The grand passions, which are commonly sparing of
words, are in his system condemned to speak much, and to explain
themselves too much.... To what shall we attribute that respectful
somnolence which nowadays reigns over the audience during the
recitation of Alfieri's tragedies, if they are not sustained by some
theatrical celebrity? You will certainly say, to the mediocrity of
the actors. But I hold that the tragic effect can be produced even by
mediocre actors, if this effect truly abounds in the plot of the
tragedy.... I know that these opinions of mine will not be shared by
the great majority of the Italian public, and so be it. The contrary
will always be favorable to one who greatly loved his country, always
desired to serve her, and succeeded in his own time and own manner.
Whoever should say that Alfieri's tragedies, in spite of many eminent
merits, were constructed on a theory opposed to grand scenic effects
and to one of the two bases of tragedy, namely, compassion, would
certainly not say what was far from the truth. And yet, with all this,
Alfieri will still remain that dry, harsh blast which swept away the
noxious miasms with which the Italian air was infected. He will
still remain that poet who aroused his country from its dishonorable
slumber, and inspired its heart with intolerance of servile conditions
and with regard for its dignity.
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