She walks in the light of innocence; in the unclouded sunshine of loveliness and modesty; but her felicity is transient as the calm that precedes the tempest; and in the very whispers of her virtue, you hear the indistinct muttering of the distant thunder. She is conceived in the true master spirit of genius; and in the very instant of her parricide, comes home to our imagination fresh in the spring time of innocence--hallowed in the deepest recesses of melancholy. But notwithstanding all these transcendant qualities, there are numerous passages that warrant our introductory observations respecting the Cockney school, and plunge "full fathom five," into the profoundest depths of the Bathos. While, therefore, we do justice to the abilities of the author, we shall bestow a passing smile or two on his unfortunate Cockney propensities. The following are the principal incidents of the play. Count Cenci, the _dæmon_ of the piece, delighted with the intelligence of the death of two of his sons, recounts at a large assembly, specially invited for the purpose, the circumstances of the dreadful transaction. Lucretia, his wife, Beatrice, his daughter, and the other guests, are of course startled at his transports; but when they hear his awful imprecations, "Oh, thou bright wine whose purple splendor leaps And bubbles gaily in this golden bowl Under the lamp light, as my spirits do, To hear the death of my accursed sons! Could I believe thou wert their mingled blood, Then would I taste thee like a sacrament, And pledge with thee the mighty Devil in Hell, Who, if a father's curses, as men say, Climb with swift wings after their children's souls, And drag them from the very throne of Heaven, Now triumphs in my triumph!--But thou art Superfluous; I have drunken deep of joy And I will taste no other wine tonight--"