There is a lesson which the flowers have taught to at least two of our poets, which, though it may have sympathizers, will scarcely find many practical adherents. It is embodied in a little lyric by Mrs. Webster, in which that lady, celebrating the beauty of a solitary blossom, describes how it is seen and gathered, and adds, ironically: 'Why should a flower be fair for its own? Choose it, pluck it to die.' But the moral has been pointed even more effectively by the Rev. Gerard Lewis in some excellent verses. 'A gathered flower,' he says, 'is but a fading thing': 'Let woman's beauty wear the sterling gold, The imperishable gem. They give to her a brightness manifold, She adds a charm to them. 'But flowers that strew the earth with fragrant grace, As stars the welkin fill, Look loveliest, live the longest, in their place; To pluck them is to kill.' That is true, and yet the gathering of flowers will go on. And, after all, what more can a blossom desire than to 'exist beautifully' and exhale its sweetness, whether it lies hidden by the wayside hedge, or decks the bosom of a woman as sweet and beautiful as itself? 'DON QUIXOTE' IN ENGLAND. The announcement that Mr. W. G. Wills had completed his dramatic version of 'Don Quixote' naturally excited much interest, and no doubt set many minds at play upon the general subject of the history of 'Don Quixote' in this country. That the renowned romance has appeared in many prose translations, from that of Shelton in 1620 to that of Mr. Ormsby only two or three years ago, is known to most people. It will be remembered that an early English version was prepared by the nephew of Milton; the once-famous Peter Motteux made himself responsible for one 'by several hands'; that by Jarvis, which dates from the middle of last century, has lately been reproduced by Professor Morley; and then there are those by Smollett, the novelist, and Mr. A. J. Duffield. There is no lack of them, any more than there has been of pictorial illustrations. Shelton's translation, revised by Stevens, was republished with 'cuts' by Coypel. When Lockhart prefixed his well-known essay to Motteux's version, the work was accompanied by etchings by De Los Rios. Jarvis's rendering exercised successively the skill of Westall, Cruickshank, Johannot, Dore, and Mr. A. B. Houghton; another was illuminated by R. Smirke, R.A.; and in later years there have been the drawings contributed by Sir John Gilbert and by Kenny Meadows.