As to the machinery of the drama, it is taken from the system of mythology, which prevails to this day, and which it would require a large volume to explain; but we cannot help remarking, that the deities introduced in the Fatal Ring are clearly allegorical personages. Maríchi, the first production of Brahmá or the Creative Power, signifies light, that subtil fluid which was created before its reservoir, the sun, as water was created before the sea; Casyapa, the offspring of Maríchi, seems to be a personification of infinite space, comprehending innumerable worlds; and his children by Aditi, or his active power (unless Aditi mean the primeval day, and Diti, his other wife, the night), are Indra, or the visible firmament, and the twelve Adityas, or suns, presiding over as many months. On the characters and conduct of the play I shall offer no criticism, because I am convinced the tastes of men differ as much as their sentiments and passions; and that in feeling the beauties of art, as in smelling flowers, tasting fruits, viewing prospects, and hearing melody, every individual must be guided by his own sensations and the incommunicable associations of his own ideas. This only I may add, that if Sacontalá should ever be acted in India, where alone it could be acted with perfect knowledge of Indian dresses, manners, and scenery, the piece might easily be reduced to five acts of a moderate length, by throwing the third act into the second, and the
