O happy arts of excellent effect!
I labouring with the tongue, she with the glance,
Have glory there, and virtue here bestowed.
Laura’s attitude towards Petrarch seems not ill expressed in the sonnet composed in the eighteenth century by Ippolito Pindemonte:
To thee, immortal lady lowly laid
Where Sorga glassed thy loveliness divine.
I bow in worship; not because was thine
The beauty solely for the coffin made;
But for the soul that animating swayed,
And, cold and colder growing, did incline
Brighter and brighter yet to soar and shine
Thy lover’s flame of passion unallayed.
For certes his lament had seemed misplaced,
And much the pathos of his music marred,
Had not his lady been so very chaste:
Come, grateful Italy, with fond regard,
To kiss the tomb by such a tenant graced,
And bless the dust that gave thee such a bard.
This peculiar relation of Laura to Petrarch as a monitress, no less than an object of adoration, goes far to establish the reality of his passion, which is exactly that which men frequently entertain for women a little older than themselves, and whom they deem in some measure or some respect their superiors. He feels himself ennobled by his love, a sentiment expressed with great force in the tenth sonnet, one of the earliest, and in many others, especially the beautiful Sonnet clii.:
Soul, that such various things with various art
Dost hearken, read, discourse, conceive and write;
Fond eyes, and thou, keen sense framed exquisite
To bear her holy message to the heart:
Rejoice ye that it hath not been your part
To gain the road so hard to keep aright
Too late or soon for beacon of her light,
Or guidance her imprinted steps impart.
Now with such beam and such direction blest
’Twere shameful in brief way to miss the sign
Pointing the passage to eternal rest.
Upward, faint soul, thy heavenward path incline;
Through clouds of her sweet wrath pursue thy quest,
Following the seemly step and ray divine.
We do not know whether Petrarch had written any poetry before he tuned his lyre to hymn Laura. His beginnings (the exquisite initial sonnet being in fact the last written of any) are at first feeble and uncertain. It is not until arriving at Sonnet xxii. that he strikes a note worthy of his mature power, and he continues unequal up to about Sonnet lx., when masterpieces begin to occur with frequency; from this point onwards the proportion of absolutely insignificant poems is comparatively small. The interspersed sestines and ballate add little to his reputation; not so the canzoni, which are among his noblest productions. Traces of a chronological arrangement are evident; thus his secession to the Sorga gives birth to a group of sonnets with which those denouncing the Papal Court at Avignon are intimately connected; and in general the poems show a continuous development of style, but there are some signal exceptions. Towards the end of the first book his Muse would seem in danger of flagging, were she not stimulated by forebodings of the death of Laura. The pieces expressing this apprehension form a well-marked group, which may be associated with the doubts and fears which, after Laura’s decease, he tells us beset him on his last parting with her (1347):
The lovely eyes, now in supernal sphere
Bright with the light whence life and safety rain,
Leaving mine mendicant and mourning here,
Flashed with new mood they seemed to entertain,
Saying to these: Take comfort, friends most dear,
Not here but elsewhere shall we meet again.
Mestica, the most critical of Petrarch’s editors, seems to think that he wrote no more on Laura in her lifetime after the great spiritual change which he supposes him to have undergone in 1343, when he wrote his dialogue with St. Augustine. We see but slight evidence of any such metamorphosis.
The second book of theCanzoniere, comprising the pieces composed after the death of Laura, resembles the first in their comparative inferiority at the beginning, after a fine introductory sonnet. Either Petrarch’s grief had paralysed his powers, or he had not fully realised his loss, or he had not yet hit upon the fitting tone. In a short time, however, he regains his true self, and the second part is generally deemed to excel the first, as pathos excels passion. It is not that the artist is more consummate, but the capabilities of his instrument are greater. The poems generally fall into two groups—laments for Laura’s loss, or consolation derived from the realisation of her presence on earth or in heaven. An example of each must be given: