Benedetto Croceâ€™s influence pervades Anglo-Saxon culture, but, ironically, before Giovanni Gullace heeded the call of his colleagues and provided this urgently needed translation of La Poesia, speakers of English had no access to Croceâ€™s major work and final rendering of his esthetic theory.Â Aesthetic, published in 1902 and translated in 1909, represents most of what the English-speaking world knows about Croceâ€™s theory. It is, asserts Gullace, Â“no more than a first sketch of a thought that developed, clarified, and corrected itself through new literary experience and more mature reflection.â€ť During the 34 years between Aesthetic and La Poesia (1936), for example, Croce added a striking new element to his thought: the analysis of prose literature.Â Gullaceâ€™s introduction to La Poesia constitutes a major underÂtaking in its own right. It is aimed at acquainting the reader with the evolution of Croceâ€™s thought and at explaining the relationÂship between this final work and the philosopherâ€™s previous work in esthetic theory and literary criticism.Â La Poesia is divided into two parts, text and postscripts. The text consists of four chapters: Poetry and Literature; The Life of Poetry; Criticism and History of Poetry; and The Formation of the Poet and the Precepts. Croce saw the postscripts Â“as a reÂlaxed conversation after the tension of theoretical exposition. In Gullaceâ€™s translation the text and relevant postscripts appear conveniently side by side in a double column. Gullace has annoÂtated both text and postscripts.