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, dispensed tragedians; and or sentiment, are not too frequent or palpable, a sufficient quantity of illusion for tic interest 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 understanding o ty in tmost nicety is required in t artists in the profession.
t mortifying infirmity in ure, to feel in ourselves, or to contemplate 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 in tremity 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 contrived to palm upon us instead of an original; ter pleasure, terfeiting of ty, ter self-desertion, s of cowardice in 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 compassion 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 conviction t ted before us; t a likeness only is going on, and not tself. t; not to tty acts an old man, is counterfeit, just enougo recognise, pressing upon us ty?
Comedians, 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 link bet ate, dry, repulsive, and unsocial to all. Individually considered, ion erly. But comedy is not t ty is not required of it as to serious scenes. ty demanded to 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 confess o see an audience naturalised beaken in into terest of tanders or icipation or concern 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. inent in tragedy, an Osric, for instance, breaks in upon tempt reated. But inent of comedy, in a piece purely meant to give delig of udious man aking up of contempt expressed (ural) roy t in tators. to make trusion comic, tor tle desert nature; , in s, be tisfaction and peevisent y must seem on. If ruder face of a man in earnest, and more especially if ulations in a tone ic existence of ter ( comic demands an antagonist comicality on t of ter opposed to it), and convert for mirto a doir pain, to see inflicted in earnest 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 comic acting at least does not al strict abstraction from all reference to an audience, ; but t in some cases a sort of compromise may take place, and all tic deligtain by a judicious understanding, not too openly announced, betlemen -- on botain.