given. In one passage, she is introduced speaking with indecency and obscenity; in another, all the vices and bad qualities of women are represented as assembled together in her alone: Qui les mœurs féminins savoit, In a very old epistle dedicatory, addressed to Philip the Fourth of France, by this same John of Meun, and prefixed to a French translation of Boetius, a very popular book at that time, it appears, that he also translated the Epistles of Abelard to Heloissa, which were in high vogue at the court. He mentions also, that he had translated Vegetius specialiter inerant, quibus fœminarum quarumlibet animos statim allicere poteras; dictandi videlicet & cantandi gratia. Quæ cæteros minimè philosophos assecutos esse novimus. Quibus quidem quasi ludo quodam laborem exercitii recreans philosophici, pleraque amatorio metro vel rithmo composita reliquisti carmina, quæ præ nimiâ suavitate tam dictaminis, quam cantus, sæpius frequentata, tuum in ore omnium nomen incessanter tenebant; ut etiam illiteratos melodiæ dulcedo tui non sineret immemores esse." Epist. i. Heloissæ. p. 51. It is observable, that POPE judiciously softened and harmo nized her name to Eloisa from Heloissa. Vegetius on the Art Military, and a book called the Wonders of Ireland: these works shew us the taste of the age: his words are, "t'envoye ores * Boece de consolation, que j' translaté en François, jaçoit qui bien entendes le Latin."+ It is to be regretted that we have no exact picture of the person and beauty of Eloisa: Abelard himself says, that she was "facie non infima." Her extraordinary learning many circumstances concur to confirm; particularly one, which is, that the nuns of the Paraclete are wont to have the office of Whitsunday read to them in Greek, to perpetuate the memory of her understanding that language. The curious may not be displeased to be informed, that the Paraclete was built in the parish of Quincey, upon the little river Arduzon, near Nogent, upon the Seine. A lady, learned as was Eloisa in that age, who indisputably understood the Latin, Greek and Hebrew tongues, was a kind of prodigy. Her * Chaucer also translated this piece. Boetius was a most admired classic of that age; indeed, he deserves to be so of any. This sentence strongly also characterises the times. "in toto regno Her literature, says Abelard,* nominatissimam facerat:" and, we may be sure, more thoroughly attached him to her. Bussy Rabutin speaks in high terms of commendation of the purity of Eloisa's latinity: a judgment worthy a French count! There is a force, but not an elegance, in her style; which is blemished, as might be expected, by many phrases unknown to the pure ages of the Roman language, and by many Hebraisms, borrowed from the translation of the bible. I now propose to pass through the † EPISTLE, in order to give the reader a view of the various turns and tumults of passion, and the different sentiments with which Eloisa is agitated: and at * Abel. Opera, p. 10. the + The compliment which Prior paid our author on this EPISTLE, is at once full of elegance and very lively imagery. But Lord Bathurst informs me, that POPE was not pleased with it. He addresses it to Abelard, and says, that POPE has wove A silken web, and ne'er shall fade Its colours; gently has he laid That the same time, to point out what passages are borrowed, and how much improved, from the original Letters. From this analysis, her struggles and conflicts, between duty and pleasure, between penitence and passion, will more amply and strikingly appear. She begins with declaring how the peacefulness of her situation has been disturbed by a letter of her lover accidentally falling into her hands. This exordium is beautiful, being worked up with an awakening solemnity: she looks about her, and breaks out at once, * In these deep solitudes and awful cells,+ And That LOVE, with equal grief and pride, And softly drawing back the veil, The god shall to his vot❜ries tell, Each conscious tear, each blushing grace, That deck'd dear Eloisa's face. ALMA. p. 101. * Ver. 1. ተ "If I was ordered to find out the most happy and the most miserable man in the world, I would look for them in a cloister," said a man of penetration. And ever-musing MELANCHOLY reigns, What means this tumult in a vestal's veins ? She then resolves neither to mention nor to write the name of Abelard; but suddenly adds, in a dramatic manner, The name appears Already written-wash it out my tears!* She then addresses herself to the convent, where she was confined, in fine imagery: + Relentless walls! whose darksome round contains Ye rugged rocks! which holy knees have worn ; * V. 13. † V. 17. Shrines, This, and several other circumstances, in the scenery view of the monastery, which denote antiquity, may perhaps be a little blamed, on account of their impropriety, when introduced into a place so lately founded as was the Paraclete; but are so well imagined, and highly painted, that they demand excuse. |