Studies in the Poetry of Italy Part 1

Studies in the Poetry of Italy.

by Oscar Kuhns.

PREFACE

In writing this book the author has endeavored to give a connected story of the development of Italian literature from its origin down to the present. In so doing, however, he has laid chief stress on those writers whose fame is world-wide, and thus, owing to lack of s.p.a.ce, has been obliged to treat in the briefest manner those writers who, although famous in Italy itself, are not generally known to the world at large.

It is hoped that the reader may be led to study more in detail this literature, which although ranking with the greatest of the world-literatures, has been to a large degree neglected in England and America. The translations from Dante's New Life and of the story from Boccaccio have been made by the author, inasmuch as during the writing of this book he could not obtain access to the standard translations.

It is to be noted also, that owing to unavoidable delay in the transmission of the ma.n.u.script, the author has not been able to read the proof.

FLORENCE, Italy.

CHAPTER I

THE ORIGINS OF ITALIAN LITERATURE

The first thing that strikes the attention of the student of Italian literature is its comparatively recent origin. In the north and south of France the Old French and Provencal languages had begun to develop a literature before the tenth century, which by the end of the twelfth had risen to a high degree of cultivation; indeed, by that time the Provencal had attained its highest point, and had already begun to decline. In Italy, however, we cannot trace the beginning of a literature, properly so-called, farther back than the thirteenth century.

Among the various causes which may be a.s.signed for this phenomenon, the most important undoubtedly is the fact that the Italians have always looked upon themselves as of one race with the ancient Romans, and the heirs of all the glorious traditions attached to the names of the heroes, poets, and artists of the Eternal City. In similar manner they regarded Latin as their true mother-tongue, of which the vernacular was a mere corruption. Hence it came to pa.s.s that all the literature which we find in Italy before the thirteenth century, and a large proportion of that written in the fourteenth, fifteenth, and sixteenth centuries, was in Latin and not in Italian, which seemed to the writers of those days unworthy of forming the medium of poetry and learning.

This feeling of kins.h.i.+p was a natural one for those who lived in the same cities in which the Romans had lived, surrounded by the imposing ruins of the ancient world, speaking a language, which although essentially a modern one, with all its characteristics, was still nearer to Latin than French, Provencal, or Spanish. For these men the irruptions of the northern barbarians, the Goths, the Lombards, and later the Normans, were only a break in the continuity of the historical development of the Latin race in Italy. This spirit--which explains the popularity and temporary success of Arnold of Brescia, in the twelfth century, and of Cola di Rienzi, in the fourteenth, in their efforts to restore the old forms of the Roman republic--must be kept constantly in mind by the student, not only of the political history of Italy, but of its literature and art as well.

Yet this natural feeling does not rest altogether on fact. The Italians of to-day are not the pure descendants of the ancient Romans, but, like the other so-called Latin races, are of mixed origin, more nearly related, it is true, to the Romans, yet in general formed in the same ethnical way as their neighbors.

With the downfall of Rome, Italy, like France and Spain, was overrun by the hordes of German tribes, who, leaving the cold and inhospitable regions of the North sought for more congenial climes in the sunny South. As the Franks in France, the Visigoths and Vandals in Spain, so the Ostrogoths in Italy, toward the end of the fifth century, conquered and colonized the country, and under Theodoric restored for a brief time an appearance of prosperity. In the sixth century came the Lombards, and after destroying and devastating city and country as far south as Rome, and even beyond, finally settled in upper Italy now known from them as Lombardy. Several centuries later came the Normans from France and conquered Sicily and the southern extremity of the peninsula. All these peoples were of German origin, and being gradually merged with the conquered race, formed what we now call the Italian people.[1]

It goes without saying that the Latin language was profoundly affected by all these changes. Although the German invaders gradually adopted the civilization of the conquered land, including the language, yet they could not help influencing this civilization and impressing it with their own individual stamp.

With regard to the language, we must bear in mind that even in the time of Vergil and Cicero, Latin had two forms, one the elegant and artificial language of literature, and the other the idiom of the common people, or the vernacular. Many of the peculiar phonetic, grammatical, and syntactical phenomena which characterize the modern Romance languages existed in this so-called "vulgar Latin," long before the fall of Rome, the irruption of the northern barbarians, and the consequent formation of new nations and new tongues.

All the Romance languages have been derived from this "vulgar Latin,"

each one being specially moulded by its peculiar environments, and by the various German, Celtic, and other dialects by which it was influenced. Thus the "vulgar Latin" imported by Roman colonists into Gaul, and influenced by the Franks, produced the French language: in the same way "vulgar Latin" plus the various local and foreign influences to which it was subjected in Italy, produced the various dialects of that country--Venetian, Tuscan, Neapolitan, and Sicilian. While literary Latin, although becoming more and more corrupt as the years went by, continued in Italy to be the language of the church, of the courts of law, and of what literature there was, the vernacular--_i. e._, the various dialects--was used in all the operations of daily life.

We have evidence that this popular tongue must have been in existence as far back as the seventh century, for in Latin public doc.u.ments dating from that period on, we find occasional words and fragments of phrases, especially the names of persons and places, which are marked by the special characteristics of the Italian language. These expressions, embedded in the Latin doc.u.ments, like pebbles in sand, become more and more numerous as we approach the tenth century, until finally, in the year 960, we meet for the first time with a complete Italian sentence, in a legal doc.u.ment concerning the boundaries of a certain piece of property in Capua; four years later we find almost the same formula in a similar doc.u.ment. Toward the end of the eleventh century certain frescoes were painted in the lower church of Saint Clement in Rome, where they may still be seen, and among them is one beneath which is found an explanation in Italian.

In spite of the fact, however, that these monuments of early Italian increase from year to year, they were not numerous before the thirteenth century. The very scarcity of them shows the tenacity with which the people clung to the traditions of Rome, since not only literature, but even public and private doc.u.ments were written in Latin. This literary tradition never wholly died out in Italy, even in the darkest days of her history. It is true that in the terrible disorders that accompanied the slow agony of dying Rome, a long period of darkness and ignorance occurred. The empire was split into two parts and the seat of the emperor was transferred to Constantinople; the Goths and Lombards conquered Northern Italy, the Saracens and Normans the South. All through the Dark Ages Italy was the prey of foreign marauders; the Huns--those scourges of the nations--came as far as Rome; the Arabs obtained a foothold in Sicily, scoured the seas, and even ravaged the Campagna up to the very walls of the Eternal City.

Not only did devoted Italy suffer from outsiders, but discord and civil conflicts rent her very entrails. When Charlemagne was crowned emperor in 800 by Leo III., as a reward for having defended Rome against the incursions of the Lombards, it was thought that the reestablishment of the Roman empire would bring in a new era of peace and glory. With the death of the great king, however, anarchy once more reigned supreme.

His successors in the empire (for the most part weaklings) were kept busy with the affairs of Germany, and regarded Italy, "the garden of the empire," as Dante calls it, with indifference. In Italy itself there was no such thing as patriotism or feeling of national unity. The people were oppressed by the n.o.bles, who themselves were in a continual state of warfare with each other. In the eleventh century a new power arose in the form of free cities, chief among them being Venice, Genoa, Pisa, and Florence. These, however, only increased the disorder which already existed; city fought with city, and even within the same walls the various families formed parties and feuds, which led to incessant strife, of which murder, rapine, and arson were the usual concomitants.

No wonder, then, that in the midst of all this anarchy and confusion Roman civilization almost died out. What the barbarians had spared, the church itself tried to destroy. Having finally triumphed over pagan Rome, it fought pagan civilization; the early Christian fathers looked upon art and literature as the work of demons; the clergy were forbidden to read the cla.s.sic writers except for grammatical purposes, the subject matter being deemed poisonous to the souls of Christians. Even so great a man as Pope Gregory despised cla.s.sical antiquity. During the long period when Italy was the prey of Saracen and Hun, when pestilence and famine stalked gauntly through the desolated land, civilization sank to its lowest point. Superst.i.tion and asceticism held full sway in religion; men sought relief from the sufferings of the life that now is in the contemplation of a new and happier state in the life to come.

Hence arose the widespread conviction that G.o.d is best pleased with those who despise this life, with all its beauty and pleasure, its pride and glory, its pomp and power.

In spite of this apparent death, however, a spark of life still existed.

Through all this dolorous period, schools could be found, in which a half-barbarous Latin was rudely taught, as being the language of the church. There never was a time when Latin authors were not read to some extent in school and monastery.

With the eleventh century a change for the better began in the intellectual, as well as in the political life of Italy. The rise of cities, the crusades, even the unholy contest between pope and emperor gave new impulse to the minds of all, and led to the beginning of a new era. The defeat of the German emperors, through papal intrigue, added to the power of the free cities, which were thus made independent of trans-Alpine over-lords.h.i.+p, and now began to enter upon that long career of prosperity and intellectual conquest which is the wonder of the student of the history of medieval Italy.

This intellectual movement of the eleventh century, which gave a new and strong impulse to the study of philosophy and theology, resulted in a rich literature in these departments of learning. Peter Damian, the right hand of Gregory VII. in his war with the emperors, became a leader in the study of philosophy and wrote many celebrated works. Other Italian philosophers and theologians--Lanfranc, Anselm, and Peter Lombard--taught in foreign schools. In the thirteenth century Italy produced two of the greatest of the medieval philosophers, St. Thomas Aquinas and St. Bonaventura. Later the newly founded University of Bologna became the center of an eager study of law, which resulted in the writing of many books on jurisprudence.

This late and artificial bloom of Latin literature in theology and philosophy brought the necessity of a more satisfactory study of the Latin language itself. Hence arose many new grammars, rhetorics, and texts. In a similar manner the newly awakened interest in science (such as it was) brought in a new cla.s.s of books, corresponding to our modern encyclopedias. From the twelfth century on, all over Europe, large numbers of these compendiums were compiled, containing a summary of all the knowledge of the times; chief among these encyclopedias was the vast _Speculum Majus_ (the Greater Mirror) of Vincent of Beauvais, containing 82 books and 9,905 chapters. Very popular, also, were the moral and didactic treatises. Symbolism took possession of all literature. The phenomena of nature became types of religious life--even the writings of pagan antiquity were treated symbolically and made to reveal prophecies of Christian doctrine; Vergil, in a famous pa.s.sage, was supposed to have foretold the coming of the Savior, and even the _Ars Amatoria_ of Ovid, "of the earth earthy," if ever poem was, was interpreted in terms of Christian mysticism.

All the above-mentioned literature, however, so far as it existed in Italy before the thirteenth century, was written in Latin; we must dismiss it, therefore, with this brief mention, and pa.s.s on to the true subject of this book, Italian literature properly so-called, which, as we have already seen, cannot be said to have existed before the thirteenth century.

One feature which is largely characteristic of all subsequent periods of Italian literature marks the formative period thereof, that is, the comparative lack of invention and originality, and the spirit of imitation of other literatures, distant either in time or s.p.a.ce. In order to trace its early beginnings to their sources, we must go outside the borders of Italy. For nearly two hundred years the south of France had been the home of a large number of elegant lyrical poets, whose fame and influence had spread over all Europe. These troubadours, as they were called, were welcomed not only at the courts of princes and n.o.bles in Provence, but were likewise honored guests in Northern France, in Spain, and in Italy. The latter country had long been closely connected with Southern France by means of commerce and politics. Hence it was natural for the troubadours to seek the rewards of their art in the brilliant courts of Italy. Toward the end of the twelfth century some of the best known of them, among them the famous Pierre Vidal and Rambaud de Vaqueiras, made their way thither. After the terrible crusades against the Albigenses--which not only cruelly slaughtered tens of thousands of earnest Christians, but likewise destroyed forever the independence and prosperity of Provence, and thus, by destroying the courts of n.o.ble families, put a sudden stop to the flouris.h.i.+ng literature--large numbers of the wandering minstrels came to Northern Italy.

It was not long before their influence began to manifest itself, first in Northern Italy, and later in the south and center. The north Italian poets began to imitate the troubadours, and soon a considerable body of poetry had been composed by native poets, in the manner and--a phenomenon worthy of note--in the language itself of the Provencal poets. This is due to the relations.h.i.+p between the dialects of Northern Italy and the Provencal, and also to the fact that at that time the latter tongue was far more elegant and cultivated than the other Romance languages. This north Italian poetry is always included in the Provencal collections and the writers are known as troubadours in spite of their Italian nationality. Among the most famous are Bartolomeo Zorzi of Venice, Bonifaccio Calvo of Genoa, and especially Sordello of Mantua, praised by Dante in a famous pa.s.sage of the Purgatory, and the subject of Browning's well-known poem.

We see, then, that the above poets belong rather to the history of Provencal than that of Italian literature. To find the first springs of national poetry in Italy, we must traverse the whole length of the peninsula and arrive at the court of Frederick II. (1194-1250) in Sicily, which at this time was far ahead of the rest of the country in civilization, art, and literature. Frederick himself was a many-sided man, warrior, statesman, lawyer, and scholar, and stands out among his contemporaries, especially in matters of religious tolerance. He welcomed to his court not only the scholars, poets, and artists of Europe, but likewise Arabs, who were at that time in possession of a high degree of culture. He caused many Greek and Arab authors to be translated into Latin, among them Aristotle; he founded the University of Naples; above all, by his own mighty personality, he made a deep impression on the times.

Frederick's ministers were, like himself, men of culture and learning.

Chief among them was Pier delle Vigne, statesman and poet, the cause of whose tragic death by his own hand is told by Dante in the Inferno.

The influence of the troubadours made itself felt in Sicily about the same time as in Northern Italy, only here the imitation was in the Italian language and not in Provencal. Among the early Sicilian poets who wrote after the manner of the troubadours, was the Emperor Frederick II. himself, his son, Enzio, and Pier delle Vigne. From an aesthetic point of view, this early indigenous poetry is of little interest, but as the beginning of a movement which culminated in the New Life and Divine Comedy of Dante, it is of very great importance.

It had no originality or freshness, but was a slavish imitation of Provencal models, the conventions of which were transported bodily, without any change, except to be poorer. Love was the only theme, and the type always remains the same. The lover is humble, a feudal va.s.sal of his lady who stands far above him, all beauty and virtue, but a cold and lifeless abstraction. She usually treats her lover with disdain or indifference, while he pours forth the protestations of his love, extols her beauty, and laments her hardness of heart. All these things, repeated countless times, in almost the same language, became monotonous in the Provencal poets, and naturally much more so in their Italian imitators.

This Sicilian school of poetry did not last long; it perished with the downfall of the Hohenstaufens. It found a continuation, however, in middle Italy, especially in the province of Tuscany, which, from this time on, becomes the center of the literary and artistic life of Italy.

The poetry of the court of Frederick had not been written in the Sicilian dialect, but in a sort of court language not very dissimilar to the Tuscan. It is probable that among the poets of the Sicilian school some were Tuscans, and that after the death of Frederick they returned home, bringing with them the poetical doctrines which they had learned.

However this may be, we find a direct continuation of the movement in Tuscany. We see the same slavish imitation of the troubadours, the same ideas, and the same poetical language and tricks of style. In addition to the influence of the Sicilian school, there was a direct imitation of the Provencal poets; thus Guittone d'Arezzo, the leader of the early Tuscan school, wrote and spoke Provencal, and Dante, in his Purgatory, introduces the Troubadour Arnaut Daniel, speaking in his native tongue.

One phase of Provencal poetry--the political--strangely enough considering the stormy times, had not been imitated by the poets at the court of Frederick II. From the first, however, the Tuscans included politics in their poetry, and one of the strongest of Guittone's poems is a song on the battle of Montaperti (1260).

Guittone d'Arezzo is the direct literary ancestor of Dante, and the first original Italian poet. Hence he deserves a word or two even in this brief sketch. He was born in 1230 near Arezzo in Tuscany, hence his name; after a youth spent in the pursuit of pleasure, he was converted, and looking on all things earthly as mere vanities, he left his wife and family and joined the recently founded military-religious order of the Knights of Saint Mary. He died at Florence in 1294. In early life he had been gay and dissipated; his last years he spent in the exercises of religious asceticism. These two parts of his life correspond to two phases of his poetry. In the first he was a follower of the Sicilian school and wrote love poetry; in the second he discarded this "foolishness" and wrote political, moral, and theological discussions in verse. His poetry has little esthetic value, but is important as forming a transition between the early Sicilian school and the group of poets whose greatest member was Dante. His writings against earthly love and his praise of heavenly love mark an important change in the development of Italian poetry and open the path which leads up to Beatrice and the Divine Comedy.

The next important step in this progress is marked by Guido Guinicelli, a learned lawyer and judge of Bologna (situated in the province of Romagna and separated from Tuscany by the Apennines), a city which at that time was the seat of a flouris.h.i.+ng university and the center of a keen intellectual life.

Guinicelli was born in 1220, was prominent in political as well as in literary circles, was banished in 1274, and died in 1276. He was a follower of Guittone, and like him his first poetry was in the manner of the Sicilian school. He changed later and began a new school, the _dolce stile nuova_, as Dante calls it. The change shows itself especially in the new conception of love, and of its origin, growth, and effects. The troubadours and their Sicilian imitators declared that love came from seeing, that it entered through the eyes of the beholder, and thence descended to the heart. Guinicelli says, on the contrary, that love does not come from without, but dwells, "as a bird in its nest," in the heart and is an attribute thereof. This is not true, however, of all men, but only of those who are virtuous and good. Only the gentle heart can love, and a n.o.ble character is not the effect of love, but its cause. These sentiments are expressed in the following lines, translated by Rossetti:

"Within the gentle heart Love shelters him, As birds within the green shade of the grove.

Before the gentle heart, in Nature's scheme, Love was not, or the gentle heart ere Love.

For with the sun, at once, So sprang the light immediately, nor was Its birth before the sun's.

And Love hath its effect in gentleness Of very self; even as Within the middle fire the heat's excess."

Whereas the love of the troubadours was romantic and chivalrous, the love of Guinicelli was intellectual and philosophical. With him earthly affections become purified and spiritualized. The old repertory of conventional expressions is gradually discarded, and new forms take their place, soon to become conventional in their turn. Love and the poet's Lady remain abstract, but have now a different signification. The Lady is still treated as a perfect being, but she becomes now a symbol of something higher. Love for her leads to virtue and to G.o.d; poetry now receives an allegorical character, and its real end becomes the inculcation of philosophical truth under the veil of earthly love. The importance of Guinicelli for us is his influence on Dante, for the new school was not continued in Bologna, but found its chief followers in Florence. We are thus led naturally up to the works of the great Florentine poet whom we shall study in the next two chapters.

In the meantime, however, we must cast a brief glance at certain other early phases of Italian literature, which later developed into important branches of poetry and prose.

Northern Italy, as we have seen, had no share in beginning an indigenous lyrical poetry. It did, however, have an early literature of its own, in the form of religious and didactic poetry, for the most part translations from Latin and French originals. In Umbria, the home of St.

Francis, and the center of those waves of religious excitement which so profoundly affected Italy in the thirteenth century, a popular religious lyric arose. St. Francis himself deserves some mention in literary history, if only on account of his famous song of praise, which he instructed his followers to sing as they wandered, like spiritual troubadours, through the land. St. Francis was no mere ascetic, but loved the beauty of nature and had a tender love for all creatures.