ds while it trifles oft,

or--

The charm that gilds around the love it ruins,
Oft trifles while it shines,

or--

The ruins that love gilds and shines around
Oft trifles while it charms,

or--

Love while it charms shines round and ruins oft
The trifles that it gilds,

or--

The love that trifles, gilds and ruins oft
While round the charm it shines.

All witch are as sen sable as the ferst passadge. Sir Mr. Bullwig,
ain't I right? Such, barring the style, was the tenor of many of the
critiques upon Bulwer's writings which appeared about that period, and
which, as is now well known, "wrought him much annoy," versatile and
powerful as his genius has since proved itself.

L. GAYLORD CLARK.

SALVINI'S OTHELLO.

It might have been supposed that whatever the fate of the stage among
other races, it would always maintain its position as one of the great
instruments of popular culture with the English-speaking nations,
linked as it is inseparably with the immortal name of Shakespeare in
his double capacity of author and actor, and possessing as it does
in his works a body of dramatic literature supreme alike in all
intellectual qualities and in fitness for scenic representation. Yet
it is but the other day that we were reminded by the announcement of
Macready's death of the long interval that had elapsed since the last
of the English tragedians had dropped a sceptre which there was no
one to take up; and now it is an actor of another race, speaking a
different language, who presents himself to fill the vacant place, and
to interpret for us anew creations which we study indeed more closely
than ever in the printed page, but of which we had ceased to ask for
any adequate palpable embodiment. Our impression, however, of a drama
is and must be incomplete until we have seen it on the stage: it must
be put in action before our eyes ere we can hope fully to understand
it. The amount of thoughtful and learned criticism to which
Shakespeare's plays have been subjected makes us forget at times that
the ultimate test of their excellence is to be found on the boards,
and that they were meant, above all things, to be acted.

Taking Othello as Salvini presents him to us, and merely in the
light of a dramatic performance, having cast from out our minds the
recollection of all that we have ever heard, read or thought about the
character--more than this, forgetting our native English and knowing
Shak