Poetry. 219 



fei, is pronounced by some the best tragedy that 

 was ever written. It is certain that few tragic 

 productions have been more famed, or have served 

 more frequently as models to subsequent writers/ 

 Granelli and Bettinelli have also a place among 

 the distinguished authors in this species of com- 

 position. The Sedecia, Manasse, and Dione, of 

 the former; and the Gionata, Demetrw, and 

 Serse, of the latter, are considered as their ablest 

 productions. Monti, of the same country, has 

 obtained considerable distinction by his Man- 

 fredi and Aristodemo. To these names may be 

 added those of Cjesarotti and Alfieri, who 

 have both produced tragedies of high reputation ; 

 and that of Metastasio, whose Operas 2nd Sacred 

 Dramas have been long and advantageously known 

 to the public. He perfected the musical and 

 serious drama of Italy, Rejecting marvellous in- 

 cidents, and allegorical personages, his productions 

 became more conformed to nature and life than 

 those of his predecessors; and the music of his 

 pieces was so introduced as to be performed by 

 real actors, strongly agitated with passion, and, of 

 course, giving more effect to their performance, 

 than could be done in the chorus of Greek tragedy, 

 which was usually executed by calm observers 

 instead of those who participated in the action of 

 the scene. 



Of the Italian writers of Comedy the author 

 knows too little to attempt any distinct account. 

 Few, if any, among them are more celebrated than 

 Goldoni, the most voluminous dramatic writer 

 of the eighteenth century. A large portion of the 

 pieces exhibited on the Italian stage are from his 

 pen. His comedies are so numerous that it would 



k The Merope, of Maffet, is said to have been the model of Vol- 

 taire's tragedy of that name. It is asserted, also, that the work of 

 Maffei is the real parent of Home's Douglas, 



