It is not unlikely that the drama would be more successful if it were conducted more plainly, and in a less costly style. The perfection of the machinery and scenery of the modern theatres, seems to be unfavourable to the goodness of composition and acting; since the accessaries are so excellent, the opinion is encouraged, that the principals are less important, and may be neglected with impunity. The effect of good scenery at the first glance is, no doubt, very striking, but it soon passes away. If we saw a Garrick acting Shakspeare in a large hall, without any scenes, we should cease in a few minutes to be sensible of the want of them. We are almost disposed to believe, that exactly in proportion as scenery has been improved, good acting has declined. The present age is too much inclined to make human life, in every department, resemble a great lottery, in which there are a very few enormous prizes, and all the rest of the tickets are blanks. The stage has not escaped the evil we complain of; on the contrary, it is a striking instance of the mischief of this unequal partition. The public are of opinion, that it is impossible to reward a small number of actors too highly, and to pay the remainder at too low a rate; to neglect the latter enough, or to be sufficiently attentive to the former. On our stage, therefore, the inferior parts, and indeed all but one or two, and especially in tragedies, where the inequality is more intolerable, and more inexcusable, are sustained in a very inadequate manner. In foreign theatres, on the contrary, and especially in France, the whole performance is more equal, and consequently more agreeable. There is perhaps less difference than is commonly supposed between the best performers and those in the next class. Whatever the difference be, it is an inconvenience and an imperfection that ought to be palliated; but we aggravate it. The first-rate actor always does his best, because the audience expect it, and reward him with their applause; but no one cares for, or observes, the performer of second-rate talents: whether he be perfect in his part, and exert himself to the utmost, or be slovenly and negligent throughout, he is unpraised and unblamed. The general effect, therefore, of our tragedies, is very unsatisfactory; for that is far greater, where all the characters are tolerably well supported, than where there is one good actor, and all the other parts are inhumanly murdered. This latter is too often the case on our stage for with us art does little, nothing being taught systematically. The French players, on the contrary, are thoroughly drilled, and well instructed, in every requisite. * * * * * BISHOPS' SLEEVES.