Rienzi [172]
well-fought field against a worthy foe! - Save a knightly death, nothing is left to live for!"
BOOK VII. THE PRISON.
"Fu rinchiuso in una torre grossa e larga; avea libri assai, suo Tito Livio, sue storie di Roma, la Bibbia." &c. - "Vita di Cola di Rienzi", lib. ii. c. 13.
"He was immured in a high and spacious tower; he had books enough, his Titus Livius, his histories of Rome, the Bible," &c.
Chapter 7.I. Avignon. - The Two Pages. - The Stranger Beauty.
There is this difference between the Drama of Shakspeare, and that of almost every other master of the same art; that in the first, the catastrophe is rarely produced by one single cause - one simple and continuous chain of events. Various and complicated agencies work out the final end. Unfettered by the rules of time and place, each time, each place depicted, presents us with its appropriate change of action, or of actors. Sometimes the interest seems to halt, to turn aside, to bring us unawares upon objects hitherto unnoticed, or upon qualities of the characters hitherto hinted at, not developed. But, in reality, the pause in the action is but to collect, to gather up, and to grasp, all the varieties of circumstance that conduce to the Great Result: and the art of fiction is only deserted for the fidelity of history. Whoever seeks to place before the world the true representation of a man's life and times, and, enlarging the Dramatic into the Epic, extends his narrative over the vicissitudes of years, will find himself unconsciously, in this, the imitator of Shakspeare. New characters, each conducive to the end - new scenes, each leading to the last, rise before him as he proceeds, sometimes seeming to the reader to delay, even while they advance, the dread catastrophe. The sacrificial procession sweeps along, swelled by new comers, losing many that first joined it; before, at last, the same as a whole, but differing in its components, the crowd reach the fated bourn of the Altar and the Victim!
It is five years after the date of the events I have recorded, and my story conveys us to the Papal Court at Avignon - that tranquil seat of power, to which the successors of St. Peter had transplanted the luxury, the pomp, and the vices, of the Imperial City. Secure from the fraud or violence of a powerful and barbarous nobility, the courtiers of the See surrendered themselves to a holyday of delight - their repose was devoted to enjoyment, and Avignon presented, at that day, perhaps the gayest and most voluptuous society of Europe. The elegance of Clement VI. had diffused an air of literary refinement over the grosser pleasures of the place, and the spirit of Petrarch still continued to work its way through the councils of faction and the orgies of debauch.
Innocent VI. had lately succeeded Clement, and whatever his own claims to learning, (Matteo Villani (lib. iii. cap. 44) says, that Innocent VI. had not much pretension to learning. He is reported, however, by other authorities, cited by Zefirino Re, to have been "eccellente canonista." He had been a professor in the University of Toulouse.) he, at least, appreciated knowledge and intellect in others; so that the graceful pedantry of the time continued to mix itself with the pursuit of pleasure. The corruption which reigned through the whole place was too confirmed to yield to the example of Innocent, himself a man of simple habits and exemplary life. Though, like his predecessor, obedient to the policy of France, Innocent possessed a hard and an extended ambition. Deeply concerned for the interests of the Church, he formed the project of confirming and re-establishing her shaken dominion in Italy; and he regarded the tyrants of the various states as the principal obstacles to his ecclesiastical ambition. Nor was this the policy of Innocent VI. alone. With such exceptions as peculiar circumstances necessarily occasioned, the Papal See was, upon the whole, friendly to the political liberties of Italy. The Republics of the Middle Ages grew up under the shadow of the Church; and
BOOK VII. THE PRISON.
"Fu rinchiuso in una torre grossa e larga; avea libri assai, suo Tito Livio, sue storie di Roma, la Bibbia." &c. - "Vita di Cola di Rienzi", lib. ii. c. 13.
"He was immured in a high and spacious tower; he had books enough, his Titus Livius, his histories of Rome, the Bible," &c.
Chapter 7.I. Avignon. - The Two Pages. - The Stranger Beauty.
There is this difference between the Drama of Shakspeare, and that of almost every other master of the same art; that in the first, the catastrophe is rarely produced by one single cause - one simple and continuous chain of events. Various and complicated agencies work out the final end. Unfettered by the rules of time and place, each time, each place depicted, presents us with its appropriate change of action, or of actors. Sometimes the interest seems to halt, to turn aside, to bring us unawares upon objects hitherto unnoticed, or upon qualities of the characters hitherto hinted at, not developed. But, in reality, the pause in the action is but to collect, to gather up, and to grasp, all the varieties of circumstance that conduce to the Great Result: and the art of fiction is only deserted for the fidelity of history. Whoever seeks to place before the world the true representation of a man's life and times, and, enlarging the Dramatic into the Epic, extends his narrative over the vicissitudes of years, will find himself unconsciously, in this, the imitator of Shakspeare. New characters, each conducive to the end - new scenes, each leading to the last, rise before him as he proceeds, sometimes seeming to the reader to delay, even while they advance, the dread catastrophe. The sacrificial procession sweeps along, swelled by new comers, losing many that first joined it; before, at last, the same as a whole, but differing in its components, the crowd reach the fated bourn of the Altar and the Victim!
It is five years after the date of the events I have recorded, and my story conveys us to the Papal Court at Avignon - that tranquil seat of power, to which the successors of St. Peter had transplanted the luxury, the pomp, and the vices, of the Imperial City. Secure from the fraud or violence of a powerful and barbarous nobility, the courtiers of the See surrendered themselves to a holyday of delight - their repose was devoted to enjoyment, and Avignon presented, at that day, perhaps the gayest and most voluptuous society of Europe. The elegance of Clement VI. had diffused an air of literary refinement over the grosser pleasures of the place, and the spirit of Petrarch still continued to work its way through the councils of faction and the orgies of debauch.
Innocent VI. had lately succeeded Clement, and whatever his own claims to learning, (Matteo Villani (lib. iii. cap. 44) says, that Innocent VI. had not much pretension to learning. He is reported, however, by other authorities, cited by Zefirino Re, to have been "eccellente canonista." He had been a professor in the University of Toulouse.) he, at least, appreciated knowledge and intellect in others; so that the graceful pedantry of the time continued to mix itself with the pursuit of pleasure. The corruption which reigned through the whole place was too confirmed to yield to the example of Innocent, himself a man of simple habits and exemplary life. Though, like his predecessor, obedient to the policy of France, Innocent possessed a hard and an extended ambition. Deeply concerned for the interests of the Church, he formed the project of confirming and re-establishing her shaken dominion in Italy; and he regarded the tyrants of the various states as the principal obstacles to his ecclesiastical ambition. Nor was this the policy of Innocent VI. alone. With such exceptions as peculiar circumstances necessarily occasioned, the Papal See was, upon the whole, friendly to the political liberties of Italy. The Republics of the Middle Ages grew up under the shadow of the Church; and