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He trustedentirely to the force of passion the wail of suffering, the accents ofdespair. Immense was the effect of this recurrence to unsophisticatedfeeling, in a luxurious and effeminate society. It was like the burst ofadmiration with which the picture of the human heart was at the sametime hailed in France, drawn by the magic hand of Rousseau; or, in thenext age, the fierce passions of the melodramatic corsairs of Byron werereceived in the artificial circles of London society. Nature wassome...thing new; they had never heard her voice before. Had Alfieri, with this ardent mind and clear perception of the true endof the drama, been endowed with that _general_ knowledge of the humanheart, and of human character in all its bearings, which the Greekdramatists possessed he would have formed the greatest tragedian ofmodern continental Europe. But in these vital particulars he was verydeficient. His position in society, character, and habits, precluded himfrom acquiring it. The dissipated, heartless nobleman, who flew from onedevoted passion to another, without the slightest compunction as totheir effects on the objects of his adoration; who fought Lord Ligonierin the Park, in pursuance of an intrigue with his lady; and stole fromthe Pretender his queen, when age and dissipation had wellnigh broughthim to the grave; who traversed, post-haste, France and Italy withfourteen blood-horses, which he wore out in his impetuous course, wasnot likely either to feel the full force of the generous, or paint the_real_ features of the selfish passion.
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