however, a view differing in some respects has been expressed by one of the few living men who may claim to be regarded as masters of Italian prose, Gabriele d'Annunzio. In the dedicatory preface to his Trionfo della Morte (1894), D'Annunzio enters into the question of the adequacy of the Italian language to express modern ideas, which he emphatically asserts. There is no respect, he declares, in which it need envy other tongues, or anything that it need wish to borrow from them. The misfortune is that its great resources are neglected by modern writers, whose ordinary vocabulary is limited to a few hundred words, many of illegitimate extraction or hopelessly disfigured by vulgar usage, and these thrown into sentences of nearly uniform length, destitute of logical connection and of the rhythmical accompaniment indispensable to a fine style. The remedy is a return to the old authors; and, justly remarking that the novelists of the best period are entirely out of harmony with modern requirements by reason of their wholly objective character and incapacity for psychological analysis, D'Annunzio seriously advises modern romancers to enrich their vocabulary and perfect their style by a course of the ancient ascetic, casuistical, and devotional writers. The Zolas of modern Italy resorting for instruction to St. Catherine of Siena would indeed afford a scene for Aristophanes; yet from a merely stylistic point of view the advice is judicious.
As regards the ancient writers, the effect would be to renovate them instead of rendering them more archaic, as anticipated by Symonds, so far at least as concerns their vocabulary. Although perhaps an inevitable tribute to Time and Evolution, it is yet no gain to the English language or literature that so much of our early writers
