Incidents not very favourable to morals, are sometimes introduced.

New dissipated characters are produced to view, by the knowledge of which, the novice in dissipation is not diverted from his new and baneful career, but finds only his scope of dissipation enlarged, and a wider field to range in.

To these hurtful views of things, as arising from the internal structure, are to be added those, which arise from the extravagant love-tales, the ridiculous intrigues, and the silly buffoonery of the compositions of the stage.
Now it is impossible, the Quakers contend, that these ingredients, which are the component parts of comic amusements, should not have an injurious influence upon the mind that is young and tender and susceptible of impressions.

If the blush which first started upon the cheek of a young person on the first hearing of an indecorous or profane sentiment, and continued for some time to be excited at repetitions of the same, should at length be so effectually laid asleep, that the impudent language of ribaldry can awaken it no more, it is clear, that a victory will have been gained over his moral feelings: and if he should remember (and what is to hinder him, when the occurrences of the stage are marked with strong action, and accompanied with impressive scenery) the language, the sentiments, the incidents, the prospects, which dramatic pieces have brought before him, he may combine these, as they rise to memory, with his own feelings, and incorporate them imperceptibly into the habits and manners of his own life.

Thus, if vice be not represented as odious, he may lose his love of virtue.