[7] The "subject" is therefore not the religious objections, which he regarded as a personal insult (Riposta al Giornale dei letterati, in Opp. ii. p. 160).
II
Vico's attitude towards social and political life resembles in more than one respect his attitude towards religion. There is in him no trace of the missionary, the propagandist, the agitator or the conspirator as there was in some of the Renaissance philosophers, notably Giordano Bruno and Campanella, whom although—perhaps because—a Neapolitan, Vico never mentions. Certainly, his age and his country were not the time or place for heroes; there was none of that rapid social change and revolution from which heroes spring. Political parties however were active in favour of Austria and France, and men were arising who devoted their labours and their lives to one or other of these parties, or were persecuted and fled into exile: and above all this was the period in which culminated the struggle between Church and State, between Naples and Rome, in the person of Pietro Giannone, a man of whom Vico never speaks, just as he never mentions and in fact seems to ignore the entire movement. Political life rolled past over his head, like the sky and its stars, and he never wasted his strength in a vain attempt to reach it. Political and social controversy, like religious, was outside the sphere of his activity. He was indeed a non-political person. We cannot describe it as a fault or a weakness, for every one has his limitations; one struggle excludes another, and one labour makes others impossible.
Not that he avoided all contact with political life and its representatives. Only too often he was compelled to pay his respects to both, in the form of histories, speeches, verses and epigrams in Latin and Italian; and these alone would be sufficient material for the reconstruction of Neapolitan history in all its vicissitudes from the end of the seventeenth century to the middle of the eighteenth: the Spanish viceregency, the conspiracy and revolution attempted by the partisans of Austria, the reaction and re-establishment of the Spanish viceregency, the Austrian conquest, the Austrian viceregency, the Spanish reconquest and the reign of Charles Bourbon. But Vico, "very pliant because of his necessity"[8] and as professor of eloquence in the royal university, was compelled to supply the literary compositions required by the solemnities of the day, just as the draper supplied hangings and the plasterer volutes and arabesques. And what hangings and arabesques he produced! The Spanish style of the seventeenth century was still predominant in literature; and this fact is alone almost enough to explain the extravagance and ornateness, as it seems to us, of Vico's flood of panegyrics. The indifference and innocence of his own attitude may be illustrated by the passage in his autobiography where after mentioning the Panegyricus Philippo V inscriptus composed by himself to the order of the Spanish viceroy, the Duke of Ascalona, he goes on as if it was a mere nothing, with no connexion but a simple "soon after": "soon after, this kingdom having passed under the rule of Austria, the lord Count Wirrigo of Daun, at that time governor of the imperial armies in this country, ordered me" to compose inscriptions for the expiatory monuments to Guiseppe Capece and Carlo di Sangro,[9] the two rebels against Philip V. executed by the previous government some years before in the suppression of the conspiracy of Macchia described by Vico from the Bourbon point of view in his De Parthenopea coniuratione.
But this implies no baseness of character on Vico's part. It must be said that in these writings of his, orator and panegyrist though he is, he can never be called a flatterer. The flatterer, the man without a conscience, reviles and calumniates the enemies of the man he is praising, or even strikes the conquered: and this is servility. But Vico, who though he knew who the Italian or Neapolitan was that sent to the Acta Lipsiensia the note injurious to himself, and might easily have ruined him, since the note was anti-Catholic in tendency, generously refused to reveal his name,[10] gave no doubt his services as professor of eloquence but refrained from trafficking in the interests of the patrons whom he praised. Of the Life of Antonio Carafa which he composed for a commission and married one of his daughters on the proceeds, he says that the work was "tempered by honour towards the subject, reverence towards princes and the just claims of truth."[11] And to return to the case of Capece and Sangro mentioned above, when he spoke in the De Parthenopea coniuratione of the death of these two enemies to the triumphant party, he shows here too in various details the nobility of his spirit: of Capece, who refused to surrender to the Spanish soldiers, he writes "exposing his breast to death, and demanding death with his warlike arms, he fell unrepentant, a most valiant manner of death, were it only honoured in its cause" (ostentans pectus neci eamque infensis armis efflagitans, inexoratus occubuit, fortissimum mortis genus si causa cohonestasset). Of Sangro too, having reported the rumour that Louis XIV. sent him a reprieve which arrived too late, he adds: "whence the condemned man, who had already suffered the penalty, is the more to be pitied" (unde maior damnati qui iam poenas persolverat, miseratio).[12]
He must have known, and doubtless did know, that most of the persons whose praises he composed were of very little worth. To read his panegyrics, one would suppose that Naples was adorned with a nobility resplendent in its virtue, cultivation and learning: and yet, in giving Father De Vitry the information he desired upon the condition of studies in Naples, Vico did not conceal the facts: "the nobles slumber amid the enjoyments of a life of pleasure."[13] His pupil Antonio Genovesi has preserved to us one of his satirical expressions upon this nobility, often in extreme poverty but always proud and ready to go hungry at home in order to drive abroad in coaches sumptuously dressed.[14] With reference to the literary duke of Laurenzano, he formulated the theory that "noble" writers could not fail of excellence:[15] and yet I have discovered among his papers the manuscript of a book by this duke, rewritten from end to end by the same Vico.[16] Such are the contradictions and the transactions into which a poor man falls when the pressure of want has made him timid and cautious; so that it is not easy to determine how far his admiration was merely assumed at command or by complaisance, or how far his feeling of social inferiority developed into a real admiration for those above him in the scale, who possessed riches and dignity and everything he lacked and were the "seigneurs."
[8] Opp. vi. p. 20.
[9] Autob. in Opp. iv. p. 394.