tter of "The Church Pastoral Aid Society," calling upon incumbents and
curates to regard theatrical performances as "a serious menace to the
spiritual influence of the Church," and suggesting that in future they
should refuse to take money raised by means of theatrical performances,
or by bazaars or whist-drives or dances. Of course, all people connected
with the theatres were very indignant at the insult implied; whilst, on
the other hand, many parsons and Nonconformist ministers rushed into
print and said very unflattering things about the stage.

The matter certainly had considerable public importance, and deserved to
be considered in cold blood; and one may well raise, and attempt to
answer, the plain question whether the Church is right or wrong in
adopting an attitude of hostility towards the stage. The question of
gratitude has been put forward, but is not really relevant: no doubt
players and managers in the past have been very liberal with their
services for charitable purposes, including matters specifically
connected with churches, and although very often the actual motive of
the liberality has been the desire for advertisement and notoriety--and
the desire is natural and blameless--yet it is fair to assume that in
many instances the real motive has been truly charitable. It is,
however, obvious that a person might steal with the object of giving the
money to a church restoration fund, and clearly his intention would not
excuse his act nor enable the Church to endorse it. The plain question
is whether the stage "makes for righteousness."

Into the very thorny question raised some years ago by Clement Scott
with disastrous consequences to himself as to whether the stage is
demoralizing to the actors and actresses we do not now propose to
venture. Much has been said and written on the topic, but it is largely
one of fact, which demands the examination of a great deal of evidence.
For the moment, then, let us merely discuss the question whether the
effect of the stage on the audience is good or bad: in many cases there
is no appreciable effect at all, and they may be eliminated.

Now, it must be admitted by all, save the extreme Puritans, that not
only are there a great number of harmless pieces, but also many entirely
moral in scope and aim, and likely to produce some good effect upon
playgoers; but there are others. No doubt the famous _George Barnwell_
has gone out of date, and the Dick Turpin and Jack Shepp