While even Milton, who, Puritan as he was, loved art with all his soul, only remarks on Shakspeare's marvellous lyrical sweetness, 'his native wood-notes wild'; what shame to the Puritans if they, too, did not discover the stork among the cranes?

An answer has often been given to arguments of this kind, which deserves a few moments' consideration. It is said, 'the grossness of the old play-writers was their misfortune, not their crime. It was the fashion of the age. It is not our fashion, certainly; but they meant no harm by it. The age was a free-spoken one; and perhaps none the worse for that.' Mr. Dyce, indeed, the editor of Webster's plays, seems inclined to exalt this habit into a virtue. After saying that the licentious and debauched are made 'as odious in representation as they would be if they were actually present'--an assertion which must be flatly denied, save in the case of Shakspeare, who seldom or never, to our remembrance, seems to forget that the wages of sin is death, and who, however coarse he may be, keeps stoutly on the side of virtue--Mr. Dyce goes on to say, that 'perhaps the language of the stage is purified in proportion as our morals are deteriorated; and we dread the mention of the vices which we are not ashamed to practise; while our forefathers, under the sway of a less fastidious but a more energetic principle of virtue, were careless of words, and only considerate of actions.'

To this clever piece of special pleading we can only answer that the fact is directly contrary; that there is a mass of unanimous evidence which cannot be controverted to prove that England, in the first half of the seventeenth century was far more immoral than in the nineteenth; that the proofs lie patent to any dispassionate reader: but that these pages will not be defiled by the details of them.