perhaps somewhat melancholy, truth in what Lord Hervey says. Perhaps we ought not to call it melancholy; it ought rather to be considered cheerful and encouraging, in the national sense. The world, some modern writer has said, shuts up the shop for no man. Yet there is, nevertheless, a tinge of melancholy in the thought of a great man toiling, striving, giving up all his days and much of his nights to the service of some cause or country, all the while firmly believing his life indispensable to the success of the cause, the prosperity of the country; and he dies, and the cause and the country go on just the same. {93} CHAPTER XXVII. "ROGUES AND VAGABONDS." [Sidenote: 1737--The English stage] The condition of the English stage became a subject of some anxiety about this time, and was made the occasion for the introduction of an important Act of Parliament. The reader of to-day, looking back on the dramatic literature of the second George's reign, would not be apt to think that it called for special measures of restriction. The vices of the Restoration period had apparently worked out their own cure. The hideous indecency of Dryden, of Wycherley, and of Vanbrugh had brought about a certain reaction. The indecency of such authors as these was not merely a coarseness of expression such as most of the Elizabethan writers freely indulged in, and which has but little to do with the deeper questions of morality; nor did its evil consist merely in the choice of subjects which are painful to study, and of questionable influence on the mind. Many of the finest plays of Ford and Massinger and Webster turn on sin and crime, the study of which it might reasonably be contended must always have the effect of disturbing the moral sense, if not of actually depraving the mind. But no one can pretend to find in the best of the Elizabethan writers any sympathy with viciousness, any stimulus to immorality. Of the Restoration authors, in general, the very contrary has to be said. They revel in uncleanness; they glorify immorality. It is the triumph and the honor of a gentleman to seduce his friend's wife or his neighbor's daughter. The business and the glory of men is the seduction of women. The sympathy of the dramatic author and his readers goes always with the seducer. The husband of the {94} faithless wife is a subject of inextinguishable merriment and laughter. His own friends are made to laugh at him, and to feel a genuine delight in his suffering and his shame. The question of morality altogether apart, it seems positively wonderful to an English reader of to-day why the writers of the Restoration period should have always felt such an exuberant joy in the thought that a man's wife was unfaithful to him. The common feeling of all men, even the men meant to be best, in the plays of Wycherley and Vanbrugh, seems one that might find expression in some such words as these: "I should like to seduce every pretty married woman if I could,