his sentences, and to balance one period against another, as the writer of heroic verse is to keep to lines of ten syllables with similar terminations. He no sooner acknowledges the merits of his author in one line than the periodical revolution in his style carries the weight of his opinion completely over to the side of objection, thus keeping up a perpetual alternation of perfections and absurdities. We do not otherwise know how to account for such assertions as the following: 'In his tragic scenes, there is always something wanting, but his comedy often surpasses expectation or desire. His comedy pleases by the thoughts and the language, and his tragedy, for the greater part, by incident and action. His tragedy seems to be skill, his comedy to be instinct.' Yet after saying that 'his tragedy was skill', he affirms in the next page, 'His declamations or set speeches are commonly cold and weak, for his power was the power of nature: when he endeavoured, like other tragic writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to show how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader.' Poor Shakespeare! Between the charges here brought against him, of want of nature in the first instance, and of want of skill in the second, he could hardly escape being condemned. And again, 'But the admirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, or mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. What he does best, he soon ceases to do. He no sooner begins to move than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.' In all this, our critic seems more bent on maintaining the equilibrium of his style than the consistency or truth of his opinions.--If Dr. Johnson's opinion was right, the following observations on Shakespeare's plays must be greatly exaggerated, if not ridiculous. If he was wrong, what has been said may perhaps account for his being so, without detracting from his ability and judgement in other things. It is proper to add, that the account of the MIDSUMMER NIGHT'S DREAM has appeared in another work. April 15, 1817 CYMBELINE