"There is nothing in the world beyond a pair of slippers," said he; "of such pretty manufacture, in their proper time and place, when "

Philina took her slippers from his hands, crying, "You have squeezed them all! They are far too wide for me!" She played with them, and rubbed the soles of them together. "How hot it is!" cried she, clapping the sole upon her cheek, then again rubbing, and holding it to Serlo. He was innocent enough to stretch out his hand to feel the warmth. "Clip! clap!” cried she, giving him a smart rap over the knuckles with the heel, that he screamed and drew-back his hand; "I will teach you how to use my slippers better."

"And I will teach you also how to use old folk like children," cried the other; then sprang up, seized her, and plundered many a kiss, every one of which she artfully contested with a shew of serious reluctance. In this romping, her long hair got loose, and floated round the group; the chair overset; and Aurelia, inwardly indignant at such rioting, arose in great vexation.

CHAPTER VI.

THOUGH in this remoulding of Hamlet many characters had been cut off, a sufficient number of them still remained; a number which the company was scarcely adequate to meet.

"If this is the way of it," said Serlo, "our prompter himself must issue from his den, and mount the stage, and become a personage like one of us."

"In his own station," answered Wilhelm, "I have frequently admired him."

"I do not think," said Serlo, "that there is on earth a more perfect artist of his kind. No spectator ever hears him; we upon the stage catch every syllable. He has formed in himself, as it were, a peculiar set of vocal organs for this purpose; he is like a Genius that whispers intelligibly to us in the hour of need. He feels, as if by instinct, what portion of his task an actor is completely master of; and anticipates from afar where his memory will fail him. I have known cases, in which I myself had scarcely read my part, he said it over to me word for word, and I played

happily. Yet he has some peculiarities, which would make another in his place quite useless. For example, he takes such an interest in the pieces, that in giving any moving passage, he does not indeed declaim it, but he reads it with all pomp and pathos. By this ill habit, he has nonplussed me on more than one occasion."

"As with another of his singularities," observed Aurelia," he once left me sticking fast in a very dangerous passage."

"How could this happen with the man's attentiveness ?" said Wilhelm.

"He is so affected," said Aurelia, "by certain passages, that he weeps warm tears, and for a few moments loses all reflection; and it is not properly passages such as we should call affecting that produce this impression on him; but, if I express myself clearly, the beautiful passages, those out of which the pure spirit of the poet looks forth, as it were, through open sparkling eyes; passages which others at the most rejoice over, and which many thousands overlook entirely."

“ And with a soul so tender, why does he never venture on the stage ?”

"A hoarse voice," said Serlo, "and a stiff carriage exclude him from it; as his melancholic temper excludes him from society. What trouble have I taken, and in vain, to make myself familiar with him! But he is a charming reader; such another I have never heard; no one can observe

like him the narrow limit between declamation and graceful recital."

"The very man!" exclaimed our friend, "the very man! What a fortunate discovery! We have now the proper hand for delivering the passage of The rugged Pyrrhus."

"One requires your eagerness," said Serlo, "before one can employ every object, in the use which it was meant for."

"In truth," said Wilhelm, "I was very much afraid we should be forced to leave this passage out; the omission would have lamed the whole play."

"Well! That is what I cannot understand," observed Aurelia.

"I hope you will ere long be of my opinion," answered Wilhelm. 66 Shakspeare has introduced these travelling players with a double purpose. The person who recites the death of Priam with such feeling, in the first place, makes a deep impression on the Prince himself; he sharpens the conscience of the wavering youth: and, accordingly, this scene becomes a prelude to that other, where, in the second place, the little play produces such effect upon the King. Hamlet feels himself reproved and put to shame by the player, who feels so deep a sympathy in foreign and fictitious woes and the thought of making an experiment upon the conscience of his stepfather is in consequence suggested to him. What a royal mono

logue is that which ends the second act! How charming it will be to speak it!

"O what a rogue and peasant slave am I !
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit,
That from her working all his visage wann'd ;
Tears in his eyes, distraction in his aspect,
A broken voice, and his whole function suiting
With forms to his conceit? And all for nothing!
For Hecuba! What's Hecuba to him,

Or he to Hecuba, that he should weep for her?"

"If we can but persuade our man to come upon the stage," observed Aurelia.

"We must lead him to it by degrees," said Serlo. "At the rehearsal, he may read the passage; we shall tell him that an actor whom we are expecting is to play it; and so, by and by, we shall lead him nearer to the point."

Having agreed on this affair, the conversation next turned upon the Ghost. Wilhelm could not bring himself to give the part of the living King to the Pedant, that so Old Boisterous might play the Ghost he was of opinion that they ought to wait a while; because some other actors had announced themselves, and among these it was probable that they would find a fitter man.

We can easily conceive, then, how astonished