but if I have not time or chance for such delight it is at least a great pleasure and comfort to me to know that she has been seduced by somebody; it is always a source of glee to me to know that a husband has been deceived; and, if the husband himself comes to know it too, that makes my joy all the greater." The delight in sin seems to have made men in a certain sinful sense unselfish. They delighted so in vice that they were glad to hear of its existence even where it brought them no direct personal gratification. [Sidenote: 1737--Audacious attempt a black-mailing] All this had changed in the days of George the Second. There had been a gradual and marked improvement in the moral tone of the drama, unaccompanied, it must be owned, by any very decided improvement in the moral tone of society. Perhaps the main difference between the time of the Restoration and that of the early Georges is that the vice of the Restoration was wanton school-boy vice, and that of the early Georges the vice of mature and practical men. In the Restoration time people delighted in showing off their viciousness and making a frolic and a parade of it; at the time of the Georges they took their profligacy in a quiet, practical, man-of-the-world sort of way, and made no work about it. One effect of this difference was felt in the greater decorum, the greater comparative decorum, of the Georgian drama. Yet this was the time when Walpole thought it necessary to introduce a measure putting the stage under new {95} and severe restrictions. Walpole himself cared nothing about literature, and nothing about the drama; and he was as little squeamish as man could possibly be in the matter of plain-spoken indecency. What troubled him was not the indecency of the stage, but its political innuendo. It never occurred to him to care whether anything said in Drury Lane or Covent Garden brought a blush to the cheek of any young person; but he was much concerned when he heard of anything said there which was likely to make people laugh at a certain elderly person. As we have seen, he had never got the best of it in the long war of pamphlets and squibs and epigrams and caricature. It was out of his power to hire penmen who could stand up against such antagonists as Swift and Bolingbroke and Pulteney. He was out of humor with the press; had been out of humor with it for a long time; and now he began to be out of humor with the stage. Indeed, it should rather be said that he was now falling into a new fit of ill-humor with the stage; for he had been very angry indeed with Gay for his "Beggars' Opera," and for the attempt at a continuation of "The Beggars' Opera" in the yet more audacious "Polly," which brought in more money to Gay from its not having been allowed to get on the stage than its brilliant predecessor had done after all its unexampled run. The measure of Walpole's wrath was filled by the knowledge that a piece was in preparation in which he was to be held up