religion as if they were true, is to embody, and to spread the knowledge of, and the belief in what is false, and to degrade and confuse the ideas respecting that which is true. *

3. It will no doubt appear ridiculous to many to think of censuring the exhibition of Witches and Conjurers, in these days, as being likely to produce any ill effects. But, let it be remembered, that these beings, though professed by many to be imaginary, or at least that none such exist now, are, nevertheless, represented as having "more than mortal knowledge,”+ an absolute fore-knowledge of future events, and that they have powers more than human. To believe, that beings, possessing such power, ever existed, is contrary to what is taught us in the Sacred Writings, and to the ideas which we are there taught to entertain of the perfections of God: and although wicked persons persons have pretended to such knowledge and power, it is wrong to represent them on the Stage as really possessing it. We live in a boasted age of reason; but we have heard of persons, not very long ago, pretending to such fore-knowledge, and who found others weak and wicked enough to consult with them; and we need not go very far from this place to find witchcraft believed in, and persons really suffering oppression and

* Note D.

+ Macbeth, Act I. Scene 5.

cruelties from being imputed witches. May not these exhibitions tend, and have they not tended to keep up such a belief amongst an ignorant populace, and afforded an opportunity for the success of impious imposture? *

4. Another instance of the profaneness of the Stage is in Prayers addressed to false objects, or in prayers addressed to the true God in an improper manner. What was before observed respecting the introduction of the name of God, seems to be equally applicable here. Writers and performers, with a view, perhaps, to avoid the seeming impiety of addressing the Deity in that, which was but a representation, a fiction, have run into the other impiety of offering a feigned prayer to a feigned object, and thus making light of that awful and necessary duty. Many, indeed, have doubted and denied the propriety of addresses to the Deity in representations, because they are not realities. But, if a character be introduced, as an example for our imitation, in such circumstances as, were he in real life, trust in God and prayer to him would be a duty, provided it be done with reverence, it does not appear to be a mockery, and in vain, but a highly useful lesson. Are we not too little accustomed, too much ashamed to let ourselves be seen, or known to be on our

* Note F.

knees before God in real life?

We are commanded, indeed, not to pray in public, for the sake of being seen of men, (Matt. vi. 5.) for the motive ought to be to please God; but we are commanded to "let our light so shine before men, that they may SEE our good works, and GLORIFY OUR FATHER WHO IS IN HEAVEN." (Matt. v. 16.) Besides, can we not find similar cases, confessedly lawful, wherein we place ourselves in the situations of others, which are not exactly suitable to our own circumstances, and make use of their words, for the sake of instruction and example? Many passages of Scripture, which we read publicly, are of this description, and especially many of the Psalms."*

5. The subject of Prophecy is, likewise, introduced upon the Stage; sometimes, indeed, seriously, but, at other times with great levity and impiety; and which cannot but tend to increase that indifference, or infidelity and scoffing, which have ever, more or less, prevailed in the world on this subject.†

6. Profane cursing and swearing have, in some measure, been mentioned before; but, besides the improper objects of heathen worship, to whom these addresses are often made, the frequency of oaths, both of the most trifling * Note F. ↑ Note G.

and of the most profane kind, and used upon the most trifling occasions, and uttered in the most daring manner, is truly shocking.*

7. To these must be added the very frequent and profane use of Scripture language, and of words appropriated almost exclusively to sacred subjects, as the words Redeemer, Saviour, Sacris fice, Atonement, Adore, Worship, Create, Deity, Divinity and God, and these applied to the lowest and most impure objects.†

These are some of the principal instances, wherein the Stage seems to have adopted some sort of false religion, as it were, of its own, and so to confuse the minds of its votaries, and lead them from the true God to lying fables, After these we may consider,

II. What may be called the Morals of the Stage,

1. The subject, which now forms the leading principle of our Dramas, is love, Not, as it was intended to be by the Great Creator of man, a passion pure in itself, and subject to the guidance of reason and religion; but a romantic passion, often only an appetite, defying reason, + Note I.

* Note H,

the common duties of life, and the restraints of religion, and frequently running to the height of idolatry for its object.*

2. The consequence of this is, that parents are set at nought, and the great bonds of social life are burst asunder. Such are the fruits of those lessons of romantic love taught from the Stage, where parents are commonly represented as cruel, and thwarting the happiness of their children, and the great object in the children is, to contrive in what manner they may outwit and cast off obedience to them. Innumerable are the instances, in which parents have had to deplore in their children the practice of those lessons, which, by taking them to the theatre to witness, they have themselves contributed to their learning.+

3. The consequences of marriages thus entered into, is satiety, disgust, and aversion. Romantic love leads but to unhappy and disgraceful unions; and, accordingly, the sacred institution of marriage, intended for the happiness of man, even in a state of innocence, and as the happiest state which this fallen world can produce, is exhibited as generally, and almost necessarily, to be a state of indifference or aversion.‡

*Note J.

+ Note K,

↑ Note L.