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 VII. 34 (ed. F. Niccolini, Scrittori d' Italia, Vol. II., pp. 148-150), and Masi, op. cit., Vol. I., cap. xxi.

4. Monti, Caio Gracco, Act III., Scene iii.; G. Chiarini, La vita di Ugo Foscolo (Florence, 1910), p. 293, quoting Carlo Cattaneo. Cf. Mazzini, Orazione di Ugo Foscolo a Bonaparte (Scritti editi ed inediti, II., p. 123; Scritti letterari, in Classici italiani, Milan, I., p. 115).

5. Manzoni's canzone, Il Proclama di Rimini ("O delle imprese alla piú degna accinto"), looks to the union of all Italy under Murat's sceptre. There are traces of an idealised Murat in the protagonist of the Adelchi, particularly in the first sketch of the tragedy; but the moral of the great chorus at the end of Act III. is that a people must expect no foreign aid, but rely upon itself, for the recovery of its lost nationality and independence. Cf. M. Scherillo, Il decennio dell'operosità poetica di Alessandro Manzoni, prefixed to Le tragedie, gl' Inni Sacri e le odi (Milan, 1907). The abortive revolution of 1821 inspired Manzoni with the ode, Soffermati sull' arida sponda, anticipating the union of the Piedmontese and Lombards, to be followed by the expulsion of the foreigner and the oppressor, "dal Cenisio alla balza di Scilla," and "Italia risorta" in her rightful place "al convito de' popoli assisa." This poem, too, was cut short by the events; but, in 1848, Manzoni added the stanza which was his last utterance in poetry:—

When made a citizen of Rome in 1872, Manzoni claimed as his only merit the "aspirazioni costanti d'una lunga vita all'indipendenza e unità d'Italia." 48