funeral festival to be served at a subsequent entertainment. Her son takes
umbrage at this; becomes morose and sullen; affects spiritualism and
private theatricals. This leads to serious family difficulties, culminating
in a domestic broil of unusual violence. The intellectual aim of the piece
is to show the extraordinary loquacity of a Danish Prince. The moral
inculcated by it is, "Spare the rod and spoil the child." It is replete
with quotations from the best authors, and contains many passages of marked
ability. Its literary merit is unquestionable, though it lacks the vivacity
of BOUCICAULT, and possesses no situation of such intense interest as the
scene in ROSINA MEADOWS where the heroine starts for Boston.

Mr. FECHTER presents HAMLET as a perfect "flaxy;" partly in deference to
the present popularity of the tint, and partly to show a marked contrast
with his OTHELLO, which character he always makes up as a male brunette.
His countenance is of great breadth and flexibility, ranging in its full
compass from the Placid Babe to the Outraged Congressman. His voice extends
from B flat _profundo_ to the _ut de poitrine piccolo_. The
emotional nature of HAMLET gives him opportunity to exhibit both of these
wonderful organs, and in _tutta forza_ passages, where he forces them
to their utmost power, the effect is exhilarating.

Mr. FECHTER is polished. He does not hesitate to correct the sometimes rude
and occasionally offensive remarks of HAMLET. Mr. FECHTER is refined. He
permits "no maggots in a dead dog." He substitutes "trichinae in
prospective pork." Fashionable patrons will appreciate this. They cherish
poodles, particularly post-mortem; they disdain swine. Mr. FECHTER is
polite. He excludes "the insolence of office," and "the cutpurse of the
empire and the rule." Collector BAILEY'S "fetch" sits in front. Mr. FECHTER
is fastidious. He omits the prefatory remarks to "assume a virtue," but
urges his mother to seek relief in Chicago. Considering her frivolous