It is not easy for a foreigner to understand the exalted estimation in which the poetry of Leopardi is held in Italy to-day. To do so one must needs sense the spirit of the times when he lived. The "whatever is is right" day of Pope had been succeeded by a day of tragedy the like of which the world had perhaps never known, and things would never be again as they were. Leopardi sung this change. He was the poet of pain and of despair, the versifier of Schopenhauer's philosophy. He sang of melancholy, but he was never reconciled to supine resignation. Though classical in form, his poems are steeped with the romantic spirit. Although a supporter of the romantic school, he scarcely can be called an exponent or upholder of it. A familiarity with his writings is an integral part of the education of all cultured Italians, and nearly every schoolboy can recite parts of the poems "To Italy" or "The Quiet after the Storm." Leopardi considered it was harder to write good prose than good verse. Greek thoughts were clearer and more vivid to him than Latin or Italian. It is a pitiable picture that Ranieri draws of him in Naples, suffering from consumption and from dropsy, unable to read, turning night into day, having dinner at midnight to the discomfiture of the household, having to be nursed and entertained, disliking the country, and living in abject terror of the cholera which then raged in Naples. De Musset praised his work. Sainte-Beuve did homage to him, and at an early date made his name familiar to French readers. The judgment of posterity is the one that counts and not the judgment of individuals, and Leopardi is Italy's greatest modern poet. De Sanctis said of him: "His songs are the most profound and occult verses of that laborious transition called the nineteenth century." His death marked the close of the first romantic period in Italy. Gian Battista Niccolini (1785-1861) wrote tragedies, historical romances, and poetry, the best known of which is "Arnaldo da Brescia." The Florentines have erected a noble monument to his memory in their Westminster Abbey--the church of Santa Croce. Massimo D'Azeglio (1798-1866), diplomat, statesman, and man of letters, played a very conspicuous part in the political and social life of his day, and left an extraordinarily interesting account of it and of his period in "I miei Ricordi" ("My Recollections"), which no one desirous of acquainting himself with the social life of the risorgimento period fails to read.