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There is something about the word Italy that causes an emotional glow in the hearts of most Americans. For them Italy is the cradle of modern civilization and of the Christian religion; the land where modern literature and science took their faltering first steps; the garden where the flowers of art first bloomed, then reached a magnificence that has never been equalled; the land that after having so long agonized under the tyrant finally rose in its might and delivered her children, carrying the principles of personal liberty to a new and noble elevation.

We have an admiration and affection for her that one has for a beautiful mother whose charm and redolency of accomplishment has increased with time.

In recent days there have been countless numbers on this western continent who feel that Italy has not had recognition from the world of her decision, her valor, and her accomplishment in shaping the World War to a successful end. Their interest in her has been quickened and their pride enhanced. They look forward with confidence to the time when she will again have a measure of that supremacy in the field of art and literature which once made her the cynosure of all eyes, the loadstone of all hearts. They hope to see her on a pedestal of political, social, and religious liberty worthy of the dreams of Mazzini, which shall be exposed to the admiring gaze of the whole world.

Already there are indications that she is making great strides in literature and a generation of young writers is forging ahead, heralding the coming of a new order.

It can scarcely be expected that Italy will achieve the position she had in the sixteenth century when Ariosto and Tasso, Machiavelli and Guicciardini, Bandello and Aretino, Cellini and Castiglione gave to literature an unrivalled supremacy. But it may be legitimately hoped that Italy will give up the servile admiration and imitation of foreign literature, and particularly of the French, which has been so evident during the past one hundred years, and at the same time while taking pride in her cinquecento accomplishments, even in the glories of her romantic period, realize that the vista which appeals to the children of men to-day is that obtained from looking forward and not backward.

I shall take a cursory glance over the literature of the nineteenth century preparatory to a survey of that of the twentieth, and note some trends and their significance: the dislocation of habitual ways of looking at things, of modes of thought, and of peeps into the future caused by the French Revolution; the outlook for the Italian people which seemed to be conditioned by the Napoleonic occupation; the imminence of a change in the way in which the world was likely to be ordered and administered suggested by the fall of thrones and governments. Such events could not fail to be reflected in the literature, particularly in imaginative literature as parallel conditions to-day are being reflected in literature, practically all of which is burdened with one topic: destruction of privilege and liberation from archaic convention that freedom and liberty shall have a larger significance—in brief, making a new estimate of human rights. With the powerful political and religious reaction that was manifest in all Europe after the French Revolution there developed a kind of contempt, indeed abhorrence, of antique art and literature because it was pagan and republican. The deeds of men, their longings, their aspirations, their loves, their hatreds, their melancholies; the beauties of nature, their potencies to influence the emotional state of man and particularly to contribute to his happiness; the liberation of mankind from galling tyranny and the universal happiness that would flow from further liberation were the themes of writers. These coupled with neglect and disdain of the heroes of antiquity, mythological and actual, caused a romantic literature which moved over Europe like an avalanche.

Italy contested every inch of the threatened encroachment upon its soil, and one of her poets, Vittorio Alfieri (1749–1803), who was most potent in resisting it, stood out to the end for the classic ideal. The period of his greatest mental activity and creativeness antedated the French Revolution, and although he was in Paris when it was at its height, its significance in so far as it is reflected in his writings was lost upon him. The same is true of Giuseppe Parini (1729–1799), who, during the last fifty years of the eighteenth century, had great vogue in Italy because of a poem called "Il Giorno" ("The Day"), in which "The Morning," "The Noon," "The Evening," and "The Night" of a Lombard gentleman was depicted to life and satirized.

The writings of Ugo Foscolo (1776–1827), which were given far higher rating by contemporaries than by posterity, foreshadowed the yielding of the classic traditions. But it was not until Cesarotti published a translation of MacPherson's "Ossian" that the floodgates of romance were opened for Italian literature. It was published at Padua (1763–1770). From that date imaginative and lyric literature of Italy began to devote itself to celebrating Italy's glorious past, to anticipating its future glories, to recounting and satirizing contemporaries, to pillorying the crimes of the tyrants who had fastened themselves upon Italy, and to exposing the corruptions of its governments.

Its promoters were obsessed with the idea that they must get away from the classic traditions. They sought to avoid the stern realities of life, its sufferings and its tragedies, and instead to depict beauty, pleasure, and happiness. They exalted the comedy and suppressed the tragedy of daily life.

It has often been said that Italian romantic literature had its origin in the Società del Caffè founded in Milan in 1746. But like many other dogmatic statements, it should not be accepted literally. "Il Caffè," published by the Accademia dei Pugni, was not romantic. Its iconoclastic attitude alone toward literary tradition may entitle it to a certain influence as a remote precursor of the romantic movement. The publication which fought the battle for Romanticism was the Conciliatore (1818–1819). Around it was constituted the Romantic school which produced Grossi and the others. Most of its followers in the beginning were Lombardians, therefore under the espionage of the Austrian Government. They were particularly Tommaso Grossi, the author of a romance of the fourteenth century entitled "Marco Visconti," of "Ildegonda," and "I Lombardi" (the best seller of its day), and Giovanni Berchet, who, though of French descent, was the most Italian of Italians, and spent a large part of his life in exile in Switzerland and England.

Soon the Romanticists were given a political complexion—they were resigned to their fate of being slaves to Austria—at least they were accused of this by the classicists. In truth they were digging the trenches in which were later implanted the bombs whose explosion put the Austrians to flight.

The predominant figure of the romantic period was Alessandro Manzoni (1785–1873). It is no exaggeration to say that he carried fame of Italian letters to greater numbers of people the world over than any writer save Dante. In 1827 he published a novel, "I Promessi Sposi" ("The Betrothed Ones"), which Walter Scott said was the best ever written, and this opinion was seconded by Goethe. He had shown his emancipation from classicism in two earlier plays, "Carmagnola" and "Adelchi," but it was not until the romance above mentioned and which earned his immortality that the romantic triumph can be said to have occurred in Italy. The men who carried the movement forward were Pellico, Niccolini, Grossi, D'Azeglio, Giordani, Leopardi, Giusti, and many others.

Among these the two who have been most favored by posterity are Silvio Pellico (1789–1854), principally because of the book in which he described his experiences in Austrian dungeons, "Le mie Prigioni" ("My Prisons"), and Leopardi, the intellectual giant of an arid epoch. The immortality of the former is founded in sentiment, of the latter in merit.

The poet who had greatest popularity in Italy at this time was Giuseppe Giusti (1809–1850), a satirist who chose verse as his medium. Although posterity has not given him a very high rating, his "Versi" are still widely read in Italy. His most appealing possession was ability to express in scannable, rememberable, singable verse what may be called every-day sentiment, to depict simple characters whose virtues every one would like to have, and to interlace political satires with the most panoplied, pathetic, patriotic sentiments. There is no safer way to sense to-day the sentiment of the first half of the nineteenth century of Italy than to read Giusti's poems. His "All'Amica Lontana" ("To the Friend Far Away"), "Gli Umanitari" ("The Humanitarians"), and his poems of spleen and of dream have a sprightliness and freshness as if they were of yesterday. Dario Niccodemi has recently borrowed the title "Prete Pero" from one of Giusti's poems for a comedy in which is depicted the conduct of a simple, honest, pious priest confronted with the conflict of ecclesiastical instructions and war problems. Giusti's brief life was a strange mixture of potential joy and actual suffering. In the vigor of his manhood he was seized by a painful disease, and to his sufferings was added the mental agony caused by fear of hydrophobia.

Giuseppina Guacci Nobile (1808–1848), of Naples, a contemporary of Giusti, had great popularity as a poetess of sentiment. She sang of love of country, of art, of husband, of children, of heaven, and when the sadness of the times was so profound that she needs must sing of hate she died.

Three poets of northern Italy must also be mentioned. Francesco Dall'Ongaro, who, though born in the Friuli, went to Venice when he was ten years old and lived for the rest of his life in the northern provinces, had a tremendous popularity in the revolutionary period of 1848 because of a little collection of lyrics called "Stornelli"; Giovanni Prati, of Dasindo, Trent, whose permanent reputation as a poet depends upon his ballads, became widely known through his poem "Edmenegarda"; and Aleardo Aleardi, born at Verona in the early years of the nineteenth century, whose best-known book, "Le Prime Storie," was extensively read.

The pillars of the romantic movement were soon erected in Central Italy by the writings of Leopardi, Niccolini, and Giusti.

Giacomo Leopardi (1798–1837) had a personality that has fastened itself upon Italy, even unto the present day, in a most extraordinary—one might even say, inexplicable—way. He was laconic, silent, morose, introspective, solitary, celibate. His filial love was readily overdrawn; he loathed his ancestral home and environment; he contended with ill health from infancy; he was denied the understanding friend, save one, whose behavior toward Leopardi has been criticised severely. He wandered solitarily about central Italy wrapped in the mantle of introspection and veiled in melancholy until 1833, when he settled at Naples, and there he remained four years, until he had attained his thirty-ninth year, when he died under most distressing circumstances. Ranieri, in his "Sette Anni di Sodalizio con Giacomo Leopardi," gives this description of Leopardi's appearance: he was of moderate height, bent and thin, with a fair complexion that inclined to pallor, a large head, a square, broad forehead, languid blue eyes, a short nose, and very delicate features; his voice was modest and rather weak; his smile ineffable and almost unearthly.

It is not easy for a foreigner to understand the exalted estimation in which the poetry of Leopardi is held in Italy to-day. To do so one must needs sense the spirit of the times when he lived. The "whatever is is right" day of Pope had been succeeded by a day of tragedy the like of which the world had perhaps never known, and things would never be again as they were. Leopardi sung this change. He was the poet of pain and of despair, the versifier of Schopenhauer's philosophy. He sang of melancholy, but he was never reconciled to supine resignation. Though classical in form, his poems are steeped with the romantic spirit. Although a supporter of the romantic school, he scarcely can be called an exponent or upholder of it. A familiarity with his writings is an integral part of the education of all cultured Italians, and nearly every schoolboy can recite parts of the poems "To Italy" or "The Quiet after the Storm."

Leopardi considered it was harder to write good prose than good verse. Greek thoughts were clearer and more vivid to him than Latin or Italian. It is a pitiable picture that Ranieri draws of him in Naples, suffering from consumption and from dropsy, unable to read, turning night into day, having dinner at midnight to the discomfiture of the household, having to be nursed and entertained, disliking the country, and living in abject terror of the cholera which then raged in Naples.

De Musset praised his work. Sainte-Beuve did homage to him, and at an early date made his name familiar to French readers. The judgment of posterity is the one that counts and not the judgment of individuals, and Leopardi is Italy's greatest modern poet. De Sanctis said of him: "His songs are the most profound and occult verses of that laborious transition called the nineteenth century." His death marked the close of the first romantic period in Italy.

Gian Battista Niccolini (1785–1861) wrote tragedies, historical romances, and poetry, the best known of which is "Arnaldo da Brescia." The Florentines have erected a noble monument to his memory in their Westminster Abbey—the church of Santa Croce.

Massimo D'Azeglio (1798–1866), diplomat, statesman, and man of letters, played a very conspicuous part in the political and social life of his day, and left an extraordinarily interesting account of it and of his period in "I miei Ricordi" ("My Recollections"), which no one desirous of acquainting himself with the social life of the risorgimento period fails to read.

A literary production of this period which must be mentioned, not because of its merits but because it is a sign of the times, was that of Cesare Cantù (1804–1895), a universal history in thirty-five volumes, which went through forty editions. It displays lucidity of statement, sequential narrative, and finished literary technic. It was highly partisan and not based on critical study of documentary evidence. He saw in all Italian writers, beginning with Dante, enemies of the church and of God. All had something false in their art which it pleased him to reveal. Italian writers were all anti-Catholic, and classic literature was all pagan; he excepted Manzoni, however, and himself.

Two noteworthy historic writers were V. Gioberti (1801–1852) and Pasquale Galluppi (1770–1846), though the latter confined himself chiefly to philosophy. No review of the literature of this period should fail to mention Francesco de Sanctis (1817–1883), one of the most versatile and soundest literary critics, who was assiduous in calling the attention of his countrymen to the writings of foreigners and in keenly analyzing and evaluating home productions, and Pasquale Villari, the historian of Savonarola and Macchiavelli.

There were two great literary figures in the romantic triumph of Italy of the nineteenth century, Manzoni and Leopardi, and after their death no figure of any importance came upon the stage for upward of a generation.

During this period—from 1830 to 1860, let us say—the rocks from which were to gush forth the waters of liberalism were being drilled. The times were too tense to facilitate imaginative literature, and mere record of events was more startling and absorbing than fiction.

It was not until Giosuè Carducci (1836–1907) entered the arena and dealt romanticism a blow, and at the same time restored classicism, that Leopardi had a worthy successor.

To-day there is a Carducci cult in Italy. There are individuals and groups who have the same kind of reverence for him that they or others have for Leonardo. There is no praise for him that is too fulsome, no adulation too great. Admirers like Panzini, Panzacchi, and Papini ransack dictionaries and archives to find words that will convey their devotion to him. He was a man who incited the admiration and affection of those who came personally in contact with him. His was a sturdy personality, which inspired confidence, generated respect, and mediated an easy belief in his inspiration. The son of a country doctor, he was born in a little village in Tuscany in 1836. Thus his childhood and early youth coincided with those years in which king, pope, and emperor seemed to vie with one another in crushing independent thought in Italy; those years in which men dared not write, fearing their words might be misconstrued, or, writing, were obliged to publish clandestinely. During these years Carducci's thirst for liberty and freedom, political, social, and religious, developed, and for a third of a century after he had reached the age of man he externalized it in moving, majestic, musical verse, which made known Italy's rights and aspirations, and encouraged her loyal sons to continue their struggles.

After teaching a few years in the high schools of San Miniato and Pistoia, during which time he published a selection of religious, moral, and patriotic juvenile poems entitled "Juvenilia," he went to Bologna. In 1860 he was called to the chair of Italian literature in the University of Bologna and soon published "Giambi ed Epodi" ("Iambs and Epodes"). In this he preached republican doctrines so openly that he gave offense to the crown and was suspended from his position, which, however, he soon regained.

Soon after this he published, under the pseudonym of "Enotrio Romano," an irreligious or materialistic poem entitled "Inno a Satana" ("A Hymn to Satan"), which gave him great popularity. It is an invective against the church, which through its mysticism and asceticism seeks to suppress natural impulses and which through its intellectual censorship aims to stifle scientific investigation. It breathed a spirit of revolt against tyranny and privilege, especially clerical privilege, which had made such profound growth in Italy. It inveighed against the efforts of suppression of human rights and bespoke the culture of human reason. It is quite impossible to read understandingly the "Hymn to Satan" without a knowledge of mythology and Greek history. Indeed, one of the most characteristic features of his poem is the wealth of classic allusion. Agramiania, Adonis, Astarte, Venus, Anadyomene, Cyprus, Heloise, Maro, Flaccus, Lycoris, Glycera are some of the names that are encountered. It was not until the publication of his "Odi barbare" ("Barbaric Odes") that his stride as an original poet began to be recognized. They called forth the most vicious criticism and at first sight it would seem that they must sink beneath the avalanche of disapproval, but in reality Italy was ready to listen to a message couched in new form. Conventional rhymes, easily read, easily remembered, were now to give way to rough, sonorous lines in which rhythm took the place of rhyme and straight-from-the-shoulder blows took the place of feints and passes.

Carducci met his critics with the "Ça ira." It is the apology of the French Revolution and especially of the Convention. The title of the sonnets comes from the famous revolutionary song of the reign of terror. Within a brief time, namely, from 1883 to 1887, when his books entitled "New Barbaric Odes" and "New Rhymes" were published, there were few competent to express an opinion who did not realize that he was Italy's most learned poet, potent in the art of appreciation, felicitous in conveying noble sentiments and inspiring thoughts, human in his sympathies with the simple and the oppressed, a tower of strength, a pillar of fire. From that period until to-day Carducci's fame as a poet has steadily gained ground in Italy, so that it is no exaggeration to say that many accord him the crown worn by Petrarch and Tasso. Those who fulsomely praise his memory see in him not only a poet but a learned man who was able to strain classic erudition through his understanding mind to such effect that the average individual could avail himself of it to satisfaction and to advantage. They also see in him the noblest work of God, an honest man.

His students idolized him. When they left the university and returned to their various spheres of activity they carried his image in their hearts and sounded his praises with tongue or pen. They made propaganda con amore. No one is ever approved of universally in any country, probably least of any in Italy. When Carducci published his "Alla Regina d'Italia" ("Ode to the Queen of Italy"), one of his best—simple, musical, redolent of reverence and affection—he aroused the fury of the republicans, who called him traitor, and the scorn of the envious, who called him snob.

In 1891, when he accepted a senatorship of the realm, the students of the University of Bologna howled and jeered at him, and many of the former students plucked or tore his image from their hearts. They had apotheosized the Great Commoner, and they saw in this truckling to royalty and honors weakness and vanity which they could not believe that he possessed. Yet in 1896, when he completed thirty-five years of service at the university, the event was celebrated for three successive days, and the outpouring of expressions of admiration and gratitude from colleagues and students, and from heads crowned with laurel and gold, has scarcely ever been paralleled.

In an autobiographical sketch in the volume of "Poesie," of 1871, he relates with great detail the way in which he broke from his early parental teachings and acquired his new literary, political, and religious feelings. Following his Hellenic instincts, the religious trend in him was toward the paganism of the ancient Latin forefathers rather than toward the spirituality that had come in with the infusion of foreign blood. He rebelled against the passive dependence on the fame of her great writers, in which Italy had lived in the apathy of a long-abandoned hope of political independence and achievement. The livery of the slave and the mask of the courtesan disgusted him. His was the hope and joy of a nation waking to a new life. He was the poet of the national mood.

Carducci is little known as a poet in this country. There are many reasons why his fame has not made headway in Anglo-Saxon countries. In the first place, he has not been extensively translated, and in the second place, although the subject of his song was so often liberty, his lines are so replete with erudite classic illusions that even though he could be translated he would be found to be hard reading. But more than all there is probably no poet whose matter loses so much of its music and its fire by translation as Carducci. Such exquisite verses as the "Idylls of the Lowlands," "The Ox," "The Hymn to the Seasons," "To the Fountains of Clitumnus" are translatable. It would require a Longfellow to do it so that they should not be emasculated.

In 1906 he was awarded the Nobel prize for literature and the entire literary world approved of the reward. Two years previously he had resigned his professorship, and parliament voted him a pension of twelve thousand lire a year for life, but it was of short duration, for he died in 1907.

Mario Rapisardi, to whom a monument has been erected in his native town of Catania, and who is known best for his tragedy "Manfredi" and his philosophic poem, "La Palingenesi," and "Poesie religiose," was a ferocious critic of Carducci. In his poem entitled "Lucifer" there are many disparaging allusions to him. Rapisardi was a teacher and a poet, but a spiritual chameleon: a devout believer, he became a radicalist; a monarchist, he became a socialist; a romanticist, he became a classicist. He is one of the best specimens of the old order of poets. His "Falling Stars" and "The Impenitent" have a genuine lyric quality, and such poems as "To a Fire-fly" have movement, rhythm, and luminosity that are impressive.

The only poet that approximated Carducci's stature was Giovanni Pascoli (1855–1912). Though he was a few years younger, the period of his literary activity was contemporaneous. When Carducci died, Pascoli succeeded him for a few years in the University of Bologna. His personal story appealed tremendously to Italians, and he was of the masses in appearance and sentiment. After the assassination of his father by an unknown hand the family suffered great poverty, and as a boy the support of two younger sisters fell upon him, and like so many of the talented young men of Italy he accomplished it by teaching school. He was teaching in the high school of Leghorn in 1892 when he published "Myricae," upon which to-day his fame rests most securely. His verses gave him an immediate celebrity, and he was soon made professor of Latin and Greek in the University of Messina. From there he went to Pisa and soon afterward to Bologna.

Pascoli has been called the greatest Latin poet after Virgil. Some of the titles of his volumes are "Poemetti" ("Little Poems"), "Poemi Conviviali" ("Convivial Poems"), "Odi e Inni" ("Odes and Hymns"), "Canti di Castelvecchio" ("Songs of Castelvecchio"), "Nuovi Poemetti" ("New Little Poems"), "Poemetti Italici" ("Little Poems of Italy"), "Le Canzoni di Re Enzio" ("The Songs of King Enzio"), and an interpretative volume of Dante entitled "Sotto il Velame" ("Beneath the Veil").

Despite the fact that he was an advanced political thinker, he taught his students to respect the law. He was the poetical evangelist of the humble, of the unfortunate, and of the physically venturesome. He sang of the cravings of the soul, of the problems of existence, of Christian acceptation, of the glory of Italy and the accomplishments of her sons.

Posterity, however, is whispering that the name most worthy to be bracketed with Carducci is Gabriele D'Annunzio. I shall consider him in another chapter.

There is a name in the literary annals of this period that is steadily gaining claim to immortality. It is Giovanni Verga, the chief exponent of the Veristic school, who was born at Catania in 1840 and is still living. Although it is the opinion of those who are competent to judge that his fame as a novelist is greater than that of Fogazzaro, it may truthfully be said that he is scarcely known beyond the confines of Italy, and even there his romances have not had the reception that they deserve. A few years ago when I asked for a copy of "Mastro-don Gesualdo" in the leading bookshop of Palermo and was not successful in obtaining it, the young man with whom I talked assured me that Zuccoli would prove to be a satisfactory substitute for Verga. If he is known at all in this country, it is as the author of the play entitled "Cavalleria Rusticana," upon which was composed the popular opera. He has not been a very prolific writer—eight romances, half a dozen volumes of short stories, and a few plays. He got the material for many of his short stories in central and northern Italy, but most of his romances are of his native Sicily, and the pictures of life in the little villages and towns in the houses of the passionate peasants, in the huts of the poverty-stricken shepherds, in the hovels of the adventurous fishermen, and the crumbling palaces of the decayed nobles are so realistic, so true to life, so almost photographically depicted, that the reader feels that they are mediated by his own senses. Verga has the supreme faculty of creating men and women that the reader has met or would like to meet.

If realism consists in depicting people as they are and particularly people who are battling with the stern realities of life—poverty, illness, passions—then Verga is a great realist. The best of his romances, though not the most popular, are "I Malavoglia" and "Mastro-don Gesualdo." "Tigre Reale" had the greatest popularity, and the "Storia di una Capinera" ("The Story of a Black-hood Novice"), the most ardently romantic of all romantic stories, and "Il Marito di Elena" ("The Husband of Helen") were widely read.

"I Malavoglia" and "Mastro-don Gesualdo" were to have been succeeded by a third volume which would complete the story of the characters unfolded in them, but it never appeared. When we recall that only eight thousand copies of the former have been sold in forty years, we readily understand the artist's discouragement. Posterity is likely to link Verga's name with Leopardi and Manzoni.

The great romance-writer of Italy during the days of her resurrection was Manzoni. During the first and second generations of Italy's unity the mantle of his greatness was worn gracefully and becomingly by Antonio Fogazzaro (1842–1911). Born at Vicenza, he had the bringing-up and education of a gentleman. His best-known books are "Daniele Cortis," "Piccolo Moderno Mondo" ("The Little Modern World"), "Piccolo Mondo Antico" ("The Little Antique World"), and "Il Santo" ("The Saint"). "Daniele Cortis" is generally believed to reveal Fogazzaro's moral, religious, and political convictions. It is a series of interesting pictures of intimate life in the upper circles and reveals the mental development of a man of high principles, the skeleton in whose closet is a mother who, having side-stepped the paths of morality in her youth, and who was lost to her son for several years, thrusts herself upon him the very day when he has his feet securely set on the ladder whose apex is a brilliant political career. His struggles between duty to his mother and obligations to his country, his desire not to offend convention or outrage morality, his love for his cousin Eleana, tame for him but consuming to her, unhappily married to a Sicilian roué brute and baron, are narrated in a way that seduces even the casual reader. Indeed it is wonderfully done, and attention is sustained to the end, virtue being finally rewarded.

"The Saint" is a psychological study of abnormal religious development. It presented forcibly the necessity for reform of the Vatican and ecclesiastical customs and beliefs. When it was put on the Index it caused its illustrious author, a fervent believer and an exemplary communicant, much pain and remorse. "Leila" continued the history of the leading character of "The Saint." It is said that the author hoped it would make amends for the offense that the latter had given, but it was also put on the Index.

He wrote a volume of poetry, and many of his verses are redolent of music and charm, such as "Ultima Rosa" ("The Last Rose") and "Amorum." He has been more widely read in this country than any Italian writer of fiction save D'Annunzio. He raised one slab to his memory which will resist more than granite—"Piccolo Mondo Antico." It will be preserved by time, and cherished for the same reason that one keeps and lauds a marvellous picture of wife or mother, brother or sweetheart, because it is a bit of perfection and because the owner loves it.

An extraordinary figure in Italian literature of yesterday and of the period under discussion, was Olindo Guerrini (1845–1916), for many years director of the University Library at Bologna. In 1878 he published a volume entitled "Postuma" which purported to be the work of one Lorenzo Stecchetti which caused prudish Italy to shiver, prurient Italy to shake, and literary Italy to be enormously diverted. The "Postuma" went through thirty-two editions in forty years, but one should not inquire too closely the reason for this. When critics discovered that the author was alive they assailed his immodest verses, and his responses "Nova Polemica" added to his literary reputation. But it was not until he published his prose writings that he displayed his real literary stature.

"Postuma" is still read, that the reader may find something recent to compare with the conduct of Messalina rather than for its literary qualities. "Rime," which has no panoplied display of the author's libido but many charming idyls, reminiscences, and vignettes is much read to-day. Such poems as "Il Guado" ("The Ford") and "Nell' Aria" are as redolent of sentiment and ingenuous experiences that lead to thrills as a rose is redolent of perfume. Every schoolgirl can quote the last two lines of the latter:

"Ed io che intesi quel che non dicevi

M'innamorai di te perchè tacevi."

Other poems such as "Congedo" ("Leave-taking") and "Wienerblut," after the waltz of Johann Strauss, had great popularity at the time and were praised by his contemporaries, but to-day it is difficult to find great merit in them. Were one called upon to make specific comment upon his poetry, he would have to point out the very obvious influence of Byron, De Musset, and Heine, and to say that Guerrini in no way is comparable with any of them. Much has been written about him as the index of the revolt against the corrupt romanticism of the third romantic period in Italy. He was the uncompromising foe of cant and hypocrisy in literature and the stanch defender of realism.

Giuseppe Lipparini, an eminently fair critic, gives him a higher rating as a writer of prose than of poetry. These include "Vita di Giulio Cesare Croce" ("Life of Julius Cæsar Croce"), a monograph on Francesco Patuzio, and "Bibliografia per ridere" ("The Laugher's Library").

Although there were countless poets of this period, two or three should be mentioned, more because of the effect they had upon the public taste, perhaps one might say public education, than for the intrinsic merit of their writings; and of these may be mentioned Vittorio Betteloni (1840–1910), the son of a romantic poet. His writings may be said to have popularized the public protest against the romanticism of the third romantic period. He also made known to many of his countrymen the poetry of Byron and of Goethe in faithful poetic translations.

Brief mention is here made of two literary men of affairs in Italy, the purpose being more to call attention to a type of individual who is more often found in Italy than in any other country—the versatile, many-sided, cultivated man of affairs who has also distinctive literary talent.

Enrico Panzacchi (1841–1904) published a volume of lyrics, fluid, harmonious, transparent, treating of homely, every-day subjects which appealed very much to the public. He first became known as a writer of seductive romances, then as an accomplished musician, afterward as a lyric poet, then as a critic of literature, æsthetics, and philosophy. He taught the philosophy and history of art; he was the secretary of the Academy of Belle Arti at Bologna, for many years a deputy in Parliament, and at one time undersecretary of state and an orator of great renown. His reputation as a poet depends largely upon "Cor Sincerum," published in 1902. In his versatility he reminds of Remy de Gourmont, although his literary productions were incomparably less numerous, but in temper of mind, literary equipment, æsthetic appetite, and general virtuosity they are brothers.

The other is Ferdinando Martini, a governor of one of Italy's colonies, a minister of public instruction, a deputy of long service, a poet, an essayist, a biographer, and a traveller, the Italian Admirable Crichton. He was born in Monsummano in 1841, and for forty-five years was without interruption in the Chamber of Deputies. He went under in the last election. He has published many books and articles, amongst which may be mentioned "Nell' Africa Italiana" ("In African Italy"), but the casual reader will get most pleasurable contact with him from "Pagine Raccolte." He is an excellent example of the cultured man in public life in Italy. His prose integrates the aroma of the classics, while at the same time his sympathies and interests bring his subjects up to the minute. His writings have a pragmatic as well as an æsthetic quality. None of them has the air of preachings. He knows how to be profound without being heavy and learned without being pedantic. For him literature has not been an æsthetic exercise or a statement of human rights and human needs. Prospective admirers should not study too closely his political career.

Death has claimed nearly all of the conspicuous figures of literature in the period of the risorgimento. One who had a strange tenacity of life, which he but recently yielded, was Salvatore Farina, whose first romances, "Un Segreto" ("A Secret") and "Due Amori" ("Two Loves"), were published more than fifty years ago. He was, perhaps, the truly representative writer of the Piccolo Borghese in the generation that followed Italy's unity. In the fifty or more volumes that he published (the last of which appeared in 1912 and was called the "Second Book of the Lovers") he portrayed a variety of romanticism which was the outgrowth of the struggle between the drab and commonplace realities of life and the fantastic dreams of simple-minded persons who thought that life would be ideal if it could be fashioned after their own plans. He was the novelist of sickly sentiment, the most slavish disciple that Samuel Richardson ever had. Students of Italian literature will read his two reminiscent volumes called "La mia Giornata," the first published in 1910, the second in 1913, to get a picture of the literary doings of one of the grayest and most uncertain periods of modern Italian literature. He is mentioned here merely to note the tremendous popularity which his writings had, and to call attention to the fact that they left no impression upon the times and that the type of novel which they represent has practically now disappeared the world over.