deliver a prologue entirely in his antiquated language and versification. This power of assuming so foreign a manner is at least no proof of helplessness.
"3. The London Prodigal. If we are not mistaken, Lessing pronounced this piece to be Shakespear's, and wished to bring it on the German stage.
"4. The Puritan; or, the Widow of Watling Street. One of my literary friends, intimately acquainted with Shakespear, was of opinion that the poet must have wished to write a play for once in the style of Ben Jonson, and that in this way we must account for the difference between the present piece and his usual manner. To follow out this idea however would lead to a very nice critical investigation.
"5. Thomas, Lord Cromwell.
"6. Sir John Oldcastle—First Part.
"7. A Yorkshire Tragedy.
"The three last pieces are not only unquestionably Shakespear's, but in my opinion they deserve to be classed among his best and maturest works.—Steevens admits at last, in some degree, that they are Shakespear's, as well as the others, excepting Locrine, but he speaks of all of them with great contempt, as quite worthless productions. This condemnatory sentence is not however in the slightest degree convincing, nor is it supported by critical acumen. I should
