Galluppi (1773-1846), though unable to extricate himself entirely from the sensualistic school, attempted the reform of philosophy, which resulted in a movement in Italy similar to that produced by Reid and Dugald Stewart in Scotland.
While sensualism was gaining ground in the seventeenth and eighteenth centuries, rationalism, having its roots in the Platonic system which had prevailed in the fifteenth and sixteenth, was remodeled under the influence of Descartes, Leibnitz, and Wolf, and opposed to the invading tendencies of its antagonist. From causes to be found in the spirit of the age and the political condition of the country, this system was unable to take the place to which it was entitled, though it succeeded in purifying sensualism from its more dangerous consequences, and infusing into it some of its own elements. But the overthrow of that system was completed only by the works of Rosmini and Gioberti. Rosmini (1795-1855) gave a new impulse to metaphysical researches, and created a new era in the history of Italian philosophy. His numerous works embrace all philosophical knowledge in its unity and universality, founded on a new basis, and developed with deep, broad, and original views. His philosophy, both inductive and deductive, rests on experimental method, reaches the highest problems of ideology and ontology, and infuses new life into all departments of science. This philosophical progress was greatly aided by Gioberti (1801-1851), whose life, however, was more particularly devoted to political pursuits. His work on "The Regeneration of Italy" contains his latest and soundest views on Italian nationality. Another distinguished philosophical and political writer is Mamiani, whose work on "The Rights of Nations" deserves the attention of all students of history and political science. As a statesman, he belongs to the National party, of which Count Cavour (1810-1861), himself an eminent writer on political economy, was the great representative, and to whose commanding influence is to be attributed the rapid progress which the Italian nation was making towards unity and independence at the time of his death.
FROM 1860 TO 1885.
During the last twenty-five years the rapid progress of political events in Italy seems to have absorbed the energies of the people, who have made little advance in literature. For the first time since the fall of the Roman empire the country has become a united kingdom, and in the national adjustment to the new conditions, and in the material and industrial development which has followed, the new literature has not yet, to any great extent, found voice. Yet this period of national formation and consolidation, however, has not been without its poets, among whom a few may be here named. Aleardo Aleardi (d. 1882) is one of the finest poetical geniuses that Italy has produced within the last century, but his writings show the ill effects of a poet sacrificing his art to a political cause, and when the patriot has ceased to declaim the poet ceases to sing. Prati (1815-1884), on the other hand, in his writings exemplifies the evil of a poet refusing to take part in the grand movement of his nation. He severs himself from all present interests and finds his subjects in sources which have no interest for his contemporaries. He has great metrical facility and his lyrics are highly praised. Carducci, like Aleardi, is a poet who has written on political subjects; he belongs to the class of closet democrats. His poems display a remarkable talent for the picturesque, forcible, and epigrammatic. The poems of Zanella are nearly all on scientific subjects connected with human feeling, and entitle him to a distinguished place among the refined poets of his country. A poet of greater promise than those already spoken of is Arnaboldi, who has the endowment requisite to become the first Italian poet of a new school, but who endangers his position by devoting his verse to utilitarian purposes.
The tendency of the younger poets is to realism and to representing its most materialistic features as beautiful. Against this current of the new poetry Alessandro Rizzi, Guerzoni, and others have uttered a strong protest in poetry and prose.
Among historians, Capponi is the author of a history of Florence; Zini has continued Farina's history of Italy; Bartoli, Settembrini, and De Sanctis have written histories of Italian literature; Villari is the author of able works on the life of Machiavelli and of Savonarola, and Berti has written the life of Giordano Bruno. In criticism philosophic, historical, and literary, Fiorentino, De Sanctis, Massarani, and Trezza are distinguished. Barili, Farina, Bersezio, and Giovagnoli are writers of fiction, and Cossa, Ferrari, and Giacosa are the authors of many dramatic works. The charming books of travel by De Amicis are extensively translated and very popular.
FRENCH LITERATURE.
INTRODUCTION.—1. French Literature and its Divisions.—2. The Language.
PERIOD FIRST.—1. The Troubadours.—2. The Trouvères French Literature in
the Fifteenth Century.—4. The Mysteries and Moralities: Charles of
Orleans, Villon, Ville-Hardouin, Joinville, Froissart, Philippe de
Commines.
PERIOD SECOND.—1. The Renaissance and the Reformation: Marguerite de
Valois, Marot, Rabelais, Calvin, Montaigne, Charron and others.—2. Light
Literature: Ronsard Jodelle, Hardy, Malherbe, Scarron, Madame de
Rambouillet, and others.—3. The French Academy.—4. The Drama:
Corneille.—5. Philosophy: Descartes, Pascal; Port Royal.—6. The Rise of
the Golden Age of French Literature: Louis XIV.—7. Tragedy: Racine.—8.
Comedy: Molière.—9. Fables, Satires, Mock-Heroic, and other Poetry: La
Fontaine, Boileau.—10. Eloquence of the Pulpit and of the Bar:
Bourdaloue, Bossuet, Massillon, Fléchier, Le Maître, D'Aguesseau, and
others.—11. Moral Philosophy: Rochefoucault La Bruyère, Nicole.—12.
History and Memoirs: Mézeray, Fleury, Rollin, Brantôme the Duke of Sully,
Cardinal de Retz.—13. Romance and Letter Writing: Fénelon, Madame de
Sévigné.