what all could understand, while Leopardi only cared to please exceptional readers, and was, moreover, compelled to shroud much of his satire in obscurity for fear of the ruling powers. The allegory, nevertheless, is sufficiently transparent. The vanquished mice are the people of Italy; the frogs are the priesthood and other accomplices of the powers of darkness; the crabs, who turn the scale in the latter's favour, are the Austrians. The weakness and disunion of the oppressed, no less than the brutality of the oppressor, are depicted with the most refined sarcasm. Nothing can be more humorous, for example, than the crab's exposition to the mouse of the principle of the balance of power; and through all the fancy and drollery pierce the grief and rage of a patriotic Italian. There are also fine flashes of true poetry, especially near the end, when the adventurous mouse visits the underworld of his species; and Ariosto is parodied as well as Dante. The satire, nevertheless, transcends the appreciation of ordinary readers; and it certainly does appear somewhat singular that the fastidious author, who composed so sparingly and with such difficulty upon the most exalted themes, should have bestowed so much labour upon a jeu d'esprit.
