This is certainly the right method, and best secures the Outworks of Piety. The Holy Function is much too Solemn to be play'd with. Christianity is for no Fooling, neither the Place, the Occasion nor the Actors are fit for such a Representation. To bring the Church into the Playhouse, is the way to bring the Playhouse into the Church. 'Tis apt to turn Religion into Romance, and make unthinking People conclude that all Serious Matters are nothing but Farce, Fiction, and Design. 'Tis true the Tragedies at Athens were a sort of Homilies, and design'd for the Instruction of the People: To this purpose they are all Clean, Solemn, and Sententious. Plautus likewise informs us that the Comedians used to teach the People Morality.Rud. A. 4. S. 7.[264] The case standing thus 'tis less suprizing to find the Priests sometimes Appear. The Play had grave Argument, and Pagan Indulgence, to plead in its behalf. But our Poets steer by an other Compass. Their Aim is to destroy Religion, their Preaching is against Sermons; and their Business, but Diversion at the best. In short, Let the Character be never so well managed no Christian Priest (especially,) ought to come upon the Stage. For where the Business is an Abuse, and the place a Profanation; the demureness of the Manner, is but a poor excuse. Monsieur Racine is an Exception to what I have observ'd in France. In his Athalia, Joida the High-Priest has a large part. But then the Poet does him Justice in his Station; he makes him Honest and Brave, and gives him a shining Character throughout. Mathan is another Priest in the same Tragedy. He turns Renegado, and revolts from God to Baal. He is a very ill Man but makes a considerable Appearance, and is one of the Top of Athaliahs Faction. And as for the Blemishes of his Life, they all stick upon his own Honour, and reach no farther than his Person: In fine the Play is a very Religious Poem; 'Tis upon the Matter all Sermon and Anthem. And if it were not designed for the Theatre, I have nothing to object.
Let us now just look over our own Country-men till King Charles the Second. Shakespear takes the Freedom to represent the Clergy in several of his Plays: But for the most part he holds up the Function, and makes them neither Act, nor Suffer any thing unhandsom. In one Play or two He is much bolder with the Order.Measure for Measure.
Much a do about Nothing.
Twelf-Night.
Henry 4th pt. 1st.
Hen. 6. pt. 3d.
Romeo and Juliet.
* Merry Wives of Windsor.[265] *Sr. Hugh Evans a Priest is too Comical and Secular in his Humour. However he understands his Post, and converses with the Freedom of a Gentleman. I grant in Loves Labour lost the Curate plays the Fool egregiously; And so does the Poet too, for the whole Play is a very silly one. In the History of Sr. John Old-Castle, Sr. John, Parson of Wrotham Swears, Games, Wenches, Pads, Tilts, and Drinks: This is extreamly bad, and like the Author of the Relapse &c. Only with this difference; Shakespears, Sr. John has some Advantage in his Character. He appears Loyal, and Stout; He brings in Sr. John Acton, and other Rebels Prisoners. He is rewarded by the King, and the Judge uses him Civilly and with Respect. In short He is represented Lewd, but not Little; And the Disgrace falls rather on the Person, then the Office. But the Relapsers business, is to sink the Notion, and Murther the Character, and make the Function despicable: So that upon the whole, Shakespear is by much the gentiler Enemy.
Towards the End of the Silent Woman, Ben Johnson brings in a Clergy-man, and a Civilian in their Habits. But then he premises a handsom Excuse, acquaints the Audience, that the Persons are but borrowed, and throws in a Salvo for the Honour of either profession. In the Third Act, we have another Clergy-man; He is abused by Cutberd, and a little by Morose. But his Lady checks him for the ill Breeding of the Usage. In his Magnetick Lady, Tale of a Tub, and Sad Sheapherd, there are Priests which manage but untowardly. But these Plays were his last Works, which Mr. Dryden calls his Dotages.Essay of Dramat. &c.[266] This Author has no more Priests, and therefore we'll take Leave.
Beaumont and Fletcher in the Faithful Shepheardess, The False one, A Wife for a Month, and the Knight of Malta, give, us both Priests and Bishops, part Heathen and part Christian: But all of them save their Reputation and make a creditable Appearance. The Priests in the Scornful Lady, and Spanish Curate are ill used. The first is made a Fool, and the other a Knave. Indeed they seem to be brought in on purpose to make sport, and disserve Religion. And so much for Beaumont and Fletcher.
Thus we see the English Stage has always been out of Order, but never to the Degree 'tis at present.
I shall now take Leave of the Poets, and touch a little upon History and Argument.
And here I shall briefly shew the Right the Clergy have to Regard, and fair Usage, upon these Three following Accounts.
I. Because of their Relation to the Deity.
II. Because of the Importance of their Office.
III. They have prescription for their Privilege. Their function has been in Possession of Esteem in all Ages, and Countries.