notes on the little volume, falls into the error of being very diffuse himself in the attempt to elucidate his author.  His long letter concludes not inappropriately with these words:  “I have just observed, although certainly rather late, that I have written a letter full of shadows, and instead of lighting a torch to illuminate the darkness, have, I fear, only deepened the gloom.  Should this be the case, the reader at any rate will not withhold from me the praise of having preserved the colours of the original.”

Merveilleuse Histoire de Pierre Schlemihl.  Enrichie d’une savente preface, ou les curieux pourront apprendre ce que c’est que l’ombre.  Paris et Nurnberg, 1838.  With illustrations.—­This translation was revised by Chamisso.

L’Uomo senz’ Ombra.  Dono di simpatia al gentil sesso.  Milano, 1838.  Published as an Annual, with a Calendar, and Engravings.—­The editor is pleased not only to withhold the author’s name, but manages so to word his own preface as to lead his readers to conclude that he himself is the author of the book.

“Schlemihl” was also brought on the stage, but without giving the honours of authorship to the true source.  This took place at Vienna, in February, 1819.  The announcement ran thus:- “Pulzlivizli, or the Man without a Shadow:  a comic, enchanted drama, in three acts, adapted from De la Motte Fouque, by Ferdinand Rosenau.”  Among the characters were the grey man, and a certain Albert, probably intended for Schlemihl.  Of the contents of the piece we know nothing.

In England two editions have appeared [previous to the present,—­ Tr.]; one of which was reprinted at Boston in 1825.  Of the popularity of “Peter Schlemihl” in Great Britain we have a striking proof, from a caricature that appeared shortly after the coronation of William IV.  On the celebration of this solemnity, a brother of the King—­the Duke of Cumberland—­arrived from the Continent to be present on the occasion; and as he was well known to be an ardent Tory, his reception on the part of the people was not of the most flattering description.  As a consequence of this, and owing, perhaps, to an expression that fell from the Duke, that “popularity is only a shadow,” the caricature made its appearance.  In the foreground of the print is seen a striking likeness of the royal Duke in the costume of the Order of the Garter.  On his right stands the King, with the crown on his head, and reflecting a goodly shadow on the wall.  Between the King and his brother are some courtiers, who exclaim, in a tone of commiseration, “Lost, or stolen, a gentleman’s shadow.”  At the bottom of the print is the following inscription:-

“Peter Schlemihl at the coronation.

Granted that popularity is nothing but a shadow, it is still far from pleasant to be without that shadow.”

BRIEF SKETCH OF CHAMISSO’S LIFE.