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find in every play proof of a preconceived theory. Sentiments and forms of expression which many, whose taste has been formed under the influence of a severely religious life, would throw out as faults, have often been considered by the writer as blemishes, and the judgment of those who differ with him on the general subject called in to decide in particular cases.

Nor has much attention been given to the lower order of Theaters, where the principal and avowed aim is to please the most coarse and depraved tastes; but most of the plays examined have been produced in the Theaters patronized by the highest circles of society.

The results of this examination confirm the charges which we have made. Some of the plays produced are in matter unobjectionable, but the number of such is very small in proportion to the whole. Some instances occurred in which, where the original composition was unexceptionable, the attempt was made, by dress, attitude, emphasis, and look, to please that large part of every audience that cannot be entranced by a chaste performance.

These attempts have from time to time been rebuked by the critics of the higher tone, not so much, indeed, on the ground of their immorality, as because of their violation of artistic propriety.

It is a singular fact, that, with three or four exceptions, those dramatic compositions among the sixty or more under discussion, which are morally unobjectionable, are of a comparatively low order of literary execution. But if language and sentiments which would not be tolerated among respectable people, and would excite indignation if addressed to the most uncultivated and coarse servant girl, not openly vicious, by an ordinary young man, and profaneness which would brand him who uttered it as irreligious are improper amusements for the young and for Christians of every age, then at least fifty of these plays are to be condemned.

Not all are as bad as the worst, but many are so corrupting that one of the chief illustrations of their evil tendency, and of the demoralizing influence of the Theater is, that such a number can be found to defend them. She Stoops to Conquer, Goldsmith's

well known and popular play, is based on a rake's going to a country house to woo the owner's daughter, mistaking the mansion for an inn, and attempting to persuade the daughter, who is taken for a barmaid, to licentiousness. The hero exhibits some noble traits, one of which is, that while he thought nothing of adultery or fornication, he would shrink from seducing an innocent girl. The play contains much profaneness and vulgarity, and several sneers at temperance and religion.

There are persons who will look with lofty scorn on the above characterization of She Stoops to Conquer. They will say that the stern moralist, Dr. Johnson, told his friend, Bishop White, that he thought it worthy of a "very kind reception." This, indeed, will not seem wonderful when the personal relations between Johnson and Goldsmith are remembered. But the whole teaching of Samuel Johnson, on which his reputation as a moralist is founded, condemns the play which his personal regard for the author led him to commend.

It is said that Goldsmith questioned one of his critics thus: "Did it make you laugh?" "Exceed

ingly," replied the critic. "Then," said the author, "that is all I require." The play is certainly admirably adapted to provoke laughter; but we propound this question: Are lust and attempted libertinism, profaneness, falsehood, and intemperance the things at which Christians should laugh? If we traduce the play we deserve reproof; but if we describe it correctly, the scorn of those who approve it is natural enough on their part, and simply confirmatory of our position.

Money is a succession of hypocrisy, covetousness, drinking, gambling, jealousy, and infidelity, adapted to impart a view of life to the young, which, if taken as true, would lead to distrust, misanthropy, and personal recklessness. East Lynn consists of infidelity, adultery, murder, remarriage, and the subsequent reappearance of the first wife to die in the house of her former husband.

CHAPTER XVI.

PLAYS PRESENTED IN NEW YORK DURING THE PAST

THREE YEARS- -CONTINUED.

HE atmosphere of the Ticket-of-Leave Man

THE

is similar to that of "pirate and murder books," and its style such as to familiarize the mind with scenes of vice and desperate wickedness, and the ear with coarseness and slang. This play is said to have reformed one or more highwaymen and desperadoes. It may have done so; but if so, it was upon the principle that some medicines which would poison a well man will, in certain abnormal states of the system, work a favorable change.

Saratoga is to be condemned for its profaneness and its "double entente," but much more for the spirit of falsehood and perfidy which pervades it. The effect of the characters, attitudes, and sentiments of the piece cannot be good. It is one of those productions which diminish respect for woman, and dissipate all serious views of life. No

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