A PLAY is said to ed in proportion to t, is not tion. t approaco it, old, is, ors. In tragedy -- in all    ttention to age business, seems indispensable. Yet it is, in fact, disperagedians; and    or se, are not too frequent or palpable, a suffit quantity of illusion for titerest may be said to be produced in spite of t, tragedy apart, it may be inquired tle extravagant, or    to t is not a proof of t skill in t absolutely appealing to an audience, acit uanding o ty in tmost y is required in t    artists in the profession.

        t mortifying infirmity io feel in ourselves, or to plate in anoto see a coo tage    mirt    of us remember Jack Bannisters co? e loved ted but by te art of tor in a perpetual sub-insinuation to us, tators, even iy of t, t    ook oms of teettering; and could ;t man     all t it almost a secret to ourselves -- t        out by a tures -- meant at us, and not at all supposed to be visible to    ed ure of a co ratist trived to palm upon us instead of an inal;    ter pleasure, terfeiting of ty, ter self-desertion, s of cowardi real life, could have given us?

        eful in tage, but because tor, by a sort of sub-reference, rat appeal to us, disarms ter of a great deal of its odiousness, by seeming to engage our passion for tenure by le vent efulness of ter -- t coils itself up from tes. tic; i.e. is no genuine miser. ing likeness is substituted for a very disagreeable reality.

        Spleen, irritability -- tiable infirmities of old men, erfeited upon a stage, divert not altogeto t in part from an inner vi t ted before us; t a likeness only is going on, and not tself. t; not to tty acts an old man, is    terfeit, just enougnise,    pressing upon us ty?

        edians, paradoxical as it may seem, may be too natural. It e actor. Not or true told excellently in yke, and cers of a tragic cast. But ion to tage business, and ain into    produced a    effect.    of keeping    of tis. ttle lie, dry, repulsive, and unsocial to all. Individually sidered, ion erly. But edy is not t ty is not required of it as to serious ses. ty demao trated by t sort of trut ory. If    tittle,    it altogetears refuse to flo a suspected imposition. But teller of a mirtale itude allo e trutis tic illusion. e fess o see an audieuralised beaken in into terest of tanders or icipation or    o be diverted by    see t old of it; but an old fool in farce may t, as plainly as o pit, box, and gallery. i in tragedy, an Osric, for instance, breaks in upo reated. But i of edy, in a piece purely meant to give delig of udious man aking up    of pt expressed (ural) roy t in tators. to make trusion ic, tor tle desert nature; , in s, be tisfa and peevisent y must seem    on. If ruder    face of a man in ear, and more especially if ulations in a tone ic existence of ter ( ic demands an antagonist icality on t of ter opposed to it), and vert    for mirto a doir pain, to see inflicted in ear upon any unor (in most of s) seems to o an error of t in he farce of Free and Easy.

        Many instances edious; to s ic ag at least does not al strict abstra from all refereo an audience, ; but t in some cases a sort of promise may take place, and all tic deligtain by a judicious uanding, not too openly announced, betlemen -- on botain.
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