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He applied to the author in vain, and at length got this answer,-Sheridan said that he had been nineteen years endeavouring to satisfy him self with the style of the play, but had not yet succeeded. The printing of the play was done independently of the author. He presented a manuscript copy of it to his married sister, Mrs. Lefanu, at Dublin, to be disposed of, for her own advantage, to the managers of the Dublin Theatre. This brought her a hundred guineas and free admissions to the theatre, and it was from the manuscript thus procured that the Dublin edition was printed. Bonfire "Mountant"-The "Loop-hole" in Architecture Capt. Marryat-Coleridge on Wordsworth-"Victualler": "Flesher":"Butcher "-Newton's Principia,' 186. QUERIES:-Andrea Ferrara-" Sewer"-Randolph Family -Charles Selby-"If stands stiff, and But's a mountain -Bocase-Drumclog'-Marvin's Legal Bibliography'Civil War, 1645-Eagle Feathers-Old Sea-battle Engraving, 187-Berks Militia-Sir T. Henley-Maid Marian's Tomb-Avery Farm Row-Duel-Local Works on Brasses -Austrian Funeral Ceremony-Old Inns at KilburnG.P. Bidder, 188-Brynmawr College-"Amens Plenty" Thucydides-Argon-Sussex Poll-Books-" Whiz-gig," 189. REPLIES:-Spring Gardens, 189- English Students at Heidelberg-Lanarkshire-Position of Font, 190-Movable Pew-Phineas Pett-Whisky - Baldwin's Gardens-W. Sotheby-Hillier and Cam, 191-Armada Tables-St. Teresa Cumnor Hall-Cockades-Latin Inscription-"Vox Diana"-Foster of Drumgoon, 192-Old Sepulchral Slabs -Beckford-"Hyperion"-Provincial Heraldry OfficesThe Quarterly reviewer shows that the stage 'The Patrician, 193- Isabella of Angoulême-"Four corners to my bed "-Edinburgh City Guilds-F. J. Robin- has its limitations, and that it were better to proson-Possession of Pews-"Poores House"-Sash Win- duce a good play than an immortal book. The dows-Envelopes-R. Ainsworth, 194-Tegg on Swimming -Spider Folk-lore-Vatican Emerald-Gunpowder Plot-treatment of the drama varies in different ages, A "Subject Index"-Rev. J. Sterling, 195-Umbrellas, according to the manners, habits, and intellectual 'Phaudhrig Crohoore Wedgwood Silvered Lustre Ware, 196" Dockerer "-French and other Quotations- status of the people; and genius is evidenced Byron Letter, 197-Dr. John Dod-Child Commissions- more by treatment than by subject, for subject Shakspeare's Richard III.,' 198. NOTES ON BOOKS:-Phelps's Chapman'-Reviews and is the creature of its day, the atmosphere breathed by contemporaries; but treatment marks the interpreter of universal nature. Magazines. Fotes. SHOULD PLAYS BE PRINTED? (See Molière and Shakspeare,' 8th S. ii. 42, 190, 294, 332, 389, 469.) In the second volume of this series this question was discussed at some length. Several of your correspondents were angry with me for asserting that Molière objected to the printing of his plays, on the ground that they were meant to be acted on the stage, with the costumes, scenery, and illusions pertaining thereto, and not to be read in the closet. It was also inferred that Shakspere entertained the same notion as Molière, seeing how indifferent he was as to the fate of his plays so long as they were popular on the stage. There is also the explicit declaration of Heywood in the following terms : "It hath been no custom in me of all other men (courteous readers) to commit my plays to the press. The reason, though some may attribute to my own insufficiency, I had rather subscribe, in that to their severe censure, than by seeking to avoid the imputation of weakness to incur greater suspicion of honesty; for, though some have used a double sale of their labours, first to the stage and after to the press, I here proclaim myself ever faithful to the first, and never guilty of the last." This passage is quoted in an article on the 'New The author of the most successful comedy of modern times exhibited the same indifference to, The limitations of the theatre are (1) the conditions of ocular presentation, (2) the necessities of a climax, (3) the exigencies of an audience. The first is the chiaroscuro of things theatrical, the second their perspective, and the third their the third is shifting. The dramatist who is not colouring. The first two are recurrent elements, in touch with his audience, even though it be limited to the gallery, cannot succeed. Our best dramatists, with Shakspere at their head, were profoundly aware of this fact, and in holding the mirror up to nature they became teachers of firstrate quality. Indeed, the generous features of the British character are due in great measure to the noble examples and artfully disguised teaching of the drama. When a bishop put this question to Garrick, "How is it that you can keep your audience entranced for three hours with fiction, while we in the pulpit, dealing with truth, send our congregation to sleep in a quarter of an hour?” Garrick replied, "We on the stage endeavour to make fiction appear like truth; you, my lord, in the pulpit, make truth appear like fiction." We must distinguish between a drama and a play. Goethe's Faust,' for example, is a colossal drama, but not a manageable stage play. It is the union of literary and theatrical mind that produces a great play; but nevertheless a good play can dispense with the literary element. fine play which grows into a read classic is nowadays a rara avis. Mr. Henry Arthur Jones, the advocate of the new drama, says that the A |