sion: that their vehemence sometimes transgressed the limits of good sense and good taste would probably now be acknowledged by himself. It was equally important that the form should correspond to the feeling. The new spirit sought a new body. Carducci solved the problem in the same manner as Chiabrera would have solved it two centuries and a half before, had Chiabrera's genius equalled his discernment. He perceived that in the circumstances of his day a return to classic models would be no retrogression, but renovation for Italian poetry: unfortunately he had no true insight into the classical spirit. This Carducci possessed, and there are few happier examples of the alliance of one literature with another than the ooems, the most important part of his work, in which fee has kept classical examples steadily before him. The imitation, it must be understood, is one of form and not of essence; the themes are but occasionally classical, and even when this is the case express the feelings of a modern Italian spirit. Imitate classical forms as the poet may, he is essentially the man of the nineteenth century: his variety of mood and theme is great; his orchestra has a place for every instrument; but in nine cases out of ten the direction to the performer is con brio. By this dashing vigour Carducci has poured new blood into the exhausted veins of Italian poetry, and administered an antidote to her besetting maladies by the example of a style condensed, nervous, and terse to a fault. Epic or dramatic power he does not claim: his genius is entirely lyrical.
Carducci's first volume appeared in 1857, and the events of the following years called forth a number of occasional poems, clearly indicating the representa-
