'The three last pieces are not only unquestionably Shakespeare's, but in my opinion they deserve to be classed among his best and maturest works. Steevens admits at last, in some degree, that they are Shakespeare's, as well as the others, excepting LOCRINE, but he speaks of all of them with great contempt, as quite worthless productions. This condemnatory sentence is not, however, in the slightest degree convincing, nor is it supported by critical acumen. I should like to see how such a critic would, of his own natural suggestion, have decided on Shakespeare's acknowledged masterpieces, and what he would have thought of praising in them, had the public opinion imposed on him the duty of admiration. THOMAS, LORD CROMWELL, and SIR JOHN OLDCASTLE, are biographical dramas, and models in this species: the first is linked, from its subject, to HENRY THE EIGHTH, and the second to HENRY THE FIFTH. The second part of OLDCASTLE is wanting; I know not whether a copy of the old edition has been discovered in England, or whether it is lost. THE YORKSHIRE TRAGEDY is a tragedy in one act, a dramatized tale of murder: the tragical effect is overpowering, and it is extremely important to see how poetically Shakespeare could handle such a subject. 'There have been still farther ascribed to him: 1st. THE MERRY DEVIL OF EDMONTON, a comedy in one act, printed in Dodsley's old plays. This has certainly some appearances in its favour. It contains a merry landlord, who bears a great similarity to the one in the MERRY WIVES OF WINDSOR. However, at all events, though an ingenious, it is but a hasty sketch. 2nd. THE ACCUSATION OF PARIS. 3rd. THE BIRTH OF MERLIN. 4th. EDWARD THE THIRD. 5th. THE FAIR EMMA. 6th. MUCEDORUS. 7th. ARDEN OF FEVERSHAM. I have never seen any of these, and cannot therefore say anything respecting them. From the passages cited, I am led to conjecture that the subject of MUCEDORUS is the popular story of Valentine and Orson; a beautiful subject which Lope de Vega has also taken for a play. ARDEN OF FEVERSHAM is said to be a tragedy on the story of a man, from whom the poet was descended by the mother's side. If the quality of the piece is not too directly at variance with this claim, the circumstance would afford an additional probability in its favour. For such motives were not foreign to Shakespeare: he treated Henry the Seventh, who bestowed lands on his forefathers for services performed by them, with a visible partiality.