Handbook of Universal Literature, From the Best and Latest Authorities

by Anne C. Lynch Botta

6. HEROIC-COMIC POETRY, SATIRE, AND FABLE.—The period of heroic-comic poetry closes in the eighteenth century. The "Ricciardetto" of Fortiguerri (1674-1735) is the last of the poems of chivalry, and with it terminated the long series of romances founded on the adventures of Charlemagne and his paladins. The "Cicero" of Passeroni (1713-1803) is a rambling composition in a style similar to Sterne's "Tristram Shandy," which, it appears, was suggested by this work.

Satiric poetry, which had flourished in the preceding period, was enriched by new productions in the eighteenth and nineteenth centuries. G. Gozzi (1713-1789) attacked in his satires the vices and prejudices of his fellow-citizens, in a forcible and elegant style; and Parini, the great satirist of the eighteenth century, founded a school of satire, which proved most beneficial to the country. His poem, "The Day," is distinguished by fine irony and by the severity with which he attacks the effeminate habits of his age. He lashes the affectations and vices of the Milanese aristocracy with a sarcasm worthy of Juvenal. The satires of D'Elei, Guadagnali, and others are characterized by wit and beauty of versification. Those of Leopardi are bitter and contemptuous, while Giusti (1809-1850), the political satirist of his age, scourged the petty tyrants of his country with biting severity and pungent wit; the circulation of his satires throughout Italy, in defiance of its despotic governments, greatly contributed to the revolution of 1848.

In the department of fable may be mentioned Roberti (1719-1786), Passeroni, Pignotti (1739-1812), and Clasio (1754-1825), distinguished for invention, purity, and simplicity of style.

7. ROMANCES.—Though the tales of Boccaccio and the story tellers of the sixteenth century paved the way to the romances of the present time, it was only at a late period that the Italians gave their attention to this kind of composition. In the eighteenth century we find only two specimens of romance, "The Congress of Citera," by Algarotti, of which Voltaire said that it was written with a feather drawn from the wings of love; and the "Roman Nights," by Alexander Verri (1741-1816). In his romance he introduces the shades of celebrated Romans, particularly of Cicero, and an ingenious comparison of ancient and modern institutions is made. The style is picturesque and poetical, though somewhat florid.

This kind of composition has found more favor in the nineteenth century. First among the writers of this age is Manzoni, whose "Betrothed" is a model of romantic literature. The variety, originality, and truthfulness of the characters, the perfect knowledge of the human heart it displays, the simplicity and vivacity of its style, form the principal merits of this work. The "Marco Visconti" of Grossi is distinguished for its pathos and for the purity and elegance of its style.

The "Ettore Fieramosca" of Massimo d'Azeglio is distinguished from the works already spoken of by its martial and national spirit. His "Nicolò de Lapi," though full of beauties, partakes in some degree of the faults common to the French school. After these, the "Margherita Pusterla" of Cantil, the "Luisa Strozzi" of Rosini, the "Lamberto Malatesta" of Rovani, the "Angiola Maria" of Carcano, are the best historical romances of Italian literature. Both in an artistic and moral point of view, they far excel those of Guerrazzi, which represent the French school of George Sand in Italy, and whose "Battle of Benevento," "Isabella Orsini," "Siege of Florence," and "Beatrice Cenci," while they are written in pure language and abound in minor beauties, are exaggerated in their characters, bombastic and declamatory in style, and overloaded in description.

The "Last Letters of Jacopo Ortis," by Foscolo, belongs to that kind of romance which is called sentimental. Overcome by the calamities of his country, with his soul full of fiery passion and sad disappointment, Foscolo wrote this romance, the protest of his heart against evils which he could not heal.

8. HISTORY.—Among the most prominent of the numerous historians of this period, a few only can be named. Muratori (1672-1750), for his vast erudition and profound criticism, has no rivals. He made the most accurate and extensive researches and discoveries relating to the history of Italy from the fifth to the sixteenth century, which he published in twenty- seven folio volumes; the most valuable collection of historical documents which ever appeared in Italy. He wrote, also, a work on "Italian Antiquities," illustrating the history of the Middle Ages through ancient monuments, and the "Annals of Italy," a history of the country from the beginning of the Christian era to his own age. Though its style is somewhat defective, the richness and abundance of its erudition, its clearness, and arrangement, impart to this work great value and interest.

Maffei, already spoken of as the first reformer of Italian tragedy, surpassed Muratori in the purity of his style, and was only second to him in the extent and variety of his erudition. He wrote several works on the antiquities and monuments of Italy.

Bianchini (1662-1729), a celebrated architect and scholar, wrote a "Universal History," which, though not complete, is characterized as a work of great genius. It is founded exclusively on the interpretations of ancient monuments in marble and metal.