The powerful nature of such an engine for either good or bad purposes has in all times justly drawn the attention of the legislature to the drama. Many regulations have been devised by different governments, to render it subservient to their views and to guard against its abuse. The great difficulty is to combine such a degree of freedom as is necessary for the production of works of excellence, with the precautions demanded by the customs and institutions of the different states. In Athens the theatre enjoyed up to its maturity, under the patronage of religion, almost unlimited freedom, and the public morality preserved it for a time from degeneracy. The comedies of Aristophanes, which with our views and habits appear to us so intolerably licentious, and in which the senate and the people itself are unmercifully turned to ridicule, were the seal of Athenian freedom. To meet this abuse, Plato, who lived in the very same Athens, and either witnessed or foresaw the decline of art, proposed the entire banishment of dramatic poets from his ideal republic. Few states, however, have conceived it necessary to subscribe to this severe sentence of condemnation; but few also have thought proper to leave the theatre to itself without any superintendence. In many Christian countries the dramatic art has been honoured by being made subservient to religion, in the popular treatment and exhibition of religious subjects; and in Spain more especially competition in this department has given birth to many works which, neither devotion nor poetry will disown. In other states and under other circumstances this has been thought both objectionable and inexpedient. Wherever, however, the subsequent responsibility of the poet and actor has been thought insufficient, and it has been deemed advisable to submit every piece before its appearance on the stage to a previous censorship, it has been generally found to fail in the very point which is of the greatest importance: namely, the spirit and general impression of a play. From the nature of the dramatic art, the poet must put into the mouths of his characters much of which he does not himself approve, while with respect to his own sentiments he claims to be judged by the spirit and connexion of the whole. It may again happen that a piece is perfectly inoffensive in its single speeches, and defies all censorship, while as a whole it is calculated to produce the most pernicious effect. We have in our own times seen but too many plays favourably received throughout Europe, over-flowing with ebullitions of good-heartedness and traits of magnanimity, and in which, notwithstanding, a keener eye cannot fail to detect the hidden purpose of the writer to sap the foundations of moral principle, and the veneration for whatever ought to be held sacred by man; while all this sentimentality is only to bribe to his purpose the effeminate soft-heartedness of his contemporaries [Footnote: The author it is supposed alludes to Kotzebue.--TRANS.]. On the other hand, if any person were to undertake the moral vindication of poor Aristophanes, who has such a bad name, and whose licentiousness in particular passages, is to our ideas quite intolerable, he will find good grounds for his defence in the general object of his pieces, in which he at least displays the sentiments of a patriotic citizen.