rom Dante's _Vita Nuova_--taken from Professor
Norton's finished translation. The spirit of the amatory poetry of the
gay troubadours of Provence had found its way into Italy, but it was its
more spiritual side which was to make the greater impression upon the
national literature at this early stage of its development. The mystic
marriage with the Church which had consoled so many women in distress,
and which had removed them from the sin and confusion of the hurly-burly
world to a life of quiet joy and peace, had slowly been exerting a more
general and secular influence which first bore fruit in the notions of
Platonic friendship which had been discussed; then came deference and
respect and a truer understanding of woman's true position. But
something was wanting in this profession of love and respect which came
from the singers of Provence; their words were ready and their speech
was smooth, but all their knightly grace of manner could not conceal the
fact that Venus was their goddess. They were sincere, doubtless, but all
that they sang was so lyric, subjective, and persona! in its essence
that they failed to strike the deepest chords of human feeling or
display that high seriousness which is indicative of real dignity of
character. Love had been the despot whose slightest caprice was law.--in
obeying his commands one could do no wrong. Woman became the arbiter of
man's destiny in so far as, the fervent lover, in his ardor, was glad to
do her bidding. The troubadour Miravel has told us that when a man made
a failure of his life, all were prone to say: "It is evident that he did
not care for the ladies." There is a worldly tone in this remark which
grates upon the ear--it does not ring clear and true, although the
Provencal poets had improved the manners of their time and had
introduced a highbred courtesy into their dealings with women which was
in itself a great step in advance. It is related that when William the
Conqueror first saw Emma, his betrothed, he seized her roughly in his
arms and threw her to the ground as an indication of affection; but the
troubadour was wont to kneel before his lady and pray for grace and
power to win her approbation. Yet, under the courtly form of manner and
speech, it is too often the sensual conception of womankind which lurks
in the background, and there is little evidence to show that there was
any general belief in the chastening power of the love of a good
woman--a power which mi