one who had devoted many years to the study of our elder poetry--I mean that able critic and accomplished scholar--the late Mr. Gifford. The other and more important characteristics of this work are delicacy of taste, solidity of judgment, vigour and boldness of fancy, and depth and comprehensiveness of understanding. Here we see united, though in a more eminent degree, the acuteness, sagacity, and erudition of Lessing--the high artist-like enthusiasm of Winkelmann--and that exquisite sense of the beautiful, that vigorous, flexible and excursive fancy which made the genius of Herder at home in every region of art, and in every clime of poesy. The intellectual productions of every age and country--the primitive oriental world--classical antiquity--the middle age--and modern times, pass under review, and receive the same impartial attention--the same just appreciation--the same masterly characterization. In a work so full of beauties, it is difficult to make selections--but, were I called upon to point out specimens of succinct criticism, which, for justness and delicacy of discrimination--a poetic soaring of conception--and depth of observation, are unsurpassed, perhaps, in the whole range of literature, I should name the several critiques on Homer--Lucretius--Dante--Calderon--and Cervantes. The part least well done is that which treats of the literature of the last two centuries; but, from the vast multiplicity of details, it was impossible for the author, within his narrow limits, to do full justice to this part of his subject. He has not paid due homage to several of the great writers that adorned the reign of Louis XIV. He drops but one word on Pascal, and passes Mallébranche over in silence; though if ever there were writers deserving the notice of the historian of literature and philosophy, it was surely those two eminent men. In general, Schlegel was too fond of crowding his figures within a narrow canvass--hence many of them could not be placed in a suitable light or position; and several of his heads appear but half-sketched. This is not a mere book of criticism--it is a philosophical work in the widest sense of the word--the genius of the author is ever soaring above his subject--ever springing from the lower world of art, to those high and aerial regions of philosophy still more native to his spirit. To him the beautiful was only the symbol of the divine--hence the tone of earnestness and solemnity which he carries even into æsthetic dissertations. The style too, of this "history of literature" leaves little to be desired. To the lightness, clearness, and elegance of diction which had distinguished Schlegel's earlier productions, was here united a greater richness and copiousness of expression, and a more harmonious fulness and roundness of period. From this time, however, (if an Englishman may presume to offer an opinion on such a subject,) a decline may, I think, be observed in his style.