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Why did he choose those particular Psalms? Not for metrical experiment only, but also because their mood fitted him. He needed the strong Hebrew of those Psalms himself, and he drank it in afresh from the text that he might reproduce it for himself and others. Petrarch, Tibullus, Horace, Chiabrera! silence all such for the time, and let the Hebrew Psalmist speak!
Or else they tend the vines that yield the generous Lagrima Christi, of which imprudent and heated visitors drink long draughts unmixed with water, and then complain of ensuing languor and pains beneath their waistcoats. Luscious, yet seductive wine! Counsellor of moderation after a first experience of excess! Essence of Vesuvius, whose strange name so puzzled the poet Chiabrera!
With Michael Angelo in 1564, Palladio in 1580, Tintoretto in 1594, the godlike lineage of the Renaissance artists ended; and what children of the sixteenth century still survived to sustain the nation's prestige, to carry on its glorious traditions? The list is but a poor one. Marino, Tassoni, the younger Buonarotti, Boccalini and Chiabrera in literature. The Bolognese academy in painting.
The amiability and polite affectionateness, perceptible even yet through the dilettantism, may have been pleasant to him; and he may have noted the subtle and delicate expression of sympathy with his domestic unhappiness which seems to be conveyed in the passages quoted, as if by accident, from Petrarch, Horace, Chiabrera, and Tibullus.
"In the first place," said Corinne, "strangers are for the most part acquainted only with our poets of the first rank Dante, Petrarch, Ariosto, Guarini, Tasso, and Metastasio; whilst we have several others, such as Chiabrera, Guidi, Filicaja, Parini, without reckoning Sannazarius, Politian, &c., who have written in Latin, with as much taste as genius; and all unite in their verses the utmost beauty of colouring and harmony; all, with more or less talent, adorn the wonders of nature and art with the imagery of speech.
We next pass to the life of Guarini, and missing Tasso, whose life Mary Shelley did not write, we come to Chiabrera, who tried to introduce the form of Greek poetry into Italian. Tassoni, Marini, Filicaja are agreeable, but shortly touched on.
The second embraces those writers who were aware of the faults of the school to which they belonged, and who, aiming to bring about a reform in literature, while they endeavored to follow a better style, partook more or less of the character of the age. To this class may be referred Chiabrera already named, and more particularly Filicaja and other poets of the same school.
About the time when Milton should have been answering Dati's epistle, enclosing the requested tribute to the memory of Rovai, and also the exquisite comments which Dati expected on his quotations from Petrarch, Horace, Chiabrera, and Tibullus, his occupation, we find, was very different.
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