Here a considerable noise of coughing took place; for though the ultra Hum-Fums were too much involved in zeal to think of analogies, the designing and radical Hums, who had merely joined the society for political purposes, felt that the mention of old Noll might throw the more moderate into a train of thoughts for which they had not as yet been sufficiently prepared.
The confusion caused the great Gamboogee to cease; when a servant entered and whispered his Lordship. What the communication was we were unable to learn, as an adjournment was immediately moved and carried. The fact is—dinner was ready.
MORAL THEATRICALS.[49]
We have once or twice alluded to a scheme (forwarded to us by the Author) for rendering theatrical entertainments strictly moral; and, it appears to us, that no season can be better suited to its development than the present.
The gentleman, to whose exertions in the behalf of virtue and decency, the public are even now greatly indebted, and whose plan, if carried into effect, will entitle him to the gratitude of the nation at large, is the Rev. Mr. Plumptree, who has published a volume of dramatic pieces illustrative of his purpose, which blend with deep interest a purity of thought and propriety of language rarely to be met with in the theatrical works of the day.
The first of the dramas is called "Royal Beneficence, or the Emperor Alexander," and is founded on an event which occurred to his Russian Majesty, on the banks of the Wilna, where he restored a drowning young man by the means prescribed by the Humane Society, which means of restoration are published with the play—evidently with the best intentions. Mr. Plumptree offered this piece to Covent Garden and to Drury Lane, but it was by both rejected; then Mr. Hindes, the manager of the Norwich playhouse, had the refusal of it; but he, like the London proprietors, objected to its appearance because a living character was introduced.
Mr. Plumptree reasons very fairly upon the futility of this excuse, and prints the detail of the Emperor's indefatigable exertions, upon which his play is founded, together with many other interesting documents concerning the valuable charity to which the piece is dedicated.
The drama is full of interest and good feeling; and although, in the present state of the stage, there is, perhaps, a want of bustle, still the affecting incident at the end of the first act, where the dead body of the hero is dragged out of the water, and stripped upon the stage, under the immediate inspection of the Emperor, who says,—
"Lose no time in fruitless ceremony: this is our duty now; strip off his clothes; wipe him dry, and rub about his heart, his temples, wrists, and everywhere,"—