The Sonnets, Triumphs, and Other Poems of Petrarch

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.

CHRONOLOGICAL SUMMARY OF PETRARCH'S LIFE

1304. Born at Arezzo, the 20th of July.

1305. Is taken to Incisa at the age of seven months, where he remains seven years.

1312. Is removed to Pisa, where he remains seven months.

1313. Accompanies his parents to Avignon.

1315. Goes to live at Carpentras.

1319. Is sent to Montpelier.

1323. Is removed to Bologna.

1326. Returns to Avignon—loses his parents—contracts a friendship with James Colonna.

1327. Falls in love with Laura.

1330. Goes to Lombes with James Colonna—forms acquaintance with Socrates and Lælius—and returns to Avignon to live in the house of Cardinal Colonna.

1331. Travels to Paris—travels through Flanders and Brabant, and visits a part of Germany.

1333. His first journey to Rome—his long navigation as far as the coast of England—his return to Avignon.

1337. Birth of his son John—he retires to Vaucluse.

1339. Commences writing his epic poem, "Africa."

1340. Receives an invitation from Rome to come and be crowned as Laureate—and another invitation, to the same effect, from Paris.

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.

1342. Goes as orator of the Roman people to Clement VI. at Avignon—Studies the Greek language under Barlaamo.

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.

1344. Continues to reside in Parma.

1345. Leaves Parma, goes to Bologna, and thence to Verona—returns to Avignon.

1346. Continues to live at Avignon—is elected canon of Parma.

1347. Revolution at Rome—Petrarch's connection with the Tribune—takes his fifth journey to Italy—repairs to Parma.

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.

1349. Goes from Parma to Mantua and Ferrara—returns to Padua, and receives, probably in this year, a canonicate in Padua.

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.

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.

1352. Writes to Clement VI. the letter which excites against him the enmity of the medical tribe—begins writing his treatise "De Vita Solitaria."

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.

1354. Visits the Emperor at Mantua.

1355. His embassy to the Emperor—publishes his "Invective against a Physician."

1360. His embassy to John, King of France.

1361. Leaves Milan and settles at Venice—gives his library to the Venetians.

1364. Writes for Lucchino del Verme his treatise "De Officio et Virtutibus Imperatoris."

1366. Writes to Urban V. imploring him to remove the Papal residence to Rome—finishes his treatise "De Remediis utriusque Fortunæ."

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.

1370. Sets out to visit the Pontiff—is taken ill at Ferrara—retires to Arquà among the Euganean hills.

1371. Writes his "Invectiva contra Gallum," and his "Epistle to Posterity."

1372. Writes for Francesco da Carrara his essay "De Republica optime administranda."

1373. Is sent to Venice by Francesco da Carrara.

1374. Translates the Griseldis of Boccaccio—dies on the 18th of July in the same year.

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 Æneid, 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.