Starting with the idea that, above all things, it was his duty to guard against false principles, the hymn of a seraph would probably have jarred upon his ear if composed upon what he supposed to be mistaken rules of art. He regarded Miss Baillie's project of confining the interest of every piece to the development of a single passion as a vicious system, by which her young and promising genius was likely to be cabined and confined; and that if such fallacy in one so well calculated to adorn the field of literature were met with indulgence, the result might be to narrow and degrade it. It seemed to him little better than a return to that barbarism which could unscrupulously extinguish the eyesight, that the hearing might be more acute. His faith was too catholic to brook the sectarian limitations which were involved in the theory she had so boldly propounded. He therefore waged war against the formidable heresy, cruelly, unsparingly; and if with something of the heat and petulance of a boy, yet with an unerring dexterity of aim, and a subtle poignancy of weapon, that could not fail to inflict both pain and injury. Gentler practice would probably have been followed by a better result. It is certain that Miss Baillie was hurt and offended by the uncourteous castigation inflicted on her by her countryman, rather than convinced by it that her notions were wrong. But the time happily came when--with that clairvoyance which, though it may be denied for a season, time and experience of life seldom fail to bestow in full measure upon true genius--these two fine spirits were able to read each other more clearly. A single volume of miscellaneous plays containing two tragedies and a comedy by Miss Baillie's pen, appeared in 1804. These dramas--"Rayner," "The Country Inn," and "Constantine Paleologus"--had been offered singly to the theatres for representation, and been rejected. Though full of eloquence, knowledge of human nature, and tragic power, they were found, like all her plays, deficient in the lifelike movement and activity indispensable to that perfectly successful theatrical effect which, without an experimental acquaintance with the whole nature and artifices of the stage has never been attained to even by the most gifted of pens.