The Palace of Pleasure | Page 5

About 1550 he was appointed Bishop of Agen by Henri II., and he died some time after 1561. To do him justice, he only received the revenues of his see, the episcopal functions of which were performed by the Bishop of Grasse. His novelle are nothing less than episcopal in tone and he had the grace to omit his dignity from his title-pages.
Indeed Bandello's novels[7] reflect as in a mirror all the worst sides of Italian Renaissance life. The complete collapse of all the older sanctions of right conduct, the execrable example given by the petty courts, the heads of which were reckless because their position was so insecure, the great growth of wealth and luxury, all combined to make Italy one huge hot-bed of unblushing vice. The very interest in individuality, the spectator-attitude towards life, made men ready to treat life as one large experiment, and for such purposes vice is as important as right living even though it ultimately turns out to be as humdrum as virtue. The Italian nobles treated life in this experimental way and the novels of Bandello and others give us the results of their experiments. The Novellieri were thus the "realists" of their day and of them all Bandello was the most realistic. He claims to give only incidents that really happened and makes this his excuse for telling many incidents that should never have happened. It is but fair to add that his most vicious tales are his dullest.
[Footnote 7: The Villon Society is to publish this year a complete translation of Bandello by Mr. John Payne.]
That cannot be said of Queen Margaret of Navarre, who carries on the tradition of the Novellieri, and is represented in Painter by some of her best stories. She intended to give a Decameron of one hundred stories--the number comes from the Cento novelle antichi, before Boccaccio--but only got so far as the second novel of the eighth day. As she had finished seven days her collection is known as the Heptameron. How much of it she wrote herself is a point on which the doctors dispute. She had in her court men like Clement Marot, and Bonaventure des Périers, who probably wrote some of the stories. Bonaventure des Périers in particular, had done much in the same line under his own name, notably the collection known as Cymbalum Mundi. Marguerite's other works hardly prepare us for the narrative skill, the easy grace of style and the knowledge of certain aspects of life shown in the Heptameron. On the other hand the framework, which is more elaborate than in Boccaccio or any of his school, is certainly from one hand, and the book does not seem one that could have been connected with the Queen's name unless she had really had much to do with it. Much of its piquancy comes from the thought of the association of one whose life was on the whole quite blameless with anecdotes of a most blameworthy style. Unlike the lady in the French novel who liked to play at innocent games with persons who were not innocent, Margaret seems to have liked to talk and write of things not innocent while remaining unspotted herself. Her case is not a solitary one.
The whole literature of the Novella has the attraction of graceful naughtiness in which vice, as Burke put it, loses half its evil by losing all its grossness. At all times, and for all time probably, similar tales, more broad than long, will form favourite talk or reading of adolescent males. They are, so to speak, pimples of the soul which synchronise with similar excrescences of the skin. Some men have the art of never growing old in this respect, but I cannot say I envy them their eternal youth. However, we are not much concerned with tales of this class on the present occasion. Very few of the novelle selected by Painter for translation depend for their attraction on mere naughtiness. In matters of sex the sublime and the ridiculous are more than usually close neighbours. It is the tragic side of such relations that attracted Painter, and it was this fact that gave his book its importance for the history of English literature, both in its connection with Italian letters and in its own internal development.
The relations of Italy and England in matters literary are due to the revivers of the New Learning. Italy was, and still is, the repository of all the chief MSS. of the Greek and Latin classics. Thither, therefore, went all the young Englishmen, whom the influence of Erasmus had bitten with a desire for the New Learning which was the Old Learning born anew. But in Italy itself, the New Learning had even by the early years of the sixteenth century produced