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rapiers at their sides and Spanish phrases in their mouths, pass to and fro in the dress admired by Spanish taste. The rude theatres resound with Spanish allusions. And, were it not for the deadly strife of Englishman and Spaniard on the seas, and the English dread of Spain as the champion of Papal interference, England's Helicon might forget the setting sun of the Italian republics to enjoy the full sunshine of Spanish influences. But now our critic stands in the Whitehall of Charles II., or lounges at Will's Coffee-House, or enters the theatres whose recent restoration cuts to the heart his Puritan friends. Everywhere it is the same. Spanish phrases and manners have been forgotten. At the court, Buckingham and the rest perfume their licentious wit with French bouquet. At Will's, Dryden glorifies the rimed tragedies of Racine; and theatres, gaudy with scenic contrivances unknown to Shakspere, are filled with audiences who in the intervals chatter French criticism, and applaud with equal fervour outrageous indecencies and formal symmetry. Soon the English Boileau will carry the culture of French exotics as far as the English hothouse will allow; soon that scepticism which the refined immorality of the court, the judges, and the Parliament renders fashionable among the few who as yet guide the destinies of the English nation, shall pass from Bolingbroke to Voltaire, and from Voltaire to the Revolutionists. We need not accompany our critic to Weimar, nor seek with him some sources of German influence on England in English antipathies to France and her revolution. He has proved that the history of our country's literature cannot be explained by English causes alone, any more than the origin of the English language or people can be so explained. He has proved that each national literature is a centre towards