Yes, she was one of those—the few— That decorate the earth; A diamond of the purest dew; Nor knew I half its worth {702} Till death had stolen the precious gem That would have graced a diadem. But why am I lamenting here, When she is now at rest; And, happy in her heavenly sphere, Her soul is with the blest? No, no, I will not, will not weep: Enjoy, sweet saint, thy sacred sleep. * * _Norfolk_. ALFIERI AND SCHILLER. BY MRS. E. F. ELLET. The characteristic differences between the national drama of the Germans and that of the Italians, as well as in the genius of the two writers, are strikingly shown by a comparison of the works of Alfieri and Schiller. Nor need we refer to the whole range of their respective productions; the two great poets have more than once, by their choice of the same subject for dramatic effort, afforded us opportunity to draw a parallel between them. The distinction is exactly the reverse of what the characters of the nations would lead us to expect; the cold and classic simplicity of the ancient school pertaining to the more ardent and volatile Italian, while the energy of expression and warmth of action peculiar to the romantic system belong to the representative of a colder and more meditative race. We shall not now employ ourselves in endeavoring to discover the causes of the general barrenness of the drama among a people of a temperament so imaginative, and whose history has been so rich in the materials of fiction. It is our object to show the vast difference which actually exists between the tragic compositions of Italy and those of the German school; as well as to give some idea of the peculiarities of the two authors who form the subject of this article. For this purpose, we select a play of each, founded upon the same historical event, and portraying in part the same characters; and purpose to offer a close analysis of both. The “_Filippo_” of Alfieri treats of the same events with the “_Don Carlos_” of Schiller. It was the first published production of the noble poet, and is marked by much of the harshness of diction and severe simplicity, amounting almost to baldness, which distinguished his earlier plays. The author avoids, with scrupulous care, any thing approaching to local coloring; excluding all inferior personages from the stage, and admitting no forms or observances that might remind us of our vicinity to the person of the Spanish monarch. The chief care of Alfieri is ever bestowed upon the character of his protagonist; and it is to that point we must direct our attention.