"Wienerblut," after the waltz of Johann Strauss, had great popularity at the time and were praised by his contemporaries, but to-day it is difficult to find great merit in them. Were one called upon to make specific comment upon his poetry, he would have to point out the very obvious influence of Byron, De Musset, and Heine, and to say that Guerrini in no way is comparable with any of them. Much has been written about him as the index of the revolt against the corrupt romanticism of the third romantic period in Italy. He was the uncompromising foe of cant and hypocrisy in literature and the stanch defender of realism.

Giuseppe Lipparini, an eminently fair critic, gives him a higher rating as a writer of prose than of poetry. These include "Vita di Giulio Cesare Croce" ("Life of Julius Cæsar Croce"), a monograph on Francesco Patuzio, and "Bibliografia per ridere" ("The Laugher's Library").

Although there were countless poets of this period, two or three should be mentioned, more because of the effect they had upon the public taste, perhaps one might say public education, than for the intrinsic merit of their writings; and of these may be mentioned Vittorio Betteloni (1840-1910), the son of a romantic poet. His writings may be said to have popularized the public protest against the romanticism of the third romantic period. He also made known to many of his countrymen the poetry of Byron and of Goethe in faithful poetic translations.

Brief mention is here made of two literary men of affairs in Italy, the purpose being more to call attention to a type of individual who is more often found in Italy than in any other country—the versatile, many-sided, cultivated man of affairs who has also distinctive literary talent.

Enrico Panzacchi (1841-1904) published a volume of lyrics, fluid, harmonious, transparent, treating of homely, every-day subjects which appealed very much to the public. He first became known as a writer of seductive romances, then as an accomplished musician, afterward as a lyric poet, then as a critic of literature, æsthetics, and philosophy. He taught the philosophy and history of art; he was the secretary of the Academy of Belle Arti at Bologna, for many years a deputy in Parliament, and at one time undersecretary of state and an orator of great renown. His reputation as a poet depends largely upon "Cor Sincerum," published in 1902. In his versatility he reminds of Remy de Gourmont, although his literary productions were incomparably less numerous, but in temper of mind, literary equipment, æsthetic appetite, and general virtuosity they are brothers.

The other is Ferdinando Martini, a governor of one of Italy's colonies, a minister of public instruction, a deputy of long service, a poet, an essayist, a biographer, and a traveller, the Italian Admirable Crichton. He was born in Monsummano in 1841, and for forty-five years was without interruption in the Chamber of Deputies. He went under in the last election. He has published many books and articles, amongst which may be mentioned "Nell' Africa Italiana" ("In African Italy"), but the casual reader will get most pleasurable contact with him from "Pagine Raccolte." He is an excellent example of the cultured man in public life in Italy. His prose integrates the aroma of the classics, while at the same time his sympathies and interests bring his subjects up to the minute. His writings have a pragmatic as well as an æsthetic quality. None of them has the air of preachings. He knows how to be profound without being heavy and learned without being pedantic. For him literature has not been an æsthetic exercise or a statement of human rights and human needs. Prospective admirers should not study too closely his political career.

Death has claimed nearly all of the conspicuous figures of literature in the period of the risorgimento. One who had a strange tenacity of life, which he but recently yielded, was Salvatore Farina, whose first romances, "Un Segreto" ("A Secret") and "Due Amori" ("Two Loves"), were published more than fifty years ago. He was, perhaps, the truly representative writer of the Piccolo Borghese in the generation that followed Italy's unity. In the fifty or more volumes that he published (the last of which appeared in 1912 and was called the "Second Book of the Lovers") he portrayed a variety of romanticism which was the outgrowth of the struggle between the drab and commonplace realities of life and the fantastic dreams of simple-minded persons who thought that life would be ideal if it could be fashioned after their own plans. He was the novelist of sickly sentiment, the most slavish disciple that Samuel Richardson ever had. Students of Italian literature will read his two reminiscent volumes called "La mia Giornata," the first published in 1910, the second in 1913, to get a picture of the literary doings of one of the grayest and most uncertain periods of modern Italian literature. He is mentioned here merely to note the tremendous popularity which his writings had, and to call attention to the fact that they left no impression upon the times and that the type of novel which they represent has practically now disappeared the world over.

CHAPTER II
LITERARY ITALY
(CONTINUED)

Among the interesting literary figures of the old school still living is Renato Fucini, whose pen-name is Neri Tanfucio. He is now nearly eighty years old, and for some years has been living in a small town not far from Florence, writing his recollections. In college he studied civil engineering, but he soon forsook it and secured employment in the office of the Municipal Art Direction in Florence. Later he taught Italian in the technical school at Pistoia and after that was several years an inspector of rural schools. It was during these years of wandering through Tuscany that he got the intimate knowledge of its simple, industrial, pleasure-loving people, peasant and poacher, landlord and inspector, teacher and pupil, that he has embodied in his stories and in his burlesque, tragic, and sentimental verses.

His fame rests on his dialect poetry ("Poesie"), chiefly in sonnet form, in which he depicts the virtues and vices, the licenses and inhibitions, the hopes and the despairs, of his fellow Tuscans, at the same time embodying delightful descriptions of their charming, romantic land; and a few small volumes of prose, all little masterpieces—"Napoli a occhio nudo" ("Naples to the Naked Eye," letters written to a friend about that enchanting city two generations ago when it was still plunged in the misery of its protracted predatory misrule and the majority of its inhabitants were reduced to a deplorable state); "All' Aria Aperta" ("In the Open Air"), scenes and incidents of life among the common people of Tuscany; and "Le Veglie di Neri" ("Fireside Evenings of Neri"), which showed him a man of heart and of mind supremely capable of transforming the messages of the former by the latter in such a way as to make great appeal to his fellow beings. His books can be read to-day with the same pleasure that they were read half a century ago, and the pictures which are painted, particularly in the former, are as vivid as the day they were first put on the canvas.

Fucini is a type that is indigenous to central Italy, by nature a lover of the fields, the forest, the brooks, he was compelled from earliest infancy to earn his living, and he seemed to be content with a bare sustenance, getting pleasure from his wanderings and from books. He did on foot and more intimately what Signore Panzini has done on a bicycle or on way trains. As an inspector of country schools he was obliged to visit countless villages and hamlets, and there he found in the habits, customs, and conduct of their inhabitants material for comment and reflections such as most people find in new countries and large cities. His descriptions of them found sympathetic response in the hearts of many who see in the lives of these simple yet sophisticated people the romance of bygone days.