THE PILOT
rtiILNLIED XVJNY '11.110i1)AY 11431LNING XY
LAMES W. M'CRORY,
OVorlei Wee Corner of the Public Square,)
fellowiwg rates, frein which there will be leo
seTistiee:
pogis subscription, is odvanse
Will six toonidis
srlain twelve months
paper will be discontinued unless at the option
o f the Publishers, until all arrearages are paid.
!o subscriptions will be taken for a less period
h a l mix months.
Vlle Great
AMERICAN TEA, COMPANY,
C 1 Vesey Street, New Pork;
Mose its organization, has creates a new ere in the
iiistory of
Wholesaling TeaS in this Country-.
They have introducel their selections of Teas, and
a re gelling them at not over Two Cents (.02 Cents)
Cr f pound above Cost, never deviating from the ONE
MICE asked.
Another peculiarity of the company is that their
TEA TASTER not only devotes his time to the selec
floe of their Teas as to quality,' value, and particu
lar styles for particular localities of country, but he
kips the TEA buyer to choose out of their enormous
Pork such. TEAS as are best adapted to his peculiar
" 0 1,, and not only this, but points out to him the
b e .q bargains. It is easy to see the incalculable ad
vantage a TEA Burnt has in this establishment. over
ell ethers. If he is no judge of TEA, or the MARKET.
if his time is valuable, he has all the benefits of a well
ergßaited system of doing business. Of an immense
c eisital, of the judgment of a professional Tea,Taster,
sad the knowledge of super* salesmen.
This enables all Tea buyers—no matter if they
are thousands of miles from this market—to pur
chase on as good terms here as the New York mer-
chants
Parties can order Teas and will be served by us
es well as though they came themselves, being sure
to get original packages. true weights and tares;
and he Teas eve warranted ins represented.
We issue a Price List of the Company's Teas.
which will be sent to all who order it; comprising
ffyson, Young ,Ryson, Imperial, Gun
powder, Twankay and Skin.
Oolong Sauchong, Orange and Byson Pelco
Apen Tea of every description, colored and uncolored.
Yids list has each kind of Tea divided into Four
Carlos namely: CARGO, high CARGO, FINE,
FIVEFAT, ihrtt every one may understand from de
seriotion and the prices annexed that. the Company
are letermined to undersell the whole Tea trade.
We guarantee to sell all our Tens at not over
TWO CENTS (.02 Cents) per pound above cost, be
lieviog this to be attractive to the many who have
heretofore been paying Enormous Profits..
Great American Tea Company,
linporters and Jobbers,
Rept. 16, 1866-11st,] No. 61 Vesey St., N. Y.
A 0 „ 1 - 1 , REWARD! for a mediciie that
[ill will cure
Coughs. Influenza., Tickling in the Throat,
Whooping Cough, or relieve Consumptive Cough,
as quick aa-
COE'S COUGH BALSAM
Over Five Thousand Bottles have been sold in its
native town, and not a single instance of its failure
hi known
We have, in our possession, any quantity of cer
!Metres, same of them from EMINENT PIITSICI
in, who have used it in their practice, and given
it the preeminence over any other compound.
It does not Dry up a Cough,
but loosens it, so as to enable'the patient to expec
torate freely. Two or three doses will invariably
cure Tickling in the Throat. A half bottle has ef
tee eompletely cured the most STUBBORN COUGH. and
yat,tbou,lll it is so sure and speedy in its operation,'
it is perfectly harniless, being purely vegetable. It
is very agreeable to tke taste, and may he adminis
term! I* children ef nny age. In cases of CEO UP
we will guarantee a cure, if taken in season.
No family, should be withaut Ig.
It is within the reach of all, the price being only
25 Conts And if an investment and thorough'
trail roes not "hack up" thie above statement, the
mosey will be refunded. We say this knowing its
assns, and feel confident. that one trial will secure
for it a home in every household.
Dn not waste a way with Coughing. when so small
isvestment will cure put. It may hiallad of
fly respectable Druggist it town, who will furnish
you with a circular of genuine certificatew - of-eures.
it has made. C. G. CLARK & CO.,
, Proprietors.
• New Haven, Ct.
At Wholeiale, by
Johnston, Holloway & Cowden,
23 North Sixth Street. Philadelphia, Ps.
For sale by Druggists in city. county, and every
wliere • (SO. 29, 1863 -3ni.
J. W: 7E3ARR'S
Mammoth Stove •
and Tinware• Store Room,
A few doors South of the : : Diamond, Greencastle,. Pa.
triti undersigned having purchased Mr. Need's
.1. entire interest in the Tinning business, 'wishes
to inform the public at large, that hehas on hand.
*lbis extensive Stove 'store,
COOK, PARLOR AND NINE r PLATE
Stoves. Among them are the Continental, Noble
leek, Commonwealth and Charm which he will sell
'heap for cash The very best quality of.
Tin, Japaned and Sheet Iron'Ware,
is great variety.
SPOUTING
the best material, for houses, &c., manufactured
Ilad put up at the shortest notice.
All are invited to call at this establishment, as the
Roprietor is confident" in rendering satisfaction,
vth in price and quality of his wares. My price
hall be low! tow!! low!!!
Ssre money by purchasing at headquarters
IT-- All work warranted
August 25, 1868
WELLS COVRRLY
COVERLY & HUTCHISON
x-/ Have become the Proprietors of thC UNITED
4TATES HOTEL, near the Railroad Depot at HAR
kisillJßG, Pa. This
. popular and commodious
Hotel has been newly refitted and furnished through-
out its parlors and chambers, and is. now ready for
the reception of guests.
The traveling public will find the . 'United States
Rotel the moat convenient, in all particulars of any
NIA 1.
In the State Capital. on account of its access
t° the railroad, being immediately between the two
Peat depots in this city
Harriaburg, August 4, '63-3m. •
GREENCASTLE SEMINARY.
41 11 E All FEMALE.
THE subscriber will open a Male and Female Semi
nary at Greencastle, on thefirst Monday of October
ne St• Instruction will be given in all the Branches
loaally taught in a first class school. MUSIC and
other Ornamental Branches will be taught by an ex
perienced Female Teacher. A limited number .of
Plipila will he received into tholamily of the Prin•
!Pal, as Boarders. For terms and further informa
n,n, ndd ress JOS. S. LOOSE.
liveneastls, Sept. 22, 1262.-2 n.
Si.act
1.76
2.06
J. W. BARR
DAVID H. HUTCHISON
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VOL-1111 G-REENCASTLE, PA., TUESDAY, JANUARY 19, 1864.
[FOR T EIE PILOT.]
THE REBS IN G-;
OR,
INCIDENTS OF THE INVASION
=I
Dear readers, all recall the day,
When lenkin's men came back this way.
D'you mind? They hatted ; then returned
For horses. Where these were they learned
From some detested, low-Hied knave,
Who told, that he his own might save.
Well Major H— and Charley S
Were out amongst the hills and pine—
Perhaps there were a dozen there
Of men and toys—their names' we'll spare—
, Concealing horses, land what not ? .
But hiding, lest they might be caught!
They bad their guns—were all well armed;
FOr rebs they didn't carea darried!
gome flasks of . rum they alsci had
Ifi times like those, rum's not so bad!
And eight day's rations, too, 'tie said, •
Of cheese, bologna, had,, and bread
Indeed all cap-a-pie they were,
As much,as any soldiers are.
And then a bolder, braver set.
Could net be found—a cent I'll bet!
They had their pickets posted too,
To guard against surprise .you knovi,
And every thing seemed like a- camp
Of pil'fring grey,-backs on a trafflp.
" They come! They come! ! The-rebels ! rue! !
My muse new help me, tell the fun,
As eight big greys appeared in sight,
And put this party all to flight !
Ten thousand shells—
Ten thousand hells—
Ten thousand ghosts—
Ten thousand hosts
Of devils, demons, sprites and'elves
If all combined, could not themselves
More-badly acare a dozen Men'
Than these eight rebs did tfiem just then!
Big Charley he escaped away. • -
As Floyd from Donelson, they say.
One Jimmie N was with him too.
They ran apace or rather flew,
Until the swollen creek they near I
"Here's a riffle, Charley. here !"
"A riffle hell," says Charley S—,
"To hunt for them we have no time !"
And in he plunged—in over head!
Some told me since that he was dead.
This is not true, as you all know;
For he himself is here to show
How wicked lies sometimes they raise
On these who merit naught but praise!.
Let this suffice for Charley 8-
Friend Major now needs a line I
TO B CONTINUED
[FOR THE PILOT.]
Notes and Gleanings by the Wayside.
BY ERRO
The Propriety of Fostering Theatrical
Entertainments.
Several entertainments of this kind were
given in'this place a short time since--fbr'the
benefit of our sick and wounded soldiers—aud
we believe met with pretty good success—
owing, perhaps, to, the object, for which they
were -gotten up. Yet there were many who
endeavored to frown down these performances,
simply because they were theatrical perform
ances, and for the benefit of these I wish to
make a few notes on the character and history
of this innocent amusement.
The drama is one of our leading amuse
ments. There is no other one amusement that
exerts so wide an influence as that, and we are
sorry to say, there is no other one amusement
that is so universally discountenanced by the
Christian church. Yet the drama had a relig
ious origin. In earliest 'history, it is found
employed by the ancient Grecians, in their se
cret religious assemblies, in illustrating their
mythological fables. Indeed, says an eminent
writer on this subject, " the sentiment and
spirit of the drama are observable in the re
ligious rites and ceremonies of all the ancient
nations and tribes with whose history we have
been wade acquainted; but it remained for
the Grecians to reduce it to a science, and to
give it laws. They first raised it from mere
pantomimic action, dancing' and waving the
arms, and posturising, as used by man in a
rude state, and extended its scope until, under
the influence of, those great dramatic masters,
Esehylus, Sophocles and Euripides, it took its
place as.the leading intellectuals amusement
among that great and refined people.
We find the drama, among the Romans, em
ployed, also, at an early age, in illustrating
their religious fables,, and in conducting their
religious ceremonies. To, be sure, in both tho
Grecian and Roman States, the drama, as it
rose in importance, and became, more and more
a popular and general amusement, was diverted
troll, its original connection with religious ob
servances. It is true, too, that we there see
the drama connected with the religion of idol-
ators only ; but yet we must remember that
the important inquiry for us, is not so much
whether it has been found associated with this
or that form of religious worship, as. it is
whether it has been found naturally associat
ing itself with man's religious nature., and
aiding him in each and every form, in which
his uneducated mind has sought to do homage
to a higher power. But the modern, as well
as the ancient drama had also a religious origin.
We find the first rude ffort to give it system
and laws in the MYSTERIES and MIRACLES of
the middle ages. Those were dramatic repre
sentations of a religious character, in which
the ecclesiastics of that day were the authors.
and performers. Those dramas took their
name from the character and design of those
performances, which were ~to illustrate • the
mysterious doctrines of christianity, and give
a lively picture of the wonderful miracles
wrought by its founder and his apostles.—
These exhibitions came into vogue in the
twelfth century, and from that time became
very popular as a religious diversion, exercise
and amusement, at public festivals, and on
great and solemn occasions. Some of these
performances lasted several' days, and were
sometimes intended to illustrate whole ages of
Scripture history.
The Corpus Christi, the famous Coventry
mystery, begins with the creation and ends
with the judgment day. Those sort of alle
gorical plays have ever since, maintained their
place, to a greater or less extent, in the public
festivals of the Roman church, and are now
often employed to give eclat to these"occasions
in many Catholic countries.
The mysteries and the miracles were suc
ceeded by the MORALITES. The latter, like
the former, were rude dramatic performances,
conducted, generally, by the lOwer orders of
the clergy. The entertainments were more
didactic in their character than the former,
consisting' of moral discourses, and dialogues
between such characters as Hope, Faith, Char
ity, Love, and other of the christian graces,
personified, while the subordinate parts of the
play, designed to give point and force to the
first, and to amuse the audietme, were carried
on by Satan, and his imps, under the cognomen
of Jealousy, Pride, Gluttony, Lust, Envy,
Hate, and, their brethren, the other evil 'pas-
IMZEI
The moralities of the middle ages at length
ripened into what has been called the MisQuE,
or the MASQUERADE, a more elegant and im
aginative effort of the dramatic art than any
thing that had proceeded it in Northern
Europe. It became a fashionable amusement,
in England, in the sixteenth century, being
represented on the stage by the first persOns at
court, with music and dancing, dialogues, cos
tumes, and scenery, while at the same time,
the French drama we's undergoing a series of
changes, sometimes improving, and sometimes
deteriorating, until about the beginning of the
sixteenth century, when it began to assume its
present. form under the influence of Jodelle, a
dramatic writer, and a disciple of the Greek
dramatists. Racine, Moliere, and Voltaire, in
• ,
France, and Shakspeare, Jougon, and Beau
mont and Fletcher, in England, at len,9:th, by
. 6
their unequalled, but sometimes misdirected,
genius, placed the drama on its present foun
diation.
In tracing the history of the drama, we find
it like everything else that has a natural origin,
keeping pace with man's improvement. It
found wan in a rude state, and it Fartook of
his character, and was conceived and executed
rudely also. As man progressed in knowledge
and civilization, the drama underwent improve
ment. Its history reveals the usual infirmities
that attend all human institutions. Its tenden
cies were often times licentious and demoraliz
ing; but, upon the whole, it is not to be doubt
ed but that it has been greatly instrumental, in
instructing and elevating the nations that have
employed it. Beginning with the Grecians,
we find it accompanying them, and the people
of, every other nation that has rise!' since their
time, from barbarism to eminence in the arts
and in civilization ; and; in general, you will
find the state of the drama, in some measure,
evidencing the state of the people in intellect
ual culture and improvement. The condition
of England, France, and Germany, and that of
our own country, among the modern nations,
and Greece and Rome among the ancients,
furnish the best 'commentary on the influence
of the drama. Where the stage has been left
free, it has shed a light among the people, that
has always tended, on the whole, to their ele
evation and improvement. In those States
where the drama is subject to the iron rule of
weak and ignorant, but tyrannical censors, so
that every dramatist writes, and every actor
recites, with a halter around
. his neck, as in
Italy, Austria, and Russia, darkness still
broods over the land, while in those countries
where the drama is unknown, there is as little
progress among the people as could be wished
for by the most ardent admirer of savage life.
If the modern drama, in the beginning of
the sixteenth century, was so licentious, that
even the civil authorities ioterfered, and closed
the theatres, and imprisoned the actors, it must
not be forgotten what was then the state of
society. If history can be relied upon, the
drama could then scarcely "bold the mirror
up to nature," as then exhibited in the liveX
of the people, not omitting the ecclesiastics,
without revealing a state of society so corrupt
as to make their exhibitions objectionable.—
Hence, when we say that the theatre was then
corrupt, we only say that it was not behind the
times.
The hostility of the religious portion of the
community to the drama commenced in the
Catholie church, before the reformation, and
no doubt, in the first instance, took its rise, in
ao small degree, from the fact that the drama,
in its bits at the vices and follies of the age,
could not well help disturbing occasionally,
that redoubtable old gentleman, the pope, and
his trusty ecclesiastics. Who had then, in im
itation, of en enterprising but humble insect,
so woven their web in every corner and ore•
vice of the social edifice, that no one could
move a step, or blow a breath, without inter
fering with them. Woe, then, to the poor
layman of a fly who once got fairly entangled
in the meshes of their web. No doubt that
hoitility was increased and strengthened, too,
often by the licentiousness of those entertain ,
mews, until it ripened into a fixed hostility
'that no time or Change of circumstances has
been able to overcome. The Protestants adop
ted and cherished that hostility.
But, however, the present hostility to dra
matic entertainments first arose, it is certain
that such a hostility does , now actually exist,
and that, by . reason of it, the drama is, and
has been, for centuries, discountenanced by
the great body of the ehristian church. The
Catholic church, for several centuries, has
openly opposed it, and the Protestant church
has universally been hostile to all such amuse
waits. The former for a long period of time.
even refused christian burial, to actors; and
the Puiitans, while its power, and under Crom
well, prohibited dramatic entertainments alto•
gether. It is pow very seldom that members
of what are called the evangelical denotnina .
tions patronize, or, in any way lend their sanc
tion to such entertainments. Hence, for cen
turies, no attempt has been made, to exercise
any controlling influence over that amusement
by the religions. community; and, accordingly
like the dance, it has had, its own way in every
thing.
If it has not been made useful in strength
ening Satan's kingdom, it is his own fault;
or, at least, the church is not in, any way to
blame for it, since they have given him the
entire management of that great engine of
moral influence. Notwithstanding those seem
ing discouragetnents. the drama has flourished
in both Catholic and Protestant countries, and
for centuries has maintained its place as the
leading amusement of the most cultivated
classes in the civilized world. Like dancing,
although denounced, it has never sought con•
ceahnent, but has always been pursued as an
amusement in the most public manner. Cen
turies of, censure and denouncement of it have
not resulted in offering any odium upon it. It
has always numbered among its votaries the
most cultivated classes in society. While the
votaries of the cup and the gatnblinz,-table,
and of vices of a kindred character, have
always cowered under the rebuke of the chris
tain world, and met with a colder reception in
society for participsting in them, no such mode
of, discountenancing the theatre has ever been
resorted to. The theatre going portion of the
public have never suffered in character merely
because they frequented that place of amuse
ment; but on the other hand, the society of
its principal supporters has generally been more
eagerly sought for then tliat of any other class
The question that naturally suggest itself to
every mind in this connection is this : Has
the christian church acted wisely in discoun
tenancing the drama ?
To answer that question satisfactorily, we
Must dismiss all prejudice, and consent to look
at the first principles of the drama, and see
what it is capable of being made ; as well as
what it has been wade. Our first inquiry should
be: are dramatic exhibitions naturally and ne
cessarily, corrupting, just the same as gambling,.
ADVERTISING RATES.
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NO 48.
drinking and other acknowledged vices? If
they are, the whole inquiry is ended—the
church has taken the right stand, and dramatic
entertainments should be resisted at all hazards.
Whatever is, in itself, a vice should never be
countenanced No set of peculiar circumatan•
ces can make vice commendable.
To satisfy ourselves that there is nothing
naturally pernicious in the dramatic art, we
have only to consider for a moment the dis
tinguishing features of the drama. A play is
no more nor less than a chapter in history, as
Richard Third; or a romance as Romeo and
Juliet; or as expose of social life and man
ners as Paul Pry, or the school for scandal.
If those plays had not reached the public in
the dramatic form, they would, undoubtedly,
have reached it in the form of history, or ro
mance, or would have found a place in a maga
zine, in the form of
. a story. There is no par
ticular reason why dramatic literature should
not be as pure as any other literature, except a
reason that I shall, by-and-by, discuss.
The difference between the same story, when
presented to us from the pen of a novelist, and
when presented by a dramatist, is this: the form
er leaves little or nothing to inference, or to imag
ination. He thinks, reason, infers, imagines,
and draws conclusions for us. His hero and
heroine are not beings of fancy to us, though
they might have been to him; for every look,
feature, word, act, and thought. of theirs has
been carefully noted for us. So thorough and
minute, in thdse particulars, is the work of
the novelist, that it is to be questioned whether
the greater part of the novel-reading public
are not better acquainted with the secret charac
ters of many of the heroes of romance, than
they are with their own, not so with dramatic
Writing. There the imagination of the mete
reader is called into the most intense exercise.
The dramatist gives you the names of certain
speakers, and their titles, and tells you that
they are now in a room, a court or a street, and
bids you listen to their discourse. Who they
are, how they appear, what is their purpose and
design, arid what their bearing, he does not
deign to inform you, but leaves you to gather
all that from what they say. The dramatist, un •
like every other artist that paints for the mind,
gives a sketch of the soul of the living, breath.
ing man, and leaves the reader to clothe that
soul in a fitting body and a fitting costume, and
invest him with a fitting bearing and presence.
The character in a play, the dramatis persona,
are then, just what you, in the fertility and ,
truthfulness of your imagination, are pleased
to make them.
It is from that cause, that while we turn
with displeasure from the second perusal of
the most gifted efforts of the novelist, we re
turn again and again, with renewed delight,
to the pages of the same drama. We have
mastered the :hero of the romance at the first
reading, and he stands before us the same un
alterable Hector or Mortimer that the poet or
the novelist made him. Not so the hero of
the dramatic art. His form, his features, his
eye, his bearing, his costume, his every thing,
like battle scenes in oil paintings, reveal them
selves to us, more and more, as we gain better
and better opportunities of inspection, and be
come more and more familiar with them. It
for that reason that no well defined historic
character, like Cato, Henry VIII, or Cardinal
Wolsey, can. ever enlist our thoughts, or hold
their place upon the stage, like those half-fabu
lous historic characters, Hamlet, Othello, Lear,
Duncan, and Flatstaff, whose every form, linea
ment, and shade of character, are left entirely
in our hands, to be sketched by the actor, or
by our own imaginations, with a free and un
fettered pencil.
To relieve the mind from that intense tax
upon it, in thus laboring to embody the thoughts
of the dramatist, and to give form and reality
to all the hurried incidents of the play, we re
sort to the stage, with its actors, its costumes,
and its scenery. They are designed to do the
work that is otherwise thrown upon the imagina
tion. They clothe with life, those unembodied
spirits, that before stalked the stage un
seen, and whose presence was only evidenced
to us by the thoughts they uttered. For the
time, we surrender our winds to them, and
take for our own their conceptions of the char
acters in the play. Henee it is that we never
tire in seeing the same drama presented by
different actors, since no two minds can con
ceive or draw the same characters precisely
alike.
Women who sue for breach of promise may
fail to get money, but they , generally receive
heavy damages.
TO BE CONTINUED
$lO.OO
06-0(
20.00
8.00
6.00
4.00
1.00
26
6.00