situations; while melodramatic evokes no association with music.
The chief representatives of new literary forms are frequently heralded by precursors, who, if serving in some sense as foils to their genius, yet deprive them of the praise of absolute originality. What Phrynichus was to Æschylus, and Marlowe to Shakespeare, Apostolo Zeno (1668–1750), a Venetian of Caridiote extraction, was to Petro Metastasio. It was not Metastasio but Zeno who gave the musical drama literary rank, and proved that poets as well as musicians might make their reputations and their fortunes by it. Zeno produced his first serious attempt in musical drama in 1695, and long held the position of chief dramatic poet of Italy. After founding and for many years conducting the influential Giornale de' Letterati, he became court poet at Vienna in 1718, and eleven years afterwarrds, retired voluntarily in favour of the rising Metastasio, who completely eclipsed him on the stage, but could not deprive him of the honour of having first taught Italy how dramatic poetry of a high order might be associated with music. Zeno, moreover, was no mere playwright, but a good lyrical poet with a strong dramatic instinct, a scholar, moreover, and antiquary, and a renowned collector of medals. His last years were spent in honour and comfort at his native Venice. Ere his life terminated in 1750 the productiveness of his successor had almost dome to an end.
Metastasio's long prosperous life was not destitute of romance. The son (born 1698) of a petty Neapolitan druggist settled at Rome, he was adopted by the famous jurist and excellent dramatic critic Gravina, who had heard him singing in the street, for although at the
