This will appear from the following analysis of “The Magistrates.” In the first place, the modern playwright will be astonished by the long list of personages in the play. There are twenty-seven in a short drama, consisting of a series of scenes, brief, even to jerkiness. At the opening of the play we learn that Hadji-Ghafour, a rich merchant, has lately died and left no will; his property is therefore claimed by Sekine-Khanoum, his only daughter, a girl of eighteen, who is engaged to marry Aziz-Bey. The sum of money in which the legacy consists has been placed in the hands of the President of the Council, but before he can pay it over to the legatee, claims have been set up in favor of an alleged child of the late Hadji-Ghafour, borne him by his mistress Zeneib. A conspiracy is formed, with the aid of certain soldiers who are suborned to say that they saw the child in Hadji-Ghafour’s arms, and that he acknowledged the paternity. The complications are increased by the fact that Zobeide, paternal aunt of Sekine-Khanoun, has promised the hand of her niece to a richer man than Aziz-Bey, namely, Aga-Hassan, a merchant. The young lady so enrages Hassan by the terms in which she repudiates him, that he joins the ranks of the conspirators, among whom the chief is Aga-Selman, who nevertheless has undertaken to be the advocate of Sekine-Khanoun in the coming lawsuit. The suit at last is opened, the witnesses come ready primed to the bar, but, instead of telling their perjured tale, relate how they were induced to promise their support to a fabrication. The tortuous diplomacy of Aga-Selman, the corruption of the judges, the despair of Sekine and Aziz are depicted in the liveliest manner, and the revelations of the soldiers, who are called by the false advocate as witnesses for Sekine-Khanoun, but bribed to testify against her, form a double climax which is a skilful stroke of dramatic art. The play will be interesting to the Teutonic reader, and seems even capable of adaptation to the American or English stage.