_Why now do pangs of torment clutch thy heart, Which with thy love should make thee overjoyed, As him whose intellect has passed the skies? Behold, the spirits of thy life depart Daily to Heaven with her, they so are buoyed With thy desire, and Love so bids them rise. O God! and thou, a man whom God made wise, To nurse a charge of care, and love the same! I tell thee in His name From sin of sighing grief to hold thy breath, Nor let thy heart to death, Nor harbour death’s resemblance in thine eyes. God hath her with Himself eternally, Yet she inhabits every hour with thee._ Here, and in the remainder of the poem, there is a clear prefiguration of Petrarch, who admired Cino, and wrote a sonnet on his death. The following is a favourable example of Cino’s own sonnets: _Descend, fair Pity, veiled in mortal weed; And in thy guise my messengers be dight. Partakers to appear of virtuous might That Heaven hath for thy attribute decreed. Yet thou, ere on their errand these proceed, If Love consent, I pray, recall and cite My spirits all astray dispersed in flight, That so my songs be bold to sue and plead. Then, hast thou sight of ladies’ loveliness, Thither accede, for I would have thee there, And audience with humility entreat; And charge my envoys, kneeling at their feet, Their Lord and his desirings to declare: Hear them, sweet Ladies, for their humbleness._ Several other good poets, such as Lapo Gianni, Dino Frescobaldi, and Gianni Alfani, would deserve notice in a more elaborate history. They all wrought in the spirit of Cavalcanti and Dante himself, spiritualising the earthly passion of the troubadours, and endowing the ladies of their songs with such superhuman perfections as to incur the risk of appearing mere types of ideal virtue. We must, however, pass to a different order of poetry, the gay and satirical. Here Folgore di San Geminiano is the leading figure. His political sonnets are very forcible; but he is better known for two sets of sonnets on the pleasures of the months and the days of the week, celebrating, not without an undercurrent of satire, the luxurious extravagance of a set of wild young men at Siena, who, another poet informs us, reduced themselves to beggary thereby. Another humorous poet, justly defined by Rossetti as the scamp of the Dante circle, is Cecco Angioleri, who is irreverent enough to call Dante himself a pinchbeck florin, and whose favourite theme is his quarrels with his parents: