The Sun.
London, England, 1856-12-02 00:00:00

TO THE EDITOR OF THE SUN.

SIR,--Much unjust and undue prejudice exists against
the income tax impost, and I believe those making the
most outcry are the individuals who consider it no wrong
to defraud the revenue. This opinion, Sir, is founded
on my self-experience as a clerk to income tax commis.
sionerg. Were it not fol the constant watchfulness of
local commissioners, surveyors of taxes, c3mtuissioners'
clerks, and assessors, I verily believe almost a fourth of
the.dey, which ought to be justly paid, would be lost.

I have known parties to make return of their clear in.
come balance—say 3,oool.—and when surcharged by the
local commissioners or the surveyor, or 1:;o0?, to double
bile amount, have not appealed against the increase.
Nay, there are those who are bold enough to take no
notice of the return schedule left them to fill up, nod,
when brought into charge on a supposed equitable
amount, admit the correctness of such charge by not
showing objection to it on appeal. Some, also, will
make a return nil, and when assessed by the commis.
sioners or the surveyor, or both, confess their sins in
not showing objection to it. I might go on, but it
may be enough, when I assure you that the flagrant
attempts to commit these frauds are abundant, and
actually startling to those who have the means of ob-
serving them. It is not the smaller degree of tax pay-
ers who practise those attempted impositions ; they
range much higher. The individuals who make just
returns of their net income would be unjustly treated
were others not compelled to pay their due proportion :
—that would be adding wrong to wrong. This all
upright men will freely admit. Real property, being
visible, cannot escape,—Yours, obediently,
Ist Dec., 1856. OBSERVER,

_ -
LYCEUM THEATRE.

( Prom the Times. )

By selecting the tragedy of Othello for his benefit lies
night, Mr. Dillon excited no small amount of curiosity
among the London public. Hie great success hitherto
having been achieved in pieces of the " drama" kind, and
having all been distingushed by evidences of original
thought, the curiosity to know what he would do with
one of the so-called "groat parts" was natural enough.
Whether he played well or ill, it was tolerably certain
that he would give an Othello of his own, and would not
reproduce any ordinary tradition.
Magnificently dressed as he was, in a long tunic, the
impression made by his first entrance was most favour.
able. There was a good, manly, honest look about the
gentleman of colour, who was destined to be " perplexed
in the extreme" as the story developed itself. But never-
theless we cannot say that he thoroughly settled his posi-
tion with his audience till the c )mmencenient of the third
act. The declamatory part of histrionic art seems to
accord least of all with Mr. Dillon's idiosyncrasy, and
therefore, though the address to the Sonata was carefully
delivered, it still seemed that the artiste was outside the
character he ae.qurned. As the famous dialogues with
fa,go progressed it became evident that he warmed into
the business of the scene. The blank misery with which
he listened to the tempter's description of jealousy, and
the manly effin of selfpossession, with which he gathered
himself together were well conceived. The air of painful
attention with which he listened to unpleasant tidings was
remarkable for its truthfulness. However, it was only
by degrees that his particular interpretation of the entire
part was made apparent. A tender affection for Desde-
noun was the one feeling which he intended to be pre-
dominant over all the rest, and the manifestation of this
feeling was constantly to be found even when it might
be least expected. His grief was always greater than
his rage ; if he could find a pretext for returning tender-
ness he seized it with avidity, and we might fancy that
Othello was ever anxious to look upon the revelations of
[ago as part of a hideous dream from which, with a
mental effort, he could awaken. The great ranting pas-
iage, " Whip ins, you devils," &c., was given with a
power which could scarcely be surpassed, but its chief
affect was produced by the transition to grief at the end,
the sudden change from noisy despair to deep, unutter-
able anguish. The concluding portion of the last act was
leerfe.ct in its minutest details, the general conception
being that the Moor, on the revelation of the deceits
practised upon him, had ceased to take interest in exter-
nal events, and was absorbed in the mental preparation
for his own death. In the concluding speech every line
had its due value, and to those of the audience who had
the earlier parts of the play in their remembrance most
striking was the contrast between the declamation of
the actor, who had not yet identified himself with
the character, and the elocution of the same actor

vhen the feelings of Othello had become his own.
From the beginning to the end of the tragedy Mr.
Dillon made, as it wore, a constant encroachment on

,he sympathies of his audience, and when the curtain
had fallen hil sway had b3coma universally acknow.

'edged. It, was impossible to misinterpret Cie hearty
cheers that saluted the actor a g he crossed the stage in
response to general acclamations. Mrs. Dillon, w:co
had played Dasdetnona in an exceedingly graceful man-
ner, shared the honours thus awarded, and a residue of
glory was bestowed upon Mr. Stuart, who hal been a
careful and steady fag). Tea wipe en, scene of the piece
is exceedingly geed, the traditions of stage arrangement
being in more than one iostince departed f.•onc, so that
the revival of the tragedy may be regarded as something
more tban a mere benefit freak.