They are, thus, revolutionary and perfectly modern reminiscences and comparisons which occur in rapid succession to Charles V. At the grave of Charlemagne he matures into the popular Emperor who has been so often dreamed of in modern times, and his passionate ambition is purified by his intense desire to solve gigantic problems and accomplish prodigious tasks. The man who was, to begin with, so obnoxious to the youthful part of the audience, whose brutal desire made him so inferior to his noble-minded rival Hernani and the proud lady they both love, ends, when he is Emperor, by renouncing his claims and showing mercy--and suddenly the two happy lovers seem small and insignificant beside him. With his hand on his heart he says softly to himself: "Éteins-toi, cœur jeune et plein de flamme! Laisse régner l'esprit que toujours tu troublas. Tes amours désormais, tes maîtresses, hélas! C'est l'Allemagne, c'est la Flandre, c'est l'Espagne!" And with his eye on the imperial banner he adds: "L'empereur est pareil à l'aigle, sa compagne. A la place du cœur, il n'a qu'un ecusson!" Such words as these produced a powerful effect on the ambitious young men who were the real audience of the play. The drama, the tragedy, of ambition moved them as deeply as the drama of independence. They knew that great public aims are attained, great tasks accomplished only by manly resolution nourished upon the intensest emotions, longings, and joys of the heart, which have been offered as a burnt-offering on the altar of the aim--therefore they understood Carlos. Nevertheless the fifth act, with the duet between the lovers, is in its purely lyric excellence the gem of the play. Here was love as those young men felt it and desired to have it represented. This dialogue on the threshold of the bridal chamber which the lovers are never to enter; this blending of a happiness so great and intense that, as Hernani says, it demands hearts of bronze on which to engrave itself, with all the horrors of annihilation; this sensual feeling, which is chaste and harmonious in her, pure and ardent in him, blissful in both; Donna Sol's supra-mundane enthusiasm; Hernani's longing to forget the past in the present and its peace--all this was Romanticism of the kind the youth of the day demanded and greeted with thunders of applause. As a drama _Hernani_ is extremely imperfect; it is a lyrical, rhetorical work, containing much that is extravagant. But it has the one, all-important merit, namely, that in it an independent and remarkable human soul has expressed itself unrestrainedly. From such a work it is possible to learn much of its author's mental idiosyncrasy. He is there with his genius, his limitations, his character, his whole past--with his conceptions of liberty and authority, of honour and nobility, of love and of death.