Modern innovation has, however, added a sprinkle of spice to the hashes of the above-named school. This is most commonly thrown in, by giving to the stock-villain a dash of humour or sarcasm, so as to bring out his savagery in bolder relief. He is also invested with an unaccountable influence over the hero, who can on no account be made to see his bare and open treachery till about the middle of the fifth act, when the dupe's eyes must be opened in time for the catastrophe. These improvements have been carefully introduced into the present old new tragedy. _Ugone Spinola_ is the presiding genius of _Doria's_ woes: and dogs him about for the pleasure of making him miserable. He is a finished epicure in revenge; picking little tit-bits of it with the most savage _gout_ all through; but particularly towards the end of the play. This taste was, it seems, first acquired in consequence of a feud that formerly existed between _Doria's_ family and his own, in which his side came off so decidedly second-best, that he only remains of his race; all the rest having been murdered by _Doria_ and his father's faction. From such deadly foes, it may be observed, that tragic heroes always select their most trusted friends. _Doria's_ father dies, and _Nina's_ consents to his marriage; so that we see them, at the opening of the third act, the picture of connubial bliss, in a garden belonging to the Duke's palace at Genoa, exchanging sentiments which would be doubtless extremely tender if they were quite intelligible. A great deal is said about genius being like love; which gives rise to a simile touching a rose-bud in a poor poet's window, and other incoherencies quite natural for persons to utter who are supposed to be in love. This peaceful scene is interrupted by an alarm of war; and the Prince goes to fight the Florentines. The battle takes place between the acts; and we next see the Genoese halting near their city after a victory. _Doria_, who in the first act has been represented to us as an exceedingly gay young fellow, is here described as indulging, in his tent, his old propensities; having brought away, with other trophies, a fair Florentine, who is diverting him with her guitar at that moment. This is excellent news for _Spinola_; the more so as we are soon made to understand that _Nina_, being impatient of her husband's return, has fled to his tent to meet him, and discovers the fair Florentine in the very act of guitar-playing, and her spouse in the midst of his raptures thereat.