Ai Horton, Laments for a Modern World

Appendix A: English translations of 17th-century Lament texts

Translated by Ai Horton

The original texts have been taken directly from digital scans of the manuscripts whenever possible (please see bibliography for the exact list of scores used), and efforts have been made to transcribe each text as it first appears in the referenced score. While the majority of textual repetitions have been omitted in these transcriptions, punctuation, capitalization, and spelling have been preserved as much as is reasonable—due to the inconsistencies of the penmanship and printing process in the manuscripts, the precise placement of some accents and apostrophes have been interpreted by myself during transcription. My translations also prioritize the literal meaning of the words over attempting a poetic recreation in English.

Excerpt from Act II of L'Orfeo (premiered 1607 in Mantua, Italy)

Composer: Claudio Monteverdi (1567-1643)

Librettist: Alessandro Striggio (1573-1630)

Character/Voice Type: Orfeo (Orpheus), tenor or baritone

ORFEO:

Ohimè [...]

 

Tu se' morta mia vita ed io respiro

Tu se' da me partita

Per mai più non tornare ed io rimango

 

No che se’ i versi alcuna cosa ponno

N'andrò sicuro a più profondi abissi

E internerito il cor del Rè de l'ombre

 

Meco trarrotti A riveder le stelle

O se ciò negherámmi empio destino

Rimarrò teco in cómpagnia di morte

A dio terra a dio Cielo e Sole a Dio.

ORFEO:

Alas...

 

You are dead, my life, and I breathe

You are parted from me

To never return and I remain

No, if verses can do anything

I will go safe to the deepest abyss

interred to the court of the King of the shadows

 

With me To see the stars again

Or if you deny me this impious destiny

I will remain with you in the company of death

Farewell earth, farewell Sky, and Sun farewell.

Excerpt from Act V of L'Orfeo (premiered 1607 in Mantua, Italy)

Composer: Claudio Monteverdi (1567-1643)

Librettist: Alessandro Striggio (1573-1630)

Character/Voice Type: Orfeo (Orpheus), tenor or baritone; Eco (echo), tenor or baritone

ORFEO:

Questi i campi di Traccia, e quest’è il loco

Dove passomm’il core 

Per l’amara novella il mio dolore

Poi che non ho più spene

Di ricovrar pregando

Piangendo e sospirando

Il perduto mio ben,

Che possoio più se non volgermi à voi

Selve soavi un tempo

Conforto a miei martir, méntr’al ciel piaque

Per farvi per pietà meco languire

Al mio languire.

 

Vuoi vi doleste ò monti e lagrimaste

Voi sassi al dipartir del nostro Sole

Et io con voi lagrimerò mai sempre

E mai sempre darrommi ahi dogli, ahi piantò

 

ECO:
Hai pianto


ORFEO:

Cortese Eco amorosa

Che sconsolata sei

E consolar mi voi ne dolor miei

Ben che queste mie luci

Sien già per lagrimar fatte due fonti

In così grave mia fera sventura

 

Non hò pianto però tanto che basti


ECO:

basti


ORFEO

Se gli occhi d'Arg’havessi

E spandessero tutti un mar di pianto

Non sora il duol conforme à tanti guai


ECO:

hai

 

ORFEO

S'hai del mio mal pietà de lo ti ringratio

Di tua benignitade

Ma métr’io mi querelo

Dhe perche mi rispondi

Sol có gl’ultimi accenti

Rendimi tutti integri i miei lamenti.

 

Ma tu anima mia se mai ritorna

La tua fred’ombra à quest'amiche piaggie

Prendi da me queste tue lodi estreme

C'hor a te sacro la mia cetra e’l canto

Come a te già sopra l'altar del core

Lo spirto acceso in sacrifizio offersi

 

Tu bella fusti e saggia e in te ripose

Tutte le grazie sue cortese il cielo

Mentre ad ogn'altra de suoi don fu scarsa

D'ogni lingua ogni lode a te conviensi

Ch'albergasti in bel corpo alma più bella

Fastosa men quanto d'honor più degna.

 

Hor l'altre donne son superbe e perfide

Ver chi le adora dispietate instabili

Prive di senno e d'ogni pensier nobile

Ond’a ragion’opra di lor non lodansi

Quinci nó fia gia mai che per vil femina

Amor con aureo stral il cor traffiggami.

ORPHEUS:

These are the fields of Thrace, and this is the place

Where my heart was pierced

By pain at the bitter news.

Since I have no more hope

To recover through praying,

Weeping and sighing,

My lost beloved,

What more can I do? if I don't turn to you,

Sweet woods, once 

Comfort to my martyrdom, while it pleased heaven

To make you languish with me out of pity

At my languishing.

 

You ached, O Mountains, and you weeped,

Rocks, at the departure of our Sun,

And I will always weep with you

Always will yield myself to grief, ah pain, ah crying!

 

ECHO:

You cried

 

ORPHEUS:

Courteous loving Echo

How disconsolate you are

And console me in my pain

Well these eyes of mine

Two springs have already been made for lamenting

In my grave misfortune

I haven’t cried enough

 

ECHO:

enough

 

ORPHEUS:

If I had the eyes of Argus

And poured out a sea of tears

Their grief would not match such troubles

 

ECHO:

you have

 

ORPHEUS:

If you have mercy on my pain I thank you

For your kindness

But while I complain

Why are you answering me

Only with my last words

Return to me all my laments.

 

But you, my soul, if ever you return

Your cold shadow to these friendly shores

Take from me these final praises

My lyre and song are sacred to you

As already on the altar of the heart

I offered you my spirit in sacrifice

 

You were beautiful and wise and in you rested

All of the graces of kind heaven

While in all others it spared its gifts

In every language all praise is due to you

You lodged in a beautiful body a more beautiful soul

Less in pride and therefore more worthy in honour.

 

Now the other women are proud and deceitful

Ruthless and unstable to their lovers

Deprived of sense and every noble thought

And so their work is not praised

Therefore if can never be that a for worthless woman

Love with a golden arrow pierces my heart.

“Lamento d'Arianna”, from L'Arianna (premiered 1608 in Mantua, Italy)

Composer: Claudio Monteverdi (1567-1643)

Librettist: Ottavio Rinuccini (1562-1621)

Character/Voice Type: Arianna (Ariadne), soprano

Lasciatemi morire

e chi volete voi che mi conforte

in cosi dura sorte in così gran martire

lasciatemi morire.

 

O Teseo o Teseo mio,

si che mio ti vò dir che mio pur sei

ben che t'involi ahi crudo a gl’occhi miei

Volgiti Teseo mio o Dio

Volgiti indietr’à rimirar colei

che lasciato hà per te la Patria e il regno

e’n queste arene ancora

cibo di fere dispietate e crude

lascierà l'ossa ignude

 

ò Teseo mio

se tù sapessi ò Dio

se tù sapessi oime come s'affanna la povera Ariana

forsi pentito

rivolgeresti ancor la prora al lito

 

mà con l'aure Serene tu te ne vai felice

& io qui piango

à te prepara Attene lieti pompe superbe 

& Io rimango cibo di fere in solitarie arene

te l'uno e l'altro tuo vecchio parente stringeran lieti

& io più non vedroti 

ò Madre ò Padre mio.

 

Dove dov'è la fede che tanto mi giuravi?

cosi ne l'alta sede tù mi riponde gl'Avi

son queste le corone onde m'adorn’il Crine?

questi gli scettri sono, queste le gemme e gl'ori

lasciarm’in abbandono

A fera che mi strazzi e mi divori

 

Ah Teseo mio,

lascierai tù morire

invan piangendo invan gridand’aita,

la misera Arianna

ch'à te fidossi e ti die gloria e vita.

 

Ahi che pur non rispondi

Ahi che più d'Asp’è sordo à miei lamenti

o nébi ò turbi ò venti

sommergetelo voi dentr'a quell'onde

correte Horche e Balen,

e delle mébra immonde empito le voragini profonde

 

Che parlo

Ahi che vaneggio misera

oime che veggio

ò Teseo mio,

non son quel io ch’i feri detti Sciolse

parlò d'affanno mio parlò’l dolore

parlò la lingua si mà non già’l Core.

 

Misera ancor dò loco à la tradita speme

e non si spegne frà tanto scherno ancor d'Amor 

il foco spegni tù morte omai le fiame indegne

 

ò Madre ò Padre,

ò de l'antico Regno superbi alberghi 

Ov'hebbi d'or la Cuna

o servi ò fidi amici (Ahi fatto indegno)

mirate ove m'ha scorto empia fortuna

mirate di che duol m'hà fatto herede

l'amor mio la mia fede è l'altrui inganno

cosi và Chi tropp'ama e troppo crede.

Let me die

and what do you think can comfort me

in such a hard fate, in such a great martyrdom?

Let me die.


O Theseus, O my Theseus

Yes, I want to call you mine, that you are mine

To invite you, cruel one, to my gaze

Turn back, my Theseus, o God!

Turn back to gaze on her

who abandoned her country and kingdom for you,

and in these arenas again

[as] the food of the pitless and fierce beasts,

leaving behind bare bones


o my Theseus,

if you only knew, o God

if you only knew how she struggles the poor Ariadne,

perhaps repentant

you would again turn your prow back to the shore

 

but with a serene aura you go away happy

and I cry here

Athens prepares for you superb happy celebrations,

and I remain food for beasts in this lonely arena.

you your aged parents happily embrace

and I no longer see you,

o Mother, o my Father.

 

Where is the faithfulness that you often swore to me?

so on your ancestor’s throne you place me?

Are these the crowns with which you adorn my locks?

Are these the sceptres, these the gems and the gold?

you leave me abandoned

for the beasts to tear me apart and devour me?

 

Ah my Theseus,

will you leave me to die,

weeping and calling in vain for help,

the miserable Ariadne

who trusted you and gave you glory and life?

 

Ah, you that don't even answer!

Ah, who is deafer to my laments!

o clouds, o storms, o winds!

bury him beneath those waves!

Hurry, orcas and whales,

and [with] his unclean limbs - fill the deep chasms! 


What am I saying,

Ah what miserable nonsense

alas, what am I asking for?

o my Theseus,

I am not the one who uttered those injuring phrases,

My pain spoke, the pain spoke

I spoke the words, yes, but my heart did not.

 

Misery! Do I still have hope in the betrayal?

And it does not leave, within so much scorn again, love

The fire extinguishes death, the unworthy flames

 

O Mother, O Father,

O superb houses of the ancient kingdom,

Where I had the cradle of gold

o servants, o faithful friends (ah unworthy fate!)

Look where wicked luck has escorted me,

Behold what sorrow has made me the heir of

My love, my faith, and the deception of others

So goes those who love too believe too much.

“Lasciatemi qui solo” (first published in Il primo libro delle musiche in 1618)

Composer: Francesca Caccini (1587-1641)

Librettist: Unknown

Character/Voice Type: soprano

PARTE PRIMA

Lasciatemi qui solo

Tornate augelli al nido 

Mentre l’anim’e‘l duolo 

spiro su questo lido 

 

Altri meco non voglio

ch’un freddo scoglio, 

e ‘l moi fatal martire 

lasciatemi moirire. 

 

PARTE SECONDA

Dolcissime sirene,

che’n si pietoso canto

raddolcite mie pene 

fate soave il pianto

 

Movet’il nuoto altronde 

togliete all’onde 

i crudi sdegni, e l’ire

lasciatemi morire.

 

PARTE TERZA

Placidissimi venti 

Tornate al vostro speco 

Sol miei duri lamenti

chieggo che restin meco

 

Vostri sospir non chiamo 

Solingo bramo

i miei dolor finire

lasciatemi morire. 

 

PARTE QUARTA

Felicissimi amanti 

Tornate al bel diletto

Fere eccels’o notanti 

Fuggite il mesto aspetto

 

Sol dolcezza di morte 

apra le porte 

all’ultimo Languire 

Lasciatemi morire. 

 

PARTE QUINTA

Avarissimi lumi

che su‘l morir versate

amarissimi fiumi

tard’e vosstra pietate 

 

gia mi sento mancare 

o luci avar’e

tarde al mio conforto

Gia sono esangu’e smorto.

FIRST PART

Leave me here alone

Return birds to your nest

While the soul and the pain

Expired on this shore

 

I do not want others with me

[other] than a cold rock

and my fatal martyrdom

leave me to die.

 

SECOND PART

Sweetest sirens

what a pitiful song

to sweeten my pains

make the tears soft

 

Move your swimming elsewhere

dampen the waves

raw disdain, and ire

leave me to die.

 

THIRD PART

Most placid winds

Return to your cave

Only those harsh laments

I ask to remain with me

 

I call not your sighs

Alone I want

to end my sufferings

Leave me alone to die.

 

FOURTH PART

Happiest lovers

Return to your beautiful delights

Wild beasts of the skies and seas

Flee this sad sight

 

Only the sweetness of death

opens the doors

to the final languishing

Leave me to die.

 

FIFTH PART

Most greedy lights/eyes

that on death spill

the bitterest rivers

your pities are too late

 

I already feel faint

o miserable lights

slow to comfort me 

I am already pale and lifeless.

“Ferma, lascia, ch’io parli (Lamento in morte di Maria Stuarda) (post-1620)

Composer: Giacomo Carissimi

Librettist: possibly Giovanni Filippo Apolloni (c.1620-1688)

Character/Voice Type: Maria Stuarda (Mary Stuart), soprano

*Italian text is as edited by Brian Clark and Clifford Bartlett


Ferma, lascia, ch'io parli,

sacrilego Ministro!

Se ben Fato­ inclemente à morte indegna

come rea mi destina,

Vissi e moro Innocente,

son del sangue Stuardo e son Regina.

Perché bendarmi i Lumi?

S'io mirai tanti giorni, ho petto ancora

da mirar l'ultim'Hora,

e s'io gl'apersi al Cielo,

saprò ben senza velo

alla Vita serarli. 

Ferma, lascia, ch'io parli!

 

Mà che dirò? Pur troppo hoggi favella

à mio prò l'Innocenza,

e di si rea Sentenza à Dio s'appella.

Vilipesa Innocenza,

s'una Regina, à tè salvar non lice,

cui l'invidia fà guerra

à chi ricorrer deve in Inghilterra

un Mendico, un’ Vassallo, un infelice

vilipesa Innocenza,

vattene pur dà mè, torna alle Stelle,

ch'io con Anima intrepida, e serena

sarò fra tante squadre à Dio rubelle

di mia Tragedia, e Spettatrice e scena.

 

A morire!

Per serbar Giustizia,­e fede

più non vaglion le Corone,

che di stato la Ragione

anco la Verità sà far mentire,

à morire.


Versarò dal collo­ il sangue,

mà non già dai lumi­ il pianto

che se bene Io resto­ esangue

la costanza al mio duol’ mesce elisire,

à morire.

 

Voi mie care Donzelle,

che m'inchinaste al soglio, et hor piangenti

mi seguite ài tormenti, compatite i miei casi,

E s'io lassa rimasi 

spogliata d'ogni ben’, d'ogni fortuna, 

non per questo morendo

gl'oblighi miei tralascio,

partitevi l'amor con cui vi lascio.

Soffrite costanti l

a dura mia sorte,

e s'invida Morte 

stillandovi­ in pianti

à voi mi toglie ò fide­ Ancelle in terra,

con sempiterno riso 

v'abbraccierò Compagne in Paradisò.

Mira Londra, et impara

le vicende mondane,

e tù ch'all' Anglicane

schiere dai legge ò Jezabelle altera,

di Giustitia severa

aspetta i colpi, e se per farti inbrani

mancheranno­ alle Belve artigli, e morsi

serviranno di Cani i tuoi rimorsi

sì sfogati, assali,

scarica su'l mio capo à cento à mille

del tuo furor gli strali

Vibra senza pietà

sù questo petto esangue

strazi, scampi, flagelli, atrocità.

Lascia ch'un Mar di sangue

m'inoltri il nero manto,

fulmina pur, che tanto

stratiarmi non saprai, quant' io soffrire.

A morire.

 

Quì tacque, e forte, e ­invitta

al suo destin s'arrese

la Regina Scozzese,

né guari andò ch'un colpo indegno e rio

divise ­il Corpo, et unì l'Alma à Dio.

Stop, let me speak

sacrilegious Minister!

If Fate has condemned me to an unworthy death

and deems me a criminal

I lived and died Innocent,

I am of Stuart blood and I am Queen.

Why blindfold the eyes?

If I’ve seen many days, I still have the heart

to see the final hour,

and if I opened [my eyes] to Heaven,

I know well without the veil

to life’s evening.

Stop, let me speak!

 

But what to say? Unfortunately today I speak too much

my innocence speaks on my behalf

and of such a crime the sentence is appealed to God,

Shameful Innocence,

if a Queen, you have not saved,

whom envy wages war,

who must you resort to in England,

a beggar, a vassal, an unhappy man,

shameful Innocence

go away from me, return to the Stars,

that I with an intrepid soul, and serene

I will be among many of the Godforsaken

of my tragedy, [both] a spectator and a scene.

 

To die!

To keep Justice, and faith

is no longer valued by the Crowns,

that was the Reason

even the Truth can make you lie,

to die.

 

I will pour blood from my neck

but not tears from my eyes

That if I well I remain bloodless

constancy mixes elixirs to my grief,

to die.

 

You my dear Maidens,

who bowed to the throne, and now weeping

to follow me to my torments, pity my fate,

And if I left I stayed

stripped of every good, of every fortune,

I do not with this dying

leave my obligations,

share the love that I leave you.

Suffer bravely

my bad luck,

and envy Death

dripping in tears

I am taken from you, my faithful handmaids on earth,

with eternal laughter

I will embrace you Companions in Paradise.

Behond, London, and learn

the ways of the world

and you who give the English people

the laws, o second Jezebel

of severe justice

await the blows, and if

the Beasts lack the claws, and teeth

your own remorse will serve as the Hound

yes vent, assault,

unleash on my head a hundred a thousand times

the arrows of your fury

It vibrates without pity

up this bloodless chest

torments, escapes, scourges, atrocities.

Let a Sea of blood

adorn me with the black cloak,

strike true, that much to

tear me apart so I don’t know, how much I suffer.

To death.

 

Here she was silent, and strong, and unconquered

surrendered to her destiny

the Scottish Queen,

had not gone far when an undeserved and cruel blow

divided the Body, and united the Soul to God.

“Lamento della Ninfa” (first published in Monteverdi's eighth book of madrigals in 1638)

Composer: Claudio Monteverdi (1567-1643)

Librettist: Ottavio Rinuccini (1562-1621)

Character/Voice Type: Ninfa (Nymph), soprano; Chorus: tenor, tenor, bass

PARTE PRIMA (TTB):

Non havea febo ancora reccato al mondo il dì

ch'una donzella fuora del proprio albergo uscì

 

sul pallidetto volto scorgea se il suo dolor

spesso gli venia sciolto un gran sospir dal cor

 

si calpe stando fiori errava hor qua hor là

i suoi perduti amori cosi piangendo và.

 

PARTE SECONDA (STTB):

Amor dicea il ciel mirando il piè fermò

dove dove è la fé ch'el traditor giurò

 fa che ritorni il mio’Amor com'ei pur fu

ò tu m'ancidi ch'io nó mi tormenti più

 

miserella ah più nò tanto gel soffrir non può

nó vò piu ch'ei sospiri se non lontan da me,

nó ch’ei suoi martiri piu nó dirammi affe

 

perché di lui mi strugo tutt'orgoglioso stà

che si sel fuggo ancor mi preghera


Se ciglio ha piu sereno colei ch'el mio nó è

già nó rinchiud’in seno Amor si bella fe

 

Ne mai si dolci baci da quella bocca’havrai

né più soavi’ ah taci che troppo’il sà.

 

PARTE TERZA (TTB):

Si trà sdegnosi pianti spargea le voci al ciel

cosi ne cori amantinasce amor fiamm’e giel.

FIRST PART (TTB):

Phoebus has not yet turned the world to the day

there is a damsel outside leaving her dwelling

 

on her pale face you can see her pain

often loosing a great sigh from the heart

 

yes trampling flowers she wandered hither and thither,

her loves lost and so crying goes:

 

SECOND PART (STTB):

Love she says to heaven, look where her foot stopped

where, where is the faith that the traitor swore?
make my Love return as he was

or kill me so that I am not tormented anymore

 

misery, ah no more, she cannot suffer so much
I no longer want to him sigh if not far from me

no he will not make me a martyr, I swear

 

Because I am pining for him he is very proud,

if I were to flee from him will he return to beg me?

 

If her brow be more serene, she who is not me

doesn’t hold a love of such beautiful faith

 

No more sweet kisses from that mouth will you have

nor sweeter, ah, be silent for you know too much.

 

THIRD PART (TTB):

Yes with scornful tears she sent the tale to heaven;

and so in the hearts of lovers, love pours fire and ice.  

 “Misero Apollo”, from Gli amori di Apolle e Dafne (Act III, Scene III) (premiered 1640 in Venice, Italy)

Composer: Francesco Cavalli (1602-1676)

Librettist: Giovanni Francesco Busenello (1598-1659)

Character/Voice Type: Apollo, haute-contre

Ohimé, che miro Ohimé

Dunque in Alloro ti cangi ò Dafne?

é mentre in Rami è frondi

Le belle menbra oltre divine ascondi

povero tronco chiude il mio tezoro?

Qual senso humano,

ò qual Celeste ingegno

à si profondo Arcano arrivò mai?

Veggio d’un viso arboreggiar i rai

trovo il mio foco trasformato in legno?

 

Misero Apollo i tuoi triomfi hor vanta

di crear giorno ove le Luci giri

Puoi sol cangiato in Vento di sospiri

bacciar le foglie all’adorata pianta.

 

Sgorghino homai con dolorosi ufficij

dai languid’occhi miei lagrime amare,

vadano in doppio fonte ad’ irigare

d’un l’Auro le dolcissime radici

 

Era meglio per me che fuggitiva,

má bella oltre le belle io ti vedessi

che con sciapiti é non giocondi amplessi

un Arbor abbracciàr su’ questa Riva

 

Giove crea novo lume, io più non voglio

esser chiamato il sole é dentro all’onde

delle lagrime mie cald’é  profonde

immergo il carro é de miei rai mi spoglio

spezza pur mia sfera, o’ tu’ la gira,

al Zodiaco per mé puoi dir a’ Dio

de pianti in mar novo Nettun son io

suona agonie la mia lugubre lira.

 

A te recorro omnipotente Amore

al mio gran mal la medicina appresta

di quest’ Alloro un Ramuscello in esta

con il calmo divin sopra’l mio core,

cosi l’Auro mio bello, é peregrino

Horto sará il mio petto a’i rami tuoi

sarà con union dolce trá noi,

la mia Divinitade il tuo Giardino.

Alas, what do I see Alas

Therefore into a laurel you change oh Daphne?

and while in branches and leaves

the beautiful limbs beyond divine hidden

poor trunk encloses my treasure.

What human meaning,

or what celestial genius

to has reached such a profound arcane?

I see the rays of a face turned arboreal

I find my fire turned into wood?

 

Miserable Apollo, your triumphs now boast

to create day where the lights turn

you can only change yourself into the wind of sighs

to kiss the leaves of the beloved plant.

 

Let flow now with painful offices

from my languid eyes bitter tears 

to create a double source to water

the sweetest roots of a laurel.

 

It would have been better for me that I ran away,

but beautiful beyond the beautiful I saw you,

that with foolish and not playful intercourse

a tree to embrace on this shore.

 

Jove, create a new light, I no longer wish

to be called the sun and within the waves

of my tears hot and deep

I plunge my chariot and of my rays strip me.

break even my sphere or you shall turn it,

to the zodiac for me thou can say farewell

I am Neptune the new sea of weeping

my doleful lyre plays agonies.

 

To you I turn almighty Love

provide medicine for my great ailment

of this laurel a twig in this

with divine calm upon my heart,

thus my beautiful laurel, is abroad

my breast shall be in your branches

it will be a sweet union between us,

my divinity to your garden. 

Excerpt from Historia di Jepthe (c. 1648)

Composer: Giacomo Carissimi

Text: adapted from the Old Testament (Judges 11: 28-38)

Character/Voice Type: Jepthe (Jephthah), tenor; Filia (Daughter), soprano; Historicus (Narrator), alto; Echo, two sopranos

 JEPTHE:

heu mihi filia mea

heu decepisti me filia unigenita

et tu pariter

heu filia mea decepta es

 

FILIA:

cur ergo te pater decipi

et cur ergo ego

filia tua unigenita decepta sum

 

JEPTHE: 

aperui os meum ad dominum

ut quicumque primus de domo mea

occurrerit mihi offeram illum domino

in holocaustum

heu mihi filia mea

heu decepisti me filia unigenita

et tu pariter,

heu filia mea decepta es

 

FILIA: 

pater mi si vovisti votum domino

reversus victor ab hostibus

ecce ego filia tua unigenita

offer me in holocaustum victoriae tuae

hoc solum pater mi praesta

filiae tuae unigenitae antequam moriar

 

JEPTHE:

quid poterit animam tuam quid poterit te

moritura filia consolari

 

FILIA:

dimitte me ut duobus mensibus

circumeam montes et cum

sodalibus meis plangam virginitatem meam

 

JEPTHE:

vade filia mia unigenita,

et plange virginitatem tuam.

 

HISTORICUS: 

abiit ergo in montes filia Jephte

Et plorabat cum sodalibus virginitatem suam dicens

 

FILIA:

plorate collee dolete montes

et in afflictione cordis mei ululate 

 

ECHO:

ululate

 

FILIA:

ecce moriar virgo et non potero

morte mea meis filiis consolari

ingemiscite silvae, fontes et flumina,

in interitu virginis lachrimate 

 

ECHO:

lachrimate

 

FILIA:

heu me dolentem in laetitia populi

in victoria israel et gloria

patris mei ego sine filiis virgo

ego filia unigenita moriar et non vivam

exhorrescite rupes obstupescite colles valles

et cavernae in sonitu horribili resonate

 

ECHO:

resonate

 

FILIA:

plorate filii israel

plorate virginitatem meam,

et Jephte filiam unigenitam

in carmine doloris lamentamini

JEPHTHAH:

woe is me! my daughter,

alas you have undone me, my only daughter,

and you likewise,

alas my daughter are undone

 

DAUGHTER:

how then father, are you undone,

and how then am I,

your only daughter undone?

 

JEPHTHAH:

I opened my mouth to the Lord

that whoever first from my home

will meet me, I will offer them to the lord

as a burnt offering

alas my daughter

you have undone me, only daughter,

and you likewise

alas my daughter, are undone.

 

DAUGHTER:

my father, if you swore a vow to the Lord

returned victorious from your enemies

behold I your only daughter

offer myself as a sacrifice to your victory,

but father only fulfill

your only daughter before I die

 

JEPHTHAH:

what can I do to your soul

in death, to comfort?

 

DAUGHTER:

send me away, that for two months

I will wander mountains, and with

companions bewail my virginity

 

JEPHTHAH:

go, my only daughter,

and bewail your virginity

 

NARRATOR:

then went away Jephthah's daughter to the mountains and bewailed her virginity, saying:

 

DAUGHTER:

mourn hills, grieve mountains,

and howl in the affliction of my heart!

 

ECHO:

howl!

 

DAUGHTER:

behold I will die a virgin and will not be 

comforted in death by my children,

sigh woods, fountains and rivers,

weep for the destruction of a virgin!

 

ECHO:
weep!

 

DAUGHTER:

woe to me I grieve amidst the joy of the people

amidst the victory of Israel and the glory

of my father, I, a virgin without children,

I an only daughter, will die and not live.

tremble rocks, ne astounded hills, valleys

and caverns sound with horrible sound!

 

ECHO:

resound!

 

DAUGHTER: 

weep children of Israel,

weep all virgins,

and with Jephthah's only daughter

lament with songs of anguish

“Uscitemi dal cor lagrime amare”, from L'Erismena (premiered 1655 in Venice, Italy)

Composer: Francesco Cavalli (1602-1676)

Librettist: Aurelio Aureli (1630-1708)

Character/Voice Type: Idraspe, contralto

Uscitemi dal cor lagrime amare

e converse in tormenti

del mio lungo penare

estinguetemi in sen le fiamme ardenti

Cruccio troppo crudel provo l’amar.

uscitemi dal sen lagrime amare.

 

Lasciatemi dal duol cader svenato

crude stelle fatali,

dalla Parca troncato lo stame

ha de giorni miei vitali

così più non vivrò scherzo del fato

Lasciatemi dal duol cader svenato.

Come out of my heart bitter tears

and converge in torrents

of my long suffering

extinguish the burning flames in me

Love has proved too cruel a cruelty. 

Come out of my breast, bitter tears.

 

Let me fall from sorrow fainting

cruel fatal stars,

the Goddess has cut off the stamen

of my vital days

thus I shall no longer live fate's joke

Leave me to fall unconscious out of grief.

“L'Eraclito Amoroso” (published in Cantate, ariette, e duetti 1651 in Venice, Italy)

Composer: Barbara Strozzi (1619-1977)

Librettist: Unknown

Character/Voice Type: Eraclito (Heraclitus), soprano 

Udite Amanti la cagione

oh Dio ch'a lagrimar mi porta

oh Dio nell'adorato e bello Idolo mio

che si fido credei là fede è morta.

 

vaghezza hò sol mi piangere

mi pasco sol di lagrime

il duolo è mia delitia

e son mie gioie i gemitii

ogni martire aggradami

ogni dolor dilettami

I singulti mi sanano

i sospir mi consolano

 

ma se là fede negami

quell'incostante e perfido

almen fede serbatemi

sino alla morte ò lagrime

ogni tristezza assalgami

ogni cordoglio eternisi

 

tanto ogni male affliggami

che m'uccida e sotterrimi.

Listen you lovers, to the cause,

o God, that brings me to tears

o God in my adored and beautiful idol,

whom I believed to be faithful, faith is dead.

 

I have pleasure only in my weeping,

I nourish myself only with tears

sorrow is my delight

and moans are my joys

every tragedy pleases me

every pain delights me

the sobs heal me

sighs console me

 

but faith denies me

that inconstant and deceitful one,

at least keep faith with me

until death, o tears!

let all sadness unite,

every sorrow eternal,

 

every evil afflicts me so much

that it kills and buries me.

“Lagrime mie” (published in the collection Diporti di Euterpe in 1659 in Venice, Italy)

Composer: Barbara Strozzi (1619-1677)

Librettist: Pietro Dolfino (1636-1709)

Character/Voice Type: Unnamed, soprano

Lagrime mie à che vi trattenete

perché non isfogate il fier dolore

che mi toglie'l respiro e opprime il core.

 

Lidia che tant'adoro,

perch'un guardo pietoso ahi mi dono

il paterno rigor l'impriggionò

 

trà due mura rinchiusa sta la bella innocente

dove giunger nó può raggio di sole

e quel che più mi duole

ed' accresc'al mio mal torméti e pene

è che per mia cagione provi male il mio bene

 

e voi lumi dolenti non piangete

lagrime mie, à che vi trattenete

 

Lidia ahime veggo mancarmi

l'idol mio che tanto adoro

stà colei trà duri marmi,

per cui spiro e pur nó moro

 

Se la morte m'è gradita

hor che son privo di spene

dhe toglietemi la vita ve ne prego aspre mie pene

 

Mà ben m'accorgo che per tormentarmi

maggiormente la sorte

mi niega anco la morte.

 

Se dunque è vero ò Dio

che sol del pianto mio

il rio destino ha sete.

lagrime mie, à che vi trattenete

My tears, why do you hold back?

why do you not dispel the fierce pain

that takes my breath away and oppresses my heart?

 

Lydia, whom I adore so much

because she gave me a pitiful look, ah, she gave me,

the paternal rigour imprisoned her.

 

enclosed within two walls is the beautiful innocent girl,

where no ray of sunshine can reach

and what grieves me most

and increases torments and paints to my illness,

is that for my cause you test my goodness badly.

 

and you, sorrowful eyes, do you not weep?

my tears, why do you hold back?

 

Alas, Lydia, I see I am missing

my idol whom I adore so much

stands among solid marble 

by whom I sigh and yet do not die.

 

If death is pleasing to me,

now that I am deprived of hope,

take away my life, I beg you, bitter pains of mine

 

But I well realise that to torment me

fate, to torment me more

even death refuses me.

 

If there it is true, O God,

that only for my tears

evil destiny thirsts.

my tears, why do you hold back?

“Dido’s Lament”, from Dido and Aeneas (premiered in 1689)

Composer: Henry Purcell (1659-1695)

Librettist: Nahum Tate (1652-1715)

Character/Voice Type: Dido (Queen of Carthage), soprano

When I am laid in earth, may my wrongs create no trouble in thy breast

Remember me, but ah forget my fate

The Plaint (possibly premiered in 1692 as a part of The Fairy-Queen in London, England)

Composer: Henry Purcell (1659-1695)

Librettist: Unknown

Character/Voice Type: soprano

O, let me forever weep:

My eyes no more shall welcome sleep


I'll hide me from the sight of day

And sigh my soul away


He's gone, his loss deplore

And I shall never see him more

Excerpt from Act V, Scene VII of Cephale et Procris (premiered 1694 in Paris, France)

Composer: Élisabeth Jacquet de la Guerre (1665-1729)

Librettist: Joseph-François Duché de Vancy (1668-1704)

Character/Voice Type: Cephale (Cephalus), haute-contre

Acheve, ô Ciel barbare! assouvis ta colere,

Ah! je sens qu'à la fin tu te rens à mes cris.

Tu cesses de m'estre fevere,

Je succombe à mes maux,

Rien ne m'est plus contraire, 

Et je vais aux enfer rejoindre ma Procis.

Cease, O barbaric Heavens! quench your anger,

Ah! I hope that in the end you hear my cries.

You stop being cruel to me,

I succumb to my ills,

Nothing is against me anymore

And I am going to hell to join my Procris.