Thus we see the admired Homer, and Virgil, always treat the Priests fairly, and describe them in Circumstances of Credit: If 'tis said that the Instances I have given are mostly in Names of Fiction, and in Persons who had no Being, unless in the Poets fancy. I answer, I am not concern'd in the History of the Relation. Whether the Muster is true or false, 'tis all one to my purpose. This is certain, had the Priests been People of such slender Consideration as our Stage Poets endeavour to make them; they must have appear'd in a different Figure; or rather have been left out as too little for that sort of Poem. But Homer and Virgil had other Sentiments of Matters: They were governed by the Reason of Things, and the common usage of the World. They knew the Priesthood a very reputable Employment, and always esteem'd as such. To have used the Priests ill, They must have call'd their own Discretion in question: They must have run into impropriety, and fallen foul upon Custom, Manners, and Religion. Now 'twas not their way to play the Knave and the Fool together: They had more Sense than to do a silly Thing, only for the Satisfaction of doing an ill one.

I shall now go on to enquire what the Greek Tragedians will afford us upon the present Subject. There are but two Plays in Æschylus where the Ministers of the Gods are represented. The one is in his Eumenides, and here Apollo's Priestess only opens the Play and appears no more. The other is in his Seige of Thebes. In this Tragedy the Prophet Amphiaraus is one of the Seven Commanders against the Town. He has the Character of a Modest, Brave Officer, and of one who rather affected to be great in Action, than Noise.

In Sophocle's Oedipus Tyrannus, Jupiter's Priest has a short part. He appears at the Head of an Address, and delivers the Harangue by the King's Order. Oedipus in his Passion treats Tiresias ruggedly;Oedip. Tyr. p. 148.[250] Tiresias replies with Spirit and Freedom; and plainly tell him he was none of his Servant but Apollo's.

Ὀυ γάρ τί σοὶ ζῶ δοῦλος ἀλλά λοξίαIbid. 169.[251]

And here we may observe that all Oedipus his reproaches relate to Tiresias's person, there is no such Thing as a general Imputation upon his Function: But the English Oedipus makes the Priesthood an Imposturous Profession;p. 38.[252] and rails at the whole Order. In the next Tragedy, Creon charges Tiresias with subornation; and that he intended to make a Penny of his Prince. The Priest holds up his Character, speaks to the ill Usage with an Air of Gravity, calls the King Son, and foretells him his Misfortune.Antig. p. 250, 258.[253]

To go on to Euripides, for Sophocles has nothing more. This Poet in his Phænissæ brings in Tiresias with a very unacceptable report from the Oracle. He tells Creon that either his Son must die, or the City be lost. Creon keeps himself within Temper, and gives no ill Language. And even when Mœnecius had kill'd himself, he neither complains of the Gods, nor reproaches the Prophet.Eurip. Phœniss. p. 158, 159.[254]

In his Bacchæ, Tiresias is honourably used by Cadmus; And Pentheus who threatned him, is afterwards punish'd for his Impiety.Bacch. Act. 1. Act. 4.[255] In another Play Apollo's Priestess comes in upon a creditable account, and is respectfully treated.Jon. Act 5.[256] Iphigenia Agamemnon's Daughter is made Priestess to Diana; and her Father thought himself happy in her Employment.Iphig. in Aulid. & in Taur.[257] These are all the Priests I remember represented in Euripides. To conclude the antient Tragedians together: Seneca seems to follow the Conduct of Euripides, and secures Tiresias from being outraged. Oedipus carries it smoothly with him and only desires him to out with the Oracle, and declare the Guilty Person. This Tiresias excuses, and afterwards the Heat of the expostulation falls upon Creon.Oedip.[258] Calchas if not strictly a Priest, was an Augur, and had a Religious Relation. Upon this account Agamemnon calls him interpres Deorum; The Reporter of Fate, and the God's Nuntio; And gives him an honourable Character.Troad. A. 2. p. 193.[259]

This Author is done; I shall therefore pass on to the Comedians. And here, Aristophanes is so declared an Atheist, that I think him not worth the citing. Besides, he has but little upon the Argument: And where he does engage it, the Priests have every jot as good Quarter as the Gods.Plut. Ran. Aves.[260] As for Terence, he neither represents any Priests, nor so much as mentions them. Chrysalus in Plautus describes Theotimus Diana's Priest, as a Person of Quality, and Figure.Bacchid. Act. 2. 5. 3.[261] In his Rudens we have a Priestess upon the Stage, which is the only Instance in this Poet.Rud. A. 1. 5. A. 2. 3.[262] She entertains the two Women who were wrecked, and is commended for her hospitable Temper. The Procurer Labrax swaggers that he will force the Temple, and begins the Attack. Demades a Gentleman, is surprized at his Insolence, and threatens him with Revenge. The report of so bold an attempt made him cry out. Quis homo est tanta Confidentia; qui sacerdotem andeat Violare?Act [......][263] It seems in those Days 'twas very infamous to affront a Holy Character, and break in upon the Guards of Religion! Thus we see how the Antient Poets behaved themselves in the Argument. Priests seldom appear in their Plays. And when they come 'tis Business of Credit that brings them. They are treated like Persons of Condition. They Act up to their Relation; neither sneak, nor prevaricate, nor do any thing unbecoming their Office.

And now a word or two of the Moderns.

The famous Corneille and Moliere, bring no Priests of any kind upon the Stage. The former leaves out Tiresias in his Oedipus: Tho' this Omission balks his Thought, and maims the Fable. What therefore but the regard to Religion could keep him from the use of this Liberty? As I am informed the same Reservedness is practis'd in Spain, and Italy: And that there is no Theatre in Europe excepting the English, that entertains the Audience with Priests.