In giving these opinions of the powers of the stage, need I guard them by saying, that I contemplate a higher spirit than the drama even of Shakspeare has ever displayed--one which, to the vigour of his characters, and the splendours of his poetry, should add a moral of which his time was scarcely conscious? My idea would approach more nearly the objects of the great Greek dramas, in which the first sympathies of the people were appealed to by the most powerful recollections of historic virtue; their national victories over the Persian, the lofty conceptions of their Olympus, the glories of their national power, and the prospects of their imperishable renown. I contemplate nothing of the weakness, locality, or license, of our old drama. I think only of a rich and lofty combination of characters above the level of our time, thoughts belonging to that elevation, feelings more generous, vivid, and majestic, and exploits uniting the soaring spirit of old romance with the sustained strength of modern energy; Greece in her brightest days of intellectual lustre, Rome in her most heroic days of patriotism, and England in those days which are yet to come, and which shall fill up her inheritance of glory. Siddons was then witching the world--witching, in its more solemn sense; for though her smile was exquisite, she might have sat for the picture of a Sybil or a Pythoness. The stage had never seen her equal, and will probably never see another so completely formed to command all its influences. Yet her beauty, her acting, even her movement, were characteristic, and their character was noble melancholy. I never saw so mournful a countenance combined with so much beauty. Her voice, though grand, was melancholy--her step, though superb, was melancholy; her very smile was melancholy; and yet there was so much of living intellect in her expression, such vast variety of passion in her look and gesture; she so deeply awoke the feelings, or so awfully impressed the mind; thus it was impossible to escape the spell, while she moved upon the stage. In this language there is not the slightest exaggeration. I have seen a whole audience burst into tears at a single tone of her voice. Her natural conception was so fine, that the merest commonplace often received a living spirit from her lips. I have seen a single glance from her powerful eye hush an audience--I have seen her acting sometimes even startle and bewilder the actors beside her. There is perhaps a genius for every art, and hers was the genius of the stage--a faculty of instant communication between the speaker and the hearer, some unaccountable sympathy, the power to create which belongs to but one in millions, and which, where it exists, lifts its possessor to the height of the Art at once, and constitutes perfection.