Miscellaneous Writings and Speeches - Volume 1 by Thomas Babington Macaulay (top young adult novels .txt) 📕

The matrons and their daughters confined in the harem,-insipid, uneducated, ignorant of all but the mechanical arts, scarcely seen till they were married,-could rarely excite interest; afterwards their brilliant rivals, half Graces, half Harpies, elegant and informed, but fickle and rapacious, could never inspire respect.

The state of society in Rome was, in this point, far happier; and the Latin literature partook of the superiority. The Roman poets have decidedly surpassed those of Greece in the delineation of the passion of love. There is no subject which they have treated with so much success. Ovid, Catullus, Tibullus, Horace, and Propertius, in spite of all their faults, must be allowed to rank high in this department of the art. To these I would add my favourite Plautus; who, though he took his plots from Greece, found, I suspect, the originals of his enchanting female characters at Rome.

Still many evils remained: and, in the decline of the great empire, all that was pernicious in its domestic institutions appeared more strongly. Under the influence of governments at once dependent and tyrannical, which purchased, by cringing to their enemies, the power of trampling on their subjects, the Romans sunk into the lowest state of effeminacy and debasement. Falsehood, cowardice, sloth, conscious and unrepining degradation, formed the national character. Such a character is totally incompatible with the stronger passions. Love, in particular, which, in the modern sense of the word, implies protection and devotion on the one side, confidence on the other, respect and fidelity on both, could not exist among the sluggish and heartless slaves who cringed around the thrones of Honorius and Augustulus. At this period the great renovation commenced. The warriors of the north, destitute as they were of knowledge and humanity, brought with them, from their forests and marshes, those qualities without which humanity is a weakness and knowledge a curse,-energy-independence-the dread of shame-the contempt of danger. It would be most interesting to examine the manner in which the admixture of the savage conquerors and the effeminate slaves, after many generations of darkness and agitation, produced the modern European character;-to trace back, from the first conflict to the final amalgamation, the operation of that mysterious alchemy which, from hostile and worthless elements, has extracted the pure gold of human nature- to analyse the mass, and to determine the proportion in which the ingredients are mingled. But I will confine myself to the subject to which I have more particularly referred. The nature of the passion of love had undergone a complete change. It still retained, indeed, the fanciful and voluptuous character which it had possessed among the southern nations of antiquity. But it was tinged with the superstitious veneration with which the northern warriors had been accustomed to regard women. Devotion and war had imparted to it their most solemn and animating feelings. It was sanctified by the blessings of the Church, and decorated with the wreaths of the tournament. Venus, as in the ancient fable, was again rising above the dark and tempestuous waves which had so long covered her beauty. But she rose not now, as of old, in exposed and luxurious loveliness. She still wore the cestus of her ancient witchcraft; but the diadem of Juno was on her brow, and the aegis of Pallas in her hand. Love might, in fact, be called a new passion; and it is not astonishing that the first poet of eminence who wholly devoted his genius to this theme should have excited an extraordinary sensation. He may be compared to an adventurer who accidentally lands in a rich and unknown island; and who, though he may only set up an ill-shaped cross upon the shore, acquires possession of its treasures, and gives it his name. The claim of Petrarch was indeed somewhat like that of Amerigo Vespucci to the continent which should have derived its appellation from Columbus. The Provencal poets were unquestionably the masters of the Florentine. But they wrote in an age which could not appreciate their merits; and their imitator lived at the very period when composition in the vernacular language began to attract general attention. Petrarch was in literature what a Valentine is in love. The public preferred him, not because his merits were of a transcendent order, but because he was the first person whom they saw after they awoke from their long sleep.

Nor did Petrarch gain less by comparison with his immediate successors than with those who had preceded him. Till more than a century after his death Italy produced no poet who could be compared to him. This decay of genius is doubtless to be ascribed, in a great measure, to the influence which his own works had exercised upon the literature of his country. Yet it has conduced much to his fame. Nothing is more favourable to the reputation of a writer than to be succeeded by a race inferior to himself; and it is an advantage, from obvious causes, much more frequently enjoyed by those who corrupt the national taste than by those who improve it.

Another cause has co-operated with those which I have mentioned to spread the renown of Petrarch. I mean the interest which is inspired by the events of his life-an interest which must have been strongly felt by his contemporaries, since, after an interval of five hundred years, no critic can be wholly exempt from its influence. Among the great men to whom we owe the resuscitation of science he deserves the foremost place; and his enthusiastic attachment to this great cause constitutes his most just and splendid title to the gratitude of posterity. He was the votary of literature. He loved it with a perfect love. He worshipped it with an almost fanatical devotion. He was the missionary, who proclaimed its discoveries to distant countries- the pilgrim, who travelled far and wide to collect its reliques- the hermit, who retired to seclusion to meditate on its beauties- -the champion, who fought its battles-the conqueror, who, in more than a metaphorical sense, led barbarism and ignorance in triumph, and received in the Capitol the laurel which his magnificent victory had earned.

Nothing can be conceived more noble or affecting than that ceremony. The superb palaces and porticoes, by which had rolled the ivory chariots of Marius and Caesar, had long mouldered into dust. The laurelled fasces-the golden eagles-the shouting legions-the captives and the pictured cities-were indeed wanting to his victorious procession. The sceptre had passed away from Rome. But she still retained the mightier influence of an intellectual empire, and was now to confer the prouder reward of an intellectual triumph. To the man who had extended the dominion of her ancient language-who had erected the trophies of philosophy and imagination in the haunts of ignorance and ferocity-whose captives were the hearts of admiring nations enchained by the influence of his song-whose spoils were the treasures of ancient genius rescued from obscurity and decay-the Eternal City offered the just and glorious tribute of her gratitude. Amidst the ruined monuments of ancient and the infant erections of modern art, he who had restored the broken link between the two ages of human civilisation was crowned with the wreath which he had deserved from the moderns who owed to him their refinement-from the ancients who owed to him their fame. Never was a coronation so august witnessed by Westminster or by Rheims.

When we turn from this glorious spectacle to the private chamber of the poet,-when we contemplate the struggle of passion and virtue,-the eye dimmed, the cheek furrowed, by the tears of sinful and hopeless desire,-when we reflect on the whole history of his attachment, from the gay fantasy of his youth to the lingering despair of his age, pity and affection mingle with our admiration. Even after death had placed the last seal on his misery, we see him devoting to the cause of the human mind all the strength and energy which love and sorrow had spared. He lived the apostle of literature;-he fell its martyr:-he was found dead with his head reclined on a book.

Those who have studied the life and writings of Petrarch with attention, will perhaps be inclined to make some deductions from this panegyric. It cannot be denied that his merits were disfigured by a most unpleasant affectation. His zeal for literature communicated a tinge of pedantry to all his feelings and opinions. His love was the love of a sonnetteer:-his patriotism was the patriotism of an antiquarian. The interest with which we contemplate the works, and study the history, of those who, in former ages, have occupied our country, arises from the associations which connect them with the community in which are comprised all the objects of our affection and our hope. In the mind of Petrarch these feelings were reversed. He loved Italy, because it abounded with the monuments of the ancient masters of the world. His native city-the fair and glorious Florence-the modern Athens, then in all the bloom and strength of its youth, could not obtain, from the most distinguished of its citizens, any portion of that passionate homage which he paid to the decrepitude of Rome. These and many other blemishes, though they must in candour be acknowledged, can but in a very slight degree diminish the glory of his career. For my own part, I look upon it with so much fondness and pleasure that I feel reluctant to turn from it to the consideration of his works, which I by no means contemplate with equal admiration.

Nevertheless, I think highly of the poetical powers of Petrarch. He did not possess, indeed, the art of strongly presenting sensible objects to the imagination;-and this is the more remarkable, because the talent of which I speak is that which peculiarly distinguishes the Italian poets. In the Divine Comedy it is displayed in its highest perfection. It characterises almost every celebrated poem in the language. Perhaps this is to be attributed to the circumstance, that painting and sculpture had attained a high degree of excellence in Italy before poetry had been extensively cultivated. Men were debarred from books, but accustomed from childhood to contemplate the admirable works of art, which, even in the thirteenth century, Italy began to produce. Hence their imaginations received so strong a bias that, even in their writings, a taste for graphic delineation is discernible. The progress of things in England has been in all respects different. The consequence is, that English historical pictures are poems on canvas; while Italian poems are pictures painted to the mind by means of words. Of this national characteristic the writings of Petrarch are almost totally destitute. His sonnets indeed, from their subject and nature, and his Latin Poems, from the restraints which always shackle one who writes in a dead language, cannot fairly be received in evidence. But his Triumphs absolutely required the exercise of this talent, and exhibit no indications of it.

Genius, however, he certainly possessed, and genius of a high order. His ardent, tender, and magnificent turn of thought, his brilliant fancy, his command of expression, at once forcible and elegant, must be acknowledged. Nature meant him for the prince of lyric writers. But by one fatal present she deprived her other gifts of half their value. He would have been a much greater poet had he been a less clever man. His ingenuity was the bane of his mind. He abandoned the noble and natural style, in which he might have excelled, for