oney; that talented and
lady-like girl Sheriff, that clever little creature Horton, and so on.
In the same manner he prefixes Christian names when he mentions actors,
as Charley Young, Jemmy Buckstone, Fred. Yates, Paul Bedford. When he is
at a loss for a Christian name, the word 'old' applied indiscriminately
answers quite as well: as old Charley Matthews at Vestris's, old Harley,
and old Braham. He has a great knowledge of the private proceedings of
actresses, especially of their getting married, and can tell you in a
breath half-a-dozen who have changed their names without avowing it.
Whenever an alteration of this kind is made in the playbills, he will
remind you that he let you into the secret six months ago.

The theatrical young gentleman has a great reverence for all that is
connected with the stage department of the different theatres. He would,
at any time, prefer going a street or two out of his way, to omitting to
pass a stage-entrance, into which he always looks with a curious and
searching eye. If he can only identify a popular actor in the street, he
is in a perfect transport of delight; and no sooner meets him, than he
hurries back, and walks a few paces in front of him, so that he can turn
round from time to time, and have a good stare at his features. He looks
upon a theatrical-fund dinner as one of the most enchanting festivities
ever known; and thinks that to be a member of the Garrick Club, and see
so many actors in their plain clothes, must be one of the highest
gratifications the world can bestow.

The theatrical young gentleman is a constant half-price visitor at one or
other of the theatres, and has an infinite relish for all pieces which
display the fullest resources of the establishment. He likes to place
implicit reliance upon the play-bills when he goes to see a show-piece,
and works himself up to such a pitch of enthusiasm, as not only to
believe (if the bills say so) that there are three hundred and
seventy-five people on the stage at one time in the last scene, but is
highly indignant with you, unless you believe it also. He considers that
if the stage be opened from the foot-lights to the back wall, in any new
play, the piece is a triumph of dramatic writing, and applauds
accordingly. He has a great notion of trap-doors too; and thinks any
character going down or coming up a trap (no matter whether he be an
angel or a demon--they both do it occasionally) one of the most
interest