theatrical-fund dinner as one of the most enchanting festivities
ever known; and thinks that to be a member of the Garrick Club, and
see so many actors in their plain clothes, must be one of the
highest gratifications the world can bestow.

The theatrical young gentleman is a constant half-price visitor at
one or other of the theatres, and has an infinite relish for all
pieces which display the fullest resources of the establishment.
He likes to place implicit reliance upon the play-bills when he
goes to see a show-piece, and works himself up to such a pitch of
enthusiasm, as not only to believe (if the bills say so) that there
are three hundred and seventy-five people on the stage at one time
in the last scene, but is highly indignant with you, unless you
believe it also. He considers that if the stage be opened from the
foot-lights to the back wall, in any new play, the piece is a
triumph of dramatic writing, and applauds accordingly. He has a
great notion of trap-doors too; and thinks any character going down
or coming up a trap (no matter whether he be an angel or a demon-
they both do it occasionally) one of the most interesting feats in
the whole range of scenic illusion.

Besides these acquirements, he has several veracious accounts to
communicate of the private manners and customs of different actors,
which, during the pauses of a quadrille, he usually communicates to
his partner, or imparts to his neighbour at a supper table. Thus
he is advised, that Mr. Liston always had a footman in gorgeous
livery waiting at the side-scene with a brandy bottle and tumbler,
to administer half a pint or so of spirit to him every time he came
off, without which assistance he must infallibly have fainted. He
knows for a fact, that, after an arduous part, Mr. George Bennett