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Rh Leopardi sustains it worthily. Inferior to Lucian in racy humour, to Pascal in keenness of sarcasm, he surpasses both in virtue of the poetical endowment which nature had utterly denied to them. In form he comes nearest to Lucian, in spirit to Pascal. Lucian, a healthy four-square man, robust in common-sense, little given to introspection and untroubled by sensitiveness, is constitutionally very unlike Leopardi; but it might be difficult to establish a closer parallel than between the Italian and the French recluse; both very sparing but very choice writers; exquisite scholars in classics and mathematics respectively; both hopeless pessimists because hopeless invalids; the keenest and most polished intellects of their time, and yet further astray on the most momentous subjects than many a man "whose talk is of bullocks." Leopardi has the advantage in so far that his scorn of man never degenerates into misanthropy, and his negation is better than Pascal's superstition.

Leopardi's strictly ethical writings (Storia del Genere Umano; Parini, or On Glory; Bruto Minore; Filippo Ottonieri) are necessarily devoid of imaginative form, and hence want the peculiar charm of his Dialogues, but are not inferior in classical finish. They bring out a more serious defect of his thought than even his pessimism—his ultra-hedonism in definition of happiness as a succession of momentary pleasurable emotions, each to be enjoyed as something complete in itself without reference to antecedents or consequences. This theory, said to have originated with Aristippus of Cyrene, is precisely that put forth by Walter Pater at the beginning of his career, but afterwards virtually retracted. There is one human condition, and but one, which it actually does suit, and that is Leopardi's own—the condition of the chronic