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Of her the secret rare might get,
To cross their genuine destination.' The essence which makes coalescence; the rare secret by which different kinds amalgamate ; the new metempsychofes, of forms taking other forms upon them in the eisoleric obscurity of a Pythagoric room, and becoming the very things which nature meant, without ftriving to cross their genuine destination, are curious discoveries in experimental philosophy, and rank Mrs. Vesey with the first chemists of the age. But these hidden mysteries are only for the initiated. Procul, procul este profani.
• But sparks electric only strike
On souls electrical alike;
To him who is not of the trade.' After this trade is learned, adds Miss Moore, at the fign of the blue-stocking,
• What lively pleasure to divine
And trace the image to its fource,' The reader will observe that these delicate allufions are easier understood, than isosceles and parallel geometry, and have none of that turn and equivoque, which infected the hotel of Rambouillet. The powerful spell which works all these miracles is thus described.
• Ak you what charms this gift dispense?
'Tis the strong spell of common senfe.' In the first of these poems, good nature is reprefented as the chief qualification of the heroine ; and in the second, common Tense is the characteristic of the sisters of the blue-stocking.
It is lhrewdly said by Voltaire, that it is equally an insult to fay concerning a person that he has common sense, or that he wants it; the same observation applies to good nature, for
mere good nature is a fool *."
Upon the whole, if Mifs More has not added much to her own fame by these poems, she has highly contributed to the entertainment and good humour of the public,
Art. VII. The Captives, a Tragedy; as performed' at the Theatre Royal,
Drury Lane. By the Autior of the Royal Suppliants. is, 6d. Cadell, London.
N an advertisement prefixed to this tragedy, the author in.
forms us that it was his intention, throughout his piece, “ to make experiment of a stile and diction different from *6 what are usual in modern tragedy. Overwrought orna« ments, and pompous versification, he thought ill-suited to " the manners of those early times in which the action of his
tragedy is supposed to have passed. In a word, he was of
opinion that the language of fimplicity would best accord 66 with the subject and the characters: but whether a plain, * intelligible, and unaffected stile would be acceptable to the " public taste was what he had dill to learn.”-Such was the plan of this writer, which, if he had executed properly, he would have had no occasion to arraign the taste of the public. The language of fimplicity, substituted instead of overwrought ornaments and pompous versification, if dictated by a knowledge of nature, and animated by the fire of true poetry, can never fail to produce the highest and most striking effects. But if a writer be posseffed of no real genius ; if he be incapable of expressing himself with folidity, purity, and brilliancy of imagination; his fimplicity will not prevent him from being infipid, nor protect him from contempt. Whether these observations be applicable or not to the present tragedy, our readers from the following extracts will be able to determine.
Malvina and Erragon, her husband, are prisoners at the court of Gonnal, who reigns over the northern part of Caledonia, He is enraptured with Malvina ; and, ignorant of her connection with Erragon, prevails on him to persuade her that her husband is dead. By a mistake of Malvina he is discovered, and the tyrant exclaims • Connnal.
Connal fhall make thy haughty spirit shrink.
Search, with thy sharpeft eye, if thou can't see
Shall thunder in thy ears. -Restore my wife !
And dash these desperate chains!' Though no situation can be more interesting, and more worthy of veneration, than that of a man who supports a dignified fortitude of mind amidst surrounding danger and distress ; yet, to represent a prisoner as throwing his chains at an armed tyrant, encompassed by his guards, is surely too ridiculous a picture for the most common understanding to exhibit.-Yet the answer of Connal is quite equal to it in absurdity. Fearful of having his head broken by the chains, he cries out
• Connal. On thy first motion
Or we'll together die.
Malvina. He is my husband !_dread the bursting bolt ! (This bursting bolt the author no doubt intends as an instance of his plain, intelligible, and unaffected stile.)
• Connal. Villain's, beware!' (Great care undoutedly was necessary to prevent a man loaded with chains and his wife from running away or clinging too clofely for separation to each other, especially as there was only a few armed men to watch them.)
· Malwina. Yęt dearest Erragon!
My liie's in my own power,
With ftridteft guard,
We foon shall meet, my love, in yonder clouds,
Exit guarded. If our author was guilty of a small error in making Erragon too rash, he has recompensed it by converting Malvina into a complete philosopher. She becomes not only all at once recon'ciled to her husband's fate, but she makes an appointment with him in the clouds, with the same composure as if they were only to meet at breakfast.-But, left we should appear partial by too minute a criticism, we will present our readers with the laft scene without any comment. From this they will be able to conclude what claim the author has to call in question the taste of the audience, for condemning this effort of his ge
• SCENE, a grave
by the river fade;
Breathe vital warmth into his clay-cold breast?
Enter Everallin, Hidallan, Minla, &c.
At this dread hour, Thall I address thy woes,
Whate'er my power can give.
But, like some monumental image fixed,
-Ah, what a figh'
May more relief afford her, than our vain
(Still looking at the body.
These bloody marks of murder!
affift! Malvina. Then his ftrained eye. balls
Started not from their spheres! Look there ! look there !
How .clotted! how congealed ! Everallin. Nature must fail
In such conflicting transports.
Or was't illusion ! Once, my Erragon,
What would ye weep for :-Safe the flumberer lies,
[Takes bis fword.
[She faints. Everallin. Haste, affift!
She faints, poor maiu: de.irous, even in death,
'Mid kindred spirits of the great and good. [Exeunt. The prologue is a poor attempt at falfe wit.' The epilogue has considerable merit. In it the newspapers are considered as fea-monsters, who swallow up dramatic adventurers with a merciless rapacity. It was rather unfortunate that such an epilogue should be connected with fo exemplary a victim as the present tragedy.
ART. VIII. The Law's Disposal of a person's Eftate, who dies without
Will or Teftament ; Sewing in a plain, clear, cafy, and familiar manner, how a Man's Family or Relations will be entitled to his real and Personal Estate, by the Laws of England, and the Customs of the City of London and Province of York. The second Edition,
reviled, corrected, enlarged, and improved. To wbich is added, the Disposal of a Person's Erate by Will and Testament ; containing Inflructions and neceffary Forms for every Person to make, alter, and re-publish his own Will. Likewise, Direčtions for Executors how to act after the Teftator's Death, with respect to proving bis Will, getting in the Effects, and paying Debts and Legacies. By Peter Lovelass of the Inner Temple, Gentleman,
8vo, 35. 6d. sewed. Uriel, 1786. London. FROM all the venerable pile of law learning, there would not be a more useful selection than the doctrine respecting