Sonnets, Songs, and Triumphs

...of truth. When I was in part another man from what I am now: original: "QVandera in pte altro hom d'al chio sono." This refers to line 4 of Petrarch's opening sonnet. because then I obeyed the irrational part of the soul—that is, the sensory appetite—in whose tempestuous abode dwell the most turbulent passions. But now I obey the rational part, which is why I say: WHEREVER IT MAY BE. original: "OV Esinguiāto .SIA." This indicates that any of you who listen and who understand love through experience will comprehend how extremely powerful and almost invincible love is. I hope to find pity and compassion. Not just a pardon, and not solely forgiveness. Of the varied style: of my sonnets and songs. In which I: in which I weep and reason. It is the custom of lovers that when they cannot satisfy their desire, they speak while weeping, so much are they spurred and afflicted by the stings of love. And therefore he adds: Among the vain hopes: Of being able to satisfy the amorous appetite, which often fails. The vain grief: insofar as many grieve for that which they reasonably should not, or because sometimes that which they never believed they could achieve falls into their nets. But since Petrarch has thus far demonstrated the quality of his error—which he fell into because of his youthful age given to passions, and especially to carnal lust—now in his old age, his natural heat is largely extinguished. He declares how much reason has been able to prevail within him, saying: But I see well now in this my old age how I was for a long time a source of gossip to all the people: original: "vns fabula al popul tutto." To be a "fable" or "story" meant to be the subject of public mockery or scandal. because when any man of reputation lives, in deeds or words, otherwise than his dignity requires, he causes everyone to speak of him with various slanders, new fictions, and lies. WHEREFORE: for which reason. Often: frequently I am ashamed within myself of myself, merely thinking of my error; and he touches on three things which he says are the result of such a falling in love: namely, shame, repentance, and knowledge. Although according to the right order of reason, a man first recognizes his error; once recognized, he is ashamed of it; and together with the shame follows the displeasure and repentance he has for having erred in such a manner. Therefore he says: And for my wandering. Insofar as I have attended to the vanity of love alone. Shame: which is the fear of infamy; this is the fruit. That is, shame is the first fruit that followed for me. Insofar as I am ashamed of what I have done, the second fruit is The repenting: That I grieve and repent for my error. And the third fruit is clearly knowing that what pleases the world—meaning every worldly pleasure—Is a brief dream: A central Petrarchan theme: the ephemeral nature of earthly joy compared to the eternal. it is a thing of short duration, no less vain than a dream; and this is almost manifest regarding his beloved My Lady M. l. likely refers to "Madonna Laura.". No fruit comes from carnal pleasure, however brief that pleasure may be; and after it is done, the man, considering the weariness within himself, repents of it and gains infamy from it.

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As I am constrained by the prayers of noble spirits, I, Antonio da Tempo, Judge in the city of Padua, according to my small wit, have undertaken to write briefly the arguments arguments: concise summaries of the themes or plot that I perceive in the Canzoniere of the most celebrated poet Master Francesco Petrarch, to inspire anyone else of greater learning and eloquence. I have taken upon myself a quite difficult burden, adhering in few words to certain contemporaries and intimates of the aforementioned poet to explain through argument what I have understood. I am driven not by pride nor temerity, but rather to do something pleasing for you, Lord Alberto of the noble della Scala family The della Scala (Scaliger) family were the lords of Verona and patrons of the arts., my chief lord, who has deigned with your letters to awaken the wit of your subject and humble servant. I wish to set aside that doubt which some have in debating whether Petrarch wrote as a poet by pretending to be in love, or whether he was truly dazzled by a real woman called Laureta (and later by him, Laura). He excelled singularly in this style and language because he was truly in love. I could provide many proofs of this, but reading the work itself makes his fervent love manifest; it seems to me a correct judgment to state that he was constrained by a living woman, who was fortunate to have such a lover. And therefore we shall enter into our subject and reading, submitting it not to the malicious, insidious, or envious, but to everyone of clear wit and learning, for their correction where appropriate. It begins, then, as follows:

YOU who listen to this Sonnet: it is the preface to all those that follow, as can be seen. In it, the author wishes to explain the contents of his book, as is customary at the beginning of every work. At the same time, he adds his excuse, demonstrating in a very clear manner that he cannot well excuse himself, since every passion is inexcusable except to those who are oppressed by a similar passion. In this way, he appears to deserve more mercy by not hiding his error than if he were to excuse it. And so, speaking to every listener, he says: YOU who listen to the scattered: The famous first line: "Voi ch'ascoltate in rime sparse il suono." he says "scattered" because the material is not continuous as it is with many other poets; rather, in every sonnet and song, the rhymes are scattered and diverse, and they are properly placed as sonnets, which are like sighs that express the passions.