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“If no love is, O God, what fele I so?” by Petrarch, translated by Geoffrey Chaucer (1385)
Chaucer included this translation of Petrarch’s sonnet in his medieval romance Troilus and Criseyde. Published shortly after Petrarch’s death, Chaucer’s insertion of the Italian poet’s work illustrates its role in the courtly love tradition. Troilus exhibits many characteristics of the Petrarchan lover, pining over Criseyde. Furthermore, Chaucer is drawing upon Petrarch’s promotion of humanism by re-telling a romance based around a Greek character from the matter of Troy. Furthermore, Chaucer’s source material for his romance was Il Filostrato, written by Petrarch’s friend, Giovanni Boccaccio.
“I Find no Peace” by Petrarch, translated by Sir Thomas Wyatt (1557)
Thomas Wyatt, known mostly as the lover of Anne Boleyn, played a large role in popularizing Petrarch and the sonnet form among English Renaissance poets. His liberal translations of Petrarch appeared in Tottel’s Miscellany, which had the goal of making the vernacular English language popular for poetry. Petrarch had popularized Italian when French was considered best for academics and poetry, and his work aided in doing the same when Italian was considered a more learned tongue than English.
Furthermore, this particular sonnet is a great example of Petrarch’s adynaton. The adynaton is an impossibility device, a poetic turn of phrase relaying something that is impossible. The first line, “I find no peace, and all my war is done” creates an impossible space of no peace and no war. This literary device does not feature heavily in “Sonnet 18,” but it is a feature of many poems in the Canzoniere.
“Since she whom I lov'd hath paid her last debt” by John Donne (1633)
John Donne’s Holy Sonnets are deeply influenced by Petrarch. In English, Donne follows the same rhyme scheme as Petrarch in the Italian octave of “Sonnet 18.” Later in the collection, Petrarch’s beloved Laura dies. This sonnet by Donne explores the poet’s feelings surrounding the death of his wife. The “you,” or “thee” (Line 6), of Donne’s poem is God. This positions God as the beloved and takes Petrarch’s connections between Laura and the Catholic Virgin Mary to a very different poetic place.
“Sonnet 19: When I consider how my light is spent” by John Milton (1673)
This poem follows closely to Petrarchan themes, including light, sight, and death. Milton is one of the key poets who popularized humanism in English poetry and literature. The central motif of “Sonnet 19” is the expenditure of “light” as life, with the poet contemplating their age. Of critical importance is that this poem was written on the occasion of John Milton’s blindness, requiring him to have an amanuensis (scribe) to compose works such as the humanist masterpiece Paradise Lost. In this way, Milton’s sonnet builds upon the simile of the blind man in Petrarch’s “Sonnet 18.”
“Lancelot (Or The Knight of the Cart)” by Chrétien de Troyes, translated by A. S. Kline (2019)
Among medieval romances that appeared in Marie de Champagne’s French court of love (predating Petrarch), “The Knight of the Cart” is an excellent example of courtly love in action. The romantic relationship between Lancelot and the Queen demonstrates the idealized version of courtly love, including the symbolism of eyes and the power of beauty. However, in Arthurian legend, Queen Guinevere is eventually more responsive to Lancelot’s amorous intentions than Petrarch’s Laura. This sets Petrarch’s beloved apart as a cruel mistress, experiencing unrequited love rather than love tainted with adultery and betrayal.
The Romance of the Rose by Guillaume de Lorris, translated by A. S. Kline (2019)
Another French medieval narrative poem that predates Petrarch, The Romance of the Rose discusses romantic love at length. It establishes many of the conventions of courtly love that Petrarch employs in his sonnets. The University of Chicago has a digitized version of the illuminated manuscript available online.
Secretum by Petrarch, translated by William H. Draper (1911)
The Secretum, also known as Petrarch’s Secret, was only widely circulated after the death of the poet. This collection of essays takes the form of dialogues between the speaker, Petrarch himself, and Saint Augustine, the patron of the printed word and philosophy. In it, Petrarch outlines and justifies both Renaissance Humanism as well as its position in the Christian world, despite its association with the classics and pagan myth. The work quotes both scripture and classical poetry—emphasizing the works of Ovid, Cicero, and Virgil—and demonstrates much of the philosophical and educational background of works like Canzoniere.
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