which it usually displays itself; and far higher and juster views of
the manner in which its manifestations should be represented.

In the _Conspiracy of Fiesco_ we have to admire not only the energetic
animation which the author has infused into all his characters, but
the distinctness with which he has discriminated, without aggravating
them; and the vividness with which he has contrived to depict the
scene where they act and move. The political and personal relations of
the Genoese nobility; the luxurious splendour, the intrigues, the
feuds, and jarring interests, which occupy them, are made visible
before us: we understand and may appreciate the complexities of the
conspiracy; we mingle, as among realities, in the pompous and imposing
movements which lead to the catastrophe. The catastrophe itself is
displayed with peculiar effect. The midnight silence of the sleeping
city, interrupted only by the distant sounds of watchmen, by the low
hoarse murmur of the sea, or the stealthy footsteps and disguised
voice of Fiesco, is conveyed to our imagination by some brief but
graphic touches; we seem to stand in the solitude and deep stillness
of Genoa, awaiting the signal which is to burst so fearfully upon its
slumber. At length the gun is fired; and the wild uproar which ensues
is no less strikingly exhibited. The deeds and sounds of violence,
astonishment and terror; the volleying cannon, the heavy toll of the
alarm-bells, the acclamation of assembled thousands, 'the voice of
Genoa speaking with Fiesco,'--all is made present to us with a force
and clearness, which of itself were enough to show no ordinary power
of close and comprehensive conception, no ordinary skill in arranging
and expressing its results.

But it is not this felicitous delineation of circumstances and visible
scenes that constitutes our principal enjoyment. The faculty of
penetrating through obscurity and confusion, to seize the
characteristic features of an object, abstract or material; of
producing a lively description in the latter case, an accurate and
keen scrutiny in the former, is the essential property of intellect,
and occupies in its best form a high rank in the scale of mental
gifts: but the creative faculty of the poet, and especially of the
dramatic poet, is something superadded to this; it is far rarer, and
occupies a rank far higher. In this particular, _Fiesco_, without
approaching the limits of perfection, yet stands in an elevated rang