“Fadladin, Grand-Nasir Comte Haack (Maréchal de Cour.) Aliris, Roi de Bucharie S. A. I. Le Grand Duc. Lalla Roûkh S. A. I. Le Grande Duchesse. Aurungzeb, le Grand Mogol { S. A. R. Le Prince Guillaume, { frère du Roi. Abdallah, Père d’Aliris S. A. R. Le Duc de Cumberland. La Reine, son épouse { S. A. R. La Princesse Louise { Radzivill.” Besides these and other leading personages, there were also brought into action, under the various denominations of Seigneurs et Dames de Bucharie, Dames de Cachemire, Seigneurs et Dames dansans à la Fête des Roses, &c. nearly 150 persons. Of the manner and style in which the Tableaux of the different stories are described in the work from which I cite, the following account of the performance of Paradise and the Peri will afford some specimen:— “La décoration représentoit les portes brillantes du Paradis, entourées de nuages. Dans le premier tableau on voyoit la Péri, triste et desolée, couchée sur le seuil des portes fermées, et l’Ange de lumière qui lui addresse des consolations et des conseils. Le second représente le moment où la Péri, dans l’espoir que ce don lui ouvrira l’entrée du Paradis, recueille la dernière goutte de sang que vient de verser le jeune guerrier Indien.... “La Péri et l’Ange de lumière répondoient pleinement à l’image et à l’idée qu’on est tenté de se faire de ces deux individus, et l’impression qu’a faite généralement la suite des tableaux de cet épisode délicat et intéressant est loin de s’effacer de notre souvenir.” In this grand Fête, it appears, originated the translation of Lalla Rookh into German[vii] verse, by the Baron de la Motte Fouqué; and the circumstances which led him to undertake the task, are described by himself in a Dedicatory Poem to the Empress of Russia, which he has prefixed to his translation. As soon as the performance, he tells us, had ended, Lalla Rookh (the Empress herself) exclaimed, with a sigh, “Is it, then, all over? are we now at the close of all that has given us so much delight? and lives there no poet who will impart to others, and to future times, some notion of the happiness we have enjoyed this evening?” On hearing this appeal, a Knight of Cashmere (who is no other than the poetical Baron himself) comes forward and promises to attempt to present to the world “the Poem itself in the measure of the original:”—whereupon Lalla Rookh, it is added, approvingly smiled. ----- Footnote i: April 10, 1815. Footnote ii: November 9, 1816. Footnote iii: Voltaire, in his tragedy of “Les Guèbres,” written with a similar under-current of meaning, was accused of having transformed his Fire-worshippers into Jansenists:—“Quelques figuristes,” he says, “prétendent que les Guèbres sont les jansénistes.” Footnote iv: The Fire-worshippers. Footnote v: