After a long journey back to Italy in Autumn 1792, during which he rediscovered his vocation for the composition of rhymes, Alfieri settled in Florence and started organizing the performance of his tragedies, at home in the palazzina Gianfigliazzi (cat. n. 130) on the bank of the river Arno. On these occasions, in front of an audience of friends and estimators, he played the main role. At the end of his creative stage, he completed all those translations - viz. the Eneide, the comedies by Terence, the works of Sallust - which he had worked upon in 1790 in order to exercise his Latin and to escape from the trivia of reality. Translating, as he writes to Teresa Regoli Mocenni, keeps one's attention occupied and, so to say, steals one from oneself. Translating also helped Alfieri conquer the technique of comic verse as he also intended to write comedies and fulfilled his wish in his latter years (1800-1803). Since 1773, with the Esquisse, and in 1778 with the Pensieri comici he had in fact thought of deposing his tragic robes and of joining the party of laughter. The composition of the Satire (cat. n. 147), began in 1777 and abandoned, was continued in 1786 and accomplished in 1797.
   Since 1794, probably, he started to work at the Misogallo (cat. n. 139) which he then revised thoroughly and, notwithstanding so, left unpublished. Alfieri, indeed, only published some of the Misogallo compositions in the the Contravveleno poetico of 1799.