ages not the wound its shaft has given.

The following sonnet is remarkable for its last four lines having
puzzled all the poet's commentators to explain what he meant by the
words "Al man ond' io scrivo e fatta arnica, a questo volta." I agree
with De Sade in conjecturing that Laura in receiving some of his verses
had touched the hand that presented them, in token of her gratitude.[O]

In solitudes I've ever loved to abide
By woods and streams, and shunn'd the evil-hearted,
Who from the path of heaven are foully parted;
Sweet Tuscany has been to me denied,
Whose sunny realms I would have gladly haunted,
Yet still the Sorgue his beauteous hills among
Has lent auxiliar murmurs to my song,
And echoed to the plaints my love has chanted.
Here triumph'd, too, the poet's hand that wrote
These lines--the power of love has witness'd this.
Delicious victory! I know my bliss,
She knows it too--the saint on whom I dote.

Of Petrarch's poetry that is not amatory, Ugo Foscolo says with justice,
that his three political canzoni, exquisite as they are in versification
and style, do not breathe that enthusiasm which opened to Pindar's grasp
all the wealth of imagination, all the treasures of historic lore and
moral truth, to illustrate and dignify his strain. Yet the vigour, the
arrangement, and the perspicuity of the ideas in these canzoni of
Petrarch, the tone of conviction and melancholy in which the patriot
upbraids and mourns over his country, strike the heart with such force,
as to atone for the absence of grand and exuberant imagery, and of the
irresistible impetus which peculiarly belongs to the ode.

Petrarch's principal Italian poem that is not thrown into the shape of
the sonnet is his Trionfi, or Triumphs, in five parts. Though not
consisting of sonnets, however, it has the same amatory and constant
allusions to Laura as the greater part of his poetry. Here, as
elsewhere, he recurs from time to time to the history of his passion,
its rise, its progress, and its end. For this purpose, he describes
human life in its successive stages, omitting no opportunity of
introducing his mistress and himself.

1. Man in his youthful state is the slave of love. 2. As he advances in
age, he feels the inconveniences of his amatory propensities, and
endeavours to conquer them by chastity. 3. Amidst the victory which he
obtains over himself, Death steps in, and levels alike the victor an