possessing any literary pretensions belongs to this class. It is true that, as in England and elsewhere, it is accompanied by a lower order of dramatic composition which may be regarded as popular. In the early days of the Italian drama we have the Rappresentazioni, at a later period the Commedia dell' Arte, of both of which some notice must be taken. But neither is, strictly speaking, literature.
It appears at first exceedingly surprising that a nation, not only so gifted as the Italian, but so dramatically gifted, should not merely never have achieved a national drama, but should have no dramatic writer meriting to be ranked among the chief masters of the art. Lively, emotional, capable of being worked up to the most violent degrees of passion; at the same time observant, sagacious, reflective; members of a society comprising every variety of character and profession, and inheritors of a history replete with moving and tragic incidents, Italians should seem to have wanted no requisite for the creation of a flourishing stage. Prolific they were indeed: more than five thousand plays were written between 1500 and 1734. Perhaps there are not five which enjoy any considerable reputation out of Italy, or which, whatever their literary merit, can be considered characteristically Italian. The most potent of probable causes will be adduced in its place, but no single explanation, or any accumulation of partially satisfactory explanations, will entirely account for so remarkable a circumstance. One reason was probably the great development of Italian culture at an early period, compared with that of other European nations. The ablest men had become fully acquainted with Seneca and Terence, and looked upon them as painters
