: The Delafield Affair by Kelly Florence Finch Dixon Maynard Illustrator - Western stories; Love stories; New Mexico Fiction

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BIOGRAPHICAL SKETCH

HISTORY OF THE HUMAN RACE DIALOGUE BETWEEN HERCULES AND ATLAS DIALOGUE BETWEEN FASHION AND DEATH PRIZE COMPETITION OF THE ACADEMY OF SILLOGRAPHS DIALOGUE BETWEEN A GOBLIN AND A GNOME DIALOGUE BETWEEN MALAMBRUNO AND FARFARELLO DIALOGUE BETWEEN NATURE AND A SOUL DIALOGUE BETWEEN THE EARTH AND THE MOON THE WAGER OF PROMETHEUS DIALOGUE BETWEEN A NATURAL PHILOSOPHER AND A METAPHYSICIAN DIALOGUE BETWEEN TASSO AND HIS FAMILIAR SPIRIT DIALOGUE BETWEEN NATURE AND AN ICELANDER PARINI ON GLORY DIALOGUE BETWEEN RUYSCH AND HIS MUMMIES REMARKABLE SAYINGS OF PHILIP OTTONIERI DIALOGUE BETWEEN COLUMBUS AND GUTIERREZ PANEGYRIC OF BIRDS THE SONG OF THE WILD COCK DIALOGUE BETWEEN TIMANDRO AND ELEANDRO COPERNICUS DIALOGUE BETWEEN AN ALMANAC SELLER AND A PASSER-BY DIALOGUE BETWEEN PLOTINUS AND PORPHYRIUS COMPARISON OF THE LAST WORDS OF BRUTUS AND THEOPHRASTUS DIALOGUE BETWEEN TRISTANO AND A FRIEND

BIOGRAPHICAL SKETCH.

"Manure with Despair, but let it be genuine, and you will have a noble harvest."--RAHEL.

The name of Giacomo Leopardi is not yet a household word in the mouths of Englishmen. Few of us have heard of him; still fewer have read any of his writings. If known at all, he is probably coupled, in a semi-contemptuous manner, with other foreign representatives of a phase of poetic thought, the influence of which has passed its zenith. As a contemporary of Byron, Leopardi is perhaps credited with a certain amount of psychological plagiarism, and possibly disregarded as a mere satellite of the greater planet. But if this be so, it is unjust. His fame is his own, and time makes his isolation and grand individuality more and more prominent. What Byron and Shelley, Millevoye, Baudelaire and Gautier, Heine and Platen, Pouchkine and Lermontoff, are to England, France, Germany, and Russia respectively, Leopardi is, in a measure, to Italy. But he is more than this. The jewel of his renown is triple-faceted. Philology, poetry, and philosophy were each in turn cultivated by him, and he was of too brilliant an intellect not to excel in them all. As a philologist he astonished Niebuhr and delighted Creuzer; as a poet he has been compared with Dante; as a philosopher he takes high rank among the greatest and most original men of modern times. One of his biographers has termed him "the greatest philosopher, poet, and prose-writer of the nineteenth century." Though such eulogy may be, and doubtless is, excessive, the fact that it has been given testifies to the extraordinary nature of the man who is its subject.

In Germany and France, Leopardi is perhaps as well known and highly appreciated as in Italy. His poems have been translated into the languages of those countries; and in France, within the last year, two more or less complete versions of his prose writings have appeared. Biographies, reviews, and lighter notices of the celebrated Italian are of repeated and increasing occurrence on the Continent. England, however, knows little of him, and hitherto none of his writings have been made accessible to the English reading public. The following brief outline of his life may in part help to explain the peculiarly sombre philosophical views which he held, and of which his works are chiefly an elaboration.

Giacomo Leopardi was born at Recanati, a small town about fifteen miles from Ancona, on the 29th June 1798. He was of noble birth, equally on the side of his father and mother. Provided with a tutor at an early age, he soon left him far behind in knowledge; and when only eight years old, he discarded the Greek grammar he had hitherto used, and deliberately set himself the task of reading in chronological order the Greek authors of his father's library. It was due to his own industry, and his father's care, that later he acquired a perfect acquaintance with classical literature. In 1810 he received his first tonsure, in token of his dedication to the Church; but this early promise was not destined to be fulfilled. Before he was eighteen years of age Leopardi had attained recognised distinction for the amount and matter of his erudition. The mere catalogue of his writings--chiefly philological--by that time is of sufficient length to excite wonder, and their nature is still more surprising. Latin commentaries and classical annotations were apparently child's play to him. Writing in 1815 to the Roman scholar Cancellieri, who had noticed one of these classical productions, Leopardi says: "I see myself secured to posterity in your writings.... Commerce with the learned is not only useful, but necessary for me." He was only seventeen when he completed a task which represented the sum of all his early study. This was an "Essay on the Popular Errors of the Ancients," of considerable length , in the course of which he cites more than four hundred authors, ancient and modern. A single extract will suffice to show that his youthful powers of expression were as precocious as his learning, though his judgment was doubtless at fault. He thus reviews the wisdom of the Greeks:

"The philosophy of the ancients was the science of differences; and their academies were the seats of confusion and disorder. Aristotle condemned what Plato had taught. Socrates mocked Antisthenes; and Zeno scandalised Epicurus. Pythagoreans, Platonians, Peripatetics, Stoics, Cynics, Epicureans, Sceptics, Cyrenaics, Megarics, Eclectics scuffled with and ridiculed one another; while the truly wise laughed at them all. The people, left to themselves during this hubbub, were not idle, but laboured silently to increase the vast mound of human errors."

He ends this Essay with a eulogy of the Christian religion: "To live in the true Church is the only way to combat superstition." Shortly afterwards, increasing knowledge, which Goethe has called "the antipodes of faith," enabled him to perceive that Roman Catholicism, the antidote which he then prescribed for superstition, was itself full charged with the poison he sought to destroy.

In 1817 Leopardi made acquaintance by letter with Pietro Giordani, one of the leading literary men of the day, and a man of varied experience and knowledge. In his first letter Leopardi opens his heart to his new friend:

"I have very greatly, perhaps immoderately, yearned for glory ... I burn with love for Italy, and thank Heaven that I am an Italian. If I live, I will live for literature; for aught else, I would not live if I could."

A month later, from the same source we are able to discern traces of that characteristic of Leopardi's temperament which by certain critics is thought to explain his philosophy. Writing to Giordani, he expatiates on the discomforts of Recanati and its climate; and proceeds:--

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