Frenchman will question that there is a certain amount of demoralisation which should not be tolerated, however great the enjoyment that accompanies it. Yet the one dwells almost exclusively upon the moral, the other upon the attractive, nature of a spectacle. Between these there are numerous gradations, which are shown in frequent disputes about the merits and demerits of the racecourse, the ball, the theatre, and the concert. Where then, it may be asked, is the line to be drawn? By what rule can the point be determined at which an amusement becomes vitiated by the evil of its consequences? To these questions the intuitive moralist is obliged to answer, that such a line cannot be drawn, that such a rule does not exist. The colours of our moral nature are rarely separated by the sharp lines of our vocabulary. They fade and blend into one another so imperceptibly, that it is impossible to mark a precise point of transition. The end of man is the full development of his being in that symmetry and proportion which nature has assigned it, and such a development implies that the supreme, the predominant motive of his life, should be moral. If in any society or individual this ascendency does not exist, that society or that individual is in a diseased and abnormal condition. But the superiority of the moral part of our nature, though unquestionable, is indefinite not infinite, and the prevailing standard is not at all times the same. The moralist can only lay down general principles. Individual feeling or the general sentiment of society must draw the application.