A Tale of Two Lovers: A Renaissance Humanist Before He Became Pope

 

A Tale of Two Lovers by Aeneas Silvio Piccolomini is an unusual tale both for its content and because the author would later become Pope Pius II. Written in 1444 while Piccolomini was a diplomat and Renaissance humanist, the novella became one of the most popular love stories of the fifteenth century. After his election as pope in 1458, however, he distanced himself from the work.

The story belongs to the long tradition of medieval and Renaissance courtly romance that stretches from Chrétien de Troyes to the literature eventually satirized by Cervantes in Don Quixote. Yet Piccolomini's lovers are more human than the idealized knights and ladies of earlier romances. They are driven not simply by chivalric devotion but by genuine physical desire.

What surprised me most was the novella's frank celebration of physical love. The lovers meet only twice, yet on both occasions they delight in one another passionately and immediately long for another meeting. Piccolomini presents their intimacy not as temptation but as an essential expression of their love. For a work written in the middle of the fifteenth century, the openness with which he portrays mutual physical affection feels remarkably modern. The story is, for much of its length, unabashedly in love with physical love itself.

In the end, however, the novella returns to convention. The lovers cannot escape the moral and social order surrounding them. The heroine dies in despair, while the knight ultimately marries a worthy bride, restoring the expected balance of virtue and duty. The conclusion is obligatory. The author recognized that his celebration of passion required a moral resolution acceptable to his audience.

A Tale of Two Lovers is not a great work of Renaissance literature, but it is a fascinating one. It stands between medieval romance and Renaissance humanism, revealing a writer more interested in the psychology of love than in the conventions of chivalry. Read today, it is made even more intriguing by the knowledge that its worldly, perceptive author would later become the head of the Roman Catholic Church. That remarkable transformation gives the novella an historical irony almost as memorable as the story itself.