The amusements which this place afford are generally supposed the most rational, and are really so to a cultivated mind; yet one that is not quite formed may learn affectation at the theatre. Many of our admired tragedies are too full of declamation, and a false display of the passions. A heroine is often made to grieve ten or twenty years, and yet the unabated sorrow has not given her cheeks a pallid hue; she still inspires the most violent passion in every beholder, and her own yields not to time. The prominent features of a passion are easily copied, while the more delicate touches are overlooked. That start of Cordelia’s, when her father says, “I think that Lady is my daughter,” has affected me beyond measure, when I could unmoved hear Calista describe the cave in which she would live “Until her tears had washed her guilt away.” The principal characters are too frequently made to rise above human nature, or sink below it; and this occasions many false conclusions. The chief use of dramatic performances should be to teach us to discriminate characters; but if we rest in separating the good from the bad, we are very superficial observers. May I venture a conjecture?—I cannot help thinking, that every human creature has some spark of goodness, which their long-suffering and benevolent Father gives them an opportunity of improving, though they may perversely smother it before they cease to breathe. Death is treated in too slight a manner; and sought, when disappointments occur, with a degree of impatience, which proves that the main end of life has not been considered. That fearful punishment of sin, and convulsion of nature, is too often exposed to public view. Until very lately I never had the courage even to look at a person dying on the stage. The hour of death is not the time for the display of passions; nor do I think it natural it should: the mind is then dreadfully disturbed, and the trifling sorrows of this world not thought of. The deaths on the stage, in spite of the boasted sensibility of the age, seem to have much the same effect on a polite audience, as the execution of malefactors has on the mob that follow them to Tyburn. The worst species of immorality is inculcated, and life (which is to determine the fate of eternity) thrown away when a kingdom or mistress is lost. Patience and submission to the will of Heaven, and those virtues which render us useful to society, are not brought forward to view; nor can they occasion those surprising turns of fortune which most delight vulgar minds. The almost imperceptible progress of the passions, which Shakespeare has so finely delineated, are not sufficiently observed, though the start of the actor is applauded. Few tragedies, I think, will please a person of discernment, and their sensibility is sure to be hurt.