emerged into reputation and fortune. This change in the literary fortunes and character of the poet Parini was produced, by his fine satirical work, "Il Giorno," or "the Day," a poem intended to give a critical and humorous delineation of the habits of the Milanese nobility. These are distributed, according to their respective hours of amusement, into four cantos, consisting of "Mattino," morning; "Meriggio," noonday; "Vespro," and "Notte," evening and night, composing "Il Giorno." The point and piquancy lies in the character of a tutor, who ironically proposes a series of the most frivolous, unmeaning, and vicious pursuits. We imagine this must have been, by far, the happiest and harshest tone of reprobation the Muse of Parini could assume; and it required no common degree of courage to exhibit these graphic drafts of character, in a burlesque point of view, under such a government, and in such a situation, as the author was; surrounded by powerful patricians, whose pride was only to be equalled by their intolerance, and where assassination was still sufficiently in vogue to render it, on their part, an act of impunity.

Parini had several personal intima

tions of no very pleasant nature, and was even threatened with the stiletto. After publishing the first and second parts, he resolved to continue his poem with as much avidity as before. This was, for some time, considered a presumptuous and daring undertaking on the part of an obscure citizen, to draw upon himself the · notice of his patrician fellow citizens, by censuring their conduct and manners. In his mode of exposing that absurd aristocratical hauteur which prevailed more in Milan than in any other part of Italy, and which presented a barrier to the sympathy of other classes, our satirist took the hardy course of exhibiting the individual features while lashing the personal vices and absurdities of his heroes, whose likenesses he so cautiously, yet so accurately, pourtrayed, as to leave no doubt of their identity. The Milanese were at no loss to discover most of the leading portraits, especially that of Prince Belgiojoso, of the family of Este, an elder brother.

Parini confided in the spread of liberal opinions, and the increasing knowledge and rising importance of the middle orders, for the favourable reception and successful result of his labours. Joseph II., in abolishing torture, had,

likewise, shewn a disposition to repress the domineering influence and pride of the patricians, and, in particular, those of Lombardy. Thus, Parini, appearing as the advocate of the middle orders, so far ingratiated himself with the people, as to stand in little awe, in a short time, of his most powerful enemies. Added to which, he had previously taken the part of some individuals against the exorbitant demands of certain church rectors, and published a pamphlet in their defence, which obtained for him a wide popularity.

He always wields the weapons of his very powerful satire with the hand of a complete master. He does not rudely attempt to strike his adversaries in open attack, but he plays around them, and dexterously pounces on their weakest points. Nor did they venture on retaliation, except in the most safe and effectual way, by obtaining for him a professorship, which hardly amounted to a hundred pounds a year. The poet was still obliged to make his way with little more support than his walkingstick. This gave rise to one of his Odes, called "La Caduta," or "The Fall," in which he describes the inconveniences to which he

was exposed, lame and walking on foot, in a city without any side-paths for passengers.

Towards the close of his life, he had great popularity and influence among the people, which he uniformly employed to peaceable and useful ends. Many instances of this occurred; and once, when the democratic spirit was high, and the people were assembling in a large mob, with cries of "Viva la Republica !" "Morte ai Tiranni, ai Patrizii!" Parini, from an adjoining hotel, rushed forth, or, to speak less figuratively, hobbled out, indignantly exclaiming, "Viva la Republica, e morte a nessuno ; canaglia stolta!" "The Republic for ever! and death to nobody, you stupid people!" The crowd, struck with surprize and admiration, after cheering the champion of their rights,. quietly retired. Indeed, for some time before his death, every word uttered by Parini was listened to with the authority of an oracle, by the Milanese public. His manners were so prepossessing, that all he associated with, forgot the severity of his strictures, even the most high-born and aristocratic.

Parini lived to his seventieth year, and died greatly regretted by all parties.

POETICAL CORRESPONDENCE BETWEEN PETER PINDAR AND DR. HARRINGTON.

From Peter Pindar, on seeing a recent Musical Production, by Dr. Harrington, of Bath.

"When people borrow, it should be their care
To send things back again - it is but fair;
To gratitude and manners this is due:
Therefore, good Doctor, to the God of Song
Return his Lyre-you've really had it long,
Others must be obliged as well as you.”

THE RETORT COURTEOUS; OR, INNOCENCE DEFENDED.
Dr. Harrington to Peter Pindar.

"A Lyre, indeed! he borrow'd no such thing, But sports a stick with bladders and a string, A lousy Hedge-nymph's Hurdy-gurd :

Suckling about from door to door,

Squalls beggars' ballads by the score,

But not a penny gets as ever yet was heard.

'Twas thieving Pindar, 'tis well known,

Swindled his Godship's old Cremone,

But so vamp'd up,

he scruples not to shew it;
For what with varnish, sound-post, silver string,
'Tis so improv'd, he plays before the King

In tone so sweet, his Godship does not know it." By Peter Pindar, on reading a Literary Production of Dr. Harrington's.

"Doctor, I much your principles admire,

Apollo very kindly lent his Lyre;

And you, the most refined of grateful men,

To quit the obligation-stole his Pen."