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With a good harvest, however, and money easy, if Lord Russell could only be commonly civil to the Continental Cabinets, all would go well yet. The bounties of Providence would be diffused over the earth–food would be cheap, taxation reduced, labour plenty, and “then, sir, these worthy people shall have their line, if I die for it.”

I find it very hard to believe in Borneo’s love or Othello’s jealousy. I cannot, let me do all that I will, accept them as real, even in their most impassioned moments, and yet this other man holds me captive. If I had a hundred pounds in the world, I’d put it into his scheme, and I really feel that, in not borrowing the money to make a venture, I am a poor-spirited creature that has not the courage to win his way to fortune.

And yet these fellows have no aid from dress or make-up. They are not surrounded with all the appliances that aid a deception. They come to us in their everyday apparel, and, mayhap, at inopportune moments, when we are weary, or busy, or out of sorts, to talk of what we are not interested in, and have no relish for. With their marvellous tact they conquer apathy and overcome repugnance; they gain a hearing, and they obtain at least time for more. There is much in what they say that we feel no interest in; but now and then they do touch a chord that vibrates within us; and when they do so, it is like magic the instinct with which they know it. It was that Roman camp, that lead-mine, that trout-stream, or that paper-mill, did the thing; and the rogue saw it as plainly as if he had a peep into our brain, and could read our thoughts like a printed book. These then, I say, are the truly great actors, who walk the boards of life with unwritten parts, who are the masters of our emotions, even to the extent of taking away our money, and who demand our trustfulness as a right not to be denied them.

Now, what a poor piece of mockery, of false tinsel and fringe and folly and pretence, is your stage-player beside one of these fellows! Who is going to sit three weary hours at the Haymarket, bored by the assumed plausibility of the actor, when the real, the actual, the positive thing that he so poorly simulates is to be met on the railroad, at the station, in the club, on the chain-pier, or the penny steamer? Is there any one, I ask, who will pay to see the plaster-cast when he can behold the marble original for nothing? You say, “Are you going to the masquerade?” and I answer, “I am at it.” Circumspice! Look at the mock royalties hunting (Louis XIV. fashion) in the deep woods of Fontainebleau. Look at haughty lords and ladies–the haughtiest the earth has ever seen–vying in public testimonies of homage–as we saw a few days ago–to the very qualities that, if they mean anything, mean the subversion of their order. Look at the wasteful abundance of a prison dietary, and the laudable economy which half-starves the workhouse. Look at the famished curate, with little beyond Greek roots to support him, and see the millionaire, who can but write his name, with a princely fortune; and do you want Webster or Buckstone to give these “characters” more point?

Will you take a box for the ‘Comedy of Errors,’ when you can walk into the Chancery Court for nothing? Will you pay for ‘Much Ado about Nothing,’ when a friendly order can admit you to the House? And as for a ‘New Way to Pay Old Debts,’ commend me to Commissioner Goulburn in Bankruptcy; while ‘Love’s Last Shift’ is daily performed at the Court of Probate, under the distinguished patronage of Judge Wills. Is there any need to puzzle one’s head over the decline of the drama, then? You might as well ask if a moderate smoker will pay exorbitantly for dried cabbage-leaves, when he can have prime Cubans for the trouble of taking them!