Essays on the Stage | Page 2

False and
Imperfect Citations" (1698) that they seem effective.
At least forty books and pamphlets published between 1698 and 1725
are definitely part of the Collier controversy, but the fact that none of
them really discusses adequately fundamental premises concerning the
nature, method, and function of comedy had serious consequences for
the English stage. The situation was further complicated by the rise of
sentimental comedy and the fact that the theories supposed to justify it
were expounded with all the completeness and clarity which were so
conspicuously lacking in the case of those who undertook halfheartedly
to defend what we call "high" or "pure", as opposed to both sentimental
and satiric comedy. Steele's epilogue to "The Lying Lover", which
versified Hobbes' comments on laughter and then rejected laughter
itself as unworthy of a refined human being, is a triumphant epitaph
inscribed over the grave of the comic spirit.
The second item included in the present reprint, namely the anonymous
preface to a translation of Bossuet's "Maxims and Reflections Upon
Plays", belongs to a different phase of the Collier controversy. It serves
as an illustration of the fact that Collier was soon joined by men who
were, somewhat more frankly than he had himself admitted he was,
open enemies of the stage as such. He had begun with arguments
supported by citations from literary critics and he called in the support
of ascetic religious writers after his discourse was well under way. But
the direct approach by way of religion was soon taken up by others, of
whom Arthur Bedford was probably the most redoubtable as he was

certainly the most long winded, since his "Evil and Danger of Stage
Plays" (1706) crowds into its two hundred and twenty-seven pages
some two thousand instances of alleged profaneness and immorality
with specific references to the texts of scripture which condemn each
one. But Bedford had not been the first to treat the issue as one to be
decoded by theologians rather than playwrights or critics. Somewhat
unwisely, perhaps, Motteux had printed before his comedy "Beauty in
Distress" a discourse "Of the Lawfulness and Unlawfulness of Plays"
(1698), written by the Italian monk Father Caffaro, who was professor
of divinity at the Sorbonne. Unfortunately Caffaro had, some years
before this English translation appeared, already retracted his mild
opinion that stage plays were not, per se, unlawful, and it was possible
not only to cite his retraction but also to offer the opinions of the
Bishop of Meux, who was better known to English readers than Father
Caffaro. The anonymous author of the preface to "Maxims and
Reflections" grants that dramatic poetry might, under certain
circumstances, be theoretically permissible, but rather more frankly
than Collier he makes it clear that his real intention is to urge the
outlawing of the theater itself, since all efforts to reform it are
foredoomed to failure. "But if", he writes, "the Reformation of the
Stage be no longer practicable, reason good that the incurable Evil
should be cut off". That lets the cat out of the bag.
Both pieces reprinted here are from copies owned by the University of
Michigan.
Joseph Wood Krutch Columbia University
* * * * *
The Campaigners: or, the Pleasant Adventures at Brussels.
A COMEDY
As it is Acted at the _Theatre-Royal_.
with a Familiar Preface upon _A Late Reformer of the STAGE._

Ending with a Satyrical Fable of the DOG and the OTTOR.
Written by Mr. _D'urfey_.
LONDON,
Printed for _A. Baldwin_, near the Oxford Arms Inn in Warwick lane.
MDCXCVIII.

PREFACE.
I Must necessarily inform the Partial, as well as Impartial Reader, that I
had once design'd another kind of Preface to my Comedy than what
will appear in the following sheets; but having in the interim been
entertain'd with a Book lately Printed, full of Abuses on all our Antient
as well as Modern Poets, call'd _A view of the Immorality and
Prophaness of the English Stage_; and finding the Author, who, no
doubt, extreamly values himself upon his Talent of _Stage-reforming_,
not only (to use his own Ironical words) particular in his Genius and
Civilities, but indecently, unmanner'd, and scurrilous in his unjust
Remarks on me, and two of my Plays, _viz._ the first and second parts
of the Comical History of Don Quixote. [Footnote: Collier, p. 196.] I
thought I cou'd not do better, first as a Diversion to the Town, and next
to do a little Iustice to my self, than (instead of the other) to print a
short Answer to this very Severe and Critical Gentleman; and at the
same time give him occasion to descant upon the following Comick
Papers, and my self the opportunity of vindicating the other; with some
familiar Returns (_en Raillere_) upon his own Extraordinary Integrity,
and Justness of the Censure.
But