of complimenting our national and Tory prejudices; and coupled with literal or exaggerated portraits of Yankee peculiarities, could hardly fail to please.  The first Essay in the Sketch-book, that on National Antipathies, is the best; but after that, the sterling ore of wit or feeling is gradually spun thinner and thinner, till it fades to the shadow of a shade.  Mr. Irvine is himself, we believe, a most agreeable and deserving man, and has been led into the natural and pardonable error we speak of, by the tempting bait of European popularity, in which he thought there was no more likely method of succeeding than by imitating the style of our standard authors, and giving us credit for the virtues of our forefathers.

[Footnote A:  The description of sports in the forest: 

  “To see the sun to bed and to arise,
  Like some hot amourist with glowing eyes,” &c.]

* * * * *

We should not feel that we had discharged our obligations to truth or friendship, if we were to let this volume go without introducing into it the name of the author of Virginius.  This is the more proper, inasmuch as he is a character by himself, and the only poet now living that is a mere poet.  If we were asked what sort of a man Mr. Knowles is, we could only say, “he is the writer of Virginius.”  His most intimate friends see nothing in him, by which they could trace the work to the author.  The seeds of dramatic genius are contained and fostered in the warmth of the blood that flows in his veins; his heart dictates to his head.  The most unconscious, the most unpretending, the most artless of mortals, he instinctively obeys the impulses of natural feeling, and produces a perfect work of art.  He has hardly read a poem or a play or seen any thing of the world, but he hears the anxious beatings of his own heart, and makes others feel them by the force of sympathy.  Ignorant alike of rules, regardless of models, he follows the steps of truth and simplicity; and strength, proportion, and delicacy are the infallible results.  By thinking of nothing but his subject, he rivets the attention of the audience to it.  All his dialogue tends to action, all his situations form classic groups.  There is no doubt that Virginius is the best acting tragedy that has been produced on the modern stage.  Mr. Knowles himself was a player at one time, and this circumstance has probably enabled him to judge of the picturesque and dramatic effect of his lines, as we think it might have assisted Shakespear.  There is no impertinent display, no flaunting poetry; the writer immediately conceives how a thought would tell if he had to speak it himself.  Mr. Knowles is the first tragic writer of the age; in other respects he is a common man; and divides his time and his affections between his plots and his fishing-tackle, between the Muses’ spring, and those mountain-streams which sparkle like his own eye, that gush out like his own voice at the sight of an old friend.  We have known him almost from a child, and we must say he appears to us the same boy-poet that he ever was.  He has been cradled in song, and rocked in it as in a dream, forgetful of himself and of the world!