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devotion of Eloisa, its first Abbess; and after a course of conduct
which redeems their errors, they rest together within its walls.
On the monument of Eloisa were inscribed the following rude
monkish verses:

Hoc tumulo Abbatissa jacet prudens Heloissa;
Paraclitum statuit, cum Paraclito requiescit.
Gaudia sanctorum sua sunt super alta polorum;
Nos meritis precibusque suis exaltet ab imis.

The Parisian Academy of Belles Lettres, in the year 1766, prepared, at the request of Madame de Rochefoucault, the late Abbess of Paraclete, an inscription more worthy of the characters of the persons deposited there; which was afterwards inscribed on a marble tablet, by the directions of her successor, Madame de Roucy.

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in eternal happiness,

Peter Abelard died the twenty-first of April, 1142, And Heloisa the seventeenth of May, 1163. Erected by Caroline de Roucy,

Abbess of Paraclete,



ABELARD and Eloisa flourished in the twelfth century; they were two of the most distinguished persons of their age in learning and beauty, but for nothing more famous than for their unfortunate passion. After a long course of calamities, they retired each to a several Convent, and consecrated the remainder of their days to religion. It was many years after this separation, that a letter of Abelard's to a Friend, which contained the history of his misfortune, fell into the hands of Eloisa. This, awakening all her tenderness, occasioned those celebrated letters (out of which the following is partly extracted) which give so lively a picture of the struggles of grace and nature, virtue and passion.


A Traveller who visited the Convent about the year 1768 (see Annual Register) says, that its situation and prospects by no means resemble Pope's beautiful and romantic description of it. Father St. Romain, the officiating Priest, walked with him round the whole demesne. The Abbess, who was in her eighty-second year, desired to see our Traveller, for she said she was his countrywoman, and allied to the extinct families of Lifford and Stafford. She was aunt to the then Duke de Rochefoucault; and being fifth in succession, as Abbess of that Convent, hoped it would become a kind of patrimony. We know, alas! what has since happened both to her Family and her Convent! The community seemed to know but little of the afflicting story of their Founder. of the original building but a few pointed arches. the tombs of these unfortunate lovers, he observed peared much taller than Abelard.

Little remains

In examining that Eloisa ap



In these deep solitudes and awful cells,
Where heav'nly-pensive contemplation dwells,
And ever-musing melancholy reigns,

What means this tumult in a Vestal's veins ?

Why rove my thoughts beyond this last retreat? 5
Why feels my heart its long-forgotten heat?
Yet, yet I love!--From Abelard it came,
And Eloisa yet must kiss the name.

Dear fatal name! rest ever unreveal'd,
Nor pass these lips in holy silence seal'd:
Hide it, my heart, within that close disguise,
Where, mix'd with God's, his lov'd Idea lies:
O write it not, my hand-the name appears
Already written-wash it out, my tears!
In vain lost Eloisa weeps and prays,
Her heart still dictates, and her hand obeys.




* However happy and judicious the subject of this Epistle may be thought to be, as displaying the various conflicts and tumults between duty and pleasure, between penitence and passion, that agitated the mind of Eloisa; yet we must candidly own, that the principal circumstance of distress is of so indelicate a nature, that it is with difficulty disguised by the exquisite art and address of the poet. The capital and unrivalled beauties of the poem arise from the striking images and descriptions of the Convent, and from the sentiments drawn from the mystical books of devotion, particularly Madame Guion and the Archbishop of Cambray.


Relentless walls! whose darksome round con


Repentant sighs, and voluntary pains:

Ye rugged rocks, which holy knees have worn;
Ye grots and caverns, shagg'd with horrid thorn! 20
Shrines! where their vigils pale-ey'd virgins keep,
And pitying saints, whose statues learn to weep!
Tho' cold like you, unmov'd and silent grown,
I have not yet forgot myself to stone.
All is not Heaven's while Abelard has part;
Still rebel nature holds out half my heart;
Nor pray'rs nor fasts its stubborn pulse restrain,
Nor tears, for ages taught to flow in vain.

Soon as thy letters trembling I unclose,
That well-known name awakens all my woes.
Oh name for ever sad! for ever dear!
Still breath'd in sighs, still usher'd with a tear.
I tremble too, where'er my own I find,
Some dire misfortune follows close behind.




Ver. 24. Forgot myself to stone.] This is an expression of Milton; as is also, caverns shagg'd with horrid thorn, and the epithets pale-ey'd, twilight, low-thoughted care, and others, are first used in the smaller poems of Milton, which Pope seems to have been just reading.

Some of these circumstances, in the scenery view of the monastery, have perhaps a little impropriety, when introduced into a place so lately founded as was the Paraclete; but are so well imagined, and so highly painted, that they demand excuse.


Ver. 24.] "Forgot myself to marble." Milton.


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