DON CAESAR (dropping her hand, and stepping back). For our mother? BEATRICE (hiding her head in his breast). Live For her and for thy sister! Chorus (BOHEMUND). She has won! Resistless are her prayers. Despairing mother, Awake to hope again--his choice is made! Thy son shall live! [At this moment an anthem is heard. The folding doors are thrown open, and in the church is seen the catafalque erected, and the coffin surrounded with candlesticks. DON CAESAR (turning to the coffin). I will not rob thee, brother! The sacrifice is thine:--Hark! from the tomb, Mightier than mother's tears, or sister's love, Thy voice resistless cries:--my arms enfold A treasure, potent with celestial joys, To deck this earthly sphere, and make a lot Worthy the gods! but shall I live in bliss, While in the tomb thy sainted innocence Sleeps unavenged? Thou, Ruler of our days, All just--all wise--let not the world behold Thy partial care! I saw her tears!--enough-- They flowed for me! I am content: my brother! I come! [He stabs himself with a dagger, and falls dead at his sister's feet. She throws herself into her mother's arms. Chorus, CAJETAN (after a deep silence). In dread amaze I stand, nor know If I should mourn his fate. One truth revealed Speaks in my breast;--no good supreme is life; But all of earthly ills the chief is--Guilt! THE END ON THE USE OF THE CHORUS IN TRAGEDY. A poetical work must vindicate itself: if the execution be defective, little aid can be derived from commentaries. On these grounds I might safely leave the chorus to be its own advocate, if we had ever seen it presented in an appropriate manner. But it must be remembered that a dramatic composition first assumes the character of a whole by means of representation on the stage. The poet supplies only the words, to which, in a lyrical tragedy, music and rhythmical motion are essential accessories. It follows, then, that if the chorus is deprived of accompaniments appealing so powerfully to the senses, it will appear a superfluity in the economy of the drama--a mere hinderance to the development of the plot--destructive to the illusion of the scene, and wearisome to the spectators. To do justice to the chorus, more especially if our aims in poetry be of a grand and elevated character, we must transport ourselves from the actual to a possible stage. It is the privilege of art to furnish for itself whatever is requisite, and the accidental deficiency of auxiliaries ought not to confine the plastic imagination of the poet. He aspires to whatever is most dignified, he labors to realize the ideal in his own mind--though in the execution of his purpose he must needs accommodate himself to circumstances.