before the most humble of the just; the former preserving in his profound humiliation the traces of his habitual wickedness and pride, and the latter, with humility equally profound, the majestic authority of unsullied virtue. This scene, conceived and executed with equal genius, combines within itself the deepest interest, and the highest beauty.
As an illustration of the ingenuity and discernment of the author, we will offer one remark further; he has placed before us two wicked men; the one a subaltern robber, a libertine of the second rank, a swaggerer in debauch, vainer of his vices than jealous of his pleasures. The other a superior genius, who has measured how far man could descend in crime, and himself reached its depths, where he governs human corruption as its sovereign, committing no act of violence without leaving the impression of his unlimited power and inexorable will. One of these is to be converted; which will it be? The least guilty? No; coward in vice, where would he find courage to repent? He will die hardened and impenitent. It is the grand criminal who will be drawn from the abyss, for he has descended into it with all his power, and it will need a repentance proportioned to the measure of his iniquities to restore him to the favour of his God. There is evinced in this developement, great knowledge of the human heart, and a very striking revelation of the mysterious dealings of a just and compassionate God.
We find the same sagacity of observation in other parts of the work; it appears under an altogether original form in the episode of Gertrude; irresistibly conducted to the cloister, notwithstanding her insurmountable repugnance, when she could by a single word free herself from such a condemnation, dooming her own self to a sacrifice she detests; yielding without having been conquered; the slave of her very liberty, and the victim to a voluntary fatality! It is not in a rapid sketch that we can give an idea of this singular and altogether novel character. To appreciate its excellence, we must give an attentive perusal.
But Alessandro Manzoni is not only a skilful painter of individual portraits, he excels also in grand historical representations. In that of the plague at Milan, and the
