jectionable to justify the censure. But he prefaces his remarks with this passage, which is much

*Dr. Watts lived and wrote when the Beggar's Opera first appeared, and was no doubt shocked at the extraordinary success of that production. If it were to be acted now, as it was then, it would not be tolerated for two scenes, and even as it is, purified as much as the nature of the subject will allow, a mere skeleton of its original self, and little more than a peg to hang the music on, it is a vulgar and immoral composition, and will very soon be banished (as it ought) from the Stage altogether. The poignant satire which gave force to it, when first written, has lost its effect with the times and individuals to which it was applied. Yet even on this subject, there are wide differences of opinion between eminent writers. "Dean Swift commended the Beggar's Opera "for the excellence of its morality, as a piece that placed all kinds of vice in the strongest and most odious light." Dr. Herring, afterwards Archishop of Canterbury, censured it as giving encouragement not only to vice, but to crimes. It was even said, that after its production, the gangs of robbers were evidently multiplied. Dr. Johnson, in his Life of Gay, says, "both these decisions are surely exaggerated. The play, like many others, was plainly written only to divert, without any moral purpose, and is therefore, not likely to do good; nor can it be conceived without more speculation than life requires, or admits, to be productive of much evil. Highwaymen and housebreakers seldom frequent the play-house, or mingle in any elegant diversion; nor is it possible for any one to imagine, that he may rob with safety, because he sees Macheath reprieved upon the Stage." On another occasion he said, "as to this matter, which has been very much contested, I, myself, am of opinion, that more influence has been ascribed to it, than in reality it ever had; for I do not believe that any man was ever made a rogue, by being present at that representation !"-Croker's Boswell, vol. iii. p. 242.

from so strict a disciplinarian. "It is granted that a dramatic representation of the affairs of human life, is by no means sinful in itself. I am inclined to think that valuable compositions might be made of this kind, such as might entertain an audience with innocent delight, and even with real profit. Such have been written in French, and have, in times past, been acted with applause." With reference to this last sentence, in the preface to his Hora Lyricæ, he says, "What a noble use have Racine and Corneille made of Christian subjects in some of their best tragedies !* What a variety of divine scenes are displayed, and pious passions awakened in those poems! The martyrdom of Polyeucte, how doth it reign over our love and pity, and, at the same time, animate our zeal and devotion! May I here be permitted the liberty to return my thanks to that fair and ingenious hand,† that directed me to such entertainment in a foreign language, which I had long wished for and sought in vain in our own." Further on he speaks still more powerfully on the advantage of selecting scriptural subjects for dramatic composition, and the benefits arising from the Drama when thus applied. "If the trifling and incredible tales that furnish

* The religious tragedies of Corneille and Racine were written for the Stage, not the closet, and have been constantly acted.

† Philomela, Mrs. Elizabeth Rowe, Authoress of "Pious Reflections," "Letters from the Dead to the Living," &c.

out a tragedy are so armed by art and fancy, as to become sovereign of the rational powers, to triumph over all the affections, and manage our smiles and our tears at pleasure, how wondrous a conquest might be obtained over a wide world, and reduce it at least to sobriety, if the same happy talent were employed in dressing the scenes of religion in their proper figures of majesty, sweetness, and terror! The wonders of creating power, of redeeming love and renewing grace, ought not to be thus impiously neglected by those whom heaven has endued with a gift so proper to adorn and cultivate them; an art whose sweet insinuations might almost convey piety in resisting nature, and melt the hardest souls to the love of virtue. The affairs of this life with reference to a life to come, would shine bright in a dramatic description; nor is there any need, or any reason why we should always borrow the plan or history from the ancient Jews, or primitive martyrs; modern scenes would be better understood by most readers, and the application would be much more easy. How might such performances under a divine blessing, call back the dying piety of the nation to life and beauty."

Dr. Rundle, Bishop of Derry, in his letter to Mrs. Sandys, speaking of the success of Thompson's Sophonisba, observes, "The reception this play has met with, proves the justness of Plato's observation, that if men could behold Virtue, she would make all of them in love with her charms;'

and adds, "a right play draws her picture in the most lively manner." His letters abound with evidences of his partiality for the Theatre.

DR. WATSON, Bishop of Llandaff, in a letter to Lord Granby, Aug. 15th, 1775, says, "Make Bacon, then, and Locke, and why should I not add, that sweet child of nature, Shakspeare, your chief companions through life: let them be upon your table, and when you have an hour to spare from business or pleasure, spend it with them, and I will answer for their giving you entertainment and instruction as long as you live."†

THE REV. JEREMIAH SEED, who has been quoted as condemning the Stage,§ in his Sermon, called "The Case of Diversions stated," says, "To comply with men's tastes, as far as we innocently can, in the little incidents and daily occurrences of life, to bear a part in their favourite diversions, and to adjust our tempers to theirs, it is this that knits men's hearts to one another, and lays the foundation of friendships." And again, in his Sermon on the "Government of the Thoughts," after condemning bad books and immoral plays, he says, "I would not be thought to pass a general, undistinguishing censure upon all

* Letters, vol. ii. p. 108.

† Bishop Watson's Life, vol. i. p. 82.

Rector of Enham in Hampshire, and Fellow of Queen's College, Oxford.

§ By the Rev. Job Orton, in his discourse called " A Dissuasive from the Playhouse."

plays; some of them are rational and manly entertainments, and may be read with improvement as well as delight."

DR. BLAIR, an eminent divine, and most popular preacher, as well as an accomplished general

scholar, says, "Dramatic poetry has among ci

vilized nations, been always considered as a rational and useful entertainment, and judged worthy of careful and serious discussion.-As tragedy is a high and distinguishing species of composition, so also, in its general strain and spirit, it is favourable to virtue; and, therefore though dramatic writers may sometimes, like other writers, be guilty of improprieties, though they may fail in placing virtue precisely in the due point of light; yet no reasonable person can deny tragedy to be a moral species of composition.-Taking tragedies complexly, I am fully persuaded, that the impressions left by them upon the mind are on the whole, favourable to virtue and good dispositions. And therefore, the zeal which some pious men have shown against the entertainments of the Theatre, must rest only on the abuse of comedy; which, indeed has frequently been so great as to justify very severe censures against it. I am happy however to have it in my power to observe, that' of late years, a sensible reformation has begun to take place in English comedy. We have at last become ashamed of making our public entertainments rest wholly upon profligate characters and scenes; and