An Accident of this Nature might happen once in an Age among the Greeks or Romans; but they were too wise and good to let the constant Nightly Entertainment be of such a Nature, that People of the most Sense and Virtue could not be at it.  Whatever Vices are represented upon the Stage, they ought to be so marked and branded by the Poet, as not to appear either laudable or amiable in the Person who is tainted with them.  But if we look into the English Comedies above mentioned, we would think they were formed upon a quite contrary Maxim, and that this Rule, tho’ it held good upon the Heathen Stage, was not be regarded in Christian Theatres.  There is another Rule likewise, which was observed by Authors of Antiquity, and which these modern Genius’s have no regard to, and that was never to chuse an improper Subject for Ridicule.  Now a Subject is improper for Ridicule, if it is apt to stir up Horrour and Commiseration rather than Laughter.  For this Reason, we do not find any Comedy in so polite an Author as Terence, raised upon the Violations of the Marriage-Bed.  The Falshood of the Wife or Husband has given Occasion to noble Tragedies, but a Scipio or a Lelius would have look’d upon Incest or Murder to have been as proper Subjects for Comedy.  On the contrary, Cuckoldom is the Basis of most of our Modern Plays.  If an Alderman appears upon the Stage, you may be sure it is in order to be Cuckolded.  An Husband that is a little grave or elderly, generally meets with the same Fate.  Knights and Baronets, Country Squires, and Justices of the Quorum, come up to Town for no other Purpose.  I have seen poor Dogget Cuckolded in all these Capacities.  In short, our English Writers are as frequently severe upon this innocent unhappy Creature, commonly known by the Name of a Cuckold, as the Ancient Comick Writers were upon an eating Parasite or a vain-glorious Soldier.

At the same time the Poet so contrives Matters, that the two Criminals are the Favourites of the Audience.  We sit still, and wish well to them through the whole Play, are pleased when they meet with proper Opportunities, and out of humour when they are disappointed.  The Truth of it is, the accomplished Gentleman upon the English Stage, is the Person that is familiar with other Men’s Wives, and indifferent to his own; as the fine Woman is generally a Composition of Sprightliness and Falshood.  I do not know whether it proceeds from Barrenness of Invention, Depravation of Manners, or Ignorance of Mankind, but I have often wondered that our ordinary Poets cannot frame to themselves the Idea of a Fine Man who is not a Whore-master, or of a Fine Woman that is not a Jilt.