Entirely different objections were entertained against Theatre-going. In itself there is nothing sinful in fiction–the power of the imagination is a precious gift of God Himself. Neither is there any special evil in dramatic imagination. How highly did Milton appreciate Shakespeare's Drama, and did not he himself write in dramatic form? Nor did the evil lie in public theatrical representations, as such. Public performances were given for all the people at Geneva, in the Market Place, in Calvin's time. and with his approval. No, that which offended our ancestors was not the comedy or tragedy, nor should have been the opera, in itself, but the moral sacrifice which as a rule was demanded of actors and actresses for the amusement of the public. A theatrical troop, in those days especially, stood, morally, rather low. This low moral standard resulted partly from the fact that the constant and ever-changing presentation of the character of another person finally hampers the moulding of your personal character; and partly because our modern Theaters, unlike the Greek, have introduced the presence of women on the stage, the prosperity of the Theater being too often gauged by the measure in which a woman jeopardizes the most sacred treasures God entrusts to her, her stainless name, and irreproachable conduct. Certainly, a strictly normal Theater is very well conceivable; but with the exception of a few large cities, such Theaters would neither be sufficiently patronized nor could exist financially; and the actual fact remains that, taking all the world over, the prosperity of a Theater often increases in proportion to the moral degradation of the actors. Too often therefore Hall Caine in his “Christian” corroborated once more the sad truth–the prosperity of Theaters is purchased at the cost of manly character, and of female purity. And the purchase of delight for the ear and the eye at the price of such a moral hecatomb, the Calvinist, who honored whatever was human in man for the sake of God, could not but condemn.