bound by a sacred vow, to save her country by the sacrifice of her lover. Had the dependance of her father’s fate upon Euphemio’s destruction been brought more fully and immediately into view, when her resolution was formed, her conduct would have been more consistent with her character, and with female nature; and those who read with coldness the resolves, the conflicts, the despair of the bewildered enthusiast, would have been moved with emotion at the sufferings and the heroism of a daughter. It is truth to nature, and its exquisite simplicity, which give such power to the _Francesca_; no where does the author o’erstep the modesty of nature in the expression of emotion. This tragedy, by which its author is best known, is founded on a passage in Dante, where the shade of the unhappy lady relates the story of her love. Francesca, the daughter of Guido, lord of Ravenna, was given by her father in marriage to Lanciotto of Rimini; being fondly attached at the time to his brother Paolo, who had unfortunately slain her brother, and consequently ventured not to become a suitor for her hand. Their sufferings are occasioned by a mutual misunderstanding. Paolo, supposing himself the object of her hatred, only after a long absence returns to his brother’s court; and Francesca, endeavoring to hide her now criminal love under a semblance of aversion, craves permission to retire from Rimini with her father. Accident discovers to the pair their concealed feelings towards each other; Lanciotto’s jealousy is awakened, and he arrests his brother, commanding his wife to prepare for her departure from the city. But Paolo, apprehensive for her safety, breaks from his guards, and seeks her presence for a last interview; and when Lanciotto, maddened by rage, rushes upon his brother with his drawn sword, bidding him defend his life, Francesca throws herself between them, and receives her husband’s steel in her own breast. She expires, and Paolo, casting away his sword, resigns himself also to death. There is much that is beautiful and touching in this play; both in the perfect guilelessness and loving nature of Francesca, and the noble devotedness of Paolo; but our limits will permit us to offer only a translation of one scene in the third act. This scene has been much praised and celebrated, and is certainly one of the most effective in the drama. _Paolo_. Francesca! _Francesca_. Heavens! who is’t I see? Signor—what would you? _Paolo_. But to speak with you. _Francesca_. To speak with me! I am alone—alone Thou leav’st me—father! Father—where art thou? Help—help thy daughter! Give me power to fly! _Paolo_. Whither? _Francesca_. Signor—pursue me not; respect My will. Unto the altar I retreat; The wretched have most need of heaven.