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 Stile & Appellation of Moral Lectures," 1 flourished openly in Boston. 2

It was during the progress of the debate in the legislature over the proposed repeal of the law against theatrical entertainments that John Gardiner, one of Boston's representatives in that body, delivered himself of sentiments touching what he styled "the illiberal, unmanly, and despotic act" of 1750. His speech gave evidence of how fresh and independent the judgments of some minds had come to be. Addressing the presiding officer, Gardiner said:

Sir! I really and truly venerate; I would rather say, I sincerely and almost enthusiastically admire the many great and splendid virtues of our renowned puritan ancestors. . .; but still, Sir, they were only men; and, like all other men, were fallible; liable to frailties, to prejudices, and to error. Some errors, and some unjust prejudices, they undoubtedly had. Would to God a veil was drawn over all their absurd prejudices which, like spots in the sun, tend in some small degree to bedarken and obscure the otherwise truly-resplendent glories of their character. One of these prejudices, in my opinion, was their inveterate opposition and abhorrent aversion to the theatre. 3


 * 1 Acts and Laws of the Commonwealth of Massachusetts, 1792-3, pp. 686 et seq.
 * 2 The public discussion and legislative phase of the situation, together with the disorders occasioned by the determination of the supporters of the theatre to serve their enterprise at any cost, are well covered by Clapp in the chapter already cited in Winsor's Memorial History of Boston. Cf. also Seilhamer, vol. iii, pp. 14 et seq.; Dunlap, vol. i, pp. 242 et seq.; Willard, Memories of Youth and Manhood, vol. i, pp. 324, 325; Bentley, Diary, vol. i, pp. 340, 379, 380, 414, 415, 418, etc.
 * 3 The Speech of John Gardiner, Esquire, Delivered in the House of Representatives. On Thursday, the 26th of January, 1792, Boston, 1792, p. 18. Another publication of the same year, The Rights of the Drama: or, An Inquiry into the Origin, Principles, and Consequences of Theatrical Entertainments. By Philo Dramatis (pseud.), discussed the subject in different vein, but with the same object in view. In the final chapter on " The Outlines of a Theatre, it's Necessary Appendages, a Plan of 'Regulation, Calculation of Expenses, Profits, &c.", doubtless by way of turning the balance of public judgment in favor of the establishment of a local theatre, the author suggests that the following ends may be served: the development of native genius, and thus the elevation of America to a high rank in the republic of letters; the reservation of a certain portion of the revenues of the theatre by the Commonwealth, for the care of the poor of Boston, or of the state, and for the support of the University at Cambridge (Harvard), thus easing the burden of taxation. The closing words of this pamphlet, stripped of their bombast, are not unworthy to stand with Gardiner's: " Whenever I consider this subject, and contemplate the formation of a Theatre, I cannot help feeling a kind of enthusiasm ... I anticipate the time when the Garricks and Siddons of America shall adorn the Stage, and melt the soul to pity. But here let me pause. Let the most rigid Stoic, or the greatest fanatic in religion, or the most notorious dupe to prejudice, once hearken to the tale of the tragic muse, whose office it is to soften, and to subdue the violent passions of the mind, by painting the real misfortunes and distresses, which accompany our journey through life; or attend to the laughable follies, and vain inconsistencies, which daily mark the character of the human species the deformity of vice the excellence of virtue, and, from the representation of the lively Comedy, ' catch the manners living as they rise,' and then say, if he can, that lessons of instruction are unknown to the Drama. If these have no effect, let him listen,^with mute attention, to the occasional symphonies, which burst from a thousand strings, and accompany, and give life and animation to the Comic scene and then, if sunk below the brute creation, let him be fortified against the impressions of sensibility. The stoicism of man must surpass our comprehension, if the dramatic scene can be contemplated without emotion; more especially when the representation of life and manners is intended to correct and to enlarge the heart. ..."