and sheak up metafers in this way, bar’net?  One simile is quite enuff in the best of sentences; and I preshume I need not tell you that it’s as well to have it like while you are about it.  Take my advice, honrabble sir:  listen to an umble footman:  it’s genrally best in potry to understand perffickly what you mean yourself, and to igspress your meaning clearly affterward:  the simpler the words the better, praps.  You may, for instans, call a coronet an ‘ancestral coronal,’ if you like, as you might call a hat a ‘swart sombrero,’ a glossy four-and-nine, a ‘silken helm, to storm impermeable,’ and ’lightsome as a breezy gossamer;’ but in the long run it’s as well to call it a hat.  It is a hat, and that name is quite as poeticle as another.”

The remarks of Mr. Yellowplush upon some of the segregated passages are amusing enough.  Take the following, for example: 

                                    Girl, beware! 
  The love that trifles round the charm it gilds,
  Oft ruins while it shines.

Igsplane this, men and angles!  I’ve tried every way; backards, forards, and all sorts of trancepositions: 

The love that ruins round the charm it shines
Gilds 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