按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
viously imitates the Improvisatori in his 'Morgante；' and both his poetry and Boiardo's are in part； at least； a half…conscious parody of the chivalrous poetry of the Middle Ages。 Such a caricature was deliberately undertaken by the great parodist Teofilo Folengo （about 1520）。 Under the name of Limerno Pitocco； he composed the 'Orlandino；' in which chivalry appears only as a ludicrous setting for a crowd of modern figures and ideas。 Under the name of Merlinus Coccaius he described the journeys and exploits of his fantastic vagabonds （also in the same spirit of parody） in half…Latin hexameters； with all the affected pomp of the learned Epos of the day （'Opus Macaronicorum'）。 Since then caricature has been constantly； and often brilliantly； represented on the Italian Parnassus。
About the middle period of the Renaissance a theoretical analysis of wit was undertaken； and its practical application in good society was regulated more precisely。 The theorist was Gioviano Pontano。 In his work on speaking； especially in the third and fourth books； he tries by means of the comparison of numerous jokes or 'facetiae' to arrive at a general principle。 How wit should be used among people of position is taught by Baldassare Castiglione in his 'Cortigiano。' Its chief function is naturally to enliven those present by the repetition of comic or graceful stories and sayings； personal jokes； on the contrary； are discouraged on the ground that they wound unhappy people； show too much honour to wrong…doers； and make enemies of the powerful and the spoiled children of fortune； and even in repetition； a wide reserve in the use of dramatic gestures is recommended to the gentleman。 Then follows； not only for purposes of quotation； but as patterns for future jesters； a large collection of puns and witty sayings； methodically arranged according to their species； among them some that are admirable。 The doctrine of Giovanni della Casa； some twenty years later； in his guide to good manners； is much stricter and more cautious； with a view to the consequences； he wishes to see the desire of triumph banished altogether from jokes and 'burle。' He is the herald of a reaction； which was certain sooner or later to appear。
Italy had； in fact； become a school for scandal； the like of which the world cannot show； not even in France at the time of Voltaire。 In him and his comrades there was assuredly no lack of the spirit of negation； but where； in the eighteenth century； was to be found the crowd of suitable victims； that countless assembly of highly and characteristically developed human beings； celebrities of every kind； statesmen； churchmen； inventors； and discoverers； men of letters； poets and artists； all of whom then gave the fullest and freest play to their individuality。 This host existed in the fifteenth and sixteenth centuries； and by its side the general culture of the time had educated a poisonous brood of impotent wits； of born critics and railers； whose envy called for hecatombs of victims； and to all this was added the envy of the famous men among themselves。 In this the philologists notoriously led the wayFilelfo； Poggio； Lorenzo Valla； and others while the artists of the fifteenth century lived in peaceful and friendly competition with one another。 The history of art may take note of the fact。
Florence； the great market of fame； was in this point； as we have said； in advance of other cities。 'Sharp eyes and bad tongues' is the description given of the inhabitants。 An easygoing contempt of everything and everybody was probably the prevailing tone of society。 Machiavelli； in the remarkable prologue to his 'Mandragola；' refers rightly or wrongly the visible decline of moral force to the general habit of evil…speaking； and threatens his detractors with the news that he can say sharp things as well as they。 Next to Florence comes the Papal court； which had long been a rendezvous of the bitterest and wittiest tongues。 Poggio's 'Facetiae' are dated from the Chamber of Lies _（bugiale） _of the apostolic notaries； and when we remember the number of disappointed place…hunters； of hopeless competitors and enemies of the favorites； of idle； profligate prelates there assembled； it is intelligible how Rome became the home of the savage pasquinade as well as of more philosophical satire。 If we add to this the widespread hatred borne to the priests； and the well…known instinct of the mob to lay any horror to the charge of the great； there results an untold mass of infamy。 Those who were able； protected themselves best by contempt both of the false and true accusations； and by brilliant and joyous display。 More sensitive natures sank into utter despair when they found themselves deeply involved in guilt； and still more deeply in slander。 In course of time calumny became universal； and the strictest virtue was most certain of all to challenge the attacks of malice。 Of the great pulpit orator； Fra Egidio of Viterbo； whom Leo made a cardinal on account of his merits； and who showed himself a man of the people and a brave monk in the calamity of 1527； Giovio gives us to understand that he preserved his ascetic pallor by the smoke of wet straw and other means of the same kind。 Giovio is a genuine Curial in these matters。 He generally begins by telling his story； then adds that he does not believe it； and then hints at the end that perhaps after all there may be something in it。 But the true scapegoat of Roman scorn was the pious and moral Adrian VI。 A general agreement seemed to be made to take him only on the comic side。 He fell out from the first with the formidable Francesco Berni； threatening to have thrown into the Tiber not； as people said； the statue of Pasquino； but the writers of the satires themselves。 The vengeance for this was the famous 'Capitolo' against Pope Adriano； inspired not exactly by hatred； but by contempt for the comical Dutch barbarian； the more savage menaces were reserved for the cardinals who had elected him。 The plague； which then was prevalent in Rome； was ascribed to him； Berni and others sketch the environment of the Pope with the same sparkling untruthfulness with which the modern _feuilletoniste _turns black into white； and everything into anything。 The biography which Paolo Giovio was commissioned to write by the cardinal of Tortosa； and which was to have been a eulogy； is for anyone who can read between the lines an unexampled piece of satire。 It sounds ridiculous at least for the Italians of that timeto hear how Adrian applied to the Chapter of Saragossa for the jawbone of St。 Lambert； how the devout Spaniards decked him out till he looked 'like a right well… dressed Pope'； how he came in a confused and tasteless procession from Ostia to Rome； took counsel about burning or drowning Pasquino； would suddenly break off the most important business when dinner was announced； and lastly； at the end of an unhappy reign； how be died of drinking too much beerwhereupon the house of his physician was hung with garlands by midnight revellers； and adorned with the inscription； 'Liberatori Patriae S。P。Q。R。' It is true that Giovio had lost his money