Chapter 12

Influence of the Taste for Comedy

An illuminative fact in the history of the madrigal drama is the growth of the comic element. Poliziano's dream of Arcadia was perhaps neither deep nor passionate, but it was at any rate serious and for some time after its production the lyric drama aspired to the utterance of high sentiments. But the incongruous mingling of Arcadian shepherds and shepherdesses with the gods and heroes of the classic literature in a series of musical actions, conceived with the desire to gratify that passionate sensuality which governed Italian thought, was sure in time to lead the typical insincerity and satiric view-point of the Italian mind to the delights of physical realism, and the free publication of mocking comment. Photographic musical imitations of the noises of battles, the songs of birds and the cries of a great city were certain to be succeeded by the adaptation to the uses of dramatic action of the musical means developed in these and this adaptation led the way directly into the realm of the comic lyric drama.

The pomp and circumstance of the gorgeous spectacles which we examined in the preceding chapter were cherished by the traditions of the Italian court stage and were not obliterated even in the new species of lyric comedy. But there was far less to dazzle the eye in the comic performances, and even in this they offered a certain novelty to the consideration of Italian audiences. The court spectacles, to be sure, did not go out of existence. We meet them in all their brilliancy in the early years of the seventeenth century, and at the same time we find them copied in a somewhat modified form in the spectacular productions of the young Italian opera houses. On the other hand, when the Florentine coterie created dramatic recitative, it was to use it in a drama wholly serious and poetic in purpose. It was not till some years later that recitative acquired sufficient flexibility to fit itself into the plan of the rapidly growing opera buffa. Yet even in this lyric species we discern something of the large influence of the humorous madrigal play, for in time the comic opera and the ballet spectacle both found homes after public opera houses had been thrown open to an eager public. Physical realism, the humors of the streets and satiric assaults upon the life of the courts made excellent materials for the entertainment of the Italian mind, especially at such a time as the close of the sixteenth century, when the country had reached the completion of that state described by Symonds:

"The intellectual and social life of the Italians, though much reduced in vigor, was therefore still, as formerly, concentrated in cities marked by distinct local qualities and boastful of their ancient glories. The courts of Ferrara and Urbino continued to form centers for literary and artistic coteries. Venice remained the stronghold of mental unrestraint and moral license, where thinkers uttered their thoughts with tolerable freedom and libertines indulged their tastes unhindered. Rome early assumed novel airs of piety, and external conformity to austere patterns became the fashion here. Yet the Papal capital did not wholly cease to be the resort of students and artists. The universities maintained themselves in a respectable position--far different, indeed, from that which they had held in the last century, yet not ignoble. Much was being learned on many lines of study divergent from those prescribed by earlier humanists. Padua, in particular, distinguished itself for medical researches. This was the flourishing time, moreover, of Academies in which, notwithstanding nonsense talked and foolish tastes indulged, some solid work was done for literature and science. The names of the Cimento, Delia Crusca and Palazzo Vernio at Florence remind us of not unimportant labors in physics, in the analysis of language, and in the formation of a new dramatic style of music. At the same time the resurgence of popular literature and the creation of popular theatrical types deserved to be particularly noticed. It is as though the Italian nation at this epoch, suffocated by Spanish etiquette and poisoned by Jesuitical hypocrisy, sought to expand healthy lungs in free spaces of open air, indulging in dialectical niceties and immortalizing street jokes by the genius of masked comedy."

We shall perceive, then, in the productions of some representative masters of the madrigal drama in the latter half of the sixteenth century, an expression of this Italian eagerness to abandon even the external attitude of serious contemplation, which the spectacular delights of the intermezzi and the serious lyric drama had made at least tolerable, and to turn to the uses of pure amusement the materials of a clearly defined form of art. We shall find the dramatization of the chatter of the street and the apparition of types familiar to the farcical comedies and operas bouffes of later days. In the washerwomen of Striggio we are not far from _Madame Angot_, and some of the personages whom Vecchi humorously treated in his "Amfiparnaso" are treading the stage of to-day. In these madrigal dramas, as we shall see, the attempts to overcome the musical unsuitability of polyphonic music to the purposes of dramatic dialogue led composers further and further from the truth which had stood at the elbows of Poliziano's contemporaries and immediate successors. Musicians went forward with the madrigal till they found themselves in Vecchi's day confronted with a genuine _reductio ad absurdum_. It was only at this time that the experiments of the Florentines uncovered the profound musical law that the true dramatic dialogue is to be carried on by single-voiced melodies resting on a basis of chord harmony.

In the meantime, we must delay our approach to the golden era of the madrigal drama (when indeed it faced that _reductio_) to look for a moment at the representative work of a Mantuan master of the lyric comedy. Alessandro Striggio, born in Mantua, about 1535, died in the same city in 1587, was for a time in the service of Cosimo, but for at least fifteen years of his life was known simply as a "gentleman of Mantua." Striggio was one of the most active and talented of the composers of his time, and his creations are found in both religious and secular fields. He utilized instruments freely in connection with voices and his works give an excellent insight into the general condition of vocal composition in Italy in his day. He became prominent as one of the early composers of intermezzi and he was employed also to write church music for wedding festivals. One of his motets calls for an orchestra of eight trombones, eight violas, eight large flutes, a spinet and a large lute. Without doubt his most significant work in the domain of the lyric drama was "Il Calamento delle Donne al Bucato," published at Florence in 1584.

This is a series of rustic scenes, of which the first begins with an introductory recitation by the poet, set for four voices: "In the gentle month of May I found myself by chance near a clear stream where some troops of women in various poses washed their white linen, and when they had spread it to the sun on the grass, they chattered thus in lively repartee, laughing." Then begin the action and the dialogue. The scenario may be set forth in this wise: boisterous salutations, hilarious talk and accounts of flirtations; tittle tattle about neighbors and lively scandals; exchange of commiserations on the insupportable humor of masters and the fatigue of service; cessation of laughing, kissing and shouting, the day being ended; quick change of scene to a levee of washing mallets; one of the women steals a trinket from another, and a general riot ensues, after which there is a reconciliation as the sun goes down and the women disperse with embraces, tender words and cries of adieu.[34]

[Footnote 34: Something suggestive of a similar train of musical thought is found in some reflections of George Moore on Zola: "I had read the 'Assomoir,' and had been much impressed by its pyramid size, strength, height and decorative grandeur, and also by the immense harmonic development of the idea; and the fugal treatment of the different scenes had seemed to me astonishingly new--the washhouse, for example: the fight motive is indicated, then follows the development of side issues, then comes the fight motive explained; it is broken off short, it flutters through a web of progressive detail, the fight motive is again taken up, and now it is worked out in all its fulness; it is worked up to _crescendo_, another side issue is introduced, and again the theme is given forth." ("Confessions of a Young Man.")]

One can have no difficulty in imagining how this story, furnished as it must have been, with some very free action, was set to music in the madrigal style. The contrast of moods provides an excellent background for variety of musical movement and for a generous exercise of the expressional skill which the composers of that period had acquired. Lovers of the ballet of action will perceive that the scenario of Striggio's musical comedy could also serve perfectly for that of a suite of pantomimic dances.

Nor can the reader fail to discern in this story some of the germs of the opera buffa. What is lacking here, to wit, the advancing of some individual characters from the choral mass to the center of the stage, was better accomplished in the earlier or more serious works. The Orpheus of Poliziano was doubtless a striking figure in the minds of the Mantuan audience of 1484. While perhaps there was a distinct decline in directness of expression in the attempts of later lyric dramatists, the departure was possibly not as large in the case of the serious writers as in that of the humorists. We shall in all likelihood better understand this after a survey of the labors of the dominant figure of the artistic period of the humorous madrigal drama.