Fifteen sonnets of Petrarch

[Transcriber's Note: Printer errors in the Italian sonnets are noted in the Transcriber's Note at the end of this file, along with a list of the corresponding sonnet numbers in _Il Canzoniere_.] FIFTEEN SONNETS OF PETRARCH

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SELECTED AND TRANSLATED BY THOMAS WENTWORTH HIGGINSON PUBLISHED BY HOUGHTON MIFFLIN & COMPANY BOSTON AND NEW YORK MDCCCCIII COPYRIGHT 1900 AND 1903 BY THOMAS WENTWORTH HIGGINSON ALL RIGHTS RESERVED INTRODUCTION NOTE This introduction is based essentially upon a paper 'Sunshine and Petrarch' which originally included most of the sonnets in this volume. It was written at Newport, R.I., where the translator was then residing. INTRODUCTION Near my summer home there is a little cove or landing by the bay, where nothing larger than a boat can ever anchor. I sit above it now, upon the steep bank, knee-deep in buttercups, and amid grass so lush and green that it seems to ripple and flow instead of waving. Below lies a tiny beach, strewn with a few bits of driftwood and some purple shells, and so sheltered by projecting walls that its wavelets plash but lightly. A little farther out the sea breaks more roughly over submerged rocks, and the waves lift themselves, before breaking, in an indescribable way, as if each gave a glimpse through a translucent window, beyond which all ocean's depths might be clearly seen, could one but hit the proper angle of vision. On the right side of my retreat a high wall limits the view, while close upon the left the crumbling parapet of Fort Greene stands out into the foreground, its verdant scarp so relieved against the blue water that each inward bound schooner seems to sail into a cave of grass. In the middle distance is a white lighthouse, and beyond lie the round tower of old Fort Louis, and the soft low walls of Conanicut. Behind me an oriole chirrups in triumph amid the birch-trees which wave around the house of the haunted window; before me a kingfisher pauses and waits, and a darting blackbird shows the scarlet on his wings. Sloops and schooners constantly come and go, careening in the wind, their white sails taking, if remote enough, a vague blue mantle from the delicate air. Sailboats glide in the distance,--each a mere white wing of canvas,--or coming nearer, and glancing suddenly into the cove, are put as suddenly on the other tack, and almost in an instant seem far away. There is to-day such a live sparkle on the water, such a luminous freshness on the grass, that it seems, as is often the case in early June, as if all history were a dream, and the whole earth were but the creation of a summer's day. If Petrarch still knows and feels the consummate beauty of these earthly things, it may seem to him some repayment for the sorrows of a lifetime that one reader, after all this lapse of years, should choose his sonnets to match this grass, these blossoms, and the soft lapse of these blue waves. Yet any longer or more continuous poem would be out of place to-day. I fancy that this narrow cove prescribes the proper limits of a sonnet; and when I count the lines of ripple within yonder projecting wall, there proves to be room for just fourteen. Nature meets our whims with such little fitnesses. The words which build these delicate structures of Petrarch's are as soft and fine and close-textured as the sands upon this tiny beach, and their monotone, if such it be, is the monotone of the neighboring ocean. Is it not possible, by bringing such a book into the open air, to separate it from the grimness of commentators, and bring it back to life and light and Italy? The beautiful earth is the same as when this poetry and passion were new; there is the same sunlight, the same blue water and green grass; yonder pleasure-boat might bear, for aught we know, the friends and lovers of five centuries ago; Petrarch and Laura might be there, with Boccaccio and Fiammetta as comrades, and with Chaucer as their stranger guest. It bears, at any rate, if I know its voyagers, eyes as lustrous, voices as sweet. With the world thus young, beauty eternal, fancy free, why should these delicious Italian pages exist but to be tortured into grammatical examples? Is there no reward to be imagined for a delightful book that can match Browning's fantastic burial of a tedious one? When it has sufficiently basked in sunshine, and been cooled in pure salt air, when it has bathed in heaped clover, and been scented, page by page, with melilot, cannot its beauty once more blossom, and its buried loves revive? Emboldened by such influences, at least let me translate a sonnet (Lieti fiori e felici), and see if anything is left after the sweet Italian syllables are gone. Before this continent was discovered, before English literature existed, when Chaucer was a child these words were written. Yet they are to-day as fresh and perfect as these laburnum blossoms that droop above my head. And as the variable and uncertain air comes freighted with clover-scent from yonder field, so floats through these long centuries a breath of fragrance, the memory of Laura. Goethe compared translators to carriers, who convey good wine to market, though it gets unaccountably watered by the way. The more one praises a poem, the more absurd becomes one's position, perhaps, in trying to translate it. If it is so admirable,--is the natural inquiry,--why not let it alone? It is a doubtful blessing to the human race, that the instinct of translation still prevails, stronger than reason; and after one has once yielded to it, then each untranslated favorite is like the trees round a backwoodsman's clearing, each of which stands, a silent defiance, until he has cut it down. Let us try the axe again. This is to Laura singing (Quando Amor). As I look across the bay, there is seen resting over all the hills, and even upon every distant sail, an enchanted veil of palest blue, that seems woven out of the very souls of happy days,--a bridal veil, with which the sunshine weds this soft landscape in summer. Such and so indescribable is the atmospheric film that hangs over these poems of Petrarch's; there is a delicate haze about the words, that vanishes when you touch them, and reappears as you recede. How it clings, for instance, round this sonnet (Aura che quelle chiome)! Consider also the pure and reverential tenderness of one like this (Qual donna attende). A companion sonnet, on the other hand (O passi sparsi), seems rather to be of the Shakespearean type; the successive phrases set sail, one by one, like a yacht squadron; each spreads its graceful wings and glides away. It is hard to handle this white canvas without soiling. Macgregor, in the only version of this sonnet which I have seen, abandons all attempt at rhyme; but to follow the strict order of the original in this respect is a part of the pleasant problem which one cannot bear to forgo. And there seems a kind of deity who presides over this union of languages, and who sometimes silently lays the words in order, after all one's poor attempts have failed. Yonder flies a kingfisher, and pauses, fluttering like a butterfly in the air, then dives toward a fish, and, failing, perches on the projecting wall. Doves from neighboring dove-cots alight on the parapet of the fort, fearless of the quiet cattle who find there a breezy pasture. These doves, in taking flight, do not rise from the ground at once, but, edging themselves closer to the brink, with a caution almost ludicrous in such airy things, thrust themselves upon the breeze with a shy little hop, and at the next moment are securely on the wing. How the abundant sunlight inundates everything! The great clumps of grass and clover are imbedded in it to the roots; it flows in among their stalks, like water; the lilac-bushes bask in it eagerly; the topmost leaves of the birches are burnished. A vessel sails by with plash and roar, and all the white spray along her side is sparkling with sunlight. Yet there is sorrow in the world, and it reached Petrarch even before Laura died,--when it reached her. One exquisite sonnet (I' vidi in terra) shows this to have been true. These sonnets are in Petrarch's earlier manner; but the death of Laura brought a change. Look at yonder schooner coming down the bay straight toward us; she is hauled close to the wind, her jib is white in the sunlight, her larger sails are touched with the same snowy lustre, and all the swelling canvas is rounded into such lines of beauty as scarcely anything else in the world--hardly even the perfect outlines of the human form--can give. Now she comes up into the wind, and goes about with a strong flapping of her sails, smiting on the ear at a half-mile's distance; then she glides off on the other tack, showing the shadowed side of her sails, until she reaches the distant zone of haze. So change the sonnets after Laura's death, growing shadowy as they recede, until the very last (Gli occhi di ch'io parlai) seems to merge itself in the blue distance. "And yet I live!" (Ed io pur vivo) What a pause is implied before these words with which the closing sestet of this sonnet begins! the drawing of a long breathy immeasurably long; like that vast interval of heart-beats which precedes Shakespeare's 'Since Cleopatra died.' I can think of no other passage in literature that has in it the same wide spaces of emotion. Another sonnet (Soleasi nel mio cor) which is still more retrospective, seems to me the most stately and concentrated in the whole volume. It is the sublimity of a despair not to be relieved by utterance. In a later strain (Levommi il mio pensier) he rises to that dream which is more than earth's realities. It vindicates the emphatic reality and personality of Petrarch's love, after all, that when from these heights of vision he surveys and resurveys his life's long dream, it becomes to him more and more definite, as well as more poetic, and is farther and farther from a merely vague sentimentalism. In his later sonnets, Laura grows more distinctly individual to us; her traits show themselves as more characteristic, her temperament more intelligible, her precise influence upon Petrarch clearer. What delicate accuracy of delineation is seen, for instance, in the sonnet (Dolci durezze)! In the sonnet (Gli angeli eletti) visions multiply upon visions. Would that one could transfer into English the delicious way in which the sweet Italian rhymes recur and surround and seem to embrace each other, and are woven and unwoven and interwoven, like the heavenly hosts that gathered around Laura. Petrarch's odes and sonnets are but parts of one symphony, leading us through a passion strengthened by years and only purified by death, until at last the graceful lay becomes an anthem and a 'Nunc dimittis.' In the closing sonnets Petrarch withdraws from the world, and they seem like voices from a cloister, growing more and more solemn till the door is closed. This is one of the last (Dicemi spesso). How true is its concluding line! Who can wonder that women prize beauty, and are intoxicated by their own fascinations, when these fragile gifts are yet strong enough to outlast all the memories of statesmanship and war? Next to the immortality of genius is that which genius may confer upon the object of its love. Laura, while she lived, was simply one of a hundred or a thousand beautiful and gracious Italian women; she had her loves and aversions, joys and griefs; she cared dutifully for her household, and embroidered the veil which Petrarch loved; her memory appeared as fleeting and unsubstantial as that of woven tissue. After five centuries we find that no armor of that iron age was so enduring. The kings whom she