been mentioned that he arranged the interludes of a comedy of Guarini, when it was represented on occasion of the marriage of the son of the duke of Mantua with a princess of Savoy. All these princes rewarded him with gifts, or honours, which he seems to have set a still higher value upon; lodging him in their palaces, sending their carriages for his conveyance, and permitting him to remain covered in their presence. He had been the intimate friend of cardinal Barberini, and when the latter was created pope, under the name of Urban VIII., Chiabrera often visited Rome, though he would never reside there; and the pope made him priestly gifts of agnus dei and medallions, and in the year of the jubilee wrote him a brief, or letter of compliment, similar to those sent to sovereign princes and men of the highest rank.

Chiabrera was always an orthodox catholic, "a sinner," he expresses it, "but not without christian devotion. He had Santa Lucia for his advocate, and during a space of sixty years, he never failed twice a day to devote himself to pious thoughts, which continued uppermost in his mind all his life." His moderate desires and temperate habits assisted to preserve him in uninterrupted good health. He died at the advanced age of eighty-six, and was buried in his own chapel in the church of San Giacomo.

169

TASSONI.

1565-1635.

ALESSANDRO TASSONI was born at Modena, in 1565, of a noble and ancient family. He was so unfortunate as to lose both parents in early childhood; nor had he any near relative to watch over his tender years and guard his interests. In consequence, scarcely had he emerged from boyhood, than his inheritance was attacked by lawsuits, and he was involved in the most annoying struggles with private enemies, while long and painful illnesses unfitted him to cope with these evils. Still a love of knowledge rose above the multiplied disasters that beset him, and from his earliest years he was a student. He learnt the Greek and Latin languages under Lazzaro Labadini, a learned and worthy man, but somewhat of the Dominie Sampson species: simplehearted and abstracted, he was exposed to ridiculous mistakes; and his pupil records in his celebrated poem, how, when a servant informed him of the death of a cow, he sent to the apothecary's shop for drugs to cure her." While yet under this master's tuition, he wrote a Latin poem named Errico, which displayed an extraordinary smoothness of versification and command of language. At the age of eighteen he took the degree of doctor of laws, and in 1585 he entered the university of Bologna, where he continued five years, applying himself to philosophy, under the most celebrated masters. He afterwards studied jurisprudence at Ferrara, and acquired a reputation for his learning and critical acumen.

It was not till past thirty years of age that he ap

*La dove il Labadin, persona accorta,

32.

pears to have seriously entered on the task of bettering 1597. his moderate fortunes. He visited Rome, and entered Ætat. the service of cardinal Colonna. He accompanied his patron to Spain, and two years after was sent by him to Rome, to obtain permission from pope Clement VIII. to accept the viceroyalty of Aragon. Succeeding in his mission, Tassoni returned to the cardinal. It was during these journeys that he amused himself by composing his "Considerations on Petrarch," which afterwards occasioned so much controversy. The cardinal sent him again to Rome to manage his affairs there; but a few years after, for some reason, with which we are unacquainted, Tassoni quitted his service.

Restored to independence, he visited Naples, and then took up his abode at Rome. He now published his "Considerations on Petrarch," and his "Thoughts on various Subjects," which exposed him to the attacks of the literati of Italy. Tassoni was of a bold and original turn of mind; he hated literary prejudices, and loved to set himself against received opinions, merely because they were supported by the greater number. Thus he attacked Homer, Aristotle, and Petrarch. He was singularly acute in discovering minor defects, and his sarcastic and witty talent rendered his criticisms doubly poignant. He was attacked for his publications and he replied with a mixture of humour and bitterness peculiarly galling.

He had thus become well known in Italy, when his reputation was raised to its highest pinnacle by the "Secchia Rapita," or Stolen Bucket, a serio-comic or mock-heroic poem, the first of the kind that had appeared. A work of this nature is adapted only to the very region in which it is composed; and even then, there are certain minds which never relish travesti. How much more is Hudibras spoken of than read, and to how many, except in select and peculiar passages, does it prove heavy and tedious. To an English reader the "Secchia Rapita" must appear greatly inferior to the work of Butler; it is coarser and more long-winded; besides that

The rhymes, the wrenching and transformation of lanuage, the vulgarisms and idioms fall coldly on the ears f those, who have not been habituated from infancy to heir use or abuse.

The "Secchia Rapita" is founded on those petty wars etween two towns, so common in Italy in the 14th nd 15th centuries. The people of Modena had, in 325, discomfited the Bolognese at Zoppolino, and the anquished fled with such precipitation, that their puruers entered their town with them. The Modenese were driven out again, but carried off, as token of their iumph, the bucket belonging to the public well of the ity. The Bolognese made an expedition to recover it, nd this forms the basis of the poem. The plebeian ames of the " unwashed artificers" who compose the everal armies, their ridiculous proceedings, their comats, mocking those of belted knights, are all infinitely lished by the Italians. Tassoni is praised also for the arious fancy he displays in individualising the comatants, their combats, and the modes by which they te, as well as for the dignity with which he invests the ally noble personages who take a part in the warfare. here are episodes also, some more dignified, others hore burlesque even than the main subject of the poem ; e gods and goddesses take part, and the kings of aples and Savoy are brought in on either side. The hief satire of the poem falls on an unfortunate count di ulagna, under which name Tassoni held up to ridicule unt Paolo Brusantini, a noble of Ferrara, who had rovoked him by instigating a violent and infamous atck on one of his works. Tassoni was unable to avenge Emself openly, as Brusantini was a favourite of his rince, but vowed future vengeance, and writing to a end he exclaims, "If God lends me life, he shall arn, in one way or another, that he has furnished a ork to the devil." The count di Culagna falls in love th the Amazon of the poem, and resolves to poison his fe: he makes a confidant of one Titta, a Romagnole,

of the countess, and betrays to her the murderous design. The lady accordingly deceives her husband, changes her soup plate with him, and then flies to the tent of Titta. The count's physician, however, who had been applied to for poison, has only furnished physic, and Culagna recovers. He hears of the infidelity of his wife, and defies Titta to mortal combat. Titta is not brave, but Culagna is trebly a coward. When his challenge is accepted, he takes to his bed, makes his will, and declares that he is going to die. His friends cannot inspire him with any valour, but his doctor, by administering three or four large cups of wine, imparts the necessary courage. The opponents meet; Titta's spear strikes the throat and chest of the count, who falls to the ground, and is carried to his tent, to bed, while Titta exults in his overthrow and death. The surgeon viɛits Culagna's wound; but, to the surprise of all, the skin even is not scratched: "Yet I saw something red," cries the count, "it was assuredly my blood!" On this they examine him with more attention, and discover a red riband hanging from his throat to his girdle. The blow of Titta disordering his dress, had exposed this unfortunate silk of sanguineous hue to the eyes of the frightened combatant, who at once believed that he had received a mortal wound. Now, perceiving how he had been deceived, the count thanked God most fervently, and, in his artless, pious gratitude, pardoned his friend and his wife all the injuries they had done him. Such is the outline of the principal episode of the "Secchia Rapita," which concludes by a peace brought about by the pope's legate; the bucket remaining, however, with the Modenese; and there it probably is to this day. Goldoni saw it, in 1730, suspended by an iron chain from the belfry of the cathedral.

This poem was hailed with rapture, even in manuscript: for some time, indeed, it was only known thus, and numerous copies were made at the price of eight crowns each. As Tassoni had not spared his countrymen or his contemporaries, great obstacles were thrown in