"
This vanity, however, lasted only during his youthful days.
This vanity, however, lasted only during his youthful days.
Petrarch
Petrarch was by nature of a warm temperament, with vivid
and susceptible passions, and strongly attached to the fair sex. We must
not therefore be surprised if, with these dispositions, and in such a
dissolute city, he was betrayed into some excesses. But these were the
result of his complexion, and not of deliberate profligacy. He alludes
to this subject in his Epistle to Posterity, with every appearance of
truth and candour.
From his own confession, Petrarch seems to have been somewhat vain of
his personal appearance during his youth, a venial foible, from which
neither the handsome nor the homely, nor the wise nor the foolish, are
exempt. It is amusing to find our own Milton betraying this weakness, in
spite of all the surrounding strength of his character. In answering one
of his slanderers, who had called him pale and cadaverous, the author of
Paradise Lost appeals to all who knew him whether his complexion was not
so fresh and blooming as to make him appear ten years younger than he
really was.
Petrarch, when young, was so strikingly handsome, that he was frequently
pointed at and admired as he passed along, for his features were manly,
well-formed, and expressive, and his carriage was graceful and
distinguished. He was sprightly in conversation, and his voice was
uncommonly musical. His complexion was between brown and fair, and his
eyes were bright and animated. His countenance was a faithful index of
his heart.
He endeavoured to temper the warmth of his constitution by the
regularity of his living and the plainness of his diet. He indulged
little in either wine or sleep, and fed chiefly on fruits and
vegetables.
In his early days he was nice and neat in his dress, even to a degree of
affectation, which, in later life, he ridiculed when writing to his
brother Gherardo. "Do you remember," he says, "how much care we
employed in the lure of dressing our persons; when we traversed the
streets, with what attention did we not avoid every breath of wind which
might discompose our hair; and with what caution did we not prevent the
least speck of dirt from soiling our garments!
"
This vanity, however, lasted only during his youthful days. And even
then neither attention to his personal appearance, nor his attachment to
the fair sex, nor his attendance upon the great, could induce Petrarch
to neglect his own mental improvement, for, amidst all these
occupations, he found leisure for application, and devoted himself to
the cultivation of his favourite pursuits of literature.
Inclined by nature to moral philosophy, he was guided by the reading of
Cicero and Seneca to that profound knowledge of the human heart, of the
duties of others and of our own duties, which shows itself in all his
writings. Gifted with a mind full of enthusiasm for poetry, he learned
from Virgil elegance and dignity in versification. But he had still
higher advantages from the perusal of Livy. The magnanimous actions of
Roman heroes so much excited the soul of Petrarch, that he thought the
men of his own age light and contemptible.
His first compositions were in Latin: many motives, however, induced him
to compose in the vulgar tongue, as Italian was then called, which,
though improved by Dante, was still, in many respects, harsh and
inelegant, and much in want of new beauties. Petrarch wrote for the
living, and for that portion of the living who were least of all to be
fascinated by the language of the dead. Latin might be all very well for
inscriptions on mausoleums, but it was not suited for the ears of beauty
and the bowers of love. The Italian language acquired, under his
cultivation, increased elegance and richness, so that the harmony of his
style has contributed to its beauty. He did not, however, attach himself
solely to Italian, but composed much in Latin, which he reserved for
graver, or, as he considered, more important subjects. His compositions
in Latin are--Africa, an epic poem; his Bucolics, containing twelve
eclogues; and three books of epistles.
Petrarch's greatest obstacles to improvement arose from the scarcity of
authors whom he wished to consult--for the manuscripts of the writers of
the Augustan age were, at that time, so uncommon, that many could not be
procured, and many more of them could not be purchased under the most
extravagant price. This scarcity of books had checked the dawning light
of literature. The zeal of our poet, however, surmounted all these
obstacles, for he was indefatigable in collecting and copying many of
the choicest manuscripts; and posterity is indebted to him for the
possession of many valuable writings, which were in danger of being lost
through the carelessness or ignorance of the possessors.
Petrarch could not but perceive the superiority of his own understanding
and the brilliancy of his abilities.
and susceptible passions, and strongly attached to the fair sex. We must
not therefore be surprised if, with these dispositions, and in such a
dissolute city, he was betrayed into some excesses. But these were the
result of his complexion, and not of deliberate profligacy. He alludes
to this subject in his Epistle to Posterity, with every appearance of
truth and candour.
From his own confession, Petrarch seems to have been somewhat vain of
his personal appearance during his youth, a venial foible, from which
neither the handsome nor the homely, nor the wise nor the foolish, are
exempt. It is amusing to find our own Milton betraying this weakness, in
spite of all the surrounding strength of his character. In answering one
of his slanderers, who had called him pale and cadaverous, the author of
Paradise Lost appeals to all who knew him whether his complexion was not
so fresh and blooming as to make him appear ten years younger than he
really was.
Petrarch, when young, was so strikingly handsome, that he was frequently
pointed at and admired as he passed along, for his features were manly,
well-formed, and expressive, and his carriage was graceful and
distinguished. He was sprightly in conversation, and his voice was
uncommonly musical. His complexion was between brown and fair, and his
eyes were bright and animated. His countenance was a faithful index of
his heart.
He endeavoured to temper the warmth of his constitution by the
regularity of his living and the plainness of his diet. He indulged
little in either wine or sleep, and fed chiefly on fruits and
vegetables.
In his early days he was nice and neat in his dress, even to a degree of
affectation, which, in later life, he ridiculed when writing to his
brother Gherardo. "Do you remember," he says, "how much care we
employed in the lure of dressing our persons; when we traversed the
streets, with what attention did we not avoid every breath of wind which
might discompose our hair; and with what caution did we not prevent the
least speck of dirt from soiling our garments!
"
This vanity, however, lasted only during his youthful days. And even
then neither attention to his personal appearance, nor his attachment to
the fair sex, nor his attendance upon the great, could induce Petrarch
to neglect his own mental improvement, for, amidst all these
occupations, he found leisure for application, and devoted himself to
the cultivation of his favourite pursuits of literature.
Inclined by nature to moral philosophy, he was guided by the reading of
Cicero and Seneca to that profound knowledge of the human heart, of the
duties of others and of our own duties, which shows itself in all his
writings. Gifted with a mind full of enthusiasm for poetry, he learned
from Virgil elegance and dignity in versification. But he had still
higher advantages from the perusal of Livy. The magnanimous actions of
Roman heroes so much excited the soul of Petrarch, that he thought the
men of his own age light and contemptible.
His first compositions were in Latin: many motives, however, induced him
to compose in the vulgar tongue, as Italian was then called, which,
though improved by Dante, was still, in many respects, harsh and
inelegant, and much in want of new beauties. Petrarch wrote for the
living, and for that portion of the living who were least of all to be
fascinated by the language of the dead. Latin might be all very well for
inscriptions on mausoleums, but it was not suited for the ears of beauty
and the bowers of love. The Italian language acquired, under his
cultivation, increased elegance and richness, so that the harmony of his
style has contributed to its beauty. He did not, however, attach himself
solely to Italian, but composed much in Latin, which he reserved for
graver, or, as he considered, more important subjects. His compositions
in Latin are--Africa, an epic poem; his Bucolics, containing twelve
eclogues; and three books of epistles.
Petrarch's greatest obstacles to improvement arose from the scarcity of
authors whom he wished to consult--for the manuscripts of the writers of
the Augustan age were, at that time, so uncommon, that many could not be
procured, and many more of them could not be purchased under the most
extravagant price. This scarcity of books had checked the dawning light
of literature. The zeal of our poet, however, surmounted all these
obstacles, for he was indefatigable in collecting and copying many of
the choicest manuscripts; and posterity is indebted to him for the
possession of many valuable writings, which were in danger of being lost
through the carelessness or ignorance of the possessors.
Petrarch could not but perceive the superiority of his own understanding
and the brilliancy of his abilities.
