filth of mankind. The story of Coriolanus, as it occurs in Plutarch, is
thought to be fabulous, but it is very far from being fabulous as it
stands transfigured in the stately, eloquent tragedy of Shakespeare. The
character and the experience are indubitably representative. It was some
modified form of the condition thus shown that resulted in the treason
and subsequent ruin of Benedict Arnold. Pride of intellect largely
dominated the career of Aaron Burr. More than one great thinker has
split on that rock, and gone to pieces in the surges of popular
resentment. "No man," said Dr. Chapin, in his discourse over the coffin
of Horace Greeley, "can lift himself above himself." He who repudiates
the humanity of which he is a part will inevitably come to sorrow and
ruin. It is perfectly true that no intellectual person should in the
least depend upon the opinions of others--which, in the nature of
things, exist in all stages of immaturity, mutability, and error--but
should aim to do the greatest deeds and should find reward in doing
them: yet always the right mood toward humanity is gentleness and not
scorn. "Thou, my father," said Matthew Arnold, in his tribute to one of
the best men of the century, "wouldst not be saved alone." To enlighten
the ignorant, to raise the weak, to pity the frail, to disregard the
meanness, ingratitude, misapprehension, dulness, and petty malice of the
lower orders of humanity--that is the wisdom of the wise; and that is
accordant with the moral law of the universe, from the operation of
which no man escapes. To study, in Shakespeare, the story of Coriolanus
is to observe the violation of that law and the consequent retribution.

"Battles, and the breath
Of stormy war and violent death"

fill up the first part of the tragedy as it stands in Shakespeare, and
that portion is also much diversified with abrupt changes of scene; so
that it has been found expedient to alter the piece, with a view to its
more practical adaptation to the stage. While however it is not acted in
strict accordance with Shakespeare its essential parts are retained and
represented. Many new lines, though, occur toward the close. McCullough
used the version that was used by Forrest, who followed in the footsteps
of Cooper, the elder Vandenhoff, and James R. Anderson. There is,
perhaps, an excess of foreground--a superfluity of fights and
processions--by way of preparing for the ordeal through which the
character of C