The nights of Straparola, volume 1 [of 2] — Inside the Classic

age, it would be hard to find anything more powerfully portrayed than the death of Andrigetto.[16]

In the fables of adventure, and in every other case where such treatment is possible, Straparola deals largely with the supernatural. All the western versions, except Straparola’s, of the story best known to us as “Giletta of Narbonne” and as “All’s Well that Ends Well,” are worked out without calling in auxiliaries of an unearthly character. Boccaccio and Shakespeare bring together the husband and the forsaken wife by methods which, if somewhat strained, are quite natural; but Straparola at once calls for the witch and the magic horse, and whisks Isabella off to Flanders forthwith.[17] The interest of the reader is kept alive by accounts of the trials and dangers—a trifle bizarre now and again—which heroes and heroines are called to undergo, the taste of the age preferring apparently this stimulant to the intense dramatic power exhibited in the story of Malgherita, and demanding that the ending should be a happy one, for the pair of lovers nearly always marry in the end, and live long and blissful years. In the tales of country life and character the fun is boisterous and even broad, but it is always real fun, and the laugh rings true. Straparola is often as coarse as Bandello, but, unlike Bandello, he never smirches his pages merely for the sake of setting forth some story of simple brutality, or of leading up to a climax which is at the same time painfully shocking and purposeless. Il Lasca in “Le Cene” makes as free use of the _beffe_ and the _burle_ as Straparola, but the last-named showed in the “Notti” that he was incomparably the better hand in dealing with his material. Il Lasca as a rule sets out his subject on the lines of the broadest farce, but he cannot keep to genuine farce, his natural bent of mind leading him always to elaborate his theme in some unseemly and offensive fashion. Very often he is obscene and savage at the same time, and the abominable practical jokes he makes his characters play the one on the other must surely have outraged even the coarse feeding taste of the age in which he wrote. He delights in working up long stories of lust, and of infidelity, and of vengeance worked on account of these, in a spirit of heartless cruelty which, more often than not, is horrible without being in the least impressive, for the reason that, fine stylist as he was, he lacked the touch of the artist. Masuccio, though his savage indignation against the vices of the priests and monks occasionally became mere brutality, sounded now and then the note of real tragedy, and, inferior as he was to Il Lasca in style, was by far the better story-teller of the two. Both of these would be commonly set down as abler writers than Straparola, yet, by some means or other, the latter could put a touch upon his work which was beyond the power of the others—something which enables one to read the “Notti” without being conscious of that unpleasant aftertaste which one almost always feels on laying down either “Le Cene” or “Il Novellino.”

No other of the Italian novelists used a style as bad as Straparola’s. Errors in grammar abound, and his bald meagre periods often fail to express adequately the sense of the idea he manifestly wishes to portray. His faulty prose did not escape the censure of his contemporaries, for Messer Orfeo dalla Carta, in his introduction to the first part of the “Notti” (edition 1554), makes allusion to it, begging the reader at the same time not to be repelled by what he calls “il basso et rimesso stilo dello autore;” and La Monnoie, in the preface to the French translation (edition 1726) writes in a similar strain. Dalla Carta, probably by way of banter, advances an apology for Straparola’s slovenly work in terms taken from that introduction to the second part which has already been cited, explaining that the author did not write his fables as he would have done, but as they had been told to him by the ten damsels who were the narrators.

Straparola’s Italian is much more like the Italian of the present day than the English of Sidney or the German of Hans Sachs is like modern English or German, but this is not remarkable, considering how much earlier prose writing as an art came to perfection in Italy than in the rest of Europe. The impression gained by reading his prose is that he cared vastly more for subject than for treatment. He laid hold of whatever themes promised to suit his purpose best as a story-teller, careless as to whether other craftsmen had used them before or not, and these he set forth in the simplest manner possible, taking little heed of his style or even of his grammar. He hardly ever indulges in a metaphor. One never feels that he has gone searching about fastidiously for some particular turn of phrase or neatly-fitting adjective; on the other hand, one is often obliged to pause in the middle of some long sentence and search for his meaning in the strange mixture of phrases strung together. Perhaps this spontaneity, this absence of studied design, may have helped to win for him the wide popularity he enjoyed. His aim was to lead his readers into some enchanted garden of fairyland; to thrill them with the woes and perils of his heroes and heroines; to shake their sides with laughter over the misadventures of some too amorous monk or lovesick cavalier, rather than to send them into ecstasy over the measured elegance of his phrases. In many of the later editions of the “Notti,” the meaning has been further obscured, and the style rendered more rugged than ever, owing to the frequent and clumsy excisions made by the censors of morals. The early exclusion of the fourth Fable of the ninth Night shows that the eye of authority was soon attracted towards the popular novelist of the age. The motive for this activity was nominally the care of public morals, and one of the few extant references to Straparola is with regard to the expurgation of his works. In “Cremona Illustrata,” by Franciscus Arisius (Cremona, 1741), we read concerning Caravaggio: “In hoc enim oppido inclytæ stirpis Sfortiadum antiquo feudo ortum habuit Io. Franciscus Straparola cujus liber sæpe editus circumfertur italice hoc programmate: ‘Le tredici piacevolissime notti overo favole ed enimmi.’ Liber vetitus a sacra indicis congregatione et jure quidem merito cum obscenitates sordidas contineat moribus plerumque obnoxias et pluribi vulgatas. Optime quippe animadvertit Possevinus S. J. de cultura ingeniorum cap. 52, quod expediens esset homines potius nasci mutos et rationis expertes, quam in propriam et aliorum perniciam divinæ providentiæ dona convertere, imo ante eum ejusdem sententiæ fuisse M. F. Quintilianum licet gentilem, ipse Possevinus confirmat.”

On reading even the most severely castrated edition of the “Notti,” one may be at first a little surprised to find that some of the most indecent stories (in spite of the care of public morals) have been left almost untouched, and it is not until one realizes the fact that expurgation has been held to mean the cutting out of every word concerning religion and its professors, that one fully understands the principle upon which “Possevinus S. J.” and his colleagues worked. The presence of matter injurious to public morals had evidently less to do with the action of these reformers than certain anecdotes describing the presence of priests and nuns in certain places where, by every rule of good manners, they ought not to have been found. In plain words, the book was prohibited and castrated on account of the ugly picture of clerical morals which was exhibited in its pages.[18] A glance at any of the editions issued “con licenza de’ superiori” will show that the revisers went to their work with set purpose, caring nought as to the mangled mass of letterpress they might leave behind them. In some fables bits are cut out so clumsily that the point of the story is entirely lost; in others the feelings of orthodoxy are spared by changing the hero of amorous intrigue from a _Prete_ to a _Giovene_. In one a pope is reduced to a mere initial (of course standing for a layman), and the famous story of Belphegor is left out altogether. It was surely little short of impertinent to ask for a condemnation of the “Notti” on the ground of offence to public decency from a generation which read such books as “Les facétieuses journées” of Chapuys and “Les contes aux heures perdues;” which witnessed the issue of Morlini’s novels and of Cinthio degli Fabritii’s book, “Dell’ origine delli volgari proverbii,” printed “cum privilegio summi pontificis et sacræ Cæsareæ majestatis;” a generation for which Poggio’s obscene fables were favourite reading, and which remembered that Pietro Bembo had been a cardinal and Giovanni di Medici a pope.

It is impossible to indicate precisely the sources of the fables seriatim, seeing that in many cases there was available for Straparola a choice of origins. An approximate reckoning would give fifteen fables to the novelists who preceded him, twenty-two to Morlini, four to mediæval and seven to oriental legends, thus leaving twenty-eight to be classed as original. Towards the close of his work it would appear that his imagination must have been stricken with sterility, or that he became indolent, for of the concluding twenty fables nineteen are mere translations from Morlini. It is not improbable that such wholesale borrowing as this may have been the cause of the charges of plagiary to which allusion has already been made. From beginning to end he certainly made free use of all the storehouses of materials which were available, selecting therefrom whatever subjects pleased him, and working them up to the best of his skill. It was unreasonable to censure him on this score, seeing that in what he did he merely followed the fashion of the age. If he borrowed from Ser Giovanni, had not Ser Giovanni borrowed also from the “Directorium” and the “Gesta Romanorum”? Folk-lorists have discovered for us the fact that all the stories the world ever listened to may, by proper classification, be shown to be derived from some half-dozen sources. As the sorting and searching goes on, new facts constantly come to light, the drift of which tends to prove that the charge of plagiarism is now almost meaningless. It is hard to say what new and strange fruits may not be gathered from the wide field now covered by the folk-lorist. Formerly he hunted only in the East; now we find him amongst the Lapps and the Zulus—in Labrador, and in the South Pacific as well. A still more extended search will very likely find a fresh source for those of the fables in the “Notti” which have heretofore been classed as the original work of Straparola, and will discover for us a new and genuine author of “Puss in Boots.”

=Orfeo dalla Carta to all delightful and lovesome ladies, greeting.=

Considering in my mind, kindly ladies, how many in number and how high in excellence are those heaven-born and lofty spirits who, in ancient and in modern times as well, have written down those various fables which, when you read them, give you no small pleasure, I understand—and you in like manner will understand—that they were moved thus to write for no other reason than to give you solace and entertainment. Since I opine, or rather since I am certain that this is the case, you, delightful and lovesome ladies as you are, will not be wroth if I, your good servant, shall publish in your name the Fables and the Enigmas of the ingenious Messer Gioanfrancesco Straparola da Caravaggio, set forth by him with no less elegance than learning. And even if the substance of these should not furnish for your hearing the same pleasure and delight as you are accustomed to find in certain other writers, do not on this account contemn him by thrusting him aside and rejecting him altogether, but rather with joyful faces take him to you as you are accustomed to take the others; because if you, as you read his pages, will bear in mind the diversity of events and the subtle wit contained therein, you will at least derive from them no small instruction.

Besides this, you must not remark too narrowly the poor and negligent style of the author, for the reason that he wrote his fables, not as he wished to write them, but as he heard them from the ladies who related them,[19] adding nought thereunto and taking nought therefrom. And if you shall find him in any respect wanting, blame not him, who did his work to the best of his power and knowledge, but blame me who have published it against his wish. Accept, therefore, with gladsome looks this little gift from me your servant; who, if it be shown to him (as he hopes it may) that his offering is pleasing to you, will in the future do his best to lay before you other things which may prove to be still more to your pleasure and contentment. Be happy and remember me!

From Venice on the XI. day of January, MDLIIII.

=The Fables and Enigmas of Messer Giovanni Francesco Straparola da Caravaggio.=

In Milan, the capital of Lombardy, an ancient city abounding in graceful ladies, adorned with sumptuous palaces, and rich in all those things which are fitted to so magnificent a town, there resided Ottaviano Maria Sforza, Bishop-elect of Lodi, to whom by claim of heredity (Francesco Sforza, Duke of Milan, being dead) the sovereignty of the state rightfully belonged. But through the falling in of evil times, through bitter hatreds, through bloody battles, and through the never-ending vicissitudes of state affairs, he departed thence and betook himself secretly to Lodi with his daughter Lucretia, the wife of Giovanni Francesco Gonzaga, cousin of Federico, Marquis of Mantua, and there they abode some months. Long time had not passed before his kinsmen discovered his whereabouts, and began forthwith to annoy him; so the unhappy prince, finding himself still the object of their ill will, took with him what jewels and money he had about him, and withdrew with his daughter, who was already a widow, to Venice, where they found friendly reception from Ferier Beltramo, a noble gentleman of most benevolent nature, amiable and graceful, who with great courtesy gave them pressing invitation to take up their abode in his own house. But to share the home of another generally begets restraint, so the duke, after mature deliberation, resolved to depart and to find elsewhere a dwelling of his own. Wherefore, embarking one day with his daughter in a small vessel, he went to Morano, and having come there his eyes fell upon a marvellously beautiful palace which at that time stood empty. He entered it, and having taken note of its lovely position, its lofty halls, its superb loggias, its pleasant gardens filled with smiling flowers and rich in all sorts of fruit and blooming herbs, he found them all highly to his taste. Then he mounted the marble staircase and surveyed the magnificent hall, the exquisite chambers, and the balcony built over the water, which commanded a view of the whole place. The princess, captivated by the charm of the pleasant spot, besought her father so strongly with soft and tender speeches, that he to please her fancy hired the palace for their home. Over this she rejoiced greatly, for morning and evening she would go upon the balcony to watch the scaly fish which swam about in numerous shoals through the clear salt water, and in seeing them dart about now here now there she took the greatest delight. And because she was now forsaken by the ladies who had formerly been about her court, she chose in their places ten others as beautiful as they were good; indeed, time would fail wherein to describe their virtues and their graces. Of these the first was Lodovica, who had lovely eyes sparkling like the brightest stars, and everyone who looked upon her could not but admire her greatly. The next was Vicenza, of excellent carriage, of fine figure, and of polished manners, whose lovely and delicate face shone with refreshing beauty upon all who beheld it. The third was Lionora, who, although by the natural fashion of her beauty she seemed somewhat haughty, was withal as kindly and courteous as any lady to be found in all the world. The fourth was Alteria, with lovely fair hair, who held her womanly devotion ever at the service of the Signora. The fifth was Lauretta, lovely in person, but somewhat disdainful, whose clear and languishing glances surely enslaved any lover who ventured to court them. The sixth was Eritrea, who, though she was small of stature, yielded to none of the others in beauty and grace, seeing that she had two brilliant eyes, sparkling even brighter than the sun’s rays, a small mouth, and a rounded bosom, nor was there to be found in her anything at all which was not worthy of the highest praise. The seventh was Cateruzza, surnamed Brunetta, who, all graceful and amorous as she was, with her sweet and loving words entangled not only men in her snares, but could even have made descend from heaven the mighty Jove himself. The eighth was Arianna, who, though young in years, was grave and sedate in her seeming, gifted with a fluent tongue, and encompassed with divine virtues, worthy of the highest praise, which shone like the stars scattered about the heavens. The ninth was Isabella, a highly-gifted damsel, and one who, on account of her wit and skilful fence of tongue, commanded the admiration of the whole company. The last was Fiordiana, a prudent damsel, with a mind stored with worthy thoughts, and a hand ever prompt to virtuous deeds beyond any other lady in all the world. These ten charming damsels gave service to their Lady Lucretia both in a bevy and singly. The Signora, in addition to these, chose two matrons reverend of aspect, of noble blood, of mature age, and of sterling worth, to assist her with their wise counsels, the one to stand at her right hand and the other at her left. Of these one was the Signora Chiara, wife of Girolamo Guidiccione, a gentleman of Ferrara; and the other the Signora Veronica, the widow of Santo Orbat, of one of the oldest houses of Crema. To join this gentle and honourable company there came many nobles and men of learning, amongst whom were Casal Bolognese, a bishop, and likewise ambassador of the King of England, and the learned Pietro Bembo, knight of Rhodes and preacher to the citizens of Milan, a man of distinguished parts and standing highest in the Signora’s favour. After these came Bernardo Capello, counted one of the chief poets of the time, the amiable Antonio Bembo, Benedetto Trivigiano, a man of jovial easy manners, and Antonio Molino, surnamed Burchiella, with his pretty wit, Ferier Beltramo, a courteous gentleman, and many others whom it would be tedious to name in turn. It was the custom of these, or at any rate of the greater part of them, to assemble every evening at the palace of the Signora Lucretia, and to entertain her with graceful dances, and playful discourse, and music and song, thus graciously beguiling the fleeting hours. Sometimes, too, certain problems would be propounded, to which the Signora alone could find solution; but as the days of Carnival drew nigh, days always vowed to playfulness and riot, the Signora bade them, under pain of her displeasure, to assemble next evening on purpose to arrange what manner of feast they themselves should keep. At the dusk of the next evening they all duly appeared in obedience to her behest, and, having seated themselves according to their rank, the Signora thus addressed them: “Honourable gentlemen and you gracious ladies, now that we are come together according to our wont, it seems well to me that we should order these pleasant and gentle diversions of ours so as to furnish us with some jovial pastime for the days of Carnival which are yet to run. Each one of you therefore will propose what may seem most acceptable, and the form of diversion which proves to be to the taste of the greatest number shall—if it be seemly and decorous—be adopted.”