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

by Vernon Lee

Of real justice in this life or compensation in another, there is no thought: Webster, though a Puritan in spirit, is no Christian in faith. On Ford the influence is different; although equal, perhaps, in genius to Webster, surpassing him even in intense tragic passion, he was far below Webster, and, indeed, far below all his generation, in moral fibre. The sight of evil fascinates him; his conscience staggers, his sympathies are bedraggled in foulness; in the chaos of good and evil he loses his reckoning, and recognizes the superiority only of strength of passion, of passion for good or evil: the incestuous Giovanni, daring his enemies like a wild beast at bay and cheating them of their revenge by himself murdering the object of his horrible passion, is as heroic in the eyes of Ford as the magnanimous Princess of Sparta, bearing with unflinching spirit the succession of misfortunes poured down upon her, and leading off the dance while messenger succeeds messenger of evil; till, free from her duties as a queen, she sinks down dead. Cyril Tourneur and John Marston are far more incomplete in genius than either Webster or Ford, although Tourneur sometimes obtains a lurid and ghastly tragic intensity which more than equals Ford when at his best; and Marston, in the midst of crabbedness and dulness, sometimes has touches of pathos and Michelangelesque foreshortenings of metaphor worthy of Webster. But Tourneur and Marston have neither the constant sympathy with oppressed virtue of the author of the "Duchess of Malfy," nor the blind fury of passion of the poet of "Giovanni and Annabella;" they look on grim and hopeless spectators at the world of fatalistic and insane wickedness which they have created, in which their heroes and heroines and villains are slowly entangled in inextricable evil. The men and women of Tourneur and Marston are scarcely men and women at all: they are mere vague spectres, showing their grisly wounds and moaning out their miserable fate. There is around them a thick and clammy moral darkness, dispelled only by the ghastly flashes of lurid virtue of maniacs like Tourneur's Vindici and Hippolito; a crypt-like moral stillness, haunted by strange evil murmurs, broken only by the hysterical sobs and laughs of Marston's Antonios and Pandulphos. At the most there issues out of the blood-reeking depth a mighty yell of pain, a tremendous imprecation not only at sinful man but at unsympathizing nature, like that of Marston's old Doge, dethroned, hunted down, crying aloud into the grey dawn-mists of the desolate marsh by the lagoon—

O thou all-bearing earth
Which men do gape for till thou cram'st their mouths
And choak'st their throats for dust: O charme thy breast
And let me sinke into thee. Look who knocks;
Andrugio calls. But O, she's deafe and blinde.
A wretch but leane relief on earth can finde.

The tragic sense, the sense of utter blank evil, is stronger in all these Elizabethan painters of Italian crime than perhaps in any other tragic writers. There is, in the great and sinister pictures of Webster, of Ford, of Tourneur, and of Marston, no spot of light, no distant bright horizon. There is no loving suffering, resigned to suffer and to pardon, like that of Desdemona, whose dying lips forgive the beloved who kills from too great love; no consoling affection like Cordelia's, in whose gentle embrace the poor bruised soul may sink into rest; no passionate union in death with the beloved, like the union of Romeo and Juliet; nothing but implacable cruelty, violent death received with agonized protest, or at best as the only release from unmitigated misery with which the wretch has become familiar,

As the tann'd galley slave is with his oar.

Neither is there in these plays that solemn sense of heavenly justice, of the fatality hanging over a house which will be broken when guilt shall have been expiated, which lends a sort of serene background of eternal justice to the terrible tales of Thebes and Argos. There is for these men no fatality save the evil nature of man, no justice save the doubling of crime, no compensation save revenge: there is for Webster and Ford and Tourneur and Marston no heaven above, wrathful but placable; there are no Gods revengeful but just: there is nothing but this blood-stained and corpse-strewn earth, defiled by lust- burnt and death-hungering men, felling each other down and trampling on one another blindly in the eternal darkness which surrounds them. The world of these great poets is not the open world with its light and its air, its purifying storms and lightnings: it is the darkened Italian palace, with its wrought-iron bars preventing escape; its embroidered carpets muffling the foot steps; its hidden, suddenly yawning trap- doors; its arras-hangings concealing masked ruffians; its garlands of poisoned flowers; its long suites of untenanted darkened rooms, through which the wretch is pursued by the half-crazed murderer; while below, in the cloistered court, the clanking armour and stamping horses, and above, in the carved and gilded hall, the viols and lutes and cornets make a cheery triumphant concert, and drown the cries of the victim.

II.

Such is the Italy of the Renaissance as we see it in the works of our tragic playwrights: a country of mysterious horror, the sinister reputation of which lasted two hundred years; lasted triumphantly throughout the light and finikin eighteenth century, and found its latest expression in the grim and ghastly romances of the school of Ann Radcliff, romances which are but the last puny and grotesque descendants of the great stock of Italian tragedies, born of the first terror- stricken meeting of the England of Elizabeth with the Italy of the late Renaissance. Is the impression received by the Elizabethan playwrights a correct impression? Was Italy in the sixteenth century that land of horrors? Reviewing in our memory the literature and art of the Italian Renaissance, remembering the innumerable impressions of joyous and healthy life with which it has filled us; recalling the bright and thoughtless rhymes of Lorenzo dei Medici, of Politian, of Bern, and of Ariosto; the sweet and tender poetry of Bembo and Vittoria Colonna and Tasso; the bluff sensuality of novelists like Bandello and Masuccio, the Aristophanesque laughter of the comedy of Bibbiena and of Beolco; seeing in our mind's eye the stately sweet matrons and noble senators of Titian, the virginal saints and madonnas of Raphael, the joyous angels of Correggio;—recapitulating rapidly all our impressions of this splendid time of exuberant vitality, of this strong and serene Renaissance, we answer without hesitation, and with only a smile of contempt at our credulous ancestors—no. The Italy of the Renaissance was, of all things that have ever existed or ever could exist, the most utterly unlike the nightmare visions of men such as Webster and Ford, Marston and Tourneur. The only Elizabethan drama which really represents the Italy of the Renaissance is the comedy of Shakespeare, of Beaumont and Fletcher, and of Ben Jonson and Massinger: to the Renaissance belong those clear and sunny figures, the Portias, Antonios, Gratianos, Violas, Petruchios, Bellarios, and Almiras; their faces do we see on the canvases of Titian and the frescoes of Raphael; they are the real children of the Italian Renaissance. These frightful Brachianos and Annabellas and Ferdinands and Corombonas and Vindicis and Pieros of the "White Devil," of the "Duchess of Malfy," of the "Revenger's Tragedy," and of "Antonio and Mellida," are mere fantastic horrors, as false as the Counts Udolpho, the Spalatros, the Zastrozzis, and all their grotesquely ghastly pseudo-Italian brethren of eighty years ago.

And, indeed, the Italy of the Renaissance, as represented in its literature and its art, is the very negation of Elizabethan horrors. Of all the mystery, the colossal horror and terror of our dramatists, there is not the faintest trace in the intellectual productions of the Italian Renaissance. The art is absolutely stainless: no scenes of horror, no frightful martyrdoms, as with the Germans under Albrecht Dürer; no abominable butcheries, as with the Bolognese of the seventeenth century; no macerated saints and tattered assassins, as with the Spaniards; no mystery, no contortion, no horrors: vigorous and serene beauty, pure and cheerful life, real or ideal, on wall or canvas, in bronze or in marble. The literature is analogous to the art, only less perfect, more tainted with the weakness of humanity, less ideal, more real. It is essentially human, in the largest sense of the word; or if it cease, in creatures like Aretine, to be humanly clean, it becomes merely satyr-like, swinish, hircose. But it is never savage in lust or violence; it is quite free from the element of ferocity. It is essentially light and quiet and well regulated, sane and reasonable, never staggering or blinded by excess: it is full of intelligent discrimination, of intelligent leniency, of well-bred reserved sympathy; it is civilized as are the wide well- paved streets of Ferrara compared with the tortuous black alleys of mediæval Paris; as are the well-lit, clean, spacious palaces of Michelozzo or Bramante compared with the squalid, unhealthy, uncomfortable mediæval castles of Dürer's etchings. It is indeed a trifle too civilized; too civilized to produce every kind of artistic fruit; it is—and here comes the crushing difference between the Italian Renaissance and our Elizabethans' pictures of it—it is, this beautiful rich literature of the fifteenth and sixteenth centuries, completely deficient in every tragic element; it has intuition neither for tragic event nor for tragic character; it affords not a single tragic page in its poems and novels; it is incapable, after the most laborious and conscientious study of Euripides and Seneca, utterly and miserably incapable of producing a single real tragedy, anything which is not a sugary pastoral or a pompous rhetorical exercise. The epic poets of the Italian Renaissance, Pulci, Boiardo, Berni, and Ariosto, even the stately and sentimental Tasso, are no epic poets at all. They are mere light and amusing gossips, some of them absolute buffoons. Their adventures over hill and dale are mere riding parties; their fights mere festival tournaments, their enchantments mere pageant wonders. Events like the death of Hector, the slaughter of Penelope's suitors, the festive massacre of Chriemhilt, the horrible deceit of Alfonso the Chaste sending Bernardo del Carpio his father's corpse on horseback—things like these never enter their minds. When tragic events do by some accident come into their narration, they cease to be tragic; they are frittered away into mere pretty conceits like the death of Isabella and the sacrifice of Olympia in the "Orlando Furioso;" or melted down into vague pathos, like the burning of Olindo and Sofronia, and the death of Clorinda by the sentimental Tasso. Neither poet, the one with his cheerfulness, the other with his mild melancholy, brings home, conceives the horror of the situation; the one treats the tragic in the spirit almost of burlesque, the other entirely in the spirit of elegy. So, again, with the novel writers: these professional retailers of anecdotes will pick up any subject to fill their volumes. In default of pleasant stories of filthy intrigue or lewd jest, men like Cinthio and Bandello will gabble off occasionally some tragic story, picked out of a history book or recently heard from a gossip: the stories of Harmodius and Aristogeiton, of Disdemona and the Moorish Captain, of Romeo Montecchio and Giulietta Cappelletti, of the Cardinal dAragona and the Duchess of Amalfi, of unknown grotesque Persian Sophis and Turkish Bassas—stories of murder, massacre, rape, incest, anything and everything, prattled off, with a few words of vapid compassion and stale moralizing, in the serene, cheerful, chatty manner in which they recount their Decameronian escapades or Rabelaisian repartees. As it is with tragic action, so is it with tragic character. The literature of the country which suggested to our Elizabethans their colossal villains, can display only a few conventional monsters, fire- eating, swashbuckler Rodomonts and Sultan Malechs, strutting and puffing like the grotesque villains of puppet-shows; Aladins and Ismenos, enchanters and ogres fit to be put into Don Quixote's library: mere conventional rag puppets, doubtless valued as such and no more by the shrewd contemporaries of Ariosto and Tasso. The inhabitants of Tasso's world of romance are pale chivalric unrealities, lifeless as Spenser's half-allegoric knights and ladies; those of Pulci's Ardenne forests and Cathay deserts are buffoons such as Florentine shopmen may have trapped out for their amusement in rusty armour and garlands of sausages. The only lifelike heroes and heroines are those of Ariosto. And they are most untragic, un- romantic. The men are occasionally small scoundrels, but unintentionally on the part of the author. They show no deep moral cancers or plague-spots; they display cheerfully all the petty dishonour and small lusts which the Renaissance regarded as mere flesh and blood characteristics. So also Ariosto's ladies: the charming, bright women, coquettish or Amazonian, are frail and fickle to the degree which was permissible to a court lady, who should be neither prudish nor coquettish; doing unchaste things and listening to unchaste words simply, gracefully, without prurience or horror; perfectly well-bred, gentili, as Ariosto calls them; prudent also, according to the notions of the day, in limiting their imprudence. The adventure of Fiordispina with Ricciardetto would have branded an English serving-wench as a harlot; the behaviour of Roger towards the lady he has just rescued from the sea-monster would have blushingly been attributed by Spenser to one of his satyrs; but these were escapades quite within Ariosto's notions of what was permitted to a gentil cavaliero and a nobil donzella; and if Fiordispina and Roger are not like Florimell and Sir Calidore, still less do they in the faintest degree resemble Tourneur and Marston's Levidulcias and Isabellas and Lussuriosos. And with the exception perhaps, of this heroine and this hero, we cannot find any very great harm in Ariosto's ladies and gentlemen: we may, indeed, feel indignant when we think that they replace the chaste and noble impossibilities of earlier romance, the Rolands and Percivals, the Beatrices and Lauras of the past; when we consider that they represent for Ariosto, not the bespattered but the spotless, not the real but the ideal. All this may awaken in us contempt and disgust; but if we consider these figures in themselves as realities, and compare them with the evil figures of our drama, we find that they are mere venial sinners—light, fickle, amorous, fibbing—very human in their faults; human, trifling, mild, not at all monstrous, like all the art products of the Renaissance.[1]

[1] The "Orlando Innamorato" of Boiardo contains, parti, canto 8, a story too horrible and grotesque for me to narrate, of a monster born of Marchino and his murdered sister-in-law, which forms a strange exception to my rule, even as does, for instance, Matteo di Giovanni's massacre of the Innocents. Can this story have been suggested, a ghastly nightmare, by the frightful tale of Sigismondo Malatesta and the beautiful Borbona, which was current in Boiardo's day?

A serene and spotless art, a literature often impure but always cheerful, rational, civilized—this is what the Italian Renaissance displays when we seek in it for spirits at all akin to Webster or Lope de Vega, to Holbein or Ribera. To find the tragic we must wait for the Bolognese painters of the seventeenth century, for Metastasio and Alfieri in the eighteenth; it is useless seeking it in this serene and joyous Renaissance. Where, then, in the midst of these spotless virgins, these noble saints, these brilliant pseudo-chivalric joustings and revels, these sweet and sonneteering pastorals, these scurrilous adventures and loose buffooneries; where in this Italian Renaissance are the horrors which fascinated so strangely our English playwrights: the fratricides and incests, the frightful crimes of lust and blood which haunted and half crazed the genius of Tourneur and Marston? Where in this brilliant and courteous and humane and civilized nation are the gigantic villains whose terrible features were drawn with such superb awfulness of touch by Webster and Ford? Where in this Renaissance of Italian literature, so cheerful and light of conscience, is the foul and savage Renaissance of English tragedy? Does the art of Italy tell an impossible, universal lie? or is the art of England the victim of an impossible, universal hallucination?