The Quakers have many reasons to give, why, as a society of christians
they cannot encourage the theatre, by being present at any of its
exhibitions. I shall not detail all of them for the reader, but shall
select such only, as I think most material to the point.

The first class of arguments comprehends such as relate, to what may be
called the manner of the drama. The Quakers object to the manner of the
drama, or to its fictitious nature, in consequence of which men
personate characters, that are not their own. This personification they
hold to be injurious to the man, who is compelled to practise it. Not
that he will partake of the bad passions, which he personates, but that
the trick and trade of representing what he does not feel, must make him
at all times an actor; and his looks, and words, and actions, will be
all sophisticated. And this evil will be likely to continue with him in
the various changes of his life.

They hold it also to be contrary to the spirit of Christianity. For men
who personate characters in this way, express joy and grief, when in
reality there may be none of these feelings in their hearts. They
express noble sentiments, when their whole lives may have been
remarkable for their meanness, and go often afterwards and wallow in
sensual delights. They personate the virtuous character to day, and
perhaps to-morrow that of the rake, and, in the latter case, they utter
his profligate sentiments, and speak his profane language. Now
Christianity requires simplicity and truth. It allows no man to pretend
to be what he is not. And it requires great circumspection of its
followers with respect to what they may utter, because it makes every
man accountable for his idle words.