five or six syllables, however legitimate on the stage where the actor
himself can make the requisite musical pause, is not a beauty in a blank
verse poem, and is employed by Mr. Wills far too frequently. Still,
taken as a whole, the style has the distinction of noble melody.

There are many passages which, did space permit us, we would like to
quote, but we must content ourselves with saying that in Melchior we find
not merely pretty gems of rich imagery and delicate fancy, but a fine
imaginative treatment of many of the most important modern problems,
notably of the relation of life to art. It is a pleasure to herald a
poem which combines so many elements of strength and beauty.

Melchior. By W. G. Wills, author of Charles I., Olivia, etc., and writer
of Claudian. (Macmillan and Co.)




SHAKESPEARE ON SCENERY


(Dramatic Review, March 14, 1885.)

I have often heard people wonder what Shakespeare would say, could he see
Mr. Irving's production of his Much Ado About Nothing, or Mr. Wilson
Barrett's setting of his Hamlet. Would he take pleasure in the glory of
the scenery and the marvel of the colour? Would he be interested in the
Cathedral of Messina, and the battlements of Elsinore? Or would he be
indifferent, and say the play, and the play only, is the thing?