I am now really curious to know what the gentlemen of the _Globe_ will say of this novel. They are clever enough to perceive its excellencies; and the whole tendency of the work is so much grist to the mill of these liberals, although Manzoni has shown himself very moderate. Nevertheless, the French seldom receive a work with such pure kindliness as we; they cannot readily adapt themselves to the author’s point of view, but, even in the best, always find something which is not to their mind, and which the author should have done otherwise. * * * * * What men these writers in the _Globe_ are! One has scarcely a notion how much greater and more remarkable they become every day, and how much, as it were, they are imbued with one spirit. Such a paper would be utterly impossible in Germany. We are mere individuals; harmony and concert are not to be thought of; each has the opinions of his province, his city, and his own idiosyncrasy; and it will be a long while before we have attained an universal culture. _The Construction of a Good Play_ When a piece makes a deep impression on us in reading, we think that it will do the same on the stage, and that such a result can be obtained with little trouble. But this is by no means the case. A piece that is not originally, by the intent and skill of the poet, written for the boards, will not succeed; but whatever is done to it will always remain something unmanageable. What trouble have I taken with my _Goetz von Berlichingen_! Yet it will not quite do as an acting play; it is too long; and I have been forced to divide it into two parts, of which the last is indeed theatrically effective, while the first is to be looked upon as a mere introduction. If the first part were given only once as an introduction, and then the second repeatedly, it might succeed. It is the same with _Wallenstein_; the _Piccolomini_ does not bear repetition, but _Wallenstein’s Death_ is always seen with delight. The construction of a play must be symbolical; that is to say, each incident must be significant in itself, and lead to another still more important. The _Tartuffe_ of Molière is, in this respect, a great example. Only think what an introduction is the first scene! From the very beginning everything is highly significant, and leads us to expect something still more important which is to come. The beginning of Lessing’s _Minna von Barnhelm_ is also admirable; but that of _Tartuffe_ is absolutely unique: it is the greatest and best thing that exists of the kind. In Calderon you find the same perfect adaptation to the theatre. His pieces are throughout fit for the boards; there is not a touch in them which is not directed towards the required effect. Calderon is a genius who had also the finest understanding.