is put between two feather beds, to absorb the perspiration; and is
credibly informed, that Mr. Baker has, for many years, submitted to
a course of lukewarm toast-and-water, to qualify him to sustain his
favourite characters. He looks upon Mr. Fitz Ball as the principal
dramatic genius and poet of the day; but holds that there are great
writers extant besides him,-in proof whereof he refers you to
various dramas and melodramas recently produced, of which he takes
in all the sixpenny and three-penny editions as fast as they
appear.

The theatrical young gentleman is a great advocate for violence of
emotion and redundancy of action. If a father has to curse a child
upon the stage, he likes to see it done in the thorough-going
style, with no mistake about it: to which end it is essential that
the child should follow the father on her knees, and be knocked
violently over on her face by the old gentleman as he goes into a
small cottage, and shuts the door behind him. He likes to see a
blessing invoked upon the young lady, when the old gentleman
repents, with equal earnestness, and accompanied by the usual
conventional forms, which consist of the old gentleman looking
anxiously up into the clouds, as if to see whether it rains, and
then spreading an imaginary tablecloth in the air over the young
lady's head-soft music playing all the while. Upon these, and
other points of a similar kind, the theatrical young gentleman is a
great critic indeed. He is likewise very acute in judging of
natural expressions of the passions, and knows precisely the frown,
wink, nod, or leer, which stands for any one of them, or the means
by which it may be converted into any other: as jealousy, with a
good stamp of the right foot, becomes anger; or wildness, with the
hands clasped before the throat, instead of tearing the wig, is