No More Learning

Instead of the joy that once reigned here, sadness is everywhere spread,
and you hear only sighs and wailings in place of songs. Where you
formerly saw troops of girls dancing, there are now only bands of
robbers and assassins. "

Lucchino del Verme, one of the most famous condottieri of his time, had
commanded troops in the service of the Visconti, at whose court he made
the acquaintance of Petrarch. Our poet invited him to serve the
Venetians in the war in which they were engaged with the people of
Candia. Lucchino went to Venice whilst Petrarch was absent, reviewed the
troops, and embarked for Candia on board the fleet, which consisted of
thirty galleys and eight large vessels. Petrarch did not return to
Venice till the expedition had sailed. He passed the summer in the
country, having at his house one of his friends, Barthelemi di
Pappazuori, Bishop of Christi, whom he had known at Avignon, and who had
come purposely to see him. One day, when they were both at a window
which overlooked the sea, they beheld one of the long vessels which the
Italians call a galeazza, entering the harbour. The green branches with
which it was decked, the air of joy that appeared among the mariners,
the young men crowned with laurel, who, from the prow, saluted the
standard of their country--everything betokened that the galeazza
brought good news. When the vessel came a little nearer, they could
perceive the captured colours of their enemies suspended from the poop,
and no doubt could be entertained that a great victory had been won. The
moment that the sentinel on the tower had made the signal of a vessel
entering the harbour, the people flocked thither in crowds, and their
joy was even beyond expectation when they learned that the rebellion had
been totally crushed, and the island reduced to obedience. The most
magnificent festivals were given at Venice on this occasion.

Shortly after these Venetian fetes, we find our poet writing a long
letter to Boccaccio, in which he gives a curious and interesting
description of the Jongleurs of Italy. He speaks of them in a very
different manner from those pictures that have come down to us of the
Provencal Troubadours. The latter were at once poets and musicians, who
frequented the courts and castles of great lords, and sang their
praises.
Their strains, too, were sometimes satirical. They amused
themselves with different subjects, and wedded their verses to the sound
of the harp and other instruments. They were called Troubadours from the
word _trobar_, "to invent. " They were original poets, of the true
minstrel breed, similar to those whom Bishop Percy ascribes to England
in the olden time, but about the reality of whom, as a professional
body, Ritson has shown some cause to doubt. Of the Italian Jongleurs,
Petrarch gives us a humble notion. "They are a class," he says, "who
have little wit, but a great deal of memory, and still more impudence.
Having nothing of their own to recite, they snatch at what they can get
from others, and go about to the courts of princes to declaim verses, in
the vulgar tongue, which they have got by heart. At those courts they
insinuate themselves into the favour of the great, and get subsistence
and presents. They seek their means of livelihood, that is, the verses
they recite, among the best authors, from whom they obtain, by dint of
solicitation, and even by bribes of money, compositions for their
rehearsal. I have often repelled their importunities, but sometimes,
touched by their entreaties, I have spent hours in composing productions
for them. I have seen them leave me in rags and poverty, and return,
some time afterwards, clothed in silks, and with purses well furnished,
to thank me for having relieved them. "

In the course of the same amusing correspondence with Boccaccio, which
our poet maintained at this period, he gives an account of an atheist
and blasphemer at Venice, with whom he had a long conversation. It ended
in our poet seizing the infidel by the mantle, and ejecting him from his
house with unceremonious celerity. This conclusion of their dialogue
gives us a higher notion of Petrarch's piety than of his powers of
argument.

Petrarch went to spend the autumn of 1365 at Pavia, which city Galeazzo
Visconti made his principal abode. To pass the winter till Easter, our
poet returned first to Venice, and then to Padua, according to his
custom, to do the duties of his canonry.