'The rays of a lamp, which stood in a recess of the apartment, fell full upon the dagger of Wolfstein. _Eagerly Olympia sprung towards it; and ere Wolfstein was aware of her dreadful intent, plunged it into her bosom. Weltering in purple gore, she fell; no groan, no sigh escaped her lips. A smile, which the pangs of dissolution could not dispel, played on her convulsed countenance; it irradiated her features_ with celestially awful, although terrific, expression. "Ineffectually have I endeavoured to conquer the ardent feelings of my soul; now I overcome them," were her last words. She uttered them in a tone of firmness, and, falling back, expired in torments, which her fine, her expressive features declared that she gloried in.' Each of these passages is a fair example of the work from which it is taken. Surely their resemblance in temper, moral fibre, style, verbiage, affords sufficient evidence that the two passages were put together by the same writer. What evidence do they afford that, whilst the passage, taken from _Zastrozzi_ (the novel universally allowed to be a thing of Shelley's own manufacture), was written as it is printed by the future poet, the passage from _St. Irvyne_ (the novel generally assigned to a German source) is a mere translation from a German original? Why (in the absence of evidence that Shelley could translate a page of German, and in the absence of any German novel, out of which _St. Irvyne_ could have been made) are we to regard the passage of the earlier book as the pure product of Shelley's mind, and the passage of the later romance as so much of the translated product of a German writer's mind? THE BEDROOM SCENE IN 'ZASTROZZI.' 'The morning came--Matilda arose from a sleepless couch, and with hopes yet unconfirmed sought Verezzi's apartment. She stood near the door listening. Her heart palpitated with tremulous violence, as she listened to Verezzi's breathing--every sound from within alarmed her. At last she slowly opened the door, and though adhering to the physician's directions in not suffering Verezzi to see her, she could not deny herself the pleasure of watching him, and busying herself in little offices about his apartment. 'She could hear Verezzi question the attendant collectedly, yet as a person who was ignorant where he was, and knew not the events which had immediately preceded his present state. '_At last he sank into a deep sleep._--Matilda now dared to gaze on him; the hectic colour which had flushed his cheek was fled, but the ashy hue of his lips had given place to a brilliant vermilion. _She gazed intently on his countenance._ '_A heavenly yet faint smile diffused itself over his countenance_--his hand slightly moved. 'Matilda, fearing that he would awake, again concealed herself. She was mistaken: for, on looking again, he still slept.