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Rh We next pass to the life of Guarini, and missing Tasso, whose life Mary Shelley did not write, we come to Chiabrera, who tried to introduce the form of Greek poetry into Italian. Tassoni, Marini, Filicaja are agreeable, but shortly touched on. Then Metastasio is reached, whose youthful genius as an improvisators early gained him applause, which was followed up by his successful writing of three-act dramas for the opera, and a subsequent calm and prosperous life at Vienna, under the successive protection of the Emperor Charles VI., Maria Theresa, and Joseph II. The contrast of the even prosperity of Metastasio's life with that of some of the great poets is striking. Next Goldoni claims attention, whose comedies of Italian manners throw much light upon the frivolous life in society before the French Revolution, his own career adding to the pictures of the time. Then Alfieri's varied life-story is well told, his sad period of youth, when taken from his mother to suffer much educational and other neglect, the difficulties he passed through owing to his Piedinontese origin and consequent ignorance of the pure Italian language. She closes the modern Italian poets with Monti and Ugo Foscolo, whose sad life in London is exhibited.

Mary's studies in Spanish enabled her to treat equally well the poets of Spain and of Portugal. Her introduction is a good essay on the poetry and poets of Spain, and some of the translations, which are her own, are very happily given. The poetic impulse in Spain is traced from the Iberians through the Romans, Visigoths, Moors, and the early unknown Spanish poets, among whom there were many fine examples. She leads us to Boscan at the commencement of the sixteenth century. Boscan seems to have