John Lord - Beacon Lights of History, Volume 07 - Great Women

When Adam and Eve were expelled from Paradise, they yet found one flower, wherever they wandered, blooming in perpetual beauty. This flower represents a great certitude, without which few would be happy,–subtile, mysterious, inexplicable,–a great boon recognized alike by poets and moralists, Pagan and Christian; yea, identified not only with happiness, but human existence, and pertaining to the soul in its highest aspirations. Allied with the transient and the mortal, even with the weak and corrupt, it is yet immortal in its nature and lofty in its aims,–at once a passion, a sentiment, and an inspiration.

To attempt to describe woman without this element of our complex nature, which constitutes her peculiar fascination, is like trying to act the tragedy of Hamlet without Hamlet himself,–an absurdity; a picture without a central figure, a novel without a heroine, a religion without a sacrifice. My subject is not without its difficulties. The passion or sentiment I describe is degrading when perverted, as it is exalting when pure. Yet it is not vice I would paint, but virtue; not weakness, but strength; not the transient, but the permanent; not the mortal, but the immortal,–all that is ennobling in the aspiring soul.

"Socrates," says Legouvé, "who caught glimpses of everything that he did not clearly define, uttered one day to his disciples these beautiful words: 'There are two Venuses: one celestial, called Urania, the heavenly, who presides over all pure and spiritual affections; and the other Polyhymnia, the terrestrial, who excites sensual and gross desires.'" The history of love is the eternal struggle between these two divinities,–the one seeking to elevate and the other to degrade. Plato, for the first time, in his beautiful hymn to the Venus Urania, displayed to men the unknown image of love,–the educator and the moralist,–so that grateful ages have consecrated it by his name. Centuries rolled away, and among the descendants of Teutonic barbarians a still lovelier and more ideal sentiment burst out from the lips of the Christian Dante, kindled by the adoration of his departed Beatrice. And as she courses from star to star, explaining to him the mysteries, the transported poet exclaims:–

"Ah, all the tongues which the Muses have inspired could not tell the thousandth part of the beauty of the smile of Beatrice as she presented me to the celestial group, exclaiming, 'Thou art redeemed!' O woman, in whom lives all my hope, who hast deigned to leave for my salvation thy footsteps on the throne of the Eternal, thou hast redeemed me from slavery to liberty; now earth has no more dangers for me. I cherish the image of thy purity in my bosom, that in my last hour, acceptable in thine eyes, my soul may leave my body."

Thus did Dante impersonate the worship of Venus Urania,–spiritual tenderness overcoming sensual desire. Thus faithful to the traditions of this great poet did the austere Michael Angelo do reverence to the virtues of Vittoria Colonna. Thus did the lofty Corneille present in his Pauline a divine model of the love which inspires great deeds and accompanies great virtues. Thus did Shakspeare, in his portrait of Portia, show the blended generosity and simplicity of a woman's soul:–

or, in his still more beautiful delineation of Juliet, paint an absorbing devotion:–

Thus did Milton, in his transcendent epic, show how a Paradise was regained when woman gave her generous sympathy to man, and reproduced for all coming ages the image of Spiritual Love,–the inamorata of Dante and Petrarch, the inspired and consoling guide.

But the muse of the poets, even when sanctified by Christianity, never sang such an immortal love as the Middle Ages in sober prose have handed down in the history of Héloïse,–the struggle between the two Venuses of Socrates, and the final victory of Urania, though not till after the temporary triumph of Polyhymnia,–the inamorata of earth clad in the vestments of a sanctified recluse, and purified by the chastisements of Heaven. "Saint Theresa dies longing to join her divine spouse; but Saint Theresa is only a Héloïse looking towards heaven." Héloïse has an earthly idol; but her devotion has in it all the elements of a supernatural fervor,–the crucifixion of self in the glory of him she adored. He was not worthy of her idolatry; but she thought that he was. Admiration for genius exalted sentiment into adoration, and imagination invested the object of love with qualities superhuman.

Nations do not spontaneously keep alive the memory of those who have disgraced them. It is their heroes and heroines whose praises they sing,–those only who have shone in the radiance of genius and virtue. They forget defects, if these are counterbalanced by grand services or great deeds,–if their sons and daughters have shed lustre on the land which gave them birth. But no lustre survives egotism or vice; it only lasts when it gilds a noble life. There is no glory in the name of Jezebel, or Cleopatra, or Catherine de' Medici, brilliant and fascinating as were those queens; but there is glory in the memory of Héloïse. There is no woman in French history of whom the nation is prouder; revered, in spite of early follies, by the most austere and venerated saints of her beclouded age, and hallowed by the tributes of succeeding centuries for those sentiments which the fires of passion were scarcely able to tarnish, for an exalted soul which eclipsed the brightness of uncommon intellectual faculties, for a depth of sympathy and affection which have become embalmed in the heart of the world, and for a living piety which blazes all the more conspicuously from the sins which she expiated by such bitter combats. She was human in her impulses, but divine in her graces; one of those characters for whom we cannot help feeling the deepest sympathy and the profoundest admiration,–a character that has its contradictions, like that warrior-bard who was after God's own heart, in spite of his crimes, because his soul thirsted for the beatitudes of heaven, and was bound in loving loyalty to his Maker, against whom he occasionally sinned by force of mortal passions, but whom he never ignored or forgot, and against whom he never persistently rebelled.

As a semi-warlike but religious age produced a David, with his strikingly double nature perpetually at war with itself and looking for aid to God,–his "sun," his "shield," his hope, and joy,–so an equally unenlightened but devout age produced a Héloïse, the impersonation of sympathy, disinterestedness, suffering, forgiveness, and resignation. I have already described this dark, sad, turbulent, superstitious, ignorant period of strife and suffering, yet not without its poetic charms and religious aspirations; when the convent and the castle were its chief external features, and when a life of meditation was as marked as a life of bodily activity, as if old age and youth were battling for supremacy,–a very peculiar state of society, in which we see the loftiest speculations of the intellect and the highest triumphs of faith blended with puerile enterprises and misdirected physical forces.

In this semi-barbaric age Héloïse was born, about the year 1101. Nobody knew who was her father, although it was surmised that he belonged to the illustrious family of the Montmorencies, which traced an unbroken lineage to Pharimond, before the time of Clovis.