lofty expressions to deliver mean ideas, nor be for ever gaping, when we only mean to deliver a whisper.

CHAP. XII.

Of the STAGE.

OUR Theatre has been generally confessed to share in this general decline, though partaking of the show and decoration of the Italian opera, with the propriety and declamation of French performance. The stage also is more magnificent with us, than any other in Europe, and the people in general, fonder of theatrical entertainment. Yet still as our pleasures as well as more important concerns, are generally managed by party; the stage has felt its influence. The managers, and all who espouse their side, are for decoration and ornament; the critic, and all who have studied French decorum, are for regularity and declamation. Thus it is almost impossible to please both parties; and the poet by attempting it, finds himself often incapable of pleasing either. If he introduces stage pomp, the critic consigns his performance to the vulgar; if he indulges in recital and simplicity, it is accused of insipidity or dry affectation.

From the nature therefore of our theatre, and the genius of our country, it is extremely difficult for a dramatic poet to please his audience. But happy would he be, were these the only difficulties he had to encounter; there are many other more dangerous combinations against the little wit of the age. Our poet's performance must undergo a process truly chy

mical, before it is presented to the public. It must be tried in the manager's fire, strained through a licenser, suffer from repeated corrections, till it may be a mere caput mortuum when it arrives before the public.

The success, however, of pieces upon the stage, would be of little moment, did it not influence the success of the same piece in the closet. Nay, I think it would be more for the interests of virtue, if stage performances were read, not acted; made rather our companions in the cabinet, than on the theatre. While we are readers, every moral sentiment strikes us in all its beauty, but the love scenes are frigid, tawdry, and disgusting. When we are spectators, all the persuasives to vice, receive an additional lus-tre. The love scene is aggravated, the obscenity heightened, the best actors figure in the most debauched characters, while the parts of morality, as they are called, are thrown to some mouthing machine, who puts even virtue out of countenance, by his wretched imitation.

But whatever be the incentives to vice, which are found at the theatre, public pleasures are generally less guilty, than solitary ones. To make our solitary satisfactions truly innocent, the actor is useful, as by his means, the poet's work makes its way from the stage to the closet, for all must allow that the reader receives more benefit by perusing a well-written play, than by seeing it acted.

But how is this rule inverted on our theatres at present? Old pieces are revived, and scarcely any new ones admitted; the actor is ever in our eye, and the poet seldom permitted to appear; the public are again obliged to ruminate over those hashes of absurdity, which were disgusting to our ancestors, even in an age of ignorance; and the stage, instead of serv

ing the people, is made subservient to the interests of avarice.

We seem to be pretty much in the situation of travellers at a Scotch inn; vile entertainment is served up, complained of, and sent down; up comes worse, and that also is changed, and every change makes our wretched cheer more unsavoury. What must be done? Only sit down contented, cry up all that comes before us, and admire even the absurdities of Shakspeare.

Let the reader suspend his censure; I admire the beauties of this great father of our stage, as much as they deserve, but could wish for the honour of our country, and for his honour too, that many of his scenes were forgotten. A man blind of one eye, should always be painted in profile. Let the spectator, who assists at any of these new revived pieces, only ask himself, whether he would approve such performance, if written by a modern poet? I fear he will find, that much of his applause proceeds merely from the sound of a name, and an empty veneration for antiquity. In fact, the revival of those pieces of forced humour, far-fetched conceit, and unnatural hyperbole, which have been ascribed to Shakspeare, is rather gibbetting, than raising a statue to his memory; it is rather a trick of the actor, who thinks it safest acting in exaggerated characters, and who, by outstepping nature, chooses to exhibit the ridiculous. outré of an harlequin, under the sanction of that venerable name.

What strange wamped comedies, farcical tragedies, or what shall I call them, speaking pantomimes, have we not of late seen? No matter what the play may be, it is the actor who draws an audience. He throws life into all; all are in spirits, and merry, in at one door, and out at another; the spectator, in a fool's

paradise, knows not what all this means, till the last act concludes in matrimony. The piece pleases our critics, because it talks old English; and it pleases the galleries, because it has ribaldry. True taste, or even common sense, are out of the question.

But great art must be sometimes used before they can thus impose upon the public. To this purpose a prologue written with some spirit generally precedes the piece, to inform us, that it was composed by Shakspeare, or old Ben, or somebedy else who took them for his model. A face of iron could not have the assurance to avow dislike; the theatre has its par tizans, who understand the force of combinations, trained up to vociferation, clapping of hands, and clattering of sticks; and though a man might have strength sufficient to overcome a lion in single combat, he may run the risk of being devoured by an army of

ants.

I am not insensible, that third nights are disagreeable drawbacks upon the annual profits of the stage; I am confident it is much more to the manager's advantage, to furbish up all the lumber which the good sense of our ancestors, but for his care, had consigned to oblivion; it is not with him therefore, but with the public, I would expostulate; they have a right to demand respect, and surely those newly-revived plays are no instances of the manager's deference.

I have been informed that no new play can be admitted upon our theatres, unless the author chooses to wait some years, or to use the phrase in fashion, till it comes to be played in turn. A poet thus can never expect to contract a familiarity with the stage, by which alone he can hope to succeed, nor can the most signal success relieve immediate want. Our Saxon ancestors had but one name for a wit and a witch. I will not dispute the propriety of uniting those charac

ters then; but the man, who, under the present discouragements, ventures to write for the stage, whatever claim he may have to the appellation of a wit, at least he has no right to be called a conjuror.

From all that has been said upon the state of our theatre, we may easily foresee whether it is likely to improve or decline; and whether the free-born muse can bear to submit to those restrictions which avarice or power would impose. For the future, it is somewhat unlikely, that he whose labours are valuable, or who knows their value, will turn to the stage for either fame or subsistence, when he must at once flatter an actor, and please an audience.

CHAP. XIII.

On UNIVERSITIES.

INSTEAD of losing myself in a subject of such extent, I shall only offer a few thoughts as they occur, and leave their connexion to the reader.

We seem divided, whether an education formed by travelling or by a sedentary life be preferable. We see more of the world by travel, but more of human nature by remaining at home. As in an infirmary the student, who only attends to the disorders of a few patients, is more likely to understand his profession, than he who indiscriminately examines them all.

A youth just landed at the Brille resembles a clown at a puppet-show; carries his amazement from one miracle to another; from this cabinet of curiosities to that collection of pictures; but wondering is not the way to grow wise.