This Author is done; I shall therefore pass on to the _Comedians_. And here, _Aristophanes_ is so declared an Atheist, that I think him not worth the citing. Besides, he has but little upon the Argument: And where he does engage it, the _Priests_ have every jot as good Quarter as the Gods.[260] As for _Terence_, he neither represents any _Priests_, nor so much as mentions them. _Chrysalus_ in _Plautus_ describes _Theotimus Diana's Priest_, as a Person of Quality, and Figure.[261] In his _Rudens_ we have a _Priestess_ upon the _Stage_, which is the only Instance in this _Poet_.[262] She entertains the two Women who were wrecked, and is commended for her hospitable Temper. The Procurer _Labrax_ swaggers that he will force the Temple, and begins the Attack. _Demades_ a Gentleman, is surprized at his Insolence, and threatens him with Revenge. The report of so bold an attempt made him cry out. _Quis homo est tanta Confidentia; qui sacerdotem andeat Violare?_[263] It seems in those Days 'twas very infamous to affront a _Holy Character_, and break in upon the _Guards_ of Religion! Thus we see how the Antient Poets behaved themselves in the Argument. _Priests_ seldom appear in their _Plays_. And when they come 'tis Business of Credit that brings them. They are treated like Persons of Condition. They Act up to their Relation; neither sneak, nor prevaricate, nor do any thing unbecoming their Office.
The famous _Corneille_ and _Moliere_, bring no _Priests_ of any kind upon the _Stage_. The former leaves out _Tiresias_ in his _Oedipus_: Tho' this Omission balks his Thought, and maims the _Fable_. What therefore but the regard to Religion could keep him from the use of this Liberty? As I am informed the same Reservedness is practis'd in _Spain_, and _Italy_: And that there is no Theatre in _Europe_ excepting the _English_, that entertains the _Audience_ with _Priests_.
This is certainly the right method, and best secures the Outworks of Piety. The Holy Function is much too Solemn to be play'd with. Christianity is for no Fooling, neither the _Place_, the _Occasion_ nor the _Actors_ are fit for such a Representation. To bring the _Church_ into the _Playhouse_, is the way to bring the _Playhouse_ into the _Church_. 'Tis apt to turn Religion into _Romance_, and make unthinking People conclude that all Serious Matters are nothing but _Farce_, _Fiction_, and _Design_. 'Tis true the _Tragedies_ at _Athens_ were a sort of _Homilies_, and design'd for the Instruction of the People: To this purpose they are all Clean, Solemn, and Sententious. _Plautus_ likewise informs us that the _Comedians_ used to teach the People Morality.[264] The case standing thus 'tis less suprizing to find the _Priests_ sometimes Appear. The Play had grave Argument, and Pagan Indulgence, to plead in its behalf. But our _Poets_ steer by an other _Compass_. Their Aim is to _destroy_ Religion, their _Preaching_ is against _Sermons_; and their Business, but Diversion at the best. In short, Let the Character be never so well managed no Christian _Priest_ (especially,) ought to come upon the _Stage_. For where the Business is an Abuse, and the place a Profanation; the demureness of the Manner, is but a poor excuse. Monsieur _Racine_ is an Exception to what I have observ'd in _France_. In his _Athalia_, _Joida_ the _High-Priest_ has a large part. But then the Poet does him Justice in his Station; he makes him Honest and Brave, and gives him a shining Character throughout. _Mathan_ is another _Priest_ in the same Tragedy. He turns Renegado, and revolts from God to _Baal_. He is a very ill Man but makes a considerable Appearance, and is one of the Top of _Athaliahs_ Faction. And as for the _Blemishes_ of his Life, they all stick upon his own Honour, and reach no farther than his Person: In fine the _Play_ is a very Religious Poem; 'Tis upon the Matter all _Sermon_ and _Anthem_. And if it were not designed for the _Theatre_, I have nothing to object.