Of the plot of the "Tragedy of Errors" we have only space to say that the writer has cut a channel for very delicate verses through the heart of a Southern plantation. Here, at length, seems to be one of those thoroughly national subjects for which critics have long been clamorous. The deepest passion is expressed without touching the tawdry properties of the "intense" school of poetry. The language passes from the ease of perfect simplicity to the conciseness of power, while the relation of emotion to character is admirably preserved. The moral--which, let us observe in passing, is decently covered with artistic beauty--relates, not to the most obvious, but to the most dangerous mischiefs of Slavery. Indeed, the story is only saved from being too painful by a fine appreciation of the medicinal quality of all wretchedness that the writer everywhere displays. In the First Part, the nice intelligence shown in the rough contrast between Hermann and Stanley, and in the finished contrast between Alice and Helen, will claim the reader's attention. The sketches of American life and tendencies, both Northern and Southern, are given with discrimination and truth. The dying scene, which closes the First Part, seems to us nobly wrought. The "death-bed hymn" of the slaves sounds a pathetic wail over an abortive life shivering on the brink of the Unknown. In the Second Part we find less of the color and music of a poem, and more of the rapid movement of a drama. The doom of Slavery upon the master now comes into full relief. The characters of Herbert and his father are favorable specimens of well-meaning, even honorable, Southern gentlemen,--only not endowed with such exceptional moral heroism as to offer the pride of life to be crushed before hideous laws. The connection between lyric and tragic power is shown in the "Tragedy of Errors." The songs and chants of the slaves mingle with the higher dialogue like the chorus of the Greek stage; they mediate with gentle authority between the worlds of natural feeling and barbarous usage. Let us also say that the _sentiment_ throughout this drama is sound and sweet; for it is that mature sentiment, born again of discipline, which is the pledge of fidelity to the highest business of life.