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Rh But if this stagnation, or deterioration, grows out cf the very idiosyncrasy of the drama itself, as one of the principal of the imitative arts, how is it possible that a remedy shall be applied—since it is clearly impossible to alter the nature of the art, and yet leave it the art which it now is?

We have already spoken of the improvements effected, in Architecture, in all its utilitarian departments, and in the Drama, at all the points of its mechanism. "Wherever Reason predominates we advance; where mere Feeling or Taste is the guide, we remain as we are." We wish now to suggest that, by the engrafting of Reason upon Feeling and Taste, we shall be able, and thus alone shall be able, to force the modern Drama into the production of any profitable fruit. At present, what is it we do? We are content if, with Feeling and Taste, a dramatist does as other dramatists have done. The most successful of the more immediately modern playwrights has been Sheridan Knowles and to play Sheridan Knowles seems to be the highest ambition of our writers for the stage. Now the author of "The Hunchback," possesses what we are weak enough to term the true "dramatic feeling," and this true dramatic feeling he has manifested in the most preposterous series of imitations of the Elizabethan drama, by which ever mankind were insulted and beguiled. Not only did he adhere to the old plots, the old characters, the old stage conventionalities throughout; but, he went even so far as to persist in the obsolete phraseologies of the Elizabethan period—and just in proportion to his obstinacy and absurdity at all points, did we pretend to like him the better, and pretend to consider him a great dramatist.