Guido Mazzoni, born in 1859, was, and perhaps still is, professor at the University of Florence. He has been for many years secretary of the Crusca and senator of the realm. His critical work is "L'Ottocento." His poetry is of the familiar variety. "Sewing-machine" is one of them. He is an excellent example of the culture of the Italians, but he has made no lasting impression upon Italian letters. He is best known in this country from Papini's gibes at him and at the Crusca. His recent contributions, "The Lament of Achilles" and "Con Gli Alpini" ("With the Alpini"), are of the eminently respectable, commendable, poet-laureate variety, called forth by valorous deeds of Italy's soldier sons. Nothing shows the flight from romanticism to realism that took place at the end of the nineteenth century so clearly as its stage literature. The dominating figure of that period was Giuseppe Giacosa. He was not alone the most prolific contributor to the literature of the theatre, but a man who early excited and kept the admiration and affection of fellow artists. He can truthfully be called the literary mirror of that period in Italy. The lamp of enthusiasm was flickering when he first put secure steps upon the literary road, but it lighted him to a great success in "Una Partita a Scacchi" ("A Game of Chess"). Then the car of realism came along with a rush, as if it would carry everything in its wake, and he threw a great bouquet into the tonneau in the shape of "Surrender at Discretion." But his ear was always to the ground, and, when he sensed the advent of a new literary period and learned of the existence of readers that did not know just what they wanted but thought they would like to have the truth, the naked truth of life as depicted in fiction, he wrote "Sad Loves." But the Veristic period did not last long, and Giacosa took leave of it without a tear. Pascoli and D'Annunzio had not only entered idealistic realism in the literary race, but they were shouting in the most vociferous way for the latter especially to win. When Giacosa became fully cognizant of the favorite colors he was quick to make his entry with "As the Leaves" and "Il Più Forte" ("The Stronger"). The play to which he owed his first success, "A Game of Chess," had a remarkable career in Italy, and it still makes leading appeal to extravagant youth and romantic maturity, who see, in the lovely Iolande or in the dashing Fernando, prototypes who solve perplexing problems of life with an ease and readiness that is soul-satisfying. They also see in their experiences the smouldering or dying embers of their own passions, whose articulate breathings cause them to glow consumingly and pleasantly. Its success turned the author from law, which he despised, to literature, which he adored.