Among those who contributed to the perfection of Italian comedy may be mentioned Albergati (fl. 1774), Gherardo de' Rossi (1754-1827), and above all, Nota (d. 1847), who is preeminent among the new race of comic authors; although somewhat cold and didactic, he at least fulfils the important office of holding the mirror up to nature. He exhibits a faithful picture of Italian society, and applies the scourge of satire to its most prevalent faults and follies.
4. TRAGEDY.—The reform of Italian tragedy was early attempted by Martelli (d. 1727) and by Scipione Maffei (1675-1755). But Martelli was only a tame imitator of French models, while Maffei, possessing real talent and feeling, deserved the extended reputation he acquired. His "Merope" is considered as the last and the best specimen of the elder school of Italian tragedy.
The honor of raising tragedy to its highest standard was reserved for Alfieri (1749-1803), whose remarkable personal character exercised a powerful influence over his works. He was possessed of an impetuosity which continually urged him towards some indefinite object, a craving for something more free in politics, more elevated in character, more ardent in love, and more perfect in friendship; of desires for a better state of things, which drove him from one extremity of Europe to another, but without discovering it in the realities of this everyday world. Finally, he turned to the contemplation of a new universe in his own poetical creations, and calmed his agitations by the production of those master- pieces which have secured his immortality. His aim in life, in the pursuit of which he never deviated, was that of founding a new and classic school of tragedy. He proposed to himself the severe simplicity of the Greeks with respect to the plot, while he rejected the pomp of poetry which compensates for interest among the classic writers of antiquity. Energy and conciseness are the distinguishing features of his style; and this, in his earlier dramas, is carried to the extreme. He brings the whole action into one focus; the passion he would exhibit is introduced into the first verse and kept in view to the last. No event, no character, no conversation unconnected with the advancement of the plot is permitted to appear; all confidants and secondary personages are, therefore, excluded, and there seldom appear more than four interlocutors. These tragedies breathe the spirit of patriotism and freedom, and for this, even independently of their intrinsic merit, Alfieri is considered as the reviver of the national character in modern times, as Dante was in the fourteenth century. "Saul" is regarded as his masterpiece; it represents a noble character suffering under those weaknesses which sometimes accompany great virtues, and are governed by the fatality, not of destiny, but of human nature.
Among the earliest and most distinguished of those who followed in the path of Alfieri was Monti (1754-1828). Though endowed with a sublime imagination and exquisite taste, his character was weak and vain, and he, in turn, celebrated every party as it became the successful one. Educated in the school of Dante, he introduced into Italian poetry those bold and severe beauties which adorned its infancy. His "Aristodemus" is one of the most affecting tragedies in Italian literature. The story is founded on the narrative of Pausanias. It is simple in its construction, and its interest is confined almost entirely to the principal personage. In the loftiness of the characters of his tragedies, and the energy of sentiment and simplicity of action which characterize them, we recognize the school of Alfieri, while in harmony and elegance of style and poetical language, Monti is superior.
Another follower of the school of Alfieri is Ugo Foscolo (1778-1827), one of the greatest writers of this age, in whom inspiration was derived from a lofty patriotism. At the time of the French revolution he joined the Italian army, with the object of restoring independence to his country. Disappointed in this hope, he left Italy for England, where he distinguished himself by his writings. The best of his tragedies, "Ricciarda," is founded on events supposed to have occurred in the Middle Ages. While some of its scenes and situations are forced and unnatural, some of the acts are wrought with consummate skill and effect, and the conception of the characters is tragic and original. Foscolo adopts in his tragedies a concise and pregnant style, and displays great mastery over his native language. Marenco (d. 1846) is distinguished for the noble and moral ideas, lofty images, and affections of his tragedies; but he lacks unity of design and vigor of style. Silvio Pellico (1789-1854) was born in Piedmont. As a writer he is best known as the author of "My Prisons," a narrative full of simplicity and resignation, in which he relates his sufferings during ten years in the fortress of Spielberg. His tragedies are good specimens of modern art; they abound in fine thoughts and tender affections, but they lack that liveliness of dialogue and rapidity of action which give reality to the situations, and that knowledge of the human heart and unity and grandeur of conception which are the characteristics of true genius.
Manzoni (1785-1873) and Nicolini (1782-1861) are the last of the modern representatives of the tragic drama of Italy. The tragedies of Manzoni, and especially his "Conte di Carmagnola," and "Adelchi," abound in exquisite beauties. His style is simple and noble, his verse easy and harmonious, and his object elevated. The merits of these tragedies, however, belong rather to parts, and while the reading of them is always interesting, on the stage they fail to awaken the interest of the audience. After Manzoni, Nicolini was the most popular literary man of Italy of his time. Lofty ideas, generous passions, splendor and harmony of poetry, purity of language, variety of characters, and warmth of patriotism, constitute the merit of his tragedies; while his faults consist in a style somewhat too exuberant and lyrical, in ideas sometimes too vague, and characters often too ideal.
5. LYRIC, EPIC, AND DIDACTIC POETRY.—In the latter part of the eighteenth century, a class of poets who called themselves "The Arcadians" attempted to overthrow the artificial and bombastic school of Marini; but their frivolous and insipid productions had little effect on the literature. The first poets who gave a new impulse to letters were Parini and Monti. Parini (1729-1799) was a man of great genius, integrity, and taste; he contributed more than any other writer of his age to the progress of literature and the arts. His lyrical poems abound in noble thoughts, and breathe a pure patriotism and high morality. His style is forcible, chaste, and harmonious. The poems of Monti have much of the fire and elevation of Pindar. Whatever object employs his thoughts, his eyes immediately behold; and, as it stands before him, a flexible and harmonious language is ever at his command to paint it in the brightest colors. His "Basvilliana" is the most celebrated of his lyric poems, and, beyond every other, is remarkable for majesty, nobleness of expression, and richness of coloring.
The poetical writings of Pindemonte (1753-1828) are stamped with the melancholy of his character. Their subjects are taken from contemporary events, and his inspiration is drawn from nature and rural life. His "Sepulchres" breathes the sweetest and most pathetic tenderness, and the brightest hopes of immorality. The poems of Foscolo have the grace and elegance of the Greek poets; but in his "Sepulchres" the gloom of his melancholy imagination throws a funereal light over the nothingness of all things, and the silence of death is unbroken by any voice of hope in a future life. Torti (1774-1852), a pupil of Parini, rivaled his master in the simplicity of style and purity of his images; while Leopardi (1798- 1837) impressed upon his lyric poems the peculiarities of his own character. A sublime poet and a profound scholar, his muse was inspired by a deep sorrow, and his poems pour out a melancholy that is terrible and grand, the most agonizing cry in modern literature uttered with a solemn quietness that elevates and terrifies. The poetry of despair has never had a more powerful voice than his. He is not only the first poet since Dante, but perhaps the most perfect prose writer. Berchet (1790-1851) is considered as the Italian Béranger, and his songs glow with patriotic fire. Those of Silvio Pellico, always sweet and truthful, bear the stamp of a calm resignation, hope, and piety. The list of modern lyric poets closes with Manzoni, whose hymns are models of this style of poetry.
In the epic department the third period does not afford any poems of a high order. But the translation of the Iliad by Monti, that of the Odyssey by Pindemonte, for their purity of language and beauty of style, may be considered as epic additions to Italian literature. "The Longobards of the First Crusade," written by Grossi (1791-1853), excels in beauty and splendor of poetry all the epic poems of this age, though it lacks unity of design and comprehensiveness of thought.
Among the didactic poems may be mentioned the "Invitation of Lesbia," by Mascheroni (1750-1800), a distinguished poet as well as a celebrated mathematician. This poem, which describes the beautiful productions of nature in the Museum of Pavia, is considered a masterpiece of didactic poetry. The "Riseide," or cultivation of rice, by Spolverini (1695-1762), and the "Silkworm," by Betti (1732-1788), are characterized by poetical beauties. The poem on the "Immortality of the Soul," by Filorentino (1742- 1815), though defective in style, is distinguished by its elevation of ideas and sentiments. "The Cultivation of Mountains," by Lorenzi (1732- 1822), is rich in beautiful images and thoughts. "The Cultivation of Olive Trees," by Arici (1782-1836), his "Corals," and other poems, especially in their descriptions, are graceful and attractive. "The Seasons" of Barbieri (1774-1852), though bearing marks of imitation from Pope, is written in a pure and elegant style.