Handbook of Universal Literature, From the Best and Latest Authorities

by Anne C. Lynch Botta

There is a kind of jocose or burlesque satire peculiar to Italy, in which the literature is extremely rich. If it serves the cause of wisdom, it is always in the mask of folly. The poet who carried this kind of writing to the highest perfection was Berni (1499-1536). Comic poetry, hitherto known in Italy as burlesque, of which Burchiello was the representative in the fifteenth century, received from Berni the name of Bernesque, in its more refined and elegant character. His satirical poems are full of light and elegant mockery, and his style possesses nature and comic truth. In his hand, everything was transformed into ridicule; his satire is almost always personal, and his laughter is not always restrained by respect for morals or for decency. To burlesque poetry may be referred also the Macaronic style, a ludicrous mixture of Latin and Italian, introduced by Merlino Coccajo (1491-1544). His poems are as full of lively descriptions and piquant satire as they are wanting in decorum and morality.

The story-tellers of the sixteenth century are numerous. Sometimes they appear as followers of Boccaccio; sometimes they attempt to open new paths for themselves. The class of productions, of which the "Decameron" was the earliest example in the fourteenth century, is called by the Italians "Novelle." In general, the interest of the tale depends rather on a number of incidents slightly touched, than on a few carefully delineated; from the difficulty of developing character in a few isolated scenes, the story-teller trusts for effect to the combination of incident and style, and the delineation of character, which is the nobler part of fiction, is neglected. Italian novelists, too, have often regarded the incidents themselves but as a vehicle for fine writing. An interesting view of these productions is, that they form a vast repository of incident, in which we recognize the origin of much that has since appeared in our own and other languages.

Machiavelli was one of the first novelists of this age. His little tale, "Belfagor," is pleasantly told, and has been translated into all languages. The celebrated "Giulietta" of Luigi da Porta is the sole production of the author, but it has served to give him a high place among Italian novelists. This is Shakspeare's Romeo and Juliet in another shape, though it is not probable that it was the immediate source from which the great dramatist collected the materials for his tragedy. The "Hundred Tales" of Cinzio Giraldi (1504-1573) are distinguished by great boldness of conception, and by a wild and tragic horror which commands the attention, while it is revolting to the feelings. He appears to have ransacked every age and country, and to have exhausted the catalogue of human crimes in procuring subjects for his novels.

Grazzini, called Lasca (1503-1583), is perhaps the best of the Italian novelists after Boccaccio. His manner is light and graceful. His stories display much ingenuity, but are often improbable and cruel in their nature. The Fairy Tales of Strapparola (b. 1500) are the earliest specimens of the kind in the prose literature of Italy, and this work has been a perfect storehouse from which succeeding writers have derived a vast multitude of their tales. To this, also, we are indebted for the legend of "Fair Star," "Puss in Boots," "Fortunio," and others which adorn our nursery libraries.

Firenzuola (1493-1547) occupies a high rank among the Italian novelists; his "Golden Ass," from Apuleius, and his "Discourses of Animals" are distinguished for their originality and purity of style.

Bandello (1480-1562) is the novelist best known to foreigners after Boccaccio. Shakspeare and other English dramatists have drawn largely from his voluminous writings. His tales are founded upon history rather than fancy.

9. HISTORY.—Historical composition was cultivated with much success by the Italians of the sixteenth century; yet such was the altered state of things, that, except at Venice and Genoa, republics had been superseded by princes, and republican authority by the pomp of regal courts. Home was a nest of intrigue, luxury, and corruption; Tuscany had become the prey of a powerful family; Lombardy was but a battle-field for the rival powers of France and Germany, and the lot of the people was oppression and humiliation. High independence of mind, one of the most valuable qualities in connection with historical research, was impossible under these circumstances, and yet, some of the Italian writers of this age exhibit genius, strength of character, and a conscientious sense of the sacred commission of the historian.

Machiavelli (1469-1527) was born in Florence of a family which had enjoyed the first offices in the republic. At the age of thirty, he was made chancellor of the state, and from that time he was constantly employed in public affairs, and particularly in embassies. Among those to the smaller princes of Italy, the one of the longest duration was to Caesar Borgia, whom he narrowly observed at the very important period when this illustrious villain was elevating himself by his crimes, and whose diabolical policy he had thus an opportunity of studying. He had a considerable share in directing the counsels of the republic, and the influence to which he owed his elevation was that of the free party, which censured the power of the Medici, and at that time held them in exile. When the latter were recalled, Machiavelli was deprived of all his offices and banished. He then entered into a conspiracy against the usurpers, which was discovered, and he was put to the torture, but without wresting from him any confession which could impeach either himself or those who had confided in his honor. Leo X., on his elevation to the pontificate, restored him to liberty. At this time he wrote his "History of Florence," in which he united eloquence of style with depth of reflection, and although an elegant, animated, and picturesque composition, it is not the fruit of much research or criticism.

Besides this history, Machiavelli wrote his discourses on the first decade of Livy, considered his best work, and "The Art of War," which is an invaluable commentary on the history of the times. These works had the desired effect of inducing the Medici family to use the political services of the author, and at the request of Leo X. he wrote his essay "On the Reform of the Florentine Government."

Guicciardini (1483-1541), the friend of Machiavelli, is considered the greatest historian of this age. He attached himself to the service of Leo X., and was raised to high offices and honors by him and the two succeeding popes. On the expulsion of the Medici from Florence, the republican party having obtained the ascendency, he was obliged to fly from the city. From this time he manifested an utter abhorrence of all popular institutions, and threw himself heart and soul into the interests of the Medici. He displayed his zeal at the expense of the lives and liberties of the most virtuous among his fellow-citizens. Having aided in the elevation of Cosmo, afterwards Grand Duke of Tuscany, and being requited with ingratitude and neglect, he retired in disgust from public life, and devoted himself wholly to the completion of his history of Italy. This work, which is a monument of his genius and industry, commences with the coming of Charles VIII. to Italy, and concludes with the year 1534, embracing one of the most important periods of Italian history. His powerfully-drawn pictures exhibit the men and the times so vividly, that they seem to pass before our eyes. His delineations of character, his masterly views of the course of events, the conduct of leaders, and the changes of war, claim our highest admiration. His language is pure and his style elegant, though sometimes too Latinized; his letters are considered as a most valuable contribution to the history of his times.