Page:Rambles in Germany and Italy in 1840, 1842, and 1843 - Volume 2.djvu/213

sympathy. A vague and uncertain tone keeps us in suspense—not that suspense arising from the mingled blame and admiration excited by the hero, which is the true foundation of dramatic interest, but caused by a sense that the writer has no determined object. The “Adelchi” is, in parts, more interesting; but even in that we find no real hero. Our sympathy is most excited by Ermengarda; but she is entirely episodical. These tragedies, however, breathe a spirit that renders them dear to every Italian. They have for their subject national events, which are treated in a powerful and original manner. Alfieri makes his Lombard princesses express themselves like Grecian heroines: Manzoni imbues himself with the spirit of the times; and his personages speak and feel in his dramas, as his creative imagination taught him that they did during life. More particularly this is found in the “Adelchi,” where the veil is for the first time lifted from the intrigues of the Popes, who contrived the overthrow of the Longo Bardi, and the successful invasion of Charlemagne, not in the interests of Christianity, but in that of their own temporal power; and the vain struggle of the falling Lombards, with the insolence of the invader and the hypocrisy of the priest, is finely drawn. It is his odes, however, that give high rank to Manzoni as a