the civilization of the renaissance in italy-第54部分

快捷操作: 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! 如果本书没有阅读完，想下次继续接着阅读，可使用上方 "收藏到我的浏览器" 功能 和 "加入书签" 功能！

assion；　　some　features　of　which　are　immortal。　But　these　pearls　lie　scattered　in　　the　ocean　of　artificial　convention；　and　they　are　altogether　something　　very　different　from　a　complete　objective　picture　of　the　inward　man　and　　his　spiritual　wealth。

Italy；　too；　in　the　thirteenth　century　had；　through　the　'Trovatori；'　its　　share　in　the　poetry　of　the　courts　and　of　chivalry。　To　them　is　mainly　　due　the　'Canzone；'　whose　construction　is　as　difficult　and　artificial　as　　that　of　the　songs　of　any　northern　minstrel。　Their　subject　and　mode　of　　thought　represents　simply　the　conventional　tone　of　the　courts；　be　the　　poet　a　burgher　or　a　scholar。

But　two　new　paths　at　length　showed　themselves；　along　which　Italian　　poetry　could　advance　to　another　and　a　characteristic　future。　They　are　　not　the　less　important　for　being　concerned　only　with　the　formal　and　　external　side　of　the　art。

To　the　same　Brunetto　Latinithe　teacher　of　Dantewho；　in　his　　'Canzoni；'　adopts　the　customary　manner　of　the　'Trovatori；'　we　owe　the　　first…known　'versi　sciolti；'　or　blank　hendecasyllabic　verses；　and　in　　his　apparent　absence　of　form；　a　true　and　genuine　passion　suddenly　　showed　itself。　The　same　voluntary　renunciation　of　outward　effect；　　through　confidence　in　the　power　of　the　inward　conception；　can　be　　observed　some　years　later　in　fresco…painting；　and　later　still　in　　painting　of　all　kinds；　which　began　to　cease　to　rely　on　color　for　its　　effect；　using　simply　a　lighter　or　darker　shade。　For　an　age　which　laid　　so　much　stress　on　artificial　form　in　poetry；　these　verses　of　Brunetto　　mark　the　beginning　of　a　new　epoch。84

About　the　same　time；　or　even　in　the　first　half　of　the　thirteenth　　century；　one　of　the　many　strictly　balanced　forms　of　mere；　in　which　　Europe　was　then　so　fruitful；　became　a　normal　and　recognized　form　in　　Italythe　sonnet。　The　order　of　rhymes　and　even　the　number　of　lines　　varied　for　a　whole　century；　till　Petrarch　fixed　them　permanently。　In　　this　form　all　higher　lyrical　and　meditative　subjects；　and　at　a　later　　time　subjects　of　every　possible　description；　were　treated；　and　the　　madrigals；　the　sestine；　and　even　the　'Canzoni'　were　reduced　to　a　　subordinate　place。　Later　Italian　writers　complain；　half　jestingly；　half　　resentfully；　of　this　inevitable　mould；　this　Procrustean　bed；　to　which　　they　were　compelled　to　make　their　thoughts　and　feelings　fit。　Others　　were；　and　still　are；　quite　satisfied　with　this　particular　form　of　　verse；　which　they　freely　use　to　express　any　personal　reminiscence　or　　idle　sing…song　without　necessity　or　serious　purpose。　For　which　reason　　there　are　many　more　bad　or　insignificant　sonnets　than　good　ones。

Nevertheless；　the　sonnet　must　be　held　to　have　been　an　unspeakable　　blessing　for　Italian　poetry。　The　clearness　and　beauty　of　its　structure；　　the　invitation　it　gave　to　elevate　the　thought　in　the　second　and　more　　rapidly　moving　half；　and　the　ease　with　which　it　could　be　learned　by　　heart；　made　it　valued　even　by　the　greatest　masters。　In　fact；　they　would　　not　have　kept　it　in　use　down　to　our　own　century　had　they　not　been　　penetrated　with　a　sense　of　its　singular　worth。　These　masters　could　have　　given　us　the　same　thoughts　in　other　and　wholly　different　forms。　But　　when　once　they　had　made　the　sonnet　the　normal　type　of　lyrical　poetry；　　many　other　writers　of　great；　if　not　the　highest；　gifts；　who　otherwise　　would　have　lost　themselves　in　a　sea　of　diffusiveness；　were　forced　to　　concentrate　their　feelings。　The　sonnet　became　for　Italian　literature　a　　condenser　of　thoughts　and　emotions　such　as　was　possessed　by　the　poetry　　of　no　other　modern　people。

Thus　the　world　of　Italian　sentiment　comes　before　us　in　a　series　of　　pictures；　clear；　concise；　and　most　effective　in　their　brevity。　Had　　other　nations　possessed　a　form　of　expression　of　the　same　kind；　we　　should　perhaps　have　known　more　of　their　inward　life；　we　might　have　had　　a　number　of　pictures　of　inward　and　outward　situationsreflexions　of　　the　national　character　and　temperand　should　not　be　dependent　for　such　　knowledge　on　the　so…called　lyrical　poets　of　the　fourteenth　and　　fifteenth　centuries；　who　can　hardly　ever　be　read　with　any　serious　　enjoyment。　In　Italy　we　can　trace　an　undoubted　progress　from　the　time　　when　the　sonnet　came　into　existence。　In　the　second　half　of　the　　thirteenth　century　the　'Trovatori　della　transizione；'　as　they　have　been　　recently　named；　mark　the　passage　from　the　Troubadours　to　the　poets　that　is；　to　those　who　wrote　under　the　influence　of　antiquity。　The　　simplicity　and　strength　of　their　feeling；　the　vigorous　delineation　of　　fact；　the　precise　expression　and　rounding　off　of　their　sonnets　and　　other　poems；　herald　the　coming　of　a　Dante。　Some　political　sonnets　of　　the　Guelphs　and　Ghibellines　（1260…1270）　have　about　them　the　ring　of　his　　passion；　and　others　remind　us　of　his　sweetest　lyrical　notes。

Of　his　own　theoretical　view　of　the　sonnet；　we　are　unfortunately　　ignorant；　since　the　last　books　of　his　work；　'De　vulgari　eloquentia；'　in　　which　he　proposed　to　treat　of　ballads　and　sonnets；　either　remained　　unwritten　or　have　been　lost。　But；　as　a　matter　of　fact；　he　has　left　us　　in　his　Sonnets　and　'Canzoni'　a　treasure　of　inward　experience。　And　in　　what　a　framework　he　has　set　them！　The　prose　of　the　'Vita　Nuova；'　in　　which　he　gives　an　account　of　the　origin　of　each　poem；　is　as　wonderful　　as　the　verses　themselves；　and　forms　with　them　a　uniform　whole；　inspired　　with　the　deepest　glow　of　passion。　With　unflinching　frankness　and　　sincerity　he　lays　bare　every　shade　of　his　joy　and　his　sorrow；　and　molds　　it　resolutely　into　the　strictest　forms　of　art。　Reading　attentively　　these　Sonnets　and　'Canzoni'　and　the　marvelous　fragments　of　the　diary　of　　his　youth　which　lie　between　them；　we　fancy　that　throughout　the　Middle　　Ages　the　poets　have　been　purposely　fleeing　from　themselves；　and　that　he　　was　the　first　to　seek　his　own　soul。　Before　his　time　we　meet　with　many　　an　artistic　verse；　but　he　is　the　first　artist　in　the　full　sense　of　the　　wordthe　first　who　consciously　cast　immortal　matter　into　an　immortal　　form。　Subjective　feeling　has　here　a　full　objective　truth　and　greatness；　　and　most　of　it　is　so　set　forth　that　all　ages　and　peoples　can　make　it　　their　own。　Where　he　writes　in　a　thoroughly　objective　spirit；　and　lets　　the　force　of　his　sentiment　be　guessed　at　only　by　some　outward　fact；　as　　in　the　magnificent　sonnets　'Tanto　gentile；'　etc。；　and　'Vede　　perfettamente；'　etc。；　he　seems　to　feel　the　need　of　excusing　himself。　　The　most　beautiful　of　these　poems　really　belongs　to　this　class　the　　'Deh　peregrini　che　pensosi　andate；'　（'Oh；　pilgrims；　walking　deep　in　　thoughts；'　from　Vita　Nuova。）　Even　apart　from　the　'Divine　Comedy；'　Dante　　would　have　marked　by　these　youthful　poems　the　boundary　between　　medievalism　and　modern　times。　The　human　spirit　had　taken　a　mighty　step　　towards　the　consciousness　of　its　own　secret　life。

The　revelations　in　this　matter　which　are　contained　in　the　'Divine　　Comedy'　itself　are　simply　immeasurable；　and　it　would　be　necessary　to　go　　through　the　whole　poem；　one　canto　after　another；　in　order　to　do　justice　　to　its　value　from　this　point　of　view。　Happily　we　have　no　need　to　do　　this；　as　it　has　long　been　a　daily　food　of　all　the　countries　of　the　　West。　Its　plan；　and　the　ideas　on　which　it　is　based；　belong　to　the　　Middle　Ages；　and　appeal　to　our　interest　only　historically；　but　it　is　　nevertheless　the　beginning　of　all　modern　poetry；　through　the　power　and　　richness　shown　in　the　description　of　human　nature　in　every　shape　and　　attitude。　From　this　time　forward　poetry　may　have　experienced　unequal　　fortunes；　and　may　show；　for　half　a　century　together；　a　so…called　　relapse。　But　its　nobler　and　more　vital　principle　was　saved　for　ever；　　and　whenever　in　the　fourteenth；　fifteenth；　and　in　the　beginning　of　the　　sixteenth　centuries；　an　original　mind　devotes　himself　to　it；　he　　represents　a　more　advanced　stage　than　any　poet　out　of　Italy；　given　what　is　certainly　always　easy　to　settle　satisfactorilyan　equality　of　　natural　gifts　to　start　with。

Here；　as　in　other　things　in　Italy；　cultureto　which　poetry　belongs　precedes　the　visual　arts　and；　in　fact；　gives　them　their　chief　impulse。　　More　than　a　century　elapsed　before　the　spiritual　element　in　painting　　and　sculpture　attained　a　power　of　expression　in　any　way　analogous　to　　that　of　the　'Divine　Comedy。'　How　far　the　same　rule　holds　good　for　the　　artistic　development　of　other　nations；　and　of　what　importance　the　whole　　question　may　be；　does　not　concern　us　here。　For　Italian　civilization　it　　is　of　decisive　weight。

The　position　to　be　assigned　to　Petrarch　in　this　respect　must　be　settled　　by　the　many　readers　of　the　poet。　Those　who　come　to　him　in　the　spirit　of　　a　cross…examiner；　and　busy　themselves　in　detecting　the　contradictions　　between　the　poet　and　the　man；　his　infidelities　in　love；　and　the　other　　weak　sides　of　his　character；　may　perhaps；　after　sufficient　effort；　end　　by　losing　all　taste　for　his　poetry。　In　place；　then；　of　artistic　　enjoyment；　we　may　acquire　a　knowledge　of　the　man　in　his　'totality。'　　What　a　pity　that　Petrarch's　letters　from　Avignon　contain　so　little　　gossip　to　take　hold　of；　and　that　the　letters　of　his　acquaintances　and　　of　the　friends　of　these　acquaintances　have　either　been　lost　or　never　　existed！　Instead　of　Heaven　being　thanked　when　we　are　not　forced　to　　inquire　how　and　through　what　struggles　a　poet　has　rescued　somethi