Funeral ceremonies briefly run over at the death of Maimuna.

7. Night amusements of luxury. Perfumed lights. Transparent dress.

6. Persian lilies.

The Mareb reservoir, and the punishment of Thamud alluded to.

Euphrates esteemed unholy water by the Moslem.

3. Oneiza must sport with the bow and

arrow.

N. B. Shedad was the first King of Ad. Certain lines to this purport: the Evil Power may fence themselves round with dangers, but wisdom and courage may subdue them all-so God in his justice had appointed.

When Thalaba is taken, Maimuna calls a spirit, and enquires what they can do with him. The answer is, "In the city of Mohareb thou shalt secure thy safety."

5. The Angels to manifest themselves. Their situation, and garment of glory brightening as the atonement proceeds.

All must be rewritten from his speech to the Simorg to his actual entrance into the Domdaniel. It is flat and common.

The inscription which whoso reads will die. It is on the original throne of Nimrod. He reads it, "Search and find." He overturns it, and discovers a key. It is in an island where a grievous superstition reigns. An ever-living old woman, Superstition, is the priestess. Child sacrifices, and the dying dropt down a gulph, whose iron doors never open but to let in a victim, like the Venice prison. The boat takes him there. The people rejoice, and tell him of the inscription, which he must read, for it is the remedy. It is a torch he finds-the holy light of enquiry; and he must first subdue the giant Opinion. The allegory must be nowhere naked: and the Koran ought to be his shield.

A boat in a brook: a Peri helmswoman. Thou wilt go with me. The brook becomes a river, rough and wide: Wilt thou go with me? The river enters the sea: Darest thou go with me?

The dogs. But a quiet journey. Scenery like that delightful print in Hearne. Ice and firs and poplar islands. The dogs keep the prayer hours, and turn to Mecca. No terror to be excited, only a stratagem to waken curiosity.

He should know the Peri before he trusts her; therefore he must deliver her from a Dive.

At sea. Let the spirit of Moath pass him, to indicate the old man's death.

Thus, the throne of Nimrod is the altar. At the hour of sacrifice comes Thalaba to read the inscription. The Giant, seeing that he dies not, attempts to kill him. Thalaba cleaves him down with the axe of sacrifice.

How then to employ the arrows? Thus, the first foe must be the old and faithful servant of the Queen, bewitched so as to be her enemy. He must be taken, not slain.

It must be Leoline who uses the axe of sacrifice.

Jan. 20, 1800. Again to be recast!

The Leoline and Lady story is clumsy— is like a third arm-a young sixth finger. The strike of extermination must smite it.

At landing, terrors and the funeral. Then a display of the Mohammedan paradise. Types, &c. Art thou satisfied with this? Then the true progressive heaven. At once the glory is extinguished, and the dread descent before him.

A gaunt and ghastly figure guards two iron doors. Of what is not seen, for eternal mists are round them; nor is he seen, for the seraph guide approaches, and asks if yet? and a dead voice only answers, the hour is not yet born :-" meanwhile rest in the sunbeam."

Here, dreams of futurity, and the angel song of Oneiza, and the passing spirit of old Moath from this, the voice awakes him. The gates unfold at his stroke. Within is darkness and the far gleam of fires, and sounds that terrify; and a strong flood of wind impells him in, and the gates with a thunder

clap close him in, and then the light becomes more vivid, and the dives appear distinct upon the abyss.

A heath, a brook, a mountain, the mist around its foot. There journey. Thou wilt find one tree; there lift thy voice and ask. The tree flourishes on the side from the mist; its boughs all blasted on one side bend forward from the poison.

In the den should be the spirits of Abdaldar and Lobaba, all agony with fear.

Better in a cavern where the tide enters. On the brink of the descent a skeleton, the chain held by no hand, nor seen whence it proceeds.

A parachute of six living wings, somewhat of Ezekiclism, and a lamp dropt down that sets fire to the foul air.

ABDALDAR's feet washed by Thalaba and Oneiza.

Let Abdaldar first attempt by magic to destroy the boy, as by holding his hand and singing to him a song in words unintelligible; by drinking of the melon juice, and breathing upon it a spell, then giving it to Thalaba; the dagger attempt should not be till spells had failed.

The garden of Irem is necessary, "not on ocean, not on earth." May he live there awhile with his mother. Her natural death fills up the gap. Or shall I place the twelfth Imam there to instruct him?

Book 9.

THE whole procession description may be transferred to Kehama, before the chariot of Jaggernaut. When Maimuna has unbound his chain, a new conclusion must be

found her lover need not cease till she has placed him where she found him; or an earthquake may throw open the gates, to show her the power of Allah, and then the whirlwind waft them.

Lobaba should not be killed as he is; let him ride off, so is the faith of Thalaba more proved and pure.

PEDRO the Just.1

THE character of Pedro after the murder of Inez is well adapted for the drama, just but cruel; his heart hardened by suffering and indulged revenge, yet still doating on the dead.

The death of Gonzales and Coello is too horrible, nor is there anything in the story dramatic. Pacheco escaped, on that circumstance a tale may be grafted.

Pacheco has lost his sight by lightning, or in battle. He labours under the agonies of remorse. The priest, to whom he has confessed, enjoins him to say certain prayers in the place where he had committed the crime; for thus disfigured, there was no danger of discovery.

A high reward has been offered for Pawife and daughter of their possessions, and checo. A Portugueze noble has stripped his offered to restore them as the price of the daughter's prostitution. She comes to Coimbra to demand justice. Here is matter for a good scene. Pedro is much affected by her story.

Pacheco begs alms of his daughter. She bids him remember her and her father in his prayers. He knows her then, but will not make himself known.

The priest who had confessed Pacheco betrays him, and sends an emissary to inform Pedro that he is in Coimbra, and receives the reward. Pacheco is thrown into prison. The noble whom Leonor has accused is

1 The reader will connect this intended drama with La Caba, and Roderick the Last of the Goths. He should likewise consult W.S. Landor's poems on the subject.-J. W. W.

sent for by Pedro to answer the accusation. He first informs her of her father's imprisonment, and, irritated by Pedro, offers to force the prison and deliver him, if Leonor will be his. A fine scene may be made when the high-minded Leonor tells him how her heart might have been won, and how she could have loved.

Pedro sends his own confessor to prepare Pacheco for death. His remorse and resignation affect the priest; he begs for his daughter's sake to die privately. The priest intercedes with Pedro; this last request affects him, but he is inexorable.

The day on which the corpse of Inez is crowned is fixed for the death of Pacheco. The tortures are ready for him when that ceremony shall be over. At this moment, when the soul of Pedro is susceptible of the strongest feelings, Leonor comes with the children of Inez to intercede, her last hope. She succeeds. The noble offers his hand, and is refused. Leonor expresses her determination to live with her mother, and at her death to enter a convent. Pacheco becomes a monk.

It opens with her accompanying priest acquainting Pedro's confessor with her business, and requiring his assistance. This gives her character and his. Leonor comes. The interview. As she leaves the king, Pacheco comes in, to the place where Inez was murdered. He sends away his guide. Scene between him and the king, who, hearing he is come to pray there, tells him to pray for him, and to curse the murderers. This may be very striking.

Leonor confronted with the noble. She sees Pacheco, and knows him not. Arrival of the informer. Pedro enquires out how he knew him, and sends to put the treacherous priest to death.

News of his imprisonment. The noble's offer. Her friendly priest relates to her that he has visited him. She goes to attend him in the dungeon. The confessor sees him first. He intercedes, but in vain.

It will not well make a fifth act. The coronation. Her last and successful effort.

The noble's offer. Then she tells him how she could have loved.

The conclusion does not follow from the previous circumstances, one great fault. The story admits of good scenes, but nothing very striking in effect; it would make an excellent drama, but hardly for the mob.

Pedro Coelho and Alvaro Gonçalvez were the murderers who suffered. Diogo Lopes Pacheco was afterwards pardoned, on proof of not having been an accomplice. The Spaniard emigrants given up to Pedro the Cruel by the Cruel Pedro were Pedro Nunes de Guzman, Mem Rodriguez Tenono, Ferman Gudiel de Toledo, and Fortun Sanches Calderon.

Vicente Amado, a Franciscan, was the confessor of Pedro.

The Days of QUEEN MARY.

THE reign of Queen Mary is a good period for a play. Sir Walter, a young man of fortune, is a convert to the reformed religion. He has been bred up with the prospect of marrying Mary, a neighbouring heiress, and they are strongly attached to each other. Sir Walter has a cousin, his next heir, who knows his opinions, and envies his for

tune.

Mary is a zealous Catholic, but every way amiable; and her confessor a sincere, pious, excellent man.

The man who converted Walter possesses the honourable and honest spirit of Gilbert Wakefield. He must be elderly, and when the play opens, in prison.

Mary and her confessor both abhor persecution. He may have suffered it under Henry VIII. Walter's friend is burnt, and he accompanies him to the stake, though Mary and her confessor intreat him not to incur suspicion.

2 "He had a fearless and inflexible honesty, which made him utterly regardless of all danger, and would have enabled him to exult in martyrdom." See ESPRIELLA'S Letters, vol. i. p. 41, third edit.-J. W. W.

The cousin excites persecution against him. The confessor, attached to him from his youth up, seeks by every means to save him. He urges an immediate marriage to lull suspicion, on the usual terms of educating the children. Mary too is willing. Here the bigotry should be wholly on Walter's side; but he consents; at that instant he is apprehended.

His trial and enthusiastic courage. The opportune death of the queen preserves him.

I am afraid that this story, like Pedro, rather affords the opportunity of excellent scenes, than for a general effect; and the conclusion is not arising from the story. It is like cutting the knot, the "Deus intersit."

But there are four dramatic characters, and neither of them hackneyed; the martyr, Walter, the good and enlightened confessor, and Mary, so pious, so affectionate. Catholicism is a good system for women, perhaps for all of us when stripped of its tricks, and in Mary it should assume its most favourable appearance.

Walter's principles are not known when the drama opens. Stephen, his cousin, suspects them, and discovers them when he informs him of his friend's arrest.

Thus it might commence. It is Walter's birth-day. His coming of age, if the spectacle be useful. However, he is engaged in relieving some of his tenants, when Mary meets him in her walks. He shows uneasiness. The confessor seeks him, to say that he has perceived his change of opinion, and to advise him prudence.

A good scene might be made when Walter and Mary listen to an account of a martyrdom.

But is there enough of plot? 1. To make Walter's religion known. 2. To hurry him on by endeavouring to save his friend. 3. To the execution. 4. To his own arrest. The third might conclude with great effect. Mary and her confessor beholding from a large window the procession to the stake. They close the window when the faggots are kindled, and pray for his soul.

The light is seen through the window, and the Te Deum heard.

The progress of Walter's mind is fine. At first uneasy; by opposition and danger made more enthusiastic, but almost wishing for contented ignorance; worked up by the death of his friend almost to the desire of martyrdom; half yielding to love and prudence; then persecuted himself, and settling into a calm and Christian fortitude.

It should be on a holyday, and by the Church. The martyr should be urging him to absent himself, but be called away (to be arrested). Mary leads him in. He comes out abruptly, as though he were ill. The confessor follows him to know why? Stephen's news. 'Beware of that man!' says the priest.

The marriage was to take place on his coming of age. Mary affectionately enquires why he is so changed? Then the scene with the priest. He speaks of old Sir Walter's goodness. When Walter wavers, Stephen comes with an account how the Lutheran is confined.

A dungeon scene where the confessor beseeches the condemned not to drive on Walter to martyrdom. Surly virtue, and the spirit of an early martyr in a subsequent interview with Walter.

Night. Walter walking on the place of execution. Mary and the confessor. And then the proposal of immediate marriage. This coming from her will make a powerful scene. His arrest. The confessor sent with all speed to court to state his expected conversion.

The objections to this subject are, that a modern audience would not sympathize with Walter, and that a Lord Chamberlain would fancy more was meant than expressed.

It wants show and stage effect Some might be produced by hearing the church music in the first scene.

Stephen should be a bigotted and violent Roman Catholic, deceiving himself as to his own motives.

There must be a scene in which Mary