Essays and Dialogues. Giacomo Leopardi

to resist any decided inclination on their part to carry it into effect.

      As for the third conclusion, it must be admitted that man's susceptibilities of suffering are enlarged with increasing culture. Leopardi has shown us that the more vividly we realise the evils that surround and affect us, so much the more keenly do they arouse in us sensations of pain. Knowledge[Pg xxxviii] of them makes us suffer from them. The bliss of ignorance is rudely dispelled by the cold hand of science. But must this necessarily continue? May not the same progress which exposes the wound find the salve to heal it? We trust and think so, in spite of all assertions to the contrary. There is nothing in the near future of humanity that need alarm us: men will not work less because they think more; nor is there any sufficient reason to show that increasing knowledge must represent increasing sorrow. As Johnson has said: "The cure for the greatest part of human miseries is not radical but palliative." For the material means of palliation we look to science. We hope and think that there is good to be gained from these writings of Leopardi, in spite of the tone of despair that rings throughout them. His theory of the "infelicità" of things, cheerless though it be, often suggests ideas, sublime in themselves and noble in their effect; and the very essence of his philosophy resolves itself into a recommendation to act, rather than by contemplation to lose the power of action; for, as he says, "A life must be active and vigorous, else it is not true life, and death is preferable to it."

      A brief reference to the most recent publications on Leopardi may be interesting as tending to throw light on his domestic relationships, and as giving us an idea of his own habits in private life. Antonio Ranieri (now in his seventy-sixth year) in a book[1] published at Naples in 1880 gives many interesting details of the poet's life. He first met him at Florence, and was touched with compassion for his unfortunate state. Ill and helpless, he was incapable of doing anything but weep in despair at the thought of being obliged to return to his native place. "Recanati and death are to me one and the same thing," he exclaimed through his tears. Ranieri in a generous moment replied: "Leopardi, you shall not return to Recanati. The little that I possess is enough for two. As a benefit to me, not to yourself, we will henceforth live together." This was the beginning of what Ranieri calls his "vita nuova." He conducted Leopardi from Florence to Rome; thence back to Florence; and finally from Florence to Naples. The doctors everywhere shrugged their shoulders at his case, and suggested, as delicately as possible, the mortal nature of his maladies. At Naples Ranieri and his sister Paulina did all they could for Leopardi, and from 1833 to his death in 1837 supplied all his wants. He could seldom see to read or write. "We used to read to him constantly and regularly, and were fortunately conversant with the languages he knew," says Ranieri. Occasionally he was able to go to the theatre, and enjoyed it greatly. In his habits he seems to have tried his friend's temper and patience considerably. He was wont to turn night into day, and day into night. Ranieri and his sister often did the same in order to read, work, and talk with him. He breakfasted between three and five o'clock in the afternoon, and dined about midnight. Like Schopenhauer, he delighted in after-dinner conversation, which he termed "one of the greatest pleasures of life." He was very obstinate in personal matters, disobeying the doctors in his diet and everything else. His fondness for his old clothes was remarkable; he loved them for their associations. Ranieri mentions "a certain very ancient overcoat which for seven years" had tormented him, and which he used to entreat Leopardi to lay aside, but which he clung to with an incredible affection, preferring it to a new one that he allowed the moths to destroy. The mere names of wind, cold, and snow were enough to pale him. He could not bear fire, and formerly used to pass the winters three parts submerged in a sack of feathers, reading and writing thus the greater part of the day. He was very terrified when the cholera appeared at Naples, to avoid which he and Ranieri went to a country house of the latter's on one of the slopes of Vesuvius. Here Leopardi wrote his poem "La Ginestra," inspired by the desolate scenes at the foot of the mountain. He died suddenly at Naples, as he and Ranieri's household were about to set off again for the country. The Neapolitan Journal "Il Progresso," in an article on Lis death, remarked of him that "such brilliancy is not allowed to illumine the earth for long."

      "Notes Biographiques sur Leopardi et sa Famille" (Paris, 1881). This is a book of considerable value. Written by the widow of Count Carlo Leopardi, Giacomo's younger brother, and his "other self," it is most valuable as delineating the characters of Leopardi's father and mother. A softer light is shed on the character of Leopardi's mother. We learn that she was not passionless, hard, and unsympathetic, as we had previously supposed her to be. On the contrary, she was a good woman, of deep affection, who made it the aim of her married life to work for the welfare of the family of which she became a member. Weighted with debt almost to the point of exhaustion, the estates of Casa Leopardi needed a skilful and vigorous administrator, if they were to continue in the hands of their old owners. Count Monaldo Leopardi was not such an administrator. He was a man devoted "tout entier à science," and occupying himself more with bibliology and archæology than with the finances of his estate. The Jews of Perousa, Milan, and the March towns would, sooner or later, have tightened their hold on the Leopardi patrimony to such a degree that the ancient family could only have continued to exist as proprietors on sufferance. But, in the words of the authoress of this book, Providence watched over the house "en lui envoyant dans la jeune marquise Adelaide Antici l'ange qui devait la sauver." The young bride accepted her position with an entire knowledge of the responsibilities that would accompany it. She took the reins of the neglected administration, and set herself the task of restoring the fortunes of Casa Leopardi. By her exertions the Pope was made acquainted with their difficulties, and by his intervention an arrangement was made between the creditors and the Leopardi family, whereby the former were restrained from demanding the amount of their debt for forty years, receiving thereon in the mean time interest at 8 per cent, per annum. This was the life-work of Countess Leopardi. During forty years she administered the finances of Casa Leopardi, and by the end of that time succeeded in freeing the family from the burden with which it had been long encumbered. She died in 1857, ten years after her husband, and twenty years later than her eldest son, Giacomo.

      ST. MARK'S PLACE, WOLVERHAMPTON,

      December, 1881.