at a light quotation from Scripture, and raise estates out of the
plunder of the Church, who shudder at a _double entendre_, and chop off
the heads of kings. A Baxter, a Burnet, even a Tillotson, would have
done little to purify our literature. But when a man fanatical in the
cause of episcopacy, and actually under outlawry for his attachment to
hereditary right, came forward as the champion of decency, the battle
was already half won.

In 1698 Collier published his Short View of the Profaneness and
Immorality of the English Stage, a book which threw the whole literary
world into commotion, but which is now much less read than it deserves.
The faults of the work, indeed, are neither few nor small. The
dissertations on the Greek and Latin drama do not at all help the
argument, and, whatever may have been thought of them by the generation
which fancied that Christ Church had refuted Bentley, are such as, in
the present day, a scholar of very humble pretensions may venture to
pronounce boyish, or rather babyish. The censures are not sufficiently
discriminating. The authors whom Collier accused had been guilty of such
gross sins against decency that he was certain to weaken instead of
strengthening his case, by introducing into his charge against them any
matter about which there could be the smallest dispute. He was, however,
so injudicious as to place among the outrageous offences which he justly
arraigned some things which are really quite innocent, and some slight
instances of levity which, though not perhaps strictly correct, could
easily be paralleled from the works of writers who had rendered great
services to morality and religion. Thus he blames Congreve, the number
and gravity of whose real transgressions made it quite unnecessary to
tax him with any that were not real, for using the words "martyr" and
"inspiration" in a light sense; as if an archbishop might not say that a
speech was inspired by claret, or that an alderman was a martyr to the
gout. Sometimes, again, Collier does not sufficiently distinguish
between the dramatist and the persons of the drama. Thus he blames
Vanbrugh for putting into Lord Foppington's mouth some contemptuous
expressions respecting the church service; though it is obvious that
Vanbrugh could not better express reverence than by making Lord
Foppington express contempt. There is also throughout the Short View too
strong a display of professional feeling. Collier is not content with
cl