Chapter 10
Goethe compared translators to carriers, who convey good wine to market, though it gets unaccountably watered by the way. The more one praises a poem, the more absurd becomes one's position, perhaps, in trying to translate it. If it is so admirable--is the natural inquiry,--why not let it alone? It is a doubtful blessing to the human race, that the instinct of translation still prevails, stronger than reason; and after one has once yielded to it, then each untranslated favorite is like the trees round a backwoodsman's clearing, each of which stands, a silent defiance, until he has cut it down. Let us try the axe again. This is to Laura singing.
SONNET 134.
"Quando Amor i begli occhi a terra inchina." When Love doth those sweet eyes to earth incline, And weaves those wandering notes into a sigh Soft as his touch, and leads a minstrelsy Clear-voiced and pure, angelic and divine, He makes sweet havoc in this heart of mine, And to my thoughts brings transformation high, So that I say, "My time has come to die, If fate so blest a death for me design." But to my soul thus steeped in joy the sound Brings such a wish to keep that present heaven, It holds my spirit back to earth as well. And thus I live: and thus is loosed and wound The thread of life which unto me was given By this sole Siren who with us doth dwell.
As I look across the bay, there is seen resting over all the hills, and even upon every distant sail, an enchanted veil of palest blue, that seems woven out of the very souls of happy days,--a bridal veil, with which the sunshine weds this soft landscape in summer. Such and so indescribable is the atmospheric film that hangs over these poems of Petrarch's; there is a delicate haze about the words, that vanishes when you touch them, and reappears as you recede. How it clings, for instance, around this sonnet!
SONNET 191.
"Aura che quelle chiome." Sweet air, that circlest round those radiant tresses, And floatest, mingled with them, fold on fold, Deliciously, and scatterest that fine gold, Then twinest it again, my heart's dear jesses, Thou lingerest on those eyes, whose beauty presses Stings in my heart that all its life exhaust, Till I go wandering round my treasure lost, Like some scared creature whom the night distresses. I seem to find her now, and now perceive How far away she is; now rise, now fall; Now what I wish, now what is true, believe. O happy air! since joys enrich thee all, Rest thee; and thou, O stream too bright to grieve! Why can I not float with thee at thy call?
The airiest and most fugitive among Petrarch's love-poems, so far as I know,--showing least of that air of earnestness which he has contrived to impart to almost all,--is this little ode or madrigal. It is interesting to see, from this, that he could be almost conventional and courtly in moments when he held Laura farthest aloof; and when it is compared with the depths of solemn emotion in his later sonnets, it seems like the soft glistening of young birch-leaves against a background of pines.
CANZONE XXIII.
"Nova angeletta sovra l' ale accorta." A new-born angel, with her wings extended, Came floating from the skies to this fair shore, Where, fate-controlled, I wandered with my sorrows. She saw me there, alone and unbefriended, She wove a silken net, and threw it o'er The turf, whose greenness all the pathway borrows, Then was I captured; nor could fears arise, Such sweet seduction glimmered from her eyes.
Turn from these light compliments to the pure and reverential tenderness of a sonnet like this:--
SONNET 223.
"Qual donna attende a gloriosa fama." Doth any maiden seek the glorious fame Of chastity, of strength, of courtesy? Gaze in the eyes of that sweet enemy Whom all the world doth as my lady name! How honor grows, and pure devotion's flame, How truth is joined with graceful dignity, There thou mayst learn, and what the path may be To that high heaven which doth her spirit claim; There learn soft speech, beyond all poet's skill, And softer silence, and those holy ways Unutterable, untold by human heart. But the infinite beauty that all eyes doth fill, This none can copy! since its lovely rays Are given by God's pure grace, and not by art.
The following, on the other hand, seems to me one of the Shakespearian sonnets; the successive phrases set sail, one by one, like a yacht squadron; each spreads its graceful wings and glides away. It is hard to handle this white canvas without soiling. Macgregor, in the only version of this sonnet which I have seen, abandons all attempt at rhyme; but to follow the strict order of the original in this respect is a part of the pleasant problem which one cannot bear to forego. And there seems a kind of deity who presides over this union of languages, and who sometimes silently lays the words in order, after all one's own poor attempts have failed.
SONNET 128.
"O passi sparsi; o pensier vaghi e pronti" O wandering steps! O vague and busy dreams! O changeless memory! O fierce desire! O passion strong! heart weak with its own fire; O eyes of mine! not eyes, but living streams; O laurel boughs! whose lovely garland seems The sole reward that glory's deeds require; O haunted life! delusion sweet and dire, That all my days from slothful rest redeems; O beauteous face! where Love has treasured well His whip and spur, the sluggish heart to move At his least will; nor can it find relief. O souls of love and passion! if ye dwell Yet on this earth, and ye, great Shades of Love! Linger, and see my passion and my grief.
Yonder flies a kingfisher, and pauses, fluttering like a butterfly in the air, then dives toward a fish, and, failing, perches on the projecting wall. Doves from neighboring dove-cotes alight on the parapet of the fort, fearless of the quiet cattle who find there a breezy pasture. These doves, in taking flight, do not rise from the ground at once, but, edging themselves closer to the brink, with a caution almost ludicrous in such airy things, trust themselves upon the breeze with a shy little hop, and at the next moment are securely on the wing.
How the abundant sunlight inundates everything! The great clumps of grass and clover are imbedded in it to the roots; it flows in among their stalks, like water; the lilac-bushes bask in it eagerly; the topmost leaves of the birches are burnished. A vessel sails by with plash and roar, and all the white spray along her side is sparkling with sunlight. Yet there is sorrow in the world, and it reached Petrarch even before Laura died,--when it reached her. This exquisite sonnet shows it:--
SONNET 123.
"I' vidi in terra angelici costumi." I once beheld on earth celestial graces, And heavenly beauties scarce to mortals known, Whose memory lends nor joy nor grief alone, But all things else bewilders and effaces. I saw how tears had left their weary traces Within those eyes that once like sunbeams shone, I heard those lips breathe low and plaintive moan, Whose spell might once have taught the hills their places. Love, wisdom, courage, tenderness, and truth, Made ill their mourning strains more high and dear Than ever wove sweet sounds for mortal ear; And heaven seemed listening in such saddest ruth The very leaves upon the boughs to soothe, Such passionate sweetness filled the atmosphere.
These sonnets are in Petrarch's earlier manner; but the death of Laura brought a change. Look at yonder schooner coming down the bay, straight toward us; she is hauled close to the wind, her jib is white in the sunlight, her larger sails are touched with the same snowy lustre, and all the swelling canvas is rounded into such lines of beauty as scarcely anything else in the world--hardly even the perfect outlines of the human form--can give. Now she comes up into the wind, and goes about with a strong flapping of the sails, smiting on the ear at a half-mile's distance; then she glides off on the other tack, showing the shadowed side of her sails, until she reaches the distant zone of haze. So change the sonnets after Laura's death, growing shadowy as they recede, until the very last seems to merge itself in the blue distance.
SONNET 251.
"Gli occhi di ch' io parlai." Those eyes, 'neath which my passionate rapture rose, The arms, hands, feet, the beauty that erewhile Could my own soul from its own self beguile, And in a separate world of dreams enclose, The hair's bright tresses, full of golden glows, And the soft lightning of the angelic smile That changed this earth to some celestial isle, Are now but dust, poor dust, that nothing knows. And yet I live! Myself I grieve and scorn, Left dark without the light I loved in vain, Adrift in tempest on a bark forlorn; Dead is the source of all my amorous strain, Dry is the channel of my thoughts outworn, And my sad harp can sound but notes of pain.
"And yet I live!" What a pause is implied before these words! the drawing of a long breath, immeasurably long; like that vast interval of heart-beats that precedes Shakespeare's "Since Cleopatra died." I can think of no other passage in literature that has in it the same wide spaces of emotion.
The following sonnet seems to me the most stately and concentrated in the whole volume. It is the sublimity of a despair not to be relieved by utterance.
SONNET 253.
"Soleasi nel mio cor." She ruled in beauty o'er this heart of mine, A noble lady in a humble home, And now her time for heavenly bliss has come, 'T is I am mortal proved, and she divine. The soul that all its blessings must resign, And love whose light no more on earth finds room Might rend the rocks with pity for their doom, Yet none their sorrows can in words enshrine; They weep within my heart; and ears are deaf Save mine alone, and I am crushed with care, And naught remains to me save mournful breath. Assuredly but dust and shade we are, Assuredly desire is blind and brief, Assuredly its hope but ends in death.
In a later strain he rises to that dream which is more than earth's realities.
SONNET 261.
"Levommi il mio pensiero." Dreams bore my fancy to that region where She dwells whom here I seek, but cannot see. 'Mid those who in the loftiest heaven be I looked on her, less haughty and more fair. She touched my hand, she said, "Within this sphere, If hope deceive not, thou shalt dwell with me: I filled thy life with war's wild agony; Mine own day closed ere evening could appear. My bliss no human brain can understand; I wait for thee alone, and that fair veil Of beauty thou dost love shall wear again." Why was she silent then, why dropped my hand Ere those delicious tones could quite avail To bid my mortal soul in heaven remain?
It vindicates the emphatic reality and pesonality of Petrarch's love, after all, that when from these heights of vision he surveys and resurveys his life's long dream, it becomes to him more and more definite, as well as more poetic, and is farther and farther from a merely vague sentimentalism. In his later sonnets, Laura grows more distinctly individual to us; her traits show themselves as more characteristic, her temperament more intelligible, her precise influence upon Petrarch clearer. What delicate accuracy of delineation is seen, for instance, in this sonnet!
SONNET 314.
"Dolci durezze e placide repulse." Gentle severity, repulses mild, Full of chaste love and pity sorrowing; Graceful rebukes, that had the power to bring Back to itself a heart by dreams beguiled; A soft-toned voice, whose accents undefiled Held sweet restraints, all duty honoring; The bloom of virtue; purity's clear spring To cleanse away base thoughts and passions wild; Divinest eyes to make a lover's bliss, Whether to bridle in the wayward mind Lest its wild wanderings should the pathway miss, Or else its griefs to soothe, its wounds to bind; This sweet completeness of thy life it is That saved my soul; no other peace I find.
In the following sonnet visions multiply upon visions. Would that one could transfer into English the delicious way in which the sweet Italian rhymes recur and surround and seem to embrace each other, and are woven and unwoven and interwoven, like the heavenly hosts that gathered around Laura.
SONNET 302.
"Gli angeli eletti."
The holy angels and the spirits blest, Celestial bands, upon that day serene When first my love went by in heavenly mien, Came thronging, wondering at the gracious guest. "What light is here, in what new beauty drest?" They said among themselves; "for none has seen Within this age come wandering such a queen From darkened earth into immortal rest." And she, contented with her new-found bliss, Ranks with the purest in that upper sphere, Yet ever and anon looks back on this, To watch for me, as if for me she stayed. So strive, my thoughts, lest that high path I miss. I hear her call, and must not be delayed.
These odes and sonnets are all but parts of one symphony, leading us through a passion strengthened by years and only purified by death, until at last the graceful lay becomes an anthem and a Nunc dimittis. In the closing sonnets Petrarch withdraws from the world, and they seem like voices from a cloister, growing more and more solemn till the door is closed. This is one of the last:--
SONNET 309.
"Dicemi spesso il mio fidato speglio." Oft by my faithful mirror I am told, And by my mind outworn and altered brow, My earthly powers impaired and weakened now, "Deceive thyself no more, for thou art old!" Who strives with Nature's laws is over-bold, And Time to his commandments bids us bow. Like fire that waves have quenched, I calmly vow In life's long dream no more my sense to fold. And while I think, our swift existence flies, And none can live again earth's brief career, Then in my deepest heart the voice replies Of one who now has left this mortal sphere, But walked alone through earthly destinies, And of all women is to fame most dear.
How true is this concluding line! Who can wonder that women prize beauty, and are intoxicated by their own fascinations, when these fragile gifts are yet strong enough to outlast all the memories of statesmanship and war? Next to the immortality of genius is that which genius may confer upon the object of its love. Laura, while she lived, was simply one of a hundred or a thousand beautiful and gracious Italian women; she had her loves and aversions, joys and griefs; she cared dutifully for her household, and embroidered the veil which Petrarch loved; her memory appeared as fleeting and unsubstantial as that woven tissue. After five centuries we find that no armor of that iron age was so enduring. The kings whom she honored, the popes whom she revered are dust, and their memory is dust, but literature is still fragrant with her name. An impression which has endured so long is ineffaceable; it is an earthly immortality.
"Time is the chariot of all ages to carry men away, and beauty cannot bribe this charioteer." Thus wrote Petrarch in his Latin essays; but his love had wealth that proved resistless and for Laura the chariot stayed.
A SHADOW.
I shall always remember one winter evening, a little before Christmas-time, when I took a long, solitary walk in the outskirts of the town. The cold sunset had left a trail of orange light along the horizon, the dry snow tinkled beneath my feet, and the early stars had a keen, clear lustre that matched well with the sharp sound and the frosty sensation. For some time I had walked toward the gleam of a distant window, and as I approached, the light showed more and more clearly through the white curtains of a little cottage by the road. I stopped, on reaching it, to enjoy the suggestion of domestic cheerfulness in contrast with the dark outside. I could not see the inmates, nor they me; but something of human sympathy came from that steadfast ray.
As I looked, a film of shade kept appearing and disappearing with rhythmic regularity in a corner of the window, as if some one might be sitting in a low rocking-chair close by. Presently the motion ceased, and suddenly across the curtain came the shadow of a woman. She raised in her arms the shadow of a baby, and kissed it; then both disappeared, and I walked on.
What are Raphael's Madonnas but the shadow of a mother's love, so traced as to endure forever? In this picture of mine, the group actually moved upon the canvas. The curtains that hid it revealed it. The ecstasy of human love passed in brief, intangible panorama before me. It was something seen, yet unseen; airy, yet solid; a type, yet a reality; fugitive, yet destined to last in my memory while I live. It said more to me than would any Madonna of Raphael's, for his mother never kisses her child. I believe I have never passed over that road since then, never seen the house, never heard the names of its occupants. Their character, their history, their fate, are all unknown. But these two will always stand for me as disembodied types of humanity,--the Mother and the Child; they seem nearer to me than my immediate neighbors, yet they are as ideal and impersonal as the goddesses of Greece or as Plato's archetypal man.
I know not the parentage of that child, whether black or white, native or foreign, rich or poor. It makes no difference. The presence of a baby equalizes all social conditions. On the floor of some Southern hut, scarcely so comfortable as a dog-kennel, I have seen a dusky woman look down upon her infant with such an expression of delight as painter never drew. No social culture can make a mother's face more than a mother's, as no wealth can make a nursery more than a place where children dwell. Lavish thousands of dollars on your baby-clothes, and after all the child is prettiest when every garment is laid aside. That becoming nakedness, at least, may adorn the chubby darling of the poorest home.
I know not what triumph or despair may have come and gone through that wayside house since then, what jubilant guests may have entered, what lifeless form passed out. What anguish or what sin may have come between that woman and that child; through what worlds they now wander, and whether separate or in each other's arms,--this is all unknown. Fancy can picture other joys to which the first happiness was but the prelude, and, on the other hand, how easy to imagine some special heritage of human woe and call it theirs!
"I thought of times when Pain might be thy guest, Lord of thy house and hospitality; And Grief, uneasy lover, might not rest Save when he sat within the touch of thee."
Nay, the foretaste of that changed fortune may have been present, even in the kiss. Who knows what absorbing emotion, besides love's immediate impulse, may have been uttered in that shadowy embrace? There may have been some contrition for ill-temper or neglect, or some triumph over ruinous temptation, or some pledge of immortal patience, or some heart-breaking prophecy of bereavement. It may have been simply an act of habitual tenderness, or it may have been the wild reaction toward a neglected duty; the renewed self-consecration of the saint, or the joy of the sinner that repenteth. No matter. She kissed the baby. The feeling of its soft flesh, the busy struggle of its little arms between her hands, the impatient pressure of its little feet against her knees,--these were the same, whatever the mood or circumstance beside. They did something to equalize joy and sorrow, honor and shame. Maternal love is love, whether a woman be a wife or only a mother. Only a mother!
The happiness beneath that roof may, perhaps, have never reached so high a point as at that precise moment of my passing. In the coarsest household, the mother of a young child is placed on a sort of pedestal of care and tenderness, at least for a time. She resumes something of the sacredness and dignity of the maiden. Coleridge ranks as the purest of human emotions that of a husband towards a wife who has a baby at her breast,--"a feeling how free from sensual desire, yet how different from friendship!" And to the true mother however cultivated, or however ignorant, this period of early parentage is happier than all else, in spite of its exhausting cares. In that delightful book, the "Letters" of Mrs. Richard Trench (mother of the well-known English writer), the most agreeable passage is perhaps that in which, after looking back upon a life spent in the most brilliant society of Europe, she gives the palm of happiness to the time when she was a young mother. She writes to her god-daughter: "I believe it is the happiest time of any woman's life, who has affectionate feelings, and is blessed with healthy and well-disposed children. I know at least that neither the gayeties and boundless hopes of early life, nor the more grave pursuits and deeper affections of later years, are by any means comparable in my recollection with the serene, yet lively pleasure of seeing my children playing on the grass, enjoying their little temperate supper, or repeating 'with holy look' their simple prayers, and undressing for bed, growing prettier for every part of their dress they took off, and at last lying down, all freshness and love, in complete happiness, and an amiable contest for mamma's last kiss."
That kiss welcomed the child into a world where joy predominates. The vast multitude of human beings enjoy existence and wish to live. They all have their earthly life under their own control. Some religions sanction suicide; the Christian Scriptures nowhere explicitly forbid it; and yet it is a rare thing. Many persons sigh for death when it seems far off, but the desire vanishes when the boat upsets, or the locomotive runs off the track, or the measles set in. A wise physician once said to me: "I observe that every one wishes to go to heaven, but I observe that most people are willing to take a great deal of very disagreeable medicine first." The lives that one least envies--as of the Digger Indian or the outcast boy in the city--are yet sweet to the living. "They have only a pleasure like that of the brutes," we say with scorn. But what a racy and substantial pleasure is that! The flashing speed of the swallow in the air, the cool play of the minnow in the water, the dance of twin butterflies round a thistle-blossom, the thundering gallop of the buffalo across the prairie, nay, the clumsy walk of the grizzly bear; it were doubtless enough to reward existence, could we have joy like such as these, and ask no more. This is the hearty physical basis of animated life, and as step by step the savage creeps up to the possession of intellectual manhood, each advance brings with it new sorrow and new joy, with the joy always in excess.
There are many who will utterly disavow this creed that life is desirable in itself. A fair woman in a ball-room, exquisitely dressed, and possessed of all that wealth could give, once declared to me her belief--and I think honestly--that no person over thirty was consciously happy, or would wish to live, but for the fear of death. There could not even be pleasure in contemplating one's children, she asserted, since they were living in such a world of sorrow. Asking the opinion, within half an hour, of another woman as fair and as favored by fortune, I found directly the opposite verdict. "For my part I can truly say," she answered, "that I enjoy every moment I live." The varieties of temperament and of physical condition will always afford us these extremes; but the truth lies between them, and most persons will endure many sorrows and still find life sweet.