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 of the slightest circumstances of life. Thus Lucrece, weighed down by a sense of her shame, after a night of despair, summons a young slave at dawn of day, to dispatch him to the camp with a letter to call her husband home; the slave, being of a timid and simple character, blushes on appearing in the presence of his mistress; but Lucrece, filled with the consciousness of her dishonor, imagines that he blushes at her shame; and, under the influence of the idea that her secret is discovered, she stands trembling and confused before her slave.

One detail in this poem seems to indicate the epoch at which it was written. Lucrece, to while away her grief, stops to contemplate a picture of the siege of Troy; and, in describing it, the poet complacently refers to the effects of perspective:

This is the observation of a man very recently struck with the wonders of art, and a symptom of that poetic surprise which the sight of unknown objects awakens in an imagination capable of being moved thereby. Perhaps we may conclude, from this circumstance, that the poem of “Lucrece” was composed during the early part of Shakspeare’s residence in London.

But whatever may be the date of these two poems, their place among Shakspeare’s works is at a period far more remote from us than any of those which filled up his dramatic career. In this career he marched forward, and drew his age after him; and his weakest essays in dramatic poetry are indicative of the prodigious power which he displayed in his last works. Shakspeare’s true history belongs to the stage alone; after having seen it there, we can not seek for it elsewhere; and Shakspeare himself no