So far almost every poet had accepted or expounded in his verses a poetical theory. Petrarch was as remote as any of his forerunners from being a purely instinctive poet, but he elaborated his philosophy, for whatever it was worth, in his Latin treatises and not in his Italian lyrics, so that his teaching was overlooked or misunderstood by those who came after him, and who admired his Italian verse as much as they disapproved of his still immature Latin style.

The pre-eminence of intellect among Italians was once more exemplified by the enormous popularity of Petrarch: no lyric could be written, as it seemed, which was not a conscious imitation of Laura's poet. Love, nature, and patriotism were described or exalted according to Petrarch's example; no subjects were deemed worthy of poetical treatment which Petrarch had not taken as his. Even the rugged Michelangiolo, the intimate Gasparina Stampa, or the melodious Tansillo show in varying degrees that they knew their Petrarch. The rediscovery of Aristotle's Poetics helped to crystallize imitation and to encourage the search after conceits, only the stronger personalities being able to resist the infection which prevailed during the long crisis out of which was evolved a new conception of the world. At the beginning of modern times, after the delicate artificiality of Arcadian poetry by means of which a veil was drawn over the tragic Italian despair, there gradually arose new voices: the voices of poets who aimed at improving society and at reawakening patriotism in Italians. Then a storm came from France, in the shape of a revolution, and swept the country; it brought with it an unwonted realization of facts: facts which turned Manzoni's mind to religion and hope, and which caused Leopardi to despair of Italy and mankind. The men of a later generation were too busy making the new Italy to have much leisure for verse, and their poems are of country and war; particularly Mameli's, Giusti's, and Poerio's. When Italy was once more united, the reality fell short of the dream, and during Carducci's long career he expressed in turn the rebellion of the youthful idealist and the resignation and compromise of more mature years.

Madame de' Lucchi's anthology suggests such reflections, and a reader who starts thinking about the history of Italian lyrical poetry will be readier to understand the aspirations and the feelings of the country which has taken Madame de' Lucchi to her heart," and which is so often misunderstood, I will not say by whom more grievously, whether by those who ascribe to her romantic virtues that she never possessed or by others who charge her with vices and crimes of which she is innocent.

C. F.

INTRODUCTION

HAVE always cherished for the translator a feeling of esteem tempered with pity and some concern. I have watched him sally

very legitimate egoism, and, when asked to justify his existence, I have heard him reply: "I would beautify and enrich my homeland with the golden fruits of pilgrimage!" So far, so good! But then I have seen him reaping the reward of his labours, and alas, more often than not, it has been a harvest of contumely, increased and multiplied if he has dared so greatly as to forsake the highway of prose for the perilously alluring paths of poesy! And probably he has deserved all the trouble for which it will be averred he went asking! Be that as it may, I was persuaded that in this regard total abstention was the only sagacious course. Then happy circumstances led me to the study of Italian, and suddenly I found myself wandering in a garden of perennial spring. After a while, for most of us are children at heart, I longed to run home with some, at any rate, of the blossoms I had gathered: how irresistible was my impulse this volume serves to show. It is, I believe, the first attempt to render into English verse representative gems of Italian lyrical poetry through the vicissitudes of six centuries. Every version is the fruit of labour wedded to love, and I can but trust that the harmony of these twain may commend me to the indulgence of the reader.

I will not dwell on the almost insuperable technical difficulties that beset me in the accomplishment of my task, for these are sufficiently evident. In addition I was menaced by what I will call a "spiritual" dilemma. One of the leading characteristics of Italian lyrical poetry is its individualism: every poet has a well-defined personality which, as a rule, finds very adequate expression in his writings. Thus, in the course of my work, I was obliged, in so far as I was able, to invest myself with a bewildering diversity of moods, a feat calling for considerable virtuosity, as I think the reader will agree and, I hope, take into account!

In the few cases where I have given fresh versions of poems already translated, and exquisitely well, I have done so with trepidation, and solely because the poems in question were such as could not in conscience be omitted from any representative anthology.

Since my desire is to lead all readers to the fountain-head, the original text will be found side by side with its English version, although, owing to consequent exigency of space, the number both of authors and of poems has had to be considerably reduced.

My warm thanks are due to the firm of Zanichelli, of Bologna, for allowing me to translate and reproduce selections from the poems of Carducci.

In conclusion I claim the proud and happy privilege of dedicating my work to two all-glorious mothers-England who bore me, and Italy who took me to her heart.

Padua, 1921

LORNA DE' LUCCHI