Carmina Burana

«Carmina Burana» είναι ο τίτλος μιας χειρόγραφης συλλογής άνω των 1000 ποιημάτων και τραγουδιών που γράφτηκαν στις αρχές του 13ου αιώνα. Ο λατινικός τίτλος «Carmina Burana», ή ο αγγλικός «Songs of Beuern», δόθηκε το 1847 από τον Johann Andreas Schmeller. Η λέξη «Beuern», που προέρχεται από το αρχαίο γερμανικό «bur» (μικρό σπίτι), αναφέρεται στο χωριό Benediktbeuern, στους πρόποδες των Βαυαρικών Άλπεων, το οποίο και δανείζεται το όνομά του από το ομώνυμο Αβαείο που ιδρύθηκε στην περιοχή το 733. Από έρευνες ωστόσο προέκυψε ότι το χειρόγραφο δεν δημιουργήθηκε εκεί, ενώ ανακαλύφθηκε στο Νότιο Τυρόλο από έναν Βαυαρό επιθεωρητή βιβλιοθηκών.

Τα κομμάτια είναι σχεδόν όλα γραμμένα στα Λατινικά, με κάποια να είναι γραμμένα σε διάλεκτο των Γερμανικών και λίγα στα Γαλλικά: έχουμε να κάνουμε με «μακαρονικούς στίχους», μια μείξη Λατινικών, γερμανικών και γαλλικών με τη δημώδη γλώσσα της εποχής εκείνης. Γράφτηκαν από σπουδαστές και κληρικούς γύρω στα 1230, όταν τα λατινικά ήταν η κοινή γλώσσα (lingua franca) σε όλη την Ιταλία και τη Δυτική Ευρώπη. Τα περισσότερα ποιήματα και τραγούδια φαίνεται να αποτελούν δημιουργία των Γολιάρδων δόκιμων κληρικών, που διακωμωδούσαν και σατίριζαν την Ρωμαιοκαθολική Εκκλησία. Αυτά που ήταν στην λατινική γλώσσα ήταν γραμμένα από τον Peter of Blois και τον Hugo Primas.

Η συλλογή διαιρείται σε έξι ενότητες: «Carmina ecclesiastica», τραγούδια θρησκευτικού περιεχομένου. «Carmina moralia et satirica», ηθικά και σατιρικά τραγούδια. «Carmina amatoria», ερωτικά τραγούδια. «Carmina potoria», τραγούδια της ταβέρνας, για το ποτό και τα παιχνίδια. «Ludi», θρησκευτικά έργα. «Supplementum», παραλλαγές των προηγούμενων τραγουδιών με πρόσθετα σχόλια κριτικής. Το σύνολο των ενοτήτων, εκφράζει το θρίαμβο του ανθρώπινου πνεύματος. Το πιο διάσημο από τα χωρικά ήταν το «O Fortuna!» αφιερωμένο στην θεά Τύχη των αρχαίων Ρωμαίων:

«Ω Τύχη, Σαν το φεγγάρι, Αλλάζεις διαρκώς, Πάντα γιομίζεις, Και πάντα μικραίνεις, Η επαχθής ζωή, Πρώτα καταπιέζει, Και μετά απαλύνει, Κατά τα γούστα της, Την φτώχεια, Και την εξουσία, Τις λιώνει σαν πάγο, Ω Τύχη! Τερατώδης Και κενή, Ω εσύ σφαίρα που γυρίζεις! Στέκεσαι κακόβουλη, Η ευδαιμονία είναι μάταιη, Και πάντα εκμηδενίζεται, Μυστηριώδης, Και με καλυμμένο το πρόσωπο, Με μαστίζεις και εμένα! Τώρα με κόλπο, Φέρνω την γυμνή μου πλάτη, Στην δικιά σου κακία».

Η πρώτη ενότητα έχει χαθεί κι έτσι δεν υπάρχει μαρτυρία για τα χαμένα ποιήματα. Η τελευταία ενότητα δεν ανήκε αρχικά στο χειρόγραφο, αλλά είναι μια ανακατασκευή κάποιων ποιημάτων από τους μελετητές, για τα οποία υπήρχαν διαφορές και διορθώσεις. Επίσης, πολλά από τα θρησκευτικά και τα ερωτικά ποιήματα συνοδεύονται από κάποια μουσικά σημεία, που δείχνουν ότι υπάρχει κάποια μελωδία, ενώ κάποια ποιήματα έχουν και κάποιες αντίστοιχες μελωδίες που ανακαλύφθηκαν σε μεταγενέστερα χειρόγραφα. Η αυθεντική συλλογή βρίσκεται σήμερα στην Κρατική Βιβλιοθήκη της Βαυαρίας στο Μόναχο. Στα ελληνικά, κυκλοφορεί από τις εκδόσεις Μπαρμπουνάκης (2002).

   «Carmina Burana» by Carl Orff   

Η αριστουργηματική μελοποίηση 25 ποιημάτων του «Carmina Burana» από τον Γερμανό συνθέτη και μουσικό παιδαγωγό Carl Orff, το 1937,  χρησιμοποιήθηκε στη συνέχεια, κατά κόρον, σε κινηματογραφικές παραγωγές, μουσικές παραστάσεις, αλλά και σε πολιτικές συγκεντρώσεις, μιας και υπήρξε ένα από τα ελάχιστα έργα στη διάρκεια του 20ου αιώνα που γνώρισε τόσο μεγάλη επιτυχία. Η δημιουργία του Orff ήταν επηρεασμένη από την μεσαιωνική μουσική, τις όπερες του Claudio Giovanni Antonio Monteverdi και την μοντέρνα μουσική του Igor Fyodorovich Stravinsky, (που τότε θεωρείτο «παρακμιακή»), αλλά ενσωμάτωνε και επιρροές από την ρωσική παράδοση. Η ηγεσία του ναζιστικού κόμματος καπηλεύτηκε την πρωτοφανή αποδοχή που γνώρισε το δημιούργημα του συνθέτη από το κοινό, και ο Orff βρέθηκε – χρόνια αργότερα – κατηγορούμενος για φιλοναζιστική στάση. Ο συνθέτης αρνήθηκε τις κατηγορίες και εν τέλει αθωώθηκε, με το δικαιολογητικό ότι κανείς την εποχή εκείνη δεν μπορούσε να δράσει ανεξάρτητα και ότι απλώς εκμεταλλεύτηκε την επιτυχία του έργου του υπό τη σκιά του εθνικισμού.

Τα «Carmina Burana» συνδεόταν ιστορικά με τον γερμανικό λαό γιατί ως χειρόγραφα είχαν γραφεί και συλλεχθεί μέσα στα εδάφη της Αγίας Ρωμαϊκής Αυτοκρατορίας, (αυτό που ιστορικά αποκαλείται Πρώτο Ράιχ). Τα «Carmina Burana» απεδείκνυαν έτσι ότι οι Γερμανοί, ως κάτοικοι του Πρώτου Ράιχ, ήταν μορφωμένοι και δημιουργικοί. Κατ’ αυτό τον τρόπο, εκμεταλλευόμενη την ρωμαλεότητα που εξέπεμπε η παράσταση του Orff, η πολιτική εξουσία διαλαλούσε ότι οι Γερμανοί διατηρούσαν τα ταλέντα των αρχαίων τους προγόνων, τονώνοντας το αίσθημα εθνικής περηφάνιας των πολιτών.

Η Αμερικανίδα μαέστρος Marin Alsop αναφέρει: «ανάμεσα στις δύο εκτελέσεις του «O Fortuna!» στην αρχή και το τέλος του έργου υπάρχει μουσική μεγάλης ποικιλίας σε στυλ με ένα υπνωτικό στοιχείο επανάληψης, μια έντονη αγνότητα της φωνής της σοπράνο και της παιδικής χορωδίας, μια βραχνότητα στα κομμάτια που ερμηνεύονται από τενόρους και την ανδρική χορωδία και ένα χιούμορ που υπογραμμίζει την ασελγή φύση των στίχων (που ακούγονται τόσο σοφά στα Λατινικά), που όλα αυτά συνδυάζονται για να δημιουργήσουν μια αίσθηση αμεσότητας και βατότητας στον ακροατή, που δεν υπάρχουν σε πολλά έργα της κλασσικής μουσικής».

♣   Fortuna Imperatrix Mundi (Fortune, Empress of the World)   ♣

I. O Fortuna

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem. Sors immaniset inanis, rota tu volubilis, status malus, vana salus semper dissolubilis; obumbrata et velata mihi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis mihi nunc contraria; est affectus et defectus semper in angaria. hac in hora sine mora cordae pulsum tangite! quod per sortem sternit fortem, mecum omnes plangite!

♦   ♦   ♦

O Fortune, like the moon of ever changing state, you are always waxing or waning; hateful life now is brutal, now pampers our feelings with its game; poverty, power, it melts them like ice. Fate, savage and empty, you are a turning wheel, your position is uncertain, your favour is idle and always likely to disappear; covered in shadows and veiled you bear upon me too; now my back is naked through the sport of your wickedness. The chance of prosperity and of virtue is not now mine; whether willing or not, a man is always liable for Fortune’s service. At this hour without delay touch the strings! Because through luck she lays low the brave, all join with me in lamentation!

II. Fortune plango vulnera

Fortunae plango vulnera stillantibus ocellis, quod sua mihi munera subtrahit rebellis. verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata. In Fortunae solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus nunc a summo corrui gloria privatus. Fortunae rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.

♦   ♦   ♦

I mourn the blows of Fortune with flowing eyes, because her gifts she has treacherously taken back from me. Opportunity is rightly described as having hair on her forehead, but there usually follows the bald patch at the back. On the throne of Fortune I had sat elated, crowned with the gay flower of prosperity; however much I flourished, happy and blessed, now I have fallen from the pinnacle, deprived of my glory. The wheel of Fortune turns; I sink, debased; another is raised up; lifted too high, a king sits on the topólet him beware of ruin! Under the axle we read, Queen Hecuba.

♣   Primo vere (In Springtime)   ♣

III. Veris laeta facies

Veris laeta facies mundo propinquatur. Hiemalis acies victa iam fugatur. in vestitu vario Flora principatur, nemorum dulcisono quae cantu celebratur. Florae fusus gremio Phoebus novo more risum dat, hoc vario iam stipatae flore. Zephyrus nectareo spirans it odore. certatim pro bravio curramus in amore. Cytharizat cantico dulcis Philomena. flore rident vario prata iam serena. salit coetus avium silvae per amoena. chorus promit virginum iam gaudia millena.

♦   ♦   ♦

The happy face of Spring comes to the world. The army of Winter, conquered, is now put to flight. In gay clothes Flora rules, and she is praised by the sweet sound of the woods. Stretched out in the lap of Flora Phoebus in his new way laughs – she is now covered with these gay flowers. Zephyrus goes blowing the scent of nectar. In competition for the prize let us run in the race of love. Sweet Philomela accompanies her song with the lyre. The fields, now bright, smile with gay flowers. A flock of birds hop through the pleasant places of the wood. A dancing band of girls now brings a thousand joys.

IV. Omnia sol temperat

Omnia Sol temperat purus et subtilis; novo mundo reserat facies Aprilis, ad amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in sollemni Vere et Veris auctoritas iubet nos gaudere; vias praebet solitas; et in tuo Vere fides est et probitas tuum retinere. Ama me fideliter! fidem meam nota; de corde totaliter et ex mente tota sum praesentialiter absens in remota. Quisquis amat taliter, volvitur in rota.

♦   ♦   ♦

The sun, pure and gentle, calms all things; the face of April opens to the new world; the mind of a young man hastens to love, and over men of charm rules the boy god. So great a renewal of the world in festive Spring and the authority of Spring order us to rejoice; it shows its familiar ways; and in the Spring of your life sincerity and honesty require that you keep him who is yours. Love me faithfully! Mark my loyalty; completely, in my heart and in my whole mind I am with you though absent in a far place. Whoever loves in this way is turned on the wheel of torture.

V. Ecce gratum

Ecce gratum et optatum Ver reducit gaudia. purpuratum floret pratum. Sol serenat omnia. iamiam cedant tristia! Aestas redit, nunc recedit Hiemis saevitia. Iam liquescit et decrescit grando, nix et cetera. Bruma fugit, et iam sugit Ver Aestatis ubera. illi mens est misera, qui nec vivit, nec lascivit sub Aestatis dextera. Gloriantur et laetantur in melle dulcedinis qui conantur, ut utantur praemio Cupidinis. simus iussu Cypridis gloriantes et laetantes pares esse Paridis.

♦   ♦   ♦

Behold, the welcome and desirable Spring brings back joys. The brightly coloured meadow is in flower. The sun brightens everything. Now let sorrows depart! Summer returns, now the rage of Winter retires. Now hail, snow and the rest turn to water and flow away. Winter flees and already Spring sucks at the breasts of Summer. He bears an unhappy heart who neither lives nor plays under Summer’s right hand. They who strive to enjoy the reward of Cupid rejoice and take pleasure in honey sweetness. Let us be at the command of the Cyprian (Venus), glorying and rejoicing to be the equals of Paris.

♣   Uf dem anger (On the Lawn)   ♣

VI. Tanz – instrumental

VII. Floret silva nobilis

Floret silva nobilis floribus et foliis. ubi est antiquus meus amicus? hinc equitavit. eia, quis me amabit? Floret silva undique. Nach mime gesellen ist mir we. Gruonet der walt allenthalben, wa ist min geselle also lange? Der ist geriten hinnen. Owi, wer sol mich minnen?

♦   ♦   ♦

The noble forest is in bloom with flowers and leaves. Where is my old companion? He has ridden away. Alas, who will love me? The forest is in bloom on all sides. I grieve for my companion. The forest is green on all sides. Why is my companion so long? He has ridden away. Alas, who will love me?

VIII. Chramer, gip die varwe mir

Chramer, gip die varwe mir die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen! Minnet, tugentliche man, minnechliche frouwen! Minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich an, jungen man! Lat mich iu gevallen! Wol die, werlt, das du bist also freudenriche! Ich wil dir sin undertan durch din liebe immer sicherliche. Seht mich an, jungen man! Lat mich iu gevallen!

♦   ♦   ♦

Merchant, give me the colour to redden my cheeks so that I may make young men love me whether they wish it or not. Look at me young men! Let me please you! Give your love, virtuous men, to lovely women! Love gives you high spirits and lets you shine in high honour. Look at me young men! Let me please you! O World, I wish you well as you are so rich in pleasures. I will surely always be your servant on account of your bounty. Look at me young men! Let me please you!

IX. Reie

Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan. Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min. Suozer rosenvarwer munt, chum unde mache mich gesunt, chum unde mache mich gesunt, suozer rosenvarwer munt.

♦   ♦   ♦

Those who dance around here are all girls who wish to spend all this summer without men. Come, come, my beloved, I am awaiting you with desire, I am awaiting you with desire, come, come, my beloved. Sweet mouth, the colour of roses, come and make me well, come and make me well, sweet mouth, the colour of roses.

X. Were diu werlt alle min

Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben daz diu chunegin von Engellant lege an minen armen.

♦   ♦   ♦

If the world were all mine from the sea up to the Rhine, this I would willingly forego to have the queen of England lie in my arms.

♣   In Taberna (In the Tavern)   ♣

XI. Estuans interius

Aestuans interius ira vehementi in amaritudine loquor meae menti; factus de materia, cinis elementi, similis sum folio, de quo ludunt venti. Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti sub eodem tramite numquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis; quaero mihi similes, et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, quae numquam in cordibus habitat ignavis. Via lata gradior more iuventutis, implicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima
curam gero cutis.

♦   ♦   ♦

Burning inwardly with strong anger, in my bitterness I speak to my soul; created out of matter, ashes of the earth, I am like a leaf with which the winds play. Whereas it is proper for a wise man to place his foundations on rock, I, in my folly, am like a flowing river, never staying on the same course. I am borne along like a ship without a sailor, just as a wandering bird is carried along paths of air; chains do not keep me nor does a key; I seek men like myself, and I am joined with rogues. For me a serious heart is too serious a matter; a joke is pleasant and sweeter than honeycombs; whatever Venus orders is pleasant toil; she never dwells in faint hearts. I go on the broad way after the manner of youth; and I entangle myself in vice, forgetful of virtue; greedy for pleasure more than for salvation, I, dead in my soul, attend to the needs of my flesh.

XII. Olim lacus colueram

Olim lacus colueram, olim pulcher exstiteram, dum cygnus ego fueram. Miser, miser! modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter; propinat me nunc dapifer. Miser, miser! modo niger et ustus fortiter! Nunc in scutella iaceo, et volitare nequeo; dentes frendentes video. Miser, miser! modo niger et ustus fortiter!

♦   ♦   ♦

Once I had dwelt on lakes, once I had been beautiful, when I was a swan. Poor wretch! Now black and well roasted! The cook turns me back and forth; I am roasted to a turn on my pyre; now the waiter serves me. Poor wretch! Now black and well roasted! Now I lie on the dish, and I cannot fly; I see the gnashing teeth. Poor wretch! Now black and well roasted!

XIII. Ego sum abbas

Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quaesierit in taberna post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! quid fecisti, Sors turpissima? nostrae vitae gaudia abstulisti omnia!

♦   ♦   ♦

I am the Abbot of Cockaigne and my counsel is with soaks, and my pleasure is in the order of gamblers and whoever seeks me early in the tavern will leave naked after vespers, and stripped of his clothing he will cry: Wafna, wafna! What have you done, Luck most foul! You have taken away all the joys of our life!

XIV. In taberna quando sumus

In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. quid agatur in taberna ubi nummus est pincerna, hoc est opus ut quaeratur; si quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur; ibi nullus timet mortem, sed pro Baccho mittunt sortem.

Primo pro nummata vini; ex hac bibunt libertini; semel bibunt pro captivis, post haec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro paenitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus, Bibit pauper et aegrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit praesul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.

Parum sescentae nummatae durant cum immoderate bibunt omnes sine meta, quamvis bibant mente laeta; sic nos rodunt omnes gentes, et sic erimus egentes. qui nos rodunt confundantur et cum iustis non scribantur.

♦   ♦   ♦

When we are in the tavern, we do not care about what earth is (i.e. what we are made of), we set about gambling and over that we always sweat. We must investigate what happens in the tavern where money is the butler; pay attention to what I say. Some gamble, some drink, some live without discretion. From those who spend their time in gambling, some are stripped bare, some win clothes, some are dressed in sacks; there no-one fears death, but for the wine they throw dice.

First, for the payment of the wine (i.e. who pays for the wine). Then the boozers start to drink; they drink once to those in prison, after that, three times for the living, four times for all Christendom, five times for the faithful departed, six times for sisters of loose virtue, seven times for soldiers of the forest, eight times for brothers in error, nine times for scattered monks, ten times for those who sail, eleven times for men quarrelling, twelve times for those doing penance, thirteen times for those on journeys. For pope and king alike all drink without restraint.

The mistress drinks, so does the master, the soldier drinks, so does the cleric, that man drinks, that woman drinks, the servant drinks with the maid, the fast man drinks, so does the slow, the white man drinks, so does the black, the stay-at-home drinks, so does the wanderer, the fool drinks, so does the scholar. The poor drink, and the sick, the exile and the unknown, the boy, the greybeard, the bishop, the deacon, sister, brother, old woman, mother, that woman, this man, they drink by the hundred, by the thousand.

Large sums of money last too short a time when everybody drinks without moderation and limit, even though they drink with a happy heart; in this everyone sponges on us and it will make us poor. Damnation to those who sponge on us! Put not their names in the book of Just.

♣   Cour d’amours   ♣

XV. Amor volat undique

Amor volat undique, captus est libidine. iuvenes, iuvenculae, coniunguntur merito. siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia; fit res amarissima.

♦   ♦   ♦

Love flies everywhere, and is seized with passion. Young men and women come together, as is right. If a girl has no boyfriend, she is quite without joy; she harbours the depths of night shut up in her inmost heart. It is pure bitterness.

XVI. Dies, nox et omnia

Dies, nox, et omnia mihi sunt contraria; virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. O sodales, ludite, vos qui scitis dicite, mihi maesto parcite, grand ey dolur, attamen consulite per voster honur. Tua pulchra facies, me fay planszer milies, pectus habens glacies, a ramender… statim vivus fierem per un baser.

♦   ♦   ♦

Day, night, everything is hostile to me; the talk of maidens makes me weep, alas! makes me sigh often, makes me more afraid. O friends, make merry, speak to me, you who know, have mercy on me in my misery; my pain is great, but advise me for your honour’s sake. Your fair face makes me weep a thousand times, but your heart is ice; to restore me… immediately would I return to life with one kiss.

XVII. Stetit puella

Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. eia! stetit puella, tamquam rosula; facie splenduit, os eius floruit. eia!

♦   ♦   ♦

A girl stood in a red dress; if anyone touched it, the dress rustled. Eia! A girl stood like a little rose; her face shone and her mouth bloomed, Eia!

XVIII. Circa mea pectora

Circa mea pectora multa sunt suspiria de tua pulchritudine, quae me laedunt misere. Manda liet, manda liet, min geselle chumet niet. Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet, manda liet, min geselle chumet niet. Vellet Deus, vellent dii, quod mente proposui, ut eius virginea reserassem vincula. Manda liet, manda liet, min geselle chumet niet.

♦   ♦   ♦

In my heart there are many sighs for your beauty which torture me miserably. Send a message, send a message, my beloved does not come. Your eyes shine like the rays of the sun, like a flash of lightning which gives light to darkness. Send a message, send a message, my beloved does not come. May God grant, may the gods grant, what I have set myself to do, and that is, to unlock the bonds of her virginity. Send a message, send a message, my beloved does not come.

XIX. Si puer cum puellula

Si puer cum puellula moraretur in cellula, felix coniunctio. Amore succrescente, pariter e medio propulso procul taedio, fit ludus ineffabilis membris, lacertis, labiis.

♦   ♦   ♦

When a young man, passion-laden, in a chamber meets a maiden, then felicitous communion, by Love’s strain between the twain, grows from forth their union; for the game, it hath no name, of lips, arms, and hidden charms.

XX. Veni, veni, venias

Veni, veni, venias, ne me mori facias, hyrca, hyrce, nazara; trilirivos. Pulchra tibi facies, oculorum acies, capillorum series; o quam clara species! Rosa rubicundior, Lilio candidior, omnibus formosior; semper in te glorior!

♦   ♦   ♦

Come, come, please come, don’t make me die, hyrca, hyrce, nazara, trilirivos. Beautiful is your face, the glance of your eyes, the tresses of your hair; oh how beautiful is your appearance! You are redder than the rose, brighter than the lily, more beautiful than all; you are my constant pride!

XXI. In truitina

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo praebeo; ad iugum tamen suave transeo.

♦   ♦   ♦

In my mind’s wavering balance wanton love and chastity sway in opposite scales. But I choose what I see, I offer my neck to the yoke; to a yoke so sweet I cross.

XXII. Tempus est iocundum

Tempus est iocundum, o virgines, modo congaudete vos iuvenes. Oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea me comfortat promissio, mea me deportat negatio. Oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Tempore brumali vir patiens, animo vernali lasciviens.

Oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Veni, domicella, cum gaudio; veni, veni, pulchra, iam pereo. Oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

♦   ♦   ♦

It is the time of joy, O maidens, now enjoy yourselves together, O young men. Oh, oh, I am all aflower, now with my first love I am all afire, a new love it is of which I am dying. I am elated when I say yes; I am depressed when I say no. Oh, oh, I am all aflower, now with my first love I am all afire, a new love it is of which I am dying.

In the time of winter a man is sluggish, when spring is in his heart he is wanton. Oh, oh, I am all aflower, now with my first love I am all afire, a new love it is of which I am dying. My innocence plays with me, my shyness pushes me back. Oh, oh, I am all aflower, now with my first love I am all afire, a new love it is of which I am dying. Come, my mistress, with your joy *; come, come, fair girl, already I die. Oh, oh, I am all aflower, now with my first love I am all afire, a new love it is of which I am dying.

XXIII. Dulcissime

Dulcissime, totam tibi subdo me!

♦   ♦   ♦

Sweetest of men, I give myself to you wholly!

XXIV. Ave formosissima

Ave formosissima, gemma pretiosa, ave, decus virginum, virgo gloriosa, ave, mundi luminar, ave, mundi rosa, Blanziflor et Helena, Venus generosa.

♦   ♦   ♦

Hail, fairest of women, precious gem, hail, glory of maidens, noble maiden, hail, light of the world, hail, rose of the world, you are Blancheflour and Helen, [even] noble Venus.

XXV. O Fortuna

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem. Sors immaniset inanis, rota tu volubilis, status malus, vana salus semper dissolubilis; obumbrata et velata mihi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis mihi nunc contraria; est affectus et defectus semper in angaria. hac in hora sine mora cordae pulsum tangite! quod per sortem sternit fortem, mecum omnes plangite!

♦   ♦   ♦

O Fortune, like the moon of ever changing state, you are always waxing or waning; hateful life now is brutal, now pampers our feelings with its game; poverty, power, it melts them like ice. Fate, savage and empty, you are a turning wheel, your position is uncertain, your favour is idle and always likely to disappear; covered in shadows and veiled you bear upon me too; now my back is naked through the sport of your wickedness. The chance of prosperity and of virtue is not now mine; whether willing or not, a man is always liable for Fortune’s service. At this hour without delay touch the strings! Because through luck she lays low the brave, all join with me in lamentation!

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