In 1795, when he was forty-six years old, a feeling of shame came over him at his ignorance of Greek, and he determined to master that language. He applied himself with such industry to the task, that before very long he could read almost any Greek author. There are few instances on record of such an effort being made at so advanced a period of life. Yet, perhaps, a still more remarkable case than that of our poet is that of Mehemet Ali, who did not learn to read or write till more than forty years of age. His son, Ibrahim, never did even that. At the same time that he was learning Greek, Alfieri amused himself by writing satires, of which he had completed seventeen by the end of 1797. The fruit of his Greek studies appeared in his tragedies of _Alceste Prima_ and _Alceste Seconda_, which he composed after reading Euripides' fine play of that name. He calls these essays his final perjuries to Apollo. We have certainly seen him break his vow sufficiently often. The twelve tragedies he pledged himself not to exceed had now grown to their present number of twenty-one, besides the tramelogedy of _Abel_. He remained quietly and happily at Florence till the French invasion in March, 1799, when he and the Countess retired to a villa in the country. He marked his hatred of the French nation by writing his _Misogallo_, a miscellaneous collection in prose and verse of the most violent and indiscriminate abuse of France, and every thing connected with it, as its name imports. On the evacuation of Florence by the French in July, they returned to the city, but again left it on the second invasion in October, 1800. The French commander-in-chief wrote to Alfieri, requesting the honor of the acquaintance of a man who had rendered such distinguished services to literature: but he told him in reply, that if he wrote in his quality as Commandant of Florence, he would yield to his superior authority; but that if it was merely as an individual curious to see him, he must beg to be excused. We now find him irresistibly impelled to try his hand at comedy, and he accordingly wrote the six which are published with his other works. They are entitled respectively, _L'Uno_, _I Pochi_, _Il Troppo_, _Tre Velene rimesta avrai l'Antido_, _La Finestrina_, and _Il Divorzio_. The first four are political in their character, and written in iambics, like his tragedies. The last is the only one that can be ranked with modern comedies. Sismondi truly remarks, that in these dramas he exhibits the powers of a great satirist, not of a successful dramatist.