nourished, as we so often see in real life, by qualities in her the very reverse; the gradual growth of jealousy from her innocent sportiveness of manner, and the diabolical machinations of Iago; her murder, in a fit of jealousy, by her despairing husband, and his self-sacrifice when the veil was drawn from his eyes,--are all brought forward, if not with the literal strictness of the Greek drama, at least with as much regard to unity of time, place, and action, as is required by its principles. We are well aware that there are many other dramas, and those, perhaps, not less popular, of Shakspeare, in which unity of time and place is entirely set at defiance, and in which the piece ends at the distance of hundreds of miles, sometimes after the lapse of years, from the point whence it commenced. _Macbeth_, _Julius Caesar_, _Richard III._, _Henry V._, _Hamlet_, and many others, are examples of this deviation from former principle, and it is to the universal admiration which they excite that the national partiality for the Romantic drama is to be ascribed. But in all these instances it will be found--and the observation is a most material one--that the real interest is nearly as much centralised as it was in the Greek stage, and that it is on the extraordinary fascination which a few scenes, or _the incidents grouped round a single event_, possess, that the success of the piece depends. The historical tragedies read well, just as a historical romance does, and from the same cause, that they are looked on, not as dramas, but as brilliant passages of history. But this has proved unable to support them on the theatre. One by one they have gradually dropped away from the stage. Some are occasionally revived, from time to time, in order to display the power of a particular actor or actress, but never with any lasting success. Those plays of Shakspeare which alone retain their hold of the theatre, are either those, such as _Romeo and Juliet_, or _As you Like it_, in which the unities are substantially observed, or in which the resplendent brilliancy of a few characters or scenes, within very narrow limits, fixes the attention of the audience so completely as to render comparatively harmless, because unfelt, the distraction produced by the intermixture of farce in the subordinate persons, or the violations of time and place in the structure of the piece. But it is not to every man that the pencil of the Bard of Avon, "Dipp'd in the orient hues of heaven," is given; and the subsequent failure of the Romantic drama, in this and every other country, is mainly to be ascribed to succeeding writers not having possessed his power of fixing, by the splendid colours of genius, the attention of the spectators on a particular part of the piece. Shakspeare disregards the unities in form; but his burning imagination restores their operations in substance.