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2

hat of which we speak is not essential, but incidental; it is an aspect of the form of the book, not an attribute of its inspiration.

By the use of the term dramatic in this connection, let us, in the outset, be understood to have no reference whatever to the theatre and stage-effect, or to the sundry devices whereby the playhouse is made at once popular and intolerable. Nor shall we anticipate any charge of irreverence; since we claim the opportunity and indulge only the license of the painter, who, in the treatment of Scriptural themes, seeks both to embellish the sacred page and to honor his art,--and of the sculptor, and the poet, likewise, each of whom, ranging divine ground, remarks upon the objects there presented according to the law of his profession. As the picturesque, the statuesque, the poetical in the Bible are legitimate studies, so also the dramatic.

But in the premises, is not the term dramatic interdicted,--since it is that which is not the Bible, but which is foreign to the Bible, and even directly contradistinguished therefrom? The drama is representation,--the Bible is fact; the drama is imitation,--the Bible narrative; the one is an embodiment,--the other a substance; the one transcribes the actual by the personal,--the other is a return to the simplest originality; the one exalts its subjects by poetic freedom,--the other adheres to prosaic plainness.

Yet are there not points in which they meet, or in which, for the purposes of this essay, they may be considered as coming together,--that is, admitting of an artistical juxtaposition?

In the first place, to take Shakspeare for a type of the drama, what, we ask, is the distinguishing merit of this great writer? It is his fidelity to Nature. Is not the Bible also equally true to Nature? "It is the praise of Shakspeare," says Dr. Johnson, "that his plays are the mirror of life." Was there ever a more consummate mirror of life than the Bible affords? "Shakspeare copied the manners of the world then pa

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