unsuspected morals, notorious patriotism, and tried Maecenasship, these were the recommendations that influenced the votes of the proprietary subscribers of Drury Lane Theatre, these the motives that occasioned the election of its Supreme Committee of Management. This circumstance alone would have excited a strong interest in the public mind, respecting the first production of the Tragic Muse which had been announced under such auspices, and had passed the ordeal of such judgments: and the tragedy, on which you have requested my judgment, was the work on which the great expectations, justified by so many causes, were doomed at length to settle. But before I enter on the examination of BERTRAM, or THE CASTLE OF ST. ALDOBRAND, I shall interpose a few words, on the phrase German Drama, which I hold to be altogether a misnomer. At the time of Lessing, the German stage, such as it was, appears to have been a flat and servile copy of the French. It was Lessing who first introduced the name and the works of Shakespeare to the admiration of the Germans; and I should not perhaps go too far, if I add, that it was Lessing who first proved to all thinking men, even to Shakespeare’s own countrymen, the true nature of his apparent irregularities. These, he demonstrated, were deviations only from the accidents of the Greek tragedy; and from such accidents as hung a heavy weight on the wings of the Greek poets, and narrowed their flight within the limits of what we may call the heroic opera. He proved, that, in all the essentials of art, no less than in the truth of nature, the Plays of Shakespeare were incomparably more coincident with the principles of Aristotle, than the productions of Corneille and Racine, notwithstanding the boasted regularity of the latter. Under these convictions were Lessing’s own dramatic works composed. Their deficiency is in depth and imagination: their excellence is in the construction of the plot; the good sense of the sentiments; the sobriety of the morals; and the high polish of the diction and dialogue. In short, his dramas are the very antipodes of all those which it has been the fashion of late years at once to abuse and enjoy, under the name of the German drama. Of this latter, Schiller’s ROBBERS was the earliest specimen; the first fruits of his youth, (I had almost said of his boyhood), and as such, the pledge, and promise of no ordinary genius. Only as such, did the maturer judgment of the author tolerate the Play. During his whole life he expressed himself concerning this production with more than needful asperity, as a monster not less offensive to good taste, than to sound morals; and, in his latter years, his indignation at the unwonted popularity of the ROBBERS seduced him into the contrary extremes, viz. a studied feebleness of interest, (as far as the interest was to be derived from incidents and the excitement of curiosity); a diction elaborately metrical; the affectation of rhymes; and the pedantry of the chorus.