These dramas themselves mark an epoch in Italian literary history, not so much from their absolute merit, as from being the first attempt to adapt Shakespearian methods to the Italian drama. Alfieri and Monti had adhered to the classical school; Manzoni struck into a new path, and by so doing revealed a new world to his countrymen, little as it followed that the old world need be entirely forsaken. The Carmagnola depicts the condottieri of the fifteenth century, the Adelchi the Lombards of the eighth. The latter is the more dramatic, and the two principal characters, Adelchi and Ermengarda, are depicted with extreme beauty and power. The pieces, however, are rather dramatic poems than plays, and rise highest where there is most scope for poetry. Martin the Deacon's description of his journey in the Adelchi, for instance, so finely translated by Mr. W. D. Howells, is magnificent, but on a scale disproportioned to the play. The fire and spirit of the two martial lyrics in the Carmagnola and the Adelchi respectively are marvellous; "their wonderful plunging metre," it has been said, "suggests a charge of horses." That in the Adelchi should alone vindicate Manzoni against the accusation of unpatriotic lukewarmness. It paints the lot of the Italian people of the eighth century, transferred by the fortune of war from a Lombard master to a Frank, who unite to oppress them, and nothing can be more evident than the contemporary application to Italian, Austrian, and Frenchman. The following slightly abridged version is by Miss Ellen Clerke:
"From moss-covered ruin of edifice nameless,
From forests, from furnaces idle and flameless,
From furrows bedewed with the sweat of the stave,
