Salomon. In fact it was; for the fruits of it were shaken down and thrown away: he was forbidden to publish the most important of his discoveries, and the better part of his manuscripts was burned after his death.
Alfieri. Yes, Signor Salomon, those things may rather be called our heads than this knob above the shoulder, of which (as matters stand) we are rather the porters than the proprietors, and which is really the joint concern of barber and dentist.
Salomon. Our thoughts, if they may not rest at home, may wander freely. Delighting in the remoter glories of my native city, I forget at times its humiliation and ignominy. A town so little that the voice of a cabbage-girl in the midst of it may be heard at the extremities, reared within three centuries a greater number of citizens illustrious for their genius than all the remainder of the Continent (excepting her sister Athens) in six thousand years. My ignorance of the Greek forbids me to compare our Dante with Homer. The propriety and force of language and the harmony of verse in the glorious Grecian are quite lost to me. Dante had not only to compose a poem, but in great part a language. Fantastical as the plan of his poem is, and, I will add, uninteresting and uninviting; unimportant, mean, contemptible, as are nine-tenths of his characters and his details, and wearisome as is the scheme of his versification—there are more thoughts highly poetical, there is more reflection, and the nobler properties of mind and intellect are brought into more intense action, not only than in the whole course of French poetry, but also in the whole of continental; nor do I think (I must here also speak with hesitation) that any one drama of Shakespeare contains so many. Smile as you will, Signor Conte, what must I think of a city where Michel Angelo, Frate Bartolomeo, Ghiberti (who formed them), Guicciardini, and Machiavelli were secondary men? And certainly such were they, if we compare them with Galileo and Boccaccio and Dante.
Alfieri. I smiled from pure delight, which I rarely do; for I take an interest deep and vital in such men, and in those who appreciate them rightly and praise them unreservedly. These are my fellow-citizens: I acknowledge no other; we are of the same tribe, of the same household; I bow to them as being older than myself, and I love them as being better.
Salomon. Let us hope that our Italy is not yet effete. Filangieri died but lately: what think you of him?
Alfieri. If it were possible that I could ever see his statue in a square at Constantinople, though I should be scourged for an idolater, I would kiss the pedestal. As this, however, is less likely than that I should suffer for writing satirically, and as criticism is less likely to mislead me than speculation, I will revert to our former subject.
Indignation and contempt may be expressed in other poems than such as are usually called satires. Filicaia, in his celebrated address to Italy, steers a middle course.
A perfect piece of criticism must exhibit where a work is good or bad; why it is good or bad; in what degree it is good or bad; must also demonstrate in what manner, and to what extent, the same ideas or reflections have come to others, and, if they be clothed in poetry, why by an apparently slight variation, what in one author is mediocrity, in another is excellence. I have never seen a critic of Florence, or Pisa, or Milan, or Bologna, who did not commend and admire the sonnet of Cassiani on the rape of Proserpine, without a suspicion of its manifold and grave defects.