Various

“ In his Operette morali—dialogues and discourses marked by a cold and bitter smile at human destinies which freezes the reader—the clearness of style, the simplicity of language and the depth of conception are such that perhaps he is not only the greatest lyrical poet since Dante, but also one of the most perfect writers of prose that Italian literature has had.
As realism in art gained ground, the positive method in criticism kept pace with it. ”

“ It was a wonderful century which the life of one man had thus all but spanned. Isocrates had reached early manhood when the long struggle of the Peloponnesian War—begun in his childhood—ended with the overthrow of Athens. The middle period of his career was passed under the supremacy of Sparta. His more advanced age saw that brief ascendancy which the genius of Epameinondas secured to Thebes. And he lived to urge on Philip of Macedon a greater enterprise than any which the Hellenic world could offer. ”

“ Lorenzo de’ Medici lived entirely in the classical world; and yet if we read his poems we only see the man of his time, the admirer of Dante and of the old Tuscan poets, who takes inspiration from the popular muse, and who succeeds in giving to his poetry the colours of the most pronounced realism as well as of the loftiest idealism, who passes from the Platonic sonnet to the impassioned triplets of the Amori di Venere, from the grandiosity of the Salve to Nencia and to Beoni, from the Canto carnascialesco to the Lauda. ”

“ But on the other hand it remains equally true that, so far as concerns a living confidence and uniformity in the use and style of the literary language—that is, of this Tuscan or Florentine material called to nourish the civilization and culture of all the Italians—the case is not a little altered, and the Italian nation appears to enjoy less fortunate conditions than other nations of Europe. Modern Italy had no glowing centre for the life of the whole nation into which and out of which the collective thought and language could be poured in ceaseless current for all and by all. ”

“ Galileo was not only a great man of science, but also occupied a conspicuous place in the history of letters. A devoted student of Ariosto, he seemed to transfuse into his prose the qualities of that great poet—a clear and frank freedom of expression, a wonderful art of knowing how to say everything with precision and ease, and at the same time with elegance. Galileo’s prose is in perfect antithesis to the poetry of his time. Perhaps it is the best prose that Italy has ever had ”

“ Petrarch is a psychological poet, who dives down into his own soul, examines all his feelings, and knows how to render them with an art of exquisite sweetness. The lyrics of Petrarch are no longer transcendental like Dante’s, but on the contrary keep entirely within human limits. In struggles, in doubts, in fears, in disappointments, in griefs, in joys, in fact in everything, the poet finds material for his poetry. The second part of the Canzoniere is the more passionate. The Trionfi are inferior; it is clear that in them Petrarch tried to imitate the Divina Commedia, but never came near it. ”

“ The mountain illuminated by the sun is universal monarchy. The three beasts are the three vices and the three powers which offered the greatest obstacles to Dante’s designs: envy is Florence, light, fickle and divided by the Bianchi and Neri; pride is the house of France; avarice is the papal court; Virgil represents reason and the empire. Beatrice is the symbol of the supernatural aid without which man cannot attain the supreme end, which is God.
But the merit of the poem does not lie in the allegory, which still connects it with medieval literature. ”

“ Nothing could have originated more easily than a story that he killed himself from intense chagrin. Every one knew that Isocrates had believed in Philip; and most people would have thought that Chaeronea was a crushing refutation of that belief. Once started, the legend would have been sure to live, not merely because it was picturesque, but also because it served to accentuate the contrast between the false prophet and the true—between Isocrates and Demosthenes ”

“ The next hope was to find some one man equal to the task. Jason of Pherae, Dionysius I. of Syracuse, Archidamus III., son of Agesilaus—each in turn rose as a possible leader of Greece before the imagination of the old man who was still young in his enthusiastic hope, and one after another they failed him. But now a greater than any of these was appearing on the Hellenic horizon, and to this new luminary the eyes of Isocrates were turned with eager anticipation. ”

“ Under its influence Jacopone went on raving for years and years, subjecting himself to the severest sufferings, and giving vent to his religious intoxication in his poems. There is no art in him, there is not the slightest indication of deliberate effort; there is only feeling, a feeling that absorbed him, fascinated him, penetrated him through and through. His poetry was all inside him, and burst out, not so much in words as in sighs, in groans, in cries that often seem really to come from a monomaniac. ”

“ The whole novelty and poetic power of this school, which really was the beginning of Italian art, consist in what Dante expresses so happily—
that is to say, in a power of expressing the feelings of the soul in the way in which love inspires them, in an appropriate and graceful manner, fitting form to matter, and by art fusing one with the other. The Tuscan lyric poetry, the first true Italian art, is pre-eminent in this artistic fusion, in the spontaneous and at the same time deliberate action of the mind. ”

“ The intellectual life of Italy showed itself in an altogether special, positive, almost scientific, form, in the study of Roman law, in the chronicles of Farfa, of Marsicano and of many others, in translations from Aristotle, in the precepts of the school of Salerno, in the travels of Marco Polo—in short, in a long series of facts which seem to detach themselves from the surroundings of the middle age, and to be united on the one side with classical Rome and on the other with the Renaissance. ”

“ The tenacity of classical traditions, the affection for the memories of Rome, the preoccupation with political interests, particularly shown in the wars of the Lombard communes against the empire of the Hohenstaufens, a spirit more naturally inclined to practice than to theory—all this had a powerful influence on the fate of Italian literature. Italy was wanting in that combination of conditions from which the spontaneous life of a people springs. ”

“ Parini, satirizing his time, fell back upon truth, and finally made art serve the purpose of civil morality. As an artist, going straight back to classical forms, aspiring to imitate Virgil and Dante, he opened the way to the fine school that we shall soon see rise, that of Alfieri, Foscolo and Monti. As a work of art, the Giorno is wonderful for the Socratic skill with which that delicate irony is constantly kept up by which he seems to praise what he effectually blames. ”

“ The fervid orator personifies that empire, that false mistress which has lured Athens, then Sparta, then Athens once more, to the verge of destruction. “Is she not worthy of detestation?” Leadership passes into empire; empire begets insolence; insolence brings ruin. The Areopagiticus breathes a kindred spirit in regard to home policy. Athenian life had lost its old tone. Apathy to public interests, dissolute frivolity, tawdry display and real poverty—these are the features on which Isocrates dwells. ”

“ This long life has an element of pathos not unlike that of Greek tragedy; a power above man was compelling events in a direction which Isocrates could not see; but his own agency was the ally of that power, though in a sense which he knew not; his vision was of Greece triumphant over Asia, while he was the unconscious prophet of an age in which Asia should be transformed by the diffusion of Hellenism.10 ”

“ The Contrasto of Ciullo d’Alcamo is the most remarkable relic of a kind of poetry that has perished or which perhaps was smothered by the ancient Sicilian literature. Its distinguishing point was its possessing all the opposite qualities to the poetry of the rhymers of what we shall call the Sicilian school. Vigorous in the expression of feelings, it seems to come from a real sentiment. The conceits, which are sometimes most bold and very coarse, show that it proceeded from the lowest grades of society. Everything is original in Ciullo’s Contrasto. Conventionality has no place in it. ”

“ He wrote after the manner of the Latin authors, trying to imitate Livy, putting together long and sonorous periods in a style that aimed at being like Boccaccio’s, caring little about that which constitutes the critical material of history, only intent on declaiming his academic prose for his country’s benefit. Botta wanted to be classical in a style that could no longer be so, and hence he failed completely to attain his literary goal. His fame is only that of a man of a noble and patriotic heart. Not so bad as the two histories of Italy is that of the Guerra dell’ indipendenza americana. ”

“ On the whole the Italian novels of the 13th century have little originality, and are only a faint reflection of the very rich legendary literature of France. Some attention should be paid to the Lettere of Fra Guittone d’Arezzo, who wrote many poems and also some letters in prose, the subjects of which are moral and religious. Love of antiquity, of the traditions of Rome and of its language, was so strong in Guittone that he tried to write Italian in a Latin style, and it turned out obscure, involved and altogether barbarous. ”

“ Everything is supersensual, aerial, heavenly, and the real Beatrice is always gradually melting more and more into the symbolical one—passing out of her human nature and into the divine. Several of the lyrics of the Canzoniere deal with the theme of the “new life”; but all the love poems do not refer to Beatrice, while other pieces are philosophical and bridge over to the Convito.
The work which made Dante immortal, and raised him above all other men of genius in Italy, was his Divina Commedia. An allegorical meaning is hidden under the literal one of this great epic. ”

“ Lysias threw off the stiff restraints of the earlier periodic style, with its wooden monotony; he is too fond indeed of antithesis always to avoid a rigid effect; but, on the whole, his style is easy, flexible and various; above all, its subtle art usually succeeds in appearing natural. Now this is just what the art of Isaeus does not achieve. With less love of antithesis than Lysias, and with a diction almost equally pure and plain, he yet habitually conveys the impression of conscious and confident art. ”

“ Gabriele d’ Annunzio has produced original work in poetry, drama and fiction, of extraordinary quality. He began with some lyrics which were distinguished no less by their exquisite beauty of form than by their licence, and these characteristics reappeared in a long series of poems, plays and novels. D’ Annunzio’s position as a man of the widest literary and artistic culture is undeniable, and even his sternest critics admit his mastery of the Italian tongue, based on a thorough knowledge of Italian literature from the earliest times. ”

“ That of Alexander the Great (q.v.) gave rise to many French, German and Spanish poems,—in Italy, only to the Latin distichs of Qualichino of Arezzo. The whole of Europe was full of the legend of Arthur (q.v.) . The Italians contented themselves with translating and with abridging the French romances, without adding anything of their own. The Italian writer could neither appropriate the legend nor colour it with his own tints. Even religious legend, so widely spread in the middle ages, and springing up so naturally as it did from the heart of that society, only put out a few roots in Italy. ”

“ The splendid Austrian cavalry (always at a disadvantage in Italy) found no opportunity to redress the balance, and their slow-moving and over-loaded infantry, in spite of its devotion, was no match in broken country for the swift and eager French. The forces engaged were 54,000 French (one-third of the allied army) to 58,000 Austrians (about half of Gyulai’s total force) . Thus the fears of Napoleon as regards an Austrian attack from Mortara-Vigevano neutralized the bad distribution of his opponent’s force, and Magenta was a fair contest of equal numbers. ”