The production of Poliziano's "Orfeo" may not have seemed to its contemporaries to possess an importance larger than that which Rossi and D'Ancona attribute to it; but its proper position in musical history is at the foundation of the modern opera. Poetically it was the superior of any lyric work, except perhaps those of Metastasio. Musically it was radically different in character from the opera, as it was from the liturgical drama. But none the less it contained some of the germs of the modern opera. It had its solo, its chorus and its ballet.[12] But while the characters of these were almost as clearly defined as they are in Gluck's "Orfeo," their musical basis, as we shall see, was altogether different. Nevertheless it was distinctly lyric and secular and was therefore as near the spirit of the popular music of the time as any new attempt could well approach. It had, too, in embryonic form all that apparatus for the enchantment of the sense and the beguilement of the intellect which in the following century was the chief attraction of a lyric drama, partly opera, partly spectacle and partly ballet.
[CHAPTER V]
POLIZIANO'S "FAVOLA DI ORFEO"
In the year 1472 the Cardinal Francesco Gonzaga, who had stayed long in Bologna, returned to Mantua. He was received with jubilant celebrations. There were banquets, processions and public rejoicings. It would have been quite unusual if there had been no festival play of some kind. It is uncertain whether Poliziano's "Orfeo" was written for this occasion, but there seems to be a fair amount of reason for believing that it was. At any rate it could not have been produced later than 1483, for we know it was made in honor of this Cardinal and that he died in that year.
If the "Orfeo" was played in 1472 it must have been written when its author was no more than eighteen years of age. But even at that age he was already famous. He was born in Montepulciano on July 14, 1454. The family name was Ambrogini, but from the Latinized name of his native town turned into Italian he constructed the title of Poliziano, by which he was afterward known. At the age of ten he was sent to Florence, then governed by Lorenzo de Medici. He studied under the famous Greeks Argyropoulos and Kallistos and the equally famous Italians, Landino and Ficino.[13] Gifted with precocious talent, he wrote at the age of sixteen, astonishing epigrams in Latin and Greek. At seventeen he began to translate the "Iliad" into Latin hexameters, and his success with the second book attracted the attention of Lorenzo himself. Poliziano was now known as the "Homeric youth." It was not long before he was hailed the king of Italian scholars and the literary genius of his time. When he was but thirty he became professor of Greek and Latin in the University of Florence, and drew to his feet students from all parts of Europe. John Reuchlin hastened from Germany, William Grocyn from the shades of Oxford, and from the same seat of learning the mighty Thomas Linacre, later to found the Royal College of Physicians. Lorenzo's sons, Piero and Giovanni, were for a time his pupils, but their mother took them away. Poliziano was as vicious as the typical men of his time and the prudent Clarice knew it.
Dwelling in a villa at Fiesole, provided for him by Lorenzo, Poliziano occupied his life with teaching and writing, occasionally paying visits to other cities. In 1492 Lorenzo passed away and Poliziano wrote an elegy which is to this day regarded as unique in modern Latin verse. In 1494 the famous scholar followed his patron, even while Savonarola was setting Italy in a ferment of passionate religious reaction against the poetic and sensuous paganism infused into the thought of their time by Poliziano and Lorenzo. The scholar was laid in San Marco and they set upon his tomb this epitaph: "Here lies the angel who had one head, and what is new, three tongues."
This is not the place for a discussion of Poliziano's importance in literature, but it is essential that we should understand the significance of his achievement in the "Orfeo." The philosophic and poetic spirit of the period and of this poem has already been discussed. But we may not dismiss the subject without noting that Poliziano powerfully forwarded the impulse toward the employment of Italian as a literary vehicle. Too many of the Italian humanists had preferred Latin, and had looked down upon the native language as uncouth and fit only for the masses. But when the authority of Poliziano was thrown upon the side of Italian and when he made such a triumphant demonstration of its beauties in his "Stanze" and his "Orfeo," he carried conviction to all the writers of his country.
According to Poliziano's own statement he wrote the "Orfeo" at the request of the Cardinal of Mantua in the space of two days, "among continual disturbances, and in the vulgar tongue, that it might be the better comprehended by the spectators." It was his opinion that this creation would bring him more shame than honor. There are only 434 lines in the "Orfeo" and therefore the feat of writing it in two days was no great one for a man of Poliziano's ability.
Sismondi[14] regards this work as an eclogue rather than a drama. He says: "The universal homage paid to Virgil had a decided influence on the rising drama. The scholars were persuaded that this cherished poet combined in himself all the different kinds of excellence; and as they created a drama before they possessed a theater, they imagined that dialogue rather than action, was the essence of the dramatic art. The Buccolics appeared to them a species of comedies or tragedies, less animated it is true, but more poetical than the dramas of Terence and of Seneca, or perhaps of the Greeks. They attempted indeed to unite these two kinds, to give interest by action to the tranquil reveries of the shepherds, and to preserve a pastoral charm in the more violent expression of passion. The Orpheus, though divided into five acts, though mingled with chorus, and terminating with a tragic incident, is still an eclogue rather than a drama."