when he recited something of his own composition, he was the first to
call the attention of his hearers to the important parts or to the fine
passages with as much simplicity as he would remark the weak ones. I
spoke to him of his tutor Gravina, and as we were on that subject he
recited to me five or six stanzas which he had written on his death, and
which had not been printed. Moved by the remembrance of his friend, and
by the sad beauty of his own poetry, his eyes were filled with tears, and
when he had done reciting the stanzas he said, in a tone of touching
simplicity,'Ditemi il vero, si puo air meglio'?

I answered that he alone had the right to believe it impossible. I then
asked him whether he had to work a great deal to compose his beautiful
poetry; he shewed me four or five pages which he had covered with
erasures and words crossed and scratched out only because he had wished
to bring fourteen lines to perfection, and he assured me that he had
never been able to compose more than that number in one day. He confirmed
my knowledge of a truth which I had found out before, namely, that the
very lines which most readers believe to have flowed easily from the
poet's pen are generally those which he has had the greatest difficulty
in composing.

"Which of your operas," I enquired, "do you like best?"

"'Attilio Regolo; ma questo non vuol gia dire che sia il megliore'."

"All your works have been translated in Paris into French prose, but the
publisher was ruined, for it is not possible to read them, and it proves
the elevation and the power of your poetry."

"Several years ago, another foolish publisher ruined himself by a