e 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