Tag Archives: the Graces
Helen 2:56
Helen 2:15
Elégie à Janet, Peintre du Roy – Elegy, to Janet the King’s artist (Am. 1:228b)
Today, nearly 200 lines of charming verse – twice!
Pein-moy, Janet, pein-moy je te supplie Sur ce tableau les beautez de m’amie De la façon que je te les diray. Comme importun je ne te suppliray D’un art menteur quelque faveur luy faire. Il suffit bien si tu la sçais portraire Telle qu’elle est, sans vouloir desguiser Son naturel pour la favoriser : Car la faveur n’est bonne que pour celles Qui se font peindre, et qui ne sont pas belles. Fay-luy premier les cheveux ondelez, Serrez, retors, recrespez, annelez, Qui de couleur le cedre representent : Ou les allonge, et que libres ils sentent Dans le tableau, si par art tu le peux, La mesme odeur de ses propres cheveux : Car ses cheveux comme fleurettes sentent, Quand les Zephyrs au printemps les éventent. Que son beau front ne soit entre-fendu De nul sillon en profond estendu, Mais qu’il soit tel qu’est l’eau de la marine, Quand tant soit peu le vent ne la mutine, Et que gisante en son lict elle dort, Calmant ses flots sillez d’un somne mort. Tout au milieu par la gréve descende Un beau ruby, de qui l’esclat s’espande Par le tableau, ainsi qu’on voit de nuit Briller les raiz de la Lune, qui luit Dessus la neige au fond d’un val coulée, De trace d’homme encore non foulée. Apres fay luy son beau sourcy voutis D’Ebene noir, et que son ply tortis Semble un Croissant, qui monstre par la nuë Au premier mois sa vouture cornuë : Ou si jamais tu as veu l’arc d’Amour, Pren le portrait dessus le demy-tour De sa courbure à demy-cercle close : Car l’arc d’Amour et luy n’est qu’une chose. Mais las! Janet, helas je ne sçay pas Par quel moyen, ny comment tu peindras (Voire eusses-tu l’artifice d’Apelle) De ses beaux yeux la grace naturelle, Qui font vergongne aux estoilles des Cieux. Que l’un soit doux, l’autre soit furieux, Que l’un de Mars, l’autre de Venus tienne : Que du benin toute esperance vienne, Et du cruel vienne tout desespoir : L’un soit piteux et larmoyant à voir, Comme celuy d’Ariadne laissée Aux bords de Die, alors que l’insensee Pres de la mer, de pleurs se consommoit, Et son Thesée en vain elle nommoit : L’autre soit gay, comme il est bien croyable Que l’eut jadis Penelope louable Quand elle vit son mary retourné, Ayant vingt ans loing d’elle sejourné. Apres fay luy sa rondelette oreille Petite, unie, entre blanche et vermeille, Qui sous le voile apparoisse à l’egal Que fait un lis enclos dans un crystal, Ou tout ainsi qu’apparoist une rose Tout fraischement dedans un verre enclose. Mais pour neant tu aurois fait si beau Tout l’ornement de ton riche tableau, Si tu n’avois de la lineature De son beau nez bien portrait la peinture. Pein-le moy donc ny court, ny aquilin, Poli, traitis, où l’envieux malin Quand il voudroit n’y sçauroit que reprendre, Tant proprement tu le feras descendre Parmi la face, ainsi comme descend Dans une plaine un petit mont qui pend. Apres au vif pein moy sa belle joüe Pareille au teint de la rose qui noüe Dessus du laict, ou au teint blanchissant Du lis qui baise un œillet rougissant. Dans le milieu portrais une fossette, Fossette, non, mais d’Amour la cachette, D’où ce garçon de sa petite main Lasche cent traits et jamais un en vain, Que par les yeux droit au cœur il ne touche. Helas ! Janet, pour bien peindre sa bouche, A peine Homere en ses vers te diroit Quel vermillon egaler la pourroit : Car pour la peindre ainsi qu’elle merite, Peindre il faudroit celle d’une Charite. Pein-la moy doncq, qu’elle semble parler, Ores sou-rire, ores embasmer l’air De ne sçay quelle ambrosienne haleine : Mais par sur tout fay qu’elle semble pleine De la douceur de persuasion. Tout à l’entour attache un milion De ris, d’attraits, de jeux, de courtoisies, Et que deux rangs de perlettes choisies D’un ordre egal en la place des dents Bien poliment soyent arrangez dedans. Pein tout autour une lévre bessonne, Qui d’elle-mesme en s’elevant semonne D’estre baisée, ayant le teint pareil Ou de la rose, ou du coural vermeil : Elle flambante au Printemps sur l’espine, Luy rougissant au fond de la marine. Pein son menton au milieu fosselu, Et que le bout en rondeur pommelu Soit tout ainsi que lon voit apparoistre Le bout d’un coin qui ja commence à croistre. Plus blanc que laict caillé dessus le jonc Pein luy le col, mais pein-le un petit long, Gresle et charnu, et sa gorge doüillette Comme le col soit un petit longuette. Apres fay luy par un juste compas, Et de Junon les coudes et les bras, Et les beaux doigts de Minerve, et encore La main egale à celle de l’Aurore. Je ne sçay plus, mon Janet, où j’en suis : Je suis confus et muet : je ne puis Comme j’ay fait, te declarer le reste De ses beautez qui ne m’est manifeste : Las ! car jamais tant de faveurs je n’u, Que d’avoir veu ses beaux tetins à nu. Mais si lon peut juger par conjecture, Persuadé de raisons je m’asseure Que la beauté qui ne s’apparoit, doit Estre semblable à celle que lon voit. Donque pein-la, et qu’elle me soit faite Parfaite autant comme l’autre est parfaite. Ainsi qu’en bosse esleve moy son sein Net, blanc, poli, large, entre-ouvert et plein, Dedans lequel mille rameuses veines De rouge sang tressaillent toutes pleines. Puis, quand au vif tu auras descouvers Dessous la peau les muscles et les ners, Enfle au dessus deux pommes nouvelettes, Comme l’on void deux pommes verdelettes D’un orenger, qui encores du tout Ne font qu’à l’heure à se rougir au bout. Tout au plus haut des espaules marbrines, Pein le sejour des Charites divines, Et que l’Amour sans cesse voletant Tousjours les couve et les aille esventant, Pensant voler avec le Jeu son frere De branche en branche és vergers de Cythere. Un peu plus bas en miroir arrondi, Tout potelé, grasselet, rebondi, Comme celuy de Venus, pein son ventre : Pein son nombril ainsi qu’un petit centre, Le fond duquel paroisse plus vermeil Qu’un bel œillet favoris du Soleil. Qu’atten’s-tu plus ? portray moy l’autre chose Qui est si belle, et que dire je n’ose, Et dont l’espoir impatient me poind : Mais je te pry, ne me l’ombrage point, Si ce n’estoit d’un voile fait de soye Clair et subtil, à fin qu’on l’entre-voye. Ses cuisses soyent comme faites au Tour A pleine chair, rondes tout à l’entour, Ainsi qu’un Terme arrondi d’artifice Qui soustient ferme un royal edifice. Comme deux monts enleve ses genous, Douillets, charnus, ronds, delicats et mous, Dessous lesquels fay luy la gréve pleine, Telle que l’ont les vierges de Lacene, Quand pres d’Eurote en s’accrochant des bras Luttent ensemble et se jettent à bas : Ou bien chassant à meutes decouplees Quelque vieil cerf és forests Amyclees. Puis pour la fin portray-luy de Thetis Les pieds estroits, et les talons petis. Ha, je la voy ! elle est presque portraite : Encore un trait, encore un, elle est faite. Leve tes mains, hà mon Dieu, je la voy ! Bien peu s’en faut qu’elle ne parle à moy. | Paint me, Janet, paint me I pray In this picture the beauties of my beloved In the manner I’ll tell you them. I shall not ask as a beggar That you do her any favours with lying art. It will be enough if you can portray her Just as she is, without trying to disguise Her natural looks to favour her : For favour is no good but for those Who have themselves painted but are not fair. First, make her hair in waves, Tied up, swept back, curled in ringlets, Which have the colour of cedar ; Or make it long and free, scented In the picture, if you can do it with art, With the same scent her own hair has ; For her hair smells like flowers When the spring Zephyrs fan them. Make sure her fair brow is not lined By any furrow long-extended, But that it looks like the waters of the sea When the wind does not disturb them in the slightest, And when it sleeps, lying on its bed, Calming its waves sunk in deepest sleep. Down the middle of this strand make descend A fair ruby, whose brightness should spread Throughout the picture, as at night you see Shining the rays of the moon, spreading light Over the snow in the deeps of a sunken valley Still untrodden by the foot of man. Then make her fair arched eyebrow Of black ebony, so that its curve Resembles a crescent moon, showing through cloud Its horned arc at the beginning of the month ; Or, if you have ever seen Love’s bow, Use its image above, the half-turn Of its curve makig a half-circle ; For Love’s bow and herself are but one thing. But ah, Janet, ah ! I do not know In what way or how you will paint (Even if you had the skill of Apelles) The natural grace of her lovely eyes Which make the stars of Heaven ashamed. Make one sweet, the other furious, One having something of Mars, the other of Venus : That from the kind one, every hope should come, And from the cruel one, every despair ; Let one be pitiful to see, in tears, Like that of Ariadne abandoned On the shores of Dia, while maddened She was consumed in tears beside the sea And called on her Theseus in vain ; Let the other be happy, as we can believe The praiseworthy Penelope was formerly When she saw her husband returned After staying for twenty years far from her. Next, make her rounded ear, Small, elegant, between white and pink, Which should appear beneath its veil exactly As a lily does, enclosed in crystal, Or just a a rose would appear, Completely fresh, enclosed in a vase. But you would have painted so well Every ornament of your rich picture, for nothing If you had not well-depicted the line Of her fair nose. Paint me it, then, not short nor aquiline, Elegant and well-made, so the wicked or envious Even if he wanted could not reprove, So exactly you’ll have made it descend In the midst of her face, just as descends Over a plain a little raised mound. Then as in life paint me her fair cheek, Equal to the tint of a rose which swims Upon milk, or to the white tint Of the lily kissing a blushing pink. In the middle,portray a small dimple – No not a dimple, but the hiding-place of Love From which that boy with his little hand Launches a hundred arrows and never one in vain Which does not through the eyes go straight to the heart. Ah, Janet ! to paint her mouth well Homer himself in his verse could barely say What crimson could equal it ; For to paint it as it deserves You would need to paint a Grace’s. So, paint me it as she seems to be talking, Now smiling, now perfuming the air With some kind of ambrosial breath ; But above all make her appear full Of the sweetness of persuasion. All around, attach a million Smiles, attractiveness, jokes, courtesies ; And let there be two rows of choice little pearls In a neat line, in place of teeth, Elegantly arrayed within. Paint all round them those twin lips Which, rising up, themselves invite Being kissed, their colour equal To a rose’s or crimson coral’s ; The one flaming in spring on its thorn, The other reddening at the bottom of the sea. Paint her chin dimpled in the middle And make the tip bud into roundness Just as if we were seeing appear The tip of a quince just beginning to grow. Whiter than clotted cream on rushes Paint her neck, but paint it a little long, Slender but plump, and her soft throat Like her neck should be a little long. Then make her, accurately drawn, The arms and elbows of Juno And the lovely fingers of Minerva, and too Hands equal to the Dawn’s. I no longer know, Janet, where I am : I am confused, dumb : I cannot As I have done tell you the rest Of her beauties which have not been shown me. Ah, I have never had the good favour To have seen her fair breasts naked, But if we may judge by conjecture With good reason I am convinced That the beauty which is unseen should Be like that we see. So paint her, and let her be made Perfect just as the lady herself is perfect. As if embossed, raise up her breast Clear, white, elegant, wide, half-uncovered, full, Within which a thousand branchy veins Filled with red blood quiver. Then when as in life you have revealed Beneath the skin the muscles and nerves, Make swell on top two fresh apples, Just as you night see two green apples In an orchard, which still and all Just grow redder by the moment at the tip. Right above her marble shoulders Paint the divine Graces resting, And let Love ceaselessly flying around Gaze on them always and keep fanning them, Thinking he’s flying with Jest, his brother, From branch to branch in the orchards of Cythera. A little below, rounded like a mirror, All rounded, plump and shapely, Like that of Venus, paint her belly ; Paint its button like a little target The depths of which should appear more crimson Than the lovely carnation, the Sun’s favourite. What are you waiting for ? Paint me that other part Which is so lovely, and which I dare not mention, And impatient hope for which pricks me : But I beg you, do not cover it over Unless it be with a veil made of silk, Clear and fine, that you can party see through. Her thighs should be made like towers Full-fleshed, rounded all about, Just as a column artfully rounded Which firmly holds up a royal building. Like two hills raise up her knees Downy, plump, round, delicate and soft ; Beneath them make her calves full As were those of the maids of Laconia When near Eurotas, gripping their arms They fought together and threw one another down ; Or indeed hunting with unleashed hounds Some old stag in the forests of Amyclae. Then, finally, portray her with Thetis’ Narrow feet and small toes. Ha, I see her ! she is almost portayed : But one stroke more, justl one and she is done. Raise your hands, ah my god, I see her ! She all but speaks to me. |
Pein-moy, Janet, pein-moy je te supplie Sur ce tableau les beautez de m’amie De la façon que je te les diray. Comme importun je ne te suppliray D’un art menteur quelque faveur luy faire. Il suffit bien si tu la sçais portraire Telle qu’elle est, sans vouloir desguiser Son naturel pour la favoriser : Car la faveur n’est bonne que pour celles Qui se font peindre, et qui ne sont pas belles. Fay-luy premier les cheveux ondelez, Nouez, retors, recrespez, annelez, Qui de couleur le cedre representent : Ou les allonge, et que libres ils sentent Dans le tableau, si par art tu le peux, La mesme odeur de ses propres cheveux : Car ses cheveux comme fleurettes sentent, Quand les Zephyrs au printemps les éventent. [Fais-lui le front en bosse revoûté, Sur lequel soient d’un et d’autre côté Peints gravement, sur trois sièges d’ivoire A majesté, la vergogne at la gloire.] Que son beau front ne soit entre-fendu De nul sillon en profond estendu, Mais qu’il soit tel qu’est la calme marine, Quand tant soit peu le vent ne la mutine, Et que gisante en son lict elle dort, Calmant ses flots sillez d’un somne mort. Tout au milieu par la gréve descende Un beau ruby, de qui l’esclat s’espande Par le tableau, ainsi qu’on voit de nuit Briller les raiz de la Lune, qui luit Dessus la neige au fond d’un val coulée, De trace d’homme encore non foulée. Apres fay luy son beau sourcy voutis D’Ebene noir, et que son ply tortis Semble un Croissant, qui monstre par la nuë Au premier mois sa vouture cornuë : Ou si jamais tu as veu l’arc d’Amour, Pren le portrait dessus le demy-tour De sa courbure à demy-cercle close : Car l’arc d’Amour et luy n’est qu’une chose. Mais las! mon Dieu, mon Dieu, je ne sçay pas Par quel moyen, ny comment tu peindras (Voire eusses-tu l’artifice d’Apelle) De ses beaux yeux la grace naturelle, Qui font vergongne aux estoilles des Cieux. Que l’un soit doux, l’autre soit furieux, Que l’un de Mars, l’autre de Venus tienne : Que du benin toute esperance vienne, Et du cruel vienne tout desespoir : Ou que l’un soit pitoyable a le voir, Comme celuy d’Ariadne laissée Aux bords de Die, alors que l’insensee Voyant la mer, de pleurs se consommoit, Et son Thesée en vain elle nommoit : L’autre soit gay, comme il est bien croyable Que l’eut jadis Penelope louable Quand elle vit son mary retourné, Ayant vingt ans loing d’elle sejourné. Apres fay luy sa rondelette oreille Petite, unie, entre blanche et vermeille, Qui sous le voile apparoisse à l’egal Que fait un lis enclos dans un crystal, Ou tout ainsi qu’apparoist une rose Tout fraischement dedans un verre enclose. Mais pour neant tu aurois fait si beau Tout l’ornement de ton riche tableau, Si tu n’avois de la lineature De son beau nez bien portrait la peinture. Pein-le moy donc gresle, long, aquilin, Poli, traitis, où l’envieux malin Quand il voudroit n’y sçauroit que reprendre, Tant proprement tu le feras descendre Parmi la face, ainsi comme descend Dans une plaine un petit mont qui pend. Apres au vif pein moy sa belle joüe Pareille au teint de la rose qui noüe Dessus du laict, ou au teint blanchissant Du lis qui baise un œillet rougissant. Dans le milieu portrais une fossette, Fossette, non, mais d’Amour la cachette, D’où ce garçon de sa petite main Lasche cent traits et jamais un en vain, Que par les yeux droit au cœur il ne touche. Helas ! Janet, pour bien peindre sa bouche, A peine Homere en ses vers te diroit Quel vermillon egaler la pourroit : Car pour la peindre ainsi qu’elle merite, Peindre il faudroit celle d’une Charite. Pein-la moy doncq, qu’elle semble parler, Ores sou-rire, ores embasmer l’air De ne sçay quelle ambrosienne haleine : Mais par sur tout fay qu’elle semble pleine De la douceur de persuasion. Tout à l’entour attache un milion De ris, d’attraits, de jeux, de courtoisies, Et que deux rangs de perlettes choisies D’un ordre egal en la place des dents Bien poliment soyent arrangez dedans. Pein tout autour une lévre bessonne, Qui d’elle-mesme en s’elevant semonne D’estre baisée, ayant le teint pareil Ou de la rose, ou du coural vermeil : Elle flambante au Printemps sur l’espine, Luy rougissant au fond de la marine. Pein son menton au milieu fosselu, Et que le bout en rondeur pommelu Soit tout ainsi que lon voit apparoistre Le bout d’un coin qui ja commence à croistre. Plus blanc que laict caillé dessus le jonc Pein luy le col, mais pein-le un petit long, Gresle et charnu, et sa gorge doüillette Comme le col soit un petit longuette. Apres fay luy par un juste compas, Et de Junon les coudes et les bras, Et les beaux doigts de Minerve, et encore La main pareille à celle de l’Aurore. Je ne sçay plus, mon Janet, où j’en suis : Je suis confus et muet : je ne puis Comme j’ay fait, te declarer le reste De ses beautez qui ne m’est manifeste : Las ! car jamais tant de faveurs je n’eu, Que d’avoir veu ses beaux tetins à nu. Mais si l’on peut juger par conjecture, Persuadé de raisons je m’asseure Que la beauté qui ne s’apparoit, doit Estre semblable à celle que lon voit. Donque pein-la, et qu’elle me soit faite Parfaite autant comme l’autre est parfaite. Ainsi qu’en bosse esleve moy son sein Net, blanc, poli, large, profond et plein, Dedans lequel mille rameuses veines De rouge sang tressaillent toutes pleines. Puis, quand au vif tu auras descouvers Dessous la peau les muscles et les ners, Enfle au dessus deux pommes nouvelettes, Comme l’on void deux pommes verdelettes D’un orenger, qui encores du tout Ne font alors que se rougir au bout. Tout au plus haut des espaules marbrines, Pein le sejour des Charites divines, Et que l’Amour sans cesse voletant Tousjours les couve et les aille esventant, Pensant voler avec le Jeu son frere De branche en branche és vergers de Cythere. Un peu plus bas en miroir arrondi, Tout potelé, grasselet, rebondi, Comme celuy de Venus, pein son ventre : Pein son nombril ainsi qu’un petit centre, Le fond duquel paroisse plus vermeil Qu’un bel œillet entr’ouvert au Soleil. Qu’atten’s-tu plus ? portray moy l’autre chose Qui est si belle, et que dire je n’ose, Et dont l’espoir impatient me poind : Mais je te pry, ne me l’ombrage point, Si ce n’estoit d’un voile fait de soye Clair et subtil, à fin qu’on l’entre-voye. Ses cuisses soyent comme faites au Tour En grelissant, rondes tout à l’entour, Ainsi qu’un Terme arrondi d’artifice Qui soustient ferme un royal edifice. Comme deux monts enleve ses genous, Douillets, charnus, ronds, delicats et mous, Dessous lesquels fay luy la gréve pleine, Telle que l’ont les vierges de Lacene, Quand pres d’Eurote en s’accrochant des bras Luttent ensemble et se jettent à bas : Ou bien chassant à meutes decouplees Quelque vieil cerf és forests Amyclees. Puis pour la fin portray-luy de Thetis Les pieds estroits, et les talons petis. Ha, je la voy ! elle est presque portraite : Encore un trait, encore un, elle est faite. Leve tes mains, hà mon Dieu, je la voy ! Bien peu s’en faut qu’elle ne parle à moy. | Paint me, Janet, paint me I pray In this picture the beauties of my beloved In the manner I’ll tell you them. I shall not ask as a beggar That you do her any favours with lying art. It will be enough if you can portray her Just as she is, without trying to disguise Her natural looks to favour her : For favour is no good but for those Who have themselves painted but are not fair. First, make her hair in waves, Knotted up, swept back, curled in ringlets, Which have the colour of cedar ; Or make it long and free, scented In the picture, if you can do it with art, With the same scent her own hair has ; For her hair smells like flowers When the spring Zephyrs fan them. [Make her brow projecting in an arc On which should be, on each side, Painted gravely modesty and glory In majesty on three ivory thrones. Make sure her fair brow is not lined By any furrow long-extended, But that it looks like the calm sea When the wind does not disturb them in the slightest, And when it sleeps, lying on its bed, Calming its waves sunk in deepest sleep. Down the middle of this strand make descend A fair ruby, whose brightness should spread Throughout the picture, as at night you see Shining the rays of the moon, spreading light Over the snow in the deeps of a sunken valley Still untrodden by the foot of man. Then make her fair arched eyebrow Of black ebony, so that its curve Resembles a crescent moon, showing through cloud Its horned arc at the beginning of the month ; Or, if you have ever seen Love’s bow, Use its image above, the half-turn Of its curve makig a half-circle ; For Love’s bow and herself are but one thing. But ah, my God, my God, I do not know In what way or how you will paint (Even if you had the skill of Apelles) The natural grace of her lovely eyes Which make the stars of Heaven ashamed. Make one sweet, the other furious, One having something of Mars, the other of Venus : That from the kind one, every hope should come, And from the cruel one, every despair ; Or, let one be pitiful to see, Like that of Ariadne abandoned On the shores of Dia, while maddened She was consumed in tears watching the sea And called on her Theseus in vain ; Let the other be happy, as we can believe The praiseworthy Penelope was formerly When she saw her husband returned After staying for twenty years far from her. Next, make her rounded ear, Small, elegant, between white and pink, Which should appear beneath its veil exactly As a lily does, enclosed in crystal, Or just a a rose would appear, Completely fresh, enclosed in a vase. But you would have painted so well Every ornament of your rich picture, for nothing If you had not well-depicted the line Of her fair nose. Paint me it, then, slender, long, aquiline, Elegant and well-made, so the wicked or envious Even if he wanted could not reprove, So exactly you’ll have made it descend In the midst of her face, just as descends Over a plain a little raised mound. Then as in life paint me her fair cheek, Equal to the tint of a rose which swims Upon milk, or to the white tint Of the lily kissing a blushing pink. In the middle,portray a small dimple – No not a dimple, but the hiding-place of Love From which that boy with his little hand Launches a hundred arrows and never one in vain Which does not through the eyes go straight to the heart. Ah, Janet ! to paint her mouth well Homer himself in his vere could barely say What crimson could equal it ; For to paint it as it deserves You would need to paint a Grace’s. So, paint me it as she seems to be talking, Now smiling, now perfuming the air With some kind of ambrosial breath ; But above all make her appear full Of the sweetness of persuasion. All around, attach a million Smiles, attractiveness, jokes, courtesies ; And let there be two rows of choice little pearls In a neat line, in place of teeth, Elegantly arrayed within. Paint all round them those twin lips Which, rising up, themselves invite Being kissed, their colour equal To a rose’s or crimson coral’s ; The one flaming in spring on its thorn, The other reddening at the bottom of the sea. Paint her chin dimpled in the middle And make the tip bud into roundness Just as if we were seeing appear The tip of a quince just beginning to grow. Whiter than clotted cream on rushes Paint her neck, but paint it a little long, Slender but plump, and her soft throat Like her neck should be a little long. Then make her, accurately drawn, The arms and elbows of Juno And the lovely fingers of Minerva, and too Hands like the Dawn’s. I no longer know, Janet, where I am : I am confused, dumb : I cannot As I have done tell you the rest Of her beauties which have not been shown me. Ah, I have never had the good favour To have seen her fair breasts naked, But if we may judge by conjecture With good reason I am convinced That the beauty which is unseen should Be like that we see. So paint her, and let her be made Perfect just as the lady herself is perfect. As if embossed, raise up her breast Clear, white, elegant, wide, deep, full, Within which a thousand branchy veins Filled with red blood quiver. Then when as in life you have revealed Beneath the skin the muscles and nerves, Make swell on top two fresh apples, Just as you night see two green apples In an orchard, which still and all Just grow redder at the tip. Right above her marble shoulders Paint the divine Graces resting, And let Love ceaselessly flying around Gaze on them always and keep fanning them, Thinking he’s flying with Jest, his brother, From branch to branch in the orchards of Cythera. A little below, rounded like a mirror, All rounded, plump and shapely, Like that of Venus, paint her belly ; Paint its button like a little target The depths of which should appear more crimson Than the lovely carnation, half-open to the Sun. What are you waiting for ? Paint me that other part Which is so lovely, and which I dare not mention, And impatient hope for which pricks me : But I beg you, do not cover it over Unless it be with a veil made of silk, Clear and fine, that you can party see through. Her thighs should be made like towers Becoming slenderer, rounded all about, Just as a column artfully rounded Which firmly holds up a royal building. Like two hills raise up her knees Downy, plump, round, delicate and soft ; Beneath them make her calves full As were those of the maids of Laconia When near Eurotas, gripping their arms They fought together and threw one another down ; Or indeed hunting with unleashed hounds Some old stag in the forests of Amyclae. Then, finally, portray her with Thetis’ Narrow feet and small toes. Ha, I see her ! she is almost portayed : But one stroke more, justl one and she is done. Raise your hands, ah my god, I see her ! She all but speaks to me. |
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 145
Ronsard’s apple theme is explained by Muret: ‘All kinds of apples are dedicated to Desire/Lust (la Volupté), to the Graces, and to Love. All that which is the most delicate and charming in love draws on roundness: the head, the eyes, the chin, the cheeks (which the Latins call ‘malas’, as if ‘mala’ [apples]); the breasts, the curve of the stomach, the knees, the roundness of the thighs, and the other fair parts of woman.’ That may be so, but Ronsard is more interested it seems in the myths that use apples as a sign of love – cf. line 9! I have no idea why he decided to change the apple in line 3 to an orange in this late version: Blanchemain’s version of line 3 begins “La pomme d’or…”. Obviously an orange is more exotic, but less ‘yellow’ than an apple and more orange, which is perhaps not the colour a rejected lover would go…? Perhaps he’s thinking of unripe oranges, as this is probably how he’d have seen them. (Interesting too that in this period the orange had a hidden aspirate at the front – a h’orange – judging from the way he writes line 3. A brief glance at the myths Ronsard refers to. In line 6, Atalanta’s tale is well-known: (from Wikipedia) ‘Atalanta, uninterested in marriage, agreed to marry only if her suitors could outrun her in a footrace. Those who lost would be killed … Hippomenes asked the goddess Aphrodite for help, and she gave him three golden apples in order to slow Atalanta down. The apples were irresistible, so every time Atalanta got ahead of Hippomenes, he rolled an apple ahead of her, and she would run after it. In this way, Hippomenes won the footrace and came to marry Atalanta.‘ The story of Cydippe is far less well-known, but features in Ovid whose poetry was considerably more fashionable (and better known) in the renaissance than today: ‘During the festival of Artemis at Delos, Acontius saw Cydippe, a well-born Athenian maiden of whom he was enamoured, sitting in the temple of the goddess. He wrote on an apple the words, “I swear by Artemis that I will marry Acontius”, and threw it at her feet. She picked it up, and mechanically read the words aloud, which amounted to a solemn undertaking to carry them out. Unaware of this, she treated Acontius with contempt; but, although she was betrothed more than once, she always fell ill before the wedding took place. The Delphic oracle at last declared the cause of her illnesses to be the wrath of the offended goddess; whereupon her father consented to her marriage with Acontius‘ As for Grace (or rather the Graces) holding apples, I can do no better than point you to Raphael (another borrowing from Wikipedia): Blanchemain’s version has a less allusive version of the Cydippe myth in line 7-8: Et Cydippé, qui encor se lamente D’elle et d’Aconce et d’Amour si nuisant And Cydippe who still laments Over herself and Acontius and over such harmful love He also offers a small change in line 10 – “Heureux celuy qui de tel bien est digne” (‘Happy he who is worthy of such a reward’)
Sonnet 65
Qui les cheveux des Charites efface,
Et ton bel œil qui le Soleil surpasse,
Et ton beau teint sans fraude rougissant, A front baissé je pleure gemissant
Dequoy je suis (faulte digne de grace)
Sous les accords de ma ryme si basse,
De tes beautez les honneurs trahissant. Je connoy bien que je devroy me taire
En t’adorant : mais l’amoureux ulcere
Qui m’ard le cœur, vient ma langue enchanter. Doncque (mon Tout) si dignement je n’use
L’ancre et la voix à tes graces chanter,
C’est le destin, et non l’art qui m’abuse. When I see your fair brown locks Which eclipse the hair of the Graces, And your fair eye which surpasses the Sun, And your fair complexion reddened by no artificial means, With lowered brow I weep, groaning That I am (though it’s a failing worthy of forgiveness) Betraying in the rhymes of my poor poetry The honour due to your beauties. I fully understand that I should be quiet As I adore you; but the ulcer of love Which burns my heart has enchanted my tongue. So, my All, if I do not worthily use My ink and my voice to sing your graces, It is fate not art which leads me astray.
Here’s another poem which the older Ronsard considerably re-worked. In places you can see why: the early version of line 4 (below) starts “Et ton tetin” which sounds pretty ugly, so “ton beau teint” is a definite improvement. Sometimes you wonder what was behind the change: why is Cassandre’s hair brown in old Ronsard’s memory, when it’s blonde (below) to his younger eyes?! It’s good to see a bit of modesty – even if false modesty – about the power of poetry! But of course the point is that however beautiful the poem – and Ronsard would always claim his own as beautiful – she outshines it. The 2 versions of the final couplet are fascinating for their differences, while retaining the same effect: quite a virtuoso re-working in the late version! Here is the complete Blanchemain (early) version: Quand j’apperçoy ton beau chef jaunissant,
Qui la blondeur des filets d’or efface,
Et ton bel œil qui les astres surpasse,
Et ton tetin comme œillet rougissant, A front baissé je pleure, gémissant
De quoi je suis (faute digne de grace)
Sous l’humble voix de ma rime si basse,
De tes beautés les honneurs trahissant. Je connois bien que je devrois me taire
Ou mieux parler : mais l’amoureux ulcère
Qui m’ard le cœur me force de chanter. Doncque, mon tout, si dignement je n’use
L’encre et la voix à tes graces vanter,
Non l’ouvrier, non, mais son destin, accuse. When I see your fair golden hair Which eclipses the colour of golden tiaras, And your fair eye which surpasses the stars, And your breast reddening like a carnation, With lowered brow I weep, groaning That I am (though it’s a failing worthy of forgiveness) Betraying in the humble words of my poor poetry The honour due to your beauties. I fully understand that I should be quiet Or speak better; but the ulcer of love Which burns my heart forces me to sing. So, my All, if I do not worthily use My ink and my voice to laud your graces, Accuse not the workman, no, but his fate.
Incidentally, Blanchemain also quotes the whole late version in a footnote, though with one minor change – “‘de ma lyre” in line 7 instead of “de ma ryme” (do I even need to translate that for you?!)
To Jean Galland
Because I like it – and because it starts with a ‘G’ 🙂 – here is a « fragment que Ronsard n’a peu achever, prevenu de mort. » (a fragment Ronsard was unable to finish, overtaken by death).
Galland, ma seconde ame, Atrebatique race, Encor que nos ayeux ay’nt emmuré la place De nos villes bien loin, la tienne prés d’Arras, La mienne prés Vendosme, où le Loir de ses bras Arrouse doucement nos collines vineuses, Et nos champs fromentiers de vagues limoneuses, Et la Lise des tiens qui baignent ton Artois S’enfuit au sein du Rhin, la borne des Gaulois : Pour estre separé de villes et d’espaces, Cela n’empesche point que les trois belles Graces, L’honneur et la vertu, n’ourdissent le lien Qui serre de si prés mon cœur avec le tien. Heureux qui peut trouver pour passer l’avanture De ce Monde un amy de gentille nature, Comme tu es, Galland, en qui les Cieux ont mis Tout le parfait requis aux plus parfaits amis. Jà mon soir s’embrunit, et déja ma journée Fuit vers son Occident à demy retournée, La Parque ne me veut ny me peut secourir : Encore ta carriere est bien longue à courir, Ta vie est en sa course, et d’une forte haleine Et d’un pied vigoureux tu fais jaillir l’areine Sous tes pas, aussi fort que quelque bon guerrier Le sablon Elean pour le prix du Laurier … Galland, my second soul, descended from the Atrebates, Although our ancestors had established the walls Of our towns far apart, yours near Arras And mine near Vendôme, where the Loir with its arms Gently waters our vine-bearing hills And our fields of wheat with its muddy waves, While the Lise with its [arms] which bathe your Artois Runs down to the bosom of the Rhine, the edge of Gaul; Though separated by towns and distance, That does not prevent the three fair Graces, Honour and virtue from weaving the bond Which binds my heart so closely with yours. Fortunate he who can find, to share the adventure Of this world, a friend of noble nature Like you, Galland, in whom the Heavens have placed Everything perfect required in the most perfect friends. Now my evening darkens, and my daytime Flees westward, half-passed, And Fate neither can nor will help me; But your career has long to run, Your life is set in its course, and with strong lungs And vigorous feet you make the sand leap Beneath your feet, as strongly as some fine warrior Might the sand of Elis to take the prize, the laurel-wreath … Ronsard’s trusted friend Jean Galland was principal of the Collège de Boncourt in Paris, and after Ronsard’s death both organised an annual commemoration of the poet in the chapel there, and (together with Claude Binet) edited Ronsard’s late verse and put together the ‘Tombeau de Ronsard’, a (substantial) collection of poems in Ronsard’s honour. As well as his literary executor, Galland had been one of Ronsard’s closest companions, and had helped to nurse him in his decline – ‘without him he [Ronsard] could not live’, said Binet; Ronsard obviously loved him deeply. The Collège had other links with Ronsard’s circle: tragedies by Jodelle were performed there, and Muret taught Jodelle and Belleau there. In 1688 it was Pierre Galand, then principal, who merged the Collège with the Collège de Navarre. This fragment is (obviously) very classicising, and stuffed with antique references. The Atrebates were a tribe from the Pas-de-Calais area, who established an offshoot in southern England after Caesar’s conquest. The centre of the region is now Artois, its capital Arras, from which the river (now the Scarpe) heads east towards the Rhine and the border between Gaul and Germania. Elis was a state in the south of ancient Greece: within it was Olympus, seat of the Olympic Games – so running on Elean sands is running in the Olympics. A minor editorial note: Blanchemain has “Pour estre separés de villes et d’espaces” in line 9. The text above in effect says ‘though I am separated from you…’, while Blanchemain’s plural says ‘though we are separated…’ – I leave you to choose which you prefer.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. |
Sonnet 39
(L’escrevice marchant, comme il fait en arriere) Cher present que je donne à toy chere guerriere,
Mon don pour le Soleil est digne d’estre aimé. Le Soleil va tousjours de flames allumé,
Je porte au cœur le feu de ta belle lumiere :
Il est l’ame du monde, et ma force premiere
Depend de ta vertu, dont je suis animé. O douce belle vive angelique Sereine,
Ma toute Pasithee, essence sur-humaine,
Merveille de nature, exemple sans pareil, D’honneur et de beauté l’ornement et le signe,
Puis que rien icy bas de ta vertu n’est digne,
Que te puis-je donner sinon que le Soleil ? The agate, in which the symbol of the sun is imprinted (Going like a crayfish, backwards) The dear present which I give to you, my dear warrior, My gift is worthy of being loved for the sun’s sake. The sun is always lit up with flames, And I carry in my heart the fire of your fair light; He is the soul of the world, and my essential strength Depends on your virtue, by which I am given life. O sweet, fair, lively, angelic Calm, My Pasithea in every way, super-human essence, Wonder of nature, peerless example, The ornament and symbol of honour and beauty: Since nothing here below is worthy of your virtue What can I give you except the sun? Another poem unchanged from its earlier version. Pasithea is one of the Graces, married to Somnus god of sleep, and a symbol of relaxation and calm. Why ‘the symbol of the sun is imprinted going like a crayfish, backward” in an agate I am not sure: perhaps because the agate is dark in the middle and brightens as you move outwards?