hardly to have retained a more painful recollection of his disappointment in that particular, than of the general neglect and disgrace he had sustained at the court of Lisbon.  The last stage of a virtuous heart, corroded into evil by wounded pride, has been never more forcibly displayed than in the character of Dorax.  When once induced to take the fatal step which degraded him in his own eyes, all his good affections seem to be converted into poison.  The religion, which displays itself in the fifth act in his arguments against suicide, had, in his efforts to justify his apostacy, or at least to render it a matter of no moment, been exchanged for sentiments approaching, perhaps to atheism, certainly to total scepticism.  His passion for Violante is changed into contempt and hatred for her sex, which he expresses in the coarsest terms.  His feelings of generosity, and even of humanity, are drowned in the gloomy and stern misanthropy, which has its source in the self-discontent that endeavours to wreak itself upon others.  This may be illustrated by his unfeeling behaviour, while Alvarez and Antonio, well known to him in former days, approach, and draw the deadly lot, which ratifies their fate.  No yielding of compassion, no recollection of former friendship, has power to alter the cold and sardonic sarcasm with which he sketches their characters, and marks their deportment in that awful moment.  Finally, the zealous attachment of Alonzo for his king, which, in its original expression, partakes of absolute devotion, is changed, by the circumstances of Dorax, into an irritated and frantic jealousy, which he mistakes for hatred; and which, in pursuing the destruction of its object, is almost more inveterate than hatred itself.  Nothing has survived of the original Alonzo at the opening of the piece, except the gigantic passion which has caused his ruin.  This character is drawn on a large scale, and in a heroic proportion; but it is so true to nature, that many readers must have lamented, even within the circle of domestic acquaintance, instances of feelings hardened, and virtues perverted, where a high spirit has sustained severe and unjust neglect and disgrace.  The whole demeanour of this exquisite character suits the original sketch.  From “the long stride and sullen port,” by which Benducar distinguishes him at a distance, to the sullen stubbornness with which he obeys, or the haughty contempt with which he resists, the commands of the peremptory tyrant under whom he had taken service, all announce the untamed pride which had robbed Dorax of virtue, and which yet, when Benducar would seduce him into a conspiracy, and in his conduct towards Sebastian, assumes the port and dignity of virtue herself.  In all his conduct and bearing, there is that mixed feeling and impulse, which constitutes the real spring of human action.  The true motive of Alonzo in saving Sebastian, is not purely that of honourable hatred, which he proposes to himself; for to himself every man endeavours to