the sonnets of La Lira there is not only technical perfection but beauty of description, as well as freshness and delicacy of feeling. Conceits abound, but the sensuous and voluptuous Neapolitan has few of the tasteless, pseudo-metaphysical extravagances of Tebaldeo, Cariteo, and Serafino. Marino's conceits are objective and pretty. A fair estimate of his best manner may be formed by remembering that a large number of Drummond's sonnets,[1] amorous, moral, and divine, are translated from or suggested by Marino's, and that if the Scotch poet's manner is the larger and nobler, the Italian's technique is the more perfect. A characteristic and beautful sonnet is the original of Drummond's "Alexis! here she stayed,"—
"Quì rise o Thirse e qui ver me rivolse
Le due stelle d' Amor la bella Clori:
Quì per ornarmi il crin de' più bei fiori
Al suon de le mie canne un grembo colse.
Quì l'angelica voce in note sciolse
C' humiliaro i piu superbi Tori:
Quì le Gratie scherzar vidi, e gli Amori
Quando le chiome d' or sparte raccolse.
Quì con meco s'affisse, e quì mi cinse,
Del caro braccio il fianco, e dolce interno,
Stringendomi la man, l'alma mi strinse,
Quì d' un bacio ferrimmi, e'l viso adorno
Di bel vermiglio vergognando tinse.
O memoria soave, ò lieto giorno!"
- ↑ See William C. Ward's edition (Muses Library), which prints several of the sonnets and madrigals translated. Mr Ward has not noticed "Run Shepherds" and "Alexis here." Probably others are translations. Mr Purves (Athenæum, Feb. 11, 1905) pointed out that Forth Feasting is suggested by Marino's Tebro Festante.
