Читать книгу A History of Quakerism - Thomas Clarkson - Страница 20

Theatre forbidden an account of the internal contents of the drama—both of those of tragedy—and of comedy—these contents hold out false morals and prospects—and weaken the sinews of morality—observations of Lord Kaimes upon the subject.

The next class of arguments is taken from the internal contents of the drama.

The Quakers mean that dramatic compositions generally contain false sentiments, that is, such as christianity would disapprove; that, of course they hold out false prospects; that they inculcate false morals; and that they have a tendency from these, and other of their internal contents, to promote dissipation, and to weaken the sinews of morality in those who see them represented upon the stage.

Tragedy is considered by the Quakers, as a part of the drama, where the hero is generally a warrior, and where a portion of human happiness is made to consist of martial glory. Hence it is considered as frequently inculcating proud and lofty sentiments, as cherishing a fierce and romantic spirit, as encouraging rival enmities, as holding of no importance the bond of love and union between man and man. Now as christianity enjoins humility, peace, quietness, brotherly affection, and charity, which latter is not to be bounded by the limits of any country, the Quakers hold as a christian body, that they cannot admit their children to spectacles, which have a tendency to engender a disposition opposite to these.

Comedy is considered as holding out prospects, and inculcating morals, equally false and hurtful. In such compositions, for example, a bad impression is not uniformly given of a bad character. Knavery frequently accomplishes its ends without the merited punishment. Indeed treachery and intrigue are often considered but as jocose occurrences. The laws of modern honour are frequently held out to the spectator, as laws that are to influence in life. Vulgar expressions, and even swearing are admitted upon the stage. Neither is chastity nor delicacy always consulted there. 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. Thus, if vice be not represented as odious, he may lose his love of virtue. If buffoonery should be made to please him, he may lose the dignity of his mind. Love-tales may produce in him a romantic imagination. Low characters may teach him low cunning. If the laws of honour strike him as the laws of refined life, he may become a fashionable moralist. If modes of dissipation strike him us modes of pleasure in the estimation of the world, he may abandon himself to these, and become a rake. Thus may such representations, in a variety of ways, act upon the moral principle, and make an innovation there, detrimental to his moral character.

Lord Kaimes, in his elements of criticism, has the following observations.

"The licentious court of Charles the second, among its many disorders, engendered a pest, the virulence of which subsists to this day. The English comedy, copying the manners of the court, became abominably licentious; and continues so with very little softening. It is there an established rule to deck out the chief characters with every vice in fashion however gross; but as such characters, if viewed in a true light, would be disgustful, care is taken to disguise their deformity under the embellishments of wit, sprightliness and good humour, which, in mixed company makes a capital figure. It requires not much thought to discover the poisonous influence of such plays. A young man of figure, emancipated at last from the severity and restraint of a college education, repairs to the capital disposed to every sort of excess. The play-house becomes his favourite amusement, and he is enchanted with the gaiety and splendour of the chief personages. The disgust which vice gives him at first, soon wears off to make way for new notions, more liberal in his opinion, by which a sovereign contempt of religion, and a declared war upon the chastity of wives, maids and widows, are converted from being infamous vices to be fashionable virtues. The infection spreads gradually through all ranks and becomes universal. How gladly would I listen to any one, who should undertake to prove, that what I have been describing is chimerical! But the dissoluteness of our young men of birth will not suffer me to doubt its reality. Sir Harry Wildair has completed many a rake; and in the suspicious husband, Ranger, the humble imitator of Sir Harry, has had no slight influence in spreading that character. What woman, tinctured with the play-house morals, would not be the sprightly, the witty, though dissolute Lady Townley, rather than the cold, the sober, though virtuous Lady Grace? How odious ought writers to be who thus employ the talents they have from their maker most traitorously against himself, by endeavouring to corrupt and disfigure his creatures! If the comedies of Congreve did not rack him with remorse in his last moments, he must have been lost to all sense of virtue."