Being convinc'd that nothing has gone farther in Debauching the Age than the Stage Poets, and Play-House, I thought I could not employ my time better than in writing against them. These Men sure, take Vertue and Regularity, for great Enemies, why else is their Disaffection so very Remarkable? It must be said, They have made their Attack with great Courage, and gain'd no inconsiderable Advantage. But it seems Lewdness without Atheism, is but half their Business. Conscience might possibly recover, and Revenge be thought on; and therefore like Foot-Pads, they must not only Rob, but Murther. To do them right their Measures are Politickly taken: To make sure work on't, there's nothing like Destroying of Principles; Practise must follow of Course. For to have no good Principles, is to have no Reason to be Good. Now 'tis not to be expected that people should check their Appetites, and balk their Satisfactions, they don't know why. If Virtue has no Prospect, 'tis not worth the owning. Who would be troubled with Conscience if 'tis only a Bugbear, and has nothing in't but Vision, and the Spleen?
My Collection from the English Stage, is much short of what They are able to furnish. An Inventory of their Ware-House would have been a large Work: But being afraid of over charging the Reader, I thought a Pattern might do.
In Translating the Fathers, I have endeavour'd to keep close to their Meaning: However, in some few places, I have taken the Liberty of throwing in a Word or two; To clear the Sense, to preserve the Spirit of the Original, and keep the English upon its Legs.
There's one thing more to acquaint the Reader with; 'Tis that I have Ventured to change the Terms of Mistress and Lover, for others somewhat more Plain, but much more Proper. I don't look upon This as any failure in Civility. As Good and Evil are different in Themselves, so they ought to be differently Mark'd. To confound them in Speech, is the way to confound them in Practise. Ill Qualities ought to have ill Names, to prevent their being Catching. Indeed Things are in a great measure Govern'd by Words: To Guild over a foul Character, serves only to perplex the Idea, to encourage the Bad, and mislead the Unwary. To treat Honour, and Infamy alike, is an injury to Virtue, and a sort of Levelling in Morality. I confess, I have no Ceremony for Debauchery. For to Compliment Vice, is but one Remove from worshipping the Devil.
March 5th. 16978.
THE
The business of Plays is to recomend Virtue, and discountenance Vice; To shew the Uncertainty of Humane Greatness, the suddain Turns of Fate, and the Unhappy Conclusions of Violence and Injustice: 'Tis to expose the Singularities of Pride and Fancy, to make Folly and Falsehood contemptible, and to bring every Thing that is Ill Under Infamy, and Neglect. This Design has been oddly pursued by the English Stage. Our Poets write with a different View, and are gone into an other Interest. 'Tis true, were their Intentions fair, they might be Serviceable to this Purpose. They have in a great measure the Springs of Thought and Inclination in their Power. Show, Musick, Action, and Rhetorick, are moving Entertainments; and rightly employ'd would be very significant. But Force and Motion are Things indifferent, and the Use lies chiefly in the Application. These Advantages are now, in the Enemies Hand, and under a very dangerous Management. Like Cannon seized they are pointed the wrong way, and by the Strength of the Defence the Mischief is made the greater. That this Complaint is not unreasonable I shall endeavour to prove by shewing the Misbehaviour of the Stage with respect to Morality, and Religion. Their Liberties, in the Following Particulars are intolerable. viz. Their Smuttiness of Expression; Their Swearing, Profainness, and Lewd Application of Scripture; Their Abuse of the Clergy; Their making their Top Characters Libertines, and giving them Success in their Debauchery. This Charge, with some other Irregularities, I shall make good against the Stage, and shew both the Novelty and Scandal of the Practise. And first, I shall begin with the Rankness, and Indecency of their Language.
In treating this Head, I hope the Reader does not expect that I should set down Chapter and Page, and give him the Citations at Length. To do this would be a very unacceptable and Foreign Employment. Indeed the Passages, many of them, are in no Condition to be handled: He that is desirous to see these Flowers let him do it in their own Soil: 'Tis my business rather to kill the Root than Transplant it. But that the Poets may not complain of Injustice; I shall point to the Infection at a Distance, and refer in General to Play and Person.
Now among the Curiosities of this kind we may reckon Mrs. Pinchwife, Horner, and Lady Fidget in the Country Wife; Widdow Blackacre and Olivia in the Plain Dealer. These, tho' not all the exceptionable Characters, are the most remarkable. I'm sorry the Author should stoop his Wit thus Low, and use his Understanding so unkindly. Some People appear Coarse, and Slovenly out of Poverty: They can't well go to the Charge of Sense. They are Offensive like Beggars for want of Necessaries. But this is none of the Plain Dealer's case; He can afford his Muse a better Dress when he pleases. But then the Rule is, where the Motive is the less, the Fault is the greater. To proceed. Jacinta, Elvira, Dalinda, and Lady Plyant, in the Mock Astrologer, Spanish Friar, Love Triumphant and Double Dealer, forget themselves extreamly: And almost all the Characters in the Old Batchelour, are foul and nauseous. Love for Love, and the Relapse, strike sometimes upon this Sand, and so likewise does Don Sebastian.
I don't pretend to have read the Stage Through, neither am I Particular to my Utmost. Here is quoting enough unless 'twere better: Besides, I may have occasion to mention somewhat of this kind afterwards. But from what has been hinted already, the Reader may be over furnish'd. Here is a large Collection of Debauchery; such Pieces are rarely to be met with: 'Tis Sometimes painted at Length too, and appears in great Variety of Progress and Practise. It wears almost all sorts of Dresses to engage the Fancy, and fasten upon the Memory, and keep up the Charm from Languishing. Sometimes you have it in Image and Description; sometimes by way of Allusion; sometimes in Disguise; and sometimes without it. And what can be the Meaning of such a Representation, unless it be to Tincture the Audience, to extinguish Shame, and make Lewdness a Diversion? This is the natural Consequence, and therefore one would think 'twas the Intention too. Such Licentious Discourse tends to no point but to stain the Imagination, to awaken Folly, and to weaken the Defences of Virtue: It was upon the account of these Disorders that Plato banish'd Poets his Common Wealth: And one of the Fathers calls Poetry, Vinum Dæmonum an intoxicating Draught, made up by the Devils Dispensatory.
I grant the Abuse of a Thing is no Argument against the use of it. However Young people particularly, should not entertain themselves with a Lewd Picture; especially when 'tis drawn by a Masterly Hand. For such a Liberty may probably raise those Passions which can neither be discharged without Trouble, nor satisfyed without a Crime: 'Tis not safe for a Man to trust his Virtue too far, for fear it should give him the slip! But the danger of such an Entertainment is but part of the Objection: 'Tis all Scandal and meanness into the bargain: it does in effect degrade Human Nature, sinks Reason into Appetite, and breaks down the Distinctions between Man and Beast. Goats and Monkeys if they could speak, would express their Brutality in such Language as This.
To argue the Matter more at large.
Smuttiness is a Fault in Behaviour as well as in Religion. 'Tis a very Coarse Diversion, the Entertainment of those who are generally least both in Sense, and Station. The looser part of the Mob, have no true relish of Decency and Honour, and want Education, and Thought, to furnish out a gentile Conversation. Barrenness of Fancy makes them often take up with those Scandalous Liberties. A Vitious Imagination may blot a great deal of Paper at this rate with ease enough: And 'tis possible Convenience may sometimes invite to the Expedient. The Modern Poets seem to use Smut as the Old Ones did Machines, to relieve a fainting Invention. When Pegasus is jaded, and would stand still, he is apt like other Tits to run into every Puddle.
Obscenity in any Company is a rustick uncreditable Talent; but among Women 'tis particularly rude. Such Talk would be very affrontive in Conversation, and not endur'd by any Lady of Reputation. Whence then comes it to Pass that those Liberties which disoblige so much in Conversation, should entertain upon the Stage. Do the Women leave all the regards to Decency and Conscience behind them when they come to the Play-House? Or does the Place transform their Inclinations, and turn their former Aversions into Pleasure? Or were Their pretences to Sobriety elsewhere nothing but Hypocrisy and Grimace? Such Suppositions as these are all Satyr and Invective: They are rude Imputations upon the whole Sex. To treat the Ladys with such stuff is no better than taking their Money to abuse them. It supposes their Imagination vitious, and their Memories ill furnish'd: That they are practised in the Language of the Stews, and pleas'd with the Scenes of Brutishness. When at the same time the Customs of Education, and the Laws of Decency, are so very cautious, and reserv'd in regard to Women: I say so very reserv'd, that 'tis almost a Fault for them to Understand they are ill Used. They can't discover their Disgust without disadvantage, nor Blush without disservice to their Modesty. To appear with any skill in such Cant, looks as if they had fallen upon ill Conversation; or Managed their Curiosity amiss. In a word, He that treats the Ladys with such Discourse, must conclude either that they like it, or they do not. To suppose the first, is a gross Reflection upon their Virtue. And as for the latter case, it entertains them with their own Aversion; which is ill Nature, and ill Manners enough in all Conscience. And in this Particular, Custom and Conscience, the Forms of Breeding, and the Maxims of Religion are on the same side. In other Instances Vice is often too fashionable; But here a Man can't be a Sinner, without being a Clown.
In this respect the Stage is faulty to a Scandalous degree of Nauseousness and Aggravation. For
1st. The Poets make Women speak Smuttily. Of This the Places before mention'd are sufficient Evidence: And if there was occasion they might be Multiplyed to a much greater Number: Indeed the Comedies are seldom clear of these Blemishes: And sometimes you have them in Tragedy. For Instance. The Orphans Monimia makes a very improper Description; And the Royal Leonora in the Spanish Friar, runs a strange Length in the History of Love p. 50. And, do Princesses use to make their Reports with such fulsom Freedoms? Certainly this Leonora was the first Queen of her Family. Such raptures are too Lascivious for Joan of Naples. Are these the Tender Things Mr. Dryden says the Ladys call on him for? I suppose he means the Ladys that are too Modest to show their Faces in the Pit. This Entertainment can be fairly design'd for none but such. Indeed it hits their Palate exactly. It regales their Lewdness, graces their Character, and keeps up their Spirits for their Vocation: Now to bring Women under such Misbehaviour is Violence to their Native Modesty, and a Mispresentation of their Sex. For Modesty as Mr. RapinReflect upon Aristot. &c.
Eurip. Hippolit.[1] observes, is the Character of Women. To represent them without this Quality, is to make Monsters of them, and throw them out of their Kind. Euripides, who was no negligent Observer of Humane Nature, is always careful of this Decorum. Thus Phædra[2] when possess'd with an infamous Passion, takes all imaginable pains to conceal it. She is as regular and reserv'd in her Language as the most virtuous Matron. 'Tis true, the force of Shame and Desire; The Scandal of Satisfying, and the difficulty of parting with her Inclinations, disorder her to Distraction. However, her Frensy is not Lewd; She keeps her Modesty even after She has lost her Wits. Had Shakespear secur'd this point for his young Virgin Ophelia,Hamlet.[3] the Play had been better contriv'd. Since he was resolv'd to drown the Lady like a Kitten, he should have set her a swimming a little sooner. To keep her alive only to sully her Reputation, and discover the Rankness of her Breath, was very Cruel. But it may be said the Freedoms of Distraction go for nothing, a Feavour has no Faults, and a Man non Compos, may kill without Murther. It may be so: But then such People ought to be kept in dark Rooms and without Company. To shew them, or let them loose, is somewhat unreasonable. But after all, the Modern Stage seems to depend upon this Expedient. Women are sometimes represented Silly, and sometimes Mad, to enlarge their Liberty, and screen their Impudence from Censure: This Politick Contrivance we have in Marcella,Don Quixot. Relapse. Love for Love.[4] Hoyden,[5] and Miss Prue.[6] However it amounts to this Confession; that Women when they have their Understandings about them ought to converse otherwise. In fine; Modesty is the distinguishing Vertue of that Sex, and serves both for Ornament and Defence: Modesty was design'd by Providence as a Guard to Virtue; And that it might be always at Hand, 'tis wrought into the Mechanism of the Body. 'Tis likewise proportioned to the occasions of Life, and strongest in Youth when Passion is so too. 'Tis a Quality as true to Innocence, as the Sences are to Health; whatever is ungrateful to the first, is prejudicial to the latter. The Enemy no sooner approaches, but the Blood rises in Opposition, and looks Defyance to an Indecency. It supplys the room of Reasoning, and Collection: Intuitive Knowledge can scarcely make a quicker Impression; And what then can be a surer Guide to the Unexperienced? It teaches by suddain Instinct and Aversion; This is both a ready and a powerful Method of instruction. The Tumult of the Blood and Spirits, and the Uneasiness of the Sensation, are of singular Use. They serve to awaken Reason, and prevent surprize. Thus the Distinctions of Good and Evil are refresh'd, and the Temptation kept at proper Distance.
2ly. They Represent their single Ladys, and Persons of Condition, under these Disorders of Liberty, This makes the Irregularity still more Monstrous and a greater Contradiction to Nature, and Probability: But rather than not be Vitious, they will venture to spoil a Character. This mismanagement we have partly seen already. Jacinta,Mock Astrologer. Old Batchelour.[7] and Belinda[8] are farther proof. And the Double Dealer is particularly remarkable. There are but Four Ladys in this Play, and Three of the biggest of them are Whores. A Great Compliment to Quality to tell them there is not above a quarter of them Honest! This was not the Roman Breeding, Terence and Plautus his Strumpets were Little people; but of this more hereafter.
3dly. They have oftentimes not so much as the poor refuge of a Double Meaning to fly to. So that you are under a necessity either of taking Ribaldry or Nonsence. And when the Sentence has two Handles, the worst is generally turn'd to the Audience. The Matter is so Contrived that the Smut and Scum of the Thought rises uppermost; And like a Picture drawn to Sight, looks always upon the Company.
4ly. And which is still more extraordinary: the Prologues, and Epilogues are sometimes Scandalous to the last degree.Mock Astrologer. Country Wife. Cleomenes. Old Batchelour.[9] I shall discover them for once, and let them stand like Rocks in the Margin. Now here properly speaking the Actors quit the Stage, and remove from Fiction, into Life. Here they converse with the Boxes, and Pit, and address directly to the Audience. These Preliminarie and concluding Parts, are design'd to justify the Conduct of the Play, and bespeak the Favour of the Company. Upon such Occasions one would imagine if ever, the Ladys should be used with Respect, and the Measures of Decency observ'd, But here we have Lewdness without Shame or Example: Here the Poet exceeds himself. Here are such Strains as would turn the Stomach, of an ordinary Debauchee, and be almost nauseous in the Stews. And to make it the more agreeable, Women are Commonly pick'd out for this Service. Thus the Poet Courts the good opinion of the Audience. This is the Desert he regales the Ladys with at the Close of the Entertainment: It seems He thinks They have admirable Palats! Nothing can be a greater Breach of Manners then such Liberties as these. If a Man would study to outrage Quality and Vertue, he could not do it more Effectually. But
5thly. Smut is still more insufferable with respect to Religion. The Heathen Religion was in a great Measure a Mystery of Iniquity. Lewdness was Consecrated in the Temples, as well as practised in the Stews. Their Deitys were great Examples of Vice, and worship'd with their own Inclination. 'Tis no wonder therefore their Poetry should be tinctured with their Belief, and that the Stage should borrow some of the Liberties of their Theology. This made Mercurys Procuring, and Jupiters Adultery the more passable in AmphitrionPlaut.
Cistellar.
Terent. Eunuch.[10]: Upon this Score Gymnasium[11] is less Monstrous in Praying the Gods to send her store of Gallants. And thus Chæræa[12] defends his Adventure by the Precedent of Jupiter and Danæ. But the Christian Religion is quite of an other Complexion. Both its Precepts, and Authorities, are the highest discouragement to Licentiousness. It forbids the remotest Tendencies to Evil, Banishes the Follies of Conversation, and Obliges up to Sobriety of Thought. That which might pass for Raillery, and Entertainment in Heathenism, is detestable in Christianity. The Restraint of the Precept, and the Quality of the Deity, and the Expectations of Futurity quite alter the Case.
But notwithstanding the Latitudes of Paganism, the Roman and Greek Theatres were much more inoffensive than ours. To begin with Plautus. This Comedian, tho' the most exceptionable, is modest upon the Comparison. For
1st. He rarely gives any of the above mention'd Liberties to Women; And when there are any Instances of the contrary, 'tis only in prostituted and Vulgar People; And even these, don't come up to the Grossness of the Modern Stage.
For the Purpose. CleæretaAsinar.
Cistellar.
Bacchid.
Casin.
Mercat. Act. 3.
Persa.
Trucul.[13] the Procuris borders a little upon Rudeness: Lena[14] and Bacchis[15] the Strumpet are Airy and somewhat over-merry, but not A l'Anglois obscene. Chalinus[16] in Womans Cloaths is the most remarkable. Pasicompa Charinus his Wench talks too freely to Lysimachus;[17] And so does Sophroclidisca Slave to Lemnoselene.[18] And lastly: Phronesiam a Woman of the Town uses a double entendre to Stratophanes.[19] These are the most censurable Passages, and I think all of them with relation to Women; which considering how the World goes is very moderate. Several of our Single Plays shall far out-do all This put together. And yet Plautus has upon the matter left us 20 entire Comedies. So that in short, these Roman Lasses are meer Vestal Virgins, comparatively speaking.
2ly. The Men who talk intemperately are generally Slaves; I believe DordalusPersa.
Trinum.[20] the Pandar, and Lusiteles[21] will be found the only exception: And this latter young Gentleman; drops but one over airy expression: And for this Freedom, the Poet seems to make him give Satisfaction in the rest of his Character. He disputes very handsomly by himself against irregular Love; The Discourse between him and Philto is instructive and well managed.Act. 2. 1.
Act. 2. 2.[22] And afterwards he gives Lesbonicus a great deal of sober advice,[23] and declaims heartily against Luxury and Lewdness! Now by confining his Rudeness to little People, the Fault is much extenuated. For First, the representation is more Naturally this way; And which is still better, 'tis not so likely to pass into Imitation: Slaves and Clowns are not big enough to spread Infection; and set up an ill Fashion. 'Tis possible the Poet might contrive these Pesants Offensive to discountenance the Practise. Thus the Heilots in Sparta were made drunk to keep Intemperance out of Credit. I don't mention this as if I approv'd the Expedient, but only to show it a circumstance of Mitigation and Excuse.
Farther, These Slaves and Pandars, Seldom run over, and play their Gambols before Women. There are but Four Instances of this Kind as I remember, Olympio,Casin.
Mil. Glor.
Pers.
Trucul.[24] Palæstrio,[25] Dordalus,[26] and Stratilax[27] are the Persons. And the Women they discourse with, are two of them Slaves, and the third a Wench. But with our Dramatists, the case is otherwise. With us Smuttiness is absolute and unconfin'd. 'Tis under no restraint, of Company, nor has any regard to Quality or Sex. Gentlemen talk it to Ladies, and Ladies to Gentlemen with all the Freedom, and Frequency imaginable. This is in earnest to be very hearty in the cause! To give Title and Figure to Ill Manners is the utmost that can be done. If Lewdness will not thrive under such encouragement it must e'en Miscarry!
4ly. Plautus his Prologues and Epilogues are inoffensive. 'Tis true, Lambinus pretends to fetch a double entendre out of that to Pœnulus, but I think there is a Strain in the Construction. His Prologue to the Captivi is worth the observing.
Fabulæ huic operam date.
Pray mind the Play. The next words give the reason why it deserves regarding.
Non enim pertractate facta est
Neque spurcidici insunt versus immemorabiles.
We see here the Poet confesses Smut a scandalous Entertainment. That such Liberties ought to fall under Neglect, to lie unmention'd, and be blotted out of Memory.
And that this was not a Copy of his Countenance we may learn from his Compositions. His best Plays are almost alwaies Modest and clean Complexion'd. His Amphitrio excepting the ungenuine Addition is such. His Epidicus the Master-Piece of his whole Collection is inoffensive Throughout: And so are his Menechmi, Rudens, and Trinummus, which may be reckon'd amongst some of his next Best. His Truculentus another fine Play (tho' not entire) with a Heathen Allowance, is pretty Passable. To be short: Where he is most a Poet, he is generally least a Buffoon. And where the Entertainment is Smut, there is rarely any other Dish well dress'd: The Contrivance is commonly wretched, the Sence lean and full of Quibbles. So that his Understanding seems to have left him when he began to abuse it.
To conclude, Plautus does not dilate upon the Progress, Successes, and Disappointments of Love, in the Modern way. This is nice Ground, and therefore He either stands off, or walks gravely over it, He has some regard to the Retirements of Modesty, and the Dignity of Humane Nature, and does not seem to make Lewdness his Business. To give an Instance. Silenium is much gone in Love,Cistellear. A. 1.[28] but Modest withall, tho' formerly debauch'd.
She is sorry her Spark was forced from her, and in Danger of being lost. But then she keeps within compass and never flies out into Indecency. Alcesimarchus is strangely smitten with this Silenium, and almost distracted to recover her.Ibid. A. 2.[29] He is uneasy and blusters, and threatens, but his Passion goes off in Generals. He Paints no Images of his Extravagance, nor descends to any nauseous particulars.
And yet after all, Plautus wrote in an Age not perfectly refin'd, and often seems to design his Plays for a Vulgar Capacity. 'Twas upon this view I suppose his Characters exceed Nature, and his ill Features are drawn too large: His old Men over credulous, his Misers Romantick, and his Coxcombs improbably singular. And 'tis likely for this reason his Slaves might have too much Liberty.
Terence appear'd when Breeding was more exact, and the Town better polish'd; And he manages accordingly: He hasHeauton.[30] but one faulty bordering Expression, which is that of Chremes to Clitipho. This single Sentence apart, the rest of his Book is (I think) unsullied and fit for the nicest Conversation. I mean only in referrence to the Argument in Hand, for there are things in Him, which I have no intention to warrant. He is Extreamly careful in the Behaviour of his Women. Neither Glycerium in Andria, Pamphila in Eunuchus, or Pamphila in Adelphi, Phanium in Phormio, or Philumena in Hecyra, have any share of Conversation upon the Stage. such Freedom was then thought too much for the Reservedness of a Maiden-Character. 'Tis true in Heautontimoroumenos the Poets Plot obliged Antiphila, to go under the Disguise of Bacchis her Maid. Upon this Occasion they hold a little Discourse together. But then Bacchis tho' she was a Woman of the Town, behaves her self with all the Decency imaginable. She does not talk in the Language of her Profession. But commends Antiphila for her Virtue: Antiphila only says how constant she has been to Chinia, seems surprised at his Arrival, and salutes him civilly upon't, and we hear no more from her. Mr. Dryden seems to refer to this Conduct in his Dramatick Poesie. He censures the Romans for making Mutes of their single Women. This He calls the Breeding of the Old Elizabeth way, which was for Maids to be seen and not to be heard. Under Favour the old Discipline would be very serviceable upon the Stage. As matters go, the Mutes are much to few. For certainly 'tis better to say nothing, than talk out of Character, and to ill purpose.
To return. The Virgin injured by Chærea does nothing but weep, and won't so much as speak her misfortune to the Women.Eunuch.
Love Triump.[31] But Comedy is strangly improved since that time; For Dalinda[32] has a great deal more Courage, tho' the loss of her Virtue was her own Fault.
But Terence has that regard for Women, that he won't so much as touch upon an ill Subject before them. Thus Chremes was ashamed to mention any thing about his Sons Lewdness when his Wife was present.
Pudet dicere hac præsente verbum turpe.Heauton. A. 5. 4.[33]
The Slaves in this Comedian are kept in order and civilly bred. They Guard and Fence when occasion requires, and step handsomly over a dirty place.Eunuch A. 5. 4. 5.
Adelph. A. 2. 3.[34] The Poet did not think Littleness and low Education a good Excuse for Ribaldry. He knew Infection at the weakest, might seize on some Constitutions: Besides, the Audience was a Superior Presence, and ought to be considered. For how Negligent soever People may be at Home, yet when they come before their Betters 'tis Manners to look wholsom.
Now tho' Plautus might have the richer Invention; Terence was always thought the more judicious Comedian. His Raillery is not only finer, and his stile better polish'd; but his Characters are more just, and he seems to have reach'd farther into Life than the other. To take Leave of this Author, even his Strumpets are better behaved than our honest Women, than our Women of Quality of the English Stage. Bacchis in Heautontimoroumenos and Bacchis in Hecyra, may serve for example. They are both modest, and converse not unbecoming their Sex. Thais the most accomplish'd in her way,Eunuch.[35] has a great deal of Spirit and wheadling in her Character, but talks no Smut.
Thus we see with what Caution and Sobriety of Language Terence manages. 'Tis possible this Conduct might be his own Modesty, and result from judgment and Inclination. But however his Fancy stood, he was sensible the Coarse way would not do. The Stage was then under Discipline, the publick Censors formidable, and the Office of the Choragus was originally to prevent the Excesses of Liberty.
To this we may add the Nobless had no Relish for Obscenity; 'twas the ready way to Disoblige them.Casaub. Annot. in Curcul. Plauti.[36] And therefore 'tis Horaces Rule.
Nec immunda crepent ignominiosaque dicta.
Offenduntur enim quibus est Equus & Pater, & res.De A te Poet.[37]
The Old Romans were particularly carefull their Women might not be affronted in Conversation: For this reason the Unmarried kept off from Entertainments for fear of learning new Language.Var. apud. Nonium.
Corn. Nep.
Arist. Lib. 4. de Mor. cap. 14.
Vit. Eurip. ed Cantab. 1694.[38] And in Greece no Woman above the degree of a Slave was treated abroad by any but Relations.[39] 'Tis probable the old Comedy was silenced at Athens upon this Score, as well as for Defamation. For as Aristotle[40] observes the new Set of Comedians were much more modest than the former. In this celebrated Republick, if the Poets wrote any thing against Religion or Good Manners, They were tryed for their Misbehaviour, and lyable to the highest Forfeitures.[41]
It may not be amiss to observe that there are no Instances of debauching Married Women, in Plautus, nor Terence, no nor yet in Aristophanes. But on our Stage how common is it to make a Lord, a Knight, or an Alderman a Cuckold? The Schemes of Success are beaten out with great Variety, and almost drawn up into a Science. How many Snares are laid for the undermining of Virtue, and with what Triumph is the Victory proclaim'd? The Finess of the Plot, and the Life of the Entertainment often lies in these Contrivances. But the Romans had a different sence of these Matters, and saw thro' the consequences of them. The Government was awake upon the Theatre, and would not suffer the Abuses of Honour, and Family, to pass into Diversion. And before we part with these Comedians we may take notice that there are no Smutty Songs in their Plays; in which the English are extreamly Scandalous.Love for Love.
Love Triump. &c.[42] Now to work up their Lewdness with Verse, and Musick, doubles the Force of the Mischief. It makes it more portable and at Hand, and drives it Stronger upon Fancy and Practice.
To dispatch the Latins all together. Seneca is clean throughout the Piece, and stands generally off from the point of Love. He has no Courting unless in his Hercules Furens;p. 14. Ed. Scriv.[43] And here the Tyrant Lycus addresses Megara very briefly, and in Modest and remote Language. In his Thebais, Oedipus's Incest is reported at large, but without any choaking Description. 'Tis granted Phædra speaks her Passion plainly out, and owns the strength of the Impression, and is far less prudent than in Euripides.Hippol.[44] But tho' her Thoughts appear too freely, her Language is under Discipline.
Let us now Travel from Italy into Greece, and take a view of the Theatre at Athens. In this City the Stage had both its beginning and highest Improvement. Æschylus was the first who appear'd with any Reputation. His Genius seems noble, and his Mind generous, willing to transfuse it self into the Audience, and inspire them with a Spirit of Bravery. To this purpose his Stile is Pompous, Martial, and Enterprizing. There is Drum and Trumpet in his Verse. 'Tis apt to excite an Heroick Ardour, to awaken, warm, and push forward to Action. But his Mettal is not always under Management. His Inclination for the Sublime; carrys him too far: He is sometimes Embarrass'd with Epithites. His Metaphors are too stiff, and far fetch'd; and he rises rather in Sound, than in Sence. However generally speaking, his Materials are both shining and solid, and his Thoughts lofty, and uncommon. This Tragedian had always a nice regard to Good Manners. He knew corrupting the People was the greatest disservice to the Commonwealth; And that Publick Ruine was the effect of general Debauchery. For this reason he declines the Business of Amours, and declares expresly against it.Aristoph. Ran.[45] Now here we can't expect any length of Testimony. His aversion to the subject makes him touch very sparingly upon it. But in this case there is no need of much citation. His very Omissions are Arguments, and his Evidence is the stronger for being short. That little I meet with shall be produced.
1st. Orestes was obliged by the Oracle to revenge his Fathers Death in the Murther of his Mother.Χοηφορ. 253, Ed. Steph.
Orest. 48. Ed. Cantab.
Ευμεν. 305.[46] When he was going to kill her, he Mentions her Cruelty, but waves her Adultery. Euripides approv'd this Reservedness and makes his Electra practise it upon the same occasion.[47] Æschylus in his next Play complements his Country with a great deal of Address in the Persons of the Eumenides.[48] They are very Gentile and Poetical in their Civilities: Among other things They wish the Virgins may all Marry and make the Country Populous: Here the Poet do's but just glance upon the Subject of Love; and yet he governs the Expression with such care, that the wishes contain a Hint to Sobriety, and carry a Face of Virtue along with them.
The Double Dealer runs Riot upon such an Occasion as this; and gives Lord Touchwood a mixture of Smut and Pedantry to conclude with,p. 79.[49] and yet this Lord was one of his best Characters: But Poets are now grown Absolute within themselves, and may put Sence and Quality upon what Drudgeries they please. To return. Danaus cautions his Daughters very handsomly in point of Behaviour. They were in a strange Country, and had Poverty and Dependance to struggle with: These were circumstances of Danger, and might make him the more pressing. He leaves therefore a solemn Charge with them for their Security, bids them never to subsist upon Infamy, but to prefer their Virtue to their Life.
Μόνον φύλαξαι τάς δ' ἐπιστολὰς πατρὸςἹκέτ. 340.[50]
Τὸ σωφρονεῖν τιμῶσα του βίου πλέον.
Our Poets I suppose would call this Preaching, and think it a dull Business. However I can't forbear saying an honest Heathen is none of the worst Men: A very indifferent Religion well Believed, will go a great way.
To proceed. Sophocles appear'd next upon the Stage, and was in earnest an Extraordinary Person. His Conduct is more Artificial, and his Stile more just, than that of Æschylus. His Characters are well drawn, and Uniform with themselves: His Incidents, are often surprising, and his Plots unprecipitated. There is nothing but what is Great, and Solemn Throughout. The Reasoning is well Coloured. The Figures are sometimes Bold, but not Extravagant. There are no Flights of Bombast, no Towring above Nature and Possibility: In short, Nothing like Don Sebastians Reigning in his Atomes.Don Sebast. p. 12.[51]