第58章 The Revival of Antiquity Introductory (8)

We must here linger for a moment over Pico della Mirandola, before passing on to the general effects of humanism.He was the only man who loudly and vigorously defended the truth and science of all ages against the one-sided worship of classical antiquity.He knew how to value not only Averroes and the Jewish investigators, but also the scholastic writers of the Middle Ages, according to the matter of their writings.In one of his writings he makes them say, 'We shall live for ever, not in the schools of word-catchers, but in the circle of the wise, where they talk not of the mother of Andromache or of the sons of Niobe, but of the deeper causes of things human and divine; he who looks closely will see that even the barbarians had intelligence _(mercurium), _not on the tongue but in the breast.' Himself writing a vigorous and not inelegant Latin, and a master of clear exposition, he despised the purism of pedants and the current over-estimate of borrowed forms, especially when joined, as they often are, with one-sidedness, and involving indifference to the wider truth of the things themselves.Looking at Pico, we can guess at the lofty flight which Italian philosophy would have taken had not the counter-reformation annihilated the higher spiritual life of the people.

The Humanists Who now were those who acted as mediators between their own age and a venerated antiquity, and made the latter a chief element in the culture of the former?

They were a crowd of the most miscellaneous sort, wearing one face today and another tomorrow; but they clearly felt themselves, and it was fully recognized by their time that they formed, a wholly new element in society.The 'clerici vagantes' of the twelfth century may perhaps be taken as their forerun- ners--the same unstable existence, the same free and more than free views of life, and the germs at all events of the same pagan tendencies in their poetry.But now, as competitor with the whole culture of the Middle Ages, which was essentially clerical and was fostered by the Church, there appeared a new civilization, founding itself on that which lay on the other side of the Middle Ages.Its active representatives became influential because they knew what the ancients knew, because they tried to write as the ancients wrote, because they began to think, and soon to feel, as the ancients thought and felt.The tradition to which they devoted themselves passed at a thousand points into genuine reproduction.

Some modern writers deplore the fact that the germs of a far more independent and essentially national culture, such as appeared in Florence about the year 1300, were afterwards so completely swamped by the humanists.There was then, we are told, nobody in Florence who could not read; even the donkeymen sang the verses of Dante; the best Italian manuscripts which we possess belonged originally to Florentine artisans; the publication of a popular encyclopedia, like the 'Tesoro'

of Brunetto Latini, was then possible; and all this was founded on d strength and soundness of character due to the universal participation in public affairs, to commerce and travel, and to the systematic reprobation of idleness.The Florentines, it is urged, were at that time respected and influential throughout the whole world, and were called in that year, not without reason, by Pope Boniface VIII, 'the fifth element.' The rapid progress of humanism after the year 1400paralysed native impulses.Henceforth men looked only to antiquity for the solution of every problem, and consequently allowed literature to turn into mere quotation.Nay, the very fall of civil freedom is partly ascribed to all this, since the new learning rested on obedience to authority, sacrificed municipal rights to Roman law, and thereby both sought and found the favour of the despots.

These charges will occupy us now and then at a later stage of our inquiry, when we shall attempt to reduce them to their true value, and to weigh the losses against the gains of this movement.For the present we must confine ourselves to showing how the civilization even of the vigorous fourteenth century necessarily prepared the way for the complete victory of humanism, and how precisely the greatest representatives of the national Italian spirit were themselves the men who opened wide the gate for the measureless devotion to antiquity in the fifteenth century.

To begin with Dante.If a succession of men of equal genius had presided over Italian culture, whatever elements their natures might have absorbed from the antique, they still could not fail to retain a characteristic and strongly-marked national stamp.But neither Italy nor Western Europe produced another Dante, and he was and remained the man who first thrust antiquity into the foreground of national culture.

In the 'Divine Comedy' he treats the ancient and the Christian worlds, not indeed as of equal authority, but as parallel to one another.Just as, at an earlier period of the Middle Ages, types and anti- types were sought in the history of the Old and New Testaments, so does Dante constantly bring together a Christian and a pagan illustration of the same fact.It must be remembered that the Christian cycle of history and legend was familiar, while the ancient was relatively unknown, was full of promise and of interest, and must necessarily have gained the upper hand in the competition for public sympathy when there was no longer a Dante to hold the balance between the two.