Dickens describes his belief that it is human nature for people, to enjoy watching a staged drama production.



Taken from the following paragraph of The Amusements of the People (Part 2):

It was apparent here, as in the theatre we had previously visited, that one of the reasons of its great attraction was its being directly addressed to the common people, in the provision made for their seeing and hearing. Instead of being put away in a dark gap in the roof of an immense building, as in our once National Theatres, they were here in possession of eligible points of view, and thoroughly able to take in the whole performance. Instead of being at a great disadvantage in comparison with the mass of the audience, they were here the audience, for whose accommodation the place was made. We believe this to be one great cause of the success of these speculations. In whatever way the common people are addressed, whether in churches, chapels, schools, lecture-rooms, or theatres, to be successfully addressed they must be directly appealed to. No matter how good the feast, they will not come to it on mere sufferance. If, on looking round us, we find that the only things plainly and personally addressed to them, from quack medicines upwards, be bad or very defective things,—so much the worse for them and for all of us, and so much the more unjust and absurd the system which has haughtily abandoned a strong ground to such occupation.

We will add that we believe these people have a right to be amused. A great deal that we consider to be unreasonable, is written and talked about not licensing these places of entertainment. We have already intimated that we believe a love of dramatic representations to be an inherent principle in human nature. In most conditions of human life of which we have any knowledge, from the Greeks to the Bosjesmen, some form of dramatic representation has always obtained.* We have a vast respect for county magistrates, and for the lord chamberlain; but we render greater deference to such extensive and immutable experience, and think it will outlive the whole existing court and commission. We would assuredly not bear harder on the fourpenny theatre, than on the four shilling theatre, or the four guinea theatre; but we would decidedly interpose to turn to some wholesome account the means of instruction which it has at command, and we would make that office of Dramatic Licenser, which, like many other offices, has become a mere piece of Court favour and dandy conventionality, a real, responsible, educational trust. We would have it exercise a sound supervision over the lower drama, instead of stopping the career of a real work of art, as it did in the case of Mr. Chorley’s play at the Surrey Theatre, but a few weeks since, for a sickly point of form.

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We believe a love of dramatic representations to be an inherent principle in human nature.
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