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Excerpt: ...that the Tuscan, or, as he called it, the Florentine language and the Florentine literature are vastly superior to any other language or literature, whether ancient or modern. However extravagant this claim may appear, the mere fact that Salviati made such a claim at all is enough to give him a place worthy of serious consideration in the history of Italian literature. The other side of the controversy finds its extremest expression in a treatise of Celio Calcagnini addressed to Giraldi Cintio, in which the hope is expressed that the Italian language, and all the literature composed in that language, would be absolutely abandoned by the world. 303 In Giraldi Cintio we find the first traces of purely national criticism. His purpose, in writing the discourse on the romanzi, was primarily to defend Ariosto, whom he had known personally in his youth. The point of view from which he starts is that the romanzi constitute a new form of poetry of which Aristotle did not know, and to which, therefore, Aristotle's rules do not apply. Giraldi regarded the romantic poems of Ariosto and Boiardo both as national and as Christian works; and Italian literature is thus for the first time critically distinguished from classical literature in regard to language, religion, and nationality. In Giraldi's discourse there is no apparent desire either to underrate or to disregard the Poetics of Aristotle; the fact was simply that Aristotle had not known the poems which deal with many actions of many men, -163- and hence it would be absurd to demand that such poems should conform to his rules. The romanzi deal with phases of poetry, and phases of life, which Aristotle could not be expected to understand. A similar feeling of the distinct nationality of Italian literature is to be found in many of the prefaces of the Italian comedies of this period. Il Lasca, in the preface of the Strega (c. 1555), says that "Aristotle and Horace knew their own times, but ours are not the...