subordination of amorous gallantry to more dignified and serious emotion.
The strongest family likeness prevails among Alfieri's tragedies. "He is," says Arnold, "a noble-minded, deeply-interesting man, but a monotonous poet." The quality of "narrow elevation" which Arnold finds in Alfieri is indeed most apparent throughout all his plays; but they are not, like so many productions of the classical school, tame and frigid from pedantic over-correctness, nor are they untrue to nature through servile adherence to tradition and convention. Their dignity and nobility of feeling inspire deep respect; the author is evidently akin to the heroes he depicts, and in their place would have been capable of their actions. His genius did not lead him to the imitation of the Greeks; his plays are rather such as a Roman poet might have produced if he could have more completely emancipated himself from Greek models. He aimed at nervous conciseness and attained it. The eloquence which he acquired by a Demosthenic severity of study may be fitter for the forum than the stage, but rarely degenerates into mere rhetoric. His theme is always some grand action derived from history or mythology. His predilection is rather for the heroes of liberty, like Timoleon or the Brutuses. Saul, however, is probably his most successful play upon the whole, though Myrrha may produce the greatest effect when an actress can be found competent for so exceptional a part. Philip the Second inspired Schiller's Don Carlos. Antigone, Orestes, and the Conspiracy of the Pazzi may also be named among Alfieri's most successful pieces.
Alfieri's prose-writings possess no great value, except the Autobiography, which is invaluable alike from the interest of the character depicted and of the events narrated,
