liberal; a classicist and a romanticist; a conservative and an innovator; impetuous yet moderate in his aims; frequently inconsistent with himself, yet ever controlled by an austere sense of duty; a fine and even brilliant writer, who yet could achieve no durable work. His account of his exile at Corfu, nevertheless, deserves to live for its style, although the theme is insufficient. Tommaseo was a man of marked character, disinterested, independent and impracticable; rejecting the public honours which he had well earned by his share in the defence of Venice, he spent his later years at Florence, where, although totally blind, he worked indomitably to the last. He should be endeared to England as the author of the fine inscription placed upon the house of Elizabeth Barrett Browning.
The history of Italian poetry during the post-Napoleonic era, after deducting the great names of Leopardi and Giusti, is in the main the history of the romantic school. It has been remarked that this school is not congenial to the Italian genius, and that its temporary prevalence could only occur through the decay of the classical tradition and the inevitable reaction from the excesses of the Revolution. It was further prejudiced in Italian eyes by the ecclesiastical colouring which it could not help assuming. Most of the literary youth of Italy, though they might not be bad Catholics, were still better patriots, and although their compositions might be influenced by Scott and Goethe, were utterly averse to the mediaeval development which the romantic idea was receiving in France and Germany. This was particularly the case with the first poet of eminence who imbibed romantic feeling from Manzoni and broke entirely with the already attenuated classicism of Monti
