After various debates, Malatesti resolves to attack the enemy. The fourth and fifth scenes of the second act represent the tent of the Count in the Venetian camp, and his preparations for battle. And here a magnificent piece of lyric poetry is introduced, in which the battle is described, and its fatal effects lamented with all the feeling of a patriot and a Christian. It appears to us, however, that this ode, hymn, or chorus as the author has entitled it, striking as its effect may be in a separate recitation, produces a much less powerful impression in the situation it occupies at present. It is even necessary, in order to appreciate its singular beauty, that it should be re-perused, as a thing detached from the tragedy. The transition is too violent, in our opinion, from a tragic action, in which the characters are represented as clothed with existence, and passing before us with all their contending motives and feelings laid open to our inspection, to the comparative coldness of a lyric piece, where the author’s imagination expatiates alone. The poet may have been led into this error by a definition of Schlegel’s, who, speaking of the Greek choruses, gives it as his opinion, that “the chorus is to be considered as a personification of the moral thoughts inspired by the action--as the organ of the poet, who speaks in the name of the whole human race. The chorus, in short, is the _ideal_ spectator.” But the fact was not exactly thus. The Greek chorus was composed of _real_ characters, and expressed the sentiments of the people before whose eyes the action was imagined to be passing: thus the _true_ spectator, after witnessing in representation the triumphs or misfortunes of kings and heroes, heard from the chorus the idea supposed to be entertained on the subject by the more enlightened part of the multitude. If the author, availing himself of his talent for lyric poetry, and varying the measure in conformity to the subject, had brought his chorus into action--introducing, for example, a veteran looking down upon the battle from an eminence, and describing its vicissitudes to the persons below, with whom he might interchange a variety of national and moral reflections--it appears to us that the dramatic effect would have been considerably heightened, and the assertion that the Greek chorus is not compatible with the system of the modern drama possibly disapproved. We shall present our readers with the entire chorus of which we have spoken, as a piece to be read separately, and one to which the following title would be much more appropriate. _The Battle of Maclodio (or Macalo.) An Ode._