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Rh The plot is slight, but it hangs together perfectly with unity and focus, never giving a feeling of strain. It is all very un-English; neither the life nor the actors are like ours, nor at all like what is described in our novels. The history and romance of Rome are sternly omitted. History and romance are already the property of the foreigners "who come down on Rome like a swarm of locusts," who wear "dress fasteners" and "impossible hats," who "resemble a nation of inquisitive children amusing themselves in the desecration of a stupendous sepulchre."

Yet even for the foreigner the supreme interest of Rome must be that it is no mere museum, but a living city still. Busy with churches and temples, statues and paintings, inscriptions and sites, we are apt to overlook the contemporary Romans whom we have not come forth to see. To themselves they must necessarily be the most important part of the Eternal City; and the greater number of them are not princes and dukes with historic names, nor even renowned churchmen, or patriots and kingdom builders, but good, simple, workaday, middle-class persons such as are the backbone of all countries and of all societies.

It is among such unnoticed folk that Grazia Deledda has taken us in Nostalgie; and it is not too much to say that her pages have a distinction and a force which recalls, at least in a measure, the style qui rugit of the author of Madame Bovary.

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