Tag Archives: Cypris
Amours 2:54
Madrigal (Amours 1.200a)
Chanson (Amours 2:49b)
Stances lyriques (Lyric stanzas) – from the Poèmes retranchées
This one comes with variant subtitles: in Marty-Laveaux it is simply “pour un banquet” (‘for a banquet’); but the Blanchemain version is helpfully headed “Stances promptement faites pour jouer sur la lyre, un joueur respondant à l’autre, au baptesme du fils de Monsieur de Villeroy, en faveur de Monsieur de l’Aubespine à présent” (‘Stanzas written to be played on the lyre, one player responding to the other, at the baptism of the son of M. de Villeroy …’). Here then is a prime example of Ronsard’s concern to make his poetry adaptable to music. Many of his ‘withdrawn’ items were withdrawn simply because their rhyme-schemes no longer fitted the more advanced ideas he developed – principally, about metrical regularity in the use of masculine & feminine endings (broadly, alternating 10-syllable and 11-syllable lines, which clearly has an impact on the way a composer sets the text).
I Joueur Autant qu’au Ciel on voit de flames Dorer la nuict de leur clartez, Autant voit-on icy de Dames Orner ce soir de leurs beautez. II Joueur Autant que l’on voit une prée Fleurir en jeunes nouveautez Autant ceste troupe sacrée S’enrichit de mille beautez. I La Cyprine et les Graces nuës, Se desrobant de leur sejour, Sont au festin icy venuës, Pour de la nuict faire un beau jour. II Ce ne sont pas femmes mortelles Qui vous esclairent de leurs yeux, Ce sont Déesses eternelles, Qui pour un soir quittent les Cieux. I Quand Amour perdroit ses flaméches Et ses dards trempez de soucy, Il trouveroit assez de fléches Aux yeux de ces Dames icy. II Amour qui cause nos detresses Par la cruauté de ses dards, Fait son arc de leurs blondes tresses, Et ses fléches de leurs regards. I Il ne faut point que l’on desire Qu’autre saison puisse arriver, Voicy un Printemps qui souspire Ses fleurs au milieu de l’Hyver. II Ce mois de Janvier qui surmonte Avril par la vertu des yeux De ces Damoiselles, fait honte Au Printemps le plus gracieux. I Ce grand Dieu, Prince du tonnerre, Puisse sans moi l’air habiter, Il me plaist bien de voir en terre Ce qui peut blesser Jupiter. II Les Dieux épris comme nous sommes, Pour l’amour quittent leur sejour : Mais je ne voy point que les hommes Aillent là-haut faire l’amour. I A la couleur des fleurs écloses Ces Dames ont le teint pareil, Aux blancs Lys, aux vermeilles roses Qui naissent comme le Soleil. II Leur blanche main est un yvoire, De leurs yeux les astres se font : Amour a planté sa victoire Sus la Majesté de leur front. I Las ! que ne suis-je en ceste trope Un Dieu caché sous un Toreau ? Je ravirois encore Europe Au beau milieu de ce tropeau. II Que n’ay-je d’un Cygne la plume, Pour joüir encore à plaisir De ceste beauté qui m’allume Le cœur de crainte et de desir ? I Amour qui tout void et dispense, Ces Dames vueille contenter : Et si la rigueur les offense, Nouvel amy leur presenter. II Afin qu’au changer de l’année, Et au retour des jeunes fleurs, Une meilleure destinée Puisse commander à leurs cœurs. | Just as we see the lights in heaven Gild the night with their brightness, So we see here ladies Adorn the evenings with their beauty. Just as we see a meadow Flower with fresh newness, So this holy band Enriches itself with a thousand beauties. The Cyprian goddess [Venus] and the naked Graces, Abandoning their homes, Have come here to the feast To make night into fair day. These are not mortal women Who light you with their eyes, These are eternal goddesses Who have, for an evening, have left the heavens. When love loses his fiery bolts And his darts drenched in pain, He will find enough arrows In the eyes of these ladies here. Love who causes our distress Through the cruelty of his darts Makes his bow from their blond tresses And his arrows from their glances. We need not wish That another season might arrive, Here is spring, breathing out Its flowers in the midst of winter. This month of January, which is better Than April because of the power in the eyes Of these maidens, makes ashamed Even the most graceful spring. That great god, prince of thunder, Can live in the sky without me; I am quite happy seeing on earth That beauty which can wound Jupiter. The gods, smitten as we are, Leave their dwelling for love; But I never see men Going up there to make love! Like the colour of blossoming flowers Is the hue these Ladies have, Like white lilies, like crimson roses, Which grow as the sun. Their white hands are ivory, Of their eyes are the stars made; Love has founded his victory On the majesty of their brows. Alas, why can’t I be among this troop A god hidden beneath [the likeness of] a bull? I would again steal away Europa From the fair midst of this troop. Why can’t I have the feathers of a swan, To play again at my pleasure With this beauty which fires my Heart with fear and longing? Love, who sees all and grants all, Wishes to please these Ladies; And if my strictness injures them He will present them a new lover. If only, at the turn of the year And when the young flowers come back, A better fate Might control their hearts. |
(Like most items “retranchées”, there is not much to report concerning variants: in this case, “fleurer” rather than ‘fleurir’ in the second verse (a variant conjugation for the verb) is about the only interest!)
Sonnet 87
Ronsard has a way of turning a compliment, doesn’t he – and often deftly turning it to himself! If ever a poet was secure in his knowledge of his own worth, it’s Ronsard. But of course this poem is about the surpassing charms of Cassandre, greater than any inspiration to any poet before… The ‘poet of the Grecian army’ is of course Homer, the war is the Trojan War, his poem the Iliad, and the Greek general who dies is Achilles. Paris was chosen to judge the contest between Juno, Venus and Minerva and naturally decided the prettiest was best – so Ronsard says Cassandre is prettier than the goddess of love herself. Myrtles and laurels are the prize for poets, and indeed the victors of any contest, in the classical world – though not good enough as a prize for Ronsard apparently! I must admit to some paraphrasing in this translation: in line 5 Paris actually “saw [Venus] in the valley”, but ‘glimpsed … garden’ offers an alliterative effect similar to “veit en la valée”. In line 14 Ronsard actually says no myrtle is ‘worthy of you, nor worthy of my head’, but I have changed this (with less excuse) to the more explanatory ‘crown’. Blanchemain’s version shows how Ronsard’s self-confidence had grown later in life: for in this version he ends by receiving (and being pleased to receive) the best of myrtle crowns… Si l’escrivain de la Gregeoise armée Eust veu tes yeux qui serf me tiennent pris, Les faits de Mars il n’eust jamais empris, Et le duc grec fust mort sans renommée. Et si Pâris, qui vit en la valée La grand’ beauté dont son cœur fut épris, Eust veu la tienne, il t’eust donné le pris, Et sans honneur Venus s’en fust allée. Mais s’il advient, ou par le vueil des cieux, Ou par le trait qui sort de tes beaux yeux, Qu’en publiant ma prise et ta conqueste, Outre la Tane on m’entende crier, Io ! Io ! quel myrte ou quel laurier Sera bastant pour enlacer ma teste ! If the poet of the Grecian army Had seen your eyes, which hold me bound as a serf, He would never have taken up the deeds of Mars [war] And the Greek general would have died without fame. And if Paris, who glimpsed in the garden That great beauty by which his heart was seized, Had seen yours, he would have given you the prize And Venus would have left without reward. But if it happens, by the will of Heaven Or by the wound given by your fair eyes, That in speaking out of my capture and your conquest, Beyond Tanais they hear me singing “Io! Io!”, what myrtle or what laurel Will be woven to twine around my head! In the second quatrain his first version is more allusive than the later one – perhaps unusually! – explaining itself only in line 8; but the later version, while making the allusion clearer in line 5, does end up repeating itself if we recognise Cypris and Venus to be the same person. In the final lines, Blanchemain says ‘I believe “la Tane” is Tanais’; this was a city at the southern end of the [modern] river Don, that is to say NE of the Crimea at the top-right of the Black Sea – – or, in classical terms, the far end of the known world. So those beyond Tanais are in effect at or beyond the edges of the known world. ‘Io’ was a representation of the shouting (or ululation) of Bacchantes and others in the throes of some form of ecstatic dance-trance – again, associated with the mystic east.
Ode 4: 32
Verson ces roses en ce vin, En ce bon vin versons ces roses, Et boivon l’un à l’autre, afin Qu’au cœur nos tristesses encloses Prennent en boivant quelque fin. La belle rose du printemps, Aubert, admoneste les hommes Passer joyeusement le temps, Et pendant que jeunes nous sommes, Esbattre la fleur de nos ans. Car ainsi qu’elle défleurit A bas en une matinée, Ainsi nostre âge se flestrit, Las ! et en moins d’une journée Le printemps d’un homme perit. Ne veis-tu pas hier Brinon Parlant et faisant bonne chere, Lequel aujourd’hui n’est sinon Qu’un peu de poudre en une bière, Qui de luy n’a rien que le nom ? Nul ne desrobe son trespas, Caron serre tout en sa nasse, Roys et pauvres tombent là bas ; Mais ce-pendant le temps se passe, Rose, et je ne te chante pas. La rose est l’honneur d’un pourpris, La rose est des fleurs la plus belle, Et dessus toutes a le pris : C’est pour cela que je l’appelle La violette de Cypris. Le rose est le bouquet d’amour, La rose est le jeu des Charites, La rose blanchit tout autour Au matin de perles petites Qu’elle emprunte du poinct du jour. La rose est le parfum des dieux, La rose est l’honneur des pucelles, Qui leur sein beaucoup aiment mieux Enrichir de roses nouvelles, Que d’un or tant soit precieux. Est-il rien sans elle de beau ? La rose embellit toutes choses, Venus de roses a la peau, Et l’Aurore a les doigts de roses, Et le front le Soleil nouveau. Les nymphes de rose ont le sein, Les coudes, les flancs et les hanches ; Hebé de roses a la main, Et les Charites, tant soient blanches, Ont le front de roses tout plein. Que le mien en soit couronné, Ce m’est un laurier de victoire : Sus, appelon le deux-fois-né, Le bon pere, et le faisons boire, De cent roses environné. Bacchus, espris de la beauté Des roses aux fueilles vermeilles, Sans elles n’a jamais esté, Quand en chemise sous les treilles Il boit au plus chaud de l’esté. | Pour these roses into the wine, Into this fine wine pour these roses, And drink one to another, that Those sad things we keep in our hearts May meet in drinking some kind of end. The fair rose of spring, Aubert, admonishes men To spend their time joyously And, while we’re young, To frolic away the flower of our years. For just as her petals fall Down in a morning, So our age is blighted: Alas, in less than a day A man’s springtime perishes. Didn’t you see Brinon yesterday Chattering and making good cheer, Who is nothing today but A little powder in a beer Which has nothing of him but his name? None can avoid his death, Charon closes his net on us all, Kings and paupers fall down below; But – time is passing, O Rose, and I am not singing of you! The Rose is the most distinguished of crimsons, The Rose is of flowers most beautiful, And above all others takes the prize: That’s why I call it The violet of Cypris (=Venus). Rose is the scent of love The Rose is the plaything of the Graces, The Rose makes all around it fade, In the morning, with tiny pearls She borrows from the dawn. The Rose is the perfume of the gods, The Rose is the symbol of virgins, Who love far more to enrich Their breast with fresh roses Than with gold however precious. Is there anything beautiful without her? The Rose enhances all things, Venus has skin like roses, And Dawn is rosy-fingered And the morning Sun is rose-pink. The nymphs have rosy breasts, Arms, bodies, legs; Hebe has a rosy hand, And the Graces, though fair-skinned, Have all-rosy brows. Would that mine was so crowned, That would be for me a laurel of victory; Up then, call the twice-born, The good father, and let’s make him drink, Encircled by a hundred roses. Bacchus, enamoured of the beauty Of roses with their crimson petals, Has never been without them When in shirt-sleeves he drinks Beneath the arbour in the hottest days of summer. |