At length the buffoon of the piece came forward by way of prologue. As soon as his grotesque countenance was visible, there was a general clapping of hands; a sure indication of his being one of those spoiled actors who are allowed to take any liberties with the pit, and to be applauded through thick and thin. In fact, this player neither opened his lips, nor moved a muscle, without exciting the most extravagant raptures. He would have performed better had he been less conscious what a favorite he was. But he presumed on that circumstance most abominably. I observed that he sometimes forgot what was set down for him, and took the license of adding to his part out of his own free fancy; a common cause of complaint against low comedians, which, though it make the unskilful laugh, cannot but make the judicious grieve. Would the audience but receive such mirth with hisses, instead of crying bravo, they might restrain the absurd practice, and purge the stage from barbarism. Some of the other performers were greeted with the usual tokens on their entrance, and particularly an actress who played the chambermaid. There was something about her which more than usually attracted my attention; and language must sink under the labor of expressing my astonishment at tracing the features of Laura, that fair, that chaste, that inexpressible she, whom I supposed to be still at Madrid, warbling in one key, with hands, sides, voice, and mind incorporate with Arsenia. But there could be no doubt of her identity. The kick in her gallop, the leer in her eye, and the tripping pertness of her tongue, all conspired in evidence that there could be no mistake. Yet, as if I had refused belief to the affidavit of my own eyes and ears, I asked her name of a gentleman who was sitting beside me. What the deuce! Why, where do you come from? said he. You must unquestionably be a new importation, not to have seen or heard of the divine Estella.