Amours retranch. 33

D’une belle Marie, en une autre Marie,
Belleau, je suis tombé, et dire ne te puis
De laquelle des deux plus amoureux je suis,
Car j’en aime bien l’une, et l’autre est bien m’amie.
Plus mon affection en amour est demie
Et plus ceste moitié me consomme d’ennuis,
Car au lieu d’une à part, deux au coup j’en poursuis,
Et pour en aimer une, une autre je n’oublie.
« Or tousjours l’amitié plus est enracinée,
« Plus long-temps elle est ferme et plus est obstinée
« A souffrir de l’amour l’orage vehement.
« Hé ! sçais-tu pas, Belleau, que deux ancres jettées,
« Quand les vents ont plus fort les ondes agitées,
« Tiennent mieux une nef, qu’une ancre seulement?
                                                                            From one fair Marie to another Marie,
                                                                            Belleau, have I fallen [in love], and I cannot say
                                                                            With which of the two I am more in love,
                                                                            For I love one of them indeed, and the other is indeed my beloved.
                                                                            The more my affection is halved in love
                                                                            The more that half consumes me with pain,
                                                                            For instead of one alone, two at a time I’m chasing,
                                                                            And while making love to one of them I can’t forget the other.
                                                                            “Love is always more deeply rooted
                                                                            The longer it is fixed and the more it persists
                                                                            In suffering the violent storm of love.
                                                                            Ah, don’t you know, Belleau, that two anchors thrown out
                                                                            When the winds have strongly stirred the waves
                                                                            Hold a ship better than one anchor alone.”
Today, Ronsard in playful mood. And a reminder how common the name ‘Marie’ was in the 16th century!  The opening is a little awkward in the translation: I’m trying to catch the way the meaning shifts subtly after the end of line 1, as the meaning of “de” is influenced not by “en” (‘from … to’) but by “tombé” (“tombé de” = ‘fall in love with‘). It is clear  from lines 3 onwards that Ronsard isn’t saying he’s fallen out of love with one, as the opening line might imply; rather, that he’s in love with both.
Marty-Laveaux marks the whole sestet with quote marks – though it’s not obvious how this section is direct speech any more than the octet before it; had he marked only the first tercet that could (just) have been quoting a proverb, but the final tercet clearly isn’t. Blanchemain (as usual) sidesteps the question by not using quote marks at all  …

About fattoxxon

Who am I? Lover of all sorts of music - classical, medieval, world (anything from Africa), world-classical (Uzbek & Iraqi magam for instance), and virtually anything that won't be on the music charts... Lover of Ronsard's poetry (obviously) and of sonnets in general. Reader of English, French, Latin & other literature. And who is Fattoxxon? An allusion to an Uzbek singer - pronounce it Patahan, with a very plosive 'P' and a throaty 'h', as in 'khan')

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