[4] An early and yet typical example of this unfavorable view of the moral and religious life of the people after the first generation of the Puritans was gone, may be found in The Result of 1679,—a document prepared by the Synod in response to directions from the Massachusetts General Court, calling for answers to the following questions: “What are the euills that haue provoked the Lord to bring his judgments on New England? What is to be donn that so those euills may be reformed?”. The following brief excerpt from The Result supplies the point of View: “Our Fathers neither sought for, nor thought of great things for themselves, but did seek first the kingdom of God, and his righteousness, and all these things were added to them. They came not into the wilderness to see a man cloathed in soft raiment. But that we have in too many respects, been forgetting the Errand upon which the Lord sent us hither; all the world is witness: And therefore we may not wonder that God hath changed the tenour of his Dispensations towards us, turning to doe us hurt, and consuming us after that he hath done us good. If we had continued to be as once we were, the Lord would have continued to doe for us, as once he did.” The entire document, together with much valuable explanatory comment, may be found in Walker, Creeds and Platforms of Congregationalism, pp. 421–437. Backus, History of New England, vol i, pp. 457–461, contains a group of similar laments.
[5] Snow, A History of Boston, p. 333.
[6] Weeden, Economic and Social History of New England, vol. ii, p. 696.
[7] Acts and Resolves, Public and Private, of the Province of Massachusetts Bay, vol. iii, pp. 500 et seq. The Preamble of this Act is highly interesting: “For preventing and avoiding the many and great mischiefs which arise from publick stage-plays, interludes and other theatrical entertainments, which not only occasion great and unnecessary expenses, and discourage industry and frugality, but likewise tend generally to increase immorality, impiety and a contempt for religion,—Be it enacted”, etc.
[8] Seilhamer, History of the American Theatre, vol. ii, pp. 51 et seq.; Winsor, The Memorial History of Boston, vol. iv, ch. v: “The Drama in Boston,” by William W. Clapp, pp. 358 et seq.
[9] Seilhamer, op. cit., vol. iii, p. 13; Dunlap, History of the American Theatre, vol. i, p. 244; Snow, History of Boston, pp. 333 et seq.
[10] Acts and Laws of the Commonwealth of Massachusetts, 1792–3, pp. 686 et seq.
[11] The public discussion and legislative phase of the situation, together with the disorders occasioned by the determination of the supporters of the theatre to serve their enterprise at any cost, are well covered by Clapp in the chapter already cited in Winsor’s Memorial History of Boston. Cf. also Seilhamer, vol. iii, pp. 14 et seq.; Dunlap, vol. i, pp. 242 et seq.; Willard, Memories of Youth and Manhood, vol. i, pp. 324, 325; Bentley, Diary, vol. i. pp 340, 379, 380, 414, 415, 418, etc.
[12] The Speech of John Gardiner, Esquire, Delivered in the House of Representatives. On Thursday, the 26th of January, 1792, Boston, 1792, p. 18. Another publication of the same year, The Rights of the Drama: or, An Inquiry into the Origin, Principles, and Consequences of Theatrical Entertainments. By Philo Dramatis (pseud.), discussed the subject in different vein, but with the same object in view. In the final chapter on “The Outlines of a Theatre, it’s Necessary Appendages, a Plan of Regulation, Calculation of Expenses, Profits, &c.”, doubtless by way of turning the balance of public judgment in favor of the establishment of a local theatre, the author suggests that the following ends may be served: the development of native genius, and thus the elevation of America to a high rank in the republic of letters; the reservation of a certain portion of the revenues of the theatre by the Commonwealth, for the care of the poor of Boston, or of the state, and for the support of the University at Cambridge (Harvard), thus easing the burden of taxation. The closing words of this pamphlet, stripped of their bombast, are not unworthy to stand with Gardiner’s: “Whenever I consider this subject, and contemplate the formation of a Theatre, I cannot help feeling a kind of enthusiasm … I anticipate the time when the Garricks and Siddons of America shall adorn the Stage, and melt the soul to pity. But here let me pause.—Let the most rigid Stoic, or the greatest fanatic in religion, or the most notorious dupe to prejudice, once hearken to the tale of the tragic muse, whose office it is to soften, and to subdue the violent passions of the mind, by painting the real misfortunes and distresses, which accompany our journey through life; or attend to the laughable follies, and vain inconsistencies, which daily mark the character of the human species—the deformity of vice—the excellence of virtue—, and, from the representation of the lively Comedy, ‘catch the manners living as they rise,’ and then say, if he can, that lessons of instruction are unknown to the Drama. If these have no effect, let him listen, with mute attention, to the occasional symphonies, which burst from a thousand strings, and accompany, and give life and animation to the Comic scene—and then, if sunk below the brute creation, let him be fortified against the impressions of sensibility. The stoicism of man must surpass our comprehension, if the dramatic scene can be contemplated without emotion; more especially when the representation of life and manners is intended to correct and to enlarge the heart….”
[13] Cf. (Boston) Independent Chronicle and Universal Advertiser, Thursday, March 28, 1793.