Modern Italian Poets. William Dean HowellsЧитать онлайн книгу.
the fortunes of varying dynasties and celebrated in his verse all the polite events of society. Of course, even a life so pleasant as this had its little pains and mortifications; and it is history that when, in 1731, the last duke of the Farnese family died, leaving a widow, “Frugoni predicted and maintained in twenty-five sonnets that she would yet give an heir to the duke; but in spite of the twenty-five sonnets the affair turned out otherwise, and the extinction of the house of Farnese was written.”
Frugoni, however, was taken into favor by the Spanish Bourbon who succeeded, and after he had got himself unfrocked with infinite difficulty (and only upon the intercession of divers princes and prelates), he was as happy as any man of real talent could be who devoted his gifts to the merest intellectual trifling. Not long before his death he was addressed by one that wished to write his life. He made answer that he had been a versifier and nothing more, epigrammatically recounted the chief facts of his career, and ended by saying, “of what I have written it is not worth while to speak”; and posterity has upon the whole agreed with him, though, of course, no edition of the Italian classics would be perfect without him. We know this from the classics of our own tongue, which abound in marvels of insipidity and emptiness.
But all this does not make him less interesting as a figure in that amusing literarified society; and we may be glad to see him in Parma with Signor Torelli's eyes, as he “issues smug, ornate, with his well-fitting, polished shoe, his handsome leg in its neat stocking, his whole immaculate person, and his demure visage, and, gently sauntering from Casa Caprara, takes his way toward Casa Landi.”
I do not know Casa Landi; I have never seen it; and yet I think I can tell you of it: a gloomy-fronted pile of Romanesque architecture, the lower story remarkable for its weather-stained, vermiculated stone, and the ornamental iron gratings at the windows. The porte-cochère stands wide open and shows the leaf and blossom of a lovely garden inside, with a tinkling fountain in the midst. The marble nymphs and naiads inhabiting the shrubbery and the water are already somewhat time-worn, and have here and there a touch of envious mildew; but as yet their noses are unbroken, and they have all the legs and arms that the sculptor designed them with; and the fountain, which after disasters must choke, plays prettily enough over their nude loveliness; for it is now the first half of the eighteenth century, and Casa Landi is the uninvaded sanctuary of Illustrissimi and Illustrissime. The resplendent porter who admits our melodious Abbate Carlo, and the gay lackey who runs before his smiling face to open the door of the sala where the company is assembled, may have had nothing to speak of for breakfast, but they are full of zeal for the grandeur they serve, and would not know what the rights of man were if you told them. They, too, have their idleness and their intrigues and their life of pleasure; but, poor souls! they fade pitiably in the magnificence of that noble assembly in the sala. What coats of silk and waistcoats of satin, what trig rapiers and flowing wigs and laces and ruffles; and, ah me! what hoops and brocades, what paint and patches! Behind the chair of every lady stands her cavaliere servente, or bows before her with a cup of chocolate, or, sweet abasement! stoops to adjust the foot-stool better to her satin shoe. There is a buzz of satirical expectation, no doubt, till the abbate arrives, “and then, after the first compliments and obeisances,” says Signor Torelli, “he throws his hat upon the great arm-chair, recounts the chronicle of the gay world,” and prepares for the special entertainment of the occasion.
“'What is there new on Parnassus?' he is probably asked.
“'Nothing', he replies, 'save the bleating of a lambkin lost upon the lonely heights of the sacred hill.'
“'I'll wager,' cries one of the ladies, 'that the shepherd who has lost this lambkin is our Abbate Carlo!'
“'And what can escape the penetrating eye of Aglauro Cidonia?' retorts Frugoni, softly, with a modest air.
“'Let us hear its bleating!' cries the lady of the house.
“'Let us hear it!' echo her husband and her cavaliere servente.
“'Let us hear it!' cry one, two, three, a half-dozen, visitors.
“Frugoni reads his new production; ten exclamations receive the first strophe; the second awakens twenty evvivas; and when the reading is ended the noise of the plaudits is so great that they cannot be counted. His new production has cost Frugoni half an hour's work; it is possibly the answer to some Mecaenas who has invited him to his country-seat, or the funeral eulogy of some well-known cat. Is fame bought at so cheap a rate? He is a fool who would buy it dearer; and with this reasoning, which certainly is not without foundation, Frugoni remained Frugoni when he might have been something very much better.... If a bird sang, or a cat sneezed, or a dinner was given, or the talk turned upon anything no matter how remote from poetry, it was still for Frugoni an invitation to some impromptu effusion. If he pricked his finger in mending a pen, he called from on high the god of Lemnos and all the ironworkers of Olympus, not excepting Mars, whom it was not reasonable to disturb for so little, and launched innumerable reproaches at them, since without their invention of arms a penknife would never have been made. If the heavens cleared up after a long rain, all the signs of the zodiac were laid under contribution and charged to give an account of their performance. If somebody died, he instantly poured forth rivers of tears in company with the nymphs of Eridanus and the Heliades; he upraided Phaethon, Themis, the Shades of Erebus, and the Parcae.... The Amaryllises, the Dryads, the Fauns, the woolly lambs, the shepherds, the groves, the demigods, the Castalian Virgins, the loose-haired nymphs, the leafy boughs, the goat-footed gods, the Graces, the pastoral pipes, and all the other sylvan rubbish were the prime materials of every poetic composition.”
III
Signor Torelli is less severe than Emiliani-Giudici upon the founders of the Arcadia, and thinks they may have had intentions quite different from the academical follies that resulted; while Leigh Hunt, who has some account of the Arcadia in his charming essay on the Sonnet, feels none of the national shame of the Italian critics, and is able to write of it with perfect gayety. He finds a reason for its amazing success in the childlike traits of Italian character; and, reminding his readers that the Arcadia was established in 1690, declares that what the Englishmen of William and Mary's reign would have received with shouts of laughter, and the French under Louis XIV, would have corrupted and made perilous to decency, “was so mixed up with better things in these imaginative and, strange as it may seem, most unaffected people, the Italians,—for such they are,—that, far from disgusting a nation accustomed to romantic impulses and to the singing of poetry in their streets and gondolas, their gravest and most distinguished men and, in many instances, women, too, ran childlike into the delusion. The best of their poets”, the sweet-tongued Filicaja among others, “accepted farms in Arcadia forthwith; ... and so little transitory did the fashion turn out to be, that not only was Crescimbeni its active officer for eight-and-thirty years, but the society, to whatever state of insignificance it may have been reduced, exists at the present moment”.
Leigh Hunt names among Englishmen who were made Shepherds of Arcadia, Mathias, author of the “Pursuits of Literature”, and Joseph Cowper, “who wrote the Memoirs of Tassoni and an historical memoir of Italian tragedy”, Haly, and Mrs. Thrale, as well as those poor Delia Cruscans whom bloody-minded Gifford champed between his tusked jaws in his now forgotten satires. Pope Pius VII. gave the Arcadians a suite of apartments in the Vatican; but I dare say the wicked tyranny now existing at Rome has deprived the harmless swains of this shelter, if indeed they had not been turned out before Victor Emmanuel came.
In the chapter on the Arcadia, with which Vernon Lee opens her admirable Studies of the Eighteenth Century in Italy, she tells us of several visits which she recently paid to the Bosco Parrasio, long the chief fold of the Academy. She found it with difficulty on the road to the Villa Pamphili, in a neighborhood wholly ignorant of Arcadia and of the relation of Bosco Parrasio to it. “The house, once the summer resort of Arcadian sonneteers, was now abandoned to a family of market-gardeners, who hung their hats and jackets on the marble heads of improvvisatori and crowned poetesses, and threw their beans, maize, and garden-tools into the corners of the desolate reception-rooms, from whose mildewed walls looked down a host of celebrities—brocaded doges, powdered princesses, and scarlet-robed cardinals, simpering drearily in their desolation,” and “sad,