Lorenzo de' Medici, the Magnificent (vol. 2 of 2)Reumont, Alfred von
History
Lorenzo de' Medici, the Magnificent (vol. 2 of 2)
Reumont, Alfred von
Medici, Lorenzo de', 1449-1492
The poem in terza rima which bears the name of ‘I Beoni’ (‘The
Drinkers’), or ‘Simposio,’ resembles the ‘Nencia’ and the ‘Hawking
Party’ in so far as it describes Florentine and Tuscan manners. In
rhythm, tone, and manner, it is very different from the others; for
although in ‘Nencia’ peasant life sometimes receives a burlesque
covering, the poem never becomes satire, nor sinks to that degree of
low comedy which degenerates into vulgarity. This, however, is the
case in the ‘Beoni,’ a series of chapters in which the poet describes
the manners and adventures of a company of jolly fellows, whom he
meets near Porta Faenza as he is returning from Careggi, at the moment
when they are setting out for Ponte a Rifredi, a little place about a
mile away from the town, and which takes its name from a bridge over
the little stream Terzolle. The business of the company is to taste
a cask of wine which they have heard highly praised. The poem is not
wanting in humour, and offers a lively picture of convivial rather
than social manners, such as long existed in Tuscany, and of which we
possess many literary monuments. Although unfinished, it is long, and
monotonous in spite of the variety of its situations; its dry comedy
often degenerates into downright coarseness, such as might lead to
very unfavourable conclusions with regard to the morals even of the
higher classes and the clergy, who in part are represented here. ‘I
Beoni’ makes an unpleasant impression from another point of view.
Not only is the metre that of the most sublime poems in the Italian
language; the outward arrangement of the poem, as well as a number of
particular turns, are burlesque imitations of the great poets. This is
a proof of keen observation, of wonderful and many-sided power; but
it has a darker side. If we are to recognise in this production the
beginning of Italian satire, we can all the more justly measure the
distance between these ‘chapters’ and those brilliant mirrors of the
time which immediately followed that of Lorenzo de’ Medici—the satires
of Lodovico Ariosto.
Public-domain text, read in full here on John Shaqi.
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