Part 15

GUARINI, GIOVANNI BATTISTA (1537-1612), Italian poet, author of the _Pastor fido_, was born at Ferrara on the 10th of December 1537, just seven years before the birth of Tasso. He was descended from Guarino da Verona. The young Battista studied both at Pisa and Padua, whence he was called, when not yet twenty, to profess moral philosophy in the schools of his native city. He inherited considerable wealth, and was able early in life to marry Taddea de' Bendedei, a lady of good birth. In 1567 he entered the service of Alphonso II., duke of Ferrara, thus beginning the court career which was destined to prove a constant source of disappointment and annoyance to him. Though he cultivated poetry for pastime, Guarini aimed at state employment as the serious business of his life, and managed to be sent on various embassies and missions by his ducal master. There was, however, at the end of the 16th century no opportunity for a man of energy and intellectual ability to distinguish himself in the petty sphere of Italian diplomacy. The time too had passed when the profession of a courtier, painted in such glowing terms by Castiglione, could confer either profit or honour. It is true that the court of Alphonso presented a brilliant spectacle to Europe, with Tasso for titular poet, and an attractive circle of accomplished ladies. But the last duke of Ferrara was an illiberal patron, feeding his servants with promises, and ever ready to treat them with the brutality that condemned the author of the _Gerusalemme liberata_ to a madhouse. Guarini spent his time and money to little purpose, suffered from the spite and ill-will of two successive secretaries,--Pigna and Montecatini,--quarrelled with his old friend Tasso, and at the end of fourteen years of service found himself half-ruined, with a large family and no prospects. When Tasso was condemned to S. Anna, the duke promoted Guarini to the vacant post of court poet. There is an interesting letter extant from the latter to his friend Cornelio Bentivoglio, describing the efforts he made to fill this place appropriately. "I strove to transform myself into another person, and, like a player, reassumed the character, costume and feelings of my youth. Advanced in manhood, I forced myself to look young; I turned my natural melancholy into artificial gaiety, affected loves I did not feel, exchanged wisdom for folly, and, in a word, passed from a philosopher into a poet." How ill-adapted he felt himself to this masquerade life may be gathered from the following sentence: "I am already in my forty-fourth year, the father of eight children, two of whom are old enough to be my censors, while my daughters are of an age to marry." Abandoning so uncongenial a strain upon his faculties, Guarini retired in 1582 to his ancestral farm, the Villa Guarina, in the lovely country that lies between the Adige and Po, where he gave himself up to the cares of his family, the nursing of his dilapidated fortunes and the composition of the _Pastor fido_. He was not happy in his domestic lot; for he had lost his wife young, and quarrelled with his elder sons about the division of his estate. Litigation seems to have been an inveterate vice with Guarini; nor was he ever free from legal troubles. After studying his biography, the conclusion is forced upon our minds that he was originally a man of robust and virile intellect, ambitious of greatness, confident in his own powers, and well qualified for serious affairs, whose energies found no proper scope for their exercise. Literary work offered but a poor sphere for such a character, while the enforced inactivity of court life soured a naturally capricious and choleric temper. Of poetry he spoke with a certain tone of condescension, professing to practise it only in his leisure moments; nor are his miscellaneous verses of a quality to secure for their author a very lasting reputation. It is therefore not a little remarkable that the fruit of his retirement--a disappointed courtier past the prime of early manhood--should have been a dramatic masterpiece worthy to be ranked with the classics of Italian literature. Deferring a further account of the _Pastor fido_ for the present, the remaining incidents of Guarini's restless life may be briefly told. In 1585 he was at Turin superintending the first public performance of his drama, whence Alphonso recalled him to Ferrara, and gave him the office of secretary of state. This reconciliation between the poet and his patron did not last long. Guarini moved to Florence, then to Rome, and back again to Florence, where he established himself as the courtier of Ferdinand de' Medici. A dishonourable marriage, pressed upon his son Guarino by the grand-duke, roused the natural resentment of Guarini, always scrupulous upon the point of honour. He abandoned the Medicean court, and took refuge with Francesco Maria of Urbino, the last scion of the Montefeltro-della-Rovere house. Yet he found no satisfaction at Urbino. "The old court is a dead institution," he writes to a friend; "one may see a shadow of it, but not the substance in Italy of to-day. Ours is an age of appearances, and one goes a-masquerading all the year." This was true enough. Those dwindling deadly-lively little residence towns of Italian ducal families, whose day of glory was over, and who were waiting to be slowly absorbed by the capacious appetite of Austria, were no fit places for a man of energy and independence. Guarini finally took refuge in his native Ferrara, which, since the death of Alphonso, had now devolved to the papal see. Here, and at the Villa Guarina, his last years were passed in study, law-suits, and polemical disputes with his contemporary critics, until 1612, when he died at Venice in his seventy-fifth year.

The _Pastor fido_ (first published in 1590) is a pastoral drama composed not without reminiscences of Tasso's _Aminta_. The scene is laid in Arcadia, where Guarini supposes it to have been the custom to sacrifice a maiden yearly to Diana. But an oracle has declared that when two scions of divine lineage are united in marriage, and a faithful shepherd has atoned for the ancient error of a faithless woman, this inhuman rite shall cease. The plot turns upon the unexpected fulfilment of this prophecy, contrary to all the schemes which had been devised for bringing it to accomplishment, and in despite of apparent improbabilities of divers kinds. It is extremely elaborate, and, regarded as a piece of cunning mechanism, leaves nothing to be desired. Each motive has been carefully prepared, each situation amply developed. Yet, considered as a play, the _Pastor fido_ disappoints a reader trained in the school of Sophocles or Shakespeare. The action itself seems to take place off the stage, and only the results of action, stationary tableaux representing the movement of the drama, are put before us in the scenes. The art is lyrical, not merely in form but in spirit, and in adaptation to the requirements of music which demands stationary expressions of emotion for development. The characters have been well considered, and are exhibited with great truth and vividness; the cold and eager hunter Silvio contrasting with the tender and romantic Mirtillo, and Corisca's meretricious arts enhancing the pure affection of Amarilli. Dorinda presents another type of love so impulsive that it prevails over a maiden's sense of shame, while the courtier Carino brings the corruption of towns into comparison with the innocence of the country. In Carino the poet painted his own experience, and here his satire upon the court of Ferrara is none the less biting because it is gravely measured. In Corisca he delineated a woman vitiated by the same town life, and a very hideous portrait has he drawn. Though a satirical element was thus introduced into the _Pastor fido_ in order to relieve its ideal picture of Arcadia, the whole play is but a study of contemporary feeling in Italian society. There is no true rusticity whatever in the drama. This correspondence with the spirit of the age secured its success during Guarini's lifetime; this made it so dangerously seductive that Cardinal Bellarmine told the poet he had done more harm to Christendom by his blandishments than Luther by his heresy. Without anywhere transgressing the limits of decorum, the _Pastor fido_ is steeped in sensuousness; and the immodesty of its pictures is enhanced by rhetorical concealments more provocative than nudity. Moreover, the love described is effeminate and wanton, felt less as passion than as lust enveloped in a veil of sentiment. We divine the coming age of _cicisbei_ and _castrati_. Of Guarini's style it would be difficult to speak in terms of too high praise. The thought and experience of a lifetime have been condensed in these five acts, and have found expression in language brilliant, classical, chiselled to perfection. Here and there the taste of the 17th century makes itself felt in frigid conceits and forced antitheses; nor does Guarini abstain from sententious maxims which reveal the moralist rather than the poet. Yet these are but minor blemishes in a masterpiece of diction, glittering and faultless like a polished bas-relief of hard Corinthian bronze. That a single pastoral should occupy so prominent a place in the history of literature seems astonishing, until we reflect that Italy, upon the close of the 16th century, expressed itself in the _Pastor fido_, and that the influence of this drama was felt through all the art of Europe till the epoch of the Revolution. It is not a mere play. The sensual refinement proper to an age of social decadence found in it the most exact embodiment, and made it the code of gallantry for the next two centuries.

The best edition of the _Pastor fido_ is the 20th, published at Venice (Ciotti) in 1602. The most convenient is that of Barbera (Florence, 1866). For Guarini's miscellaneous _Rime_, the Ferrara edition, in 4 vols., 1737, may be consulted. His polemical writings, _Verato primo_ and _secondo_, and his prose comedy called _Idropica_, were published at Venice, Florence and Rome, between 1588 and 1614. (J. A. S.)

GUARINO, also known as VARINUS, and surnamed from his birthplace FAVORINUS, PHAVORINUS or CAMERS (c. 1450-1537), Italian lexicographer and scholar, was born at Favera near Camerino, studied Greek and Latin at Florence under Politian, and afterwards became for a time the pupil of Lascaris. Having entered the Benedictine order, he now gave himself with great zeal to Greek lexicography; and in 1496 published his _Thesaurus cornucopiae et horti Adonidis_, a collection of thirty-four grammatical tracts in Greek. He for some time acted as tutor to Giovanni dei Medici (afterwards Leo X.), and also held the appointment of keeper of the Medicean library at Florence. In 1514 Leo appointed him bishop of Nocera. In 1517 he published a translation of the _Apophthegmata_ of Joannes Stobaeus, and in 1523 appeared his _Etymologicum magnum, sive thesaurus universae linguae Graecae ex multis variisque autoribus collectus_, a compilation which has been frequently reprinted, and which has laid subsequent scholars under great though not always acknowledged obligations.

GUARINO [GUARINUS] DA VERONA (1370-1460), one of the Italian restorers of classical learning, was born in 1370 at Verona, and studied Greek at Constantinople, where for five years he was the pupil of Manuel Chrysoloras. When he set out on his return to Italy he was the happy possessor of two cases of precious Greek MSS. which he had been at great pains to collect; it is said that the loss of one of these by shipwreck caused him such distress that his hair turned grey in a single night. He supported himself as a teacher of Greek, first at Verona and afterwards in Venice and Florence; in 1436 he became, through the patronage of Lionel, marquis of Este, professor of Greek at Ferrara; and in 1438 and following years he acted as interpreter for the Greeks at the councils of Ferrara and Florence. He died at Ferrara on the 14th of December 1460.

His principal works are translations of Strabo and of some of the _Lives_ of Plutarch, a compendium of the Greek grammar of Chrysoloras, and a series of commentaries on Persius, Juvenal, Martial and on some of the writings of Aristotle and Cicero. See Rosmini, _Vita e disciplina di Guarino_ (1805-1806); Sabbadini, _Guarino Veronese_ (1885); Sandys, _Hist. Class. Schol._ ii. (1908).

GUARNIERI, or GUARNERIUS, a celebrated family of violin-makers of Cremona. The first was Andreas (c. 1626-1698), who worked with Antonio Stradivari in the workshop of Nicolo Amati (son of Geronimo). Violins of a model original to him are dated from the sign of "St Theresa" in Cremona. His son Joseph (1666-c. 1739) made instruments at first like his father's, but later in a style of his own with a narrow waist; his son, Peter of Venice (b. 1695), was also a fine maker. Another son of Andreas, Peter (Pietro Giovanni), commonly known as "Peter of Cremona" (b. 1655), moved from Cremona and settled at Mantua, where he too worked "sub signo Sanctae Teresae." Peter's violins again showed considerable variations from those of the other Guarnieri. Hart, in his work on the violin, says, "There is increased breadth between the sound-holes; the sound-hole is rounder and more perpendicular; the middle bouts are more contracted, and the model is more raised."

The greatest of all the Guarnieri, however, was a nephew of Andreas, Joseph del Gesu (1687-1745), whose title originates in the I.H.S. inscribed on his tickets. His master was Gaspar di Salo. His conception follows that of the early Brescian makers in the boldness of outline and the massive construction which aim at the production of tone rather than visual perfection of form. The great variety of his work in size, model, &c., represents his various experiments in the direction of discovering this tone. A stain or sap-mark, parallel with the finger-board on both sides, appears on the bellies of most of his instruments. Since the middle of the 18th century a great many spurious instruments ascribed to this master have poured over Europe. It was not until Paganini played on a "Joseph" that the taste of amateurs turned from the sweetness of the Amati and the Stradivarius violins in favour of the robuster tone of the Joseph Guarnerius. See VIOLIN.

GUASTALLA, a town and episcopal see of Emilia, Italy, in the province of Reggio, from which it is 18 m. N. by road, on the S. bank of the Po, 79 ft. above sea-level. It is also connected by rail with Parma and Mantua (via Suzzara). Pop. (1901), 2658 (town); 11,091 (commune). It has 16th-century fortifications. The cathedral, dating from the 10th century, has been frequently restored. Guastalla was founded by the Lombards in the 7th century; in the church of the Pieve Pope Paschal II. held a council in 1106. In 1307 it was seized by Giberto da Correggio of Parma. In 1403 it passed to Guido Torello, cousin of Filippo Maria Visconti of Milan. In 1539 it was sold by the last female descendant of the Torelli to Ferrante Gonzaga. In 1621 it was made the seat of a duchy, but in 1748 it was added to those of Parma and Piacenza, whose history it subsequently followed.

GUATEMALA (sometimes incorrectly written GUATIMALA), a name now restricted to the republic of Guatemala and to its chief city, but formerly given to a captaincy-general of Spanish America, which included the fifteen provinces of Chiapas, Suchitepeques, Escuintla, Sonsonate, San Salvador, Vera Paz and Peten, Chiquimula, Honduras, Nicaragua, Costa Rica, Totonicapam, Quezaltenango, Solola, Chimaltenango and Sacatepeques,--or, in other words, the whole of Central America (except Panama) and part of Mexico. The name is probably of Aztec origin, and is said by some authorities to mean in its native form Quauhtematlan, "Land of the Eagle," or "Land of Forest"; others, writing it U-ha-tez-ma-la, connect it with the volcano of Agua (i.e. "water"), and interpret it as "mountain vomiting water."

The republic of Guatemala is situated between 13 deg. 42' and 17 deg. 49' N., and 88 deg. 10' and 92 deg. 30' W. (For map, see CENTRAL AMERICA.) Pop. (1903), 1,842,134; area about 48,250 sq. m. Guatemala is bounded on the W. and N. by Mexico, N.E. by British Honduras, E. by the Gulf of Honduras, and the republic of Honduras, S.E. by Salvador and S. by the Pacific Ocean. The frontier towards Mexico was determined by conventions of the 27th of September 1882, the 17th of October 1883, the 1st of April 1895, and the 8th of May 1899. Starting from the Pacific, it ascends the river Suchiate, then follows an irregular line towards the north-east, till it reaches the parallel of 17 deg. 49[min] N., along which it runs to the frontier of British Honduras. This frontier, by the convention of the 9th of July 1893, coincides with the meridian of 89 deg. 20[min] W., till it meets the river Sarstoon or Sarstun, which it follows eastwards to the Gulf of Honduras.

_Physical Description._--Guatemala is naturally divided into five regions--the lowlands of the Pacific coast, the volcanic mountains of the Sierra Madre, the so-called plateaus immediately north of these, the mountains of the Atlantic versant and the plain of Peten. (1) The coastal plains extend along the entire southern seaboard, with a mean breadth of 50 m., and link together the belts of similar territory in Salvador and the district of Soconusco in Chiapas. Owing to their tropical heat, low elevation above sea-level, and marshy soil, they are thinly peopled, and contain few important towns except the seaports. (2) The precipitous barrier of the Sierra Madre, which closes in the coastal plains on the north, is similarly prolonged into Salvador and Mexico. It is known near Guatemala city as the Sierra de las Nubes, and enters Mexico as the Sierra de Istatan. It forms the main watershed between the Pacific and Atlantic river systems. Its summit is not a well-defined crest, but is often rounded or flattened into a table-land. The direction of the great volcanic cones, which rise in an irregular line above it, is not identical with the main axis of the Sierra itself, except near the Mexican frontier, but has a more southerly trend, especially towards Salvador; here the base of many of the igneous peaks rests among the southern foothills of the range. It is, however, impossible to subdivide the Sierra Madre into a northern and a volcanic chain; for the volcanoes are isolated by stretches of comparatively low country; at least thirteen considerable streams flow down between them, from the main watershed to the sea. Viewed from the coast, the volcanic cones seem to rise directly from the central heights of the Sierra Madre, above which they tower; but in reality their bases are, as a rule, farther south. East of Tacana, which marks the Mexican frontier, and is variously estimated at 13,976 ft. and 13,090 ft., and if the higher estimate be correct is the loftiest peak in Central America, the principal volcanoes are--Tajamulco or Tajumulco (13,517 ft.); Santa Maria (12,467 ft.), which was in eruption during 1902, after centuries of quiescence, in which its slopes had been overgrown by dense forests; Atitlan (11,719), overlooking the lake of that name; Acatenango (13,615). which shares the claim of Tacana to be the highest mountain of Central America; Fuego (i.e. "fire," variously estimated at 12,795 ft. and 12,582 ft.), which received its name from its activity at the time of the Spanish conquest; Agua (i.e. "water," 12,139 ft.), so named in 1541 because it destroyed the former capital of Guatemala with a deluge of water from its flooded crater; and Pacaya (8390), a group of igneous peaks which were in eruption in 1870. (3) The so-called plateaus which extend north of the Sierra Madre are in fact high valleys, rather than table-lands, enclosed by mountains. A better idea of this region is conveyed by the native name Altos, or highlands, although that term includes the northern declivity of the Sierra Madre. The mean elevation is greatest in the west (Altos of Quezaltenango) and least in the east (Altos of Guatemala). A few of the streams of the Pacific slope actually rise in the Altos, and force a way through the Sierra Madre at the bottom of deep ravines. One large river, the Chixoy, escapes northwards towards the Atlantic. (4) The relief of the mountainous country which lies north of the Altos and drains into the Atlantic is varied by innumerable terraces, ridges and underfalls; but its general configuration is admirably compared by E. Reclus with the appearance of "a stormy sea breaking into parallel billows" (_Universal Geography_, ed. E. G. Ravenstein, div. xxxiii., p. 212). The parallel ranges extend east and west with a slight southerly curve towards their centres. A range called the Sierra de Chama, which, however, changes its name frequently from place to place, strikes eastward towards British Honduras, and is connected by low hills with the Cockscomb Mountains; another similar range, the Sierra de Santa Cruz, continues east to Cape Cocoli between the Polochic and the Sarstoon; and a third, the Sierra de las Minas or, in its eastern portion, Sierra del Mico, stretches between the Polochic and the Motagua. Between Honduras and Guatemala the frontier is formed by the Sierra de Merendon. (5) The great plain of Peten, which comprises about one-third of the whole area of Guatemala, belongs geographically to the Yucatan Peninsula, and consists of level or undulating country, covered with grass or forest. Its population numbers less than two per sq. m., although many districts have a wonderfully fertile soil and abundance of water. The greater part of this region is uncultivated, and only utilized as pasture by the Indians, who form the majority of its inhabitants.

Guatemala is richly watered. On the western side of the sierras the versant is short, and the streams, while very numerous, are consequently small and rapid; but on the eastern side a number of the rivers attain a very considerable development. The Motagua, whose principal head stream is called the Rio Grande, has a course of about 250 m., and is navigable to within 90 m. of the capital, which is situated on one of its confluents, the Rio de las Vacas. It forms a delta on the south of the Gulf of Honduras. Of similar importance is the Polochic, which is about 180 m. in length, and navigable about 20 m. above the river-port of Teleman. Before reaching the Golfo Amatique it passes through the Golfo Dulce, or Izabal Lake, and the Golfete Dulce. A vast number of streams, among which are the Chixoy, the Guadalupe, and the Rio de la Pasion, unite to form the Usumacinta, whose noble current passes along the Mexican frontier, and flowing on through Chiapas and Tabasco, falls into the Bay of Campeche. The Chiapas follows a similar course.