Chi è questa che vien ch' ogni uom la mira!
Che fa tremar di caritate l' a're?

E mena seco amor, sì che parlare

Null' uom ne puote; ma ciascun sospira?
Ahi dio! che sembra quando gli occhi gira!
Dicalo Amor, ch' io nol saprei contare;
Cotanto d'umiltà donna mi pare

Che ciascun' altra inver di lei chiam' ira,
Non si porria contar la sua piacenza;
Che a lei s'inchina ogni gentil virtute,
E la beltate per sua Dea la mostra.

Non è si alta già la mente nostra

E non s'è posta in noi tanta salute
Che propriamente n'abbian conoscenza!

LITERAL TRANSLATION.

"Who is this, on whom all men gaze as she approacheth!-who causeth the very air to tremble around her with tenderness?-who leadeth Love by her side-in whose presence men are dumb; and can only sigh? Ah! Heaven! what power in every glance of those eyes! Love alone can tell; for I have neither words nor skill! She alone is the Lady of gentleness-beside her, all others seem ungracious and unkind. Who can describe her sweetness, her loveliness? to her every virtue bows, and beauty points to her as her own divinity. The mind of man cannot soar so high, nor is it sufficiently purified by divine grace to understand and ap. preciate all her perfections!"

The vagueness of this portrait is a part of its beauty:it is like a lovely dream-and probably never had any existence, but in the fancy of the Poet.

Cino da Pistoia enjoyed the double reputation of being the greatest doctor and teacher of the civil law, and the most famous poet of his time. He was also remarkable for his personal accomplishments and his love of pleasure. There is a sonnet which Dante addressed to Cino, reproaching him with being inconstant and volatile in love.* Apparently, this was after the death of the beautiful Ricciarde dei Selvaggi; or, as he calls her, his Selvaggia : she was of a noble family of Pistoia, her father having been gonfaliere, and leader of the faction of the Bianchi; and she was also celebrated for her poetical talents. It appears from a little madrigal of hers, which has been preserved, that though she tenderly returned the affection of her lover, it was without the knowledge of her haughty Chi s' innamora, siccome voi fate

Ed ad ogni piacer si lega e scioglie

Mostra ch' amor leggermente il seatti.-Son, 44,

family. It is not distinguished for poetic power, but has at least the charm of perfect frankness and simplicity, and a kind of abandon that is quite bewitching.

A MESSER CINO DA PISTOJA.

Gentil mio sir, lo parlare amoroso
Di voi sì in allegranza mi mantene,
Che dirvel non poria, ben lo sacciate;
Perchè del mio amor sete giojoso,
Di ciò grand' allegria e gio' mi vene,
Ed altro mai non haggio in volontate,
Fuor del vostro piacere;

Tutt' hora fate la vostra voglienza:
Haggiate previdenza

Voi, di celar la nostra desienza,

"My gentle love and lord! those tender words
Of thine so fill my conscious heart with joy,
-I cannot speak it—but thou know'st it well;
Wherefore do thou rejoice in that deep love
I bear thee, knowing that I have no thought
But to fulfil thy will and crown thy wish;

-Watch thou-and hide our mutual hope from all!”

Mean time the parents of Ricciarda were exiled from Pistoia, by the faction of the Neri. They took refuge from their enemies in a little fortress among the Appenines, whither Cino followed them, and was received as a comforter amid their distresses. Probably the days passed in this dreary abode, among the wild and solitary hills, when he assisted Ricciarda in her house-hold duties, and in aiding and consoling her parents, were among the happiest of his life; but the winter came, and with it many privations and many hardships. Their mountain retreat was ill calculated to defend them against the fury of the elements: Ricciarda drooped under the pressure of misery and want, and her parents and her lover watched the gradual extinction of life-saw the rose-hue fade from her cheek, and the light from her eye, till she melted from their arms into death; then they buried her with tears, in a nook among the mountains.

Many years aftewards, when Cino had reached the height of his fame, and had been crowned with wealth and honours by his native city, he had occasion to cross the Appenines on an embassy, and causing his suite to travel by another road, he made a pilgrimage alone to the

tomb of his lost Selvaggia. This incident gave rise to the most striking of all his compositions, which with great pathos and sweetness describes his feelings, when he flung himself down on her humble grave, to weep over the recollection of their past happiness:

Io fu' in sull' alto e in sul beato monte,
Ove adorai baciando il santo sasso,
E caddi in su quella pietra, oimè lasso!
Ove l'onestrà pose la sua fronte;
E ch'ella chiuse d' ogni virtù il fonte
Quel giorno che di morte acerbo passo
Fece la donna dello mio cor,-lasso!-
Già piena tutta d' adornezze conte.
Quivi chiamai a questa guisa Amore:
"Dolee mio Dio, fa che quinci mi traggia
La morte a se, che qui giace il mio cor!"
Ma poi che non m' intese il mio signore,
Mi disparti, pur chiamando, Selvaggia!
L'alpe passai, con voce di dolore.

6

The circumstance in the last stanza, "I rose up and went on my way, and passed the mountain summit, crying aloud Selvaggia!' in accents of despair," has a strong reality about it, and no doubt was real. Her death took place about 1316.

In the history of Italian poetry, Selvaggia is distinguished as the "bel numer' una,"-" the fair number one" of the four celebrated women of that centuryThe others were Dante's Beatrice, Petrarch's Laura, and Boccaccio's Fiammetta.

Every one who reads and admires Petrarch, will remember his beautiful Sonnet on the Death of Cino, beginning "Piangete Donne."

Perchè l' nostro amoroso messer Cino
Novellamente s'è da noi partito.

In the venerable Cathedral at Pistoia, there is an ancient half-effaced bas-relief, representing Cino, surrounded by his disciples, to whom he is explaining the code of civil law a little behind stands the figure of a female veiled, in a pensive attitude, which is supposed to represent Ricciarda de' Selvaggi.

All these are alluded to by Petrarch in the Trionfo d'Amore.

Ecco Selvaggia,

Ecco Cin da Pistoja; Guitton d'Arezzo;
Ecco i due Guidi che già furo in prezzo.

The two Guidi are, Guido Guizzinello, and Guido Cavalcanti. Guitone was a famous monk, who is said to have invented the present form of the sonnet: to him also is attributed the discovery of counterpoint, and the present system of musical notation.

Of Conti's mistress nothing is known, but that she had the most beautiful hand in the world, whence the volume of poems written by her lover in her praise, is entitled, La Bella Mano, the fair hand. Conti lived some years later than Petrarch. I mention him merely to fill up the list of those ancient minor poets of Italy, whose names and loves are still celebrated.

CHAPTER VI.

LAURA.

THERE are some who doubt the reality of Petrarch's love, because it is expressed in numbers; and others, refining on this doubt, profess even to question whether his Laura ever existed, except in the imagination and the poetry of her lover. The first objection could only be made by the most prosaic of commentators-some true "black-letter dog "*—who had dustified and mystified his faculties among old parchments. The most real and most fervent passion that ever fell under my own knowledge, was revealed in verse, and very exquisite verse too, and has inspired many an effusion, full of beauty, fancy, and poetry; but it has not, therefore, been counted less sincere; and Heaven forbid it should prove less lasting than if it had been told in the homeliest prose, and had never inspired one beautiful idea or one rapturous verse!

To study Petrarch in his own works, and in his own delightful language; to follow him line by line, through all the vicissitudes and contradictions of passion; to listen to his self-reproaches, his terrors, his regrets, his conflicts; to dwell on his exquisite delineations of individual character and peculiar beauty, his simple touches of profound pathos and melancholy tenderness:-and then believe all to be mere invention,-the coinage of the brain, a tissue of visionary fancies, in which the heart had no share; to confound him with the cold metaphysical rhymesters of

* See Pursuits of Literature.