The chief causes of Petrarch’s failure as a Latin poet are evident. In the infancy of vernacular literature it was not sufficiently understood that compositions in a dead language, however exquisite, must fail to bestow immortality. Nor could Petrarch himself be fully aware how impossible it was to write like a Roman poet in the new dawn of reviving classical studies. It took two centuries of culture to produce a Vida and a Sannazaro, and if their names are undying, the same can hardly be said of their Latin works. But there was a deeper reason. Petrarch attempted epic composition without epic inspiration. His genius was entirely lyric, and his poetry has little value except where it palpitates with lyrical feeling. When he writes on the misfortunes of his country, he is a poet even when writing in Latin; and his great Latin epic, the _Africa_, too often tame, notwithstanding its true natural feeling, sometimes, especially when near the end of the poem he speaks of himself, kindles into poetry. The Latin verses placed by Coleridge on the half-title of his own love-poems in _Sibylline Leaves_ are almost as exquisite as the tenderest passages of the _Canzoniere_ itself[6]: _Quas humilis tenero stylus olim effudit in ævo, Perlegis hic lacrymas, et quod pharetratus acuta Ille puer puero fecit mihi cuspide vulnus. Omnia paulatim consumit longior ætas, Vivendoque simul morimur, rapimurque manendo. Ipse mihi collatus enim non ille videbor: Frons alia est, moresque alii, nova mentis imago, Voxque aliud sonat. Pectore nunc gelido calidos miseremur amantes, Jamque arsisse pudet. Veteres tranquilla tumultus Mens horret, relegensque alium putat ista locutum._