The stage can not be reformed. Our proof of this has, thus far, been drawn mainly from historical experience. But such experience, like every other legitimate induction, forces upon us the thought of some underlying principle of evil, some inherent vitiosity which no change of outward circumstances could be ever expected to eradicate. In searching for this essential vice we need not indulge in any affectation of profundity. It will be found, we think, lying nearer the surface than is commonly imagined. Why is play-acting radically vicious? Because, we answer, it is just what its name imports. It is _acting_--_acting_ in the theatrical sense--acting a part--an unreal part, in distinction from the stern verities which ever ought to occupy this serious and earnest life of ours. We have alluded to the heartlessness of the stage in view of the abounding sufferings and sorrows of the world. It is a varied aspect of the same truth we would here present. We have no right to waste upon mere amusement the precious time that might be employed in the alleviation of so much misery. We have no right to be _acting_, or to take delight in seeing others _acting_, in a world where abounding insincerity, falsehood, and disguise, are ever demanding truthfulness, and earnestness, and reality, as the noblest and most valuable elements in human character. Certainly there is a call upon us to avoid every thing of even a seemingly contrary tendency, in whatever fair disguise it may present itself, or under whatever fair name of art, or æsthetics, or literature, it may claim our admiration. The objection is not so much that the representation is fictitious in itself, as its tendency to generate fictitious characters in the actors and spectators. No sober thinking man can look round upon our world without perceiving that its prevailing depravity is just that which the theatre is most adapted to encourage. There is acting, stage-acting, every where--in politics, in literature, and even in religion. Men are playing State and playing Church. Artificialness of character is pervading our "world of letters" to a most demoralizing extent. We are every where living too much out of ourselves--alternately the victims and creators of false public sentiments under which the theatrical spirit of the times is burying every thing real and truthful in human nature. Our morals are theatrical; our public and social life is theatrical; our revolutions and our sympathy with revolutions are theatrical; our political conventions are theatrical; our philanthropy and our reforms are theatrical.