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408 Negri. Alessandro Arnaboldi, lately deceased, possessed an emment faculty for description and excelled in grave and dignified lyric, not unlike Matthew Arnold; while Italy has her James Thomson in the gloomy and powerful Arturo Graf. Antonio Fogazzaro, on the other hand, is the poet of hope and faith. Enrico Panzacchi, less individual than most of these, surpasses them all in grace and variety; Edmondo de Amicis, celebrated as a traveller, has the gift of brilliant description; Luigi Capuana has emulated Carducci's metrical experiments; and excellent poetry has been produced by Giovanni Marradi, Giuseppe Pascoli and Alfredo Baccelli. Translated specimens of these and other poets, with biographical and bibliographical particulars, will be found in Mr. G. A. Greene's Italian Lyrists of To-Day. On the whole, the present condition of Italian poetry is one of abundant vitality, but of deficient concentration either in great men or great poems. The serious drama is best represented by Cavallotti's tragedies and the New Testament trilogy of Giuseppe Bovio, and the humorous by the comedies of Roberto Bracco and Giacinto Gallina.

The novel is at present as vigorously cultivated in Italy as in any civilised nation, and the talent it attracts cannot be altogether devoid of results. No talent, however, succeeds in permanently naturalising forms of literature uncongenial to the national mind, and it remains to be seen whether this is or is not the case with the novel in Italy. The novelette arose spontaneously, and was maintained without difficulty; but with every encouragement from the example of other nations, Italy failed to acclimatise either romantic fiction or the novel of manners, until far entered into the nineteenth century. The inference that lengthy story-telling must be alien to the genius