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ely, Plot, Character, Diction, Thought, Spectacle, Song. Two of the parts constitute the medium of imitation, one the manner, and three the objects of imitation. And these complete the list. These elements have been employed, we may say, by the poets to a man; in fact, every play contains Spectacular elements as well as Character, Plot, Diction, Song, and Thought.But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life,

To save their fleet their last efforts they try, And stones and darts in mingled tempests fly. As when sharp Boreas blows abroad, and brings The dreary winter on his frozen wings; Beneath the low-hung clouds the sheets of snow Descend, and whiten all the fields below: So fast the darts on either army pour, So down the rampires rolls the rocky shower: Heavy, and thick, resound the batter'd shields, And the deaf echo rattles round the fields. With shame repulsed, with grief and fury driven, The

nd albeit they all leade us with a common accord to despise povertie, and other accidental! crosses, to whichOmnes eodem cogimur, omnium Versatur urna, serius, ocius Sors exitura, et nos in aeternum Exilium impositura cymbae, [Footnote: Hor. I. iii. Od. iii. 25.] All to one place are driv'n, of all Shak't is the lot-pot, where-hence shall Sooner or later drawne lots fall, And to deaths boat for aye enthrall. And by consequence, if she makes us affeard, it is a continual subject of torment, and

kly to do any good. A school would be his death. When he comes tobe a little stronger, who knows what a year or two's Latin may do forhim?HARDCASTLE. Latin for him! A cat and fiddle. No, no; the alehouseand the stable are the only schools he'll ever go to. MRS. HARDCASTLE. Well, we must not snub the poor boy now, for Ibelieve we shan't have him long among us. Anybody that looks in hisface may see he's consumptive. HARDCASTLE. Ay, if growing too fat be one of the symptoms. MRS. HARDCASTLE. He

nglish. In this process Homer must lose at least half his charm, his bright and equable speed, the musical current of that narrative, which, like the river of Egypt, flows from an indiscoverable source, and mirrors the temples and the palaces of unforgotten gods and kings. Without this music of verse, only a half truth about Homer can be told, but then it is that half of the truth which, at this moment, it seems most necessary to tell. This is the half of the truth that the translators who use

ight charmed me. I sat down upon a plough opposite, and sketched with great delight this little picture of brotherly tenderness. I added the neighbouring hedge, the barn-door, and some broken cart-wheels, just as they happened to lie; and I found in about an hour that I had made a very correct and interesting drawing, without putting in the slightest thing of my own. This confirmed me in my resolution of adhering, for the future, entirely to nature. She alone is inexhaustible, and capable of