the
whole train of his feelings and reflections acquired one strong
character and tone, and, if he was ever able to suppress them for a
time, they returned to him with increased violence; that, to
tranquillize this agitated state of his mind, he, in the first instance,
communicated in a free and loose manner all that he thought and felt, in
his correspondence with his intimate friends; that he afterwards reduced
these narratives, with more order and description, into Latin verse; and
that he, lastly, perfected them with a greater profusion of imagery and
more art in his Italian poetry, the composition of which at first served
only, as he frequently says, to divert and mitigate all his afflictions.
We may thus understand the perfect concord which prevails in Petrarch's
poetry between Nature and Art; between the accuracy of fact and the
magic of invention; between depth and perspicuity; between devouring
passion and calm meditation. It is precisely because the poetry of
Petrarch originally sprang from the heart that his passion never seems
fictitious or cold, notwithstanding the profuse ornament of his style,
or the metaphysical elevation of his thoughts."

I quote Ugo Foscolo, because he is not only a writer of strong poetic
feeling as well as philosophic judgment, but he is pre-eminent in that
Italian critical school who see the merits of Petrarch in no exaggerated
light, but, on the whole, prefer Dante to him as a poet. Petrarch's
love-poetry, Foscolo remarks, may be considered as the intermediate link
between that of the classics and the moderns. * * * * Petrarch both
feels like the ancient and philosophizes like the modern poets. When he
paints after the manner of the classics, he is equal to them.

I despair of ever seeing in English verse a translation of Petrarch's
Italian poetry that shall be adequate and popular. The term adequate, of
course, always applies to the translation of genuine poetry in a subdued
sense. It means the best that can be expected, after making allowance
for that escape of etherial spirit which is inevitable in the transfer
of poetic thoughts from one language to another. The word popular is
also to be taken in a limited meaning regarding all translations.
Cowper's ballad of John Gilpin is twenty times more popular than his
Homer; yet the latter work is deservedly popular in comparison with the
bulk of translations from antiquity. The same thing may be said of
Cary's Dante; it is, like Cow