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is that common to pagan mythology. This did not prevent it from being acted at Westminster so late as 1792. There are well-known French and English imitations of it: the 'Amphitryon' of Molière and 'The Two Sosias' of Dryden. It must he said, at least, in favour of the great French dramatist, that the morality in his play is higher than that of the original. 'Amphitryon,' however, has some wit, which is more than can be well said for the 'Menæchmi.' Here, too, it is possible that we have the original of the two Dromios in Shakspeare's comedy. For, as Jupiter has assumed the character and likeness of Amphitryon, so he has directed Mercury to put on the resemblance of Sosia, Amphitryon's body-slave. The scene in which poor Sosia, sent by his master (who has just returned from his campaign) to announce his arrival to his wife Alcmena, is met at the door by his double in the person of Mercury, is very comically drawn. It has the defect of being, at least to our modern taste, somewhat too prolonged, and only a portion of it can be given here. Mercury insists upon it that he is the true and original Sosia, gives the other a drubbing as an impudent impostor, and threatens to give him a worse if he does not at once take himself off. Sosia becomes extremely puzzled as to his own identity when his rival, in reply to his questions, shows an intimate knowledge of all his master's movements during the late campaign, and especially in the matter of a gold cup presented to him out of the spoils, which is secured in a casket under Amphitryon's own seal—which seal, however, this duplicate Sosia can describe perfectly.