shops and public-houses a fellow will get up and spell out a paragraph, which he communicates as some discovery. Another follows with his selection. So the entire journal transpires at length by piece-meal. Seldom-readers are slow readers, and, without this expedient, no one in the company would probably ever travel through the contents of a whole paper.

Newspapers always excite curiosity. No one ever lays one down without a feeling of disappointment.

What an eternal time that gentleman in black, at Nando's, keeps the paper! I am sick of hearing the waiter bawling out incessantly, "The Chronicle is in hand, Sir."

Coming into an inn at night—having ordered your supper-what can be more delightful than to find lying in the window-seat, left there time out of mind by the carelessness of some former guest-two or three numbers of the old Town and Country Magazine, with its amusing tête-à-tête pictures "The Royal Lover and Lady G- "The Melting Platonic and the old Beau," and such-like antiquated scandal? Would you exchange it-at that time, and in that place-for a better book?

Poor Tobin, who latterly fell blind, did not regret it so much for the weightier kinds of reading-the Paradise Lost, or Comus, he could have read to himbut he missed the pleasure of skimming over with his own eye a magazine, or a light pamphlet.

I should not care to be caught in the serious avenues of some cathedral alone, and reading Candide.

I do not remember a more whimsical surprise than having been once detected-by a familiar damselreclined at my ease upon the grass, on Primrose Hill (her Cythera), reading Pamela. There was nothing in the book to make a man seriously ashamed at the

exposure; but as she seated herself down by me, and seemed determined to read in company, I could have wished it had been-any other book. We read on very sociably for a few pages; and, not finding the author much to her taste, she got up, and-went away. Gentle casuist, I leave it to thee to conjecture, whether the blush (for there was one between us) was the property of the nymph or the swain in this dilemma. From me you shall never get the secret.

I am not much a friend to out-of-doors reading. I cannot settle my spirits to it. I knew a Unitarian minister, who was generally to be seen upon Snow-hill (as yet Skinner's-street was not), between the hours of ten and eleven in the morning, studying a volume of Lardner. I own this to have been a strain of abstraction beyond my reach. I used to admire how he sidled along, keeping clear of secular contacts. An illiterate encounter with a porter's knot, or a breadbasket, would have quickly put to flight all the theology I am master of, and have left me worse than indifferent to the five points.

There is a class of street-readers, whom I can never contemplate without affection-the poor gentry, who, not having wherewithal to buy or hire a book, filch a little learning at the open stalls-the owner, with his hard eye, casting envious looks at them all the while, and thinking when they will have done. Venturing tenderly, page after page, expecting every moment when he shall interpose his interdict, and yet unable to deny themselves the gratification, they "snatch a fearful joy." Martin B, in this way, by daily fragments, got through two volumes of Clarissa, when the stall-keeper damped his laudable ambition, by asking him (it was in his younger days) whether he meant to purchase the work. M. declares, that under

no circumstance in his life did he ever peruse a book with half the satisfaction which he took in those uneasy snatches. A quaint poetess of our day has moralised upon this subject in two very touching but homely stanzas.

I saw a boy with eager eye
Open a book upon a stall,
And read, as he'd devour it all;
Which when the stall-man did espy,
Soon to the boy I heard him call,
"You Sir, you never buy a book,
Therefore in one you shall not look."

The boy pass'd slowly on, and with a sigh

He wish'd he never had been taught to read,

Then of the old churl's books he should have had no need.

Of sufferings the poor have many,
Which never can the rich annoy :
I soon perceived another boy,
Who look'd as if he had not any
Food, for that day at least-enjoy

The sight of cold meat in a tavern larder.

This boy's case, then thought I, is surely harder,
Thus hungry, longing, thus without a penny,

Beholding choice of dainty-dressed meat:

No wonder if he wish he ne'er had learn'd to eat.

STAGE ILLUSION,

A PLAY is said to be well or ill acted, in proportion to the scenical illusion produced. Whether such illusion can in any case be perfect, is not the question. The nearest approach to it, we are told, is, when the actor appears wholly unconscious of the presence of spectators. In tragedy-in all which is to affect the feelings-this undivided attention to his

stage business seems indispensable. Yet it is, in fact, dispensed with every day by our cleverest tragedians; and while these references to an audience, in the shape of rant or sentiment, are not too frequent or palpable, a sufficient quantity of illusion for the purposes of dramatic interest may be said to be produced in spite of them. But, tragedy apart, it may be inquired whether, in certain characters in comedy, especially those which are a little extravagant, or which involve some notion repugnant to the moral sense, it is not a proof of the highest skill in the comedian when, without absolutely appealing to an audience, he keeps up a tacit understanding with them; and makes them, unconsciously to themselves, a party in the scene. The utmost nicety is required in the mode of doing this; but we speak only of the great artists in the profession.

The most mortifying infirmity in human nature, to feel in ourselves, or to contemplate in another, is, perhaps, cowardice. To see a coward done to the life upon a stage would produce anything but mirth. Yet we most of us remember Jack Bannister's cowards. Could anything be more agreeable, more pleasant? We loved the rogues. How was this effected but by the exquisite art of the actor in a perpetual subinsinuation to us, the spectators, even in the extremity of the shaking fit, that he was not half such a coward as we took him for? We saw all the common symptoms of the malady upon him; the quivering lip, the cowering knees, the teeth chattering; and could have sworn "that man was frightened." But we forgot all the while or kept it almost a secret to ourselves— that he never once lost his self-possession; that he let out by a thousand droll looks and gestures-meant at us, and not at all supposed to be visible to his fellows

in the scene, that his confidence in his own resources had never once deserted him. Was this a genuine picture of a coward? or not rather a likeness, which the clever artist contrived to palm upon us instead of an original; while we secretly connived at the delusion for the purpose of greater pleasure, than a more genuine counterfeiting of the imbecility, helplessness, and utter self-desertion, which we know to be concomitants of cowardice in real life, could have given us ?

Why are misers so hateful in the world, and so endurable on the stage, but because the skilful actor, by a sort of sub-reference, rather than direct appeal to us, disarms the character of a great deal of its odiousness, by seeming to engage our compassion for the insecure tenure by which he holds his money-bags and parchments? By this subtle vent half of the hatefulness of the character-the self-closeness with

which in real life it coils itself up from the sympathies of men-evaporates. The miser becomes sympathetic; i. e. is no genuine miser. Here again a diverting likeness is substituted for a very disagreeable reality.

Spleen, irritability-the pitiable infirmities of old men, which produce only pain to behold in the realities, counterfeited upon a stage, divert not altogether for the comic appendages to them, but in part from an inner conviction that they are being acted before us; that a likeness only is going on, and not the thing itself. They please by being done under the life, or beside it; not to the life. When Gattie acts an old man, is he angry indeed? or only a pleasant counterfeit, just enough of a likeness to recognise, without pressing upon us the uneasy sense of a reality?