was suspended by the emotion she felt.  Oswald was pained that she did not dazzle his English friend with all her superiority; his eyes were cast down, and his embarrassment was so visible, that Corinne, solely engrossed by the effect that she produced upon him, lost more and more the presence of mind necessary for improvisation.  At length, sensible of her hesitation, feeling that her words were the offspring of memory and not of sentiment, and that thus she was neither able to paint what she thought nor what she really felt, she suddenly stopped and said to Mr Edgermond, “Pardon me Sir, if upon this occasion timidity has deprived me of my usual facility; it is the first time, as my friends can testify, that I have been below myself; but perhaps,” added she, sighing, “it will not be the last.”

Oswald was deeply affected by the touching failure of Corinne.  Till then he had always been accustomed to see imagination and genius triumph over her affections and reanimate her soul at the moment when she was most cast down; but at this time her mind was entirely fettered by feeling, yet Oswald had so identified himself with her fame on this occasion, that he partook of the mortification of her failure, instead of rejoicing at it.  But as it appeared certain, that she would one day shine with her natural lustre, he yielded to the tender reflections that arose in his mind, and the image of his mistress was enthroned more than ever in his heart.

Book vii.

ITALIAN LITERATURE.

[Illustration]

Chapter i.

Lord Nelville felt a lively desire that Mr Edgermond should enjoy the conversation of Corinne, which was more than equivalent to her improvised verses.  The following day the same company assembled at her house; and to elicit her sentiments, he turned the conversation upon Italian literature, and provoked her natural vivacity, by affirming that the English poets were much superior in energy and sensibility to those of which Italy could boast.

“In the first place,” said Corinne, “strangers are for the most part acquainted only with our poets of the first rank—­Dante, Petrarch, Ariosto, Guarini, Tasso, and Metastasio; whilst we have several others, such as Chiabrera, Guidi, Filicaja, Parini, without reckoning Sannazarius, Politian, &c., who have written in Latin, with as much taste as genius; and all unite in their verses the utmost beauty of colouring and harmony; all, with more or less talent, adorn the wonders of nature and art with the imagery of speech.  Without doubt our poets cannot pretend to that profound melancholy, that knowledge of the human heart which characterise yours; but does not this kind of superiority belong more properly to philosophical writers than to poets?  The brilliant melody of Italian is more suitable to the splendour of external objects than to meditation; our language is better