A Short View of the Immorality, and Profaneness of the English Stage: Together with the Sense of Antiquity on this ArgumentCollier, Jeremy
General
A Short View of the Immorality, and Profaneness of the English Stage: Together with the Sense of Antiquity on this Argument
Collier, Jeremy
Theater -- England -- Early works to 1800; Theater -- Moral and ethical aspects -- Early works to 1800
Let us now pass onto _Worthy_, the _Relapsers_ fine Gentleman. This Spark
sets up for Sense, and Address, and is to have nothing of Affectation or
Conscience to spoil his Character. However to say no more of him, he grows
Foppish in the last _Scene_, and courts _Amanda_ in Fustian, and Pedantry.
First, He gives his Periods a turn of Versification, and talks _Prose_ to
her in _Meeter_. Now this is just as agreeable as it would be to _Ride_
with one Leg, and _Walk_ with the other. But let him speak for himself. His
first business is to bring _Amanda_ to an Aversion for her Husband; And
therefore he perswades her to _Rouse up that Spirit Women ought to bear;
and slight your God if he neglects his Angel_.[427] He goes on with his
Orisons. _With Arms of Ice receive his Cold Embraces and keep your Fire for
those that come in Flames._ Fire and Flames, is Mettal upon Mettal; 'Tis
false Heraldry. _Extend the Arms of Mercy to his Aid. His zeal may give him
Title to your Pity, altho' his Merit cannot claim your Love._[428] Here you
have _Arms_ brought in again by Head and shoulders. I suppose the design
was to keep up the Situation of the _Allegory_. But the latter part of the
Speech is very Pithy. He would have her resign her Vertue out of Civility,
and abuse her Husband on Principles of good Nature. _Worthy_ pursues his
point, and Rises in his Address. He falls into a Fit of Dissection, and
hopes to gain his Mistress by Cutting his Throat. He is for _Ripping up his
Faithful Breast_, to prove the Reality of his Passion. Now when a Man
Courts with his Heart in his Hand, it must be great Cruelty to refuse him!
No Butcher could have Thought of a more moving Expedient! However, _Amanda_
continues obstinate, and is not in the usual Humour of the _Stage_. Upon
this, like a well bred Lover he seizes her by Force, and threatens to Kill
her. _Nay struggle not for all's in vain, or Death, or Victory, I am
determin'd._[429] In this rencounter the Lady proves too nimble, and slips
through his Fingers. Upon this disappointment, he cries, _there's Divinity
about her, and she has dispenc'd some Portion on't to me_. His Passion is
Metamorphos'd in the Turn of a hand: He is refin'd into a _Platonick_
Admirer, and goes off as like a _Town Spark_ as you would wish. And so much
for the _Poets_ fine Gentleman.
I should now examine the _Relapser's Thoughts and Expressions_, which are
two other Things of Consideration in a _Play_. The _Thoughts_ or
_Sentiments are the Expressions of the Manners, as Words are of the
Thoughts_.[430] But the view of the _Characters_ has in some measure
prevented this Enquiry. Leaving this Argument therefore, I shall consider
his _Play_ with respect to the
_Three Unities_ of Time, Place, and Action.
And here the _Reader_ may please to take notice, that the Design of these
Rules, is to conceal the Fiction of the _Stage_, to make the _Play_ appear
Natural, and to give it an Air of Reality, and _Conversation_.
Public-domain text, read in full here on John Shaqi.
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