icle in "The Athenaeum", by J. R. Chorley.

THE PHYSICIAN OF HIS OWN HONOUR.

"'The Physician of his own Honour' is a domestic tragedy, and must be
one of the most fearful to witness ever brought upon the stage. The
highest excess of dramatic powers, terror and gloom has certainly been
reached in this drama".

From an eloquent article in "The Dublin University Magazine" on "D. F.
Mac-Carthy's Calderon".

THE SECRET IN WORDS.

A Drama.

"The ingenious verbal artifice of 'The Secret in Words', although a
mere trifle if compared to the marvellous intricacy of a similar cipher
in Tirso's 'Amar por Arte Mayor', from which Calderon's play was
taken--loses sadly in a translation; yet the piece, even with this
disadvantage, cannot fail to please".

J. R. Chorley in "The Athenaeum".

THE SCARF AND THE FLOWER.

A Drama.

"The 'Scarf and the Flower', nice and courtly though it be, the subject
spun out and entangled with infinite skill, is too thin by itself for an
interest of three acts long; and no translation, perhaps, could preserve
the grace of manner and glittering flow of dialogue which conceal this
defect in the original".

J. R. Chorley in "The Athenaeum".

LOVE AFTER DEATH.

A Drama.

"'Love after Death' is a drama full of excitement and beauty, of passion
and power, of scenes whose enthusiastic affection, self-devotion, and
undying love are drawn with more intense colouring than we find in any
other of Calderon's works".

From an article in "The Dublin University Magazine" on D. F.
Mac-Carthy's Calderon.

"Another tragedy, 'Love after Death', is connected with the hopeless
rising of the Moriscoes in the Alpujarras (1568-1570), one of whom is
its hero. It is for many reasons worthy of note; amongst others, as
showing how far Calderon could rise above national prejudices, and
expend all the treasures of his genius in glorifying the heroic
devotedness of a noble foe".

Archbishop Trench.

LOVE THE GREATEST ENCHANTMENT

A Drama.

"This fact connects the piece with the first and most pleasing in the
volume, 'Love the greatest Enchantment', in which the same myth [that of
Circe and Ulysses] is exhibited in a more life-like form, though not
without some touches of allegory. Here we have a classical plot which
is adapted to the taste of Spain in the seventeenth century by a
plentiful admixture of episodes of love and gallantry. The adventure is
opened with nearly t