A REFUTATION of the Apology for ACTORS.  
Divided into three brief Treatises.  
Wherein is confuted and opposed all the chief Grounds and Arguments alleged in defence of Plays: And withal in each-Treatise is deciphered Actors, 

1. Heathenish and Diabolical institution.  
2. Their ancient and modern indignity.  
3. The wonderful abuse of their impious quality.    
By I. G.  Cicero Officiorum lib. 1. 
Non ita a natura generati sumus, ut ad ludum e●  
jocum facti esse videamur; sed ad severitatem potius,  
Et ad quoedam studia graviora atque maiora.  
Imprinted at London by W. White, and are to be sold by Thomas Langley in ivy lane. 1615.   


A Refutation of the Apology for Actors  
And first, touching their Heathenish and Diabolical institution.  
Impiety is then grown to its full height, when it once presumeth to boast of itself. Plays have ever been condemned by godly Christians; but now the impiety of Players is grown to such excess, that they take upon them to defend their quality: And that which Wise and Good men have ever repudiated for evil, they would have us receive and imprace for commodious good. Whereupon one of them (amongst the whole crew) hath published An Apology for Actors: Which no sooner it had presented itself unto my view, but in derision thereof I bought it, wondering in my mind, what M. Actor could say for himself, to maintain his idle Profession. But when I had perused it, & read it over, I considered, that thereby too too many credilous people might be seduced, and therefore a matter (in some sort) worth the answering; and yet I perceived such slender assertions to be alleged in defence thereof, that I deemed it not worth the answering by any grave Senior, or learned Clerk, but rather by some single witted, and illiterate Pupil, that the victory being gotten, might be the more glorious; and the overthrow given, the more shameful and infamous. Wherefore I, although ranged amongst the company of such unlearned Novices, and sitting lag-tayle in the lowest Form of their Shoole, have notwithstanding undertaken to oppose and refute this Apology, because it doth not require a better Ingene than mine own, to batter all the Bulwarks and Fortresses therein raised to oppugn the truth, ever hitherto delivered and preached against these Stagirites, and profane spectacles presented in the theatres, to the as profane sights of all that go to be spectators of them. Nor in thus doing, have I entreated any to be a Patron and Protector of these unripe Fruits of my weak understanding, against any the callumniations of those that undoubtedly I expect to resist my good intention (being such only as wallow in worldly pleasure; or have their minds strictly bound thereto) because I know all good men, rightly religiously and sincerely disposed, and all such as with Reason shall weigh in the balance of their sound judgement, what I have written in this Book will with emulation strive, and if need be, contend who shall first patronize my work.  
And although M. Actor with all his complices and abettors, may condemn me for an unlearned Puny; and withal say, that I have but Shot my fools Bolt at him: Yet I am persuaded I shall not shoot in vain, but at leastwise wound, though I do not kill: I mean, give his Apology such a Blur, that it shall not be able after never so much washing, to show a clean face again. But in case he shall upbraid me for my barbarism and unpolished Phrases void of all elegancy and commendable style, which throughout my whole Treatise I shall perforce use, being I was never schooled in the arts of Humanity, nor practised in Rhetoric & Eloquence, it skills not; For I trust not on him, but depend on others for the equity of the cause I undertake, knowing, that Tructh the more naked it appears, the more comely it presents itself to all men, except her Adversaries.  
And now to use no longer, or more tedious prolocutions, I will set down the Method, I meave to follow in my succeeding Discourse: Which is, First to refute and oppose such assertions wherewith M. Actor seems to defend himself: And afterward, to advance the truth I take in hand; yea'uen in the same tripartit division, as himself hath used in his Apology. And so (ad remaggrediar) to the purpose.  
A jehove principium.  
GOD, who in the beginning, Created all things for his own Glory; and next himself, for the service of Mankind, among other things hath Created many for the Recreation of man's wearied spiritcs, that after some refection, he might the more dilengently and earnestly apply himself to the honest labours of his Calling. This benign grace of the Almighty, men not content thankfully to accept of, nor moderately to use, they have unthankfully perverted and abused; turning the grace of God into wantonness: and in continuance of time by little and little, through Satan's means, have devised many unlawful artificial Pleasures, whereby they might pass away (as their name Pastimes signify) the most precious time of their life (which th'Apostle exhorts Warily to redeem,) idly and fruitless, without any profit to the Church, or Commonwealth wherein they live, or to their own souls, which they ought heedfully to regard: But to the corruption of their Manners, drowning all Virtues in them, and choking up of the good Seed of the Word, which should dwell plentifully in their hearts, and in stead thereof, sowing the tars reaped from ungodly and obscene stage-plays, the most impious and pernicious of all other unlawful artificial Pleasures. To the beholding of which, very many (more is the pitrie) quasi vi & impetu coguntur, are by the pravity of their nature, (addicted wholly to Pleasures) carried as it were with force and violence. Yea many of them in their hearts willing to consume many Patrimonies, yearly spending many pounds on these vain representations. By which means, the actors of them find such sweet gains to maintain their idle life, that they give their whole industry to various and mimical inventions, that they might become Men-pleasors, and those most of the profanest condition; and so consequently displeasers of God. For none can serve these two Masters together, GOD and Belial. And now at last, by giving two hours vain Babbling for as many hours gathering of Money, some of them become rich in the Commonwealth; and withal, proud to publish unsavoury Apologies, for their impious Seminaries of evil Manners, (their Plays I mean, which breed such evil effects, as hereafter every where shall be showed) and withal exhibiting them to the patronage of most Honourable peers, thereby doubly to deceive them whom they have already seduced; That if such a one protect it, Oh 'tis a worthy subject, and to be embraced (of them that hate goodness) and who then dare contradict it? Yes assuredly many thousands, especially of grave and reverend Preachers of the Word, that hate their Plays for as bad Poison to the Mind, as the biting of a Viper to the Flesh. Whom M. Actor in the second line of his Apology most rudely calleth Seditious sectists, having neither regard to the unity which by application of the divine Word they procure twixt man & man, & by their administrie betwixt God and man and his own Conscience, contrary to all sedition in the world: Whom also afterwards, he gives forth to be too Sour for Food, and too rank for Fodder. Happily because he, nor any of his fellows can digest their good instructions and sacred doctrines either as Food for men, or as Fodder for such Beasts. But this first fault of his, may be pardoned, quia consuetudo est altera natura because that custom of Railing & Backbiting upon the Stage with his tongue, hath brought him to use the same scurrility with his Pen.  
Afterwards follows, that the Princes of this Land amongst other things have tolerated certain theatres. Which is not to be denied: but the Reason why, is to be inquired. For in like case is Usury, Dicing, 
Why Plays are tolerated.  sortilegy, etc. tolerated; yet none approved and allowed. Any why then are theatres tolerated? It is answered by Christ himself upon the like occasion, in the Gospel of S. Matthew; where being demanded of the Pharisees, Why Moses did command a man to give a Bill of Divorcement, 
Matth, 19.7.8.  and put away his Wife? He answered: Moses because of the hardness of your hearts, suffered you to put away your Wives. And so Princes in these times, suffer (not allow) such enormities, for the hardness of their subjects hearts; and for no other causes.  
Next ensueth his feigned dream of the Muse Melpomene; where by tooth and nail he labours to show what good the Muse usually effecteth. Which because it toucheth the quality of Plays, I refer to convince, till I enter upon battering the Third part of his Treatise, because I will not weary the Reader with too often repetitions, which I shall sometimes be constrained unto. Yet somethings therein hereafter not to be touched, may not be passed over in silence. For after the Muse had recounted all her worth, and pristine honour wherewith she had been graced: Then perversely doth she exclaim.  
But now's the Iron age, and Blackmouthed Curs  
Bark at the virtues of the former world.  

Why this is the Iron age.  This age, is the Iron age indeed: and why? Because the Magistrates throughout almost every City in the Land, by their authority (represented in the Iron Sword borne before them Parcere subiectis, & debellare superbos) do prohibit them from entering their precincts to exercise their crafts. Whom if they admit, it's unwillingly through the great suit made unto them. Whereby the hardness of the people's hearts the more appears, in that they strive freely to give access for sin to enter in and take possession of them. Besides, the honourable City of London hath spewed them out from within her Walls, and rejected them to take up their standing in the Remotest places of the Suburbs, or no where else within her jurisdiction.  
Next, hath the Muse, or rather M. Actor, again incurred his former licentiousness, impiously belching forth blasphemous words, calling reverend Preachers, Blackmouthed Curs: Because, 
They tax the Vices of these present times,  
Seek to reclaim men's minds i'gon astray,  
Mis-spending precious time, to see a Play.  Next. 
Some, whom for their baseness hist and scorned,  
The Stage as loathsome hath long since spewed out.   
And how comes this to pass? But even thus; Sin leaves them: Why? because they leave sin. And so Plays leave them, because they leave Plays. For further answer to which, I will recite this example. That the wise Cato once went into the Theatre at Rome, and presently departed forth again: 
Cato.  and being demanded why he did so; answered. He went into the Theatre only that he might be seen and known to go out of it. Now let all men judge by this answer, whether the Theatre rejected him, or he the Theatre.  
Next, 
Seneca.  doth M. Actor for his Muse cry out, Oh Seneca! whom none sooner would oppose himself against Christian piety. And yet I much doubt of it: For in his Epistles he wrote; It is very dangerous to be present at such shows. And in his first Epistle of the third Book, he declares the dissoluteness, disorders, and inconvenience that have ensued thereby.  
Next doth M. Actor derive his original of acting Plays from the first Olympiad. When in the presence of Hercules there was personated the worthy exploits of his Father jupiter: Which wrought such impression in his mind, that in emulation of his father's valour, he performed his twelve Lobours. Him Theseus followed, and Achilles Thescus, etc. To prove this false, be it manifested that there were many Hercules: For the Author of Zenophon's aequivoca, saith; That the most ancient Kings of Noble families, were still called Saturn's, their eldest Sons jupiters', and their hardiest Grandchidrens Hercules. Tully recounteth six of them: 
6. Hercules.  

1. Son of the eldest jove & Liscitus.  
2. An Egyptian son to Nilus.  
3. One deified amongst the Idaeans.  
4. Son to Astery Latona's Daughter.  
5. The Indian Belus.  
6. The third jupiters' Son by Alemena. Varro reckoneth 44. 
44. Hercules.    Siculus hath but three of them: 1. An Egyptian the worthiest, 
3. Hercules.  made General of the Army by Osiris: for strength and valour, he travailed most part of the World, and erected a Pillar in Lybia: He lived before the second Hercules Alcmena's son above 1000 years. And this second Hercules, emulated him, (not his father jupiter) and therefore was called Alcaeus. The third was Hercules of Crete; a famous Soldier, institutor of the Olympian Games. This Pausanias calleth Idaeus, which is the third amongst the six numbered before by Tully. And this was that Hercules which triumphed as victor on Mount Olympus: the other, lived a whole Generation before his time; to whom the ambitious, and fabulous Greeks' ascribe the labours of the rest. And therefore, as he ordained not the Olympian Games, so neither was he victor of them; for we never read of two Hercules on the Mount at once: Nor in the first Olympiad did he behold his Father's warlike deeds personated before him. Wherefore this M. Actors Original of Plays, is to be held disproved; and that his Hercules by probable conjecture, never beheld Play at all. And so as the Proposition is overthrown, the Assumption of others that should imitate him, is disanuld; and consequently the Conclusion clean convinced: and further yet for unsoundness, to be confounded. For where he saith, It may be imagined had Achilles never lived, Alexander had never conquored the World; He is condemned even by Alexander's own words: For when he went against jerusalem, and that jaddus the High Priest and the Levites met with him in their Priestly robes, showing him the Vision of God by Daniel concerning the Greekish Monarchy over the world: It is recorded that he answered. And this great God by a Vision in my sleep encouraged me to undertake this weighty enterprise. 
Alexander's Vision.  So that not the life of Achilles acted before him, but the Divine Vision pricked him forwards to the performance of his achievements. Other things follow, which belonging to the quality of Plays, I transfer to handle till the latter part of my Treatise, where with other matters together they are to be confuted. But the next proof of Antiquity for stage-plays by M Actor alleged, is out of Ovid's works. That Plays were first instituted in Rome by Romulus; which to be such as stage-plays are, can never be affirmed, but to the contrary. For the Apologist himself doth allege, that the pattern of the first Theatre in Rome was brought from Athens, which Act was after the expulsion of their Kings.  
To show then to others (for M Actor himself knoweth it) what Plays they were, 
Romulus' his scircensian Plays.  They were Circensian Plays, such as were kept upon Olympus' Mount, to prove the warlike activeness of their Youth, in running, leaping, sword-playing, and the like. And Circenses they were called, because the place was encompassed with swords, of Circa and Ensis, as saith Servius. For the Antiquity having not yet ordained fit places wherein to exercise their Youth, practised them betwixt a river side and a rank of swords, that the Idle might see danger on both sides. Afterwards Tarqvinius Priscus appointed a Ring for them, that the people might stand round, (as we make a ring for Wrestlers in morefield's) which was called Circus maximus. And every year once, saith Livy, were these Games celebrated, being diversly named, as Magni & Romani, & Circenses. Next doth M. Actor ground himself upon his very probable and important argument (as he terms it. Viz. That in the time when theatres most flourished at Rome, Christ and his Apostles sojourned on the earth: yet neither in their Sermons, Books, Acts or Documents, have they so much as named or touched them, but were content to pass them over. Manifestly false; For it is a point to be held, and known it is for a truth, that some sins there are which never were mentioned in holy write in specie: and shall we say then such are no sins? Nay, some sins are in the Scriptures unspoken of, which many most learned men are of opinion, that they ought not to be publicly handled: That the rather being unknown, the hardness of men's hearts should not move them to the committing of such enormities, if known they were. This were enough to convince and refute M. Actors important argument, but it shall not suffice; For it is even pointed at with the finger both in the old and in the new Testament. In the old, Moses setteth down an everlasting moral Law, both for the present and future times, Deut 18.9. where he warneth the Israelites, 
Prooses of Scripture against Plays.  that they should not learn to do after the abomination of the Gentiles. And what abomination was afterward more rife among the Nations, then Plays presented in honour of their Idols. And in the new Testament, S. Paul 1. Cor chap 8. commandeth the Corinthians, that they should abstain from feasting in Idols Temples, and from things consecrate to Idols. And Acts 15.20. Writ unto them, that they abstain themselves from filthiness of Idols. And Vers. 29. That they abstain themselves from things offered to Idols. Now what was offered and consecrated to the honour of the Idol Gods or Devils, more than Plays? And what filthiness of Idols should they more avoid then Plays, which the more obscene and scurrilous they were presented, the better pleased they the Devils which commanded such solemnities to be kept, as shall be declared hereafter: wherein maybe espied the devils drift in instituting of them, that through their obscenity he might corrupt the Gentiles manners.  
Next doth M. Actor object, that GOD hath created sundry things for delight: as jewels, Dainties, and Delicates to be moderately used, the Hare to be hunted, the Stag to be chased, etc. All this I deny not. Yet shall he never make me believe that GOD did ever allow of jugglers and Sortilegers, often spoken against by Moses, nor of jesters, Vices, and Players, which are all of a crew.  
Next doth M. Actor affirm, he could never yet read any History of any Commonwealth which did not thrive and prosper whilst these public solemnities were had in odoration. Hear doth he seek to blindfold the world, and lead us hoodwinked in a most palpable error. As though partly Plays upheld the slate of a Commonweal, and not rather Virtue clean opposite against them. But although the Apologist hath produced no example to confirm his allegation, yet will I recite worthy memorial to the contrary. Rome's Commonwealth which in glory surpassed all other, in those times when theatres most flourished, then was most piteously rend and torn. For a while after the institution of stage-plays, ensued those most lamentable civil wars that were the overthrow of the City's state, as I will now declare  

The fall of Rome's Common wealth.  L. Sylla, and Marius, two mighty Citizens, through their ambition envied each other so maliciously, that their private hatred grew into public factions. And at last their discord was so great, that they fought a set battle at port Esquiline. Where Marius being put to the worst, fled into Africa. Marius thus overcome, Sylla going to war upon Mithridates, left Cinna, and Octavius consuls in the City. But Cinna desirous of innovasion, severed himself from his fellow, and was chased out of the City by him, and his faction. Which injury Cinna endeavouring to revenge, called back Marius out of Africa. And he now maketh bloody wars upon his Country, and entering it with his angry forces, and mighty powers, butchered up numbers in every corner of the City, charging his Soldiers, that to whom so ever he returned not the salute, they should immediately dispatch him: by which means an innumerable company, noble and ignoble were slaughtered. And then in his seventh consulship he died. Soon after came Sylla out of Asia, and rooted out Marius his son, and all the whole faction of them utterly. And then took he upon him the perpetual Dictatorship: wherein he proscribed many thousands of the Roman Citizens with outrageous cruelty, that they all thought Marius a meek Lamb, in respect of him, though during his superiority, he tyranized with unsufferable cruelty and insolence. So that between both, the whole City, Streets, Market-places, Temples, and theatres themselves, were filled with dead carcases. These men's factions, afterwards Pompey and Caesar took up a fresh. Pompey could endure no equal; and Caesar no superior. So that most cruel and deadly wars arose between them. And at length, Caesar getting the upper hand, createth himself perpetual Dictator, bringeth the whole Empire under his own subjection, & reduceth the Commonwealth into a Monarchy. And thus whiles theatres flourished, and Stage plays were presented in greatest pomp, is the most flourishing estate of the Roman Commonwealth brought into a Monarchy. To this ensample many more might be added, and yet M. Actor could never read of any such History. One more I will exhibit and so cease.  

The fall of Caesar's Monarchy.  Agrippina the mother of Nero, and Seneca his Tutor, both ambitious of government, persuaded Nero in the minority of his age, to take his pleasures, and leave unto them the charge and pain of the public affairs of the Empire, thinking that the fury of his youth would beware away with fond delights, and that wisdom would increase with age, in mean time, that they would better govern than he. Of his opinion was Burrus a singular person, and next to Seneca in the weighty causes of government. Now therefore Nero gives himself to all licentiousness: now magnificent theatres are erected, and stage-plays instituted: now the Poet's pens are set on work, Tragedians and Comedians are busily occupied: now all these flourish more than before, or afterwards they ever did. Now Nero becometh a Swordplayer, and chaser of wild beasts upon the Theatre, and thereby cometh to be butcherous and bloody minded; afterward a murderer and a manqueller. Now Nero acteth cruel Tragedies and scurrilous Comedies in his own person; and thereby learneth to act all dissoluteness, and perform whatsoever mischief could be devised: For, Quo semel est imbutarecens servabit odorem— Testa.  
Here had so seasoned himself in those former evils, and therewith was drawn to such a marvelous corruption, that now he gaddeth about the streets in the evenings; he and his flattering companions sets upon many Innocents' he meets withal, and outrageously perpetrateth horrible facts, beastliness, and detestable murders. In the mean time, for the space of five years, Seneca & Agrippina governed the Empire indifferently. Howbeit, because Agrippina took upon her to rule all alone after her own appetite, these two, Seneca and Burrus, took order out of hand, that the Emperor should withdraw the government from her, and assume it to himself. But as wise as they were, yet were they greatly deceived, in that they thought Nero would become wise in age, by passing his youth in folly; for it happened clean contrary, and he became a most wicked and cruel Tyrant: So that at last, having done innumerable mischiefs against one or other, great and small, as his fancieled him, Seneca began to doubt least the like might happen to himself. And it came to pass, that Nero's cruelties, and oppressions, so won him the evil will of all his Subjects, as they one after another revolted from his obeisance. Whereupon Burrus, Ruffus, Sulpitius, and Flavius his greatest minions, entering into the like fear, conspired against him; but they were discovered and condemned. Yet before they were executed, Nero would needs confer with Sulpitius and Flavius. And after he had demanded of Sulpitius, wherefore he had broken his oath, and conspired against him, he asked the like of Flavius also; who answered, I have loved, and hated thee Nero, above any man in the world: 
Conspiracy against Nero, and why.  Loved thee, as long as there was any hope thou wouldst become a good Prince: but when I saw thee become a Manqueller, a Murderer, a Tragedian, a Player of Interludes, a Fencer, and a Towne-burner, I could not but hate thee extremely.  
Here is evidently to be seen the effects of these theatres, how it made Nero to be hated of his dearest friends. Whose answers though they astonished him to hear, yet in steed of amendment, he addicted himself to far worse enormities than before. So that behold Vindex his Lieutenant general in Gaul, revolted from him: Wherewith though the loss were not small, yet was not Nero much troubled. But when he understood that his old Captain Galba Precedent of Spain, was revolted, then too late he feared his own ruin. And now began the Empire suddenly to be rend in sunder, for almost every Governor ceased their Provinces into their own hands. Then doth Galba hasten unto Rome to dispatch the Tyrant: who in the end, being abandoned of every one, even those of his own guard, fled and hid himself within a little Lodge in the Fields; where fearing to be taken alive, he killed himself. And after this sort was the blood of the Caesars extinguished, and no more Emperors by lawful succession. For the praetorian cohorts became so dissolute in Nero's reign, that both they and the other Soldiers took upon them to create Emperors at their pleasure: Whereby the Empire oftentimes was miserably dismembered by sundry Tyrants at once by them arected. And thus to conclude, whiles Plays were had in greatest honour, by the corruption of manners that proceeded from them, was the Roman Commonwealth changed into a Monarchy, and the Monarchy afterwards into Tyrannical government.  
Next, doth M. Actor with great contumely scandalise the good Emperor Marcus Aurilius, calling him Cynic, and unfit for government. In mean while, condemning the use of Comedies, which so cynically (as himself would have it) bark at all follies: And likewise obnubilating his worthiness, for whose love, who banished Players, the people made them all Statues in his memorial; which they vouchsafed for no other Emperor, no not for Augustus himself, whom the Apologist affirms to be greatest patron of Poets and Players in his time. Nor did that good Emperor interdict the use of theatres, because the wanton Dames of Rome made a Play of him; but because of the great folly they wrought, & the corruption of goodness which they brought into Rome, as shall further hereaster appear in a Letter of his, written to Lambertus Governor of Hellespont, when he sent him three Ships of jesters and Players, wishing to have but one Bark of Wise men in return of his adventure. Nor did he banish Sword-players for other cause, than the pestilence of mind wherewith the people by bloody spectacls might be infected, to the perpetrating of any butcherous attempt: not that himself was a coward; for he twice triumphed: once when he overcame the Parthians; and once when h conquered the Argonauts, and died in conquering the Realm of Hungary.  
Next, doth M. Actor look back from Italy into Greece, declaring that the Princes and Sages thereof, being those which were the first understanders, trained up their youthful Nobility to be Actors, debarring the Mechanics such employment. In which, is divers things to be noted, & refuted: First, that not all Greece is to be understood, for Sparta is to be exempted as rejecting such abuses. Secondly, how doth he derogate from the glory of the Hebrews, when heriportes that the Grecians were the first Understanders, whereas it is evident by all History, 
the Grecians not the first wise men.  the Grecians received their knowledge from the Egyptians, and Chaldocans, and they from the Hebrews. But if erecting of Plays were such an act, that it were worthy the first understanders to perform, how then chanced it the Hebrews did it not? among whom we never read stage-plays to be solemnized, and therefore never spoken of, nor taxed in specie by the Prophets in their books. Thirdly it may be demanded why the Grecians prohibited the base sort from such employment. Surely I know not, except their mechanics were, and they also desired they should be, of honester life and behaviour than their nobility. According to that speech of Aemilius probus treating of the Greekish fashions, In those Countries (saith he) it's no disgrace for any man (here M. Actor is found tripping for debarring mechanics) to come upon the Stage, to set himself as aspectacle to the people: which we hold for partly infamous, and partly base and unworthy of an honest man.  
Next doth M. Actor show why the Grecians admitted Plays. Which because it toucheth the use of Plays I will leave, particularly to handle it in my Third treatise.  
Next follows that through Poets and Actors the Grecians excelled in Civility and government, so that other nations borrowed their laws of them. The Romans indeed sent to take a pattern of the Athenian laws, and withal a while after erected a Theatre, after the pattern of the Atherian: and a while after this again; the laws of Athens furthered them not to Civility so much, as by the induction of Plays they fell into dissoluteness. Through which all things ran into disorder, and Civility laid aside, inhumanity sprang up instead thereof. For then presently followed the wars they had against their own slaves, & sword-players, Then ensued, as I said before, the Factions of Sylla and Marius, and after that between Caesar and Pompey, the end whereof was the utter subversion of their common wealth. And now, if through stage-plays the Grecians learned Civility, & good government, how could it otherwise be, but that the Romans having both their laws and theatres, should also excel in Civility, (for from the same causes proceed the same efiects.) and not that a while after through the Grecian institutions, they should learn instead of good manners, corruption; instead of concord, faction; and all kind of disorder, 
Plays profited not the Grecians to civility.  instead of reformation. Therefore as Plays did not benefit the Romans, so neither could they profit the Grecians. Whereby we may perceive how M. Actor to blind his reader's mind, would feign impose more upon the worth of theatres, then possibly could be intended. And yet doth he confess, that those times of the Grecians was but the childhood and infancy of the world, very fitly; For indeed it was but their foolish thought, and childish opinion, that Plays was the readiest way to plant understanding in the ignorant, whereas in the riper, and now old age of the world, most men have received a true intellect, to the contrary, except such only as remain children still.  
Next M. Actor would feign seem to shorten the extent of the Text and express commandment of God in Deuteronomic. 22.5. The woman shall not wear that which appertaineth to the man; neither shall a man put on woman's raiment. Where although the Law is indifferently to be understood of both Sexes, yet more strictly concerning the man, that he should not so much as put on woman's raiment. A very impudent and common abuse in plays it is, though M. Actor would willingly daub over the meaning of the Scripture, as though that consisted in the like figurative sense, as the words of sacramental consecration elsewhere do. Whereas there is as much difference between that trope and these plain words, as between a Rope and a Player. And although Plays are not immediately meant in the Text, because in that time there was none in Israel, nay nor during the whole time, wherein the Church of GOD was planted among the Hebrews, was such vanities known among them: yet doth it immediately point at this abuse of wearing women's apparel, (used in Plays,) flatly forbidding it.  
Next M. Actor affirms, that the Universities sometime institute stage-plays: more is the pity, that the most famous lights of learning in the world should be branded with infamy, through the means of some phantasticals which are in them. Wherefore admit they do: 
Who make and act plays in the Universities.  who them most commonly do compose their Plays? Idle brains, that affect not their better studies. Who are the Actors? Gentle-bloods, and lusty swashbucklers, such as prefer an ounce of vainglory, ostentation, and strutting on the Stage, before a pound of learning; and are sent to the Universities, not so much to obtain knowledge, as to keep them from the common riot of Gentlemen in these days: like little children whom their parents sent to school, the rather to keep them from under horses feet in the streets, which careful mothers do so greatly fear. And who are the spectators? but such like as both Poets and Actors are, even such as reckon no more of their studies, then spendall Gentlemen of their cast suits.  
But what follows in the Apology? These Plays embolden the junior scholars against they come to read the public Lecture of Dialect, Ethick, Mathematic, Physic and Metaphysic. And why not among these the Divinity Lecture? because certainly no such profane, and light headed persons may be admitted to it, and because according to the saying of Pope Panl 2. and Adrian 6. they are to be held as enemies to true Religion.  
For Plays as saith the apologist makes a bold Sophister, that is plainly, a too cunning, or false reasoner, to knit preposterous and intertangled syllogisms, obscure Sorites, Enigmatical Crocodilites, and forke-horned Dilemmas to ensnare and obnubilate the truth: as now M. Actor himself feign would do.  
Next follows Plays especial use for Rhetoric. Rhetorica est ars bone dicendi. Rhetoric is an Art of speaking well. And Plays in th' Apology instruct to speak well. 
Plays use for Rhetoric confuted.  Surely M. Actor would be esteemed for a Rhetorician, and have Plays become one of the seven liberal Arts: but his drift is not driven home enough. For ultra posse, non est esse. Who ever of the ancient Orators, Greeks', or Latins, learned to speak well from a Play? Did Demosthenes learn his Science from a Stage? Did Cicero learn his Oratory from a Theatre? Why do not our Divine Orators school themselves by Plays, thereby to learn Rhetoric, so necessary in their Sennons? But they know well, that Plays are a fictive Art, and not a liberal Science: they know well that Rhetoric graceth Plays by the instruction it gives, for breathing spaces, distinctions, and good delivery of words, and not that poesy and Plays ever gave that faculty to Rhetoric. For the first arts give light unto the arts succeeding. And Rhetoric was long found out before possie. For no sooner had God given to men language in the beginning, but that presently expetience taught them, how aptly to apply their words, how to persuade, and dissuade, how to exhort, discourage, animate, praise or dispraise, defend, confute, extenuate and aggravate any matter, and consequently how to rise and fall with the voice, to stop, to breath, distinguish, interrogate, and to observe all other elegancy of speech.  
Next, and last of all doth M. Actor even as in the very beginning, so in the later ending of his first Book, callumniate those worthy and Reverend Preachers, that in their godly Sermons, out of conscience are studious to suppress these obscene and filthy stage-plays. And I, as in the beginning, must reprehend and reprove him therefore. That out of the custom of malicious Comedian detrectation on the Stage, and not of conscience and reason he doth so revile them.  
Now have I run over the chief points and arguments, of the first Treatise of M. Actor's Apology, confuting some things, and disproving other: wherein this one thing yet is to be noted; That the very subject of Actor's Antiquity, both for their Original and first Induction into Rome, 
Antiquitas ●●n veritate est antiquus error.  is yet more narrowly to be investigated. For neither Hercules at the first Olympiad beheld his Father jupiters' Acts personated before him, for that, that Hercules, which ordained the Olympian games, was not jupiters' Son, and two Hercules we never read to have been present at these games at once: neither did Romulus first institute stageplays at Rome, but as I said before, Circensian games, even such as were used in the Olympiads, to exercise their youth withal: as running, riding, leaping, tourncying, sword-playing, coursing with Chariots, and the like. Wherefore to do M. Actor an overthwart kindness, I will out of sundry Authors declare both their Original, and when, and by what means, and by whose, they first came into Rome. After which, with some few notes and observations, I will finish this first part of my Discourse.  

The Original of Plays.  The old Husbandmen of Greece, using every year to sacrifice to Bacchus for their fruits: First used in stead of Prayers, to sing something at putting the fire to the Altars. And then to please his Deity the better, they sung over all his victories, wars, conquests, and captivation of Kings. For reward of which their pains, a Goat was first appointed, or the skin of a Goat full of Wine. But because the Kings that Bacchus had conquered; afforded not matter enough for their yearly songs, they fell in hand with the calamities of other Kings, and sung much of them. And this song was called a Tragedy: either of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, a Goat, which they offered to Bacchus as an enemy to the Vines, or which was the reward of the singers; or of the Wine lose with which they besmeared their faces, (before that Aeschilus' devised vizors for them) called in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. Some will have the Comedy to have had the Original from these Sacrifices also. Others from the solemnities of Apollo Nomius, the Guardian of Shepherds and Villages. Some say, that both these Sacrifices were celebrated at once. Following which, the most common opinion is thus. When the Athenians lived as yet in dispersed Cottages (Theseus having not yet reduced them to City) the Husbandmen used after their Sacrifices, to break jests upon such as were present, and such as travailed by chance that way: and by these mirthful scoffs delighted all the company. Now, after that the City was builded, the Husbandmen at the time appointed for the solemnities, came into the Town in Carts, and jested one while at their Fellows, and another while at the Citizens, chiefly such as had offended them. And this was called a Comedy: either of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a village, because they lived in such, or of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a way, and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to be saucy, or to revel, because they were profuse, and spared no man in the way with their petulant quips. And this is rather the true derivation; for as Lod. Vives saith, the Athenians as then did not call their Villages 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, but 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. This custom pleased the Citizens, and made them animate these of the prompter wit, to write more exactly in this kind of verse. Now the City Poets at first taxed the vices of the Citizens with bitterness, but afterwards when they began to follow their own affects, and their friends, excercising their grudges with sharpness, and using their pens for their weapons, they would sometime traduce Princes that never had deserved any such matter, and even name them. Which trick when Eupolis had played with Alcibiades, in his Comedy called Baptis, he caused him to be taken and thrown into the Sea, saying these words: Thou hast often drowned me upon the Stage, Eupolis, I will once drown thee in the Sea. By which example the rest of the Poets were so terrified, that Alcibiades got a law past, that none should dare to name any man upon the Stage. So that kind of Comedy called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, the old Comedy was abolished. Then came in the second kind; wherein many were girded at privy suppressing of Names under colours. And this the Nobility fell in dislike withal, lest their facts should be glanced at underhand. So that was taken quite away, and a new kind invented; which treated of meaner persons under change of names, wherein was more moderation in their taxation. These kinds were all in Greece.  
But for the time of stage-plays first entrance into Rome, by what means, and by whom they were first induced, it followeth thus. In the 400 year, or thereabout, of Rome's foundation, there was such a sore plague in the City, that they determined not to number the thousands which were dead, but the few that remained yet alive. And then their Gods (which the holy Scriptures showeth to be Devils) for the assuaging of the Pestilence, 
plays first instituted in Rome by the command of Devils.  that seized on their bodies, and for the augmentation of their Religion; commanded an institution of stage-plays presently to be effected in their Honours, and annexed to the celebration of their Sacrifices. And yet that bodily Pestilence did not cease, because that delicate vanity of stage-plays entered into the cares of the people, which were then wholly given to wars, and accustomed only to the Circensian games. For Liuce in his seventh Book, saith: This first institution of Plays for augmentation of Religion, did neither augment Religion in their minds, nor diminish the Pestilence in their bodies. But the wily Devils knowing by natural reason, that the plague should once have an end, and being not satisfied that they had already infected Greece, but they would also corrupt Rome, and by her, afterwards all the world: by this means took occasion to thrust a far worse plague, not into their bodies, but into their manners, saith Saint Augustine, in corrupting of which lieth all their joy. And surely the Devil would never have instituted Plays, but that he knew they were, and would be beneficial to his Kingdom.  
One example or authority more I will produce to confirm this, that the Celebration of Plays was by commandment to pacify their Gods. Tully (in Verrem, Acts 6.) being made Aedile, cries out in the cares of the City; I must needs present the most sacred Plays and Ceremonial solemnities unto Ceres, Liber, and Proserpina: then I must reconcile Mother Flora unto the City and people of Rome, with the celebration of her interludes. By this its evident, that these vanities were not first brought up in Rome by the corruptions of men, but by the direct commandment of Idoldevils And then arose the Comedy wherein they cast forth fluttish Phrases, and bitter Quips. And this they did interchangeably in verses, called Fescenini, of such a City in Hetruria, from whence they had their first Players, and named them Histriones in the language of that Country. In their taxations they never durst name any; for that was expressly forbidden in their Law of the twelve Tables. But these Fescenine uses wore out of the Plays by little and little: and being it was not allowable to traduce any man by name upon the State, there sprang up divers sorts of these playing Fables in Italy, even as there did in Greece; as the New Comedy and the satire: not that which taxeth Vices, and is bound to that one kind of Verse used by Horace, Persius, and Juvenal, but that wherein the Satyrs were brought in, in a sluttish and opprobrious manner; as in hairy Coats, heavy paced, and altogether unbandsome and slovenly. The first true Comedy in Latin Verse (as M. Actor allegeth) was written by La●ius Andronicus, Solinater's freed Servant, after Rome was buildediust 540. years, the first Carthaginian war being ended some few years before, as Atticus doth account the time.  
But to conclude this Discourse, there were four chief sorts of stage-plays among the Romans'. Comedies, Tragedies, Satyrs, and Mimick's, otherwise called Pla●ipeder or plaine-feetes, wearing neither shoes nor buskins, but coming barefoot upon the Stage. The Satyrs notwithstanding and the Mimics, are both included under the Comedy. The Tragedy discourseth of lamentable fortunes, extreme affects, horrible villainies, rapines, murders, spoils, tyrannies, and the like. The Comedy treats of Fables, dishonesties, all kind of knaveries and tricks of wanton Love, (the impious subjects of these plays would make one hate them) being brought into it by Menander, to please the Macedonians that stood affected in such passages.  
The satire containeth the loser Fauns and Siluanes, whose Rustical jests delight much. But as they were uncleanly and slovenly, so were their speeches very foul and dishonest to hear. The Mimics forbore no beastliness, but used extreme licentiousness; And yet were these more tolerable than other things acted in the solemnities of Bacchus, which after for their incredible villainy and filthiness, were expelled out of Italy by a decree of the Senate. The Saturnalia and Floralia were too other kind of Plays celebrated by common Strumpets, and the most rascally sort of all men. The Actors of the Floralia though they reverenced not their own Gods, yet when Cato came, they would not for shame act any thing in his presence.  
I fear me I have been too tedious; yet have I continued my discourse, that I might declare concerning Plays and their original somewhat to the full. Out of which precedent discourse some things are yet to be noted, and lightly touched at again.  
First concerning their Original, that they were first instituted amongst the fabulous Heathen Greeks' (the perverters of all Divine knowledge) in honour of their Divell-gods. And that the Comedies took their matter and subject from envious jesting and scoffing (practised now in our interludes) strictly forbidden by the Apostle. Ephes. 5.4. and 4.31.  
Secondly, that their first induction into Rome was by the commandment of these Divell-gods. For which cause itself, as things the Devil most delighted in, all professing the name of Christians should detest.  
Lastly that the Actors and Poets were driven to post from one kind of Play to another, because they were ever in dislike and because their licentiousness ever grew to be such and so great, (as theirs among us now is) that it was not tolerable.  
Nec parcit cuiquam vestrae petulantia linguae,  
Quid mirum si vos eadem quoque, fulmina tangunt?  
The end of the First Book.   

A Refutation of the Apology for Actors, and of their ancient and modern indignity.  
THE SECOND BOOK.  
NOw I have ended my first Treatise, it follows that I proceed in confutation of M. Actors second Book, Of Actors ancient Dignity. Wherein, after I have refuted some particulars, I will declare how the Antiquity esteemed of them, and what base account for the most part they made of them. To be brief therefore, the first thing that M. Actor offereth to his Reader is an apothegm of Cicero & Caesar. Wherein is evident how unnecessary in a common weallth Caesar at first esteemed Players for to be, in that thereupon he pretended a Cavil against them. But admit that Cicero's opinion of Plays, viz. That many heads were busied with them which otherwise would be inquisitive after his greatness, took place in Caesar's head, so that (as M. Actor would pretend) he gave many privileges to men of that quality. But both Caesar and Cicero were deceived in their councils, for it polited Caesar not one lot. For all the while Plays then flourished, Brutus and Cassius with 60. Senators more, were busied in Conspiracy against him, and at last treacherously killed him with daggers in Pompey's Court. Belike they among others were not busied with the Plays: nay; be it more likely that from Plays (which are stuffed full of such matters) they learned the cleanly conveyance of their treachery, and how, in what sort, with what secrecy, and by what means to effect their treason.  
Next doth M. Actor show sundry examples of stately and sumptuous theatres, erected for Stagerits, and of one in special made by julius Caesar, wherein was figured the perpetual motion of the celestial Spheres. But in his description he hath acted the Play-poet so exceeding well, or rather declared such hyperbolical impossibilities, 
M. Actor his forgery.  that any having ever but tasted of the Mathematic arts, will smell out his forgery, whereby he seeks to dignify his profession. But I must needs confess too sumptuous theatres were built by the great Princes of the world. But who were they more than mecre Heathen men and very Atheists, most of them unthrifts and profuse spenders? of whom, some for their own vainglory and ostentation erected theatres: others in honour of their Divell-gods which commanded it, and others to show their magnificence, and what they were out of superfluity able to perform. As trajan the Emperor built a bridge over the river Danubius, even where it was narrowest, by reason whereof it became more difficult: For there the spacious stream being curbed in, made the torrent more swift than otherwhere. Which again Adrian his successor ruinated, because it was a work of cost so vainly spent. And are not these Princes, with their reasons, for what end they built theatres, worthy examples for Christian Potentates to imitate? If they are, surely none but such as Machianel will contend to prove it.  
After this again doth M. Actor recount sundry theatres in divers Provinces and Emporiall Cities, some ruinated (as things repudiated) some built by Heathen Ethnics, some by Popish Catholics, some for the hardness of people's hearts, tolerated in the reformed Churches, and amongst others, one of especial note by Popish King Francis. Anno 1539. wherein for 30. days together were represented the Acts of the Apostles. Concerning this let all true Christians give their censure, whether this act of King Francis was not most impious and sacrilegious, that he should profane the holy Scripture on a stage. Yet doth M. Actor approve him for it: for he traduceth him as a great dignifier of Stagerits. If this be true then let not M. Actor be adjudged for a true Christian, until he sing a Palinode, in recantation of his Apology.  
Next doth M. Actor spend many words in repetition of a whole crew of Poets and Actors, ancient and modern, and amongst them he extols one of especial note and fame in Rome, by name Roscius. Of him thus saith D. Anthony de Guevara in his Dial of Princes. We find (saith he) some fragments of an Oration which Cicero made in the Senate, greatly reproving the Senators, and all the people because they so willingly gave ear to this jester which raised sedition among the commons, his name was Roscio; who was so highly esteemed in Rome, that the Romans more willingly heard his jests, then that which Cicero spoke in good earnest. This jester Roscio and Cicero strived which of them both were the better. Roscio for presenting a thing with divers jests, or Cicero for pronouncing weighty matters in earnest. When I read (saith he) in julius Capitolinus that which I have spoken, I confess that I could not refrain myself from laughter, to see that Roscio being Prince of folly, presumed to contend with Cicero, which was father of Eloquence.  
Next M. Actor shows what kind of men he would Players should be: such, that although they cannot speak well, yet know how, or such that have volubility (their tongue to run afore their wit) and can speak well, though they understand not what. See see his absurdity herein. He would in his first Book feign make acting an Art Rhetorical, instructing to speak well, and yet the tutors in it to be disable for their functions. All Arts consist of two parts: method and practice. Now for the first sort such as cannot speak well cannot teach the part practic of the Art: and the second sort, such as understand not what they speak, cannot teach the part methodical. And so consequently no perfection by Players is to be attained in Rhetoric, or the art of speaking well, if to be an Art it were admitted. Concerning which read again Page 17.18.  
Next M. Actor could wish (but he will not) that such as are condemned for their licentiousness, were excluded their society. And wish long enough he may without redress, himself among others never seeking for it. For exempt their licentiousness only out of Plays, too too small alas will be their get to maintain their idle life; that being the thing which most pleaseth the multitude, who chief run flocking to the Playhouse, that they might make mirth of such folly and laugh at it, and that they might tell it to others when they come home, to make more fools laugh for company. And therefore in vain afterwards doth M. Actor entreat for excuse; not to misdeem all for the misdeeds of some; being it is the general carriage of them all. It is a rule in Divinity to know a man's conditions and what he is, by the company he doth usually keep. Now if the best of them were not licentious, why do they live, and jove, accompany, and play together with them which are. Were it not madness for a man to be his companion which is his daily reproach? But Players all of them are licentious: for, the proverb is, Birds of a feather fly together. And therefore if they were not they would never associate them which are, whon the Synteresis of their own conscience, and the conscience of all men willeth to avoid.  
Next doth M. Actor recite a memorable example of julius Caesar, that slew his own servant whiles he acted Hercules furens on the Stage. Which example indeed greatly doth make against their Plays. For it's not unlikely but a Player might do the like now, 
Facyfull sights likely to happen et Plays.  as often they have done. And then what a lamentable project would there be for the Spectators to behold: As many times it happens when their supposed nocent persons are falsely hanged, and divers of them ready to be strangld, or altogether. As for the other Emperors which were Actors by th' apologist recorded: as Caligula, Nero, Vitellius, Domitianus, and Commodus, all History shows they were the most bloody, merciless, and cruel Villains breathed; Fit to make Actors, though fit for nothing else.  
Next doth M. Actor prosecute his matter with example from the Papists, though he would excuse himself for it with haec breter me at the end thereof. But how impious it is to profane holy Scripture as they do, all true Christians can determine, as I have said before. And for such profaneness, Players many times have received their due deserts: as may appear by the most fearful accident that happened to the jesuits of late years at Lions in France, when they would needs Act a Play of Christ's coming to judgement at the last day. And Eusebius in his Book De preapar. evangelica, 
●b. ●. cap. 1.  sets down an History of a Poet that suddenly lost his Natural sight, for having lewdly applied a piece of Scripture to a Fable.  
Next doth M. Actor show out of Virgil, that theatres were erected immediately after the Ruin of Troy. But surely M. Actor is not acquainted with Virgil though he be a Poet. If he were, then verily he is not ignorant, how Virgil doth apply ancient Monuments and memorial to his time. As when he feigneth a prophecy, that from julus should proceed another of like name, which should govern the state of Rome, meaning julius Caesar.  
Nascetur pulcra Troianus origine Caesar,  
Imperium Oceano, famam qui terminent astris, 
Virg. Aened ●…   
julius, a magno demissum nomen julo,  
Likewise elsewhere doth Virgil feign Dido to prophecy of the Roman and Carthaginean continual hatred, because in long time after there chanced such continual wars between them.  
Tum vos o Tyrijstirpem,  
Exercete odijs, cinerique, haec mittue nostro 
Aeneid. l. 4.   
Munera: nullus amor populis nec foedera sunto.  
Next M. Actor saith, That he hath discoursed of theatres even till the Reign of julius Caesar, and how they continued in their glory (he forgets that Tiberius (witness Corn: Tacitus annalum lib. 4.) drove them out of Italy) till the time of Marc. Aurelius, (who banished them into Hellespont:) And from him even to these times. Ho there, stay a little good Sir. To skip above a thousand years is nothing with M. Actor. For from the time of Constantine the Great, who suppressed Plays as did Aurelius, till the time of Richard 2. of England, Anno 1390. and Edward 4. Anno 1490. and Francis the French King Anno 1539, he hath nothing to say for himself. But he must now needs confess that when Christianity began publicly to flourish, 
As Christians encreised so P●●y●● were more and mor● abolished.  than Paganism daily more and more was abolished, and at the last utterly extinct in Christendom: till of late years first Papistical Friars and jesuits raised it up afresh.  
Next doth M. Actor allege authority from Cicero, to prove that Plays were both in Athens and Lacedaemon. In Athens indeed they were, but never in Lacedemonia. Happily there might be theatres, or places of prospect to behold their active youth show their martial feats, and warlike prowess, at certain times of the year, as the Romans in their Circensian Plays, and ludis secularibus, secular games. But it was never read that Hystriones, Actors, Tragedians or Comedians were in Lacedaemon. For Plutarch in his Apothegms saith, that the Lacedæmonians never permitted any such in their commonwealth. And that when an Ambassador of Rhodes demanded a Lacedaemonian what was the occasion of their laws against such, since that the jesters and Players showed pleasure to the people, and the people lost nothing, but laughed at their folly. The Lacedaemonian answered. Lycurgus saw, felt, heard, or read some great damage that jesters and Players might do in the commonwealth, since against them he established so strait a Law. But that which I know is; we Greeks' are better weeping with our Sages, then are the Romans laughing at their Fools.  
Next doth M. Actor declare, that Cicero calleth Plautus, our Plautus, as it were noting thereby a name of excellency. Truth; he calls him our Plautus in his works de Republica by the mouth of Scipio. Concerning which, thus saith Lodovicus Vives. He calleth him our Plautus, not that he ever knew him, but because he was a Latin Poet, and he had spoken of the Greeks' before.  
Lastly M. Actor maketh Cicero to commend unto his son Marcus some Poets, as Statius, Naevius and Plautus for their writings. This is a thing hardly to be credited. For in the third of his Tusculane Questions, speaking of the causes corrupting the seeds of virtue, he addeth Poets. Hereunto (saith he) also may Poets be added, who pretending (what is not in them) a great deal of doctrine and wisdom, are learned, read, herd, and borne away in the mind of every man. Now have I sufficiently confuted the particulars of M. Actors second treatise of Actors ancient dignity. Therefore I will now proceed in opposition thereof, to declare their ancient indignity, and how base both theatres, Play-Poets, Stage-Iesters, and Actors were esteemed of the cheese antiquity, which by any means could never well endure them. But me thinks I see how resolutely past reason M. Actor, his mates and all adherents stand yet upon their rermes of ancient dignity. Wherefore with Saint Augustine I say; 
Aug. de Civit. Dei.  O that Scipto Nassica were now alive, he whose face perhaps ye durst not to behold! he would shame you for this gross impudence of yours; For, what cause is there for you to mcclaine at the prosperity of Christian faith in these times, which condemneth the use of Plays, but only that you would follow your luxury uncontrolled, and having removed the impediments of troublesome opposition, swim on in your unhonest & unhallowed dissolution in seeking out infinite variety of vain pleasures, so to give birth unto these exorbitances, which will heap thousands of mischiefs upon you in the end? Hence it was, & out of his most circumspect zeal unto his country, that the said Scipio, who was then chosen by the Senate of those times for the best man, without any difference of voices, (a thing worthy often repetition, when the Senate had given order for a Theatre to be built, wherein the Roman people might sit and see plays, 
Scipio would have no theatres in Rome.  dissuaded their vain resolution, & in a grave oration persuaded them, not to suffer the luxury of the Greeks to creep into their old conditions: nor to consent unto the entry of foreign corruption, to the subversion and extirpation of their native Roman perfection: working so much by his own only Authority, that the whole bench of the judicious Senate being moved by his reasons, expressly prohibited the use of those seats which the Romans began then to have in the beholding of Plays.  
This History Valerius Maximus doth record. And how Nassica so laboured with the Senate, that theatres was held a thing unfit, as prejudicial to the manners of the people: so that by a decree of the Senate all the preparation for the Theatre was laid aside. And it was ordained that no man should place any seats, or sit to behold any Plays, within the City, or within a mile of the walls. How earnest would Scipio have been to have cleansed Rome of the Plays themselves, durst ye have opposed their authority whom he held for Gods being ignorant that they were malicious Devils? or if he knew it, than it seems he held (Oh hellish ignorance) that they were rather to be pleased, then despised, being he was high Priest unto them. For as yet that heavenly doctrine was not delivered to the world, which purifying the heart by saith, changeth the affect, and in Christ freeth men absolutely, from the slavery of these proud and ungracious Devils. Who as I have before said, even by command and constraint forced the stayed Romans, which knew nothing but of arms before, to present them with such things: nay (not only to present them but to dedicate and consecrate them) saith Saint Augustine with all solemnity unto their honours.  
There are many things in this History of especial note. First that it was the chosen best man in Rome, which dissuaded the Senate from their enterprise, and that the wise Senate condescended to him. Also that they held the Greekish corruption an enemy to the native Roman perfection: which afterward proved true when they had given entrance to it. The last thing is that they banished theatres out of their City, and without a mile of their walls: which was ever after observed until the sack of Corinth, when Lucius Memmius set up a Theatre for the Plays at his triumph, which stood no longer neither then the triumphs lasted, nor any after it till Pompeius' time. For as long as merely some Atoms of Roman perfection did remain, standing theatres by no means might be erected.  
Caligula, that famous, or rather infamous villain, what impudent shifts he made to maintain his riot, all Histories of him do record. Among other things he shamefully exacted toll and custom from Bawds, Harlots, and strumpets which use may seem was ever after retained till Alexander Severus was Emperor. For he, saith Lampridius; did forbid that it should be brought into the common treasure, but assigned it to the reparations of the theatres. By which it is evident how basely he esteemed them, that the most base of all gains, and what he thought unhonest for him to receive, he assigned to the theatres, which so many Bawds, Varlets and Harlots both then and now did haunt.  
Concerning Poets, Polidorus Virgil saith. That a little aster Ennius his time, Poetry was so debased and held in such despite, that if any one had professed himself to be a Poet, he was taken for a murderer or a Ruffian, What the Romans held concerning Poesy and Commedians, Cicero recordeth in his book of the common wealth where Scipio is brought in saying thus. If that the privilege of an old custom had not allowed them, Comedians could never have given such proofs of their vileness upon theatres. He proceedeth further and showeth what Laws were made against them in the twelve tables, and that our lives should not be censured by Poets, but by lawful Magistrates, and in the end concludes, that the ancient Romans disliked, that any man's life should be praised or dispraised upon the stage: and would by no means have their manners to be liable to the quips and censures of Poets, but inflicted a Capital punishment upon such as durst offend in that kind. And so the Poets leaving to tax the vices of the City, turned their pens to worse matters, (as Saint Augustine affirms) to declare and publish the filthiness, obscoenity and villainies of the Gods. In another place of that Book Cicero saith, They held the art of stage-playing so base and unmanly, 
No Players capable of honour in Rome, not so much as their freedom thereof.  that therefore they did not only detains all the honours of the City from such hind of men, but appointed the Censors in their views to remove them from being any part of any tribe, and would not vouchsafe them to be counted as members of the City. Then it must of force be granted that the Players were the most pernicious men of conditions that could be, and the vildest in their villainies, because they could not be allowed for Citizens in that City, which harboured so many thousands of wicked and ungracious fellows, all as Citizens; in so much that by the ancient fathers; Rome was called Babylon in the west. That Players were excluded from being of any tribe, Livy and Valerius do both testify: unless authority made them such, for that seems as a constraint. As befell to Decimus Laberius, whom Nero requested to act a mimic of his upon the Stage: and yet he nevertheless was after that a Gentleman of Rome. For he that is forced to offend the Law, is held not to offend. But a right worthy decree, and well beseeming the Roman wisdom was this. That none which would choose of a Roman Citizen to become a Player, should only be secluded all honours, but by the Censors censure be made utterly uncapable of ●uing as a member of his proper tribe. But why were their Players so debased, by whom their Gods were so pleased? This was the Controversy between the Greeks' and the Romans. The Greeks' thought good reason to honour those Players, seeing they must honour them which did require those Plays: but the Romans disabled their Players to bear honour in their City.  
The Greeks' mad a Law that the Comedians might speak what they list of any man: The Romans made a law for the abridgement of such licentious liberty; and gave them leave to say what they would of their Divell-gods. The Greeks seeing they had such Gods to serve as required Plays, thought it not fit to take away any liberty from the Poets in using these Stage-mocks and shames. And this they did for fear lest their Gods should be provoked to anger against them, in case they went about to make themselves into more honest moulds than they were, and so seem to prefer themselves before them, which delighted in the Poetical fictions of their vicious facts: or else for desire to be made like their Gods, even in their greatest enormities. And from this imagined convenience came it, that they held the very actors of those Plays worthy of their cities honours. As weread that Eschines of Athens (whom Demosthenes in his oration de Corona calls an apish Tragedian) having been an actor of Tragedies in his youth, is said to have borne office in the common wealth. Yet Aeschines himself in an Epistle he wrote to the Athenians, seems to affirm, that he had given over his stage-playing before he bore any place in the City. But on the other side the Romans were so far from gracing them, that they would not allow them in place in a Plebeian tribe: much less in the Court or Senate, but held them disgraceful to all callings. Plato disputing of the true perfection of a City, would have Poets banished from that society, as enemies to the cities full perfection being well ordered. Yet in his 10. Book de Repub. Socrates having spoken much against them, concludeth all in this: that he holds that Poetry fit to be excluded, which gives life to unmanly affections: and that to be allowed, which is manly and honest. For all Poetry is not to be condemned: they are called by some a divine kind of men, namely when they sing hymns to the Deity: as David in his Psalms, Solomon in his Canticles, and the Prophets in their pleasant Psalmodies. And if they exceed not in looseness, yield not to rancour, consent not to flattery, bite not with taunts, scoffs, quips, and jests, set not abroach fables, fictions, lies, wanton toys, amorous conceits, nor in their Poesy's sow any seeds of corruption, such Poets are profitable members in Plato's Commonwealth. But such good Poets, Play-Poets in these days are not: and if they will be Play-poets, then to please their hearers such they cannot be. And therefore are they unnecessary in a commonwealth. Archilochus the Poet as soon as he came into Sparta, was presently thrust out again, because he had written falsehood in his Poems: and ever after, the Lacedæmonians forbade all fabulous Poesy. And hence grew the common proverbs. Poets are liars. And Poets and Painters may lie by authority. And it was written of Socrates, that he was but ill or slenderly brought up in Poesy, because he loved the truth. And a man might say, that this moved Caligula to condemn Virgil's and Homer's Books, because of their profane fables. The City of Marseles hath been marvelously praised in ancient time, for that she always rejected stage-Poets & Players. And the Emperors Tiberius, Anthony, Aurelius, Frederick the first, and Henry the third caused them to be driven out of their Empire, and the Tribunes banished one Naevius out of Rome. Augustus likewise banished Ovid, and Domitian Juvenal, Archilochus fell into confusion by his own detractions. Plato compared the disputes in Poetry to the banquets of the ignorant, that use music instead of good discourse. Pythagoras said that their souls hanged in Hell upon a tree, still pulled on every side by serpents for their damnable inventions. Suetonius Tranquillius in the life of Augustus declareth, that in Rome there was a very pleasant iesting-Plaier called Epifanius, who to show the Emperor pleasure, and hoping to have a good reward, went to the Palace at one time in the attire of a Page, and at another time in the habit of a Roman matron: and so truly counterfeited every thing, that it seemed to be the very persons whom he acted. But the Emperor was so highly displeased with what the Actor had done, that forthwith he commanded him to be whipped about the Theatre three times. And when he complained, that the Emperor commanded vagabonds to be whipped but once, and he thrice. Augustus' answered; Thou art worse than a Vagabond; once they shall whip thee for the injury thou hast done to the persons thou didst represent, the second time for the presumption thou hadst to act thy folly in my presence, and thirdly for the time thou hast lost, and made others to lose in beholding and hearing. Don Antony de Guevara in his dial of Princes hath this History. That in Rome their jesters & Comedians became so dissolute, that they were occasion of slander among the people. Which scene and considered, and withal that they lived as loiterers and fools: the Senate of Rome determined amongst themselves to banish them all out of the commonwealth. On this execution of these loiterers, sprung divers dissensions among the people. For the Princes which were good cast them out, and those which were evil called them in. So that one of the tokens to know a virtuous or vicious Prince in Rome, was to see whether he maintained these Players among the people. Cornelius Tacitus annalium lib. 1. Recordeth that in the Reign of Tiberius there was a very great sedition in Rome, by reason of the Player's licentiousness. And after he hath showed the Riot which by their means was committed, he saith. Actum est de easeditione apud Patres, dicebanturque sententiae, ut Praetoribus ius virgarum in Histriones esset. It was debated among the Senators concerning that sedition, and their sentence of it was: That there was a law for the praetors, to make the Players taste of the whipping post. By this we may see that the Roman Histrions or players, were not only excluded all honours, even the least that might be in the City, as is before declared: but they were also counted for Rogues, upon any offence subject to the lash of the whip. Like unto which by the laws of this Realm of England also they were mustered in the Catalogue of the several kinds of Rogues and Vagabonds, and aught so to be punished, wheresoever they be taken, if they had their deserts: such as travel the countries with plays and interludes, making a trade of it: As oftentimes our London Players when the infection is in the City make an occupation in traveling the countries and ranging from Fair to Fair and from City to City. And what difference is there between the one sort & the other, but even none at all? For both alike excheat money from the commonalty, & for round sums of silver give them nothing but multitudes of vain and foolish words. Thus have I sufficiently proved out of good History the indignity wherewith Play-Poets, Players, and theatres were branded by the wisest men, and greatest Princes of the world.  Quipergit quae vult dicere, audret quae non vuli? 
The end of the Second Book.   

A Refutation of the Apology for Actors: And of the wonderful abuse of their impious quality.  
THE THIRD BOOK.  
HItherto have I proceeded in Refutation and opposition of Master Actors Apology: Omitting nothing worthy of notice, which I have not touched, or shall not touch in this my last treatise. And now that I have declared the abominable original, with Ancient and present indignity of Players; I come lastly to handle the use of their quality: wherein according to my former method, after I have convinced M. Actor's Arguments and affirmations, with Reasons and negations: I will set down the most abominable abuse, and impious quality of them.  
Tragedies and Comedies saith he, out of Donatus, had their beginning a Rebus Divinis, from Divine sacrifices. It's true; they were first instituted of Devils and for Devils, and therefore as things first consecrated to Devils, aught to be abandoned.  
Next M. Actor sets down his definition of a Comedy: for which he should have alleged his Author, because he saith it is according to the Latins. But suppose it were of his own brain gathered from Cicero's saying (I know not where) which he afterward allegeth thus: A Comedy is the Image of truth. Well then; to disprove his definition I must confute Cicero: And that thus.  
Whatsoever is the Image of truth, is like unto truth. For Images are said to be like unto what they represent.  
But a Comedieis not like unto truth:  
Ergo: It is not the Image of Truth.  
My Assumption I confirm thus. A Comedy is not like unto truth, because it is wholly composed of Fables and Vanities: and Fables and Vanities, are lies and deceits: and lies and deceits are clean contrary to truth, and altogether unlike it, even as virtue is unlike to vice. Wherefore my Assumption being true my conclusion is also firm. But beside this refutation of his Definition, I will lay down another in opposition of it, gathered out of the works of Atheneiu: Thus Plays are the fruit of vintage and drunkenness, consisting of sundry impieties, 
Definition of Plays.  comprehending evil and damnable things, wherein is taught how in our lives and manners we may follow all kind of vice with Art. For they are full of filthy words and gestures, 
The riches of Plays,  such as would not become very lacques and Courtesans: and have sundry inventions which infect the spirit, and replenish it with unchaste, whorish, cozening, deceitful, wanton and mischievous passions: besides which inconveniences Stage-Players do oftentimes envy, and gnaw at the honour of an other, and to please the vulgar people, set before them lies, and teach much dissolution and deceitfulness: by this means turning upside down all discipline and good manners. Hereupon Tully complaineth all in vain, who being to speak of Comedians and Poets, when he came to them saith: The clamer and approbation of the people, when it is joined with these Poetical fictions, as the testimony of some great and learned matter, oh what darkness doth it involve a man in? what fears it inflicts, what lust it inflames? Thus S. Augustine allegeth the sentence. But the whole sentence I take it is out of the third of Cicero's Tusculane Questions where speaking of the causes which corrupt the seeds of virtue naturally sown in us, he saith. Hereunto also Poets may be added, who pretending a great deal of doctrine and wisdom, are learned, read, heard and borne away in the mind of every man. But when that great master the multitude is added also, and the whole company swarming on every side unto vices, then chief are we infected with depraved opinion, and drawn from our very express nature.  
Next M. Actor recites a verse against them which condemn Plays.  Oderunt hilarem tristes, tristemque iocosi. 
It is true; for gravity and levity, two contraries cannot consist in one. But what said the Lacedaemonian concerning this. I know we Greeks are better weeping with our Sages: then are the Romans laughing at their fools.  
After this he will seem to answer an objection, which because it is but a piece of an objection, extorted, both it and his answer I will omit. The objection is, that the Romans in their time, and some in these days have abused Plays: but they havenot only abused them, for they are abuse itself, (as I shall instance further hereafter) and ever were.  
After this again he saith.  
Plays are in use as they are understood:  
Spectators eyes may make them bad or good.  
O right excellently well said! In what a doubtful case would the use of plays than stand, if none but fools (as commonly they all are) or none but blindmen were their auditors? the one kind could not understand, the other could not see, and consequently neither give right judgement of them: For the one could not understand what vice to avoid, the other could not see acted to the life what magnanimous virtue for to follow.  
But to leave this forked argument, and with more plain reasons to touch his meaning. I Deny his maxim. For although this Axiom. Omne accipitur secundum modum accipientis be true, every thing is received according to the capacity of that which receiveth: yet it extendeth itself not so far as M. Actor's intention. For then according to the discretion of fools and blind men, if Plays were evil, (as they are not to be thought otherwise) by their good accepting of them they were good; which how absurd a reason it is let all men judge. Besides which if their were any good in Plays, yet for the evil, which is greater, they are not tolerable. And we are taught not to do good if any evil may ensue thereby. For good when it is the occasion of evil, ceaseth any longer to be good, but is turned into sin: For evil, and the occasion of evil are under the same predicament of sin.  
Next M. Actor inferreth many vocations and institutions of life wherein men live, amongst which there hath been some bad: and thereupon demandeth, whether the general shall be condemned for the particulars sake. I answer no; But the Genus of plays comes not under the protection of this reason, because they are wholly evil, as more at large I will show towards the end of my discourse. Next M. Actor proceeds in the use of Plays, and shows first that they are an Ornament to the City. But I think the saying of Valerius Maximus of more authority than this: who saith, Plays were never brought up Sine Regni rubore, without shame to the Kingdom. Secondly, he showeth (and to the disgrace of his mother-tongue) that our English was the rudest language in the world, a Gally-mafry of Dutch, French, Irish, Saxon, Scotch, and Welsh, but by Play-Poets it hath been refined. But doth he not forget, that whiles they add Greek, Latin, and Italian, they make a great mingle-mangle. Nay, before the Conquest by Bastard William that the French came in, our English tongue was most perfect, able to express any Hebruisme, which is the trial of perfection in Languages, and now it will very hardly expound a Greek Lecture. For after that the French had once corrupted it, it was but of late years that it could recover a common Dialect again. Since which again it hath indeed been more refined, but thereby it is become more obscure, and used amongst few, for the simple vulgar people cannot understand it: And a plain man can scarce utter his mind, for want of Phrases, (as I may say) according to the fashion. But what refinedness is in our language, it's not from Poets, but from other learned men's writings, from whom they borrow all the refined words they have.  
Thirdly, he affirms that Plays have taught the ignorant knowledge of many famous Histories. They have indeed made many to know of those Histories they never did, by reason they would never take the pains to read them. But these that know the Histories before they see them acted, are ever ashamed, when they have heard what lies the Players insert amongst them, and how greatly they deprave them. If they be too long for a Play, they make them curtals; if too short, they enlarge them with many Fables, and whither too long or too short, they corrupt them with a Fool and his Babbles: whereby they make them like Leaden rules, which men will fit to their work, and not frame their work to them. So that the ignorant instead of true History shall bear away nothing but fabulous lies.  
Next M. Actor hath strived wonderfully, in showing the particular uses of plays, which I will reserve to condemn, with all their qualities, toward the latter end of this book, And proceed next to show the absurdities of M. Actor in his 3. Histories of strange accidents that have happened at plays: which make more against him then for him, if they were well considered, according to God's just judgement, and not M. Actor's vain application. The first and last History concerning treacherous murders committed by untrusty wives upon their husbands, he applieth to plays, because at plays their first discoveries were intimated.  
But it was far otherwise, for these bloody-minded wines lay long in their sins without repentance, God for a great while using mercy and patience towards them: But when he saw them to persist in their inflexible stubbornness, that in stead of suing to him for grace and remission of their sins, they provoked him to greater anger, and in stead of coming to the temple there to pray, to haunt Satan's Synagogue there to see sport and seed their pleasures: he even took them napping in the devils Sanctuary: that where they thought to conceive much mirth from vanity, there they might be pricked in conscience, and receive the beginning of their sorrow, at last to bring them to repentance, that God might save their souls, though in his justice he brought their bodies to destruction. The other History of the flight of some roving Spaniards from a town in Cornwall, upon striking up of an alarm at night by the Players on the stage, he applieth likewise unto plays. But far rather it is to be attributed to God's mercy, who carefully kept watch for the town and not the Players. He I say, while they were secure at their pleasures, and feared least when they had greatest cause, turned their present interlude to a good use, being evil of itself (as sometimes he useth the Devils themselves for his instruments) thereby to teach them to be more wary another time, and not to entertain again the cause of like security: and sparing the town, for the good that were absent, and not ruinating it for the vicious minded that were present at these Player's trumperies.  
Now have I opposed and confuted the grand Arguments of M. Actors third book, such as concern some, though not the more particular use of Plays, which now I come generally to handle. Before which yet even as M. Actor hath done, so will I declare two authentic Histories of fearful accidents that have happened at the theatres. The first is recorded in the book entitled, The Anatomy of Abuses. made by M. Philip Stubbes, that when a great multitude were assembled at the Theatre, the Lord sent a mighty earthquake as though all would have fallen about their ears.  
Whereat the people sore amazed, fomeleapt down to the ground from the tops of turrets and galleries where they sat: whereof some had their legs broke, some their arms, some their backs, some hurt one where, and some another, and many sore crushed and bruised, but not any which went not away sore afraid, and wounded in conscience.  
The Second history I have both read and heard. Read, if I be not deceived in Vines commentaries upon Saint Augustine: 
Another more fearful accident at a Play.  and heard some five years since at Bristol, from the mouth of a Reverend Preacher, recited there in a set Sermon against the abuse of Plays. And it was thus. In the times of the primitive Church, a Christian woman went into the Theatre to behold the plays. She entered in well and sound, but she returned and came forth possessed of the Devil. Whereupon certain Godly brethren demanded Satan how he durst be so bold, as to enter into her a Christian. Whereto he answered, that he found her in his own house, and therefore took possession of her as his own. A fearful example this is indeed, able to affrighten and deter any from entering into theatres, lest they incur the like danger as this woman did. But now I am come to entreat of the qualities of Plays and Players, I will hear add some historical Apothegms and sayings concerning them, unto the former recited and alleged in my second treatise, and so withal I will proceed in my discourse. Saint Augustine in his book of the City of God, speaking of some vices in the Romans' which their City's ruin, by the Barbarian Goths, did not reform, exclaimeth thus. O you senseless men! how are you bewitched not with error but furor? That when all the nations in the East (as we hear) bewail your cities ruin, and all the most remote regions bewail your misery, and public sorrow, you yourselves run headlong unto the theatres: seeking them, filling them, and playing far madder parts now then ever you did before. This your plague of mind, this your wrack of honesty, was that which Scipio so feared when he would not have any theatres built for you.  
Dio, in the Life of Tyaian reporteth concerning an active Player thus, That when they entreated the good Emperor that he would please to hear him; he answered. It is not for the majesty of a grave and virtuous Prince, that in his presence any such vain thing should be showed. For in such a case himself should be no less noted of lightness, than the other accused of folly. And further he said. Before Princes a man should not be so hardy to speak dishonest words, nor show light representations. And in such a case as much pain deserve they which move him thereto, as those which do represent them, for none ought to put before Prince's things that might allure them to vices, but such as might move them to virtues. Marcus Aurelius wrote a letter to Lambertus his friend, certifying him that he had banished from Rome, all jesters, Fools, and Loitering Players, and declaring how he had found the sepulchres of many learned Philosophers in Hellespont, whereunto he had sent them.  

Marcus Aurelius his letter.  Some fragments of this letter I will hear repeat. After salutation saith he. To declare the chief cause that I writ unto thee at this present, it is. I send thee three ships loaden with jesters, Fools, Players, and Vagabunds. And yet I do not send unto thee all the Vagabunds which are in Rome, for than I should em-people thine Isle with strangers. The offices that they bore was, that some of them were Railing jesters, some Singers of Malicious and filthy songs, others played common plays, and interludes, and entertained the Romans' with foolish fables and tales, others set forth vain and light books of Poesy. And yet I swear unto thee these Loiterers wanted no Fools to hear them. I let thee weet my friend Lambert, that these loiterers are such, and their scholars in number so many, that though the masters may be in three ships carried, yet the scholars in an hundred could not be transported. One thing there is at which I much wonder: that the Earthquakes overthrow the houses, great inundations carry away the bridges, the frost perish the vines, and the contagious air infecteth Wisemen: But yet there is no plague that consumeth these Fools. O Rome how unhappy dost thou present thyself to him that doth diligently search thee. For in thee wanteth valiant Captains, honest Senators, just Censors, faithful Officers, virtuous Princes, and only thou aboundest with Fools, jesters, Players, Loiterers, and Vagabonds. O Lambert, what service shouldest thou do to God, and Profit to our Mother Rome, if for three ships of Fools thou diddest return us one only Bark of Wisemen.  
After this he writeth of those that hear these Fools, thus. A Fool hath a semblance of the Sage when he accompanieth with a Sage: But the Sage showeth himself a Fool when he accompanieth with a Foole. If we communicate with Liars we shallbe Liars, and if we desire the Foolish we shall be Fools: for accordying to the Masters and Doctrines we have, such shallbe the Sciences we learn, and the works we shall follow. Dionisus the Sicilian tyrant demanded of Diogenes, with what persons we should divide our goods: who answered, with aged persons that should counsel us, good servants which should obey us, friends that should comfort us, and the poor that should pray for us. By this answer we may see, that it is not just to give to eat to jesters, Players, Loiterers, and Fools. And it seemeth to me, a man ought not to think that Players can give good instruction by their lies and mockeries. Also it should be great folly to use such men as Sages, which of their own will have made themselves Fools. And again it seemeth to me vain to think, that such jesters should serve as servants. For they to fly travail have only taken upon them this so slanderous an office. Thirdly, it seemeth to me a thing of great inconvenience, that a noble or Sage man should accept any such jester as his friend: For they cannot be counted amongst true friends, since they love us not for the virtue we possess, but for the goods which we have. Fourthly it seemeth unto me uninst that under the colour of poverty it should be lawful to give meat to such loiterers: For we cannot say they are poor because they want riches but because they abound in folly. Since therefore they are not honest poor, true friends, faithful servants, wise Sages, therefore it is folly for any man to spend his goods upon them, and thereby become defamed.  
By this Centurion thou shalt know all things that are chanced among the prisoners. For if I should write unto thee the whole matter as it was done, it would be much pain to me to write it and to thee very tedious to read. It sufficeth presently to say, that the day of the great solemnity of the mother Berecinth, a great slander arose in Rome by reason of these jesters, players and loiterers. And by the faith of a good man I swear unto thee, that the bloodshed throughout all places, surmounted the wine which was drunk at the feast. And as thou knowest the Citizens are come to so great impudence, that he which on that day drank most, was esteemed to have offered the greatest sacrifice. I am yet afraid to remember the cruelties which that day I beheld with my own eyes, but I am much more ashamed of that which they talk of us in strange Realms. Then saw I Rome, invincible to the valiant men, that day overcome with loiterers. Rome, which could never be won by the Carthaginians, is now won by jesters, Players and Vagabonds: Rome, which triumphed over all the Realms is now vanquished by such idle persons: Finally I saw Rome, which in times past gave laws to the Barbarians, now become the slave of fools. In this case I have been so troubled that I cannot tell what to say, and less what to write to thee. One thing comforteth me, that since Rome and her Romans do not rejoice themselves but with fools, that she and her children be not punished but by the hands of fools. I think not in this case that the Gods do any wrong, if Rome, which laughed at the jests of Plays do weep one day with the loiterers in good earnest. Thou mightst demand of me Lambert, since we Princes are bound to maiutaine equal justice to all, wherefore we dissemble the offences of others performed in earnest, and yet we will not pardon these loiterers, since all their inventions was but in jest for mirth and pastime. I promise thee though their offences were great indeed, yet do I not banish them so much for the blood they have shed, as for the good orders they have perverted. And once again I protest unto thee that I have not banished them so much because they were occasion of murders, as because they were teachers of lies. Without comparison greater is the offence to God and greater the damage to the common wealth, to take away as these loiterers have done, the senses of wise men, then that which the murderers have done in bereaning their adversaries of life. The end of these jesters, players, idle men and vagabonds, is always to persuade men that they speak and treat continually in mockeries, to rid them of melancholy and sorrow, and give them recreation: and all this is but to deceive them of their goods. In which case I wish it would so please God, that they did but spoil us only of our goods, without depriving us of our wisdom.  
When Scipio Affricanus had ended the wars of Africa, he went through Rome, accompanied, not with valiant Captains, but with Players: Which when a Philosopher espied, he said unto him these words. O Scipio according to the much I have heard of thee, and the little I see in thee, it were better thou hadst died in Africa then have come to Rome. For thy worthy and thy honourable acts in thy absence did astonish us, but thy levity in our presence doth offend us. To thee it is great infamy, and a shame unto the sacred Senate, that thou having conquered so many mighty Princes in Africa, shouldst go accompanied with fools and madmen in Rome. O Scipio, thy life had not then so much peril among thine enemies, as thine honour hath at this present among fools. After that these loiterers and vaga bonds shall land in thine isle, thou shalt deprive them of none of their goods, but thou shalt not suffer them to be so hardy to exercise their crafts: which if they presume to do they shall put them to death. We that are Sages call them fools: yet are they subtle fools which by craft live upon the sweat of others.  
And with greater reason should they mock our works, than we laugh at their words: for they profit more of our goods than we can of their folly.  
Afterwards speaking of the plague when plays were first induced, he imprecateth thus. Would to the immortal Gods that the plague had ended those few which remained, before this cursed generation had brought such abominable customs into Rome. Much better had it been for our Mother Rome she had been dispeopled, than such rascals had been her inhabitants.  
Since the time I was borne, I never saw any thing less profitable in the common wealth, nor more vain, nor worse inventions, nor colder recreations than these are, which these jesters and players do invent. What thing can be more monstrous then to see the mockery of a fool draw many wise men beside their wits? what greater folly then to esteem the jests of a fool worth the lastre of the Sage? what greater cruelty in Rome, than that rich men give more to a Player for one hours babbling, then to a servant for his whole years travail? What greater theft than this, that the Garrisons in Hiria want, but Player's iestars and loiterers in Rome have too much? what greater shame to Rome then this: that Players have won more by their interludes and mockeries, then divers Captains with their weapons and triumphs?  
Afterwards he showeth to how great abundance of wealth some Players have come: whereupon he saith thus. Behold Lambert how they are neglected of the Gods and favoured of Fortune: and in how little estimation the goods of this life ought to be, since some by counterfeiting leave behind them as great memory of their folly, as others in truth do by their wisdom. One thing only there is of these loiterers that pleaseth me. That with their presence at Rome, they made every man laugh at their fooleries: and now they are banished all remain sad for the money they carried away. It is a just judgement of God, that those which have taken vain pleasure together, do weep afterwards for their loss severally, etc.  
Plutarch telleth of a Lacedaemonian who when he was demanded what he thought of Tirteus the Poet answered; He was very good to infect young men's wits. And Hieron of Syracuse condemned the Poet Epicarinus in a great fine, because in his wives presence he had repeated lascivious verses. If this should be observed in these times, Poets would verily make too true the common saying which calleth them Threadbare. Vives also writeth, that Ovid was most justly banished as an instrument of wantonness, for making love books, interludes, and such amorous trumpery. Tertullian, an ancient Doctor of the Church, called Poets and certain Philosophers the patriarchs of Heretics. And in his book De Speculo saith, that Plays were consecrate to the Idol Bacchus, because he found out and invented strong drink, which Palingenius toucheth at in these verses concerning Poets.  
Hi furijs agitantur jacobi, & Apolinis aestro,  
Quorum ego judicium falsum, & damnabile duco.  
Blondus in his book de Roma triumphant saith, that the Romans' gave laws to their jesters and Players, even as they did discipline to their mattiall Cheeftaines. And among other Laws he repeateth these three of especial note. First they permitted none to use such feats unless he had some other Craft to live by: But our Players are altogether idle. Secondly they prohibited any vice to be so bold in his ostentations as to speak maliciously: but this is the chief subject of our Comedies now. Lastly they ordained that for no pastime showed, or other thing spoken, they should be so bold to take any money; and to that end allowed them a small pension out of the treasury. If our Players and jesters should be enjoined to this rule, I am persuaded their gains would be no eyesore to them at the years end: For the country loveth them not so well as to give them yearly pensions, except a Noble man or so, have some as retainers to them. But they may here remember the saying of Bias. To be accounted a noble man's jester, is to be esteemed a mercenary Foole.  
Aristotle in the end of his eight book of Politicques, debarreth all youth access to plays, lest in seeking to quench the thirst of Venus, they quench it with a pottle of fire. Lactantius, a learned father, saith, Histrionú impudissimi gestus nihil aliud nisi libidinem movent. The shameless gestures of Players serve to nothing so much as to move the flesh to lust and uncleanness. Saint Chrisostome calleth plays fesia Sathanae, feasts of the Devil. And in his Seventeen homily upon Saint Matthew he saith. There is no peril upon the sea so dangerous, as are the theatres and places of Comedies and Plays, and declareth at large what dissoluteness, disorder, factions, mischiefs and inconveniences have ensued thereby. Saint Augustine de Civit. Dei hath written his whole second book against them, and saith, Pecunias histrionibus dare, vitium est inane, non virtus. To give money unto Players is nor virtue, but a heinous vice. The Lacedæmonians would never permit such Plays and acts, for fear lest somewhat might be imprinted in the people's breast, contrary to the laws of truth. For as the Apostle writeth, Euillwords corrupt good manners. And this caused the good King Saint Lovis to banish them out of his Court. And in Cassiodorus, King Theodorick writeth a long letter to his Provost that he should hinder all such spectacles, as corrupted manners and honesty, raising nothing but quarrels and contention. The which moved Aristotle in his Politics, to exhort all magistrates to forbid such Plays, and banish all vile words out of their City. And Saint Paul exhorteth the Ephesians, that no corrupt communication proceed out of their mouth: and addeth; green not the holy spirit of God, by whom you are sealed unto the day of redemption. Constantinus the Emperor ordained that no Player should be admitted to the Table of the Lord. For how can they be partakers of Christ's table and of the table of Devils. And in the third Counsel of Carthage, Chap. 11. And in the Synod of Laodicea, it was decreed that no Christian Man or Woman, should resort to Plays and Enterluds. Wherefore it would be wished that theatres might be defaced, and no occasion given for such plagues to enter within Cities and houses, according to the opinion of Saluianus Bishop of Marseilles: esteeming all such spectacles to be very Apostasy, and leaving of the faith of Sacraments, and Christian Religion: and therefore as the occasion of so great mischief they ought to be shunned. Infinite are the sayings to be alleged both from Divine and profane writers against Plays and Interludes, but I will rest contented with those few of many that I have collected. And will now proceed to condemn the use of Plays, by declaring their gross abuse and unchristian impiety.  
First therefore they are full of idle and vain words: of which our Saviour saith, 
Scriptures against sundry vices in Plays.  Matthew 12.26. I say unto you, of every idle word that men shall speak, they shall give account thereof at the day of judgement. They are full of obscene speeches, which Saint Paul forbids, Ephes. 4.29. Let no corrupt communication proceed out of your mouth.  
They are full of lies and profane fables: concerning which, 1 Tim. 1.4. Paul commands Timothy, to teach that they give not heed to fables. And again, 1 Tim. 4.7. Cast away profane, and old wives fables: and exercise thyself unto Godliness: as if such fables were enemies to Godliness. Again, 1 Tim. 6.4. O Timotheus keep that which is commanded unto thee, and avoid profane and vain babbling. Three times in one Epistle is the same repeated, to show the earnestness of Paul in his dehortation. Which lest it should not take effect, he again putteth Timothy in mind of it in his second Epistle, 2 Chap. 16. verse. Stay profane and vain babblings, for they shall increase to more ungodliness:  
They are full of oaths, and blasphemies, cursing, and tearing God and Christ into as many pieces, as they suppose there are members in a man.. Against which Exod. 20. there is the whole third commandment forbidding it.  
They are full of all obscaenity, acts of Fornication, and practises of Strumpets and Cozeners, and full of Scurrility, Fooleries, Mocks and mows, spoken against by Saint Paul Ephes. 5.3. But fornication, and all uncleanness or covetousness let it not once be named among you as becometh Saints: neither filthiness, neither foolish talking, neither jesting, which are things uncomely.  
They are full of railing, reviling, backbiting, quipping, taunts, and evil speaking, which is forbidden in the ninth commandment. Thou shalt not bare false witness. And Saint Paul, 1 Cor. 6.10. writeth that Railers shall not inherit the kingdom of God, and Ephes. 4.31. he exhorteth. Let all bitterness, and anger, and wrath, crying, and evil speaking be put away from you, with all malliciousnesse. This evil tongue Danid calleth a sharp Razor, and hot burning Coals. Whereupon Solomon in his Proverbs saith. He which keepeth his tongue, keepeth his life. And hereupon all kind of mockery, (with which Plays are enriched,) ought to be shunned, which is a reproach covered with some fault, and which accustometh the mocker to Rail and Lie: and moveth more than an injury, when it proceedeth from a will to outrage, and a malice without necessity: which hath moved some to term it an artificial injury. Paul 1 Cor. 5.11. Willeth us not so much as to Eat and Drink with Railers, and Solomon writeth in his proverbs, That God doth abhor all Mockers. For this cause we are to resemble the Physicians which Hypocrates made to swear, that they should not bewray the secret and hidden faults and evils: or rather follow the counsel of saint Peter, 1 Pet. 2.1. That laying a side all malliciousnesse, and all guile, and dissimulation, and envy, and all evil speaking, as new borne babes we desire the sincere milk of the word, that we may grow thereby. But now to examine plays according to the four general causes, the Efficient, Material, Formal, and Final cause of all things, all men shall see the goodness that they contain in them: or much rather the great evil wherewith they abound.  

The Efficient cause of Plays.  The Efficient cause of Plays I have already showed in sundry places of this work to be the Devil, chiefly by his own command, and secondarily heretofore by his heathenish agents, first the Idolatrous Greeks', and after the pagan Romans', and at present by his Ministers, the almost-heathenish Poets. Wherefore I will insist no longer herein.  

The Material cause of Plays.  The Material cause or matter of Plays is their Subject whereupon they speak and entreat, and that is two fold, either Divine or Profane. If Plays be of Divine matter, then are they most intolerable, or rather Sacrilegious: for that the sacred Word of god is to be handled reverently, gravely, and sagely, with veneration to the glorious majesty of God: and not with scoffs and iybes, or with the jests of a Fool, as it is in interludes without any worship or reverence to the same. The word of our salvation, the price of Christ's blood, the merits of his life and passion, the holy Scriptures, were not given to be abusively acted on a Stage, but to be Preached by his Godly Ministers; it was not given to be mixed and interlaced with scurrilous and uncomely gestures, laughters, and vain locutions, but to be gravely handled, and with veneration expounded in God's assembly. In Deut. 4.2. it is commanded to add nothing, nor take away aught from God's word: to the doers of which in the end of john's Revelation there is added a grievous curse. Wherefore whosoever abuseth the word of God on Stages in Plays and Entertludes, abuseth the Majesty of God which shineth in the same, and maketh a mocking stock of him, and thereby purchaseth judgement to himself. And no marvel, for the sacred word of God & God himself, is never to be thought on, or once named, but in Fear and Reverence to the same. All the whole company of Heaven, Angels, archangels, Cherubin, Seraphin, Thrones, Dominations, Virtues, Principalities, Potestates, and all powers whatsoever, yea the Devils themselves do tremble and quake at the naming of God, and at his presence: And do these mockers and flouters of his Majesty, these dissembling Hypocrites, think to escape unpunished. Beware therefore you Players, 
warning to Players.  Hypocrites, and like good coumptists cast up your accounts before hand, what will be your reward in the end. Abuse God no more, corrupt his people no longer with your dregs, and entermingle not his blessed Word with your profane vanities.  
For in no wise is it lawful to mix Scurrility with Divinity, nor Divinity with Scurrility. Theopompus mingled Moses Law with his writings and was therefore stricken Mad. Theodictes began the like practice, and the Lord struck him Blind. And many others attempting the like devices were all confounded, and died miserably: besides which, what is their judgement in the other world, the Lord only knoweth.  
On the other side, if the matter of plays be profane, then tend they to the dishonour of God, and nourishing of vice, both which are damnable. So that whether they be divine or profane, they are quite contrary to the word of grace, and sucked out of the devils teats to nourish us in Idolatry, heathenry, and sin. To describe the matter of profane plays, we are to consider the general kinds of Plays, which is the Tragedy, and the Comedy. The matter of Tragedies is haughtiness, arrogancy, ambition, pride, injury, anger, wrath, envy, hatred, contention, war, murder, cruelty, rapine, incest, rovings, depredations, piracies, spoils, robberies, rebellions, treasons, killing, hewing, stabbing, dagger-drawing, fight, butchery, treachery, villainy etc. and all kind of heroic evils whatsoever. Of Comedies the matter is love, lust, lechery, bawdry, scortation, adultery, uncleanness, pollution, wantonness, chambering, courting, jesting, mocking, flouting, foolery, venery drabbery, knavery, cozenage, cheating, hypocrisy, flattery, and the like. And as compliments and appendents to both kinds of plays is swearing, cursing, oaths, and blasphemies, etc.  
Hence ariseth the formal cause, or form of plays, which consisteth in the action, and in the Actors. 
The formal cause of Plays.  The action is twofould, in word, and in deed. The action in word is lascivious speeches, idle and vain scoffing, jesting, and foolery, and cozenage, knavery, flattery, and what soever else, set forth in their colours, phrases, and terms, and with the grace, elegancy, and lustre of the tongue. The action in deed is the setting forth of all enormities, and exorbitances, with the personating of the doers of them; with false representations, lying shows, killing, stabbing, hanging, and fight; active demonstration of cozenage, whorish enticing, all kind of villainy, and hypocrisy; with embracing, clipping, culling, dandling kissing; all manner wanton gestures, and the like. The form that consists in the Actors, is the parts they play: And these are jointly both in Tragedies and Comedies. Tyrannous Kings and Queens; ambitious Potentates, Nobles, Peers; unjust judges, Magistrates, Officers, covetous Citizens, spendall Gentlemen, Gods, Goddesses, Fiends, Furies, Devils, Hags, Ghosts, Witches, Magicians, Sorcerers, Trechers, Murderers, Swaggerers, Knaves, Drabs, Queans, Whores, Bawds, Courtesans, Rogues, Villains. Vagsbonds, thieves, Rovers, Pirates, Cozeners, Cheaters, Brokers, Bankrupts, Hyppocrites, Sycophants, Parasites, Flatterers, Talecarriers, Makebates, Lecherous old men, Amorous young men, Wanton maids, Lascivious dames, Unhonest wives; Rebels, Traitors, proud, haughty, arrogant, incestuous wicked persons; Whoremasters, Gluttons, Drunkards, Spendthrifts, Fools, Madmen, jesters, jybers', Flouters, Mockers; and finally contemners of God, his laws, and the Kings, and blasphemers of his holy name; with such like of infinite variety. That if there were nothing else but this, it were sufficient to withdraw a good Christian from beholding of them. For as often as they go to theatres to see Plays, they enter into Venus' Palace and Satan's Synagogue, to betray and ensnare their own souses. And therefore these Players, through the parts they act carrying the note and brand of all kind of cursed people on their backs, wheresoever they go, are to be hissed out of all Christian Kingdoms, if they will have truth and not vanity, Christ and not the Devil to dwell among them. The final cause or end of Plays particularly toucheth their use and qualities, wherein I am to answer three main objections. 
The Final cause of Plays The first objection.   
The first objection is, that they instruct men what vices to avoid, what ordinances to observe, what enormities to abandon, & what virtues to embrace. Which M. Actor pretendeth to be the final cause why the Greeks' admitted Plays in their commonwealth, and which I promised in my first Book particularly to answer and refute. Therefore let him know that God only gave authority of public instruction and correction but to two sorts of men: to his Ecclesiastical Ministers, and temporal Magistrates: he never instituted a third authority of Players, or ordained that they should serve in his Ministry: and therefore are they to be rejected with their use and quality. As concerning their Ministerial use, God requireth no such thing at their hands, that they should take it upon them: But it is the devils craft who sometimes will change himself into an Angel of Light, that is will colourably seem to induce to good, when his intention is to seduce, ensnare, and entrap silly souls in inexplicable evils. But what God doth not require them to do is performed according to the pravity of their own nature, and not his wil And it is a horrible abomination for those (whom Christ hath not put into his Vineyard) to presume to be labourers therein. For Christ will have none, but whom himself through his holy spirit shall sanctify for that end. And therefore Luke 10.2. he teacheth us to pray the Lord of the harnessed (which is himself) to send forth labourers into his harvest. Shall we then pray him to send forth Players: no they belong no to his public ministry. God gave authority to instruct and preach, to correct and anathematize, which is the keys of heaven, only to the Apostles and their successors, and not to Players; For it is unlawful to cast pearls before Swine. The Ministers of Christ must take the word of God in their mouths, and therewith improve, rebuke, and exhort; and may Players do so? no it were most impious, as I have showed before, to mix Divinity with scurrility on the stage. As concerning public Magistracy, Players have no authority in their interludes: they have no law to cause men to fly that which is evil, and to follow that which is good. Magistrates are sent of God, 1. Pet. 2.14. for the punishment of evil doers, and for the praise of them that do well. And as the Ministry is, so is the Magistracy the ordinance of God; to which he hath added the good laws for instruction & the sword for correction. But hath God instituted any such authority and liberty to Players? no; for Rom. 13.1. There is no power but of God, and the powers that be ordained of God. But Plays were ordained by, & dedicated to the Devil, which is enemy to God and all goodness. And full sorry would he be that any (as never yet any did) should benefit by a Play: for if he could have but thought so, he would never at first hau e instituted them.  
And so to conclude Players assume an unlawful office to themselves of instruction and correction: and therefore it becometh sin unto them, because God never ordained them unto it, which is the reason that never any profited in goodness but in wickedness by them. This is sufficient to refute the first objection. But because this opinion of the use of plays was but the supposition of the heathen Greeks I will further convince it with the authority & reasons of an heathen man, 
Affricanus in Ciceronem de republica. , speaking of the licentious liberty of Poets and Players tongues, saith thus: Whom did not the Poet touch, nay whom did he not vex, whom spared he? Perhaps saith one, he quipt a sort of wicked, vulgar, seditious fellows, as were Cleo, Clitophon and Hyperbolus: but it were fit for such faults to be taxed by the Censor, then by the Poet. And it was no more decent that Pericles should be snuffed at, having many years governed the City so well, both in peace and war, then for our Plautus or Naevius to deride Publius or Cneius Scipio, or for Caecilius to mock Marcus Cato. Hear he shows that not only the evil, but the good also are subject to the bitter malice of Comedians, worthy therefore to be rejected. And again a little after saith he. Our 12. Tables having ordained but a very few things upon pain of death, yet thought it good to establish this for one of those few; that none should write or act any verse derogative to the good name of any one, or prejudicial unto manners. Excellently well; For our lives ought not to be the subjects for Poets to play upon, but for lawful Magistracy, & thoroughly informed justice to judge upon. He proceedeth further in his discourse, and in fine concludeth thus, That the ancient Romans disliked that any should be either praised or dispraised upon the stage. This now is wholly enough to confound the first, and grand chief objection. For first it shows the licentiousness of Poet's pens, and Players tongues in nipping at men both good and bad; And that such faults as are reprehended on the stage, were better to be taxed by the Censor; And that the ancient Romans capitis diminutione made a law to repress the lewdness of Poets and stagerits: because the law itself were sufficient by the power of Magistracy to plant virtue, and justice itself of sufficient force to root out vice.  

The second Objection.  The second objection is the vulgar opinion of Actors, and the most part of their profane auditors, some whereof I have even heard with mine own cares to pronounce and affirm: Plays to be as good, or may do as much good, as Sermons are, 
If Plays do so much good, why are they not suffered on the Sabbath, a day select wherein to do good.  or may do. Oh blasphemy intolerable! Are obscene Plays, and filthy Interludes comparable to the word of God, the food of life, and life itself? It is all one as if they had said, bawdry, Heathenry, Paganism, Scurrility, and Divelry, itself is equal with God's Word: Or that Satan is equipollent with the Lord. God hath ordained his blessed word, and made it the ordinary means of our Salvation: the Devil hath inferred the other as the ordinary means of our destruction. God hath set his holy Word and Ministers to instruct us in the way of Life: the Devil instituted Plays and Actors to seduce us into the way of Death: and will they yet compare the one with the other? If he be accursed that calleth Light Darkness, and Darkness Light; Truth falsehood, and falsehood Truth; then a fortieri, is he accursed that saith Plays and Interludes are Equivalent with Sermons, or compareth Comedies and Tragedies to the Word of God, whereas there is no mischief, almost, which they maintain not. For do they not nourish Idleness? and Otia daunt Vitia. Idleness is the Mother of Vice, and many vicious Persons when they know not how any longer to be idle, for variety of Idleness go to see Plays. Do they not draw the people from hearing the Word of God, and Godly Lectures? For you shall have them flock thick and threefould to the Playhouses, and withal Celerity make speed to enter in them, lest they should not get place near enough unto the Stage (so prone and ready are they to evil;) when the Temple of God shall remain bare and empty. 
The Playhouse full, but the Church empty.  And those that will never come at Sermons will flow thither apace: the reason is because the way that leadeth to life is Narrow, and few that tread that Path: but the way that leadeth to destruction is Broad, and many find it. And this showeth they are not of God, who refuse to here his word: but of the Devil whose exercises they go to visit. Do they not teach Cheating and Cozenage, by publishing their tricks of Knavery? Do they not instruct in Chambering and Wantonness, by showing how to court and congee? Do they not insinuate bawdry, Act Foolery, and renew the remembrance of Heathen Idolatry? Do they not induce Whoredom, and uncleanness? nay; are they not rather plain devourers of Maidenly Virginity and Chastity? For prose whereof but mark the madding and running to theatres and Curtains, daily and hourly, night and day, time and tide, too see Plays and Interludes. Where such wanton gestures, such dishonest speeches, such laughing and fleering, such lipping and kissing, such clipping and culling, such lustful passions, such winking and glancing of wanton eyes and the like is used, as is wonderful and exceeding shameful to behold. 
The fruit of Plays.  Then these goodly Pageants being done, every one sorteth to his mate, each bring another homeward of their way: then begin they to repeat the lascivious acts and speeches they have heard, and thereby infect their mind with wicked passions, so that in their secret conclaves they play the Sodomites, orworse. And these for the most part are the fruits of Plays.  
The third objection is, that many good examples may belearned out of them. And truly so there may; 
The third Objection what good there is to be learned as Plays.  For if you will learn to do any evil, skilfully, cunningly, covertly, or artificially, you need go no other where then to the Theatre: If you will learn falsehood if you will learn cozenage, if you will learn indirect dealing, if you will learn to deceive, if you will learn to play the hippocrite, sycophant, Parasite and flatterer; if you will learn to cog, lie, and falsify, if you will learn to jest, laugh and fleer, to grin, nod, and mow: if you will learn to play the Vice, to curse, swear, tear, and blaspheme both heaven and earth, in all kinds and diversities of oaths; if you will learn to play the Bawd or courtesan, to pollute yourself, to devirginate maids, to deflower wives, or to ravish widows by enticing them to lust, if you will learn to drab and stab, to murder, kill, and slay, if you will learn to pick, steal, rob, and rove, if you will learn to rebel against Princes, closely to carry treasons, to consume treasures, to practise idleness, to sing and talk of filthy love and venery, if you will learn to deride, quip, scorn, scoff, mock, and flout, to flatter and smooth, if you will learn to play the Devil, the swaggerer, the whoremaster, the glutton, the drunkard, the injurious or incestuous person, if you will learn to become proud, haughty, and arrogant: Finally if you will learn to contemn God & all his laws, to care neither for heaven nor hell, and to commit all kind of sin and mischief with secrecy and art, you need not go to any other choole, for all these good examples may you see painted before your eyes in interludes and plays. Wherefore that man that giveth money for the maintenance of them, must needs incur the danger of praemunire that is scuere judgement except they repent. 
A divine praemunire.  For the Apostle biddeth us beware lest we communicate with other men's sins, and this their doing is not only to communicate with other men's sins, and maintain evil to the destruction of themselves and many others, but also a maintaining of a great sort of idle and buzzing drones, to suck up and devour the good honey, whereupon the poor bees should live. And therefore let all Players and founders of Plays, as they tender the salvation of their own souls, and others, leave off that cursed kind of life, and betake themselves to such honest exercises and godly mysteries, as God hath commanded in his word to get their living withal. For who will call him a wise man that playeth the fool and the vicer Who can call him a good Christian that playeth the part of a Devil the swerne enemy of Christ? who can call him a just man that playeth the dissembling hypocrite? who can call him a strait dealing man, that playeth a cozeners trick: and so of all the rest. The wise man is ashamed to play the fool, but Players will seem to be such in public view to all the world: a good Christian hateth the Devil; but Players will become artificial Divelse excellently well: a just man cannot endure hypocrisy; but all the acts of Players is dissimolation, and the proper name of Player (witness the Apology itself) is hypocrite: a true dealing man cannot endure deceit, but Players get their living by craft and cozenage. For what greater cheating can there be then for money to render that which is not moneys worth. Then seeing they are fools, 
Of what sort of men Players be.  artificial Devils, hypocrites and cozeners; most evident it is that their Artis not for Christians to exercise, as being diabolical, and themselves infamous: such indeed as the Lacedæmonians had, and we also have great reason to extrude out of our common wealth, for they are Idle, vicious, cishonest, malicious, peiudiciall and unprofitable to the same. They are Idle, for they can take no pains, they know not how to work, nor in any lawful calling to get their living: but to avoid labour and work, like brave and noble beggars, they stand to take money of every one that comes to see them loiter and play. Hence it is that they are Vicious; for idleness is the mother of vice, and they cannot exercise their offices but in vices, and treating of and with vicious men. They are dishonest; for they get not to eat by doing good works, but by speaking filthy, vile, and dishonest words. They are malicious; for they are accustomed, either for their friends or themselves, when they jove not a man to speak evil of him: and colourably under hand to mock and flout at any. They are prejudicial and unprofitable to the common wealth; for they cozen and mock us with vain words, and we pay them good money, But now to draw to the end and conclusion of my discourse, I will but only describe briefly and in few words, who for the most part they are which run madding unto plays. In general the vulgar sort, in whom, Cicero pro Planc. saith non est concilium, non ratio, non discrimen, there is no counsel, reason, or discretion. But to particularise some amongst all. The profane gallant to feed his pleasure; the City dames to laugh at their own shames: the Country Clown to tell wonders when he comes home of the vanities he hath seen, the bawds to entice, the whores and courtesans to set themselves to sale, the cutpurse to steal, the pickpocket to filch, the knave to be instructed in more cozening tricks, youth to learn amorous conceits, some for one wicked purpose, some for another: none to any good intent, but all fruitlessly to misspend their time. But among any others that go to the theatres, when shall you see an ancient citizen, a chaste matron, a modest maid, a grave Senator, a wise Magistrate, a just judge, a godly Preacher, a religious man not blinded in ignorance, but making conscience of his ways? you shall never see any of these men at Plays, for they count it shameful and ignominious, even an act of reproach that may redound unto them.  
Then to conclude all, seeing Plays are the institution of the Devil himself, and the practise of Heathen people nouzeled in ignorance: seeing they took original from Paganism, and were dedicated to their Idol-Gods, as now also they are the house, stage and apparel to Venus, the music to Apollo, the penning to Minerva, the songs to the Muses, the action and pronunciation to Mercury: seeing they are enriched with fables, lies, dishonesties and all kind of kanueries: seeing the actors of them have been counted ignominious, and in all ages by the best men branded with infamy: seeing by the wisest men they have been expelled out of their common wealth, and esteemed as vagabonds, corrupters of good manners, subverters of religion in people's hearts, and seducers of men to destruction: seeing by some they have not been admitted to the Lords table: seeing their action both in word and deed is to be abhorred: seeing they carry the note & brand of all kind of cursed people on their backs: seeing they were never ordained of God to give instruction, but by the Devil to teach lewdness and dissolution: seeing they are idle drones, and prejudicial to the common wealth: seeing none of the best sort will frequent their theatres for very shame: seeing the theatre is Satan's Synagogue and the devils own house: seeing Plays have been condemned by Pagans and Christians, by Synods and Counsels, by ancient Fathers and late Writers, by both the old and new Testament: seeing their subject and matter is nothing but filthiness and villainy: seeing they are full of abuses, against which sundry places of Scripture do testify: seeing from them can be learned no good, but any evil that wickedness can desire. Then do I earnestly entreat every one, as they love their own souls, to detest and abandon them. As for those which will yet remain in blindnesle, or presume to go to Satan's Sanctuary, in hope there to learn any good, let them consider in how palpable darkenesle they wander, while they forsake the truth and cleave to fables, like unto whom the Apostle mentioneth some in his 2. Epist. to Tim. 4.2. where he thus exhorteth. Timothy. Preach the word, be instant in season and out of season, improve, rebuke, exhort, with all long suffering and doctrine. For the time will come when they will not suffer wholesome Doctrine, but having their ears itching, shall after their own lusts get them a heap of teachers, and shall turn their ears from the truth and be given unto fables. And finally let me entreat eue● one that will reclaim themselves from Plays, for the furtherance and execution of their good thought and intention, to be are this Sermon of Saint Paul in their mind. Ephes. 4.17. This I say and testify in the Lord, that ye henceforth wallke not as other Gentiles walk, in vanity of their mind, having their cogitation darkened, and being strangers from the life of God through the ignorance that is in them, because of the bardnes of their heart, who being past feeling have given themselves unto wantonness, to work all uncleanness enen with greediness. But ye 〈◊〉 not so 〈◊〉 Christ. If so 〈…〉 ●●ard him and have 〈◊〉 taught by him, as the truth 〈◊〉 jesus that ye cast off (concerning the conversation in times just the old man, which is corrupt through the d●●●aue●ble lusts: and be renewed in the Spirit of your mind.  
— Fides ab pudes esse Poeta●●●  
Sinugis opus est pu●ilibus inseruire,  
Et jucunda sequi spr●●●●●●●dacia vere.   
FJNIS.