The ladies of Shakspeare have of course riveted the attention, and drawn to them the sympathies, of all who have read or seen his plays. The book-trained critic, weighing words and sentences in his closet; the romantic poet, weaving his verses by grove or stream; the polished occupant of the private box; the unwashed brawler of the gallery; the sedate visitant of the pit, are touched each in his several way by the conjugal devotion and melancholy fate of Desdemona, the high-souled principle of Isabella, the enthusiastic love and tragic end of Juliet, the maternal agonies of Constance, the stern energies of Margaret of Anjou, the lofty resignation of Katharine, the wit and romance of Rosalind, frolic of tongue, but deeply feeling at heart; the accomplished coquetries of Cleopatra, redeemed and almost sanctified by her obedient rushing to welcome death at the call ringing in her ears from the grave of her self-slain husband; the untiring affection of Imogen, Ophelia's stricken heart and maddened brain, or the filial constancy of Cordelia. Less deeply marked, but all in their kind beautiful, are the innocence of Miranda, the sweetness of Anne Page, the meek bearing—beneath the obtrusion of undesired honours—of Anne Boleyn, the playful fondness of Jessica;—but I should run through all the catalogue of Shakspeare's plays were I to continue the enumeration.