Chapter 76

‘Non fia già che il CioccolatteV’adoprassi, ovvero il Tè’—etc.

‘Non fia già che il Cioccolatte

V’adoprassi, ovvero il Tè’—etc.

A great deal of the effect of poems of this kind consists in their hovering between jest and earnest.... The ‘Bacco in Toscana’ partakes more or less of the mock-heroic throughout, except in the very gravest lines of the author’s personal panegyrics. It is to the Ode and the Dithyrambic what the ‘Rape of the Lock’ is to the Epic, with all the inferiority which such a distinction implies.... The great fault of the poem is undoubtedly what his friend Ménage objected to in it—namely, that Bacchus has all the talk to himself, and Ariadne becomes a puppet by his side. Redi, partly in answer to this objection, and partly, perhaps, out of a certain medical conscience (for it must not be forgotten that his vinosity is purely poetical, and that he was always insisting to his patients on the necessity of temperance and dilutions), projected a sort of counter-dithyrambic in praise of water, in which all the talk was to be confined to Ariadne.... He wrote but a paragraph of thishydrambic. The inspiration was not the same. As to his drinking so little wine and yet writing so well upon it, it is a triumph for Bacchus instead of a dishonour. It only shows how little wine will suffice to set a genial brain in motion. A poet has wine in his blood. The laurel and ivy were common, of old, both to Bacchus and Apollo; at least Apollo shared the ivy always, and Bacchus wore laurel when he was young and innocent,

‘What time he played about the nestling woods,Heaping his head with ivy and with bay.’”

‘What time he played about the nestling woods,

Heaping his head with ivy and with bay.’”

(Page45.)

Giovanni Sabadino degli Arienti, a Bolognese, was the author of one of those collections of short stories so numerous in Italian literature, which often furnished subjects to our Elizabethan playwrights. The dates of his birth and death are uncertain, but the former must have been before 1450, and the latter not earlier than 1506. Besides thePorrettane(so called because the stories are supposed to be told by a holiday party at the baths of Porretta), he wrote poems, treatises, and biographies. (Page19.)

Franco Sacchettiwas a Florentine, about contemporary with Chaucer, being born in 1335. He was brought up to a commercial life, but afterwards devoted himself to literature, and took a considerable part in politics, being sent on various embassies by the Florentine Republic. On one of them he was plundered at sea by the Pisan war-ships; and, at a later date, the property he possessed near Florence was laid waste in the war with Gian Galeazzo Visconti. The date of his death is uncertain, but it probably took place during the first few years of the fifteenth century. He wrote sonnets,canzoni, madrigals, and other poems; but his best known works are hisNovelleor short stories. They were originally 300 in number, but we only possess 258, the remainder having been lost. They are not fitted into any framework, like that of Boccaccio’sDecameron. The best of them are of a humorous character; and the style is more simple and colloquial than Boccaccio’s. The story given as a specimen probably exists (under one form or another) in the folk-tales of every European nation. We possess it in the ballad of “King John and the Abbot of Canterbury.” (Page10.)

Alessandro Tassoniwas born at Modena in 1565, and died there in 1635, after many intermediate changes of abode. He belonged to a noble family, but was early left an orphan, and his very moderate patrimony was further diminished by law-suits, and by the dishonesty of his guardians. The greater part of his life was spent at court; he began his career by entering the service of Cardinal Ascanio Colonna at Rome, and ended it at the Ducal Court of Modena. He was, like so many Italians of that period, a skilled politician as well as a finished scholar, and was entrusted with various diplomatic missions. His principal works belong to the departments of reflective philosophy and literary criticism, and he was engaged in an acrimonious controversy wherein the chief bones of contention were the poetry of Petrarch and the philosophy of Aristotle, both which idols of the age he attacked unsparingly; but he is best known to posterity by his heroico-comic poem of “La Secchia Rapita” (The Stolen Bucket), said to have been written in 1611. It is based on the tradition that, during a war between Modena and Bologna, the Modenese forces (in 1325) carried off a wooden bucket from a public well in the hostile city. The trophy was hung up in the Cathedral at Modena, and remained there as a witness to the truth of the story—which,as a matter of history, is somewhat doubtful, though none the worse on that account, as the groundwork to Tassoni’s poem. Many contemporaries of the author’s are introduced under fictitious names; and, no doubt, the personal element (which is not the exclusive property of the New Journalism) contributed largely to the success of the work on its first appearance. But apart from this, it is genuine burlesque, and good of its kind, the absurdity being heightened by the introduction of the deities of Olympus in comically modern guise, to represent (and parody) the “machinery” which was considered an indispensable ingredient in a serious epic poem—the “machinery” which, to a certain extent, spoils theJerusalemand theLusiad. The passage describing the assembly of the gods in order to deliberate on the fortunes of Modena and Bologna, has been chosen for quotation. The translation is by James Atkinson, and was published in two volumes (London, 1825). After describing “the rape of the bucket” by the Modenese, the poem goes on to narrate how the Bolognese tried to recover it, and challenged the Modenese to a war of extermination. The latter, though seeing their danger, made no efforts to put their city in a state of defence by repairing the ruined fortifications; but contented themselves with appealing to the Emperor for help, and making alliances with Parma and Cremona. Fame having carried the report of what had occurred to Olympus, the Homeric gods assembled in council (as already mentioned), with the result that Minerva and Apollo declared for Bologna, as being a city given to arts and learning. Bacchus and Venus took the part of the merry and pleasure-loving town of Modena—Mars taking the same side for the love of Venus. These incite the various terrestrial potentates to take sides in the feud—in which, at length, the Pope himself interferes. In conclusion, the bucket is left in possession of the Modenese, while the citizens of Bologna keep Enzio, King of Sardinia—son of the German Emperor—who, in fact, ended his days in captivity there. The poem was defined by Tassoni himself as “a monstrous caprice,” intended to make game of modern poets; and it is impossible to give a concise summary of it, more especially as he wove into it all the burlesque adventures which occurred to him, whether real or fictitious. Tassoni was, according to an Italian writer, “of a lively and grotesque fancy, of a cheerful disposition, and fond of jesting, insomuch that he could not refrain from jokes even in his will.” Moreover, he was “averse from the prejudices of literary men, and a lover of novelty”—for which reason he advanced the monstrous proposition that Petrarch’sRimewere not the sole standard of poetry for all ages and all countries. (Page39.)

Achille Torelli, dramatic author, born at Naples, 1844, is said to be of Albanian descent. His first success was the comedy,After Death, written at the age of seventeen, and acted at Naples and then at Turin. This was succeeded by several comedies, most of which were successful.La Verità, from which the scene given inthis volume is extracted, was acted at Naples, Milan, and Turin in 1865. Torelli volunteered for the Italian army in the campaign of 1866, and was laid up for several months in consequence of a fall from his horse at Custozza. Since then he has produced a long list of plays, both tragedies and comedies, of which perhaps the best isTriste Realtà(1871), which won the applause of the veteran Manzoni. Angelo de Gubernatis (in theDizionario Biografico degli Scrittori Contemporanei, whence the main facts of this notice are gathered) considersI MaritiTorelli’s masterpiece. The play is a good one, but has about as much right to be called a comedy as George Eliot’sJanet’s Repentance. He leads a very retired life, seeing only a few friends, and spends most of his time in study and writing. (Page262.)

Giorgio Vasari, born at Arezzo, 1512. Studied drawing under Michelangelo, Andrea del Sarto, and others. Between 1527 and 1529, driven by necessity, and having several relations in need of help, he worked as a goldsmith at Florence, but afterwards returned to painting. Like Ruskin in our own day, however, he was rather a writer on art than an artist. He was the author of several works on painting and architecture, of an autobiography, and, above all, of the celebratedLives of Famous Painters. The anecdotes quoted in this volume were traditionally current in Vasari’s time, and had already been recorded by Franco Sacchetti. The translation quoted is fromStories of the Italian Artists, by the author ofBelt and Spur(Seeley & Co., 1884). (Page 21.)

Giovanni Verga, born at Catania, Sicily, in 1840. He wroteStoria d’una Capinera,Eva,Nedda,Eros,Tigre Reale,Primavera. He has also written two masterly collections of stories and sketches from Sicilian life, entitled,Vita dei Campi, andNovelle Rusticane, and a continued story,I Malavoglia, which has recently been translated under the title,The House of the Medlar. A Neapolitan journal describes him as “thin and pale ... with iron-grey hair and moustache. His lips are thin, chin somewhat too long, the mouth retreating, the nose straight, the forehead spacious. He is not handsome, but has a noble face, a little like that of Dante. His appearance is that of a man of cold temperament. Some of his speeches—some pages in his books—are those of a sceptic. As to the coldness, I do not know whether it would be correct to apply the old image of Etna—the fire under the snow, But as to the scepticism, I would take my oath that—contrary to generally received opinion—it is only apparent. Verga is not an effusive man—certainly not. But he feels, and he respects—rather, he venerates feeling even under its most formal manifestations. I met him at a time when he had recently lost, first, a sister, and then his mother. His grief was severe and restrained, but deeply felt and lasting. He is not by any means a sentimental man. Sentimentalism in others always contracts his lips in that fleeting, ironical smile which hasgiven him the name of a sceptic.... He is a slow worker. He observes at his leisure, reflects for a long time, and then retires into the quiet of his own home to work; but he works not with the fire of inspiration, but with the sure hand of an artist who has his picture clearly traced in his mind.” Verga’s most successfully-drawn characters are taken from the peasantry. Jeli, the horseherd; Rosso Malpelo, the red-haired waif who had never had any one to care for him save the father who was buried in the sand-pits; poor Lucia inPane Nero, slowly driven to throw herself away by sheer dread of starvation; La Santa, bewitched by the love of Gramigna the brigand,—these, and many more, are living, breathing figures. But Verga, according to the critic above quoted, “is ambitious of attaining a perfect knowledge of ‘high life,’ and describing it truthfully. But in this he is not always successful. If he draws from life, he certainly does not choose the best models.” Certainly “Il Come, il Quando, e il Perchè,” is not a happy effort, and “Jeli il Pastore” is worth a dozen of it. (Page137.)

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1. A tolerable specimen of the humour of the “Morgante” is to be found in Mr. J. A. Symonds’ “Renaissance in Italy” (vol. iv.,Italian Literature, p. 543). The passage translated contains the giant Morgante’s confession of faith. He is a true believer (as he details at great length) in the creed of “fat capons boiled or maybe roasted.”

2.Roba di Roma, i. pp. 202, 203, 269–279.

3. FromRoba di Roma, ii. 221. (See also the Note to the story of “The Hermit and the Thieves” on p. 251 of the same.) “These are certainly views of heaven, angels, and good hermits, which are rather extraordinary; but Rosa” (thecontadinawho related the story), “on being asked if the story she told was founded on fact, replied, ‘Chi lo sa?—who knows? I did not see it, but everybody says so.Perchè no?’”

4. In the original, these lines are a barbarous mixture of Spanish and Italian.

5. Jupiter.

6. See note at end of volume.

7. An Italian expression for the Golden Age.

8.Didimo Chièricois a fictitious character, upon whom Foscolo has fathered most of his opinions and experiences, in a curious piece of writing purporting to be a sketch of Didimo and an account of his works. It contains numerous references to Sterne, by whom Foscolo was greatly influenced.

9. “Il cavallo di San Francesco” is a proverbial expression for going on foot—like “Shanks’ mare” in Ireland.

10. A favourite comic character at Florence. See Notes at end.

11. Athens.

12.I.e., the pigs, which, for some reason or other, Italians do not think fit to mention in polite society.

13. This is what usually happens when there is an outbreak of cholera in Southern Italy.

14.I.e., that he had really died of malarial fever.

15. See Note 4 at end.

16. The confusion is between Flavio Gioja, inventor of the mariner’s compass (c.1300), and Melchiorre Gioja (1767–1829), author of a well-known manual of good breeding.

17. Since 1870, of course, Italian priests have, as a rule, been hostile to the Government.

18. See Note 5 at end.

19. See Introduction.

20. Dumplings, sometimes made of meat.

21. A kind of bun, filled with pine kernels inside.

22. Chestnuts boiled in the shell.

23. A sour kind of pear or plum.

24. A kind of flat cake, very popular in rural Tuscany.

25. See Note 6 at end.

26. “Peaches and apples!” See remarks on oaths, adjurations, etc., in Introduction.

27. See Note 7 at end.

28. A rustic proverb.

29. Vol. i., pp. 254et seq.

30. When the French army advanced against Rome, they found the road from Civita Vecchia strewn with large placards, on which this clause of their constitution was printed; so that they were literally obliged to trample its provisions under foot, in making as unjustifiable an attack upon the liberties of a people as was ever recorded in history.

31. Used in the same sense as by our sixteenth and seventeenth century writers. The old medical terminology still survives to a great extent in Italy; as does, or did till recently, the ancient practice of medicine which consisted chiefly in blood-letting.

32. The meaning is, “The Cardinal is going away with the Cask (Barile), but he will come back with the flask,”—the wordfiascohaving this sense as well as that in which it is sometimes employed by us, of “failure,” or “disaster.” Needless to add, the above was written before the establishment of the Regno in 1870.

33.I.e., the obelisk in the Piazza di S. Pietro.

34. The skin of the fig is supposed to be injurious, that of the peach wholesome.

35. The original is a ludicrous mixture of Latin and Italian.

36. The prison and court of justice.

37. A town in the south of Sicily.

38. This (pronounced in English spellingchew) is the local rendering of the owl’stu-whoo, and also the Sicilian and Calabrian dialectical form ofpiù, which meansmore. The same joke is current, in a different form, in another part of Sicily, where an old church was haunted by owls, and a countryman, taking their lamentable cries for those of souls in purgatory, asked how many masses were required to set them free, and got the answer “More” to every number he suggested.

39. The famous brigand chief.

40. Pp.232,233.

41. Macmillan & Co., 1882.

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Volume V. contains—

TOLSTOY’S PARABLES.

THE CONTEMPORARY SCIENCE SERIES.Edited by HAVELOCK ELLIS.NEW VOLUMES.Crown 8vo, Cloth, Price 6s.A STUDY OF RECENT EARTHQUAKES.By CHARLES DAVISON, D.Sc., F.G.S., Author of “The Hereford Earthquake of December 17th, 1896.”

THE CONTEMPORARY SCIENCE SERIES.

Edited by HAVELOCK ELLIS.

NEW VOLUMES.Crown 8vo, Cloth, Price 6s.

A STUDY OF RECENT EARTHQUAKES.

By CHARLES DAVISON, D.Sc., F.G.S., Author of “The Hereford Earthquake of December 17th, 1896.”

The aim of the author, who is a leading authority on this subject, is to provide a series of studies of a few earthquakes that have been investigated recently by scientific methods—such as the Neapolitan earthquake of 1857, the Ischian earthquakes of 1881 and 1883, the Charleston earthquake of 1886, the Riviera earthquake of 1887, the Japanese earthquake of 1891, the Hereford earthquake of 1896, the Indian earthquake of 1897, etc.

Crown 8vo, Cloth, Price 6s.MORALS: Their Psycho-Sociological Bases.Translated from the French of Duprat’sLa Morale,By W. J. GREENSTREET, M.A., Headmaster of Marling School.

Crown 8vo, Cloth, Price 6s.

MORALS: Their Psycho-Sociological Bases.

Translated from the French of Duprat’sLa Morale,

By W. J. GREENSTREET, M.A., Headmaster of Marling School.

The field of psychological research has been widened by the triple alliance of psychology, physiology, and sociology—an alliance at once of the most intimate and fundamental nature, and productive of far-reaching results. It need, therefore, occasion no surprise that among the volumes of a scientific series is to be found a treatise dealing with ethical questions. Recent works on ethics have not been numerous, and the writers seem more anxious to soar into the realm of lofty thought than to lay the foundations of work that will be positive and lasting. It would seem that the time has come for a system of ethics less ambitious in its aims, more restricted in its scope, and based on a more rigorous method of treatment.

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