His works in religious criticism La Religione e le Religioni, and also in history and philosophy (Lucrezio, Epicuro e l'Epicurismo, La Critica Moderna) have received from it a peculiar impress, in which the enthusiasm of the apostle is mingled with the calm observation of science, and history confounds metaphysics. He is the first and the only one perhaps, who has attempted criticism in Italy while preserving a literary brilliancy which reminds us of Carlyle.
But according to universal opinion, among all these stars, the star of first magnitude is GIOSUE CARDUCCI. He is the true representative of the Italians, a graft of antiquity on the moderns, but in which antiquity predominates. His poems (Le Nuove Poesie, Le Odi barbare, Le Nuove Odi barbare, Le Terze Odi barbare, Le Nuove Rime) have attracted the greatest attention. He has introduced and revived a new metre, many times tried, but never with success, by Trissino, Campanella, Chiabrera, and others; a new metre which reproduces the ancient rhythm of Greek and Roman poetry, especially the elegy and the Alcaic ode. His is a new pagan Renaissance with a certain gloss of modernness but with outbursts sometimes patriotic and even revolutionary which the Renaissance lacked. His prose works also consist of archaic reconstructions of Italian literary history and of vigorous polemics, sometimes too personal, but always with a refinement of critique.
By the side of these productions which are known everywhere, and which can be truly called national, there is a substratum, of considerable extent, of literary works that have a local character. Such is the poetry of dialect which has however a great weight with us; for the best satirical poems and the best comedies are almost always written in dialect (Pascarella in the Roman dialect, Fucini in the Tuscan dialect, Di Giacomo in Neapolitan, Bersezio in Piedmontese, Rizzotto in Sicilian). It must be remarked also that this local division is still maintained in the rolls of the great army of literature, although this does not prevent such works passing beyond the geographical limits of their territory and becoming known throughout the whole of Italy.
We have a Ligurian-Piedmontese school with DE AMICIS at the head,—De Amicis, who now however often attempts social studies with much intrepidity,—and BARILI, FARINA, BERSEZIO, GIACOSA, and FALDELLA, who possess the common characteristic of a sentimentality almost feminine, altogether opposed to the rugged country of which they constitute the glory.
There is the Tuscan-Bolognese school of which CARDUUI is the chief pontiff and which hovers about the old school. M. PANZACCHI, RICCI, MARRADI, and STECCHETTI belong to it; there was an epoch in the life of the last named in which he launched into a style which seemed naturalistic, but which was at bottom only pornographic; but he immediately compensated for his escapade by a great number of philological memoirs of an erudition truly oppressive, ultra-academical.
There is the Abruzzian school, of which D'ANNUNZIO is the head. Its characteristics are variegated tropical coloring, and a certain studied ornamentation sometimes burdened with similes and metaphors, and an exaggerated objectivity; it lays hold of the outside of things, but does not reach to and grasp the soul of the inner life of nature.
The Neapolitan school is made up of compilers and ingenious critics, who will make you an elegant embroidery with gossamer threads on the point of a needle. The most celebrated names of this school are SETTEMBRINI, DESANCTIS, BONGHI, and VITTORIO IMBRIANI.
The Sicilian is the rudest, but it is the most powerful and most original. We could name the great historians CEMARI, LA LUMIA, LAFARINA; and PITTRE, who created Italian Folklore, and who has maintained it with a special journal. Sicily has also given us two great novelists, VERGA and CAPUANA, who are improved Zolas. The Malavoglia and Don Gesualdo of M. Verga give us the home life of the Sicilian people. In the Giacinta of Capuana we have the life of the citizens and of the Italian nobility photographed.
Women always preserve the local type; but with special features. Hardly any write in verse; they compose novels and light productions rather than romances, sketches rather than true portraits. They choose the young girl and the unfortunate married woman; very often they write autobiographies, or the biography of their friends or their husbands. The land-question has nevertheless been dealt with very well by the Marchioness COLOMBI, (pseudonym of Madame Torelli Viollet) and the woman's question has been treated of with great vigor and statistically by KULISCHIOFF; I have not spoken of ANNIE VIVANTI, another proof of the advantages of crossing, for she is Anglo-American and Anglo-Italian, and a Jewess to boot; she writes in verses which have nothing of the classical element in them—an extraordinary thing in Italy. Her works possess originality, which goes as far as the most extreme naturalism. (Lirica di Annie Vivanti, 1890.)
In fine, modern Italy has not many literary masterpieces to show. And this is due to a number of causes. In romances and comedies, dash and spirit demand a certain stock of observations that can be found only in great cities (capitals), and in Italy, Rome and Milan are only beginning to be such.