To give you one example:--you remember (for we once saw this play together at Berlin) the scene in which the King receives Percy's messengers. You thought it so indecorous that Falstaff should be continually pressing forward before, and up to, the King, and rudely interrupting him every moment with his jokes. The cause of this was, that our actors think so much more of their persons than of their parts. Herr D---- feels himself 'every inch a King' in comparison with Herr M----; and forgets whom they severally represent at the moment. Here Shakspeare is better understood, and the scene more appropriately represented. The King stands with the ambassadors in the front of the stage; the Court is scattered in groups; and midway on one side are the Prince and Falstaff. The latter cracks his jokes, as a half-privileged buffoon; but rather addresses them in an under voice to the Prince than directly to the King: when addressed by him, he immediately assumes the respectful attitude suited to his station, and does not affect to fraternize with his sovereign as with an equal. In this manner you can give in to the illusion of seeing a Court before you; in the other, you think yourself still in Eastcheap. The actors here live in better society and have more tact. _Nov. 23d._ It is curious enough that men regard that alone as a wonder which is at a distance from them, in time or space; the daily wonders near them they pass by unheeded. Yet we must be now living in the days of the Arabian Nights, for I have seen a creature to-day far surpassing all the fantastic beings of that time.