Alfieri found that thus he had succeeded in saving the life of his friend; but the separation necessary to prevent any injurious opinions being formed as to the motives of his interference, was a cruel reward for his exertions. Florence grew hateful to him in her absence; he became incapable of every occupation, and his whole thoughts were bent on contriving their re-union: it was matter of difficulty, but not insuperable to his earnest endeavours. After some months, the pope allowed her to quit her convent, and to take up her abode in the palace of cardinal York; and Alfieri, having already quitted Florence and spent some time at Naples, ventured at last to fix himself at Rome also, having, as he tells us, paid court, made visits, and employed a thousand servile and humiliating arts, from which his nature revolted, to obtain the sufferance of the pope for his residence in the same city as the countess. No honours, no glory, no worldly advantage, could have induced him to submit to what he considered the excess of meanness and degradation; love alone exalted the debasement in his eyes. Now again he was happy: he lived at the villa Strozzi, near the baths of Dioclesian. He spent the long mornings in study, never leaving his house except to ride over the solitary and uncultivated country around Rome, whose immense and lonely expanse invited him to reverie and poetic composition. He spent the evenings with the countess, retiring at eleven to his tranquil home, which, divided from all others, rural though in the city, and surrounded by objects of antique grandeur and natural beauty, was an abode such as Rome only in the world can afford, and peculiarly adapted to the noble poet's temper, character, and occupations. His imagination received its happiest inspirations during this period. Besides continual labour on his former compositions, he wrote the tragedies of "Merope" and "Saul," both conceived and executed with a fervour of inspiration that allowed him no pause between the various operations into which he divided the composition of a tragedy. The "Merope" was written in a sort of indignant burst, to prove that the tragedy of Maffei on the subject, could be easily surpassed. The "Saul" emanated from reading the Bible, in the study of which he at that time occupied himself, and which awoke in him a desire to write several dramas on scriptural subjects; had it not been that, fond of forming resolutions and of adopting voluntary chains, since he cast away and abhorred all others, he had determined to limit his tragedies to twelve. The "Saul" and "Merope" caused him to exceed this number by two; but he would not be allured to go beyond.