ment, and preparing the ill-starred revolution of 1820-21. The first number of the “Conciliatore” was published Thursday, 3rd September, 1818—it came to an end in 1820. From its birth the Austrian government had decreed its extinction; but its short life was yet glorious, since it excited the public mind to free discussion, and gave an impetus to letters.
Manzoni rose into notice as the poet of this party. His sacred hymns and his tragedy of “Carmagnola” appeared at the time when the literary war raged hottest. His poems were received with enthusiasm. “Carmagnola” and “Adelchi” were hailed as national and romantic dramas; their fame spread into Germany and France. Goëthe speaks of them as making “a serious and profound impression, such as great pictures of human nature must always create.” “Let the poet,” he says, “continue to disdain the feeble and vulgar portions of human passion, and attempt only such high arguments as excite deep and generous emotions.”
To us these tragedies appear, though eminently beautiful as poems, to be failures as dramas. It is not enough that passions and events are developed, we desire character also: they have not succeeded even on the Italian stage, on which several of Alfieri’s have kept their place. In the “Carmagnola” the audience are at a loss on whom to expend their
