their lives, and said unto them, Do violence to no man, neither accuse any falsely, and be content with your wages." (Luke iii. 14.) So, should the Player inquire what he is to do, might we not answer to him, Fear God, and do not "corrupt" any one by "évil communication?" and, indeed, he, who fears God, will never offend against man. Cornelius, the Roman Centurion, was "a devout man, and feared God with all his house," (Acts x. ii.) and God was pleased by especial favour, to make him a convert, and the first fruits of the Gentile Church: and, were the ruler of a Company of Players to fear God with all his house, we cannot doubt but his labours would ascend as a memorial before God.]

It may, however, be profitable to consider a little more at length some objections which are made against the profession. [The Author of the Essay on "The Absolute unlawfulness of the Stage," in language stronger than I am willing altogether to adopt, hath said, "It is no uncharitable assertion to affirm, that a Player cannot be a living member of Christ, or in a true state of grace, till he renounces his profession with a sincere and deep repentance. Christianity no more allows such Plays and Players as ours ARE, than it allows the grossest vices. They are objects of no other charity or

kindness, than such as may reduce them to a sincere repentance." (Law, p. 426.) " I speak to this matter (says he) with thus much plainness, because there is so much reason for it; and because I think there is as much justice and tenderness in telling every player, that his employment is sinful, and inconsistent with the Christian Religion, as in telling the same thing to a" person employed in any other sinful course. (Ditto, p. 376.)]

The Author of the "Serious Inquiry into the Nature and Effects of the Stage,” hath said, that "the employment directly leads to the corruption of the heart.-That no human passion or character, can be well represented, unless it be felt-and that every human passion, especially when strongly felt, gives a certain modification to the blood and spirits, and makes the whole frame more susceptible of its return. Therefore, whoever has justly and strongly acted human passions, that are vicious, will be more prone to these same passions; and, indeed, with respect to the whole character, they will soon be in reality, what they have so often seemed to be."*

If this remark were true, or true to any extent, it were, undoubtedly, as the Stage now * Witherspoon, p. 134. quoted also in Styles, p. 61.

exists, a serious evil to the performer. But let us apply to experience, to see whether it be just. Hath the tyrant, and the murderer, and the robber, on the Stage, been the same in real life? hath the miser on the Stage, been a miser in his own family? or hath he, who hath represented the philanthropist Howard, been a friend to humanity in the world? If the observation holds in the one case, it may hold in the other; and, if the mind hath taken any impression from an evil character, at one time, it may be counteracted by one of an opposite tendency the next and this seems in fact to be confessed by the same objector, who says, that "by so frequently appearing in an assumed character, they lose all character of their own ;”—and that, " in consequence of their profession, appearing continually in an assumed character, or being employed in preparing to assume it, must lose all sense of sincerity and truth." (p. 135.) If the performer so far enters into the character as to participate in his feelings, if the bad character be represented for the purpose of instruction, and be exposed, and reproved, or punished on the Stage, will he not partake, likewise, of the shame, the remorse, and the repentance which is attached to it? It is a suggestion, however, worthy of attention from both the writer and the performer; and, if such be the effect of personating a character, let goodness take chief

possession of the Stage, and let vice be never introduced without its antidote and punishment.

Were this argument carried into all its consequences, would it not apply, likewise, to the profession of the Bar, where the advocate pleads the cause of vice? Such a practice, meeting with principles already vitiated in the pleader, may have its effect; but, with an advocate of good principles, and in causes conducted accordingly, the present general state of that profession shews the argument to have no solid foundation. Urged to its extent, would not the objection apply even to reading the speeches of some of the bad characters brought forward in the sacred writings? to the speeches of Pharaoh, of Korah, of Naaman, of Rabshakeh, of the friends of Job, and of the chief Priests and of the Pharisees? The truth is, All situations in this world have their attendant dangers, and we must "work out our own salvation with fear and trembling." (Phil. ii. 12.)*

[It is objected, farther, against the profession of the Stage, that the performers exercise it for profit, or as it is sometimes expressed, exhibit their persons for hire. If the labour be lawful, as we think it is, "the labourer," surely, as

Note K.

+ Rousseau, quoted by R. Hill in his Warning, p. 12 and 10. Notes.

well in this, as in any other profession, " is worthy of his hire." (Luke x. 7.) And does the Player, in this respect, differ from persons in any profession? Those who devote their time and talents to the service of the public, have a right to look for their maintenance from their patrons. Should there, however, be any improper exposure of the person in any of them, for the purpose of raising admiration, or exciting worse emotions, the practice is not only disgraceful, but immoral: But this is a deviation from propriety by no means necessarily connected with the profession.]*

5. The duties incumbent upon the frequenters of Theatres are, undoubtedly, great, since they are, in fact, the patrons and support of the Theatre, and are, in great measure, those, who give the laws to its professors, by the applause and censure, and attendance which they give to particular exhibitions and performers. If the amusement be vicious, "the company are all accessary to the mischief of the place; for, were there no Audience, we should have no acting." (Collier, p. 271.)

A writer, whom I have frequently cited, (the Author of the Essay on the Unlawfulness of the Stage) says, "You may make yourself

* Note L.