These deductions being premised, we do not hesitate to assert, that the _Venus and Adonis_ contains many passages worthy of the genius of Shakspeare; and that, as a whole, it is superior in poetic fervour to any production of a similar kind by his contemporaries, anterior to 1587. It will be necessary, however, where so much discrepancy of opinion has existed, to substantiate the first of these assertions, by the production of specimens which shall speak for themselves; and as the conduct and moral of the piece have been given up as indefensible, these must, consequently, be confined to a display of its poetic value; of its occasional merit with regard to versification and imagery. In the management of his stanza, Shakspeare has exhibited a more general attention to accuracy of rhythm and harmony of cadence, than was customary in his age; few metrical imperfections, indeed, are discoverable either in this piece, or in any of his minor poems; but we are not limited to this negative praise, being able to select from his first effort instances of positive excellence in the structure of his verse. Of the light and airy elegance which occasionally characterises the composition of his _Venus and Adonis_, the following will be accepted as no inadequate proofs:— "Bid me discourse, I will enchant thine ear, Or, like a fairy, trip upon the green, Or, like a nymph, with long dishevel'd hair, Dance on the sands, and yet no footing seen. * * * * * "If love have lent you twenty thousand tongues, And every tongue more moving than your own, Bewitching like the wanton mermaid's songs, Yet from mine ear the tempting tune is blown." To terminate each stanza with a couplet remarkable for its sweetness, terseness, or strength, is a refinement almost peculiar to modern times; yet Shakspeare has sometimes sought for, and obtained this harmony of close: thus Venus, lamenting the beauty of Nature after the death of Adonis, exclaims, "The flowers are sweet, their colours fresh and trim; But true-sweet beauty liv'd and dy'd with him;" and again, when reproaching the apathy of her companion,— "O learn to love; the lesson is but plain, And, once made perfect, never lost again." Nor are there wanting passages in which energy and force are very skilfully combined with melody and rhythm; of the subsequent extracts, which are truly excellent for their vigorous construction, the lines in Italics present us with the point and cadence of the present day. Venus, endeavouring to excite the affection of Adonis, who is represented ——————— "more lovely than a man, More white and red than doves or roses are," tells him,