Chapter III (3)

The Dominican obeyed in silence, but his mind seemed preoccupied. He thought unceasingly of the poor guilty Greek whose execution he had suspended, but he dared not speak of him to the Pope. Nicholas V. perceived his distraction and asked him of what he was thinking. Then Fra Angelico related to him the story of Argyropoulos, and added: "Holy Father, with justice your government has condemned this unhappy man to be executed, but I know your holiness desires not the death of his soul, and I have hoped your mercy would grant him the delay of a day that he may still have time to repent." "My son, I thank you for having acted thus. I accord you not only one day, but several if necessary." Nicholas V. then wrote an order suspending the execution, and gave it to Beato, who full of joy, asked permission to retire without finishing his repast. He obtained it, and in haste quitted the Vatican. After passing the bridge of St. Angelo, he was strongly tempted to stop at the prison of Tor di Nona; but he considered his duty to his convent, where doubtless his absence from dinner had occasioned surprise. When he entered the cloister of Santa Maria sopra Minerva, the brothers had left the refectory, so the prior exacted of the dilatory monk a penance, which consisted of eating his dinner in a kneeling posture. The Beato, without saying a word to excuse himself, knelt down and simply made a sign he would rather not eat. The prior then ordered him to explain his absence. "My Father," said he, "I am guilty; mea culpa. His Holiness wished me to dine with him, and obliged me to eat meat without your permission." The prior admired the simplicity and obedience of the blessed one, but said nothing to disturb his humility. The habit of obedience was so natural to him that all orders for his art were received through his spiritual superior; and when any work was requested of him, his friends were referred to the prior, as nothing could be done without his consent. He refused to stipulate a price for his works, and distributed all they bought him to the poor and unfortunate. "He loved the poor during his life," said Vasari, "As tenderly as his soul now loves the heaven where he enjoys the glory of the blessed." If he loved the poor, Fra Angelico better loved souls; he obtained from the prior permission to go immediately to the prison. He ran thither with the wings of charity, and showed the order from the Pope which delayed the execution. He gained {675} admittance to what is now called the prisoner's cell, now that so many of our ancient abbeys are transformed into houses of detention. Argyropoulos presented himself, grave and sad, clothed always in his red dress and white turban, which gave him an air of majesty quite oriental. He was seated on a straw bed, but his attitude was King Solomon enthroned. The Dominican, with his white robe and angelical figure, resembled one of the beautiful lilies he so often painted in the hands of the angel of the annunciation; one of the lilies of the field, of which the Saviour himself has said, "Not Solomon in all his glory could be arrayed like one of these." Fra Angelico, without saying anything at first, stopped at the entrance, and, kneeling, prayed God to cure this ulcerated soul. A ray of light, which shone obliquely through the only window, illuminated his bared and shaven head, and gave him the anticipated crown of glory of the blessed. The Greek contemplated with astonishment this luminous apparition, and thought he dreamed again the dream of the patriarch Jacob, who saw angels ascend and descend a mysterious ladder. Having strengthened himself by prayer, Fra Angelico approached the prisoner, and said in a voice truly angelical: "My brother!" But the charm to which Argyropoulos had given himself up at the vision of the blessed one was broken by the sound of his voice; he saw in him only a Catholic monk, and thus a being he detested. "I am not thy brother, we have nothing in common, and I hate the religion of the Azymites." [Footnote 190]

[Footnote 190: A name that the Greeks gave the Catholics on account
of the discussion on the _unleavened_ bread as material of the
eucharist.]

"My brother, you and I are Christians, although fifteen years ago you have separated the Greek and Latin churches, which the Council of Florence so happily united."

"No! As our great Duke Notaras said, there is no peace between us. I would rather see the turban of Mahomet at Constantinople than the tiara of the Pope."

"O my brother, can you say so? If you are not Catholic, are you not Christian?"

"No, I am so no longer. I do not believe in God; and besides, if there is a God, I have committed crimes too great for him to pardon. I am pagan and of the school of Plato; I prefer Jupiter to Jehovah, Plato to the Scripture, and the gods of Homer to the Saints of Christianity."

"Why, my brother, you have gone backward two thousand years, to breathe what Dante calls the fetid air of paganism, 'Il puzzo del paganes mo.'"

Fra Angelico tried in vain to move this heart, as hardened and desperate as that of Judas; during three days he fasted, prayed, and begged the prayers of his fraternity, offered himself to God as a victim to save this soul, and employed against his own body the instruments of penance. But God did not grant him the grace he sought. Every morning, while painting at the Vatican, he rendered an account to the Pope of his unsuccessful efforts, and recommended the Greek to the pontifical prayers. The three days expired; again he solicited a still longer delay of the execution. "Holy Father," said he, "a residence in prison seems to exasperate this unhappy man; perhaps I might obtain a better hearing if I could take him out and let him breathe the fresh air." "I can refuse you nothing, Fra Giovanni. Bring him to see this chapel, I am sure your painting will do his soul some good." "I will bring him to-morrow, since your Holiness permits me, and at the same time solicit your daily visit, as I am certain his meeting the vicar of Jesus Christ will have more effect on him than my pictures." Nicholas V. promised to do so, and wrote an order to place the captive at liberty for one day, and at the responsibility of Fra Giovanni. It was a touching spectacle to see the Pope and the monk so generously united in their {676} efforts to convert this paganized schismatic.

The next morning Fra Angelico ran to the prison, brought out the Greek, and proposed to him to see his pictures, without mentioning the Pope. Argyropoulos, who rather prided himself on his knowledge of art as well as of literature, willingly accepted the invitation. The fresh air and the glorious Roman sun softened his mood, hitherto so ferocious, and gave him an air almost of serenity. Fra Angelico, transported with joy, conducted his future neophyte to the Vatican, and introduced him to the chapel, praying God to work in him the same miracle which he had granted to St. Methodius, whose painting of the Last Judgment, on the walls of a palace belonging to the King of Bulgaria, had not only converted the king, but as many of his subjects as looked upon it. The Greek was deeply affected by these admirable pictures, and took upon himself to explain them lengthily. To show his artistic knowledge, he criticised the executioners who stoned St. Stephen, and thought their countenances lacked sufficient energy. The painter monk humbly accepted the criticism, which was not wanting in justice. A competent judge has said that the character of Fra Angelico was so formed of a love amounting to ecstasy that he never could familiarize himself with dramatic scenes where hateful and violent passions had the ascendency. In the painting of the life of St. Lawrence, the Beato begged the Greek to particularly observe the prison window where the martyr was converting a man on his knees, who afterward became St. Hippolytus. "In painting this scene of conversion I thought of you, my brother," he said, in a voice so sweet and tender it would have touched a heart of marble; but Argyropoulos turned away his eyes, and pretended not to hear him. Fra Angelico's heart was grieved, and he felt his only hope was in the sovereign pontiff. He had not long to wait for him. Nicholas V. entered into the chapel, with a dignity tempered by an ineffable tenderness. The Beato knelt down--his forehead in the dust--to kiss the feet of His Holiness. The sight of the Pope always caused him transports of joy, equal to those of St. Joseph of Cupertino, who went into ecstasy whenever in the presence of the vicar of Jesus Christ. But a contrary effect was visible in the mind of the pagan of Constantinople. At the sight of the pontiff he reassumed all his dignity. "On your knees, my brother, on your knees!" in vain said Beato to him, while pulling his dress. "Never," cried the Greek, "never will I bend the knee before the idol of the Azymites--before a priest who wished our submission at the Council of Florence." Angelico sighed in the dust at the obstinacy of this pagan, but the Pope, calm and dignified, began to converse in Greek with Argyropoulos, who, captivated instantaneously by this graciousness, replied by a verse of Homer. "My son," said Nicholas V., "I also will cite you a passage from Homer. In the second book of the Iliad, the prudent Ulysses cries out: 'All Greeks cannot reign, too many chiefs would do harm; let us have but one sovereign, but a single king, him to whom the prudent Saturn entrusted the sceptre and the laws to govern us:

[Greek text]

Thus, my son, God wished in his church but one chief, one flock, and one shepherd." At these words the Greek grew angry and replied in harsh terms. "My son," said the Pope to him with tenderness, "I forgive you, I pity your blindness, and I will continue to pray God to enlighten you."

Nicholas V. withdrew.

Argyropoulos, mortified at his own conduct, returned to Fra Angelico, and again commenced to eulogize the pictures. "My paintings are worth nothing," cried the monk, bursting into tears, "since they have failed to convert you. I am unworthy the name of preacher, since all my teaching has not succeeded, {677} and I have brought you before the holy father, only to hear you outrage the dignity of God's representative on earth." The remembrance of this scene completely overcame the tender and pious soul of Fra Angelico. He became pale and weak, sank on his white robe like a lily on its stalk, and fell on the pavement as one dead, according to Dante:

"E cadi, come corpo morte cade."

The Greek, seized with pity and astonishment, tried vainly to restore him. He thought he had killed him, and this man, whose hands were already bloodstained, imagined he had committed another murder. He hated himself when he saw this angel extended at his feet. He knelt before him, rubbed his hands in his own, and threw in his face the water in the vase which was used in his painting. "Father, father," cried he, "come back to life, and I swear to do all you wish." The Angelico opened his beautiful eyes, languishing and moist with tears. "My brother," said he, "you restore me to life, but again you will give me to death if you forget your promise. Now we must leave the chapel; it is time, according to my duty, that I take you back to prison." Notwithstanding his pallor and feebleness Fra Angelico insisted on leaving the Vatican immediately, and returned home leaning on the shoulder of Argyropoulos. He said nothing until they reached the prison of Tor di Nona. But there again, alone with him, the angelical monk knelt before the prisoner, and reproached him for his conduct toward the Pope with that sweetness he never lost, and which so greatly astonished his biographer Vasari. [Footnote 191]

[Footnote 191: "Never," said he, "could one surprise him in an angry
moment. This seemed to me incredible: Il che e grandissima cosa e mi
pare impossibile a credere."]

This touching kindness greatly affected the Greek, who had been already so deeply moved by the fainting of Beato. He began to comprehend the love with which this pious monk was inflamed for the salvation of his soul. "My brother," said the Dominican to him, while joining his hands, "you have restored me to life, but in promising to do as I wish, and I only desire to save you. You must discharge your conscience of its weight of sin--you must confess." "But I cannot believe in the necessity of confession, or in its divine institution." "O my brother, if you could contemplate your poor soul in its mirror of truth, it would appear so shaded and sullied. Your soul is bound in cords ruder than those that chained your body when they led you to execution. But confession would deliver you from all." "Let me see this with my eyes, or I can never believe it." A sudden inspiration came to the mind of the angelical painter. "My brother, we will speak again of this. I am hurried to finish a picture; would you be pleased I should paint it with you by my side, that I might every morning distract your thoughts and keep you company?" "Oh! yes, my father, I should be most happy, for you are very good to the poor prisoner." The Beato obtained permission from Nicholas V. to suspend for some days his work at the Vatican, and from the next morning he installed himself in the prison, accompanied by his pupil Benozzo Bozzoli, who brought with him an easel, some brushes, and a box of colors. After a fervent prayer, he placed on the easel a small panel of wood, upon which he commenced to paint rapidly, and without retouching, according to his custom; he never perfected his paintings, leaving them according to his first impression, believing, as he said, so God wished them. "His art," says M. de Moutalembert, "was so beautiful in his eyes, and so sacred, that he respected its productions as the fruits of an inspiration much higher than his own intention." He commenced by painting, as a foundation for his picture, some trees, which rose near a house of simple appearance, and a modest church, decorated by a portico supported by four pillars in Florentine style. In a court grown over with herbs and studded here and there with {678} flowers, he grouped five personages. At the right our Saviour, clothed in a blue robe and draped in a red mantle, is seen in profile; a large nimbus of gold encircles his tender and majestic countenance, his golden hair falls on his shoulders. The Saviour has an attitude of command, and extends his arm and hand which holds a golden rod. He accomplished one of the greatest acts of his mercy, he institutes the sacrament of penance, he gives to his apostles the power to remit sins: one can almost hear him repeat the words which he addresses to Peter, that he may transmit them to the entire Christian priesthood: "Whatsoever ye shall bind on earth shall be bound in heaven, and whatsoever ye shall loose on earth shall be loosed in heaven." [Footnote 192]

[Footnote 192: In the convent of St. Mark at Florence, the Beato has
painted the grand scene of Calvary, where he represents St. Benedict
holding in his hand the rod of penitence.]

The painter monk put into action these words of Christ. He painted a priest in Florentine costume; a red cap encircled with ermine and a blue dalmatic, which hung in graceful folds; his figure is youthful, and expression benignant. This priest approaches a sinner in a red dress, and turbaned with a cap of gold and ermine. The sinner is bound with cords which are passed several times around his body. The priest approaches him with ineffable compassion. With what care, what delicacy, what respect, what love, he unties the cord with his white and pure hands! With what grace and dignity he fills his office of priest and confessor! The seven capital sins are figured by seven demons chased from his body by absolution, and who are making every effort to re-enter it. Rage and impatience are depicted on the faces of these servants of Satan, and their attitudes are as various as strange. One of them still threatens the sinner with his iron trident. In the second part, Fra Angelico represents a person in a green robe and turban, who expresses, by figure and gesture, his admiration at the sight of this miracle of divine mercy, which is called the institution of confession. Near this man, and right against the Saviour, is a second personage, of whom the face only is seen. His head is bared, and his angelical features seem to recall those of the Beato, such as they are sculptured on his tombstone at Santa Maria sopra Minerva. The Greek had followed with curiosity and profound interest all the details of this picture, accomplished in three days under his own inspection. He had admired the piety of the Angelico, who, according to his custom, had not dared to paint the head of the Saviour but on bended knees. Contrary to his usual manner, he had only lightly sketched the face of the sinner bound with the cord. It was on the third day that he suddenly finished it. But how express the surprise and emotion of Argyropoulos, when he perceived that, under the pencil of the painter-monk, this face became his own portrait! The blessed one had painted his gray beard, his noble profile, and expressed in his face at the same time the grief of being restrained by sin and the hope of a speedy deliverance. Argyropoulos, in the midst of the picture, had truly an expression of contrition in the intensity of his regard. "It is I," cried the Greek, "it is I indeed!" And he burst into tears. The divine touch of grace had vanquished him at last. "My father, my father, untie me also, deliver me from the bonds of many sins." The Angelico seized him in his arms, and in transports of joy pressed him to his breast, then begged him to kneel with him and render thanks to God. He passed several days in explaining to him Catholic truths; then he received the acknowledgment of his faults, baptized him conditionally at St. Jean de Latran, in the baptistry of Constantine. [Footnote 193]

[Footnote 193: The author has here fallen into a mistake; the
sacraments of the Greek Church are never reiterated conditionally.
--Ed. CATHOLIC WORLD.]

{679}

The eve of this great day he had enjoined him, as penance, to go to the Vatican, throw himself at the feet of the Pope, and ask pardon on his knees for the invective he had cast on the holy father in the chapel. Nicholas V. received him kindly, and said: "My son, Jesus Christ has pardoned you, and I could not do otherwise than he of whom I am vicar; I absolve you, not only for what you have said against me, but the crimes committed against society. I grant you full and entire pardon from the punishment you have merited, in the hope that your new life will atone for the past." The Greek prostrated himself with gratitude, and kissed his feet; then showed the picture from which he would never part. The Pope admired it, and said to the painter-monk: "Your pencil has worked another miracle of conversion." The humble artist replied that only to God must be given the glory, and recited the verse of David: "Non nobis, Domine, non nobis, sed nomini tuo da gloriam." This was the device of the Templars, and we have seen it in Venice engraved on the wall of the old palace Vendramini. "Most holy father," said the Greek. "I know with what goodness your Holiness has received my compatriots, Theodore Gaza, George of Trebizond, Calchondylos, and Gemistos Plethon, who after the taking of Constantinople took refuge on a Venetian galley, and have come to Italy, bringing with them the precious manuscripts of the ancient Greek authors and fathers of the Greek Church, which but for them would have been burned by the infidels. They have been most happy to repay your hospitality by enriching the library of the Vatican with these literary treasures." "It is true," said Nicholas V. "Thanks to their and other conquests, we have become able to reunite in the Vatican nearly five thousand manuscripts; it is, we believe, the richest collection made since the dispersion of the Alexandrian library. But I still have one gap to fill, and I have promised a reward of fifty thousand ducats to him who will bring me the gospel of St. Matthew in the original language." "O holy father, how can I express my happiness! I possess this manuscript, which I brought from Constantinople. After having committed the crime by which I merited death, I hid this book in a place in the Roman campagna, where I could easily find it again. To thank your Holiness for all your goodness, I am only too happy to offer you the gospel of St. Matthew," Nicholas V. was delighted, he who ever thanked God for the taste given him from his youth for literature, and the faculties necessary for its successful cultivation. On the receipt of the manuscript the Pope paid to the Greek the fifty thousand ducats, who, finding himself possessed of so great a fortune, resolved to go to Venice, and engage in commerce with one of his compatriots. He quitted Rome with regret to leave Fra Angelico, but returned at Easter to confess to the saviour of his soul, as he called him, and receive the communion from his hands in the church of Santa Maria sopra Minerva. The mass said by the Beato inspired him with great devotion, and he was happy to receive from such pure hands the body and blood of Jesus Christ. The year that followed 1455, the Greek appeared at the same epoch, carrying ever with him, in a casket of cedar, the precious painting which had been the determining cause of his conversion, [Footnote 194] and which, he never ceased to contemplate with love and, gratitude, repeating what Vasari said of another picture of the Beato: "I can affirm I never contemplate this work that it does not appear new to me, and I am never satisfied gazing upon it."

[Footnote 194: This picture on wood is painted _a tempera_ and
enriched with gold. It is twenty-seven centimetres high, and
twenty-three broad. After various vicissitudes it was carried from
Rome to Venice, from Florence to Turin, and finally found an asylum
in Paris, in the celebrated Pourtales gallery. To-day it is in
possession of him who relates the story, according to a traditional
account received by him at Rome.]

{680}

Scarcely landed at Rome, Argyropoulos hastened, according to his custom, to the convent of Santa Maria sopra Minerva and asked for Fra Angelico. At this name grief overshadowed the countenance of the brother porter, who replied: "Alas! signor, the blessed one has gone from earth and left us to sorrow. His death was as angelical as his life." The prior, who appeared, confirmed the sad news and gave the details to the heart-broken Greek. The holy father said he was so impatient to enjoy his beautiful chapel that he hurried continually our blessed brother to finish his work; and he, ever willing to be sacrificed to duty, and believing he worked for God in serving this vicar, would not even interrupt his work during the fever season, which is always more pernicious at the Vatican than elsewhere. His health was lost by it entirely, he languished, and died at last of malaria. Argyropoulos shed tears and asked to pray by the tomb of his friend. It is still seen at the left of the church choir, a simple tombstone encased vertically in the wall; the painter-monk is rudely sculptured in bas-relief in his Dominican robe, with hands joined, his head uplifted, and mouth partly opened as in prayer, as he was in life, as he was particularly in death. I have often contemplated this sepulchral stone, and recalled the verse of Dante, which could so well have described the heart of Argyropoulos:

"Come, perche di lor memoria sia,
Sovr' a sepoiti le tombe terragne
Porton segnato quel ch'elli eran pria;
Onde li molte volte siripiagne.
Por la pun ura della rimenbranza
Che solo a pii da della calcagne."

"As to preserve the memory of the dead, the tombs given them on earth bear the impress of their features as they were in life, so each time one weeps over them the pious heart is pierced with the remembrance." "Nicholas V.," said the prior to the Greek, "was inconsolable at the death of his painter and friend, and survived him but a few weeks. It is this great Pope who has erected this monument to Fra Angelico, and who composed the epitaph you can read on this stone:

"'Hic jacet ven. Pictor.
Fr. Jo. de Flor. Ord. P.
MCCCCLV.
Non mihi sit laudi quod eram velut alter Apelles.
Sed quod lucra tuis omnia Christe dabam
Altera nam terris opera extant, altera caelo;
Urbs me Joannem flos tulit Etruriae.'"

"Here lies the venerable painter. [Footnote 195] Brother John, of Florence, of the order of Brother Preachers; 1455. Let me not be praised because I have painted as another Apelles, but because I have given all I made to the poor. O Christ! I have worked for heaven at the same time as for earth. I am called John, the town which is the flower of Etruria was my country."

[Footnote 195: We must remark this title of venerable given the
Angelico immediately after his death, and which justifies the
popular canonization which has surnamed him in Italy, Il Beato.]

Argyropoulos remained long kneeling by the tomb, then on rising said to the prior: "Tell me exactly the day of his death; for me it will ever be an anniversary to be celebrated with prayers and tears." "It was the 18th of last March," replied the prior, "that the blessed one went to heaven, there to contemplate the true models of the dear and holy pictures which, with so much love, he painted on earth."

------

ORIGINAL.

"I AM THE WAY."

"I am the way." I well believe thy word;
The truth of it is plain enough to see.
For never was there yet a man, O Lord,
So roughly trodden under foot like thee!

--------

{681}

ORIGINAL.

CHRISTINE. [Footnote 196]

[Footnote 196: Christine, and other Poems. By George H. Miles
New-York: Lawrence Kehoe.]

The writer of the present remarks made his first acquaintance with the volume under consideration during the magic season of Indian summer, and perused many of its pages beneath the shade of sycamores by the side of a woodland streamlet, ever and anon lifting his eyes from the book to scan the many-colored foliage of trees mellowed by the distance and draped in luminous haze. He took it up a second time when driven into the house by equinoctial storms, and a third when the trees had doffed their painted leaves and stood as black and cold as the iron woods we read of in the Scandinavian Edda. But whether in-doors or out, by waterside or fireside, he always found Christine and her sisters the same genial and charming companions.

Who does not prefer the sunny side of a landscape to the dark one? Are not coins and medals more pleasing when viewed on the side bearing the principal legend and inscription? Juicy fruit, whether plum, peach, or apple--does not the eye dwell with more pleasure upon the side which is tinted with the finest blush and which glows with the rosiest bloom? The same may be said of a pigeon's neck, a maiden's cheek; and why not of a volume of poems? Let us, therefore, fix our eyes upon the bright points, the beauties; and as every human production _must_ have its imperfections, let us, when we discover these last, pass them over lightly and almost in silence. The poet, when he composed his book, hoped that its perusal would add to our enjoyment, and expected to accomplish this, not by means of its defects, but by reason of its many excellences.

Many, many such excellences belong to Christine. Open the book, reader, and as if by magic you will find yourself transported some eight hundred years backward in the world's history, and will fly on fancy's wings from the age of steam-cars and telegraphs to that of chivalry and the crusades. You will find yourself now in the south-east of France, now in Savoy, gazing in succession at the Rhone, the Isère, the Alps, Pilate's Peak, and the Grande Chartreuse, and, in short, wandering over that romantic land so dear to all true lovers of poetry, and so renowned of old for

"Dance, Provençal song, and sun-burnt mirth."

The story is founded on one of those old devotional legends of the early church, many of which have afforded such fine subjects both to the painter and poet. Were I to enumerate one-tenth part of the fine specimens of pictorial art which have been founded on such subjects, I should soon swell out the list to a sufficient number to constitute a good-sized picture-gallery. I will only allude, in passing, to a few masterpieces, most of which are familiar, even to the untravelled reader, from engravings, copies, and written descriptions. Among the most noted are the St. Cecilia by Raphael, the Vision of Constantine by the same artist, the the Assumption of the Virgin by Murillo, the Marriage of St. Catharine by the same, the Archangel Michael by Guido, and St. Patronilla by Guercino. These two last have been copied in mosaic to adorn the interior of St. Peter's. Of poems of this nature might be cited as among the best, Dryden's Ode to St. Cecilia, the Virgin Martyr by Massenger, the Golden Legend by Longfellow, and the Eve of St. Agnes by Keats.

{682}

Christine, I think, may fairly be catalogued among the same sainted sisterhood.

These traditions and legends of an earlier and more credulous age may be likened to the eggs, beautifully spotted and fantastically marked, which some delighted school-boy finds in spring-time, after hours of climbing and nest-hunting. Such eggs, curious in themselves, and brooded over by genius, often break forth into winged and musical poems, which afterward soar high above the nests and the tree-tops in which they were first cradled. Such is the case with the one now under consideration. In a new world, in a land which was not then even dreamed to be in existence, it arises lark-like, soaring and singing toward "heaven's gate." Let us watch it for a few moments, reader, and listen to its matin melody; my word for it, we shall be none the worse, either in heart or head, for having done so.

I shall not mar the beauties of this radiant little poem by attempting a cold and prosaic outline; this would, indeed, be to offer a dingy silhouette in place of a picture glowing with all the colors of a Tintoretto. Instead of this, I say, let the volume speak for itself; procure it, read it aloud to your friend; there is music sleeping in the book, awaken it to the sound of your own voice, and even though you may be a Protestant of the strictest school, you will find here nothing to offend, nothing to call forth a word of disapprobation, with one proviso, however, and that is that you read it as the title-page directs. Remember always that it is supposed to be "A song by a Troubadour."

A troubadour? And what was a troubadour? And what were his mainsprings of action? Hear an answer in the language of one of the most gifted of their number.

"A Dien mon ame, ma vie au roi,
Mon coeur aux dames, l'honneur pour moi!"

This, interpreted into tamer and more prosaic language, means that his ruling principles of action were religion, loyalty, gallantry, and honor; in other words, his soul, his life, his heart belonged respectively to God, to the king, to the ladies, and only his honor he reserved to himself. Such was his creed, such was the disinterested and noble spirit which animated him, and which breathed through all his lays, his vire-lays, his morning songs, his serenades, his sonnets, his idyls, his villanercas, his madrigals, and his canzonets. In this spirit acted the enthusiastic Rudel, who became enamored of the Countess of Tripoli from the reports which he heard of the hospitable manner in which she treated the Crusaders, and who, without having ever seen her, actually started of on a long voyage to visit the object of his admiration. Who has not heard of Blondel, and of the romantic incident by which he discovered the lion-hearted Richard while imprisoned in the castle of Lovenstein?

But in addition to the above-mentioned motive principles, the troubadour was influenced by another sentiment, which had a powerful effect on all the feelings and actions of his life. This was an intense and romantic veneration for the Virgin Mary. In fact, with little variation the following words, which we find in another poem in the same volume, entitled "Raphael Sanzio," might with equal propriety be attributed to one of the troubadours.

--"Her whose colors I have worn since first
I dreamed of beauty in the chestnut shades
Of Umbria--Her for whom my best of life
Has been one labor--_Her, the Nazareth maid,
Who gave to heaven a queen, to man a God,
To God a mother_."

Such, then, was the troubadour. His birthplace was Provence. It was there, in fact, that during the darkness of the Middle Ages the muse relit her torch which had long been extinguished. Many years before Dante's great poem rose like a sun--never again to set--the troubadours, those morning-stars of poesy, "sang together and shouted for joy." The troubadour preceded the Saxon bard, the Anglo-Norman minstrel, and the German minnesinger. There were held those curious courts of love where {683} queens and noble ladies often presided, and there were exhibited, on green and flowery meadows, those poetical contests, those festive jousts and tournaments, the idea of which seems to have been caught from the neighboring Saracens of Spain. The cross and the crescent both added something to the great result, the one contributing the deep and earnest glow of devotion, the other the pomp and circumstance of chivalry.

Of all these circumstances our poet has, with exquisite tact and skill, availed himself. Christine herself, when only ten years old, had accompanied her father to the Holy Land. This throws an oriental richness around her whole bearing and manner of thinking:

"Sooth thou art fair,
O ladye dear,
Yet one may see
The shadow of the East in thee;
Tinting to a riper flush
The faint vermilion of thy blush;
Deepening in thy dark-brown hair
Till sunshine sleeps in starlight there."

The gray charger which plays so conspicuous a part in the action was born under the palm-trees of Palestine, and his name, Caliph, would seem to indicate an Arabian descent. By this subtle link the connection between Provençal and Arabic poesy seems delicately to be hinted at. The fact that the main poem concludes in sonnet-form, if accidental, is curious; if brought about by design, is a happy thought, inasmuch as the sonnet derived its birth in Provence, and also from the fact that, from the number of its lines (twice _seven_), and the collocation of its rhymes, it is instinct with Christian symbolism.

The song itself, or story of Christine, is divided into five cantos or sub-songs, which, like the five acts of some romantic melodrama, arrest the attention from the start, and conduct the reader by five stages of increasing interest to the jubilant conclusion.

This main picture, as it may be called, has hanging on each side of it a smaller lateral one, one of which is a kind of _prelude_ and the other the _finale_ to the whole performance. This reminds us of some of those works of art by the older masters, in which a smaller side-picture may be seen to the right and left of the main representation. These appendages, though apparently slight and worded with extreme conciseness, are artistically conceived and add greatly to the general effect. They are also in fine keeping with the time and spirit of the legend itself, reminding us of one of those triple-arched emblazoned windows so often seen in old Gothic edifices. But the chief advantage derived from such an arrangement is, that the two smaller or lateral pieces serve as links to connect the more confined interests of the story with that grandest event in history, namely the Crusades, and thus to impart to the whole a breadth and grandeur of design which the size of the poem scarcely led us to expect. In the prelude we are presented with a view of the troubadour himself, who is supposed to sing the song, and not only himself, but his lady love, together with Richard of the Lion Heart, his queen, and all his chivalry. These last are at the time gazing over the blue Mediterranean, on which, in the distance, King Philip of France is seen sailing homeward with his receding vessels. The finale exhibits the arrival of a fleet under English banners. In both, a glimpse is caught of the troubadour who sings the song; in the one case, before he commences his romaunt, in the other, as he retires unnoticed and unthanked by the English monarch.

In the midst of so many beauties and artistic excellences, it is with reluctance that I notice two little circumstances which some might consider as slight blemishes. Caliph, the charger above alluded to, is spoken of as "the gallant gray." This expression sounds almost too trite and commonplace to find a place in so original a poem. Even if the color were preserved, I should {684} prefer some more novel and striking form of words. But would not pure _white_ be a hue more suitable in itself, and also form a finer contrast with the _coal-black_ steed which is ridden by the Goblin Horseman of Pilate's Mount? The last personage forms the evil, as Christine forms the _good_, principle of the poem. By placing one upon a white and the other on a black horse, the antagonism would be brought out in bolder relief, and we should be reminded of the fine allegory in Plato's Phaedra, where the chariot of Psyche is represented as drawn by two steeds of opposite colors, under the guidance of Reason, who is the charioteer.

The other--a trifle scarcely worthy of mention--is this: For the expression "Santo sudario" I should like to see substituted "Veronica," not so much on account of its effect upon the ear, as on account of those subtle trains of associated ideas which either lead us _off from_ or _on_ to poetical ground, as the case may be.

In justice to the author I must add that of these supposed blemishes I am doubtful, whereas of the beauties above alluded to I feel perfectly certain. It is much more easy to suggest alterations when a work is finished than by one's own effort to finish a perfect work. As a whole, there is a youthful fire and glow about the poem which cannot fail to render it captivating to the young, and a devotional and earnest tone of feeling which must be extremely acceptable to those more advanced. Reserving the "other poems" which accompany it for a future article, I shall conclude my remarks by a short extract taken almost at random from the third song:

"They are coming from this castle,
A bevy of bright-eyed girls,
Some with their long locks braided,
Some with loose golden curls.
Merrily 'mid the meadows
They win their wilful way;
Winding through sun and shadow,
Rivulets at play.
Brows with white rosebuds blowing,
Necks with white pearl intertwined,
Gowns whose white folds imprison
Wafts of the wandering wind.
The boughs of the charmed woodland
Sing to the vision sweet,
The daisies that couch in the clover
Nod to their twinkling feet
They see Christine by the river,
And, deeming the bridegroom near.
They wave her a dewy rose-wreath
Fresh plucked from her dark-brown hair.
Hand in hand tripping to meet her
Bird-like they carol their joy,
Wedding soft Provençal numbers
To a dulcet old strain of Savoy."

How trippingly and buoyantly do these verses gallopade adown the jocund page, as if one of the blithest of the old masters of the "gaya scientia." had been thrown by Merlin into an enchanted sleep, and, awaking from his slumber of eight centuries, was even now pouring into verse one of the freshest of his matin visions. And that bevy of dancing maidens! long may they continue to bound in tiptoe jollity adown the salient page. The glad creatures are as yet ignorant of the fact that Christine's noble lover is lying in a death-like a swoon, and that Christine herself has just had an interview with the fearful demon who wishes to bear her off in triumph. Each one of them seems to be a kind of Provençal Minnehaha, and may be compared to one of those merry waterfalls which come tumbling down the mountain-side, leaping in joy from rock to rock, and quite heedless of the black precipices which surround them.

But enough. As Cleopatra's barge of old went sailing down the river Cydnus, with burnished hull and perfumed sails, and silver oars rowing in unison with dulcet flutes, so ever and anon, at long intervals, is launched into the world some rare poem, which moves sailing down the river of time, to the admiration of all beholders. It behooves us, when such an apparition heaves in sight, whether it be poem or vessel, to be on the lookout and not to miss the pleasure of saluting it with our heartiest cheers.

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{685}

ORIGINAL.

GENIUS IN A PARISIAN ATTIC [Footnote 197]

[Footnote 197: In a private letter received from a member of the
Guérin family--one whose name is held in gentle reverence by all
the readers of Eugénie's Journal--we are asked if it would be
possible to interest devout souls in America in the reconstruction
of the little church of Andillac. We would gladly answer this
question in the affirmative, for the restoration of Eugénie's
parish church would be a monument that even her humility could not
reject.

The smallest sums for this purpose will be gratefully received and
forwarded to Andillac by Miss E. P. Cary, Cambridge, Mass., or
Office of THE CATHOLIC WORLD, 145 Nassau Street, New-York.]

In a former article [Footnote 198] we traced the course of Maurice de Guérin's career at La Chênaie; and left him in Paris, bewildered by the rush and whirl of such a city, one day to become so familiar to him. We will now let his journal and letters exhibit the curious change through which he passed in turning from the fair Utopian dreams of Lamennais to the work-day experiences of an unsuccessful author.

[Footnote 198: See article in THE CATHOLIC WORLD of June, 1866,
entitled: Two Pictures of Life in France before 1848.]

To do this fully we must retrace our steps to Le Val, the asylum thrown open to him by Hippolyte de la Morvonnais when he left Ploërmel. Guérin's record of that peaceful sojourn in Brittany is as distinct from our popular ideas of French life as Eugénie's sketches of Rayssac and Le Cayla. The brother and sister have successfully proved that all Frenchmen are not deceitful and unbelieving, nor all Frenchwomen vain and perfidious. Surely no young man in any country ever met with influences more sound and elevating than Maurice found in the society of Eugénie and Mimin; of Louise de Bayne, Madame de la Morvonnais, and Caroline de Gervain; or with friends more enduring than Hippolyte, Paul Quemper, Marzan, Trébutien, and D'Aurevilly.

There is in France an undercurrent of domestic life as pure and fresh as the superficial existence in her great cities is shallow and turbid. Indeed, the more familiar one becomes with French life and manners, the more one appreciates the truth of the _mot_ of a certain cardinal: "There is no purgatory for Frenchmen; they go straight to heaven or hell." But we will no longer detain the reader, by moral reflections, from the perusal of the selections we have made from Guérin's writings.

LE VAL, Dec. 7th, 1833.

After a year of perfect calm, but for interior tempests for which I must not blame the solitude that has unfolded me in such silent peace that any soul less unquiet than mine would have slumbered deliciously therein; after a year, I say, of absolute tranquillity, Fate, who had let me enter the holy house to rest awhile, smote on the door to call me forth again; for she had not gone on her way, but had sat waiting on the threshold till I should gather strength to resume the journey. "You have tarried long enough," she said; "Come." And she took me by the hand and tramped on like the poor women you meet in the road, leading a tired, lagging child. But what folly it is to complain; are there no troubles in the world but mine to weep for? I will say henceforth to the fountain of my tears, "Dry up," and to the Lord, "Lord, heed not my complaints," whenever I am tempted to invoke God and my tears in my own behalf; for suffering is good for me, who can merit nothing in heaven by my actions, and, like all weak souls, can earn nothing there except through the virtue of suffering. Such souls have no wings to raise them up to heaven, and the Lord, who would fain possess them, sends help. He lays them on a pile of thorns, and kindles the fire of grief; the consuming {686} wood mounts up to heaven like a white vapor, or like the doves that used to spring upward from the dying flames of a martyr's stake. This is the soul which has completed its sacrifice, and grown light enough in the fire of tribulation to rise to heaven like a smoke. The wood is heavy and immovable; set fire to it, and a part of itself will ascend to the clouds.

8th.--Yesterday the west wind blew furiously. I watched the shaken ocean, but to me its sublime disorder was far from equalling the spectacle of a calm blue sea, and yet why say that one is not equal to the other? Who can measure these two sublimities and say that the second surpasses the first? Let us only say: "My soul delights rather in serenity than in a storm."

Yesterday there was a great battle fought in the watery plains. On came the bounding waves, like innumerable hordes of Tartar cavalry galloping to and fro on the plains of Asia--on to the chain of granite islets that bar the entrance to the bay. There we saw billows upon billows rushing to the assault, flinging themselves wildly against the rocky masses with hideous clamor, tearing along to leap over the black heads of the rocks. The boldest or lightest sprang over with a great outcry; the others dashed themselves with sluggish awkwardness against the ledges, throwing up great showers of dazzling foam, and then drew off growling, like dogs beaten back by a traveller's staff.

We watched the great struggle from the top of a cliff, where we could hardly keep our feet against the whirling wind. The awful tumult of the sea, the rushing boisterous, waves, the swift but silent passing of the clouds, the sea-birds floating in the sky, balancing their slender bodies on wide-arched wings; all this accumulation of wild, resounding harmonies, converging in the souls of two beings five feet (French) high, planted on the crest of a cliff, shaken like two leaves by the energy of the wind, and not more apparent on this immensity than two birds perched on a clod of earth. Oh! it was something strange and wonderful, one of those moments of sublime agitation and deep revery combined, when the soul and nature rear themselves in majesty before each other.

From this height we clambered down into a gorge which opens a marine retreat, such as the ancients could have described to peaceful waves that rock themselves to sleep there murmuring, while their frantic brethren lash the rocks, and wrestle among themselves. Huge blocks of gray granite, embossed with white lichens, are thrown in disorder on the slant of the hill which has hollowed out an inlet for this cove. They look, so strangely are they tossed about, half tipping toward the slope, as if a giant had amused himself with hauling them from the height above, and they had been checked by some obstacle, some a few feet from the point of departure, and others half way down; and yet they seem to have paused, not stopped, in their course, or rather they appear to be still rolling. The sound of the winds and waves pouring into this echoing recess makes glorious harmony. We stood there a long time, leaning on our walking-sticks, looking and listening and wondering.

9th.--The moon was shining with a few stars when the bell called us to mass. I especially enjoy this mass, celebrated in the early morning between the last rays of starlight and the first beams of the rising sun.

In the evening Hippolyte and I wandered along the coast, for we wished to see what the ocean is like at the close of a calm, gray December day. Mist veiled the distance, but left space enough to suggest infinity. We stationed ourselves on a point where a tidesman's hut stands, and leaned against the wall. To the right a wood, spreading over the slope of the coast, stretched its thin, naked branches out into the pale light with a faint, sighing sound. Far away to our left the tower of Ebihens vanished into the {687} mist, and then appeared again with a faint gleam upon its brow, as some furtive ray of twilight succeeded in eluding the clouds. The sound of the sea was calm and dreamy, as on the fairest days, but with a more plaintive tone. We followed this sound as it swelled along the shore, and only taking breath when the waves that had poured it forth gave place to another. I believe it is from the deep, grave tone of the advancing wave as it unfurls itself, and from the shrill, pebbly sound of the retreating wave, gritting against the shells and sand, that the marvellous voice of the sea is created. But why dissect such music? I could say nothing worth hearing on the subject, for I am no adept at analysis, so we'll go back to sentiment.

The shadows thickened around us, but we never thought of going away, for as the earth grew still, and the night unveiled its mysteries, grander grew the harmony of the sea. Like those statues set on promontories by the ancients, we stood immovable, fascinated and spell bound by the beauty of the ocean and the night, giving no sign of life except to look up when we heard the whistling wings of the wild duck overhead.

The thread of my wandering fortunes led me to a solitary headland in Brittany to dream away an autumn evening, there for several hours those interior sounds were hushed that never have been still since the first tempest arose in my breast. There a sweet, heavenly melancholy stole into my heart with the ocean chords, and my soul wandered in a paradise of revery. Oh! when I shall have left Le Val and poured my parting tears into the bosom of your friendship; when I shall be in Paris where there is neither vale nor ocean, nor any soul like yours; when I shall wander alone with my sadness and with an almost despairing heart; what tears I shall shed over the memory of our evenings; for happiness is a fine, gentle rain that sinks into the soul, and then gushes forth in torrents of tears.

21st.--For several days the weather has done its worst. The rain falls and the wind blows in gusts till it seems as if everything would be torn to pieces by the storm. These three nights I have started up wide awake as the gale swept by at midnight, besieging the house so furiously that everything in-doors shook and trembled. I spring up in my bed white, and listen to the hurricane, while a thousand thoughts that swept, some on the surface, others deep down in my soul, start into shuddering wakefulness.