The Dance of Death. Douce Francis

Чтение книги онлайн.

СКАЧАТЬ any poet whatever bearing such a name. The first mention of him appears to have been in a French edition of the Danse Macabre, with the following title, “Chorea ab eximio Macabro versibus Alemannicis edito, et à Petro Desrey emendata. Parisiis per Magistrum Guidonem Mercatorem pro Godefrido de Marnef. 1490, folio.” This title, from its ambiguity, is deserving of little consideration as a matter of authority; for if a comma be placed after the word Macabro, the title is equally applicable to the author of the verses and to the painter or inventor of the Dance. As the subject had been represented in several places in Germany, and of course accompanied with German descriptions, it is possible that Desrey might have translated and altered some or one of these, and, mistaking the real meaning of the word, have converted it into the name of an author. It may be asked in what German biography is such a person to be found? how it has happened that this famous Macaber is so little known, or whether the name really has a Teutonic aspect? It was the above title in Desrey’s work that misled the truly learned Fabricius inadvertently to introduce into his valuable work the article for Macaber as a German poet, and in a work to which it could not properly belong.39

      M. Peignot has very justly observed that the Danse Macabre had been very long known in France and elsewhere, not as a literary work, but as a painting; and he further remarks that although the verses are German in the Basil painting, executed about 1440, similar verses in French were placed under the dance at the Innocents at Paris in 1424.40

      At the beginning of the text in the early French edition of the Danse Macabre, we have only the words “la danse Macabre sappelle,” but no specific mention is made of the author of the verses. John Lydgate, in his translation of them from the French, and which was most probably adopted in many places in England where the painting occurred, speaks of “the Frenche Machabrees daunce,” and “the daunce of Machabree.” At the end, “Machabree the Doctoure,” is abruptly and unconnectedly introduced at the bottom of the page. It is not in the French printed copy, from the text of which Lydgate certainly varies in several respects. It remains, therefore, to ascertain whether these words belong to Lydgate, or to whom else; not that it is a matter of much importance.

      The earliest authority that has been traced for the name of “Danse Macabre,” belongs to the painting at the Innocents, and occurs in the MS. diary of Charles VII. under the year 1424. It is also strangely called “Chorea Machabæorum,” in 1453, as appears from the before cited document at St. John’s church at Besançon. Even the name of one Maccabrees, a Provençal poet of the 14th century, has been injudiciously connected with the subject, though his works are of a very different nature.

      Previously to attempting to account for the origin of the obscure and much controverted word Macaber, as applicable to the dance itself, it may be necessary to advert to the opinions on that subject that have already appeared. It has been disguised under the several names of Macabre,41 Maccabees,42 Maratre,43 and even Macrobius.44 Sometimes it has been regarded as an epithet. The learned and excellent M. Van Praet, the guardian of the royal library at Paris, has conjectured that Macabre is derived from the Arabic Magbarah, magbourah, or magabir, all signifying a church-yard. M. Peignot seems to think that M. Van Praet intended to apply the word to the Dance itself,45 but it is impossible that the intelligent librarian was not aware that personified sculpture, as well as the moral nature of the subject, cannot belong to the Mahometan religion. Another etymology extremely well calculated to disturb the gravity of the present subject, is that of M. Villaret, the French historian, when adverting to the spectacle of the Danse Macabre, supposed to have been given by the English in the church-yard of the Innocents at Paris. Relying on this circumstance, he unceremoniously decides that the name of the dance was likewise English; and that Macabrée is compounded of the words, to make and to break. The same silly etymology is referred to as in some historical dictionary concerning the city of Paris by Mons. Compan in his Dictionaire de Danse, article Macaber; and another which is equally improbable has been hazarded by the accomplished Marquis de Paulmy, who, noticing some editions of the Danse Macabre in his fine library, now in the arsenal at Paris, very seriously states that Macaber is derived from two Greek words, which denote its meaning to be an infernal dance;46 but if the Greek language were to be consulted on the occasion, the signification would turn out to be very different.

      It must not be left unnoticed that M. De Bure, in his account of the edition of the Danse Macabre, printed by Marchant, 1486, has stated that the verses have been attributed to Michel Marot; but the book is dated before Marot was born.47

      Again, – As to the connexion between the word Macaber with the Dance itself.

      In the course of the thirteenth century there appeared a French metrical work under the name of “Li trois Mors et li trois Vis,” i. e. Les trois Morts et les trois Vifs. In the noble library of the Duke de la Valliere, there were three apparently coeval manuscripts of it, differing, however, from each other, but furnishing the names of two authors, Baudouin de Condé and Nicolas de Marginal.48 These poems relate that three noble youths when hunting in a forest were intercepted by the like number of hideous spectres or images of Death, from whom they received a terrific lecture on the vanity of human grandeur. A very early, and perhaps the earliest, allusion to this vision, seems to occur in a painting by Andrew Orgagna in the Campo Santo at Pisa; and although it varies a little from the description in the above-mentioned poems, the story is evidently the same. The painter has introduced three young men on horseback with coronets on their caps, and who are attended by several domestics whilst pursuing the amusement of hawking. They arrive at the cell of Saint Macarius an Egyptian Anachorite, who with one hand presents to them a label with this inscription, as well as it can be made out, “Se nostra mente fia ben morta tenendo risa qui la vista affitta la vana gloria ci sara sconfitta la superbia e sara da morte;” and with the other points to three open coffins, in which are a skeleton and two dead bodies, one of them a king.

      A similar vision, but not immediately connected with the present subject, and hitherto unnoticed, occurs at the end of the Latin verses ascribed to Macaber, in Goldasti’s edition of the Speculum omnium statuum à Roderico Zamorensi. Three persons appear to a hermit, whose name is not mentioned, in his sleep. The first is described as a man in a regal habit; the second as a civilian, and the third as a beautiful female decorated with gold and jewels. Whilst these persons are vainly boasting of their respective conditions, they are encountered by three horrible spectres in the shape of dead human bodies covered with worms, who very severely reprove them for their arrogance. This is evidently another version of the “Trois mors et trois vifs” in the text, but whether it be older or otherwise cannot easily be ascertained. It is composed in alternate rhymes, in the manner, and probably by the author of Philibert or Fulbert’s vision of the dispute between the soul and the body, a work ascribed to S. Bernard, and sometimes to Walter de Mapes. There are translations of it both in French and English.

      For the mention of S. Macarius as the hermit in this painting by Orgagna, we are indebted to Vasari in his life of that artist; and he had, no doubt, possessed himself of some traditionary information on the subject of it. He further informs us, that the person on horseback who is stopping his nostrils, is intended for Andrea Uguzzione della fagivola. Above is a black and hideous figure of Death mowing down with his scythe all ranks and conditions of men. Vasari adds that Orgagna had crowded his picture with a great many inscriptions, most of which were obliterated by time. From one of them which he has preserved in his work, as addressed to some aged cripples, it should appear that, as in the Macaber Dance, Death apostrophizes the several characters.49 Baldinucci, in his account of Orgagna, mentions this painting and the story of the Three Kings and Saint Macarius.СКАЧАТЬ