The same phenomenon is observed in Italian literature as in English--the decay, after the language had begun to receive a high scholastic cultivation, of the simple spontaneous melody which had originally characterised it. Italian prose probably never possessed the majestic rhythm and sonorous cadences which came unsought to English poets of the time of Elizabeth and James; but Italian verse had its Campions, and these, like ours, left no successors. Without disparaging the tunefulness of late writers like Chiabrera, it must still be owned that this is in a measure artificial, and that the cause is the divorce of poetry and music. “It seems,” says Panizzi, “that the art of writing lines in which so much simplicity, smoothness, and strength were united to so delicate a proportion of sounds, is lost; and the reason is that in our days canzoni and sonnets have nothing but the name of a song.” The most melodious modern poetry, accordingly, is the portion of Metastasio’s plays which was actually written to be sung. It is too early to speak as yet of Italian prose, of which no important example will be found until we reach Dante’s _Vita Nuova_, near the end of the thirteenth century. It need only be remarked that the grace of diction and the intricacy of metrical form which Italian poets had attained by the middle of the thirteenth century, show that the language was already capable of fine prose, and that it was only needful to dispel the superstition that serious subjects must be treated in a learned tongue. Poetry prospered in the vernacular for the obvious reasons that the bards were in general ignorant of Latin, and that if they had been acquainted with it their accomplishment would have been wasted upon the lords and ladies for whom they principally wrote. The historical or philosophical writer, however, best reached the classes he addressed through the medium of Latin. Hence, though for different reasons, we observe in early Italian literature the same phenomenon as in early Greek--a brilliant poetical activity in the almost total absence of prose composition. Yet, when Tuscan prose fairly begins, its productions are the purest examples of diction--_testi di lingua_. This elegance testifies at once to the innate refinement of the people and to the continuous operation of intellectual influences latent in the obscurest deeps of the Dark Ages. FOOTNOTES: [1] Death (_La Morte_) being feminine in Italian. CHAPTER II THE EARLY ITALIAN LYRIC It was inevitable that the light thus kindled at the Sicilian Court should spread to other parts of Italy, those especially where the vernacular tongue had already obtained the greatest degree of refinement, and had developed most aptitude for the purposes of literature.