which forms the subject of the present volume, is simply, as M. Stapfer says in his preface, a study of one aspect of Shakespeare's work and genius, which necessitates an examination of only seven of his plays. The second part "Shakespeare and the Greek Tragedians" *—embraces a wider horizon. It is a general history of the changes undergone by dramatic art, comparing, in a series of essays, ancient tragedy with modern tragedy; it is a work in which Shakespeare is, rightly speaking, the centre, rather than the precise and actual subject. M. Stapfer continues, "There yet remained to be done for comedy what had been done for tragedy: 'Shakespeare and the Greek Tragedians' might naturally be expected to be followed by Shakespeare and Aristophanes,' but a comparison drawn between these two poets hardly offers sufficiently fertile grounds to justify such a title; and I have therefore preferred that of 'Molière, Shakespeare, et la Critique Allemande,' which appears as a separate work at the end of 'Shakespeare et l'Antiquité." It only remains for me to add, that wherever I have in any way deviated from the text, whether by the omission or by the insertion of a few words here and there which, however, has very seldom been the case,it has been with the full knowledge and sanction of the author. EMILY J. CAREY. *This second part has already been published in Paris; its future appearance in English depends upon various circumstances. XII. TIMON OF ATHENS. ANALYSIS OF THE PLAY XVII. JULIUS CÆSAR ... XVIII. JULIUS CESAR (continued). BRUTUS. CASSIUS SHAKESPEARE is justly considered to be the most perfect representative of the modern or romantic Drama as distinguished from ancient or classical tragedy on the one hand, and from neo-classic tragedy on the other; but the question arises how he came to give this character to his plays-whether it was from indifference or from choice. The point to be considered is whether he simply followed the traditions handed down to him, without any knowledge of classical antiquity, and with no classical books or even imitations of classical authors within his reach; or whether, on the contrary, his learning gave him access to the originals, and whether classical imitations and lectures on the doctrines of Greek and Latin authors were familiar to him. In order thoroughly to answer the question whether it was with full knowledge of the subject and well-considered determination that he struck out into new paths of his گیا B |