Archbishop reproaching the curate for combining the pulpit with the stage (by the bye, here is the title for the piece—The Pulpit and the Stage), and the curate reproaching the Archbishop with his hypocritical denunciation of an institution from which he derives, in the shape of rent, an income of say four thousand a year. At this juncture the Archbishop's daughter must be introduced. It will be difficult to account, with anything like probability, for her presence behind the scenes, during the performance of a pantomime; but with a little ingenuity even this may be accomplished. For instance, she may have come with a view of proselytizing the ballet, who can't get away from her, because they are all hanging on irons, ready for the transformation scene. This may precede the arrival of the Archbishop. The act (the second) must end with the struggle (on the daughter's part) between filial respect for her venerable father, and her love for the Harlequin, resulting, of course, in her declaring for the Harlequin, and the Archbishop's renunciation of her "for ever."
This will fill two acts. The third act must show the Harlequin (now a curate) married to the Archbishop's daughter, and living in the humblest circumstances somewhere in Lambeth. They are happy, although they are extremely poor. They have many friends—some clerical, some theatrical—but all on the best of terms with each, other, through the benevolent agency of the ex-Harlequin. Deans drop in from Convocation at Westminster—actors and actresses from rehearsal at Astley's; and it is shown, beyond the possibility of doubt, that the two professions have many points in
