TO THE READER. THAT the largeness of our two regular, long- established Theatres, so unfavourable for see- ing and hearing clearly and accurately, have changed in a great measure the character of the pieces generally exhibited within their walls, is a fact on which it would be useless now to dwell. How far the smaller Theatres of later establish- ment, some of which are of a proper size for the production of plays that depend for success on being thoroughly understood by the audience, will in time introduce a better state of things, it would be hazardous for any one to conjecture. At present, however, from various circumstances, from restrictions, from customs, from acquired tastes, c. the prospect is not encouraging. But the cause that more, perhaps, than 3my other depresses the moral and rational effects of the Modern Stage, is an opinion entertained by many grave and excellent people, that dramatic exhibition is unfriendly to the principles arid spirit of Christianity. This deserves to be more seriously examined, because it prevails amongst a most respectable class of the community, many of whom are possessed of good understanding, of learning and imagination, and cannot, without a great breach of charity, be supposed to be actuated by woiidliness or hypocrisy. It is in the nature of man to delight in representations of passion and character. Children, savages, learned and un- learned of every nation, have with more avidity received instruction in this form than in any other, whether offered to them as a mimic show before their eyes, or a supposed story, en- livened by dialogue and addressed to the ima- gination alone. The blessed Founder of our religion, who knew what was inman, did not contradict nor thwart this propensity of our na- ture, but, with that sweetness and graciousness which peculiarly belonged to his divine cha- racter, made use of it for the instruction of the multitude, as his incomparable parables so beau- tifully testify. The sins and faults which he reproved were not those that are allied to fancy and imagination, the active assistants of all in- tellectual improvement, but woiidliness, uncha- ritableness, selfish luxury, spiritual pride, and hypocrisy. In those days, the representation of Greek dramas prevailed in large cities through the wholeRoman empire yet the Apostles only forbade their converts to feast in the temples Vll of idols, and on sacrifices offered to idols, and trusted that the general gentleness and humanity enjoined on them as followers of their blessed Master, would keep them away from spectacles of cruelty and blood. We cannot, therefore, it appears to me, allege that dramatic representations are contrary either to the precepts or spirit of the Christian religion. But probably it is not a real conviction, that going to a theatre is in itself unchristian or wrong, which keeps such persons away, but a conscientious persuasion that it ought to be dis- countenanced, because of the bad tendency of the pieces exhibited there, before the eyes of the innocent and susceptible and because of the disorderly and worthless company who frequent playhouses, and gather about their passages and neighbourhood. These indeed are weighty and plausible reasons, that deserve to be thoroughly examined. And how far the absence of the grave and moral part of society from such places tends to remedy or increase the evils apprehended, ought also to be seriously considered. We shall begin, then, with the bad tendency of the pieces exhibited. A manager must suit his plays to the cha- racter of the most influential part of his audience...

TO THE READER. THAT the largeness of our two regular, long- established Theatres, so unfavourable for see- ing and hearing clearly and accurately, have changed in a great measure the character of the pieces generally exhibited within their walls, is a fact on which it would be useless now to dwell. How far the smaller Theatres of later establish- ment, some of which are of a proper size for the production of plays that depend for success on being thoroughly understood by the audience, will in time introduce a better state of things, it would be hazardous for any one to conjecture. At present, however, from various circumstances, from restrictions, from customs, from acquired tastes, c. the prospect is not encouraging. But the cause that more, perhaps, than 3my other depresses the moral and rational effects of the Modern Stage, is an opinion entertained by many grave and excellent people, that dramatic exhibition is unfriendly to the principles arid spirit of Christianity. This deserves to be more seriously examined, because it prevails amongst a most respectable class of the community, many of whom are possessed of good understanding, of learning and imagination, and cannot, without a great breach of charity, be supposed to be actuated by woiidliness or hypocrisy. It is in the nature of man to delight in representations of passion and character. Children, savages, learned and un- learned of every nation, have with more avidity received instruction in this form than in any other, whether offered to them as a mimic show before their eyes, or a supposed story, en- livened by dialogue and addressed to the ima- gination alone. The blessed Founder of our religion, who knew what was inman, did not contradict nor thwart this propensity of our na- ture, but, with that sweetness and graciousness which peculiarly belonged to his divine cha- racter, made use of it for the instruction of the multitude, as his incomparable parables so beau- tifully testify. The sins and faults which he reproved were not those that are allied to fancy and imagination, the active assistants of all in- tellectual improvement, but woiidliness, uncha- ritableness, selfish luxury, spiritual pride, and hypocrisy. In those days, the representation of Greek dramas prevailed in large cities through the wholeRoman empire yet the Apostles only forbade their converts to feast in the temples Vll of idols, and on sacrifices offered to idols, and trusted that the general gentleness and humanity enjoined on them as followers of their blessed Master, would keep them away from spectacles of cruelty and blood. We cannot, therefore, it appears to me, allege that dramatic representations are contrary either to the precepts or spirit of the Christian religion. But probably it is not a real conviction, that going to a theatre is in itself unchristian or wrong, which keeps such persons away, but a conscientious persuasion that it ought to be dis- countenanced, because of the bad tendency of the pieces exhibited there, before the eyes of the innocent and susceptible and because of the disorderly and worthless company who frequent playhouses, and gather about their passages and neighbourhood. These indeed are weighty and plausible reasons, that deserve to be thoroughly examined. And how far the absence of the grave and moral part of society from such places tends to remedy or increase the evils apprehended, ought also to be seriously considered. We shall begin, then, with the bad tendency of the pieces exhibited. A manager must suit his plays to the cha- racter of the most influential part of his audience...