I do not know how true it may be that Dryden, the coarsest of dramatic writers, was "the modestest of men in conversation;" but I have small trust in the alleged purity of a writer who stooped to gratify the baser feelings of an audience, according to their various degrees; who could compose for one class the filthy dish served up in his "Wild Gallant," and for another the more dangerous, if more refined, fare for youthful palates, so carefully manipulated in the Alexis and Cælia song, in his "Mariage à la Mode." We must not forget, indeed, that the standard of morals was different at that time from what it is now. Later in the half century, Jeremy Collier especially attacked Congreve and Wycherley, as men who applied their natural gifts to corrupt instead of purify the stage. The public too were scandalised at passages in Congreve's "Double Dealer," a comedy of which the author said "the mechanical part was perfect."[64] The play was not a success, and the fault was laid to its gross inuendoes, and its plainer indecency. "I declare," says the author, in the preface, "that I took a particular care to avoid it, and if they find any, it is of their own making, for I did not design it to be so understood." This point, on which the author and the public were at issue, proves that on the part of the latter the standard was improving--for Congreve is deep in the mire before the first scene is over. He had looked for censure for other offence, and says in his usual lofty manner with the critics:--"I would not have anybody imagine that I think this play without its faults, for I am conscious of several, and ready to own 'em; but it shall be to those who are able to find 'em out." This is not ill said. For the critics there was at least as much contempt as fear. In "The Country Wife," Wycherley speaks of "the most impudent of creatures, an ill poet, or what is yet more impudent, a second-hand critic!" The less distinguished writers were, of course, severer still against the critics. In later years, Sheridan expressed the greatest contempt for such part of the public as found that the grossness of Congreve was not compensated for by his wit. Sheridan avowed that Congreve must be played unmutilated or be shelved. He compared his great predecessor to a horse whose vice is cured at the expense of his vigour. Sheridan must, nevertheless, have felt that he was in error with regard to these old authors. In his "Trip to Scarborough," which is an entire recasting of Vanbrugh's "Relapse," he makes Loveless (Smith) say, "It would surely be a pity to exclude the productions of some of our best writers for want of a little wholesome pruning, which might be effected by any one who possessed modesty enough to believe that we should preserve all we can of our deceased authors, at least, till they are outdone by the living ones."