SOSPIRO Alessandro Grandi Complete Arias, 1626 - Bud Roach
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
SOSPIRO Alessandro Grandi Complete Arias, 1626 Bud Roach Tenor and Baroque Guitar
Sospiro
ALESSANDRO GRANDI (1586-1630)
ARIE A VOCE SOLA
Bud Roach
Tenor and Baroque Guitar
2Alessandro Grandi- Arie a Voce Sola, Libro Terzo,
Venice, 1626
1 Troppo, troppo fedele ...............................................................................................................................2’00
2 Deh, vaga mia Clori ...............................................................................................................................4’07
3 É si grave’l tormento.................................................................................................................................2’53
4 Consenti pur e ti pieghi .........................................................................................................................2’04
5 Ninfa crudele ..............................................................................................................................................3’43
6 Ridete meco, Amanti ...............................................................................................................................3’02
7 Non può ferir Amor .................................................................................................................................2’25
8 Quando Amor dentr’un cor prende ricetto ...................................................................................4’04
9 Sotto aspetto ridente.................................................................................................................................3’54
0 Amore io più non ardo ...........................................................................................................................3’03
- Empio cor, più non ti credo .................................................................................................................2’31
= Gioite, danzate...........................................................................................................................................1’48
q Lontan dal tuo bel volto ........................................................................................................................1’48
w I nostri voti il ciel .....................................................................................................................................4’21
e Mai più durò d’Amor si lunga Guerra ...........................................................................................4’11
r Rompi rompi mio core ............................................................................................................................2’33
t Al seren del tuo volto ...............................................................................................................................3’33
y Io non vo’ pianger più .............................................................................................................................2’35
u Superbetta sei pur colta ..........................................................................................................................2’37
i Cruda e proterva .......................................................................................................................................2’15
o Folle, folle chi crede ..................................................................................................................................3’13
p Sprezzami, Bionda, e fuggimi .............................................................................................................2’19
[ Breve è la vita, Amor ..............................................................................................................................5’33
Total Time: 70’34
3Proud and haughty, / The true enemy of love, / You make your heart / A preserve of harshness.
You give me death / In exchange for my faithful love, / O cruel and pitiless one!
You are so ungrateful to him that adores you. / I hate myself for loving you so.
S
o begins the first aria from Alessandro Grandi`s third volume from 1626, one of the finest
examples (and collections) of a much-maligned genre from the early 17th century.
Musicologists from the beginning of the early music revival have been unusually scathing in
their surveys of secular Italian song, whether labelled canzonettas, arias, cantatas, or even
monodies (although there is a clear difference between the Florentine use of that term and
what developed later on in Venice). Moreover, notions of class-based discrimination appear to
inform their thinking, just as they did those of the self-appointed defenders of high art held
in 17th century Italy. Uncritical acceptance of the prejudices of mid-20th century academics
denies us the chance to explore the beauty of these arias. Then, as now, it is difficult
to find critical approval for respectable composers incorporating folk elements in their music.
However, when experienced as they were performed at the time, these works can move our hearts
as surely as they did those of their contemporary audiences. Recent scholarship has taken a
more generous tone in assessing this form of popular music, which took hold in Rome and
quickly spread to Venice, utilising the most fashionable new instrument of the day – the
strummed, Spanish guitar.
At the turn of the 17th century, the noble lute began to face some very stiff competition
from Spain in the form of a new, five-course guitar. Florentine composers such as Caccini had
championed a new, emotionally-charged way of conveying text that moved beyond the capacity
of the traditional polyphonic madrigal. Homophonic, bass-driven block harmonies provided
a simple framework over which composers could set text in an endless variety of melodic
embellishments. The theorbo had been Caccini’s favoured instrument to accompany his own
singing, and although the baroque guitar lacked the ability of a true bass instrument to
realize continuo lines, it was more than capable of providing a sufficient harmonic texture
underneath the vocal part. Adding to its appeal were the irresistible dance rhythms inherent
in the traditional strumming patterns, called “stile battuto” by the Italians and now commonly
known by the Spanish term “rasgueado”.
As early as 1606, only four years after the publication of Le Nuove Musiche, Girolamo
Montesardo published a guitar tutor that laid out a method of notation that had already been in
use for some time, called the “alfabeto” system. By incorporating a fingering chart for each of the
major and minor tonalities, and assigning a letter of the alphabet to the most commonly played
chords, anyone, regardless of previous musical training, now had the tools to provide a sufficient
4harmonic accompaniment for the popular melodies of the day. This was a far cry from the
complex polyphony notated in tablature for the lute (or, in Spain, the vihuela), which was
well beyond the capabilities of all but those who were afforded a solid musical education. The
resulting trend had many critics, and in the academic scuffle over the suitability of the guitar for
serious music, issues of class were inevitably brought to the fore.
“Since the invention of the guitar there have been very few who have devoted themselves to the
study of the vihuela. It has been a great loss, because all kinds of notated music were played on
it, and now the guitar is nothing more than a cowbell, so easy to play, especially in rasgueado,
that there is not a stable-boy who is not a musician of the guitar.”
(Sebastian Covarrubias, Madrid, 1611)1
The first half of the 17th century was a period of great musical innovation generally, but
perhaps the one area that creates most confusion is that of the secular aria. The musical wave
which Grandi rode to fame had little to do with the recitative style of the monodies of Caccini
and Peri. Rather, it owed everything to the composers from Rome who had embraced the
strophic canzonetta. When we consider the new popularity of the baroque guitar, the ease with
which the basics of the instrument could be learned, and the inclusion of alfabeto notation in
these new collections of catchy tunes, it becomes clear that arias such as these constitute a genre
of their own. Critics to this day have felt the need to draw a line in the sand between high art
and populist “drivel”. For many, that line seems to be the inclusion of alfabeto notation. And
yet, no one questions the musical merit of the Florentine collections from the early part of
the seventeenth century. Nor are the operas under suspicion regarding their musical worth in
the same way as are the aria collections from the same period, sometimes from the very
same composers!
As a performer, I must have an awareness of the original performance practice of the music
I sing and play. It has been effectively shown by the musicians of the historically-informed
5performance movement that, when music of the past is presented this way, it comes alive far more
compellingly than through the filter of our twenty-first century sensibilities. And for me, the
strophic canzonetta, villanelle, secular aria, alfabeto song – any of these various designations –
assume their ultimate power only when this practice is revived. We know that many critics of the day
disparaged the baroque guitar as insufficient to provide continuo accompaniment, notwith-
standing that numerous people were using the instrument for precisely that purpose. Therefore it
is disingenuous to assert that composers were unaffected by that practice, made no accommodations
for it, and even wrote in a way that would preclude it. The publishing houses of Rome
produced alfabeto collections in a flurry of activity from 1610 through to the 1620s, before Venice
became the undisputed centre of publication for the genre, mainly emanating from the house of
Vincenti. It was against this musical backdrop that Alessandro Grandi rose to prominence.
Not a great deal is known of Grandi. Born in Ferrara in 1586, it is likely that he studied
composition in nearby Venice. During his early career he held various choral directing positions
in Ferrara. He then accepted a singing position at San Marco under Claudio Monteverdi in 1617,
becoming his assistant in 1620. It was during this period that his four volumes of secular music
were first published and often reprinted. After ten very successful years in Venice, he took a
position in Bergamo where he became maestro di cappella at S. Maria Maggiore. Sadly, after only
three years there, he and his family died in an outbreak of the plague in 1630. His sacred music,
much of it employing modest forces, was highly regarded. However, he enjoyed his greatest
commercial success with the secular aria. He is credited as the first composer to coin the term
“cantata”, and his use of it to differentiate those compositions from his “arias” perhaps provides a
clue as to how he must have felt about the use of the baroque guitar in his music.
In 1626 Vincente published Grandi’s third volume of secular music, entitled “Cantade et
Arie a voce sola, Commode da cantari, nel Clavicembalo, Chitarrone, et altro simile Stromento, con le
Lettere dell Àlfabetto per la Chitarra Spagnola”. Despite the title’s implication, there is only one
cantata in the collection, which appears at the end, after twenty-three strophic arias. The layout of
the volume suggests, however, that Grandi must have felt that the guitar’s presence was unsuitable
in the cantata, since it does not include alfabeto symbols, unlike the arias that precede it. Nigel
Fortune and others have made convincing arguments that publishers were eager to include alfabeto
into their secular collections, so it seems unlikely that their exclusion from the cantata was a mere
editorial decision. Grandi accorded the continuo a more prominent role in his cantata, employing
imitative gestures and thematic material that exceeded the limitations of alfabeto. Given this
sole genre-specific absence of alfabeto notation within the volume, we may conclude that, for
the arias, Grandi not only assumed the alfabeto practice, but also, to a large extent based the genre’s
compositional style on it.
Grandi’s secular work is currently unrepresented on recordings. Available are a number of fine
examples of secular arias by other composers of this period that incorporate a larger continuo group,
6and a much smaller number that utilise a single continuo instrument. Oddly, what appears (until
now) to be entirely unrepresented on recordings is the, most likely, standard performance practice
of this repertoire: one performer singing to his own accompaniment on the baroque guitar, using
alfabeto notation. The expressive possibilities of this type of performance enable this music to
transcend the literary clichés of their texts and allegedly unsophisticated melodies, which together
have perhaps hitherto denied this genre the scholarly (and musical) appreciation it deserves.
Grandi has filled his third volume of arias with harmonic, melodic and textual twists and
turns, thereby creating an emotional landscape as varied as any to be found in Western music’s best
song cycles. The mood is dark and brooding, with occasional outbursts of joy and innocence swept
aside by corresponding waves of melancholy. Several arias alternate between duple and triple meter,
with some songs (Troppo, troppo and Sprezzami, for example) practically begging for the driving
rasgueado strumming of the guitar. Grandi frequently employs the descending fifth as a melodic
device, whose admirably varied reappearance forms a continuous thread throughout the collection.
Often the final stanzas change abruptly in mood, superimposing an extra layer of pathos over the
colourful imagery of the initial verses, requiring a corresponding adjustment to the musical and
rhetorical delivery of these texts. A truly text-oriented performance of Grandi’s music obliterates
the confines within which many critics have relegated the secular aria, resulting in an unexpectedly
moving musical experience. Thereby, Thurston Dart’s dismissal of alfabeto song texts as “amorous
baby talk” is difficult to justify, while this recording serves as my own rebuttal of Nigel Fortune’s
assertion that the baroque guitar is “wildly inappropriate” for more serious songs.
Sospiro became the title of this project for three reasons. First, it seemed misleading to imply
that the CD represented the entire third volume by Grandi when the lone cantata from the title page
(without alfabeto notation) has been omitted. The second is to do with tradition, since many of the
alfabeto collections of the period were given exotic titles (my personal favourite being the Bizzarrie
poetiche by Nicolo Fontei, 1635). The final reason derives from the texts of the arias themselves. The
word, Sospiro and often the gesture it evokes, appears throughout the collection of arias a number
of times – representing ecstasy, pain, and sometimes, perhaps more mundanely, satisfaction.
A debt of gratitude is owed to the scholars who have taken a more open-minded view of the
alfabeto aria and its importance in the development of Western music. Gary Tomlinson, Cory
Michael Gavito, James Tyler, Monica Hall, and many others have done a great deal to shed light on
a genre that is surely experiencing a long-overdue revival.
–Bud Roach, May 2013
¹Quoted in Cory Michael Gavito, ‘The Alfabeto Song in Print, 1610-ca. 1665: Neapolitan Roots, Roman
Codification and “Il Gusto Popolare”’ (unpublished doctoral thesis, University of Texas at Austin, 2006)
71
Troppo, troppo fedele You love all too faithfully
Ami chi fugge Amor, One who runs away from your Love
E chi di tue querele My heart, you should leave
Se n’arride, ad agnor Her who always laughs
Lascia, lascia, mio core. At your laments, O leave her!
Ogni pena è martir, All suffering is a torment,
Né più languir per così ingiust’ Amore. Stop languishing for such unfair Love.
La bellezza mortale Mortal beauty lasts
Fugge come balen Only as much as lightning;
E tanto un volto vale A face is attractive
Quanto è in lui di seren. Only as long as it’s fair.
Tosto, tosto si strugge Such frail beauty quickly
Bellezza così fral, Fades, O so quickly!
E come stral veloce via sen fugge. And, like an arrow, it rapidly runs away.
Perde il fregio la rosa Roses do wilt and, with their beauty,
E col fregio l’odor; They lose their pleasing scent.
Così Donna pomposa Similarly a woman’s outward beauty fades
Così il Tempo l’Amor; And so fades Love with time.
Onde fuggi mio core So, my heart, avoid pursuing
Così lieve beltà Such passing beauty
Che a pen’ha vita, che languendo muore. That barely lives and languishing dies.
2
Deh, vaga mia Clori, My Chloris most charming,
Deh, Clori pietosa My merciful Chloris
Che provi gli ardori Who feels the heat
Di fiamma amorosa, Of amorous flames
Intendi il mio canto, Listen to my song,
Ascolta il mio pianto, Hear my crying
Ch’io pur tue querele For I, too, faithfully
Ascolto fedele. Listen to your laments.
Se a caso mia Filli Should perchance
Venisse, deh dilli My Phyllis pass by, O tell her
8La pena mia atroce Of the very bitter pain
Che m’arde, mi coce, That scalds and burns me
M’affligge, mi crucia, That torments and tortures me
Mi strugge, mi brucia That destroys me and sets me on fire
M’alampa, m’avvampa, That consumes and envelops me
Ch’affliggemi il core, That afflicts my heart,
E Morte non viene And Death doesn’t come
A trarmi di pene. To free me from grief.
Deh cara mia Lilla, O my dear Lilla
Deh Lilla, mio core O Lilla, my heart,
Che senti ben milla So wounded by thousands of
Saette d’amore, Arrows of Love
Ascolta i lamenti, Heed my laments
Intendi gli accenti Understand my cries
Ch’io pur tuoi martiri For I, too, understand
Ascolto e i sospiri. Your sorrow and your sighs.
Se a caso mia Filli Should perchance
Venisse, deh dilli My Phyllis pass by, O tell her
L’acerbo dolore Of the terrible pain
Ch’affliggem’ il core, That afflicts my heart,
Le pene e ‘l tormento The pain and torture
Che in seno mi sento, I feel in my breast
M’allaccia, It strangles me,
M’agghiaccia, It freezes me
E morte non viene And death doesn’t come
A trarmi di pene. To free me from grief.
Deh, Flora mia bella, My beautiful Flora,
Deh, Flora mia vita O Flora my life,
Che provi facella Who feels the flame
Di fiamma gradita, Of a pleasant fire,
Ascolta la pena Listen to the pain
Ch’a morte mi mena, That leads me to Death,
Ch’io pur il tuo duolo For I, too, heed
Ascolto e consolo. To your pain and seek to console you.
Se a caso mia Filli Should perchance
9Venisse, deh, dilli My Phyllis pass by, O tell her
Il foco mio strano About the strange fire
Che m’arde pian piano, That slowly consumes me,
M’infoca, m’infiamma. Singes and inflames me.
M’abbrugia sua fiamma, Its flames scorch me,
M’accende, Set me on fire
M’incende, And burn me so much.
E morte non viene And Death doesn’t come
A trarme di pene. To free me from grief.
Deh, Ninfe mie liete, Oh Nymphs so serene,
Deh, Ninfe vezzose, My ravishing Nymphs,
Ch’ancor voi ardete You, too, are inflamed
In fiamm’ amorose, By the fires of Love.
Sentite i miei Danni, So pay heed to my grief,
Udite gli affanni, Hear my breathless crying
Ch’io pur vostri canti For I, too, listen
Ascolto, anch’i pianti. To your songs and laments.
Se viene mia Filli, If Phyllis does come
Tu, Silvia, deh, dilli Tell her, Silvia
E tu, Ninfa cara And you, too, dear Nymph,
La pena mia narra The story of my suffering
Che m’ange, m’abbaglia Which blinds and tears me apart,
Mi rode, mi scaglia, Gnaws and throws me around
M’afferra, Grabs and slams me
M’atterra, To the ground,
E morte non viene While Death doesn’t come
A trarmi di pene. To free me from grief.
3
È sì grave ‘l tormento Love causes
Che fa provar Amore Such terrible torment
Al misero mio core, To my sorrowful heart
Mentre Donna crudel vagheggio intento, As I fix my gaze on a cruel mistress,
Ch’io dico ogn’hora: Ahi che morir mi fa That I am forever moved to say:
Un cor senza pietà. That pitiless heart will be my death!
10S’io rimiro il bel viso If longingly I look at her beautiful visage
E godo i raggi ardenti And rejoice in the ardent rays
De’begli occhi lucenti Of her shining eyes,
E le care parole e ‘l dolce riso, Her gentle voice and sweet smile,
L’empia s’asconde. Ahi che morir mi fa Wickedly, she hides from me.
Un cor senza pietà. That pitiless heart will be my death!
S’io sospiro, I sospiri If I sigh, my Lady
Sprezza la Donna mia Just scorns my sighs.
E, bella insieme e ria, At once so beautiful and harsh,
Gode e gioisce sol de’ miei martiri, She only rejoices at my pains.
Tal che conosco, Ahi che morir mi fa All too well I know
Un cor senza pietà. That pitiless heart will be my death!
Ben per uscir d’impaccio To extract myself from this predicament
Tento lasciar talhora I seek sometimes to forsake her
Colei che m’innamora, Who so bewitches me.
Ma scior non so quest’ amoroso laccio, Alas, I know not how to avoid the snare
Che l’amo ancor. Ahi morir mi fa And I love her for evermore.
Un cor senza pietà. That pitiless heart will be my death.
4
Consenti pur e ti pieghi, You consent and surrender
Lidia, a tanti prieghi To my prayers, Lydia,
E ti lasci baciar. And let yourself be kissed.
Ahi, ma son i baci Alas, such kisses are only
Novelle faci Fuel for a greater fire
Ond’empio ardore That, with unseemly ardour,
Mi struggle il core, So torments my heart,
Se ‘l più non vuoi donar. If you deny me what I wish the most.
Se neghi quel frutto amato If you deny me that lovely fruit
Del giardin beato, Of your beautiful garden,
A che mostrarmi il fior? Why show me a mere flower?
Ahi, proprio è una morte ‘Tis truly a dreadful death
Presso le porte Lydia, to be taken
O Lidia trarmi, So near the gate
11E poi scacciarmi, And then be cast away
Né dar aita al cor. With no comfort for my heart.
Il bacio sol è un dispetto, A kiss is just a provocation,
Lidia, non diletto; Lydia, not the real joy,
Tormento, non piacer. ‘Tis a torment, not a pleasure.
Né quest’ è baciare, And it’s not really kissing,
Ma sol toccare, But just a touch,
Ch’I veri baci For the real kisses
Sono veraci Are enjoyment’s
Compagni del goder. True companions.
O labbra mie peregrine, O my precious lips,
Rose senza spine, Thornless roses,
Io vo’ baciarvi sol I want to kiss you
Quando scolorite, Only when you turn
Talhor languite Languid and discoloured
Ai rai tremanti At the trembling rays
Degli occhi amanti Of your lover’s eyes
Nel tramontar del Sol. As the Sun sets.
5
Ninfa crudele, O cruel Nymph,
S’un tuo fedele If one in love with you
La bocca, la chioma, i begl’ occhi Happens to touch
Avvien che tocchi, Your mouth, your hair, your beautiful eyes,
Al core, al core You make him feel
Gli fai sentire The wound, the bond, the fire
Ferite, legame e ardore. Deep in his heart.
Oh che languire, O such languishing,
Dolce ferita, Such sweet wound,
Fiamma gradita, Such wonderful fire,
Soave nodo, Such gentle bonds.
Sì, sì ch’io godo. They make me O so happy.
Se quella chioma If that hair
Ch’i cori doma That tames all hearts
12Mi lega, mi struggle, m’allaccia Ties me up, ensnares me, consumes me
Il sen mi straccia. And strikes my heart,
Dunque a tai pene Well, such pains
Non ho tormento Do not cause suffering.
Tra lacci, legami e catene. Ensnared, tied up and in chains
Ahi, ch’io non sento I do not feel
Dolce ferita, Such sweet wound,
Fiamma gradita, Such wonderful fire,
Soave nodo, Such gentle bonds.
Sì, sì ch’io godo. They make me O so happy.
Quel tuo bel guardo Your beautiful eyes
Per cui tant’ardo That enflame me so
M’avvampa, m’abbrucia, m’accende. Set me on fire, burn me, consume me,
Cener mi rende, Turn me to ashes.
Né vuoi ch’il core Don’t you wish that my heart
Provi col petto Experience in my chest
La fiamma, l’incendio, l’ardore? That flame, that fire, that ardour?
Ahi, gli è diletto, Ah, what a pleasure for me
Dolce ferita, Such sweet wound,
Fiamma gradita, Such wonderful fire,
Soave nodo, Such gentle bonds.
Sì, sì ch’io godo. They make me O so happy.
E quella bocca And that mouth,
Che strali scocca Oh, it flings arrows
Mi piaga, mi punge, m’ancide. That wound, pierce, and kill me.
Et ella ride. And she laughs.
Dunque a tal torto So, at such indignities,
Taccio e languisco I turn silent and languish
Ferito, piagato e già morto. Wounded, covered with sores, close to death.
Ah, che gioisco, And yet I rejoice
Dolce ferita, At such sweet wound,
Fiamma gradita, Such wonderful fire,
Soave nodo, Such gentle bonds.
Sì, sì ch’io godo. They make me O so happy.
136
Ridete meco, Amanti, Laugh with me, Lovers,
Hor che donna crudel piange e sospira For a cruel lady is now crying and sighing.
E in pietosi sembianti Her eyes look now so tender
Ci mostra gl’occhi suoi già strali d’ira. That only flashed angry arrows.
Amanti, amanti, che ne dite? What do you say, Lovers?
Meco festosi, pur meco, meco gioite. Make merry and rejoice with me.
Gioite al strano gioco Rejoice at the strange event:
Or che quel cor di ghiaccio ardendo more That heart of ice burns and dies
E in tormentoso foco And, in its fiery torment,
Si strugge l’alma e intenerisce il core. Her soul is rent and fills one’s heart with gentle pity.
Amanti, amanti, che ne dite? What do you say, Lovers?
Meco festosi, pur meco, meco gioite. Make merry and rejoice with me.
Ridete pur, ridete Go on laughing as you behold
Mirando cor di fiera humano e molle. A tiger’s heart turned gentle and humane.
Stravaganze vedete What a strange thing to see
Come in seno di ghiaccio il caldo bolle. Searing heat in a breast of ice.
Amanti, amanti, che ne dite? What do you say, Lovers?
Meco festosi, pur meco, meco gioite. Make merry and rejoice with me.
Gioite hor che mirate Rejoice now that you see
Colti dai bei rubin gl’ardor vivaci Vivid passion harvesting her ruby lips
E su le rose amate And, impressed on those beloved roses,
Impressi mille morsi e mille baci. A thousand bites and a thousand kisses.
Amanti, amanti, che ne dite? What do you say, Lovers?
Meco festosi, pur meco, meco gioite. Make merry and rejoice with me.
Ridete al crudo laccio Laugh at the cruel snare
Che tien involta la superba e altiera. That envelops that proud and haughty lady,
Gioite al giuogo, al strazio Rejoice at the bonds and the merciless prison
De l’iniqua prigion, gia prigioniera. That holds her finally a captive.
Amanti, amanti, che ne dite? Lovers, what do you say?
Meco festosi, pur meco, meco gioite. Make merry and rejoice with me.
147
Non può ferir Amor Love can no longer strike
Se nel mio sen non vien a tôr il strale If he does not recover his arrows from my heart,
Poich’ogn’arma, ogni foco, ogni rigor For all his weapons, all fires and torments
Lasciò ne la ferita mia fatale. He left in my fateful wound.
Io sono dunque, Amanti, Lovers, I am thus the cause
Causa dei vostri pianti. Of your misfortunes.
Quando Amor mi piagò When Love did wound me,
Tutto raccolse in un il suo potere Together he gathered all his power
E nell’anima mia tutte lasciò And left within my soul
L’armi con cui talhor dà pene fiere. All those weapons that can cause such dire pains.
Io sono dunque, Amanti, Lovers, I am thus the cause
Causa dei vostri pianti. Of your misfortunes.
Torna egli nel mio sen He reverts to my heart whenever
Qualhor brama saette per piagare. He needs a dart to strike another.
Io son la sua conserva: in me il Velen I am the vial in which the poison
Si rinchiude, ch’altrui morte suol dare. Is kept that gives all others death.
Io sono dunque, Amanti, Lovers, I am thus the cause
Causa dei vostri pianti. Of your misfortunes.
Se deriva da me If indeed from me does come the fire
Quel fuoco, che vi strugge a tutte l’ore, That torments you all the while,
Perché tardate dunque ohimé, perché Why tarry then? Why don’t you all
Non risanate ognun l’afflitto core? Heal your afflicted hearts?
Deh, vendicate, Amanti, Lovers, with my death
Con la mia morte i pianti. Avenge your misfortunes.
8
Quando Amor dentr’un cor prende ricetto, When Love makes his abode inside a heart
Primavera gentil apre nel petto, He brings along a gentle Spring
Tosto disgombra i tenebrosi horrori That clears all the wintry darkness
E semina di speme herbette e fiori. And plants the seeds of Hope’s grass and flowers.
15Quindi, armato di fiamme e fulminante, Then, with the thundering heat of Summer,
Calda Estate saetta al fido amante. He sets on fire the faithful lover.
Arde ‘l meschin, né sa trovar quiete The poor wreck burns and can’t find peace,
E langue e more d’amorosa sete. And he languishes and dies of his thirst for love.
De la calda stagion l’ardor temprato, It’s then the turn of a much longed for Autumn
Gira ben poi l’Autunno sospirato, Which, tempering the ardour of the heated season,
Che per giusta mercé di sua fatica As a just reward for his labours,
Si miete alfin qualche amorosa spica. Lets him harvest some fruits of Love’s reward.
Ma qual piacer non ha sua meta in doglia? But what pleasure does not end in pain?
Vien ben tosto il Verno e i campi spoglia Winter comes soon enough to make barren fields
Dove dianzi piovea sua grazie il cielo, Where the heavens were pouring on their graces,
Di fredda gelosia nevica il gelo. And bring down the cold frost of jealousy.
Occhi ver me crudeli, a sì gran torto A comfort for my languishing, all I got
Colsi ben io del mio languir conforto Was her eyes turning hostile toward me.
Ma strugge hor, lasso, cruda gelosia Alas, cruel jealousy destroys now the joys
Le gioie, onde il mio cor lieto fioria. That made my heart grow happy.
9
Sotto aspetto ridente Under the smiling looks
D’angelico seren, Of an angelic happiness
Stassi invisibilmente There is, invisible,
Celato empio velen. A hidden deadly poison.
Non si creda ad Amor, Don’t believe in Love!
Amor amico, When Love seems friendly,
O che fiero, che fiero nemico! What cruel enemy he turns out to be!
In sembianze di pace He looks so peaceful
Promette ei ben pietà, As he promises clemency,
Ma snoda poi fallace And then, duplicitous,
L’armi di crudeltà. He unshield his cruel weapons.
Non si creda ad Amor, Don’t believe in Love!
Amor amico, When Love seems friendly,
O che fiero, che fiero nemico! What cruel enemy he turns out to be!
16Ben può il mio cor avvinto Better than anyone else’s
Dirlo d’ogni altro più, Can my enslaved heart
Che tradito, non vinto Tell how, betrayed, not fairly defeated,
Così dall’empio fu. It was by that wicked one.
Non si creda ad Amor, Don’t believe in Love!
Amor amico, When Love seems friendly,
O che fiero, che fiero nemico! What cruel enemy he turns out to be!
Mentre guerrier lontano When, from a distance,
Di morte ei mi sfidò, He challenged me to mortal combat,
Ogni colpo fu vano, His arrows went amiss,
Ogni stral si spuntò. His every strike was all in vain.
Non si creda ad Amor, Don’t believe in Love!
Amor amico, When Love seems friendly,
O che fiero, che fiero nemico! What cruel enemy he turns out to be!
Ma con due labbra accorte, But when, with enticing lips,
Poiché un bacio ei mi diè, He bestowed a kiss on me,
Volontario le porte Alas, all too willingly,
Io li apersi, ohimè! I opened the gates to my heart.
Non si creda ad Amor, Don’t believe in Love!
Amor amico, When Love seems friendly,
O che fiero nemico! What cruel enemy he turns out to be!
Or ch’egli aperto ha il loco, Now that he’s stormed my fortress
Non più la fè mantien, No longer does he hold to his promises,
Ma mette a ferro, a fuoco But sets everything on fire
E tutto a frangere il sen. And strikes his sword deep into my heart.
Non si creda ad Amor, Don’t believe in Love!
Amore amico, When Love seems friendly,
Oche fiero, che fiero nemico! What cruel enemy he turns out to be!
0
Amore io più non ardo. Love, I burn no longer.
Dal chiaro Ciel d’un viso Should a heavenly visage
Lampeggi un dolce riso, Ever flash the sweetest smile
Folgori un caro sguardo, Or dart a most loving glance,
17Ché l’amoroso ardore The fires of Love
Non sente l’alma. No, libero ho ‘l core. Don’t touch my soul. My heart is free.
Per le rose, e per gli ori The roses of a beautiful visage,
D’un bel volto e d’un crine, The gold of hair so fair,
Per bellezze divine The divine beauties
Di lucidi splendori Of such shining eyes
Più non languisco e moro. No longer make me languish and die.
Amo il tuo bello, Amor, ma non l’adoro. Love, I cherish your beauty without adoring it.
Cadei, supplice amante, I did fall, a suppliant lover,
Alle lusinghe, ai baci For the enticing kisses
Di doi labbra vivaci, Of two most vivid lips
E Amor fu trionfante. And Love was triumphant.
Fui vinto, io lo confesso, I was conquered, I confess it.
Hor l’impero ho di me, torno a me stesso. But now I am again my own master.
Nell’ Oceano immenso In the immense ocean
D’acciecato affetto, Of blinded Love,
Lusinghiero diletto, Enticing pleasure
Fallace guida il senso. Deceives the senses,
Nella reggia dell’alma In the soul’s castle
Libertade e Ragion porta la palma. Freedom and Reason rule victorious.
-
Empio cor, più non ti credo, Deceitful heart, I believe you no longer,
Alm’ infida, più non t’amo, Untrustworthy soul, I love you no more,
Né a le pene antiche riedo, I will not revert to my pain of yore,
Donn’ingrata, né ti bramo. I long for you no more, ungrateful woman.
E già che da tuoi lacci ho tratto il piede Now that I freed myself from your snares,
Più segno non vedrai della mia fede. You’ll see no longer a sign of my love.
Se fu già tua chioma d’oro If your golden hair was one day
Caro laccio al nostro amore A lovely enticement for my love
E sì ricco e bel tesoro And this rich, beautiful treasure
M’allettò con l’alma il core, Ensnared my heart and soul,
18Hor che mendace ogn’opra tua si vede, Now that your deceit transpires in all your deeds,
Per tua frode mutar, non vo mia fede. I will not change my heart for all your tricks.
Arsi e piansi e dal tuo fuoco I wept and burned; you sparked
Nel mio sen scintilla face. A great fire in my heart.
Stolto e pazzo, in ogni loco, I was foolish, I was mad,
Sol per te non trovai pace. Because of you nowhere could I find peace.
Ma già che disperata è la mercede, As there is not the slightest hope of reward,
Involo dal tuo amor ogni mia fede. I take away all my trust in your love.
Ogni riso tuo disprezzo I scorn that smile of yours
Che fu dianzi gioia al seno. That used to bring joy to my heart.
Non mi curo di tuo vezzo, I do not care for the charms of your beauty,
Né di sguardo più sereno. Nor do I care for your most loving glances.
Ben è sciocco colui che più ti crede A fool is he who still believes in you,
E pazza tu, se stimi aver mia fede. And you are mad if you think you have my love.
Sciolto, sciolto, rido e scherzo, Completely free, I laugh and joke.
Libertà dolce e soave! O how sweet and balmy is my freedom.
Amor più non vo tuo scherzo, Love, I care no longer for your jests,
Troppo è duro e troppo è grave. They are too harsh and cruel.
Al suo primiero stato il mio cor riede, My heart reverts to its earlier state,
E sciolta da tua frode è la mia fede. Your deceits have broken the bond of love.
=
Gioite, danzate, Dance and rejoice,
Ridete, cantate, Laugh and sing,
O pastorelle amate, Beloved shepherdesses,
Ch’ormai s’infiora For beautiful Dawn
La bella, bella Aurora. Is now in full flower.
Tutta lieta e ridente sen vien, Happy and smiling she’s coming to us,
Par ch’Amore le scherza nel sen. Methinks Love is playing in her heart.
Venite festose, Ye that are fairer than roses,
Leggiadre, vezzose, So pretty, so graceful,
O belle più che rose, Come and rejoice.
Ch’i prati ameni These meadows so pleasant
19Di fior, di fior son pieni. Are now filled with flowers
Hor che tutto si vede fiorir, Now that one sees everything in bloom
Tal stagione c’invit’al gioir. Such season bids us to rejoice.
Vedete, sentite Look and listen,
Gustate, gioite Taste and enjoy,
O pastorelle ardite, Impish shepherdesses.
Che gli augelletti The little birds
Con dolci, dolci affetti In ways o so sweet
Tutti lieti van cantando ognhor. Keep singing merrily, merrily.
Par che dicano: Viva l’Amor. Methinks in praise of Love they are singing.
Seguite tal stile If Spring glows still
S’havete simile On your faces
Il viso ad Aprile, Sing, o sing like the birds,
Ch’il tempo fugge For Time keeps going
E ‘l bel e ‘l bel distrugge. And destroys all that is beautiful.
La beltà si vedrà scolorir And when your beauty will fade
Né gioverà dopo il pentir. It will be too late to regret its going away.
q
Lontan dal tuo bel volto Away from your beautiful visage
Ho visto pochi soli, I haven’t seen many starry eyes
Ch’il caro nodo sciolto That would make Love rob me again
Tosto l’amor m’involi. Of the loosened knot that tied me.
Anch’io dunque, incostante, So I, too, am now inconstant
Rompo la fedeltà. And break my faith.
Ma vedrem, Alma volante, But we shall see, my flighty soul,
Chi di noi si pentirà. Who of us will then regret it.
Dove son le promesse, Where are all those promises,
Le parole giurate, Those oaths of loyalty,
Quelle lagrime spesse Those many tears shed
Nel mio partir versate. As I was going away.
Folle è ben ed errante Mad and sadly mistaken
Chi mai ti crederà. Is he who ever believes in you.
Ma vedrem, alma volante, But we shall see, my flighty soul,
Chi di noi si pentirà. Who of us will then regret it.
20w
I nostril voti il ciel The pitiful Heavens accept
Pien di pieta riceve e porge aita, Our vows and offer succour,
E tu sdegni, crudel, Whereas, in your cruelty,
I voti del cor mio, de la mia vita. You scorn my life and heart’s vows
E dal mio sen che langue And only glance disdainfully at the blood
Miri sdegnosa a scaturirmi il sangue. That springs forth from my wounded breast.
Son cari a’ sommi dei The immortal Gods are pleased
Le vittime, gl’incendi, i doni, i prieghi, By sacrificial victims, burnt offerings and prayers,
E tu che Diva sei But you, yourself a Goddess,
I sacrifici miei ricever neghi. Reject all my sacrifices.
Cosi il mio cor, diviso, And so my mortally wounded heart
Piange in faccia all’altar del tuo bel viso. Weeps before the altar of your beauteous visage.
Candidi e vaghi fiori The sky salutes the coming of Dawn
Il cielo porge all’alba in sul mattino. With beautiful white flowers.
A te che m’innamori, To you, my dear Love that make me love you so,
Amorosetta, io porto il gelsomino. I bring the jasmine.
Tu rifiutasti, altera, But, in your cruel pride,
Della mia bianca fè l’immago vera. You’ve refused the true image of my pure love.
Ma, superba, ricusa My proud lady rejects my poor gifts
Li miei poveri doni e i voti sprezza And disdains my vows.
Ché l’alma, a pianger usa, My soul, so used to weeping
Saprà adorar anco la tua fierezza, Will adore your pride as well,
Ché, in vilipeso core, For, in a scorned heart,
D’angosce, di martir si pasce Amore. Love is nourished by pain and suffering.
Andrò piangendo solo, Alone, sad and wandering,
Per deserte contrade, afflitto, errante, I will go on weeping through deserted fields,
E, col pensier, a volo And, in my thoughts, I’ll raise myself in flight
Innalzerommi al ciel del tuo sembiante, Up to the heavens of your divine looks,
E i rifiutati doni And the gifts that you refused
Narreranno ad Amor le mie ragioni. Will reveal to Love all my reasons.
21e
Mai più durò d’Amor sì lunga Guerra, Never did the war of Love last so long,
Mai visse tanto un cor Never did a heart live so long
Sotto legge tirannica e severa Under such harsh tyranny
Di donna ch’ha per fin darmi dolor. Imposed by a woman who just cherishes my pain.
Lidia, non più, No longer, Lydia,
Hai vinto, su! You won!
O dal petto dolente il spirto toglimi, Take my life from my sorrowful heart
O del tuo sen nel paradiso accoglimi. Or take me to the paradise of your breast.
Se gioisci al mio mal, che badi, hor prendi If you rejoice at the pain you mean to cause
Il sommo dei piacer. Make it then your pleasure supreme.
Contendimi il mirarti e tosto attendi, Forbid my seeing you and, without a word,
Senza pur dir, me morto cader. You’ll see me drop dead on the spot.
Lidia, non più… No longer, Lydia…
Pur sai, crudel, che senza te non posso You know, my cruel one, that, without you,
Viver se non meschin, I can only live in utter misery.
E il mal che è penetrato insin all’osso, The ailment that affects now my very bones
Sol dalla tua pietà spera il suo fin. Can be cured only by your pity.
Lidia, non più… No longer, Lydia…
Io so pur d’esser quel per cui dicesti I know I’m the one for whom you said
Serbarsi ogni piacer, Every pleasure was to be reserved,
Ma sotto accenti grati, effetti mesti, But with pleasant words and sad looks
Veggio che a darmi morte hai sol pensier. I can see you only mean to give me death.
Lidia, non più… No longer, Lydia…
Bella sovra ogni bella, ecco rivolgo O beauty above all beauties,
A te, supplice e humil, A humble suppliant, I turn to you
E mentre io prego, ohimé, che’l freno io sciolgo And, as I pray and openly let my tears
Al pianto che ti irriga il sen gentil, Irrigate your delicate breast,
Lidia, il tuo sen Lydia, give me
Rendimi pien Your heart completely,
Non di severità crudel che esamina, No longer full of harshness and cruel judgment
Ma di piacer che imparadisi l’anima. But of pleasures that are heavenly to my soul.
22r
Rompi, rompi, mio core, Tear, O tear apart, my heart,
Quell’amoroso laccio That loving snare
Già sì soave impaccio That was such pleasing hindrance
Onde t’avvinse il tuo nemico Amore, When Love, your enemy, caught you in it.
Poiché, sì cruda e ria, Ever cruel and wicked,
Non conosce pietà la Donna mia. My Lady knows not pity.
Spegni, spegni quel foco Quench, O quench that fire
Onde sì dolce ardesti That burned you O so gently
Per doi lumi celesti, For two heavenly eyes
Il tuo incendio, il tuo mal prendendo in gioco. Without your heeding your fiery torment.
Poscia che già mai fia For it shall never be
Che si mova a pietà la Donna mia. My Lady to pity will be moved.
Non mirate più mai O my ever tearful eyes without respite,
Il suo leggiadro viso Never look again
Già vostro Paradiso, At her enchanting visage
O senza premio lagrimosi rai, That made you feel in Heaven,
Poiché non è che stia For where there is pity
Ov’alberga pietà la Donna mia. My Lady will never dwell.
E se l’empia mia sorte And if my cruel destiny
Vuol che sol col morire Wills that my suffering
Finisca il mio martire, Only end in death,
Sciolga il nodo d’Amor colpo di morte, Let Death then cut this knot of love,
Che morirò ben pria For surely will I die long before
Ch’abbia di me pietà la Donna mia. My Lady will have pity on me.
t
Al seren del tuo volto, To the serenity of your visage,
Nottoletta d’Amore, My adorable coquette,
Tra dolce laccio involto My heart, so sweetly ensnared,
Su l’ali de’sospir vola il mio core. Flies on the wings of a sigh.
Ma quando irati scoccano But when your eyes
Gl’occhi lividi, Turn cold in anger and shoot
A nembi strali fioccano Clouds of wounding arrows
23Troppo rigidi That are so hard to bear
Onde gridar deggio sempre languendo: That, languishing, I am moved to cry:
Soccorri, soccorri, Mia Lilla, ch’io moro. Succour me for I’m dying, my Lilla!
O strani dolori! Such strange pains!
Mio caro tesoro, Help me, my darling,
Soccorri, ch’io moro. Or I will die for sure.
D’un tuo vezzoso ardire, When you dare to be so adorably seductive,
Qual ape intorno al miele Just like a bee around sweet honey
Sen gira il mio desire, My passionate desire turns entirely to you
E tutto gioia spiro ognhor fedele, And, forever faithful, I live in pure joy.
Ma, se sdegnata laceri But if in implacable anger
Implacabile, You lash at me,
Ahi che mi stempri e maceri, Alas, your fearful power
Formidabile; Sickens and destroys me so
Onde gridar deggio… That languishing I am moved to cry…
Al gioir d’un tuo riso, At a joyful flashing of your laughter,
Tortorella amorosa, My loving dove,
Pende dal tuo bel viso My whole soul, happy and joyful,
Tutta l’anima mia, lieta e gioiosa. Is intent on your lovely face,
Ma quando il ciglio inturbidi, But when you frown
Fiera e rigida, In cold anger,
Ahi, che mi sbrani e turbidi You storm and tear apart
L’alma frigida, My frightened soul so
Onde gridar deggio… That languishing I am moved to cry…
Deh, non far più ch’io miri Please never let me see again
Quei tuoi belli occhi irati, Your beautiful eyes flashing in anger,
Fa ch’il tuo fido aspiri Let your faithful lover hope
Goder gioie d’Amor, frutti bramati. To rejoice in the longed for joys of Love,
Che, se placata godoti For if I rejoice at your forbearance
Pazientissima, When you calm down,
T’adoro e sempre lodoti I adore and praise you always
Cortesissima; When you are most courteous, so
Onde cantando andrò, felice amante. That, a happy lover, I’ll be moved to sing:
Mia Lilla, mia Lilla, O Lilla, my Lilla,
24Che speri, che taci. You hope and keep silent.
Amore sfavilla, Love is in full bloom:
Congiongasi i baci Let our lips be joined in kisses
O molli o mordaci. Either languid or passionate.
y
Io non vo’ pianger più. No more will I cry!
Mira e infinga tu Look and feign
Quanto pur sai. With all your art.
Ai lusinghieri rai Blind as a mole
Occhi di talpa havrò. I’ll be to your enticing looks.
Se tu sarai Sirena, Aspe io sarò. If a siren you will be, an asp will be I.
Se ti manca pietà, If you are not capable of pity,
Che val tua beltà, To what end is your beauty,
Lidia spietata? Cruel Lydia?
D’una gemma pregiata A bit of frost sometimes
Picciol ghiaccio talhor Will darken all the brightness
Oscuro il lume fa, vile il valor. Of a precious stone and cheapen it.
Ben m’udisti cantar, You heard me sing,
Ben m’udisti lodar You heard me praise
I tuoi sembianti, The features of your face,
Ma furono i miei canti Yet mine was the song
D’huomo che, coi martir Of a man who, under torture,
Costretto è da reo giudice a mentir. Is made to lie by a wicked judge.
Vuoi che creda al tuo ben? Should I believe in your love?
Anco l’angue crudel Even a vicious snake
Piace e alletta, Can be pleasing and attractive;
Anco il fuoco diletta, Fire, too, will give pleasure,
Anco il ciel è seren The sky may appear serene,
E pur quest’ arde, e quel vibra il balen. But the one will burn, the other strike you
with lightning.
25Rimirar più non suol My heart no longer
A l’esca il cor, ma sol Wonders at the bait;
Hor mira il vischio. It now looks for the trap.
Ogni gioia ha il suo rischio All happiness has
E libertade al fin A margin of risk,
È un tesoro celeste, è un ben divin. But freedom is a god-given, heavenly gift.
u
Superbetta, sei pur colta. For all your pride, you are caught, my Dear,
Al fuggir non havrai scampo And won’t be able to run away
Questa volta. This time.
Dolce campo Our sweet bed
Fian d’amor l’herbett’e i fiori. Of Love will be sweet herbs and flowers.
Odi, Clori, il mio desio. Chloris, hark to my desire,
Com’amica ti vogl’io. I yearn for your love.
Di che temi, semplicetta? Don’t be afraid, simple girl;
Perché fuggi Amor, repente Why do you so swiftly run from Love
Qual saetta? Like an arrow?
Dolcemente, O so sweetly,
Sotto l’ombre vaghe e amene In this pleasant shade,
Tante pene fian temprate All your worries will be cured
Da quest’ aure dolci e grate. By these sweet and fragrant breezes.
Vedi l’Alba che c’invita, See how Dawn is bidding us.
Odi l’Aura e il mormorio, Listen to the breeze and the murmur,
Dolce vita O so lively,
Di quell rio, Of that brook.
Che con piedi di cristalli With crystal feet
Par che balli; e quelle fronde It seems to dance, while those branches,
Che, piegate, bacian l’onde. All bent down, kiss the gentle waves.
Vedi come volan snelli See those birds how neatly do they fly,
Verdi, bianchi, gialli e azzurri White and green, blue and yellow,
Quegli augelli, In the sky.
26E i sussurri Of winds and air
Ferman spesso d’aura e venti, Oft they still the murmurs
Che, ridenti, vanno loro Which, smiling, form,
Per amor formando un choro. For them, a loving chorus.
Vedi come per le strade See how, on the roads,
Vola l’Alba e su’ fiori Dawn flies and distills
Di rugiade Fresh dew-drops
Stilla humori. On all the flowers.
Così dolci effetti e cari Such sweet, such pleasing things
Non impari; taci, taci, You don’t wish to learn; but hush,
Lacia, lascia ch’io ti baci. Just let me, let me kiss you.
i
Cruda e proterva, Proud and haughty,
Nemica d’amore, The true enemy of love,
Fai dunque conserva You make your heart
D’asprezze il tuo core. A preserve of harshness.
A tanta mia fede You offer me death
Dai morte in mercede. In exchange for my faithful love.
Ahi fiera, Ahi spietata! O cruel ad pitiless one!
A me che t’adoro tu sei così ingrata. You are so ungrateful to him that adores you.
Me stesso abborrisco che tanto t’ho amata. I hate myself for loving you so.
Se l’oro nei crini If Nature put gold in your hair
Natura ti pose, Rubies on your lips,
Nei labbri i rubini, Roses on your cheeks,
Nel volto le rose, Time will soon enough
Dal tempo sie in breve Put gold on your cheeks
Oro il viso, il crin neve. And snow in your hair.
Ahi fiera, Ahi spietata! O cruel and pitiless one!
A me che t’adoro tu sei così ingrata. You are so ungrateful to him that adores you.
Me stesso abborisco che tanto t’ho amata. I hate myself for loving you so.
27La neve del seno, The snow in your breast,
Degli occhi i bei rai The sparkling in your beautiful eyes
Per cui venni meno That caused me to faint
Et arsi e gelai, And made me in turn burn and freeze,
Languenti e cadute I will see extinguished and droopy.
Vedrò in mia salute. I will be well then,
Ahi fiera, Ahi spietata! O cruel and pitiless one!
A me che t’adoro tu sei così ingrata. You are so ungrateful to him that adores you.
Me stesso abborrisco che tanto t’ho amata. I hate myself for loving you so.
o
Folle, folle chi crede He is mad who believes
Che quell’infido core That deceitful heart
Sia tempio mai di fede To be a temple of trust
Oppur nido d’Amore. Or a nest of Love.
Ella sol ama e sospira She only loves and desires
Colui ch’ultimo la mira. The last one who notices her.
Esca ad ogni favilla, Fuel for the smallest of sparks,
Bersaglio ad ogni strale, A target for every arrow,
Tosto avvampa e sfavilla, She’s instantly on fire
Tosto ha piaga mortale. Instantly she is mortally wounded.
Ella sol ama e sospira She only loves and desires
Colui ch’ultimo la mira. The last one who notices her.
Più salda al vento è fronda, A leaf will withstand much longer the wind,
Men leggiera è la spuma, Foam is much more consistent,
Più ferma in aria è piuma, Far less mobile is a plume in the air,
Men volubile è l’onda. Far less mutable the mutable wave.
Ella sol ama e sospira She only loves and desires
Colui ch’ultimo la mira. The last one who notices her.
Ne le sue reti presa, When she spots a soul
Poiché un’anima vede, Caught in her snare,
Tosto la mente intesa Instantly her mind is set upon
Voglie a novelle prede. Wanting new preys.
28Ella sol ama e sospira She only loves and desires
Colui ch’ultimo la mira. The last one who notices her.
Io non però ti accuso I do not scold you
Se più in un momento If, in a moment, you hold
Cento pensier e cento; Hundreds, hundreds of thoughts.
Anzi Lidia ti scuso, On the contrary, I excuse you,
Poiché fuor de le lor salme Since, out of their bodies,
In te vivono mille Alme. In your heart you hold thousands of souls.
p
Sprezzami, Bionda, e fuggimi, Bionda, spurn and avoid me,
Straziami pur e struggimi. Torment me and tear me apart,
Cruda in amar, Ever cruel in love,
Sta sempre e sdegnosa. Be always disdainful.
Qual diva pietosa, Yet, as a compassionate deity
Ti voglio adorar. I will always adore you.
Perché a te sola, For to you alone,
Ben che spietata, Though so heartless,
Dal cor beata My soul joyfully flies
L’alma s’en vola From within my heart.
Tal che, senz’altro premio bramar, And, wishing no other reward,
Ti voglio adorar. I will always adore you.
Dunque sta pur durissima Go on being harsh,
Et ognhor meco asprissima, Always be cruel to me.
Sorda al pregar, Deaf to my entreaties,
Sta sempre rubella. Be ever inimical to me.
Qual diva novella Yet, as a new kind of deity
Ti voglio adorar. I will always adore you.
Che ‘l tuo veleno, Your venom,
Aspe d’amore, Love asp that you are,
Ebro sì il core So inebriates my heart
Rendemi el’ seno, Within my breast
29Ch’ad altra gioia senza aspirar That, wishing no other joy,
Ti voglio adorar. I will always adore you.
Fa ch’alla fine atterrimi Cause me such sorrow
Doglia, ch’in tomba serrimi, And drive me to the grave,
Ch’io, nel mancar Yet, as I’ll be dying
Fra strazij e offese, Torn and tormented,
Qual diva cortese As a kind deity
Ti voglio adorar. I will always adore you.
Che nel troncarmi, For, as you’re cutting
Parca vitale, The thread of my life,
Mio fil mortale, Life-giving Parca that you are,
Vita puoi darmi You give me such life
Tal che, senza altra morte bramar, That, wishing no other death,
Ti voglio adorar. I will always adore you.
Florido, in pace, languido Thus Florido, languid and at peace,
Sì disse a Bionda e, pallido Spoke to Bionda, and, pale as he was,
L’empia ascoltar Did not care to listen
Non volle, fuggendo; To the wicked one, and fled
Riprese ei dicendo: Saying once more:
Ti voglio adorar. I will always adore you.
Ella più allhora Ungrateful, she moves her feet
Move il piede ingrato; Even faster in the other direction;
Quel, come alato As if he had wings,
Seguela, e plora, He follows her sadly lamenting
Né de dir mesto sapea restar: And could not stop saying again:
Ti voglio adorar. I will always adore you.
[
Breve è la vita, Amor, Love, Life is short
Lunga la speme While the hopes
Onde m’allett’ il cor, That make my heart rejoice
E quelle pene And the pain
30Onde per te languì tanto il cor mio That caused my heart to suffer so
Troppo, ah, pur troppo ancor pianger degg’io. I must lament, so much lament again.
Quanta si deggia fè Alas, I have too well experienced
Ad un bel viso The cost of true love
Il so per prova, ohimè; for such a wondrous face.
Così trae fiso Thus a deceitful serpent
A mirar sua beltà fera fallace Attracts its prey to gaze transfixed at its beauty
Che poi divora altrui, cruda e vorace. Only to devour it ravenously in its cruelty.
Tu ti nutri, crudel, You feed, o cruel one,
Solo del sangue Only on the blood
Del servo tuo fedel Of your faithful servant,
E quindi esangue And that is why, in their pallor,
Porta consparso ogni più fido amante The faces of all faithful lovers
Del color della morte il suo sembiante. Bear all over the colour of death.
Occhi belli però For you, beautiful eyes,
Di qualche pianto Some tears I am willing
Con voi patteggerò, To barter still,
Ma non già tanto But not so many,
Ch’al foco dei sospir stillato, il core That, distilled by the fire of my sighs,
Dal lume di quest’ occhi esca poi fuore. My heart may fall out with the light of my eyes.
Sempre, sempre languir It would be death for sure
Sarebbe morte To languish all the time,
E non Amor seguir, And not a Love pursuit;
E se per sorte And if, by chance,
Deggio in Amore i giorni miei fornire, Must I end my days in Love,
Vuò di dolcezza, e non di duol, morire. In happiness, not in sorrow do I wish to die.
L’alma vi adorerà My soul will only adore you
Pur ch’un sol raggio So long as I can see in you
Rimiri di pietà. At least one ray of pity.
Così in viaggio Thus, along his wandering,
Chiede qualche ristoro il Pellegrino Does the pilgrim beg for some refreshment
Per più franco seguir lungo cammino. All the better to continue on his long way.
31You can also read
