Chap. VI.]

THEATRICAL AMUSEMENTS.

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dramatic compositions, either tragedies or comedies. This kindof reading can only become injurious when it is pursued to ex-cess ; and in this it does not differ from many other things, whichbecome faulty only by excess. A large number of dramas, bothancient and modern, are well suited to refine the taste, to enlargethe knowledge, and, in general, to improve the understanding.They contain, also, not a few of the purest moral sentiments,expressed in the most striking and beautiful style. They aredesigned to be faithful representations of human life, its employ-ments, its manners, its passions, its sorrows, its joys, and evenits follies. Whatever of good or evil, therefore, human life con-tains, may be expected to be delineated in them. The goodman will find in them nutriment, wherewith to cherish andstrengthen his virtue ; while the wicked man will find materials,with which to uphold himself in his own chosen way. BishopJeremy Taylor, and other divines of his time, were accustomedto quote the ancient tragedies, in illustration of the moral senti-ments which they were attempting to enforce in their sermons.

Nor is it my design to condemn the stage, if it were madesuch as, in the nature of things, we may conceive it might be.We may imagine all the pieces represented to be pure in theirsentiments, and safe in their tendency, all the actors and actressespatterns of virtue, and the theatre itself a model of tranquillity,sobriety, and good order. Such, however, the theatre never hasbeen; and we may well doubt, whether it ever will be. It is mybusiness to deal with it, according to the character, which it hasalways maintained, and which, there is too much reason to be-lieve, it will always continue to maintain. With these fewremarks, intended to guard against misapprehension, I proceed tostate and illustrate the chief objections, which a vast majority ofgood men have always felt against theatrical entertainments.

1. The main object of the stage, in every age and country,has been mere amusement. Neither instruction nor reforma-tion has often been seriously attempted through its instrumen-tality. In this respect the modern theatre seems to have degen-erated from the ancient; — the ancient drama seems to have beenmore intent on communicating a salutary moral impression. Stillin ancient times, as in all other times, the main object of theat-55