The other night as I sat before the curtain of the Garden Theatre and waited for it to rise upon the Hamlet of Mme. Bernhardt, a thrill of the rich expectation which cannot fail to precede the rise of any curtain upon any Hamlet passed through my eager frame. There is, indeed, no scene of drama which is of a finer horror (eighteenth-century horror) than that which opens the great tragedy. The sentry pacing up and down upon the platform at Elsinore under the winter night; the greeting between him and the comrade arriving to relieve him, with its hints of the bitter cold; the entrance of Horatio and Marcellus to these before they can part; the mention of the ghost, and, while the soldiers are in the act of protesting it a veridical phantom, the apparition of the ghost, taking the word from their lips and hushing all into a pulseless awe: what could be more simply and sublimely real, more naturally supernatural? What promise of high mystical things to come there is in the mere syllabling of the noble verse, and how it enlarges us from ourselves, for that time at least, to a disembodied unity with the troubled soul whose martyry seems foreboded in the solemn accents! As the many Hamlets on which the curtain had risen in my time passed in long procession through my memory, I seemed to myself so much of their world, and so little of the world that arrogantly calls itself the actual one, that I should hardly have been surprised to find myself one of the less considered persons of the drama who were seen but not heard in its course.