_ estate, just as she is ending the first
act by going to be married, the latter takes the whole of the second act
to claim her!

Though the argufiers change sides on account of the change of
affairs--_Vincent_ insisting, as _liberals_ so often do, upon his vested
rights in _Julie_ as opposed to _Pelham's_ matrimonial ones--though the
heroine renders her pathetics affecting by a prostration or two before the
rivals--though she rushes upon a parapet to commit suicide--though she is
saved, and at length succeeds by force of mere argument to get her
new-found master to give her up to her husband; yet this second act was
somewhat dull; insomuch that the audience did not seem to regret when the
curtain dropped the subject, and announced their own emancipation from the
theatre.

Besides the parts we have named, Webster the elder played a _Telemachus
Hearty_, who, further than skipping about the stage, talking very fast,
and making himself not altogether disagreeable, had no more to do with the
piece than his namesake, or Fenelon Archbishop of Cambray himself.

This attempt to discuss moot points upon the stage--to turn as it were the
theatre into a debating society--will certainly not succeed.
Audiences--especially Haymarket ones--have a taste for being amused rather
than reasoned with; besides, those on that side of the question which the
author chooses shall be the weaker, do not like to see the stage-orators
get the upper hand, without having a chance of answering them. Even
dancing is preferred by them to didactics, though it be

[Illustration: A PAS SEUL TO A BARK-AROLE.]

* * * * *

End of the Project Gutenberg EBook of Punch, or the London Charivari, Vol.
1, November 6, 1841,, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK PUNCH ***

***** This file should be named 14935.txt or 14935.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.net/1/4/9/3/14935/

Produced by Syamanta Saikia, Jon Ingram, Barbara Tozier and the PG
Online Distributed Proofreading Team

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set