Io sparso, ed altri miete! &c.
"I sow, another reaps! I water a lovely blossom, unworthy, alas! to tend it; and another gathers the fruit. O rage!—yet must I, through coward fear, lock my grief within my own bosom!" &c.
This intended marriage never took place; and Tasso, relieved from his fears, and restored to the confidence of Leonora, was again comparatively blessed. He sometimes ventured to name her openly in his poems,—as in the little Madrigal,
Cantava in riva al fiume
Tirse di Leonora,
E rispondean le selve, e l'onde, onora.
Sometimes he disguised her name as l'Aurora, l'Aura, Onor, le onora,[129]
Dell' Onor simulacro e'l nome vostro.
To these the preceding Madrigal is a sort of key; or the better to conceal the true object of his adoration, he carried his apparent homage, and often his poetical gallantry, to the feet of other fair ladies. Lucretia d'Este, the elder sister of Leonora; Tarquinia Molza, a beauty and a poetess; and Lucretia Bendidio, another most accomplished woman, who numbered all the poets and literati of Ferrara in her train, frequently inspired him.
The mention of Lucretia Bendidio reminds me of an incident in Tasso's early life, which, besides being characteristic of his times and genius, is extremely apropos to my present purpose and subject. In the days of his first enthusiasm for Lucretia, when he and Guarini were rivals for her favour, he undertook to maintain, publicly, fifty theses, or difficult questions, in the "Science of Love." These "Conclusion! amorosi" may be found in the third volume of the great folio edition of his works; and some of them, it must be confessed, afforded matter for much amusing and edifying discussion; for instance,—"Amore esser più nell' amata che nell' amante," "that love exists rather in the person beloved than in the lover," which seems to involve a nice distinction in metaphysics; and "Nessuna amata essere, o poter essere ingrata,"—"that no woman truly beloved, is or can be ungrateful," which involves a mystery—and a truth. And the 48th, "Se più si patisca, o non ricevendo alcun premio, o ricevendo minor del desiderio,"—"whether in love, it be harder to receive no recompense whatever, or less than we desire,"—a question so difficult to settle, and so depending on individual feeling, that it should have been put to the vote. Others prove, that whatever was the practice in those days, the received and philosophical theory of love was sublime enough; for instance, the 14th, "That the more love is regulated by reason, the more noble it is in its nature." (Agreed to, with exceptions, of which Tasso himself might furnish the most prominent.) That "compassion in our sex is never a sign of reciprocal affection, but on the contrary." (True, generally.) The 34th, "That the respect of the lover for her he loves increases the value and delight of every favour she grants him." (I think this must have passed undisputed, or by acclamation.)
The 38th of these curious propositions, "L'uomo in sua natura amar più intentamente e stabilmente che la donna,"—that "men by nature love more intensely and more permanently than women," was opposed by Signora Orsolina Cavaletta, a woman of singular accomplishments, and who displayed, in defence of her sex, so much wit and talent, such various learning, ingenuity, and eloquence, that the young disputant, perhaps placed in a dilemma between his honour and his gallantry, came very hardly off. This singular exhibition continued for three days, and was conducted with infinite solemnity, in presence of the Court and the Princesses; all the nobility and even the superior clergy of Ferrara crowded to witness it; and I doubt whether any lecture at the British Institution, on mathematics, or electricity, or geology, was ever listened to by our fair bas-bleus with half as much interest as Tasso's "Fifty Theses on Love" excited in Ferrara.
Several years after his first introduction to Leonora d'Este, and after some of the most impassioned and least ambiguous of his verses were written, the Court of Ferrara was embellished by the arrival of two of the most beautiful women in all Italy,—Leonora di Sanvitali, Countess of Scandiano, then a youthful bride, and her not less lovely mother-in-law, Barbara, Countess of Sala. The Countess of Scandiano is the other Leonora who has puzzled all the biographers, from the open gallantry and avowed adoration with which Tasso has celebrated her; but in strains,—O how different from the sentiment, the veneration, the tenderness, and the mystery which breathe through his verses to Leonora d'Este! A third Leonora was said to exist in the person of the Countess's favourite attendant: but this is untrue. The name of Leonora's waiting-maid was Laura. Tasso has addressed several little poems to her; and there can be no doubt that she occasionally served as a blind to his real attachment for her mistress. The Countess of Scandiano's attendant was the fair Olympia, to whom is addressed that exquisitely graceful Canzone,