CHAPTER XLVIII. On receiving a Sprig of Laurel from Vaucluse. What an AND this piece of laurel is from Vaucluse! Perhaps Petrarch, perhaps Laura sat under it! This is a true present. exquisite, dry, old, vital, young-looking, everlasting twig it is! It has been plucked nine months, and yet looks as hale and as crisp as if it would last ninety years. It shall last, at any rate, as long as its owner, and longer, if care and love can preserve it. How beautifully it is turned! It was a happy pull from the tree. Its shape is the very line of beauty; it has berries upon it, as if resolved to show us in what fine condition the trees are; while the leaves issue from it, and swerve upwards with their elegant points, as though they had come from adorning the poet's head. Be thou among the best of one's keepsakes, thou gentle stem, in deliciis nostris; and may the very maidservant, who wonders to see thy withered beauty in its frame, miss her lover the next five weeks, for not having the instinct to know that thou must have something to do with love! Perhaps Petrarch has felt the old ancestral bough of this branch stretching over his head, and whispering to him of the name of Laura, of his love, and of their future glory; for all these ideas used to be entwined in one. (Sestina 2, canzone 17, sonetti 162, 163, 164, 207, 224, &c.) Perhaps it is of the very stock of that bough, which he describes as supplying his mistress with a leaning-stock, when she sat in her favorite bower. Giovane donna sotto un verde lauro A youthful lady under a green laurel I saw, more fair and colder than white snows The laurel seems more appropriate to Petrarch than to any other poet. He delighted to sit under its leaves; he loved it both for itself and for the resemblance of its name to that of his mistress; he wrote of it continually, and he was called from out of its shade to be crowned with it in the capitol. It is a remarkable instance of the fondness with which he cherished the united idea of Laura and the laurel, that he confesses this fancy to have been one of the greatest delights he experienced in receiving the crown upon his head. It was out of Vaucluse that he was called. Vaucluse, Valchiusa, the Shut Valley (from which the French, in the modern enthusiasm for intellect, gave the name to the department in which it lies), is a remarkable spot in the old poetical region of Provence, consisting of a little deep glen of green meadows, surrounded with rocks, and containing the fountain of the river Sorgue. Petrarch, when a boy of eight or nine years of age, had been struck with its beauty, and exclaimed that it was the place of all others he should like to live in, better than the most splendid cities. He resided there afterwards for several years, and composed in it the greater part of his poems. Indeed, he says in his account of himself, that he either wrote or conceived, in that valley, almost every work he produced. He lived in a little cottage, with a small homestead, on the banks of the river. Here he thought to forget his passion for Laura, and here he found it stronger than ever. We do not well see how it could have been otherwise; for Laura lived no great way off, at Chabrières, and he appears to have seen her often in the very place. He paced along the river; he sat under the trees; he climbed the mountains; but Love, he says, was ever by his side, Ragionando con meco, ed io con lui. He holding talk with me, and I with him. We are supposing that all our readers are acquainted with Petrarch. Many of them doubtless know him intimately. Should any of them want an introduction to him, how should we speak of him in the gross? We should say that he was one of the finest gentlemen and greatest scholars that ever lived; that he was a writer who flourished in Italy in the 14th century, at the time when Chaucer was young, during the reigns of our Edwards; that he was the greatest light of his age; that, although so fine a writer himself, and the author of a multitude of works, or rather because he was both, he took the greatest pains to revive the knowledge of the ancient learning, recommending it everywhere, and copying out large manuscripts with his own hand; that two great cities, Paris and Rome, contended which should have the honor of crowning him; that he was crowned publicly, in the metropolis of the world, with laurel and with myrtle; that he was the friend of Boccaccio, the Father of Italian Prose; and lastly, that his greatest renown nevertheless, as well as the predominant feelings of his existence, arose from the long love he bore for a lady of Avignon, the far-famed Laura, whom he fell in love with on the 6th of April, 1327, on a Good Friday; whom he rendered illustrious in a multitude of sonnets, which have left a sweet sound and sentiment in the ear of all after lovers; and who died, still passionately beloved, in the year 1348, on the same day and hour on which he first beheld her. Who she was, or why their connexion was not closer, remains a mystery. But that she was a real person, and that in spite of her staid manners, she did not show an altogether insensible countenance to his passion, is clear from his long-haunted imagination, from his own repeated accounts-from all that he wrote, uttered and thought. One love, and one poet, sufficed to give the whole civilized world a sense of delicacy in desire, of the abundant riches to be found in one single idea, and of the going out of a man's self to dwell in the soul and happiness of another, which has served to refine the passion for all modern times; and perhaps will do so, as long as love renews the world. CHAPTER XLIX. Coaches. ACCORDING to the opinion commonly entertained respecting an author's want of riches, it may be allowed us to say, that we retain from childhood a considerable notion of a "ride in a coach." Nor do we hesitate to confess, that by coach, we especially mean a hired one; from the equivocal dignity of the postchaise down to that despised old castaway, the hackney. It is true, that the carriage, as it is indifferently called (as if nothing less genteel could carry any one), is a more decided thing than the chaise; it may be swifter even than the mail, leaves the stage at a still greater distance in every respect, and (forgetting what it may come to itself) darts by the poor old lumbering hackney with immeasurable contempt. It rolls with a prouder ease than any other vehicle. It is full of cushions and comfort; elegantly colored inside and out; rich, yet neat; light and rapid, yet substantial. The horses seem proud to draw it. The fat and fair-wigged coachman "lends his sounding lash," his arm only in action and that but little, his body well set with its own weight. The footman, in the pride of his nonchalance, holding by the straps behind, and glancing down sideways betwixt his cocked hat and neckcloth, stands swinging from east to west upon his springy toes. The horses rush along amidst their glancing harness. Spotted dogs leap about them, barking with a princely superfluity of noise. The hammer-cloth trembles through all its fringe. The paint flashes in the sun. We, contemptuous of everything less convenient, bow backwards and forwards with a certain indifferent air of gentility, infinitely predominant. Suddenly, with a happy mixture of turbulence and truth, the carriage dashes up by the curb-stone to the very point desired, and stops with a lɔrdly wilfulness of decision. The coachman looks as if nothing had happened. The footman is down in an instant; the knocker reverberates into the farthest corner of the house; doors, both carriage and house, are open ;—we descend, casting a matter-of-course eye at the bystanders; and the moment we touch the pavement, the vehicle, as if conscious of what it has carried, and relieved from the weight of our importance, recovers from its sidelong inclination with a jerk, tossing and panting, as it were, for very breath, like the proud heads of the horses. All this, it must be owned, is very pretty; but it is also gouty and superfluous. It is too convenient,—too exacting,—too exclusive. We must get too much for it, and lose too much by it. Its plenty, as Ovid says, makes us poor. We neither have it in the republic of letters, nor would desire it in any less jacobinical state. Horses, as many as you please, provided men have enough to eat;-hired coaches, a reasonable number:-but health and good-humor at all events. Gigs and curricles are things less objectionable, because they cannot be so relied upon as substitutes for exercise. Our taste in them, we must confess, is not genuine. How shall we own it? We like to be driven, instead of drive ;-to read or look about us, instead of keeping watch on a horse's head. We have no relish even for vehicles of this description that are not safe. Danger is a good thing for giving a fillip to a man's ideas; but even danger, to us, must come recommended by something useful. We have no ambition to have TANDEM written on our tomb-stone. But The prettiest of these vehicles is the curricle, which is also the safest. There is something worth looking at in the pair of horses, with that sparkling pole of steel laid across them. It is like a bar of music, comprising their harmonious course. to us, even gigs are but a sort of unsuccessful run at gentility. The driver, to all intents and purposes, had better be on the horse. Horseback is the noblest way of being carried in the world. It is cheaper than any other mode of riding; it is common to all ranks; and it is manly, graceful, and healthy. The handsomest mixture of danger with dignity, in the shape of a carriage, was the tall phaeton with its yellow wings. We remember looking up to it with respect in our childhood, partly for its loftiness, partly for its name, and partly for the show it makes in the prints to novels of that period. The most gallant figure which |