Volume II Part 6 (1/2)

[30] ”Non desidero d'esser moglie d'un re; bensi di quel gran capitano, il quale non solamente in guerra con valor, ma ancora in pace con la magnanimit ha saputo vincere i re pi grande.” (Vita di Vittoria Colonna, da Giambattista Rota.)

[31] See in Robertson's Charles V. an account of the generous conduct of Pescara to the Chevalier Bayard.

[32] Che il suo sole, quantunque dagli altri fosse riputato morte, appresso di lei sempre vivea. (Vita.)

[33] Ischia.

[34] Sonnet 74.

[35] Componimenti Lirici, vol. i. 144.

[36] L'honneur d'avoir t, entre toutes les potes, la premire composer un recueil de posies sacres, appartient, toute entire, Vittoria Colonna. (See Ginguen.) Her masterpieces, in this style, are said to be the sonnet on the death of our Saviour.--

”Gli Angeli eletti al gran bene infinito;”

and the hymn

”Padre Eterno del cielo!”

which is sublime: it may be found in Mathias's Collection, vol. iii.

[37] Died 1535.

[38] Mrs. Hemans.

CHAPTER VI.

CONJUGAL POETRY CONTINUED.

VERONICA GAMBARA.

Vittoria Colonna, and her famed friend and contemporary, Veronica, Countess of Correggio, are inseparable names in the history of Italian literature, as living at the same time, and equally ornaments of their s.e.x. They resembled each other in poetical talent, in their domestic sorrows and conjugal virtues: in every other respect the contrast is striking. Vittoria, with all her genius, seems to have been as lovely, gentle, and feminine a creature as ever wore the form of woman.

No lily--no--nor fragrant hyacinth, Had half such softness, sweetness, blessedness.

Veronica, on the contrary, was one,

----to whose masculine spirit To touch the stars had seemed an easy flight.

She added to her talents and virtues, strong pa.s.sions,--and happily also sufficient energy of mind to govern and direct them. She had not Vittoria's personal charms: it is said, that if her face had equalled her form, she would have been one of the most beautiful women of her time; but her features were irregular, and her grand commanding figure, which in her youth was admired for its perfect proportions, grew large and heavy as she advanced in life. She retained, however, to the last, the animation of her countenance, the dignity of her deportment, and powers of conversation so fascinating, that none ever approached her without admiration, or quitted her society without regret.

Her verses have not the polished harmony and the graceful suavity of Vittoria's; but more vigour of expression, and more vivacity of colouring. Their defects were equally opposed: the simplicity of Veronica sometimes borders upon harshness and carelessness; the uniform sweetness of Vittoria is sometimes too elaborate and artificial.

Veronica Gambara was born in 1485. Her _fortunate_ parents, as her biographer expresses it,[39] were Count Gian Francisco Gambara, and Alda Pia. In her twenty-fifth year, when already distinguished as a poetess, and a woman of great and various learning, she married Ghiberto Count of Correggio, to whom she appears to have been attached with all the enthusiasm of her character, and by whom she was tenderly loved in return. After the birth of her second son, she was seized with a dangerous disorder, of what nature we are not told. The physicians informed her husband that they did not despair of her recovery, but that the remedies they should be forced to employ would probably preclude all hope of her becoming again a mother. The Count, who had always wished for a numerous offspring, ordered them to employ these remedies instantly, and save her to him at every other risk. She recovered; but the effects upon her const.i.tution were such as had been predicted.

Like Vittoria Colonna, she made the personal qualities and renown of her husband the princ.i.p.al subjects of her verse. She dwells particularly on his fine dark eyes, expressing very gracefully the various feelings they excited in her heart, whether clouded with thought, or serene with happiness, or sparkling with affection.[40] She devotes six Sonnets and a Madrigal to this subject; and if we may believe his poetical and admiring wife, these ”occhi stellante” could combine more variety of expression in a single glance than ever did eyes before or since.

Lieti, mesti, superbi, umili, altieri, Vi mostrate in un punto; onde di speme E di timor m' empiete.--

There is great power and pathos in one of her poems, written on his absence.