I rambled on, oppressed, distracted by painful emotions—suddenly I found myself before Drury Lane Theatre. The play was Macbeth—the first actor of the age was there to exert his powers to drug with irreflection the auditors; such a medicine I yearned for, so I entered. The theatre was tolerably well filled. Shakspeare, whose popularity was established by the approval of four centuries, had not lost his influence even at this dread period; but was still “Ut magus,” the wizard to rule our hearts and govern our imaginations. I came in during the interval between the third and fourth act. I looked round on the audience; the females were mostly of the lower classes, but the men were of all ranks, come hither to forget awhile the protracted scenes of wretchedness, which awaited them at their miserable homes. The curtain drew up, and the stage presented the scene of the witches’ cave. The wildness and supernatural machinery of Macbeth, was a pledge that it could contain little directly connected with our present circumstances. Great pains had been taken in the scenery to give the semblance of reality to the impossible. The extreme darkness of the stage, whose only light was received from the fire under the cauldron, joined to a kind of mist that floated about it, rendered the unearthly shapes of the witches obscure and shadowy. It was not three decrepid old hags that bent over their pot throwing in the grim ingredients of the magic charm, but forms frightful, unreal, and fanciful. The entrance of Hecate, and the wild music that followed, took us out of this world. The cavern shape the stage assumed, the beetling rocks, the glare of the fire, the misty shades that crossed the scene at times, the music in harmony with all witch-like fancies, permitted the imagination to revel, without fear of contradiction, or reproof from reason or the heart. The entrance of Macbeth did not destroy the illusion, for he was actuated by the same feelings that inspired us, and while the work of magic proceeded we sympathized in his wonder and his daring, and gave ourselves up with our whole souls to the influence of scenic delusion. I felt the beneficial result of such excitement, in a renewal of those pleasing flights of fancy to which I had long been a stranger. The effect of this scene of incantation communicated a portion of its power to that which followed. We forgot that Malcolm and Macduff were mere human beings, acted upon by such simple passions as warmed our own breasts. By slow degrees however we were drawn to the real interest of the scene. A shudder like the swift passing of an electric shock ran through the house, when Rosse exclaimed, in answer to “Stands Scotland where it did?”