« السابقةمتابعة »
L'avezza giovinetta pastorella
Che mal si spande a disusata spera
Cosi Amor meco insù la lingua snella Desta il fior novo di strania favella, Mentre io di te, vezzosamente altera, Canto, dal mio buon popol not inteso,
E'l bel Tamigi cangio col bel Arno.
Amor lo volse, ed io a l'altrui peso
Deh! foss' il mio cuor lento e'l duro seno
M'accostandosi attorno, e perche scrivi,
1. Qual in colle aspro, al im- are closed with rhyming couplets brunir di sera] To express the T. Warton. approach of evening, the Italians * It is from Petrarch, that say, fu l'imbrunir. And thus Milton mixes the Canzone with Petrarch, “ Imbrunir veggio la the Sonetto. Dante regarded the “ sera." Canz. xxxvii. See note Canzone as the most perfect on the word imbrown, in Par. species of lyric composition. Lost, b. iv. 246. T. Warton. Della Volg. Eloqu. c. iv. But
3. Va bagnando l'herbetta for the Canzone he allows more &c.] See Petrarch's Canzone, laxity than for the Sonnet. He xxxvii.
says, when the song is written Da bagnar l'herbe, &c.
on a grave or tragic subject, it is
denominated Canzone, and when Of Milton's Sonnets, only this, on a comic, cantilena, as dimithe fourth, fifth, and sixteenth, nutive. T. Warton.
Dinne, se la tua speme sia mai vana,
Canzon dirotti, e tu per me rispondi
Quel ritroso io ch'amor spreggiar soléa
M'abbaglian si, ma sotto nova idea
7. --altri rivi
of whom more will be said hereAltri lidi t'aspetlan, ed altre after. T. Warton.
onde, &c.] An echo to a stanza in Ariosto, 5. Ne treccie d'oro, ne guancia Orl. Fur. xxxiv. 72."
M'abbaglian sì, &c.] Altri fiami, altri laghi, altre com. So in Comus, v. 752.
pagne, &c. Altri piani, altre vasi altre montagne,
What need a vermeil-tinctur'd lip for &c.
Love-darting eyes, and tresses like See Lycidas, v. 174.
the morn? Where other groves, and other shores
And on the Death of a fair Inalong, &c.
fant, v. 5.
- That lovely dyc The lady implied in the Ita That did thy cheek envermeil. lian Sonnets is perhaps Leonora,
Portamenti alti honesti, e nelle ciglia Quel sereno fulgor d'amabil nero,
Parole adorne di lingua piu d'una,
E’l cantar che di mezzo l'hemispero
E degli occhi suoi auventa si gran fuoco
Per certo i bei vostr' occhi, Donna mia
Esser non puo che non sian lo mio sole
8. Portamenti alti honesti,] So cie d'oro, nor the bloom so conbefore, Sonn. iii. 8. • Vezzosa- spicuous in fair-haired com“ mente altera." Portamento ex- plexions, guancia vermiglia ; but presses the lofty dignified de- with the nelle ciglia Quel sereno portment, by which the Italian fulgor d'amabil nero, the degli poets constantly describe female occhi si gran fuoco. I would add beauty; and which is strikingly the E'l cantar, unless that was a characteristic of the composed particular compliment to his Lemajestic carriage of the Italian onora. The dark hair and eye ladies, either as contrasted with of Italy are now become his new the liveliness of the French, or favourites. When a youth of the timid delicacy of the English. nineteen, in his general descripCompare Petrarch's first Sonnet tion of the English Fair, he on the Death of Laura. Sonn. celebrates Cupid's golden nets of ccxxix.
hair, l. i. el. i. 60. And in Ohime, il bel viso ! Ohime, il soave
Comus, beauty is characterized sgardo!
by vermeil-tinctured cheeks, and Ohime, il portamento leggiadro altiero! tresses like the morn. T. Warton. Our author appears to have ap
2. —non sian lo mio sole plied this Italian idea of a grace- Si mi percuoton forte, 7 ful solemnity in his description So Ariosto. Orland. Fur. c. vii. of Eve. Milton, as it may be seen from
Percote il sol ardente il vicin colle. these Sonnets, appears to have been struck, on going into Italy, And P. L. iv. 244. with a new idea of foreign - Where the morning sun first beauty, sotto nova idea ". Pelle- warmly smote “ grina Bellezza." He is now no The open field. longer captivated with the brec- Where see the note. T. Wartor.
Per l'arene di Libia chi s' invia,
Da quel lato si spinge ove mi duole,
Chiaman sospir ; io non so che si sia :
Scoffo mi il petto, e poi d'uscendo poco
Quivi d' attorno o s'agghiaccia, o singiela ;
Tutte le notti a me suol far piovose
VI. GIOVANE piano, e semplicetto amante
Poi che fuggir me stesso in dubbio sono,
Faro divoto; io certo a prove tante
S'arma di se, e d'intero diamante,
Di timori, e speranze al popol use
Quanto d'ingegno, e d'alto valor vago,
Sol troverete in tal parte men duro
Canto, dal mio buon popol non inteso,
* The forced thoughts at the close of this Sonnet are intolerable. But he was now in the land of conceit, and was infected by writing in its language. He had changed his native Thames for Arno, Sonn. iii. 9.
+ Milton had a natural severity of mind. For love-verses, his Italian Sonnets have a re
Stoln on his wing iny three and twentieth year!
markable air of gravity and dig- “ as yet obscure and unservicenity. They are free from the “ able to mankind) and that the metaphysics of Petrarch, and “ day is at hand, wherein Christ are more in the manner of Dante. “ commands all to labour while Yet he calls his seventh Sonnet, “ there is light: which because in a Letter printed from the “ I am persuaded you do to no Cambridge manuscript by Birch, “other purpose than out of a a composition in the Petrarchian “true desire that God should be stanza.
“ honoured in every one, I am In 1762, the late Mr. Thomas “ever ready, you know, when Hollis examined the Laurentian “ occasion is, to give you aclibrary at Florence, for six Ita “ count, as I ought, though unlian Sonnets of Milton, addressed “asked, of my tardy moving to his friend Chimentelli; and, “ according to the precept of my for other Italian and Latin com- “ conscience, which I firmly positions and various original “ trust is not without God. Yet letters, said to be remaining in “now I will not strain for any manuscript at Florence. He “ set apology, but only refer searched also for an original “ myself to what my mind shall bust in marble of Milton, sup “ have at any time to declare posed to be somewhere in that “ herself at her best ease. Yet city. But he was unsuccessful “if you think, as you said, that in his curious enquiries. T. “ too much love of learning is Warlon.
“ in fault, and that I have given
“up myself to dream away my * This Sonnet was made in " years in the arms of studious 1631, and was sent in a letter to “ retirement, like Endymion a friend, who had importuned “ with the moon on Latmus hill; the author to take orders ; of " yet consider, that if it were no which letter there are two “ more but this, to overcome draughts in his own Manuscript, “ this, there is on the other side and the former runs thus. “ both ill more bewitchful to
“ entice away, and natural years
“ more swaying, and good more “ Besides that in sundry re- « available to withdraw to that “ spects I must acknowledge me " which you wish me; as first " to profit by you whenever we all the fond hopes which for“ meet, you are often to me, and “ ward youth and vanity are “ were yesterday especially, as “ fledged with, none of which “ a good watchman to admonish “can sort with this Pluto's hel. “ that the hours of the night “ met, as Homer calls it, of ob“ pass on (for so I call my life " scurity, and would soon cause