per episodes, and give it complication and variety. The catastrophe is changed, and horror gives place to terror and pity. But, after all, the fable is cold and languid. There is not, throughout the piece, a single situation to excite curiosity, and raise a conflict of passions. The diction is nervous, rich, and elegant; but splendid language, and melodious numbers, will make a fine poem—not a tragedy. The sentiments are beautiful, always happily expressed, but seldom appropriated to the character, and generally too philosophic. What Johnson has said of the Tragedy of Cato, may be applied to Irene: "It is rather a poem in dialogue than a drama; rather a succession of just sentiments, in elegant language, than a representation of natural affections. Nothing excites or assuages emotion. The events are expected without solicitude, and are remembered without joy or sorrow. Of the agents we have no care; we consider not what they are doing, nor what they are suffering; we wish only to know, what they have to say. It is unaffecting elegance, and chill philosophy." The following speech, in the mouth of a Turk, who is supposed to have
heard
