ture, and declares that he has eclipsed Guido Guinicelli, whom also he greatly admired. Benevento da Imola, the commentator on the Divine Comedy, names him along with Dante as one of the two great lights of the age. That these praises were not undeserved will appear from a comparison of his lyrics with Dante's, remembering that he was the older man and that the obligation was entirely on the side of the younger. Dante, especially in his sonnets, is continually borrowing thoughts which, whether original with Cavalcanti or not, had been previously expressed by him. The expression is indeed greatly improved, but even Cavalcanti's comparatively rude form is full of charm. In his ballate he has the great merit of having exalted a popular carol to the dignity of literature with little injury to its simplicity. Of the canzoni ascribed to him only two are recognised as undoubtedly genuine. Both are instinct with the philosophical spirit which he imported into poetry. The objections to the genuineness of the others derived from external evidence do not always appear very conclusive; but it must be admitted that there is an almost entire lack of external testimony in their favour. Four of them, from one of which we have already borrowed a quotation, have been translated by Rossetti, The most celebrated of Guido's genuine compositions, the beginning "Donna mi prega; perch' io voglio dire," was considered by his contemporaries the ne plus ultra of poetry, but rather for its erudition than its strictly poetical merits: it had eight separate commentaries, which indeed were by no means superfluous.
Guittoncino de' Sinibuldi, commonly called Cino da Pistoia, a poet of somewhat later date (1270-1336), possessed less originality than Guido Cavalcanti, but having
