[From A Short View of the Immorality, and Profaneness of the English Stage (1698)].
The clergyman and controversialist Jeremy Collier (1650-1726) here compares the contemporary stage unfavourably with classical and Elizabethan drama. The book initiated a voluminous controversy, to which Literary Records 124 and 125 also belong. Collier quotes Discoveries on corrupt language and the representation of 'base Pleasures' on stage (pp. 50-1) -- he cited the dictum from Discoveries about the instructive part of the comic poet's office again in his A Second Defence of the Short View of the Profaneness and Immorality of the English Stage (1700), p. 89 -- and in the extracts below cites Jonsonian comedy as a model of modesty, propriety, and moral instruction.
*****************************************[Having described the presentation of profane clergymen on the contemporary stage, Collier turns to clergymen in the plays of the older playwrights. ]
Towards the End of the Silent Woman, Ben Johnson brings in a Clergy-man, and a Civilian in their Habits. But then he premises a handsom Excuse, acquaints the Audience, that the Persons are but borrow'd, and throws in a Salvo for the Honour of either profession. In the Third Act, we have another Clergy-man; He is abused by Cutberd, and a little by Morose. But his Lady checks him for the ill Breeding of the Usage. In his Magnetick Lady, Tale of a Tub, and Sad Sheapherd, there are Priests which manage but untowardly. But these Plays were his last Works, which Mr. Dryden call his Dotages. This Author has no more Priests, and therefore we'll take Leave. (126)
[Discussing Dryden's defence of the happy endings of his villains in the preface to An Evening's Love (1671: see Literary Record 98).]
Mr. Dryden makes Homewards, and endeavours to fortifie himself in Modern Authority. He lets us know that Ben Johnson after whom he may be proud to Err, gives him more than one example of this Conduct; That in the Alchemist is notorius, where neither Face nor his Master are corrected according to their Demerits. But how Proud soever Mr. Dryden may be of an Errour, he has not so much of Ben Jonson's company as he pretends. His Instance of Face &c. in the Alchemist is rather notorious against his Purpose then for it. For Face did not Council his Master Lovewit to debauch the Widdow; neither is it clear that the Matter went thus far. He might gain her consent upon Terms of Honour for ought appears to the contrary. 'Tis true Face who was one of the Principal Cheats is Pardon'd and consider'd. But then his Master confesses himself kind to a fault. He owns this Indulgence was a Breach Justice, and unbecoming the Gravity of an old Man. And then desires the Audience to excuse him upon the Score of the Temptation. But Face continued in the Cousenage till the last without Repentance. Under favour I conceive this is a Mistake. For does not Face make an Apology before he leaves the Stage? Does he not set himself at the Bar, arraign his own Practise, and cast the Cause upon the Clemency of the Company? And are not all these Signs of the Dislike of what he had done? Thus careful the Poet is to prevent the Ill Impressions of his Play! He brings both Man and Master to Confession. He dismisses them like Malefactours; And moves for their Pardon before he gives them their Discharge. But the Mock-Astrologer has a gentler Hand: Wild-Blood and Jacinta are more generously used: There is no Acknowledgment exacted; no Hardship put upon them: They are permitted to talk on in their Libertine way to the Last: And take Leave without the least Appearance of Reformation. The Mock-Astrologer urges Ben Johnson's Silent Woman as an other Precedent to his purpose. For there Dauphine confesses himself in Love with all the Collegiate Lady's. And yet this naughty Dauphine is Crowned in the end with the Possession of his Uncles Estate, and with the hopes of all his Mistresses. This Charge, as I take it, is somewhat too severe. I grant Dauphine Professes himself in Love with the Collegiate Ladies at first. But when they invited him to a private Visit, he makes them no Promise; but rather appears tired, and willing to disengage. Dauphine therefore is not altogether so naughty as this Author represents him.
Ben Johnson's Fox is clearly against Mr. Dryden. And here I have his own Confession for proof. He declares the Poets end in this Play was the Punishment of Vice, and the Reward of Virtue. Ben was forced to strain for this piece of justice, and break through the Unity of Design. This Mr. Dryden remarks upon him: How ever he is pleased to commend the Performance, and calls it an excellent Fifth Act.
(151-3)
Ben Johnson in his Dedicatory Epistle of his Fox has somewhat considerable upon this Argument; And declaims with a great deal of zeal, spirit, and good Sense, against the Licentiousness of the Stage.
Say you so! Why then if Ben Johnson knew any thing of the Matter, Divertisment and Laughing is not as Mr. Dryden affirms, the Chief End of Comedy. This Testimony is so very full and clear, that it needs no explaining, nor any enforcement from Reasoning, and Consequence. (157-9)
Quoting Dryden's Essay, Literary Record 90.