joy, but in the thoughts of an instant, but in a dream of fancy, and I
shall hardly need to complain! When I got back, after the play, Perry
called out, with his cordial, grating voice, "Well, how did she do?" and
on my speaking in high terms, answered, that "he had been to dine with
his friend the duke, that some conversation had passed on the subject,
he was afraid it was not the thing, it was not the true _sostenuto_
style; but as I had written the article" (holding my peroration on the
_Beggar's Opera_ carelessly in his hand) "it might pass!" I could
perceive that the rogue licked his lips at it, and had already in
imagination "bought golden opinions of all sorts of people" by this very
criticism, and I had the satisfaction the next day to meet Miss Stephens
coming out of the editor's room, who had been to thank him for his very
flattering account of her.

I was sent to see Kean the first night of his performance of Shylock,
when there were about a hundred people in the pit, but from his masterly
and spirited delivery of the first striking speech, "On such a day you
called me dog," &c. I perceived it was a hollow thing. So it was given
out in the _Chronicle_, but Perry was continually at me as other
people were at him, and was afraid it would not last. It was to no
purpose I said it _would last_: yet I am in the right hitherto.
It has been said, ridiculously, that Mr. Kean was written up in the
_Chronicle_. I beg leave to state my opinion that no actor can be
written up or down by a paper. An author may be puffed into notice, or
damned by criticism, because his book may not have been read. An artist
may be over-rated, or undeservedly decried, because the public is not
much accustomed to see or judge of pictures. But an actor is judged by
his peers, the play-going public, and must stand or fall by his own
merits or defects. The critic may give the tone or have a casting voice
where popular opinion is divided; but he can no more _force_ that