Tag Archives: Plato

Helen 2:74a – Elégie

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It’s nice after all the love sonnets to get an extended nature-lyric to enjoy!

Six ans estoient coulez, et la septiesme annee
Estoit presques entiere en ses pas retournee,
Quand loin d’affection, de desir et d’amour,
En pure liberté je passois tout le jour,
Et franc de tout soucy qui les ames devore,
Je dormois dés le soir jusqu’au point de l’aurore.
Car seul maistre de moy j’allois plein de loisir,
Où le pied me portoit, conduit de mon desir,
Ayant tousjours és mains pour me servir de guide
Aristote ou Platon, ou le docte Euripide,
Mes bons hostes muets, qui ne faschent jamais :
Ainsi que je les prens, ainsi je les remais.
O douce compagnie et utile et honneste!
Un autre en caquetant m’estourdiroit la teste.
 
Puis du livre ennuyé, je regardois les fleurs,
Fueilles tiges rameaux especes et couleurs,
Et l’entrecoupement de leurs formes diverses,
Peintes de cent façons, jaunes rouges et perses,
Ne me pouvant saouler, ainsi qu’en un tableau,
D’admirer la Nature, et ce qu’elle a de beau :
Et de dire en parlant aux fleurettes escloses,
“Celuy est presque Dieu qui cognoist toutes choses,
Esloigné du vulgaire, et loin des courtizans,
De fraude et de malice impudens artizans.”
 
Tantost j’errois seulet par les forests sauvages
Sur les bords enjonchez des peinturez rivages,
Tantost par les rochers reculez et deserts,
Tantost par les taillis, verte maison des cerfs.
 
’aimois le cours suivy d’une longue riviere,
Et voir onde sur onde allonger sa carriere,
Et flot à l’autre flot en roulant s’attacher,
Et pendu sur le bord me plaisoit d’y pescher,
Estant plus resjouy d’une chasse muette
Troubler des escaillez la demeure secrette,
Tirer avecq’ la ligne en tremblant emporté
Le credule poisson prins à l’haim apasté,
Qu’un grand Prince n’est aise ayant prins à la chasse
Un cerf qu’en haletant tout un jour il pourchasse.
Heureux, si vous eussiez d’un mutuel esmoy
Prins l’apast amoureux aussi bien comme moy,
Que tout seul j’avallay, quand par trop desireuse
Mon ame en vos yeux beut la poison amoureuse.
 
Puis alors que Vesper vient embrunir nos yeux,
Attaché dans le ciel je contemple les cieux,
En qui Dieu nous escrit en notes non obscures
Les sorts et les destins de toutes creatures.
Car luy, en desdaignant (comme font les humains)
D’avoir encre et papier et plume entre les mains,
Par les astres du ciel qui sont ses characteres,
Les choses nous predit et bonnes et contraires :
Mais les hommes chargez de terre et du trespas
Mesprisent tel escrit, et ne le lisent pas.
Or le plus de mon bien pour decevoir ma peine,
C’est de boire à longs traits les eaux de la fontaine
Qui de vostre beau nom se brave**, et en courant
Par les prez vos honneurs va tousjours murmurant,
Et la Royne se dit des eaux de la contree :
Tant vault le gentil soin d’une Muse sacree,
Qui peult vaincre la mort, et les sorts inconstans,
Sinon pour tout jamais, au moins pour un long temps.
Là couché dessus l’herbe en mes discours je pense
Que pour aimer beaucoup j’ay peu de recompense,
Et que mettre son cœur aux Dames si avant,
C’est vouloir peindre en l’onde, et arrester le vent :
M’asseurant toutefois qu’alors que le vieil âge
Aura comme un sorcier changé vostre visage,
Et lors que vos cheveux deviendront argentez,
Et que vos yeux, d’amour ne seront plus hantez,
Que tousjours vous aurez, si quelque soin vous
touche,
En l’esprit mes escrits, mon nom en vostre bouche.
 
Maintenant que voicy l’an septiéme venir,
Ne pensez plus Helene en vos laqs me tenir.
La raison m’en delivre, et vostre rigueur dure,
Puis il fault que mon age obeysse à Nature.
Six years have passed, and the seventh year
Had returned almost entire to the beginning,
When far from affection, desire and love,
I spent the whole day in pure liberty
And free of all worry which devours the soul
I slept from evening to the very moment of dawn,
For sole master of myself I wandered at leisure
Wherever my feet took me, led by my desire,
Having always at hand to act as my guide
Aristotle or Plato or learned Euripides,
My good mute hosts, who never get annoyed:
As [often as] I take them up, just so I put them back.
O sweet, useful, honest company!
Any other, chattering on, would make my head whirl.
 
Then, bored of my book, I look at the flowers,
Leaves, stems, branches, their kinds and colours,
And the intersections of their varying forms
Painted a hundred ways, yellow, red, violet,
Unable to sate myself – just as in a picture –
With admiring Nature and her beauties;
And with saying, as I talk to the blooming flowers,
“He is almost an all-knowing God,
Far from the common horde, far from courtiers,
Traders in fraud and impudent malice.”
 
Now I wandered alone through wild forests,
On the flower-strewn borders of painted river-banks,
Now by far-off deserted rocks
Now by coppices, green houses of the deer.
 
I liked the course followed by a long river,
And seeing wave upon wave lengthening its
journey,
And one stream attaching itself to another as it rolled on,
And draped on the bank I was happy fishing there,
Enjoying more the quiet hunt
As I disturbed the hidden homes of shellfish,
Or drew in trembling with a line the quicksilver
Trusting fish, taken with a baited hook,
Than might a great prince be pleased having taken in the hunt
A stag which he has pursued, panting, all day.
Happy you if you had with mutual excitement
Swallowed the bait of love as well as I,
Whicb I alone swallowed when, all too eagerly,
My soul drank in your eyes the poison of love.
 
Now that Evening has come and darkened our eyes,
Fastened in the sky, I contemplate the heavens,
In which God writes for us in no osbcure way
The fates and destinies of all creatures.
For he, unwilling (as men do)
To have ink and paper and pen in hand,
Through the stars in heaven which are his writing
He predicts events for us, both good and bad;
But men, laden with earthly matter and with death
Mistake these writings, or don’t read them.
So the greatest good for me, to deceive my pain,
Is to drink long draughts of the waters of the spring
Which competes with your fair name , and running
Through the meadows flows always murmuring your honours
And calls itself the queen of streams in the country:
Such is worth the gentle care of a sacred Muse
Who can overcome death and inconstant fate
If not forever, at least for a long time.
There, laid on the grass, as I reason I think
That for loving much I have little return,
And that putting one’s heart before the ladies so much
Is like wanting to paint the sea or stop the wind:
Telling myself all the while that once old age
Has like a wizard changed your appearance,
And when your hair has become silvered,
And your eyes are no longer haunted by love,
Then still you will have, even if care touches you,
My words in your soul, my name in your mouth.
 
Now that here has come this seventh year,
Think not, Helen, to hold me in your snares.
Reason has freed me from them – that and your harshness,
And then too my age must obey Nature.
 
A few notes. In stanza 1 it is a little odd that Euripides, rather than Aristotle or Plato, is ‘learned’ – for beside the 2 philosophers, he is merely a playwright and poet. But isn’t that Ronsard’s point … ? But also note that Ronsard puts down his classics and enjoys Nature instead: literature has its place, but here we are invited to pretend with Ronsard that this is unadorned naturerather than a literary picture of it.
 
In stanza 3, the word “enjonchez” is a Ronsardian coinage – ‘be-flowered’ might be a more exact transaltion.
 
At ** in stanza 5 Marty-Laveaux prints “se brave” – the waters of the spring ‘challenge’ Helen’s fair name? He might mean that the spring is named after Helen – but I wonder if this could have been instead “s’abreuve”, ‘flow from’ her fair name?
 
And Ronsard ends as I began at the top of this post: farewell to sonnets, hello to nature poetry!
 
 
 
 
 

Helen 2:68

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Ah, belle liberté, qui me servois d’escorte,
Quand le pied me portoit où libre je voulois !
Ah, que je te regrette ! helas, combien de fois
Ay-je rompu le joug, que malgré moy je porte !
 
Puis je l’ay rattaché, estant nay de la sorte,
Que sans aimer je suis et du plomb et du bois,
Quand je suis amoureux j’ay l’esprit et la vois,
L’invention meilleure et la Muse plus forte.
 
Il me faut donc aimer pour avoir bon esprit,
Afin de concevoir des enfans par escrit,
Pour allonger mon nom aux despens de ma peine.
 
Quel sujet plus fertil sçauroy-je mieux choisir
Que le sujet qui fut d’Homere le plaisir,
Ceste toute divine et vertueuse Helene?
 
 
 
 
                                                                            Oh fair liberty, which acted as my escort
                                                                            When my feet would carry me where I wanted to be free!
                                                                            Oh how I regret it, oh the number of times
                                                                            I have broken the yoke which despite myself I bear!
 
                                                                            But then I have put it on again, being born with the fate
                                                                            That, without loving, I am like lead or wood,
                                                                            But when in love I have spirit and voice,
                                                                            Finer invention and a stronger Muse.
 
                                                                            I must, then, love to be in good spirits,
                                                                            To conceive my children in writing,
                                                                            To make my fame greater at the expense of my pain.
 
                                                                            What subject more fertile could I better choose
                                                                            Than the subject which was Homer’s pleasure,
                                                                            The totally divine and virtuous Helen?
 
 
 
What a terrific poem! One of my favourites, I think. If anything could be said to sum up Ronsard’s creed as a poet, this might be it: without the inspiration of love, invention is weak; without the pain of love, he cannot conceive children (poems) – what a great image that is, since real children come from the pain of love (i.e. the resulting childbirth) too…  More than a little disingenuous of course, as Ronsard was perfectly able to write fine poetry about other topics too, and no doubt wrote better about being in love when he wasn’t actually in love: both things he knew well himself.
 
The idea of throwing off the yoke of love – Cassandra, then Marie, and the others – but then voluntarily putting it back on to gain the consequent inspiration is fine too. Even the Homeric reference is sharp and clear, rather than obscure and demanding thought. And the way the poem moves from Liberty at the start of line 1 to Helen at the end of line 14 neatly encapsulates the tension between freedom and invention.
 
Richelet offers two thoughts in his commentary: on line 8 he adds that “Plato in his Banquet [Symposion] says that Love is a very fine poet” (a completely unnecessary classical source for the idea, I think!); and on line 10 he explains that the ‘children’ are “his books, his spiritual offspring”…
 
More interestingly, but a little sadly, Blanchemain offers an entirely different (and in my view inferior) version of the last 4 lines:
 
 
… Prolongeant ma memoire aux despens de ma vie.
 
Je ne veux m’enquerir s’on sent après la mort ;
Je le croy, je perdroy d’escrire toute envie :
Le bon nom qui nous suit est nostre reconfort.
 
                                                                            Prolonging memory of me at the expense of my life.
 
                                                                            I do not want to enquire if we feel after our death;
                                                                            I believe it, I shall lose all desire to write:
                                                                            The good name which follows us is our comfort.
 
 
Sadly, after the neat ‘paragraph’ about Homer and Helen, this reads a bit like a miscellany of proverbial thoughts – several disconnected musings, rather than a substantive conclusion to the poem with that link back to the beginning.
 
 
 
 
 
 
 

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 2:14

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A l’aller, au parler, au flamber de tes yeux,
Je sens bien, je voy bien que tu es immortelle :
La race des humains en essence n’est telle :
Tu es quelque Demon ou quelque Ange des cieux.
 
Dieu pour favoriser ce monde vicieux,
Te fit tomber en terre, et dessus la plus belle
Et plus parfaite idée il traça la modelle
De ton corps, dont il fut luy-mesmes envieux.
 
Quand il fist ton esprit, il se pilla soy-mesme :
Il print le plus beau feu du Ciel le plus supréme
Pour animer ta masse, ainçois ton beau printemps.
 
Hommes, qui la voyez de tant d’honneur pourveuë,
Tandis qu’elle est çà bas, soulez-en vostre veuë.
Tout ce qui est parfait ne dure pas long temps.
 
 
 
                                                                            By your walk, by the flaming of your eyes
                                                                            I readily feel, readily see that you are an immortal :
                                                                            The human race is not in essence like this;
                                                                            You are some demon or an angel from Heaven.
 
                                                                            To gratify this vice-plagued world, God
                                                                            Sent you falling to earth, and beyond the fairest
                                                                            And most perfect Idea he traced the form
                                                                            Of your body, which he himself envied.
 
                                                                            When he made your spirit, he stole it from himself ;
                                                                            He took the finest fire of highest Heaven
                                                                            To give life to your form, before your fair spring.
 
                                                                            O men who see her adorned with so much honour,
                                                                            While she is here below, gorge your eyes on her.
                                                                            Whatever is perfect does not last long.
 
 
A lovely version of the ‘divine origins’ theme: embedded not just in Classical myth, but also in Platonic thought. The ‘idea’ or ‘form’ (line 7) is, to Plato, the essence of the thing of which we perceive an imperfect version here on earth.
 
In line 4, Ronsard appears to be using ‘demon’ in contrast to ‘angel’, which is why – although Ronsard often uses the term to represent the more neutral Greek ‘daimon’ or spirit – I’ve translated it as ‘demon’ this time.
 
The only difference in Blanchemain’s version is the gender of ‘modelle’ in line 7 – masculine rather than feminine. Though the word’s gender fluctuated, it’s far from obvious to me why Ronsard thought he needed to change it!

 
 
 
 
 
 
 
 

Helen – book 2 – sonnet 1

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Let’s now turn to the last of the three main sonnet-sequences, and work towards completing the Helen series…

Soit qu’un sage amoureux ou soit qu’un sot me lise,
Il ne doit s’esbahir voyant mon chef grison,
Si je chante d’amour : tousjours un vieil tison
Cache un germe de feu sous une cendre grise.
 
Le bois verd à grand’ peine en le souflant s’attise,
Le sec sans le soufler brusle en toute saison.
La Lune se gaigna d’une blanche toison,
Et son vieillard Tithon l’Aurore ne mesprise.
 
Lecteur, je ne veux estre escolier de Platon,
Qui la vertu nous presche, et ne fait pas de mesme :
Ny volontaire Icare, ou lourdaut Phaëthon,
 
Perdus pour attenter une sotise extreme :
Mais sans me contrefaire ou Voleur ou Charton,
De mon gré je me noye et me brusle moy-mesme.
 
 
 
                                                                            Whether a wise lover or whether a fool reads me,
                                                                            He ought not to be astonished, seeing my grey hairs,
                                                                            That I’m singing of love; ancient embers always
                                                                            Hide the germ of a fire beneath the grey ash.
 
                                                                            Green wood is kindled with great difficulty, by blowing on it,
                                                                            But dry wood burns at any time without blowing;
                                                                            The moon has got herself a white fleece,
                                                                            And Dawn does not despise her old Tithonus.
 
                                                                            Reader, I do not wish to be a scholar of Plato
                                                                            Who preaches us virtue but does not do as he says;
                                                                            Nor willingly [to be] Icarus, or clumsy Phaethon,
 
                                                                            Destroyed by attempting their extreme folly;
                                                                            But without pretending to be that thief or carter,
                                                                            I’d willingly give myself to drowning or burning.
 
 
 
Beginning the second book of helen poems, Ronsard cannot avoid admitting his age and potentially foolish behaviour! But, in an image I don’t recall him using earlier, he compares how well ‘old’ and ‘young’ wood burns …
 
The classical references are fairly simple ones:  Aurora and her aged lover Tithonus; Icarus who flew too near the sun, Phaethon who lost control of Apollo’s sun-chariot and was killed. Note however that Ronsard re-characterises both myths (line 13):  Icarus did not steal the wings he used, but foolishly mis-used what he’d been given; and there’s no particular sense that Phaethon was unable to drive skilfully (like a ‘carter’), only that the sun-god’s horses were too much for him.
 
Blanchemain has one variant in his text (line 4, “Cache un germe de feu dessous la cendre grise”) not affecting the meaning, and offers a variant of line 10 in a footnote: “Qui, pour trop contempler, a tousjours le teint blesme” (‘Who from too much studying always has a pallid look’). Frankly, that version of line 10 is much more apposite – fitting the context of the outward appearances which the rest of the poem discusses – than the later variant which is only loosely picked up by the denigratory ‘thief and carter’ of line 13; presumably it was the explosion of sharp ‘t’ sounds that Ronsard sought to avoid.

 
 
 
 
 
 
 
 

Helen 2:6

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Anagramme
 
Tu es seule mon cœur, mon sang et ma Deesse,
Ton œil est le filé et le RÉ bien-heureux,
Qui prend quand il luy plaist les hommes genereux,
Et se prendre des sots jamais il ne se laisse. 
 
Aussi honneur vertu prevoyance et sagesse,
Logent en ton esprit, lequel rend amoureux
Tous ceux qui de nature ont un cœur desireux
D’honorer les beautez d’une docte Maistresse. 
 
Les noms ont efficace et puissance et vertu;
Je le voy par le tien lequel m’a combatu
Et l’esprit et le corps par armes non legeres. 
 
Son destin m’a causé mon amoureux souci.
Voila comme de nom d’effect tu es aussi
LE RÉ DES GENEREUX, Elene de Surgeres.

 

 
                                                                            Anagram
 
                                                                            You alone are my heart, my blood, my goddess;
                                                                            Your eye is the happy line and net
                                                                            Which catches noble men whenever it wants
                                                                            And never allows itself to be caught by fools.
 
                                                                            Honour too, and virtue, foresight and wisdom
                                                                            Live within your soul, which makes all those
                                                                            Fall in love who naturally have a heart eager
                                                                            To honour the beauties of a learned mistress.
 
                                                                            Names have effect and power and magic;
                                                                            I see this through yours, which has overcome
                                                                            Me, body and soul, with its substantial weapons.
 
                                                                            It was the fate which caused my wound of love.
                                                                            So too by effectual name you are
                                                                            THE NET OF NOBLE SOULS, Elene de Surgeres.
 
 
A neat anagram.  Both Marty-Laveaux and Blanchemain print LE RÉ DES GENEREUX, but actually it needs to be LE RÉ DES GENEREUS (a common plural form in Ronsard anyway) for the anagram to work!
 
Elsewhere Blanchemain’s version diverges from Marty-Laveaux’s, with changes at the start of each ‘stanza’ but the first:
 
 
Tu es seule mon cœur, mon sang et ma deesse,
Ton œil est le filé et le ré bien-heureux
Qui prend, quand il lui plaist, les hommes genereux,
Et se prendre des sots jamais il ne se laisse. 
 
L’honneur, la chasteté, la vertu, la sagesse,
Logent en ton esprit, lequel rend amoureux
Tous ceux qui de nature ont un cœur desireux
D’honorer les beautez d’une docte maistresse. 
 
Les noms (a dit Platon) ont très grande vertu ;
Je le voy par le tien, lequel m’a combatu,
Et l’esprit et le corps par armes non legeres. 
 
Sa deïté causa mon amoureux soucy.
Voila comme de nom, d’effect tu es aussi
LE RÉ DES GENEREUX, Elene de Surgeres.
 
 
 
                                                                           You alone are my heart, my blood, my goddess;
                                                                           Your eye is the happy line and net
                                                                           Which catches noble men whenever it wants
                                                                           And never allows itself to be caught by fools.
 
                                                                           Honour, chastity, virtue, wisdom
                                                                           Live within your soul, which makes all those
                                                                           Fall in love who naturally have a heart eager
                                                                           To honour the beauties of a learned mistress.
 
                                                                           Names (said Plato) have very great magic;
                                                                           I see this through yours, which has overcome
                                                                           Me, body and soul, with its substantial weapons.
 
                                                                           It was the deity which caused my wound of love.
                                                                           So too by effectual name you are
                                                                           THE NET OF NOBLE SOULS, Elene de Surgeres.
 
 
 
Blanchemain also offers a second variant of line 12 (the opening of the final tercet): “Sa force à moy fatale a causé mon soucy” (‘Its power, fatal to me, caused my wound’).
 
 
 
 
 

Sonnet 81

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Pardonne moy, Platon, si je ne cuide
Que sous le rond de la voute des Dieux,
Soit hors du monde, ou au profond des lieux
Que Styx entourne, il n’y ait quelque vuide.
 
Si l’air est plein en sa voute liquide,
Qui reçoit donc tant de pleurs de mes yeux,
Tant de soupirs que je sanglote aux cieux,
Lors qu’à mon dueil Amour lasche la bride ?
 
Il est du vague, ou si point il n’en est,
D’un air pressé le comblement ne naist :
Plus-tost le ciel, qui piteux se dispose
 
A recevoir l’effet de mes douleurs,
De toutes parts se comble de mes pleurs,
Et de mes vers qu’en mourant je compose.
 
 
 
 
                                                                            Pardon me, Plato, if i do not believe
                                                                            That beneath the circle of the Heavens’ vault,
                                                                            Whether beyond the world or in the depths of the parts
                                                                            Which Styx surrounds, there is no void [vacuum].
 
                                                                            If the air is full in its watery vault,
                                                                            Where is there room for so many tears from my eyes,
                                                                            So many sighs which I sob to the heavens,
                                                                            Since Love gave rein to my grief ?
 
                                                                            Is it from emptiness, or if not from there,
                                                                            From air under pressure, that its full-ness is born?
                                                                            No: rather heaven, which is pitiful and willing
 
                                                                            To receive the effect of my depair,
                                                                            Is filled in all parts with my tears,
                                                                            And with my verse which, dying, I compose.

 

 

Some philosophy-cum-science from Ronsard:  Plato did not believe in the existence of a vacuum (or perhaps rather any ‘void’/emptiness) in the world, Ronsard answers that there must be or he’ll over-fill everything with his tears. (I’ve copied his double-negative in the opening quatrain:  I must say working through the grammar here was rather testing!) Plato held that the universe was continually ‘becoming’ – self-generating – so that any temporary gaps between matter would be filled by this process; at the beginning of the sestet Ronsard is referring to these arguments about the nature of its ‘becoming’. As always, he turns the intellectual discussion to an extravagant love metaphor, in a charming fashion.
 
Fortunately the earlier Blanchemain version is substantially similar, with only minor variants in the language. In line 4, the Styx “emmure” (‘walls in’ rather than ‘surrounds’) the underworld; in line 5 the air is filled “en sa courbure humide” (‘in its wet curvature’ instead of ‘in its watery vault’); and in line 9 “Il est du vague, ou certes, s’il n’en est” (‘It is from emptiness, or certainly if not’, rather than ‘if not from there’).
 
The next sonnet, no.82, can be found here.
 
 [ PS.  I am amused to see the opening phrase re-used, with a twist, half way through this sonnet in the Marie set! I’m sure that’s entirely deliberate.]
 
 

Sonnet 74

Standard
Les Elemens et les Astres, à preuve
Ont façonné les rais de mon Soleil,
Vostre œil, Madame, en beauté nompareil,
Qui çà ne là son parangon ne treuve.
 
Dés l’onde Ibere où le Soleil s’abreuve,
Jusqu’à l’autre onde où il perd le sommeil,
Amour ne voit un miracle pareil,
Sur qui le Ciel tant de ses graces pleuve.
 
Cet œil premier m’apprit que c’est d’aimer :
Il vint premier tout le cœur m’entamer,
Servant de but à ses fleches dardées.
 
L’esprit par luy desira la vertu
Pour s’en-voler par un trac non batu
Jusqu’au giron des plus belles Idées.
 
 
 
 
                                                                            The Elements and Stars fashioned
                                                                            Their masterpiece, the rays of my Sun,
                                                                            Your eyes, my Lady – unequalled in beauty,
                                                                            Which nowhere find a comparator.
 
                                                                            From the Iberian sea where the sun drinks deeply,
                                                                            To the other sea where he wakes from sleep,
                                                                            Love sees no like miracle
                                                                            On which Heaven has rained so many of its graces.
 
                                                                            Those eyes first taught me what it is to love;
                                                                            They first came to break into all my heart,
                                                                            Which provided the target for their barbed arrows.
 
                                                                            Through those eyes, my spirit sought virtue
                                                                            So that it might fly on some unbeaten track
                                                                            To the bosom of the finest Ideals.

 

 

I have changed the image in line 1 – my image comes from apprenticeships in the arts, Ronsard’s comes from the craft of the armourer: the “preuve” is a test, a competition, but especially a competition of the noble, jousting kind. So in Ronsard’s image the ‘weapon’ of Cassandre’s eyes was made to be tested in combat against others. In the final line, as well, I have used ‘Ideals’ but in fact Ronsard refers to Platonic Forms or ‘Ideas’.  For a reader today, chivalry and Platonic philosophy are perhaps less current than they would be to Ronsard’s learned renaissance audience and I’ve switched to images that may carry more immediate impact today.
 
However, note that Blanchemain quotes Muret’s commentary on line 1, where he ‘translates’ “à preuve” as “à qui mieux” (‘who better?’) – ‘The stars – who better – created Cassandre’s radiant eyes’. Muret also suggests that the final line really means ‘to the bosom of God’ [ he uses the words “la divinité” as a humanist! ].
 
Blanchemain’s earlier version has a number of variants throughout, so here is his version complete:
 
 
Les Elemens et les Astres, à preuve
Ont façonné les rais de mon Soleil,
Je dis son œil, en beauté nompareil,
Qui çà ne là son parangon ne treuve.
 
Dés l’onde Ibere où le Soleil s’abreuve,
Jusques au lit de son premier réveil,
Amour ne void un miracle pareil,
Sur qui le Ciel tant de ses graces pleuve.
 
Cet œil premier m’apprit que c’est d’aimer :
Il vint premier ma jeunesse animer
A la vertu, par ses flammes dardées.
 
Par lui mon cœur premièrement s’aila,
Et loin du peuple à l’écart s’envola
Jusqu’au giron des plus belles Idées.
 
 
 
 
 
                                                                           The Elements and Stars made
                                                                           Their masterpiece, the rays of my Sun –
                                                                           I mean her eyes – unequalled in beauty,
                                                                           Which nowhere find a comparator.
 
                                                                           From the Iberian sea where the sun drinks deeply,
                                                                           To the bed of his first waking,
                                                                           Love sees no like miracle
                                                                           On which Heaven has rained so many of its graces.
 
                                                                           Those eyes first taught me what it is to love;
                                                                           They first came to excite my youth
                                                                           To virtue, with their barbed flames.
 
                                                                           Through those eyes, my heart first took wing,
                                                                           And flew aside, far from the people,
                                                                           To the bosom of the finest Ideals.

 

 
 
 

Sonnet 53

Standard
J’errois à la volee, et sans respect des lois
Ma chair dure à donter me commandoit à force,
Quand tes sages propos despouillerent l’escorce
De tant d’opinions que frivoles j’avois.
 
En t’oyant discourir d’une si saincte vois,
Qui donne aux voluptez une mortelle entorce,
Ta parole me fist par une douce amorce
Contempler le vray bien duquel je m’esgarois.
 
Tes mœurs et ta vertu, ta prudence et ta vie
Tesmoignent que l’esprit tient de la Deité :
Tes raisons de Platon, et ta Philosophie,
 
Que le vieil Promethee est une vérité,
Et qu’apres que du ciel eut la flame ravie
Il maria la Terre à la Divinité.
 
 
 
                                                                              I was wandering at random, and respecting no laws
                                                                              My flesh, hard to tame, was compelling me by force,
                                                                              When your wise words peeled away the rind
                                                                              From those many frivolous thoughts I had.
 
                                                                              Hearing you air these ideas in so saintly a voice
                                                                              Which gives to pleasure a fatal twist,
                                                                              Your words like sweet bait made me
                                                                              Reflect on that true good whose way I had lost.
 
                                                                              Your manners, your virtue, your prudence, your life
                                                                              All witness that the spirit holds something of the divine;
                                                                              Your reasoning from Plato, and your Philosophy,
 
                                                                              [Witness] that old Prometheus is a fact,
                                                                              And that after he had torn fire from heaven
                                                                              He married Earth to the Divine.
  
 
 
Frankly I find, in the metaphysics of the first half, that the sound is at least as important as the meaning!  Specifically, I’m not sure how to visualise ‘peeling the rind from my varied thoughts’, or how discussing wise ideas in a saintly voice gives the pleasure of hearing them ‘a fatal twist’. But there is no denying that there is resonance and weight in those lines.
 
In the second half, Ronsard no doubts expects us to associate Plato with ‘platonic love’ (i.e. unconsummated), as well as to understand the more direct reference to Platonic ‘Forms’ – that is, the idealised (heavenly) versions of imperfect earthly things. Ronsard of course wants to imply that Helene’s perfections are un-Platonic in the sense that they are as perfect as the heavenly versions: that is what his last couplet is about.  Prometheus was of course punished eternally by the gods for stealing fire and giving it to mankind – a symbol of mankind’s inventiveness and advancement, bringin man near to being godlike; in the myth, neither the gods nor the ancients provide any real sense of a ‘marriage of heaven and earth’, rather more a continued struggle between them, but that is not Ronsard’s point here!
 
Blanchemain offers us two variants of the last couplet, as Ronsard worked on its weight and sonority over the years. The earliest version is the one he prints in his text:
 
Et qu’en ayant la flame à Jupiter ravie,
Il maria la Terre à la Divinité.
 
                                                                              And that having torn fire from Jupiter
                                                                              He married Earth to the Divine.
 
 
In a footnote he provides a later version which approaches, but is not yet, the final form printed by Marty-Laveaux:
 
Et qu’apres que du ciel la flame il eut ravie
Il maria la Terre à la Divinité.
 
                                                                              And that after he had torn fire from heaven
                                                                              He married Earth to the Divine.
 
 
Losing the weak participle ‘ayant’ from the line was obviously a good thing; and it is interesting to see the subtle search for weight and resonance in the penultimate line in the two versions of the same words – finally achieving greater weight by eliminating the elisions (‘ciel_la’ and ‘flame_il’).  Here, clearly I think, the latest version is the winner!
 
 
 
 
 

Sonnet 21

Standard
Qu’Amour mon coeur, qu’Amour mon ame sonde,
Luy qui cognoist ma seule intention,
Il trouvera que toute passion
Veufue d’espoir par mes veines abonde.
 
Mon Dieu que j’aime !  Est-il possible au monde,
De voir un coeur si plein d’affection,
Pour la beauté d’une perfection,
Qui m’est dans l’ame en playe si profonde ?
 
Le cheval noir qui ma Royne conduit,
Suivant le traq où ma chair l’a seduit,
A tant erré d’une vaine traverse,
 
Que j’ay grand’ peur (si le blanc ne contraint
Sa course folle, et ses pas ne refraint
Dessous le joug) que ma raison ne verse.
 
 
 
                                                                       Ah, that Love would sound my heart, my soul,
                                                                       He who understands my sole intent ;
                                                                       He will find that every passion
                                                                       Issuing from hope, bounds through my veins.
 
                                                                       God, how I love !  Is it possible in this world
                                                                       To see a heart so full of the affection
                                                                       For the beauty of her perfection
                                                                       Which I have so deeply scored into my soul?
 
                                                                       The black horse which draws my queen,
                                                                       Following the track on which my flesh has drawn her,
                                                                       Has wandered so far in his vain passage
 
                                                                       That I am very afraid (if the white horse does not restrain
                                                                       His mad rush, and subdue his steps
                                                                       Beneath the yoke) that my reason may be overturned.
 
 
Ronsard’s metaphor in the final sestet is explained thus by Blanchemain:  “By his queen he means his reason; by the black horse, a sensual and disordered appetite, leading the soul to fleshly pleasures;  by the white horse, a  truthful and moderate appetite, leading always to good governance. This allegory is drawn from Plato’s dialogue called ‘Phaedo, or Of Beauty’. ”  In Blanchemain’s edition he has “que ma royne ne verse” in the last line – the version above at least gives us a chance to make sense of Ronsard’s allegory without needing the explanatory footnote!
 
Just to add, ‘veufue’ is a term I’ve only ever seen in the context of publishing, and cannot be sure of the translation. Any alternatives gratefuly considered!