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Rh talents or literary knowledge (though there are in this country many of that decription, who profes to earch for German dramas) has thought it worth employment to make a tranlation of the work. I can only account for uch an apparent neglect of Kotzebue’s “Child of Love,” by the conideration of its original unfitnes for an Englih tage, and the difficulty of making it otherwie—a difficulty which once appeared o formidable, that I eriouly thought I mut have declined it even after I had proceeded ome length in the undertaking.

Independently of objections to the character of the Count, the dangerous inignificance of the Butler, in the original, embarraed me much. I found, if he was retained in the Dramatis Peronæ, omething more mut be upplied than the author had aigned him: I uggeted the veres I have introduced; but not being bleed with the Butler’s happy art of rhyming, I am indebted for them, except the eventh and eleventh tanzas in the firt of his poetic tories, to the author of the prologue.

The part of Amelia has been a very particular object of my olictude and alteration: the ame ituations which the author gave her remain, but almot all the dialogue of the character I have changed: the forward and unequivocal manner in which he announces her affection to her lover, in the original, would have been revolting to an Englih audience: the paion of love, repreented on the tage, is certain to be inipid or diguting, unles it creates miles or tears: Amelia’s love, by Kotzebue, is indelicately blunt, and yet void of mirth or adnes: I have endeavoured to attach the attention and ympathy of the audience by whimical ininuations, rather than coare