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    appearance of what boys term hop-scotch , by som 6 e&peftetteet ! . h'&tid . " Mr Knowles does not need to have this done for hiiri ^ iior is it probable that his plays need it , but that he writes them at onfce on that principle with an actor ' s " eye to ths stagfe . " As a tragic writer we do not think so highly of Mr Kiiowles as the majority of his admirers . The very circum ^ stance that has made his productions so effective on the stage > is one reason , were there no other , to account for ^ rhat we

    must consider a partial failure in delineating powerful pas ^ fciotis with their correlative results . He knows the stage ; the actors ; and—the respectable public . His Prefaces are full of Misgivings and short-comings , and thanks to all sorts of friends for Mining him write . He actually tells you , in the Preface to * Vifgtmus / that he has compromised the tragic principle ( fhat is , passion—and not circumstance or accident—which admits of no final compromise of any kind ) to the

    proprieties of modern society ! Nothing great can come of this ; that it may conduce to considerable success for a certain period , thfcfe can be no doubt . We can very well understand that immediate success is necessary to many an individual ; but this foftns no part of the abstract question . The play of the ' Daughter' is essentially an acting play ; ill its pbetry—and much of this is beautiful—tends directly to stage representation . There is originality in the plot ; but the conduct of it , being well contrived and executed , gives it Stii Appearance of still greater novelty . Its finer dramatic scenes are full of touching pathos ; its melodramatic situations iitd dialogues are fearful and effective . Of the frequent aweetik % M 6 f its poetry wfe could give ample proofs ; a few will Suffice .

    Marian * Absence , that gives to lovers taste of death ! And long protracted makes them wish for death I So Wearisome to Bear t When last you left , So long you stay'd , —life , from a precious gift Became a load methought I could lay down , Nor deem it loss , but gain !—my constant thought ^

    How time did break his promise , day by day , 5 Td bring thee back to met O ! of the sighs ¦ : ¦ I J have heavd in an hour I could have found a tvind , Had I the cunning to make store ofthem ^ i Wov > ld cause thy ship to heel / There have I sat ,

    , ; Froni coming ia to going out of light , yearOjh'd I f ke a lonely beacon , ou the eliff , , \ yatching jfpr thee;—and if I saw a speck I thought thee there—ana , when it passd awayy Tjfm the pangs of parting o er again ' r Ho ^ l 6 ng ^ flt tie away ? - ^^ imdrfc A * ntii . ¦•¦¦• ' : ; ' ' ¦ ¦ ¦ ¦ ¦ ' - ¦ ¦ ¦ ¦ ' ¦ * "Mma ^ is ^ f ^ i ¦ ¦ ¦ ¦ ' ¦

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    ft Dramatic Literature .

• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Feb. 1, 1837, page 74, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1828/page/27/