taken; the "Court" end of the piece belonging to the other. In fact, even
in their modern dress, they are two distinct dramas, only both are played
at once--a wholesome economy being thus exercised over time, actors,
scenery, and decorations: the only profusion required is in the article of
patience, of which the audience must be very liberal.

The courtiers consist of _Lord Dangerfield_, who although, or--to speak in
a sense more strictly domestic--because, he has got a wife of his own,
falls in love with the young spouse of young _Lord Whiffle_; then there is
_Sir Paladin Scruple_, who, having owned to eighteen separate tender
declarations during fourteen years, dangles after _Mrs. Charmington_, an
enchanting widow, and _Louisa Dangerfield_, an insipid spinster, the
latter being in love with his son.

The citizens consist of the _famille Bearbinder_, parents and daughter,
together with _Sir Hector Rumbush_ and a clownish son, who the former
insists shall marry the sentimental _Barbara Bearbinder_, but who,
accordingly, does no such thing.

The dialogues of these two "sets" go on quite independent of each other,
action there is none, nor plot, nor, indeed, any progression of incident
whatever. _Lord Dangerfield_ tells you, in the first scene, he is trying
to seduce _Lady Whiffle_, and you know he won't get her. Directly you hear
that _Sir Paladin Scruple_ has declared in favour of _Miss Dangerfield_,
you are quite sure she will marry the son; in short, there is not the
glimmer of an incident throughout either department of the play which you
are not scrupulously prepared for--so that the least approach to
expectation is nipped in the bud. The whole fable is carefully developed
after all the characters have once made their introduction; hence, at
least three of the acts consist entirely of events you have been told are