WRITTEN FOR THE INTERNATIONAL MONTHLY MAGAZINE BY MARY E. HEWITT.
Laura, rendered immortal by the love and lyre of Petrarch, was the daughter of Audibert de Noves, who was of the haute noblesse of Avignon. He died in the infancy of Laura, leaving her a dowry of one thousand gold crowns, (about fifty thousand dollars,) a magnificent portion for those times. She was married at the age of eighteen to Hugh de Sade, a young noble only a few years older than his bride, but not distinguished by any advantages either of person or mind. The marriage contract is dated in January, 1325, two years before her first meeting with Petrarch; and in it her mother, the Lady Ermessende, and her brother, John de Noves, stipulate to pay the dower left by her father; and also to bestow on the bride two magnificent dresses for state occasions; one of green, embroidered with violets; the other of crimson, trimmed with feathers. In all the portraits of Laura now extant, she is represented in one of these two dresses, and they are frequently alluded to by Petrarch. He tells us expressly that when he first met her at matins in the church of Saint Claire, she was habited in a robe of green spotted with violets. Mention is also made of a coronal of silver with which she wreathed her hair; of her necklaces and ornaments of pearls. Diamonds are not once alluded to because the art of cutting them had not then been invented. From all which it appears that Laura was opulent, and moved in the first class of society. It was customary for women of rank in those times to dress with extreme simplicity on ordinary occasions, but with the most gorgeous splendor when they appeared in public.
There are some beautiful descriptions of Laura surrounded by her young female companions, divested of all her splendid apparel, in a simple white robe and a few flowers in her hair, but still preëminent over all by her superior loveliness.
She was in person a fair, Madonna-like beauty, with soft dark eyes, and a profusion of pale golden hair parted on her brow, and falling in rich curls over her neck. The general character of her beauty must have been pensive, soft, unobtrusive, and even somewhat languid. This softness and repose must nave been far removed from insipidity, for Petrarch dwells on the rare and varying expression of her loveliness, the lightning of her smile, and the tender magic of her voice, which was felt in the inmost heart. He dwells on the celestial grace of her figure and movements, and describes the beauty of her hand and the loveliness of her mouth. She had a habit of veiling her eyes with her hand, and her looks were generally bent on the earth.
In a portrait of Laura, in the Laurentinian library at Florence, the eyes have this characteristic downcast look.
Laura was distinguished, then, by her rank and fortune, but more by her loveliness, her sweetness, and the untainted purity of her life and manners in the midst of a society noted for its licentiousness. Now she is known as the subject of Petrarch's verses, as the woman who inspired an immortal passion, and, kindling into living fire the dormant sensibility of the poet, gave origin to the most beautiful and refined, the most passionate, and yet the most delicate amatory poetry that exists in the world.
Petrarch was twenty-three years of age when he first felt the power of a violent and inextinguishable passion. At six in the morning on the sixth of April, A. D. 1327, (he often fondly records the exact year, day and hour,) on the occasion of the festival of Easter, he visited the church of Saint Claire at Avignon, and beheld, for the first time, Laura de Sade. She was just twenty years of age, and in the bloom of beauty—a beauty so touching and heavenly, so irradiated by purity and smiling innocence, and so adorned by gentleness and modesty, that the first sight stamped the image in the poet's heart, never thereafter to be erased.
Petrarch beheld the loveliness and sweetness of the young beauty, and was transfixed. He sought acquaintance with her, and while the manners of the times prevented his entering her house, he enjoyed many opportunities of meeting her in society, and of conversing with her. He would have declared his love, but her reserve enforced silence. "She opened my breast and took my heart into her hand, saying 'speak no word of this,'" he writes. Yet the reverence inspired by her modesty and dignity was not always sufficient to restrain her lover. Being alone with her on one occasion, and she appearing more gracious than usual, Petrarch tremblingly and fearfully confessed his passion; but she, with altered looks, replied, "I am not the person you take me for!" Her displeasure froze the very heart of the poet, so that he fled from her presence in grief and dismay.
No attentions on his part could make any impression on her steady and virtuous mind. While love and youth drove him on, she remained impregnable and firm; and when she found that he still rushed wildly forward, she preferred forsaking to following him to the precipice down which he would have hurried her. Meanwhile, as he gazed on her angelic countenance, and saw purity painted on it, his love grew spotless as herself. Love transforms the true lover into a resemblance of the object of his passion. In a town, which was the asylum of vice, calumny never breathed a taint upon Laura's name: her actions, her words, the very expression of her countenance, and her slightest gestures were replete with a modest reserve combined with sweetness, and won the applause of all.
Francesco Petrarch was of Florentine extraction, and the son of a notary, who, being held in great esteem by his fellow-citizens, had filled several public offices.
When the Ghibelines were banished Florence, in 1302, Petraccolo was included in the number of exiles; his property was confiscated, and he retired with his wife, Eletta Canigiani, whom he had lately married, to the town of Arrezzo, in Tuscany. And here on the night of the 20th of July, 1304, Petrarch first saw the light. When the child was seven months old his mother was permitted to return from banishment, and she established herself at a country house belonging to her husband near Ancisa, a small town fifteen miles from Florence. The infant who, at his birth, it was supposed would not survive, was exposed to imminent peril during this journey. In fording a rapid stream, the man who had charge of him carried him, wrapped in swaddling clothes, at the end of a stick; he fell from his horse, and the babe slipped from the fastenings into the water; but he was saved, for how could Petrarch die until he had seen his Laura?
The youth of Petrarch was obscure in point of fortune, but it was attended by all the happiness that springs from family concord, and the excellent character of his parents. At the age of fifteen he was sent to study in the university of Montpellier, then frequented by a vast concourse of students. His father intended his son to pursue the study of the law, as the profession best suited to ensure his reputation and fortune; but to this pursuit Francesco was invincibly repugnant. He was soon after sent to Bologna, where, as at Montpellier, he continued to display great taste for literature, much to his father's dissatisfaction.
At Bologna, Petrarch made considerable progress in the study of the law, moved thereto, doubtless, by the entreaties of his excellent parent.
After three years spent at Bologna, Petrarch was recalled to France by the death of his father. Soon after his mother died also, and he and his brother were left entirely to their own guidance, with very slender means, and those diminished by the dishonesty of those whom his father named as trustees to their fortune. Under these circumstances Petrarch entirely abandoned the profession of the law, as it occurred to both him and his brother that the clerical profession was their best resource in a city where the priesthood reigned supreme. They resided at Avignon, and became the favorites and companions of the ecclesiastical and lay nobles who formed the papal court. His talents and accomplishments were of course the cause of this distinction; besides that his personal advantages were such as to prepossess every one in his favor. He was so handsome as frequently to attract observation when he passed along the streets. When, to the utmost simplicity and singleness of mind, were added splendid talents, the charm of poetry, so highly valued in the country of the Troubadours, an affectionate and generous disposition, vivacious and pleasing manners, an engaging and attractive exterior; we cannot wonder that Petrarch was the darling of his age, the associate of its greatest men, and the man whom princes delighted to honor.
The passion of Petrarch for Laura was purified and exalted at the same time. She filled him with noble aspirations, and divided him from the common herd. He felt that her influence made him superior to vulgar ambition, and rendered him wise, true, and great. She saved him in the dangerous period of youth, and gave a worthy aim to all his endeavors. The manners of his age permitted one solace; a Platonic attachment was the fashion of the day. The Troubadours had each a lady to adore, to wait upon, and to celebrate in song; without its being supposed that she made him any return beyond a gracious acceptance of his devoirs, and allowing him to make her the heroine of his verses. Petrarch endeavored to merge the living passion of his soul into this airy and unsubstantial devotion. Laura permitted the homage: she perceived his merit and was proud of his admiration; she felt the truth of his affection, and indulged the wish of preserving it and her own honor at the same time. Without her inflexibility, this had been a dangerous experiment: but she always kept her lover distant from her; rewarding his reserve with smiles, and repressing by frowns all the overflowings of his heart.
By her resolute severity, she incurred the danger of ceasing to be the object of his attachment, and of losing the gift of an immortal name, which he has conferred upon her. But Petrarch's constancy was proof against hopelessness and time. He had too fervent an admiration of her qualities ever to change: he controlled the vivacity of his feelings, and they became deeper rooted. "Untouched by my prayers," he says, "unvanquished by my arguments, unmoved by my flattery, she remained faithful to her sex's honor; she resisted her own young heart, and mine, and a thousand, thousand things, which must have conquered any other. She remained unshaken. A woman taught me the duty of a man! to persuade me to keep the path of virtue, her conduct was at once an example and a reproach."
But whether, in this long conflict, Laura preserved her heart untouched, as well as her virtue immaculate; whether she shared the love she inspired; or whether she escaped from the captivating assiduities and intoxicating homage of her lover, "fancy free;" whether coldness, or prudence, or pride, or virtue, or the mere heartless love of admiration, or a mixture of all together, dictated her conduct, is at least as well worth inquiry as the color of her eyes, or the form of her nose, upon which we have pages of grave discussion. She might have been coquette par instinct, if not par calent; she might have felt, with feminine tacte, that to preserve her influence over Petrarch, it was necessary to preserve his respect. She was evidently proud of her conquest: she had else been more or less than woman; and at every hazard, but that of self-respect, she was resolved to retain him. If Petrarch absented himself for a few days, he was generally better treated on his return. If he avoided her, then her eye followed him with a softer expression. When he looked pale from sickness of heart and agitation of spirits, Laura would address him with a few words of pitying tenderness. When he presumed on this benignity, he was again repulsed with frowns. He flew to solitude,—solitude! Never let the proud and torn heart, wrung with the sense of injury, and sick with unrequited passion, seek that worst resource against pain, for there grief grows by contemplating itself, and every feeling is sharpened by collision. Petrarch sought to "mitigate the fever of his heart" amid the shades of Vaucluse, a spot so gloomy, and so solitary, that his very servants forsook him; and Vaucluse, its fountains, its forests, and its hanging cliffs, reflected only the image of Laura.
He passed several years thus, cut off from society; his books were his great resource; he was never without one in his hand. Often he remained in silence from morning till night, wandering among the hills when the sun was yet low; and taking refuge, during the heat of the day, in his shady garden. At night, after performing his clerical duties (for he was canon of Lombes), he rambled among the hills; often entering, at midnight, the cavern, whose gloom, even during the day, struck his soul with awe. "Fool that I was!" he exclaims in after life, "not to have remembered the first school-boy lesson—that solitude is the nurse of love!"
While living at Vaucluse, Petrarch, invited to Rome by the Roman Senate, repaired thither to receive the laurel crown of poesy. The ceremony was performed in the Capitol with great solemnity, in presence of all the nobles and high-born ladies of the city. Leaving Rome soon after his coronation, he repaired to Parma, where Clement VI. rewarded him for subsequent political services by naming him prior of Migliarino in the diocese of Pisa.
Petrarch returned to Avignon. The sight of Laura gave fresh energy to a passion which had survived the lapse of fifteen years. She was no longer the blooming girl who had first charmed him. The cares of life had dimmed her beauty. She was the mother of many children, and had been afflicted at various times by illness. Her home was not happy. Her husband, without loving or appreciating her, was ill-tempered and jealous. Petrarch acknowledged that if her personal charms had been her sole attraction he had already ceased to love her. But his passion was nourished by sympathy and esteem; and, above all, by that mysterious tyranny of love, which, while it exists, the mind of man seems to have no power of resisting, though in feebler minds it sometimes vanishes like a dream. Petrarch was also changed in personal appearance. His hair was sprinkled with gray, and lines of care and sorrow trenched his face. On both sides the tenderness of affection began to replace, in him the violence of passion, in her the coyness and severity she had found necessary to check his pursuit. The jealousy of her husband opposed obstacles to their seeing each other. They met as they could in public walks and assemblies. Laura sang to him, and a soothing familiarity grew up between them as her fears became allayed, and he looked forward to the time when they might sit together and converse without dread.
At length he resolved to leave Laura and Avignon forever; and instead of plunging into solitude, to seek the wiser resource of travel and society. Laura saw him depart with regret. When he went to take leave of her, he found her surrounded by a circle of her ladies. Her mien was dejected; a cloud overcast her face, whose expression seemed to say, "Who takes my faithful friend from me?" Petrarch was struck to the heart by a sad presentiment: the emotion was mutual; they both seemed to feel that they should never meet again.
Petrarch departed. The plague, which had been extending its ravages over Asia, entered Europe. It spread far and wide: nearly one half the population of the world became its prey. Petrarch saw thousands die around him, and he trembled for his friends. He heard that it was at Avignon. A thousand sad presentiments haunted his mind. At last the fatal truth reached him, Laura was dead! By a singular coincidence, she died on the anniversary of the day when he first saw her. She was taken ill on the third of April, and languished but three days. As soon as the symptoms of the plague declared themselves, she prepared to die: she made her will, which is dated on the third of April, and received the sacraments of the church. On the sixth she died, surrounded by her friends and the noble ladies of Avignon, who braved the dangers of infection to attend on one so lovely and so beloved. On the evening of the same day on which she died, she was interred in the chapel of the Cross which her husband had lately built in the church of the Minor Friars at Avignon.
Her tomb was discovered and opened in 1533, in the presence of Francis the First, whose celebrated stanzas on the occasion are well known.
Of the fame which, even in her lifetime, love and poetical adoration of Petrarch had thrown around his Laura, a curious instance is given which will characterize the manners of the age. When Charles of Luxembourg (afterwards Emperor) was at Avignon, a grand fête was given, in his honor, at which all the noblesse were present. He desired that Petrarch's Laura should be pointed out to him; and when she was introduced, he made a sign with his hand that the other ladies present should fall back; then going up to Laura, and for a moment contemplating her with interest, he kissed her respectively on the forehead and on the eyelids.
Petrarch survived her twenty-six years, dying in 1374. He was found lifeless one morning in his study, his hand resting on a book.