beggars, and the heroines gypsies. We have had but one part which was
performed and dressed with propriety, and that was Justice Clodpate.
This was so well done, that it offended Mr. Justice Overdo, who, in
the midst of our whole audience, was (like Quixote in the puppet show)
so highly provoked, that he told them, if they would move compassion,
it should be in their own persons and not in the characters of
distressed princes and potentates. He told them, if they were so good
at finding the way to people's hearts, they should do it at the end of
bridges or church porches, in their proper vocation as beggars. This,
the justice says, they must expect, since they could not be contented
to act heathen warriors, and such fellows as Alexander, but must
presume to make a mockery of one of the Quorum."

[Footnote A: It must be remembered that theatrical costumes, as we see
them to-day, did not exist. The art of dressing correctly, according
to the nature of the character and the period in which the play was
supposed to occur, was practically unknown. Even in after years we
hear of Spranger Barry playing Othello in a gold-laced scarlet suit,
small cocked hat, and knee-breeches, with silk stockings. Think of
it, ye sticklers for realism! Dr. Doran narrates how Garrick dressed
Hamlet in a court suit of black coat, "waistcoat and knee-breeches,
short wig with queue and bag, buckles in the shoes, ruffles at the
wrists, and flowing ends of an ample cravat hanging over his chest."
Barton Booth's costume for Cato was even more of an anachronism. "The
Cato of Queen Anne's day wore a flowered gown and an ample wig."]

Poor strollers. There was a bit of stern philosophy in the advice
of the justice, for they would probably have led a merrier and more
luxurious life had they deserted the barns for the bridges and
church-porches. Perhaps the same change would suit the wandering