"Lamento e Trionfo: Such are the opposite poles of the destiny of poets, of whom it has been justly said that if their lives are sometimes burdened with a curse, a blessing is never wanting over their grave.

Le Banquet Infernal, the First Scherzo, op. 20 what a misnomer! Ballade ohne Worte, the G minor Ballade there is a polyglot mess for you! Les Plaintives, Nocturnes, op. 27; La Meditation, Second Scherzo, B flat minor- meditation it is not! II Lamento e la Consolazione, Nocturnes, op. 32; Les Soupirs, Nocturnes, op. 37, and Les Favorites, Polonaises, op. 40.

La bella ninfa e sorda al mio lamento E'l suon di nostra fistula non cura: Di cio si lagna il mio cornuto armento, Ne vuol bagnare il grifo in acqua pura Ne vuol toccar la tenera verdura; Tanto del suo pastor gl'incresce e dole." The two introductory lines preface each stanza. This first one is thus translated by Symonds, whose English version is here used throughout.

Delighted with this gift, I opened the book, and found my name written on the fly-leaf, with the date of the month and year, and the words: "La musica e il lamento dell' amore o la preghiera a gli Dei."

Tutti was the great-uncle of the infamous Con Spirito, well known to posterity as the lover of the lovely but passionate Violenza Allargando, destined to become the mother of Largo con Craviata, the fearless captain of Dolcissimo's light horse under General Lamento Agitato, whose grandmother, Sempre Calando, was notorious for her illicit liaison with Pesante e Stentato, a union which was to bear fruit in the shape of Lusingando Molto.

His death is a landmark in the spiritual history of Europe. Behind him lies that which, taken with the Divina Commedia, has won for Italy an exaggerated literary reputation. In the thirteenth century there was plenty of poetry hardly inferior to the Lamento of Rinaldo; in the fourteenth comes Petrarch with the curse of mellifluous phrase-making.