e the battle of Actium--to go on a dangerous
military expedition for Antony. He now requires no oath, at which she
rejoices; for she still loves him, and forgives him for the past. But
she does not reveal herself to him. He misunderstands the joy which she
cannot conceal, as satisfaction at his departure, and charges a faithful
servant to put her to death in case he shall fall. The report of his
death is renewed, but the appointed assassin, revolted at his office,
discloses all to Mariamne. This drives her to despair. She is confident
that her husband will soon return, and determines that he shall be led
to put her to death unjustly. Accordingly she gives a splendid feast, as
she says, to celebrate the death of her husband. He comes and brings her
before a court, not for having rejoiced at his death, but for
infidelity, supposing that to be the only way in which she could have
discovered the secret of the assassin. She is condemned and executed,
but before dying, she reveals the whole mystery to a friend, who
afterwards informs Herod. The king devoured by rage and remorse and
driven to desperation, becomes merciless as a fury. It is at that
moment, that the three wise men from the East arrive, and inform him of
the birth of Christ; whereupon he orders the slaughter of the children.
One of the peculiarities of this tragedy, is the introduction of a
character, who takes no part in the action, but observes and
philosophizes upon it, somewhat after the manner of the old Greek
chorus. This innovation cannot be said to be successful; moreover there
is generally too much philosophizing and moralizing in the piece.

Another new German tragedy is called _Francisco da Rimini_, by Cornelius
Von der Heyse, but we know nothing more respecting it than is
communicated by the publisher's advertisement. The title is promising.

The French dramatists produce more comedies than tragedies. Indeed, in
the weekly notices which for the last few weeks our Parisian papers have
given of the new works brought out at the various theatres of Paris, we
have not observed one tragedy of importance enough for us to remark upon
it. But in the lighter range of comedy, the French playwrights are
unequalled and inexhaustible, as is proved by the constant transfer of
their productions into both the English and German languages. They do
not think it necessary to have a plot of much intricacy, or even of
great interest. The point and brilliancy of the dialogu