Orleans_, his character of Thekla, or many other of his pieces, will hesitate to grant. Sometimes we suspect that it is the very grandeur of his general powers which prevents us from exclusively admiring his poetic genius. We are not lulled by the syren song of poetry, because her melodies are blended with the clearer, manlier tones of serious reason, and of honest though exalted feeling. Much laborious discussion has been wasted in defining genius, particularly by the countrymen of Schiller, some of whom have narrowed the conditions of the term so far, as to find but three _men of genius_ since the world was created: Homer, Shakspeare, and Goethe! From such rigid precision, applied to a matter in itself indefinite, there may be an apparent, but there is no real, increase of accuracy. The creative power, the faculty not only of imitating given forms of being, but of imagining and representing new ones, which is here attributed with such distinctness and so sparingly, has been given by nature in complete perfection to no man, nor entirely denied to any. The shades of it cannot be distinguished by so loose a scale as language. A definition of genius which excludes such a mind as Schiller's will scarcely be agreeable to philosophical correctness, and it will tend rather to lower than to exalt the dignity of the word. Possessing all the general mental faculties in their highest degree of strength, an intellect ever active, vast, powerful, far-sighted; an imagination never weary of producing grand or beautiful forms; a heart of the noblest temper, sympathies comprehensive yet ardent, feelings vehement, impetuous, yet full of love and kindliness and tender pity; conscious of the rapid and fervid exercise of all these powers within him, and able farther to present their products refined and harmonised, and 'married to immortal verse,' Schiller may or may not be called a man of genius by his critics; but his mind in either case will remain one of the most enviable which can fall to the share of a mortal.