e the
enormity of those appetites in other men. When Cervantes, with such
proficiency of fondness dwells upon the Don's library, who sees not
that he has been a great reader of books of knight-errantry--perhaps
was at some time of his life in danger of falling into those very
extravagances which he ridiculed so happily in his hero!

* * * * *

JOHN MARSTON.

_Antonio and Mellida_.--The situation of Andrugio and Lucio, in the
first part of this tragedy,--where Andrugio, Duke of Genoa, banished
his country, with the loss of a son supposed drowned, is cast upon
the territory of his mortal enemy the Duke of Venice, with no
attendants but Lucio, an old nobleman, and a page--resembles that of
Lear and Kent, in that king's distresses. Andrugio, like Lear,
manifests a king-like impatience, a turbulent greatness, an affected
resignation. The enemies which he enters lists to combat, "Despair
and mighty Grief and sharp Impatience," and the forces which he
brings to vanquish them, "cornets of horse," &c., are in the boldest
style of allegory. They are such a "race of mourners" as the
"infection of sorrows loud" in the intellect might beget on some
"pregnant cloud" in the imagination. The prologue to the second part,
for its passionate earnestness, and for the tragic note of
preparation which it sounds, might have preceded one of those old
tales of Thebes or Pelops' line, which Milton has so highly
commended, as free from the common error of the poets in his day, of
"intermixing comic stuff with tragic sadness and gravity, brought in
without discretion corruptly to gratify the people." It is as solemn
a preparative as the "warning voice which he who saw the Apocalypse
heard cry."

_What You Will_.--_O I shall ne'er forget how he went cloath'd_. Act
1. Scene 1.--To judge of the liberality of these notions of dress, we
must advert to the days of Gresham, and the consternation which a
phenomenon habited like the merchant here described would have
excited among the flat round caps, and cloth stockings upon 'Change,
when those "original arguments or tokens of a citizen's vocation were
in fashion, not more for thrift and usefulness than for distinction
and grace." The blank uniformity to which all professional
distinctions in apparel have been long hastening is one instance of
the decay of symbols among us, which, whether it has contributed or
not to make us a more intellectual, has certainly made us a