The 'Orfeo' of Messer Angelo Poliziano ranks amongst the most important poems of the fifteenth century. It was composed at Mantua in the short space of two days, on the occasion of Cardinal Francesco Gonzaga's visit to his native town in 1472. But, though so hastily put together, the 'Orfeo' marks an epoch in the evolution of Italian poetry. It is the earliest example of a secular drama, containing within the compass of its brief scenes the germ of the opera, the tragedy, and the pastoral play. In form it does not greatly differ from the 'Sacre Rappresentazioni' of the fifteenth century, as those miracle plays were handled by popular poets of the earlier Renaissance. But while the traditional octave stanza is used for the main movement of the piece, Poliziano has introduced episodes of _terza rima_, madrigals, a carnival song, a _ballata_, and, above all, choral passages which have in them the future melodrama of the musical Italian stage. The lyrical treatment of the fable, its capacity for brilliant and varied scenic effects, its combination of singing with action, and the whole artistic keeping of the piece, which never passes into genuine tragedy, but stays within the limits of romantic pathos, distinguish the 'Orfeo' as a typical production of Italian genius. Thus, though little better than an improvisation, it combines the many forms of verse developed by the Tuscans at the close of the Middle Ages, and fixes the limits beyond which their dramatic poets, with a few exceptions, were not destined to advance. Nor was the choice of the fable without significance. Quitting the Bible stories and the Legends of Saints, which supplied the mediaeval playwright with material, Poliziano selects a classic story: and this story might pass for an allegory of Italy, whose intellectual development the scholar-poet ruled. Orpheus is the power of poetry and art, softening stubborn nature, civilising men, and prevailing over Hades for a season. He is the right hero of humanism, the genius of the Renaissance, the tutelary god of Italy, who thought she could resist the laws of fate by verse and elegant accomplishments. To press this kind of allegory is unwise; for at a certain moment it breaks in our hands. And yet in Eurydice the fancy might discover Freedom, the true spouse of poetry and art; Orfeo's last resolve too vividly depicts the vice of the Renaissance; and the Mænads are those barbarous armies destined to lay waste the plains of Italy, inebriate with wine and blood, obeying a new lord of life on whom the poet's harp exerts no charm. But a truce to this spinning of pedantic cobwebs. Let Mercury appear, and let the play begin. _THE FABLE OF ORPHEUS_ MERCURY _announces the show_.