| Citation |
NYJ-N.767.232
24 Dec 1767:223 (1303)
The fair sat panting at a courtier's play,
And not a mask went unemproved away:
The modest fan was lifted up no more,
And virgins smil'd at what they blush'd before.
Pope.
When a person pretending to be an advocate for truth,
plainly discovers a want of ingenuity and candour; however
he may with respect to his talents recommend himself to the
world, he must effect it by a sacrifice of his reputation
for sincerity. He that ventures to write upon these terms,
and at so great an expence to his moral character, can have
but little delicacy; and this circumstance among others, may
be a principal reason that makes Dramaticus so staunch a
friend to the play-house: [This is a reply to a piece
published in Mr. Parker's Gazette, signed Dramaticus. 13
more lines] Was it this amiable appearance of religion and
virtue? was it a well judged fear of the weight of their
influence against the play-house? or, was it to serve the
invidious purpose of exposing religion itself, that
Dramaticus sets out upon principles which attack religion
and piety as vulgar errors, and the meer excrescencies of a
prejudiced and bad education?
. . . [64 more lines] That it is much better to frequent a
play-house, than a church, because we may learn more of
mankind in a play-house than in a church. For in a play-
house we can discover human nature in all her secret springs
and finest movement. There the gallant can behold the
languishing eye of his mistress--Sometimes he can see her
tender heart bleed over an affecting tragedy; and at other
times, her downcast look, and modest blush, in a high
wrought comedy, serve as an unfailing index of a virtuous
mind. Nay they will prove that the most effectual means
against obscenity and immorality, is to frequent those
places that abound with obscenties , and where religion is
treated with disrespect: [15 more lines] But this is not
all; for when they choose to illustrate the subject by way
of disgression , they can further prove, that if all our
churches and colleges were demolished, religion and science
would make a much better figure, if propagated by the stage.
That as things now stand, a man acts like a fool who gives
his son a dry speculative college education, unless he does
at the same expence, complete his studies and fit him for
the world, by the more useful and practical knowledge to be
acquired from the stage. In short, when engaged on this
favourite topic, they will make nothing of proving that
there never was any good manners, politeness, elegance or
taste in the world, that did not owe its birth to the
theatre. . . [10 more lines] Thus we see the corner stone
upon which the playhouse stands--A tottering fabric this,
that's reared upon so weak a foundation!--I should be sorry
however, that impiety had gained so much ground among us as
to support a play-house upon the ruins of religion. It must
be confessed, that Dramaticus as to this part of his
argument at least, has unguardedly thrown out the true
principle upon which a play-house must be maintained;
namely, the subversion of those antiquated and unpardonable
errors called religion and piety, which offend so grossly
against good sense, polished manners and good-breeding. (The
remainder of this piece in our next.)
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