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It is remarkable, that the Writers of least Learning are best skilled in the luscious Way. The Poetesses of the Age have done Wonders in this kind; and we are obliged to the Lady who writ Ibrahim [8], for introducing a preparatory Scene to the very Action, when the Emperor throws his Handkerchief as a Signal for his Mistress to follow him into the most retired Part of the Seraglio. It must be confessed his Turkish Majesty went off with a good Air, but, methought, we made but a sad Figure who waited without. This ingenious Gentlewoman, in this piece of Bawdry, refined upon an Author of the same Sex, [9] who, in the Rover, makes a Country Squire strip to his Holland Drawers. For Blunt is disappointed, and the Emperor is understood to go on to the utmost. The Pleasantry of stripping almost Naked has been since practised (where indeed it should have begun) very successfully at Bartholomew Fair.

It is not here to be omitted, that in one of the above-mentioned Female Compositions, the Rover is very frequently sent on the same Errand; as I take it, above once every Act. This is not wholly unnatural; for, they say, the Men-Authors draw themselves in their chief Characters, and the Women-Writers may be allowed the same Liberty. Thus, as the Male Wit gives his Hero a [good] Fortune, the Female gives her Heroin a great Gallant, at the End of the Play. But, indeed, there is hardly a Play one can go to, but the Hero or fine Gentleman of it struts off upon the same account, and leaves us to consider what good Office he has put us to, or to employ our selves as we please. To be plain, a Man who frequents Plays would have a very respectful Notion of himself, were he to recollect how often he has been used as a Pimp to ravishing Tyrants, or successful Rakes. When the Actors make their Exit on this good Occasion, the Ladies are sure to have an examining Glance from the Pit, to see how they relish what passes; and a few lewd Fools are very ready to employ their Talents upon the Composure or Freedom of their Looks. Such Incidents as these make some Ladies wholly absent themselves from the Play-House; and others never miss the first Day of a Play, lest it should prove too luscious to admit their going with any Countenance to it on the second.

If Men of Wit, who think fit to write for the Stage, instead of this pitiful way of giving Delight, would turn their Thoughts upon raising it from good natural Impulses as are in the Audience, but are choked up by Vice and Luxury, they would not only please, but befriend us at the same time. If a Man had a mind to be new in his way of Writing, might not he who is now represented as a fine Gentleman, tho’ he betrays the Honour and Bed of his Neighbour and Friend, and lies with half the Women in the Play, and is at last rewarded with her of the best Character in it; I say, upon giving the Comedy another Cast, might not such a one divert the Audience quite as well, if at the Catastrophe he were found out for a Traitor, and met with Contempt accordingly? There is seldom a Person devoted to above one Darling Vice at a time, so that there is room enough to catch at Men’s Hearts to their Good and Advantage, if the Poets will attempt it with the Honesty which becomes their Characters.

There is no Man who loves his Bottle or his Mistress, in a manner so very abandoned, as not to be capable of relishing an agreeable Character, that is no way a Slave to either of those Pursuits. A Man that is Temperate, Generous, Valiant, Chaste, Faithful and Honest, may, at the same time, have Wit, Humour, Mirth, Good-breeding, and Gallantry. While he exerts these latter Qualities, twenty Occasions might be invented to shew he is Master of the other noble Virtues. Such Characters would smite and reprove the Heart of a Man of Sense, when he is given up to his Pleasures. He would see he has been mistaken all this while, and be convinced that a sound Constitution and an innocent Mind are the true Ingredients for becoming and enjoying Life. All Men of true Taste would call a Man of Wit, who should turn his Ambition this way, a Friend and Benefactor to his Country; but I am at a loss what Name they would give him, who makes use of his Capacity for contrary Purposes.

R.

[Footnote 1: The Play is by Steele himself, the writer of this Essay. Steele’s Plays were as pure as his ‘Spectator’ Essays, absolutely discarding the customary way of enforcing feeble dialogues by the spurious force of oaths, and aiming at a wholesome influence upon his audience. The passage here recanted was a climax of passion in one of the lovers of two sisters, Act II., sc. I, and was thus retrenched in subsequent editions:

‘Campley.’ Oh that Harriot! to embrace that beauteous–

‘Lord Hardy.’ Ay, Tom; but methinks your Head runs too much on the Wedding Night only, to make your Happiness lasting; mine is fixt on the married State; I expect my Felicity from Lady Sharlot, in her Friendship, her Constancy, her Piety, her household Cares, her maternal Tenderness –You think not of any excellence of your Mistress that is more than skin deep.’]

[Footnote 2: gross]

[Footnote 3: else to gratifie]

[Footnote 4: him]

[Footnote 5: his]

[Footnote 6: his]

[Footnote 7: his]

[Footnote 8: Mary Fix, whose Tragedy of ‘Ibrahim XII, Emperor of the Turks’, was first acted in 1696.]

[Footnote 9: Mrs. Aphra Behn, whose ‘Rover, or the Banished Cavaliers’, is a Comedy in two Parts; first acted, Part I in 1677, Part II in 1681.]