those of
poetry, be their own record; that the animated graces of the actor can
live no longer than the instant breath and motion that presents them;
or, at least, can but faintly glimmer through the memory or imperfect
attestation of a few surviving spectators."

The complete suspension of applause, genuine or factitious, must
result in the exceeding depression of the player. He must feel himself
deprived of his proper sustenance; and something of dismay must
possess him, when he finds that all his efforts move his audience in
no way; that they are not _en rapport_ with him; that while he labours
they are listless. Henderson committed himself to the exaggeration
that no actor could perform well, unless he was systematically
flattered both on and off the stage. Liston, the comedian, found
applause, of whatever kind, so absolutely necessary to him that he
declared he liked to see even a small dog wag his tail in approbation
of his exertions. Mrs. Siddons complained of the inferior measure of
applause that she obtained in the theatres of the provinces. At Drury
Lane her grand bursts of passion were received with prolonged cheering
and excitement, that gave her rest and breathing-time, and prepared
her for increased efforts. The playgoers of York were at one time so
lukewarm in their reception of popular players, that, at the instance
of Woodward, Tate Wilkinson, the manager, called on the chief patrons
of the theatre, and informed them that the actor was so mortified by
their coolness, that he could not play nearly so well in York as in
London, Dublin, and Edinburgh. The York audience benefited by the
remonstrance, and on Woodward's next appearance, greatly to his
delight, awarded him extraordinary applause.

The system of calling, or recalling, a favourite performer, which now
appears to be established in our theatres, is of foreign origin, and
was first instituted in London at the Italian Opera House. "It is the
highest ambition of the opera-singers,--like the Methodists--to have
a _call_" says Parke, the oboe-player, in his "Musical Memoirs,"
published in 1830; and he describes the opera season of 1824, when
Rossini was director and composer to the King's Theatre, and his wife,
Madame Colbran Rossini, appeared as _prima donna seria_; Madame Pasta
and Madame Catalani being also engaged for a limited number of nights.
He relates, as something remarkable, that at the fall of the curtain
after the performance of Mayer's