celebrated critic has not scrupled to express a doubt as to its genuineness, and to conjecture that it ought to be ascribed to the poet's son Iophon. This conjecture Hermann (Præf.) rejects with great confidence, founded on his long and intimate acquaintance with the poetical character of Sophocles. It would seem however as if his opinion was formed in consideration rather of the particular features of the play, in which he recognizes the mastery's hand, than of the entire composition, which, according to his view of it, is defective in some very important points. The interest, he conceives, is so unfortunately divided between Hercules and Dejanira, that though the fate of the hero was intended by the poet to be the main spring of the spectator's fear and pity, his sympathy is insensibly transferred to the unhappy victim of conjugal affection, who thus becomes in reality the principal personage. Hence when her fate is decided, the spectator's suspense is at an end: the last act appears superfluous; and the sufferings of Hercules, now that the heroine is gone to whom all his vicissitudes had been referred, can no longer excite any deep concern. This defect, Hermann thinks, would have been remedied, if the hero's sufferings had been exhibited in the presence of Dejanira, so as to aggravate her affliction: and he can scarcely understand what could have led Sophocles to neglect an arrangement so clearly preferable to that which he has adopted, unless it may have been the wish to introduce a little variation in the treatment of a somewhat hacknied argument.
To Hermann's judgement on the genuineness of the piece we most cordially assent; but for this very reason we cannot embrace his opinion of its supposed imperfections, and at the risk of being thought superstitious admirers of a great name, we are inclined to infer from his objections to the composition, not that Sophocles was on this occasion either deficient in invention, or willing to sacrifice beauty to the affectation of originality—a species of vanity which his other works afford no ground for imputing to him: but that his design was not exactly such as the critic conceives. It appears to us that in fact Hermann has overlooked one of the most important features of the subject, which, if duly considered, satisfactorily accounts for all that according to his view dis-
