advance to lengthen the stories; to stimulate surprise and suspense by greater intricacy of plot; to embellish by elaborate description; to depict character with fulness and exactness; to employ fiction for the ventilation of ideas. Precedents for all these improvements, except the last, might have been found in the classical romances, and it might have been expected that fiction would have experienced the same development as other branches of literature. On the contrary, the last Italian novelette is as far from the novel of the nineteenth century as the first, and the most powerful literary agent of good or evil, next to the equally modern newspaper, remained to be created in recent times. Whatever the defects of the Italian novel of the sixteenth century, it was nevertheless, unlike the drama, a thoroughly national form of composition, it was far in advance of anything of the kind existing elsewhere, and it exerted great influence on the literature of other countries as the general storehouse of dramatic plots.
It is no doubt to the credit of Italian novelists as artists that they did not overload their stories with didactic purpose; but this was an error which, writing mainly to amuse, they lay under little temptation to commit. None of them were endowed with creative imagination; none transcended the sphere of ordinary experience, or showed the least inclination to effect for prose fiction what Boiardo and Ariosto had accomplished for narrative poetry. Their notti piacevoli were not Arabian Nights. Their object of amusing could consequently only be achieved by keeping close to actual manners, and we may depend upon receiving from them a tolerably accurate picture of Italian society in so far as it suited them to present it; although the portion that
