There is, of course, a sense in which the word 'school' can be used for the larger opportunities of education given by contact with the world. And in this sense the word has been used by English dramatists with remarkable and characteristic frequency. In the second quarter of the seventeenth century Shirley printed, as 'the firstfruits of his Muses,' his comedy called 'The School of Compliment,' which had been played at Drury Lane; and in the list of comedies of the nineteenth century will be found 'The School of Reform,' by Thomas Morton, and the 'School of Intrigue,' by Mr. Mortimer; the former devoted to instructing ladies 'how to rule a husband,' and the latter to a fresh treatment of the world-famous story of the Count and Countess Almaviva. But the dramatic pieces whose titles begin with 'The School of' are few indeed in comparison with those whose names begin with 'The School for.' Of the latter the most famous is, of course, 'The School for Scandal,' now just 111 years old. But Sheridan's work had been preceded, in the following order, by 'The School for Lovers,' 'The School for Guardians,' 'The School for Rakes,' 'The School for Fathers,' and 'The School for Wives.' Nor is it surprising that, the fashion having once been set, Sheridan's comedy should be followed successively by 'The School for Eloquence,' 'The School for Ladies,' 'The School for Vanity,' 'The School for Greybeards,' 'The School for Widows,' 'The School for Arrogance,' 'The School for Prejudice,' 'The School for Friends,' 'The School for Authors,' 'The School for Grown Children,' 'The School for Grown Gentlemen,' and 'The School for Scheming'--this last being one of the numerous performances of Mr. Boucicault. Nor is this all. History relates that Steele began a comedy named 'The School for Action,' and there are records of pieces called 'The School for Husbands,' 'The School for Women,' 'The School for Coquettes,' 'The School for Daughters,' and 'The School for Tigers.' Probably no word has been so often utilized by the dramatists as 'School,' and probably, too, no modern playwright would be disposed to add lightly to the number of those who have 'annexed' it. PUNS AND PATRONYMICS. Probably there are few things more common, and at the same time more opposed to good taste, than punning upon people's names. Possibly the impertinence of it has some attraction; for, of course, all such 'witticisms' are impertinent--unless, indeed, a man puns on his own name, or, if he puns upon another's, takes care to make the observation complimentary. No doubt, neither Mrs. Cuffe nor Mrs. Tighe was very offended when Sydney Smith described one as 'the cuff that every one would wear,' and the other as 'the tie that no one would loose.' These are word-plays of the innocuous sort. Would that all such jests were equally inoffensive!