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Updated: June 16, 2025
There can be no doubt that the Christian Devil had grown quite impossible, and his disappearance was imperative. Neither Milton nor Carducci could keep him alive. His palmy days were in the thirteenth, fourteenth, and fifteenth centuries, before the Renaissance had grown powerful enough to influence European life.
They bathe their white arms in the waves, but the waves recoil swollen with red blood, while the wailing of the hapless women echoes along the rocky strand. Among these heroic souls Shelley alone of modern poets that Titan spirit in a maiden's form may find a place, according to Carducci, caught up by Sophocles from the living embrace of Thetis.
One must not think, however, that this people is all sugar; the citizens of Rotterdam confess that "the holy rabble," as Carducci calls it, is stoutly licentious, as is the case in other towns of worse reputation; the lack of police is rather an incentive to license than a proof, as some might think, of public discipline.
It appears to me, therefore, that Carducci has erred in not taking a sufficiently broad view of the lines on which literary development proceeds; and also, more specifically, in failing to recognize the importance of the distinction between the ordinary and the dramatic eclogue.
She was not like the average miss who, parrot-like, knows only a few French or Italian songs. Italian she loved even better than French, and could read Dante and Petrarch in the original, while she possessed an intimate knowledge of the poetry of Italy from the mediaeval writers down to Carducci and D'Annunzio.
Carducci, like Aleardi, is a poet who has written on political subjects; he belongs to the class of closet democrats. His poems display a remarkable talent for the picturesque, forcible, and epigrammatic. The poems of Zanella are nearly all on scientific subjects connected with human feeling, and entitle him to a distinguished place among the refined poets of his country.
Segni is far more lively than Nardi, while he is not less painstaking to be accurate. He shows a partisan feeling, especially in his admiration for Niccolo Capponi and his prejudice against Francesco Carducci, which gives the relish of personality that Nardi's cautiously dry chronicle lacks.
Though record is made of this side of his character, it must not be assumed that his mind was a frivolous one, for he may be considered as Professor Robinson says as "the cosmopolitan representative of the first great forward movement" in Western civilization and deserves to rank as Carducci claims with Erasmus and Voltaire, each in his time the intellectual leader of Europe.
I also remember having heard Carducci say, in his lectures at the University of Bologna, that the later development of the forms and the substance of literature is often merely the reproduction of the forms and the substance of the primitive Græco-Oriental literature; in the same way, the modern scientific theory of monism, the very soul of universal evolution and the typical and definitive form of systematic, scientific, experiential human thought boldly fronting the facts of the external world following upon the brilliant but erratic speculations of metaphysics is only a return to the ideas of the Greek philosophers and of Lucretius, the great poet of naturalism.
A like change passed over Ferrara's brick and stone when its great Duke, where there had been but narrow medieval streets, made many palaces and threw out one straight and wide street, as Carducci said, to meet the Muses.
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