Studies in the Poetry of Italy Part 10

Nott.

His love thus purified and his thoughts now turned to G.o.d alone, the poet awaits in resignation the coming of the inevitable hour of death.

The "Book of Songs and Sonnets," as his Italian poetry may be called, ends in a beautiful hymn to the Virgin Mary, in which the poet breathes forth all his chastened sorrow and hopes. From this we select the following lines:

"Bright Virgin! and immutable as bright, O'er life's tempestuous ocean the sure star Each trusting mariner that truly guides, Look down, and see amid this dreadful storm How I am tost at random and alone, And how already my last shriek is near, Yet still in thee, sinful although and vile, My soul keeps all her trust; Virgin! I thee implore Let not thy foe have triumph in my fall; Remember that our sin made G.o.d himself, To free us from its chain, Within thy virgin womb our image on Him take!

"Virgin! what tears already have I shed, Cherished what dreams and breathed what prayers in vain, But for my own worse penance and sure loss; Since first on Arno's sh.o.r.e I saw the light Till now, whate'er I sought, wherever turn'd, My life has pa.s.sed in torment and in tears, For mortal loveliness in air, act, speech, Has seized and soiled my soul: O Virgin! pure and good, Delay not till I reach my life's last year; Swifter than shaft and shuttle are, my days 'Mid misery and sin Have vanished all, and now Death only is behind!

SUMMARY AND QUESTIONS FOR REVIEW

Difference between the Medieval and Modern World--Dante's position between the two--Petrarch, 1304-74, the real founder of modern civilization--Latin works--Fame rests on his Italian poetry--How this differed from the Sicilian and Tuscan schools--Laura and Petrarch's love--Her influence upon his life.

1. How does the medieval world differ from the modern?

2. Why is Petrarch called the founder of modern civilization?

3. Give a brief sketch of his life.

4. What kind of character did he have?

5. Name some of his Latin works.

6. What were his services to cla.s.sical scholarship?

7. On what does his fame as a poet rest?

8. How does his lyrical poetry differ from that of his predecessors?

9. Tell the story of his love for Laura, as seen in his poetry.

10. How is his character ill.u.s.trated in his poetry?

BIBLIOGRAPHY

A collection of translations of Petrarch's Italian poems, together with an extended life of the poet, is published in the Bohn Library. Very important are the Latin letters of Petrarch; an English translation of a number of these was published a short time ago by Putnam & Co., of New York.

FOOTNOTES:

[19] Best translated literally, "world pain."

CHAPTER V

BOCCACCIO

We have hitherto discussed the development of poetry almost exclusively; and this is justifiable, for in Italy, as in all other countries, the development of prose as a form of literature comes after that of poetry.

Petrarch wrote no prose in Italian; and although Dante wrote his Banquet and, in part, his New Life in prose, yet the former is couched in scholastic phraseology and the prose portion of the latter is of small compa.s.s. Giovanni Boccaccio, although not so great a poet as Dante, or so great a scholar and master of form as Petrarch, is yet of high importance in the history of Italian literature from a double point of view, as the first great writer of prose and the founder of the modern novel.

We can only give here a brief outline of his life and character, before pa.s.sing on to his works. He was born in Paris in 1313, the son of a Florentine merchant and a young French gentlewoman. Going to Florence with his father, he was sent to school and is said to have written verses before the age of seven. His father, a merchant himself, wished his son to follow the same career, and at the age of fourteen the boy was taken to Naples with this purpose in view. In this "great, sinful city" Boccaccio pa.s.sed his youth, at first in business, then in the study of law, both of which, however, he heartily disliked. Making the acquaintance of some well-known scholars, he was inducted into a love for study, and resolved to devote himself to a literary career.

About 1340 he left Naples and returned to Florence, which henceforth became his residence, although he was frequently absent from it on matters of business and pleasure. For he soon became known as a scholar and poet, and, in accordance with the customs of the times, he was honored by his city by being sent on frequent emba.s.sies. In this capacity he went, in 1350, to Ravenna, to the daughter of Dante; in 1354, to Pope Innocent VI., at Avignon; and in 1351, to Petrarch at Padua, in order to induce the great poet and scholar to reside in Florence. This meeting with the great apostle of the New Learning was an important event in Boccaccio's life, who from henceforth became an enthusiastic admirer of Petrarch. He plunged still more eagerly into the study of cla.s.sic antiquity; and although not so great a scholar as Petrarch, he accomplished some things which the latter had not been able to do. Thus he learned Greek, imperfectly, however, and introduced to the western world a knowledge of that language (unknown to the Middle Ages) by bringing Leontius Pilatus to Florence as a professor in the university. It was at the dictation of the latter that Boccaccio wrote down his Latin translation of the Homeric poems, which, worthless as it now seems, then excited widespread admiration.

Boccaccio differed from Petrarch in being an ardent admirer and indefatigable student of Dante. Petrarch had once declared that he had never read the Divine Comedy. The influence of Dante on Boccaccio is seen on almost every page of his poetry, and it was in reward of his services in promoting the study of the former's works that in 1373 he was invited by Florence to lecture on the Divine Comedy (for the first time in Italy) in the university.

Boccaccio's character was in many respects an attractive one; he was honest, sincere, and modest; a faithful friend, a lover of true literature; and, above all, of a lovable and gentle disposition; _Giovanni della Tranquillita_, his friends called him--"John of the quiet mind," as we may translate it. The gravest accusation made against him, and one, alas! only too well founded, is his immorality. In his early years, and even later in life, his manners were light, and the effects thereof are too often reflected in his books. Before condemning him too harshly, however, we must bear in mind the low state of morals that marked all society at that time. Toward the end of his life Boccaccio became converted by a strange event. It seems that a certain Carthusian monk, Pietro de' Petroni--who, by the austerity of his life and his religious exaltation, had won a reputation for holiness--died at Siena, May 29, 1361. Fourteen days before his death he entered into a trance, in which he had a vision of the saints in heaven and the d.a.m.ned in h.e.l.l. When he awoke he declared that he had been commanded by Christ to warn a number of distinguished men of the error of their ways. Among these was Boccaccio. Being too sick to go himself, Petroni sent his disciple, Gioachino Ciani, to fulfill his commission. The latter came to Florence, told Boccaccio of his master's vision, and then, in fiery language, urged him to see to the salvation of his soul, and to repudiate his immoral writings, else he would soon die and his soul be lost forever. Boccaccio was deeply affected by this strange emba.s.sy. In the first moments of depression he resolved to give up all study, burn his books, write no more, and spend the rest of life in religious exercises. From this violent action, however, he was saved by a sensible letter from Petrarch. Yet the effect did not pa.s.s away. Ever after this he was more serious and thought more of religious matters. He lost his former zest in life; his gaiety and serenity of temper became clouded.

After a youth of enjoyment the evening of life came on gray and cold.

He died December 21, 1375, in Certaldo, not far from Florence.

Boccaccio, like Petrarch, wrote much in Latin, chief among such writings being the historical or biographical compilations on Ill.u.s.trious Women and the Vicissitudes of Great Men, and especially his Genealogy of the G.o.ds, which for one hundred years and more became the standard hand-book of mythology. In Italian poetry he was far more voluminous than Petrarch. Among the best known of his poems are the Vision of Love; Filostrato, which tells the story of Troilus and Cressida, afterwards imitated by Chaucer and Shakespeare; and the Theseid, imitated by Chaucer in his Knight's Tale. His Ninfale Fiesolana describes the beautiful suburbs of Florence, while his pastoral poem, Ameto, is the first example of that popular branch of poetry, which found its highest development in Sannazaro's Arcadia, Ta.s.so's Aminta, and Guarini's Pastor Fido.

All these, however, are now almost forgotten. The one book by which Boccaccio is known to-day, not only in Italy, but the world over, is his Decameron, a collection of short stories in prose. In this book he becomes epoch-making in a double sense, for it begins both Italian prose and the modern novel. The name of the book is composed of two Greek words, meaning "ten days," and is explained by the fact that there are one hundred stories in all, told ten at a time, on ten successive days.

Neither the various stories themselves nor the idea of uniting them in a framework is original with Boccaccio. The latter device was especially popular in the Orient, and is ill.u.s.trated in the Seven Wise Men, so vastly popular in the Middle Ages. Chaucer imitated Boccaccio in this respect in his Canterbury Tales. The sources of the stories in the Decameron are various. Such tales were among the most popular kinds of literature of the times, as may be seen in the Fabliaux in France and the well-known collections, the Novellino and Cento Novelle, in Italy.

Boccaccio gathers them from all sides and adds many he had heard told orally, especially anecdotes of his contemporaries. All these are changed, however, by the alchemy of his own genius, and become original in style, in delineation of character, and in local color.

The framework of the Decameron is as follows: During the terrible pestilence which raged in Europe in 1348, a famous description of which is given in the opening chapter of the book, seven young ladies and three young men meet in one of the churches at Florence and agree to forsake the plague-stricken city, retire to their villas in the country and try to forget in pleasant converse the terrors that surround them.

The plan is carried out. Each day a leader is chosen, whom all must obey. After breakfast they betake themselves to the garden, and here on green lawns covered with flowers, beneath shady trees and beside clear-running streams, they dance, play, and sing; and then, comfortably seated on the soft gra.s.s, they pa.s.s the hours away in cheerful conversation and story-telling.

Each one of these one hundred stories has an individual character of its own. While reading them we see pa.s.sing in picturesque procession before our eyes the whole of Italian society of the times, kings and princes, knights and peasants, merchant, artist, mechanic, priest, and monk.

There are not wanting earnest and serious stories, but the comic and satirical element prevails; especially are the vices of the clergy scourged, that fruitful source of all European medieval literature. The avaricious and licentious priests and monks are everywhere held up to the scornful laughter of his readers.

All this is expressed in an admirable prose style, with perfect adaptation of local color, with excellent delineation of character and insight into human nature, and with the inimitable skill in narration of the born story-teller.

The popularity of Boccaccio was, and is still, enormous, in spite of the immorality of certain of his stories. He is read to-day in the elementary schools of Italy (in emendated editions), and his influence on modern literature is incalculable. In English literature alone most of the great writers have found subjects for poems, stories, and dramas in the Decameron, among them Chaucer, Dryden, Shakespeare, Keats, Tennyson, and Longfellow.

The following story, which I have translated with some slight condensation, is not only the best and most famous of the Decameron, but it ill.u.s.trates on the one hand the vast antiquity of the short-story (existing, as it does, not only in all European languages in the Middle Ages, but running back its roots to the early antiquity of India), and on the other hand, the influence of Boccaccio, "Patient Griselda" having become almost a household word in modern literature, and having furnished themes for poet, painter, and sculptor. John Addington Symonds has declared that no Greek poem equals Boccaccio's story of Griselda for tenderness.

A long time ago there lived a certain marquis of Saluzzo, named Walter, who spent his time chiefly in hunting, with never a thought of marriage. His va.s.sals not liking this state of affairs often urged him to take to himself a wife, so that in case of death, he might not be without an heir, nor they without a master. To all this Walter made answer as follows: "My friends, you urge me to do that which I had resolved not to do, considering how difficult it is to find a proper mate, and how hard is the life of him who finds one not suited to him. Yet since it pleases you to bind me with these chains, I will agree--on this condition, however, that I choose my wife myself, so that if evil come to me, I may have no one to blame but myself. But bear this in mind: if you do not honor her as becomes your lady, you shall prove to your cost how grievous a thing it is to have forced me to wed against my own desire."

Now for some time past Walter had been much attracted by the gentle manners of a poor but beautiful village maiden, who lived near his castle; and it seemed to him that with her he could be happy. Hence without seeking further he sent for her father, and agreed with him to take his daughter as his wife. This being settled, Walter called together his friends and va.s.sals and said to them: "Friends, it has pleased you to ask me to take to myself a wife, and I have yielded, more to please you, however, than through any desire of my own. You will remember that you agreed to be satisfied and treat as your lady whomsoever I should choose. The time has now come when I intend to keep my promise, and I desire that you keep yours. I have found a young lady to my liking whom I intend to marry, and I shall bring her home in a few days. See to it that the wedding feast be a fair one and that you receive her honorably." The good men, all rejoicing, answered that they were indeed pleased, and that whoever his bride might be, they would honor her in all things as their lady.

After this Walter prepared a bountiful wedding feast and invited thereto his many friends and relatives and all the gentle folk round about. He had many rich and beautiful gowns made fit to adorn the figure of the young girl whom he proposed to wed; and likewise rings, and girdles, and a fair rich crown, in short all things that a new bride might require.

Now when the day fixed for the wedding had come, Walter mounted his horse and said to his followers: "Gentlemen, it is time to go for the bride." And setting out with all his company he came to the village, and the house of the young girl's father, where they found her returning in great haste from the fountain, in order that she, with the other women-folk of the village, might go and see the coming of their lord's bride. When Walter saw her he called her by name--that is, Griselda--and asked her where her father was; to whom she answered shamefacedly, "My lord, he is in the house." Then Walter dismounted, and ordering his followers to remain outside, went alone into the humble cottage, where he found her father--whose name was Giannucolo--and said to him: "I have come to wed Griselda; but first I wish to ask her something in your presence." And he asked her if she would always try to please him, if he took her for his wife; and if she would promise not to be angry, whatever he might say or do; and many other similar things; to all of which she made answer: "Yes, my lord."

Then Walter, taking her by the hand, led her outside, and having called for the gowns he had prepared, he had her clothed therewith, and upon her head he placed a crown, and then as all present marveled mightily, he said: "My lords, this is she whom I intend shall be my wife"; and then turning to her who stood blushing and full of wonder, he said: "Griselda, will you take me for your husband?" To which she answered as before, "Yes, my lord." "Then," said he, "I will take you for my wife"; and in presence of all he wed her, and setting her upon a palfrey, he led her home.

The young bride was, as we have already said, beautiful in face and person, and withal so attractive, pleasing, and gentle-mannered, that she did not seem to have been a shepherdess, but the daughter of a n.o.ble lord; so that she made all those who had known her before, to marvel greatly. Moreover, she was so obedient to her husband, and so attentive to his comfort, that he held himself the happiest man in the world. In similar manner she was so kind and gracious towards her husband's subjects that they loved and honored her one and all, always praying for her health and happiness.

Shortly after the birth of his first child, a daughter, a strange fancy entered the mind of Walter, and he resolved to prove the patience and obedience of his wife, by subjecting her to many cruel trials. In the first place, he wounded her spirit by harsh words, feigning to be much disturbed in mind, and declaring that his va.s.sals were ill-content with her on account of her low birth, and especially now that they saw that she bore children; wherefore they were sullen and did nothing but murmur.

Hearing which words, Griselda, without changing countenance, said: "My lord, do with me as you think best for your own honor and happiness, and I will be content; for I know I was not worthy of all this honor to which you, by your courtesy, have brought me." This answer was very pleasing to Walter, who thus saw that her new honors had not puffed her up with pride.

A short time after, having said to his wife that his subjects could not endure her daughter, he sent one of his servants to her who, with mournful countenance, said, "My lady, if I would not die, I must do that which my lord commands me. He has ordered me to take your little daughter and to----" and he said no more. The lady, hearing these words, and seeing the face of the servant, and remembering the words of her husband, believed that the servant had been ordered to kill her child; whereupon quickly taking the little one from the cradle, she kissed and prayed over it, with unchanged countenance, in spite of the great sorrow she felt in her heart; and placing it in the arms of the servant, said: "Here, do what thy lord and mine has commanded thee to do. But see to it that the child be not devoured by birds or wild beasts, unless indeed he commands thee so to do."