like to see how such a critic would, of his own natural suggestion, have decided on Shakespear's acknowledged master-pieces, and what he would have thought of praising in them, had the public opinion not imposed on him the duty of admiration. Thomas, Lord Cromwell, and Sir John Oldcastle, are biographical dramas, and models in this species: the first is linked, from its subject, to Henry the Eighth, and the second to Henry the Fifth. The second part of Oldcastle is wanting; I know not whether a copy of the old edition has been discovered in England, or whether it is lost. The Yorkshire Tragedy is a tragedy in one act, a dramatised tale of murder: the tragical effect is overpowering, and it is extremely important to see how poetically Shakespear could handle such a subject.
"There have been still farther ascribed to him:—1st. The Merry Devil of Edmonton, a comedy in one act, printed in Dodsley's old plays. This has certainly some appearances in its favour. It contains a merry landlord, who bears a great similarity to the one in the Merry Wives of Windsor. However, at all events, though an ingenious, it is but a hasty sketch. 2d. The Accusation of Paris. 3d. The Birth of Merlin. 4th. Edward the Third. 5th. The Fair Emma. 6th. Mucedorus. 7th. Arden of Feversham. I have never seen any of these, and cannot therefore say any thing respecting them. From the
