_Mrs. G._ The artistic effect of every work of the imagination is wrought upon what critics call the "sympathetic emotion of virtue," and the decisions of this faculty, so far as we understand them, always correspond with what Christians believe concerning the "final restitution of all things." _Frank._ The theatre, then, ought to promote good morals--why does it not? _Mr. D._ "And many worthy men Maintained it might be turned to good account, And so perhaps it might, but never was." _Mrs. G._ The "sympathetic emotion of virtue," not having an object, never rises to passion, and therefore never produces action. Philosophers tell us that a thought of virtue passing often through the mind, without being wrought out into a fact, weakens the moral sense; thus people may read the best of books, and witness the finest exhibitions of moral beauty, and constantly retrograde in virtue. The dissolute characters of players, who continually utter the loftiest sentiments, and practice the lowest vices, are accounted for on this principle; and we ought to judge the theatre as we do slavery, by its demoralizing effect upon those engaged in it. _Mr. F._ Do you mean to say, Rebecca, that slaveholding has the same effect upon me that stage-playing has upon the actor? _Mrs. G._ Well, brother, I put it to thy own conscience. Does thee not, daily, in dealing with thy slaves, stifle thy emotions of piety, generosity, and love, and is it not easier to do this now than it was twenty years ago, when, with a heart full of tenderness and truth, thee left us for thy southern home?