Renaissance in Italy Volume IV Part 25

[424] _Sacre Rappr._ iii. 270.

[425] _Sacre Rappr._ i. 193. See Shakespeare Society's Publications, i. 119.

[426] _Sacre Rappr._ i. 255.

[427] _Sacre Rappr._ i. 357.

[428] All the novelists might be cited to ill.u.s.trate this point.

[429] At the end of the _Rappresentazione di un Pellegrino_ (_Sacre Rappr._ iii. 430) a little farce is printed, bearing no relation to the play. It is a dialogue between a good and bad apprentice, who discuss the question of gambling. Here and in the _Figliuol Prodigo_ and the induction to the _Miracolo di S. Maddalena_ we have the elements of comedy, which, however, unfortunately came to nothing.

These scenes remind us of Heywood's tavern pictures, Marston's "Eastward Ho!" and other precious pieces of English Elizabethan farce.

[430] _Sacre Rappr._ i. 304.

[431] _Ibid._ p. 319.

[432] _Sacre Rappr._ i. 229.

[433] This play ends with a pretty moralization of the episode that forms its motive, addressed by Mary to the people (_ib._ p. 240).

Figliuo' diletti, che cercate in terra Trovar il figliuol mio, pietoso Iddio, Non vi fermate in questa rozza terra, Che Jesu non ista nel mondo rio.

Chi vel crede trovar, fortement' erra, E come stolto morra nel disio.

Al tempio, chi lo vuol, venghi oggi drento, Che 'l viver vostro e come foglia al vento.

[434] _Sacre Rappr._ i. 342.

[435] _Ibid._ iii. 439.

[436] For these incidents we may think of Signorelli's huge angels and swarming devils at Orvieto. What follows suggests the Lorenzetti fresco at Pisa, and the Orcagna of the Strozzi Chapel. Fra Angelico and Fra Bartolommeo also supply pictorial parallels.

[437] Poetry forced Castellani to decide where Solomon should go; Lorenzetti left it vague.

[438] _Sacre Rappr._ ii. 33.

[439] _Sacre Rappr._ iii. 140.

[440] _Ibid._ ii. 124.

[441] _Ibid._ ii. 235.

[442] _Ibid._ ii. 269.

[443] _Ibid._ ii. 323.

[444] _Ibid._ ii. 71.

[445] _La Mort d'Arthur_ (Wright's edition), vol. iii. p. 331.

[446] Polidori's edition, vol. i. p. 542.

[447] The greater maturity of the plastic than of the poetic arts in the fifteenth century is apparent when we contrast the _Rappresentazioni_ with Masaccio's, Ghirlandajo's, Mantegna's, or Carpaccio's paintings. Art, as I have frequently had to observe, emanc.i.p.ated the human faculties, and humanized the figments of the middle age by investing them with corporeal shape and forms of aesthetic beauty. The deliverance of the Italian genius was thus effected in painting earlier than in poetry, and in those very spheres of religious art where the poets were helpless to attain true freedom.

Italian poetry first became free when it turned round and regarded the myths with an amused smile. I do not say that this was absolutely necessary, that an heroic Christian poetry might not have been produced in the fifteenth century by another race. But for the Italians it was necessary.

[448] _Sacre Rappr._ ii. 447.

[449] _Sacre Rappr._ iii. 177.

[450] _Ibid._ ii. 163.

[451] _Sacre Rappr._ iii. 235. Also edited separately with an introduction by D'Ancona.

[452] _Sacre Rappr._ iii. 319.

[453] _Sacre Rappr._ iii. 362.

[454] _Ibid._ iii. 485.

[455] _Sacre Rappr._ iii. 416.

[456] _Ibid._ iii. 439.

[457] _Sacre Rappr._ iii. 466.

[458] The date of the former is probably 1472, of the latter 1486.

CHAPTER VI.

LORENZO DE' MEDICI AND POLIZIANO.

Period from 1470 to 1530--Methods of treating it--By Chronology--By Places--By Subjects--Renascence of Italian--At Florence, Ferrara, Naples--The New Italy--Forty Years of Peace--Lorenzo de' Medici--His Admiration for and Judgment of Italian Poetry--His Privileges as a Patron--His _Rime_--The Death of Simonetta--Lucrezia Donati--Lorenzo's Descriptive Power--The _Selve_--The _Ambra_--_La Nencia_--_I Beoni_--His Sacred Poems--Carnival and Dance Songs--Carri and Trionfi--Savonarola--The Mask of Penitence--Leo X. in Florence, 1513--Pageant of the Golden Age--Angelo Poliziano--His Place in Italian Literature--_Le Stanze_--Treatment of the Octave Stanza--Court Poetry--Mechanism and Adornment--The _Orfeo_--Orpheus, the Ideal of the Cinque Cento--Its Dramatic Qualities--Chorus of Maenads--Poliziano's Love Poems--_Rispetti_--Florentine Love--La Bella Simonetta--Study and Country Life.

In dealing with the ma.s.s of Italian literature between the dates 1470 and 1530, several methods suggest themselves, each of which offers certain advantages, while none is wholly satisfactory. In the _first_ place we might adopt a chronological division, and arrange the chief authors of whom we have to treat, by periods. Lorenzo de' Medici, Poliziano, Luigi, Pulci, Boiardo, and Sannazzaro would be the leading names in the first group. In the second we should place Ariosto, Machiavelli, Guicciardini and the minor historians of Florence. Bembo would lead a third cla.s.s, including Castiglione, La Casa, and the Petrarchistic poets of the Academies. A fourth would be headed by Pietro Aretino, and would embrace the burlesque writers and minor critical prosaists of the decadence. The advantage of this method is that it corresponds to a certain regular progression in the evolution of Italian genius during that brief s.p.a.ce of brilliant activity. Yet the chronological stages are not sufficiently well marked to justify its exclusive adoption. The first group is separated from the rest by a real interval, since the men who compose it died, with one exception, before the close of the fifteenth century, about the year of Charles VIII.'s entrance into Italy.[459] But the authors of the second, third, and fourth groups lived almost contemporaneously, covering the whole period of Italy's greatest literary glory and deepest national discomfiture, and witnessing the final extinction of her liberty in the settlement effected by the policy of Charles V.[460] Nor, again, can we trace in the several phases of literature they represent, so clear a process of expansion as may be detected in the successive stages of artistic or humanistic development. When the work effected by the first group was accomplished, both the language and the literature of Italy became in a true sense national, and the cultivated cla.s.ses of all districts, trained in the common discipline of humanistic studies, set themselves with one accord and simultaneously to the task of polis.h.i.+ng the mother tongue. This fact in the history of Italian literature suggests a _second_ method of cla.s.sification. We might take the three chief centers of renascence at the close of the fifteenth century--Florence, Ferrara, Naples--and show how the local characteristics of these cities affected their great writers. Rome during the pontificate of Leo X.; Urbino under the rule of Guidubaldo Montefeltre; Milan in the days of the last Sforzas; Venice at the epoch of Aldo's settlement; might next be chosen to ill.u.s.trate the subsequent growth of Italian culture, when it ceased to be Tuscan, Neapolitan, and Ferrarese. Yet though this local method of arrangement offers many advantages, and has the grand merit of fixing the attention upon one important feature of intellectual life in Italy--its many-sidedness and diversity, due to the specific qualities of cities vying with each other in a common exercise of energy--still it would not do for the historian of Italian culture at one of its most brilliant moments to accentuate minor differences, when it ought to be his object to portray the genius of the people as a whole. In a word, this cla.s.sification has the same defect as the treatment of the arts by Schools.[461] Moreover, it cannot fail to lead to repet.i.tion and confusion; for though the work we have to a.n.a.lyze was carried on in several provinces, yet each Court and each city produced material of the same general character. Novels, for example, were written at Florence as well as Milan. Rome saw the first representation of comedies no less than Ferrara. The romantic epic was not confined to the Court of the Estensi, nor dissertations on the gentle life to that of Urbino. We are led by the foregoing considerations to yet a _third_ method of arrangement. Would it not be scientific to divide the literature of the Renaissance into its chief branches, and to treat of the romantic epic, the _novella_, the stage, the idyll, lyric verse, essays in prose, histories, and so forth, under separate chapters? Undoubtedly there is much to say for such a treatment of the subject. Yet when we consider that it necessitates our bringing the same authors under review in several successive sections, confuses chronology, and effaces local distinctions, it will be seen that to follow this system exclusively would be unwise. It is too strictly a.n.a.lytical for our purpose. That purpose is to draw a portrait of the Italian spirit as expressed in the vernacular literature of about seventy years of exceptional splendor; and perhaps it will be conceded by the student that instinct, conscious of the end in view, conscious also of these several methods, but unwilling to be hampered by any one of them too rigorously followed out, will be a safer guide than formal accuracy.

I therefore propose in the remaining chapters of this book to adopt a mixed method, partaking of the chronological in so far as I shall attempt to show a certain process of evolution from the renascence led by Lorenzo de' Medici to the decadence typified in Pietro Aretino, insisting upon local peculiarities where it can be clearly proved that these contributed an important element to the total result, and relying on the cla.s.sification by subjects for bringing scattered details under general consideration. Five men of the highest eminence mark stages in the history we have to review. These are Poliziano, Ariosto and Machiavelli, Bembo and Pietro Aretino. Chronologically, they represent four moments of development--the initial, the consummate, the academical, and the decadent. But if we discard chronology and regard their intellectual qualities alone, we might reduce them to three.

Merging Poliziano and Bembo in Ariosto, retaining Machiavelli and Pietro Aretino, we obtain the three prominent phases of Renaissance culture in Italy--firstly, serene, self-satisfied, triumphant art, glorying in the beauty of form for form's sake, and aiming at perfection in style of sunny and delightful loveliness; secondly, profound scientific a.n.a.lysis, taking society for its object, dissecting human history and inst.i.tutions without prejudice or prepossession, unqualified by religious or ethical principles, pus.h.i.+ng its logical method to the utmost verge of audacity, and startling the world with terror by the results of its materialistic philosophy; thirdly, moral corruption unabashed and unrestrained, dest.i.tute of shame because devoid of conscience, boldly a.s.serting itself and claiming the right to rule society with cynical effrontery. Round Ariosto are grouped the romantic and idyllic poets, the novelists and comic playwrights, all the tribe of joyous merry-makers, who translated into prose and verse the beauty found in painting of the golden age.

With Machiavelli march the historians and political philosophers, the school of Pomponazzi and the materialistic a.n.a.lysts, who led the way for a new birth of science in the Baconian speculations of the Cosentine academy. Aretino is the coryphaeus of a mult.i.tude of scribes and courtiers, literary gladiators, burlesque authors of obscene _Capitoli_, men of evil character, who used the pen for poniard, and were the fit successors of invective-writers.

If we turn from men to cities, and seek to define the parts played by the several communities in this work of creating an Italian literature, we shall find that Florence fixes the standard of language, and dominates the nation by the fame of her three poets of the fourteenth century. Florence, moreover, gives birth to Machiavelli, Guicciardini, and the political theorists who form a group around them. Florentine wit and humor lend a certain pungency to all the products of the golden age.

Naples adds the luxury of southern color, felt in Sannazzaro's waxen paragraphs and Pontano's voluptuous hendecasyllables. Ferrara develops the chivalrous elements of the romantic epic, shelters Ariosto, and produces the pastoral drama, that eminently characteristic product of the late Renaissance. Milan is the home of Bandello, who takes the first rank among the novelists and leads a school of Lombard writers in that style. Rome does little for the general culture of the nation, except that in the age of Leo the Papal Court formed a center for studious men of all cla.s.ses and qualities. Her place in literature is therefore a.n.a.logous to that she occupies in art and scholars.h.i.+p.[462] Aretino chooses the city of the lagoons for his retreat, not without a certain propriety; for Venice had become the Paris of the sixteenth century, and here the press was more active than elsewhere in Italy. His instinct led the master of lampoon, the prince of pamphleteers, to the city which combined the utmost license of printing with the most highly developed immorality of manners. Thus, seen from many points of view and approached with different objects of study, men, places, and matter alike furnish their own pivots for treatment. Italy, unlike England and France, has no political and intellectual metropolis, no London and no Paris, where the historian may take his stand securely to survey the manifold activities of the race as from a natural center. He must be content to s.h.i.+ft his ground and vary his a.n.a.lytic method, keeping steadily in mind those factors which by their interaction and combination determine the phenomena he has in view.

We are now at length upon the threshold of the true Renaissance. The division between popular literature and humanistic culture is about to end. Cla.s.sic form, appropriated by the scholars, will be given to the prose and poetry of the Italian language. The fusion, divined and attempted, rather than accomplished by Alberti, will be achieved. Men as great as Machiavelli and Ariosto henceforth need not preface their _cose volgari_ with apologies. The new literature is no longer Tuscan, but Italian--national in the widest and deepest sense of the word, when Venetian Bembo, Neapolitan Sannazzaro, Ariosto from Reggio, Boiardo Count of Scandiano, Castiglione the Mantuan and Ta.s.so the Bergamasque vie with Tuscan Pulci and Poliziano, Machiavelli and Guicciardini, in the creation of the golden age.

The renascence of Italian took place almost simultaneously in three centers: at Florence under the protection of the Medici, at Ferrara in the castle of the Estensi, and at Naples in the Aragonese Court. Rome from the pontificate of Innocent VIII. to that of Leo X. was almost dumb and deaf to literature. Venice waited till the period of the press.

Milan produced nothing. It was but gradually that the wave of national culture reached the minor states. The three cities to which Italy owed the resurrection of her genius were ruled by princes, and the new literature felt the influence of Courts from the commencement. Indeed, the whole conditions of Italy had been altered since the death of Boccaccio in 1375. The middle ages had been swept away. Of their modes of thought, religious beliefs, political ideals, scholastic theories, scarcely a vestige remained. Among the cities which had won or kept their independence during the fourteenth century, only one remained free from a master's yoke; and even Venice, though she showed no outward signs of decadence, had reached the utmost verge of her development. The citizens who had fought the battles of the Communes round their banners and their sacred cars, were now quiet burghers, paying captains of adventure to wage mimic warfare with political or commercial rivals in neighboring States. A cla.s.s of professional diplomatists corresponding to these mercenary war-contractors had arisen, selected from the ranks of the scholars for their rhetorical gifts and command of Latin style.