Such are the prominent defects of the work; but there is, notwithstanding, such a redeeming spirit in the author's genius, that they are passed over by a great body of readers, not only without censure, but almost without notice.

MADEMOISELLE DE LA FAYETTE, OR THE AGE OF LOUIS XIII. BY MADAME DE GENLIS.

(Translated from the Parisian Literary Journal.)

Or this new historical romance of madame de Genlis it is no ordinary penegyric to say, that it abounds with the same beauties as distinguish her other two romances, entitled Madame de Maintenon and Madame de Lavalliere.

Our author has, in this new work, drawn, with all the truth of history and in colours as delicate as they are energetic, the characters of the principal personages of the court of Louis thirteen. Amongst this assemblage are those of Anne of Austria, the cardinal Richelieu, and the duke de Roquelaure. Madame de Genlis has given the character of Louis himself with the strictest adherence to truth, while she has not forgot to notice that hardy valour which marked his conduct on all occasions; his great repugnance personally to interfere in any way with the internal concerns of his kingdom; his unfortunate diffidence of his own abilities; and finally, his unwillingness to throw off the yoke imposed on him by his mi nisters and favourites, although he at the same time bore it with the greatest impatience. She may however be reproached for having essentially altered his character in one respect-in allowing him to possess, at different periods of the story, an impassioned sensibility. We cannot imagine a prince to be possessed of much sensibility, who, at the moment of the execution of his grand ocuyer, Cinq Mars, the most beloved of his favourites, and who was condemned to death for a conspiracy against a minister whom he detested, takes out his watch, and very coolly observes, "my dear friend must make a sad figure at this moment." For the delineation of the character of mademoiselle de la Fayette, the memoirs of that day furnish but few materials; and to make up this deficiency, it appears to us that our author has borrowed some traits from the

characters both of Agnes de Lovel and of madam de Lavalliere. From the first she has borrowed that constant resolution which mademoiselle de la Fayette always maintains, of never using her ascendancy over the mind of the king but for the purpose of inspiring him with sentiments of generosity-from the second, that attachment which she supposes her to feel for this prince on account of his personal qualities, regardless of his rank. The style of this new romance of madam de Genlis, like that of all her other productions, is distinguished for a happy blending of nature with an exquisite elegance of taste.

C.

FOR THE PORT FOLIO.

ANSWER TO STRICTURES ON INSTINCTIVE IMPULSES.

MR. OLDSCHOOL,

YOUR liberal, learned, and ingenious correspondent, in his observations on my pamphlet (claiming attention to instinctive impulses) pays me, with much politeness, a compliment on my selfexamination, which I am conscious of not meriting. That I had frequently done wrong, and that I abhorred wrong, were facts so undeniable, that I was led to examine the causes of this inconsistency. The Roman made a similar observation when he wrote "Video meliora proboque deteriora sequor"-the right I approve and yet the wrong pursue. This led me to distinguish between the animal and moral man, or rather to ascertain that when animal propensities tend to the violation of others' rights, moral impulses are given to restrain from injuring others.

Men being endowed with more power and intelligence than other animated beings, would be terrific monsters if instinctively fond of rapine and assassination, and the human race would soon become extinct. It will give me great pleasure to defend myself, and now and then to assail so generous and so polite a combatant. Discussion promotes truth, as collision elicits light.

That I am desirous of obtaining the approbation of my female readers I acknowledge, for I am a man; but flattery and deception

I reprobate, My motives were expressly stated to raise woman in her own estimation, and to view her infant pledge of mutual love as not merely innocent, but as destined by her maternal care to disclose those amiable propensities which God has implanted in us, to enlarge the sociability and happiness of nations. I concluded my first pamphlet by saying, "my object has been so to simplify metaphysics, hitherto an abstruse science, and so to blend entertainment with it, that woman, to whom man owes his being, and to whom Providence has given peculiar tenderness and sensibility, as man is entrusted to her care and tuition for many years, when impressions have greatest influence; that woman, destined to augment every enjoyment and to participate every care, and to walk hand in hand with him through life, may cultivate all his instinctive impulses, and restrain all his excesses, till he becomes worthy of so amiable a being."

Lest it should be supposed that I attribute, peculiarly, sensibility to woman without authority, permit me to refer you to Richerand's New Elements of Physiology, who states that females' nerves are larger and softer, in proportion to their size, than those of men.

I wait for your next number, Mr. Oldschool, and I can assure your correspondent that I will cheerfully correct any error, and acknowledge myself wiser by his instruction than I was before, whenever truth causes conviction. ASIATICUS.

FOR THE PORT FOLIO.

CONSIDERATIONS ON THE CHARACTER OF LADY MACBETH.

THE universality and antiquity of any opinion, afford an argument so potent in favour of its truth, that to attack it is an attempt at once difficult and thankless. Those matters which the wise among mankind have passed upon, are generally considered as put at rest, and endeavours at reversing a decision of the judges are accounted presumptuous and irreverend. This acquiescence in those who have gone before us is suited to the nature of a being

like man, so mentally as well as physically dependent. It is analogous to his nature in another point of view, as proceeding from the same associations which attach sacredness to the groves of antiquity and the sepulchres of our fathers. If the ashes of sages deserve and receive our veneration, surely opinions, the immortal part of those sages, which once informed and now survive those ashes, are doubly deserving to be owned and hallowed. All this appears but fitting and commendable; yet that such deference may be carried too far must be acknowledged on the recollection that without some departure from it, no reformation could ever have been effected either in literature or religion-a reflection which it is hoped will secure the ensuing remarks from the imputation of disrespect or temerity.

The tragedy of " Macbeth," besides the individual who gives a name to the play, presents to our view another as the accomplice, or as some have it, the instigator of his guilt. This personage is no other than his wife. She is considered by many as the principal figure in the piece, and by a remarkable concurrence of opinion, all commentators on this author represent her as a combination of cruelty-a species of female demona monster * of the poet's own creation. So far has this proceeded, that Macbeth, all bloody as he is, excites in us something like compassion; while his lady has to bear the double detestation due to her own sins and those of her lord. It may be well to endeavour at discovering the cause of this procedure, apparently so unchivalrous, not to say unjust. It may perhaps be found where we should least expect iteven in the natural excess of those romantic and poetical conceptions of the female character: whence a far less degree of guilt, where we expected only impeccable purity, will excite more odium than the most flagrant wickedness in the other sex. The fall of angels is a matter of record and faith; yet the fall of that better half of a race, "a little lower than the angels," startles us as unexpected, and revolts us as unnatural. In the representation of dramatic poetry especially, where the wonderful agency of sight and sound, and scenic decoration are all employed to heighten the ef fect, which we come to witness with minds preoccupied with those visionary notions of female perfectibility, it is no wonder if the

* Steevens.

rage of disappointment prevents our holding the balance with a steady hand. But in the closet, where the judgment is less subject to the senses, and where woman is calmly looked on as sharing the same mortal nature-liable to like temptations, and sometimes gifted with similar passions as man; where her character, thus appreciated, if it lose in some respects, gains in others, receiving neither exaggerated encomium on the one hand, nor hyperbolical denunciation on the other; but in short, is considered merely as a human being, deserving no more reproach than would attach to the same crimes in the stronger sex. Where this is the case, the decision of critics on the character of lady Macbeth, appears to us utterly unaccountable.

That this decision does not conform to the intention of the author, seems to be inferred from the general plan of his tragedy, as well as from particular passages. He would else have represented lady Macbeth as a leader, rather than an associate in wickedness. Had this been the design, it had also been fitting that those weird sisters, who are supposed gifted with a portion of omniscience to penetrate the purpose and ascertain the character, would have made her the first object of their mystic salutation; instead of which they selected Macbeth, whose conduct indeed throughout the piece abundantly justified their choice. She appears wholly unacquainted with the daring destiny of her husband, till apprised of it by his letter. This letter naturally brings on the soliloquy, in which the deed requisite for fulfilling the prophecy, and the nature of her husband for attempting such a deed, are subjects of speculation. The dialogue between them immediately preceding the arrival and death of Duncan, might at first glance indeed seem to imply that she was the mover of the act.

"Macbeth, My dearest love,

Duncan comes here to-night!

Lady M. And when goes hence?

Mach. To-morrow, as he purposes.

Lady M. Never shall sun that morrow see."

But on a more deliberate perusal, and especially to all who recollect the acting of the late Mr. Cooke in the part of Macbeth, the words

"Duncan comes here to-night!"