sentimental comedy and the fact that the theories supposed to justify
it were expounded with all the completeness and clarity which were so
conspicuously lacking in the case of those who undertook halfheartedly
to defend what we call "high" or "pure", as opposed to both sentimental
and satiric comedy. Steele's epilogue to "The Lying Lover", which
versified Hobbes' comments on laughter and then rejected laughter itself
as unworthy of a refined human being, is a triumphant epitaph inscribed
over the grave of the comic spirit.

The second item included in the present reprint, namely the anonymous
preface to a translation of Bossuet's "Maxims and Reflections Upon
Plays", belongs to a different phase of the Collier controversy. It
serves as an illustration of the fact that Collier was soon joined by
men who were, somewhat more frankly than he had himself admitted he was,
open enemies of the stage as such. He had begun with arguments supported
by citations from literary critics and he called in the support of
ascetic religious writers after his discourse was well under way. But
the direct approach by way of religion was soon taken up by others,
of whom Arthur Bedford was probably the most redoubtable as he was
certainly the most long winded, since his "Evil and Danger of Stage
Plays" (1706) crowds into its two hundred and twenty-seven pages some
two thousand instances of alleged profaneness and immorality with
specific references to the texts of scripture which condemn each one.
But Bedford had not been the first to treat the issue as one to be
decoded by theologians rather than playwrights or critics. Somewhat
unwisely, perhaps, Motteux had printed before his comedy "Beauty in
Distress" a discourse "Of the Lawfulness and Unlawfulness of Plays"
(1698), written by the Italian monk Father Caffaro, who was professor of
divinity at the Sorbonne. Unfortunately Caffaro had, some years before
this English translation appeared, already retracted his mild opinion