"The Merope of Maffei, the Saul of Alfieri, the Aristodemus of Monti, and particularly the poem of Dante, although this last author never composed a tragedy, seem calculated to convey an idea of what the dramatic art might be brought to in Italy. There is in the Merope of Maffei, a great simplicity of action, but the most brilliant poetry, adorned with the happiest images: and why should this poetry be forbidden in dramatic works? The language of poetry is so magnificent in Italy that we should be more censurable than any other nation in renouncing its beauties. Alfieri, wishing to excel in every department of poetry, has, in his Saul, made a most beautiful use of the lyric; and one might with excellent effect introduce music itself into the piece, not so much to harmonise the words, as to calm the frenzy of Saul by the harp of David. So delicious is our music that it may even render us indolent as to intellectual enjoyments. Far therefore from wishing to separate music from the drama, it should be our earnest endeavour to unite them; not in making heroes sing, which destroys all dramatic effect, but in introducing choruses, as the ancients did, or such other musical aid, as may naturally blend with the situations of the piece, as so often happens in real life. So far from retrenching the pleasures of the imagination on the Italian stage, it is my opinion, that we should on the contrary augment and multiply them in every possible manner. The exquisite taste of the Italians for music, and for splendid ballets, is an indication of the power of their imagination, and manifests the necessity of rendering even the most serious subjects interesting to them, instead of heightening their severity as Alfieri has done. The nation conceive it their duty to applaud what is grave and austere; but they soon return to their natural taste; however, tragedy might become highly pleasing to them if it were embellished by the charm and the variety of different kinds of poetry, and with all the divers theatrical attractions which the English and the Spaniards enjoy.
"The Aristodemus of Monti has in it something of the terrible pathos of Dante; and surely this tragedy is very justly one of the most admired. Dante, that great master of various powers, possessed that kind of tragic genius which would have produced the most effect in Italy, if it could in any way be adapted to the stage; for that poet knew how to represent to the eye, what was passing at the bottom of the soul, and his imagination could make grief seen and felt. If Dante had written tragedies, they would have been as striking to children as to men, to the illiterate crowd as to the polished few. Dramatic literature ought to be popular; like some public event, the whole nation ought to judge of it."
"When Dante was living," said Oswald, "the Italians performed a distinguished part in the political drama of Europe. Perhaps it would now be impossible for you to have a national tragic theatre: it would be necessary for the existence of such a theatre, that great events should develop in life those sentiments which are expressed upon the stage. Of all the masterpieces of literature, there is not one which depends so much upon the whole people as tragedy; the spectators contribute to it as much as the author. Dramatic genius is composed of the public mind, of History, of government, of national customs, of everything, in fact, which each day blends itself with thought, and forms the moral being, as the air which we breathe nourishes physical existence. The Spaniards, with whom you have some affinity as to climate and religion, are much superior to you in dramatic genius; their pieces are filled with their history, their chivalry, and their religious faith, and these pieces possess life and originality; but their success, in this respect, dates back to the epoch of their historical glory. How then could it be possible now to establish in Italy, that which it never could boast of—a genuine tragic drama!"
"It is unfortunately possible that you may be in the right," replied Corinne; "however, I hope for greater things from the natural impulse of mind in Italy, and from the individual emulation of my countrymen, even when not favoured by external circumstances; but what we most want in tragedy is actors. Affected words necessarily lead to false declamation; but there is no language in which an actor can display so much talent as in ours; for the melody of sound gives a new charm to truth of accent: it is a continual music which mingles with the expression of feeling without diminishing its vigour." "If you wish," interrupted Prince Castel-Forte, "to convince the company of what you assert, it only remains for you to prove it: yes, allow us to enjoy the inexpressible pleasure of seeing you perform tragedy; you must grant these foreign gentlemen the rare enjoyment of being made acquainted with a talent which you alone in Italy possess; or rather that you alone in the world possess, since the whole of your genius is impressed upon it."
Corinne felt a secret desire to play tragedy before Lord Nelville, and by this means show herself to very great advantage; but she dared not accede to the proposal of Prince Castel-Forte, without that approbation of Oswald, which the looks she cast upon him earnestly entreated. He understood them; and as he was at the same time concerned at that timidity which had the day before prevented the exertion of her talent for improvisation, and ambitious that she should obtain the applause of Mr Edgermond, he joined in the solicitations of her friends. Corinne therefore no longer hesitated. "Well, then," said she, turning to Prince Castel-Forte, "we will accomplish the project which I have so long formed, of playing my own translation of Romeo and Juliet," "Shakespeare's Romeo and Juliet?" cried Mr Edgermond; "you understand English, then?" "Yes," answered Corinne. "And you are fond of Shakespeare!" added Mr Edgermond. "As a friend," replied she; "he was so well acquainted with all the secrets of grief." "And you will perform in Italian," cried Mr Edgermond; "and I shall hear you! And you too, my dear Nelville. Ah, how happy you will be!" Then, repenting immediately this indiscreet word, he blushed: and a blush inspired by delicacy and goodness may be interesting at all periods of life. "How happy we shall be," resumed he, a little embarrassed, "to be present at such a representation!"
FOOTNOTES:
[23] Giovanni Pindemonte, has recently published a collection of Dramas, the subjects of which are taken from Italian history, and this is a very interesting and praiseworthy enterprize. The name of Pindemonte is also rendered illustrious by Hippolito Pindemonte, one of the sweetest and most charming of the present Italian poets.
[24] The posthumous works of Alfieri are just published, in which are to be found many exquisite pieces; but we may conclude from a rather singular Dramatic Essay, which he has written on the Death of Abel, that he himself was conscious that his pieces were too austere, and that on the stage more must be allowed to the pleasures of the imagination.