Hostname: page-component-848d4c4894-75dct Total loading time: 0 Render date: 2024-05-01T10:07:53.020Z Has data issue: false hasContentIssue false
  • English
  • Français

Firenzuola, Surrey, and Watson

Published online by Cambridge University Press:  20 November 2018

Patricia Thomson
Patricia Thomson*
Affiliation:
Queen Mary College, University of London
Get access

Extract

      Deh le mie belle donne & amorose,
      Datemi il uer per uostra cortesia,
      Non è chiara tra uoi la donna mia,
      Come è '1 Sol chiar tra tutte 1' altre cose?
      5 Mirate il uolto, & uedrete le rose,
      In bianca neue rider tutta uia:
      Et per le perle e i rubini aprir la uia,
      A i bei pensier, che in lei bontate pose.

Type
Research Article
Information
Renaissance News , Volume 18 , Issue 4 , Winter 1965 , pp. 295 - 298
Copyright
Copyright © Renaissance Society of America 1965

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Curtius, E. R., European Literature and the Latin Middle Ages, trans. W. R. Trask (New York, 1953), pp. 180–182 Google Scholar.

2 The likeness between Watson and Surrey is further enhanced by their use of the same rhyme scheme. This can hardly, however, be evidence of a debt. Watson uses the sestina form throughout Hekatompathia, so that it frequently serves as the vehicle for his Itahanate imitations.

3 Cp. Passion v, based on a sonnet by Petrarch formerly, as Watson notes, translated by Chaucer.