This work will be one of great interest, firstly to all those who visit the theatre, secondly to readers of Shakspeare, and thirdly to all who relish originality and naivete of character, such as Mr. Hackett displays abundantly, from the rising of the curtain even to the going down of the same, in his book. There are no men who live so much within their profession as actors, or are so earnest in their faith in it; and this devotion is reflected unconsciously, but very entertainingly, through the whole volume. Shakspeare tells us that all the world is a stage--to the actor the stage is all his world, the only one in which he truly lives. We thank Mr. Hackett for giving us in this volume, firstly, very minute and excellent descriptions of all the eminent actors of Shakespeare within his memory--not a brief one, he having been himself a really excellent and eminent actor since 1828. It is to be regretted that there are not more such judicious descriptions as these. The author has, as we gather from his book, been in the habit of recording his daily experiences, and consequently writes from better data than those afforded by mere memory. The reader will also thank him for many agreeable minor reminiscences of celebrities, and for giving to the public his extremely interesting correspondence on Shaksperean subjects with John Quincy Adams and others. The views of the venerable statesman on _Hamlet_, and on 'Misconceptions of Shakspeare on the Stage,' indicate a very great degree of study of the great poet, and of reflection on the manner in which he is over or under acted. Nor are Mr. Hackett's own letters and criticisms by any means devoid of merit--witness the following: 'Mr. Forrest recites the text (of King Lear) as though it were all prose, and not occasionally written in poetic measure; whereas, blank verse can, and always should, be distinguishable from prose by proper modulations of the voice, which a listener with a nice ear and a cultivated taste could not mistake, nor, if confounded, detect in their respective recitals: else Milton as well as Shakspeare has toiled to little purpose in the best-proportioned numbers.' The criticism on Forrest is throughout judicious, and, though frequently severe, is still very kindly written when we consider the 'capacities' of the subject.