The Atlantic Monthly, Volume 07, No. 41, March, 1861

Caligula, not satisfied with building ships of cedar with sterns inlaid with gems, had a pearl-collar made for a favorite horse! Pliny grows indignant as he chronicles the luxury of this Emperor.

"I have seen," says he, "Lollia Paulina, who was the wife of the Emperor Caligula,—and this not on the occasion of a solemn festival or ceremony, but merely at a supper of ordinary betrothals,—I have seen Lollia Paulina covered with emeralds and pearls, arranged alternately, so as to give each other additional brilliancy, on her head, neck, arms, hands, and girdle, to the amount of forty thousand sesterces, [£336,000 sterling,] the which value she was prepared to prove on the instant by producing the receipts. And these pearls came, not from the prodigal generosity of an imperial husband, but from treasures which had been the spoils of provinces. Marcus Lollius, her grandfather, was dishonored in all the East on account of the gifts he had extorted from kings, disgraced by Tiberius, and obliged to poison himself, that his grand-daughter might exhibit herself by the light of the lucernae blazing with jewels."

Nero offered to Jupiter Capitolinus the first trimmings of his beard in a magnificent vase enriched with the costliest pearls.

Catherine de Medicis and Diane de Poitiers almost floated in pearls, their dresses being literally covered with them. The wedding-robe of Anne of Cleves was a rich cloth-of-gold, thickly embroidered with great flowers of large Orient pearls. Poor Mary, Queen of Scots, had a wonderful lot of pearls among her jewels; and the sneaking manner in which Elizabeth got possession of them we will leave Miss Strickland, the biographer of Queens, to relate.

"If anything farther than the letters of Drury and Throgmorton be required to prove the confederacy between the English Government and the Earl of Moray, it will only be necessary to expose the disgraceful fact of the traffic of Queen Mary's costly parure of pearls, her own personal property, which she had brought with her from France. A few days before she effected her escape from Lochleven Castle, the righteous Regent sent these, with a choice collection of her jewels, very secretly to London, by his trusty agent, Sir Nicholas Elphinstone, who undertook to negotiate their sale, with the assistance of Throgmorton, to whom he was directed for that purpose. As these pearls were considered the most magnificent in Europe, Queen Elizabeth was complimented with the first offer of them. 'She saw them yesterday, May 2nd,' writes Bodutel La Forrest, the French ambassador at the Court of England, 'in the presence of the Earls of Pembroke and Leicester, and pronounced them to be of unparalleled beauty.' He thus describes them: 'There are six cordons of large pearls, strung as paternosters; but there are five-and-twenty separate from the rest, much finer and larger than those which are strung; these are for the most part like black muscades. They had not been here more than three days, when they were appraised by various merchants; this Queen wishing to have them at the sum named by the jeweller, who could have made his profit by selling them again. They were at first shown to three or four working jewellers and lapidaries, by whom they were estimated at three thousand pounds sterling, (about ten thousand crowns,) and who offered to give that sum for them. Several Italian merchants came after them, who valued them at twelve thousand crowns, which is the price, as I am told, this Queen Elizabeth will take them at. There is a Genoese who saw them after the others, and said they were worth sixteen thousand crowns; but I think they will allow her to have them for twelve thousand.' 'In the mean time,' continues he, in his letter to Catherine of Medicis, 'I have not delayed giving your Majesty timely notice of what was going on, though I doubt she will not allow them to escape her. The rest of the jewels are not near so valuable as the pearls. The only thing I have heard particularly described is a piece of unicorn richly carved and decorated.' Mary's royal mother-in-law of France, no whit more scrupulous than her good cousin of England, was eager to compete with the latter for the purchase of the pearls, knowing that they were worth nearly double the sum at which they had been valued in London. Some of them she had herself presented to Mary, and especially wished to recover; but the ambassador wrote to her in reply, that 'he had found it impossible to accomplish her desire of obtaining the Queen of Scots' pearls, for, as he had told her from the first, they were intended for the gratification of the Queen of England, who had been allowed to purchase them at her own price, and they were now in her hands.'

"Inadequate though the sum for which her pearls were sold was to their real value, it assisted to turn the scale against their real owner.

"In one of her letters to Elizabeth, supplicating her to procure some amelioration of the rigorous confinement of her captive friends, Mary alludes to her stolen jewels:—'I beg also,' says she, 'that you will prohibit the sale of the rest of my jewels, which the rebels have ordered in their Parliament, for you have promised that nothing should be done in it to my prejudice. I should be very glad, if they were in safer custody, for they are not meat proper for traitors. Between you and me it would make little difference, and I should be rejoiced, if any of them happened to be to your taste, that you would accept them from me as offerings of my good-will.'

"From this frank offer it is apparent that Mary was not aware of the base part Elizabeth had acted, in purchasing her magnificent parure of pearls of Moray, for a third part of their value."

One of the most famous pearls yet discovered (there may be shells down below that hide a finer specimen) is the beautiful Peregrina. It was fished up by a little negro boy in 1560, who obtained his liberty by opening an oyster. The modest bivalve was so small that the boy in disgust was about to pitch it back into the sea. But he thought better of his rash determination, pulled the shells asunder, and, lo, the rarest of priceless pearls! [Moral. Don't despise little oysters.] La Peregrina is shaped like a pear, and is of the size of a pigeon's egg. It was presented to Philip II. by the finder's master, and is still in Spain. No sum has ever determined its value. The King's jeweller named five hundred thousand dollars, but that paltry amount was scouted as ridiculously small.

There is a Rabbinical story which aptly shows the high estimate of pearls in early ages, only one object in Nature being held worthy to be placed above them:—

"On approaching Egypt, Abraham locked Sarah in a chest, that none might behold her dangerous beauty. But when he was come to the place of paying custom, the collectors said, 'Pay us the custom': and he said, 'I will pay the custom.' They said to him, 'Thou carriest clothes': and he said, 'I will pay for clothes.' Then they said to him, 'Thou carriest gold': and he answered them, 'I will pay for my gold.' On this they further said to him, 'Surely thou bearest the finest silk': he replied, 'I will pay custom for the finest silk.' Then said they, 'Surely it must be pearls that thou takest with thee': and he only answered, 'I will pay for pearls.' Seeing that they could name nothing of value for which the patriarch was not willing to pay custom, they said, 'It cannot be but thou open the box, and let us see what is within.' So they opened the box, and the whole land of Egypt was illumined by the lustre of Sarah's beauty,—far exceeding even that of pearls."

Shakspeare, who loved all things beautiful, and embalmed them so that their lustre could lose nothing at his hands, was never tired of introducing the diamond and the pearl. They were his favorite ornaments; and we intended to point out some of the splendid passages in which he has used them. But we have room now for only one of those priceless sentences in which he has set the diamond and the pearl as they were never set before. No kingly diadem can boast such jewels as glow along these lines from "Lear":—

  "You have seen  Sunshine and rain at one: her smiles and tears  Were like a better day: Those happy smiles  That played on her ripe lip seemed not to know  What guests were in her eyes; which parted thence,As pearls from diamonds dropp'd."

REVIEWS AND LITERARY NOTICES

1. Lis Oubreto de ROUMANILLE. Avignon. 1860. 12mo.

2. T. AUBANEL. La Miougrano Entreduberto. Avec Traduction littérale en regard. Avignon: J. Roumanille. 1860. 12mo.

3. Mirèio. Pouèmo Prouvençau de FREDERI MISTRAL. Avec la Traduction littérale en regard. Avignon: J. Roumanille. 1859. 8vo.

4. Las Papillôtos de JACQUES JASMIN, de l'Académie d'Agen, Maître ès Jeux-Floraux, Grand Prix de l'Académie Française. Édition populaire, avec le Français en regard, et ornée d'un Portrait. De 1822 à 1858. Paris: Firmin Didot, Frères & Cie. 1860. 12mo.

5. Lés Piaoulats d'un Reïpetit. Recueil de Poésies Patoises. Par J.B. Veyre, Instituteur à Saint-Simon (Cantal). Aurillac: Imprimerie de L. Bonnet-Picut. 1860. 8vo.

Few persons, when they consider the present greatness and prosperity of the French Empire, bear in mind the heterogeneous elements of which it is composed. For us, Paris is France, and the literature of the realm is comprised in the words, "Paris publications." We think not of the millions of Frenchmen to whom the language of the capital is a sealed letter,—of the Germans of Alsatia, the Flemings of the extreme North-East, the Bretons of the peninsula of Finisterre, the Basques, the Catalans of the mountains of Roussillon, and, more numerous than all these, the fourteen millions of the thirty-seven departments south of the Loire. These speak, to this day, with fewer modifications than have taken place in any other of the European languages during the same lapse of time, the very tongue in which wrote Bertran de Born and Pierre Vidal, the idiom in which Dante and Petrarca found some of their happiest inspirations, and which, we are told, Tasso envied for its poetic capabilities.

True, the Provinces of Gascony, Provence, Auvergne may be traversed by the stranger almost without his suspecting that other than the French, more or less badly spoken, is in common use. In hotels and shops he will hear nothing else.

The larger towns in direct communication with the capital, and all that is purely exterior in the people, are becoming more and more French every day. But in the family interior, far from the noise of affairs, the bustle of towns, in hamlets, among the vine-growers and tenders of the silk-worm, in the mountains and retired valleys, the home-tongue is again at ease. Simple, ingenuous, amber-like in its sunny tints, it is a reflection of that ardent poetical imagination which made the courts of the Counts of Toulouse the nurseries of modern poesy, when the rest of Europe was little else than one wrangling battle-field. Neither the exterminating crusade against the Albigenses, after which the idiom of Provence was wellnigh stigmatized as heretical, nor the civil and religious wars of the seventeenth century, nor even the dragonnades of Louis XIV., have been able to outroot it. The levelling edicts of the first French Revolution were powerless against it. The Provençal, or Langue d'Oc, if you will, the Gascon, the Auvergnat, are spoken to this day in their respective provinces, universally spoken by the people, who in many instances do not understand French at all. They must be preached to in their own dialect. They have their songs, their theatre even.

Nor must this be understood as referring only to the lower strata of society. The better classes, even, retain a fondness for their mother-tongue which years of residence in Paris will not obliterate. In their very French, they still retain the inflections, the tones of the South,—a measured cadence in the phrase, which the Parisian uniformly styles gasconner. They feel ill at ease in what they call the cold-mannered speech of the Franchiman. In the words of one of their poets, Mistral, who has proved that he was no less a master of the academic forms and rules than of the riches and power of his own Avignonais:—"Those who have not lived at the South, and especially in the midst of our rural population, can have no idea of the incompatibility, the insufficiency, the poverty of the language of the North in regard to our manners, our needs, our organization. The French language, transplanted to Provence, seems like the cast-off clothes of a Parisian dandy adapted to the robust shoulders of a harvester bronzed by the Southern sun."

The Provençal, in its two principal divisions, the Gascon and Langue d'Oc, is the current idiom south of the Loire. The South-West Provinces had, in the seventeenth century, no mean poet in Godelin; and in our own day, Jasmin has found a host of followers. The inhabitants of the South-East, however, the more immediate retainers of the language of the Troubadours, save in a few drinking-songs and Christmas carols, had forgotten the strains that once resounded beyond the limits of Provence and had first awaked the poetic emulation of Spain and Italy. The princess of song, stung by the envious spirit of persecution in the Albigensian wars, had slept for centuries, and the thick hedge of forgetfulness had grown rank about the language and its treasures. What Raynouard, Diez, Mahn, Fauriel, and others have done to bring to light again the unedited texts was little better than an autopsy. A living, breathing poet was wanting to reanimate by his touch the poesy that had slept so long. That poet was Roumanille.

The Minnesingers have found heirs and continuators in the modern writers of Germany. Side by side with the increasing tendency to unity in all national literature is working the force of races confounded under one political banner, to assert their existence as such. Congresses have shaped new kingdoms; but they have not reached or removed the limits of nationalities that have each their expression in song, whether in Moldavia or among the Czechs of Bohemia. The regeneration of local idioms, which is fast working its way from the Bosphorus to the Atlantic, was first undertaken in Provence, at the instigation of Roumanille. The son of a gardener of St. Remy, he was first struck with the insufficiency of French literature for his immediate countrymen, when, on his return from college, seeking to recite some of his earlier poems in the language of Racine to his aged mother, she failed to understand them. For her he translated, and found that his own Provençal was richer, more copious and melodious than the French itself, and, if less finical and restrained by grammatical forms, more pliant for the poet, and better answering the exigencies of primitive, spontaneous expression of feeling. From that moment his efforts were unceasingly directed towards the reintegration of his mother-tongue, which had so long played but the part of a Cinderella among the Romanic nations.

His poems, collected in 1847, under the title of "Margarideto," (Daisies,) were hailed by his countrymen with their habitual national enthusiasm. Nor did he remain inactive during the Revolution of 1848, addressing the people in home-phrase in several small volumes of prose. In 1852, he sent forth a call to his brother-writers, the felibre, who had joined with him in his efforts. The result was the publication of "Li Prouvençalo," a charming selection from those modern Troubadours who in all ranks of society sing, because sing they must, in bright and sunny Provence, and who in very deed find poetry

"In the forge's dust and ashes, in the tissues of the loom."

The call of Roumanille was the signal for a revival. Since that time, he himself, now a publisher in Avignon, has steadily watched and fostered the movement. The new literature has rapidly gone beyond its home-limits. Within the present year, Paris has republished several of the most noted works.

The volume which has called forth these remarks, "Lis Oubreto," comprises the poems of M. Roumanille,—"Li Margarideto," "Li Nouvè," "Li Sounjarello," "La Part de Dieu," "Li Flour de Sauvi." They are characterized by an elevation in the thoughts and a religious purity of sentiment, qualities which, it has been urged, and justly too, were lacking in many of the former productions in various dialects of France. We call the poetry of Roumanille elevated, yet it always addresses itself to the people of Provence, and borrows its images from the many-colored life of those to whom it speaks; religious, but simple and ingenuous, with a tinge of mysticism,—not the mysticism that seeks the good in dreamy inaction, as in some of the Spanish authors, nor has it the obscure tinge of the transcendental English school. The religion of Roumanille is active, not dogmatic; he incites to do, rather than discuss or dream the good. There is a health, a vigor, an earnestness, in this spontaneous poesy of an idiom which six centuries ago was the language of courts, and now sings the song of toil. Side by side with the over-cultured language of the Parisian, it seems so free and frank! Where the one is hampered for fear of sinning, the other, buoyant and elastic, treads freely and fears not to be too ingenuous.

Roumanille's poems have not been translated; it is hardly likely they ever will be,—at least, the greater number. They were not made for Paris. They are not at ease in a French garb,—nor, for that matter, in any other than their own diaphanous, sun-tinted, vowelly Provençal, unless they could find their expression in some folk-speech, as the Germans say, that could utter things of daily life without euphuistic windings, without fear of ridicule for things of home expressed in home-words.

As characterizing the nature and tendency of the new poetry, we subjoin a translation of "Li Crecho," (The Infant Asylums,) of which M. Sainte-Beuve, of the French Academy, one whose judgment as literary critic could be little biased in favor of the naïve graces of the original, said,—"The piece is worthy of the ancient Troubadours. The angel of the asylums and of little children in his celestial sadness could not be disavowed by the angels of Klopstock, nor by that of Alfred de Vigny."

"Li Crecho" was recited by the author at the inauguration of the Infant Asylum of Avignon, the 20th of November, 1851, and forms part of the sheaf of poems entitled "Li Flour de Sauvi."

I

"Among the choirs of Seraphim, whom God has created to sing eternally, transported with love, 'Glory, glory to the Father!'—among the joys of Paradise, one oftentimes, far from the happy singers, went thoughtful away.

"And his snow-white forehead inclined towards our world, as droops a flower that has no moisture in summer. Day by day he grew more dreamy. If sadness, when in God's glory, could torment the heart, I should say that this fair angel was pining with sorrow.

"Of what did he dream thus, and in secret? Why was he not of the feast?

Why, alone among angels, as one that had sinned, did he bow the head?"

II

"Lo! he has just knelt at the feet of God. What will he say? What will he do? To see and hear him, his brethren interrupt their song of praise."

III

"'When Jesus, thy child, wept,—when he shivered with cold in the manger of Bethlehem,—it was my smile that consoled him, my wings that sheltered him, with my warm breath did I comfort him.

"'And since then, O God, when a child weeps, in my pitying heart his voice resounds. Therefore forever now am I sick at heart,—therefore, O Lord, am I ever thoughtful.

"'On earth, O God, I have something to do. Let me descend there. There are so many babes, poor milk-lambs, who, shivering with cold, weep and wail far from the breasts, far from the kisses of their mothers! In warm rooms will I shelter them,—will cover and tend them,—will nurse and caress them,—will lull them to rest. Instead of one mother, they shall each have twenty that shall give them suck and soothe them to sleep.'"

IV

"And with heart and hand did the angels applaud,—a tremor of joy shot through the stars of heaven,—and, unfolding his pinions, with the rapidity of lightning the angel descended. The road-side smiled with flowers, as he passed,—and mothers trembled for joy; for infant-asylums arose wherever the child-angel trod."

One of the first to respond to the call of Roumanille for the composition of the selection "Li Prouvençalo" was Th. Aubanel, also of Avignon. The "Segaire" (Mowers) and "Lou 9 Thermidor" made it plain, that, of the thirty names, that of the young printer would soon take a prominent place among the revivers of Southern letters. And now, eight years later, the promise of M. René Taillandier, in his introduction to the selection, has become reality.

"La Miougrano Entreduberto" (The Opened Pomegranate) is printed with an accompanying French translation. Mistral, the brother-poet and friend of the author, thus announces the poems:—

"The pomegranate is of its nature wilder than other trees. It loves to grow in pebbly elevations (clapeirolo) in the full sun-rays, far from man and nearer to God. There alone, in the scorching summer-beams, it expands in secret its blood-red flowers. Love and the sun fecundate its bloom. In the crimson chalices thousands of coral-grains germ spontaneously, like a thousand fair sisters all under the same roof.

"The swollen pomegranate holds imprisoned as long as it can the roseate seeds, the thousand blushing sisters. But the birds of the moor speak to the solitary tree, saying,—'What wilt thou do with the seeds? Even now comes the autumn, even now comes the winter, that chases us beyond the hills, beyond the seas…..And shall it be said, O wild pomegranate, that we have left Provence without seeing thy beautiful coral-grains, without having a glimpse of thy thousand virgin daughters?'

"Then, to satisfy the envious birdlings of the moor, the pomegranate slowly half-opens its fruit; the thousand vermeil seeds glitter in the sun; the thousand timorous sisters with rosy cheeks peep through the arched window: and the roguish birds come in flocks and feast at ease on the beautiful coral-grains; the roguish lovers devour with kisses the fair blushing sisters.

"Aubanel—and you will say as I do, when you have read his book—is a wild pomegranate-tree. The Provençal public, whom his first poems had pleased so much, was beginning to say,—'But what is our Aubanel doing, that we no longer hear him sing?'"

Then follows an exposition of the hopeless passion of the poet,—how he took for motto,

  "Quau canto,  Soun mau encanto."

Hence the three books of poems now before us,—"The Book of Love," "Twilight," and "The Book of Death." "The Book of Love," "a thing excessively rare," as we are told in the Preface, "but this one written in good faith," opens with a couplet that is a key to the whole volume:—

  "I am sick at heart,And will not be cured."

We subjoin a literal translation of the eleventh song, line for line:—

  De-la-man-d'eilà de la mar,  Dins mis ouro de pantaiage,  Souvènti-fes iéu fau un viage,  Iéu fau souvènt un viage amar,  De-la-man-d'eilà, de la mar."  etc., etc.  "Far away, beyond the seas,  In my hours of reverie,  Oftentimes I make a voyage,  I often make a bitter voyage,  Far away, beyond the seas.  "Yonder far, towards the Dardanelles,  With the ships I glide away,  Whose long masts pierce the sky;  Towards my loved one do I go,  Yonder far, towards the Dardanelles.  "With the great white clouds sailing on,  Driven by the wind, their master-shepherd,  The great clouds which before the stars  Pass onwards like white flocks,  With the clouds I go sailing on.  "With the swallows I take my flight,  The swallows returning to the sun;  Towards fair days do they go, quick, quick;  And I, quick, quick, towards my love,  With the swallows take my flight.  "Oh, I am very sick for home,  Sick for the home that my love haunts!  Far from that foreign country,  As the bird far from its nest,  I am very sick for home.  "From wave to wave, o'er the bitter waters,  Like a corse thrown to the seas,  In dreams am I borne onward  To the feet of her that's dear,  From wave to wave, o'er the bitter waters.  "On the shores I am there, dead!  My love in her arms supports me;  Speechless she gazes and weeps,  Lays her hand upon my heart,  And suddenly I live again!  "Then I clasp her, then I fold her  In my arms: 'I have suffered enough!Stay, stay! I will not die!'  And as a drowning one I seize her,  And fold her in my arms.  "Far away, beyond the seas,  In my hours of reverie,  Oftentimes I make a voyage,  I often make a bitter voyage,  Far away, beyond the seas."

As may easily be seen, Aubanel writes not, like Roumanille, for his own people alone. His Muse is more ambitious, and seeks to interest by appealing to the sentiments in a language polished with all the art of its sister, the French. There are innumerable exquisite passages scattered through the work, which make us ready to believe in the figurative comparison of the prefacer, when he tells us that "the coral-grains of the 'Opened Pomegranate' will become in Provence the chaplet of lovers."