CHAPTER XXII
THE COMEDY OF MASKS—THE OPERA—DRAMA OF THE EIGHTEENTH CENTURY
The eighteenth century, if chiefly remarkable in Italian literary history for the dawn of national regeneration, and the assimilation of literature to the type prevailing in other European countries, is also memorable as the period when Italian dramatists first acquired a European renown. This recognition may be considered to date from the production of Marquis Maffei's Merope in 1714, and from the summons of Apostolo Zeno to Vienna a few years afterwards. These two men represented, one, the classical tragedy, which, notwithstanding its conventional acceptance, has ever remained an exotic in Italy; the other, that special creation of Italian genius, the musical play or opera. Later in the century, Alfieri and Metastasio carried both forms nearer to perfection, and Goldoni gave his country a comedy at once brilliant and regular. Yet the genuine dramatic life of the nation is to be found in the commedia dell' arte, or Comedy of Masks, contemned by the learned, but dear to the people, which, except for a brief interval in the hands of Carlo Gozzi, failed to clothe itself with literary form, but has pervaded the theatres of Europe in the costume of harlequin, columbine, and pantaloon.
As the simplest, the commedia dell' arte is probably
