ignally illustrate the perennial vitality of the
modern drama in the home of its beginnings. A new realistic style set
fully in about the middle of the 18th century with P. Ferrari and A.
Torelli; and though an historical reaction towards classical and
medieval themes is associated with the names of P. Cossa and G. Giacosa,
modernism reasserted itself through P. Bracco and other dramatists. It
should be noted that the influence of great actors, more especially
Ermete Novelli and Eleanora Duse, must be credited with a large share of
the success with which the Italian stage has held its own even against
the foreign influences to which it gave room. And it would seem as if
even the paradoxical endeavour of the poet Gabrielle d' Annunzio to
lyricize the drama by ignoring action as its essence were a problem for
the solution of which the stage can furnish unexpected conditions of its
own. In any event, both Italian tragedy and Italian comedy have survived
periods of a seemingly hopeless decline; and the fear has vanished that
either the opera or the ballet might succeed in ousting from the
national stage the legitimate forms of the national drama.

(b) _Greece._

Modern Greek and Dalmatian drama.

The dramatic literature of the later Hellenes is a creation of the
literary movement which preceded their noble struggle for independence,
or which may be said to form part of that struggle. After beginning with
dramatic dialogues of a patriotic tendency, it took a step in advance
with the tragedies of J. R. Nerulos[41] (1778-1850), whose name belongs
to the political as well as to the literary history of his country. His
comedies--especially one directed against the excesses of
journalism[42]--largely contributed to open a literary life for the
modern Greek tongue. Among the earlier patriotic Greek dramatists of the
19th century are T. Alkaeos, J. Zampelios (whose tragic style was
influenced by that of Alfieri),[43] S. K. Karydis and A. Valaoritis. A.
Zoiros[44] is noteworthy as having introduced the use of prose into
Greek tragedy, while preserving to it that association with sentiments
and aspirations which will probably long continue to pervade the chief
productions of modern Greek literature. The love of the theatre is
ineradicable from Attic as it is from Italian soil; and the tendencies
of the young dramatic literature of Hellas which is not wholly absorbed
in the effort to keep abreast of recent modern developments, s