For the library shelves of those whom "Providence has _not_ blessed with affluence," and who cannot afford first editions or expensive bindings, and for the working Journalist's library, the most useful books, the most handy, though not belonging to the regular "Handy Volume Series," and the best adapted to the pockets of most men, specially of the class above mentioned, are those forming _Morley's Universal Library_; published by ROUTLEDGE AND SONS, which now number about fifty-five volumes. BUTLER, BACON, CAVENDISH, COBBETT, DANTE, GOETHE, GOLDSMITH, THOMAS-À-KEMPIS, SOPHOCLES, and DE QUINCEY, are all well represented; and, following the fashion of the day, were I asked to provide "the young man just beginning active life" with a list of the best set of books for his study and perusal, I should have no hesitation in referring him to _Morley's Universal Library_; and I know of no more useful present at this Christmas time, or at any other time, than the neat and convenient oak cases, a guinea each, made on purpose to contain fifteen of the MORLEY volumes. I trust they will go on from year to year, and so continue to deserve the title first given them by _Mr. Punch_, of the "More-and-Morely Series," which fully expresses a constant supply to meet a growing demand. Long expected come at last! The HENRY IRVING and FRANK MARSHALL _Shakspeare_, Vol. I., produced by Messrs. BLACKIE (one of which Firm ought evidently to come out as _Othello_) as the Manager of the Lyceum always gets up his plays "regardless of expense." The prefaces and introductions will delight everyone who acknowledges the force of the common-sense opinion, emphatically expressed more than once in _Mr. Punch's_ pages, that SHAKSPEARE if acted just "as he is wrote" would not suit the taste of an audience of the present day. The taste of the modern audience is corrupted by Sensationalism and Materialism in every shape and form--and at some theatres Materialism in shape and form is one of the main attractions--and so impatient is it of anything like development of character by means of dialogue, that it would have most plays, no matter whether comedies or melodramas (there are no tragedies now, except SHAKSPEARE'S), reduced as nearly as may be to mere ballets of action. For the maxim of our audiences in this last quarter of the "so-called" Nineteenth Century, as regards the drama, is _Facta non verba_; before which imperious command those "who live to please," and who "must please to live," are compelled, be they authors or actors, to bow, and do their best, speaking as little as possible, so as not to give offence. "Break, break, my heart, for I must hold my tongue,"