Part 19

“A young cardinal we have in Rome does better than that; for out of pride in his fine bodily frame, he conducts into his garden all who come to visit him (even although he has never seen them before), and urgently presses them to strip to the doublet and try a turn with him at leaping.”

11.—Messer Federico laughed; then he went on:

“There are certain other exercises that can be practised in public and in private, like dancing; and in this I think the Courtier ought to have a care, for when dancing in the presence of many and in a place full of people, it seems to me that he should preserve a certain dignity, albeit tempered with a lithe and airy grace of movement; and although he may feel himself to be very nimble and a master of time and measure, let him not attempt those agilities of foot and double steps which we find very becoming in our friend Barletta, but which perhaps would be little suited to a gentleman. Yet in a room privately, as we are now, I think he may try both, and may dance morris-dances and brawls; but not in public unless he be masked, when it is not displeasing even though he be recognized by all.

“Indeed there is no better way of displaying oneself in such matters at public sports, either armed or unarmed; because disguise carries with it a certain freedom and licence, which among other things enable a man to choose a part for which he feels himself qualified, and to use care and elaboration upon the chief point of the thing wherein he would display himself, and a certain nonchalance as to that which does not count,—which greatly enhances the charm: as for a youth to array himself like an old man, yet in easy dress so as to be able to show his vigour; a cavalier in the guise of a rustic shepherd or some other like costume, but with a perfect horse and gracefully bedecked in character;—because the mind of the spectators is quick to fill out the image of that which is presented to the eyes at first glance; and then seeing the thing turn out much better than the costume promised, they are amused and delighted.

“But in these sports and shows where masks are worn, it would not be seemly for a prince to try to enact the part of a prince, because that pleasure which the spectators find in novelty would be in great measure lacking, since it is news to no one that the prince is the prince; and he, conscious that besides being the prince he is trying to play the prince, loses the freedom to do all those things that are beneath a prince’s dignity. And if there were any contest in these sports, especially with arms, he might even make men think that he chose to impersonate a prince in order not to be beaten but spared by others; moreover were he to do in sport the same that it behooves him to do in earnest upon occasion, he would deprive his own proper action of dignity, and make it almost seem as if that too were sport. But at such times, if the prince lays aside his character of prince, and mingles equally with his inferiors yet in such fashion as to be recognizable, by renouncing his own rank he attains a higher one, in that he prefers to excel the rest not by authority but by merit, and to show that his worth is not enhanced by the fact that he is a prince.

12.—“I say then that in these martial sports the Courtier ought to use the like discretion, according to his rank. In horseback vaulting too, in wrestling, running and leaping, I should be well pleased to have him shun the vulgar crowd, or at most let himself be very rarely seen; for there is not on earth a thing so excellent but the ignorant will tire of it and hold it of small account, if they see it often.

“As to music I hold the same opinion: hence I would not have our Courtier behave like many, who are no sooner come anywhere (even into the presence of gentlemen with whom they have no acquaintance), than without waiting to be urged they set about doing what they know and often what they do not know; so that it seems as if they had come only for the purpose of showing themselves, and had that for their chief profession. Therefore let the Courtier resort to music as a pastime and almost unwillingly, and not before vulgar people nor very many. And although he may know and understand that which he is doing, in this too I would have him hide the study and pains that are necessary in everything one would do well, and seem to value this accomplishment lightly in himself, but by practising it admirably make others value it highly.”

13.—Then my lord Gaspar Pallavicino said:

“There are many kinds of music, vocal as well as instrumental: therefore I should like to hear which is the best of all, and at what time the Courtier ought to perform it.”

Messer Federico replied:

“I regard as beautiful music, to sing well by note, with ease and in beautiful style; but as even far more beautiful, to sing to the accompaniment of the viol, because nearly all the sweetness lies in the solo part, and we note and observe the fine manner and the melody with much greater attention when our ears are not occupied with more than a single voice, and moreover every little fault is more clearly discerned,—which is not the case when several sing together, because each singer helps his neighbour. But above all, singing to the viol by way of recitative seems to me most delightful, which adds to the words a charm and grace that are very admirable.

ELISABET DE GONZAGA FELTRIA “My Lady Duchess”

EMILIA “My Lady Emilia”

MARGARITA DE GONZAGA “Madonna Margarita”

FRANC^O M^A “My Lord Prefect”

JULIANO DE MEDICI “My Lord Magnifico”

AUTOGRAPH SIGNATURES OF INTERLOCUTORS

From negatives, made by Premi and by Signor Lanzoni, from originals preserved in the Royal State Archives at Mantua and selected by the Director, Signor Alessandro Luzio.

“All keyed instruments also are pleasing to the ear, because they produce very perfect consonances, and upon them one can play many things that fill the mind with musical delight. And not less charming is the music of the stringed quartet, which is most sweet and exquisite. The human voice lends much ornament and grace to all these instruments, with which I would have our Courtier at least to some degree acquainted, albeit the more he excels with them, the better,—without troubling himself much with those that Minerva forbade to Alcibiades, because it seems that they are ungraceful.

“Then, as to the time for enjoying these various kinds of music, I think it is whenever a man finds himself in familiar and beloved companionship and there are not other occupations. But above all it is fitting where ladies are present, because their aspect fills the listener’s heart with sweetness, renders it more sensitive to the tenderness of the music, and quickens the musician’s soul.

“As I have already said, it pleases me well that we should avoid the crowd, and especially the ignoble crowd. But discretion must needs be the spice of everything, for it would be quite impossible to foresee all the cases that occur; and if the Courtier rightly understands himself, he will adapt himself to the occasion and will perceive when the minds of his hearers are disposed to listen and when not. He will take his own age into account: for it is indeed unseemly and unlovely in the extreme to see a man of any quality,—old, hoary and toothless, full of wrinkles,—playing on a viol and singing in the midst of a company of ladies, even though he be a passable performer. And the reason of this is that in singing the words are usually amourous, and love is a ridiculous thing in old men,—albeit it is sometimes pleased among its other miracles to kindle frozen hearts in spite of years.”

14.—Then the Magnifico replied:

“Do not deprive old men of this pleasure, messer Federico; for in my time I have known old men who had right perfect voices and hands very dexterous upon their instruments, far more than some young men.”

“I do not wish,” said messer Federico, “to deprive old men of this pleasure, but I do wish to deprive you and these ladies of the pleasure of laughing at such folly. And if old men wish to sing to the viol, let them do so in secret and only to drive from their minds those painful thoughts and grievous troubles with which our life is filled, and to taste that rapture which I believe Pythagoras and Socrates found in music. And even although they practise it not, by somewhat accustoming their minds to it they will enjoy it far more when they hear it than a man who knows nothing of it. For just as the arms of a smith, who is weak in his other members, become stronger by exercise than those of another man who is more robust but unaccustomed to use his arms,—in like manner ears practised in harmony will perceive it better and more speedily and will appreciate it with far greater pleasure, than others, however good and sharp they be, that are not versed in the varieties of musical consonance; because these modulations do not penetrate ears unused to hearing them, but pass aside without leaving any savour of themselves; albeit even the beasts have some enjoyment in melody.

“This then is the pleasure it is fitting old men should take in music. I say the like of dancing, for in truth we ought to give up these exercises before our age forces us to give them up against our will.”

Here my lord Morello replied with a little heat:

“So it is better to exclude all old men, and to say that only young men have a right to be called Courtiers.”

Then messer Federico laughed, and said: