Letters to His Son on the Art of Becoming a Man of the World and a Gentleman (Письма к сыну – полный вариант)

MY DEAR FRIEND: You have, by this time, I hope and believe, made such a progress in the Italian language, that you can read it with ease; I mean, the easy books in it; and indeed, in that, as well as in every other language, the easiest books are generally the best; for, whatever author is obscure and difficult in his own language, certainly does not think clearly. This is, in my opinion, the case of a celebrated Italian author; to whom the Italians, from the admiration they have of him, have given the epithet of il divino; I mean Dante. Though I formerly knew Italian extremely well, I could never understand him; for which reason I had done with him, fully convinced that he was not worth the pains necessary to understand him.

The good Italian authors are, in my mind, but few; I mean, authors of invention; for there are, undoubtedly, very good historians and excellent translators. The two poets worth your reading, and, I was going to say, the only two, are Tasso and Ariosto. Tasso's 'Gierusalemme Liberata' is altogether unquestionably a fine poem, though-it has some low, and many false thoughts in it: and Boileau very justly makes it the mark of a bad taste, to compare 'le Clinquant Tasse a l' Or de Virgile'. The image, with which he adorns the introduction of his epic poem, is low and disgusting; it is that of a froward, sick, puking child, who is deceived into a dose of necessary physic by 'du bon-bon'. These verses are these:

"Cosi all'egro fanciul porgiamo aspersi

Di soavi licor gli orli del vaso:

Succhi amari ingannato intanto ei beve,

E dall' inganno suo vita riceve."

However, the poem, with all its faults about it, may justly be called a fine one.

If fancy, imagination, invention, description, etc., constitute a poet, Ariosto is, unquestionably, a great one. His "Orlando," it is true, is a medley of lies and truths-sacred and profane-wars, loves, enchantments, giants, madheroes, and adventurous damsels, but then, he gives it you very fairly for what it is, and does not pretend to put it upon you for the true 'epopee', or epic poem. He says:

"Le Donne, i Cavalier, l'arme, gli amori

Le cortesie, l'audaci imprese, io canto."

The connections of his stories are admirable, his reflections just, his sneers and ironies incomparable, and his painting excellent. When Angelica, after having wandered over half the world alone with Orlando, pretends, notwithstanding,

"--ch'el fior virginal cosi avea salvo,

Come selo porto dal matern' alvo."

The author adds, very gravely,-

"Forse era ver, ma non pero credibile

A chi del senso suo fosse Signore."

Astolpho's being carried to the moon by St. John, in order to look for Orlando's lost wits, at the end of the 34th book, and the many lost things that he finds there, is a most happy extravagancy, and contains, at the same time, a great deal of sense. I would advise you to read this poem with attention. It is, also, the source of half the tales, novels, and plays, that have been written since.

The 'Pastor Fido' of Guarini is so celebrated, that you should read it; but in reading it, you will judge of the great propriety of the characters. A parcel of shepherds and shepherdesses, with the TRUE PASTORAL' SIMPLICITY, talk metaphysics, epigrams, 'concetti', and quibbles, by the hour to each other.

The Aminto del Tasso, is much more what it is intended to be, a pastoral: the shepherds, indeed, have their 'concetti' and their antitheses; but are not quite so sublime and abstracted as those in Pastor Fido. I think that you will like it much the best of the two.

Petrarca is, in my mind, a sing-song, love-sick poet; much admired, however, by the Italians: but an Italian who should think no better of him than I do, would certainly say that he deserved his 'Laura' better than his 'Lauro'; and that wretched quibble would be reckoned an excellent piece of Italian wit.

The Italian prose-writers (of invention I mean) which I would recommend to your acquaintance, are Machiavello and Boccacio; the former, for the established reputation which he has acquired, of a consummate politician (whatever my own private sentiments may be of either his politics or his morality): the latter, for his great invention, and for his natural and agreeable manner of telling his stories.

Guicciardini, Bentivoglio, Davila, etc., are excellent historians, and deserved being read with attention. The nature of history checks, a little, the flights of Italian imaginations; which, in works of invention, are very high indeed. Translations curb them still more: and their translations of the classics are incomparable; particularly the first ten, translated in the time of Leo the Tenth, and inscribed to him, under the title of Collana. That original Collana has been lengthened since; and if I mistake not, consist now of one hundred and ten volumes.