His poems on religious subjects also deserve the highest commendation. At the head of these must be placed the Ode to the Virgin. It is, perhaps, the finest hymn in the world. His devout veneration receives an exquisitely poetical character from the delicate perception of the sex and the loveliness of his idol, which we may easily trace throughout the whole composition.
I could dwell with pleasure on these and similar parts of the writings of Petrarch; but I must return to his amatory poetry: to that he entrusted his fame; and to that he has principally owed it.
The prevailing defect of his best compositions on this subject is the universal brilliancy with which they are lighted up. The natural language of the passions is, indeed, often figurative and fantastic; and with none is this more the case than with that of love. Still there is a limit. The feelings should, indeed, have their ornamental garb; but, like an elegant woman, they should be neither muffled nor exposed. The drapery should be so arranged, as at once to answer the purposes of modest concealment and judicious display. The decorations should sometimes be employed to hide a defect, and sometimes to heighten a beauty; but never to conceal, much less to distort, the charms to which they are subsidiary. The love of Petrarch, on the contrary, arrays itself like a foppish savage, whose nose is bored with a golden ring, whose skin is painted with grotesque forms and dazzling colours, and whose ears are drawn down his shoulders by the weight of jewels. It is a rule, without any exception, in all kinds of composition, that the principal idea, the predominant feeling, should never be confounded with the accompanying decorations. It should generally be distinguished from them by greater simplicity of expression; as we recognise Napoleon in the pictures of his battles, amidst a crowd of embroidered coats and plumes, by his grey cloak and his hat without a feather. In the verses of Petrarch it is generally impossible to say what thought is meant to be prominent. All is equally elaborate. The chief wears the same gorgeous and degrading livery with his retinue, and obtains only his share of the indifferent stare which we bestow upon them in common. The poems have no strong lights and shades, no background, no foreground;—they are like the illuminated figures in an oriental manuscript,—plenty of rich tints and no perspective. Such are the faults of the most celebrated of these compositions. Of those which are universally acknowledged to be bad it is scarcely possible to speak with patience. Yet they have much in common with their splendid companions. They differ from them, as a Mayday procession of chimneysweepers differs from the Field of Cloth of Gold. They have the gaudiness but not the wealth. His muse belongs to that numerous class of females who have no objection to be dirty, while they can be tawdry. When his brilliant conceits are exhausted, he supplies their place with metaphysical quibbles, forced antitheses, bad puns, and execrable charades. In his fifth sonnet he may, I think, be said to have sounded the lowest chasm of the Bathos. Upon the whole, that piece may be safely pronounced to be the worst attempt at poetry, and the worst attempt at wit, in the world.
A strong proof of the truth of these criticisms is, that almost all the sonnets produce exactly the same effect on the mind of the reader. They relate to all the various moods of a lover, from joy to despair:—yet they are perused, as far as my experience and observation have gone, with exactly the same feeling. The fact is, that in none of them are the passion and the ingenuity mixed in just proportions. There is not enough sentiment to dilute the condiments which are employed to season it. The repast which he sets before us resembles the Spanish entertainment in Dryden's "Mock Astrologer", at which the relish of all the dishes and sauces was overpowered by the common flavour of spice. Fish,—flesh,—fowl,—everything at table tasted of nothing but red pepper.
The writings of Petrarch may indeed suffer undeservedly from one cause to which I must allude. His imitators have so much familiarised the ear of Italy and of Europe to the favourite topics of amorous flattery and lamentation, that we can scarcely think them original when we find them in the first author; and, even when our understandings have convinced us that they were new to him, they are still old to us. This has been the fate of many of the finest passages of the most eminent writers. It is melancholy to trace a noble thought from stage to stage of its profanation; to see it transferred from the first illustrious wearer to his lacqueys, turned, and turned again, and at last hung on a scarecrow. Petrarch has really suffered much from this cause. Yet that he should have so suffered is a sufficient proof that his excellences were not of the highest order. A line may be stolen; but the pervading spirit of a great poet is not to be surreptitiously obtained by a plagiarist. The continued imitation of twenty-five centuries has left Homer as it found him. If every simile and every turn of Dante had been copied ten thousand times, the Divine Comedy would have retained all its freshness. It was easy for the porter in Farquhar to pass for Beau Clincher, by borrowing his lace and his pulvilio. It would have been more difficult to enact Sir Harry Wildair.
Before I quit this subject I must defend Petrarch from one accusation which is in the present day frequently brought against him. His sonnets are pronounced by a large sect of critics not to possess certain qualities which they maintain to be indispensable to sonnets, with as much confidence, and as much reason, as their prototypes of old insisted on the unities of the drama. I am an exoteric—utterly unable to explain the mysteries of this new poetical faith. I only know that it is a faith, which except a man do keep pure and undefiled, without doubt he shall be called a blockhead. I cannot, however, refrain from asking what is the particular virtue which belongs to fourteen as distinguished from all other numbers. Does it arise from its being a multiple of seven? Has this principle any reference to the sabbatical ordinance? Or is it to the order of rhymes that these singular properties are attached? Unhappily the sonnets of Shakspeare differ as much in this respect from those of Petrarch, as from a Spenserian or an octave stanza. Away with this unmeaning jargon! We have pulled down the old regime of criticism. I trust that we shall never tolerate the equally pedantic and irrational despotism, which some of the revolutionary leaders would erect upon its ruins. We have not dethroned Aristotle and Bossu for this.
These sonnet-fanciers would do well to reflect that, though the style of Petrarch may not suit the standard of perfection which they have chosen, they lie under great obligations to these very poems,—that, but for Petrarch the measure, concerning which they legislate so judiciously, would probably never have attracted notice; and that to him they owe the pleasure of admiring, and the glory of composing, pieces, which seem to have been produced by Master Slender, with the assistance of his man Simple.
I cannot conclude these remarks without making a few observations on the Latin writings of Petrarch. It appears that, both by himself and by his contemporaries, these were far more highly valued than his compositions in the vernacular language. Posterity, the supreme court of literary appeal, has not only reversed the judgment, but, according to its general practice, reversed it with costs, and condemned the unfortunate works to pay, not only for their own inferiority, but also for the injustice of those who had given them an unmerited preference. And it must be owned that, without making large allowances for the circumstances under which they were produced, we cannot pronounce a very favourable judgment. They must be considered as exotics, transplanted to a foreign climate, and reared in an unfavourable situation; and it would be unreasonable to expect from them the health and the vigour which we find in the indigenous plants around them, or which they might themselves have possessed in their native soil. He has but very imperfectly imitated the style of the Latin authors, and has not compensated for the deficiency by enriching the ancient language with the graces of modern poetry. The splendour and ingenuity, which we admire, even when we condemn it, in his Italian works, is almost totally wanting, and only illuminates with rare and occasional glimpses the dreary obscurity of the African. The eclogues have more animation; but they can only be called poems by courtesy. They have nothing in common with his writings in his native language, except the eternal pun about Laura and Daphne. None of these works would have placed him on a level with Vida or Buchanan. Yet, when we compare him with those who preceded him, when we consider that he went on the forlorn hope of literature, that he was the first who perceived, and the first who attempted to revive, the finer elegancies of the ancient language of the world, we shall perhaps think more highly of him than of those who could never have surpassed his beauties if they had not inherited them.
He has aspired to emulate the philosophical eloquence of Cicero, as well as the poetical majesty of Virgil. His essay on the Remedies of Good and Evil Fortune is a singular work in a colloquial form, and a most scholastic style. It seems to be framed upon the model of the Tusculan Questions,—with what success those who have read it may easily determine. It consists of a series of dialogues: in each of these a person is introduced who has experienced some happy or some adverse event: he gravely states his case; and a reasoner, or rather Reason personified, confutes him; a task not very difficult, since the disciple defends his position only by pertinaciously repeating it, in almost the same words at the end of every argument of his antagonist. In this manner Petrarch solves an immense variety of cases. Indeed, I doubt whether it would be possible to name any pleasure or any calamity which does not find a place in this dissertation. He gives excellent advice to a man who is in expectation of discovering the philosopher's stone;—to another, who has formed a fine aviary;—to a third, who is delighted with the tricks of a favourite monkey. His lectures to the unfortunate are equally singular. He seems to imagine that a precedent in point is a sufficient consolation for every form of suffering. "Our town is taken," says one complainant; "So was Troy," replies his comforter. "My wife has eloped," says another; "If it has happened to you once, it happened to Menelaus twice." One poor fellow is in great distress at having discovered that his wife's son is none of his. "It is hard," says he, "that I should have had the expense of bringing up one who is indifferent to me." "You are a man," returns his monitor, quoting the famous line of Terence; "and nothing that belongs to any other man ought to be indifferent to you." The physical calamities of life are not omitted; and there is in particular a disquisition on the advantages of having the itch, which, if not convincing, is certainly very amusing.
The invectives on an unfortunate physician, or rather upon the medical science, have more spirit. Petrarch was thoroughly in earnest on this subject. And the bitterness of his feelings occasionally produces, in the midst of his classical and scholastic pedantry, a sentence worthy of the second Philippic. Swift himself might have envied the chapter on the causes of the paleness of physicians.