He paints for us, in another letter, a companion picture of the widow remarried.
Your contract of marriage will scarcely be written when you will be compelled to make your will. Your new husband pretends to be very ill, and makes a will in your favour, desiring you to do the same. But he lives, and it is you who die. And if it happens that you have sons by your second marriage, war blazes forth in your house, a domestic contest without term or conclusion. Those who owe life to you, you are not permitted to love equally, fully. The second envies the caress which you give to the son of the first. If, on the contrary, it is he who has children by another wife, although you may be the most loving of mothers, you are condemned as a stepmother by all the rhetoric of the comedies, the pantomimes, and orators. If your stepson has a headache you have poisoned him. If he eats nothing you starve him, if you serve him his food it is worse still. What compensation is there in a second marriage to make up for so many woes?
This tremendous outburst and others of a similar kind raised up, as was natural, a strong feeling against Jerome. It was not likely that the originals of these trenchant sketches would forgive easily the man who put them up in effigy on the very walls of Rome. That the pictures were identified was clear from another letter, in which he asks whether he is never to speak of any vice or folly lest he should offend a certain Onasus, who took everything to himself. Little cared he whom he offended, or what galled jade might wince. But at last the remonstrances of his friends subdued his rage. "When you read this you will bend your brows and check my freedom, putting a finger on my mouth to stop me from speaking," he wrote to Marcella. It was full time that the prudent mistress of the house which contained such a champion should interfere.
While still the conflict raged which had been roused by the retirement of Blæsilla from the world, and which had thus widened into the general question, far more important than any individual case, between the reforming party in the Church, the Puritans of the time—then specially represented by the new development of monasticism—and the world which it called all elevated souls to abandon: incidents were happening which plunged the cheerful home on the Aventine into sorrow and made another noble house in Rome desolate. The young convert in the bloom of her youthful devotion, who had been raised up miraculously as they all thought from her sick bed in order that she might devote her life to Christ, was again struck down by sickness, and this time without any intervention of a miracle. Blæsilla died in the fulness of her youth, scarcely twenty-two, praying only that she might be forgiven for not having been able to do what she had wished to do in the service of her Lord. She was a great lady, though she had put her natural splendour away from her, and it was with all the pomp of a patrician funeral that she was carried to her rest. It is again Jerome who makes visible to us the sad scene of this funeral, and the feeling of the multitude towards the austere reformers who had by their cruel exactions cut off this flower of Roman society before her time. Paula, the bereaved mother, followed, as was the custom, the bier of her daughter through the crowded streets of Rome, scarcely able in the depths of her grief to support herself, and at last fell fainting into the arms of the attendants and had to be carried home insensible. At this sight, which might have touched their hearts, the multitude with one voice cried out against the distracted mother. "She weeps, the daughter whom she has killed with fastings," they cried. "Why are not these detestable monks driven from the city? why are they not stoned or thrown into the river? It is they who have seduced this miserable woman to be herself a monk against her will—this is why she weeps for her child as no woman has ever wept before." Paula, let us hope, did not hear these cries of popular rage. The streets rung with them, the populace always ready for tumult, and the disgusted and angry nobles encouraging every impulse towards revolt. No doubt many of the higher classes had looked on with anxiety and alarm at the new movement which dissipated among the poor so many fine inheritances and threatened to carry off out of the world, of which they had been the ornaments, so many of the most distinguished women. Any sudden rising which might kill or banish the pestilent monk or disperse the troublesome community would naturally find favour in their eyes.
THE LATERAN FROM THE AVENTINE.
PORTICO OF OCTAVIA.