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In recognition of his fidelity to his sovereigns, other popes have successively bestowed on him the bishoprics of Beca, afterwards Cordova, Palencia, and Rosano; and Your Holiness has just now raised him to the bishopric of Burgos.
It is evidently suggested by the fifth Idyl of Theocritus, and is a fair specimen of a very uncommon class in English. Akin to this is the burlesque variety, of which we have already met with examples in Lorenzo's Nencia and Pulci's Beca, and which is almost equally rare with us. A specimen will be found in the not very successful eclogue in Greene's Menaphon.
This form of composition at once became fashionable. Luigi Pulci composed his Beca di Dicomano, which attained almost equal success and passed for the work of Lorenzo. It is, however, a far inferior production, in which the quaintness of the model is replaced by coarse caricature and its delicate rusticity by a cruder realism. Other imitations followed, but none bear comparison with Lorenzo's poem . It is in thought and expression rather than in actual language that these poems distinguish themselves from the literary pastoral. More noticeably dialectal is an anonymous Pescatoria amorosa printed about 1550. It is a Venetian serenade sung in the persons of fishermen, and possesses a certain grace of language: Symonds and D'Ancona alike remark, with perfect truth, that Lorenzo's rustic style, in spite of its sympathetic grace, is not altogether dissociated from burlesque. While free from the artificiality of court pastoral, it is equally distinct from the natural simplicity of the Theocritean idyl. Its flavour depends upon the half cynical, half kindly, amusement afforded by the contrast between the naïveté of the country and the familiar and conventional polish of town life. This theme had already caught the fancy of the song-writers of the fourteenth century, who produced some of the most delightful examples of native and unconventional pastoral anywhere to be found . Franco Sacchetti the novelist, for example, gives us a series of charming vignettes of country life and scenery, but always from the point of view of the town observer. One poem of his in particular gained wide popularity, and a modernized and somewhat altered version was iater printed among the works of Poliziano. It was originally a ballata, but I prefer to quote some stanzas from the traditional version: But if pastoralism made its appearance in the lyric, the lyric equally influenced pastoral, for it is in the songs of the fifteenth century that we first meet with that spirit of graceful melancholy sighing over the transitoriness of earthly things, the germ of the volutt
The 'Beca da Dicomano' of Luigi Pulci is an admitted counterpart to the 'Nencia' of Lorenzo. But the deeper purpose is wanting. The 'Beca' is written not so much from the inward need to give a picture of popular life, as from the desire to win the approbation of the educated Florentine world by a successful poem.
Besides his share in these verses, he is supposed to have had a hand in his brother's romance, and was certainly the author of some devout poems, and of a burlesque panegyric on a country damsel, La Beca, in emulation of the charming poem La Nencia, the first of its kind, written by that extraordinary person, his illustrious friend Lorenzo, who, in the midst of his cares and glories as the balancer of the power of Italy, was one of the liveliest of the native wits, and wrote songs for the people to dance to in Carnival time.
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