horror-struck, doubting air, the fixed rigid countenance, with which he hears the forbidding clause? When he finds utterance, it is but a sentence of four words which he pronounces. But how are they pronounced! The fingers which had clenched the knife gradually unloose their grasp, and fall nerveless and slowly by his side; the disappointed, dejected, almost exhausted tone, in which he with difficulty articulates 'Is that the law?' Surely this was the perfection of acting. We have beheld COOKE's representation of this character with delight, and have dwelt upon it with pleasure. But, great as it was, compared to KEAN's, it appears a cold performance. Indeed, Mr. KEAN approaches nearer to GARRICK than any actor since his time. KEMBLE has more majesty; COOKE possesses more physical power, and though not a good, yet a finely-modulated voice. COOPER has great advantages both of person and voice; but they are all deficient in that astonishing variety of expression, that power of reaching men's hearts, and causing them to tremble, which distinguishes Mr. KEAN.' KEAN's power over the feelings of his audiences seems scarcely to have been surpassed by any actor that ever trod the stage. Hosts of admirers speak of him even now with unabated enthusiasm. * * * * * THE subjoined beautiful reflections and yet more admirable poetry are from an essay based oddly enough upon a version of one of the monosyllabic poems of AUSONIUS; a string of verses, in which the last monosyllable of each line forms the first of the next, and the first is the same as the last; so that they may be read over and over again without end. 'We take it,' writes SANDS, 'as a good motto for a paper which we mean to write, without having any precise notion on what subject we shall descant. We mean to make, on something or other, 'a few plain and practical remarks,' as the Rev. Mr. ---- says, when he means to preach a sermon five quarters of an hour long.' The paper thus lightly commenced, closes as follows: