PN 
 
 2049 
 
 A27 
 
CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
AMUSEMENTS; 
 
 SOME EEMARKS 
 
 REY. HENRY W. BELLOWS' ADDRESS 
 
 - BEFORE THE DRAMATIC FUND SOCIETY, N. Y. 
 
 ]). HAYES AGNEW, M.D. 
 
 Cornell University Library 
 PN 2049.A27 
 
 Theatrical amusements 
 
 4 3 1924 027 143 274 
 
 PHILADELPHIA: 
 WM. S. YOUNG, PRINTER, 53 NORTI-I SIXTH STREKT. 
 
 1857. 
 
The origmal^^Hhis book is in 
 the Cornell Uniyersity Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924027143274 
 
THEATRICAL AMUSEMENTS; 
 
 SOME EEMARKS 
 
 REY. HENRY W. BELLOWS' ADDRESS 
 
 BEFORE THE DRAMATIC FUND SOCIETY, N. Y. 
 
 D. HAYES AGNEW, M.D. 
 
 PHILADELPHIA: 
 
 WM. S. YOUNG, PKINTEK, 53 NORTH SIXTH STREET. 
 
 1857. 
 
^11 
 
 A W^"^ 
 
THEATRICAL AMUSEMENTS; 
 
 WITH 
 
 REMARKS ON THE REV. HENRY W. BELLOWS' ADDRESS 
 
 BBFOBE THB DBAMATIC FUND SOOIETT, N. T. 
 
 The subject of human amusements is a grave moral question, and deserves 
 a much more deliberate and serious consideration, than is usually accorded by 
 the great mass of mankind. Even among men professing Christianity there 
 appears a disposition too often to discover some undefined border line, where 
 propriety ends, and sin begins. Those who approach the subject in this manner 
 attempt a task very much like pointing out the lines of limitation in the blend- 
 ing of the rainbow's hues, besides leaving themselves open to the suspicion at 
 least of striving to be loyal to both Grod and mammon. Amusements may be 
 addressed to the senses or the intelligence ; but, avoiding an analysis which is 
 rather metaphysical than practical, let us consider the term in its common 
 and most obvious acceptation. They are very various in their character, but 
 may all be grouped into two classes, lawful and unlawful. The latter are as 
 numerous as our carnal appetites and impure desires. The caption of our 
 article, however, will show that we have selected but one from among the 
 large number. Man's sphere in this world is one of obligation, and is em- 
 braced in his duty to God, himself, and neighbour. This is the threefold at- 
 titude which he occupies here below. The claims of his Maker are superior to 
 all others, though the duties which this relation requires, are in no way incon- 
 sistent with, or very different from the other two; indeed, a more compact 
 generalization might with perfect propriety adjust these under the former, as 
 the declaration " Whether ye eat or drink, or whatsoever ye do, do all to the 
 glory of God," implies that in discharging the obligations to self, and neighbour 
 properly, we are rendering service to God. We hope in treating of this sub- 
 ject to be able to demonstrate that those who lend their countenance to theatri- 
 cal exhibitions are not only indictable, but guilty, under each of the three 
 heads of man's moral duty. 
 
 Proposition I. — Theatrical amusements originated in corruption and super- 
 stition. 
 
 In proof of this proposition, we must recur to the history of these exhibitions. 
 We have no reason to believe that such had any existence antecedent to the 
 memorable times of Greece. The Athenians, therefore, generally receive the 
 credit or rather the discredit of having instituted such representations. Among 
 the divinities worshipped by the ancients, was Bacchus. Great festivals were 
 established in honour of this god; both, as we learn, in the city and in the 
 country. When the vintage had been gathered in, especially if a bountiful 
 crop had been realized, a scene of indescribable licentiousness commenced. 
 Hymns in honour of this divinity were sung by groups of drunken persona 
 gathered around obscene images. Others, mounted in carts, rode through the 
 country, chanting their indecent songs, and attacking those whom they might 
 meet, with gross and rude jests. While such was the conduct of the Baccha- 
 nalians, there succeeded those who, in poetic strains, celebrated the memory 
 of Jupiter, Apollo, Diana, Venus, and a host of others ; committing, at the 
 same time, such disgraceful and wanton excesses as forbid mention. Venus 
 was the goddess of harlots and adulterers; (designate her by what titles you 
 
THEATRICAL AMUSEMENTS. 
 
 will, in order to make the mention of her name tolerable in polite society,) and 
 these play-houses were frequently dedicated to the impure goddess. The 
 Koman theatre, Tertullian informs us, was styled the Temple of Venus; and 
 not improperly, a3 we may learn from a farther perusal of his narrative, in 
 which he declares that all kinds of beastly impurities were committed. At 
 the Pythian G-ames, those who took part in the amusements were required to 
 accompany their performances by illustrations of the circumstances connected 
 with the subjects which they proposed to represent. From this, probably, 
 the suggestion of scenic additions in illustration of plays was drawn. About 
 536 years before the Christian era, two Atticans, Susarion and Thespis, formed 
 an association of actors. The former represented comedy; the latter tragedy. 
 The one made his exhibitions on a temporary stage; the other on a cart. 
 These being moveable, were transported from place to place, and wherever their 
 exhibitions were given, great crowds congregated, indulging in drunkenness and 
 sensual debauchery. Homer was the great pattern, whether they attempted 
 tragedy or pleasantry. The derivation of the word comedy is not positively 
 determined. By some it is believed to come from the Greek word Kuiaaffn/ 
 {Kumadzein,') signifying " to play the wanton," or "lascivious;" by others, 
 from Oomus who was the god of wantonness in the Polytheism of the an- 
 cients: but, be this as it may, either root proves an impure and vile origin; 
 nor can there be any doubt on this subject, when we investigate the matter a 
 little farther, ^schylus, whom some consider to have first produced tragedy, 
 instead of Thespis, who has already been named, made great advances in the 
 art, such as the introduction of mute characters, and supplying those actors who 
 were of diminutive stature, with artificial limbs of great length, in order to 
 give them a fictitious importance, and covering the faces of those whose features 
 were not agreeable with masks. Houses were likewise constructed with nu- 
 merous appliances for his exhibitions. The spirits of the dead were evoked; 
 furies, entwined with terrible snakes, howling spectres, together with cumbrous 
 paraphernalia, were produced; so that children were said to have expired 
 from terror, and females were thrown into convulsions. It was some time be- 
 fore comedy reached the city. Even in that corrupt age it was confined by its 
 obscenity and grossness, to the rural districts; but finally, however, entered 
 the town, where for a time it was tolerated. Even in the hands of Thespis, it 
 was most corrupt and injurious to public and private good; and hence we find 
 the wise and venerable Solon, as related in his life by Plutarch, condemning 
 it in the most positive terms; and still later, after Aristophanes had slandered 
 the wisest and most virtuous of the ancients, as Socrates and Alcibiades we 
 find the Lacedemonians banishing such from their territory. From G-reeee 
 these entertainments passed to Eome, and the circumstances attending their 
 introduction argue equally strong for their impiety and wickedness there. It 
 seems to have been on the occasion of some great plague which was devastating 
 the city, and in order to appease the wrath of their imaginary gods, plays were 
 decreed, persons to perform them having been brought from Tuscany. In the 
 worship of most of their gods and goddesses, plays, interludes, &c. formed a 
 large portion of the ritual. It was common for Generals to vow certain plays 
 if the gods would prove propitious in their campaigns. This, and a spirit of 
 lust dictated, on the part of Eomulus, the betrayal of the Sabine viro-ins to the 
 unbridled passions of a brutal soldiery, as is well known to- every classical read- 
 er. Another grfeat occasion for the exhibition of such performances was 
 during the Roman Saturnalia, when seven days were consecrated to Saturn 
 and the goddess Vesta, a period in which, according to Ovid, Seneca and Vir- 
 gil, the whole community seem given over to wantonness, stage plays', dancino-" 
 and drunkenness. The expense lavished in the erection and adornment of 
 theatres among the Eomans, exceeded anything of the kind before or since 
 The stage was covered with gold, their capacity adequate to accommodate over 
 30,000 persons/ water was conducted by pipes into every portion of these im- 
 
THEATRICAL AMUSEMENTS. 
 
 mense buildings, saturated with fragrant liquids, and projected from jets of 
 capillary dimensions, thus diffusing itself through the air in a fine spray, redo- 
 lent with odours. That their administration was corrupt, we have abundance 
 of evidence to satisfy the most skeptical. Tacitus declares, from his own ex- 
 perience, that they were the foulest schools of vice, and that it was on this ac- 
 count the Roman Senate found fault with Pompey for encouraging them, al- 
 leging them to be prolific sources of contamination and ruin to their youth. 
 Heliogabalus, a man only equalled in his bestiality by Tamerlane, was accus- 
 tomed to tempt his decrepit passions by witnessing' on the stage the consum- 
 mation of the foulest deeds. Sempronius Sophos gave to his wife, for attend- 
 ing the theatres, a writing of divorcement, and we learn the act was approved 
 by the whole Roman Senate. In the constitution of Justinian, a similar of- 
 fence was considered a good cause for divorce, as represented by Bulengerus, 
 in his work descriptive of theatres. 
 
 Some idea may be obtained of the filthiness and obscenity of the Roman 
 plays, especially of the Floralian interludes, by consulting the work of Cyprian, 
 concerning theatrical representations. 
 
 The idolatrous tendency of such exhibitions, is seen in the object which 
 Herod had in view, as asserted by Josephus, in having them erected in Jeru- 
 salem; namely, to entice the Jews into idolatry; and there is reason to believe 
 his attempt was not altogether unsuccessful. If any other evidence of the cor- 
 ruption of the Roman theatre is required, we would select, from among many 
 authors, the testimony of St. Augustine ; who declares that the performances of 
 such, were so filthy and wicked, that those who practised them were disfran- 
 chised, being considered unworthy the name of citizen, and as entering largely 
 into those circumstances which conspired to sap the foundations of that once 
 great and powerful people. About the time of, or very soon after the Con- 
 quest, theatrical plays wore introduced into England. The evil proclivities of 
 such were soon seen in the subjects which furnished matter of illustration; 
 such as the representation of miracles, the deaths of martyrs, accompanied by 
 all kinds of buffoonery and clownish extravagances. Emboldened by their 
 success, they soon commenced the more daring and impious exhibitions of some 
 of the most sacred scenes in Scripture history; among them even the suffer- 
 ings and death of our Saviour ; and this in a manner calculated to favour li- 
 beralism and infidelity. ' For authority on this subject, the reader is referred to 
 Gibber's Apology. These outrages eventually brought out a petition to Richard 
 n. in 1378, by certain church ofiicials, to suppress what was deemed a great 
 public evil. In those days, many of the pieces were written by kings' fools, 
 and of course were" embodiments of court morality. During the reign of Eli- 
 zabeth, considerable efforts were made, with a view to elevate and reform these 
 amiJbments; but so strong are the tendencies of the institution toward evil, 
 that they could not be sustained. — From the time of James I. until near the 
 end of the reign of Charles I., play-houses increased in numbers ; but about 
 1643, events familiar to every historical reader, occurred, which placed a new 
 face on both the political and religious institutions of England. The Puritan, 
 who though perhaps not altogether blameless, was yet, in the main, correct, 
 exchanged the place of servant for that of master. The vanities of this world 
 found but little favour with these austere and rigid precisians.- Dui-ing the 
 same time, William Prynne wrote his Histrio-Mastix, and the upshot of the 
 matter was the entire suppression of play-houses, continuing so until the re- 
 storation of Charles II., 1660, when they were again opened, and, as related 
 by Macaulay, vol. i. page 118, in his History of England, conducted in the 
 most shameful manner. The vices were glorified, the virtues condemned, reli- 
 gion ridiculed, and profanity and debauchery of every kind committed. The 
 Lord's day was even desecrated by such exhibitions, as though the devil de- 
 signed to make up for lost time. The Spanish, and French productions, by 
 no means unexceptionable, were popularized and prostituted. The masses read 
 
THEATRICAL AMUSEMENTS. 
 
 nothing else, listened to nothing else, and while it is said Dryden could scarcely 
 secure a reader or publisher, Southern and Shadwell could clear hundreds of 
 pounds by their dramatic efforts. Drinking, smoking, card-playing, and gra- 
 tification of lust, were the usual occupations before and after these perform- 
 ances. It was now that female characters were introduced upon the stage, 
 such having been heretofore personified by youths dressed in woman's attire. 
 Young girls were usually brought out, and repeated lines couched in vulgar 
 and obscene language, designed to inflame the passions of the audience. 
 
 If any doubt still remains as to the immoral character of the stage, we may 
 refer the skeptic to the acts of at least two English Parliaments, in which ac- 
 tors were, among other charges, styled rogues; as well as to the testimony of 
 two reformed actors themselves. 
 
 We have not been able to ascertain exactly the period of the first introduc- 
 tion of plays into this country. It was probably before 1686, for we have al- 
 lusions to its profanity and superstition by Mather, about that time. In 1749, 
 however, they must have been in successful operation, for we learn that the 
 General Court of Massachusetts passed an act for their suppression In 1775, 
 while the British were in possession of Boston, they had a play written temied 
 "The Blockade of Boston," the object of which was apparently to ridicule the 
 American militia, by whom they were blockaded ; but really to keep up the 
 spirits of their desponding soldiers. The experiment had rather a singular 
 termination. In the midst of the play a soldier rushed upon the stage, in dis- 
 ordered dress, with great terror depicted on his face, and crying, " The Kebels ! 
 the Rebels have attacked the Neck !" The actors at once took to their heels, 
 and left the house. The audience, thinking this to be a part of the play, did not 
 discover their mistake until, finding they did not return, they concluded there 
 might be some truth in the report, and made their exit quite as unceremoni- 
 ously as the actors. 
 
 Such is the history of the origin of plays in Greece, Kome, India, England, 
 and America ; and with the facts presented in proof of the first proposition 
 (hundreds of others being on record,) we feel justified in constructing the fol- 
 lowing syllogism. TJiat which originated in superstition and corruption, is 
 wrong. But Theatres originated in superstition and corruption: therefore 
 theatres are wrong. 
 
 Proposition II. Tlie character of stage exhibitions is calculated to de- 
 moralize the minds of spectators. 
 
 The truth of this second assumption might be deduced from what has been 
 presented in our previous remarks : but, not to rest here, let us argue this se- 
 cond proposition from two distinct considerations. 
 
 First, — Stage representations, and their manner of being represented. And 
 Second, — Association. 
 
 First. Stage representations, and the manner in which they are represented 
 Scarcely is there one play in a hundred, at least one which meets with any de- 
 gree of success, that has not some character corresponding to a lover retire or 
 libertine. They abound in narratives of guilty amours, and adulterous acts 
 Often the plot is formed from some circumstance full of vice, murder or drunk- 
 enness. All these require distinct personations; and to produce the desired 
 effect, each must be faithfully imitated. The rake must spend drink game 
 offend propriety in a thousand ways, and indulge in various dissipations- the 
 libertine plan and execute his hellish plots on confiding and unsu-spectina in 
 nocence; the murderer, with a face cruel and relentless, swear veneeance 
 track, waylay and plunge his steel into the bosom of some unsuspecting vic- 
 tim ; and the drunkard reel, swagger, utter slang and profanity. Besides these 
 we have, in much of the acting, lascivious smiles, wanton glances, dubious 
 compliments, indelicate attitudes, kissing, embracing, with a variety of other 
 vain and sinful practices. We could enumerate many pieces of this tvce 
 which have met with popular favour, but presume the fact will not be denied' 
 
THBATEICAL AMUSEMENTS. 
 
 Now no one at all conversant with human nature will pretend to maintain that 
 such have not a contaminating influence on the mind. The passions are more 
 powerful than the reason; the vices of our nature are much more easily culti- 
 vated and developed than our virtues; and it is only in the absence of all oc- 
 casion and stimulus, and then with difficulty, that we are able to crucify these 
 devils within us. _ G-osson, Northbrooke, Stubbs, and others, have furnished 
 us with ample evidence of the effect of such scenes. Hence also the psalmist, 
 who had quaffed many streams of pleasure, says — " Turn, away tny eyes from 
 helwlding vanity;" and the apostle, in Bphesians, (v. 4,) after condemn- 
 ing other vices, says — " Neither Jilthiness, nor foolish talking, nor jesting, 
 which are mot convenient, hut rather giving of thanJcs." In these exhibitions 
 there is nothing real; all is feigned and counterfeit. This fact will explain 
 why the Latins were in the habit of using the term Hystrionica Hypocrisis 
 as a proverb. If they attempt the delineation of some virtue, it is robbed of 
 significance and point by contact with the circumstance of illustration. If 
 patriotism, it is made fulsome by ignoble language, without moral force, by 
 enduring in a bad cause, and emasculated of its most influential worth by an 
 esit with poison or steeL If happiness or glory, it is some Blysian idea, to 
 be won by feats of Quixotic knight-errantry, full of poetry and romance, and 
 east in a mould the pattern of which ao one ever saw. If the lover, there must 
 be compliments profuse, attention assiduous, vows recorded, unrequited affec- 
 tion, life insupportable, moonlight scenes, rural cottages, splendid mansions, 
 and parental jurisdiction nullified by well-planned elopements. If the failings 
 or the triumphs of our common humanity be the theme of illustration, they are 
 60 elaborated as to impress erroneously the young and confiding mind, by 
 creating, on the one hand, universal distrust, and on the other anticipations 
 of an ideal bliss ao where realized. If the conduct of David, when he feigned 
 madness before Achish, be not justifiable, how is it possible to defend such 
 hypocrisy? What we require in this day of stern reality and earnest acti- 
 vity, is truth in, the inward parts; there is deception enough, in all con- 
 science, in the world, without systematizing and popularizing it. 
 
 Another part of these entertainments are songs of dubious, if not positively 
 impure sentiment, and dancing. The language is such, frequently, as no lady 
 would tolerate in private society; and to be twirled, and handled, as these 
 dances require, is by ao means conducive to purity of feeling. Those, who 
 have excelled ia this performance and secured the largest houses, have been 
 those who most effectually outraged propriety and decency by great personal 
 exposure. Now, all such trifling and vicious employments tend to effeminate 
 men, and degrade women. Gyrus is said to have completely enervated the re- 
 bellious Lydiaas, at the suggestion of Croesus, by teaching them music and 
 dancing. The apostle James, in his general Epistle, (v. 13,) directs those 
 who may be in a cheerful mood to sing compositions imbued with spiritual 
 sentiments; — "Is any m,erry, let him sing psalms." Whenever we hear 
 persons indulging in corrupt discourse, whether publicly or privately, we may 
 conclude with Seneca, that the heart is corrupt also; the stream partakes of 
 the nature of the fountain. " Out of the abundance of the heart the mouth 
 speaketh." The clothing of female characters is likewise indecent, exposing 
 the person, and arranged, it would seem, with a scrupulous eye to the pollution 
 of the minds of spectators; the very sight of which ought to make any pro- 
 perly constituted female blush for her sex. Such attire has ever been a 
 trick of the play house, and the most powerful weapon of the harlot. It is 
 particularly spoken against by Tertullian, Dr. Keynolds, and others, and po- 
 sitively condemned by Paul ia 1 Timothy ii. 9 : — " In like manner also 
 that women adorn themselves in modest apparel, with shamefacedness, sobriety," 
 &o. Aside from all this, the presence of females on the boards of a theatre is 
 out of place from other considerations. If the apostle of the Gentiles, (1 Tim. 
 ii. 9 — 12,) suffered not a woman to teach, and considered it a shame for them 
 
THEATRICAL AMUSEMENTS. 
 
 to speak in the church, by what rules of propriety or expediency do they as- 
 sume to appear as the exponents of refined taste, and act in the temple of Thes- 
 pis ? The reputation of woman is a plant tender as the apple of the eye. Re- 
 tiring modesty and an undisguised sensitiveness of nature is her charm and 
 glory; and how dare she meet the vulgar gaze of gaping spectators, the coarse 
 laugh and boisterous plaudits of pit and dome, and mingle with the vilest li- 
 bertines who disgrace God's footstool? Again; there is in almost all plays 
 the irreverent use of God's names, titles, and attributes; the ascription of Di- 
 vine prerogatives to heathen idols ; and quotations of Scripture texts, of all 
 places most inappropriate on the stage, and in the mouths of play actors. 
 Such practices commit great violence upon the better impulses of the heart, 
 blunting those feelings of reverence and awe which the name of our Maker 
 should always produce, and are in direct violation of the third commandment — 
 the name of God being employed uselessly, and therefore, in the language of 
 that precept of the decalogue, in vain. 
 
 The second consideration in support of our proposition, is theatrical associa- 
 tions. The moment an individual enters within the walls of such a building 
 he is thrown into the midst of a promiscuous assembly, a crowd made up of all 
 characters. He sees there the gay and thoughtless pleasure-seeker, who lives 
 all the while on an ocean of excitement. He hears their light, frivolous, and 
 often profane conversation, without the power to reprove or correct; for who 
 would feel at home to reprove vice in a play house? Dagon sits a king here. 
 Now I do not wish to countenance the idea that we are obliged to buckle on 
 armour and run a tilt at every thing which savours of error, in all places, and 
 nnder all circumstances; but I do contend that to voluntarily associate with a 
 company where there is every reason to know improper conversation will be 
 used, does wrong in two ways. You are so situated as to feel that reproof would 
 be out of place, or, if attempted, perhaps get you into trouble; and, on the other 
 hand, your presence and silence are construed into acquiescence and approval; 
 a stumbling-block, therefore, in the way of your brother. We should think, 
 then, that if men were like Lot, whose righteous soul was vexed from day to day 
 at what he was compelled to see and hear, they would assiduously flee from 
 the confines of this Sodom. If the evil was only of a negative character, the 
 duty to avoid it is positive, for the Scriptures command us to shun even the 
 appearance of evil. These places are also the resort of lewd women. Their 
 object is to attract attention, and therefore they make themselves as conspicu- 
 ous as possible. Their presence there is to stir up the devil which men carry 
 about in their bosoms, and by their wanton arts to entrap and snare the young. 
 It is here, too, that their guilty appointments are made, and from here hundreds 
 "go as the ox goetb to the slaughter." Multitudes date their journey to ruin 
 from the night they first entered the play house. It has been my lot, from the 
 circumstances in which my profession has placed me, to learn the griefs of many 
 hearts, and to hear the recriminating confessions of many whose constitutions 
 have been shattered by disease and dissipation. Among these revelations of 
 remorse, the theatre has come in for a fair share of the blame. It is in truth 
 the house of the harlot; it is here she holds her court; and if, as Solomon 
 says, her house is the way to hell, it is a singular lodging-place for travellers 
 on their way to heaven. Those who attend such resorts, however moral and 
 discreet they may be; however they may make covenant with their eyes and 
 their ears, must, some time or other, witness the improper conduct of these un- 
 fortunate creatures. The eyes and ears are highways beset with traitors. One 
 glance at Bathsheba made David a murderer. One act of wantonness one un- 
 chaste word, may pollute the heart; and it must be remembered that God sits 
 in judgment on the thoughts, as well as the acts. To complete this mechanism 
 of Satan for the ruin of soul and body, we have appended the drinking saloon 
 to fire the passions, unsettle resolution, and madden the brain. ' 
 
 How is it possible now for Christian men, professing a religion which re- 
 
THBATEICAL AMUSEMENTS. 
 
 quires the reverent use of their Master's name, the eschewing of all evil and 
 corrupt conversation, and absence froto all places where they cannot ask God's 
 blessing — how is it possible for them to countenance such a system of unmiti- 
 gated iniquity? It cannot be but that, by contact with such exhibitions, the 
 strongest safeguards of virtue and morality must be weakened, if not utterly 
 swept away. These facts, confirmatory of the second proposition, will justify 
 our second syllogism. Whatever is calculated to demoralize the mind is wrung, 
 and should not he encouraged. But stage exhibitions tend to demoralize the 
 mind; therefore, stage exhibitions are wrong, and should not be encouraged. 
 
 Proposition III. — The general character of actors is bad. 
 
 Such seems always to have been the case, from the earliest records to the 
 present time. Among the Lacedemonians and Romans, such was their infamy, 
 that laws were enacted for their banishment, not content alone with their sup- 
 pression. The Romans were particularly careful of their youth, and proud of 
 their citizenship; and it was the desire to protect the one from enervating influ- 
 ences, and the other from stain and slander, that dictated this rigid enactment. 
 Salvian, one of the ancient fathers, declared that to speak to, or even to see an 
 actor, was sinful. They must have been terribly debased to justify so strange 
 an expression. Nicholas Cabajila concludes, after stating their excesses, that 
 nothing worse than a play actor could be made. The encouragement and sup- 
 port which they received from the rabble, even in their most obscene repre- 
 sentations, had emboldened them to the commission of such wickedness that 
 we are informed by Tacitus they were exiled from Italy during the reign of 
 Tiberius. The nature of their offending is more explicitly stated by Marcus 
 Aurelius; rapes and murders being placed among the crimes of which they 
 were guilty. Their reputation for evil was so notorious, that the citizens of 
 Marcelles, for fear of their youth, would not allow them to enter their city, — 
 a remarkable contrast, in this case, between Pagans and Christians. The an- 
 cients entertained wise notions on this subject. It is the youth of the land 
 whom we 'must take care of. All the institutions of our country We to be 
 placed in their hands, — the church, the state, literature, arts, and science. 
 What a momentous trust ! They will impress their character upon each, for 
 either weal or wo; for, in reality, the institutions of a country are nothing 
 more or less than tangible transcripts and palpable portraits of the moral and 
 intellectual constitution of a people. 
 
 We have other evidence as to the bad character of actors, in the fact of their 
 being disqualified from giving evidence in courts of law, and incapacitated by 
 their calling from becoming citizens, or holding public ofiioe. Women were 
 excommunicated from the church by marrying such. In adducing these illus- 
 trations we are not to be understood as justifying them in all cases, but merely 
 present them as proofs of our general proposition. Tiberius and Augustus 
 Cassar punished them with the lash for prosecuting so ignoble a calling. Ter- 
 tullian describes them as being altogether destitute of shame. Philip Augustus, 
 king of France, was so impressed by a conviction of their worthlessness and 
 corruption, as to banish all players from his realm. Heliogabalus, one of the 
 most infamous of names, whom we have mentioned in another connexion, esta- 
 blished public brothels in Rome at one time, and supplied them regularly from 
 the theatre; and, we doubt not, the same could be done to-day. In England, 
 actors were at one time, by Parliamentary acts, styled rogues, and condemned 
 to the whipping post. And, in a book designated as the "Blast of Retreat 
 -from Stage Playes," written by one who had been an actor himself on the Eng- 
 lish stage, revelations are made which show their character had not much im- 
 proved at that day. When we come to incyiire how they stand in public esti- 
 mation at the present time, we find little to redeem them from the old repu- 
 tation. It is needless to mention names; indeed, it would be obviously im- 
 proper to do so, (though, if required, they can be forthcoming;) but is not the 
 general sense of the community against their morality? Are they not pro- 
 2 
 
10 THEATRICAL AMUSEMENTS. 
 
 verbial for their improvidence, intemperance, idleness, and lewd manner of 
 life? Is there one out of a hundred, even of those who frequent such places, 
 and belong to what they call good society, who would consider actors fit asso- 
 ciates, or introduce them into their families ? And what a stir does it make 
 in a household when a daughter happens to elope with an actor, or a son marry 
 an actress? What else, indeed, could be expected in the career of those whose 
 whole lives are spent in administering to the pruriency of sense, and witness- 
 ing, both before and behind the curtain, transactions which deaden virtuous 
 sensibility, and outrage common decency? 
 
 To conclude the testimony on this part of our subject, we have the acknow- 
 ledgment of those who claim to be Christian men, and yet advocate the theatre, 
 as to the immoral character of actors and actresses, and the life which they lead, 
 most perilous to purity of feeling.* 
 
 Prom the preceding remarks, may we not form our third syllogism — Any 
 profession, the influence of which is uniformly had upon its members, is wrong. 
 But the influence of the theatrical profession is had; therefore, the theatre is 
 wrong. 
 
 Pkoposition IV. Theatrical amusements violate every commandment in 
 the decalogue. 
 
 The first commandment is. Thou shall have no other gods hefore me. 
 
 The second commandment is, Thou shalt not make unto thee any graven 
 image, or any likeness of any thing that is in heaven above, or that is in the 
 earth beneath, or that is in the water under the earth. Thou shalt not bow 
 down thyself to them, nor serve them, &c. 
 
 We have placed the first and second in one category, s-s many of our obser- 
 vations, in illustration of the position assumed, will apply to both. 
 
 In the earlier history of this institution in Greece and Rome, it was empha- 
 tically the temple of the gods, for the very plays were prepared and performed 
 in honour of these, many instances of which have been adduced under our first 
 proposition, and need not therefore be repeated. Does idolatry only consist 
 in a polytheistioal belief, or in carving an image of wood, or stone, and bend- 
 ing before these the knee of supplication? God is the Searcher of the heart, 
 and in its dark chambers may be often found altars to unknown gods. Our 
 Master demands the entire heart. Whatever has a tendency to displace him, 
 is having other gods. The idea is, not that we must think of nothing else but 
 God and godly things, but that in all we do a spirit of Christianity should ex- 
 ert a controlling and governing influence. The theatre is fascinating in the 
 extreme, and just because it panders to the evil propensities of our nature is 
 of all things most effectual in dissipating grave and serious thoughts, unloosing 
 restraint, and quickening the lusts. It gives a distaste for the more sober and 
 rational enjoyments, and puts more of the toorld than of God in the heart 
 which is the true spirit of idolatry. Its teachings are directly in opposition to 
 the instruction of 1 John ii. 15, 16— "Love not the world, neither the things 
 thatare m the world. If any man love the world, the love of the Father is 
 not in him; for all that is in the world, the lust of the flesh, the lust of the 
 eyes, and the pride of life, is not of the Father, but is of the world." We are 
 required by the Divine law, not only to abstain from any course of conduct 
 which may tend to dethrone the proper Sovereign of the heart; but to keep 
 our skirts clear, we must, in so far as our influence and example can' go pre- 
 vent a similar result on the part of others. k, j a 
 
 The third commandment is, Thou shall not taJce the name of the Lord thi 
 God in vain. '' 
 
 This precept condemns the irreverent and unnecessary use of God's names 
 titles, &o. Look over any of the productions which pass current upon the 
 stage, and the grossest violations will be discovered, the name of the Almiahty 
 
 * Address by Rev. Henry W. Bellows, New York. 
 
, THEATRICAL AMUSEMENTS. 11 
 
 interlarding many parts of the plot, as well as quotations from the holy Scrip- 
 tures in various connexions. Oaths, likewise, are not sparingly interspersed, 
 and are generally emphasized by the speakers, so as to give point and saliency 
 to wickedness itself. Then we have those infernal appendages, (theatrical sa- 
 loons,) where all ages and sexes meet and mingle, during the progress, as well 
 as in the intervals of the performaooe; and, inflamed by intoxicating drinks, 
 utter the most scurrilous and profane language. In fact, this is one of the 
 most common sources of complaint. Whenever the name of God, his titles, 
 or attributes, are used in improper places, or on improper occasions, they are 
 used in vain, and therefore violations of the third precept of the moral law. 
 It is this want of reverence and solemnity in using the name of the Almighty, 
 in the theatre as well as other places, which has materially contributed to swell 
 the ocean of profanity now sweeping over the land. At every corner of the 
 Streets the ear is shocked, and the heart pained by terrible oaths. 
 
 Tl\iQ fourth commandment r6^w[&% us to "remember the Sabbath day, to 
 teep it holy." 
 
 In some parts, even of our own country, the Lord's day is publicly dese- 
 crated by theatrical plays, public sentiment not being sufficiently influential to 
 create a law for their suppression; and in Philadelphia, certainly among the 
 most moral of American cities, play actors rehearse their parts, and members 
 of the orchestra practise their pieces, at their homes, or lodgings, on the Sab- 
 bath; and, if report be correct, occasionally, in a private way, at the theatre 
 itself. This disregard for a day set apart by Divine sanction for the commu- 
 nion of man with his Maker, is the legitimate outworkings of theatrical asso- 
 ciation. Under the most favourable circumstances, it is a difficult task to shut 
 out the world and all distracting thoughts from the mind, and cultivate that 
 feeling of holy contemplation and solemn thought which becometh the exer- 
 cises of the Sabbath; and when we prosecute our occupations or amusements, 
 at such times and in such places, six days of the week, as to virtually secu- 
 larize the first, we are guilty of a breach of the fourth commandment. Thea- 
 trical amusements, kept up to a late hour on Saturday night, are eminently 
 qualified to favour the plans of the devil upon the soul. The Almighty is 
 robbed of several hours by the prolonged Sabbath morning nap, probably the 
 whole day, by a headache or general indisposition from a variety of unlawful 
 indulgences; or, if the church is reached, the scenes of the play house are con- 
 stantly stealing over the mind, perplexing the thoughts, breaking in upon every 
 train of devotional feeling, and utterly confounding the worship of the soul. An 
 individual who is thus made the sport of contending and opposing emotions, 
 cannot presume to worship the Lord in the heauty of holiness. Psalm xxix. 2. 
 
 The Fifth Commandment is. Honour thy father and thy m,other. — There is 
 not in all the world a more prolific source of parental dishonour than the play 
 house. It is here especially where great numbers of youths congregate every 
 evening, leaving many aching hearts at home. Often, too, under the plea 
 of attending some library or other association, deception is thus practised on the 
 unsuspecting minds of parents. At the theatre, every thing admirably conspires 
 to take hold of the young and ardent mind, — light, scenery, dress, fashion, 
 music, dancing, and then the intoxicating drinks, and the wiles of the harlot. 
 These are the instrumentalities of mental contamination. Allow the young to 
 visit such haunts one or two evenings, and the result is an entire distaste for 
 the quiet and pure enjoyments of home. All those innocent and rational 
 domestic amusements, which strengthen family affection, and cultivate virtuous 
 sentiments, become tame and insipid. And when frequent absence begins to 
 cast a shade of anxiety over the face, and fearful doubts to move the heart of a 
 fond father or tender mother, requiring the interposition of parental discipline, 
 then comes the first outbreak of filial insubordination, passing, probably, from 
 one grade of criminality to another, until finally arrested by the iron hand of civil 
 law, the gray hairs of broken-hearted parents are brought in sorrow to the grave. 
 
12 THEATRICAL AMUSEMENTS. 
 
 The inefficiency of home government is one of the lamentable evils of the day. 
 The effects of a mistaken leniency, and unlimited liberty of indulgence, are 
 seen, not only in the defiant attitude and audacious conceit of boys, in the or- 
 dinary social relations of life, but also when, having attained years of greater 
 maturity, they are brought in contact with the state. The very Pagans will 
 rise up in judgment against this generation. Xenophon says the Persians 
 were so careful of their youth as not to allow them to behold any amorous 
 sights, or hear impure words spoken. Aristotle, in discoursing on the manage- 
 ment of youth, speaks earnestly and truly, when he urges the importance of 
 guarding their tender minds from everything which may foster sensuality. 
 Let any one take his stand near one of these houses of infamy, and witness 
 the crowds of boys who congregate about the doors or seek admission. Think 
 ye these are here with their parents' consent? or will they become more obe- 
 dient, industrious, and afiectionate sons and daughters by their present asso- 
 ciation ? Can there be a doubt but that the influence of the theatre over such 
 a mass of impressible material is directly opposed to both the letter and spirit 
 of the fifth commandment ? 
 
 The Sixth Commandment declares, Thou shall not hill. — He is a faithless 
 interpreter ot the Divine law who only sees the violation of this precept in the 
 actual murder of a human being. It must be remembered that whatever 
 weakens the power of moral restraint, and breaks down the safeguards of so- 
 ciety, by developing a spirit of insubordination and recklessness, is justly 
 chargeable, in the eye of God, with the guilt of all the crimes growing there- 
 from, of which murder is not infrequent. If we consult the oracles of history, 
 there is no lack of evidence as to theatrical tendencies in this direction. The 
 banishment of Tragedians by Plato, was on the ground of such exhibitions 
 having so frequently produced a spirit of cruelty, quarrel, and sedition. Seneca 
 and Plutarch testify to the same facts. It was the seditions, murders and 
 contention engendered by stage plays which induced Tiberius to banish all 
 actors from Italy. A similar act was decreed by Marcus Aurelius, driving 
 them from Rome for the tumult and bloodshed which they occasioned. The 
 fierce and destructive wars which were waged between the Romans and Sa- 
 bines grew out of a theatrical rape. The bloodiest and most cruel tyrants who 
 ever cursed the earth, such as a Nero, or a Caligula, were especially delighted 
 with stage amusements. It has not been long since the partisans of two rival 
 actors in New York disgraced the city by riot and bloodshed; and scarcely a 
 season passes over Philadelphia, in which quarrels and bloodshed do not occur 
 within the walls of her play houses. Nor are there any places requiring so 
 imperatively the presence of a police force, to keep in subjection the leaven of 
 riot and discord which make up so considerable a portion of the audience. 
 
 Tliou shalt not commit adultery. — Comment on this subject is scarcely ne- 
 cessary; for if there is one thing more than another flowing out of theatrical 
 attendance, as the legitimate effect of the whole system, it is sin under this 
 head. Satan could not arrange a more complete programme to seduce the 
 souls of men into actual and mental whoredom : everything is perfectly adapted 
 to the animal nature, — the impure expressions with which plays often abound 
 gestures, attitudes, embracings, flirtations between male and female performers 
 dancing, and the habit of nudism, which forms so prominent a feature in the 
 performances. Judging from the gross exposure of the person, the desideratum 
 seems to be the attainment of the least possible dress, short of complete naked- 
 ness. Women who dance upon the stage, would seem particularly anxious to as- 
 sume this indecent attire; and how persons claiming to be even moral in their 
 deportment, can endure to witness the evolutions of a French danseuse gy- 
 rating and vaulting, as though the powers of attraction and repulsion had made 
 her the subject of a personal strife, is to us the most irreconcilable of problems. 
 
 These performances are most admirable fuel to kindle into activity those 
 lusts which render men an easy prey to the temptations of the harlot. It is 
 
THBATKICAL AMUSEMENTS. 13 
 
 not vain, in such cases to spread the net in the sight of the lird; as the en- 
 chantress spreads a veil even over the sense of vision. The Westminster 
 Confession of Faith, which imbodies the doctrinal views of a very large family 
 of Christians, enunierates theatrical plays as among those things condemned 
 by this commandment ; nor do we deviate from the truth in asserting that 
 every night out of the six, in which play houses are open, there are many who 
 go from their doors to the consummation of guilty appointments formed within 
 their walls. There is also, as we learn from Matthew v. 28, an interpretation, 
 which, in the pure spirituality of the New Testament dispensation, reveals a 
 much more comprehensive and searching significance to this precept of the 
 moral law than many are willing to admit, "But I say unto you, whosoever 
 looketh on a woman to lust after her, hath committed adultery with her already 
 in his heart." There are many in the world who satisfy themselves with the 
 attainments of the Scribes and Pharisees; content as long as no external im- 
 proprieties are committed, never dreaming that legal conformity, to be accept- 
 able in the sight of the great Searcher of hearts, must emanate from internal 
 purity, and is then the external manifestation of Christ formed within us. 
 
 Thou shalt not steal. — Theatrical amusements are a frequent cause of theft. 
 Especially is this the case with boys and young men, who always make up a 
 fair proportion of the play-house audience, finding as they do there that which 
 administers to perverted and depraved tastes. So strong does the appetite for 
 this species of excitement become, that it must be gratified at all hazards; and 
 when funds fail, they cannot resist the temptation to abstract from their em- 
 ployers' till, the means requisite to gain admission. 
 
 The ninth and tenth commandments condemn false witness-hearing, and 
 covetousness. 
 
 Although dramatic entertainments may not directly violate these, yet the 
 habits which they tend to encourage, the lessons which they teach, and the 
 vices which they foster, induce such a constitution of mind as to weaken the 
 obligation for their obedience, and thus contribute indirectly to such a result. 
 Certain it is, however, that the testimony of those who are habitual patrons of 
 the theatre would not be considered as inaccessible to mercenary considera- 
 tions in a court of justice as many others; and those who would rob their em- 
 ployers' drawer, would have little compunction in coveting their neighbours' 
 substance. In fact, it is difficult to imagine a breach of the eighth command- 
 ment without a previous violation of the tenth, as they stand in the relation of 
 antecedent and consequent. 
 
 Are we not justifiable, therefore, in asserting, That whatever violates and 
 weakens the precepts of the moral law is wrong. 
 
 But, theatrical amusements violate and wealcen the precepts of the moral 
 'law : therefore, theatrical amusements are wrong. 
 
 Proposition V. — The mass of eminent Pagan and Christian authority is 
 against stage plays. Socrates, persuaded of their evil tendencies, induced the 
 Athenians and Grecians to abandon them. As these authorities, however, are 
 very numerous, we shall merely mention them, without quoting the voluminous 
 testimony which they offer on this subject. They are Isocrates, the orator; 
 Plato; Aristotle; Gorgias, recorded by Plutarch; Cicero; Seneca, the very 
 best of heathen writers on morals; Aulus Gellius; Pliny, the great natural- 
 ist; Aurelianus; Marcus Aurelius Antoninus; Athenseus; Diodorus Siculus; 
 Dionysius Hallicarnassus ; Crispus Sallustius; Titus Livius; Cornelius Taci- 
 tus; Quintilian, who attributed the decay of eloquence and the idleness of 
 youth, in his day, to plays; Plutarch; Emilius Probus, who informs us that 
 the respectable part of the Roman people never approved of plays; Sueto- 
 nius; Diogenes Laertius, who is very positive in their condemnation; ^lianus; 
 Dion Cassius, who alludes to an argument used by Csesar to encourage his 
 soldiers against Antony, that his indulgence in pl^ys had rendered him effemi- 
 nate; he also condemns Caligula severely for patronising actors; Justin, who 
 
14 THEATRICAL AMUSEMENTS. 
 
 asserts that such indulgences ruined the prowess of the Athenians, and van- 
 quished Kome, as much as the Goth and Vandal; Herodianus; Julius Capitoli- 
 nus; Trebellius Pollio; Aelius; Horace; Juvenal; Propertius; Paterculus; 
 Taurus; Ovid; Marco. All of these, with others who might be quoted, com- 
 prising philosophers, poets, legislators, and historians, agree in their condemna- 
 tion of stage amusements. In addition to these, we may enumerate the authority 
 of certain states, nations, magistrates, emperors, and princes. They are the 
 Lacedemonians, Athenians, Grecians, Komans, Germans, Goths, Vandals ;_ the 
 entire Jewish nation, before and since Christ; all the primitive Christians, 
 Waldenses, Albigenses, and the French Protestants. Of Magistrates, Lycur- 
 gus, Solon, Plato, Socrates, Themistocles, Augustus Cassar, Tiberius, Trajan, 
 Marcus Aurelius, and even Nero, together with the whole Roman Senate; the 
 cities of Geneva, Tigure, Basil, and England in various Parliamentary acts; 
 Constantine, Theodosius, Leo, Justinian, Valentinian, Gratian, Theodoricus, 
 Philip Augustus, King of France; Queen Elizabeth, Charles IX., Henry III. 
 of France," Charles I. of England. So also we have the testimony to the same 
 effect of very many Christians, both Protestants and Catholics;— Wilhelm us 
 Malmesburiensis; Alexander Alensis, a learned English schoolman; Edmund 
 Canturiensis; Matthew Parisiensis; Thomas Aquinas; Cardinal Bonaventura; 
 Suidas; Eicardus, de Media Villa; Pelagius; Wallis; Thomas Bradwardian; 
 Holkot; Wiokliife; John de Burgo; Alexander Fabritius; Thomas Walden- 
 ses; Rioardus Pampolitanus ; Nicolaus de Clemangis; Antonius, Archbishop 
 of Florence; Pope Pius II.; Joanis Antonius, Bishop of Champaigne; Loch- 
 mair; Wankel; Alexander of Alexandria; Ludovicus Vives; Agrippa; Peter 
 Martyr; Calvin; Stalbridge; Thomas Beacon; Quinger; Lepsius; Lorentius 
 Boohellus; Cardinal Baronius, the Roman historian; Thomas Zerula, Bishop 
 of Bonaventura; Paul Windecke; Francis de Croy, a London author, 1603; 
 Henry Sporidanus; Philip Gluvenus (Germany, 1616;) George Amessius; 
 Dr. Thos. Beard, 1631, in his work entitled "The Theatre of the Gods;" 
 John Northbrooke; Gosson, a reformed player, 1578, in a work entitled 
 " School of Abuses;" Dr. John Reynolds; — all of the preceding condemning 
 in the most positive terms the exhibition of plays. To these, again, we may 
 add a list of Christian fathers, and distinguished writers, from the time of 
 Christ, for twelve hundred years; — Philo Judseus, a learned Jew; Clemens 
 Romanus, 70 years after Christ, and therefore in the time of the Apostles; Jose- 
 phus, A. D. 90; Athenagoras, a Christian philosopher, A. D. 150; Theophilus 
 Antiochenus, Patriarch of Antioch; Clemens Alexandrinus; Hypolitus, the 
 Martyr, A. D. 220; Origen; Minutius Felix, a celebrated Christian lawyer; 
 St. Cyprian, Bishop of Carthage; Eusebius, Bishop of Caesarea; Julius Fir- 
 mious; Hillary, Bishop of Poitiers; Macrarius Egyptus; Asterius; St. Am- 
 brose; Basil; Gregory Nazianzen; Aurelius Prudentius, a Christian poet; 
 Gaudentius; Epiphanius, Bishop of Constans; St. Chrysostom, Bishop of 
 Constantinople; St. Augustine, Bishop of Hippo; Paulus Orosius, a Spanish 
 Presbyter; Cyril, Bishop of Alexandria; Theodoret, Bishop of Cyprus- Pros- 
 per Aquitanicus, Bishop of Rhegium; Primasius, Bishop of Utica; Pope 
 Leo I.; Salvian of France; Fulgentius, Bishop of Ruspeus, Africa; Pope 
 Gregory I. ; Valerian, Bishop of Cemela; Achuvinus, Instructor to Charles 
 the Great; Haymo, Bishop of Halberstat; Remigimus, Bishop of Rheims- 
 Bruno, Bishop of Ilerapolis; Anselm, Archbishop of Canterbury; Petrus 
 Blesensis, Archdeacon of Bath; Pope Innocent III. There are on record 
 fifty-four ancient and modern National and Provincial Councils and Synods of 
 the Eastern and Western Churches, all condemnatory of plays extending from 
 A. D. 305, until 1571. Of these we shall only select the followino- :— The 
 first a Council in Spain, 305, called the " Concilium Eliberinum." There were 
 19 Bishops present. Three separate Canons, 57, 62, and 67, were framed on 
 this subject, forbidding persons to loan their clothes to actors, denyino- church 
 membership to either actors or frequenters of play-houses, and preventino- 
 
THEATRICAL AMUSEMENTS. 15 
 
 Christians marrying such. Another Council held at Narlo, under Constantine 
 the Orreat, A. D. 314; present 600 Bishops; Canon 5th excommunicates stage 
 players. Concilium Arelatense, A. D. 826: present 38 Bishops, 50 Elders 
 and Deacons; Canon 20th excommunicates such. Concilium Laodiceum, in 
 l-hrygia, A. D. 364; almost all the Bishops of Asia present; Canons 53 and 
 04, against plays and indiscriminate dancing. Concilium Carthaninese, in 
 Atrica, A. ■L>- 397; present 44 Bishops, St. Augustine being one of the num- 
 ber; Oanon 11th against either exhibiting or witnessing plays. Another Car- 
 thageman Council was convened A. D. 401; 214 Bishops present; Canons 
 »b and S8 imbody similar sentiments on the same subject. Concilium 
 Afncanum, A. D. 408; present 238 Bishops; Canons 12 and 27 against 
 plays. Concxhum Toletanum, in Spain, A. D. 617; present 72 Bishops; 
 Canon 23 condemns plays. Concilium Antisiodorense, in France; present 
 45 Bishops and Presbyters; Canon 59 against plays. Sixth Council of Con- 
 stantmople, A. D. 680; present 289 Bishops; Canon 24 condemns stage 
 amusements. Synodus Francica, A. D. 742. Si/nodus Niccena, A. D. 785, 
 present 350 Bishops. Synodus Turonensis, under Charles the Great, A. D. 
 813 ; Canon 7th. Concilium Lateraniensis, under Innocent III., A. D. 1215 • 
 present 2 Patriarchs, 70 Archbishops, 412 Bishops, and 800 abbots and priors- 
 Canons 15 and 16 against plays. Concilium Toletanum, A. D. 1473. Con- 
 cilium Coloniensis, A. D. 1536. Synodus Mugustensis, A. D. 1549; Canon 
 19. Concilium Tridentmum, A. D. 1563; Canon 12. Synodus Rothomagi, 
 A. D. 1581. Concilium Tholosanum, A. D. 1590. The National Protestant 
 Synod at Rochelle, in 1571, composed of all the Protestants of France; all of 
 which Councils and Synods condemn in strong language all such exhibi- 
 tions, as demoralizing in the extreme. Still later, we find a Eesolution con- 
 demning theatrical attendance by the General Assembly of the Church of 
 Scotland, convened May 27th, 1757. In the year 1750, the General Court of 
 Massachusetts passed an act against all .such exhibitions. In Section 6th of 
 the old Book of Discipline of the Associate Presbyterian Church, will be 
 found the views of that body strongly expressed in opposition to the diversions 
 of the stage. On the Congressional Journal of October, 1778, we have re- 
 corded the following Eesolution: — "Resolved, That any person holding an 
 office under the United States, who shall act, promote, encourage, or attend 
 such plays, (alluding to the theatre,) shall be deemed unworthy to hold such 
 office, and shall be accordingly dismissed." In 1793, we find the Legislature 
 of Pennsylvania -was petitioned for an Act against theatres, accompanied by 
 an address which was framed and signed by the following ministers of various 
 denominations, well known as distinguished men in Philadelphia. They are 
 as follows: — Kobert Annan, John Dickins, Thomas Fleeson, Ashbel Green, 
 Freeborn Garrettson, Henry Helmuth, William Marshall, John Meder, Joseph 
 Pilmore, William Rodgers, William Smith, Frederick Schmidt, John B. Smith, 
 -Joseph Turner, Thomas Ustick, William White. At the meeting of the Ge- 
 neral Assembly of the Presbyterian Church in 1818, a deliverance was made, in 
 which that body declares an attendance on plays to be inconsistent with 
 modesty and virtue, and calculated to weaken their strongest safeguards. Even 
 Voltaire says that the language of the English comedy is the language of 
 debauchery, not politeness. Lord Kaimes declares the writers of comedy 
 ought to be odious for speaking such infection before the community. 
 
 The opinion of many other disting-uished individuals to the same effect 
 might be cited; but I will content myself by quoting the words of Judge 
 Bulstrode, as I find them in the Presbyterian Magazine for July, 1857 : — " 0ns 
 play house," says he, "ruins more souls than fifty churches can save." There 
 are in the United States between four and five millions of Christians belong- 
 ing to Evangelical denominations, who in their standards agree with great 
 unanimity in condemning all such exhibitions. 
 
 Here, then, is an amount of respectable testimony amply sufficient to com- 
 
16 THBATEICAL AMUSEMENTS. 
 
 maud the respect of the most skeptical, and with it we assert — That wMch is 
 condemned hy so many Pagan and Christian writers, Councils, Synods, and 
 Assemblies, must be wrong. 
 
 But, Stage plays are condemned by Fagan and Christian writers, Councils, 
 Synods, and Assemblies. 
 
 Therefore, Stage plays are wrong. 
 
 Having now, under five several propositions, endeavoured to show the evil 
 of these institutions, we may notice some of those arguments usually employed 
 in their defence. 
 
 First. It is alleged that the gross and objectionable feature of the per- 
 formances have been removed, and that the drama is not what it once was. 
 
 This is no doubt in many instances correct, but is really no argument in 
 their behalf. In fact, this apparent reform, which is supposed by some to 
 disarm the theatre of much of its evil, only enhances the danger. The prin- 
 ciple of demoralization is still there, and, although robed in a less repulsive 
 dress, its power to do harm is not diminished. Poison is only the more dan- 
 gerous by being combined with such agents as will cover its taste. The most 
 fatal of diseases are frequently so masked by other conditions as sometimes to 
 elude the most searching inquiry. The very vulgarity and coarseness of the 
 earlier plays carried with them a certain amount of corrective influence, by 
 disgusting the more cultivated minds of the audience. There are no plays, 
 however, which are altogether free from objectioii; whenever they become so, 
 the theatre will cease to exist; for if the appliances, such as dress, dancing, 
 drinking saloons, and prostitute women, be removed, it would die to-morrow. 
 This clearly shows the character of those who are its supporters. Those who' 
 have ever been the greatest play favourites were men of loose principles. The 
 best piece which Johnson ever wrote, (his Irene,) proved a failure, and for no 
 other reason except its being of a good moral tone. 
 
 Second. The theatre cultivates correct taste, refines, and elevates the man- 
 ners. It is dif&cult to imagine on what grounds such an assumption is based, 
 if it be maintained in sincerity. From the earliest time to the present, it has 
 been regarded as among the most influential means of corrupting the manners, 
 and depraving the taste. Instead of refining, it encourages boldness, pro- 
 fanity, and immodesty. The elocution of the stage is peculiar, and affected, 
 entirely unsuited to any other profession : the high, lofty sentiments of mora^ 
 lity, and scathing rebukes of vice which its patrons inform us are delivered, 
 are as powerless for good as they are injudicious. Every one knows the act- 
 ing is all hypocrisy, and if it excites any emotion whatever, it is from the 
 thought, '' how well the devil preaches against sin \" Unless there is a heart 
 sincerity in the utterances of men, with a life corresponding to the doctrines 
 which they teach, all their efforts to either instruct or improve, will be power- 
 less. Let a minister of the gospel happen to swerve from the path of recti- 
 tude, or in an evil hour fall into temptation, and though he speak to men with 
 •the fervency and eloquence of a Paul, he will harden rather than convince. 
 Alas, poor Colton ! who has not read of Colton, the author of Lacon — a preacher 
 of rare genius, profound learning, and burning eloquence; one who could flay 
 a vice or ennoble a virtue as no other man; and yet Colton was powerless for 
 the evils which he condemned he practised. ' 
 
 Third. The inclination for amusement is so strong and irrepressible that 
 unless you have such places as the theatre, persons will run into worse excesses 
 This makes the play-house a safety valve, to save explosions in other directions • 
 a kind of depository to receive the uneasy, restless, and turbulent streams of 
 society. It asserts a principle, which, if admitted, would be subversive of the 
 foundations of correct morality; viz.: "doing evil that good may come," or "of 
 two evils choose the least." If there are wicked men in the world it is no 
 reason why houses should be erected and fitted up to intensify their sinful 
 habits. The same reasoning would defend tippling houses, and houses of ill- 
 fame, as public conservators. 
 
THEATRICAL AMUSEMENTS. 
 
 17 
 
 We must abstain from all evil. If a place is not fit for good men, it is not 
 fitffor evil ones. The Divine Legislator has not framed two codes of law. 
 When the Apostle says; (Rom. xii. 9,) "abhor that which is evil," he speaks 
 to every man : when he says (Rom. xii. 2,) "and be not conformed to this 
 world," he addresses himself to all classes and conditions of men. The death 
 of Christ secured the most precious of all blessings to fallen man ; yet such 
 results will not in the least diminish the guilt of those who nailed him to the 
 cross. 
 
 Fourth. The Theatre is no more responsible for the improprieties com- 
 mitted hy its patrons, than the church for the occasional excesses of its members. 
 
 The cases are not parallel. There is a broad distinction to be drawn between 
 what is the legitimate tendency of an institution, and what is only accidental. 
 Disorder and vice are the natural results of play-house amusements. Assassi- 
 nation, intrigue, cruelty, and deception, are among the common subjects of re- 
 presentation ; while drinking and lascivousness reign within. "Whatsoever a 
 man soweth, that shall he reap." The movements of the heavenly bodies are 
 not more certainly the result of established laws in the universe of God, than 
 vice and demoralization are the effects of theatrical association. The instruc- 
 tions of the church, on the contrary, are diametrically in opposition to evil of 
 every kind. Peace, temperance, godliness, brotherly kindness, love, and morti- 
 fication of lust — these are the lessons which it teaches; and we have yet to 
 learn that such virtues can be productive of harm. . 
 
 In closing this article we feel constrained to make a brief reference to a 
 pamphlet, which has recently appeared, entitled "The Relation of Public 
 Amusements to Public Morality, especially of the Theatre, to the Highest In- 
 terests of Humanity." This address was delivered before the American Di-a- 
 matie Fund Society, a* the Academy of Music, New York, by the Rev. Henry 
 W. Bellows, D. D., a Unitarian clergyman. Coming from one professing to be 
 a preacher of righteousness, and assuming the championship of a calling and 
 institution which has been condemned by the wise and virtuous of every na-- 
 tion and time, we had expected to find thunderbolts forged by no ordinary 
 Vulcan. After a careful perusal, we have come to the conclusion, that Dr. 
 Bellows' address is a very windy article, and as dishonouring to genuine piety 
 as his sect is to the name of Christ. We might safely leave this production 
 without comment to the good sense of all conscientious readers, for a verdict 
 of condemnation. On page fourth, he uses the following language: — 
 
 "I begin, then, with asserting that there is nothing essentially wrong in the 
 stage, or in the player's vocation." There are two ways in which the right, or 
 the wrong of this assumption may be determined : experience, and the will of 
 God. In reference to the first, under the first proposition of our article we have 
 conclusively shown the theatre to be wrong in its very inception; that it has, in 
 every nation where it existed, called down the interposition of legislative autho- 
 rity for its suppression ; that its influence has been uniformly bad upon actors and 
 patrons, begetting idleness, improvidence, extravagance, and mental pollution. 
 God's will on the subject we learn from the spirit of revelation, as the theatre ca- 
 ters to those principles of human nature which it expressly condemns; as worldly- 
 mindedness, lust, immodesty, intemperance, and slothfulness. But it may be 
 nro-ed as is done on page 24, that these are only the fruit of theatrical abuse, and 
 improper management; the institution itself not being answerable for such: yet 
 I would reply, that if, after a trial of two thousand years, an institution, in spite 
 of everything, continues to exert evil effects, its proclivities always tending to 
 the side of vice, the inference is obvious as to its being essentially wrong. 
 Granting, however, all which our Reverend author affirms, yet there are many 
 things which are not wrong per se which nevertheless become so, and demand 
 condemnation, from resulting circumstances. It is not wrong to manufacture 
 many chemical articles or commercial products, but if the gaseous emanations 
 contaminate the surrounding air, and endanger the health of a neighbourhood, 
 3 
 
18 THBATEICAL AMUSEMENTS. 
 
 they then constitute evil and are indictable offences. Thus Paul (1 Cor. iii. 
 13,) declares, " Wherefore, if meat make my brother to offend, I will eat no 
 flesh while tlie world stands;" and this is in strict conformity with the great 
 principles which underlie all properly constituted communities — "the yielding 
 of personal predilections for the general good." 
 
 On the same page (4) our author says, " It is with the defence of amuse- 
 ments as a principle that the defence of the stage must begin. If to forget 
 care, duty, death, the future, for any hour of the day; if fun, frolic, laughter, 
 jests, &c., &c., have no legitimate times, &c., &c., then it is useless to talk of 
 ' defending the most amiising of amusements." The principle, we learn a few 
 sentences on, is predicated on the assumption of amusements being indispen- 
 sable to the health of body and mind, and the development of religion. In 
 this statement there is what logicians would term an ignoratio elenchi. The 
 fact of such necessities existing in the human constitution by no means asserts 
 the theatre and many other popular entertainments to be the ones best adapted 
 to produce such desirable results. The facts of the case prove the correctness 
 of this observation. Are the men of sound bodies, cultivated minds, and irre- 
 proachable religious character, theatre goers ? Who are they who carry about 
 with them the latent and active germs of physical disease, superficial, light, 
 and impracticable intellects, and immoral habits ? Who fill our Alms-houses, 
 Hospitals, Magdalen, and Insane Asylums ? Are they not those who have drunk 
 most deeply at those very springs to which Dr. Bellows points for the healing 
 of the nations ? This is a very different result from what is so gratuitously 
 asserted on page 7 of the same address, viz.: "Now Insane Asylums, and 
 Hospitals shelter the victims furnished for their cells by the headlong sobriety 
 and mad earnestness of business which knows no pleasure, or of conscience and 
 piety which frown on amusement." Now, I challenge a fair expose on this 
 point. Go, consult the statistics and the records furnished by these institu- 
 tions, and see how many are there from being too industrious, too sober, and 
 too pious. A very large proportion will be found to be inmates from causes 
 just the reverse. This assertion, like a great many others of the Doctor's, 
 exhibits either great ignorance on subjects perfectly familiar to every intelligent 
 reader, or a very criminal attempt to impose a false statement upon the com- 
 munity. But our author is afraid we shall think too much of death, and the 
 future. Is such likely to be the case ? Is it not a matter of common observa- 
 tion that men live as though they never expected to die, and with a perfect indif- 
 ference to the future? It would neither weaken the body, injure the mind, or 
 violate religion, if men in this world, where the scenes of life are so constantly 
 shifting, (Dr. Bellows' opinions to the contrary notwithstanding,) would think of 
 death and futurity much more frequently than they do. We have no security 
 that each hour may not be the last, and, think ye, should the message come, when 
 the man, anxious to forget death for an hour, was indulging in t]ie. fun, frolic, and 
 laughter of the play house, would he be likely to hear the Master's voice, saying, 
 " Blessed is that servant, whom his Lord, when he cometh, shall find so doing?^' 
 Matthew XXV. 46. It is a remarkable fact that the popular amusements of 
 the world have always been such as not to command the sanction of the good; 
 and their influence undoubtedly is unfavourable to a pure Christian life. Paul 
 never fought with beasts at Ephesus to improve the health of his hody or m,ind, 
 and stimulate his piety, after the light from heaven shone in upon his soul; and 
 so we frequently see the first evidence of the work of Divine grace in the heart 
 manifesting itself by men voluntarily leaving off an attendance upon what the 
 world calls amusements. Does the sedate, sober-minded "Friend," the cut of 
 whose coat, and umbrageous beaver, administer a withering rebuke to the 
 vanities of this world, or the staid, and exemplary Presbyterian, whose gravity 
 some erroneously interpret for heartless austerity; do these very numerous 
 and very useful citizens, either in the outward appearance, or inward life, ap- 
 pear to require the aid of Dr. Bellows' panacea, (the theatre,) to give tone to 
 
THEATRICAL AMUSEMENTS. 
 
 19 
 
 tteir muscles, activity to tieir minds, or efficiency to their piety ? That there 
 is, in the organization of man, the evidence of capacities fitting him for amuse- 
 ment, we by no means deny, and that these may be harmlessly indulged, we 
 also admit. His senses are so many avenues for the transmission and recep- 
 tion of instructive and pleasurable sensations. The eye takes in the land- 
 scape with delight J the ear is moved with the harmony of sound; the smell 
 regaled with the odoriferous incense which comes up from the great conserva- 
 tory of nature ; and the taste gratified with the good things of this life, and 
 had our race maintained its original perfection, as it came from the hand of 
 G-od, these senses would have conspired uninterruptedly to our happiness and 
 enjoyment. But man is a fallen creature, the divine image has been lost, and 
 temptation reaches the mind by the same channels as our pleasures. And 
 when the woman saw that the tree was good {or food, and that it was pleasant 
 to the ei/es, she took of the fruit thereof and did eat. Genesis iii. 6. We 
 should remember, then, that because we have eyes, ears, tongues, &c., it is no 
 reason why we should look, listen, and taste at everything. There are a great 
 many ways in which the demanded recreation may be obtained, without such 
 risk; and much more rational than those which are offered by the theatre. 
 There is the Gymnasium, to train the muscles; the tree to prune; the vine to 
 train; the walks to construct, with their curves and their angles; the book of 
 travel or biography, penned in an easy pleasant style; music, to elevate, com- 
 pose, and calm; the brush, the pallet, and the easel, the panorama, and the 
 lecture. Certainly, these are not uninteresting sources of enjoyment. These 
 combine the elements of true amusement, — instruction with pleasurable emo- 
 tion. Such, however, is not our author's idea, as we learn from page 17, 
 where he says, "Amusement loses its quality when instruction becomes its 
 object;" thus debasing it into mere animal feeling: indulgence in "frolic, 
 fun, and laughter, and forgetfulness of death and the future for an hour,"— 
 such is the saturnalia which the reverend gentleman recommends, and which 
 he mio'ht have imbodied in the Epicurean sentiment, "Eat, drink, and be 
 merryf for to-morrow we die." On page 11, we find the following sentence: 
 "It is a terrible fact that the first hundred years of Puritanism m New Eng- 
 land) were marked alike by ascetic public manners, and the prevalence of vices 
 almost unheard of in our free, and more indulgent society; and it is even now 
 asserted that the soberest of our sister states contributes more than any other 
 state in the union to the sad catalogue of female frailty." Is it to be supposed 
 that the over-strictness of a people whose experience in life was peculiar, who 
 had suffered much from bigotry, intolerance, and a horrible corruption of man- 
 ners ; a people who had undergone voluntary expatriation, and welcomed famine, 
 forest, and barbarian cruelty, for God and conscience, is it to be supposed that 
 ' a play house, or a New England stew (for that is the real import of the senti- 
 ment) would have secured for them a fairer position on the page of history, than 
 they now occupy? The idea is downright, sheer nonsense. Nor is it correct 
 that those unnatural vices which are hinted at by our author, are comparatively 
 rare in our present indulgent society. In the city of New York, with all its ap- 
 pliances for carrying out Dr. Bellows' Utopian scheme, and I suppose m every 
 K eTt city, these ver| excesses (excluding of course their views on witchcraft ) 
 S in a tenfold degree. As for the lamentable amount of female frailty in the 
 soberest of our siste? states, it is a sad commentary on the power of his peculiar 
 sect for influencing public 'morals, as I believe it is the only state m which 
 Unitarianism forms a dominant organization; and so too of the theatre as an 
 J^^evSinTagenoy when graduated to the standard required by its champion; 
 £ we fearn page 39, from testimony too of a Christian gentleman, that the 
 SnSal the'atre in Boston is free from reproach. "That must be a stupid 
 Srture rsavs the Dr. on page 14,) that does not powerfully feel the attractive- 
 "irof Sage, when Lcupied by such persons as Gaxrick Talma, and the 
 Kembles " If I mistake not, one of the Kembles has written m article ut- 
 
20 THBATEICAL AMUSEMENTS. 
 
 terly repudiating the institution, as vicious and unfavourable to good morals; 
 and lier opportunities for knowing its peculiar merits one would suppose were 
 quite ample. 
 
 On pages 26 and 27, the Dr. professes to be " unable to see why the theatre 
 should be a vicious and depraved amusement, because it attracts the vicious and 
 depraved of society. Have the vicious and depraved no human and universal 
 tastes left? " The interrogatory forms ^ very narrow ground for the inference. 
 It reminds one of despair catching at straws. " Where the carcase is, there will 
 the eagles be gathered together." The cause of their presence there is in the 
 fact, that the theatre administers to the vices which they practise, and it is here 
 where their criminal appointments are made. If it be not motives of this kind 
 which attract them to such places, why is it they disappear so rapidly when such 
 reform is attempted as the gentleman describes on page 39, where, speaking of 
 Niblo's Garden, he uses the following language: "That disgusting, and odious 
 gallery, once allotted to vice, has been almost entirely abandoned?" Again, 
 says he, on the same page: "For my own part, I believe the theatre has, in 
 every age, exhibited the vices and follies of society, rather than created them." 
 Either horn of the dilemma is bad enough, but the theatre is chargeable with 
 holding to both; for it is notorious that in acting the vices it has created them. 
 There are thousands whose first evil conception, or impure thought, flashed in 
 upon their soul, when witnessing the studied illustration of some career of 
 wickedness, or the delineation of some cunning artifice for the fall of woman. 
 A knowledge of such facts suggested the abolishment of public executions; 
 indeed it constitutes a most cogent objection to the playhouse. 
 
 On page 28, we find another specimen of very remarkable deduction : — " That 
 the theatre has survived the usage it has received from the pulpit and the mora- 
 list, exhibits, at least, its wonderful vitality; and when we perceive that general 
 censure and discouragement have not the slightest effect in putting it down, or 
 improving it, why do we not begin to inquire what might be done by treat- 
 ing it with candour and sympathy, to save its uses, and correct its abuses?" 
 True, it has existed a long time, and survived the censure and condemnation 
 of the Christian world, but why should this suggest the propriety of treating it 
 with sympathy ? Sin has been in the world longer than the theatre, and with^ 
 stood the artillery of a greater opposition ; but who dreams of the church or the 
 moralist suspending hostilities, and offering terms of compromise, because of 
 its persisting vitality ? The devil will have a party in the world until the 
 general conflagration, and one of the great functions of the church is to bear 
 testimony against him, and his institutions. We observe on page 30, the fol- 
 lowing expression : — "But I think the weakness of the church as an institution, 
 mainly due in our day to its neglect to claim the world as its charge." Again, 
 on page 32, "But if there is a great gulf fixed between the church and the 
 world, as between heaven and hell, minister of Christ as I am, I would sooner 
 take my place and part with the world than with the church, &o." If by 
 the term world the Doctor means aliens to grace, "publicans and sinners," as 
 he expresses it in another place, (page 31) and considers it proper for Chris- 
 tians to mingle with them in their popular amusements, then we say he places 
 himself in open hostility to the gospel which he professes to preach : Rom. xii. 2, 
 "And be ye not conformed to this world;" John ii. 15, "Love not the world, 
 neither the things that are in the world. If any man love the world, the love 
 of the Father is not in him;" and in another passage the hatred of the world 
 is specified as one of the marks of a Christian. If Christ mingled with 
 publicans and sinners, when upon earth, it was not to participate in their prac- 
 tices, but to preach the truths of the everlasting gospel; and if Dr. Bellows 
 chooses to visit the eight theatres of New York city, and preach Christ and 
 him crucified, calling on men to repent, we shall say, Q-od speed! If, on the 
 other hand, our author, by the expression on page 30, asserts that the church 
 is doing little for the world, he has perpetrated a gross slander on the evan- 
 
THEATRICAL AMUSEMENTS. 21 
 
 gelical denominations of the United States, either knowingly or ignorantly: 
 ^hioh we will not pretend to say, though we would rather charitably infer the 
 wtter, than reasonably assert the former. For his information, I would subjoin 
 a tew facts which I have been enabled to glean from a report by Eobert Baird, 
 on the state and prospects of religion in America, made at the conference oi 
 
 8tatf7fZ ?«n<^ -rfa^n ^.rf; ^^' ^""'^'^^ °f population in the United 
 whT^nT till 1850 (half a century) was nearly four-fold and a-half, 
 
 while m the same period the Evangelical Churches, ministers, and members 
 
 «i^n'?- "^T ^tl^'r^rl^^^- '^^^'^ ^""^ °^«^ 38,183 churches, furnishing 
 accommodations for 14,270,139 persons, or room for one-half the entire popula- 
 
 tr 1, X^'^'^t^^^^Tr. ^^r ""'^ ^^'^^^ servants of God, preaching the 
 fl?n nnn '^°''^'^-' '''"^ f^""^ ^^^' ^^^"^ gathered into these Christian garners 
 d,41U,000 communicants from the world. In the beginning of this present 
 century, with the exception of the Moravians, scarcely anything had been done 
 m the cause of missions. There are now engaged in the home field 3,335 
 labourers, sustained by Christian contributions to the amount of $72,859 In 
 the foreign field there are over 500 ordained ministers, and 800 assistants, sus- 
 tained at a cost of $800,000. And where are these self-sacrifieing men and 
 women ?_ They are in China, India, Africa, Persia, Turkey, Europe, America, 
 and the islands of the sea. And what are the fruits of all this ? 340 churches, 
 53,000 members, 30,000 pupils, besides schools, seminaries, presses, and 
 important contributions to general science. But this is not all; we find the 
 church wielding other agencies in behalf of the world. The American Bible 
 Society, since its organization in 1816, has printed for circulation 10,653,647 
 copies of the Old and New Testaments. The American and Foreign Bible So- 
 ciety has published 550,000 copies since its foundation, which, with the Phila- 
 delphia Bible Society, makes an aggregate in all of 11,000,000 copies of the 
 Holy Scriptures for the world. The American Tract Society published in 
 1855— volumes, 961,363; tracts, 10,091,214. And taking the diflerent boards 
 of publication we have, as the result of their labours, about 26,559,215 publi- 
 cations, with over 1300 Colporteurs and Missionaries, engaged in spreading 
 this seed over the great field of the world. In addition to these we have dif- 
 ferent Educational Associations, protected and supported by the wings of the 
 church, by whose munificence 2,000 pious young men are qualifying themselves 
 to serve the world at a cost of $250,000. Protestant churches are contributing 
 largely to support and endow colleges, academies, and seminaries, at least 145 
 in number, and who shall pretend to compute the influence of any one of the 
 145 upon the world? The Church, too, has done much to introduce civili- 
 zation and Christianity among the unfortunate aborigines of this country, de- 
 monstrating, by the 10,000 members which she has won, and the gentle arts 
 of peace which prevail to a considerable extent among many tribes, the perfect 
 feasibility of all which was contemplated by an Elliot, a Brainerd, or Zeisber- 
 ger. Nor has Africa been forgotten in the universal humanity of the church. A 
 Christian minister revolved in his capacious intellect the glorious conception 
 of a Liberian Colony, and there it stands this day, no unsolved problem, no 
 doubtful experiment, but a fixed and living fact, the success of which enter- 
 prise has no parallel in ancient or modern times, and which will, in the hands 
 of Providence, as a great mission centre, invite Ethiopia to stretch forth her 
 hands to God. And who is it that by great labour, patience, and research, 
 have rendered the gospel of truth into at least one hundred-and-fifty different 
 tongues ? Who are they who train the thousands of infant minds in the Sab- 
 bath-school? Who go out into the dark and pestilential lanes of our populous 
 cities, gathering up the otherwise unoared for children, and teaching them that 
 they have a soul to save, and a body to care for ? And who are they that open 
 the purse to asylums for the insane, the deaf, dumb, blind, idiotic, and last, 
 but not least important, for unfortunate erring woman, made often to fall by 
 the influence of Dr. Bellows' favourite child, "the theatre?'" Ah! is the 
 
22 THEATRICAL AMUSEMENTS. 
 
 cturch doing nothing for the world? is it so powerless for good as our author 
 would have us believe '/ If, after what has been presented, he persists in his 
 determination to go over to the world, to place himself on the anti-church side 
 of the gulf, he will, probably, nevertheless, be in a position to be benefited 
 and reclaimed by some of the many self-assumed saints (spoken of on page 32) 
 who go up and down to seek out the outcasts of Israel. 
 
 On page 38, we are furnished with the ingredients of a prescription which 
 is to purge away all the evil humours of the play-house, among which are desig- 
 nated "improper characters." But why banish such? Have "the vicious 
 and depraved no human and universal tastes ?" Are not "the hours in which 
 they are amused the most innocent of their life?" (Page 27.) "Do not the 
 wicked and the careless like what the good and the careful also like — namely, 
 amusement? Does the mere presence of the vicious and depraved prove the 
 theatre to be vicious and depraved?" "I suppose them to be attracted by 
 precisely what would attract me." (Page 26.) Consistency, Doctor — your 
 reasoning proves too much. No, no, — take away the drinking saloon, 
 purify the performances, exclude frail women, and your pet institute dies, 
 beyond the power of resurrection. It is with the quwL est, not the quid opor- 
 tet, that conscientious and Christian men have to do. A reformed theatre is 
 a mere chimera of Dr. Bellows' brain ; it has been tried and failed. You 
 might as well attempt to reform the devil himself. It will always remain a 
 corrupt and corrupting institution, even though it should be drugged with 
 clerical prescriptions. 
 
 On page 46, he informs the theatrical profession of what most probably they 
 already knew, that "theirs is a peculiarly perilous life — perilous to their moral 
 nature; but this post of moral danger may be the post of moral honour;" and 
 then follow the circumstances which he alleges justify their occupation : such 
 as "a strong constitutional proclivity, an early education fitting for nothing 
 else, a powerful combination of providential circumstances, shutting up to that 
 path, or a parental will which had shaped that course before responsibility be- 
 gan." There is here a plain admission that their morals are in great danger, 
 and as these require all the safeguards we can employ, how is it possible for a 
 conscientious man to commend or encourage such a calling, at least before he 
 has brought it up to the standard he proposes? How can he reconcile this 
 courting temptation, with the prayer framed by Christ, " Lead us not into 
 temptation ?" " The post of moral danger may he the post of moral honour." 
 Suppose I should see some lads standing on the bank of a river, and, wonder- 
 ing if they could gain the opposite shore, should they strip off and plunge into 
 its waters; I am appealed to for an opinion; — "Yes, boys, jump in, it's a very 
 dangerous thing you are about attempting, but if you only can hold out until 
 you reach the other bank you will have accomplished a great feat." Suppose in 
 the struggle the muscles of one should weary, the mind become confused, and 
 terror-stricken; he sinks into the bosom of the deep; how would my conscience 
 chide me ? Let the Doctor apply the illustration to himself. Suppose among the 
 crowd whom he addressed at the Academy of Music, there happened to be one 
 who was struggling with the better instincts of his nature, as to the propriety 
 of adopting such a vocation, and, hearing the encouraging words of a scholar 
 and divine, allowed these to determine the question; and suppose (what is quite 
 probable) that resolution should end in his ruin; he may never meet him here; 
 he may never know the effect of that unguarded sentence ; but they must one day 
 confront each other at the bar of God — and what then ! But this same sen- 
 tence furnishes us with another inconsistent and most dangerous doctrine. He 
 is relating the circumstances which justify the selection of such a calling, — 
 namely, " Constitutional proclivity;" the very same thing would justify the 
 most flagrant crimes committed by the reckless and vicious, because their un- 
 reproved and unrestrained habits predispose them to evil^ — -"An early education 
 fitting for nothing else;" the same reasoning would justify the Thug in the 
 
THEATRICAL AMUSEMENTS. 
 
 23 
 
 practice of his murderous calling, because lie has been carefully educated in 
 its modes. — "A parental will, -whicli had shaped that course before responsibi- 
 lity began;" the same reason would excuse two-thirds of our law-breaking youth, 
 because their home education was calculated to make them lawless and diso- 
 bedient. 
 
 In conclusion, it is a startling fact that there are expended upon popular 
 amusements in the city of Philadelphia each of the six nights in the seven, for 
 eight consecutive months, over $5000, which would, in those months usually 
 allotted to this purpose, make, at the least calculation, one million of dollars. 
 And for what? The mere gratification of brute sense— ^literally worse than 
 thrown away; adding not one jot to our own or others' happiness; expended 
 upon a set of lazy idlers, such as no community which regards the welfare of 
 its youth should tolerate for a single day. Many of these, too, are foreign ad- 
 venturers, who, with no recommendation but their beard, their throat, and 
 their heels, are really loaded with wealth, attention, and compliment, from the 
 moment they touch our shores, while the arrival of the Emigrant Ship, with 
 Dennis and Pat, who, with pick-axe and spade, dig down our mountains and 
 fill up our valleys, is considered worse than pestilence or famine ! Here is an 
 amount of money which if judiciously expended would relieve the present 
 necessities, and gladden every destitute home in our good old commonwealth. It 
 would support for an entire year the whole force engaged in the home mission- 
 ary field. But it will be said, " Our money is our own, and we have got a 
 ,right to use it as we please." Not so, however. Men have no more rightto 
 squander their means on improper objects, than they have to abuse their bodies 
 by improper indulgences. Who gave the intellect to contrive and mature, the 
 muscle and the nerve to execute those plans which have been so remunerative? 
 Who gave the bold heart and unwearied ambition, which in spite of difficulties 
 and embarrassments, have secured opulence and ease? Who sends rain from 
 heaven and sunshine to fill the garners of the husbandman with the fruits of 
 the earth? Who inspires the head and the hand with cunning to build the ship, 
 sends the wind to fill her canvass, carrying to and fro the commerce of the 
 world, and enriching those who do business on the great deep? We cannot 
 escape the conclusion. It is the same God who formed us, and we are just as 
 much indebted to him for our property as our life, and shall one day be re- 
 quired to give a faithful account of our stewardship. The Almighty has a 
 great plan to be accomplished, in the evangelization of the world, and this, too, 
 by human instrumentalities. The day of miracles has gone by; the darkness 
 of heathenism can only be reached, human wo can only be alleviated, by ma- 
 terial aid; and he only is a true subject of Christ's kingdom who is wilhng to 
 consecrate his substance to the cause of the Master. D- H. A. 
 
 Note.— The testimonies, authoritieg, &o., which have been quoted in the foregoing 
 pages have been drawnfor the most part from Plutarch XenophonPrynne, Northbrooke 
 Cotrel, Tacitus, TertuUiau, de SpectaouHs, Juvenal, Aristotle, Pliny, Wood's Personal 
 Eecollections, Gosson, &o., &o.