ays should, be distinguishable from prose
by proper modulations of the voice, which a listener with a nice
ear and a cultivated taste could not mistake, nor, if confounded,
detect in their respective recitals: else Milton as well as
Shakspeare has toiled to little purpose in the best-proportioned
numbers.'

The criticism on Forrest is throughout judicious, and, though frequently
severe, is still very kindly written when we consider the 'capacities'
of the subject.

As regards Mr. Hackett's views of readings, we detect in them a little
of that tendency to excessive accentuation, and that disposition to
'make a hit' or a sensation in every sentence which renders most, or
all, Shaksperean or tragic acting so harsh and strained, and which has
made the word 'theatrical' in ordinary conversation synonymous with
'unnatural.' Something of this is reflected in the enormous amount of
needless italicizing with which the typography of the book is afflicted,
and which we trust will be amended in future editions. We cheerfully
pardon Mr. Hackett for sounding his own praises--sometimes rather loudly
and frequently, as in the republication of a sketch of himself--since,
after all, we thereby gain a more accurate idea of a favorite actor, who
has for thirty-six years pleased the public, and gained in that long
time the character of a conscientious artist who has always striven to
improve himself.

To one thing, however, we decidedly object--the questionable taste
displayed by the author in answering in type criticisms of his acting,
and in republishing them in his work. We can well imagine the temptation
to be great, but to yield to it is not creditable to a good artist. With
this little exception, we cordially commend the work to all readers.

DEVOTIONAL POEMS. By R. T. CONRAD. Philadelphia: J. B. Lippincott &
Co. 1862.

The late Judge Conrad left a number of religious poems, which
fortunately fell into the hands of those who appreciated their merit,
and we now have them in volume, with an introductory poem to the widow
of the deceased and a preface by George H. Boker, to whom the editing of
the present volume was committed. These lyrics, as we infer, were
written in the spirit of private devotion, and are therefore gifted with
the greatest merit which can possibly inspire religious writing--we mean
deep sincerity. But apart from the _spirit_,--the _sine qua non_,--the
beauty of the form of th