Rhenish academy. 98. The immediate patron of Agricola, through whom he was invited to Heidelberg, was John Camerarius, of the house of Dalberg, bishop of Worms, and chancellor of the Palatinate. He contributed much himself to the cause of letters in Germany; especially if he is to be deemed the founder, as probably he should be, of an early academy, the Rhenish Society, which, we are told, devoted its time to Latin, Greek, and Hebrew criticism, astronomy, music, and poetry; not scorning to relax their minds with dances and feasts, nor forgetting the ancient German attachment to the flowing cup.[428] The chief seat of the Rhenish Society was at Heidelberg; but it had associate branches in other parts of Germany, and obtained imperial privileges. No member of this academy was more conspicuous than Conrad Celtes, who has sometimes been reckoned its founder, which, from his youth, is hardly probable, and was, at least, the chief instrument of its subsequent extension. He was indefatigable in the vineyard of literature, and, travelling to different parts of Germany, exerted a more general influence than Agricola himself. Celtes was the first from whom Saxony derived some taste for learning. His Latin poetry was far superior to any that had been produced in the empire; and for this, in 1487, he received the laurel crown from Frederic III.[429]
[428] Studebant eximia hæc ingenia Latinorum, Græcorum, Ebræorumque scriptorum lectioni, cumprimis criticæ; astronomiam et artem musicam excolebant. Poesin atque jurisprudentiam sibi habebant commendatam; imo et interdum gaudia curis interponebant. Nocturno nimirum tempore, defessi laboribus, ludere solebant, saltare, jocari cum mulierculis, epulari, ac more Germanorum inveterato strenue potare. Jugler, Hist. Litteraria, p. 1993 (vol. iii.). The passage seems to be taken from Ruprecht, Oratio de Societate Litteraria Rhenana, Jenæ, 1752, which I have not seen.
[429] Jugler, ubi suprà. Eichhorn, ii. 557. Heeren, p. 100. Biogr. Universelle, art. Celtes, Dalberg, Trithemius.
Reuchlin. 99. Reuchlin, in 1482, accompanied the duke of Wirtemberg on a visit to Rome. He thus became acquainted with the illustrious men of Italy, and convinced them of his own pretensions to the name of a scholar. The old Constantinopolitan Argyropulus, on hearing him translate a passage of Thucydides, exclaimed, “Our banished Greece has now flown beyond the Alps.” Yet Reuchlin, though from some other circumstances of his life a more celebrated, was not probably so learned or so accomplished a man as Agricola; he was withdrawn from public tuition by the favour of several princes, in whose courts he filled honourable offices; and after some years more, he fell unfortunately into the same seducing error as Picus of Mirandola, and sacrificed his classical pursuits for the Cabbalistic philosophy.
French language and poetry. 100. Though France contributed little to the philologer, several books were now published in French. In the Cent Nouvelles Nouvelles, 1486, a slight improvement in polish of language is said to be discernible.[430] The poems of Villon are rather of more importance. They were first published in 1489; but many of them had been written thirty years before. Boileau has given Villon credit for being the first who cleared his style from the rudeness and redundancy of the old romancers.[431] But this praise, as some have observed, is more justly due to the duke of Orleans, a man of full as much talent as Villon, with a finer taste. The poetry of the latter, as might be expected from a life of dissoluteness and roguery, is often low and coarse; but he seems by no means incapable of a moral strain, not destitute of terseness and spirit. Martial d’Auvergne, in his Vigiles de la Mort de Charles VII., which, from its subject, must have been written soon after 1460, though not printed till 1490, displays, to judge from the extracts in Goujet, some compass of imagination.[432] The French poetry of this age was still full of allegorical morality, and had lost a part of its original raciness. Those who desire an acquaintance with it may have recourse to the author just mentioned, or to Bouterwek; and extracts, though not so copious as the title promises, will be found in the Recueil des Anciens Poètes Français.
[430] Essai du C. François de Neufchâteau sur les meilleurs ouvrages en prose; prefixed to Œuvres de Pascal (1819), i. p. cxx.
[431] Villon fut le primer dans des siècles grossiers
Debrouiller l’art confus de nos vieux romanciers.
Art Poétique, l. i. v. 117.
[432] Goujet, Bibliothèque Française, vol. x.
European drama. 101. The modern drama of Europe is derived, like its poetry, from two sources, the one ancient or classical, the other mediæval; the one an imitation of Plautus and Seneca, the other a gradual refinement of the rude scenic performances, denominated miracles, mysteries, or moralities. |Latin.| Latin plays upon the former model, a few of which are extant, were written in Italy during the fourteenth and fifteenth centuries, and sometimes represented, either in the universities, or before an audience of ecclesiastics and others who could understand them.[433] One of these, the Catinia of Secco Polentone, written about the middle of the fifteenth century, and translated by a son of the author into the Venetian dialect, was printed in 1482. This piece, however, was confined to the press.[434] Sabellicus, as quoted by Tiraboschi, has given to Pomponius Lætus the credit of having re-established the theatre at Rome, and caused the plays of Plautus Terence, as well as some more modern, which we may presume to have been in Latin, to be performed before the pope, probably Sixtus IV. And James of Volterra, in a diary published by Muratori, expressly mentions a History of Constantine represented in the papal palace during the carnival of 1484.[435] In imitation of Italy, but, perhaps, a little after the present decennial period, Reuchlin brought Latin plays of his own composition before a German audience. They were represented by students of Heidelberg. An edition of his Progymnasmata Scenica, containing some of these comedies, was printed in 1498. It has been said that one of them is taken from the French farce Maître Patelin[436]; while another, entitled Sergius, according to Warton, flies a much higher pitch, and is a satire on bad kings and bad ministers; though, from the account of Meiners, it seems rather to fall on the fraudulent arts of the monks.[437] The book is very scarce, and I have never seen it. Conrad Celtes, not long after Reuchlin, produced his own tragedies and comedies in the public halls of German cities. It is to be remembered, that the oral Latin language might at that time be tolerably familiar to a considerable audience in Germany.
[433] Tiraboschi, vii. 200.