It would be impossible in the space to which we are necessarily confined, to do justice to Mr. Hudson's powers of analysis and representation, as exercised through the wide variety of the Shaksperian drama. The volumes swarm with strong and striking thoughts on so many suggested topics, that it is difficult to fix upon any particular excellence for especial praise. The first quality which will strike the reader will be the author's opulence of expression and profusion of wit. Analogies with him are as cheap as commonplaces are to other men. He has no hesitation in announcing his analysis in a witticism, and condensing a principle into an epigram. His page often blazes and burns with wit. South, Congreve, and Sheridan are hardly richer in the precious article. In Mr. Hudson, also, the quality has an individual character, and is the racier from its genuineness and from its root in his intellectual constitution. This wit is, perhaps, the leading characteristic of his style, though his diction varies sufficiently with the varying demands of his subjects, and often glides from the tingling concussion of antithesis into the softest music, or rises from sarcastic brevity and stinging emphasis into rich and sonorous amplification. The analysis of Iago, and the analysis of the Weird Sisters, indicate, perhaps, the extremes of his manner. Throughout the volumes, whether the subject be comic or tragic, humorous or sublime, there is never any lack of verbal felicities. These seem to grow spontaneously in the soil of his mind; and there is no American writer whose style is more wholly free from worn and wasted images, phrases, and forms of expression. He is neither mediocre in thought nor expression.