15

X.

En cest sonet coind' e leri
Fauc motz e capuig e doli,
E serant verai e cert

Quan n'aurai passat la lima;
Qu'Amors marves plan' e daura
Mon chantar que de liei mou
Qui pretz manten e governa.

Tot jorn meillur et esmeri
Car la gensor serv e coli
Del mon, sous dic en apert.

Sieus sui del pe tro qu'en cima
E si tot ventaill freid' aura
L'amors qu'inz el cor mi xe plou
Mi t'en chaut on plus inverna.

Mil messas n'aug e'n proferi
E'n art lum de cera e d'oli
Que Dieus m'en don bon issert

De lieis on nom val escrima;
E quan remir sa crin saura
El cors gai, grailet e nou
Mais l'am que quim des Luserna.

Tant l'am de cor e la queri
C'ab trop voler cug lam toli
S'om ren per ben amar pert.

Quel sieus cors sobretracima
Lo mieu tot e non s'isaura;
Tant a de vers fait renou
C'obrador n'a e taverna.

No vuoill de Roma l'emperi
Ni c'om m'en fessa apostoli,
Qu'en lieis non aia revert

Per qui m'art lo cors em rima.
E sil maltraich nom restaura
Ab un baisar anz d'annou,
Mi auci e si enferma.

Ces pel maltraich qu'ieu soferi
De ben amar nom destoli
Si tot me ten en desert,
Car sim fatz lo son el rima
Pieitz trac aman c'om que laura;
C'anc plus non amet un ou
Cel de Moncli n'Audjerna.

En breu brisaral temps braus,
Eill bisa busina els brancs
Qui s'entreseignon trastuich
De sobreclaus rams de fuoilla ;
Car noi chanta auzels ni piula
M' enseign' Amors qu'ieu fassa adonc
Chan que non er segons ni tertz
Ans prims d'afrancar cor agre.

The rhythm is too tricky to be caught at the first
reading, or even at the fifth reading, there is only
part of it in my copy.

pensar de lieis m'es repaus

In the next poem we have the chatter of birds in autumn,
the onomatopoeia obviously depends upon the "-utz", -etz,
-encs - ɛɔ ortz " of the rhyme scheme, 17 of the 68
syllables of each strophe therein included. I was able
to keep the English on the same sound as the Cadahus
but ɛɔɔɔɔɔ I have not been able to make more than
map of the relative positions in this canzos.

L'aura amara
Fals bruoills brancutz
Clarzir
Quel doutz espeissa ab fuoills,
Els letz
Becs
Dels auzels ramencs
Ten balps e mutz,
Pars
E non-pars;
Per qu'eu m'esfortz
De far e dir
Plazers
A mains per liei
Que m'a virat bas d'aut,
Don tem ɔɔɔɔ morir
Sils afans no m'asoma.

Arnauts growing tendency to lengthen the latter lines
of the strophe after the diesis shows in:

Er vei vermeils, vertz, blaus, blancs, gruocs,
the strophe forms being:

vermeil, green, blue, peirs, white, cobalt,
Close orchards, hewis, holts, hows, vales,

And the bird-song that whirls and trums

Morning and late with sweet accord

Bestir my heart to put my song in sheen
T'-equal that flower which hath such properties
It seeds in joy, bears love, and pain ameises.

The last cryptic allusion is to the quasi-allegorical
long poem descriptions of the tree of love in some Romaunt like
Romaunt of the Rose.

Dante takes the next poem as a model of canzo construction;
and he learned much from its melody:

Sols sui qui sai lo sobrefan quem sortz
Al cor cor d'amor sofren per sobramar,
Car mos volers es tant fermes et entiers
C'anc no s'esduis de celliel ni s'estors
Cui encubric al prim vezer e puois:
Qu'ades ses lieis dic a lieis cochos motz,
Pois quan la vei non sai, tant l'ai, que dire.

The XVI th. canzo goes on with the much discussed and much too emphasized cryptogram of the ox and the hare. I am content with the reading which gives us a classic allusion in the palux Laerna. The lengthening of the verse in the last three lines of the strophe is, I think, typically Arnaut's. I leave the translation solely for the sake of one strophe.

Ere the winter recommences
And the leaf from bough is wrested,
On Love's mandate will I render
A brief end to long prolungtion :
So well have I been taught his steps and paces
That I can stop the tidal sea's inflowing.
My stot outruns the hare; his "speed amazes.

Me he bade without pretenses
That I go not, though requested;
That I should make no surrender
Nor abandon our seclusion.
" Differ from violets, whose fear effaces
Their hue ere winter; behold the glowing
Laurel stays, stay thou. Year long the genet blazes."

You who commit no offences
Gainst constancy; have not quested;
Assent not: Though a maid send her
Suit to thee. Think you confusion
Will come to her who shall track out your traces?
And give your enemies a chance for boasts and crowing?
No: After God, see that she have your praises."

Coward, shall I trust not defences?
Faint ere the suit be tested?
Follow : till she extend her
Favour. Keep on, try conclusion,
For if I get in this naught but disgraces,
Then must I pilgrimage past Ebro's flowing
And seek for luck amid the Lernian mazes.

If I've passed bridge-rails and fences,
Think you then that I am bested?
No, for with no food or slender
Ration, I'd have joy's profusion
To hold her kissed, and there are never spaces

XVI 2.

Wide to keep me from her, but she'd be showing
In my heart, and stand forth before his gazes.

Lovlier maid from Nile to Sences
Is not vested nor divested,
So great is her bodily splendour
That you would think it illusion.
Amor, if she but hold me in her embraces,
I shall not feel cold hail nor winter's blowing
Nor break for all the pain in fever's dazes.

Arnaut hers from foot to face is,
He would not have Lucerne, without her, owing
Him, nor lord the land whereon the Ebro grazes.

## THE FEMININE RHYMING THROUGHOUT AND THE SHORTER OPENING LINES KEEP THE STROPHE MUCH LIGHTER AND MORE MELODIC THAN THAT OF THE CANZO WHICH Canello prints last of all

The feminine rhyming throughout and the shorter opening
lines keep the strophe much lighter and more melodic than
that of the canzo which Canello prints last of all