strain was kept too much in the background, and consistency was attained at the expense of the text. Sundry scenic innovations are also condemned, and altogether high praise is tempered with a good deal of acute and legitimate criticism. On the vexed question of Hamlet's madness _Punch_ writes intelligently, but without the wit which inspired the immortal couplet in Gilbert's _Rosencrantz and Guildenstern_:-- Hamlet is idiotically sane, With lucid intervals of lunacy. There are some good lines, however, in the issue of December 12, 1874, on "Hamlet's Right Hair," whether flaxen or raven. After all, as _Punch_ argues, it is not a question of the thatch of Hamlet's upper storey: ... It is a brain Fitting the part, that's asked to play the Dane. [Sidenote: "_The Menken_"] Turning from serious drama to melodrama and comedy high and otherwise, we find a liberal acknowledgment of the excitement furnished by the _Colleen Bawn_, Boucicault's bedevilled version of Gerald Griffin's fine novel _The Collegians_, when it was produced towards the close of 1860. The plot is fully set forth, and "Jack Easel" confesses that he enjoyed the evening very much. "Whatever may be the opinion of the learned regarding Mr. Boucicault as a dramatist, there can be little doubt of his merits 'on the boards.' I can hardly imagine a better stage Irishman." But _Punch_, who had no mercy for Boucicault's resentment of criticism, in March, 1862, printed a mock notice signed "Dion Boucicault," threatening condign punishment on all who disparaged his genius or dared to leave the theatre before the curtain fell and D.B. appeared before the same. And a month later we read a mock trial of an unfortunate pittite who had ventured to make some unfavourable comments on the Cave scene. The production of the melodrama founded on Charles Reade's _Never Too Late to Mend_, in 1865, met with _Punch's_ approval. Some of the audience hissed the prison scenes: yet Menken had been tolerated. This was the famous and notorious Adah Isaacs Menken, a native of Louisiana; dancer, actress, school teacher, journalist and poetess, married first of all to a Jew, whose faith she adopted, and then to the "Benicia Boy," Heenan, the prize-fighter. After a chequered career on and off the stage in America she appeared at Astley's in _Mazeppa_ in 1864, when _Punch_ made reference to her as "a bare-backed jade on bare-backed steed." It was certainly a _succès de scandale_, but "the Menken" made a stir in the literary world and found patrons and friends in Charles Reade, Charles Dickens (to whom her volume of poems, _Infelicia_, was dedicated), and Swinburne. In Paris, to which city she migrated, and where she died in 1869, she enjoyed the friendship of Dumas and Théophile Gautier. "The Menken" was not intended for a placid domestic life; she would not have been in her element at a Mothers' Meeting; but she was a highly educated woman, had studied Latin and