The sun. [volume] (New York [N.Y.]) 1833-1916, 1879-03-02
roy1rMroRARr ITALIAN LIrERA rURE.
Philoiory-Fictiou-DramA.

disputcs that drove Tasso out of his wits. and
hiaincd the reputation OF Calico: they are the
thoughtful researches Of minds thoroughly
familiar with the harmony existing between
languages and customs. events. origin. and re-
lieions Of nations and races.
Since 1869 the Investigations OF Italian folk
lore in its relations to comparative mythology
md the development OF religions have been
rarriod on upon a very extensive scale, Com
paretti. D'Ancona. Pitr6 Bernoni. Mmo Caro-
line Coronedi Bert. De Gubernatis and others
have becn busily engaged in gathering together
what time has spared Of these precious remains
Of popular traditions and beliefs. The quan-
lily Of materials added 10 popular literature by
these researches is simply enormous. and
BnguAry strengthens the arguments brought
forth by Grimm in support Of the unique prim-
Tive Aryan origin Of popular myths. Italian
popular tales are essentially the same AS those
Of Norway. France Germany. and the Eastern
natons-a diffusion and popularity difficult to
explain 10y means Of Benfey's theory OF the
literary extraction OF these tales "Pitr6's
Collection Of Popular Sicilian Traditions"
says the quarterly Rerie,o does not
merely numerically surpass all that has
previously been done in this field. 1t is a
monument OF patient. thorough research and
profound study. Its arrangement is almost
grammar and glossary most valuable contribu-
lions TO the philology OF the Italian dialects"
The well-known author OF geological My
biology published in 1875 the first volume Of a
Similar and by no means inferior work. Ny
ihoOgy OF Plants; or the Legends OF the Veg
etablo Kingdom" This book is n kind OF
revelation; tho whole subject Of Adams fall
The mythical tree OF life. and our parents first
Harment-the hg leavosas we'll as tho legend
ri the wood Of tho cross are fully discussed in
Rho ra'y enthusiastic style peculiar to Prot Do
Gubernatis. The magical properties attributed
10 certain plants and the use OF certain flowers
In ancient and modern festivities nre invcsti-
gated with criticism 30 keen and bright IA to
render tho book most interesting and valuable
both to the reader who seeks instruction and
entertainment. and to the deep student OF the
mysteries involved in the development OF our
being into the present state Of civilization.
Not little has been done in regard to popular
poetry This all-important study. initiated
hbout 1880 by Tommnseo. and resumed later
on by tho dplomatist Nigra. and by Giu-
seppe Tigri, has lately been completed in
Away that leaves nothing to be desired 10y Pltr6.
Comparettl. and especially by Prof D'Ancona
and Signor Ermolas Rubieri The latter shows.
In his History Of Popular Italian Poetry"
hatif on one hand this rich and sparkling sort
of poetry has some features in common with
that OF other nations. il assumes in Italy
national and provincial character. With keen
criticism he has pointed out the character OF
Bicilan. Neapoltan Marchigian. Tuscan. Pied
montcse and Venetian popular songs. He
unds curious sympathy between certain poetry
md mountain air. Lombardy. Emilia and Ro-
magma. which form fiat country have but few
md undressing songs the most beautiful and
important ones in Tuscany come from the
~ niatorfa ~ Sfanna nuf
Rubicr traces the origin Of popular Italian
poetry back to the Etruscans and the Romans
Rnd 10y aid Of some still used Sician express
Eions he explains some ancient elacu atoms OF
Cato and Narro which had previously b2nied
rho cunning Of archeologists and philo,ogists.
Most interesting is the examination he under
takes OF Italian love songs and tho various
modes in which love is interpreted by song ac-
Dording to the different provinces or this
nmorous poetry the most affectionatc chasts.
md delicate ia the Tuscan. and the reason
thereof is Afforded by the purer family life Of
The peasants OF Tuscany and other crcum-
Stances which place them above their follows OF
Lhe other provinces. That popular poetry bears
the marks OF the historical phases OF Italian
life and Of the special character Of the different
provinces Signor Rubieri demonstrates with an
Rcumen which renders reasonable contradic-
lion impossible
As this author has considered the psychologi-
cal and moral side Of the subject. so has Prot
D'AnconA presented its pathological and lite
rary features in his Studies on Popular Italian
Poetry" The history thereof from tho thir-
teenth century 10 the present time. its substan-
tia unity in spirit and form, and its modfca-
hons through external agencies according to the
various regions OF the country; its relation 70 lit
erary poetry-thess are the main points Prof.
D'Ancona has exhnustivey treated in his book.
There are two forms OF Italian popular poetry.
ono spontaneous and directly plebcian. the other
moro artificial and almost artistic. The former
identifies itself with the origin Of tho language
the latter goes back only three or four centuries
These two classes are compared by the author
with two rivers that, from n common spring.
now in the same direction and often mingle
their waters, to separate again. but still retain
ing each one the flavor OF the other.
OF still greater importance il Diamonds
work " On the Origin OF the Theatre in Italy
He has studied the development Of the
modern drama in general" says the North
American Reulelo. and in 50 doing he has filled
the long-ielt want Of a connected history Of the
llturgical drama and its development in the
various countries Of Europe" The work Ia d.
Vided into four parts; the rise Of the drama In
Europo Is traced in tho frst the transition
forms assumed by tho liturglcal drama previ-
Jus 10 tuo bhcTcu representations are neAI
dealt with; the third gives the whole history
Uftho latter until the Renaissance put them Out
ofiashon and an interesting account is offered
In the fourth Of all that bears upon the repro
Bentaton Of these plays and on their typical
characters. A parallel is instituted between the
French Mystsrs" and the " Sacra Rappresen-
tazone," which destroys the old prejudice az tc
The similarity Of the two; the former is only q
coarse parody Of thelatter which had in itself al
theolomonts Of a noble dramatic production. and
a. Prof. D'Ancona has it, " needed only a master
Ike Shakespeare or Lope de Vega to become
Bic germ Of a modern national Italian drama
Tie question Why Italy has no national
drnma| had been explained by Sshegel bS
affirming that the Italians had no dramati,
talent Hillebrand believed that this wan
was fully accounted for by the lack o.
national unity. not perceying that this fac
would not have hindered. at least. the de
Velopment OF Il local drama. Prof. D'Anconi
Ina finally settled the question BY showing how
Tho popular enthusiasm for pagan culture anC
classiaism brought about by tho spirit Of tn