In the first place we are to observe, that MR. HIGGINS professes to have taken his notion of German plays wholly from the translations which have appeared in our language. If _they_ are totally dissimilar from the originals, Mr. H. may undoubtedly have been led into error; but the fault is in the translators, not in him. That he does not differ widely from the models which he proposed to himself, we have it in our power to prove satisfactorily, and might have done so in our last number, by subjoining to each particular passage of his play the scene in some one or other of the German plays which he had in view when he wrote it. These parallel passages were faithfully pointed out to us by Mr. H. with that candour which marks his character; and if they were suppressed by us (as in truth they were), on our heads be the blame, whatever it may be. Little, indeed, did we think of the imputation which the omission would bring upon Mr. H., as in fact our principal reason for it was the apprehension that, from the extreme closeness of the imitation in most instances, he would lose in praise for invention more than he would gain in credit for fidelity. The meeting between Matilda and Cecilia, for example, in the first act of _The Rovers_, and their sudden intimacy, has been censured as unnatural. Be it so. It is taken, _almost word for word_, from _Stella_, a German (or professedly a German) piece now much in vogue; from which also the catastrophe of MR. HIGGINS’S play is in part borrowed, so far as relates to the agreement to which the ladies come, as the reader will see by and bye, to share Casimere between them. The dinner-scene is copied partly from the published translation of _The Stranger_, and partly from the first scene of _Stella_. The song of Rogero, with which the first act concludes, is admitted on all hands to be in the very first taste; and if no German original is to be found for it, so much the worse for the credit of German literature.