Euphorion - Vol. I / Being Studies of the Antique and the Mediaeval in the Renaissance

by Vernon Lee

[1] Any one who is sceptical of the Courtly derivation of the Italian popular song may, besides consulting the admirable book of Prof. d'Ancona, compare with the contents of Tigri's famous "Canti popolari Toscani," the following scraps of Sicilian and early Italian lyrics:—

The Emperor Frederick II. writes: "Rosa di maggio— Colorita e fresca—Occhi hai fini—E non rifini—Di gioie dare— Lo tuo parlare—La gente innamora—Castella ed altura." Jacopo Pugliesi says of his lady: "Chiarita in viso più che argento—Donami allegrezze—Ben eo son morto—E mal colto— Se non mi dai conforto—Fior dell' orto."

Inghilfredi Siciliano: "Gesù Cristo ideolla in paradiso— E poi la fece angelo incarnando—Gioia aggio preso di giglio novello—E vago, che sormonta ogni ricchezza—Sua dottrina m' affrezza—Cosi mi coglie e olezza—Come pantera le bestie selvagge."

Jacopo da Lentino: "E di virtute tutte 1' altre avanza—E somigliante a stella è di splendore—Colla sua conta (cf. Provençal coindeta, gentille) e gaia innamoranza—E più bella è che rosa e che fiore—Cristo le doni vita ed allegranza—E sì la cresca in gran pregio ed onore."

I must finish off what might be a much longer collection with a charming little scrap, quite in rispetto tone, by Guinicelli: "Vedut 'ho la lucente stella diana—Ch' appare anzi che 'l giorno renda albore—Ch' a preso forma di figura umana— Sovr' ogni altra mi par che dia splendore—Viso di neve colorato in grana—Occhi lucenti, gai e pien d'amore—Non credo che nel mondo sia cristiana—Si piena di beltate e di valore."

Well; for many a year did the song of the peasants rise up from the fields and oliveyards unnoticed by the good townsfolk taking their holiday at the Tuscan villa; but one day, somewhere in the third quarter of the fifteenth century, the long-drawn chant of the rispetto, telling perhaps how the singer's sweetheart was beautiful as the star Diana, so beautiful as a baby that the Pope christened her with his own hands; the quavering nasal cadence of the stornello saying by chance—

Flower of the Palm, &c.,

did at last waken the attention of one lettered man, a man of curious and somewhat misshapen body and mind, of features satyr-like in ugliness, yet moody and mystical in their very earthiness; a man essentially of the senses, yet imperfect in them, without taste or smell, and, over and above, with a marvellously supple intellect; weak and coarse and idealistic; and at once feebly the slave of his times, and so boldly, spontaneously innovating as to be quite unconscious of innovation: the mixed nature, or rather the nature in many heterogeneous bits, of the man of letters who is artistic almost to the point of being an actor, natural in every style because morally connected with no style at all. The man was Lorenzo di Piero dei Medici, for whom posterity has exclusively reserved the civic title of all his family and similar town despots, calling him the Magnificent. It is the fashion at present to give Lorenzo only the leavings, as it were, of our admiration for the weaker, less original, nay, considerably enervate, humanistic exquisite Politian; and this absurd injustice appears to me to show that the very essence and excellence of Lorenzo is not nowadays perceived. The Renaissance produced several versatile and charming poets; and, in the midst of classic imitation, one or two, of whom one is certainly Boiardo, of real freshness and raciness. But of this new element in the Renaissance, this element which is neither imitation of antiquity nor revival of mediæval, which is original, vital, fruitful, in short, modern, Lorenzo is the most versatile example. He is new, Renaissance, modern; not merely in this or that quality, he is so all round. And this in the first place because he is so completely the man of impressions; the man not uttering wonderful things, nor elaborating exquisite ones, but artistically embodying with marvellous versatility whatever strikes his fancy and feeling—fancy and feeling which are as new as the untouched sculptor's clay. And this extraordinary temper of art for art's sake, or rather effect for effect and form's sake, was possible in that day only in a man equally without strong passions, and without strong convictions. He is naturally attracted most by what is most opposed to the academic, Virgilian, Horatian, or Petrarchesque æstheticism of his contemporaries; he is essentially a realist, and all the effects, which he produces, all the beauty, charm, or beastliness of his work, corresponds to beauty, charm, or beastli- ness in the reality of things. If Lorenzo writes at one moment carnival songs of ribald dirtiness, at the next hymns full of holy solemnity; it is, I think, merely because this versatile artist takes pleasure in trying whether his face may not be painted into grinning drunkenness, and then elongated and whitened into ascetic gentleness. Instead of seeking, like most of his contemporaries, to be Greek, Roman, or mediæval by turns, he preferred trying on all the various tricks of thought and feeling which he remarked among his unlettered townsfolk. His realism naturally drew him towards the classes where realism can deal with the real; and not the affected, the self-conscious, the deliberately attempted. Hence those wonderful little poems, the carnival songs of the gold-thread spinners, of the pastry-cooks, of the shoemakers, which give us so completely, so gracefully, the whole appearance, work, manner, gesture of the people; give them to us with ease and rapidity so perfect, that we scarcely know how they are given; that we almost forget verses and song, and actually see the pulling, twisting, and cutting of the gold-threads; that we see and hear the shoemaker's hands smoothing down the leather of the shoe in his hand, to convince his customers of its pliability; that we see and smell the dear little pale yellow pasties nestling in the neat white baskets, after having stood by and watched the dough being kneaded, chopped, and floured over, the iron plates heated in the oven, the soft, half-baked paste twisted and bent; nay, we feel almost as if we had eaten of them, those excellent things which seem such big mouthfuls but are squeezed and crunched at one go like nothing at all. Hence, I mean from this love of watching effects and reproducing them, originated also the masterpiece of Lorenzo dei Medici, the Nencia da Barberino.

This poem, of some fifty octaves, is the result of those Tuscan peasant songs, of which I have told you the curious Courtly descent, at last having struck the fancy of a real poet. It is, what Lorenzo's masterpiece necessarily must be, in the highest degree a modern performance; as modern as a picture by Bastien Lepage; as an opera, founded upon local music, by Bizet. For it is not by any manner of means a pastoral, a piece of conventional poetic decoration, with just a little realistic detail, more of the mere conventional or more of the realistic dominating according as it is a pastoral by Theocritus, or a pastoral by Quinault or Metastasio. It is the very reverse of this: it is the attempt to obtain a large and complete, detailed and balanced impression by the cunning arrangement of a number of small effects which the artist has watched in reality; it is the making into a kind of little idyl, something half narrative, half drama, with distinct figures and accessories and background, of a whole lot of little fragments imitated from the peasant poetry, and set in thin, delicate rims of imitation no longer of the peasant's songs, but of the peasant's thoughts and speech; a perfect piece of impressionist art, marred only in rare places by an attempt (inevitable in those days) to force the drawing and colour into caricature. The construction, which appears to be nowhere, is in reality a masterpiece; for, without knowing it, you are shown the actors, the background, the ups and downs of temper, the variation of the seasons; above all you are shown the heroine through the medium of the praises, the complaints, the narratives of the past, the imaginings of the future, of the hero, whose incoherent rhapsodizing constitutes the whole poem. He, Vallera, is a well- to-do young farmer; she, Nencia, is the daughter of peasant folk of the castellated village of Barberino in the Mugello; he is madly in love, but shy, and (to all appearance) awkward, so that we feel convinced that of all these speeches in praise of his Nenciozza, in blame of his indifference, highly poetic flights and most practical adjurations to see all the advantages of a good match, the young woman hears few or none; Vallera is talking not to her, but at her, or rather, he is rehearsing to himself all the things which he cannot squeeze out in her presence. It is the long day-dream, poetic, prosaic, practical, and imaginative, of a love-sick Italian peasant lad, to whom his sweetheart is at once an ideal thing of beauty, a goddess at whose shrine songs must be sung and wreaths twined; and a very substantial lass, who cannot be indifferent to sixpenny presents, and whom he cannot conceive as not ultimately becoming the sharer of his cottage, the cooker of his soup, the mender of his linen, the mother of his brats—a dream in which image is effaced by image, and one thought is expelled, unfinished, by another. She is to him like the Fairy Morgana, the fairy who kept so much of chivalry in her enchanted island; she is like the evening star when above his cottage it slowly pierces the soft blue sky with its white brilliancy; she is purer than the water in the well, and sweeter than the malmsey wine, and whiter than the miller's flour; but her heart is as hard as a pebble, and she loves driving to distraction a whole lot of youths who dangle behind her, captives of those heart-thievish eyes of hers. But she is also a most excellent housewife, can stand any amount of hard field labour, and makes lots of money by weaving beautiful woollen stuff. To see her going, to church of a morning, she is a little pearl! her bodice is of damask, and her petticoat of bright, colour, and she kneels down carefully where she may be seen, being so smart. And then, when she dances! —a born dancer, bouncing like a little goat, and twirling more than a mill-wheel; and when she has finished she makes you such a curtsey; no citizen's wife in Florence can curtsey as she does. It was in April that he first fell in love. She was picking salad in the garden; he begged her for a little, and she sent him about his business. las, alas! ever since then his peace has been gone; he cannot sleep, he can only think of her, and follow her about; he has become quite good-for-nothing as to his field work,—yet he hears all the people around laughing and saying, "Of course Valléra will get her." Only she will pay no heed to him. She is finer to look at than the Pope, whiter than the whitest wood core: she is more delectable than are the young figs to the earwigs, more beautiful than the turnip flower, sweeter than honey. He is more in love with her than the moth is in love with the lamp; she loves to see him perishing for her. If he could cut himself in two without too much pain, he would, just to let her see that he carries her in his heart. No; he would cut out his heart, and when she has touched it with that slender hand of hers, it would cry out, "Nencia, Nencia bella." But, after all, he is not to be despised: he is an excellent labourer, most learned in buying —and selling pigs, he can play the bagpipe beautifully; he is rich, is willing to go to any expense to please her, nay, even to pay the barber double that his hair may be nice and fuzzy from the crimping irons; and if only he were to get himself tight hose and a silk jerkin, he would be as good as any Florentine burgess. But she will not listen; or, rather, she listens and laughs. Yes, she sits up in bed at night and laughs herself to death at the mere thought of him, that is all he gets. But he knows what it is! There is a fellow who will keep sneaking about her; if Valléra only catch him near his cottage, won't he give him a taste of his long new knife! nay, rip him up and throw his bowels, like those of a pig, to dry on a roof! He is sorry—perhaps he bores her—God bless you, Nencia!—he had better go and look after his sheep.

All this is not the poetry of th Renaissance peasant; it is the poem made out of his reality; the songs which Valléra sang in the fields about his Nencia we must seek in the volume of Tigri; those rispetti and stornelli of to-day are the rispetti and stornelli of four centuries ago; they are much more beautiful and poetic than any of Lorenzo's work; but Lorenzo has given us not merely a peasant's love-song; he has given us a peasant's thoughts, actions, hopes, fears; he has given us the peasant himself, his house, his fields, and his sweetheart, as they exist even now. For Lorenzo is gone, and, greater than he, the paladins and ladies of Boiardo and Ariosto, have followed the saints and virgins of Dante into the limbo of fair unrealities; and the very Greek and Roman heroes of a hundred years ago, the very knights and covenanters of forty years since, have joined them; but Valléra exists still, and still in the flesh exists his Nenciozza. Everything changes, except the country and the peasant. For, in the long farms of Southern Tuscany, with double row of blackened balcony all tapestried with heavy ingots of Indian corn, and spread out among the olives of the hillside, up which twists the rough bullock road protected by its vine trellis; and in the little farms, with queer hood-shaped double roofs (as if to pull over the face of the house when it blows hard), and pigeon towers which show that some day they must have been fortified, all about Florence; farms which I pass every day, with their sere trees all round, their rough gardens of bright dahlias and chrysanthemums draggled by the autumn rains—in these there are, do not doubt it, still Nencias: magnificent creatures, fit models for Amazons, only just a trifle too full-blown and matronly; but with real Amazonian limbs, firm and delicate, under their red and purple striped print frocks; creatures with heads set on necks like towers or columns, necks firm in broad, well-fleshed chest as branches in a tree's trunk; great penthouses of reddish yellow or lustreless black crimped hair over the forehead; the forehead, like the cheeks, furrowed a good deal—perhaps we dainty people might say, faded and wrinkled by work in the burning sun and the wind; women whom you see shovelling bread into the heated ovens, or plashing in winter with bare arms in half-frozen streams, or digging up a turnip field in the drizzle; or on a Sunday, standing listless by their door, surrounded by rolling and squalling brats, and who, when they slowly look up at the passer-by, show us, on those monumental faces of theirs, a strange smile, a light of bright eyes and white teeth; a smile which to us sophisticated townspeople is as puzzling as certain sudden looks in some comely animal, but which yet makes us understand instinctively that we have before us a Nencia; and that the husband yonder, though he now swears at his wife, and perhaps occasionally beats her, has nevertheless, in his day, dreamed, argued, raged, and sung to himself just like Lorenzo's Vallera. The "Nencia da Barberino" is certainly Lorenzo dei Medici's masterpiece: it is completely and satisfactorily worked out. Yet we may strain possibilities to the point of supposing (which, however, I cannot for a moment suppose) that this "Nencia" is a kind of fluke; that by an accident a beautiful and seemingly appreciative poem has resulted where the author, a mediæval realist of a superior Villon sort, had intended only a piece of utter grotesqueness. But important as is the "Nencia," Lorenzo has left behind him another poem, greatly inferior in completeness, but which settles beyond power of doubt that in him the Renaissance was not merely no longer mediæval, but most intensely modern. This poem is the "Ambra." It is simply an allegorical narrative of the inundation, by the river Ombrone, of a portion, called Ambra, of the great Medicean villa of Poggio a Caiano. Lorenzo's object was evidently to write a semi-Ovidian poem, of a kind common in his day, and common almost up to our own: a river-god, bearded, crown of reeds, urn, general dampness and uproariousness of temper, all quite correct; and a nymph, whom he pursues, who prays to the Virgin huntress to save her from his love, and who, just in the nick of time, is metamorphosed into a mossy stone, dimly showing her former woman's shape; the style of thing, charming, graceful, insipid, of which every one can remember a dozen instances, and which immediately brings up to the mind a vision of grand-ducal gardens, where, among the clipped ilexes and the cypress trunks, great lumbering water-gods and long-limbed nymphs splash, petrified and covered with melancholy ooze and yellow lichen, among the stagnant grotto waters. In some respects, therefore, there is in the "Ambra" somewhat more artificial, more barrocco than that early Renaissance of Politian and Pontano would warrant. There also several bits, half graceful, half awkward, pedantic, constrained, childish, delightful, like the sedge-crowned rivers telling each other anecdotes of the ways and customs of their respective countries, and especially the charming dance of zephyr with the flowers on the lawns of Cyprus, which must immediately suggest pictures by Piero di Cosimo and by Botticelli. So far, therefore, there is plenty to enjoy, but nothing to astonish, in the "Ambra." But the Magnificent Lorenzo has had the extraordinary whim of beginning his allegory with a description, twenty-one stanzas long, of the season of floods. A description, full of infinitely delicate minute detail: of the plants which have kept their foliage while the others are bare—the prickly juniper, the myrtle and bay; of the flocks of cranes printing the sky with their queer shapes, of the fish under the ice, and the eagle circling slowly round the ponds—little things which affect us mixed up as they are with all manner of stiff classic allusions, very much as do the carefully painted daisies and clover among the embossed and gilded unrealities of certain old pictures. From these rather finikin details, Lorenzo passes, however, to details which are a good deal more than details, things little noticed until almost recently: the varying effect of the olives on the hillside—a grey, green mass, a silver ripple, according as the wind stirs them; the golden appearance of the serene summer air, and so forth; details no longer, in short, but essentially, however minute, effects. And then, suddenly leaving such things behind, he rushes into the midst of a real picture, a picture which you might call almost impressionistic, of the growth of rivers and the floods. The floods are a grand sight; more than a sight—a grand performance, a drama; sometimes, God knows, a tragedy. Last night, under a warm, hazy sky, through whose buff-tinted clouds the big moon crept in and out, the mountain stream was vaguely visible—a dark riband in its wide shingly bed, when the moon was hidden; a narrow, shallow, broken stream, sheets of brilliant metallic sheen, and showers of sparkling facets, when the moon was out; a mere drowsy murmur mixing with the creaking and rustling of dry reeds in the warm, wet wind. Thus in the evening. Look down from your window next morning. A tremendous rushing mass of waters, thick, turbid, reddish, with ominous steel-like lustre where its coppery surface reflects the moist blue sky, now fills the whole bed, shaking its short fringe of foam, tossing the spray as it swirls round each still projecting stone, angrily tugging at the reeds and alders which flop their draggled green upon its surface; eddying faster and faster, encircling each higher rock or sandbank, covering it at last with its foaming red mass. Meanwhile, the sky is covered in with vaporous grey clouds, which enshroud the hills; the clear runnels, dash over the green banks, spirt through the walls, break their way across the roads; the little mountain torrents, dry all summer, descend, raging rivers, red with the hill soil; and with every gust of warm wind the river rises higher and rushes along tremendously impetuous. Down in the plain it eats angrily at the soft banks, and breaks its muddy waters, fringed on the surface with a sort of ominous grime of broken wood and earth, higher and higher against the pierheads of the bridges; shaking them to split their masonry, while crowds of men and women look on, staring at the rising water, at the planks, tables, beams, cottage thatches, nay, whole trees, which it hurls at the bridge piers. And then, perhaps, the terrible, soft, balmy flood-wind persisting, there comes suddenly the catastrophe; the embankment, shaken by the resistless current, cracks, fissures gives way; and the river rushes into the city, as it has already rushed into the fields, to spread in constantly rising, melancholy livid pools, throughout the streets and squares. This Lorenzo saw, and, wonderful to say, in this soiled and seething river, in these torn and crumbling banks, in all the dreadfulness of these things, he saw a beauty and a grandeur. But he saw not merely the struggle of the waters and of the land; he—the heartless man who laid his hand even upon the saved- up money of orphan girls in order to keep up the splendour of his house and of his bank—saw the misfortunes of the peasantry; the mill, the cottage by the riverside, invaded by the flood; the doors burst open by the tremendous rushing stream, the stables and garners filled with the thick and oozy waters; the poor creatures, yesterday prosperous, clinging to the roof, watching their sheep and cows, their hay, and straw, and flour, the hemp bleached in the summer, the linen spun and woven in the long winter, their furniture and chattels, their labour and their hope whirled along by the foaming river.