therefore, with the nature and etymology of the drama, which is, in truth, not less natural than agreeable. Its grand divisions correspond, moreover, with those of time; the contemplation of the present is Comedy--mirth for the most part being connected with the present only--and the past and the future are the dominions of the Tragic muse. _GRECIAN THEATRES._ The climate of Athens being one of the finest and most agreeable in the world, the Athenians passed the greatest part of their time in the open air; and their theatres, like those in the rest of Greece and in ancient Rome, had no other covering than the sky. Their structure accordingly differed greatly from that of a modern playhouse, and the representation in many respects was executed in a different manner. But we will mention those peculiarities only which are necessary to render our observations intelligible. The ancient theatres, in the first place, were on a much larger scale than any that have been constructed in later days. It would have been impossible, by reason of the magnitude of the edifice, and consequently of the stage, to have changed the scenes in the same manner as in our smaller buildings. The scene, as it was called, was a permanent structure, and resembled the front of Somerset House, of the Horse Guards, or the Tuileries, and was in the same style of architecture as the rest of the spacious edifice. There were three large gateways, through each of which a view of streets, or of woods, or of whatever was suitable to the action represented, was displayed; this painting was fixed upon a triangular frame, that turned on an axis, like a swivel seal, or ring, so that any one of the three sides might be presented to the spectators, and perhaps the two that were turned away might be covered with other subjects, if it were necessary. If parts of Regent Street, or of Whitehall, or the Mansion House, and the Bank of England, were shown through the openings in the fixed scene, it would be plain that the fable was intended to be referred to London; and it would be removed to Edinburgh, or Paris, if the more striking portions of those cities were thus exhibited. The front of the scene was broken by columns, by bays and promontories in the line of the building, which gave beauty and variety to the façade, and aided the deception produced by the paintings that were seen through the three openings. In the Roman Theatres there were commonly two considerable projections, like large bow-windows, or bastions, in the spaces between the apertures; this very uneven line afforded assistance to the plot, in enabling different parties to be on the stage at the same time, without seeing one another. The whole front of the stage was called the scene, or covered building, to distinguish it from the rest of the theatre, which was open to the air, except that a covered portico frequently ran round the semicircular part of the edifice at the back of the highest row of seats, which answered to