Italian Renaissance - Italy - Sannazaro...
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History: The Civilization of the Renaissance in Italy by Jacob Burckhardt

Index | pg. 93 |Previous Page - Next Page

Sannazaro ...

The fame of Sannazaro, the number of his imitators, the enthusiastic homage which was paid to him by the greatest men, all show how dear and necessary he was to his age. On the threshold of the Reformation he solved for the Church the problem, whether it were possible for a poet to be a Christian as well as a classic; and both Leo and Clement were loud in their thanks for his achievements.

And, finally, contemporary history was now treated in hexameters or distichs, sometimes in a narrative and sometimes in a panegyrical style, but most commonly to the honour of some prince or princely family. We thus meet with a Sforziad, a Borseid, a Laurentiad, a Borgiad, a Trivulziad, and the like. The object sought after was certainly not attained; for those who became famous and are now immortal owe it to anything rather than to this sort of poems, for which the world has always had an ineradicable dislike, even when they happen to be written by good poets. A wholly different effect is produced by smaller, simpler and more unpretentious scenes from the lives of distinguished men, such as the beautiful poem on Leo X's 'Hunt at Palo,' or the 'Journey of Aulius II' by Adrian of Corneto. Brilliant descriptions of hunting-parties are found in Ercole Strozzi, in the above-mentioned Adrian, and in others; and it is a pity that the modern reader should allow himself to be irritated or repelled by the adulation with which they are doubtless filled. The masterly treatment and the considerable historical value of many of these most graceful poems guarantee to them a longer existence than many popular works of our own day are likely to attain.

In general, these poems are good in proportion to the sparing use of the sentimental and the general. Some of the smaller epic poems, even of recognized masters, unintentionally produce, by the ill-timed introduction of mythological elements, an impression that is indescribably ludicrous. Such, for instance, is the lament of Ercole Strozzi on Cesare Borgia. We there listen to the complaint of Roma, who had set all her hopes on the Spanish Popes, Calixtus III and Alexander VI, and who saw her promised deliverer in Cesare. His history is related down to the catastrophe of 1503. The poet then asks the Muse what were the counsels of the gods at that moment, and Erato tells how, upon Olympus, Pallas took the part of the Spaniards, Venus of the Italians, how both then embrace the knees of Jupiter, how thereupon he kisses them, soothes them, and explains to them that he can do nothing against the fate woven by the Parc, but that the divine promises will be fulfilled by the child of the House of Este-Borgia.60 After relating the fabulous origin of both families, he declares that he can confer immortality on Cesare as little as he could once, in spite of all entreaties, on Memnon or Achilles; and concludes with the consoling assurance that Cesare, before his own death, will destroy many people in war. Mars then hastens to Naples to stir up war and confusion, while Pallas goes to Nepi, and there appears to the dying Cesare under the form of Alexander VI. After giving him the good advice to submit to his fate and be satisfied with the glory of his name, the papal goddess vanishes 'like a bird.'

Yet we should needlessly deprive ourselves of an enjoyment which is sometimes very great, if we threw aside everything in which classical mythology plays a more or less appropriate part. Here, as in painting and sculpture, art has often ennobled what is in itself purely conventional. The beginnings of parody are also to be found by lovers of that class of literature, e.g. in the Macaroneid-- to which the comic Feast of the Gods, by Giovanni Bellini, forms an early parallel.



Index | pg. 93 |Previous Page - Next Page

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