HANDBOUND 
AT  THE 


UNIVERSITY  OF 


SONNETS    AND 
BALLATE    OF 

GUIDO 
CAVALCANTI 


RIPOSTES     OF 
EZRA      POUND 


A  SHORT  VOLUME 

OF 
ORIGINAL     VERSE 

IN  PREPARATION 


SONNETS   AND 
BALLATE   OF 

GUIDO 
CAVALCANTI 

u   \ 

WITH    TRANSLATIONS 

OF   THEM    AND    AN 
INTRODUCTION    BY 

EZRA     POUND 


483913 

4-.  1-49" 


MCMXII 

STEPHEN  SWIFT  AND  CO.,  LTD. 

16    KING    STREET,    COVENT    GARDEN 

LONDON 


PQ 


I  have  owned  service  to  the  deathless  dead, 
Grudge  not  the  gold  I  bear  in  livery. 


AS   MUCH    OF   THIS    BOOK   AS    IS    MINE 
I    SEND    TO    MY    FRIENDS 

VIOLET  AND  FOkD  MADOX  HUEFFER 


CONTENTS 


INTRODUCTION                                   .                        .            .  I 

SONNETS            .                        .                                    .            .  l6 

MADRIGALE       ...  86 

BALLATE                           9° 


o 


H,  dissi  lui,  non  sei  tu  Oderisi, 

L'  onor  d'  Agobbio,  e  I'  onor  di  quell'  arte 
Ch'  alluminare  e  chiamata  in  Parisi  ? 


F 
B 


RA  TE,  diss'  egli,  piu  ridon  le  carte, 
Che  pennelleggia  Franco  Bolognese  : 
U  onore  e  tutto  or  suo,  e  mio  in  parte. 


EN  non  sare'  io  stato  si  cortese 
Mentre  ch'  io  vissi,  per  lo  gran  disio 
Dell'  eccellenza,  ove  mio  core  intese. 


D 
O 


I  tal  superbia  qui  si  paga  7  fio  : 
Ed  ancor  non  sarei  qui,  se  non  fosse, 
Che,  possendo  peccar,  mi  volsi  a  Dio. 

VANAGLORIA  dell'  umane  posse, 
Com'  poco  verde  su  la  cima  dura, 
Se  non  e  giunta  dall'  etati  grosse  ! 


S~^REDETTE  Cimabue  nella  pintura 
(j     Tener  lo  campo,  ed  ora  ha  Giotto  il  grido, 
SI  che  la  fama  di  colui  oscura. 


C 


OSl  ha  tolto  I'  uno  all'  altro  Guido 
La  gloria  della  lingua  :  e  forse  e  nato 
Chi  I'  uno  e  I'  altro  caccera  di  nido. 


N 


ON  e  il  mondan  romore  altro  ch'  un  fiato 
Di  vento,  ch'  or  men  quinci  ed  or  men 

quindi, 
E  muta  nome,  perche  muta  lato, 

DANTE  in  Purgatory,  xi. 


GUIDO  CAVALCANTI 


INTRODUCTION 

"  Cimabue  thought  that  in  portraiture 
He  held  the  field  ;  now  Giotto  hath  the  cry 
And  all  the  former  fame  is  turned  obscure ; 
Thus  hath  one  Guido  from  the  other  reft 
The  glory  of  our  tongue,  and  there's  perchance 
One  born  who  shall  un-nest  both  him  and  him/' 

Even  the  qualification  in  the  last  line  of  this 
speech  which  Oderesi,  honour  of  Agobbio,  illumin- 
ator of  fair  pages,  makes  to  Dante  in  the  terrace  for 
the  purgation  of  Pride,  must  be  balanced  by  Dante's 
reply  to  Guido's  father  among  the  burning  tombs 
(Inferno,  x.)  [sic]. 

Cavalcante  di  Cavalcanti : 

"  If  by  the  height  of  genius  thou  dost  go 
Through  this  blind  prison  house  ;  where  is  my 

son  ? 
Why  is  he  not  with  thee  ? 

I  I 


GUIDO    CAVALCANTI 


Dante 


"  I  come  not  of  myself, 

But  he,  who  awaiteth  there  (i.e.  Virgil),  doth 
lead  me  through." 

After  these  passages  from  the  Commedia  there 
should  be  small  need  of  my  writing  introductions 
to  the  poems  of  Guido  Cavalcanti,  for  if  he  is 
not  among  the  major  prophets,  he  has  at  least  his 
place  in  the  canon,  in  the  second  book  of  The  Arts, 
with  Sappho  and  Theocritus  and  all  those  who  have 
sung,  not  all  the  modes  of  life,  but  some  of  them, 
unsurpassedly,  those  who  in  their  chosen  or  fated 
field  have  bowed  to  no  one. 

It  is  conceivable  that  poetry  of  a  far-off  time  or 
place  requires  a  translation  not  only  of  word  and  of 
spirit,  but  of  "  accompaniment,"  that  is,  that  the 
modern  audience  must  in  some  measure  be  made 
aware  of  the  mental  content  of  the  older  audience, 
and  of  what  these  others  drew  from  certain  fashions 
of  thought  and  speech.  Six  centuries  of  derivative 
convention  and  loose  usage  have  obscured  the  exact 
significances  of  such  phrases  as  :  "  The  death  of 
the  heart,"  and  "  The  departure  of  the  soul." 

Than  Guido  Cavalcanti,  no  psychologisjt  of  the 
emotions  is  more  keen  in  his  understanding,  more 
precise""  in  his  expression  ;  we  have  in  him/  nc^ 
rhetoric,  but  always  a  true  description,  whether  it 
be  of  pain  itself,  or  of  the  apathy  that  comes  when 
the  emotions  and  possibilities  of  emotion  are  ex- 
2 


I NTRO  D  UCTION 

hausted,  or  of  that  stranger  state  when  the  feeling 
by  its  intensity  surpasses  our  powers  of  bearing, 
and  we  seem  to  stand  aside  and  watch  it  surging 
across  some  thing  or  being  with  whom  we  are  no 
longer  identified. 

The  relation  of  certain  words  in  the  original  to 
the  practice  of  my  translation  may  require  gloze. 
L'  anima  and  la  Morte  are  feminine,  but  it  is  not 
always  expedient  to  retain  this  gender  in  English. 
Gentile  is  noble ;  gentleness  in  our  current  sense 
would  be  soavitate.  Mente  is  mind,  consciousness, 
apperception.  The  spiriti  are  the  senses,  or  the 
intelligences  of  the  senses,  perhaps  even  "  the 
moods,"  when  they  are  considered  as  "  spirits  of 
the  mind."  Valor e  is  power.  Virtute,  virtue, 
potency,  requires  a  separate  treatise.  Pater  has 
explained  its  meaning  in  the  preface  to  his  The 
Renaissance,  but  in  reading  a  line  like 

"  Vedrai  la  sua  virtu  nel  del  salita  " 

one  must  have  in  mind  the  connotations  alchemical, 
astrological,  metaphysical,  which  Swedenborg 
would  have  called  the  correspondences. 

The  equations  of  alchemy  were  apt  to  be  written 
as  women's  names,  and  the  women  so  named 
endowed  with  the  magical  powers  of  the  compounds. 
Virtu  is  the  potency,  the  efficient  property  of  a 
substance  or  person.  Thus  modern  science  shows 
us  radium  with  a  noble  virtue  of  energy.  Each 
thing  or  person  was  held  to  send  forth  magnetisms 
3 


GUIDO    CAVALCANTI 

of  certain  effect ;  in  Sonnet  xxxv.  the  image  of 
his  lady  has  these  powers.  It  is  a  spiritual  chem- 
istry, and  modern  science  and  modern  mysticism 
are  both  set  to  confirm  it. 

Vedrai  la  sua  virtu  net  del  salita." 

The  heavens  were,  according  to  the  Ptolemaic 
system,  clear  concentric  spheres  with  the  earth  as 
their  pivot ;  they  moved  more  swiftly  as  they  were 
far  removed  from  it,  each  one  endowed  with  its 
virtue,  its  property  for  affecting  man  and  destiny ; 
in  each  its  star,  the  sign  visible  to  the  wise  and 
guiding  them.  A  logical  astrology,  the  star  a  sort 
of  label  of  the  spiritual  force,  an  indicator  of  the 
position  and  movement  of  that  spiritual  current. 
Thus  "  her  "  presence,  his  Lady's,  corresponds  with 
the  ascendency  of  the  star  of  that  heaven  which 
corresponds  to  her  particular  emanation  or  potency. 
Likewise 

"  Vedrai  la  sua  virtu  nel  del  salita," 

"Thou  shalt  see  the  rays  of  this  emanation  going  up 
to  heaven  as  a  slender  pillar  of  light."  Or  return- 
ing and  correlating  this  line  with  the  first  stanza  of 
the  ballata,  one  subtile  body  issues  from  the  lips  of 
the  lady,  from  that  a  subtler  body,  and  from  that  a 
body  of  pure  flame,  "  the  star,"  in  which  is  heard 
the  voice. 

vl    would  go  so  far  as  to  say  that  II  Paradiso 

and  the  form  of  the  Commedia  might  date  from 

4 


INTRODUCTION 

this  line ;  very  much  as  I  think  I  find  in  Guide's 
"  Place  where  I  found  people  whereof  each  one 
grieved  overly  of  Love,"  some  impulse  that  has 
ultimate  fruition  in  Inferno,  v. 

These  are  lines  in  the  sonnets  ;  is  it  any  wonder 
that  "  F.  Z."  is  able  to  write  : 

"  His  (Guide's)  canzone  solely  on  the  nature  of 
Love  was  so  celebrated  that  the  rarest  intellects, 
among  them  '  il  beato  Egidio  Colonna/  set  them- 
selves to  illustrating  it  with  commentaries,  of  which 
the  most  cited  is  that  of  Mazzucchelli  "  ? 

Another  line,  of  which  Rossetti  completely  loses 
the  significance,  is 

"  E  la  beltate  per  sua  Dea  la  mostra  "  (Sonnet  vii.  n) , 

"  Beauty  displays  her  for  her  goodness."  That  is 
to  say,  as  the  spirit  of  God  became  incarnate  in  the 
Christ,  so  is  the  spirit  of  the  eternal  beauty  made 
flesh  dwelling  amongst  us  in  her.  And  in  the  line 
preceding, 

"  Ch'  a  lei  s'  inchina  ogni  gentil  virtute  " 

means,  that  "  she  "  acts  as  a  magnet  for  every 
"  gentil  virtute,"  that  is,  the  noble  spiritual  power, 
the  invigorating  forces  of  life  and  beauty  bend 
toward  her  ;  rather  than  : 

"  To  whom  are  subject  all  things  virtuous," 

as  Rossetti  translates  it. 

The  inchina  implies,  I  think,  not  the  homage  of 
an  object  but  the  direction  of  a  force. 
5 


GUIDO    CAVALCANTI 

In  the  matter  of  these  translations  and  of  my 
knowledge  of  Tuscan  poetry,  Rossetti  is  my  father 
and  my  mother,  but  one  man  "cannot  be  expected 
to  see  everything  at  once. 

The  twelfth  ballata,  being  psychological  and  not 
metaphysical,    need   hardly   be    explained.      Ex 
hausted  by  a  love  born  of  fate  and  of  the  emotions, 
Guido  turns  to  an  intellectual  sympathy, 

"  Love  that  is  born  of  loving  like  delight," 
and  in  this  new  force  he  is  remade 

"  formando  di  disio  nova  persona," 

yet  with  some  inexplicable  lack.  His  sophistication 
prevents  the  complete  enthusiasm.  This  "  new 
person  "  which  is  formed  about  his  soul 

"  amar  gia  non  osa  " 
knowing  "  The  end  of  every  man's  desire." 

The  facts  of  Guide's  life,  as  we  know  them  from 
other  evidence  than  that  of  his  own  and  his  friends' 
poems,  are  about  as  follows  : — Born  1250  (circa),  his 
mother  probably  of  the  Conti  Guidi.  In  1266  or 
1267  "  Cavalcante  de  Cavalcanti  gave  for  wife  to  his 
son  Guido  one  of  the  Uberti,"  i.e.  the  daughter  of 
Farinata.  Thus  Villani.  Some  speak  of  this  as 
a  "  betrothal."  In  1280  he  acted  as  one  of  the 
sureties  of  the  peace  arranged  by  Cardinal  Latino. 
We  may  set  1283  as  the  date  of  the  reply  to  Dante's 

6 


INTRODUCTION 

first  sonnet.  In  1284  he  was  a  member  of  the  Grand 
Council  with  Dino  Compqgni  and  Brunetto  Latino. 
In  party  feuds  of  Florence  Guelf,  then  a  "  White  " 
with  the  Cherci,  and  most  violent  against  Corso 
Donati.  1292-96  is  the  latitude  given  us  for  the 
pilgrimage  to  the  holy  house  of  Galicia.  Corso,  it 
is  said,  tried  to  assassinate  him  on  this  pilgrimage. 
It  is  more  plausible  to  accept  1292  as  the  date  of  the 
feud  between  the  Cavalcanti  and  the  Bundelmonti, 
dating  so  the  sonnet  to  Nerone ;  for  upon  his 
return  from  the  pilgrimage  which  had  extended 
only  to  Toulouse,  Guido  attacks  Corso  in  the  streets 
of  Florence,  and  for  the  general  turmoil  ensuing, 
the  leaders  of  both  factions  were  exiled.  Guido  was 
sent  with  the  "  Whites  "  to  Sarzana,  where  he 
caught  his  death  fever.  Dante  at  this  time  (1300), 
being  a  prior  of  Florence,  was  party  to  decree  of 
exile,  and  perhaps,  though  no  one  so  far  as  I  know 
has  suggested  it,  a  cause  of  Cavalcanti's  speedy 
recall.  "  II  nostro  Guido  "  was  buried  on  August 
29,  whence  writes  Villani,  "  and  his  death  is  a  great 
loss,  for  as  he  was  philosopher,  so  was  he  man  of 
parts  in  more  things,  although  somewhat  punctilious 
and  fiery."  Boccaccio  considers  him  "probably" 
the  "  other  just  man,"  in  Dante's  statement  that 
there  were  two  in  Florence. 

Benvenuto    says    so    positively,    "  alter    oculus 

Florentine"     In  the  Decameron  we  hear  that,   'Jle 

was  of  the  best  logicians  in  the  world,  a  very  fine 

natural  philosopher.     Thus  was  he  leggiadrisimo  " 

7 


GUIDO    CAVALCANTI 

(there  is  much  in  that  word  wherewith  to  confute 
those  who  find  no  irony  in  his  sonnets),  "  and  habile, 
and  a  great  talker."  On  the  "  sixth  day  "  (Novel 
ix.)  the  queen  herself  tells  how  he  leapt  over  an 
exceeding  great  tomb  to  escape  from  that  bore, 
Betto  Brunelleschi.  Other  lines  we  have  of 
him  as  :  "  noble  and  pertinent  and  better  than 
another  at  whatever  he  set  his  hand  to  "  ;  among 
the  critics,  Crescimbene  notes,  "  robustezza  e  splen- 
dor e  "  ;  Cristofore  Landiano,  "  sobrio  e  dotto,  and 
surpassed  by  a  greater  light  he  became  not  as  the 
moon  to  the  sun.  Of  Dante  and  Petrarcha,  I  speak 
elsewhere." 

Filippo  Villani,  with  his  translator  Mazzuchelli, 
set  him  above  Petrarch,  speaking  of  him  as 
"  Guido  of  the  noble  line  of  the  Cavalcanti,  most 
skilled  in  the  liberal  arts,  Dante's  contemporary  and 
very  intimate  friend,  a  man  surely  diligent  and 
given  to  speculation,  '  physicus  '  (?  natural  philo- 
sopher) of  authority  .  .  .  worthy  of  laud  and  •$> 
honour  for  his  joy  in  the  study  of  '  rhetoric/  he? 
brought  over  the  fineness  of  this  art  into  the  rhym- 
ing compositions  of  the  common  tongue  (eleganter 
traduxitfi  For  canzoni  in  vulgar  tongue  and  in  the 
advancement  of  this  art  he  held  second  place  to 
Dante,  nor  hath  Petrarch  taken  it  from  him." 

Dino  Compagni,  who  knew  him,  has  perhaps  left 

us  the  most  apt  description,  saying  that  Guido  was 

"  cortes  e  ardito,  ma  sdegnoso  e  solitaro,"  at  least  I 

would  so  think  of  him,  "  courteous,  bold,  haughty, 

8 


INTRODUCTION 

and  given  to  being  alone."  It  is  so  we  find  him  in 
the  poems  themselves. 

Dante's  delay  in  answering  Cavalcante's  question 
(Inferno,  x.) :  "  What  said  you,  he  (Guido)  had  ? 
Lives  he  not  still,  with  the  sweet  light  beating 
upon  his  eyes  ?  "  is,  I  think,  a  device  for  re- 
minding the  reader  of  the  events  of  the  year  1300. 
One  who  had  signed  a  decree  of  exile  against  his 
friend,  however  much  civic  virtue  was  thereby 
displayed,  might  well  delay  his  answer. 

And  if  that  matchless  and  poignant  ballad, 

"  Perch'  io  non  spero  di  tornar  gia  mai," 

had  not  reached  Florence  before  Dante  saw  the 
vision,  it  was  at  least  written  years  before  he  wrote 
the  tenth  canto  of  the  Inferno. 

Guido  left  two  children,  Andrea  and  Tancia. 
Mandetta  of  Toulouse  is  an  incident.  "  Our 


own  Lady"  is  "presumably"  that  '  Giovanna 
of  whom  Dante  writes  in  the  Vita  Nuova  (Sonnet 
xiv.,  and  the  prose  preceding),  weaving  his  fancy 
about  Primavera,  the  first  coming  Spring,  St  John 
the  Forerunner,  with  Beatrice  following  Monna 
Vanna,  as  the  incarnate  love.  Again,  in  the  sonnet 
of  the  enchanted  ship,  "  Guido  vorrei  .  .  ."  we  find 
her  mentioned  in  the  chosen  company.  One 
modern  writer  would  have  us  follow  out  the  parallels 
between  the  Commedia  and  "  Book  of  His  Youth," 
and  identify  her  with  the  "  Matilda  "  of  the  Earthly 
Paradise.  By  virtue  of  her  position  and  certain 
9 


GUIDO    CAVALCANTI 

similarities  of  phrasing  in  Purgatory,  xxviii.,  and 
one  of  the  lives  of  the  saint.  We  know  that  Matilda 
in  some  way  corresponds  to  or  balances  John  the 
Baptist.  Dante  is  undoubtedly  reminded  of  his 
similar  equation  in  the  Vita  Nuova  and  shows  it  in 
his 

"  Tu  mifai  remembrar,  dove  e  qual  era 
Proserpina,  nel  tempo  che  perdette 
La  madre  lei,  ed  ella  primavera." 

Dante's  commentators,  in  their  endless  search  for 
exact  correspondences,  seem  never  to  suspect  him  of 
poetical  innuendo,  of  calling  into  the  spectrum  of 
the  reader's  mind  associated  things  which  form  no 
exact  allegory.  So  far  as  the  personal  Matilda  is 
concerned,  the  great  Countess  of  Tuscany  has  some 
claims,  and  we  have  nothing  to  show  that  Giovanna 
was  dead  at  the  time  of  the  vision. 

As  to  the  actual  identity  of  Guido's  lady — grant- 
ing her  to  have  been  one  and  not  several ;  no  one 
has  been  rash  enough  to  suggest  that  il  nostro  Guido 
was  in  love  with  his  own  wife,  to  whom  he  had  been 
wedded  or  betrothed  at  sixteen.  True,  it  would 
have  been  contrary  to  the  laws  of  chivalric  love,  but 
Guido  was  not  one  to  be  bound  by  a  convention  if 
the  whim  had  taken  him  otherwise.  Such  explana- 
tion might  give  us  one  more  reason,  which  were 
superfluous,  for  the  respect  paid  to  Farinata 
(Inferno,  x.).  The  discussion  of  such  details  and 
theories  is  futile,  except  in  so  far  as  it  may  serve 

10 


INTRODUCTION 

to  bring  us  more  intimately  in  touch  with  the  com- 
mune of  Florence  and  the  year  of  grace  one  thousand 
three  hundred. 

As  for  the  verse  itself :  I  believe  in  an  ultimate 
and  absolute  rhythm  as  I  believe  in  an  absolute 
symbol  or  metaphor.  The  perception  of  the  intel- 
lect is  given  in  the  word,  that  of  the  emotions  in  the 
cadence.  It  is  only,  then,  in  perfect  rhythm  joined 
to  the  perfect  word  that  the  twofold  vision  can  be 
recorded.  I  would  liken  Guido'scadence'to  nothing 
less  powerful  than  line  in  Blake's  drawing. 

In  painting,  the' colour  is  always  finite.  It  may 
match  the  colour  of  the  infinite  spheres,  but  it  is  in 
a  way  confined  within  the  frame  and  its  appearance 
is  modified  by  the  colours  about  it.  The  line  is 
unbounded,  it  marks  the  passage  of  a  force,  it 
continues  beyond  the  frame. 

Rodin's  belief  that  energy  is  beauty,  holds  at  least 
this  far,  namely,  that  all  our  ideas  of  beauty  of  line 
are  in  some  way  connected  with  our  ideas  of  swift- 
ness or  easy  power  of  motion,  and  we  consider  ugly 
those  lines  which  connote  unwieldy  slowness  in 
moving. 

Rhythm  is  perhaps  the  most  primal  of  all  things 
known  to  us.  It  is  basic  in  poetry  and  music  mutu- 
ally, their  melodies  depending  on  a  variation  of  tone 
quality  and  pitch  respectively,  as  is  commonly  said  ; 
but  if  we  look  more  closely  we  wih1  see  that  music 
is,  by  further  analysis,  pure  rhythm ;  rhythm  and 
nothing  else,  for  the  variation  of  pitch  is  the  varia- 
II 


GUIDO    CAVALCANTI 

tion  in  rhythms  of  the  individual  notes,  and  har- 
mony the  blending  of  these  varied  rhythms.  When 
we  know  more  of  overtones  we  shall  see  that  the 
tempo  of  every  masterpiece  is  absolute,  and  is 
exactly  set  by  some  further  law  of  rhythmic  accord. 
Whence  it  should  be  possible  to  show  that  any  given 
rhythm  implies  about  it  a  complete  musical  form, 
fugue,  sonata,  I  cannot  say  what  form,  but  a  form, 
perfect,  complete.  Ergo,  the  rhythm  set  in  a  line 
of  poetry  connotes  its  symphony,  which,  had  we  a 
little  more  skill,  we  could  score  for  orchestra. 

The  rhythm  of  any  poetic  line  corresponds  to 
a  particular  emotion.  It  is  the  poet's  business 
that  this  correspondence  be  exact,  i.e.  that  it  be 
the  emotion  which  surrounds  the  thought  expressed. 
For  which  cause  I  have  set  here  Guide's  own  words, 
that  those  few  of  you  who  care,  may  read  in  them 
the  signs  of  his  genius.  By  the  same  token,  I 
consider  Carducci  and  Arnone  blasphemous  in 
accepting  the  reading 

E  fa  di  claritate  tremar  I' are 
instead  of  following  those  MSS.  which  read 
E  fa  di  clarita  I'aer  tremar e. 

I  have  in  my  translations  tried  to  bring  over  the 
qualities  of  Guide's  rhythm,  not  line  for  line,  but  to 
embody  in  the  whole  of  my  English  some  trace  of 
that  power  which  implies  the  man.  The  science  of 
the  music  of  words  and  the  knowledge  of  their 

12 


INTRODUCTION 

magical  powers  has  fallen  away  since  men  invoked 
Mithra  by  a  sequence  of  pure  vowel  sounds.  That 
there  might  be  less  interposed  between  the  reader 
and  Guido,  it  was  my  first  intention  to  print  only 
his  poems  and  an  unrhymed  gloze.  This  has  not 
been  practicable.  I  cannot  trust  the  reader  to  read 
the  Italian  for  the  music  after  he  has  read  my 
English  for  the  sense. 

These  are  no  sonnets  for  an  idle  hour.  It  is  only 
when  the  emotions  illumine  the  perceptive  powers 
that  we  see  the  reality.  It  is  in  the  light  born  of 
this  double  current  that  we  look  upon  the  face  of  the 
mystery  unveiled.  I  have  lived  with  these  sonnets 
and  ballate  daily,  month  in  and  month  out,  and  have 
been  drawn  daily  deeper  into  them  and  daily  into 
contemplation  of  things  that  are  not  of  an  hour. 
And  I  deem,  for  this,  that  voi  altripochi,  who  under- 
stand, will  love  me  better  for  my  labour  in  propor- 
tion as  you  read  more  carefully. 

For  the  rest,  I  can  but  quote  an  envoi,  that  of 
Guide's  Canzone,  "  Donna  mi  pregna  "  : 

Thou  mayest  go  assured,  my  Canzone, 
Whither  thou  wilt,  for  I  have  so  adorned  thee 
That  praise  shall  rise  to  greet  thy  reasoning 
Mid  all  such  folk  as  have  intelligence  ; 
To  stand  with  any  else,  thou'st  no  desire. 

EZRA  POUND. 

November  15,  1910. 


SONNETS 


SONETTI 


SONETTO  I 

>  °he  Per  &  occhi  miei  passaste  al  core, 
E  svegliaste  la  mente  che  dormia, 
Guardate  a  la'  ngosciosa  vita  mia, 
Che  sospirando  la  distrugge  Amore. 
E'  va  tagliando  di  si  gran  valore, 
Che  i  deboluzzi  spiriti  van  via  : 
Campa  figura  nova  in  signoria, 
E  boce  e  quando  mostra  lo  dolore  : 
Questa  vertu  d'  Amor,  che  m'  ha  disfatto, 
Da'  vostri  occhi  gentil  presta  si  mosse, 
Lanciato  m'  ha  d'  un  dardo  entro  lo  fianco  ; 
Si  giunse  il  colpo  dritto  al  primo  tratto, 
Che  I'anima  tremando  si  riscosse, 
Veggendo  morto  il  cor  nel  lato  manco. 


16 


SONNETS 


SONNET  I 

YOU,  who  do  breach  mine  eyes  and  touch  the 
heart, 

And  start  the  mind  from  her  brief  reveries, 
Might  pluck  my  life  and  agony  apart. 
Saw  you  how  love  assaileth  her  with  sighs, 
And  lays  about  him  with  so  brute  a  might 
That  all  my  wounded  senses  turn  to  flight. 
There's  a  new  face  upon  the  seigniory, 
And  new  is  the  voice  that  maketh  loud  my  grief. 

Love,  who  hath  drawn  me  down  through  devious 

ways, 

Hath  from  your  noble  eyes  so  swiftly  come  ! 
Tis  he  hath  hurled  the  dart,  wherefrom  my  pain, 
First  shot's  resultant  !  and  in  flanked  amaze 
See  how  my  affrighted  soul  recoileth  from 
That  sinister  side  wherein  the  heart  lies  slain 


GUIDO    CAVALCANTI 


SONETTO  II 

/O  vidi  gli  occhi  dove  Amor  si  mise, 
Quando  mi  fece  di  se  pauroso, 
Che  mi  sguardar  come  fosse  annoioso 
Allora,  dico,  che  il  cor  si  divise  ; 
E  se  non  fosse,  che  donna  mi  rise, 
lo  parlerei  di  tal  guisa  doglioso, 
Ch'  Amor  medesmo  nefaria  cruccioso, 
Che  fe  I'  immaginar,  che  mi  conquise. 
Dal  del  si  mosse  un  spirito  in  quel  punto, 
Che  quella  donna  mi  degno  guardare, 
E  vennesi  a  posar  nel  mio  pensiero. 
E  II  mi  conta  si  d'  amor  lo  vero, 

Che  ogni  sua  vertit  veder  mi  pare, 
SI  come  fossi  dentro  al  suo  cor  gi^mto. 


18 


SONNETS 


SONNET  II 

IS  AW  the  eyes,  where  Amor  took  his  place 
When  love's  might  bound  me  with  the  fear 

thereof, 

Look  out  at  me  as  they  were  weary  of  love. 
I  say  :  The  heart  rent  him  as  he  looked  on  this, 
And  were't  not  that  my  Lady  lit  her  grace, 
Smiling  upon  me  with  her  eyes  grown  glad, 
Then  were  my  speech  so  dolorously  clad 
That  Love  should  mourn  amid  his  victories. 

The  instant  that  she  deigned  to  bend  her  eyes 
Toward  me,  a  spirit  from  high  heaven  rode 
And  chose  my  thought  the  place  of  his  abode 
With  such  deep  parlance  of  love's  verities 
That  all  Love's  powers  did  my  sight  accost 
As  though  I'd  won  unto  his  heart's  mid-most. 


GUIDO    CAVALCANTI 


SONETTO  III 

DONNA  mia,  non  vedestu  colui, 
Che  su  lo  core  mi  tenea  la  mano, 
Quand'  io  ti  rispondea  fiochetto  e  piano 
Per  la  temenza  de  gli  colpi  sui  ? 
El  fu  Amore,  che  trovando  vui 
Meco  ristette,  che  venia  lontano  1 
A  guisa  d'  uno  arcier  presto  soriano, 
Acconcio  sol  per  ancidere  altrui, 
E  trasse  poi  degli  occhi  miei  sospiri. 
I  quai  si  gittan  da  lo  cor  si  forte, 
Ch'  io  mi  partii  sbigottito  fuggendo. 
Allor  mi  parse  di  seguir  la  morte, 
Accompagnato  di  quelli  martiri, 
Che  soglion  consumar  altrui  piangendo. 

1  dot,  io  credo,  da  Venere.  — E.  P. 


SONNETS 


SONNET  III 

OLADY  mine,  doth  not  thy  sight  allege 
Him  who  hath  set  his  hand  upon  my  heart, 
When    parched   responses   from    my  faint 

throat  start 

And  shudder  for  the  terror  of  his  edge  ? 
He  was  Amor,  who  since  he  found  you,  dwells 
Ever  with  me,  and  he  was  come  from  far  ; 
An  archer  is  he  as  the  Scythians  are 
Whose  only  joy  is  killing  someone  else. 

My  sobbing  eyes  are  drawn  upon  his  wrack, 
And  such  harsh  sighs  upon  my  heart  he  casteth 
That  I  depart  from  that  sad  me  he  wasteth, 
With  Death  drawn  close  upon  my  wavering  track, 
Leading  such  tortures  in  his  sombre  train 
As,  by  all  custom,  wear  out  other  men. 


21 


GUIDO    CAVALCANTI 


SONETTO  IV 

'  10  priego  questa  donna,  che  pietate 
Non  sia  nemica  del  suo  cor  gentile  ; 
Tu  di'  ch'  io  sono  sconoscente  e  vile, 
E  disperato  e  pien  di  vanitate. 
Onde  ti  men  si  nova  crudeltate  ? 
Gid  rassomigli  a  chi  ti  vede  umile, 
Saggia,  e  adorna,  ed  accorta,  e  sottile, 
E  fatta  a  modo  di  soavitate. 
L'  anima  mia  dolente  e  paurosa 

Piange  nei  sospiri,  che  nel  cor  trova, 
SI  che  bagnati  di  pianto  escon  fore  : 
Allor  mi  par,  che  ne  la  mente  piova 
Una  figura  di  donna  pensosa, 
Che  vegna  per  veder  morir  lo  core. 


22 


SONNETS 


SONNET  IV 

IF  I  should  pray  this  lady  pitiless 
That  Mercy  to  her  heart  be  no  more  foeman, 
You'd  call  me  clownish,  vile,  and  say  that  no 

man 
Was  so  past  hope  and  filled  with  vanities. 

Where  find  you  now  these  novel  cruelties  ? 
For  still  you  seem  humility's  true  leaven, 
Wise  and  adorned,  alert  and  subtle  even, 
And  fashioned  out  in  ways  of  gentleness  ? 

My  soul  weeps  through  her  sighs  for  grievous  fear, 
And  all  those  sighs,  which  in  the  heart  were  found, 
Deep  drenched  with  tears  do  sobbing  thence  depart, 
Then  seems  that  on  my  mind  there  rains  a  clear 
Image  of  a  lady,  thoughtful,  bound 
Hither  to  keep  death-watch  upon  that  heart. 


GUIDO    CAVALCANTI 


SONETTO  V 

I  miei  folli  occhi,  che  'n  prima  guardaro 
Vostra  figura  piena  di  valore, 
Fur  quei,  che  di  voi,  donna,  m'  accusaro 
Nel  fiero  loco,  ove  tien  corte  Amove. 
Immantenente  avanti  a  lui  mostraro, 
Ch'  io  era  fatto  vostro  servitor e, 
Perche  sospiri  e  dolor  mi  pigliaro 
Vedendo,  che  temenza  avea  lo  core. 
Menarmi  tosto  senza  riposanza 
In  una  parte  la  've  trovai  gente, 
Che  ciaschedun  si  dolea  d'  Amor  forte. 
Quando  mi  vider,  tutti  con  pietanza 
Dissermi  :  Fatto  sei  di  tal  servente, 
Che  non  dei  mai  sperare  altro  che  morte. 


24 


SONNETS 


SONNET  V 

LADY,  my  most  rash  eyes,  the  first  who  used 
To  look  upon  thy  face,  the  power-fraught, 
Were,  Lady,  those  by  whom  I  was  accused 
In  that  harsh  place  where  Amor  holdeth  court. 
And  there  before  him  was  their  proof  adduced, 
And  judgment  wrote  me  down  :    "  Bondslave  "  to 

thee, 

Though  still  I  stay  Grief's  prisoner,  unloosed, 
And  Fear  hath  lien  upon  the  heart  of  me. 
For  the  which  charges,  and  without  respite, 
They  dragged  me  to  a  place  where  a  sad  horde 
Of  such  as  love  and  whom  Love  tortureth 
Cried  out,  all  pitying  as  I  met  their  sight, 
"  Now  art  thou  servant  unto  such  a  Lord 
Thou'lt  have  none  other  one  save  only  Death." 


GUIDO    CAVALCANTI 


SONETTO  VI 

rU  m'  hai  si  piena  di  dolor  la  mente 
Che  V  anima  sen  briga  di  partire  : 
E  di  sospir,  che  manda  il  cor  dolente 
Dicono  a  gli  occhi,  che  non  puon  soffrire. 
A  more,  che  lo  tuo  gran  valor  sente, 

Dice  :  El  mi  duol,  che  ti  convien  morire 
Per  questa  bella  donna,  che  neente 
Pur,  che  pietate  di  te  voglia  udire. 
lo  fo  come  colui,  ch'  e  fuor  di  vita 
Che  mostra  a  chi  lo  guarda  ched  el  sia 
Fatto  di  pietra,  o  di  rame,  o  di  legno  : 
E  porto  nello  core  una  ferita, 
Che  si  conduca  sol  per  maestria, 
Che  sia,  com  egli  e  morto,  aperto  segno. 


26 


SONNETS 


SONNET  VI 

THOU  fill's!  my  mind  with  grief  so  populous 
That  my  soul  irks  him  to  be  on  the  road. 
Mine  eyes  cry  out,  "  We  cannot  bear  the  load 
Of  sighs  the  grievous  heart  sends  upon  us." 
Love,  sensitive  to  thy  nobility, 
Saith,  "  Sorrow  is  mine  that  thou  must  take  thy 

death 

From  this  fair  lady  who  will  hear  no  breath 
In  argument  for  aught  save  pitying  thee." 
And  I,  as  one  beyond  life's  compass  thrown, 
Seem  but  a  thing  that's  fashioned  to  design, 
Melted  of  bronze  or  carven  in  tree  or  stone. 
A  wound  I  bear  within  this  heart  of  mine 
Which  by  its  mastering  quality  is  grown 
To  be  of  that  heart's  death  an  open  sign. 


GUIDO   CAVALCANTI 


SONETTO  VII 

I  e  questa  che  men,  ch'  ogni  uom  la  mira, 
Che  fa  di  clarita  I'  aer  tremare  ! 
E  mena  seco  Amor,  si  che  parlare 
Null'  nom  de  puote,  ma  ciascun  sospira, 
A  hi,  Dio,  che  sembra  quando  gli  occhi  gira  ? 
Dicalo  Amor,  ch'  io  nol  saprei  contare  : 
Cotanto  d'  umiltd  donna  mi  pare, 
Che  ciascun'  altra  in  ver  di  lei  chiam'  ira. 
Non  si  potria  contar  la  sua  piacenza, 
Ch'  a  lei  s'  inchina  ogni  gentil  virtute, 
E  la  beltate  per  sua  Dea  la  mostra. 
Non  fu  si  alia  gia  la  mente  nostra, 
E  non  si  e  posta  in  voi  tanta  salute, 
Che  propriamente  n'  abbiam  conoscenza. 


28 


SONNETS 


SONNET  VII 

WHO  is  she  coming,  drawing  all  men's  gaze, 
Who  makes  the  air  one  trembling  clarity 
Till  none  can  speak  but  each  sighs  piteously 
Where  she  leads  Love  adown  her  trodden  ways  ? 

Ah  God !  The  thing  she's  like  when  her  glance  strays, 
Let  Amor  tell.     'Tis  no  fit  speech  for  me. 
Mistress  she  seems  of  such  great  modesty 
That  every  other  woman  were  called  "  Wrath." 

No  one  could  ever  tell  the  charm  she  hath 
For  all  the  noble  powers  bend  toward  her, 
She  being  beauty's  godhead  manifest. 

Our  daring  ne'er  before  held  such  high  quest ; 
But  ye  !    There  is  not  in  you  so  much  grace 
That  we  can  understand  her  rightfully. 


29 


GUIDO    CAVALCANTI 


SONETTO  VIII 

T~\ERCH&  nonfuro  a  me  gli  occhi  miei  spenti, 

J^      0  tolti  si,  che  de  la  lor  veduta 

Nonfusse  ne  la  mente  mia  venuta 
A  dire  :  Ascolta  se  nel  cor  mi  senti  ? 

Una  paura  di  nuovi  tormenti 
M'  apparve  allor  si  crudele  ed  acuta, 
Che  I'  anima  chiamo  :  Donna,  or  ci  aiuta, 
Che  gli  occhi,  ed  io  non  rimagniam  dolenti. 

Tu  gli  hai  lasciati  si,  che  venne  Amore 
A  pianger  sovra  lor  pietosamente 
Tanto,  che  s'  ode  una  profonda  boce, 

La  qual  da  suon  :  Chi  grave  pena  sente 
Guardi  costui,  e  vedera  7  suo  core 
Che  Morte  'I  porta  in  man  tagliato  in  croce. 


SONNETS 


SONNET  VIII 

AH  why  !  why  were  mine  eyes  not  quenched 
for  me, 

Or  stricken  so  that  from  their  vision  none 
Had  ever  come  within  my  mind  to  say 
"  Listen,  dost  thou  not  hear  me  in  thine  heart  ?  " 
Fear  of  new  torments  was  then  so  displayed 
To  me,  so  cruel  and  so  sharp  of  edge 
That  my  soul  cried,  "  Ah,  mistress,  bring  us  aid, 
Lest  th'  eyes  and  I  remain  in  grief  always." 

But  thou  hast  left  them  so  that  Amor  cometh 
And  weepeth  over  them  so  piteously 
That  there's  a  deep  voice  heard  whose  sound  in  part 
Turned  unto  words,  is  this  :  "  Whoever  knoweth 
Pain's  depth,  let  him  look  on  this  man  whose  heart 
Death  beareth  in  his  hand  cut  cruciform." 


GUIDO    CAVALCANTI 


SONETTO  IX 

stesso  di  me  gran  pietd  viene 
Per  la  dolente  angoscia,  ch'  io  mi  veggio 
Di  molta  debolezza  :  quand'  io  seggio, 
L'  anima  sento  ricoprir  di  pene  : 
Tanto  mi  struggo,  perch'  io  sento  bene, 

Che  la  mia  vita  d'  ogni  angoscia  ha  'I  peggio  : 
La  nova  donna,  a  cui  mercede  io  chieggio, 
Questa  battaglia  di  dolor  mantiene  : 
Pero  che  quand'  io  guardo  verso  lei, 
Drizzami  gli  occhi  de  Io  suo  disdegno 
SI  fieramente  che  distrugge  il  core  : 
Allor  si  parte  ogni  vertu  da'  miei  ; 
II  cor  si  ferma  per  veduto  segno, 
Dove  si  lancia  crudeltd  d'  Amove. 


SONNETS 


SONNET  IX 

AT  last  I  am  reduced  to  self  compassion, 
For  the  sore  anguish  that  I  see  me  in  ; 
At  my  great  weakness  ;  that  my  soul  hath 

been 

Concealed  beneath  her  wounds  in  such  a  fashion  : 
Such  mine  oppression  that  I  know,  in  brief, 
That  to  my  life  ill's  worst  starred  ills  befall ; 
And  this  strange  lady  on  whose  grace  I  call 
Maintains  continuous  my  stour  of  grief, 
For  when  I  look  in  her  direction, 
She  turns  upon  me  her  disdeigning  eyen 
So  harshly  that  my  waiting  heart  is  rent 
And  all  my  powers  and  properties  are  spent, 
Till  that  heart  lieth  for  a  sign  ill-seen, 
Where  Amor's  cruelty  hath  hurled  him  down. 


33 


GUIDO    CAVALCANTI 


SONETTO  X 

T^V  EH  spirti  miei,  quando  voi  me  vedite 

J  J   Con  tanta  pena,  come  non  mandate 

Fuor  de  la  mcnte  parole  adornate 
Di  pianto  doloroso  sbigottite  ? 

Deh,  voi  vedete  che  'I  core  ha  ferite 
Di  sguardo,  di  piacere  e  d'  umiltate  : 
Deh,  io  vi  priego,  che  voi  'I  consoliate, 
Che  son  da  lui  le  sue  vertit  partite. 

Io  veggio  a  lui  spirito  apparire 
Alto  e  gentile,  e  di  tanto  valor  e, 
Che  fa  le  sue  vertu  tutte  fuggire. 

Deh,  io  vi  priego,  che  deggiate  dire 
A  I'  alma  trista,  che  parla  in  dolore  ; 
Com'  ellafu,  e  fia  sempre  d'  Amore. 


34 


SONNETS 


SONNET  X 

ALAS,  my  spirits,  that  ye  come  to  find  me 
So  painful  poor,  waylaid  in  wretchedness, 
Yet  send  no  words  adorned  with  deep  distress 
Forth  from  my  mind  to  say  what  sorrows  bind  me. 
Alas,  ye  see  how  sore  my  heart  is  wounded 
By  glance,  by  fair  delight  and  by  her  meekness  ; 
'Las  !     Must  I  pray  ye  that  ye  aid  his  weakness, 
Seeing  him  power-stripped,  naked,  confounded. 

And  now  a  spirit  that  is  noble  and  haut 
Appeareth  to  that  heart  with  so  great  might 
That  all  th'  heart's  virtues  turn  in  sudden  flight. 

Woe  !  and  I  pray  you  greet  my  soul  as  friend, 
Who  tells  through  all  her  grief  what  things  were 

wrought 
On  her  by  Love,  and  will  be  to  the  end. 


35 


GUIDO    CAVALCANTI 


Cf.  "  Se  fosse  amico  il  re  del  umvcrso" — Inferno,  v.  91. 

SONETTO  XI 

merce  fosse  arnica  a'  miei  desiri, 
E  'I  movimento  suo  fosse  dal  core  ; 
Di  questa  bella  donna  il  suo  valore 
Mostrasse  la  vertute  a'  miei  martiri  ; 
D'  angosciosi  diletti  i  miei  sospiri, 
Che  nascon  de  la  mente,  ov  e  Amove  ; 
E  vanno  sol  ragionando  dolore, 
E  non  trovan  persona,  che  gli  miri  ; 
Girieno  agli  occhi  con  tanta  vertute,1 
Che  'I  forte,  e  duro  lagrimar,  che  fanno, 
Ritornerebbe  in  allegrezza  e  'n  gioia  ; 
Ma  si  e  al  cor  dolente  tanta  noia, 
Ed  a  I'  anima  trista  tanto  danno, 
Che  per  disdegno  uom  non  da  lor  salute. 

1  Of  Guido's  relentless  irony,  in  this  case  directed  against 
himself,  the  artistic  temperament,  and  "service"  generally, 
this  sestet  may  serve  as  example. 


SONNETS 


SONNET  XI 

IF  Mercy  were  the  friend  of  my  desires, 
Or  Mercy's  source  of  movement  were  the  heart, 
Then,  by  this  fair,  would  Mercy  show  such  art 
And  power  of  healing  as  my  pain  requires. 
From  torturing  delights  my  sighs  commence, 
Born  of  the  mind  where  Love  is  situate, 
Go  errant  forth  and  naught  save  grief  relate 
And  find  no  one  to  give  them  audience. 

They  would  return  to  the  eyes  in  galliard  mode, 
With  all  harsh  tears  and  their  deep  bitterness 
Transmuted  into  revelry  and  joy  ; 
Were't  not  unto  the  sad  heart  such  annoy, 
And  to  the  mournful  soul  such  rathe  distress 
That  none  doth  deign  salute  them  on  the  road. 


37 


GUIDO    CAVALCANTI 


SONETTO  XII 

NA  giovane  donna  di  Tolosa 
Bella  e  gentil,  d'  onesta  leggiadria, 
Tant'  e  diritta,  e  simigliante  cosa 
Ne  suoi  dolci  occhi  de  la  donna  mia, 
Che  fatto  ha  dentro  al  cor  desiderosa 
L'  anima  in  guisa,  che  da  lui  si  svia, 
E  vanne  a  lei  ;  ma  tanto  e  paurosa, 
Che  non  le  dice  di  qual  donna  sia. 
Quella  la  mira  net  suo  dolce  sguardo, 
Ne  lo  qual  fece  rallegrare  Amove, 
Perche  v'  e  dentro  la  sua  donna  dritta  : 
Poi  torna  piena  di  sospir  nel  core, 
Ferita  a  morte  d'  un  tagliente  dardo, 
Che  questa  donna  nel  partir  le  gitta. 


SONNETS 


SONNET  XII 

THE  grace  of  youth  in  Toulouse  ventureth ; 
She's  noble  and  fair,  with  quaint  sincerities, 
Direct  she  is  and  is  about  her  eyes 
Most  like  to  our  Lady  of  sweet  memories. 
So  that  within  my  heart  desirous 
She  hath  clad  the  soul  in  fashions  peregrine.1 
Pilgrim  to  her  he  hath  too  great  chagrin 
To  say  what  Lady  is  lord  over  us. 
This  soul  looks  deep  into  that  look  of  hers, 
Wherein  he  rouseth  Love  to  festival, 
For  deep  therein  his  rightful  lady  resteth. 
Then  with  sad  sighing  in  the  heart  he  stirs, 
Feeling  his  death-wound  as  that  dart  doth  fall 
Which  this  Tolosan  by  departure  casteth. 

1   Vita  Nuova,)  xli.  46,  and  Sonnet  xxiv.  and  Sonnet  v.  1.  4 
"  In  guisa  che  da  lui  si  svia  e  vanne  a  lei." 


39 


GUIDO    CAVALCANTI 


SONETTO  XIII 

li  occhi  fiere  un  spirito  sottile, 
Che  fa  in  la  mente  spirito  destare, 
Dal  qual  si  muove  spirito  d'  amare, 
Ch'  ogn'  altro  spiritel  si  fa  gentile. 
Sentir  non  pud  di  lui  spirito  vile, 
Di  cotanta  vertu  spirito  appare  : 
Questo  e  lo  spiritel,  che  fa  tremare 
Lo  spiritel,  che  fa  la  donna  umile. 
E  poi  da  questo  spirito  si  muove 
Un  altro  dolce  spirito  soave, 
Che  segue  un  spiritello  di  mercede  ; 
Lo  quale  spiritel  spiriti  piove  ; 

Ch'  ha  di  ciascuno  spirito  la  chiave, 
Per  for za  d'  uno  spirito,  che  'I  vede. 


40 


SONNETS 


CONCERNING  THE  SOURCE,  THE  AFFECTS,  AND  THE  PROGENY 
OF  THE  LITTLE  SPIRIT  OF  PURE  LOVE  : 

Born  of  the  perception  of  beauty,  he  arouseth  that  power  of  the 
mind  whence  is  born  that  quality  of  love  which  ennobleth  every 
sense  and  every  desire ;  misunderstanded  of  base  minds  who 
comprehend  not  his  power,  he  is  the  cause  of  that  love  in 
woman  which  teacheth  modesty.  Thus  from  him  is  born  that 
love  in  woman  whence  is  born  Mercy,  and  from  Mercy  "as  a 
gentle  rain  from  heaven  "  descend  those  spirits  which  are  the 
keys  of  every  spirit,  perforce  of  the  one  spirit  which  seeth. 


SONNET  XIII 

UBTLE  the  spirit  striking  through  the  eyes 
Which  rouseth  up  a  spirit  in  the  mind 
Whence  moves  a  spirit  unto  love  inclined 
Which  breeds,  in  other  sprites,  nobilities. 
No  turbid  spirit  hath  the  sense  which  sees 
How  greatly  empowered  a  spirit  he  appeareth  ; 
He  is  the  little  breath  which  that  breath  feareth, 
Which  breedeth  virginal  humilities. 
Yet  from  this  spirit  doth  another  move 
Wherein  such  tempered  sweetness  rightly  dwells 
That  Mercy's  spirit  followeth  his  ways, 
And  Mercy's  spirit  as  it  moves  above 
Rains  down  those  spirits  that  ope  all  things  else, 
Perforce  of  One  who  seeth  all  of  these. 


GUIDO    CAVALCANTI 


SONETTO  XIV 


non  e  da  I'  intelletto  accolto 
Quel  che  staman  ti  fece  disonesto  : 
Or  come  ti  mostro  mendico  presto 
II  rosso  spiritel,  che  apparve  al  volto. 
Sarebbe  forse,  che  t'  avesse  sciolto 
Amor  da  quella,  ch'  e  net  tondo  sesto, 
0  che  ml  raggio  t'  avesse  richiesto 
A  far  te  lieto,  ov'  io  son  tristo  molto  ? 
Di  te  mi  duole  in  me  puoi  veder  quanto  : 
Che  me  ne  fiede  mia  donna  a  traverso, 
Tagliando  do,  che  Amor  porta  soave, 
Ancor  dinanzi  mi  e  rotta  la  chiave, 

Che  del  disdegno  suo  nel  mio  cor  verso  ; 
Si  che  amo  V  ira,  e  la  tristezza,  e  'I  pianto. 


42 


SONNETS 


SONNET  XIV 

SURELY  thine  intellect  gives  no  embrace 
To  him  who  hath  bred  this  day's  dishonesty  ; 
How  art  thou  shown  for  beggared  suddenly 
By  that  red  spirit  showing  in  thy  face  ! 
Perhaps  it  is  some  love  within  thee  breedeth 
For  her  who's  folly's  circumscription, 
Perhaps  some  baser  light  doth  call  thee  on 
To  make  thee  glad  where  mine  own  grief  exceedeth. 

Thou  are  my  grief,  my  grief  to  such  extent 
That  I  trust  not  myself  to  meet  Milady, 
Starving  myself  of  what  Love  sweetest  lent  me 
So  that  before  my  face  that  key's  forbent 
Which  her  disdeign  turned  in  my  heart  and  made 

me 
Suitor  to  wrath  and  sadness  and  lamenting. 


43 


GUIDO    CAVALCANTI 


SONETTO  XV 

sjVETE  in  voi  li  fiori,  e  la  verdura, 
^/jf    E  do  che  luce,  o  e  bello  a  vedere. 

Risplende  piu,  che  'I  sol  vostra  figura, 

Chi  voi  non  vede,  mai  non  puo  valere. 
In  questo  mondo  non  ha  creatura 

SI  piena  di  belta,  ne  di  piacere  : 

E  chi  d'  Amor  temesse,  I'  assicura 

Vostro  bel  viso,  e  non  pud  piu  temere. 
Le  donne,  che  si  fanno  compagnia 

Assai  mi  piacen  per  lo  vostro  amore  ; 

Ed,  io  le  prego  per  lor  cortesia, 
Che  qual  piu  puote,  piu  vi  faccia  onore, 

Ed  aggia  car  a  vostra  signoria, 

Perche  di  tutte  siete  la  migliore. 

E  lo  name  di  questa  donna  era  Giovanna,  salvo  che  par  la  sua 
beltade,  secondo  cK  altre  crede,  imposto  Cera  name  Primavcra  : 
e  cosi  era  chiamata  (Dante,  Vita  Nuova,  xxiv.). 

Cf.  Purgatorio,  xxviii.  49  et  circa  ;  ref.  Matelda,  by  Adolpo 
Borgognoni  ;  pub.  S.  Lapi,  Citta  da  Castello. 


44 


SONNETS 


SONNET  XV 

THOU  hast  in  thee  the  flower  and  the  green 
And  that  which  gleameth  and  is  fair  of  sight, 
Thy  form  is   more  resplendent  than  sun's 

sheen  ; 

Who  sees  thee  not,  can  ne'er  know  worth  aright. 
Nay,  in  this  world  there  is  no  creature  seen 
So  fashioned  fair  and  full  of  all  delight ; 
Who  fears  Amor,  and  fearing  meets  thy  mien, 
Thereby  assured,  he  solveth  him  his  fright. 

The  ladies  of  whom  thy  cortege  consisteth 
Please  me  in  this,  that  they've  thy  favour  won  ; 
I  bid  them  now,  as  courtesy  existeth, 
Holding  most  dear  thy  lordship  of  their  state, 
To  honour  thee  with  powers  commensurate, 
Sith  thou  art  thou,  that  art  sans  paragon. 


45 


GUIDO    CAVALCANTI 
SONETTO  XVI 

A    GUIDO   ORLANDI 

ZA  bella  donna,  dove  Amor  si  mostra, 
Che  tanto  e  di  valor  pieno  ed  adorno, 
Tragge  lo  cor  de  la  persona  vostra, 
E  prende  vita  in  far  con  lei  soggiorno. 
Per  che  ha  si  dolce  guardia  la  sua  chiostra, 
Che  il  sente  in  India  ciascum  Unicorno  : 
E  la  vertti  de  I'  armi  a  farvi  giostra 
Verso  di  noi  fa  crudel  ritorno. 
Ch'  ella  e  per  certo  di  si  gran  valenza, 
Che  gid  non  manca  a  lei  cosa  di  bene, 
Ma  creatura  lo  creo  mortale. 
Poi  mostra,  che  in  do  mise  provvedenza  ; 
Che  al  vostro  intendimento  si  conviene 
Far  pur  conoscer  quel,  che  a  lei  sia  tale. 


SONNETS 
SONNET  XVI 

TO   GUIDO   ORLAND 

THIS  most  lief  lady,  where  doth  Love  display 
him 

So  full  of  valour  and  so  vestured  bright, 
Bids  thy  heart  "  Out !  "     He  goes  and  none 

gainsay  him  ; 

And  he  takes  life  with  her  in  long  delight. 
Her  cloister's  guard  is  such  that  should  you  journey 
To  Ind  you'd  see  each  unicorn  obey  it ; 
Its  armed  might  against  thee  in  sweet  tourney 
Cruel  riposteth,  thou  canst  not  withstay  it. 
And  she  is  surely  in  her  valliancies 
Such  that  she  lacks  not  now  worth's  anything, 
And  yet  He  made  her  for  a  mortal  creature. 
Then  showed  her  forth,  and  here  His  foresight  is, 
And  His  providence,  Ah,  how  fair  a  thing 
If  by  her  likeness  thou  mayst  learn  its  nature  ! 


47 


GUIDO    CAVALCANTI 
SONETTO  XVII 

A  BERNARDO  DI  BOLOGNA 

S^flASCUNA  fresca,  e  dolce fontanella 

\^   Prende  in  se  sua  chiarezza,  e  vertute, 
Bernardo  amico  mio  ;  e  sol  da  quella, 
Che  ti  rispose  a  le  tue  rime  acute. 

Perocche  in  quella  parte  ove  favella 
Amor  de  le  bellezze,  che  ha  vedule, 
Dice,  che  questa  gentilesca  e  bella 
Tutte  nuove  adornezze  ha  in  se  compiute, 

Avvegnache  la  doglia  io  porti  grave 
Per  lo  sospiro  che  di  me  fa  lume, 
Lo  core  ardendo  in  la  disfatta  nave, 

Mando  io  a  la  Pinella  un  grande  fiume 
Piena  di  lancie,  servito  da  schiave, 
Belle,  ed  adorne  di  gentil  costume. 

Var.  1.  2,  "  Prende  in  Lzsa'an." 


48 


SONNETS 


Concerning  Pinella,  he  replies  to  a  sonnet  by  Bernardo  da 
Bologna  and  explains  why  they  have  sweet  waters  in  Galicia 
(Liscian). 

SONNET  XVII 

NOW  every  cool  small  spring  that  springeth 
sweetly 

Takes  clarity  and  virtue  in  Liscian  climes, 
Bernard  my  friend,  from  one  sole  source,  discretely  : 
So  she  who  answereth  thy  sharpened  rimes, 
"or  in  that  place  where  Love's  reports  are  laid 
mcerning  all  who  to  his  sight  are  led, 
te  saith  that  this  so  gracious  and  fair  maid 
[ath  in  herself  all  graces  gathered. 

lereas  my  grief  in  this  is  grown  more  grave 
ind  sighs  have  turned  me  to  one  light  and  flame, 
send  my  burning  heart,  in  her  acclaim 
Into  Pinella,  upon  a  magic  stream 
rhere  fairies  and  their  fair  attendants  gleam, 
this  wrecked  barque !    where  their  show  is  so 
brave  ! 


49 


GUIDO    CAVALCANTI 


SONETTO  XVIII 


di  donna,  e  di  saccente  core, 
E  cavalieri  armati,  che  sian  genti, 
Cantar  d'  augelli,  e  ragionar  d'  amore, 
Adorni  legni  in  mar,  forti  e  correnti  : 
Aria  serena,  quando  appar  I'  albore, 
E  bianca  neve  scender  senza  venti, 
Rivera  d'  acqua,  e  prato  d'  ogni  fiore, 
Oro,  e  argento,  azzurro  in  ornamenti. 
do  che  pud  la  beltade  e  la  valenza, 

De  la  mia  Donna  in  suo  gentil  coraggio, 
Par,  che  rassembre  vile  a  chi  do  guarda  ; 
E  tanto  ha  piu  d'  ogni  altra  conoscenza 
Quanta  lo  del  di  questa  terra  e  maggio, 
A  simil  di  natura  ben  non  tar  da. 


SONNETS 


SONNET  XVIII 

BEAUTY  of  woman,  of  the  knowing  heart, 
And  courtly  knights  in  bright  accoutrement 
And  loving  speeches  and  the  small  birds'  art, 
Adorned  swift  ships  which  on  high  seas  are  sent, 
And  airs  grown  calm  when  white  the  dawn  appeareth 
And  white  snow  falling  where  no  wind  is  bent, 
Brook-marge  and  mead  where  every  flower  flareth, 
And  gold  and  silver  and  azure  in  ornament  : 

Effective  'gainst  all  these  think  ye  the  fairness 
And  valour  of  my  Lady's  lordly  daring  ? 

Yea,  she  makes  all  seem  base  vain  gathering, 
And  she  were  known  above  whome'er  you'd  bring 
As  much  as  heaven  is  past  earth's  comparing  ; 
Good  seeketh  out  its  like  with  some  address. 


GUIDO    CAVALCANTI 


SONETTO  XIX 

71  "Y'OVELLA  ti  so  dire,  odi  Nerone, 
j£  Y/     Che  i  Buondelmonti  trieman  di  paura, 
E  tutti  i  Fiorentin  non  gli  assicura 

Vedendo  che  tu  hai  cor  di  Hone. 
E  pin  treman  di  te,  che  d'  un  dragone, 

Veggendo  la  tua  faccia,  che  e  si  dura  : 

Che  non  lo  riterrian  ponti,  ne  mura, 

Ma  si  la  tomba  del  re  Faraone. 
0  come  fai  grandissimo  peccato, 

Si  alto  sangue  volver  discacciare, 

Che  tutti  vanno  via  senza  ritegno  ! 
Ma  ben  e  ver  che  rallargar  lo  pegno, 

Di  che  potresti  I'  anima  salvare, 

Se  fussi  paziente  del  mercato. 


SONNETS 


He  suggests  to  his  kinsman  Nerone  that  there  may  be  one 
among  all  the  Buondelmonti  of  \v  horn  they  might  in  time  make 
a  man. 

SONNET  XIX 

NEWS  have  I  now  for  thee,  so  hear,  Nerone, 
How  that  the  Buondelmonti   shake  with 

fear, 

And  all  the  Florentines  cannot  assure  them, 
Seeing  thou  hast  in  thee  the  lion-heart. 
They  fear  thee  more  than  they  would  fear  a  dragon, 
Seeing  that  face  of  thine,  how  set  it  is 
That  neither  bridge  nor  walls  could  hold  against  it 
Lest  they  were  strong  as  is  King  Pharaoh's  tomb. 
Oh  how  thou  dost  of  smoky  sins  the  greatest 
In  that  thou  wouldst  drive  forth  such  haughty  blood 
Till  all  be  gone,  gone  forth  without  retention. 
But  sooth  it  is,  thou  might'st  extend  the  pawn 
Of  one  whose  soul  thou  mightest  give  salvation 
Wert  thou  more  patient  in  thine  huckstering. 


53 


GUIDO    CAVALCANTI 


SONETTO  XX 

IT  '  AN 'IMA  mia  vilmente  e  sbigottita 

J  j     De  la  battaglia,  cti  ella  sente  al  core  ; 
Che  se  pur  si  avvicina  un  poco  Amore 
Piu  presto  a  lei  che  non  soglia,  ella  muore. 

Sta  come  quei,  che  non  ha  piu  valore, 
Ch'  e  per  temenza  dal  mio  cor  partita  : 
E  chi  vedesse  com'  ella  v  e  gita, 
Diria  per  certo  :  questa  non  ha  vita. 

Per  gli  occhi  venne  la  battaglia  pria, 
Che  ruppe  ogni  valor  immantenente, 
SI  che  dal  colpo  fier  strutta  e  la  mente. 

Qualunque  e  quel,  che  piu  allegrezza  sente, 
S'  ei  vedesse  il  mio  spirito  gir  via, 
SI  grande  e  la  pieta  che  piangeria. 


54 


SONNETS 


SONNET  XX 

SO  vilely  is  this  soul  of  mine  confounded 
By  strife  grown  audible  within  the  heart, 
That  if  toward  her  some  frail  Love  but  start 
With  unaccustomed  speed,  she  swoons  astounded. 

She  is  as  one  in  whom  no  power  aboundeth  ; 
Lo,  she  forsakes  my  heart  through  fearfulness, 
And  any  seeing  her,  how  prone  she  is, 
Would  deem  her  one  whom   death's   sure   cloak 
surroundeth. 

Through  th'  eyes,  as  through  the  breach  in  wall,  her 

foes 

Came  first  to  attack  and  shattered  all  defence, 
Then  spoiled  the  mind  with  their  down-rained  blows. 

Whoe'er  he  be  who  holdeth  joy  most  close 
Would,  should  he  see  my  spirit  going  hence, 
Weep  for  the  pity  and  make  no  pretence. 

Cf.  Sonnet  i. 


55 


GUIDO    CAVALCANTI 


SONETTO  XXI 


T'^EDER  potesti,  quando  voi  scontrai, 
fs       Quello  pauroso  spirito  d'  Amore, 

Lo  qual  suol  apparer  quand'  uom  si  more, 

Che  in  altra  guisa  non  si  vede  mai. 
Egli  mi  fu  si  presso,  che  pensai, 

Ch'  egli  ancidesse  il  mio  dolente  core, 

Allor  si  mise  nel  morto  color  e 

U  anima  trista  in  voler  tr  agger  guai. 
Ma  poi  si  tenne  quando  vide  uscire 

Da  gli  occhi  vostri  un  lume  di  mercede, 

Che  porse  dentro  al  cor  una  dolcezza. 
E  quel  sottile  spirito,  che  vede 

Soccorse  gli  altri,  che  credean  morire 

Gravati  di  angosciosa  debolezza. 


SONNETS 
SONNET  XXI 

THE  DREAD  SPIRIT 

THOU  mayest  see,  who  seest  me  face  to  face, 
That  most  dread  spirit  whom  Love  sum- 

moneth 

To  meet  with  man  when  a  man  meets  with  Death  ; 
One  never  seen  in  any  other  case. 
So  close  upon  me  did  this  presence  show 
That  I  thought  he  would  slay  my  heart  his  dolour 
And  my  sad  soul  clad  her  in  the  dead  colour 
That  most  accords  the  will  and  ways  of  woe. 
Then  he  restrained  him,  seeing  in  true  faith 
The  piteous  lights  forth-issue  from  your  eyes 
The  which  bore  to  my  heart  their  foreign  sweetness, 
While  the  perceptive  sense  with  subtle  fleetness 
Rescued  those  others  *  who  had  considered  death 
The  one  sure  ending  for  their  miseries. 

1  The  senses  or  the  spirits  of  the  senses. 


57 


GUIDO    CAVALCANTI 
SONETTO  XXII 

A  DANTE  ALIGHIERI 


al  mio  par  ere  ogni  valor  e 
^^       E  tutto  gioco,  e  quanta  bene  uom  sente, 

Se  fusti  in  pruova  del  signer  valente, 
Che  signoreggia  il  mondo  de  I'  onore  ; 
'  Poi  vive  in  parte,  dove  noia  muore, 
E  tien  ragion  ne  la  piatosa  mente  ; 
Si  va  soave  ne'  sonni  a  la  gente, 
Che  i  cor  ne  porto  sanza  far  dolore. 
Di  voi  lo  cor  se  ne  porto,  veggendo, 
Che  vostra  donna  la  morte  chiedea  : 
Nodrilla  d'  esto  cor,  di  do  temendo. 
Quanta  £  apparve,  che  sen  gla  dogliendo, 
Fu  dolce  sonno,  ch'  allor  si  compiea, 
Che  7  suo  contrario  lo  venla  vincendo. 

In  Vita  Nuova,  iii.  ,  Dante  writes  :  '  '  Many  replied  to  this 
sonnet  (A  ciascuri*  alma  presa,  e  gentil  core)  with  varying  inter- 
pretations ;  among  those  who  replied  was  he  whom  I  call  first 
of  my  friends  ;  he  wrote  at  that  time  a  sonnet  which  began  : 

'  Vedesti  al  mio  parere  ogni  valore* 

And  this  was,  as  it  were,  the  inception  of  the  friendship  between 
us,  when  he  learned  that  I  was  the  one  who  had  sent  him  this 
(sonnet)." 


SONNETS 
SONNET  XXII 

(To  Dante,  in  answer  to  the  first  sonnet  of  the  Vita  Nuova. ) 

THOU   sawest,   it   seems   to   me,    all   things 
availing, 

And  every  joy  that  ever  good  man  feeleth. 
Thou  wast  in  proof  of  that  lord  valorous 
Who  through  sheer  honour  lords  it  o'er  the  world. 
Thou  livest  in  a  place  where  baseness  dieth, 
And  holdest  reason  in  the  piteous  mind  : 
So  gently  move  the  people  in  this  sleep 
That  the  heart  bears  it  'thout  the  feel  of  grief. 

Love  bore  away  thy  heart,  because  in  his  sight 
Was  Death  grown  clamorous  for  one  thou  lovest, 
Love  fed  her  with  thy  heart  in  dread  of  this, 
Then,  when  it  seemed  to  thee  he  left  in  sadness, 
A  dear  dream  was  it  which  was  there  completed, 
Seeing  it  contrary  came  conquering. 

Note. — Dante,   v.  n.    ill:     "The   true   significance   of  the 
dream  was  not  then  seen  by  anyone." 


59 


GUIDO    CAVALCANTI 
SONETTO  XXIII 

AL  MEDESIMO 

/O  vengo  il  giorno  a  te  infinite  volte, 
E  trovoti  pensar  troppo  vilmente  : 
Molto  mi  duol  de  la  gentil  tua  mente, 
E  d'  assai  tue  virtu,  che  ti  son  tolte. 
Solevati  spiacer  persone  molte  ;  . 
Tuttor  fuggivi  la  noiosa  gente  : 
Di  me  parlavi  si  coralemente, 
Che  tutte  le  tue  rime  avea  accolte. 
Or  non  mi  ar disco,  per  la  vil  tua  vita, 

Far  dimostranza,  che  7  tuo  dir  mi  piaccia 
Ne  'n  guisa  vegno  a  te  che  tu  mi  veggi. 
Se  'I  presente  sonetto  spesso  leggi 
Lo  spirito  noioso,  che  ti  caccia, 
Si  partira  da  V  anima  invilita. 


60 


SONNETS 


SONNET  XXIII 

(To  Dante,    rebuking  him  for  his  way  of  life  after  the  death 
of  Beatrice. ) 

I  DAILY  come  to  thee  uncounting  times 
And  find  thee  ever  thinking  over  vilely  ; 
Much  doth  it  grieve  me  that  thy  noble  mind 
And  virtue's  plenitude  are  stripped  from  thee  ; 

Thou  wast  so  careless  in  thy  fine  offending, 
Who  from  the  rabble  alway  held'st  apart, 
And  speaking  of  me  so  straightly  from  thy  heart 
That  I  gave  welcome  to  thine  every  rime. 

And  now  I  care  not,  sith  thy  life  is  baseness 

To  give  the  sign  that  thy  speech  pleaseth  me, 

Nor  come  I  to  thee  in  guise  visible, 

Yet  if  thou'lt  read  this  sonnet  many  a  time, 

That  malign  spirit  which  so  hunteth  thee 

Will  sound  forloyn l  and  spare  thy  affrighted  soul. 

1  The  recall  of  the  hounds. 


61 


GUIDO    CAVALCANTI 
SONETTO  XXIV 

AL  ME DE  SI  MO 

vedi  Amove,  assai  ti  prego,  Dante, 
In  parte,  la  've  Lappo  sia  presence, 
Che  non  ti  gram  di  por  si  la  mente, 
Che  mi  riscrivi,  s'  egli  it  chiama  amante  , 
E  se  la  donna  gli  sembra  aitante, 
E  se  fa  vista  di  parer  servente  : 
Che  molte  fiate  cosl  fatta  gente 
Suol  per  gravezza  d'  Amor  far  sembiante 
Tu  sai  che  ne  la  corte,  Id  ove  regna 
Non  pud  servire  uomo,  che  sia  vile 
A  donna,  che  la  dentro  sia  perduta  : 
Se  la  soffrenza  lo  servente  aiuta, 
Puoi  di  leggier  conoscer  nostro  stile, 
Lo  quale  porta  di  mercede  insegna. 


62 


SONNETS 


SONNET  XXIV 

DANTE,  I  pray  thee,  if  thou  Love  discover 
In  any  place  where  Lappo  Gianni  is, — 
If 't  irk  thee  not  to  move  thy  mind  in  this, 
Write  me  these  answered  :    "  Doth  he  style  him 

Lover  ?  "  ; 

And,  "  Doth  the  lady  seem  as  one  approving  ?  "  ; 
And,  "  Makes  he  show  of  service  with  fair  skill  ?  "  ; 
For  many  a  time  folk  made  as  he  is,  will 
To  assume  importance,  make  a  show  of  loving. 

Thou  know'st  that  in  that  court  where  Love  puts  on 

His  royal  robes,  no  vile  man  can  be  servant 

To  any  lady  who  were  lost  therein  ; 

If  servant's  suffering  doth  assistance  win, 

Our  style  could  show  unto  the  least  observant, 

It  beareth  mercy  for  a  gonfalon. 


GUIDO    CAVALCANTI 


SONETTO  XXV 


,  Manetto,  quella  sgrignutuzza, 
E  pon  ben  mente  com'  e  sfigurata, 
E  come  bruttanemte  e  divisata, 
E  quel  che  par,  quand'  ella  si  raggruzza. 
E  s'  ella  fosse  vestita  d'  un'  uzza 
Con  cappellina  e  di  vel  soggolata, 
E  apparisse  di  dl  accompagnata 
D'  alcuna  bella  donna  gentiluzza, 
Tu  non  avresti  iniquitd  si  forte, 

Ne  tanta  angoscia,  o  tormento  d'  amore, 
Ne  si  rinvolto  di  malinconia, 
Che  tu  non  fossi  a  rischio  de  la  morte 
Di  tanto  rider,  che  aprirebbe  il  core, 
0  tu  morresti,  o  fuggiresti  via. 

He  is  in  part  parodying  Guido  Guinicelli's  technically  ques- 
tionable sonnet,  "  Chi  vedesse  a  Lucia  un  var  capuzzo" 


64 


SONNETS 
SONNET  XXV 

"HootZah!!!" 

COME,  come  Manetto,  look  upon  this  scarecrow 
And  set  your  mind  upon  its  deformations, 
Compute  th'  extent  of  its  sad  aberrations, 
Say  what  it  looks  like  where  she  scarcely  dare  go  ! 

Nay,  were  she  in  a  cloak  most  well  concealed 
And  snugly  hooded  and  most  tightly  veiled, 
If,  by  her,  daylight  should  once  be  assailed 
Though  by  some  noble  woman  partly  healed, 

Still  you  could  not  be  so  sin-laden  or  quite 

So  bound  by  anguish  or  by  love's  abstractions 

Nor  so  enwrapped  in  naked  melancholy 

But  you  were  brought  to  deathly  danger,  solely 

By  laughter,  till  your  sturdy  sides  grew  fractions, 

'Struth  you  were  dead,  or  sought  your  life  in  flight. 


GUIDO    CAVALCANTI 
SONETTO  XXVI 

V  I  MAG  IN  MORTA 


S^fERTO  mie  rime  a  te  mandar  vogliendo 
I     j     Del  grave  stato  quale  il  mio  cor  porta, 

Amor  m  apparve  in  un'  imagin  morta, 
E  disse  :  Non  mandar,  ch'  io  ti  rispendo. 

Pero  che  se  I'  amico  e  quel,  ch'  io  intendo, 
E'  non  avra  gid  si  la  mente  accorta, 
Ch'  udendo  la  ingiuriosa  cosa,  e  torta, 
Ch'  io  ti  fo  soffrir  tuttora  ardendo, 

Temo  non  prenda  tale  smarrimento, 

Che  avanti,  che  udito  abbia  tua  pesanza, 
Non  si  diparta  da  la  vita  il  core. 

E  tu  conosci  ben,  ch'  io  sono  Amore, 
E  ch'  io  ti  lascio  questa  mia  sembianza, 
E  portone  ciascun  tuo  pensamento. 

To  him  who  understands  it  this  is  the  most  terrible  of- 
all  the  sonnets. 


66 


SONNETS 
SONNET  XXVI 

OF  LOVE  IN  A  DEAD  VISION-^ 

NAY,  when  I  would  have  sent  my  verses  to 
thee 

To  say  how  harshly  my  heart  is  oppressed, 
Love  in  an  ashen  vision  manifest 
Appeared  and  spake  :  "  Say  not  that  I  foredo  thee, 

For  though  thy  friend  be  he  I  understand, 

He  will  not  yet  have  his  mind  so  enured 

But  that  to  hear  of  all  thou  hast  endured, 

Of  that  blare  flame  that  hath  thee  'neath  its  hand, 

Would  blear  his  mind  out.     Verily  before  ! 
Yea,  he  were  dead,  heart,  life,  ere  he  should  hear 
To  the  last  meaning  of  the  portent  wrought. 

And  thou  ;  thou  knowest  well  I  am  Amor 
Who  leave  with  thee  mine  ashen  likeness  here 
And  bear  away  from  thee  thine  every  thought." 


GUIDO    CAVALCANTI 


SONETTO  XXVII 

'  lOfossi  quello,  che  d'  Amor  fu  degno, 
Del  qual  non  trovo  sol  che  rimembranza, 
E  la  donna  tenesse  altra  sembianza, 
Assai  mi  piaceria  slfatto  segno. 
E  tu,  che  se'  de  I'  amoroso  regno 
La  onde  di  merce  nasce  speranza, 
Riguarda,  se  'I  mio  spirito  ha  pesanza, 
Ch'  un  presto  arcier  di  lui  ha  fatto  segno  ; 
E  tragge  I'  arco,  che  li  tese  Amove 
Si  lietamente,  che  la  sua  persona 
Par  che  di  giuoco  porti  signoria. 
Or  odi  maraviglia,  ch'  ella  fia, 
Lo  spirito  fedito  li  perdona 
Vedendo,  che  li  strugge  il  suo  valore. 


68 


SONNETS 


SONNET  XXVII 

WERE  I  that  I  that  once  was  worthy  of  Love 
(Of  whom  I  find  naught  now  save  the 

remembrance) 

And  if  the  lady  had  another  semblance, 
Then  would  this  sort  of  sign  please  me  enough. 

Do  thou,  who  art  from  Love's  clear  realm  returned, 
Where  Mercy  giveth  birth  to  hopefulness, 
Judge  as  thou  canst  from  my  dim  mood's  distress 
What  bowman  and  what  target  are  concerned. 

Straining  his  arc,  behold  Amor  the  bowman 
Draweth  so  gaily  that  to  see  his  face 
You'd  say  he  held  his  rule  for  merriment, 
Yet  hear  what's  marvellous  in  all  intent : 
The  smitten  spirit  pardoneth  his  foeman 
Which  pardon  doth  that  foeman's  power  debase. 

Anyone  who  can,  from  the  text  as  it  stands,  discern  what 
happens  to  whom  in  the  final  lines  of  this  sonnet,  is  at  liberty 
to  emend  my  translation. 


69 


GUIDO    CAVALCANTI 


SONETTO  XXVIII 

"JT  ~7"N  amoroso  sguardo  spiritale  "* 
I/    M'  ha  rinovato  Amor  tanto  piacente, 

Che  assai  pin  che  non  suole  uomo,  m' 
assale, 

Ed  a  pensar  mi  stringe  coralmente 
Ver  la  mia  donna,  verso  cui  non  vale 

Merce,  ne  pietd,  ne  esser  soffrente, 

Che  sovent'  ore  mi  da  pena  tale, 

Che  'n  poca  parte  il  cor  la  vita  sente. 
Ma  quando  sento,  che  si  dolce  sguardo 

Per  mezzo  gli  occhi  passo  dentro  al  core, 

E  posevi  uno  spirito  di  gioia, 
Di  fame  a  lei  merce  giammai  non  tar  do  ; 

Cosl  pregata  fosse  ella  d'  Amore 

Che  un  po'  di  pietd  non  fusse  noia. 


70 


SONNETS 


SONNET  XXVIII 

A  LOVE-LIT    glance,    with    living    powers 
fraught, 

Renewed  within  me  love's  extreme  delight, 
So  love  assails  me  with  unwonted  might, 
And  cordially  he  driveth  me  in  thought 
Towards  my  lady  with  whom  'vaileth  not 
Mercy  nor  pity  not  the  suffering  wrought, 
So  oft  and  great,  her  torments  on  me  fall 
That  my  heart  scarce  can  feel  his  life  at  all. 

But  when  I  feel  that  her  so  sweet  regard 
Passeth  mine  eyes  and  to  the  heart  attaineth 
Setting  to  rest  therein  spirits  of  joy, 
Then  do  I  give  her  thanks  and  without  retard  ; 
Love  asked  her  to  do  this,  and  that  explaineth 
Why  this  first  pity  doth  her  no  annoy. 


GUIDO    CAVALCANTI 
SONETTO  XXIX 

A  DANTE  ALIGHIERI 


,  un  sospiro  messagger  del  core 
Subitamente  m  assail  dormendo  ; 
Ed  io  mi  disvegliai  allor  temendo, 
Ched  egli  fosse  in  compagnia  d'  Amove  : 
Poi  mi  girai,  e  vidi  il  servitore 

Di'  Mono,  Lagia,  che  venia  dicendo, 
Aiutimi  pieta,  si  che  dicendo 
Io  presi  di  pieta  tanto  valore. 
Ch'  io  giunsi  Amore,  che  affilava  i  dardi  : 
Allor  Io  domandai  del  suo  tormento, 
Ed  elli  mi  rispose  in  questa  guisa  : 
Di'  al  servente,  che  la  donna  e  presa, 
E  tengola  per  far  suo  piacimento, 
E  se  crede,  di'  che  agli  occhi  guardi 


SONNETS 


SONNET  XXIX 

DANTE,  a  sigh,  that's  the  heart's  messenger 
Assailed  me  suddenly  as  I  lay  sleeping  ; 
Aroused,   I    fell    straightway   into   fear's 

keeping, 
For  Love  came  with  that  sigh  as  curator. 

And  I  turned  straight  and  saw  the  servitor 
Of  Monna  Lagia,  who  came  there  a-crying, 
"  Ah  pity  !     Aid  me  !  "  and  at  this  his  sighing 
I  took  from  Pity  this  much  power  and  more : 

That  I  found  Love  a-filing  javelins 
And  asked  him  of  both  torment  and  solution, 
And  in  this  fashion  came  that  Lord's  replies  : 
"  Say  to  the  servant  that  his  service  wins. 
He  holds  the  Lady  to  his  pleasure  won. 
If  he'd  believe  it,  let  him  watch  her  eyes." 


73 


GUIDO    CAVALCANTI 


SONETTO  XXX 

/O  temo,  che  la  mia  disavventura 
Nonfaccia  si,  ch'  io  dica  :  lo  mi  dispero 
Pero  ch'  io  sento  nel  cor  un  pensiero, 
Che  fa  tremar  la  mente  di  paura. 
E  par  ch'  ei  dica  :  Amor  non  t'  assicura 
In  guisa  che  tu  possa  di  leggiero 
A  la  tua  donna  si  contare  il  vero, 
Che  morte  non  ti  ponga  in  sua  figura. 
De  la  gran  doglia,  che  I'  anima  sente, 
Si  parte  da  lo  core  un  tal  sospiro, 
Che  va  dicendo  :  Spiritei  fuggite. 
Allor  null'  uom,  che  sia  pietosa,  miro, 
Che  consolasse  mia  vita  dolente, 
Dicendo  :  Spiritei,  non  vi  partite. 

Cf.  A.  C.  S.,  "Triumph  of  Time."     Cf.  stanza  30,  1.  7-8. 


75 


SONNETS 


SONNET  XXX 

1FEAR  me  lest  unfortune's  counter  thrust 
Pierce   through   my  throat  and  rip   out   my 

despair. 

I  feel  my  heart  and  that  thought  shaking  there 
Which  shakes  the  aspen  mind  with  his  distrust, 
Seeming  to  say,  "  Love  doth  not  give  thee  ease 
So  that  thou  canst,  as  of  a  little  thing, 
Speak  to  thy  Lady  with  full  verities, 
For  fear  Death  set  thee  in  his  reckoning." 

By  the  chagrin  that  here  assails  my  soul 

My  heart's  partured  of  a  sigh  so  great 

It  crieth  to  the  spirits  :  "  Get  ye  gone  !  " 

And  of  all  piteous  folk  I  come  on  none 

Who  seeing  me  so  in  my  grief's  control 

Will  aid  by  saying  e'en  :  "  Nay,  Spirits,  wait !  " 


75 


GUIDO    CAVALCANTI 


SONETTO  XXXI 

TU  che  porti  ne  gli  occhi  sovente 
Amor  tenendo  tre  saette  in  mano, 
Questo  mio  spirto,  che  men  di  lontano 
Ti  raccomanda  I'  anima  dolente  : 
La  qual  ha  gid  ferula  ne  la  menle 
Di  due  saette  I'  arcier  soriano, 
E  a  la  terza  apre  I'  arco,  ma  si  piano, 
Che  non  m'  aggiunge,  essendoti  presente, 
Perche  saria  de  V  alma  la  salute, 

Che  quasi  giace  infra  le  membra  morta 
Di  due  saette,  che  fan  tre  ferute. 
La  prima  da  piacere  e  disconforta, 
E  la  seconda  desla  la  virtute 
De  la  gran  gioia,  che  la  terza  porta. 


SONNETS 


SONNET  XXXI 

YOU,  who  within  your  eyes  so  often  carry 
That  Love  who  holdeth  in  his  hand  three 

arrows, 

Behold  my  spirit,  by  his  far-brought  sorrows, 
Commends  to  you  a  soul  whom  hot  griefs  harry. 

A  mind  thrice  wounded  she l  already  hath, 
By  this  keen  archer's  Syrian  shafts  twice  shot. 
The  third,  less  tautly  drawn,  hath  reached  me  not, 
Seeing  your  presence  is  my  shield  'gainst  wrath. 

Yet  this  third  shot  had  made  more  safe  my  soul, 
Who  almost  dead  beneath  her  members  lies  ; 
For  these  two  arrows  give  three  wounds  in  all : 

The  first :  delight,  which  payeth  pain  his  toll ; 

The  second  brings  desire  for  the  prize 

Of  that  great  joy  which  with  the  third  doth  fall. 

1  I.e.  The  Soul.  I  have  kept  the  Italian  gender  in  those  few 
sonnets  where  there  is  no  danger  of  confusing  "her,"  the  soul, 
with  the  subjects  of  other  feminine  pronouns. 


77 


GUIDO    CAVALCANTI 


SONETTO  XXXII 

non  ti  caggia  la  tua  Santalena 
Gin  per  lo  colto  tra  le  dure  zolle, 
E  venga  a  man  di  qualche  villan  folle, 
Che  la  stropicci  e  rendalati  appena  ; 
Dimmi,  se  'I  frutto  che  la  terra  mena, 
Nasce  di  secco,  di  caldo  o  di  molle  ; 
E  qual  e  'I  vento,  che  I'  ammorta,  e  tolle  ; 
E  di  che  nebbia  la  tempesta  e  plena  ? 
E  se  ti  piace,  quando  la  mattina 
Odi  la  voce  del  lavoratore, 
E  7  tramazzar  dell'  altra  sua  famiglia  ? 
lo  ho  per  certo,  che  se  la  Bettina 
Porta  soave  spirito  nel  core, 
Del  nuovo  acqvisto  spesso  ti  ripiglia. 


SONNETS 
SONNET  XXXII 

TO  CECCO 

IF  Santalena  does  not  come  unto  you 
Down  in  the  plow-lands  where  the  clods  are 

hard, 

But  falls  into  the  hands  of  some  hot  clod-pole 
Who'll  wear  her  out  and  hardly  then  return  her  ; 
Then  tell  me  if  the  fruit  which  this  land  beareth 
Is  born  of  drought  or  heat  or  from  the  dampness, 
And  say  what  wind  it  is  doth  blight  and  wither 
And  which  doth  bring  the  tempest  and  the  mist. 

Say  if  it  please  you,  when  at  break  of  morning 
You  hear  the  farmer's  workman  bawling  out 
And  all  his  family  meddling  in  the  noise  ? 

Egad  !    I  think  that  if  your  sweet  Bettina 

Beareth  a  mellow  spirit  in  her  heart 

She'll  rescue  you  once  more  from  your  last  choice. 


79 


GUIDO    CAVALCANTI 


SONETTO  XXXIII 

71   /TORTE  gentil,  rimedio  de'  cattivi, 
JL  rJL      Merce,  merce,  a  man  giunte  ti  chieggio, 
Viemmi  a  vedere,  o  prendimi,  che  peggio 

Mi  face  Amor,  che  miei  spiriti  mm 
Son  constumati,  e  spenti,  si  che  quivi, 

Dov'  io  stava  gioioso,  ora  m'  avveggio 

In  parte  lasso  Id,  dov'  io  passeggio, 

Pene,  e  dolor,  e  'n  pianto  vuol  ch'  arrivi. 
E  molto  maggior  mal,  s'  esser  piu  puote 

Morte  or  e  il  tempo,  che  voter  mi  puoi 

Di  tormi  da  le  man  di  tal  nimico. 
Aime  lasso,  quante  volte  dico  : 

Amor,  perchefai  mal  sol  pure  a'  tuoi, 

Com'  fa  quel  de  I'  inferno,  che  percuote  ? 


80 


SONNETS 


SONNET  XXXIII 

WITH  DEATH 

DEATH    who    art    haught,    the    wretched's 
gi  remedy, 

Grace  !   Grace  !   hands  joined  I  do  beseech 

it  thee, 

Come,  see  and  conquer  for  worse  things  on  me 
Are  launched  by  love.     My  senses  that  did  live, 
Consumed  are  and  quenched,  and  e'en  in  this  place 
Where  I  was  galliard,  now  I  see  that  I  am 
Fallen  away,  and  where  my  steps  I  misplace, 
Fall  pain  and  grief  ;  to  open  tears  I  nigh  am. 
And  greater  ills  He'd  send  if  greater  may  be, 
Sweet  Death,  now  is  the  time  thou  may'st  avail  me 
And  snatch  me  from  His  hand's  hostility, 
woe  !  how  oft  I  cry,  "  Love  tell  me  now  : 
iy  dost  tjiou  ill  only  unto  thine  own, 
him  of  hell  who  maketh  the  damned  groan  ?  " 


81 


GUIDO    CAVALCANTI 


SONETTO  XXXIV 

/4MORE,  e  Mona  Lagia,  e  Guido,  ed  io 
>Of     Possiam  ben  ringraziare  un  Ser  costui, 

Che  n'  ha  partiti,  sapete  da  cui  ? 
Nol  vo'  contar  per  averlo  in  oblio. 

Poi  questi  tre  piti  non  v'  hanno  disio  ; 
Ch'  eran  serventi  di  tal  guisa  in  lui, 
Che  veramente  piu  di  lor  non  fui, 
Immaginando,  ch'  elli  fosse  Iddio. 

Sia  ringraziato  Amor,  che  se  ne  accorse 
Primieramente,  poi  la  donna  saggia, 
Che  in  quel  punto  li  ritolse  il  core. 

E  Guido  ancor,  che  n  e  del  tutto  fore, 
Ed  io  ancor,  che  n'  sua  virtute  caggia  ; 
Se  poi  mi  piacque,  non  si  crede  forse. 


82 


SONNETS 


SONNET  XXXIV 

A  MORE  and  Mona  Lagia  and  Guido  and  I 
Can  give  true  thanks  unto  Ser  Such-a-one 
Who  hath  now  ridded  us  of  Know-you-who  ? 
I'll  name  no  name  for  I'd  have  it  forgotten. 
And  these  three  people  have  no  wish  for  it 
Though  they  were  servants  to  him  in  such  wise 
That  they,  in  sooth,  could  not  have  served  him  more 
Had  they  mistaken  him  for  God  himself. 

Let  Love  be  thanked  who  was  first  made  aware, 
And  then  give  thanks  unto  the  prudent  lady 
Who  at  Love's  instance  hath  called  back  her  heart ; 
Then  thanks  to  Guido l  who's  not  here  concerned 
And  to  me  too  who  drove  him  back  to  virtue, 
If  then  he  please  me,  think  it  not  perchance. 

1  I.e.  Guido  Orlando. 


GUIDO    CAVALCANTI 


SONETTO  XXXV 


figura  de  la  donna  mia 
S'  adora  Guido,  a  San  Michele  in  Orto, 
Che  di  bella  sembianza,  onesta  e  pia, 
De'  peccatori  e  refugio  e  conforto  : 
E  quale  a  lei  divoto  s'  umilla 

Chi  piu  languisce,  piu  n'  ha  di  conforto  : 
Gl'  infermi  sana,  i  demon  caccia  via, 
E  gli  occhi  orbati  fa  vedere  scorto. 
Sana  in  pubblico  loco  gran  languori  : 
Con  reverenza  la  gente  I'  inchina  ; 
Due  luminara  I'  adornan  di  fuori  : 
La  voce  va  per  lontane  cammina  ; 

Ma  dicon,  ch'  e  idolatra,  i  Fra'  Minon, 
Per  invidia,  che  non  e  lor  vicina. 


SONNETS 
SONNET  XXXV 

TO  GUIDO  ORLANDO 

He  explains  the  miracles  of  the  Madonna  of  Or  San  Michele, 
by  telling  whose  image  it  is. 

MY  Lady's  face  it  is  they  worship  there, 
At  San  Michele  in  Orto,  Guido  mine, 
Near  her  fair  semblance  that  is  clear  and 

holy, 

Sinners  take  refuge  and  get  consolation. 
Whoso  before  her  kneeleth  reverently 
No  longer  wasteth  but  is  comforted  ; 
The  sick  are  healed  and  devils  driven  forth, 
And    those   with    crooked    eyes    see   straightway 

straight. 

Great  ills  she  cureth  in  an  open  place, 
With  reverence  the  folk  all  kneel  unto  her, 
And  two  lamps  shed  the  glow  about  her  form. 
Her  voice  is  borne  out  through  far-lying  ways 
Till  brothers  minor  cry  :   "  Idolatry," 
For  envy  of  her  precious  neighbourhood. 


GUIDO    CAVALCANTI 


MADRIGALE 

CIECO  mondo,  di  lusinghe  pieno, 
Mortal  veleno  e  ciascun  tuo  diletto, 
Fallace  e  pien  d'  inganni,  e  con  sospetto. 
Folle  e  colui  che  ti  addrizza  il  freno, 
Quando  per  men  che  nulla  quel  ben  perde, 
Che  sovra  ogn'  altra  Amor  luce  e  sta  verde. 
Pero  gia  mai  di  te  colui  non  curi, 
Che  'I  frutto  vuol  gustar  di  dolci  fiori. 


86 


MADRIGAL 


MADRIGAL 

O  WORLD  gone  blind  and  full  of  false  deceits, 
Deadly 's  the  poison  with  thy  joys  connected, 
O  treacherous  thou,  and  guileful  and  sus- 
pected : 

Sure  he  is  mad  who  for  thy  checks  retreats 
And  for  scant  nothing  loseth  that  green  prize 
Which  over-gleans  all  other  loveliness  ; 

Wherefore  the  wise  man  scorns  thee  at  all  hours 
When  he  would  taste  the  fruit  of  pleasant  flowers. 


BALLATE 


89 


BALLATE 


BALL  AT  A   I 

OICH&  di  doglia  cor  convien  ch'  io  porti, 
E  senta  di  piacere  ardente  foco, 
Che  di  virtu  mi  tragge  a  si  vil  loco  ; 

Diro  come  ho  perduto  ogni  valore. 

Io  dico,  che  miei  spiriti  son  morti, 

E  'I  cor,  ch'  ha  tanta  guerra  e  vita  poco  : 

E  se  non  fosse  che  'I  morir  m'  e  gioco, 

Fare'  ne  di  pietd  piangere  Amore  : 

Ma  per  Io  folle  tempo,  che  m'  ha  giunto, 

Mi  cangio  di  miaferma  opinione 

In  altrui  condizione  ; 

Si  ch'  io  non  mostro,  quant'  i'  sento  affanno, 

La  ond'  io  ricevo  inganno  : 

Che  dentro  da  lor  cor  mi  passa  arnanza, 

Che  se  ne  porta  tutta  mia  speranza. 


90 


BALLATE 


BALLATA  I 

SITH  need  hath  bound  my  heart  in  bands  of 
grief, 

Sith  I  turn  flame  in  pleasure's  saffron  fire,-" 
I  sing  how  I  lost  a  treasure  by  desire 
And  left  all  virtue  and  am  low  descended. 

I  tell,  with  senses  dead,  what  scant  relief 
My  heart  from  war  hath  in  his  life's  small  might. 
Nay  !  were  not  death  turned  pleasure  in  my  sight, 
Then  Love  would  weep  to  see  me  so  offended. 

Yet,  for  I'm  come  upon  a  madder  season, 

The  firm  opinion  which  I  held  of  late 

Stands  in  a  changed  state, 

And  I  show  not  how  much  my  soul  is  grieved 

There  where  I  am  deceived 

Since  through  my  heart,  midway,  a  mistress  went 

And  in  her  passage  all  mine  hopes  were  spent. 

Note.  —This  is  not  really  a  ballata  but  is  the  first  stanza  of  a 
lost  canzone,  one  mentioned  by  Dante  in  the  D.  V.  E. 

91 


GUIDO    CAVALCANTI 


BALL  AT  A   II 

/O  vidi  donne  con  la  donna  mia  : 
Non  che  niuna  mi  sembrasse  donna  ; 
Ma  simigliavan  sol  la  sua  ombria. 
Gia  non  la  lodo,  se  non  perch'  e  'I  vero, 
E  non  biasimo  altrui,  se  m'  intendete  : 
Ma  ragionando  muovesi  un  pensiero 
A  dir  :  Tosto,  miei  spiriti,  morrete, 
Crudei,  se  me  veggendo  non  piangete  ; 
Che  stando  nel  pensier  gli  occhi  fan  via 
A  lagrime  del  cor,  che  non  la  oblia. 


92 


L 


B  A  L  L ATE 


BALLATA   II 

ADIES  I  saw  a-passing  where  she  passed  ; 
Not  that  they  seemed  as  ladies  to  my  vision, 
Who  were  like  nothing  save  her  shadow  cast. 


I  praise  her  in  no  cause  save  verity's, 

None  other  dispraise,  if  ye  comprehend  me. 

A  spirit  moveth  speaking  prophecies 

Foretelling  :  Spirits  mine,  swift  death  shall  end  ye, 

Cruel !  if  seeing  me  no  tears  forelend  ye, 

Sith  but  the  being  in  thought  sets  wide  mine  eyes 

For  sobbing  out  my  heart's  full  memories. 


93 


GUIDO    CAVALCANTI 


BALL  AT  A   III 

E  m  hai  del  tutto  obliato  mercede, 
Gia  pero  fede  il  cor  non  abbandona  ; 
Anzi  ragiona  di  servire  a  grata 

Al  dispietato  core. 

E  qual  do  sente,  simil  me  non  crede, 

Ma  chi  tal  vede  ?  certo  non  persona  ; 

Ch'  Amor  mi  dona  uno  spirito  in  suo  stato, 

Che  figiirato  more : 

Che  quando  quel  piacer  mi  stringe  tanto, 

Che  lo  sospir  si  mova, 

Par,  che  nel  cor  mi  piova 

Un  dolce  Amor  si  buono, 

Ch'  io  dico  :  Donna,  tutto  vostro  sono. 


94 


B  ALL ATE 


BALLATA  III 

THO'  all  thy  piteous  mercy  fall  away 
Not  for  thy  failing  shall  my  faith  so  fall, 
That  Faith  speaks  on  of  services  unpaid 
To  the  unpitied  heart. 

What  that  heart  feeleth  ?     Ye  believe  me  not. 
Who  sees  such  things  ?     Surely  no  one  at  all, 
For  Love  me  gives  a  spirit  on  his  part 
Who  dieth  if  portrayed. 

Thence  when  that  pleasure  so  assaileth  me, 

And  the  sighing  faileth  me, 

Within  my  heart  a  rain  of  love  descendeth 

So  fragrantly,  so  purely 

That  I  cry  out,  "  Lady,  thou  hold'st  me  surely  ! 


95 


GUIDO    CAVALCANTI 


BALLATA   IV 

JT^EDETE,  ch'  io  son  un,  che  vo  pian- 
^^  gendo, 

E  dimostrando  il  giudizio  d'  A  more  ; 
E  gid  non  trovo  si  pietoso  core, 
Che  me  guardando  una  volta  sospiri. 

Novella  doglia  m'  I  nel  cor  venuta, 
La  qual  mi  fa  dolere  e  pianger  forte  ; 
E  spesse  volte  avvien,  che  mi  saluta 
Tanto  d'  appresso  I'  angosciosa  morte, 
Che  fa  in  quel  pimto  le  persone  accorte, 
Che  dicono  in  fra  lor  :  Questi  ha  dolor  e  ; 
E  gid  secondo  che  ne  par  difore, 
Dovrebbe  dentro  aver  nuovi  martiri. 

Questa  pesanza  ch'  e  nel  cor  discesa, 
Ha  certi  spiritei  gid  consumati, 

I  quali  eran  venuti  per  difesa 

Del  cor  dolente,  che  gli  avea  chiamati  : 
Questi  lasciaro  gli  occhi  abbandonati, 
Quando  passo  ne  la  mente  un  romore, 

II  qual  dicea  :  Dentro  biltd,  che  more  ; 
Ma  guarda,  che  biltd  non  vi  si  miri. 


BALL ATE 


BALLATA  IV 

WEEPING  ye  see  me,  in  Grief's  company, 
One  showing  forth  Love's  jurisdiction. 
Of  pity-shrouded  hearts  I  find  not  one 
Who  sigheth,  seeing  me  disconsolate. 

New  is  the  grief  that's  come  upon  my  heart, 
And  mournful  is  the  press  of  my  deep  sighs, 
And  oft  Death  greeteth  me,  by  tricksome  art 
Drawn  close  upon  me  with  his  agonies, 
Yea  close,  drawn  close  till  every  dullard  sees  ; 
I  hear  their  murmuring,  "  How  grief  hath  bent 
This  man  !   And  we  from  the  apparent  testament, 
Deem  stranger  torments  in  him  sublimate." 

Within  my  heart  this  grievous  weight  descended 
Hath  slain  that  band  of  spirits  which  was  bent 
Heartward,  that  th'  heart  might  by  them  be  de- 
fended. 

When  the  sad  heart  had  summoned  them  they'd  left 
Mine  eyes  of  every  other  guard  bereft 
Till  Rumour,  courier  through  the  mind,  ran  crying, 
"  A  vileness  in  the  heart,  Oyez !  lies  dying. 
On  guard  lest  vileness  strike  at  your  estate  !  " 


97 


GUIDO   CAVALCANTI 


BALL  AT  A    V 


TJ^EGGIO  ne  gli  occhi  de  la  donna  mia 
fr         Un  lume  pien  di  spiriti  d'  Amove, 

die  portano  un  piacer  novo  net  core, 
Si  che  vi  desta  d'  allegrezza  vita. 

Cosa  m'  avvien,  quand'  io  le  son  presente, 
Ch'  i'  non  la  posso  a  lo  'ntelletto  dire  : 
Veder  mi  par  de  le  sue  labbia  uscire 
Una  si  bella  donna,  che  la  mente 
Comprender  non  la  pub  che  'mmantenente 
Ne  nasce  un  altra  di  bellezza  nova  : 
Da  la  qual  par,  ch'  una  stella  si  mova, 
E  dica  :  Tua  salute  e  dipartita. 

La  dove  questa  bella  donna  appare 
S'  ode  una  voce,  che  le  vien  davanti, 
E  par,  che  d'  umilta  7  suo  nome  canti 
SI  dolcemente,  che  s1  io  'I  vo'  contare, 
Sento  che  7  suo  valor  mi  fa  tremare  ; 
E  movonsi  ne  V  anima  sospiri, 
Che  dicon  :  Guarda,  se  tu  costei  miri, 
Vedrai  la  sua  virtu  nel  del  salita. 


BALL ATE 


BALLATA  V 

-  T     IGHT  do  I  see  within  my  Lady's  eyes 
_^     And  loving  spirits  in  its  plenisphere 

Which  bear  in  strange  delight  on  my  heart's 

care 
Till  Joy's  awakened  from  that  sepulchre. 

That  which  befalls  me  in  my  Lady's  presence 
Bars  explanations  intellectual, 
I  seem  to  see  a  lady  wonderful 
Forth  issue  from  Her  lips,  one  whom  no  sense 
Can  fully  tell  the  mind  of  and  one  whence 
Another  fair,  swift  born,  moves  marvellous, 
From  whom  a  star  goes  forth  and  speaketh  thus  : 
"  Lo,  thy  salvation  is  gone  forth  from  thee." 

There  where  this  Lady's  loveliness  appeareth, 
There's  heard  a  voice  which  goes  before  her  ways 
And  seems  to  sing  her  name  with  such  sweet  praise 
That  my  mouth  fears  to  speak  what  name  she 

beareth, 

And  my  heart  trembles  for  the  grace  she  weareth, 
While  far  in  my  soul's  deep  the  sighs  astir 
Speak  thus  :  "  Look  well !  For  if  thou  look  on  her, 
Then  shalt  thou  see  her  virtue  risen  in  heaven/' 

Vide  Introduction. 


99 


GUIDO    CAVALCANTI 


BALLATA    VI 

TT  A  forte,  e  nova  mia  disavventura 
J  j    M'  ha  disfatta  nel  core 

Ogni  dolce  pensier,  ch'  i  avea  d'  Amove. 
Disfatta  m  ha  gid  tanto  de  la  vita, 
Che  la  gentil  piacevol  donna  mia 
Da  I'  anima  distrutta  s'  e  partita  ; 
SI  ch'  io  non  veggio  Id,  dov'  ella  sia  : 
Non  e  rimasa  in  me  tanta  balm, 
Ch'  io  de  lo  suo  valore 
Possa  comprender  ne  la  mente  fiore. 

Vien,  che  m  uccide  un  si  gentil  pensiero, 
Che  par,  che  dica,  ch'  io  mai  non  la  veggia, 
Questo  tormento  dispietato  e  fiero, 
Che  struggendo  m'  incende  ed  amareggia  : 
Trovar  non  posso,  a  cui  pietate  chieggia, 
Merce  di  quel  signore, 
Che  gira  la  fortuna  del  dolor  e. 

Pien  d'  ogni  angoscia  in  loco  di  paura 
Lo  spirito  dal  cor  dolente  giace, 
Per  la  fortuna,  che  di  me  non  cur  a, 
Ch'  ha  volta  morte  dove  assai  mi  spiace  ; 


IOO 


B  A  L  L ATE 


BALLATA  VI 

THE  harshness  of  my  strange  and  new  mis- 
venture 

Hath  in  my  mind  distraught 
The  wonted  fragrance  of  love's  every  thought. 

Already  is  my  life  in  such  part  shaken 
That  she,  my  gracious  lady  of  delight, 
Hath  left  my  soul  most  desolate  forsaken 
And  e'en  the  place  she  was,  is  gone  from  sight ; 
And  there  rests  not  within  me  so  much  might 
That  my  mind  can  reach  forth 
To  comprehend  the  flower  of  her  worth. 

This  noble  thought  is  come  well  winged  with  death, 

Namely,  that  I  shall  ne'er  see  her  again, 

And  this  harsh  torment,  with  no  pity  fraught, 

Increaseth  bitterness  and  in  its  strain 

I  cry,  and  find  none  to  attend  my  pain, 

While  for  the  flame  I  feel, 

I  thank  that  lord  who  turns  grief's  fortune  wheel. 

Full  of  all  anguish  and  within  Fear's  gates 
The  spirit  of  my  heart  lies  sorrowfully, 
Thanks  to  that  Fortune  who  my  fortune  hates, 
Who  'th  spun  death's  lot  where  it  most  irketh  me 


101 


GUIDO    CAVALCANTI 

E  da  speranza  ch'  e  stata  fallace. 
Nel  tempo,  che  si  more, 
M'  ha  fatto  perder  dilettevoli  ore. 
Parole  mie  disfatte  e  paurose, 
Dove  di  gir  vi  piace  ve  n'  andate, 
Ma  sempre  sospirando,  e  vergognose 
Lo  nome  de  la  mia  donna  chiamate  : 
lo  pur  rimango  in  tanta  avversitate, 
Che  qual  mira  di  fore 
Vede  la  morte  sotto  'I  mio  colore. 


I O2 


B  AL  L ATE 

And  given  hope  that's  ta'en  in  treachery, 

Which  ere  it  died  aright 

Had  robbed  me  of  mine  hours  of  delight. 

O  words  of  mine  foredone  and  full  of  terror, 

Whither  it  please  ye,  go  forth  and  proclaim 

Grief.     Throughout  all  your  wayfare,  in  your  error 

Make  ye  soft  clamour  of  my  Lady's  name, 

While  I  downcast  and  fallen  upon  shame 

Keep  scant  shields  over  me, 

To  whomso  runs,  death's  colours  cover  me. 


103 


GUIDO    CAVALCANTI 


BALL  AT  A    VII 

f  ^RA  in  pensier  d'  Amor,  quand'  io  trovai 
f* j     Due  forosette  nove  ; 

L'  una  cantava  :  E'  piove 
Gioco  d'  Amore  in  nui. 

Era  la  vista  lor  tanto  soave, 
Tanto  quieta,  cortese  ed  umile, 
Ch'  io  dissi  lor  :  Voi  portate  la  chiave 
Di  ciascuna  virtute  alia,  e  gentile  : 
Deh  forosette,  non  mi  aggiate  a  vile  : 
Per  Io  colpo,  ch'  io  porto, 
Questo  cor  mi  fa  morto, 
Poiche  'n  Tolosafui. 

Elle  con  gli  occhi  lor  si  volser  tanto, 
Che  vider  come  'I  core  era  ferito  ; 
E  come  un  spiritel  nato  di  pianto 
Era  per  mezzo  de  Io  colpo  uscito. 
Poiche  mi  vider  COST,  sbigottito, 
Disse  V  una,  che  rise  ; 
Guarda,  come  conquise 
Gioia  d'  Amor  costui. 

Molto  cortesemente  mi  rispose 
Quella,  che  di  me  prima  aveva  riso. 


104 


B A  L  L ATE 


BALLATA  VII 

BEING  in  thought  of  love  I  came  upon 
Two  damsels  strange 
Who  sang,  "  The  joyous  rains 
Of  love  descend  within  us." 

So  quiet  in  their  modest  courtesies 
Their  aspect  coming  softly  on  my  vision 
Made  me  reply,  "  Surely  ye  hold  the  keys 
O'  the  virtues  noble,  high,  without  omission. 
Ah,  little  maids,  hold  me  not  in  derision, 
For  the  wound  I  bear  within  me 
And  this  heart  o'  mine  ha'  slain  me. 
I  was  in  Toulouse  lately/' 

And  then  toward  me  they  so  turned  their  eyes 
That  they  could  see  my  wounded  heart's  ill  ease, 
And  how  a  little  spirit  born  of  sighs 
Had  issued  forth  from  out  the  cicatrice. 
Perceiving  so  the  depth  of  my  distress, 
She  who  was  smiling,  said, 
"  Love's  joy  hath  vanquished 
This  man.     Behold  how  greatly  !  " 

Then  she  who  had  first  mocked  me,  in  better  part 
Gave  me  all  courtesy  in  her  replies. 


105 


GUIDO    CAVALCANTI 

Disse  :  La  donna  che  nel  cor  ti  pose 
Con  laforza  d"  Amor  tutto  'I  suo  viso, 
Dentro  per  gli  occhi  ti  mird  si  fiso, 
Ch'  Amor  fece  apparire  : 
Se  t'  e  grave  il  soffrire, 
Raccomandati  a  lui. 

L'  altra  pietosa  piena  di  mercede, 
Fatta  di  gioco  in  figura  d'  Amore 
Disse  :  II  cuo  colpo,  che  nel  cor  si  vede, 
Fu  tratto  d'  occhi  di  troppo  valore  ; 
Che  dentro  vi  lassaro  uno  splendore, 
Ch'  i'  nol  posso  mirare  : 
Dimmi,  se  ricordare 
Di  quegli  occhi  ti  puoi  P 

A  la  dura  quistione,  e  paurosa, 
La  qual  mi  fece  questa  forosetta, 
lo  dissi  :  E'  mi  ricorda  che  'n  Tolosa 
Donna  m'  apparve  accordellata  e  stretta, 
La  qual  Amor  chiamava  La  Mandetta  : 
Giunse  si  presta  e  forte, 
Che  'nfin  dentro  alia  morte 
Mi  colpir  gli  occhi  sui. 


106 


B ALLATE 

She  said,  "  That  Lady,  who  upon  thine  heart 
Cut  her  full  image,  clear,  by  Love's  device, 
Hath  looked  so  fixedly  in  through  thine  eyes 
That  she's  made  Love  appear  there  ; 
If  thou  great  pain  or  fear  bear, 
Recommend  thee  unto  him  !  " 

Then  the  other  piteous,  full  of  misericorde, 
Fashioned  for  pleasure  in  love's  fashioning  : 
"  His  heart's  apparent  wound,  I  give  my  word, 
Was  got  from  eyes  whose  power's  an  o'er  great 

thing, 

Which  eyes  have  left  in  his  a  glittering 
That  mine  cannot  endure. 
Tell  me,  hast  thou  a  sure 
Memory  of  those  eyes  ?  " 

To  her  dread  question  with  such  fears  attended, 

"  Maid  o'  the  wood,"  I  said,  "  my  memories  render 

Tolosa  and  the  dusk  and  these  things  blended  : 

A  lady  in  a  corded  bodice,  slender 

— Mandetta  is  the  name  Love's  spirits  lend  her — 

A  lightning  swift  to  fall, 

And  naught  within  recall 

Save,  Death  !  My  wounds  !  Her  eyes  !  " 


107 


GUIDO    CAVALCANTI 

Vanne  a  Tolosa,  Ballatetta  mia  ; 
Ed  entra  quietamente  a  la  dorata 
Ed  ivi  chiama,  che  per  cortesia 
D'  alcuna  bella  donna  sia  menata 
Dinanzi  a  quella,  di  cui  t'  ho  pregata 
E  s'  ella  ti  riceve, 
Dille  con  voce  leve  : 
Per  mercl  vegno  a  vui. 


108 


BALLATE 

(Envoi) 

Speed  Ballatet'  unto  Tolosa  city 
And  go  in  softly  neath  the  golden  roof 
And  there  cry  out,  "  Will  courtesy  or  pity 
Of  any  most  fair  lady,  put  to  proof, 
Lead  me  to  her  with  whom  is  my  behoof  ? 
Then  if  thou  get  her  choice 
Say,  with  a  lowered  voice, 
"  It  is  thy  grace  I  seek  here/' 


109 


GUIDO    CAVALCANTI 


BALL  AT  A    VIII 

I  occhi  di  quella  gentil  forosetta 
Hanno  distretta  si  la  mente  mia 
Ck'  altro  non  chiama,  che  lei,  ne  disia. 
Ella  mi  fiere  si,  quando  la  sguardo, 
Ch'  iy  sento  lo  sospir  tremar  nel  core. 
Esce  da  gli  occhi  suoi,  Id  ond'  io  ardo, 
Un  gentiletto  spirito  dr  Amore, 
Lo  quale  e  pieno  di  tanto  valore, 
Che,  quando  giugne,  I'  anima  va  via, 
Come  colei,  che  soffrir  nol  porria. 

Io  sento  poi  girfuor  gli  miei  sospiri, 
Quando  la  mente  di  lei  mi  ragiona  : 
E  veggio  piover  per  I'  aer  martiri, 
Che  traggon  di  dolor  la  mia  persona, 
Si  che  ciascuna  virtu  m'  abbandona 
In  guisa,  ch'  i'  non  so  Id  ov  i  mi  sia  : 
Sol  par,  che  morte  m'  aggia  in  sua  balia. 

Si  mi  sento  disfatto,  che  mercede 
Gia  non  ardisco  nel  pensier  chiamare  : 
Ch'  i'  truovo  Amor,  che  dice  :  Ella  si  vede 
Tanto  gentil,  che  non  pud  'mmaginare, 


no 


B  ALL ATE 


BALLATA  VIII 

THE  eyes  of  this  gentle  maid  of  the  forest 
Have  set  my  mind  in  such  bewilderment 
That  all  my  wistful  thoughts  on  her  are  bent. 

So  doth  she  pierce  me  when  mine  eyes  regard  her 
That  I  hear  sighs  a-trembling  in  mine  heart 
As  from  her  eyes  aye  sources  of  mine  ardour 
The  quaint  small  spirits  of  Amor  forth-dart 
From  which  small  sprites  such  greater  powers  start 
That  when  they  reach  me  my  faint  soul  is  sent 
Exhausted  forth  to  swoon  in  banishment. 

I  feel  how  from  mine  eyes  the  sighs  forth-fare 
When  my  mind  reasoneth  with  me  of  her, 
Till  I  see  torments  raining  through  the  air. 
Draggled  by  griefs,  which  I  by  these  incur, 
Mine  every  strength  turns  mine  abandoner, 
And  I  know  not  what  place  I  am  toward, 
Save  that  Death  hath  me  in  his  castle-yard. 

And  I  am  so  outworn  that  now  for  mercy 
I  am  not  bold  to  cry  out  even  in  thought, 
And  I  find  Love,  who  speaking  saith  of  her,  "  See, 
She  is  not  one  whose  image  could  be  wrought. 


in 


GUIDO   CAVALCANTI 

Ch'  uom  d'  esto  mondo  I'  ardisca  mirare, 
Che  non  convenga  lui  tremare  in  pria  : 
Ed  io,  s'  i'  la  guardassi,  ne  morria. 
Ballata,  quando  tu  sarai  presence 
A  gentil  donna,  so  che  tu  dirai 
De  la  mia  angoscia  dolorosamente  : 
Diy :  Quegli,  che  me  manda  a  voi,  trae  guai  ; 
Pero  che  dice,  che  non  spera  mai 
Trovar  pietd  di  tanta  cortesia, 
Ch'  a  la  sua  donna  faccia  compagnia. 


112 


BALL ATE 

Unto  her  presence  no  man  could  be  brought 
Who  did  not  well  to  tremble  for  the  daring." 
And  I  ?     Would  swoon  if  I  should  meet  her  faring. 

(Envoi) 

Go  !  Ballad  mine,  and  when  thy  journey  has  won 
Unto  my  Lady's  presence  wonderful, 
Speak  of  mine  anguish  in  some  fitting  fashion, 
Sorrowfully  thus,  "  My  sender  is  sorrowful, 
Lo,  how  he  saith,  he  hath  no  hope  at  all 
Of  drawing  pity  from  such  courtesy 
As  keeps  his  Lady's  gracious  company." 


113  8 


GUIDO    CAVALCANTI 


BALL  AT  A   IX 

/N  un  boschetto  trovai  pastorella 
Piti,  che  la  stella  bella  al  mio  parere. 
Capegli  avea  biondetti  e  ricciutelli, 
E  gli  occhi  pien  d'  amor,  cera  rosata  ; 
Con  sua  verghetta  pasturava  agnelli  ; 
E  scalza,  e  di  rugiada  era  bagnata  : 
Cantava  come  fosse  innamorata, 
Era  adornata  di  tutto  piacere. 

D'  Amor  la  salutai  'mmantenente, 
E  domandai,  s'  avesse  compagma  : 
Ed  ella  mi  rispose  dolcemente, 
Che  sola  sola  per  lo  bosco  gla  : 
E  disse  :  Sappi  quando  I'  augel  pia, 
Allor  disia  lo  mio  cor  drudo  avere. 

Poiche  mi  disse  di  sua  condizione, 
E  per  lo  bosco  augelli  udlo  cantare, 
Fra  me  stesso  dicea  :  Or  e  stagione 
Di  questa  pastorella  gioi'  pigliare  ; 
Merce  le  chiesi,  sol  che  di  baciare, 
E  d'  abbracciare  fosse  'I  suo  volere. 


114 


I 


B  A  L  L  ATE 


BALLATA   IX 

N  wood-way  found  I  once  a  shepherdess, 
More  fair  than  stars  are  was  she  to  my  seeming. 


Her  hair  was  wavy  somewhat,  like  dull  gold. 
Eyes  ?  Love-worn,  and  her  face  like  some  pale  rose. 
With  a  small  twig  she  kept  her  lambs  in  hold, 
And  bare  her  feet  were  bar  the  dewdrop's  gloze  ; 
She  sang  as  one  whom  mad  love  holdeth  close, 
And  joy  was  on  her  for  an  ornament. 

I  greeted  her  in  love  without  delaying  : 
"  Hast  thou  companion  in  thy  solitude  ?  " 
And  she  replied  to  me  most  sweetly,  saying, 
"  Nay,  I  am  quite  alone  in  all  this  wood, 
But  when  the  birds  'gin  singing  in  their  coverts 
My  heart  is  fain  that  time  to  find  a  lover." 

As  she  was  speaking  thus  of  her  condition 
I  heard  the  bird-song  'neath  the  forest  shade 
And  thought  me  how  't  was  but  the  time's  provision 
To  gather  joy  of  this  small  shepherd  maid. 
Favour  I  asked  her,  but  for  kisses  only, 
And  then  I  felt  her  pleasant  arms  upon  me. 


GUIDO    CAVALCANTI 

Per  man  mi  prese  d'  amorosa  voglia, 
E  disse,  che  donato  m'  avea  'I  core  : 
Menommi  sotto  una  freschetta  foglia, 
La  dov'  io  vidi  fior  d'  ogni  colore  ; 
E  tanto  vi  sentio  gioi'  e  dolzore, 
Che  Dio  d'  Amor  mi  parve  ivi  vedere. 


116 


BALL ATE 

She  held  to  me  with  a  dear  wilfulness, 
Saying  her  heart  had  gone  into  my  bosom, 
She  drew  me  on  to  a  cool  leafy  place 
Where  I  gat  sight  of  every  coloured  blossom, 
And  there  I  drank  in  so  much  summer  sweetness 
Meseemed  Love's  god  connived  at  its  completeness. 


117 


GUIDO    CAVALCANTI 


BALL AT A   X 

1T\OSSO  de  gli  occhi  miei  novella  dire, 
jT*     La  quale  e  tal,  che  piace  si  al  core, 
Che  di  dolcezza  ne  sospira  Amore. 
Questo  novo  piacer,  che  'I  mio  cor  sente, 
Fu  tratto  sol  d'  una  donna  veduta 
La  quale  e  si  gentile  ed  avvenente, 
E  tanto  adorna,  che  'I  cor  la  saluta  : 
Non  e  la  sua  biltate  conosciuta 
Da  gente  vile  :  che  lo  suo  colore 
Chiama  intelletto  di  troppo  valore. 

lo  veggio,  che  ne  gli  occhi  suoi  risplende 
Una  virtu  d'  amor  tanto  gentile, 
Ch'  ogni  dolce  piacer  vi  si  comprende  : 
E  muove  allora  un  anima  sottile, 
Rispetto  de  la  quale  ogni  altra  e  vile  ; 
E  non  si  pud  di  lei  giudicar  fore 
Altro  che  dir,  quest  e  nuovo  splendor  e. 

Va  Ballatetta,  e  la  mia  donna  trova 
E  tanto  la  dimanda  di  mercede, 
Che  gli  occhi  di  pietd  verso  te  mova 


118 


B  A  LL ATE 


BALLATA  X 

NOW  can  I  tell  you  tidings  of  mine  eyes, 
News  which   such   pleasure  to  my  heart 

supplieth 
That  Love  himself  for  glory  of  it  sigheth. 

This  new  delight  which  my  heart  drinketh  in 
Was  drawn  from  nothing  save  a  woman  seen 
Who  hath  such  charm  and  a  so  courtly  mien 
And  such  fair  fashion  that  the  heart  is  fain 
To  greet  her  beauty,  which  nor  base  nor  mean 
Can  know,  because  its  hue  and  qualities  demand 
Intelligence  in  him  who  would  understand. 


I  see  Love  grow  resplendent  in  her  eyes 
With  such  great  power  and  such  noble  thought 
As  hold  therein  all  gracious  ecstasies,  i 

From  them  there  moves  a  soul  so  subtly  wrought  v 
That  all  compared  thereto  are  set  at  naught 
And  judgment  of  her  speaks  no  truth  save  this  : 
"  A  splendour  strange  and  unforeseen  she  is." 

(Envoi] 

Go,  Ballatetta,  forth  and  find  my  Lady, 
Ask  if  she  have  this  much  of  mercy  ready, 
This  namely,  that  she  turn  her  eyes  toward  thee  ? 


119 


GUIDO    CAVALCANTI 

Per  quel,  che'  n  lei  ha  tutta  la  suafede 
E  s'  ella  questa  grazia  ti  concede, 
Manda  una  voce  d'  allegrezza  fore 
Che  mostri  quello  che  t'  hafatto  onore. 


120 


BALL ATE 

Ask  in  his  name  whose  whole  faith  rests  in  her, 
And  if  she  gracious,  this  much  grace  accord  thee, 
Offer  glad- voiced  incense  of  sweet  savour 
Proclaiming  of  whom  thou  receiv'st  such  favour. 


121 


GUIDO    CAVALCANTI 


BALL  AT  A   XI 

T^\ERCH'  io  non  spero  di  tornar  gla  mai, 
J~     Ballatetta,  in  Toscana, 
Va  tu  leggiera  e  piana 
Dritta  a  la  donna  mia, 
Che  per  sua  cortesia 
Ti  far  a  molto  onore. 

Tu  porterai  novelle  de  sospiri  ; 
Piene  di  doglia,  e  di  molta  paura  ; 
Ma  guarda  che  persona  non  ti  miri, 
Che  sia  nimica  di  gentil  natura  ; 
Che  certo  per  la  mia  disavventura 
Tu  saresti  contesa, 
Tanto  da  lei  ripresa, 
Che  mi  sarebbe  angoscia  ; 
Doppo  la  morte  poscia 
Pianto  e  novel  dolore. 

Tu  senti  Ballatetta,  che  la  morte 
Mi  stringe  si,  che  vita  m'  abbandona  ; 
E  senti,  come  'I  cor  si  sbatte  forte 
Per  quel,  che  ciascun  spirito  ragiona  ; 
Tant'  e  distretta  gla  la  mia  persona, 
Ch'  i'  non  posso  soffrire  : 


122 


B A  L  L ATE 


BALLATA   XI 

BECAUSE  no  hope  is  left  me,  Ballatetta, 
Of  return  to  Tuscany, 
Light-foot  go  thou  some  fleet  way 
Unto  my  Lady  straightway, 
And  out  of  her  courtesy 
Great  honour  will  she  do  thee. 

Tidings  thou  bearest  with  thee  sorrow-fain 
Full  of  all  grieving,  overcast  with  fear. 
On  guard  !     Lest  any  one  see  thee  or  hear, 
Any  who  holds  high  nature  in  disdain, 
For  sure  if  so,  to  my  increase  of  pain, 
Thou  wert  made  prisoner 
And  held  afar  from  her, 
Hereby  new  harms  were  given 
Me,  and  after  death  even 
Dolour  and  griefs  renewed. 

Thou  knowest,  Ballatetta,  that  Death  layeth 
His  hand  upon  me  whom  hath  Life  forsaken  ; 
Thou  knowest  well  how  great  a  tumult  swayeth 
My  heart  at  sound  of  her  whom  each  sense  crieth 
Till  all  my  mournful  body  is  so  shaken 
That  I  cannot  endure  here, 


123 


GUIDO    CAVALCANTI 

Se  tu  mi  vuoi  servire 
Mena  I'  anima  teco  ; 
Molto  di  do  ti  preco, 
Quando  uscira'  del  core. 

Deh  Ballatetta  a  la  tua  amistate 
Quest'  anima,  che  triema,  raccomando 
Menala  teco  ne  la  sua  pietate 
A  quella  bella  donna,  a  cui  ti  mando  : 
Deh  Ballatetta,  dille  sospirando, 
Quando  le  se'  presente  : 
Questa  vostra  servente 
Vien  per  istar  con  vui, 
Partita  da  colui, 
Chefu  servo  d'  Amore. 

Tu  voce  sbigottita,  e  deboletta, 
Cti  esci  piangendo  de  lo  cor  dolente, 
Con  I'  anima,  e  con  questa  Ballatetta 
Va  ragionando  de  la  strutta  mente. 
Voi  troverete  una  donna  piacente 
Di  si  dolce  intelletto, 
Che  vi  sard  diletto 
Starle  davanti  ognora : 
Anima,  e  tu  I'  adora 
Sempre  net  tuo  valore. 


124 


BALL ATE 

Would'st  thou  make  service  sure  here  ? 

Lead  forth  my  soul  with  thee 

(I  pray  thee  earnestly) 

When  it  parts  from  my  heart  here. 

Ah,  Ballatetta,  to  thy  friendliness 

I  do  give  o'er  this  trembling  soul's  poor  case. 

Bring  thou  it  there  where  her  dear  pity  is, 

And  when  thou  hast  found  that  Lady  of  all  grace 

Speak  through  thy  sighs,  my  Ballad,  with  thy  face 

Low  bowed,  thy  words  in  sum  : 

"  Behold,  thy  servant  is  come, 

This  soul  who  would  dwell  with  thee, 

Asundered  suddenly 

From  Him,  Love's  servitor." 

• 

O  smothered  voice  and  weak  that  tak'st  the  road 

Out  from  the  weeping  heart  and  dolorous, 

Go  crying  out  my  most  sad  mind's  alarm 

Forth  with  my  soul  and  this  song  piteous 

Until  thou  find  a  lady  of  such  charm, 

So  sweetly  intelligent 

That  e'en  thy  sorrow  is  rent. 

Take  thy  fast  place  before  her. 

And  thou,  Soul  mine,  adore  her 

Alway,  with  all  thy  might. 


125 


GUIDO    CAVALCANTI 


BALL  AT  A   XII 

UANDO  di  movie  mi  convien  tray  vita, 
E  di  gravezza  gioia 
Come  di  tanta  noia, 
Lo  spirito  d'  Amor  d'  amar  m'  invita  ? 

Come  m'  invita  lo  mio  cor  d'  amare  ? 
Lasso,  ch'  e  pien  di  doglia, 
E  da'  sospir  si  d'  ogni  parte  priso, 
Che  quasi  sol  merce  non  pub  chiamare  ; 
E  di  virtu  lo  spoglia 

L'  affanno  che  m  ha  gid  quasi  conquiso  ; 
Canto,  piacer  con  beninanza  e  riso, 
Mi  son  doglie  e  sospiri  ; 
Guardi  ciascuno  e  miri, 
Che  morte  m'  e  nel  viso  gid  salita. 

Amor,  che  nasce  di  simil  piacer  e, 
Dentro  dal  cor  si  posa, 
Formando  di  desio  nova  persona, 
Ma  fa  la  sua  virtu  'n  vizio  cadere  ; 
Si  ch'  amar  gid  non  osa 
Qual  sente,  come  servir  guiderdona  : 
Dunque  d'  amar  perche  meco  ragiona  ? 
Credo  sol,  perche  vede> 


126 


BALL ATE 


BALLATA   XII 

IF  all  my  life  be  but  some  deathly  moving, 
Joy  dragged  from  heaviness  ; 
Seeing  my  deep  distress 
How  doth  Love's  spirit  call  me  unto  loving  ? 

How  summon  up  my  heart  for  dalliance  ? 

When  'tis  so  sorrowful 

And  manacled  by  sighs  so  mournfully 

That  e'en  the  will  for  grace  dare  not  advance  ? 

Weariness  over  all 

Spoileth  that  heart  of  power,  despoiling  me. 

And  song,  sweet  laughter,  and  benignity 

Are  grown  three  grievous  sighs, 

Till  all  men's  careless  eyes 

May  see  Death  risen  to  my  countenance. 

Love  that  is  born  of  loving  like  delight 

Within  my  heart  sojourneth 

And  fashions  a  new  person  from  desire 

Yet  toppleth  down  to  vileness  all  his  might, 

So  all  Love's  daring  spurneth 

That  man  who  knoweth  service  and  its  hire. 

For  Love,  then  why  doth  he  of  me  inquire  ? 

Only  because  he  sees 


127 


GUIDO    CAVALCANTI 

Ch'  io  dimando  mercede 

A  morte,  cti  a  ciasc-un  dolor  m'  addita. 

Io  mi  posso  biasmar  di  gran  pesanza, 
Piu  che  nessun  giammai  : 
Che  morte  dentro  al  cor  mi  tragge  un  core, 
Che  va  parlando  di  crudele  amanza, 
Che  ne  miei  forti  guai, 
M'  affana  ;  laond'  io  perdo  ogni  valor  e. 
Quel  punto  maladetto  sia,  ch'  Amore 
Nacque  di  tal  maniera, 
Che  la  mia  vita  fiera 
Gli  fu  di  tal  piacere  a  lui  gradita. 


128 


BALL ATE 

Me  cry  on  Death  for  ease, 

While  Death  doth  point  me  on  toward  all  mis- 
chance. 

And  I  can  cry  for  Grief  so  heavily 

As  hath  man  never, 

For  Grief  drags  to  my  heart  a  heart  so  sore 

With  wandering  speech  of  her,  who  cruelly 

Outwearieth  me  ever  .... 

O  Mistress,  spoiler  of  my  valour's  store  ! 

Accursed  by  the  hour  when  Amor 

Was  born  in  such  a  wise 

That  my  life  in  his  eyes 

Grew  matter  of  pleasure  and  acceptable  ! 


129 


GUIDO    CAVALCANTI 


BALL  AT  A   XIII 

L  per  pietd  ti  prego,  giovinezza, 
Che  la  dischiesta  di  merce  ti  caglia, 
Poi  che  la  morte  ha  mosso  la  battaglia. 

Questa  dischiesta  anima  mia  si  trova 
SI  sbigottita  per  lo  spirto  torto, 
Che  tu  non  curi,  ami  sei  fatta  pruova, 
E  mostri  bene  sconoscenza  scorto. 
Tu  sei  nimico,  ond'  or  prego  colui, 
Ch'  ogni  durezza  muove,  vince  e  taglia, 
Ch'  anzi  a  la  fine  mia  mostri  che  vaglia. 

Tu  vedi  ben,  che  I'  aspra  condizione 
Ne'  colpi  di  colei,  che  ha  in  odio  vita, 
Mi  stringe  in  parte,  ove  umilta  si  pone  ; 
Si  che  veggendo  I'  anima,  ch'  e  in  vita 
Di  dolenti  sospir  dicendo  volta, 
Ch'  io  veggio  ben,  com'  il  valor  si  scaglia, 
Deh  prendati  merce  si,  che  in  te  saglia. 


130 


BALL ATE 


BALLATA  XIII 

FOR  naught  save  pity  do  I  pray  thy  youth 
That  thou  have  care  for  Mercy's  castaway 
Lo,  Death's  upon  me  in  his  battle  array  ! 

And  my  soul  finds  him  in  his  decadence 

So  over-wearied  by  that  spirit  wried 

(For  whom  thou  car'st  not  till  his  ways  be  tried, 

Showing  thyself  thus  wise  in  ignorance 

To  hold  him  hostile)  that  I  pray  that  mover 

And  victor  and  slayer  of  every  hard-wrought  thing 

That  ere  mine  end  he  show  him  conquering. 

Sith  at  his  blows,  who  holds  life  in  despite, 

Thou  seest  clear  how  in  my  barbed  distress 

He  wounds  me  there  where  dwells  mine  humbleness, 

Till  my  soul  living  turneth  in  my  sight 

To  speech,  in  words  that  grievous  sighs  o'ercover. 

Until  mine  eyes  see  worth's  self  wavering 

Grant  me  thy  mercies  for  my  covering  ! 


GUIDO    CAVALCANTI 


BALLATA   XIV 

/O  prego  voi  che  di  dolor  parlate, 
Che  per  virtute  di  nuova  pietate, 
Non  disdegnate  la  mia  pena  udire. 

Davanti  agli  occhi  miei  veggio  lo  core, 
E  V  anima  dolente,  che  s'  ancide, 
E  muor  d'  un  colpo  che  le  diede  Amore, 
Entro  'n  quel  punto,  che  madonna  vide. 
II  suo  gentile  spirito,  che  ride 
Questi  e  colui  che  mi  si  fa  sentire  : 
Questi  mi  dice  :  E'  ti  convien  morire. 

Se  voi  sentiste,  come  'I  cor  si  dole, 
Dentro  del  vostro  cor  voi  tremereste  ; 
Ch'  Amor  mi  dice  si  dolci  parole, 
Che  sospirando  pietd  chiamereste, 
E  solamente  voi  lo  'ntendereste, 
Ch'  altro  cor  nol  porria  pensar,  ne  dire 
Quant'  e  'I  dolor,  che  mi  convien  soffrire. 

Lagrime  scendon  da  la  mente  mia, 
Si  tosto  come  questa  donna  sente  ; 
E  van  facendo  per  gli  occhi  una  via, 


132 


B  A  L  L  A  T  E 


BALLATA  XIV 

PRAY  ye  gentles,  ye  who  speak  of  grief, 
Out  of  new  clemency,  for  my  relief 
That  ye  disdain  not  to  attend  my  pain. 


I  see  my  heart  stand  up  before  mine  eyes, 
While  my  self-slaying  mournful  soul  receiveth 
Love's  mortal  stroke  and  in  that  moment  dies, 
Yea,  in  the  very  instant  he  perceiveth 
Milady,  and  yet  that  smiling  sprite  who  cleaveth 
To  her  in  joy,  that  very  one  is  he 
Who  sets  the  seal  of  my  mortality. 

But  should  ye  hear  my  sad  heart's  lamentation 
Then  would  a  trembling  reach  your  heart's  mid- 
most. 

For  Love  holds  with  me  such  sweet  conversation 
That  Pity,  by  your  sighs,  ye  would  accost. 
To  all  less  keen  than  ye  the  sense  were  lost, 
Nor  other  hearts  could  think  soft  nor  speak  loudly 
How  dire  the  throng  of  sorrows  that  enshroud  me. 

Yea  from  my  mind  behold  what  tears  arise 

As  soon  as  it  hath  news  of  Her,  Milady, 

Forth  move  they  making  passage  through  the  eyes 


133 


GUIDO    CAVALCANTI 

Per  la  qual  passa  un  spirito  dolente  ; 
Entra  per  I'  aria  si  debolemente, 
Ch'  oltra  non  puote  color  discovrire, 
Ne  immaginar,  s'  i*  ne  porria  morire. 


BALLATE 

Wherethrough  there  goes  a  spirit  sorrowing, 
Which  entereth  the  air  so  weak  a  thing 
That  no  man  else  its  place  discovereth 
Or  deems  it  such  an  almoner  of  Death. 


135 


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NEILL   AND   COMPANY,    LIMITED, 
EDINBURGH. 


BOOKS 

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compel 


For  him  was  levere  have  at  his  beddes  heed 
Twenty  lakes,  clad  in  blak  or  reed  .   .   . 
Than  robes  riche,  orjithele,  or  gay  sautrye. 

CHAUCER. 


Telegrams  Telephone 

"  Lumenifer,  6223 

London ''  City 


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10  John  Street,  Adelphi 
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INDEX  TO  TITLES  OF 
SWIFT   BOOKS 
THAT  COMPEL 

PAGE 

PAGE 

Bosbury  People,  The  .         .     20 

Modern  Mysticism      . 

25 

British  Battle  Books  .                4 

More  Peers 

28 

Caricatures         .         .         .11 

Motley  and  Tinsel      . 

17 

Celtic  Temperament,  The  .     27 

New  Psychology,  A  . 

10 

Civil  War  .         .         .         .30 

Parisian  Portraits 

27 

Daughters  of  Ishmael          .     21 

Party  System,  The     .        24, 

28 

Eight  Centuries  of  Portu- 

Passing of  the  American,  The 

5 

guese  Monarchy  .         .     31 

Philosophy  of  a  Don,  The  . 

3i 

Englishman  in  New  York, 

Poems        .... 

16 

An               .         .         .12 

Prince  Azreel 

13 

Eye-Witness,  The       .         .     32 

Rector  of  St  Jacob's,  The  . 

29 

Gordon  at  Khartoum  .         .       8 

Revoke  of  Jean  Raymond, 

Humour  of  the  Underman, 

The    . 

22 

The    .        .         ,         .6 

Roll  of  the  Seasons,  The    . 

14 

In  a  German  Pension          .     15 

Sir  Edward 

30 

La  Vie  et  les  Hommes        .       7 

Some  Neighbours 

29 

Lonely  England         .         ,31 

Tory  Democracy 

23 

Love  in  Manitoba       .         .19 

Triumphant  Vulgarity 

30 

Maids'  Comedy,  The          .     29 

Valley  of  Shadows,  The     . 

26 

Mastery  of  Life,  The          .       9 

Woman  without  Sin,  The  . 

18 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  loJohnSt.,  Adelphi 

INDEX  TO  AUTHORS  OF 
SWIFT  BOOKS 

THAT 

COMPEL 

ABBOTT,  G.  F.                               GRIERSON,  FRANCIS 

The  Philosophy  of  a  Don 

BEKRBOHM,  MAX 
Caricatures 

-j           Parisian  Portraits    .         .     27 
The  Celtic  Temperament     27 
The  Valley  of  Shadows  .     26 
Modern  Mysticism.         .     25 

BELLOC,     HILAIRE,     and 

The     Humour     of     the 

CECIL  CHESTERTON 

Underman  ...       6 

The  Party  System  .       24, 

28           La  Vie  et  les  Hommes    .       7 

BELLOC,  HILAIRE" 
More  Peers     . 

JUVENAL 
23           An  Englishman  in  New 

British  Battle  Books- 

York  ....     12 

Blenheim    . 

4      KAUFFMAN,       REGINALD 

Malplaquet 

4             WRIGHT 

Tourcoing  . 

4           Daughters  of  Ishmael      ,     21 

Waterloo     . 

4      KENNEDY,  J.  M. 

The  Eye-  Witness   . 

32           Tory  Democracy     .         .     23 

BLUNT,  WILFRED  SCAWEN 

LYNCH,  ARTHUR,  M.P. 

Gordon  at  Khartoum 

Prince  Azreel           .               13 

BRAGANCA  CUNHA,  V.  DE 
Eight  Centuries  of  Portu- 

A New  Psychology          .      io 
Maids'  Comedy,  The  .         .     29 

guese  Monarchy  . 

31      MANSFIELD,  KATHERINE 

DESMOND,  G.  G. 

In  a  German  Pension      .      15 

The  Roll  of  the  Seasons  . 

PROTHERO,  J.  K. 
Motley  and  Tinsel  .         .17 

DUKES,  ASHLEY 

RANSOM,  ARTHUR 

Civil  War 
FORD,  MAY 

30           The  Bosbury  People       .     20 
The  Rector  of  St  Jacob's     29 

The  Revoke  of  Jean 

ROYCE,  MUNROE 

Raymond    . 

22           The  Passing  of  the  Ameri- 

GILL, E.  A.  WHARTON 

can     ....       5 

Love  in  Manitoba  . 

jo       Sir  Edward         .         .         .30 

COLORING,  MAUDE 
Lonely  England 

SMITH,  PHARALL 
The  Woman  without  Sin     18 
31      WH  ITBY,  CHARLES  J.  ,  M.  D. 

GRANVILLE,  CHARLES 

Triumphant  Vulgarity     .     30 

Some  Neighbours  . 

29      WRENCH,  G.  T.,  M.D. 

Poems    .... 

1  6           The  Mastery  of  Life        .       9 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  loJohnSt  ,  Adelphi 

nitrated 


BRITISH 

BATTLE 
BOOKS 


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HISTORT  IN  WARFARE 

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booklet  illustrated  with  coloured  maps,  illustrative  of  the 
movements  described  in  the  text,  together  with  a  large 
number  of  line  maps  showing  the  successive  details  of  the 
action.  In  each  case  the  political  circumstances  which 
led  to  the  battle  will  be  explained  -,  next,  the  stages 
leading  up  to  it  ;  lastly,  the  action  in  detail. 

1.  BLENHEIM 

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4.  WATERLOO 

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MODERN  AMERICA   UNFEILED 

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applies  with  equal  force  to  all  Western  civilised  nations. 

Sparklingly  written,  acutely  interesting  and  thought- 
provoking,  the  book  is  full  of  a  truth  which  impresses 
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analysis  of  the  modern  American  that  has  ever  appeared. 

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THE  HUMOUR  OF 
THE     UNDERMAN 

And  Other  Essays 

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FRANCIS   GRIERSON 

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CHARACTERISTICALLY  INCISIVE 

This  volume  contains  the  latest  work  of  the  greatest 
Essayist  of  our  time.  Maurice  Maeterlinck  has  said 
of  the  Author,  "  He  has,  in  his  best  moments,  that 
most  rare  gift  of  casting  certain  shafts  of  light,  at  once 
simple  and  decisive,  upon  questions  the  most  difficult, 
obscure,  and  unlocked  for  in  Art,  Morals,  and 
Psychology  .  .  .  essays  among  the  most  subtle  and 
substantial  that  I  know." 

This  opinion  has  been  endorsed  by  every  critic  of 
note  in  the  British  Isles  and  in  the  United  States  of 
America.  Indeed,  in  the  latter  country  a  veritable 
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LA  VIE  ET 
LES  HOMMES 

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PENSfiES   PIQUANTESy  1NDEPENDANTES 

SULLY  PRUDHOMME  (de  I'Acade'mie  Frangaise): — 
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et  sagaces.  J'ai  etc  frappe  de  I'originalite  puissante  de 
la  pensee  de  1'auteur." 

JULES  CLARETIE  (de  1' Academic  Frangaise): — "J'ai 
ete  charme  par  les  id£es  originales  et  justes." 

L'Abbe  JOSEPH  Roux : — "  II  y  a  &  des  vues  originales, 
des  appreciations  neuves  et  frappantes." 

FR^D^RIC  MISTRAL  :  — "  Ces  pensdes  m'ont  paru 
neuves  et  piquantes,  et  independantes  de  cette  ambiance 
de  prejuges  a  laquelle  il  est  si  difficile  d'e*chapper." 

Le  Pere  P.  V.  DELAPORTE,  S.J.  (Redacteur  des 
Etudes  Religieuses) :  — "  J'ai  admire  dans  ces  pages 
dedicates  1'artiste,  le  penseur  et  1'ecrivain,  et  j'ai  ete 
singulierement  touche'  de  la  fagon  dont  vous  appr^ciez 
le  g^nie  frangais.  Vous  avez  su  le  comprendre  et  vous 
avez  dit  votre  pense*e  franchement,  je  pouvais  ajouter 
franfaiscment. " 

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GORDON   AT 
KHARTOUM 

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PRIVATE   AND    INTIMATE 

This  book  follows  the  lines  of  the  author's  works 
on  Egypt  and  India,  consisting  mainly  of  a  private 
diary  of  a  very  intimate  kind,  and  will  bring  down  his 
narrative  of  events  to  the  end  of  1885. 

The  present  volume  is  designed  especially  as  an 
answer  to  Lord  Cromer's  Modern  Egypt^  in  so 
far  as  it  concerned  Gordon,  and  contains  several 
important  and  hitherto  unpublished  documents  throw- 
ing new  light  upon  a  case  of  perennial  interest. 

It  also  includes  an  account  of  the  author's  relations 
with  Lord  Randolph  Churchill,  Sir  Henry  Drummond 
Wolff,  Mr  Gladstone,  Mr  Parnell,  and  other  political 
personages  of  the  day,  as  well  as  of  the  General 
Election  of  1885,  in  which  the  author  stood  as  a 
Tory  Home  Ruler. 

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THE  MASTERY 
OF  LIFE 

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G.  T.  WRENCH,  M.D.  LOND. 
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OLD   VALUES   RE-VALUED 

This  book  is  a  review  of  the  history  of  civilisation 
with  the  object  of  discovering  where  and  under  what 
conditions  man  has  shown  the  most  positive  attitude 
towards  life.  The  review  has  been  based  not  so  much 
upon  scholarship  as  upon  the  direct  evidence  of  the 
products  and  monuments  of  the  different  peoples  of 
history,  and  the  author  has  consequently  travelled 
widely  in  order  to  collect  his  material.  The  author 
shows  how  the  patriarchal  system  and  values  have 
always  been  the  foundation  of  peoples,  who  have  been 
distinguished  for  their  joy  in  and  power  over  life,  and 
have  expressed  their  mastery  in  works  of  art,  which 
have  been  their  peculiar  glory  and  the  object  of 
admiration  and  wonder  of  other  peoples.  In  contrast 
to  them  has  been  the  briefer  history  of  civilisation  in 
Europe,  in  which  the  paternal  and  filial  values  of 
interdependence  have  always  been  rivalled  by  the  ideal 
of  independence  from  one's  fellow-man.  The  con- 
sequences of  this  ideal  of  personal  liberty  in  the 
destruction  of  the  art  of  life  are  forcibly  delineated  in 
the  last  chapters. 

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PRINCIPLES    OF   A 

NEW  SYSTEM  OF 

PSYCHOLOGY 

BY 

ARTHUR    LYNCH, 

M.A.,    C.E.,   L.R.C.P.,   M.R.C.S.E.,   M.P. 
AUTHOR  or  "HUMAN  DOCUMENTS,"  ETC.,  ETC. 

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A  BASIC  WORK   OF  ANALTSIS 

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which  Schwann's  Cell  Theory  was  new  to  Physiology, 
or  Dalton's  Atomic  Theory  to  Chemistry.  The  author 
has  faced  the  problem  in  its  widest  extension  :  Can  the 
entire  realm  of  knowledge,  and  the  whole  possible  scope 
of  mental  acts,  be  so  resolved  that  we  may  formulate  the 
unanalysable  elements,  the  Fundamental  Processes  of  the 
mind  ?  This  problem  is  solved,  and  thence  the  manner 
of  all  synthesis  indicated.  The  argument  is  closely  con- 
secutive, but  the  severity  is  relieved  by  abundant  illus- 
trations drawn  from  many  sciences.  The  principles 
established  will  afford  criteria  in  regard  to  every  position 
in  Psychology.  New  light  will  be  thrown,  for  instance, 
on  Kant's  Categories,  Spencer's  Hedonism,  Fechner's 
Law,  the  foundation  of  Mathematics,  Memory,  Associa- 
tion, Externality,  Will,  the  Feeling  of  Effort,  Brain 
Localisations,  and  finally  on  the  veritable  nature  of 
Reason.  A  philosophy  of  Research  is  foreshadowed. 
The  work  offers  a  base  on  which  all  valid  studies  may  be 
co-ordinated,  and  developments  are  indicated.  It  pre- 
supposes no  technical  knowledge,  and  the  exposition  is 
couched  in  simple  language.  It  will  give  a  new  impetus 
to  Psychology. 

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CARICATURES 

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MAX   BEERBOHM 

FACSIMILE   REPRODUCTIONS    IN   COLOUR 

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HUMOUR,    SATIRE,    ART 


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shall  meander  through  a  meadow  of  margin." 

SHERIDAN,  School  for  Scandal,  Act  I,  Sc.  i. 

These  drawings  constitute  a  "John 
Bull"  series,  and,  though  their  satire  is 
directed  against  political  situations  and 
national  characteristics  rather  than  personal 
frailties,  they  yet  retain  that  quality  of 
mordant  criticism  that  is  so  prominent  a 
feature  of  this  well-known  artist's  work. 


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AN   ENGLISHMAN 
IN   NEW  YORK 

BY 

JUVENAL 

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VIVID    ORIGINALITY 


In  these  notes  and  studies  on  life  in  New  York, 
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deductions,  has  surpassed  all  other  writers  who  have 
written  on  the  same  subject. 

Mr  Eden  Phillpotts  writes  of  the  Author  :  "  The 
things  seen  are  brilliantly  set  down.  He  writes  with 
great  force  and  skill." 


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A    Poem 


PRINCE 

with 
AZ  Prose   Notes 


BY 

ARTHUR    LYNCH 

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DIRECT— INSPIRING— COMPELLING 

The  cry  for  something  new  in  literature,  the 
indefinable,  the  unexpected,  has  been  answered. 
Prince  Azreel  comes  to  claim  his  place,  not  as  one 
who  has  sounded  the  depths  and  shoals  of  the  current 
modes  of  the  day,  but  as  one  entirely  careless  of  these 
things,  discoursing  freely  of  life,  easily  throughout  its 
whole  purport  and  scope. 

The  Devil  comes  into  the  action,  but  he  also  is 
new — rather  the  Spirit  of  the  World,  "man's  elder 
brother."  His  methods  are  those  neither  of  Faust  nor 
of  Paradise  Regained.  His  temptations  are  suasive, 
his  lures  less  material. 

In  the  search  for  the  Ideal  of  statesmanship  Azreel 
and  the  Devil  come  to  our  own  Parliament,  Azreel 
rilled  with  warm  enthusiasm,  high  conceptions.  They 
see,  they  learn  ;  they  discover  "  types,"  and  discuss 
them.  We  find  the  Devil  at  length  defending  the 
Commons,  supplying  the  corrective  to  AzreePs  strange 
disillusions.  This  part  will  not  be  the  least  piquant. 


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THE  ROLL  OF 
THE  SEASONS 

Nature  Essays 

BY 

G.  G.  DESMOND 

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A  NATURE  BOOK  FOR  TOWN  FOLK 

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most  strongly  to  those  in  cities  pent,  for  whom  a  word 
in  season  can  call  up  visions  of  the  open  moor,  the 
forest,  the  meadow  stream,  the  flowered  lane,  or  the 
wild  sea-shore.  The  extreme  penalty  for  reading  one 
of  these  spring,  summer,  autumn,  or  winter  chapters  is 
to  be  driven  from  one's  chair  into  the  nearest  field, 
there  to  forget  town  worries  among  the  trees.  The 
author  does  not  spare  us  for  fog,  rain,  frost,  or  snow. 
Sometimes  he  makes  us  get  up  by  moonlight  and 
watch  the  dawn  come  "  cold  as  cold  sea-shells  "  to  the 
fluting  of  blackbirds,  or  he  takes  us  through  the  woods 
by  night  and  shows  us  invisible  things  by  their  sounds 
and  scents.  The  spirit,  even  if  the  body  cannot  go 
with  it,  comes  back  refreshed  by  these  excursions  to 
the  country. 

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IN  A 

GERMAN 
PENSION 

BY 

KATHERINE  MANSFIELD 

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DELIGHTFUL    LITERARY  NOVELTY 

Never  before  have  Germans,  from  a  social  stand- 
point, been  written  about  with  so  much  insight,  or 
their  manners  and  habits  described  with  such  malicious 
naivete  and  minute  skill.  Miss  Mansfield's  power  of 
detailed  observation  is  shown  in  numerous  little  touches 
of  character  painting  which  enable  us  to  realise  almost 
as  visibly  as  the  authoress  herself,  the  heart,  mind,  and 
soul  of  the  quaint  Bavarian  people.  The  occasional 
cynicism  and  satiric  strokes  serve  to  heighten  but  not 
to  distort  the  general  effect.  The  one  or  two  chapters 
which  might  be  called  Bavarian  short  stories  rather  than 
sketches  are  written  in  a  most  uncommon — indeed 
thoroughly  individual — vein,  both  in  form  and  sub- 
stance. Miss  Mansfield's  style  is  almost  French  in  its 
clearness,  and  her  descriptions  will  remind  the  reader 
of  Russian  masters  like  Turguenieff. 

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POEMS 

BY 

CHARLES   GRANVILLE 

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REAL    POETIC    TALENT 

The  present  volume  is  composed  of  a  selection  from 
the  previous  poetical  works  of  the  Author,  who  is  also 
well  known  as  a  writer  of  prose.  The  distinctive 
feature  of  the  poems  in  this  collection — the  feature, 
indeed,  that  marks  off  and  differentiates  the  work 
of  this  poet  from  the  mass  of  verse  produced 
to-day — is  their  spiritual  insight.  Mr  Granville  is 
concerned  with  the  soul  of  man,  with  the  eternal 
rather  than  the  transitory,  and  his  perception,  which 
is  that  of  the  seer,  invests  his  language  with  that 
quality  of  ecstasy  that  constitutes  the  indisputable 
claim  of  poetry  to  rank  in  the  forefront  of  literature. 

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MOTLEY  A    Story 

AND  TINSEL       the°sftage 

BY 

J.   K.   PROTHERO 

Crown  8v0.     Cloth.     6s. 

A  BOOK  WITH  DISTINGUISHED  NAMES 

This  story  in  serial  form  was  the  subject  of  an 
action  for  libel  founded  on  the  coincidence  of  the 
plaintifPs  name  with  that  of  one  of  the  characters.  As  a 
protest  against  the  absurd  state  of  the  law,  the  author, 
in  revising  the  novel  for  publication  in  book  form,  has 
used  the  names  of  distinguished  writers  and  journalists 
who  have  kindly  given  their  consent.  George  Bernard 
Shaw  represents  a  stage  door  keeper.  George  R. 
Sims,  in  consenting  to  drive  a  hansom,  fears  there  may 
be  cabbies  of  the  same  name.  Edgar  Jepson  is  dis- 
guised as  an  irascible  old  gentleman  of  seventy,  while 
Robert  Barr  officiates  as  stage  manager,  with  Pett 
Ridge  as  call-boy  !  Hilaire  Belloc  is  a  benevolent 
entrepreneur,  and  Cecil  Chesterton  a  fiery  tempered 
lover.  We  meet  Frank  Lamburn,  the  editor  of 
Pearson's  Weekly^  as  a  distinguished  actor,  while  Barry 
Pain  has  kindly  divided  his  name  between  an  aged 
man  of  weak  intellect  and  his  dead  son. 

This  by  no  means  exhausts  the  list  we  find  ;  we 
meet  the  names  of  well-known  journalists  and  men  of 
letters  on  every  page. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THE  WOMAN 
WITHOUT  SIN 

BY 

PHARALL   SMITH 


Crown  %vo.     Cloth.     6s. 


ORIGINAL  AND    UNCONVENTIONAL 

The  central  idea  of  this  novel  is  that  in  those  cases 
in  which  the  love  of  a  man  and  a  woman  is  sincere  and 
genuine  it  is  of  necessity  sinless,  and  consequently  that 
they  should  be  free  to  indulge  it,  the  consequences 
being  faced  by  the  State.  Original  and  full  of  force, 
this  novel,  containing  as  it  does  those  elements  of 
bigness  so  rare  in  these  days,  is  a  refreshing  change  to 
the  ordinary  run  of  fiction.  With  a  pen  which  is  as 
powerful  as  it  is  restrained,  the  writer  attacks  con- 
vention and  upholds  his  own  ideas  of  freedom  between 
the  sexes. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


LOVE 
IN  MANITOBA 

BY 

E.  A.  WHARTON  GILL 

Crown  %vo.     Cloth.     6s. 

A  FRESH  FIELD  IN  FICTION 

The  writer  has  opened  a  fresh  field  of  fiction 
and  has  presented  a  striking  picture  of  life  in 
the  Swedish  settlements  of  Western  Canada — 
a  district  hitherto  largely  neglected  by  novelists. 
The  Author  is  intimately  acquainted  with  the  life 
of  these  colonists,  and  has  studied  his  characters 
on  the  spot ;  while  his  local  colour  is  in  every 
way  admirable.  He  knows  the  West  and  its 
people.  And  the  people  in  his  story  are  typical 
of  those  to  be  met  with  in  every  settlement 
throughout  the  West. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10 John  St.,  Adelphi 


THE 
BOSBURY  PEOPLE 

A  Novel 

BY 

ARTHUR   RANSOM 

Crown  8v0.     Cloth.     6s. 

COMEDY  AND   SERIOUS    CRITICISM 

This  book  opens  with  the  appearance  of  three  young 
cyclists — an  Anglican  priest,  a  Dissenting  minister,  and  a 
young  squire  with  Agnostic  proclivities — who  collide  at  a 
spot  where  three  roads  converge.  They  are  discovered  here 
by  Sir  Samuel  Boulder,  who,  in  his  carriage,  is  returning 
from  the  railway  station  whence  he  has  sent  his  daughters 
to  the  seaside.  The  baronet  insists  on  taking  the  wounded 
cyclists  to  his  Hall  at  JBosbury,  and  afterwards  insists  upon 
keeping  them  there  until  their  wounds  are  healed.  The 
situation  is  complicated  by  the  unexpected  return  of  "  the 
girls."  The  comedy  of  the  story  is  derived  in  part  from 
the  relations  between  the  Priest,  the  Dissenter,  and  the 
Agnostic,  and  in  part  from  the  relations  between  the  guests 
and  the  "  girls."  Not  only  does  the  expected  happen,  but 
the  unexpected  in  the  betrothal  of  the  Dissenter  with  one 
of  the  baronet's  daughters.  Even  the  Rector's  wife  consents 
"  to  swallow  the  Dissenting  parson."  Beneath  the  lighter 
comedy  of  this  study  of  English  country  life  runs  a  stream  of 
serious  criticism  of  rural  conditions.  The  time  is  A.D.  1900. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


DAUGHTERS 
OF  ISHMAEL 

BY 

REGINALD  WRIGHT  KAUFFMAN 


Crown  Sv0.     Cloth.     6s. 


FRANK,  DELICATE,   SINCERE 

In  this  book  the  Author  has  handled  a  difficult 
subject  with  the  utmost  of  delicacy  consistent  with 
perfect  frankness.  While  telling  his  story  fearlessly, 
he  does  so  without  sensationalism.  With  nobility 
of  manner  and  passionate  sincerity  he  relates  one  of 
the  sordid  tragedies  common  to  our  great  cities;  but 
the  story  is  told  with  such  reserve  and  such  impartiality 
that  the  zeal  of  the  sociologist  is  never  allowed  to 
destroy  the  delicacy  of  the  artist.  Throughout  the 
book  there  predominates  the  Greek  idea  of  Fate  ; 
but  there  is  also  something  better,  the  hope  of  the 
ultimate  amelioration  of  the  evils  that  the  book  so 
aptly  describes. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THE  REVOKE  OF 
JEAN  RAYMOND 


BY 

MAY   FORD 

Crown  Svo.     Cloth.     6s. 


INTERESTING,  CULTURED,  MODERN 

This  is  an  arresting  story  of  the  psychological 
development  of  a  modern  woman.  The  problem  of 
marriage  is  presented  at  a  new  angle  and  treated  with 
the  touch  of  modernity.  A  character  more  interest- 
ing than  Jean  it  would  be  difficult  to  find  ;  cultured 
and  broad-minded,  a  woman  who  has  achieved  mental 
and  spiritual  freedom  by  a  vigorous  search  for  the 
truth,  she  devoted  her  life  to  manifold  practical 
activities  in  which  her  healthy  nature  found  the 
utmost  enjoyment.  It  was  then  that  her  tragedy 
befell  her — a  tragedy  of  temperaments — and  the 
manner  in  which  Jean  revoked  makes  a  strangely 
fascinating  story. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


TORY 
DEMOCRACY 

BY 

J.  M.  KENNEDY 

Crown  $>vo.     Cloth,     31.  6d.  net 

LORDS,    GOVERNMENT,   LIBERALISM 

There  are  unmistakable  indications  that  the  system  of 
politics  at  present  pursued  by  the  two  chief  political  parties 
is  not  meeting  with  the  approval  of  the  electorate  as  a  whole, 
though  this  electorate,  as  a  result  of  the  Caucus  methods,  finds 
it  increasingly  difficult  to  give  expression  to  its  views.  In 
his  book  on  Tory  Democracy,  Mr  J.  M.  Kennedy,  who  is 
already  favourably  known  through  his  books  on  modern 
philosophical  and  sociological  subjects,  sets  forth  the  principles 
underlying  a  system  of  politics  which  was  seriously  studied 
by  men  so  widely  different  as  Disraeli,  Bismarck,  and  Lord 
Randolph  Churchill.  Mr  Kennedy  not  only  shows  the 
close  connection  still  existing  between  the  aristocracy  and 
the  working  classes,  but  he  also  has  the  distinction  of  being 
the  first  writer  to  lay  down  a  constructive  Conservative 
policy  which  is  independent  of  Tariff  Reform.  Apart  from 
this,  the  chapters  of  his  work  which  deal  with  Representative 
Government,  the  House  of  Lords,  and  "  Liberalism  at 
Work  "  throw  entirely  new  light  on  many  vexed  questions 
of  modern  politics.  The  book,  it  may  be  added,  is  written 
in  a  style  that  spares  neither  parties  nor  persons. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THE 

PARTY  SYSTEM 

BY 

HILAIRE   BELLOC 

AND 

CECIL  CHESTERTON 

Popular  Edition,     is.  net.     Cloth,  y.  6d.  net 

AN  IMPORTANT  BOOK  FOR  VOTERS 

Mr  Belloc,  after  sitting  for  five  years  in  the 
House  of  Commons,  resigned  his  seat  at  the  last 
election  in  protest  against  the  unreality  of  Party 
Politics.  In  this  book  the  secret  collusion  between 
the  two  Front  Benches  is  demonstrated,  and  it  is 
shown  how  they  have  captured  the  control  of 
Parliament.  The  method  of  their  recruitment  and 
the  close  ties  between  them  are  described,  and  their 
reliance  upon  secret  Party  Funds,  largely  obtained 
by  the  sale  of  honours  and  of  legislative  power,  is 
made  manifest.  The  machinery  by  which  the  two 
Caucuses  control  elections,  the  increasing  impotence 
of  Parliament,  and  the  elimination  of  the  private 
member  are  carefully  analysed.  The  book  concludes 
with  an  examination  of  certain  suggested  remedies. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


MODERN 
MYSTICISM 

And  Other  Essays 

BY 

FRANCIS   GRIERSON 

v0.     2S.  6d.  net 


ORIGINAL,   INCISIFE,   SUBTLE,   ACUTE 

"  All  lovers  of  literature  will  be  glad  that  Modern 
Mysticism  has  now  been  restored  to  the  currency  of 
the  book  world.  ...  At  heart  it  is  'merurn  sal'  — 
the  true  essence  of  literature.  .  .  .  The  secret  of 
Mr  Grierson's  work  is  its  deep  sincerity.  Eschewing 
all  conventional  standards,  accepting  no  hypothesis 
which  he  has  not  proved  for  himself,  Mr  Grierson 
pierces  to  the  heart  of  his  themes  with  a  keenness 
which  is  almost  disconcerting.  .  .  .  No  situation  is 
too  familiar  to  be  illumined  by  one  of  his  sudden 
flashes  of  insight.  The  poise  of  his  sentences  has 
something  of  Gallic  precision  about  it  ;  and  it  is 
not  surprising  that  the  savants  of  contemporary 
French  literature  have  praised  his  work  with  generous 
emphasis.  .  .  .  Such  an  influence,  working  like  leaven 
in  the  lump,  can  hardly  fail  to  make  its  presence 
appreciated."  —  Daily  Telegraph. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THE  VALLEY  OF 
SHADOWS 

BY 

FRANCIS   GRIERSON 

Second  Edition.     Demy  8v0.     6s.  net 

MEMORIES   OF   LINCOLN'S    COUNTRY 

In  this  book  Mr  Grierson  recalls  in  vivid  memories 
the  wonderful  romance  of  his  life  in  Lincoln's  country 
before  the  war.  ^The  Valley  of  the  Shadows  is  not  a 
novel,"  says  Mr  W.  L.  Courtney  in  the  Daily  Tele- 
graph^ "  yet  in  the  graphic  portraiture  of  spiritual  and 
intellectual  movements  it  possesses  an  attraction  denied 
to  all  but  the  most  significant  kind  of  fiction.  .  .  . 
With  a  wonderful  touch  Mr  Grierson  depicts  scene 
after  scene,  drawing  the  simple,  native  characters  with 
bold,  impressive  strokes." 

"  Told  with  wonderful  charm  .  .  .  enthralling  as  any 
romance  .  .  .  truth,  though  often  stranger  than  fiction, 
is  almost  always  duller  ;  Mr  Grierson  has  accomplished 
the  rare  feat  of  making  it  more  interesting.  There 
are  chapters  in  the  book  .  .  .  that  haunt  one  afterwards 
like  remembered  music,  or  like  passages  in  the  prose 
of  Walter  Pater." — Punch. 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St. ,  Adelphi 

26 


TWO    BOOKS 

BY 

FRANCIS   GRIERSON 

A  Profound  Thinker  and  Delightful  Stylist 


THE     CELTIC 
TEMPERAMENT 

And  Other  Essays 
Third  Edition,     zs.  6d. 

"I  place  these  essays  among  the  most  subtle  and  substantial  that  I  know." 
—MAURICE  MAETERLINCK. 

"I  find  the  'Celtic  Temperament'  charming  and  full  of  wisdom.  The  essay 
that  has  happened  to  strike  me  most  is  the  one  on  '  Hebraic  Inspiration.' 
The  pages  of  '  Reflections'  also  have  found  their  mark  in  me." — Prof.  WILLIAM 
JAMES. 

"Mr  Grierson  gives  us  original  and  intimate  aperfus  of  things  .  .  .  subtle 
things,  and,  as  I  say,  '  intimate ' — things  deep  down  below  the  surface  of 
conventional  thought— and  Mr  Grierson's  book  is  full  of  them.  ...  I  shall  keep 
Mr  Grierson's  book  on  the  same  shelf  as  'Wisdom  and  Destiny,'  and  'The 
Treasure  of  the  Humble.'"— A.  B.  WALKLBY. 

PARISIAN 
PORTRAITS 

2s.   6d.  net 

The  Times  says : — ' '  He  not  only  recalls  what  is  the  most  valuable  essential 
of  every  real  memory,  the  atmosphere,  the  emotional  outlook,  the  general 
effect,  but  has  also  retained  the  harvest  of  a  busy,  critical  and  very  alert  eye. 
.  .  .  He  aims  at  giving  an  edge  to  all  he  says.  .  .  .  His  touch  is  light  and  easy, 
his  insight  sure  and  his  choice  of  subject  exclusive.  ...  A  finished,  skilful, 
and  richly-laden  book." 

Daily  Express. — "Amazingly  clear  and  acute." 

Westminster  Gazette. — "Living  memories  of  famous  people  made  unusually 
real  by  Mr  Grierson's  vivacious  art  of  writing  and  his  premeditated  frankness." 

London:  STEPHEN  SWIFT  &  CO.,  LTD.,  lojohn  St.,  Adelphi 


TWO 
BRILLIANT    COLLABORATIONS 

1.  "A  Laugh  in  Every  Line'" 

2.  "  The  Thoughts  of  Thinking  Men." 


MORE  PEERS 

VERSES  BY  HILAIRE  BELLOC 

PICTURES  BY  B.T.B. 

Price  2s.  6d.  net 

"  There  is  a  laugh  in  every  line  of  the  verses  and  illustrations." — Daily 
Express, 

"  Those  who  have  not  already  tasted  the  peculiar  humour  which  these 
collaborators  imported  into  'Cautionary  Tales  for  Children'  and  the 
'  Bad  Child's  Book  of  Beasts,'  should  by  all  means  study  the  life  history 
of  various  peers  as  recorded  in  these  brief  verses." — Times. 


'•  THE  PARTY  SYSTEM 

BY  HILAIRE   BELLOC 

AND 

CECIL   CHESTERTON 

Library  Edition.      Crown  %vo.     $s.  6d.  net 

No  book  of  the  present  season  has  been  so  much  praised — and 
so  much  reviled  :  reviled  by  most  of  the  Party  organs,  praised 
by  independent  papers.  And  yet  mark  the  agreement  of  the 
following,  as  wide  asunder  as  the  poles  often  in  their  views. 

1 '  Embodies  the  silent  thoughts  of  almost  all  thinking  men  of  to-day.  "— 
Tht  Evening"  Times. 

The  Starszys  '.— "  Says  in  plain  English  what  everybody  in  touch  with 
reality  thinks." 

LORD  ROBERT  CECIL,  in  the  Morning  Post,  says :— "  So  far  the  authors 
of  '  The  Party  System  '  only  say  in  plain  terms  what  everyone  who  has 
been  in  Parliament  knows  to  be  in  substance  true." 

"  A  complete  proof  of  the  necessity  of  restoring  power  to  the  people."— 
The  Daily  Express. 


London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THREE   EXCELLENT 
WORKS   OF   FICTION 

1.  "Clever  Characterisation" 

2.  "A  Prodigy  of  Age" 

3.  "  Unique  Comedy" 


SOME 
NEIGHBOURS 

BY 

CHARLES 
GRANVILLE 


STORIES,  SKETCHES,  AND  STUDIES 
znd  Edition.  Crown  Zvo.  6s. 

"A  pleasant  book  .  .  .  prettily  conceived 
and  told.  .  .  ."—The  Times. 

"  The  stories  are  always  interesting,  both  as 
studies  of  odd  aspects  of  humanity  and  for  the 
curious  modern  reticence  of  their  art." — The 
Scotsman. 

"'Some  Neighbours'  deserves  the  highest 
commendation."— CLEMENT  K.  SHORTER  in 
The  Sphere. 

"The  treatment  is  invariably  fresh  and 
individual  .  .  .  thoroughly  readable." — The 
Morning  Leader. 


THE  RECTOR 
OF  ST  JACOB'S 


BY 

ARTHUR 

RANSOM 


A    NOVEL    OF    PHENOMENAL 

INTEREST 
Crown  Zvo.    6s. 

"...  Could  only  have  been  written  byone  who 
knows  the  outs  and  ins  of  the  latest  ecclesiastical 
controversy.  Our  wonder  is  heightened  when 
we  learn  that  it  is  the  first  book  of  one  who 
will  shortly  enter  his  eightieth  year." — West- 
minster Gazette. 

' '  We  can  recommend  this  book  to  all  who  are 
interested  in  religious  differences. " — English 
Review. 

11  It  has  life  and  power." — Observer. 


THE 

MAIDS' 

COMEDY 


A   CHIVALRIC    ROMANCE 
IN  THIRTEEN  CHAPTERS 


Crown  %vo. 


6d.  net 


"The  Author  of  this  highly  entertaining, 
and  indeed  delicious,  '  Chivalric  Romance  ' 
does  not  give  us  his  name,  but  we  trust  that  he 
will  be  encouraged  to  give  us  more  stories  in 
the  same  delicious  and  fantastic  vein."  —  Daily 
Telegraph. 


London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


COMPANIONS    IN    MERIT 

1.  "  Excellent  Irony." 

2.  "A  Fine  Play." 

3.  "Irresistible  Satire." 


TRIUMPHANT 
VULGARITY 

BY 

CHARLES  J. 
WHITE Y,  M.D. 


A  WARNING  TO  DREAMERS 
Crown  8vo.     y.  6d.  net 

"  Even  if  he  did  not  happen  to  be  endowed 
with  a  forceful  and  dignified  literary  style  and 
a  distinct  if  rather  acrid  sense  of  humour,  Dr 
Whithy  would  have  made  good  his  claim  to  a 
place  apart  from  the  ordinary  run  of  disgruntled 
Jeremiahs." — Daily  Mail. 

"  We  have  read  few  books  on  similar  or  kin- 
dred  themes  with  such  a  sane  and  level-headed 
treatment." — Academy. 


CIVIL 
WAR 


BY 

ASHLEY 
DUKES 


A  PLAY  IN   FOUR  ACTS 
Crown  8vo.     2s.  net 

"A  play  of  unusual  merit. "—Manchester 
Guardian, 

"  The  characterisation  is  excellent,  the  dia- 
logue appropriate  and  easy."— Daily  Express. 


SIR 
EDWARD 

BY  A  FELLOW 

OF  THE  LITERARY 

SOCIETY 


A   BRIEF  MEMORIAL  OF  A 
NOBLE  LIFE 


1  The  Author  has  earned  our  gratitude  for 
th  s  whimsical  study." — Spectator. 

1  A  very  pretty  piece  of  satire." — Observer. 

'  A  most  polished  essay."— Morning  Leader. 

1  We  have  still  a  few  humourists  left  and 
one  of  them  is  Sir  Edward."— Scotsman. 

"  One  of  the  drollest  satires  of  the  day." — 
Pall  M 'all  Gazette. 


London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


COMMENDABLE   AND 
DISTINCT  BOOKS 

1.  "Workmanlike  History." 

2.  "  Successful  Prose  and  Metre." 

3.  "  Unflagging  Vivacity" 


EIGHT 
CENTURIES 

"f 

PORTUGUESE 
MONARCHY 


BY  V.  DE  BRAGANQA  CUNHA 
Demy  Zvo.     14  Pencil  Portraits.     i$s.  net 

"  Such  a  book  as  this,  throwing  an  illumi- 
nating light  upon  the  evolution  of  events,  .  .  . 
should  appeal  especially  to  the  British  reader." 
— Glasgow  Herald. 

"  Frank  and  critical  study."—  The  World. 

"A  vigorous,  straightforward  narrative  .  .  . 
a  workmanlike  and  rapid  survey." — Morning 
Leader. 

"...  Carried  out  his  idea  with  care  and  in 
the  most  excellent  English." — Contemporary 
Review. 


LONELY 
ENGLAND 


BY 

MAUDE 
GOLDRING 


THREK-COLOUR    ILLUSTRATIONS    AND    PEN- 
AND-INK  SKETCHES.     BY  AGNES  PIKE 
Crown  8v0.     $s,  net 

"A  book  that  will  appeal  to  all  who  love  the 
country  or  who  take  an  interest  in  the  people 
who  dwell  on  the  land."— Pall  Mall  Gazette. 

"  Her  work  is  always  sincere,  always  inter- 
esting, and  not  without  great  beauty." — The 
World. 

"  Charming." — The  Times. 

"  Restful  and  engaging." — The  Scotsman. 

"A  very  charming  volume  of  essays." — 
Morning  Leader. 


The 

PHILOSOPHY 

of  a 

DON 


BY  G.  F.  ABBOTT 
Crown  8v0.    5^.  net 

_"  A  series  of  particularly  smart  and  dramatic 
dialogues  .  .  .  caustic  and  candid,  sympath- 
etic, satirical  and  subtle  in  turn,  and  always 
diverting."—  Vanity  Fair. 

"It  pays  Mr  Bernard  Shaw  the  compliment 
not  merely  of  introducing  him  as  '  Shav,'  but 
of  imitating  his  arrogant  egotism." — Truth. 

"  Brilliant  papers. "-Nottingham  Guardian. 


London:  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 


THE 

EYE-WITNESS 

EDITED    BY 

HILAIRE   BELLOC 

Weekly  6d. 
Quarterly  >js.;  Half-yearly  14?.;   Yearly  285-.,  post  free 

BRILLIANT,  DEMOCRATIC,  ANTI-PARTT 

"  The  slightest  glance  at  any  number  of  this  vigorous 
production  must  convince  one  that  a  new  idea  has  come 
into  existence,  so  far  as  that  is  possible.  Not  everyone,  and 
perhaps  at  present  very  few,  will  agree  with  the  precise 
and  emphatic  outlook  of  this  new  weekly  review  ;  but  there 
will  be  very  few,  even  amongst  those  most  violently  opposed 
to  its  policy,  who  will  not  admit  that  The  Eye-Witness  is 
a  masterly  production." — T.P.'s  Weekly. 

Mr  Hilaire  Belloc  has  gathered  round  him  many  of  the 
brightest  intelligences  in  modern  letters,  including — 

G.  K.  CHESTERTON 
MAURICE  BARING 
G.  S.  STREET 
W.  H.  HUDSON 
H.  G.  WELLS 
A.  C.  BENSON 
CECIL  CHESTERTON 

As  well  as  a  number  of  younger  writers  who  are  winning 
or  have  just  won  their  spurs. 

London  :  STEPHEN  SWIFT  &  CO.,  LTD.,  10  John  St.,  Adelphi 

PRINTED    BY   NKILL    AND    CO.,    LTD.,    EDINBURGH. 


PQ  Cavalcanti,   Guido 

4299  Sonnets  and  ballate 

32 
1912 


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