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 therefore travelled through different states of Italy, and published six additional tragedies. The interests of his love and literary glory had not diminished his rage for horses, which seems to have been at least the third passion of his soul. He came to England solely for the purpose of purchasing a number of these animals, which he carried with him to Italy. On his return he learned that the countess of Albany had gone to Colmar in Alsace, where he joined her, and resided with her under the same roof during the rest of his life. They chiefly passed their time between Alsace and Paris, but at length took up their abode entirely in that metropolis. While here, Alfieri made arrangements with Didot for an edition of his tragedies, but was soon after forced to quit Paris by the storms of the Revolution. He recrossed the Alps with the countess, and finally settled at Florence. The last ten years of his life, which he spent in that city, seem to have been the happiest of his existence. During that long period his tranquillity was only interrupted by the entrance of the Revolutionary armies into Florence in 1799. Though an enemy of kings, the aristocratic feeling of Alfieri rendered him also a decided foe to the principles and leaders of the French Revolution; and he rejected with the utmost contempt those advances which were made with a view to bring him over to their cause. The concluding years of his life were laudably employed in the study of the Greek literature and in perfecting a series of comedies. His assiduous labour on this subject, which he pursued with his characteristic impetuosity, exhausted his strength, and brought on a malady for which he would not adopt the prescriptions of his physicians, but obstinately persisted in employing remedies of his own. His disorder rapidly increased, and he died on the 8th of October 1803.

The character of Alfieri may be best appreciated from the portrait which he has drawn of himself in his own Memoirs of his Life. He was evidently of an irritable, impetuous and almost ungovernable temper. Pride, which seems to have been a ruling sentiment, may account for many apparent inconsistencies of his character. But his less amiable qualities were greatly softened by the cultivation of literature. His application to study gradually tranquillized his temper and softened his manners, leaving him at the same time in perfect possession of those good qualities which he had inherited from nature—a warm and disinterested attachment to his family and friends, united to a generosity, vigour and elevation of character, which rendered him not unworthy to embody in his dramas the actions and sentiments of Grecian heroes.

It is to his dramas that Alfieri is chiefly indebted for the high reputation he has attained. Before his time the Italian language, so harmonious in the Sonnets of Petrarch and so energetic in the Commedia of Dante, had been invariably languid and prosaic in dramatic dialogue. The pedantic and inanimate tragedies of the 16th century were followed, during the iron age of Italian literature, by dramas of which extravagance in the sentiments and improbability in the action were the chief characteristics. The prodigious success of the Merope of Maffei, which appeared in the commencement of the 18th century, may be attributed more to a comparison with such productions than to intrinsic merit. In this degradation of tragic taste the appearance of the tragedies of Alfieri was perhaps the most important literary event that had occurred in Italy during the 18th century. On these tragedies it is difficult to pronounce a judgment, as the taste and system of the author underwent considerable change and modification during the intervals which elapsed between the three periods of their publication. An excessive harshness of style, an asperity of sentiment and total want of poetical ornament are the characteristics of his first four tragedies, Filippo, Polinice, Antigone and Virginia. These faults were in some measure corrected in the six tragedies which he gave to the world some years after, and in those which he published along with Saul, the drama which enjoyed the greatest success of all his productions—a popularity which may be partly attributed to the severe and unadorned manner of Alfieri being well adapted to the patriarchal simplicity of the age in which the scene of the tragedy is placed. But though there be a considerable difference in his dramas, there are certain observations applicable to them all. None of the plots are of his own invention. They are founded either on mythological fable or history; most of them had been previously treated by the Greek dramatists or by Seneca. Rosmunda, the only one which could be supposed of his own contrivance, and which is certainly the least happy effusion of his genius, is partly founded on the eighteenth novel of the third part of Bandello and partly on Prevost’s Mémoires d’un homme de qualité. But whatever subject he chooses, his dramas are always formed on the Grecian model and breathe a freedom and independence worthy of an Athenian poet. Indeed, his Agide and Bruto may rather be considered oratorical declamations and dialogues on liberty than tragedies. The unities of time and place are not so scrupulously observed in his as in the ancient dramas; but he has rigidly adhered to a unity of action and interest. He occupies his scene with one great action and one ruling passion, and removes from it every accessory event or feeling. In this excessive zeal for the observance of unity he seems to have forgotten that its charm consists in producing a common relation between multiplied feelings, and not in the bare exhibition of one, divested of those various accompaniments which give harmony to the whole. Consistently with that austere and simple manner which he considered the chief excellence of dramatic composition, he excluded from his scene all coups de théâtre, all philosophical reflexions, and that highly ornamented versification which had been so assiduously cultivated by his predecessors. In his anxiety, however, to avoid all superfluous ornament, he has stripped his dramas of the embellishments of imagination; and for the harmony and flow of poetical language he has substituted, even in his best performances, a style which, though correct and pure, is generally harsh, elaborate and abrupt; often strained into unnatural energy or condensed into factitious conciseness. The chief excellence of Alfieri consists in powerful delineation of dramatic character. In his Filippo he has represented, almost with the masterly touches of Tacitus, the sombre character, the dark mysterious counsels, the suspensa semper et obscura verba, of the modern Tiberius. In Polinice, the characters of the rival brothers are beautifully contrasted; in Maria Stuarda, that unfortunate queen is represented unsuspicious, impatient of contradiction and violent in her attachments. In Mirra, the character of Ciniro is perfect as a father and king, and Cecri is a model of a wife and mother. In the representation of that species of mental alienation where the judgment has perished but traces of character still remain, he is peculiarly happy. The insanity of Saul is skilfully managed; and the horrid joy of Orestes in killing Aegisthus rises finely and naturally to madness in finding that, at the same time, he had inadvertently slain his mother.

Whatever may be the merits or defects of Alfieri, he may be considered as the founder of a new school in the Italian drama. His country hailed him as her sole tragic poet; and his successors in the same path of literature have regarded his bold, austere and rapid manner as the genuine model of tragic composition.

Besides his tragedies, Alfieri published during his life many sonnets, five odes on American independence and the poem of Etruria, founded on the assassination of Alexander I., duke of Florence. Of his prose works the most distinguished for animation and eloquence is the Panegyric on Trajan, composed in a transport of indignation at the supposed feebleness of Pliny’s eulogium. The two books entitled La Tirannide and the Essays on Literature and Government are remarkable for elegance and vigour of style, but are too evidently imitations of the manner of Machiavel. His Antigallican, which was written at the same time with his Defence of Louis XVI., comprehends an historical and satirical view of the French Revolution. The posthumous works of Alfieri consist of satires, six political comedies and the Memoirs of his Life—a work which will always be read with interest, in spite of the cold and languid gravity with which he delineates the most interesting adventures and the strongest passions of his agitated life.

See ''Mem. di Vit. Alfieri; Sismondi, De la lit. du midi de l’Europe''; Walker’s Memoir on Italian Tragedy; ''Giorn. de Pisa'', tom lviii.: