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en to applaud the actions and sentiments of their ancient country; as if those actions and sentiments had any relation to them in their present state. They are amateurs of energy and independence, in the same manner as they are of the fine pictures which adorn their galleries. But it is not less true that Alfieri has by no means created what may be called an Italian theatre; that is to say, tragedies of a merit peculiar to Italy. He has not even characterised the manners of those countries and those centuries which he has painted. His conspiracy of the Pazzi, his Virginia, and his Philip II., are to be admired for elevation and strength of thought; but it is always the character of Alfieri, and not that of peculiar nations and peculiar times, which are to be discovered in them. Although there be no analogy between the French genius and that of Alfieri, they resemble each other in this, that both of them give their own colouring to every subject of which they treat." The Count d' Erfeuil, hearing the French genius called in question, was induced to speak. "It would be impossible for us," said he, "to tolerate upon the stage either the incongruities of the Greeks or the monstrosities of Shakespeare; the French have too pure a taste for that. Our theatre is the model of delicacy and elegance: those are its distinguishing characteristics, and we should plunge ourselves into barbarism by introducing anything foreign amongst us." "That would be like encompassing yourselves with the great wall of China," said Corinne, smiling. "There are certainly many rare beauties in your tragic authors; and perhaps they would admit of new ones, could you bring yourselves to tolerate anything not exactly French on your stage. But as for us Italians, our dramatic genius would be greatly diminished in submitting to the fetters of those laws which we had not the honour of inventing, and from which, consequently, we could derive nothing but their restraint. A theatre ought to be formed upon the imagination, the character, and the custom of a nation. The Italians are passionately fond of the fine arts, of music, painting, and even pantomime: of every thing, in short, that strikes the senses. How then could they be satisfied with the austerity of an eloquent dialogue, as their only theatrical pleasure?[24] Vainly has Alfieri, with all his genius, endeavoured to reduce them to it; he felt himself that his system was too rigorous. "The Merop
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