A Portraiture of Quakerism, Volume 1: Taken from a View of the Education and Discipline, Social Manners, Civil and Political Economy, Religious Principles and Character, of the Society of Friends — John Shaqi
A Portraiture of Quakerism, Volume 1: Taken from a View of the Education and Discipline, Social Manners, Civil and Political Economy, Religious Principles and Character, of the Society of FriendsClarkson, Thomas
Religion
A Portraiture of Quakerism, Volume 1: Taken from a View of the Education and Discipline, Social Manners, Civil and Political Economy, Religious Principles and Character, of the Society of Friends
Clarkson, Thomas
Society of Friends
And as the Quakers conceive this species of argument to be tenable in
Christian morals, so they hold it to be absolutely necessary to be
adopted in the education of youth. For grown up persons may have
sufficient judgment to distinguish between the use of a thing and its
abuse. They may discern the boundaries of each, and enjoy the one, while
they avoid the other. But youth have no such power of discrimination.
Like inexperienced mariners, they know not where to look for the deep
and the shallow water, and, allured by enchanting circumstances, they
may, like those who are reported to have been enticed by the voices of
the fabulous Syrens, easily overlook the danger, that assuredly awaits
them in their course.
CHAP. IV. SECT. I.
_The theatre--the theatre as well as music abused--plays respectable in
their origin--but degenerated--Solon, Plato, and the ancient moralists
against them--particularly immoral in England in the time of Charles
the second--forbidden by George Fox--sentiments of Archbishop
Tillotson--of William Law--English plays better than formerly, but still
objectionable--prohibition of George Fox continued by the Quakers._
It is much to be lamented that customs, which originated in respectable
motives, and which might have been made productive of innocent pleasure,
should have been so perverted in time, that the continuation of them
should be considered as a grievance by moral men. As we have seen this
to be the case, in some measure, with respect to music, so it is the
care with respect to plays.
Dramatic compositions appear to have had no reprehensible origin. It
certainly was an object with the authors of some of the earliest plays
to combine the entertainment with the moral improvement of the mind.
Tragedy was at first simply a monody to Bacohus. But the tragedy of the
ancients, from which the modern is derived, did not arise in the world,
till the dialogue and the chorus were introduced. Now the chorus, as
every scholar knows, was a moral office. They who filled it, were loud
in their recommendations of justice and temperance. They inculcated a
religious observance of the laws. They implored punishment on the
abandoned. They were strenuous in their discouragement of vice, and in
the promotion of virtue. This office therefore, being coeval with
tragedy itself, preserves it from the charge of an immoral origin.
Public-domain text, read in full here on John Shaqi.
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