CHAPTER II
ITALIAN LITERATURE
As I have said in the Introduction, in spite of the supreme greatness of the artistic products of Columbus' Century, its paintings, sculpture and architecture, the literature of the time was not only not neglected, but occupies a place in the history of culture only second to that of the Periclean age of Athens. For a long time, indeed, the Age of Leo X, as it was called, was considered to be a serious rival in its literary treasures to that marvellous period of Greek thinking and writing. Subsequently the literary world passed through a period of exaggerated critical depreciation of it. There has been, however, a growing tendency in recent years, indeed during the last half century, to restore older appreciation of the literature of this period and to value it highly.
In every country in Europe there were books written during this time which not only will never die, but which are part of the familiar reading of the scholars at least of all time. Not that there are not many popular elements in this literature, but its scholarliness has made it a special favorite, and there are not a few books written at this time which no one with any pretence to education would willingly confess to being ignorant of. Ariosto, Machiavelli, Rabelais, Villon, Sir Thomas More, Erasmus, St. Teresa, Marguerite of Navarre and the Pleiades, as well as the Collects of the English Prayer Book, all these have an enduring significance in the realm of world literature that has brought about the publication of editions and translations of them in every cultivated language even in our generation over four centuries after their original production.
TITIAN, ARIOSTO
The Italian literature of the century is especially rich. It would be quite impossible to give it any adequate treatment in a chapter, for this is the Renaissance period, and the literature [{443}] of the Italian Renaissance has been treated in many volumes. The most important of the writers is undoubtedly Ariosto, who has been much more appreciated by his own people than by other countries, though at times of deep interest in literature he has always had a profound influence on writers beyond the bounds of Italy. Saintsbury, in "The Earlier Renaissance," has summed up his best qualities in some sentences that, considering the distance in time and place and temperament which separate poet and critic, may very well be taken as highest praise. Ariosto, he says, "is very nearly if not quite supreme in more than one respect. It may also be said that he never fails and that this freedom from failure is not due to tame faultlessness or a cowardly absence from the most difficult attempts--that it will go hard--but we must rank him, at lowest, just below the very greatest of all. Such a place is, I believe, his right even on the calculus of those who refuse the historic estimate or at least admit it with grudging. It has been said that as Rabelais he represents the greatest literature of his time penetrated most fully by the extra literary as well as the literary characteristics of that time; and it may be added not merely that few times have been so thoroughly represented, but that few have ever so thoroughly lent themselves to representation."
With what is perhaps almost pardonable compatriotic enthusiasm, considering his really great merits as a poet, he has been called the Italian Homer, and his great work, "Orlando Furioso" has been called "the most beautiful and varied and wonderful romantic poem that the literature of the world can boast of." In it are woven together with charming art the two great romantic cycles of Charlemagne and Arthur. It is the poetic apotheosis of chivalry written in wonderful perfection of style and taking form and with marvellous variety of incident. While the great poem has been a favorite rather with the Italians than with foreigners, when one realizes how deeply cultured Italian readers have been as a rule for all the centuries since Ariosto's time, it is probable that no higher compliment than this devotion of his compatriots could be paid to him. The "Orlando" has not been without honor, however, in foreign countries, among those whose opinion is most [{444}] to be valued. It cast into the shade the numberless poetical romances that had been written during the preceding century. None of the many imitations that it evoked have approached it either in beauty of form or style or in deep underlying human interest. Ariosto knew above all the human heart and had excellent control of pathos. He is especially capable in making the impossible or the improbable seem reasonable. Now, after four centuries, we know that he is of all time and belongs to the culture of all centuries.
Modern readers unacquainted with the writings of the older time are often inclined to think that the interests of the older writers were very different from those of humanity to-day and that, as a consequence, the reading of them would surely be a great bore. Even a little reading of Ariosto would show how eminently human and for all time a classic writer is and how literally it is true that he is often a commentary on the morning paper. One or two of Ariosto's comparisons which show his interest in humanity and in life around him will serve to illustrate this. His observation of children is as close as that of Dante:
"Like to a child that puts a fruit away
When ripe, and then forgets where it is stored,
If it should chance that after many a day
Thither his step returns where is his hoard.
He wonders to behold it in decay.
Rotten and spoiled, and richness all outpoured;
And what he loved of old with keen delight
He hates, spurns, loathes, and flings away in spite."
Like Dante, too, he was an observer of animals and noted especially the ways of dogs.