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They came from a French nursery-maid, with some children. Profoundly ignorant of her relationship, this Gaulish Celt moved among her British cousins, speaking her polite neo-Latin tongue, and full of compassionate contempt, probably, for the Welsh barbarians and their jargon. What a revolution was here!
But only in Italy were the two chief conditions present which were needful for the continuance and development of neo-Latin poetry: a general interest in the subject among the instructed classes, and a partial re-awakening of the old Italian genius among the poets themselves the wondrous echo of a far-off strain.
Like most juniors here, the youth knew French, or rather Gaboon-French; it was somewhat startling to hear clearly and tolerably pronounced, "M'sieur, veux-tu des macacques?" But the jargon is not our S'a Leone and West-coast "English;" the superior facility of pronouncing the neo-Latin tongues became at once apparent.
In technical workmanship Andrea proved himself an able craftsman, modelling marble with the plasticity of wax, and lavishing patterns of the most refined invention. Yet the decorative prodigality of this master corresponded to the frigid and stylistic graces of the neo-Latin poets. It was so much mannerism adopted without real passion from the antique, and applied with a rhetorical intention.
Giambattista Aleotti, a native of pageant-loving Ferrara, traced the stately curves and noble orders of the galleries, designed the columns that support the raftered roof, marked out the orchestra, arranged the stage, and breathed into the whole the spirit of Palladio's most heroic neo-Latin style.
There was a translation of Paradise Lost into Latin hexameters, which had been made in 1690 by William Hogg. Lander inserted lines, taken from this translation, into passages taken from Massenius, Staphorstius, Taubmannus, neo-Latin poets, whom Milton had, or might have read, and presented these passages as thefts by Milton.
We feel this very strongly when we study the model prepared by Bramante's pupil, Cristoforo Rocchi, for the cathedral of Pavia; yet here we see the neo-Latin genius of the Italian artist working freely in an element exactly suited to his powers. When the same order of genius sought to express its conception through the language of the Gothic style, the result was invariably defective.
The youths used to learn English, which they spoke fluently and with tolerable accent, but always barbarously; they are more successful with the easier neo-Latin tongues.
The worst and not the least hideous were the mulattos, of whom the negroes say they are silver and copper, not gold. It is not so with the neo-Latin nations of Southern Europe and the Portuguese of the Brazil. For instance, compare the pretty little coloured girls of Pondicherry and Mahe with their sister half-castes the Chichis of Bengal and Bombay.
It unfortunately differs from the elegy on King in being written in Latin, and is thus inaccessible to uneducated readers. As to such readers the topic of Milton's Latin poetry is necessarily an ungrateful subject, I will dismiss it here with one remark. Milton's Latin verses are distinguished from most Neo-latin verse by being a vehicle of real emotion.
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