¹ Northbrooke, Treatise against Dicing, Dauncing, Playes and Enterludes [about 1577]. Shakespeare Society ed., p. 93: “Why, then, shoulde not Christians abolishe, and punishe suche filthie players of enterludes, whose mouthes are full of filthinesse and wickednesse ? ”

² Sir Richard Baker, Theatrum Redivivum (1662), p. 26.

³ Stephen Gosson, Plays Confuted in Five Actions, Roxb. Club ed., p. 173: “Therefore the Deuill, not contented with the number he hath corrupted with reading Italian baudery, because all cannot reade, presenteth us Comedies cut by the same patterne, which drag such a monstrous taile after them as is able to sweep whole cities into his lap.”

⁴ Third Blast against Plays, Hazlitt ed., p. 138: “[We, are] not content [in plays] to sport ourselves with modest mirth, as the matter gives occasion, unles it be intermixed with knaverie, dron-ken meriements, craftie coosenings, undecent iuglings, clownish conceits and such other cursed mirth, as is both odious in the sight of God, and offensive to honest ears.”

⁵ Thomas Lodge, Defence, Hunterian Club ed., p. 20.

⁶ Thomas Heywood, An Apology for Actors, Shak. Soc. ed., 1841, p. 54.

⁷ Hamlet (ii, ii, 462), Neilson's Shakespeare.

⁸ S. Gosson, School of Abuse, Shak. Soc. ed., p. 27.

⁹ P. Stubbes, Anatomy of Abuses, Shak. Soc. ed., 1879, p. 199.

¹⁰ Northbrooke, Treatise, p. 68.

¹¹ Northbrooke, Treatise, p. 68: “Saint Paule sayth that fornieation and all uncleannesse or covetousnes must not be once named among vs, as it becommeth saints.” Ibid., p. 93. Prynne, Histrio-Mastix, p. 949: “The very naming of fornication and adultery, together with foolish talking and jesting on the stage, are nought else but actuall sinnes in God's account.” Ibid., p. 63: “Let no corrupt communication proceed out of your mouth, but that which is good for the use of edifying, that it may minister grace to the hearers: Let all evill speaking be put away from you: and as for fornication, and uncleannesse (the common subjects, and principali ingredients of our comedies), neither foolish talking, nor jesting, which are not convenient, let them not bee once named (much lesse then acted, or applauded) among you, as becometh Saintes.” Also ibid., pp. 552, 89, 70, 264. Third Blast against Plays, Hazlitt ed., p. 138.

¹² Stubbes, Anatomy of Abuses, p. 27.

¹³ Northbrooke, Stubbes, Gosson, Prynne, and others quote one or more of the following verses in connection with the reform of speech: 1 Peter 1, 15, 16: “But as he which hath called you is holy, so be ye holy in all manner of conversation; because it is written, Be ye holy; for I am holy.” Ephes. 4, 29: “Let no corrupt communication proceed out of your mouth, but that which is good to the use of edifying, that it may minister grace unto the hearers.” Col. 3, 8: “But now ye also put off all these: anger, wrath, malice, blasphemy, filthy communication out of your mouth.” Col. 4, 6: “Let your speech be always with grace, seasoned with salt, that ye may know how ye ought to answer any man.”

¹⁴ Ephesians 5, 3: “But fornication and all uncleanness, or covet-ousness, let it not be once named among you, as becometh saints.”

¹⁵ Ephesians 5, 4: “Neither [let be named among you] filthiness, nor foolish talking, nor jesting, which are not convenient: but rather giving of thanks.”

¹⁶ Anatomy of Abuses, p. 135.

¹⁷ Anatomy of Abuses, pp. 78 and 88.

¹⁸ Prynne, Histrio-Mastix, p. 279.

¹⁹ A. Barclay, Mirrour of Good Manners, Spenser Soc. ed., p. 71.

²⁰ Davenant, The Law against Lovers, Folio ed., 1673, p. 277: “Luc. I believe 'tis that which the precise call Incontinence.”

²¹ Thomas Middleton, Game at Chess (Dyce ed., iv, p. 406) : “W., Duke: Some that are pleas'd to make a wanton on't, Call it infirmity of blood, flesh frailty; But certain there's a worse name in your books for't.”

²² Stubbes, Anatomy of Abuses, p. 107: “Honor sit auribus.” Sir reverence, God bless you, and Save the mark, are found more frequently in derision of the reformers' regard for propriety, than seriously.

²³ See page 78.

²⁴ J. Eainoldes, The Overthrow of Stage Plays, p. 122.

²⁵ Ibid., p. 18.

²⁶ 1 Henry IV. (i, ii, 175).

²⁷ Nash, McKerrow ed., vol. i, p. 20, line 7.

²⁸ T. Heywood, An Apology for Actors, Sh. Soc. ed., p. 25.

²⁹ Sir Richard Baker, Theatrum Redivivum (1662), p. 27.

³⁰ Bullen Ed., vol. ii, p. 18 (i, ii): “Freeville (to Malheureux): Whore? fie, whore! you may call her a courtezan, a cocatrice, or (as that worthy spirit of an eternal happiness said) a suppository. But whore! fie, 'tis not in fashion to call things by their right names. Is a great merchant a cuckold, you must say he is one of the livery. Is a great lord a fool, you must say he is weak.”

³¹ Pappe with a Hatchet, vol. iii, p. 400, 1. 4, Bond ed. of J. Lyly's works.

³² Chapman's Widow's Tears, Shepherd ed., 1874, p. 314, col. 1.

³³ Meas. for Meas. (i, ii, 139): “Lucio: What's thy offence, Claudio? Claudio: What but to speak of would offend again.” Similar are the words of Lysimarchus to Marina: Pericles (iv, vi, 72): “Lys: Now, pretty one, how long have you been at this trade? Mar: What trade, sir? Lys: Why, I cannot name 't but I shall offend.”

³⁴ Much less frequently the same characteristic of pretended honesty of speech is found in men of the lowest order of society. Pericles ( iv, vi, 38): “Boult: And she were a rose indeed, if she had but—-Lys: What, prithee? Boult: O, sir, I can be modest. Lys: That dignifies the renown of a bawd, no less than it gives a good report to a number to be chaste.”

³⁵ See note 32.

³⁶ Hazlitt's Dodsley, xiii, p. 283.

³⁷ Middleton, Dyce ed., ii, p. 338.

³⁸ Merry Wives (iv, i, 68).

³⁹ E. N. S. Thompson, The Puritans and the Stage, p. 207.

⁴⁰ R. Perkins, p. 10 in Heywood's Apology: “Give me a play, that no distaste can breed. Prove thou a spider, and from flowers suck gall: I'le, like a bee, take hony from a weed; For I was never puri-tanicall.”

⁴¹ Theatrum Redivivum, p. 31.

⁴² Much Ado About Nothing (iii, iv, 33).

⁴³ Dutch Courtesan, Bullen ed., ii, p. 47. Also in As You Like It (iii, ii, 278): Orlando's request to Jaques “to mar no more of his verses with reading them ill-favouredly,” is Orlando's way of asking Jaques not to “wrest true speaking with bad thinking.” Jaques's remark to Orlando that “the worst fault he has is to be in love,” indicates in turn Jaques's misinterpretation of Orlando's “love-songs.” The charge of “lascivious apprehension,” as Timon phrases this argument in a conversation with Apemantus (Timon, i, i, 211), is also the general answer given by the friends of plays to those who would forbid the representation of vice on the stage. “Read them [plays] as my author meant them,” Harington insists, “to breed detestation and not delectation.” (Sir John Harington, An Apologie of Poetry, Haslewood ed., ii, p. 139). Heywood reiterates (Heywood's Apology, p. 51) the thought in his Apology for Actors: “Plays are in use as they are understood, spectators' eyes may make them bad or good.”

⁴⁴ Much Ado (iv, i, 89): “ Upon my honor, Myself, my brother, and this grieved count Did see her, hear her, at that hour last night Talk with a ruffian at her chamber-window; Who hath indeed, most like a liberal villain, Confess'd the vile encounters they have had A thousand times in secret. Don John: Fie, fie! they are not to be named, my lord, Not to be spoke of: There is not chastity enough in language Without offence to utter them. Thus, pretty lady, I am sorry for thy much misgovernment.”

⁴⁵ Othello (iv, i, 28): “Imogen: Hath he [Cassio] said any thing? Iago: He hath, my lord; but be you well assur'd, No more than he'll unswear. Oth: What hath he said? Iago: Faith, that he did—I know not what he did.”

⁴⁶ Cymbeline (i, vi, 87): “Imogen: I pray you, sir, Deliver with more openess your answers To my demands. Why do you pity me? Iachimo: That others do, I was about to say, enjoy your—-But it is an office of the gods to venge it, Not mine to speak on't.”

⁴⁷ Dame Quickly and Dol Common approach nearest to the common type of pious hypocrites.

⁴⁸ Pericles (iv, vi, 38).

⁴⁹ Hamlet (iii, i, 151).

⁵⁰ Lear (iv, vi, 120).

⁵¹ Othello (iv, ii, 161): “Des: I cannot say ‘whore’: It doth abhor me now I speak the word.” And earlier in the same scene (ii, 118): “Des: Am I that name, Iago? Iago: What name, fair Lady? Des: Such as she says my lord did say I was. Emilia: He call'd her whore.”

⁵² Measure for Measure (iii, i, 101): “Isa: This night's the time That I should do what I abhor to name, Or else thou diest to-morrow.”

⁵³ Winter's Tale (iv, iv, 215).

⁵⁴ Winter's Tale (i, ii, 281): “Cam. (to Leontes): Shrew my heart, You never spoke what did become you less Than this; which to reiterate were sin As deep as that, though true.”

⁵⁵ Othello (v, ii, 1): “Oth: It is the cause, it is the cause, my soul; Let me not name it to you, you chaste stars!—It is the cause.”

⁵⁶ As You Like It (iii, iii, 17).

⁵⁷ L. L. L. (iv, ii, 55).

⁵⁸ L. L. L. (v, i, 3).

⁵⁹ Merry Wives (ii, i, 57).

⁶⁰ Other similar expressions are used for the purpose of comic treatment: “Saving your manhood,” by Eluellen (H. V., iv, viii, 35; 2 H. IV., ii, i, 28); “Bless the mark,” Two Gentlemen, iv, iv, 20.

⁶¹ The Puritan Widow, The Shakespeare Apocrypha ed., p. 231, used by the Widow herself; p. 242, used by her servant Frailtie; The Family of Love, Dyce ed., p. 274, by Geraldine speaking to a puritan, while he is disguised as a porter. The Woman's Prize, Weber ed. (1812), p. 372. Widow's Tears, Shepherd ed., p. 316, “Saving your honor.” Bartholomew Fair, Everyman Edition, pp. 228, 180.

⁶² Pompey (Meas., ii, i, 92), Launcelot (Merchant, ii, ii, 27), Gobbo (Merchant, ii, ii, 138), Dromio (Errs., iii, ii, 93).

⁶³ Much Ado (iii, iv, 33); 1 H. IV. (ii, iv, 515) ; R. and J. (i, iv, 42).

⁶⁴ Cymbeline (iv, i, 5).