Poems translation

Front matter

fit. a i Satine Sta - a |

Hetty b haat fi

i if i

Introduction

THERE {is a pleasant tradition, not indeed susceptible ot conclusive proof, but supported by a fair amount of indirect evidence, that Chaucer in 1373 met Petrarch at Padua. In any case, Trotlus and Criseyde, the House of Fame, and the Canterbury Tales mark the beginning of the literary relations between England and Italy; relations which have continued, almost uninterruptedly, down to the present day, although naturally more close and intimate at some periods than at others. The poetry and prose of our early Tudor and Elizabethan age drew copious and noble inspiration from Italian sources; the poetry and prose of the late eighteenth and early nineteenth century in Italy, the epoch that preceded and heralded the Risorgimento, exemplified in Monti and Manzoni, were considerably influenced by English models. Literature has been one of the many links in the chain of gold that has bound the two nations together; but, in this respect at least, England has received immeasurably more than she has given. The gift of the land of Dante to the land of Shakespeare culminated in the nineteenth century, when, in the children of her exiled poet and patriot, Gabriele Rossetti (who escaped from Naples in a British ship and settled in London in 1824), Italy gave us two great poets: Dante Gabriel Rossetti ( 1828- 1882) and Christina Georgina Rossetti (1830-1894); two great poets who, if mainly English in their art, were three-fourths Italian in blood. It is impossible to dissociate Dante Gabriel Rossetti in our thoughts from the supreme poet whose name he so worthily bore. He wrote of himself: ‘‘ The first associations I have are connected with my father’s devoted studies, which, from his own point of view, have done so much towards the general investigation of Dante’s writings. Thus, in those early days, all around me partook of the influence of the great Florentine; till, from viewing it as a natural element, I also, growing older, was drawn within the circle.” Rossetti’s first volume, issued in 1861 under the title of The Early Italian Poets, and republished with vil:

Or dri HO VIeztINGED CIT. TIRD ARY vill Rossetti’s Poems a different arrangement in 1874 as Dante and his Circle, opened to English readers a new world of spiritual and poetic beauty. Other English translations of the Vita Nuova have appeared since, surpassing his, it may be, in strict accuracy of rendering (especially as regards the prose narrative); but it may safely be predicted that none will ever approach the music of Rossetti’s version of the poems that stand out like gems from their golden setting in this book of Dante’s youth and early manhood. Here, for once, what Shelley, speaking of “‘ the vanity of translation,” called ‘‘the burthen of the curse of Babel,” is almost lifted from our shoulders.

The volume of Poems, issued in 1870, secured a place to its author among the most original poets of the nineteenth century. Its opening piece, The Blessed Damozel, destined to be the best known and best loved of all his works, had been written in the poet’s nineteenth year; the masterly and virile Dante at Verona, a noble pendant to the translation of the Vita Nuova, with its presentation of the sterner side of Dante’s character, was begun only a year or two later; while the last sonnet of The House of Life and The Stream’s Secret date from the actual year of publication. In striking contrast with Keats, “our English nightingale,” the ‘“ pang-dowered poet,” whom he had deeply loved and admired from his boyhood, there is no very obvious progression in artistic power to be noticed through the course of Rossetti’s career, even as, to the last, there is no sign of decline in inspiration, as far as his poems are concerned; he seems, indeed, to have come, almost at once, into his full poetic inheritance. It must, however, be borne in mind that his poems are not always presented to us as they were originally written. As his brother, biographer, and editor, Mr. William Michael Rossetti, writes: ‘ Dante Rossetti was a very fastidious writer. . . . He wrote out of a large fund or reserve of thought and consideration, which would culminate in a clear impulse or (as we say) an inspiration. In the execution he was always heedful and reflective from the first, and he spared no after-pains in clarifying and perfecting. He abhorred anything straggling, slipshod, profuse, or uncondensed. He often recurred to his old poems, and was reluctant to leave them merely as they were. A natural concomitant of this state of mind was a great

Introduction ix repugnance to the notion of publishing, or of having published after his death, whatever he regarded as juvenile, petty, or inadequate.’ He seems, indeed, to have exemplified in his own practice the ideal expressed in one of his later poems (Soothsay)— “ Strive that thy works prove equal: lest

That work which thou hast done the best

Should come to be to thee at length

(Even as to envy seems the strength

Of others) hateful and abhorr’d,—

Thine own above thyself made lord,—

Of self-rebuke the bitterest.”

Rossetti’s note is essentially an individual one, and what influences of other poets can be traced in his work—Keats and Coleridge and Elizabeth Barrett Browning, perhaps, and (in A Last Confession) Robert Browning—are slight and transient. His close study of Dante and the early Italians is here and there reflected, as also his love of the old ballad literature. The pictorial character of his poetry, as we should expect in a painter, is naturally very noticeable. No poet is richer in definite, clearly visualised imagery. As Walter Pater wrote: “One of the peculiarities of The Blessed Damozel was a definiteness of sensible imagery, which seemed almost grotesque to some, and was strange, above all, in a theme so profoundly visionary. The golden bar of heaven from which she leaned, her hair yellow like ripe corn, are but examples of a general treatment, as naively detailed as in the pictures of those early painters contemporary with Dante, who has shown a similar care for minute and definite imagery in his verse; there, too, in the very midst of profoundly mystic vision,”’ Pater notes, too, what he calls Rossetti’s ‘‘ poetic anthropomorphism,”’ in which not only Death, Sleep, and Love, but even the hours become “living creatures, with hands and eyes and articulate voices ’’—

“ What whisperest thou? Nay, why Name the dead hours? I mind them well: Their ghosts in many darkened doorways dwell

With desolate eyes to know them by.

The hour that must be born ere it can die,— Of that I’d have thee tell.”

“ Stands it not by the door— Love’s Hour—till she and I shall meet; With bodiless form and unapparent feet That cast no shadow yet before, Though round its head the dawn begins to pour The breath that makes day sweet? ”

* 627 x Rossetti’s Poems

From the modernity of Jenny and The Burden of Nineveh, we pass to the imaginative realisation of dreamworld in Love’s Nocturn, and the glorification of the old ballads in The Staff and Scrip and Sister Helen—the one with its spiritual ideal of medizval chivalry prolonged into Paradise, the other handling the theme of medizval superstition with a power over the weird and uncanny unrivalled since Coleridge left Christabel unfinished. After the closing canto of Dante’s Paradiso and Petrarch’s last canzone, Vergine bella che di sol vestita, no such beautiful hymn to the Blessed Virgin has ever been uttered as Rossetti’s Ave; while the final stanzas of The Portrait attain a height of mysticism which approaches that of the singer of Beatrice—

“* Even so, where Heaven holds breath and hears The beating heart of Love’s own breast,— Where round the secret of all spheres All angels lay their wings to rest,— How shall my soul stand rapt and awed, When, by the new birth borne abroad Throughout the music of the suns,

It enters in her soul at once And knows the silence there for God!

Here with her face doth memory sit Meanwhile, and wait the day’s decline,

Till other eyes shall look from it,

Eyes of the spirit’s Palestine,

Even than the old gaze tenderer;

While hopes and aims long lost with her Stand round her image side by side, Like tombs of pilgrims that have died

About the Holy Sepulchre.”

A section of the Poems bears the sub-title: Sonnets and Songs towards a work to be called “‘ The House of Life.” The fifty sonnets thus included, together with six of the others in this volume, reappear (with the exception of Nuptial Sleep), associated with forty-six additional ones, as the completed House of Life in the edition of 1881, where it is composed of sonnets alone. In some respects the sonnets may be regarded as Rossetti’s highest achievement —the fruit of his most ‘ fundamental brain-work,” to adopt his own phrase. It would be easy to select half a dozen that would hold their own among the most perfect sonnets written in any language, including the Italian.

It is amazing now to think that, on the first appearance of these poems, there was a critic found to bring the charge of ‘‘fleshliness”” against them. The poet himself cites

Introduction xi the sonnet entitled Love-Sweetness as a conclusive answer to the accusation. Love, as depicted in The House of Life, knows not ‘‘ her body from her soul’”’ (Love-Lily); it finds “Passion of Love’”’ and ‘“‘ Love’s Worship ’”’ inseparably plighted to its object (Passion and Worship); but, as Rossetti puts it, ‘‘ the concurrence of the soul at all times ” is needed. Thus, in The Stream’s Secret— “Yet most with the sweet soul Shall love’s espousals then be knit; For very passion of peace shall breathe from it O’er tremulous wings that touch the goal, As on the unmeasured height of Love’s control The lustral fires are lit.”

Such a conception of love takes deeper colour from mysticism; as in a sonnet (Heart’s Hope) first printed in the edition of 1881—

“For lo! in some poor rhythmic period, Lady, I fain would tell how evermore Thy soul I know not from thy body, nor Thee from myself, neither our love from God.”

A few words of explanation may not be out of place concerning the works of the early Italian poets, more particularly Dante’s predecessors and older contemporaries, which accompany the translation of the Vita Nuova.

Italian vernacular literature first appeared in artistic form in the work of the poets of the so-called Sicilian school, who were the immediate heirs and successors of the Provencal troubadours. The poetry of this school was called “ Sicilian,” because it arose and centred in the court of the Emperor Frederick II., who was king of Sicily; it is not usually written in the Sicilian dialect, nor exclusively by poets who were Sicilian in race. It begins with Jacopo da Lentino, reaches its high-water mark with Rinaldo d’Aquino and Giacomino Pugliese, and runs, broadly speaking, from the twenties to the sixties of the thirteenth century. This poetry deals almost exclusively with the subject of love, moving in a narrow circle of ideas, rehandling the themes and adopting the imagery of the troubadours of Provence. In spite of its conventionality (above which the three poets named frequently soar), it is full of charm and lyrical beauty, and it laid the foundations of Italian metrical form. We may note that the earliest extant sonnets were written by Jacopo da Lentino and the famous Piero delle Vigne, the Emperor’s secretary of state.

xii Rossetti’s Poems

Shortly after the middle of the century, owing to the altered political conditions of Italy in consequence of the death of the Emperor (1250) and the overthrow of his son Manfred at the battle of Benevento (1266, the year after that of Dante’s birth), the literary centre of gravity shifted from the south to central Italy, from Sicily to Bologna and the cities of Tuscany. The poetry of the Sicilian school becomes merged into and absorbed by the poetry of the school of Fra Guittone of Arezzo. This school is mainly Tuscan, or, at least, its poets are usually natives of central Italy. These poets are inferior to the best of the Sicilians, imitating them and the Provengals in imagery and in metrical form, which latter they very notably developed; but they cover a wider field in their subject matter, for they sing of religious and political themes as well as of love. Fra Guittone can hardly be judged by the one sonnet (of questionable authenticity) that Rossetti has translated; Bonaggiunta of Lucca is here (in his love poems) the chief representative of this stage of evolution in Italian poetry. Finally, the school of Fra Guittone is superseded by the school of what Dante calls the dolce stil nuovo (‘‘ the sweet new style’’), which was inaugurated by Guido Guinicelli (more correctly, Guinizelli) of Bologna. Dante, in the Purgatorto, recognises Guido Guinizelli as “the father of me and of the others, my betters, (they) who ever used sweet and gracious rhymes of love.” Guido’s great canzone, Al cor gentil ripara sempre amore (‘‘ Within the gentle heart Love shelters him’’), marks an epoch in the history of Italian poetry; it set forth a creed of ideal love and of the spiritual nature of true nobility which Dante was afterwards to make his own. The poets of this school received from their predecessors the three chief forms of Italian lyrical poetry: the canzone, the ballata, and the sonnet (which is regarded by Italians as a lyric); and handed them on to Petrarch. They gave these forms technical perfection, and at the same time partly freed Italian poetry from the outworn conventions and imagery of the troubadours and the Sicilians, partly infused fresh significance into these conventions and this imagery from the light of their own inner lives and spiritual experience, To this school of “the sweet new style” belong Dante himself as a lyrical poet, and his friends, Guido Cavalcanti, Lapo Gianni, and Cino da Pistoia. We may regard the

Introduction Xiii older schools and the school of ‘‘ the sweet new style” as

struggling for pre-eminence in the years of Dante’s youth, . and the latter winning its decisive victory in the poetry

of the Vita Nuova, the last sonnet of which appears to have

been written in 1292.

When Rossetti made his translations, accurate texts of these early Italian poets were not yet available, and the critical investigation of their works and the circumstances under which they wrote, upon which so much light has been thrown by Italian and German scholars of late years, had hardly begun. It is less remarkable that he should sometimes have been mistaken in the dates to which he assigned individual poems, or the poets to whom he attributed them, than that he should thus wonderfully have succeeded in making certain aspects of a whole epoch in Italian literature intelligible to English readers. His renderings of the contrasto, or dialogue between lover and lady, of Ciullo d’Alcamo, of the canzoni of Guido Guinizelli, and of the ballate of Guido Cavalcanti—to cite but a few examples— are among the highest triumphs of the translator’s art; and if, in not a few of the other pieces, the poem as it left Rossetti’s hands is something more subtly beautiful than its original, so much the greater surely is our gain.

EDMUND G. GARDNER.

BIBLIOGRAPHY

Worxs.—Sir Hugh the Heron, 1843; My Sister’s Sleep, Hand and Soul, The Blessed Damozel, The Carillon, From the Cliffs, Pax Vobis, Six Sonnets for Pictures (all appeared in The Germ), 1850; Sister Helen, 1853; The Burden of Nineveh, The Staff and Scrip, 1856; The Early Italian Poets, with trans. of Dante’s Vita Nuova, 1861; revised 1874, 1892; the trans. of La Vita Nuova alone, 1903; ed. Gilchrist’s Life of William Blake, 1863; 16 Sonnets of Life, Love and Death, 1869; Poems, 1870; new and enlarged edition, 1874; Siddal edition, 1899-1901; The Stealthy School of Criticism (reply in The Atheneum to Robert Buchanan's Fleshly School of Poetry), 1871; The Cloud Confines, 1872; Sunset Wings, 1872; Winter, Spring, and two trans. from Tommaseo, 1874; Ballads and Sonnets, 1881; Collected Works, ed. with eS aae and notes by W. M. Rossetti, 1886; Poetical Works, ed. by W. M. Rossetti, 1891; Ballads and Narrative Poems, 1893; Sonnets and Lyrical Poems, 1894; trans. of Biirger’s Lenore, 1900; Poems, ed. by W. M. Rossetti, 1904; Early Poems, 1906; Works, ed., revised and enlarged by W. M. Rossetti, 1911.

BrocraPHy.—Recollections of, by Hall Caine, 1882; A Record and a Study, by Wm. Sharp, 1882; Work and Influence, by W. Tirebuck, 1882; Life (Great Writers series), by Joseph Knight, 1887; Religion in Recent Art: Expository Lectures on Rossetti, by P. T. Forsyth, Se 1901; as Designer and Writer, by W. M. Rossetti, 1889; Life, by F, G, Stephens, 1894, 1908; and Pre-Raphaelite Movement, by Esther Wood, 1894; His Family Letters, ed. by W. M. Rossetti, 1895; Letters to William Allingham, 1854-76, ed. by Dr. G. Birkbeck Hill, 1897; Life, by H. C. Marillier, 1899, rg0r, 1904, 1906; Ruskin: Rossetti: Preraphaelitism, by W. M. Rossetti, 1899; Some Early Correspondence (1835-54) in W. M. Rossetti’s Preraphaelite Diaries and Letters, 1900; Lite, by Mme. Duclaux, 1901; Critical Essay on his Art, by F, H. M. Hueffer, 1902; Life and Works, by H. M. M. Rossetti, 1902; Rossetti Papers, 1862-70, ed. by W. M. Rossetti, 1903; Life (English Men of Letters series), _ A. C. Benson, 1904; Recollections of Rossetti and His Circle, by H. T. Dunn, 1904; Life, by Ernest Radford, 1905, 1908; The Rossettis, by E. L. Cary, 1907; A Study of Clough, Arnold, Rossetti and Morris, by Stopford A. Brooke, 1908, 1910.

Contents

POEMS

PAGE THe BLesseED DAMOZEL . “ Se = ic Z - - I Love’s Nocturn 2 ; ; : ; : 3 : 5 Troy Town , ; < : é s é ° - 9 THE BURDEN OF NINEVEH . 2 5 2 = é 12 EpEN BoweER = 2 : . " ‘ a E 17 13/625 : 2 3 r . - . a : A 23 THE STAFF AND SCRIP : 5 : : : 4 6 SS A Last CONFESSION . = E . 2 ‘ 5 5 32 DANTE AT VERONA - . 3 , 5 . 2 7 4G JENNY 4 : ‘ . - 7 a . é 60 THE PorRTRAIT . - : ; d a F 70 “ SistER HELEN . : - = 4 - S 6 STRATTON WATER : . - Z : : ; : 80 Tue STREAM’S SECRET - 5 ; ; : 3 8S Tue CAarvD-DEALER “ : c “ fi - . Ge Lah My SIstEr’s SLEEP. : é é - . Bi foie) A New YEeEAR’s BURDEN Fi - A : , 5 ee OS Even So . “ Z 5 5 7 : : 4 B® ASG) An Otp Sonc ENDED. : F 5 p v i 96 Aspecta MEDUSA c 6 : ; : 4 g ee OKs

THREE TRANSLATIONS FROM FRANCOIS VILLON: Tue BaLitap oF DEAD LADIES : ° . ae o7, To Deatu, oF His LaDy c : : P ci 98 His MortuHer’s SERVICE TO OUR LADY . 5 Z OS Joun or Tours . : : é : 3 . . - I00 My FatTHeEr’s CLOSE . rs c : é 0 ° : Or ONE GIRL . 5 5 . A 2 7 5 aagee 5 LO2

Part II Dante And His Circle

DANTE ALIGHIERI PAGE Tue New Lire (La Vita Nuova) . 3 : c 22 257 Sonnet (To BRuNETTO LatiNn1). Sent with the Vita Nuova 311 Sonnet. Of Beatrice de’ Portinari, on All Saints’ Day Ge 311

Sonnet. To certain Ladies; when Beatrice was lamenting her Father’s Death . = : ao 3352 Sonnet. To the same Ladies; spire eeak ropa aa giz Batitata. He will gaze upon Beatrice . a 313 Canzone. He beseeches Death for the Life of Beatries “ye 323 SoNNET. On the oth of June 1290 . 315 Sonnet (To C1nNo DAPistorA). Herebukes Chis for Piekieness 316 Sonnet (TO C1no DA PistTo!A). Written in Exile ° oe 327 Sonnet. Of Beauty and Duty 5 4 ° we) 318 Srstina. Of the Lady Pietra degli Serouigni ‘ ° + 318 Sonnet. To the Lady Pietra degli Scrovigni . . 319

Sonnet (To Gurpo CavaLcantT!). He imagines a pleasant voyage for Guido, Lapo Gianni, and himself, with their three Ladies . = 326

SoNnNET (TO GIOVANNI Guo ie answers the ioreote Sonnet (by Quirino) ; eye what he feels at the approach of Death . 3 ° 5 a Beh)

Gurpo CAVALCANTI SonnET (TO DANTE ALIGHIERI). He interprets Dante’s

Dream, related in the first Sonnet of the Vita Nuova . 320 Sonnet. To his Lady Joan, of Florence . : 321 SonnET. He compares = at with his ee aad nds

them wanting . fee 32k Sonnet. A Rapture homeecning his irady 2 ° Ser Batata. Of his Lady among other Ladies . P 322 Sonnet (To Guipo OrRLaND1). Of a consecrated Tusape

resembling his Lady 5 Agee Sonnet. Of the Eyes of a certain Mandetta, ei Thoulouse,

which resemble those of his Lady Joan, ‘of Florence . 324 Battata. He reveals, in a Dialogue, his ancree sing Love

for Mandetta . : . 324

Sonnet (TO DANTE ehece tip He answers the ony. Sonnet (by Dante), spealins with shame of his chaneey

Love - 326 SonNET (TO Deere ALiGHTER!). He eters in a faened

Vision, the successful issue of Lapo Gianni’s Love on AEG SonNET (TO DANTE ce He mistrusts the Love of

Lapo Gianni . 5 ° on ERE Sonnet. On the Detection Be a falc Puicad 2 . - 328 Sonnet. He speaks of a third Love of his 4 5 se 320 Batiata. Of a continual Death in Love. Z - 0329

Sonnet. To a Friend who does not pity his Love . S29

XXil Rossetti’s Poems

Gui1po CavALCANTI—continued. PAGE Batiata. He piel that his nie Pate gone from

Sonnet. Of his Pain icon a new Thee : ° S = MASE

SonNET (TO BERNARDO DA BotoGna). He answers Bernardo, commending Pinella, and saying that the Love he can offer her is already shared by many noble Ladies aor 333 Sonnet (TO Gurpo ORLAND!). In praise of Guido Orlandi’s

Lady i. - . 7 ' 7 5 <2 334 Sonnet (TO DANTE ALIGHIERI). He rebukes Dante for his

way of Life after the Death of Beatrice . . 395 Batata. Concerning a Shepherd-maid . s : + 435 Sonnet. Of an ill-favoured Lady . . F + 336 Sonnet. To a newly-enriched Man; reminding him of the

Wants of the Poor . $ 337

SonnET (TO Pope BOoONIFACE VIII). After the Popes Interdict, when the great Houses were leaving Florence 337

Batiata. In Exile at Sarzana ° i : . *: 338 Canzone. A Song of Fortune ‘ ‘ 3 F ne 430 Canzone. A Song against Poverty * = F «% 942 Canzone. He laments the —— and Incontinence

of his Youth . - “ = F om 349

Ca&zone. A Dispute with Death . = : gus C1INo DA PISTOIA

Sonnet (TO DANTE ALIGHIERI). He answers Dante, confessing his unsteadfast Heart . < : ; - - 3r0

Sonnet (TO DANTE ALIGHIERI). He answers the foregoing Sonnet (by Dante), and prays him, in the name of Beatrice, to continue his great Poem . . 317

SonNET (TO DANTE ALIGHIERI). He interprets Dantes Dream related in the first Sonnet of the Vita Nuova . 348

CANZONE (TO DANTE ALIGHIERI). On the Death of Beatrice

Portinari e : ‘ ‘ = 349 SonneT (TO DANTE ALIGHTERI). He conceives of some

Compensation in Death . : 351 MapricaL. To his Lady Selvaggia Vergiolesi likening

his Love to a search for Gold . ~< oe 352 Sonnet. To Love, in great Bitterness ..~ . 3 - 352 Sonnet. Death is not without but within him . = $52 Sonnet. A Trance of Love . < ¥ ‘ 353 Sonnet. Of the Grave of — on Reis Monte > dea

Sambuca < 353 Canzone. His Lament ee savatont 5 : . 354 Sonnet (To Gutpo CavaLcanTi). He owes nothing to

Guido as a Poet ‘ R 355

Sonnet. He impugns the verdicts of Dante’ s Chenithes «» 355

Sonnet. He condemns Dante for not nammg, in the Commedia, his friend Onesto di Boncima, one his Lady Selvaggia ‘ ‘ e : «. 356

Contents: XX111

DANTE DA MAIANO

Sonnet (To Dante Aticurert). He interprets Dante Alighieri’s Dream, related in the first Sonnet of the Vita Nuova

SONNET. He craves ipeilcpmetine ae a Dream ot his . : Sonnet. To his Lady Nina, of Sicily 5

Ageing He thanks his PaCy. for the Joy he hee naa Aes er

Crcco ANGIOLIERI, DA ra

SONNET (TO DANTE eens On the last Sonnet of the Vita Nuova

Sonnet. He will not be! too dais in Lbvé Sonnet. Of Love in Men and Devils t Sonnet. Of Love, in honour of his Mistress Becehina

Sonnet. Of Becchina, the Shoemaker’s Daughter . 5 Sonnet. To Messer Angiolieri, his Father % “ Sonnet. Of the 2oth Junei29r. : é c

Sonnet. In absence from Becchina Sonnet. Of Becchina in a rage

Sonnet. He rails against Dante, who naa ie his homage to Becchina : - “ a 5

Sonnet. Of his Four Tormentors

SONNET. Concerning his Father . 5 5 Sonnet. Of all he would do . ' - A Sonnet. He is past all Help .

Sonnet. Of why he is unhanged 3 6 Sonnet. Of why he would be a eralligais - 3 Sonnet. He argues his case with Death . r .

Sonnet. Of Becchina, and of her Husband SonNET. On the Death of his Father Sonnet. He would slay all who hate their Wathers j SonneET (TO DANTE ALIGHIERI). He writes to Dante, then in exile at Verona, defying him as no better than himself GuIpO ORLANDI MADRIGAL (To Gurpo CavALcanT!). In answer to the foregoing Sonnet (by Cavalcanti) . C c 4 PROLONGED SONNET (TO GuIDO CAvALCcANT!). He finds fault with the Conceits of the Lp eng Sonnet (by Cavalcanti) : , SONNET (TO GuIDO Chien. Ge answers fia foregoing Sonnet (by Cavalcanti), declaring himself his Lady’s Champion - - c : 6 Sonnet (To DANTE DA MAIANO). He interprets the Dream related in the foregoing Sonnet (by Dante da Maiano) . Sonnet. Against the ‘‘ White’ Ghibellines . BERNARDO DA BOLOGNA Sonnet (To Guipo CavALcaANnT!). He writes to Guido, telling him of the love which a certain Pinella showed on seeing him 4 c ? é 5 : GIANNI ALFANI Sonnet (To Gurpo CavALcANTI). On the part of a Lady of Pisa a . 5 F S f . F ‘

PAGE

357 357 358

358 370

XXIV Rossetti’s Poems

Dino CoMPAGNI Sonnet (To Guipo CAvALcANTI). He reproves Guido for his Arrogance in Love . 3 % . 3 ~ ° Lapro GIANNI MaprIGAL. What Love shall provide for him . . Batitata. A Message in charge for his Lady Lagia . . Dino FRESCOBALDI Sonnet. Of what his Lady is - : 4 : 4 Sonnet. Of the Star of his Love . - ~ : : Giotto pI BONDONE CaNzoNE. Of the Doctrine of Voluntary Poverty . “ SIMONE DALL’ ANTELLA PROLONGED Sonnet. In the last Days of the Emperor Henry VII. . ~ 3 “ . 5 a GIOVANNI QUIRINO SonnET (TO DANTE ALIGHTERI). He commends the work of Dante’s life, then drawing to its close; and deplores his own deficiencies . a “ ~ * .