A MEETING OF OLD ACQUAINTANCES.
At the sale of the library of the late Theodore Hook, a curious copy of “The Complete Jester” was knocked down to “our own” Colonel. Delighted with his prize, he ran home, intending to lay in a fresh stock of bons mots; but what was his amazement on finding that all the jokes contained in the volume were those with which he has been in the habit of entertaining the public these last forty years! Sibby declares that the sight of so many old friends actually brought the tears into his eyes.
PUNCH’S THEATRE.
LOVE EXTEMPORE.
As the hero of a romantic play is obliged to possess all the cardinal virtues and all the intellectual accomplishments, so the hero of a farce is bound to be a fool. One of the greatest, and at the same time one of the best fools it has been our pleasure to be introduced to for some time is Mr. Titus Livingstone, in the new farce of “Love Extempore.”
Mr. Titus Livingstone possesses an excellent heart, a good fortune, and an uncommon stock of modesty. His intellects are, however, far from brilliant; indeed, but for one trait in his character he would pass for an idiot,—he has had the good sense never as yet to fall in love! In fact, the farce is founded upon that identical incident of his life which occasioned him to suppose that he had taken the tender passion extempore.
Some sort of villany seems absolutely necessary to every species of play. To continue the parallel we commenced with between tragedy and farce, we observe that in the former he is usually such a person as Spinola, in “Nina Sforza,” whilst a farce-villain turns out to be in most instances an intriguing widow, a lawyer, or a mischievous young lady. The rogue in “Love Extempore” is Mrs. Courtnay, a widow, who, with the assistance of Sir Harry Nugent, contrives a plot by which the hitherto insensible Livingstone shall fall a victim to love and her friend Prudence Oldstock; with whose mother and sister the widow and her co-intriguant are staying on a visit.
The moment fatal to Livingstone’s virgin heart and unrestrained liberty arrives. He calls to pay a morning visit, and instantly the deep design is put into execution. Sir Harry begins by a most extravagant puff preliminary of the talents, accomplishments, virtues, beauty, disposition, endowments, and graces belonging to the enchanting Prudence. He and the widow exhibit her drawings,—Livingstone is in raptures, or pretends to be (for he is not an ill-bred man). What a piercing expression flashes from those studies of eyes (in chalk)! what an artistical grouping of legs! what a Saracen’s-head-upon-Snow-hill-like ferocity frowns from that Indian chief!