In his first, He thus addresses theDutchesofOrmond.'Tis Madam from your Graces Prosperous Influence that I date my Good Fortune.ToDatefrom time and Place, is vulgar and ordinary, and many aLetterhas miscarried with it: But to do it from anInfluence, is Astrological, and surprizing, and agrees extreamly with theHemisphere of the Play-house.Pref. pt. 1st.Ibid.[398]These Flights one would easily imagine were thePoor Off-springof Mr.Durfey's Brain, as he very judiciously phrases it.[399]
One Paragraph in his Dedication to Mr.Montagueis perfectQuixotism; One would almost think him enchanted. I'll give the Reader a Tast.
Had your Eye's shot the haughty Austerity upon me of a right Courtier,——your valued minutes had never been disturb'd with dilatory Trifles of this Nature, but my Heart on dull Consideration of your Merit, had supinely wish'd you prosperity at a Distance.pt. 3d.[400]I'm afraid thePoetwas under some Apprehensions of the Temper he complains of. For to my thinking, there is a great deal ofSupiness, anddull Considerationin these Periods. He tells his Patronhis Smiles have embolden'd him. I confess I can't see how He could forbear smiling at such Entertainment. However Mr.Durfeytakes Things by the best Handle, and is resolv'dto be happy in his Interpretation. But to be serious. Were I the Author, I would discharge my Muse unless she prov'd kinder. His way is rather to cultivate his Lungs, and Sing to other Peoples Sense; For to finish him in a word, he isVox, & præterea nihil. I speak this only on Supposition that the rest of his Performances are like These. Which because I have not perused I can judge of no farther than by the Rule ofex pede Herculem. I shall conclude with MonsieurBoileau's ArtofPoetry. This citation may possibly be of some service to Mr.Durfey; For if not concern'd in the Application, he may at least be precaution'd by the Advice.
The Translation runs thus.I like an Author that Reforms the Age;And keeps the right Decorum of the Stage:That always pleases by just Reasons Rule:But for a tedious Droll a Quibbling Fool,Who with low nauseous Baudry fills his Plays;Let him begone and on two Tressells raiseSomeSmithfieldStage, where he may act his Pranks,And makeJack-puddingsspeak to Mountebanks.p. 53.[401]
The Translation runs thus.
I like an Author that Reforms the Age;
And keeps the right Decorum of the Stage:
That always pleases by just Reasons Rule:
But for a tedious Droll a Quibbling Fool,
Who with low nauseous Baudry fills his Plays;
Let him begone and on two Tressells raise
SomeSmithfieldStage, where he may act his Pranks,
And makeJack-puddingsspeak to Mountebanks.p. 53.[401]
TheRelapseshall followDon Quixot; upon the account of some Alliance between them. And because thisAuthorswaggers so much in hisPreface, and seems to look big upon his Performance, I shall spend a few more thoughts than ordinary upon hisPlay, and examine it briefly in theFable, theMoral, theCharacters,&c.The Fable I take to be as follows.
Fashiona Lewd, Prodigal, younger Brother; is reduced to extremity: Upon his arrival from his Travels, he meets withCoupler,an old sharping Match-maker;This Man puts him upon a project of cheating his Elder Brother LordFoplington,of a rich Fortune.YoungFashionbeing refused a Summ of Money by his Brother, goes intoCouplersPlot, bubbles SirTunbellyof his Daughter, and makes himself Master of a fair Estate.
From the Form and Constitution of theFable, I observe
1st. That there is aMisnommerin the Title. ThePlayshould not have been call'd theRelapse, or Virtue in Danger:Lovelace, andAmanda, from whoseCharactersthese Names are drawn, are Persons of Inferiour Consideration.Lovelacesinks in the middle of theFourthAct, and we hear no more of him till towards the End of theFifth, where he enters once more, but then 'tis asCatodid the Senate house, only to go out again. And as forAmandashe has nothing to do but to stand a shock of Courtship, and carry off her Virtue. This I confess is a great task in thePlay-house, but no main matter in thePlay.
TheIntrigue, and theDiscovery, the great Revolution and success, turns uponYoung Fashion. He without Competition, is the Principal Person in theComedy. And therefore theYounger Brother, or theFortunate Cheat, had been much a more proper Name. Now when aPoetcan't rig out aTitle Page, 'tis but a bad sign of his holding out to theEpilogue.
2ly.I observe theMoralis vitious: It points the wrong way, and puts thePrizeinto the wrong Hand. It seems to makeLewdnessthe reason ofDesert, and givesYoung Fashiona second Fortune, only for Debauching away his First. A short view of hisCharacter, will make good this Reflection. To begin with him: He confesses himself aRake, swears, andBlasphemes, Curses, and Challenges his Elder Brother, cheats him of his Mistress, and gets him laid by the Heels in a Dog-Kennel. And what was the ground of all this unnatural quarrelling and outrage? Why the main of it was only because LordFoplingtonrefused to supply his Luxury, and make good his Extravagance. ThisYoung Fashionafter all, is thePoetsMan of Merit. He provides, aPlotand a Fortune, on purpose for him. To speak freely, A Lewd Character seldom wants good Luck inComedy. So that when ever you see a thorough Libertine, you may almost swear he is in a rising way, and that thePoetintends to make him a great Man. In short; ThisPlayperverts the End ofComedy: Which as MonsieurRapinobserves ought to regard Reformation, and publick Improvement. But theRelapserhad a more fashionable Fancy in his Head.Reflect, &c. p. 131.[402]HisMoralholds forth this notable Instruction.
1st.That allYounger Brothersshould be careful to run out their Circumstances as Fast, and as Ill as they can. And when they have put their Affairs in this posture of Advantage, they may conclude themselves in the high Road to Wealth, and Success. For asFashionBlasphemously applies it,Providence takes care of Men of Merit.Relapse. p. 19[403]
2ly.That when a Man is press'd, his business is not to be govern'd by Scruples, or formalize upon Conscience and Honesty. The quickest Expedients are the best; For in such cases the Occasion justifies the Means, and a Knight of thePost, is as good as one of theGarter. In the
3d.Place it may not be improper to look a little into thePlot. Here thePoetought to play the Politician if ever. This part should have some stroaks, of Conduct, and strains of Invention more then ordinary. There should be something that is admirable, and unexpected to surprize the Audience. And all this Finess must work by gentle degrees, by a due preparation ofIncidents, and by Instruments which are probable.Reflect.p. 133.[404]'Tis Mr.Rapinsremark, that without probabilityevery Thing is lame and Faulty. Where there is no pretence toMiracleandMachine, matters must not exceed the force of Beleif. To produce effects without proportion; and likelyhood in the Cause, is Farce, and Magick, and looks more like Conjuring than Conduct. Let us examine theRelapserby these Rules. To discover hisPlot, we must lay open somewhat more of theFable.
'LordFoplingtona Town Beau, had agreed to Marry the Daughter of Sir.Tun-belly Clumseya Country Gentleman, who lived Fifty miles fromLondon. Notwithstanding this small distance, the Lord had never seen his Mistress, nor the Knight his Son in Law. Both parties out of their great Wisdom, leave the treating the Match toCoupler. When all the preliminaries of Settlement were adjusted, and LordFoplingtonexpected by SirTun-bellyin a few days,Couplerbetrays his Trust toYoung Fashion. He advises him to go down before his Brother: To Counterfeit his Person, and pretend that the strength of his Inclinations brought him thither before his time, and without his Retinue. And to make him pass upon SirTun-belly,Couplergives him hisLetter, which was to be LordFoplingtonsCredential.Young Fashionthus provided, posts down to SirTun-belly, is received for LordFoplington, and by the help of a little Folly and Knavery in the Family, Marries the young Lady without her Fathers Knowledge, and a week before the Appointment.
This is the Main of the Contrivance. The Counterturn in LordFoplingtonsappearing afterwards, and the Support of the mainPlot, byBulls, andNursesattesting the Marriage, contain's little of Moment. And here we may observe thatLordFoplingtonhas an unlucky Disagreement in hisCharacter; This Misfortune sits hard upon the credibility of the Design. Tis true he was Formal and Fantastick, Smitten with Dress, and Equipage, and it may be vapour'd by his Perfumes But his Behaviour is far from that of an Ideot.p. 27.[405]This being granted, 'tis very unlikely this Lord with his five Thousand poundsper annum, should leave the choise of his Mistress toCoupler, and take her Person and Fortune uponContent. To court thus blindfold, and byProxy, does not agree with the Method of an Estate, nor the Niceness of aBeau. However thePoetmakes him engage Hand over Head, without so much as the sight of her Picture.p. 79.[406]His going down to SirTun-bellywas as extraordinary as his Courtship. He had never seen this Gentleman. He must know him to be beyond Measure suspicious, and that there was no Admittance withoutCouplersLetter. ThisLetterwhich was, the Key to the Castle, he forgot to take with him, and tells you'twas stolen by his Brother Tam. And for his part he neither had the Discretion to get another, nor yet to produce that written by him to SirTun-belly.Ibid.[407]Had common Sense been consulted upon this Occasion, thePlothad been at an End, and thePlayhad sunkin the FourthAct. The Remainder subsists purely upon the strength of Folly, and of Folly altogether improbable, and out ofCharacter. TheSalvoof SirJohn Friendly'sappearing at last, and vouching for LordFoplington, won't mend the matter. For as theStoryinforms us, LordFoplingtonnever depended on this Reserve.p. 81.[408]He knew nothing of this Gentleman being in the Country, nor where he Lived. The truth is, SirJohnwas left inTown, and the Lord had neither concerted his journey with him, nor engaged his Assistance.p. 83.[409]
Let us now see how Sir.Tun-bellyhangs together. This Gentleman thePoetmakes aJusticeofPeace, and aDeputy Lieutenant, and seats him fifty Miles fromLondon: But by his Character you would take him for one ofHercules's Monsters, or some Gyant inGuyofWarwick. His Behaviour is altogetherRomance, and has nothing agreeable to Time, or Country. WhenFashion, andLory, went down, they find the Bridge drawn up, the Gates barr'd, and the Blunderbuss cock'd at the first civil Question. And when SirTun-bellyhad notice of this formidable Appearance, he Sallies out with thePosseof the Family, and marches against a Couple of Strangers with aLife Gaurdof Halberds, Sythes,and Pitchforks. And to make sure work, YoungHoydenis lock'd up at the first approach of the Enemy. Here you have prudence and wariness to the excess of Fable, and Frensy. And yet this mighty man of suspition, trustsCouplerwith the Disposal of his only Daughter, and his Estate into the Bargain. And what was thisCoupler? Why, a sharper byCharacter, and little better by Profession. Farther. LordFoplingtonand the Knight, are but a days Journey asunder, and yet by their treating by Proxy, and Commission, one would Fancy a dozen Degrees ofLatitudebetwixt them. And as for YoungFashion, exceptingCouplersLetter, he has all imaginable Marks of Imposture upon him. He comes before his Time, and without the Retinue expected, and has nothing of the Air of LordFoplington'sConversation. When SirTun-bellyask'd him,pray where are your Coaches and Servants my Lord? He makes a trifling excuse.Sir, that I might give you and your Fair Daughter a proof how impatient I am to be nearer akin to you, I left my Equipage to follow me, and came away Post, with only one Servant.p. 59.[410]To be in such a Hurry of Inclination for a Person he never saw, is somewhat strange! Besides, 'tis very unlikely LordFoplingtonshould hazard hisComplexion on Horseback, out ride his Figure, and appear a Bridegroom inDeshabille. You may as soon perswade a Peacock out of his Train, as aBeauout of his Equipage; especially upon such an Occasion. LordFoplingtonwould scarsely speak to his Brother just come aShore, till the Grand Committee ofTaylors, Seamtresses, &c.was dispatch'd.p. 11.[411]Pomp, and Curiosity were this Lords Inclination; why then should he mortifie without necessity, make his first Approaches thus out of Form and present himself to his Mistress at such Disadvantage? And as this is the Character of LordFoplington, so 'tis reasonable to suppose SirTunbellyacquainted with it. An enquiry into the Humour and management of a Son in Law, is very natural and Customary. So that we can't without Violence to Sense, suppose SirTunbellya Stranger to LordFoplington's Singularities. These Reasons were enough in all Conscience to make SirTunbellysuspect a Juggle, and thatFashionwas no better then a Counterfeit. Why then was theCredentialswallow'd without chewing, why was notHoydenlock'd up, and a pause made for farther Enquiry? Did thisJusticenever hear of such a Thing as Knavery, or had he ever greater reason to guard against it? More wary stepsmight well have been expected from SirTunbelly. To run from one extream of Caution, to another of Credulity, is highly improbable. In short, either LordFoplingtonand SirTunbellyare Fools, or they are not. If they are, where lies the Cunning in over-reaching them? What Conquest can there be without Opposition? If they are not Fools, why does thePoetmake them so? Why is their Conduct so gross, so particolour'd, and inconsistent? Take them either way, and thePlotmiscarries. The first supposition makes it dull, and the later, incredible. So much for thePlot. I shall now in the
4th. Place touch briefly upon theManners.
TheMannersin the Language of theStagehave a signification somewhat particular.AristotleandRapincall them the Causes and Principles of Action. They are formed upon the Diversities of Age, and Sex, of Fortune, Capacity, and Education. The propriety ofMannersconsists in a Conformity of Practise, and Principle; of Nature, and Behaviour. For the purpose. An old Man must not appear with the Profuseness and Levity of Youth; A Gentleman must not talk like a Clown, nor a Country Girl like a Town Jilt. And when theCharactersare feign'd'tisHorace's Rule to keep them Uniform, and consistent, and agreeable to their first setting out. ThePoetmust be careful to hold hisPersonstight to theirCallingand pretentions. He must not shift, and shuffle, their Understandings; Let them skip from Wits to Blockheads, nor from Courtiers to Pedants; On the other hand. If their business is playing the Fool, keep them strictly to their Duty, and never indulge them in fine Sentences. To manage otherwise, is to desertNature, and makes thePlayappear monstrous, and Chimerical. So that instead of anImage of Life, 'tis rather an Image of Impossibility. To apply some of these remarks to theRelapser.
The fineBerinthia, one of the Top-Characters, is impudent and Profane.Lovelacewould engage her Secrecy, and bids her Swear. She answersI do.
Lov.By what?
Berinth.By Woman.
Lov.That's Swearing by my Deity, do it by your own, or I shan't believe you.
Berinth.By Man then.p. 47.[412]
This Lady promisesWorthyher Endeavours to corruptAmanda; and then They make a Profane jest upon the Office.p. 51.[413]In the progress of thePlayafter a great deal of Lewd Discourse withLovelace,Berinthiais carried off into a Closet, and Lodged in aSceneof Debauch.p. 74.[414]Here is Decency, and Reservedness, to a great exactness! MonsieurRapinblamesAriosto, andTasso, for representing two of their Women over free, and airy.Reflect. p. 40.[415]ThesePoetssays he,rob Women of their Character, which is Modesty. Mr.Rymeris of the same Opinion: His words are these.Nature knows nothing in the Manners which so properly, and particularly distinguish a Woman, as her Modesty.——An impudent Woman is fit only to be kicked, and expos'd in Comedy.Tragedies of the last Age consider'd, &c. p. 113, 114.[416]
NowBerinthiaappears inComedy'tis true; but neither to bekick'd, norexpos'd. She makes a Considerable Figure, has good Usage, keeps the best Company, and goes off without Censure, or Disadvantage. Let us now take a Turn or two with SirTun-belly'sHeiress of 1500 pounds a year. This Young Lady swears, talks smut, and is upon the matter just as rag-manner'd asMary the Buxsome. 'Tis plain theRelapsercopyed Mr.Durfey'sOriginal, which is a sign he was somewhat Pinch'd. Now thisCharacterwas no great Beauty inBuxsome; But it becomes the Knights Daughter much worse.Buxsomewas a poor Pesant, which made her Rudeness more natural, and expected. ButDeputy LieutenantsChildren don'tuse to appear with the Behaviour of Beggars. To breed all People alike, and make no distinction between aSeat, and aCottage, is not over artful, nor very ceremonious to the Country Gentlemen. TheRelapsergivesMissa pretty Soliloquy, I'll transcribe it forthe Reader.
She swears by her Maker,'tis well I have a Husband a coming, or I'de Marry the Baker I would so. No body can knock at the Gate, but presently I must be lock'd up, and, here's the Young Gray-hound——can run loose about the House all day long, she can, 'tis very well!!p. 59.[417]Afterwards her Language is too Lewd to be quoted. Here is a Compound of Ill Manners, and Contradiction Is this a good Resemblance of Quality, a Description of a great Heiress, and the effect of a Cautious Education? By her Coarsness you would think her Bred upon a Common, and by her Confidence, in the Nursery of thePlay-house. I suppose theRelapserFancies the calling herMiss Hoydenis enough to justifie her Ill Manners. By his favour, this is a Mistake. To represent her thus unhewn, he should have suited her Condition to her Name, a little better. For there is no Charm inWordsas to matters of Breeding, An unfashionable Name won't make a Man a Clown. Education is not form'd uponSounds, and Syllables, but upon Circumstances, and Quality. So that if he was resolv'd to have shown her thus unpolish'd, he should have made her keepSheep, or brought her up at theWash-Boul.
SirTun-bellyaccosts YoungFashionmuch at the same rate of Accomplishment.p. 61.[418]My Lord,——I humbly crave leave to bid you Welcome ina Cupof Sack-wine. One would imagine thePoetwas overdozed before he gave theJusticea Glass. ForSack-wineis too low for aPetty Constable. This peasantly expression agrees neither with the Gentlemans Figure, nor with the rest of his Behaviour. I find we should have a CreditableMagistracy, if theRelapserhad the Making them. Here theCharactersare pinch'd in Sense, and stinted to short Allowance. At an other time they are over-indulged, and treated above Expectation.
For the purpose. Vanity and Formalizing is LordFoplingtonspart. To let him speak without Aukwardness, and Affectation, is to put him out of his Element. There must be Gumm and stiffening in his Discourse to make it natural However, theRelapserhas taken a fancy to his Person, and given him some of the most Gentile raillery in the wholePlay. To give an Instance or two. This Lordin Discourse withFashionforgets his Name, flies out into Sense, and smooth expression, out talks his Brother, and abating the starch'd Similitude of aWatch, discovers nothing of Affectation, for almost aPagetogether.p. 42.[419]He relapses into the same Intemperance of good Sense, in an other Dialogue between him and his Brother. I shall cite a little of it.
Y.Fash.Unless you are so kind to assist me in redeeming my Annuity, I know no Remedy, but to go take a Purse.
L.Fopl.Why FaithTam——to give you my Sense of the Thing, I do think taking a Purse the best Remedy in the World, for if you succeed, you are releiv'd that way, if you are taken——you are reliev'd to'ther.p. 43.[420]
Fashionbeing disappointed of a supply quarrels his Elder Brother, and calls himthe Prince of Coxcombs.p. 44.[421]
L.Fopl.Sir I am proud of being at the Head of so prevailing a party.
Y.Fash.Will nothing then provoke thee? draw Coward.
L.Fopl.Look youTam,your poverty makes your Life so burdensome to you, you would provoke me to a Quarrel, in hopes either to slip through my Lungs into my Estate, or else to get your self run through the Guts, to put an end to your Pain. But I shall disappoint you in both. &c.
This Drolling has too much Spirit, the Air of it is too free, and too handsomly turn'd for LordFoplingtonsCharacter. I grant theRelapsercould not aford to lose these Sentences. The Scene would have suffer'd by the Omission. But then he should have contriv'd the matter so, as that they might, have been spoken by YoungFashioninAsides, or by some other more proper Person. To go on. MissHoydensparkles too much in Conversation. ThePoetmust needs give her a shining Line or two,p. 64. At top.[422]which serves only to make the rest of her dullness the more remarkable. Sir.Tun-bellyfalls into the same Misfortune of a Wit, and rallies above the force of his Capacity.p. 85.[423]But the place having a mixture of Profaness, I shall forbear to cite it. Now to what purpose should a Fools Coat be embroider'd? Finery in the wrong place is but expensive Ridiculousness. Besides, I don't perceive theRelapserwas in any Condition to be thus liberal. And when aPoetis not overstock'd, to squander away his Wit among hisBlock-heads, is meer Distraction. His men of Sense will smart for this prodigality.Lovelacein his discourse ofFriendship, shall be the first Instance.Friendship(says he)is said to be a plant of tedious growth, its Root composed of tenderFibers,nice in their Tast,&c.By this Description the Palate of aFiber, should be somewhat moreniceand distinguishing, then thePoetsJudgment. Let us examin some more of his Witty People. YoungFashionfancies byMissesforward Behaviour, she would have a wholeKennelofBeauxafter her atLondon. And thenHey to the Park, and the Play, and the Church, and the Devil.p. 64.[424]Here I conceive the ranging of the Period is amiss. For if he had put thePlay, and theDeviltogether, the Order of Nature, and the Air of Probability had been much better observ'd.
AfterwardsCouplerbeing out of Breath in coming up stairs toFashion, asks himwhy the —— canst thou not lodge upon the Ground-floor?p. 94.[425]
Y.Fash.Because I love to lye as near Heaven as I can.One would think a Spark just come off his Travels, and had made theTourofItalyandFrance, might have rallied with a better Grace! However if he lodg'd in aGarret, 'tis a goodLocaljest. I had almost forgot one pretty remarkable Sentence ofFashiontoLory.p. 15.[426]I shall shew thee(says he)the excess of my Passion by being very calm. Now since thisGentlemanwas in a vein of talking Philosophy to his Man, I'm sorry he broke of so quickly. Had he gone on and shownhim theExcessof a Storm and no Wind stirring, the Topick had been spent, and the Thought improv'd to the utmost.
Let us now pass ontoWorthy, theRelapsersfine Gentleman. This Spark sets up for Sense, and Address, and is to have nothing of Affectation or Conscience to spoil his Character. However to say no more of him, he grows Foppish in the lastScene, and courtsAmandain Fustian, and Pedantry. First, He gives his Periods a turn of Versification, and talksProseto her inMeeter. Now this is just as agreeable as it would be toRidewith one Leg, andWalkwith the other. But let him speak for himself. His first business is to bringAmandato an Aversion for her Husband; And therefore he perswades her toRouse up that Spirit Women ought to bear; and slight your God if he neglects his Angel.p. 99.[427]He goes on with his Orisons.With Arms of Ice receive his Cold Embraces and keep your Fire for those that come in Flames.Fire and Flames, is Mettal upon Mettal; 'Tis false Heraldry.Extend the Arms of Mercy to his Aid. His zeal may give him Title to your Pity, altho' his Merit cannot claim your Love.Ibid.[428]Here you haveArmsbrought in again by Head and shoulders. I suppose the design was to keep up the Situation of theAllegory. But the latterpart of the Speech is very Pithy. He would have her resign her Vertue out of Civility, and abuse her Husband on Principles of good Nature.Worthypursues his point, and Rises in his Address. He falls into a Fit of Dissection, and hopes to gain his Mistress by Cutting his Throat. He is forRipping up his Faithful Breast, to prove the Reality of his Passion. Now when a Man Courts with his Heart in his Hand, it must be great Cruelty to refuse him! No Butcher could have Thought of a more moving Expedient! However,Amandacontinues obstinate, and is not in the usual Humour of theStage. Upon this, like a well bred Lover he seizes her by Force, and threatens to Kill her.Nay struggle not for all's in vain, or Death, or Victory, I am determin'd.p. 100.[429]In this rencounter the Lady proves too nimble, and slips through his Fingers. Upon this disappointment, he cries,there's Divinity about her, and she has dispenc'd some Portion on't to me. His Passion is Metamorphos'd in the Turn of a hand: He is refin'd into aPlatonickAdmirer, and goes off as like aTown Sparkas you would wish. And so much for thePoetsfine Gentleman.
I should now examine theRelapser's Thoughts and Expressions, which are two other Things of Consideration in aPlay.TheThoughtsorSentiments are the Expressions of the Manners, as Words are of the Thoughts.Rapin Reflect, &c.[430]But the view of theCharactershas in some measure prevented this Enquiry. Leaving this Argument therefore, I shall consider hisPlaywith respect to the
Three Unitiesof Time, Place, and Action.
And here theReadermay please to take notice, that the Design of these Rules, is to conceal the Fiction of theStage, to make thePlayappear Natural, and to give it an Air of Reality, andConversation.
The largest compass for the firstUnityis Twenty Four Hours: But a lesser proportion is more regular. To be exact, the Time of the History, orFable, should not exceed that of theRepresentation: Or in other words, the whole Business of thePlay, should not be much longer than the Time it takes up inPlaying.
The SecondUnityis that ofPlace. To observe it, theScenemust not wander from one Town, or Country to another. It must continue in the same House, Street, or at farthest in the same City, where it was first laid. The Reason of this Rule depends upon theFirst. Now the Compass ofTimebeing strait, that ofSpacemust bear a Correspondent Proportion.Long journeys inPlaysare impracticable. The Distances ofPlacemust be suited to Leisure, and Possibility, otherwise the supposition will appear unnatural and absurd. The
ThirdUnityis that ofAction; It consists in contriving the chief Business of thePlaysingle, and making the concerns of one Person distinguishably great above the rest. All the Forces of theStagemust as it were serve Under oneGeneral: And the lesser Intrigues or Underplots, have some Relation to the Main. The very Oppositions must be useful, and appear only to be Conquer'd, and Countermin'd. To represent Two considerable Actions independent of each other, Destroys the beauty of Subordination, weakens the Contrivance, and dilutes the pleasure. It splits thePlay, and makes thePoemdouble. He that would see more upon this subject may consultCorneille.Discourse des Trois Unitez. pt. 3d.[431]To bring these Remarks to the Case in hand. And here we may observe how theRelapserfails in all theRulesabove mention'd.
1st.HisPlayby modest Computation takes up a weeks Work, but five days you must allow it at the lowest. One day must be spent in the First, Second, and part of the ThirdAct, before LordFoplingtonsets forward to SirTun-belly. Now the Lengthof the Distance, the Pomp of the Retinue, and the Niceness of the Person being consider'd; the journey down, and up again, cannot be laid under four days.p. 88.[432]To put this out of doubt, Lord,Foplingtonis particularly careful to tellCoupler, how concern'd he was not to overdrivefor fear of disordering his Coach-Horses. The Laws ofPlace, are no better observ'd than those ofTime. In the ThirdActthePlayis inTown, in the FourthAct'tis stroll'd Fifty Miles off, and in the FifthActinLondonagain. HerePegasusstretches it to purpose! ThisPoetis fit to ride a Match with Witches.Juliana Coxnever Switched a Broom stock with more Expedition! This is exactly
TitusatWalton Town, andTitusatIslington.
TitusatWalton Town, andTitusatIslington.
One would think by the probability of matters, thePlothad been stolen from Dr.O——s.
ThePoet'sSuccess in the lastUnityofActionis much the same with the former.Lovelace,Amanda, andBerinthia, have no share in the main Business. These Second rateCharactersare a detatched Body: Their Interest is perfectly Foreign, and they are neither Friends, nor Enemies tothePlot.Young Fashiondoes not so much as see them till the Close of the FifthAct, and then they meet only to fill theStage: And yet thesePersonsare in thePoetsaccount very considerable; Insomuch that he has misnamed hisPlayfrom the Figure of two of them. This strangness ofPersons, distinct Company, and inconnexion of Affairs, destroys the Unity of thePoem. The contrivance is just as wise as it would be to cut a Diamond in two. There is a loss of Lustre in the Division. Increasing the Number, abates the Value, and by making it more, you make it less.
Thus far I have examin'd theDramatickMerits of thePlay. And upon enquiry, it appears a Heap of Irregularities. There is neither Propriety in theName, nor Contrivance in thePlot, nor Decorum in theCharacters. 'Tis a thorough Contradition to Nature, and impossible inTime, andPlace. ItsShining Gracesas the Author calls them,Pref.[433]areBlasphemyandBaudy, together with a mixture ofOaths, andCursing. Upon the whole; TheRelapser'sJudgment, and his Morals, are pretty well adjusted. ThePoet, is not much better than theMan. As for theProfanepart, 'tis hideous and superlative.see Chap. 2d.[434]But this I have consider'd elsewhere. All that I shall observe here is, that the Author wassensible of this Objection. His Defence in hisPrefaceis most wretched: He pretends to know nothing of the Matter, and that'tis all Printed; Which only proves his Confidence equal to the rest of his Virtues. To out-face Evidence in this manner, is next to the affirming there's no such Sin asBlasphemy, which is the greatest Blasphemy of all. His Apology consists in railing at theClergy; a certain sign of ill Principles, and ill Manners. This He does at an unusual rate of Rudeness and Spite. He calls them the Saints with Screw'dFaces, and wry Mouths. And after a great deal of scurrilous Abuse too gross to be mention'd, he adds;Pref.[435]If any Man happens to be offended at a story of a Cock and a Bull, and a Priest and a Bull-dog, I beg his Pardon, &c. This is braveBear-GardenLanguage! TheRelapserwould do well to transport his Muse toSamourgan.**An Academy in Lithuania, for the Education of Bears. Pere Auvill Voyage en Divers Etats, &c. p. 240.[436]There 'tis likely he might find Leisure to lick hisAbortive Bratinto shape; And meet with proper Business for his Temper, and encouragement for his Talent.
Having in the foregoingChaptersdiscover'd some part of the Disorders of theEnglish Stage; I shall in this Last, present theReaderwith a short View of the Sense ofAntiquity, To which I shall add someModernAuthorities; From all which it will appear thatPlayshave generally been look'd on as theNurseriesofVice, theCorruptersofYouth, and theGrievanceof theCountrywhere they are suffer'd.
This proof fromTestimonyshall be ranged under these three Heads.
Under theFirst, I shall cite some of the most celebratedHeathen Philosophers, Orators, and Historians; Men of the biggest Consideration, for Sense, Learning, and Figure. The
Second, Shall consist of theLawsandConstitutionsofPrinces, &c.The
Third, Will be drawn fromChurch-Records, fromFathers, andCouncilsofunexceptionable Authority, both as to Persons, and Time.
1st.I shall produce some of the most celebrated Heathen Philosophers&c.To begin withPlato. 'This Philosopher tells us thatPlaysraise the Passions, and pervert the use of them, and by consequence are dangerous to Morality. For this Reason he banishes these Diversions hisCommon-Wealth.'Plat. de Repub. Lib. 10.Euseb. Præpar. Evang.[437]
Xenophonwho was both a Man ofLettersand a greatGeneral, commends thePersiansfor the Discipline of their Education. 'They won't (says he) so much as suffer their Youth to hear any thing that's Amorous or Tawdry.'Cyropæd. p. 34[438]They were afraid want of Ballast might make them miscarry, and that 'twas dangerous to add weight to the Byass of Nature.
Aristolelays it down for a Rule 'that the Law ought to forbid Young People the seeing ofComedies. Such permissions not being safe till Age and Discipline had confirm'd them in sobriety, fortified their Virtue, and made them as it were proof against Debauchery.'Polit. Lib. 7. c. p. 12.[439]This Philosopher who had look'd as far into Humane Nature as any Man, observes farther. 'That the force of Musick andActionis very affecting. It commands the Audience and changes the Passions toa Resemblance of the Matter before them.'Polit. Lib. 8.[440]So that where the Representation is foul, the Thoughts of the Company must suffer.
Tullycrys out upon 'LicentiousPlaysandPoems, as the bane of Sobriety, and wise Thinking: ThatComedysubsists upon Lewdness, and that Pleasure is the Root, of all Evil.'Tusc. Quest. Lib. 4.De Leg. Lib. 1.[441]
Livy, reports the Original ofPlaysamong theRomans. 'He tells us they were brought in upon the score of Religion, to pacifie the Gods, and remove aMortality. But then He adds that the Motives are sometimes good, when the Means are stark naught: That the Remedy in this case was worse than the Disease, and the Atonement more Infectious then the Plague.'Dec. 1. Lib. 7.[442]
Valerius Maximus, Contemporary withLivy, gives much the same Account of the rise ofTheatresatRome. 'Twas Devotion which built them. And as for the Performances of those Places, which Mr.Drydencalls theOrnaments, this Author censures as the Blemishes ofPeace.' And which is more, He affirms 'They were the Occasions of Civil Distractions; And that theStatefirst Blush'd, and then Bled, for the Entertainment.Lib. 2. cap. 4.cap. 6.[443]He concludes the consequences ofPlaysintolerable;[444]And that theMassiliensesdid well in clearing the Country of them.Senecacomplains heartily of the Extravagance and Debauchery of the Age: And how forward People were to improve in that which was naught. That scarce any Body would apply themselves to the Study of Nature and Morality, unless when thePlay-Housewas shut, or the Weather foul. That there was no body to teachPhilosophy, because there was no body to Learn it: But that theStagehadNurseries, and Company enough. This Misapplication of time and Fancy, made Knowledge in so ill a Condition. This was the Cause the Hints of Antiquity were no better pursued; that some Inventions were sunk, and that Humane Reason grew Downwards rather than otherwise.Natural Quest. Lib. 7. cap. 32.[445]And elswhere he avers that there is nothing more destructive to Good Manners then to run Idling to seeSights. For there Vice makes an insensible Approach, and steals upon us in the Disguise of pleasure.Epist. 7.[446]
'Tacitusrelating howNerohired decay'd Gentlemen for theStage, complains of the Mismanagement;Annal. Lib 14. cap. 14.[447]And lets us know 'twas the part of a Prince to releive their Necessity, and not to Tempt it. And that his Bounty should rather'have set them above an ill practise, than driven themupon't.'
And in another place, He informs us that 'the German Women were Guarded against danger, and kept their Honour out of Harms way, by having noPlay-Housesamongst them.'De Mor. German. cap. 19[448]
Plays, in the Opinion of the JudiciousPlutarkare dangerous to corrupt Young People; And thereforeStagePoetry when it grows too hardy, and Licentious, ought to be checkt.Symposiac. Lib. 7.De Audiend. Poet. p. 15. Ed. Par.[449]This was the Opinion of these CelebratedAuthorswith respect toTheatres: They Charge them with the Corruption of Principles, and Manners, and lay in all imaginable Caution against them. And yet these Men had seldom any thing but this World in their Scheme; and form'd their Judgments only upon Natural Light, and Common Experience. We see then to what sort of Conduct we are oblig'd. The case is plain; Unless we are little enough to renounce our Reason, and fall short of Philosophy, and liveunderthe Pitch ofHeathenism.
To these Testimonies I shall add a Couple ofPoets, who both seem good Judges of the Affair in Hand.
The first isOvid, who in his BookDe Arte Amandi, gives hisReadertounderstand that thePlay-Housewas the most likely Place for him to Forage in. Here would be choice of all sorts: Nothing being more common than to see Beauty surpriz'd, Women debauch'd, and Wenches Pick'd up at these Diversions.