Serta cape, heu domini numera avara tui;
Maternæ salvete umbræ, salvete paternæ.”[[84]]
Sannazzaro remained with Frederick III. till his death at Tours, and then returned to Naples, where he devoted himself wholly to literature. The Arcadia, which he finished in France, was published in 1504. This is a romance of mingled prose and verse after the manner of Boccaccio’s Ameto. It caused a great sensation in Italy, and is still regarded as one of the happiest inspirations of the Italian muse. His pleasant villa on the Mergellina had been respected during his exile, and here he established himself at his return. It became a rendezvous for all the literary men of the city. On Thursdays in particular, when the scholars and barristers had a holiday, all that was brilliant at Naples assembled here for a frugal repast, at which poems and epigrams were recited. Sannazzaro was very popular, and to be his friend was regarded as a brevet of immortality.
“Dipinto io sia nell’opre eterne e belle
Del mio bel Sannazzaro, vero Sincero,
Ch’allora io giugnero fino alle stelle,”[[85]]
wrote Cariteo. Sannazzaro, it should be remarked, had, after the fashion of the time, taken the more classical name of Actius Syncerus, to which allusion is made on his tomb.
But the greatest festival of the year on the Mergellina was the birthday of Virgil, for whom Sannazzaro had a kind of passion. He celebrated this anniversary—perhaps in imitation of Silius Italicus, who offered an annual sacrifice to the manes of the bard of Mantua—by a banquet, to which he invited his most intimate friends, such as “Alessandro, the jurisconsult, whose works, so long popular, furnish curious details respecting the public and private life of the Romans; Cariteo, who sang in his heterodox style the human soul formed by the Creator, from which nothing is concealed in heaven before it assumes its earthly veil, but which, coming below, as if fallen from some star into a human body, no longer retains any memory of the past; Andrea Acquaviva, who dismounted from his war-horse to take the lyre and drink from the fount of Hippocrene; Girolamo Carbone, who preferred the Tuscan language to the Latin, then so popular, and whose rhythm is a kind of music to the ear; and, finally, Pontano, the master of Sannazzaro, the restorer of the Neapolitan academy founded by Panormita.”[[86]] These repasts were served by Hiempsal, a young African slave whom Sannazzaro had freed and taught to sing the elegies of Tibullus to an air he himself had composed. It was after one of these Virgilian feasts the poet went to hear Egidio, an Augustinian monk, preach. He was as celebrated for his eloquence as his learning, and was a favorite of two popes, one of whom (Leo X.) afterwards made him cardinal. Egidio, in declaiming with his usual animation against the vices of the time, made a happy citation from Virgil, which delighted his hearer and led to a friendship between them. It was this or some other sermon of his that suggested to Sannazzaro the idea of his great poem, De Partu Virginis, to which he devoted twenty years of his life—a poem of which Mr. Hallam says “it would be difficult to find its equal for purity, elegance, and harmony of versification.” Pope Leo. X., who appreciated genius in whatever way it found expression, whether by pen, chisel, or pencil, sent the poet a brief in 1521 to encourage him in singing the mysteries of the Christian faith, and to express his satisfaction that, at a time when the voice of a monk was troubling the peace of the church, the Catholic faith should find a defender among the laity—another David, as it were, to smite the new Goliath and appease with his lyre another Saul; and he declared the poem an honor to religion and to his pontificate. Clement VII. also wrote him a brief, accepting the dedication, which alone, he said, was enough to immortalize the pontiff thus honored.
The De Partu Virginis is the most remarkable poem of the Renaissance, and its publication was an event in the literary world. It was everywhere eulogized, and the author was styled the Christian Virgil. Egidio of Viterbo, after reading it, thus wrote to the author: “When I received your divine poem, I eagerly hastened to make myself familiar with its contents. God alone, whose inspiration suggested so wonderful a creation, can reward you suitably—not by admitting you to the Elysian Fields, the fabulous abode of Linus and Orpheus, but to a blessed eternity.” This poem still merits attention, if for no other reason, at least because of its effect on religious art in the sixteenth century—an influence which has been compared to Dante’s. Mrs. Jameson says she can trace it in all the contemporary productions of Italian art of all schools from Milan to Naples. She regards this influence, however, as perverse. But let us take a brief glance at a poem which has excited so much admiration and criticism down to the present day.
The De Partu Virginis is an epic poem, in which the birth of Christ is sung with the harmonious flow, the variety of imagery, and the elevated tone of Virgil. But, strange to say, none of the sacred characters introduced are called by their real names—perhaps because unknown to the Latin muse. Even the names of Jesus and Mary are expressed by Virgilian paraphrases. The former is called Divus Puer and Numen sanctum; the latter Alma parens, Dia, and Regina. St. Joseph is the Senior Custos; St. Elizabeth the Matrona defessa ævo; and the Supreme Being is styled the Regnator, Genitor superum, etc. The author calls upon the inhabitants of heaven (cœlicolæ) to reveal to his limited vision the profound secrets of the mystery he is about to sing, and invokes the sacred Aonides as the natural protectresses of virginal purity. “Dear delight of poets,” says he, “ye sacred Muses who have never refused me your favor, allow me once more to take a long draught at your clear fount. Ye who derive your glorious origin from heaven, and have so singular a regard for what is pure, aid me in singing of heavenly themes and celebrating the glory of a Virgin. Drive away the darkness of my mind and show me the way by which to rise to the highest summit of your celestial mount. These lofty mysteries were not unknown to you. You must have beheld the sacred grotto of the Nativity. You must have heard the sweet music of the angels that surrounded it. And it is hardly credible you did not admire the splendor of the star that led from the extremity of the Orient three powerful princes to render homage to the new-born Child.