circumstances in which it was thought not impossible to improve on the manner in which the German critic has executed this part of his design, were in avoiding an appearance of mysticism in his style, not very attractive to the English reader, and in bringing illustrations from particular passages of the plays themselves, of which Schlegel's work, from the extensiveness of his plan, did not admit. We will at the same time confess, that some little jealousy of the character of the national understanding was not without its share in producing the following undertaking, for "we were piqued" that it should be reserved for a foreign critic to give "reasons for the faith which we English have in Shakespear." Certainly, no writer among ourselves has shewn either the same enthusiastic admiration of his genius, or the same philosophical acuteness in pointing out his characteristic excellences. As we have pretty well exhausted all we had to say upon this subject in the body of the work, we shall here transcribe Schlegel's general account of Shakespear, which is in the following words:—
"Never, perhaps, was there so comprehensive a talent for the delineation of character as Shakespear's. It not only grasps the diversities of rank, sex, and age, down to the dawnings of infancy; not only do the king and the beggar,
