Tag Archives: Parnassus

Amours 1.228

Mon Des-Autels, qui avez dés enfance
Puisé de l’eau qui coule sur le mont,
Où les neuf Sœurs dedans un antre font
Seules à part leur saincte demeurance :
Si autrefois, l’amoureuse puissance
Vous a planté le myrte sur le front,
Enamoure de ces beaux yeux qui sont
Par vos escrits l’honneur de nostre France :
Ayez pitié de ma pauvre langueur,
Et de vos sons adoucissez le cœur
D’une qui tient ma franchise en contrainte.
Si quelquefois en Bourgoigne je suis,
Je flechiray par mes vers, si je puis,
La cruauté de vostre belle Saincte.
                                                                            My dear Des Autels, you who have since childhood
                                                                            Drawn from the waters which flow on the mount
                                                                            Where the nine sisters, within a cave, make
                                                                            Alone and apart their holy residence ;
                                                                            If once the power of love
                                                                            Placed laurels upon your brow,
                                                                            Enamoured of those fair eyes which are
                                                                            Through your writings the credit of our France ;
                                                                            [Now] have pity on my weak pining
                                                                            And with your music soften the heart
                                                                            Of the one who holds my liberty in chains.
                                                                            And if sometime I am in Burgundy
                                                                            I shall turn aside with my verse, if I can,
                                                                            The cruelty of your fair Saint. 
Amidst the chansons and elegies which conclude the first book, there are a couple of final sonnets. This is one of them, a quick tribute to Ronsard’s friend Guillaume Des Autels, “gentilhomme Charrolois”. He was a cousin of Pontus de Tyard and, through the literary circle around him in Lyons became a sometime member of the Pleiade. Indeed, most of Des Autels’ poetry comes from the 1550s, when he was in his twenties. His birthplace is uncertain, though clearly in or near the city of Charolles in Burgundy; the date of his death likewise unknown. Des Autels always referred to his beloved as ‘his Saint’ in his verse, echoed here by Ronsard. Ronsard’s book of “Discours” opens with an elegy to Des Autels, one of several tributes to his fellow-poet.
The nine sisters of the opening stanza are of course the Muses, whose home was on Mount Helicon; though they are normally associated with the springs and sacred grove there, not a cave. The Corcyrian cave on mount Parnassus is, however, sacred to the Muses; and there is a stray reference in Pausanias to a rck ‘worked like a cave’ in the grove on Helicon. Perhaps Ronsard amalgamated the two!



Amours 1.175

Je ne suis point, Muses, accoustumé
De voir vos sauts sous la tarde serée :
Je n’ay point beu dedans l’onde sacrée,
Fille du pied du cheval emplumé.
De tes beaux rais vivement allumé,
Je fu Poëte : et si ma voix recrée,
Et si ma lyre en t’enchantant t’agrée,
Ton œil en soit, non Parnasse, estimé.
Certes le Ciel te devoit à la France,
Quand le Thuscan, et Sorgue, et sa Florence,
Et son Laurier engrava dans les cieux :
Ore trop tard, beauté plus que divine,
Tu vois nostre age, helas ! qui n’est pas digne
Tant seulement de parler de tes yeux.
                                                                            I am not at all accustomed, Muses,
                                                                            To watch you leaping in the late evening ;
                                                                            I have not drunk from the sacred waters,
                                                                            Springing from the foot of the winged horse.
                                                                            Excited and aroused by your fair eyes, [my love],
                                                                            I became a poet ; and if my voice entertains,
                                                                            And my lyre as it sings to you pleases you,
                                                                            Your eyes, not Parnassus, deserve the praise.
                                                                            Surely heaven owed France your presence,
                                                                            Since the Tuscan [Petrarch] had engraved in the heavens
                                                                            The Sorgue, his Florence, and his laurels.
                                                                            Yet too late, more-than-divine beauty,
                                                                            You see our age which, alas, is not worthy
                                                                            Even just to speak of your eyes.
Here Ronsard stakes his claim to be firmly in the line of the great poets: though typically he does it while undermining the traditional classical image and placing himself in the petrarchan line of love poets. So (first quatrain) he denies inspiration from the Muses – whose Hippocrene spring on Mount Helicon was created when Pegasus struck the ground with his hoof –  while (second quatrain) deriving it from his lady-love – or, as we might say in English, his ‘muse’… In English the transition from “vous / Muses” to “tu / Cassandre” is not obvious, so I have added a few words at the end of line 5 to make the translation clear. Parnassus, like Helicon, is home to the Muses.
In the sestet, the focus moves forward to the Italian renaissance, with Petrarch as the comparator. Though mostly associated with Florence, Petrarch lived for many years in Avignon (seat of the anti-Popes), and the Sorgue flows through Avignon. His ‘laurels’ are both the laurels won by the greatest poets (hence ‘poet laureate’), and a reference to Laura, his lady and ‘muse’. The final tercet point to the length of time between Petrarch and Ronsard – some two centuries – and another hint of a classical theme with the ‘golden age’ descending to a later ‘silver age’ and so forth, the later ages clearly not as great or as worthy as the former.
Blanchemain’s version offers variants in the octet:
Je ne suis point, Muses, accoustumé
Voir vostre bal sous la tarde serée ;
Je n’ay point beu dedans l’onde sacrée,
Fille du pied du cheval emplumé.
De tes beaux rais chastement allumé,
Je fu poëte ; et si ma voix recrée,
Et si ma lyre aucunement agrée,
Ton œil en soit, non Parnasse, estimé
                                                                            I am not at all accustomed, Muses,
                                                                            To watch your dance in the late evening ;
                                                                            I have not drunk from the sacred waters,
                                                                            Springing from the foot of the winged horse.
                                                                            Chastely aroused by your fair eyes, [my love],
                                                                            I became a poet ; and if my voice entertains
                                                                            And my lyre pleases a little,
                                                                            Your eyes, not Parnassus, deserve the praise.
Worth noting that in line 7, “agrée” teeters between both ‘to please’ and ‘to harmonise’ – whereas in the revised version at the top of this post there is less room for ambiguity, though perhaps “harmonises with you” is just about implied…

Odes 3.21



Gaspar, qui, loin de Pegase,
As les filles de Parnase
Conduites en ta maison,
Ne sçais-tu que moy, poête,
De mon Phoebus je souhéte
Quand je fais une oraison ?
Les moissons je ne quiers pas
Que le faux arrange à bas
Sur la Beauce fructueuse ;
Ny tous les cornus troupeaux
Qui sautent sur les coupeaux
De l’Auvergne montueuse ;
Ny l’or sans forme qu’ameine
La mine pour nostre peine ;
Ny celuy qui est formé
Portant d’un roy la figure
Ou la fiere pourtraiture
De quelque empereur armé ;
Ny l’ivoire marqueté
En l’Orient acheté
Pour parade d’une sale ;
Ny les cousteux diamans
Magnifiques ornemens
D’une majesté royale ;
Ny tous les champs que le fleuve
Du Loir lentement abreuve ;
Ny tous les prez emmurez
Des plis de Braye argentine ;
Ny tous les bois dont Gastine
Void ses bras en-verdurez ;
Ny le riche accoustrement
D’une laine qui dément
Sa teinture naturelle
Ez chaudrons du Gobelin,
S’yvrant d’un rouge venin
Pour se disguiser plus belle
Que celuy dans une coupe
Toute d’or boive à la troupe
De son vin de Prepatour,
A qui la vigne succede,
Et près Vendôme en possede
Deux cents arpens en un tour.
Que celuy qui aime Mars
S’enrolle entre les soldars,
Et face sa peau vermeille
D’un beau sang pour son devoir,
Et que la trompette, au soir,
D’un son luy raze l’aureille.
Le marchant hardiment vire
Par le mer de sa navire
La proue et la poupe encor ;
Ce n’est moy, bruslé d’envie,
A tels despens de ma vie,
Rapporter des lingots d’or.
Tous ces biens je ne quiers point,
Et mon courage n’est poingt
De telle gloire excessive.
Manger o mon compagnon
Ou la figue d’Avignon,
Ou la provençale olive,
L’artichôt et la salade,
L’asperge et le pastenade,
Et les pompons tourangeaux,
Me sont herbes plus friandes
Que les royales viandes
Qui se servent à monceaux.
Puis qu’il faut si tost mourir,
Que me vaudroit d’acquerir
Un bien qui ne dure guere,
Qu’un heritier qui viendroit
Après mon trespas vendroit
Et en feroit bonne chere ?
Tant seulement je desire
Une santé qui n’empire ;
Je desire un beau sejour,
Une raison saine et bonne
Et une lyre qui sonne
Tousjours le vin et l’amour.
Gaspar, who – without Pegasus –
Has brought the daughters of Parnassus
Into your home,
Do you not know what I, a poet,
Ask of my Apollo
When I make him a prayer ?
Crops I don’t request,
Those which the scythe cuts down
Upon the fruitful Beauce ;
Nor do I ask for all the horned troop
Which leap upon the scarps
Of the mountainous Auvergne ;
Nor shapeless gold which the mine
Provides for our trouble ;
Nor do I ask to be one made
To bear a king’s figure
Or the proud appearance
Of some armed emperor ;
Nor inlaid ivory
Bought in the East
For some dishonest woman’s display ;
Nor costly diamonds,
Magnificent ornaments
Of royal majesty ;
Nor all the fields which the river
Loir slowly waters ;
Nor all the meadows walled in
By the bends of the silvery Braye ;
Nor all the woods with which Gastine
Sees his arms greened ;
Nor the rich clothing
Of wool which gives the lie to
Its natural colour
In Gobelin’s cauldrons,
Drinking in the red poison
To disguise itself, more beautiful
Than his wine of Prepatour,
Which he himself, in a cup
Made all of gold, drinks to his troop –
The vines to which he succeded
And possesses near Vendome
Two hundred acres of them.
Let he who loves Mars [war]
Enrol among his soldiers,
And print his pink skin
With bright blood for his work,
And let the evening trumpet
With its call crash on his ear.
Let the merchant boldly steer
Over the sea his ship’s
Prow and poop too ;
It’s not for me, burning with desire
At such cost to my life,
To bring back golden ingots.
All these good things I seek not at all,
And my courage is not pricked
To such excessive glory.
Eating with my friend
Figs from Avignon
Or olives from Provence,
Artichokes and salad,
Asparagus and parsnip
And melons from Tours,
These are tastier foods
Than the king’s meat
Which is served in mountains.
Since we must die so soon,
What use to me is gaining
Some good thing which hardly lasts,
Which my inheritor will come
After my death and sell
And make a great deal from ?
I simply desire
Health which doesn’t worsen ;
I desire a fine time here,
My reason unimpaired,
And a lyre which sings
Always of wine and love.
Blanchemain reprints several footnotes from Richelet’s commentary.In the 4th stanza, he notes that “tous les champs” are ‘the fields of his Vendome region’ (as we’d have guessed from the references to the Braye & Gastine); in the following stanza he tells us that Gobelin was  ‘formerly the famous & rich dyer of Paris’, though we now think of his Belgin tapestry factory; and explains that the “rouge venin” (‘red poison’) is scarlet dye in which the wool is soaked for a long time. A stanza later, he epxlains that Prepatour is ‘an excellent wine, whose vine belongs to the king & is in his domain in the Vendome’.
The stanzas 3rd & 4th from last also deserve a note or two: Ronsard says “Manger o mon compagnon”, which I guess to be Provençal dialect (“o” for “au”?), suited to the Avignon/Provencal food mentioned in the following lines, and or the Auvergne form which Gaspar hails. “Pastenade” is also Provençal, and there is even today a special variety of melon (“pompon”) grown around Tours: see here.
And what of Gaspar himself? Ronsard’s friend Gaspar (or Gaspard) was another of that learned circle of humanists, known among other things for translating Machiavelli into French – particularly ‘Le Prince’ and “Les discours de l’estat de paix et de guerre”, the former apparently undertaken between 1547 and 1553 but not published till the 1560s, one of three roughly contemporary translations of the notorious work.

Odes 4:5



Guy, nos meilleurs ans coulent
Comme les eaux qui roulent
D’un cours sempiternel ;
La mort pour sa sequelle
Nous ameine avec elle
Un exil éternel.
Nulle humaine priere
Ne repousse en arriere
Le bateau de Charon,
Quand l’ame nue arrive
Vagabonde en la rive
De Styx et d’Acheron.
Toutes choses mondaines
Qui vestent nerfs et veines
La mort égale prend,
Soient pauvres ou soient princes ;
Car sur toutes provinces
Sa main large s’estend.
La puissance tant forte
Du grand Achille est morte,
Et Thersite, odieux
Aux Grecs, est mort encores ;
Et Minos qui est ores
Le conseiller des dieux.
Jupiter ne demande
Que des bœufs pour offrande ;
Mais son frere Pluton
Nous demande, nous hommes,
Qui la victime sommes
De son enfer glouton.
Celuy dont le Pau baigne
Le tombeau nous enseigne
N’esperer rien de haut,
Et celuy que Pegase
(Qui fit soucer Parnase)
Culbuta d’un grand saut.
Las ! on ne peut cognaistre
Le destin qui doit naistre,
Et l’homme en vain poursuit
Conjecturer la chose
Que Dieu sage tient close
Sous une obscure nuit.
Je pensois que la trope
Que guide Calliope,
Troupe mon seul confort,
Soustiendroit ma querelle,
Et qu’indonté par elle
Je donterois la mort.
Mais une fiévre grosse
Creuse déjà ma fosse
Pour me banir là bas,
Et sa flame cruelle
Se paist de ma mouelle,
Miserable repas.
Que peu s’en faut, ma vie,
Que tu ne m’es ravie
Close sous le tombeau,
Et que mort je ne voye
Où Mercure convoye
Le debile troupeau !
[Et ce Grec qui les peines
Dont les guerres sont pleines
Va là bas racontant,
Poëte qu’une presse
Des épaules espaisse
Admire en l’écoutant.]
A bon droit Prométhée
Pour sa fraude inventée
Endure un tourment tel,
Qu’un aigle sur la roche
Luy ronge d’un bec croche
Son poumon immortel.
Depuis qu’il eut robée
La flame prohibée,
Pour les dieux despiter,
Les bandes incogneues
Des fiévres sont venues
Parmi nous habiter.
Et la mort despiteuse,
Auparavant boiteuse,
Fut légère d’aller ;
D’ailes mal-ordonnées
Aux hommes non données
Dedale coupa l’air.
L’exécrable Pandore
Fut forgée, et encore
Astrée s’en-vola,
Et la boîte féconde
Peupla le pauvre monde
De tant de maux qu’il a.
Ah ! le meschant courage
Des hommes de nostre âge
N’endure pas ses faits ;
Que Jupiter estuye
Sa foudre, qui s’ennuye
Venger tant de mesfaits !
Guy, our best years rush by
Like streams flowing
In their everlasting race ;
Death, as the sequel,
Brings us with it
Eternal exile.
No human prayer
Can push back
Charon’s boat
When the naked soul arrives
A wanderer at the river
Styx and Acheron.
All wordly things
Equipped with nerves and veins
Death takes equally,
Be they poor men or princes ;
For over all the empires
Its wide hand extends.
The strength, though great,
Of mighty Achilles is dead ;
And Thersites, hated
By the Greeks, is dead too ;
And Minos too, who was once
Advisor to the gods.
Jupiter requires only
Cattle as an offering ;
But his brother Pluto
Requires us, us men,
Who are the victims
Of his greedy hell.
He, whose tomb the Pau [Po]
Bathes, teaches us
To hope for nothing from on high,
And he too, whom Pegasus
(Who disquieted Parnassus)
Knocked down with his great leap.
Alas ! we cannot know
The fate which must come to us,
And man in vain seeks
To conjecture what thing
Our wise God keeps hidden
Beneath dark night.
I thought that the troop
Whom Calliope leads,
The troop which is my sole comfort,
Would support my complaint
And that, untamed by them,
I would tame death.
But a great fever
Is already digging my grave
To banish me down there,
And its cruel flame
Is feeding on my marrow,
A wretched repast.
How little is needed, mt life,
For you to be taken from me,
Shut in beneath my tomb,
And for me to see death
Where Mercury brings
The feeble troop !
[And that Greek who
Continually recounts down there
The pains with which war is filled,
The poet whom a crowd
Of wide shoulders
Admires as they listen.]
Rightly does Prometheus
For that trick he contrived
Endure such torment,
As, on his rock, an eagle
With its crooked beak gnaws
His immortal guts.
Since he stole away
The forbidden fire
To spite the gods,
The unknown bonds
Of fevers have come
To live among us ;
And resentful death,
Before that limping slowly,
Has become light on his feet.
With clumsy wings
Not granted to man
Daedalus cut through the air.
Cursed Pandora
Was forged and, still
A star, flew off
While the fruitful box
Peopled this poor world
With all the evils it had.
Ah, the paltry courage
Of the men of our age
Cannot endure their deeds ;
May Jupiter hold back
His thunderbolts, bored with
Avenging so many misdeeds !


This Ode is dedicated to Guy Pacate, prior of Sougé – a small village in the Loir region. Even today it consists of little more than one street and a church. Pacate had been one of the little group around Daurat in the 1540s, including Ronsard, du Bellay and Denisot, from which sprang the Pléiade. Among them he was apparently known for his learning and his gift for Latin poetry; though beyond their circle he seems obscure.  Perhaps it is relevant that, in the posthumous editions of Ronsard the dedication was to Jean Daurat himself, rather than this little-known satellite of his.
It’s certainly relevant that Pacate knew his classics: there is an array of classical references here rarely seen in such number in Ronsard’s poems! But at the same time Ronsard contrives an inward-looking reflection on death rather than a grand, public poem, suitable to the relative obscurity of the dedicatee.
Stanza 2 refers to the journey to the afterlife: souls would come down to the river Styx where they awaited Charon’s boat to ferry them over to Hades. (Mercury guided souls to the underworld – stanza 10.)
Stanza 4 contrasts Achilles with Thersites, the former the hero of the Iliad, the latter an annoying, cowardly tell-tale also on the Greek side; and adds Minos, once a king on earth, but tricked and killed in his bath by his daughters.
In stanza 6, Pau is famous as the birthplace of “noste Enric” (‘our Henry’), Henry IV of France; and earlier was the base of Gaston Fébus, whose Renaissance court paralleled that of Italian city-states. But this Pau is in fact the Po in north Italy, reputed to be where Phaethon fell when struck down by Jupiter’s thunderbolt. The second half of the stanza is about Perseus; other editions have “sourcer” rather than the (unique?) “soucer” which I have treated as if it were “soucier”: “Qui fit sourcer Parnase” would mean something like “who made a spring come from Parnassus”, the spring being the Hippocrene spring which was created when Pegasus stamped his foot, and which became sacred to the Muses.
The troop of Calliope in stanza 8 is the Muses – Calliope is the muse of epic poetry. In stanza 11, the poet is no doubt Homer; we have met Prometheus (stanzas 12-13), punished by the gods for bringing fire to man, regularly. In stanza 14 I have to admit the presence of Daedalus confuses me: there is no link to Pandora, nor did his flight lead to his own death. I assume that Ronsard is offering a simile – like Daedalus taking wing, death too became swifter.
Finally, in the penultimate stanza, Pandora is ‘forged’ because she the first woman, was made by Vulcan on Jupiter’s instructions. The story of the evils contained in Pandora’s box is well-known.

Discours – à Pierre L’Escot


This ought to be, approximately, the 300th poem I’ve posted. So to mark this ‘special occasion’ I thought I’d post a tongue-in-cheek follow-up to Ronsard’s autobiographical Elegy which was my 200th post.  This time it’s from book 2 of his “Poems”, and one of many longer poems which Ronsard called ‘discours’ – discourses. Here his father lectures him – in perfect Alexandrines! – about why almost anything is better than being a poet…

It’s addressed to Pierre L’Escot, architect and friend of Ronsard. In Marty-Laveaux’s edition he is identified just as ‘Pierre L’Escot, Lord of Clany’, but in the earlier edition he is given a longer set of titles: ‘Abbot of Cleremont, Lord of Clany, chaplain in ordinary to the King’. Blanchemain further adds: ‘This piece is addressed to Lord L’Escot of Clany, who designed the pavilion of the Louvre. In the 1572 edition, it begins the 2nd book of Poems, which is dedicated as a whole to Pierre L’Escot.’

(I hope this layout works – I’m having trouble getting the ‘stanzas’ lined up 🙂 )
Puis que Dieu ne m’a fait pour supporter les armes,
Et mourir tout sanglant au milieu des alarmes
En imitant les faits de mes premiers ayeux,
Si ne veux-je pourtant demeurer ocieux :
Ains comme je pourray, je veux laisser memoire
Que j’allay sur Parnasse acquerir de la gloire,
Afin que mon renom des siecles non veincu,
Rechante à mes neveux qu’autrefois j’ay vescu
Caressé d’Apollon et des Muses aimées,
Que j’ay plus que ma vie en mon âge estimées.
Pour elles à trente ans j’avois le chef grison,
Maigre, palle. desfait, enclos en la prison
D’une melancolique et rheumatique estude,
Renfrongné, mal-courtois, sombre, pensif, et rude,
A fin qu’en me tuant je peusse recevoir
Quelque peu de renom pour un peu de sçavoir.
Je fus souventesfois retansé de mon pere
Voyant que j’aimois trop les deux filles d Homere,
Et les enfans de ceux qui doctement ont sceu
Enfanter en papier ce qu’ils avoient conceu :
Et me disoit ainsi, Pauvre sot, tu t’amuses
A courtizer en vain Apollon et les Muses :
Que te sçauroit donner ce beau chantre Apollon,
Qu’une lyre, un archet, une corde, un fredon,
Qui se respand au vent ainsi qu’une fumée,
Ou comme poudre en l’air vainement consumée ?
Que te sçauroient donner les Muses qui n’ont rien ?
Sinon au-tour du chef je ne sçay quel lien
De myrte, de lierre, ou, d’une amorce vaine
T’allecher tout un jour au bord d’une fontaine,
Ou dedans un vieil antre, à fin d’y reposer
Ton cerveau mal-rassis, et béant composer
Des vers qui te feront, comme pleins de manie,
Appeller un bon fol en toute compagnie ?
Laisse ce froid mestier, qui jamais en avant
N’a poussé l’artizan, tant fust-il bien sçavant :
Mais avec sa fureur qu’il appelle divine,
Meurt tousjours accueilly d’une palle famine :
Homere que tu tiens si souvent en tes mains,
Qu’en ton cerveau mal-sain comme un Dieu tu te peins,
N’eut jamais un liard ; sa Troyenne vielle,
Et sa Muse qu’on dit qui eut la voix si belle,
Ne le sceurent nourrir, et falloit que sa fain
D’huis en huis mendiast le miserable pain.
Laisse-moy, pauvre sot, ceste science folle :
Hante-moy les Palais, caresse-moy Bartolle,
Et d’une voix dorée au milieu d’un parquet
Aux despens d’un pauvre homme exerce ton caquet,
Et fumeux et sueux d’une bouche tonnante
Devant un President mets-moy ta langue en vente :
On peut par ce moyen aux richesses monter,
Et se faire du peuple en tous lieux bonneter.
Ou bien embrasse-moy l’argenteuse science
Dont le sage Hippocras eut tant d’experience,
Grand honneur de son isle : encor que son mestier
Soit venu d’Apollon, il s’est fait heritier
Des biens et des honneurs, et à la Poësie
Sa sœur n’a rien laissé qu’une lyre moisie.
Ne sois donq paresseux d’apprendre ce que peut
La Nature en nos corps, tout cela qu’elle veut,
Tout cela qu’elle fuit : par si gentille adresse
En secourant autruv on gaigne la richesse.
Ou bien si le desir genereux et hardy,
En t’eschauffant le sang, ne rend acoüardy
Ton cœur à mespriser les perils de la terre,
Pren les armes au poing, et va suivre la guerre,
Et d’une belle playe en l’estomac ouvert
Meurs dessus un rempart de poudre tout couvert :
Par si noble moyen souvent on devient riche,
Car envers les soldats un bon Prince n’est chiche.
Ainsi en me tansant mon pere me disoit,
Ou fust quand le Soleil hors de l’eau conduisoit
Ses coursiers gallopans par la penible trette,
Ou fust quand vers le soir il plongeoit sa charrette,
Fust la nuict, quand la Lune avec ses noirs chevaux
Creuse et pleine reprend l’erre de ses travaux.
« O qu’il est mal-aisé de forcer la nature !
« Tousjours quelque Genie, ou l’influence dure
« D’un Astre nous invite à suivre maugré tous
« Le destin qu’en naissant il versa desur nous.
Pour menace ou priere, ou courtoise requeste
Que mon pere me fist, il ne sceut de ma teste
Oster la Poesie, et plus il me tansoit,
Plus à faire des vers la fureur me poussoit.
Je n’avois pas douze ans qu’au profond des vallées,
Dans les hautes forests des hommes recullées,
Dans les antres secrets de frayeur tout-couvers,
Sans avoir soin de rien je composois des vers :
Echo me respondoit, et les simples Dryades,
Faunes, Satyres, Pans, Napées, Oreades,
Aigipans qui portoient des cornes sur le front,
Et qui ballant sautoient comme les chévres font,
Et le gentil troupeau des fantastiques Fées
Autour de moy dansoient à cottes degrafées.
Je fu premierement curieux du Latin :
Mais voyant par effect que mon cruel destin
Ne m’avoit dextrement pour le Latin fait naistre,
Je me fey tout François, aimant certes mieux estre
En ma langue ou second, ou le tiers, ou premier,
Que d’estre sans honneur à Rome le dernier. 
Donc suivant ma nature aux Muses inclinée,
Sans contraindre ou forcer ma propre destinée,
J’enrichy nostre France, et pris en gré d’avoir,
En servant mon pays, plus d’honneur que d’avoir. 
Toy, L’Escot, dont le nom jusques aux Astres vole,
As pareil naturel : car estant à l’escole,
On ne peut le destin de ton esprit forcer
Que tousjours avec l’encre on ne te vist tracer
Quelque belle peinture, et ja fait Geomettre,
Angles, lignes et poincts sur une carte mettre :
Puis estant parvenu au terme de vingt ans,
Tes esprits courageux ne furent pas contans
Sans doctement conjoindre avecques la Peinture
L’art de Mathematique et de l’Architecture,
Où tu es tellement avec honneur monté,
Que le siecle ancien est par toy surmonté. 
Car bien que tu sois noble et de mœurs et de race,
Bien que dés le berceau l’abondance te face
Sans en chercher ailleurs, riche en bien temporel,
Si as-tu franchement suivi ton naturel :
Et tes premiers Regens n’ont jamais peu distraire
Ton cœur de ton instinct pour suivre le contraire. 
On a beau d’une perche appuyer les grands bras
D’un arbre qui se plie, il tend tousjours en bas :
La nature ne veut en rien estre forcée,
Mais suivre le destin duquel elle est poussée.
Jadis le Roy François des Lettres amateur,
De ton divin esprit premier admirateur,
T’aima par dessus tous : ce ne fut en son âge
Peu d’honneur d’estre aimé d’un si grand personnage,
Qui soudain cognoissoit le vice et la vertu,
Quelque desguisement dont l’homme fust vestu.
Henry qui apres luy tint le sceptre de France,
Ayant de ta valeur parfaite cognoissance
Honora ton sçavoir, si bien que ce grand Roy
Ne vouloit escouter un autre homme que toy,
Soit disnant et soupant, et te donna la charge
De son Louvre enrichi d’edifice plus large,
Ouvrage somptueux, à fin d’estre montré
Un Roy tres-magnifique en t’ayant rencontré.
Il me souvient un jour que ce Prince à la table
Parlant de ta vertu comme chose admirable,
Disoit que tu avois de toy-mesmes appris,
Et que sur tous aussi tu emportois le pris,
Comme a fait mon Ronsard, qui à la Poësie
Maugré tous ses parens a mis sa fantaisie.
Et pour cela tu fis engraver sur le haut
Du Louvre, une Déesse, à qui jamais ne faut
Le vent à joüe enflée au creux d’une trompete,
Et la monstras au Roy, disant qu’elle estoit faite
Expres pour figurer la force de mes vers,
Qui comme vent portoyent son nom par l’Univers.
Or ce bon Prince est mort, et pour faire cognoistre
Que nous avons servi tous deux un si grand maistre,
Je te donne ces vers pour eternelle foy,
Que la seule vertu m’accompagna de toy.
Although God did not make me to take up arms
And die all bloodied in the midst of alarms
Mimicking the deeds of my earliest ancestors,
Yet do I not want to remain useless:
However I can I want to leave a memorial
That I went up Parnassus to gain glory,
That my fame, unconquered by the centuries,
Should sing to my descendants that I lived
Cherished by Apollo and his beloved Muses,
Whom I have honoured more than my life in this age.
For them, I was grey-haired at thirty,
Thin, pale, defeated, shut up in the prison
Of melancholic and arthritic study,
Scowling, discourteous, gloomy, pensive and coarse,
So that in killing myself I might have gained
Some little fame for little understanding.
I was many times scolded by my father
Who saw I loved too much Homer’s two daughters,
And the children of those who learnedly were able
To give birth on paper to what they’d conceived;
And he would say to me, “You poor fool, you amuse yourself
With courting – in vain! – Apollo and the Muses ;
What can he give you, that fine singer Apollo,
But a lyre, a bow on a string, a murmur
Which will be lost in the wind like smoke,
Or like ash in the air burned up without gain?
What can the Muses give you, who have nothing themselves?
Perhaps around your head some thread
Of myrtle, or ivy? Or with empty attraction
Luring you all day beside a fountain,
Or in some ancient cave, so that there you can rest
Your un-calm head, and gaping compose
Some verses which, as if full of madness, will get you
Called a right fool in all company?
“Leave this cold career, which has never brought
To the fore the artisan, however skilled he is;
But rather, in that passion he calls divine,
He always dies, welcomed by pale famine.
That Homer you have so often in your hands,
Whom you paint as some sort of god in your unsound brain,
Never had a farthing; his Trojan fiddle,
And his Muse whom they say had so fair a voice,
Could not feed him, and his hunger had
To beg from door to door for the wretched pain.
“Leave this foolish study for me, you poor fool;
Haunt palaces for me, caress Bartolle for me;,
Either carry on your cackle with your golden voice
In the middle of the floor [=centre-stage?] at the expense of some poor man,
Or smoky and sweaty, with thundering lips,
Put your tongue on sale for me before some president;
In this way one can arrive at riches
And make oneself lionised by people in all places.
“Or else embrace for me that silvery learning
Of which the wise Hippocras had such experience,
The great honour of his island; though his path too
Came from Apollo, he became the heir
Of goods and honours, while to Poetry
His sister left nothing but a mildewed lyre.
“Or be not idle in learning what Nature
Can do in our bodies, all that she favours,
All that she rejects; through noble address
In helping others, you can win riches.
“Or even, if noble and bold desire
Does not, as it warms your blood, make your heart
Too afraid to undertake earthly dangers.
Take arms in your fist, go follow war,
And with a fine wound opened in your stomach
Die upon some rampart, covered in dust;
By such noble means people often become rich,
For to his soldiers a good Prince is not stingy.”
Reproaching me thus my father spoke to me,
Whether when the Sun leads from the waters
His chargers galloping on their arduous course,
Or when towards evening he submerges his chariot,
Or at night, when the Moon with her dark horses,
Both hollow and full, takes up the course of her labours.
“Oh how uncomfortable it is to force nature!
Always some spirit, or the harsh influence
Of some star, invites us to follow, despite everything,
The fate which it poured upon us at our birth.”
Whatever threat or prayer or courteous request
My father made me, he could not drive
Poetry from my head, and the more he reproached me,
The more the passion to write verse drove me on.
I was not yet twelve when, in deep valleys,
In the high forests from which men shrink,
In hidden caves entirely swathed in dread,
Without a care for anything I composed verses;
Echo replied to me, and the simple Dryads,
Fauns, Satyrs, Pans, Naiads, Oreads,
Goat-Pans who bear horns on their brows
And who in their dances leap as stags do,
And the gentle troop of fantastical Fairies
Danced around me, their skirts unfastened.
I was at first intrigued by Latin;
But seeing by trying that my cruel fate
Had not made me naturally skilful in Latin,
I made myself entirely French, preferring far to be
In my own tongue the second, or third, or first,
Than to be the last, and without honour, in Rome.
So, following my nature inclined to the Muses,
Without constraining or forcing my own fate,
I enriched our France, and made the choice to have
In serving my country more honour than wealth.
You too, L’Escot, whose name flies high as the stars,
Have a similar nature: for when you were at school
They could not compel your mind’s destiny,
So that you could always be seen with ink tracing
Some fine painting, or now doing Geometry,
Making angles, lines and points upon some sheet;
Then when you reached the end of twenty years,
Your brave spirits were not content
Till learnedly joining together with Painting
The arts of Mathematics and Architecture,
In which you have risen so high with honour
That ancient times are surpassed by you.
For though you are noble in manner and family,
Although since the cradle abundance has been yours
Without seeking it from outside, rich in worldly goods,
Yet have you boldly followed your nature;
And your first regents never could distract
Your heart from your instinct to oppose them.
One might as well prop up with a pole the great limbs
Of a tree which bends over, it will still tend downwards;
Nature does not wish anywhere to be compelled,
But to follow the destiny by which she is impelled.
Previously King François, a lettered man,
The first admirer of your divine spirit,
Loved you above all others; there was not in his time
Little honour in being loved by so great a personage
Who could immediately recognise vice and virtue
Whatever disguise a man was dressed in.
Henry who after him took up the sceptre of France,
Having perfect understanding of your worth,
Honoured your learning so well that that great King
Wanted to hear no other man than you,
Whether at dinner or supper, and gave you the charge
Of enriching his Louvre with a larger building,
A sumptuous work, that he might be shown to be
A most magnificent King in having encountered you.
I recall a day when that Prince, speaking
At table of your virtue as a thing to be wondered at,
Said that you had learned from yourself
And that beyond all others too you took the prize,
As has done my Ronsard who to Poetry
Despite all his family has set his imagination.
And therefore you had sculpted at the top
Of the Louvre a goddess, never short of breath,
Her cheek puffed out at the mouthpiece of a trumpet,
And showed it to the King, saying that she had been made
Expressly to symbolise the power of my verse,
Which like the wind bore his name throughout the world.
Now that good Prince is dead, and that it should be known
That both of us have served so great a master
I give you these verses as an everlasting oath
That virtue alone accompanies me from you.
In the second ‘stanza’, Homer’s two daughters are the epic poems Iliad and Odyssey. In the fourth, the advice to ‘caress Bartolle’ apparently refers to a ‘spiky’ senior lawyer (he’s referred to elsewhere as “l’espineux Bartolle”). 
In the 5th ‘stanza’, Marty-Laveaux’s text has “Hippocras”: hippocras is a drink, but Ronsard (or his father) here clearly means Hippocrates the Greek physician. I’m not sure whose mistake this is – I suppose Ronsard is making fun of his father for not quite getting the name right?! Blanchemain’s version has “Hippocrate” so Ronsard (or his father, or Blanchemain) obviously had got the right one at some stage… The island Hippocrates honours is Cos, where he was born. His medical learning comes from Apollo, because Aesculapius was Apollo’s son; Apollo’s sister is Minerva.
In ‘stanza’ 7, I enjoy his father saying ‘go and die in battle – that’s a good way to get rich’… Ronsard poking a little fun at his father again…
The statue placed by L’Escot on the Louvre represents Fame. Though Ronsard says that the King ‘gave you the charge / Of enriching his Louvre with a larger building’, he doesn’t say that the original work was undertaken by L’Escot’s rival, Philibert de Lorme, whom Ronsard apparently disliked (perhaps out of loyalty to L’Escot!). In  poems 2.3 he writes
Maintenant je ne suis ny veneur, ny maçon
Pour acquerir du bien en si basse façon,
Et si j’ay fait service autant à ma contrée
Qu’une vile truelle à trois crosses tymbrée !
                                                                         Now I am neither a hunter [ overtones of ‘venal’, arriviste’] nor a mason
                                                                         To gain riches in so base a fashion,
                                                                         And yet I have done as good service to my country
                                                                         As a vile trowel stamped with three bishoprics!
The last line is an allusion to the three abbeys enjoyed by Philibert de Lorme; and note that “timbré” also means ‘crack-brained’…


Naturally there are also plenty of variants in Blanchemain’s version. These are:
‘stanza’ 1
line 2, “Et pour mourir sanglant …” (‘And to die bleeding …’)
line 6, “Que les Muses jadis m’ont acquis de la gloire” (‘I want to leave a memorial / That the Muses once gained me glory’)
‘stanza’ 3
«  Laisse ce froid mestier qui ne pousse en avant
Celuy qui par sus tous y est le plus sçavant ;
Mais avec sa fureur qu’il appelle divine,
Tout sot se laisse errer accueilly de famine.
Homère, que tu tiens si souvent en tes mains,
Que dans ton cerveau creux comme un Dieu tu te peins,
N’eut jamais un liard ; si bien que sa vielle,
Et sa Muse qu’on dit qui eut la voix si belle,
Ne le sceurent nourrir, et falloit que sa faim
D’huis en huis mendiast le miserable pain.
                                                                         “Leave this cold career, which does not bring to the fore
                                                                          He who above all others is the most skilled;
                                                                          But rather, in that passion he calls divine,
                                                                          All those fools allow themselves to wander in error, welcomed by famine.
                                                                          That Homer you have so often in your hands,
                                                                          Whom you paint as some sort of god in your empty brain,
                                                                          Never had a farthing; so much so that his fiddle,
                                                                          And his Muse whom they say had so fair a voice,
                                                                          Could not feed him, and his hunger had
                                                                          To beg from door to door for the wretched pain.
Later on, the Sun’s chargers are “haletans de la penible trette” (‘panting from their arduous pulling’); and the fairies dance “à cottes agrafées” (‘their skirts pinned up’). As for Ronsard’s Latin, “Mais cognoissant, helas! que mon cruel destin … ” (‘But recognising, alas, that my cruel fate / Had not made me naturally skilful…).
When he arrives at the description of L’Escot’s youth, he says:
Toy, L’Escot, dont le nom jusques aux astres vole,
En as bien fait ainsi ; car estant à l’escole,
Jamais on ne te peut ton naturel forcer
Que tousjours avec l’encre on ne te vist tracer
Quelque belle peinture, et ja fait geomettre,
Angles, lignes et poincts sur une carte mettre ;
Puis arrivant ton âge au terme de vingt ans,
Tes esprits courageux ne furent pas contens …
                                                                          You too, L’Escot, whose name flies high as the stars,
                                                                          Have rightly done the same: for when you were at school
                                                                          They could never compel your nature,
                                                                          So that you could always be seen with ink tracing
                                                                          Some fine painting, or now doing Geometry,
                                                                          Making angles, lines and points upon some sheet;
                                                                          Then when your age arrived at the term of twenty years,
                                                                          Your brave spirits were not content …
and later “Toutefois si as-tu suivi ton naturel ” (‘Yet always have you followed your nature’).