I return to my subject from a digression I cannot repent of. That perfect harmony which ought to subsist among all the constituent parts of a dialogue, is a beauty, not less rare than conspicuous. As to expression in particular, were I to give instances, where, in one or other of the respects above mentioned, it corresponds not precisely to the characters, passions, and sentiments, I might from different authors collect volumes. Following therefore the method laid down in the chapter of sentiments, I shall confine my citations to the grosser errors, which every writer ought to avoid. And, first, of passion expressed in words flowing in an equal course without interruption. In the chapter above cited, Corneille is censured for the impropriety of his sentiments; and here, for the sake of truth, I am obliged to attack him a second time. Were I to give instances from that author of the fault under consideration, I might copy whole tragedies; for he is not less faulty in this particular, than in passing upon us his own thoughts as a spectator, instead of the genuine sentiments of passion. Nor would a comparison betwixt him and Shakespear upon the present point, redound more to his honour, than the former upon the sentiments. Racine here is less incorrect than Corneille, though many degrees inferior to the English author. From Racine I shall gather a few instances. The first shall be the description of the sea-monster in his _Phædra_, given by Theramene the companion of Hippolytus, and an eye-witness to the disaster. Theramene is represented in terrible agitation, which appears from the following passage, so boldly figurative as not to be excused but by violent perturbation of mind. Le ciel avec horreur voit ce monstre sauvage, La terre s’en émeut, l’air en est infecté, Le flot, qui l’apporta, recule epouvanté. Yet Theramene gives a long pompous connected description of this event, dwelling upon every minute circumstance, as if he had been only a cool spectator. A peine nous sortions des portes de Trézene, _&c._ _Act 5. sc. 6._ The last speech of Atalide, in the tragedy of _Bajazet_, of the same author, is a continued discourse, and but a faint representation of the violent passion which forc’d her to put an end to her own life. Enfin, c’en est donc fait, _&c._ _Act 5. sc. last._ Though works, not authors, are the professed subject of this critical undertaking, I am tempted by the present speculation, to transgress once again the limits prescribed, and to venture a cursory reflection upon this justly-celebrated author, That he is always sensible, generally correct, never falls low, maintains a moderate degree of dignity without reaching the sublime, paints delicately the tender passions, but is a stranger to the true language of enthusiastic or fervid passion.