partlie because he brought nothing; partlie because my hearte was to bigge, to wrastle with him, that wanteth armes. Therefore considering with my selfe that such kinde of sores might bee launced to sone, I chose rather to let him ripen and breake of him selfe, that vomiting out his owne disgrace, & being worne out of fauour among his own friends, I might triumph in the cause & shedde no blood. . . . Some of his acquaintance haue vaunted to cut and hewe mee, I knowe not howe.' The Devil is the efficient cause of plays, as noted by Tertullian. P. 171. 'And William ['Thomas' on a cancel in some copies] Lodge in that patchte pamphlet of his . . . confesseth openly that playes were consecrated by the heathens to y^e honour of their gods.' Expounds the policy of the Devil in the matter. P. 172. 'First hee sente ouer many wanton Italian bookes. . . . Not contented with the number he hath corrupted with reading Italian baudery, because all cannot reade, [he] presenteth vs Comedies cut by the same paterne, which drag such a monstrous taile after them, as is able to sweep whole Cities into his lap.' Argues that plays are of idolatrous origin, and disliked by Scipio Nasica and other severer Romans. Rome held players infamous. P. 178. 'Wherefore I beseech God so to touch the heartes of our Magistrates with a perfite hatred of sinne, and feare of Iudgement; so to stirr vp some noble Scipio in the Courte, that these daunsing Chaplines of Bacchus and all such as set vp these wicked artes, may be driuen out of Englande.' The Second Action. The Material Cause of Plays. P. 179. 'Yonge Master Lodge thinking to iett vpon startoppes, and steale an ynche of his hight by the bare name of Cicero, allegeth from him, y^t a Play is the Schoolmistresse of life; the lookinge glasse of manners; and the image of trueth. . . . It seemeth that Master Lodge saw this in Tullie with other folkes eyes, and not his owne. For to my remembrance I neuer read it in him, neither doe I thinke that Master Lodge can shewe it me.' Cites passages of Cicero against spectacula. Sets down the matter of plays. P. 180. 'The argument of Tragedies is wrath, crueltie, incest, iniurie, murther eyther violent by sworde, or voluntary by poyson. The persons, Gods, Goddesses, furies, fiendes, Kinges, Quenes, and mightie men. The grounde worke of Commedies, is loue, cosenedge, flatterie, bawderie, slye conueighance of whoredome; The persons, cookes, queanes, knaues, baudes, parasites, courtezannes, lecherous olde men, amorous yong men.' Criticizes the Lodge-Cicero metaphor in detail. Plays no schoolmistress of life. 'The beholding of troubles and miserable slaughters that are in Tragedies, driue vs to immoderate sorrow, heauines, womanish weeping and mourning, whereby we become louers of dumpes, and lamentation, both enemies to fortitude. Comedies so tickle our senses with a pleasanter vaine, that they make vs louers of laughter, and pleasure, without any meane, both foes to temperance. What schooling is this? Sometime you shall see nothing but the aduentures of an amorous knight, passing from countrie to countrie for the loue of his lady, encountring many a terible monster made of broune paper, & at his retorne, is so wonderfully changed, that he can not be knowne but by some posie
