spised,--so finely contrast with the
meek complacent kissing of the rod,--taking it in like honey and
butter,--with which the latter submits to the scythe of the gentle
bleeder, Time, who wields his lancet with the apprehensive finger of
a popular young ladies' surgeon. What flesh, like loving grass, would
not covet to meet half-way the stroke of such a delicate mower?--John
Palmer was twice an actor in this exquisite part. He was playing to
you all the while that he was playing upon Sir Peter and his lady. You
had the first intimation of a sentiment before it was on his lips.
His altered voice was meant to you, and you were to suppose that his
fictitious co-flutterers on the stage perceived nothing at all of it.
What was it to you if that half-reality, the husband, was over-reached
by the puppetry--or the thin thing (Lady Teazle's reputation) was
persuaded it was dying of a plethory? The fortunes of Othello and
Desdemona were not concerned in it. Poor Jack has past from the stage
in good time, that he did not live to this our age of seriousness.
The pleasant old Teazle _King_, too, is gone in good time. His
manner would scarce have past current in our day. We must love or
hate--acquit or condemn--censure or pity--exert our detestable
coxcombry of moral judgment upon every thing. Joseph Surface, to go
down now, must be a downright revolting villain--no compromise--his
first appearance must shock and give horror--his specious
plausibilities, which the pleasurable faculties of our fathers
welcomed with such hearty greetings, knowing that no harm (dramatic
harm even) could come, or was meant to come of them, must inspire a
cold and killing aversion. Charles (the real canting person of the
scene--for the hypocrisy of Joseph has its ulterior legitimate ends,
but his brother's professions of a good heart centre in downright
self-satisfaction) must be _loved_ and Joseph _hated_. To balance one
disagreeable reality with another, Sir Peter Teazle must be no longer
the comic idea of a fretful old bachelor bridegroom, whose teasings
(while King acted it) were evidently as much played off at you, as
they were meant to concern any body on the stage,--he must be a real
person, capable in law of sustaining an injury--a person towards whom
duties are to be acknowledged--the genuine crim-con antagonist of the
villanous seducer Joseph. To realise him more, his sufferings under
his unfortunate match must have the downright pungency of life