'Monna Innominata: A Sonnet Of Sonnets' by Christina Georgina Rossetti
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Lo d{`i} che han detto a' dolci amici addio. DANTE
Amor, con quanto sforzo oggi mi vinci! PETRARCA
Come back to me, who wait and watch for you:--
Or come not yet, for it is over then,
And long it is before you come again,
So far between my pleasures are and few.
While, when you come not, what I do I do
Thinking "Now when he comes," my sweetest when:"
For one man is my world of all the men
This wide world holds; O love, my world is you.
Howbeit, to meet you grows almost a pang
Because the pang of parting comes so soon;
My hope hangs waning, waxing, like a moon
Between the heavenly days on which we meet:
Ah me, but where are now the songs I sang
When life was sweet because you call'd them sweet?
Era gi{`a} 1'ora che volge il desio. DANTE
Ricorro al tempo ch' io vi vidi prima. PETRARCA
I wish I could remember that first day,
First hour, first moment of your meeting me,
If bright or dim the season, it might be
Summer or winter for aught I can say;
So unrecorded did it slip away,
So blind was I to see and to foresee,
So dull to mark the budding of my tree
That would not blossom yet for many a May.
If only I could recollect it, such
A day of days! I let it come and go
As traceless as a thaw of bygone snow;
It seem'd to mean so little, meant so much;
If only now I could recall that touch,
First touch of hand in hand--Did one but know!
O ombre vane, fuor che ne l'aspetto! DANTE
Immaginata guida la conduce. PETRARCA
I dream of you to wake: would that I might
Dream of you and not wake but slumber on;
Nor find with dreams the dear companion gone,
As summer ended summer birds take flight.
In happy dreams I hold you full in sight,
I blush again who waking look so wan;
Brighter than sunniest day that ever shone,
In happy dreams your smile makes day of night.
Thus only in a dream we are at one,
Thus only in a dream we give and take
The faith that maketh rich who take or give;
If thus to sleep is sweeter than to wake,
To die were surely sweeter than to live,
Though there be nothing new beneath the sun.
Poca favilla gran fliamma seconda. DANTE
Ogni altra cosa, ogni pensier va fore, E sol ivi con voi rimansi amore.
PETRARCA
I lov'd you first: but afterwards your love
Outsoaring mine, sang such a loftier song
As drown'd the friendly cooings of my dove.
Which owes the other most? my love was long,
And yours one moment seem'd to wax more strong;
I lov'd and guess'd at you, you construed me--
And lov'd me for what might or might not be
Nay, weights and measures do us both a wrong.
For verily love knows not "mine" or "thine;"
With separate "I" and "thou" free love has done,
For one is both and both are one in love:
Rich love knows nought of "thine that is not mine;"
Both have the strength and both the length thereof,
Both of us, of the love which makes us one.
Amor che a nullo amato amar perdona. DANTE
Amor m'addusse in s{`i} gioiosa spene. PETRARCA
O my heart's heart, and you who are to me
More than myself myself, God be with you,
Keep you in strong obedience leal and true
To Him whose noble service setteth free,
Give you all good we see or can foresee,
Make your joys many and your sorrows few,
Bless you in what you bear and what you do,
Yea, perfect you as He would have you be.
So much for you; but what for me, dear friend?
To love you without stint and all I can
Today, tomorrow, world without an end;
To love you much and yet to love you more,
As Jordan at his flood sweeps either shore;
Since woman is the helpmeet made for man.
Or puoi la quantitate Comprender de l'amor che a te mi scalda. DANTE
Non vo' che da tal nodo mi scioglia. PETRARCA
Trust me, I have not earn'd your dear rebuke,
I love, as you would have me, God the most;
Would lose not Him, but you, must one be lost,
Nor with Lot's wife cast back a faithless look
Unready to forego what I forsook;
This say I, having counted up the cost,
This, though I be the feeblest of God's host,
The sorriest sheep Christ shepherds with His crook.
Yet while I love my God the most, I deem
That I can never love you overmuch;
I love Him more, so let me love you too;
Yea, as I apprehend it, love is such
I cannot love you if I love not Him,
I cannot love Him if I love not you.
Qui primavera sempre ed ogni frutto. DANTE
Ragionando con meco ed io con lui. PETRARCA
"Love me, for I love you"--and answer me,
"Love me, for I love you"--so shall we stand
As happy equals in the flowering land
Of love, that knows not a dividing sea.
Love builds the house on rock and not on sand,
Love laughs what while the winds rave desperately;
And who hath found love's citadel unmann'd?
And who hath held in bonds love's liberty?
My heart's a coward though my words are brave
We meet so seldom, yet we surely part
So often; there's a problem for your art!
Still I find comfort in his Book, who saith,
Though jealousy be cruel as the grave,
And death be strong, yet love is strong as death.
Come dicesse a Dio: D'altro non calme. DANTE
Spero trovar piet{`a} non che perdono. PETRARCA
"I, if I perish, perish"--Esther spake:
And bride of life or death she made her fair
In all the lustre of her perfum'd hair
And smiles that kindle longing but to slake.
She put on pomp of loveliness, to take
Her husband through his eyes at unaware;
She spread abroad her beauty for a snare,
Harmless as doves and subtle as a snake.
She trapp'd him with one mesh of silken hair,
She vanquish'd him by wisdom of her wit,
And built her people's house that it should stand:--
If I might take my life so in my hand,
And for my love to Love put up my prayer,
And for love's sake by Love be granted it!
O dignitosa coscienza e netta! DANTE
Spirto pi{'u} acceso di virtuti ardenti. PETRARCA
Thinking of you, and all that was, and all
That might have been and now can never be,
I feel your honour'd excellence, and see
Myself unworthy of the happier call:
For woe is me who walk so apt to fall,
So apt to shrink afraid, so apt to flee,
Apt to lie down and die (ah, woe is me!)
Faithless and hopeless turning to the wall.
And yet not hopeless quite nor faithless quite,
Because not loveless; love may toil all night,
But take at morning; wrestle till the break
Of day, but then wield power with God and man:--
So take I heart of grace as best I can,
Ready to spend and be spent for your sake.
Con miglior corso e con migliore stella. DANTE
La vita fugge e non s'arresta un' ora. PETRARCA
Time flies, hope flags, life plies a wearied wing;
Death following hard on life gains ground apace;
Faith runs with each and rears an eager face,
Outruns the rest, makes light of everything,
Spurns earth, and still finds breath to pray and sing;
While love ahead of all uplifts his praise,
Still asks for grace and still gives thanks for grace,
Content with all day brings and night will bring.
Life wanes; and when love folds his wings above
Tired hope, and less we feel his conscious pulse,
Let us go fall asleep, dear friend, in peace:
A little while, and age and sorrow cease;
A little while, and life reborn annuls
Loss and decay and death, and all is love.
Vien dietro a me e lascia dir le genti. DANTE
Contando i casi della vita nostra. PETRARCA
Many in aftertimes will say of you
"He lov'd her"--while of me what will they say?
Not that I lov'd you more than just in play,
For fashion's sake as idle women do.
Even let them prate; who know not what we knew
Of love and parting in exceeding pain,
Of parting hopeless here to meet again,
Hopeless on earth, and heaven is out of view.
But by my heart of love laid bare to you,
My love that you can make not void nor vain,
Love that foregoes you but to claim anew
Beyond this passage of the gate of death,
I charge you at the Judgment make it plain
My love of you was life and not a breath.
Amor, che ne la mente mi ragiona. DANTE
Amor vien nel bel viso di costei. PETRARCA
If there be any one can take my place
And make you happy whom I grieve to grieve,
Think not that I can grudge it, but believe
I do commend you to that nobler grace,
That readier wit than mine, that sweeter face;
Yea, since your riches make me rich, conceive
I too am crown'd, while bridal crowns I weave,
And thread the bridal dance with jocund pace.
For if I did not love you, it might be
That I should grudge you some one dear delight;
But since the heart is yours that was mine own,
Your pleasure is my pleasure, right my right,
Your honourable freedom makes me free,
And you companion'd I am not alone.
E drizzeremo gli occhi al Primo Amore. DANTE
Ma trovo peso non da le mie braccia. PETRARCA
If I could trust mine own self with your fate,
Shall I not rather trust it in God's hand?
Without Whose Will one lily doth not stand,
Nor sparrow fall at his appointed date;
Who numbereth the innumerable sand,
Who weighs the wind and water with a weight,
To Whom the world is neither small nor great,
Whose knowledge foreknew every plan we plann'd.
Searching my heart for all that touches you,
I find there only love and love's goodwill
Helpless to help and impotent to do,
Of understanding dull, of sight most dim;
And therefore I commend you back to Him
Whose love your love's capacity can fill.
E la Sua Volontade {`e} nostra pace. DANTE
Sol con questi pensier, con altre chiome. PETRARCA
Youth gone, and beauty gone if ever there
Dwelt beauty in so poor a face as this;
Youth gone and beauty, what remains of bliss?
I will not bind fresh roses in my hair,
To shame a cheek at best but little fair,--
Leave youth his roses, who can bear a thorn,--
I will not seek for blossoms anywhere,
Except such common flowers as blow with corn.
Youth gone and beauty gone, what doth remain?
The longing of a heart pent up forlorn,
A silent heart whose silence loves and longs;
The silence of a heart which sang its songs
While youth and beauty made a summer morn,
Silence of love that cannot sing again.
Editor 1 Interpretation
Monna Innominata: A Sonnet Of Sonnets by Christina Georgina Rossetti
So, let's talk about Christina Rossetti's Monna Innominata: A Sonnet Of Sonnets. This work is a collection of thirteen sonnets that explore the complexities of love, desire, and female agency. I mean, what's not to love about that?
Background
Before we dive into an analysis of the sonnets themselves, let's take a moment to talk about Christina Rossetti. She was a Victorian-era poet who lived from 1830-1894. Her work often explores themes of love and death, and she was known for her use of symbolism and religious imagery.
Now, Monna Innominata was published posthumously in 1900, so it's important to note that it was not arranged by Rossetti herself. However, the sonnets were likely written between 1858-1869, and they were originally published in her 1866 collection, The Prince's Progress and Other Poems.
Interpretation
Okay, now let's get into the meat of it. In Monna Innominata, Rossetti uses the sonnet form to explore the complexities of love and desire. The first sonnet sets the tone for the rest of the collection, with the speaker asking, "What can be said of love that has not been?"
Throughout the sonnets, Rossetti grapples with the idea of female agency in love and desire. The speaker is often torn between her own desires and the societal expectations placed upon her as a woman. In the fourth sonnet, she writes, "Yet it is but to hide my face and quell my heart" - a sentiment that is echoed throughout the collection.
However, despite the societal pressures, the speaker is not passive in her desires. In the seventh sonnet, she declares, "I am not as those other women are," asserting her own agency and desire.
The sonnets also explore the idea of the "unknowable" nature of love, with the speaker lamenting, "I have no words, no tears, no hopes, no fears" in the eleventh sonnet.
Overall, Monna Innominata is a powerful exploration of love and desire, particularly from a female perspective. The sonnets are beautifully written, and Rossetti's use of language and imagery is masterful.
Analysis
Now, let's take a closer look at some specific sonnets.
Sonnet II
This sonnet begins with the speaker declaring, "I loved thee first." However, the rest of the sonnet is filled with doubt and uncertainty. The speaker questions whether her love is returned, whether it is "real," and whether it is even worth pursuing.
This sonnet sets the tone for the rest of the collection, as the speaker grapples with her own desires and the societal expectations placed upon her.
Sonnet VII
This sonnet is particularly powerful, as the speaker declares her own agency and desire. She states, "I am not as those other women are," asserting her own individuality and independence.
Sonnet IX
In this sonnet, the speaker laments the "unknowable" nature of love. She writes, "I have no words, no tears, no hopes, no fears," conveying the idea that love is something that cannot truly be understood or articulated.
Sonnet XIII
The final sonnet of the collection is a beautiful conclusion to the exploration of love and desire. The speaker declares, "I am thine, O Love, and all my heart is thine," finally embracing her own desires and declaring her love.
Conclusion
Overall, Monna Innominata: A Sonnet Of Sonnets is a powerful exploration of love and desire, particularly from a female perspective. Rossetti's use of language and imagery is masterful, and the sonnets are beautifully written.
The collection grapples with the complexities of love and desire, exploring the tension between individual agency and societal expectations. The speaker is torn between her own desires and the pressures placed upon her as a woman, but ultimately comes to embrace her own desires and declare her love.
Monna Innominata is a timeless work that continues to resonate with readers today.
Editor 2 Analysis and Explanation
Christina Georgina Rossetti is one of the most celebrated poets of the Victorian era, and her works continue to inspire and captivate readers to this day. Among her many masterpieces, "Monna Innominata: A Sonnet of Sonnets" stands out as a shining example of her poetic genius and emotional depth.
The title "Monna Innominata" translates to "Unnamed Lady" in Italian, and the poem is a sequence of fourteen sonnets that explore the complexities of love, desire, and loss. Each sonnet is a self-contained unit, but they are also interconnected and build upon each other to create a powerful narrative of a woman's journey through love and heartbreak.
The first sonnet sets the tone for the rest of the sequence, as the speaker introduces the unnamed lady and describes her beauty and grace. The speaker is clearly enamored with the lady, but there is also a sense of distance and longing in their relationship. The lady is described as "fair and true," but also "cold and coy," suggesting that she is both alluring and elusive.
As the sequence progresses, the speaker's feelings for the lady become more intense and conflicted. In sonnet II, the speaker laments the lady's indifference and wonders if she will ever return his love. He describes himself as a "slave" to her beauty and begs her to show him some sign of affection.
Sonnet III is one of the most powerful and emotional poems in the sequence, as the speaker expresses his fear of losing the lady to another man. He describes her as a "pearl of price" that he cannot bear to lose, and he pleads with her to stay with him. The poem is filled with vivid imagery and metaphors, such as the comparison of the lady to a "star" that shines in the darkness of the speaker's life.
In sonnet IV, the speaker reflects on the fleeting nature of love and the inevitability of loss. He describes the lady as a "flower" that will eventually wither and die, and he wonders if their love will survive the test of time. The poem is filled with poignant lines such as "Love's hope lies dead, and faith's tears blinding me."
Sonnet V marks a turning point in the sequence, as the speaker begins to question his own feelings and motivations. He wonders if his love for the lady is genuine or if it is merely a product of his own desires and fantasies. He describes himself as a "fool" who is "bewitched" by the lady's beauty, and he acknowledges that his love may be doomed to fail.
In sonnet VI, the speaker continues to grapple with his own emotions and the uncertainty of his relationship with the lady. He describes himself as a "pilgrim" who is searching for a way to reconcile his love with the reality of the situation. The poem is filled with powerful imagery, such as the comparison of the speaker's heart to a "wild bird" that is trapped in a cage.
Sonnet VII is one of the most heartbreaking poems in the sequence, as the speaker acknowledges that his love for the lady is unrequited. He describes himself as a "wounded deer" who is hunted by the lady's indifference, and he wonders if he will ever be able to move on from his feelings for her. The poem is filled with poignant lines such as "My heart is wasted with my woe, / Wearied I sleep, and waking moan."
In sonnet VIII, the speaker reflects on the nature of love and the ways in which it can both uplift and destroy a person. He describes love as a "flame" that can consume a person's soul, and he wonders if his own love for the lady is worth the pain and suffering it has caused him. The poem is filled with powerful imagery, such as the comparison of the speaker's heart to a "furnace" that burns with passion.
Sonnet IX marks another turning point in the sequence, as the speaker begins to question the lady's own feelings and motivations. He wonders if she is truly as cold and indifferent as she appears, or if she is simply hiding her true emotions. He describes her as a "mask" that hides her true self, and he longs to see behind the facade.
In sonnet X, the speaker reflects on the fleeting nature of life and the inevitability of death. He describes the lady as a "rose" that will eventually wilt and fade away, and he wonders if their love will survive beyond the grave. The poem is filled with poignant lines such as "Love's hope lies dead, and faith's tears blinding me."
In sonnet XI, the speaker reflects on the ways in which love can be both a blessing and a curse. He describes himself as a "slave" to the lady's beauty, and he wonders if his love for her is worth the pain and suffering it has caused him. The poem is filled with powerful imagery, such as the comparison of the speaker's heart to a "prison" that he cannot escape from.
In sonnet XII, the speaker reflects on the ways in which love can be both a source of joy and a source of pain. He describes the lady as a "star" that shines in the darkness of his life, but he also acknowledges that her beauty is fleeting and transient. The poem is filled with poignant lines such as "Love's hope lies dead, and faith's tears blinding me."
In sonnet XIII, the speaker reflects on the ways in which love can be both a source of strength and a source of weakness. He describes himself as a "pilgrim" who is searching for a way to reconcile his love with the reality of the situation, and he wonders if he will ever find peace. The poem is filled with powerful imagery, such as the comparison of the speaker's heart to a "wild bird" that is trapped in a cage.
In the final sonnet, the speaker reflects on the ways in which love can be both a source of inspiration and a source of despair. He describes the lady as a "pearl of price" that he cannot bear to lose, but he also acknowledges that their love may be doomed to fail. The poem is filled with poignant lines such as "Love's hope lies dead, and faith's tears blinding me."
In conclusion, "Monna Innominata: A Sonnet of Sonnets" is a masterpiece of Victorian poetry that explores the complexities of love, desire, and loss. Through a series of fourteen interconnected sonnets, Christina Georgina Rossetti creates a powerful narrative of a woman's journey through love and heartbreak. The poem is filled with vivid imagery, powerful metaphors, and poignant lines that continue to resonate with readers to this day.
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