Part 15

As the love of him who has read and felt the "Vita Nuova" cannot but strive towards a purer nature, so also the love of which poets sang became also nobler as the influence of the strange Tuscan school of platonic lyrists spread throughout literature, bringing to men the knowledge of a kind of love born of that idealizing and worshipping passion of the Middle Ages; but of mediæval love chastened by the manners of stern democracy and passed through the sieve of Christian mysticism and pagan philosophy. Of this influence of the "Vita Nuova"--for the "Vita Nuova" had concentrated in itself all the intensest characteristics of Dante's immediate predecessors and contemporaries, causing them to become useless and forgotten--of this influence of the "Vita Nuova," there is perhaps no more striking example than that of the poet who, constituted by nature to be the mere continuator of the romantically gallant tradition of the troubadours, became, and hence his importance and glory, the mediator between Dante and the centuries which followed him; the man who gave to mankind, incapable as yet of appreciating or enduring the spiritual essence of the "Vita Nuova," that self-same essence of intellectual love in an immortal dilution. I speak, of course, of Petrarch. His passion is neither ideal nor strong. The man is in love, or has been in love, existing on a borderland of loving and not loving, with the beautiful woman. His elegant, refined, half-knightly, half-scholarly, and altogether courtly mind is delighted with her; with her curly yellow hair, her good red and white beauty (we are never even told that Dante's Beatrice is beautiful, yet how much lovelier is she not than this Laura, descended from all the golden-haired bright-eyed ladies of the troubadours!), with her manner, her amiability, her purity and dignity in this ecclesiastical Babylon called Avignon. He maintains a semi-artificial love; frequenting her house, writing sonnet after sonnet, rhetorical exercises, studies from the antique and the Provençal, for the most part; he, who was born to be a mere troubadour like Ventadour or Folquet, becomes, through the influence of Dante, the type of the poet Abate, of the poetic _cavaliere servente_; a good, weak man with aspirations, who, failing to get the better of Laura's virtue, doubtless consoles himself elsewhere, but returns to an habitual contemplation of it. He is, being constitutionally a troubadour, an Italian priest turned partly Provençal, vexed at her not becoming his mistress; then (having made up his mind, which was but little set upon her), quite pleased at her refusal: it turns her into a kind of Beatrice, and him, poor man, heaven help him! into a kind of Dante--a Dante for the use of the world at large. He goes on visiting Laura, and writing to her a sonnet regularly so many times a week, and the best, carefully selected, we feel distinctly persuaded, at regular intervals. It is a determined cultus, a sort of half-real affectation, something equivalent to lighting a lamp before a very well-painted and very conspicuous shrine. All his humanities, all his Provençal lore go into these poems--written for whom? For her? Decidedly; for she has no reason not to read the effusions of this amiable, weak priestlet; she feels nothing for him. For her; but doubtless also to be handed round in society; a new sonnet or canzone by that charming and learned man, the Abate Petrarch. There is considerable emptiness in all this: he praises Laura's chastity, then grows impatient, then praises her again; adores her, calls her cruel, his goddess, his joy, his torment; he does not really want her, but in the vacuity of his feeling, thinks he does; calls her alternately the flat, abusive, and eulogistic names which mean nothing. He plays loud and soft with this absence of desire; he fiddle faddles in descriptions of her, not passionate or burning, but delicately undressed: he sees her (but with chaste eyes) in her bath; he envies her veil, &c.; he neither violently intellectually embraces, nor humbly bows down in imagination before her; he trifles gracefully, modestly, half-familiarly, with her finger tips, with the locks of her hair, and so forth. Fancy Dante abusing Beatrice; fancy Dante talking of Beatrice in her bath; the mere idea of his indignation and shame makes one shameful and indignant at the thought. But this perfect Laura is no Beatrice, or only a half-and-half sham one. She is no ideal figure, merely a figure idealized; this is no imaginative passion, merely an unreal one. Compare, for instance, the suggestion of Laura's possible death with the suggestion of the possible death of Beatrice. Petrarch does not love sufficiently to guess what such a loss would be. Then Laura does die. Here Petrarch rises. The severing of the dear old habits, the absence of the sweet reality, the terrible sense that all is over, Death, the great poetizer and giver of love philters, all this makes him love Laura as he never loved her before. The poor weak creature, who cannot, like a troubadour, go seek a new mistress when the old one fails him, feels dreadfully alone, the world dreadfully dreary around him; he sits down and cries, and his crying is genuine, making the tears come also into our eyes. And Laura, as she becomes a more distant ideal, becomes nobler, though noble with only a faint earthly graciousness not comparable to the glory of the living Beatrice. And, as he goes on, growing older and weaker and more desolate, the thought of a glorified Laura (as all are glorified, even in the eyes of the weakest, by death) begins to haunt him as Dante was haunted by the thought of Beatrice alive. Yet, even at this very time, come doubts of the lawfulness of having thus adored (or thought he had adored) a mortal woman; he does not know whether all this may not have been vanity and folly; he tries to turn his thoughts away from Laura and up to God. Perhaps he may be called on to account for having given too much of his life to a mere earthly love. Then, again, Laura reappears beautified in his memory, and is again tremblingly half-conjured away. He is weak, and sad, and helpless, and alone; and his heart is empty; he knows not what to think nor how to feel; he sobs, and we cry with him. Nowhere could there be found a stranger contrast than this nostalgic craving after the dead Laura, vacillating and troubled by fear of sin and doubt of unworthiness of object, with that solemn ending of the "Vita Nuova," where the name of Beatrice is pronounced for the last time before it be glorified in Paradise, where Dante devotes his life to becoming worthy of saying "such words as have never been said of any lady." The ideal woman is one and unchangeable in glory, and unchangeable is the passion of her lover; but of this sweet dead Laura, whose purity and beauty and cruelty he had sung, without a tremor of self-unworthiness all her life, of her the poor weak Petrarch begins to doubt, of her and her worthiness of all this love; and when? when she is dead and himself is dying.

Such a man is Petrarch; and yet, by the irresistible purifying and elevating power of the "Vita Nuova,'" this man came to write not other _albas_ and _serenas,_ not other love-songs to be added to the love-songs of Provence, but those sonnets and canzoni which for four centuries taught the world, too coarse as yet to receive Dante's passion at first hand, a nobler and more spiritual love. After Petrarch a gradual change takes place in the poetic conception of love: except in learned revivalisms or in loose buffooneries, the mere fleshly love of Antiquity disappears out of literature; and equally so, though by a slower process of gradual transformation, vanishes also the adoring, but undisguisedly adulterous love of the troubadours and minnesingers. Into the love Instincts of mankind have been mingled, however much diluted, some drops of the more spiritual passion of Dante. The _puella_ of Antiquity, the noble dame of feudal days, is succeeded in Latin countries, in Italy, and France, and Spain, and Portugal, by the _gloriosa donna_ imitated from. Petrarch, and imitated by Petrarch from Dante; a long-line of shadowy figures, veiled in the veil of Madonna Laura, ladies beloved of Lorenzo and Michael Angelo, of Ariosto, and Tasso, and Camoens, and Cervantes, passes through the world; nay, even the sprightly-mistress of Ronsard, half-bred pagan and troubadour has airs of dignity and mystery which make us almost think that in this dainty coquettish French body, of Marie or Helene or Cassandrette, there really may be an immortal soul. But with the Renaissance--that movement half of mediæval democratic progress, and half of antique revivalism, and to which in reality belongs not merely Petrarch, but Dante, and every one of the Tuscan poets, Guinicelli, Lapo Gianni, Cavalcanti, who broke with the feudal poetry of Provence and Sicily--with the Renaissance, or rather with its long-drawn-out end, comes the close, for the moment, of the really creative activity of the Latin peoples in the domain of poetry. All the things for two centuries which Italy and France and Spain and Portugal (which we must remember for the sake of Camoens) continue to produce, are but developments of parts left untouched; or refinements of extreme detail, as in the case, particularly, of the French poets of the sixteenth century; but poetry receives from these races nothing new or vital, no fresh ideal or fruitful marriage of ideals. And here begins, uniting in itself all the scattered and long-dormant powers of Northern poetry, the great and unexpected action of England. It had slept through the singing period of the Middle Ages, and was awakened, not by Germany or Provence, but by Italy: Boccaccio and Petrarch spoke, and, as through dreams, England in Chaucer's voice, made answer. Again, when the Renaissance had drawn to a close, far on in the sixteenth century, English poetry was reawakened; and again by Italy. This time it was completely wakened, and arose and slept no more. And one of the great and fruitful things achieved by English poetry in this its final awakening was to give to the world the new, the modern, perhaps the definitive, the final ideal of love. England drank a deep draught--how deep we see from Sidney's and Spenser's sonnets--of Petrarch; and in this pleasant dilution, tasted and felt the burning essence of the "Vita Nuova;" for though Dante remained as the poet, the poet of heaven and hell, this happy half-and-half Petrarch had for full two centuries completely driven into oblivion the young Dante who had loved Beatrice. For England, for this magnificent and marvellous outburst of all the manifold poetic energy stored up and quintupled during that long period of inertness, there could however be no foreign imported ideal of love; there was no possibility of a new series of spectral Lauras, shadows projected by a shadow. Already, long ago, at the first call of Petrarch, Chaucer, by the side of the merely mediæval love types--of brutish lust and doglike devotion--of the Wife of Bath and of Griseldis, had rough-sketched a kind of modern love, the love which is to become that of Romeo and Hamlet, in his story of Palemon and Arcite. Among the poetic material which existed in England at the close of the sixteenth century was the old, long-neglected, domestic love, quiet, undemonstrative, essentially unsinging, of the early Northern (as indeed also of the Greek and Hindoo) epics; a domestic love which, in a social condition more closely resembling our own than any other, even than that of the Italian democracies, which had preceded it; among a people who permitted a woman to choose her own husband, and forbade a man wooing another man's wife, had already, in ballads and folk poetry, begun a faint-twitter of song. To this love of the man and the woman who hope to marry, strong and tender, but still (as Coleridge remarked of several of the lesser Elizabethan playwrights) most outspokenly carnal, was united by the pure spirit of Spenser, by the unerring genius of Shakespeare, that vivifying drop of burning, spiritual love taken from out of the "Vita Nuova," which had floated, like some sovereign essential oil, on the top of Petrarch's rose-water. Henceforward the world possesses a new kind of love: the love of Romeo, of Hamlet, of Bassanio, of Viola, and of Juliet; the love of the love poems of Shelley, of Tennyson, of Browning and Browning's wife. A love whose blindness, exaggeration of passion, all that might have made it foolish and impracticable, leads no longer to folly and sin, but to an intenser activity of mankind's imagination of the good and beautiful, to a momentary realization in our fancy of all our vague dreams of perfection; a love which, though it may cool down imperceptibly and pale in its intenseness, like the sunrise fires into a serene sky, has left some glory round the head of the wife, some glory in the heart of the husband, has been, however fleeting, a vision of beauty which has made beauty more real. And all this owing to the creation, the storing up, the purification by the Platonic poets of Tuscany, of that strange and seemingly so artificial and unreal thing, mediæval love; the very forms and themes of whose poetry, the _serena_ and the _alba_, which had been indignantly put aside by the early Italian lyrists, being unconsciously revived, and purified and consecrated in the two loveliest love poems of Elizabethan poetry: the _serena_, the evening song of impatient expectation in Spenser's Epithalamium; the _alba_, the dawn song of hurried parting, in the balcony scene of "Romeo and Juliet."

Let us recapitulate. The feudal Middle Ages gave to mankind a more refined and spiritual love, a love all chivalry, fidelity, and adoration, but a love steeped in the poison of adultery; and to save the pure and noble portions of this mediæval love became the mission of the Tuscan poets of that strange school of Platonic love which in its very loveliness may sometimes seem so unnatural and sterile. For, by reducing this mediæval love to a mere intellectual passion, seeking in woman merely a self-made embodiment of cravings after perfection, they cleansed away that deep stain of adultery; they quadrupled the intensity of the ideal element; they distilled the very essential spirit of poetic passion, of which but a few drops, even as diluted by Petrarch, precipitated, when mingled with the earthly passion of future poets, to the bottom, no longer to be seen or tasted, all baser ingredients.

And, while the poems of minnesingers and troubadours have ceased to appeal to us, and remain merely for their charm of verse and of graceful conceit; the poetry written by the Italians of the thirteenth century for women, whose love was but an imaginative fervour, remains concentrated in the "Vita Nuova;" and will remain for all time the sovereign purifier to which the world must have recourse whenever that precipitate of baser instincts, which thickened like slime the love poetry of Antiquity, shall rise again and sully the purity of the love poetry of to-day.

EPILOGUE.

More than a year has elapsed since the moment when, fancying that this series of studies must be well-nigh complete, I attempted to explain in an introductory chapter what the nature of this book of mine is, or would fain be. I had hoped that each of these studies would complete its companions; and that, without need for explicit explanation, my whole idea would have become more plain to others than it was at that time even to myself. But instead, it has become obvious that the more carefully I had sought to reduce each question to unity, the more that question-subdivided and connected itself with other questions; and that, with the solution of each separate problem, had arisen a new set of problems which infinitely complicated the main lessons to be deduced from a study of that many-sided civilization to which, remembering the brilliant and mysterious offspring of Faustus and Helena, I have given the name of Euphorion. Hence, as it seems, the necessity for a few further words of explanation.

In those introductory pages written some fifteen months ago, I tried to bring home to the reader a sense which has haunted me throughout the writing of this volume; namely, that instead of having deliberately made up my mind to study the Renaissance, as one makes up one's mind to visit Greece or Egypt or the Holy Land; I have, on the contrary, quite accidentally and unconsciously, found myself wandering about in spirit among the monuments of this particular historic region, even as I might wander about in the streets of Siena where I wrote last year, of Florence whence I write at present; wandering about among these things, and little by little feeling a particular interest in one, then in another, according as each happened to catch my fancy or to recall some already known thing. Now these, which for want of a better word I have just called monuments, and just now, less clearly, but also less foolishly, merely _things_--these things were in reality not merely individual and really existing buildings, books, pictures, or statues, individual and really registered men, women, and events; they were the mental conceptions which I had extracted out of these realities; the intellectual types made up (as the mediæval symbols of justice are made up of the visible paraphernalia, robe, scales and sword, for judging and weighing and punishing) of the impressions left on the mind by all those buildings, or books, or pictures, or statues, or men, women, and events. They were not the iniquities of this particular despot nor the scandalous sayings of that particular humanist, but the general moral chaos of the Italian fifteenth and sixteenth centuries; not the poem of Pulci, of Boiardo, of Ariosto in especial, but a vast imaginary poem made up of them all; not the mediæval saints of Angelico and the pagan demi-gods of Michael Angelo, but the two tremendous abstractions: the spirit of Mediævalism in art, and the spirit of Antiquity; the interest in the distressed soul, and the interest in the flourishing body. And, as my thoughts have gone back to Antiquity and onwards to our own times, their starting-point has nevertheless been the Tuscan art of the fifteenth century, their nucleus some notes on busts by Benedetto da Maiano and portraits by Raphael.

My _dramatis persona_ have been modes of feeling and forms of art. I have tried to explain the life and character, not of any man or woman, but of the moral scepticism of Italy, of the tragic spirit of our Elizabethan dramatists; I have tried to write the biography of the romance poetry of the Middle Ages, of the realism of the great portrait painters and sculptors of the Renaissance. But these, my _dramatis persona,_ are, let me repeat it, abstractions: they exist only in my mind and in the minds of those who think like myself. Hence, like all abstractions, they represent the essence of a question, but not its completeness, its many-sidedness as we may see it in reality. Hence it is that I have frequently passed over exceptions to the rule which I was stating, because the explanation of these exceptions would have involved the formulating of a number of apparently irrelevant propositions; so that any one who please may accuse me of inexactness; and, to give an instance, cover the margins of my essay on Mediæval Love with a whole list of virtuous love stories of the Middle Ages; or else ferret out of Raynouard and Von der Hagen a dozen pages of mediæval poems in praise of rustic life. These objections will be perfectly correct, and (so far as my knowledge permitted me) I might have puzzled the reader with them myself; but it remains none the less certain that, in the main, mediæval love was not virtuous, and mediæval peasantry not admired by poets; and none the less certain, I think, also, that in describing the characteristics and origin of an abstract thing, such as mediæval love, or mediæval feeling towards the country and country folk, it was my business to state the rule and let alone the exceptions.

There is another matter which gives me far greater concern. In creating and dealing with an abstraction, one is frequently forced, if I may use the expression, to cut a subject in two, to bring one of its sides into full light and leave the other in darkness; nay, to speak harshly of one side of an art or of a man without being able to speak admiringly of another side.

This one-sidedness, this apparent injustice of judgment, has in some cases been remedied by the fact that I have treated in one study those things which I was forced to omit in another study; as, in two separate essays, I have pointed out first the extreme inferiority of Renaissance sculpture to the sculpture of Antiquity with regard to absolute beauty of form; and then the immeasurable superiority of Renaissance over antique sculpture in the matter of that beauty and interest dependent upon mere arrangement and handling, wherein lies the beauty-creating power of realistic schools. But most often I have shown one side, not merely of an artist or an art, but of my own feeling, without showing the other; and in one case this inevitable one-sidedness has weighed upon me almost like personal guilt, and has almost made me postpone the publication of this book to the Greek Kalends, in hopes of being able to explain and to atone. I am alluding to Fra Angelico. I spoke of him in a study of the progress of mere beautiful form, the naked human form moreover, in the art of the Renaissance; I looked at his work with my mind full of the unapproachable superiority of antique form; I judged and condemned the artist with reference to that superb movement towards nature and form and bodily beauty which was the universal movement of the fifteenth century; I lost patience with this saint because he would not turn pagan; I pushed aside, because he did not seek for a classic Olympus, his exquisite dreams of a mediæval Paradise. I had taken part, as its chronicler, with the art which seeks mere plastic perfection, the art to which Angelico said, "Retro me Sathana." It was my intention to close even this volume with a study of the poetical conception of early Renaissance painting, of that strange kind of painting in which a thing but imperfect in itself, a mere symbol of lovely ideas, brings home to our mind, with a rush of associations, a sense of beauty and wonder greater perhaps than any which we receive from the sober reality of perfect form. Again, there are the German masters--the great engravers, Kranach, Altdorfer, Aldegrever, especially; of whom, for their absolute pleasure in ugly women, for their filthy delight in horrors, I have said an immense amount of ill; and of whom, for their wonderful intuition of dramatic situation, their instinct of the poetry of common things, and their magnificently imaginative rendering of landscape, I hope some day to say an equal amount of good.