In connection with the many samples of English and some French and Latin Courtesy-Books which the pains of other Editors have set before the members of the Early English Text Society, I have been asked to do something to exhibit what Italian literature has to show for itself in the same line. The request is one which I gladly close with; only cautioning the reader at starting that he must not expect to find in my brief essay any deep or exhaustive knowledge of the subject, or anything beyond specimens of the works under consideration, picked out one here and one there. Italy, it is tolerably well known, was, together with Provence, in the forefront of civilization—or ‘civility,’ as it might here be more aptly phrased—in the middle ages; and I should not be surprised to learn that, in the refinements of life and niceties of method, the Italy of the thirteenth century, as traceable in her Courtesy-Books, was quite on a par with the France or Germany[1] of the fourteenth, or the England of the fifteenth, and so progressively on. This, however, is a matter which I must leave to be determined by more diligent and more learned researches than my own. The materials for the comparison are now, to some extent, fairly before the editing and reading members of our Society.
As regards date, at all events, Italy is greatly in advance. What is the date of the earliest French Courtesy-Book included in our series? Not far, I presume, from the close of the fourteenth century. What of the earliest English one? About 1450. Against these we can set an Italian Courtesy-Book—or rather a Courtesy section of an Italian book—dating about 1265. Of a date prior to this (the birth-year of Dante), there is little of either prose or poetry in Italian.
The author of our specimen is a man illustrious in the literature of Italy, though comparatively little read for some centuries past—Brunetto Latini; remembered chiefly among miscellaneous readers as the preceptor of Dante, and as consigned by that affectionate but unaccommodating pupil to a very ugly circle of his Hell. There, if we may believe the ‘Poet of Rectitude,’ Ser Brunetto, with a ‘baked aspect,’ is at this moment unremittingly walking under an unremitting rain of fire: were he to pause, he would remain moveless for a century, and the torture of the flames would persecute him in aggravated proportion. On the same authority (which it is futile to fence with), I am compelled to say that Brunetto is the last person from whom one need wish to learn the practice, or as a consequence the theory, of modern or European morals.
However, Brunetto seems to have considered that he had a gift that way. Both his leading works may be termed moral-scientific treatises. The longer of the two, the Tesoro, was written in French prose, and is much of a compilation from classic authors in some sections. It had hitherto only been preserved to the public in an old Italian translation, but quite recently the French text has been printed. Sacred, profane, and natural history, geography, oratory, politics, and morals, are the main subject-matter of this encyclopædic labour; than which probably no contemporary produced anything more widely learned, according to the standard of that age. The Tesoretto is a shorter performance, written in Italian verse; shorter, yet still of substantial length, numbering, even in its extant incomplete state, 22 sections or ‘capitoli.’ This is the work upon which I shall draw for our first specimen of an Italian Courtesy-Book. Something bearing upon the like questions might also be gleaned from the Tesoro, but, as that is properly a French book, I leave it aside.
The Tesoretto sets forth that its author, being at Roncesvalles on his return from an embassy in Spain, received the bad news of the battle of Montaperti. Getting astray in a forest,[2] he finds himself in the presence of no less a personage than Dame Nature, who proceeds to give him practical and theoretic demonstrations on all sorts of lofty subjects. She then tells him to explore the forest, where he would find Philosophy, the four Moral Virtues (Prudence, Temperance, Fortitude, and Justice), Love, Fortune, and Over-reaching (Baratteria). He follows her instructions, searching out these personages from Philosophy on to Love: the four Virtues are attended by many ladies, among whom Brunetto specifies particularly Liberality, Courtesy, Good-faith, and Valour. After his interview with Love, he resolves to reconcile himself with God, and makes a full confession at Montpélier. Having received absolution, he does not return after Fortune and Over-reaching, but goes back to the forest, and thence reaches the summit of Mount Olympus. Here he sees Ptolemy, who is about to harangue him, when suddenly the Tesoretto comes to an end. Its best editor, the Abate Zannoni, supposes that the concluding portion of the poem was written, but has been lost to posterity.
A few words must be added as to the incidents of the author’s life. He was born (probably) not much later than 1220 in the Florentine state, and died in 1294. After the great defeat of the Guelphs by the Ghibellines at Montaperti in 1260, Brunetto, with others of the Guelph party, which was almost uninterruptedly uppermost in Florence, found it expedient to emigrate from that capital. He went to Paris, and there wrote both the Tesoro and Tesoretto. Towards 1265 he was again re-established in his native country, exercising with great credit his profession of a notary, and also (by or before the year 1273) holding the post of secretary to the Commune of Florence. He became, as already mentioned, the preceptor of Dante. As the pupil has damned him to all time at any rate, if not in effect to all eternity, for one offence, let us at least preserve some memory of his countervailing merits, as set forth by Giovanni and Filippo Villani. The former affirms that Brunetto ‘was the initiator and master in refining the Florentines, and cultivating their use of language; and in regulating the justice and rule of our Republic according to policy.’ And, according to Filippo, ‘Brunetto Latini was by profession a philosopher, by occupation a notary, and of great name and celebrity. He showed forth how much of rhetoric he could add to the gifts of nature: a man, if it be permitted to say so, worthy of being reckoned along with those skilled and ancient orators. He was facetious, learned, and acute, and abounded in certain pleasantries of speech; yet not without gravity, and the reserve of modesty, which bespoke a most cordial acceptance for his humour: of agreeable discourse, which often moved to laughter. He was obliging and decorous, and by nature serviceable, reserved, and grave; and most happy in the habit of all virtues, had he been wisely able to endure with a more steadfast mind the outrages of his infuriated country.’
The Tesoretto is of course a mine of curiosities of various kinds, tempting to the literary explorer. To call it distinctly a fine poem, or even the performance of a strictly poetic mind, might be the exaggeration of an enthusiast; but at all events it contains much sound matter well put, and by no means destitute of entertainment. The section that falls in best with our present purpose is the speech assigned to Lady Courtesy: I present it in its entirety.
We now pass from Florence to Lombardy—from Ser Brunetto Latini to Fra Bonvicino da Riva—from the lawyer and official to the friar and professor. The poem of Fra Bonvicino, The Fifty Courtesies for the Table, will be our principal pièce de résistance, and presented accordingly in its own garnishing of old Italian as well as in English. Not that it is by any means the best or most important piece of work that we have to bring forward; but its rarity, its dialectic interest for students of old Italian, and its precision and detail with regard to one of the essentials of courtesy—the art of dining—give it exceptional value for our direct purpose. The poem is supposed to have been written about 1290.
Unpolished as he is in poetic development, Fra Bonvicino is not to be altogether slighted from a literary point of view. Tiraboschi (Storia della Letteratura Italiana) believes that Bonvicino and one other were the two sole verse-writers of the Lombard or Milanese State in this opening period of Italian poesy; and Signor Biondelli, whom we have to thank for the publication of Bonvicino’s production after so many centuries of its hybernation in MS, can point to the choiceness of the old Friar’s vocabulary. In one couplet that well-qualified editor is able to find five expressions ‘which, for propriety and purity, would even at the present day beseem the most careful of writers;’ and hence he pronounces Bonvicino ‘the elegant writer of his time.’ It should be understood, however, that the MS reproduced by Signor Biondelli, and now again in the present volume, gives but an inadequate idea of the primitiveness of Bonvicino’s own actual idiom. Tiraboschi cites a harsher version of the first stanza from an earlier MS then existing in the Library of Santa Maria Incoronata in Milan, but which is now undiscoverable: the MS used by Signor Biondelli is of a much later date, the fifteenth century. It pertains to the Ambrosian Library in Milan.
Bonvicino belonged to the third order of the Friars named Umiliati, and lived (as he himself informs us) in Legnano, a town of the Milanese district. Hence he went to Milan, and became a distinguished professor of grammar in the Palatine schools. The only other poem of his published in Signor Biondelli’s volume[12] is On the dignity of the Glorious Virgin Mary: but Tiraboschi specifies other productions in verse—Dialogues in praise of Almsgiving, between the Virgin and Satan, between the Virgin and the Sinner, between the Creator and the Soul, between the Soul and the Body, between the Violet and the Rose, between the Fly and the Ant; also the Legends of Job and of St Alexius; and various works in Latin, of which some have been published.