confess that the characters and incidents accord with each other, and that so far the piece is intitled to our approbation. Our objection, indeed, is not to the piece, but to the class of productions to which it belongs. We think, as the ancients delighted to represent only the higher and nobler qualities of the human character, the Germans have taken the opposite extreme, and bring into the broadest light and most prominent exhibition those blemishes of feeling and reason which the ancients judiciously obscured and kept down in shadow. It is this peculiarity of the Germans to which we object. They seem to forget that there is a moral, a police operation, arising from the ties of social life, which renders even the worst men diffident in the disclosure of bad wishes and wicked purposes. They think that the same principle leads those who have the art of pleasing in conversation to adapt the topics of discourse to the humor of the moment with those whom they address, does not rule in the communication of good and evil inclinations. As there are times when the best proposals would seem impertinent to the best men, there are also moments when vice is disgusting even to the most inveterate villain. Accordingly all the great masters of the human mind have uniformly represented bad men as cautiously sounding their way before divulging malignaut desires, and choosing the time and place with solicitude and ingenuity. But the Germans rarely appear sensible of this: they seem to assume that when a character is bad he must always be in a humor for mischief, and upon this erroneous hypothesis they make their villainous characters talk with as much ease and freedom of wicked intentions as if they were not sensible that the state of the mind should be ascertained, or aware that we have intellectual appetites which are subject to satiety. The metaphysical skill which Schiller and his countrymen often display, is frequently deserving of admiration, but the notions which they entertain of the nature of the vicious mind are

founded on ignorance of the world, and appear to us morbid, and incapable of exciting sympathy. It is not the object of the serious drama to represent the imitations of vice so as to excite the same feelings as the real acts, but to give such a representation of the moral effects of evil deeds as will warn us from indulging those propensities which entail calamity. In doing this the mind must be interested, and the judgment so satisfied with the logical arrangement that during the representation or perusal pleasurable emotions shall predominate. The German authors only endeavour to interest the feelings; considering the drama only in its lightest character of an amusement, they seem to think that the judgment sleeps when the imagination is amused.

:

It would afford us sincere pleasure to hear that the author of THE BANDIT had renounced the German school, and composed a drama more within the range of human events. He possesses so much knowledge of the business of the stage, that we are convinced he might compose a successful and much superior piece.

END OF No. III.

CHARACTERS.

DELMORE, whose name was changed in India from Raymond; and who is in love with Alydia.

OLD RAYMOND, an English Merchant, and Grandfather to Delmore.

YOUNG RAYMOND, eldest Brother of Delmore.

SIR ROBERT POSITIVE, a rich general Merchant.
MELVILLE, Agent to Delmore.

PETER HICKUP,

GEORGE BUMPER

Young Raymond's companions.

ALYDIA, Sir Robert Positive's Niece; in love with Delmore.

LADY POSITIVE, Wife of Sir Robert.

MARTHA BLOOM, a Country Young Lady.

MRS. BLOOM, her Mother.

AMELIA, Servant to Lady Positive.

LUCY, Servant to Martha.

MARY HAWTHORN, a Country Young Woman.

A Clergyman, a Lawyer, Sheriffs, Marshalmen, Country Boy, Sailors, Gaolers, Executioner, Servants, and Watchmen.

THE FORGERY;

A Drama.

ACT I.

SCENE I. A Hall in Sir Robert Positive's house.

Loud knocking at the door several times; at last a Servant of Sir Robert enters.

Serv. WHAT hasty knave can this be at the door,

Who knocks as if he meant to wake the dead?

[Opens the door, MELVILLE enters with a SAILOR, who brings a chest.]

Melv. Pray doth Sir Robert Positive live here?

Serv. Thou hast noised as much as if thou wert

Sir Robert.

He doth. What then? Who art thou?

Melv. (to the Sailor.) Here, set down the chest ; and return and bring

The other which I show'd to thee on board.