The following epitaph on an Admiral is also fine: "There never breathed a man who, when his life Was closing, might not of that life relate Toils long and hard. The warrior will report Of wounds, and bright swords flashing in the field, And blast of trumpets. He who hath been doomed To bow his forehead in the Courts of Kings Will tell of fraud and never-ceasing hate, Envy and heart-inquietude, derived From intricate cabals of treacherous friends. I, who on shipboard lived from earliest youth, Could represent the countenance horrible Of the vexed waters, and the indignant rage Of Auster and Bootes. Fifty years Over the well-steered galleys did I rule. From huge Pelorus to the Atlantic pillars, Rises no mountain to mine eyes unknown; And the broad gulfs I traversed oft and oft. Of every cloud which in the heavens might stir I knew the force; and hence the rough sea's pride Availed not to my Vessel's overthrow. What noble pomp and frequent have not I On regal decks beheld! yet in the end I learned that one poor moment can suffice To equalise the lofty and the low. We sail the sea of life--a Calm one finds, And one a Tempest--and, the voyage o'er, Death is the quiet haven of us all. If more of my condition ye would know, Savona was my birthplace, and I sprang Of noble parents; seventy years and three Lived I--then yielded to a slow desease." A poet who may not have equalled Chiabrera in the general excellence of his work, but who far surpassed him in sudden and brilliant flashes of inspiration, was VINCENZIO DA FILICAIA, a Florentine, born in 1642, died in 1707.[1] A few of his very finest verses are so renowned, that when we turn to an edition of his complete works, we are disagreeably surprised to find that the bulk of his poetry is far from coming up to his most striking passages. He is often conventional and turgid, sometimes heavy and awkward. He has not Chiabrera's technical skill, nor has he the vivacity of lighter poets. Hallam complained of a want of sunshine in his verse, and in truth his elegies are occasionally doleful where they ought to be tragic. The man seems to have been greater than his works; but when a chord of his lyre touches his heart, he breaks forth into song so noble and impassioned that he fully deserves to be acclaimed the greatest Italian poet in the Seventeenth Century. First and foremost stands his celebrated Sonnet on Italy, especially the four opening lines: "Italia! Italia! O tu cui feo la sorte Dono infelice di bellezza, ond'hai Funesta dote d'infiniti guai Che in fronte scritti per gran doglia porte." But there is something heavy and slow in the continuation and conclusion. Superior in general excellence, though not possessing the inimitable pathos of the passage just quoted, is the sonnet beginning: