mild form. But these were men whose minds had been trained in a world which had passed away. They gave place in no long time to a younger generation of wits; and of that generation, from Dryden down to Durfey, the common characteristic was hard-hearted, shameless, swaggering licentiousness, at once inelegant and inhuman. The influence of these writers was doubtless noxious, yet less noxious than it would have been had they been less depraved. The poison which they administered was so strong that it was, in no long time, rejected with nausea. None of them understood the dangerous art of associating images of unlawful pleasure with all that is endearing and ennobling. None of them was aware that a certain decorum is essential even to voluptuousness, that drapery may be more alluring than exposure, and that the imagination may be far more powerfully moved by delicate hints which impel it to exert itself, than by gross descriptions which it takes in passively.
The spirit of the Antipuritan reaction pervades almost the whole polite literature of the reign of Charles the Second. But the very quintessence of that spirit will be found in the comic drama. The playhouses, shut by the meddling fanatic in the day of his power, were again crowded. To their old attractions new and more powerful attractions had been added. Scenery, dresses, and decorations, such as would now be thought mean or absurd, but such as would have been esteemed incredibly magnificent by those who, early in the seventeenth century, sate on the filthy benches of the Hope, or under the thatched roof of the Rose, dazzled the eyes of the multitude. The fascination of sex was called in to aid the fascination of art: and the young spectator saw, with emotions unknown to the contemporaries of Shakspeare and Johnson, tender and sprightly heroines personated by lovely women. From the day on which the theatres were reopened they became seminaries of vice; and the evil propagated itself. The profligacy of the representations soon drove away sober people. The frivolous and dissolute who remained required every year stronger and stronger stimulants. Thus the artists corrupted the spectators, and the spectators the artists, till the
