L'Isola del Fuoco—the Isle of Fire, as Dante named it—is singularly rich in poetic associations. Acis, the sweet wood-born stream, Galatea, the calm of the summer sea, and how many more flower-children of a world which had not learned to "look before and after," of a people who deified nature and naturalised deity, and felt at one with both, send us thence across the ages the fragrance of their immortal youth. Our mind's magic lantern shows us Sappho and AlcÆus welcomed in Sicily as guests, Pindar writing his Sicilian Odes, the mighty Æschylus, burdened always perhaps with a sorrow—untainted by fretful anger—because of that slight, sprung from the enthusiasm for the younger poet, the heat of politics, we know not what, which drove him forth from Athens: yet withal solaced by the homage paid to his grey hairs, and not ill-content to die

To Sicily we trace the germs of Greek comedy, and the addition of the epode to the strophe and anti-strophe. We remember the story of how, when the greatness of Athens had gone to wreck off Syracuse, a few of the starving slaves in the latomiÆ were told they were free men, thanks to their ability to recite passages from Euripides; we remember also that new story, narrated in English verse, of the adventure which befell the Rhodian maid Balaustion, on these Sicilian shores, and of the good stead stood her by the knowledge of Alcestis. We think of Sicily as the birth-place of the Idyllists, the soil which bore through them an aftermath of Grecian song thick with blossom as the last autumn yield of Alpine meads. Then by a strange transformation scene we get a glimpse of Arabian KasÎdes hymning the beauties of the Conca d'Oro, and as these disappear, arise the forms of the poets of whom Petrarch says—

—those wonderful poet discoverers, more wonderful as discoverers than as poets, who found out that a new music was to be made in a tongue, not Latin, nor yet ProvenÇal—a tongue which had grown into life under the double foster-fathership of Arabian culture and Norman rule, the lingua cortigiana of the palaces of Palermo, the "common speech" of Dante. When we recollect how the earliest written essays in Italian were composed in what once was styled Sicilian, it seems a trifle unfair for the practical adaptator—in this case as often happens in the case of individuals—to have so completely borne away the glory from the original inventor as to cause the latter to be all but forgotten. We now hear only of the "sweet Tuscan tongue," and even the pure pronunciation of educated Sicilians is not admitted without a comment of surprise. But whilst the people of Tuscany quickly assimilated the lingua cortigiana and made it their own, the people of Sicily stuck fast to their old wild-flower language, and left ungathered the gigantic lily nurtured in Palermitan hot-houses and carried by the great Florentine into heaven and hell. They continued speaking, not the Sicilian we call Italian, but the Sicilian we call patois—the Sicilian of the folk-songs. The study of Italic dialects is one by no means ill-calculated to repay the trouble bestowed upon it, and that from a point of view not connected with their philological aspect. How far, or it may be I should say, how soon they will die out, in presence of the political unity of the country, and of the general modern tendency towards the adoption of standard forms of language, it is not quite easy to decide. Were we not aware of the astonishing rapidity with which dialects, like some other things, may give way when once the least breach is opened, we might suppose that those of Italy were good for many hundred years. Even the upper classes have not yet abandoned them: it is said that there are deputies at Monte Citorio who find the flow of their ideas sadly baulked by the parliamentary etiquette which expects them to be delivered in Italian. And the country-people are still so strongly attached to their respective idioms as to incline them to believe that they are the "real right thing," to the disadvantage of all competitors. Not long ago, a Lombard peasant-woman employed as nurse to a neuralgic Sicilian gentleman who spoke as correctly as any Tuscan, assured a third person with whom she chatted in her own dialect—it was at a bath establishment—that her patient did not know a single word of Italian! But it is reported that in some parts of Italy the peasants are beginning to forget their songs; and when a generation or two has lived through the Æra of facile inter-communication that makes Reggio but two or three days' journey from Turin, when every full-grown man has served his term of military service in districts far removed from his home, the vitality of the various dialects will be put to a severe test. Come when it may, the change will have in it much that is desirable for Italy: of this there can be no question; nor can it be disputed that as a whole standard Italian offers a more complete and plastic medium of expression than Venetian, or Neapolitan, or Sicilian. Nevertheless, in the mouth of the people the local dialects have a charm which standard Italian has not—a charm that consists in clothing their thought after a fashion which, like the national peasant costumes, has an essential suitability to the purpose it is used for, and while wanting neither grace nor richness, suggests no comparisons that can reflect upon it unfavourably. The naÏve ditty of a poet of Termini or Partinico is too much a thing sui generis for it to suffer by contrast with the faultless finish of a sonnet in Vita di Madonna Laura.

Sicily is notoriously richer in songs than any province of the mainland; Vigo collected 5000, and the number of those since written down seems almost incredible. It has even been conjectured that Sicily was the original fountain-head of Italian popular poetry, and that it is still the source of the greater part of the songs which circulate through Italy.* Songs that rhyme imperfectly in the Tuscan version have been found correct when put into Sicilian, a fact which points to the island as their first home. Dr PitrÈ, however, deprecates such speculations as premature, and when so distinguished and so conscientious an investigator bids us suspend our judgment, we can do no better than to obey. What can be stated with confidence is, that popular songs are inveterate travellers, and fly from place to place, no one knows how, at much the same electrical rate as news spreads amongst the people—a phenomenon of which the more we convince ourselves that the only explanation is the commonplace one that lies on the surface, the more amazing and even mysterious does it appear.

* "Noi crediamo .... che il Canto popolare italiano sia nativo di Sicilia. NÈ con questo intendiamo asserire che le plebi delle altre provincie sieno prive di poetica facoltÀ, e che non vi sieno poesie popolari sorte in altre regioni italiane, ed ivi cresciute e di lÀ diramate attorno. Ma crediamo che, nella maggior parte des casi, il Canto abbia per patria di origine l'Isola, e per patria di adozione la Toscana: che, nato con veste di dialetto in Sicilia, in Toscana abbia assunto forma illustre e comune, e con siffatta veste novella sia migrato nelle altre provincie."—La Poesia Popolare Italiana: Studj di Alessandro d'Ancona, p. 285.

As regards the date of the origin of folk-songs in Sicily, the boldest guess possibly comes nearest the truth, and this takes us back to a time before Theocritus. Cautious students rest satisfied with adducing undoubted evidence of their existence as early as the twelfth century, in the reign of William II., whose court was famed for "good speakers in rhyme of every condition." Moreover, it is certain that Sicilian songs had begun to travel orally and in writing to the Continent considerably before the invention of printing; and it is not unlikely that many canzuni now current in the island could lay claim to an antiquity of at least six or seven hundred years. Folk-songs change much less than might at first sight be expected in the course of their transmission from father to son, from century to century; and some among the songs still popular in Sicily have been discovered written down in old manuscripts in a form almost identical to that in which they are sung to-day. Although the methodical collection of folk-songs is a thing but recently undertaken, the fact of there being such songs in Sicily was long ago perfectly well known. An English traveller writing in the last century remarks, that "the whole nation are poets, even the peasants, and a man stands a poor chance for a mistress that is not capable of celebrating her." He goes on to say, that happily in the matter of serenades the obligations of a chivalrous lover are not so onerous as they were in the days of the Spaniards, when a fair dame would frown upon the most devoted swain who had not a cold in his head—the presumed proof of his having dutifully spent the night "with the heavens for his house, the stars for his shelter, the damp earth for his mattress, and for pillow a harsh thistle"—to borrow the exact words of a folk-poet.

One class of folk-songs may be fairly trusted to speak for themselves as to the date of their composition, namely, that which deals with historical facts and personages. Until lately the songs of Italy were believed, with the exception of Piedmont, to be of an exclusively lyrical character; but fresh researches, and, above all, the unremitting and enthusiastic efforts of Signor Salvatore Salomone-Marino, have brought to light a goodly quantity of Sicilian songs in which the Greek, Arabian, Norman, and Angevin denominations all come in for their share of commemoration. And that the authors of these songs spoke of the present, not of the past, is a natural inference, when actual observation certifies that such is the invariable custom of living folk-poets. For the people events soon pass into a misty perspective, and the folk-poet is a sort of people's journalist; he makes his song as the contributor to a newspaper writes his leading article, about the matter uppermost for the moment in men's minds, whether it be important or trivial. In 1860 he sang of "the bringers of the tricolor," the "milli famusi guirreri," and "Aribaldi lu libiraturi." In 1868 he joked over the grand innovation by which "the poor folk of the piazza were sent to Paradise in a fine coach," i.e., the substitution, by order of the municipality of Palermo, of first, second, and third class funeral cars in lieu of the old system of bearers. In 1870 he was very curious about the eclipse which had been predicted. "We shall see if God confirms this news that the learned tell us, of the war there is going to be between the moon and the sun," says he, discreetly careful not to tie himself down to too much faith or too much distrust. Then, when the eclipse has duly taken place, his admiration knows no bounds. "What heads—what beautiful minds God gives these learned men!" he cries; "what grace is granted to man that he can read even the thoughts of God!" The Franco-German war inspired a great many poets, who displayed, at all events in the first stages of the struggle, a strong predilection for the German side. All these songs long survive the period of the events they allude to, and help materially to keep their memory alive; but for a new song to be composed on an incident ten years old, would simply argue that its author was not a folk-poet at all, in the strict sense of the word. The great majority of the historical songs are short, detached pieces, bearing no relation to each other; but now and then we come upon a group of stanzas which suggest the idea of their having once formed part of a consecutive whole; and in one instance, that of the historical legend of the Baronessa di Carini, the assembled fragments approach the proportions of a popular epic. But it is doubtful whether this poem—for so we may call it—is thoroughly popular in origin, though the people have completely adopted it, and account it "the most beautiful and most dolorous of all the histories and songs," thinking all the more of it in consequence of the profound secrecy with which it has been preserved out of fear of provoking the wrath of a powerful Sicilian family, very roughly handled by its author.

Of religious songs there are a vast number in Sicily, and the stock is perpetually fed by the pious rhyme tournaments held in celebration of notable saints' days at the village fairs. On such occasions the image or relics of the saints are exhibited in the public square, and the competitors, the assembled poetic talent of the neighbourhood, proceed, one after the other, to improvise verses in his honour. If they succeed in gaining the suffrage of their audience, which may amount to five or six thousand persons, they go home liberally rewarded. Along with these saintly eulogiums may be mentioned a style of composition more ancient than edifying—the Sicilian parodies. A pious or complimentary song is travestied into a piece of coarse abuse, or a sample of that unblushing, astounding irreverence which sometimes startles the most hardened sceptic, travelling in countries where the empire of Catholicism has been least shaken—in Tyrol, for instance, and in Spain. We cannot be sure whether the Sicilian parodist deliberately intends to be profane, or is only indifferent as to what weapons he uses in his eagerness to cast ridicule upon a rival versifier—the last hypothesis seems to me to be the most plausible; but it takes nothing from the significance of his profanity as it stands. It is pleasant to turn from these several sections of Sicilian verse, which, though valuable in helping us to know the people from whom they spring, for the most part have but small merits when judged as poetry, to the stream of genuine song which flows side by side with them: a stream, fresh, clear, pure: a poesy always true in its artless art, generally bright and ingenious in its imagery, sometimes tersely felicitous in its expression. In his love lyrics, and but rarely save in them, the Sicilian popolano rises from the rhymester to the poet.

The most characteristic forms of the love-songs of Sicily are those of the ciuri, called in Tuscany stornelli, and the canzuni, called in Tuscany rispetti. The ciuri (flowers) are couplets or triplets beginning with the name of a flower, with which the other line or lines should rhyme. They abound throughout the island, and notwithstanding the poor estimation in which the peasants hold them, and the difficulty of persuading them that they are worth putting on record, a very dainty compliment—just the thing to figure on a valentine—may often be found compressed into their diminutive compass. To turn such airy nothings into a language foreign and uncongenial to them, is like manipulating a soap-bubble: the bubble vanishes, and we have only a little soapy water left in the hollow of our hand: a simile which unhappily is not far from holding good of attempts at translating any species of Italian popular poetry. It is true that in Fra Lippo Lippi there are two or three charming imitations of the stornello; but, then, Mr Browning is the poet who, of all others, has got most inside of the Italian mind. Here is an aubade, which will give a notion of the unsubstantial stuff the ciuri are made of:

"Rose of the sea, the dawn and the star Diana are shining: the song is done, farewell sweet Rosina."

One of these flower-poets, invoking the Violet by way of heading, tells his love that "all men who look on her forget their sorrows;" another takes his oath that she outrivals sun, and moon, and stars. "Jasmine of Araby," cries a third, "when thou art not near, I am consumed by rage." A fourth says, "White floweret, before thy door I make a great weeping." A fifth, night and day, bewails his evil fate. A sixth observes that he has been singing for five hours, but that he might just as well sing to the wind. A seventh feels the thorns of jealousy. An eighth asks, "Who knows if Rosa will not listen to another lover?" A ninth exclaims,

With which ominous sentiment I will leave the ciuri, and pass on to the yet more interesting canzuni: little poems, usually in eight lines, of which there are so many thousand graceful specimens that it is embarrassing to have to make a selection.

Despite the wide gulf which separates lettered from illiterate poetry, it is curious to note the not unfrequent coincidence between the thought of the ignorant peasant bard and that of cultured poets. In particular, we are now and then reminded of the pretty conceits of Herrick, and also of the blithe paganism, the happy unconsciousness that "Pan is dead," which lay in the nature of that most incongruous of country parsons. Thus we find a parallel to "Gather ye Rosebuds:"

No poet is more determined to deal out his compliments in a liberal, open-handed way than is the Sicilian. While the Venetians and the Tuscans are content with claiming seven distinctive beauties for the object of their affection, the Sicilian boldly asserts that his bedda possesses no less than thirty-three biddizzi. In the same manner, when he is about sending his salutations, he sends them without stint:

On some rare occasions the incident which suggested the song may be gathered from the lips of the person who recites it. In one case we are told that a certain sailor, on his return from a long voyage, hastened to the house of his betrothed, to bid her prepare for the wedding. But he was met by the mother-in-law elect, who told him to go his way, for his love was dead—the truth being that she had meanwhile married a shoemaker. One fine day the disconsolate sailor had the not unmixed gratification of seeing her alive and well, looking out of her husband's house, and that night he sang her a reproachful serenade, inquiring wherefore she had hidden from him, that though dead to him she lived for another? This deceived mariner must have been a rather exceptional individual, for although there are baker-poets, carpenter-poets, waggoner-poets, poets in short of almost every branch of labour and humble trade, a sailor-poet is not often to be heard of. Dr PitrÈ remarks that sailors pick up foreign songs in their voyages, mostly English and American, and come home inclined to look down upon the folk-songs and singers of their native land.

The serenades and aubades are among the most delicate and elegant of all the canzuni d'amuri; this is one, which contains a favourite fancy of peasant lovers:

Another poet treats somewhat the same idea in a drolly realistic way—

The canzuni differ very much as to adherence to the strict laws of rhyme and metre; more often than not assonants are readily accepted in place of rhymes, and their entire absence has been thought to cast a suspicion of education on the author of a song. One truly illiterate living folk-poet was, however, heard severely to criticise some of the printed canzuni which were read aloud to him, on just this ground of irregularity of metre and rhyme. His name is Salvatore Calafiore, and he was employed a few years ago in a foundry at Palermo, where he was known among the workmen as "the poet." Being very poor, and having a young wife and family to support, he bethought himself of appealing to the proprietor of the foundry for a rise of wages, but the expedient was hazardous: those who made complaints ran a great chance of getting nothing by it save dismissal. So he offered up his petition in a little poem to this effect: "As the poor little hungry serpent comes out of its hole in search of food, heeding not the risk of being crushed, thus Calafiore, timorous and hard-pressed, O most just sir, asks of you help!" Calafiore was once asked what he knew about the classical characters whose names he introduced into his poems: he answered that some one had told him of them who knew little more of them than he did. He added that "Jove was God of heaven, Apollo god of music, Venus the planet of love, Cicero a good orator." On the whole, the folk-poets are not very lavish in mythological allusion; when they do make it, it is ordinarily fairly appropriate. "Wherever thou dost place thy feet," runs a Borgetto canzuna, "carnations and roses, and a thousand divers flowers, are born. My beautiful one, the goddess Venus has promised thee seven and twenty things—new gardens, new heavens, new songs of birds in the spot where thou dost take thy rest." The Siren is one of the ancient myths most in favour: at Partinico they sing:

It is rarely indeed that we can trace a couple of these lyrics to the same brain—we may not say "to the same hand," for the folk-poet's hand is taken up with striking the anvil or guiding the plough; to more intellectual uses he does not put it—yet expressing as they do emotions which are not only the same at bottom, but are here felt and regarded in precisely the same way, there results so much unity of design and execution, that, as we read, unawares the songs weave themselves into slight pastoral idylls—typical peasant romances in which real contadini speak to us of the new life wrought in them by love. Even the repeated mention of the Sicilian diminutives of the names of Salvatore and Rosina helps the illusion that a thread of personal identity connects together many of the fugitive canzuni. Thus we are tempted to imagine Turiddu and Rusidda as a pair of lovers dwelling in the sunny Conca d'Oro—he "so sweet and beautiful a youth, that God himself must surely have fashioned him"—a youth with "black and laughing eyes, and a little mouth from whence drops honey:" she a maiden of

"fourteen years, celestial eyes, blonde hair;" to see her long tresses "shining like gold spun by the angels," one would think "that she had just fallen out of Paradise." "She is fairer than the foam of the sea"—

But Rusidda's mother will have nothing to say to poor Turiddu; he complains, "Ah! God, what grief to have a tongue and not to be able to speak; to see her and dare not make any sign! Ah, God in heaven, and Virgin Mary, tell me what I am to do? I look at her, she looks at me, neither I nor she can say a word!" Then an idea strikes him; he gets a friend to take her a message: "When we pass each other in the street, we must not let the folk see that we are in love, but you will lower your eyes and I will lower my head; this shall be our way of saluting one another. Every saint has his day, we must await ours." Encouraged by this stratagem, Turiddu grows bold, and one dark night, when none can see who it is, he serenades his "little Rose:"

He does not think the song nearly good enough for her: "I know not what song I can sing that is worthy of you," he says: he wishes he were "a goldfinch or a nightingale, and had no equal for singing;" or, better still, he would fain "have an angel come and sing her a song that had never before been heard of out Paradise," for in Paradise alone can a song be found appropriate to her. One day (it is Rusidda's fÊte-day), Turiddu makes a little poem, and says in it: "All in roses would I be clad, for I am in love with roses; I would have palaces and little houses of roses, and a ship with roses decked, and a little staircase all of roses, which I the fortunate one would ascend; but ere I go up it, I wish to say to you, my darling, that for you I languish." He watches her go to church: "how beautiful she is! Her air is that of a noble lady!" The mother lingers behind with her gossips, and Turiddu whispers to Rusidda, "All but the crown you look like a queen." She answers: "If there rode hither a king with his crown who said, 'I should like to place it on your head,' I should say this little word, 'I want Turiddu, I want no crown.'" Turiddu tells her he is sick from melancholy: "it is a sickness which the doctors cannot cure, and you and I both suffer from it. It will only go away the day we go to church together."

But there seems no prospect of their getting married; Turiddu sends his love four sighs, "e tutti quattru suspiri d'amuri:"

And now he has to go upon a long journey; but before he starts he contrives one meeting with Rusidda. "Though I shall no longer see you, we yet may hope, for death is the only real parting," he says. "I would have you constant, firm, and faithful; I would have you faithful even unto death." She answers, "If I should die, still would my spirit stay with you." A year passes; on Rusidda's festa a letter arrives from Turiddu: "Go, letter mine, written in my blood, go to my dear delight; happy paper! you will touch the white hand of my love. I am far away, and cannot speak to her; paper, do you speak for me."

At last Turiddu returns—but where is Rusidda? "Ye stars that are in the infinite heavens, give me news of my love!"

Through the night "he wanders like the moon," he wanders seeking his love. In his path he encounters Brown Death. "Seek her no more," says this one; "I have her under the sod. If you do not believe me, my fine fellow, go to San Francesco, and take up the stone of the sepulchre: there you will find her." ... Alas! "love begins with sweetness and ends in bitterness."

The Sicilian's "Beautiful ideal" would seem to be the white rose rather than the red, in accordance, perhaps, with the rule that makes the uncommon always the most prized; or it may be, from a perception of that touch of the unearthly, that pale radiance which gives the fair Southerner a look of closer kinship with the pensive Madonna gazing out of her aureole in the wayside shrine, than with the dark damsels of the more predominant type. Some such angelical association attached to golden heads has possibly disposed the Sicilian folk-poet towards thinking too little of the national black eyes and olive-carnation colouring. Not that brunettes are wholly without their singers; one of these has even the courage to say that since his bedda is brown and the moon is white, it is plain that the moon must leave the field vanquished. One dark beauty of Termini shows that she is quite equal to standing up for herself. "You say that I am black?" she cries, "and what of that? Black writing looks well on white paper, black spices are worth more than white curds, and while dusky wine is drunk in a glass goblet, the snow melts away unregarded in the ditch."¹ But the apologetic, albeit spirited tone of this protest, indicates pretty clearly that the popular voice gives the palm to milk-white and snowy faced maidens; the possessors of capiddi biunni and capidduzzi d'oru have no need to defend their charms, a hundred canzuni proclaim them irresistible. "Before everything I am enamoured of thy blonde tresses," says one lyrist. The luxuriant hair of the Sicilian women is proverbial. A story is told how, when once Palermo was about to surrender to the Saracens because there were no more bowstrings in the town, an abundant supply was suddenly produced by the patriotic dames cutting off their long locks and turning them to this purpose. The deed so inspired the Palermitan warriors that they speedily drove the enemy back, and the siege was raised. A gallant poet adds: "The hair of our ladies is still employed in the same office, but now it discharges no other shafts but those of Cupid, and the only cords it forms are cords of love."

In the early morning, almost all the year round the women may be seen sitting before their doors undoing and doing up again this long abundant hair. The chief part of their domestic work they perform out in the sunshine; one thing only, but that the most important of all, has to be done in the house—the never finished task of weaving the clothes of the family. From earliest girlhood to past middle age the Sicilian women spend many hours every day at the loom. A woman of eighty, Rosa Cataldi of Borgetto, made the noble boast to Salomone-Marino: "I have clothed with stuff woven by my hands from fourteen to fifty years, myself, my brothers, my children, and their children." A girl who cannot, or will not, weave is not likely to find a husband. As they ply the shuttle, the women hardly cease from singing, and many, and excellent also, are the songs composed in praise of the active workers. The girl, not yet affianced, who is weaving perhaps her modest marriage clothes, may hear, coming up from the street, the first avowal of love:

It has been said that love begins with sweetness and ends in bitterness. What a fine world it would be were Brown Death the only agent in the bitter end of love! It is not so. Rusidda, who dies, is possibly more fortunate than Rusidda who is married. When bride and bridegroom return from the marriage rite, the husband sometimes solemnly strikes his wife in presence of the assembled guests as a sign of his henceforth unlimited authority. The symbol has but too great appropriateness. Even in what may be called a happy marriage, there is a formality akin to estrangement, once the knot is tied. Husband and wife say "voi" to each other, talking to a third person, they speak of one another as "he" and "she," as "mio cristiano," and "mia cristiana," never as "my husband" and "my wife." The wife sits down to table with the husband, but she scrupulously waits for him to begin first, and takes tiny mouthfuls as if she were ashamed of eating before him. Then, if the husband be out of humour, or if he thinks that the wife does not work hard enough (an "enough" which can never be reached), the nuptial blow is repeated in sad and miserable earnest. The woman will not even weep; she bears all in silence, saying meekly afterwards, "We women are always in the wrong, the husband is the husband, he has a right even to kill us since we live by him." These things have been recorded by one who loves the Sicilian peasant, and who has defended him against many unfounded charges. A hard case it would be for wedded Rusidda if she had not her songs and the sun to console her.

All the canzuni that have been quoted are, so far as can be judged, of strictly popular origin, nor is there any sign of continental derivation in their wording or shape. Several, however, are the common property of most of the Italian provinces. There is a charming Vicentine version of "The Siren," and the "Four Sighs" makes its appearance in Tuscany under a dress of pure Italian. Has Sicily, then, a right to the honour of their invention? There is a strong presumption that it has. On the other hand, there are some Sicilianized songs of plainly foreign birth, which shows that if the island gave much to the peninsula, it has had at least something back in return. There is a third category, comprising the songs of the Lombard colonies of Piazza and San Fratello, which have a purely accidental connection with Sicily. The founders of this community were Lombards or Longobards, who were attracted to Sicily somewhere in the eleventh century, either by the fine climate and the demand for soldiers of fortune, or by the marriage of Adelaide of Monferrato with Count Roger of Hauteville. But what is far more curious than how or why they came, is the circumstance of the extraordinary isolation in which they seem to have lived, and their preservation to this day of a dialect analogous with that spoken at Monferrato. In this dialect there exist a good many songs, but a full collection of them has yet to be made.

Besides the ciuri and canzuni, there is another style of love-song, very highly esteemed by the Sicilian peasantry, and that is the aria. When a peasant youth serenades his 'nnamurata with an aria, he pays her by common consent the most consummate compliment that lies in his power. The arii are songs of four or more stanzas—a form which is not so germane to the Sicilian folk-poet as that of the canzuna; and, although he does use it occasionally, it may be suspected that he more often adapts a lettered or foreign aria than composes a new one. An aria is nothing unless sung to a guitar accompaniment, and is heard to great advantage when performed by the barbers, who are in the habit of whiling away their idle hours with that instrument. The Sicilian (lettered) poet, Giovanni Meli, has written some admirable arii, many of which have become popular songs.

Meli's name is as oddly yoked with the title of abate as Herrick's with the designation of clergyman. He does not seem, as a matter of fact, to have ever been an abate at all. Once, when dining with a person influential at court, his host inquired why he did not ask to be appointed to a rich benefice then vacant. "Because," he replied, "I am not a priest." And it appeared that when a young man he had adopted the clerical habit for no other reason than that he intended to practise medicine, and wished to gain access to convents, and to make himself acceptable to the nuns. It was not an uncommon thing to do. The public generally dubbed him with the ecclesiastical title. Not long before his death, in 1815, he actually assumed the lesser orders, and in true Sicilian fashion, wrote some verses to his powerful friend to beg him to get him preferment, but he died too soon after to profit by the result. The Sicilians are very proud of Meli. It is for them alone probably to find much pleasure in his occasional odes—to others their noble sentiments will be rather suggestive of the sinfonia eroica played on a flute; but the charm and lightness of his Anacreontic poems must be recognised by all who care for poetry. He had a nice feeling for nature too, as is shown in a sonnet of rare beauty:

Ye gentle hills, with intercepting vales,

Ye rocks with musk and clinging ivy dight;

Ye sparkling falls of water, silvery pale,

Still meres, and brooks that babble in the light;