Er the Roscian Period of the British stage, its condition seemed so deplorable to Leigh Hunt, then the dramatic critic of "The News," as to require "An Essay on the Appearance, Causes, and Consequences of the Decline of British Comedy." "Of Tragedy," he wrote, "we have nothing; and it is the observation of all Europe that the British Drama is rapidly declining." Yet the golden reign of the Kembles was then in its prime; and such names as Bannister, Fawcett, Matthews, Elliston, and Cooke occur in Hunt's graceful and authoritative sketches of the actors of the day.[E] As to the newer plays, Gifford said, "All the fools in the kingdom seem to have exclaimed with one voice,

Let us write for the theatre!" Latter-day croakers would have us believe that the Tragic Muse, indignant at the desecration of her English altars, took flight across the ocean, alighting in solemn majesty at the Old Park

Theatre of New York, but that she disappeared utterly in the final conflagration of that histrionic shrine. Well, there are smouldering remnants of the Old Park still left to us; veteran retainers of the conventional stride, the disdainful gesture, the Kemble elocution, and that accent which was justly characterized as "Ojus, insijjus,

hijjus, and perfijjus!" But the Muse is immortal, though so changing the fashion of her

garb, it would appear, as often to fail of recognition from ancient friends. We think that modern acting is quite as true to nature as that of the school which has passed away, while its accessories are infinitely richer and more appropriate; and as to the popular judgment, h