The
following
sonnet (cxxvi.
Petrarch
Burns has the happiest imaginable Scottish diction;
yet, what true Scotsman would bear to see him _done_ into French? And,
with the exception of German, what language has done justice to
Shakespeare?
The reader must be a true Petrarchist who is unconscious of a general
similarity in the character of his sonnets, which, in the long perusal
of them, amounts to monotony. At the same time, it must be said that
this monotonous similarity impresses the mind of Petrarch's reader
exactly in proportion to the slenderness of his acquaintance with the
poet. Does he approach Petrarch's sonnets for the first time, they will
probably appear to him all as like to each other as the sheep of a
flock; but, when he becomes more familiar with them, he will perceive an
interesting individuality in every sonnet, and will discriminate their
individual character as precisely as the shepherd can distinguish every
single sheep of his flock by its voice and face. It would be rather
tedious to pull out, one by one, all the sheep and lambs of our poet's
flock of sonnets, and to enumerate the varieties of their bleat; and
though, by studying the subject half his lifetime, a man might classify
them by their main characteristics, he would find they defy a perfect
classification, as they often blend different qualities. Some of them
have a uniform expression of calm and beautiful feeling. Others breathe
ardent and almost hopeful passion. Others again show him jealous,
despondent, despairing; sometimes gloomily, and sometimes with touching
resignation. But a great many of them have a mixed character, where, in
the space of a line, he passes from one mood of mind to another.
As an example of pleasing and calm reflection, I would cite the first of
his sonnets, according to the order in which they are usually printed.
It is singular to find it confessing the poet's shame at the retrospect
of so many years spent.
_Voi ch' ascoltate in rime sparse il suono. _
Ye who shall hear amidst my scatter'd lays
The sighs with which I fann'd and fed my heart.
When, young and glowing, I was but in part
The man I am become in later days;
Ye who have mark'd the changes of my style
From vain despondency to hope as vain,
From him among you, who has felt love's pain,
I hope for pardon, ay, and pity's smile,
Though conscious, now, my passion was a theme,
Long, idly dwelt on by the public tongue,
I blush for all the vanities I've sung,
And find the world's applause a fleeting dream.
The following sonnet (cxxvi. ) is such a gem of Petrarchan and Platonic
homage to beauty that I subjoin my translation of it with the most
sincere avowal of my conscious inability to do it justice.
In what ideal world or part of heaven
Did Nature find the model of that face
And form, so fraught with loveliness and grace,
In which, to our creation, she has given
Her prime proof of creative power above?
What fountain nymph or goddess ever let
Such lovely tresses float of gold refined
Upon the breeze, or in a single mind,
Where have so many virtues ever met,
E'en though those charms have slain my bosom's weal?
He knows not love who has not seen her eyes
Turn when she sweetly speaks, or smiles, or sighs,
Or how the power of love can hurt or heal.
Sonnet lxix. is remarkable for the fineness of its closing thought.
Time was her tresses by the breathing air
Were wreathed to many a ringlet golden bright,
Time was her eyes diffused unmeasured light,
Though now their lovely beams are waxing rare,
Her face methought that in its blushes show'd
Compassion, her angelic shape and walk,
Her voice that seem'd with Heaven's own speech to talk;
At these, what wonder that my bosom glow'd!
A living sun she seem'd--a spirit of heaven.
Those charms decline: but does my passion? No!
I love not less--the slackening of the bow
Assuages not the wound its shaft has given.
The following sonnet is remarkable for its last four lines having
puzzled all the poet's commentators to explain what he meant by the
words "Al man ond' io scrivo e fatta arnica, a questo volta. " I agree
with De Sade in conjecturing that Laura in receiving some of his verses
had touched the hand that presented them, in token of her gratitude. [O]
In solitudes I've ever loved to abide
By woods and streams, and shunn'd the evil-hearted,
Who from the path of heaven are foully parted;
Sweet Tuscany has been to me denied,
Whose sunny realms I would have gladly haunted,
Yet still the Sorgue his beauteous hills among
Has lent auxiliar murmurs to my song,
And echoed to the plaints my love has chanted.
Here triumph'd, too, the poet's hand that wrote
These lines--the power of love has witness'd this.
yet, what true Scotsman would bear to see him _done_ into French? And,
with the exception of German, what language has done justice to
Shakespeare?
The reader must be a true Petrarchist who is unconscious of a general
similarity in the character of his sonnets, which, in the long perusal
of them, amounts to monotony. At the same time, it must be said that
this monotonous similarity impresses the mind of Petrarch's reader
exactly in proportion to the slenderness of his acquaintance with the
poet. Does he approach Petrarch's sonnets for the first time, they will
probably appear to him all as like to each other as the sheep of a
flock; but, when he becomes more familiar with them, he will perceive an
interesting individuality in every sonnet, and will discriminate their
individual character as precisely as the shepherd can distinguish every
single sheep of his flock by its voice and face. It would be rather
tedious to pull out, one by one, all the sheep and lambs of our poet's
flock of sonnets, and to enumerate the varieties of their bleat; and
though, by studying the subject half his lifetime, a man might classify
them by their main characteristics, he would find they defy a perfect
classification, as they often blend different qualities. Some of them
have a uniform expression of calm and beautiful feeling. Others breathe
ardent and almost hopeful passion. Others again show him jealous,
despondent, despairing; sometimes gloomily, and sometimes with touching
resignation. But a great many of them have a mixed character, where, in
the space of a line, he passes from one mood of mind to another.
As an example of pleasing and calm reflection, I would cite the first of
his sonnets, according to the order in which they are usually printed.
It is singular to find it confessing the poet's shame at the retrospect
of so many years spent.
_Voi ch' ascoltate in rime sparse il suono. _
Ye who shall hear amidst my scatter'd lays
The sighs with which I fann'd and fed my heart.
When, young and glowing, I was but in part
The man I am become in later days;
Ye who have mark'd the changes of my style
From vain despondency to hope as vain,
From him among you, who has felt love's pain,
I hope for pardon, ay, and pity's smile,
Though conscious, now, my passion was a theme,
Long, idly dwelt on by the public tongue,
I blush for all the vanities I've sung,
And find the world's applause a fleeting dream.
The following sonnet (cxxvi. ) is such a gem of Petrarchan and Platonic
homage to beauty that I subjoin my translation of it with the most
sincere avowal of my conscious inability to do it justice.
In what ideal world or part of heaven
Did Nature find the model of that face
And form, so fraught with loveliness and grace,
In which, to our creation, she has given
Her prime proof of creative power above?
What fountain nymph or goddess ever let
Such lovely tresses float of gold refined
Upon the breeze, or in a single mind,
Where have so many virtues ever met,
E'en though those charms have slain my bosom's weal?
He knows not love who has not seen her eyes
Turn when she sweetly speaks, or smiles, or sighs,
Or how the power of love can hurt or heal.
Sonnet lxix. is remarkable for the fineness of its closing thought.
Time was her tresses by the breathing air
Were wreathed to many a ringlet golden bright,
Time was her eyes diffused unmeasured light,
Though now their lovely beams are waxing rare,
Her face methought that in its blushes show'd
Compassion, her angelic shape and walk,
Her voice that seem'd with Heaven's own speech to talk;
At these, what wonder that my bosom glow'd!
A living sun she seem'd--a spirit of heaven.
Those charms decline: but does my passion? No!
I love not less--the slackening of the bow
Assuages not the wound its shaft has given.
The following sonnet is remarkable for its last four lines having
puzzled all the poet's commentators to explain what he meant by the
words "Al man ond' io scrivo e fatta arnica, a questo volta. " I agree
with De Sade in conjecturing that Laura in receiving some of his verses
had touched the hand that presented them, in token of her gratitude. [O]
In solitudes I've ever loved to abide
By woods and streams, and shunn'd the evil-hearted,
Who from the path of heaven are foully parted;
Sweet Tuscany has been to me denied,
Whose sunny realms I would have gladly haunted,
Yet still the Sorgue his beauteous hills among
Has lent auxiliar murmurs to my song,
And echoed to the plaints my love has chanted.
Here triumph'd, too, the poet's hand that wrote
These lines--the power of love has witness'd this.
