turpitude of the drama became such as must astonish all who are not aware that extreme relaxation is the natural effect of extreme restraint, and that an age of hypocrisy is, in the regular course of things, followed by an age of impudence.
Nothing is more characteristic of the times than the care with which the poets contrived to put all their loosest verses into the mouths of women. The compositions in which the greatest license was taken were the epilogues. They were almost always recited by favourite actresses; and nothing charmed the depraved audience so much as to hear lines grossly indecent repeated by a beautiful girl, who was supposed to have not yet lost her innocence. [1]
Our theatre was indebted in that age for many plots and characters to Spain, to France, and to the old English masters: but whatever our dramatists touched they tainted. In their imitations the houses of Calderon's stately and highspirited Castilian gentlemen became sties of vice, Shakspeare's Viola a procuress, Moliere's Misanthrope a ravisher, Moliere's Agnes an adulteress. Nothing could be so pure or so heroic but that it became foul and ignoble by transfusion through those foul and ignoble minds.
Such was the state of the drama; and the drama was the department of polite literature in which a poet had the best chance of obtaining a subsistence by his pen. The sale of books was so small that a man of the greatest name could hardly expect more than a pittance for the copyright of the best performance. There cannot be a stronger instance than the fate of Dryden's last production, the Fables. That volume was published when he was universally admitted to be the chief of living English poets. It contains about twelve thousand lines. The versification is admirable, the narratives and descriptions full of life. To this day Palamon and Arcite, Cymon and Iphigenia, Theodore and Honoria, are the delight both of critics and of schoolboys. The collection includes Alexander's Feast, the noblest ode in our language. For the copyright Dryden
- ↑ Jeremy Collier has censured this odious practice with his usual force and keenness.
