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Verga's La appeared as the second novella in Vita dei campi (1880), six years after the publication of Nedda, the bozzetto siciliano 'which had inaugurated verismo's Sicilian stil novo.' It is true that the novella's natural descriptions are generalized and very brief, betraying the scissors which drew D. H. Lawrence's objections.2 Moreover, the language has been homogenized into the standard forms of the recently unified kingdom, purged of the local expressions of Nedda and even the few remaining sicilianisms of Cavalleria rusticana (the collection's opening narrative). Nonetheless, at its appearance La was regarded as so strikingly realistic to be utterly unlike its predecessors in nineteenthcentury Italian fiction. Indeed, Luigi Capuana, Verga's Sicilian friend and verismo's most active polemicist, claimed to have had personal knowledge of the central character. And he later bestowed upon this story, one of his favorites, the borrowed badge of French Naturalism's programmatic approval: La Lupa si potrebbe dire un semplicefatto diverso. 3
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