the end and design of them, they might, without imputation, partake of the diversion, in which they met with frequent examples of innocence and virtue. This alarmed the Fathers, they justly apprehended that their converts, from liking the entertainments themselves, might proceed to approve the occasion of them.-To obviate these dangers, they summoned all their prudence, and all their art; they omitted no topic which rhetoric or satire could supply, to fright or persuade men from those diversions.

Nor was all their zeal and caution any more than was necessary-the danger was great, and so was the temptation; the fort was to be maintained, not only against an enemy without, but a strong faction within; the senses appetites, and passions were already gained to the enemies' party, nothing remained but religion and reason to make good the defence. Those generals therefore

that would hold out when the garrison was inclined to surrender, must not only display

their courage and conduct, but exert their jurisdiction likewise to the utmost. This the ancient fathers did, whose examples have been followed by many in succeeding periods, without the same reason, authority,

or success.

Thus, Madam, have we finished our projected tour, and as far as gratified curiosity can be satisfactory to an inquiring mind, I trust we have derived some satisfaction from the expedition.-We now come to the more delicate task of examining the qualifications of our accusers, and the justice of their accusations.You will perceive we have formidable names to contend with; Plato, Xenophon, Aristotle, Solon, Seneca, Cicero, Livy, and a longtrain of &c's. frightful to enumerate. Be not alarmed—there's nothing in a name—“tush, tush, scare BOYS with BUGS."-Plato says,

"Plays raise the passions and pervert the use of them, and, by consequence, are dangerous to morality."-There is the whole of Plato's evidence?-Now, we can produce plays that do not pervert the passions, consequently, all plays upon that score are not dangerous. Xenophon condemns "the warm licentiousness of dramatic poets.' Licentiousness is not now a necessary ingredient, it is justly dismissed in disgrace, and therefore Xenophon's opinion is quite irrelevant to the subject. But I cannot dismiss this ancient worthy, without introducing to your notice a passage which I met with in a puritanical invective, written against the stage in the year 1699.—It is there set out with a formality of dulness, and an affectation of consequence that rendered it one of the most irresistibly comic passages I ever encountered.-It is a description of a dramatic entertainment, Xenophon witnessed-where, I am not sufficiently versed in ancient lore, to inform you,

but I will give it you as I found it. “The Syracusian entered like Bacchus, with a pipe before him, playing a rioting tune. Then entered Ariadne, gorgeously apparelled like a bride, and sat down before the company; she did not go to meet Bacchus as a dancing, nor rose from her seat, but made such signs as discovered he might have an easy conquest. When Bacchus beheld her, he expressed his passion, as much as possible, in his dance, and drawing near her, fell down on his knees, embraced and kissed her. She, though with some faint resemblance of coyness and modesty, embraced him again. At this the spectatators gave shouts of applause!-The whole audience swore, that the boy and girl loved one another in reality; for they did not act like those who had been taught only to personate those gestures. At last, when the company perceived that they were clasped in one anothers arms. Those that had no wives, swore they would MARRY,

and those that were married, took horse and went home to their WIVES IMMEDIATELY."

There, Madam, there is a delicate histrionical morceau!-But my author has done us great injustice, for he brings this forward as a very serious heavy charge, to prove the fatal influence of theatrical representations!-Now, really, had we stage saints, as well as kings, heroes, and bishops, the Syracusean boy and girl should have a theatrical canonization. At any rate, they are worthy of being perpetuated through the medium of statues, medals, poetry, and painting. Sincerely do I wish our modern Roscii had done but one ten thousandth part as much service to the state, and the morals of the people;-why, it is realizing the good old sentiment: "The single married, and the married happy."-It must have taken place in the golden age of the poets!-But pleasant and refreshing as this