was essentially modified or remodelled ere it was produced at Exeter Hall in the subsequent year. Here, too, it may be added (with reference to matters adverted to last week) that 'Christus,' the third oratorio contemplated and commenced by Mendelssohn, was planned after the abandonment of another intention. This was to derive the book from the apocryphal Gospel of Nicodemus' (a work well known to our antiquarian theologists). A copy of the work is before the writer of this paragraph, which was sent to England with that purpose. MADAME MOSCHELES has announced a prize of considerable value, to be competed for at the Conservatory of Leipzig, in memory of her husband the late Professor, who took such a lively and lifegiving interest in that excellent music-school. HERR RICHARD WAGNER'S 'Beethoven eine Festrede zu dessen hundertjahriger Geburtsfeier,' written to celebrate the hundredth anniversary of Beethoven's birthday, and which has been for some time expected, was announced by E. W. Fritzsch, of Leipzig, as ready for publication at the end of November. HERR NIEMANN has been playing 'Fra Diavolo' in Berlin with great success; the new Zerlina, Fräulein Mola Roeder, pleases, but the Berlinese are calling for the return of Mdlle. Pauline Lucca. In Gluck's 'Iphigenia in Aulis' Frau Harness was the Iphigenia, and Herr Niemann Achilles. At a concert in the Opera House, conducted by Kapellmeister Taubert, the battle-music of Beethoven, of Lachner, and of Himmel was executed, with national part-songs, by E. Schultz, Taubert, Schubert and Frau Jackmann (known here under her maiden name of Wagner) as the chief vocalists. THE birthday of Liszt has been celebrated at Szegszard, his native town, with much rejoicing; he was serenaded and banqueted. benefited in a still greater degree." Mr. Bou- Such claims as his obviously demand con- vast number of dramas. The majority of them however, that succeeded have gained so great ་ Mr. Boucicault is not an original writer. His most popular plays are adaptations. 'Love in a Maze' has in it an unmistakably French ele ment; 'Used Up' is 'L'Homme Blasé'; ‘Louis XI.' is by Casimir Delavigne; 'The Corsican Brothers' is by Dumas; 'The Long Strike' is dramatized from a novel; "The Colleen Bawn' is by Gerald Griffin. When he does not take a story wholly, he selects parts of several, which he vamps; and the playwright's constructive Mr. Boucicault began early to devote him- skill is so great, that usually the welding is unself to his mission. In 1841, while in his perceived. Constructive skill is, perhaps, Mr. twenty-first year, a comedy in five acts bearing Boucicault's chief merit. Studied carefully, the his name, and entitled London Assurance,' later pieces seem as if the author, having conceived was produced at the Theatre Royal, Covent a startling incident, had had the scene painted, Garden. Mr. Farren, Mr. Keeley, Mr. Harley, and then written a drama to suit the situation. and Mr. Charles Mathews, together with Mrs. To a critic, the result is as unsatisfactory as the Nisbett and Madame Vestris, were in the cast, setting of words to music instead of music to words. With a sensational foundation, everyand the piece was highly successful. The plot, which turns upon a son being his father's thing is sacrificed to the predetermined effect. rival in love, is not new. The characters are The task of each actor is strictly defined; no not new. not new. Spanker is an old friend; Dazzle intelligent independence is allowed him; he is had often trodden the stage before; Lady Gay a marionnette. The executive ability of a man Spanker is a vulgarized Di Vernon, with a qualified to display his art is repressed. The None of them, exponents of the story are ill-assorted; a series touch in her of Baby Blake. moreover, are painted in full-they are of incidents follow each other with rapidity; all scratchy sketches. The whole conception and the delineation of character and passion is sacrificed to stage-mechanism. Bodily-peril, in of the piece is derived from previous comedies, and the dialogue is the conventional fact, forms the basis of interest; and to the cardialogue of a past age. London and Chel-penter is entrusted the task of producing the tenham are named as the scene of the play, effect which we should owe solely to the dra and we are to suppose the time to be 1841. matist. After Dark,' for example, depended Any other places and any other time would, for its success upon the movement of a sham the great Play, FERNANDE. Messrs. Farren, Leeson, Lyn Rayne, however, be equally appropriate. Sir Harcourt train, and Flying Scud' upon puppet horse As an adept at stage devices, Mr. Boucican has no equal. In After Dark,' there is what is termed a "front scene" which, in arrange ment and dialogue, is, perhaps, unsurpassed by any modern dramatist. AT the Théâtre de la Monnaie, Brussels, the Opéra Comique 'Le Postillon de Longjumeau' was given, for the last appearance of M. Montaubry. The news of the approaching departure of Madame Miolan-Carvalho for a tour in Holland, has attracted very large audiences to hear the last performances of the favourite cantatrice in Faust.' Wagner's 'Lohengrin,' which has been delayed on account of the serious illness of Mdlle. Sternberg, will now be brought out immediately, and Mdlles. Hamaker and Block will also re-appear. SIGNOR PETRELLA's opera, 'La Contessa d'Amalfi,' will shortly be performed at the Vittorio Theatre, Turin. DRAMA ST. JAMES'S THEATRE. EVERY EVENING will be presented Gaston Murray, and Lionel Brough: Mrs. Hermann Vezin, Miss Larkin, Miss Fannie Brough, Miss Sallie Turner, and Mrs. John Wood. To commence at 7, with TO OBLIGE BENSON,' by Toм TAYLOR, Esq.; FERNANDE' at 7:45 o'clock; at 10:30 a new Farce, CHRIST MAS EVE,' by C. S. CHELTNAM, Esq. Messrs. Harry Cox, Dan Leeson, and Lionel Brough. Box Office 11 to 6. No fees. DRAMATISTS OF THE PRESENT DAY. II. MR. DION BOUCICAULT. THE several modes in which Mr. Boucicault has benefited his fellow men, are known to every reader of newspapers. Whenever there is a lull in politics, a Boucicault controversy is started in one of the journals, and our prolific playwright acquaints the world with his services. At one time he showed how he had elevated the position of dramatic authors, by himself earning vast sums of money with his plays. Then he claimed credit for inproving the accommodation and comfort of the public in London theatres. He simply called attention to the subject, and-"as a result, seven new and commodious theatres were built in the West End Actors obtain much larger salaries, and dramatic authors have been 66 Courtly, a nobleman of ton, addressing the lady - The moral colouring of Mr. Boucicault's dramas is essentially unhealthy at times even offensive. The mental palate of the spec tator is more than dissatisfied, it is nauseated. The characters to which we are introduced bring with them an unhealthy atmosphere. Mr. Boucicault seems to take delight in deli neating the mean traits of a man's nature; and when he depicts virtue it is usually negative virtue. He is never elevated. No heroic passion thrives in his hands. When his themes clearly discerned, we perceive a low end is to be achieved. We are never improved by loty sentiment. His deviation from fact, as when in 'Formosa' he represents the Cambridge crew storming a sponging-house the night before a race, or in Flying Scud,' makes a casual jockey win the Derby, is inexcusable. His de viation from nature in the characters he presents is unpardonable. No man is more happy in dialogue than Mr. Boucicault. When he is dull he is very dull; but it is only on rare occasions that he exercises the privilege of nodding. As I write I cannot recall one of his plays from which I could not make pleasing extracts. The Irish dramas especially abound with admirable examples of drolleries and delicacies in expression. We constantly meet with tender passages which captivate by their wit and humour, or are irresistible in pathos. In The Colleen Bawn' and in Arrah-na-Pogue,' they abound. It is only an Irishman who could have given us the answer made by Myles-na-Coppaleen, when asked by Eily O'Connor if he loved her still. "Didn't I lave the world to follow ye? and since then there's bin neither night nor day in my life. I lay down on Glenna Point above, when I see this cottage, and I live on the sight of it. Oh, Eily, if tears were pison to the grass, there wouldn't be a green blade on Glenna Hill this day." Again, what can be happier than the manner in which the same hero joins the hand of the woman he worships, with that of his favoured rival? "When ye cease to love her," says he, "may dyin' become ye; and when ye do die, lave yer money to the poor, your widdy to me, and we'll both forgive ye." I have alluded to the excellence of a small portion of the dialogue in After Dark.' Here and there, even in the most slovenly and carelessly written of the plays, passages are to be found admirable not only as a vehicle for advancing the progress of the story told by the dramatist, but in themselves. Indeed, no modern writer has said better things on the stage than Mr. Boucicault. To resume. I cannot admit that the amuse what he desires. If, therefore, notwithstanding the wit, the rough humour and deep pathos they undoubtedly contain, his dramas leave a savour of uncleanness on his audience, it is not from design. He cannot exceed his own nature. He gives us his best. Every writer reveals himself in his work. Mr. Boucicault's work does not please me. Q. PRINCESS'S THEATRE. "THE Pretty Girls of Stilberg,' a military piece, first played by Mr. Webster at the Haymarket during the period of his management of that theatre and the Adelphi, has, after a long absence from the stage, been revived at the Princess's. So little merit of any kind does it possess, that the sole object of its reproduction is apparently a desire to benefit by the martial tastes and sympathies supposed to have been aroused by the war now in progress. A young French cadet, who bears a striking resemblance to the first Napoleon, personates the Emperor, and in this character obtains from the pretty girls of the town of Stilberg some very desirable concessions. His ruse is detected, and is met by counterruses. Some scenes not altogether void of humour, are thus produced. The piece is very flimsy, but it exhibits Germans and Frenchmen in a state of hostility, and has thus some bearing on passing amusing likeness of Napoleon Mr. Webster is able to present. At the revival on Monday, Miss Rose Leclercq played with great archness and animation the part of Margot, the leader of the feminine plotters. events. The chief interest is derived from the PRINCE OF WALES'S. MANY changes from the original cast have been made on the reproduction of Mr. Robertson's bright little comedy of 'Ours,' which took place on Saturday last. Miss Marie Wilton and Mr. Hare, the former of whom reappears as the penniless heroine, Mary Netley, and the latter as the Russian Prince, alone retain the parts they formerly played. Mr. Bancroft has resigned to Mr. Coghlan his original character, and has himself essayed Hugh Chalcot, the rich and good-hearted, but rather cynical young OPÉRA COMIQUE. THE engagement of Malle. Déjazet and her company, at the Opéra Comique, has been renewed. Following the practice hitherto observed at this house, the week has commenced with a complete change of spectacle. It is unfortunate for the success of all concerned in the opening comedy, 'La Joie Fait Peur' of Madame de Girardin, that the piece has been given during the past summer by the French company, at the Princess's. Those in whose memories are still fresh recollections of the mother from whom the news of the return of the powerful interpretation of Madame des Aubiers, her son, mourned as dead, is so carefully guarded, given by Madame Marie Laurent, and the marvellously artistic representation of Noël, the faithful servant, exhibited by M. Regnier, are not likely to be tolerant of succeeding and inferior performances. M. Legrenay has a certain measure of tenderness and of humour, for a display of which the character of Noël offers full scope. In one or two scenes he gave adequate effect to the pathos in which the delightfully tender little comedy abounds. But the entire impersonation wanted light and shade, and was altogether deficient in those marvellous touches with which, in the hands of M. Legrenay's predecessor, it was filled. To prolong a comparison between M. Regnier and any member of the present company, is however manifestly unfair. Madame Pauline Lyon was sorrowful without being tender, as Madame des Aubiers. M. Georges was good as Adrien, and M. Dermonville unsatisfactory as Octave. The part best played is that of Blanche, which was supported by Mdlle. Riel. In the scene when the thought of her brother's return fully possessed her spirit, and drove her into ecstasies of rejoicing strangely out of keeping with the sombreness of her garb, Mdlle. Riel acted delightfully. Her gestures in front of the door which concealed from view the brother so long mourned, were delightful, and evoked a spontaneous burst of approval. Many pleasant touches characterized her entire performance. 'Voltaire en Vacances,' a two-act comedy, followed. This is a trifling piece by MM. de Villeneuve and De Livry, produced, if our memory rightly serves us, quite recently at the Déjazet. It shows Voltaire while a ment Mr. Boucicault has furnished his genera- brewer, depicted humorously by Mr. Clarke. Miss boy at the house of the famous Ninon, to whom tion is altogether, or in great degree, intellectual. In his plots I fail to see moral purpose developed; there is no unfolding of character and passion; the effect he produces on an audience is the same in kind as that produced by a man who endangers his limbs and life on a trapeze; he stimulates the nerves rather than the intellectual faculties. It must be added, that he owes much to others. Sometimes it is the plot he takes; sometimes a character. Incidents he selects from various sources, and without hesitation weaves them into his own story. He is not above supplying himself even with phrases from other men's works. Whence comes the straw he does not ask, so long as it is suitable for his brick-making. In saying this, I do not intend to depreciate the undoubted merits of Mr. Boucicault. The question to be asked before forming an opinion on the position he occupies as an original dramatist is this-Does the effect he produces belong to himself, or is it due to others? Does it depend upon what is borrowed, or has it a source in what he himself adds? Nobody who has taken the trouble to consider the matter will, I think, have any doubt in replying. Such pieces as 'Louis the Eleventh' and The Corsican Brothers,' in great measure owe their popularity to the theatrical tact of the English adapter; and all the success achieved by those plays which may be called original productions, is due to the same cause. Mr. Boucicault in things theatrical, adorns what he touches. He has, moreover, the ability to accomplish Fanny' Josephs replaced Miss Moore as Blanche Haye, and Miss Le Thière Miss Larkin as Lady Shendryn; while Mr. Addison performs the irritable old baronet, Sir Alexander, of which the original exponent was Mr. Ray. Different as are in point of merit; and the later performance the two representations, they are almost alike has all the spirit and much of the harmony that rendered the former noteworthy. Some alterations have been made in the appearance of the theatre; a new act-drop, designed by Mr. Telbin, and containing one or two figures by Mr. Absolon, R.A., is among the more important of these. ROYALTY THEATRE. MR. REECE, with 'Whittington and his Sensation Cat,' has done something to redeem burlesque from the disfavour into which it has recently fallen. The new piece is just what such a piece should be. It is innocent of vulgarity, bright, funny, make an audience nod their heads in sympathetic and full of sparkling music and of dances which rhythm. The flatness and folly tempered by legs and break-downs which have characterized the latest productions of the modern burlesque school are absent; and although the author is more than once guilty of shameless puns, his literary merits are so great that they cover such casual offences. Scenery, costumes, dancing and music especially, are all good; and the acting, without a single violation of decorum, secures the applause of the audience. Miss Henrietta Hodson's personation of Whittington is at once delicate and effective, and Master Abrahams, as the Cat, exhibits a piece of pantomimic acting of the highest merit in its way. 'Whittington and his Sensation Cat' is the most meritorious burlesque we have seen for a long time. he makes amorous advances, at which his fair hostess is as much gratified as amused. His rival in the graces of the beautiful sexagenarian is a ridiculous nobleman, the Marquis de Chateauneuf, a man whose chief desire is to obtain a fauteuil in the Academy. This triumph, and other successes not of some verses given him by the young Arouet. less brilliant, the Marquis obtains on the strength As a price for the services he has rendered, Voltaire compels the Marquis to abandon the field of love, and to exercise his good offices in behalf of people whom the young poet has taken under his influential protection." That Voltaire when in his thirteenth year met Ninon, and pleased her so much that she left him a small pension, is historically true. That an intrigue existed between the pair so unequally matched in years is a rather preposVoltaire was quite such a scamp as he is repreterous supposition of the dramatist; and that sented in the play, is what admirers of the philosopher will not readily admit. The boyish tricks and impertinences of the poet are, however, the role a character thoroughly well suited to her. well carried off by Mdlle. Déjazet, who finds in Nothing in the remainder of the cast calls for notice. The performances concluded with a vaudeville, entitled' Le P'tit de la Bonne.' Grecian. Its incidents, as may be conjectured from its source and title, are of an eminently "sensational" character. THE Illustrirte Zeitung announces that the new dramatic poem, 'The Last Burgomaster of Strasburg,' by Prof. Carl Biedermann, will be publicly represented at Nuremberg, and afterwards at Leipzig, Stuttgard, Wiemar and Bremen. THE second fête at the Porte Saint-Martin, given last month by the besieged actors and actresses in Paris, for the purpose of providing cannon to defend the city, was a success in every way. There was a large audience, and the receipts were greater than those already received. Four pieces were encored: the Chanson,' by Madame Victoria Lafontaine; 'Les Abeilles,' recited by Madame Laurent; 'Stella,' by Madame Favart; and 'Les Paroles d'un Conservateur,' by M. Coquelin. M. Frédéric Lemaître also made a much greater impression on the audience than at the first performance; and Madame Périga is said to have achieved a great and legitimate success in 'Pauline Roland.' 'BEETHOVEN,' a drama in five acts, by Signor Pietro Cossa, just brought out at the Apollo Theatre, Venice, has, according to the Gazzetta di Venezia, failed to interest the public. The drama represents the humours of a vain, egotistical and discontented nature, and throughout the five acts Beethoven wearies the audience by his selfish complaints and by his railings at society. Ar Berlin a new historical drama, 'The Captive of Metz,' will shortly be produced; it is written by Karl Gutzkow, the author of the popular novel, 'Durch Nacht und Schlacht.' LAST Saturday an interesting performance took place at the Théâtre Royal du Parc, Brussels, when the pretty comédie-vaudeville, Les Diables Roses,' in five acts, was produced, with Mdlle. Thierret and Mdlle. Anna Van Gheel in the principal parts. In the fourth act Mdlle. Van Gheel sang the drinking-song from the operetta 'Le Petit Poucet.' MR. ALBERY'S comedy, 'The Two Roses,' has been successfully produced at the Boston Museum. At the Lyceum, in the same city, Mrs. Scott Siddons has read the 'Midsummer Night's Dream' with an accompaniment of Mendelssohn's music, rendered by the Handel and Haydn Society. MESSRS. DICK & FITZGERALD, of New York, have published Brown's History of the American Stage,' a complete cyclopædia of American theatrical biography, illustrated with portraits of many of the favourite actors and actresses of the day. Ar Wallack's Theatre, New York, a series of revivals of Old English comedies has commenced with a performance of Colman's 'John Bull.' Mr. Gilbert's acting as Job Thornberry obtains much admiration. FROM America we hear of the death of a comic actor called Charles Peters. In representations of combined ignorance and pomposity he displayed some ability. At the time of his death Mr. Peters was fifty years of age. MRS. LANDER is playing at the Fourteenth Theatre, New York, Queen Elizabeth, in the version of Mary Stuart' in which she not long since appeared at the Lyceum. She will shortly play in a new drama entitled 'Charlotte Corday.' AT Leipzig, 'Der Narr des Glucks,' which has met with varying success on different German stages, has been brought out as a novelty. Herr Haase's representation of Baron Fresineau was much applauded. A well-written one-act musical piece, Kathleen und Charlie,' by Heinrich Grans, the music composed by Herr Kapellmeister 6 Reinecke, has also been well received. SEVERAL important novelties have been lately brought out at the Royal Court Theatre of Munich, and amongst them Koberstein's Erich XIV,' and Kürnberger's Firdusi.' A new drama, by Herr Herrmann Lingg, entitled " Violante,' has been accepted. ANTIQUARIAN NOTES. On the Origin of the Word "Beg."—(See Athen. No. 2248). It by no means follows because the Old English bedecian or bedegian was used in the sense of the modern verb beg, that bedegian has, by phonetic decay, been worn down to beg. As Riwle, p. 168), we ought to have some confirmathe word beg occurs rather early (beggen in Ancren CHRISTMAS PRESENTATION BOOKS. The RED CROSSE KNIGHT: the LEGEND of the KNIGHT of the RED CROSSE, from Spenser's 'Fam Queene.' Illustrated with Twelve Original Drawings by Charl Morrell reproduced by the Woodbury permanent process) Im 8vo. cloth extra, 258. HISTORIC DEVICES, BADGES, and WAR CRIES. By Mrs. BURY PALLISER. With 3 Illustration beautifully printed on the finest paper. Square 8vo. cloth, Also by the same Author, Second Edition, The BOOK of LACE. Illustrated. One Guire the Passion-Play. By HENRY BLACKBURN, Author of velling in Spain,' &c. With Illustrations. 8vo. cloth extra, price tion of the elision of the e and loss of d before g in bedegian by quotations from early authors of the eleventh and twelfth centuries. 1. It must be recollected that phonetic changes are not quite lawless in their operations. Thus d frequently drops out before s, or, strictly speaking, is assimilated to it (cf. gospel, godspel; gossip, godsib), but d does not in any way seem to be influenced by a would have brought g into contact with d, and in following g in English. 2. The elision of the e all probability the d would have been retained, ART in the MOUNTAINS: the Story of while the g would lose its guttural sound and become palatal (cf. cringe and singe, in which the phonetic changes which have taken place in English g was originally a guttural). 3. Looking at the since the Norman Conquest, we find that a prefixal The GENTLE LIFE. Essays in Aid of the and suffixal g has either become i, y, w, or has altogether disappeared. As regards the g in derivative verbs this is especially true. The accent upon the radical syllable would tend to keep the d intact. There is a passage in 'Piers Plowman' (ed. Skeat, Clarendon Press Series, p. 2, 1. 40) The ADVENTURES of a YOUNG NATUwhich contains a derivative of the root bid for beggar Bidders and beggeres fast aboute yede, Formation of Character. By HAIN FRISWELL The Q EDITION, revised and selected from the Two Series. In 1 vol 4to. choicely printed on paper specially made, with Title V by Sir Noel Paton, R.S.A., engraved on Steel by C. I. Jeens, cloth extra, price 10s. 6d. RALIST. By LUCIEN BIART. With 117 beautiful Illustrations on Wood. Edited and Adapted by PARKER GILMORE, A of All Round the World,' &c. Post 8vo. cloth extra, git edges, price 108. 6d. The WONDERS of EUROPEAN ART embracing the SPANISH, FRENCH, GERMAN, ENGLISH, Also, uniform, by the same Author, The WONDERS of ITALIAN ART. 12.61. With her belies and her bagges of bred ful ycrammed. The editor has omitted to explain the difference between the two terms bidders and beggeres. It strikes me very forcibly that the bidders were those who, to use the words of Punch (Nov. 19), did "a ready money business," and received alms in the coin of the realm, while the beggeres or bagmen were those who bagged their alms in the shape of "wittles." But πav evрóvтoç ëрyov, and therefore I do not claim the credit of showing the connexion between beg and bag. Mr. Wedgwood has shown The WONDERS of ENGRAVING. By that the credit of turning up the origin of beg is due to Skinner, but, at the same time, his article is worth consulting by those who need further confirmation. R. M. King's College. **The Ancren Riwle (Rule of Anchoresses) is supposed to be 1220 A.D.-Ed. GEORGES DUPLESSIS. With 34 fine Woodcuts by P. Sellier, and 10 Photograph Reproductions in Autotype, illustrative of the vario Stages of the Art of Engraving. Square Sve. cloth elegant, edges, price 12s. 6d. Also, uniform, same price, The MARVELS of GLASS-MAKING. B A. SAUZAY. "Cum"-Pennicum.-The answer to the question The FAVOURITE POEMS of ENGLAND. is, simply, that pennicum is the dative plural of a penny. Thus, a two-pennicum prayer-book" means a prayer-book sold at two-pence, and is grammatically correct. For the same reason, “a pennicum prayerbook" for "; a penny prayer-book is grammatically incorrect, and ought never to be used, as probably it never is. It is easily illustrated from the Saxon Gospels; thus the phrase "sold for three hundred pence," in Mark xiv. 5, is in Old English—“geseald to thrim hund penegum." So; in old Friesic, we have "mith tuam penningum" as the equivalent for "with two-pence." The really interesting point is, that the case-ending should be preserved by those who are quite unaware of its correctness. If your Correspondent will tell those who use the phrase that two pennicum is the dative of two-pence, he will probably tell them a fact which they do not know, though they use it as such in practice. Comprising the most Popular English Poems from Dunbarto Tennyson, with Notices of their Authors. With 330 choice trations. Re-issued in a new and elegant Binding, as a Prescata tion Volume. One Guinea. "It contains upwards of two and to have worked in harmony, hundred examples of our sweetest we have said enough to recommend singers, illustrated by above three the re-issue of this rolame fat and hundred engravings. Eye and sen- wide. The poems are taken mosty timent are satisfied with this noble from writers of the last th gathering of the poets of our land." centuries, and the illustration Athenæum. amount to upwards of three La "When we say that the list of dred."-Times. artists includes the names of "What we most like in the Messrs. 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The volume is one which we commend especially the attention of statesmen who wish to obtain some knowledge of the feelings and ideas of the inhabitants of British North America, as wel as to those general readers who are looking for a book of travel which is highly instructive and, at the same time, thoroughly readable." Examiner. The COMING EVENT; Or, FREEDOM and INDEPENDENCE for the SEVEN UNITED By JOHN DUNMORE LANG, D.D. The DIAMOND FIELDS of SOUTH AFRICA: A GUIDE to EMIGRANTS. By a GRADUATE of CAMBRIDGE, Nine Years' Resident in the Colony. Price 6d. London: SAMPSON LOW, SON & MARSTON, 188, Fleet-street. Just published, TRANSACTIONS of the PH of the PHILOLOGICAL PART I. The only English Proclamation of Henry III., by A. J Ellis, F.R.S. PART II. A Cornish Glossary, by W. Stokes.-Note on Endlicher Gaulish Glossary, by the Same.-The Accusative Plural in the Entish Languages, by the Same.-On the Derivation of Son, Nuras, Arts, Uxor, Wife, Tag, Omnis, Solus, Every, All, oλog, by Prof. T. Hewitt Key.-The History of the th in English, by Henry SweetEnglish Etymologies, by Hensleigh Wedgwood.-On some of the f fixes of Greek and Latin Prepositions, by Prof. T. Hewitt Ker-An Attempt to reconcile the Laws of Latin Rhythm with those of Melem Languages, by Prof. T. Hewitt Key.-The Norman Element in the Spoken and Written English of the Twelfth, Thirteenth and Fourteenth Centuries, by Joseph Payne. TRANSACTIONS Also, of the PHILOLOGICAL SOCIETY for 1870. Part I. 8vo. 48. Containing a Criticism on Prof. Koch's Papers 'On A. S., E. A. and Ea, by Henry Sweet.-On the Modern Names of the Letters of the Alphabet, by C. B. Cayley.-The Spelling of a Name Altered, by D. P. Fry. On the Improvement of English Orthography, by D. P. Fry, -On Glosik, a Neu Sistem of Ingglish Speling, bei A. Ion Elis, F.R.S London: Asher & Co. 13, Bedford-street, Covent-garden, W.C. "A work, so far as it has gone, remarkable for intelligence, mode ration of tone, fairness of judgment, and elegance and force of literary execution. Rawness or crudeness is not in it; the materials are thoroughly digested; it moves easily and briskly; so that, if we are not mistaken, it possesses those qualities which ought to secure for it a wide and solid popularity." (European Mail Notice of Vol. I.) "It is rarely that an history of such early times can with truth be said to be as interesting as a novel; but this work is so without ques tion. The volume concludes with a sketch of the Constitutional His tory of Edward's reign, and the state of England at the close of his reign. The book is worthy of Sir Edward Creasy's reputation, and for the general reader is the best history of the period which has yet appeared." 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