The elevating influence of the noble sentiments with which the higher dramatic works abound, is more loudly called for in this than it has been in any former period of British history. We are no longer in the age of enthusiasm. The days of chivalry have gone by--and gone by, it is feared, never to return. We are in the age of commerce and the mechanical arts. Material appliances, creature comforts,--stimulants to the senses--now form the great moving power of society. Gain is every where sought after with the utmost avidity; but it is sought not for any lofty object, but on account of the substantial physical comforts with which the possession of riches is attended. Sensuality, disguised under the veil of elegance, refinement, and accomplishment, is making rapid strides amongst us. It does so in all old, wealthy, and long-established communities; it is the well-known and oft-described premonitory symptom of national decline. We can scarce venture to hope, we should find in the British empire at this period the enthusiasm which manned the ramparts of Sarragossa, the patriotism which fired the torches of Moscow. We should find united, too generally it is to be feared, at least in a considerable portion, the timidity and selfishness which signed the capitulation of Venice. How important, then, to gain possession of so mighty a lever for moving the general mind, and counteracting the selfishness which is degrading society, as the enthusiasm of the theatre affords; and instead of permitting it to fall into the hands of vice, to become the handmaid of licentiousness, to turn its vast powers to the rousing of elevated sentiments, the strengthening of virtuous resolutions, the nourishing of generous emotions! Whoever succeeds in this, whether author, actor, or actress, is a friend to the best interests of humanity, and is to be ranked with the benefactors of the human race.