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ng of the barrister. His generous trustfulness, his love of all that is good, his scorn for Vice, his noble pity, and the withering sarcasm with which he scathes the ill-doer, we know, can be had, in common cases, for ten pounds ten shillings; and five times as much will enlist in our service the same qualities in a less diluted form; while, by quadrupling the latter sum, we arrive at a self-devotion before which brotherly love pales, and old friendships seem a cold and selfish indifferentism. We had contracted for this man's acuteness, his subtlety, his quick perception, and his ready-wittedness; but he gives, besides these, his hearty trustfulness, his faith in our honour, his conviction in our integrity: he knows our motives; he has been inside our bosom, and comes out to declare that all is pure and spotless there; and he does this with a trembling lip and a swelling throat, the sweat on his brow and the tear in his eye, it being all the while a matter of mere accident that he had not been engaged on the opposite side, and all the love he bears us been "briefed" for the defendant. Look at the physician, too. Who is it, then, enters the sick-room with the footfall of a cat, and draws our curtain as gently as a zephyr might stir a rose-leaf, whose tender accents fall softly on our ear, and who asks with the fondest anxiety how we have passed the night? Who is it that cheers, consoles, encourages, and supports us? Who associates himself with our sufferings, and winces under our pain, and as suddenly rallies as we grow better, and joins in our little sickbed drolleries? Who does all these?--a consummate actor, who takes from thirty to forty daily "benefits," and whose performances are paid at a guinea a scene! The candidate on the hustings, the Government commissioner on his tour of inspection, the vicar-general of my lord bishop, the admiral on his station, the minister at the grand-ducal Court, are all good specimens of common acting--parts which can be filled with very ordinary capacities, and not above the powers of everyday artists. They conjugate but one verb, and on its moods and tenses they trade to the end of the chapter. These men never soar into the heroic regions of the drama; they infuse no imagination into their parts. They are as unpoetical as a lord-in-waiting. There are but two stops on their organ. They are bland, or they are overbearing; they are either beautifully gentle, or they are terrible in t
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