Category Archives: Madrigals
Helen 2:30
Amours 2:59
After he’d wounded me he flew off laughing
And my thoughts went off into the air with him. But still the wound remained in my heart, Which I fruitlessly try a hundred times a day To get it cured; but such is its strength That I well see I’ll have to keep it despite myself,And that the remdey for curing it is death.
Amours 2:45 (madrigal)
Well, so much for literary criticism: here’s Blanchemain’s earlier version complete, despite the small number of differences, to encourage you to read it complete and see what you think about the ‘missing’ line …
Comme d’un ennemy je veux en toute place M’eslongner de vos yeux, qui m’ont le cœur deceu, Petits yeux de Venus, par lesquels j’ay receu Le coup mortel au sang qui d’outre en outre passe. Je voy toujours dans eux Amour qui me menasse, Aumoins voyant son arc je l’ay bien apperceu : Mais remparer mon cœur contre luy je n’ay sceu, Dont le trait fausseroit une forte cuirasse. Or pour ne les voir plus, je veux aller bien loing Vivre desur le bord d’une mer solitaire : Encore j’ay grand’peur de ne perdre le soing, Qui, hoste de mon cœur, y loge nuict et jour. On peut bien sur la mer un long voyage faire, Mais on ne peut changer ny de cœur ny d’amour. Like an enemy I want at every point To distance myself from your eyes, which have deceived my heart, Those little Venus-eyes through which I received The mortal wound in my blood which runs me through and through. I see always in them Love menacing me, And I well know his bow having seen it ; But how to fortify my heart against him I have never known, Whose blow can defeat a strong breastplate. So, too see them no more, I shall go far off To live on the edge of some lonely sea; Yet still I’m afraid it will be wasted effort, That guest in my heart stays there night and day; You might well make a long voyage on the sea But you can’t change your heart or your love.”Amours 2:39 (madrigal)
Another of those poems whose form Marty-Laveaux and Blanchemain disagree about:
Maistresse, de mon cœur vous emportez la clef, La clef de mes pensers et la clef de ma vie : Et toutesfois (helas ! ) je ne leur porte envie, Pourveu que vous ayez pitié de leur meschef. Vous me laissez tout seul en un tourment si gref, Que je mourray de dueil d’ire et de jalousie : Tout seul je le voudrois, mais une compagnie Vous me donnez de pleurs qui coulent de mon chef. Que maudit soit le jour que la fleche cruelle M’engrava dans le cœur vostre face si belle, Voz cheveux vostre front vos yeux et vostre port, Qui servent à ma vie et de Fare et d’estoille ! Je devois mourir lors sans plus craindre la mort, Le despit m’eust servy pour me conduire au port, Mes pleurs servy de fleuve, et mes souspirs de voile. Mistress, you carry the key of my heart, The key of my thoughts and the key of my life ; And yet, alas, I don’t envy them Since you have pity on their misfortune. You leave me all alone in torment so grievous That I shall die of grief, anger and jealousy ; All alone, I’d like that, but you give me A company of tears which flow down my face. Cursed be the day that the cruel dart Engraved in my heart your beautiful face, Your hair, your brow, your eyes and your bearing, Which serve as my life’s Pharos and star ! I should die now without fearing death more, Scorn has served to lead me to port, My tears served as the river, my sighs as the sail. We’re back in the poems for Marie, so classical references are occasional rather than freely-scattered. Here, only the Pharos, the famous lighthouse of Alexandria. (Did you know it stood guard over the harbour there until the late middle ages??) This is one of the ‘Sinope’ poems: as Blanchemain’s footnote reminds us, “Belleau gives the explanation of this name Sinope, applied to Marie [i.e. that Sinope was simply a pseudonym for Marie]. In the 1560 edition he says on the contrary that this name is to hide a lady of illustrious birth, beloved of the poet ‘with a furious passion’.” So, Blanchemain’s version opens with Sinope’s name not Marie’s: “Sinope, de mon cœur vous emportez la clef…”. Blanchemain’s earlier version also ends with something far simpler than the extravagant metaphor of the later version; and (with one less line) is a sonnet not the ‘madrigal’ of 15 lines which Marty-Laveaux prints (4+4+3+3, not 4+4+4+3). His version does not have line 12, the one about the Pharos, and then his sestet reads: Je devois mourir lors sans plus tarder une heure; Le temps que j’ay vescu depuis telle blesseure Aussi bien n’a servi qu’à m’allonger la mort. I should die now without waiting another hour; The time that I’ve lived quite well Since such a wound, has served only to push back my death.Madrigal (Amours 1.200a)
Madrigal (160a)
A madrigal is, in Ronsard’s terms, a sonnet with some extra lines: here, though it transforms the sonnet into a 4-stanza poem, you will note that the underlying sonnet rhyme-scheme is maintained, with the last two ‘stanzas’ expanded tercets structured differently from the opening quatrains. I must add, this poem has a very satifying ‘arc’ from beginning to end, as well. The only real weak point is where Ronsard resorts to an exclamation in line 7; it’s relevant that this is also the only place he made a change from the earlier version in Blanchemain, which has an even weaker exclamation: “N’ont, las ! je meurs ! de vostre cœur osté …” (‘Have not – alas, I am dying! – lifted from your heart …’).
Madrigal (55a)
Resver, songer, penser le moyen de vous plaire,
Oublier toute chose, et ne vouloir rien faire
Qu’adorer et servir la beauté qui me nuit : Si c’est aimer de suivre un bon-heur qui me fuit,
De me perdre moy-mesme et d’estre solitaire,
Souffrir beaucoup de mal, beaucoup craindre et me taire,
Pleurer, crier merci et m’en voir esconduit : Si c’est aimer de vivre en vous plus qu’en moy-mesme,
Cacher d’un front joyeux une langueur extrême,
Sentir au fond de l’ame un combat inegal,
Chaud, froid, comme la fiévre amoureuse me traitte :
Honteux, parlant à vous, de confesser mon mal : Si cela c’est aimer, furieux je vous aime :
Je vous aime, et sçay bien que mon mal est fatal :
Le cœur le dit assez, mais la langue est muette. If it is love, my Lady, both day and night To dream, ponder, think of how to please you, To forget everything and want to do nothing But adore and serve the beauty which harms me; If it is love to pursue a happiness which runs from me, To lose myself and be alone, To suffer much harm, to fear much and be silent, To weep, call for mercy and see myself rejected; If it is love to live in you more than in myself, To hide with a happy face my extreme pining, To feel in the depths of my soul an unequal combat, Hot and cold as love’s fever treats me; Too shy in speaking with you to confess my illness; If that is love, I love you madly; I love you, and well know that my illness is mortal: My heart speaks enough, though my tongue is silent. One of those Ronsardian ‘madrigals’, a sonnet with extra lines – here an extra couple of lines in the penultimate tercet. And what a lovely poem it is. Blanchemain has only one minor difference, in line 14 where he has “si cela est aimer” instead of “si cela c’est aimer”. The change is purely to the sound of the line (and this time the smoother effect of avoiding hiatus between the vowels “cela_est” is the improvement Ronsard sought.
Madrigal (6b)
Je change nuict et jour de poil et de jeunesse :
Mais je ne change pas l’amour d’une maistresse,
Qui dans mon coeur collée eternelle me suit.Toi qui es dés enfance en tout sçavoir instruit
(Si de nostre amitié l’antique neud te presse)
Comme sage et plus vieil, donne moy quelque adresse
Pour eviter ce mal, qui ma raison seduit.
Aide moy, Peletier, si par Philosophie
Ou par le cours des Cieux tu as jamais appris
Un remede d’amour, dy-le moy je te prie.
De l’arbre à Jupiter, qui fut jadis en prix,
De nos premiers ayeuls la vieille Prophetie,
Tu aurois11 à bon droit la couronne et le pris
D’avoir par le conseil de tes doctes escris
Sauvé de ton amy la franchise et la vie.
And my skin and youth are losing their freshness night and day;
But my love for my mistress is not losing its freshness,
She who, stuck to my heart, eternally pursues me. You have been instructed in all learning since childhood:
If the old tie of our friendship urges you,
As a wise man and my elder, give me some skill
To ward off this evil which seduces my reason.
Help me, Peletier, if through philosophy
Or in the courts of Heaven you have ever learned
Of a cure for love, tell me it I beg you!
From the tree of Jupiter, which was formerly prized
By our first ancestors as the ancient [means of] prophecy,
You should rightly take the crown and reward
For having, through the counsel of your learned writings,
Saved your friend’s liberty and life.
Si tu as quelquefois d‘une dame esté pris,
Eh ! pour Dieu, conte moi comme tu t‘es sauvé ! For, though now your heart is elevated to the heavens,
If you have sometimes been captivated by a lady,
Ah, for goodness’ sake, tell me how you freed yourself!
Madrigal (6a)
Prenez mon coeur, je vous l’offre, ma Dame :
Il est tout vostre, et ne peut d’autre feme,
Tant vostre il est, devenir serviteur. Doncque si vostre, il meurt vostre en langueur :
Vostre à jamais, vostre en sera le blâme :
Et si là bas on punira vostre ame
Pour tel peché d’une juste rigueur. Quand vous seriez quelque fille d’un Scythe,
Encor l’amour qui les Tigres incite,
Vous flechiroit : mais trop cruellement Vous me gesnez de tourment sur tourment, Me reperçant d’amoureuses halesnes,
Pour tesmoigner que du commencement
L’homme nasquit de rochers et de chesnes. Take my heart, Lady, take my heart;
Take my heart, I offer you it, my Lady;
It is entirely yours and cannot become,
So completely it’s yours, the servant of another lady. Yet if yours, it is dying yours, in pining;
Yours forever, yours will be the blame;
And so down below they will punish your soul
For such a sin with deserved harshness. Were you some Scythian’s daughter,
Still then the love which urges the tigers
Would move you; but too cruelly You trouble me with torment upon torment, Piercing me again and again with a lover’s sighs,
Bearing witness that from the beginning
Man has been born of stone and wood. Scythians make another appearance, as models of barbarian cruelty. Here, interestingly, Blanchemain offers a sonnet under the title ‘Madrigal’, with variants that (as he records in a footnote) ‘make the sonnet into a madrigal’: first, the poem as a sonnet (changes against the above marked in red): Prenez mon coeur, Dame, prenez mon coeur,
Prenez mon coeur, je vous l’offre, ma Dame :
Il est tout vostre, et ne peut d’autre feme,
Tant vostre il est, devenir serviteur. Doncque si vostre, il meurt vostre en langueur :
Vostre à jamais, vostre en sera le blâme :
Et si là bas on punira vostre ame
Pour ce malfait d’une injuste rigueur. Quand vous seriez quelque fille d’un Scythe,
Encor l’amour qui les Tigres incite,
Vous forceroit de mon mal secourir. Mais vous, trop plus qu‘une tigresse fière, Las ! de mon coeur vous êtes la meurdrière,
Et ne vivez que de le voir mourir. Take my heart, Lady, take my heart;
Take my heart, I offer you it, my Lady;
It is entirely yours and cannot become,
So completely it’s yours, the servant of another lady. Yet if yours, it is dying yours, in pining;
Yours forever, yours will be the blame;
And so down below they will punish your soul
For this misdeed with unjust harshness. Were you some Scythian’s daughter,
Still then the love which urges the tigers
Would force you to relieve my ills. But you, so much more than a proud tigress, Are, alas, the murderer of my heart
And live only to see it die. His variant form reverts to the text provided by Marty-Laveaux except that he adds another line! The madrigal then becomes a series of 4 equal 4-line stanzas. Here are the last two, as offered by Blanchemain: Quand vous seriez quelque fille d’un Scythe,
Encor l’amour qui les Tigres incite,
Vous flechiroit : mais trop cruellement
Du frein d’amour vous me serrez les resnes, Et me gesnez de tourment sur tourment,
Me reperçant d’amoureuses halesnes,
Pour tesmoigner que du commencement
L’homme nasquit de rochers et de chesnes. Were you some Scythian’s daughter,
Still then the love which urges the tigers Would move you; but too cruelly
With the bit of love you tighten my reins And trouble me with torment upon torment, Piercing me again and again with a lover’s sighs,
Bearing witness that from the beginning
Man has been born of stone and wood. [In the last line, literally, ‘stone and oak’ but the generic form is clearly meant.]