Comical quality in the humorous man whom nature destines for the stage must be personal. His coming brings with it a sense of comfort. His presence warms the heart and cheers the mind. The sound of his voice, "speaking oft," before he emerges upon the scene, will set the theatre in a roar. This was notably true of Burton and of William Warren. The glance, motion, carriage, manner, and the pause and stillness of such a man, instil merriment. Cibber says that Robert Nokes had a palpable simplicity of nature which was often as unaccountably diverting in his common speech as on the stage, John E. Owens, describing the conduct of a big bee in an empty molasses barrel, once threw a circle of his hearers, of whom I was one, almost into convulsions of laughter. Artemas Ward made people laugh the moment they beheld him, by his wooden composure and indescribable sapience of demeanour. The lamented Daniel E. Setchell, a comedian who would have been as famous as he was funny had he but lived longer, presented a delightful example of spontaneous humour. It is ludicrous to recall the simple gravity, not demure but perfectly solemn, with which, on the deck of a Hudson River steamboat, as we were passing West Point, he indicated to me the Kosciuszko monument, saying briefly, "That's the place where Freedom shrieked." It was the quality of his temperament that made his playfulness delicious. Setchell was the mental descendant of Burton, as Burton was of Reeve and as Reeve was of Liston. Actors illustrate a kind of heredity. Each species is distinct and discernible. Lester Wallack maintained the lineage of Charles Kemble, William Lewis, Elliston, and Mountfort--a line in which John Drew has gained auspicious distinction. John Gilbert's artistic ancestry could be traced back through Farren and Munden to King and Quin, and perhaps still further, to Lowin and Kempe.