That theatres as places of amusement should die out we hold to be impossible. What is, therefore, to be done, is to fit them for the high uses to which they may be applied, by obtaining for them the support of a class of people, whose mere presence would be at once a cause and a guarantee of the improvement both of plays and actors. One noble personage, whom it is every Englishman's privilege to "love, honour, and obey," sets a good example in this behalf. In the halls of Windsor, Shakspeare's voice is heard; surrounded by knights and nobles, by dames and demoiselles, she disdains not to shudder at the villanies of King John, or melt at the relentings of Hubert; to glow with patriotic pride at the denunciation of the Italian priest, or to refresh herself, after the excitement of "Macbeth," with the sparkling wit and genial humour of some of our modern dramatists. Who are the audience there? Her sage cousins and counsellors, her statesmen, warriors, nobles, matrons as spotless as Cornelia, maidens with their blue veins filled with the blood of Saxon Thanes and Norman conquerors: nor are there lacking the representatives of law and learning; the masters of the noble seminary beyond the walls, the dignitaries of the most tolerant, the most pure, the most intellectual Church that ever was set up as a guide and teacher among men: and what is the result? Is there any shock given to the most sensitive feeling by word or act? Are the young scions of the house, the future hopes of England and the world, contaminated by what they see or hear? Not at all. They hear "The quality of mercy is not strained, But droppeth like the gentle dew from heaven." They hear "The power I have upon you is to pardon."