Alone among the great nations of the modern world, Italy stands in the unenviable position of possessing no drama at the same time national and literary. From one point of view three classes of the drama may be distinguished, (1) The rude popular play entirely a creation of the people, such as the buffooneries of the Dionysiac festival, out of which the Athenian drama grew, or the dramatic exhibitions at fairs of itinerant actors barely distinguishable from mountebanks, like those whose puppet-plays originated _Faust_. Performances of this nature have probably existed in every nation endowed with the rudiments of culture. (2) These crude beginnings elevated by men of genius into the sphere of art, and become literary without ceasing to be popular. This is the true national drama, when the pulses of the poet and the people beat in full unison, and of which Greece, England, and Spain have given the world the most brilliant examples. (3) The artificial drama, written by men of culture for men of culture, but neglecting, or at least failing to reach the heart of the people. With the exception of the musical drama of which Metastasio affords the type, and of the comedies of Goldoni and Gozzi, all of which belonged to a more recent period than that with which we are now engaged, the whole of the Italian drama 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.