She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

Incipit prohemium tercii libri.

O blisful light of whiche the bemes clere  
Adorneth al the thridde hevene faire!
O sonnes lief, O Ioves doughter dere,
Plesaunce of love, O goodly debonaire,
In gentil hertes ay redy to repaire!  
O verray cause of hele and of gladnesse,
Y-heried be thy might and thy goodnesse!

In hevene and helle, in erthe and salte see
Is felt thy might, if that I wel descerne;
As man, brid, best, fish, herbe and grene tree  
Thee fele in tymes with vapour eterne.
God loveth, and to love wol nought werne;
And in this world no lyves creature,
With-outen love, is worth, or may endure.

Ye Ioves first to thilke effectes glade,  
Thorugh which that thinges liven alle and be,
Comeveden, and amorous him made
On mortal thing, and as yow list, ay ye
Yeve him in love ese or adversitee;
And in a thousand formes doun him sente  
For love in erthe, and whom yow liste, he hente.

Ye fierse Mars apeysen of his ire,
And, as yow list, ye maken hertes digne;
Algates, hem that ye wol sette a-fyre,
They dreden shame, and vices they resigne;  
Ye do hem corteys be, fresshe and benigne,
And hye or lowe, after a wight entendeth;
The Ioyes that he hath, your might him sendeth.

Ye holden regne and hous in unitee;
Ye soothfast cause of frendship been also;  
Ye knowe al thilke covered qualitee
Of thinges which that folk on wondren so,
Whan they can not construe how it may io,
She loveth him, or why he loveth here;
As why this fish, and nought that, comth to were.  

Ye folk a lawe han set in universe,
And this knowe I by hem that loveres be,
That who-so stryveth with yow hath the werse:
Now, lady bright, for thy benignitee,
At reverence of hem that serven thee,  
Whos clerk I am, so techeth me devyse
Som Ioye of that is felt in thy servyse.

Ye in my naked herte sentement
Inhelde, and do me shewe of thy swetnesse. --
Caliope, thy vois be now present,  
For now is nede; sestow not my destresse,
How I mot telle anon-right the gladnesse
Of Troilus, to Venus heryinge?
To which gladnes, who nede hath, god him bringe!

Explicit prohemium Tercii Libri.

Incipit Liber Tercius.

Lay al this mene whyle Troilus,  
Recordinge his lessoun in this manere,
'Ma fey!' thought he, 'Thus wole I seye and thus;
Thus wole I pleyne unto my lady dere;
That word is good, and this shal be my chere;
This nil I not foryeten in no wyse.'  
God leve him werken as he can devyse!

And, lord, so that his herte gan to quappe,
Heringe hir come, and shorte for to syke!
And Pandarus, that ledde hir by the lappe,
Com ner, and gan in at the curtin pyke,  
And seyde, 'God do bote on alle syke!
See, who is here yow comen to visyte;
Lo, here is she that is your deeth to wyte.'

Ther-with it semed as he wepte almost;
'A ha,' quod Troilus so rewfully,  
'Wher me be wo, O mighty god, thow wost!
Who is al there? I se nought trewely.'
'Sire,' quod Criseyde, 'it is Pandare and I.'
'Ye, swete herte? Allas, I may nought ryse
To knele, and do yow honour in som wyse.'  

And dressede him upward, and she right tho
Gan bothe here hondes softe upon him leye,
'O, for the love of god, do ye not so
To me,' quod she, 'Ey! What is this to seye?
Sire, come am I to yow for causes tweye;  
First, yow to thonke, and of your lordshipe eke
Continuance I wolde yow biseke.'

This Troilus, that herde his lady preye
Of lordship him, wex neither quik ne deed,
Ne mighte a word for shame to it seye,  
Al-though men sholde smyten of his heed.
But lord, so he wex sodeinliche reed,
And sire, his lesson, that he wende conne,
To preyen hir, is thurgh his wit y-ronne.

Cryseyde al this aspyede wel y-nough,  
For she was wys, and lovede him never-the-lasse,
Al nere he malapert, or made it tough,
Or was to bold, to singe a fool a masse.
But whan his shame gan somwhat to passe,
His resons, as I may my rymes holde,  
I yow wole telle, as techen bokes olde.

In chaunged vois, right for his verray drede,
Which vois eek quook, and ther-to his manere
Goodly abayst, and now his hewes rede,
Now pale, un-to Criseyde, his lady dere,  
With look doun cast and humble yolden chere,
Lo, the alderfirste word that him asterte
Was, twyes, 'Mercy, mercy, swete herte!'

And stinte a whyl, and whan he mighte out-bringe,
The nexte word was, 'God wot, for I have,  
As feyfully as I have had konninge,
Ben youres, also god so my sowle save;
And shal til that I, woful wight, be grave.
And though I dar ne can un-to yow pleyne,
Y-wis, I suffre nought the lasse peyne.  

'Thus muche as now, O wommanliche wyf,
I may out-bringe, and if this yow displese,
That shal I wreke upon myn owne lyf
Right sone, I trowe, and doon your herte an ese,
If with my deeth your herte I may apese.  
But sin that ye han herd me som-what seye,
Now recche I never how sone that I deye.'

Ther-with his manly sorwe to biholde,
It mighte han maad an herte of stoon to rewe;
And Pandare weep as he to watre wolde,  
And poked ever his nece newe and newe,
And seyde, 'Wo bigon ben hertes trewe!
For love of god, make of this thing an ende,
Or slee us bothe at ones, er that ye wende.'

'I? What?' quod she, 'By god and by my trouthe,  
I noot nought what ye wilne that I seye.'
'I? What?' quod he, 'That ye han on him routhe,
For goddes love, and doth him nought to deye.'
'Now thanne thus,' quod she, 'I wolde him preye
To telle me the fyn of his entente;  
Yet wist I never wel what that he mente.'

'What that I mene, O swete herte dere?'
Quod Troilus, 'O goodly, fresshe free!
That, with the stremes of your eyen clere,
Ye wolde som-tyme freendly on me see,  
And thanne agreen that I may ben he,
With-oute braunche of vyce on any wyse,
In trouthe alwey to doon yow my servyse,

'As to my lady right and chief resort,
With al my wit and al my diligence,  
And I to han, right as yow list, comfort,
Under your yerde, egal to myn offence,
As deeth, if that I breke your defence;
And that ye deigne me so muche honoure,
Me to comaunden ought in any houre.  

'And I to ben your verray humble trewe,
Secret, and in my paynes pacient,
And ever-mo desire freshly newe,
To serven, and been y-lyke ay diligent,
And, with good herte, al holly your talent  
Receyven wel, how sore that me smerte,
Lo, this mene I, myn owene swete herte.'

Quod Pandarus, 'Lo, here an hard request,
And resonable, a lady for to werne!
Now, nece myn, by natal Ioves fest,  
Were I a god, ye sholde sterve as yerne,
That heren wel, this man wol no-thing yerne
But your honour, and seen him almost sterve,
And been so looth to suffren him yow serve.'

With that she gan hir eyen on him caste  
Ful esily, and ful debonairly,
Avysing hir, and hyed not to faste
With never a word, but seyde him softely,
'Myn honour sauf, I wol wel trewely,
And in swich forme as he can now devyse,  
Receyven him fully to my servyse,

'Biseching him, for goddes love, that he
Wolde, in honour of trouthe and gentilesse,
As I wel mene, eek mene wel to me,
And myn honour, with wit and besinesse  
Ay kepe; and if I may don him gladnesse,
From hennes-forth, y-wis, I nil not feyne:
Now beeth al hool; no lenger ye ne pleyne.

'But nathelees, this warne I yow,' quod she,
'A kinges sone al-though ye be, y-wis,  
Ye shal na-more have soverainetee
Of me in love, than right in that cas is;
Ne I nil forbere, if that ye doon a-mis,
To wrathen yow; and whyl that ye me serve,
Cherycen yow right after ye deserve.  

'And shortly, dere herte and al my knight,
Beth glad, and draweth yow to lustinesse,
And I shal trewely, with al my might,
Your bittre tornen al in-to swetenesse.
If I be she that may yow do gladnesse,  
For every wo ye shal recovere a blisse';
And him in armes took, and gan him kisse.

Fil Pandarus on knees, and up his eyen
To hevene threw, and held his hondes hye,
'Immortal god!' quod he, 'That mayst nought dyen,  
Cupide I mene, of this mayst glorifye;
And Venus, thou mayst maken melodye;
With-outen hond, me semeth that in the towne,
For this merveyle, I here ech belle sowne.

'But **! No more as now of this matere,  
For-why this folk wol comen up anoon,
That han the lettre red; lo, I hem here.
But I coniure thee, Criseyde, and oon,
And two, thou Troilus, whan thow mayst goon,
That at myn hous ye been at my warninge,  
For I ful wel shal shape youre cominge;

'And eseth ther your hertes right y-nough;
And lat see which of yow shal bere the belle
To speke of love a-right!' ther-with he lough,
'For ther have ye a layser for to telle.'  
Quod Troilus, 'How longe shal I dwelle
Er this be doon?' Quod he, 'Whan thou mayst ryse,
This thing shal be right as I yow devyse.'

With that Eleyne and also Deiphebus
Tho comen upward, right at the steyres ende;  
And Lord, so than gan grone Troilus,
His brother and his suster for to blende.
Quod Pandarus, 'It tyme is that we wende;
Tak, nece myn, your leve at alle three,
And lat hem speke, and cometh forth with me.'  

She took hir leve at hem ful thriftily,
As she wel coude, and they hir reverence
Un-to the fulle diden hardely,
And speken wonder wel, in hir absence,
Of hir, in preysing of hir excellence,  
Hir governaunce, hir wit; and hir manere
Commendeden, it Ioye was to here.

Now lat hir wende un-to hir owne place,
And torne we to Troilus a-yein,
That gan ful lightly of the lettre passe  
That Deiphebus hadde in the gardin seyn.
And of Eleyne and him he wolde fayn
Delivered been, and seyde that him leste
To slepe, and after tales have reste.

Eleyne him kiste, and took hir leve blyve,  
Deiphebus eek, and hoom wente every wight;
And Pandarus, as faste as he may dryve,
To Troilus tho com, as lyne right;
And on a paillet, al that glade night,
By Troilus he lay, with mery chere,  
To tale; and wel was hem they were y-fere.

Whan every wight was voided but they two,
And alle the dores were faste y-shette,
To telle in short, with-oute wordes mo,
This Pandarus, with-outen any lette,  
Up roos, and on his beddes syde him sette,
And gan to speken in a sobre wyse
To Troilus, as I shal yow devyse:

'Myn alderlevest lord, and brother dere,
God woot, and thou, that it sat me so sore,  
When I thee saw so languisshing to-yere,
For love, of which thy wo wex alwey more;
That I, with al my might and al my lore,
Have ever sithen doon my bisinesse
To bringe thee to Ioye out of distresse,  

'And have it brought to swich plyt as thou wost,
So that, thorugh me, thow stondest now in weye
To fare wel, I seye it for no bost,
And wostow which? For shame it is to seye,
For thee have I bigonne a gamen pleye  
Which that I never doon shal eft for other,
Al-though he were a thousand fold my brother.

'That is to seye, for thee am I bicomen,
Bitwixen game and ernest, swich a mene
As maken wommen un-to men to comen;  
Al sey I nought, thou wost wel what I mene.
For thee have I my nece, of vyces clene,
So fully maad thy gentilesse triste,
That al shal been right as thy-selve liste.

'But god, that al wot, take I to witnesse,  
That never I this for coveityse wroughte,
But only for to abregge that distresse,
For which wel nygh thou deydest, as me thoughte.
But, gode brother, do now as thee oughte,
For goddes love, and kep hir out of blame,  
Sin thou art wys, and save alwey hir name.

'For wel thou wost, the name as yet of here
Among the peple, as who seyth, halwed is;
For that man is unbore, I dar wel swere,
That ever wiste that she dide amis.  
But wo is me, that I, that cause al this,
May thenken that she is my nece dere,
And I hir eem, and trattor eek y-fere!

'And were it wist that I, through myn engyn,
Hadde in my nece y-put this fantasye,  
To do thy lust, and hoolly to be thyn,
Why, al the world up-on it wolde crye,
And seye, that I the worste trecherye
Dide in this cas, that ever was bigonne,
And she for-lost, and thou right nought y-wonne.  

'Wher-fore, er I wol ferther goon a pas,
Yet eft I thee biseche and fully seye,
That privetee go with us in this cas;
That is to seye, that thou us never wreye;
And be nought wrooth, though I thee ofte preye  
To holden secree swich an heigh matere;
For skilful is, thow wost wel, my preyere.

'And thenk what wo ther hath bitid er this,
For makinge of avantes, as men rede;
And what mischaunce in this world yet ther is,  
Fro day to day, right for that wikked dede;
For which these wyse clerkes that ben dede
Han ever yet proverbed to us yonge,
That "Firste vertu is to kepe tonge."

'And, nere it that I wilne as now tabregge  
Diffusioun of speche, I coude almost
A thousand olde stories thee alegge
Of wommen lost, thorugh fals and foles bost;
Proverbes canst thy-self y-nowe, and wost,
Ayeins that vyce, for to been a labbe,  
Al seyde men sooth as often as they gabbe.

'O tonge, allas! So often here-biforn
Hastow made many a lady bright of hewe
Seyd, "Welawey! The day that I was born!"
And many a maydes sorwes for to newe;  
And, for the more part, al is untrewe
That men of yelpe, and it were brought to preve;
Of kinde non avauntour is to leve.

'Avauntour and a lyere, al is on;
As thus: I pose, a womman graunte me  
Hir love, and seyth that other wol she non,
And I am sworn to holden it secree,
And after I go telle it two or three;
Y-wis, I am avauntour at the leste,
And lyere, for I breke my biheste.  

'Now loke thanne, if they be nought to blame,
Swich maner folk; what shal I clepe hem, what,
That hem avaunte of wommen, and by name,
That never yet bihighte hem this ne that,
Ne knewe hem more than myn olde hat?  
No wonder is, so god me sende hele,
Though wommen drede with us men to dele.

'I sey not this for no mistrust of yow,
Ne for no wys man, but for foles nyce,
And for the harm that in the world is now,  
As wel for foly ofte as for malyce;
For wel wot I, in wyse folk, that vyce
No womman drat, if she be wel avysed;
For wyse ben by foles harm chastysed.

'But now to purpos; leve brother dere,  
Have al this thing that I have seyd in minde,
And keep thee clos, and be now of good chere,
For at thy day thou shalt me trewe finde.
I shal thy proces sette in swich a kinde,
And god to-forn, that it shall thee suffyse,  
For it shal been right as thou wolt devyse.

'For wel I woot, thou menest wel, parde;
Therfore I dar this fully undertake.
Thou wost eek what thy lady graunted thee,
And day is set, the chartres up to make.  
Have now good night, I may no lenger wake;
And bid for me, sin thou art now in blisse,
That god me sende deeth or sone lisse.'

Who mighte telle half the Ioye or feste
Which that the sowle of Troilus tho felte,  
Heringe theffect of Pandarus biheste?
His olde wo, that made his herte swelte,
Gan tho for Ioye wasten and to-melte,
And al the richesse of his sykes sore
At ones fledde, he felte of hem no more.  

But right so as these holtes and these hayes,
That han in winter dede been and dreye,
Revesten hem in grene, whan that May is,
Whan every ***** lyketh best to pleye;
Right in that selve wyse, sooth to seye,  
Wax sodeynliche his herte ful of Ioye,
That gladder was ther never man in Troye.

And gan his look on Pandarus up caste
Ful sobrely, and frendly for to see,
And seyde, 'Freend, in Aprille the laste,  
As wel thou wost, if it remembre thee,
How neigh the deeth for wo thou founde me;
And how thou didest al thy bisinesse
To knowe of me the cause of my distresse.

'Thou wost how longe I it for-bar to seye  
To thee, that art the man that I best triste;
And peril was it noon to thee by-wreye,
That wiste I wel; but tel me, if thee liste,
Sith I so looth was that thy-self it wiste,
How dorst I mo tellen of this matere,  
That quake now, and no wight may us here?

'But natheles, by that god I thee swere,
That, as him list, may al this world governe,
And, if I lye, Achilles with his spere
Myn herte cleve, al were my lyf eterne,  
As I am mortal, if I late or yerne
Wolde it b

Prohemium.

But al to litel, weylaway the whyle,
Lasteth swich Ioye, y-thonked be Fortune!
That semeth trewest, whan she wol bygyle,
And can to foles so hir song entune,
That she hem hent and blent, traytour comune;  
And whan a wight is from hir wheel y-throwe,
Than laugheth she, and maketh him the mowe.

From Troilus she gan hir brighte face
Awey to wrythe, and took of him non hede,
But caste him clene out of his lady grace,  
And on hir wheel she sette up Diomede;
For which right now myn herte ginneth blede,
And now my penne, allas! With which I wryte,
Quaketh for drede of that I moot endyte.

For how Criseyde Troilus forsook,  
Or at the leste, how that she was unkinde,
Mot hennes-forth ben matere of my book,
As wryten folk through which it is in minde.
Allas! That they sholde ever cause finde
To speke hir harm; and if they on hir lye,  
Y-wis, hem-self sholde han the vilanye.

O ye Herines, Nightes doughtren three,
That endelees compleynen ever in pyne,
Megera, Alete, and eek Thesiphone;
Thou cruel Mars eek, fader to Quiryne,  
This ilke ferthe book me helpeth fyne,
So that the los of lyf and love y-fere
Of Troilus be fully shewed here.

Explicit prohemium.

Incipit Quartus Liber.

Ligginge in ost, as I have seyd er this,
The Grekes stronge, aboute Troye toun,  
Bifel that, whan that Phebus shyning is
Up-on the brest of Hercules Lyoun,
That Ector, with ful many a bold baroun,
Caste on a day with Grekes for to fighte,
As he was wont to greve hem what he mighte.  

Not I how longe or short it was bitwene
This purpos and that day they fighte mente;
But on a day wel armed, bright and shene,
Ector, and many a worthy wight out wente,
With spere in hond and bigge bowes bente;  
And in the herd, with-oute lenger lette,
Hir fomen in the feld anoon hem mette.

The longe day, with speres sharpe y-grounde,
With arwes, dartes, swerdes, maces felle,
They fighte and bringen hors and man to grounde,  
And with hir axes out the braynes quelle.
But in the laste shour, sooth for to telle,
The folk of Troye hem-selven so misledden,
That with the worse at night homward they fledden.

At whiche day was taken Antenor,  
Maugre Polydamas or Monesteo,
Santippe, Sarpedon, Polynestor,
Polyte, or eek the Troian daun Ripheo,
And othere lasse folk, as Phebuseo.
So that, for harm, that day the folk of Troye  
Dredden to lese a greet part of hir Ioye.

Of Pryamus was yeve, at Greek requeste,
A tyme of trewe, and tho they gonnen trete,
Hir prisoneres to chaungen, moste and leste,
And for the surplus yeven sommes grete.  
This thing anoon was couth in every strete,
Bothe in thassege, in toune, and every-where,
And with the firste it cam to Calkas ere.

Whan Calkas knew this tretis sholde holde,
In consistorie, among the Grekes, sone  
He gan in thringe forth, with lordes olde,
And sette him there-as he was wont to done;
And with a chaunged face hem bad a bone,
For love of god, to don that reverence,
To stinte noyse, and yeve him audience.  

Thanne seyde he thus, 'Lo! Lordes myne, I was
Troian, as it is knowen out of drede;
And, if that yow remembre, I am Calkas,
That alderfirst yaf comfort to your nede,
And tolde wel how that ye sholden spede.  
For dredelees, thorugh yow, shal, in a stounde,
Ben Troye y-brend, and beten doun to grounde.

'And in what forme, or in what maner wyse
This town to shende, and al your lust to acheve,
Ye han er this wel herd it me devyse;  
This knowe ye, my lordes, as I leve.
And for the Grekes weren me so leve,
I com my-self in my propre persone,
To teche in this how yow was best to done;

'Havinge un-to my tresour ne my rente  
Right no resport, to respect of your ese.
Thus al my good I loste and to yow wente,
Wening in this you, lordes, for to plese.
But al that los ne doth me no disese.
I vouche-sauf, as wisly have I Ioye,  
For you to lese al that I have in Troye,

'Save of a doughter, that I lafte, allas!
Slepinge at hoom, whanne out of Troye I sterte.
O sterne, O cruel fader that I was!
How mighte I have in that so hard an herte?  
Allas! I ne hadde y-brought hir in hir sherte!
For sorwe of which I wol not live to morwe,
But-if ye lordes rewe up-on my sorwe.

'For, by that cause I say no tyme er now
Hir to delivere, I holden have my pees;  
But now or never, if that it lyke yow,
I may hir have right sone, doutelees.
O help and grace! Amonges al this prees,
Rewe on this olde caitif in destresse,
Sin I through yow have al this hevinesse!  

'Ye have now caught and fetered in prisoun
Troians y-nowe; and if your willes be,
My child with oon may have redempcioun.
Now for the love of god and of bountee,
Oon of so fele, allas! So yeve him me.  
What nede were it this preyere for to werne,
Sin ye shul bothe han folk and toun as yerne?

'On peril of my lyf, I shal nat lye,
Appollo hath me told it feithfully;
I have eek founde it be astronomye,  
By sort, and by augurie eek trewely,
And dar wel seye, the tyme is faste by,
That fyr and flaumbe on al the toun shal sprede;
And thus shal Troye turne to asshen dede.

'For certeyn, Phebus and Neptunus bothe,  
That makeden the walles of the toun,
Ben with the folk of Troye alwey so wrothe,
That thei wol bringe it to confusioun,
Right in despyt of king Lameadoun.
By-cause he nolde payen hem hir hyre,  
The toun of Troye shal ben set on-fyre.'

Telling his tale alwey, this olde greye,
Humble in speche, and in his lokinge eke,
The salte teres from his eyen tweye
Ful faste ronnen doun by eyther cheke.  
So longe he gan of socour hem by-seke
That, for to hele him of his sorwes sore,
They yave him Antenor, with-oute more.

But who was glad y-nough but Calkas tho?
And of this thing ful sone his nedes leyde  
On hem that sholden for the tretis go,
And hem for Antenor ful ofte preyde
To bringen hoom king Toas and Criseyde;
And whan Pryam his save-garde sente,
Thembassadours to Troye streyght they wente.  

The cause y-told of hir cominge, the olde
Pryam the king ful sone in general
Let here-upon his parlement to holde,
Of which the effect rehersen yow I shal.
Thembassadours ben answered for fynal,  
Theschaunge of prisoners and al this nede
Hem lyketh wel, and forth in they procede.

This Troilus was present in the place,
Whan axed was for Antenor Criseyde,
For which ful sone chaungen gan his face,  
As he that with tho wordes wel neigh deyde.
But nathelees, he no word to it seyde,
Lest men sholde his affeccioun espye;
With mannes herte he gan his sorwes drye.

And ful of anguissh and of grisly drede  
Abood what lordes wolde un-to it seye;
And if they wolde graunte, as god forbede,
Theschaunge of hir, than thoughte he thinges tweye,
First, how to save hir honour, and what weye
He mighte best theschaunge of hir withstonde;  
Ful faste he caste how al this mighte stonde.

Love him made al prest to doon hir byde,
And rather dye than she sholde go;
But resoun seyde him, on that other syde,
'With-oute assent of hir ne do not so,  
Lest for thy werk she wolde be thy fo,
And seyn, that thorugh thy medling is y-blowe
Your bother love, there it was erst unknowe.'

For which he gan deliberen, for the beste,
That though the lordes wolde that she wente,  
He wolde lat hem graunte what hem leste,
And telle his lady first what that they mente.
And whan that she had seyd him hir entente,
Ther-after wolde he werken also blyve,
Though al the world ayein it wolde stryve.  

Ector, which that wel the Grekes herde,
For Antenor how they wolde han Criseyde,
Gan it withstonde, and sobrely answerde: --
'Sires, she nis no prisoner,' he seyde;
'I noot on yow who that this charge leyde,  
But, on my part, ye may eft-sone hem telle,
We usen here no wommen for to selle.'

The noyse of peple up-stirte thanne at ones,
As breme as blase of straw y-set on fyre;
For infortune it wolde, for the nones,  
They sholden hir confusioun desyre.
'Ector,' quod they, 'what goost may yow enspyre
This womman thus to shilde and doon us lese
Daun Antenor? -- a wrong wey now ye chese --

'That is so wys, and eek so bold baroun,  
And we han nede to folk, as men may see;
He is eek oon, the grettest of this toun;
O Ector, lat tho fantasyes be!
O king Priam,' quod they, 'thus seggen we,
That al our voys is to for-gon Criseyde;'  
And to deliveren Antenor they preyde.

O Iuvenal, lord! Trewe is thy sentence,
That litel witen folk what is to yerne
That they ne finde in hir desyr offence;
For cloud of errour let hem not descerne  
What best is; and lo, here ensample as yerne.
This folk desiren now deliveraunce
Of Antenor, that broughte hem to mischaunce!

For he was after traytour to the toun
Of Troye; allas! They quitte him out to rathe;  
O nyce world, lo, thy discrecioun!
Criseyde, which that never dide hem skathe,
Shal now no lenger in hir blisse bathe;
But Antenor, he shal com hoom to toune,
And she shal out; thus seyden here and howne.  

For which delibered was by parlement
For Antenor to yelden out Criseyde,
And it pronounced by the president,
Al-theigh that Ector 'nay' ful ofte preyde.
And fynaly, what wight that it with-seyde,  
It was for nought, it moste been, and sholde;
For substaunce of the parlement it wolde.

Departed out of parlement echone,
This Troilus, with-oute wordes mo,
Un-to his chaumbre spedde him faste allone,  
But-if it were a man of his or two,
The whiche he bad out faste for to go,
By-cause he wolde slepen, as he seyde,
And hastely up-on his bed him leyde.

And as in winter leves been biraft,  
Eche after other, til the tree be bare,
So that ther nis but bark and braunche y-laft,
Lyth Troilus, biraft of ech wel-fare,
Y-bounden in the blake bark of care,
Disposed wood out of his wit to breyde,  
So sore him sat the chaunginge of Criseyde.

He rist him up, and every dore he shette
And windowe eek, and tho this sorweful man
Up-on his beddes syde a-doun him sette,
Ful lyk a deed image pale and wan;  
And in his brest the heped wo bigan
Out-breste, and he to werken in this wyse
In his woodnesse, as I shal yow devyse.

Right as the wilde bole biginneth springe
Now here, now there, y-darted to the herte,  
And of his deeth roreth in compleyninge,
Right so gan he aboute the chaumbre sterte,
Smyting his brest ay with his festes smerte;
His heed to the wal, his body to the grounde
Ful ofte he swapte, him-selven to confounde.  

His eyen two, for pitee of his herte,
Out stremeden as swifte welles tweye;
The heighe sobbes of his sorwes smerte
His speche him refte, unnethes mighte he seye,
'O deeth, allas! Why niltow do me deye?  
A-cursed be the day which that nature
Shoop me to ben a lyves creature!'

But after, whan the furie and the rage
Which that his herte twiste and faste threste,
By lengthe of tyme somwhat gan asswage,  
Up-on his bed he leyde him doun to reste;
But tho bigonne his teres more out-breste,
That wonder is, the body may suffyse
To half this wo, which that I yow devyse.

Than seyde he thus, 'Fortune! Allas the whyle!  
What have I doon, what have I thus a-gilt?
How mightestow for reuthe me bigyle?
Is ther no grace, and shal I thus be spilt?
Shal thus Criseyde awey, for that thou wilt?
Allas! How maystow in thyn herte finde  
To been to me thus cruel and unkinde?

'Have I thee nought honoured al my lyve,
As thou wel wost, above the goddes alle?
Why wiltow me fro Ioye thus depryve?
O Troilus, what may men now thee calle  
But wrecche of wrecches, out of honour falle
In-to miserie, in which I wol biwayle
Criseyde, allas! Til that the breeth me fayle?

'Allas, Fortune! If that my lyf in Ioye
Displesed hadde un-to thy foule envye,  
Why ne haddestow my fader, king of Troye,
By-raft the lyf, or doon my bretheren dye,
Or slayn my-self, that thus compleyne and crye,
I, combre-world, that may of no-thing serve,
But ever dye, and never fully sterve?  

'If that Criseyde allone were me laft,
Nought roughte I whider thou woldest me stere;
And hir, allas! Than hastow me biraft.
But ever-more, lo! This is thy manere,
To reve a wight that most is to him dere,  
To preve in that thy gerful violence.
Thus am I lost, ther helpeth no defence!

'O verray lord of love, O god, allas!
That knowest best myn herte and al my thought,
What shal my sorwful lyf don in this cas  
If I for-go that I so dere have bought?
Sin ye Cryseyde and me han fully brought
In-to your grace, and bothe our hertes seled,
How may ye suffre, allas! It be repeled?

'What I may doon, I shal, whyl I may dure  
On lyve in torment and in cruel peyne,
This infortune or this disaventure,
Allone as I was born, y-wis, compleyne;
Ne never wil I seen it shyne or reyne;
But ende I wil, as Edippe, in derknesse  
My sorwful lyf, and dyen in distresse.

'O wery goost, that errest to and fro,
Why niltow fleen out of the wofulleste
Body, that ever mighte on grounde go?
O soule, lurkinge in this wo, unneste,  
Flee forth out of myn herte, and lat it breste,
And folwe alwey Criseyde, thy lady dere;
Thy righte place is now no lenger here!

'O wofulle eyen two, sin your disport
Was al to seen Criseydes eyen brighte,  
What shal ye doon but, for my discomfort,
Stonden for nought, and wepen out your sighte?
Sin she is queynt, that wont was yow to lighte,
In veyn fro-this-forth have I eyen tweye
Y-formed, sin your vertue is a-weye.  

'O my Criseyde, O lady sovereyne
Of thilke woful soule that thus cryeth,
Who shal now yeven comfort to the peyne?
Allas, no wight; but when myn herte dyeth,
My spirit, which that so un-to yow hyeth,  
Receyve in gree, for that shal ay yow serve;
For-thy no fors is, though the body sterve.

'O ye loveres, that heighe upon the wheel
Ben set of Fortune, in good aventure,
God leve that ye finde ay love of steel,  
And longe mot your lyf in Ioye endure!
But whan ye comen by my sepulture,
Remembreth that your felawe resteth there;
For I lovede eek, though I unworthy were.

'O olde, unholsom, and mislyved man,  
Calkas I mene, allas! What eyleth thee
To been a Greek, sin thou art born Troian?
O Calkas, which that wilt my bane be,
In cursed tyme was thou born for me!
As wolde blisful Iove, for his Ioye,  
That I thee hadde, where I wolde, in Troye!'

A thousand sykes, hottere than the glede,
Out of his brest ech after other wente,
Medled with pleyntes newe, his wo to fede,
For which his woful teres never stente;  
And shortly, so his peynes him to-rente,
And wex so mat, that Ioye nor penaunce
He feleth noon, but lyth forth in a traunce.

Pandare, which that in the parlement
Hadde herd what every lord and burgeys seyde,  
And how ful graunted was, by oon assent,
For Antenor to yelden so Criseyde,
Gan wel neigh wood out of his wit to breyde,
So that, for wo, he niste what he mente;
But in a rees to Troilus he wente.  

A certeyn knight, that for the tyme kepte
The chaumbre-dore, un-dide it him anoon;
And Pandare, that ful tendreliche wepte,
In-to the derke chaumbre, as stille as stoon,
Toward the bed gan softely to goon,  
So confus, that he niste what to seye;
For verray wo his wit was neigh aweye.

And with his chere and loking al to-torn,
For sorwe of this, and with his armes folden,
He stood this woful Troilus biforn,  
And on his pitous face he gan biholden;
But lord, so often gan his herte colden,
Seing his freend in wo, whos hevinesse
His herte slow, as thoughte him, for distresse.

This woful wight, this Troilus, that felte  
His freend Pandare y-comen him to see,
Gan as the snow ayein the sonne melte,
For which this sorwful Pandare, of pitee,
Gan for to wepe as tendreliche as he;
And specheles thus been thise ilke tweye,  
That neyther mighte o word for sorwe seye.

But at the laste this woful Troilus,
Ney deed for smert, gan bresten out to rore,
And with a sorwful noyse he seyde thus,
Among his sobbes and his sykes sore,  
'Lo! Pandare, I am deed, with-oute

Incipit Prohemium Secundi Libri.

Out of these blake wawes for to sayle,
O wind, O wind, the weder ginneth clere;
For in this see the boot hath swich travayle,
Of my conning, that unnethe I it stere:
This see clepe I the tempestous matere  
Of desespeyr that Troilus was inne:
But now of hope the calendes biginne.
O lady myn, that called art Cleo,
Thou be my speed fro this forth, and my muse,
To ryme wel this book, til I have do;  
Me nedeth here noon other art to use.
For-why to every lovere I me excuse,
That of no sentement I this endyte,
But out of Latin in my tonge it wryte.

Wherfore I nil have neither thank ne blame  
Of al this werk, but prey yow mekely,
Disblameth me if any word be lame,
For as myn auctor seyde, so seye I.
Eek though I speke of love unfelingly,
No wondre is, for it no-thing of newe is;  
A blind man can nat Iuggen wel in hewis.

Ye knowe eek, that in forme of speche is chaunge
With-inne a thousand yeer, and wordes tho
That hadden prys, now wonder nyce and straunge
Us thinketh hem; and yet they spake hem so,  
And spedde as wel in love as men now do;
Eek for to winne love in sondry ages,
In sondry londes, sondry ben usages.

And for-thy if it happe in any wyse,
That here be any lovere in this place  
That herkneth, as the storie wol devyse,
How Troilus com to his lady grace,
And thenketh, so nolde I nat love purchace,
Or wondreth on his speche or his doinge,
I noot; but it is me no wonderinge;  

For every wight which that to Rome went,
Halt nat o path, or alwey o manere;
Eek in som lond were al the gamen shent,
If that they ferde in love as men don here,
As thus, in open doing or in chere,  
In visitinge, in forme, or seyde hire sawes;
For-thy men seyn, ech contree hath his lawes.

Eek scarsly been ther in this place three
That han in love seid lyk and doon in al;
For to thy purpos this may lyken thee,  
And thee right nought, yet al is seyd or shal;
Eek som men grave in tree, som in stoon wal,
As it bitit; but sin I have begonne,
Myn auctor shal I folwen, if I conne.

Exclipit prohemium Secundi Libri.

Incipit Liber Secundus.

In May, that moder is of monthes glade,  
That fresshe floures, blewe, and whyte, and rede,
Ben quike agayn, that winter dede made,
And ful of bawme is fleting every mede;
Whan Phebus doth his brighte bemes sprede
Right in the whyte Bole, it so bitidde  
As I shal singe, on Mayes day the thridde,

That Pandarus, for al his wyse speche,
Felt eek his part of loves shottes kene,
That, coude he never so wel of loving preche,
It made his hewe a-day ful ofte grene;  
So shoop it, that hym fil that day a tene
In love, for which in wo to bedde he wente,
And made, er it was day, ful many a wente.

The swalwe Proigne, with a sorwful lay,
Whan morwe com, gan make hir waymentinge,  
Why she forshapen was; and ever lay
Pandare a-bedde, half in a slomeringe,
Til she so neigh him made hir chiteringe
How Tereus gan forth hir suster take,
That with the noyse of hir he gan a-wake;  

And gan to calle, and dresse him up to ryse,
Remembringe him his erand was to done
From Troilus, and eek his greet empryse;
And caste and knew in good plyt was the mone
To doon viage, and took his wey ful sone  
Un-to his neces paleys ther bi-syde;
Now Ianus, god of entree, thou him gyde!

Whan he was come un-to his neces place,
'Wher is my lady?' to hir folk seyde he;
And they him tolde; and he forth in gan pace,  
And fond, two othere ladyes sete and she,
With-inne a paved parlour; and they three
Herden a mayden reden hem the geste
Of the Sege of Thebes, whyl hem leste.

Quod Pandarus, 'Ma dame, god yow see,  
With al your book and al the companye!'
'Ey, uncle myn, welcome y-wis,' quod she,
And up she roos, and by the hond in hye
She took him faste, and seyde, 'This night thrye,
To goode mote it turne, of yow I mette!'  
And with that word she doun on bench him sette.

'Ye, nece, ye shal fare wel the bet,
If god wole, al this yeer,' quod Pandarus;
'But I am sory that I have yow let
To herknen of your book ye preysen thus;  
For goddes love, what seith it? tel it us.
Is it of love? O, som good ye me lere!'
'Uncle,' quod she, 'your maistresse is not here!'

With that they gonnen laughe, and tho she seyde,
'This romaunce is of Thebes, that we rede;  
And we han herd how that king Laius deyde
Thurgh Edippus his sone, and al that dede;
And here we stenten at these lettres rede,
How the bisshop, as the book can telle,
Amphiorax, fil thurgh the ground to helle.'  

Quod Pandarus, 'Al this knowe I my-selve,
And al the assege of Thebes and the care;
For her-of been ther maked bokes twelve: --
But lat be this, and tel me how ye fare;
Do wey your barbe, and shew your face bare;  
Do wey your book, rys up, and lat us daunce,
And lat us don to May som observaunce.'

'A! God forbede!' quod she. 'Be ye mad?
Is that a widewes lyf, so god you save?
By god, ye maken me right sore a-drad,  
Ye ben so wilde, it semeth as ye rave!
It sete me wel bet ay in a cave
To bidde, and rede on holy seyntes lyves;
Lat maydens gon to daunce, and yonge wyves.'

'As ever thryve I,' quod this Pandarus,  
'Yet coude I telle a thing to doon you pleye.'
'Now, uncle dere,' quod she, 'tel it us
For goddes love; is than the assege aweye?
I am of Grekes so ferd that I deye.'
'Nay, nay,' quod he, 'as ever mote I thryve!  
It is a thing wel bet than swiche fyve.'

'Ye, holy god,' quod she, 'what thing is that?
What! Bet than swiche fyve? Ey, nay, y-wis!
For al this world ne can I reden what
It sholde been; som Iape, I trowe, is this;  
And but your-selven telle us what it is,
My wit is for to arede it al to lene;
As help me god, I noot nat what ye meene.'

'And I your borow, ne never shal, for me,
This thing be told to yow, as mote I thryve!'  
'And why so, uncle myn? Why so?' quod she.
'By god,' quod he, 'that wole I telle as blyve;
For prouder womman were ther noon on-lyve,
And ye it wiste, in al the toun of Troye;
I iape nought, as ever have I Ioye!'  

Tho gan she wondren more than biforn
A thousand fold, and doun hir eyen caste;
For never, sith the tyme that she was born,
To knowe thing desired she so faste;
And with a syk she seyde him at the laste,  
'Now, uncle myn, I nil yow nought displese,
Nor axen more, that may do yow disese.'

So after this, with many wordes glade,
And freendly tales, and with mery chere,
Of this and that they pleyde, and gunnen wade  
In many an unkouth glad and deep matere,
As freendes doon, whan they ben met y-fere;
Til she gan axen him how Ector ferde,
That was the tounes wal and Grekes yerde.

'Ful wel, I thanke it god,' quod Pandarus,  
'Save in his arm he hath a litel wounde;
And eek his fresshe brother Troilus,
The wyse worthy Ector the secounde,
In whom that ever vertu list abounde,
As alle trouthe and alle gentillesse,  
Wysdom, honour, fredom, and worthinesse.'

'In good feith, eem,' quod she, 'that lyketh me;
They faren wel, god save hem bothe two!
For trewely I holde it greet deyntee
A kinges sone in armes wel to do,  
And been of good condiciouns ther-to;
For greet power and moral vertu here
Is selde y-seye in o persone y-fere.'

'In good feith, that is sooth,' quod Pandarus;
'But, by my trouthe, the king hath sones tweye,  
That is to mene, Ector and Troilus,
That certainly, though that I sholde deye,
They been as voyde of vyces, dar I seye,
As any men that liveth under the sonne,
Hir might is wyde y-knowe, and what they conne.  

'Of Ector nedeth it nought for to telle:
In al this world ther nis a bettre knight
Than he, that is of worthinesse welle;
And he wel more vertu hath than might.
This knoweth many a wys and worthy wight.  
The same prys of Troilus I seye,
God help me so, I knowe not swiche tweye.'

'By god,' quod she, 'of Ector that is sooth;
Of Troilus the same thing trowe I;
For, dredelees, men tellen that he dooth  
In armes day by day so worthily,
And bereth him here at hoom so gentilly
To every wight, that al the prys hath he
Of hem that me were levest preysed be.'

'Ye sey right sooth, y-wis,' quod Pandarus;  
'For yesterday, who-so hadde with him been,
He might have wondred up-on Troilus;
For never yet so thikke a swarm of been
Ne fleigh, as Grekes fro him gonne fleen;
And thorugh the feld, in everi wightes ere,  
Ther nas no cry but "Troilus is there!"

'Now here, now there, he hunted hem so faste,
Ther nas but Grekes blood; and Troilus,
Now hem he hurte, and hem alle doun he caste;
Ay where he wente, it was arayed thus:  
He was hir deeth, and sheld and lyf for us;
That as that day ther dorste noon with-stonde,
Whyl that he held his blody swerd in honde.

'Therto he is the freendlieste man
Of grete estat, that ever I saw my lyve;  
And wher him list, best felawshipe can
To suche as him thinketh able for to thryve.'
And with that word tho Pandarus, as blyve,
He took his leve, and seyde, 'I wol go henne.'
'Nay, blame have I, myn uncle,' quod she thenne.  

'What eyleth yow to be thus wery sone,
And namelich of wommen? Wol ye so?
Nay, sitteth down; by god, I have to done
With yow, to speke of wisdom er ye go.'
And every wight that was a-boute hem tho,  
That herde that, gan fer a-wey to stonde,
Whyl they two hadde al that hem liste in honde.

Whan that hir tale al brought was to an ende,
Of hire estat and of hir governaunce,
Quod Pandarus, 'Now is it tyme I wende;  
But yet, I seye, aryseth, lat us daunce,
And cast your widwes habit to mischaunce:
What list yow thus your-self to disfigure,
Sith yow is tid thus fair an aventure?'

'A! Wel bithought! For love of god,' quod she,  
'Shal I not witen what ye mene of this?'
'No, this thing axeth layser,' tho quod he,
'And eek me wolde muche greve, y-wis,
If I it tolde, and ye it **** amis.
Yet were it bet my tonge for to stille  
Than seye a sooth that were ayeins your wille.

'For, nece, by the goddesse Minerve,
And Iuppiter, that maketh the thonder ringe,
And by the blisful Venus that I serve,
Ye been the womman in this world livinge,  
With-oute paramours, to my wittinge,
That I best love, and lothest am to greve,
And that ye witen wel your-self, I leve.'

'Y-wis, myn uncle,' quod she, 'grant mercy;
Your freendship have I founden ever yit;  
I am to no man holden trewely,
So muche as yow, and have so litel quit;
And, with the grace of god, emforth my wit,
As in my gilt I shal you never offende;
And if I have er this, I wol amende.  

'But, for the love of god, I yow beseche,
As ye ben he that I love most and triste,
Lat be to me your fremde manere speche,
And sey to me, your nece, what yow liste:'
And with that word hir uncle anoon hir kiste,  
And seyde, 'Gladly, leve nece dere,
Tak it for good that I shal seye yow here.'

With that she gan hir eiyen doun to caste,
And Pandarus to coghe gan a lyte,
And seyde, 'Nece, alwey, lo! To the laste,  
How-so it be that som men hem delyte
With subtil art hir tales for to endyte,
Yet for al that, in hir entencioun
Hir tale is al for som conclusioun.

'And sithen thende is every tales strengthe,  
And this matere is so bihovely,
What sholde I peynte or drawen it on lengthe
To yow, that been my freend so feithfully?'
And with that word he gan right inwardly
Biholden hir, and loken on hir face,  
And seyde, 'On suche a mirour goode grace!'

Than thoughte he thus: 'If I my tale endyte
Ought hard, or make a proces any whyle,
She shal no savour han ther-in but lyte,
And trowe I wolde hir in my wil bigyle.  
For tendre wittes wenen al be wyle
Ther-as they can nat pleynly understonde;
For-thy hir wit to serven wol I fonde --'

And loked on hir in a besy wyse,
And she was war that he byheld hir so,  
And seyde, 'Lord! So faste ye me avyse!
Sey ye me never er now? What sey ye, no?'
'Yes, yes,' quod he, 'and bet wole er I go;
But, by my trouthe, I thoughte now if ye
Be fortunat, for now men shal it see.  

'For to every wight som goodly aventure
Som tyme is shape, if he it can receyven;
And if that he wol take of it no cure,
Whan that it commeth, but wilfully it weyven,
Lo, neither cas nor fortune him deceyven,  
But right his verray slouthe and wrecchednesse;
And swich a wight is for to blame, I gesse.

'Good aventure, O bele nece, have ye
Ful lightly founden, and ye conne it take;
And, for the love of god, and eek of me,  
Cacche it anoon, lest aventure slake.
What sholde I lenger proces of it make?
Yif me your hond, for in this world is noon,
If that yow list, a wight so wel begoon.

'And sith I speke of good entencioun,  
As I to yow have told wel here-biforn,
And love as wel your honour and renoun
As creature in al this world y-born;
By alle the othes that I have yow sworn,
And ye be wrooth therfore, or wene I lye,  
Ne shal I never seen yow eft with ye.

'Beth nought agast, ne quaketh nat; wher-to?
Ne chaungeth nat for fere so your hewe;
For hardely the werste of this is do;
And though my tale as now be to yow newe,  
Yet trist alwey, ye shal me finde trewe;
And were it thing that me thoughte unsittinge,
To yow nolde I no swiche tales bringe.'

'Now, my good eem, for goddes love, I preye,'
Quod she, 'com of, and tel me what it is;  
For bothe I am agast what ye wol seye,
And eek me longeth it to wite, y-wis.
For whether it be wel or be amis,
Say on, lat me not in this fere dwelle:'
'So wol I doon; now herkneth, I shal telle:  

'Now, nece myn, the kinges dere sone,
The goode, wyse, worthy, fresshe, and free,
Which alwey for to do wel is his wone,
The noble Troilus, so loveth thee,
That, bot ye helpe, it wol his bane be.  
Lo, here is al, what sholde I more seye?
Doth what yow list, to make him live or deye.

'But if ye lete him deye, I wol sterve;
Have her my trouthe, nece, I nil not lyen;
Al sholde I with this knyf my throte kerve --'  
With that the teres braste out of his yen,
And seyde, 'If that ye doon us bothe dyen,
Thus giltelees, than have ye fisshed faire;
What mende ye, though that we bothe apeyre?

'Allas! He which that is my lord so dere,  
That trewe man, that noble gentil knight,
That nought desireth but your freendly chere,
I see him deye, ther he goth up-right,
And hasteth him, with al his fulle might,
For to be slayn, if fortune wol assente;  
Allas! That god yow swich a beautee sente!

'If it be so that ye so cruel be,
That of his deeth yow liste nought to recche,
That is so trewe and worthy, as ye see,
No more than of a Iapere or a wrecche,  
If ye be swich, your beautee may not strecche
To make amendes of so cruel a dede;
Avysement is good bifore the nede.

'Wo worth the faire gemme vertulees!
Wo worth that herbe also that dooth no bote!  
Wo worth that beautee that is routhelees!
Wo worth that wight that tret ech under fote!
And ye, that been of beautee crop and rote,
If therwith-al in you ther be no routhe,
Than is it harm ye liven, by my trouthe!  

'And also thenk wel that this is no gaude;
For me were lever, thou and I and he
Were hanged, than I sholde been his baude,
As heyghe, as men mighte on us alle y-see:
I am thyn eem, the shame were to me,  
As wel as thee, if that I sholde assente,
Thorugh myn abet, that he thyn honour shente.

'Now understond, for I yow nought requere,
To binde yow to him thorugh no beheste,
But only that ye make him bettre chere  
Than ye han doon er this, and more feste,
So that his lyf be saved, at the leste;
This al and som, and playnly our entente;
God help me so, I never other mente.

'Lo, this request is not but skile, y-wis,  
Ne doute of reson, pardee, is ther noon.
I sette the worste that ye dredden this,
Men wolden wondren seen him come or goon:
Ther-ayeins answere I thus a-noon,
That every wight, but he be fool of kinde,  
Wol deme it love of freendship in his minde.

'What? Who wol deme, though he see a man
To temple go, that he the images eteth?
Thenk eek how wel and wy

Incipit Liber Quintus.

Aprochen gan the fatal destinee
That Ioves hath in disposicioun,
And to yow, angry Parcas, sustren three,
Committeth, to don execucioun;
For which Criseyde moste out of the toun,  
And Troilus shal dwelle forth in pyne
Til Lachesis his threed no lenger twyne. --

The golden-tressed Phebus heighe on-lofte
Thryes hadde alle with his bemes shene
The snowes molte, and Zephirus as ofte  
Y-brought ayein the tendre leves grene,
Sin that the sone of Ecuba the quene
Bigan to love hir first, for whom his sorwe
Was al, that she departe sholde a-morwe.

Ful redy was at pryme Dyomede,  
Criseyde un-to the Grekes ost to lede,
For sorwe of which she felt hir herte blede,
As she that niste what was best to rede.
And trewely, as men in bokes rede,
Men wiste never womman han the care,  
Ne was so looth out of a toun to fare.

This Troilus, with-outen reed or lore,
As man that hath his Ioyes eek forlore,
Was waytinge on his lady ever-more
As she that was the soothfast crop and more  
Of al his lust, or Ioyes here-tofore.
But Troilus, now farewel al thy Ioye,
For shaltow never seen hir eft in Troye!

Soth is, that whyl he bood in this manere,
He gan his wo ful manly for to hyde.  
That wel unnethe it seen was in his chere;
But at the yate ther she sholde oute ryde
With certeyn folk, he hoved hir tabyde,
So wo bigoon, al wolde he nought him pleyne,
That on his hors unnethe he sat for peyne.  

For ire he quook, so gan his herte gnawe,
Whan Diomede on horse gan him dresse,
And seyde un-to him-self this ilke sawe,
'Allas,' quod he, 'thus foul a wrecchednesse
Why suffre ich it, why nil ich it redresse?  
Were it not bet at ones for to dye
Than ever-more in langour thus to drye?

'Why nil I make at ones riche and pore
To have y-nough to done, er that she go?
Why nil I bringe al Troye upon a rore?  
Why nil I sleen this Diomede also?
Why nil I rather with a man or two
Stele hir a-way? Why wol I this endure?
Why nil I helpen to myn owene cure?'

But why he nolde doon so fel a dede,  
That shal I seyn, and why him liste it spare;
He hadde in herte alweyes a maner drede,
Lest that Criseyde, in rumour of this fare,
Sholde han ben slayn; lo, this was al his care.
And ellis, certeyn, as I seyde yore,  
He hadde it doon, with-outen wordes more.

Criseyde, whan she redy was to ryde,
Ful sorwfully she sighte, and seyde 'Allas!'
But forth she moot, for ought that may bityde,
And forth she rit ful sorwfully a pas.  
Ther nis non other remedie in this cas.
What wonder is though that hir sore smerte,
Whan she forgoth hir owene swete herte?

This Troilus, in wyse of curteisye,
With hauke on hond, and with an huge route  
Of knightes, rood and dide hir companye,
Passinge al the valey fer with-oute,
And ferther wolde han riden, out of doute,
Ful fayn, and wo was him to goon so sone;
But torne he moste, and it was eek to done.  

And right with that was Antenor y-come
Out of the Grekes ost, and every wight
Was of it glad, and seyde he was wel-come.
And Troilus, al nere his herte light,
He peyned him with al his fulle might  
Him to with-holde of wepinge at the leste,
And Antenor he kiste, and made feste.

And ther-with-al he moste his leve take,
And caste his eye upon hir pitously,
And neer he rood, his cause for to make,  
To take hir by the honde al sobrely.
And lord! So she gan wepen tendrely!
And he ful softe and sleighly gan hir seye,
'Now hold your day, and dooth me not to deye.'

With that his courser torned he a-boute  
With face pale, and un-to Diomede
No word he spak, ne noon of al his route;
Of which the sone of Tydeus took hede,
As he that coude more than the crede
In swich a craft, and by the reyne hir hente;  
And Troilus to Troye homwarde he wente.

This Diomede, that ladde hir by the brydel,
Whan that he saw the folk of Troye aweye,
Thoughte, 'Al my labour shal not been on ydel,
If that I may, for somwhat shal I seye,  
For at the worste it may yet shorte our weye.
I have herd seyd, eek tymes twyes twelve,
"He is a fool that wol for-yete him-selve."'

But natheles this thoughte he wel ynough,
'That certaynly I am aboute nought,  
If that I speke of love, or make it tough;
For douteles, if she have in hir thought
Him that I gesse, he may not been y-brought
So sone awey; but I shal finde a mene,
That she not wite as yet shal what I mene.'  

This Diomede, as he that coude his good,
Whan this was doon, gan fallen forth in speche
Of this and that, and asked why she stood
In swich disese, and gan hir eek biseche,
That if that he encrese mighte or eche  
With any thing hir ese, that she sholde
Comaunde it him, and seyde he doon it wolde.

For trewely he swoor hir, as a knight,
That ther nas thing with whiche he mighte hir plese,
That he nolde doon his peyne and al his might  
To doon it, for to doon hir herte an ese.
And preyede hir, she wolde hir sorwe apese,
And seyde, 'Y-wis, we Grekes con have Ioye
To honouren yow, as wel as folk of Troye.'

He seyde eek thus, 'I woot, yow thinketh straunge,  
No wonder is, for it is to yow newe,
Thaqueintaunce of these Troianis to chaunge,
For folk of Grece, that ye never knewe.
But wolde never god but-if as trewe
A Greek ye shulde among us alle finde  
As any Troian is, and eek as kinde.

'And by the cause I swoor yow right, lo, now,
To been your freend, and helply, to my might,
And for that more aqueintaunce eek of yow
Have ich had than another straunger wight,  
So fro this forth, I pray yow, day and night,
Comaundeth me, how sore that me smerte,
To doon al that may lyke un-to your herte;

'And that ye me wolde as your brother trete,
And taketh not my frendship in despyt;  
And though your sorwes be for thinges grete,
Noot I not why, but out of more respyt,
Myn herte hath for to amende it greet delyt.
And if I may your harmes not redresse,
I am right sory for your hevinesse,  

'And though ye Troians with us Grekes wrothe
Han many a day be, alwey yet, pardee,
O god of love in sooth we serven bothe.
And, for the love of god, my lady free,
Whom so ye hate, as beth not wroth with me.  
For trewely, ther can no wight yow serve,
That half so looth your wraththe wolde deserve.

'And nere it that we been so neigh the tente
Of Calkas, which that seen us bothe may,
I wolde of this yow telle al myn entente;  
But this enseled til another day.
Yeve me your hond, I am, and shal ben ay,
God help me so, whyl that my lyf may dure,
Your owene aboven every creature.

'Thus seyde I never er now to womman born;  
For god myn herte as wisly glade so,
I lovede never womman here-biforn
As paramours, ne never shal no mo.
And, for the love of god, beth not my fo;
Al can I not to yow, my lady dere,  
Compleyne aright, for I am yet to lere.

'And wondreth not, myn owene lady bright,
Though that I speke of love to you thus blyve;
For I have herd or this of many a wight,
Hath loved thing he never saugh his lyve.  
Eek I am not of power for to stryve
Ayens the god of love, but him obeye
I wol alwey, and mercy I yow preye.

'Ther been so worthy knightes in this place,
And ye so fair, that everich of hem alle  
Wol peynen him to stonden in your grace.
But mighte me so fair a grace falle,
That ye me for your servaunt wolde calle,
So lowly ne so trewely you serve
Nil noon of hem, as I shal, til I sterve.'  

Criseide un-to that purpos lyte answerde,
As she that was with sorwe oppressed so
That, in effect, she nought his tales herde,
But here and there, now here a word or two.
Hir thoughte hir sorwful herte brast a-two.  
For whan she gan hir fader fer aspye,
Wel neigh doun of hir hors she gan to sye.

But natheles she thonked Diomede
Of al his travaile, and his goode chere,
And that him liste his friendship hir to bede;  
And she accepteth it in good manere,
And wolde do fayn that is him leef and dere;
And trusten him she wolde, and wel she mighte,
As seyde she, and from hir hors she alighte.

Hir fader hath hir in his armes nome,  
And tweynty tyme he kiste his doughter swete,
And seyde, 'O dere doughter myn, wel-come!'
She seyde eek, she was fayn with him to mete,
And stood forth mewet, milde, and mansuete.
But here I leve hir with hir fader dwelle,  
And forth I wol of Troilus yow telle.

To Troye is come this woful Troilus,
In sorwe aboven alle sorwes smerte,
With felon look, and face dispitous.
Tho sodeinly doun from his hors he sterte,  
And thorugh his paleys, with a swollen herte,
To chambre he wente; of no-thing took he hede,
Ne noon to him dar speke a word for drede.

And there his sorwes that he spared hadde
He yaf an issue large, and 'Deeth!' he cryde;  
And in his throwes frenetyk and madde
He cursed Iove, Appollo, and eek Cupyde,
He cursed Ceres, Bacus, and Cipryde,
His burthe, him-self, his fate, and eek nature,
And, save his lady, every creature.  

To bedde he goth, and weyleth there and torneth
In furie, as dooth he, Ixion in helle;
And in this wyse he neigh til day soiorneth.
But tho bigan his herte a lyte unswelle
Thorugh teres which that gonnen up to welle;  
And pitously he cryde up-on Criseyde,
And to him-self right thus he spak, and seyde: --

'Wher is myn owene lady lief and dere,
Wher is hir whyte brest, wher is it, where?
Wher ben hir armes and hir eyen clere,  
That yesternight this tyme with me were?
Now may I wepe allone many a tere,
And graspe aboute I may, but in this place,
Save a pilowe, I finde nought tenbrace.

'How shal I do? Whan shal she com ayeyn?  
I noot, allas! Why leet ich hir to go?
As wolde god, ich hadde as tho be sleyn!
O herte myn, Criseyde, O swete fo!
O lady myn, that I love and no mo!
To whom for ever-mo myn herte I dowe;  
See how I deye, ye nil me not rescowe!

'Who seeth yow now, my righte lode-sterre?
Who sit right now or stant in your presence?
Who can conforten now your hertes werre?
Now I am gon, whom yeve ye audience?  
Who speketh for me right now in myn absence?
Allas, no wight; and that is al my care;
For wel wot I, as yvel as I ye fare.

'How sholde I thus ten dayes ful endure,
Whan I the firste night have al this tene?  
How shal she doon eek, sorwful creature?
For tendernesse, how shal she this sustene,
Swich wo for me? O pitous, pale, and grene
Shal been your fresshe wommanliche face
For langour, er ye torne un-to this place.'  

And whan he fil in any slomeringes,
Anoon biginne he sholde for to grone,
And dremen of the dredfulleste thinges
That mighte been; as, mete he were allone
In place horrible, makinge ay his mone,  
Or meten that he was amonges alle
His enemys, and in hir hondes falle.

And ther-with-al his body sholde sterte,
And with the stert al sodeinliche awake,
And swich a tremour fele aboute his herte,  
That of the feer his body sholde quake;
And there-with-al he sholde a noyse make,
And seme as though he sholde falle depe
From heighe a-lofte; and than he wolde wepe,

And rewen on him-self so pitously,  
That wonder was to here his fantasye.
Another tyme he sholde mightily
Conforte him-self, and seyn it was folye,
So causeles swich drede for to drye,
And eft biginne his aspre sorwes newe,  
That every man mighte on his sorwes rewe.

Who coude telle aright or ful discryve
His wo, his pleynt, his langour, and his pyne?
Nought al the men that han or been on-lyve.
Thou, redere, mayst thy-self ful wel devyne  
That swich a wo my wit can not defyne.
On ydel for to wryte it sholde I swinke,
Whan that my wit is wery it to thinke.

On hevene yet the sterres were sene,
Al-though ful pale y-waxen was the mone;  
And whyten gan the orisonte shene
Al estward, as it woned is for to done.
And Phebus with his rosy carte sone
Gan after that to dresse him up to fare,
Whan Troilus hath sent after Pandare.  

This Pandare, that of al the day biforn
Ne mighte han comen Troilus to see,
Al-though he on his heed it hadde y-sworn,
For with the king Pryam alday was he,
So that it lay not in his libertee  
No-wher to gon, but on the morwe he wente
To Troilus, whan that he for him sente.

For in his herte he coude wel devyne,
That Troilus al night for sorwe wook;
And that he wolde telle him of his pyne,  
This knew he wel y-nough, with-oute book.
For which to chaumbre streight the wey he took,
And Troilus tho sobreliche he grette,
And on the bed ful sone he gan him sette.

'My Pandarus,' quod Troilus, 'the sorwe  
Which that I drye, I may not longe endure.
I trowe I shal not liven til to-morwe;
For whiche I wolde alwey, on aventure,
To thee devysen of my sepulture
The forme, and of my moeble thou dispone  
Right as thee semeth best is for to done.

'But of the fyr and flaumbe funeral
In whiche my body brenne shal to glede,
And of the feste and pleyes palestral
At my vigile, I prey thee tak good hede  
That be wel; and offre Mars my stede,
My swerd, myn helm, and, leve brother dere,
My sheld to Pallas yef, that shyneth clere.

'The poudre in which myn herte y-brend shal torne,
That preye I thee thou take and it conserve  
In a vessel, that men clepeth an urne,
Of gold, and to my lady that I serve,
For love of whom thus pitously I sterve,
So yeve it hir, and do me this plesaunce,
To preye hir kepe it for a remembraunce.  

'For wel I fele, by my maladye,
And by my dremes now and yore ago,
Al certeinly, that I mot nedes dye.
The owle eek, which that hight Ascaphilo,
Hath after me shright alle thise nightes two.  
And, god Mercurie! Of me now, woful wrecche,
The soule gyde, and, whan thee list, it fecche!'

Pandare answerde, and seyde, 'Troilus,
My dere freend, as I have told thee yore,
That it is folye for to sorwen thus,  
And causeles, for whiche I can no-more.
But who-so wol not trowen reed ne lore,
I can not seen in him no remedye,
But lete him worthen with his fantasye.

'But Troilus, I pray thee tel me now,  
If that thou trowe, er this, that any wight
Hath loved paramours as wel as thou?
Ye, god wot, and fro many a worthy knight
Hath his lady goon a fourtenight,
And he not yet made halvendel the fare.  
What nede is thee to maken al this care?

'Sin day by day thou mayst thy-selven see
That from his love, or elles from his wyf,
A man mot twinnen of necessitee,
Ye, though he love hir as his owene lyf;  
Yet nil he with him-self thus maken stryf.
For wel thow wost, my leve brother dere,
That alwey freendes may nought been y-fere.

'How doon this folk that seen hir loves wedded
By freendes might, as it bi-*** ful ofte,  
And seen hem in hir spouses bed y-bedded?
God woot, they take it wysly, faire and softe.
For-why good hope halt up hir herte on-lofte,
And for they can a tyme of sorwe endure;
As tyme hem hurt, a tyme doth hem cure.  

'So sholdestow endure, and late slyde
The tyme, and fonde to ben glad and light.
Ten dayes nis so longe not tabyde.
And sin she thee to comen hath bihight,
She nil hir hestes breken for no wight.  
For dred thee not that she nil finden weye
To come ayein, my lyf that dorste I leye.

'Thy swevenes eek and al swich fantasye
Dryf out, and lat hem faren to mischaunce;
For they procede of thy malencolye,  
That doth thee fele in sleep al this penaunce.
A straw for alle swevenes signifiaunce!
God helpe me so, I counte hem not a bene,
Ther woot no man aright what dremes mene.

'For prestes of the temple tellen this,  
That dremes been the revelaciouns
Of goddes, and as wel they telle, y-wis,
That they ben infernals illusiouns;
And leches seyn, that of complexiouns
Proceden they, or fast, or glotonye.  
Who woot in sooth thus what they signifye?

'Eek othere seyn that thorugh impressiouns,
As if a wight hath faste a thing in minde,
That ther-of cometh swiche avisiouns;
And othere seyn, as they in bokes finde,  
That, after tymes of the yeer by kinde,
Men dreme, and that theffect goth by the mone;
But leve no dreem, for it is nought to done.

'Wel worth o

Tessitura, psalms, and songs of praise, they branded atheism when singing Christian psalms in the streets making ineffable groans, where the exordios looked from the back with Delphic prose, where the dart that opens the curtains of the hallelujah tormented, with darts that rubbed weathered in the tentative to rise of the stores of Sanequerib. They are relatives of Incipit Psalm 69. " Saint John said as they continued to climb the Calvary of Profitis Ilias, but this time in the company of the Help of Isaiah, with a great spirit of being from the cavern of Elías in Haifa, at a flat point at the time of the Benedictus. Already the Assyrians were returning the same way they came, as Isaiah prophesied, in the morning with ejaculations that ended with the crass rottenness that could end the day without a step other than an anti-Jesuit one. Prayers go and implore the Omnia Vanitatis, the moment when the sun honors, taking you towards the close of the day with the perpetual antiphon. The vigil was reaching the lines of Isaiah does not rest, in Trinitarian doxology. Where is the darkness, where is the glory to see you...? If the stars collide with each other in Baptismal frowning, and in the mystery of Vernarth that lies a complex, tied to becoming that never begins, and what was Christic history of a morning introit.

Saint John the Apostle and Vernarth express in the Trinitarian doxology: “Through Christ, with him and in him, to you Almighty God the Father, in the unity of the Holy Spirit, all honor and all glory, forever and ever. Amen"

The triangular taxias of the Hetairoi made faunas that came cutting themselves with the wind of the "incipit" of Psalm 69: "My God, come to my aid;" Lord, hurry to help me ", by the Keras or wings of the site of Arbella; or Gaugamela rather said…, sonnetized by some Pazhetairoi, made up of 32 Syntagmas, as units of sixteen revived Falangists from Court V of the Helleniká Necropolis, bilocated on Patmos, a few feet from the Mandragoron project. Thus the triangular spellings of war were formed again, to the astonishment of all those present. Alexander the Great, already graceful, was over-trained in irrigation and supplications, he was consisting of 128 Syntagmas, with 62 Falangists covered by the Cinnabar that subdivided them into bones by sixteen of the Lochoi or guides. The Syntagma bipartite was enlarged by two Syntagamatarchos captaining two units, all with their semi-open belly, re-liquidating their viscera by the Ghosts of Shiraz, the Saltimbanqui Hydro comes from Roknabad (also known as Aub-e Rokní), from an underground channel which carried spring water to the city from a mountain located ten kilometers northeast of Shiraz. Here he has to mend the propellers and water ropes to do his acrobatics on the water, with greater songs in the poems of the Poet Hafiz. When he bites his tongue, they repair it with the verses of Hafiz's Koran, there are three hundred creeds, three hundred hectares to irrigate with his wheel the sadness of those who cannot have the gift of the rivalry of Montenegro and Monte Blanco, to overestimate the liveliness of the caravan that trembles with uncertain doubts here on Patmos "

Saltimbanqui of Bascule says: “We are Epi ghosts, green in reverie with tutelary ropes, to jump through the trapeze of the photometric units of the heavy Almeria of the highest Mirror of the Sea. Will take you back to Limassol. Curiously to the same ship as the Eurydice that sleeps in the swings of the sea, and in the arms of the petulance of Dionysus in a new awakening of lethargy of theorization of the superstrings of Anaximander, here is the intrinsic speculation of science, already that this is not just purely empirical research. "

In between them, they form even and odd rows. The horizontals were tinged with the Red Blood cells that became volatile and surrounded the Xyston lances, for thirty soldiers of the Diloquia, with their dismembered arms that began to take them back with their hands tightly girded by the song of the Theological Shemesh of San Juan, which subsequently rescinded last in the sum of two taxiarchies, constituting a Syntagma. The units rose with the sickle that cuts definitive death, to reconstitute it in five thousand that should tread through the hierarchies of formations, amid the frolics of the Phalanx, where Vernarth protested to all “Khaire, Kalos irthate apo tin kentriki, Welcome from Hell !"

Thus the Phalanx was constituted among the Syntagmas in metaphors of the Falangists. In this way this antiphon was revealed martial, denoting synergies of the Sybilla Herofila that conferred to the world of Trinitarian Doxology, among ashes that remained by a solid cobblestone witness of the reluctant troops that testified to the sense of interpreting the law of bringing to the world what to their lives it owes them. The prophecy shone from an intangible Isaiah before all in this concomitant episode, and to the degree of the reign of Judah, here together with the prophet Elijah, they faced the hardened fragrances of blessing as oracular teachers of so many goods, and of the benefactor that protects by inspirational mandate, making laws for the end times before closing his own eyes without having prophesied them.

The rows in “V" contrasted with the corridor friezes in the crowned troops of the Hetairoi, and in the syntagmas that became appressed from the triangle that opened the three-quarter proportions of Athenea's physiognomy in Pergamum, subjugating Alcineo, so that finally it was forged in constellations of equanimity in the fifth courtyard or "V" of the Necropolis of Helleniká in the allegory of Vernarth, stopping the plausible dogma of the initial that glosses the Law in Vernarth's "V". This in turn in double syntagm of the Syntagamatarchos guide, in the high sky of Patmos, and in the medrones growing on the antlers of the proclamation of Wonthelimar, which made them a twin "W" in the star that shines in the medrones of the Ibix, in the Cornacabra and in the Cornucopia, with certain docile movement, adhering to acrostic and prehensile preliminaries of the Isaiah saying.

The Phalanx Alexandrina Heterochromatic of Alexander the Great volatilized between the villi of his Falangists, climbs the Holm of Zeus and causes a "Gore" or horrifying reflection, allowing the rhizomes to become a hundredfold, which will make the nominal order of five thousand, for each member of the Syntagma, in an astonishing quantum that reproduced itself to materialize before Him. Then he tied each one of them as Prometheus chained to each of the oaks, from an Akane grocer, incontinenti withdraws a sharp dagger and opens each one's veins to free them from the isolation of so many years settled in their last heterochromia of the War Iridium that he conferred on them, to endure the visit of the spirited Grim Reaper. This causes liberation, in this way they re-install themselves in their bodies, with Iridium or iris that made them see before their optics in two biases of Hoplite alter egos, impacting half of their body. Alexander the Great, being the philanthropic heir and of Platonic legacy, made them superfluous in the melanin that fell from the Epíchisis or libation vessel, to taste the effluvia of Dionysus with the maenads, with wide ambivalence filling them with viticulture, so that they would flow through the veins of his soldiers, and to revive them with the Dionysian must of melanin to the left eye of the Hegemon King Alexander the Great, with Jasper in the left, and the right with ultramarine from the bottom of the Ionian, on the banks of the washed banks of Patmos, in high swells of Greek alcohol that was distilled from the Mosacism of the stones when unraveling the peripheral forces from the prefectures of the great native of Pelas. They ordered areas of all Greece under their heterochromia flow that gave life to the Perifereoaki, or periphery for Central and Western Macedonia that came with great vigor, with Epirius central, western Greece, Peloponnese, and Crete. East Macedonia and Thrace, Ionian Islands, North Aegean, and Thessaly, later they would go for the Aldehyde alcohol that summarized and epitomized Dionysus taking him with four eagles that distilled the unprisoned Syntagmas of the lines of 16, 32, 64, etc...., for purposes never to start on an omega all the way to the Ionian Islands from Corfu.

Alexander the Great, went near the pre-urbanization of the Mandragoron towards Vernarth, somewhat dizzy, and before attending to him he presented himself first to the Zefian; who looked at his iris like a foreman who re-divided his visuals, by prevailing in eagerness to restore his soldiers, to help in the construction of adventures of life, and to assist in building the Megaron, which still rested in the myopia of mythological vision of the Gods tied in animosity with the Titans. Overwhelmingly, he highlighted the clouding or turbidity that was seen beyond the radius or visual field of two realities, found in visual refraction and interference with refractive statisms of the periphery that led him to the other world in Babylon when death imprisoned him...? Here the root revived, it became parallel in a unique world with divergent lights, which entered his Akera or right-wing of his soldiers, bringing visual acuity that brought the perchlorate volatilizations that hovered in the boots of his soldiers, when they marched in awareness of the retina and of the mean light, that for the first time was clarified in true holistic and political from a Parthenon with the musk of mortals and immortals of neo Hegemonic ophthalmology, which he was already re-leading by his command, where he was going to invest his greatest and most spiritual elemental Commander Vernarth, with his Himation.

The rays of his eyes seemed distant, but they were diffuse and alternate, they wandered through the lens of his clouding, which blinds a partial of the left Akera, or flank of the Hypaspists that dazzled Parmenion. Here the optics of Alexander the Great, remained in the diatribe of the small eye next to another that was enlarged, being hyperopic of a mysterious confine in the severity of Dionisio when confronted with him, in light effects of the high liquid vineyard, refracting meridians in his troops next to the Hexagonal Primogeniture who observed them behind the magenta image, which was the one that flashed from the Clouded holm oak and eclipsed by calm heat movements, and rising air masses that were in the opportune station of good sense. When being aided by the Maenads and the Herophile, they were teaching from a parent, who now sponsored the entire political and spiritual will of the Hoplite side, made up of the King of the World Vernarth, together with Alexander the Great, after receiving the photocoagulated lightning bolts. of the officers, under redeeming and reduced of the metabolic, and of the oxygenated preeminences of new lungs for each devout consecrated body, towards Saint John, the Apostle, pigmented and mechanized with aggravating heterochromia, and extensive in the bodies raised in new parallels that have to confront an anonymous or semi-god by turning for his own.

ITALIAN POETRY TRANSLATIONS

These are my modern English translations of the Roman, Latin and Italian poets Anonymous, Marcus Aurelius, Catullus, ***** Cavalcanti, Cicero, Dante Alighieri, Veronica Franco, ***** Guinizelli, Hadrian, Primo Levi, Martial, Michelangelo, Seneca, Seneca the Younger and Leonardo da Vinci. I also have translations of Latin poems by the English poets Aldhelm, Thomas Campion, Gildas and Saint Godric of Finchale.

Wall, I'm astonished that you haven't collapsed,
since you're holding up verses so prolapsed!
—Ancient Roman graffiti, loose translation/interpretation by Michael R. Burch

My objective is not to side with the majority, but to avoid the ranks of the insane.—Marcus Aurelius, loose translation/interpretation by Michael R. Burch

Little sparks ignite great Infernos.—Dante, loose translation/interpretation Michael R. Burch



MARTIAL

I must admit I'm partial
to Martial.
—Michael R. Burch

You ask me why I've sent you no new verses?
There might be reverses.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me to recite my poems to you?
I know how you'll 'recite' them, if I do.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I choose to live elsewhere?
You're not there.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I love fresh country air?
You're not befouling it there.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I love fresh country air?
You're not befouling it, mon frère.
—Martial, loose translation/interpretation by Michael R. Burch



1.
You’ll find good poems, but mostly poor and worse,
my peers being “diverse” in their verse.

2.
Some good poems here, but most not worth a curse:
such is the crapshoot of a book of verse.

Sunt bona, sunt quaedam mediocria, sunt mala plura
quae legis hic: aliter non fit, Auite, liber.



He undertook to be a doctor
but turned out to be an undertaker.

Chirurgus fuerat, nunc est uispillo Diaulus:
coepit quo poterat clinicus esse modo.



1.
The book you recite from, Fidentinus, was my own,
till your butchering made it yours alone.

2.
The book you recite from I once called my own,
but you read it so badly, it’s now yours alone.

3.
You read my book as if you wrote it,
but you read it so badly I’ve come to hate it.

Quem recitas meus est, o Fidentine, libellus:
sed male *** recitas, incipit esse tuus.



Recite my epigrams? I decline,
for then they’d be yours, not mine.

Ut recitem tibi nostra rogas epigrammata. Nolo:
non audire, Celer, sed recitare cupis.



I do not love you, but cannot say why.
I do not love you: no reason, no lie.

Non amo te, Sabidi, nec possum dicere quare:
hoc tantum possum dicere, non amo te.



You’re young and lovely, wealthy too,
but that changes nothing: you’re a shrew.

Bella es, nouimus, et puella, uerum est,
et diues, quis enim potest negare?
Sed *** te nimium, Fabulla, laudas,
nec diues neque bella nec puella es.


You never wrote a poem,
yet criticize mine?
Stop abusing me or write something fine
of your own!
—Martial, loose translation/interpretation by Michael R. Burch

He starts everything but finishes nothing;
thus I suspect there's no end to his *******.
—Martial, loose translation/interpretation by Michael R. Burch

You dine in great magnificence
while offering guests a pittance.
Sextus, did you invite
friends to dinner tonight
to impress us with your enormous appetite?
—Martial, loose translation/interpretation by Michael R. Burch

You alone own prime land, dandy!
Gold, money, the finest porcelain—you alone!
The best wines of the most famous vintages—you alone!
Discrimination, taste and wit—you alone!
You have it all—who can deny that you alone are set for life?
But everyone has had your wife—
she is never alone!
—Martial, loose translation/interpretation by Michael R. Burch

To you, my departed parents, dear mother and father,
I commend my little lost angel, Erotion, love's daughter,
who died six days short of completing her sixth frigid winter.
Protect her now, I pray, should the chilling dark shades appear;
muzzle hell's three-headed hound, less her heart be dismayed!
Lead her to romp in some sunny Elysian glade,
her devoted patrons. Watch her play childish games
as she excitedly babbles and lisps my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was surely no burden to you!
—Martial, loose translation/interpretation by Michael R. Burch

To you, my departed parents, with much emotion,
I commend my little lost darling, my much-kissed Erotion,
who died six days short of completing her sixth bitter winter.
Protect her, I pray, from hell's hound and its dark shades a-flitter;
and please don't let fiends leave her maiden heart dismayed!
But lead her to romp in some sunny Elysian glade
with her cherished friends, excitedly lisping my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was such a slight burden to you!
—Martial, loose translation/interpretation by Michael R. Burch

Epitaph for the Child Erotion
by Marcus Valerius Martial
loose translation/interpretation by Michael R. Burch

Lie lightly on her, grass and dew ...
So little weight she placed on you.

I created this translation after the Nashville Covenant school shooting and dedicated it to the victims of the massacre.



CATULLUS

Catullus LXXXV: 'Odi et Amo'
loose translation/interpretation by Michael R. Burch

1.
I hate. I love.
You ask, 'Why not refrain?'
I wish I could explain.
I can't, but feel the pain.

2.
I hate. I love.
Why? Heavens above!
I wish I could explain.
I can't, but feel the pain.

3.
I hate. I love.
How can that be, turtledove?
I wish I could explain.
I can't, but feel the pain.



Catullus CVI: 'That Boy'
loose translation/interpretation by Michael R. Burch

See that young boy, by the auctioneer?
He's so pretty he sells himself, I fear!



Catullus LI: 'That Man'
This is Catullus's translation of a poem by Sappho of ******
loose translation/interpretation by Michael R. Burch

I'd call that man the equal of the gods,
or,
could it be forgiven
in heaven,
their superior,
because to him space is given
to bask in your divine presence,
to gaze upon you, smile, and listen
to your ambrosial laughter
which leaves men senseless
here and hereafter.

Meanwhile, in my misery,
I'm left speechless.

Lesbia, there's nothing left of me
but a voiceless tongue grown thick in my mouth
and a thin flame running south...

My limbs tingle, my ears ring, my eyes water
till they swim in darkness.

Call it leisure, Catullus, or call it idleness,
whatever it is that incapacitates you.
By any other name it's the nemesis
fallen kings, empires and cities rue.



Catullus 1 ('cui dono lepidum novum libellum')        
loose translation/interpretation by Michael R. Burch

To whom do I dedicate this novel book
polished drily with a pumice stone?
To you, Cornelius, for you would look
content, as if my scribblings took
the cake, when in truth you alone
unfolded Italian history in three scrolls,
as learned as Jupiter in your labors.
Therefore, this little book is yours,
whatever it is, which, O patron Maiden,
I pray will last more than my lifetime!



Catullus XLIX: 'A Toast to Cicero'
loose translation/interpretation by Michael R. Burch

Cicero, please confess:
You're drunk on your success!
All men of good taste attest
That you're the very best—
At making speeches, first class!
While I'm the dregs of the glass.



Catullus CI: 'His Brother's Burial'
loose translation/interpretation by Michael R. Burch

1.
Through many lands and over many seas
I have journeyed, brother, to these wretched rites,
to this final acclamation of the dead...
and to speak — however ineffectually — to your voiceless ashes
now that Fate has wrested you away from me.
Alas, my dear brother, wrenched from my arms so cruelly,
accept these last offerings, these small tributes
blessed by our fathers' traditions, these small gifts for the dead.
Please accept, by custom, these tokens drenched with a brother's tears,
and, for all eternity, brother, 'Hail and Farewell.'

2.
Through many lands and over many seas
I have journeyed, brother, to these wretched rites,
to this final acclamation of the dead...
and to speak — however ineffectually — to your voiceless ashes
now that Fate has wrested you away from me.
Alas, my dear brother, wrenched from my arms so cruelly,
accept these small tributes, these last gifts,
offered in the time-honored manner of our fathers,
these final votives. Please accept, by custom,
these tokens drenched with a brother's tears,
and, for all eternity, brother, 'Hail and Farewell.'

[Here 'offered in the time-honored manner of our fathers' is from another translation by an unknown translator.]

[What do the gods know, with their superior airs,
wiser than a mother's tears
for her lost child?
If they had hearts, surely they would be beguiled,
repeal the sentence of death!
Since they have none,
or only hearts of stone,
believers, save your breath.
—Michael R. Burch, after Catullus]



Catullus IIA: 'Lesbia's Sparrow'
loose translation/interpretation by Michael R. Burch

Sparrow, my sweetheart's pet,
with whom she plays cradled to her breast,
or in her lap,
giving you her fingertip to peck,
provoking you to nip its nib...
Whenever she's flushed with pleasure
my gorgeous darling plays such dear little games:
to relieve her longings, I suspect,
until her ardour abates.
Oh, if only I could play with you as gaily,
and alleviate my own longings!



Catullus V: 'Let us live, Lesbia, let us love'
loose translation/interpretation by Michael R. Burch

Let us live, Lesbia, let us love,
and let the judgments of ancient moralists
count less than a farthing to us!

Suns may set then rise again,
but when our brief light sets,
we will sleep through perpetual night.

Give me a thousand kisses, a hundred more,
another thousand, then a second hundred,
yet another thousand, then a third hundred...

Then, once we've tallied the many thousands,
let's jumble the ledger, so that even we
(and certainly no malicious, evil-eyed enemy)        
will ever know there were so many kisses!



Catullus VII: 'How Many Kisses'
loose translation/interpretation by Michael R. Burch

You ask, Lesbia, how many kisses
are enough, or more than enough, to satisfy me?

As many as the Libyan sands
swirling in incense-bearing Cyrene
between the torrid oracle of Jove
and the sacred tomb of Battiades.

Or as many as the stars observing amorous men
making love furtively on a moonless night.

As many of your kisses are enough,
and more than enough, for mad Catullus,
as long as there are too many to be counted by inquisitors
and by malicious-tongued bewitchers.



Catullus VIII: 'Advice to Himself'
loose translation/interpretation by Michael R. Burch

Snap out of it Catullus, stop this foolishness!
It's time to cut losses!
What is dead is gone, accept it.
Once brilliant suns shone on you both,
when you trotted about wherever she led,
and loved her as never another before.
That was a time of such happiness,
when your desire intersected her will.
But now she doesn't want you any more.
Be resolute, weak as you are, stop chasing mirages!
What you need is not love, but a clean break.
Goodbye girl, now Catullus stands firm.
Never again Lesbia! Catullus is clear:
He won't miss you. Won't crave you. Catullus is cold.
Now it's you who will grieve, when nobody calls.
It's you who will weep that you're ruined.
Who'll submit to you now? Admire your beauty?
Whom will you love? Whose girl will you be?
Who will you kiss? Whose lips will you bite?
But you, Catullus, you must break with the past, hold fast.



Catullus LX: 'Lioness'
loose translation/interpretation by Michael R. Burch

Did an African mountain lioness
or a howling Scylla beget you from the nether region of her *****,
my harsh goddess? Are you so pitiless you would hold in contempt
this supplicant voicing his inconsolable despair?
Are you really that cruel-hearted?

Catullus LXX: 'Marriage Vows'
loose translation/interpretation by Michael R. Burch

My sweetheart says she'd marry no one else but me,
not even Jupiter, if he were to ask her!
But what a girl says to her eager lover
ought to be written on the wind or in running water.



CICERO

The famous Roman orator Cicero employed 'tail rhyme' in this pun:

O Fortunatam natam me consule Romam.
O fortunate natal Rome, to be hatched by me!
—Cicero, loose translation/interpretation by Michael R. Burch



MICHELANGELO

Michelangelo Buonarroti (1475-1564) is considered by many experts to be the greatest artist and sculptor of all time. He was also a great poet.

Michelangelo Epigram Translations
loose translations/interpretations by Michael R. Burch

I saw the angel in the marble and freed him.
I hewed away the coarse walls imprisoning the lovely apparition.
Each stone contains a statue; it is the sculptor's task to release it.
The danger is not aiming too high and missing, but aiming too low and hitting the mark.
Our greatness is only bounded by our horizons.
Be at peace, for God did not create us to abandon us.
God grant that I always desire more than my capabilities.
My soul's staircase to heaven is earth's loveliness.
I live and love by God's peculiar light.
Trifles create perfection, yet perfection is no trifle.
Genius is infinitely patient, and infinitely painstaking.
I have never found salvation in nature; rather I love cities.
He who follows will never surpass.
Beauty is what lies beneath superfluities.
I criticize via creation, not by fault-finding.
If you knew how hard I worked, you wouldn't call it 'genius.'



SONNET: RAVISHED
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Ravished, by all our eyes find fine and fair,
yet starved for virtues pure hearts might confess,
my soul can find no Jacobean stair
that leads to heaven, save earth's loveliness.
The stars above emit such rapturous light
our longing hearts ascend on beams of Love
and seek, indeed, Love at its utmost height.
But where on earth does Love suffice to move
a gentle heart, or ever leave it wise,
save for beauty itself and the starlight in her eyes?



SONNET: TO LUIGI DEL RICCIO, AFTER THE DEATH OF CECCHINO BRACCI
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

A pena prima.

I had barely seen the beauty of his eyes
Which unto yours were life itself, and light,
When he closed them fast in death's eternal night
To reopen them on God, in Paradise.

In my tardiness, I wept, too late made wise,
Yet the fault not mine: for death's disgusting ploy
Had robbed me of that deep, unfathomable joy
Which in your loving memory never dies.

Therefore, Luigi, since the task is mine
To make our unique friend smile on, in stone,
Forever brightening what dark earth would dim,
And because the Beloved causes love to shine,

And since the artist cannot work alone,
I must carve you, to tell the world of him!



BEAUTY AND THE ARTIST
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Al cor di zolfo.

A heart aflame; alas, the flesh not so;
Bones brittle wood; the soul without a guide
To curb the will's inferno; the crude pride
Of restless passions' pulsing surge and flow;

A witless mind that - halt, lame, weak - must go
Blind through entrapments scattered far and wide; ...
Why wonder then, when one small spark applied
To such an assemblage, renders it aglow?

Add beauteous Art, which, Heaven-Promethean,
Must exceed nature - so divine a power
Belongs to those who strive with every nerve.
Created for such Art, from childhood given
As prey for her Infernos to devour,
I blame the Mistress I was born to serve.



SONNET XVI: LOVE AND ART
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Sì come nella penna.

Just as with pen and ink,
there is a high, a low, and an in-between style;
and, as marble yields its images pure and vile
to excite the fancies artificers might think;
even so, my lord, lodged deep within your heart
are mingled pride and mild humility;
but I draw only what I truly see
when I trust my eyes and otherwise stand apart.
Whoever sows the seeds of tears and sighs
(bright dews that fall from heaven, crystal-clear)        
in various pools collects antiquities
and so must reap old griefs through misty eyes;
while the one who dwells on beauty, so painful here,
finds ephemeral hopes and certain miseries.



SONNET XXXI: LOVE'S LORDSHIP, TO TOMMASO DE' CAVALIERI
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

A che più debb' io.

Am I to confess my heart's desire
with copious tears and windy words of grief,
when a merciless heaven offers no relief
to souls consumed by fire?

Why should my aching heart aspire
to life, when all must die? Beyond belief
would be a death delectable and brief,
since in my compound woes all joys expire!

Therefore, because I cannot dodge the blow,
I rather seek whoever rules my breast,
to glide between her gladness and my woe.
If only chains and bonds can make me blessed,
no marvel if alone and bare I go
to face the foe: her captive slave oppressed.



LEONARDO DA VINCI

Once we have flown, we will forever walk the earth with our eyes turned heavenward, for there we were and will always long to return.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

The great achievers rarely relaxed and let things happen to them. They set out and kick-started whatever happened.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Nothing enables authority like silence.—Leonardo da Vinci, translation by Michael R. Burch

The greatest deceptions spring from men's own opinions.—Leonardo da Vinci, translation by Michael R. Burch

There are three classes of people: Those who see by themselves. Those who see only when they are shown. Those who refuse to see.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Blinding ignorance misleads us. Myopic mortals, open your eyes! —Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

It is easier to oppose evil from the beginning than at the end.—Leonardo da Vinci, translation by Michael R. Burch

Small minds continue to shrink, but those whose hearts are firm and whose consciences endorse their conduct, will persevere until death.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

I am impressed with the urgency of doing. Knowledge is not enough; we must apply ourselves. Wanting and being willing are insufficient; we must act.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Time is sufficient for anyone who uses it wisely.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Where the spirit does not aid and abet the hand there is no art.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Necessity is the mistress of mother nature's inventions.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Nature has no effect without cause, no invention without necessity.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Did Leonardo da Vinci anticipate Darwin with his comments about Nature and necessity being the mistress of her inventions? Yes, and his studies of comparative anatomy, including the intestines, led da Vinci to say explicitly that 'apes, monkeys and the like' are not merely related to humans but are 'almost of the same species.' He was, indeed, a man ahead of his time, by at least 350 years.



Excerpts from 'Paragone of Poetry and Painting' and Other Writings
by Leonardo da Vinci, circa 1500
loose translation/interpretation by Michael R. Burch

Sculpture requires light, received from above,
while a painting contains its own light and shade.

Painting is the more beautiful, the more imaginative, the more copious,
while sculpture is merely the more durable.

Painting encompasses infinite possibilities
which sculpture cannot command.
But you, O Painter, unless you can make your figures move,
are like an orator who can't bring his words to life!

While as soon as the Poet abandons nature, he ceases to resemble the Painter;
for if the Poet abandons the natural figure for flowery and flattering speech,
he becomes an orator and is thus neither Poet nor Painter.

Painting is poetry seen but not heard,
while poetry is painting heard but not seen.

And if the Poet calls painting dumb poetry,
the Painter may call poetry blind painting.

Yet poor is the pupil who fails to surpass his master!
Shun those studies in which the work dies with the worker.

Because I find no subject especially useful or pleasing
and because those who preceded me appropriated every useful theme,
I will be like the beggar who comes late to the fair,
who must content himself with other buyers' rejects.

Thus, I will load my humble cart full of despised and rejected merchandise,
the refuse of so many other buyers,
and I will go about distributing it, not in the great cities,
but in the poorer towns,
selling at discounts whatever the wares I offer may be worth.

And what can I do when a woman plucks my heart?
Alas, how she plays me, and yet I must persist!



The Point
by Leonardo da Vinci
loose translation/interpretation by Michael R. Burch

Here forms, colors, the character of the entire universe, contract to a point,
and that point is miraculous, marvelous …
O marvelous, O miraculous, O stupendous Necessity!
By your elegant laws you compel every effect to be the direct result of its cause,
by the shortest path possible.
Such are your miracles!



VERONICA FRANCO

Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose.

A Courtesan's Love Lyric (I)      
by Veronica Franco
loose translation/interpretation by Michael R. Burch

My rewards will be commensurate with your gifts
if only you give me the one that lifts
me laughing...
And though it costs you nothing,
still it is of immense value to me.
Your reward will be
not just to fly
but to soar, so high
that your joys vastly exceed your desires.
And my beauty, to which your heart aspires
and which you never tire of praising,
I will employ for the raising
of your spirits. Then, lying sweetly at your side,
I will shower you with all the delights of a bride,
which I have more expertly learned.
Then you who so fervently burned
will at last rest, fully content,
fallen even more deeply in love, spent
at my comfortable *****.
When I am in bed with a man I blossom,
becoming completely free
with the man who loves and enjoys me.

Here is a second version of the same poem...

I Resolved to Make a Virtue of My Desire (II)      
by Veronica Franco
loose translation/interpretation by Michael R. Burch

My rewards will match your gifts
If you give me the one that lifts
Me, laughing. If it comes free,
Still, it is of immense value to me.
Your reward will be—not just to fly,
But to soar—so incredibly high
That your joys eclipse your desires
(As my beauty, to which your heart aspires
And which you never tire of praising,
I employ for your spirit's raising) .
Afterwards, lying docile at your side,
I will grant you all the delights of a bride,
Which I have more expertly learned.
Then you, who so fervently burned,
Will at last rest, fully content,
Fallen even more deeply in love, spent
At my comfortable *****.
When I am in bed with a man I blossom,
Becoming completely free
With the man who freely enjoys me.



Capitolo 24
by Veronica Franco
loose translation/interpretation by Michael R. Burch

(written by Franco to a man who had insulted a woman)        

Please try to see with sensible eyes
how grotesque it is for you
to insult and abuse women!
Our unfortunate *** is always subject
to such unjust treatment, because we
are dominated, denied true freedom!
And certainly we are not at fault
because, while not as robust as men,
we have equal hearts, minds and intellects.
Nor does virtue originate in power,
but in the vigor of the heart, mind and soul:
the sources of understanding;
and I am certain that in these regards
women lack nothing,
but, rather, have demonstrated
superiority to men.
If you think us 'inferior' to yourself,
perhaps it's because, being wise,
we outdo you in modesty.
And if you want to know the truth,
the wisest person is the most patient;
she squares herself with reason and with virtue;
while the madman thunders insolence.
The stone the wise man withdraws from the well
was flung there by a fool...



When I bed a man
who—I sense—truly loves and enjoys me,
I become so sweet and so delicious
that the pleasure I bring him surpasses all delight,
till the tight
knot of love,
however slight
it may have seemed before,
is raveled to the core.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



We danced a youthful jig through that fair city—
Venice, our paradise, so pompous and pretty.
We lived for love, for primal lust and beauty;
to please ourselves became our only duty.
Floating there in a fog between heaven and earth,
We grew drunk on excesses and wild mirth.
We thought ourselves immortal poets then,
Our glory endorsed by God's illustrious pen.
But paradise, we learned, is fraught with error,
and sooner or later love succumbs to terror.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



I wish it were not a sin to have liked it so.
Women have not yet realized the cowardice that resides,
for if they should decide to do so,
they would be able to fight you until death;
and to prove that I speak the truth,
amongst so many women,
I will be the first to act,
setting an example for them to follow.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



ANONYMOUS

The poem below is based on my teenage misinterpretation of a Latin prayer...

Elegy for a little girl, lost
by Michael R. Burch

for my mother, Christine Ena Burch, who was always a little girl at heart

... qui laetificat juventutem meam...
She was the joy of my youth,
and now she is gone.
... requiescat in pace...
May she rest in peace.
... amen...

Amen

I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem, which I started in high school and revised as an adult. From what I now understand, 'ad deum qui laetificat juventutem meam' means 'to the God who gives joy to my youth, ' but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Latin Vulgate Bible (circa 385 AD) . I can't remember exactly when I read the novel or wrote the poem, but I believe it was around my junior year of high school, age 17 or thereabouts. This was my first translation. I revised the poem slightly in 2001 after realizing I had 'misremembered' one of the words in the Latin prayer.



The Latin hymn 'Dies Irae' employs end rhyme:

Dies irae, dies illa
Solvet saeclum in favilla
***** David *** Sybilla

The day of wrath, that day
which will leave the world ash-gray,
was foretold by David and the Sybil fey.
—attributed to Thomas of Celano, St. Gregory the Great, St. Bernard of Clairvaux, and St. Bonaventure; loose translation by Michael R. Burch



HADRIAN

Hadrian's Elegy
loose translation/interpretation by Michael R. Burch

My delicate soul,
now aimlessly fluttering... drifting... unwhole,
former consort of my failing corpse...
Where are we going—from bad to worse?
From jail to a hearse?
Where do we wander now—fraught, pale and frail?
To hell?
To some place devoid of jests, mirth, happiness?
Is the joke on us?



THOMAS CAMPION

NOVELTIES
by Thomas Campion
loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as p-mps praise their wh-res for exotic positions.



PRIMO LEVI

These are my translations of poems by the Italian Jewish Holocaust survivor Primo Levi.

Shema
by Primo Levi
loose translation/interpretation by Michael R. Burch

You who live secure
in your comfortable houses,
who return each evening to find
warm food,
welcoming faces...
consider whether this is a man:
who toils in the mud,
who knows no peace,
who fights for crusts of bread,
who dies at another man's whim,
at his 'yes' or his 'no.'
Consider whether this is a woman:
bereft of hair,
of a recognizable name
because she lacks the strength to remember,
her eyes as void
and her womb as frigid
as a frog's in winter.
Consider that such horrors have been:
I commend these words to you.
Engrave them in your hearts
when you lounge in your house,
when you walk outside,
when you go to bed,
when you rise.
Repeat them to your children,
or may your house crumble
and disease render you helpless
so that even your offspring avert their faces from you.



Buna
by Primo Levi
loose translation/interpretation by Michael R. Burch

Wasted feet, cursed earth,
the interminable gray morning
as Buna smokes corpses through industrious chimneys.
A day like every other day awaits us.
The terrible whistle shrilly announces dawn:
'You, O pale multitudes with your sad, lifeless faces,
welcome the monotonous horror of the mud...
another day of suffering has begun.'
Weary companion, I see you by heart.
I empathize with your dead eyes, my disconsolate friend.
In your breast you carry cold, hunger, nothingness.
Life has broken what's left of the courage within you.
Colorless one, you once were a strong man,
A courageous woman once walked at your side.
But now you, my empty companion, are bereft of a name,
my forsaken friend who can no longer weep,
so poor you can no longer grieve,
so tired you no longer can shiver with fear.
O, spent once-strong man,
if we were to meet again
in some other world, sweet beneath the sun,
with what kind faces would we recognize each other?

Note: Buna was the largest Auschwitz sub-camp.



ALDHELM

'The Leiden Riddle' is an Old English translation of Aldhelm's Latin riddle 'Lorica' or 'Corselet.'

The Leiden Riddle
anonymous Old English riddle poem, circa 700
loose translation/interpretation by Michael R. Burch

The dank earth birthed me from her icy womb.
I know I was not fashioned from woolen fleeces;
nor was I skillfully spun from skeins;
I have neither warp nor weft;
no thread thrums through me in the thrashing loom;
nor do whirring shuttles rattle me;
nor does the weaver's rod assail me;
nor did silkworms spin me like skillfull fates
into curious golden embroidery.
And yet heroes still call me an excellent coat.
Nor do I fear the dread arrows' flights,
however eagerly they leap from their quivers.

Solution: a coat of mail.



SAINT GODRIC OF FINCHALE

The song below is said in the 'Life of Saint Godric' to have come to Godric when he had a vision of his sister Burhcwen, like him a solitary at Finchale, being received into heaven. She was singing a song of thanksgiving, in Latin, and Godric renders her song in English bracketed by a Kyrie eleison.

Led By Christ and Mary
by Saint Godric of Finchale (1065-1170)        
loose translation/interpretation by Michael R. Burch

By Christ and Saint Mary I was so graciously led
that the earth never felt my bare foot's tread!



DANTE

Translations of Dante Epigrams and Quotes by Michael R. Burch

Little sparks may ignite great Infernos.—Dante, loose translation/interpretation by Michael R. Burch

In Beatrice I beheld the outer boundaries of blessedness.—Dante, loose translation/interpretation by Michael R. Burch

She made my veins and even the pulses within them tremble.—Dante, loose translation/interpretation by Michael R. Burch

Her sweetness left me intoxicated.—Dante, loose translation/interpretation by Michael R. Burch

Love commands me by determining my desires.—Dante, loose translation/interpretation by Michael R. Burch

Follow your own path and let the bystanders gossip.—Dante, loose translation/interpretation by Michael R. Burch

The devil is not as dark as depicted.—Dante, loose translation/interpretation by Michael R. Burch

There is no greater sorrow than to recall how we delighted in our own wretchedness.—Dante, loose translation/interpretation by Michael R. Burch

As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.—Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you nosedive in the mildest breeze? —Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you quail at the least breath of wind? —Dante, loose translation/interpretation by Michael R. Burch

Midway through my life's journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
—Dante, loose translation/interpretation by Michael R. Burch



INSCRIPTION ON THE GATE OF HELL

Before me nothing existed, to fear.
Eternal I am, and eternal I endure.
Abandon all hope, ye who enter here.
—Dante, loose translation/interpretation by Michael R. Burch



Excerpts from LA VITA NUOVA
by Dante Alighieri

Ecce deus fortior me, qui veniens dominabitur mihi.
Here is a Deity, stronger than myself, who comes to dominate me.
—Dante, loose translation/interpretation by Michael R. Burch

Apparuit iam beatitudo vestra.
Your blessedness has now been manifested unto you.
—Dante, loose translation/interpretation by Michael R. Burch

Heu miser! quia frequenter impeditus ero deinceps.
Alas, how often I will be restricted now!
—Dante, loose translation/interpretation by Michael R. Burch

Fili mi, tempus est ut prætermittantur simulata nostra.
My son, it is time to cease counterfeiting.
—Dante, loose translation/interpretation by Michael R. Burch

Ego tanquam centrum circuli, cui simili modo se habent circumferentiæ partes: tu autem non sic.
Love said: 'I am as the center of a harmonious circle; everything is equally near me. No so with you.'
—Dante, loose translation/interpretation by Michael R. Burch



Translations of Dante Cantos by Michael R. Burch

Paradiso, Canto III: 1-33, The Revelation of Love and Truth
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

That sun, which had inflamed my breast with love,
Had now revealed to me—as visions move—
The gentle and confounding face of Truth.
Thus I, by her sweet grace and love reproved,
Corrected, and to true confession moved,
Raised my bowed head and found myself behooved
To speak, as true admonishment required,
And thus to bless the One I so desired,
When I was awed to silence! This transpired:
As the outlines of men's faces may amass
In mirrors of transparent, polished glass,
Or in shallow waters through which light beams pass
(Even so our eyes may easily be fooled
By pearls, or our own images, thus pooled) :
I saw a host of faces, pale and lewd,
All poised to speak; but when I glanced around
There suddenly was no one to be found.
A pool, with no Narcissus to astound?
But then I turned my eyes to my sweet Guide.
With holy eyes aglow and smiling wide,
She said, 'They are not here because they lied.'



Excerpt from 'Paradiso'
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

O ****** Mother, daughter of your Son,
Humble, and yet held high, above creation,
You are the apex of all Wisdom known!
You are the Pinnacle of human nature,
Your nobility instilled by its Creator
who was not shamed to be born with your features.
Love was engendered in your perfect womb
Where warmth and holy peace were given room
For heaven's Perfect Rose, once sown, to bloom.
Now unto us you are a Torch held high:
Our noonday Sun—the Light of Charity,
Our Wellspring of all Hope, a living Sea.
Madonna, so pure, high and all-availing,
The man who desires Grace of you, though failing,
Despite his grounded state, is given wing!
Your mercy does not fail us, Ever-Blessed!
Indeed, the one who asks may find his wish
Unneeded: you predicted his request!
You are our Mercy; you are our Compassion;
you are Magnificence; in you creation
becomes the sum of Goodness and Salvation.



Translations of Dante Sonnets by Michael R. Burch

Sonnet: 'A Vision of Love' or 'Love's Faithful Ones' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

To every gentle heart true Love may move,
And unto whom my words must now be brought
For wise interpretation's tender thought—
I greet you in our Lord's name, which is Love.
Through night's last watch, as winking stars, above,
Kept their high vigil over men, distraught,
Love came to me, with such dark terrors fraught
As mortals may not casually speak of.
Love seemed a being of pure Joy and held
My heart, pulsating. On his other arm,
My lady, wrapped in thinnest gossamers, slept.
He, having roused her from her sleep, then made
My heart her feast—devoured, with alarm.
Love then departed; as he left, he wept.



Sonnet: 'Love's Thoroughfare' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

'O voi che par la via'

All those who travel Love's worn tracks,
Pause here awhile, and ask
Has there ever been a grief like mine?
Pause here, from that mad race,
And with patience hear my case:
Is it not a piteous marvel and a sign?
Love, not because I played a part,
But only due to his great heart,
Afforded me a provenance so sweet
That often others, as I went,
Asked what such unfair gladness meant:
They whispered things behind me in the street.
But now that easy gait is gone
Along with all Love proffered me;
And so in time I've come to be
So poor I dread to think thereon.
And thus I have become as one
Who hides his shame of his poverty,
Pretending richness outwardly,
While deep within I moan.



Sonnet: 'Cry for Pity' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

These thoughts lie shattered in my memory:
When through the past I see your lovely face.
When you are near me, thus, Love fills all Space,
And often whispers, 'Is death better? Fly! '
My face reflects my heart's contentious tide,
Which, ebbing, seeks some shallow resting place;
Till, in the blushing shame of such disgrace,
The very earth seems to be shrieking, 'Die! '
'Twould be a grievous sin, if one should not
Relay some comfort to my harried mind,
If only with some simple pitying thought
For this great anguish which fierce scorn has wrought
Through the faltering sight of eyes grown nearly blind,
Which search for death now, as a blessed thing.



Sonnet: 'Ladies of Modest Countenance' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

You who wear a modest countenance
With eyelids weighted by such heaviness,
How is it, that among you every face
Is haunted by the same pale troubled glance?
Have you seen in my lady's face, perchance,
the grief that Love provokes despite her grace?
Confirm this thing is so, then in her place,
Complete your grave and sorrowful advance.
And if indeed you match her heartfelt sighs
And mourn, as she does, for her heart's relief,
Then tell Love how it fares with her, to him.
Love knows how you have wept, seen in your eyes,
And is so grieved by gazing on your grief,
His courage falters and his sight grows dim.



Translations of Poems by Other Italian Poets

Sonnet IV: ‘S'io prego questa donna che Pietate'
by ***** Cavalcante
loose translation/interpretation by Michael R. Burch

If I should ask this lady, in her grace,
not to make her heart my enemy,
she'd call me foolish, venturing: 'No man
was ever possessed of such strange vanity! '
Why such harsh judgements, written on a face
where once I'd thought to find humility,
true gentleness, calm wisdom, courtesy?
My soul despairs, unwilling to embrace
the sighs and griefs that flood my drowning heart,
the rains of tears that well my watering eyes,
the miseries to which my soul's condemned...
For through my mind there flows, as rivers part,
the image of a lady, full of thought,
through heartlessness became a thoughtless friend.



***** Guinizelli, also known as ***** di Guinizzello di Magnano, was born in Bologna. He became an esteemed Italian love poet and is considered to be the father of the 'dolce stil nuovo' or 'sweet new style.' Dante called him 'il saggio' or 'the sage.'

Sonetto
by ***** Guinizelli
loose translation/interpretation by Michael R. Burch

In truth I sing her honor and her praise:
My lady, with whom flowers can't compare!
Like Diana, she unveils her beauty's rays,
Then makes the dawn unfold here, bright and fair!
She's like the wind and like the leaves they swell:
All hues, all colors, flushed and pale, beside...
Argent and gold and rare stones' brilliant spell;
Even Love, itself, in her, seems glorified.
She moves in ways so tender and so sweet,
Pride fails and falls and flounders at her feet.
The impure heart cannot withstand such light!
Ungentle men must wither, at her sight.
And still this greater virtue I aver:
No man thinks ill once he's been touched by her.



GILDAS TRANSLATIONS

These are my modern English translations of Latin poems by the English monk Gildas. Gildas, also known as Gildas Sapiens (“Gildas the Wise”), was a 6th-century British monk who is one of the first native writers of the British Isles we know by name. Gildas is remembered for his scathing religious polemic De Excidio et Conquestu Britanniae (“On the Ruin and Conquest of Britain” or simply “On the Ruin of Britain”). The work has been dated to circa 480-550 AD.

“Alas! The nature of my complaint is the widespread destruction of all that was good, followed by the wild proliferation of evil throughout the land. Normally, I would grieve with my motherland in her travail and rejoice in her revival. But for now I restrict myself to relating the sins of an indolent and slothful race, rather than the feats of heroes. For ten years I kept my silence, I confess, with much mental anguish, guilt and remorse, while I debated these things within myself...” — Gildas, The Ruin of Britain, loose translation/interpretation by Michael R. Burch

Gildas is also remembered for his “Lorica” (“Breastplate”):

“The Lorica of Loding” from the Book of Cerne
by Gildas
loose translation/interpretation by Michael R. Burch

Trinity in Unity, shield and preserve me!
Unity in Trinity, have mercy on me!

Preserve me, I pray, from all dangers:
dangers which threaten to overwhelm me
like surging sea waves;
neither let mortality
nor worldly vanity
sweep me away from the safe harbor of Your embrace!

Furthermore, I respectfully request:
send the exalted, mighty hosts of heaven!
Let them not abandon me
to be destroyed by my enemies,
but let them defend me always
with their mighty shields and bucklers.

Allow Your heavenly host
to advance before me:
Cherubim and Seraphim by the thousands,
led by the Archangels Michael and Gabriel!

Send, I implore, these living thrones,
these principalities, powers and Angels,
so that I may remain strong,
defended against the deluge of enemies
in life’s endless battles!

May Christ, whose righteous Visage frightens away foul throngs,
remain with me in a powerful covenant!

May God the Unconquerable Guardian
defend me on every side with His power!

Free my manacled limbs,
cover them with Your shielding grace,
leaving heaven-hurled demons helpless to hurt me,
to pierce me with their devious darts!

Lord Jesus Christ, be my sure armor, I pray!

Cover me, O God, with Your impenetrable breastplate!

Cover me so that, from head to toe,
no member is exposed, within or without;
so that life is not exorcized from my body
by plague, by fever, by weakness, or by suffering.

Until, with the gift of old age granted by God,
I depart this flesh, free from the stain of sin,
free to fly to those heavenly heights,
where, by the grace of God, I am borne in joy
into the cool retreats of His heavenly kingdom!

Amen

#GILDAS #LATIN #LORICA #RUIN #MRBGILDAS #MRBLATIN #MRBLORICA #MRBRUIN



This is a poem of mine that has been translated into Italian by Comasia Aquaro.

Her Grace Flows Freely
by Michael R. Burch

July 7,2007

Her love is always chaste, and pure.
This I vow. This I aver.
If she shows me her grace, I will honor her.
This I vow. This I aver.
Her grace flows freely, like her hair.
This I vow. This I aver.
For her generousness, I would worship her.
This I vow. This I aver.
I will not **** her for what I bear
This I vow. This I aver.
like a most precious incense-desire for her,
This I vow. This I aver.
nor call her '*****' where I seek to repair.
This I vow. This I aver.
I will not wink, nor smirk, nor stare
This I vow. This I aver.
like a foolish child at the foot of a stair
This I vow. This I aver.
where I long to go, should another be there.
This I vow. This I aver.
I'll rejoice in her freedom, and always dare
This I vow. This I aver.
the chance that she'll flee me-my starling rare.
This I vow. This I aver.
And then, if she stays, without stays, I swear
This I vow. This I aver.
that I will joy in her grace beyond compare.
This I vow. This I aver.

Her Grace Flows Freely
by Michael R. Burch
Italian translation by Comasia Aquaro

La sua grazia vola libera

7 luglio 2007

Il suo amore è sempre casto, e puro.
Lo giuro. Lo prometto.
Se mi mostra la sua grazia, le farò onore.
Lo giuro. Lo prometto.
La sua grazia vola libera, come i suoi capelli.
Lo giuro. Lo prometto.
Per la sua generosità, la venererò.
Lo giuro. Lo prometto.
Non la maledirò per ciò che soffro
Lo giuro. Lo prometto.
come il più prezioso desiderio d'incenso per lei,
Lo giuro. Lo prometto.
non chiamarla 'sgualdrina' laddove io cerco di aggiustare.
Lo giuro. Lo prometto.
Io non strizzerò l'occhio, non riderò soddisfatto, non fisserò lo sguardo
Lo giuro. Lo prometto.
Come un bambino sciocco ai piedi di una scala
Lo giuro. Lo prometto.
Laddove io desidero andare, ci sarebbe forse un altro.
Lo giuro. Lo prometto.
Mi rallegrerò nella sua libertà, e sempre sfiderò
Lo giuro. Lo prometto.
la sorte che lei mi sfuggirà—il mio raro storno
Lo giuro. Lo prometto.
E dopo, se lei resta, senza stare, io lo garantisco
Lo giuro. Lo prometto.
Gioirò nella sua grazia al di là del confrontare.
Lo giuro. Lo prometto.



A risqué Latin epigram:

C-nt, while you weep and seep neediness all night,
-ss has claimed what would bring you delight.
—Musa Lapidaria, #100A, loose translation/interpretation by Michael R. Burch



References to Dante in other Translations by Michael R. Burch

THE MUSE
by Anna Akhmatova
loose translation/interpretation by Michael R. Burch

My being hangs by a thread tonight
as I await a Muse no human pen can command.
The desires of my heart — youth, liberty, glory —
now depend on the Maid with the flute in her hand.
Look! Now she arrives; she flings back her veil;
I meet her grave eyes — calm, implacable, pitiless.
'Temptress, confess!
Are you the one who gave Dante hell? '
She answers, 'Yes.'



I have also translated this tribute poem written by Marina Tsvetaeva for Anna Akhmatova:

Excerpt from 'Poems for Akhmatova'
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

You outshine everything, even the sun
  at its zenith. The stars are yours!
If only I could sweep like the wind
  through some unbarred door,
gratefully, to where you are...
  to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
  petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness...



Dante-Related Poems and Dante Criticism by Michael R. Burch

Of Seabound Saints and Promised Lands
by Michael R. Burch

Judas sat on a wretched rock,
his head still sore from Satan's gnawing.
Saint Brendan's curragh caught his eye,
wildly geeing and hawing.
'I'm on parole from Hell today!'
Pale Judas cried from his lonely perch.
'You've fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!'

Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.

O, behoove yourself, if ever your can,
of the fervent prayer of a righteous man!

In Dante's 'Inferno' Satan gnaws on Judas Iscariot's head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.



Dante's was a defensive reflex
against religion's hex.
—Michael R. Burch



Dante, you Dunce!
by Michael R. Burch

The earth is hell, Dante, you Dunce!
Which you should have perceived—since you lived here once.
God is no Beatrice, gentle and clever.
Judas and Satan were wise to dissever
from false 'messiahs' who cannot save.
Why flit like a bat through Plato's cave
believing such shadowy illusions are real?
There is no 'hell' but to live and feel!



How Dante Forgot Christ
by Michael R. Burch

Dante ****** the brightest and the fairest
for having loved—pale Helen, wild Achilles—
agreed with his Accuser in the spell
of hellish visions and eternal torments.
His only savior, Beatrice, was Love.
His only savior, Beatrice, was Love,
the fulcrum of his body's, heart's and mind's
sole triumph, and their altogether conquest.
She led him to those heights where Love, enshrined,
blazed like a star beyond religion's hells.
Once freed from Yahweh, in the arms of Love,
like Blake and Milton, Dante forgot Christ.
The Christian gospel is strangely lacking in Milton's and Dante's epics. Milton gave the 'atonement' one embarrassed enjambed line. Dante ****** the Earth's star-crossed lovers to his grotesque hell, while doing exactly what they did: pursing at all costs his vision of love, Beatrice. Blake made more sense to me, since he called the biblical god Nobodaddy and denied any need to be 'saved' by third parties.



Dante's Antes
by Michael R. Burch

There's something glorious about man,
who lives because he can,
who dies because he must,
and in between's a bust.
No god can reign him in:
he's quite intent on sin
and likes it rather, really.
He likes *** touchy-feely.
He likes to eat too much.
He has the Midas touch
and paves hell's ways with gold.
The things he's bought and sold!
He's sold his soul to Mammon
and also plays backgammon
and poker, with such antes
as still befuddle Dantes.
I wonder—can hell hold him?
His chances seem quite dim
because he's rather puny
and also loopy-******.
And yet like Evel Knievel
he dances with the Devil
and seems so **** courageous,
good-natured and outrageous
some God might show him mercy
and call religion heresy.



RE: Paradiso, Canto III
by Michael R. Burch

for the most 'Christian' of poets

What did Dante do,
to earn Beatrice's grace
(grace cannot be earned!)        
but cast disgrace
on the whole human race,
on his peers and his betters,
as a man who wears cheap rayon suits
might disparage men who wear sweaters?
How conventionally 'Christian' — Poet! — to ****
your fellow man
for being merely human,
then, like a contented clam,
to grandly claim
near-infinite 'grace'
as if your salvation was God's only aim!
What a scam!
And what of the lovely Piccarda,
whom you placed in the lowest sphere of heaven
for neglecting her vows —
She was forced!
Were you chaste?



Intimations V
by Michael R. Burch

We had not meditated upon sound
so much as drowned
in the inhuman ocean
when we imagined it broken
open
like a conch shell
whorled like the spiraling hell
of Dante's 'Inferno.'
Trapped between Nature
and God,
what is man
but an inquisitive,
acquisitive
sod?
And what is Nature
but odd,
or God
but a Clod,
and both of them horribly flawed?



Endgame
by Michael R. Burch

The honey has lost all its sweetness,
the hive—its completeness.
Now ambient dust, the drones lie dead.
The workers weep, their King long fled
(who always had been ****, invisible,
his 'kingdom' atomic, divisible,
and pathetically risible) .
The queen has flown,
long Dis-enthroned,
who would have gladly given all she owned
for a promised white stone.
O, Love has fled, has fled, has fled...
Religion is dead, is dead, is dead.

The drones are those who drone on about the love of God in a world full of suffering and death: dead prophets, dead pontiffs, dead preachers. Spewers of dead words and false promises. The queen is disenthroned, as in Dis-enthroned. In Dante's Inferno, the lower regions of hell are enclosed within the walls of Dis, a city surrounded by the Stygian marshes. The river Styx symbolizes death and the journey from life to the afterlife. But in Norse mythology, Dis was a goddess, the sun, and the consort of Heimdal, himself a god of light. DIS is also the stock ticker designation for Disney, creator of the Magic Kingdom. The 'promised white stone' appears in Revelation, which turns Jesus and the Angels into serial killers.



The Final Revelation of a Departed God's Divine Plan
by Michael R. Burch

Here I am, talking to myself again...
******* at God and bored with humanity.
These insectile mortals keep testing my sanity!
Still, I remember when...
planting odd notions, dark inklings of vanity,
in their peapod heads might elicit an inanity
worth a chuckle or two.
Philosophers, poets... how they all made me laugh!
The things they dreamed up! Sly Odysseus's raft;
Plato's 'Republic'; Dante's strange crew;
Shakespeare's Othello, mad Hamlet, Macbeth;
Cervantes' Quixote; fat, funny Falstaff! ;
Blake's shimmering visions. Those days, though, are through...
for, puling and tedious, their 'poets' now seem
content to write, but not to dream,
and they fill the world with their pale derision
of things they completely fail to understand.
Now, since God has long fled, I am here, in command,
reading this crap. Earth is Hell. We're all ******.



Brief Encounters: Other Roman, Italian and Greek Epigrams

No wind is favorable to the man who lacks direction.—Seneca the Younger, translation by Michael R. Burch

Little sparks ignite great Infernos.—Dante, translation by Michael R. Burch

The danger is not aiming too high and missing, but aiming too low and hitting the mark.—Michelangelo, translation by Michael R. Burch

He who follows will never surpass.—Michelangelo, translation by Michael R. Burch

Nothing enables authority like silence.—Leonardo da Vinci, translation by Michael R. Burch

My objective is not to side with the majority, but to avoid the ranks of the insane.—Marcus Aurelius, translation by Michael R. Burch

Time is sufficient for anyone who uses it wisely.—Leonardo da Vinci, translation by Michael R. Burch

Blinding ignorance misleads us. Myopic mortals, open your eyes! —Leonardo da Vinci, translation by Michael R. Burch

It is easier to oppose evil from the beginning than at the end.—Leonardo da Vinci, translation by Michael R. Burch

Fools call wisdom foolishness.—Euripides, translation by Michael R. Burch

One true friend is worth ten thousand kin.—Euripides, translation by Michael R. Burch

Not to speak one's mind is slavery.—Euripides, translation by Michael R. Burch

I would rather die standing than kneel, a slave.—Euripides, translation by Michael R. Burch

Fresh tears are wasted on old griefs.—Euripides, translation by Michael R. Burch

Improve yourself by other men's writings, attaining less painfully what they gained through great difficulty.—Socrates, translation by Michael R. Burch

Just as I select a ship when it's time to travel, or a house when it's time to change residences, even so I will choose when it's time to depart from life.―Seneca, speaking about the right to euthanasia in the first century AD, translation by Michael R. Burch

Booksellers laud authors for novel editions
as p-mps praise their wh-res for exotic positions.
—Thomas Campion, Latin epigram, loose translation/interpretation by Michael R. Burch

#POEMS #POETRY #LATIN #ROMAN #ITALIAN #TRANSLATION #MRB-POEMS #MRB-POETRY #MRBPOEMS #MRBPOETRY #MRBLATIN #MRBROMAN #MRBITALIAN #MRBTRANSLATION

We live a life of invisible lines
Hierarchies and territories
Boundaries and margins
Precincts, frontiers, mainlines
State lines, guidelines,
Air lines, hair lines, color lines, bottom lines,
frontlines, punchlines

But, come on.

Read between the lines

Each border is not designed to remind us of our limitations
Or to define our state of mind
What’s yours what’s mine

All I know is the song
“my heart is…” um… line?

Nevermind.
I am the air
I am the wind that moves seamlessly
Fearlessly across your face, across your race, across your space
Not just because I can but because I cannot stop myself

The only place I belong is everywhere
So get in line
Cross the chasm and engage
Because invisible divisible incipit individuals
Are not the ones you want taking up space

Notre être, à l’incipit, apparaît minuscule
Puis se développe notre histoire jusqu’à son crépuscule
Une existence imaginée comme un cycle par quelques têtus
Constituée d’un début, d’une suite d’intrigues, et d’une fin, avant de nous voir repus

La partie la plus longue est communément appelée la vie
Selon le contexte certaines dérangent et d’autres donnent envie
Certaines sont accompagnées de louanges et d’autres de mépris
D’échecs qui démangent, et de réussites anodines qu’on oublie

Est-il raisonnable de se comparer et de se sentir misérable ?
Alors qu’en creusant un peu on trouverait facilement quelque chose de louable
Quelque chose que l’on a accompli pour aider une personne
Peu importe la teneur de l’effort, l’essentiel est que l’on donne
De sa personne, de son temps, de son pécule
Apportant ainsi un instant de joie, un sourire, en somme rien de ridicule
A quelqu’un dans le besoin, en détresse, ou se sentant inutile
Tel une montre suisse à laquelle il manquerait une pile
En oubliant que nous faisons tous partie d’un seul et même écosystème
Que la mort du phytoplancton* entraînerait l’extinction de la race humaine
Dans une époque où il semblerait que la réussite se mesure à la hauteur de ce qui est ou peut être consommé,
J’estime que nous sommes tous importants et avons tous une valeur
Inestimable, tout en étant palpable et faisant preuve de splendeur
Et qui ne se restreint pas seulement à quelques possessions futiles et prochainement démodées
Pauvreté et richesse se retrouvent souvent en cohabitation
Quelques âmes en peine et perdues rêvent de jouir un jour de la possibilité de posséder un avion
Alors qu’il est possible de voler et de voyager rien qu’avec de l’imagination
Que courir, c’est voler entre deux foulées, voler par intermittence
Que penser c’est voyager et contempler des pensées, sans avoir besoin de prendre des vacances
Il est possible de créer et d’exister via la culture d’une passion
Permettant la naissance d’un bien commun
Un bien immatériel ou non, portant un amour inconsidéré en son sein
Non par hasard mais par dessein.

« Au milieu des choses », on se retrouve parachuté
Dans un monde, une société qu’il est pénible de changer
Mais l’histoire française nous a montré
Qu’en nous y mettant tous ensemble rien ne pourra nous résister.

Epigrams IV



Nun Fun Undone
by Michael R. Burch

Abbesses’
recesses
are not for excesses!



*** Hex
by Michael R. Burch

Love’s full of cute paradoxes
(and highly acute poxes).



Saving Graces
for the Religious Right
by Michael R. Burch

Life’s saving graces are love, pleasure, laughter
(wisdom, it seems, is for the Hereafter).



The Whole of Wit
by Michael R. Burch

for and after Richard Moore

If brevity is the soul of wit
then brevity and levity
are the whole of it.

(Published by Shot Glass Journal, Brief Poems, AZquotes, IdleHearts, JarOfQuotes, QuoteFancy, QuoteMaster)



Conformists of a feather
flock together.
—Michael R. Burch

Winner of the National Poetry Month Couplet Competition



Feathered Fiends
by Michael R. Burch

Fascists of a feather
flock together.



Laughter’s Cry
by Michael R. Burch

Because life is a mystery, we laugh
and do not know the half.

Because death is a mystery, we cry
when one is gone, our numbering thrown awry.



If every witty thing that’s said were true,
Oscar Wilde, the world would worship You!
—Michael R. Burch



Multiplication, Tabled
for the Religious Right
by Michael R. Burch

“Be fruitful and multiply”—
great advice, for a fruitfly!
But for women and men,
simple Simons, say, “WHEN!”



Not Elves, Exactly
by Michael R. Burch

Something there is that likes a wall,
that likes it spiked and likes it tall,

that likes its pikes’ sharp rows of teeth
and doesn’t mind its victims’ grief

(wherever they come from, far or wide)
as long as they fall on the other side.



Fierce ancient skalds summoned verse from their guts;
today’s genteel poets prefer modern ruts.
—Michael R. Burch



Long Division
by Kim Cherub
after Laura Riding Jackson

All things become one
Through death’s long division
And perfect precision.



Meal Deal
by Michael R. Burch

Love is a splendid ideal
(at least till it costs us a meal).



Vice Grip
by Michael R. Burch

There’s no need to rant about Al-Qaeda and ISIS.
The cruelty of “civilization” suffices:
our ordinary vices.



Self-ish
by Kim Cherub

Let’s not pretend we “understand” other elves
As long as we remain mysteries to ourselves.



Piecemeal
by Kim Cherub

And so it begins—the ending.
The narrowing veins, the soft tissues rending.
Your final solution is pending.



Lance-Lot
by Michael R. Burch

Preposterous bird!
Inelegant! Absurd!

Until the great & mighty heron
brandishes his fearsome sword.



Fleet Tweet: Apologies to Shakespeare
@mikerburch (Michael R. Burch)

A tweet
by any other name
would be as fleet.



Fleet Tweet II: Further Apologies to Shakespeare
@mikerburch (Michael R. Burch)

Remember, doggonit,
heroic verse crowns the Shakespearean sonnet!
So if you intend to write a couplet,
please do it on the doublet!



The First Complete Musical Composition

Shine, while you live;
blaze beyond grief,
for life is brief
and Time, a thief.
—Michael R. Burch, after Seikilos of Euterpes

The so-called Seikilos Epitaph is the oldest known surviving complete musical composition which includes musical notation. It is believed to date to the first or second century AD. The epitaph appears to be signed “Seikilos of Euterpes” or dedicated “Seikilos to Euterpe.” Euterpe was the ancient Greek Muse of music.



Ars Brevis, Proofreading Longa
by Michael R. Burch

Poets may labor from sun to sun,
but their editor's work is never done.



15 Seconds
by Michael R. Burch

Our president’s *** life—atrocious!
Asian markets are all hocus-pocus.
Politics—a shell game.
My brief moment of fame
flashed by before Oprah could notice.



Death
by Michael R. Burch

Death is the ultimate finality
and banality
of reality.



Translations

Shattered
by Vera Pavlova
loose translation/interpretation by Michael R. Burch

I shattered your heart;
now I limp through the shards
barefoot.

Birdsong
by Rumi
loose translation by Michael R. Burch

Birdsong relieves
my deepest griefs:
now I'm just as ecstatic as they,
but with nothing to say!
Please universe,
rehearse
your poetry
through me!

Raise your words, not their volume.
Rain grows flowers, not thunder.
—Rumi, translation by Michael R. Burch

The imbecile constructs cages for everyone he knows,
while the sage (who has to duck his head whenever the moon glows)
keeps dispensing keys all night long
to the beautiful, rowdy, prison gang.
—Hafiz loose translation/interpretation by Michael R. Burch

An unbending tree
breaks easily.
—Lao Tzu, loose translation/interpretation by Michael R. Burch

Little sparks ignite great flames.—Dante, translation by Michael R. Burch

Once fanaticism has gangrened brains
the incurable malady invariably remains.
—Voltaire, loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as pimps praise their ****** for exotic positions.
—Thomas Campion, loose translation/interpretation by Michael R. Burch

No wind is favorable to the man who lacks direction.
—Seneca the Younger, loose translation/interpretation by Michael R. Burch

Hypocrisy may deceive the most perceptive adult, but the dullest child recognizes and is revolted by it, however ingeniously disguised.
—Leo Tolstoy translation by Michael R. Burch

Just as I select a ship when it's time to travel,
or a house when it's time to change residences,
even so I will choose when it's time to depart from life.
—Seneca, speaking about the right to euthanasia in the first century AD, translation by Michael R. Burch

Improve yourself through others' writings, thus attaining more easily what they acquired through great difficulty.
—Socrates, translation by Michael R. Burch

Fools call wisdom foolishness.
―Euripides, translation by Michael R. Burch

One true friend is worth ten thousand kin.
―Euripides, translation by Michael R. Burch

Not to speak one’s mind is slavery.
―Euripides, translation by Michael R. Burch

I would rather die standing than kneel, a slave.
―Euripides, translation by Michael R. Burch

Fresh tears are wasted on old griefs.
―Euripides, translation by Michael R. Burch

Truths are more likely discovered by one man than by nations.
—Rene Descartes, translation by Michael R. Burch

Cassidy Hutchinson is not only credible, but her courage and poise under fire have been incredible. — Michael R. Burch



Native American Proverb
loose translation/interpretation by Michael R. Burch

Before you judge
a man for his sins
be sure to trudge
many moons in his moccasins.



Native American Proverb
by Crazy Horse, Oglala Lakota Sioux (circa 1840-1877)
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.



Native American Proverb
loose translation/interpretation by Michael R. Burch

Let us walk respectfully here
among earth's creatures, great and small,
remembering, our footsteps light,
that one wise God created all.



The Least of These...

What you
do
to
the refugee
you
do
unto
Me!
—Jesus Christ, translation/paraphrase by Michael R. Burch



The Church Gets the Burch Rod

How can the Bible be "infallible" when from Genesis to Revelation slavery is commanded and condoned, but never condemned? —Michael R. Burch

If God
is good
half the Bible
is libel.
—Michael R. Burch

I have my doubts about your God and his "love":
If one screams below, what the hell is "Above"?
—Michael R. Burch

If God has the cattle on a thousand hills,
why does he need my tithes to pay his bills?
—Michael R. Burch

The best tonic for other people's bad ideas is to think for oneself.—Michael R. Burch

Hell hath no fury like a fundamentalist whose God condemned him for having "impure thoughts."—Michael R. Burch

Religion is the difficult process of choosing the least malevolent invisible friends.—Michael R. Burch

Religion is the ****** of the people.—Karl Marx
Religion is the dopiate of the sheeple.—Michael R. Burch

An ideal that cannot be realized is, in the end, just wishful thinking.—Michael R. Burch

God and his "profits" could never agree
on any gospel acceptable to an intelligent flea.
—Michael R. Burch

To fall an inch short of infinity is to fall infinitely short.—Michael R. Burch

Most Christians make God seem like the Devil. Atheists and agnostics at least give him the "benefit of the doubt."—Michael R. Burch

Hell has been hellishly overdone
since Jehovah and his prophets never mentioned it once.
—Michael R. Burch

(Bible scholars agree: the word "hell" has been removed from the Old Testaments of the more accurate modern Bible translations. And the few New Testament verses that mention "hell" are obvious mistranslations.)



If every witty thing that's said were true,
Oscar Wilde, the world would worship You!
—Michael R. Burch


Wayne Gretzky was pure skill poured into skates.—Michael R. Burch



You ask me why I love fresh country air?
You're not befouling it, mon frère.
—Martial, loose translation/interpretation by Michael R. Burch



1.
You’ll find good poems, but mostly poor and worse,
my peers being “diverse” in their verse.

2.
Some good poems here, but most not worth a curse:
such is the crapshoot of a book of verse.

Sunt bona, sunt quaedam mediocria, sunt mala plura
quae legis hic: aliter non fit, Auite, liber.



He undertook to be a doctor
but turned out to be an undertaker.

Chirurgus fuerat, nunc est uispillo Diaulus:
coepit quo poterat clinicus esse modo.



1.
The book you recite from, Fidentinus, was my own,
till your butchering made it yours alone.

2.
The book you recite from I once called my own,
but you read it so badly, it’s now yours alone.

3.
You read my book as if you wrote it,
but you read it so badly I’ve come to hate it.

Quem recitas meus est, o Fidentine, libellus:
sed male *** recitas, incipit esse tuus.



Recite my epigrams? I decline,
for then they’d be yours, not mine.

Ut recitem tibi nostra rogas epigrammata. Nolo:
non audire, Celer, sed recitare cupis.



I do not love you, but cannot say why.
I do not love you: no reason, no lie.

Non amo te, Sabidi, nec possum dicere quare:
hoc tantum possum dicere, non amo te.



You’re young and lovely, wealthy too,
but that changes nothing: you’re a shrew.

Bella es, nouimus, et puella, uerum est,
et diues, quis enim potest negare?
Sed *** te nimium, Fabulla, laudas,
nec diues neque bella nec puella es.