a perfume falls.' I honor it above Alexander's. He had once or twice during this act joined his palms in a feeble endeavor to elicit a sound; they emitted a solitary noise without an echo; there was no deep to answer to his deep. G. repeatedly begged him to be quiet. The third act at length brought on the scene which was to warm the piece progressively to the final flaming forth of the catastrophe. A philosophic calm settled upon the clear brow of G., as it approached. The lips of M. quivered. A challenge was held forth upon the stage, and there was promise of a fight. The pit roused themselves on this extraordinary occasion, and, as their manner is, seemed disposed to make a ring,—when suddenly Antonio, who was the challenged, turning the tables upon the hot challenger, Don Gusman, (who, by the way, should have had his sister,) balks his humor, and the pit's reasonable expectation at the same time, with some speeches out of the new philosophy against duelling. The audience were here fairly caught,—their courage was up, and on the alert,—a few blows, ding dong, as R——s the dramatist afterwards expressed it to me, might have done the business,—when their most exquisite moral sense was suddenly called in to assist in the mortifying negation of their own pleasure. They could not applaud, for disappointment; they would not condemn, for morality's sake. The interest stood stone-still; and John's manner was not at all calculated to unpetrify it. It was Christmas time, and the atmosphere furnished some pretext for asthmatic affections. One began to cough, his neighbor sympathized with him, till a cough became epidemical. But when, from being half artificial in the pit, the cough got frightfully naturalized among the fictitious persons of the drama, and Antonio himself (albeit it was not set down in the stage-directions) seemed more intent upon relieving his own lungs than the distresses of the author and his friends,—then G. 'first knew fear,' and, mildly turning to M., intimated that he had not been aware that Mr. Kemble labored under a cold, and that the performance might possibly have been postponed with advantage for some nights further,—still keeping the same serene countenance, while M. sweat like a bull.

"It would be invidious to pursue the fates of this ill-starred evening. In vain did the plot thicken in the scenes that followed, in vain the dialogue wax more passionate and stirring, and the progress of the sentiment point more and more clearly to the arduous development which impended. In vain the action was accelerated, while the acting stood still. From the beginning, John had taken his stand,—had wound himself up to an even tenor of stately declamation, from which no exigence of dialogue or person could make him swerve for an instant. To dream of his rising with the scene (the common trick of tragedians) was preposterous; for from the onset he had planted himself, as upon a terrace, on an eminence vastly above the audience, and he kept that sublime level to the end. He looked from his throne of elevated sentiment upon the under-world of spectators with a most sovran and becoming contempt. There was excellent pathos delivered out to them: an they would receive it, so; an they would not receive it, so. There was no offence against decorum in all this; nothing to condemn, to damn. Not an irreverent symptom of a sound was to be heard. The procession of verbiage stalked on through four and five acts, no one venturing to predict what would come of it, when, towards the winding-up of the latter, Antonio, with an irrelevancy that seemed to stagger Elvira herself,—for she had been coolly arguing the point of honor with him,—suddenly whips out a poniard, and stabs his sister to the heart. The effect was as if a murder had been committed in cold blood. The whole house rose up in clamorous indignation, demanding justice. The feeling rose far above hisses. I believe at that instant, if they could have got him, they would have torn the unfortunate author to pieces. Not that the act itself was so exorbitant, or of a complexion different from what they themselves would have applauded upon another occasion in a Brutus or an Appius,—but, for want of attending to Antonio's words, which palpably led to the expectation of no less dire an event, instead of being seduced by his manner, which seemed to promise a sleep of a less alarming nature than it was his cue to inflict upon Elvira, they found themselves betrayed into an accompliceship of murder, a perfect misprision of parricide, while they dreamed of nothing less.

"M., I believe, was the only person who suffered acutely from the failure; for G. thenceforward, with a serenity unattainable but by the true philosophy, abandoning a precarious popularity, retired into his fast hold of speculation,—the drama in which the world was to be his tiring-room, and remote posterity his applauding spectators, at once, and actors."

"The least shavings of gold are valuable, men say," says Archbishop Leighton, in his masterly Commentary on Peter; and the veriest trifle from the pen of such a writer as Charles Lamb should be highly prized by all readers that are readers. Therefore I think it would be unwise in me not to print Elia's Postscript to his "Chapter on Ears," and his Answers to Correspondents. Indeed, I do not know but that they contain some of the most racy sentences Lamb ever wrote. At any rate, they do contain some delightful banter and "most ingenious nonsense." In their pleasantry, archness, and good-natured raillery, these two little articles of Elia's remind me of some of Addison's happiest papers in the "Spectator."

Better than anything in Southey's "Doctor" concerning the authorship of that queer, quaint, delightful book are Elia's affected anger and indignation against the author of the "Indicator" for attributing the essays of Elia to their right author. Leigh Hunt must have "laughed consumedly," as he read the P.S. to the "Chapter on Ears." And in his Answers to Correspondents how many delightful changes Elia rings upon the name of the unlucky Peter Bell! How cavalierly he answers "Indagator," and the others, who are so importunate about the true locality of his birth,—"as if, forsooth, Elia were presently about to be passed to his parish "!

P.S. TO THE "CHAPTER ON EARS."

"A writer, whose real name, it seems, is Boldero, but who has been entertaining the town for the last twelve months with some very pleasant lucubrations under the assumed signature of Leigh Hunt,[2] in his 'Indicator' of the 31st January last has thought fit to insinuate that I, Elia, do not write the little sketches which bear my signature, in this Magazine, but that the true author of them is a Mr. L——b. Observe the critical period at which he has chosen to impute the calumny!—on the very eve of the publication of our last number,—affording no scope for explanation for a full month,—during which time I must needs lie writhing and tossing under the cruel imputation of nonentity.—Good heavens! that a plain man must not be allowed to be!

"They call this an age of personality: but surely this spirit of anti-personality (if I may so express it) is something worse.

"Take away my moral reputation,—I may live to discredit that calumny. Injure my literary fame,—I may write that up again. But when a gentleman is robbed of his identity, where is he?

"Other murderers stab but at our existence, a frail and perishing trifle at the best. But here is an assassin who aims at our very essence,—who not only forbids us to be any longer, but to have been at all. Let our ancestors look to it.

"Is the parish register nothing? Is the house in Princes Street, Cavendish Square, where we saw the light six-and-forty years ago,