XXVIII. "A Se Stesso" is the only poem of Leopardi that is from beginning to end utterly gloomy, bitter and despairing. All his other poems have at least glimpses of beauty and serenity, but here there are none.
XXIX. "Aspasia." The passion rushes forth wildly and ungovernably in this outburst of unrequited affection. Every word betrays how deeply he loved the woman to whom it is addressed. It seems to me worthy of a high rank among his poems, as proving how fully he enters into every subject he treats. His embodiment of an abstruse metaphysical idea in the most impassioned poetry is above all praise.
XXX. "Sopra un Basso Rilievo Antico Sepolcrale" is deficient in warmth of colouring, but the apostrophe to Nature and the pathetic conclusion are fine.
XXXI. "Sopra il Ritratto di una Bella Donna" is a feeble echo of the former not very successful poem, and is, therefore, omitted in our translation.
XXXII. "Palinodia al Marchese Gino Capponi." This is the only satire in this collection, but it does not equal the satiric vigour shown in the mock-heroic "Paralipomeni." The humour is forced and the style heavy, an unhappy imitation of Parini's elaborate irony. It is written to prove that the inventions of modern times do not add to the real happiness of mankind. I have omitted it, because not offering a favourable sample of our poet's lighter manner.
XXXIII. "Il Tramonto della Luna" is a lamentation on the infirmities of old age, written at a time when the poet imagined his life would be prolonged. It has some affinity to the conclusion of the "Passero Solitario," but the earlier poem is truer, because more moderately expressed.
XXXIV. "La Ginestra o il Fiore del Deserto." The last four poems were not in our author's highest strain, but in the "Ginestra" he summoned all his dying powers, and left a sublime legacy to the world. "Ineffable poetry!" exclaims Giordani, "full of thunder and lightning and funereal depth." We need not insist on its beauties, on the noble opening, on the picturesque descriptions of the Vesuvius in the latter part, descriptions that enhance and illustrate the philosophic meditations. Giordani was of opinion that it was his best work, and it certainly surpasses the others in one respect: it is characterised by a spirit of sublime repose, resignation, and sweetness—a worthy conclusion of his poetical career. But I do not doubt that many pieces in this collection are more attractive to the general reader.
The remaining seven numbers of the "Canti" consist only of fragments and translations. The eighteen opening lines of the fragment beginning:
"Spento il diurno raggio in Occidente."