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age of discipline is gone by, or it would be curious to inquire (in a philosophical light merely) what effect this process might have towards intenerating and dulcifying a substance naturally so mild and dulcet as the flesh of young pigs. It looks like refining a violet. Yet we should be cautious, while we condemn the inhumanity how we censure the wisdom of the practice. It might impart a gusto.
I remember an hypothesis, argued upon by the young students when I was at St. Omer's, and maintained with much learning and pleasantry on both sides, “ Whether, supposing that the flavour of a pig who obtained his death by whipping (per flagellationem extremam) superadded a pleasure upon the palate of a man more intense than any possible suffering we can conceive in the animal, is man justified in using that method of putting the animal to death?" I forget the decision.
His sauce should be considered: decidedly, a few bread crumbs, done up with his liver, and brains, and a dash of mild sage. But banish, dear Mrs. Cook, I beseech you, the whole onion tribe. Barbecue your whole hogs to your palate, steep them in shalots, stuff them out with plantations of the rank and guilty garlic; you cannot poison them, or make them stronger than they are; but consider, he is a weaklingma flower.
ON SOME OF THE OLD ACTORS
THE casual sight of an old Play Bill, which I picked up the other day—I know not by what chance it was preserved so long-tempts me to call to mind a few of the Players who make the principal figure in it. It presents the cast of parts in the Twelfth Night, at the old Drury Lane Theatre two-and-thirty years ago. There is something very touching in these old re. membrances. They make us think how we once used to read a Play Bill—not, as now peradventure, singling out a favourite performer, and casting a negligent eye over the rest; but spelling out every name, down to the very mutes and servants of the scene; when it was a matter of no small moment to us whether Whitfield, or Packer, took the part of Fabian; when Benson, and Burton, and Phillimorenames of small account-had an importance beyond what we can be content to attribute now to the time's best actors. “ Orsino, by Mr. Bar. rymore." What a full Shakespearian sound it carries ! how fresh to memory arise the image and the manner of the gentle actor!
Those who have only seen Mrs. Jordan within the last ten or fifteen years can have no adequate notion of her performance of such parts as Ophelia ; Helena, in All's Well that Ends Well; and Viola in this play. Her voice had latterly acquired a coarseness, which suited well enough with her Nells and Hoydens, but in those days it sank, with her steady, melting eye, into the heart. Her joyous parts, in which her memory now chiefly lives, in her youth were outdone by her plaintive ones. There is no giving an account how she delivered the disguised story of her love for Orsino. It was no set speech, that she had foreseen, so as to weave it into an harmonious period, line necessarily following line, to make up the music, yet I have heard it so spoken, or rather read, not without its grace and beauty—but, when she had declared her sister's history to be a "blank," and that she “never told her love," there was a pause, as if the story had endedand then the image of the "worm in the bud," came up as a new suggestion and the heightened image of "Patience" still followed after that, as by some growing (and not mechanical) process, thought springing up after thought, I would almost say, as they were watered by her tears. So in those fine lines
Right loyal cantos of contemned love-
there was no preparation made in the foregoing image for that which was to follow. She used no rhetoric in her passion; or it was Nature's own rhetoric, most legitimate then, when it seemed altogether without rule or law.
Mrs. Powel (now Mrs. Renard), then in the pride of her beauty, made an admirable Olivia.
She was particularly excellent in her unbende ing scenes in conversation with the Clown. I have secn some Olivias and those very sensi. ble actresses too who in these interlocutions have seemed to set their wits at the jester, and to vie conceits with him in downright emulation. But she used him for her sport, like what he was, to trifle a leisure sentence or two with, and then to be dismissed, and she to be the Great Lady still. She touched the imperious fantastic humour of the character with nicety. Her fine spacious person filled the scene.
The part of Malvolio has, in my judgment, been so often misunderstood, and the general merits of the actor, who then played it, so unduly appreciated, that I shall hope for pardon if I am a little prolix upon these points.
Of all the actors who flourished in my time a melancholy phrase if taken aright, readerBensley had most of the swell of soul, was greatest in the delivery of heroic conceptions, the emotions consequent upon the presentment of a great idea to the fancy. He had the true poetical enthusiasm--the rarest faculty among players. None that I remember possessed even a portion of that fine madness which he threw out in Hotspur's famous rant about glory, or the transports of the Venetian incendiary at the vision of the fired city. His voice had the dissonance, and at times the inspiriting effect, of the trumpet. His gait was uncouth and stiff,
but no way embarrassed by affectation; and the thorough-bred gentleman was uppermost in every movement. He seized the moment of passion with greatest truth; like a faithful clock, never striking before the time; never anticipating or leading you to anticipate. He was totally destitute of trick and artifice. He seemed come upon the stage to do the poet's message simply, and he did it with as genuine fidelity as the nuncios in Homer deliver the errands of the gods. He let the passion or the sentiment do its own work without prop or bolstering. He would have scorned to mountebank it; and betrayed none of that cleverness which is the bane of serious acting. For this reason, his Iago was the only endurable one which I remember to have seen. No spectator, from his action, could divine more of his artifice than Othello was supposed to do. His confessions in soliloquy alone put you in possession of the mystery. There were no by-intimations to make the audience fancy their own discernment so much greater than that of the Moor-who commonly stands like a great helpless mark, set up for mine Ancient, and a quantity of barren spectators, to shoot their bolts at. The Iago of Bensley did not go to work so grossly. There was a triumphant tone about the character, natural to a general consciousness of power; but none of that petty vanity which chuckles and cannot contain itself upon any little successful stroke of its knavery-as is common with your small