Perhaps there is no period of time in which the stage was less polluted,
owing to the inimitable Garrick, than the present: notwithstanding there
is yet room for improvement.

Tragedy is to melt the heart, by exhibiting the unfortunate; satiate
revenge, by punishing the unjust tyrant: To discard vice, and to keep
undue passions within bounds.

Comedy holds up folly in a ridiculous light: Whatever conduct or
character is found in the regions of absurdity, furnishes proper
materials for the stage; and out of these, the pen of a master will draw
many useful lessons.

The pulpit and the stage have nearly the same use, but not in the same
line--That of improving the man.

The English stage opened about the conquest, and was wholly confined to
religion; in whose service it continued, with very little intermission,
to the extinction of the Plantagenets. The play-houses were the
churches, the principal actors the priests, and the performances taken
from scripture; such as the Fall of Man, the Story of Joseph, Sampson,
Histories of the Saints, the Sufferings of Christ, Resurrection, Day of
Judgment, &c.

Theatrical exhibition in Birmingham, is rather of a modern date. As far
as memory can penetrate, the stroller occupied, occasionally, a shed of
boards in the fields, now Temple-street: Here he acted the part of
Distress, in a double capacity. The situation was afterwards changed,
but not the eminence, and the Hinkleys dignified the performers booth!

In about 1730, the amusements of the stage rose in a superior stile of
elegance, and entered something like a stable in Castle-street. Here the
comedian strutted in painted rags, ornamented with tinsel: The audience
raised a noisy laugh, half real and half forced, at three-pence a head.

In about 1740, a theatre was erected in Moor-street, which rather gave a
spring to the amusement; in the day time the comedian beat up for
volunteers for the night, delivered his bills of fare, and roared out an
encomium on the excellence of the entertainment, which had not always
the desired effect.

In 1751, a company arrived, which anounced themselves, "His Majesty's
servants, from the theatres-royal in London; and hoped the public would
excuse the ceremony of the drum, as beneath the dignity of a London
company." The novelty had a surprising effect; the performers had
merit; the house was continually crouded; the general conversation
turned upon theatrical exhibition, and the town w