dissipation, or a continued course of vanity and pleasurable enjoyment;- who would not allow themselves in amusements which might engross too much of their time, or involve them in blameable expense, or so far occupy and captivate the mind, as to draw their attention, in any very considerable measure, from their ordinary and daily duties; but who, nevertheless, go to the Theatre as an occasional indulgence, or break through their usual restraints, when any particular novelty or attraction may present itself; or when they may be desirous of gratifying the wishes of their friends and families.

Now, it is to such persons that I would at this time affectionately address myself. I would urge upon their serious and candid consideration the words of my text, which I have selected as containing an important scriptural principle, capable of very extensive application; but which, on this occasion, I would bring to bear more especially on the Amusements of the Stage.

It is the plea, and I doubt not it is the honest plea, of many such persons that they are not conscious to themselves of having received any moral injury at the Theatre.

Now, when we tamper, and trifle, and divert ourselves with those things which are sinful in their nature and tendencies; and allow ourselves to be familiarized with vicious scenes and sentiments ;—we can no more do this without personal

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moral injury, than we can do it without personal moral guilt. The heart of fallen man is too susceptible of evil impressions—there is too much congeniality with sin in human nature, for such contact to be harmless and undefiling. But at the same time let it be observed, that for moral injury to be sustained without being sensibly felt is not only possible, but just what in such cases is to be expected. The very hurt which the soul receives consists in the blunting of the moral sense, and in the hardening of the heart; so that, notwithstanding the fearful injury which has been received, and even in consequence of that very injury, such persons can come away from the entertainment, not only without compunction, but even with satisfaction. Had no injury been suffered, the mind would have been so deeply disgusted and pained, the inward monitor would have spoken so plainly and loudly, as to render the Theatre an object of dread rather than of desire.

I am assured that the Amusements of the Stage must, in the nature of things, either paralyze the moral feelings, or severely shock them; must either painfully awaken the conscience, or diminish its sensibility; so that, for any person to plead that play-going does him no harm, is to give the surest proof of his having already sustained deep moral injury thereby.

This, however, is not the view of the subject upon which I would now dwell. I return to the consideration of the text.

The Apostle is earnestly exhorting Timothy to exercise great care and caution in the ordination of ministers; "Lay hands suddenly on no man ;" and, he adds, neither be partaker of other men's sins: keep thyself pure ;” — plainly intimating, that should he, although himself a faithful minister, yet through negligence and inconsideration, admit into the sacred office, persons ignorant of the truth-unsound in the faith-not of good report, or otherwise unqualified and unfit;-he himself would be held responsible for the consequences, and be regarded as accessary to the mischiefs and evils which might thereby arise to the church of Christ.

Now, from hence I draw the following inference, which I cannot see how any candid and conscientious mind can escape. If we admit the interpretation which has been given of the text, we must, I think, adopt this conclusion; that if I voluntarily furnish another person with the opportunity of doing moral mischief, and send him forth with my sanction;—whatever may be my own personal character and conduct in other respects, I shall be regarded of God as accessary to that moral mischief: and shall be held by him responsible for the consequences. And not only so;—but even though I may not design to contribute to such evil, but have only helped it forward for want of that due consideration, which it was my duty to have given to the matter ;—still, I am

"partaker of other men's sins;" I am involved in their guilt.

Now, my dear Brethren, that the entertainments of the Theatre are supported and maintained by those who attend upon them and pay for them, is so evident a proposition as almost to need an apology for the mention of it.

By going to the Theatre, therefore, and contributing to its funds, you furnish the opportunity of doing all the moral mischief which is done by such exhibitions;-and you do so in exact proportion to the frequency of your attendance, and the extent of your influence, and the force of your example; so that, the more generally respected and esteemed any individual may be, by so much the greater is the responsibility and the guilt which he incurs by giving his sanction to these corrupt and corrupting entertainments.

What mean the congratulatory acknowledgments which are offered to the audience at the conclusion of every Theatrical season? What can they mean but this;-"We thank you for your attendance;-for it is by your favour and support that we have had the opportunity of furnishing out these entertainments.-Had it not been for your kindness, this Theatre could not have been kept open." And these acknowledgments fix upon every attendant at these amusements his share of all the sins which have been committed in them or occasioned by them, from

the opening of the Theatre to its close. These acknowledgments say, in language which conscience will one day rightly interpret,-Whatever dishonour has been done to God;-whatever corruption of morals has been the consequence of the evil communications here made;-whatever injurious effects have followed, or shall hereafter follow from the scenes which have been witnessed, and the sentiments which have been heard, or from all the attendant circumstances connected with them ;—we thank you for all ;—we ascribe it all to your support;-this would not have taken place had not you been our patrons. Oh! in what light will thanks like these be regarded in the solemn hour of death, and in the decisive day of judgment !

But let us now take a glance at the nature and number of those "other men's sins" of which such persons are "partakers."

I will consider the subject in reference to the AUTHORS of plays;-the ACTORS in them ;-and the AUDIENCE who attend the representation.

The plays which are acted on the Stage are, in their general character, irreligious and immoral. And I fear it will be found that the most favourite pieces with the mass of the play-going public, are those which partake most largely of this character. The aweful names of God are blasphemed in them;-the words of holy writ are frequently employed for the most profane pur