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Updated: June 6, 2025
"Now the linen-room gives on the court-yard, and suddenly my grandmother saw a strange sight approaching. The strangeness of it struck the girl dumb and the Duke's coach was at the door before she had the wit to cry out that it was coming. Nencia, when she saw it, went white and ran out of the room. My grandmother followed, scared by her face, and the two fled along the corridor to the chapel.
Thereupon the Duchess dismissed Nencia, and what follows my grandmother learned from a pantry-lad who brought up the dishes and waited in the cabinet; for only the Duke's body-servant entered the bed-chamber.
Nencia reached the chapel-door first and cried out that the Duke was coming; and before she had a reply he was at her side, with the chaplain following. "A moment later the door opened and there stood the Duchess. She held her rosary in one hand and had drawn a scarf over her shoulders; but they shone through it like the moon in a mist, and her countenance sparkled with beauty.
As Carmelite monk, the writer may have had occasion to mix freely with the peasantry. But it is with a power of a wholly different kind that Lorenzo il Magnifico transports himself into the peasant's world. His 'Nencia di Barberino' reads like a crowd of genuine extracts from the popular songs of the Florentine country, fused into a great stream of octaves.
"Devoted British colporteurs have philanthropically scattered a few art primers and tracts, and there is a possibility that in the near future, our people may search the maps for Orvieto, and the dictionaries for Campo Santo, to compass the mysteries of the 'Triumph of Death', and of 'Symmetria Prisca'. Some of us have even heard of 'Aucassin et Nicolette', and of 'Nencia da Barberino', picking salad in her garden; and I am almost sure a Vassar girl once spoke to me of Delia Quercia's Ilaria; but with all my national pride, candor compels me to admit that it is a 'far cry' to the day when we can devoutly fall on our knees before the bronze Devil of Giovanni da Bologna.
Hence, I mean from this love of watching effects and reproducing them, originated also the masterpiece of Lorenzo dei Medici, the "Nencia da Barberino." This poem, of some fifty octaves, is the result of those Tuscan peasant songs, of which I have told you the curious Courtly descent, at last having struck the fancy of a real poet.
These drammi rusticali, as they were called, may not improbably have owed their origin to the fashion of rustic composition set by Lorenzo de' Medici in his Nencia, and may thus in their origin have been related to the courtly eclogue; but the subsequent development of the kind is at most parallel to that of the pastoral drama, and should not be regarded either as the origin or as a subdivision of this latter.
"At that, said my grandmother, the Duchess gave one look, as the souls in hell may have looked when the gates closed on our Lord; then she called Nencia and passed to her chamber.
This had probably been attempted for ages with a view to satire, and the opportunity for it was offered in Florence at every carnival by the songs of the maskers. But the sympathetic understanding of the feeling of another class was new; and with it the 'Nencia' and this 'Canzone zingaresca' mark a new starting-point in the history of poetry.
In spite, however, of the genuine naïveté and natural realism of the piece, it is easy to recognize in it something of the same spirit of gentle raillery that sparkles in the graceful octaves of Lorenzo's Nencia.
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