Apart from these two chief names Italy possesses at present a number of excellent lyrical poets. The best known is perhaps Olindo Guerrini, whose first poems, _Posthuma_, supposed to be edited from the papers of an imaginary Lorenzo Stecchetti, caused a great sensation, not so much by their unquestionable talent as by their audacious immorality. Of late years Guerrini has produced a number of poems on the political circumstances of the country, many of which are perfect masterpieces of refined form and energetic expression. As much may be said for the political verses of the Parliamentary orator Felice Cavallotti. The poet of the social revolution is Mario Rapisardi, a Sicilian, known also as the literary antagonist of Carducci; while the sorrows of the poor are pathetically expressed by a lady, Ada Negri. Alessandro Arnaboldi, lately deceased, possessed an eminent faculty for description and excelled in grave and dignified lyric, not unlike Matthew Arnold; while Italy has her James Thomson in the gloomy and powerful Arturo Graf. Antonio Fogazzaro, on the other hand, is the poet of hope and faith. Enrico Panzacchi, less individual than most of these, surpasses them all in grace and variety; Edmondo de Amicis, celebrated as a traveller, has the gift of brilliant description; Luigi Capuana has emulated Carducci’s metrical experiments; and excellent poetry has been produced by Giovanni Marradi, Giuseppe Pascoli, and Alfredo Baccelli. Translated specimens of these and other poets, with biographical and bibliographical particulars, will be found in Mr. G. A. Greene’s _Italian Lyrists of To-Day_. On the whole, the present condition of Italian poetry is one of abundant vitality, but of deficient concentration either in great men or great poems. The serious drama is best represented by Cavallotti’s tragedies and the New Testament trilogy of Giuseppe Bovio, and the humorous by the comedies of Roberto Bracco and Giacinto Gallina.