of Tuscany, itself wholly subservient to Austria, launched shaft after shaft against the oppressors of his country, is paralleled by the boldness of the literary innovation he made in discarding the time-honoured forms of blank verse and terza rima, and conveying satire in easy and familiar lyric.
Giusti has been compared to Béranger, but certainly falls short of the Frenchman as a master of song, while he has more of the sacred fire of poetical indignation. The Anacreontic side of Béranger's genius has no counterpart in him. As a master of idiomatic Tuscan he stands alone; but his poems require a glossary, and what helps his fame with his countrymen hinders it with foreigners. His satires are sometimes called forth by the occurrences of the day, but are more frequently directed at some persistent evil or misfortune of the country; and although the expulsion of the foreigner and his vassals is the idea most commonly in the background, not a few of the best pieces treat of the defects of the Italian people itself, the frivolity of some classes of society, the ignorance and superstition of others, and not least the pretentious emptiness of much modern liberalism. The general tone of Giusti's compositions is easy and humorous; but under the impulse of emotion he is capable of rising into high poetry, as in the description of the corruption of Florentine society in his Gingillino, or in the palinode to the Grand Duke of Tuscany, when (October 1847) the poet for a moment believed that Leopold was about to pursue a liberal course.
Giusti would have found it difficult to reconcile this attitude with the aspirations for the unity of Italy which he had expressed in his Stivale in 1836, but it soon appeared that Leopold's constitutionalism was of a piece
