play and mobility, that an actor needs. His earthly representative could be but a grand reciter. In the "Persians," not only the theatrical, but the dramatic effect is wanting--it is splendid poetry put into various mouths, but there is no collision of passions, no surprise, no incident, no plot, no rapid dialogue in which words are but the types of emotions. In the "Suppliants" Garrick could have made nothing of Pelasgus. In the "Seven before Thebes" there are not above twenty or thirty lines in the part of Eteocles in which the art of the actor could greatly assist the genius of the poet. In the' trilogy of the "Agamemnon," the "Choephori," and the "Orestes," written in advanced years, we may trace the contagious innovation of Sophocles; but still, even in these tragedies, there is no part so effective in representation as those afforded by the great characters of Sophocles. In the first play the hypocrisy and power of Clytemnestra would, it is true, have partially required and elicited the talents of the player; but Agamemnon himself is but a thing of pageant, and the splendid bursts of Cassandra might have been effectively uttered by a very inferior histrionic artist. In the second play, in the scene between Orestes and his mother, and in the gathering madness of Orestes, the art of the poet would unquestionably task to the uttermost the skill of the performer. But in the last play (the Furies), perhaps the sublimest poem of the three, which opens so grandly with the parricide at the sanctuary, and the Furies sleeping around him, there is not one scene from the beginning to the end in which an eminent actor could exhibit his genius. But when we come to the plays of Sophocles, we feel that a new era in the drama is created; we feel that the artist poet has called into full existence the artist actor. His theatrical effects [375] are tangible, actual--could be represented to-morrow in Paris--in London-- everywhere. We find, therefore, that with Sophocles has passed down to posterity the name of the great actor [376] in his principal plays. And I think the English reader, even in the general analysis and occasional translations with which I have ventured to fill so many pages, will perceive that all the exertions of subtle, delicate, and passionate power, even in a modern actor, would be absolutely requisite to do justice to the characters of Oedipus at Coloneus, Antigone, Electra, and Philoctetes.