She removed to a small property
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age.
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age.
Petrarch
?
The Project Gutenberg EBook of The Sonnets, Triumphs, and Other Poems of
Petrarch, by Petrarch
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Title: The Sonnets, Triumphs, and Other Poems of Petrarch
Author: Petrarch
Editor: Thomas Campbell
Release Date: January 31, 2006 [EBook #17650]
Language: English
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[Illustration: PETRARCH. ]
THE SONNETS, TRIUMPHS,
AND OTHER POEMS
OF
PETRARCH.
NOW FIRST COMPLETELY TRANSLATED INTO ENGLISH VERSE
BY VARIOUS HANDS.
WITH A LIFE OF THE POET
BY THOMAS CAMPBELL.
ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
LONDON: GEORGE BELL AND SONS, YORK STREET,
COVENT GARDEN.
1879.
[_Reprinted from Stereotype plates. _]
PREFACE.
The present translation of Petrarch completes the Illustrated Library
series of the Italian Poets emphatically distinguished as "I Quattro
Poeti Italiani. "
It is rather a singular fact that, while the other three Poets of this
world-famed series--Dante, Ariosto, and Tasso--have each found several
translators, no complete version of the fourth, and in Italy the most
popular, has hitherto been presented to the English reader. This lacune
becomes the more remarkable when we consider the great influence which
Petrarch has undoubtedly exercised on our poetry from the time of
Chaucer downwards.
The plan of the present volume has been to select from all the known
versions those most distinguished for fidelity and rhythm. Of the more
favourite poems, as many as three or four are occasionally given; while
of others, and those by no means few, it has been difficult to find even
one. Indeed, many must have remained entirely unrepresented but for the
spirited efforts of Major Macgregor, who has recently translated nearly
the whole, and that with great closeness both as to matter and form. To
this gentleman we have to return our especial thanks for his liberal
permission to make free use of his labours.
Among the translators will be found Chaucer, Spenser, Sir Thomas Wyatt,
Anna Hume, Sir John Harington, Basil Kennett, Anne Bannerman, Drummond
of Hawthornden, R. Molesworth, Hugh Boyd, Lord Woodhouselee, the Rev.
Francis Wrangham, the Rev. Dr. Nott, Dr. Morehead, Lady Dacre, Lord
Charlemont, Capel Lofft, John Penn, Charlotte Smith, Mrs. Wrottesley,
Miss Wollaston, J. H. Merivale, the Rev. W. Shepherd, and Leigh Hunt,
besides many anonymous.
The order of arrangement is that adopted by Marsand and other recent
editors; but to prevent any difficulty in identification, the Italian
first lines have been given throughout, and repeated in an alphabetical
index.
The Life of Petrarch prefixed is a condensation of the poet Campbell's
two octavo volumes, and includes all the material part of that work.
York Street, Covent Garden,
June 28, 1869.
LIST OF PLATES.
PAGE
1. PORTRAIT OF PETRARCH to face title.
2. VIEW OF NAPLES xliv
3. VIEW OF NICE li
4. COAST OF GENOA lxvi
5. BRIDGE OF SIGHS, VENICE lxxviii
6. VICENZA lxxxiii
7. MILAN CATHEDRAL cvi
8. LIBRARY OF ST. MARK'S, VENICE cxv
9. FERRARA. THE OLD DUCAL PALACE cxxiii
10. PORTRAIT OF LAURA 1
11. VIEW OF ROME--ST. PETER'S IN THE DISTANCE 66
12. SOLITUDES OF VAUCLUSE (where Petrarch wrote most of
his Sonnets) 105
13. GENOA AND THE APENNINES 124
14. AVIGNON (where Laura resided) 189
15. SELVA PIANA (where Petrarch received the news of
Laura's death) 232
16. PETRARCH'S HOUSE AT ARQUA (where he wrote his
Triumphs) 322
CHRONOLOGICAL SUMMARY OF PETRARCH'S LIFE.
A. D. PAGE
1304. Born at Arezzo, the 20th of July. ix
1305. Is taken to Incisa at the age of seven months, where
he remains seven years. x
1312. Is removed to Pisa, where he remains seven months. x
1313. Accompanies his parents to Avignon. xi
1315. Goes to live at Carpentras. xi
1319. Is sent to Montpelier. xi
1323. Is removed to Bologna. xii
1326. Returns to Avignon--loses his parents--contracts a
friendship with James Colonna. xiii
1327. Falls in love with Laura. xvii
1330. Goes to Lombes with James Colonna--forms acquaintance
with Socrates and Laelius--and returns to Avignon to
live in the house of Cardinal Colonna. xviii
1331. Travels to Paris--travels through Flanders and Brabant,
and visits a part of Germany. xxiv
1333. His first journey to Rome--his long navigation as
far as the coast of England--his return to Avignon. xxxiii
1337. Birth of his son John--he retires to Vaucluse. xxxv
1339. Commences writing his epic poem, "Africa. " xxxviii
1340. Receives an invitation from Rome to come and be
crowned as Laureate--and another invitation, to
the same effect, from Paris. xlii
1341. Goes to Naples, and thence to Rome, where he is
crowned in the Capitol--repairs to Parma--death
of Tommaso da Messina and James Colonna. xliii
1342. Goes as orator of the Roman people to Clement VI.
at Avignon--Studies the Greek language under
Barlaamo. xlviii
1343. Birth of his daughter Francesca--he writes his
dialogues "De secreto conflictu curarum
suarum"--is sent to Naples by Clement VI. and
Cardinal Colonna--goes to Rome for a third and
a fourth time--returns from Naples to Parma. li
1344. Continues to reside in Parma. lviii
1345. Leaves Parma, goes to Bologna, and thence to
Verona--returns to Avignon. lviii
1346. Continues to live at Avignon--is elected canon of
Parma. lix
1347. Revolution at Rome--Petrarch's connection with the
Tribune--takes his fifth journey to Italy--repairs
to Parma. lxiv
1348. Goes to Verona--death of Laura--he returns again
to Parma--his autograph memorandum in the
Milan copy of Virgil--visits Manfredi, Lord of
Carpi, and James Carrara at Padua. lxvii
1349. Goes from Parma to Mantua and Ferrara--returns
to Padua, and receives, probably in this year, a
canonicate in Padua. lxxiii
1350. Is raised to the Archdeaconry of Parma--writes to
the Emperor Charles IV. --goes to Rome, and, in
going and returning, stops at Florence. lxxiii
1351. Writes to Andrea Dandolo with a view to reconcile
the Venetians and Florentines--the Florentines
decree the restoration of his paternal property,
and send John Boccaccio to recall him to his
country--he returns, for the sixth time, to
Avignon--is consulted by the four Cardinals, who
had been deputed to reform the government of Rome. lxxx
1352. Writes to Clement VI. the letter which excites against
him the enmity of the medical tribe--begins
writing his treatise "De Vita Solitaria. " lxxxvii
1353. Visits his brother in the Carthusian monastery of
Monte Rivo--writes his treatise "De Otio
Religiosorum"--returns to Italy--takes up his
abode with the Visconti--is sent by the Archbishop
Visconti to Venice, to negotiate a peace between the
Venetians and Genoese. xc
1354. Visits the Emperor at Mantua. xcix
1355. His embassy to the Emperor--publishes his "Invective
against a Physician. " xcix
1360. His embassy to John, King of France. cxii
1361. Leaves Milan and settles at Venice--gives his library
to the Venetians. cxiii
1364. Writes for Lucchino del Verme his treatise "De Officio
et Virtutibus Imperatoris. " cxvii
1366. Writes to Urban V. imploring him to remove the
Papal residence to Rome--finishes his treatise
"De Remediis utriusque Fortunae. " cxviii
1368. Quits Venice--four young Venetians, either in this
year or the preceding, promulgate a critical judgment
against Petrarch--repairs to Pavia to negotiate
peace between the Pope's Legate and the
Visconti. cxix
1370. Sets out to visit the Pontiff--is taken ill at Ferrara--
retires to Arqua among the Euganean hills. cxxii
1371. Writes his "Invectiva contra Gallum," and his
"Epistle to Posterity. " cxxiii
1372. Writes for Francesco da Carrara his essay "De Republica
optime administranda. " cxxx
1373. Is sent to Venice by Francesco da Carrara. cxxx
1374. Translates the Griseldis of Boccaccio--dies on the
18th of July in the same year. cxxxi
THE LIFE OF PETRARCH.
The family of Petrarch was originally of Florence, where his ancestors
held employments of trust and honour. Garzo, his great-grandfather, was
a notary universally respected for his integrity and judgment. Though he
had never devoted himself exclusively to letters, his literary opinion
was consulted by men of learning. He lived to be a hundred and four
years old, and died, like Plato, in the same bed in which he had been
born.
Garzo left three sons, one of whom was the grandfather of Petrarch.
Diminutives being customary to the Tuscan tongue, Pietro, the poet's
father, was familiarly called Petracco, or little Peter. He, like his
ancestors, was a notary, and not undistinguished for sagacity. He had
several important commissions from government. At last, in the
increasing conflicts between the Guelphs and the Ghibellines--or, as
they now called themselves, the Blacks and the Whites--Petracco, like
Dante, was obliged to fly from his native city, along with the other
Florentines of the White party. He was unjustly accused of having
officially issued a false deed, and was condemned, on the 20th of
October, 1302, to pay a fine of one thousand lire, and to have his hand
cut off, if that sum was not paid within ten days from the time he
should be apprehended. Petracco fled, taking with him his wife, Eletta
Canigiani, a lady of a distinguished family in Florence, several of whom
had held the office of Gonfalonier.
Petracco and his wife first settled at Arezzo, a very ancient city of
Tuscany. Hostilities did not cease between the Florentine factions till
some years afterwards; and, in an attempt made by the Whites to take
Florence by assault, Petracco was present with his party. They were
repulsed. This action, which was fatal to their cause, took place in the
night between the 19th and 20th days of July, 1304,--the precise date of
the birth of Petrarch.
During our poet's infancy, his family had still to struggle with an
adverse fate; for his proscribed and wandering father was obliged to
separate himself from his wife and child, in order to have the means of
supporting them.
As the pretext for banishing Petracco was purely personal, Eletta, his
wife, was not included in the sentence. She removed to a small property
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age. In their
passage thither, both mother and child, together with their guide, had a
narrow escape from being drowned in the Arno. Eletta entrusted her
precious charge to a robust peasant, who, for fear of hurting the child,
wrapt it in a swaddling cloth, and suspended it over his shoulder, in
the same manner as Metabus is described by Virgil, in the eleventh book
of the AEneid, to have carried his daughter Camilla. In passing the
river, the horse of the guide, who carried Petrarch, stumbled, and sank
down; and in their struggles to save him, both his sturdy bearer and the
frantic parent were, like the infant itself, on the point of being
drowned.
After Eletta had settled at Ancisa, Petracco often visited her by
stealth, and the pledges of their affection were two other sons, one of
whom died in childhood. The other, called Gherardo, was educated along
with Petrarch. Petrarch remained with his mother at Ancisa for seven
years.
The arrival of the Emperor, Henry VII. , in Italy, revived the hopes of
the banished Florentines; and Petracco, in order to wait the event, went
to Pisa, whither he brought his wife and Francesco, who was now in his
eighth year. Petracco remained with his family in Pisa for several
months; but tired at last of fallacious hopes, and not daring to trust
himself to the promises of the popular party, who offered to recall him
to Florence, he sought an asylum in Avignon, a place to which many
Italians were allured by the hopes of honours and gain at the papal
residence. In this voyage, Petracco and his family were nearly
shipwrecked off Marseilles.
But the numbers that crowded to Avignon, and its luxurious court,
rendered that city an uncomfortable place for a family in slender
circumstances. Petracco accordingly removed his household, in 1315, to
Carpentras, a small quiet town, where living was cheaper than at
Avignon. There, under the care of his mother, Petrarch imbibed his first
instruction, and was taught by one Convennole da Prato as much grammar
and logic as could be learned at his age, and more than could be learned
by an ordinary disciple from so common-place a preceptor. This poor
master, however, had sufficient intelligence to appreciate the genius of
Petrarch, whom he esteemed and honoured beyond all his other pupils. On
the other hand, his illustrious scholar aided him, in his old age and
poverty, out of his scanty income.
Petrarch used to compare Convennole to a whetstone, which is blunt
itself, but which sharpens others. His old master, however was sharp
enough to overreach him in the matter of borrowing and lending. When the
poet had collected a considerable library, Convennole paid him a visit,
and, pretending to be engaged in something that required him to consult
Cicero, borrowed a copy of one of the works of that orator, which was
particularly valuable. He made excuses, from time to time, for not
returning it; but Petrarch, at last, had too good reason to suspect that
the old grammarian had pawned it. The poet would willingly have paid for
redeeming it, but Convennole was so much ashamed, that he would not tell
to whom it was pawned; and the precious manuscript was lost.
Petracco contracted an intimacy with Settimo, a Genoese, who was like
himself, an exile for his political principles, and who fixed his abode
at Avignon with his wife and his boy, Guido Settimo, who was about the
same age with Petrarch. The two youths formed a friendship, which
subsisted between them for life.
Petrarch manifested signs of extraordinary sensibility to the charms of
nature in his childhood, both when he was at Carpentras and at Avignon.
One day, when he was at the latter residence, a party was made up, to
see the fountain of Vaucluse, a few leagues from Avignon. The little
Francesco had no sooner arrived at the lovely landscape than he was
struck with its beauties, and exclaimed, "Here, now, is a retirement
suited to my taste, and preferable, in my eyes, to the greatest and most
splendid cities. "
A genius so fine as that of our poet could not servilely confine itself
to the slow method of school learning, adapted to the intellects of
ordinary boys. Accordingly, while his fellow pupils were still plodding
through the first rudiments of Latin, Petrarch had recourse to the
original writers, from whom the grammarians drew their authority, and
particularly employed himself in perusing the works of Cicero. And,
although he was, at this time, much too young to comprehend the full
force of the orator's reasoning, he was so struck with the charms of his
style, that he considered him the only true model in prose composition.
His father, who was himself something of a scholar, was pleased and
astonished at this early proof of his good taste; he applauded his
classical studies, and encouraged him to persevere in them; but, very
soon, he imagined that he had cause to repent of his commendations.
Classical learning was, in that age, regarded as a mere solitary
accomplishment, and the law was the only road that led to honours and
preferment. Petracco was, therefore, desirous to turn into that channel
the brilliant qualities of his son; and for this purpose he sent him, at
the age of fifteen, to the university of Montpelier. Petrarch remained
there for four years, and attended lectures on law from some of the
most famous professors of the science. But his prepossession for Cicero
prevented him from much frequenting the dry and dusty walks of
jurisprudence. In his epistle to posterity, he endeavours to justify
this repugnance by other motives. He represents the abuses, the
chicanery, and mercenary practices of the law, as inconsistent with
every principle of candour and honesty.
When Petracco observed that his son made no great progress in his legal
studies at Montpelier, he removed him, in 1323, to Bologna, celebrated
for the study of the canon and civil law, probably imagining that the
superior fame of the latter place might attract him to love the law.
She removed to a small property
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age. In their
passage thither, both mother and child, together with their guide, had a
narrow escape from being drowned in the Arno. Eletta entrusted her
precious charge to a robust peasant, who, for fear of hurting the child,
wrapt it in a swaddling cloth, and suspended it over his shoulder, in
the same manner as Metabus is described by Virgil, in the eleventh book
of the AEneid, to have carried his daughter Camilla. In passing the
river, the horse of the guide, who carried Petrarch, stumbled, and sank
down; and in their struggles to save him, both his sturdy bearer and the
frantic parent were, like the infant itself, on the point of being
drowned.
After Eletta had settled at Ancisa, Petracco often visited her by
stealth, and the pledges of their affection were two other sons, one of
whom died in childhood. The other, called Gherardo, was educated along
with Petrarch. Petrarch remained with his mother at Ancisa for seven
years.
The arrival of the Emperor, Henry VII. , in Italy, revived the hopes of
the banished Florentines; and Petracco, in order to wait the event, went
to Pisa, whither he brought his wife and Francesco, who was now in his
eighth year. Petracco remained with his family in Pisa for several
months; but tired at last of fallacious hopes, and not daring to trust
himself to the promises of the popular party, who offered to recall him
to Florence, he sought an asylum in Avignon, a place to which many
Italians were allured by the hopes of honours and gain at the papal
residence. In this voyage, Petracco and his family were nearly
shipwrecked off Marseilles.
But the numbers that crowded to Avignon, and its luxurious court,
rendered that city an uncomfortable place for a family in slender
circumstances. Petracco accordingly removed his household, in 1315, to
Carpentras, a small quiet town, where living was cheaper than at
Avignon. There, under the care of his mother, Petrarch imbibed his first
instruction, and was taught by one Convennole da Prato as much grammar
and logic as could be learned at his age, and more than could be learned
by an ordinary disciple from so common-place a preceptor. This poor
master, however, had sufficient intelligence to appreciate the genius of
Petrarch, whom he esteemed and honoured beyond all his other pupils. On
the other hand, his illustrious scholar aided him, in his old age and
poverty, out of his scanty income.
Petrarch used to compare Convennole to a whetstone, which is blunt
itself, but which sharpens others. His old master, however was sharp
enough to overreach him in the matter of borrowing and lending. When the
poet had collected a considerable library, Convennole paid him a visit,
and, pretending to be engaged in something that required him to consult
Cicero, borrowed a copy of one of the works of that orator, which was
particularly valuable. He made excuses, from time to time, for not
returning it; but Petrarch, at last, had too good reason to suspect that
the old grammarian had pawned it. The poet would willingly have paid for
redeeming it, but Convennole was so much ashamed, that he would not tell
to whom it was pawned; and the precious manuscript was lost.
Petracco contracted an intimacy with Settimo, a Genoese, who was like
himself, an exile for his political principles, and who fixed his abode
at Avignon with his wife and his boy, Guido Settimo, who was about the
same age with Petrarch. The two youths formed a friendship, which
subsisted between them for life.
Petrarch manifested signs of extraordinary sensibility to the charms of
nature in his childhood, both when he was at Carpentras and at Avignon.
One day, when he was at the latter residence, a party was made up, to
see the fountain of Vaucluse, a few leagues from Avignon. The little
Francesco had no sooner arrived at the lovely landscape than he was
struck with its beauties, and exclaimed, "Here, now, is a retirement
suited to my taste, and preferable, in my eyes, to the greatest and most
splendid cities. "
A genius so fine as that of our poet could not servilely confine itself
to the slow method of school learning, adapted to the intellects of
ordinary boys. Accordingly, while his fellow pupils were still plodding
through the first rudiments of Latin, Petrarch had recourse to the
original writers, from whom the grammarians drew their authority, and
particularly employed himself in perusing the works of Cicero. And,
although he was, at this time, much too young to comprehend the full
force of the orator's reasoning, he was so struck with the charms of his
style, that he considered him the only true model in prose composition.
His father, who was himself something of a scholar, was pleased and
astonished at this early proof of his good taste; he applauded his
classical studies, and encouraged him to persevere in them; but, very
soon, he imagined that he had cause to repent of his commendations.
Classical learning was, in that age, regarded as a mere solitary
accomplishment, and the law was the only road that led to honours and
preferment. Petracco was, therefore, desirous to turn into that channel
the brilliant qualities of his son; and for this purpose he sent him, at
the age of fifteen, to the university of Montpelier. Petrarch remained
there for four years, and attended lectures on law from some of the
most famous professors of the science. But his prepossession for Cicero
prevented him from much frequenting the dry and dusty walks of
jurisprudence. In his epistle to posterity, he endeavours to justify
this repugnance by other motives. He represents the abuses, the
chicanery, and mercenary practices of the law, as inconsistent with
every principle of candour and honesty.
When Petracco observed that his son made no great progress in his legal
studies at Montpelier, he removed him, in 1323, to Bologna, celebrated
for the study of the canon and civil law, probably imagining that the
superior fame of the latter place might attract him to love the law. To
Bologna Petrarch was accompanied by his brother Gherardo, and by his
inseparable friend, young Guido Settimo.
But neither the abilities of the several professors in that celebrated
academy, nor the strongest exhortations of his father, were sufficient
to conquer the deeply-rooted aversion which our poet had conceived for
the law. Accordingly, Petracco hastened to Bologna, that he might
endeavour to check his son's indulgence in literature, which
disconcerted his favourite designs. Petrarch, guessing at the motive of
his arrival, hid the copies of Cicero, Virgil, and some other authors,
which composed his small library, and to purchase which he had deprived
himself of almost the necessaries of life. His father, however, soon
discovered the place of their concealment, and threw them into the fire.
Petrarch exhibited as much agony as if he had been himself the martyr of
his father's resentment. Petracco was so much affected by his son's
tears, that he rescued from the flames Cicero and Virgil, and,
presenting them to Petrarch, he said, "Virgil will console you for the
loss of your other MSS. , and Cicero will prepare you for the study of
the law. "
It is by no means wonderful that a mind like Petrarch's could but ill
relish the glosses of the Code and the commentaries on the Decretals.
At Bologna, however, he met with an accomplished literary man and no
inelegant poet in one of the professors, who, if he failed in persuading
Petrarch to make the law his profession, certainly quickened his relish
and ambition for poetry. This man was Cino da Pistoia, who is esteemed
by Italians as the most tender and harmonious lyric poet in the native
language anterior to Petrarch.
During his residence at Bologna, Petrarch made an excursion as far as
Venice, a city that struck him with enthusiastic admiration. In one of
his letters he calls it "_orbem alterum_. " Whilst Italy was harassed, he
says, on all sides by continual dissensions, like the sea in a storm,
Venice alone appeared like a safe harbour, which overlooked the tempest
without feeling its commotion. The resolute and independent spirit of
that republic made an indelible impression on Petrarch's heart. The
young poet, perhaps, at this time little imagined that Venice was to be
the last scene of his triumphant eloquence.
Soon after his return from Venice to Bologna, he received the melancholy
intelligence of the death of his mother, in the thirty-eighth year of
her age. Her age is known by a copy of verses which Petrarch wrote upon
her death, the verses being the same in number as the years of her life.
She had lived humble and retired, and had devoted herself to the good of
her family; virtuous amidst the prevalence of corrupted manners, and,
though a beautiful woman, untainted by the breath of calumny. Petrarch
has repaid her maternal affection by preserving her memory from
oblivion. Petracco did not long survive the death of this excellent
woman. According to the judgment of our poet, his father was a man of
strong character and understanding. Banished from his native country,
and engaged in providing for his family, he was prevented by the
scantiness of his fortune, and the cares of his situation, from rising
to that eminence which he might have otherwise attained. But his
admiration of Cicero, in an age when that author was universally
neglected, was a proof of his superior mind.
Petrarch quitted Bologna upon the death of his father, and returned to
Avignon, with his brother Gherardo, to collect the shattered remains of
their father's property. Upon their arrival, they found their domestic
affairs in a state of great disorder, as the executors of Petracco's
will had betrayed the trust reposed in them, and had seized most of the
effects of which they could dispose. Under these circumstances, Petrarch
was most anxious for a MS. of Cicero, which his father had highly
prized. "The guardians," he writes, "eager to appropriate what they
esteemed the more valuable effects, had fortunately left this MS. as a
thing of no value. " Thus he owed to their ignorance this treatise, which
he considered the richest portion of the inheritance left him by his
father.
But, that inheritance being small, and not sufficient for the
maintenance of the two brothers, they were obliged to think of some
profession for their subsistence; they therefore entered the church; and
Avignon was the place, of all others, where preferment was most easily
obtained. John XXII. had fixed his residence entirely in that city since
October, 1316, and had appropriated to himself the nomination to all the
vacant benefices. The pretence for this appropriation was to prevent
simony--in others, not in his Holiness--as the sale of benefices was
carried by him to an enormous height. At every promotion to a bishopric,
he removed other bishops; and, by the meanest impositions, soon amassed
prodigious wealth. Scandalous emoluments, also, which arose from the
sale of indulgences, were enlarged, if not invented, under his papacy,
and every method of acquiring riches was justified which could
contribute to feed his avarice. By these sordid means, he collected such
sums, that, according to Villani, he left behind him, _in the sacred
treasury_, twenty-five millions of florins, a treasure which Voltaire
remarks is hardly credible.
The luxury and corruption which reigned in the Roman court at Avignon
are fully displayed in some letters of Petrarch's, without either date
or address. The partizans of that court, it is true, accuse him of
prejudice and exaggeration. He painted, as they allege, the popes and
cardinals in the gloomiest colouring. His letters contain the blackest
catalogue of crimes that ever disgraced humanity.
Petrarch was twenty-two years of age when he settled at Avignon, a scene
of licentiousness and profligacy. The luxury of the cardinals, and the
pomp and riches of the papal court, were displayed in an extravagant
profusion of feasts and ceremonies, which attracted to Avignon women of
all ranks, among whom intrigue and gallantry were generally
countenanced. Petrarch was by nature of a warm temperament, with vivid
and susceptible passions, and strongly attached to the fair sex. We must
not therefore be surprised if, with these dispositions, and in such a
dissolute city, he was betrayed into some excesses. But these were the
result of his complexion, and not of deliberate profligacy. He alludes
to this subject in his Epistle to Posterity, with every appearance of
truth and candour.
From his own confession, Petrarch seems to have been somewhat vain of
his personal appearance during his youth, a venial foible, from which
neither the handsome nor the homely, nor the wise nor the foolish, are
exempt. It is amusing to find our own Milton betraying this weakness, in
spite of all the surrounding strength of his character. In answering one
of his slanderers, who had called him pale and cadaverous, the author of
Paradise Lost appeals to all who knew him whether his complexion was not
so fresh and blooming as to make him appear ten years younger than he
really was.
Petrarch, when young, was so strikingly handsome, that he was frequently
pointed at and admired as he passed along, for his features were manly,
well-formed, and expressive, and his carriage was graceful and
distinguished. He was sprightly in conversation, and his voice was
uncommonly musical. His complexion was between brown and fair, and his
eyes were bright and animated. His countenance was a faithful index of
his heart.
He endeavoured to temper the warmth of his constitution by the
regularity of his living and the plainness of his diet. He indulged
little in either wine or sleep, and fed chiefly on fruits and
vegetables.
In his early days he was nice and neat in his dress, even to a degree of
affectation, which, in later life, he ridiculed when writing to his
brother Gherardo. "Do you remember," he says, "how much care we
employed in the lure of dressing our persons; when we traversed the
streets, with what attention did we not avoid every breath of wind which
might discompose our hair; and with what caution did we not prevent the
least speck of dirt from soiling our garments! "
This vanity, however, lasted only during his youthful days. And even
then neither attention to his personal appearance, nor his attachment to
the fair sex, nor his attendance upon the great, could induce Petrarch
to neglect his own mental improvement, for, amidst all these
occupations, he found leisure for application, and devoted himself to
the cultivation of his favourite pursuits of literature.
Inclined by nature to moral philosophy, he was guided by the reading of
Cicero and Seneca to that profound knowledge of the human heart, of the
duties of others and of our own duties, which shows itself in all his
writings. Gifted with a mind full of enthusiasm for poetry, he learned
from Virgil elegance and dignity in versification. But he had still
higher advantages from the perusal of Livy. The magnanimous actions of
Roman heroes so much excited the soul of Petrarch, that he thought the
men of his own age light and contemptible.
His first compositions were in Latin: many motives, however, induced him
to compose in the vulgar tongue, as Italian was then called, which,
though improved by Dante, was still, in many respects, harsh and
inelegant, and much in want of new beauties. Petrarch wrote for the
living, and for that portion of the living who were least of all to be
fascinated by the language of the dead. Latin might be all very well for
inscriptions on mausoleums, but it was not suited for the ears of beauty
and the bowers of love. The Italian language acquired, under his
cultivation, increased elegance and richness, so that the harmony of his
style has contributed to its beauty. He did not, however, attach himself
solely to Italian, but composed much in Latin, which he reserved for
graver, or, as he considered, more important subjects. His compositions
in Latin are--Africa, an epic poem; his Bucolics, containing twelve
eclogues; and three books of epistles.
Petrarch's greatest obstacles to improvement arose from the scarcity of
authors whom he wished to consult--for the manuscripts of the writers of
the Augustan age were, at that time, so uncommon, that many could not be
procured, and many more of them could not be purchased under the most
extravagant price. This scarcity of books had checked the dawning light
of literature. The zeal of our poet, however, surmounted all these
obstacles, for he was indefatigable in collecting and copying many of
the choicest manuscripts; and posterity is indebted to him for the
possession of many valuable writings, which were in danger of being lost
through the carelessness or ignorance of the possessors.
Petrarch could not but perceive the superiority of his own understanding
and the brilliancy of his abilities. The modest humility which knows not
its own worth is not wont to show itself in minds much above mediocrity;
and to elevated geniuses this virtue is a stranger. Petrarch from his
youthful age had an internal assurance that he should prove worthy of
estimation and honours. Nevertheless, as he advanced in the field of
science, he saw the prospect increase, Alps over Alps, and seemed to be
lost amidst the immensity of objects before him. Hence the anticipation
of immeasurable labours occasionally damped his application. But from
this depression of spirits he was much relieved by the encouragement of
John of Florence, one of the secretaries of the Pope, a man of learning
and probity. He soon distinguished the extraordinary abilities of
Petrarch; he directed him in his studies, and cheered up his ambition.
Petrarch returned his affection with unbounded confidence. He entrusted
him with all his foibles, his disgusts, and his uneasinesses. He says
that he never conversed with him without finding himself more calm and
composed, and more animated for study.
The superior sagacity of our poet, together with his pleasing manners,
and his increasing reputation for knowledge, ensured to him the most
flattering prospects of success. His conversation was courted by men of
rank, and his acquaintance was sought by men of learning. It was at this
time, 1326, that his merit procured him the friendship and patronage of
James Colonna, who belonged to one of the most ancient and illustrious
families of Italy.
"About the twenty-second year of my life," Petrarch writes to one of his
friends, "I became acquainted with James Colonna. He had seen me whilst
I resided at Bologna, and was prepossessed, as he was pleased to say,
with my appearance. Upon his arrival at Avignon, he again saw me, when,
having inquired minutely into the state of my affairs, he admitted me to
his friendship. I cannot sufficiently describe the cheerfulness of his
temper, his social disposition, his moderation in prosperity, his
constancy in adversity. I speak not from report, but from my own
experience. He was endowed with a persuasive and forcible eloquence. His
conversation and letters displayed the amiableness of his sincere
character. He gained the first place in my affections, which he ever
afterwards retained. "
Such is the portrait which our poet gives of James Colonna. A faithful
and wise friend is among the most precious gifts of fortune; but, as
friendships cannot wholly feed our affections, the heart of Petrarch, at
this ardent age, was destined to be swayed by still tenderer feelings.
He had nearly finished his twenty-third year without having ever
seriously known the passion of love. In that year he first saw Laura.
Concerning this lady, at one time, when no life of Petrarch had been yet
written that was not crude and inaccurate, his biographers launched
into the wildest speculations. One author considered her as an
allegorical being; another discovered her to be a type of the Virgin
Mary; another thought her an allegory of poetry and repentance. Some
denied her even allegorical existence, and deemed her a mere phantom
beauty, with which the poet had fallen in love, like Pygmalion with the
work of his own creation. All these caprices about Laura's history have
been long since dissipated, though the principal facts respecting her
were never distinctly verified, till De Sade, her own descendant, wrote
his memoirs of the Life of Petrarch.
Petrarch himself relates that in 1327, exactly at the first hour of the
6th of April, he first beheld Laura in the church of St. Clara of
Avignon,[A] where neither the sacredness of the place, nor the solemnity
of the day, could prevent him from being smitten for life with human
love. In that fatal hour he saw a lady, a little younger than himself[B]
in a green mantle sprinkled with violets, on which her golden hair fell
plaited in tresses. She was distinguished from all others by her proud
and delicate carriage. The impression which she made on his heart was
sudden, yet it was never effaced.
Laura, descended from a family of ancient and noble extraction, was the
daughter of Audibert de Noves, a Provencal nobleman, by his wife
Esmessenda. She was born at Avignon, probably in 1308. She had a
considerable fortune, and was married in 1325 to Hugh de Sade. The
particulars of her life are little known, as Petrarch has left few
traces of them in his letters; and it was still less likely that he
should enter upon her personal history in his sonnets, which, as they
were principally addressed to herself, made it unnecessary for him to
inform her of what she already knew.
While many writers have erred in considering Petrarch's attachment as
visionary, others, who have allowed the reality of his passion, have
been mistaken in their opinion of its object. They allege that Petrarch
was a happy lover, and that his mistress was accustomed to meet him at
Vaucluse, and make him a full compensation for his fondness. No one at
all acquainted with the life and writings of Petrarch will need to be
told that this is an absurd fiction. Laura, a married woman, who bore
ten children to a rather morose husband, could not have gone to meet him
at Vaucluse without the most flagrant scandal. It is evident from his
writings that she repudiated his passion whenever it threatened to
exceed the limits of virtuous friendship. On one occasion, when he
seemed to presume too far upon her favour, she said to him with
severity, "I am not what you take me for. " If his love had been
successful, he would have said less about it.
Of the two persons in this love affair, I am more inclined to pity Laura
than Petrarch. Independently of her personal charms, I cannot conceive
Laura otherwise than as a kind-hearted, loveable woman, who could not
well be supposed to be totally indifferent to the devotion of the most
famous and fascinating man of his age. On the other hand, what was the
penalty that she would have paid if she had encouraged his addresses as
far as he would have carried them? Her disgrace, a stigma left on her
family, and the loss of all that character which upholds a woman in her
own estimation and in that of the world. I would not go so far as to say
that she did not at times betray an anxiety to retain him under the
spell of her fascination, as, for instance, when she is said to have
cast her eyes to the ground in sadness when he announced his intention
to leave Avignon; but still I should like to hear her own explanation
before I condemned her. And, after all, she was only anxious for the
continuance of attentions, respecting which she had made a fixed
understanding that they should not exceed the bounds of innocence.
We have no distinct account how her husband regarded the homage of
Petrarch to his wife--whether it flattered his vanity, or moved his
wrath. As tradition gives him no very good character for temper, the
latter supposition is the more probable. Every morning that he went out
he might hear from some kind friend the praises of a new sonnet which
Petrarch had written on his wife; and, when he came back to dinner, of
course his good humour was not improved by the intelligence. He was in
the habit of scolding her till she wept; he married seven months after
her death, and, from all that is known of him, appears to have been a
bad husband. I suspect that Laura paid dearly for her poet's idolatry.
No incidents of Petrarch's life have been transmitted to us for the
first year or two after his attachment to Laura commenced. He seems to
have continued at Avignon, prosecuting his studies and feeding his
passion.
James Colonna, his friend and patron, was promoted in 1328 to the
bishopric of Lombes in Gascony; and in the year 1330 he went from
Avignon to take possession of his diocese, and invited Petrarch to
accompany him to his residence. No invitation could be more acceptable
to our poet: they set out at the end of March, 1330. In order to reach
Lombes, it was necessary to cross the whole of Languedoc, and to pass
through Montpelier, Narbonne, and Toulouse. Petrarch already knew
Montpelier, where he had, or ought to have, studied the law for four
years.
Full of enthusiasm for Rome, Petrarch was rejoiced to find at Narbonne
the city which had been the first Roman colony planted among the Gauls.
This colony had been formed entirely of Roman citizens, and, in order to
reconcile them to their exile, the city was built like a little image of
Rome. It had its capital, its baths, arches, and fountains; all which
works were worthy of the Roman name. In passing through Narbonne,
Petrarch discovered a number of ancient monuments and inscriptions.
Our travellers thence proceeded to Toulouse, where they passed several
days. This city, which was known even before the foundation of Rome, is
called, in some ancient Roman acts, "Roma Garumnae. " It was famous in the
classical ages for cultivating literature. After the fall of the Roman
empire, the successive incursions of the Visigoths, the Saracens, and
the Normans, for a long time silenced the Muses at Toulouse; but they
returned to their favourite haunt after ages of barbarism had passed
away. De Sade says, that what is termed Provencal poetry was much more
cultivated by the Languedocians than by the Provencals, properly so
called. The city of Toulouse was considered as the principal seat of
this earliest modern poetry, which was carried to perfection in the
twelfth and thirteenth centuries, under the patronage of the Counts of
Toulouse, particularly Raimond V. , and his son, Raimond VI. Petrarch
speaks with high praise of those poets in his Triumphs of Love. It has
been alleged that he owed them this mark of his regard for their having
been so useful to him in his Italian poetry; and Nostradamus even
accuses him of having stolen much from them. But Tassoni, who understood
the Provencal poets better than Nostradamus, defends him successfully
from this absurd accusation.
Although Provencal poetry was a little on its decline since the days of
the Dukes of Aquitaine and the Counts of Toulouse, it was still held in
honour; and, when Petrarch arrived, the Floral games had been
established at Toulouse during six years. [C]
Ere long, however, our travellers found less agreeable objects of
curiosity, that formed a sad contrast with the chivalric manners, the
floral games, and the gay poetry of southern France. Bishop Colonna and
Petrarch had intended to remain for some time at Toulouse; but their
sojourn was abridged by their horror at a tragic event[D] in the
principal monastery of the place. There lived in that monastery a young
monk, named Augustin, who was expert in music, and accompanied the
psalmody of the religious brothers with beautiful touches on the organ.
The superior of the convent, relaxing its discipline, permitted Augustin
frequently to mix with the world, in order to teach music, and to
improve himself in the art. The young monk was in the habit of
familiarly visiting the house of a respectable citizen: he was
frequently in the society of his daughter, and, by the express
encouragement of her father, undertook to exercise her in the practice
of music. Another young man, who was in love with the girl, grew jealous
of the monk, who was allowed to converse so familiarly with her, whilst
he, her lay admirer, could only have stolen glimpses of her as she
passed to church or to public spectacles. He set about the ruin of his
supposed rival with cunning atrocity; and, finding that the young woman
was infirm in health, suborned a physician, as worthless as himself, to
declare that she was pregnant. Her credulous father, without inquiring
whether the intelligence was true or false, went to the superior of the
convent, and accused Augustin, who, though thunderstruck at the
accusation, denied it firmly, and defended himself intrepidly. But the
superior was deaf to his plea of innocence, and ordered him to be shut
up in his cell, that he might await his punishment. Thither the poor
young man was conducted, and threw himself on his bed in a state of
horror.
The superior and the elders among the friars thought it a meet fate for
the accused that he should be buried alive in a subterranean dungeon,
after receiving the terrific sentence of "_Vade in pace_. " At the end of
several days the victim dashed out his brains against the walls of his
sepulchre. Bishop Colonna, who, it would appear, had no power to oppose
this hideous transaction, when he was informed of it, determined to
leave the place immediately; and Petrarch in his indignation exclaimed--
"Heu!
Petrarch, by Petrarch
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Title: The Sonnets, Triumphs, and Other Poems of Petrarch
Author: Petrarch
Editor: Thomas Campbell
Release Date: January 31, 2006 [EBook #17650]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE SONNETS, TRIUMPHS, AND ***
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[Illustration: PETRARCH. ]
THE SONNETS, TRIUMPHS,
AND OTHER POEMS
OF
PETRARCH.
NOW FIRST COMPLETELY TRANSLATED INTO ENGLISH VERSE
BY VARIOUS HANDS.
WITH A LIFE OF THE POET
BY THOMAS CAMPBELL.
ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
LONDON: GEORGE BELL AND SONS, YORK STREET,
COVENT GARDEN.
1879.
[_Reprinted from Stereotype plates. _]
PREFACE.
The present translation of Petrarch completes the Illustrated Library
series of the Italian Poets emphatically distinguished as "I Quattro
Poeti Italiani. "
It is rather a singular fact that, while the other three Poets of this
world-famed series--Dante, Ariosto, and Tasso--have each found several
translators, no complete version of the fourth, and in Italy the most
popular, has hitherto been presented to the English reader. This lacune
becomes the more remarkable when we consider the great influence which
Petrarch has undoubtedly exercised on our poetry from the time of
Chaucer downwards.
The plan of the present volume has been to select from all the known
versions those most distinguished for fidelity and rhythm. Of the more
favourite poems, as many as three or four are occasionally given; while
of others, and those by no means few, it has been difficult to find even
one. Indeed, many must have remained entirely unrepresented but for the
spirited efforts of Major Macgregor, who has recently translated nearly
the whole, and that with great closeness both as to matter and form. To
this gentleman we have to return our especial thanks for his liberal
permission to make free use of his labours.
Among the translators will be found Chaucer, Spenser, Sir Thomas Wyatt,
Anna Hume, Sir John Harington, Basil Kennett, Anne Bannerman, Drummond
of Hawthornden, R. Molesworth, Hugh Boyd, Lord Woodhouselee, the Rev.
Francis Wrangham, the Rev. Dr. Nott, Dr. Morehead, Lady Dacre, Lord
Charlemont, Capel Lofft, John Penn, Charlotte Smith, Mrs. Wrottesley,
Miss Wollaston, J. H. Merivale, the Rev. W. Shepherd, and Leigh Hunt,
besides many anonymous.
The order of arrangement is that adopted by Marsand and other recent
editors; but to prevent any difficulty in identification, the Italian
first lines have been given throughout, and repeated in an alphabetical
index.
The Life of Petrarch prefixed is a condensation of the poet Campbell's
two octavo volumes, and includes all the material part of that work.
York Street, Covent Garden,
June 28, 1869.
LIST OF PLATES.
PAGE
1. PORTRAIT OF PETRARCH to face title.
2. VIEW OF NAPLES xliv
3. VIEW OF NICE li
4. COAST OF GENOA lxvi
5. BRIDGE OF SIGHS, VENICE lxxviii
6. VICENZA lxxxiii
7. MILAN CATHEDRAL cvi
8. LIBRARY OF ST. MARK'S, VENICE cxv
9. FERRARA. THE OLD DUCAL PALACE cxxiii
10. PORTRAIT OF LAURA 1
11. VIEW OF ROME--ST. PETER'S IN THE DISTANCE 66
12. SOLITUDES OF VAUCLUSE (where Petrarch wrote most of
his Sonnets) 105
13. GENOA AND THE APENNINES 124
14. AVIGNON (where Laura resided) 189
15. SELVA PIANA (where Petrarch received the news of
Laura's death) 232
16. PETRARCH'S HOUSE AT ARQUA (where he wrote his
Triumphs) 322
CHRONOLOGICAL SUMMARY OF PETRARCH'S LIFE.
A. D. PAGE
1304. Born at Arezzo, the 20th of July. ix
1305. Is taken to Incisa at the age of seven months, where
he remains seven years. x
1312. Is removed to Pisa, where he remains seven months. x
1313. Accompanies his parents to Avignon. xi
1315. Goes to live at Carpentras. xi
1319. Is sent to Montpelier. xi
1323. Is removed to Bologna. xii
1326. Returns to Avignon--loses his parents--contracts a
friendship with James Colonna. xiii
1327. Falls in love with Laura. xvii
1330. Goes to Lombes with James Colonna--forms acquaintance
with Socrates and Laelius--and returns to Avignon to
live in the house of Cardinal Colonna. xviii
1331. Travels to Paris--travels through Flanders and Brabant,
and visits a part of Germany. xxiv
1333. His first journey to Rome--his long navigation as
far as the coast of England--his return to Avignon. xxxiii
1337. Birth of his son John--he retires to Vaucluse. xxxv
1339. Commences writing his epic poem, "Africa. " xxxviii
1340. Receives an invitation from Rome to come and be
crowned as Laureate--and another invitation, to
the same effect, from Paris. xlii
1341. Goes to Naples, and thence to Rome, where he is
crowned in the Capitol--repairs to Parma--death
of Tommaso da Messina and James Colonna. xliii
1342. Goes as orator of the Roman people to Clement VI.
at Avignon--Studies the Greek language under
Barlaamo. xlviii
1343. Birth of his daughter Francesca--he writes his
dialogues "De secreto conflictu curarum
suarum"--is sent to Naples by Clement VI. and
Cardinal Colonna--goes to Rome for a third and
a fourth time--returns from Naples to Parma. li
1344. Continues to reside in Parma. lviii
1345. Leaves Parma, goes to Bologna, and thence to
Verona--returns to Avignon. lviii
1346. Continues to live at Avignon--is elected canon of
Parma. lix
1347. Revolution at Rome--Petrarch's connection with the
Tribune--takes his fifth journey to Italy--repairs
to Parma. lxiv
1348. Goes to Verona--death of Laura--he returns again
to Parma--his autograph memorandum in the
Milan copy of Virgil--visits Manfredi, Lord of
Carpi, and James Carrara at Padua. lxvii
1349. Goes from Parma to Mantua and Ferrara--returns
to Padua, and receives, probably in this year, a
canonicate in Padua. lxxiii
1350. Is raised to the Archdeaconry of Parma--writes to
the Emperor Charles IV. --goes to Rome, and, in
going and returning, stops at Florence. lxxiii
1351. Writes to Andrea Dandolo with a view to reconcile
the Venetians and Florentines--the Florentines
decree the restoration of his paternal property,
and send John Boccaccio to recall him to his
country--he returns, for the sixth time, to
Avignon--is consulted by the four Cardinals, who
had been deputed to reform the government of Rome. lxxx
1352. Writes to Clement VI. the letter which excites against
him the enmity of the medical tribe--begins
writing his treatise "De Vita Solitaria. " lxxxvii
1353. Visits his brother in the Carthusian monastery of
Monte Rivo--writes his treatise "De Otio
Religiosorum"--returns to Italy--takes up his
abode with the Visconti--is sent by the Archbishop
Visconti to Venice, to negotiate a peace between the
Venetians and Genoese. xc
1354. Visits the Emperor at Mantua. xcix
1355. His embassy to the Emperor--publishes his "Invective
against a Physician. " xcix
1360. His embassy to John, King of France. cxii
1361. Leaves Milan and settles at Venice--gives his library
to the Venetians. cxiii
1364. Writes for Lucchino del Verme his treatise "De Officio
et Virtutibus Imperatoris. " cxvii
1366. Writes to Urban V. imploring him to remove the
Papal residence to Rome--finishes his treatise
"De Remediis utriusque Fortunae. " cxviii
1368. Quits Venice--four young Venetians, either in this
year or the preceding, promulgate a critical judgment
against Petrarch--repairs to Pavia to negotiate
peace between the Pope's Legate and the
Visconti. cxix
1370. Sets out to visit the Pontiff--is taken ill at Ferrara--
retires to Arqua among the Euganean hills. cxxii
1371. Writes his "Invectiva contra Gallum," and his
"Epistle to Posterity. " cxxiii
1372. Writes for Francesco da Carrara his essay "De Republica
optime administranda. " cxxx
1373. Is sent to Venice by Francesco da Carrara. cxxx
1374. Translates the Griseldis of Boccaccio--dies on the
18th of July in the same year. cxxxi
THE LIFE OF PETRARCH.
The family of Petrarch was originally of Florence, where his ancestors
held employments of trust and honour. Garzo, his great-grandfather, was
a notary universally respected for his integrity and judgment. Though he
had never devoted himself exclusively to letters, his literary opinion
was consulted by men of learning. He lived to be a hundred and four
years old, and died, like Plato, in the same bed in which he had been
born.
Garzo left three sons, one of whom was the grandfather of Petrarch.
Diminutives being customary to the Tuscan tongue, Pietro, the poet's
father, was familiarly called Petracco, or little Peter. He, like his
ancestors, was a notary, and not undistinguished for sagacity. He had
several important commissions from government. At last, in the
increasing conflicts between the Guelphs and the Ghibellines--or, as
they now called themselves, the Blacks and the Whites--Petracco, like
Dante, was obliged to fly from his native city, along with the other
Florentines of the White party. He was unjustly accused of having
officially issued a false deed, and was condemned, on the 20th of
October, 1302, to pay a fine of one thousand lire, and to have his hand
cut off, if that sum was not paid within ten days from the time he
should be apprehended. Petracco fled, taking with him his wife, Eletta
Canigiani, a lady of a distinguished family in Florence, several of whom
had held the office of Gonfalonier.
Petracco and his wife first settled at Arezzo, a very ancient city of
Tuscany. Hostilities did not cease between the Florentine factions till
some years afterwards; and, in an attempt made by the Whites to take
Florence by assault, Petracco was present with his party. They were
repulsed. This action, which was fatal to their cause, took place in the
night between the 19th and 20th days of July, 1304,--the precise date of
the birth of Petrarch.
During our poet's infancy, his family had still to struggle with an
adverse fate; for his proscribed and wandering father was obliged to
separate himself from his wife and child, in order to have the means of
supporting them.
As the pretext for banishing Petracco was purely personal, Eletta, his
wife, was not included in the sentence. She removed to a small property
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age. In their
passage thither, both mother and child, together with their guide, had a
narrow escape from being drowned in the Arno. Eletta entrusted her
precious charge to a robust peasant, who, for fear of hurting the child,
wrapt it in a swaddling cloth, and suspended it over his shoulder, in
the same manner as Metabus is described by Virgil, in the eleventh book
of the AEneid, to have carried his daughter Camilla. In passing the
river, the horse of the guide, who carried Petrarch, stumbled, and sank
down; and in their struggles to save him, both his sturdy bearer and the
frantic parent were, like the infant itself, on the point of being
drowned.
After Eletta had settled at Ancisa, Petracco often visited her by
stealth, and the pledges of their affection were two other sons, one of
whom died in childhood. The other, called Gherardo, was educated along
with Petrarch. Petrarch remained with his mother at Ancisa for seven
years.
The arrival of the Emperor, Henry VII. , in Italy, revived the hopes of
the banished Florentines; and Petracco, in order to wait the event, went
to Pisa, whither he brought his wife and Francesco, who was now in his
eighth year. Petracco remained with his family in Pisa for several
months; but tired at last of fallacious hopes, and not daring to trust
himself to the promises of the popular party, who offered to recall him
to Florence, he sought an asylum in Avignon, a place to which many
Italians were allured by the hopes of honours and gain at the papal
residence. In this voyage, Petracco and his family were nearly
shipwrecked off Marseilles.
But the numbers that crowded to Avignon, and its luxurious court,
rendered that city an uncomfortable place for a family in slender
circumstances. Petracco accordingly removed his household, in 1315, to
Carpentras, a small quiet town, where living was cheaper than at
Avignon. There, under the care of his mother, Petrarch imbibed his first
instruction, and was taught by one Convennole da Prato as much grammar
and logic as could be learned at his age, and more than could be learned
by an ordinary disciple from so common-place a preceptor. This poor
master, however, had sufficient intelligence to appreciate the genius of
Petrarch, whom he esteemed and honoured beyond all his other pupils. On
the other hand, his illustrious scholar aided him, in his old age and
poverty, out of his scanty income.
Petrarch used to compare Convennole to a whetstone, which is blunt
itself, but which sharpens others. His old master, however was sharp
enough to overreach him in the matter of borrowing and lending. When the
poet had collected a considerable library, Convennole paid him a visit,
and, pretending to be engaged in something that required him to consult
Cicero, borrowed a copy of one of the works of that orator, which was
particularly valuable. He made excuses, from time to time, for not
returning it; but Petrarch, at last, had too good reason to suspect that
the old grammarian had pawned it. The poet would willingly have paid for
redeeming it, but Convennole was so much ashamed, that he would not tell
to whom it was pawned; and the precious manuscript was lost.
Petracco contracted an intimacy with Settimo, a Genoese, who was like
himself, an exile for his political principles, and who fixed his abode
at Avignon with his wife and his boy, Guido Settimo, who was about the
same age with Petrarch. The two youths formed a friendship, which
subsisted between them for life.
Petrarch manifested signs of extraordinary sensibility to the charms of
nature in his childhood, both when he was at Carpentras and at Avignon.
One day, when he was at the latter residence, a party was made up, to
see the fountain of Vaucluse, a few leagues from Avignon. The little
Francesco had no sooner arrived at the lovely landscape than he was
struck with its beauties, and exclaimed, "Here, now, is a retirement
suited to my taste, and preferable, in my eyes, to the greatest and most
splendid cities. "
A genius so fine as that of our poet could not servilely confine itself
to the slow method of school learning, adapted to the intellects of
ordinary boys. Accordingly, while his fellow pupils were still plodding
through the first rudiments of Latin, Petrarch had recourse to the
original writers, from whom the grammarians drew their authority, and
particularly employed himself in perusing the works of Cicero. And,
although he was, at this time, much too young to comprehend the full
force of the orator's reasoning, he was so struck with the charms of his
style, that he considered him the only true model in prose composition.
His father, who was himself something of a scholar, was pleased and
astonished at this early proof of his good taste; he applauded his
classical studies, and encouraged him to persevere in them; but, very
soon, he imagined that he had cause to repent of his commendations.
Classical learning was, in that age, regarded as a mere solitary
accomplishment, and the law was the only road that led to honours and
preferment. Petracco was, therefore, desirous to turn into that channel
the brilliant qualities of his son; and for this purpose he sent him, at
the age of fifteen, to the university of Montpelier. Petrarch remained
there for four years, and attended lectures on law from some of the
most famous professors of the science. But his prepossession for Cicero
prevented him from much frequenting the dry and dusty walks of
jurisprudence. In his epistle to posterity, he endeavours to justify
this repugnance by other motives. He represents the abuses, the
chicanery, and mercenary practices of the law, as inconsistent with
every principle of candour and honesty.
When Petracco observed that his son made no great progress in his legal
studies at Montpelier, he removed him, in 1323, to Bologna, celebrated
for the study of the canon and civil law, probably imagining that the
superior fame of the latter place might attract him to love the law.
She removed to a small property
of her husband's, at Ancisa, fourteen miles from Florence, and took the
little poet along with her, in the seventh month of his age. In their
passage thither, both mother and child, together with their guide, had a
narrow escape from being drowned in the Arno. Eletta entrusted her
precious charge to a robust peasant, who, for fear of hurting the child,
wrapt it in a swaddling cloth, and suspended it over his shoulder, in
the same manner as Metabus is described by Virgil, in the eleventh book
of the AEneid, to have carried his daughter Camilla. In passing the
river, the horse of the guide, who carried Petrarch, stumbled, and sank
down; and in their struggles to save him, both his sturdy bearer and the
frantic parent were, like the infant itself, on the point of being
drowned.
After Eletta had settled at Ancisa, Petracco often visited her by
stealth, and the pledges of their affection were two other sons, one of
whom died in childhood. The other, called Gherardo, was educated along
with Petrarch. Petrarch remained with his mother at Ancisa for seven
years.
The arrival of the Emperor, Henry VII. , in Italy, revived the hopes of
the banished Florentines; and Petracco, in order to wait the event, went
to Pisa, whither he brought his wife and Francesco, who was now in his
eighth year. Petracco remained with his family in Pisa for several
months; but tired at last of fallacious hopes, and not daring to trust
himself to the promises of the popular party, who offered to recall him
to Florence, he sought an asylum in Avignon, a place to which many
Italians were allured by the hopes of honours and gain at the papal
residence. In this voyage, Petracco and his family were nearly
shipwrecked off Marseilles.
But the numbers that crowded to Avignon, and its luxurious court,
rendered that city an uncomfortable place for a family in slender
circumstances. Petracco accordingly removed his household, in 1315, to
Carpentras, a small quiet town, where living was cheaper than at
Avignon. There, under the care of his mother, Petrarch imbibed his first
instruction, and was taught by one Convennole da Prato as much grammar
and logic as could be learned at his age, and more than could be learned
by an ordinary disciple from so common-place a preceptor. This poor
master, however, had sufficient intelligence to appreciate the genius of
Petrarch, whom he esteemed and honoured beyond all his other pupils. On
the other hand, his illustrious scholar aided him, in his old age and
poverty, out of his scanty income.
Petrarch used to compare Convennole to a whetstone, which is blunt
itself, but which sharpens others. His old master, however was sharp
enough to overreach him in the matter of borrowing and lending. When the
poet had collected a considerable library, Convennole paid him a visit,
and, pretending to be engaged in something that required him to consult
Cicero, borrowed a copy of one of the works of that orator, which was
particularly valuable. He made excuses, from time to time, for not
returning it; but Petrarch, at last, had too good reason to suspect that
the old grammarian had pawned it. The poet would willingly have paid for
redeeming it, but Convennole was so much ashamed, that he would not tell
to whom it was pawned; and the precious manuscript was lost.
Petracco contracted an intimacy with Settimo, a Genoese, who was like
himself, an exile for his political principles, and who fixed his abode
at Avignon with his wife and his boy, Guido Settimo, who was about the
same age with Petrarch. The two youths formed a friendship, which
subsisted between them for life.
Petrarch manifested signs of extraordinary sensibility to the charms of
nature in his childhood, both when he was at Carpentras and at Avignon.
One day, when he was at the latter residence, a party was made up, to
see the fountain of Vaucluse, a few leagues from Avignon. The little
Francesco had no sooner arrived at the lovely landscape than he was
struck with its beauties, and exclaimed, "Here, now, is a retirement
suited to my taste, and preferable, in my eyes, to the greatest and most
splendid cities. "
A genius so fine as that of our poet could not servilely confine itself
to the slow method of school learning, adapted to the intellects of
ordinary boys. Accordingly, while his fellow pupils were still plodding
through the first rudiments of Latin, Petrarch had recourse to the
original writers, from whom the grammarians drew their authority, and
particularly employed himself in perusing the works of Cicero. And,
although he was, at this time, much too young to comprehend the full
force of the orator's reasoning, he was so struck with the charms of his
style, that he considered him the only true model in prose composition.
His father, who was himself something of a scholar, was pleased and
astonished at this early proof of his good taste; he applauded his
classical studies, and encouraged him to persevere in them; but, very
soon, he imagined that he had cause to repent of his commendations.
Classical learning was, in that age, regarded as a mere solitary
accomplishment, and the law was the only road that led to honours and
preferment. Petracco was, therefore, desirous to turn into that channel
the brilliant qualities of his son; and for this purpose he sent him, at
the age of fifteen, to the university of Montpelier. Petrarch remained
there for four years, and attended lectures on law from some of the
most famous professors of the science. But his prepossession for Cicero
prevented him from much frequenting the dry and dusty walks of
jurisprudence. In his epistle to posterity, he endeavours to justify
this repugnance by other motives. He represents the abuses, the
chicanery, and mercenary practices of the law, as inconsistent with
every principle of candour and honesty.
When Petracco observed that his son made no great progress in his legal
studies at Montpelier, he removed him, in 1323, to Bologna, celebrated
for the study of the canon and civil law, probably imagining that the
superior fame of the latter place might attract him to love the law. To
Bologna Petrarch was accompanied by his brother Gherardo, and by his
inseparable friend, young Guido Settimo.
But neither the abilities of the several professors in that celebrated
academy, nor the strongest exhortations of his father, were sufficient
to conquer the deeply-rooted aversion which our poet had conceived for
the law. Accordingly, Petracco hastened to Bologna, that he might
endeavour to check his son's indulgence in literature, which
disconcerted his favourite designs. Petrarch, guessing at the motive of
his arrival, hid the copies of Cicero, Virgil, and some other authors,
which composed his small library, and to purchase which he had deprived
himself of almost the necessaries of life. His father, however, soon
discovered the place of their concealment, and threw them into the fire.
Petrarch exhibited as much agony as if he had been himself the martyr of
his father's resentment. Petracco was so much affected by his son's
tears, that he rescued from the flames Cicero and Virgil, and,
presenting them to Petrarch, he said, "Virgil will console you for the
loss of your other MSS. , and Cicero will prepare you for the study of
the law. "
It is by no means wonderful that a mind like Petrarch's could but ill
relish the glosses of the Code and the commentaries on the Decretals.
At Bologna, however, he met with an accomplished literary man and no
inelegant poet in one of the professors, who, if he failed in persuading
Petrarch to make the law his profession, certainly quickened his relish
and ambition for poetry. This man was Cino da Pistoia, who is esteemed
by Italians as the most tender and harmonious lyric poet in the native
language anterior to Petrarch.
During his residence at Bologna, Petrarch made an excursion as far as
Venice, a city that struck him with enthusiastic admiration. In one of
his letters he calls it "_orbem alterum_. " Whilst Italy was harassed, he
says, on all sides by continual dissensions, like the sea in a storm,
Venice alone appeared like a safe harbour, which overlooked the tempest
without feeling its commotion. The resolute and independent spirit of
that republic made an indelible impression on Petrarch's heart. The
young poet, perhaps, at this time little imagined that Venice was to be
the last scene of his triumphant eloquence.
Soon after his return from Venice to Bologna, he received the melancholy
intelligence of the death of his mother, in the thirty-eighth year of
her age. Her age is known by a copy of verses which Petrarch wrote upon
her death, the verses being the same in number as the years of her life.
She had lived humble and retired, and had devoted herself to the good of
her family; virtuous amidst the prevalence of corrupted manners, and,
though a beautiful woman, untainted by the breath of calumny. Petrarch
has repaid her maternal affection by preserving her memory from
oblivion. Petracco did not long survive the death of this excellent
woman. According to the judgment of our poet, his father was a man of
strong character and understanding. Banished from his native country,
and engaged in providing for his family, he was prevented by the
scantiness of his fortune, and the cares of his situation, from rising
to that eminence which he might have otherwise attained. But his
admiration of Cicero, in an age when that author was universally
neglected, was a proof of his superior mind.
Petrarch quitted Bologna upon the death of his father, and returned to
Avignon, with his brother Gherardo, to collect the shattered remains of
their father's property. Upon their arrival, they found their domestic
affairs in a state of great disorder, as the executors of Petracco's
will had betrayed the trust reposed in them, and had seized most of the
effects of which they could dispose. Under these circumstances, Petrarch
was most anxious for a MS. of Cicero, which his father had highly
prized. "The guardians," he writes, "eager to appropriate what they
esteemed the more valuable effects, had fortunately left this MS. as a
thing of no value. " Thus he owed to their ignorance this treatise, which
he considered the richest portion of the inheritance left him by his
father.
But, that inheritance being small, and not sufficient for the
maintenance of the two brothers, they were obliged to think of some
profession for their subsistence; they therefore entered the church; and
Avignon was the place, of all others, where preferment was most easily
obtained. John XXII. had fixed his residence entirely in that city since
October, 1316, and had appropriated to himself the nomination to all the
vacant benefices. The pretence for this appropriation was to prevent
simony--in others, not in his Holiness--as the sale of benefices was
carried by him to an enormous height. At every promotion to a bishopric,
he removed other bishops; and, by the meanest impositions, soon amassed
prodigious wealth. Scandalous emoluments, also, which arose from the
sale of indulgences, were enlarged, if not invented, under his papacy,
and every method of acquiring riches was justified which could
contribute to feed his avarice. By these sordid means, he collected such
sums, that, according to Villani, he left behind him, _in the sacred
treasury_, twenty-five millions of florins, a treasure which Voltaire
remarks is hardly credible.
The luxury and corruption which reigned in the Roman court at Avignon
are fully displayed in some letters of Petrarch's, without either date
or address. The partizans of that court, it is true, accuse him of
prejudice and exaggeration. He painted, as they allege, the popes and
cardinals in the gloomiest colouring. His letters contain the blackest
catalogue of crimes that ever disgraced humanity.
Petrarch was twenty-two years of age when he settled at Avignon, a scene
of licentiousness and profligacy. The luxury of the cardinals, and the
pomp and riches of the papal court, were displayed in an extravagant
profusion of feasts and ceremonies, which attracted to Avignon women of
all ranks, among whom intrigue and gallantry were generally
countenanced. Petrarch was by nature of a warm temperament, with vivid
and susceptible passions, and strongly attached to the fair sex. We must
not therefore be surprised if, with these dispositions, and in such a
dissolute city, he was betrayed into some excesses. But these were the
result of his complexion, and not of deliberate profligacy. He alludes
to this subject in his Epistle to Posterity, with every appearance of
truth and candour.
From his own confession, Petrarch seems to have been somewhat vain of
his personal appearance during his youth, a venial foible, from which
neither the handsome nor the homely, nor the wise nor the foolish, are
exempt. It is amusing to find our own Milton betraying this weakness, in
spite of all the surrounding strength of his character. In answering one
of his slanderers, who had called him pale and cadaverous, the author of
Paradise Lost appeals to all who knew him whether his complexion was not
so fresh and blooming as to make him appear ten years younger than he
really was.
Petrarch, when young, was so strikingly handsome, that he was frequently
pointed at and admired as he passed along, for his features were manly,
well-formed, and expressive, and his carriage was graceful and
distinguished. He was sprightly in conversation, and his voice was
uncommonly musical. His complexion was between brown and fair, and his
eyes were bright and animated. His countenance was a faithful index of
his heart.
He endeavoured to temper the warmth of his constitution by the
regularity of his living and the plainness of his diet. He indulged
little in either wine or sleep, and fed chiefly on fruits and
vegetables.
In his early days he was nice and neat in his dress, even to a degree of
affectation, which, in later life, he ridiculed when writing to his
brother Gherardo. "Do you remember," he says, "how much care we
employed in the lure of dressing our persons; when we traversed the
streets, with what attention did we not avoid every breath of wind which
might discompose our hair; and with what caution did we not prevent the
least speck of dirt from soiling our garments! "
This vanity, however, lasted only during his youthful days. And even
then neither attention to his personal appearance, nor his attachment to
the fair sex, nor his attendance upon the great, could induce Petrarch
to neglect his own mental improvement, for, amidst all these
occupations, he found leisure for application, and devoted himself to
the cultivation of his favourite pursuits of literature.
Inclined by nature to moral philosophy, he was guided by the reading of
Cicero and Seneca to that profound knowledge of the human heart, of the
duties of others and of our own duties, which shows itself in all his
writings. Gifted with a mind full of enthusiasm for poetry, he learned
from Virgil elegance and dignity in versification. But he had still
higher advantages from the perusal of Livy. The magnanimous actions of
Roman heroes so much excited the soul of Petrarch, that he thought the
men of his own age light and contemptible.
His first compositions were in Latin: many motives, however, induced him
to compose in the vulgar tongue, as Italian was then called, which,
though improved by Dante, was still, in many respects, harsh and
inelegant, and much in want of new beauties. Petrarch wrote for the
living, and for that portion of the living who were least of all to be
fascinated by the language of the dead. Latin might be all very well for
inscriptions on mausoleums, but it was not suited for the ears of beauty
and the bowers of love. The Italian language acquired, under his
cultivation, increased elegance and richness, so that the harmony of his
style has contributed to its beauty. He did not, however, attach himself
solely to Italian, but composed much in Latin, which he reserved for
graver, or, as he considered, more important subjects. His compositions
in Latin are--Africa, an epic poem; his Bucolics, containing twelve
eclogues; and three books of epistles.
Petrarch's greatest obstacles to improvement arose from the scarcity of
authors whom he wished to consult--for the manuscripts of the writers of
the Augustan age were, at that time, so uncommon, that many could not be
procured, and many more of them could not be purchased under the most
extravagant price. This scarcity of books had checked the dawning light
of literature. The zeal of our poet, however, surmounted all these
obstacles, for he was indefatigable in collecting and copying many of
the choicest manuscripts; and posterity is indebted to him for the
possession of many valuable writings, which were in danger of being lost
through the carelessness or ignorance of the possessors.
Petrarch could not but perceive the superiority of his own understanding
and the brilliancy of his abilities. The modest humility which knows not
its own worth is not wont to show itself in minds much above mediocrity;
and to elevated geniuses this virtue is a stranger. Petrarch from his
youthful age had an internal assurance that he should prove worthy of
estimation and honours. Nevertheless, as he advanced in the field of
science, he saw the prospect increase, Alps over Alps, and seemed to be
lost amidst the immensity of objects before him. Hence the anticipation
of immeasurable labours occasionally damped his application. But from
this depression of spirits he was much relieved by the encouragement of
John of Florence, one of the secretaries of the Pope, a man of learning
and probity. He soon distinguished the extraordinary abilities of
Petrarch; he directed him in his studies, and cheered up his ambition.
Petrarch returned his affection with unbounded confidence. He entrusted
him with all his foibles, his disgusts, and his uneasinesses. He says
that he never conversed with him without finding himself more calm and
composed, and more animated for study.
The superior sagacity of our poet, together with his pleasing manners,
and his increasing reputation for knowledge, ensured to him the most
flattering prospects of success. His conversation was courted by men of
rank, and his acquaintance was sought by men of learning. It was at this
time, 1326, that his merit procured him the friendship and patronage of
James Colonna, who belonged to one of the most ancient and illustrious
families of Italy.
"About the twenty-second year of my life," Petrarch writes to one of his
friends, "I became acquainted with James Colonna. He had seen me whilst
I resided at Bologna, and was prepossessed, as he was pleased to say,
with my appearance. Upon his arrival at Avignon, he again saw me, when,
having inquired minutely into the state of my affairs, he admitted me to
his friendship. I cannot sufficiently describe the cheerfulness of his
temper, his social disposition, his moderation in prosperity, his
constancy in adversity. I speak not from report, but from my own
experience. He was endowed with a persuasive and forcible eloquence. His
conversation and letters displayed the amiableness of his sincere
character. He gained the first place in my affections, which he ever
afterwards retained. "
Such is the portrait which our poet gives of James Colonna. A faithful
and wise friend is among the most precious gifts of fortune; but, as
friendships cannot wholly feed our affections, the heart of Petrarch, at
this ardent age, was destined to be swayed by still tenderer feelings.
He had nearly finished his twenty-third year without having ever
seriously known the passion of love. In that year he first saw Laura.
Concerning this lady, at one time, when no life of Petrarch had been yet
written that was not crude and inaccurate, his biographers launched
into the wildest speculations. One author considered her as an
allegorical being; another discovered her to be a type of the Virgin
Mary; another thought her an allegory of poetry and repentance. Some
denied her even allegorical existence, and deemed her a mere phantom
beauty, with which the poet had fallen in love, like Pygmalion with the
work of his own creation. All these caprices about Laura's history have
been long since dissipated, though the principal facts respecting her
were never distinctly verified, till De Sade, her own descendant, wrote
his memoirs of the Life of Petrarch.
Petrarch himself relates that in 1327, exactly at the first hour of the
6th of April, he first beheld Laura in the church of St. Clara of
Avignon,[A] where neither the sacredness of the place, nor the solemnity
of the day, could prevent him from being smitten for life with human
love. In that fatal hour he saw a lady, a little younger than himself[B]
in a green mantle sprinkled with violets, on which her golden hair fell
plaited in tresses. She was distinguished from all others by her proud
and delicate carriage. The impression which she made on his heart was
sudden, yet it was never effaced.
Laura, descended from a family of ancient and noble extraction, was the
daughter of Audibert de Noves, a Provencal nobleman, by his wife
Esmessenda. She was born at Avignon, probably in 1308. She had a
considerable fortune, and was married in 1325 to Hugh de Sade. The
particulars of her life are little known, as Petrarch has left few
traces of them in his letters; and it was still less likely that he
should enter upon her personal history in his sonnets, which, as they
were principally addressed to herself, made it unnecessary for him to
inform her of what she already knew.
While many writers have erred in considering Petrarch's attachment as
visionary, others, who have allowed the reality of his passion, have
been mistaken in their opinion of its object. They allege that Petrarch
was a happy lover, and that his mistress was accustomed to meet him at
Vaucluse, and make him a full compensation for his fondness. No one at
all acquainted with the life and writings of Petrarch will need to be
told that this is an absurd fiction. Laura, a married woman, who bore
ten children to a rather morose husband, could not have gone to meet him
at Vaucluse without the most flagrant scandal. It is evident from his
writings that she repudiated his passion whenever it threatened to
exceed the limits of virtuous friendship. On one occasion, when he
seemed to presume too far upon her favour, she said to him with
severity, "I am not what you take me for. " If his love had been
successful, he would have said less about it.
Of the two persons in this love affair, I am more inclined to pity Laura
than Petrarch. Independently of her personal charms, I cannot conceive
Laura otherwise than as a kind-hearted, loveable woman, who could not
well be supposed to be totally indifferent to the devotion of the most
famous and fascinating man of his age. On the other hand, what was the
penalty that she would have paid if she had encouraged his addresses as
far as he would have carried them? Her disgrace, a stigma left on her
family, and the loss of all that character which upholds a woman in her
own estimation and in that of the world. I would not go so far as to say
that she did not at times betray an anxiety to retain him under the
spell of her fascination, as, for instance, when she is said to have
cast her eyes to the ground in sadness when he announced his intention
to leave Avignon; but still I should like to hear her own explanation
before I condemned her. And, after all, she was only anxious for the
continuance of attentions, respecting which she had made a fixed
understanding that they should not exceed the bounds of innocence.
We have no distinct account how her husband regarded the homage of
Petrarch to his wife--whether it flattered his vanity, or moved his
wrath. As tradition gives him no very good character for temper, the
latter supposition is the more probable. Every morning that he went out
he might hear from some kind friend the praises of a new sonnet which
Petrarch had written on his wife; and, when he came back to dinner, of
course his good humour was not improved by the intelligence. He was in
the habit of scolding her till she wept; he married seven months after
her death, and, from all that is known of him, appears to have been a
bad husband. I suspect that Laura paid dearly for her poet's idolatry.
No incidents of Petrarch's life have been transmitted to us for the
first year or two after his attachment to Laura commenced. He seems to
have continued at Avignon, prosecuting his studies and feeding his
passion.
James Colonna, his friend and patron, was promoted in 1328 to the
bishopric of Lombes in Gascony; and in the year 1330 he went from
Avignon to take possession of his diocese, and invited Petrarch to
accompany him to his residence. No invitation could be more acceptable
to our poet: they set out at the end of March, 1330. In order to reach
Lombes, it was necessary to cross the whole of Languedoc, and to pass
through Montpelier, Narbonne, and Toulouse. Petrarch already knew
Montpelier, where he had, or ought to have, studied the law for four
years.
Full of enthusiasm for Rome, Petrarch was rejoiced to find at Narbonne
the city which had been the first Roman colony planted among the Gauls.
This colony had been formed entirely of Roman citizens, and, in order to
reconcile them to their exile, the city was built like a little image of
Rome. It had its capital, its baths, arches, and fountains; all which
works were worthy of the Roman name. In passing through Narbonne,
Petrarch discovered a number of ancient monuments and inscriptions.
Our travellers thence proceeded to Toulouse, where they passed several
days. This city, which was known even before the foundation of Rome, is
called, in some ancient Roman acts, "Roma Garumnae. " It was famous in the
classical ages for cultivating literature. After the fall of the Roman
empire, the successive incursions of the Visigoths, the Saracens, and
the Normans, for a long time silenced the Muses at Toulouse; but they
returned to their favourite haunt after ages of barbarism had passed
away. De Sade says, that what is termed Provencal poetry was much more
cultivated by the Languedocians than by the Provencals, properly so
called. The city of Toulouse was considered as the principal seat of
this earliest modern poetry, which was carried to perfection in the
twelfth and thirteenth centuries, under the patronage of the Counts of
Toulouse, particularly Raimond V. , and his son, Raimond VI. Petrarch
speaks with high praise of those poets in his Triumphs of Love. It has
been alleged that he owed them this mark of his regard for their having
been so useful to him in his Italian poetry; and Nostradamus even
accuses him of having stolen much from them. But Tassoni, who understood
the Provencal poets better than Nostradamus, defends him successfully
from this absurd accusation.
Although Provencal poetry was a little on its decline since the days of
the Dukes of Aquitaine and the Counts of Toulouse, it was still held in
honour; and, when Petrarch arrived, the Floral games had been
established at Toulouse during six years. [C]
Ere long, however, our travellers found less agreeable objects of
curiosity, that formed a sad contrast with the chivalric manners, the
floral games, and the gay poetry of southern France. Bishop Colonna and
Petrarch had intended to remain for some time at Toulouse; but their
sojourn was abridged by their horror at a tragic event[D] in the
principal monastery of the place. There lived in that monastery a young
monk, named Augustin, who was expert in music, and accompanied the
psalmody of the religious brothers with beautiful touches on the organ.
The superior of the convent, relaxing its discipline, permitted Augustin
frequently to mix with the world, in order to teach music, and to
improve himself in the art. The young monk was in the habit of
familiarly visiting the house of a respectable citizen: he was
frequently in the society of his daughter, and, by the express
encouragement of her father, undertook to exercise her in the practice
of music. Another young man, who was in love with the girl, grew jealous
of the monk, who was allowed to converse so familiarly with her, whilst
he, her lay admirer, could only have stolen glimpses of her as she
passed to church or to public spectacles. He set about the ruin of his
supposed rival with cunning atrocity; and, finding that the young woman
was infirm in health, suborned a physician, as worthless as himself, to
declare that she was pregnant. Her credulous father, without inquiring
whether the intelligence was true or false, went to the superior of the
convent, and accused Augustin, who, though thunderstruck at the
accusation, denied it firmly, and defended himself intrepidly. But the
superior was deaf to his plea of innocence, and ordered him to be shut
up in his cell, that he might await his punishment. Thither the poor
young man was conducted, and threw himself on his bed in a state of
horror.
The superior and the elders among the friars thought it a meet fate for
the accused that he should be buried alive in a subterranean dungeon,
after receiving the terrific sentence of "_Vade in pace_. " At the end of
several days the victim dashed out his brains against the walls of his
sepulchre. Bishop Colonna, who, it would appear, had no power to oppose
this hideous transaction, when he was informed of it, determined to
leave the place immediately; and Petrarch in his indignation exclaimed--
"Heu!
