Whether Marino Faliero was written at Ravenna or completed there, I have not ascertained, but it was planned at Venice, and as far back as 1817.  I believe this is considered about the most ordinary performance of all Lord Byron’s works; but if it is considered with reference to the time in which it was written, it will probably be found to contain many great and impressive passages.  Has not the latter part of the second scene in the first act reference to the condition of Venice when his Lordship was there?  And is not the description which Israel Bertuccio gives of the conspirators applicable to, as it was probably derived from, the Carbonari, with whom there is reason to say Byron was himself disposed to take a part?

Know, then, that there are met and sworn in secret
A band of brethren, valiant hearts and true;
Men who have proved all fortunes, and have long
Grieved over that of Venice, and have right
To do so; having served her in all climes,
And having rescued her from foreign foes,
Would do the same for those within her walls. 
They are not numerous, nor yet too few
For their great purpose; they have arms, and means,
And hearts, and hopes, and faith, and patient courage.

This drama, to be properly appreciated, both in its taste and feeling should be considered as addressed to the Italians of the epoch at which it was written.  Had it been written in the Italian instead of the English language, and could have come out in any city of Italy, the effect would have been prodigious.  It is, indeed, a work not to be estimated by the delineations of character nor the force of passion expressed in it, but altogether by the apt and searching sarcasm of the political allusions.  Viewed with reference to the time and place in which it was composed, it would probably deserve to be ranked as a high and bold effort:  simply as a drama, it may not be entitled to rank above tragedies of the second or third class.  But I mean not to set my opinion of this work against that of the public, the English public; all I contend for is, that it possesses many passages of uncommon beauty, and that its chief tragic merit consists in its political indignation; but above all, that is another and a strong proof too, of what I have been endeavouring to show, that the power of the poet consisted in giving vent to his own feelings, and not, like his great brethren, or even his less, in the invention of situations or of appropriate sentiments.  It is, perhaps, as it stands, not fit to succeed in representation; but it is so rich in matter that it would not be a difficult task to make out of little more than the third part a tragedy which would not dishonour the English stage.