perusal of the closet than the bustle and animation of the theatre must at once be admitted; but we think nobody can read even a single volume of these remarkable works, without finding in it, besides the good sense, good feeling, and intelligent morality to which her formidable critic is fretted into limiting her claims, abundant proof of that deep and intuitive knowledge of the mystery of man's nature, which can alone fit its possessor for the successful delineation of either wayward passion or noble sacrifice--of skillful and original creative power--of delicate discrimination of character--and of a command of simple, forcible, and eloquent language, that has not often been equaled, and, perhaps, never surpassed. But our limits forbid us to linger, and a mere enumeration of her remaining productions is all they will permit. This is the less to be regretted, that our object is rather to give a sketch, however slight and imperfect, of her long and honored life, than to attempt a studied analysis of works to which the world has long ago done justice. In 1821 were published her "Metrical Legends of Exalted Character," the subjects of which were--"Wallace, the Scottish Chief," "Columbus," and "Lady Griseld Baillie." They are written in irregular verse, avowedly after the manner of Scott, and are among the noblest of her productions. Some fine ballads complete the volume. In 1823 appeared a volume of "Poetical Miscellanies," which had been much talked of beforehand. It included, besides some slight pieces by Mrs. Hemans and Miss Catherine Fanshaw, Scott's fine dramatic sketch of "Macduff's Cross." "The Martyr," a tragedy on religion, appeared in 1826. It was immediately translated into the Cingalese language; and, flattered by the appropriation, Miss Baillie, in 1828, published another tragedy--"The Bride," a story of Ceylon, and dedicated in particular to the Cingalese. Of the three volumes of dramas written many years before, but not published till 1836--though they were eagerly welcomed by the public, and greatly admired as dramatic poems--only two, the tragedies of "Henriquez" and "The Separation," have ever been acted. These, besides many charming songs, sung by our greatest minstrels, and always listened to with delight by the public, and a small volume of "Fugitive Verses," complete the long catalogue of her successful labors. They were collected by herself, and published, with many additions and corrections, in the popular form of one monster volume, only a few weeks before her death.