Vernon Lee

“ And, in the long day-dreams while watching her, as he thinks unseen, while singing of her, as he thinks unheard, there cluster round her figure, mistily seen in his fancy, those vague and-mystic splendours which surround the new sovereign of the Middle Ages, the Queen of Heaven; there mingles in the half-terrified raptures of the first kind glance, the first encouraging word, the ineffable passion stored up in the Christian's heart for the immortal beings who, in the days of Bernard and Francis, descend cloud-like on earth and fill the cells of the saints with unendurable glory. ”

“ For such a tale, and so told, as the tale of Gottfried von Strassburg, makes us sympathize with this fidelity and devotion of a man and woman who care for nothing in the world save for each other, who are dragged and glued together by the desire and habit of mutual pleasure; it makes us admire their readiness to die rather than be parted, when their whole life is concentrated in their reciprocal sin, when their miserable natures enjoy, care for, know, only this miserable love. It makes us wink with leniency at the dishonour, the baseness, the cruelty, to which all this easy virtue is due. ”

“ The great stalwart naked forms of Greece no longer leap and wrestle or carry their well-poised baskets of washed linen before us; the mailed and vizored knights of the Nibelungen no longer clash their armour to the sound of Volker's red fiddle-bow; the glorified souls of Dante no longer move in mystic mazes of light before the eyes of our fancy. All that is gone. But here is the fairyland of the Renaissance. And thus Matteo Boiardo, Count of Scandiano, goes on, adding adventure to adventure, stanza to stanza, in his castle villa, or his palace at Ferrara. ”

“ Here Petrarch rises. The severing of the dear old habits, the absence of the sweet reality, the terrible sense that all is over, Death, the great poetizer and giver of love philters, all this makes him love Laura as he never loved her before. The poor weak creature, who cannot, like a troubadour, go seek a new mistress when the old one fails him, feels dreadfully alone, the world dreadfully dreary around him; he sits down and cries, and his crying is genuine, making the tears come also into our eyes. ”

“ And, on the other hand, is it right that into the holy places of our soul, the places where we should come face to face with the unattainable ideal of our own conduct that we may strive after something nobler than mere present pleasure and profit—is it right that into such holy places, destined but for an abstract perfection, there should be placed a mere half-unknown, vaguely seen woman? In short, is not this "Vita Nuova" a mere false ideal, one of those works of art which, because they are beautiful, get worshipped as holy? ”

“ Thus the ideal love of the Tuscan poets was probably none the weaker, but rather the stronger, for the desire which they felt to sing such passion; nay, rather to hear it singing in themselves. The love of man and wife, of bride and bridegroom, was still of the domain of prose; adulterous love forbidden; and the tradition of, the fervent wish for, the romantic passion of the troubadours consumed them as a strong artistic craving. Platonic love was possible, doubly possible in souls tense with poetic wants; it became a reality through the strength of the wish for it. ”

“ I have spoken of the lesson which may be derived from studies even as humble as these studies of mine; since, in my opinion, we cannot treat history as a mere art—though history alone can gives us now-a-days tragedy which has ceased to exist on our stage, and wonder which has ceased to exist in our poetry—we cannot seek in it mere selfish enjoyment of imagination and emotion, without doing our soul the great injury of cheating it of some of those great indignations, some of those great lessons which make it stronger and more supple in the practical affairs of life. ”

“ The god, this chaste and formidable archangel Amor, is the true subject of these poets' adoration; the woman into whom he descends by a mystic miracle of beauty and of virtue becomes henceforward invested with somewhat of his awful radiance. She is a gentle, gracious lady; a lovable and loving woman, in describing whose grey-green eyes and colour as of snow tinted with pomegranate, the older Tuscans would fain linger, comparing her to the new-budded rose, to the morning star, to the golden summer air, to the purity of snowflakes falling silently in a serene sky ”

“ This ideal love, which craves for no union with its object; which seeks merely to see, nay, which is satisfied with mere thinking on the beloved one, will strike us with the cold and barren glitter of the miraculous. This Beatrice, as we gaze on her, will prove to be no reality of flesh and blood like ourselves; she is a form modelled in the semblance of that real, living woman who died six centuries ago, but the substance of which is the white fire of Dante's love. ”

“ We can imagine the old knight, only half aware of the sunshine of the evening, the noise of the streets, the looks of the crowd, the great minster rising half-finished in the midst of the town by the Rhine, the cries and noise and chipping of the masons; unconscious of all this, half away: with his brothers hiding in the Ardennes, living on roots and berries, at bay before Charlemagne; or wandering ragged and famishing through France; with King Yon brilliant at Toulouse, seeing perhaps for the first time his bride Clarisse, or the towers of Montauban rising under the workmen's hands ”

“ Tasso and Spenser are happiest, in their calm, melancholy way, when they can let themselves go in day-dreams, and talk of things in which they do not believe, of diamond shields which stun monsters, of ointments which cure all ills of body and of soul of enchanted groves whose trees sound with voices, and lutes, of boats in which, steered by fairies, we can glide across the scarcely rippled summer sea, and watching the ruins of the past, time and reality left behind, set sail for some strange land of bliss. ”

“ Mediaeval love is not merely a passion, a desire, an affection, a habit; it is a perfect occupation. It absorbs, or is supposed to absorb, the Individual; it permeates his life like a religion. It is not one of the interests of life, or, rather, one of life's phases; it is the whole of life, all other interests and actions either sinking into an unsingable region below it, or merely embroidering a variegated pattern upon its golden background. Mediaeval love, therefore, never obtains its object, however much it may obtain the woman ”

“ This is not the way that Romeo speaks to Juliet, nor even that the princesses in the cyclical romances and in the Amadises are wooed by their bridegrooms. This is not the language of a lover who is broaching his love, and who hopes, however timidly, to consummate it before all the world by marriage. It is obviously the language of a man either towards a woman who is taking a pleasure in keeping him dangling without favours which she has implicitly or explicitly promised; or towards a woman who is momentarily withholding favours which her lover has habitually enjoyed. ”

“ Nay, more difficult still to believe—because the whole madness of individuals is more credible than the half-madness of the whole world—is it possible to believe that, as the poems of innumerable trouvères and troubadours, minnesingers and Italian poets, as the legion of mediaeval romances of the cycles of Charlemagne, Arthur, and Amadis would have it, that during so long a period of time society could have been enthralled by this hysterical, visionary, artificial, incredible religion of mediaeval love? It is at once too grotesque and too beautiful, too high and too low, to be credible ”

“ And thus, out of the baseness of habitual adultery, arises incense-like, in the early mediaeval poetry, a new kind of love—subtler, more imaginative, more passionate, a love of the fancy and the heart, a love stimulating to the perfection of the individual as is any religion; nay, a religion, and one appealing more completely to the complete man, flesh and soul, than even the mystical beliefs of the Middle Ages. ”

“ God and Christ, I repeat, are absentees. Where they are I know not; perhaps over the Rhine with the Lollards in their weavers' dens, or over the Alps in the cell of St. Francis; not here, certainly, or if here, themselves become the mere slaves of love. But this King Love, as long as a mere infant, is a sweet and gracious divinity, surrounded by somewhat of the freshness and hawthorn sweetness of spring which seem to accompany his favourite Guillems. ”

“ Thus ends the "Vita Nuova;" a book, to find any equivalent for whose reality and completeness of passion, though it is passion for a woman whom the poet scarcely knows and of whom he desires nothing, we must go back to the merest fleshly love of Antiquity, of Sappho or Catullus; for modern times are too hesitating and weak. So at least it seems; but in fact, if we only think over the matter, we shall find that in no earthly love can we find this reality and completeness: it is possible only in love like Dante's. ”

“ Once they have seen and loved each other, their passion burns on always evenly, burns on (at least theoretically) to all eternity. It seems almost as if the woman were a mere shrine, a mysterious receptacle of the ineffable, a grail cup, a consecrated wafer, but not the ineffable itself. For there is always in mediaeval love, however fleshly the incidents which it produces, a certain Platonic element; that is to say, a craving for, a pursuit of, something which is an abstraction ”

“ We are apt to think of the Middle Ages as if they were the companion-piece to Antiquity; but no such ideal correspondence exists between the two periods. Antiquity is all of a piece, and the Middle Ages, on the contrary, are heterogeneous and chaotic. For Antiquity is the steady and uniform development of civilization in one direction and with one meaning; there are great differences between its various epochs, but they are as the differences between the budding, the blossoming, and the fading stages of one plant: life varies, but is one. ”

“ He is weak, and sad, and helpless, and alone; and his heart is empty; he knows not what to think nor how to feel; he sobs, and we cry with him. Nowhere could there be found a stranger contrast than this nostalgic craving after the dead Laura, vacillating and troubled by fear of sin and doubt of unworthiness of object, with that solemn ending of the "Vita Nuova," where the name of Beatrice is pronounced for the last time before it be glorified in Paradise, where Dante devotes his life to becoming worthy of saying "such words as have never been said of any lady." ”

“ And she is too powerful in her fiefs and kinsmen, too powerful in the public opinion which approves and supports her, to be hampered by her husband. The husband, indeed, has grown up in the same habits, has known, before marrying, the customs sanctioned by the Courts of Love; he has been the knight of some other man's wife in his day, what right has he to object? As in the days of Italian cecisbei, the early mediaeval lover might say with Goldoni's Don Alfonso or Don Roberto, "I serve your wife—such or such another serves mine, what harm can there be in it?" ”