an era in literature signalising the triumph of Petrarch and Boccaccio over the pedantry of the fifteenth century, but at the same time the deliberate preference of form to matter, and the discouragement of irregular originality.
Sannazaro's Arcadia, historically the most important of his writings, is comparatively a youthful performance, having been substantially completed by 1489, though not published in a correct edition until 1504. It would in any case mark an epoch as the first perfect example of the pastoral romance, which Boccaccio had foreshadowed in his Ameto, but which Sannazaro enriched by elements derived from Theocritus and Virgil. His landscape and personages are entirely classical; the shepherds contend with each other in song precisely as in the Greek and Latin eclogues, and no attempt is made to represent rustic manners as they really are. The descriptions, whether of nature or of humanity, on the other hand, are graceful and vivid, and informed by a most poetical sentiment; and it may be said that Sannazaro's work would be more esteemed at this day if it had had fewer imitators. The style admits of but little variety, and pastoral fiction easily became insipid in the hands of a succession of followers who did not, like Shakespeare in the Winter's Tale, resort to Nature for their delineations. Sannazaro himself is not exempt from the charge of monotony. More serious defects, however, are those of excessive Latinisation in the construction of sentences, and rhetorical exaggeration, arising from his too close adherence to the immature style of Boccaccio's early writings, instead of the simple elegance of the Decameron. The resolution to achieve poetry in prose at any cost, causes a crabbed involution and overloads the diction
