nion of a piece, which has excited so much attention in Italy. The first act opens in Venice, in the hall of the Senate. The Doge proposes that the Count di Carmagnola should be consulted, on the projected league between the Republic and the Florentines, against the Duke of Milan. To this all agree, and the Count is introduced. He begins by justifying his conduct from the imputations to which it might be liable, in consequence of his appearing as the enemy of the Prince whom he had so recently served.
———He cast me down
From the high place my blood had dearly won,
And when I sought his presence, to appeal
For justice there, 'twas vain! my foes had form'd
Around his throne a barrier; e'en my life
Became the mark of hatred, but in this
Their hopes have fail'd—I gave them not the time.
My life!—I stand prepar'd to yield it up
On the proud field, and in some noble cause,
For glory well exchang'd—but not a prey,
Not to be caught ignobly in the toils
Of those I scorn. I left him, and obtain'd
With you a place of refuge—yet e'en here
His snares were cast around me. Now all ties
Are broke between us; to an open foe,
An open foe I come.——
He then gives counsel in favour of war, and retires, leaving the senate engaged in deliberation. War is resolved upon, and he is elected commander. The fourth scene represents the house of Carmagnola. His soliloquy is noble, but its character is much more that of English than of Italian poetry, and may be traced, without difficulty, to the celebrated monologue of Hamlet.
A leader—or a fugitive!—to drag
Slow years along in idle vacancy,
As a worn veteran living on the fame
Of former deeds—to offer humble prayers
And blessings for protection—owing all
Yet left me of existence to the might
Of other swords, dependent on some arm
Which soon may cast me off—or on the field
To breathe once more, to feel the tide of life
Rush proudly through my veins—to hail again
My lofty star, and at the trumpet's voice
To wake! to rule! to conquer!—Which must be
