THE Stage Condemned, AND The Encouragement given to the Immoralities and Profaneness of the Theatre, by the English Schools, Universities and Pulpits, Censured. King Charles I Sundays Mask and Declaration for Sports and Pastimes on the Sabbath, largely Related and Animadverted upon. The Arguments of all the Authors that have Writ in Defence of the Stage against Mr. Collier, Considered. AND The Sense of the Fathers, Councils, Ancient Philosophers and Poets, and of the Greek and Roman States, and of the First Christian Emperors concerning the DRAMA, Faithfully Delivered. Together with The Censure of the English State and of several Ancient and Modern Divines of the Church of England upon the STAGE. AND Remarks on divers late Plays, as also on those presented by the two Universities to King Charles I.  
LONDON: Printed for john Salusbury, at the Angel in St. Paul's Churchyard. 1698.   

To the Right Honourable the Lords and Commons of ENGLAND, in Parliament Assembled.  
THE Corruption of Our Stage, most Noble Senators, is so very Palpable and Notorious, that the Authors themselves who Live by it, and have lately writ in Defence of it, are forced to acknowledge it wants a Reformation. 
* Pref. to Beauty in Distress. Defence of Dramatic Poetry. Usefulness of the Stage, etc.   
But when they come to Particulars, every one stands upon his own Defence, and refuses to acknowledge, that the Plays of his Writing contain any thing Culpable or Blame-worthy.  
All of them write in Defence of the Stage, and some of them plead, the Usefulness and Absolute Necessity of it, at the Expense of the Honour and Credit of the Nation, whom they Charge as the most Splenetic and Rebellious People in Europe 
† Mr. Dennis in his Usefulness of the Stage. ; and that they stand in need of the Drama, as a Sovereign Preservative against the Mischievous Effects of that Distemper.  
At Your Feet therefore, most Noble Senators, the following Sheets are humbly laid, as containing, (amongst other things) a Vindication of the Brave and Generous People whom You Represent, from that Foul Slander: and Charging the Gild upon the True Criminals, who endeavoured to tear Our Constitution in pieces, by setting Our Kings and Parliaments at Variance, and endeavouring to have Liberty and Property swallowed up by Prerogative, to which wicked Design, the Stage hath not a little Contributed.  
The Bleeding Morals of this Gallant Nation, are past the Cure of all Quack-pretenders; It is His Majesty and Your Honours alone, who are capable of applying the Sovereign Remedy, by obliging Magistrates and Ministers to perform their Duty, or enabling them to do it by New Laws, if those we have already be not sufficient. Our Gracious Sovereign hath not only rescued us from Popery and Tyranny, but out of his Fatherly Care, to prevent our future Danger, hath again and again recommended it to His People to take Effectual Methods for the Suppressing of Profaneness and Immorality, which the Enemies of our Religion and Liberty made use of, as the most successful Engines to Ruin both.  
The Author of this Treatise has endeavoured to prove, That the Corruption of the Stage is in a great measure owing to the Method of Educating our Youth in Schools; from whence the Infection spreads into the Universities and Pulpits: And having been Encouraged by the late Reigns and part of the Clergy, hath at last proved so fatal to the Manners of 〈◊〉 ●●●ople, that the Stage is become a general 〈◊〉, and hath been complained of as such, 〈◊〉 by Puritans and those who opposed King Charles I. as the Advocates of the Theatre do falsely pretend, but by Ancient and Modern Church of England Divines, and hath been sometimes Restrained, and at other times entirely Banished, by the States of England in Parliament Assembled.  
Whether the Merits of the present Stage, be such as may deserve a more favourable Censure at Your Hands, is Submitted (as is fit it should) to Your Great Wisdom.  
In the following Treatise, there's the Opinion of the Jewish and Christian Church, of the Greatest of the Heathen Philosophers and Poets, of the Heathen, Greek and Roman State, of the first Christian Emperor's, etc. and of Our English State, against the Theatre fairly exhibited: But seeing the Defenders of the Playhouse argue the Usefulness of it to the English Nation in general, and to the present Govenment in particular, it is reasonable the Appeal should be to Our Honourable Representatives, and that the Arguments pro and con should be laid before them, not doubting (if they think fit at all to take it into Consideration) but they will give a True and Righteous Judgement in the Matter.  
It is not in England alone, where the Lawfulness or Unlawfulness of the Stage, and the Immorality and Profaneness of it, is the present Subject of Controversy. But in France and Italy, nay at Rome itself, where as well as at Paris, the Stage has of late, as all the Public Intelligences inform us, received a Check, tho' the Prefacer to the Play called, Beauty in Distress, says, the French Stage is so Reformed as not to fall under the Censure of the Ancient Fathers. The Honour of our Nation and Religion would therefore seem to require, that our Theatres should come under Examination, as well as theirs; but the Time when, and the Method how, must be left to the Wisdom of the King and Parliament to determine.  
In the mean time it were to be wished that our English Ladies and Gentlewomen, whose Encouragement and Presence is the most powerful Argument (after all) for the Defence of the Stage (and by whose absenting themselves it must fall in Course without Law or Statute) would be pleased to consider, That the wise Roman Senate approved the Divorce which Sempronius Sophus gave to his Wife for no other Reason, but that she resorted to the Cirques and Playhouses without his Consent; the very sight of which might make her an Adultress, and cause her to defile his Bed 
* Valer. Max. l. 6. c. 3. § 12. . And the Christian Emperor Justinian made the following Constitution, That a Man might lawfully put away his Wife, if she resort to Cirques, to Playhouses or Stage-Plays without his Privity and Consent, because her Chastity might thereby be endangered 
† justin. Cod. l. 5. Tit. 17. De Repud. & Novella. 22. & 117. .  
If Our Stage then be so much Corrupted as its Advocates themselves are forced to confess, its influence upon the Morals of the Audience must needs be dangerous, and therefore it's hoped our English Senators will be as careful of the Chastity of the English Ladies, as the Ancient Roman Senators were of theirs, and that our English Women, whose Beauty is every where admired, will readily Consent to any thing that may preserve their Modesty too from being so much as Questioned.   

Advertisement to the Reader.  
THE Heads treated on in this Book don't follow in the same order as they are set down in the Title Page, because the Author was obliged to take them as they occurred in the Books, that he answers; but all of them may easily be found out by the Running Titles.  
The Reader is also desired to take Notice, that the Author designed at first, only to have Writ against teaching the Heathen Poets in Schools, without expunging those Passages that have a tendency to promote Uncleanness, and that is the Reason why nothing but the Schools is mentioned in the Introduction.   

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FINIS.   

Introduction.  
WE have had lately a Curious and Learned Survey of the Immorality and Profaneness of the Stage; but, tho' that Author hath done excellently well, there may still be some Glean left for another. Mr. Collier strikes directly at the Miscarriages of the Stage, because they were most obvious and nearest to View; but this ought not supersede the Endeavours of others, nor to put a stop to their Inquiry into the Root of the Mischief.  
If the Foundation be sapped, the Superstructures must tumble of course; and it signifies little to patch the Roof, or to tell us that it Rains in at the Sky-Lights, when an Inundation comes in at Doors and Windows.  
There's none can be fit to write for the Stage, that hath not first been at School; and if we be instructed there in Plays and Romances, it's but natural we should think ourselves good Proficients, and that we have in a great measure answered the End of our Education, when we can oblige the World with those of our own Composure.— If the Amorous Passages of Ovid, Terence, Plautus, etc. be thought commendable Patterns, fit to be put into the hands of Youth, and by them imbibed as proper Nourishment, why should not the Harvest answer the Seedtime▪ or why should the Scholar be blamed to Vie with his Master's Copy? or when time and opportunity serves, to set up for a Master himself?   

CAP. I.  
The Stage Encouraged by the Clergy.  
IF our Shepherds have no better Morals than to feed their Lambs with the Milk of Goats, why should they not expect that their Flocks in time should come to smell Rank, and where's the Justice to bait and worry them when they do so?  
If the Pulpits be so grossly negligent, as not to tell us with Tertullian 
† De Spectac. c. 24. , that Stage-Plays are the Chief of those Pomp's that we abjure at Baptism; or if they will needs Canonize one as a Martyr and Saint, who by Royal Authority introduced the Use of Masks and Plays into his Court and Dominions on Sundays, and never testified his Repentance for it to the World; why should not they who write and frequent Plays think they are in the Path Road to Heaven as well as he? and why may not they who distinguish themselves from others by such like performances, hope some time or other to bear him company in the Calendar?  
If the Head and Fathers of the Church did prosecute Mr. Prin for his Histriomastrix, and condemn those for Schismatics who would not Comply with Laud's Book of Sports and Pastimes on Sundays, whereof Masks and Operas at Court led the Van, why should not the Writing and Haunting of Plays be reckoned genuine Marks of a true Son of the Church, and the contrary the Badge of one that is no true Churchman? as a certain Clergyman thought fit to express it in relation to K. William because of his not frequenting the Playhouse.  
Let the Clergy, if they seriously design a Reform in this particular, strike St. Changed— s out of their Calendar, or declare their opposition to St. Chrysostom 
* Hom. 6. in Matt. , Tertullian 
† Tertul. de spectaculis , and many others that might be named, who thought the writing and frequenting of Plays to be damnable without Repentance, and much more the commanding and patronizing them.  
It cannot be denied but Mr. Collier has writ ingeniously, and has taken a great deal of pains to hew and lop off the Branches; and considering how much the Playhouse was favoured in the Reign of Charles I. by some of the highest Dignity in the Church, we have more reason to wonder that he hath said so much, than that he hath said any thing too little, because that part of the Sense of Antiquity, which he hath repeated to us in this Matter, does obliquely condemn that Prince whom so many ecclesiastics of great Note, have always accounted a Martyr: Besides, his writing against Plays at present, and some of the principal Authors of them, is not like to be accounted an extraordinary piece of Service to the Courts of St. Germains and Versails. If we consider that the Restoring and Encouraging of Playhouses, was one of the chief Expedients of those who were resolved to put Cardinal Mazarins' Advice in Execution, which was to debauch the Nation, in order to the better Introducing of Popery and Slavery; and therefore those who reflect upon Mr. Collier 
* Defence of Dramatic Poetry. p. 30, 37.  for his Nonjurancy, for his Book, called, A Persuasive to Consideration: and for his Absolving Sir William Perkins and Sir john Friend at Tyburn, ought not to be angry with him for writing against the Stage.  
If all our Churchmen had done their Duty as well as Mr. Collier has done his, in this Matter, Stage-Plays had never been suffered in the Nation, nor had there been the least pretence for their Usefulness: But in K. Charles I. Time, they were necessary to Ridicule the Puritans, and run down the Patrons of Liberty and Property. And in K. Char. II. Reign, they were no less wanted to lash the Dissenters and whigs that opposed Tyranny, and needful to promote the Glorious Design of Debauching the Nation, and to baffle the Evidence of the Popish Plots. And now, by the just Judgement of God, the Clergy, who did but too much Countenance the Proceedings of those Reigns, are lashed and exposed in the Playhouses themselves, which Mr. Collier complains of▪ This it's hoped will cure their Itch of Adorning or rather disguising the Doctrines of the Gospel, with the Phrase of the Stage, and their fondness of Reading Plays for refining their Style.  
No Clergyman can propose to himself any justifiable End in Reading Plays, but that which Mr. Collier has excellently performed, to wit, the exposing their Immorality and Profaneness, and to discover their Failure in their pretended Designs.  
It is altogether unsufferable to hear a sort of young Divines, Regale our Ears from the Pulpit, with the Rhetoric of a Play, while at the same time they Treat the Phrase of the Scripture, and the Language of Ancient and Learned Divines as Unintelligible Cant; and yet that this hath been, and is still too common amongst some of our Clergymen, cannot be denied: So long as those Writings of Parkers and others, which call the New Birth a Fantastical jargon, or those Sermons which treat the Doctrine of St. Austin, Calvin and Beza, nay, and of the Articles of the Church of England too, as Stuff and Cant, have an Existence.  
Mr. Collier and others may write Volumes against the Stage as long as they please, but they will find it to little purpose, whilst the Plays are so much read and encouraged by the Clergy, and by 'em retailed again to the People. If the Language of the Playhouse be thought fit to be made use of, as an Ornament to a Sermon, the Hearers will be apt to conclude that the Stage is not so Criminal a Thing as some Men would have it accounted. And seeing Mr. Collier has been so much approved for lashing the Poets and the Stage, there's no reason to think that it should be taken amiss in another, to censure the vanity of such of the Clergy as write Plays or Preach in that Dialect, and have neglected to inform their People of the Danger of the Playhouse.  
Had they taken due care to instruct their Auditors in this Matter at Church, the Audiences would never have been so numerous at the Stage: For why should I think there's any hurt in the Theatre, when I see that its ordinary for our Gallants on a Saturday to prepare themselves by a Play for Hearing a Sermon on Sunday: Nay, sometimes it may be for the Sacrament. And yet the Parson hath not the Courage or Honesty to reprove it; but perhaps chooses it as the most proper way to recommend himself to the Applause of his Hearers, to deliver his Preachment in the stile of a Comedy.  
Our Wits indeed, when passing their Judgement on a Sermon, think they give the Preacher a large Encomium, when they say he has read abundance of Playbooks. Which let our Youngsters in Divinity value as they please, I should think it the most picquant satire that could be put upon me, were I worthy of bearing the Indelible Character.  
But that those flaunting Preachers may have no occasion to say that I am alone in this Matter, I shall pray them to consider the following Authorities. Prosper says to such 
† De Vita Contemp. lib. 3. cap. 6. fol. 105. , Whilst they would seem Nice and Elegant, they grow perfectly Mad with fulsome Expressions. St. jerom writing to Nepotianus, Advises him when he is Preaching in the Church, To labour for the Groans and not for the Applause of his Hearers.— Not to behave himself like a Declaimer of feigned Orations, or a pretended Advocate, and to talk without Measure. The Sermon of a Minister ought to be seasoned with Quotations from Scripture 
* Epist. 22. c. 15. . Prosper Aquitanicus says, That a Preacher ought not to value himself upon the Accuracy of his Style, except he have more mind to show his own Learning, than to edify the Church of God. That his Sermon ought to be so plain, that the most ignorant Persons may understand it; the business of Declaimers or Makers of Orations being one thing, and that of Preachers another: The former endeavour to set off the Pomp of an Elaborate Speech, with the utmost strength of their Eloquence: The latter seek after the Glory of God, in a sober and plain Discourse 
† De Vita Contemp. lib. 1. c. 23, 24, 25. . Of the same Opinion are St. Jerom, Ambrose, Theodoret, Theophylact, and others; as appears by their Commentaries on 1 Cor. 2. 1. etc.  
Isidorus Pelusiot a taxes some Monks of his time for their affected Style in Preaching. Who can abstain from Satyrs against you (says he) when they hear your Sermons crammed with Heathen Historians and Poets? Pray what is there in them preferable to our Religion?— Therefore either let your Sermons be Grave, and prefer a Modest Style to big swelling Words and pompous Rhetoric, or give me leave to say, That you are fitter for the Stage than the Pulpit 
† Epist. l. 1. Epist. 62, 63 .  
The Bishop of Chemnis in his Onus Ecclesiae 
* Cap. 16. , has very remarkable Sayings to this purpose; and amongst others those that follow. In these last days— the Doctrine of the Holy Scriptures is utterly lost; the Preachers being puffed up with Knowledge, teach their own Notions. They extol the Learning of the Heathen Philosophers, and thereby darken the Sunshine of Christian Wisdom: And now most of the Schools, where Divinity was formerly taught, are filled with Poetical Fictions, Empty Trifles and Monstrous Fables. The Preachers hunt after their own Applause, and study to gratify the Ears of their Auditors with Ornat and Polite Discourses; But true Sermons are better than those that are Elegant. And let those Eloquent Doctors know, that our Saviour says of them, In vain do ye Worship me, teaching for Doctrines the Commandments of Men.  
To conclude this Point with the Authority of the Apostle St. Paul 
† 1 Cor. 2. 4. ; he commends his own Sermons because his Speech and his Preaching was not with enticing Words of Man's Wisdom, but in demonstration of the Spirit and of Power; yet this great Apostle of the Gentiles was brought up at the Feet of Gamaliel, and had more humane Learning than 20 of our fluttering Doctors.  
It is not my design to cry down Eloquence in a Preacher, nor to commend a rough way of Expression from the Pulpit. Eloquence is the Gift of God, and commended in the Preacher Apollo's; but at the same time we are told, That he was mighty in the Scriptures and taught diligently the things of the Lord 
† Acts 18. 24, 25. .  
It's reckoned highly profane (and Mr. Collier has smartly reproved it) for Poets to apply the Phrase of the Scripture to the use of the Stage; and I see no reason why Vice Versa, it should not be liable to that same Censure, to adopt the Phrase of the Stage, for the Language of the Pulpit, not that it's absolutely Unlawful for a Preacher to quote an apposite Sentence or Verse, either from Greek, Latin or other Poets. The Apostle himself hath taught us the contrary by his own Example, when he tells the Cretians that one of their own Poets says, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 
* Tit. 1. 12. .  
But it is an intolerable Affectation of Novelty, when a New Word or a Acquaint Phrase is no sooner published in a Play or Gazzette, but we shall the next Sunday after hear it out of the Pulpit. This is so far from holding fast the Form of sound Words, as St. Paul enjoined Timothy 
* 2 Tim. 1. 13. , that it is rather the profane and vain Babbling, he commanded him to avoid; and which 
† 1 Tim. 6. 20.  Calvin upon the place, says is, Inanis tinnitus & profanus— Simulatque Doctores ita inflant suas tibias ad suam Eloquentiam Venditandam: A profane and empty Jingle which the Doctors make use of to set off their Eloquence.  
It were an easy matter to quote as many Sermons, guilty of these Vanities, as Mr. Collier has quoted Plays guilty of abusing Scripture; but for obvious Reasons I forbear it. The only cause why I mention it, is to show that it is not the Poets alone, that support the Credit of the Stage, and that what is Criminal in a Poet, is ten times worse in a Priest; and therefore they ought not to pass without a Reproof.  
It's known, there are many godly Persons amongst our Clergy, who bewail those things, and oppose them as much as they can; but there is a mighty Neglect somewhere, and the World will hardly be persuaded that our Church of England is unanimous in this Matter, else it were easy for them, who shook King James out of his Throne, to overturn the Stage.  
It is not to be supposed that the King and Parliament would deny the Clergy such a Request, if it were duly presented; and considering how much the Nation hath suffered in its Morals and Religion, by the Licentiousness of the Stage, it's high time that some effectual Course should be taken to suppress it.  
But there's reason to fear that the Faction begun by Archbishop Laud, has still too great an interest amongst our Clergy; for scarcely can any other reason be imagined, why, after so many Years Experience of the Mischief of the Stage, the Church should be so silent in this Matter. That there is something in this, I am very apt to think, because of the Deference many of the Clergy men pay to the Memory of that Prelate, and of his Master King Charles I. whom he helped to misled. In those Times, as Mr. Prin acquaints us in his Histriomastix, none were accounted Enemies to the Playhouse but Puritans and Precisians, and in opposition to them it probably was that Laud and his Clergy became its Patrons; and it is not unlike that many of the Less-thinking Churchmen continue still to favour it on that Account, as being unwilling to condemn that, for which King Charles I. and Archbishop Laud testified so much Passion; but these Gentlemen would do well to remember, That the Defence of the Stage was never so much the Characteristic of their church, as was the Doctrine of Passive Obedience; and seeing the Majority of them have relinquished that, they are infinitely the more to blame for still adhering to this.  
If a Petition of the Londoners had so much Influence on Queen Elizabeth, as to get the Playhouses suppressed, and if the Stage was expressly condemned by a Statute of King james I. we have no reason to despair of obtaining the same now upon the like Application. And methinks the Clergy are more concerned to stir in it than ever, seeing it would appear by Mr. Collier's third Chapter, Of the Clergy abused by the Stage, that the Theatre is now become a nuisance to themselves.  
It is apparent enough from what has been said already, that the Clergy are chargeable with the Mischief of the Stage, by the omitting of what their Character obliges them to do against it, and that many of them are also Culpable by seeming to hollow its Phrase in the Pulpit; but this is not all, as will appear by what follows.  
We have heard that the Stage was condemned by Act of Parliament in King james I. Time, but revived again in the Reign of K. Charles, contrary to Law; and that Operas were practised in his own Court, by his Royal Authority on Sundays. Now considering how much that Prince was devoted to the Interest of the Clergy, it's highly improbable that he would have atttempted any such thing, had the then Governing part of the Church given him faithful warning against it, but Laud and the other topping Churchmen of that time, were so far from opposing it, that they concurred with him, & imposed a Book of Sports and Pastimes, upon all their Clergy, to be read to the People on Sundays, which was a fair step towards converting all the Churches of the Nation into Playhouses.  
This great Example did so much encourage the Stage, that Mr. Prin tells us in his Book beforementioned, in two Years time there were above 40000 Playbooks printed: They became more vendible than the choicest Sermons: Grew up from Quarto's to Folio's; were printed on far better Paper than most of the Octavo or Quarto Bibles, and were more saleable than they. And Shackspeers Plays in particular were printed in the best Paper.— The two old Playhouses were rebuilt and enlarged, and a new Theatre erected; so that there were then six Playhouses in London, twice the number of those in Rome in Nero's Time, which though a much more spacious City, Seneca complains of as being too many. That Faction of the Clergy became at last so enamoured of the Stage, that the same Author informs us 
* pag. 935. , He had heard some Preachers call their Text a Landscape or Picture, and others a Play or Spectacle, dividing their Texts into Actors, Spectators, Scenes, etc. as if they had been Acting a Play. Upon which he complains of their using Playhouse Phrases, Clinches and strong Lines, as they called them; and that it was to to frequent to have Sermons in respect of their Divisions, Language, Action, Stile and Subject Matter, fitter for the Stage from whence they were borrowed, than for the Pulpit. He tells us 
† pag. 929.  further, That one Atkinson a Minister in Bedford, did the Christtide before, Act a private Interlude in the Commissaries House there, where he made a Prayer on the Stage; chose the Words, Acts 10. 14. I have never eaten any thing that is common or unclean, for his Text; preached profanely upon it, and jested to the shame and grief of most that heard him. In that same place he complains that in private as well as in popular stageplays, they represented Ministers Preaching and Praying, and brought the Sacred Bible and the Stories of it on the Stage, contrary to the Statute of 3. jac. Cap. 21.  
The same Author tells us likewise 
* pag. 241. , That one Giles Widows in a Sermon at Carfolke's in Oxford, on Psalm 68 verse 25. did avowedly justify the Lawfulness of mixed Dancing at Church-ales and Maypoles upon the Lord's Day, and confirmed his Doctrine by his own Practice. And page 700. he informs us of three Doctors of Divinity, viz. Dr. Gager, Dr. Gentiles and Dr. Case, who writ in Defence of stageplays. And page 979. he insinuates, that divers of the Clergy had acted and danced on public and private Stages.  
The Theatre having thus made so large a Conquest, as to get the Court and the Governing part of the Church on its side, grew Rampant, and as if it disdained to have any less Adversary than God himself, did boldly usurp on the Sabbath Afternoons. And thus in the Year 1637. Masks were set up at Court on Sundays, by His Majesty's Authority, while at the same time Laud and his Faction forbade Preaching any oftener than once a day, and that the common People who could not bear the Expense, nor have the Opportunities of stageplays, might not want one however to profane the Sabbath, the Book of Sports and Pastimes was enjoined by the Bishops to be read in the Churches by their Inferior Clergy on pain of Deprivation.   

CAP. II.  
The Stage Encouraged by King Charles I Sundays MASKS.  
THAT the World may see what a Noble Exchange we had for our Afternoon Sermons and Evening Lectures, I shall here give an Account of the Mask that was presented by the King's Majesty at Whitehall, in 1637. on the Sunday after Twelfth-night, Entitled, BRITANNIA TRIUMPHANS, by Inigo jones Surveyer of His Majesty's Works, and William Davenant Her Majesty's Servant.  
We are told in the Introduction, That for these three Years their Majecties had intermitted those Masques and Shows, because the Room where they were formerly presented, having the Ceiling richly adorned since, with Painting of great Value, Figuring the Acts of K. james of blessed Memory, they were afraid it might suffer by the Smoke of the Lights, but His Majesty having now ordered a New Room to be made on purpose, which was performed in two Months, the Scenes for this Mask were prepared. Now who can say but these were Reasons becoming a Martyr? and that this was a frugal way of spending his Treasure, when at the same time he extorted Money from his Subjects in a Tyrannical manner by Ship-money, Loans, etc.  
We come now to the Subject of the Mask.  
Britanocles, the Glory of the Western World, hath by his Wisdom, Valour and Piety, not only vindicated his own, but far distant Seas infested with Pirates, and reduced the Land by his Example to a real knowledge of all good Arts and Sciences. These Eminent Acts Bellerophon in a wise Pity, willingly would preserve from devouring time, and therefore to make them last to our Posterity, gives a command to Fame, who hath already spread them abroad) that she should now at home (if there can be any maliciously insensible) awake them from thief pretended Sleep, that even they, with the large, yet still increasing Number of the Good and Loyal, may mutually admire and rejoice in our happiness.  
This makes it evident enough, that the subject was K. Charles himself, who had gained some advantage against the Pirates of Barbary, the praise of which there was none would have envied him, but this was a new way of singing Te Deum; no great Argument of Religion, and far less any Presage that he should become a Martyr for it, to order a Masque for his own praise, upon that day, which by Divine Institution was set apart for the praise of our Redeemer.  
The next thing we have an Account of is, That the Queen being sat under the State, and the Room filled with Spectators of Quality, a Stage was raised at the lower end with an Oval Stair down into the Room. The first thing which presented itself to the Eye, was the Ornament that enclosed the Scene. In the under part of which were two Pedestals of a solid Order, whereon the Captives lay bound; above sat two Figures in Niches; on the right hand a Woman in a Watchet Drapery, heightened with Silver; on her Head a Corona Rostrata, with one Hand holding the Rudder of a Ship, and in the other a little winged Figure, with a branch of Palm and a Garland. This Woman was to represent Naval Victory. In the other Niche on the left, sat the Figure of a Man, bearing a Sceptre, with a Hand and an Eye in the Palm, and in the other hand a Book; on his Head a Garland of Amaranthus; his Cuirass was of Gold with a Palludamentum of Blue, and Antic Bases of Crimson; his Foot treading on the Head of a Serpent. This Figure was to represent Right Government: Above these were Ornaments cut out like Cloth of Silver, tied up in Knots, with Scarsing all touched with Gold.;  
These Pilasters bore up a large Frieze, with a Sea-Triumph of naked Children riding on Sea-Horses, and Fishes, and young Tritons with writhe Trumpets, and other Maritime Fancies. In the midst was placed a great Compartment of Gold, with branches of Palm coming out of the Scrols; and within that a lesser of Silver, with this Inscription, Virtutis Opus, proper to the Subject of this Mask, and alluding to that of Virgil, Sed famam Extendere fuctis; from this came a Drapery of Crimson, which being tied up with great Knots in the Corners, hung down in Foulds on the sides of the Pilasters.;  
A Curtain flying up discovered the first Scene, wherein were English Houses of the old and newer Forms, intermixed with Trees, and a far off, a prospect of London and the River of Thames.  
So much for the Pomp of this Sunday's Theatre. And let any Man who has the least sense of Religion judge, whether it does not smell strong of that Pomp and Vanity of the World, which Christians abjure at Baptism, and was by consequence the most unbecoming Exercise for a Sabbath that could be invented, as having an unavoidable Tendency to take up the Thoughts of the Actors and Spectators throughout the whole day, and to wear off the Impressions of any Sermons, they might have heard in the former part of it.  
But we come now to the Opera itself.  
From different parts of the Scene came Action and Imposture. Action a Young Man in a rich Habit down to his Knees, with a large Guard of Purple about the Skirt, wherein was written with Silver Letters Medio tutissima; on his Head a Garland of Laurel, and in one Hand a branch of Willow. Imposture came in a Coat of Hanging-Sleeves and great skirts, little Breeches, an high crowned Hat one side pined up, a little Ruff, and a formal Beard; an Angling-rod in his Hand, with a Fish at the Hook, and a Bag and Horn at his Girdle.;  
It is easy to discern, that the design of this was to represent the graver sort of People in those times, as Impostors and Cheats, and that they only pretended to Gravity and Religion the better to hide their Covetousness and other Lusts; but methinks the High-crowned Hat turned up on one side, the little Ruff and the formal Beard, might have been forborn out of respect to the King and his Father; the latter in most of his Pictures is represented to us in such a Hat and Ruff, and a Beard formal to the utmost; and the Son is always drawn with his Collar-Band, and a Beard so formal, that were it not for his Armour and Battoon of Command, we should take him sooner for a Bishop than a King. But we must remember it was a Mask! The Court made haste enough to pull off the Vizard afterwards.  
Action enters first, and I suppose this Name was given him, because he must be thought to practise what the other only pretended to. He rants at Imposture, not with an Oath! that was not King Charles' Crime; for to give him his due, they say he abhorred Swearing; and therefore Action, like one that would keep the middle, betwixt the Dammee Ruffian, and the Precise Puritan, falls upon Imposture, with an Adjuration; as follows,  
My variable Sir; i'th' Name of Heaven  
What makes your falsehood here where fame intends  
Her Triumphs all of Truth?—  
— Thou art so useless to the World  
That thou art impudent when thou dost share  
What is most cheap, and common unto all  
The Air, and Light; I do beseech thee my  
Fine, false Artificer, hide both thy Faces  
(For thou art double every where) steal hence  
And I'll take care, thou shalt no more be missed  
Than Shadows are at Night.  
Considering how our Poets dressed. Imposture, as before observed, the Scope of this is plain enough, to persuade the Spectators of Quality, that such Persons as blamed and opposed those Sunday-Revels (and that was the best of the Bishops, Beneficed Clergy, and People, as well as the professed Dissenters, who were then but few) did not deserve to live in the Nation; and that those who would not comply with the Book of Sports, and other Innovations then on foot, were justly prosecuted as Hypocrites and Impostors.  
Imposture Answers at first, with disdain and contempt of this Rant;— and then says,  
— I hide myself?  
The Reason shall be strong that must persuade  
Me under Ground: The Badger loves his Hole,  
Yet is not so bashful, but dares look out  
And show himself, when there is prey abroad.  
I smile at thee (the graver way of scorn)  
For should I laugh, I fear 'twould make thee think  
Thy Impudence had somewhat in't of wit.  
Then a little lower,  
Wisely the jealous Sceptics did suspect  
Reality in every thing, for every thing but seems  
And borrows the Existence it appears  
To have: Imposture governs all, even from  
The guilded Ethnic Mitre, to the painted Staff:  
O th' Christian Constable, all but pretend  
Th' resemblance of that power, which inwardly  
They but deride, and whisper merry Questions to themselves  
Which way it comes.  
And after.  
That universally shall take which most  
doth please—.  
— Is it not fit  
And almost safest to cousin all, when all  
Delight still to be cozened.  
Here the Poet explains whom he meant by Imposture, when he brings him in attacking the Episcopal Dignity, and would persuade the Audience, that he was for Anarchy too; so that the Constable shall not escape his lash, though he moves in the very lowest Orb of Civil Authority. This was calculated for the than Meridian of Lambeth, to represent those that were against Archbishop Laud's Pride and Innovations in the Church, as Enemies likewise to the State.  
But, by the Poet's leave, he makes his Imposture speak quite out of Character, when he brings him to an open Profession of his design to cheat Mankind. Impostors are more cunning than to do so; they put on Sheep's Clothing, though they be inwardly Ravening Wolves: So that he should rather have called him a professed Atheist, than an Imposter, when he appears thus in his proper Colours, and that to his professed Enemy too.  
Action Replies,  
These Lectures would  
Subdue a numerous Sect, wert thou to preach  
To young soft Courtesans, unpractised Heirs  
Of over-practised Usurers—  
But Fate takes not so little care of those  
For whom it doth preserve the Elements:  
That what is chief within us should be quite  
Depraved, as if we were only born to aim  
At Trifles here, like Children in their first  
Estate of using Legs, to run at sight  
Of Bubbles, and to leap at noise of Bells.  
Here's a jerk at the Citizens whom the Court Characterised thus in those Times, and a flout at Original Sin, denying our Depravation by Nature; a practice very becoming the Head of the Church, to run down her Doctrine: But more of this Anon.  
Imposture Answers,  
Even to believe't, and in their chiefest growth  
They follow but my Grandsire Mahomet's  
Divinity, who doth allow the good a handsome Girl  
Or Earth, the Valiant two in paradise.  
Here again Imposture talks out of Character, when he owns his lascivious Principles, but a little Amour must be pulled in by Head and Shoulders, the better to edify the young Gallants after Sermon.  
Action upbraids Imposture in his Reply, thus,  
Thou art so read in humane Appetites,  
That were the Devil licenc'd to assume  
A Body, thou mightst be his Cook, yet know  
— There are some few amongst Men  
That as our making is erect, look up  
To face the Stars, and fancy nobler hopes  
Than you allow, not downward hang their Heads  
Like Beasts to meditate on Earth, on abject Things  
Beneath their Feet.  
Here Action becomes a stout Champion for Virtue to insinuate to the Spectators, that it was lodged at Court, and not amongst its Opposers.  
Imposture Answers, with a severe scoff upon the Clergy.  
'Tis a thin number sure  
And much dispersed, for they will hardly meet  
In Councils and in Synods to enact  
Their Doctrine by Consent; That the next Age  
May say they parted Friends.  
To which Action Answers.  
'Tis possible  
Lesle you steal in amongst them to disturb  
Their Peace, disguised in a Canonic Weed,  
Nor are these such, that by their Reasons strict  
And rigid Discipline, must fright nice Court  
Philosophers from their belief, such as impute  
A Tyrannous intent to Heavenly Powers  
And that their Tyranny alone did Point  
At Men, as if the Faun and Kid were made  
To frisk and caper out their time, and it  
Were sin in us to dance, the Nightingale  
To sing her Tragic Tales of Love, and we  
To recreate ourselves with groans, as if  
All Perfumes for the Tiger were ordained  
'Cause he excels in Scent: Colours and gaudy Tinctures for  
The Eastern Birds, whilst all our Ornament  
Are Russet Robes, like melancholy Monks.  
Now Action has got his Rant out; here's whole Peals of Ordnance and Chain-shot, against those that adher'd to the Doctrine of the Church of England, against Laud's Arminianism: The charge is no less, than that they are Enemies to the Church, and accuse God of Tyranny towards Men. Whilst Birds and Beasts frisk and flutter about in their gaudy Furs and Feathers, we poor Mortals are called to Mourning, Repentance and Humiliation; a sort of Doctrine the Stage will have nothing to do with, except it be to ridicule it. But here's not one word all this while, that Man hath sinned, and therefore must sorrow before he can lay any solid Claim to be a sharer in Joy. That was none of the Poet's business; he was to preach up Mirth and Jollity, and to persuade to it by an unanswerable Argument. The Beasts and Birds are so, and therefore we should be so too. Then at the Conclusion, comes the old false Charge against Seriousness in Religion. It deprives us of all the Comforts of Life; and condemns us to Rags and Melancholy; enough to make the Gallants of the Audience out of Love with it for all their Days, and to ridicule Clergymen of all sorts; a proper Work for the Evening of the Sabbath.  
The next Entertainment is Merlin the Prophetic Magician, brought upon the Stage by Impostures means, to conjure up from Hell the great Seducers of the Nation, and upon Merlin's striking the Air with his Rod. The whole Scene, says our Poet, was transformed into an horrid Hell, from the Suburbs of which, enter the several Antimasks.  

I. Entry.  

Of Mockmusic of 5 Persons.  
One with a Viol, the rest with Taber and Pipe, Knackers and Bells, Tongues and Key, Gridiron and Shooing-Horn.    

II. Entry.  
A Ballad-singer  
His Companion with their Auditory.  
A Porter laden  
A Vintner's Boy  
A Kitchenmaid with a Hand-basket  
A Sailor.   

III. Entry.  
A Crier of Mousetraps  
A Seller of Tinderboxes bearing the Engines belonging to their Trades.  

A Master of Two Baboons and An Ape.    

IV. Entry.  
A Mountebank in the Habit of a Grave Doctor  
A Zany  
A Harlequin  
their Men  
An old lame Chair-woman  
Two pale Wenches presenting their Urinals, and he distributing his Printed Receipts out of a Budget.   

V. Entry.  
Four old fashioned Parasitical Courtiers.   

VI Entry.  
Of Rebellious Leaders in War  
Cade  
Kett  
Jack Straw and  
Their Soldiers.   
One can hardly imagine what was the design of this piece of Foolery, except it were to turn Hell into Ridicule, by such a Representation of its Inhabitants, or to be a pattern for the Sports and Pastimes that were enjoined upon the Country for Sundays, by His Majesty's Declaration: But let any Man judge, whether such a Paltry Opera as this, was becoming the Majesty of a Court on any day, or let King Charles I. his Admirers, give us an instance if they can, that ever any Martyr employed themselves thus before on a Sunday.  
After this, Hell (says our Poet) suddenly vanishes, and there appears a vast Forest, in which stood part of an old Castle, kept by a Giant: Who by his Character, one of those in Guildhall, was not big enough to be his Page. He is described thus,  
This day (a day as fair as heart could wish)  
This Giant stood on shore of Sea to Fish;  
For Angling-Rod he took a sturdy Oak,  
For Line a Cable that in storm ne'er broke.  
His Hook was such as heads the end of Pole  
To pluck down House ere Fire consumes it whole  
His Hook was baited with a Dragon's Tail,  
And then on Rock he stood to bob for Whale:  
Which strait he caught and nimbly home did pack  
With ten Cartload of Dinner on his back.  
Had I been worthy to have advised the Poet, he should have saved himself the labour of this witty Composure. The Story of Gara Gantua or Don Quixot, would have been as diverting sure as this, and equally fit for a Digestion after Sermon on Sunday.  
The rest I'll venture briefly to tell in Prose, for the Verse is not (in my Opinion) very charming.— The Giant in his way home spied a Knight and a Lady under a Hedge, within his Purlieus, and laying down his Whale goes toward them in great fury spurning up Trees by the Roots as he went; asks the Knight how he and his Damsel durst come thither? demands the Lady to be his Cook to dress his Whale, and threatens to beat out the Knight's Brains with an Oaken Tree, if he refused her. The Lady made an Apology, That they came thither only to gather Sloes and Bullies—. The Knight takes him up sharply for offering such a Disgrace to his Lady; and at last by Merlin's Art, the Scuffle was turned into Fantastic Music, and a Dance.  
I pass over the rest of this impertinent Stuff, and leave Merlin to retire to his Stygian Shade a while; tho' I think he could scarcely be entertained there with greater Works of Darkness, than those that were then acted at Whitehall.  
[Merlin and Imposture being gone of]  
In the further part of the Scene, the Earth opened, and there rose up a richly adorned Palace; seeming all of Goldsmiths-work, with Porticos Vaulted, on Pilasters of Rustic Work; their Bases and Capitels of Gold, in the midst was the principal Entrance, and a Gate; The Doors Leaves with Figures of Basse Relieve, with Jambs and Frontispiece all of Gold; Above these ran an Architrave Frieze, and Coronis of the sarne; the Frieze enriched with Jewels: This bore up a Ballestrata, in the midst of which, upon an high Tower with many Windows, stood FAME, in a Carnation-Garment trimmed with Gold, with white Wings and flaxen Hair; in one Hand a Golden Trumpet, and in the other an Olive Garland.  
In the lower part, leaning on the Rail of the Ballasters were two Persons; that on the right Hand personating Arms with a Cuirass and plumed Helm, and a broken Lance in his Hand.  
On the left Hand a Woman in a Watchet Robe trimmed with Silver, on her Head a Bend, with little Wings like those of Mercury, and a Scroul of Parchment in her Hand, representing Science.  
When this Palace was arrived to the height, the whole Scene was changed into a Peristilium of two Orders, Doric and jonick, with their several Ornaments seeming of white Marble, the Bases and Capitels of Gold. This joining with the former, having so many Returns, Openings and Windows, might well be known for the Glorious Palace of Fame.  
A Very odd Medley to assign one part of the Lord's Day to his own Worship, and another for the Representation of an Heathen Goddess! This was not the practice of the Primitive Martyrs.  
But now we come to the chief Design of this Mask; which was to celebrate the Praises 〈◊〉 K. Charles I Britanocles, as Bellerophon expresses it  
This happy Hour is called to Celebrate  
Britanocles, and those that in this Isle  
The old with Modern Virtues Reconcile.  The Chorus of POETS, entered in Rich Habits of several Colours, with Laurels on their Heads gilt. FAME Sings. 

I.  
BReak forth thou Treasure of our sight,  
That art the hopeful Morn of every day▪  
Whose fair Example makes the Light,  
By which Heroic Virtue finds her way.   

II.  
O thou our cheerful Morning rise,  
And straight those misty Clouds of Error clear,  
Which long have overcast our Eyes;  
And else will darken all this Hemisphere.   

III.  
What to thy power is hard or strange,  
Since not alone confined unto the Land,  
Thy Sceptre to a Trident Change;  
And straight unruly Seas thou canst Command!   

IV.  
How hath thy Wisdom raised this Isle,  
Or thee by what new Title shall we call  
Since it were lessening of thy Style;  
If we should Name thee Nature's Admiral.   

V.  
Thou Universal Wonder, know  
We all in Darkness mourn till thou appear,  
And by thy absence dulled may grow;  
To make a doubt if day were ever here.   
Was not this Religiously done to convert any part of the Sabbath, wherein we ought to Celebrate the Praises of our Great Redeemer, to be mispent in such Fulsom Praises of any Mortal Man? and was it not just from God (whatever may be said as to the Instruments) that he whose Power they so blasphemously extol over Sea and Land, should afterwards find himself too Weak for a Party of his own Subjects, that he should receive his first Discomsiture from them on the Sabbath, which he had so horribly profaned, and be brought to his fatal Exit, in that very Palace where he suffered God to be so much dishonoured.  
Fame having ended her Song: The Masquers came forth of the Peristilium, and stood on each side, and at that instant the Gate of the Palace opened, and Britanocles appeared.  
The Habit of the Masquers was close Bodies of Carnation, embroidered with Silver, their Arming Sleeves of the same, about their Waste two rows of several fashioned Leaves, and under this their Bases of white reaching to the middle of their Thigh; on this was an under Basis, with Labels of Carnation Embroidered with Silver, and betwixt every pain were Puffs of Silver fastened in Knots to the Labels: The trimming of the Shoulders was as that of the Basis; their long Stockings set up, were Carnation, with white Shoes, and Roses; their Bands and Cuffs made of Purls of Cutwork, upon the Heads little Carnation Caps embroidered as t●● rest, with a slit turned up before, out of t●● midst came several falls of white Feathers diminishing upwards in a Pyramidical Form. Th●● Habit they chose as beautiful, rich, and light 〈◊〉 dancing, and proper for the subject of this Mask  
The Palace being sunk, Fame remained hovering in the Air, rose on her Wings singing and was hidden in the Clouds; then the Chor●● sung another Song in Praise of Britanocles.— After which the Masquers descended into the Room and Danced; which being ended a New Chorus of Modern Poets raised by Merlin in rich Habits make their Address to the Queen thus,  

I.  
Our Eyes (long since dissolved to Air,)  
To thee for day must now repair;  
Though raised to Life by Merlin's might  
Thy Stock of Beauty will supply  
Enough of Sun from either Eye,  
To fill the Organs of our sight.   

II.  
Yet first thy pity should have drawn,  
A Cloud of Cypress or of lawn;  
To come between thy Radiant Beams,  
Our Eyes (long darkened in a shade)  
When first they so much Light invade;  
Must ache and sicken with Extremes.   

III.  
Yet wiser Reason hath prevailed,  
To wish thy Beauties still unveiled;  
'Tis better that it blind should make us,  
Than we should want such Heavenly Fire  
That is so useful to inspire,  
Those Raptures which would else forsake us.   
If Modesty would not blush at such Entertainment on any day, yet certainly Religion would have abhorred it on a Sunday; and though the Church of Rome would admit of it, it ill became the Head of the Church of England to approve it.  
After this the Scene was changed, and in the farthest part the Sea was seen terminating the sight with the Horizon; on the one side was a Haven with a Citadel, and on the other broken Ground and Rocks, from whence the Sea Nymph Galatea came waving forth, riding on the back of a Dolphin, in a loose Snow-white Garment; above her Neck Chains of Pearl, and her Arms adorned with Bracelets of the same; her fair Hair dishevelled and mixed with Silver, and in some part covered with a Veil, which she with one hand graciously held up, being arrived to the midst of the Sea, the Dolphin stayed, and she sung with a Chorus of Music.  

Galatea's SONG.  

I.  
So well Britanocles o'er Seas doth Reign,  
Reducing what was wild before,  
That fairest Sea Nymphs leave the troubled Main;  
And haste to visit him on shore.   

II.  
What are they less than Nymphs, since each make show  
Of wondrous Immortality,  
And each those sparkling Treasures wears that Grew  
Where breathless Divers cannot pry, etc.    
The Valediction or Farewell was as follows.  

I.  
Wise Nature that the dew of sleep prepares,  
To intermit our Joys and ease our Cares,  
Invites you from these Triumphs to your rest,  
May every Whisper that is made be chaste,  
Each Lady slowly yield, yet yield at last,  
Her Heart a Prisoner to her Lover's Breast!   

II.  
To wish unto our Royal Lover more,  
Of youthful blessings than he had before,  
Were but to tempt old Nature 'bove her might  
Since all the Odour, Music beauteous Fire  
We in the Spring, the Spheres, the Stars admire,  
Is his renewed, and bettered every Night!   

III.  
To Bed to Bed may every Lady dream,  
From that chief Beauty she hath stolen a Beam,  
Which will amaze her Lovers Eyes!  
Each lawful Lover to advance his Youth,  
Dream he hath stolen, his Vigour Love, and Truth  
Then all will haste to Bed, but none to rise!   
Thus I have brought this Mask to a Conclusion. If the Reader think I have inserted too much of it, he may be pleased to consider that it is very rare and sarcely to be had, and being extraordinary, because of its having been Acted on a Sabbath day, I thought it the more necessary to give a large Account of it; that he might see what sort of Religion or Evening Sermons, it was that the Court and Laud's Faction of the Church then aimed at.  
Let any Man that has but the least impression of Religion upon his Mind, consider the Valediction, and declare his Opinion, whether it answer that Character of Piety and Chastity which some Men will have K. Charles the first to have been endowed with. There's no Man can deny but it has an amorous Tendency, and must of necessity leave quite another impression upon the Minds of the Hearers, than the blessing which they heard pronounced at Church after Sermon ought to have done, and that the whole Interlude could serve for nothing else but to divert their Meditations from whatever was serious; and therefore the setting up of Masks, and Sports and Pastimes upon Sundays and Holydays, was one of the most effectual Methods that the Enemies of Piety could have invented, to hinder the effect of those Ordinances, which the Church of England looks upon as necessary to promote the Salvation of her People.   

CAP. III.  
The Stage Encouraged by the King, and Archbishop Laud's Book of SPORTS.  
YET this was not all that the then Head of the Church, King Charles the first, and Laud, the Metropolitan of all England, did to run down the practice of Piety and Religion. They were not satisfied to corrupt the People only by bad Example, but enjoined also the Book of Sports and Pastimes to be read by the Bishops and their Clergy, and took off the restraint that was laid upon the People from following such Practices by the Laws then in being, particularly the 1st of Car. Cap. 1. and 3d Car. Cap. 2. Forbidding all Sports or Pastimes whatsoever on the Lord's Day: In the first it is complained of, That the Holy keeping of the Lord's Day, in very many Places of this Realm, hath been and now 〈◊〉 prosaned and neglected by a disorderly sort of People, in exercising and frequenting Bearbaiting, Bullbaiting, Interludes, Common-plays, and other Unlawful Exercises and Pastimes. Yet the King contrary to his own Law, sets up Interludes and Masks in his Palace on Sundays; and by his Declaration for Sports and Pastimes on Sundays, does perfectly dispense with the said Law, and reflects severely upon those that would hinder the People in the Exercise of such Sports and Pastimes as Puritans and Precisians; and Archbishop Laud, and the governing part of the Church joined with him in prosecuting Mr. Prin for his Histriomastix, wherein he writ against those Plays and Interludes, (especially such as were acted on Sundays) and were so embittered against him that on Feb. 1. 1632. Laud procured him to be sent close Prisoner to the Tower, where he lay till the 21st of june, 1633. when an Information without mentioning any particular Passages in his Book, was exhibited against him in the Star-Chamber, for publishing a Book concerning Interludes, Entitled, Histriomastix, which was Licenced by a Chaplain of Dr. Abbots, Archbishop of Canterbury. Notwithstanding which Licence he had this heavy Sentence passed upon him, viz. To be imprisoned during Life, pay 5000 l. Fine, be expelled Lincolns-Inn, disabled to exercise the profession of a Barrister, degraded by the University of Oxford of his degrees taken there; and that done to be set in the Pillory at Westminster, and have one of his Ears cut off; and at another time to be set in the Pillory in Cheapside, and there to have his other Ear cut off, which was accordingly executed on the 7th and 10th of May; and he remained s●ndry Years in the Tower upon this Censure, though the Queen is said to have interceded earnestly for the Remission of this Sentence, which was Tyrannical to the highest degree, considering the Laws beforementioned against stageplays, declaring the Actors to be Rogues, etc. as is evident from the 39th of Eliz. and the 7th of King james the First.  
Having been so successful against Mr. Prin, Laud and his Faction took Courage and prevailed with His Majesty to publish his Declaration concerning Recreations on the Lord's Day after Evening Prayer, dated Octob. 18. in the Ninth Year of his Reign, which was 1634.  
It is observable, That he Found'st this Declaration on one of his Father King james, in Anno 1618. wherein it is said, That when that Prince returned from Scotland he found his Subjects, but chiefly those in Lancashire, debarred from Lawful Recreations on Sundays after Evening Prayer, for which he rebuked the Puritans, and published his Declaration, That none should thereafter prohibit his good Subjects from using their Lawful Recreations on that day.— He adds in another part of it, That his County of Lancashire to his great Regret, had more Popish Recusants than any other County in England; but being informed by his Judges and the Bishop of the Diocese, that they were beginning to amend, he was very sorry to hear the general Complaint of his People, that they were debarred from all lawful Recreations and Exercises on Sunday, after the ending of all Divine Service: Which could not but produce two Evils, viz. the Hindering the Conversion of many, whom their Priests will persuade, that there is no honest Mirth or Recreation allowed in our Religion, and the setting up of filthy Tippling and Drinking and breeds a number of idle and discontented Speeches on those days. His express Pleasure therefore was, that no lawful Recreation should be barred to his good People, and that the Bishops should take strict order with all Puritans and Precisians, and either constrain 'em to conform themselves or to leave the Country.— And that his Pleasure was, that his good People should not be hindered after the end of Divine Service on Sundays, from their lawful Recreations, such as Dancing either Men or Women, Archery, Leaping, Vaulting, nor from having of May-games, Whitsonales, Morrice-dances, and setting up of Maypoles, or other Sports therewith used, and he barred from those Sports, all Recusants that abstained from coming to Church and Divine Service, and those that, though they conformed in Religion did not come to Church.;  
Were the place proper for it, this Declaration affords a large Field for Reflections. Here's the Platonic KING! [The Head of the Church!] The first (as some say) to whom they gave the Title of Most Sacred Majesty! who, to Convert the Papists, as he pretends, order the Lord's Day to be profaned with such Sports and Pastimes as tended to debauch the Morals of the People, and yet will not show the least favour to the stricter sort of Protestants, but brands them with the Nicknames of Puritans and Precisians, and Orders his Bishops to bring them to Conformity, or to expel them the Country. But the pleasantest Jest is this, That he invites them to come to Church, by the tempting Reward of having Liberty to profane the Sabbath, which they perfectly abhorred.  
His Son King Charles I Corroborates this Declaration by his of the 18th of Oct. 1634. which he begins thus,  
Now out of the like pious Care for the Service of God, and Suppressing any Humours that oppose Truth, and for the Ease, Comfort and Recreation of our well-deserving People, we do Ratify and Publish this our Blessed Father's Declaration.  
This Declaration did but too much verify what an old Reverend Divine of the Church of Scotland said to King james I. when he asked his Blessing on his Journey, to take upon him the Crown of England, viz. Pray God bless you Sir, and make you a good Man, but he has ill stuff to make it of.  
The Declaration adds,— We command that no Man do Trouble or Molest any of Our Loyal People, in or from their Lawful Recreations▪ and We further Will, that Publication of this Our Command, be made by Order of the Bishops through all the Parish-Churches of their several Dioceses respectively.  
Here was a great difference betwixt the Exercise of the Episcopal Function in the Reigns of the Father and the Son: or by this Declaration Ch. I. made the Bishop's Trumpeters to the Stage, and King james TWO, said, that in his Time they were Trumpeters of Rebellion, because they petitioned against Reading the Declaration for Liberty of Conscience. This Declaration for Sports was read by most of them; and such of the Ministers as would not conform, were turned out till the Controversies betwixt the King and Parliament, and the Civil War that ensued put a stop to it.  
Thus I have made it plain, That the governing part of the Church patronised the Stage in the Reign of Charles I. and by the Book called Centuries of scandalous Ministers, we find, that many of them were turned out for frequenting the Stage in the Parliament Times, and the Theatre being then overturned, there was so great a Reform of Manners, that notwithstanding the Libertinism which usually accompanies War, one might have walked through the City and Suburbs without hearing an Oath; but when King Charles II. was restored, the Playhouses were speedily re-opened, and without any Public Check or Control from the Church, went on to that height of Immorality, which Mr. C. complains of. Nay, they were thought very subservient to support the Church by jerking at the Whigs and Dissenters in their Prologues and Plays, and to infuse frightful Ideas of them into the Heads of the Spectators, whilst at the same time they run down the belief of the Popish Plot, vindicated the Traitors that had been executed for it, and dressed the true Patriots of our Religion and Liberty in the Skins of Beasts of prey, that they might be devoured with the better Appetite. It were easy to cram a Volume with Instances of this sort, but they are so well known, that 'tis needless. There being no Body who frequented the Playhouse or read the Plays in the two last Reigns, but know, that the Stage was attempered to the Lascivious and Arbitrary ●umoe●s of those Princes, and to blacken all those that opposed their Tyrannical Designs.  
Having thus made it appear that the Church hath favoured the Stage, by their not warning the People against it, by seeming to hollow the Phrase of it in their Pulpits, by approving or at least conniving at the practice of it on the Sabbath in King Charles I. by prosecuting those who writ against it, Writing Plays themselves, by some of them practising it in their own Persons, and Writing in Defence of it, by enjoining the Book of Sports. by not opposing it in the Reigns of Charles II. and james II. and (to which I shall add) by their not opposing it in this Reign, when they might have hopes of better success, seeing both King and Parliament have declared themselves so highly against Immorality and Profaneness: I come now in the next place to see how far the Schools are chargeable with the same Crime.   

CAP. IU.  
The Stage Encouraged by the Schools.  
THIS Subject hath not been so much created on as the former, and by Consequence is a sign that the danger of it, hath not been so much perceived, yet it hath not been altogether overlooked, for Authors both Ancient and Modern have taken Notice of it: 
a Cons●itu. Apost. l. 1. c. 8.  Clemens Romanus, 
b de Recta Edu. ad Selucum. p. 1063.  Nazianzen, 
c de Idololat. c. 13.  Tertullian, 
d in Luc. lib. 1. v. 1.  Ambrose, 
e Epist. 22. cap. 13. and Epist. 146. ad Damas.  jerom, 
f de falsa Relig. c. 12. 15.  Lactantius, 
g de Civit. Dei. l. 2. c, 1. 8.  Augustine, and others of the Ancients: The 4th Council of Carthage 
h Can. 16.  and divers other Councils. Bishop Babington, Bishop Hooper, Perkins, Downham, Williams, and all other Commentators on the 7th Commandment have Condemned and Forbid the Writing, Printing, Selling or Teaching any Amorous Wanton Playbooks, Histories or Heathen Authors, especially Ovid's wanton Epistles and Books of Love, Catullus, Tibulus, Propertius, Martial, Plautus, and Terence as may be seen in the Places quoted in the Ma●●gin.  
The Reasons why they should not be read 〈◊〉 Youth are given us by Osorius, 
* De Regum Institut. l. 4. p. 120. ) thus: 〈◊〉 Poets are Obscene, Petulant, Effeminate, and by their Lascivious and impure Verses, divert th● Mind from Shamfastness and Industry to Lust an● Sloth; and so much the smother they are, 〈◊〉 much the more Noxious, and like so many Siren's ruin all those that give Ear to them The more ingeniously any of them write 〈◊〉 amorous Subjects, they are so much the mo●● Criminal; for we willingly Read and easily Learn by Heart a Fine and Elegant Poem; an● therefore the Poison of Lascivious Verse mak●● a quick and speedy Impression upon the Mind and by the Smoothness and Elegancy of th● Language kills, before an Antidote can be applied. Therefore all such Poets ought not only 〈◊〉 be banished the C●urt but also the Country.  
Nay, Aeneas Silvius, afterwards Pope Pius 〈◊〉 in his Treatise of Education, dedicated to Ladisl●●● King of Hungary and Bohemia, Discoursing wh●● Authors and Poets are to be read to Children, resolves it thus:  
Ovid writes many times in a Melancholy Strain, and as often Sweetly; but is in mo●● places too Lascivious, Horace, though an Author of admirable Eloquence, yet has many things I would neither have Read nor expounded to you, Martial is a Pernicious, tho' Florid and Ornat Poet, but so full of Prickles, that his Roses are not to be gathered without danger▪ Those who write Elegies are altogether to be kept up from the Boys; for they are too Soft and Effeminate, Tibullus, Propertius, Catullus and Sapph, which we have now translated, abound with amorous Subjects, and are full of complaints of unfortunate Amours. Your Preceptor ought to take special Care, that whilst he reads the Comical and Tragical Poets to you, he does not seem to instruct you in something that's Vicious.  
It is still more remarkable, that Ignatius Loyola, the Founder of the Order of the Jesuits, who are as little recommendable to the World for their Chastity, as for their other Virtues, forbade the Reading of Terence in Schools to Children and Youth, before his Obscenities were expunged, lest he should more corrupt their Manners by his Wantonness, than help their Wits by his 
* Massaus in Vit. Ignat. l. 4. ●. 8.  Latin.  
The Jews, a People noted enough for their Uncleanness, yet did not permit their Children and Youth, in Ancient Times, to read the Canticles, till they arrived at 30 Years of Age, for fear they should draw those Spiritual Passages of the Love betwixt Christ and his Church, to a Carnal Sense, and make them Instruments of inflaming their own Lusts: And upon the same Account Origen adviseth such as are of an amorous Temper, to forbear Reading it 
† Homil in ●ant. Proem in Ezech. .  
How much more Reason is there to forbid the Reading of the Lascivious Heathen Poets, and Plays, seeing it is found to be true by Experience, as Agrippa in his Discourse of Uncleanness, hath excellently expressed it, That there is no more powerful Engine to attaque and vanquish the Chastity of any Matron, Girl or Widow, or of any Male or Female whatever, than the Reading of Lascivious Stories or Poems. There's none of them, let their Disposition be never so good, but are in danger of being corrupted by this Method, and I should look on it as next akin to a Miracle, if there were any Virgin or Matron so Religiously chaste, as not to have their Lusts inflamed almost to madness by Reading such kind of Books and Poems. 
* De Vanit. Scienti. cap. 64.   
In this Case even the Heathen Lecher Ovid, who is much more ingenuous than our pretended Christian Poets, gives Judgement against his own Amorous POEMS, and those of Tibullus, etc.  
Eloquar in vitus, teneros ne tange Poetas,  
Summoneo dotes impias esse meas,  
Callimachum fugito, non est inimicus amori  
Et cum Callimacho tu quoque Coe Noces.  
Carmina quis potuit tuto legisse Tibulli,  
Vel tita cujus opus Cynthea sola suit,  
Quis potuit lecto durus discedere Gallo  
Et mea nescio quid carmina tale sonant.  De Remedio amoris. lib. 3. p. 230. 
It will appear plain from the very Nature and Design of Christian Schools, That such things ought not to be taught in them. The end of all such Schools is to teach Wisdom and Virtue, that we may know God and ourselves; and how to Worship God aright; whereas the quite contrary is taught by those Authors. Homer, Hesiod, Pindar, Aristophanes, Virgil, Horace, and the rest of those Heathen Authors, arrived to that height of Impiety and Madness, that they feigned such lewd things to be acted by their Gods, as a modest Man cannot but be ashamed to rehearse before Youth; for they represent their Gods and Goddesses to be such, as no honest or well-governed Commonwealth, would have admitted them for Citizens, so that Palingenius writes truly of them.  
In caelo est Meretrix, in coelo est turpis adulter.  Lib. I. 
There's no doubt but the Heathen Poets were influenced by Satan, to feign such Monstrous and Horrid Things concerning their Deities, that they might thereby promote and Authorise Whoredom and Uncleanness among Men, and add Fuel to the Flames of Corrupt Nature. Certainly those Fables in Ovid's Metamorphosis, concerning the Amous, nay, Rapes of the Gods and others, cannot leave any chaste Impressions upon the Minds of Youth. What a fulsome Expression is that of Virgil, Aneid. 7. Mista Deo Mulier. The danger of teaching such things to Youth was seen by the very Heathen Philosophers: And therefore Plato says, That those fabulous Stories of the Poets, were not to be received into a City, as if the Gods waged War, and formed Ambushes against one another, etc. whether they be taken in an Allegorical Sense or not; For Children (says he) cannot distinguish betwixt what is spoke figuratively or otherwise, and such Opinions as they drink in when they are young, they can hardly ever lay aside. To feign that God, who is altogether Good, is the Cause of Evil, is an Error that ought to be refuted; and therefore the Poets should be compelled to write and speak things that are honest 
* Lib. de Re●pub. 2. .  
That same Author says in Theage, I know not what any Man in his Right Wits, aught to be more solicitous about, than how to have his Son made as good as possible; and therefore he advises, that care be taken that Nurses don't entertain them with old Wives Fables, lest they be corrupted with Madness and Folly from their very Infancy.  
Seeing those poor Heathens who had nothing but the Light of Nature to direct them, coul● give such excellent Precepts, what a shame 〈◊〉 it for Christian Schoolmasters to spend more tim● in teaching their Youth who jupiter, Vulcan▪ Neptune and Saturn were, than who jesus Chris● is, and to teach them those Lascivious Heathe● Po●ts in direct Opposition to the Seventh Command.  
St. Augustine in his Book of Confession 
* Cap. 15. , 〈◊〉 out, Oh that when I was a young Man, I ha●● been instructed in profitable Books! Whilst I w●● a Youth at School I heard them talk of Jupiter darting Thunder and committing Adultery at t●● same time.  
The Jews were commanded to teach the La●● of God to their Children diligently, to talk 〈◊〉 them when they sat in their Houses, when th●● walked by the way, when they lay down an● when they rose up, to write them upon the Pos● of their Houses and on their Gates, Deut. 6. 6, 7. ● The Royal Prophet David taught them, Th● young Men were to purify their way, by taking heed thereunto according to the Word of Go● Psal. 119. 9 And the wise King Solomon commanded Children to be trained up in the Way t●● they should go, and when they were old they wo●● not depart from it, Prov. 22. 6. The Apostle 〈◊〉 joins, that our Children should be brought up 〈◊〉 the Nurture and Admonition of the Lord, Eph. 6▪ And commands Timothy to avoid Profane and 〈◊〉 Wives Fables, 1 Tim. 4. 7.  
The only Objection of any weight that can 〈◊〉 raised against this, is, That in those Heathen Poe● there are abundance of excellent Moral Sentence and that Youth learn the Purity of the Latin Tongue from them. To which it may be answers That put them all together, they come infinite● short of those Moral Instructions that are to be found in the Proverbs of Solomon, and the Ecclesiastes, that its evident what Moral Sayings of worth, any of those Heathen Authors have, they borrowed them from Moses and others of the divinely inspired Writers, and we may with more safety and purity drink from the same Fountains, than from their polluted Streams; And as for the purity of the Latin Tongue, it may as well be learned from others, as from the Poets. The Roman Histories are excellent for that end; and if their Poets were purged from their Obscenities, etc. and so put into the Hands of Youth, there could be nothing to object against 'em. Nor are there wanting excellent Latin Poems by Christian Authors, which might be equally serviceable for instructing our Youth in the purity of the Latin Tongue, and inspring them also with true Christian Sentiments, such as the famous Ancient Poems of Tertullian, Arator, Apollinaris, Nazianzen, Prudentius, Prosper and other Christian Worthies, and the later ones of Du Bartas, Beza, Scaliger, Buchanan, Heinsius, etc.  
That a Reform of the Schools in this Point hath been so long neglected, reflects Shame upon the Church who ought to have chiefly concerned themselves in it, and is one main Reason why so many Persons of good parts have applied themselves to write for the Stage, and that too with more Wantonness and Latitude than most of the Heathen Poets ever dared to allow themselves: and the Corruption hath spread so far as to infect our Universities, who tho' formerly they condemned the Stage, are now become its Admirers, and to the Scandal of the Nation, obscene Poems are writ at their Public Acts.   

CAP. V.  
An Answer to M. Motteuxes Defence of the STAGE.  
I Come next to consider what is offered in Defence of the Stage, by a Divine of the Church of England, from the Authority of a Divine of the Church of Rome, viz. by Father Caffaro, Divinity Professor at Paris, as I find it annexed to Mr. Motteuxes Play called, Beauty in Distress.  
Before I come directly to the Point, it may not be improper to observe, that considering the palpable Influence, which the Stage hath had upon the Corruption of Manners, so much complained of. It seems no very suitable Employment for one Divine of the Church of England to espouse the Defence of the Stage against another. Nor is it very much for the Defendants Honour to make use of Arrows from a Popish Quiver; for we have no Reason to think that a Popish Divine will be a Cordial Enemy to the Stage; when the Worship of▪ their Church does so much resemble the Pomp of the Theatre.  
The Doctor's first Argument is, That the Scripture has no express and particular Precept against PLAYS, [Page 10.] Which admitted to be True, is an Argument of no Weight; for Consequences naturally deduced from Scripture, have the same Authority with the Text, otherwise it could never be a Rule of Faith and Manners, there being many thousands of things for which it serves as a Rule, that it doth not particularly express: So that the Doctor's Argument would be equally serviceable to the Great Turk: There's no Express nor particular Precept against receiving Mahomet, as a Prophet ergo. But it is Naturally and Plainly inferred from the Scriptures, that because we are not to receive any other Doctrine than is there taught us, therefore we are not to receive Mahomet as a Prophet.  
By Consequences of like force, and every whit as plain, we shall find Stage-Plays condemned in Scripture; I mean not only those that are guilty of Immorality, Profaneness, Blasphemy, etc. which the greatest Patrons of the Stage, will not offer to defend, but even Stage-Plays in general, whose Business they will have it to be, to recommend Virtue and discountenance Vice, which I think will be very plain by the following Argument.  
That which God hath appointed sufficient Means to Accomplish: It is Unlawful for Men to appoint other Means to Accomplish: But God hath appointed sufficient Means for Recommending Virtue, and Discountenancing Vice without the STAGE: Ergo, It is Unlawful for Men to appoint the Stage for Recommending Virtue and Discountenancing Vice.  
All the Controversy will lie about the first Proposition; but I think there's no Man who has a serious Impression of the infinite Wisdom, Power and Goodness of God upon his Mind, that will call it in Question, seeing he must necessarily by so doing, cast a Reflection upon all those Attributes, and prefer the Wisdom, Power and Goodness of Man, to the Wisdom, Power and Goodness of GOD.  
The second Proposition is clear from express Texts of Scripture. The Apostle tells us, That Magistracy is the Ordinance of God: That Rulers are ordained by him to be a Terror to evil Works, and to Praise those that do good: And that they are the Ministers of God, continually attending upon this very thing, Rom. 13. 1, 2, 3, 4, 5. Whence it is evident, That the Original End and Design of Magistracy, is to Encourage Virtue and to Punish Vice.  
And hence it is equally clear, That seeing Commending is a Species of Reward, and Lashing and Exposing a sort of Punishment, the pretended Service of the Stage, for those Ends is wholly needless; God having sufficiently provided for that, by appointing Magistrates.  
This being so, the Patrons of the Stage have no other Pretences left them, but such as Mr. Collier enumerates briefly in his Introduction, viz. That the Stage is useful to show the uncertainty of Humane Greatness; The sudden turns of Fate, and the unhappy Conclusions of Violence and Injustice; To expose the Singularities of Pride and Fancy; To make Folly and Falshhood Contemptible; And to bring every thing that is Ill, under Infamy and Neglect.  
But we are infinitely better provided for those Ends, by the Word of GOD, and the Ordinance of the Ministry. We are taught, That the former is able to make us wise unto Salvation: I● given us by Inspiration of God, for Doctrine, Reproof, Correction and Instruction in Righteousness; that we may be perfect, and throughly furnished unto all good Works, 2 Timoth. 2. So that we have no need of the Instruction of the Stage, for any of the Ends above mentioned.  
Are any of our Authors for the Theatre, able to give such a Description of the Uncertainty of Humane Greatness and the Vanity of all Sublunary Things, as Solomon hath given in his Ecclesiastes?  
Can any of them give us more surprising Instances of the sudden Turns of Fate and Revolutions of Providence, than the Destruction of Sodom and Gomorrah, of Pharaoh and his Host, Sennacherib and his Army, and many others related in the Scriptures, with reference not only to the Public, but to particular Persons? Nay, are we not infinitely better accommodated with real Instances of that Nature, even from profane History, than we possibly can be from their forged ones on the Stage?  
Can our Poets show us more unhappy Conclusions of Violence and Injustice, than those that attended Pharaoh and the other Tyrants that persecuted the People of God?  
Are they able to give us Instances of the Singularity of Pride and Tyranny, equal to those of that same Pharaoh, who said, Who is the Lord that I should obey Him? Of Nebuchad-nezzer, who for his Pride was turned a grazing with the Beasts of the Field? Or of Herod, who for his Fantastical Apparel and Pride was eat up of Worms?  
Are they able to expose Folly and Falshhood to more Contempt, than the Sacred Scripture does, which tells us, That a Poor and a Wise Child, is better than an Old and a Foolish King, Eccl. 4. 13. And that tho' the Bread of Deceit and Falsehood be sweet to a Man, yet afterward his Mouth shall be filled with Gravel, Prov. 20. 17.  
Hath not God appointed the Ministry, To teach all Nations to observe whatsoever he hath commanded, Matth. 28. 19 To distinguish betwixt the Precious and the Vile, Jer. 15. 19 To use sharpness according to the Power that God hath given them, 2 Corinth. 13. 8, 9, 10. To be instant in Season and out of Season; To Reprove, Rebuke, Exhort; To Teach us to deny Ungodliness and worldly Lusts; and to live Soberly, Righteously and Godly in this present Evil World, Tit. 2. 12.  
Thus the second Proposition is plainly proved, That God hath provided sufficient Means for Recommending Virtue and Discountenancing Vice without the STAGE: Ergo it is Unlawful to Appoint the Stage for Recommending Virtue and Discountenancing Vice.  
It may perhaps be objected, That by this Argument the Exhortations and Reproofs of Parents, Masters and Neighbours, are also proved to be needless: To which the Answer is ready, That those Duties are enjoined by the Scriptures on Parents, Masters and Neighbours; therefore 'tis the Minister's Duty to urge them, and the Magistrates Duty to see them performed; but no such thing can be said of the Stage.  
It may perhaps be further objected, That the Magistrate being left at Liberty, as to the Means of Recommending Virtue and Discountenancing Vice, he may appoint the Stage for that End. To which I Answer; The Magistrate is infinitely better provided of Means already: He hath the Ministers to preach the Gospel from the Pulpit; and Judges to explain his Laws from the Bench; and is provided with a Sword to protect Virtue and punish Vice.  
And therefore to spend Time and Money in that which is needless, would be not only contrary to Scripture Rule, but to Commonsense. Nor can the Patrons of the Stage, give us an Instance, that ever any Magistrate appointed the Stage for those Ends they mention.  
We are told in the Introduction to Britania Triumphens, Acted on a Sunday at Whitehall in 1637. as before-mentioned, That Princes of Sweet and Humane Natures have ever, both amongst the Ancients and Moderns in the best times presented Spectacles and Personal Representation to recreate their Spirits, wasted in Grave Affairs of State, and for the Entertainment of their Nobility, Ladies and Courts. That was the only End, according to the then Poets. that the Stage pretended to; but now it seems that they would usurp, both upon the Bench and the Pulpit.   

CAP. VI  
The Fathers against the Stage; and mistaken by Aquinas.  
THE next Argument is 
* page 11.  from Thomas A. quinas, who in his Question of Sports and Diversions says, That 'tis the part of a wise Man sometimes to unbend his Mind by diverting Words or Actions: Whence the Dr. concludes, That St. Thomas approved the Drama.  
This Man may perhaps be a Professor of Divinity, but it would seem he was never a Professor of Logic, else he would not put more into the Conclusion than is found in the Premises, as here he has done, except he can prove that there are no diverting Words or Actions but in Plays; and the straining of this Conclusion is so much the more needless, that he brings in Aquinas afterwards, expressly giving his Opinion for Plays, provided the Players and Spectators he not guilty of Excess, or Speak and Act nothing that is Unlawful, etc. (pag. 12.)  
But as the Dr. brings in Aquinas to reconcile the Fathers with the Schoolmen in this Point; or indeed rather to contradict the Fathers by the Schoolmen; what if we bring in Aquinas contradicting the Dr. himself.  
If either the Paris Doctor, or the Doctor of the Church of England, who applauds his Performance, please to look into Aquinas his Secunda, Secundae Quaest 168. Art. 3. ad 3m. it will appear, That they make the Angelical Dr. speak otherwise than he really does: Aquinas 's words are, Si qui autem superflué sua in tales consumunt veletiam sustentant illos Histriones qui illicitis Ludis utuntur, peccant, quali ●os in peccato foventes, unde Augustinus dicit super johannem, quod donare res suas Histrionibus, vitium est immane, non virtus, nisi forte aliquis Histrio esset in extrema necessitate, in qua esset ei subveniendum, dicit enim Ambrosius in Libro de Officiis, pasce same Morientem. Quisquis enim pascendo hominem Servare poteris si non paveris Occidisti.  
It's plain, that the Paris Dr. or his Translator make Aquinas say what he never intended. The Angelical Dr. says, It is a Crime to give Superfluously or lavishly to Stage Players. But it seems nothing is Criminal with the Parisian Dr. or his Englisher, except they give them their whole Estates. Besides, they injure St. Austin mightily. They would make the World believe, That the African Father was only against giving whole Estates to Players too; when the honest Man says expressly, That to give any thing to a Stage-Player except at the Point of Starving, is a monstrous Crime or First-rate Sin, Immane Vitium, and the Reason of the Exception he brings from St. Ambrose, That whosoever is in a Condition to give a Man Bread, and yet lets him starve, kills him. And how well Aquinas reconciles the Schoolmen with the Fathers, in this Point of the Stage, may be seen by the very following Article, where he quotes St. Augustine in his Book of True and False Repentance; charging those that would obtain Forgiveness, to abstain from the Plays and Shows of the Age; Which being compared with his former Advice, not to give any thing to the Stage-Player, except he were at the point of starving, shows plainly for all the Angelical Doctors nice Distinction (of St. Augustine's only forbidding Plays to Men under Penance) that he wrists his Words. The Truth of which will be proved by St. Austin himself, who says, That had there been none but honest Men in Rome, they would never have admitted Stage-Plays 
† De Civit. Dei. l. 4. c. 1. . And elsewhere he says, The Roman Virtue knew nothing of those Theatrical Acts for almost 400 Years; and when they were introduced for the Recreation of Sensualists, and admitted by the dissolute Morals of the time, the Heathen Idols delved they might be dedicated to them 
* Ib. l. 2. c. 13. .  
He likewise takes notice, That being brought into Rome to assuage the Plague which afflicted their Bodies; the crafty Devils who knew that the Disease would in its proper time come to a Period, did thence take occasion to infect their Morals, with a far greater Contagion. And adds, That their Pontif Scip● dreaded that Plague and Infection upon their Minds, when he forbade the Building of Theatres, well knowing that the Republic could not be preserved by the standing of their Walls, if their Moral failed; but they were more prevailed on by the Allurements of Impious Devils, than by the Precautions of Provident Statemen 
* Ibid. l. 1. c. 32, 33 .  
Nor is there any of the Fathers more Pathetical and Pressing in their Exhortations to Christians to avoid the Stage, than this Excellent Person, as may be seen in his Homilies, and other Writings.  
Then as to the whim of the Revelation to Paphnutius, That a certain Player should be his Partner in Glory, by which Aquinas would prove that Players are not in a State of Sin. However it may relish with the Paris Doctor, it sounds but ill to be quoted by a Divine of the Church of England; But admitting the Revelation to be true, it will not prove what they would have it, for the Player mentioned, might have abandoned the Stage, and become a true Penitent; otherwise by this way of arguing, Thiefs may conclude, that they are not in a State of Sin, because our Saviour said to one on the Cross, This day shalt thou be with me in Paradise.  
Besides, Aquinas' Words are, Quod quidam Ioculator futurus erat sibi Consors in vita futura. Now the Doctor knows, that joculator and Histrio, are not convertible Terms. There are many Jocose Men, that would think the Stage below them; or if joculator must needs be a Stage-Player, let it be translated the Merry Andrew, or Fool in the Play; there's no reason why such should be denied the Benefit of Paphnutius's Evidence for Heaven, it being but seldom, that their part of the Play is the most Criminal.  
In the next Place, it ought to be observed what sort of Plays they are, which St. Thomas approves; he says, Officium Histrionum quod ordinatur ad solatium hominibus Exhibendum non est secundum se illicitum. ibid. ad 3m. i e. That Stage-Plays which are directed to recreate or solace Men, are not unlawful in themselves. This is quite another Work than our Stage now assumes to itself, as Mr. Collier mentions in his Introduction; and had the Stage held there, and been regular and moderate in its practice, it would not have been so culpable as now it is, but all this is merely a covering its Nakedness with Fig-leaves: that was not the Original Design of the Stage. It was invented by the Devil, if we may believe Tertullian 
* De spe●●ac. cap. 24. to 28. , and therefore hath all along been true to its Founder in pursuing its primary Design of Debauching instead of Diverting Mankind.  
Before I go further, I must observe two Things; The first is, That St. Thomas however, condemns the present practice of the English Stage, in jesting with Scripture, using obscene Words or Actions, and Men and women's putting on Apparel of the contrary Sex 
† Ib. Art. 2. ad ●●. art 3 Resp. Prima secundae, q. 102. art. 6. ad sextum secunda secundae, q. 162. art. 2, 3 . And the next is, That it looks somewhat odd that a Dr. of the Church of Rome, and a Divine of the Church of England, should offer to shake the Authority of the Fathers for the sake of the Playhouse, seeing they are the principal Quivers, whence the former draws her Arrows against the Protestants, and whence the latter pulls Darts to hurl against the Puritans.  
In the next place they bring us St. Thomas' Answer to Chrysostom, which they will have to be sufficient to all the Passages of the Fathers, viz. That they declaim only against the Excess in Plays 
* Beauty in distress, page 4. ; because the Excess of the Drama in their time, was Criminal and Immoderate.  
To this let St. Chrysostom Answer for himself; And we shall soon see whether he had any Reason to peep down from Heaven, and tell Aquinas, Bene Scripsisti de me Thoma, as they foolishly tell us our Saviour did to that same Agelical Doctor.  

St. Chrysostom against the STAGE.  
He calls Stage-Plays, The Devil's Solemnities or Pomp's; Satanical Fables, Diabolical Mysteries, the impure Food of Devils, Hellish Conventicles 
* Hom. de David & Saul. Tom. 1. Col. 511. de verbis Isaiae, Vidi Dom. Hom. 1. Col. 1283 Orat. 6. Tom. 5. Col. 1471. . And tells his Hearers, That if they continue to go to Plays, he will never give over, but use a sharper Style, and wound them deeper, till he had pulled in pieces the Devilish Theatre, that the Assemblies of the Church might be purified and cleansed.  
In another place he says, Every thing acted on the Stage is most Filthy and Obscene, the Words, the Apparel, the Tonsure, the Gestures, the Music, the Glance of the Eyes, nay, the very Subject of the Plays 
† Hom. 38. in Matth. Tom. 2. Col. 298. . Whence they infuse so much Lascivousness into the Minds of the Audience, as if▪ they conspired together to root all Modesty out of their Hearts, and to drench them in pernicious Sensuality.  
In his Homily of Saul and David, he writes thus, That it is dangerous to go to Stage-Plays, because it makes them complete Adulterers; wishes he knew who they were that left the Church Yesterday, and went to those Spectacles of Iniquity, that he might Excommunicate them, they having impudently defiled themselves with Adultery. And if so be (says he) you desire to know the kind of Adultery, I will not rehearse my own Words, but the Words of him who is to be our Judge 
* Matth. 5. 28. : That Man (saith he) who looks upon a Woman to lust after her, hath committed Adultery in his Heart. If then a Woman accidentally passing the Street, and but carelessly dressed doth frequently ensnare a Man, with one single look, with what confidence can those that purposely run to the Playhouse, and sit there a whole day together, with their Eyes fixed on the Faces of Women, say they have not looked upon them, so as to lust after them? where there are the Enticements of Lafcivious Words, whorish Songs, painted Faces, and enticing Dresses to allure the Beholders.— If here where there are Psalms and the Preaching of God's Word, Concupiscence doth frequently creep in like a crafty Thief, how can those who sit idle in Playhouses, where they neither see nor hear any thing that is good, and where their Eyes and Ears are beset on every side, overcome their Lust? And if they cannot conquer it, how can they be acquitted from the Charge of Adultery?— Then how can those who are chargeable with this Crime, come to these Sacred Assemblies, without Repenrance.—  
If a Servant should put his Nasty and Lousy Apparel, amongst his Master's Rich and Costly Robes, would you bear with it patiently? If he should throw Dung into a Vessel of Gold where your Precious Ointments are kept, would you not Cudgel him for it? Shall we then be so careful of our clothes and our Vessels, and put so low a value upon our Souls: Tell me, how you think God can endure this, when there is not so much Difference between Ointment and Dirt, nor the clothes of Master and Servant, as betwixt the Grace of the Spirit and this perverse Action? Dost thou not tremble whilst thou beholdest this Holy Table, where dreadful Mysteries are administered, with the self same Eyes that thou didst behold the Bed on the Stage; where the detestable Fables of Adultery are Acted, whilst with the same Ears thou hearest an Adulterer speaking Obscenely, and a Prophet and an Apostle leading thee into the Mysteries of the Scripture, whilst with the same Heart thou receivedst deadly Poison, and this Holy and Blessed Sacrament?  
Are not these Plays the Subversion of Life, the Corruption of Manners, the Destruction of Marriage, the Cause of Wars, of Fightings and Brawls in Houses? When thou returnest from the Stage more Dissolute, Wanton and Effeminate, the sight of thy Wife will be less pleasing to thee, let her be what she will. What do I speak of a Wife or Family, when as afterward thou wilt be less willing to come to Church, and wilt hear a Sermon of Modesty and Chastity with Irksomeness.  
Wherefore I entreat you all to avoid the wicked Remembrances in Stage-Plays, and to draw back others from them, who have been led unto them; for whatever is there done, is not Delight or Recreation, but Destruction.  
In his first Homily on Psalm 50. speaking of David, he saw Bathsheba (saith he) was wounded in his Eye, and struck with a Dart. Let them take notice of this who are mad upon Stage-Plays, where they may contemplate the Beauties. Let them observe this, who say they can look upon them without Hurt. David was wounded, and are you like to escape? he was overcome, and can I trust to your Strength? he that had so much Grace was struck through, and dost thou deny that thou are wounded?  
In his seventeenth Homily on Matthew 5. If thy Right Eye offend thee; He writes thus, Let them take notice of this, who frequent the Playhouse so much, and defile themselves almost daily with Adultery: How can they be defended who by their stay at Playhouses, contract Acquaintance with Lewd Persons, that they knew not before? Upon Psalm 119. v. 151. He says, We cannot serve two Masters, but he serves two, who goes to Church one Day, and to Stage-Plays another. On Psalm 4. 2. Why do you love Vanity in Stage-Plays, and seek after Leasing in Stage-Players? On Psalm 66. 1. Nothing brings the Oracles of God into so great Contempt, as those Stage-Plays and the Spectacles there showed; wherefore I have often exhorted you, that none of those who enjoy the Divine Doctrine, and partake of the dreadful Sacrament, go to those Stage-Plays. Yet some are become so mad, that though they profess Religion, and are grown white with Old-Age, they run to them notwithstanding; and say, they reap much profit from 'em, by seeing Examples of the Victory and Crowns which shall be in the World to come. But this is a rotten and deceitful Saying: Whence canst thou reap Profit there, from Contentions, from rash Oaths, from the Abuses, Reviling and Scoffs which the Spectators throw upon one another?  
In his sixth Homily on Matthew, he says, God never taught Men to Play, but the Devil; who hath form Jests and Plays into an Art; that by these he might draw the Soldiers of Christ to himself: He hath erected Theatres in Cities; and proposed those Incentives of Laughter and Filthy Pleasure. It is not the part of those who are called to an everlasting Kingdom, to Effeminate themselves with Delight, and let lose the Reins to loud Laughter and Derision, for those who applaud the Writers of Blasphemous and Filthy Things, persuade them to act them; He that Personates those things, doth not s●n so much as thou that commandest them to be done. But thou sayest, this is only feigning not committing a Crime, but certainly those Men deserve a thousand Deaths, who are not afraid to Imitate that which all Laws do most strictly forbid. If Adultery be Evil in itself, the Imitation of it must certainly be Unlawful.  
I say nothing how many Adulterers they may make, who Personate Adulteries upon the Stage nor how they render Spectators Impudent; for there is nothing more Filthy nor Lascivious, than that Eye that can patiently behold such Things.  
In his thirty eighth Homily on Matthew, He answers the Question: What then shall we shut up the Playhouse? thus, Yea verily: These Stage-Plays being overturned, you shall not overthrow the Law; but Iniquity, and extinguish all the Plagues and Mischiefs of the City? Thou wilt say, shall we then pull down the Playhouses? Would to God they were pulled down; yet I command you not to pull them down; the Magnifccence of the Houses may stand, and the Plays and Dancing cease. Take at least Example from the Barbarians, who have none of those Stage-Plays. What Excuse can you bring for yourselves, who are registered in Heaven, to be the Companions and Coheirs with Angels if you be found worse than the Barbarians in this, especially when thou mayst procure to thyself better Comfort elsewhere? for when thou wouldst refresh thy Mind, thou mayest go into Gardens, behold running Rivers, contemplate great Lakes, look upon pleasant Places, etc. thou hast a Wife and Children, thou aboundest in Friends, all which may afford thee Honest Delight and Profit.  
The Barbarians themselves when they heard of these Stage-Plays, uttered Expressions worthy of the greatest Philosophers; What say they, have the Romans no Wives nor Children? But thou wilt say, these Playhouses do no Hurt. Yes, verily they do, in that thou spendest thy time there Idly and to no purpose, and givest cause of Scandal to others. For though thou by Fortitude and Sublimeness of Mind hast escaped the Infection, yet by giving Example to others who are weaker, thou hast occasioned their committing of Evil.  
In his seventy fourth Homily on Matthew, he says, Many come to Church to behold the Beauties of Men and Women; do ye not therefore wonder, that Thunderbolts are not darted forth on every side? but these things ye have learned from the unchaste Theatre, that most contagious Plague, that unavoidable Snare of Idle Persons. Such is the accursed Fruits of Stage-Plays, not only to make the Playhouse, but the very Church of God a Brothel.  
In his sixty ninth Homily on that same Evangelist, he expresses himself thus, Where are those who sit daily in the Playhouse to hear pernicious Songs, and to see the Dances of the Devil. I must say unto you as St. Paul said, As you have hitherto given up your Members to serve Uncleanness, even so now give up your Members as Servants of Rightcousness unto Holiness. Let's compare the Lives of the Harlots, and corrupt young Men who sit together in the Pits and Boxes, with the Life of those Blessed ones, even as to the Point of Pleasure. We shall find the Difference to be as great betwixt the one and the other, as betwixt the Songs of Angels and the Grunting of Swine wallowing in the Mire. Christ speaks out of the one, but the Devil speaks out of the other. From the Songs of Harlots, a flame of Lust doth presently set the Hearers on fire; and as if the Sight and Face of a Woman were not sufficient to inflame the Mind, they have found out the Plague of Voice too; but by the Divine Praises of Holy M●● if any such Disease doth vex the Mind, it soon extinguished.  
In his 17th Homily to the People of Anti●● where the Emperor Theodosius had shut up 〈◊〉 Playhouse, he says, Would to God it may ne● be opened again! Hence the Works of D●●ness flowed out into the City! Hence came th● who were Criminal in their Manners! But n●● our City looks like a Beautiful, Fair and M●●dest Woman. Let us not then lament with 〈◊〉 feminate Sorrow, as I have heard many do. 〈◊〉 unto thee Antioch! What hath befallen thee● And how art thou deprived of Honour? 〈◊〉 when thou shalt see Dancers, Players, Drinker Blasphemers, Swearers, Liars, then make 〈◊〉 of those Expressions, Woe unto thee, O Antioch  
In his 62d Homily to that People, he sa●● Prisons are better than Playhouses; because 〈◊〉 the former there is Sorrow, Fear, Humility, & ● but in the latter, there is Laughter, Wantonness Diabolical Pride, Prodigality, Expense of Tim● the Plotting of Adultery, the School of Fornication, the Examples of Lewdness, etc.  
There are abundance of other Excellent Thin● to this purpose, in this Eloquent Father's Homily directly against the Stage in general; but this 〈◊〉 enough and more than enough to convict 〈◊〉 Parisian Doctor, and Church of England Divine of Misrepresenting St. Chrysostom, when they say He is only against the [Excess] of the Stage▪ And I have been the larger upon him, not only 〈◊〉 confute that Groundless Assertion, but because 〈◊〉 Declamations against the Stage in those Days, loo● as if they were adapted to the Stage in ours. 〈◊〉 shall only add one Observation, That he no whe● speaks of [Resorming] the Stage, but of Pulling down and Overturning it, as the Invention of the DEVIL, whice he would never have done, had he only thought the Excess of it Culpable.   

Tertullian against the STAGE.  
The Parisian Doctor will likewise have it, That Tertullian is only against the [Excess] of Plays 
* Beauty in distress, p. XV. , but how truly will quickly be seen from the following Quotations of that Father.  
In his Book of Spectacles 
† Cap. 4, 5, 6. and 24. , he tells us, That stageplays are the Pomps of the Devil, which we renounce at Baptism, because their Original and the Materials of which they are composed, is wholly patched up of Idolatry. He calls Playhouses, The Devil's Church and Temple 
* Cap. 7. 25 , and says 
† Cap. 17. , We are commanded to put far from us all manner of Uncleanness or Wantonness; and by consequence are forbid the Theatre, which is a private Conventicle of Lewdness, where nothing is approved, but what is disapproved every where else, whose chief Beauty or Grace consists for the most part in Obscenity, which the Stage-Player Acts, and is represented by Females, who have abandoned the Modesty of their Sex. Nay, the very Stews themselves the Sacrifices of Public Lust, are brought forth on the Stage, and that which is yet worse, in the presence of Women, and Persons of all Ages and Degrees, where the Place, the Hire, and the Incentives to them are represented to those that have no need of such Tentations. Let the Senate be ashamed! Let all ranks of People blush at this!— If all Uncleanness ought to be held in Execration by us, can it be lawful for us to hear those Things, which it is unlawful to speak, and seeing we know that all scurrilous Language and Vain Words, are condemned by God, how can it be lawful for us to Hear thos● things, which it is unlawful to Act? Those things which pollute a Man when uttered by his Mouth, must they not pollute him, when they enter into his Soul, with his own consent by his Eyes and Ears? Thou art therefore commanded to abstain from the Stage when thou art forbid to be Unclean.  
This Passage is so full, and contains such weighty Arguments against the Theatre, deduced from Scripture Consequences, that we may justly wonder at the height of those clergymen's Assurance, who assert that this Father is only against the Excess of the Stage, and that it is not forbidden by Scripture because not expressed by Name.  
In another place, he says, That Tragedies and Comedies are the Augmenters of Villainy and Lust, Bloody, Lascivious, Impious and Wasteful 
* De spectac. c. 18. , They defile the Eye and Ear with Uncleanness 
† Ib. cap. 17. , and blow up the Sparkles of Lust 
‖ Ibid. cap. 25. : Upon which Account he calls Playhouses, The Chapels of Venus; The Houses of Lechery, and Conventicles of Incontinence 
* Ibid. cap. 10. , and informs us, That all the Christians in the Primitive Church had utterly left off frequenting the Theatre 
† Apol. adv. Gent. c. 38. .  
He tells us likewise 
* De spect. c. 17. & 24. , That Stage-Plays make the Souls of the Spectators to appear Polluted in the Sight of God, that none of those things deputed unto Stage-Plays, are pleasing unto God, or becoming the Servants of God; because they were all instituted for the Devil, and furnished out of his Treasury, for every thing that is not of God, or displeasing unto him, is of th● Devil.— stageplays are the Pomp of the Devil, against which we have protested at Baptism. That therefore which we renounce, we ought not to partake of neither in Deed, Word nor Sight; and do we not then renounce and tear off the Seal of Baptism, when we cut off the Attestation of it? Shall we ask the very Heathens themselves, Whether it be lawful for Christians to frequent stageplays? They will tell you, that they chiefly know a Man to be a Christian, by his renouncing the Stage. He therefore manifestly denies himself to be a Christian, who throws off the Badge by which he should be known. What hope then is there of such a Man? There's no Man runs over to the Enemy's Camp, but he first throws away his Arms, forsakes his Colours, and the Allegiance of his Prince, and resolves to run the same fate with his Enemies. Will he think earnestly of God there, where there is nothing at all of God to be heard? will he thoroughly learn Chastity who admires the Stage-Players? will he remember the Exhortations of the Prophets, amidst the Exclamations of the Tragedians? will he think upon Psalms in the middlle of Effeminate Songs?— Can he be of a Compassionate Nature, who delights in the baiting of Bears?  
Dost thou doubt but at that very Moment when thou art in the Church of the Devil, all the Angels look down from Heaven, and take special notice of every one there present, observing who he is that speaks Blasphemy, who it is that hears it, and who they are that lend their Ears and Tongues to the Devil? Wilt thou not therefore fly those Seats of the Enemies of Christ, that Pestilential Chair; nay and the very Air over the Place, which is defiled with filthy Speeches. 
* Ib. cap. 25, 26, 27. .  
He tells us yet more expressly, That the Scripture hath forbidden all Plays and Interludes, under the Prohibition of Lewdness and Lasciviousness; and that those Texts which condemn worldy Concupiscence, idle Words, foolish, filthy Talking and Jesting, all standing in the way of Sinners, and sitting in the Seat of the Scornful, together with Hypocrisy and Dissimumulation, and the putting on of women's Apparel by Men, do expressly condemn both Plays themselves, resort to Playhouses, and the Acting and Beholding all Theatrical Interludes. 
† Ib. c. 17. .  
This I hope is sufficient to demonstrate to the Reader, that Tertullian was against all Stage-Plays and Interludes, not only upon the Account of the Excess or Abuse of them, but also because he looked upon them to be the Inventions of the Devil, and contrary to Scripture● So falsely have the Parisian and English Doctors represented him, in their Preface to Beauty in Distress.   

St. Cyprian against the STAGE.  
The next that they quote; is St. Cyprian, who they say doth not absolutely condemn Operas and Comedies; but only those Shows, that represent Fables; after the Manner of the Greeks. 
* Beauty in Distress. pag. XVI. .  
How truly this is asserted by the Popish and Protestant Doctors; let St. Cyprian Inform you himself.  
That Father in his Epistles 
† Epist. l. 1. Epist. 10. Eucratio. , writes thus concerning the Stage: The Stage-Player who still goes on amongst you in his disgraceful Art, is not an Instructor but Destroyer of Youth; that which he hath wickedly learned himself he teaches others; and therefore he writes to Eucratius, That he ought not to be received into Communion; saying, That it was neither consistent with the Majesty of God, nor the Discipline of the Gospel, that the Chastity and Honour of the Church should be defiled with such an Infamous and filthy Contagion. Had St. Cyprian approved the Stage as Lawful, he would have advised the Reforming of it, and not to Excommunicate a Man because he was a Stage-Player.  
In another place he tells us, That Theatres are the Seats of Uncleanness, the Mastership of Obscenity; which teach those Sins in Public, that Men may more easily commit them in private: What then hath a Christian to do there? says he, to whom it is not so much as lawful to think upon any Vice, should he delight himself in those Representations of Lust, that laying aside his Modesty, he may be the more bold to commit the Crimes themselves: He learns to Act those Crimes, who accustoms himself to see them.  
Those common Strumpets, whose Misfortunes have prostituted them to the Slavery of the public Stews, conceal the place; and comfort themselves with this, that their Disgrace is acted in private, and those who have exposed their Chastity to sale, are ashamed to be seen in public; but thisopen Wickedness of the Stage, is acted in the View of all Men, where the Impudence of common Prostitutes is surpassed.  
Therefore it is utterly unlawful for good Christians to be present at those Plays, because we soon accustom ourselves to the Practice of that Wickedness which we hear and see: For since the Minds of Men are easily induced to those Vices of their own accord: What will they not do, when they have unchaste Examples both of Body and Nature?  
Then as to Tragedy. He tell us, That it is a Tragedians part to relate to us in Verse, the Wickedness of the Ancients: The Horror of ancient Parricides and Incests are by them represented to the Life, lest those Wickednesses that were committed in former Ages, should grow Obsolet in the present times, for by this the present Age is Admonished, that whatever Villainy was committed in former times, may be committed still. Thus is Adultery learned whilst it is beheld; and she who at first came perchance a chaste Matron to the Play, returns unchaste from the Playhouse: What a foul Corruption of Manners, what a Nourishment is it to reproachful Actions? and what a Fuel of Vice is it, to be polluted with Histrionical Gestures, and to see filthy Incest elaborately acted, against the very Law and Right of Nature? 
† Lib. de spectac. Ep. l. 2. Ep. 2. donato. .  
That same Author in another of his Works, says, That many Virgins by frequenting Playhouses blasted the Flower of their Virginity, made shipwreck of their Chastity, and degenerated into common Strumpets; being Widows before they were Wives, and Mothers before they had Husbands; whose miserable falls the Church did much lament. 
* De habitu Virgin. pag. 242. .  
He tells us further, That the Scripture hath forbid, that to be beheld, which it hath forbid to be acted, and hath condemned all those kinds of Spectacles; when it condemneth Idolatry the Mother of all Plays, and which gave Birth to those Monsters of Lightness and Vanity; and that it might allure Christians to be Idolaters, flatters them with the Pleasures of the Eyes and Ears. Romulus at first did consecrate Stage-Plays to Consus, as the God of Counsel, for the Sabine Women that were to be ravished; and whatever else there is in Stage-Plays, which either affects the Eyes or pleases the Ears; if its Original be enquired into, hath either an Idol or a Devil for its Founder. 
* De spect. p. 243, 244 .  
Thus we see that Cyprian agrees with Tertullian, that Stage-Plays were invented by the Devil, and are forbid by the Scriptures.   

Lactantius against the STAGE.  
Our Doctors in the next place quote Lactantius and Salvian, as being of Opinion, that 'twas only the Excess and Abuse of the Stage that was Criminal. 
* Beauty in Distress p. 14. . But with how little Reason, we shall see immediately.  
Lactantius falls upon Stage-Players in general, without exception; and accuses them of teaching and provoking Lust, by their unchaste Gestures and Actions, and that they resemble unchaste Women by enervating their Bodies, and in their effeminate Pace and Habit. 
† De Ver● Cultu. cap. 20. lib. 6. . They teach Adulteries whilst they feign them, and by counterfeit Representations instruct Men how to commit real Uncleanness. What is it that Youngmen and Virgins may not be tempted to do? when they see those things acted without a Blush, and willingly beheld by all sorts of People? They are thereby taught what they may do themselves, and have their Lusts inflamed; which are most readily set on fire by beholding such things: They approve them whilst they laugh at them, and return more corrupt to their Chambers by those Vices, which adhere to them.  
Therefore all Shows and Stage-Plays are wholly to be avoided, lest Vice should take Possession of our Hearts, which ought to be calm and quiet, and lest our accustoming ourselves to Pleasures should render us effeminate, and turn us away from God and good Works. Those Interludes and Plays, because they are the greatest Provocatives to Vice, and have a mighty Influence to debauch the Minds of Men, aught to be abolished, seeing they are not only useless towards the Happiness of Life, but likewise do a world of Mischief.  
The same Authors says elsewhere, What is the Playhouse? 
† Div●n●rum Instit. Epitome, cap. 6.  is it any thing Holier than those Sword-Plays; when a Comedy treats of Rapes and Amours, and Tragedy of Incests and Murders—. Is not then a Player the corruption of Discipline, should those young men see those things, whose slippery Youth, which ought to be restrained and governed, is instructed to commit Sin and Wickedness by those Representations—. Therefore we ought to fly from all Plays, that we may enjoy Serenity of Mind: Those destructive Pleasures ought to be renounced, lest being delighted with their pestilential Sweetness, we should thereby fall into the snares of Death.   

Salvian against the STAGE.  
Then as to Salvian Bishop of Marcelles, his Opinion of Plays is thus delivered by himself 
† De Gubernatione Dei, lib. 6. p. 193, 194. . In Stage-Plays there's a certain Apostasy from the Faith; for at Baptism we renounce the Devil, his Pomp's, his Spectacles and Works—. How is it then O Christian! that thou dost follow Stage-Plays after Baptism? thou hast once renounced the Devil, and by this thou must needs know, that thou dost return to the Devil, when thou returnest to the Stage.  
He tells us in another place, 
* Ib. p. 185, 186. . Such things are acted at Plays and Theatres, as cannot be thought of, and much less uttered without defilement: For other Vices challenge their several parts in us, as filthy Thoughts seize the Mind, unchaste Sights possess the Eyes, and wicked Speeches lay hold on the Ear, so that when one of those doth Offend, the other may be without Blame: But at the Stage they all become Guilty, for the Mind is polluted with Lust, the liars with Hearing, and the Eyes with Seeing. Who without breaking the Rules of Modesty, can utter those Imitations of lewd Things, those obscene Motions and lustful Gestures that are there used, the extraordinary sinfulness of which, may be inferred from this, that they cannot lawfully be named—. All other Crimes pollute the Doers only, and not the Spectators and Hearers: For a Man may hear a Blasphemer, and not partake of his Sacrilege, because he dissents in his Mind: A Man may see a Robbery and not be guilty, because he abhors the Fact: But the Pollution of the Theatre and Stage-Plays are such, as make the Actors and Spectators equally Guilty; for whilst they willingly look on, and by that means approve them, they become Actors themselves by Sight and Assent, so that this saying of the Apostle, may be properly applied to them, That not only those who commit such things are worthy of Death, but they also that take Pleasure in those that do them. He further tells the ancient Romans, That Stage-Plays polluted their Souls, depraved their Manners, provoked God and offended their Saviour, dishonoured their Christian Profession, and drew down God's Judgements on their State, then miserably wasted by the Goths and Vandals; therefore he advises them eternally to abandon Theatres, which would bring their Souls, their Bodies, their Church & their State to utter Ruin.  
This is so full a Proof of his being against Stage-Plays in general, and those too not polluted with Heathen Idolatries, but when Church and State were both Christian; that certainly our Doctors can never quote Salvian any more for their purpose.  
I pass over their other Popish Saints and Schoolmen, that they quote for their Opinion, which I suppose will have as little weight with any true Protestant, as if they had quoted St. Garnet or St. Coleman, but shall take notice of an Argument (page xxi.) that the Canons of Councils brought against the Stage, relate only to Scandalous Plays or Immodest Actors;— and here also the COUNCILS shall speak for themselves.    

CAP. VII.  
Councils against the STAGE.  
THE Council of Eliberis in Spain, held Anno Dom. 305. ordered those who lent their Garments to adorn Plays, to be Excommunicated for three Years 
1 Can. 57 . That no Stage-Player should be received into the Church, unless they renounce their Art; and if they returned to it again, they should be cast out 
2 Can. 62. . That no Believer should marry a Stage-Player, on pain of Excommunication 
3 Can. 67. .  
The Council of Arles, held at Narbon in France, about the Year of our Lord 314. in the Time of Constantine the Great, ordered, That all Stage-Players should be Excommunicated, so long as they continued to Act 
4 Can. 5. .  
The Council of Arles in that same Kingdom, held Anno 326. Enacted the like 
5 Can. 5. .  
The Council of Laodicea in Phrygia Pacatiania, held about 364. where most of the Bishops of Asia were present, Enacted, That no Clergyman should be present at any Stage-Play 
6 Can. 20. .  
The Council of Hippo 
7 Can. 13, and 35. , held An. 393. and the Council of Carthage in Africa, held An. 399. whereof St. Austin was a Member, forbade the Clergy and Laity the use of Stage-Plays; but ordered them to be re-admitted into the Church upon Repentance 
8 Can. 11, and 35. .  
The Council of Carthage, held An. 401. Enacted, That those who were newly Baptised or Converted, should abstain from Stage-Plays, and that those who upon any solemn Festival omitted the Assembly of the Church, and resorted to Stage Plays should be Excommunicated 
9 Can. 68, and 88 .  
The Council of Africa held An. 408. decreed, That Reconciliation with the Church, should not be denied to Stage-Players and Common-Actors, in case of Repentance, and abandoning their Professions 
1 Can. 12. . That Stage-Plays are against the Commandments of God 
2 Can. 28. . And that Stage-Players should not be admitted as Evidences against any Person, but in their proper Causes 
3 Can. 96. .  
The Council of Carthage, held An. 419. declared all Stage-Players to be infamous Persons, and uncapable of bearing Evidence 
4 Can. 2. .  
The Council of Constantinople, held An. 680. and reputed both by Protestants and Papists to be Oecumenical, ordered Clergymen that frequented Stage-Plays, to be deprived, and Laymen to be Excommunicated 
5 Can. 8. .  
The 2d Council of Nice, held about 787. and commonly reputed the 7th Ecumenical Council, forbids Stage-Plays, as being accursed by the Prophet Isaiah 
6 Can. 22. , Cap. 5. v. 11, 12. And forbid by the Apostle, 1 Cor. 10. 31.  
The Synod of Tours, held in the time of Charlemain, An. 813. forbade to frequent Stage-Plays, and ordered them to teach others to avoid them 
7 Can. 7. .  
The second Synod of Cabilon, held in the sa●● Year, forbade them in like manner.  
The Council of Mentz and Rheimns, held under that same Emperor, did in the same manner forbidden Stage-Plays to the Clergy.  
The Council of Cologn, held An. 1549. forbids Comedies to be Acted in Nunneries, for though they consisted of Sacred and Pious Subjects, they can notwithstanding leave little good, but much hurt in the Minds of holy Virgins, who behold and admire the External Gestures, therefore they forbade the Acting of Comedies in Monastries, or that Virgins should be Spectators of them.  
The Council of Milan held, An. 1560. in the Chapter concerning the Stage and the Dice, admonishes Princes, to banish out of their Territories all Stage-Players, Tumblers, Jugglers and Jesters, and to punish such Public Houses as entertain them.  
Thus we find Synods, Ancient and Modern, and some of them, during the very Darkness of Popery, expressly condemning the Stage, and that of the Council of Cologn is very remarkable, which forbids Virgins the seeing of Comedies, tho' the Subject be Sacred and Pious, because of the bad Impressions which the External Gesture might leave upon their Minds.  
Nay, the very Council of Trent declared so far against Stage-Plays, as to forbid them to the Clergy 
* Sess. 24. Surius Tom. 4. p. 979. . Then what a shame is it that the Church of England, should not only be so remiss in declaring against the Stage, but that any of her Clergy should appear to defend it, as that Dr. does, who sent the Letter to M. Motteux, to prefix to his Beauty in Distress. And much more that any of them should be Authors to write Plays for the Stage, as jasper Main, and others of a latter date, as the Author of the Innocent Impostors, etc. whom out of Respect I forbear to Name.  
To these Ancient and Modern Councils, I shall add, that of the Protestant Church of France, held at Rochel, An. 1571. Where this Canon was unanimously agreed upon, viz.  
All Congregations shall be admonished by their Ministers seriously to Reprehend and Suppress all Dances, Mummeries and Interludes; and it shall not be lawful for any Christians to act or be present at any Comedies, Tragedies, Plays, Interludes, or any other such Sports, either in public or private; considering that they have always been opposed, condemned and suppressed in and by the Church, as bringing along with them the Corruption of good Manners. This methinks aught to have more weight with M. Motteux, and his Church of England Divine; than the Letter of a Popish Doctor of Paris.  
I shall insist no further on the Defence of the Stage, by the Prefacer to Beauty in Distress; those I have already touched being his principal Arguments. As for his Hints of other things, being condemned by those Fathers and Councils, which are now generally held to be Innocent, they are mere trifles: No Protestant ever held, that either Men or Councils were Infallible: But the Arguments here adduced, by those Fathers and Councils against the Stage, being founded upon general Scripture Rules, aught to direct us in our Faith and Practice, as to this Matter  
Yet seeing our Parisian Doctor thinks it a mighty Argument for the Stage, That Bishops, Cardinals and Nuncios make no Scruple to be present at Plays 
* Beauty in Distress pag. 21. , though the same hath been forbid by so many Councils. Mr. Motteux or his Church of England Divine, may acquaint him if they please; That the Council of Lateran, held by the Authority of Pope Innocent the third, in the year 1215. consisting of two Patriarches, seventy Arch-Bishops, four hundred twelve Bishops, and eight hundred Abbots and Priors, did forbid Clergymen to be present at Stage-Plays, or to encourage Tumblers or Jesters. 
† Can. 15. 16. Surius, Tom. 3. p. 734.  So that if neither the Authority of Councils alone, nor that of a Pope and Council together, be sufficient to satisfy the Paris Doctor of the Unlawfulness of Clergymens' frequenting the Stage; then I must make bold to tell him, That he has made a Sacrifice of the Infallibility of the Church of Rome, to the Chapel of the Devil, the Playhouse; 
* Tertullian de Spectaculis.  as Mr. Motteux has Sacrificed the Authority of the Protestant Church of France, to the Pleasure and Profit he reaps from the Theatre and Drama.  
What a horrid shame is it, that Iulian the Apostate, should have had more Regard to the Honour of his Pagan Priests, than our present Patrons of the Stage, have either to the Credit of Popish or Protestant Divines; when as Zozamen tell us, he ordered the Priests to be exhorted, not to be seen in the Theatre on Pain of Disgrace. 
Eccles. Hist l. 5. c. 17.    

AN ANSWER TO THE DEFENCE OF Dramatic Poetry.  
CAP. VIII.  
Church of England Divines against the STAGE.  
I Come next to consider the Arguments of that Book, called, A Defence of Dramatic Poetry: Or, Review of Mr. Collier; and must in the Threshold declare my Agreement with the Ingenious Author, in his PREFACE, That if the Sufferance of the Theatre, be so fatally destructive to Morality, Virtue and Religion as Mr. Collier has endeavoured to render it, he has more Satyrized the Pulpit than the Stage; and that this Universal Silence of the whole Clergy must conclude their neglect of their Christian Duty: But I 〈◊〉 beg leave to inform him, that he is mistaken 〈◊〉 he says, Mr. Collier is the first Pulpit or 〈◊〉 Sermon upon that Text: For tho' it be true, 〈◊〉 the Church of England Clergy in general, 〈◊〉 been guilty of a Culpable Silence, as to 〈◊〉 Head, since the Restoration of King Charl●● yet others have not. Nor is Mr. Collier the 〈◊〉 Church of England Divine, who since that 〈◊〉 hath attacked the Stage from the Pulpit. 〈◊〉 Wesley in a Reformation-Sermon, preached in 〈◊〉 James' Church Westminster, Feb. 13. and afterwards at St. Brides, must be allowed to have 〈◊〉 the start of him. Wherein he expresses himsel●● [page 20, etc.] thus:  
Our Infamous Cheatres seem to have done more Mischief than Hobbs himself, or our new Atheistical Clubs, to the Faith and Morals of the Nation. Moral Representations are owned to be in their own Nature, not only Innocent but even useful as well as pleasant; but what is this to those which have no Morals or Morality at all in them, and which are the most Immoral Things in the World, which the more any good Man is acquainted with them, the less he mus● still like them, and at which Modest Heathens would blush to be present. If we ever hope for an entire Reformation of Manners, even our jails and our Theatres must have their shares With as much Reason may we exclaim against our Modern Plays and Interludes, as did the old Zealous Fathers against the Pagan Spectacles, and as justly rank these, as they did the others among those Pomp's and Vanities of this wicked World, which our Baptism obliges us to renounce and to abhor. What Communion hath the Temple of God with Idols, with those Abominable Mysteries of Iniquity, which out do the old Fescennina of the Heathens, the lewd Orgies of Bacchus, and the impious Feasts of Isis and Priapus? I know not how any Persons can profitably or indeed decently present themselves here before God's Holy Oracle, who are frequently present at those Schools of Vice, and Nurseries of Profaneness and Lewdness, to unlearn there, what they are here taught out of God's Holy Word.— Would you suffer your Friend or your Child to resort every day to a Pesthous, or a place infected with any Contagious or Deadly Disease, whence you had seen many Persons carried out dead before you. If none would do this, who pretended to be in his Right Senses. What excuse can be made for those who do worse, and are themselves frequently present, as well as suffer others to be so, at that place which is so nearly allied to Hers, which Solomon describes, Whose House is the Way to Hell, and her Gates lead down to the Chambers of Death?— How can such Persons pray every day, Led us not into Temptation, when they themselves wilfully rush into the very Mouth of it? 'Tis true the Stage pretends to Reform Manners, but let them tell us how many Converts they can Name by their means to Virtue and Religion, during these last thirty or forty Years, and we can give Numerous and sad Instances to the contrary, even of a Brave and Virtuous Nation too generally depraved and corrupted, to which there cannot perhaps be any one thing assigned, which has more highly contributed than these unsufferable and abominable Representations, the Authors of which, though the public should continue to take notice of them, would either be forced so far to alter them▪ that they would hardly be known, or else they would fall of themselves. If Men would but withdraw their Company from the●● as their presence there does actually encourage and support them. To close the Head whereo●●am sorry there's so much cause of insisting, 〈◊〉 there are too many of whom we may without breach of Charity, believe that they'd rather forsake the Church than the Theatre, by their being so much more frequently and delightfully present at the latter, than they are at the former  
If Oaths, if Blasphemy, if perpetual Profanation of the Glorious Name of God and our blessed Redeemer, if making a Scoff and a Laughter at his Holy Word and Institutions, and I know not why I should not add, his Ministers too which is the very Salt and almost Imprimatur to most of the Comedies of the present Age. If Filthiness and foolish Talking, and profane or immodest jesting, and insulting over the Miseries, and excusing, and representing, and recommending the Vices of Mankind, either by not punishing them at all, or slightly punishing them, or even making them prosperous and happy, and teaching others, first how to be wicked, and then to defend or hide their Wickedness, or at least to think Virtue ridiculous and unfashionable, and Religion and Piety sit for none but old People▪ Fools and Lunatics.  
If contempt of Superiors, if false Notions of Honour, if height of Lewdness and Pride, and Revenge, and even Murder, be those Lessons which are daily taught at these public Playhouses, to the disgrace of our Age, corruption of our Morals, and scandal and Odium of our Nation; for the Truth of which, we may appeal to all the Unprejudiced, and Virtuous part of Mankind▪ Then we may further ask, Whether these are fit place▪ for the Education of Youth? the Diversion of those of Riperage, or indeed so much as tolerable, as they now are; and without a great and unexpected Reformation under any Christian Government. If they are so, they may then continue in their present State, and we may still frequent them; but in the mean time, how can we presume to come hither unto God's House, and his Holy Table? unless we could answer that pathetic Expostulation of God to his own People, who lived not answerable to their Profession. What hast thou to do to tread in my Courts, or take my Name into thy Lips; seeing thou hatest to be Reform, and hast cast my Words behind thy Back, and were't Partaker with the Adulterer?  
Thus Mr. Wesley, who our Author knows is none of the most Contemptible of our Poets himself, and is no Enemy to the Stage, but only aims at its Reformation. Yet its plain, his Charge is as heavy against the English Stage, as that of Mr. Collier; though he is for making use of the Pruning-Hook and not of the Ax.  

Dr. Horneck against the STAGE.  
Dr. Horneck, whose Remembrance is still savoury, because of his Eminent Piety, did several years before Mr. Wesley, in his Book, entitled the sirens: or Delight and judgement. Edit. 2. Printed in 1690. bring as heavy a Charge against the Stage, as can well be drawn up: which is so much the more remarkable; That he does not cry down all Representations of History, or of men's Actions in the World as Unlawful; but would seem to allow of such at are restrained altogether to Virtue and Goodness, and such Accomplishments of the Soul, which the wisest and holiest Men in all Ages, have been desirous and ambitious of—. And says, Though Virtue cannot be well either discoursed of, or represented without its opposite Vice, yet such is the Nature of Vice, such the unhappy Consequencies of it; that if either the Pleasure, or Ease, or Prosperity and Success of it be shown and acted, though but for a few Minutes, whatever Fate it ends in, it's so agreeable to the corrupted Tempers of Men, that it leaves a pleasing Impression behind it, nor is the After Clap or doleful Exit of it, strong enough to prevent a liking or satisfaction, especially in the younger sort, who are generally more taken with its present Content and Titillations, than frighted with its dull and muddy Conclusion: For while its present Success and Sweetness is acting, the Cupid strikes the Heart, and lays such a Foundation there, as Mocks all the Death and Ruin, it after some time doth end in.  
Therefore he says a little lower, Nothing of the present amiableness of Vice ought to be mingled with the Scenes; for though Vice must almost necessarily be named in these Living Landscapes; yet it should be only named, and never named but with Horror, and the Generosity and Grandeur of Virtue acted to the Life. Vice should never appear but in its ugly Shape, for if you dress it in its shining Robes, though it be but for a quarter of an Hour, such is the Venom of this Basilisk, it breathes a poisonous Vapour both on the Actor and Spectator.  
This is the Scheme of the Reformation Dr. Horneck proposes for the Drama, which if it took effect, the Playhouses would be little esteemed by those who now frequent them most, for according to this Proposal, the Plays would be perfect Historical Lectures upon the Virtues and Vices of Mankind, without any thing of those Amorous Representations and Intrigues, which now recommend them so much to our Gallants.  
But to come to the Doctor's Opinion of the Modern Plays, we find it thus, That they are sitted for Vanity and Luxury; for though they represent the Punishment of Vice, and the Reward of Ver●● to the Life, yet it is done rather with Advantage to the former, than to raise the Credit of the latter; and the effect shows it, viz. the Corruption and Debauchery of Youth, and Persons of all sorts and sizes.  
They are suited says he, to the loose Humour of the Age, which seems to hate all things that are serious, as much as Ratshane, and delights in nothing so much as in Jests and Fooleries, and seeing the most venerable things turned into ridicule. Here no Play relishes but what is stuffed with Love Tricks, and that which makes People laugh most, is the best written Comedy.  
Wantonness is set out in its glittering Garb, and the melting Expressions that drop from its Lips, are so charming to a carnal Appetite, that the young Lad wishes himself almost in the same Passion and Intrigue of Love, he sees acted on the Stage; it looks so pleasant and Ravishing.  
Here Religion is too often traduced, and through the sides of Men that differ from our Church, the very Foundation of Christianity is shaken and undermined—. Here few sacred things are spared, if they serve to make up the Decorum of the Act.  
Here the supreme Creator is too often reviled, through the ill Language given to the Heathen Numen, and things that savour of real Piety rendered flat, insipid and impertiment, Here all that may raise the Flesh into Action and Desire is advanced.— Here all those wanton Looks and Gestures, and Postures that be in the Mode are practised according to Art, and you may remember you have seen People when dismissed from a Play, strive to get that Grace and 〈◊〉 they saw in the Mimiek on the Stage.  
Here Men Swear and Curse; and actually imprecate themselves; and though they do it under the Name of the Person they act, yet then own Tongue speaks their Sin, and their Body is the Agent that commits it; and thus they damn themselves for a Man in Imagination.  
And are these things fit for a Christian to behold? is this a sight agreeable to the Straightway, and the Narrow Gate which leads to Life? Is there any thing in the Gospel more plainly forbid, than conforming to the World, and what can that Prohibition import, if Conformity to the World in beholding those dangerous Sights, be not in a great Measure meant by it. We may put forced Glosses upon the Words, but doth not this look like the natural Sense of them.  
Holiness, for without it no Man shall see the Lord, is the very Character of Men who name the Name of Christ, if they bear not that Name in vain; and will any Man of Sense be so bold as to say, that Shows which have so much Sin in them, are suitable to that Holiness. We know who said, Turn away mine Eyes from beholding Vanity, and who sees not that he who delights in such Shows, neither dares Pray that Prayer, no● can have any desire to Imitate David in his Holiness, for he is pleased with Vanity, fixes his Eye upon it, makes it the pleasing Object of his Sight and consequently instead of turning his Eyes away from it, turns them to it.  
If thy right Eye offend thee pluck it out, and 〈◊〉 it from thee, etc. said our Saviour. 
* Mat. 5. 29.  If there any Sense in this Passage, the meaning must necessarily be, that if the Eye or beholding an Object prove an Occasion of evil; the Eye must be so carefully and so totally withdrawn from the Object as if it were actually plucked out, or were of no use in the Body. What an occasion of evil the beholding of such scurrilous Shows is, none can judge so well as he who takes notice, how by these sights the horror which attended some Sius is taken off, and Men are tempted to entertain a more favourable Opinion of them, how apt upon these Occasions they are to laugh at those Sins, which require Rivers of Tears, and to smile at the Jest they hear, which deserves their most rigid Censures.  
God would not suffer the Israelites to take the Name of the Heathen Gods in their Mouth 
† Exodus 23. 13.  for fear their frequent naming of them should lessen their Awful Apprehensions of the supreme Deity, or be tempted through that Familiarity to think there was no great harm in worshipping of them. The Substance of this Precept is Moral and consequently cannot be supposed to be abolished by the Death of Christ, and since God would not permit it to the Jews, how should he be supposed to give leave to Christians, of whom he requires greater strictness.— How in our modern Plays in most Addresses, Wishes and Imprecations, the Heathen Deities are brought in, I need not tell you. The Actors swear by God in the singular number, but in their Entire Harangues or Witty Sentences, which they intent shall move most, the Gods are called in, and that's the Grace of their part.— The Truth is, such Men seek to turn Religion again into Paganism, and the Stile they use in their respective Speeches about things above, is fitted for that purpose.  
Flatter not yourself Sir, with a Fancy that 〈◊〉 Plays are no where forbid in the Bible, and that therefore it may be lawful to see them, for the Word 〈◊〉, Revelling, to which the Apostle threatens Exclusion out of the Kingdom of Heaven, Gal. 5. 21. and from which the word Comedy is in all probability derived; though I know others fetch it from 〈◊〉, a Village: because in ancient times they did sing Songs about Country Towns: I say this word includes all such Vain, Lascivious, Ludicrous and Jocular Representations, not only Dancing and Luxurious Feasting, but Wanton, Light and Amorous Interludes. 
* Vid. Gerh. joh. Voss. de Idol. l. 2. c. 8.   
The Word is very comprehensive, and being so, one would think should fright every serious Person, from coming within the Gild of that which hath so fevere a Threatening annexed there●  
Let us but consider the Nature, Scope 〈◊〉 Drift of our Religion; it commands us Decency, Modesty, Sobriety, Vigilancy or Watchfulness over our Thoughts, and Words and Acti●● Simplicity in the inward and outward Man, redeeming the Time, employing the Hours 〈◊〉 hath lent us, in profitable Discourses, and thi●● useful and tending to Edification. It hids us abstain from fleshly Lusts, which War against 〈◊〉 Soul, it condemns all Rioting, Chambering, Wantonness, and making Provision for the Flesh, fulfil the Lusts thereof. It commands us to 〈◊〉 after the Spirit, to be Heavenly Minded, to 〈◊〉 the same Mind and Temper in us, which was so in Christ Jesus, to grow in Grace, to adv●● in Goodness, to grow Strong in the Lord, and the power of his Might. It bids us to stand for the Glory of our God, and to be conc●● when his Name or Religion, or things Sacred abused. It bids us avoid Scandal, and take we do not by our Example, either draw p● into Errors, or confirm them in their Sins bids us take heed of discouraging our Neigh● from Goodness, and of laying a Stumbling● in the way of weaker Christians. It bids us exhort one another daily, and beware lest any of us be hardened through the deceitfulness of Sin. These are some of the principal Rules,— but how they can be observed, by Persons that delight in those Shows, I cannot apprehend.  
Is it Modesty to hear that Ribaldry and filthy Communication, which some Plays are stuffed with, or to be a Spectator of so many undecent and wanton Gestures, Postures and Actions, which in some Comedies make up the greatest part of the Show? Is this Sobriety to stand by and hear Men Curse and Swear, and talk of things which should not be so much as named, among Christians? Is this Decency to afford your presence in a Place, where the most debauched Persons assemble themselves, for ill Ends and Purposes? Is this your Fear of God, to go and hear the most solemn Ordinances of God railed and undervalued; such as Marriage and Living up to the strict Rules of Reason and Conscience? Is this your Watchfulness over your Thoughts, and Words and Actions, to go and expose yourselves to Temptation, to run into the Devil's Arms, and give him an Opportunity to incline your Heart, to sinful Delights, and being pleased with things that God abhors? Is this that Godly Simplicity? the Gospel presses, to pay, for your being affected with the vain Shows of this sinful World, and to take Liberty, to hear and see what Men of little or no Religion, shall think fit to represent unto you? Is this redeeming of your time, to throw away so many Hours upon Fooling, and seeing men's ridiculous Postures, Gestures and Behaviours? Is this the way to grow in Grace, and to advance in Goodness, and to abound more and more in the Love of God, which your Christianity obliges you to? Is not this to clog your Soul & throw Impediments in her way to Felicity? Is not this the way to make her enamoured with the World; from which a Christian is to run away, as much as he can? By your Saviour's Rule, tho' you are in the World, yetyou are not to be of the World.  
These Shows alienate other men's Affections from the best of Objects, and what security have you, that they will not alienate yours.— As you are a Christian, you are to bring your Flesh into Subjection, and to keep under your Body; and do not these Shows signally help towards is Power, and Dominion over the nobler part.— Who sees not that those Sights are mere Incentives to Lust, and Fuel to feed the Impurer Fire in our Breasts? And is this to walk after the Spirit? If they that walk after the Flesh cannot please God, how can you hope to please him, while you allow yourself in this Work of the Flesh? Is the Stage likely to produce vigorous Apprehensions of God's Grace and Favour; you know it damps and obscures them? Is this to have the same Mind in you, which was also in Christ Jesus: Can you imagine that in frequenting the Stage, you imitate his Example, did he ever encourage such empty things? Is there any thing in all the History of his Life, that may be said to countenance such doings, could he applaud those follies, do you think, whose Life was a perfect Pattern of Holiness, nay are not all his Precepts levelled against these Scurrilities. He who preached up the Doctrine of the Cross, could he have any liking to to that which is directly contrary to that Doctrine? Would any Man that looks upon the Jolly assembly in a Playhouse, think that these are Disciples of the Crucified God? do they not look liker Mahomet's Votaries, or Epicurus his Followers. Would not one think that they are ●ather Disciples of some Heathen jupiter, or Venus or Flora, or some such wanton Minion; than of the Grave, the Austere, and the Serious Jesus, for such he would have his Followers to be; these he would have known by Actions and a Behaviour like his own; and is a Play likely to plant this noble Temper in you.  
As a Christian you are to shun the very Appearances of Evil, and is this your Obedience, to delight in that which is Evil, to applaud it with your Smiles, to commend it with your Tongue, and to encourage it by your Presence.  
As a Christian you are the salt of the Earth 
* Mat. 5. 13.  and consequently are to preserve your Neighbour from Corruption, and is this the way to preserve him from Infection, by your Presence in such Places, and being as vain as he, to encourage not only the Actors in their unlawful Profession, but the Spectators too in their Disobedience to the Gospel. woe to that Man by whom the Offence cometh, it had been better for him that a Millstone were hanged about his Neck, and he drowned in the midst of the Sea, 
† Matthew 18. 6.  saith our great Master,  
What is your going to a Playhouse, but giving Offence? What is it but hardening other Men in their Sins? Is not this tempting young People, to those Extravagancies they should detest? Is not this justifying the Player's Profession, and to make them think, that you approve of their Ludicrous Vocations.  
Did Christ come down from Heaven and Die, and Spill his Blood for you, that you might securely Indulge your carnal Genius? Did he sacrifice himself for you, that you might please yourself with such Fooleries.— To delight in such Vanities is a Disparagement to his Love, a Blemish to his Charity, a Disgrace to his Condescension, and an Undervaluing of so great a Mercy.  
Have you not observed it, have you not taken notice, how Men and Women, who have had some Zeal for Religion, and very Pious Inclinations; how that Zeal hath decreased upon their frequenting those Houses, how their Goodness hath decayed, how flat they are grown in Devotion, how weak in their Holy Performances.— May be they have kept up some outward Shows, some external Formality, some earnestness for the Fringes of Religion, or for the ceremonial Part of Christianity: But have you not seen, how they are become Strangers to that Life which must adorn it.  
With what face dare you approach the Table of your Lord, who have been a Spectator of such Shows but a little before? If you come to the Lords Table one day, and run to a Playhouse another, do not you destroy all you built the day before.  
In this Sacrament you profess to imitate your Lord in despising the World, and is this Imitation to go one day into the House of the Lord, and the next into a Den of Thiefs? for so the Stage may justly be called, where Men are robbed of their Relish of Spiritual Objects.  
Whence hath come that Atheism, that Looseness, that Indifferency in things Divine, that low Esteem of the Tremendous Mysteries of Christianity, which of late like a Land-Flood, hath overcome us? Have they not derived their boldness from these places, have not the Vices represented there in jest, been practised by the forward Youth at home in good earnest? And can a Christian have a good Opinion of those Houses, where so many have lost their Virtue? Can any Man of reason think that after all this Mischief, they may be safely hugged and applauded. Those many Notorious Fornications and Adulteries, we have heard and know of, those barefaced Cheats, men's boasting of their Sins, and glorying in their Shame, their Impudence, their Courage to do Evil, their daring to do things which sober Heathens have detested; whence have they come in a great Measure, but from those poisoned Fountains?  
If Wanton, Lustful and Obscene Jests, are expressly forbid by the great Apostle, Eph. 5. 4. Nay, are not so much as to be named among Christians, how can a Man that makes Profession of that Religion hear them, or be taken with them when God's Name is profaned in such Houses, when Religion is mocked, when Virtue is rendered Odious.  
Do but take a View of the Writings of the Primitive Fathers, and you'll find them Unanimous in this Assertion, that in our Baptism when we renounce the Devil and his Works, and the Pomp and Glory of the World, we do particularly renounce Stage-Plays, and such Ludicrous Representations. They that lived nearest to the Apostolical Times, in all probability knew what was meant by this Renunciation; and this they profess to be the sense of it; this they assure us is meant by those Pomp's and Glories: And why should we presume to put a new sense upon that Vow? They received this Interpretation from the Apostles, and propagated it to Posterity; and in this Sense we make the Abjurations.  
Of the same Opinion is Dr. Bray, in his Discourse on the Baptismal Covenant, [Printed in 1697. and Dedicated to his Highness the D. of Gloucester;] where he Comments thus on the Pomp's abjured in Baptism 
* page 11. .  
Thereby were anciently meant those Pompous Spectacles, Plays and Scenical Representations exhibited in the Roman Theatres; which because they were so Lewd, Cruel and Impious, the Primitive Churches strictly enjoined all Christians at their Baptism, not to frequent, or so much as to be once present, or everseen at them.— And answerable to those, are our Modern Plays acted in the Playhouses, which are no thing inferior to the Ancient Ones, in Impiety and Lewdness, and having such a Malignant Influence upon Faith and Manners, as is owned by almost all Persons, and is generally complained that they have, they ought never to be frequented by Christians, and it may very well be looked upon as a breach of your Baptismal Vow and Covenant, for any of you to be hereafter present at them.  
Nor is it unworthy our Observation that those commendable Religion's Societies of young men and others of the Communion of the Church so much countenaced by the late Queen Mary of Blessed Memory, and the best of the Bishops, have laid it down as part of their Ninth Order that all of their Societies should wholly avoid Lewd Playhouses 
* Rise and Progress of Religious Societies. p. 125. .   

Sir Richard Blackmore against the STAGE.  
ANother late Author I shall produce against them is Sir Richard Blackmore, in his Preface to his Excellent Poem, called Prince Arthur; whose Testimony is so much the less to be excepted against, because he seems to be for a Reformation, and not for the Abolition of the Stage: His Words are as followeth,  
Our Poets (saith he) seem engaged in a geneneral Confederacy to Ruin the end of their own Art, to expose Religion and Virtue, and bring Vice and Corruption of Manners into Esteem and Reputation. The Poets that write for the Stage (at least a great part of them) seem deeply concerned in this Conspiracy. These are the Champions that Charge Religion with such desperate Resolution, and have given it so many deep and ghastly Wounds. The Stage was an Out-work or Fort raised for the Protection and Security of the Temple, but the Poets that kept it, have revolted and basely betrayed it; and what is worse, have turned all their Force and discharged all their Artillery against the Place their Duty was to defend. If any Man thinks this an unjust Charge, I desire him to read any of our Modern Comedies, and I believe he will soon be convinced of the Truth of what I have said.  
The Man of Sense, and the fine Gentleman in the Comedy, who as the chiefest Person proposed to the Esteem and Imitation of the Audience, is enriched with all the Sense and Wit the Poet can bestow. This extraordinary Person you will find to be a Derider of Religion, a great Admirer of Lucretius, not so much for his Learning as Irreligion; a Person wholly Idle, dissolved in Luxury, abandoned to his Pleasure, a great Debaucher of Women, profuse and extravagant in his Expenses. And in short, this furnished Gentleman will appear a finished Libertine. The young Lady that must support the Character of a Virtuous well-mannered sensible Woman, the most perfect Creature that can be, and the very Flower of her Sex, this Accomplished Person entertains the Audience with confident Discourses immodest Repartees, and profane Raillery. She is throughly instructed in Intrigues and Assignations, a great Scoffer at the prudent Reservedness and Modesty of the best of her Sex, she despises the wise Instructions of her Parents or Guardians, is disobedient to their Authority, and at last without their Knowledge or Consent, marries herself to the Gentleman above mentioned: And can any one imagine, but that our young Ladies and Gentlewomen, are admirably instructed by such Patterns of Sense and Virtue.  
If a Clergyman be introduced, as he often is, 'tis seldom for any other Purpose, but to abuse him, to expose his very Character and Profession; He must needs be a Pimp, a Blockhead, a Hypocrite, some wretched Figure he must make, and almost ever, be so managed as to bring his Order into Contempt. This indeed is a very common, but yet so gross an Abuse of Wit, as was never endured on a Pagan Theatre, at least in the ancient Primitive Times of Poetry, before its Purity and Simplicity became corrupted, with the Inventions of after Ages. Poet's then taught Men to Reverence their Gods, and those who served them, none had so little regard for his Religion as to expose it publicly, or if any had, their Governments were too Wise to suffer the Worship of their Gods, to be treated on the Stage with Contempt.  
In our Comedies, the Wives of our Citizens are highly encouraged, to despise their Husbands, and to make great Friendship with some such Virtuous Gentleman, and Man of Sense, above described: This is their way of Recommending Chastity and Fidelity; and that Diligence and Frugality may be sufficiently exposed, though the two Virtues, that chiefly support the being of any State; to deter Men from being Industrious, and Wealthy, the diligent and thriving Citizen is made the most wretched, contemptible thing in the World: And as the Alderman that makes the best Figure in the City, makes the worst on the Stage; So under the Character of a Justice of Peace, you have all the Prudence and Virtues of the Country, most unmercifully insulted over.  
And as these Characters are set up on purpose to ruin all Opinion and Esteem of Virtue; so the Conduct throughout, the Language, the Fable and Contrivance seem evidently designed for the same noble end. There are few fine Conceits few strains of wit, or extraordinary pieces of Raillery; but are either Immodest or Irreligious and very few Scenes but have some spiteful and envious Stroke at Sobriety and good Manners. Whence the Youth of the Nation, have apparently received very bad Impressions. The universal Corruption of Manners and Irreligious Disposition of Mind that Infects the Kingdom, seems to have been in a great Measure, derived from the Stage, or has at least been highly promoted by it; and 'tis great pity that those in whose power it is, have not restrained the Licentiousness of it, and obliged the Writers to observe more decorum. It were to be wished that Poets, as Preachers are in some Countries, were Paid and Licenced by the State, and that none were suffered to write in prejudice of Religion and the Government; but that all such Offenders, as public Enemies of Mankind should be silenced and duly punished. Sure some effectual Care should be taken that these Men might not be suffered by debauching our Youth, to help on the Destruction of a brave Nation.  
But seeing the Author of the DEFENCE, says without any limitation, that Mr. Collier is the first who appeared from the Pulpit or Press upon this Subject. I must put him in mind of others that have Writ and Preached against the Stage long before those I have already mentioned: And I think Mr. Prin, Author of the Histriomastix, deserves the Honour of being named with the first. His Treatise being perhaps the Largest, Learnedest and most Elaborate of any that ever was writ upon the Subject, and to which Mr. Collier has been very much obliged for many things in his ingenious Book, as I own here once for all, I am highly obliged myself for not a few, though I have made use of them in a different Method.  
I have already agreed with the Author of the Defence, That the general Silence of the Clergy of late against the Stage, is a Neglect of their Christian Duty; but shall now make it appear, that it has not always been thus with the Clergy, which will be a further Confutation of our Author's Proposition, That Mr. Collier is the first that broke Silence in this Matter, and serve as a Reproof to the generality of the Church of England Divines of the present times, that they come so much short of those of the former, in their Zeal against the Stage.   

Ancient Church of England Divines against the STAGE.  
IT may perhaps be reckoned needless to go so far back as the famous Bradwardin, Archbishop of Canterbury, who wrote against the 
* De causa Dei l. 1. c. 1. Coroll. 20.  Stage in 1345. or Wickliff the Morningstar of our Reformation, who wrote against 
† Dialog. l. 3. cap. 1.  Plays in 1380. and therefore we shall descend to those times, when the Reformation was arrived to a good height: And thus we find in 1572. Dr. Matthew Parker, Archbishop of Canterbury, in his Book De Antiquitate Ecclesiae Britannicae, [Page 445.] asserts.  
That Stage-Plays are not to be suffered in any Christian or well governed Commonwealth.  
Dr. George Alley Bishop of Exeter, and Divinity Lecturer at St. Paul's in 1571. the second year of Queen Elizabeth, declaims against, Playbooks and Stage-Plays, as the Fomenters and Fuel of Lust, the occasion of Adultery and other intolerable Evils. 
† Poor man's Library part 1. fol. 13, 39  And in that same Book, 
* Part 1. Miscel. 6. prelect. 2. fol. 46, etc.  which its sit to observe by the way, was Printed by her Majesty's Authority, he Inveighs against wanton and impure Books, as being then too frequent, and wishes the Authors of of them the same Punishment, that the Emper or Severus inflicted upon Vetromus Turinus his Familiar, viz. That they might perish by Smoke who lived by it.  
A little further he says, That many of these who profess Christianity, are in respect of reading Lascivious Books, worse by far than the Heathens: The People called Massilienses, before they knew Christ, were of such pure and uncorrupt Morals, that their Manners were accout the best; and amongst other good Laws in their City this was one; That there should be no Comedy acted there, because their Arguments were for the most part of wanton and dissolute Love, But alas, all Places in our days are filled with Jugglers; Scoffers, Jesters, Players, who may say and do what they list, be it never so fleshly and filthy, and yet are applauded with laughing and clapping of Hands. Epicharmus was punished by Hiero of Syracuse, for rehearsing some wanton Verses in the presence of his Wife: Sophocles rebuked Pericles for launching out in the Commendation of the Beauty of a Boy that passed by him; and was told, that not only the Hand of a Praetor ought to be free from Bribes, but their Eyes clear from wanton Looks; that the Athenians would suffer none of their Judges to write any Comedy or Play: But I speak it with Sorrow, our vicious Balladmakers, and Composers of lewd Songs and Plays, go not only unpunished but are largely Rewarded.  
There was no Adulterer in Sparta, because the Citizens were not suffered to be present at any Comedy or other Play, lest they should hear and see those things that were contrary to their Laws.  
The next we shall mention, is Bishop Babington, who in his Exposition on the seventh Commandment says, Those Profane, Wanton Stage Plays and Interludes; what an occasion they are of Adultery and Uncleanness, by Gesture, Speech, Conveyance, and Devices to attain ungodly Desires, the World knoweth by long Experience, Vanities they are if we make the best of them ' and the Prophet prayeth to have his Eyes turned away from beholding Vanity, evil Communication corrupts good Manners, and they abound with it. They are always full of dangerous Sights, and we must abstain from all appearance of Evil: They corrupt the Eyes with alluring Gestures, the Eyes corrupt the Heart, and the Heart corrupts the Body till all be horrible before the Lord: All things are polluted by Histrionical Gestures, saith chrysostom: And Plays says he, are the Feasts of Satan, the Inventions of the Devil. Councils have decreed very sharply against them, those who have been desiled by them, have on their Death Beds confessed the danger of them, and warned others for ever to avoid them.— The Bishop adds, that Play Haunters, carry away with them the Ideas and Similitudes of the lewd Representations they behold in Stage-Plays, which sink deep into their Minds; That they suck in the Poison of Stage-Plays with great Delight, and practise the Speeches and Conveyances of Love, which there they see and learn, and having once polluted their Speech with the Language of the Theatre (for I will never call it polishing) they are never well but when they have Company, to whom they may impart the Stories and Salutations, they have learned at the Stage.  
Bishop Andrews in his Exposition of the seventh Commandment. Bishop Baily in his Preface to the Practice of Piety, and Bishop Hall in in his Epistles, agree with the former in condemning Stage-Plays: Of the same Mind is Doctor Reynolds in his overthrow of Stage-Plays, Doctor Griffith, Doctor Williams, Doctor El●on and Mr. Dod on the seventh Commandment. Doctor Sparks in his Rehearsal Sermon, at Paul's Cross, April 29. 1579. Doctor Whites Sermon there, March 24. 1615. Dr. Bond of the Sabbath in 1595. and as many more Doctors, as would serve to make up a Convocation; whence it is evident, that the Divines of the Church in those Days, were far from being silent against the Stage Nay we are told, in the Preface to the second and third Blast of Retreat, from Plays and Theatres, Printed in 1580. That many Godly Ministers did from Day to Day, in all Places of greatest Resort, denounce the Vengeance of God against all such be they high or low, that favoured Players, Theatres, or Plays.  
Mr. Northbrook a learned Divine, in his Treatise against Vain Plays and Interludes: Printed by Authority in 1579. says, That to speak his Mind and Conscience plainly, and in the fear of God; Players and Plays are not tolerable, not to be suffered in any Commonwealth; because they are the Occasion of much Sin and Wickedness, corrupting both the Minds and the Manners of the Spectators.  
There's one Book more, writ in those times against the Stage, that I cannot omit, because of the singularity of its Title, viz. The Church of evil Men and Women, whereof Lucifer is the Head, and Players and Play-haunters, the Members. And in 1625. a Treatise against Stage. Plays was dedicated to the Parliament, from all which it will appear, that the Author of the Defence of Dramatic Poetry, spoke without Book▪ when he said, Mr. Collier, was the first that appeared from the Press or the Pulpit, against our Stage, and that the present Divines of the Church, who have betrayed the Cause by their Silence, or encouraged the Stage by their Pens and Practice, come not only short of their Ancestors, but are directly opposite to them.  
Nor was it the Divines alone, who in those days attacked the Theatre: But Poets of their own, who being touched with remorse for writing to the Stage, turned their Pens against it, and made such Discoveries of its Lewdness, as no other Persons were able to do.    

CAP. IX.  
The Stage Condemned and Anatomised by Play-Poets.  
THE First we shall name is Mr. Stephen Gosson, formerly a Stage-Poet, for which he says himself, in the Epistle to his School of Abuse: Printed by Authority, and dedicated to Sir Philip Sidney, in 1578. That his Eyes had shed many Tears of Sorrow, and his Heart had sweat many drops of Blood, when he remembered Stage-Plays, to which he was once so much addicted.  
This Penitent Stage-Poet in the Book just now mentioned, and in another called, His Plays Confuted: Printed in 1581. and Dedicated to Sir Francis Walsingham, writes to this Effect; I will show you says he what I saw, and inform you what I read of Plays. Ovid said, That Romulus built his Theatre as a Horse-Fair for Whores, made Triumphs, and set up Plays to gather fair Women together, that every one of his Soldiers might take where he liked, a snatch for his Share. It would seem that the Abuse of such Places was so great, that for any chaste Liver to haunt them was a black Swan, and a white Crow. Dion so straight forbiddeth the ancient Families of Rome, and Gentlewomen that tender their Name and Honour to come to Theatres, and rebukes them so sharply when he takes them Napping, that if they be but once seen there, he judgeth it sufficient cause to speak ill of them, and to think worse. The Shadow of a Knave hurts an honest Man, the Scent of a Stews an honest Matron, and the Show of Theatres a mere Spectator. Cook's don't show more Art in their Junkets to vanquish the Taste, nor Painters in Shadow to allare the Eye, than Poets in Theatres to wound the Conscience? there set they abroach strange Consorts of Melody to tickle the Ear; costly Apparel to flatter the Sight, effeminate Gestures to ravish the Sense, and wanton Speech to whet inordinate Lust; these by the privy Entries of the Ear slip down into the Heart, and with Gunshot of Affection gall the Mind. Domitian suffered Playing and Dancing so long in Theatres, that Paris debauched his Domitia, and Menster did the like by Messalina. Ovid in his Arte Amandi, chargeth his Pilgrims to keep close to the Saints whom they serve, and to show their double Diligence, to list the Gentlewoman's Robes from the Ground, to prevent their soiling in the Dust, to sweep Moats from their Kirtles, to keep their Fingers in Ure, to lay their Hands at their Backs for an easy stay, to praise that which they commend, to present them Pomegranates to pick as they sit, and when all is over to wait on them mannerly to their Houses.  
In our Playhouses at London, you shall see such heaving and shoving, such itching and shouldering to sit by Women, such care for their Garments, that they be not trod on, such eyeing their Laps that no Chipslight in them, such Pillows to their Backs that they take no hurt, such whispering in their Ears, I don't know what, such giving them Pippins to pass the time, such playing at Foot-Saunt without Cards, such ticking, such toying, such smiling, such winking, and such manning them Home when the Sports are ended, that it is a perfect Comedy to mark their Behaviour, and is as good as a Course at the Game itself to dog them a little, or to follow aloof by the print of their Feet, and so discover by slot where the Deer taketh soil. If this were as well noted as it is ill seen, or as openly punished as secretly practised, I have no doubt but the Cause would be seared to dry up the Effect, and those pretty Rabbits ferreted from their Burrows.  
For they that lack Customers all the Week either because their haunt is unknown, or the Constables and Officer's watch them so narrowly, that they dare not queatch, to celebrate the Sabbath, flock to Theatres and there keep a general Market of Baudry. Not that any filthiness indeed is committed within the compass of that Ground, as was done in Rome; but that every Wanton and his Paramour, every Man & his Mistress, every jack and his joan, every Knave and his Quean, are there first acquainted, and cheapen the Merchandise in that place, which they pay for elsewhere, as they can agree. I design not to show you all that I saw, nor half that I have heard of those Abuses, lest you should judge me more willing to teach than to forbid them.  
The next is the Author of, The Third Blast of Retreat from Plays and Theatres, who had formerly been a Stage-Poet, but tells us he renounced that wicked Profession, as being Incompatible with the Christian Religion, or his own Salvation. He gives his Opinion of Plays thus 
* p. 43, 44▪ , That they are not to be suffered in a Christian Commonwealth, because they are Enemies to Nature and Religion, Allurements unto sin, Corrupters of good Manners, the Cause of Security and Carelessness in Religion, and mere Brothel-houses of Bawdry: They bring a Scandal upon the Gospel, the Sabbath into Contempt, men's Souls into danger, and the whole Commonwealth into Disorder.— These are bitter and heinous Expressions you will say, no doubt; yet they are nothing so bitter as the Cause requireth. It were ill to paint the Devil like an Angel, he must be drawn as he is, that he may be the better known— Therefore that others should not be deceived with that wherewith I have been deceived myself, I thought it my Duty to expose the Abuse of the Plays and Actors both, that every Man might refrain from their Wickedness, and that the Magistrate being informed of it, might take effectual Methods utterly to suppress them; for if they still be permitted to make Sale of Sin, we shall pull the Vengeance of God upon our Heads, and bring the Nation to Confusion.— What I speak of Plays from my own Knowledge, may be affirmed by Hundreds more, who know those Matters as well as myself.— Some Citizen's Wives, upon whom God hath laid his Hand for an Example to others, have confessed on their Deathbed with Tears, that at those Spectacles they have received such Infection, as of honest Women made them light Huswives: By them they have dishonoured the Vessels of Holiness, brought their Husbands into Contempt, their Children in Question, their Bodies into Sickness, and their Souls into Danger.  
It must be owned, that this is an heavy Charge upon the Stage, nor can the Truth of it be questioned, seeing it comes from the Hand of a penitent Stage-Poet, who delivers it as his own certain Knowledge, but if his Testimony and that of Mr. Gosson before exhibited be not enough; The Patrons of the Stage may be pleased to consider, that their Evidence is confirmed by Bishop Babington on the VII. Commandment and Dr. Layton, in his Speculum Belli Sacri.  
But to return to our Author, he goes on thus,  
The repair of such as are honest to those Places of Evil Resort, makes their own Good Life to be called in Question; for that Place breeds Suspicion as well of the Good as the Bad; for who can see a Man or a Woman Resort to an House that is notoriously Wicked, but will judge them to be of the Crew of the Ungodly. The honestest Woman is the soon assaulted, and hath such Snares laid to entrap her, as if God assist her not, she must needs be taken. When I gave myself first to observe the Abuse of Common-plays, I found my Heart sore smitten with Sorrow; Sin did there so much abound, and was so openly committed, that I looked when God in his Justice and Wrath would have presently confounded the Beholders. The Theatre I found to be an appointed Place of Baudry: mine own Ears have heard honest Women allured with abominable Speeches. Sometimes I have seen two Knaves at once importuning one Light Huswife, whence a Quarrel hath ensued to the Disquieting of many. There are Intrigues carried on to debauch Married Women from their Husbands, and Places appointed for Meeting and Conference.  
When I took notice of those Abuses, and saw that the Theatre was become Satan's Council-House, I resolved never to employ my Pen to so vile a Purpose, nor to be an Instrument of gathering the Wicked together.— It may perhaps be said, I am too lavish of my Discourse, and that what I have now said might have been forborn; but he that dissembles Ungodliness is a Traitor to God, and as guilty of the Offence as the Offenders themselves. Since therefore the Cause is Gods, I dare put myself forth to be an Advocate against Satan to the rooting out of Sin. Are not our Eyes at Plays carried away with Pride and Vanity, our Ears abused with Amorous and Filthy Discourse, our Tongues employed in Blaspheming God or commending that which is Wicked? Are not our Hearts through the Pleasure of the Flesh, the Delight of the Eye, and the fond Motions of the Mind, withdrawn from the Service of God, and the Meditation of his Goodness.— There's no Zealous Heart but must needs bleed to see how many Christian Souls are there swallowed up in the Whirlpool of Devilish Impudence. Whosoever shall visit the Chapel of Satan [I mean the Theatre] shall find there no want of young Russians, nor lack of Harlots, utterly void of Shame; who by their Wanton Gestures and Shameless Behaviour discover what they are,— Let Magistrates assure themselves that without speedy Redress all things will grow so much out of order that they will be past remedy. Our young Men are thereby made Shameless, Stubborn and Impudent. Tell them of Scripture, they will turn it into Ridicule: Rebuke them for breaking the Sabbath, they will call you a Precisian.—  
He that is virtuously disposed, shall find lewd Persons enough in the Playhouse to withdraw him from Virtue by Promises of Pleasure and Pastime. The Playhouse is the School of Satan, the Chapel of ill Council, where he shall see so much of Iniquity and Looseness; so great Outrage and Scope of Sin, that it is a wonder if he return not either wounded in Conscience or changed in Life. I would wish therefore all Masters to withdraw themselves and their Servants from such Assemblies. Youth needs not seek after Schoolmasters, they can learn Evil too fast of themselves. Many young Men of honest Natures and tractable Dispositions, have been changed by those Shows and Spectacles, and become Monsters.  
It is wonderful to consider, of what force the Gestures of a Player (which Tully calls the Eloquence of the Body) are to move and prepare a Man for that which is evil.— Nothing entreth more effectually into the Memory than that which cometh by seeing; things heard do lightly pass away, but the Ideas of what we have seen, says Petrarch, stick fast in us whether we will or not.  
Those Enchantments have vanquished the Chastity of many Women, some by taking pity of the deceitful Tears of the Lover on the Stage, have been moved by their Complaint, to compassionate their secret Friends, whom they thought to have felt the like Torment. Some having observed the Examples, how young Women being restrained from the Marriage of those their Friends have misliked, have there learned the Art to Steal them away; others observing by the Example of the Stage, how another Man's Wife hath been assaulted and overcome, have not failed to practise those tricks in earrest, that were shown before them in Jest: Yet the cunning Craft of the Stage, is surpassed by that of the Scaffolds without, for they which are evil disposed, no sooner hear any thing spoken that may serve their turns, but they apply it: Alas! say they to the Gentlewomen by them, Is it not pity this passionate Lover should be so martyred? and if they find them inclined to foolish pity, than they apply the matter to themselves, and pray that they would extend the same Compassion towards them, as they seemed to show to the afflicted Lover on the Stage. Those running headed Lovers, are grown such perfect Scholars, by long continuance at this School, that there is not almost one word spoken, but they can make use of it to serve their own turn.  
Believe me, there can be no stronger Engine found, to batter the Honesty of married and unmarried Women; than the hearing of common Plays. There wanton Fables, and pastoral Songs of Love, which they use in their comical Discourses, and are all taken out of the Secret Armoury of Venus, overturn Chastity, and corrupt the Manners of Youth, insomuch, that it is a Miracle if there be found any Woman or Maid, which with those Spectacles of strange Lust, is not frequently inflamed to down right Fury.  
Don't we use in those Discourses to Counterfeit Witchcraft, Charming Draughts and Amorous Potions, to stir up Men to Lust, by which Examples the ignorant multitude are provoked to seek after the unlawful Love of others. The Device of carrying Letters by Laundresses, and practising with Pedlars to carry their Tokens under colour of selling their Merchandise, and other kinds of Intrigues to bereave Fathers of their Children, Husbands of their Wives, Guardians of their Wards, and Mistresses of their Servants, are aptly taught in those Schools of Abuse [the STAGE] Therefore I am sorry they are not plucked down, and the School masters banished the City.  
Thus much I will tell them, if they suffer those Brothel-Houses to continue: The Lord will say unto them, as the Psalmist saith, If thou sawest a Thief thou consentedst with him, and hast been partaker with Adulterers. 
* Psalm 50, 18.   
This I hope is more than enough to convince the Author of The Defence of Dramatic Poetry, That Mr. Collier ' s was neither the First Pulpit nor Press-Sermon against the STAGE; and that though the Silence of the Clergy against the Playhouse, has been but too universal of late; it hath not been always so from the beginning.  
By this that Author may likewise perceive, That Men of a different Kidney and Principle from those of the Calves-Head-Feasts, or that acted the Tragedy at Whitehall, and accounted Regicide and Rebellion, Religion and Sanctity 
* page 13. Defence of Dramatic Poetry. , strain as much at the Gnat of the Stage as others.  
I would also desire him to consider, Whether the Opinion of those Reverend Bishops and Divines I have quoted at large, and the Evidence of two repenting Stage-Poets, as to the Danger of the Stage, be not more than enough to outweigh his Banter and Flouts, in denying that the Passions represented on the Stage imprints the same Passion into the Audience, because a Man when he sees a Hercules Furens, does not grow so mad and pull up'Oaks as fast as he; that our Gallants done't presently fall a Ravishing like a lustful Tarquin, upon the Representation of that Lascivious Prince; and that our Ladies don't immediately take Taint and Play the Wanton upon the sight of a lewd Thais. 
* page 19   
The Instances of the Play-Poet, just now quoted, fall but little short of this; and Mr. Gosson's Paris and Domitia, and Menster and Messalin formerly mentioned 
* School of Abuse. , are enough to confirm it  
But, because I hate to be niggardly, he shall have another from Xenophon 
* Convivium apud Xenophon. Oper. Graec. Lat. Francofurti p. 893, etc. . That Author gives us an Account of the Acting of Bacchus' and Ariadne by a Syracusian Boy and a Girls, thus,  
The Syracusian entered like Bacchus, with Pipe before him, playing a rioting Tune. The● Entered Ariadne gorgeously apparelled like a Bride and sat down before the Company; She did not go to meet Bacchus as a dancing, nor rose from her Seat, but made such Signs as discovered he might have an easy Conquest. When Bacchus beheld her, he expressed his Passion as much as possible in his Dance, and drawing near her fell down on his Knees, embraced and kissed her; she tho' with some faint resemblance of Coyness and Modesty embraced him again. At this the Spectators gave shouts of Applause. Then Bacchus rose up, and taking Ariadne with him, there was nothing to be seen but Hugging and Kissing. The Spectators perceiving that both of them were Handsome, and that they kissed and embraced in good Earnest, they be held them with great Attention; and hearing Bacchus ask her, If she loved him; and she affirming with an Oath that she did; The whole Audience swore, That the Boy and the Girl loved one another in Reality; for they did not Act like those who had been taught only to personate those Gestures, but like such as had a mind to perform that which they had of a long time earnestly desired. At last when the Company perceived that they were clasped in one another's Arms. Those that had no Wives swore they would Marry, and those that were Married, took Horse and went Home to their Wives immediately.   

CAP. X.  
The English State against the STAGE.  
THE Author of The Defence of Dramamatick Poetry, endeavours in the next place to ward of the Blow given to the Stage by English Statutes; and alleges that the 〈◊〉 of Ia●● was but a Temporary Act to hold in force but that Sessions of Parliament 
* pag. 3.  Which by 〈◊〉 leave is a mistake, the Words being, That it should continue to the end of the next Parliament. And it was afterwards continued again by the 3d of Car. Cap. 4. to the end of the 1st Session of the next Parliament.  
And I must also here take leave to tell him, that Mr. Prin, who it's supposed understood the Law as well as he, was of Opinion that the Stage-Players might have been punished in the Year 1633. by Virtue of that Act, which was many Years after the 1st of james.  
But be that how it will, thus much we have gained at least; That Stage-Players were declared, to be Rogues and Vagabonds, by the three Estates of England met in Parliament; and ordered to be sent to the House of Correction, to be Imprisoned, set on the Stocks and Whipped, and if they continued to Play notwithstanding, that they should be burnt with an Hot Iron, of the breadth of an English Shilling, with a great Roman R in the left Shoulder, which should there remain as a perpetual Mark of a Rogue: If they still continued Obstinate, they were to be Banished, and if they returned again and continued incorrigible, they were to be exe●●ted as Felons.  
This is the more remarkable, that by this Act the Licenses allowed to be given by Peers, 〈◊〉 Players of Interludes by the 39th of Eliz. were taken away, and no reserve made for any Play●●● whatever, and the occasion of the making this Act was, the doubts that arose upon the 39th. 〈◊〉 Eliz. and that former Statutes were not so e●●●●tual for suppressing those Plays and Interludes, ●s was expected.  
Our Author in the next place, seems to call 〈◊〉 Question the Truth, of that Petition of the Londoners to Q. Elizabeth, about 1580 for suppressing the Playhouses. Makes some Raileries upo● Mr. Collier, for Rawlidge his Author, because 〈◊〉 known to the Booksellers in St. Paul's Church Yard, or Little-Brittain; makes himself Spo●● with the Godly Citizens that were the Petitioners quotes Stow, to prove that Queen Elizabeth, encouraged the Darlings of the Stage, allowed the● Liveries and Wages, as Grooms of the Chamber and insinuates, that the Playhouses mentioned i● the Petition, were only Gaming-Houses 
* Defence of Dramatic Poetry pag. 7, 8, 9, 10, 11. .  
I answer, That Mr. Prin, from whom I suppose Mr. Collier had the Account of this Petition quotes as his Author, Mr. Richard Rawlidge, 〈◊〉 Monster lately found out: Printed in London 1628. p. 2, 3, 4. 
* Hist. Mastix. p. 492.  Which, though it may perhaps 〈◊〉 hard to be met with; it does not therefore arg●● that there never was any such Author,— an● because Mr. Collier has been somewhat desection in his Quotation here; our Author may be pleased to know, that Rawlidge says in the same place, That all the Playhouses within the City we●e Pulled down, by Order of Her Majesty and Co●●cil upon this Petition, viz. One in Grace-Churc● Street, one in Bishops-Gate-Street, one near Paul's, one on Ludgate-Hill, and one in White-friar's.  
As to the Favour showed afterwards to some of the Stage Players by Queen Elizabeth, it argues only a Change at Court, but says nothing for the Lawfulness of the Stage. K. Charles ●. who there's no doubt, our Author reckons nothing Inferior to Queen Elizabeth in Piety, made a Law in the first year of his Reign, condemning Stage-Plays, and yet afterwards set up Interludes at Whitehall, on the Sabbath Day, which I suppose there's very few will commend him for. If Queen Elizabeth designed to Reform the Stage as she had done the Church, as our Author would seem to insinuate p. 11. The Event hath proved, that the Success was not alike. There's few that read Plays or frequent the Playhouse, but must own if they will speak Truth, that the Reformation there goes Retrograde, which verifies an Observation of them that I have heard often; That when you have Reform the Stage all you can, it will be good for nothing: But as one says of Cucumbers, after you have added Oil, Vinegar and Pepper, they are fitter to be thrown to the Dunghill, than taken into the Body.  
Upon the whole, however our Author may please himself with his Raileries, this will appear uncontrovertibly true; that the Laws of England have many times restrained, and some times totally discharged the Stage, whereas he cannot bring one Statute that ever Commanded or Commended it. By the 4th of Hen. 4. Cap. 27.— All Players, Minstrels and Vagabonds, were Banished out of Wales, because they had occasioned Mischiefs there; They were forbid by the 12th of Richard 2. C. 6, 11. By the 17th of Edward 4. C. 3. By the 11th and 19th of Hen 7. Cap. 12. And by the 33d. of Hen. 8. C. 9 Together with Dicing Houses, and other unlawful Games, hecause of Seditions, Conspiracies, Robberies and other Misdemeanours that had ensued upon them. By the 3d of Henry 8. C. 9 All Mummers, or Persons disguising themselves with Visors or otherwise, should be seized and punished as Vagabonds, upon which Polydore Virgil, who wrote about 10 years after, says, That the English who in this are wiser than other Nations, have made it Capital for any Person to put on a Visor, or a Players Habit.  
It is evident likewise, that the Stage was restrained by the 14th and 39th of Eliz. That it was more severely restricted, if not totally discharged by the first and third of james, and first of Charles.— And that the Stage was culpable in those times, as well as now: For Jesting with Scripture, and profanely using the Name of God and the Trinity: From all which it will appear to any unprejudiced Person, that whatever Opinion might have been sometimes entertained of it by the Court, the Opinion of the English State, which includes the Court and Parliament too, hath not at any time been very favourable to it.   

CAP. XI.  
Sediti●ns and Tumults occasioned by the●● STAGE.  
OUR Author [Page 13.] upbraids Mr. Collier, For not quoting a more Modern National Opinion against the Stage, when it lay under a more Universal Abdication, viz. in the Reign of those later Powers at the Helm; who with no little Activity leapt over the Block, and the whole Whitehall-Stage it stood upon, and yet stumbled at the Straw, etc. A prosane Comedy and Tragedy, were all Heathen and Antichristian; but pious Regicide and Rebellion were Religion and Sanctity with them. The Camel would go down, but the Gnat stuck in their Throats.— He ought by all means to have quoted this National Opinion of the Stage in pure Gratitude to the Patrons of his Book, the Gentlemen of the Calves-Head-Feast, who have made it their particular bosom Favourite, etc.  
Here's a great deal more of ill Nature than Wit, whether we take it with respect to the Nation, to Mr. Collier, or to the particular Party he reflects upon. It's a Malicious, False and Unmannerly Reflection upon the Nation, to insinuate that King Charles I. was cut off by their Authority, when the World knows, that it was the Act of a prevailing Headstrong Faction, contrary to the Sense of the Nation, and of that very Parliament, who began the Opposition to King Charles for his Tyranny and Oppression: if Levying of Money without Consent of Parliament, and forcing the Citizens of London, and others, that would not lend him the Sums he demanded, to serve as Soldiers in his Fleet and Army, and a hundred other such things may be called by that Name. It is Malicious upon Mr. Collier to the highest degree, who is known to the World to be for Passive Obedience, the opposite Extreme: It is as full of Spite, against those who are Enemies to the Stage, many of whom abhor the Memory of that Fact, and are zealous Sons of the Church of England; though at the same time they detest Tyranny be it in Prince or Prelate.  
But to repay our Author in his own Coin, we have had a later instance of Friends to the Stage, as Goodman and others engaged in a Design of as black a Nature; if the Assassination of the bravest Prince in the Universe may be so accounted. But lest they object, That this is but one instance we shall bring Antiquity in for further Evidence; and in the first Place St. Chrysostom, who 
* Hom. 38. in Mat. Tom. 2.  tells us, That the Players and Play haunte●s of his time were most notorious Adulterers, the Authors of many Tumults and Seditions, setting People together by the Ears with idle Rumours, filling Cities with Commotions, and were more savage than the most cruel Beasts.  
Tertullian 
* De Spect. ● 17, 18. , Cyprian 
† De Spect. l. 2. Ep. 2. , and Clemens Alexanandrinus 
‖ Paedagogi. l. 3. c. 11. , declaim against Tragedies and Comedies, As Bloody, Impious and Prodigal Pastimes, which occasion Tumults and Seditions.  
Gregory Nazianzen informs us, That Plays and Interludes disturbed Cities, raised Sedition among the People, taught Men how to Quarrel, sharpened ill Tongues, destroyed the mutual Love of Citizens, and set Families at Variance 
* De rect● Educatione ad Seleucum p. 1063.   
Cornelius Tacitus acquaints us in his Annals, That the Stage-players in Rome grew so Seditious that after many renewed Complaints against them by the Praetors, Tiberius and the Senate ba●ished them out of Italy 
* Annal. Lib. 4. c. 3. .  
Marcus Aurelius testifies, That because of the Adulteries, Rapes, Murders, Tumults, and other Outrages, occasioned and committed by Stage-players, he was forced to banish them out of Italy into Hellespont, where he commanded Lambert his Deputy to keep them hard at Work 
* Marcus Aurelius. Lib. 1. Cap. 14. and lib 2. ●p. 12 ●d Lamber● .  
Suetonius tells us 
† Sueton in vit. Nero. Sect. 16, 26.  That in Nero's Time there were so many Seditions, Quarrels, Com. motions and Misdemeanours in the Roman Theatre, That Nero himself, though he took great delight in them, suppressed all Plays by a solenan Edict.  
Caesar Bulengerus informs us, That under Hypatius and Belisarius there were at least 35000 Men slain in a Commotion and Tumult raised at a Cirque Play 
* De Circo. Romano. c. 47. .  
In the time of Theodorick King of Italy we are im●ormed by Cassiodorus 
† Variarum L. 1. Epist. 20, 30. L. 3. Ep. 51. and Lib. 7. Epist. 10. , That there were so many Tumults, Quarrels and Commotions raised at Stage. Plays, that he was forced upon the complaint of the People to write to the Senate to punish the Mutineers and suppress their Insolences: But there being no reforming of them, he gave Orders wholly to suppress them.  
We have heard already that the Statute of the 4th of Henry 4. Cap. 27. restrained them in Wales, because of the Commotions, Murders, and Rebellions they occasioned there.  
The Statute of the 3d of Henry 8. Cap. 9 against Mummers proceeded from the like Cause.— And we are informed, That Kets Rebellion in the 3d of Edward VI. was concerted at, and partly occasioned by a Meeting at a Stage-play at Wimonham to which the Country- people resorting, were by the Instigation of one john Flowerdew, first encouraged to pull down the Enclosures, and then to rebel 
* Holinshead. p. 1028. N●. 20, &. ●0. Nevil's Hist. of Ket's Stirs. .  
Nay I refer our Author to his own Stow in his Survey of London 
† Cap. 16. , where he shall find an Account of divers Tumults and Riots occasioned by Stage-Plays.  
Those Tumults, Seditions and Rebellions being by the forementioned Authors charged upon the Stage, let the Defender of Dramatic Poetry wipe off the Imputation if he can, or give us as good Authorities to prove that Enmity to the Stage did ever produce such Effects.   

CAP. XII.  
The Grecian and Roman State, against the STAGE.  
THE Defender [Page 14.] triumphs over Mr. Collier for telling us, That the Athenians thought Comedy so unreputable a Performance, that they made a Law, That no Judge of the Areopagus should write one, because that only prohibited a Judge from writing a Co●●edy, An Argument (says our Author) enough to set Heraclitus himself a smiling.  
But I would pray the Reviewer not to insult, lest the Athenians themselves should give him a rebuke, and speak their Mind more freely than Mr. Collier has done for them: For if we may believe Plutarch 
* De Gloria Atheniensium. ; Though the Athenians put great Honout upon Actors and Play-Poets at first, yet growing Wiser by dear bought Experience at last, when they found that the Stage had effeminated their Spirits, exhausted their Treasures, and brought sundry Mischiefs upon them; they abandoned the same, and enacted a public Law against it, that no Man should thenceforth presume to Pen or Act a Comedy, and declared all common Actors Infamous from that time forward.  
The Defender owns 
† pag. 14. , That the Lacedæmonians passed a positive Bill of Exclusion against the Stage, and I shall make hold to add their Reasons from Plutarch 
* Lacon. Institut. , which Mr. Collier and he have both omitted, viz. Lest their Youth should be corrupted, and their Laws derided, and brought into Contempt.  
In the next page he ●louts at Mr. Collier, for relating from Tully, That the ancient Romans counted Stage-Plays uncreditable and scandalous; insomuch that any Roman who turned Actor was not only degraded, but likewise as it were disincorporated and unnaturalized, by the Order of the Censors.— This says he, is almost as doughty a Quotation, as his Athenians are; and adds, that their kinder Successors were of a contrary Opinion; for the uncreditable Player was afterwards set Rectus in Curia.  
If our Author will be pleased to look a little back, add consider the Instances there given him, of the Stages being Banished from Rome, by Tiberius, Nero, and Marcus Aurelius; he will find that the Stage-Player was not then very Rectus in Curia; but in the height of Disgrace, for Reasons of the greatest weight.  
But to let him see, that there may be more State Memoirs furnished against the Stage, than Mr. Collier has done, though our Author seems to question the possibility of it 
* pag. 17. . He may consult Livy, who will tell him That Scipio Nasica, that great Roman General, did by a public Decree of the Senate, demolish the Roman Theatres, and forbid their Stage-Plays; as the Bane of their Morals and Valour, the Seminaries of Lewdness, Effeminacy, Idleness, Vice and Wickedness, and inconsistent with the Welfare of the Commonwealth; for which he is very much applauded by Livy, Tully, St. Augustine, and others 
* Liv. l. 48. Aug. de Civit. Dei l. 1 c. 31, etc. and lib. 2. c. 12, & c .  
The Emperor Augustus, though once very much delighted with Plays himself, banished all the Players and Jesters out of Rome, for those intolerable Mischiefs they did occasion 
† Marcus Aur. c. 14. . It is also very remarkable, that this great Emperor, ordered Stephanio an Eminent Player, to be thrice whipped for coming to his Palace on a Holy Day, in hopes of a great Reward; first in the Attire of a Page, and next in that of a Roman Matron, and personated both of them with so much Art, that he seemed to ●e the very Person he represented. The Actor complaining, that he ordered him to be whipped three times, whereas he commanded Vagabonds to be whiped but once; he replied, Thou shalt be whipped the first time, for the Injury done to the Roman Matron, whom thou didst represent. The second time, for thy Presumption in doing it in my Presence, and the third time, for the loss of Times which thou hast occasioned, to those that heard and saw thee 
† Dien. Cas●●● Rom. 〈◊〉. l, 5●. .  
The saying of this Mighty Prince is yet more remarkable: When great Intercession was made, for Pilas or Pylades the Player, whom he had ordered ●irst to be whipped, and then banished out of the Country, viz. That Rome had been powerful enough to make her Enemies stoop, and now she is not able to banish Jesters and Fools, and that which is worst of all, they have the Presumption to vey us, and yet we have not the Courage to reprove 〈◊〉.  
The Emperor Trajan, when entreated by his Courtiers to hear a noted Player, replied thus, It did not become the Majesty of a Prince, that any such vain thing should be acted in his Pre●ence,— That those who move Princes to behold such Interludes, deserve as great Punishment as those that act them; seeing none ought to present before Princes, such things as may move them to Vice, b●t rather those that may influence them to Amendment. And afterwards this worthy Emperor, partly out of his own Disposition and partly at the People's Desire, abolished Stage-Plays, as effeminate Arts and Exercises, which dishonoured and corrupted the Roman State, for which, Pliny the second commends him highly, in his Panygericks 
† Dia in vit. Traja●●. .  
We are likewise informed by Tacitus 
* A●nal. li● 14. c. 3. , That when Pompey erected his Theatre at Rome, he was blamed for it by the Senators; because it would be a means to make the People spend their time in beholding Plays, and utterly overthrow their Hereditary Manners and Discipline, by new acquired Lasciviousness.  
This I hope is enough to satisfy our Author, as to the Opinion of the Roman State concerning the Stage; but if he still object, that it was at other times set Rectum in Curia. I shall answer him in the Words of Guevara, That such Roman Princes as were good, did always overturn the Stage; but those that were otherwise maintained it; so that one of the ways, to know which of those Princes were Virtuous or Vicious, was to observe whether they maintained Players, Jesters and Jugglers among the People, or not 
† Guevara his Dial of Princes. .   

CAP. XIII.  
Christian Roman Emperors against the STAGE.  
THE Author of the Defence says further, 
† pag. 17. , That as scandalous as the Civil Law had rendered Players, their scandal was so little a public Nuisance, that the Christian Government even in its primitive Lustre, always suffered them amongst them.  
This is so far from being true, that Constanline the Great, who is owned by all, to have been the first Christian Emperor withdrew himself from the Stage Plays, made in the third year of his Consulship, to drive away the Pestilence and other Diseases, and contemned and rejected those Interludes, which grieved the Pagans exceedingly— and when he was established in the Empire, he abolished the Plays and Interludes, as intolerable and pernicious 
* Zos●n. l. 2 Baron. Spondan. A●no 303. §. 3. Euseb. de vit. Constan. lib. 3. cap. 52, 56. .  
Theodosius the Great, banished all Players by a public Edict, As the Plagues of those Places where they were permitted, and shut up the Cirques and Theatres at Antioch as the Fountains of all. Wickedness, and the Nurseries of all Mischief 
† Eutrop. Rer. Rom. Hist. L. 13. Page 173. Baron. Spondan. An 385. Sect. 9 Chrysost. Hom. 17. ad pop. Antioch. .  
The Emperors Valentinian and Gratian, and Valens, Enacted; That Stage-Players should be debarred from the Sacrament, as long as they continued their Playing, and that it should not be administered unto them in their Extremity; when on their Deathbeds, though they desired it, unless they first renounced their lewd Profession, and protested solemnly, that they would not return to it again in case of Recovery 
* Codex Theodos●i. Lib. 15. Tit. 5. 〈◊〉 spect. Lex. 2, 4. Tit. 7. de Scenici. Lex. 1. Spondan. Epit. Baron. An. 371. Sect. 10. .  
justinian the Emperor published an Edict, 
† justin. Cod. l. 1. Tit. 6. de Episc. Lex. 17, 18.  That all Christians should retrain from Acting and Beholding of Stage-Plays, because they were not the least of those Pomp's of the Devil, which Christians solemnly renounce at Baptism.   

CAP. XIV.  
The Ancient Philosophers against the STAGE.  
THE Author of the DEFENCE goes on to ridicule Mr. Collier for his Quotations, from Aristotle, Plato, Plutarch Livy, Valerius Maximus, Seneca and Tacitus 
* P. 18, etc. .  
Aristotle (he says) did not carry Matters so high as to a total Exculsion, but allows them as an innocent Diversion to Persons of Mature Age and Discretion.  
In Answer to which I shall, (as I have already in other Cases) supply the defect of Mr. Collier's Quotations, and bring Aristotle to Answer for himself, who in his Rhetoric 
* Lib. 2. c. 6.  speaks of Comedians thus, viz. That their whole Employment is to survey and deride the Vices of other Men, which they proclaim upon the Stage, and therefore they are to be numbered amongst Traducers and Evil-speakers.  
In his Politics he says, That those who behold the Gestures and Actions of Stage-Players, tho' they be neither accompanied with. Music nor Poems, are notwithstanding moved and affected according to the Nature of the things they see acted; And though he allows those of riper Years to be admitted to offer Sacrifice at such Plays, where Lasciviousness was allowed to the Gods by the Laws; yet he says, Magistrates must take care that nothing filthy or obscene be allowed either in Shows or Pictures 
* Polit. Lib. 8. c. 5. N●. 21. and 78. Lib. 7. c. 17. ; and excludes those stageplays out of his Republic, as being apt to debauch the Minds and Manners of Youth, with their Scurrility and Lasciviousness.  
The Reviewer 
* Page 26.  is angry with Plato, as quoted by Mr. Collier, for telling us in a Line and an half, That Plays raise the Passions and pervert the use of them, and by consequence are dangerous to Morality: He thinks that Plato owed that Justice to the World a●round him and Posterity after him to read a little longer Esculapian Lecture upon so Epidemic a Disease 
* Dial●g. ●, 10. .  
To gratify our Author, and again to supply Mr. Collier's defect, I'll make bold to acquaint him with some of Plato's Sermon● work upon that Text, as he is pleased to call it in the page before quoted.  
This great Philosopher in his Book De Republica, says, That Comical and Tragical Poets and Poems. render Men Effeminate, corrupt their Judgements, treat of Lecherous Subjects, noutish those Lusts that ought to be dried up, and give them a Commanding-power over Men, wherea● they ought to be kept in Subjection; and for those Reasons, and because he knew they would corrupt men's Manners, and bring the Gods into Contempt, he banished them out of his Commonwealth.  
I am mistaken if our Author don't think this Sermon sharp enough, though it be but short; And whereas he objects, that we have only the bare word of those Philosophers, for the heavy Charge they bring against the Stage; the Reply is easy, that their Charge is verified by the concurring Testimonies, and Experience of all Ages, and I wish in my Heart, that we could give them the Lie from our own.  
Then as to Tully and Plutarch: The Desender will have '●m To ●e only for Checking of Stage-Plays, when too Licentious; as the Bane of Sobriety, and an Excitation to Lewdness 
* Page 20. .  
But if Tully and Plutarch may be heard speak for themselves, it will appear otherwise: The former de Officiis 
* Lib. 2. about the middle. , calls them Prodigals, who lay out their Money upon the Stage; In other Pla●●s, he condemns all Amorous Plays and Poets, as infecting men's Minds and Manners; and therefore adviseth the Romans to abandon (not to reform) them, lest they should effeminate and corrup: them, as they had done the Grecians, and so subvert the Empire 
† Tusculan. Quest. Lib 4 near the end. De Leg. Lib. 1. the like. . And in his Oration for Quintius 
* Pag. 225. , speaking of the Skill of Roscius the Actor, he says, that he was only fit to appear on the Stage; but when he considered his other Qualities; he says, It was pity he should ever come there: Which, as St Austin descants on it, was a plain declaration, that a good Man ought not to come to the Stage▪ and that Stage-Players were accounted infamous amongst the very Pagans 
† De Consensu Evangelistar. c. 2. : And with him Tertullian agrees, in his Book, De Corona Militis 
* Cap. 5. P. 75. .  
As to Plutarch, that famous Moralist and Historian, he disapproves all Stage-Plays, not only as lascivious Vanities, occasioning much prodigal and fruitless Expense, to the great damage of the Commonwealth, but as contagious Mischiefs which blast the Virtues, mar the ingenious Education, and corrupt the Lives and Manners of all those that frequent them 
† Plutarchi Solon. Lacon Ins●ituta. .  
This Champion of the Drama, makes himself Merry in the next Place, with Mr. Collier's Quotations, from Livy and Valerius Maximus 
† Page 21. . But whether he mistake Mr. Collier or not, I am sure he mistakes his Authors: For Livy says in express terms, That the Plays though instituted to appease the Gods, did neither deliver the People's Minds from their superstitious Fears, nor their Bodies from their infectious Diseases; but on th● contrary, the Tiber overflowed the Cirque in the midst of their Sport; whence the People concluded, that the Gods were displeased with the Atonement 
† Liv. dec. 1. L. 7. § 3. ; so that our Author has lost all his sine Raillery, on his taking it for granted, That the Plays made Peace in Heaven, though Valerius Maximus says, they raised Wars on Earth.  
The next Scost is on S●n●ca, for quarrelling with the Stage, because it gained Ground on the Philosophy School, and bereavest him of his Scholars 
* P. 22, 23. . But the Gentleman might have seen from Mr. Collier's Quotation, that Seneca had other Causes of Quarrel, viz. That the Stage occasioned a mispending of time, the decrease of knowledge, the sinking of Reason, and the destruction of good Manners; because there Vice made a sensible approach, and stole upon the Audience in the disguise of a Pleasure, or words to that effect 
* Short View. p. 236. .  
But if we will hear Seneca speak for himself, he is yet more plain, and tells us expressly, That when Men and Women have tipped their Foreheads with Brass by long frequenting the Stage; the next News we hear of them is, that they take up their Lodging in a Bawdy-house; or (because I would do him no wrong) take it in his own words. In hoc Mares, in hoc Feminae tripudiant, deinde sub Persona cum diu trita ●rons est, transitur ad Ganeam 
* Natural Quest. l. 7. .  
And therefore he advises Lucilliu●s to avoid the Playhouse, and the Company that haunted it, because they were able to corrupt a Socrates, a Cato, or a Laelius. He adds, There is nothing so destructive to good Manners, as to sit idling in the Playhouse; and hence takes occasion to bewail the great Concourse of the Roman Youth to the Theatre, as a fatal Symptom of a declining State 
† Epist. 7. .  
The Defender of the Drama, would Vindicate Nero against Tacitus 
* Pag. 23. , for hiring decayed Gentlemen to play on the Stage, because he thought it no Degradation to his imperial Dignity, personally to ac●: Plays himself; and seems to think it a mighty Honour to the Stage, that Nero was pleased to be an Actor in Person: But takes no notice, of what Tacitus tells us, That Flavius and other noble Romans, conspired the Death of that Monster, and effected it too for that very Reason, lest the Commonwealth should be utterly ruined, by the People's addicting themselves any longer to the Theatre 
† Annal. Lib. 15. § 9, 10. .  
To these I shall add the Testimony of some other Ancient Philosophers, because our Author upbraids Mr. Collier with the smallness of the number he has quoted, and the first shall be Solon.  
Who being accounted the Wisest of the Ancient Greek Legislators, his Opinion must reasonably be accounted valuable; and what that was we are informed by Plutarch, viz. That he rejected stageplays as lying and deceitful Fictions, which would quickly teach the People, to Cheat and to Steal, to play the Hypocrite and Dissemble, to Circumvent Men in their Dealings, to the prejudice of the Public, therefore were not to be tolerated in a Commonwealth 
* Plutarchi Solon. Pag. 31. .  
His Dialogue with Thespis the Tragedian is Remarkable, When Solon blamed him (after having seen him act his Tragedy) for Lying and Cheating so egregiously before a Multitude. Thespis thought it a good Excuse when he told him It was but a Play: at which the Philosopher struck his Staff upon the Ground with great Indignation, and replied to him smartly, If we approve this Play of yours, we shall quickly find the Effects of it in our Bargains: And therefore forbade him to Act any further; telling him his Tragedies were a parcel of unprofitable Lies.  
The next is Lycurgus the famous Spartan Lawgiver, Who (we are informed by the same Author) excluded all stageplays out of the Commonwealth, lest they should corrupt their Youth and bring their Laws into Contempt— The Answer of a Lacedaemonian to the Ambassador of Rhodes, who asked The occasion of this Severe Law? is no less observable, viz. That Lycurgus foresaw the great Damage that Players and Jesters might do in a Commonwealth: But however that was, this I know, (says he) That it is better for us Greeks to weep with our Philosophers, than for the Romans to laugh with their Fools 
* Pluta●ohl Apotheg. .  
To these we may add the Opinion of Socrates, so famous for his Wisdom among the Greeks, Who (by the express Resolution of the Oracle of Delphos,) condemned all Comedies, as Pernicious, Lascivious, Scurrilous and unseemly Diversions; and of the great Orator Isocrates, who declaims against all Plays and Actors, as Hurtful, Scurrilous, Fabulous, Ridiculous, Invective and Expensive Pastimes, and therefore not ●it to be tolerated in a City 
* Plato, Socrates, Apolog. Page 12. and Diog. Laert. l. 2. .  
These being Men of the greatest Repute for Wisdom, Learning and Moral Instructions in all the Heathen Antiquity. It must needs be allowed, that tho' they be few in number, yet their Opinion in this Matter is of more Weight, because agreeable to the Dictates of Refin'd Reason than those of 100 others that approve the Stage, and other Licentious Practices, which always issue in the Ruin of their Followers.  
The Reasons they have exhibited for their Aversion to the Stage are not to be Answered by our Authors Scoff*, That the particular Opinions of not half a Score of these Dissenting Ethnic Doctors, out of at least half as many hundred of that Fraternity, especially too at their rate of talking, or Mr. Collier for them, is no more a Conclusive Argument, in my simple Judgement, against the Stage, than a Diogenes in his Tub and his Rags, or an Epimantus at his Roots and his Water, should persuade any Rational Man from a clean Shirt upon his Back and a good House over his Head, or a good Dish of Meat and a Bottle of Wine for his Dinner, viz. If he be able to purchase it.  
If our Author can produce for his opinion, but an equal number of Ethnic Doctors of the like Authority with those we have quoted against it, he will oblige the learned World, more than any Man has hitherto been able to pretend to; but much more if he can bring us half a Score Hundreds, I must also desire him to consider, that most of the Authors here mentioned, bear a gre●ter Character than that of particular Persons, Plato, Aristotle and Seneca, were the great Lights of the Gentile World in their time, and their moral Dictates were received as Laws.  
Lycurgus and Solon were Legislators, and their Doctrine embraced as the Laws of famous Commonwealths: Add to these, the Laws of the Roman Emperors and Senators, and of the several Republics of Greece against the Stage; and we shall find, that the Theatre was not condemned by a few dissenting Ethnic Doctors: But by the greatest Men of the World, in their time, and the wisest and most polite Nations upon the Face of the Earth.  
As to Diogenes' Rags and Tub, and Epiamantus' Roots and Water; Our Author very well knows, they cannot infer the Prohibition of a moderate use of Houses and Raiment, or of good Meat and Drink; because those things are allowed by the Laws of God, Nature and Nations; which cannot be said of the Stage, though at the same time, I must crave leave to tell him, that the mortified Lives of such Heathen Philosophers, will rise up in Judgement against the Debauches and Riots, of most of those who frequent and patronise the Playhouse.   

CAP. XV.  
The Ancient Poets against the STAGE.  
OUR Author falls next on Mr. Collier's Quotations from the Poets, and in the first place charges him with quoting ovid's following Lines impertinently,  
Sed tu praecipue curvis venare Theatris  
Haec loca sunt votis fertiliora tuis;  
— ruit ad celebres cultissima femina Ludos:  
Copia judicium saepe morata meum est;  
Spect●tum veniunt, veniunt spectenter ut ipsae  
Ille locus Casti damna pudoris habet.  Ovid. de Arte Amandi. Lib. 1. 
The Reviewer is in the right, that Ovid does not here design to reflect upon the Stage, because than it was his darling Recreation, but he must at the same time own its a fair Confession that the Playhouse was the properest place for a Lecher to forage in, which fully answers Mr. Collier's design, and had our Author but turned his Eye to the very next page, he might have found a Quotation from Ovid for pulling down the Theatre, as a Nursery of Villainy.  
Ut t●men hoc fatear: Ludi quoque semina praebent  
Nequitie, tolli tota Theatra jube,  
Peccand● ca●sam quam multis saepe dederunt:  
Marria cum durum sternit arena solum?  
Tollatur Circus non tua Licentia Circi est  
Hic sedet Ignoto jun●ta puella Viro  
Cum quaedam spatientur in hac ut amator eodem  
Conveniat: quare 〈◊〉 ulla patet?  Trist. Lib. 2. 
Such was the difference betwixt Ovid when he was carried headlong by the Impetuous 〈◊〉 of his Lust, and when he was an Exile and 〈◊〉 time to reflect upon his former lewd way of Living.  
Being willing to atone for the Mischief 〈◊〉 had done by his Lascivious Poem [De 〈◊〉 Amandi] he composed another [De Remedy Amoris] wherein as one of the chief Receipts, he prescribes Abstinence from the Stage, and from Reading the Amorous Versos writ by himself and others, thus,  
At tanti tibi sit non indulgere Theatris,  
Dum bene de vacuo pectore ●●dat amor:  
Enervant animos cytharae cantusque lyr 〈◊〉  
Et vox & number is brachia mota suis  
Illic assidue ●icti saltantur Amantes  
Quid cavens, Actor, quid Iuvet arte docet.  
Eloquar invitus teneros ne tange Po●tas  
Summoneo dotes Impias csse me as, etc.  
Nor is Ovid the only Roman Poet that hath thus censured the Frequenters of the Theatre. Any Man that peruses juvenal and Horace, will find they had no honourable Opinion of it neither.  
The former gives an Elegant Description how the prodigal Dames in his time consumed their Husband's Estates, by frequenting the Playhouse, as followeth,  
Ut 〈◊〉 Ludos conducit Ogulnia Vestem  
Conduc● comites cellam, cervical Amicas,  
Nutricem & flavam cui det mandata puellam  
Haec ta●ten argenti superest quodcunque paterni:  
Levibu● Athletis ac vasa novissima donat, etc.  
Prodiga non sentit pereuntem faemina censum, etc.  
Non unquam reputant quantum sibi gaudiae constant.  satire VI. 
Nor had he any better Opinion of the Chastity than of the good Huswifry of those Play-haunting Ladies, as appears by the following Lines,  
— Cuneis an habent Spectacula totis  
Quod Securus ames, quodque inde expetere possis, etc.  
Where he describes their Lewdness in such a manner as would offend chaste Ears to hear it.  
Horace expresses himself much at the same rate, as to the practice of the Stage, and its Frequenters.  
Ut quondam Marsaeus amator Origenis illi  
Qui patriam mimae donat fundumque laremque  
Nil ●uit mi inquit cum uxoribus unquam alienis  
Verum est cum Mimis & cum Meretricibus unde  
Fama malum gravius, etc.  Sermo. Lib. I. Sat. II. 
So that both of them put the Haunters of the Theatre, and of the Bawdy-house in the same Category.  
The Reviewer's Reflection, That lewd Persons do also frequent the Church 
* Pag. 29● , is no Apology for the Stage. We have a positive command to meet for the Worship of God, but none to frequent the Playhouse: And if a Carrion-Crow may be catched in a Flock of Doves, as he is pleased to express it, it will not thence follow that the egeons must flock to the Rendezvous of the Crows, but the quite contrary, and I must take leave to tell him, that so long as our Stage is kept up, it will be impossible to keep our public Assemblies pure. They learn such lewd Practices, and wanton Behaviour at the Playhouse, that they smell strong of the Infection, when they come to Church. This was the Complaint of Eloquent Chrysostom, against those that frequented the Playhouse in his time 
* 74. Hom. on Mat. . And we find Ovid of the same Mind, that there's no reforming the Uncleanness of the Town, so long as the Theatres are suffered to stand:  
Quid faciet Custos? cum 〈◊〉 tot in Urbe Theatra,  
Cum spectet junctos illa libenter Equos.  De Arte Amandi. Lib. 3. 
If our Author object, that this satire is not directed against the Stage, but levelled at the Pits, the Boxes and Galleries. I reply, that the Company discovers the Entertainment, the Carrion Crows will scarcely resort to a Banquet of Sweetmeats, but the scent of a dead Carcase will tempt them hugely. The Poets already quoted, say nothing in Vindication of the Theatre, and Ovid in express terms enjoins the pulling it down.  
The Reviewer it seems, has a great Mind to fasten all the Gild upon the Audience; and therefore it must be allowed as a just Reprisal, to charge the Poets and Actors with their sha●e of the Crimes. We have already heard the Opinion of the Fathers and Councils, of the Grecian, Roman and English States, and of the chief of the Heathen Philosophers and Poets, by which it is evident. that they charge the Gild upon the Theatre itself, as well as on the Actors and Spectators; and I have likewise brought in the Evidence of Foreign and Domestic Historians, to prove that those concerned in the Stage, have frequently broke the Peace, by Tumults, Seditions, and other Villainous Disorders; by all which it appears, that the Playhouse ever since its first Institution, has been a common Nuisance, and shall now take the Liberty, to give a brief Character of their Writers and Actors, from Authors of unquestionable Credit, and the two repenting Poets, that have already obliged us with an Anatomy of the Stage.   

CAP. XV.  
The Character of the Stage-Poets and Players.  
THE ancient Romans held Players in somuch Disgrace and Contempt, because of their vicious and dissolute Lives, that they disfranchised and removed them from their Tribes, as being a dishonour to the Roman Blood, and the noble Parentage from whence they derived their Original, and totally Banished them at last 
* Valerius Maximus lib. 2. c. 4. §. 4. Suet. in Triberius . The Grecians drove them out of their Country, upon the same account, as we have already heard from Plutarch and others. The Primitive Church threw them out of her Communion, and the first Christian Emperors threw them out of the Commonwealth, as has been proved before.  
Gregory Nazianzen said of the Players in his time, that they were ashamed of nothing but Honesty and Modesty; promoted Lewdness, and boasted of their Skill to act and suffer, all manner of Brutal Villainies, even in the Face of the Sun 
* Ad Seleuc. de recta Educatione. .  
St. chrysostom says, They are infamous Pe●sons and deserve a thousand Deaths, because they Personate those Villainies which the Laws of all Nations command Men to avoid 
† Hom. in Matth. 6. ,— Cyprian calls them, Masters of Wickedness, wishes that Eucratius could see their Secrets, and their Chamber Doors open: He accuses them of Sodomy, and all manner of Villainies, and of condemning that abroad, which they commit at home 
* Epist. l. 2 Epist. 2. Donato. .  
St. Augustine calls them, most villainous Fellows, and commends the Prudence of the Romans, for dis-franchising them 
† De Civit. Dei l. 2. c. 4 .— Nicolaus Cabasila says, there can be nothing more wicked or villainous than a Stage-Player 
* De vit. in Christol. 2. .— Bodin writes, That their Profession is nothing else but an Apprenticeship of Sin, and a Trade of Wickedness, which leads to Hell 
† De Repub lib. 6. c. 1. .  
Ludovicus Vives says, that the Roman Stage-Players must needs have been dissolute Villains, given up to all manner of Wickedness, when they could not be suffered to live in that City, where there were so many thousands of profligate Citizens 
* Notae in Aug. de civ. Dei, l. 2. c. 13 .  
The Author of the third Blast of Retreat, 〈◊〉 of our penitent Poets, Characterizes the Stage-Players thus; That their Conversation is like their Profession; they are as skilful in the Practice of Uncleanness, as in acting it; That their talk on the Stage, declares the inward disposition of their Minds, and that every one of them chooses that part, which is most agreeable to his own inclination; That he could not but lament to see them bring up youth in filthy Discourses, unnatural and unseemly Gestures, and in Ba●dry and Idleness; That he wondered how any Father could delight, to see his Son hereft of Modesty and trained up in Impudence.— He calls the Actors, the Schoolmasters of Sin in the School of Abuse.— They are notoriously known to be the same in their Life, as they are on the Stage, that is Roisters, Brawlers, Ill-dealers, Boasters, Stallions, Ruffians, etc. and love nothing that is Virtuous.  
Mr. Gosson, the other Repenting Stage Prodigal, gives the Players the Character following 
† Plays confuted, and School of Abuse. , viz. That they are uncircumcifed Philistines, who nourish a Canker in their own Souls; ungodly Masters, whose Example doth rather Poison than instruct, and therefore advises People, if not for Religion, yet for Shame, lest the Gentiles should judge them at the last; to withdraw from the Theatres with noble Marius; to appoint a Punishment for Players, with the Roman Censors, and to show themselves to be Christians, not to be drawn by wicked Spectators, from Virtue to Vice, from God to Mammon; and that so they should fill up the Gulf, that the Devil by Plays had digged to swallow them up.;  
This I think is sufficient Evidence to prove, that the Crime is not altogether chargeable on the Pits, Galleries and Boxes, but that the Poets and Actors, have the principal Share of the Wickedness; and I hope the Frequenters of the Playhouse, will take notice of this Gentleman's Ingratitude, and avoid frequenting the Stage, seeing the very Patrons of the Theatre, charge the Wickedness of it upon them.   

CAP. XVI.  
The Fathers defended, against the Defender of the Drama.  
HE falls next upon Mr. Collier's Quotations from the Fathers, the Defects of which I shall not now offer to supply, having quoted the Fathers, whose meaning the Advocates of the Stage would pervert, at large already; I shall only therefore take notice of the Reviewers Assertion; That Tertullia's Arguments are chiefly upon these two Heads, viz, That Pleasure was a bewitching thing, and that the Magistrates discountenanced the Players, and cramped their Freedoms.  
The Falsehood of this Assertion will be obvious to every one, that reads what I have quoted from Tertullian, under the Head, of the Fathers against the Stage; but as a further answer, I shall give him Dr. Hornecks excellent Abridgement of Tertullia's Arguments, 
† pag. 227.  in his Book of Delight and Judgement, as follows.  
I know what is commonly objected, That the Reasons why the Fathers, are so much against the Christians seeing of a Play, was because the Heathenish Idolatries were acted to the Life, upon the Stage, and that Proselytes might not be in danger of being enticed to Idolatry, was a great Motive why they inveighed so much against Sights of that Nature: But those that use this Plea, must certainly not have read the Fathers, or if they have read them, have not considered all their Arguments; for to go no farther than Tertullian; after he had condemned those Sights, for the Idolatries committed on the Stage; he produces other Reasons, for which they are utterly unlawful 
† Tertul. de Spec. c. 15. . As,  
I. Because the Spirit of the Gospel is a Spirit of Gentleness; but the Actors are forced to put themselves into a Posture of Wrath, and Anger, and Fury, and the Spectators themselves cannot behold them, without being put into a Passion.  
II. Because Vanity, which is proper to the Stage, is altogether Foreign to Christianity.  
III. Because we are not to consent to People's Sins. 
* ●ap. 16.   
IV. Because Men are abused in these Places, and neither Princes nor People spared, and this bieng unlawful else where, must be unlawful too upon the Stage. 
† cap. 17.   
V. Because all Immodesty and scurrility is forbid, by the Law of the Gospel, and not only acting it, but seeing and hearing it acted.  
VI Because all Players are Hypocrites 
† cap. 23. , seem to be what they are not, and all Hypocrisy is condemned by the Gospel.  
VII. Because the Actors very often belie their Sex, and put on women's Apparel; which is forbid by the Law of God.  
VIII. Because these Plays dull and damp Devotion and Seriousness, which is and aught to be the indelible Character of Christians 
* cap. 25. .  
IX. Because it is a Disparagement to God, to lift up those Hands to applaud a Player, which we use to lift up to the Throne of Grace.  
X. Because Experience shows, how the Devil hath sometimes possessed Christians in a Playhouse, and being afterwards cast out, confessed that he had reason to enter into them, because he found them in his own Place 
† cap. 27. .  
XI. Because no Man can serve two Masters, God and the World, as those Christians pretend to do, that frequent both the Church and Stage.  
XII. Because though some Speeches in a Play are Witty and Ingenious, yet there is poison at the Bottom, and Vice is only coloured and gilded with fine Language and curious Emblems; that it may go down more glib, and ruin the Soul more artificially.  
The Reviewer comes next 
† Pag. 36.  to play all the Artillery of his Wit and Banter against ●ertullian's instance of the Devil's having given it as a Reason of his possessing a Christian Woman, that he found her on his own Ground, [viz. the Playhouse]— Such a Discovery, he thinks the Devil would be the last that would make. But had he considered those several Passages of the Gospel, where the Devil was forced to own our Saviour to be the Son of God; tho' he came into the World to destroy his Kingdom, and to Subvert his Tyrannical Empire over the Children of Men, this Confession of Satan would have been no such matter of Wonder to him.  
I hope our Author is not a Manichee, to believe that the Devil has an infinite Power, or derives his Existence from himself. If Scripture Authority have any Weight with him, there he may find it revealed, That the Devil can neither do all the Mischief he would, nor yet resist the Commission of the Almighty, tho' Rebellion be the very Essence of the Diabolical Nature. He could not so much as destroy one of Iob's Cows or Sheep without a Permission, tho' he would willingly have ruined that Holy Person, and all that belonged to him 
* job c. 1. 2. . Nor could he forbear to destroy Ahab by his Lies when the Almighty commanded it 
* 1 K. 22. , tho' it had been more his Interest to have had that Monster of Wickedness continued on the Throne, and therefore I must take the liberty t● acquaint the Reviewer, that his Banter is propnane, and occasioned merely by want of thought, when he says, That if the Sworn Enemy of Man, have any such generous Principle in him; Dives had no occasion to supplicate Abraham to send a Messenger to caution his Friends on Earth, but might e'en have begged the civil favour of that kind Errand, from one of his own Tormentors 
† page 37. . The Almighty never Commissioned the Devil, nor yet his Chaplains of the Stage to Preach, Repentance unto the World, that work he reserved for more hallowed Instruments.— I shall hasten to absolve this point, when I have told our Author, that it ill becomes any Man who calls himself a Christian, to question Tertullian's Veracity in a Matter of Fact like this, that the Enemies of our Holy Religion could 〈◊〉 have disproven, had it been false, and that the Credit of that Learned Father, for the great Service he did to the Christian Cause, has set him above the Snarls and Banter of the Playhouse, or its Advocates: As for his Scost that this is the only instance of Seizure of that kind, amongst all the Millions of Christians, who since that day have frequented the Playhouse; It's of a piece with the rest. I have proved that the Devil, though he be the God of this World, is far from being absolute, his Reign is consmed to the Children of Disobedience, and those he leads Captive a● his own Will; so that his Seizures of this kind, consists of infinite numbers, though his Seizures of the other sort be restrained to a few: And by the concurring Testimonies of the Fathers, Councils, and best of Christians in all Ages, as has been already made out: He triumphs no where more visibly, than upon the Stage; This I have proved by the Confession of the two Penitent Play-Poets above mentioned, but that in the Mouth of two or three Witnesses every thing may be established: I shall add that of an Actor, who dying at the Bath about 1630. sent for his Son, whom he had bred up to that same way of Living. and abjured him with his last Breath, and floods of Tears, that as he tendered the eternal Happiness of his Soul, he should abjure and for sake 〈◊〉 ungodly Profession, which would enthral him to the Devil's Vassalage for the present, and plunge hi● for ever into Hell at last 
* Hi●●r. Mastix 910 .  
If our Author consider it, he will soon be convinced, that the Seizure of the Soul is incomparably more dreadful, than that of the Body; and of this, I shall put him in Mind of one Instance that was frightful enough, as it is recorded by Mr. Braithwait, who was present and saw it 
† His Eng. Gentlewoman Printed in 1631 p. 53, etc. .  
An English Gentlewoman of good Note, who daily spent the best of her time upon the Stage, falling into a dangerous Sickness, her Friends sent for a Minister to prepare her for her End; but whilst he exhorted her to Repent, and to call upon God for Mercy, instead of listening to his wholesome Instructions, she redoubled her Cries, to let her see Hieronimo acted, and as she had lived so she died.  
Now I would refer it to our Authors own Conscience, whether he would be willing to make such an Exit. And if this was not a more dreadful Possession, than those mentioned in the Gospel, when the Devil threw the Bodies of those he had made a Scizure of, into the Fire or Water. But to conclude this point, I must crave leave to inform him, that the Devil hath renewed his claim to the Stage, oftener than once since the days of Tertullian, and particularly in Queen Elizabeth's Reign; when he visibly appeared on it, in the Bell-Savage Playhouse, as they were profanely acting, the Story of Faustus, to the Terror and Amazement of all the Spectators, and the seizing of some of them with a Distraction 
† pag. 38. .  
The Reviewer's Argument 
* Histr. Mastix pag. 556. , That 'twas the general Opinion of Christians that Plays were a lawful Diversion, because St. Cyprian, Tertullian, St. Augustine, etc. made it their business to refute that Opinion, is just as consequential as if he should say, that 'tis the general Opinion of the People of England, that Immorality and Profanness is lawful, because their Preachers Labour to prove the contrary, as to every individual Species of it in all their Sermons and Books on that Subject:— and no less false is his Assertion, That the Appearance of that general Innocence in those Entertainments, gave them that Reception among Christians that they could not believe them Criminal without some express Divine Precept against them; for nothing could be more odious than those Practices, and Postures, etc. which the Fathers every where Charge upon the Stage, as I have already proved; and herein also the Reviewer contradicts M. Motteux, and his Parisian and Church of England Divine, who tell us the Father; were against the Stage, because of the Idolatry, Blasphemy, and other Infamous Practices there 
* Preface to Beauty in Distress p. 14, 15, etc. , which were very far from Innocence.— Thus these Champions of a bad Cause, like Troops in disorder, fall foul upon one another.   

CAP. XVII.  
The Scripture not silent against the STAGE.  
I Come next to the mighty Counter-bias, which the Reviewer has raised for the Defence of the Stage, and that is his more ●●rious Speculations (as he calls them) upon the Scriptural Silence in that Case, than any that the Fathers have been pleased to make 
* pag. 39 .  
First then (says he) as our blessed Saviour was born in the Days of Augustus, 'tis known by all Historians, that the shutting up of Ia●● Temple doors in his Reign, universally opened those of the Playhouses;— and so they continued throughout the Empire many Reigns after him.  
If any Man should say, that when our Saviour was born, the Devil and the World kept Holy Day for Joy, he would be foully mistaken, and yet according to this Author, it would seem they did so; For at our Saviour's Birth (says he) Playhouses were opened throughout the whole Empire. But what if I should tell him, that the Devil, finding himself disarmed by our Saviour's Birth, and bereft of the Sword which he had influenced Men to sheath in one another's Bowels for a long time, betook himself to another Weapon, and that was the Lusts of the Flesh, to make War upon their Souls.  
This Speculation may not perhaps be so curlous as that of our Author; but I am of Opinion it may be every whit as solid; seeing not only the Ancient Fathers, but even the Heathen Roman Historians, charge the Playhouses with all Manner of Lewdness, and Augustus himself (as I have already said) banished the Stage-Players out of Rome because of the Mischiefs they occasioned.  
The Reviewor must not pretend that the opening of the Theatre was an Effect of our Saviour's Birth, or a suitable way of Rojoycing for it; his Foretur●ner john the Baptist, taught a contrary Doctrine, and prepared the Jews to receive him by Repentance and Mortification.  
When our Saviour came himself at the fullness of time the way of his Entrance into the World, was the severest Reproof that ever was given to the P●mps and Vanities of it. His Childhood and Youth, were wholly estranged from all those ●●othy Diversions, and when he entered on the Ministry, he taught a sublime and refined Purity, that was absolutely inconsistent with the Practice of the Stage. He instructed his Followers in the full Extent of the Law, that it did not so much as allow a Wanton Glance or a Lewd Thought, than which there cannot be a more effectual Condemnation of the Theatre, which by the Testimony of all Historians and Ages, has ever been a Nursery of Impurity, and chiefly supported by Persons of a dissolute Life.  
But to return to our Author.  
Now it may raise a little Wonder (says he) why the Apostles that went forth by a Special Command of the Almighty, to Convertall Nations, Preaching Repentance and the Kingdom of Heaven, they that so exactly performed that great Commission as to arraign and censure Vice and Impiety from the highest to the lowest, in all its several Branches, not only pronounced their louder anathemas against the more crying Sins, but read Divinity Lectures even upon the Wardrobe and Dressing Box, correcting the very Indecencies of the Hair, the Apparel, and each uncomely Gesture, that these Missioners of Salvation should travel through so many Heathen Nations (the Gentiles they were sent to call) and meet at every turn the Theatre, and the Stage. Players staring them in the very Face, and not make one Reprimand against them, is a Ma●● of very serious Reflection.  
Had the Playhouse been as St. Cyprian calls it, The Seat of Infection; or as Clemens Alexandrinus, much to the same Sense calls it, The chair of Pestilence; and to join the Authority of the Unclean Spirit along with them, The Devil's own Ground: I am of Opinion in this case, that those Divine Monitors the Apostles that set Bars to the Eye, the Ear, the Tongue, to every smallest Avenue that might let in the Tempter, would hardly have left the broad Gates to the Playhouse so open, without one Warning to the unwary Christian in so direct a Road to Perdition. Such a Discovery I believe would have been rather the Earlier Cautionary Favour of some of our kind Evangelical Guardians, than the Extorted Confession of our greatest Infernal Enemy 200 Years after.  
To Answer the Reviever in his own way of Argument.  
Had the Stage been so useful to the Happiness of Mankind, to Government and to Religion, as Mr. Dennis pretends to prove it in his late Book, or had it been such an Excellent Mean for Recommending Virtue and Discountenancing Vice, as others of its Advocates would ●●ve it to be, then certainly it may raise a little wonder, that those kind Evangelical Guardians should not have somewhere or other dropped one Expression at least in its favour, as well as they 〈◊〉 made use of the pertinent Expressions of ●me of the Poets; and therefore their profound Evangelical Silence upon this Head, gives us just cause to suspect that they had a far other Opinion of the Design and Nature of the Theatre.  
But to come closer to our Author; had he but seriously reflected upon his own Matter of serious Reflection, it would soon have abated the height of his Wonder; for if the Apostles Preached Repentance, censured Vice and Impiety from the highest to the lowest, read Divinity Lectures upon the Wardrobe and Dressing-Box, corrected the Indecencies of the Hair and Apparel, and each uncomely Gesture, they must by necessary consequence have Preached against the Stage, which is charged with the height of Impiety and Vice, superfluous prodigality of Apparel, unlawful disguising of the Sex, and obscene and uncomely postures, not only by the Fathers of the Church, but even by Ovid, juvenal, Horace, and other Heathen Poets and Historians of those times, as I have proved before; so that our Reviewers Battery is fairly dismounted, and his Cannon pointed against himself: for by a Conclusion lawfully deduced from his own Premises, it infallibly appears that the Apostles did not only give one, but many Reprimands to the Theatre, tho' they did not express it by name.  
And I will make bold to tell him further, that the Apostles in those very Injunctions by which they set Bars to the Eye, the Ear, and the Tongue, did as infallibly shut up all the Avenues of the Theatre, as they barricadoed those that might let in the Tempter, if beholding Vanity, hearing Blasphemy, and speaking Lies in hypocrisy come within the reach of their Inspired Prohibitions. And therefore well might St. Cyprian say, that the Divine Wisdom would have had a low Opinion of Christians, had it descended to be more particular in this Case; when the Stage was known to abound with Idolatry, Profanity, Cruelty, Blasphemy, Sodomy, and such other Impurities, as were not so much as once to be named amongst Christians.  
I pass over his Remarks on the Inconsistency betwixt Mr. Collier's Defence of the Modesty and Chastity of the Ancient Heathen Poets and Stage, and his quotations of the Fathers that imply the contrary. Mr. Collier is able to defend himself, and an Over-match for him on this Subject. There's no doubt, but the Stage at its first Institution, was chaster than ours, and if we may give credit to Livy; The Plays at first, were plain Country-Dances, where the Youth joked upon one another in Artless Verse, and their Gestures were as plain and simple as the rest of the performance. The Poets that Mr. Collier quoted are modester than ours, and yet it will not follow that the horrid Impieties charged upon the Stage by the Christian Fathers and Roman Historians, is all slander; or that the Innocence of the Primitive Stage was the cause of the Scriptural silence against Plays.  
The Theatre was opposed by the Jews before the Coming of Christ; tho' no where condemned by name in the Old Testament: Yet that People to whom the Oracles of God were committed, understood it to be contrary to the Law of Moses, and the Discipline of their Nation; and therefore they conspired to cut off Herod the Great in the Theatre which he had built at jerusalem, whilst he was beholding his Stage-Plays 
* josephus' Antiq. jud lib. 15. c. 11. , which they had certainly effected, had not the Plot been discovered, whereof Herod taking the advantage he brought in his Theatrical Interludes, which at first were pleasing to none but the Heathens that sojourned there, and were at last attended with an Apostasy from the Laws of their Ancestors, a corruption of Discipline, and dissolution of Manners. And a remarkable Judgement followed on Herod Agrippa, who appearing on the Stage in a Silver Robe of admirable workmanship, and being received by the Acclamations of the People as a God, because of the beams which darted from his Apparel by the Reflection of the Sun, was immediately smitten with a grievous Disease by something that appeared in the shape of an Owl hover over his head; and being tormented for five days with an intolerable pain in his Bowels, was at last miserably devoured by Worms. From this opposition of the jews to the Stage, we may reasonably infer, that 〈◊〉 such method of pastime or diversion, or of recommending Virtue, and discouraging Vice, was allowed by the Church of God under the Old Testament, and that therefore there's much less reason to think that any such thing was allowed or approved by the Christian Church under the New Testament, whose Worship has less of External Pomp, but much more of the Spirit and Truth than that of the Jews had.  
From hence likewise we gain another Argument, that if the Jews thought the Stage discharged under the General Prohibition, To take the Names of the Heathen Gods in their mouths, and the Article of their Law which forbade Men and Women the promiscuous use of one another's Apparel, the Primitive Church had much greater Reason to conclude that the Theatre was forbid to them under the General Terms of Idolatry, Sacrifices of Idols, Vanities of the Gentiles, Rudiments and Customs of the World, corrupt Communication, Bitterness and Evil Speaking, keeping company with Fornicators, fellowship with the unfruitful Works of Darkness, Filthiness, Foolish Talking and jesting which was not convenient, being partakers with the Children of Disobedience, Rioting, Chambering and Wantonness, etc. all which the Stage was infected with, as hath been proved already. So that the Advocates of the Playhouse may with as much reason infer, that Apostasy, Atheism, Incest and other Crimes are not forbidden by the Scriptures, because not expressly named there, as argue that the Playhouse is not discharged because it is not particularly mentioned in Sacred Writ.  
If it be objected, That all those Arguments are against the Corruption of the Stage, but not against the Original innocent Constitution of Plays 
* Defence of Dramatic Poetry. p. 54. . I answer, that there never was a time, when the Stage was free from all or part of those Corruptions, that it was of an Heathenish and Diabolical Institution, as has been already proved— That at the very first, if we may credit Livy in the place before quoted, the Diversion of the Stage consisted in Revelling, Dancing and Foolish Jesting, and gradually grew worse and worse, and tho' the Romans had Censors to restrain its Abuses, and the Greeks admired and promoted it at first, yet both those Wise Nations found themselves under a necessity of overturning it at last: And I have already showed that the Ends for which the best of its Patrons pretend it was Erected, are better provided for by the Almighty; and therefore we cannot pretend any necessity for it, except we reflect on his Wisdom and Power.  
The Reviewer comes next to argue, that the Dram● was not censured by the Gospel, because St. Paul quotes a Saying of the Comic Poet Menander, viz. Evil Communication Corrupts good Manners, and likewise those of other Poets, in the Acts of the Apostle, and Epistle to Titus, viz. In him we live, and move, and have our Being, as certain of your own Poets have said, for we are also his Offspring.— and even a Prophet of their own, said the Cretians, are always Liars, Evil Beasts, slow Bellies, etc. 
† Pag. 55, 56.   
But I must beg leave to tell him, that the Premises will not bear his Conclusion, and that he might with as much strength of Reason argue, that the Apostle did not censure the Idolatry of the Ephesians, because he quoted the Inscription on one of their Altars TO THE UNKNOWN GOD, and thence took occasion to instruct them in the Knowledge of the true God, who alone was Incomprehensible. Can any Man, tho' but of a 5t● rate sense, allow this to be a good Argument, the Apostle from their own Poets convicts them of their Epidemical Wickedness, the mischief of bad Company, and that they owe their Being and Preservation to the Almighty:— Therefore he did not censure the S●age. Certainly such a Logician would be hissed out of the Schools. Our Author by the same sort of Argument may prove, that I approve his Book, because I have quoted his Arguments, and turned them against himself, as the Apostle turned the Concessions of the Heathen Poets, against those that followed and admired them.  
Of the same Nature is his Inference, That because the Holy Ghost himself has spoke in the Words of a Menander and Epimenides: It's surely a little Vindication of the Innocence of the Pro●ession 
† Pag. 57 . If he mean the Art of Poesy, there's no Man of Sense disputes its being Innocent and Useful; but if he means a Stage-Poet, it's just such another Argument as this, Maro picked Gold out of Ennius 's Dunghill, therefore Ennius 's Dunghill was an excellent Gold-mine.— Does not our Author know, That it is the Light of the Holy Ghost, which enlighteneth every Man that cometh into the World 
* john 1. ●9. , and that Gifts as well as Graces proceed from him? must the Holy Ghost therefore, because he again makes use of some of those Divine Beams, which he had graciously darted into the Minds of the Heathen Philosophers and Poets, give his Imprimatur to their Pagan Fancies and lewd Theology? Out Author's Argument will conclude as strongly for this, as for the Defence of the Stage.  
He comes next to Inquire into the Reason of this overviolent Zeal of the primitive Fathers against the Stage, which he finds to be the unseasonableness of it, because it was then a time of persecution, and that by frequenting the Stage, they herded with their Persecutors and Murderers 
† p. 57, 58. .  
The Falsehood of this will appear from the Quotations of the Fathers themselves under that Head: These are some of their Reasons, but not all, they laid the Stage under a perpetual Interdict by Arguments naturally deduced from the Scriptures. The Christian Councils condemned them for the same Cause, and the first Christian Emperor's condemned them by their Imperial Laws, upon that same Account, as has been already said; so that our Author discovers his want of Reading or something that's better, when he asserts the contrary 
* From page 59, to 67. .  
I shall conclude this Head with the Opinion of the Reverend, Learned and Pious Mr. Richard Baxter, as to the Stage and Reading of Plays and Romances, as I find it in his Christian Directory: Thus,  
I think I never knew or heard of a Lawful-Stage Play, Comedy or Tragedy in the Age that I have lived in, and that those now commonly used are not only Sins, but heinous aggravated Sins; for these Reasons, I. They personate odious Vices commonly Viciously, that is, 1. Without need reciting sinful Words, and representing sinful Actions, which as they were Evil in the first committing, so they are in the needless Repetition, Eph. 5. 3, 12. But Fornication and all Uncleanness or Covetousness (or Lust) let it not be once named among you, as becometh Saints; neither Filthiness nor foolish Talking nor jesting, which are not convenient, but rather giving of Thanks.— For it is a shame even to speak of those things which are done of them in Secret. 2. Because they are spoken and acted commonly without that Shame, and Hatred, and Grief which should rightly affect the Hearers with an Abhorrence of them, and therefore tend to reconcile Men to sin, and to tempt them to take it but for a matter of Sport. II. There are usually so many Words materially false (tho' not proper Lies) used in such Actings of Good and Evil, as is unsavoury, and tendeth to tempt Men to Fiction and false speaking. III. There are▪ usually such multitudes of vain Words poured out on the Circumstantials as are a sin themselves, and tempt the Hearers to the like. IV. They usually mix such amorous or other such ensnaring Expressions or Actions as are fitted to kindle Men's sinful Lusts, and to be Temptations to the Evils which they pretend to cure. V. A great deal of precious Time is wasted in them, which might have been much better spent, to all the lawful Ends which they can intend. VI It is the preferring of an unmeet and dangerous Recreation, before many fitter; God having allowed us so great a choice of better, it cannot be lawful to choose a worse. The Body which most needeth Exercise with most of the Spectators, hath no exercise at all, and the mind might be much more fruitfully Recreated many ways by variety of Books or Converse, by contemplating God and his Works, by the Fore-thoughts of the heavenly Glory, etc. So that it is unlawful as unfit to its pretended Ends. VII. It's usually best suited with the most carnal Minds and more corrupteth the Affections and Passions, as full Experience proveth. Those that most love and use them, are not reform by them; but commonly are the most loose, ungodly, sensual People. VIII. The best and wisest Persons lest relish them, and are commonly most against them; and they are best able to make Experiment, what doth most help or hurt the Soul. Therefore when the sensual say, We profit by them as much as by Sermons, they do but speak according to their Sense and Lust: As one that hath the Green-Sickness may say Coals, and Clay, and Ashes do me more good than Meat, because they are not so sit to judge as those that have a healthful State and Appetite. And it seldom pleased the Conscience of a dying Man, to remember the time he had spent at Stage-Plays. IX. Usually there is much cost bestowed on them, which might be better employed, and therefore is unlawful. X. God hath appointed a stated means of instructing Souls by Parents, Ministers, etc. which is much more fit and powerful. Therefore that time were better spent; and it is doubtful whether Playhouses be not a stated means of Man's Institution▪ set up to the same pretended use as the Church and Ministry of Christ, and so be not against the second Commandment. For my part I cannot defend them, if any shall say that the Devil hath apishly made these his Churches in Competition with the Churches of Christ. XI. It seemeth to me a heinous Sin for Players to live upon this as a Trade and Function, and to be educated for it, and maintained in it; that which might be used as a Recreation, may not always be made a Trade of. XII. There is no mention that ever such Plays were used in Scripture-times, by any godly Persons. XIII. The Primitive Christians and Churches were commonly against them: Many Canons are yet to be seen by which they did condemn them. [Read but Dr. Io. Reinolds against Albericus Gentilis, and you shall see unanswerable Testimonies from Councils, Fathers, Emperors, Kings and all sober Antiquity against them. XIV. Thousands of Young People in our time have been undone. by them; some at the Gallows, and many Servants▪ who run out in their Accounts, neglect their Master's Business and turn to Drunkenness and ●hordom and Debauchery, do confess that stageplays were not the last or least of the Temptations, which did overthrow them. XV. The best that can be said of these Plays is, that they are controverted and of doubtful Lawfulness; but there are other means enough of undoubtful and uncontroverted Lawfulness, for the same honest ends; and therefore it is a sin to do that which is doubtful without need. Upon all these Reasons, I advise all that love their Time, their Souls, their God and Happiness, ●o turn away from these Nurseries of Vice, and to delight themselves in the Law and Ordinances of their Saviour, Ps. 1. 2, 3.  
As for Playbooks, and Romances, and Idle Tales, I have already showed in my Book of Self-denial, how pernicious they are, especially to Youth, and to frothy empty idle Wits, that know not what a Man is, not what he hath to do in the World; they are powerful Baits of the Devil, to keep more necessary things out of their minds, and better Books out of their hands, and to poison the mind so much the more dangerously, as they are read with more delight and pleasure, and to fill the minds of sensual people with such idle fumes and intoxicating fancies, as may divert them from the serious thoughts of their Salvation, and (which is no small loss) to Rob them of abundance of that precious time which was given them for more important business, and which they will wish and wish again at last, that they had spent more wisely. I know the Fantastic will say, that these things are innocent, and may teach men much good (like him that must go to a Whore-house to learn to hate Uncleanness, and him that would go out with Robbers to learn to hate Thievery.) But I shall now only ask them, as in the presence of God, 1. Whether they could spend that time no better? 2. Whether better Books and Practices would not edisie them more? 3. Whether the greatest Lovers of Romances and Plays he the greatest Lovers of the Book of God, and of a holy Life? 4. Whether they feel in themselves that the Love of these Vanities doth increase their Love to the Word of God, and kill their sin, and prepare them for the Life to come, or clean contrary? And I would desire men not to prate against their own Experience and Reason, nor to dispute themselves into damnable impertinency, nor to befool their Souls by a few silly words, which any but a Sensualist may perceive to be mere dece●t and falsehood: If this will not serve, they shall be shortly convinced and answered in another manner.   

CAP. XVIII.  
Reflections on some late PLAYS.  

First on Beauty in Distress.  
I Come next to make some Remarks on M. Motteuxes Play called, Beauty in Distress, which it seems he and his Friend Mr. Dryden, propose as a pattern of Reformation. It were e●sie in the first place to observe from Mr. Dryden's Poetical Epistle to the Author, that it contains an unmannerly and malicious Reflection upon the Clergy in general.  
Rebellion worse than Witchcraft they pursued  
The Pulpit preached the Crime, the People rued  
The Stage was silenced, for the Saints would see  
In Fields performed their plotted Tragedy.  
Mr. Dryden's Wit and Extraordinary Talon of Poetry are uncontrovertible; but his turning Renegado from the Protestant Religion, which abhors the Doctrine of Killing KINGS, and running over to the Church of Rome, which hath advanced that Practice to the Dignity of Merit, renders him as unfit as any Man alive to charge his Neighbours with Rebellion, and is no convincing Proof of his extraordinary Judgement, either as to Divinity or Politics.  
If his Charge had been levelled against Sibthorp and Manwaring, and their Disciples on the one side, or against Hugh Peter and the Tub●Preachers of those Times on the other side, there's few Men of Sense would have thought themselves concerned in the Reflection; but as it is levelled against all the Clergy without distinction, he must give me leave to tell him that it may easily be proved, that Sibthorp, and Manwaring, and the rest of their passive Obedience-Doctors, who taught, That the King was above Law, and might dispose of our Estates Lives and Liberties, without Consent of Parliament, were the chief Firebrands of the Rebellion, and set the two Constituent parts of our Government [the King and Parliament] together by the Ears: And were by consequence chargeable with the Reveries of Hugh Peter and the rest of the Enthusiastical Tribe, who carried things to the other Extreme, when the People were rendered Mad by Oppression. But as for the Body of the English Clergy, either Episcopal or Presbyterian, the Charge is Malicious and Injurious. The best of the Church of England Clergy opposed the Stage in those times, as well as the Presbyterians, yet it's known that both of them opposed the carrying on of things to that height which they afterwards came to. And I must beg leave to tell him that his Brethren of the Stage by usurping upon the Sabbath, and ridiculing the Pretensions of the People to their Liberty and Property had no small share in bringing on the Calamities he speaks of. Or if he be for a later Instance, I can oblige him with one that is still fresh in Memory, Viz. That the Nonjurant Clergy in this Reign, the Pupils or Followers of Sibthorp and Manwaring in that of King Charles, were so zealous for the lately intended French Invasion, that no less than a Troop of them did offer their Service to hollow the Rebellion, and some of them did so little abhor the Assassinating of Crown'd-Heads, that they absolved the Assassiens at Tyburn, without any Declaration of their Repentance for that horrid Crime.  
But to come to the Play itself.  
I leave it to the Consideration of the Author, whether the following Lines of the Prologue, don't co●e under the Apostolical Prohibition of f●● thy Talking and foolish Jesting, which is not convenient:  
— 'Twas studied to be paid in Lent,  
A time when some of you so nice were grown  
●'u abstained from every kind of Flesh but one.  
And a little lower.  
You know a Reformation's coming on,  
Then bear these Moral Scenes with Resignation,  
T●inure you to be weaned from darling Fornication.  
The wisest of Princes and Men hath branded them with the Character of FOOLS, that make a mock at sin 
* Prov. 14. ver. 9 , and whether these Lines be adapted for any thing else, but to make the Audience laugh instead of being sorrowful for sin, let any Man judge. Nor is the Jerk at the Reformation very becoming, especially considering how much it has been recommended of late both by King a●d Parliament.  
Then as to the Epilogue spoken by Mrs. Bracegirdle.  
Poisoning and Stabbing you have seen me'scape  
And▪ what you think no mighty thing, a Rape:  
But can poor Poet scape—  
— What shall he do?  
H'as sent me a Petition here for you,  
That's it— cry mercy! that's a Bille● 〈◊〉  
Before I go any further, I must beg leave to make some Remarks. Here's one great difference, I perceive betwixt the Church of Christ and the Playhouse, which Tertullian and others 〈◊〉 the Church of the Devil.  
In the former Women are by Apostolical Prohibition forbid to speak, and commanded to lea● in silence 
† 1 Tim. 2. ver. 11, 12.  but in the latter their Discourses Songs and Parts are the principal Entertainm●● which is certainly inconsistent with the Natural Modesty of the Sex, especially when they are not ashamed to speak openly of those things which the Apostle says, it is a shame even to mention 
† Eph. 5. 12.  Let any modest person judge if this look like a Scheme of a Reformed Play, to bring a Woma● upon the Stage to charge the Audience with accounting a Rape but a small thing, which th● Law of Nations makes capital, and then impudently to produce a Billet doux, or in plain English, an appointment to meet some Cullie.  
Then he goes on with the Petition thus.  
To you Great Wits, dread Critics, nicest Beaux,  
Gay Sparks with borrowed Wit, and Masks with (borrowed Clothes,  
You who to chat or ogle fill yond Benches,  
Or tempt with Love our modest Orange Wenches▪  
Rakes, Cuckolds, Citts, Squires, Cullies great & small▪  
I think Sirs this Petition's to you all.  
It cannot be denied but here's a great deal of truth spoken in jest, and that this is a just enough description of most of those that constantly haunt the Stage, and of their end of coming thither, a plain confession, that most of them are Carrion Crows, as the Reviewer words it, and frequent the Theatre, as the Ordinary where they can best ●nit their Appetite, but it must at the same time be owned that this sort of Reproof is more accommodated to inflame than to quench their Lusts, which is demonstrable by this, that if the Crows did not find Carrion there, they would soon grow weary of the Haunt.  
I pass over the other Scoff at the Reformation, and come to her description of the Devotion of the Poet.  
But ' twe●e in vain to mention every Head;  
I guess a Poet's Prayers are quickly said;  
He seldom prays but to avoid his Curse;  
●n empty Play house, and an empty Purse.  
A great deal of truth again, and a confirmation of the Character given of the Stage-Authors, by Mr. Goss●n, and the other Repenting Poets formerly mentioned. But is this Horrid Neglect of Devotion, and especially making sport with it, suitable ●o the Character of one who pretends by his Poems to reform others? and does it look any thing like deference to that Apostolical command of praying without ceasing 
1 Thes. 5. 17. ? which imports at least a constant aptitude, for that necessary Duty, and a co●scienceious frequency in it. And does not the Experience of all Ages testify that the Stage is so far from being a proper Motive to that or any other Christian Duty, that it does rather make its frequenters negligent in all Duties.  
But now to come to the Play itself.  
It may, if compared with many others, deserv● to be called chaste and Modest; yet I do not see what edification could redound to the Audience from the Pattern set them by the Fond Laura, who Courts Don Richardo with so much importunity, that it must needs make the Females blush, and the young Widows, if there were any there, ashamed of their Representative, and serve as a Lesson to teach the young necessitous Sparks of the Town to Entrap Rich Widows in the like manner. Her Expression to Richardo, that they would live like Gods, smells too rank of the Libertine, and can leave but a sorry Impression upon the Audience. Richardo's Cunning, dissembling Expressions and Tricks in his Courtship, are no very proper Lessons to be taught our Young Men, who are but too much depraved already; nor has the last Line of his Dialogue with Laura, when the Monks diverted them, so much of a chaste Tendency as becomes a Play that's proposed as a Pattern of Reformation.  
Then as to the Maiden Ladies, Morella and Melinda, in the second Act, their Conference about Fabiano and Placentia, savours not of so much Innocence as becomes persons of their Character, but is plainly accommodated to please the Amorous Gusto of those that frequent the Stage. Neither does Placentia behave herself with such Extraordinary Modesty as to deserve the name, of a Pattern of Virtue or Prudence. Nor does her Lover Fabiano act the part of an Obedient and Prudent Son; such Examples cannot be very edifying to the Spectators, but on the contrary, teach Young Gentlemen the way how to gratify their passions, to the ruin of themselves, and the grief of their Parents.  
Richardo's attempt to Ravish Placentia in the fifth Act, with so many circumstances, sometimes ●ving mad with anger, and at other times burnt up with raging Lust, which flames out into brutish Expressions and Actions, is so very gross, that such a Representation cannot be defended, but must expressly fall under the condemnation of ●●thy talking, the appearance of Evil and corrupt Communication, which could have no tendency to the Edification of the Hearers, but rather to inflame Inordinate Lust. If there be such things done in secrer, whereof it is a shame for Christians to speak, certainly a Rape with its odious circumstances must be of the number. The very name of such kinds of Vice is infectious to corrupt Nature, but much more must such a Representation of it be I know our Author will have recourse to the common Apology, that he brings the Vicious Person ●o a Tragical Exit, and displays his Crime only to expose it; but that is a poor pretence; we must not do evil that good may come of it, especially when the fatal Experience of our own and former Ages is enough to convince us that those Theatrical Representations nourish Vice instead of curbing it. The Holy Ghost, who knows the frailty of Humane Nature, hath forbid that For●ication or Uncleanness should be named amongst Saints, without abhorrence, and much more such Representations of it as may any way tend to corrupt the Mind. Many other Remarks might be made upon this Tragedy, but these are enough to show, that whatsoever our Author may pretend, his Reformation comes short of the Scripture Rule, and is liable to the Exceptions of those very Fathers whom he and his Church of England Divine would reconcile to the Stage, and particularly St. Chysostom, who as I have mentioned already, says, That Stage-Players deserve a thousand deaths, because they personate those Villainies, Obscenities and Adulteries which the Laws of all Nations command men to avoid.   

Remarks on the Rape, or Innocent Impostors.  
In the next place I shall take notice of a Play, entitled, The Rape, or Innocent Impostor, Printed in 1692. And whereof I understand the Author is a Clergyman, of good Reputation, and therefore am bound in Charity to think that he designed to correct, and not to encourage Vice by his Play; but as the Pulpit, and not the Stage was his business, he was out of his Road when he meddled with Plays; and tho' it be more modest and chaste than that called Beauty in Distress, yet I dare refer it to his own serious thoughts, whether Genselarius premediated Rape upon Eurione, his glorying in it after the commission of the foul Crime, and insisting so much upon the satisfaction he had in it, even to the last moment when he was to die for it, be agreeable to the strict Rules of Modesty; or whether it has not rather a tendency to encourage Lustful Youth to dangerous attempts. Nor is Eurione's practice, who killed herself after the Rape, to be proposed as a Pattern in such cases. Our Author knows that the Fathers disallowed of all such Representations, that they looked upon them to be contrary to the Scriptures, which methinks should have hindered him from employing himself that way, and so much the more, that he knows the mischief that hath been done to our Morals and Religion by the Theatre, and that others might be influenced to take a greater Liberty by his Example.  
We need go no further for an instance than Mr. Durfey, in his Comedy called, The Campaigners, who values himself so much upon his Conversation with several eminent Men of the Church, and the Assurance of their good Word to prove his good Behaviour, that he thinks it sufficient to ward off the heavy Charge Mr. Collier has brought against his Comical History of Don Quixo● 
† Preface to Campaigners, p. 3.  Nay, a Page or two further, he Triumphs, and thinks he has sufficiently answered Mr. Collier, when he tells him, that Mr. Thomas Randolph, a Gown-man of Wit and Learning, makes it his whole Moral, in his piece called, The Muse's Looking-glass, to vindicate the Stage 
* ibid. p. 7. . Of such mischievous Consequences is it for Clergymen to give countenance to the Playhouse either by Writing for the Stage themselves, keeping Company with Play-Poets, or Defending the Drama. I shall not any further urge the Sense of Antiquity against their Practice in that Matter, but would humbly propose to their Consideration, Whether it be suitable to their Character thus to Countenance such Men as have by our Statute-Law been declared Rogues; whose Profession the best of the Church of England Divines since the Reformation have writ against as Unlawful, and which Repenting, nay Heathen Po●ts themselves have condemned and abhorred, as has been already proved.  
Though they may please themselves with the Lashes which that sort of Men have given to Dissenters, from the Stage, which Mr. Dur●●y argues as a piece of Merit in his Collins' Walk through London and Westminster 
* ibid. p. 3. , and by which he confirms my Conjecture, as to the Reason of the general Silence of the Clergy against the Theatre; yet they will find at last, that they themselves shall not escape, but must partake of the Chastisement, through the Backs and Sides of Clergymen of other Denominations.— The Opprobrious Terms of Say grace, Cuff●cushion, etc. in the Play called, The Relapse, are as applicable to those of the Church of England as to others, and can serve to no other end, but to render the Ministry Ridiculous; and therefore it's but just that such of the Clergy as have been pleased with injurious Reflections upon their Brethren [the Dissenters] should come in their turn to feel the Lash.  
It is not to be denied but the Clergy have their Faults as well as others; and so had the blessed Apostles, who own that the Treasure of the Gospel is committed to Earthen Vessels 
† 2 Cor. 4. ver. 7. . And that they had their Humane Frailties like other Men; but it would scarcely be allowed in any Christian State, that the Theatre should make sport with Peter's Swearing and Denying his Master, Paul ' s Thorn in the Flesh, or Barnabas ' s Dissension. Nor by parity of Reason ought it to be allowed, that the Ministers of the Gospel, should be so treated now, for tho' they have not the same Power with the Apostles, nor their pretensions to infallibility in Doctrine, yet their Ofsice is stamped with the same Authority; and they are commissioned by one and the same Master.   

Reflections on the Campaigners.  
I come next to View the Campaigners, a Comedy writ by Mr. Dursey, who, it would seem, thinks himself above Reformation.  
I am no way concerned to take notice of his Preface upon Mr. Collier, because I find nothing of Argument in it, but merely Recrimination, which is nothing at all to the purpose. But this I am sure of, that Mr. Dursey's Comedy could have as little good Influence upon the Morals of his Audience, as Mr. Collier's Books can have upon the Principles of his Readers.  
But to come to his Play.  
The Dialogue betwixt Van Scopen and Mas●arillo in his first Act, can have no other tendency, but to harden such Fellows in their Impiety and to teach them the Art of Drunkenness, Filching and Playing the Pimp.  
His Conference betwixt Dorange and Kinglove is adapted to nothing else but to nourish Vice, and to teach the Method of Debauching Ladies; and how they on the other hand, may carry on their Intrigues with their Gallants. There's no doubt but Mr. Durfey blesses himself for the happiness of his Invention in making Kinglove say, That an Hundred Pistols was enough for an Hundred Princesses, a Price sit for none but a Goddess; and that Jove himself who was the first Whoremaster we read of, that ever gave Money, gave his Mistress Danne not a Farthing more. This is enough to confirm what I have said before, that the amorous Poems of Ovid, and other Heathen Authors, are no● sit to be put into the Hands of Youth, till they be reform and purged from their Lascivious Impurities; for till that be done, we can expect no other Improvement of them, than such a profane one as Mr. Durfey has here presented us with. In the mean time here's very Civil Treatment for Princesses and Ladies of Quality, that P●stoles apiece is purchase enough for their Honours.  
His Letter too, is a Noble Exemplar for his Ladies to Copy; when they have a mind to treat with a Cully, and his delicate Oaths of Gad and I Gad, Gadzooks and Gadzoa, and Swearing by Heaven, are mighty Ornaments for the Discourse of his Gallants; so that they may save themselves the trouble of Learning any other Rhetoric.  
His Banter upon the French Marquis' broken English is a Copy for the Gallican Stage to bring in English Gentlemen speaking barbarous French, with your Heumble Servityour Monseer.  
His Dutch Burgomaster and English Merchant are admirably fitted to make Trade and Commerce Ridiculous; though England and Holland have by that means risen to their present Grandeur.  
His Dialogue betwixt those Merchants representing the Soldiery, as Rogues with long Chines, full Calves, Varlets, Poltroons, Cuckold-making Rascals that huff and strut about with our Money, that they should all be hanged when the Wars are done, is very civil to the Gentlemen of the Sword, and calculated no doubt to give them a good Impression of our Merchants and Tradesmen, and to create a good understanding betwixt them.  
His Ragg-carrier of a Regiment is an honourable Title for Ensigns and Cornets; Robbing of Hen-roosts is as Noble an Employment he has found out for the Soldiers, and his jerk at the Government for letting their Pay fall into Arrears, considering the Difficulties the Nation hath laboured under for want of Money, is of admirable use too.  
I come now to his Second Act.  
Where we have Miin Heer Tomas and Aniky his Wife exposed to our View, as a choice instance no doubt of the Happiness of a Married State. This must needs have been very charming to the Ladies, especially such of them as are inclinable to be fat, to hear this modest Reflection upon Aniky, That she importuned her Husband so much for his Benevolence, yet so fat was she, and so incapable of Childing, that an Irishman may assoon get a Bantling out of a Bag. But by Mr. Durfey's leave, Harlem Mere, or the Marshes about Dort, had been nearer at hand for a Dutchman; tho' by the way I must tell him, that all National Reflections are unmanly, as well as unmar●nerly, and were never attended with good Consequences.  
Annikies accusing her Husband of Frigidity, and swearing as she was a Calvinist, if she lived a month longer she would have one to connive with her too, is Mr. Durfey's Civility to the Ladies of the Audience, and a Genteel Compliment to the Reformation beyond Sea.  
Miin heer Thomas' Reply, That as the Government gave Toleration of Conscience for their Souls, he would give her one for her Body too, is a handsome Allusion, a neat Raillery on the Liberty granted to the Dissenters here in England, and an admirable Pattern of a Good Natured Wittol. Well, let's go on to the Conclusion of Thomas' supersine Answer Gadsbores (says he) I fancy we Lie always like two Udders in a Dish without ere a Tongue. This is an admirable proof of the Modesty of the English Stage; and enough to choke Mr. Collier with a Lie for accusing it of Immorality and Profaneness.  
Aniky Replies; Queasy Fellows that have no Appetites, can't relish the finest Haunch of Verison, when a strong healthy stomach would feed heartily and be glad of it. And Thomas answers; But if he were to feed upon't ten and twenty Years, as 'tis the case of us miserable Husbands, he would be glad to change it for the Haunch of a Horse. This is admirable encouragement for Married Persons to frequent the Theatre, where they may have such excellent Lessons of Conjugal Affection and Chastity. These are the Curious Representations that edify our Beaus more than the best Sermons, and contribute so much to the happiness of Mankind.  
But to conclude this Noble Lecture of Chastity, Thomas tells her, that she's a gross Barren Hen, that is so rank fed, she's uncapable of Breed, and yet so greedy on't, that she's eternally Cackling, that he would Lock her up over the Stable, where she should have Heirs, and the great Gib Catt there should Father them; and she tells him, that she Roosts among Cravens that have got the Pip: If Cocks were good, Hens would have Chickens. Now I leave it to the Reader that has any sense of Religion to judge, whether the Evil Spirit of Uncleanness himself could express things in a more fulsome and undecent manner; yet these are the Men, and those are their Methods that are to recommend Virtue and discourage Vice.  
I am come next to his Nurse's Song, Scene TWO, which with his Scotch Song, and his Reformation Song, will help to Compose a Psalter for the Devil's Church, as the Fathers call the Playhouse. The first Song is an admirable Lesson of Chastity, fit to be sung to Mr. Durfy's Lyre, and may vie for Modesty with any thats to be found in Ovid or Martial. It's a delicate Sonnet for Nurses to sing to their Young ones, that they may suck in Virtue like Mother's Milk, and must needs tend highly to the Edification of the Sisters and Brothers in their Teens, when they take a step into the Nursery to see and divert themselves with their Infant Brothers or Sisters. It must needs leave a chaste Impression upon them to hear Nurse tune out these Modest Lines.  
And when in due season my Billy shall wed,  
And lead a young Lady from Church to her Bed;  
Ah! welfare the losing of her—  
When Billy comes near her to kiss, kiss, kiss.  
They that would have their Nurses taught to sing Virtuous Songs, had best send them to Mr. Durfey, who can furnish them with admirable Samplars.  
But to proceed; That our Author may make his Comedy all of a piece. His Fable of Doranges getting into Angelica's Bed in a Woman's Dress, includes a very good Lesson for instructing a wild extravagant Beau, how to debauch and steal a Fortune. Such a Representation as this cannot fail of raising very chaste Passions among the Audience; and the other part of the Fable endeavouring to match her with Bondevelt under the notion of a pure Virgin, contains an excellent Pattern of Moral Honesty, and teaches an Intrigue of special use for imitation.  
Then again in the third Scene we have a commendable Character of the English Gentry, That their Right business is nothing but pleasure, and that I suppose is frequenting the Stage; for there, says Mr. Dennis, is the greatest pleasure. But if this be the true Character of the English Gentry, how comes it to pass, that so many of them have raised Vast Fortunes by application to Law, Physic, Divinity and Merchandise?  
I shall meddle no further with this Lewd Comedy, nor can what I have done already, be justified by any other Argument; but that it's sit the World should see what an useful thing the Stage is for Reformation of Manners.    

CAP. XIX.  
Answer to Mr. Dennis' Usefulness of the STAGE.  
I Come next to consider Mr. Dennis' Arguments in his Book Entitled, The Usefulness of the Stage to the Happiness of Mankind, to Government and to Religion.  
The Title is sufficient to discover, that I am to combat a Man of Assurance, who like another Goliath bids Defiance to the Armies of Fathers, Councils, Scriptures, etc. & all that have bra●ndished their Swords against the Theatre.  
His first Argument is, That the Stage is Instrumental to the Happiness of Mankind in general, because it pleases them, and Happiness consists in Pleasure 
* Pag. 1, 2. .  
The Gentleman not having obliged us so far, as to draw his Argument into Form, he must pardon my Presumption if I do it for him, and then I think it will stand thus,  
Whatsoever pleases Men makes them happy;  
But the Stage pleases Men,  
Ergo.  
The Falsehood of the first Proposition is so manifest from the Experience of all Men, that I cannot but wonder at our Author's Confidence to advance it. The Libertine is pleased with his Paramour, and yet is so far from being happy in his Pleasure that it wastes his Conscience, consumes his Body and ruins his Estate. The Drunkard is pleased with his Bottle, yet is so far from being happy in it, that it has the same dismal effects upon him, as Uncleaness has upon the Wanton.— The Glutton is pleased with his costly Cates and riotous Banquets, but is so far from being happy in his Pleasure, that he Entails Diseases upon himself and digs his Grave with his own Teeth.— The Miser is pleased with his Bags, yet is so far from being happy in them, that he is eat up with carking cares how to preserve them, or to lay them out to the best advantage.  
To prove this Argument Mr. Dennis says, That by Happiness he could never understand any thing but Pleasure, and that he could never possibly conceive how any one can be happy without being pleased, or pleased without being happy.  
Let him but take a turn to Bedlam, and there he may have convincing Instances of poor Wretches being extremely pleased with their foolish Conceits, that are far from being happy; or let him visit some of his Friends in a raging Fever, and perhaps he may hear them express a great deal of Pleasure and Delight in many things, and yet poor Creatures fall much short of being happy.  
His own Assertion [p. 8.] That a Man cannot be happy without or against Reason, perfectly destroys his Proposition, for in all the Cases abovementioned, those Persons are pleased both without and against Reason, which plainly proves that it is not pleasure, but a Rational Pleasure or none at all that makes a Man happy, otherwise the Brute-beasts, are more happy than the happiest of Men.  
So that if this be granted, which no reasonable Man or good Christian can deny, that our Pleasures ought to be ruled by Reason, his Argument will prove but a feeble Support to the Stage it being highly unreasonable to take pleasure in that which is not only needless, to the ends for which it is pretended, there being other meansap pointed for that, as I have proved already, but comes so far short of them, that by the concurring Testimony of all Ages, it is condemned for producing the contrary Effects.  
To set this matter in a Clearer Light, let us take a View of those Pleasures which are to b● reaped from the Stage; Spiritual Pleasures they are not, for Divinity and Religion are seldom or never mentioned there, but in order to be ridiculed: Rational Pleasures they cannot be, seeing it is contrary to Reason for Mankind to please themselves with the Representations of Rapes, Murders, and all manner of Villainies, which is the principal part of the Entertainment; the Punishments allotted them take up the least part of the time, for most of that is spent in representing the Intrigues that the Personal Dramatis carry on for obtaining their lwed Ends, and the pleasure they take in the Enjoyment of their desires, and the Impression of the Tragical Catastrophe is generally defaced by some Comical Conclusion at last. So that upon the whole the Pleasures that are reaped from the Stage must needs be sensual; and if wallowing in them conduce any thing to the happiness of Mankind, than Reason and Religion too have put a horrid Cheat upon us, aught to be banished out of the World, and the only Deity we are to invoke is some Circe or other to transform us into Dogs and Swine, that we may be completely happy. For Mr. Dennis says (page 6 and 7.) The Philosophers were Fools to ascribe their Happiness to Reason, for that may often afflict us, & make us miserable, is an impediment to our pleasure, and nothing but Passion can please us. The natural consequence of which must be that none but Beasts, Fools and Madmen are happy in this World.  
He tell us, page 8. That it's plain that the Happiness both of this Life and the other, is owing to Passion, and not to Reason; so that he must be the only happy man here that wallows in his pleasures, and indulges his passions. And in the other World he informs us, we shall be delivered from those Mortal Organs, and Reason shall then be no more: We shall lead the Glorious Life of Angels, a Life exalted above all Reason, a Life consisting of Ecstasy and Intelligence. If this be not a Rhapsody of downright contradictions, there can be no such thing as a contradictions, there can be no such thing as a contradiction in nature; a Rational Soul without Reason; Understanding without Reason; and Reason dying with Mortal Organs. Nay, there's another Position in the bottom of the 7th page as extraordinary as any of those, and that is, That the very height and fullness of pleasure which we are promised in another Life, must, we are told, proceed from Passion, or something that resembles Passion; at lest no man 〈◊〉 so much as pretended that it will be the result of Reason. Who it is that has told our Author thus, he would do well to inform us; for I believe this Revelation is peculiar to himself. The Scriptures do indeed say, That in the presence of the Lord there is fullness of joy, and at his Right hand there are Pleasures for evermore 
† Psa. 16. 1●. ; but are so far from hinting at any thing like Joy without Reason, that the Works of Creation, Redemption and Providence and the Beatifical Vision of God in his perfections, seem to be plainly revealed, to be the Reason of all the Hallelujahs and Raptures of Praise and Joy which the Saints shall Echo forth in Heaven to all Eternity. Abr●●ham is represented to us in Heaven with the use of his Reason, and arguing with Dives. We are told that there is Joy in Heaven, by reason of the Conversion of Sinners; there's no doubt that those Ecstasies of Joy are above what our Reason is now able to comprehend, but that Reason and Reflection should there cease, there's not the least ground to imagine. Our Author owns, that we shall lead the Glorious Life of Angels, as to whom it is plain from the Scriptures, that they are reasonable Being's, they make use of their Reason to pry into the Mystery of Redemption, and sung Songs of Praise at our Saviour's Birth; for this very Reason, that God had manifested Peace upon the Earth and goodwill towards Men; from all which it's plain, that our Happiness in Heaven will not proceed from Passion, but from our uninterrupted Enjoyment of God, the Reflection upon which with our Reason will occasion eternal and unspeakable joy.  
This I conceive will appear yet more plain from the following Consideration, viz. That a Man cannot be happy except he know himself to be so, and if we have not the use of our Reason and Reflection, we can never know that we are happy, nor be sensible of the Dangers we have escaped; so that for Mr. Dennis' Heaven we had as good be reduced to our first nothing as to enjoy it, seeing, according to his Notion, we must there be deprived of the Faculty of reflecting upon our past Dangers and present Enjoyments, which cannot afford a Rational Soul so much Delight, as it may have in a pleasant Dream.  
I shall only add, That to conceive a humane Soul without Reason after death, is to suppose the very Essence of it annihilated, which is a fair step towards denying the Resurrection and the Eternity of Punishment and Reward; a Doctrine fitted to the palate of the Libertines of the Age, the principal Rule of whose Faith and Manners is,  
Ede, bibe, dormi, post mortem nulla Volupta●;  
Or as the Scripture expresses it,  
Let us eat and drink, for to Morrow we must die 
* 1 Cor. 15. 32. .  
If we have not the Exercise of Reason in Heaven we cannot Act Faith upon the promise of God for the Eternity of our Happiness there, which our Reason will tell us we may ●●st assured of, because he is the God of truth that cannot lie, and with whom there is no variableness nor shadow of turning. Nor can our service, which is Songs of Praise and Everlasting Delight in the Enjoyment of his Presence be reasonable there, which will make i● less perfect than the Service that we are called to here on Earth, which the Apostle tells us is a reasonable Service 
* Rom. 12. 1. , nor without it can we contemplate God the Author and Fountain of our Happiness with Delight; for according to Mr. Dennis' Notion, there can be no difference betwixt those unconceivable Transports of Joy which the Blessed have in Heaven, and the Raptures of a Madman, who can give no reason for what he does or what he says; and how this can be acceptable Service to God, let any Man, that has but the least Impression of Religion judge.— Our Saviour tells us, That Mary loved much because much was forgiven her; Is it then consistent with reason, that we shall be filled with Raptures of Love and Joy in Heaven, and not know the reason of it there, as well as we know the reason of our Love to the Almighty here on Earth; which is his Pardoning Grace, through our blessed Redeemer,  
But to return to Mr. D's Argument, That 'tis Pleasure only that makes a man happy: He is guilty of a great omission in not explaining his terms, and telling us what sort of Pleasure he means; tho' to do him Justice there seems to be no great need of it, when we consider that the Stage is the Subject he treats of, whence those Pleasures are to be reaped; so that we cannot expect to reap any other Pleasures but those of Sin from such an unhallowed Soil.  
But allowing him, That a Moderate Pleasure in our Lawful Enjoyments here is a happiness, and a gracious Gift of God, as without doubt it is, that will not prove that we ought to create ourselves feigned Objects of Pleasure, as all those Theatrical Representations are, seeing God allows us those that are real. Much less will it prove that we ought to hunt after Pleasure, by having our Passions rayed; when there's no occasion o● proper Object for them, for that in plain terms is a perverting the use of 'em, and forcing them beyond the Intent of Nature. God has endowed us with Love, and Hatred, and inspired Reasonable Creatures with a desire to propagate their own kind in pursuance of that primitive Command, that they should increase and multiply; but at the same time he has confined that desire to certain Limits, That every Man should have his own Wife, and every Woman her own Husband; whence 'tis evident, that it's unlawful for us to frequent the Stage to have that Passion raised toward we know not who, or to endanger its being diverted from the Right Object. And as for Young Persons who are unmarried, the Theatre is the most improper place in the World to seek a suitable Match in, and I believe seldom frequented on that account. I am afraid Juvenal's Observation holds too true of the Modern Theatre.  
— Cuneis an habent spectacula totis;  
Quod securus ames quodque inde expetere possis.  
And if they frequent them upon any other accounted, the raising of their Passions endangers their Chastity.  
The like may be said of the other Passions, to have our Anger and Indignation excited against we know not who in a Tragedy, is far from the Divine Precept, of being angry and sin not. It was never the End for which God endowed us with that Passion, to be angry at Wickedness in show, but at Wickedness in reality. The same Rule serves for Pity and Compassion; we are to extend that towards Men in real distress, and not to have our Compassion excited towards a Chimerical object in a Theatre that needs it not. It will hold the same as to Mirth and Delight; we are not to make sport, or to take pleasure either in the sin or misery of others; from all which it is apparent, that we ought not to frequent the Stage for ●●citing our Passions: But admitting that the raising of the Passions makes a man happy; by Mr. Dennis' own concession, P. 16. the frequenting of the Stage is a very improper mean for it, for there he owns, that the longer any man frequents Plays, the harder he is to be moved; and therefore we may very well conclude from his own Premises, that the seeing of so many unchaste and bloody Representations, is the ready way to take off and dull that Horror which all men ought to ●ntertain against the real practice of Uncleanness, Cruelty, and the other Vices there represeated. This may be likewise proved by a very familiar Instance: Butchers, tho' but accustomed to the kill of Beasts, have less horror generally for Murder than other men; and Soldiers, who are accustomed to behold Slaughter and Bloodshed, are not generally so compassionate and tenderhearted as those who never were in a Field.  
I must observe one thing by the way before I go any further, viz. that Mr. Dennis and the Author of the Review contradict one another in this matter. The Reviewer maintains against Mr. Collier, that the Representations of the Stage, don't impress the same Passions upon the Audience 
† p. 19 67, etc. , whereas Mr. Dennis asserts it, and thinks it the Glory of the Theatre that it does so, seeing raising the Passions is the only way to make a man happy. I must declare my Agreement with Mr. Dennis as to the influence of those Representations upon the Spectators, but at the same time must tell him, that the iniquities there represented, especially irregular Amours, have so strong a party in every man's corrupt Nature, that those Lascivious Representations, Intrigues of Courtship, and Amorous Speeches, have ten to one odds against our Virtue, which taking in Religion to its assistance, is often found too weak, and many times foiled by corrupt Nature, as appears by the Instances of David and Solomon, the holiest and wisest of men, and therefore it is that the reproofs and punishments allotted to Vice by the Stage, have never been able to obtain those Ends which its Patrons pretend to, viz. the Encouragement of Virtue, and discountenancing of Vice, but hath always produced the contrary Effect.  
But to take a further View of Mr. Dennis' Notion, that we are made happy by Pleasures, let's examine it a little by Sacred Writ. There we find Solomon, who had made the largest Experiment of it, declaring, that all the Pleasures this World can afford (even those refined ones of Wisdom and Knowledge not excepted) to be nothing but Vanity and Vexation of Spirit 
* Ecclesiastes throughout .  
If we take in the Suffrage of the New Testament, there we find our Saviour and his Apostles, condemning this Passion for worldly Pleasures, as the Lust of the Eye, the Lust of the Flesh and the Pride of Life 
1 Joh. 2. 16. , they expressly forbid us to make any Provision for the Flesh to fulfil the Lusts thereof 
2 Ro. 13. 14. , command us to set our Assections on things above, and not on things below, and to mortific inordinate Affections 
3 Col. 3. 2, ● , tells us, that those that are Christ's crucify the Flesh with its Lusts and Affections 
4 Gal. 5. 24. , condemn those that are Lovers of Pleasure●, more than Lovers of God 
5 2 Tim. 3. 4 , number those who serve their Lusts and Pleasures among Fools and Rebels to Heaven 
6 Tit. 3. 3. , tell us, that our Prayers are denied because we ask things to consume upon our Lusts, or Pleasures, as it's read in the Margin▪ 
7 Jam. 4. 3. , and inform us, that the Word of God is choked by the Pleasures of the World 
8 Luk. 8. 14. .  
So much as to Pleasure in general; and than if we come to Particulars,— Inordinate Pleasure in Riches or Covetousness, is condem●. as jaolatry 
1 Col. 3. ●. , a Lustful Look after a Woman is censured as Adultery 
2 Mat. 5. 28. . If we consider our Apparel, there we are commanded to be modest 
3 1 Tim. 2. 9 . If we look to our Diet, the Scripture informs us, that a Glatton shall come to Poverty 
4 Pro. 23. 1. , and strictly forbids us, Rioting and Drunkenness 
5 Ro. 13. 13. . If we consider our Discourse, there's no corrupt Communication to proo●●d out of our Mouth 
6 Col. 3. 8. , but our Speech ought always to be with Grace, and seasoned with Salt 
7 Col. 4. 6. , foolish jesting and filthy Talking is also discharged 
8 Eph. 5. 4. . And in the whole, the Apostle tells us expressly, That those who live in Pleasures, are dead while they live 
9 1 Tim. 5. 6. : (which tho' spoken particularly of Widows, does by parity of Reason extend to all Christians.) We are commanded to rejoice, as if we rejoiced not, to use this World, as not abusing it 
* 1 Cor. 7. 30, 31. , to behave ourselves as Strangers and Pilgrims in the World 
† Heb. 11. verse 13. , and to avoid all Bitterness, Malice and Evil-speaking. 
Eph. 4. 31.  *  
Then seeing it is so, how can any Christian indulge themselves in Passion, or Transports of Pleasure in any sublunary Thing? How can they allow themselves in those foolish Jests, filthy Discourses, and immoderate Laughters that are occasioned by Comedies; or in that Wrath, Clamour, Malice and Revenge which breath forth every where in Tragedies? How can they that are call'● to Mourn over their own Sins, and those of others, laugh at the Follies and Lewdness of Whoremongers represented on the Stage, or how can they in Conscience take pleasure in the Representations of those things to the Eye in Public, that they ought to be ashamed to hear spoken of, as committed in Secret? How dare they that are commanded to work out their Salvation with fear and Trembling, delight in such Wantonness, Jollity and Revelling? With what Conscience can they that are commanded to redeem their time, misspend it so unconscionably in the lewd Theatre, or with what Peace of Conscience can they lavish out Money in such needless Pleasures, when so many of the poor Saints and Servants of God are starving for want of Necessaries.  
Mr. Dennis in the latter part of his first Chapter seems to recant his Epicurean Lecture in the rest of it, and tells us 
† Page 8. , the Passions must be raised in such manner as to take reason along with them, which how he will reconcile to his former Positions, that Reason often afflicts and makes us miserable, hinders our Pleasures, and Combats our Passions 
† Page 6. , and that nothing but Passion in effect can please us, and nothing but Pleasure can make us happy 
† Page 7. . Let him see to it. Perhaps he was exalted to his own Heaven, and wrote those Contradictions when he was delivered from his Mortal Organs, and his Reason had left him 
† Page 8. . And if it was so, he had as good have concealed his Ecstatical Raptures, for any great Feats, they are like to do in the World, they may perhaps make Quakers; but sure I am they can never make Christians: And thus I leave it to the Judicious Reader to consider, whether he hath proved that the Stage is Useful to the Happiness of Mankind.  
In his Second Chapter he attempts to prove, That the Stage is more particularly Instrumental to the Happiness of Englishmen,— and the Argument he makes use of is, That the English are the most Splenetic People in Europe, of a gloomy sullen Temper, uneasy to themselves and dangerous to the Government. This is enough in all Conscience to give them a fit of the Spleen, were they never so good Natured; but to alleviate our Anger, he tells us, it's the fault of Heaven, the reigning Distemper of our Clime; and to oblige us further, he directs us to the Drama, as our Remedy.  
I am afraid our Author is neither a Traveller, Historian nor Politician, else he would scarcely have ventured on such a Reflection: Let him but waft himself over for a Month into Spain, and take a ●urn through France into the Empire of Germany, don't let him forget to take Holland in his way Home; and then let him spend some Weeks in turning over the Histories of those several Countries, and I am much mistaken if he don't find himself convinced by Experience and Authority, that our Neighbours are as sullen and morose as we, have been as uneasy to one another, and endangered their Governments as oft●●, and yet all of them have had the Enjoyment of the Drama.  
I must likewise beg leave to tell him, That the good Nature of Englishmen has been for a long time taken notice of, and that I have read it as an Observation from as good an Author as himself, that there's no other Language has a word to express it.  
I must likewise desire him to give a Reason, Why the Splenetic Temper of the Nation should not make the Government as dangerous to the People, as it renders the People dangerous to the Government, seeing the Administration must always be in the Hands of Englishmen; and I would pray him if he can to give me an Instance where he has read of a better Understanding betwixt Prince and People than there was betwixt Queen Elizabeth and her English Subjects; or if he can parallel the Instance of the present Government, that any Monarch did ever venture to leave his Dominions so frequently, and with ●o much Confidence and Security, as his present Majesty has done, notwithstanding the Faction of a dethroned Prince in the midst of us, and a powerful Enemy at War with us abroad, at all times ready to Encourage them to rebel: And then ● shall yield him the Point, That the English are more Splenetic than their Neighbours.  
But now as to his Remedy [the Drama.]  
He tells us, That the Passions are seldom any where so pleasing, and no where so safe as in Tragedy 
* Page 10. . But seeing the Representations there are generally contrived to represent the sudden turns of Fate, the unhappy result of Violence & Injustice, and 〈◊〉 Intrigues carried on for the suppressing of Tyrants, I am afraid it will scarce be proper for a Splenetic People: And thus we see how well he has proved, That the Stage is more particularly Instrumental to the Happiness of Englishmen.  
In his third Chapter he pretends to answer the Objections from Reason, and denies that the more the Passions in any Man are moved, the more obnoxious they are to be moved, and the more unruly they grow 
† p. 16. . This he says is contrary to common Experience, because-the more any person frequents Plays, the harder he is to be pleased and moved. But by Mr. Dennis' favour, his Answer is nothing to the purpose, or just no more than this, that the longer a man eats Beef, the less he cares for it: He knows the old saying, jucundissima Voluptas quam rarior usus commendat, a man may be cloyed with the greatest Dainties. But can he deny that the more a Choleric Man's Passion is moved, the more peevish and outrageous he grows; and the more the Letcher's Passion is moved, the more lustful and brutish he grows, so long as Nature will keep pace; or the more the Miser's Avarice is moved, the more covetous he grows, till his mouth is filled with dust. If he can deny this, he is fit for his own Heaven, where his Reason shall be no more 
† p. 8. .  
In the next place he denies that Corruption of Manners proceeded from the establishment of the Drama upon the Restoration of K. Charles the 2d. ●st. Says he, Because we never heard any Complaint of the like Corruption of Manners before the Restoration of K. Charles the II. tho' the Drama flourished in the Reign of K. James I. as Mr. Collier tells us, with the like Licentiousness 
† Page 19 . By Mr. Dennis' leave here's a contradiction in Terms, a Stage as licentious as ours at present, whose Abuses he owns in the same page to be palpable, and yet no Complaint of Corruption of Manners. But because I will give him a better Authority than his own, let him read Mr. Prin's Histriomastix, and there he will find Complaint enough before the Restoration of K. Charles II. and sufficient cause for it too.  
The ●d Argument, That the Corruption of Manners is greater in France, tho' their Theatres are less licentious than ours, will stand him in little stead; for supposing it true that the Manners of the French are more corrupted than ours, which I am afraid will scarcely be granted: tho' their Theatres be less licentious, their Religion is more, which allows them to be as wicked as the Devil can make them, provided they have but Money enough to pay for a Pardon, or fury enough to persecute the Protestants. That the Germans are greater Drinkers, and the Italians more inclinable to Unnatural Lust, tho' they have less of the Drama than we: Perhaps they will charge the Cause upon Heaven as he does, and impute it to their Clime; but can he say that if they had more of the Drama, they would not be more addicted to those Crimes than at present they are. If he will give himself the trouble of reading the Authorities I have formerly quoted, he will find both those Crimes, and particularly the latter charged upon the Stage: Nor can Mr. Dennis assign any Reason why going from the Theatre to the Tavern with a Miss, or other lewd company, as is but too too common, should not occasion Drunkenness and Sodomy both.  
His 3d Argument is 
† p. 20. , That the Corruption of Manners upon the Restoration appeared with all the fury of Libertinism before the Playhouse was reestablished. And that the Cause of that Corruption could be nothing but that beastly Reformation, which in the time of the Late Civil Wars, begun at the Tail instead of the Head and Heart, and which oppressed and persecuted Men's Inclinations, instead of correcting and converting them, which afterwards broke out with the same Violence that a Raging Fire does upon its first getting Vent: And that which gave it so liscentious a Vent, was not only the Permission but the Example of the Court. Which having sojourned for a considerable time both at Paris and in the Low-Countries, united the Spirit of the French Whoring to the fury of the Dutch Drinking.  
Here's Civil Treatment to the Parliament of England, a parcel of beastly reforming fellows, and a reforming Tail too. But by Mr. Dennis' leave, whoever's the Head, the Parliament is the Brains; they have all the trouble of Contriving, and one half, nay some say two thirds of the Authority of Enacting Laws, and no small share in putting them in Execution; so that for them to attempt a Reformation when the Court would not, proves them to have been the Men, and some body else the Beast. But to pass that, I must entreat Mr. Dennis to be merciful to his own Arguments, and not always to cut their Throats with his own Hands. For first, he tells us, That the Cause of that Libertinism, was nothing but that beastly Reformation. And then he informs us, that it was permitted & encouraged by the example of the Court, who had united the Spirit of the French Whoring to the fury of the Dutch Drinking; so that he is resolved the Court and Parliament shall have it betwixt them, and not a Farthing matter which, so the Stage be but clear on't. And he hath also obliged the World with a very important Discovery, that persecuting and oppressing of Libertinism, was the Cause of Corruption of Manners.  
But alas! the poor man in one of his heavenly Ecstasies, when he was delivered from the Mortal Organs of his Reason, turns Cat in Pan, plays Sir Martin Marr-all, and falls foul upon his Friends of the Stage; for in the very next words he tells us, That the Poets who writ immediately after the Restoration, were obliged to humour the depraved tastes of their Audience. For if the Poets of those times had writ without any mixture of Lewdness, the Appeties of the Audience were so debauched, that they would have judged the Entertainment insipid. So that here's a fair Confession, that the Stage promoted and encouraged the Corruption of Manners. But then being sorry that he has done his Friends this diskindness, he makes them amends, and concludes this Paragraph thus, That 'tis evident that the Corruption of the Nation is so far from proceeding from the Playhouse, that it partly proceeds from having no Plays at all.  
— Risum teneatis amici.  
His fourth Argument is, ●That the Stage cannot possibly encourage or incline Men to Drunkenness, Gaming and Unnatural Sins, and that the Love of Women is fomented by the Corruption, and not by the Genuine Art of the Stage 
† P. 25, 26. .  
To prove this Argument, he alleges, That Drunkards are always rendered Odious and Ridiculous by the Stage, Gamesters are never shown there, but either as Fools or Rascals, and that of those four Reigning Vices, the Stage only Encourages Love to Women, which is the least, th● least Contagious, and least Universal, and is a Check upon the other three; and particularly upon Unnatural Lust, which is the most destructive to the Happiness of Mankind 
* Page 25, 26, 27. .  
I answer in the first place, that Mr. Dennis' Argument and his Topics to prove it, are founded merely on his own Authority: and in the next place, that here, as elsewhere he is guilty of Contradictions. — The Stage (he says) does not encourage the Corruption of Manners; and yet owns 〈◊〉 incourages the Love of Women.— Then again, ●hat the Love of Women is least Contagious;— and yet owns [pag. 26.] That it has more of Nature, and consequently more Tentation.— So that his Arguments like Cadmus' Earthborn-men [in Ovid] fall foul upon and destroy one another.  
But for a further Answer, I must tell him, that those Sins have generally a Dependence, and are mutually productive of one another; and the Theatre being the Common Rendezvouz of lewd Company, the Contagion spreads, and they are frequently infected with one another's Crimes.  
Our Author hath owned that the Theatre incourages the Love of Women; and Ovid who was a very good Judge in the Matter, tells us, that Venus inclines Men to Idleness, Gaming and Quaffing, or at least that those Vices are usually Companions.  
Quam platanus rivo gaudet, quam populus unda,  
Er quam Limosa canna palustris humo  
Tam Venus Otia amat, qui finem quaeris Amoris,  
C●dat Amor rebus, res age tutus eris,  
Languor & immodici sub nullo vindice Somni,  
Aleaque & multo tempora quassa mero  
Eripiant omnes animo sine vulnere vires,  
A●●luit incautis desidiosus Amor.  De Remedio Amoris. Lib. I. 
If we may believe Historians, Stage-Plays were first devised by a parcel of Drunken Grecians in Honour of Bacchus 
* Athenaeus, Dipnosoph. Lib. 2. c. 1. , to whom they were consecrated 
† Plutarch. Roman. Quaest Quest. 107. , and hence Tertullian calls the Theatre, The Temple of Bacchus 
* De spectae. . Salvian joins the Roman Stage, their Epicurism and their Drunkenness together, as mutually producing one another 
† Hon. 62. ad Pop. Antioche●um. .— The Roman Emperors, Caligula, Heliogabalus, Nero, Commodus, Galienus, and others who delighted most in the Stage, were the most Debauched, Luxurious and Drunken of all others, as may be seen in Suetonius.  
It was usual for the Heathen Greeks and Romans to have Stage-Plays at all their Drunken Riotous Feasts, on purpose to draw Men on to more Intemperance and Drunkenness 
* Plutarch. de Gloria ●theniensium & Sympos. 〈◊〉. 7. . Thus we see that Drunkenness was both the Parent and Offspring of the Ancient Stage; nor can our Author give us an instance, that our Modern Theatres have reform those that frequent them, from Gaming and Drunkenness.  
The Author of The Third Blast of Retreat from Plays, complains, That in his Time, the Actors and Play-haunters were the greatest Frequenters of Taverns, Alehouses, Brandy-shops, etc. and mighty Quaffers, Health-Drinkers and Epicurers, that 'twas their usual Practice to haunt the Playhouse, the Bawdy-house and Publick-houses by turns, and to go from the one to the other, and that the Playhouse was the common Place where their Riotous Meetings at Taverns were appointed, and the Reason he gives of it is this, because Drunkenness, Epicurism, Luxury and Profuseness were Rhetorically applauded on the Stage, and set off with the highest Encomiums; and those who spent their Estates this way, were dignified by the Poets, with the Title of Brave, Generous, Liberal and Jovial Sparks; as juvenal expresses it:  
— Haec tamen illi  
Omnia cum faciant hilares nitidique vocantur.  satire II. 
As to Mr. Dennis' seeming to think uncleanness a less Sin than Gaming, and that the Love of W●men encouraged by the Stage is a good Preservative against Sodomy, it's ridiculous. To allow one sin to prevent another, is Playhouse Divinity, and to advance that the inflaming of Lust is a proper way to prevent its exerting itself upon unnatural Objects is an odd kind of Philosophy.  
If the Playhouse have this Effect now, it's more than it had formerly, when we find that the profligate Custom of Men, and women's putting one another's Apparel promiscuously on the Stage, was a mighty incentive to that sort of Villainy.  
Sophocles the famous Greek Tragedian, whom Mr. Dennis calls Divine, is accused by Athaeneus 
† Athaeneus Dipnos. l. 13. ; Plutarch 
* Plutarch. Amar.  and many other Authors for this Impiety. St. Cyprian charges the same upon the Pantomimes and Players of his time in his 3d Epistle to Donatus, where he expresses it thus, Libidinibus insanis in viros, viri prorunt, etc. St. Chrysostom brings the same Accusation against the Stage in his time in his 12th Homily on the ●st Epistle to the Corinthians, where he says, The Theatres gather together Troops of Harlots, and Boys turned Ganymeds', who offer Violence to Nature itself. And that our English Stage has not been free of this horrid Crime, we are informed by Mr. Stubbs, in his Anatomy of Abuses 
Pag. 105. , where he affirms, that Players, and those that frequented the Stage, played the Sodomite in their secret Conclaves.  
Mr. Dennis in his 4th Chapter pretends to answer Mr. Collier's Objections from Authority. His Exceptions as to most of 'em I have already take● notice of in my Answer to the Reviewer, and therefore shall only Answer what Mr. Dennis has advanced that is new; and the first is, that the Stage is of admirable advantage to Learning, and that the Theatre is certainly the best School in the World for History, Poetry and Eloquence 
† P. 35, 36. .  
Enough has been said already to prove that it can be of no solid advantage to Learning; for when men's Minds are infected with Vice, they are not fit for any profitable or generous Study, as appears by Seneca's Complaint, that the Stage diverted the People from attending on his Philosophical Lectures. As to History, the falsehood of the Assertion is plain; for we may learn more of that by reading the Greek, Roman, and other Historians, than by all the Plays that have ever been writ, which for a mangled scrap now and then of true History, have ten times more of Fable.  
Then as to the point of Eloquence: We have Quintilian the famous Orator against him, who in his Directions, How an Orator should frame his Speech, Voice and Gesture, enjoins frequent declaiming, and the often repeating of Eloquent Orations, but expressly forbids him, to imitate Players or the Custom of the Stage, or 〈◊〉 express or act the Slaves, the Drunkards, Lovers or any such Playhouse part, because they were no ways necessary for an Orator, but would rather corrupt his Mind and Manners than any way help his Elocution or Action 
* Instit. Orat. ●. 1. c. 18, 19 . And I would very fain know of Mr. Dennis, which of all the Admirers of the Stage can be compared for Eloquence to St. Chrysostom, Tertullian, St. jerom, and the rest of the Fathers that never frequented the Stage but wrote against it.  
But granting it to be true, that the Theatre promoted Eloquence, we may very well say with St. jerom, Melius est aliquid Nescire, quam cum periculo discere 
* Epist. 2●. c. 13. . Better never learn it, than run such a risk for it. Besides, an Orator ought to be Grave and Serious, whereas the Stage is Light, Wanton and Lewd. If Cicero that great Master of Eloquence had thought the Stage necessary for promoting that desirable Attainment, or had he owed his Formation to it, in so great a measure, as Mr. Dennis says he did 
* Page 36. , certainly he would never have been so much an Enemy to Eloquence or so ungrateful to the School, whence he learned it himself, as to advise the Romans to abandon it, lest it should render them Effeminate and Corrupt, and so overturn their Empire, as it had done that of the Greeks 
* Tusculan Quaest l. 4. , he would rather have advised the Reforming of it, as Mr. Dennis does, but that he saw 'twas impracticable, and would turn to as little account as Ploughing the Sand: Nor can he ever prove, that Demoshenes acquired his Oratry by frequenting the Stage. Plutarch tells us he repeated his Speeches before a large Looking-glass to regulate his Gestures. But admitting once for all, that there's a great deal of Eloquence, Wit, Invention, History and other parts of Learning in Stage-Plays, there's so much Obscenity, Scurrility and Lewdness mixed with it, that it only serves as a Tincture of Sugar or a Glass of Cordial to convey a venomous Potion, and the stronger the Wine, or the better the Conserves that are tempered with the Poison, the more▪ effectually and indiscernibly it kills.— For (as Tertullian says on this very Subject,) no Man mixes Poison with Gall and Hellebore, but with the sweetest, most savoury and best relishing Ingredients.— Therefore (says he) look upon those strong Lines, those moral Sentences those pompous Expressions, and witty Sayings as Honey distilling from a poisonous Limbeck, and don't let the Pleasure of your Palate betray you to the endangering your Lives 
† Despectac c. 27. .  
I shall conclude this Point with the pertinent Expression of Salvian on the same Subject.— Stage-Poets (says he) have rather damned than illustrated their Wits and Parts.  
Mr. Dennis alleges [pag. 36.] that before Thespis appeared in Attica, and reduced the Drama to some sort of Form, they had neither Author nor Knowledge among them that could be esteemed by Posterity, which is notoriously False; For Thales who is reckoned the first of the 7 Wisemen of Greece was before him; and Solon another of them, who is justly accounted the wisest of the Ancient Greek Legislators, after having seen one of his Tragedies, opposed him to his Face, forbade him Acting any more, upbraided him for the Lies uttered in his Play; and told him if his Drama were approved, they should quickly find Lying and Cheating in their Contracts and Bargains, as has been noted already; so that her● the Stage was nipped in the bud, and yet I must tell our Author, that it was not then managed in so lewd a manner as it is now (tho' bad enough it seems to be censured by Solon) for Diogenes Laertius informs us, That Tragedy was then carried on by a Set of Musicians, who sung Hymns in the Praise of Bacchus (which confirms what I have already said, That the Stage had a Drunken Original) and then betwixt those Hymns Thespis Introduced an Actor, who repeated some Discourse on a Tragical Subject, and afterwards brought in Satyrs in open Charets, having their Faces daubed with the dregs of Wine to resemble the high coloured Visage of the Satyrs.  
Mr. Dennis had as good have forborn mentioning those Philosophers and Historians Socrates, Plato, Xe●ophon, Aristotle, etc. whom he calls the Wonders of all Posterity, for it will appear from what ●as been said of them already under the Head of Philosophers against the Stage that most of them disproved it, even Socrates himself who he says, first began to form their Manners out of the Theatre.  
As to his Objection of some of them having writ Tragedies, it's nothing to his Purpose; It's very well known, that Tragedies were then repeated for the Instruction of the Audience, but not acted with profane and villainous Gestures to corrupt the Morals of the Spectators; and thus the Comedies and Tragedies of the Ancients, such as Soph●●les, Euripides, ●eschylus, Menander, Seneca, and others were read by the Poets themselves, or some that they appointed, it being accounted a disgrace for the Authors to have them acted in Stage Plays, as appears plainly by that of Horac●,  
— An tua demens  
Vilibus in Ludio dictari carmina malis?  Serm. L. I. § 10. 
D●odorus Siculus 
* Bib. Hist. l. 14. § 11●. , Quintilian 
† De Orator. Dia. 1, 6, 〈◊〉. , and others testify the same, which is quite another thing than Acting of Plays, there being no Body against Writing a Poem in Nature of a Tragedy or Poetical Dialogue, with several Acts and Parts to add Life and Lustre to it.— Thus Apolinaris the Elder, when he was forbid Preaching by julian the Apostate, or to educate Chrisitian Youth in Learning and Poetry, composed divers Tragedies in Imitation of Euripides, and Comedies in Imitation of Menander and Pindarus, consis●ing only of Divine Arguments and Scripture Stories, by which he instructed those to whom he could not have Liberty to Preach.— Thus about the time of the Reformation here in England several good Christians, propagated the Protestant Doctrine under the Veil of Dialogues by way of Comedy and Tragedy, insomuch that the Popish Clergy got them forbidden by the 34 and 35 of Henry 8. c. I. The famous Du Plessis Mornay, writ a Tragedy of Ieptha's Daughter: The great Poet Buchanan did the like; he wrote also another called Baptistes, and translated into Latin the Medea and Alcestis of Euripides, but it will not therefore follow that those great Men approved the Stage. Buchanan in his Dedication of Alcestis to Margaret of France Sister of Henry II. recommends that Tragedy to her, because there is no mention in it of Parricid, Witchcraft or other Crimes with which Tragedians, commonly abound; so that by this he rather Censures than approves the Theatre.  
Our Author's Assertion, That the Stage was Established in Queen Elizabeth's Time, and flourished in that of K. james, upon which Spencer, Bacon and Raleigh, three Prodigies of Wit, appeared all at once, and that we had no first-rate Writer till Henry VIII. is like the rest of his Learning and Confidence. It was so far from being established in Queen Elizabeth's Time, tho' it had then but too much Encouragement, that all the Playhouses in London were suppressed upon a Petition to that Queen in 1580.— The Stage was restrained by the 14th and 39th of her Reign, and Books against it, there dedicated to her Secretary Walsingham, and it was so far from flourishing in King james I. time, that in the 1st Year of his Reign, Stage-Players were by Act of Parliament declared Rogues and Vagabonds, etc. as has been already said under the Head of The English State against the Stage.  
As to the Learning of Bacon and Raleigh, it surpasses Mr. Dennis' Skill to prove that it was any way owing to the Stage, and indeed according to his solid way of Writing, he owns as much himself, when he says, immediately upon the Establishment of the Drama, those three Prodigies of Wit appeared.  
And I must likewise observe, That Bacon and Raleigh (as he calls them) employed themselves in more generous and manly Studies, than any the Stage can boast of, as appears by the Learned Works they have left behind them.  
As to the other part of his Assertion, that we had no first-rate Writer on any Subject before Henry VIII. it's an injury to the Nation, and a proof of his own Assurance and Ignorance. To name but a few.  
What does he say to Rog. Bacon who lived in the 13th Sentry, and for his skill in the Mathematics, was esteemed a Conjurer, and summoned to appear at Rome on that account, where he cleared himself and was sent back again. To go a little higher.  
What does he think of the Venerable Bede, who lived in the beginning of the 8th Century, from the Birth of Christ, to whose time Bale reckons but 79 British Writers? Did he never hear of Sir Thomas Littleton, the Oracle of the Law, who lived in the Reign of Henry VI of Bracton or Fortescue? But because I will trouble my Reader with no more, I would advise Mr. Dennis to turn over Bale's Centuries of English Writers, and there he will find his bold Assertion to be shamefully False: For in the 8th Century; that Author reckons 18 more Writers besides Bede, 7 in the 9th, 14 in the 10th, 18 in the 11th, 87 in the 12th, amongst whom were 6 of the Decem. Angliae Scriptores; 123 in the 13th, 244 in the 14th, 137 in the 15th; and from thence to the Year 1557. but 137 more. Not that these were all First rate Writers, but it is sufficient to show, that the State of Learning was not so low in England as Mr. Dennis would represent it to have been: And that the increase and decrease of Learning, has no dependency on the Stage; all that our Plays can pretend to teach, being only some scraps of Rhetoric and History, which may be much better learned elsewhere.  
The Reflections which he casts on the Parliament times when the Stage was abolished, are full of Malice and Ignorance. No Man can expect that Learning should flourish during an Intestine War, yet those Times were not without Eminent Scholars in all Faculties; and upon Enquiry it will be found, that most of the great Men England can boast of, laid the Foundation of their Studies, and form their Thoughts before the Stage was restored by King Charles II. The World cannot deny, but Selden and Milton were famous for Learning, tho' they were of the Parliaments side, & owed nothing of their Education to the Stage. Nor can our Author pretend, that the Lord Chief Justice Halcs, or the Beginners of the Royal Society, the Doctors, Ward, Wilkins, Wallis, etc. or the famous Mr. boil, were any thing indebted to the Theatre for their great Learning.  
The slovenly Reflection he casts on the Divines of those times, sufficiently discovers, that he's but sorrily read in Divinity.  
The Doctors, Calamy, Case and Manton (whom he mentions with so much Contempt,) are approved by better Judges than any that writes for the Theatre, the good acceptance which the latter's Volumes of Sermons have met with from the Public, have sufficiently proclaimed their Value; and if our Author had a little bethought himself,— the great Archbishop Ʋsher flourished in those times, who was no Friend to the Stage; The most Learned Bishop of Worcester, whom he forgets to mention, was well advanced in his Studies, and had given sufficient proof of his Extraordinary Abilities, before the Revival of the Stage; and I dare boldly aver, that the Theatre afforded him none of those Learned Arguments, by which of late he hath baffled the Deist● and Socinians. The Bishop of Salisbury, whose Learning has made him famous, owes his Education to a Country where the Stage never took root.— The late Archbishop Tillotson owed nothing of his great Endowments to the Theatre: And I Question whether Mr. Lock and Mr. Newton, whose Learning he mentions wi●h deserved applause, will give it under their Hands, that they have had any Benefit by it.— This Venomous Reflection, That none were encouraged in the Parliament times, but Hypocritical Fools, whose abominable Canting was Christened Gift, and their Dulness Grace 
* Page 42. , is no Scandal from the Pen of an Ignorant Libertine.  
It's very well known, that some of them that are yet alive, such as Dr. Bates, Mr. How, Mr. Also●, etc. are in general esteem by the Learned Men of all Sides; the two former were particularly respected by the late Archbishop Tillotson for their great Learning and Worth; and the latter is sufficiently known to the World for the Accuteness of his Pen, his admirable Talon of Preaching and Universal Learning.  
It's needless to mention Dr. Owen, Mr. Baxter, Mr. C●arnock and Mr. Pool deceased; and I had almost forgot to mention the Poly-Glot, a Laborious and Learned Work, the Birth of which is owing to those times.  
In a word: The Reflection is so malicious and ill grounded, that nothing can justify my insisting so much upon it, but that it was necessary to Answer a Fool according to his Folly, lest he should be wise in his own Conceit.  
I come now to his Second Part.  
Where in the first Chapter he asserts with his usual Confidence, That the Stage is useful to the Government; which if true, the Ancient Greeks and Romans, who understood Government the best of any People in the Gentile World, were very much in the wrong when they banished the Stage by the Decree of the State (as has been already mentioned) and the Government of England were mightily out in their Measures in the time of King james and Charles I. when by Act of Parliament Stage-players were declared Rogues and Vagabonds.  
If the Stage be such a Sovereign Remedy against Ambition and the Immoderate Love of Pleasure, as Mr. Dennis would have it 
† Page 51. , what unlucky Stars were they that marred its Influence, and prevented its curing of julius Caesar, Nero and others of old, and three of our own successive Kings of late; who encouraged and frequented it more than any of their Predecessors? How came the Jews to be so foully mistaken, as to think that the Stage would over-turn their Constitution, as I have already proved from josephus, or did old Samuel's Spirit of Prophecy forsake him when he recommended the perusal of the Law of God to the Kings of Israel, as the properest Method to keep them steady in their Administration 
† Deu. 17. 18. : Had there been such Poets amongst them in those days, who (as Mr. Dennis has it) are sometimes by a Spirit, not their own, exalted to Divinity 
* Pag. 44. . They would have prescribed Tragedy, as the best Remedy against their inconsiderate Ambition and immoderate love of pleasure 
† * Pag. 52. .  
Nothing, says Mr. Dennis, is more capable than Tragedy, of raising the Soul, and giving it that Greatness, that Courage, that Force, and that Constancy, which are the Qualifications that make men deserve to command others; which is evident from Experience. For they who in all Countries, and in all Ages, have appeared most to feel the power of Tragedy, have been the most deserving, and the greatest of Men. Aeschylus among the Athenians was a great Captain and Tragic Poet. Sophocles an able States. man, and a victorious General. The very greatest among the Romans were so far touched with the Drama, as either to write their Plays themselves, or to build their Theatres; witness Scipio, Lelius, Lucullus, Maecenas, julius and Augustus. None among the French has showed so much greatness of Mind as Richlieu; and none so much passion for the Drama, which was so great, that he writ several Plays with that very hand which at the same time was laying the Plan of the French Universal Monarchy.  
This is one of Mr. Dennis' raptures, when exalted to Divinity, which inspired his Pen with irresistible Arguments: But I am afraid his Divinity is not of the right stamp; for had he looked into the Divine Records, he would have found that Moses, joshua, jepthah, Samson, David and others have far outdone all that he has named, for greatness of Courage, and qualifications for Government, and yet never one of them saw a Tragedy. Hunniades, Scanderbag, Tamerlan, Zisca, Gustavus Adolphus, were equal for Valour to any of his great Samplars, and yet not one of 'em were inspired by the Stage. Then for the mighty Richlieu, he was so far overmatched by his own Contemporary, Oliver the Stage-hater, that for all the Courage of his Tragical Pen, he could not save himself nor his Country from trembling, when the Usurper Roared. Nor was the Theatre able to cure his own Ambition: But notwithstanding Mr. Dennis' probatum est, with the same Hand that he wrote his Plays, he laid the foundation of the hatefullest Tyranny that Europe hath known for several Ages. I must also make bold to tell Mr. Dennis, that the countenance given to the Stage by julius Caesar, Pompey, and other aspiring Romans, seems rather to have been the effect of their Ambition, than proposed as a cure for it, that by immersing the people in Debanchery and Pleasures, they should be rendered the less careful of their Expiring Liberties, which the Senate being aware of, thought fit whilst they had any power left them, to cashier the Stage; and this being the Opinion of the State, is more to be regarded than that of any particular person how great soever. It's likewise worthy of our observation, that Augustus himself, and several other Emperors who favoured the Stage, were soreed to discharge it at last as a Nursery of Lewdness and Villainy. Scipio Nascica a great General, who by Vote of the Senate was declared the best Man of the Commonwealth, because of his extraordinary Valour, Prudence and Morality, suppressed the Stage as destructive to the Morals of the People. Trajan, who if Pliny may be credited, was one of the best Roman Emperors, did the like: And the Emperor Alexander Severus, who was none of the worlt of them, withdrew the Pensions of the Players; so that all that were great among the Romans, were far from favouring the Stage.  
The Influence which Mr. Dennis ascribes to the Stage, in preventing Rebellions amongst the People 
† Page 56. , is equally ridiculous with his other Propositions. It's but a few of the People at best, who have either time, opportunity or money to frequent the Theatre; so that by necessary consequence its Influence can never be universal; but besides, he is contradicted by matter of fact, the Encouragement given to the Stage here in England, could neither prevent the opposition made by the Parliament and People to Charles the Is't, nor the Plots of the Papists against Charles the IId. nor the Revolt of the Nation from the last K. james. The Stage in France could not prevent the Rebellion against Lewis XIV during his Minority; and it's remarkable, that the Protestants of that Kingdom, who have declared against the Theatre in a National Council, as before mentioned, were his firmest Friends.  
It's pleasant to read how this Stage Panegyrist will in spite of History and common Sense ascribe all the Great things done by the Greeks and Romans to the Influence of the Stage 
† p. 59, etc. , when the States of both condemned them, as occasioning a dissolution of Manners, which rendered them unfit either to defend themselves, or to conquer others. And Themistocles in particular, who is one of the Generals he mentions, had so low an Opinion of the Theatre, that he made a Law against Magistrates frequenting it, lest the Common wealth should seem to play and loiter in the Stage 
† Plutarch in Vita Themist. . Pericles, another of them, who was joint Praetor with Sophocles, rebuked his Companion for beholding and commending a beautiful Boy, telling him that wanton looks did not become a Praetor 
* Io. Sarisb. Nug. Cunal. lib. 1. cap. 8. ; what would he have said then of the Modern Stage? Our Author has forgot to mention Alexander the Great, the Discipline and Apparel, of whose Army smelled nothing at all of the gaudy and lascivious Theatre, and yet his Conquests exceeded all those of the other Greek Captains he hath named.  
Then as to his Roman Instances, Scipio Africanus was so far from approving the Follies of the Stage, that he pitied the Commonwealth, as drawing near its Ruin, when he saw the Children of the Nobility bred up to Dancing, and singing to the praise of Stage-Players, which their Ancestors reckoned disgraceful 
† Sallust. Saturnal. lib. 3. ; and therefore his building, or rather advising a sort of Reform as to the Seats of the Theatre, to distinguish the Senators from the People, seems rather to have proceeded from a Compliance with Custom, and a design to humour the Times, than from his approbation of Stage-Plays. Besides, there's no man acquainted with Roman History, but must needs know that their Theatres were applied to other uses, as public Orations, and the Execution of Malefactors; so that the Erecting of a Theatre, will not always infer the approbation of the Drama.  
Pompey indeed built a Theatre of Stone after the former had been destroyed by Scipio Nasica, and to prevent its being demolished by the Censors in time to come, Erected a Temple of Venus on the top of it, which was no great proof that it was designed for a Reformation of Manners; and this the Senate was so sensible of, that they blamed Pompey for Building his Theatre, as I have said already.  
Mr. Dennis in the same ridiculous manner ascribes the Union of the French, and their Conquests to the Influence of the Drama, and the loss of their Conquests to the ceasing of the spirit of Dramatic Poetry among 'em before the beginning of the last War 
† p. 61. .  
But if he would be pleased to look back to the Time of Charlemaigne, who was a Mortal Enemy to the Stage, he will find that France extended her Conquests a great deal further then, under his Conduct, than she has done by the Influence of the Drama under Lewis XIV. and kept them longer too: And I would pray him to observe, that our own Glorious Sovereign King William, who hath obliged the French to resign their Conquests, is no great Admirer of the Stage; so that it's something else than the Drama that hath given him the Ascendant over France. And the World must own that his Courage and Conduct, and Qualifications for Government are equal to any of those whom Mr. Dennis has mentioned, as the great Patrons of the Theatre.  
In his Second Chapter 
* From p. 63 to 68 , he would persuade the World, That the Stage is particularly useful to the English and especially the present Government, because the English are more prone to Rebellion than any People upon the Face of the Earth; and that we have been longer at quiet since the flourishing of the Drama, than at any time before since the Conquest; and that the Civil War was begun by those that were Enemies to the Stage.— So much for its Usefulness to the English in general.  
Then he proves its Usefulness to this Government in particular, Because some of its Friends would prove averse to it, if the Stage were either suppressed or very much discouraged, and that it diverts the Enemies of the Government, hinders their Plotting, and frequenting jacobite Conventicles.  
Here's another piece of Civility to the Nation again; They are the greatest Rebels on Earth according to him; but this I have answered already. That we have had more Peace since the flourishing of the Drama, than at any time since the Conquest is false. It cannot be said to have flourished but since the Restoration of Charles II. For it was restrained in Queen Elizabeth's Time, by Act of Parliament, and banished the City of London, (as has been already said) yet her's was a Long and a Peaceable Reign.  
Stage-Players were condemned as Rogues in that of King james, yet we had Peace all his time.— But the unanswerable Argument is this, Those that rebelled against Charles I. were Enemies to the Stage: But if Mr. Dennis will be pleased to look back, he will find I have proved, That the Incendiaries and Fomenters of the Civil War, were the Friends of the Stage, who taught Rebellion against our Constitution, set the King above all Laws, and would have trod Parliaments under foot, who are two thirds of our Government, if the two States of Lords and Commons may be allowed that Name. But if this will not do, what will Mr. Dennis reply, if I tell him, that those very Men who were Enemies to the Stage, or at least their Successors in Principle and Practice, who abhor the Tyranny of 41, as much as Mr. Dennis abhors the Rebellion on't, are the firmest Friends this Government has: And here I'll venture to say once for all, That it's very dangerous to our present Establishment to have the Theatre managed by such kind of Persons as our Author and others, who exclaim with so much Malice and Ignora●●● against those very Maxims, which contribute 〈◊〉 the Happy Revolution; for if resisting or dethroning a Prince be in no case Lawful, which is the common Theme and known Principle of most of the Libelers against 41, it will by necessary Consequence, condemn the Revolution of 1688. So very useful are some of the late Advocates and Authors for the Stage to the present Government (I will not say all that have writ Plays) for I know that Mr. Tate, and some others, whose Parts deserve a better Employment, are Persons of Generous English Principles.  
Our Author's Insinuation, that the Suppression or Discouraging of the Stage, would create an Aversion in any of the Friends of the Government to the present Constitution, is so very silly, that certainly he must be ashamed of it himself upon second Thoughts.— Does he think that a Prince of such Courage and Bravery as ours, puts any Value upon the Friendship or Enmity of a parcel of Men, who have been declared Rogues and Vagabonds by the Statute, or that the Nation would any way resent the overturning of the Stage, which never had any continued Footing nor settled Encouragement among us, but under the Reign of a Luxurious Prince, especially considering how Instrumental it has been to the debauching of our Youth? Does he think that the People, who have looked on with Satisfaction to see several of those Non-jurant Bishops turned out of their Sees, though once they adored them, when Petitioners against King James' Declaration, would bestow one sigh on the lewd Stage, though it were first pulled down, and then built up again, to make its own Funeral Pile. The contrary would be so true that thousands of Husbands, Parents and Masters, who have had their Wives, Children and Servants debauched by it, would gladly throw up their Hats at such a Bonfire, and lay such a curse upon those that should ever attempt to erect another Stage, as joshua laid upon the Re-builder of jericho. The Nation is brought to a delicate pass indeed, when we must not talk of overturning the Stage, but a parcel of debauched Wits will threaten the Government.  
If the Thing were worthy of His Majesty's Notice, he might well answer in the Words of Augustus, formerly mentioned in the like case, That he had been powerful enough to make his Enemies stoop, and is he not able now to banish jesters and Fools.  
His next Insinuation, That it diverts the jacobites, and prevents their Plots and Conventicles, is equally absurd: Let him but cast an Eye up to Westminster-Hall, or the City Gates, and there the Heads and Limbs of Charnock, Perkins and Friend, etc. will tell him to his Face that he's mistaken.  
His Answers to the Objections from Authority, in the Third Chapter, I shall pass over, as having said enough on that Head already, in Answer to others. And as for his Pretence in the rest of his Book, to show the Usefulness of the Stage to the Advancement of Religion, it's only a further proof of his Vanity and intolerable Confidence, seeing Fathers, Councils, and the best of Divines in all Ages have demonstrated the contrary; to their Arguments that I have quoted already, I refer him, and so bid him Farewell.  
If he think that I have not used him with that Smoothness that he might have expected, let him remember how he treated the whole Nation as Splenetic Rebels, the Parliament of England in 1641. as Traitors, and all the Divines of those Times as Blockheads and Hypocrites.   

CAP. XX.  
The STAGE Encouraged by the Universities.  
I Come next to consider the Encouragement given to the Stage by our Universities; which may also bear date from the Reign of King Charles I. for before that time, I find both of them had declared themselves against the Theatre.  
Dr. Reynolds, in his Book Entitled, The Overthrow of Stage-Plays 
† p. 151, etc.  affirms, That the best and gravest Divines in the University of Oxford, condemned Stage-Plays by an express Statute in a full Convocation of the whole University in 1584. whereby the use of all Common-plays was expressly prohibited in the University, lest the younger sort who are prone to imitate all kinds of Vice, being Spectators of so many lewd and evil Sports, as in them are practised, should be corrupted by them.  
And Mr. Prin informs us, 
† Hist. Mast. pag. 490.  That the University of Cambridge, enacted the like, That no Common Actors should be suffered to play within the Jurisdiction of the University, for fear they should deprave the Manners of the Scholars.  
And whereas it was objected, that the Universities approved of Private Stage-Plays acted by Scholars in private Colleges; Dr. Reynolds answers in the Book abovementioned, That tho' they connived at them, yet they gave no public approbation to them, that they were not received into all Colleges, but only practised in some private houses (perchance once in three or four years) and that by the particular Statutes of those Houses made in times of Popery, which require some Latin Comedies for Learning sake, only to be acted now and then; and those Plays too were for t●e most part composed by idle persons, who d●● not affect better Studies; and they were acted 〈◊〉 such as preferred Vainglory, Ostentation, and Strutting on the Stage before Learning; ● by such who were sent to the University, not so much to obtain Knowledge, as to keep t●●m from the common Riotous way of living; ●s Parents send little Children to School to kee● them out of harms way; and their Spectators ● the most part were of the same sort, but the raver, better and more studious persons, especially Divines, condemned them, censured them, and came not at them.  
Thus we see that our Universities formerly condemned the Stage, and that they came afterwards to countenance them, must without doubt be ascribed to the Influence of K. Charles, I. and A. Bishop Laud; for I find on Aug. the 30th. 1636. the Students of Christ-Church in Oxford presented a Tragi-comedy called, The Royal Slave, to the K. and Queen, which was afterwards presented again to Their Majesties at Hampton-Court; and the 2d. Edition Printed at Oxford, by William Turner in 1640. The Gentlemen of Trinity-college in Cambridge did before that, viz. in 1634. present a Comedy to the King, called Albumazar, Printed at London by Nicholas Okes; upon both which I shall make some Remarks; and first upon Albumazar.  

Remarks upon the Universities Plays before King Charles I.  
The Poet values himself in the Prologue upon the Dignity of his Audience, but chiefly addresses himself to the Ladies, whose Beauties, he says, made the whole Assembly glad. Whether the Play was altogether so pure and chaste as became His Majesty's presence, the Gravity of the University, and the Modesty of the Ladies we shall see afterwards; but this very hint of the Beauty of the Ladies cheering the hearts of the Assembly, will fall under our Saviour's Reproof, of not looking upon a Woman to lust after her, and is the very thing for which St. Chrysostom declaims against Plays, as we have heard already. Nor can it be reconcileable to the purity of the Christian Religion, which hath set a Bar upon our very Looks, for Men and Women to haunt Playhouses in order to ogle one another, as the Stage-Poets themselves now express it.  
Then for the Play itself.  
The Dialogue betwixt Albumazar, Harpax and Ronca where they applaud Theft and Robbery, as that which made the Spartans' Valiant and Arabia Happy, and charge it on all Trades and Callings, tho' guilt with the smooth Title of Merchant, Lawyer or the like, could have no Natural Tendency to teach Moral Honesty. Whether it might have any design to justify the after Practices of Levying Money without Consent of Parliament, Ex●orting Loan Money from Merchants and Tradesmen, as being only a better sort of Thiefs; or to justify Plundering the Country, as the Histories of those times say was very usual amongst the King's Soldiers afterwards, I know not, but the Fable seems to carry some such Moral, and the Authority of an University would go a great way among Libertines; so that it could but be collected by the least Innuendo, tho' never so much wrested. Albumazar's insisting upon Great Necessity, as the Cardinal Virtue, and it being Printed too in Italic, would seem to strengthen the Conjecture, especially seeing he goes on to represent all Mankind as Thiefs; and that the very Members of Man's Body are framed by Nature, so as to steal from one another, which is good enough Authority for the Head to steal from all the rest.  
The 2d Scene, Containing a Discourse betwixt Pandolfo, an old Fellow of 60, in Love with Flavia, a Girl of 16, and Cricca his Servant, is far from being Chast.— I cannot imagine what Edification it could afford to the Audience to hear an old Man insist upon his Vigour and Fitness for a young Girl, and his Servant on the other hand telling him, that one Night's Lodging would so much enfeeble him, as Flavia would make him a Cuckold. This seems more adapted to expose to Laughter the Dotage that old Age is now and then subject to, and to justify the Disloyalty of a young Wife so Wedded, than to bewail or reprove such Folly on both sides.  
It had been more becoming a Supreme Magistrate to provide against such unsuitable Matches by wholesome Laws, than to have had them represented as the Subject of Mirth on a Stage; as it would have been more decent for an University to have given him such Counsel, than to divert him with such ridiculous Entertainment.  
The Dialogue betwixt Albumazar, Pandolfo and Cricca, [about Astrology] is a mere Rhapsody of studied Nonsense, which looks very unlike the Practice of Christians, whose great Lawgiver tells them, 
Luke 18. 36.  They must be accountable for every idle Word.  
The Courtship betwixt Trincalo a Farmer, and Armellina, Pandolfo's Maid;— wherein Trincalo compares himself to a lusty strong Ass, and her to a Wanton young Filly, and that they should have a race of Mules if she were willing; is so very Coarse and throws so much Contempt upon the Country Farmers, who are so useful to the Nation, that it can neither be reconciled to the Maxims of Christianity nor Common Policy.  
In short, the whole Comedy is far from having any thing of a tendency to Virtue in it, except Reflections upon the City, as not affording a Dozen of chaste VIRGINS, and the like on Sheriffs and Justices of Peace as Cheating and Hectoring their Neighbours, and representing Country Gentlemen, as minding nothing but Wenching and Drinking, and young Gentlewomen talking smuttily of their Amours, be vert●ous Representations.  
If it be said as usual, that those Vices are represented in order to make them be abhorred, and the Guilty Persons ashamed of them, it is easy to Answer, That a Supreme Magistrate is authorised by God and the Laws of his Country, to punish those Vices by the Sword of Justice, which will be ten times more effectual, than making them the Subject of Diversion on a Stage.  
I come next to the Royal Slave, a Traguses Comedy, presented to the King and Queen by the Students of Christ-Church in Oxford.  
The Prologue to the King and Queen is on the Representation of one of the Person Magi, discovered in a Temple worshipping the Sun, and at the sight of a new Majesty, he leaves the Altar and addresseth himself to the Throne. What Moral this can include, is hard to determine, except it were that they had a mind to insinuate that it was no Crime to Sacrifice Religion to the Court, as too many of them attempted to do in reality, when they embraced Doctrines, contrary to those of the Church of England, for which some of them (as Laud, Montague and others) were censured by the Parliament afterwards.  
In the Prologue to the University, there's a Jerk at some that they call Late damned Books, and which they hoped would inspire none of the University with a harsh Opinion of the Play, which they allege was so innocent, that the ●ittle Ruff or Careless might be present at it, without fear, and they valued themselves highly upon the Presence of their Majesties, as giving Life to the Performance, and the King's Servants spoke much in the same manner, when they presented it before them at Hampton Court.  
The first Act represents a parcel of drunken Ephesian Captives, revelling in their Chains, and calling for where's, but bidding their Gaoler and his Wife be sure that they did not suffer any of the Young Students of the LAW to forestall the Market. The Gaoler too has a Jerk at the Custom of Singing Psalms at the Gallows. All which I humbly conceive was an Entertainment no way suited to the Royal Majesty of a King, nor to the modesty of a Queen: Nor was it any thing for the Credit of the Nation, that the Reins of Public Discipline should be so far let loose as to suffer such Practices amongst the young Students of the Law, if that was the Moral of the Fable.  
The Rape attempted afterwards upon the Persian Queen and her Ladies by those Ephesian Captives, and their lewd Discourses from time to time, was no very good Lesson, nor meet Entertainment for a Queen. And their bringing in the Persian Courtiers, yielding complete Obedience to Cratander, a Mock-King for three Days, because Arsamnes their Prince commanded it, and at the same time divested himself of his Authority for that space, seems to teach the slavish Doctrines so much then contended for by the Court, that i● was unlawful to resist the King or any, having his Commission under any Pretence whatsoever, tho' he should even overturn the Foundations of their Constitution, as here their Counterfeit Arsamnes did by making a Captive King of Persia.  
Nay, and this Play too which they pretend was so framed as it could give no offence to the Gravity of the University or Clergy, represents Atossa the Queen a little inclining to the Taint of an Unlawful Amour with Cratander the Three-Days●King, and him Entertaining it also, tho' at the same time he is their chief Pattern of Virtue.  
Indeed there's Praxaspis' Saying in the Second Scene, that seemed to be a Satirical hint, (tho' I cannot think, considering the Temper of the Stage, that 'twas so designed) Viz. that when one of the Ladies wondered that they had not chosen Cratander a Queen for Company, to imp his Reign. Praxaspis' answered, That the Female Sex was too Imperious to Rule, and would do as much harm in a Kingdom, as a Monkey in a Glass-shop, move and remove till they had broken all. Had her then Majesty taken the hint and forborn meddling with Affairs of State, it's probable that Matters had not come to that fatal Exit they did, which is one Instance more to convince our Advocates of the Stage, that those who frequent and admire it most, are never reformed by it.  
I shall forbear any further Remarks upon those Plays, these being enough to make good the Charge, that our Universities have encouraged the Stage, which is so much the more Criminal in ●hem, because they ought to instruct the Nation by their Example as well as their Learning Methinks the Reverence they owed to the Ancient Philosophers, Fathers and Councils, besides what our first Reformers, the Acts of Parliament and those of their own Convocations required from them, should have restrained them.— But to the great Misfortune of the Nation, neither th●se nor any Consideration whatever, were able to prevail with them; so that the Universities became infected with the Contagion of the Stage, and they being the Nurseries of Officers for the Church and State it was no wonder, if the Infection spread from them, all over the Kingdom, especially being patronised by the Court and A. B. Laud, and his Faction of the Church.  
This encouraged particular Students afterwards, such a; Barton Holiday and Gaspar Main (both of Christ-Church, Oxford) to write Plays: The latter in his Comedy, called, The Amorous War, is so very foul and smutty that it may well deserve the Name of downright Lewdness; but it's supposed he thought it Atonement sufficient to jerk at the City and Parliament, which he does there with abundance of more Malice than Wit.  
Neither Time nor Room will now allow me to inquire into later Instances of the Theatres being Encouraged by the Universities, but 'tis to be feared there's no great Reform amongst them, as to this matter, which I am the more inclined to believe by the following Prologue, which was spoke at a Musick-Act in the University of Cambridge, about two Years ago.  

PROLOGUE.  
THE Doctors being always much inclined  
To favour and instruct the Female kind,  
Out of their wont Goodness thought it meet,  
The Ladies we in Mother-Tongue should greet:  
For surely Cambridge would be much to blame,  
To let 'em go no wiser than they came:  
Whom Nature in so fine a Mould hath wrought,  
So pliant and so yielding to be taught;  
That in one Minute any Man may show,  
And teach 'em all their Aged Mothers know.  
Yet do whate'er you can, they'll have an itching  
For further Knowledge, and some deeper Teaching:  
Pity such pregnant Parts were not removed  
To Colleges, and by some Helps improved.  
Bless us! the Age would be extreme discerning,  
If all the Females too were big with Learning.  
I'm sure our Cambridge Ladies know the Art,  
Can all the Learned Mystery impart;  
When an old Book-learned Sibyl, dry and lean,  
With hollow Eyes, long Phiz, and withered skin;  
Whose every Tooth, but that of Colt, is gone,  
Can be caressed by vigorous Twenty One;  
And Joy to her blessed Consort, married be,  
Anno Aetatis suae 63.  
And then— w'have a new trimmed Lady posted down,  
To front the Country, and oblige the Town,  
Who, tho' a love to Learning she pretends,  
Yet I susupect, since here I lately saw  
Some of her well-dressed Amorous Temple-Friends,  
She follows not the Gospel but the Law.  
Blessed Cambridge! where 'tis hard to find a Maid,  
Except in some old Dramatic Doctor's Bed;  
For they, good Men, to study much inclined,  
Among the Stars their Nightily-pleasures find,  
Whilst they on Virgo all their hours bestow,  
The Wife continues Virgin still b— w.  
Yet our Professors—  
(What pity 'tis such Follies should miscarry?  
Would got an Act of Parliament to marry.  
How would you like a Lover, who should speak,  
And kiss, and sigh and compliment in Greek?  
From whose strong Loins should spring great Tau's (and Sigmas,  
Black Princes, and a Noble Race of Pigmies.  
FINIS.