PETRARCH'S SECRET

OR

THE SOUL'S CONFLICT WITH

PASSION

THREE DIALOGUES BETWEEN HIMSELF

AND S. AUGUSTINE

TRANSLATED FROM THE LATIN BY

WILLIAM H. DRAPER

LONDON

CHATTO & WINDUS

MDCCCCXI

FRANCIS PETRARCH

EMILIAE AUGUSTAE

PER ANNUS XXII
COLLABORANTI MECUM, COMPATIENTI, COLLAETANTI
PETRARCAE HOC COLLOQUIUM
MEMORABILE
AMORIS DULCEDINE LACRIMISQUE TINCTUM
IAM DEMUM ANGLICE REDDITUM
GRATUS DEDICO
A. S. MDCCCCXI

CONTENTS

INTRODUCTION
AUTHOR'S PREFACE
DIALOGUE THE FIRST
DIALOGUE THE SECOND
DIALOGUE THE THIRD

Illustrations

Petrarch's Secretum book cover 1470 Petrarch, Veritas (Truth), Augustine and Abbot Crabbe with two attendants. (Wikimedia Commons) (frontmatter).

Petrarca, the profile portrait (see introduction note 3).

INTRODUCTION

Most modern writers on Petrarch agree in stating that of all his works the Dialogues which he calls Secretum meum are the one which throws most light upon the man himself.

Yet no English translation has hitherto been published. A French version by M. Victor Develay was issued a few years ago, and received the recognition of the French Academy; and, considering the great importance of Petrarch in the history of the Renaissance, not merely in Italy but in Europe, it is time that a similar opportunity of knowing him more fully was offered to English readers; for there are signs on both sides of the Atlantic that the number of those interested in him is steadily growing. The reason for this is undoubtedly the fact that, as the whole work of Petrarch comes to be better known, interest in him as a man increases. Mr. Sidney Lee has lately reminded us of his wide range and predominating influence in the matter of the sonnet in France and in Elizabethan England, as well as in his own country; and yet that influence was very far indeed from revealing all that Petrarch was. It was largely an influence of style, a triumph of the perfection of form, and his imitators did not trouble much about the precise nature of the sentiment and spirit informing the style. When this came to be weighed in the balances of a later day, the tendency of English feeling was to regard his sentiment as a trifle too serious and weak. The love-making of the Cavaliers brought in a robuster tone. When once the question was raised, "Why so pale and wan, fond lover?" there was really no good answer to it on Petrarchan lines, and the consequence was that his name and fame suffered something of eclipse among us. But eclipses are transient events, and when literary England felt once more the attraction of Italy in the end of the eighteenth century it was not only Dante who began to resume his sway and to provoke translation, but Petrarch also. Then attention was turned chiefly to his Italian poetry, but also in some degree to the general body of his Latin works and to his Letters, of which it is reported that Fox was among the first to perceive the high value. In England the pioneers in this direction were Mrs. Susannah Dobson, who published first a Life of Petrarch in two volumes in 1775, which had by 1805 reached a sixth edition, and, soon after, another volume called Petrarch's View of Life, purporting to be a translation, but in fact a very loose and attenuated abstract of the treatise De remediis utriusque Fortunæ, which nevertheless reached a new edition in 1797. Then came a volume of Essays on Petrarch (Murray 1823) by the Italian exile Ugo Foscolo, and a little later a second Life of the Poet by no less a person than Thomas Campbell, also in two volumes.

Testifying to the re-awakened interest in Petrarch, numerous translations also of his poetry were published by Lady Dacre, Hugh Boyd, Leigh Hunt, Capel Lofft, and many others, who took up after a long interval the tradition begun by Chaucer and handed on by Surrey, Wyatt, Sir Philip Sidney, Spenser, Drummond of Hawthornden, and George Chapman.

Then for a while there was a pause, and the main drift of such attention in England as could be spared for things Italian in mid-Victorian days was concentrated on the greater luminary of the Divine Comedy and the exciting political events of the sixties; though some attention was drawn to things connected with Petrarch by Lytton's novel of Rienzi, which was first published in 1835 and had a considerable vogue.

Meanwhile in Italy itself his fame was well served by the excellent collection and reprint of his Latin letters by Fracasetti in three vols. (1859-63), and since that time there have appeared several important works dealing with the larger aspects of his life and work, most notable among them being Koerting's Petrarka's Leben und Werke (Leipsig 1878), and in France M. P. de Nolhac's Pétrarque et l'Humanisme (two vols., 1907, new edition), with other subsidiary works, and four small volumes by M. Henri Cochin, elucidating what is known of Petrarch's brother Gherardo and some of his many friends. Amongst ourselves in late years, following the labours of J. A. Symonds in his history of the Renaissance, we have Henry Reeve's small but well-planned volume in the "Foreign Classics for English Readers," and, more recently still, Mr. Hollway Calthrop's Petrarch: his Life, Work and Times (1907), and Mrs. Maud Jerrold's Francesco Petrarca: Poet and Humanist (1909).

It is significant that both the last writers single out the Secretum for its psychological interest, the former stating that "to those who feel the charm of Petrarch's nature and the intense humanity of his character, these three Dialogues are the most fascinating of all his writings"; and the latter "that this conflict of the dual self is of quite peculiar interest."

Mrs. Jerrold indeed goes so far as to say that Petrarch "plunges into the most scathing self-examination that any man ever made. Whether the book was intended for the public we may well doubt, both from the words of the preface and from the fact that it does not appear to have been published till after the author's death. But however this may be, it remains one of the world's great monuments of self-revelation and ranks with the Confessions of S. Augustine"—a verdict which to some critics will seem to have a touch of overstatement, though hardly beyond the opinion of Petrarch's French students, and not altogether unpardonable in so enthusiastic an admirer of her subject, and a verdict which at least would not have been displeasing to Petrarch himself.

Among the many points of human interest to be found in the Dialogues not the least is