make each the topic of a separate poem. Thus his great cycle of odes on the relief of Vienna, perhaps the finest of his works, consists of six separate productions, constituting a grand whole, but any one of which could have stood perfectly well by itself. Such a method of composition implies great deliberation, and Filicaja rarely conveys the impression of a seer or a bard. His thoughts are sometimes trite, but the feeling which gives them birth is always deep and sincere. The same is true of the best of his numerous sonnets, some of which rise to grandeur. By far the finest is the famous Italia, Italia, a cut feò la sorte, which is to Italian literature what Milton's sonnet on the massacre of the Vaudois is to English:
"Italia, O Italia, doomed to wear
The fatal wreath of loveliness, and so
The record of illimitable woe
Branded for ever on thy brow to bear!
Would that less beauty or more vigour were
Thy heritage! that they who madly glow
For that which their own fury layeth low,
More terrible might find thee, or less fair!
Not from thine Alpine rampart should the horde
Of spoilers then descend, or crimson stain
Of rolling Po quench thirst of Gallic steed:
Nor should'st thou, girded with another's sword,
Smite with a foreign arm, enslanvement's chain,
Victor or vanquished, equally thy meed."
Filicaja, however, did not always compose in this majestic style. He could be light and playful. Some of his sonnets, like those of Tansillo and other writers of the Cinque Cento, strongly bring out the characteristic distinction between the Italian and the English sonnet, which is entirely in favour of the former. The
