CHAPTER XIV
THE PETRARCHISTS
We have seen that the definite result of the literary ferment which accompanied the revival of vernacular Italian literature after the long torpor of the fifteenth century was the recognition of literary form, rather than intellectual substance, as the principal object of cultivation, a conclusion completely in harmony with the national genius as well as the national traditions. Had this been otherwise, revolt would soon have made itself evident. On the contrary, however, we meet with scarcely any manifestation of the existence of a romantic spirit in Italian literature until Manzoni begins to be inspired by Scott and Byron, and Foscolo by Rousseau. The consequence is a great lack of richness and variety in comparison with a literature like the English, where all descriptions of tendencies have been allowed ample scope, and now one, now another, has successively seemed to be predominant; but none, except now and then for a time, has attained an absolute mastery.
On the other hand, the devotion of the Italian writers to elegance and symmetry of composition has rendered their literature a model for cultured writers in all languages, has deeply influenced contemporary literatures in their rudimentary stages, and has preserved many a writer from oblivion whose original power was not conspicuous,
