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cannot bring our observations to a close without briefly noticing the latest writings of L. E. L., viz., those papers published since her death, in the second volume of Mr. Blanchard's interesting memorials. The first of these is her tragedy completed just before her departure from England. This is founded on the character and career of Castruccio Castrucani, the patriot of Lucca. We are not competent to judge of its professional capabilities as an acting drama, though surely, in many of its scenes, it must gratify the taste, and in all its sentiments interest the sympathies, of a worthy British audience. As a work of art, it certainly commands admiration. The fine and well-sustained characters, with the exquisitely-adapted circumstances of action, the dramatic situations and effects, the noble strain of thought, the vigorous expression of that thought, the concentration of interest in Castruccio, and yet the unflagging sympathy attracted by every circumstance connected with him,—each scene in fact bearing upon and linked with the final interest of the whole tragedy;—such characteristics as these must secure its rightful place among the highest dramatic productions of the age. As an intellectual work, it is manifestly superior to many of L. E. L.'s own former poems. Not only is it gemmed with the pearls of fancy, but richly strewn with the cultured harvest of thought. Language, style and sentiment are alike vigorous and impressive. Its moral tone is earnest, truthful, and, in the best sense of the word, high-minded. No petty, mean motives, no selfish, unworthy ends,