha<g ref="char:EOLhyphen"/>ving
ſlain her own Brother, and Chil<g ref="char:EOLhyphen"/>dren
with her own hands, and <hi>Pelias,
Creon,</hi> and <hi>Creuſa</hi> by her charms, is taken
particular care of by <hi>Phaebus,</hi> and pro<g ref="char:EOLhyphen"/>vided
of a flying Chariot to make her
eſcape from Juſtice in.</p>
            <p>
               <hi>Hippolitus</hi> has the Character of a juſt,<note place="margin">Fable of the <hi>Hip<g ref="char:EOLhyphen"/>politus.</hi>
               </note>
and a Pious Perſon, and his conduct
<pb n="171" facs="tcp:54591:105"/>
all thro the Play, both in relation to his
Mother in Law <hi>Phaedra,</hi> and his Father,
by whoſe curſe he is devoted, and
brought to ruine, juſtifies this Character,
and he in the Agonies of Death ex<g ref="char:EOLhyphen"/>preſſes
a greater concern for, and a more
ſenſible impreſſion of his Fathers misfor<g ref="char:EOLhyphen"/>tunes
and afflictions, than his own. A
Diſpoſition ſo extraordinarily pious, one
wou'd think, ſhou'd, if it might not
exempt him from thoſe diſaſters that
attend the Infirmity of humane Nature,
and the malignity of his Fellow Mor<g ref="char:EOLhyphen"/>tals,
at leaſt protect him from any ſuper<g ref="char:EOLhyphen"/>natural
calamities, and enſure the favour
of Heaven to him. But he was a Vo<g ref="char:EOLhyphen"/>tary
to <hi>Diana,</hi> and his vow of Chaſtity
gave ſuch offence to <hi>Venus,</hi> who
thought herſelf ſlighted, that ſhe reſolves
his ruine, and declares her reſolution, and
the methods ſhe intends to take to effect
it, in the Prologue which ſhe ſpeaks. And
ſhe lays her Plot ſo, that by means of
an antecedent Promiſe to <hi>Theſeus</hi> ſhe
engages <hi>Neptune</hi> in the Deſtruction of
an innocent Young Man, whoſe only
crime is an obſtinate, inviolate Chaſtity;
and <hi>Phaedra,</hi> who is her inſtrument, is
involv'd in the guilt of a heinous, but
<pb n="172" facs="tcp:54591:106"/>
involuntary Crime. The conſideration
of the ſeveral Fables of theſe Plays cou'd
furniſh the Audience with no venerable
Ideas of their Gods, who cou'd be the
Promoters, or Protectors of ſuch hor<g ref="char:EOLhyphen"/>rid
Actions; nor cou'd any encourage<g ref="char:EOLhyphen"/>ment
to Juſtice and Morality be drawn
from 'em, which afforded ſuch examples
of Partiality, and prejudice among their
Deities, that the blackeſt Crimes cou'd
not forfeit their favour, nor the moſt ex<g ref="char:EOLhyphen"/>emplary
Virtue enſure it.</p>
            <p>The <hi>Ion</hi> is reckoned by the Learned
Monſieur <hi>Dacier</hi> among that kind of Tra<g ref="char:EOLhyphen"/>gedies,<note place="margin">
                  <hi>Ion</hi> a mo<g ref="char:EOLhyphen"/>ral Tragedy.</note>
which <hi>Ariſtotle</hi> calls <hi>Moral,</hi> and
which this judicious Commentator de<g ref="char:EOLhyphen"/>fines
thus;<note place="margin">Remar<g ref="char:EOLhyphen"/>ques ſurle xix Chapi<g ref="char:EOLhyphen"/>tre de la poetique d' Ariſto<g ref="char:EOLhyphen"/>te.</note> 
               <hi>The Moral Tragedy is a ſort of
Tragedy contriv'd purely for the formation
of Mens manners, whoſe Cataſtrophe is al<g ref="char:EOLhyphen"/>ways
happy.</hi> And in the Page immedi<g ref="char:EOLhyphen"/>ately
foregoing, <hi>The Moral Tragedy</hi>
(ſays he) <hi>treats neither of Death, Tor<g ref="char:EOLhyphen"/>ments,
nor Wounds, but of the happineſs
of ſome Perſons recommendable for their
Virtue.</hi> Here therefore one might rea<g ref="char:EOLhyphen"/>ſonably
expect a perfect Model of Vir<g ref="char:EOLhyphen"/>tue,
and a exact Scheme of Manners;
for which reaſon it may ſeem juſtly to
challenge our conſideration.</p>
            <p>
               <pb n="173" facs="tcp:54591:106"/>
               <hi>Ion,</hi>
               <note place="margin">Fable of <hi>Ion</hi> prece<g ref="char:EOLhyphen"/>dent to the Action.</note> a Slip of <hi>Creuſa</hi> by <hi>Apollo,</hi> is pri<g ref="char:EOLhyphen"/>vately
born, and expos'd by his Mother,
is taken up by <hi>Mercury</hi> and conveyed to
<hi>Delphi,</hi> where he is found by the Prieſt<g ref="char:EOLhyphen"/>eſs,
and brought up in the Temple of
his Father, of which he is at length
made the Treaſurer, or Keeper of the
rich Moveables, in which Office he diſ<g ref="char:EOLhyphen"/>charges
his truſt faithfully. Thus far the
Prologue ſpoken by <hi>Mercury</hi> informs the
Audience of the Hiſtory of <hi>Ion</hi> before
the Play commences.</p>
            <p>
               <hi>Creuſa</hi> his Mother,<note place="margin">Fable com<g ref="char:EOLhyphen"/>mencing with the Action.</note> having no Iſſue by
her Husband <hi>Xuthus,</hi> repairs with him
to the Oracle at <hi>Delphi,</hi> to petition for an
Heir. The Husband puts up his requeſt
according to form, and is anſwered, that
the firſt man he ſhou'd meet in his re<g ref="char:EOLhyphen"/>turn
from the Altar, was his Son; this
happens to be <hi>Ion,</hi> who is upon the
faith of the Oracle received by him as
his Son. <hi>Ion,</hi> who being a Foundling,
was ignorant of his Parentage, in return
joyfully acknowledges him to be his
Father, and is proved of ſo honourable
an Extraction. This enrages <hi>Creuſa,</hi>
who not ſuſpecting the relation of <hi>Ion</hi>
to herſelf, ſuppoſes him to be ſome by<g ref="char:EOLhyphen"/>blow
of her Husbands, as <hi>Xuthus</hi> him<g ref="char:EOLhyphen"/>ſelf
<pb n="174" facs="tcp:54591:107"/>
does, but begotten before his Mar<g ref="char:EOLhyphen"/>riage
to <hi>Creuſa.</hi> In this rage ſhe reſolves
and attempts to poyſon <hi>Ion,</hi> which is
diſcovered, and <hi>Ion</hi> in revenge purſues
her life. She takes refuge at the
Altar, from whence while <hi>Ion</hi> is en<g ref="char:EOLhyphen"/>deavouring
to force him, the <hi>Propheteſs</hi>
interpoſes, and produces the Swathing
Bands, and other things in which <hi>Ion</hi>
was wrapt when found. Theſe <hi>Creuſa</hi>
knows, and diſcovers him to be her own
Son by <hi>Apollo; Minerva</hi> appears, and con<g ref="char:EOLhyphen"/>firms
her Story, and adviſes 'em both to
conceal this circumſtance from <hi>Xuthus,</hi>
and concludes with a ſort of <hi>Epilogue,</hi>
predicting the happineſs of <hi>Ion,</hi>
               <note place="margin">Main Con<g ref="char:EOLunhyphen"/>dition of Moral Tra<g ref="char:EOLhyphen"/>gedy neg<g ref="char:EOLhyphen"/>lected in this.</note> and o<g ref="char:EOLhyphen"/>ther
Children, which <hi>Creuſa</hi> was to have
by her Husband.</p>
            <p>If this was deſigned for a <hi>Moral</hi> Tra<g ref="char:EOLhyphen"/>gedy,
as Monſieur <hi>Dacier</hi> thinks, and as
the Contrivance of the Fable, as well as
the Cataſtrophe ſeems to argue, it muſt be
confeſſed that <hi>Euripides</hi> has forgot the
main circumſtance. For the good For<g ref="char:EOLhyphen"/>tune
of thoſe Perſons, whom he makes
happy in the Concluſion is not owing
to their Virtue or Prudence, but to the
favour of <hi>Phaebus,</hi> who had too great a
Perſonal Intereſt in 'em, to ſuffer 'em to
miſcarry.</p>
            <p>
               <pb n="175" facs="tcp:54591:107"/>
               <hi>Creuſa's</hi> Character is vitious all along,<note place="margin">
                  <hi>Creaſa's</hi> a wicked Character.</note>
ſhe was with Child by <hi>Apollo,</hi> and privately
delivered, and to conceal her Shame,
ſhe expoſes the Infant as a Prey to the
Wild Beaſts, as ſhe herſelf confeſſes to
her old Servant, and Confident, the
Contriver and Inſtrument of her intended
Villany afterwards.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>He died a Prey to the Wild Beaſts.</l>
            </q>
            <p>Here ſhe confeſſes herſelf guilty of a
Crime, that is capital in our Law, and
is ſo far from repenting, that ſhe en<g ref="char:EOLhyphen"/>gages
immediately in the deſign of ano<g ref="char:EOLhyphen"/>ther
of a Dye ſomething deeper, be<g ref="char:EOLhyphen"/>cauſe
Treachery and Violence enter the
compoſition; in this ſhe is active in the
Murther, in the former ſhe was only
Paſſive. This Character can hold forth
nothing of Inſtruction, except it teach
Women, that have given up their Ho<g ref="char:EOLhyphen"/>nours,
to ſecure their Reputations by
murthering their Baſtards; and furious,
jealous Wives to deſtroy their Husbands
Children and Heirs by other Women.</p>
            <p>The Character of <hi>Ion</hi> is indeed not ſo
criminal;<note place="margin">
                  <hi>Ion's</hi> Cha<g ref="char:EOLhyphen"/>racter in<g ref="char:EOLhyphen"/>different.</note> his higheſt commendation is,
<pb n="176" facs="tcp:54591:108"/>
that he had not imbezzled the Stores of
<hi>Apollo</hi> committed to his keeping. Now,
tho Faithfulneſs be very commendable
in a Servant, yet his was never exercis'd
in ſo ſuperlative a way, or endur'd any
ſuch ſevere tryal, as might upon that
ſcore entitle him to the great Fortune
and Preferment which befel him after<g ref="char:EOLhyphen"/>wards.
His higheſt Merit was bare Ho<g ref="char:EOLhyphen"/>neſty,
enough to have procur'd him a
Certificate now adays upon change of
Service; not to challenge any conſide<g ref="char:EOLhyphen"/>rable
Reward. He laid claim to no
active virtues, his Innocence was his
ſtrongeſt Plea, and that too ſeems to be
a little ſullied at laſt by his too eager
Proſecution of Revenge upon <hi>Creuſa.</hi>
A generous Heathen (without reaching
the Pitch of <hi>Chriſtian</hi> Morality) wou'd
have forgiven, or ſlighted the Feeble
Malice of a Woman, eſpecially at that
Critical Juncture, when he ought to
have ſhewn himſelf worthy of his ſud<g ref="char:EOLhyphen"/>den
exaltation by ſome extraordinary
act of Generoſity. But his colluſion at
laſt with his Mother to cheat <hi>Xuthus</hi> is
a piece of Condeſcenſion ſo baſe, as for<g ref="char:EOLhyphen"/>feits
all pretence to common merit or
honeſty. For he that is content to hold
<pb n="177" facs="tcp:54591:108"/>
his good Forrune by Trick and Impo<g ref="char:EOLhyphen"/>ſture,
don't deſerve it.</p>
            <p>Thus we ſee in this <hi>Moral</hi> Play,<note place="margin">Of no Ser<g ref="char:EOLhyphen"/>vice to Mo<g ref="char:EOLhyphen"/>rality.</note> of
the two fortunate Perſons, one is wick<g ref="char:EOLhyphen"/>ed,
and ought not to be drawn into
Precedent, much leſs to be propos'd for
an Example; t'others Virtue is of ſo
dwarfiſh a ſize, and ſo weakly a Conſti<g ref="char:EOLhyphen"/>tution,
that 'tis not very likely to pro<g ref="char:EOLhyphen"/>pagate,
and by no means a proper Stan<g ref="char:EOLhyphen"/>dard
to meaſure full grown Worth by.
And therefore this Play (tho we ſhou'd,
with Monſieur <hi>Dacier,</hi> allow it to be of
the Moral kind) is like to do no great
ſervice to Morality by the Deſign and
Management of its Fable.</p>
            <p>Becauſe I have mention'd the <hi>Hercules
Furens,</hi>
               <note place="margin">Hercules Furens <hi>compar'd with the</hi> Trachi<g ref="char:EOLhyphen"/>niae <hi>of</hi> So<g ref="char:EOLhyphen"/>phocles.</note> I will not paſs it abſolutely over
in Silence, tho it affords no great matter
of reflection; having had occaſion to
take notice of the Character and Sufferings
of <hi>Hercules</hi> in the <hi>Trachiniae</hi> of <hi>Sophocles.</hi>
There is indeed this conſiderable diffe<g ref="char:EOLhyphen"/>rence
to the diſadvantage of this Play,
in regard to the <hi>Moral,</hi> Art, and Beau<g ref="char:EOLhyphen"/>ty
of it, that here the misfortunes of
<hi>Hercules</hi> are wrought altogether by Ma<g ref="char:EOLhyphen"/>chine:
<hi>Juno, Iris,</hi> and <hi>Lyſſa</hi> or <hi>Madneſs</hi>
(which is here ſuppoſed a <hi>Daemon</hi>) are
<pb n="178" facs="tcp:54591:109"/>
all, and only concern'd in the contri<g ref="char:EOLhyphen"/>vance;
whereas in <hi>Sophocles</hi> things are
naturally brought about, and made the
reſult of Jealouſie and Credulity. What
therefore in that is but obliquely charg'd
upon the Gods, is here directly laid up<g ref="char:EOLhyphen"/>on
'em. So that, what from the laſt
Speech of <hi>Hyllus,</hi> and the <hi>Chorus</hi> is there
urg'd againſt the <hi>Moral</hi> of that Play,
holds more ſtrongly againſt this. Be<g ref="char:EOLhyphen"/>ſides
the atrocity of the Fact, which ex<g ref="char:EOLhyphen"/>tending
here to the Lives of his Wife
and Children, aggravates the guilt of
<hi>Iuno,</hi> who cou'd not limit her malice to
his Perſon, without comprehending
thoſe Innocents, who by no crime of
their own cou'd have incurr'd her diſ<g ref="char:EOLhyphen"/>pleaſure.</p>
            <p>Theſe few inſtances may ſuffice to
give us a true eſtimate of the care of
<hi>Euripides,</hi> in the formation of his Fa<g ref="char:EOLhyphen"/>bles
in general, in relation to the Grand
or General <hi>Moral.</hi>
            </p>
            <p>
               <hi>Aeſchylus</hi> ſhou'd follow,<note place="margin">Character of <hi>Aeſchy<g ref="char:EOLhyphen"/>lus.</hi>
               </note> who, tho
firſt in order of time, comes naturally
laſt into conſideration, as affording very
little upon this Topick. This Author
ſeems ſcarce to have deſign'd any <hi>Moral</hi>
to his Fables, or at leaſt to have regard<g ref="char:EOLhyphen"/>ed
<pb n="179" facs="tcp:54591:109"/>
it very little. His aim was wholly
at the Pathetick, and he deals almoſt
altogether in Objects of Terror; accord<g ref="char:EOLhyphen"/>ingly
his Flights are frequently lofty,
but generally irregular, and his Verſe
rumbles, and thunders almoſt perpetu<g ref="char:EOLhyphen"/>ally,
but it uſually ſpends itſelf, like a
Wind-Gun, in Noiſe and Blaſt only.
He ſets out gloriouſly, launches boldly,
blown up with a Tympany of Windy
<hi>Hyperboles,</hi> and Buckram <hi>Metaphors;</hi> but
he carries more Sail than Ballaſt, and his
courſe is accordingly uneven; he is
ſometimes in the Clouds, and ſometimes
upon the Sands. In ſhort, <hi>Aeſchylus's</hi>
ſole Care and Ambition ſeems to have
been (as Mr <hi>Bays</hi> has it) to <hi>elevate</hi> and
<hi>ſurprize;</hi> in the eager purſuit of which,
he has miſs'd many things, which are
the laſting graces of his more temperate
Succeſſors. The Ground work of his
Plays are plain ſimple Stories, without
either Plot or Moral, told only in the
moſt pompous formidable manner the
Poet cou'd invent, to ſtrike a Pannick
Terror into the Audience; and conſe<g ref="char:EOLhyphen"/>quently
they afford no great matter of
reflection here. I ſhall therefore diſmiſs
this Poet without any formal examina<g ref="char:EOLhyphen"/>tion
<pb n="180" facs="tcp:54591:110"/>
to this Article, and only preſent
the Reader with one Inſtance of his neg<g ref="char:EOLhyphen"/>lect
of <hi>Moral,</hi> which ſtares me in the
Face in the very firſt Page of his <hi>Prome<g ref="char:EOLhyphen"/>theus.</hi>
               <note place="margin">Edit. Hen. Steph.</note>
            </p>
            <p>
               <hi>Power</hi> and <hi>Force,</hi> two Poetical Per<g ref="char:EOLhyphen"/>ſons,
are ſent by <hi>Jupiter</hi> to aſſiſt <hi>Vulcan</hi>
in the chaining <hi>Prometheus</hi> to a Rock.<note place="margin">His <hi>Pro<g ref="char:EOLhyphen"/>metheus</hi> immoral.</note>
They begin the Prologue, and declare
his crime, which was <hi>communicating the
Celeſtial Fire to Mortals;</hi> and the reaſon
of his Puniſhment, which was <hi>that he
might learn to acquieſce in the adminiſtra<g ref="char:EOLhyphen"/>tion
of</hi> Jove, <hi>and ſhake off his tenderneſs
for Mankind.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>This reaſon is pretty ſingular and ex<g ref="char:EOLhyphen"/>travagant,<note place="margin">
                  <hi>Jupiter</hi> a<g ref="char:EOLhyphen"/>bus'd by the Poet under the Perſons of <hi>Power</hi> and <hi>Force.</hi>
               </note>
that a Brother Immortal
ſhou'd be treated ſo inhumanely by <hi>Ju<g ref="char:EOLhyphen"/>piter,</hi>
and his Fellow Gods, only for
his <hi>Philanthropy,</hi> or Love to Mankind;
and muſt needs have a very ſerviceable
effect upon Mortals. For no doubt but
<hi>Jupiter's</hi> Altars muſt ſmoak very plenti<g ref="char:EOLhyphen"/>fully,
<pb n="181" facs="tcp:54591:110"/>
when Men were inform'd, that
ſo well he ſtood affected towards 'em,
that 'twas Capital in any of his Under-Gods
to bear 'em any good will. This
muſt needs impreſs upon 'em a great ve<g ref="char:EOLhyphen"/>neration
for his Perſon, and zeal for his
Service; their Gratitude muſt needs
work over abundantly for ſo ſignal a
Grace.</p>
            <p>That this was all <hi>Prometheus</hi>'s offence
<hi>Vulcan</hi> aſſures us in his reply.<note place="margin">The abuſe back<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> 
                  <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> 
                  <hi>Vulcan.</hi>
               </note>
ſeems to have ſome Bowels of Commi<g ref="char:EOLhyphen"/>ſeration
for this poor Devil of a God,
and in a compaſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ſionate ſort of Remon<g ref="char:EOLhyphen"/>ſtrance
tells him, <hi>that this comes of his
fondneſs of Mankind, and thereby provo<g ref="char:EOLhyphen"/>king</hi>
Jupiter, <hi>who was fierce, and implaca<g ref="char:EOLhyphen"/>ble,
as all new Governours are.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
            </q>
            <p>This account of <hi>Iupiter</hi> ſeems to coun<g ref="char:EOLhyphen"/>tenance
a harſher Tranſlation, than I
have given of the fore-going words
<gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>, and to expound 'em in the
ſcandalous ſenſe of Tyranny, rather
than of a juſt and equal adminiſtration
of Affairs.</p>
            <p>
               <pb n="182" facs="tcp:54591:111"/>
After this Prologue I ſuppoſe no good
Moral will be expected from this Fable;
the reſt of <hi>Aeſchylus</hi>'s Fables are manag'd
after a manner little more ſerviceable, for
which reaſon I ſhall not tire the Reader
with the examination of 'em.</p>
            <p>After the deceaſe of this Triumvirate
of Poets,<note place="margin">Deficiency of the <hi>Greek Tragedy.</hi>
               </note> the <hi>Tragedy</hi> of <hi>Athens</hi> diſap<g ref="char:EOLhyphen"/>pears.
Not but they had many Trage<g ref="char:EOLhyphen"/>dians
after 'em, but neither did they riſe
to a heighth of Reputation equal to
theſe, nor did their works very long
ſurvive 'em that I know of. Here there<g ref="char:EOLhyphen"/>fore
we loſe the view of the Ancient
Tragedy, for above five hundred years
together.</p>
            <p>The next ſight we have of it is at
<hi>Rome,</hi>
               <note place="margin">Tragedy at <hi>Rome.</hi>
               </note> where we find in all but ten <hi>Tra<g ref="char:EOLhyphen"/>gedies,</hi>
which are all collected under the
name of <hi>Seneca</hi>'s, tho belonging (as ma<g ref="char:EOLhyphen"/>ny
Learned men think) to ſeveral Au<g ref="char:EOLhyphen"/>thors.
Of theſe nine are of <hi>Greek</hi> Ex<g ref="char:EOLhyphen"/>traction,<note place="margin">Bo row'd from the <hi>Greeks.</hi>
               </note>
all but one taken from Plays
yet remaining to us. The <hi>Medea, Hip<g ref="char:EOLhyphen"/>polytus,
Troas,</hi> and <hi>Hercules Furens</hi> are
taken from Plays all bearing the ſame
names in <hi>Euripides,</hi> except the <hi>Troas,</hi>
which, tho it bears the ſame name,
yet is not upon the ſame argument with
<pb n="183" facs="tcp:54591:111"/>
the <hi>Troades</hi> of <hi>Euripides,</hi> but is taken
from the <hi>Hecuba,</hi> another Play of the
ſame Poet. The <hi>Oedipus,</hi> and <hi>Hercules
Oetaeus,</hi> are deſcended immediately from
the <hi>Oedipus Tyrannus,</hi> and <hi>Trachiniae</hi> of
<hi>Sophocles.</hi> And 'tis very probable the
<hi>Thyeſtes</hi> is owing to the ſame Author,
tho the <hi>Greek</hi> Original be now loſt. For
'tis not only certain that <hi>Sophocles</hi> wrote
three Plays which bore that name, but
the Model ſeems to bear more reſem<g ref="char:EOLhyphen"/>blance
to the manner of <hi>Sophocles,</hi> than
either of the other Tragedians. The
<hi>Agamemnon</hi> plainly belongs to <hi>Aeſchylus,</hi>
as does likewiſe the <hi>Thebais,</hi> in right of
his <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>, tho the <hi>Thebais</hi> of <hi>Se<g ref="char:EOLhyphen"/>neca</hi>
being imperfect, it does not ſo
plainly appear whether he copy'd it im<g ref="char:EOLhyphen"/>mediately
from thence, or at ſecond
hand from the <hi>Phaeniſſae</hi> of <hi>Euripides.</hi>
The <hi>Octavia</hi> only is of <hi>Roman</hi> Original,
its Author is uncertain. For 'tis juſtly
ſuſpected to belong to neither of the
<hi>Seneca</hi>'s.</p>
            <p>This Author, (for Mr <hi>Collier</hi> ſeems to
take all theſe Plays to be the work of
one man) is cenſur'd and ſtands in ſome
meaſure condemn'd, by Mr <hi>Collier,</hi> and
therefore I ſhould wave any other ſcru<g ref="char:EOLhyphen"/>tiny
<pb n="184" facs="tcp:54591:112"/>
into his conduct, if I did not find
him in ſome meaſure juſtified, and in a
manner abſolv'd upon the compariſon
with the Moderns.</p>
            <p>But,<note place="margin">
                  <hi>Seneca</hi> the Philoſopher ſuppos'd the Author of 'em.</note> if we believe with thoſe Prodi<g ref="char:EOLhyphen"/>gies
of Letters, <hi>Lipſius, Joſeph Scaliger,</hi>
and <hi>Heinſius,</hi> and divers others very e<g ref="char:EOLhyphen"/>minent
for their Learning, <hi>that we are
beholding to the famous</hi> Seneca <hi>the Philo<g ref="char:EOLhyphen"/>ſopher,
for three at leaſt of theſe Plays,
the Medea, Hippolytus,</hi> and <hi>Troas,</hi> to
which <hi>Farnaby</hi> adds the <hi>Oedipus,</hi> we
ſhall be oblig'd to pay more deference
or reſpect to 'em, and not to paſs a raſh
and unmannerly cenſure upon any of
the remains of ſo illuſtrious an Au<g ref="char:EOLhyphen"/>thor.</p>
            <p>But <hi>Seneca</hi> is not at preſent in Mr <hi>Colli<g ref="char:EOLhyphen"/>er</hi>'s
favour,<note place="margin">
                  <hi>Seneca</hi> udjuſtly aſ<g ref="char:EOLhyphen"/>pers'd by Mr <hi>Col<g ref="char:EOLhyphen"/>lier. P.</hi> 94.</note> he is declar'd an <hi>injudicious,
licentious Poet, upon whoſe liberties the
Modern Poets proceed;</hi> and therefore he
is not to be receiv'd into Grace, till he
has had the Penning of a Recantation for
him If Mr <hi>Collier</hi> did believe that <hi>Se<g ref="char:EOLhyphen"/>neca</hi>
the Philoſopher was the Author of
any of thoſe Plays, he ought upon the
merit of his other works, (by which he
may at leaſt pretend to vie with Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
both zeal and ſervice in the cauſe of
<pb n="185" facs="tcp:54591:112"/>
Virtue) to have treated ſo excellent a
Perſon with more reſpect and honour,
than to have rank'd him with, and
made him the Ringleader of thoſe,
whom he reckons <hi>Atheiſts</hi> and <hi>Buffoons.</hi>
If he did not, he cou'd in Juſtice have
done no leſs than ſet him clear of the
Imputation, which by ſo rude and in<g ref="char:EOLhyphen"/>diſcreet
a charge he has brought him un<g ref="char:EOLhyphen"/>der.
For he cou'd not but know, that
the learned Perſons before-mentioned,
whoſe Authority is of great weight a<g ref="char:EOLhyphen"/>mongſt
Men of Letters, had deliver'd
their Opinions, that he was the Author
of ſome of thoſe Plays, eſpecially the
Judicious <hi>Heinſius,</hi> whom he cites, and
I ſhou'd ſuppoſe he is well acquainted
with, unleſs he does (which I ſuſpect)
like ſome Perſons, that boaſt of their
familiarity with great men, whom they
have not the honour to know.</p>
            <p>Had he known their Opinions in this
matter, it had but been a becoming piece
of Modeſty to have laid his reaſons for his
diſſent from 'em before his Reader; and
not haughtily to have ſlighted their Au<g ref="char:EOLhyphen"/>thorities
as not worth his notice. Or at
leaſt he ought not in good manners to
have treated the Memory of that Philo<g ref="char:EOLhyphen"/>ſopher
<pb n="126" facs="tcp:54591:113"/>
at ſo ſcoundrel a rate. I ſuppoſe
he will hardly juſtifie this Indignity
from the miſrepreſentations that have
been given of him. For, not to enter
improperly into a diſpute about the va<g ref="char:EOLhyphen"/>lidity
of thoſe Reports here, whatever
his private infirmities might be, we are
ſure from his works, that he bent his
Studies and Endeavours to the ſervice of
Morality as heartily and ſucceſsfully, as
ſome Chriſtians who with greater helps
and ſtronger invitations, ſeem to value
their Services much higher, with leſs
reaſon.</p>
            <p>However <hi>Seneca,</hi>
               <note place="margin">
                  <hi>Seneca</hi> careleſs of Poetick Ju<g ref="char:EOLhyphen"/>ſtice.</note> tho he cannot with<g ref="char:EOLhyphen"/>out
extream injury be accus'd of Writing
for the encouragement of Debauchery,
has been very careleſs of Poetick Juſtice
in winding up his Fables. <hi>Phaedra</hi> in
the <hi>Hippolytus,</hi> and <hi>Lycus</hi> in the <hi>Hercules
Furens</hi> are only the Malefactors that are
brought to condign Puniſhment. For,
as for <hi>Oedipus,</hi> we have had occaſion
already to clear him from the Aſperſion
of Guilt, tho his Misfortunes are the
moſt notorious, and his Calamities the
moſt deplorable of any upon the An<g ref="char:EOLhyphen"/>tient
Stage.<note place="margin">Ajax <hi>and</hi> Oileus.</note> 
               <hi>Ajax Oileus,</hi> whom Mr.
<hi>Collier</hi> produces as the only inſtance of
<pb n="187" facs="tcp:54591:113"/>
this kind,<note place="margin">An impro<g ref="char:EOLhyphen"/>per inſtance of it.</note> is indeed none. For he is no
Perſon of the <hi>Drama,</hi> nor has his Fate
any influence upon the ſucceſs of the
Action either way. He is only men<g ref="char:EOLhyphen"/>tion'd
by <hi>Eurybates,</hi> in the relation
which he makes of the Voyage of the
<hi>Greeks</hi> from <hi>Troy,</hi> to encreaſe the hor<g ref="char:EOLhyphen"/>ror
of that Storm, of which he was
then giving a deſcription; which is no
more to the buſineſs of the Play, than
'twou'd have been, if Mr <hi>Congreve</hi> in
his <hi>Mourning Bride</hi> ſhou'd have taken
occaſion from the Wreck of his Hero on
the ſame Seas, to have brought in the
Storm that caſt away the <hi>Turkey</hi> Fleet,
and deſcrib'd the manner of Sir <hi>Francis
Wheeler</hi>'s Wreck.</p>
            <p>But if <hi>Seneca</hi> has been remiſs upon
this Article he ſins at leaſt by Precedent,<note place="margin">
                  <hi>Seneca</hi> li<g ref="char:EOLhyphen"/>mited by Precedent.</note>
and may plead in his Juſtification, that
he leaves the Story generally no worſe
than he found it. He built, as we have
already obſerv'd, upon other mens bot<g ref="char:EOLhyphen"/>toms,
and cou'd not make any great al<g ref="char:EOLhyphen"/>terations
in the Foundations they had
laid, without endangering the ſuper<g ref="char:EOLhyphen"/>ſtructure.
<hi>Ariſtotle</hi> obſerves, in favour
of the Poets of, or near his time, that
taking the Fables of their Plays from
<pb n="188" facs="tcp:54591:114"/>
Stories vulgarly known either from Hi<g ref="char:EOLhyphen"/>ſtory,
or the works of ſome precedent
Poet, they had not the liberty of rece<g ref="char:EOLhyphen"/>ding
ſo far from the receiv'd Tradition
in the Contrivance, and diſpoſition of
their Fables, as was frequently requir'd
to the forming a juſt and truly artificial
Model. This may be urg'd with more
juſtice in defence of <hi>Seneca,</hi> who, taking
his. Models from Authors of great repu<g ref="char:EOLhyphen"/>tation,
wou'd have been thought guilty
of a high piece of Preſumption, if he
had varied too much from Originals ſo
well known and received. Beſides, had
he chang'd the Fortune of his Principal
Perſons he had effac'd the Images of 'em,
which had been impreſs'd upon the Au<g ref="char:EOLhyphen"/>dience,
who wou'd not have own'd, or
acknowledg'd 'em for the perſons they
pretended to repreſent, who were beſt,
or perhaps only by thoſe marks to be
diſtinguiſh'd.</p>
            <p>However,<note place="margin">Hippoly<g ref="char:EOLhyphen"/>tus <hi>of</hi> Se<g ref="char:EOLhyphen"/>neca <hi>exa<g ref="char:EOLhyphen"/>mined.</hi>
               </note> it muſt be granted, that in
his <hi>Hippolytus,</hi> wherein he has ventur'd
to deviate a little from the Original, he
has done it very judiciouſly, and very
much to the advantage of the <hi>Moral;</hi>
the application of which he has there<g ref="char:EOLhyphen"/>by
render'd not only more eaſie and na<g ref="char:EOLhyphen"/>tural,
<pb n="189" facs="tcp:54591:114"/>
but it ſelf likewiſe more uſeful,
and inſtructive. In <hi>Euripides</hi> the Gods
do all. His Perſons move like Puppets
by wires; <hi>Venus</hi> contrives and acts all.
<hi>Phedra</hi>'s a meer Machine, a paſſive Ve<g ref="char:EOLhyphen"/>hicle,
that ſerves purely for the more
cleanly conveyance of the Goddeſſes ma<g ref="char:EOLhyphen"/>lice.
The unraveling likewiſe is perform'd
by Machine, <hi>Pallas</hi> deſcends to clear the
Innocence of <hi>Hippolytus,</hi> and accuſes
<hi>Venus.</hi> In ſhort, the Action is all forc'd
and unnatural, and of conſequence, the
<hi>Moral,</hi> if any, muſt be ſtrain'd.</p>
            <p>
               <hi>Seneca</hi> has artfully avoided theſe in<g ref="char:EOLhyphen"/>conveniences,<note place="margin">More arti<g ref="char:EOLhyphen"/>ficial than the <hi>Hip<g ref="char:EOLhyphen"/>polytus</hi> of <hi>Euripides.</hi>
               </note>
by making the inceſtuous
Love of <hi>Phaedra</hi> ſpring from her own
Infirmity, and the death of <hi>Hippolytus,</hi>
the effect of her Revenge of his Scorn<g ref="char:EOLhyphen"/>fully
rejecting her Paſſion, and her fear
of his making a diſcovery of her Infamy
to his Father. Her puniſhment by this
means becomes juſt, which was not ſo
in the <hi>Greek,</hi> and her Rage, Deſpair,
Confeſſion and Death, are the natural
reſult of her Guilt and Folly.<note place="margin">The Moral.</note> From
the unhappy <hi>Cataſtrophe</hi> of this Lady,,
matter of fair Inſtruction may be drawn
to check ſuch licentious Flames in their
firſt Birth, which if indulg'd draw af<g ref="char:EOLhyphen"/>ter
'em ſuch fatal conſequences. And
<pb n="190" facs="tcp:54591:115"/>
from the raſh miſplac'd imprecation of
<hi>Theſeus,</hi> Parents may be caution'd a<g ref="char:EOLhyphen"/>gainſt
too eaſie a credulity in ſuch ex<g ref="char:EOLhyphen"/>traordinary
caſes, and to guard againſt
ſuch violences of Paſſion, as may ex<g ref="char:EOLhyphen"/>tort
Curſes from 'em, that may return
upon their own Heads, and involve
themſelves in the concluſion.</p>
            <p>This Plot, as it ſtands in <hi>Seneca,</hi> is
one of the neateſt of Antiquity, and had
the Author taken care to diſencourage
himſelf as happily from <hi>Neptune,</hi> as he
has from <hi>Venus</hi> and <hi>Minerva,</hi> I ſee no<g ref="char:EOLhyphen"/>thing
inartificial in the diſpoſition of
it. But <hi>Neptune</hi> performing his part <hi>ex<g ref="char:EOLhyphen"/>tra
Scenam,</hi> this fault is the more par<g ref="char:EOLhyphen"/>donable,
eſpecially ſince 'tis originally
the overſight of <hi>Euripides.</hi>
            </p>
            <p>The reſt of this Author's Plays vary<g ref="char:EOLhyphen"/>ing
little or nothing in the Fable from
the <hi>Greek</hi> Originals,<note place="margin">The reſt choſe Copies from the <hi>Greek.</hi>
               </note> (thoſe I mean, that
we know, for the <hi>Thyeſtes</hi> of <hi>Sophocles</hi> is
loſt) whatever the faults of 'em may be
in that reſpect, the <hi>Latin</hi> Author is not
ſo properly accountable for 'em. The
<hi>Octavia,</hi>
               <note place="margin">
                  <hi>Octavia</hi> illcontriv'd and inſipid.</note> being the only Tragedy of <hi>Ro<g ref="char:EOLhyphen"/>man</hi>
Stock that remains to us, ſeems to
challenge upon that Score ſome regard,
whoſoever was the Author of it. But
<pb n="191" facs="tcp:54591:115"/>
being rather a relation by way of Dia<g ref="char:EOLhyphen"/>logue
between the ſeveral Parties con<g ref="char:EOLhyphen"/>cerned
of an unjuſt Tyrannick Action,
in which there is neither Plot, Turn,
Moral, nor Conſequence, it wou'd be
time loſt to beſtow an Examination upon
it here.</p>
            <p>Having thus run through the Trage<g ref="char:EOLhyphen"/>dies
of Antiquity, perhaps ſomething
more minutely, than may be thought
requiſite upon this Article, I ſhall not
make many reflections upon the whole,
but leave 'em to the further conſideration
of the Reader, after a Remark or two,
concerning the Practice of the Ancients
in general, in this reſpect.</p>
            <p>It is obſervable,<note place="margin">General Reflections on the An<g ref="char:EOLhyphen"/>cient Tra<g ref="char:EOLhyphen"/>gedy.</note> that the Ancients in
the diſpoſition of their Fables, ſeem to
have had ſuch very little regard to the
Moral of 'em, they contented them<g ref="char:EOLhyphen"/>ſelves
with delivering their Inſtructions
in wiſe ſayings, ſcatter'd here and there
up and down the Dialogue, or at the
cloſe of all; and only ſought in their
Fables matter and occaſion of moving
the Paſſions, which was generally done
by way of Narration; to which end
they furniſh'd out their Dialogue with
all the Force, Pomp, and Terrour of
<pb n="192" facs="tcp:54591:116"/>
Expreſſion they could, in which how
well they have ſuccceded, is not to the
preſent purpoſe to take notice.</p>
            <p>
               <hi>Ariſtotle</hi> had,<note place="margin">
                  <hi>Ariſtotle</hi>'s diviſion of Tragedy.</note> no doubt, this practice
of theirs in view, when he divided Tra<g ref="char:EOLhyphen"/>gedy
into <hi>Moral</hi> and <hi>Pathetick.</hi> By this
Diviſion of Tragedy (<hi>ratione Subjecti)
Ariſtotle</hi> plainly indicates, not only that
the Subjects of the Ancient Tragedy
were not all <hi>Moral,</hi> but likewiſe that it
was not neceſſary, that they ſhould be
ſo. He inſtances in the <hi>Phthiotides,</hi> and
<hi>Peleus,</hi> two Tragedies that are loſt, as ex<g ref="char:EOLhyphen"/>amples
of the <hi>Moral</hi> kind; and beſides this
mention of 'em, I do not remember any
notice that he has taken of this ſort of
Tragedy. For all his Rules ſeem to
be calculated for the ſervice of the <hi>Pa<g ref="char:EOLhyphen"/>thetick</hi>
and <hi>Implex</hi> kinds.</p>
            <p>From this ſilence of <hi>Ariſtotle,</hi>
               <note place="margin">Moral Plays not much encouraged at <hi>Athens.</hi>
               </note> and the
ſcarcity of 'em amongſt the remains of
the <hi>Greek</hi> Tragedy, we may reaſonably
collect, that this ſort of Tragedy was
not much in uſe amongſt the Ancients
themſelves. For of all the Pieces of
Antiquity the <hi>Alceſtis</hi> of <hi>Euripides</hi> a<g ref="char:EOLhyphen"/>lone
in my opinion deſerves the name
of a <hi>Moral</hi> Tragedy. In this Play both
<hi>Admetus,</hi> and his Wife <hi>Alceſtis</hi> are Per<g ref="char:EOLhyphen"/>ſons
<pb n="193" facs="tcp:54591:116"/>
of ſtrict Probity, and great Piety.
<hi>Alceſtis</hi> out of a ſingular Piety, offers
her ſelf to <hi>Death</hi> a voluntary Sacrifice,
in lieu of her Husband. In the depth
of <hi>Admetus</hi>'s grief while his Wife was
yet in the Houſe, and the rites of Fune<g ref="char:EOLhyphen"/>ral
unperform'd, comes <hi>Hercules,</hi> who
obſerving the Family to be in Mourning,
deſires to be excus'd from troubling his
Houſe at ſo unſeaſonable a time. <hi>Ad<g ref="char:EOLhyphen"/>metus,</hi>
unwilling to turn away ſuch a
Gueſt, diſſembles the real cauſe of his
Grief, and receives him nobly, but <hi>Her<g ref="char:EOLhyphen"/>cules</hi>
enquiring, and being inform'd of
the Truth of <hi>Admetus</hi>'s loſs, combats
<hi>Death,</hi> recovers <hi>Alceſtis,</hi> and reſtores
her to her Husband.</p>
            <p>The <hi>Fable</hi> of this Play is truly <hi>Moral.</hi>
               <note place="margin">Alceſtis <hi>of</hi> Euripides <hi>a</hi> Moral <hi>Tragedy.</hi>
               </note>
               <hi>Alceſtis</hi> firſt by her Piety redeems her
Husband from <hi>Death;</hi> and <hi>Admetus</hi> af<g ref="char:EOLhyphen"/>terwards
by his <hi>Generoſity</hi> and <hi>Hoſpita<g ref="char:EOLhyphen"/>lity,</hi>
by means of <hi>Hercules,</hi> reſcues her
from the Grave. Thus they recipro<g ref="char:EOLhyphen"/>cally
owe their lives to each others Vir<g ref="char:EOLhyphen"/>tue.
But if this Play be remarkably
<hi>Moral,</hi> it is on the other hand mon<g ref="char:EOLhyphen"/>ſtrouſly
unnatural, and conſequently on
that account is incapable of affording
any extraordinary Pleaſure, or Improve<g ref="char:EOLhyphen"/>ment.
<pb n="194" facs="tcp:54591:117"/>
This probably might be the
reaſon, why this ſort of <hi>Tragedy</hi> was ſo
little in requeſt.</p>
            <p>From the whole it appears,<note place="margin">
                  <hi>Antients</hi> careleſs of the <hi>Gene<g ref="char:EOLhyphen"/>ral Moral</hi> of the Plays.</note> that the
<hi>Antients</hi> were not ſo careful of their
Models, as Mr <hi>Collier</hi> pretends; but
were on the contrary extremely negli<g ref="char:EOLhyphen"/>gent
of the <hi>Moral</hi> in the <hi>Fables</hi> of their
<hi>Tragedies.</hi> So that if one or two do
afford a tolerable one, we may con<g ref="char:EOLhyphen"/>clude
by the ſlight notice they take of it,
that they did not ſee it, or but caſually
found it there, rather than induſtriouſly
ſought it; and that we are more behold<g ref="char:EOLhyphen"/>ing
to their luck, than Judgment or good
Intentions for 'em. I grant this way
of arguing not to be demonſtrative,
but it is not therefore unconcluſive.
For ſince the ſenſe of the <hi>Antients,</hi> is not
any where (that I know of) delivered
in expreſs terms concerning this matter,
I take their Practice, backt by the Au<g ref="char:EOLhyphen"/>thority
of <hi>Ariſtotle,</hi> to be a ſufficient
warrant for any concluſions, that ſhall
be drawn naturally from 'em.<note place="margin">Conſequence of Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s looſe way of Wri<g ref="char:EOLhyphen"/>ting.</note>
            </p>
            <p>But if I wou'd indulge my ſelf in the
Liberties of Mr. <hi>Collier,</hi> and charge the
<hi>Antiens</hi> at that looſe rate, that he does
the <hi>Engliſh Dramatick</hi> Poets, I might
<pb n="195" facs="tcp:54591:117"/>
not only tax 'em with negligence of
their Morals, but with maliciouſly diſ<g ref="char:EOLhyphen"/>couraging
Vertue, and induſtriouſly
promoting Villany, and Impiety. Nor
wou'd the Poets ſuffer alone, all the
great Men of Antiquity, that have com<g ref="char:EOLhyphen"/>mended
their works, muſt ſhare both the
Guilt, and the Sentence; and <hi>Ariſtotle</hi>
above the reſt wou'd be even capitally
criminal, his <hi>Art of Poetry</hi> is an inexhau<g ref="char:EOLhyphen"/>ſtible
Spring of Corruption, an ever<g ref="char:EOLhyphen"/>laſting
Source of Infection, that has
diffus'd its Venome over the whole
World, and poiſon'd Mankind almoſt
univerſally with <hi>Villany, Impiety, Lewd<g ref="char:EOLhyphen"/>neſs,</hi>
and <hi>Debauchery,</hi> of all kinds, for
above ſixteen hundred years together.
This wou'd be high Treaſon among
the Admirers of the <hi>Antients,</hi> yet 'tis no<g ref="char:EOLhyphen"/>thing
to one of Mr <hi>Collier's</hi> declamatory
Rants, when he is in one of his Rhetori<g ref="char:EOLhyphen"/>cal
Fits, and about to dreſs up a Cha<g ref="char:EOLhyphen"/>racter
for <hi>Ariſtophanes,</hi> or any of the
<hi>Engliſh</hi> Poets. After this diſingenuous
rate 'twere eaſie to turn the Satyr upon
Ages long ſince paſt, and railly in his
own words, thoſe whom he himſelf
recommends to the Imitation of our
preſent Writers. An inſtance of this
<pb n="196" facs="tcp:54591:118"/>
kind mayn't be amiſs to ſhew how eaſie
'tis to miſrepreſent the faireſt intentions,
and to improve Peccadillo's into Crimes
of the blackeſt Dye, to make a helliſh
Plot of an overſight, and plunge Men
over head and ears in Brimſtone, for Hu<g ref="char:EOLhyphen"/>mane
infirmities.</p>
            <p>'Tis <hi>a Jeſt,</hi>
               <note place="margin">Turn'd up<g ref="char:EOLhyphen"/>on the An<g ref="char:EOLhyphen"/>cients.</note> that the Antients wou'd
make us believe, <hi>that their deſign was
Virtue and Reformation. In good time!
They are likely to combat Vice with Succeſs,</hi>
               <note place="margin">P. 286.</note>
               <hi>who deſtroy the Principles of Good and
Evil.</hi> Wou'd <hi>Euripides</hi> perſwade us
that his aim is Virtuous, and his deſign
Moral? Why then does he make choice
of means ſo diſproportionate to the end
he pretends to drive at? Why is Vice
repreſented ſucceſsful, and Villany
triumphant, but to encourage Men to
the Practice of it? Why is <hi>Medea,</hi> the
betrayer of her Father, and Country,
a Poyſoner, a Sorcereſs, and a Mur<g ref="char:EOLhyphen"/>therer,
one that had run thro the whole
compaſs, and meaſur'd all the Paces of
Villany, ſuffer'd to make her eſcape?
Or if ſhe muſt not be puniſh'd, why are
the Gods engaged in the matter, and
ſhe taken into the care of Providence,
and furniſhed with means of Eſcape at
<pb n="197" facs="tcp:54591:118"/>
the expence of a Miracle? Why are
<hi>Oreſtes</hi> and <hi>Electra,</hi> Parricides, taken im<g ref="char:EOLhyphen"/>mediately
into the Protection of Heaven,
under Deſpondency, and the laſhes of a
guilty Conſcience? Why are they en<g ref="char:EOLhyphen"/>courag'd
to bear up againſt the con<g ref="char:EOLhyphen"/>victions
of their own minds, and pro<g ref="char:EOLhyphen"/>mis<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>d
proſperity from Heaven? Why
is <hi>Hippolytus</hi> maliciouſly perſecuted, and
no leſs then two Deities employ'd in his
ruine, only for being chaſte by vow?
unleſs it be to ſhew us, that the World
has been miſtaken in its notions of Pro<g ref="char:EOLhyphen"/>vidence,
that wickedneſs is meritorious,
and Innocence a Crime, that Virtue, and
Vice, of which the Philoſophers prate ſo
much, are but the Whimſeys of <hi>Hypocon<g ref="char:EOLhyphen"/>driacks,</hi>
the Dreams of ſpeculative <hi>En<g ref="char:EOLhyphen"/>thuſiaſts.</hi>
Are theſe the <hi>Socratick</hi> Dia<g ref="char:EOLhyphen"/>logues,
and this the reſult of the Philo<g ref="char:EOLhyphen"/>ſophers
Lectures? Is this the Admirer
of <hi>Socrates,</hi> that was reciprocally ſo
admir'd by him, that he cou'd ſit whole
days with Patience at the recital of his
Plays? If we may judge of one by the
other, the Scholar was an Atheiſt, and
his Maſter little better. Why elſe did
he not reprove him for his blaſphemous
Fictions, and making the Gods the
Actors, and Patrons of Villany, and re<g ref="char:EOLhyphen"/>prehend
<pb n="198" facs="tcp:54591:119"/>
him for miſtaking the notions
of Providence, confounding the Ideas of
Virtue and Vice, and ſubverting the
Maxims of Morality?</p>
            <p>Thus we ſee at this rate of declaim<g ref="char:EOLhyphen"/>ing
not only <hi>Euripides,</hi>
               <note place="margin">
                  <hi>Socrates</hi> by this means con<g ref="char:EOLhyphen"/>demned.</note> who affected
Philoſophy a little too much in his
Poems, but even <hi>Socrates</hi> himſelf, the
Boaſt of Antiquity, and the Glory of the
Heathen World ſtands condemn'd, as
an Abettour of <hi>Murther, Inceſt,</hi> and
<hi>Blaſphemy.</hi> Let us ſee whether <hi>Aeſchy<g ref="char:EOLhyphen"/>lus</hi>
or <hi>Sophocles</hi> can acquit themſelves
any better.</p>
            <p>If <hi>Aeſchylus</hi> had taken due care of his
deſigns,<note place="margin">
                  <hi>Aeſchylus</hi> arraign'd by Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s Pre<g ref="char:EOLhyphen"/>cedent.</note> and built only upon Models
of Virtue, we had never heard of his
<hi>Prometheus.</hi> This Poet ſtrikes at the
Root of all Moral Virtue. He
ſcorns to trifle, and pluck it down
piece-meal, but blows it up all toge<g ref="char:EOLhyphen"/>ther.
<hi>Philanthropy,</hi> or Charity is the
Ground and Foundation of all Morality.
This in the <hi>Prometheus</hi> is made a
Crime, and a God ſentenc'd to perpetual
Puniſhment for his love to Mankind,
which is all that is objected to him.
This muſt needs create in Mankind a
great Veneration, and impreſs a ſuitable
<pb n="199" facs="tcp:54591:119"/>
Reverence for the Gods, who are ſo
very tender of 'em, in return for their
oblations, that 'tis high Treaſon to bear
'em any good Will. No doubt. but
Religion muſt ſhoot, and flouriſh mighti<g ref="char:EOLhyphen"/>ly
under ſuch a hopeful Proſpect of Re<g ref="char:EOLhyphen"/>ward.</p>
            <p>
               <hi>Sophocles</hi> has been altogether as care<g ref="char:EOLhyphen"/>ful
of Religion in his <hi>Philoctetes.</hi>
               <note place="margin">Sophocles</note> That
Spark, with his Carcaſs rotten, and full of
aches and ulcers, hectors the Gods at
a ſtrange rate, and they think it worth
their while to cajole him into their ſer<g ref="char:EOLhyphen"/>vice.
<hi>Hercules</hi> is ſent to make him a
fine Speech, and large promiſes to in<g ref="char:EOLhyphen"/>vite
him to obedience, and allure
him over to their Party. <hi>Oedipus</hi> is
made Virtuous, Juſt, and Wiſe, but
unhappy thro a Fatality, againſt which
his Virtue is no ſecurity; Juſtice re<g ref="char:EOLhyphen"/>quires
that he ſhou'd be rewarded and
encouraged, but Providence will have
him afflicted, and puniſht with extre<g ref="char:EOLhyphen"/>mity
of Rigour.</p>
            <p>Can any thing be more diſſerviceable
to Probity and Religion, <hi>than theſe
Examples of Injuſtice, Oppreſſion, and
Cowardice in their Gods?</hi> They cheriſh
thoſe Paſſions,<note place="margin">P. 28<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>.</note> and reward thoſe Vices,
<pb n="200" facs="tcp:54591:120"/>
which 'tis the buſineſs of Reaſon to diſ<g ref="char:EOLhyphen"/>countenance.
They ſtrike at the root of
Principle, and draw off the Inclinations
from Virtue, and ſpoil good Education:
They are the moſt effectual means to baffle
Diſcipline, to emaſculate people's Sprits,
and debauch their Manners. How many
of the unwary have theſe Syrens devour<g ref="char:EOLhyphen"/>ed?
And how often has the beſt blood
been tainted with this Infection? What
diſappointments of Parents, what Con<g ref="char:EOLhyphen"/>fuſion
in Families, and what Beggary in
Eſtates have been hence occaſioned: And
which is ſtill worſe, the Miſchief ſpreads,
and the Malignity grows more envenom'd.
The Fever works up towards Madneſs,
and will ſcarce endure to be touch'd.</p>
            <p>I doubt not but the ſober admirers of
the <hi>Greek</hi> Tragedy will think that the
fumes of Mr <hi>Collier</hi>'s ſtumm'd Rant are
got into my Head,<note place="margin">Extrava<g ref="char:EOLhyphen"/>gance of this way of de<g ref="char:EOLhyphen"/>claiming.</note> and work me out
of my Wits. And had he ſo far de<g ref="char:EOLhyphen"/>bauch'd
my Judgment, as to make this
my ſerious Opinion, I wou'd grant,
that he and I were only fit to lead a Col<g ref="char:EOLhyphen"/>lony
to ſettle at<note n="*" place="margin">An Iſland famous for plenty of <hi>Helle<g ref="char:EOLhyphen"/>bore,</hi> uſed in the cure of Madneſs.</note> 
               <hi>Anticyra,</hi> and dyet
upon <hi>Hellebore.</hi> But tho I have no ſuch
lewd thoughts of the great Men of An<g ref="char:EOLhyphen"/>tiquity,
<pb n="201" facs="tcp:54591:120"/>
yet ſo far I ſhall preſume to ven<g ref="char:EOLhyphen"/>ture,
(without treſpaſſing againſt Mo<g ref="char:EOLhyphen"/>deſty,
or breaking rudely in upon the
harmonious Judgment of the Learned
for a long Succeſſion of Ages) as to ſay,
that Mr <hi>Collier</hi>'s unreaſonable Satyr
comes as full upon the Antients whom
he admires and commends, as upon the
Moderns, whom he vilifies and con<g ref="char:EOLhyphen"/>demns.</p>
            <p>The <hi>Modern</hi> Tragedy is a Feild
large enough for us to loſe our ſelves
in, and therefore I ſhall not take the
Liberty of ranging thro 'em at large, but
for the moſt part confine my ſelf to ſuch
as Mr <hi>Collier</hi> has already attackt. Upon
preſumption therefore that theſe are the
weakeſt, if theſe can be defended, the
reſt I ſuppoſe may hold out of them<g ref="char:EOLhyphen"/>ſelves.</p>
            <p>I ſhall begin with <hi>Shakeſpear,</hi> whom
notwithſtanding the ſeverity of Mr
<hi>Rhimer,</hi>
               <note place="margin">
                  <hi>Shake<g ref="char:EOLhyphen"/>ſpear</hi> pre<g ref="char:EOLhyphen"/>ferr'd to all the reſt of the <hi>Engliſh Dramatics.</hi>
               </note> and the hard uſage of Mr <hi>Col<g ref="char:EOLhyphen"/>lier,</hi>
I muſt ſtill think the <hi>Proto-Drama<g ref="char:EOLhyphen"/>tiſt</hi>
of <hi>England,</hi> tho he fell ſhort of the
Art of <hi>Johnſon,</hi> and the Converſation
of <hi>Beaumont</hi> and <hi>Fletcher.</hi> Upon that
account he wants many of their Graces,
<pb n="202" facs="tcp:54591:121"/>
yet his Beauties make large amends for
his Defects, and Nature has richly pro<g ref="char:EOLhyphen"/>vided
him with the materials, tho his
unkind Fortune denied him the Art of
managing them to the beſt Advan<g ref="char:EOLhyphen"/>tage.</p>
            <p>His <hi>Hamlet,</hi>
               <note place="margin">Cenſure of <hi>Hamlet</hi> unjuſt.</note> a Play of the firſt rate, has
the misfortune to fall under Mr <hi>Collier's</hi>
diſpleaſure; and <hi>Ophelia</hi> who has had the
luck hitherto to keep her reputation, is at
laſt cenſur'd for Lightneſs in her Frenzy;
nay, Mr <hi>Collier</hi> is ſo familiar with her,
as to make an unkind diſcovery of the
unſavourineſs of her Breath, which
no Body ſuſpected before. But it may
be this is a groundleſs ſurmiſe, and Mr
<hi>Collier</hi> is deceived by a bad Noſe, or a
rotten Tooth of his own; and then he
is obliged to beg the Poets and the La<g ref="char:EOLhyphen"/>dies
pardon for the wrong he has done
'em; But that will fall more naturally
under our conſideration in another
place.</p>
            <p>
               <hi>Hamlet</hi> King of <hi>Denmark</hi> was pri<g ref="char:EOLhyphen"/>vately
murther'd by his Brother,<note place="margin">Fable of <hi>Hamlet,</hi> before the commence<g ref="char:EOLhyphen"/>ment of the Action.</note> who
immediately thereupon marry'd the
Dowager, and ſupplanted his Nephew
in the Succeſſion to the Crown. Thus
far before the proper action of the
Play.</p>
            <p>
               <pb n="203" facs="tcp:54591:121"/>
The late Kings Ghoſt appears to his
Son young <hi>Hamlet,</hi>
               <note place="margin">Fable after the Action commences.</note> and declares how
and by whom he was murther'd, and en<g ref="char:EOLhyphen"/>gages
him to revenge it. <hi>Hamlet</hi> here<g ref="char:EOLhyphen"/>upon
grows very much diſcontented,
and the King very jealous of him.
Hereupon he is diſpatched with Am<g ref="char:EOLhyphen"/>baſſadors
to <hi>England,</hi> then ſuppoſed
Tributary to <hi>Denmark,</hi> whither a ſecret
Commiſſion to put him to Death, is
ſent by 'em: Which <hi>Hamlet</hi> diſcover<g ref="char:EOLhyphen"/>ing
writes a new Commiſſion, in which
he inſerts the names of the Ambaſſadors
inſtead of his own. After this a Pirate
engaging their Veſſel, and <hi>Hamlet</hi> too
eagerly boarding her is carried off, and
ſet aſhore in <hi>Denmark</hi> again. The Am<g ref="char:EOLhyphen"/>baſſadors
not ſuſpecting <hi>Hamlet's</hi> Trick,
purſue their Voyage, and are caught
in their own Trap. <hi>Polonius,</hi> a Coun<g ref="char:EOLhyphen"/>cellour
to the King, conveying himſelf
as a Spy behind the Hangings, at an en<g ref="char:EOLhyphen"/>terview
between <hi>Hamlei</hi> and his Mother,
is miſtaken for the King, and killed by
him. <hi>Laertes</hi> his Son, together with the
King contrive the Death of <hi>Hamlet</hi> by a
ſham Match at Foyls, wherein <hi>Laertes</hi>
uſes a poyſon'd unrebated Weapon. The
King, not truſting to this ſingle Trea<g ref="char:EOLhyphen"/>chery,
<pb n="204" facs="tcp:54591:122"/>
prepares a poyſoned Bowl for
<hi>Hamlet,</hi> which the Queen ignorantly
drinks. <hi>Hamlet</hi> is too hard for <hi>Laertes,</hi>
and cloſes with him, and recovers the
envenom'd weapon from him, but in ſo
doing, he is hurt by, and hurts him
with it. <hi>Laertes</hi> perceiving himſelf
wounded, and knowing it to be mortal,
confeſſes that it was a train laid by the
King for <hi>Hamlet's</hi> Life, and that the foul
Practice is juſtly turn'd upon himſelf.
The Queen at the ſame times cries out,
that ſhe is poyſoned, whereupon <hi>Hamlet</hi>
wounds the King with the envenom'd
weapon. They all die.</p>
            <p>Whatever defects the Criticks may
find in this Fable,<note place="margin">Poetick Ju<g ref="char:EOLhyphen"/>ſtice exact<g ref="char:EOLhyphen"/>ly obſerved in this Play.</note> the Moral of it is ex<g ref="char:EOLhyphen"/>cellent.
Here was a Murther privately
committed, ſtrangely diſcover'd, and
wonderfully puniſh'd. Nothing in An<g ref="char:EOLhyphen"/>tiquity
can rival this Plot for the admi<g ref="char:EOLhyphen"/>rable
diſtribution of Poetick Juſtice. The
Criminals are not only brought to execu<g ref="char:EOLhyphen"/>tion,
but they are taken in their own
Toyls, their own Stratagems recoyl
upon 'em, and they are involv'd them<g ref="char:EOLhyphen"/>ſelves
in that miſchief and ruine, which
they had projected for <hi>Hamlet. Polonius</hi>
by playing the Spy meets a Fate, which
<pb n="205" facs="tcp:54591:122"/>
was neither expected by, nor intended
for him. <hi>Guildenſtern</hi> and <hi>Roſencraus,</hi>
the Kings Decoys, are counterplotted,
and ſent to meet that fate, to which
they were trepanning the Prince. The
Tyrant himſelf falls by his own Plot,
and by the hand of the Son of that Bro<g ref="char:EOLhyphen"/>ther,
whom he had murther'd. <hi>Laertes</hi>
ſuffers by his own Treachery, and dies
by a Weapon of his own preparing.
Thus every one's crime naturally pro<g ref="char:EOLhyphen"/>duces
his Puniſhment, and every one (the
Tyrant excepted) commences a Wretch
almoſt as ſoon as a Villain.</p>
            <p>
               <hi>The Moral of all this is very obvious,</hi>
               <note place="margin">Moral of <hi>Hamlet.</hi>
               </note>
it <hi>ſhews us,</hi> That the Greatneſs of the Of<g ref="char:EOLhyphen"/>fender
does not qualifie the Offence, and
that no Humane Power, or Policy are a ſuf<g ref="char:EOLhyphen"/>ficent
Guard againſt the Impartial Hand,
and Eye of Providence, which defeats their
wicked purpoſes, and turns their dangerous
Machinations upon their own heads. <hi>This
Moral</hi> Hamlet <hi>himſelf inſinuates to us,
when he tells</hi> Horatio, <hi>that he ow'd the
Diſcovery of the Deſign againſt his
Life in</hi> England, <hi>to a raſh indiſcreet
curioſity, and thence makes this Infe<g ref="char:EOLhyphen"/>rence.</hi>
            </p>
            <q>
               <pb n="206" facs="tcp:54591:123"/>
               <l>Our Indiſcretion ſometimes ſerves as well,</l>
               <l>When our dear Plots do fail, and that
ſhou'd teach us.</l>
               <l>There's a Divinity, that ſhapes our ends,</l>
               <l>Rough hew 'em how we will.</l>
            </q>
            <p>The Tragedies of this Author in gene<g ref="char:EOLhyphen"/>ral
are Moral and Inſtructive,<note place="margin">Tragedies of this Author generally moral.</note> and many
of 'em ſuch, as the beſt of Antiquity
can't equal in that reſpect. His <hi>King
Lear, Timon of Athens, Macbeth,</hi> and
ſome others are ſo remarkable upon
that ſcore, that 'twou'd be imperti<g ref="char:EOLhyphen"/>nent
to trouble the Reader with a mi<g ref="char:EOLhyphen"/>nute
examination of Plays ſo generally
known and approved.</p>
            <p>The other Tragedies upon which Mr
<hi>Collier</hi> lets his indignation fall ſo heavy,
are ſo recent, and ſo common in the
hands of every Play Reader, that 'tis al<g ref="char:EOLhyphen"/>moſt
an affront to their memories to
trouble 'em with too particular a Reca<g ref="char:EOLhyphen"/>pitulation.
But ſince we have oblig'd our
ſelves to make good the Comparative in<g ref="char:EOLhyphen"/>nocence
of the Moderns by inſtances
upon the Parallel, Mr <hi>Collier</hi> can never
deſire fairer Play, than for us to under<g ref="char:EOLhyphen"/>take
the defence of thoſe very Plays,
<pb n="207" facs="tcp:54591:123"/>
which he himſelf has markt out, and
aſſigned us; of which the next in order
is the <hi>Orphan,</hi> againſt which he enters
the Liſts as the <hi>Chaplains</hi> Champion, in
whoſe Quarrel and upon whoſe account
he is moſt implacably enraged.</p>
            <p>The Model of this Play is ſomething
like that of <hi>Oedipus,</hi>
               <note place="margin">
                  <hi>The</hi> Or<g ref="char:EOLhyphen"/>phan.</note> except that in this
the crime of <hi>Polydore,</hi> being voluntary,
his guilt is real, and by conſe<g ref="char:EOLhyphen"/>quence
<hi>Poetick</hi> Juſtice is obſerv'd in
his puniſhment, which is juſt. In this
Tragedy likewiſe <hi>Acaſto, Caſtalio,</hi> and
<hi>Monimia</hi> are innocent, virtuous Cha<g ref="char:EOLhyphen"/>racters,
and their misfortunes unde<g ref="char:EOLhyphen"/>ſerv'd,
which made 'em naturally objects
of Pity and Commiſeration. The
fatal conſequences of <hi>Polydore's</hi> in<g ref="char:EOLhyphen"/>temperate
luſt, and baſe raſh action,
afford matter of Terrour and Example.
This Play is exactly conſtituted accord<g ref="char:EOLhyphen"/>ing
to <hi>Ariſtotle,</hi> who requires only that
Tragedy ſhou'd move Terrour and
Compaſſion, which are the proper
Springs, by which it works upon the
Audience.<note place="margin">The <hi>Moral</hi> good.</note> In this it excells the Fable
of the <hi>Oedipus,</hi> that it bears naturally
a good Moral, and in the wretched
Cataſtrophe of <hi>Polydore,</hi> and the miſeries
<pb n="208" facs="tcp:54591:124"/>
which his incontinence brought upon
his Family, preaches Chaſtity to the
Audience after the moſt effectual man<g ref="char:EOLhyphen"/>ner.</p>
            <p>But Mr <hi>Collier's</hi> in the humour now,<note place="margin">Mr <hi>Colli<g ref="char:EOLhyphen"/>er's</hi> Zeal for the <hi>Pa<g ref="char:EOLhyphen"/>gan Prieſt<g ref="char:EOLhyphen"/>hood</hi> inju<g ref="char:EOLhyphen"/>rious to the <hi>Chriſtian Miniſtry.</hi>
               </note>
and he ſcorns to circumſcribe his kind<g ref="char:EOLhyphen"/>neſs
to the limits of the Chriſtian Prieſt<g ref="char:EOLhyphen"/>hood,
whether Orthodox, or Hetero<g ref="char:EOLhyphen"/>dox.
For even the <hi>Mufti</hi> is allowed
the benefit of his Clergy, and ſhares his
Patronage. He is furiouſly provok'd at
Mr <hi>Dryden</hi> for ſaying that <hi>Prieſts of all
Religions are the ſame,</hi> when he himſelf at
the ſame time makes no diſtinction,
but treats the Prieſts of God Almighty,
<hi>Mahomet</hi> and <hi>Anubis</hi> with the ſame
reſpect. He is for ſtrengthening his
Party, and contracting an Alliance with
all Faiths and Complexions; he ranſacks
<hi>Europe, Aſia,</hi> and <hi>Africa,</hi> and enters
into a religious League offenſive and
defenſive with Sun-burnt <hi>Africans,</hi> and
Monſters of the <hi>Nile.</hi> To this end, he
labours hard to find out ſome relation
between the <hi>Mufti</hi> and the Biſhops, and
very dutifully ſtrains to extend the ſcan<g ref="char:EOLhyphen"/>dal
from <hi>Africk</hi> to <hi>England,</hi> that what is
ſaid of their Arch-Prieſt may reflect
upon our Prelates. The moſt bigotted
<pb n="209" facs="tcp:54591:124"/>
               <hi>Muſſulman</hi> of 'em all cou'd not have
acted more for the ſervice of their
Prieſts, than to have ſhifted the re<g ref="char:EOLhyphen"/>proach
from them to ours. But I hope
there is no ſuch Sympathy between 'em
(as Mr <hi>Collier</hi> injuriouſly fancies) and that
to break the <hi>Mufti's</hi> wou'd not make
our Biſhops Heads ach, or his black and
blue be ſeen in their Faces. Thoſe
worthy great Men, who are the honour
of both our Church and Nation,
have little reaſon to thank him for en<g ref="char:EOLhyphen"/>deavouring
to ally 'em to thoſe, that
muſt of neceſſity, putting the mildeſt
conſtruction upon their actions, be either
groſs Fools or rank Knaves; Fools if
they believe, and Knaves if they
help on the cheat and impoſture of
<hi>Mahomet</hi> without believing. Thus Mr
<hi>Collier</hi> puts a groſſer affront upon our
Religion and Clergy, than any Mr <hi>Dry<g ref="char:EOLhyphen"/>den</hi>
has done, and his reproof deſerves a
ſeverer correction, than t'others fault.
This perhaps is a liberty too great to be
indulg'd in any one but Mr <hi>Collier's</hi> dear
ſelf, and therefore to chaſtize Mr <hi>Dry<g ref="char:EOLhyphen"/>den's</hi>
Preſumption and Inſolence for but
ſeeming to invade his fancied Proper<g ref="char:EOLhyphen"/>ty,
he falls moſt outrageouſly upon his
<hi>Don Sebaſtian.</hi>
            </p>
            <p>
               <pb n="210" facs="tcp:54591:125"/>
The Subject of this Play bears a very
<hi>Religious Moral,</hi>
               <note place="margin">
                  <hi>Don Se<g ref="char:EOLhyphen"/>baſtian</hi> a Religious Play.</note> and conſonant to the
Tenour of the 2d Commandment
ſhews, that the Puniſhment of Mens crimes,
ſhall extend not only to their own per<g ref="char:EOLhyphen"/>ſons,
but if unrepented ſhall reach their
Poſterity likewiſe. In this Fable <hi>Muley
Moloch,</hi> a Tyrant and an Uſurper, <hi>Benducar</hi>
a crafty Villain and a Traytor, the <hi>Mufti</hi>
a raſcally Hypocrite and a Traytor.
Theſe three therefore are juſtly reward<g ref="char:EOLhyphen"/>ed
for their own proper Demerits.
The Tyrant falls by Treachery, the
treacherous Miniſter by publick Juſtice,
and the Hypocrite is unmaskt, depos'd,
and his Eſtate confiſcated. <hi>Sebaſtian</hi>
and <hi>Almeyda</hi> are Characters of extraor<g ref="char:EOLhyphen"/>dinary
Virtue, <hi>Sebaſtian</hi> appears juſt and
brave, and <hi>Almeyda</hi> chaſte and conſtant
to an Heroick Pitch. Their offence was
involuntary, and a Sin of Ignorance, the
unhappy conſequence of the tranſgreſſi<g ref="char:EOLhyphen"/>on
of their Parents, and their Puniſhment
is proportion'd very well to the nature
of their Treſpaſs. For tho Inceſt be a Sin
of a very black Dye, yet their Ignorance
of the nearneſs of their Blood waſhes
away their Guilt, and makes it their
misfortune, not their Crime. In this
<pb n="211" facs="tcp:54591:125"/>
caſe a bare Separation wou'd be a ſuffi<g ref="char:EOLhyphen"/>cient
Juſtification of their Innocence.
But a Judgment hanging over their
heads for the ſin of their Parents, to di<g ref="char:EOLhyphen"/>vert
that ſomething more mortifying
was neceſſary, and therefore a voluntary
abdication, exile, and a recluſe religious
Life are thrown in by way of Pennance
to make weight, and give the attone<g ref="char:EOLhyphen"/>ment
its due complement. But leſt the
true <hi>Moral</hi> ſhou'd eſcape the Audience,
the Poet has taken care to fix, and
ſumm it up in the four concluding Lines
<q>
                  <l>Let <hi>Sebaſtian</hi> and <hi>Almeyda's</hi> Fate</l>
                  <l>This dreadful Sentence to the World relate,</l>
                  <l>That unrepented crimes of Parents dead,</l>
                  <l>Are juſtly puniſh'd on their Childrens heads.</l>
               </q>
            </p>
            <p>This Moral needs no defence, and
wou'd plead ſucceſsfully for its Author,
and excuſe many little Slips before any
Judge leſs partially ſevere than Mr <hi>Col<g ref="char:EOLhyphen"/>lier.</hi>
            </p>
            <p>The <hi>Cleomenes</hi> of the ſame Author
ſtands indicted upon the ſame ſcore,<note place="margin">Reaſon of Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> 
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ua<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>
                  <g ref="char:EOLhyphen"/>rel to the <hi>Cleome<g ref="char:EOLhyphen"/>nes.</hi>
               </note>
that is, for being to free with the Prieſts
<pb n="212" facs="tcp:54591:126"/>
of <hi>Apis.</hi> For tho that been't the only
Allegation againſt this Play, 'tis appa<g ref="char:EOLhyphen"/>rently
the ſole ground. Thus Mr
<hi>Collier</hi> as well as Mr <hi>Dryden,</hi> ſets Prieſts
of all Religions upon the ſame Foot.
So they be but Prieſts, 'tis no matter to
whom, he expects they ſhou'd be re<g ref="char:EOLhyphen"/>ſpected
and reverenc'd; the compli<g ref="char:EOLhyphen"/>ment
muſt be paid to their Livery,
whether it be Chriſts or the Devils.
Elſe why are the <hi>Mufti,</hi> and the Prieſts
of <hi>Apis</hi> ſo much his Concern? Why all
this heat in the cauſe of Infidels and
Idolaters, and thoſe none of the ſimple
deluded Rout, but the Arch Jugglers,
and Managers of the Cheat.</p>
            <p>In this Play he has forgot,<note place="margin">
                  <hi>Mor<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>l</hi> wanting to the <hi>Cleo<g ref="char:EOLhyphen"/>menes.</hi>
               </note> or over<g ref="char:EOLhyphen"/>look'd
his greateſt advantage, which
is the want of <hi>Moral.</hi> His Paſſion
had got the upperhand of his
Judgement, and puſh'd him head<g ref="char:EOLhyphen"/>long
on to the attack, no matter where.
In this Play Poetick Juſtice is altogether
neglected, Virtue is every where de<g ref="char:EOLhyphen"/>preſted,
and calamitous, and falls at
laſt unreveng'd in the ruine of <hi>Cleomenes,
Pantheus, Cleanthes, Cleonidas, Cratiſiclea,</hi>
and <hi>Cleora.</hi> Vice revels all along, and
<pb n="213" facs="tcp:54591:126"/>
triumps at length in the perſons of
<hi>Ptolomy, Caſandra,</hi> and <hi>Soſybins.</hi> The
Fidelity of <hi>Cleomenes</hi> to his Nuptial
Vows is the deſtruction of himſelf and
all his Friends, while the Luxury of
<hi>Ptolomy,</hi> the Wantonneſs and Infidelity
of <hi>Caſandra,</hi> and the Treachery of <hi>So<g ref="char:EOLhyphen"/>ſybius,</hi>
inſult in ſecurity unfortunate
Virtue.</p>
            <p>'Tis true,<note place="margin">M<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>al<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap> ference.</note> 
               <hi>Soſybius</hi> in the cloſe ſeems to
become a Convert, and pretends to pay
extraordinary honours to the Body of
the dead Hero. From whence we may
draw this inference, <hi>That Virtue has its
altars tho neglected, even in the moſt
profligate Breaſts, and that the moſt inve<g ref="char:EOLhyphen"/>terate
of its Enemies will confeſs its
Charms, when they no longer dread its
power.</hi>
            </p>
            <p>Mr <hi>Dryden</hi> has confin'd himſelf a
little too near the Story,<note place="margin">The <hi>Poet</hi> too faithful to the <hi>Hi<g ref="char:EOLhyphen"/>ſtory.</hi>
               </note> had he aſſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>rted
his right, and taken the Liberty of a
Poet, he might have improv'd the <hi>Mo<g ref="char:EOLhyphen"/>ral</hi>
very much by ſending <hi>Soſybius, Ca<g ref="char:EOLhyphen"/>ſandra,</hi>
and <hi>Ptolomy</hi> to attend <hi>Cleomenes</hi>
to the other World. For (with Sub<g ref="char:EOLhyphen"/>miſſion
to Mr <hi>Dryden's</hi> better Judgment)
I ſee no neceſſity for <hi>letting the Curtain
fall</hi> ſo immediately upon the Death
<pb n="214" facs="tcp:54591:127"/>
of <hi>Cleomenes.</hi> The fall of his Hero
ought to have drawn after it a train of
Conſequence fatal to the Contrivers of
it; the ruines of a Hero of his ſize and
weight ought to have cruſh'd thoſe fee<g ref="char:EOLhyphen"/>ble
<hi>Aegyptians.</hi> Had the rage and
deſpair, that might naturally be ſup<g ref="char:EOLhyphen"/>poſed
in a Woman of <hi>Caſſandra's</hi> furious
temper, upon the diſappointment of her
licentious ungovernable Flame, been
wrought up to the deſtruction of <hi>Soſy<g ref="char:EOLhyphen"/>bius</hi>
and herſelf, <hi>Magas</hi> might have
made his appearance in Perſon, to have
finiſh'd the buſineſs, and diſpatch'd <hi>Pto<g ref="char:EOLhyphen"/>lomy.</hi>
All this might have been done with<g ref="char:EOLhyphen"/>out
unnaturally ſtretching, or making the
action double. By this means <hi>Treachery,
Luſt, Infidelity, Luxury, Cowardice,</hi>
and <hi>Cruelty,</hi> had all met their due re<g ref="char:EOLhyphen"/>ward.
But the Poet by tracking too
cloſely the Steps of the Hiſtorian has
loſt the <hi>Moral,</hi> which, had he been
guided by, and depended abſolutely
upon his own Judgment, we had no
doubt been indebted to him for.</p>
            <p>The next and laſt Tragedy I ſhall
inſtance in is the <hi>Mourning Bride.</hi>
               <note place="margin">Mourning Bride.</note> I
have had occaſion already to ſay ſome<g ref="char:EOLhyphen"/>thing
of the Obſervation of Poetick
<pb n="215" facs="tcp:54591:127"/>
Juſtice in this Play, but this being
the proper place, I ſhall take it a lit<g ref="char:EOLhyphen"/>tle
more particularly into conſideration.</p>
            <p>The Fable of this Play is one of the
moſt juſt,<note place="margin">Fable very juſt and re<g ref="char:EOLhyphen"/>gular.</note> and regular that the Stage,
either Antient or Modern, can boaſt of.
I mean, for the diſtribution of Rewards,
and Puniſhments. For no virtuous perſon
miſſes his Recompence, and no viti<g ref="char:EOLhyphen"/>ous
one eſcapes Vengeance. <hi>Manuel</hi> in
the proſecution and exerciſe of his
Cruelty and Tyranny, is taken in a
Trap of his own laying, and falls him<g ref="char:EOLhyphen"/>ſelf
a Sacrifice in the room of him,
whom he in his rage had devoted.
<hi>Gonſalez</hi> villanous cunning returns upon
his own head, and makes him by mi<g ref="char:EOLhyphen"/>ſtake
kill the King his Maſter, and in
that cut off, not only all his hopes, but
his only Prop and Support, and make
ſure of his own Deſtruction. <hi>Alonzo,</hi>
his Creature and Inſtrument, acts by his
inſtructions, and ſhares his Fate. <hi>Za<g ref="char:EOLhyphen"/>ra's</hi>
furious Temper and impetuous un<g ref="char:EOLhyphen"/>governable
Paſſion, urge her to fre<g ref="char:EOLhyphen"/>quent
violences, and conclude at laſt
in a fatal miſtake. Thus every one's
own Wickedneſs or Miſcarriage deter<g ref="char:EOLhyphen"/>mines
his Fate, without ſhedding any
<pb n="216" facs="tcp:54591:128"/>
Malignity upon the Perſons and For<g ref="char:EOLhyphen"/>tunes
of others. <hi>Alphonſo</hi> in reward
of his Virtue receives the Crowns of
<hi>Valentia</hi> and <hi>Granada,</hi> and is happy in
his Love; all which he acknowledges
to be the Gift of Providence, which
protects the Innocent, and rewards the
Virtuous. <hi>Almeria,</hi> whoſe Virtues are
much of the ſame kind, and who Sym<g ref="char:EOLhyphen"/>pathiz'd
with him in his afflictions,
becomes a joynt Partner of his Happi<g ref="char:EOLhyphen"/>neſs.
And <hi>Garcia,</hi> tho a Servant of the
Tyrant, and Son of the treacherous,
ambitious Stateſman, yet executing on<g ref="char:EOLhyphen"/>ly
his Soveraigns lawful Commands,
and being untainted with his Fathers
guilt, and his Principles undebauch'd, is
receiv'd into <hi>Alphonſo</hi>'s favour.</p>
            <p>All this as well as the <hi>Moral</hi> is ſumm'd
up ſo fully,<note place="margin">Moral <hi>ex<g ref="char:EOLhyphen"/>cellent.</hi>
               </note> and ſo conciſely in <hi>Alphon<g ref="char:EOLhyphen"/>ſo's</hi>
laſt ſpeech, that 'twere injuſtice
not to give it in the Poets own
words.</p>
            <q>
               <stage>(To <hi>Alm.</hi>)</stage>
               <l>Thy Father fell, where he de<g ref="char:EOLhyphen"/>ſign'd
my Death.</l>
               <l>
                  <hi>Gonſalez</hi> and <hi>Alonzo,</hi> both of Wounds</l>
               <l>Expiring, have with their laſt Breath Confeſt</l>
               <l>
                  <pb n="217" facs="tcp:54591:128"/>
The juſt Decrees of Heaven, in turning on</l>
               <l>Themſelves their own moſt bloody Pur<g ref="char:EOLhyphen"/>poſes,</l>
               <stage>
                  <hi>To</hi> Garcia—</stage>
               <l>
                  <hi>O</hi> Garcia</l>
               <l>Seeſt thou, how juſt the hand of Hea<g ref="char:EOLhyphen"/>ven
has been?</l>
               <l>Let us, that thro our Innocence ſurvive,</l>
               <l>Still in the Paths of Honour perſevere,</l>
               <l>And not for paſt, or preſent ills deſpair:</l>
               <l>For Bleſſings ever wait on virtuous deeds;</l>
               <l>And tho a late, a ſure Reward ſuc<g ref="char:EOLhyphen"/>ceeds.</l>
            </q>
            <p>Theſe I think are all the <hi>Engliſh</hi>
Tragedies, which Mr <hi>Collier</hi> has by
name excepted againſt. Taking there<g ref="char:EOLhyphen"/>fore
our View of the Modern Tragedy
from that quarter, which he has alotted
to draw a Proſpect of it in, I ſhall
leave it to the Reader to judge, whe<g ref="char:EOLhyphen"/>ther
have raiſed the more beautiful
ſtructures. But if we can with theſe
Forces, which our Enemies have raiſed
for us, make head, and maintain our
ground againſt the united ſtrength of all
Antiquity, what might have been
done, had we had the laſting, and ſi<g ref="char:EOLhyphen"/>zing
'em our ſelves.</p>
            <p>
               <pb n="218" facs="tcp:54591:129"/>
I ſhall only take notice of two or<note place="margin">Advantages of the <hi>Mo<g ref="char:EOLhyphen"/>derns</hi> over the <hi>Anti<g ref="char:EOLhyphen"/>ents</hi> in the <hi>Morals</hi> of their <hi>Fa<g ref="char:EOLhyphen"/>bles.</hi> Providence not em<g ref="char:EOLhyphen"/>ployed to promote Vil<g ref="char:EOLhyphen"/>lany.</note>
three things which are apparently the
indiſputable advantage of the <hi>Moderns</hi>
over the <hi>Antients,</hi> in reſpect of the Ge<g ref="char:EOLhyphen"/>neral
<hi>Moral</hi> of their Fables.</p>
            <p>1ſt, That they never are at the ex<g ref="char:EOLhyphen"/>pence
of a Machine to bring about a
wicked Deſign, and by conſequence
don't intereſt Providence in promoting
Villany; as the Antients have noto<g ref="char:EOLhyphen"/>riouſly
done in many of their Plays;
of which number are the <hi>Electra</hi> of
<hi>Sophocles;</hi> the <hi>Electra, Oreſtes, Hippoly<g ref="char:EOLhyphen"/>tus,
Ion,</hi> and <hi>others</hi> of <hi>Euripides,</hi> and
the <hi>Thyeſtes</hi> of <hi>Seneca.</hi>
            </p>
            <p>2dly,<note place="margin">Nor to op<g ref="char:EOLhyphen"/>preſs <hi>Vir<g ref="char:EOLhyphen"/>tue.</hi>
               </note> That they never engage Provi<g ref="char:EOLhyphen"/>dence
to afflict and oppreſs Virtue, by
diſtreſſing it by ſupernatural means, as
the Antients have manifeſtly done, by ma<g ref="char:EOLhyphen"/>king
their Gods the immediate Actors in
or directors of the misfortunes of virtu<g ref="char:EOLhyphen"/>ous
perſons, as in the <hi>Prometheus in Chains</hi>
of <hi>Aeſchylus,</hi> the <hi>Oedipus</hi> of <hi>Sophocles,</hi> the
<hi>Hippolytus</hi> and <hi>Hercules furens</hi> of <hi>Euri<g ref="char:EOLhyphen"/>pides,</hi>
the <hi>Oedipus</hi> and <hi>Hercules furens</hi>
of <hi>Seneca,</hi> and divers others of Antiquity.</p>
            <p>3dly,<note place="margin">Nor to pro<g ref="char:EOLhyphen"/>tect <hi>Male<g ref="char:EOLhyphen"/>factors.</hi>
               </note> That their <hi>Malefactors</hi> are ge<g ref="char:EOLhyphen"/>nerally
puniſhed, which thoſe of the
Antients ſeldom were; but if they eſ<g ref="char:EOLhyphen"/>cape
<pb n="219" facs="tcp:54591:129"/>
the Moderns don't provide 'em
with a miraculous delivery, or have
recourſe to ſuch extraordinary Methods
as exceed the reach of Humane Force or
Cunning, ſo as to entitle Providence to the
Protection of 'em, which was the fre<g ref="char:EOLhyphen"/>quent
Practice of the Antients; as in
the <hi>Electra</hi> of <hi>Sophocles;</hi> the <hi>Medea,</hi>
the <hi>Oreſtes,</hi> the <hi>Electra,</hi> and others
of <hi>Euripides;</hi>
               <note place="margin">
                  <hi>Modern</hi> Poets more Religious than the <hi>Antients.</hi>
               </note> the <hi>Medea</hi> of <hi>Seneca,</hi> &amp;c.</p>
            <p>From this ſhort review of the diffe<g ref="char:EOLhyphen"/>rent
conduct of the Antient and Modern
Tragedians, we may ſee with how much
more reſpect to Providence, and the Di<g ref="char:EOLhyphen"/>vine
adminiſtration, our Poets have be<g ref="char:EOLhyphen"/>haved
themſelves, than they; and how
far the Ballance of Religion inclines to
our ſide. I ſuppoſe no one can be ſo
ſilly, as to think, that I argue here for
the truth of their Faith, but the mea<g ref="char:EOLhyphen"/>ſure
of it in their reſpective perſwaſions,
in which the advantage is infinitely on
the ſide of the <hi>Engliſh</hi> Stage.</p>
            <p>The <hi>Fable</hi> of every Play is undoubt<g ref="char:EOLhyphen"/>edly
the Authors own,<note place="margin">The <hi>Fable</hi> of the <hi>Poets</hi> diſpoſal. <hi>Characters</hi> and <hi>Ex<g ref="char:EOLhyphen"/>preſſions</hi> not ſo.</note> whenceſoever
he takes the Story, and he may model
it as he pleaſes. The <hi>Characters</hi> are
not ſo; the Poet is obliged to take 'em
from Nature, and to copy as cloſe af<g ref="char:EOLhyphen"/>ter
her, as he is able. The <gap reason="illegible" resp="#TECH" extent="1 span">
                  <desc>〈…〉</desc>
               </gap>
               <pb n="220" facs="tcp:54591:130"/>
be ſaid for the <hi>Thoughts</hi> and <hi>Expreſſions,</hi>
they muſt be ſuited to the Mouth and
<hi>Character</hi> of the Perſon that ſpeaks 'em,
not the <hi>Poet's.</hi> It is not what is right
or wrong in the <hi>Poet's</hi> Judgment, but
what is natural, or unnatural for a Per<g ref="char:EOLhyphen"/>ſon
of ſuch a <hi>Character</hi> upon ſuch an
occaſion to ſay, which he is to conſider,
and for which he is accountable only, as
well by the rules of <hi>Moral</hi> as <hi>Poetical</hi>
Juſtice. When therefore we find any
thing in Plays that ſounds amiſs, we
muſt examine whether it be proper to
the <hi>Character</hi> or not, before we con<g ref="char:EOLhyphen"/>demn
the <hi>Poet,</hi> whom we may other<g ref="char:EOLhyphen"/>wiſe
arraign as <hi>Mal a propos,</hi> as a Judge
wou'd the Kings Evidence, if he ſhou'd
prefer an Indictment againſt 'em for
ſpeaking Treaſon in their Depoſiti<g ref="char:EOLhyphen"/>ons.</p>
            <p>The <hi>Fable</hi> therefore being the main
ſpring of the Machine in Tragedy,<note place="margin">The <hi>Fable</hi> if any, the Evidence of the <hi>Poets</hi> 
                  <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>nion.</note> and
the <hi>Poet's</hi> own proper Workmanſhip<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>
'tis by the temper and diſpoſition of
that, that we are to feel the <hi>Poets</hi>
Pulſe, and find out his ſecret affections.
Not but that we may err ſometimes in
our Judgments of the <hi>Poet's Morals</hi> o<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>
other hand. For 'tis poſſible, that the
<pb n="221" facs="tcp:54591:130"/>
               <hi>Poet's Morals</hi> may be very good, yet
the Man's ſtark naught, that is, that a
man may be a good <hi>Moral Poet,</hi> yet
a bad Man. So on the other hand we
may falſly meaſure his Manners by his
management, and impute to Malice and
Deſign thoſe faults, which flow from
want of Judgment or Indiſcretion. This
is hard meaſure, but ſuch as Mr <hi>Collier</hi>
has been very liberal of to the <hi>Poets.</hi>
It wou'd be a very uncharitable Error,
ſhou'd we at any time hear the ſacred
myſteries of our Faith poorly explained,
or weakly defended out of the Pulpit,
if we ſhou'd conclude, that the Preacher
played booty and betrayed the cauſe he
pretended to plead for: And I doubt
it wou'd fall heavy upon many, that
now paſs for honeſt and good Chriſti<g ref="char:EOLhyphen"/>ans,
I hope with juſtice, if their Faith
were to be meaſured by their Perfor<g ref="char:EOLhyphen"/>mance,
and their Integrity by their parts.
But it wou'd be much more unjuſt to<note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> a falſe, and perverſe Meaſure.</note>
rate all the reſt of their order by the de<g ref="char:EOLhyphen"/>ficient
Standard of a few. Yet thus
Mr <hi>Collier</hi> proceeds againſt thoſe, to
whom he thinks fit to oppoſe himſelf.
And yet even thus they wou'd not have
much occaſion to fear his malice, if he
<pb n="222" facs="tcp:54591:131"/>
wou'd proceed againſt 'em the proper
way, and not charge as their private
and real ſenſe, the Sentiments, which
they are obliged ſometimes to furniſh
Villains and Extravagants with in con<g ref="char:EOLhyphen"/>formity
to their Characters, while he
denies 'em the benefit of thoſe many
excellent and pious Reflections a<g ref="char:EOLhyphen"/>bounding
in their works.</p>
            <p>Certainly had our Poets any ſuch
lewd Deſign of <hi>confounding the Diſtincti<g ref="char:EOLhyphen"/>ons
between Truth and Fiction,</hi>
               <note place="margin">The <hi>Fable</hi> the Engine of greateſt and moſt ſecret Exe<g ref="char:EOLhyphen"/>cution upon the Audi<g ref="char:EOLhyphen"/>ence. <hi>P.</hi> 95.</note> 
               <hi>between
Majeſty and a Pageant;</hi> of <hi>treating God
like an Idol, and bantering, the Scriptures
like Homer's Elyſium</hi> and <hi>Heſiod's Theo<g ref="char:EOLhyphen"/>gonia,</hi>
it wou'd appear in the Fable,
which is the part, as we have obſerv'd,
that diſcovers moſt of the Poets proper
Opinion, and gives him the faireſt op<g ref="char:EOLhyphen"/>portunity
of ſtealing it artificially in,
and poys'ning the Audience moſt ef<g ref="char:EOLhyphen"/>fectually
with leaſt Suſpicion. For tho
the Fable, if skilfully contriv'd, be the
Part which operates moſt powerfully,
yet it works after a manner leaſt ſenſi<g ref="char:EOLhyphen"/>ble.
We feel the effects without ſuſpect<g ref="char:EOLhyphen"/>ing
the cauſe, and are prejudiced with<g ref="char:EOLhyphen"/>out
looking after a reaſon. If the <hi>Poets</hi>
have any ſuch villanous Plot againſt
<pb n="223" facs="tcp:54591:131"/>
Virtue and Religion, they are certainly
the moſt negligent Fellows, or the moſt
unexperienced in the world to overlook
the only place of advantage upon the
whole Stage for their miſchievous pur<g ref="char:EOLhyphen"/>poſe,
where they might work their
Mines unmoleſted, and ſpring 'em un<g ref="char:EOLhyphen"/>diſcover'd
to moſt, and do the greateſt
execution with the leaſt alarm to the
Enemy. But they make War like <hi>Dutch<g ref="char:EOLhyphen"/>men,</hi>
and ſell their Enemies Ammunition
to ſpend upon themſelves. For all their
Fables are contriv'd and modell'd for
the ſervice of Virtue and Religion, and
levell'd againſt themſelves, if they be
ſuch <hi>great Enemies,</hi> and ſo <hi>remarkably
diſaffected,</hi> as Mr <hi>Collier</hi> ſays they are.
But perhaps he may, either thro mi<g ref="char:EOLhyphen"/>ſtake
or malice, miſrepreſent the mat<g ref="char:EOLhyphen"/>ter;
and what was ſcoffingly ſaid by
the <hi>Turks</hi> to the <hi>Poles,</hi> may be ſeriouſ<g ref="char:EOLhyphen"/>ly
applied to the caſe before us by both
Parties, that <hi>they did not know of any
War betwixt 'em.</hi>
            </p>
            <p>From the management of the <hi>Fables</hi>
of our Poets,<note place="margin">Not abuſed to any ill end by our <hi>Poets.</hi>
               </note> which, being the Princi<g ref="char:EOLhyphen"/>pal,
and moſt Efficacious part of their
Plays, undoubtedly employ'd moſt their
care, 'tis plain that Mr <hi>Collier</hi> has given
<pb n="224" facs="tcp:54591:132"/>
the World a falſe alarm, and endea<g ref="char:EOLhyphen"/>vours
to ſet 'em upon thoſe as Subver<g ref="char:EOLhyphen"/>ters
of Religion and Morality, that
have with abundance of art and pains
labour'd in their ſervice, and rack'd
their Inventions to weave 'em into the
moſt Popular diverſions, and make even
Luxury and Pleaſure ſubſervient and
inſtrumental to the eſtabliſhment of Mo<g ref="char:EOLhyphen"/>ral
Principles, and the confirmation of
Virtuous Reſolutions.</p>
            <p>Before I take leave of Tragedy upon
this Head, I muſt take notice to the
Reader, that in this Parallel betwixt
the <hi>Antient</hi> and <hi>Modern</hi> Tragedy, I
have not wreſted any thing to the un<g ref="char:EOLhyphen"/>juſt
Prejudice of one,<note place="margin">Apology for the <hi>Anti<g ref="char:EOLhyphen"/>ents.</hi>
               </note> or favour of t'o<g ref="char:EOLhyphen"/>ther.
Nor, tho I find moſt of the
Antient Fables defective in the general
<hi>Moral,</hi> do I charge 'em with any de<g ref="char:EOLhyphen"/>ſign
of under<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ining the Intereſt, or
leſſening the credit and eſteem of Vir<g ref="char:EOLhyphen"/>tue.
The <hi>Moral</hi> and the <hi>Pathetic</hi> were
in their days diſtinct Branches of Tra<g ref="char:EOLhyphen"/>gedy
(as we have already obſerv'd
from <hi>Ariſtotle</hi>) of which their Poets in
all probability made choice, according to
the encouragement they obſerv'd 'em to
meet with. If therefore we find few
<pb n="225" facs="tcp:54591:132"/>
               <hi>Moral</hi> Plays amongſt the remains of
thoſe extraordinary Perſons the <hi>Greek</hi>
Tragedians,<note place="margin">
                  <hi>Moral</hi> Plays not eſteem'd at <hi>Athens.</hi>
               </note> we may fairly preſume, that
they did not take at <hi>Athens,</hi> other<g ref="char:EOLhyphen"/>wiſe
they wou'd have been more culti<g ref="char:EOLhyphen"/>vated.
For this reaſon probably it was,
that <hi>Ariſtotle</hi> took ſo ſlender notice of
Moral Tragedy, as not thinking it worth
while to lay down rules for the pra<g ref="char:EOLhyphen"/>ctice
of that, which was no longer in
uſe, or eſteem amongſt his Countrymen
in his Time. Nor did this diſ-eſteem
of <hi>Moral</hi> Plays proceed from any pro<g ref="char:EOLhyphen"/>penſity
to, or Habit of Vice peculiar to
that Age, which might give 'em a diſ<g ref="char:EOLhyphen"/>reliſh
for Virtuous Entertainments. The
contrary of this is evident from ſeve<g ref="char:EOLhyphen"/>ral
of thoſe Tragedies, which ſucceed<g ref="char:EOLhyphen"/>ed
at <hi>Athens,</hi> the Diſcourſe in which
is frequently Moral and Inſtructive, tho
the Fable it ſelf be not. But <hi>Moral</hi> Tra<g ref="char:EOLhyphen"/>gedy
not admitting ſuch Incidents as
were proper to move Terrour or Com<g ref="char:EOLhyphen"/>paſſion,
the Springs of Paſſion were
wanting, and conſequently the Au<g ref="char:EOLhyphen"/>dience
were but weakly affected with
ſuch ſort of repreſentations.<note place="margin">
                  <hi>Moral</hi> and <hi>Pathetick</hi> reconciled, and united by the Mo<g ref="char:EOLhyphen"/>derns.</note>
            </p>
            <p>The <hi>Moderns,</hi> who were ſenſible of
the uſe of one, and the power of t'other
<pb n="226" facs="tcp:54591:133"/>
ſort of Tragedy, have taken a happy
Liberty of compounding 'em, and
throwing the <hi>ſimple</hi> Tragedy quite aſide,
ſtick altogether to an Implex kind,
which is at once both <hi>Moral</hi> and <hi>Pathe<g ref="char:EOLhyphen"/>tick.</hi>
Wherein they muſt to their ho<g ref="char:EOLhyphen"/>nour
be acknowledg'd, to have made a
conſiderable improvement of Tragedy,
and to have had a ſingular regard to
Probity and Virtue; which (without
injuſtice to Antiquity, I may venture
to affirm) had very little Intereſt in the
Fable before. Nor can the moſt par<g ref="char:EOLhyphen"/>tial
Admirer of the <hi>Antients,</hi>
               <note place="margin">Poetick Ju<g ref="char:EOLhyphen"/>ſtice neg<g ref="char:EOLhyphen"/>lected by the <hi>Antients</hi> in general.</note> with any
colour of Juſtice deny this advantage
to the <hi>Moderns;</hi> ſince neither <hi>Ariſtotle,</hi>
nor <hi>Horace,</hi> amongſt all their excellent
Rules, and Obſervations for Dramatick
Writing, have taken the leaſt notice of
Poetick Juſtice, which is now become
the Principal Article of the <hi>Drama;</hi>
which queſtionleſs they wou'd never
have forgotten, had the Practice of the
Stage in their own, or preceeding Ages,
or even their own thoughts ſuggeſted
the neceſſity of it. Nay ſo far is <hi>Ariſtotle</hi>
from thinking it a requiſite condition,
that he recommends<note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> 
               <hi>the misfortunes of
a Perſon unhappy thro his miſtake, not
<pb n="227" facs="tcp:54591:133"/>
his Fault,</hi> as the moſt proper Sub<g ref="char:EOLhyphen"/>ject
for Tragedy; which is directly
oppoſite to this Rule, which re<g ref="char:EOLhyphen"/>quires,
that the fortune of every one
ſhou'd be adjuſted to his Merit, whe<g ref="char:EOLhyphen"/>ther
good or bad. 'Tis true, <hi>Ariſtotle</hi>
thinks, that 'tis inconſiſtent with the
regard that is due to Mankind, to re<g ref="char:EOLhyphen"/>preſent
ſuch revolutions in the Fortunes
of Men, as ſhall make Perſons emi<g ref="char:EOLhyphen"/>nently
Virtuous unhappy, or notori<g ref="char:EOLhyphen"/>ouſly
wicked ſucceſsful and proſperous.
But I don't find that he made their
proper Demerits the Standard, or im<g ref="char:EOLhyphen"/>mediate
Rule for Squaring their future
Fortune. And if we conſider the exam<g ref="char:EOLhyphen"/>ples
he produces to his own Rule, we
ſhall perhaps be induc'd to believe, that
he did not inſiſt upon a very rigorous
obſervation of it. For of his two in<g ref="char:EOLhyphen"/>ſtances,
<hi>Oedipus</hi> was (as we have al<g ref="char:EOLhyphen"/>ready
obſerv'd) a very virtuous Perſon,
and <hi>Thyeſtes,</hi> according to the traditions
remaining concerning him, a very wick<g ref="char:EOLhyphen"/>ed
One. So that even while he is lay<g ref="char:EOLhyphen"/>ing
down his Rule, he ſeems to indulge
a latitude in the obſervance, and to
juſtifie any Liberties, that may be
taken with it, by the Precedent of the
<pb n="228" facs="tcp:54591:134"/>
beſt Play, not only of <hi>Sophocles,</hi> but of
all Antiquity.</p>
            <p>Monſieur <hi>Dacier</hi> (who,<note place="margin">Monſi<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ur <hi>Dacier's</hi> exception <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>o Monſi<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ur <hi>Corneille</hi> anſwered.</note> according
the humour of moſt Commentators, will
allow no ſlips in his Author) ſtrains hard
to reconcile the examples to the Rule. He
charges Monſieur <hi>Corneille</hi> with making
an unjuſt exception, for want of under<g ref="char:EOLhyphen"/>ſtanding
rightly, the words <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.
I ſhall not undertake to Arbitrate the
point of Monſieur <hi>Corneille</hi>'s Learning,
but I think his obſervation juſt, and
yet in full Force, and Monſieur <hi>Dacier</hi>'s
anſwer, however Learned, no better
than an Evaſion. In ennumerating the
good qualities, and ſumming up the
Character of <hi>Oedipus,</hi> Mr <hi>Dacier</hi> omits
his <hi>Piety</hi> towards his Country, and
places the ſervice of deſtroying the
<hi>Sphinx</hi> to the account of his ambition,
and the reward of the Crown tacked
to it. His <hi>Piety</hi> I have already taken
ſufficient notice of elſewhere, and for
his ambition let <hi>Sophocles</hi> anſwer, who
tells us otherwiſe in the concluding
Lines;
<q>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>.</l>
                  <l>Who affected not baſe Popularity, nor
courted Fortune.</l>
               </q>
            </p>
            <p>
               <pb n="229" facs="tcp:54591:134"/>
This may ſuffice to clear him from
the imputation of Vanity and Ambi<g ref="char:EOLhyphen"/>tion,
with which Monſieur <hi>Dacier</hi>
loads his Character, and added to the
reſt, prove him an excellent Perſon; one
that, according to <hi>Ariſtotle,</hi> was too good
to ſuffer in ſo extraordinary a man<g ref="char:EOLhyphen"/>ner.</p>
            <p>To digreſs no farther,<note place="margin">Po<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>t<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ck Ju<g ref="char:EOLhyphen"/>ſtice a <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>o<g ref="char:EOLhyphen"/>dern <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>ven<g ref="char:EOLhyphen"/>tion.</note> I think we
are obliged to the <hi>Modern</hi> Tragick
Poets for the introduction of Poetick
Juſtice upon the Stage, and muſt own,
that they were the firſt that made it
their conſtant aim to inſtruct, as well
as pleaſe by the Fable. The <hi>Antients</hi>
brought indifferently all ſorts of ſub<g ref="char:EOLhyphen"/>jects
upon the Stage, which they took
from Hiſtory or Tradition, and were
therefore more ſolicitous to make their
ſtories conform to the relation, or to
the publick Opinion, than to Poetick
Juſtice, or the Propriety of Tragick
Action. By this means all hopes of a
<hi>Moral</hi> was cut off, or if by chance the
ſtory afforded any, we are more obliged
to the Poets luck for it, than to his
Skill or Care. Thus the Moral, the
higheſt, and moſt ſerviceable improve<g ref="char:EOLhyphen"/>ment
that ever was, or ever can be
<pb n="230" facs="tcp:54591:135"/>
made of the <hi>Drama,</hi> is of <hi>Modern</hi> Ex<g ref="char:EOLhyphen"/>traction,
and may very well be pleaded
in bar to all claim laid in behalf of the
Antients, to preference in point of Mo<g ref="char:EOLhyphen"/>rality,
and ſervice to Virtue, as likewiſe
in anſwer to all Objections made to
the Manners and Conduct of the <hi>Mo<g ref="char:EOLhyphen"/>dern</hi>
Stage in general.</p>
            <p>Thus the <hi>Modern</hi> Stage,<note place="margin">
                  <hi>Modern</hi> Stage on this account pr<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>f-rable of the <hi>An<g ref="char:EOLhyphen"/>tient.</hi>
               </note> againſt
which Mr <hi>Collier</hi> maliciouſly declaims
with ſo much bitterneſs, is upon this
account infinitely preferable to the <hi>A<g ref="char:EOLhyphen"/>thenians,</hi>
which he commends and ad<g ref="char:EOLhyphen"/>mires,
and that which he rails at as the
bane of Sobriety, and the Peſt of Good
Manners, is prov'd the moſt commodi<g ref="char:EOLhyphen"/>ous
inſtrument to propagate Morality,
and the eaſieſt, and moſt palatable Ve<g ref="char:EOLhyphen"/>hicle
to make Inſtruction go down with
effect. But the Violence and Partiality
of ſome obſerve no bounds of Juſtice,
and admit of no check from Modeſty
or Reaſon. But I ſhall take leave here,
and paſs on to the Fable of <hi>Comedy,</hi>
againſt which Mr <hi>Collier's</hi> ſpight is more
particularly levelled.</p>
            <p>The <hi>Fable</hi> of <hi>Comedy</hi> will give us
very little trouble,<note place="margin">Fable <hi>of</hi> Comedy <hi>
                     <gap reason="illegible" resp="#TECH" extent="1 word">
                        <desc>〈◊〉</desc>
                     </gap>
                  </hi>
               </note> if we conſider right<g ref="char:EOLhyphen"/>ly
the Nature and Buſineſs of this part
<pb n="231" facs="tcp:54591:135"/>
of the <hi>Drama. Comedy</hi> deals altogether
in Ridicule, and its Subject conſequent<g ref="char:EOLhyphen"/>ly
muſt be ſuch as affords matter of ridi<g ref="char:EOLhyphen"/>culous
Mirth. All its Machinations
tend to the exciting that ill natur'd ti<g ref="char:EOLhyphen"/>tillation,
which carries ſcorn and con<g ref="char:EOLhyphen"/>tempt
along with it. Its buſineſs is to
correct, and hinder the ſpreading of
Folly and Knavery, by making 'em ri<g ref="char:EOLhyphen"/>diculous,
and to reform Raſcals and
Coxcombs by expoſing 'em. <hi>Ariſtotle</hi>
therefore has has very judiciouſly de<g ref="char:EOLhyphen"/>fined
Comedy <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.
<hi>The Imitation of the baſer ſort of
People, not in all kinds of Villany, but in the
ridiculous part, which is one ſort of Turpitude.</hi>
            </p>
            <p>The Action of <hi>Comedy</hi> muſt be ſuited
to the Actors,<note place="margin">In Comedy the Action and Perſons l<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>w.</note> who are <hi>the baſer ſort of
People,</hi> and conſequently can't be of
any great importance either in its na<g ref="char:EOLhyphen"/>ture
or effects, and therefore can afford
no extraordinary <hi>Moral.</hi> By the <hi>baſer
ſort of People,</hi> Perſons of low Extracti<g ref="char:EOLhyphen"/>on
or Fortune are not heremeant, but Per<g ref="char:EOLhyphen"/>ſons
who by their practices and Conduct
have expos'd themſelves to Scandal and
Contempt. From the Nature therefore,
and quality of the Actors nothing great
<pb n="232" facs="tcp:54591:136"/>
or generous can be expected from <hi>Co<g ref="char:EOLhyphen"/>medy.</hi>
The Duping of an old Knave,
the cullying of a Coxcomb, the ſtealing
of an Heireſs from a Mercenary Guar<g ref="char:EOLhyphen"/>dian,
are the uſual exploits of Comedy;
wherein tho Gentlemen are ſometimes
concerned, yet they are, or ought al<g ref="char:EOLhyphen"/>ways
to be ſuch, as have ſome blemiſh,
or other upon 'em, otherwiſe they are
not fit for the buſineſs they are engag'd
in. <hi>Comedy</hi> ſeems to be deſigned to
teach Men Civil Prudence, and a conve<g ref="char:EOLhyphen"/>nient
Management in reſpect of one
another, rather than any thing of Mora<g ref="char:EOLhyphen"/>lity;
and their private duty. There
their misfortunes and diſgraces are all
the immediate reſult of their own Folly
and Miſmanagement, and may there<g ref="char:EOLhyphen"/>fore
very well cauſe men to reflect upon
that want of Wit and Caution, which
cauſed themſelves or others to miſcarry,
and teach 'em to be more wary for the
future; but it wou'd hardly confer any
Grace, or mend their Principles.</p>
            <p>The buſineſs of <hi>Comedy</hi> being ridi<g ref="char:EOLhyphen"/>cule,
thoſe Vices only fall under its
correction,<note place="margin">The cor<g ref="char:EOLhyphen"/>rection of <hi>Folly</hi> the proper buſi<g ref="char:EOLhyphen"/>neſs of <hi>Co<g ref="char:EOLhyphen"/>medy</hi>
               </note> that are capable of being
made ridiculous, and thoſe only after
ſuch a manner as may raiſe Scorn and
<pb n="233" facs="tcp:54591:136"/>
Contempt. For this reaſon <hi>Comedy</hi> ſeems
to be more naturally diſpoſed for the
cure of Mens Follies, than their Vices,
thoſe running more naturally into ridi<g ref="char:EOLhyphen"/>cule
than theſe, which are more apt to
raiſe Indignation and Averſion, and are
the proper inſtruments of Tragedy. Not
but that Vice too may ſometimes be
ſeaſonably corrected in <hi>Comedy,</hi> but
then it muſt be join'd with, and wear
the Livery of Folly, to help to make it
ridiculous, and the object of Scorn, ra<g ref="char:EOLhyphen"/>ther
than Indignation.</p>
            <p>Hence it will appear,<note place="margin">Perfect Vir<g ref="char:EOLhyphen"/>tue exclud<g ref="char:EOLhyphen"/>ed the <hi>Co<g ref="char:EOLhyphen"/>mick Stage.</hi>
               </note> what ſort of
Perſons are moſt proper to be employed
in <hi>Comedy,</hi> which dealing altogether
in Stratagem and Intrigue, requires
Perſons of Trick and Cunning on one
hand, and eaſie credulous Folks on the
other, otherwiſe the Plot will but go
heavily forward. By this means all Cha<g ref="char:EOLhyphen"/>racters
abſolutely perfect are excluded
the <hi>Comick</hi> Stage. For what has a Man
of pure Integrity to do with Intrigues
of any kind? He can't aſſiſt in the
execution of any deſign of Circumven<g ref="char:EOLhyphen"/>tion
without forfeiting his Character;
and to bring ſuch a Character upon
the Stage to be practic'd upon, is ſuch
<pb n="234" facs="tcp:54591:137"/>
an outrage to Virtue, that the moſt
licentious of our Poets have not dar'd
to venture upon it.</p>
            <p>I grant that 'tis neither neceſſary,<note place="margin">Some Infir<g ref="char:EOLhyphen"/>mity re<g ref="char:EOLhyphen"/>quired to qualifie a Character for <hi>Come<g ref="char:EOLhyphen"/>dy.</hi>
               </note> nor
convenient, that all the Characters in <hi>Co<g ref="char:EOLhyphen"/>medy</hi>
ſhou'd be vicious, that were to abuſe
mankind, with a ſcandalous repreſentati<g ref="char:EOLhyphen"/>on.
But I maintain, that they ought all to
have ſome failing or Infirmity, to qualifie
'em for the buſineſs of the Place. Men of
Honour may be made uſe of to puniſh
Knaves, as Knaves to cure Fools, but
their honour ought not to be too ſtrait<g ref="char:EOLhyphen"/>laced,
too ſqueamiſh and ſcrupulous.
They muſt be Perſons of ſome Liberty,
that out of an over-niceneſs will not
balk a well laid deſign, and ſpoil a
Project with too much honeſty. Men
of Hononr may be men of Pleaſure;
nay, and muſt be ſo too, or we do 'em
wrong to make 'em appear in ſuch
Company, as <hi>Comedy</hi> muſt bring 'em
into.</p>
            <p>What other natural occaſion can be
aſſigned for embroiling a Gentleman
of Quality,<note place="margin">Ne Gentle<g ref="char:EOLhyphen"/>men but men of pleaſure ſit for Comedy.</note> with Uſurers, Pimps, Sharp<g ref="char:EOLhyphen"/>ers,
Jilts and Bullies, but the extrava<g ref="char:EOLhyphen"/>gance
of his Pleaſures? which they
may all ſerve in their ſeveral capacities.
<pb n="235" facs="tcp:54591:137"/>
The Uſurer with his Wife, his Daugh<g ref="char:EOLhyphen"/>ter,
or his Money; the Pimp in his
Intrigues; the Jilt, the Sharper, and
the Bully in their reſpective Offices may
aſſiſt his Revenges, and be uſeful En<g ref="char:EOLhyphen"/>gines
in thoſe deſigns, where 'tis not
proper for himſelf to appear. That
no Gentlemen but of this ſort ſhou'd
be brought upon the <hi>Comick</hi> Stage, I
think, is ſo plain, as well from <hi>Ariſtotle's</hi>
Definition, as from the Nature and Bu<g ref="char:EOLhyphen"/>ſineſs
of the Place; that he that diſ<g ref="char:EOLhyphen"/>putes
it forfeits all Pretence to Judg<g ref="char:EOLhyphen"/>ment
in theſe matters. I mean no Gen<g ref="char:EOLhyphen"/>tlemen
of Wit and Senſe, but ſuch as
theſe. For Fools of what Quality
ſoever are the proper Goods and Chat<g ref="char:EOLhyphen"/>tels
of the Stage; they are the wrecks
of underſtanding, which Poets, as Lords
of the Mannor of Wit from imme<g ref="char:EOLhyphen"/>morial
Preſcription, have an uncon<g ref="char:EOLhyphen"/>teſted
Title to, and may diſpoſe of, as
they ſee fit.</p>
            <p>A true <hi>Comick</hi> Poet like a good Droll
Painter,<note place="margin">
                  <hi>Comick</hi> Poetry and <hi>Droll</hi> Painting compar'd.</note> ought not to make his whole
Piece ridiculous, and conſequently
ought not to draw any Face that is ſo
regular, as not to have ſomething amiſs
either in Feature or Complextion. To
<pb n="236" facs="tcp:54591:138"/>
put a Gentleman of ſound Senſe and
perfect Morals into <hi>Comedy,</hi> wou'd be
as unnatural, as to draw <hi>Cato</hi> dancing
amongſt the Boors at a Dutch Wedding.
It does not therefore follow, that none
but Rakes and Scoundrels muſt paſs
for Gentlemen in <hi>Comedy.</hi> A Gentle<g ref="char:EOLhyphen"/>man
of Wit and Honour may be judi<g ref="char:EOLhyphen"/>ciouſly
introduced into it, but he muſt
be a man of wild unreclaim'd honour,
whoſe Appetites are ſtrong and irregu<g ref="char:EOLhyphen"/>lar
enough, to hurry him beyond his
diſcretion, and make him act againſt
the Conviction of his Judgment on the
return of his Reaſon. Such a Cha<g ref="char:EOLhyphen"/>racter
as this no more is unnatural, than
to ſee a drunken Gentleman frolicking
with the Mob, or kiſſing a Link-Boy.</p>
            <p>Nothing is more frequent than to
meet in our common Converſation,<note place="margin">Such Cha<g ref="char:EOLhyphen"/>racters real and com<g ref="char:EOLhyphen"/>mon.</note> and
affairs of Life, with Gentlemen of this
ſort, who, tho they may be Men of ex<g ref="char:EOLhyphen"/>cellent
Parts, Temper, and Principles,
yet in the heat of their Blood, and Pride
of their Fortunes, are apt to be byaſſed
a little towards Extravagance, and not
to conſult the ſeverity of Reaſon, or
the exactneſs of Juſtice on many occa<g ref="char:EOLhyphen"/>ſions
<pb n="237" facs="tcp:54591:138"/>
eſpecially in matters relating to
their Pleaſures.</p>
            <p>What therefore is ſo common and
obvious in the World, can't be unnatu<g ref="char:EOLhyphen"/>ral
upon the Stage, but by uſing it im<g ref="char:EOLhyphen"/>properly.
To put a Gentleman upon
the Office of a Villain or a Scoundrel,
or to make a Man of Senſe a Bubble
or a Cully in the Concluſion, is an
abuſe to the Character, and a treſpaſs
againſt the Laws of the <hi>Drama.</hi> If
therefore the Poet employs any of this
Character, he is obliged to give him
Succeſs, notwithſtanding the blemiſhes
of his Character. For, with all his
Faults, he is the beſt, as well as the moſt
conſiderable Perſon, that 'tis lawful for
him to make bold with. And if he is
at laſt brought to a Senſe of his Extra<g ref="char:EOLhyphen"/>vagance
and Errours, and a reſolution
of amendment, the Poet has exerted
his Authority to the utmoſt extent of
his Commiſſion; and the Laws of Co<g ref="char:EOLhyphen"/>medy
exact no more.</p>
            <p>Had Mr <hi>Collier</hi> known and conſi<g ref="char:EOLhyphen"/>der'd
ſufficiently the nature of <hi>Co<g ref="char:EOLhyphen"/>medy,</hi>
               <note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s mi<g ref="char:EOLhyphen"/>ſtake con<g ref="char:EOLhyphen"/>cerning the Nature of <hi>Comedy.</hi>
               </note>
I am apt to think, that we had
never ſeen his whole fourth Chapter,
which runs altogether upon this mi<g ref="char:EOLhyphen"/>ſtake,
<pb n="238" facs="tcp:54591:139"/>
               <hi>That no Liberties are to be indulg'd
in Comedy, and that the principal Cha<g ref="char:EOLhyphen"/>racters
ought to be in all reſpects exemplary,
and without Blemiſh.</hi> That this a mi<g ref="char:EOLhyphen"/>ſtake
I hope is very plain from what
has been already ſaid. But becauſe
Mr <hi>Collier</hi> has taken the pains to back,
and aſſert this erroneous Opinion with
a tedious Harangue, and ſome ſeem<g ref="char:EOLhyphen"/>ingly
plauſible Arguments, it may not
be amiſs to abſtract one from t'other,
and conſider the latter diſtinctly, with<g ref="char:EOLhyphen"/>out
amuſing our ſelves about his Pom<g ref="char:EOLhyphen"/>pous
expreſſions,<note place="margin">Heads of Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> charge a<g ref="char:EOLhyphen"/>gainſt <hi>En<g ref="char:EOLhyphen"/>gliſh Co<g ref="char:EOLhyphen"/>dy.</hi>
               </note> and Formal Rhetorick.</p>
            <p>The whole Summ of Mr <hi>Collier's</hi> long
extravagant charge againſt the <hi>Engliſh</hi>
Poets, eſpecially the preſent Comick
Poets, againſt whom this Chapter ſeems
to be particularly levelled, may be re<g ref="char:EOLhyphen"/>duced
to theſe two heads.</p>
            <p>1ſt. That by making their Protago<g ref="char:EOLhyphen"/>niſts,
or chief Perſons Licentious or
debauched they encourage Vice, and
Irreligion, and diſcourage Virtue.</p>
            <p>2dly. That the rich Citizens are of<g ref="char:EOLhyphen"/>ten
repreſented as Miſers and Cuck<g ref="char:EOLhyphen"/>olds;
and the Univerſities as Schools
of Pedantry; and thereby Learning,
Induſtry and Frugality ridiculed.</p>
            <p>
               <pb n="239" facs="tcp:54591:139"/>
Mr <hi>Collier,</hi> whoſe buſineſs all thro his
Book is Invective, not Argument, lays
himſelf forth with all the Pomp of For<g ref="char:EOLhyphen"/>mal
Eloquence, and vehemence of Ex<g ref="char:EOLhyphen"/>preſſion,
that he is able, to aggravate
the crime, and amplifie the guilt of the Po<g ref="char:EOLhyphen"/>ets
not to prove it. He is more ſollicitous
to poſſeſs his Reader, than convince him,
and for that reaſon lets ſlip the circum<g ref="char:EOLhyphen"/>ſtance
of proof as not very material, be<g ref="char:EOLhyphen"/>cauſe
he found it wou'd tye him up to
ſtrict Argument, and cloſe Reaſoinng,
which is not for his purpoſe, and inſiſts
upon the General charge of Debauchery
and Impiety; which allowing him all the
Liberties of Declamation and Harangue,
give him ample Field-room to publiſh,
and diſplay his Parts, and his Malice
together; which he does moſt egregi<g ref="char:EOLhyphen"/>giouſly,
and Flouriſhes moſt trium<g ref="char:EOLhyphen"/>phantly.
Never did learned Recorder
inſult poor <hi>Culprit</hi> in more formida<g ref="char:EOLhyphen"/>ble
Oratory, than he does the
Poets.</p>
            <p>'Tis true, he offers ſeveral inſtances in
confirmation of his Aſſertion, which he
draws from divers of our <hi>Engliſh</hi> Comedies,
which, with the untoward gloſs he puts
<pb n="240" facs="tcp:54591:140"/>
upon 'em, ſeem to favour his malicious
purpoſe. Theſe I ſhall conſider in their
proper places, as far as is abſolutely re<g ref="char:EOLhyphen"/>quiſite
to our purpoſe, and leave the
farther juſtification of 'em to the Gen<g ref="char:EOLhyphen"/>tlemen
more immediately concerned,
who I ſuppoſe will not be wanting to
their own neceſſary defence.</p>
            <p>We ſhall therefore proceed to the<note place="margin">His firſt Article exa<g ref="char:EOLhyphen"/>mined.</note>
examination of the main Branch of his
accuſation, contained in the firſt Arti<g ref="char:EOLhyphen"/>cle,
which is <hi>the neglect of Poetick Iu<g ref="char:EOLhyphen"/>ſtice,
the encouraging of Vice with Succeſs,
and the Diſcouraging of Virtue.</hi>
            </p>
            <p>The whole weight of this Objection
turns upon this hinge, that the <hi>Protago<g ref="char:EOLhyphen"/>niſts,</hi>
or chief Perſons in <hi>Comedy</hi> are
generally vicious and ſucceſsful, which he
pretends to be againſt the Law of Co<g ref="char:EOLhyphen"/>medy,
which is to reward Virtue and
puniſh Vice. This objection, as he ob<g ref="char:EOLhyphen"/>ſerves,
was ſtarted by Mr <hi>Dryden</hi> againſt
himſelf in his <hi>preface</hi> to his <hi>Mock-Aſtro<g ref="char:EOLhyphen"/>loger.</hi>
But he objects againſt the anſwer,
which Mr <hi>Dryden</hi> there makes to it.
<hi>That he knows no ſuch Law conſtantly
obſerved in Comedy, either by the Antients
or Moderns.</hi>
            </p>
            <p>
               <pb n="241" facs="tcp:54591:140"/>
This Mr <hi>Collier</hi> calls a <hi>lame Defence,</hi>
               <note place="margin">This Rule repugnant to the Na<g ref="char:EOLhyphen"/>ture of <hi>Comedy.</hi>
               </note>
and I agree with him, tho we go upon
different grounds. For I think Mr <hi>Dry<g ref="char:EOLhyphen"/>den</hi>
has clogg'd his anſwer with an
unneceſſary reſtriction, and by the over
Modeſty of it weakned the ſufficiency
of it. I grant, that the neglect, or
contempt of a Law, does by no means
deſtroy the Authority of it. But I ſhall
carry it ſomething farther, and ſay that
no ſuch Law ever was at all obſerv'd,
or ſo much as preſcrib'd to <hi>Comedy.</hi> Nor
do I herein truſt to the Strength of my
own Memory, or preſume upon the ex<g ref="char:EOLhyphen"/>traordinary
reach and extent of my En<g ref="char:EOLhyphen"/>quiries.
But I draw this Concluſion
from the nature of <hi>Comedy</hi> itſelf, which
will admit of no ſuch Rule in the lati<g ref="char:EOLhyphen"/>tude
Mr <hi>Dryden</hi> propoſes, and Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
maintains it.</p>
            <p>
               <hi>Comedy,</hi>
               <note place="margin">Reaſon why.</note> which deals altogether in ri<g ref="char:EOLhyphen"/>dicule,
can take no cognizance of, and
give no correction to thoſe Vices and
Immoralities which it cannot expoſe on
that ſide. For this reaſon, the Sallies
of Youth, and the Licentiouſneſs of men
of Senſe and Fortune, unieſs they be
ſuch as bring their underſtandings into
queſtion, and make 'em ridiculous, how
<pb n="242" facs="tcp:54591:141"/>
ever unjuſtifiable, immortal, and offen<g ref="char:EOLhyphen"/>ſive
they may be to ſober people, eſcape
the cenſure of <hi>Comedy,</hi> becauſe they
can't be tried in her way.</p>
            <p>This Conſideration it was,<note place="margin">Indulgence of <hi>Plau<g ref="char:EOLhyphen"/>tus</hi> and <hi>Terence</hi> to vicious young Peo<g ref="char:EOLhyphen"/>ple miſ<g ref="char:EOLhyphen"/>placed by Mr <hi>Col<g ref="char:EOLhyphen"/>lier.</hi> P. 149.</note> that in<g ref="char:EOLhyphen"/>duc'd
<hi>Terence</hi> and <hi>Plautus</hi> to indulge
their Young Men ſo far as they did,
and afford ſo many inſtance of Favour
to vicious young people, as Mr <hi>Collier</hi>
allows they did. He is miſtaken, when
he fancies, <hi>that</hi> becauſe <hi>thoſe Poets</hi> had
<hi>a greater compaſs of Liberty in their Reli<g ref="char:EOLhyphen"/>gion,</hi>
and that <hi>Debauchery did not lie
under thoſe diſcouragements of Penalty
and Scandal with them, as it does with
us;</hi> therefore their Poets indulg'd them<g ref="char:EOLhyphen"/>ſelves
in thoſe Liberties, which other<g ref="char:EOLhyphen"/>wiſe
they durſt not have taken. <hi>Plau<g ref="char:EOLhyphen"/>tus</hi>
and <hi>Terence,</hi> eſpecially the latter,
were nice Obſervers of Mankind, and
greater Maſters of their own Art, than
to take an Improper Liberty, only be<g ref="char:EOLhyphen"/>cauſe
'twas not dangerous. But their
Religion, falſe as it was, and the Laws
of their Country, which were very ſe<g ref="char:EOLhyphen"/>vere
at <hi>Rome</hi> in this caſe, requir'd ſtrict
Morality, and Regularity of Life. If
therefore they had ſuſpected, that theſe
Indulgences had tended any ways to the
<pb n="243" facs="tcp:54591:141"/>
Debauching of their Youth, and the
Corrupting of their Manners, they durſt
not have ventur'd 'em into publick view.
Nor wou'd their Magiſtrates, to whoſe
Cenſure they were particularly ſubmit<g ref="char:EOLhyphen"/>ted,
have ſuffer'd examples of ſuch ill
conſequence to have been produc'd
openly. Beſides, <hi>Cato,</hi> whoſe Virtue
was as ſowre and auſtere, and perhaps
as great as Mr <hi>Collier</hi>'s, was a great en<g ref="char:EOLhyphen"/>courager
of 'em, which 'tis non proba<g ref="char:EOLhyphen"/>he
wou'd have been, had he ſmelt any
ſuch dangerous Plot in 'em. So that
the Authority of theſe <hi>Precedents</hi> may
ſtand, and be of ſervice, notwithſtand<g ref="char:EOLhyphen"/>ing
the wide difference betwixt <hi>Heathen<g ref="char:EOLhyphen"/>iſm,</hi>
and <hi>Chriſtianity,</hi> and Mr <hi>Collier</hi>'s
Opinion to the contrary.</p>
            <p>But <hi>Plautus</hi> and <hi>Terence</hi> have taken
no ſuch unjuſtifiable liberties,<note place="margin">
                  <hi>Plautus</hi> and <hi>Te<g ref="char:EOLhyphen"/>rence</hi> faithful Copyers from Na<g ref="char:EOLhyphen"/>ture.</note> as he ima<g ref="char:EOLhyphen"/>gines.
They have copyed faithfully
from Nature, and their Draughts come
incomparably near the Life. No out<g ref="char:EOLhyphen"/>rage
is done to the Original, by en<g ref="char:EOLhyphen"/>larging
or contracting the Features, in
order to entertain the Audience with
Monſters of Dwarfs, but Humane Life
is depicted in its true and juſt Proporti<g ref="char:EOLhyphen"/>on.
If therefore the Images, which
<pb n="244" facs="tcp:54591:142"/>
their Plays reflect, diſpleaſe any froward
<hi>Cynic,</hi> the Fault is in the Face, not the
Glaſs which gives a true repreſentation;
and he quarrels with Providence, whoſe
Creature Mankind is, if he diſlikes the
fight. Any liberties therefore, which
theſe Poets have taken, wherein Nature
is not wrong'd, deſcend undoubtedly
to all thoſe that ſucceed 'em upon the
<hi>Comick</hi> Stage, who have a right to all
the Priviledges of their Predeceſſors up<g ref="char:EOLhyphen"/>on
the ſame terms.</p>
            <p>But <hi>Plautus</hi> and <hi>Terence</hi> made their
young fellows, as Nature frequently
does, wild and extravagant; at which
Mr <hi>Collier</hi> is ſcandaliz'd, and appeals
from their Judgment to</p>
            <p>
               <hi>Horace,</hi>
               <note place="margin">Opinion of <hi>Horace</hi> enquir'd in<g ref="char:EOLhyphen"/>to. <hi>P.</hi> 149.</note> who (<hi>he ſays</hi>) was as good a
Judge of the Stage, as either of thoſe <hi>Co<g ref="char:EOLhyphen"/>medians,</hi>
yet ſeems to be of another opini<g ref="char:EOLhyphen"/>on.
<hi>Let us ſee how far the Precept of</hi>
Horace <hi>for the drawing of youth in ge<g ref="char:EOLhyphen"/>neral
differs from the Practice of thoſe</hi>
Comedians. Horace <hi>tells us,</hi> that the
young Squire, as ſoon as he has ſhaken off
the yoak of a Tutor, is for Dogs and
Horſes, (<hi>and Whores too, as appears by
the ſequel of his Character</hi>) that he is
<q>
                  <pb n="245" facs="tcp:54591:142"/>
                  <l>Cereus in vitium flecti,<note place="margin">Art. Poet.</note> monitoribus aſper</l>
                  <l>
                     <g ref="char:V">Ʋ</g>tilium tardus Proviſor, prodigus aeris,</l>
                  <l>Sublimis, cupiduſque, &amp; amata relinquere pernix.</l>
                  <l>Prone to Vice, Impatient of Reproof,</l>
                  <l>Careleſs of things neceſſary, Prodigal,</l>
                  <l>Proud, Eager, and Inconſtant in his De<g ref="char:EOLhyphen"/>ſires.</l>
               </q>
            </p>
            <p>This is not a bare character,<note place="margin">This not a bare Cha<g ref="char:EOLhyphen"/>racter but a Rule.</note> a ſimple
deſcription of the humours of young
people; but 'tis a Precept, a Rule for
Artiſts to draw 'em by. And therefore
ought to include nothing contingent, or
unneceſſary; but every thing contain'd
in it ought to be the inſeparable Ad<g ref="char:EOLhyphen"/>junct
of the Species, ſuch as a true Idea
of the Generality cannot be given with<g ref="char:EOLhyphen"/>out,
tho perhaps ſome Individuals may
be met with, that want it. Upon this
rule let Mr <hi>Collier</hi> arraign theſe Authors
if he can. For tho they wrote before
<hi>Horace,</hi> and conſequently can't plead his
Precept in their defence, yet the obſer<g ref="char:EOLhyphen"/>vation
of Nature was common to them
with him, and the reaſon of the rule as
well known to 'em. I ſuppoſe there<g ref="char:EOLhyphen"/>fore,
if <hi>Horace</hi> be made their Judge in
this caſe, they muſt be acquitted, other<g ref="char:EOLhyphen"/>wiſe
he will condemn himſelf.</p>
            <p>
               <pb n="246" facs="tcp:54591:143"/>
               <hi>But Mr</hi> Collier <hi>tells you,</hi>
               <note place="margin">P. 149.</note> that <hi>Horace</hi>
condemns the obſcenities of <hi>Plautus,</hi> and
tells you that Men of Fortune and Quality,
in his time, wou'd not endure immodeſt
Satire.</p>
            <p>
               <hi>This I believe is a diſcovery of Mr</hi>
Collier'<hi>s own,</hi>
               <note place="margin">Senſe of <hi>Horace</hi> in this place miſtaken or perverted by Mr <hi>Col<g ref="char:EOLhyphen"/>lier.</hi>
               </note> 
               <hi>for I don't find any ſuch
accuſation in</hi> Horace; <hi>he tells us,</hi> that
he did by no means admire the Verſifica<g ref="char:EOLhyphen"/>tion
and Raillery of <hi>Plautus,</hi> as their An<g ref="char:EOLhyphen"/>ceſtors
had injudiciouſly done, that his
Numbers were not true, nor his Wit
Gentile.</p>
            <q>
               <l>An noſtri Proavi Plautinos, &amp; numeros, &amp;</l>
               <l>Laudavere Sales; nimium patienter u<g ref="char:EOLhyphen"/>trumque,</l>
               <l>(Ne dicam Stultè) mirati: ſi modo ego,
&amp; vos</l>
               <l>Scimus inurbanum, lepido ſeponere dicto,</l>
               <l>Legitimum<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ſonum digitis callemus, &amp;
arte.</l>
            </q>
            <p>Here he excepts againſt the Numbers,
and Raillery of <hi>Plautus,</hi> and arraigns
the Taſte, and Judgment of their Anceſt<g ref="char:EOLhyphen"/>ors,
that approved 'em. But I don't find
that he lays Immodeſty, or Obſcenity
to his charge.</p>
            <p>
               <pb n="247" facs="tcp:54591:143"/>
But this ſeems to be a ſtrain in emu<g ref="char:EOLhyphen"/>lation
of his famous Predeceſſor Mr
<hi>Prynne,</hi>
               <note place="margin">Parity of reaſoning betwixt Mr <hi>Prynn</hi> and Mr <hi>Collier.</hi>
               </note> whoſe Arguments and way of
Reaſoning Mr <hi>Collier</hi> inherits as well as
quarrel, with a double portion of his
Spirit. Mr <hi>Prynne</hi> was offended at the
appearance of Actreſſes upon the Stage,
and in the Fervour of his Zeal finds it
forbidden in Scripture; <hi>Becauſe,</hi> ſays he,
<hi>St Paul expreſsly prohibits Women from
ſpeaking publickly in the Church.</hi> Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
in a fit of Criticiſm ſomething like
this, takes occaſion from this Paſſage of
<hi>Horace,</hi> to ſhew how apt a Scholar he is;
and not to be behind hand with Mr
<hi>Prynne,</hi> for a Reaſon, has recourſe
to his uſual method of conſtruction,
(in which we have already ſeen he has
a ſingular dexterity) and converts <hi>Ho<g ref="char:EOLhyphen"/>race</hi>'s
charge of inharmonious Verſe
and Clowniſh Jeſts, to <hi>Obſcenity</hi> and
<hi>Immodeſt Satyr.</hi>
            </p>
            <p>To cover this piece of Legerdemain,<note place="margin">Another outrage to <hi>Horace.</hi>
               </note>
he confounds this Paſſage with another
as little to his purpoſe. <hi>Horace</hi> from
talking of <hi>Tragedy</hi> proceeds to lay down
ſome Maxims for the better regulation
of the <hi>Satyrae,</hi> then in uſe upon the <hi>Ro<g ref="char:EOLhyphen"/>man</hi>
Stage. Theſe <hi>Satyrae</hi> were a ſort
<pb n="248" facs="tcp:54591:144"/>
of Interludes introduced betwixt the
Acts in Tragedy to refreſh, and divert
the Audience. The Perſons repre<g ref="char:EOLhyphen"/>ſented
were the <hi>Satyri</hi> or <hi>Fauni,</hi> or
train of <hi>Bacchus</hi> or <hi>Pan;</hi> Perſons ſup<g ref="char:EOLhyphen"/>poſed
to be of very looſe and virulent
Tongues, and Ruſtick Behaviour. And
accordingly the matter of theſe Poems
was generally ſcandal, and Clowniſh
raillery, in which to gain the applauſe
of the Mob, they often took ſuch
ſawcy Liberties in point of Scandal
and Undecency, that they People of bet<g ref="char:EOLhyphen"/>ter
Quality were offended at 'em. And
<hi>Horace</hi> aſſures us, that the Quality and
Mob cou'd never agree in their Ver<g ref="char:EOLhyphen"/>dict
about 'em.</p>
            <q>
               <l>Sylvis deducti caveant (me Judice) Fauni,<note place="margin">Art. P<gap reason="illegible" resp="#TECH" extent="2 letters">
                        <desc>••</desc>
                     </gap>t.</note>
               </l>
               <l>Ne, velut innati triviis, ac pene forenſes,</l>
               <l>Aut nimium teneris juvenenter verſibus un<g ref="char:EOLhyphen"/>quam,</l>
               <l>Aut immunda crepent, ignominioſaque dicta</l>
               <l>Offenduntur enim, quibus eſt Equus, &amp;
Pater, &amp; res:</l>
               <l>Nec, ſiquid fricti ciceris probat, &amp; nucis emptor,</l>
               <l>AEquis accipiunt animis, donantve corona.</l>
            </q>
            <p>
               <pb n="249" facs="tcp:54591:144"/>
But what's all this to <hi>Plautus</hi> and
<hi>Comedy,</hi> who never had any Dealings
with theſe <hi>Satyrae.</hi>
            </p>
            <p>After this notable exploit, he laun<g ref="char:EOLhyphen"/>ches
out into the wide Sea of Poetry,
and flouriſhes with the Character that
<hi>Horace</hi> gives of the firſt Poets, <hi>Orpheus,
Amphion, &amp;c,</hi> whom he celebrates as
the civilizers of Mankind; but as that
affords little matter either of Honour or
Reproach to theſe, that came ſo long
after them, when the Muſes, tho they
might have kept their Virtue, yet had
loſt very much of their Power, and in<g ref="char:EOLhyphen"/>ſtead
of commanding the Paſſions of
their Auditors, were forced on many
occaſions to comply with and ſubmit
to their Whimſies, and humour their
capri<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ious Appetites: It will be imper<g ref="char:EOLhyphen"/>tinent
(whatever licence Mr <hi>Collier</hi> may
aſſume) to inſiſt any longer upon a caſe
no way Paralell. For this Character,
which <hi>Horace</hi> beſtows upon thoſe Poets,
was intended as a complement of Poetry
in general, but not to reflect any honour
upon the <hi>Drama</hi> in particular, (much
leſs <hi>Comedy,</hi> the more recent branch of
it) which was not invented till long
after the time of <hi>Orpheus</hi> and <hi>Amphion.</hi>
            </p>
            <p>
               <pb n="250" facs="tcp:54591:145"/>
               <hi>His next uſe that he makes of the
Authority of</hi> Horace,<note place="margin">Uſe of a <hi>Chorus</hi> according to <hi>Horace.</hi>
               </note> 
               <hi>he draws from
his Inſtructions about the Office of the</hi>
Chorus. The Chorus (Horace <hi>tells us
after</hi> Ariſtotle) ought to bear the part of
an Actor, and take care to ſay nothing in<g ref="char:EOLhyphen"/>coherent,
or incongruous to the main de<g ref="char:EOLhyphen"/>ſign,
but to make his Song of a piece with
the whole. From hence (<hi>Mr</hi> Collier <hi>infers
that</hi>) 'tis plain, that <hi>Horace</hi> wou'd have
no immoral Character have either Counte<g ref="char:EOLhyphen"/>nance
or good Fortune upon the Stage.</p>
            <p>But here he foreſees an Objection,<note place="margin">Objection.</note>
that the <hi>Chorus</hi> was left off in <hi>Comedy</hi>
before <hi>Horace</hi>'s time, and that theſe di<g ref="char:EOLhyphen"/>rections
muſt needs therefore be intend<g ref="char:EOLhyphen"/>ed
for <hi>Tragedy.</hi> To which</p>
            <p>
               <hi>He</hi> anſwers,<note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s an<g ref="char:EOLhyphen"/>ſwer.</note> that the Conſequence is not
good. For the uſe of the <hi>Chorus</hi> is not
inconſiſtent with <hi>Comedy.</hi> The Antient
<hi>Comedians</hi> had it. <hi>Ariſtophanes</hi> is an
Inſtance. I know 'tis ſaid the <hi>Chorus</hi> was
left out, in that which they call <hi>New Co<g ref="char:EOLhyphen"/>medy.</hi>
            </p>
            <p>Had Mr <hi>Collier</hi> conſider'd who 'twas
that ſaid this,<note place="margin">Reply to Mr <hi>Collier</hi>'s anſwer.</note> he ought to have acqui<g ref="char:EOLhyphen"/>eſc'd
in his Authority; but ſince he is
ſo unwilling to confeſs, he muſt be
convicted, and therefore we ſhall en<g ref="char:EOLhyphen"/>deavour
<pb n="251" facs="tcp:54591:145"/>
to prove the validity of the
conſequence upon him. I ſhall trouble
the Reader with the Depoſitions of but
one Evidence, but he ſhall be, like Con<g ref="char:EOLhyphen"/>ſcience
in this caſe, <hi>Mille Teſtes. Ho<g ref="char:EOLhyphen"/>race</hi>
tells us, <hi>that the</hi> Old Comedy <hi>grew
ſo intolerably abuſive and ſcandalous, that
a Law was made to curb it, and that from
that time the</hi> Chorus <hi>was ſilenc'd.</hi>
            </p>
            <q>
               <l>Succeſſit vetus his Comaedia,<note place="margin">Art. Poet.</note> nonſine multâ</l>
               <l>Laude, ſed in vitium libertas excidit, &amp; vim</l>
               <l>Dignam lege regi. Lex eſt accepta, Cho<g ref="char:EOLhyphen"/>ruſque</l>
               <l>Turpiter obticuit, ſublato jure nocendi.</l>
            </q>
            <p>This teſtimony of <hi>Horace</hi> is full a<g ref="char:EOLhyphen"/>gainſt
Mr <hi>Collier,</hi>
               <note place="margin">Chorus <hi>in</hi> Old Co<g ref="char:EOLhyphen"/>medy.</note> and a plain argument
that he never intended his directions for
a <hi>Chorus</hi> for the uſe of <hi>Comedy.</hi> The
<hi>Chorus</hi> in the <hi>Old Comedy</hi> had the great<g ref="char:EOLhyphen"/>eſt
freedom of Speech, and took the
boldeſt liberties of any part of the Play,
and conſequently gave the greateſt of<g ref="char:EOLhyphen"/>fence,
and ſtood moſt in need of Cor<g ref="char:EOLhyphen"/>rection.
And <hi>Horace</hi> ſeems to inſinuate,
that the <hi>Chorus</hi> was not only ſcanda<g ref="char:EOLhyphen"/>louſly
offenſive, but that it was ex<g ref="char:EOLhyphen"/>preſsly
<pb n="252" facs="tcp:54591:146"/>
filenc'd by Law, when he
ſays,
<q>
                  <l>—Lex eſt accepta, Choruſque</l>
                  <l>Turpiter obticuit, ſublato jure nocendi.</l>
               </q>
            </p>
            <p>As if the whole Buſineſs of the <hi>Cho<g ref="char:EOLhyphen"/>rus</hi>
in <hi>Comedy</hi> had been Scandal, and
the Law levell'd againſt the <hi>Chorus</hi> on<g ref="char:EOLhyphen"/>ly.
The event juſtifies this Expoſition;
For after the Publication of the Laws
againſt the Liberty of Scandal, which
was grown ſo rampant in the <hi>Old Co<g ref="char:EOLhyphen"/>medy,</hi>
the <hi>Chorus</hi> vaniſh'd and appear'd
no more upon the <hi>Athenian</hi> Stage in
<hi>Comedy,</hi> that we know of.</p>
            <p>This Mr <hi>Collier</hi> denies,<note place="margin">Plutus <hi>of</hi> Ariſto<g ref="char:EOLhyphen"/>phanes. <hi>p.</hi> 150.</note> and fortifies
himſelf and his Aſſertion with matter
of Fact. <hi>For</hi> Ariſtophanes <hi>his</hi> Plutus
<hi>is</hi> New Comedy <hi>with a</hi> Chorus <hi>in't.</hi>
            </p>
            <p>In this Aſſertion there are two mi<g ref="char:EOLhyphen"/>ſtakes,<note place="margin">Double mi<g ref="char:EOLhyphen"/>ſtake of Mr <hi>Collier.</hi>
               </note>
which being Critical ones, I
don't much wonder at, becauſe they
contribute towards making the Book
Uniform, and preſerve the Integrity
of the Piece. Yet he building with ſo
much aſſurance upon 'em, 'twill be but
Charity to let him ſee, that his Founda<g ref="char:EOLhyphen"/>tion
is too weak to ſupport the weight
of the ſuperſtructure he has laid upon
it.</p>
            <p>
               <pb n="253" facs="tcp:54591:146"/>
The firſt of theſe is, that the <hi>Plutus</hi>
of <hi>Ariſtphanes</hi> is not <hi>New Comedy.</hi>
            </p>
            <p>2dly. That in the <hi>Plutus,</hi> there is
no <hi>Chorus.</hi>
            </p>
            <p>The Learned (whom I ſuppoſe Mr
<hi>Collier</hi> means by <hi>they</hi>) divided the <hi>Greek
Comedy</hi> into the three <hi>Claſſes,</hi> the <hi>Old,</hi> the
<hi>Middle,</hi> and the <hi>New;</hi> not to mention
that the <hi>Old Comedy</hi> it ſelf is ſubdivided
into two Ages; the latter of which
commences with <hi>Cratinus,</hi> who firſt
diſtinguiſht the Parts, diſpoſed the Acts,
and fixt the number of Actors; and
comprehends <hi>Eupolis, Ariſtophaenes,</hi> and
the reſt of the Comick Poets till the
concluſion of the Popular Authority,
and the beginning of the Oligarehy,
from which time to the time of <hi>Alex<g ref="char:EOLhyphen"/>ander,</hi>
that which is now called the
<hi>Middle Comedy</hi> flouriſhed, till <hi>Menan<g ref="char:EOLhyphen"/>der,</hi>
and the Poets of his time, <hi>Phile<g ref="char:EOLhyphen"/>mon,
Diphilus, Apollodorus,</hi> and others,
quite altered the Face of the <hi>Comick
Stage,</hi> and introduc'd that which is
now call'd the <hi>New Comedy.</hi>
            </p>
            <p>By this Divifion, which is both juſt,<note place="margin">By this the <hi>Plutus Old</hi> Come<g ref="char:EOLhyphen"/>dy.</note>
and accurate, the <hi>Plutus</hi> falls to the
ſhare of the <hi>Old Comedy;</hi> to which,
notwithſtanding the deviations therein
<pb n="254" facs="tcp:54591:147"/>
from the former Practice of <hi>Ariſtophanes,</hi>
it does moſt properly belong. But if
Mr <hi>Collier</hi> will have the <hi>Plutus</hi> of <hi>Ari<g ref="char:EOLhyphen"/>ſtophanes</hi>
to be the firſt ſtep towards the
Reformation of <hi>Comedy</hi> at <hi>Athens,</hi> I
ſhall not much diſpute the matter with
him. Becauſe he has in that abridged
himſelf of much of that Liberty, which
he has uſed in his former Plays. But
granting even this, <hi>Ariſtophanes</hi> can at
moſt but lead up the Van of the
<hi>Middle Comedy;</hi> and is very far diſtanc'd
by the <hi>New.</hi>
            </p>
            <p>For tho <hi>Ariſtophanes</hi> has in ſome
meaſure altered his Conduct in his <hi>Plu<g ref="char:EOLhyphen"/>tus,</hi>
               <note place="margin">
                  <hi>Fable</hi> of <hi>Old</hi> Come<g ref="char:EOLhyphen"/>dy of what kind.</note>
yet he retains abſolutely the Form
and ſtamp of the <hi>Old Comedy,</hi> and re<g ref="char:EOLhyphen"/>trenches
only ſome offenſive Liberties.
The Fable of the old <hi>Comedy</hi> was alto<g ref="char:EOLhyphen"/>gether
Chimerical, and the Characters
Romantick and Whimſical, neither of
'em drawn from the Obſervation of
Nature, or the buſineſs of Humane
Life, but pumpt out of the extrava<g ref="char:EOLhyphen"/>gance
of the <hi>Poets</hi> Brain. The Spirit
of theſe Entertainments conſiſted in the
Piquancy of the Raillery and Jeſts,
and the boldneſs of the Scandal, in
which they took exceſſive Liber<g ref="char:EOLhyphen"/>ties
<pb n="255" facs="tcp:54591:147"/>
with particular Perſons, eſpecially
the <hi>Chorus,</hi> and to which the ſucceſs
of 'em was wholy owing.<note place="margin">Characters of <hi>Crati<g ref="char:EOLhyphen"/>nus, Eu<g ref="char:EOLhyphen"/>polis,</hi> and <hi>Ariſto<g ref="char:EOLhyphen"/>phanes</hi> how diffe<g ref="char:EOLhyphen"/>renc'd.</note> 
               <hi>Cratinus</hi> is
ſaid to have been very bold, and to
have taxed people freely by their names,
without miucing the matter, (I had
almoſt ſaid without Fear or Wit) and
charged them with all ſorts of Crimes,
without reſpect to Perſons. <hi>Eupolis</hi>
was ſomewhat more diſcreet, couching
real Crimes and Perſons under ſham
Names, and laſhing his Fellow Citizens
on the backs of feigned Offenders.
<hi>Ariſtophanes</hi> was frequently no leſs plain
than <hi>Cratinus</hi> in reſpect to Names, but
his Wit was of another ſort, leſs Sullen
and Chagrine. He turned all into Jeſt,
and bantered thoſe things, which the
others reprehended after a manner more
ſerious and ſevere.</p>
            <p>
               <hi>Menander</hi> and the <hi>New Comedians</hi>
formed their Models after a very diffe<g ref="char:EOLhyphen"/>rent
manner.<note place="margin">
                  <hi>New</hi> Co<g ref="char:EOLhyphen"/>medy how differing from the <hi>Old.</hi>
               </note> For having particularly
Scandal, which had given ſo much
Offence in the <hi>Old Comedy,</hi> they began
to furniſh themſelves from Obſervation
and Experience, rather than Invention,
and to employ their Judgments more
than their Fancies. They raiſed the
<pb n="256" facs="tcp:54591:148"/>
ſtructure of their Plays upon the Foun<g ref="char:EOLhyphen"/>dations
of Nature, and made the Intri<g ref="char:EOLhyphen"/>gues
of the World, and the common
Affairs of Life the Subjects of 'em, and
the different orders of Mankind. A
hard Father, a difficult Maſter, a wild
Son, a crafty Servant, an impudent
Pandar, a Mercenary Courtezan, and
a Captive Virgin, were the moſt uſual
Characters; which being oppoſite to,
and concerned with one another, ſet
the Plot naturally to work, and give
occaſion to ſet all the Wheels of the
Machine a going.</p>
            <p>This may ſuffice to give us an Idea
of the difference between the <hi>Old Co<g ref="char:EOLhyphen"/>medy</hi>
and the <hi>New,</hi>
               <note place="margin">Plutus <hi>not</hi> New <hi>Comedy.</hi>
               </note> and to convince us
that the <hi>Plutus</hi> of <hi>Ariſtophanes,</hi> which
deals altogether in unaccountable De<g ref="char:EOLhyphen"/>ſigns
and ſurprizing Events, and works
by Unnatural Machines to a Chimerical,
Romantick end, is not <hi>New Comedy;</hi>
tho the Poet contrary to his Cuſtom
makes uſe of Feigned Names, and lays
aſide the <hi>Chorus.</hi> For tho theſe Inno<g ref="char:EOLhyphen"/>vations
be here made in <hi>Comedy,</hi> yet
both the matter and the Form (where<g ref="char:EOLhyphen"/>in
conſiſted the main difference between
the <hi>Old Comedy</hi> and the <hi>New</hi>) remain<g ref="char:EOLhyphen"/>ing
<pb n="257" facs="tcp:54591:148"/>
ſtill the ſame with the reſt of his
Plays, it can by no means be admitted
into the <hi>New,</hi> both matter and form
of which were different, if not directly
oppoſite to the former.<note place="margin">Satire of the <hi>Old</hi> Comedy par<g ref="char:EOLhyphen"/>ticular. Of the <hi>New</hi> general.</note> For in the <hi>Old
Comedy</hi> they proceeded from Generals
that were Chimerical and falſe, to argue
particulars that were real and true. In the
<hi>New</hi> from Particulars that were imagi<g ref="char:EOLhyphen"/>nary
and falſe, they reprehended Generals
that were real. The <hi>Old Comick Poets</hi>
generally deviſed ſome extravagant and
unnatural, or at leaſt improbable tale,
into which they took occaſion to thruſt
particular Facts and Perſons that were
real, and well known. The <hi>New</hi> made
uſe of ſuch Intrigues and Perſons as
were frequent and familiar amongſt
Mankind, and thereby corrected the
common Faults, ſuch as Avarice, Fraud,
<hi>&amp;c.</hi> but copyed neither the Actions,
nor Manners of Individuals; and ſo
reflected not particularly upon any
One. The firſt reſembled a Limner,
that cou'd copy the Features of a Face,
but cou'd only draw Individuals like, ye
cou'd not deſign; the latter a true Hi<g ref="char:EOLhyphen"/>ſtorical
Painter, that aim'd rather at ex<g ref="char:EOLhyphen"/>preſſing
the Manners, and Paſſions
<pb n="258" facs="tcp:54591:149"/>
of Mankind than the countenances.
In whoſe pieces you ſhou'd not amongſt
a Thouſand meet one Face, that you
diſtinctly knew, yet none but what
were natural and ſignificant, and ſuch
as you muſt acknowledge you ſaw
every day. The difference therefore
betwixt the <hi>Old Comedy</hi> and the <hi>New</hi>
is as great and evident, as betwixt the
Paintings of <hi>Raphael <g ref="char:V">Ʋ</g>rbin,</hi> or <hi>Michael
Angelo,</hi> and thoſe of Sir <hi>Anthony Van<g ref="char:EOLhyphen"/>dike,</hi>
or Sir <hi>Peter Lely.</hi> I ſhall not
therefore inſiſt upon thoſe leſſer diffe<g ref="char:EOLhyphen"/>rences
of <hi>Phraſe</hi> and <hi>Metre,</hi> thoſe al<g ref="char:EOLhyphen"/>ready
given, being ſufficient to inform
a very indifferent Judge.</p>
            <p>However,<note place="margin">Arisſto<g ref="char:EOLhyphen"/>phanes the Bgin<g ref="char:EOLhyphen"/>ner of the <hi>Middle</hi> Comedy.</note> as <hi>Ariſtophanes</hi> has in this
Play varied his Conduct in ſome things
from the Practice of the reſt of the
<hi>Old Comedians,</hi> and of himſelf in his
former Pieces, he ſeems to challenge
the firſt place in the <hi>Middle Comedy,</hi>
which the Learned have found it ne<g ref="char:EOLhyphen"/>ceſſary
to diſtinguiſh both from the
<hi>Old</hi> and the <hi>New.</hi> Becauſe ſeveral al<g ref="char:EOLhyphen"/>terations
were made in <hi>Comedy,</hi> of
which perhaps the Omiſſion of the
<hi>Chorus</hi> was none of the leaſt conſidera<g ref="char:EOLhyphen"/>ble,
yet neither the Model or Deſign
<pb n="259" facs="tcp:54591:149"/>
were totally changed till the time
of <hi>Menander,</hi> and his Cotemporaries.</p>
            <p>Mr <hi>Collier</hi>'s ſecond miſtake in relation
to the <hi>Plutus</hi> of <hi>Ariſtophanes</hi> is,<note place="margin">
                  <hi>No</hi> Chorus <hi>in the</hi> Plu<g ref="char:EOLhyphen"/>tus.</note> 
               <hi>that it
has a Chorus in't.</hi> If he means that there
is a part in this Play, which is ſuſtained
by a <hi>Perſon</hi> or <hi>Perſons</hi> under the name
of <hi>Chorus,</hi> Matter of Fact is directly
for him: But if he thinks that there is
any ſuch thing as a true <hi>Chorus</hi> in it, it
is as plain againſt him. This matter will
eaſily be decided, if we conſider the
Nature, and Office of a <hi>Chorus</hi> in the
<hi>Old Comedy.</hi>
            </p>
            <p>The <hi>Chorus</hi> in <hi>Comedy,</hi>
               <note place="margin">Office of the <hi>Chorus</hi> in <hi>Comedy.</hi>
               </note> was a Perſon
conſiſting of divers, either Men or Wo<g ref="char:EOLhyphen"/>men,
or both, and aſſiſted in two Ca<g ref="char:EOLhyphen"/>pacities.
One as an Actor, or Party
concern'd to promote and carry on the
main deſign, and help forward the
Action of the Play, which is common
to the <hi>Chorus</hi> with the other Actors,
and does not diſtinguiſh it from 'em.
The other, as the <hi>Poet</hi>'s Repreſentative,
to make the <hi>Parabaſes,</hi> or Tranſitions
from the Actors, (with whom only as
an Actor the <hi>Chorus</hi> is concern'd) to
the <hi>Gods,</hi> or to the <hi>Audience.</hi> To the
<hi>Gods,</hi> to invoke their Aid, or celebrate
<pb n="260" facs="tcp:54591:150"/>
their Praiſes, as the occaſion ſuggeſted.
To the <hi>Audience,</hi> to inform 'em of
what was ſuppos'd to paſs <hi>extra Scenam</hi>
behind the Scenes, to make the Action
of the Play entire, or to make reflecti<g ref="char:EOLhyphen"/>ons
on what paſs'd upon the Stage for
the Inſtruction of the Audience, and to
tax the evil Practices of ſuch Citizens,
as were obnoxious to the <hi>Poet,</hi> and
the Publick. This was the part by
which it at leaſt gave offence, by the
diſorderly liberties which it took; and
ſometimes to acquaint the Audience
with the Poet's hopes and fears, his
acknowledgments and complaints, which
laſt part of the buſineſs of the <hi>Chorus</hi>
is anſwer'd by the <hi>Prologue</hi> among the
<hi>Romans.</hi>
            </p>
            <p>I ſhall not trouble the Reader with
the <hi>Grammatical</hi> diviſion of the parts of
the <hi>Chorus,</hi>
               <note place="margin">The parts Eſſential to a <hi>Chorus</hi> omitted in the flutus.</note> (<hi>viz.) Ode, Antode, Stro<g ref="char:EOLhyphen"/>phe,</hi>
and <hi>Antiſtrophe,</hi> &amp;c. which ſignify
nothing to the point before us. But I
ſhall deſire the Reader to take notice
that in the <hi>Plutus</hi> of <hi>Ariſtophanes,</hi> this
part which alone conſtitutes the Office,
and Buſineſs of a <hi>Chorus,</hi> and which
only diſtinguiſhes it from a common
Actor is entirely omitted. The <hi>Chorus</hi>
               <pb n="261" facs="tcp:54591:150"/>
in this Play appears but as an ordinary
Actor, and addreſſes itſelf to the other
Actors only, comes on, and goes off
without once ſinging or ſpeaking apart
from the reſt. The <hi>Chorus</hi> therefore,
as it is called, in this Play might more
properly have been perſonated by a ſin<g ref="char:EOLhyphen"/>gle
man, and called by any other name,
ſince it performs nothing of the Of<g ref="char:EOLhyphen"/>fice.</p>
            <p>The Obſervation of this defect of the
Eſſential part of the <hi>Chorus,</hi> made the
Learned<note n="*" place="margin">Etiam in <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>juſdem Pluto Chori de<g ref="char:EOLhyphen"/>ſiderantur, quod &amp; a<g ref="char:EOLhyphen"/>libi mone<g ref="char:EOLhyphen"/>bamus: ita tamen ut non o<g ref="char:EOLhyphen"/>miſſus, ſed exemptus videatur. Poetic. lib. 1. cap. viii.</note> 
               <hi>Julius Scaliger</hi> think, that
this Play had been caſtrated, and that
the <hi>Chorus</hi> (which he confeſſes to be
wanting) was not omitted, but taken
away ſince the writing of it. But whe<g ref="char:EOLhyphen"/>ther
it were, as <hi>Scaliger</hi> ſuſpects, taken
out after it was finiſh'd, or omitted in
the writing, is not very material; 'tis
plain we have it not, and 'tis very pro<g ref="char:EOLhyphen"/>bable
that 'twas the Author's own fear of
offending, that depriv'd us of it; the
want of which caution in his <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>
coſt <hi>Cratinus</hi> his Life. For had the
<hi>Chorus</hi> of the <hi>Plutus</hi> ever been made
publick, I ſee no reaſon why that, as
well as the reſt of his <hi>Chori,</hi> ſhould not
have been tranſmitted to us. I would
<pb n="262" facs="tcp:54591:151"/>
adviſe Mr <hi>Collier</hi> in the next <hi>Greek</hi> Play
he cites, to read farther than the Liſt
of the Perſons of the <hi>Drama.</hi> For 'tis
apparently negligence, that has led him
into this Errour, and made him think,
that becauſe he found a <hi>Chorus</hi> there, it
muſt needs be in the Play, which he
would not have allow'd to be a legiti<g ref="char:EOLhyphen"/>mate
<hi>Chorus,</hi> had he read the Play, and
known the buſineſs of a <hi>Chorus.</hi> 'Tis
yet in his Election which excuſe ſhall
ſtand for him.</p>
            <p>Mr <hi>Collier</hi>'s Inſtances therefore ſignifies
nothing to his Argument, becauſe it
does not prove a <hi>Chorus</hi> conſiſtent with
the <hi>New Comedy.</hi>
            </p>
            <p>1ſt, Becauſe the <hi>Plutus</hi> in which he
inſtances is not <hi>New Comedy.</hi>
            </p>
            <p>2dly, Becauſe (tho it were <hi>New Co<g ref="char:EOLhyphen"/>medy</hi>)
it has no <hi>Chorus.</hi>
            </p>
            <p>So that, I ſuppoſe, we may lay the
Authority of <hi>Ariſtophanes</hi> aſide in this
caſe.</p>
            <p>We ſhall not trouble the Reader with
a particular of the Fables of <hi>Ariſtopha<g ref="char:EOLhyphen"/>nes,</hi>
which are ſo extravagantly Ro<g ref="char:EOLhyphen"/>mantick,
that 'tis impoſſible they ſhould
be edifying. And therefore I ſuppoſe
Mr <hi>Collier</hi> will not play the Morality
<pb n="263" facs="tcp:54591:151"/>
of the <hi>Greek Comedy</hi> upon us from that
Quarter.</p>
            <p>
               <hi>But he proceeds to prove the conti<g ref="char:EOLhyphen"/>nuance
of the</hi> Chorus <hi>in</hi> Comedy <hi>by an
oblique Inference from</hi> Ariſtotle,<note place="margin">Unconc<gap reason="illegible" resp="#TECH" extent="4 letters">
                     <desc>••••</desc>
                  </gap> Inf<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>r<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>nce from <hi>Ari<g ref="char:EOLhyphen"/>ſtotle.</hi>
               </note> who
lived after this Revolution of the <hi>Stage,
(yet)</hi> mentions nothing of the omiſſion of
the <hi>Chorus.</hi>
               <note place="margin">P. 150.</note> 
               <hi>But in Mr</hi> Collier'<hi>s opini<g ref="char:EOLhyphen"/>on,</hi>
rather ſuppoſes the continuance of it,
by ſaying the <hi>Chorus</hi> was added by the
Government long after the Invention of
<hi>Comedy.</hi>
            </p>
            <p>Here the Silence of <hi>Ariſtotle</hi> concern<g ref="char:EOLhyphen"/>ing
the omiſſion of the <hi>Chorus</hi> in <hi>Co<g ref="char:EOLhyphen"/>medy,</hi>
               <note place="margin">Silence of <hi>Ariſtotle</hi> no argument in this Caſe</note>
is made an Argument of the
Continuance of it; and by an odd ſort
of Sophiſtry, he concludes, that becauſe
he has taken notice of the firſt Inſtitu<g ref="char:EOLhyphen"/>tion
of it, he muſt needs do the ſame
for the diſuſe of it, had he been ac<g ref="char:EOLhyphen"/>quainted
with it.</p>
            <p>By the ſame way of arguing he might
have prov'd, that <hi>Ariſtophanes</hi> was the
the laſt of the <hi>Comic Poets</hi> before <hi>Ari<g ref="char:EOLhyphen"/>ſtotle,</hi>
becauſe he has made no mention
of any that ſucceeded him; and yet
we are ſufficiently inform'd, that there
were divers between <hi>Ariſtotle</hi> and <hi>Ari<g ref="char:EOLhyphen"/>ſtophanes.</hi>
            </p>
            <p>
               <pb n="264" facs="tcp:54591:152"/>
But if at this diſtance we muſt needs
be conjecturing at reaſons,<note place="margin">Reaſon of <hi>Ari<g ref="char:EOLhyphen"/>ſtotle</hi>'s ſilence in this point.</note> for that
which paſs'd ſo long ago, a much more
natural account may be given of this
Silence, than that which Mr <hi>Collier</hi>
ſtrains ſo hard for. <hi>Ariſtotle</hi> was a man
of extraordinary Capacity and Judg<g ref="char:EOLhyphen"/>ment,
and did not talk ſo impertinently
as Mr <hi>Collier</hi> ſuppoſes he would have
done, if he had had opportunity. <hi>A<g ref="char:EOLhyphen"/>riſtotle,</hi>
in this Treatiſe of <hi>Tragedy,</hi> gives
a very brief account of the Riſe and
Progreſs of the <hi>Drama,</hi>
               <note place="margin">His account of the Riſe of the <hi>Drama.</hi>
               </note> and as his ſub<g ref="char:EOLhyphen"/>ject
obliged him, tells us, that the two
Branches, <hi>Tragedy</hi> and <hi>Comedy,</hi> aroſe
both from the ſame Spring, <hi>viz.</hi> the
<hi>Hymns</hi> to <hi>Bacchus,</hi> the former from
the <hi>Dithyrambi,</hi> which contain'd his
Praiſes and Exploits,<note place="margin">Cap. 4.</note> the latter from
the <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>,<note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>. Progreſs of <hi>Comedy</hi> 
                  <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap>.</note> a ſort of obſcene Songs
compos'd of the ſame Deity, which in
conformity to the Law were ſtill con<g ref="char:EOLhyphen"/>tinued
his time in the Villages.</p>
            <p>In the next Chapter he proceeds to
the Definition of <hi>Comedy,</hi> in order to
illuſtrate the difference betwixt that and
<hi>Tragedy;</hi> and then informs us, that
the firſt ſteps towards the reducing
<hi>Comedy</hi> to Form and Order, were made
<pb n="265" facs="tcp:54591:152"/>
in the dark, and the marks of 'em too
far obliterated to be trac'd backwards,
through publick neglect, that 'twas
long e're it came to be Acted at
the Expence of the Publick. For that's
the meaning in this place, of the Ma<g ref="char:EOLhyphen"/>giſtrates
giving the <hi>Chorus,</hi> that is pay<g ref="char:EOLhyphen"/>ing
the <hi>Actors.</hi> For he immediately
ſubjoyns, that all before that time <hi>were
Volunteers</hi> in this Service, that is, acted
<hi>gratis.</hi>
            </p>
            <p>In this account of the growth of
<hi>Comedy,</hi>
               <note place="margin">Brevity of <hi>Ariſtotle.</hi>
               </note> 
               <hi>Ariſtotle</hi> according to his uſual
Method, is very conciſe, and does not
make one ſtep out of his way to gratifie
any Curioſity, which he foreſaw that
ſome of his Readers might have. But
Mr <hi>Collier,</hi> who reaſons after a man<g ref="char:EOLhyphen"/>ner
very different from the Philoſopher,
wou'd lead him a Wild Gooſe Chaſe
quite out of his road, to tell when the
<hi>Chorus</hi> in <hi>Comedy</hi> was ſilenc'd, tho 'twas
nothing to his purpoſe, and a long way
from his Text; or force him to confeſs
againſt his Conſcience that he knows
nothing of the matter. But <hi>Ariſtotle,</hi>
who was a better Judge than Mr <hi>Collier</hi>
of what was proper and neceſſary to
his ſubject, reſerves this point to ano<g ref="char:EOLhyphen"/>ther
<pb n="266" facs="tcp:54591:153"/>
occaſion, and in the preceding
Chapter reprimands the unſeaſonable
Curioſity and Impatience of thoſe,<note place="margin">Cap. 4.</note> that
require deciſions out of Time and Or<g ref="char:EOLhyphen"/>der.
Which had Mr <hi>Collier</hi> carefully
read, this Argument probably had been
ſuppreſs'd.</p>
            <p>However,<note place="margin">A parti<g ref="char:EOLhyphen"/>cular Trea<g ref="char:EOLhyphen"/>tiſe of <hi>Co<g ref="char:EOLhyphen"/>medy</hi> writ<g ref="char:EOLhyphen"/>ten by <hi>Ari<g ref="char:EOLhyphen"/>ſtotle,</hi> but loſt.</note> to oblige him with a little
ſcratching where it itches, I muſt de<g ref="char:EOLhyphen"/>ſire
him to take notice, that at that
time <hi>Ariſtotle</hi> had actually written, or
deſign'd at leaſt to write another Book
concerning <hi>Comedy</hi> in particular, and
therefore prudently forbore to uſe thoſe
Materials here, which he knew wou'd
be more ſerviceable in another place.
This Book has been long loſt, and
therefore there lies no Appeal to it on
this occaſion. Yet becauſe he has ſuch
a mind to make <hi>Ariſtophanes</hi> the Father
of the <hi>New</hi> Comedy, we'll ſtretch a
point farther than we are bound by the
Laws of <hi>Polemicks;</hi> and to ſhew that
we are fair Adverſaries, point him out
a Play, that may perhaps ſerve his turn
ſomewhat better than the <hi>Plutus.</hi> The
<hi>Cocalus,</hi> one of the laſt Plays of <hi>Ariſto<g ref="char:EOLhyphen"/>phanes,</hi>
which is loſt, is ſaid by ſome
learned men to have been the Model,
<pb n="267" facs="tcp:54591:153"/>
which <hi>Menander</hi> copyed exactly, and
took his deſign of the <hi>New</hi> Comedy
from. If this be true, <hi>Ariſtophanes</hi> may
in ſome ſenſe claim the <hi>New</hi> Comedy
as his Iſſue. But then Mr <hi>Collier</hi> muſt
not ſay a word more of the <hi>Chorus.</hi> For
'tis certain that <hi>Menander</hi> uſed none,
and very probable, that the <hi>Cocalus</hi>
had none neither, if that were his Mo<g ref="char:EOLhyphen"/>del.</p>
            <p>By this it may appear,<note place="margin">Chorus <hi>not uſed in the</hi> New Comedy.</note> that whether
a <hi>Chorus</hi> be conſiſtent with <hi>New Comedy</hi>
or not, it was not uſed in it by the
<hi>Antients.</hi> Nor was it indeed fit to be
uſed according to the liberties of <hi>Ari<g ref="char:EOLhyphen"/>ſtophanes.</hi>
And we may conclude from
the practice of all Ages and Nations e<g ref="char:EOLhyphen"/>ver
ſince, that they thought thoſe Free<g ref="char:EOLhyphen"/>doms
eſſential to the <hi>Chorus</hi> of <hi>Comedy,</hi>
when they choſe rather to lay it wholly
aſide than to reform it. If <hi>Moliere</hi> has,
after two thouſand years diſcontinu<g ref="char:EOLhyphen"/>ance,
ventur'd to bring a Chorus again
upon the <hi>Comick</hi> Stage, I don't find that
his performances of that kind have any
extraordinary effect, or that they ſtir
up many Imitators to follow his Exam<g ref="char:EOLhyphen"/>ple.
<hi>Moliere</hi> was arrived at the ſecond
Infancy of his <hi>Poetry,</hi> and might want
<pb n="268" facs="tcp:54591:154"/>
theſe helps to keep his Plays upon their
Legs, which by the firſt <hi>Comick Poets</hi>
were made uſe of to teach theirs to go
upright. His more vigorous producti<g ref="char:EOLhyphen"/>ons
ſcorn'd thoſe Crutches, which the
Iſſue of his old Age, that brings the
Infirmities of its Parent along with it
into the world, is forc'd to have re<g ref="char:EOLhyphen"/>courſe
to for its ſupport.</p>
            <p>But to what end wou'd Mr <hi>Collier</hi>
introduce the <hi>Chorus</hi> into the <hi>Engliſh
Comedy?</hi>
               <note place="margin">
                  <hi>Chorus</hi> altogether improper for the <hi>Co<g ref="char:EOLhyphen"/>mick</hi> Stage in <hi>En<g ref="char:EOLhyphen"/>gland.</hi>
               </note> We have no <hi>Hymns,</hi> no <hi>An<g ref="char:EOLhyphen"/>thems</hi>
to be ſung upon the <hi>Stage;</hi> nor
no <hi>Muſic,</hi> or <hi>Dancing,</hi> but what it as
well or better perform'd by the ordina<g ref="char:EOLhyphen"/>ry
Method now in uſe, than it could
be by a <hi>Chorus.</hi> The main buſineſs of a
<hi>Chorus</hi> is cut off by our Religion, and the
reſt render'd uſeleſs and unneceſſary, by
the method and diſpoſition of our Co<g ref="char:EOLhyphen"/>medies.
Something like it we have ſtill
in uſe, tho not in our <hi>Theatres,</hi> yet at
our <hi>Puppet Shews;</hi>
               <note place="margin">Uſed at <hi>Puppet</hi> Shews.</note> where <hi>Chorus</hi> ſtands
before the <hi>Scenes,</hi> and explains to the
Spectators what they ſee, and informs
'em what ſhall happen afterwards,
makes his Wiſe reflections on what is
paſt, and ſometimes enters into Dia<g ref="char:EOLhyphen"/>logue
with his little <hi>Actors,</hi> as a Party
<pb n="269" facs="tcp:54591:154"/>
concern'd, and talks to the purpoſe like
one of them. This is exactly the Of<g ref="char:EOLhyphen"/>fice
of a <hi>Chorus,</hi> and therefore I don't
ſee why the fellow that diſcharges it
mayn't wear the Title; except it be,
that the Authors of that ſort of <hi>Drama,</hi>
are generally too illiterate to know
from whence they originally fetcht their
Precedent. Here is nothing of the du<g ref="char:EOLhyphen"/>ty
of a <hi>Chorus</hi> omitted, except the <hi>Sing<g ref="char:EOLhyphen"/>ing,
Dancing,</hi> and <hi>Idolatrous Part,</hi> which,
as we have already obſerv'd, are all ei<g ref="char:EOLhyphen"/>ther
better ſupply'd otherwiſe, or abſo<g ref="char:EOLhyphen"/>lutely
inconſiſtent with our Religion
and Stage.</p>
            <p>Mr <hi>Collier</hi> indeed ſeems to aſſign the
<hi>Chorus</hi> another Office.<note place="margin">Function aſſigned the <hi>Chorus</hi> by Mr <hi>Col<g ref="char:EOLhyphen"/>lier.</hi>
               </note> He wou'd have
it to be a ſort of <hi>Monitor,</hi> or <hi>Chaplain</hi>
to the Play, to preach to the Audience,
and correct the Diſorders of the Stage.
This is a new Function, for which I
doubt he can produce no warrant from
<hi>Ariſtophanes,</hi> or Precedent from <hi>Moliere.</hi>
'Tis an Office of his own creating, and
therefore he wou'd do well to execute
it a while himſelf, to inſtruct the <hi>Play<g ref="char:EOLhyphen"/>ers,</hi>
and teach 'em the knack of Preach<g ref="char:EOLhyphen"/>ing,
in which they are yet unexer<g ref="char:EOLhyphen"/>cis'd.</p>
            <p>
               <pb n="270" facs="tcp:54591:155"/>
But all this Torrent of Miſreaſoning
and falſe Rhetorick flows from one
Spring,<note place="margin">Original Errour of Mr <hi>Collier.</hi>
               </note> one Original Error has branch'd
itſelf out thus amply. Mr <hi>Collier</hi> knows,
that <hi>the buſineſs of</hi> Comedy <hi>is to inſtruct
by example;</hi> and he miſtakenly ima<g ref="char:EOLhyphen"/>gines,
that theſe ought to be Examples
for Imitation. Whereas, if he conſi<g ref="char:EOLhyphen"/>ders
the nature of <hi>Comedy,</hi> he will find
juſt the reverſe of this fancy to be true.
For, as we have already taken notice,
it can employ no perfectly upright
Characters, and conſequently can af<g ref="char:EOLhyphen"/>ford
no Examples, but for Caution.</p>
            <p>Nor is <hi>Comedy</hi> therefore to be thought
imperfect,<note place="margin">Looſe Cha<g ref="char:EOLhyphen"/>racters in Comedy no Encourage<g ref="char:EOLhyphen"/>ment to De<g ref="char:EOLhyphen"/>bauchery.</note> any more than the Law,
which makes no other proviſion for
the encouragement of Virtue and good
Actions, than by puniſhing Vice and
Villany. What Mr <hi>Collier</hi> objects in
this caſe is groundleſs, that the Poets,
by dreſſing up an imperfect, or de<g ref="char:EOLhyphen"/>bauch'd
Character, with the embelliſh<g ref="char:EOLhyphen"/>ments
of Wit and Senſe, and other
good Qualities, and crowning it with
Succeſs at laſt, pave the way to Licen<g ref="char:EOLhyphen"/>tiouſneſs
and Debauchery. For, whe<g ref="char:EOLhyphen"/>ther
the Poet brings ſuch a Character
to a ſol<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>mn Reſolution of Reforming at
<pb n="271" facs="tcp:54591:155"/>
laſt, or not, which yet they generally
do, 'tis evident, that the ſucceſs which
attends it, is not given to the Licenti<g ref="char:EOLhyphen"/>ouſneſs,
but to the Wit and Senſe, or
other good Qualities, which are pre<g ref="char:EOLhyphen"/>dominant
in the Character. He there<g ref="char:EOLhyphen"/>fore
that can take Succeſs ſo beſtow'd,
and circumſtantiated as it is uſually in
<hi>Comedy,</hi> for an encouragement to Debau<g ref="char:EOLhyphen"/>chery
muſt have a very deprav'd Ap<g ref="char:EOLhyphen"/>prehenſion.</p>
            <p>But Mr <hi>Collier</hi> is implacably enrag'd
at the <hi>Poets,</hi>
               <note place="margin">Ridiculous Fear if Mr <hi>Collier.</hi>
               </note> for mixing ſuch Beauties
and ſuch Blemiſhes in one Piece; and
is in a Pannick Fear, leſt the Beauty of
the whole ſhou'd tempt Folks to ape
the Deformities of it. This is as ridi<g ref="char:EOLhyphen"/>culous
an Apprehenſion, as if any awk<g ref="char:EOLhyphen"/>ard
Fellow ſhou'd ſee a <hi>Beau</hi> in all his
Glory with dirty Shoes, and ſhou'd
fancy that he made that ſplendid Fi<g ref="char:EOLhyphen"/>gure
purely by virtue of the dirt upon
his Shoes, and reſolve never to have
his own clean'd again. A fine Face,
with a caſt of the Eyes, may move the
<hi>Beau</hi>'s and the Ladies to wiſh for ſuch
Features, and ſuch a Complexion, yet
it wou'd ſcarce win 'em to endeavour
to ſquint like it. Whatever Mr <hi>Collier</hi>
               <pb n="272" facs="tcp:54591:156"/>
may think, the Underſtanding of our
Youth is not ſo very depreſs'd and low,
but they can very readily diſtinguiſh
between the obvious Beauties, and De<g ref="char:EOLhyphen"/>fects
of a Character, and are not to be
fool'd like <hi>Dottrels</hi> into a vicious Imi<g ref="char:EOLhyphen"/>tation.
If a Man ſhou'd know a <hi>Pick<g ref="char:EOLhyphen"/>pocket</hi>
that was an excellent Accountant,
or a <hi>Forger</hi> of falſe Notes that was an
incomparable Writing-maſter, it were
very eaſie, and very commendable, for
any one to imitate their good Quali<g ref="char:EOLhyphen"/>ties,
without receiving any taint or
impreſſion from their Rogueries.</p>
            <p>However, Mr <hi>Collier</hi> obſerves abun<g ref="char:EOLhyphen"/>dance
of Licentiouſneſs and Impurity
in the world,<note place="margin">Theatres wrongfully accuſed by him.</note> and is reſolv'd to lay it
all at the doors of the Theatres. He
ſees up and down a great number of
figures like thoſe that are expos'd upon
the Stage, and he wiſely concludes,
that the Models muſt needs be taken
from thence, and that theſe men are
but the Players apes, which is directly
contrary to the Truth. For theſe are
the Originals, of which thoſe upon the
Stage are but the Copies, the Images,
which that, like a Glaſs, reflects back
upon 'em</p>
            <p>
               <pb n="273" facs="tcp:54591:156"/>
Chorus,<note place="margin">Senſe of <hi>Horace</hi> a<g ref="char:EOLhyphen"/>gain per<g ref="char:EOLhyphen"/>verted.</note> 
               <hi>or non</hi> Chorus, <hi>Mr</hi> Collier
<hi>puſhes ſtill forward upon the miſtaken,
Authority of</hi> Horace; <hi>and maintains
that</hi> Horace having expreſsly mentioned
the Beginning and Progreſs of Comedy,
diſcovers himſelf more fully. He adviſes
a <hi>Poet</hi> to form his work upon the Precepts
of <hi>Socrates</hi> and <hi>Plato,</hi>
               <note place="margin">P. 151</note> and the Models of
Moral Philoſophy. This was the way to
preſerve Decency, and to aſſign a proper
Fate and Behaviour to every <hi>Character.</hi>
Now if <hi>Horace</hi> wou'd have his <hi>Poet</hi> go<g ref="char:EOLhyphen"/>vern'd
by the Maxims of Morality, he
muſt oblige him to Sobriety of Conduct,
and a juſt Deſtribution of Rewards and
Puniſhments.</p>
            <p>To try the validity of this Argu<g ref="char:EOLhyphen"/>ment,
we muſt have recourſe to the
Original, which will ſhew us ſome miſ<g ref="char:EOLhyphen"/>application,
and ſome miſtake of <hi>Ho<g ref="char:EOLhyphen"/>race</hi>'s
meaning in this ſhort Paragraph.
Mr <hi>Collier</hi> links this advice of <hi>Horace</hi> im<g ref="char:EOLhyphen"/>mediately
to his account of the Riſe and
Progreſs of <hi>Comedy;</hi> and that he may
appropriate it ſolely to <hi>Comedy,</hi> skips
over a tranſition of twenty lines, by
which the Poet artificially paſſes from
the particular of <hi>Comedy</hi> to <hi>Poetry</hi> in
<pb n="274" facs="tcp:54591:157"/>
general; and takes occaſion to ſay, that
<hi>a good Poet ought to be a wiſe Man, and
acquainted with the Writings of the Phi<g ref="char:EOLhyphen"/>loſophers.</hi>
For <hi>Socrates</hi> appears in this
place as the <hi>Repreſentative</hi> of the whole
Body of <hi>Moral</hi> Philoſophers, and not
for himſelf and <hi>Plato</hi> only, as Mr <hi>Collier</hi>
Imagines.</p>
            <q>
               <l>Scribendi recte ſapere eſt Principium &amp;</l>
               <l>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ons.<note place="margin">Hor. Art. Poet.</note>
               </l>
               <l>Rem tibi Socraticae poterunt oſtendere
chartae.</l>
            </q>
            <p>
               <hi>The reaſon of this he immediately
ſubjoyns, which will alſo make the ap<g ref="char:EOLhyphen"/>plication
for us. For, ſays he,</hi> The
man that knows what is due to his Coun<g ref="char:EOLhyphen"/>try,
and his Friends, his obligations to
Parents and Kindred, the Laws of Hoſ<g ref="char:EOLhyphen"/>pitality,
and the duty of a <hi>Senator,</hi> a
<hi>Judge,</hi> and a <hi>General,</hi> knows enough to
enable him to do Juſtice to every <hi>Cha<g ref="char:EOLhyphen"/>racter.</hi>
            </p>
            <q>
               <l>Qui didicit Patriae quid debeat,<note place="margin">Ibid.</note> &amp; quid amicis:</l>
               <l>Quo ſit amore Parens, quo Frater a<g ref="char:EOLhyphen"/>mandus
&amp; Hoſpes,</l>
               <l>
                  <pb n="275" facs="tcp:54591:157"/>
Quod ſit Conſcripti, quod Iudicis offi<g ref="char:EOLhyphen"/>cium, quae</l>
               <l>Partes in bellum miſſi ducis: ille pro<g ref="char:EOLhyphen"/>fecto</l>
               <l>Reddere perſonae ſcit convenientia cui<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan>.</l>
            </q>
            <p>This Liſt of Qualifications ſeems
prepar'd only for <hi>Tragick</hi> and <hi>Epick</hi>
Poetry. <hi>Comedy,</hi> which concerns none
but the leſſer Intrigues of Mankind, and
the private Affairs of particular Fami<g ref="char:EOLhyphen"/>lies,
or Perſons, has no dealings with
the Publick, or its Magiſtrates; and
therefore does not ſeem to be compre<g ref="char:EOLhyphen"/>hended
in the aim of theſe directions.</p>
            <p>Yet,<note place="margin">This Ad<g ref="char:EOLhyphen"/>vice <hi>Poli<g ref="char:EOLhyphen"/>tical,</hi> not <hi>Moral.</hi>
               </note> if Mr <hi>Collier</hi> will have it inclu<g ref="char:EOLhyphen"/>ded,
he ought to have ſhewn how far
it was affected in particular upon a fair
expoſition. But that method wou'd
not ſerve his turn. For <hi>Horace</hi> in this
paſſage, does not adviſe the Study of
<hi>Morality,</hi> but <hi>Politicks,</hi> which could beſt
ſatisfy demands of this nature. He did
not expect that the <hi>Poets</hi> ſhou'd tye
their <hi>Characters</hi> up to ſevere duty,
and make every one act up to the ſtrict
Rules of Morality, and be guided by
the dictates of right Reaſon and Juſtice,
or otherwiſe to puniſh 'em always in
<pb n="276" facs="tcp:54591:158"/>
proportion to the Deviations they made
from 'em, as Mr <hi>Collier</hi> inſinuates. All
that he requir'd was, that a Poet ſhou'd
know how it became the ſeveral orders
of men to behave themſelves in civil
Societies, according to their reſpective
Ranks, Degrees, and Qualities; that
they might thereby be qualify'd to give
diſtinct Images of every kind, whether
good or bad, without mixing of Cha<g ref="char:EOLhyphen"/>racters,
or confounding Ideas. <hi>Rectum
eſt Index sui, &amp; obliqui,</hi> was his Rule
in this caſe, and 'tis a true one, a right
notion of things will certainly diſco<g ref="char:EOLhyphen"/>ver
a falſe one. For this he advis'd his
<hi>Poet,</hi> to conſult the <hi>Philoſophers,</hi> and
to dive into the political Reaſons of
theſe matters, without which their
view of 'em wou'd be but ſuperficial and
confus'd.</p>
            <p>Yet after all he gave him very large
Priviledges, and extended his Charter,
as far as the obſervation of Humane
Nature, he allow'd him the liberty of
ſaying any thing that Providence laid
before him, provided he kept cloſe to
the Original. To this end he bids
him <hi>look upon the Examples that men ſet
him in their Lives and Manners, and
<pb n="277" facs="tcp:54591:158"/>
thence learn to draw true pictures of Man<g ref="char:EOLhyphen"/>kind.</hi>
            </p>
            <q>
               <l>Reſpicere exemplar vitae, morum<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ju<g ref="char:EOLhyphen"/>bebo.</l>
               <l>Doctum Imitatorem, &amp; veras hinc du<g ref="char:EOLhyphen"/>cere voces.</l>
            </q>
            <p>The <hi>Mores,</hi>
               <note place="margin">
                  <hi>Manners</hi> here ſignifi<g ref="char:EOLhyphen"/>ed <hi>Poetical</hi> not <hi>Mor<gap reason="illegible" resp="#TECH" extent="2 letters">
                        <desc>••</desc>
                     </gap>
                  </hi>
               </note> or <hi>Manners</hi> here menti<g ref="char:EOLhyphen"/>oned
by <hi>Horace,</hi> are the <hi>Poetical,</hi> not
<hi>Moral,</hi> the diſtinction betwixt which
Mr <hi>Collier</hi> very well knows, as appears
by his making uſe of it, when 'tis for
his turn, tho he wilfully over-looks it
in many other places, where the notice
of it would be more natural, but leſs
for his malicious purpoſe. However,
ſince he has given a ſort of definition,
tho an imperfect one, of <hi>Poetical Man<g ref="char:EOLhyphen"/>ners,</hi>
I ſhall give it the Reader in his
own words. And becauſe 'tis the only
Statute Law of <hi>Parnaſſus,</hi> by which the
Poets can fairly be tried for any miſ<g ref="char:EOLhyphen"/>demeanour,
either of Character or Ex<g ref="char:EOLhyphen"/>preſſion,
I ſhall ſupply the Defects or
Mr <hi>Collier</hi>'s report of it from <hi>Ariſtotle,</hi>
who is more full and clear.</p>
            <p>
               <hi>Manners,</hi>
               <note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>'s de<g ref="char:EOLhyphen"/>ſcription of <hi>Poetical Manners</hi>
               </note> in the Language of Poetry,
<hi>is a propriety of Actions and Perſons.</hi>
To ſucceed in this buſineſs there muſt be
<pb n="278" facs="tcp:54591:159"/>
a regard had to <hi>Age,</hi>
               <note place="margin">P. 165.</note> 
               <hi>Sex, and Conditi<g ref="char:EOLhyphen"/>on:</hi>
And nothing put into the mouths of
Perſons, which diſagrees with any of theſe
circumſtances. 'Tis not enough to ſay a
witty thing, unleſs it be ſpoken by a like<g ref="char:EOLhyphen"/>ly
Perſon, and upon a proper occaſion.</p>
            <p>In this account I obſerve many
things deficient,<note place="margin">Def<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ctive and Eſi<g ref="char:EOLhyphen"/>v<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>cal.</note> ſomething equivocal,
which I ſhall firſt take notice of, and
then proceed to ſupply the Defects. The
three things, Mr <hi>Collier</hi> recommends to
a <hi>Poet's,</hi> or <hi>Reader's</hi> careful obſervation,
and regard, are <hi>Age, Sex, and Conditi<g ref="char:EOLhyphen"/>on.</hi>
Of theſe, the firſt and the laſt,
<hi>Age</hi> and <hi>Condition,</hi> are equivocal terms.
The Author has not taken care to ex<g ref="char:EOLhyphen"/>plain,
whether he means by <hi>Age,</hi> the
Age of a <hi>Perſon,</hi> or the Age of the
<hi>World,</hi> which he is ſuppos'd to live in.
For to both theſe great regard is to be
had, becauſe they difference the <hi>Cha<g ref="char:EOLhyphen"/>racters</hi>
equally. A noble <hi>Roman</hi> of
four and twenty in the firſt Ages of
the Commonwealth, was no more like
one of the ſame Age under the Empe<g ref="char:EOLhyphen"/>rors,
in humour and inclinations, than
either of 'em was like his Grandfather
of Fourſcore. As great, or greater is
the Ambiguity of the word <hi>Condition,</hi>
               <pb n="279" facs="tcp:54591:159"/>
whereby he has not ſignify'd whether
he means Condition, as to <hi>Eſtate, Qua<g ref="char:EOLhyphen"/>lity,
<g ref="char:V">Ʋ</g>nderſtanding,</hi> or <hi>Circumſtances,
as to the Action of the Play, at the jun<g ref="char:EOLhyphen"/>cture
when the perſon does or ſays any
thing.</hi> Yet theſe have all an equal ſhare
in the propriety both of Words and
Actions, and ought to be conſider'd, o<g ref="char:EOLhyphen"/>therwiſe
the Manners can never be pre<g ref="char:EOLhyphen"/>ſerv'd
in their Propriety and Integrity.
But by ſupplying the Defects of this
Account, we ſhall remedy the danger
of miſtakes from the equivocal Expreſ<g ref="char:EOLhyphen"/>ſions
contained in it.</p>
            <p>
               <hi>Ariſtotle</hi> requires four conditions to
the perfection of <hi>Poetick Manners.</hi>
               <note place="margin">
                  <hi>Ariſtotle</hi>'s deſcription.</note>
            </p>
            <p>
               <hi>1ſt,</hi> That they be good.</p>
            <p>By the <hi>Goodneſs</hi> of <hi>Manners</hi> the Phi<g ref="char:EOLhyphen"/>loſopher
does not here underſtand any
<hi>Moral</hi> Goodneſs; for he declares in this
very Article, that he means only<note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> that
they ſhould be expreſſive of the Cha<g ref="char:EOLhyphen"/>racter,
and carry both in words and
actions, the diſtinguiſhing marks of the
Humour and Inclinations of the perſon,
whether they be <hi>morally</hi> Good or Bad.
So that if the Humour or natural Incli<g ref="char:EOLhyphen"/>nations
of the perſons be ſufficiently
markt in the words and actions, the
<pb n="280" facs="tcp:54591:160"/>
Manners are good, according to <hi>Ariſtotle,</hi>
let 'em be never ſo vicious. <hi>Horace</hi>
underſtands <hi>Manners</hi> the ſame way,
when he tells us, <hi>that ſometimes Plays
of little Elegance, without Ornament, or
Art, yet wherein the Manners were well
expreſs'd, took better than others, wherein
they were neglected for Tinſel and Bombaſt.</hi>
            </p>
            <q>
               <l>Interdum ſpecioſa locis,<note place="margin">Hor. Art. Poet.</note> morata<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> recte</l>
               <l>Fabula, nullius Veneris ſine pondere &amp; Arte</l>
               <l>Valdius oblectat Populum, meliuſ<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> mo<g ref="char:EOLhyphen"/>ratur,</l>
               <l>Quam verſus inopes rerum, Nugae<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> ca<g ref="char:EOLhyphen"/>norae.</l>
            </q>
            <p>2<hi>dly,</hi>
               <note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> That they be proper.</p>
            <p>Wherein this propriety conſiſts <hi>Ari<g ref="char:EOLhyphen"/>ſtotle</hi>
has not told us, except in one Ne<g ref="char:EOLhyphen"/>gative
Inſtance,<note place="margin">Propriety <hi>of</hi> Manners <hi>requir'd</hi>
               </note> 
               <hi>that Courage is a Quality
improper, or unbecoming a Woman.</hi> Mr
<hi>Collier</hi>'s account of <hi>Poetical Manners</hi>
above-cited, relates to this particular
Condition only, yet is both defective
and equivocal in that. <hi>Horace</hi> has been
very full upon this, and takes care to
deſcribe at large the different humours
of man in the ſeveral Stages of his Life.
<pb n="281" facs="tcp:54591:160"/>
The ſame he does to the ſeveral orders
and degrees of men, according to their
reſpective Capacities, either Natural or
Political, and gives the Poets a great
Charge not to confound 'em. To re<g ref="char:EOLhyphen"/>peat
his words upon this occaſion wou'd
be tedious, upon the ſcore of length.
However, I ſhall endeavour to give the
Reader as good an <hi>Idea</hi> of this <hi>Poe<g ref="char:EOLhyphen"/>tical</hi>
Propriety,<note place="margin">Wherein it conſiſts.</note> as the narrow compaſs
I am oblig'd to will permit. The pro<g ref="char:EOLhyphen"/>priety
of <hi>Manners</hi> conſiſts in an exact
conformity both of words and actions
to the ſuppoſed <hi>Age</hi> both of the perſon
and the world, to the <hi>Humour, Fortune,
Quality, Underſtanding,</hi> and preſent
<hi>Condition,</hi> as to the buſineſs of the Play,
of the perſon acting or ſpeaking. <hi>Ho<g ref="char:EOLhyphen"/>race</hi>
as well as <hi>Ariſtotle,</hi> has expreſs'd all
this in one word, <hi>Convenientia,</hi> both
which I have render'd <hi>Proper.</hi> This
place does not afford me room for in<g ref="char:EOLhyphen"/>ſtances
for each particular, and therefore
I ſhall deſire the Reader's patience, till
the Subject calls for 'em in their proper
places.</p>
            <p>3<hi>dly,</hi> That they be like.</p>
            <p>This Condition relates only to <hi>Cha<g ref="char:EOLhyphen"/>racters</hi>
taken from Hiſtories,<note place="margin">Simili<g ref="char:EOLhyphen"/>tude <hi>of</hi> Manners</note> or <hi>Poetical</hi>
               <pb n="282" facs="tcp:54591:161"/>
Traditions very well known. When
the <hi>Poet</hi> makes uſe of Names, or Stories
with which the Audience is well ac<g ref="char:EOLhyphen"/>quainted,
he muſt be ſure to make 'em
conform to the receiv'd opinion. Other<g ref="char:EOLhyphen"/>wiſe
the Audience, who will not en<g ref="char:EOLhyphen"/>dure
to have their own Notions con<g ref="char:EOLhyphen"/>tradicted,
will never acknowledge 'em
to be the Perſons they wou'd be taken
for. For this reaſon <hi>Horace</hi> bids his
Poet, <hi>Follow common Fame, Famam Se<g ref="char:EOLhyphen"/>quere.</hi>
And if he meddled with known
Names, to keep to the known Chara<g ref="char:EOLhyphen"/>cters,
and Accounts of 'em.</p>
            <q>
               <l>—Honoratum ſi forte reponis Achillem:<note place="margin">Hor. Art. Poet.</note>
               </l>
               <l>Impiger, iracundus, inexorabilis, acer:</l>
               <l>Iura neget ſibi nata, nihil non arroget armis.</l>
               <l>Sit Medea ferox, invicta<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> flebilis Ino,</l>
               <l>Perfidus Ixion, Io vaga, triſtis Oreſtes.</l>
            </q>
            <p>The likeneſs here deſign'd, is not a
<hi>Natural,</hi> but a <hi>Hiſtorical</hi> likeneſs. How<g ref="char:EOLhyphen"/>ever
monſtrous a Character were, if it
was form'd upon, and adjuſted to com<g ref="char:EOLhyphen"/>mon
<hi>Fame,</hi> the <hi>Poet</hi> was juſtify'd.</p>
            <p>
               <pb n="283" facs="tcp:54591:161"/>
4<hi>thly,</hi>
               <note place="margin">Equality <hi>of</hi> Man<g ref="char:EOLhyphen"/>ners <hi>what.</hi>
               </note> That they ſhould be equal.</p>
            <p>Here likewiſe <hi>Ariſtotle</hi> puts in his <hi>Ca<g ref="char:EOLhyphen"/>veat,</hi>
leſt any one by <hi>Equality</hi> of <hi>Man<g ref="char:EOLhyphen"/>ners</hi>
ſhou'd underſtand ſuch a ſteadineſs
of Temper and Reſolution, as would
exclude from the Stage the uncertainty
of Fickle Humours, which he very well
knew to be the caſe of a very great part
of mankind. All that he requir'd was,
that they ſhould be all of a piece, that
there might be no diſmembring of Cha<g ref="char:EOLhyphen"/>racters,
no repugnancy to themſelves in
any part of 'em. <hi>Horace,</hi> his beſt Inter<g ref="char:EOLhyphen"/>preter,
ſays, <hi>Let the character be main<g ref="char:EOLhyphen"/>tain'd,
and let the perſon appear the ſame
at his exit, that he did at his entrance,
and be conſiſtent with himſelf.</hi>
            </p>
            <q>
               <l>—Servetur ad imum</l>
               <l>Qualis ab incepto proceſſerit,<note place="margin">Art. Poet.</note> &amp; ſibi conſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>et.</l>
            </q>
            <p>The Philoſopher did by no means
intend to cut off ſo conſiderable a
Branch from the revenue of <hi>Comedy</hi> as
<hi>Levity;</hi> than which nothing deſerves
her Correction more, nothing fits her
purpoſe better. But he cautions the
<hi>Poets,</hi> whenever they make uſe of any
<pb n="284" facs="tcp:54591:162"/>
of theſe <hi>Unequal,</hi> or <hi>Uncertain</hi> Tem<g ref="char:EOLhyphen"/>pers,
to repreſent 'em<note n="*" place="margin">
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</note> 
               <hi>equally,</hi> or <hi>alike
unequal</hi> thro the whole Piece; and not
to make 'em Fickle and Inconſtant in
one Act, and Reſolv'd and Steady in
another.</p>
            <p>Upon theſe Rules we may proceed to
try the <hi>Characters,</hi> and <hi>Expreſſions</hi> of our
<hi>Poets,</hi> either in conjunction with the
<hi>Antients,</hi>
               <note place="margin">Faults of <hi>Characters</hi> what.</note> or ſeparately by themſelves.</p>
            <p>The <hi>Characters</hi> and <hi>Expreſſions</hi> have
ſuch a natural dependance upon one
another, that they can't be examin'd a<g ref="char:EOLhyphen"/>part,
each being juſtifiable or condem<g ref="char:EOLhyphen"/>nable
upon the Evidence of the other
only. The <hi>Character</hi> may offend two
ways; <hi>firſt,</hi> by being unnatural, and
conſequently Monſtrous; 2<hi>dly,</hi> by be<g ref="char:EOLhyphen"/>ing
Inconſiſtent with itſelf, and not all
of a Piece. Theſe Faults, when com<g ref="char:EOLhyphen"/>mitted,
are likewiſe two ways diſcove<g ref="char:EOLhyphen"/>rable,
by the <hi>Actions,</hi> and by the <hi>Ex<g ref="char:EOLhyphen"/>preſſions,</hi>
when any thing is done, or
ſaid unnatural, or improper, a Fault is
committed againſt <hi>Character,</hi> which is
thereby broken, and becomes double.</p>
            <p>The Faults of Expreſſion are as va<g ref="char:EOLhyphen"/>rious
as the circumſtances againſt which
it may offend,<note place="margin">Faults of <hi>Expreſſion</hi> manifold.</note> which are already ſumm'd
<pb n="285" facs="tcp:54591:162"/>
up under the head of Propriety, which
may again be every one ſubdivided into
ſo many Branches, that it would be
endleſs to particularize the ſeveral ways
of treſpaſſing in this kind. I ſhall there<g ref="char:EOLhyphen"/>fore
content my ſelf to take notice of
'em ſeverally, as occaſion ſhall preſent it
ſelf, and wave<g ref="char:punc">▪</g> any further notice of
thoſe which ſhall not be found to my
preſent purpoſe.</p>
            <p>Mr <hi>Collier</hi> might unqueſtionably have
found our <hi>Poets</hi> remiſs enough in the
obſervation of theſe Rules, and conſe<g ref="char:EOLhyphen"/>quently
guilty of faults deſerving his
or any one's correction. But he choſe
rather to brand 'em with crimes of a
blacker dye, tho with leſs Juſtice and
Truth, and like an <hi>Iriſh.</hi> Evidence, by
his forwardneſs to charge, and the mon<g ref="char:EOLhyphen"/>ſtrouſneſs
of his allegations, deſtroys
the credit of his depoſitions.</p>
            <p>His charge againſt our <hi>Stage</hi> for the
miſmanagement of their <hi>Characters</hi> con<g ref="char:EOLhyphen"/>ſiſts
of three general heads.<note place="margin">Some heads of Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> Charge.</note>
            </p>
            <list>
               <item>1. Miſrepreſentation of <hi>Women.</hi>
               </item>
               <item>2. Abuſe of the <hi>Clergy.</hi>
               </item>
               <item>3. Rude treatment of the <hi>Nobility.</hi>
               </item>
            </list>
            <p>
               <pb n="286" facs="tcp:54591:163"/>
To all theſe I ſhall ſay ſomething ge<g ref="char:EOLhyphen"/>neral,
with regard to the Argument,
without entring into a diſcuſſion of the
Merits of thoſe particular Inſtances
which he brings to back his Aſſertions.
Not but I think many of 'em eaſily to
be Apologiz'd for, or rather to be juſti<g ref="char:EOLhyphen"/>fy'd;
but becauſe it would ſpin out
this diſcourſe to an unreaſonable length,
and likewiſe becauſe there are thoſe
whoſe Abilities in this diſpute are as
much greater than mine, as their Inte<g ref="char:EOLhyphen"/>reſt
in it, to whom I leave it.</p>
            <p>The <hi>Poets (ſays Mr</hi> Collier) make <hi>Wo<g ref="char:EOLhyphen"/>men</hi>
ſpeak ſmuttily.<note place="margin">P. 8, 9, 12.</note> 
               <hi>They</hi> bring 'em un<g ref="char:EOLhyphen"/>der
ſuch misbehaviour, as is violence to
their Native Modeſty, and a miſrepreſen<g ref="char:EOLhyphen"/>tion
of their Sex. For Modeſty, as Mr
<hi>Rapin</hi> obſerves, is the Character of Women.
They repreſent their ſingle Ladies, and
perſons of Condition, under theſe diſorders
of Liberty. This makes the Irregularity
ſtill more monſtrous, and a greater Con<g ref="char:EOLhyphen"/>tradiction
to Nature and Probability.</p>
            <p>Here again,<note place="margin">This point miſtaken.</note> according to his uſual
method, Mr <hi>Collier</hi> miſtakes his point,
and runs away with a wrong ſcent;
however he opens, and cries it luſtily
away, that the Muſick may atone for
<pb n="287" facs="tcp:54591:163"/>
the miſtake, and draw all thoſe that are
not ſtanch in Partners to his Error.
Mr <hi>Rapin obſerves that the Character of
Women is Modeſty,</hi> and therefore Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
thinks, that no <hi>Woman</hi> muſt be
ſhewn without it. <hi>Ariſtotle</hi> has given
<hi>Courage</hi> or <hi>Valour</hi> as the <hi>Characteriſtick</hi> or
Mark of diſtinction proper to the other
<hi>Sex,</hi> which was a notion ſo <hi>Antient,</hi>
and ſo univerſally receiv'd, that moſt
Nations have given it a denomination
from the Sex, as if peculiar to it. The
<hi>Greeks</hi> call'd it <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>, we <hi>Manhood.</hi>
Yet 'tis no Soleciſm in <hi>Poetical Manners</hi>
to repreſent Men ſometimes upon the
Stage as Cowards; nor did any man
ever think the whole Sex affronted by
it; how near ſoever it might touch
ſome Individuals.</p>
            <p>If the <hi>Poets</hi> ſet up theſe Women of
Liberty for the Repreſentatives of their
whole Sex,<note place="margin">Faults of <hi>particular</hi> no reflection upon the <hi>Sex</hi> in <hi>General.</hi>
               </note> or pretended to make them
the Standards to meaſure all the reſt by,
the Sex wou'd have juſt reaſon to com<g ref="char:EOLhyphen"/>plain
of ſo abuſive a Miſrepreſentation.
But 'tis juſt the contrary, the Sex has no
Intereſt in the Virtues or Vices of any
Individual, either on the Stage, or off
of it; they reflect no honour or diſ<g ref="char:EOLhyphen"/>grace
<pb n="288" facs="tcp:54591:164"/>
on the Collective Body, any more
than the Neatneſs and good Breeding
of the <hi>Court</hi> affect the Naſtineſs and ill
Manners of <hi>Billingſgate,</hi> or are affected
by 'em.</p>
            <p>In Plays the <hi>Characters</hi> are neither
<hi>Vniverſal</hi> nor <hi>General.</hi>
               <note place="margin">Univer<g ref="char:EOLhyphen"/>ſals <hi>and</hi> Individu<g ref="char:EOLhyphen"/>als <hi>impro<g ref="char:EOLhyphen"/>per</hi> Chara<g ref="char:EOLhyphen"/>cters.</note> Marks ſo com<g ref="char:EOLhyphen"/>prehenſive
are the Impreſſes and Signa<g ref="char:EOLhyphen"/>tures
of Nature, which are not to be
corrected, or improv'd by us, and there<g ref="char:EOLhyphen"/>fore
not to be meddled with. Beſides,
they give us no Idea of the perſon
characteriz'd, but what is common
to the reſt of the ſpecies, and do
not ſufficiently diſtinguiſh him. Neither
are they ſo <hi>Singular,</hi> as to extend no
farther than ſingle <hi>Individuals. Cha<g ref="char:EOLhyphen"/>racters</hi>
of ſo narrow a Compaſs wou'd
be of very little uſe, or diverſion. Be<g ref="char:EOLhyphen"/>cauſe
they wou'd not appear natural,
the Originals being probably unknown
to the greateſt part, if not the whole Au<g ref="char:EOLhyphen"/>dience;
nor cou'd any of the Audience
ſind any thing to correct in themſelves
by ſeeing the Infirmity peculiar to a par<g ref="char:EOLhyphen"/>ticular
man expos'd. This was indeed
the method of the <hi>Old Greek Comedy;</hi>
but then they pick'd out publick perſons,
whom they dreſs'd in Fools Coats and
<pb n="289" facs="tcp:54591:164"/>
expos'd upon the Stage, not in their
own own Shapes, but thoſe of the Po<g ref="char:EOLhyphen"/>et's
Fancy; an Inſolence, that never
would<g ref="char:punc">▪</g> have been endur'd in any, but a
Popular Government, where the beſt
of Men are ſometimes ſacrificed to the
Humours and Caprices of a giddy mul<g ref="char:EOLhyphen"/>titude.
Yet even by them it was at laſt
ſuppreſſed.</p>
            <p>The <hi>Characters</hi> therefore muſt neither
be too general,<note place="margin">What Cha<g ref="char:EOLhyphen"/>racters pro<g ref="char:EOLhyphen"/>per</note> nor too ſingular, one
loſes the diſtinction, the other
makes it monſtrous, we are too familiar
with that to take notice of it, and too
unacquainted with this to acknowledge
it to be real. But betwixt theſe there
is an almoſt<g ref="char:punc">▪</g> infinite variety; ſome na<g ref="char:EOLhyphen"/>tural
and approaching to Generals, as
the ſeveral <hi>Ages</hi> of the World, and of
<hi>Life, Sexes</hi> and <hi>Tempers;</hi> ſome Artifi<g ref="char:EOLhyphen"/>cial,
and more particular, as the vaſt
Varieties and Shapes of <hi>Villany, Kna<g ref="char:EOLhyphen"/>very,
Folly, Affectation</hi> and <hi>Humour, &amp;c.</hi>
All theſe are within the <hi>Poet's</hi> Royalty<g ref="char:punc">▪</g>
and he may ſummon 'em to attend
him, whenever he has occaſion for
their ſervice. Yet tho theſe make
up perhaps the greateſt part of Man<g ref="char:EOLhyphen"/>kind,
he is not fondly to imagine, that
<pb n="290" facs="tcp:54591:165"/>
he has any Authority over the whole,
or to expect homage from any of 'em,
as the Publick Repreſentatives of their
Sex.</p>
            <p>Yet even granting to the <hi>Poets</hi> ſuch
an unlimited Authority (which I ſhall
not do) Mr <hi>Collier's</hi> Argument falls to
the Ground nevertheleſs.<note place="margin">Two ſorts of Reſem<g ref="char:EOLhyphen"/>blances in Poetry.</note> For as in
<hi>Painting,</hi> ſo in <hi>Poetry,</hi> 'tis a Maxim as
true as common, that there are two
ſorts of Reſemblances, one handſome,
t'other homely. Now <hi>Comedy,</hi> whoſe
Duty 'tis not to flatter, like Droll Pain<g ref="char:EOLhyphen"/>ting.
gives the Features true, tho the
Air be ridiculous. The Sex has its
<hi>Characteriſtick</hi> Blemiſhes as well as Or<g ref="char:EOLhyphen"/>naments;
and thoſe are to be copied,
when a Defective Character is intended,
as the others are for a perfect one. And
yet, for the reaſons already given,
when the Virtues or Vices of any par<g ref="char:EOLhyphen"/>ticular
Women are repreſented, the Sex
in general have no ſhare either in the
Complimeut or the Affront. Becauſe
any particular Inſtances to the contrary
notwithſtanding, the Sex may be in
the main either good or bad. So
that Mr <hi>Collier's</hi> charge of miſrepreſent<g ref="char:EOLhyphen"/>ing
the Sex in general is groundleſs.</p>
            <p>
               <pb n="291" facs="tcp:54591:165"/>
But he purſues his Argument to parti<g ref="char:EOLhyphen"/>culars,
and takes notice, that even Qua<g ref="char:EOLhyphen"/>lity
it ſelf is not excepted from theſe
Miſmanagements.</p>
            <p>If Dignities conferr'd true Merit,<note place="margin">Quality no juſt reaſon for exemp<g ref="char:EOLhyphen"/>tion.</note> and
Titles took away all Blemiſhes, the <hi>Poets</hi>
were certainly very much in the wrong
to repreſent any Perſon of Quality with
failings about her. But if Birth or Pre<g ref="char:EOLhyphen"/>ferment
be no ſufficient Guard to a weak<g ref="char:EOLhyphen"/>ly
Virtue or Underſtanding. If Title
be no ſecurity againſt the uſual Hu<g ref="char:EOLhyphen"/>mane
Infirmities; I ſee no reaſon, why
they mayn't as well appear together
upon the leſſer Stage of the Theatre, as
upon the grand one of the World.
But this will be more properly conſider'd
in another place.</p>
            <p>From theſe more general exceptions,<note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> col<g ref="char:EOLhyphen"/>lect in from the <hi>Anti<g ref="char:EOLhyphen"/>ents</hi> very looſely made.</note>
he deſcends to particular <hi>Expreſſions.</hi>
Which, that he may render the more in<g ref="char:EOLhyphen"/>excuſable,
he flies out into extravagant
Commendations of the <hi>Antients</hi> upon
the ſcore of their Modeſty, and the
Cleanneſs of their <hi>Expreſſions.</hi> In this
employment he beſtirs himſelf notably,
and pretends not to leave one exceptio<g ref="char:EOLhyphen"/>nable
Paſſage unremarked. But either
he has had a Prodigious Crop, or is a
<pb n="292" facs="tcp:54591:166"/>
very ill Husband; for he leaves very
large gleanings behind him. We ſhall
make bold to walk over the ſame
ground, and pick up ſome of his lea<g ref="char:EOLhyphen"/>vings,
(for all wou'd be too bulky to
find room in this place) and reſtore
'em to their Owners, whether left by
him out of negligence or deſign.</p>
            <p>One thing I muſt deſire the Reader
to take notice of, which is, that I
don't charge theſe paſſages as faults, or
immoralities upon the <hi>Antients,</hi> but
only inſtance in 'em, to ſhew the parti<g ref="char:EOLhyphen"/>ality
of Mr <hi>Collier,</hi> who violently
wreſts the Words and Senſe of the Mo<g ref="char:EOLhyphen"/>derns,
only to make that monſtrous and
unſufferable in them, which he either
excuſes or defends in the others. Nor
do I here pretend to preſent the Rea<g ref="char:EOLhyphen"/>der
with a compleat Collection of the
kind. I aſſure him, that I ſhall leave
untouch'd ſome hundreds of thoſe in<g ref="char:EOLhyphen"/>ſtances
which I have actually obſerv'd
amongſt the <hi>Greek</hi> and <hi>Latin Drama<g ref="char:EOLhyphen"/>tiſts,</hi>
and only give him ſo many, as are
indiſpenſably neceſſary to ſhew how
unjuſtly Mr <hi>Collier</hi> has drawn his pa<g ref="char:EOLhyphen"/>rallel.
For ſince both <hi>Antients</hi> and
<hi>Moderns,</hi> as <hi>Poets</hi> are ſubmitted to, and
<pb n="293" facs="tcp:54591:166"/>
ought to be govern'd by the ſame Laws,
'tis but reaſon, that one as well as
t'other, ſhou'd be allow'd the benefit
of 'em.</p>
            <p>
               <hi>Shakeſpear's Ophelia</hi> comes firſt under
his Laſh,<note place="margin">Objection to <hi>Ophe<g ref="char:EOLhyphen"/>lia.</hi>
               </note> for not keeping her mouth
clean under her diſtraction. He is ſo
very nice, that her breath, which for
ſo many years has ſtood the teſt of the
moſt critical Noſes, ſmells rank to him.
It may therefore be worth while to en<g ref="char:EOLhyphen"/>quire,
whether the fault lies in her
Mouth, or his Noſe.</p>
            <p>
               <hi>Ophelia</hi> was a modeſt young Virgin,<note place="margin">Character of <hi>Ophe<g ref="char:EOLhyphen"/>lia.</hi>
               </note>
beloved by <hi>Humlet,</hi> and in Love with
him. Her Paſſion was approv'd, and
directed by her Father, and her Preten<g ref="char:EOLhyphen"/>ſions
to a match with <hi>Hamlet,</hi> the heir
apparent to the Crown of <hi>Denmark,</hi>
encouraged, and ſupported by the Coun<g ref="char:EOLhyphen"/>tenance
and Aſſiſtance of the <hi>King</hi> and
<hi>Queen.</hi> A warrantable Love, ſo natu<g ref="char:EOLhyphen"/>rally
planted in ſo tender a Breaſt, ſo
carefully nurſed, ſo artfully manured,
and ſo ſtrongly forced up, muſt needs
take very deep Root, and bear a very
great Head. Love, even in the moſt
difficult Circumſtances, is the Paſſion na<g ref="char:EOLhyphen"/>turally
moſt predominant in young Breaſts
<pb n="294" facs="tcp:54591:167"/>
but when it is encouraged and cheriſh'd
by thoſe of whom they ſtand in awe,
it grows Maſterly and Tyrannical, and
will admit of no Check. This was
poor <hi>Ophelia's</hi> caſe. <hi>Hamlet</hi> had ſworn,
her <hi>Father</hi> had approved, the <hi>King</hi> and
<hi>Queen</hi> conſented to, nay, deſired the
Conſummation of her Wiſhes. Her
hopes were full blown, when they
were miſerably blaſted. <hi>Hamlet</hi> by mi<g ref="char:EOLhyphen"/>ſtake
kills her Father, and runs mad;
or, which is all one to her, counterfeits
madneſs ſo well, that ſhe is cheated
into a belief of the reality of it. Here
Piety and Love concur to make her Af<g ref="char:EOLhyphen"/>fliction
piercing, and to impreſs her
Sorrow more deep and laſting. To
tear up two ſuch paſſions violently by
the roots, muſt needs make horrible
Convulſions in a Mind ſo tender, and
a Sex ſo weak. Theſe Calamities di<g ref="char:EOLhyphen"/>ſtract
her, and ſhe talks incoherently;
at which Mr <hi>Collier</hi> is amaz'd, he is
downright ſtupified, and thinks the
Woman's mad to run out of her wits.
But tho ſhe talks a little light-headed<g ref="char:punc">▪</g>
and ſeems to want ſleep, I don't find
ſhe needed any <hi>Caſhew</hi> in her Mouth to
correct her Breath. That's a diſcovery
<pb n="295" facs="tcp:54591:167"/>
of Mr <hi>Collier's,</hi> (like ſome other of his)
who perhaps is of Opinion, that the
Breath and the Underſtanding have the
ſame Lodging, and muſt needs be viti<g ref="char:EOLhyphen"/>ated
together. However, <hi>Shakeſpear</hi>
has drown'd her at laſt, and Mr <hi>Collier</hi>
is angry that he did it no ſooner. He
is for having Execution done upon her
ſeriouſly, and in ſober ſadneſs, with<g ref="char:EOLhyphen"/>out
the excuſe of madneſs for Self<g ref="char:EOLhyphen"/>murther.
To kill her is not ſufficient
with him, unleſs ſhe be damn'd into
the bargain.<note place="margin">Objection groundleſs &amp; friv. <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>o<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>. <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>.</note> Allowing the Cauſe of
her madneſs to be <hi>Partie per Pale,</hi> the
death of her Father, and the loſs of
her Love, which is the utmoſt we can
give to the latter, yet her paſſion is
as innocent, and inoffenſive in her di<g ref="char:EOLhyphen"/>ſtraction
as before, tho not ſo reaſon<g ref="char:EOLhyphen"/>able
and well govern'd. Mr <hi>Collier</hi>
has not told us, what he grounds his
hard cenſure upon, but we may gueſs,
that if he be really ſo angry as he pre<g ref="char:EOLhyphen"/>tends,
'tis at the mad Song, which <hi>O<g ref="char:EOLhyphen"/>phelia</hi>
ſings to the Queen, which I
ſhall venture to tranſcribe without fear
of offending the modeſty of the moſt
chaſte Ear.</p>
            <q>
               <pb n="296" facs="tcp:54591:168"/>
               <l>To morrow is St <hi>Valentine</hi>'s day,<note place="margin">Mad Song.</note> all
in the morn betimes,</l>
               <l>And I a Maid at your Window to be
your Valentine.</l>
               <l>Then up he, he aroſe, and don'd his</l>
               <l>Cloaths, and dupt the Chamber door,</l>
               <l>Let in a Maid that out a Maid</l>
               <l>Never departed more.</l>
               <l>By <hi>Gis,</hi> and by St <hi>Charity:</hi>
               </l>
               <l>Alack, and fie for ſhame!</l>
               <l>Young men will do't, if they come to't,</l>
               <l>By Cock they are to blame.</l>
               <l>Quoth ſhe, before you tumbled me,</l>
               <l>You promis'd me to wed:</l>
               <l>So had I done, by yonder Sun,</l>
               <l>And thou hadſt not come to bed.</l>
            </q>
            <p>'Tis ſtrange this ſtuff ſhou'd wamble
ſo in Mr <hi>Collier</hi>'s Stomach,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ooliſh but <gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>ffenſive.</note> and put him
into ſuch an Uproar. 'Tis ſilly indeed,
but very harmleſs and inoffenſive; and
'tis no great Miracle, that a Woman
out of her Wits ſhou'd talk Nonſenſe,
who at the ſoundeſt of her Intellects
had no extraordinary Talent at Speech<g ref="char:EOLhyphen"/>making.
Sure Mr <hi>Collier</hi>'s concoctive
Faculty's extreamly deprav'd, that meer
Water-Pap turns to ſuch virulent Cor<g ref="char:EOLhyphen"/>ruption
with him.</p>
            <p>
               <pb n="297" facs="tcp:54591:168"/>
But Children and Mad Folks tell
truth,<note place="margin">
                  <hi>Antients</hi> more faulty then this.</note> they ſay, and he ſeems to diſco<g ref="char:EOLhyphen"/>ver
thro her Frenzy what ſhe wou'd
be at. She was troubled for the loſs of
a Sweet-heart, and the breaking off her
Match, Poor Soul. Not unlikely. Yet
this was no Novelty in the days of our
Fore-fathers; if he pleaſes to con<g ref="char:EOLhyphen"/>ſult
the Records, he will find even in
the days of <hi>Sophocles,</hi> Maids had an
itching the ſame way, and longed to
know, what was what, before they
died.</p>
            <p>
               <hi>Antigone,</hi>
               <note place="margin">Inſtance in the <hi>Anti<g ref="char:EOLhyphen"/>gone of Sopho<g ref="char:EOLhyphen"/>cles.</hi>
               </note> whom he has produc'd as
an inſtance of the Temperance, and De<g ref="char:EOLhyphen"/>cency
of the <hi>Ancients</hi> in this reſpect,
may upon the Parallel ſerve us as an ex<g ref="char:EOLhyphen"/>ample
of the contrary. The diſtinguiſh<g ref="char:EOLhyphen"/>ing
Parts of this Ladies Character, are
Piety and Reſolution, and ſhe makes
both ſufficiently appear, ſhe buries her
Brother, tho ſhe knew ſhe muſt die for
it. And when ſhe receives her Sentence
from <hi>Creon,</hi> which was immediate<g ref="char:EOLhyphen"/>ly
to be put in execution, ſhe makes
light of Death, and inſults the Tyrant.
But as ſhe is led to Execution, ſhe is un<g ref="char:EOLhyphen"/>expectedly
concerned about the Toy her
Maidenhead; 'tis her great Affliction,
<pb n="298" facs="tcp:54591:169"/>
that ſhe muſt go out of the world with
that great Burthen about her. Upon
this occaſion ſhe is very clamorous,
and that it may be taken notice of as
her main grievance, ſhe repeats it divers
times over, and chews the Cud upon it
liberally.</p>
            <q>
               <l>—<gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>—</l>
            </q>
            <p>Poor Girl, ſhe does not reliſh her
Sentence half ſo well as an <hi>Epithala<g ref="char:EOLhyphen"/>mium.</hi>
She thinks a ſoft Bed, and a
warm Bed-fellow more comfortable by
abundance, than a cold Grave. And
who can blame her? But Matrimony
runs ſtrangely in her head. For a little
after ſhe's at it again, complaining of
her want of a Husband, and is very
ſorry that ſhe muſt croſs the <hi>Styx,</hi> and
viſit her Parents with her Maiden-head
about her.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>And immediately after ſhe's at it again.</p>
            <q>—<gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>
            </q>
            <p>
               <pb n="299" facs="tcp:54591:169"/>
               <hi>
                  <g ref="char:V">Ʋ</g>nmarried</hi> is ſtill the burthen of the
Song. Nay, ſhe is ſo full of it, that
ſhe can't forbear talking of a ſecond
Husband, in caſe ſhe were a Widow.</p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.</q>
            <p>This thought of a ſecond Husband
is ſuch a Refreſhment to her, that ſhe
can't forbear dilating upon it. One
wou'd think by the odd Frolickſome<g ref="char:EOLhyphen"/>neſs
of her complaints, and the whim<g ref="char:EOLhyphen"/>ſical
Comforts ſhe finds out, that ſhe
was only going to dance bare-foot at a
Siſters VVedding. But within a few
lines, ſhe relapſes again into her ago<g ref="char:EOLhyphen"/>nies
of deſpair, and is more afraid of
leading Apes in Hell, than e're a hope<g ref="char:EOLhyphen"/>leſs
Antiquated Damſel within our
Bills of Mortality. She is not ſo much
concern'd at dying, but to go out of
the world,
<q>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>
                  </l>
                  <l>
                     <gap reason="foreign">
                        <desc>〈 in non-Latin alphabet 〉</desc>
                     </gap>.</l>
               </q>
and not to have one Honey Moon, not
ſo much as a merey Bout before ſhe
went, was a hardſhip ſhe cou'd not bear
with any temper.</p>
            <p>
               <pb n="300" facs="tcp:54591:170"/>
VVe may find by this Lady's com<g ref="char:EOLhyphen"/>plaint,
that ſhe was very deſirous to
diſpoſe of her Maiden-head; but for
any thing that appears from her com<g ref="char:EOLhyphen"/>plaint
or behaviour, ſhe was very in<g ref="char:EOLhyphen"/>different
to whom. 'Twas a Burthen
ſhe long'd to be rid of, and ſeem'd not
to care who eas'd her; for ſhe does
not mention her Contract with <hi>Haemon,</hi>
which ſhe decently might, but laments
her want of a Husband in general terms,
without giving the leaſt hint of an Ho<g ref="char:EOLhyphen"/>nourable
Love for any particular perſon.</p>
            <p>Theſe are extraordinary Speculations
for a dying Perſon. However, Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
admires the <hi>Poets</hi> conduct in this
caſe, and were he <hi>Ordinary</hi> no doubt but
we ſhou'd have theſe Flowers tranſplanted
in great plenty to the laſt Speeches of his
dying Females. He thinks 'tis out of pure
regard to Modeſty and Decency, that
<hi>Antigone</hi> takes no notice of <hi>Haemon</hi> in her
complaints. I ſhall not diſpute, whe<g ref="char:EOLhyphen"/>ther
'twere the faſhion in the days of
<hi>Sophocles</hi> or not; but I am ſure 'tis ac<g ref="char:EOLhyphen"/>counted
but an ill Symptome of Mo<g ref="char:EOLhyphen"/>deſty
in our Age, when a young Lady
ſhews an impatience to be married,
before ſhe has made a Settlement of
<pb n="301" facs="tcp:54591:170"/>
her Affection upon any Individual
Man.</p>
            <p>However,<note place="margin">Inſtance in <hi>Electra</hi> of the ſame Author.</note> 
               <hi>Antigone</hi>'s Carriage is not
ſingular; <hi>Electra,</hi> another Lady of much
the ſame Quality and Character, (tho
not under thoſe immediate apprehenſions
of Death) declares her ſelf of the ſame
Opinion. She's in great diſtreſs too for
want of a Husband, and complains very
heavily upon that ſcore.</p>
            <q>
               <l>—<gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>Nor is <hi>Euripides</hi> a whit more tender
in this point. The Royal <hi>Polyxena,</hi>
juſt before ſhe was to be led away as a
Victim to the <hi>Manes</hi> of <hi>Achilles,</hi> harps
upon the ſame ſtring. It lies very heavy
upon her Spirits, that ſhe muſt go out of
the World in ignorance.</p>
            <q>
               <l>—<gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>This Princeſs's complaint is yet more
unreaſonable than either of the former,
and more unbecoming the Modeſty of
her Sex, and the greatneſs of her Birth
<pb n="302" facs="tcp:54591:171"/>
and Courage, as 'tis both before and after<g ref="char:EOLhyphen"/>wards
ſhew. Shewn as a Captive, a part of
the Plunder of the ſack'd City, one that
beſides her own unhappy Deſtiny,
which hung immediately over her head,
had the Ruin and Miſeries of her Coun<g ref="char:EOLhyphen"/>try
and Family freſh in view, to put
all wanton thoughts out of her head.
Beſides, ſhe cou'd not expect to aſcend the
inſolent Conquerors Bed any otherwiſe
than as his Vaſſal, the Slave of his Luſt
and Pleaſure, which, as it was below
her to comply with, but upon Force,
ſo it muſt be a Slaviſh Baſeneſs, as well
as Wantonneſs and Incontinence, to
deſire it under her Circumſtances.</p>
            <p>It were eaſy to bring many Inſtances
more of this kind, but I think. it wou'd
be tedious and unneceſſary to multiply
inſtances in a plain caſe. I think it like<g ref="char:EOLhyphen"/>wiſe
a labour altogether as ſuperfluous
to ſpend more words to ſhew the vaſt
diſproportion between the innocent Ex<g ref="char:EOLhyphen"/>travagance
of <hi>Ophelia</hi>'s Frenzy, and the
ſober Rants of <hi>Antigone, Electra,</hi> and
<hi>Polyxena.</hi> To ſuppoſe the Reader cou'd
over-look that, were to affront his Un<g ref="char:EOLhyphen"/>derſtanding.</p>
            <p>
               <pb n="303" facs="tcp:54591:171"/>
But before I part with <hi>Antigone,</hi> I
ſhall beg leave to make one obſervation
more.<note place="margin">P. 35.</note> Mr <hi>Collier</hi> takes notice, that <hi>Caſ<g ref="char:EOLhyphen"/>ſandra,
in reporting the misfortunes of the</hi>
Greeks, <hi>ſtops at the Adulteries of</hi> Clytem<g ref="char:EOLhyphen"/>neſtra
<hi>and</hi> Aegiale. <hi>And gives this hand<g ref="char:EOLhyphen"/>ſome
reaſon for making a halt.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>Foul things are beſt unſaid.</l>
            </q>
            <p>
               <hi>From whence he obſerves, that</hi> Some
things are dangerous in report, as well as
practice, and many times a Diſeaſe in the
Deſcription. This <hi>Euripides</hi> was aware
of, and manag'd accordingly, and was
remarkably regular both in Stile and Man<g ref="char:EOLhyphen"/>ners.</p>
            <p>This was indeed an extraordinary
piece of niceneſs in <hi>Euripides,</hi> more I
think by a great deal, than he was ob<g ref="char:EOLhyphen"/>lig'd
to, and I am ſure more than he has
ſhewn upon other occaſions. <hi>Caſſandra</hi>
might have foretold the Diſcovery of
the Adulteries of <hi>Clytemneſtra</hi> and <hi>Aegi<g ref="char:EOLhyphen"/>ale,</hi>
without any Indecencies of Lan<g ref="char:EOLhyphen"/>guage,
or ſhocking the moſt tender
Ear, had the Poet ſo pleas'd.</p>
            <p>
               <pb n="304" facs="tcp:54591:172"/>
               <hi>Sophoclcs,</hi>
               <note place="margin">
                  <hi>Antigone</hi> in <hi>Sopho<g ref="char:EOLhyphen"/>cles</hi> not ſo nice.</note> who was as good a Judge
and as careful an obſerver of decency
as <hi>Euripides,</hi> gives his <hi>Antigone</hi> more
liberty; tho had he thought it indecent,
he might with better reaſon have ex<g ref="char:EOLhyphen"/>cus'd
her. 1ſt, Becauſe what <hi>Antigone</hi>
ſays is no way neceſſary, being neither
provok'd by any thing that preceeded,
nor of uſe to the promoting of the
Action, or the Information of the Au<g ref="char:EOLhyphen"/>dience.
2dly, Becauſe ſhe thereby re<g ref="char:EOLhyphen"/>vives
the Infamy of her Parents, and
refreſhes the ſcandalous impreſſions,
which her own Inceſtuous Birth muſt
needs have made upon the Audience to
her diſadvantage.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>If <hi>Antigone</hi> might be thus free with
her own Family without breach of
Modeſty, I can't ſee why <hi>Caſſandra</hi>
ſhou'd be ſo tender of an Enemy, whom
ſhe was juſt going to ſupplant in her
Bed; and in the divulging of whoſe
Faults, as well as Misfortunes, ſhe
might be allow'd to take ſome
<pb n="305" facs="tcp:54591:172"/>
Pleaſure,<note place="margin">
                  <hi>Caſandra</hi> not ſo nice as Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi> pre<g ref="char:EOLhyphen"/>tends.</note> as a ſort of anticipation of
the ſatisfaction, which ſhe took in the
Revenge of the Deſtruction of her Fa<g ref="char:EOLhyphen"/>mily,
which ſhe foreſaw was to come.
But <hi>Caſandra</hi> lov'd doing better than
talking. For in the Speech foregoing to
this, which Mr <hi>Collier</hi> commends ſo much
for the Modeſty of it, <hi>Caſandra</hi> runs
almoſt mad for Joy, that <hi>Agamemnon</hi>
wou'd take her to his Bed, and calls in
an Enthuſiaſtick manner upon <hi>Hymen,</hi>
upon <hi>Hecate,</hi> and <hi>Apollo</hi> to grace the
Ceremony. She deſires her <hi>Mother,</hi>
and the miſerable <hi>Phrygians</hi> about her
to adorn themſelves, be merry, and
dance, and ſing, as if her Father were
in the heighth of his proſperity. The
<hi>Chorus</hi> hereupon deſires <hi>Hecuba</hi> to curb
her, and keep her from running volun<g ref="char:EOLhyphen"/>tarily
to the <hi>Grecian</hi> Camp. Her Mo<g ref="char:EOLhyphen"/>ther
accordingly reprimands her, and
tells her ſhe thought their Calamities
might have made her more modeſt,
that Tears better became their For<g ref="char:EOLhyphen"/>tune,
than Nuptial Songs or Tor<g ref="char:EOLhyphen"/>ches.</p>
            <q>
               <l>—<gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <pb n="306" facs="tcp:54591:173"/>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>This Reproof has a ſtrange Opera<g ref="char:EOLhyphen"/>tion
upon <hi>Caſandra.</hi>
               <note place="margin">E<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>trava<g ref="char:EOLhyphen"/>gance of <hi>Caſandra.</hi>
               </note> For inſtead of re<g ref="char:EOLhyphen"/>claiming
and reducing her to reaſon, it
makes her ten times madder. She falls to
croſs purpoſes with her Mother, and
as if ſhe had been Pandreſs in the caſe,
calls upon her to crown her victorious
head, and wiſh her Joy of her Royal
Match. She bids her lead her, and if
ſhe does not make haſt enough, ſhe
wou'd have her puſh violently on.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>Is this the Modeſt, the baſhful <hi>Ca<g ref="char:EOLhyphen"/>ſandra,</hi>
ſo demure, that ſhe can't name
adultery, tho in an Enemy, and yet
ſo forward to act it, that no reſtraints
of Shame or Miſery can keep her with<g ref="char:EOLhyphen"/>in
bounds.</p>
            <p>
               <pb n="307" facs="tcp:54591:173"/>
It may perhaps be objected in De<g ref="char:EOLhyphen"/>fence
of <hi>Caſandra,</hi> that her Joy and
Tranſport ſprings not from any Plea<g ref="char:EOLhyphen"/>ſure
or Satisfaction, that ſhe ſhou'd take
in this Match, but from the Proſpect
ſhe had of revenging the Quarrel of
her Family, and the Ruine and De<g ref="char:EOLhyphen"/>ſtruction
which ſhe foreſaw ſhou'd
thence come upon the Houſe of <hi>Atreus</hi>
her mortal Enemies.</p>
            <p>Admit this to be true.<note place="margin">Indecency again<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap> Cha<g ref="char:EOLhyphen"/>racter.</note> Yet <hi>Caſandra</hi>
puſhes her Reſentments too far, when
ſhe ſacrifices her Virtue and Modeſty
to her Revenge. Had <hi>Caſandra</hi> been
repreſented as a Woman of a furious
vindicative Spirit, ſhe might in a ſud<g ref="char:EOLhyphen"/>den
fit of Rage have raſhly ſacrificed
all Conſiderations to the Violence of
her preſent Fury. But then if the Cha<g ref="char:EOLhyphen"/>racter
be virtuous in the main, ſuch
Outrages are not offered to Modeſty,
till after prodigious ſtruggles, and
racking Convulſions of Mind. Paſſion
muſt not triumph over Reaſon and
Honour, but with vaſt labour and dif<g ref="char:EOLhyphen"/>ficulty,
and in thoſe Breaſts only,
where it is the ruling, uncontrollable
Power, and where the proſpect of its
ſucceſs is great, and immediate, and is
<pb n="308" facs="tcp:54591:174"/>
in Women provoked as well by Appe<g ref="char:EOLhyphen"/>tite
as Inclination.</p>
            <p>But this is none of <hi>Caſandra</hi>'s caſe.
She ſhared indeed amongſt the reſt the
common Fate, and became a Slave, and
a Prey to the victors Luſt and Avarice.
This might naturally make her wiſh
the utter confuſion of the Deſtroyers
of her Country and Family; but not
at the expence of her Fame and Virtue.
'Twas all ſhe had left to comfort her;
and as <hi>Andromache</hi> in the ſame Play
cou'd inform her, of infinitely more
worth, than the wretched remainder of
a ſervile Life. This therefore ſhou'd
not have been parted with at any rate,
much leſs upon a ſlender conſideration.
Had ſhe ſubmitted to neceſſity only,
and comply'd as a Slave with reluctance
to the deſires of <hi>Agamemnon,</hi> as <hi>Andro<g ref="char:EOLhyphen"/>mache</hi>
does to <hi>Pyrrhus,</hi> ſhe had ſaved hes
Modeſty, and ſecured her Revenge ev'ry
whit as well. The Diſaſters of <hi>Aga<g ref="char:EOLhyphen"/>memnon</hi>
and his Houſe, interpreted as
a Puniſhment of her's, and her Family's
wrongs, tho they were only Propheti<g ref="char:EOLhyphen"/>cally
fore-known by her, had given a
ſullen ſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>rt of Comfort, and afforded
a reaſon for her reſignation of her ſelf
<pb n="309" facs="tcp:54591:174"/>
to the Conquerors Pleaſure. But if the
Poet deſigned her for ſo implacable a
Character, as to take ſuch great ſatisfacti<g ref="char:EOLhyphen"/>on
in, and purchaſe at ſo dear a rate a
Proſpect only of Revenge at ſuch a
diſtance, by which ſhe herſelf muſt be
cruſhed, and all her Friends either dead,
or ſo diſperſed as to have no intereſt in
the accompliſhment of it: he ought to
have prepar'd the Audience for ſo unac<g ref="char:EOLhyphen"/>countable
an extravagance, by ſome
notice of the Violence of her Temper,
either by ſomething from her own mouth
or Conduct previous to this, or from the
mouth of ſome Friend of her's, that
might have abated the ſurprize of ſuch
a reſolution. Eſpecially ſince he was re<g ref="char:EOLhyphen"/>ſolved
ſhe ſhou'd appear no more by her
future modeſt behaviour to qualify the
Scandal of this Miſdemeanour.</p>
            <p>This Lady being ſet up by Mr <hi>Collier</hi>
as the Standard of Modeſty, I have ex<g ref="char:EOLhyphen"/>amined
her Conduct the more at large;
and am very willing to leave it to the
deciſion of the Reader, whether <hi>Caſandra</hi>
or <hi>Ophelia</hi> wou'd beſt become the Cloy<g ref="char:EOLhyphen"/>ſter,
or moſt needs the Diſcipline of the
Nunnery in <hi>Moorfields.</hi>
            </p>
            <p>
               <pb n="310" facs="tcp:54591:175"/>
We have ſeen how this Lady can
behave her ſelf upon occaſion.<note place="margin">Misbehavi<g ref="char:EOLhyphen"/>our of <hi>He<g ref="char:EOLhyphen"/>cuba.</hi>
               </note> Let us
examine her Mother, that corrected her
wantonneſs ſo ſeaſonably upon this
occaſion. She as older ſhou'd have
more wit, and yet ſhe forgets herſelf
extreamly too ſometimes. In the Play
that bears her name, <hi>Hecuba</hi> comes to
<hi>Agamemnon,</hi> complains of the murther
of her Son <hi>Polydorus</hi> by <hi>Polymeſtor,</hi> and
to move him to Compaſſion begins a
wanton Diſcourſe of the Pleaſures of
Love to him, tho ſhe thinks at the
ſame time, that 'tis impertinent, yet
ſhe's reſolv'd it ſhall out.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>As an old Woman ſhe had the pri<g ref="char:EOLhyphen"/>viledge
of tattling. But as a Prudent Wo<g ref="char:EOLhyphen"/>man,
ſhe ought to have handled her
Daughters diſgrace a little more tender<g ref="char:EOLhyphen"/>ly.
The good old Lady ne'r minces the
matter, but outs with all roundly, and
is concerned, that any thing ſhou'd a<g ref="char:EOLhyphen"/>bate
of the ſatisfaction <hi>Caſandra</hi> might
have in ſo good a Bedfellow.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>
               <pb n="311" facs="tcp:54591:175"/>
This is plain dealing, but ſomething
below the Dignity of the Queen of
<hi>Aſia,</hi> at the loweſt ebb of her Fortune.
What follows is fit only for the Mouth
of a Drunken Midwife at a Chriſtening
in <hi>Wapping.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>After theſe remarkable Inſtances of
the regularity of <hi>Euripides,</hi>
               <note place="margin">Love and T<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>nderneſs uſed by the <hi>Moderns.</hi> Luſt and Violence by the <hi>Anti<g ref="char:EOLhyphen"/>ents.</hi>
               </note> both in Stile
and Manners, I ſuppoſe our Poets may
venture to ſhew their Faces in his Com<g ref="char:EOLhyphen"/>pany,
without danger of putting him
to the bluſh with their want of Mo<g ref="char:EOLhyphen"/>deſty.
But the Antients, it ſeems, had
very little <hi>Love</hi> or <hi>Courtſhip</hi> in their
Plays. Perhaps ſo. But they had Luſt
and Violence, which Mr <hi>Collier</hi> thinks
more eligible. The fault of the Mo<g ref="char:EOLhyphen"/>dern
Lovers, it ſeems, is too much
tenderneſs and fooling away their time
in idle Talk. The vigorous Antients went
more roundly to work, their's were like
<hi>Spaniſh</hi> Intrigues, two words ſtruck the
bargain betwixt 'em.</p>
            <p>
               <pb n="312" facs="tcp:54591:176"/>
'Twere eaſie to multiply inſtances of
this nature from <hi>Euripides,</hi>
               <note place="margin">Numerous inſtances of this kind to be found in <hi>Euripides.</hi>
               </note> were that
my Deſign. But I love not to rake
into the Aſhes of the Dead for that
which isn't worth finding. Yet that
the Reader, if he has the curioſity,
may have the ſatisfaction, I ſhall refer
him to the Places where they are to
be found; where he that has a mind
to a more ample Collection, may be
abundantly furniſhed.</p>
            <p>
               <hi>Hermione</hi> rails at <hi>Andromache</hi> in terms
very misbecoming her Sex,<note place="margin">Some re<g ref="char:EOLhyphen"/>ferr'd to.</note> Quality,
and Years. <hi>Andromache</hi> reproves her
for it in terms yet leſs beſeeming a
ſober Matron, and caſts a ſcandalous
aſperſion upon her whole Sex. <hi>Creuſa</hi>
makes a foul relation of her rape by
<hi>Apollo,</hi> and deſcends nauſeouſly to par<g ref="char:EOLhyphen"/>ticulars
with her Servant. <hi>Ion</hi> her Son
civilly queſtions his Mother, whether
ſhe had not play'd the Whore with
ſome baſe Groom, and to cover her diſ<g ref="char:EOLhyphen"/>grace
laid her Baſtard (himſelf) falſly
to <hi>Apollo</hi>'s charge. <hi>Electra's</hi> manners
are much of the ſame ſize and com<g ref="char:EOLhyphen"/>plexion;
when ſhe is urging her Bro<g ref="char:EOLhyphen"/>ther
<hi>Oreſtes</hi> to the murther of <hi>Aegiſthus;</hi>
ſhe bids him ring in his Ears the who<g ref="char:EOLhyphen"/>ring
<pb n="313" facs="tcp:54591:176"/>
of her Mother, and tell him, that
ſince he had a Whore of her he
muſt expect ſharers in her, and be the
Cuckold of other Men, as her Father had
been his. That he was notorious for her
Cully all the Town over. This ſort
of ſtuff ſhe lets run over without re<g ref="char:EOLhyphen"/>gard
to Decency, and rambles as wan<g ref="char:EOLhyphen"/>tonly
thro the Infamy of her Family,
as is if 'twere only Scandal pickt up at
a Goſſipping, in which they had no par<g ref="char:EOLhyphen"/>ticular
Concern.</p>
            <p>Whoever conſults theſe and divers
Paſſages, as well in <hi>Sophocles</hi> as <hi>Euri<g ref="char:EOLhyphen"/>pides,</hi>
will find the moſt exceptionable
Paſſages in our Poets, whether Comick
or Tragick very excuſable, upon a fair
Conſtruction, let it be never ſo ſevere
within the Bounds of Juſtice.</p>
            <p>
               <hi>Seneca</hi> has received Abſolution,<note place="margin">
                  <hi>Seneca</hi> examin'd upon this Article.</note> and
is pronounced clear of the ſin of Un<g ref="char:EOLhyphen"/>cleanneſs.
Yet with Mr <hi>Collier</hi>'s leave,
ſince he is introduced to vilify and de<g ref="char:EOLhyphen"/>preciate
the Moderns, he is bound to
confront 'em, and anſwer for his own
Conduct, before he takes upon him
magiſterially to cenſure and correct o<g ref="char:EOLhyphen"/>thers.
But ſince 'tis not ſo much his
act as Mr <hi>Collier</hi>'s, who has ventured to
<pb n="314" facs="tcp:54591:177"/>
be his Godfather, and anſwer for him,
a ſlight Inquiſition ſhall excuſe him.
We ſhall not require ſo ſevere a Proof
of his Chaſtity as the Ordeal Tryal.
It ſhall be ſufficient for him to enter
his Proteſtation againſt what has been
done in his Name.</p>
            <p>In his <hi>Hippolytus,</hi>
               <note place="margin">Miſcarriage of <hi>Phaedra.</hi>
               </note> 
               <hi>Phaedra</hi> is poſſeſſed
with a ſcandalous, inceſtuous Paſſion,
and ſhe indulges it at as looſe, a ſcan<g ref="char:EOLhyphen"/>dalous
rate. She enters firſt with her
Reſolution, as ſtrong as her Deſires.
She is not concerned at the Nature or
Conſequences of ſo vile a Paſſion, but
at the difficulty of ſatisfying it. She
appears at firſt ſight full grown and con<g ref="char:EOLhyphen"/>firm'd
in Wickedneſs, and inſtead of
condemning and endeavouring to ſtifle
ſo lewd, a licentious Flame, ſhe ani<g ref="char:EOLhyphen"/>mates
her ſelf to the accompliſhment of
her deſign by a recrimination upon her
Husband, and rips up, amongſt others,
even thoſe of his Faults, to which her<g ref="char:EOLhyphen"/>ſelf
had been acceſſary, and the ſole
occaſion of his Guilt. But what is more
ſtrange and unnatural, ſhe draws matter
of Comfort and Encouragement from
the monſtrous Lewdneſs of her Mother,
and the Infamy of her Houſe. But
<pb n="315" facs="tcp:54591:177"/>
what's moſt wonderful of all, ſhe's
come to this heighth of Impudence, be<g ref="char:EOLhyphen"/>fore
ſhe well knows what ails her; ſhe
is but juſt arrived at the Diſcovery of
her Malady. She can neither Eat,
Sleep, Work, nor Pray; but ſhe burns,
and boils inwardly like <hi>Aetna</hi> it ſelf,
and is all agog on the ſudden for hunting
and handling the Boarſpear: She knows
not why, till at length ſhe finds, that
ſhe's her Mother's own Daughter, and ſo
the Myſtery comes out.</p>
            <q>
               <l>Quo tendis anime? quid furens ſaltus amas?</l>
               <l>Fatale miſerae matris agnoſco malum,</l>
               <l>Peccare noſter novit in Sylvis amor.</l>
               <l>Genetrix, tui me miſeret, infando malo</l>
               <l>Correpta pecoris efferi ſaevum ducem</l>
               <l>Audax amaſti. Torvus impatiens guge</l>
               <l>Adulter ille, ductor indomiti gregis.</l>
               <l>Sed amabat aliquid: Quis meas miſe<g ref="char:EOLhyphen"/>rae Deus,</l>
               <l>Aut quis juvare Daedalus flammas queat?</l>
               <l>Non ſi ille remee<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> arte mopſopia potens,</l>
               <l>Qui noſtra caeca monſtra concluſet domo,</l>
               <l>Promittat ullam caſibus noſtris opem.</l>
               <l>—Nulla Minois levi</l>
               <l>
                  <pb n="316" facs="tcp:54591:178"/>
Defuncta amore eſt: jungitur ſemper nefas.</l>
            </q>
            <p>'Twas the fate of her Family, it
ſeems, and ſhe was by no means for
contending with her deſtiny, and there<g ref="char:EOLhyphen"/>fore
ſurrenders upon the firſt Summons
of her paſſion. Her Mother, ſhe thinks,
was much oblig'd to <hi>Daedalus,</hi> whoſe
ingenuity brought her and her horned
Lover together. But alas! Poor Soul,
She's hard put to't. Her Mother's Bull
was a gentle tender-hearted Gallant, to
her Savage obdurate Son-in-law; and ſhe,
good woman, had no ſuch neceſſary
helps for her Conſolation. What muſt ſhe
do? He Nurſe adviſes her to ſtrangle
this Inceſtuous Brat, her Paſſion, in
the Birth. But ſhe bravely reſolves to
puſh on, whatever comes on't.</p>
            <q>Quemcun<expan>
                  <am>
                     <g ref="char:abque"/>
                  </am>
                  <ex>que</ex>
               </expan> dederit exitum caſus, fe<g ref="char:EOLhyphen"/>ram.</q>
            <p>Is this the modeſt <hi>Phaedra,</hi> whoſe
Language is under ſuch diſcipline?
Can ſhe be ſo free with the Infamy of
her Houſe, make ſuch fulſome deſcrip<g ref="char:EOLhyphen"/>tions,
and envy her Mother the careſſes
<pb n="317" facs="tcp:54591:178"/>
of a Bull? But the Nurſe mends the
matter, and reproves her ſeverely. Here
therefore we may expect a ſample of
ſtrict and exemplary modeſty, and chaſte
expreſſion.</p>
            <q>
               <l>Sed ut ſecundus Numinum abſcondat favor</l>
               <l>
                  <hi>Coitus nefandos</hi>—and immediately after</l>
               <l>—Metue concubitus novos.</l>
               <l>Miſcere thalamos Patris, &amp; Nati ap<g ref="char:EOLhyphen"/>paras,</l>
               <l>
                  <g ref="char:V">Ʋ</g>tero<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> prolem capere confuſam impio.</l>
            </q>
            <p>Is this the diſciplin'd Language Mr
<hi>Collier</hi> boaſts of? Such we have in<g ref="char:EOLhyphen"/>deed
ſometimes under the diſcipline of
<hi>Bridewel</hi> and <hi>Bedlam,</hi> but ſeldom elſe<g ref="char:EOLhyphen"/>where.
The moſt accompliſh'd Diſciple
that ever came out of the late famous
Academy of the virtuous Mrs <hi>Meggs</hi> of
notable Memory, cou'd not have been
more free in her Language, as well as
Thoughts. The <hi>Antients,</hi> good Men,
did not puzzle their Heads about double
<hi>entendre's</hi> to ſcreen a foul thought, or
labour for Allegories and Alluſions, but
honeſtly called a Spade, a Spade, when<g ref="char:EOLhyphen"/>ever
they had occaſion. I believe
<pb n="318" facs="tcp:54591:179"/>
theſe Ladies wou'd be better company
for <hi>Joan</hi> of <hi>Naples,</hi> than Mr <hi>Dryden</hi>'s
<hi>Leonora,</hi> if fulſome Deſcriptions be ſo
toothſome to her.</p>
            <p>But Mr <hi>Collier</hi> is mightily pleaſed,<note place="margin">Modeſty of <hi>Lycus</hi> con<g ref="char:EOLhyphen"/>ſider.</note>
that <hi>there is no courting, except in the</hi>
Hercules Furens, <hi>where the Tyrant</hi> Lycus
<hi>addreſſes</hi> Megara <hi>very briefly, and in mo<g ref="char:EOLhyphen"/>deſt
remote Language.</hi> Here he has
pointed us a Specimen of what he calls
<hi>modeſt</hi> and <hi>remote.</hi> The Tyrant had court<g ref="char:EOLhyphen"/>ed
<hi>Megara,</hi> the Wife of <hi>Hercules,</hi> to
no purpoſe, ſhe obſtinately repulſed him;
and therefore he turns him about, and
<hi>modeſtly</hi> (as Mr <hi>Collier</hi> thinks) thus
addreſſes himſelf to <hi>Amphitruo. You
have Pimpt for</hi> Jupiter <hi>to your Wife, and
ſhall do as much for me to your Daughter-in-Law,
having ſo expert a Maſter it can
be no novelty either to her, or her Hus<g ref="char:EOLhyphen"/>band,
to be civil to their Betters. But if
ſhe obſtinately refuſes to comply, I'll force
her, and beget a generous Race.</hi>
            </p>
            <q>
               <l>Jovi dediſti conjugem, Regi dabis.</l>
               <l>Et te magiſtro non novum hoc diſcet Nurus,</l>
               <l>Etiam viro probante, meliorem ſequi,</l>
               <l>Sin copulari pertinax taedis negat,</l>
               <l>
                  <pb n="319" facs="tcp:54591:179"/>
Vel ex coacta nobilem partum feram.</l>
            </q>
            <p>This, according to Mr <hi>Collier,</hi> is Di<g ref="char:EOLhyphen"/>ſtance
and Modeſty, Old Stile. If he
will make theſe allowances to our <hi>Poets,</hi>
I'll engage to prove there never was an
immodeſt thing ſaid upon the <hi>Engliſh
Stage;</hi> a task I ſhou'd be loth to under<g ref="char:EOLhyphen"/>take
upon any other terms, as much as
I am perſwaded of their comparative
Innocence.</p>
            <p>But 'tis not in his Judgment only,<note place="margin">References to other in<g ref="char:EOLhyphen"/>ſtances.</note>
that Mr <hi>Collier</hi> can be partial; his Me<g ref="char:EOLhyphen"/>mory
can be favourable too upon occa<g ref="char:EOLhyphen"/>ſion.
For tho he does <hi>non omnibus dor<g ref="char:EOLhyphen"/>mire,</hi>
yet he can wink at the Faults
of his old Friends, while he ſees ev'ry
ſlip of the Moderns double. He ſays,
that <hi>Seneca</hi> has no courting but this
of <hi>Lycus;</hi> but I ſuppoſe, he wilfully
forgets the ſhameful ſolicitations
which <hi>Phaedra</hi> uſes to corrupt her Son-in-Law
<hi>Hippolitus,</hi> againſt the Charter
of her Sex, and the rules of Decency.
They, whoſe curioſity invites 'em to a
further enquiry, may find matter in
abundance for their ſpeculations, in the
<hi>Agamemnon,</hi> particularly in the <hi>Scenes</hi>
between <hi>Clytemneſtra</hi> and her <hi>Nurſe,
<pb n="320" facs="tcp:54591:180"/>
Aegiſthus</hi> and <hi>Clytemneſtra, Electra</hi> and
<hi>Clytemneſtra;</hi> and in divers others places
of the reſt of the Plays of that Col<g ref="char:EOLhyphen"/>lection.</p>
            <p>If we ſhould examine the <hi>Ancient Co<g ref="char:EOLhyphen"/>medy</hi>
               <note place="margin">Theſe Faults leſs pardon<g ref="char:EOLhyphen"/>able in <hi>Tragedy,</hi> than <hi>Co<g ref="char:EOLhyphen"/>medy.</hi>
               </note>
with the ſeverity that Mr <hi>Collier</hi>
uſes to the <hi>Moderns,</hi> we ſhould let in
ſuch a torrent of Citations, as wou'd
almoſt over-whelm us. But for the
reaſons already given, there are grains
of allowance to be made to <hi>Comedy,</hi> to
which <hi>Tragedy</hi> can lay no claim. <hi>Tra<g ref="char:EOLhyphen"/>gedy</hi>
deals with perſons of the higheſt
Condition, by and before whom the
ſtricteſt ſeverity of Manners and Deco<g ref="char:EOLhyphen"/>rum
is to be obſerv'd. The buſineſs
is of great importance, and requires ſe<g ref="char:EOLhyphen"/>rious
conſideration, and gives no op<g ref="char:EOLhyphen"/>portunity
for wantonneſs, or light in<g ref="char:EOLhyphen"/>decencies.
Whenever therefore the
<hi>Poet</hi> ſuffers ſnch perſons to talk ſuch
Fooleries themſelves, or others to talk
'em to 'em, he ſtoops 'em below their
Characters and Buſineſs. But in <hi>Come<g ref="char:EOLhyphen"/>dy</hi>
the caſe is quite different, both the
perſons and buſineſs are little, and exact
neither State nor Ceremony. Moſt of
the perſons are ſuch, as either don't
<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>now, or don't regard Forms and
<pb n="321" facs="tcp:54591:180"/>
Punctilio's of good Breeding. This
we have a plain Proof of in all the Co<g ref="char:EOLhyphen"/>medies
of Antiquity, whether of the
old or new Cut.<note place="margin">
                  <hi>Slaves</hi> th<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> top Cha<g ref="char:EOLhyphen"/>ract<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>rs of the <hi>Ro<g ref="char:EOLhyphen"/>man Co<g ref="char:EOLhyphen"/>medy.</hi>
               </note> The Slaves ate ſo fa<g ref="char:EOLhyphen"/>miliar
with their Maſters, that by the
freedoms they take, 'tis hard to diſtin<g ref="char:EOLhyphen"/>guiſh
one from t'other, except that the
Slave bears the Character of Advantage,
and appears generally to have more
wit than his Maſter, whom he is to
aſſiſt if he be young, and cheat if he
be old. Accordingly we find 'em al<g ref="char:EOLhyphen"/>moſt
always bantering, quibbling, drol<g ref="char:EOLhyphen"/>ling,
and jeſting upon their Maſters,
when they are together. Their em<g ref="char:EOLhyphen"/>ployment
is uſually to purchaſe
their young Maſter a Miſtreſs, with the
Hunks their Old Maſters money. By
this means the Slaves become the Prin<g ref="char:EOLhyphen"/>cipal
Character in the <hi>Antient Comedy,</hi> and
are the main Spring, by which the whole
Machine of the <hi>Fable</hi> is ſet a going. The
reſt, which are uſually in the new Come<g ref="char:EOLhyphen"/>dy,
a covetous old Fellow, an extravagant
young one, a Bawd, a Whore, a ſtolen Vir<g ref="char:EOLhyphen"/>gin,
are but the under Wheels, whoſe
motions are regulated altogether by
thoſe of the Slave, who is the Man of
Intrigue, and carries all the Brains the
<pb n="322" facs="tcp:54591:181"/>
               <hi>Poet</hi> can ſpare about him. The old Man
is froward, ſuſpicious, ſevere, and cloſe<g ref="char:EOLhyphen"/>fiſted;
and ſometimes he is repreſented
eaſy and indulgent, but has a ſcolding,
turbulent, griping Wife, a churliſh, par<g ref="char:EOLhyphen"/>ſimonious
Brother, or Relation, or con<g ref="char:EOLhyphen"/>ceited
Wiſe Friend, that takes upon him<g ref="char:EOLhyphen"/>ſelf
to correct and govern him. The
young Fellow is in Love, extravagant,
and in want of Money. The <hi>Bawd,</hi>
whether Male, or Female, is faithleſs,
impoſing, and acted only by preſent
profit. The <hi>Whore,</hi> if an experienc'd
one, is altogether Mercenary, if raw
in her Trade, ſhe is dotingly fond and
loving, but under the care of the Bawd.
The ſtoln Virgin is always next to a
Mute.</p>
            <p>Their <hi>Plots</hi> are confined to as nar<g ref="char:EOLhyphen"/>row
a compaſs,<note place="margin">Very little variety In th<gap reason="illegible" resp="#TECH" extent="3 letters">
                     <desc>•••</desc>
                  </gap>r <hi>Plots.</hi>
               </note> as their <hi>Characters.</hi> The
young Man is in Love with a Slave,
and wants money to purchaſe her of
the <hi>Bawd,</hi> who is about to ſell, or
proſtitute her to another. The young
Man in this exigent has recourſe to a
crafty Servant, who helps by ſome Stra<g ref="char:EOLhyphen"/>tagem
to ſqueeze the money out of the
old Spunge his Father, or to cheat ſome
other Body. A diſcovery at length is
<pb n="323" facs="tcp:54591:181"/>
made to his Father, who is vehemently
provoked at his Sons folly and extrava<g ref="char:EOLhyphen"/>gance,
and threatens to difinherit him.
Young Maſter and Man are at their
wits end, to reconcile themſelves to
the old Man, and no fetch, no contri<g ref="char:EOLhyphen"/>vance
left to bring themſelves off, when
in comes ſome Merchant or Stranger,
who diſcovers that this Maiden is a
Citizen, and well born; which paci<g ref="char:EOLhyphen"/>fies
the Old Fellow, the young Man
thrives in his amours, a match is ſtruck
up by conſent of all Parties, and all's
well again.</p>
            <p>'Tis true,<note place="margin">Greater Li<g ref="char:EOLhyphen"/>berty taken by <hi>Ariſto<g ref="char:EOLhyphen"/>phanes.</hi>
               </note> 
               <hi>Ariſtophanes</hi> took a much
greater compaſs, and brought not only
<hi>Mankind,</hi> but <hi>Gods, Brute Animals,</hi> and
even <hi>inanimate Bodies</hi> within the Pale
of the <hi>Stage.</hi> This, as it inlarg'd his
walk, encreas'd his Liberty, which he
ſometimes abuſes at a ſcandalous unju<g ref="char:EOLhyphen"/>ſtifyable
rate. Mr <hi>Collier,</hi> to obviate
all objections that might be rais'd from
the practice of <hi>Ariſtophanes,</hi> whoſe <hi>Co<g ref="char:EOLhyphen"/>medies</hi>
are the only pieces of that kind
remaining of the <hi>Greek</hi> Stage, by way
of prevention excepts againſt his Cre<g ref="char:EOLhyphen"/>dit,
and endeavours to invalidate his
Evidence by accuſing him of <hi>Atheiſm.</hi>
            </p>
            <p>
               <pb n="324" facs="tcp:54591:182"/>
But tho I think Mr <hi>Collier's</hi> Argu<g ref="char:EOLhyphen"/>ments
to prove him an Atheiſt to be of
no validity,<note place="margin">
                  <hi>Ariſto<g ref="char:EOLhyphen"/>phanes</hi> whether an Atheiſt or not <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> to the pur<g ref="char:EOLhyphen"/>poſe.</note> as I could eaſily ſhew, were
it not an impertinent digreſſion in this
place; yet I ſhall wave the particular
refutation of 'em, becauſe I think it
not material to the point in hand, whe<g ref="char:EOLhyphen"/>ther
he were ſo or not. For tho we
ſhould grant, that the Poet himſelf was
an Athieſt, yet Mr <hi>Collier</hi> himſelf will
not pretend that his Audience, the
people of <hi>Athens</hi> were ſo too. On the
contrary it appears that they were as
arrant Bigots, as Mr <hi>Collier</hi> himſelf
could wiſh to trade with. They put
<hi>Socrates</hi> to death, only becauſe he
would not be cullied out of his reaſon,
and be the Prieſt's Fool, to counte<g ref="char:EOLhyphen"/>nance
and encourage a ſenſeleſs extra<g ref="char:EOLhyphen"/>vagant
ſuperſtition. This made ſome
Chriſtian Fathers reckon him among
the <hi>Martyrs</hi> for the <hi>Unity</hi> of the <hi>De<g ref="char:EOLhyphen"/>ity.</hi>
            </p>
            <p>But Mr <hi>Collier,</hi> who has a much bet<g ref="char:EOLhyphen"/>ter
hand at ſuppoſing than proving,
takes a very odd method to clear the
reputation of that great man from the
ſuggeſtions of <hi>Ariſtophanes,</hi> and the
cenſure of his Country, by whom he
was condemn'd for <hi>Atheiſm.</hi>
            </p>
            <p>
               <pb n="325" facs="tcp:54591:182"/>
That <hi>Socrates</hi> was no <hi>Atheiſt</hi> is clear
from Inſtances enow. To mention but one.
The confidence he had in his Daemon or
Genius, by which he govern'd his Affairs,
puts it beyond diſpute.</p>
            <p>That <hi>Socrates</hi> held,<note place="margin">This Argu<g ref="char:EOLhyphen"/>ment conſi<g ref="char:EOLhyphen"/>dered.</note> and believ'd the
exiſtence of <hi>Daemons</hi> or <hi>Genii,</hi> may be
an argument, that he was no <hi>Atheiſt.</hi>
But that he pretended to have any Fa<g ref="char:EOLhyphen"/>miliarity,
or hold any Correſpondence
with ſuch a <hi>Daemon</hi> or <hi>Genius,</hi> gives
me but a very indifferent notion of his
Faith and Integrity. It ſmells rank of
Impoſture, and muſt needs make but a
bad Impreſſion upon men of Integrity,
and Underſtanding of thoſe Principles,
which want the ſupport of ſuch diſho<g ref="char:EOLhyphen"/>neſt
ſhifts. But this was <hi>Plato's</hi> report
of him, and perhaps was neither the
real practice nor opinion of <hi>Socrates,</hi>
whom therefore we ſhall diſmiſs, as ha<g ref="char:EOLhyphen"/>ving
been brought in only to ſhew how
unluckily Mr <hi>Collier</hi> is gifted for Ar<g ref="char:EOLhyphen"/>gument.</p>
            <p>But if the <hi>Athenians</hi> could proceed<note place="margin">Rigour of the <hi>Athe<g ref="char:EOLhyphen"/>nians</hi> to <hi>Socrates</hi> a ſort of Ac<g ref="char:EOLhyphen"/>qui<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>ment of <hi>Ariſto<g ref="char:EOLhyphen"/>phanes.</hi>
               </note>
with ſuch Rigou<gap reason="illegible" resp="#TECH" extent="2 letters">
                  <desc>••</desc>
               </gap> againſt a man ſo
much rever'd for his Virtue and Wiſdom,
and ſupported by the favour of their
beſt and greateſt men only, for holding
<pb n="326" facs="tcp:54591:183"/>
Opinions contrary to their Notions of
Religion, 'tis not to be imagin'd, that
they who were ſo very tender in this
caſe, ſo extreamly ſenſible of any affront
to the Common Faith, would with ſo
little concern, or rather ſo much ſatis<g ref="char:EOLhyphen"/>faction,
have heard it publickly inſulted
by <hi>Ariſtophanes.</hi> They ſhew'd in the
caſe of <hi>Socrates,</hi> that their Blood could
riſe and ferment upon ſuch occaſions as
high as any people's. How comes it
then, that they who were ſo outrage<g ref="char:EOLhyphen"/>ous
and impatient with <hi>Socrates,</hi> are ſo
tame, and paſſive as to bear much
greater Provocations of the ſame Na<g ref="char:EOLhyphen"/>ture
from <hi>Ariſtophanes</hi> without the leaſt
ſign of Reſentment? Was the intereſt
of the <hi>Poet</hi> ſo much ſuperiour to the
<hi>Philoſophers,</hi> that what was capital in
one ſhou'd deſerve no manner of cor<g ref="char:EOLhyphen"/>rection,
or notice in t'other? No ſuch
matter, for he was call'd in queſtion,
and took his Tryal for a thing of much
leſs moment, <hi>viz.</hi> For aſſuming the Liber<g ref="char:EOLhyphen"/>ties
of a Citizen of <hi>Athens</hi> being a Foreign<g ref="char:EOLhyphen"/>er.
Now there is <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> doubt, but his Ene<g ref="char:EOLhyphen"/>mies
who had the malice and the power
to get him thus arraign'd, would have
ſtrengthen'd their Charge, with an Ar<g ref="char:EOLhyphen"/>ticle
<pb n="327" facs="tcp:54591:183"/>
ſo conſiderable as <hi>Atheiſm,</hi> and
<hi>Blaſphemy</hi> againſt their <hi>Gods,</hi> before
ſuch ſuperſtious bigotted Judges as
the <hi>Athenians,</hi> had there been any
ground or colour of ſuſpicion. The
Power and Malice of <hi>Cleon</hi> wou'd have
reach'd, him, had there been any plau<g ref="char:EOLhyphen"/>ſible
pretence, to have fixt the guilt of
a Crime ſo unpopular upon him.</p>
            <p>Mr <hi>Collier</hi> pretends to maintain his
aſſertion by divers inſtances of irreve<g ref="char:EOLhyphen"/>rent
paſſages in relation to their Gods,<note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> 
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>o proof of <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap> aſſertion.</note>
to be found in the Plays of <hi>Ariſtopha<g ref="char:EOLhyphen"/>nes.</hi>
I grant there are ſuch paſſages,
even more than Mr <hi>Collier</hi> has cited,
tho many of thoſe which he has ſelect<g ref="char:EOLhyphen"/>ed
to prove his Allegation by, will
by no means bear the weight of ſuch
a Charge. But the people of <hi>Athens,</hi>
who were in theſe matters much more
delicate,<note place="margin">The Opini<g ref="char:EOLhyphen"/>on of the <hi>Man</hi> not meaſured by the Ex<g ref="char:EOLhyphen"/>preſſions of the <hi>Poet</hi> at <hi>Athens</hi>
               </note> than Mr <hi>Collier</hi> ſeems to be,
had the niceneſs to diſtinguiſh juſtly be<g ref="char:EOLhyphen"/>tween
the <hi>Private Sentiments</hi> of the
<hi>Man,</hi> and the <hi>Publick</hi> one's of the <hi>Poet.</hi>
In this latter capacity almoſt all ſorts of
Characters belong' <gap reason="illegible" resp="#TECH" extent="1 word">
                  <desc>〈◊〉</desc>
               </gap> to him, and he
muſt of conſequence be frequently ne<g ref="char:EOLhyphen"/>ceſſitated
to make uſe of Thoughts and
Expreſſions very contrary to his own
<pb n="328" facs="tcp:54591:184"/>
proper opinion. The <hi>Athenians</hi> there<g ref="char:EOLhyphen"/>fore
did not lay theſe Liberties of the
Stage, which they knew the nature of
thoſe Characters which he repreſented
muſt of courſe oblige him to, as ble<g ref="char:EOLhyphen"/>miſhes
either in his Faith or Morals, to
his Charge. Had Mr <hi>Collier</hi> been Ma<g ref="char:EOLhyphen"/>ſter
of as much Underſtanding and Ju<g ref="char:EOLhyphen"/>ſtice,
as theſe <hi>Heathens,</hi> not only <hi>Ari<g ref="char:EOLhyphen"/>ſtophanes,</hi>
but our <hi>Engliſh Poets</hi> too had
met with a fairer Adverſary, and found
civiller and honeſter treatment. 'Twere
eaſie to enlarge in the Juſtification of
<hi>Ariſtophanes;</hi> but Mr <hi>Collier</hi> gives him
up, and therefore we need no parallel
between him, and the <hi>Engliſh Comick
Poets,</hi> to prove the comparative mode<g ref="char:EOLhyphen"/>ſty
of the latter; for which reaſon
we ſhall proceed directly to <hi>Plautus</hi>
whom he juſtifies upon the compari<g ref="char:EOLhyphen"/>ſon.</p>
            <p>
               <hi>Plautus,</hi>
               <note place="margin">Liberties of <hi>Plautus</hi> greater than thoſe of the <hi>En<g ref="char:EOLhyphen"/>gliſh</hi> Stage. P. 15.</note> by reaſon of the narrow Cir<g ref="char:EOLhyphen"/>cle
that he moves in, affords no great
variety, yet there is plenty enough in
him, to make Mr <hi>Collier</hi> bluſh for his
defence, if it were all produc'd at large.
For what he calls <hi>very moderate,</hi> and
ſays, <hi>that our ſingle Plays ſhall far out<g ref="char:EOLhyphen"/>do
all this put together,</hi> wou'd in his
<pb n="329" facs="tcp:54591:184"/>
               <hi>Microſcopical</hi> way of obſerving appear
monſtrous, and infinitely exceed the
moſt malicious collection he can make
out of the <hi>Engliſh Poets.</hi> But he pre<g ref="char:EOLhyphen"/>ſumes
upon the ignorance of his Rea<g ref="char:EOLhyphen"/>ders,
and impoſes arbitrarily and ma<g ref="char:EOLhyphen"/>giſterially
what ſenſe he pleaſes upon
every thing, and deſpotically coins Ci<g ref="char:EOLhyphen"/>tations,
which he forces upon 'em for
genuine, upon no better warrant than
his own Will and Pleaſure. But to
proceed to inſtance.</p>
            <p>In the <hi>Amphitruo, Mercury,</hi>
               <note place="margin">Inſtances from the <hi>Amphi<g ref="char:EOLhyphen"/>
                     <gap reason="illegible" resp="#TECH" extent="2 letters">
                        <desc>••</desc>
                     </gap>io.</hi>
               </note> after a long
ſcene of groſs Drollery upon <hi>Amphitruo,</hi>
bids him be gone, and not diſturb his
Maſter's pleaſure with his Wife.</p>
            <q>
               <l>Abſcede moneo, moleſtus ne ſies, dum Amphitruo,</l>
               <l>Cum uxore modo ex hoſtibus adveniens, voluptatem capit.</l>
            </q>
            <p>Upon this <hi>Amphitruo</hi> asks, What Wife?
and is anſwer'd <hi>Alcumena.</hi> This does
not ſatisfy his curioſity, but he muſt
know whether <hi>he lies with her</hi> or not;
and is not contented till he has doubl'd
the Queſtion, and muſt be inform'd,
whether they lie in the ſame room both
<pb n="330" facs="tcp:54591:185"/>
or not. Hereupon <hi>Mercury,</hi> to cut the
debate ſhort, gives him this plain an<g ref="char:EOLhyphen"/>ſwer.</p>
            <q>Corpore corpus incubat.</q>
            <p>Upon this <hi>Amphitruo</hi> bewails his mi<g ref="char:EOLhyphen"/>ſery,
and <hi>Mercury</hi> in mockery ſays,
<q>
                  <l>Lucri'ſt, quod hic miſeriam deputat. Nam uxorem uſurariam</l>
                  <l>Perinde eſt praebere, ac ſi agrum ſterilem fodiendum loces.</l>
               </q>
            </p>
            <p>The man's a gainer by what he calls his
miſery. For 'tis as profitable to have ones
Wife, as ones Field till'd by another.</p>
            <p>At this rate <hi>Mercury</hi> drolls on;<note place="margin">Remarka<g ref="char:EOLhyphen"/>ble Circum<g ref="char:EOLhyphen"/>ſtances of this Paſ<g ref="char:EOLhyphen"/>ſage.</note>
wherein there is this remarkable, beſides
the quality of the perſons, one a God,
t'other a Heroe, that the words laſt
cited are ſuppos'd to be ſpoken aſide
out of the hearing of <hi>Amphitruo;</hi> and
conſequently are immediately addreſs'd
and peculiarly recommended to the Au<g ref="char:EOLhyphen"/>dience,<note place="margin">The Diſ<g ref="char:EOLhyphen"/>guiſe under which <hi>Mercury</hi> appears no excuſe for his misbe<g ref="char:EOLhyphen"/>haviour.</note>
as containing ſomething very
edifying or very entertaining.</p>
            <p>I defy Mr <hi>Collier</hi> to prove any ſuch
licentious freedoms upon the <hi>Engliſh
<pb n="331" facs="tcp:54591:185"/>
Amphitruo,</hi> as angry as he is with it.
But perhaps Mr <hi>Collier</hi> thinks the diſ<g ref="char:EOLhyphen"/>guiſe
of <hi>Soſia,</hi> may excuſe the ribaldry
of <hi>Mercury.</hi> But this excuſe won't
ſerve his turn. For <hi>Mercury</hi> is under
no diſguiſe to the Audience, to whom
this laſt Speech is particularly addreſs'd.</p>
            <p>But leſt he ſhould think <hi>Mercury</hi> a
Mad God,<note place="margin">
                  <hi>Jupiter</hi> not more mo<g ref="char:EOLhyphen"/>deſt.</note> and allow him the liberty of
Ribaldry, let us hear how cleanly
<hi>Iupiter</hi> will expreſs himſelf. It the laſt
Scene this Soveraign of the Gods ap<g ref="char:EOLhyphen"/>pears
in ſtate, owns his Quality and
Intrigue, and bids <hi>Amphitruo</hi> receive his
Wife. For, ſays he,
<q>Mea vi ſubacta'ſt.</q>
            </p>
            <p>Mr <hi>Collier</hi> knows the meaning of the
word <hi>Subigo</hi> in this caſe, and muſt ſtrain
as hard in this place, as he thinks <hi>Lam<g ref="char:EOLhyphen"/>bin</hi>
has done in another, if he will de<g ref="char:EOLhyphen"/>fend
it.</p>
            <p>The <hi>Aſinaria,</hi>
               <note place="margin">Inſtances from the <hi>Aſinaria.</hi>
               </note> the next Play in order,
affords beſides the Scene betwixt <hi>Cleare<g ref="char:EOLhyphen"/>ta</hi>
the Bawd, and <hi>Argyrippus,</hi> (which
Mr <hi>Collier</hi> confeſſes to <hi>border upon rude<g ref="char:EOLhyphen"/>neſs,</hi>
and I think down-right Bawdy in
ſeveral places) two more, one betwixt
<pb n="332" facs="tcp:54591:186"/>
               <hi>Argyrippus, Philenium, Leonida,</hi> and
<hi>Libanus,</hi> which is very looſe, and ano<g ref="char:EOLhyphen"/>ther,
which is ſingularly inſtructive,
between <hi>Argyrippus</hi> and <hi>Demaenetus</hi> his
Father.<note place="margin">Inſtance of ſingular Morality.</note> The old man, like a <hi>good</hi> Fa<g ref="char:EOLhyphen"/>ther,
purchaſes a Whore for his Son,
upon condition that himſelf may come
in for ſnacks, and withal tells him,
that it becomes a young man to be
modeſt, and let his Betters go before
him, that he had provided a Miſtreſs
for him to ſolace himſelf with all the
year, if he could but be content, to let
his Father be his Taſter. This is
wholeſom Doctrine, and ſeaſon'd with
ſuch grave Morality, no doubt very e<g ref="char:EOLhyphen"/>difying.
This Mr <hi>Collier</hi> finds no fault
with, and therefore we may very well
paſs it by; ſince, if it will bear the
Teſt of his Hypotheſis, it will unque<g ref="char:EOLhyphen"/>ſtionably
of ours. Tho, had this been
of <hi>Engliſh</hi> growth, it had found no fa<g ref="char:EOLhyphen"/>vour,
but had ſmarted unmercifully un<g ref="char:EOLhyphen"/>der
his diſcipline.</p>
            <p>One thing 'tis neceſſary to take no<g ref="char:EOLhyphen"/>tice
of before we go any further,<note place="margin">
                  <hi>Plautus's</hi> Lovers more active than talka<g ref="char:EOLhyphen"/>tive.</note> and
that is, that whether <hi>Plautus's</hi> Lovers
talk Love, or not, they act it very
plainly and vigorouſly before Folks,
<pb n="333" facs="tcp:54591:186"/>
where-ever they come together.<note place="margin">Inſtanced from the <hi>Curtulio.</hi>
               </note> An
inſtance of this kind we have in the
<hi>Curculio</hi> at the meeting of <hi>Phaedromus,</hi>
and <hi>Planeſium,</hi> (who by the by is ſup<g ref="char:EOLhyphen"/>pos'd
to be a modeſt Virgin). At their
purchas'd opportunity of coming toge<g ref="char:EOLhyphen"/>ther,
they are ſo active and boiſterous,
that <hi>Palinurus</hi> the Slave ſtands amaz'd,
and cries out,
<q>
                  <l>—uterque inſaniunt.</l>
                  <l>Viden' ut miſere moliuntur, nequen nt complecti ſatis.</l>
               </q>
            </p>
            <p>Theſe words are more expreſſive of
Action than Paſſion, though indeed they
imply both. <hi>Planeſium,</hi> to mend the
matter, expreſſes her diſcontent, that
the Servant did not withdraw, but
ſtaid to be a check upon 'em.</p>
            <q>Iam huic voluptati hoc adjunctum odi<g ref="char:EOLhyphen"/>um eſt.</q>
            <p>The Servant replies with indignation,
and reprimands his Maſter for behaving
himſelf ſo immodeſtly,
<q>—Ut immodeſtis hic te moderere moribus</q>
            </p>
            <p>
               <pb n="334" facs="tcp:54591:187"/>
I mention this only to ſhew how<note place="margin">Compara<g ref="char:EOLhyphen"/>tive Mo<g ref="char:EOLhyphen"/>deſty of the Virgins of the <hi>Anti<g ref="char:EOLhyphen"/>ent</hi> Stage hence to be obſerved.</note>
much even the modeſt Virgins of the
<hi>Antient</hi> Stage valued an opportunity.
This, according to Mr <hi>Collier's Hypothe<g ref="char:EOLhyphen"/>ſis,</hi>
would have been a Capital miſde<g ref="char:EOLhyphen"/>meanour
upon the <hi>Engliſh</hi> Stage, what<g ref="char:EOLhyphen"/>ever
it was upon the <hi>Roman.</hi> Many
more inſtances of this kind, and more
plain ones might be produc'd, but I
have not room for 'em here. Howe<g ref="char:EOLhyphen"/>ver,
this may ſerve to ſhew what ſort
of <hi>Nun's</hi> Fleſh Mr <hi>Collier</hi> wou'd be at,
when he makes <hi>Veſtals</hi> of ſuch Laſſes as
this.</p>
            <p>Mr <hi>Collier</hi> is ſo very fond of the So<g ref="char:EOLhyphen"/>briety
of <hi>Plautus's</hi> Plays,<note place="margin">Mr <hi>Col<g ref="char:EOLhyphen"/>lier's</hi> own exceptions taken no<g ref="char:EOLhyphen"/>tice of.</note> that he de<g ref="char:EOLhyphen"/>fends
even then Conduct of the <hi>Pandars</hi>
and <hi>Slaves,</hi> and maintains, that they
don't misbehave themſelves before Wo<g ref="char:EOLhyphen"/>men.
He is ſure at leaſt, that <hi>there are
but four inſtances</hi> to the contrary,<note place="margin">P. 17.</note> 
               <hi>as he
remembers, Olympio, Palaeſtrio, Strati<g ref="char:EOLhyphen"/>lax</hi>
and <hi>Dordalus are the perſons. And
the Women they diſcourſe with, are two of
them Slaves, and the third a Wench.</hi>
            </p>
            <p>I'm ſorry Mr <hi>Collier's</hi> memory is ſo
bad,<note place="margin">His inſtance in <hi>Olym<g ref="char:EOLhyphen"/>pio</hi> groſly miſtaken or miſrepre<g ref="char:EOLhyphen"/>ſented.</note> when he has ſo much occaſion for
a better. He takes notice of but three
Women thus freely dealt with, two
<pb n="335" facs="tcp:54591:187"/>
whereof, as he tells us by way of miti<g ref="char:EOLhyphen"/>gation
of damages, were Slaves, and
the third a Wench. From whence he
ſeems to infer, that before Women of
Modeſty and Condition, theſe <hi>Slaves</hi>
and <hi>Pandars</hi> were more cautious and
reſerv'd in their Language. But <hi>Olym<g ref="char:EOLhyphen"/>pio,</hi>
whom he has ſubpaena'd as an Evi<g ref="char:EOLhyphen"/>dence
for himſelf, will tell him other<g ref="char:EOLhyphen"/>wiſe.
The perſons he plays <hi>his Gambols
before,</hi> are <hi>Cleoſtrata</hi> and <hi>Murrhina,</hi> two
principal Citizens Wives, Matrons of
as great Quality and Virtue as any, that
e're trod the <hi>Roman</hi> Stage in <hi>Comedy;
Alcumena</hi> excepted. Theſe Matrons had
ſhamm'd him with a man in woman's
Cloaths for a Bride, and big with the
expectation of the Iſſue of their jeſt, fell
to catechizing him about the buſineſs.
The Clown, without regard to their
Quality, which was the more conſide<g ref="char:EOLhyphen"/>rable
in <hi>Cleoſtrata,</hi> becauſe ſhe was his
proper Miſtreſs, and might ſeverely cha<g ref="char:EOLhyphen"/>ſtiſe
any rudeneſs, yet the Clown, I
ſay, makes a very rank deſcription, and
what's worſe, the women were pleaſed
with it, and urge and prompt him for<g ref="char:EOLhyphen"/>ward.</p>
            <q>
               <pb n="336" facs="tcp:54591:188"/>
               <l>
                  <hi>Ol.</hi>—illa haud verbum facit,<note place="margin">Caſina Act 5 Scen. 2.</note> &amp; ſepit
veſte, id qui eſtis,</l>
               <l>Ubi illum ſaltum video obſeptum, rogo,
ut altero ſinat adire.</l>
               <l>Enim jam magis jam appropero, magis
jam lubet in Caſinam irruere.—</l>
            </q>
            <p>This, inſtead of rebating the edge of
his Miſtreſſes Appetite, inflames her
curioſity yet more; ſhe's impatient till
he proceeds.</p>
            <q>
               <l>
                  <hi>Cl.</hi> Perdis, quin pergis.</l>
               <l>
                  <hi>Cl.</hi>—continuo ſtricto gladio: atat
babae papae. <hi>Cl.</hi> Quid papae.</l>
               <l>
                  <hi>Ol.</hi>—Gladium ne haberet metui, id
quaerere occaepi</l>
               <l>Dum gladium ne habeat quaero, arripio
capulum,</l>
               <l>Sed quem cogito non habuit gladium, nam
id eſſet Frigidius.</l>
            </q>
            <p>Here the Booby began to mince the
matter; and his Miſtreſs, that lov'd
plain-dealing, corrects him for it, and
bids him ſpeak out, but he is aſham'd,
he ſays,</p>
            <q>
               <hi>Cl.</hi> Eloquere. <hi>Ol.</hi> At pudet.</q>
            <p>
               <pb n="337" facs="tcp:54591:188"/>
The Slave however has ſome grace.
His Miſtreſs can't be ſatisfy'd ſo, ſhe's
for every thing in as proper terms, as
if he was giving evidence in a Court
of Record. But not prevailing that
way, ſhe prompts and pumps him with
Interrogatories as looſely as a waggiſh
Councel at a Bawdy Tryal.</p>
            <q>
               <hi>Cl.</hi> Nam radix fuit? Num cucumis?</q>
            <p>The Woman, 'tis plain, had a true
apprehenſion of the matter, but ſhe did
not like his clowniſh Baſhfulneſs. Still
the fellow boggles at naked Image<g ref="char:EOLhyphen"/>ry;
however he improves, and comes
on apace.</p>
            <q>
               <l>
                  <hi>Ol.</hi> Profecto non fuit quicquam olerum</l>
               <l>Niſi quicquid erat, calamitas profecto at<g ref="char:EOLhyphen"/>tigerat
nunquam:</l>
               <l>Ita quicquid erat, grande erat.</l>
               <l>Volo, ut obvortat cubitiſſim,</l>
               <l>Verbum ullum mutit,</l>
               <l>Surgo ut ineam.</l>
            </q>
            <p>If we meaſure the Converſation of
<hi>Plautus's</hi> Ladies of Quality by this Stan<g ref="char:EOLhyphen"/>dard,
the Ladies of our Stage, taking
<pb n="338" facs="tcp:54591:189"/>
even the looſeſt, need not be aſham'd
of their Breeding. Nay, they wou'd
bluſh for their company if they were
brought together.</p>
            <p>But <hi>Cleoſtrata</hi> and <hi>Murrhina</hi> are not
ſingular.<note place="margin">In<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>ance from the <hi>Aſ<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>naria.</hi>
               </note> In the <hi>Aſinaria, Artemona,</hi>
upon the diſcovery of her Husbands
intrigue, reflects upon his Failings to<g ref="char:EOLhyphen"/>wards
her, and makes a very odd diſ<g ref="char:EOLhyphen"/>covery
of her own wants.</p>
            <q>
               <l>
                  <hi>Art.</hi> —Ego cenſeo</l>
               <l>Eum etiam hominem Senatui dare operam,
aut Clientibus</l>
               <l>Ibi labore delaſſatum noctem totam ſtertere.</l>
               <l>Ille opere foris faciundo laſſus noctu ad<g ref="char:EOLhyphen"/>venit.</l>
               <l>Fundum alienum arat, incultum familia<g ref="char:EOLhyphen"/>rem
deſerit.</l>
            </q>
            <p>He was (<hi>ſays ſhe</hi>) ſo taken up with
tilling another's ground, that he let his
own lye fallow.</p>
            <p>This frankneſs of the Lady's com<g ref="char:EOLhyphen"/>plaint
gave the Slave her Informer the
boldneſs to put a very homely queſtion
to her.</p>
            <q>
               <pb n="339" facs="tcp:54591:189"/>
               <l>Poſſis ſi forte accubantem tuum virum con<g ref="char:EOLhyphen"/>ſpecteris</l>
               <l>Cum corona amplexum amicam, ſi videas
cognoſcere?</l>
            </q>
            <p>Cou'd you know your Husband, if you
ſhou'd ſee him and his Miſtreſs in a
poſture that wou'd not ſhew his Face.</p>
            <p>This paſſage (to uſe a Phraſe of
Mr <hi>Collier's</hi>) I have tranſlated <hi>ſoftly,</hi>
but very fairly. Yet even thus the
Image, which in the Original is ex<g ref="char:EOLhyphen"/>preſs'd
in the proper vulgar terms, ap<g ref="char:EOLhyphen"/>pears
too groſs and plain, and is ſuch
as wou'd not be endur'd upon our Stage,
as lewd as Mr <hi>Collier</hi> thinks that and
the Age.</p>
            <p>However,<note place="margin">
                  <hi>Slaves</hi> not the only Off<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>nders of this kind in <hi>Plautus.</hi>
               </note> 
               <hi>The Men who talk intempe<g ref="char:EOLhyphen"/>rately
are generally Slaves,</hi> ſays Mr <hi>Col<g ref="char:EOLhyphen"/>lier;</hi>
and he can't find any Gentleman
guilty of an indecent expreſſion, ex<g ref="char:EOLhyphen"/>cept
<hi>Luſiteles,</hi> who is once <hi>over airy.</hi>
I ſhall help him to another, out of a
great number, that are ready upon de<g ref="char:EOLhyphen"/>mand,
which is the more authentick,
becauſe it comes from a grave old Gen<g ref="char:EOLhyphen"/>tleman
in no very airy mood, but while
<pb n="340" facs="tcp:54591:190"/>
he is correcting another for his Lewd
neſs and Debauchery. In the <hi>Miles
Glorioſus, Periplectomenes</hi> asks <hi>Pyrgopoli<g ref="char:EOLhyphen"/>nices</hi>
the Souldier,
<q>Cur es auſus ſubagitare alienam uxorem,<note place="margin">Miles Glo<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>ioſus.</note>
impudens?</q>
            </p>
            <p>The Gravity of the man here makes
the groſsneſs of the Expreſſion the
more remarkable. After theſe inſtances
I hope Mr <hi>Collier</hi> may upon ſecond
thoughts have a better opinion of the
Gentlemen and Ladies of our Stage,
than heretofore, at leaſt that he will do
'em more Juſtice in his next Parallel.</p>
            <p>But Mr <hi>Collier</hi> has one hold to retreat
to yet,<note place="margin">
                  <gap reason="illegible" resp="#TECH" extent="1 span">
                     <desc>〈…〉</desc>
                  </gap> 
                  <hi>logues</hi> and <hi>
                     <gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>pi<g ref="char:EOLhyphen"/>logues</hi> no<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap> always <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>n<g ref="char:EOLhyphen"/>off<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>nſ<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>.</note> from whence he muſt be driven
before we part. Plautus <hi>his</hi> Prologues
<hi>and</hi> Epilogues <hi>are inoffenſive.</hi> If this
can be maintain'd, he has gain'd a great
point;<note place="margin">P 17.</note> but here, as in other places, he
triumphs before Victory. The <hi>Prologue</hi>
and <hi>Epilogue</hi> are properly the Speeches
of the <hi>Poet,</hi> and 'tis in them, if any
where, that we diſcover the <hi>Morals</hi> of
a <hi>Comick Poet. Lambin</hi> finds a double
<hi>entendre</hi> in the <hi>Prologue</hi> to the <hi>Paenulus;</hi>
Mr <hi>Collier thinks there is a ſtrain in the
<pb n="341" facs="tcp:54591:190"/>
conſtruction.</hi> I muſt own my ſelf of
<hi>Lambin's</hi> opinion; but, ſince Mr <hi>Collier</hi>
does not here deliver himſelf after his
uſual dogmatical way, I ſhall not inſiſt
upon this paſſage, but proceed to in<g ref="char:EOLhyphen"/>ſtances,
which no violence of Con<g ref="char:EOLhyphen"/>ſtruction
can wreſt to a wrong ſenſe.</p>
            <p>Here let us return to the <hi>Caſina,</hi>
               <note place="margin">This prov'd from the <hi>Epilogue</hi> to the <hi>Ca<g ref="char:EOLhyphen"/>ſina.</hi>
               </note> to
which the <hi>Poet</hi> gives a very ſmutty
concluſion, and a more ſmutty <hi>Epilogue.
Grex,</hi> that ſpeaks the <hi>Epilogue,</hi> adviſes
the Audience to <hi>clap luſtily and give the
Poet his due, and to thoſe that did it, he
wiſhes as many Whores as they pleaſed,
unknown to their Wives; but to thoſe
that did not clap, he wiſhes a He-Goat
beſmear'd with the Filth of a Ship for a
Concubine.</hi>
            </p>
            <q>
               <l>Nunc nos aequum eſt, manibus meritis
meritam mercedem daffre,</l>
               <l>Qui faxit, clam uxorem ducat ſcortum
ſemper quod volet.</l>
               <l>Verum qui non manibus clare, quantum
poterit, pluſerit,</l>
               <l>Ei pro ſcorto ſuppon<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>tur hircus unctus
nautea.</l>
            </q>
            <p>
               <pb n="342" facs="tcp:54591:191"/>
Here we have a Sample of the <hi>Poet</hi>'s
<hi>Morals,</hi>
               <note place="margin">Epilogue to the <hi>A<g ref="char:EOLhyphen"/>ſinaria</hi> an Encourage<g ref="char:EOLhyphen"/>ment to Lewdneſs.</note> which Mr <hi>Collier</hi> has warrant<g ref="char:EOLhyphen"/>ed,
as we have already ſeen. In the
<hi>Epilogue</hi> to the <hi>Aſinaria,</hi> if we may
take <hi>Plautus</hi>'s word, we may have a
Taſte of the <hi>Manners</hi> of his <hi>Age</hi> and
<hi>Country,</hi> which Mr <hi>Collier</hi> is likewiſe
very fond of. From both which put
together, we may give a reaſonable
gueſs at Mr <hi>Collier</hi>'s own Palate in ſuch
matters. <hi>Demaenetus his Wife</hi> had caught
him in a Bawdy-houſe, whoring in his
Son's company, and rated him home,
which concludes the Action of the
Play. Hereupon <hi>Grex</hi> by way of ap<g ref="char:EOLhyphen"/>plication
thus accoſts the <hi>Audience.</hi>
            </p>
            <q>
               <l>Hic ſenex ſiquid clam uxorem ſuo animo
fecit volupe,</l>
               <l>Ne<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> novum, ne<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> mirum fecit, nec
ſecus quam alii ſolent,</l>
               <l>Nec quisqua ſt tam ingenio duro, nec
tam firmo pectore</l>
               <l>Quin ubi quicquam occaſionis ſit, ſibi
faciat bene.</l>
            </q>
            <p>Here the <hi>Poet</hi> juſtifies <hi>Whoring,</hi> even
in an old married man, and pleads the
common practice in defence of it. He
<pb n="343" facs="tcp:54591:191"/>
thinks no man can withſtand a fair
temptation <hi>to do himſelf good.</hi> For
with that Phraſe, he ſweetens the buſi<g ref="char:EOLhyphen"/>neſs
and qualifies the offence.</p>
            <p>Let Mr <hi>Collier</hi> compare theſe two
<hi>Epilogues</hi> with thoſe <hi>Engliſh</hi> ones to
which he refers, and then condemn
them, and abſolve theſe if he can. Nay,
even the Play of which <hi>Plautus</hi> himſelf
makes his boaſt,<note place="margin">Captivi.</note> 
               <hi>That 'twas written up
to the ſtricteſt rules of Chaſtity; that few
ſuch Comedies were to be found, by which
thoſe that were already good, might be
made better,</hi> has a very broad touch of
Smut in the <hi>Epilogue,</hi> even at the time
he is valuing himſelf upon his Mo<g ref="char:EOLhyphen"/>deſty,
<q>
                  <l>Spectatores,<note place="margin">Epilogue to the <hi>Cap<g ref="char:EOLhyphen"/>tivi.</hi>
                     </note> ad pudicos mores facta haec
fabula eſt.</l>
                  <l>Ne<expan>
                        <am>
                           <g ref="char:abque"/>
                        </am>
                        <ex>que</ex>
                     </expan> in hac ſubagitationes ſunt—</l>
                  <l>Hujuſmodi paucas Poetae reperiunt Co<g ref="char:EOLhyphen"/>maedias,</l>
                  <l>
                     <g ref="char:V">Ʋ</g>bi boni meliores fiant—</l>
               </q>
            </p>
            <p>Such Inſtances as theſe crowd them<g ref="char:EOLhyphen"/>ſelves
ſo upon us almoſt every where in
<hi>Plautus,</hi> that 'tis hard to paſs 'em over,
and endleſs to take notice of 'em. But
<pb n="344" facs="tcp:54591:192"/>
having already far tranſgreſſed the in<g ref="char:EOLhyphen"/>tended
limits of this diſcourſe, I ſhall
treſpaſs no farther upon the Reader's
patience on this head.</p>
            <p>His next complaint is <hi>the abuſe of the
Clergy.</hi>
               <note place="margin">Complaint of the <hi>Abuſe</hi> of the <hi>Clergy</hi> not well grounded.</note> Were this complaint juſtly
grounded, it would merit not only
his, but all honeſt men's Indignation,
and Reſentments. But this Charge does
not ſeem to be ſufficiently made out.
For 'tis raiſed upon a very weak foun<g ref="char:EOLhyphen"/>dation,
a miſtaken Notion, that Prieſts
above all the reſt of Mankind, are by
priviledge exempted from having their
faults taken notice of this way; His
reaſon for this ſhall be conſider'd by
and by. I ſuppoſe, if Mr <hi>Collier</hi>'s
Band hung awry, or his Face was
dirty, he would uſe the aſſiſtance of a
Glaſs to make all right and clean. Why
then does he reject the uſe of that
which might do the ſame office for his
mind, and help him to correct the fol<g ref="char:EOLhyphen"/>lies
and management of his Life? The
caſe is plain, he is blind to his own
Faults, and mad that any one elſe
ſhould ſee 'em. This makes him call
the ſhewing any of their failings, expo<g ref="char:EOLhyphen"/>ſing
the Clergy, as if thereby only
<pb n="345" facs="tcp:54591:192"/>
they became publick, not conſidering
that the Glaſs ſhews our Faults to our
ſelves only; other people can ſee 'em
as plainly and as readily without its
help. But Mr <hi>Collier,</hi> who takes every
thing by the wrong handle, looks upon
a correction as a reproach, and had
rather a Fault ſhould paſs unmended,
than be taken notice of. But becauſe
he pleads a peculiar Charter for the
exemption of the Prieſthood, let us ſee
how he makes out his Title. The
Conſiderations, upon which he founds
it, are three.</p>
            <p>
               <hi>Firſt,</hi> Becauſe of their Relation to the
Deity.</p>
            <p>This <hi>Relation to the Deity</hi> he ſwells
to a monſtrous ſize,<note place="margin">Their Rela<g ref="char:EOLhyphen"/>tion to the Deity to conſidered.</note> and blows himſelf
preſumptuouſly up in his own conceit,
to a Condition ſomething above mor<g ref="char:EOLhyphen"/>tal.
He pretends to no leſs, than to
be one of the <hi>Principal Miniſters of
Gods Kingdom,</hi>
               <note place="margin">P. 127. 128.</note> to <hi>repreſent his Perſon,</hi>
to <hi>publiſh his Laws, Paſs his Pardons,
and Preſide in his Worſhip.</hi> Mr <hi>Collier</hi>'s
Pride has here hurried him into prodi<g ref="char:EOLhyphen"/>gious
Inſolence and Folly. To raiſe
his own Character, he has made a <hi>Pope</hi>
of every individual Prieſt, and given
<pb n="346" facs="tcp:54591:193"/>
that to the meaneſt of 'em, which the
moſt <hi>Orthodox</hi> part of the Chriſtian
World deny to the pretended Succeſſor
of St <hi>Peter?</hi> Is not the whole world
God's Kingdom? What then, are its
Kings, Princes, and Rulers, if every
Prieſt be before 'em in Authority? Mr
<hi>Collier,</hi> I believe, is the firſt bold Mor<g ref="char:EOLhyphen"/>tal,
that ever pretended to repreſent
the perſon of God Almighty ſeriouſly.
This to me ſounds more like Blaſphe<g ref="char:EOLhyphen"/>my,
than any thing in the moſt pro<g ref="char:EOLhyphen"/>fane
<hi>Poet.</hi> The <hi>Pope</hi> indeed preſumes
to ſtile himſelf <hi>Chriſt</hi>'s Vicar general,
but he does not preſume to be the Re<g ref="char:EOLhyphen"/>preſentative
of his Perſon. As Mr
<hi>Collier</hi> has aſſum'd a higher Title, ſo,
I ſuppoſe, he expects more reverence.
'Tis ſtrange that Enthuſiaſm ſhould
ſhoot to ſuch a heighth in our cold
Climate, which it ſcarce ever reach'd
in <hi>Rome</hi> its Native Place. But Mr
<hi>Collier</hi> keeps a hot Bed, where he forces
up violent Notions, in ſpight of the
oppoſition of an unnatural Soil and
Seaſon.</p>
            <p>But I ſhould be glad to know,<note place="margin">Perſonal Repreſen<g ref="char:EOLhyphen"/>tation of Deity ab<g ref="char:EOLhyphen"/>ſurd.</note> where<g ref="char:EOLhyphen"/>in
this perſonal Repreſentation conſiſts.
Does he pretend, like the <hi>Pope,</hi> to poſ<g ref="char:EOLhyphen"/>ſeſs
<pb n="347" facs="tcp:54591:193"/>
any of the Divine Attributes? In<g ref="char:EOLhyphen"/>fallibility,
even of the Church itſelf,
has been long ſince juſtly exploded by
all ſober Chriſtians, that know, and
dare to uſe their Reaſon in the gui<g ref="char:EOLhyphen"/>dance
of their Conſciences. And the
<hi>Pope</hi> himſelf in the heighth of his
Pride and Uſurpation, never pretended
to more. But in what does this vain
Creature reſemble his Creator? Can a
groveling Mortal ſuſtain the Majeſty
and Figure of Omnipotence.</p>
            <p>If notwithſtanding all theſe Magni<g ref="char:EOLhyphen"/>ficent
expreſſions of himſelf,<note place="margin">The Power of the Church not lodged with the Prieſt.</note> and his
order, Mr <hi>Collier</hi> means no more, than
than that a Prieſt derives a ſubordinate
Authority from the Church, to exerciſe
his Function in Spiritual matters con<g ref="char:EOLhyphen"/>formably
to her directions, then all
this inſolent profane Bombaſt dwindles
to nothing. For tho a very great
power and truſt is repos'd in the
Church, yet I don't find, that this
Power was ever lodg'd entire with the
Prieſt, or any other ſingle perſon what<g ref="char:EOLhyphen"/>ſoever.
And therefore Mr <hi>Collier</hi> graſps
at too much, when he claims the ſame
reſpect, and deference for every Prieſt,
that is, or ought to be paid to the
<pb n="348" facs="tcp:54591:194"/>
Church, and the Governours of it.</p>
            <p>But Mr <hi>Collier</hi> finds,<note place="margin">Miſſion of <hi>St. Paul,</hi> and the A<g ref="char:EOLhyphen"/>poſtles what and how circumſtan<g ref="char:EOLhyphen"/>tiated.</note> that St. <hi>Paul</hi>
calls himſelf and the reſt of the <hi>Apoſtles
the Ambaſſadors of Chriſt,</hi> and thinks
himſelf thereby ſufficiently warranted
to take upon him to repreſent the <hi>per<g ref="char:EOLhyphen"/>ſon
of God.</hi> The word which St <hi>Paul</hi>
employs, 2 <hi>Cor.</hi> 5. 20. is <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>, which
ſignifies to come by commiſſion from
another, and conſequently may proba<g ref="char:EOLhyphen"/>bly
enough be render'd, <hi>We are the Em<g ref="char:EOLhyphen"/>baſſadors,</hi>
tho it does not always im<g ref="char:EOLhyphen"/>port
ſo much. Mr <hi>Collier</hi> lays hold of
the word Embaſſadour, and fancies
himſelf in the higheſt, and moſt ho<g ref="char:EOLhyphen"/>nourable
poſt that can be, under God
Almighty, that is, <hi>to repreſent his Per<g ref="char:EOLhyphen"/>ſon,
to publiſh his Laws, Paſs his Pardons,
and Preſide in his Worſhip.</hi> All this in<g ref="char:EOLhyphen"/>deed,
except the <hi>Perſonal Repreſentati<g ref="char:EOLhyphen"/>on,</hi>
was the Office of St <hi>Paul,</hi> and the
reſt of the <hi>Apoſtles.</hi> But without af<g ref="char:EOLhyphen"/>fronting,
or leſſening the Authority of
the Clergy, I think I may lawfully que<g ref="char:EOLhyphen"/>ſtion
whether Mr <hi>Collier</hi>'s Commiſſion
be of equal Extent or Validity with
theirs. They were call'd to the Mini<g ref="char:EOLhyphen"/>ſtry
immediately by God himſelf, en<g ref="char:EOLhyphen"/>dued
with ſupernatural and miraculous
<pb n="349" facs="tcp:54591:194"/>
Faculties, and Powers both of Diſcern<g ref="char:EOLhyphen"/>ing,
and Operation by Inſpiration from
the Holy Ghoſt himſelf. They were
to plant in the World a new Faith,
which had not yet been heard of, ex<g ref="char:EOLhyphen"/>cept
in a very ſmall part of the world.
Their Doctrines were reveal'd immedi<g ref="char:EOLhyphen"/>ately
to themſelves, and had no other
Evidence than their own Affirmation,
and the Works that they did, to back
and confirm what they taught. They had
occaſion for a Spirit more than natural<g ref="char:EOLhyphen"/>ly
diſcerning to be aſſur'd of the ſince<g ref="char:EOLhyphen"/>rity
of their Converts, and for a Com<g ref="char:EOLhyphen"/>miſſion
and Power extraordinary, to
remit the ſins of thoſe that they found
to be true Penitents, and to ſupport
themſelves and their Proſelytes againſt
the Oppreſſions of the Civil Power.</p>
            <p>Theſe circumſtances,<note place="margin">Difference betwixt their Com<g ref="char:EOLhyphen"/>miſſion and that of the preſent Mi<g ref="char:EOLhyphen"/>niſtry.</note> as I take it,
make a very wide difference between
the Miniſtry, and Commiſſion of the
Apoſtles, and the other immediate Diſci<g ref="char:EOLhyphen"/>ples
of our Saviour, and the Chriſtian Mi<g ref="char:EOLhyphen"/>niſtry
at this time. For firſt, They have
now no immediate call to the Miniſtry,
whatever ſome Enthuſiaſtick or Knaviſh
Sectaries may pretend. Secondly, They
have no natural Gifts above other men,
<pb n="350" facs="tcp:54591:195"/>
to warrant a Pretence to an extraordi<g ref="char:EOLhyphen"/>nary
Miſſion. Thirdly, They have
now no peculiar Revelation, nor any
other Rule of Faith, or Source of Do<g ref="char:EOLhyphen"/>ctrine,
which is not common to all
mankind with them. The Scriptures
lie open for all that will look into
'em, and our Clergy pretend to no ſu<g ref="char:EOLhyphen"/>pernatural
Gift of Expoſition above the
Laity, and conſequently can offer no
new matter of Faith. Fourthly, They
pretend to no Spirit of Diſcerning above
the condition of meer humanity to ena<g ref="char:EOLhyphen"/>ble
'em to ſee into mens hearts, and
judge of the ſincerity of their repen<g ref="char:EOLhyphen"/>tance,
and conſequently muſt diſpoſe
of Pardons blindfold, if they exerciſe
any ſuch power, otherwiſe than condi<g ref="char:EOLhyphen"/>tional,
and upon the terms expreſs'd in
Scripture. But the pronouncing an Ab<g ref="char:EOLhyphen"/>solution
on thoſe terms, is not paſſing
a Pardon, any more than allowing the
benefit of the Clergy to a Malefactor in
a Court of Judicature is an act of Grace
in the Bench. Laſtly, Since the World
became Chriſtian, thoſe extraordinary
Commiſſions, which the Apoſtles and
Primitive Chriſtians had, ceas'd with
the reaſons of 'em. For when the
<pb n="351" facs="tcp:54591:195"/>
Princes and Rulers of the World be<g ref="char:EOLhyphen"/>came
the Proſelytes and Protectors of
Chriſtianity, there was no further oc<g ref="char:EOLhyphen"/>caſion
to propagate the Goſpel by ex<g ref="char:EOLhyphen"/>traordinary
methods, which had the
Civil Power on its ſide. By this means
the care of the Church devolv'd upon
the State, and the Prieſthood became
ſubordinate to it. For tho no State or
Prince can make any thing a Rule of
Faith, which was not ſo before in its
Nature, or by ſome higher obligation,
yet in matters of Practice in things in<g ref="char:EOLhyphen"/>different
towards which the Scriptures
leave us at liberty, they have in all
Countries (not under the uſurpation of
the Pope) aſſerted their Authority by
ordering and directing the Forms and
Models of Church Government, and
appointing the Perſons of the Gover<g ref="char:EOLhyphen"/>nours,
who are therefore undoubtedly
ſubordinate to thoſe, by whoſe Autho<g ref="char:EOLhyphen"/>rity
they govern.</p>
            <p>From theſe differences 'tis plain, that
the Miniſtry at preſent ſtands upon
quite another foot, than it did in the
time of the Apoſtles; and that Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
challenges a relation to the Deity
which he has not, and in right of that
<pb n="352" facs="tcp:54591:196"/>
a greater Reverence and reſpect than is
due to him.</p>
            <p>His ſecond conſideration is,<note place="margin">Importance of their Office no exemption.</note> 
               <hi>The Im<g ref="char:EOLhyphen"/>portance
of their Office.</hi> What that is,
has been in great meaſure laid down in
the preceding Article. How far they are
concerned in publiſhing Gods Laws, and
paſſing his Pardons has been already
examin'd. There was indeed a time,
when the Prieſts had a Monopoly of
Faith and Salvation, and retail'd out
Articles and Indulgences to the Laity,
who repair'd to the Bank of Implicit
Faith and Merit for as much as their
occaſions requir'd. But the weakneſs of
their Fund being diſcover'd, that Bank
is broke long ſince in <hi>England.</hi> and the
Laity have taken their Conſciences in<g ref="char:EOLhyphen"/>to
their own Cuſtody again, to Mr
<hi>Collier</hi>'s great Diſappointment. How<g ref="char:EOLhyphen"/>ever
they preſide (he ſays) in the Wor<g ref="char:EOLhyphen"/>ſhip
of God. If he means by preſiding,
Officiating, he preſides over his con<g ref="char:EOLhyphen"/>gregation,
as a Clerk in Parliament pre<g ref="char:EOLhyphen"/>ſides
over the Houſe, becauſe he reads
the Bills, Petitions, <hi>&amp;c.</hi> to 'em. That
to officiate in the Houſe of God is an
Employment of great Importance and
honour, I ſhall readily grant. And as
<pb n="353" facs="tcp:54591:196"/>
they that perform their duty in that
ſtation conſcientiouſly and well deſerve
all due reſpect and honour; ſo on the
other hand, thoſe that proſtitute their
Character to baſe ends, and make the
Caſſock a Cover for <hi>Pride, Ambition,
Avarice, Hypocriſie, Knavery,</hi> or <hi>Folly,</hi>
deſerve to be corrected, and expos'd to
the Publick. The importance of the
Office, which Mr <hi>Collier</hi> pleads in bar
to any Lay Cenſure upon 'em, is a
ſtrong Argument for it. For in pro<g ref="char:EOLhyphen"/>portion
to the weight of the truſt,
ought to be the check upon it.</p>
            <p>There may be many Faults amongſt
the inferiour Clergy,<note place="margin">Some faults not cogniza<g ref="char:EOLhyphen"/>ble by the Ordinary.</note> which eſcape the
notice, or do not fall properly under
the cognizance of the Ordinary, which
'tis convenient ſhou'd be amended, for
the reputation of the Order, and the good
of the Offenders themſelves. Mr <hi>Collier</hi>
thinks otherwiſe, he owns that they
ought not to be ſeen, but he would have
the People's Eyes put out, rather than the
Offence remov'd. A Blot's no Blot till
'tis hit; ſo the reputation of the Clergy
be ſafe, 'tis no matter for their Man<g ref="char:EOLhyphen"/>ners;
for the Sin lies in the Scandal.
Elſe why is he ſo angry with the <hi>Poets,</hi>
               <pb n="354" facs="tcp:54591:197"/>
for taking notice, that there is ſuch a
thing now and then to be ſeen in the
world as a Faulty Clergy-man? The
Order does not pretend to be any more
exempt from failings, than other men.
Then where's the Offence in ſhewing
what thoſe Frailties are, to which they
lie moſt expos'd? 'Tis true, this can't
be done in the Dramatick way, with<g ref="char:EOLhyphen"/>out
the appearance of the Offender by
his Proxy; which ſtirs Mr <hi>Collier</hi>'s
Blood, who would have the Laity be<g ref="char:EOLhyphen"/>lieve
'em abſolutely without Fault.
'Twere well if they were ſo indeed,
but ſince they are not, I think it not
juſt nor reaſonable, that the Laity
ſhou'd be cheated into ſuch a belief.
The man that labours too much to
conceal his Faults, ſhews that he aims
rather at Impunity than Repentance.
For men ſeldom think of Reformation,
while they can run on in a proſperous
courſe of undiſcover'd Villany.</p>
            <p>Upon this account Mr <hi>Collier</hi>'s reaſon<g ref="char:EOLhyphen"/>ing
appears very odd and ſingular. For
if the concealing and covering of Men's
Vices, be the means to advance and pro<g ref="char:EOLhyphen"/>mote
their corruption, he ſeems to take
a ſort of retrograde way to Reformation.
<pb n="355" facs="tcp:54591:197"/>
But his fear is, that the Vices of ſome
few thus publickly ſhewn, ſhou'd reflect
upon the whole Order, and weaken
their Credit and Authority in the Mini<g ref="char:EOLhyphen"/>ſterial
Function. This objection is alrea<g ref="char:EOLhyphen"/>dy
anſwered in the article of the <hi>Miſre<g ref="char:EOLhyphen"/>preſentation
of Women;</hi> what has been
there ſaid holds good here, and needs
no repetition. It can therefore be of
no ill conſequence; For thoſe that
are juſt, and Conſcientious in the exer<g ref="char:EOLhyphen"/>ciſe
of their Functions will loſe no
Credit or Authority; and thoſe that
are not, have too much, if they have
any.</p>
            <p>If Prieſts be without Fault,<note place="margin">Prieſts not miſrepre<g ref="char:EOLhyphen"/>ſented unleſs fault<g ref="char:EOLhyphen"/>leſs.</note> then to
paint 'em with any is a Miſrepreſenta<g ref="char:EOLhyphen"/>tion,
and an abuſe, a malicious ſlander<g ref="char:EOLhyphen"/>ing
of the Order. But if they be not,
'tis fit that the rotten Sheep ſhou'd be
mark'd and driven from the Flock, to
prevent the contagion, whether of the
Diſeaſe or the Scandal, which are
equally catching. But Mr <hi>Collier</hi> has
learnt Politicks of <hi>Hudibras,</hi> and wou'd
have Prieſts whipt by Proxy; their Faults
ſhou'd be chaſtiſed on Laymens Backs.
We thank him for his kindneſs, and are
very willing to be his Deputies, pro<g ref="char:EOLhyphen"/>vided
<pb n="356" facs="tcp:54591:198"/>
he can prove that the Phyſick
will have its effect that way. I have
been told, that a Purge given to a wet
Nurſe, wou'd operate with the Child;
but I never heard of a Med'cine that
wou'd work <hi>Vice verſa.</hi> I grant, that
they ought not to be corrected on the
Stage for Lay Follies. Their Characters
muſt be proper, in order to which,
whether they play the Fool or the
Knave, it muſt be ſeaſoned with a caſt
of the Profeſſion; otherwiſe they are
Lay Fools and Knaves in Maſquerade.
But as the Characters ought not to be
ſo general, as to repreſent whole Bodies
of Men, ſo neither ought they to be ſo
particular, as to ſtigmatize Individuals,
as they did in the <hi>Old Comedy.</hi> If this
C<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ution be obſerved, not only the Col<g ref="char:EOLhyphen"/>l<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap>ctive
Body of the Clergy, but every
individual Man amongſt 'em is ſafe from
ſcandal from that Quarter. If the <hi>Poets</hi>
have not obſerv'd it, Mr <hi>Collier</hi> in vin<g ref="char:EOLhyphen"/>dication
of the Clergy has a juſt Provo<g ref="char:EOLhyphen"/>cation
to laſh 'em ſeverely. But if they
have, then Mr <hi>Collier</hi> does 'em wrong, and
the <hi>Poets</hi> ought to reſume the Whip<g ref="char:EOLhyphen"/>cerd,
and return the Compliment.</p>
            <p>
               <pb n="357" facs="tcp:54591:198"/>
His laſt,<note place="margin">His Plea from Pre<g ref="char:EOLhyphen"/>ſcription examined.</note> and, as it appears by his di<g ref="char:EOLhyphen"/>lating
ſo largely upon it, his ſtrongeſt
Conſideration is, that <hi>They have Pre<g ref="char:EOLhyphen"/>ſcription
for their Priviledge. Their Pro<g ref="char:EOLhyphen"/>feſſion
has been in poſſeſſion of eſteem in all
Ages and Countries.</hi> That it has been in
Eſteem, and that it ought ſtill to be ſo,
more than it is, I believe the <hi>Poets</hi> them<g ref="char:EOLhyphen"/>ſelves
will allow. But that it has al<g ref="char:EOLhyphen"/>ways
been eſteemed ſo ſacred, that the
<hi>Antient Poets</hi> durſt never ſuffer any of
their <hi>Perſons</hi> of the <hi>Drama</hi> to make bold
with it, I deny; and I think I ſhall de<g ref="char:EOLhyphen"/>monſtrate
the contrary.</p>
            <p>I ſhall confine my ſelf to the <hi>Dra<g ref="char:EOLhyphen"/>matick
Poets,</hi>
               <note place="margin">Inſtance to the contrary from <hi>So<g ref="char:EOLhyphen"/>phocles.</hi>
               </note> and only obſerve, that
ſo the Prieſt be well treated 'tis no mat<g ref="char:EOLhyphen"/>ter
how his God is ſerved. For <hi>Homer</hi>
is careſſed at a high rate, for putting a
Crown upon <hi>Chryſes</hi>'s head, tho he uſes
the whole Tribe of the Gods like Scoun<g ref="char:EOLhyphen"/>drels.
The firſt <hi>Poet,</hi> that I ſhall pro<g ref="char:EOLhyphen"/>duce
is <hi>Sophocles.</hi> In the cloſe of his
<hi>Ajax</hi> the <hi>Chorus</hi> gives us the Moral of the
Play in theſe words; <hi>Experience teaches
us much, but before the Event is ſeen, ne'r
a Prophet of 'em all can tell what things
will come to.</hi>
            </p>
            <q>
               <pb n="358" facs="tcp:54591:199"/>
               <l>X. <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
                  <note place="margin">Ajax Fla<g ref="char:EOLhyphen"/>gellifer.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>This is a plain reflection upon the
Profeſſion, and ſo remarkably circum<g ref="char:EOLhyphen"/>ſtantiated,
that there is no doubt, but
'twas the <hi>Poets</hi> real ſenſe. For 'tis
ſpoken by the <hi>Chorus,</hi> and made the <hi>Mo<g ref="char:EOLhyphen"/>ral</hi>
of the Play.</p>
            <p>I ſhall paſs by the reproaches which
<hi>Oedipus</hi> makes <hi>Tireſias,</hi> becauſe Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
ſays they relate only to his Perſon,
tho he himſelf in his <hi>Defence</hi> will allow
no diſtinction betwixt the Man and the
Prieſt. <hi>If you make the Man a Knave,
the Prieſt muſt ſuffer under the Imputation.</hi>
However in the ſame Play<gap reason="illegible" resp="#TECH" extent="1 letter">
                  <desc>•</desc>
               </gap> 
               <hi>Jocaſta</hi>
ſays, <hi>She wou'd not give a Ruſh for Divi<g ref="char:EOLhyphen"/>nation.</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
                  <note place="margin">Oedipus Tyran<g ref="char:EOLhyphen"/>nus.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>—</l>
            </q>
            <p>In the next Play <hi>Creon</hi> amongſt other
reproaches tells <hi>Tireſias,</hi> that <hi>They were
all a Pack of Mercenary Corrupt Fel<g ref="char:EOLhyphen"/>lows.</hi>
            </p>
            <q>
               <pb n="359" facs="tcp:54591:199"/>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.<note place="margin">Antigone.</note>
            </q>
            <p>We have not room to multiply in<g ref="char:EOLhyphen"/>ſtances
ſo far, as we might, but theſe
may ſuffice to ſhew, that <hi>Sophocles</hi> was
not ſo much afraid of a Prieſt as Mr <hi>Col<g ref="char:EOLhyphen"/>lier</hi>
pretends.</p>
            <p>
               <hi>Euripides</hi> is not a whit more tender of
'em,<note place="margin">
                  <hi>Eurip<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>des</hi> not mo<gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>e tender of Prieſts.</note> 
               <hi>Agamemnon</hi> calls the <hi>whole tribe
of 'em a vain-glorious raſcally Race.</hi>
            </p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.<note place="margin">Iphigenia <hi>in</hi> Aulid<g ref="char:punc">▪</g>.</note>
            </q>
            <p>
               <hi>Achilles</hi> in the ſame Play (the So<g ref="char:EOLhyphen"/>briety
of whoſe Character Mr <hi>Collier</hi> is
much in love with) threatens <hi>Calohas</hi>
the Prophet before ſpoken of, and
breaks out into this exclamation; <hi>What
are Prophets? Fellows that by gueſs ſome<g ref="char:EOLhyphen"/>times
tell truth, but generally Lies.</hi>
            </p>
            <q>
               <l>—<gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,<note place="margin">Ibidem.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>
               <hi>Pentheus</hi> in the <hi>Bacchae</hi> uſes <hi>Tireſias</hi>
very ruggedly. He charges him with
being Mercenary, and an Impoſtor,
with ſeducing the People, and intro<g ref="char:EOLhyphen"/>ducing
<pb n="360" facs="tcp:54591:200"/>
a new falſe ſuperſtitious Wor<g ref="char:EOLhyphen"/>ſhip,
and orders the Seats from whence
he took his Augural Obſervation to be
pull'd down, with abundance of other
Menaces, and hard words. Theſe may
ſuffice for <hi>Euripides</hi> at this time.</p>
            <p>
               <hi>Seneca</hi> makes little uſe of the Pro<g ref="char:EOLhyphen"/>phets,
or Prieſts;<note place="margin">
                  <hi>S<gap reason="illegible" resp="#TECH" extent="1 letter">
                        <desc>•</desc>
                     </gap>neca</hi> meddles lit<g ref="char:EOLhyphen"/>tle with <gap reason="illegible" resp="#TECH" extent="1 word">
                     <desc>〈◊〉</desc>
                  </gap>.</note> 
               <hi>Tireſias</hi> appears twice
in his <hi>Oedipus,</hi> and <hi>Calchas</hi> once only
to deliver an Oracle. <hi>Oedipus</hi> charges
<hi>Tireſias</hi> with confederating with <hi>Creon,</hi>
and charging a falſe crime upon him,
and traiterouſly endeavouring to ſup<g ref="char:EOLhyphen"/>plant
him in his Throne. Theſe In<g ref="char:EOLhyphen"/>ſtances
ſufficiently demonſtrate, that the
<hi>Antients</hi> were not afraid to make their
Perſons of the <hi>Drama</hi> ſpeak pertinently
to their Character, tho they ſhould
thereby happen to bear hard upon their
Prieſts. Nay, they thought it no of<g ref="char:EOLhyphen"/>fence
to make 'em ſpeak things incon<g ref="char:EOLhyphen"/>ſiſtent
with Piety, and the Religion of
their Country.</p>
            <p>The Inſtances of this are innumera<g ref="char:EOLhyphen"/>ble.<note place="margin">Ajex An<g ref="char:EOLhyphen"/>
                  <gap reason="illegible" resp="#TECH" extent="1 letter">
                     <desc>•</desc>
                  </gap>igone <hi>and</hi> Ph<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>octe<g ref="char:EOLhyphen"/>tes.</note>
The Rants of <hi>Ajax, Creon,</hi> and
<hi>Philoctetes</hi> in <hi>Sophocles</hi> are extravagant.
This Tragedian affords abundance, but
to make a collection of ſcattered ex<g ref="char:EOLhyphen"/>preſſions,
would require more room
<pb n="361" facs="tcp:54591:200"/>
than we can at preſent ſpare;<note place="margin">
                  <hi>Euripides</hi> and <hi>Sene<g ref="char:EOLhyphen"/>ca</hi> full of prophane expreſſions.</note> however,
<hi>Euripides</hi> and <hi>Seneca</hi> afford divers ſo very
remarkable, that I can't paſs 'em over
abſolutely without notice. In the <hi>Hecu<g ref="char:EOLhyphen"/>ba,
Talthybius</hi> exclaims at a ſtrange rate
upon the Conſideration of the turn of
<hi>Hecuba</hi>'s fortune. <hi>O Jupiter! what
ſhall I ſay? ſhould mankind addreſs
themſelves to you: Or have we been cheat<g ref="char:EOLhyphen"/>ed
with a ſham Story of Gods, and Pro<g ref="char:EOLhyphen"/>vidence,
while Chance governs all things?</hi>
            </p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.<note place="margin">Hecuba.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>Polymeſtor <hi>is much ſuch another ſort
of a Comforter, he cries out in the ſame
Play, and upon the ſame occaſion,</hi> Oh
what a ſlippery thing is Human Gran<g ref="char:EOLhyphen"/>deur,
which is never ſecure. The Gods
perplex and harraſs Mankind, that our
Ignorance may ſupport their Altars, and
Worſhip.</p>
            <q>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,<note place="margin">Ibidem.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>,</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>
               <pb n="362" facs="tcp:54591:201"/>
Electra, <hi>for a ſhort one has a very
pithy Ejaculation.</hi> O Nature, what a
curſe art thou upon Mortals.</p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.<note place="margin">Oreſtes.</note>
            </q>
            <p>Her Brother <hi>Oreſtes</hi> is allied to her
in Principles as near as in Blood; he
can't tell what to make of the Gods,
any more than the two Gentlemen be<g ref="char:EOLhyphen"/>fore.
Yet he <hi>ſerves</hi> 'em whatever they
be.</p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>
               <note place="margin">Ibidem.</note>
            </q>
            <p>All that he knows of 'em is, that
<hi>they are naturally dilatory.</hi>
            </p>
            <q>
               <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>.<note place="margin">Ibidem.</note>
            </q>
            <p>Hecuba <hi>is much of his mind;</hi>
               <note place="margin">Troades.</note> 
               <hi>ſhe
thinks the</hi> Gods but bad Friends,
<gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>. <hi>The</hi> Cyclops <hi>tell</hi> 
               <g ref="char:V">Ʋ</g>lyſſes,
<hi>That</hi> Riches were the wiſe mans only God,
and that he did not care a fart for Jupi<g ref="char:EOLhyphen"/>ter;
but thought himſelf as great a God
as he.</p>
            <q>
               <pb n="363" facs="tcp:54591:201"/>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.<note place="margin">Cyclops.</note>
               </l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
               <l>
                  <gap reason="foreign">
                     <desc>〈 in non-Latin alphabet 〉</desc>
                  </gap>.</l>
            </q>
            <p>In the <hi>Ion,</hi> which is pretended to be a
<hi>Moral</hi> Play, <hi>Creuſa</hi> addreſſes herſelf direct<g ref="char:EOLhyphen"/>ly
to <hi>Apollo,</hi>
               <note place="margin">Ion.</note> and cals him <gap reason="foreign">
                  <desc>〈 in non-Latin alphabet 〉</desc>
               </gap>, <hi>lewd
Whoremaſter.</hi> Her Servant afterwards
calls him Raſcal, and adviſes her to ſet
fire to his Temple. With ſuch Flow<g ref="char:EOLhyphen"/>ers
as theſe <hi>Euripides</hi> abounds, which I
leave for others to gather.</p>
            <p>
               <hi>Seneca</hi> is as full of 'em as he, but I
ſhall refer the Reader only to the <hi>Chorus</hi>
of the ſecond Act of his <hi>Troas,</hi> which
being ſpoken by the <hi>Chorus</hi> looks more
like the Poet's own Opinion, than if it
had come from any other Perſon of the
<hi>Drama.</hi>
            </p>
            <q>
               <l>Poſt mortem nihil eſt,<note place="margin">Troas.</note> ipſa<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> mors nihil,</l>
               <l>Velocis ſpatij meta noviſſima.</l>
               <l>Spem ponant avidi, ſoliciti metum.</l>
               <l>Quaeris quo jaceas poſt obitum loco?</l>
               <l>Quo non nata jacent.</l>
               <l>Tempus nos avidum devorat, &amp; chaos.</l>
               <l>Mors individua eſt noxia corpori,</l>
               <l>Nec parcens animae. Taenara, &amp; aſpero</l>
               <l>Regnum ſub Domino, limen &amp; obſidens</l>
               <l>
                  <pb n="364" facs="tcp:54591:202"/>
Cuſtos non facili Cerberus oſtio,</l>
               <l>Rumores vacui, verba<expan>
                     <am>
                        <g ref="char:abque"/>
                     </am>
                     <ex>que</ex>
                  </expan> inania,</l>
               <l>Et par ſolicito fabula ſomnio.</l>
            </q>
            <p>Which is thus tranſlated by the <hi>Earl</hi>
of <hi>Rocheſter.</hi>
            </p>
            <q>
               <l>After Death nothing is, and nothing Death,</l>
               <l>The utmoſt Limits of a Gaſp of Breath.</l>
               <l>Let the Ambitious Zealot lay aſide</l>
               <l>His Hopes of Heaven (whoſe Faith is but his Pride)</l>
               <l>Let ſlaviſh Souls lay by their Fear,</l>
               <l>Nor be concern'd which way, or where,</l>
               <l>After this Life they ſhall be hurl'd,</l>
               <l>Dead they become the lumber of the World.</l>
               <l>And to that Maſs of Matter ſhall be ſwept,</l>
               <l>Where things deſtroy'd with things un<g ref="char:EOLhyphen"/>born are kept.</l>
               <l>Devouring Time ſwallows us whole,</l>
               <l>Impartial Death confounds Body and Soul.</l>
               <l>For H<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>, and the foul Fiend that rules</l>
               <l>The everlaſting fiery Goals,</l>
               <l>Devis'd by Rog<gap reason="illegible" resp="#TECH" extent="2 letters">
                     <desc>••</desc>
                  </gap>s, dreaded by Fools,</l>
               <l>With his grim griezly Dog that keeps the Door,</l>
               <l>Are ſenſeleſs Stories, idle Tales,</l>
               <l>Dreams, Whimſeys, and no more.</l>
            </q>
            <p>
               <pb n="365" facs="tcp:54591:202"/>
Another exception,<note place="margin">Rude treat<g ref="char:EOLhyphen"/>ment of the Nobility a falſe charge.</note> which Mr <hi>Collier</hi>
makes to the Stage is, that <hi>they treat the
Nobility rudely.</hi> I muſt confeſs 'tis no
complement to make a Fool of a Lord.
But if Birth or any other Chance ſhou'd
make a Lord of a Fool, I ſuppoſe the
reſt of that Noble Order wou'd not think
themſelves accountable for his Follies,
or abus'd in his Picture. Shou'd the
Poets preſume to make ſuch a one the
Repreſentative of his Order, and pro<g ref="char:EOLhyphen"/>poſe
him as a common Standard, by
which the Endowments of Quality in
general were to be meaſur'd, their In<g ref="char:EOLhyphen"/>ſolence
wou'd deſerve the ſevereſt cha<g ref="char:EOLhyphen"/>ſtiſement
that cou'd be given. Or
ſhou'd any one of 'em dare to characte<g ref="char:EOLhyphen"/>rize
too nearly and particularly any of
thoſe Noble Perſons, no doubt but he
wou'd ſoon feel the weight of his Re<g ref="char:EOLhyphen"/>ſentments,
and ſmart ſorely for his
ſawcy Liberty. But while the Poet
contents himſelf with feign'd Perſons,
and copies cloſely after Nature, with<g ref="char:EOLhyphen"/>out
preſſing upon her in her private
receſſes, and ſingling out Individuals
from the herd, if any Man, of what
Quality or Employment ſoever, fancies
himſelf concern'd in the repreſentation,
<pb n="366" facs="tcp:54591:203"/>
let him ſpoil the Picture by mending
the Original. For he only is to be
blam'd for the Reſemblance. If Men
of Honour and Abilities cou'd entail
their Wiſdom and Virtues upon their
Poſterity, then a Title wou'd be a pret<g ref="char:EOLhyphen"/>ty
ſure ſign of Perſonal Worth, and
the Reſpect and Reverence that was
paid to the Founders of honourable
Families ought to follow the Eſtate,
and the heir of one ſhou'd be heir of
t'other. But ſince Entails of this kind
are of all kinds the moſt liable to be
cut off, 'tis not abſolutely impoſſible
but there may be ſuch a thing in the
world, as a Fop of Quality. Now if
there be ſuch a thing, it does not ap<g ref="char:EOLhyphen"/>pear
to me, that becauſe the Perſons
are great, and elevated by their Digni<g ref="char:EOLhyphen"/>ty
above the reſt of Mankind, and
draw the Eyes of the People upon 'em,
more than other men do, that there<g ref="char:EOLhyphen"/>fore
their Faults or Imperfections will
be leſs viſible, or leſs taken notice of,
or that the Splendour of their Figure is
an infallible Antidote againſt the In<g ref="char:EOLhyphen"/>fection
of their Examples. Unleſs it
be ſo, it is convenient that ſome rea<g ref="char:EOLhyphen"/>ſonable
Expedient ſhou'd be allow'd to
<pb n="367" facs="tcp:54591:203"/>
prevent the Miſchief of Imitation, and
that thoſe who are too big to be aw'd
out of their Follies, may be ſham'd out
of 'em. But this is only Hypothetical<g ref="char:EOLhyphen"/>ly
offer'd. Mr <hi>Collier</hi> perhaps will tell
us, that there are no ſuch Perſons, that
a Fool of Quality is a meer Poetical
Animal, and ought to be rank'd amongſt
the <hi>Harpyes, Hippogryphs, Centaurs,</hi> and
<hi>Chimaera's</hi> of Antiquity. If he proves
this, my <hi>Hypotheſis</hi> in this point falls to
the ground, otherwiſe I think it may
ſtand in oppoſition to any thing that
has yet been ſaid.</p>
            <p>If theſe and abundance of other Paſ<g ref="char:EOLhyphen"/>ſages
in the <hi>Antient</hi> Poets were compar'd
with thoſe which Mr <hi>Collier</hi> produces
out of the <hi>Moderns,</hi> the comparative
Rudeneſs and Prophaneſs of the latter
wou'd vaniſh. But he preſumes upon
the lazineſs, or ignorance of the Majo<g ref="char:EOLhyphen"/>rity
of his Readers, and does not expect
that any of 'em ſhou'd be at the pains
to confront his arbitrary, and unfair
accounts, with genuine quotations. But
'tis time to have compaſſion upon the
Reader, who has run the Gauntlet thro
a tedious Refutation; in which if his ſa<g ref="char:EOLhyphen"/>tisfaction
equals his Patience, the Author
thinks his pains ſufficiently recompenc'd.</p>
            <trailer>FINIS.</trailer>
         </div>
      </body>
   </text>
</TEI>