Poliziano

“ Poliziano's crowning merit as a stylist was that he knew how to blend the antique and the romantic, correct drawing with fleshly fullness. Breadth of design and harmony of color have rarely been produced in more magnificent admixture. The octave stanza, which in the hands of Boccaccio was languid and diffuse, in the hands of Lorenzo harsh, in the hands of Pulci rugged, became under Poliziano's treatment an inexhaustible instrument of varying melodies. At one time, beneath his touch, the meter takes an epic dignity ”

“ As a professor, none of the humanists achieved more brilliant successes than Poliziano. Among his pupils could be numbered the chief students of Europe. Not to mention Italians, it will suffice to record the names of Reuchlin, Grocin, Linacre, and the Portuguese Tessiras, who carried each to his own country the culture they had gained in Florence. The first appearance of Poliziano in the lecture-room was not calculated to win admiration. ”

“ Poliziano is the first Latin poet who compels attention in the fifteenth century; nor was he surpassed, in fertility of conception and mastery of metre, by any of his numerous successors. With all his faults of style and crudities of diction, Poliziano, in my opinion, deserves the chief place among original poets of revived Latin literature. Bembo wrote more elegantly, Navagero more classically, Amalteo with a grace more winning. Yet these versifiers owe their celebrity to excellence of imitation. ”

“ Love, as understood in Florence of the fifteenth century, was neither; nor was Poliziano the man to have revived Platonic mysteries or chivalrous enthusiasms. When the octave stanzas, written with this amorous intention, were strung together into a continuous poem, this form of verse took the title of Rispetto Gontinuato. In the collection of Poliziano's poems there are several examples of the long Rispetto, carelessly enough composed, as may be gathered from the recurrence of the same stanzas in several poems. All repeat the old arguments, the old enticements to a less than lawful love. ”

“ The tragic catastrophe of the Pazzi Conjuration cut short Poliziano's panegyric by the murder of his hero. Meanwhile the poet had achieved his purpose. His torso presented to Italy a model of style, a piece of written art adequate to the great painting of the Renaissance period, a double star of poetry which blent the splendours of the ancient and the modern world. To render into worthy English the harmonies of Poliziano is a difficult task. Yet this must be attempted if an English reader is to gain any notion of the scope and substance of the Italian poet's art. ”

“ Among Poliziano's minor poems it is enough to mention the elegiac couplets on some violets sent him by his mistress, the verses descriptive of a beautiful girl, and the lamentation for the wife of Sismondo della Stufa. [430] They illustrate the delicacy of his style and the freedom of his fancy in the treatment of occasional themes, and are far superior to his epigrams and epitaphs. [431] The numerous encomiastic elegies addressed to Lorenzo de' Medici and other patrons are wholly without value. Poliziano was a genuine poet. He needed the inspiration of true feeling or of lively fancy ”

“ Still we find in these Rispetti a quality which their rustic models lack. This is the roseate fluency and honeyed rapture of their author—an exquisite limpidity and ease of diction that reveal the inborn gift of art. Language in Poliziano's hand is plastic, taking form like softest wax, so that no effort of composition, no labor of the file can be discerned. ”

“ For why is a young man like Poliziano, who was not yet born when I was already held worthy to maintain a discussion with Thomas of Sarzana, to have a glorious memory as a commentator on the Pandects—why is Ficino, whose Latin is an offence to me, and who wanders purblind among the superstitious fancies that marked the decline at once of art, literature, and philosophy, to descend to posterity as the very high priest of Platonism, while I, who am more than their equal, have not effected anything but scattered work, which will be appropriated by other men? ”

“ The transition to Lorenzo at this point is natural. A solemn peroration in praise of the Medicean prince, himself a poet, whose studies formed the recreation of severer labours, ends the composition. This is written in Poliziano's best style, and, though it is too long to quote, six lines may be selected as indicating the theme of the argument:—
We possess the whole of Poliziano in the 'Nutricia.' It displays the energy of intellect that carried him on bounding verse through the intricacies of a subject difficult by reason of its scope and magnitude. ”

“ Poliziano displayed his inborn taste and mastery of art in nothing more than in the ease with which he preserved the passionate simplicity of the Tuscan Volkslied, while giving it a place among the lyrics of the learned. We have already seen how that had been achieved by Boccaccio and Sacchetti, and afterwards in a measure by Lorenzo de' Medici. But the problem of writing love-poetry for the people in their own forms, without irony and innuendo, was not now so easy as it had been in the fourteenth century, when no barrier had yet arisen between educated poets and the folk. ”

“ He appears before us as the dictator of Italian culture in a double capacity—as the man who most perfectly expressed the Italian conception of humanism, and brought erudition into accord with the pursuit of noble and harmonious form, and also as the man whose vernacular compositions were more significant than any others of the great revolution in favour of Italian poetry which culminated in Ariosto. Beyond the sphere of pure scholarship and pure literature Poliziano did not venture. ”

“ Poliziano describes the agony of suspense of the small group in the new sacristy, who thought the church was in the hands of the Pazzi. “Some feared that the priest’s dagger was poisoned, and Lorenzo’s friend, Antonio Ridolfi, a most excellent youth, sucked the wound in his neck. Lorenzo, however, gave no heed to it, continually repeating, ‘Is Giuliano safe?’ [Pg 191] Then came sharp knocks at the door. ‘We are friends, we are relations. Let Lorenzo come out ere the enemy gains a foothold.’ We were undecided, and shouted, ‘Enemies or friends? ”

“ Nowhere does Poliziano exhibit any appreciation of the æsthetic value of poetry, but his enthusiasm for the great poets, and indeed for all forms of ancient culture, is unmistakable, and combined with his immense erudition marks him as a representative poet of humanism. ”

“ Poliziano studied rhetoric under Cristofero, Landino, and Andronico, philosophy under Argyropoulos and Marsilio Ficino, in the Florentine Studio from his fifteenth to his twentieth year. Lorenzo de’ Medici, after reading his translation of Homer, provided for his education, and he became one of Lorenzo’s most intimate friends, tutor to his children and his librarian. Poliziano took his degree as Doctor of Law, and entering the Church was made a Canon of the cathedral of Florence. He wrote scholia and notes to Ovid, Catullus, Statius, Suetonius, Pliny the Younger, and the Historicæ Augustæ ”

“ We have already seen to what extent the neo-Latin poets cultivated a form of verse that, more than any other, requires the skill of a great artist and the inspiration of true poetry, if it is to shun intolerable tedium. [291] The best didactic poems written in Latin by an Italian are undoubtedly Poliziano's Sylvæ, and of these the most refined is the Rusticus. [292] But Poliziano, in composing them, struck out a new line. He did not follow his Virgilian models closely. He chose the form of declamation to an audience, in preference to the time-honored usage of apostrophizing a patron. ”

“ Three lyrics of higher artistic intention and of very different caliber mark the zenith of Poliziano's achievement. These are the portrait of the country girl, La brunettina mia; the canzone to La Bella Simonetta, written for Giuliano de' Medici; and the magnificent imitation of Petrarch's manner, beginning Monti, valli, antri e colli. [508] They are three studies in pictorial poetry, transparent, limpid, of incomparable freshness. A woman has sat for the central figure of each, and the landscape round her is painted with the delicacy of a quattrocento Florentine. ”

“ Indeed it may be said with truth that Poliziano's most eminent faculty as a descriptive poet corresponded exactly to the genius of the painters of his day. To produce pictures radiant with Renaissance colouring, and vigorous with Renaissance passion, was the function of his art, not to express profound thought or dramatic situations. This remark might be extended with justice to Ariosto, and Tasso, and Boiardo. The great narrative poets of the Renaissance in Italy were not dramatists ”

“ The attention of learned men was directed in the renascence of Tuscan literature to the beauty of these lyrics. Poliziano, writing to Lorenzo de' Medici in 1488, and describing his journey with Pietro through Montepulciano and Acquapendente in the month of May, says that he and his companions amused themselves with rappresaglie or adaptations of the songs they heard upon the way. ”

“ His Miscellanea, published in Florence in 1489, were arranged for the press at Lorenzo’s request. Poliziano’s Italian poetry, particularly the Stanze per la Giostra, or Tournament, of Giuliano de’ Medici is beautiful, and his Sylvæ, odes, epigrams, and other short Latin poems are celebrated. He also wrote Panepistemon, a category of the various branches of knowledge, and when quite a lad the Orfeo, one of the earliest Italian operas. ”

“ Agnolo Poliziano, born in 1454, was the son of Benedetto de’ Cini, commonly called Ambrogini, a lawyer. He dropped his family name and took that of Poliziano from his native town Montepulciano (Mons Politianus) . His father was murdered when he was a child of eight and he was sent to Florence to live with an uncle, Cino di Mattei, a poor man who lived near Piazza S. Spirito in Via Saturno. ”

“ One pities them both. Clarice, already far gone in consumption, was irritable and anxious about her husband, whose attitude towards the Holy See she, with her education, could not approve; while Poliziano, used to the brilliant talk in the Medici palace, where he measured his wit with Luigi Pulci, Matteo Franco, Marsilio Ficino, Pico della Mirandola, &c., and Lorenzo himself, was bored to death and always longing to be back in Florence. ”

“ They had an immediate, a lasting and a wide renown, encouraging the scholars of the next century and a half to throw their occasional discoveries in the field of scholarship into a form at once so attractive and so instructive. Poliziano was not, however, contented with these simply professorial and scholastic compositions. Nature had endowed him with literary and poetic gifts of the highest order. These he devoted to the composition of Latin and Greek verses, which count among the best of those produced by men of modern times in rivalry with ancient authors. ”

“ The fault of this can scarcely be said to have rested with one man more than with another; nor can we lay the blame on Poliziano, though he undoubtedly represented the class who were destined to continue literature upon these lines. It was the combined result of scholarship, which for a whole century had diverted the minds of men to the form and words of literature ”

“ Poliziano was now known as the "Homeric youth." It was not long before he was hailed the king of Italian scholars and the literary genius of his time. When he was but thirty he became professor of Greek and Latin in the University of Florence, and drew to his feet students from all parts of Europe. John Reuchlin hastened from Germany, William Grocyn from the shades of Oxford, and from the same seat of learning the mighty Thomas Linacre, later to found the 71 Royal College of Physicians. Lorenzo's sons, Piero and Giovanni, were for a time his pupils, but their mother took them away. ”

“ The spirit of Roman literature lived again in Poliziano. If he cannot be compared with the Augustan authors, he will pass muster at least with the poets of the silver age. Neither Statius nor Ausonius produced more musical hexameters, or expressed their feeling for natural beauty in phrases marked with more spontaneous grace. Of his Greek elegiacs only a few specimens survive. These, in spite of certain licenses not justified by pure Greek prosody, might claim a place in the 'Anthology,' among the epigrams of Agathias and Paulus Silentiarius. ”

“ He realised what the Italians had been striving after—the new birth of antiquity in a living man of the modern world. By way of modifying this high panegyric, it may be conceded that Poliziano had the defects of his qualities. Using Latin with the freedom of a master, he was not careful to purge his style of obsolete words and far-fetched phrases, or to maintain the diction of one period in each composition. His fluency betrayed him into verbiage, and his descriptions are often more diffuse than vigorous. Nor will he bear comparison with some more modern scholars on the point of accuracy. ”

“ Francesco de’ Pazzi, Giovanni’s brother, described by Poliziano as “a man of blood who, when he meditated any design, went straight to his goal, being hindered by no regard for morality, religion, reputation, or fair fame,” quitted Florence and went to Rome, where the Pazzi had a banking house. He knew Sixtus IV. and was aware of his hatred of the Medici, a hatred he gratified by appointing Cardinal Francesco Salviati, a man of evil reputation and bitterly hostile to Lorenzo, to the See of Pisa. ”