Название | Critical and Historical Essays. Volume 3 |
---|---|
Автор произведения | Томас Бабингтон Маколей |
Жанр | История |
Серия | |
Издательство | История |
Год выпуска | 0 |
isbn |
The storm raged. The bishops put forth a solemn censure of the absolution. The Attorney-General brought the matter before the Court of King's Bench. Collier had now made up his mind not to give bail for his appearance before any court which derived its authority from the usurper. He accordingly absconded and was outlawed. He survived these events about thirty years. The prosecution was not pressed; and he was soon suffered to resume his literary pursuits in quiet. At a later period, many attempts were made to shake his perverse integrity by offers of wealth and dignity, but in vain. When he died, towards the end of the reign of George the First, he was still under the ban of the law.
We shall not be suspected of regarding either the politics or the theology of Collier with partiality; but we believe him to have been as honest and courageous a man as ever lived. We will go further, and say that, though passionate and often wrongheaded, he was a singularly fair controversialist, candid, generous, too high-spirited to take mean advantages even in the most exciting disputes, and pure from all taint of personal malevolence. It must also be admitted that his opinions on ecclesiastical and political affairs, though in themselves absurd and pernicious, eminently qualified him to be the reformer of our lighter literature. The libertinism of the press and of the stage was, as we have said, the effect of a reaction against the Puritan strictness. Profligacy was, like the oak leaf on the twenty-ninth of May, the badge of a cavalier and a high churchman. Decency was associated with conventicles and calves' heads. Grave prelates were too much disposed to wink at the excesses of a body of zealous and able allies who covered Roundheads and Presbyterians with ridicule. If a Whig raised his voice against the impiety and licentiousness of the fashionable writers, his mouth was instantly stopped by the retort, You are one of those who groan 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 claiming for his order an immunity from indiscriminate scurrility; he will not allow that, in any case, any word or act of a divine can be a proper subject for ridicule: Nor does he confine this benefit of clergy to the ministers of the Established Church. He extends the privilege to Catholic priests, and, what in him is more surprising, to Dissenting preachers. This, however, is a mere trifle. Imaums, Brahmins, priests of Jupiter, priests of Baal, are all to be held sacred. Dryden is blamed for making the Mufti in Don Sebastian talk nonsense. Lee is called to a severe account for his incivility to Tiresias. But the most curious passage is that in which Collier resents some uncivil reflections thrown by Cassandra, in Dryden's Cleomenes, on the calf Apis and his hierophants. The words "grass-eating, foddered god," words which really are much in the style of several passages in the Old Testament, give as much offence to this Christian divine as they could have given to the priests of Memphis.
But,