The unity of plan in Iphigenia is perfect. There is one pervading idea. The purity of Iphigenia's mind must be kept unsullied, that she may be a fit intercessor to the gods in behalf of her polluted family. Goethe, in his travels through Italy, saw a picture of a youthful Christian saint--Agatha, we think; struck by the radiant purity of her expression, he resolved his heathen priestess should not have one thought which could revolt the saint of the true religion. This idea is wonderfully preserved throughout a drama so classic in its coloring and manners. The happiest development of character, an interest in the denouement which is only so far tempered by our trust in the lovely heroine, as to permit us to enjoy all the minuter beauties on our way, (this the breathless interest of Alfieri's dramas hardly allows, on a fourth or fifth reading,) exquisite descriptive touches, and expressions of sentiment, unequalled softness and harmony of style, distinguish a drama not to be surpassed in its own department. Torquato Tasso[17] is of inferior general, but greater particular beauty. The two worldly, the two higher characters, with that of Alphonso halting between, are shaded with equal delicacy and distinctness. The inward-turning imagination of the ill-fated bard, and the fantastic tricks it plays with life, are painted as only a poet's soul of equal depth, of greater versatility, could have painted them. In analysis of the passions, and eloquent descriptions of their more hidden workings, some parts may vie with Rousseau; while several effusions of feeling are worthy of Tasso's own lyre, with its "breaking heartstring's tone." The conduct of the piece being in perfect accordance with the plan, gives the satisfaction we have mentioned in speaking of Raphael's Madonna.