Chapter 5

how all these privileged creatures ferreted about for monstrous crimes with which to horrify their stay-at-home countrymen; how the rich young lords, returning home with mincing steps and high-pitched lisp, surrounded by a train of parti-coloured, dialect-jabbering Venetian clowns, deft and sinister Neapolitan fencing masters, silver-voiced singing boys decoyed from some church, and cynical humanists escaped from the faggot or the gallows, were expected to bring home, together with the newest pastoral dramas, lewd novels, Platonic philosophy and madrigals set in complicated counterpoint; stories of hideous wickedness, of the murders and rapes and poisonings committed by the dukes and duchesses, the nobles and senators, in whose palaces they had so lately supped and danced. The crimes of Italy fascinated Englishmen of genius with a fascination even more potent than that which they exercised over the vulgar imagination of mere foppish and swashbuckler lovers of the scandalous and the sensational: they fascinated with the attraction of tragic grandeur, of psychological strangeness, of moral monstrosity, a generation in whom the passionate imagination of the playwright was curiously blent with the metaphysical analysis of the philosopher and the ethical judgment of the Puritan. To these men, ardent and serious even in their profligacy; imaginative and passionate even in their Puritanism, all sucking avidly at this newly found Italian civilization; the wickedness of Italy was more than morbidly attractive or morbidly appalling: it was imaginatively and psychologically fascinating. Whether they were as part of the action or as allusions, as in Webster's two great plays, in which there occurs poisoning by means of the leaves of a book, poisoning by the poisoned lips of a picture, poisoning by a helmet, poisoning by the pommel of a saddle; crimes were multiplied by means of subordinate plots and unnecessary incidents, like the double vengeance of Richardetto and of Hippolita in Ford's "Giovanni and Annabella," where both characters are absolutely unnecessary to the main story of the horrible love of the hero and heroine; like the murders of Levidulcia and Sebastian in Tourneur's "Atheist's Tragedy," and the completely unnecessary though extremely pathetic death of young Marcello in Webster's "White Devil;" until the plays were brought to a close by the gradual extermination of all the principal performers, and only a few confidants and dummies remained to bury the corpses which strewed the stage. Imaginary monsters were fashioned out of half-a-dozen Neapolitan and Milanese princes, by Ford, by Beaumont and Fletcher, by Middleton, by Marston, even by the light and graceful Philip Massinger: mythical villains, Ferdinands, Lodowicks, and Fernezes, who yet fell short of the frightful realities of men like Sigismondo Malatesta, Alexander VI., and Pier Luigi Farnese; nay, more typical monsters, with no name save their vices, Lussuriosos, Gelosos, Ambitiosos, and Vindicis, like those drawn by the strong and savage hand of Cyril Tourneur.

Nothing which the English stage could display seemed to the minds of English playwrights and the public to give an adequate picture of the abominations of Italy; much as they heaped up horrors and combined them with artistic skill, much as they forced into sight, there yet remained an abyss of evil which the English tongue refused to mention, but which weighed upon the English mind; and which, unspoken, nay (and it is the glory of the Elizabethan dramatists excepting Ford), unhinted, yet remained as an incubus in the consciousness of the playwrights and the public, was in their thoughts when they wrote and heard such savage misanthropic outbursts as those of Tourneur and of Marston. The sense of the rottenness of the country whence they were obtaining their intellectual nourishment, haunted with a sort of sickening fascination the imaginative and psychological minds of the late sixteenth century, of the men who had had time to outgrow the first cynical plunge of the rebellious immature intellects of the contemporaries of Greene, Peele, and Marlowe into that dissolved civilization. And of the great men who were thus enthralled by Italy and Italian evil, only Shakespeare and Massinger maintain or regain their serenity and hopefulness of spirit, resist the incubus of horror: Shakespeare from the immense scope of his vision, which permitted him to pass over the base and frightful parts of human nature and see its purer and higher sides; Massinger from the very superficiality of his insight and the narrowness of his sympathies, which prevented his ever thoroughly realizing the very horrors he had himself invented. But on the minds less elastic than that of Shakespeare, and less superficial than that of Massinger, the Italian evil weighed like a nightmare. With an infinitely powerful and passionate imagination, and an exquisitely subtle faculty of mental analysis; only lately freed from the dogma of the Middle Ages; unsettled in their philosophy; inclined by wholesale classical reading to a sort of negative atheism, a fatalistic and half-melancholy mixture of epicurism and stoicism; yet keenly alive, from study of the Bible and of religious controversies, to all questions of right and wrong; thus highly wrought and deeply perplexed, the minds of the Elizabethan poets were impressed by the wickedness of Italy as by the horrible deeds of one whom we are accustomed to venerate as our guide, whom we cannot but love as our benefactor, whom we cannot but admire as our superior: it was a sense of frightful anomaly, of putrescence in beauty and splendour, of death in life and life in death, which made the English psychologist-poets savage and sombre, cynical and wrathful and hopeless. The influence is the same on all, and the difference of attitude is slight, and due to individual characters; but the gloom is the same in each of them. In Webster--no mere grisly inventor of Radcliffian horrors, as we are apt to think of the greatest of our dramatists--after Shakespeare--in the noble and tender nature of Webster the sense is one of ineffable sadness, unmarred by cynicism, but unbrightened by hope. The villains, even if successful till death overtake them, are mere hideous phantoms--

these wretched eminent things Leave no more fame behind 'em, than should one Fall in a frost, and leave his print in snow--

the victims of tortured conscience, or, worse still, the owners of petrified hearts; there is nothing to envy in them. But none the better is it for the good: if Ferdinands, Bosolas, Brachianos, and Flaminios perish miserably, it is only after having done to death the tender and brave Duchess, the gentle Antonio, the chivalric Marcello; there is virtue on earth, but there is no justice in heaven. The half-pagan, half-puritanic feeling of Webster bursts out in the dying speech of the villain Bosola--

O, this gloomy world! In what a shadow, or deep pit of darkness, Doth womanish and fearful mankind live! Let worthy minds ne'er stagger in distrust To suffer death or shame for what is just.

Of real justice in this life or compensation in another, there is no thought: Webster, though a Puritan in spirit, is no Christian in faith. On Ford the influence is different; although equal, perhaps, in genius to Webster, surpassing him even in intense tragic passion, he was far below Webster, and, indeed, far below all his generation, in moral fibre. The sight of evil fascinates him; his conscience staggers, his sympathies are bedraggled in foulness; in the chaos of good and evil he loses his reckoning, and recognizes the superiority only of strength of passion, of passion for good or evil: the incestuous Giovanni, daring his enemies like a wild beast at bay and cheating them of their revenge by himself murdering the object of his horrible passion, is as heroic in the eyes of Ford as the magnanimous Princess of Sparta, bearing with unflinching spirit the succession of misfortunes poured down upon her, and leading off the dance while messenger succeeds messenger of evil; till, free from her duties as a queen, she sinks down dead. Cyril Tourneur and John Marston are far more incomplete in genius than either Webster or Ford, although Tourneur sometimes obtains a lurid and ghastly tragic intensity which more than equals Ford when at his best; and Marston, in the midst of crabbedness and dulness, sometimes has touches of pathos and Michelangelesque foreshortenings of metaphor worthy of Webster. But Tourneur and Marston have neither the constant sympathy with oppressed virtue of the author of the "Duchess of Malfy," nor the blind fury of passion of the poet of "Giovanni and Annabella;" they look on grim and hopeless spectators at the world of fatalistic and insane wickedness which they have created, in which their heroes and heroines and villains are slowly entangled in inextricable evil. The men and women of Tourneur and Marston are scarcely men and women at all: they are mere vague spectres, showing their grisly wounds and moaning out their miserable fate. There is around them a thick and clammy moral darkness, dispelled only by the ghastly flashes of lurid virtue of maniacs like Tourneur's Vindici and Hippolito; a crypt-like moral stillness, haunted by strange evil murmurs, broken only by the hysterical sobs and laughs of Marston's Antonios and Pandulphos. At the most there issues out of the blood-reeking depth a mighty yell of pain, a tremendous imprecation not only at sinful man but at unsympathizing nature, like that of Marston's old Doge, dethroned, hunted down, crying aloud into the grey dawn-mists of the desolate marsh by the lagoon--

O thou all-bearing earth Which men do gape for till thou cram'st their mouths And choak'st their throats for dust: O charme thy breast And let me sinke into thee. Look who knocks; Andrugio calls. But O, she's deafe and blinde. A wretch but leane relief on earth can finde.

The tragic sense, the sense of utter blank evil, is stronger in all these Elizabethan painters of Italian crime than perhaps in any other tragic writers. There is, in the great and sinister pictures of Webster, of Ford, of Tourneur, and of Marston, no spot of light, no distant bright horizon. There is no loving suffering, resigned to suffer and to pardon, like that of Desdemona, whose dying lips forgive the beloved who kills from too great love; no consoling affection like Cordelia's, in whose gentle embrace the poor bruised soul may sink into rest; no passionate union in death with the beloved, like the union of Romeo and Juliet; nothing but implacable cruelty, violent death received with agonized protest, or at best as the only release from unmitigated misery with which the wretch has become familiar,

As the tann'd galley slave is with his oar.

Neither is there in these plays that solemn sense of heavenly justice, of the fatality hanging over a house which will be broken when guilt shall have been expiated, which lends a sort of serene background of eternal justice to the terrible tales of Thebes and Argos. There is for these men no fatality save the evil nature of man, no justice save the doubling of crime, no compensation save revenge: there is for Webster and Ford and Tourneur and Marston no heaven above, wrathful but placable; there are no Gods revengeful but just: there is nothing but this blood-stained and corpse-strewn earth, defiled by lust-burnt and death-hungering men, felling each other down and trampling on one another blindly in the eternal darkness which surrounds them. The world of these great poets is not the open world with its light and its air, its purifying storms and lightnings: it is the darkened Italian palace, with its wrought-iron bars preventing escape; its embroidered carpets muffling the foot steps; its hidden, suddenly yawning trapdoors; its arras-hangings concealing masked ruffians; its garlands of poisoned flowers; its long suites of untenanted darkened rooms, through which the wretch is pursued by the half-crazed murderer; while below, in the cloistered court, the clanking armour and stamping horses, and above, in the carved and gilded hall, the viols and lutes and cornets make a cheery triumphant concert, and drown the cries of the victim.

II.

Such is the Italy of the Renaissance as we see it in the works of our tragic playwrights: a country of mysterious horror, the sinister reputation of which lasted two hundred years; lasted triumphantly throughout the light and finikin eighteenth century, and found its latest expression in the grim and ghastly romances of the school of Ann Radcliff, romances which are but the last puny and grotesque descendants of the great stock of Italian tragedies, born of the first terror-stricken meeting of the England of Elizabeth with the Italy of the late Renaissance. Is the impression received by the Elizabethan playwrights a correct impression? Was Italy in the sixteenth century that land of horrors? Reviewing in our memory the literature and art of the Italian Renaissance, remembering the innumerable impressions of joyous and healthy life with which it has filled us; recalling the bright and thoughtless rhymes of Lorenzo dei Medici, of Politian, of Bern!, and of Ariosto; the sweet and tender poetry of Bembo and Vittoria Colonna and Tasso; the bluff sensuality of novelists like Bandello and Masuccio, the Aristophanesque laughter of the comedy of Bibbiena and of Beolco; seeing in our mind's eye the stately sweet matrons and noble senators of Titian, the virginal saints and madonnas of Raphael, the joyous angels of Correggio;--recapitulating rapidly all our impressions of this splendid time of exuberant vitality, of this strong and serene Renaissance, we answer without hesitation, and with only a smile of contempt at our credulous ancestors--no. The Italy of the Renaissance was, of all things that have ever existed or ever could exist, the most utterly unlike the nightmare visions of men such as Webster and Ford, Marston and Tourneur. The only Elizabethan drama which really represents the Italy of the Renaissance is the comedy of Shakespeare, of Beaumont and Fletcher, and of Ben Jonson and Massinger: to the Renaissance belong those clear and sunny figures, the Portias, Antonios, Gratianos, Violas, Petruchios, Bellarios, and Almiras; their faces do we see on the canvases of Titian and the frescoes of Raphael; they are the real children of the Italian Renaissance. These frightful Brachianos and Annabellas and Ferdinands and Corombonas and Vindicis and Pieros of the "White Devil," of the "Duchess of Malfy," of the "Revenger's Tragedy," and of "Antonio and Mellida," are mere fantastic horrors, as false as the Counts Udolpho, the Spalatros, the Zastrozzis, and all their grotesquely ghastly pseudo-Italian brethren of eighty years ago.

And, indeed, the Italy of the Renaissance, as represented in its literature and its art, is the very negation of Elizabethan horrors. Of all the mystery, the colossal horror and terror of our dramatists, there is not the faintest trace in the intellectual productions of the Italian Renaissance. The art is absolutely stainless: no scenes of horror, no frightful martyrdoms, as with the Germans under Albrecht Dürer; no abominable butcheries, as with the Bolognese of the seventeenth century; no macerated saints and tattered assassins, as with the Spaniards; no mystery, no contortion, no horrors: vigorous and serene beauty, pure and cheerful life, real or ideal, on wall or canvas, in bronze or in marble. The literature is analogous to the art, only less perfect, more tainted with the weakness of humanity, less ideal, more real. It is essentially human, in the largest sense of the word; or if it cease, in creatures like Aretine, to be humanly clean, it becomes merely satyr-like, swinish, hircose. But it is never savage in lust or violence; it is quite free from the element of ferocity. It is essentially light and quiet and well regulated, sane and reasonable, never staggering or blinded by excess: it is full of intelligent discrimination, of intelligent leniency, of well-bred reserved sympathy; it is civilized as are the wide well-paved streets of Ferrara compared with the tortuous black alleys of mediæval Paris; as are the well-lit, clean, spacious palaces of Michelozzo or Bramante compared with the squalid, unhealthy, uncomfortable mediæval castles of Dürer's etchings. It is indeed a trifle too civilized; too civilized to produce every kind of artistic fruit; it is--and here comes the crushing difference between the Italian Renaissance and our Elizabethans' pictures of it--it is, this beautiful rich literature of the fifteenth and sixteenth centuries, completely deficient in every tragic element; it has intuition neither for tragic event nor for tragic character; it affords not a single tragic page in its poems and novels; it is incapable, after the most laborious and conscientious study of Euripides and Seneca, utterly and miserably incapable of producing a single real tragedy, anything which is not a sugary pastoral or a pompous rhetorical exercise. The epic poets of the Italian Renaissance, Pulci, Boiardo, Berni, and Ariosto, even the stately and sentimental Tasso, are no epic poets at all. They are mere light and amusing gossips, some of them absolute buffoons. Their adventures over hill and dale are mere riding parties; their fights mere festival tournaments, their enchantments mere pageant wonders. Events like the death of Hector, the slaughter of Penelope's suitors, the festive massacre of Chriemhilt, the horrible deceit of Alfonso the Chaste sending Bernardo del Carpio his father's corpse on horseback-- things like these never enter their minds. When tragic events do by some accident come into their narration, they cease to be tragic; they are frittered away into mere pretty conceits like the death of Isabella and the sacrifice of Olympia in the "Orlando Furioso;" or melted down into vague pathos, like the burning of Olindo and Sofronia, and the death of Clorinda by the sentimental Tasso. Neither poet, the one with his cheerfulness, the other with his mild melancholy, brings home, conceives the horror of the situation; the one treats the tragic in the spirit almost of burlesque, the other entirely in the spirit of elegy. So, again, with the novel writers: these professional retailers of anecdotes will pick up any subject to fill their volumes. In default of pleasant stories of filthy intrigue or lewd jest, men like Cinthio and Bandello will gabble off occasionally some tragic story, picked out of a history book or recently heard from a gossip: the stories of Harmodius and Aristogeiton, of Disdémona and the Moorish Captain, of Roméo Montecchio and Giulietta Cappelletti, of the Cardinal d'Aragona and the Duchess of Amalfi, of unknown grotesque Persian Sophis and Turkish Bassas--stories of murder, massacre, rape, incest, anything and everything, prattled off, with a few words of vapid compassion and stale moralizing, in the serene, cheerful, chatty manner in which they recount their Decameronian escapades or Rabelaisian repartees. As it is with tragic action, so is it with tragic character. The literature of the country which suggested to our Elizabethans their colossal villains, can display only a few conventional monsters, fire-eating, swashbuckler Rodomonts and Sultan Malechs, strutting and puffing like the grotesque villains of puppet-shows; Aladins and Ismenos, enchanters and ogres fit to be put into Don Quixote's library: mere conventional rag puppets, doubtless valued as such and no more by the shrewd contemporaries of Ariosto and Tasso. The inhabitants of Tasso's world of romance are pale chivalric unrealities, lifeless as Spenser's half-allegoric knights and ladies; those of Pulci's Ardenne forests and Cathay deserts are buffoons such as Florentine shopmen may have trapped out for their amusement in rusty armour and garlands of sausages. The only lifelike heroes and heroines are those of Ariosto. And they are most untragic, unromantic. The men are occasionally small scoundrels, but unintentionally on the part of the author. They show no deep moral cancers or plague-spots; they display cheerfully all the petty dishonour and small lusts which the Renaissance regarded as mere flesh and blood characteristics. So also Ariosto's ladies: the charming, bright women, coquettish or Amazonian, are frail and fickle to the degree which was permissible to a court lady, who should be neither prudish nor coquettish; doing unchaste things and listening to unchaste words simply, gracefully, without prurience or horror; perfectly well-bred, _gentili_, as Ariosto calls them; prudent also, according to the notions of the day, in limiting their imprudence. The adventure of Fiordispina with Ricciardetto would have branded an English serving-wench as a harlot; the behaviour of Roger towards the lady he has just rescued from the sea-monster would have blushingly been attributed by Spenser to one of his satyrs; but these were escapades quite within Ariosto's notions of what was permitted to a _gentil cavaliero_ and a _nobil donzella_; and if Fiordispina and Roger are not like Florimell and Sir Calidore, still less do they in the faintest degree resemble Tourneur and Marston's Levidulcias and Isabellas and Lussuriosos. And with the exception perhaps, of this heroine and this hero, we cannot find any very great harm in Ariosto's ladies and gentlemen: we may, indeed, feel indignant when we think that they replace the chaste and noble impossibilities of earlier romance, the Rolands and Percivals, the Beatrices and Lauras of the past; when we consider that they represent for Ariosto, not the bespattered but the spotless, not the real but the ideal. All this may awaken in us contempt and disgust; but if we consider these figures in themselves as realities, and compare them with the evil figures of our drama, we find that they are mere venial sinners--light, fickle, amorous, fibbing--very human in their faults; human, trifling, mild, not at all monstrous, like all the art products of the Renaissance.[1]

[1] The "Orlando Innamorato" of Boiardo contains, part i, canto 8, a story too horrible and grotesque for me to narrate, of a monster born of Marchino and his murdered sister-in-law, which forms a strange exception to my rule, even as does, for instance, Matteo di Giovanni's massacre of the Innocents. Can this story have been suggested, a ghastly nightmare, by the frightful tale of Sigismondo Malatesta and the beautiful Borbona, which was current in Boiardo's day?