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none but Delighte must applye to his stomache. Then time beinge made for the benefite of Life, and Life being allowed to followe his appetite, amongst all manner of pastimes, Life chooseth Commedies, for his Delight, partly because Commedies are neither chargable to y^e beholders purse, nor painful to his body; partly, because he may sit out of the raine to veiwe the same, when many other pastimes are hindred by wether. Zeale is no more admitted to Life before he be somewhat pinchte in the waste, to auoyde extremitie, and being not in the end simply called Zeale but Moderate Zeale a fewe conditions are prescribed to Comedies, that the matter be purged, deformities blazed, sinne rebuked, honest mirth intermingled, and fitte time for the hearing of the same appointed. Moderate Zeale is contented to suffer them, who wyneth with delight to direct life againe, after which he triumphes ouer Death & is crowned with eternitie.' P. 203. As Fathers and Councils 'and y^e skilfulst Deuines at this day in England which are compelled in Sermons to cry out against them' are challenged by this playmaker, will answer him. Distinguishes between carnal and spiritual delight. Plays bring carnal delight, which is contrary to reason and comes of corruption. The Fifth Action. The Effects of Plays. P. 211. Why should he write against plays, when, although famous men in both universities cry out against plays, 'none of them by printing haue taken the paines to write any full discouery against them'? Partly because, being young, he will be better excused than they if he 'shoulde speake but one worde against y^e sleepines of Magistrats which in this case is necessary to be toucht'; partly because, 'hauing once already written against playes, which no man that euer wrote playes, did, but one, who hath changed his coppy, and turned himself like y^e dog to his vomite, to plays againe, and being falsly accused my selfe to do y^e like, it is needfull for me to write againe'. Declares the effects of plays. Wantonness on the stage excites the passions of the spectators. Theatres are 'markets of bawdry'. P. 215. 'Our Theaters, and play houses in London, are as full of secrete adulterie as they were in Rome. . . . In the playhouses at London, it is the fashion of youthes to go first into the yarde, and to carry theire eye through euery gallery, then like vnto rauens where they spye the carion thither they flye, and presse as nere to y^e fairest as they can. . . . They giue them pippines, they dally with their garmentes to passe y^e time, they minister talke vpon al occasions, & eyther bring them home to their houses on small acquaintance, or slip into tauerns when y^e plaies are done. He thinketh best of his painted sheath, & taketh himselfe for a iolly fellow, y^t is noted of most, to be busyest with women in all such places.' The players are an evil in the commonwealth. P. 215. 'Most of the Players haue bene eyther men of occupations, which they haue forsaken to lyue by playing, or common minstrels, or trayned vp from theire childehood to this abhominable exercise & haue now no other way to get theire liuinge. . . . In a commonweale, if priuat men be suffered to forsake theire calling because they desire to walke gentleman like in sattine & veluet, with a buckler at their heeles, proportion is so broken, vnitie dissolued, harmony con-