[333] Sonnet 58, vol. i. 154.
[334] No. 52, ib. p. 136.
[335] Canzone 4, ib. p. 102.
[336] Sonnets 8, 26, 40. ib. pp. 12, 39, 70; Canzone 2, ib. p. 79.
[337] They are Nos. 58, 50, 25, 26, 8. The sixth, on Jealousy, may be compared with Sannazzaro's, above, [p. 200].
[338] La Casa, Canzone 4 (Opp. i. 151).
[339] De Poetis, Dial. ii.
[340] Opere di Messer G. Guidiccioni (Firenze, Barbèra, 1867), vol. i. p. 12.
[341] We might parallel Guidiccioni's lamentations with several passages from the Latin elegies of the period, and with some of the obscurer compositions of Italian poetasters. See, for example, the extracts from Cariteo of Naples, Tibaldeo of Ferrara, and Cammelli of Pistoja on the passage of Charles VIII. quoted by Carducci, Delle Poesie Latine di Ludovico Ariosto, pp. 83-86. But the most touching expression of sympathy with Italy's disaster is the sudden silence of Boiardo in the middle of a canto of Orlando. See above, [part i. p. 463].
[342] See, for example, "Donna, qual mi foss'io," and "In voi mi trasformai," or "Eran l'aer tranquillo e l'onde chiare."