It is in the staging of her comedies that fate shows herself superior to mere human invention. While we, with careful regard to scenery, place our conventional puppets on the stage and bid them play their old old parts in a manner as ancient, she rings up the curtain and starts a tragedy on a scene that has obviously been set by the carpenter for a farce. She deals out the parts with a fine inconsistency, and the jolly-faced little man is cast to play Romeo, while the poetic youth with lantern jaw and an impaired digestion finds no Juliet to match his love.

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