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340 has adorned it, but small if measured against Bryant's. Foscolo's other most considerable poetical composition, his Hymns to the Graces, celebrated as the beneficent spirits of Greece, Italy, and an ideal world, was long but an aggregation of fragments, and was recovered as a whole only in 1856. The fastidious author could never satisfy himself, and the result is a production more remarkable for high polish than warmth of poetic feeling. It is just such a poem as Landor might have written. Foscolo's tragedies, Ajax and Ricciarda, are fine compositions in the spirit of Alfieri: the former, notwithstanding its classical theme, has a relation to contemporary circumstances, Moreau being depicted as Ajax, and Bonaparte as Agamemnon. The few minor poems of Foscolo are admirable, full of weighty lines that imprint themselves on the memory. As a critic he accomplished more than it will be easy to accomplish after him, coming just at the moment when Europe, weary of the superficial aesthetics of the eighteenth century, was anxiously looking for a guide to the spirit of the past. It is as much by this happy fortune as by their Intrinsic merit that his essays mark an era in the literary history of Dante, Petrarch, Tasso, and Boccaccio.

Foscolo's agitated life has afforded matter for many biographers, but the essential facts lie in narrow compass. Born in Zante of mixed Venetian and Greek parentage, he early sought Venice, and learned the secret of literary style from Cesarotti, the translator of Ossian. The shameful extinction of the Venetian Republic by France and Austria combined with his own ill-regulated passions to make him write Jacopo Ortis and talk of imitating his suicidal hero. A spell of military service, partly at the siege of Genoa, partly in the army destined for the