Very much depends on how we define the word Protestant. If Sarpi's known opinions regarding the worldliness of Rome, ecclesiastical abuses, and Papal supremacy, constitute a Protestant, then he certainly was one. But if antagonism to Catholic dogma, repudiation of the Catholic Sacraments and abhorrence of monastic institutions are also necessary to the definition, then Sarpi was as certainly no Protestant. He seems to have anticipated the position of those Christians who now are known as Old Catholics. This appears from his vivid sympathy with the Gallican Church, and from his zealous defense of those prerogatives and privileges in which the Venetian Church resembled that of France. We must go to his collected letters in order to penetrate his real way of thinking on the subject of reform. The most important of these are addressed to Frenchmen—Ph. Duplessis Mornay, De l'Isle Groslot, Leschassier, a certain Roux, Gillot, and Casaubon. If we could be quite sure that the text of these familiar letters had not been tampered with before publication, their testimony would be doubly valuable. As it is, no one at all acquainted with Sarpi's style will doubt that in the main they are trustworthy. Here and there it may be that a phrase has been inserted or modified to give a stronger Protestant coloring. The frequent allusion to the Court of Rome under the title of La Meretrice, especially in letters to Duplessis Mornay, looks suspicious.[153] Yet Dante, Petrarch and Savonarola used similar metaphors, when describing the secular ambition of the Papacy. Having pointed out a weakness in this important series of documents, I will translate some obviously genuine passages which illustrate Sarpi's attitude toward reform.

Writing to Leschassier upon the literary warfare of James I., he says it is a pity that the king did not abstain from theology and confine himself to the defense of his princely prerogatives against the claims of Rome. He has exposed himself to the imputation of wishing to upset the foundations of the faith. 'With regard to our own affairs [i.e. in Venice], we do not seek to mix up heaven and earth, things human and things divine. Our desire is to leave the sacraments and all that pertains to religion as they are, believing that we can uphold the secular government in those rights which Scripture and the teaching of the Fathers confirm.'[154] In another place he says: 'I have well considered the reasons which drew Germany and England into changing the observances of religion; but upon us neither these nor others of greater weight will exercise any influence.

[Footnote 153: Lettere, vol. ii. pp. 3, 18, 96, 109, and elsewhere.]

[Footnote 154: Ib. vol. ii. p. 6.]

It is better to suffer certain rules and customs that are not in all points commendable, than to acquire a taste for revolution and to yield to the temptation of confounding all things in chaos.'[155] His own grievance against the Popes, he adds, is that they are innovating and destroying the primitive constitution of the Church. With regard to the possibility of uniting Christendom, he writes that many of the differences between Catholics and Protestants seem to him verbal; many, such as could be tolerated in one communion; and many capable of adjustment. But a good occasion must be waited for.[156] Nothing can be done in Italy without a general war, that shall shake the powers of Spain and Rome.[157] Both Spain and Rome are so well aware of their peril that they use every means to keep Italy in peace.[158] If the Protestants of Europe are bent on victory, they must imitate the policy of Scipio and attack the Jesuits and Rome in their headquarters.[159] 'There is no enterprise of greater moment than to destroy the credit of the Jesuits. When they are conquered, Rome is taken; and without Rome, religion reforms itself spontaneously.'[160] 'Changes in State are inextricably involved in changes of religion;'[161] and Italy will never be free so long as the Diacatholicon lasts.

[Footnote 155: Lettere, vol. i. p. 237.]

[Footnote 156: Ib. p. 268.]

[Footnote 157: Ib. vol. ii. pp. 29, 48, 59, 60, 125.]

[Footnote 158: Ib. p. 120, 124.]

[Footnote 159: Ib. p. 226.]

[Footnote 160: Ib. p. 217.]

[Footnote 161: Ib. p. 427.]

Meanwhile, 'were it not for State policy there would be found hundreds ready to leap from this ditch of Rome to the summit of Reform.'[162] The hope of some improvement at Venice depends mainly upon the presence there of embassies from Protestant powers—England, Holland and the Grisons.[163] These give an opportunity to free religious discussion, and to the dissemination of Gospel truth. Sarpi is strong in his praise of Fra Fulgenzio for fearlessly preaching Christ and the truth, and repeats the Pope's complaint that the Bible is injurious to the Catholic faith.[164] He led William Bedell, chaplain to Sir H. Wotton and afterwards Bishop of Kilmore, to believe that Fra Fulgenzio and himself were ripe for Reform. 'These two I know,' writes Bedell to Prince Henry, 'as having practiced with them, to desire nothing so much as the Reformation of the Church, and, in a word, for the substance of religion they are wholly ours.'[165] During the interdict Diodati came from Geneva to Venice, and Sarpi informed him that some 12,000 persons in the city wished for rupture with Rome; but the government and the aristocracy being against it, nothing could be done.[166]

[Footnote 162: Lettere, vol. ii. p. 283.]

[Footnote 163: Ib. p. 110, 311.]

[Footnote 164: Ib. vol. i. pp. 220, 222, 225, 231, 239.]

[Footnote 165: Campbell's Life, p. 132.]

[Footnote 166: Ib. p. 133, 135.]

Enough has now been quoted to throw some light upon Sarpi's attitude toward Protestantism. That he most earnestly desired the overthrow of ultra-papal Catholicism, is apparent. So also are his sympathies with those reformed nations which enjoyed liberty of conscience and independence of ecclesiastical control. Yet his first duty was to Venice; and since the State remained Catholic, he personally had no intention of quitting the communion into which he had been born and in which he was an ordained priest. All Churches, he wrote in one memorable letter to Casaubon, have their imperfections. The Church of Corinth, in the days of the Apostles, was corrupt.[167] 'The fabric of the Church of God,' being on earth, cannot expect immunity from earthly frailties.[168] Such imperfections and such frailties as the Catholic Church shared with all things of this world, Sarpi was willing to tolerate. The deformation of that Church by Rome and Jesuitry he manfully withstood; but he saw no valid reason why he should abandon her for Protestantism. In his own conscience he remained free to serve God in spirit and in truth. The mind of the man in fact was too far-seeing and too philosophical to exchange old lamps for new without a better prospect of attaining to absolute truth than the dissenters from Catholicism afforded. His interest in Protestant, as separate from Catholic Reform, was rather civil and political than religious or theological. Could those soaring wings of Rome be broken, then and not till then might the Italians enjoy freedom of conscience, liberty of discussion and research, purer piety, and a healthier activity as citizens.

[Footnote 167: Lettere, vol. ii. p. 86.]

[Footnote 168: Ib. vol. i. p. 283.]

Side light may be thrown upon Sarpi's judgment of the European situation by considering in detail what he said about the Jesuits. This company, as we have seen, lent its support to Papal absolutism; and during the later years of Sarpi's life it seemed destined to carry the world before it, by control of education, by devotion to Rome, by adroit manipulation of the religious consciousness for anti-social ends and ecclesiastical aggrandizement.

The sure sign of being in the right, said Sarpi, is when one finds himself in contradiction to the Jesuits. They are most subtle masters in ill-doing, men who, if their needs demand, are ready to commit crimes worse than those of which they now are guilty. All falsehood and all blasphemy proceed from them. They have set the last hand at establishing universal corruption. They are a public plague, the plague of the world, chameleons who take their color from the soil they squat on, flatterers of princes, perverters of youth. They not only excuse but laud lying; their dissimulation is bare and unqualified mendacity; their malice is inestimable. They have the art so to blend their interests and that of Rome, seeking for themselves and the Papacy the empire of the world, that the Curia must needs support them, while it cowers before their inscrutable authority. They are the ruin of good literature and wholesome doctrine by their pitiful pretense of learning and their machinery of false teaching. On ignorance rests their power, and truth is mortal to them. Every vice of which humanity is capable, every frailty to which it is subject, finds from them support and consolation. If S. Peter had been directed by a Jesuit confessor he might have arrived at denying Christ without sin. The use the confessional as an instrument of political and domestic influence, reciprocating its confidences one with the other in their own debates, but menacing their penitents with penalties if a word of their counsel be bruited to the world. Expelled from Venice, they work more mischief there by their intrigues than they did when they were tolerated.[169] They scheme to get a hold on Constantinople and Palestine, in order to establish seminaries of fanatics and assassins. They are responsible for the murder of Henri IV., for if they did not instigate Ravaillac, their doctrine of regicide inspired him. They can creep into any kingdom, any institution, any household, because they readily accept any terms and subscribe to any conditions in the certainty that by the adroit use of flattery, humbug, falsehood, and corruption, they will soon become masters of the situation. In France they are the real Morbus Gallicus. In Italy they are the soul of the Diacatholicon.

[Footnote 169: It is worthy of notice, as a stern Venetian joke, that when the Jesuits eventually returned to Rialto, they were bade walk in processions upon ceremonial occasions between the Fraternities of S. Marco and S. Teodoro—saints amid whose columns on the Molo criminals were executed.]

The torrent of Sarpi's indignation against the Jesuits, as perverters of sound doctrine in the Church, disturbers of kingdoms, sappers of morality and disseminators of vile customs through society, runs so violently forward that we are fain to check it, while acknowledging its justice. One passage only, from the many passages bearing on this topic in his correspondence, demands special citation, since it deals directly with the whole material of the present work. Writing to his friend Leschassier, he speaks as follows: 'Nothing can be of more mischief to you in France than the dishonesty of bad confessors and their determination to aggrandize Rome by any means, together with the mistaken zeal of the good sort. We have arrived at a point where cure of the disease must even be despaired of. Fifty years ago things went well in Italy. There was no public system of education for training young men to the profit of the clergy. They were brought up by their parents in private, more for the advantage of their families than for that of the hierarchy. In religious houses, where studies flourished, attention was paid to scholastic logic. The jurisdiction and the authority of the Pope were hardly touched on; and while theology was pursued at leisure, the majority passed their years in contemplation of the Deity and angels. Recently, through the decrees of the Tridentine Council, schools have been opened in every State, which are called Seminaries, where education is concentrated on the sole end of augmenting ecclesiastical supremacy. Furthermore, the prelates of each district, partly with a view of saving their own pockets, and partly that they may display a fashionable show of zeal, have committed the charge of those institutions to Jesuits. This has caused a most important alteration in the aspect of affairs.'[170] It would be difficult to state the changes effected by the Tridentine Council and the commission of education to the Jesuits more precisely and more fairly than in this paragraph. How deeply Sarpi had penetrated the Jesuitical arts in education, can be further demonstrated from another passage in his minor works.[171] In a memoir prepared for the Venetian Signory, he says that the Jesuits are vulgarly supposed to be unrivaled as trainers of youth. But a patent equivocation lurks under this phrase 'unrivaled.' Education must be considered with regard to the utility of the State. 'Now the education of the Jesuits consists in stripping the pupil of every obligation to his father, to his country, and to his natural prince; in diverting all his love and fear toward a spiritual superior, on whose nod, beck and word he is dependent. This system of training is useful for the supremacy of ecclesiastics and for such secular governments as they are ready to submit to; and none can deny that the Jesuits are without equals in their employment of it. Yet in so far as it is advantageous in such cases, so also is it prejudicial to States, the end whereof is liberty and real virtue, and with whom the ecclesiastical faction remains in bad accord. From the Jesuit colleges there never issued a son obedient to his father, devoted to his country, loyal to his prince. The cause of this is that the Jesuits employ their best energies in destroying natural affection, respect for parents, reverence for princes. Therefore they only deserve to be admired by those whose interest it is to subject family, country and government to ecclesiastical interests.'

[Footnote 170: Lettere, vol. i. p. 126; Opere, vol. vi. p. 40.]

[Footnote 171: Opere, vol. vi. p. 145.]

The Provincial Letters of Pascal, which Sarpi anticipated in so many points, suffice to prove that he was justified in this hostility to ultramontanism backed up by Jesuit artifices. He was writing, be it remembered, at the very high tide of Papal domination, when Henri IV. had been assassinated, and when the overwhelming forces of secular interests combined with intellectual progress had not as yet set limits on ecclesiastical encroachment. The dread lest Europe should succumb to Rome, now proved by subsequent events an unsubstantial nightmare, was real enough for this Venetian friar, who ran daily risk of assassination in down-trodden servile Italy, with Spanish plots threatening the arsenal, with France delivered into the hands of Florentines and casuists, with England in the grip of Stuarts, and with Germany distracted by intrigues. He could not foresee that in the course of a century the Jesuits would be discredited by their own arts, and that the Papacy would subside into a pacific sovereignty bent on securing its own temporal existence by accommodation.

The end of Sarpi's life consecrated the principles of duty to God and allegiance to his country which had animated its whole course. He fell into a bad state of health; yet nothing would divert him from the due discharge of public business. 'All the signs of the soul's speedy departure from that age-enfeebled body, were visible; but his indefatigable spirit sustained him in such wise that he bore exactly all his usual burdens. When his friends and masters bade him relax his energies, he used to answer: My duty is to serve and not to live; there is some one daily dying in his office.[172] When at length the very sources of existence failed, and the firm brain wandered for a moment, he was once heard to say: 'Let us go to S. Mark, for it is late.'[173] The very last words he uttered, frequently repeated, but scarcely intelligible, were: 'Esto Perpetua.'[174] May Venice last forever! This was the dying prayer of the man who had consecrated his best faculties to the service of his country. But before he passed away into that half slumber which precedes death, he made confession to his accustomed spiritual father, received the Eucharist and Extreme Unction, and bade farewell to the superior of the Servites, in the following sentence: 'Go ye to rest, and I will return to God, from whom I came.' With these words he closed his lips in silence, crossing his hands upon his breast and fixing his eyes upon a crucifix that stood before him.[175]

[Footnote 172: Fulgenzio's Life, p. 98.]

[Footnote 173: Ibid. p. 105.]

[Footnote 174: Ibid.]

[Footnote 175: Letter of the Superior to the Venetian Senate, printed in the Lettere, vol. ii. pp. 450-453. It is worth meditating on the contrast between Sarpi's and Bruno's deaths. Sarpi died with the consolations of religion on his bed in the convent which had been his life-long home. Bruno was burned alive, with eyes averted from the crucifix in bitter scorn, after seven and a half years spent in the prisons of the Inquisition. Sarpi exhaled his last breath amid sympathizing friends, in the service of a grateful country. Bruno panted his death-pangs of suffocation and combustion out, surrounded by menacing Dominicans, in the midst of hostile Rome celebrating her triumphant jubilee. Sarpi's last thoughts were given to the God of Christendom and the Republic. Bruno had no country; the God in whom he trusted at that grim hour, was the God within his soul, unrealized, detached by his own reason from every Church and every creed.]

I will return to God from whom I came.

These words—not the last, for the last were Esto perpetua; but the last spoken in the presence of his fraternity—have a deep significance for those who would fain understand the soul of Sarpi. When in his lifetime he spoke of the Church, it was always as 'the Church of God.' When he relegated his own anxieties for the welfare of society to a superior power, it was not to Mary, as Jesuits advised, nor even to Christ, but invariably to the Providence of God. Sarpi, we have the right to assume, lived and died a sincere believer in the God who orders and disposes of the universe; and this God, identical in fact though not in form with Bruno's, he worshiped through such symbols of ceremony and religion as had been adopted by him in his youth. An intellect so clear of insight as this, knew that 'God is a spirit, and they that worship him must worship him in spirit and in truth.' He knew that 'neither on this mountain nor yet in Jerusalem,' neither in Protestant communities nor yet in Rome was the authentic God made tangible; but that a loyal human being, created in God's image, could serve him and adore him with life-worship under any of the spiritual shapes which mortal frailty has fashioned for its needs.

To penetrate the abyss of any human personality is impossible. No man truly sees into his living neighbor's, brother's, wife's, nay even his own soul. How futile, therefore, is the effort which we make to seize and sketch the vital lineaments of men long dead, divided from us not merely by the grave which has absorbed their fleshly form and deprived us of their tone of voice, but also by those differences in thought and feeling which separate the centuries of culture! Yet this impossible task lies ever before the historian. Few characters are more patently difficult to comprehend than that of Sarpi. Ultimately, so far as it is possible to formulate a view, I think he may be defined as a Christian Stoic, possessed with two main governing ideas, duty to God and duty to Venice. His last words were for Venice; the penultimate consigned his soul to God. For a mind like his, so philosophically tempered, so versed in all the history of the world to us-wards, the materials of dispute between Catholic and Protestant must have seemed but trifles. He stayed where he had early taken root, in his Servite convent at S. Fosca, because he there could dedicate his life to God and Venice better than in any Protestant conventicle. Had Venice inclined toward rupture with Rome, had the Republic possessed the power to make that rupture with success, Sarpi would have hailed the event gladly, as introducing for Italy the prospect of spiritual freedom, purer piety, and the overthrow of Papal-Spanish despotism. But Venice chose to abide in the old ways, and her Counselor of State knew better than any one that she had not the strength to cope with Spain, Rome, Jesuitry and Islam single-handed. Therefore he possessed his soul in patience, worshiping God under forms and symbols to which he had from youth been used, trusting the while that sooner or later God would break those mighty wings of Papal domination.



CHAPTER XI.

GUARINO, MARINO, CHIABRERA, TASSONI.

Dearth of Great Men—Guarini a Link between Tasso and the Seventeenth Century—His Biography—The Pastor Fido—Qualities of Guarini as Poet—Marino the Dictator of Letters—His Riotous Youth at Naples—Life at Rome, Turin, Paris—Publishes the Adone—The Epic of Voluptuousness—Character and Action of Adonis—Marino's Hypocrisy—Sentimental Sweetness—Brutal Violence—Violation of Artistic Taste—Great Powers of the Poet—Structure of the Adone—Musical Fluency—Marinism—Marino's Patriotic Verses—Contrast between Chiabrera and Marino—An Aspirant after Pindar—Chiabrera's Biography—His Court Life—Efforts of Poets in the Seventeenth Century to attain to Novelty—Chiabrera's Failure—Tassoni's Life—His Thirst to Innovate—Origin of the Secchia Rapita—Mock-Heroic Poetry—The Plot of this Poem—Its Peculiar Humor—Irony and Satire—Novelty of the Species—Lyrical Interbreathings—Sustained Contrast of Parody and Pathos—The Poet Testi.

Soon after 1600 it became manifest that lapse of years and ecclesiastical intolerance had rendered Italy nearly destitute of great men. Her famous sons were all either dead, murdered or exiled; reduced to silence by the scythe of time or by the Roman 'arguments of sword and halter.' Bruno burned, Vanini burned, Carnesecchi burned, Paleario burned, Bonfadio burned; Campanella banished, after a quarter of a century's imprisonment with torture; the leaders of free religious thought in exile, scattered over northern Europe. Tasso, worn out with misery and madness, rested at length in his tomb on the Janiculan; Sarpi survived the stylus of the Roman Curia with calm inscrutability at S. Fosca; Galileo meditated with closed lips in his watch-tower behind Bello Sguardo. With Michelangelo in 1564, Palladio in 1580, Tintoretto in 1594, the godlike lineage of the Renaissance artists ended; and what children of the sixteenth century still survived to sustain the nation's prestige, to carry on its glorious traditions? The list is but a poor one. Marino, Tassoni, the younger Buonarroti, Boccalini and Chiabrera in literature. The Bolognese Academy in painting. After these men expand arid wildernesses of the Sei Cento—barocco architecture, false taste, frivolity, grimace, affectation—Jesuitry translated into culture. On one bright point, indeed, the eye rests with hope and comfort. Palestrina, when he died in 1594, did not close but opened an age for music. His posterity, those composers, lutists, violists and singers, from whom the modern art of arts has drawn her being, down to the sweet fellowship of Pergolese, Marcello and Jomelli, of Guarneri, Amati and Stradivari, of Farinelli, Caffarielli and La Romanina, were as yet but rising dimly heralded with light of dawn upon their foreheads.

In making the transition from the Gerusalemme to the Adone, from the last great poem of the Cinque Cento to the epic of the Sei Cento, it is indispensable that notice should be taken of the Pastor Fido and its author. Giambattista Guarini forms a link between Vasso and the poets of the seventeenth century. He belonged less to the Renaissance, more to the culture of the age created by the Council of Trent, than did Tasso. His life, in many of its details similar, in others most dissimilar, to that of Tasso, illustrates and helps us in some measure to explain the latter. It must therefore form the subject of a somewhat detailed study.

Guarini drew his blood on the paternal side from the illustrious humanist Guarino of Verona, who settled at Ferrara in the fifteenth century as tutor to Leonello d'Este.[176] By his mother he claimed descent from the Florentine house of Machiavelli. Born in 1537, he was seven years older than Torquato Tasso, whom he survived eighteen years, not closing his long life until 1612. He received a solid education both at Pisa and Padua, and was called at the early age of eighteen to profess moral philosophy in the University of Ferrara. Being of noble birth and inheriting a considerable patrimony, Guarini might have enjoyed a life of uninterrupted literary leisure, if he had chosen to forego empty honors and shun the idle distractions of Courts. But it was the fate of distinguished men in that age to plunge into those quicksands. Guarini had a character and intellect suited to the conduct of state affairs; and he shared the delusion prevalent among his contemporaries, that the petty Italian principalities could offer a field for the exercise of these talents. 'If our country is reduced to the sole government of a prince,' he writes, 'the man who serves his prince will serve his country, a duty both natural and binding upon all.'[177] Accordingly, soon after his marriage to Taddea of the noble Bendedei family, he entered the service of Alfonso II. This was in 1567. Tasso, in his quality of gentleman to Cardinal d'Este, had already shed lustre on Ferrara through the past two years. Guarini first made Tasso's friendship at Padua, where both were Eterei and house-guests of Scipione Gonzaga. The two poets now came together in a rivalry which was not altogether amicable. The genius of Tasso, in the prime of youth and heyday of Court-favor, roused Guarini's jealousy. And yet their positions were so different that Guarini might have been well satisfied to pursue his own course without envy. A married and elder man, he had no right to compete in gallantry with the brilliant young bachelor. Destined for diplomacy and affairs of state, he had no cause to grudge the Court poet his laurels. Writing in 1595, Guarini avers that 'poetry has been my pastime, never my profession'; and yet he made it his business at Ferrara to rival Tasso both as a lyrist and as a servant of dames. Like Tasso, he suffered from the spite of Alfonso's secretaries, Pigna and Montecatino, who seem to have incarnated the malevolence of courtiers in its basest form. So far, there was a close parallel between the careers of the two men at Ferrara.

[Footnote 176: See Renaissance in Italy, vol. ii. pp. 299, 300.]

[Footnote 177: Lettere del Guarini, Venezia, 1596, p. 2.]

But Guarini's wealth and avowed objects in life caused the duke from the first to employ him in a different kind of service. Alfonso sent him as ambassador to Venice, Rome, and Turin, giving him the rank of Cavaliere in order that he might perform his missions with more dignity. At Turin, where he resided for some time, Guarini conceived a just opinion of the growing importance of the House of Savoy. Like all the finest spirits of his age, Tassoni, Sarpi, Chiabrera, Marino, Testi, he became convinced that if Italy were to recover her independence, it could only be by the opposition of the Dukes of Savoy to Spain. How nearly the hopes of these men were being realized by Carlo Emmanuele, and how those hopes were frustrated by Roman intrigues and the jealousy of Italian despots, is matter of history. Yet the student may observe with interest that the most penetrating minds of the sixteenth century already discerned the power by means of which, after the lapse of nearly three hundred years, the emancipation of Italy has been achieved.

In 1574 Guarini was sent to Poland, to congratulate Henri III. upon his election to that monarchy. He went a second time in the following year to conduct more delicate negotiations. The crown of Poland was now thrown open to candidature; and more than one of the Italian Princes thought seriously of competing for this honor. The Grand Duke of Tuscany entertained the notion and abandoned it. But Alfonso II. of Ferrara, who had fought with honor in his youth in Hungary, made it a serious object of ambition. Manolesso, the Venetian envoy in 1575 at Ferrara, relates how the duke spent laborious hours in acquiring the German language, 'which no one learns for pleasure, since it is most barbarous, nor quickly, but with industry and large expenditure of time.' He also writes: 'The duke aspires to greatness, nor is satisfied with his present State; and therefore he has entered into the Polish affair, encouraged thereto by his brother the Cardinal and by his ambassador in Poland.'[178]

These embassies were a serious drain upon Guarini's resources; for it appears certain that if he received any appointments, they were inadequate to the expenses of long journeys and the maintenance of a becoming state. He therefore returned to Ferrara, considerably burdened with debts; and this was just the time at which Tasso's mental derangement began to manifest itself. Between 1575 and 1579, the date of Tasso's imprisonment at Sant' Anna, the two men lived together at the Court. Guarini's rivalry induced him at this period to cultivate poetry with such success that, when the author of the Gerusalemme failed, Alfonso commanded him to take the vacant place of Court poet. There is an interesting letter extant from Guarini to his friend Cornelio Bentivoglio, describing the efforts he made to comply with the Duke's pleasure. 'I strove to transform myself into another man, and, like a playactor, to reassume the character, manners and emotions of a past period. Mature in age, I forced myself to appear young; exchanged my melancholy for gayety: affected loves I did not feel; turned my wisdom into folly, and, in a word, passed from philosopher to poet.'[179] How ill-adapted he was to this masquerade existence may be gathered from another sentence in the same letter. 'I am already in my forty-fourth year, burdened with debts, the father of eight children, two of my sons old enough to be my judges, and with my daughters to marry.'

[Footnote 178: Alberi, Relazioni, series 2, vol. ii. pp. 423-425.]

At last, abandoning this uncongenial strain upon his faculties, Guarini retired in 1582 to the villa which he had built upon his ancestral estate in the Polesine, that delightful rustic region between Adige and Po. Here he gave himself up to the cares of his family, the nursing of his dilapidated fortune, and the composition of the Pastor Fido. It is not yet the time to speak of that work, upon which Guarini's fame as poet rests; for the drama, though suggested by Tasso's Aminta, was not finally perfected until 1602.[180] Yet we may pause to remark upon the circumstances under which he wrote it. A disappointed courtier, past the prime of manhood, feeling his true vocation to be for severe studies and practical affairs, he yet devoted years of leisure to the slow elaboration of a dramatic masterpiece which is worthy to rank with the classics of Italian literature. During this period his domestic lot was not a happy one. He lost his wife, quarreled with his elder sons, and involved himself in a series of lawsuits.[181] Litigation seems to have been an inveterate vice of his maturity, and he bequeathed to his descendants a coil of legal troubles. Having married one of his daughters, Anna, to Count Ercole Trotti, he had the misery of hearing in 1596 that she had fallen an innocent victim to her husband's jealousy, and that his third son, Girolamo connived at her assassination. In the midst of these annoyances and sorrows, he maintained a grave and robust attitude, uttering none of those querulous lamentations which flowed so readily from Tasso's pen.

[Footnote 179: Lettere, p. 195.]

[Footnote 180: In this year it was published with the author's revision by Ciotto at Venice. It had been represented at Turin in 1585, and first printed at Venice in 1590.]

Tasso had used the Pastoral Drama to idealize Courts. Guarini vented all the bitterness of his soul against them in his Pastor Fido. He also wrote from his retirement: 'I am at ease in the enjoyment of liberty, studies, the management of my household.'[182] Yet in 1585, while on a visit to Turin, he again accepted proposals from Alfonso. He had gone there in order to superintend the first representation of his Pastoral, which was dedicated to the Duke of Savoy. Extremely averse to his old servants taking office under other princes, the Duke of Ferrara seems to have feared lest Guarini should pass into the Court of Carlo Emmanuele. He therefore appointed him Secretary of State; and Guarini entered upon the post in the same year that Tasso issued from his prison. This reconciliation did not last long. Alfonso took the side of Alessandro Guarini in a lawsuit with his father; and the irritable poet retired in indignation to Florence. The Duke of Ferrara, however, was determined that he should not serve another master. At Florence, Turin, Mantua and Rome, his attempts to obtain firm foothold in offices of trust were invariably frustrated; and Coccapani, the Duke's envoy, hinted that if Guarini were not circumspect, 'he might suffer the same fate as Tasso.' To shut Guarini up in a madhouse would have been difficult. Still he might easily have been dispatched by the poniard; and these words throw not insignificant light upon Tasso's terror of assassination.

[Footnote 181: Guarini may be compared with Trissino in these points of his private life. See Renaissance in Italy, vol. v. 303-305.]

[Footnote 182: Lettere, p. 196.]

The Duke Alfonso died in 1597, and Ferrara reverted to the Holy See. Upon this occasion, Guarini was free to follow his own inclinations. He therefore established himself at the Court of the Grand Duke, into whose confidence he entered upon terms of flattering familiarity. Ferdinando de'Medici 'fell in love with him as a man may with a fine woman,' says his son Alessandro in one of his apologetic writings. This, however, meant but little; for compliments passed freely between princes and their courtiers; which, when affairs of purse or honor were at stake, soon turned to discontent and hatred. So it fared with Guarini at Florence. His son, Guarino, made a marriage of which he disapproved, but which the Grand Duke countenanced. So slight a disagreement snapped the ties of friendship, and the restless poet removed to the Court of Urbino. There the last duke of the House of Rovere, Francesco Maria II., Tasso's schoolfellow and patron, was spending his widowed years in gloomy Spanish pride. The mortmain of the Church was soon to fall upon Urbino, as it had already fallen on Ferrara. Guarini wrote: 'The former Court in Italy is a dead thing. One may see the shadow, but not the substance of it nowadays. Ours is an age of appearances, and one goes a-masquerading all the year.' A sad but sincere epitaph, inscribed by one who had gone the round of all the Courts of Italy, and had survived the grand free life of the Renaissance.

These words close Guarini's career as courtier. He returned to Ferrara in 1604, and in 1605 carried the compliments of that now Pontifical city to Paul V. in Rome on his election to the Papacy. Upon this occasion Cardinal Bellarmino told him that he had inflicted as much harm on Christendom by his Pastor Fido as Luther and Calvin by their heresies. He retorted with a sarcasm which has not been transmitted to us, but which may probably have reflected on the pollution of Christian morals by the Jesuits. In 1612 Guarini died at Venice, whither he was summoned by one of his innumerable and interminable lawsuits.

Bellarmino's censure of the Pastor Fido strikes a modern reader as inexplicably severe. Yet it is certain that the dissolute seventeenth century recognized this drama as one of the most potent agents of corruption. Not infrequent references in the literature of that age to the ruin of families and reputations by its means, warn us to remember how difficult it is to estimate the ethical sensibilities of society in periods remote from our own.[183] In the course of the analysis which I now propose to make of this play, I shall attempt to show how, coming midway between Tasso's Aminta and Marino's Adone, and appealing to the dominant musical enthusiasms of the epoch, Guarini's Pastor Fido may have merited the condemnation of far-sighted moralists. Not censurable in itself, it was so related to the sentimental sensuality of its period as to form a link in the chain of enervation which weighed on Italy.

[Footnote 183: Il Pastor Fido, per cura di G. Casella (Firenze, Barbera, 1866), p. liv.]

The Pastor Fido is a tragi-comedy, as its author points out with some elaboration in the critical essay he composed upon that species of the drama. The scene is laid in Arcadia, where according to Guarini it was customary to sacrifice a maiden each year to Diana, in expiation of an ancient curse brought upon the country by a woman's infidelity. An oracle has declared that when two scions of divine lineage are united in marriage, and a faithful shepherd atones for woman's faithlessness, this inhuman rite shall cease. The only youth and girl who fulfill these conditions of divine descent are the daughter of Titiro named Amarilli, and Silvio, the son of the high priest Montano. They have accordingly been betrothed. But Silvio is indifferent to womankind in general, and Amarilli loves a handsome stranger, Mirtillo, supposed to be the son of Carino. The plot turns upon the unexpected fulfillment of the prophecy, in spite of the human means which have been blindly taken to secure its accomplishment. Amarilli is condemned to death for suspected misconduct with a lover; and Mirtillo, who has substituted himself as victim in her place, is found to be the lost son of Montano. This solution of the intrigue, effected by an anagnorisis like that of the Oedipus Tyrannus, supplies a series of dramatic scenes and thrilling situations in the last act. Meanwhile the passion of Dorinda for Silvio, and the accident whereby he is brought to return her affection at the moment when his dart has wounded her, form a picturesque underplot of considerable interest. Both plot and underplot are so connected in the main action and so interwoven by links of mutual dependency that they form one richly varied fabric. Regarded as a piece of cunning mechanism, the complicated structure of the Pastor Fido leaves nothing to be desired. In its kind, this pastoral drama is a monumental work of art, glittering and faultless like a polished bas-relief of hard Corinthian bronze. Each motive has been carefully prepared, each situation amply and logically developed. The characters are firmly traced, and sustained with consistency. The cold and eager hunter Silvio contrasts with tender and romantic Mirtillo. Corisca's meretricious arts and systematized profligacy enhance the pure affection of Amarilli. Dorinda presents another type of love, so impulsive that it conquers maidenly modesty. The Satyr is a creature of rude lust, foiled in its brutal appetite by the courtesan Corisca's wiliness. Carino brings the corruption of towns into comparison with the innocence of the country.

In Carino the poet painted his own experience; and here his satire upon the Court of Ferrara is none the less biting because it takes the form of well-weighed and gravely-measured censure, instead of vehement invective. The following lines may serve as a specimen of Guarini's style in this species:—

I' mi pensai che ne' reali alberghi Fossero tanto piu le genti umane, Quant'esse ban piu di tutto quel dovizia, Ond' e l'umanita si nobil fregio. Ma mi trovai tutto 'l contrario, Uranio. Gente di nome e di parlar cortese, Ma d'opre scarsa, e di pieta nemica: Gente placida in vista e mansueta, Ma piu del cupo mar tumida e fera: Gente sol d'apparenza, in cui se miri Viso di carita, mente d'invidia Poi trovi, e 'n dritto sguardo animo bieco, E minor fede allor che pin lusinga. Quel ch'altrove e virtu, quivi e difetto: Dir vero, oprar non torto, amar non finto, Pieta sincera, inviolabil fede, E di core e di man vita innocente, Stiman d'animo vil, di basso ingegno, Sciochezza e vanita degna di riso. L'ingannare, il mentir, la frode, il furto, E la rapina di pieta vestita, Crescer col danno e precipizio altrui, E far a se dell'altrui biasimo onore, Son le virtu di quella gente infida. Non merto, non valor, non riverenza Ne d'eta ne di grado ne di legge; Non freno di vergogna, non rispetto Ne d'amor ne di sangue, non memoria Di ricevuto ben; ne, finalmente, Cosa si venerabile o si santa O si giusta esser puo, ch'a quella vasta Cupidigia d'onori, a quella ingorda Fama d'avere, inviolabil sia.

The Pastor Fido was written in open emulation of Tasso's Aminta, and many of its most brilliant passages are borrowed from that play. Such, for example, is the Chorus on the Golden Age which closes the fourth act. Such, too, is the long description by Mirtillo of the kiss he stole from Amarilli (act ii. sc. 1). The motive here is taken from Rinaldo (canto v.), and the spirit from Aminta (act i. sc. 2). Guarini's Satyr is a studied picture from the sketch in Tasso's pastoral. The dialogue between Silvio and Linco (act i. sc. 1) with its lyrical refrain:

Lascia, lascia le selve, Folle garzon, lascia le fere, ed ama:

reproduces the dialogue between Silvia and Dafne (act i. sc. 1) with its similar refrain:

Cangia, cangia consiglio, Pazzarella che sei.

In all these instances Guarini works up Tasso's motives into more elaborate forms. He expands the simple suggestions of his model; and employs the artifices of rhetoric where Tasso yielded to inspiration. One example will suffice to contrast the methods of the spontaneous and the reflective poet. Tasso with divine impulse had exclaimed:

Odi quell'usignuolo, Che va di ramo in ramo Cantando: Io amo, io amo!

This, in Guarini's hands, becomes:

Quell'augellin, che canta Si dolcemente, e lascivetto vola Or dall'abete al faggio, Ed or dal faggio al mirto, S'avesse umano spirto, Direbbe: Ardo d'amore, ardo d'amore.

Here a laborious effort of the constructive fancy has been substituted for a single flash of sympathetic imagination. Tasso does not doubt that the nightingale is pouring out her love in song. Guarini says that if the bird had human soul, it would exclaim, Ardo d'amore. Tasso sees it flying from branch to branch. Guarini teases our sense of mental vision by particularizing pine and beech and myrtle. The same is true of Linco's speech in general when compared with Dafne's on the ruling power of love in earth and heaven.

Of imagination in the true sense of the term Guarini had none. Of fancy, dwelling gracefully, ingeniously, suggestively, upon externals he had plenty. The minute care with which he worked out each vein of thought and spun each thread of sentiment, was that of the rhetorician rather than the poet. Tasso had made Aminta say:

La semplicetta Silvia Pietosa del mio male, S'offri di dar aita Alla finta ferita, ahi lassole fece Piu cupa, e piu mortale La mia piaga verace, Quando le labbra sue Giunse alle labbra mie. Ne l'api d'alcun fiore Colgan si dolce il sugo, Come fa dolce il mel, ch'allora io colsi Da quelle fresche rose.

Now listen to Guarini's Mirtillo:

Amor si stava, Ergasto, Com'ape suol, nelle due fresche rose Di quelle labbra ascoso; E mentre ella si stette Con la baciata bocca Al baciar della mia Immobile e ristretta, La dolcezza del mel sola gustai; Ma poiche mi s'offerse anch'ella, e porse L'una e l'altra dolcissima sua rosa....

This is enough to illustrate Guarini's laborious method of adding touch to touch without augmenting th force of the picture.[184] We find already here the transition from Tasso's measured art to the fantastic prolixity of Marino. And though Guarini was upon the whole chaste in use of language, his rhetorical love of amplification and fanciful refinement not unfrequently betrayed him into Marinistic conceits. Dorinda, for instance, thus addresses Silvio (act iv. sc. 9):

O bellissimo scoglio Gia dall'onda e dal vento Delle lagrime mie, de'miei sospiri Si spesso invan percosso!

Sighs are said to be (act i. sc. 2):

impetuosi venti Che spiran nell'incendio, e 'l fan maggiore Con turbini d'Amore, Ch' apportan sempre ai miserelli amanti Foschi nembi di duol, piogge di pianti.

From this to the style of the Adone there was only one step to be taken.

[Footnote 184: I might have further illustrated this point by quoting the thirty-five lines in which Titiro compares a maiden to the rose which fades upon the spray after the fervors of the noon have robbed its freshness (act i. sc. 4). To contest the beauty of the comparison would be impossible. Yet when we turn to the two passages in Ariosto (Orl. Fur. i. 42, 43, and xxiv. 80) on which it has been modeled, we shall perceive how much Guarini lost in force by not writing with his eye upon the object or with the authenticity of inward vision, but with a self-conscious effort to improve by artifices and refinements upon something he has read. See my essay on 'The Pathos of the Rose in Time,' April, 1886.]

Though the scene of the Pastor Fido was laid in Arcadia, the play really represented polite Italian society. In the softness of its sentiment, its voluptuous verbal melody, and its reiterated descant upon effeminate love-pleasure, it corresponded exactly to the spirit of its age.[185] This was the secret of its success; and this explains its seduction. Not Corisca's wanton blandishments and professed cynicism, but Mirtillo's rapturous dithyrambs on kissing, Dorinda's melting moods of tenderness, and Amarilli's delicate regrets that love must be postponed to honor, justified Bellarmino's censure. Without anywhere transgressing the limits of decorum, the Pastor Fido is steeped in sensuousness. The sentiment of love idealized in Mirtillo and Amarilli is pure and self-sacrificing. Ama l'onesta mia, s'amante sei, says this maiden to her lover; and he obeys her. Yet, though the drama is dedicated to virtue, no one can read it without perceiving the blandishments of its luxurious rhetoric. The sensual refinement proper to an age of social decadence found in it exact expression, and it became the code of gallantry for the next two centuries.

[Footnote 185: Even Silvio, the most masculine of the young men, whose heart is closed to love, appears before us thus:

Oh Silvio, Silvio! a che ti die Natura Ne' piu begli anni tuoi Fior di belta si delicato e vago, Se tu se' tanto a calpestarlo intento? Che s'avess'io cotesta tua si bella E si fiorita guancia, Addio selve, direi: E seguendo altre fere, E la vita passando in festa e'n gioco, Farei la state all'ombra, e 'l verno al foco. ]

Meanwhile the literary dictator of the seventeenth century was undoubtedly Marino. On him devolved the scepter which Petrarch bequeathed to Politian, Politian to Bembo, and Bembo to Torquato Tasso. In natural gifts he was no unworthy successor of these poets, though the gifts he shared with them were conspicuously employed by him for purposes below the scope of any of his predecessors. In artistic achievement he concentrated the less admirable qualities of all, and brought the Italian poetry of the Renaissance to a close by exaggerating its previous defects. Yet, as a man, Marino is interesting, more interesting in many respects than the melancholy discontented Tasso. He accepted the conditions of his age with genial and careless sympathy, making himself at once its idol, its interpreter, and its buffoon. Finally, he illustrates the law of change which transferred to Neapolitans in this age the scepter which had formerly been swayed by Tuscans and Lombards.[186]

Giovanni Battista Marino was born at Naples in 1569. His father, a jurist of eminence, bred him for the law. But the attractions of poetry and pleasure were irresistible by this mobile son of the warm South—

La lusinga del Genio in me prevalse, E la toga deposta, altrui lascisi Parolette smaltir mendaci e false. Ne dubbi testi interpretar curai, Ne discordi accordar chiose mi calse, Quella stimando sol perfetta legge Che de'sensi sfrenati il fren corregge. Legge omai piu non v' ha la qual per dritto Punisca il fallo o ricompensi il merto. Sembra quando e fin qui deciso e scritto D'opinion confuse abisso incerto. Dalle calumnie il litigante afflitto Somiglia in vasto mar legno inesperto, Reggono il tutto con affetto ingordo, Passion cieca ed interesse sordo.

[Footnote 186: Telesio, Bruno, Campanella, Salvator Rosa, Vico, were, like Marino, natives of the Regno.]

Such, in the poet's maturity, was his judgment upon law; and probably he expressed the same opinion with frankness in his youth. Seeing these dispositions in his son, the severe parent cast him out of doors, and young Marino was free to indulge vagabond instincts with lazzaroni and loose companions on the quays and strands of Naples. In that luxurious climate a healthy native, full of youth and vigor, needs but little to support existence. Marino set his wits to work, and reaped too facile laurels in the fields of Venus and the Muses. His verses speedily attracted the notice of noble patrons, among whom the Duke of Bovino, the Prince of Conca, and Tasso's friend the Marquis Manso have to be commemorated. They took care that so genuine and genial a poet should not starve. It was in one of Manso's palaces that Marino had an opportunity of worshiping the singer of Armida and Erminia at a distance. He had already acquired dubious celebrity as a juvenile Don Juan and a writer of audaciously licentious lyrics, when disaster overtook him. He assisted one of his profligate friends in the abduction of a girl. For this breach of the law both were thrown together into prison, and Marino only escaped justice by the sudden death of his accomplice. His patrons now thought it desirable that he should leave Naples for a time. Accordingly they sent him with letters of recommendation to Rome, where he was well received by members of the Crescenzio and Aldobrandino families. The Cardinal Pietro Aldobrandino made him private secretary, and took him on a journey to Ravenna and Turin. From the commencement to the end of his literary career Marino's march through life was one triumphal progress. At Turin, as formerly in Naples and Rome, he achieved a notable success. The Duke of Savoy, Carlo Emmanuele, offered him a place at Court, appointed him secretary, and dubbed him Knight of S. Maurice.

Vidi la corte, e nella corte io vidi Promesse lunghe e guiderdoni avari, Favori ingiusti e patrocini infidi, Speranze dolci e pentimenti amari, Sorrisi traditor, vezzi omicidi, Ed acquisti dubbiosi e danni chiari, E voti vani ed idoli bugiardi, Onde il male e sicuro e il ben vien tardi.

It was the custom of all poets in that age to live in Courts and to abuse them, to adulate princes and to vilify these patrons. Marino, however, had real cause to complain of the treachery of courtiers. He appears to have been a man of easy-going temper, popular among acquaintances, and serviceable to the society he frequented. This comradely disposition did not save him, however, from jealousies and hatreds; for he had, besides, a Neapolitan's inclination for satire. There was a Genoese poetaster named Gasparo Murtola established in Court-service at Turin, who had recently composed a lumbering poem, Il Mondo Creato. Marino made fun of it in a sonnet; Murtola retorted; and a warfare of invectives began which equaled for scurrility and filth the duels of Poggio and Valla. Murtola, seeing that he was likely to be worsted by his livelier antagonist, waited for him one day round a corner, gun in hand. The gun was discharged, and wounded, not Marino, but a favorite servant of the duke. For this offense the assassin was condemned to death; and would apparently have been executed, but for Marino's generosity. He procured his enemy's pardon, and was repaid with the blackest ingratitude. On his release from prison Murtola laid hands upon a satire, La Cuccagna, written some time previously by his rival. This he laid before the duke, as a seditious attack upon the government of Savoy. Marino now in his turn was imprisoned; but he proved, through the intervention of Manso, that the Cuccagna had been published long before his arrival at Turin. Disgusted by these incidents, he next accepted an invitation from the French Court, and journeyed to Paris in 1615, where the Italianated society of that city received him like a living Phoebus. Maria de Medici, as Regent, with Concini for her counselor and lover, was then in all her vulgar glory. Richelieu's star had not arisen to eclipse Italian intrigue and to form French taste by the Academy. D'Urfe and Du Bartas, more marinistic than Marino, more euphuistic than Euphues, gave laws to literature; and the pageant pictures by Rubens, which still adorn the Gallery of the Louvre, marked the full-blown and sensuous splendor of Maria's equipage. Marino's genius corresponded nicely to the environment in which he now found himself; the Italians of the French Court discerned in him the poet who could best express their ideal of existence. He was idolized, glutted with gold, indulged and flattered to the top of his bent. Yearly appointments estimated at 10,000 crowns were augmented by presents in return for complimentary verses or for copies of the poem he was then composing. This poem was the Adone, the theme of which had been suggested by Carlo Emmanuele, and which he now adroitly used as a means of flattering the French throne. First printed at Paris in 1623, its reception both there and in Italy secured apotheosis in his lifetime for the poet.[187] One minor point in this magnificent first folio edition of Adone deserves notice, as not uncharacteristic of the age. Only two Cantos out of the twenty are distinguished by anything peculiar in their engraved decorations. Of these two, the eleventh displays the shield of France; the thirteenth, which describes Falsirena's incantations and enchantments, is ornamented with the symbol of the Jesuits, IHS. For this the publishers alone were probably responsible. Yet it may stand as a parable of all-pervasive Jesuitry. Even among the roses and raptures of the most voluptuous poem of the century their presence makes itself felt, as though to hint that the Adone is capable of being used according to Jesuitical rules of casuistry A.M.D.G. One warning voice was raised before the publication of this epic. Cardinal Bentivoglio wrote from Italy beseeching Marino to 'purge it of lasciviousness in such wise that it may not have to dread the lash of our Italian censure.' Whether he followed this advice, in other words whether the original MS. of the Adone was more openly licentious than the published poem, I do not know. Anyhow, it was put upon the Index in 1627. This does not, however, appear to have impaired its popularity, or to have injured its author's reputation. Soon after the appearance of Adone, Marino, then past fifty, returned to Naples. He was desirous of reposing on his laurels, wealthy, honored, and adored, among the scenes from which he fled in danger and disgrace thirty years before. His entrance into Naples was an ovation. The Iazzaroni came to meet his coach, dancing and scattering roses; noblemen attended him on horse-back; ladies gazed on him from balconies. A banner waving to the wind announced the advent of 'that ocean of incomparable learning, soul of lyres, subject for pens, material for ink, most eloquent, most fertile, phoenix of felicity, ornament of the laurel, of swans in their divine leisure chief and uncontested leader.' At Naples he died in 1625—felicitous in not having survived the fame which attended him through life and reached its climax just before his death.

[Footnote 187: It is worth noting that Shakespeare's Venus and Adonis was first printed in 1593, thirty years previously.]

The Adone strikes us at first sight as the supreme poem of epicene voluptuousness. Its smooth-chinned hero, beautiful as a girl, soft as a girl, sentimental as a girl, with nothing of the man about him—except that 'Nature, as she wrought him, fell adoting,'—threads a labyrinth of suggestive adventures, in each of which he is more the patient than the agent of desire. Mercury introduces him to our attention in a series of those fables (tales of Narcissus, Ganymede, Cyparissus, Hylas, Atys) by which antiquity figured the seductiveness of adolescence. Venus woos him, and Falserina tries to force him. Captured in feminine attire by brigands, he is detained in a cave as the mistress of their chief, and doted on by the effeminate companion of his prison. Finally, he contends for the throne of Cyprus with a band of luxurious youths—

Bardassonacci, paggi da taverna.

The crown is destined for the physically fairest. The rival charms of the competitors are minutely noted, their personal blemishes sagaciously detected, by a council of pleasure-sated worldlings. In his death Adonis succumbs to the assault of a boar, fatally inflamed with lust, who wounds the young man in his groin, dealing destruction where the beast meant only amorous caresses. Gods and godesses console Venus in her sorrow for his loss, each of whom relates the tale of similar disasters. Among these legends Apollo's love for Hyacinth and Phoebus' love for Pampinus figure conspicuously. Thus Marino's Adonis excites unhealthy interest by the spectacle of boyhood exposed to the caprices and allurements of both sexes doting on unfledged virility.

What contributes to this effect, in the central motive of the poem, is that Venus herself is no artless virgin, no innocent Chloe, corresponding to a rustic Daphnis. She is already wife, mother, adulteress, femme entretenue, before she meets the lad. Her method of treating him is that of a licentious queen, who, after seducing page or groom, keeps the instrument of her pleasures in seclusion for occasional indulgence during intervals of public business. Vulcan and Mars, her husband and her cicisbeo, contest the woman's right to this caprice; and when the god of war compels, she yields him the crapulous fruition of her charms before the eye of her disconsolate boy-paramour. Her pre-occupation with Court affairs in Cythera—balls, pageants, sacrifices, and a people's homage—brings about the catastrophe. Through her temporary neglect, Adonis falls victim to a conspiracy of the gods. Thus the part which the female plays in this amorous epic is that of an accomplished courtesan, highly placed in society. All the pathos, all the attraction of beauty and of sentiment, is reserved for the adolescent male.

This fact, though disagreeable, has to be noted. It is too characteristic of the wave of feeling at that time passing over Europe, to be ignored. The morbid strain which touched the Courts alike of Valois, Medici and Stuarts; which infected the poetry of Marlowe and of Shakespeare; which cast a sickly pallor even over sainthood and over painting in the school of Bologna, cannot be neglected. In Marino's Adone it reaches its artistic climax.[188]

This, however, is not the main point about the poem. The Adone should rather be classed as the epic of voluptuousness in all its forms and species. If the love-poetry of the Italian Renaissance began with the sensuality of Boccaccio's Amoroso Visione, it ended, after traversing the idyl, the novel, the pastoral, the elegy and the romance, in the more complex sensuality of Marino's Adone; for this, like the Amoroso Visione, but far more emphatically, proclaims the beatification of man by sexual pleasure:—

Tramortiscon di gioia ebbre e languenti L'anime stanche, al ciel d'Amor rapite. Gl'iterati sospiri, i rotti accenti, Le dolcissime guerre e le ferite, Narrar non so—fresche aure, onde correnti, Voi che il miraste, e ben l'udiste, il dite! Voi secretari de'felici amori, Verdi mirti, alti pini, ombrosi allori! (Canto viii.)

[Footnote 188: Ferrari, in his Rivolnzioni d'Italia, vol. iii. p. 563, observes: 'Una Venere sospetta versa lagrime forse maschili sul bellissimo Adonide,' etc. Shakespeare's Venus and Adonis, in like manner, is so written as to force the reader to feel with Venus the seduction of Adonis.]

Thus voluptuousness has its transcendentalism; and Marino finds even his prolific vocabulary inadequate to express the mysteries of this heaven of sensuous delights.[189]

It must not be thought that the Adone is an obscene poem. Marino was too skillful a master in the craft of pleasure to revolt or to regale his readers with grossness. He had too much of the Neapolitan's frank self-abandonment to nature for broad indecency in art to afford him special satisfaction; and the taste of his age demanded innuendo. The laureate of Courts and cities saturated with licentiousness knew well that Coan vestments are more provocative than nudity. It was his object to flatter the senses and seduce the understanding rather than to stimulate coarse appetite. Refinement was the aphrodisiac of a sated society, and millinery formed a main ingredient in its love-philters.[190] Marino, therefore, took the carnal instincts for granted, and played upon them as a lutist plays the strings of some lax thrilling instrument. Of moral judgment, of antipathy to this or that form of lust, of prejudice or preference in the material of pleasure, there is no trace. He shows himself equally indulgent to the passion of Mirra for her father, of Jove for Ganymede, of Bacchus for Pampinus, of Venus for Adonis, of Apollo for Hyacinth. He tells the disgusting story of Cinisca with the same fluent ease as the lovely tale of Psyche; passes with the same light touch over Falserina at the bedside of Adonis and Feronia in his dungeon; uses the same palette for the picture of Venus caressing Mars and the struggles of the nymph and satyr. All he demanded was a basis of soft sensuality, from which, as from putrescent soil, might spring the pale and scented flower of artful luxury.

[Footnote 189: With the stanza quoted above Marino closes the cycle which Boccaccio in the Amoroso Visione (canto xlix.) had opened.]

[Footnote 190: On this point I may call attention to the elaborate portraits drawn by Marino (canto xvi.) of the seven young men who contend with Adonis for the prize of beauty and the crown of Cyprus. Quite as many words are bestowed upon their costumes, jewelry and hair-dressing as upon their personal charms.]

In harmony with the spirit of an age reformed or deformed by the Catholic Revival, Marino parades cynical hypocrisy. The eighth canto of Adone is an elaborately-wrought initiation into the mysteries of carnal pleasure. It is a hymn to the sense of touch:[191]

Ogni altro senso puo ben di leggiero Deluso esser talor da falsi oggetti: Questo sol no, lo qual sempre e del vero Fido ministro e padre dei diletti. Gli altri non possedendo il corpo intero, Ma qualche parte sol, non son perfetti. Questo con atto universal distende Lesue forze per tutto, e tutto il prende.

[Footnote 191: I have pleasure in inviting my readers to study the true doctrine regarding the place of touch among the senses as laid down by Ruskin in Modern Painters, part iii. sec. 1, chap. ii.]

We are led by subtle gradations, by labyrinthine delays, to the final beatification of Adonis. Picture is interwoven with picture, each in turn contributing to the panorama of sensual Paradise. Yet while straining all the resources of his art, with intense sympathy, to seduce his reader, the poet drops of set purpose phrases like the following:

Flora non so, non so se Frine o Taide Trovar mai seppe oscenita si laide.

Here the ape masked in the man turns around and grins, gibbering vulgar words to point his meaning, and casting dirt on his pretended decency. While racking the resources of allusive diction to veil and to suggest an immodest movement of his hero (Adonis being goaded beyond the bounds of boyish delicacy by lascivious sights), he suddenly subsides with a knavish titter into prose:

Cosi il fanciullo all'inonesto gioco.

But the end of all this practice is that innocent Adonis has been conducted by slow and artfully contrived approaches to a wanton's embrace, and that the spectators of his seduction have become, as it were, parties to his fall. To make Marino's cynicism of hypocrisy more glaring, he prefaces each canto with an allegory, declaring that Adonis and Venus symbolize the human soul abandoned to vice, and the allurements of sensuality which work its ruin. In the poem itself, meanwhile, the hero and heroine are consistently treated as a pair of enviable, devoted, and at last unfortunate lovers.[192]

It is characteristic of the mood expressed in the Adone that voluptuousness should not be passionate, but sentimental. Instead of fire, the poet gives us honeyed tears to drink, and rocks the soul upon an ever-rippling tide of Lydian melody. The acme of pleasure, as conceived by him, is kissing. Twenty-three of the most inspired stanzas of the eighth canto are allotted to a panegyric of the kiss, in which delight all other amorous delights are drowned.[193] Tasso's melancholy yearning after forbidden fruit is now replaced by satiety contemplating the image of past joys with purring satisfaction. This quality of self-contented sentiment partly explains why the type of beauty adored is neither womanly nor manly, but adolescent. It has to be tender, fragile, solicitous, unripe; appealing to sensibility, not to passion, by feminine charms in nerveless and soulless boyhood. The most distinctive mark of Adonis is that he has no character, no will, no intellect. He is all sentiment, sighs, tears, pliability, and sweetness.

[Footnote 192: The hypocrisy of the allegory is highly significant for this phase of Italian culture. We have seen how even Tasso condescended to apply it to his noble epic, which needed no such miserable pretense. Exquisitely grotesque was the attempt made by Centorio degli Ortensi to sanctify Bandello's Novelle by supplying each one of them with a moral interpretation (ed. Milano: Gio. Antonio degli Antoni, 1560, See Passano's Novellieri in Prosa, p. 28).]

[Footnote 193: What I have elsewhere, called 'the tyranny of the kiss' in Italian poetry, begins in Tasso's Rinaldo, acquires vast proportions in Guarino's Pastor Fido, and becomes intolerable in Marino's Adone.]

This emasculate nature displays itself with consummate effect in the sobbing farewell, followed by the pretty pettishnesses, of the seventeenth canto.

As a contrast to his over-sweet and cloying ideal of lascivious grace, Marino counterposes extravagant forms of ugliness. He loves to describe the loathsome incantations of witches. He shows Falserina prowling among corpses on a battle-field, and injecting the congealed veins of her resuscitated victim with abominable juices. He crowds the Cave of Jealousy with monsters horrible to sight and sense; depicts the brutality of brigands; paints hideous portraits of eunuchs, deformed hags, unnameable abortions. He gloats over cruelty, and revels in violence.[194] When Mars appears upon the scene, the orchestra of lutes and cymbals with which we had been lulled to sleep, is exchanged for a Corybantic din of dissonances. Orgonte, the emblem of pride, outdoes the hyperboles of Rodomonte and the lunes of Tamburlaine. Nowhere, either in his voluptuousness or in its counterpart of disgust, is there moderation. The Hellenic precept, 'Nothing overmuch,' the gracious Greek virtue of temperate restraint, which is for art what training is for athletes, discipline for soldiers, and pruning for orchard trees, has been violated in every canto, each phrase, the slightest motive of this poem. Sensuality can bear such violation better than sublimity; therefore the perfume of voluptuousness in the Adone, though excessive, is both penetrating and profound; while those passages which aim at inspiring terror or dilating the imagination, fail totally of their effect. The ghastly, grotesque, repulsive images are so overcharged that they cease even to offend. We find ourselves in a region where tact, sense of proportion, moral judgment, and right adjustment of means to ends, have been wantonly abandoned. Marino avowed that he only aimed at surprising his readers:

E del poeta il fin la meraviglia.

[Footnote 194: See the climax to the episode of Filauro and Filora.]

But 45,000 lines of sustained astonishment, of industrious and indefatigable appeals to wonder by devices of language, devices of incident, devices of rhodomontade, devices of innuendo, devices of capricci and concetti, induce the stolidity of callousness. We leave off marveling, and yield what is left of our sensibility to the fascination of inexhaustible picturesqueness. For, with all his faults, Marino was a master of the picturesque, and did possess an art of fascination. The picturesque, so difficult to define, so different from the pictorial and the poetical, was a quality of the seventeenth century corresponding to its defects of bad taste. And this gift no poet shared in larger measure than Marino.

Granted his own conditions, granted the emptiness of moral and intellectual substance in the man and in his age, we are compelled to acknowledge that his literary powers were rich and various. Few writers, at the same time, illustrate the vices of decadence more luminously than this Protean poet of vacuity. Few display more clearly the 'expense of spirit in a waste of shame.' None teach the dependence of art upon moralized and humane motives more significantly than this drunken Helot of genius. His indifference to truth, his defiance of sobriety, his conviction that the sole end of art is astonishment, have doomed him to oblivion not wholly merited. The critic, whose duty forces him to read through the Adone, will be left bewildered by the spectacle of such profuse wealth so wantonly squandered.[195] In spite of fatigue, in spite of disgust, he will probably be constrained to record his opinion that, while Tasso represented the last effort of noble poetry struggling after modern expression under out-worn forms of the Classical Revival, it was left for Marino in his levity and license to evoke a real and novel though rococo form, which nicely corresponded to the temper of his times, and determined the immediate future of art. For this reason he requires the attention which has here been paid him.

[Footnote 195: In support of this opinion upon Marino's merit as a poet, I will cite the episode of Clizio (canto i. p. 17); the tale of Psyche (iv. 65); the tale of the nightingale and the boy—which occurs both in Ford and Crashaw, by the way (vii. 112); the hymn to pleasure (vii. 116); the passage of Venus and Adonis to the bath (viii. 133); the picture of the nymph and satyr (viii. 135); the personification of the Court (x. 167); the Cave of Jealousy (xii. 204-206); the jewel-garden of Falserina (xii. 218); Falserina watching Adonis asleep (xii. 225); Falserina's incantations (xiii. 233); Mars in the lap of Venus surrounded by the loves (xiii. 245); Venus disguised as a gypsy (xv. 290); the game of chess (xv. 297); the leave-taking of Venus and Adonis (xvii. 332); the phantom of dead Adonis (xviii. 357); the grief of Venus (xviii. 358-362); the tales of Hyacinth and Pampinus (xix. 372-378). The references are to ed. Napoli, Boutteaux, 1861.]

But how, it may be asked, was it possible to expand the story of Venus and Adonis into an epic of 45,000 lines? The answer to this question could best be given by an analysis of the twenty cantos: and since few living students have perused them, such a display of erudition would be pardonable. Marini does not, however, deserve so many pages in a work devoted to the close of the Italian Renaissance. It will suffice to say that the slender narrative of the amour of Venus and her boyish idol, his coronation as king of Cyprus, and his death by the boar's tusk, is ingeniously interwoven with a great variety of episodes. The poet finds occasion to relate the principal myths of Hellenic passion treating these in a style which frequently reminds us of Ovid's Metamorphoses; he borrows tales from Apuleius, Lucian, and the pastoral novelists; he develops the theme of jealousy in Mars and Vulcan, introduces his own autobiography, digresses into romantic adventures by sea and land, creates a rival to Venus in the sorceress Falserina, sketches the progress of poetry in one canto and devotes another to a panegyric of Italian princes, extols the House of France and adulates Marie de Medicis, surveys the science of the century, describes fantastic palaces and magic gardens, enters with curious minuteness into the several delights of the five senses, discourses upon Courts, ambition, avarice and honor, journeys over the Mediterranean, conducts a game of chess through fifty brilliant stanzas; in brief, while keeping his main theme in view, is careful to excite and sustain the attention of his readers by a succession of varied and ingeniously suggested novelties. Prolixity, indefatigable straining after sensational effect, interminable description, are the defects of the Adone; but they are defects related to great qualities possessed by the author, to inexhaustible resources, curious knowledge, the improvisatore's facility, the trained rhetorician's dexterity in the use of language, the artist's fervid delight in the exercise of his craft.

Allowing for Marino's peculiar method, his Adone has the excellence of unity which was so highly prized by the poets of his age and nation. Critics have maintained that the whole epic is but a development of the episode of Rinaldo in Armida's garden. But it is more than this. It contains all the main ingredients of the Italian Romance, with the exception of chivalry and war. There is a pastoral episode corresponding to that of Erminia among the shepherds, a magnificent enchantress in the manner of Alcina, an imprisonment of the hero which reminds us of Ruggiero in Atlante's magic castle, a journey like Astolfo's to the moon, a conflict between good and evil supernatural powers, a thread of allegory more or less apparent, a side glance at contemporary history; and these elements are so combined as to render the Adone one of the many poems in the long romantic tradition. It differs mainly from its predecessors in the strict unity of subject, which subordinates each episode and each digression to the personal adventures of the heroine and hero; while the death and obsequies of Adonis afford a tragic close that is lacking to previous poems detached from the Carolingian cycle. Contemporary writers praised it as a poem of peace. But it is the poem of ignoble peace, of such peace as Italy enjoyed in servitude, when a nation of cicisbei had naught to occupy their energies but sensual pleasure. Ingenious as Marino truly was in conducting his romance upon so vast a scheme through all its windings to one issue, we feel that the slender tale of a boy's passion for the queen of courtesans and his metamorphosis into the scarlet windflower of the forest supplied no worthy motive for this intricate machinery. The metaphor of an alum basket crystallized upon a petty frame of wire occurs to us when we contemplate its glittering ornaments, and reflect upon the poverty of the sustaining theme. It might in fact stand for a symbol of the intellectual vacancy of the age which welcomed it with rapture, and of the society which formed a century of taste upon its pattern.

In another and higher literary quality the Adone represents that moment of Italian development. A foreigner may hardly pass magisterial judgment on its diction. Yet I venture to remark that Marino only at rare intervals attains to purity of poetic style; even his best passages are deformed, not merely by conceits to which the name of Marinism has been given, but also by gross vulgarities and lapses into trivial prose. Notwithstanding this want of distinction, however, he has a melody that never fails. The undulating, evenly on-flowing cantilena of his verbal music sustains the reader on a tide of song. That element of poetry, which, as I have observed, was developed with remarkable success by Tasso in some parts of the Gerusalemme is the main strength of the Adone. With Marino the Chant d'Amour never rises so high, thrills so subtly, touches the soul so sweetly and so sadly, as it does in Tasso's verse. But in all those five thousand octave stanzas it is rarely altogether absent. The singing faculty of the Neapolitan was given to this poet of voluptuousness; and if the song is neither deep nor stirring, neither stately nor sublime, it is because his soul held nothing in its vast vacuity but sensuous joy.[196] A musical Casanova, an unmalignant Aretino, he sang as vulgar nature prompted; but he always kept on singing. His partiality for detonating dissonances, squibs and crackers of pyrotechnical rhetoric, braying trumpets and exploding popguns, which deafen and distract our ears attuned to the suave cadence of the cantilena, is no less characteristic of the Neapolitan. Marino had the improvisatory exuberance, the impudence, the superficial passion, the luxurious delight in life, and the noisiness of his birthplace. He also shared its love of the grotesque as complement and contrast to pervading beauty.

[Footnote 196: There are passages of pure cantilena in this poem, where sense is absolutely swallowed up in sound, and words become the mere vehicle for rhythmic melody. Of this verbal music the dirge of the nymphs for Adonis and the threnos of Venus afford excellent examples (xix. pp. 358-361). Note especially the stanza beginning:

Adone, Adone, o bell'Adon, tu giaci, Ne senti i miei sospir, ne miri il pianto! O bell'Adone, o caro Adon, tu taci, Ne rispondi a colei che amasti tanto!

There is nothing more similar to this in literature than Fra Jacopone's delirium of mystic love:

Amor amor Jesu, son giunto a porto; Amor amor Jesu, tu m'hai menato; Amor amor Jesu, dammi conforto; Amor amor Jesu, si m'hai enfiamato.

Only the one is written in a Mixo-Lydian, the other in a Hyper-Phrygian mood. ]

A serious fault to be found with Marino's style is its involved exaggeration in description. Who, for instance, can tolerate this picture of a young man's foot shod with a blue buskin?

L'animato del pie molle alabastro Che oscura il latte del sentier celeste Stretto alla gamba con purpureo nastro Di cuoio azzurro un borsacchin gli veste.

Again he carries to the point of lunacy that casuistical rhetoric, introduced by Ariosto and refined upon by Tasso, with which luckless heroines or heroes announce their doubts and difficulties to the world in long soliloquies. The ten stanzas which set forth Falserina's feelings after she has felt the pangs of love for Adonis, might pass for a parody:

Ardo, lassa, o non ardo! ahi qual io sento Stranio nel cor non conosciuto affetto! E forse ardore? ardor non e, che spento L'avrei col pianto; e ben d'ardor sospetto! Sospetto no, piuttosto egli e tormento. Come tormento fia, se da diletto?

And so forth through eighty lines in which every conceivable change is rung upon _Amo o non amo?... Io vivo e moro pur.... Io non ho core e lo mio cor n'ha dui.... With all this effort no one is convinced of Falserina's emotion, and her long-winded oration reads like a schoolboy's exercise upon some line of the fourth Aeneid. Yet if we allow the sense of rhythmical melody to intervene between our intellectual perception and Marino's language, we shall still be able to translate these outpourings into something which upon the operatic stage would keep its value. False rhetoric and the inability to stop when enough and more than enough has been said upon any theme to be developed, are the incurable defects of Marino. His profuse _fioriture_ compared with the simpler descant of Ariosto or Tasso remind us of Rossini's florid roulades beside the grace of Pergolese's or the majesty of Marcello's song.

The peculiar quality of bad taste which is known in Italy as Marinismo, consisted in a perpetual straining after effect by antitheses, conceits, plans on words degenerating into equivocation, and such-like rhetorical grimaces. Marino's ars poetica was summed up in this sentence: 'Chi non sa far stupir, vada alia striglia.' Therefore, he finds periphrases for the simplest expressions. He calls the nightingale sirena de'boschi, gunpowder l'irreparabil fulmine terreno, Columbus il ligure Argonauta, Galileo il novello Endimione. In these instances, what might have been expanded into a simile, is substituted for the proper word in order to surprise the reader. When he alludes to Dante, he poses a conundrum on that poet's surname: Ben sull'ali liggier tre mondi canta. The younger Palma is complimented on wresting the palm from Titian and Veronese. Guido Reni is apostrophized as: Reni onde il maggior Reno all'altro cede[197] We are never safe in reading his pages from the whirr and whistle of such verbal fireworks. And yet it must be allowed that Marino's style is on the whole freer from literary affectations than that of our own Euphuists. It is only at intervals that the temptation to make a point by clever trickery seems irresistible. When he is seriously engaged upon a topic that stirs his nature to the depth, as in the eighth canto, description flows on for stanza after stanza with limpid swiftness. Another kind of artifice to which he has resort, is the repetition of a dominant word:

[Footnote 197: There is a streamlet called Reno near Bologna.]

Con tai lusinghe il lusinghiero amante La lusinghiera Dea lusinga e prega.

* * * * *

Godiamci, amiamei. Amor d'amor mercede, Degno cambio d'amore e solo amore.

This play on a word sometimes passes over into a palpable pun, as in the following pretty phrase:

O mia dorata ed adorata Dea.

Still we feel that Shakespeare was guilty of precisely the same verbal impertinences. It is only intensity of feeling which prevents such lines as:

Take all my loves, my love, yea take them all; What hast thou then more than thou hadst before? No love, my love, that thou may'st true love call: All mine was thine, before thou hadst this more:

from being Marinistic. But it must be added that this intensity of feeling renders the artifice employed sublimely natural. Here we lay our finger on the crucial point at issue in any estimate of literary mannerism. What is the force of thought, the fervor of emotion, the acute perception of truth in nature and in man, which lies behind that manneristic screen? If, as in the case of Shakespeare, sufficiency or superabundance of these essential elements is palpable, we pardon, we ignore, the euphuism. But should the quality of substance fail, then we repudiate it and despise it. Therefore Marino, who is certainly not more euphuistic than Shakespeare, but who has immeasurably less of potent stuff in him, wears the motley of his barocco style in limbo bordering upon oblivion, while the Swan of Avon parades the same literary livery upon both summits of Parnassus. So true it is that poetry cannot be estimated apart from intellectual and moral contents. Had Marino written:

Prick love for pricking, and you beat love down:

or:

'twould anger him To raise a spirit in his mistress' circle Of some strange nature, letting it there stand Till she had laid it and conjured it down:

or:

The bawdy hand of the dial is now upon The prick of noon:

he would have furnished his accusers with far stronger diatribes against words of double meaning and licentious conceits than his own pages offer. But since it was out of the fullness of world-wisdom that Shakespeare penned those phrases for Mercutio, and set them as pendants to the impassioned descants upon love and death which he poured from the lips of Romeo, they pass condoned and unperceived.

Only poverty of matter and insincerity of fancy damn in Marino those literary affectations which he held in common with a host of writers—with Gorgias, Aeschylus, Chaeremon, Philostratus, among Greeks; with Petrarch, Boccaccio, Bembo, Aretino, Tasso, Guarini, among Italians; with Calderon and Cervantes, not to mention Gongora, among Spaniards; with the foremost French and English writers of the Renaissance; with all verbal artists in any age, who have sought unduly to refine upon their material of language. In a word, Marino is not condemned by his so-called Marinism. His true stigma is the inadequacy to conceive of human nature except under a twofold mask of sensuous voluptuousness and sensuous ferocity. It is this narrow and ignoble range of imagination which constitutes his real inferiority, far more than any poetical extravagance in diction. The same mean conception of humanity brands with ignominy the four generations over which he dominated—that brood of eunuchs and courtiers, churchmen and Cavalieri serventi, barocco architects and brigands, casuists and bravi, grimacers, hypocrites, confessors, impostors, bastards of the spirit, who controlled Italian culture for a hundred years.

At a first glance we shall be astonished to find that this poet, who may justly be regarded as the corypheus of Circean orgies in the seventeenth century, left in MS. a grave lament upon the woes of Italy. Marino's Pianto d'Italia has no trace of Marinism. It is composed with sobriety in a pedestrian style of plainness, and it tells the truth without reserve. Italy traces her wretchedness to one sole cause, subjection under Spanish rule.

Lascio ch'un re che di real non tiene Altro che il nome effemminato e vile A sua voglia mi reggi, e di catene Barbare mi circondi il pie servile.

This tyrant foments jealousy and sows seeds of discord between the Italian states. His viceroys are elected from the cruelest, the most unjust, the most rapacious, and the most luxurious of the courtiers crawling round his throne. The College of Cardinals is bought and sold. No prince dares move a finger in his family or state without consulting the Iberian senate; still less can he levy troops for self-defense. Yet throughout Europe Spanish victories have been obtained by Italian generals; the bravest soldiers in foreign armies are Italian exiles. Perhaps it may be argued that the empty titles which abound in every petty city, the fulsome promises on which those miserable vassals found their hopes, are makeweights for such miseries. Call them rather chains to bind the nation, lures and birdlime such as snarers use. There is but one quarter to which the widowed and discrowned Queen of Nations can appeal for succor. She turns to Carlo Emmanuele, Duke of Savoy, to the hills whence cometh help. It was not, however, until two centuries after Marino penned these patriotic stanzas, that her prayer was answered. And the reflection forced upon us when we read the Pianto d'Italia, is that Marino composed it to flatter a patron who at that moment entertained visionary schemes of attacking the Spanish hegemony.

To make any but an abrupt transition from Marino to Chiabrera would be impossible. It is like passing from some luxurious grove of oranges and roses to a barren hill-top without prospect over sea or champaign. We are fortunate in possessing a few pages of autobiography, from which all that is needful to remember of Gabriello Chiabrera's personal history may be extracted. He was born in 1552 at Savona, fifteen days after his father's death. His mother made a second marriage, and left him to the care of an uncle, with whom at the age of nine he went to reside in Rome. In the house of this bachelor uncle the poor little orphan pined away. Fever succeeded fever, until his guardian felt that companionship with boys in play and study was the only chance of saving so frail a life as Gabriello's. Accordingly he placed the invalid under the care of the Jesuits in their Collegio Romano. Here the child's health revived, and his education till the age of twenty throve apace. The Jesuits seem to have been liberal in their course of training; for young Chiabrera benefited by private conversation with Paolo Manuzio and Sperone Speroni, while he attended the lectures of Muretus in the university.