Cymbeline has never fairly occupied the position of an acting play; it will be seen that a considerable interval has generally occurred between each revival, which may be catalogued thus :

Theatre Royal Drury Lane, 1682.-No cast extant (D'Urfey's alteration).

Lincoln's Inn Fields, January 7, 1720.-Ursaces (Posthumus), Ryan; Shatillion (Tachimo), C. Bullock; Eugenia (Imogen), Mrs. Bullock (D'Urfey).

Lincoln's Inn Fields, March 20, 1738.-Ursaces, Delane; Shatillion, Walker; Eugenia, Mrs. Templar (D'Urfey).

Haymarket, November 8, 1744.-Posthumus, Theo. Cibber; Imogen, Miss Jenny Cibber.

Covent Garden (first time there), April 7, 1746.-Posthumus, Ryan; Tachimo, lfale; Imogen, Mrs. Pritchard.

Covent Garden, February 15, 1759.-Leonatus, Ross; Imogen, Mrs. Vincent (Hawkins's alteration, the character of Iachimo was omitted!)

Drury Lane, November 28, 1761.-Posthumus, Garrick; Tachimo, Holland; Imogen, Miss Bride.

Covent Garden, December 28, 1767.-Posthumus, Powell; Iachimo, Smith; Imogen, Mrs. Yates.

Drury Lane, December ist, 1770.-Posthumus, Reddish; Iachimo, Palmer; Imogen, Mrs. Barry.

ПTaymarket, August 9, 1782.—Posthumus, Bannister, jun achimo, Palmer; Cloten, Edwin; Imogen, Mrs. Bulkeley.

Covent Garden, October 18, 1784.-Posthumus, Henderson; Tachimo, Wroughton; Cloten, Quick; Imogen, Miss Younge.

Drury Lane, November 21, 1785.--Posthumus, Kemble; Iachimo, Smith; Cloten, Dodd; Imogen, Mrs. Jordan.

Drury Lane, January 29, 1787.-Same as before, excepting Imogen, Mrs. Siddons.

Covent Garden, May 13, 1800.-Posthumus, Holman; Tachimo, Pope; Cloten, Betterton; Imogen, Mrs. Pope.

Covent Garden, January 18, 1806.-Posthumus, Kemble; Iachimo, Cooke; Cloten, Farley; Imogen, Miss Smith.

Covent Garden, June 3, 1812.-Posthumus, Kemble; Iachimo, Young; Imogen, Mrs. H. Johnstone.

Covent Garden, May 29, 1816.-Posthumus, Kemble; Iachimo, Young; Cloten, Liston; Imogen, Miss Stephens.

Drury Lane, January 22, 1823.-Posthumus, Kean; Iachimo, Young; Imogen, a young lady, afterwards by Mrs. W. West. Covent Garden, June 2, 1825.-Posthumus, C. Kemble; Iachimo, Young; Imogen, Miss Foote.

Drury Lane, February 9, 1829.-Posthumus, Young; Iachimo, Cooper; Imogen, Miss Phillips.

Covent Garden, May, 1837.-Posthumus, Macready; Iachimo, Elton; Cloten, W. Farren; Imogen, Mi H. Faucit.

Drury Lane, January 21, 1843.-Posthumus, Anderson; Tachimo, Macready; Imogen, Miss H. Faucit,

Sadler's Wells, August 23, 1847.--Posthumus, Phelps; Iachimo, Marston; Imogen, Miss Addison.

Drury Lane, October 17, 1864.- Posthumus, Phelps;_Tachimo, Creswick; Cloten, Walter Lacy; Imogen, Miss H. Faucit.

CYMBELINE, the son of Theomautius, the youngest son of King Lud, is reported to have become king in the year of the world 3921, after the building of Rome 728, and before the birth of Our Saviour 33. He reigned over the Trinobantes (inhabiting Middlesex, Hertfordshire, Essex, and parts adjacent), and was a powerful monarch; his capital was called Camulodunum, the site of which has not been ascertained, but has been supposed to be either Maldon or Colchester. He reigned 35 years, leaving two sons, Guiderius and Arviragus. The elegance and ornament given to the buildings of this period by our scenic artists are outrageously absurd; it is probable enough, that, although the people used houses of wood and clay, the kings and nobles might possess buildings of stone, yet little attempt at ornament would be found thereon;-massive and bare walls, partly covered with tapestry, would be their characteristic. There have been pavements and ornamented remains of regular Italian habitations discovered, but so limited in both size and number, that they must have been constructed by Roman residents for their own use, and certainly the custom could neither have been durable nor extensive. The arms of the British were spears, axes, and swords of bronze, iron helmets, and leathern breastplates, sometimes with plates of iron or bronze; it will be seen that brass helmets were worn. Cæsar expressly says that the Britons differed but little from the Gauls; and later Pomponius Mela says, "The Britons fought armed after the Gaulish manner." Well corroborated by other historians, the description given by Diodorus Siculus should be adopted as the mode of dressing and mounting this play "They wear bracelets about their wrists and arms, and massy chains of pure and beaten gold about their necks, and weighty rings upon their fingers, and corslets* of gold upon their breast. For stature they are tall, of a pale complexion, and red haired, not only naturally, but they endeavour all they can to make it redder by art. They often wash their hair in a water boiled with lime, and turn it backwards from the forehead to the crown of the head, and thence to their very necks, that their faces may be fully seen. Some of them shave their beards, others let them grow a little. Persons of quality shave their chins close, but their moustaches they let fall so low that they even cover their mouths. Their garments are very strange, for they wear party-coloured tunics (flowered with various colours in divisions) and hose which they call Bracha.† They likewise

* One found at Mold is now in the British Museum.

+ Martial has a line, "Like the old brachæ of a needy Briton."-Epig. ix. 21. They appear on the legs of the Gaulish figures in many Roman sculptures to have been a sort of loose pantaloon, terminating at the ankle, where they were met by a high shoe or brogue. There can be little doubt that the Highland truis is a modification of this ancient trouser, if not the identical thing itself.

wear chequered sagas (cloaks). Those they wear in winter are thick, those in summer more slender. Upon their heads they wear helmets of brass with large appendages, made for ostentation's sake, to be admired by the beholders. They have trumpets after the barbarian manner, which in sounding make a horrid noise. For swords they use a broad weapon called Spatha, which they hang across their right thigh by iron or brazen chains. Some gird themselves with belts of gold or silver."

Mr. Planché remarks in night's Pictorial Shakespeare, that, "In elucidation of the particular expression made use of by Diodorus in describing the variegated tissues of the Gauls, and which has been translated "flowered with various colours in divisions," we have the account of Pliny, who after telling us that both the Gauls and Britons excelled in the art of making and dyeing cloth, and enumerating several herbs used for dyeing purple, scarlet, and other colours, says that they spun their fine wool so dyed, into yarn, which was woven chequer-wise so as to form small squares, some of one colour and some of another. Sometimes it was woven in stripes instead of chequers; and we cannot hesitate in believing that the tartan of the Highlanders (to this day called "the garb of old Gaul") and the checked petticoats and aprons of the modern Welsh peasantry are the lineal descendants of this ancient and picturesque manufacture."

Of the golden neck-chains, or torque, (torch or dorch in Welsh), there are several existing specimens. One has been found in silver, and several of brass. The bronze sword and small battle-axe, or celt, as it is called, of the ancient Britons, are to be found in many collections; and at Goodrich Court are two very large round bronze shields of the earlier period, and an oblong one of the Roman-British era. A smaller round shield, more recently found, is in the British Museum. Figures of Cassibelanus (mentioned in this play); an ancient Briton; of Boadicea; and other illustrative examples will be found in the editor's work on Dramatic Costumes. Dion Cassius describes the dress of a British queen in the person of the famous Bonduca or Boadicea. He tells us that she wore a torque of gold, a tunic of several colours all in folds, and over it a robe of coarse stuff. Her light hair fell down her shoulders far below the waist.

The costume and arms of the Romans are fully described in my edition of Julius Cæsar.

T. H. L.

Costumes.

CYMBELINE.- Plum coloured long robe, bright scarlet mantle with fibula on the right shoulder, close trousers of yellow, boots, gold crown for the head, large gold torque for the neck, gold belt, gold chain, and bronze sword.

BELARIUS, GUIDERIUS, ARVIRAGUS.- Skin shirts, buskins of undressed hide, conical caps, leathern belts, bronze swords and spears, long hair and hanging moustache, flesh legs and arms, shields in the last Act.

CLOTEN.-Yellow shirt with short sleeves, white and blue mantle, red leggings and arms, buff buskins, long hair, gold belt, brass sword chain, sword, torque and gold circlet for the head, long hair. Second Dress: A dress like Posthumus's first.

IACHIMO.-First Dress: Crimson or violet Roman shirt, richly trimmed, yellow short shoulder mantle, red sandals, wreath of flowers. Second Dress: Grey shirt, yellow mantle, circlet, in place of the wreath. Third Dress: Plain dark shirt. Fourth Dress: same as first, without the wreath. Fifth Dress: Rich suit of Roman

armour.

PHILARIO-White richly trimmed Roman shirt, short mantle, and wreath of roses.

CAIUS.-Suit of Roman armour, fleshings, and sandals.

MADAN and NOBLES.-Shirts, leggings, and mantles, buskins, and circlets for the hair, worn long.

PISANIO.-Puce shirt, yellow leggings, and party-coloured mantle. POSTHUMUS.-First Dress: Dark shirt, grey leggings and arms, gold torque, grey mantle, gold belt, chain and sword, buff buskins, gold head circlet, long hair. Second Dress: Yellow shirt, blue mantle, fleshings, sandals, sword. Third Dress: Roman dress and mail shirt. Fourth Dress: Deerskin shirt, and conical cap. Fifth Dress: Same as third dress.

In the last Act all the BRITONS and armed.

CORNELIUS.-Dark long robe, brown mantle, and grey hair. QUEEN.-Scarlet dress, parti-coloured robe of brilliant colours, gold chains and jewels, gold coronet, armlets, and bracelets.

IMOGEN.- First Dress: White merino dress, blue and white parti-coloured mantle, long hair, gold coronet, armlets, bracelets, and sandals. Second Dress: Grey tunic, buff petticoat, and buff mantle, which serves as head covering. Third Dress: White or buff tunic, hair worn long, fleshings and boots, mantle, belt, and sword.

LADIES.-Dresses of bright hues, with parti-coloured mantles, gold and silver ornaments, long hair.

The Dresses themselves should have little or no ornamental trimming; brightness and variety of colour will be found to be characteristic and sufficiently effective.

i

REMARK S.

We have often bowed with reverence to the genius that dictated the following beautiful lines:-"The stream of Time, which is continually washing the dissoluble fabrics of other poets, passes without injury the adamant of Shakespeare." And deeply have we regretted the perverseness that could qualify so eloquent an eulogium, by a rash censure of some of the most admirable productions of the same author. A more harsh and unmerited sentence was never pronounced, than Doctor Johnson's on the play of Cymbeline.

Had this dogmatism proceeded from Voltaire, and his despicable school of criticism, Satire had been dumb:

"Satire or Sense alike can Sporus feel,

Who breaks a butterfly upon a wheel ?"

But, when an authority of the most profound learning and comprehensive knowledge strikes the blow, it is the last, the noblest conspirator, stabbing the fair fame of Shakespeare.

Is it not a reproach to our English taste, that a foreign critic should have entered more deeply into the beauties of Shakespeare than almost any of his countrymen? The admirable Schlegel has descanted on this enchanting drama with the acute perception of the critic, and the divine enthusiasm of the poet; for, unless the influence of the poet be duly felt, the critic labours in vain. Romance had no charms for Johnson; but he might still have found sufficient food for his severer studies in this beautiful play, to redeem its many incongruities of fiction, conduct, and character. The plot of Cymbeline is borrowed from an old story-book, entitled "Westward for Smelts," 4to, 1603. The wager between Posthumus and Iachimo is from the Decameron of Boccaccio; with these are combined some traditionary tales of the ancient Britons, connected with the times of the early Roman emperors; transitions that may well startle the disciples of Aristotle! But, as it has been eloquently said, if the Stagyrite had lived to behold Shakespeare, he would have fallen down and worshipped him.Let the short-sighted censure of his followers melt into thin air.

No female character ever drawn by Shakespeare can compare with Imogen. She is a perfect representation of devotedness and chastity, of innocence and heroism. "Love," to adopt the eloquent language of Professor Richardson, "is the ruling passion; but it is love ratified by wedlock, gentle, constant, and refined." Her courage in resisting the proffered love of Cloten; her self-reproach at having entertained even a momentary suspicion of her lord's infidelity; her resolution to follow him in his banishment; her grief at his unjust aspersions; her supposed death and funeral