e
of excellence. The characters, on the whole, are imagined and
portrayed with great impressiveness and vigour. Traces of old faults
are indeed still to be discovered: there still seems a want of pliancy
about the genius of the author; a stiffness and heaviness in his
motions. His sublimity is not to be questioned; but it does not always
disdain the aid of rude contrasts and mere theatrical effect. He
paints in colours deep and glowing, but without sufficient skill to
blend them delicately: he amplifies nature more than purifies it; he
omits, but does not well conceal the omission. _Fiesco_ has not the
complete charm of a true though embellished resemblance to reality;
its attraction rather lies in a kind of colossal magnitude, which
requires it, if seen to advantage, to be viewed from a distance. Yet
the prevailing qualities of the piece do more than make us pardon such
defects. If the dramatic imitation is not always entirely successful,
it is never very distant from success; and a constant flow of powerful
thought and sentiment counteracts, or prevents us from noticing, the
failure. We find evidence of great philosophic penetration, great
resources of invention, directed by a skilful study of history and
men; and everywhere a bold grandeur of feeling and imagery gives life
to what study has combined. The chief incidents have a dazzling
magnificence; the chief characters, an aspect of majesty and force
which corresponds to it. Fervour of heart, capaciousness of intellect
and imagination, present themselves on all sides: the general effect
is powerful and exalting.

Fiesco himself is a personage at once probable and tragically
interesting. The luxurious dissipation, in which he veils his daring
projects, softens the rudeness of that strength which it half
conceals. His immeasurable pride expands itself not only into a
disdain of subjection, but also into the most lofty acts of
magnanimity: his blind confidence in fortune seems almost warranted by
the resources which he finds in his own fearlessness and imperturbable
presence of mind. His ambition participates in the nobleness of his
other qualities; he is less anxious that his rivals should yield to
him in power than in generosity and greatness of character, attributes
of which power is with him but the symbol and the fit employment.
Ambition in Fiesco is indeed the common wish of every mind to diffuse
its individual influence, to see its own activity reflected back f