CLAUDIUS CLAUDIANUS THE BEREAVEMENT OF CERES From the Rape of Proserpine LL in terror, in hope no more, as the mother of nestlings A Fears for her tender young, in the rowan sapling deserted, Fears while she seeks their food, and wearies again to be with them; Trembling lest the wind may have smitten the nest from the bough, or Cruel man have slain, or the fang of the ravening serpent,— Rent she her robes, and tore the bearded wheat from her tresses. As it had been the maid herself, the delicate shuttle Smooth from her hand, and the fallen wool, and the virginal trifles Of her delight; surveyed the seats where she loved to linger, Leaned o'er the spotless couch, and touched the pillow forsaken. Translation of H. W. P. INVOCATION TO VICTORY From the Consulate of Stilicho AT shouts of our nobles, in jubilant chorus WHAT Inviolate Victory, bodied before us Wide, wide in the ether, her pinions outspread! O guardian Goddess of Rome in her splendor! O radiant Palm-bearer in trophies arrayed, XXI-774 Who healest the wounds that our foemen had made! I know not thy rank in the heavenly legion,— Or bearest Ione's sceptre, or winnest renown Translation of H. W. P. R CLAUDIUS RUTILIUS NUMATIANUS PROLOGUE TO THE ITINERARIUM' EADER, marvelest thou at one who early departing, Missed the unspeakable boon granted the children of Rome? Early and late no more, under her infinite charm! "Come all ye who are fit! Come and be aliens no more!" Translation of H. W. P. ANICIUS SEVERINUS BOËTHIUS FRAMER of the jeweled sphere, Who, firm on thy eternal throne, The stars compel thy laws to own;- When Luna with her horns full-grown Reflects her brother's glories bright, Paling-she too - when he draws nigh, Thou who dost veil in vapors chill With its brief days, rekindling still The fires of summer, making fleet The lessening nights;-all do thy will; The year obeys thee on thy seat; The leaves that Boreas bore amain Return once more with Zephyr sweet; Arcturus tills the unsown grain, And Sirius burns the waving gold; The task thy ancient laws ordain All do, the allotted station hold. Man's work alone dost thou despise, In changeless law. Else wherefore flies Enthroned, exultant, apt to grind Her light to hide; and just men know For men like these, nor Perjury; O Judge unknown, we cry to thee! To our sad planet, turn, we pray! Are we we men- the meanest side Of all thy great creation? Nay! Though but the drift of Fortune's tide Compel her wasteful floods to pause! And, ruling heaven, rule beside O'er quiet lands, by steadfast laws. Translation of L. P. D. THE HYMN OF PHILOSOPHY From the Consolation of Philosophy' NDYING Soul of this material ball, UN Heaven-and-Earth-Maker! Thou who first didst call Time into being, and by thy behest Of perfect beauty! Wherefore thou hast been Frost works with fire, water with barren sand, Translation of H. W. P. PIERRE RONSARD (1524-1585) BY KATHARINE HILLARD HERE is no more picturesque moment in the whole history of France than that at which Pierre Ronsard was born. The first quarter of the sixteenth century had just struck, and Europe was waking to the new day of the Renaissance. Luther had burned the Pope's bull at Wittenberg, and had introduced the reformed worship there. Henry VIII. and Francis I. had met on the Field of the Cloth of Gold; Michael Angelo had finished his masterpieces in the Sistine Chapel; Raphael, having painted the greatest of all Madonnas, had been dead five years; Titian was still holding the world breathless with the triumphs of his brush; Rabelais had just emerged from his monastic prison to begin life at the age of forty; Sir Thomas Wyatt, the Earl of Surrey, and their co-mates, were preparing the way in England for the full choir of the next half-century; and France, stimulated on all sides by the advance of her neighbors in literature and art, had set herself to rival them. Since the appearance of the 'Roman de la Rose' in 1310, there had been little of note in French literature. The feeble singers of the fourteenth and fifteenth centuries, whose voices could scarcely be heard through the constant din of war, made that poem their great example; and it is hard to say whether the poverty of their invention, or the religious allegory concealed beneath its sentimental platitudes, had had the greater power in preserving it so long. Charles d'Orléans, François Villon, and Clément Marot, had already sung the first chansons worthy of note since the 'Roman de la Rose' began to reign; and the "gentil maistre Clément » was even now sharing the captivity of his royal master at Pavia. PIERRE RONSARD Besides the usual causes that impede the production of great poems, we must take into account the transitions and imperfect condition of the French language at this time; the patronage of zealous |