s always sure to set up an unappeasable wail in the midmost interest of a classical five-act piece, represented for the first time on the metropolitan boards. Here the story rushed on, /per fas aut nefas/, and the audience went with it. Certes, some man who understood the stage must have put the incidents together, and then left it to each illiterate histrio to find the words, --words, my dear confreres, signify so little in an acting play. The movement is the thing. Grand secret! Analyze, practise it, and restore to grateful stars that lost Pleiad the British Acting Drama.
Of course the Bandit was an ill-used and most estimable man. He had some mysterious rights to the Estate and Castle of the Remorseless Baron. That titled usurper, therefore, did all in his power to hunt the Bandit out in his fastnesses and bring him to a bloody end. Here the interest centred itself in the Bandit's child, who, we need not say, was the little girl in the wreath and spangles, styled in the playbill "Miss Juliet Aramint
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