Monthly Archives: October 2018

Helen 2:59

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Qu’il me soit arraché des tetins de sa mere
Ce jeune enfant Amour, et qu’il me soit vendu :
Il ne fait que de naistre, et m’a desja perdu :
Vienne quelque marchand, je le mets à l’enchere.
 
D’un si mauvais garçon la vente n’est pas chere,
J’en feray bon marché. Ah ! j’ay trop attendu.
Mais voyez comme il pleure, il m’a bien entendu.
Appaise toy mignon j’ay passé ma cholere,
 
Je ne te vendray point : au contraire je veux
Pour Page t’envover à ma maistresse Helene,
Qui toute te ressemble et d’yeux et de cheveux,
 
Aussi fine que toy, de malice aussi pleine.
Comme enfans vous croistrez, et vous jou’rés tous deux :
Quand tu seras plus grand, tu me payras ma peine.
 
 
 
 
                                                                            Oh that he could be torn from his mother’s breast,
                                                                           That young boy Love, and sold into slavery ;
                                                                           Just by being born, he has already destroyed me ;
                                                                           Let some merchant come, I put him up for auction.
 
                                                                           For so wicked a child, the price is not dear,
                                                                           I’ll sell him cheap. Ah, I’ve waited too long.
                                                                           See how he weeps, he’s understood me well.
                                                                           Calm yourself, dear, my anger is passed,
 
                                                                           I shall not sell you ; instead I would like
                                                                           To send you as my page to my mistress Helene,
                                                                           Whose eyes and hair are just like yours,
 
                                                                           Who’s as delicate as you, and as full of wickedness.
                                                                           Like children you’ll grow and you’ll play together,
                                                                           And when you’re older, you’ll repay my trouble.
 
 
 
Even though Ronsard is classicizing, this is a reminder that slavery still existed: people really could be sold.
 
Slightly unusual among these poems for pursuing one image all through the sonnet; Ronsard usually seems in these later poems to be throwing together several different thoughts or perspectives.
 
There is a variant in Blanchemain’s edition: his line 3 reads “Il ne faut plus qu’il croisse ; il m’a desja perdu !” (‘There’s no need for him to grow up, he has already destroyed me!’) – the same thought in a slightly less-concentrated form.
 
 
 
 
 
 
 

Helen 2:56

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J’errois en mon jardin, quand au bout d’une allee
Je vy contre l’Hyver boutonner un Soucy.
Ceste herbe et mon amour fleurissent tout ainsi :
La neige est sur ma teste, et la sienne est gelee.
 
O bien-heureuse amour en mon ame escoulee
Pour celle qui n’a point de parangon icy,
Qui m’a de ses rayons tout l’esprit esclarcy,
Qui devroit des François Minerve estre appellee :
 
En prudence Minerve, une Grace en beauté,
Junon en gravité, Diane en chasteté,
Qui sert aux mesmes Dieux, comme aux hommes d’exemple.
 
Si tu fusses venue au temps que la Vertu
S’honoroit des humains, tes vertus eussent eu
Vœuz encens et autels sacrifices et temple.
 
 
 
                                                                            I was wandering in my garden when, at the end of a path
                                                                            I saw blossoming – in the face of Winter – a marigold.
                                                                            This plant and my love both bloom this way:
                                                                            Snow is on my head, its own is frozen.
 
                                                                            O fortunate love flowing in my soul
                                                                            For her who has no equal here,
                                                                            Who has illuminated my whole spirit with her rays,
                                                                            Who ought to be called Minerva by the French;
 
                                                                            In prudence a Minerva, in beauty a Grace,
                                                                            A Juno in solemnity, a Diana in chastity,
                                                                            Who provides an example to the gods themselves, as to men.
 
                                                                            If you had come in a time when virtue
                                                                            Was honoured by mankind, your virtues would have received
                                                                            Vows, incense and altars, sacrifices and a temple.
 
 
The transition between the first stanza and the remainder is a bit rough: from the rarity of the flower in winter, and of love in old-age, to the rarity of Helen as a paragon of all virtues; and then in the final lines to the rather odd reflection on the wickedness of his own time. The latter is what we’d expect in a sonnet, perhaps, but the ormer jars a little.
 
I really don’t think any commentary on the various goddesses in lines 9-10 is needed; for once, Ronsard explains himself thoroughly for even the classical novice.
 
And Blanchemain has no variants to offer, either.

Helen 2:63

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Voyant par les soudars ma maison saccagee,
Et mon pais couvert de Mars et de la mort,
Pensant en ta beauté tu estois mon suport,
Et soudain ma tristesse en joye estoit changee.
 
Resolu je disois, Fortune s’est vangee,
Elle emporte mon bien et non mon reconfort.
Hà, que je fus trompé ! tu me fais plus de tort
Que n’eust fait une armee en bataille rangee.
 
Les soudars m’ont pillé, tu as ravy mon cœur :
Tu es plus grand voleur, j’en demande justice
Aux Dieux qui n’oseroient chastier ta rigueur.
 
Tu saccages ma vie en te faisant service :
Encores te mocquant tu braves ma langueur,
Qui me fait plus de mal que ne fait ta malice.
 
 
 
 
                                                                            Seeing my home sacked by soldiers
                                                                            And my country covered in war and death,
                                                                            Thinking of your beauty you were my support,
                                                                            And suddenly my sadness was changed to joy.
 
                                                                            Resolute, I said “Fortune has had her revenge,
                                                                            She takes away my goods but not my comfort.”
                                                                            Oh how wrong I was! You do me more wrong
                                                                            Than did an army drawn up for battle.
 
                                                                            The soldiers pillaged my goods, you have stolen my heart;
                                                                            You are a greater thief, I demand justice for this
                                                                            From the gods who did not dare punish your harshness.
 
                                                                            You sack my life as I do you service;
                                                                            Still laughing at me you reject my languishing [for you],
                                                                            Which does me more harm than does your malice.
 
 
 
I find it hard to imagine joy replacing sadness for the destruction of one’s home, however much in love you are. But such are the exaggerations of love poetry! In other respects, we see the ‘usual’ themes of the lady’s harshness exceeding even that which Fortune might throw at her lover …
 
Blanchemain provides minor variants, changes of words rather than sense:  in line 2, Ronsard sees “Et tout mon pays estre image de la mort” (‘and my whole country become a picture of death’); in line 7, a change of tense – “Hà, que je suis trompé !” ( ‘Oh how wrong I am!’); and in line 12, a simpler version of the demand, which also re-thinks the function of the word ‘rigueur’, & reverses its application: “Tu es plus digne qu’eux de cruelle rigueur.” (‘… I demand justice for this, / You are worthier than those [soldiers] of cruel punishment.”)
 
 
 
 
 
 
 
 

Helen 2:36

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J’ay honte de ma honte, il est temps de me taire,
Sans faire l’amoureux en un chef si grison:
Il vaut mieux obeyr aux loix de la Raison,
Qu’estre plus desormais en l’amour volontaire.
 
J’ay juré cent fois : mais je ne le puis faire.
Les Roses pour l’Hyver ne sont plus de saison :
Voicy le cinquiesme an de ma longue prison,
Esclave entre les mains d’une belle Corsaire.
 
Maintenant je veux estre importun amokureux
Du bon pere Aristote, et d’un soin genereux
Courtiser et servir la beauté de sa fille.
 
Il est temps que je sois de l’Amour deslié :
Il vole comme un Dieu : homme je vais à pié.
Il est jeune il est fort: je suis gris et debile.
 
 
                                                                            I’m ashamed of my shame, it’s time to shut up
                                                                            And stop acting like a lover with my hairs so grey ;
                                                                            Better to obey the laws of Reason
                                                                            Than still in future to volunteer for love.
 
                                                                            I’ve sworn it a hundred times; but I cannot do it.
                                                                            Roses in winter are no longer in season;
                                                                            And this is the fifth year of my long imprisonment,
                                                                            A slave in the hands of a fair Corsair.
 
                                                                            Now I’d rather be the demanding lover
                                                                            Of good father Aristotle, and with generous care
                                                                            Court and serve his daughter’s beauty.
 
                                                                            It’s time that I was unbound from Love.
                                                                            He flies like a god, as a man I have to walk;
                                                                            He is young and powerful, I am grey and weak.
 
 
 
 
Blanchemain helpfully notes, in case you hadn’t got it, that Aristotle’s daughter in line 11 is philosophy, not a real girl. (We might note, though, that Aristotle had a real daughter Pythias, who was married 3 times: maybe then she was a beauty!) Being more precise, we might look at Aristotle’s philosophical ‘children’ as being logic & ethics (=reason & virtue), which would link neatly with two themes (other than love) which often appear in these poems.
 

Love or philosophy? And is philosophy just the refuge of the one who isn’t loved – or is too old for love?! I’m sure Aristotle (and others) would be annoyed by Ronsard’s thinking here; though to be fair, Ronsard is actually saying he should go back to more important things and give up this ridiculous floating around after a girl who doesn’t love him.

 
Blanchemain footnotes an alternative to the line about Aristotle’s daughter:  “Courtizer un Platon à nostre vie utile” (‘Court a Plato, useful in our lives’. That would remove the possibility that Ronsard is being more specific about reason & virtue, these not being specifically Platonic traits.
 
Incidentally, note that here Ronsard has been in love with Helen for 5 years; by the end of the book the affair is in its 7th year.
 
 
 
 

Helen 2:38

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Une seule vertu, tant soit parfaite et belle,
Ne pourroit jamais rendre un homme vertueux :
Il faut le nombre entier, en rien defectueux :
Le Printemps ne se fait d’une seule arondelle.
 
Toute vertu divine acquise et naturelle
Se loge en ton esprit. La Nature et les Cieux
Ont versé dessus toy leurs dons plus precieux :
Puis pour n’en faire plus ont rompu le modelle.
 
Ici à ta beauté se joint la Chasteté,
Ici l’honneur de Dieu, icy la Pieté,
La crainte de mal-faire, et la peur d’infamie :
 
Ici un cœur constant, qu’on ne peut esbranler.
Pource en lieu de mon cœur, d’Helene et de ma vie,
Je te devrois plustost mon destin appeller.
 
 
 
 
                                                                            One single virtue however fine and perfect
                                                                            Could never make a man virtuous :
                                                                            You need the whole set, defective in none –
                                                                            One swallow does not make the spring.
 
                                                                            Every virtue – divine, learned and natural –
                                                                            Has its place in your spirit. Nature and Heaven
                                                                            Poured on you their most precious gifts
                                                                            And then, not to repeat it, broke the mould.
 
                                                                            Here joined with your beauty is chastity,
                                                                            Here is god-fearing, here is piety,
                                                                            The horror of wrong-doing, and fear of dishonour:
 
                                                                            Here is a constant heart which cannot be shaken.
                                                                            Therefore instead of my heart, Helen and my life,
                                                                            I ought rather to call you my destiny.
 
 
Enough, says Ronsard, of all this ‘my heart’, ‘my life’ stuff – no, you are my destiny & that’s even bigger. But in Blanchemain’s version, almost exactly the opposite is suggested:  his final line reads, “Je te veux desormais ma Pandore appeler”. ‘I’d rather call you my Pandora from now on’? Pandora, the woman who released all evils into the world?? Surely that carries a sharply different implication about how all those virtues he can see in Helen impact on Ronsard’s life – not a good thing, but a bad one? It is of course common for sonnets to sharply change direction in the final lines, but this one is a big surprise.
 
Perhaps, with a modern sensibility, the transition from ‘a man’ in the first stanza to ‘you’ – Helen, a woman – in the second is a little awkward. But maybe that goes to show that Ronsard and the renaissance are less male-centred than we think, and that the word ‘man’ genuinely does mean ‘mankind’ (sorry, humankind)  in a more thorough-going way than we can grasp today.
 
Blanchemain offers another change as well as the one already discussed, this one much more consistent with the content of the surrounding lines: in line 7, Nature & Heaven “Ont versé dessus toy leurs dons à qui mieux mieux” (‘have poured out their gifts on you, vying to give you most’).
 
 
 
 
 
 

Helen 2:35

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Cythere entroit au bain, et te voyant pres d’elle
Son Ceste elle te baille à fin de le garder.
Ceinte de tant d’amours tu me vins regarder
Me tirant de tes yeux une fleche cruelle.
 
Muses, je suis navré, ou ma playe mortelle
Guarissez, ou cessez de plus me commander.
Je ne suy vostre escole, à fin de demander
Qui fait la Lune vieille, ou qui la fait nouvelle.
 
Je ne vous fait la Cour, comme un homme ocieux,
Pour apprendre de vous le mouvement des cieux,
Que peut la grande Eclipse, ou que peut la petite,
 
Ou si Fortune ou Dieu ont fait cest Univers :
Si je ne puis flechir Helene par mes vers,
Cherchez autre escolier, Deesses, je vous quitte.
 
 
                                                                            Cytherea [Venus] entered her bath, and seeing you near her
                                                                            Handed you her girdle so that you could guard it.
                                                                            Girded with so much love, you came to see me,
                                                                            You eyes shooting me with a cruel dart.
 
                                                                            Muses, I am wounded : cure my
                                                                            Mortal wound, or cease henceforth to command me.
                                                                            I do not follow your school to ask
                                                                            Who makes the moon old, or who makes her new [again];
 
                                                                            I do not pay you court, like a man of leisure,
                                                                            To learn from you the movements of the heavens,
                                                                            Or what a great eclipse can do, or a small one,
 
                                                                            Or if Chance or God made this universe.
                                                                            If I cannot move Helen with my verses,
                                                                            Seek some other pupil, goddesses : I abandon you.
 
 
When Ronsard talks of the Muses, it’s easy to forget there were Muses in charge of things other than poetry or music: astronomy, for instance. That was Urania.
 
In line 2, it’s worth noting that Venus’s “cestus”, her magic girdle, ‘gave the wearer the power to excite love’ (Wiktionary).
 
 
 
 
 
 
 

Garnier’s tribute to Ronsard

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It is SO long since I posted anything here: I hope to get going again & finish off Helen 2 at least. Meanwhile, it felt right to include Garnier’s tribute to the dead Ronsard – not least because my own attempt to preserve his memory has faltered …

This elegy was originally published in Binet’s memorial volume, Discours de la Vie de Pierre de Ronsard, in 1586. It was picked up and anthologised in 1778, in volume 8 of the Annales poétiques, ou Almanach des Muses, after which it reappeared several times elsewhere, copied from that anthology,and can now be found in several places on the web. But the 1778 anthologisers quietly abbreviated Garnier’s text – removing approximately 50% of it! So the versions found elsewhere are likewise abbreviated and I think this is the first time the full original text has been reproduced online.

Elégie sur le trespas de feu Monsieur de Ronsard
 
A monsieur des Portes Abbé de Thiron
 
 
Nature est aux humains sur tous autres cruelle,
On ne voit animaux
En la terre et au ciel, ny en l’onde infidele,
Qui souffrent tant de maux.
 
Le rayon eternel de l’essence divine,
Qu’en naissant nous avons,
De mille passions noz tristes jours épine
Tandis que nous vivons :
 
Et non pas seulement vivants il nous torture,
Mais nous blesse au trespas,
Car pour prevoir la mort, elle nous est plus dure
Qu’elle ne seroit pas.
 
Si tost que nostre esprit dans le cerveau raisonne,
Nous l’alons redoutant,
Et sans cette frayeur que la raison nous donne,
On ne la craindroit tant.
 
Nous creignons de mourir, de perdre la lumiere
Du Soleil radieus,
Nous creignons de passer sur les ais d’une biere
Le fleuve stygieus.
 
Nous creignons de laisser noz maisons delectables,
Noz biens et noz honneurs,
Ces belles dignitez, qui nous font venerables
Remarquer des seigneurs.
 
Les peuples des forests, de l’air et des rivieres,
Qui ne voyent si loing,
Tombent journellement aux mortelles pantieres
Sans se gesner de soing.
 
Leur vie est plus heureuse, et moins sujette aus peines,
Et encombres divers,
Que nous souffrons chetifs en noz ames humaines,
De desastres couverts.
 
Ores nous poind l’amour, Tyran de la jeunesse,
Ores l’avare faim
De l’or injurieus, qui fait que chacun laisse
La vertu pour le gain.
 
Cetuy-cy se tourmente apres les grandeurs vaines,
Enflé d’ambition,
De cetuy-la l’envie empoisonne les veines
Cruelle passion.
 
La haine, le courroux, le depit, la tristesse,
L’outrageuse rancœur,
Et la tendre pitié du foeble qu’on oppresse,
Nous bourellent le cœur.
 
Et voila nostre vie, ô miserables hommes !
Nous semblons estre nez
Pour estre, cependant qu’en ce monde nous sommes,
Tousjours infortunez.
 
Et enquore, où le ciel en une belle vie
Quelque vertus enclost,
La chagrineuse mort qui les hommes envye
Nous la pille aussi tost.
 
Ainsi le verd email d’une riante prée
Est soudain effacé,
Ainsi l’aymable teint d’une rose pourprée
Est aussi tost passé.
 
La jeunesse de l’an n’est de longue durée,
Mais l’Hyver aux dois gours,
Et l’Esté embruny de la torche etherée
Durent [orig : durant] presque toujours.
 
Mais las ! ô doux Printems, vostre verdeur fanie
Retourne en mesme point,
Mais quand nostre jeunesse une fois est finie
Elle ne revient point.
 
La vieillesse nous prend maladive et facheuse,
Hostesse de la mort,
Qui pleins de mal nous pousse en une tombe creuse
D’où jamais on ne sort.
 
Des Portes, que la Muse honore et favorise
Entre tous ceux qui ont
Suivy le saint Phebus, et sa science aprise
Dessur le double mont.
 
Vous voyez ce Ronsard, merveilles de nostre age,
L’honneur de l’Univers,
Paitre de sa chair morte, inevitable outrage,
Une source de vers.
 
De rien vostre Apollon, ny les Muses pucelles
Ne luy ont profité,
Bien qu’ils eussent pour luy les deux croppes jumelles
De Parnasse quitté :
 
Et qu’ils eust conduits aux accords de sa Lire
Dans ce François sejour,
Pour chanter de noz Roys, et leurs victoires dire,
Ou sonner de l’amour.
 
C’est grand cas, que ce Dieu, qui des enfance l’aime,
Afranchit du trespas
Ses divines chansons, et que le chantre mesme
N’en affranchisse pas.
 
Vous en serez ainsi : car bien que vostre gloire,
Espandue en tous lieux,
Ne descende estoufée en une tombe noire
Comme un peuple otieux,
 
Et que voz sacrez vers, qui de honte font taire
Les plus grands du metier,
Nous facent choir des mains, quand nous en cuidons faire,
La plume et le papier.
 
Si verres vous le fleuve où tout le monde arrive,
Et payrez le denier
Que prend pour nous passer jusques à l’autre rive
L’avare Nautonnier.
 
Que ne ressemblons nous aus vagueuses rivieres
Qui ne changent de cours ?
Ou au branle eternel des ondes marinieres
Qui reflotent toujours ?
 
Et n’est-ce pas pitié, que ces roches pointues,
Qui semblent depiter,
De vents, de flots, d’oraige, et de foudres batues,
L’ire de Jupiter,
 
Vivent incessament, incessament demeurent
Dans leurs membres pierreux,
Et que des hommes, tels que ce grand Ronsard, meurent
Par un sort rigoureux ?
 
O destin lamentable ! un homme qui approche
De la divinité
Est ravy de ce monde, et le front d’une roche
Dure un eternité.
 
Qui pourra desormais d’une alaine assez forte
Entonner comme il faut
La gloir de mon Roy, puisque la muse est morte
Qui le chantoit si haut ?
 
Qui dira ses combats ? ses batailles sanglantes ?
Quand jeune, Duc d’Anjou,
De sa main foudroya les troupes protestantes
Aux plaines de Poictou ?
 
Des portes qui sera-ce ? une fois vostre Muse,
Digne d’estre en son lieu,
Fuyant l’honneur profane aujourdhuy ne s’amuse
Qu’au loüanges de Dieu.
 
Et qui sera-ce donc ? quelle voix suffisante,
Pour sonner gravement
Joyeuse nostre Achil, dont la gloire naissante
S’acroist journellement ?
 
Qui dira son courage, indomtable à la peine,
Indomtable à la peur,
Et comme il appareille avec une ame humaine
Un magnanime cœur ?
 
Comme il est de l’honneur, du seul honneur avare,
D’autres biens liberal,
Cherissant un chacun, fors celuy qui s’egare
Du service royal ?
 
Ne permette Clion et Phebus ne permette
Que Ronsard abattu
Par l’ennuyeuse mort, ne se treuve Poëte
Qui chante sa vertu.
 
Adieu, mon cher Ronsard, l’abeille en vostre tombe
Face tousjour son miel,
Que le baume Arabic à tout jamais y tombe,
Et la manne du ciel.
 
Le Laurier y verdisse avec le lierre
Et le Mirthe amoureus,
Riche en mille boutons, de toutes parts l’enserre
Le Rosier odoreus :
 
Le tin, le baselic, la franche Marguerite,
Et nostre Lis François,
Et cette rouge fleur, où la pleinte est escrite
Du malcontent Gregeois.
 
Les Nymphes de Gâtine, et les Nayades sainctes,
Qui habitent le Loir,
Le venant arroser de larmettes epreintes,
Ne cessent de douloir.
 
Las ! Cloton a tranché le fil de vostre vie
D’une piteuse main,
La voyant de vieillesse et de goutes suyvie,
Torturage inhumain.
 
Voyant la povre France en son corps outragee
Par le sanglant effort
De ses enfans, qui l’ont tant de foys ravagee,
Soupirer à la mort :
 
Le Souysse aguerry, qui aus combats se loüe,
L’Anglois fermé de flots,
Ceux qui boivent le Pau, le Tage et la Danoüe,
Fondre dessus son dos.
 
Ainsi que le Vautour, qui de griffes bourelles
Va sans fin tirassant
De Promethé le foye, en patures nouvelles
Coup sur coup renaissant.
 
Les meurtres inhumains se font entre les freres,
Spectacle plein d’horreur,
Et deja les enfans courent contre leurs peres
D’une aveugle fureur :
 
Le cœur des Citoyens se remplit de furies,
Les Paysans ecartez
Meurent comme une haye : on ne voit que turies
Par les chams desertez.
 
Et puis alez chanter l’honneur de nostre France
En siecles si maudits,
Attendez-vous qu’aucun vos labeurs recompense
Comme on faisait jadis ?
 
La triste povreté noz chansons accompaigne,
La Muse, les yeus bas,
Se retire de nous, voyant que lon dedaigne
Ses antiques ebats.
 
Vous estes donque heureus, et vostre mort heureuse,
O Cigne des François,
Ne lamentez que nous, dont la vie ennuyeuse
Meurt le jour mile fois.
 
Vous errez maintenant aux campaignes d’Elise,
A l’ombre des Vergers,
Où chargent en tout tems, asseurez de la Bise,
Les jaunes Orengers :
 
Où les prez sont toujours tapissez de verdure,
Les vignes de raisins,
Et les petits oyseaus, gasoüillans au murmure
Des ruisseaus cristalins.
 
Là le Cedre gommeus odoreusement sue,
Et l’arbre du Liban,
Et l’Ambre, et Myrrhe, au lit de son Pere receüe,
Pleure le long de l’an.
 
En grand’ foule acourus, autour de vous se pressent
Les heros anciens,
Qui boyvent le nectar, d’ambrosie se paissent,
Aux bords Elisiens :
 
Sur tous le grand Eumolpe, et le divin Orphee,
Et Line, et Amphion,
Et Musee, et celuy, dont la plume eschauffee
Mist en cendre Ilion.
 
Le loüengeur Thebain, le chantre de Mantoüe,
Le Lyrique latin,
Et aveques Seneque, honneur grand de Cordoüe,
L’amoureus Florentin :
 
Tous vont battant des mains, sautellent de liesse,
S’entredisant entre eux,
Voyla celuy, qui donte et l’Itale et la Grece
En poëmes nombreus :
 
L’un vous donne sa lyre, et l’au[t]re sa trompette,
L’autre vous veut donner
Son Myrthe, son Lierre, ou son Laurier profette,
Pour vous en couronner.
 
Ainsi vivez heureuse, ame toute divine,
Tandis que le destin
Nous reserve aus malheurs de la France, voysine
De sa derniere fin.
 
Elegy on the death of the late M.de Ronsard
 
To M. Desportes, abbot of Thiron
 
 
Nature is to men above all others cruel,
We do not see animals
On earth or in the skies, or in the treacherous seas,
Suffering so many ills.
 
The eternal ray of the divine essence
Which we receive at birth
With a hundred passions troubles our sad days
While we live.
 
And not only while we live does it torture us,
But injures us at our death,
For foreseeing death is to us harder
Than the event itself will be.
 
As soon as our spirit reasons within our brains,
We begin to fear it,
And without this terror which reason gives us
We would not be so frightened of it.
 
We are frightened of dying, of losing the light
Of the radiant Sun,
We are frightened of crossing, on the planks of a bier,
The Stygian river;
 
We are frightened of leaving our delightful homes,
Our goods and our honours,
Those fine dignities which make us respected
And noticed by lords.
 
The inhabitants of the forests, the air and the rivers
Who do not see so far,
Fall daily to death-dealing snares
Without troubling themselves with worries.
 
Their life is happier, and less subject to the troubles
And various burdens
Which we weakly suffer in our human souls,
Overcome by disasters.
 
Sometimes love afflicts us, that tyrant of our youth,
Sometimes the greedy hunger
For harmful gold, which makes everyone abandon
Virtue for gain.
 
This man torments himself seeking empty greatness,
Puffed up with ambition,
That man’s veins are poisoned by envy,
That cruel passion.
 
Hatred, anger, spite, sorrow,
Hurtful bitterness,
And tender pity for the weak who are oppressed
Bubble away in our hearts.
 
And that’s our life, o wretched men!
We seem to be born
To be, while we are in this world,
Always unfortunate.
 
And even when heaven includes
Some happiness in a good life,
Sorrowful death which envies men
Steals it from us soon enough.
 
Just so the fresh mosaic of a gay meadow
Is suddenly wiped away,
Just so the lovely tint of a crimson rose
Is soon enough past.
 
The year’s youth does not last long,
But Winter with his stiff fingers
And Summer scorched by the heavenly flame
Last almost forever.
 
Alas, sweet Spring, your faded freshness
Returns to the same state [each year]
But when once our youth is finished
It does not return.
 
Old age takes us, sickly and disagreeable,
Death’s hostess,
And, full of ills, pushes us into a dug grave
From which none ever escapes.
 
Desportes, whom the Muse honours and favours
Among all those of us who have
Followed holy Apollo and learned his wisdom
Upon the double mount:
 
You see this Ronsard, the marvel of our age,
The glory of the world,
Feeding with his dead flesh – an inescapable indignity –
A stream of worms.
 
Nothing have your Apollo and his maiden Muses
Profited him,
Although for him they abandoned
The twin mounts of Parnassus,
 
And although they have spent time, to the harmonies of his lyre,
In this France of ours,
To sing of our Kings and announce their victories,
Or to celebrate love.
 
It’s very clear that the god who loved him from infancy
Excepted from death
His divine songs, and yet could not except from it
The singer himself.
 
It will be the same for you: for although your glory,
Spreading to every place,
Will not descend, smothered, into a dark tomb
Like unproductive folk’s,
 
And though your sacred verse, which for shame makes
The greatest in the business fall silent,
Makes the pen and paper fall from our hands,
When we wish to use them:
 
Yet still you will see the river where every man arrives,
And you will pay the penny
Which the greedy Boatman takes
That we may pass to the other side.
 
Why are we not like the rippling waters
Which don’t change their course?
Or the eternal movement of the sea’s waves
Which break and break again?
 
Isn’t it a pity that those sharp rocks
Which seem to despise
The winds, the tides, storms and battering of lightning,
The anger of Jupiter,
 
Live on eternally, remain eternally
In their stony forms,
And that men like the great Ronsard die
By harsh fate?
 
O grievous destiny! A man who approaches
The divine
Is stolen from this world, and a rock-face
Lasts an eternity.
 
Who will be able henceforth with so strong a voice
To thunder as they should
Of my King’s glory, since the muse is dead
Who sang it so loudly?
 
Who shall sing of his combats? Of his bloody battles?
Who when young, as the Duke of Anjou,
Overthrew with his might the protestant troops
On the plains of Poitou …
 
Deportes, who will it be? Once, perhaps, your muse
Was worthy to be in his place;
But fleeing worldly honours today she employs herself
Only in the praise of God.
 
So who will it be? What voice sufficient
To celebrate gravely
Our joyous Achilles, whose budding glory
Grows daily?
 
Who shall speak of his courage, unconquered by strife,
Unconquered by fear,
And how it equipped with a human soul
A magnanimous heart?
 
How it is hungry for honour, for honour alone,
Liberal with other good things,
Cherishes everyone, even those who fall away
From the king’s service?
 
Do not permit, Clio, and Apollo do not permit
That Ronsard, defeated
By grievous death, should not find a Poet
To sing of his worth.
 
Farewell, my dear Ronsard, may the bees always
Make their honey on your tomb,
May balm from Arabia forever fall there
With manna from heaven.
 
May the laurel flourish there, along with ivy
And lovers’ myrtle,
Rich with a thousand buds, and on all sides may
The perfumed rose-bush embrace it,
 
And thyme, basil, the simple daisy,
Our lily of France,
And that red flower on which is written the plaint
Of the unhappy Greek.
 
May the nymphs of Gastine and the holy water-nymphs
Who live in the Loir
Having just poured out and expressed their tears for you
Not cease from grieving.
 
Alas! Clotho has cut the thread of your life
With her pitying hand,
Seeing it accompanied by old age and gout,
Those inhuman tortures,
 
And seeing our poor France, wounded in her body
By the bloody struggles
Of her children, who have so many times ravaged her,
Sighing for death;
 
And Switzerland at war, giving itself over to strife,
England enclosed by the seas,
And those who drink from the Po, Tagus and Danube
Drowning beneath their waters;
 
Just like the vulture, which with its executioner’s claws
Endlessly rakes
The liver of Prometheus, in new pastures
Renewing blow on blow,
 
Inhuman murders take place between brothers,
A horrific sight,
And now children rush upon their fathers
In blind madness;
 
The hearts of city-dwellers are filled with Furies,
The country-folk, swept aside,
Die in their rows; we see nothing but killings
Throughout the deserted countryside.
 
And yet you go on singing of the honour of our France
In times so accursed:
Do you expect anyone to reward your labours
As they did in the past?
 
Wretched poverty accompanies our songs;
The Muse, her eyes lowered,
Leaves us, seeing that we disdain
Her former amusements.
 
So, you are fortunate, and your death fortunate,
O Swan of the French,
Lament only for us, whose troubled lives
Die a thousand times every day.
 
You now wander in the fields of Elysium,
In the shade of the orchards
Where at all times, secure from cold northerly winds,
The tawny orange-trees are laden;
 
Where the meadows are always carpeted in green,
The vines with grapes,
And the little birds go chattering to the murmur
Of crystalline streams.
 
There the cedar sweats its perfumed gum,
And the tree of Lebanon
Weeps both amber and myrrh, received at its father’s bed,
All year long.
 
Running up in a great crowd, around you press
The ancient heroes
Who drink nectar and feed on ambrosia
On the banks of Elysium,
 
Above all great Eumolpe and godlike Orpheus
And Linus and Amphion
And Musaeus, and he whose burning pen
Set fire to Troy;
 
The Theban praise-singer, the poet of Mantua,
The Latin lyricist
And, with Seneca the great glory of Cordoba,
The Florentine love-poet,
 
All of them clapping their hands, leaping with joy,
Saying to one another,
“There he is, the man who surpassed Italy and Greece
In many a poem”.
 
One of them gives you his lyre, another his trumpet,
Another tries to give you
His myrtle, his ivy, or his prophetic laurel
To crown you with them.
 
So, live on happily, godlike soul,
While fate keeps us back
For the misfortunes of France, close
To her final end.
 

 

(In verse 15, I have amended one word slightly, to form a proper sentence – though Garnier may have been deliberately leaving the sentence hanging.)
 
As one would expect, Garnier’s tribute ranges over the areas Ronsard himself wrote about – the King and the civil wars, classical myth, nature, love poetry, Ronsard’s home on the Loir … So there are plenty of relatively obscure references perhaps worth amplifying:
 – the dedication is to Ronsard’s “successor”, Philippe Desportes – a lesser poet, but one whose fame eclipsed Ronsard’s in the latter portion of his life;
 – verse 5, the “Stygian river”, the Styx, is the river between the living world and Hades, across which Charon the ferryman or boatman (verse 25) takes all dead souls;
 – verses 18 & 20, Parnassus (the ‘double mount’, at right – photo credit Rens van der Sluijs) is the traditional home of the Muses. Ovid called it ‘biceps’, that is ‘two-headed’, and between its twin peaks was Delphi, the ‘omphalos’ (navel, centre) of the world;
 – verse 33, ‘Achilles’ (the great soldier) means of course the King
 – verse 37, Clio is usually the Muse of history, but sometimes also the Muse of lyre-playing: both seem appropriate here;
 – verse 40, the ‘unhappy Greek’ is not Narcissus but Hyacinthus, whose flower bears the Greek letters AIAI (‘alas’, ‘woe’);
 – verse 41, the Gastine & Loir are familiar as part of Ronsard’s beloved estates;
 – verse 42, Clotho is one of the Fates who determine the length of a man’s life – though note that Clotho is normally the Fate who spins the thread of life, Atropos the one who cuts it …
 – verse 45, the story of Prometheus eternally having his liver torn out by the eagle (or vulture) by day only for it to re-grow overnight, is well-known;
 – verse 53, I confess I have no idea what the end of line 3 (“received at its father’s bed”) is referring to … Ideas welcome. Amber and myrrh (like frankincense too) are resinous – and therefore associated with the resin-rich cedars of Lebanon, though myrrh in particular comes form small thorn-trees not huge cedars;
 –  verse 55-56 list many of the greatest poets of the past, legendary and historical.
     – Eumolpe (or Eumolpos – which means ‘beautiful song’) was founder of the Eleusininan mysteries in ancient Athens;
     – ‘godlike Orpheus’ is still well-known to us if only for carelessly losing Eurydice after charming Cerberus, the hell-dog, and Hades himself with his song;
     – Linus, sometimes viewed as Orpheus’s brother, was the inventor of lyric song and/or the harp;
     – Amphion, one of the founders of Thebes, was taught music by the god Hermes himself – and has a modern poetic form named after him;
     – Musaeus, lawgiver of Athens, was also was held to have been one of the great poets by Athenians – Socrates in the Apology links his name with three others in this list: “What would not a man give if he might converse with Orpheus and Musaeus and Hesiod and Homer?”;
     – Homer indeed is the next on the list, he “whose burning pen Set fire to Troy”;
     – the “Theban praise-singer” is Hesiod, associated with Mt. Helicon in Boeotia.
Bringing us from legendary to historical poets, “the poet of Mantua” is Virgil and the “Latin lyricist” is Horace. Seneca, although we think of him as Roman, was indeed born in Spain, in Cordoba; and last in the list and the only ‘modern’, the love-poet from Florence is of course Petrarch.