characteristics carries on and keeps up the intense interest of the
volume.

We select for extract the "tragical tragedy" of Marino Faliero--not so
much for its novelty to the reader, as for correcting an erroneous view
into which the license of poetry may have led him:--

The name of Marino Faliero is familiar to English ears; but the reader
who borrows his conception of the Doge of Venice from the modern drama
in our language which purports to relate his story, will wander as far
from historic truth as from nature and probability. The _Chronicle_
of Sanuto, which the poet has avowed to be his basis, presents no trace
of that false, overwrought, and unintelligible passion which, in the
tragedy, is palmed upon us for nice sensitiveness to injured honour. We
are told, indeed, that the angry old man had once so far indulged his
choleric humour as to fell to the ground a somewhat tardy bishop during
the celebration of a holy solemnity. We hear of a fiery temper,
accustomed to command, elated by success, and in which, on the
confession of Petrarch, who was personally well informed regarding it,
valour predominated over prudence. These are the unsettled elements upon
which the Tempter best loves to work; but the insanity and extravagance
with which we must charge Faliero, if we suppose his attempt to
overthrow the government of which he was chief, arose solely from an
outrageous desire of revenge for a petty insult, are entirely
gratuitous, and belong altogether to the poet. Madness of another kind,
however, that of ambition, is clearly ascribable to him; and, if we take
this as our key, much of the obscurity attendant upon a catastrophe
which has been imperfectly and inadequately developed will be cleared
away; we shall obtain a character little indeed awakening our sympathy,
but yet not wholly at variance with our judgment; and although we may be