l progress of the
medieval lyric drama in one direction had led it into the very mazes of
the polyphonic wilderness. This new form lacked the spectacular glories
of the really operatic shows described in Chapter XI and it abandoned
even their ways of voicing the utterances of individual characters. Much
misinformation concerning this madrigal drama has been disseminated by
the comfortable process of repeating without scrutiny errors early
fastened upon histories of music.

The master spirit of the madrigal drama was Orazio Vecchi, born about
1551 at Modena. He became a priest and was canon of Corregio in 1586 and
in 1591 deacon. He became chapel master at the cathedral of Modena in
1596 and after numerous vicissitudes died in 1605. His most important
work was "L'Amfiparnaso, commedia harmonica," performed at Modena in
1594. This has been preserved in its entirety, together with the
author's preface, from which valuable information may be gathered. The
work is an attempt to turn into a lyric form the "Commedia dell' Arte,"
enacted in early times at village fairs in northern Italy. The
characters are Arlecchino, Pantalone, Doctor Graziano, Brighella,
Isabella, Lelio and others. The story of the play, however, does not
concern us so much as the author's artistic purposes and the methods by
which he sought to achieve them. In the addresses to the reader prefixed
to his scores Vecchi states some of his artistic beliefs. He says:

"The gross jests, which are found in the comedies of our time, and
which are their meat rather than the spice, are the reasons why he
who says 'Comedy' seems to speak of a buffoon's pastime. They wrong
themselves who give to such gracious poesy a sense so unworthy. True
comedy, properly regarded, has for its object the representation in
divers personages of almost all the actions of familiar life. To
hold the mirror up to human life it bestows attention no less upon
the useful than upon the pleasing, and it does not suffice it to
raise a laugh." ("Amfiparnaso.")

"It will be said that it is contrary to convention to mingle serious
music with that which is merely pleasing and that one thus brings
discredit on the profession. But the pleasing and the serious
according to report have been mingled from father to son. Aristotle
says so; Homer and Virgil give examples." ("Veglie di Siena," 1604.)

"I know full well that at first view some will be able to judge my
artist