Impure allusions are frequently interwoven into the dialogue, so that
innocence cannot but often blush. Incidents not very favourable to
morals, are sometimes introduced. New dissipated characters are produced
to view, by the knowledge of which, the novice in dissipation is not
diverted from his new and baneful career, but finds only his scope of
dissipation enlarged, and a wider field to range in. To these hurtful
views of things, as arising from the internal structure, are to be added
those, which arise from the extravagant love-tales, the ridiculous
intrigues, and the silly buffoonery of the compositions of the stage.
Now it is impossible, the Quakers contend, that these ingredients, which
are the component parts of comic amusements, should not have an
injurious influence upon the mind that is young and tender and
susceptible of impressions. If the blush which first started upon the
cheek of a young person on the first hearing of an indecorous or profane
sentiment, and continued for some time to be excited at repetitions of
the same, should at length be so effectually laid asleep, that the
impudent language of ribaldry can awaken it no more, it is clear, that a
victory will have been gained over his moral feelings: and if he should
remember (and what is to hinder him, when the occurrences of the stage
are marked with strong action, and accompanied with impressive scenery)
the language, the sentiments, the incidents, the prospects, which
dramatic pieces have brought before him, he may combine these, as they
rise to memory, with his own feelings, and incorporate them
imperceptibly into the habits and manners of his own life.
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