tragedies of Corneille, Racine, or Voltaire: and he has in the structure of his pieces amply made up for his disregard of the dramatic unities, by the infusion of higher beauties, both of sentiment and character, than the French school can boast of. In the enumeration of his later tragedies, we can merely point out the subjects to which his taste and opinions naturally led him. In 1800 he attained the summit of his dramatic reputation by Maria Stuart. This tragedy exhibits, not the early and guilty love, but the late sufferings and death of the Queen of Scots. The author, as becomes the poet, takes no part in the controversies which her ambiguous character has produced. With an allowable departure from historic truth, he brings together the rival queens, and succeeds in rendering Mary an object of admiration and pity, and Elizabeth, not of disgust. He finely opposes the heroic enthusiasm of the youthful Mortimer to the flagitious wiles of the practised courtier Leicester, and avails himself of the most solemn rite of the Roman Catholic church to enhance the picturesque effect, and clothe poetically the religious feeling that adorns and sanctifies the character of the heroine. In 1801 he produced the most poetical of his historic dramas, the Jungfrau von Orleans. It was reserved for a German to render due honour to the most romantic of French heroines, who was degraded, perhaps, by Shakspeare. The unworthy caricature which passes under his name at least, only shows the virulence of national prejudices. Joan of Arc has been not only shut out from the temple of Fame erected in her own country, but her name has been polluted by the impurities so vilely cast on it by Voltaire: while French literature has only its infamous _Pucelle_, the German stage has its _Virgin_ of Orleans. In this romantic play, Schiller has poured a richer stream of poetry over the camp and military glory than in his Wallenstein; and has exquisitely contrasted with the sacred virago, the frail, tender, most lovely, and admirable Agnes Sorel. In 1803 appeared the Braut von Messina, a lyrical play, in which the author has introduced not only a chorus, but other prominent ingredients of the Grecian tragedy, oracles, dreams, an overwhelming fate, and a Nemesis, whose vengeance falls alike on the evil and good; by means of which pity and terror are excited. The odes are splendid, but the dramatic effect on the stage is weak.