mingled with the lower class of citizens, besieging the avenues of the theatre for hours before the opening of the doors. Animated by this success, Niccolini composed the “Sicilian Vespers,” which is, in fact, a protest in favour of Italy.[1] This drama was received with transports of enthusiasm. The French Secretary of Legation, M. de la Noue, had the folly to complain to the Tuscan government of certain expressions levelled against the French nation. The Austrian Minister laughed at his application, and saw through the artifice. “Vous ne voyez pas,” he said, “que si l’addresse est à vous, le contenu est pour moi.” An interesting and sad incident occurred on the first representation of this play. The mother of Niccolini, an aged woman, insisted on being present—the immense success and triumph of her son were too much for her—she was carried dying out of the theatre, and only survived two days.
The style of Niccolini’s tragedies is looked upon by his countrymen as a perfect model for the romantic drama. It is elevated and yet natural. The poet rises to the height of his argument; his versification is harmonious yet severe—his imagery rich and choice; his tone is majestic, and through
- ↑ In the same manner his tragedy, lately published, “Arnaldo da Brescia,” is a splendid protest against the temporal dominion of the Pope and the abuse of the power of the church.
