The Indiana State sentinel. [volume] (Indianapolis) 1868-1895, 1880-05-12
The Educating Influence of the Stage.

Philadelphia Reeord,l
1t can not well be controyerted that amuse-
ment is one of the primary needs of human
nature. The instinct of play is early devel-
oped in the child, and it is an iron necessity
more than anything else that makes a man
give it up when the stern duties of life press
upon him. The man of leisure, who has no
such spur to toll of either hand or brain,
often wearies, indeed, of frivolities and idle
ness, and applies himself with zeal to some
engrossing and arduous labor. He finds
pleasure in busy occupation apparently for
its own sake. After all, however, this pur-
suit is kind of play for him. In this live
age of the world there is but slight love any,
where of mere Incidence. The energies of
body and mind must have free course. The
rush and hurry of events; the swift success
sion of new phases in affairs; the continual
changes and transformations in society, civ
ilization and national life the world over;
the tireless activity of movement which
marks the modern time-all these bear an
inspiration which impels men who would be
peers among their fellows to throw them
selves into the arena of eager, exultant ae-
ton.
Thus does the old law of work hold good,
and the dignity of labor is asserted as a trait
of the truest and best nobility of life. But a
man can not be every moment aiming at an
object and seeking to gain purpose. Not
only must he have rest, but recreation, if
only as a change of effort, is needfsl for him.
He must be sometimes free from care He
must now and then cast off the monotony of
business, leaving shop or office and the worry
and even the thought of his vocation, and
disport himself at something which is not
simply the means TO an end, and which he
can enjoy in, of and for itself rather than for
the results it is to win.
OF the ready-made resources for amuse-
ment which we of the city find at hand the
theater supplies, perhaps, in its season the
easiest of access, the cheapest and most con-
venient. What are the objections to it =?
Religious people-and we ought all to be re-
ligious-have sometimes looked askance at
it. Some denominations of Christians de-
nounce it, and all that pertains to it, as an
unmixed evil. Is this view in fact correct?
Is it not rather its abuses and its illicit de-
velOpments rather than the stage itself, that
should be discountenaneed2 Are its newt
able incidents and tendencies vicious and
immoral? Is not the pure and legitimate
drama fact, and is not this form Of it not
only positive benefaction to mankind but
also valuable moral monitor2 These ques-
llOllS art IOL HCMy DQb bliC1 diO W
be asked with a new earnestness and candor,
which is hopeful sign. A clergyman of
the Church of England recently read at the
Burlington Conference, St. James, Picca-
dilly, paper upon the relations of churchmen
toward the stage. He declared, in his sing.
uarly temperate and serious essay, that 1t
was the duty of the church not to ignore or
condemn the influence of the stage, now a
recognized and widely-established secular
institution, but to utilize, guide and purify
what may be and often is u great power of
good. Since people will be and should be
amused, their needs,in this direction should
not be denounced but regulated. The poor
he held, had better be sung to and made to
laugh than be groaned over with relentless
iteration. Panem ct circenses, he said, is a
human and not purely pagan cry. This
generation must learn that there is a religion
of amusement, as it has already learned that
there is religion of health, as we'll as of peni-
tence and worship We are concerned, he re-
marked, not merely as men but as priests, in
the existence of public amusements, the
want of which is most fertile source of sin
and crime. Among these amusements the
theater is foremost in popularity and power.
To ignore the drama is inhuman; for the
dramatic instinct is found in all, especially
in childhood, when instincts are fresh and
unwarped. 1t is unwise to turn aside from
what may any day ascend or descend TO con-
scious and active energy for good or evil.
The drama in great cities is the chief and
almost the only source of moral teachings to
the thousands. 1.-THE plays the thing" by
which not only to ''catch the conscience of
the King" but of the people not only of the
cultured but of those large masses who are not
reached by the ministrations of the clergy.
Not long ago the present Bishop of Dur
ham, England, said in a sermon: The stage
in its purest ages was the pulpit not only in
name but in teaching. What is there is
to prevent the English stage from taking
its proper place as the most useful ally of the
school and pulpit by promoting all that
healthiest in morality and most bracing to
the intellect Is it wise to cut ourselves off
from powerful instrument of education
without at least making the attempt to d.
rect and use it for good?"