in his composition, and he recalls no precursor so much as the German poet Platen, an equal master of form; but Platen, though a real patriot, is more at home with any nation than his own. It is a chief glory of Carducci to have united an intensely patriotic spirit to a comprehensive cosmopolitanism. Though ranging far and wide to enrich the domestic literature with new metrical forms, he loves those in which the Italian genius has embodied itself from days of old, and is always ready to defend them against degenerate countrymen, no less than against unappreciative foreigners. Like Wordsworth, he has simultaneously vindicated and illustrated the sonnet:
"Brief strain with much in little rife; whose tone,
As worlds untrodden rose upon his thought,
Dante touched lightly; that Petrarca sought,
Flower among flowers by gliding waters grown;
That from trump epical of Tasso blown
Pealed through his prison; that wert gravely fraught
With voice austere by him who marble fought
To free the spirit he divined in stone:—
To Ælschylus new-born by Avon's shore
Thou camest harbinger of Art, to be
A hidden cell for hidden sorrow's store;
On thee smiled Milton and Camoens; thee,
His rout of lines unleashing with a roar,
Bavius blasphemes; the dearer thence to me."
Carducci's example could not but create a school of poets, many of great merit, but most of whom stand to him more or less in the relation of disciples to a master. The chief exception is the only one who can claim, like Timotheus, to "divide the crown," Gabriele d'Annunzio.
D'Annunzio (born 1863) is a second Marini, endowed
