The Sonnets, Triumphs, and Other Poems of Petrarch. Франческо Петрарка

familiarity with our poet, if we may judge by a letter which Petrarch indited to him about this time, frankly reproaching him with his political neutrality in the affairs of Europe. It was supposed that the Cardinal Colonna incited him to write it. A struggle that was now impending between France and England engaged all Europe on one side or other. The Emperor Lewis had intimated to Humbert that he must follow him in this war, he, the Dauphin, being arch-seneschal of Arles and Vienne. Next year, the arch-seneschal received an invitation from Philip of Valois to join him with his troops at Amiens as vassal of France. The Dauphin tried to back out of the dilemma between his two suitors by frivolous excuses to both, all the time determining to assist neither. In 1338 he came to Avignon, and the Pope gave him his palace at the bridge of the Sorgue for his habitation. Here the poor craven, beset on one side by threatening letters from Philip of Valois, and on the other by importunities from the French party at the papal court, remained in Avignon till July, 1339, after Petrarch had let loose upon him his epistolary eloquence.

      This letter, dated April, 1339, is, according to De Sade's opinion, full of powerful persuasion. I cannot say that it strikes me as such. After calling Christ to witness that he writes to the Dauphin in the spirit of friendship, he reminds him that Europe had never exhibited so mighty and interesting a war as that which had now sprung up between the kings of France and England, nor one that opened so vast a field of glory for the brave. "All the princes and their people," he says, "are anxious about its issue, especially those between the Alps and the ocean, who take arms at the crash of the neighbouring tumult; whilst you alone go to sleep amidst the clouds of the coming storm. To say the truth, if there was nothing more than shame to awaken you, it ought to rouse you from this lethargy. I had thought you," he continues, "a man desirous of glory. You are young and in the strength of life. What, then, in the name of God, keeps you inactive? Do you fear fatigue? Remember what Sallust says—'Idle enjoyments were made for women, fatigue was made for men.' Do you fear death? Death is the last debt we owe to nature, and man ought not to fear it; certainly he ought not to fear it more than sleep and sluggishness. Aristotle, it is true, calls death the last of horrible things; but, mind, he does not call it the most horrible of things." In this manner, our poet goes on moralizing on the blessings of an early death, and the great advantage that it would have afforded to some excellent Roman heroes if they had met with it sooner. The only thing like a sensible argument that he urges is, that Humbert could not expect to save himself even by neutrality, but must ultimately become the prey of the victor, and be punished like the Alban Metius, whom Tullus Hostilius caused to be torn asunder by horses that pulled his limbs in different directions. The pedantic epistle had no effect on Humbert.

      Meanwhile, Italy had no repose more than the rest of Europe, but its troubles gave a happy occasion to Petrarch to see once more his friend, Guglielmo Pastrengo, who, in 1338, came to Avignon, from Mastino della Scala, lord of Verona.

      The moment Petrarch heard of his friend's arrival he left his hermitage to welcome him; but scarcely had he reached the fatal city when he saw the danger of so near an approach to the woman he so madly loved, and was aware that he had no escape from the eyes of Laura but by flight. He returned, therefore, all of a sudden to Vaucluse, without waiting for a sight of Pastrengo. Shortly after he had quitted the house of Lælius, where he usually lodged when he went to Avignon, Guglielmo, expecting to find him there, knocked at the door, but no one opened it—called out, but no one answered him. He therefore wrote him a little billet, saying, "My dear Petrarch, where have you hid yourself, and whither have you vanished? What is the meaning of all this?" The poet received this note at Vaucluse, and sent an explanation of his flight, sincere indeed as to good feelings, but prolix as usual in the expression of them. Pastrengo sent him a kind reply, and soon afterwards did him the still greater favour of visiting him at Vaucluse, and helping him to cultivate his garden.

      Petrarch's flame for Laura was in reality unabated. One day he met her in the streets of Avignon; for he had not always resolution enough to keep out of the western Babylon. Laura cast a kind look upon him, and said, "Petrarch, you are tired of loving me." This incident produced one of the finest sonnets, beginning—

      Io non fut d' amar voi lassato unquanco.

      Tired, did you say, of loving you? Oh, no!

      I ne'er shall tire of the unwearying flame.

      But I am weary, kind and cruel dame,

      With tears that uselessly and ceaseless flow,

      Scorning myself, and scorn'd by you. I long

      For death: but let no gravestone hold in view

      Our names conjoin'd: nor tell my passion strong

      Upon the dust that glow'd through life for you.

      And yet this heart of amorous faith demands,

      Deserves, a better boon; but cruel, hard

      As is my fortune, I will bless Love's bands

      For ever, if you give me this reward.

      In 1339, he composed among other sonnets, those three, the lxii., lxxiv., and lxxv., which are confessedly master-pieces of their kind, as well as three canzoni to the eyes of Laura, which the Italians call the three sister Graces, and worship as divine.8 The critic Tassoni himself could not censure them, and called them the queens of song. At this period, however seldom he may have visited Avignon, he evidently sought rather to cherish than subdue his fatal attachment. A celebrated painter, Simone Martini of Siena, came to Avignon. He was the pupil of Giotto, not exquisite in drawing, but famous for taking spirited likenesses.

      Petrarch persuaded Simone to favour him with a miniature likeness of Laura; and this treasure the poet for ever carried about with him. In gratitude he addressed two sonnets to the artist, whose fame, great as it was, was heightened by the poetical reward. Vasari tells us that Simone also painted the pictures of both lovers in the chapel of St. Maria Novella at Florence; that Simone was a sculptor as well as a painter, and that he copied those pictures in marbles which, according to Baldelli, are still extant in the house of the Signore Pruzzi.

      An anecdote relating to this period of Petrarch's life is given by De Sade, which, if accepted with entire credence, must inspire us with astonishment at the poet's devotion to his literary pursuits. He had now, in 1339, put the first hand to his epic poem, the Scipiade; and one of his friends, De Sade believes that it was the Bishop of Lombes, fearing lest he might injure his health by overzealous application, went to ask him for the key of his library, which the poet gave up. The Bishop then locked up his books and papers, and commanded him to abstain from reading and writing for ten days. Petrarch obeyed; but on the first day of this literary Ramazan, he was seized with ennui, on the second with a severe headache, and on the third with symptoms of fever; the Bishop relented, and permitted the student to return to his books and papers.

      Petrarch was at this time delighted, in his solitude of Vaucluse, to hear of the arrival at Avignon of one of his dearest friends. This was Dionisio dal Borgo a San Sepolcro, who, being now advanced in years, had resigned his pulpit in the University of Paris, in order to return to his native country, and came to Avignon with the intention of going by sea to Florence. Petrarch pressed him strongly to visit him at Vaucluse, interspersing his persuasion with many compliments to King Robert of Naples, to whom he knew that Dionisio was much attached; nor was he without hopes that his friend would speak favourably of him to his Neapolitan Majesty. In a letter from Vaucluse he says:—"Can nothing induce you to come to my solitude? Will not my ardent request, and the pity you must have for my condition, bring you to pass some days with your old disciple? If these motives are not sufficient, permit me to suggest another inducement. There is in this place a poplar-tree of so immense a size that it covers with its shade not only the river and its banks, but also a considerable extent beyond them. They tell us that King Robert of Naples, invited by the beauty of this spot, came hither to unburthen his mind from the weight of public affairs, and to enjoy himself in the shady retreat." The poet added many eulogies on his Majesty of Naples, which, as he anticipated, reached the royal ear. It seems not to be clear that Father Dionisio ever visited the poet at Vaucluse; though they certainly had an interview at Avignon. To Petrarch's misfortune, his friend's stay in that city was very short. The monk proceeded to Florence, but he found there no shady retreat like that of the poplar at Vaucluse.

8

Canzoni 8, 9, and 10.