The central Presbyterian. [volume] (Richmond, Va.) 1856-1908, 1880-03-10

L
without meaning to pun) stands on
different footing from other so called
worldly amusements A much better
plea can be made for going to the opera
or the theatre than for Round Dancing.
Indeed the arguments for the opera and
The theatre are rested on very specious
grounds, as, for example, that they in
struct, and cultivate the taste, and the
like that there can be no more harm in
seeing good play acted than in reading
1T; that music cannot be properly rem
dered except in opera; that the people
ought to have the opportunity of hear
gng the best music, etc. We do not pro
pose to say much on this point at pre-
sent; we only remark that we very thor
Oughly comprehend how any refined and
cultivated person must enjoy both the
theatre and the opera Christian people
DO not lose their appreciation of high
art, and are insensible to neither the fine
delineations of human passion nor to the
power of music. But we must take things
On this world as they actually exist; and
The ideal opera and the ideal stage do
not exist. What we have in fact is q
Prostituted opera and prostituted stage.
The teachings of the theatre (and the
same is true of the operation Giovanni,
Tor example) have never been healthy in
!heir character; but, on the contrary, i'm
moral and demoralizing in tendency.
And, secondly, the essential objection to
the theatre and opera lies here; that the
Christian is presumed TO have renowned
the world, and to live in different at
mosphere The Christian, if the Bible is
true, is "a new creature" he strives to
be holy because [God is holy" Now,
a heart touched by the Holy Spirit, con-
scious of its corruptions, striving for the
fruits of the Spirit (f all these things are
facts, and not mere words), cannot make
any progress in the religious life if sub
Iected to the unspiritcal influences of the
theatre. There is no concord between
them. Christians are called the Temple OF
the Holy Ghost; if this be not mere
figure, if Christians have indeed received
into their souls new principle of life, and
become ga habitation of God through the
Spirit, it is obvious that the pageant OF
worldly vanity and worldly irreverence
amid the lights Of the theatre, offers to such
a one, who has tasted Of the good word OF
God and the powers of the world to come,
q totally false picture and totally false
presentation Of the actual conditions o.
human life The theatre is the spirit o.
the world in it's intensest form; and the
Christians lifelong struggle is to over
come the world. The brilliant array Of
fashion and beauty at the theatre do not
accept the thesis that this is world o.
lost sinners, and that the millions Of hu
manity are going down to an eternal and
remediless ruin; no, that is not the key
note the keynote is the pride, pomp
and circumstance of human life" the
kingdoms of this world, and the glory OF
them Now, the whole point of the
argument lies just here, that the Chris
tan cannot thrive, but must revolt, in
such an atmosphere as this. If he can
6nd satisfaction and profit, then there is
no harm in going to the theatre; his re
Iigion does not hurt him. and the theatre
will not hurt his religion.
But the argument against the MODERN
D6NCE is Of much easier comprehension
than this; the argument against the
dancing now practiced by our young peo-
pie rests on a question Of Decency. We
iced not call in jury of Christians to sit
on this case we only need jury of old
fashioned Virginians, who may play
cards, run horses, drink their grop, and
do many other things in disregard of the
precepts Of the Christian religion. We
are perfectly willing to rest the case with
out argument in their hands, whether
they think it is consistent with female
modesty for young woman to pass
through the scenes Of a modern ballroom.
The mere act Of dancing is nothing;
there may be little or no harm in the old