occasion then fitted me, shapt him such an answere as beseemed his discourse; which by reason of the slendernes of the subject, (because it was in defence of plaies and play makers) the godly and reverent that had to deale in the cause, misliking it, forbad the publishing: notwithstanding he, comming by a private unperfect coppye, about two yeres since made a reply, dividing it into five sections, and in his Epistle dedicatory, to the right honorable, Sir Frances Walsingham, he impugneth me with these reproches, that I am become a vagarant person, visited by the hevy hand of God, lighter than libertie, and looser than vanitie.' He proceeds to call Gosson an 'untamed curtail' and an 'injurious Asinius'.
xxxvi. 1584. George Whetstone.
[From A Touchstone for the Time, printed as an 'Addition' to A Mirour
for Magestrates of Cyties (1584).]
The tract is mainly on gaming. P. 24. 'The godly Divines, in
public sermons, and others in printed books, have (of late) very
sharply inveighed against Stage-plays (unproperly called, Tragedies,
Comedies, and Morals), as the springs of many vices, and the stumbling-*blocks
of godliness and virtue. Truly the use of them upon the
Sabbath day, and the abuse of them at all times, with scurrility and
unchaste conveyance, ministred matter sufficient for them to blame,
and the Magistrate to reforme.'
xxxvii. 1586. William Webbe.
[From A Discourse of English Poetrie (1586), ed. Arber, 27; also in
Gregory Smith, i. 226. The promised expression of opinion (p. 42) is on
humanist lines.]
The profitte or discommoditie which aryseth by the vse of these
Comedies and Tragedies, which is most, hath beene long in controversie,
and is sore urged among us at these dayes: what I think
of the same, perhaps I shall breefely declare anon.
xxxviii. 1587. William Rankins.
[From A Mirrour of Monsters: Wherein is plainely described the manifold
vices & spotted enormities, that are caused by the infectious sight of
Playes, with the description of the subtile slights of Sathan, making them his
instruments. Compiled by Wil. Rankins. Magna spes est inferni. Seene
and allowed. I. C. for T. H. 1587. The reference to Holywell suggests
that the author was the dramatist (cf. ch. xxiii).]
Describes the wedding of Fastus and Luxuria at the 'Chapell
Adulterinum', near to [Greek: Koilophrear] 'by interpretation from the Greeks
Hollow well [i.e. Holywell] where my selfe lulled in the lap of
Securitie, not long since was brought a sleepe by carelesse cogitations'.
The Chapel Adulterinum is 'the Theater and Curtine' (4^v). A
banquet and mask with torchbearers furnish an allegory of the vices
of players, and various allusions, to the fall of the Bear-garden (3),
