E l'aura del parlar cortese e saggio,
Fra le rose spirar, s'udia sovente;
—meaning—for to translate literally is scarce possible,—that "eloquence played round her lips, like the zephyr breathing over roses."
"I (he adds), beholding a celestial beauty walk the earth, closed my eyes in terror, exclaiming, O rashness! O folly! for any to dare to gaze on such charms! Alas! I quickly perceived that this was my least peril. My heart was touched through my ears; her gentle wisdom penetrated deeper than her beauty could reach."
With what emotions must a young and ardent poet have listened to his own praises from a beautiful mouth, thus sweetly gifted! and it may be added, that Leonora's eloquence, and the influence she possessed over her brother, were ever employed in behalf of the deserving and unfortunate. The good people of Ferrara had such an exalted idea of her piety and benevolence, that when an earthquake caused a terrible innundation of the Po, and the destruction of the surrounding villages, they attributed the safety of their city entirely to her prayers and intercession.
Leonora then was not unworthy of her illustrious conquest, either in person, heart, or mind. To be summoned daily into the presence of a Princess thus beautiful and amiable, to read aloud his verses to her, to hear his own praises from her lips, to bask in her approving smiles, to associate with her in her retirement, to behold her in all the graceful simplicity of her familiar life,—was a dangerous situation for Tasso, and surely not less so for Leonora herself. That she was aware of his admiration, and perfectly understood his sentiments, and that a mysterious intelligence existed between them, consistent with the utmost reverence on his part, and the most perfect delicacy and dignity on hers, is apparent from the meaning and tendency of innumerable passages scattered through his minor poems—too significant in their application to be mistaken. Though that application be not avowed, and even disguised—the very disguise, when once detected, points to the object. Leonora knew, as well as her lover, that a Princess "was no love-mate for a bard." She knew far better than her lover, until he too had been taught by wretched experience, the haughty and implacable temper of her brother Alphonso, who never was known to brook an injury or forgive an offender. She must have remembered too well the twelve years' imprisonment and the narrow escape from death, of her unfortunate mother for a less cause. She was of a timid and reserved nature, increased by the extreme delicacy of her constitution. Her hand had frequently been sought by princes and nobles, whom she had uniformly rejected, at the risk of displeasing her brother; and the eyes of a jealous court were upon her. Tasso, on the other hand, was imprudent, hot-headed, fearless, ardently attached. For both their sakes, it was necessary for Leonora to be guarded and reserved, unless she would have made herself the fable of all Italy. And in what glowing verse has Tasso described all the delicious pain of such a situation! now proud of his fetters, now execrating them in despair. In allusion to his ambitious passion, he is Phaeton, Icarus, Tantalus, Ixion.
Se d' Icàro leggesti c di Fetonte, &c.
But though presumption flung to ruin Icarus and Phaeton, did not the power of love bring even Dian down "from her amazing height?"
E che non puote
Amor, che con catena il ciel unisce?
Egli già trae delle celeste rote
Di terrana beltà Diana accesa,
E d'Ida il bel Fanciul[125] al' ciel rapisce.
This at least is clearly significant, however poetical the allusions; but what a world of passion and of meaning breathes through the Sonnet which he has entitled "The constrained Silence," ("Il Silenzio Imposto.")
"She is content that I should love her; yet, O what hard restraint of galling silence has she imposed!"