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The Sonnets, Triumphs, and Other Poems of Petrarch

By Francesco Petrarca
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Table of Contents
  • THE SONNETS, TRIUMPHS, AND OTHER POEMS
    • OF
  • PETRARCH.
    • NOW FIRST COMPLETELY TRANSLATED INTO ENGLISH VERSE
      • WITH A LIFE OF THE POET BY THOMAS CAMPBELL.
        • ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
      • ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
    • WITH A LIFE OF THE POET BY THOMAS CAMPBELL.
      • ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
    • ILLUSTRATED WITH SIXTEEN ENGRAVINGS ON STEEL.
    • PREFACE.
    • LIST OF PLATES.
    • CHRONOLOGICAL SUMMARY OF PETRARCH'S LIFE.
    • THE LIFE OF PETRARCH.
    • PETRARCH'S SONNETS,
    • ETC.
    • TO LAURA IN LIFE.
    • SONNET I.
      • Voi, ch' ascoltate in rime sparse il suono.
        • HE CONFESSES THE VANITY OF HIS PASSION
      • HE CONFESSES THE VANITY OF HIS PASSION
    • Voi, ch' ascoltate in rime sparse il suono.
      • HE CONFESSES THE VANITY OF HIS PASSION
    • HE CONFESSES THE VANITY OF HIS PASSION
    • SONNET II.
      • Per far una leggiadra sua vendetta.
        • HOW HE BECAME THE VICTIM OF LOVE.
      • HOW HE BECAME THE VICTIM OF LOVE.
    • Per far una leggiadra sua vendetta.
      • HOW HE BECAME THE VICTIM OF LOVE.
    • HOW HE BECAME THE VICTIM OF LOVE.
    • SONNET III.
      • Era 'l giorno ch' al sol si scoloraro.
        • HE BLAMES LOVE FOR WOUNDING HIM ON A HOLY DAY (GOOD FRIDAY).
      • HE BLAMES LOVE FOR WOUNDING HIM ON A HOLY DAY (GOOD FRIDAY).
    • Era 'l giorno ch' al sol si scoloraro.
      • HE BLAMES LOVE FOR WOUNDING HIM ON A HOLY DAY (GOOD FRIDAY).
    • HE BLAMES LOVE FOR WOUNDING HIM ON A HOLY DAY (GOOD FRIDAY).
    • SONNET IV.
      • Quel ch' infinita providenza ed arte.
        • HE CELEBRATES THE BIRTHPLACE OF LAURA.
      • HE CELEBRATES THE BIRTHPLACE OF LAURA.
    • Quel ch' infinita providenza ed arte.
      • HE CELEBRATES THE BIRTHPLACE OF LAURA.
    • HE CELEBRATES THE BIRTHPLACE OF LAURA.
    • SONNET V.
      • Quand' io movo i sospiri a chiamar voi.
        • HE PLAYS UPON THE NAME LAURETA OR LAURA.
      • HE PLAYS UPON THE NAME LAURETA OR LAURA.
    • Quand' io movo i sospiri a chiamar voi.
      • HE PLAYS UPON THE NAME LAURETA OR LAURA.
    • HE PLAYS UPON THE NAME LAURETA OR LAURA.
    • SONNET VI.
      • Sì traviato è 'l folle mio desio.
        • OF HIS FOOLISH PASSION FOR LAURA.
      • OF HIS FOOLISH PASSION FOR LAURA.
    • Sì traviato è 'l folle mio desio.
      • OF HIS FOOLISH PASSION FOR LAURA.
    • OF HIS FOOLISH PASSION FOR LAURA.
    • SONNET VII.
      • La gola e 'l sonno e l' oziose piume.
        • TO A FRIEND, ENCOURAGING HIM TO PURSUE POETRY.
      • TO A FRIEND, ENCOURAGING HIM TO PURSUE POETRY.
    • La gola e 'l sonno e l' oziose piume.
      • TO A FRIEND, ENCOURAGING HIM TO PURSUE POETRY.
    • TO A FRIEND, ENCOURAGING HIM TO PURSUE POETRY.
    • SONNET VIII.
      • A piè de' colli ove la bella vesta.
        • HE FEIGNS AN ADDRESS FROM SOME BIRDS WHICH HE HAD PRESENTED.
      • HE FEIGNS AN ADDRESS FROM SOME BIRDS WHICH HE HAD PRESENTED.
    • A piè de' colli ove la bella vesta.
      • HE FEIGNS AN ADDRESS FROM SOME BIRDS WHICH HE HAD PRESENTED.
    • HE FEIGNS AN ADDRESS FROM SOME BIRDS WHICH HE HAD PRESENTED.
    • SONNET IX.
      • Quando 'l pianeta che distingue l' ore.
        • WITH A PRESENT OF FRUIT IN SPRING.
      • WITH A PRESENT OF FRUIT IN SPRING.
    • Quando 'l pianeta che distingue l' ore.
      • WITH A PRESENT OF FRUIT IN SPRING.
    • WITH A PRESENT OF FRUIT IN SPRING.
    • SONNET X.
      • Gloriosa Colonna, in cui s' appoggia.
        • TO STEFANO COLONNA THE ELDER, INVITING HIM TO THE COUNTRY.
      • TO STEFANO COLONNA THE ELDER, INVITING HIM TO THE COUNTRY.
    • Gloriosa Colonna, in cui s' appoggia.
      • TO STEFANO COLONNA THE ELDER, INVITING HIM TO THE COUNTRY.
    • TO STEFANO COLONNA THE ELDER, INVITING HIM TO THE COUNTRY.
    • BALLATA I.
      • Lassare il velo o per sole o per ombra.
        • PERCEIVING HIS PASSION, LAURA'S SEVERITY INCREASES.
      • PERCEIVING HIS PASSION, LAURA'S SEVERITY INCREASES.
    • Lassare il velo o per sole o per ombra.
      • PERCEIVING HIS PASSION, LAURA'S SEVERITY INCREASES.
    • PERCEIVING HIS PASSION, LAURA'S SEVERITY INCREASES.
    • SONNET XI.
      • Se la mia vita dall' aspro tormento.
        • HE HOPES THAT TIME WILL RENDER HER MORE MERCIFUL.
      • HE HOPES THAT TIME WILL RENDER HER MORE MERCIFUL.
    • Se la mia vita dall' aspro tormento.
      • HE HOPES THAT TIME WILL RENDER HER MORE MERCIFUL.
    • HE HOPES THAT TIME WILL RENDER HER MORE MERCIFUL.
    • SONNET XII.
      • Quando fra l' altre donne ad ora ad ora.
        • THE BEAUTY OF LAURA LEADS HIM TO THE CONTEMPLATION OF THE SUPREME GOOD.
      • THE BEAUTY OF LAURA LEADS HIM TO THE CONTEMPLATION OF THE SUPREME GOOD.
    • Quando fra l' altre donne ad ora ad ora.
      • THE BEAUTY OF LAURA LEADS HIM TO THE CONTEMPLATION OF THE SUPREME GOOD.
    • THE BEAUTY OF LAURA LEADS HIM TO THE CONTEMPLATION OF THE SUPREME GOOD.
    • BALLATA II.
      • Occhi miei lassi, mentre ch' io vi giro.
        • HE INVITES HIS EYES TO FEAST THEMSELVES ON LAURA.
      • HE INVITES HIS EYES TO FEAST THEMSELVES ON LAURA.
    • Occhi miei lassi, mentre ch' io vi giro.
      • HE INVITES HIS EYES TO FEAST THEMSELVES ON LAURA.
    • HE INVITES HIS EYES TO FEAST THEMSELVES ON LAURA.
    • SONNET XIII.
      • Io mi rivolgo indietro a ciascun passo.
        • ON QUITTING LAURA.
      • ON QUITTING LAURA.
    • Io mi rivolgo indietro a ciascun passo.
      • ON QUITTING LAURA.
    • ON QUITTING LAURA.
    • SONNET XIV.
      • Movesi 'l vecchierel canuto e bianco.
        • HE COMPARES HIMSELF TO A PILGRIM.
      • HE COMPARES HIMSELF TO A PILGRIM.
    • Movesi 'l vecchierel canuto e bianco.
      • HE COMPARES HIMSELF TO A PILGRIM.
    • HE COMPARES HIMSELF TO A PILGRIM.
    • SONNET XV.
      • Piovonmi amare lagrime dal viso.
        • HIS STATE WHEN LAURA IS PRESENT, AND WHEN SHE DEPARTS.
      • HIS STATE WHEN LAURA IS PRESENT, AND WHEN SHE DEPARTS.
    • Piovonmi amare lagrime dal viso.
      • HIS STATE WHEN LAURA IS PRESENT, AND WHEN SHE DEPARTS.
    • HIS STATE WHEN LAURA IS PRESENT, AND WHEN SHE DEPARTS.
    • SONNET XVI.
      • Quand' io son tutto volto in quella parte.
        • HE FLIES, BUT PASSION PURSUES HIM.
      • HE FLIES, BUT PASSION PURSUES HIM.
    • Quand' io son tutto volto in quella parte.
      • HE FLIES, BUT PASSION PURSUES HIM.
    • HE FLIES, BUT PASSION PURSUES HIM.
    • SONNET XVII.
      • Son animali al mondo di sì altera.
        • HE COMPARES HIMSELF TO A MOTH.
      • HE COMPARES HIMSELF TO A MOTH.
    • Son animali al mondo di sì altera.
      • HE COMPARES HIMSELF TO A MOTH.
    • HE COMPARES HIMSELF TO A MOTH.
    • SONNET XVIII.
      • Vergognando talor ch' ancor si taccia.
        • THE PRAISES OF LAURA TRANSCEND HIS POETIC POWERS.
      • THE PRAISES OF LAURA TRANSCEND HIS POETIC POWERS.
    • Vergognando talor ch' ancor si taccia.
      • THE PRAISES OF LAURA TRANSCEND HIS POETIC POWERS.
    • THE PRAISES OF LAURA TRANSCEND HIS POETIC POWERS.
    • SONNET XIX.
      • Mille fiate, o dolce mia guerrera.
        • HIS HEART, REJECTED BY LAURA, WILL PERISH, UNLESS SHE RELENT.
      • HIS HEART, REJECTED BY LAURA, WILL PERISH, UNLESS SHE RELENT.
    • Mille fiate, o dolce mia guerrera.
      • HIS HEART, REJECTED BY LAURA, WILL PERISH, UNLESS SHE RELENT.
    • HIS HEART, REJECTED BY LAURA, WILL PERISH, UNLESS SHE RELENT.
    • SESTINA I.
      • A qualunque animale alberga in terra.
        • NIGHT BRINGS HIM NO REST. HE IS THE PREY OF DESPAIR.
      • NIGHT BRINGS HIM NO REST. HE IS THE PREY OF DESPAIR.
    • A qualunque animale alberga in terra.
      • NIGHT BRINGS HIM NO REST. HE IS THE PREY OF DESPAIR.
    • NIGHT BRINGS HIM NO REST. HE IS THE PREY OF DESPAIR.
    • CANZONE I.
      • Nel dolce tempo della prima etade.
        • HIS SUFFERINGS SINCE HE BECAME THE SLAVE OF LOVE.
      • HIS SUFFERINGS SINCE HE BECAME THE SLAVE OF LOVE.
    • Nel dolce tempo della prima etade.
      • HIS SUFFERINGS SINCE HE BECAME THE SLAVE OF LOVE.
    • HIS SUFFERINGS SINCE HE BECAME THE SLAVE OF LOVE.
    • SONNET XX.
      • Se l' onorata fronde, che prescrive.
        • TO STRAMAZZO OF PERUGIA, WHO INVITED HIM TO WRITE POETRY.
      • TO STRAMAZZO OF PERUGIA, WHO INVITED HIM TO WRITE POETRY.
    • Se l' onorata fronde, che prescrive.
      • TO STRAMAZZO OF PERUGIA, WHO INVITED HIM TO WRITE POETRY.
    • TO STRAMAZZO OF PERUGIA, WHO INVITED HIM TO WRITE POETRY.
    • SONNET XXI.
      • Amor piangeva, ed io con lui talvolta.
        • HE CONGRATULATES BOCCACCIO ON HIS RETURN TO THE RIGHT PATH.
      • HE CONGRATULATES BOCCACCIO ON HIS RETURN TO THE RIGHT PATH.
    • Amor piangeva, ed io con lui talvolta.
      • HE CONGRATULATES BOCCACCIO ON HIS RETURN TO THE RIGHT PATH.
    • HE CONGRATULATES BOCCACCIO ON HIS RETURN TO THE RIGHT PATH.
    • SONNET XXII.
      • Più di me lieta non si vede a terra.
        • ON THE SAME SUBJECT.
      • ON THE SAME SUBJECT.
    • Più di me lieta non si vede a terra.
      • ON THE SAME SUBJECT.
    • ON THE SAME SUBJECT.
    • SONNET XXIII.
      • Il successor di Carlo, che la chioma.
        • ON THE MOVEMENT OF THE EMPEROR AGAINST THE INFIDELS, AND THE RETURN OF THE POPE TO ROME.
      • ON THE MOVEMENT OF THE EMPEROR AGAINST THE INFIDELS, AND THE RETURN OF THE POPE TO ROME.
    • Il successor di Carlo, che la chioma.
      • ON THE MOVEMENT OF THE EMPEROR AGAINST THE INFIDELS, AND THE RETURN OF THE POPE TO ROME.
    • ON THE MOVEMENT OF THE EMPEROR AGAINST THE INFIDELS, AND THE RETURN OF THE POPE TO ROME.
    • CANZONE II.
      • O aspettata in ciel, beata e bella.
        • IN SUPPORT OF THE PROPOSED CRUSADE AGAINST THE INFIDELS.
      • IN SUPPORT OF THE PROPOSED CRUSADE AGAINST THE INFIDELS.
    • O aspettata in ciel, beata e bella.
      • IN SUPPORT OF THE PROPOSED CRUSADE AGAINST THE INFIDELS.
    • IN SUPPORT OF THE PROPOSED CRUSADE AGAINST THE INFIDELS.
    • CANZONE III.
      • Verdi panni, sanguigni, oscuri o persi.
        • WHETHER OR NOT HE SHOULD CEASE TO LOVE LAURA.
      • WHETHER OR NOT HE SHOULD CEASE TO LOVE LAURA.
    • Verdi panni, sanguigni, oscuri o persi.
      • WHETHER OR NOT HE SHOULD CEASE TO LOVE LAURA.
    • WHETHER OR NOT HE SHOULD CEASE TO LOVE LAURA.
    • SESTINA II
      • Giovane donna sott' un verde lauro.
        • THOUGH DESPAIRING OF PITY, HE VOWS TO LOVE HER UNTO DEATH.
      • THOUGH DESPAIRING OF PITY, HE VOWS TO LOVE HER UNTO DEATH.
    • Giovane donna sott' un verde lauro.
      • THOUGH DESPAIRING OF PITY, HE VOWS TO LOVE HER UNTO DEATH.
    • THOUGH DESPAIRING OF PITY, HE VOWS TO LOVE HER UNTO DEATH.
    • SONNET XXIV.
      • Quest' anima gentil che si diparte.
        • ON LAURA DANGEROUSLY ILL.
      • ON LAURA DANGEROUSLY ILL.
    • Quest' anima gentil che si diparte.
      • ON LAURA DANGEROUSLY ILL.
    • ON LAURA DANGEROUSLY ILL.
    • SONNET XXV.
      • Quanto più m' avvicino al giorno estremo.
        • HE CONSOLES HIMSELF THAT HIS LIFE IS ADVANCING TO ITS CLOSE.
      • HE CONSOLES HIMSELF THAT HIS LIFE IS ADVANCING TO ITS CLOSE.
    • Quanto più m' avvicino al giorno estremo.
      • HE CONSOLES HIMSELF THAT HIS LIFE IS ADVANCING TO ITS CLOSE.
    • HE CONSOLES HIMSELF THAT HIS LIFE IS ADVANCING TO ITS CLOSE.
    • SONNET XXVI.
      • Già fiammeggiava l' amorosa stella.
        • LAURA, WHO IS ILL, APPEARS TO HIM IN A DREAM, AND ASSURES HIM THAT SHE STILL LIVES.
      • LAURA, WHO IS ILL, APPEARS TO HIM IN A DREAM, AND ASSURES HIM THAT SHE STILL LIVES.
    • Già fiammeggiava l' amorosa stella.
      • LAURA, WHO IS ILL, APPEARS TO HIM IN A DREAM, AND ASSURES HIM THAT SHE STILL LIVES.
    • LAURA, WHO IS ILL, APPEARS TO HIM IN A DREAM, AND ASSURES HIM THAT SHE STILL LIVES.
    • SONNET XXVII.
      • Apollo, s' ancor vive il bel desio.
        • HE COMPARES HER TO A LAUREL, WHICH HE SUPPLICATES APOLLO TO DEFEND.
      • HE COMPARES HER TO A LAUREL, WHICH HE SUPPLICATES APOLLO TO DEFEND.
    • Apollo, s' ancor vive il bel desio.
      • HE COMPARES HER TO A LAUREL, WHICH HE SUPPLICATES APOLLO TO DEFEND.
    • HE COMPARES HER TO A LAUREL, WHICH HE SUPPLICATES APOLLO TO DEFEND.
    • SONNET XXVIII.
      • Solo e pensoso i più deserti campi.
        • HE SEEKS SOLITUDE, BUT LOVE FOLLOWS HIM EVERYWHERE.
      • HE SEEKS SOLITUDE, BUT LOVE FOLLOWS HIM EVERYWHERE.
    • Solo e pensoso i più deserti campi.
      • HE SEEKS SOLITUDE, BUT LOVE FOLLOWS HIM EVERYWHERE.
    • HE SEEKS SOLITUDE, BUT LOVE FOLLOWS HIM EVERYWHERE.
    • SONNET XXIX.
      • S' io credessi per morte essere scarco.
        • HE PRAYS FOR DEATH, BUT IN VAIN.
      • HE PRAYS FOR DEATH, BUT IN VAIN.
    • S' io credessi per morte essere scarco.
      • HE PRAYS FOR DEATH, BUT IN VAIN.
    • HE PRAYS FOR DEATH, BUT IN VAIN.
    • CANZONE IV.
      • Si è debile il filo a cui s' attene.
        • HE GRIEVES IN ABSENCE FROM LAURA.
      • HE GRIEVES IN ABSENCE FROM LAURA.
    • Si è debile il filo a cui s' attene.
      • HE GRIEVES IN ABSENCE FROM LAURA.
    • HE GRIEVES IN ABSENCE FROM LAURA.
    • SONNET XXX.
      • Orso, e' non furon mai fiumi nè stagni.
        • HE COMPLAINS OF THE VEIL AND HAND OF LAURA, THAT THEY DEPRIVE HIM OF THE SIGHT OF HER EYES.
      • HE COMPLAINS OF THE VEIL AND HAND OF LAURA, THAT THEY DEPRIVE HIM OF THE SIGHT OF HER EYES.
    • Orso, e' non furon mai fiumi nè stagni.
      • HE COMPLAINS OF THE VEIL AND HAND OF LAURA, THAT THEY DEPRIVE HIM OF THE SIGHT OF HER EYES.
    • HE COMPLAINS OF THE VEIL AND HAND OF LAURA, THAT THEY DEPRIVE HIM OF THE SIGHT OF HER EYES.
    • SONNET XXXI.
      • Io temo sì de' begli occhi l' assalto.
        • HE EXCUSES HIMSELF FOR HAVING SO LONG DELAYED TO VISIT HER.
      • HE EXCUSES HIMSELF FOR HAVING SO LONG DELAYED TO VISIT HER.
    • Io temo sì de' begli occhi l' assalto.
      • HE EXCUSES HIMSELF FOR HAVING SO LONG DELAYED TO VISIT HER.
    • HE EXCUSES HIMSELF FOR HAVING SO LONG DELAYED TO VISIT HER.
    • SONNET XXXII.
      • S' amore o morte non dà qualche stroppio.
        • HE ASKS FROM A FRIEND THE LOAN OF THE WORKS OF ST. AUGUSTIN.
      • HE ASKS FROM A FRIEND THE LOAN OF THE WORKS OF ST. AUGUSTIN.
    • S' amore o morte non dà qualche stroppio.
      • HE ASKS FROM A FRIEND THE LOAN OF THE WORKS OF ST. AUGUSTIN.
    • HE ASKS FROM A FRIEND THE LOAN OF THE WORKS OF ST. AUGUSTIN.
    • SONNET XXXIII
      • Quando dal proprio sito si rimove.
        • WHEN LAURA DEPARTS, THE HEAVENS GROW DARK WITH STORMS.
      • WHEN LAURA DEPARTS, THE HEAVENS GROW DARK WITH STORMS.
    • Quando dal proprio sito si rimove.
      • WHEN LAURA DEPARTS, THE HEAVENS GROW DARK WITH STORMS.
    • WHEN LAURA DEPARTS, THE HEAVENS GROW DARK WITH STORMS.
    • SONNET XXXIV.
      • Ma poi che 'l dolce riso umile e piano.
        • HER RETURN GLADDENS THE EARTH AND CALMS THE SKY.
      • HER RETURN GLADDENS THE EARTH AND CALMS THE SKY.
    • Ma poi che 'l dolce riso umile e piano.
      • HER RETURN GLADDENS THE EARTH AND CALMS THE SKY.
    • HER RETURN GLADDENS THE EARTH AND CALMS THE SKY.
    • SONNET XXXV.
      • Il figliuol di Latona avea già nove.
        • THE GRIEF OF PHŒBUS AT THE LOSS OF HIS LOVE.
      • THE GRIEF OF PHŒBUS AT THE LOSS OF HIS LOVE.
    • Il figliuol di Latona avea già nove.
      • THE GRIEF OF PHŒBUS AT THE LOSS OF HIS LOVE.
    • THE GRIEF OF PHŒBUS AT THE LOSS OF HIS LOVE.
    • SONNET XXXVI.
      • Quel che 'n Tessaglia ebbe le man sì pronte.
        • SOME HAVE WEPT FOR THEIR WORST ENEMIES, BUT LAURA DEIGNS HIM NOT A SINGLE TEAR.
      • SOME HAVE WEPT FOR THEIR WORST ENEMIES, BUT LAURA DEIGNS HIM NOT A SINGLE TEAR.
    • Quel che 'n Tessaglia ebbe le man sì pronte.
      • SOME HAVE WEPT FOR THEIR WORST ENEMIES, BUT LAURA DEIGNS HIM NOT A SINGLE TEAR.
    • SOME HAVE WEPT FOR THEIR WORST ENEMIES, BUT LAURA DEIGNS HIM NOT A SINGLE TEAR.
    • SONNET XXXVII.
      • Il mio avversario, in cui veder solete.
        • LAURA AT HER LOOKING-GLASS.
      • LAURA AT HER LOOKING-GLASS.
    • Il mio avversario, in cui veder solete.
      • LAURA AT HER LOOKING-GLASS.
    • LAURA AT HER LOOKING-GLASS.
    • SONNET XXXVIII.
      • L' oro e le perle, e i fior vermigli e i bianchi.
        • HE INVEIGHS AGAINST LAURA'S MIRROR, BECAUSE IT MAKES HER FORGET HIM.
      • HE INVEIGHS AGAINST LAURA'S MIRROR, BECAUSE IT MAKES HER FORGET HIM.
    • L' oro e le perle, e i fior vermigli e i bianchi.
      • HE INVEIGHS AGAINST LAURA'S MIRROR, BECAUSE IT MAKES HER FORGET HIM.
    • HE INVEIGHS AGAINST LAURA'S MIRROR, BECAUSE IT MAKES HER FORGET HIM.
    • SONNET XXXIX.
      • Io sentia dentr' al cor già venir meno.
        • HE DESIRES AGAIN TO GAZE ON THE EYES Of LAURA.
      • HE DESIRES AGAIN TO GAZE ON THE EYES Of LAURA.
    • Io sentia dentr' al cor già venir meno.
      • HE DESIRES AGAIN TO GAZE ON THE EYES Of LAURA.
    • HE DESIRES AGAIN TO GAZE ON THE EYES Of LAURA.
    • SONNET XL.
      • Se mai foco per foco non si spense.
        • HIS HEART IS ALL IN FLAMES, BUT HIS TONGUE IS MUTE, IN HER PRESENCE.
      • HIS HEART IS ALL IN FLAMES, BUT HIS TONGUE IS MUTE, IN HER PRESENCE.
    • Se mai foco per foco non si spense.
      • HIS HEART IS ALL IN FLAMES, BUT HIS TONGUE IS MUTE, IN HER PRESENCE.
    • HIS HEART IS ALL IN FLAMES, BUT HIS TONGUE IS MUTE, IN HER PRESENCE.
    • SONNET XLI.
      • Perch' io t' abbia guardato di menzogna.
        • IN HER PRESENCE HE CAN NEITHER SPEAK, WEEP, NOR SIGH.
      • IN HER PRESENCE HE CAN NEITHER SPEAK, WEEP, NOR SIGH.
    • Perch' io t' abbia guardato di menzogna.
      • IN HER PRESENCE HE CAN NEITHER SPEAK, WEEP, NOR SIGH.
    • IN HER PRESENCE HE CAN NEITHER SPEAK, WEEP, NOR SIGH.
    • CANZONE V.
      • Nella stagion che 'l ciel rapido inchina.
        • NIGHT BRINGS REPOSE TO OTHERS, BUT NOT TO HIM.
      • NIGHT BRINGS REPOSE TO OTHERS, BUT NOT TO HIM.
    • Nella stagion che 'l ciel rapido inchina.
      • NIGHT BRINGS REPOSE TO OTHERS, BUT NOT TO HIM.
    • NIGHT BRINGS REPOSE TO OTHERS, BUT NOT TO HIM.
    • SONNET XLII.
      • Poco era ad appressarsi agli occhi miei.
        • SUCH ARE HIS SUFFERINGS THAT HE ENVIES THE INSENSIBILITY OF MARBLE.
      • SUCH ARE HIS SUFFERINGS THAT HE ENVIES THE INSENSIBILITY OF MARBLE.
    • Poco era ad appressarsi agli occhi miei.
      • SUCH ARE HIS SUFFERINGS THAT HE ENVIES THE INSENSIBILITY OF MARBLE.
    • SUCH ARE HIS SUFFERINGS THAT HE ENVIES THE INSENSIBILITY OF MARBLE.
    • MADRIGALE I.
      • Non al suo amante più Diana piacque.
        • ANYTHING THAT REMINDS HIM OF LAURA RENEWS HIS TORMENTS.
      • ANYTHING THAT REMINDS HIM OF LAURA RENEWS HIS TORMENTS.
    • Non al suo amante più Diana piacque.
      • ANYTHING THAT REMINDS HIM OF LAURA RENEWS HIS TORMENTS.
    • ANYTHING THAT REMINDS HIM OF LAURA RENEWS HIS TORMENTS.
    • CANZONE VI.
      • Spirto gentil che quelle membra reggi.
        • TO RIENZI, BESEECHING HIM TO RESTORE TO ROME HER ANCIENT LIBERTY.
      • TO RIENZI, BESEECHING HIM TO RESTORE TO ROME HER ANCIENT LIBERTY.
    • Spirto gentil che quelle membra reggi.
      • TO RIENZI, BESEECHING HIM TO RESTORE TO ROME HER ANCIENT LIBERTY.
    • TO RIENZI, BESEECHING HIM TO RESTORE TO ROME HER ANCIENT LIBERTY.
    • MADRIGALE II.
      • Perchè al viso d' Amor portava insegna.
        • A LOVE JOURNEY—DANGER IN THE PATH—HE TURNS BACK.
      • A LOVE JOURNEY—DANGER IN THE PATH—HE TURNS BACK.
    • Perchè al viso d' Amor portava insegna.
      • A LOVE JOURNEY—DANGER IN THE PATH—HE TURNS BACK.
    • A LOVE JOURNEY—DANGER IN THE PATH—HE TURNS BACK.
    • BALLATA III.
      • Quel foco, ch' io pensai che fosse spento.
        • HE THOUGHT HIMSELF FREE, BUT FINDS THAT HE IS MORE THAN EVER ENTHRALLED BY LOVE.
      • HE THOUGHT HIMSELF FREE, BUT FINDS THAT HE IS MORE THAN EVER ENTHRALLED BY LOVE.
    • Quel foco, ch' io pensai che fosse spento.
      • HE THOUGHT HIMSELF FREE, BUT FINDS THAT HE IS MORE THAN EVER ENTHRALLED BY LOVE.
    • HE THOUGHT HIMSELF FREE, BUT FINDS THAT HE IS MORE THAN EVER ENTHRALLED BY LOVE.
    • SONNET XLIII.
      • Se col cieco desir che 'l cor distrugge.
        • BLIGHTED HOPE.
      • BLIGHTED HOPE.
    • Se col cieco desir che 'l cor distrugge.
      • BLIGHTED HOPE.
    • BLIGHTED HOPE.
    • SONNET XLIV.
      • Mie venture al venir son tarde e pigre.
        • FEW ARE THE SWEETS, BUT MANY THE BITTERS OF LOVE.
      • FEW ARE THE SWEETS, BUT MANY THE BITTERS OF LOVE.
    • Mie venture al venir son tarde e pigre.
      • FEW ARE THE SWEETS, BUT MANY THE BITTERS OF LOVE.
    • FEW ARE THE SWEETS, BUT MANY THE BITTERS OF LOVE.
    • SONNET XLV.
      • La guancia che fu già piangendo stanca.
        • TO HIS FRIEND AGAPITO, WITH A PRESENT.
      • TO HIS FRIEND AGAPITO, WITH A PRESENT.
    • La guancia che fu già piangendo stanca.
      • TO HIS FRIEND AGAPITO, WITH A PRESENT.
    • TO HIS FRIEND AGAPITO, WITH A PRESENT.
    • BALLATA IV.
      • Perchè quel che mi trasse ad amar prima.
        • HE WILL ALWAYS LOVE HER, THOUGH DENIED THE SIGHT OF HER.
      • HE WILL ALWAYS LOVE HER, THOUGH DENIED THE SIGHT OF HER.
    • Perchè quel che mi trasse ad amar prima.
      • HE WILL ALWAYS LOVE HER, THOUGH DENIED THE SIGHT OF HER.
    • HE WILL ALWAYS LOVE HER, THOUGH DENIED THE SIGHT OF HER.
    • SONNET XLVI.
      • L' arbor gentil che forte amai molt' anni.
        • IMPRECATION AGAINST THE LAUREL.
      • IMPRECATION AGAINST THE LAUREL.
    • L' arbor gentil che forte amai molt' anni.
      • IMPRECATION AGAINST THE LAUREL.
    • IMPRECATION AGAINST THE LAUREL.
    • SONNET XLVII.
      • Benedetto sia 'l giorno e 'l mese e l' anno.
        • HE BLESSES ALL THE CIRCUMSTANCES OF HIS PASSION.
      • HE BLESSES ALL THE CIRCUMSTANCES OF HIS PASSION.
    • Benedetto sia 'l giorno e 'l mese e l' anno.
      • HE BLESSES ALL THE CIRCUMSTANCES OF HIS PASSION.
    • HE BLESSES ALL THE CIRCUMSTANCES OF HIS PASSION.
    • SONNET XLVIII.
      • Padre del ciel, dopo i perduti giorni.
        • CONSCIOUS OF HIS FOLLY, HE PRAYS GOD TO TURN HIM TO A BETTER LIFE.
      • CONSCIOUS OF HIS FOLLY, HE PRAYS GOD TO TURN HIM TO A BETTER LIFE.
    • Padre del ciel, dopo i perduti giorni.
      • CONSCIOUS OF HIS FOLLY, HE PRAYS GOD TO TURN HIM TO A BETTER LIFE.
    • CONSCIOUS OF HIS FOLLY, HE PRAYS GOD TO TURN HIM TO A BETTER LIFE.
    • BALLATA V.
      • Volgendo gli occhi al mio novo colore.
        • HER KIND SALUTE SAVED HIM FROM DEATH.
      • HER KIND SALUTE SAVED HIM FROM DEATH.
    • Volgendo gli occhi al mio novo colore.
      • HER KIND SALUTE SAVED HIM FROM DEATH.
    • HER KIND SALUTE SAVED HIM FROM DEATH.
    • SONNET XLIX.
      • Se voi poteste per turbati segni.
        • HE ENTREATS LAURA NOT TO HATE THE HEART FROM WHICH SHE CAN NEVER BE ABSENT.
      • HE ENTREATS LAURA NOT TO HATE THE HEART FROM WHICH SHE CAN NEVER BE ABSENT.
    • Se voi poteste per turbati segni.
      • HE ENTREATS LAURA NOT TO HATE THE HEART FROM WHICH SHE CAN NEVER BE ABSENT.
    • HE ENTREATS LAURA NOT TO HATE THE HEART FROM WHICH SHE CAN NEVER BE ABSENT.
    • SONNET L.
      • Lasso, che mal accorto fui da prima.
        • HE PRAYS LOVE TO KINDLE ALSO IN HER THE FLAME BY WHICH HE IS UNCEASINGLY TORMENTED.
      • HE PRAYS LOVE TO KINDLE ALSO IN HER THE FLAME BY WHICH HE IS UNCEASINGLY TORMENTED.
    • Lasso, che mal accorto fui da prima.
      • HE PRAYS LOVE TO KINDLE ALSO IN HER THE FLAME BY WHICH HE IS UNCEASINGLY TORMENTED.
    • HE PRAYS LOVE TO KINDLE ALSO IN HER THE FLAME BY WHICH HE IS UNCEASINGLY TORMENTED.
    • SESTINA III.
      • L' aere gravato, e l' importuna nebbia.
        • HE COMPARES LAURA TO WINTER, AND FORESEES THAT SHE WILL ALWAYS BE THE SAME.
      • HE COMPARES LAURA TO WINTER, AND FORESEES THAT SHE WILL ALWAYS BE THE SAME.
    • L' aere gravato, e l' importuna nebbia.
      • HE COMPARES LAURA TO WINTER, AND FORESEES THAT SHE WILL ALWAYS BE THE SAME.
    • HE COMPARES LAURA TO WINTER, AND FORESEES THAT SHE WILL ALWAYS BE THE SAME.
    • SONNET LI.
      • Del mar Tirreno alla sinistra riva.
        • THE FALL.
      • THE FALL.
    • Del mar Tirreno alla sinistra riva.
      • THE FALL.
    • THE FALL.
    • SONNET LII.
      • L' aspetto sacro della terra vostra.
        • THE VIEW OF ROME PROMPTS HIM TO TEAR HIMSELF FROM LAURA, BUT LOVE WILL NOT ALLOW HIM.
      • THE VIEW OF ROME PROMPTS HIM TO TEAR HIMSELF FROM LAURA, BUT LOVE WILL NOT ALLOW HIM.
    • L' aspetto sacro della terra vostra.
      • THE VIEW OF ROME PROMPTS HIM TO TEAR HIMSELF FROM LAURA, BUT LOVE WILL NOT ALLOW HIM.
    • THE VIEW OF ROME PROMPTS HIM TO TEAR HIMSELF FROM LAURA, BUT LOVE WILL NOT ALLOW HIM.
    • SONNET LIII.
      • Ben sapev' io che natural consiglio.
        • FLEEING FROM LOVE, HE FALLS INTO THE HANDS OF HIS MINISTERS.
      • FLEEING FROM LOVE, HE FALLS INTO THE HANDS OF HIS MINISTERS.
    • Ben sapev' io che natural consiglio.
      • FLEEING FROM LOVE, HE FALLS INTO THE HANDS OF HIS MINISTERS.
    • FLEEING FROM LOVE, HE FALLS INTO THE HANDS OF HIS MINISTERS.
    • CANZONE VII.
      • Lasso me, ch i' non so in qual parte pieghi.
        • HE WOULD CONSOLE HIMSELF WITH SONG, BUT IS CONSTRAINED TO WEEP.
      • HE WOULD CONSOLE HIMSELF WITH SONG, BUT IS CONSTRAINED TO WEEP.
    • Lasso me, ch i' non so in qual parte pieghi.
      • HE WOULD CONSOLE HIMSELF WITH SONG, BUT IS CONSTRAINED TO WEEP.
    • HE WOULD CONSOLE HIMSELF WITH SONG, BUT IS CONSTRAINED TO WEEP.
    • CANZONE VIII.
      • Perchè la vita è breve.
        • IN PRAISE OF LAURA'S EYES: THE DIFFICULTY OF HIS THEME.
      • IN PRAISE OF LAURA'S EYES: THE DIFFICULTY OF HIS THEME.
    • Perchè la vita è breve.
      • IN PRAISE OF LAURA'S EYES: THE DIFFICULTY OF HIS THEME.
    • IN PRAISE OF LAURA'S EYES: THE DIFFICULTY OF HIS THEME.
    • CANZONE IX.
      • Gentil mia donna, i' veggio.
        • IN PRAISE OF LAURA'S EYES: THEY LEAD HIM TO CONTEMPLATE THE PATH OF LIFE.
      • IN PRAISE OF LAURA'S EYES: THEY LEAD HIM TO CONTEMPLATE THE PATH OF LIFE.
    • Gentil mia donna, i' veggio.
      • IN PRAISE OF LAURA'S EYES: THEY LEAD HIM TO CONTEMPLATE THE PATH OF LIFE.
    • IN PRAISE OF LAURA'S EYES: THEY LEAD HIM TO CONTEMPLATE THE PATH OF LIFE.
    • CANZONE X.
      • Poichè per mio destino.
        • IN PRAISE OF LAURA'S EYES: IN THEM HE FINDS EVERY GOOD, AND HE CAN NEVER CEASE TO PRAISE THEM.
      • IN PRAISE OF LAURA'S EYES: IN THEM HE FINDS EVERY GOOD, AND HE CAN NEVER CEASE TO PRAISE THEM.
    • Poichè per mio destino.
      • IN PRAISE OF LAURA'S EYES: IN THEM HE FINDS EVERY GOOD, AND HE CAN NEVER CEASE TO PRAISE THEM.
    • IN PRAISE OF LAURA'S EYES: IN THEM HE FINDS EVERY GOOD, AND HE CAN NEVER CEASE TO PRAISE THEM.
    • SONNET LIV.
      • Io son già stanco di pensar siccome.
        • HE WONDERS AT HIS LONG ENDURANCE OF SUCH TOIL AND SUFFERING.
      • HE WONDERS AT HIS LONG ENDURANCE OF SUCH TOIL AND SUFFERING.
    • Io son già stanco di pensar siccome.
      • HE WONDERS AT HIS LONG ENDURANCE OF SUCH TOIL AND SUFFERING.
    • HE WONDERS AT HIS LONG ENDURANCE OF SUCH TOIL AND SUFFERING.
    • SONNET LV.
      • I begli occhi, ond' i' fui percosso in guisa.
        • HE IS NEVER WEARY OF PRAISING THE EYES OF LAURA.
      • HE IS NEVER WEARY OF PRAISING THE EYES OF LAURA.
    • I begli occhi, ond' i' fui percosso in guisa.
      • HE IS NEVER WEARY OF PRAISING THE EYES OF LAURA.
    • HE IS NEVER WEARY OF PRAISING THE EYES OF LAURA.
    • SONNET LVI.
      • Amor con sue promesse lusingando.
        • LOVE CHAINS ARE STILL DEAR TO HIM.
      • LOVE CHAINS ARE STILL DEAR TO HIM.
    • Amor con sue promesse lusingando.
      • LOVE CHAINS ARE STILL DEAR TO HIM.
    • LOVE CHAINS ARE STILL DEAR TO HIM.
    • SONNET LVII.
      • Per mirar Policleto a prova fiso.
        • ON THE PORTRAIT OF LAURA PAINTED BY SIMON MEMMI.
      • ON THE PORTRAIT OF LAURA PAINTED BY SIMON MEMMI.
    • Per mirar Policleto a prova fiso.
      • ON THE PORTRAIT OF LAURA PAINTED BY SIMON MEMMI.
    • ON THE PORTRAIT OF LAURA PAINTED BY SIMON MEMMI.
    • SONNET LVIII.
      • Quando giunse a Simon l' alto concetto.
        • HE DESIRES ONLY THAT MEMMI HAD BEEN ABLE TO IMPART SPEECH TO HIS PORTRAIT OF LAURA.
      • HE DESIRES ONLY THAT MEMMI HAD BEEN ABLE TO IMPART SPEECH TO HIS PORTRAIT OF LAURA.
    • Quando giunse a Simon l' alto concetto.
      • HE DESIRES ONLY THAT MEMMI HAD BEEN ABLE TO IMPART SPEECH TO HIS PORTRAIT OF LAURA.
    • HE DESIRES ONLY THAT MEMMI HAD BEEN ABLE TO IMPART SPEECH TO HIS PORTRAIT OF LAURA.
    • SONNET LIX.
      • Se al principio risponde il fine e 'l mezzo.
        • IF HIS PASSION STILL INCREASE, HE MUST SOON DIE.
      • IF HIS PASSION STILL INCREASE, HE MUST SOON DIE.
    • Se al principio risponde il fine e 'l mezzo.
      • IF HIS PASSION STILL INCREASE, HE MUST SOON DIE.
    • IF HIS PASSION STILL INCREASE, HE MUST SOON DIE.
    • SESTINA IV.
      • Chi è fermato di menar sua vita.
        • HE PRAYS GOD TO GUIDE HIS FRAIL BARK TO A SAFE PORT.
      • HE PRAYS GOD TO GUIDE HIS FRAIL BARK TO A SAFE PORT.
    • Chi è fermato di menar sua vita.
      • HE PRAYS GOD TO GUIDE HIS FRAIL BARK TO A SAFE PORT.
    • HE PRAYS GOD TO GUIDE HIS FRAIL BARK TO A SAFE PORT.
    • SONNET LX.
      • Io son sì stanco sotto 'l fascio antico.
        • HE CONFESSES HIS ERRORS, AND THROWS HIMSELF ON THE MERCY OF GOD.
      • HE CONFESSES HIS ERRORS, AND THROWS HIMSELF ON THE MERCY OF GOD.
    • Io son sì stanco sotto 'l fascio antico.
      • HE CONFESSES HIS ERRORS, AND THROWS HIMSELF ON THE MERCY OF GOD.
    • HE CONFESSES HIS ERRORS, AND THROWS HIMSELF ON THE MERCY OF GOD.
    • SONNET LXI.
      • Io non fu' d' amar voi lassato unquanco.
        • UNLESS LAURA RELENT, HE IS RESOLVED TO ABANDON HER.
      • UNLESS LAURA RELENT, HE IS RESOLVED TO ABANDON HER.
    • Io non fu' d' amar voi lassato unquanco.
      • UNLESS LAURA RELENT, HE IS RESOLVED TO ABANDON HER.
    • UNLESS LAURA RELENT, HE IS RESOLVED TO ABANDON HER.
    • SONNET LXII.
      • Se bianche non son prima ambe le tempie.
        • THOUGH NOT SECURE AGAINST THE WILES OF LOVE, HE FEELS STRENGTH ENOUGH TO RESIST THEM.
      • THOUGH NOT SECURE AGAINST THE WILES OF LOVE, HE FEELS STRENGTH ENOUGH TO RESIST THEM.
    • Se bianche non son prima ambe le tempie.
      • THOUGH NOT SECURE AGAINST THE WILES OF LOVE, HE FEELS STRENGTH ENOUGH TO RESIST THEM.
    • THOUGH NOT SECURE AGAINST THE WILES OF LOVE, HE FEELS STRENGTH ENOUGH TO RESIST THEM.
    • SONNET LXIII.
      • Occhi, piangete; accompagnate il core.
        • DIALOGUE BETWEEN THE POET AND HIS EYES.
      • DIALOGUE BETWEEN THE POET AND HIS EYES.
    • Occhi, piangete; accompagnate il core.
      • DIALOGUE BETWEEN THE POET AND HIS EYES.
    • DIALOGUE BETWEEN THE POET AND HIS EYES.
    • SONNET LXIV.
      • Io amai sempre, ed amo forte ancora.
        • HE LOVES, AND WILL ALWAYS LOVE, THE SPOT AND THE HOUR IN WHICH HE FIRST BECAME ENAMOURED OF LAURA.
      • HE LOVES, AND WILL ALWAYS LOVE, THE SPOT AND THE HOUR IN WHICH HE FIRST BECAME ENAMOURED OF LAURA.
    • Io amai sempre, ed amo forte ancora.
      • HE LOVES, AND WILL ALWAYS LOVE, THE SPOT AND THE HOUR IN WHICH HE FIRST BECAME ENAMOURED OF LAURA.
    • HE LOVES, AND WILL ALWAYS LOVE, THE SPOT AND THE HOUR IN WHICH HE FIRST BECAME ENAMOURED OF LAURA.
    • SONNET LXV.
      • Io avrò sempre in odio la fenestra.
        • BETTER IS IT TO DIE HAPPY THAN TO LIVE IN PAIN.
      • BETTER IS IT TO DIE HAPPY THAN TO LIVE IN PAIN.
    • Io avrò sempre in odio la fenestra.
      • BETTER IS IT TO DIE HAPPY THAN TO LIVE IN PAIN.
    • BETTER IS IT TO DIE HAPPY THAN TO LIVE IN PAIN.
    • SONNET LXVI.
      • Sì tosto come avvien che l' arco scocchi.
        • HE CALLS THE EYES OF LAURA FOES, BECAUSE THEY KEEP HIM IN LIFE ONLY TO TORMENT HIM.
      • HE CALLS THE EYES OF LAURA FOES, BECAUSE THEY KEEP HIM IN LIFE ONLY TO TORMENT HIM.
    • Sì tosto come avvien che l' arco scocchi.
      • HE CALLS THE EYES OF LAURA FOES, BECAUSE THEY KEEP HIM IN LIFE ONLY TO TORMENT HIM.
    • HE CALLS THE EYES OF LAURA FOES, BECAUSE THEY KEEP HIM IN LIFE ONLY TO TORMENT HIM.
    • SONNET LXVII.
      • Poi che mia speme è lunga a venir troppo.
        • HE COUNSELS LOVERS TO FLEE, RATHER THAN BE CONSUMED BY THE FLAMES OF LOVE.
      • HE COUNSELS LOVERS TO FLEE, RATHER THAN BE CONSUMED BY THE FLAMES OF LOVE.
    • Poi che mia speme è lunga a venir troppo.
      • HE COUNSELS LOVERS TO FLEE, RATHER THAN BE CONSUMED BY THE FLAMES OF LOVE.
    • HE COUNSELS LOVERS TO FLEE, RATHER THAN BE CONSUMED BY THE FLAMES OF LOVE.
    • SONNET LXVIII.
      • Fuggendo la prigione ov' Amor m' ebbe.
        • HE LONGS TO RETURN TO THE CAPTIVITY OF LOVE.
      • HE LONGS TO RETURN TO THE CAPTIVITY OF LOVE.
    • Fuggendo la prigione ov' Amor m' ebbe.
      • HE LONGS TO RETURN TO THE CAPTIVITY OF LOVE.
    • HE LONGS TO RETURN TO THE CAPTIVITY OF LOVE.
    • SONNET LXIX.
      • Erano i capei d' oro all' aura sparsi.
        • HE PAINTS THE BEAUTIES OF LAURA, PROTESTING HIS UNALTERABLE LOVE.
      • HE PAINTS THE BEAUTIES OF LAURA, PROTESTING HIS UNALTERABLE LOVE.
    • Erano i capei d' oro all' aura sparsi.
      • HE PAINTS THE BEAUTIES OF LAURA, PROTESTING HIS UNALTERABLE LOVE.
    • HE PAINTS THE BEAUTIES OF LAURA, PROTESTING HIS UNALTERABLE LOVE.
    • SONNET LXX.
      • La bella donna che cotanto amavi.
        • TO HIS BROTHER GERARDO, ON THE DEATH OF A LADY TO WHOM HE WAS ATTACHED.
      • TO HIS BROTHER GERARDO, ON THE DEATH OF A LADY TO WHOM HE WAS ATTACHED.
    • La bella donna che cotanto amavi.
      • TO HIS BROTHER GERARDO, ON THE DEATH OF A LADY TO WHOM HE WAS ATTACHED.
    • TO HIS BROTHER GERARDO, ON THE DEATH OF A LADY TO WHOM HE WAS ATTACHED.
    • SONNET LXXI.
      • Piangete, donne, e con voi pianga Amore.
        • ON THE DEATH OF CINO DA PISTOIA.
      • ON THE DEATH OF CINO DA PISTOIA.
    • Piangete, donne, e con voi pianga Amore.
      • ON THE DEATH OF CINO DA PISTOIA.
    • ON THE DEATH OF CINO DA PISTOIA.
    • SONNET LXXII.
      • Più volte Amor m' avea già detto: scrivi.
        • HE WRITES WHAT LOVE BIDS HIM.
      • HE WRITES WHAT LOVE BIDS HIM.
    • Più volte Amor m' avea già detto: scrivi.
      • HE WRITES WHAT LOVE BIDS HIM.
    • HE WRITES WHAT LOVE BIDS HIM.
    • SONNET LXXIII.
      • Quando giugne per gli occhi al cor profondo.
        • HE DESCRIBES THE STATE OF TWO LOVERS, AND RETURNS IN THOUGHT TO HIS OWN SUFFERINGS.
      • HE DESCRIBES THE STATE OF TWO LOVERS, AND RETURNS IN THOUGHT TO HIS OWN SUFFERINGS.
    • Quando giugne per gli occhi al cor profondo.
      • HE DESCRIBES THE STATE OF TWO LOVERS, AND RETURNS IN THOUGHT TO HIS OWN SUFFERINGS.
    • HE DESCRIBES THE STATE OF TWO LOVERS, AND RETURNS IN THOUGHT TO HIS OWN SUFFERINGS.
    • SONNET LXXIV.
      • Così potess' io ben chiuder in versi.
        • HE COMPLAINS THAT TO HIM ALONE IS FAITH HURTFUL.
      • HE COMPLAINS THAT TO HIM ALONE IS FAITH HURTFUL.
    • Così potess' io ben chiuder in versi.
      • HE COMPLAINS THAT TO HIM ALONE IS FAITH HURTFUL.
    • HE COMPLAINS THAT TO HIM ALONE IS FAITH HURTFUL.
    • SONNET LXXV.
      • Io son dell' aspectar omai sì vinto.
        • HAVING ONCE SURRENDERED HIMSELF, HE IS COMPELLED EVER TO ENDURE THE PANGS OF LOVE.
      • HAVING ONCE SURRENDERED HIMSELF, HE IS COMPELLED EVER TO ENDURE THE PANGS OF LOVE.
    • Io son dell' aspectar omai sì vinto.
      • HAVING ONCE SURRENDERED HIMSELF, HE IS COMPELLED EVER TO ENDURE THE PANGS OF LOVE.
    • HAVING ONCE SURRENDERED HIMSELF, HE IS COMPELLED EVER TO ENDURE THE PANGS OF LOVE.
    • SONNET LXXVI.
      • Ahi bella libertà, come tu m' hai.
        • HE DEPLORES HIS LOST LIBERTY AND THE UNHAPPINESS OF HIS PRESENT STATE.
      • HE DEPLORES HIS LOST LIBERTY AND THE UNHAPPINESS OF HIS PRESENT STATE.
    • Ahi bella libertà, come tu m' hai.
      • HE DEPLORES HIS LOST LIBERTY AND THE UNHAPPINESS OF HIS PRESENT STATE.
    • HE DEPLORES HIS LOST LIBERTY AND THE UNHAPPINESS OF HIS PRESENT STATE.
    • SONNET LXXVII.
      • Orso, al vostro destrier si può ben porre.
        • HE SYMPATHISES WITH HIS FRIEND ORSO AT HIS INABILITY TO ATTEND A TOURNAMENT.
      • HE SYMPATHISES WITH HIS FRIEND ORSO AT HIS INABILITY TO ATTEND A TOURNAMENT.
    • Orso, al vostro destrier si può ben porre.
      • HE SYMPATHISES WITH HIS FRIEND ORSO AT HIS INABILITY TO ATTEND A TOURNAMENT.
    • HE SYMPATHISES WITH HIS FRIEND ORSO AT HIS INABILITY TO ATTEND A TOURNAMENT.
    • SONNET LXXVIII.
      • Poi che voi ed io più volte abbiam provato.
        • TO A FRIEND, COUNSELLING HIM TO ABANDON EARTHLY PLEASURES.
      • TO A FRIEND, COUNSELLING HIM TO ABANDON EARTHLY PLEASURES.
    • Poi che voi ed io più volte abbiam provato.
      • TO A FRIEND, COUNSELLING HIM TO ABANDON EARTHLY PLEASURES.
    • TO A FRIEND, COUNSELLING HIM TO ABANDON EARTHLY PLEASURES.
    • SONNET LXXIX.
      • Quella fenestra, ove l' un sol si vede.
        • RECOLLECTIONS OF LOVE.
      • RECOLLECTIONS OF LOVE.
    • Quella fenestra, ove l' un sol si vede.
      • RECOLLECTIONS OF LOVE.
    • RECOLLECTIONS OF LOVE.
    • SONNET LXXX.
      • Lasso! ben so che dolorose prede.
        • THOUGH FOR FOURTEEN YEARS HE HAS STRUGGLED UNSUCCESSFULLY, HE STILL HOPES TO CONQUER HIS PASSION.
      • THOUGH FOR FOURTEEN YEARS HE HAS STRUGGLED UNSUCCESSFULLY, HE STILL HOPES TO CONQUER HIS PASSION.
    • Lasso! ben so che dolorose prede.
      • THOUGH FOR FOURTEEN YEARS HE HAS STRUGGLED UNSUCCESSFULLY, HE STILL HOPES TO CONQUER HIS PASSION.
    • THOUGH FOR FOURTEEN YEARS HE HAS STRUGGLED UNSUCCESSFULLY, HE STILL HOPES TO CONQUER HIS PASSION.
    • SONNET LXXXI.
      • Cesare, poi che 'l traditor d' Egitto.
        • THE COUNTENANCE DOES NOT ALWAYS TRULY INDICATE THE HEART.
      • THE COUNTENANCE DOES NOT ALWAYS TRULY INDICATE THE HEART.
    • Cesare, poi che 'l traditor d' Egitto.
      • THE COUNTENANCE DOES NOT ALWAYS TRULY INDICATE THE HEART.
    • THE COUNTENANCE DOES NOT ALWAYS TRULY INDICATE THE HEART.
    • SONNET LXXXII.
      • Vinse Annibal, e non seppe usar poi.
        • TO STEFANO COLONNA, COUNSELLING HIM TO FOLLOW UP HIS VICTORY OVER THE ORSINI.
      • TO STEFANO COLONNA, COUNSELLING HIM TO FOLLOW UP HIS VICTORY OVER THE ORSINI.
    • Vinse Annibal, e non seppe usar poi.
      • TO STEFANO COLONNA, COUNSELLING HIM TO FOLLOW UP HIS VICTORY OVER THE ORSINI.
    • TO STEFANO COLONNA, COUNSELLING HIM TO FOLLOW UP HIS VICTORY OVER THE ORSINI.
    • SONNET LXXXIII.
      • L' aspettata virtù che 'n voi fioriva.
        • TO PAUDOLFO MALATESTA, LORD OF RIMINI.
      • TO PAUDOLFO MALATESTA, LORD OF RIMINI.
    • L' aspettata virtù che 'n voi fioriva.
      • TO PAUDOLFO MALATESTA, LORD OF RIMINI.
    • TO PAUDOLFO MALATESTA, LORD OF RIMINI.
    • CANZONE XI.[R]
      • Mai non vo' più cantar, com' io soleva.
        • ENIGMAS.
      • ENIGMAS.
    • Mai non vo' più cantar, com' io soleva.
      • ENIGMAS.
    • ENIGMAS.
    • MADRIGALE III.
      • Nova angeletta sovra l' ale accorta.
        • HE ALLEGORICALLY DESCRIBES THE ORIGIN OF HIS PASSION.
      • HE ALLEGORICALLY DESCRIBES THE ORIGIN OF HIS PASSION.
    • Nova angeletta sovra l' ale accorta.
      • HE ALLEGORICALLY DESCRIBES THE ORIGIN OF HIS PASSION.
    • HE ALLEGORICALLY DESCRIBES THE ORIGIN OF HIS PASSION.
    • SONNET LXXXIV.
      • Non veggio ove scampar mi possa omai.
        • AFTER FIFTEEN YEARS HER EYES ARE MORE POWERFUL THAN AT FIRST.
      • AFTER FIFTEEN YEARS HER EYES ARE MORE POWERFUL THAN AT FIRST.
    • Non veggio ove scampar mi possa omai.
      • AFTER FIFTEEN YEARS HER EYES ARE MORE POWERFUL THAN AT FIRST.
    • AFTER FIFTEEN YEARS HER EYES ARE MORE POWERFUL THAN AT FIRST.
    • SONNET LXXXV.
      • Avventuroso più d' altro terreno.
        • HE APOSTROPHIZES THE SPOT WHERE LAURA FIRST SALUTED HIM.
      • HE APOSTROPHIZES THE SPOT WHERE LAURA FIRST SALUTED HIM.
    • Avventuroso più d' altro terreno.
      • HE APOSTROPHIZES THE SPOT WHERE LAURA FIRST SALUTED HIM.
    • HE APOSTROPHIZES THE SPOT WHERE LAURA FIRST SALUTED HIM.
    • SONNET LXXXVI.
      • Lasso! quante fiate Amor m' assale.
        • WHEN LOVE DISTURBS HIM, HE CALMS HIMSELF BY THINKING OF THE EYES AND WORDS OF LAURA.
      • WHEN LOVE DISTURBS HIM, HE CALMS HIMSELF BY THINKING OF THE EYES AND WORDS OF LAURA.
    • Lasso! quante fiate Amor m' assale.
      • WHEN LOVE DISTURBS HIM, HE CALMS HIMSELF BY THINKING OF THE EYES AND WORDS OF LAURA.
    • WHEN LOVE DISTURBS HIM, HE CALMS HIMSELF BY THINKING OF THE EYES AND WORDS OF LAURA.
    • SONNET LXXXVII.
      • Perseguendomi Amor al luogo usato.
        • HE IS BEWILDERED AT THE UNEXPECTED ARRIVAL OF LAURA.
      • HE IS BEWILDERED AT THE UNEXPECTED ARRIVAL OF LAURA.
    • Perseguendomi Amor al luogo usato.
      • HE IS BEWILDERED AT THE UNEXPECTED ARRIVAL OF LAURA.
    • HE IS BEWILDERED AT THE UNEXPECTED ARRIVAL OF LAURA.
    • SONNET LXXXVIII.
      • La donna che 'l mio cor nel viso porta.
        • HER KIND AND GENTLE SALUTATION THRILLS HIS HEART WITH PLEASURE.
      • HER KIND AND GENTLE SALUTATION THRILLS HIS HEART WITH PLEASURE.
    • La donna che 'l mio cor nel viso porta.
      • HER KIND AND GENTLE SALUTATION THRILLS HIS HEART WITH PLEASURE.
    • HER KIND AND GENTLE SALUTATION THRILLS HIS HEART WITH PLEASURE.
    • SONNET LXXXIX.
      • Sennuccio, i' vo' che sappi in qual maniera.
        • HE RELATES TO HIS FRIEND SENNUCCIO HIS UNHAPPINESS, AND THE VARIED MOOD OF LAURA.
      • HE RELATES TO HIS FRIEND SENNUCCIO HIS UNHAPPINESS, AND THE VARIED MOOD OF LAURA.
    • Sennuccio, i' vo' che sappi in qual maniera.
      • HE RELATES TO HIS FRIEND SENNUCCIO HIS UNHAPPINESS, AND THE VARIED MOOD OF LAURA.
    • HE RELATES TO HIS FRIEND SENNUCCIO HIS UNHAPPINESS, AND THE VARIED MOOD OF LAURA.
    • SONNET XC.
      • Qui dove mezzo son, Sennuccio mio.
        • THE MERE SIGHT OF VAUCLUSE MAKES HIM FORGET ALL THE PERILS OF HIS JOURNEY.
      • THE MERE SIGHT OF VAUCLUSE MAKES HIM FORGET ALL THE PERILS OF HIS JOURNEY.
    • Qui dove mezzo son, Sennuccio mio.
      • THE MERE SIGHT OF VAUCLUSE MAKES HIM FORGET ALL THE PERILS OF HIS JOURNEY.
    • THE MERE SIGHT OF VAUCLUSE MAKES HIM FORGET ALL THE PERILS OF HIS JOURNEY.
    • SONNET XCI.
      • Dell' empia Babilonia, ond' è fuggita.
        • LEAVING ROME, HE DESIRES ONLY PEACE WITH LAURA AND PROSPERITY TO COLONNA.
      • LEAVING ROME, HE DESIRES ONLY PEACE WITH LAURA AND PROSPERITY TO COLONNA.
    • Dell' empia Babilonia, ond' è fuggita.
      • LEAVING ROME, HE DESIRES ONLY PEACE WITH LAURA AND PROSPERITY TO COLONNA.
    • LEAVING ROME, HE DESIRES ONLY PEACE WITH LAURA AND PROSPERITY TO COLONNA.
    • SONNET XCII.
      • In mezzo di duo amanti onesta altera.
        • LAURA TURNING TO SALUTE HIM, THE SUN, THROUGH JEALOUSY, WITHDREW BEHIND A CLOUD.
      • LAURA TURNING TO SALUTE HIM, THE SUN, THROUGH JEALOUSY, WITHDREW BEHIND A CLOUD.
    • In mezzo di duo amanti onesta altera.
      • LAURA TURNING TO SALUTE HIM, THE SUN, THROUGH JEALOUSY, WITHDREW BEHIND A CLOUD.
    • LAURA TURNING TO SALUTE HIM, THE SUN, THROUGH JEALOUSY, WITHDREW BEHIND A CLOUD.
    • SONNET XCIII.
      • Pien di quella ineffabile dolcezza.
        • WHEREVER HE IS, HE SEES ONLY LAURA.
      • WHEREVER HE IS, HE SEES ONLY LAURA.
    • Pien di quella ineffabile dolcezza.
      • WHEREVER HE IS, HE SEES ONLY LAURA.
    • WHEREVER HE IS, HE SEES ONLY LAURA.
    • SONNET XCIV.
      • Se 'l sasso ond' è più chiusa questa valle.
        • COULD HE BUT SEE THE HOUSE OF LAURA, HIS SIGHS MIGHT REACH HER MORE QUICKLY.
      • COULD HE BUT SEE THE HOUSE OF LAURA, HIS SIGHS MIGHT REACH HER MORE QUICKLY.
    • Se 'l sasso ond' è più chiusa questa valle.
      • COULD HE BUT SEE THE HOUSE OF LAURA, HIS SIGHS MIGHT REACH HER MORE QUICKLY.
    • COULD HE BUT SEE THE HOUSE OF LAURA, HIS SIGHS MIGHT REACH HER MORE QUICKLY.
    • SONNET XCV.
      • Rimansi addietro il sestodecim' anno.
        • THOUGH HE IS UNHAPPY, HIS LOVE REMAINS EVER UNCHANGED.
      • THOUGH HE IS UNHAPPY, HIS LOVE REMAINS EVER UNCHANGED.
    • Rimansi addietro il sestodecim' anno.
      • THOUGH HE IS UNHAPPY, HIS LOVE REMAINS EVER UNCHANGED.
    • THOUGH HE IS UNHAPPY, HIS LOVE REMAINS EVER UNCHANGED.
    • CANZONE XII.
      • Una donna più bella assai che 'l sole.
        • GLORY AND VIRTUE.
      • GLORY AND VIRTUE.
    • Una donna più bella assai che 'l sole.
      • GLORY AND VIRTUE.
    • GLORY AND VIRTUE.
    • MADRIGALE IV.
      • Or vedi, Amor, che giovinetta donna.
        • A PRAYER TO LOVE THAT HE WILL TAKE VENGEANCE ON THE SCORNFUL PRIDE OF LAURA.
      • A PRAYER TO LOVE THAT HE WILL TAKE VENGEANCE ON THE SCORNFUL PRIDE OF LAURA.
    • Or vedi, Amor, che giovinetta donna.
      • A PRAYER TO LOVE THAT HE WILL TAKE VENGEANCE ON THE SCORNFUL PRIDE OF LAURA.
    • A PRAYER TO LOVE THAT HE WILL TAKE VENGEANCE ON THE SCORNFUL PRIDE OF LAURA.
    • SONNET XCVI.
      • Quelle pietose rime, in ch' io m' accorsi.
        • TO ANTONIO OF FERRARA, WHO, IN A POEM, HAD LAMENTED PETRARCH'S SUPPOSED DEATH.
      • TO ANTONIO OF FERRARA, WHO, IN A POEM, HAD LAMENTED PETRARCH'S SUPPOSED DEATH.
    • Quelle pietose rime, in ch' io m' accorsi.
      • TO ANTONIO OF FERRARA, WHO, IN A POEM, HAD LAMENTED PETRARCH'S SUPPOSED DEATH.
    • TO ANTONIO OF FERRARA, WHO, IN A POEM, HAD LAMENTED PETRARCH'S SUPPOSED DEATH.
    • SONNET XCVII.
      • Dicesett' anni ha già rivolto il cielo.
        • E'EN IN OUR ASHES LIVE OUR WONTED FIRES.
      • E'EN IN OUR ASHES LIVE OUR WONTED FIRES.
    • Dicesett' anni ha già rivolto il cielo.
      • E'EN IN OUR ASHES LIVE OUR WONTED FIRES.
    • E'EN IN OUR ASHES LIVE OUR WONTED FIRES.
    • SONNET XCVIII.
      • Quel vago impallidir che 'l dolce riso.
        • LEAVE-TAKING.
      • LEAVE-TAKING.
    • Quel vago impallidir che 'l dolce riso.
      • LEAVE-TAKING.
    • LEAVE-TAKING.
    • SONNET XCIX.
      • Amor, Fortuna, e la mia mente schiva.
        • THE CAUSES OF HIS WOE.
      • THE CAUSES OF HIS WOE.
    • Amor, Fortuna, e la mia mente schiva.
      • THE CAUSES OF HIS WOE.
    • THE CAUSES OF HIS WOE.
    • CANZONE XIII.
      • Se 'l pensier che mi strugge.
        • HE SEEKS IN VAIN TO MITIGATE HIS WOE.
      • HE SEEKS IN VAIN TO MITIGATE HIS WOE.
    • Se 'l pensier che mi strugge.
      • HE SEEKS IN VAIN TO MITIGATE HIS WOE.
    • HE SEEKS IN VAIN TO MITIGATE HIS WOE.
    • CANZONE XIV.
      • Chiare, fresche e dolci acque.
        • TO THE FOUNTAIN OF VAUOLUSE—CONTEMPLATIONS OF DEATH.
      • TO THE FOUNTAIN OF VAUOLUSE—CONTEMPLATIONS OF DEATH.
    • Chiare, fresche e dolci acque.
      • TO THE FOUNTAIN OF VAUOLUSE—CONTEMPLATIONS OF DEATH.
    • TO THE FOUNTAIN OF VAUOLUSE—CONTEMPLATIONS OF DEATH.
    • CANZONE XV.
      • In quella parte dov' Amor mi sprona.
        • HE FINDS HER IMAGE EVERYWHERE.
      • HE FINDS HER IMAGE EVERYWHERE.
    • In quella parte dov' Amor mi sprona.
      • HE FINDS HER IMAGE EVERYWHERE.
    • HE FINDS HER IMAGE EVERYWHERE.
    • CANZONE XVI.
      • Italia mia, benchè 'l parlar sia indarno.
        • TO THE PRINCES OF ITALY, EXHORTING THEM TO SET HER FREE.
      • TO THE PRINCES OF ITALY, EXHORTING THEM TO SET HER FREE.
    • Italia mia, benchè 'l parlar sia indarno.
      • TO THE PRINCES OF ITALY, EXHORTING THEM TO SET HER FREE.
    • TO THE PRINCES OF ITALY, EXHORTING THEM TO SET HER FREE.
    • CANZONE XVII.
      • Di pensier in pensier, di monte in monte.
        • DISTANCE AND SOLITUDE.
      • DISTANCE AND SOLITUDE.
    • Di pensier in pensier, di monte in monte.
      • DISTANCE AND SOLITUDE.
    • DISTANCE AND SOLITUDE.
    • SONNET C.
      • Poi che 'l cammin m' è chiuso di mercede.
        • THOUGH FAR FROM LAURA, SOLITARY AND UNHAPPY, ENVY STILL PURSUES HIM.
      • THOUGH FAR FROM LAURA, SOLITARY AND UNHAPPY, ENVY STILL PURSUES HIM.
    • Poi che 'l cammin m' è chiuso di mercede.
      • THOUGH FAR FROM LAURA, SOLITARY AND UNHAPPY, ENVY STILL PURSUES HIM.
    • THOUGH FAR FROM LAURA, SOLITARY AND UNHAPPY, ENVY STILL PURSUES HIM.
    • SONNET CI.
      • Io canterei d' Amor sì novamente.
        • REPLY TO A SONNET OF JACOPO DA LENTINO.
      • REPLY TO A SONNET OF JACOPO DA LENTINO.
    • Io canterei d' Amor sì novamente.
      • REPLY TO A SONNET OF JACOPO DA LENTINO.
    • REPLY TO A SONNET OF JACOPO DA LENTINO.
    • SONNET CII.
      • S' Amor non è, che dunque è quel ch' i' sento?
        • THE CONTRADICTIONS OF LOVE.
      • THE CONTRADICTIONS OF LOVE.
    • S' Amor non è, che dunque è quel ch' i' sento?
      • THE CONTRADICTIONS OF LOVE.
    • THE CONTRADICTIONS OF LOVE.
    • SONNET CIII.
      • Amor m' ha posto come segno a strale.
        • LOVE'S ARMOURY.
      • LOVE'S ARMOURY.
    • Amor m' ha posto come segno a strale.
      • LOVE'S ARMOURY.
    • LOVE'S ARMOURY.
    • SONNET CIV.
      • Pace non trovo, e non ho da far guerra.
        • LOVE'S INCONSISTENCY.
      • LOVE'S INCONSISTENCY.
    • Pace non trovo, e non ho da far guerra.
      • LOVE'S INCONSISTENCY.
    • LOVE'S INCONSISTENCY.
    • CANZONE XVIII.
      • Qual più diversa e nova.
        • HE COMPARES HIMSELF TO ALL THAT IS MOST STRANGE IN CREATION.
      • HE COMPARES HIMSELF TO ALL THAT IS MOST STRANGE IN CREATION.
    • Qual più diversa e nova.
      • HE COMPARES HIMSELF TO ALL THAT IS MOST STRANGE IN CREATION.
    • HE COMPARES HIMSELF TO ALL THAT IS MOST STRANGE IN CREATION.
    • SONNET CV.
      • Fiamma dal ciel su le tue treccie piova.
        • HE INVEIGHS AGAINST THE COURT OF ROME.
      • HE INVEIGHS AGAINST THE COURT OF ROME.
    • Fiamma dal ciel su le tue treccie piova.
      • HE INVEIGHS AGAINST THE COURT OF ROME.
    • HE INVEIGHS AGAINST THE COURT OF ROME.
    • SONNET CVI.
      • L' avara Babilonia ha colmo 'l sacco.
        • HE PREDICTS TO ROME THE ARRIVAL OF SOME GREAT PERSONAGE WHO WILL BRING HER BACK TO HER OLD VIRTUE.
      • HE PREDICTS TO ROME THE ARRIVAL OF SOME GREAT PERSONAGE WHO WILL BRING HER BACK TO HER OLD VIRTUE.
    • L' avara Babilonia ha colmo 'l sacco.
      • HE PREDICTS TO ROME THE ARRIVAL OF SOME GREAT PERSONAGE WHO WILL BRING HER BACK TO HER OLD VIRTUE.
    • HE PREDICTS TO ROME THE ARRIVAL OF SOME GREAT PERSONAGE WHO WILL BRING HER BACK TO HER OLD VIRTUE.
    • SONNET CVII.
      • Fontana di dolore, albergo d' ira.
        • HE ATTRIBUTES THE WICKEDNESS OF THE COURT OF ROME TO ITS GREAT WEALTH.
      • HE ATTRIBUTES THE WICKEDNESS OF THE COURT OF ROME TO ITS GREAT WEALTH.
    • Fontana di dolore, albergo d' ira.
      • HE ATTRIBUTES THE WICKEDNESS OF THE COURT OF ROME TO ITS GREAT WEALTH.
    • HE ATTRIBUTES THE WICKEDNESS OF THE COURT OF ROME TO ITS GREAT WEALTH.
    • SONNET CVIII.
      • Quanto più desiose l' ali spando.
        • FAR FROM HIS FRIENDS, HE FLIES TO THEM IN THOUGHT.
      • FAR FROM HIS FRIENDS, HE FLIES TO THEM IN THOUGHT.
    • Quanto più desiose l' ali spando.
      • FAR FROM HIS FRIENDS, HE FLIES TO THEM IN THOUGHT.
    • FAR FROM HIS FRIENDS, HE FLIES TO THEM IN THOUGHT.
    • SONNET CIX.
      • Amor che nel pensier mio vive e regna.
        • THE COURAGE AND TIMIDITY OF LOVE.
      • THE COURAGE AND TIMIDITY OF LOVE.
    • Amor che nel pensier mio vive e regna.
      • THE COURAGE AND TIMIDITY OF LOVE.
    • THE COURAGE AND TIMIDITY OF LOVE.
    • SONNET CX.
      • Come talora al caldo tempo suole.
        • HE LIKENS HIMSELF TO THE INSECT WHICH, FLYING INTO ONE'S EYES, MEETS ITS DEATH.
      • HE LIKENS HIMSELF TO THE INSECT WHICH, FLYING INTO ONE'S EYES, MEETS ITS DEATH.
    • Come talora al caldo tempo suole.
      • HE LIKENS HIMSELF TO THE INSECT WHICH, FLYING INTO ONE'S EYES, MEETS ITS DEATH.
    • HE LIKENS HIMSELF TO THE INSECT WHICH, FLYING INTO ONE'S EYES, MEETS ITS DEATH.
    • SESTINA V.
      • Alia dolce ombra de le belle frondi.
        • HE TELLS THE STORY OF HIS LOVE, RESOLVING HENCEFORTH TO DEVOTE HIMSELF TO GOD.
      • HE TELLS THE STORY OF HIS LOVE, RESOLVING HENCEFORTH TO DEVOTE HIMSELF TO GOD.
    • Alia dolce ombra de le belle frondi.
      • HE TELLS THE STORY OF HIS LOVE, RESOLVING HENCEFORTH TO DEVOTE HIMSELF TO GOD.
    • HE TELLS THE STORY OF HIS LOVE, RESOLVING HENCEFORTH TO DEVOTE HIMSELF TO GOD.
    • SONNET CXI.
      • Quand' io v' odo parlar si dolcemente.
        • TO ONE WHO SPOKE TO HIM OF LAURA.
      • TO ONE WHO SPOKE TO HIM OF LAURA.
    • Quand' io v' odo parlar si dolcemente.
      • TO ONE WHO SPOKE TO HIM OF LAURA.
    • TO ONE WHO SPOKE TO HIM OF LAURA.
    • SONNET CXII.
      • Nè così bello il sol giammai levarsi.
        • THE CHARMS OF LAURA WHEN SHE FIRST MET HIS SIGHT.
      • THE CHARMS OF LAURA WHEN SHE FIRST MET HIS SIGHT.
    • Nè così bello il sol giammai levarsi.
      • THE CHARMS OF LAURA WHEN SHE FIRST MET HIS SIGHT.
    • THE CHARMS OF LAURA WHEN SHE FIRST MET HIS SIGHT.
    • SONNET CXIII.
      • Pommi ove 'l sol occide i fiori e l' erba.
        • HIS INVINCIBLE CONSTANCY.
      • HIS INVINCIBLE CONSTANCY.
    • Pommi ove 'l sol occide i fiori e l' erba.
      • HIS INVINCIBLE CONSTANCY.
    • HIS INVINCIBLE CONSTANCY.
    • SONNET CXIV.
      • O d' ardente virtute ornata e calda.
        • HE CELEBRATES LAURA'S BEAUTY AND VIRTUE.
      • HE CELEBRATES LAURA'S BEAUTY AND VIRTUE.
    • O d' ardente virtute ornata e calda.
      • HE CELEBRATES LAURA'S BEAUTY AND VIRTUE.
    • HE CELEBRATES LAURA'S BEAUTY AND VIRTUE.
    • SONNET CXV.
      • Quando 'l voler, che con duo sproni ardenti.
        • HER LOOKS BOTH COMFORT AND CHECK HIM.
      • HER LOOKS BOTH COMFORT AND CHECK HIM.
    • Quando 'l voler, che con duo sproni ardenti.
      • HER LOOKS BOTH COMFORT AND CHECK HIM.
    • HER LOOKS BOTH COMFORT AND CHECK HIM.
    • SONNET CXVI.
      • Non Tesin, Po, Varo, Arno, Adige e Tebro.
        • HE EXTOLS THE LAUREL AND ITS FAVOURITE STREAM.
        • [IMITATION.]
      • HE EXTOLS THE LAUREL AND ITS FAVOURITE STREAM.
      • [IMITATION.]
    • Non Tesin, Po, Varo, Arno, Adige e Tebro.
      • HE EXTOLS THE LAUREL AND ITS FAVOURITE STREAM.
      • [IMITATION.]
    • HE EXTOLS THE LAUREL AND ITS FAVOURITE STREAM.
    • [IMITATION.]
    • BALLATA VI.
      • Di tempo in tempo mi si fa men dura.
        • THOUGH SHE BE LESS SEVERE, HE IS STILL NOT CONTENTED AND TRANQUIL AT HEART.
      • THOUGH SHE BE LESS SEVERE, HE IS STILL NOT CONTENTED AND TRANQUIL AT HEART.
    • Di tempo in tempo mi si fa men dura.
      • THOUGH SHE BE LESS SEVERE, HE IS STILL NOT CONTENTED AND TRANQUIL AT HEART.
    • THOUGH SHE BE LESS SEVERE, HE IS STILL NOT CONTENTED AND TRANQUIL AT HEART.
    • SONNET CXVII.
      • Che fai, alma? che pensi? avrem mai pace?
        • DIALOGUE OF THE POET WITH HIS HEART.
      • DIALOGUE OF THE POET WITH HIS HEART.
    • Che fai, alma? che pensi? avrem mai pace?
      • DIALOGUE OF THE POET WITH HIS HEART.
    • DIALOGUE OF THE POET WITH HIS HEART.
    • SONNET CXVIII.
      • Nom d' atra e tempestosa onda marina.
        • HE IS LED BY LOVE TO REASON.
      • HE IS LED BY LOVE TO REASON.
    • Nom d' atra e tempestosa onda marina.
      • HE IS LED BY LOVE TO REASON.
    • HE IS LED BY LOVE TO REASON.
    • SONNET CXIX.
      • Questa umil fera, un cor di tigre o d' orsa.
        • HE PRAYS HER EITHER TO WELCOME OR DISMISS HIM AT ONCE.
      • HE PRAYS HER EITHER TO WELCOME OR DISMISS HIM AT ONCE.
    • Questa umil fera, un cor di tigre o d' orsa.
      • HE PRAYS HER EITHER TO WELCOME OR DISMISS HIM AT ONCE.
    • HE PRAYS HER EITHER TO WELCOME OR DISMISS HIM AT ONCE.
    • SONNET CXX.
      • Ite, caldi sospiri, al freddo core.
        • HE IMPLORES MERCY OR DEATH.
      • HE IMPLORES MERCY OR DEATH.
    • Ite, caldi sospiri, al freddo core.
      • HE IMPLORES MERCY OR DEATH.
    • HE IMPLORES MERCY OR DEATH.
    • SONNET CXXI.
      • Le stelle e 'l cielo e gli elementi a prova.
        • LAURA'S UNPARALLELED BEAUTY AND VIRTUE.
      • LAURA'S UNPARALLELED BEAUTY AND VIRTUE.
    • Le stelle e 'l cielo e gli elementi a prova.
      • LAURA'S UNPARALLELED BEAUTY AND VIRTUE.
    • LAURA'S UNPARALLELED BEAUTY AND VIRTUE.
    • SONNET CXXII.
      • Non fur mai Giove e Cesare sì mossi.
        • LAURA IN TEARS.
      • LAURA IN TEARS.
    • Non fur mai Giove e Cesare sì mossi.
      • LAURA IN TEARS.
    • LAURA IN TEARS.
    • SONNET CXXIII.
      • I' vidi in terra angelici costumi.
        • THE EFFECTS OF HER GRIEF.
      • THE EFFECTS OF HER GRIEF.
    • I' vidi in terra angelici costumi.
      • THE EFFECTS OF HER GRIEF.
    • THE EFFECTS OF HER GRIEF.
    • SONNET CXXIV.
      • Quel sempre acerbo ed onorato giorno.
        • HE RECALLS HER AS HE SAW HER WHEN IN TEARS.
      • HE RECALLS HER AS HE SAW HER WHEN IN TEARS.
    • Quel sempre acerbo ed onorato giorno.
      • HE RECALLS HER AS HE SAW HER WHEN IN TEARS.
    • HE RECALLS HER AS HE SAW HER WHEN IN TEARS.
    • SONNET CXXV.
      • Ove ch' i' posi gli occhi lassi o giri.
        • HER IMAGE IS EVER IN HIS HEART.
      • HER IMAGE IS EVER IN HIS HEART.
    • Ove ch' i' posi gli occhi lassi o giri.
      • HER IMAGE IS EVER IN HIS HEART.
    • HER IMAGE IS EVER IN HIS HEART.
    • SONNET CXXVI.
      • In qual parte del cielo, in quale idea.
        • HE EXTOLS THE BEAUTY AND VIRTUE OF LAURA.
      • HE EXTOLS THE BEAUTY AND VIRTUE OF LAURA.
    • In qual parte del cielo, in quale idea.
      • HE EXTOLS THE BEAUTY AND VIRTUE OF LAURA.
    • HE EXTOLS THE BEAUTY AND VIRTUE OF LAURA.
    • SONNET CXXVII.
      • Amor ed io sì pien di maraviglia.
        • HER EVERY ACTION IS DIVINE.
      • HER EVERY ACTION IS DIVINE.
    • Amor ed io sì pien di maraviglia.
      • HER EVERY ACTION IS DIVINE.
    • HER EVERY ACTION IS DIVINE.
    • SONNET CXXVIII.
      • O passi sparsi, o pensier vaghi e pronti.
        • EVERY CIRCUMSTANCE OF HIS PASSION IS A TORMENT TO HIM.
      • EVERY CIRCUMSTANCE OF HIS PASSION IS A TORMENT TO HIM.
    • O passi sparsi, o pensier vaghi e pronti.
      • EVERY CIRCUMSTANCE OF HIS PASSION IS A TORMENT TO HIM.
    • EVERY CIRCUMSTANCE OF HIS PASSION IS A TORMENT TO HIM.
    • SONNET CXXIX.
      • Lieti flori e felici, e ben nate erbe.
        • HE ENVIES EVERY SPOT THAT SHE FREQUENTS.
      • HE ENVIES EVERY SPOT THAT SHE FREQUENTS.
    • Lieti flori e felici, e ben nate erbe.
      • HE ENVIES EVERY SPOT THAT SHE FREQUENTS.
    • HE ENVIES EVERY SPOT THAT SHE FREQUENTS.
    • SONNET CXXX.
      • Amor, che vedi ogni pensiero aperto.
        • HE CARES NOT FOR SUFFERINGS, SO THAT HE DISPLEASE NOT LAURA.
      • HE CARES NOT FOR SUFFERINGS, SO THAT HE DISPLEASE NOT LAURA.
    • Amor, che vedi ogni pensiero aperto.
      • HE CARES NOT FOR SUFFERINGS, SO THAT HE DISPLEASE NOT LAURA.
    • HE CARES NOT FOR SUFFERINGS, SO THAT HE DISPLEASE NOT LAURA.
    • SONNET CXXXI.
      • Or che 'l ciel e la terra e 'l vento tace.
        • NIGHT BRINGS PEACE TO ALL SAVE HIM.
      • NIGHT BRINGS PEACE TO ALL SAVE HIM.
    • Or che 'l ciel e la terra e 'l vento tace.
      • NIGHT BRINGS PEACE TO ALL SAVE HIM.
    • NIGHT BRINGS PEACE TO ALL SAVE HIM.
    • SONNET CXXXII.
      • Come 'l candido piè per l' erba fresca.
        • HER WALK, LOOKS, WORDS, AND AIR.
      • HER WALK, LOOKS, WORDS, AND AIR.
    • Come 'l candido piè per l' erba fresca.
      • HER WALK, LOOKS, WORDS, AND AIR.
    • HER WALK, LOOKS, WORDS, AND AIR.
    • SONNET CXXXIII.
      • S' io fossi stato fermo alla spelunca.
        • TO ONE WHO DESIRED LATIN VERSE OF HIM.
      • TO ONE WHO DESIRED LATIN VERSE OF HIM.
    • S' io fossi stato fermo alla spelunca.
      • TO ONE WHO DESIRED LATIN VERSE OF HIM.
    • TO ONE WHO DESIRED LATIN VERSE OF HIM.
    • SONNET CXXXIV.
      • Quando Amor i begli occhi a terra inchina.
        • LAURA SINGS.
      • LAURA SINGS.
    • Quando Amor i begli occhi a terra inchina.
      • LAURA SINGS.
    • LAURA SINGS.
    • SONNET CXXXV.
      • Amor mi manda quel dolce pensero.
        • LIFE WILL FAIL HIM BEFORE HOPE.
      • LIFE WILL FAIL HIM BEFORE HOPE.
    • Amor mi manda quel dolce pensero.
      • LIFE WILL FAIL HIM BEFORE HOPE.
    • LIFE WILL FAIL HIM BEFORE HOPE.
    • SONNET CXXXVI.
      • Pien d' un vago pensier, che me desvia.
        • HIS TONGUE IS TIED BY EXCESS OF PASSION.
      • HIS TONGUE IS TIED BY EXCESS OF PASSION.
    • Pien d' un vago pensier, che me desvia.
      • HIS TONGUE IS TIED BY EXCESS OF PASSION.
    • HIS TONGUE IS TIED BY EXCESS OF PASSION.
    • SONNET CXXXVII.
      • Più volte già dal bel sembiante umano.
        • LOVE UNMANS HIS RESOLUTION.
      • LOVE UNMANS HIS RESOLUTION.
    • Più volte già dal bel sembiante umano.
      • LOVE UNMANS HIS RESOLUTION.
    • LOVE UNMANS HIS RESOLUTION.
    • SONNET CXXXVIII.
      • Giunto m' ha Amor fra belle e crude braccia.
        • HE CANNOT END HER CRUELTY, NOR SHE HIS HOPE.
      • HE CANNOT END HER CRUELTY, NOR SHE HIS HOPE.
    • Giunto m' ha Amor fra belle e crude braccia.
      • HE CANNOT END HER CRUELTY, NOR SHE HIS HOPE.
    • HE CANNOT END HER CRUELTY, NOR SHE HIS HOPE.
    • SONNET CXXXIX.
      • O Invidia, nemica di virtute.
        • ENVY MAY DISTURB, BUT CANNOT DESTROY HIS HOPE.
      • ENVY MAY DISTURB, BUT CANNOT DESTROY HIS HOPE.
    • O Invidia, nemica di virtute.
      • ENVY MAY DISTURB, BUT CANNOT DESTROY HIS HOPE.
    • ENVY MAY DISTURB, BUT CANNOT DESTROY HIS HOPE.
    • SONNET CXL.
      • Mirando 'l sol de' begli occhi sereno.
        • THE SWEETS AND BITTERS OF LOVE.
      • THE SWEETS AND BITTERS OF LOVE.
    • Mirando 'l sol de' begli occhi sereno.
      • THE SWEETS AND BITTERS OF LOVE.
    • THE SWEETS AND BITTERS OF LOVE.
    • SONNET CXLI.
      • Fera stella (se 'l cielo ha forza in noi).
        • TO PINE FOR HER IS BETTER THAN TO ENJOY HAPPINESS WITH ANY OTHER.
      • TO PINE FOR HER IS BETTER THAN TO ENJOY HAPPINESS WITH ANY OTHER.
    • Fera stella (se 'l cielo ha forza in noi).
      • TO PINE FOR HER IS BETTER THAN TO ENJOY HAPPINESS WITH ANY OTHER.
    • TO PINE FOR HER IS BETTER THAN TO ENJOY HAPPINESS WITH ANY OTHER.
    • SONNET CXLII.
      • Quando mi vene innanzi il tempo e 'l loco.
        • RECOLLECTIONS OF EARLY LOVE.
      • RECOLLECTIONS OF EARLY LOVE.
    • Quando mi vene innanzi il tempo e 'l loco.
      • RECOLLECTIONS OF EARLY LOVE.
    • RECOLLECTIONS OF EARLY LOVE.
    • SONNET CXLIII.
      • Per mezzo i boschi inospiti e selvaggi.
        • EVER THINKING ON HER, HE PASSES FEARLESS AND SAFE THROUGH THE FOREST OF ARDENNES.
      • EVER THINKING ON HER, HE PASSES FEARLESS AND SAFE THROUGH THE FOREST OF ARDENNES.
    • Per mezzo i boschi inospiti e selvaggi.
      • EVER THINKING ON HER, HE PASSES FEARLESS AND SAFE THROUGH THE FOREST OF ARDENNES.
    • EVER THINKING ON HER, HE PASSES FEARLESS AND SAFE THROUGH THE FOREST OF ARDENNES.
    • SONNET CXLIV
      • Mille piagge in un giorno e mille rivi.
        • TO BE NEAR HER RECOMPENSES HIM FOR ALL THE PERILS OF THE WAY.
      • TO BE NEAR HER RECOMPENSES HIM FOR ALL THE PERILS OF THE WAY.
    • Mille piagge in un giorno e mille rivi.
      • TO BE NEAR HER RECOMPENSES HIM FOR ALL THE PERILS OF THE WAY.
    • TO BE NEAR HER RECOMPENSES HIM FOR ALL THE PERILS OF THE WAY.
    • SONNET CXLV.
      • Amor mi sprona in un tempo ed affrena.
        • HE HEARS THE VOICE OF REASON, BUT CANNOT OBEY.
      • HE HEARS THE VOICE OF REASON, BUT CANNOT OBEY.
    • Amor mi sprona in un tempo ed affrena.
      • HE HEARS THE VOICE OF REASON, BUT CANNOT OBEY.
    • HE HEARS THE VOICE OF REASON, BUT CANNOT OBEY.
    • SONNET CXLVI.
      • Geri, quando talor meco s' adira.
        • HE APPEASES HER BY HUMILITY, AND EXHORTS A FRIEND TO DO LIKEWISE.
      • HE APPEASES HER BY HUMILITY, AND EXHORTS A FRIEND TO DO LIKEWISE.
    • Geri, quando talor meco s' adira.
      • HE APPEASES HER BY HUMILITY, AND EXHORTS A FRIEND TO DO LIKEWISE.
    • HE APPEASES HER BY HUMILITY, AND EXHORTS A FRIEND TO DO LIKEWISE.
    • SONNET CXLVII.
      • Po, ben puo' tu portartene la scorza.
        • TO THE RIVER PO, ON QUITTING LAURA.
      • TO THE RIVER PO, ON QUITTING LAURA.
    • Po, ben puo' tu portartene la scorza.
      • TO THE RIVER PO, ON QUITTING LAURA.
    • TO THE RIVER PO, ON QUITTING LAURA.
    • SONNET CXLVIII.
      • Amor fra l' orbe una leggiadra rete.
        • HE COMPARES HIMSELF TO A BIRD CAUGHT IN A NET.
      • HE COMPARES HIMSELF TO A BIRD CAUGHT IN A NET.
    • Amor fra l' orbe una leggiadra rete.
      • HE COMPARES HIMSELF TO A BIRD CAUGHT IN A NET.
    • HE COMPARES HIMSELF TO A BIRD CAUGHT IN A NET.
    • SONNET CXLIX.
      • Amor che 'ncende 'l cor d' ardente zelo.
        • LOVE AND JEALOUSY.
      • LOVE AND JEALOUSY.
    • Amor che 'ncende 'l cor d' ardente zelo.
      • LOVE AND JEALOUSY.
    • LOVE AND JEALOUSY.
    • SONNET CL.
      • Se 'l dolce sguardo di costei m' ancide.
        • HE IS CONTINUALLY IN FEAR OF DISPLEASING HER.
      • HE IS CONTINUALLY IN FEAR OF DISPLEASING HER.
    • Se 'l dolce sguardo di costei m' ancide.
      • HE IS CONTINUALLY IN FEAR OF DISPLEASING HER.
    • HE IS CONTINUALLY IN FEAR OF DISPLEASING HER.
    • SONNET CLI.
      • Amor, Natura, e la bell' alma umile.
        • DURING A SERIOUS ILLNESS OF LAURA.
      • DURING A SERIOUS ILLNESS OF LAURA.
    • Amor, Natura, e la bell' alma umile.
      • DURING A SERIOUS ILLNESS OF LAURA.
    • DURING A SERIOUS ILLNESS OF LAURA.
    • SONNET CLII.
      • Questa Fenice dell' aurata piuma.
        • HE COMPARES HER TO THE PHŒNIX.
      • HE COMPARES HER TO THE PHŒNIX.
    • Questa Fenice dell' aurata piuma.
      • HE COMPARES HER TO THE PHŒNIX.
    • HE COMPARES HER TO THE PHŒNIX.
    • SONNET CLIII.
      • Se Virgilio ed Omero avessin visto.
        • THE MOST FAMOUS POETS OF ANTIQUITY WOULD HAVE SUNG HER ONLY, HAD THEY SEEN HER.
      • THE MOST FAMOUS POETS OF ANTIQUITY WOULD HAVE SUNG HER ONLY, HAD THEY SEEN HER.
    • Se Virgilio ed Omero avessin visto.
      • THE MOST FAMOUS POETS OF ANTIQUITY WOULD HAVE SUNG HER ONLY, HAD THEY SEEN HER.
    • THE MOST FAMOUS POETS OF ANTIQUITY WOULD HAVE SUNG HER ONLY, HAD THEY SEEN HER.
    • SONNET CLIV.
      • Giunto Alessandro alla famosa tomba.
        • HE FEARS THAT HE IS INCAPABLE OF WORTHILY CELEBRATING HER.
      • HE FEARS THAT HE IS INCAPABLE OF WORTHILY CELEBRATING HER.
    • Giunto Alessandro alla famosa tomba.
      • HE FEARS THAT HE IS INCAPABLE OF WORTHILY CELEBRATING HER.
    • HE FEARS THAT HE IS INCAPABLE OF WORTHILY CELEBRATING HER.
    • SONNET CLV.
      • Almo Sol, quella fronde ch' io sola amo.
        • TO THE SUN, WHOSE SETTING HID LAURA'S DWELLING FROM HIS VIEW.
      • TO THE SUN, WHOSE SETTING HID LAURA'S DWELLING FROM HIS VIEW.
    • Almo Sol, quella fronde ch' io sola amo.
      • TO THE SUN, WHOSE SETTING HID LAURA'S DWELLING FROM HIS VIEW.
    • TO THE SUN, WHOSE SETTING HID LAURA'S DWELLING FROM HIS VIEW.
    • SONNET CLVI.
      • Passa la nave mia colma d' oblio.
        • UNDER THE FIGURE OF A TEMPEST-TOSSED VESSEL, HE DESCRIBES HIS OWN SAD STATE.
      • UNDER THE FIGURE OF A TEMPEST-TOSSED VESSEL, HE DESCRIBES HIS OWN SAD STATE.
    • Passa la nave mia colma d' oblio.
      • UNDER THE FIGURE OF A TEMPEST-TOSSED VESSEL, HE DESCRIBES HIS OWN SAD STATE.
    • UNDER THE FIGURE OF A TEMPEST-TOSSED VESSEL, HE DESCRIBES HIS OWN SAD STATE.
    • SONNET CLVII.
      • Una candida cerva sopra l' erba.
        • THE VISION OF THE FAWN.
      • THE VISION OF THE FAWN.
    • Una candida cerva sopra l' erba.
      • THE VISION OF THE FAWN.
    • THE VISION OF THE FAWN.
    • SONNET CLVIII.
      • Siccome eterna vita è veder Dio.
        • ALL HIS HAPPINESS IS IN GAZING UPON HER.
      • ALL HIS HAPPINESS IS IN GAZING UPON HER.
    • Siccome eterna vita è veder Dio.
      • ALL HIS HAPPINESS IS IN GAZING UPON HER.
    • ALL HIS HAPPINESS IS IN GAZING UPON HER.
    • SONNET CLIX.
      • Stiamo, Amor, a veder la gloria nostra.
        • TO LOVE, ON LAURA WALKING ABROAD.
      • TO LOVE, ON LAURA WALKING ABROAD.
    • Stiamo, Amor, a veder la gloria nostra.
      • TO LOVE, ON LAURA WALKING ABROAD.
    • TO LOVE, ON LAURA WALKING ABROAD.
    • SONNET CLX.
      • Pasco la mente d' un sì nobil cibo.
        • TO SEE AND HEAR HER IS HIS GREATEST BLISS.
      • TO SEE AND HEAR HER IS HIS GREATEST BLISS.
    • Pasco la mente d' un sì nobil cibo.
      • TO SEE AND HEAR HER IS HIS GREATEST BLISS.
    • TO SEE AND HEAR HER IS HIS GREATEST BLISS.
    • SONNET CLXI.
      • L' aura gentil che rasserena i poggi.
        • JOURNEYING TO VISIT LAURA, HE FEELS RENEWED ARDOUR AS HE APPROACHES.
      • JOURNEYING TO VISIT LAURA, HE FEELS RENEWED ARDOUR AS HE APPROACHES.
    • L' aura gentil che rasserena i poggi.
      • JOURNEYING TO VISIT LAURA, HE FEELS RENEWED ARDOUR AS HE APPROACHES.
    • JOURNEYING TO VISIT LAURA, HE FEELS RENEWED ARDOUR AS HE APPROACHES.
    • SONNET CLXII.
      • Di dì in dì vo cangiando il viso e 'l pelo.
        • HIS WOUNDS CAN BE HEALED ONLY BY PITY OR DEATH.
      • HIS WOUNDS CAN BE HEALED ONLY BY PITY OR DEATH.
    • Di dì in dì vo cangiando il viso e 'l pelo.
      • HIS WOUNDS CAN BE HEALED ONLY BY PITY OR DEATH.
    • HIS WOUNDS CAN BE HEALED ONLY BY PITY OR DEATH.
    • SONNET CLXIII.
      • L' aura serena che fra verdi fronde.
        • THE GENTLE BREEZE (L' AURA) RECALLS TO HIM THE TIME WHEN HE FIRST SAW HER.
      • THE GENTLE BREEZE (L' AURA) RECALLS TO HIM THE TIME WHEN HE FIRST SAW HER.
    • L' aura serena che fra verdi fronde.
      • THE GENTLE BREEZE (L' AURA) RECALLS TO HIM THE TIME WHEN HE FIRST SAW HER.
    • THE GENTLE BREEZE (L' AURA) RECALLS TO HIM THE TIME WHEN HE FIRST SAW HER.
    • SONNET CLXIV.
      • L' aura celeste che 'n quel verde Lauro.
        • HER HAIR AND EYES.
      • HER HAIR AND EYES.
    • L' aura celeste che 'n quel verde Lauro.
      • HER HAIR AND EYES.
    • HER HAIR AND EYES.
    • SONNET CLXV.
      • L' aura soave ch' al sol spiega e vibra.
        • HIS HEART LIES TANGLED IN HER HAIR.
      • HIS HEART LIES TANGLED IN HER HAIR.
    • L' aura soave ch' al sol spiega e vibra.
      • HIS HEART LIES TANGLED IN HER HAIR.
    • HIS HEART LIES TANGLED IN HER HAIR.
    • SONNET CLXVI.
      • O bella man, che mi distringi 'l core.
        • THE STOLEN GLOVE.
      • THE STOLEN GLOVE.
    • O bella man, che mi distringi 'l core.
      • THE STOLEN GLOVE.
    • THE STOLEN GLOVE.
    • SONNET CLXVII.
      • Non pur quell' una bella ignuda mano.
        • HE RETURNS THE GLOVE, BEWAILING THE EFFECT OF HER BEAUTY.
      • HE RETURNS THE GLOVE, BEWAILING THE EFFECT OF HER BEAUTY.
    • Non pur quell' una bella ignuda mano.
      • HE RETURNS THE GLOVE, BEWAILING THE EFFECT OF HER BEAUTY.
    • HE RETURNS THE GLOVE, BEWAILING THE EFFECT OF HER BEAUTY.
    • SONNET CLXVIII.
      • Mia ventura ed Amor m' avean sì adorno.
        • HE REGRETS HAVING RETURNED HER GLOVE.
      • HE REGRETS HAVING RETURNED HER GLOVE.
    • Mia ventura ed Amor m' avean sì adorno.
      • HE REGRETS HAVING RETURNED HER GLOVE.
    • HE REGRETS HAVING RETURNED HER GLOVE.
    • SONNET CLXIX.
      • D' un bel, chiaro, polito e vivo ghiaccio.
        • THOUGH RACKED BY AGONY, HE DOES NOT COMPLAIN OF HER.
      • THOUGH RACKED BY AGONY, HE DOES NOT COMPLAIN OF HER.
    • D' un bel, chiaro, polito e vivo ghiaccio.
      • THOUGH RACKED BY AGONY, HE DOES NOT COMPLAIN OF HER.
    • THOUGH RACKED BY AGONY, HE DOES NOT COMPLAIN OF HER.
    • SONNET CLXX.
      • Lasso, ch' i' ardo, ed altri non mel crede!
        • POSTERITY WILL ACCORD TO HIM THE PITY WHICH LAURA REFUSES.
      • POSTERITY WILL ACCORD TO HIM THE PITY WHICH LAURA REFUSES.
    • Lasso, ch' i' ardo, ed altri non mel crede!
      • POSTERITY WILL ACCORD TO HIM THE PITY WHICH LAURA REFUSES.
    • POSTERITY WILL ACCORD TO HIM THE PITY WHICH LAURA REFUSES.
    • SONNET CLXXI.
      • Anima, che diverse cose tante.
        • HE REJOICES AT BEING ON EARTH WITH HER, AS HE IS THEREBY ENABLED BETTER TO IMITATE HER VIRTUES.
      • HE REJOICES AT BEING ON EARTH WITH HER, AS HE IS THEREBY ENABLED BETTER TO IMITATE HER VIRTUES.
    • Anima, che diverse cose tante.
      • HE REJOICES AT BEING ON EARTH WITH HER, AS HE IS THEREBY ENABLED BETTER TO IMITATE HER VIRTUES.
    • HE REJOICES AT BEING ON EARTH WITH HER, AS HE IS THEREBY ENABLED BETTER TO IMITATE HER VIRTUES.
    • SONNET CLXXII.
      • Dolci ire, dolci sdegni e dolci paci.
        • HE CONSOLES HIMSELF WITH THE THOUGHT THAT HE WILL BE ENVIED BY POSTERITY.
      • HE CONSOLES HIMSELF WITH THE THOUGHT THAT HE WILL BE ENVIED BY POSTERITY.
    • Dolci ire, dolci sdegni e dolci paci.
      • HE CONSOLES HIMSELF WITH THE THOUGHT THAT HE WILL BE ENVIED BY POSTERITY.
    • HE CONSOLES HIMSELF WITH THE THOUGHT THAT HE WILL BE ENVIED BY POSTERITY.
    • CANZONE XIX.
      • S' il dissi mai, ch' i' venga in odio a quella.
        • HE VEHEMENTLY REBUTS THE CHARGE OF LOVING ANOTHER.
      • HE VEHEMENTLY REBUTS THE CHARGE OF LOVING ANOTHER.
    • S' il dissi mai, ch' i' venga in odio a quella.
      • HE VEHEMENTLY REBUTS THE CHARGE OF LOVING ANOTHER.
    • HE VEHEMENTLY REBUTS THE CHARGE OF LOVING ANOTHER.
    • CANZONE XX.
      • Ben mi credea passar mio tempo omai.
        • HE CANNOT LIVE WITHOUT SEEING HER, BUT WOULD NOT DIE THAT HE MAY STILL LOVE HER.
      • HE CANNOT LIVE WITHOUT SEEING HER, BUT WOULD NOT DIE THAT HE MAY STILL LOVE HER.
    • Ben mi credea passar mio tempo omai.
      • HE CANNOT LIVE WITHOUT SEEING HER, BUT WOULD NOT DIE THAT HE MAY STILL LOVE HER.
    • HE CANNOT LIVE WITHOUT SEEING HER, BUT WOULD NOT DIE THAT HE MAY STILL LOVE HER.
    • SONNET CLXXIII.
      • Rapido fiume che d' alpestra vena.
        • JOURNEYING ALONG THE RHONE TO AVIGNON, PETRARCH BIDS THE RIVER KISS LAURA'S HAND, AS IT WILL ARRIVE AT HER DWELLING BEFORE HIM.
      • JOURNEYING ALONG THE RHONE TO AVIGNON, PETRARCH BIDS THE RIVER KISS LAURA'S HAND, AS IT WILL ARRIVE AT HER DWELLING BEFORE HIM.
    • Rapido fiume che d' alpestra vena.
      • JOURNEYING ALONG THE RHONE TO AVIGNON, PETRARCH BIDS THE RIVER KISS LAURA'S HAND, AS IT WILL ARRIVE AT HER DWELLING BEFORE HIM.
    • JOURNEYING ALONG THE RHONE TO AVIGNON, PETRARCH BIDS THE RIVER KISS LAURA'S HAND, AS IT WILL ARRIVE AT HER DWELLING BEFORE HIM.
    • SONNET CLXXIV.
      • I' dolci colli ov' io lasciai me stesso.
        • HE LEAVES VAUCLUSE, BUT HIS SPIRIT REMAINS THERE WITH LAURA.
      • HE LEAVES VAUCLUSE, BUT HIS SPIRIT REMAINS THERE WITH LAURA.
    • I' dolci colli ov' io lasciai me stesso.
      • HE LEAVES VAUCLUSE, BUT HIS SPIRIT REMAINS THERE WITH LAURA.
    • HE LEAVES VAUCLUSE, BUT HIS SPIRIT REMAINS THERE WITH LAURA.
    • SONNET CLXXV.
      • Non dall' Ispano Ibero all' Indo Idaspe.
        • HIS WOES ARE UNEXAMPLED.
      • HIS WOES ARE UNEXAMPLED.
    • Non dall' Ispano Ibero all' Indo Idaspe.
      • HIS WOES ARE UNEXAMPLED.
    • HIS WOES ARE UNEXAMPLED.
    • SONNET CLXXVI.
      • Voglia mi sprona; Amor mi guida e scorge.
        • HE DESCRIBES HIS STATE, SPECIFYING THE DATE OF HIS ATTACHMENT.
      • HE DESCRIBES HIS STATE, SPECIFYING THE DATE OF HIS ATTACHMENT.
    • Voglia mi sprona; Amor mi guida e scorge.
      • HE DESCRIBES HIS STATE, SPECIFYING THE DATE OF HIS ATTACHMENT.
    • HE DESCRIBES HIS STATE, SPECIFYING THE DATE OF HIS ATTACHMENT.
    • SONNET CLXXVII.
      • Beato in sogno, e di languir contento.
        • THOUGH SO LONG LOVE'S FAITHFUL SERVANT, HIS ONLY REWARD HAS BEEN TEARS.
      • THOUGH SO LONG LOVE'S FAITHFUL SERVANT, HIS ONLY REWARD HAS BEEN TEARS.
    • Beato in sogno, e di languir contento.
      • THOUGH SO LONG LOVE'S FAITHFUL SERVANT, HIS ONLY REWARD HAS BEEN TEARS.
    • THOUGH SO LONG LOVE'S FAITHFUL SERVANT, HIS ONLY REWARD HAS BEEN TEARS.
    • SONNET CLXXVIII.
      • Grazie ch' a pochi 'l ciel largo destina.
        • THE ENCHANTMENTS THAT ENTHRALL HIM
      • THE ENCHANTMENTS THAT ENTHRALL HIM
    • Grazie ch' a pochi 'l ciel largo destina.
      • THE ENCHANTMENTS THAT ENTHRALL HIM
    • THE ENCHANTMENTS THAT ENTHRALL HIM
    • SESTINA VI.
      • Anzi tre di creata era alma in parte.
        • THE HISTORY OF HIS LOVE; AND PRAYER FOR HELP.
      • THE HISTORY OF HIS LOVE; AND PRAYER FOR HELP.
    • Anzi tre di creata era alma in parte.
      • THE HISTORY OF HIS LOVE; AND PRAYER FOR HELP.
    • THE HISTORY OF HIS LOVE; AND PRAYER FOR HELP.
    • SONNET CLXXIX.
      • In nobil sangue vita umile e queta.
        • SHE UNITES IN HERSELF THE HIGHEST EXCELLENCES OF VIRTUE AND BEAUTY.
      • SHE UNITES IN HERSELF THE HIGHEST EXCELLENCES OF VIRTUE AND BEAUTY.
    • In nobil sangue vita umile e queta.
      • SHE UNITES IN HERSELF THE HIGHEST EXCELLENCES OF VIRTUE AND BEAUTY.
    • SHE UNITES IN HERSELF THE HIGHEST EXCELLENCES OF VIRTUE AND BEAUTY.
    • SONNET CLXXX.
      • Tutto 'l di piango; e poi la notte, quando.
        • HER CRUELTY RENDERS LIFE WORSE THAN DEATH TO HIM.
      • HER CRUELTY RENDERS LIFE WORSE THAN DEATH TO HIM.
    • Tutto 'l di piango; e poi la notte, quando.
      • HER CRUELTY RENDERS LIFE WORSE THAN DEATH TO HIM.
    • HER CRUELTY RENDERS LIFE WORSE THAN DEATH TO HIM.
    • SONNET CLXXXI.
      • Già desiai con sì giusta querela.
        • HE LIVES DESTITUTE OF ALL HOPE SAVE THAT OF RENDERING HER IMMORTAL.
      • HE LIVES DESTITUTE OF ALL HOPE SAVE THAT OF RENDERING HER IMMORTAL.
    • Già desiai con sì giusta querela.
      • HE LIVES DESTITUTE OF ALL HOPE SAVE THAT OF RENDERING HER IMMORTAL.
    • HE LIVES DESTITUTE OF ALL HOPE SAVE THAT OF RENDERING HER IMMORTAL.
    • SONNET CLXXXII.
      • Tra quantunque leggiadre donne e belle.
        • ALL NATURE WOULD BE IN DARKNESS WERE SHE, ITS SUN, TO PERISH.
      • ALL NATURE WOULD BE IN DARKNESS WERE SHE, ITS SUN, TO PERISH.
    • Tra quantunque leggiadre donne e belle.
      • ALL NATURE WOULD BE IN DARKNESS WERE SHE, ITS SUN, TO PERISH.
    • ALL NATURE WOULD BE IN DARKNESS WERE SHE, ITS SUN, TO PERISH.
    • SONNET CLXXXIII.
      • Il cantar novo e 'l pianger degli augelli.
        • MORNING.
      • MORNING.
    • Il cantar novo e 'l pianger degli augelli.
      • MORNING.
    • MORNING.
    • SONNET CLXXXIV.
      • Onde tolse Amor l' oro e di qual vena.
        • THE CHARMS OF HER COUNTENANCE AND VOICE.
      • THE CHARMS OF HER COUNTENANCE AND VOICE.
    • Onde tolse Amor l' oro e di qual vena.
      • THE CHARMS OF HER COUNTENANCE AND VOICE.
    • THE CHARMS OF HER COUNTENANCE AND VOICE.
    • SONNET CLXXXV.
      • Qual mio destin, qual forza o qual inganno.
        • THOUGH HER EYES DESTROY HIM, HE CANNOT TEAR HIMSELF AWAY.
      • THOUGH HER EYES DESTROY HIM, HE CANNOT TEAR HIMSELF AWAY.
    • Qual mio destin, qual forza o qual inganno.
      • THOUGH HER EYES DESTROY HIM, HE CANNOT TEAR HIMSELF AWAY.
    • THOUGH HER EYES DESTROY HIM, HE CANNOT TEAR HIMSELF AWAY.
    • SONNET CLXXXVI.
      • Liete e pensose, accompagnate e sole.
        • NOT FINDING HER WITH HER FRIENDS, HE ASKS THEM WHY SHE IS ABSENT.
      • NOT FINDING HER WITH HER FRIENDS, HE ASKS THEM WHY SHE IS ABSENT.
    • Liete e pensose, accompagnate e sole.
      • NOT FINDING HER WITH HER FRIENDS, HE ASKS THEM WHY SHE IS ABSENT.
    • NOT FINDING HER WITH HER FRIENDS, HE ASKS THEM WHY SHE IS ABSENT.
    • SONNET CLXXXVII.
      • Quando 'l sol bagna in mur l' aurato carro.
        • HIS NIGHTS ARE, LIKE HIS DAYS, PASSED IN TORMENT.
      • HIS NIGHTS ARE, LIKE HIS DAYS, PASSED IN TORMENT.
    • Quando 'l sol bagna in mur l' aurato carro.
      • HIS NIGHTS ARE, LIKE HIS DAYS, PASSED IN TORMENT.
    • HIS NIGHTS ARE, LIKE HIS DAYS, PASSED IN TORMENT.
    • SONNET CLXXVIII.
      • S' una fede amorosa, un cor non finto.
        • THE MISERY OF HIS LOVE.
      • THE MISERY OF HIS LOVE.
    • S' una fede amorosa, un cor non finto.
      • THE MISERY OF HIS LOVE.
    • THE MISERY OF HIS LOVE.
    • SONNET CLXXXIX.
      • Dodici donne onestamente lasse.
        • HAPPY WHO STEERED THE BOAT, OR DROVE THE CAR, WHEREIN SHE SAT AND SANG.
      • HAPPY WHO STEERED THE BOAT, OR DROVE THE CAR, WHEREIN SHE SAT AND SANG.
    • Dodici donne onestamente lasse.
      • HAPPY WHO STEERED THE BOAT, OR DROVE THE CAR, WHEREIN SHE SAT AND SANG.
    • HAPPY WHO STEERED THE BOAT, OR DROVE THE CAR, WHEREIN SHE SAT AND SANG.
    • SONNET CXC
      • Passer mai solitario in alcun tetto.
        • FAR FROM HIS BELOVED, LIFE IS MISERABLE BY NIGHT AS BY DAY.
      • FAR FROM HIS BELOVED, LIFE IS MISERABLE BY NIGHT AS BY DAY.
    • Passer mai solitario in alcun tetto.
      • FAR FROM HIS BELOVED, LIFE IS MISERABLE BY NIGHT AS BY DAY.
    • FAR FROM HIS BELOVED, LIFE IS MISERABLE BY NIGHT AS BY DAY.
    • SONNET CXCI.
      • Aura, che quelle chiome bionde e crespe.
        • HE ENVIES THE BREEZE WHICH SPORTS WITH HER, THE STREAM THAT FLOWS TOWARDS HER.
      • HE ENVIES THE BREEZE WHICH SPORTS WITH HER, THE STREAM THAT FLOWS TOWARDS HER.
    • Aura, che quelle chiome bionde e crespe.
      • HE ENVIES THE BREEZE WHICH SPORTS WITH HER, THE STREAM THAT FLOWS TOWARDS HER.
    • HE ENVIES THE BREEZE WHICH SPORTS WITH HER, THE STREAM THAT FLOWS TOWARDS HER.
    • SONNET CXCII.
      • Amor con la man destra il lato manco.
        • UNDER THE FIGURE OF A LAUREL, HE RELATES THE GROWTH OF HIS LOVE.
      • UNDER THE FIGURE OF A LAUREL, HE RELATES THE GROWTH OF HIS LOVE.
    • Amor con la man destra il lato manco.
      • UNDER THE FIGURE OF A LAUREL, HE RELATES THE GROWTH OF HIS LOVE.
    • UNDER THE FIGURE OF A LAUREL, HE RELATES THE GROWTH OF HIS LOVE.
    • SONNET CXCIII.
      • Cantai, or piango; e non men di dolcezza.
        • THOUGH IN THE MIDST OF PAIN, HE DEEMS HIMSELF THE HAPPIEST OF MEN.
      • THOUGH IN THE MIDST OF PAIN, HE DEEMS HIMSELF THE HAPPIEST OF MEN.
    • Cantai, or piango; e non men di dolcezza.
      • THOUGH IN THE MIDST OF PAIN, HE DEEMS HIMSELF THE HAPPIEST OF MEN.
    • THOUGH IN THE MIDST OF PAIN, HE DEEMS HIMSELF THE HAPPIEST OF MEN.
    • SONNET CXCIV.
      • I' piansi, or canto; che 'l celeste lume.
        • AT HER RETURN, HIS SORROWS VANISH.
      • AT HER RETURN, HIS SORROWS VANISH.
    • I' piansi, or canto; che 'l celeste lume.
      • AT HER RETURN, HIS SORROWS VANISH.
    • AT HER RETURN, HIS SORROWS VANISH.
    • SONNET CXCV.
      • I' mi vivea di mia sorte contento.
        • HE FEARS THAT AN ILLNESS WHICH HAS ATTACKED THE EYES OF LAURA MAY DEPRIVE HIM OF THEIR SIGHT.
      • HE FEARS THAT AN ILLNESS WHICH HAS ATTACKED THE EYES OF LAURA MAY DEPRIVE HIM OF THEIR SIGHT.
    • I' mi vivea di mia sorte contento.
      • HE FEARS THAT AN ILLNESS WHICH HAS ATTACKED THE EYES OF LAURA MAY DEPRIVE HIM OF THEIR SIGHT.
    • HE FEARS THAT AN ILLNESS WHICH HAS ATTACKED THE EYES OF LAURA MAY DEPRIVE HIM OF THEIR SIGHT.
    • SONNET CXCVI.
      • Vincitore Alessandro l' ira vinse.
        • THE EVIL RESULTS OF UNRESTRAINED ANGER.
      • THE EVIL RESULTS OF UNRESTRAINED ANGER.
    • Vincitore Alessandro l' ira vinse.
      • THE EVIL RESULTS OF UNRESTRAINED ANGER.
    • THE EVIL RESULTS OF UNRESTRAINED ANGER.
    • SONNET CXCVII.
      • Qual ventura mi fu, quando dall' uno.
        • HE REJOICES AT PARTICIPATING IN HER SUFFERINGS.
      • HE REJOICES AT PARTICIPATING IN HER SUFFERINGS.
    • Qual ventura mi fu, quando dall' uno.
      • HE REJOICES AT PARTICIPATING IN HER SUFFERINGS.
    • HE REJOICES AT PARTICIPATING IN HER SUFFERINGS.
    • SONNET CXCVIII.
      • O cameretta che già fosti un porto.
        • HE NO LONGER FINDS RELIEF IN SOLITUDE.
      • HE NO LONGER FINDS RELIEF IN SOLITUDE.
    • O cameretta che già fosti un porto.
      • HE NO LONGER FINDS RELIEF IN SOLITUDE.
    • HE NO LONGER FINDS RELIEF IN SOLITUDE.
    • SONNET CXCIX.
      • Lasso! Amor mi trasporta ov' io non voglio.
        • HE EXCUSES HIMSELF FOR VISITING LAURA TOO OFTEN, AND LOVING HER TOO MUCH.
      • HE EXCUSES HIMSELF FOR VISITING LAURA TOO OFTEN, AND LOVING HER TOO MUCH.
    • Lasso! Amor mi trasporta ov' io non voglio.
      • HE EXCUSES HIMSELF FOR VISITING LAURA TOO OFTEN, AND LOVING HER TOO MUCH.
    • HE EXCUSES HIMSELF FOR VISITING LAURA TOO OFTEN, AND LOVING HER TOO MUCH.
    • SONNET CC.
      • Amor, io fallo e veggio il mio fallire.
        • HE PRAYS LOVE, WHO IS THE CAUSE OF HIS OFFENCES, TO OBTAIN PARDON FOR HIM.
      • HE PRAYS LOVE, WHO IS THE CAUSE OF HIS OFFENCES, TO OBTAIN PARDON FOR HIM.
    • Amor, io fallo e veggio il mio fallire.
      • HE PRAYS LOVE, WHO IS THE CAUSE OF HIS OFFENCES, TO OBTAIN PARDON FOR HIM.
    • HE PRAYS LOVE, WHO IS THE CAUSE OF HIS OFFENCES, TO OBTAIN PARDON FOR HIM.
    • SESTINA VII.
      • Non ha tanti animali il mar fra l' onde.
        • HE DESPAIRS OF ESCAPE FROM THE TORMENTS BY WHICH HE IS SURROUNDED.
      • HE DESPAIRS OF ESCAPE FROM THE TORMENTS BY WHICH HE IS SURROUNDED.
    • Non ha tanti animali il mar fra l' onde.
      • HE DESPAIRS OF ESCAPE FROM THE TORMENTS BY WHICH HE IS SURROUNDED.
    • HE DESPAIRS OF ESCAPE FROM THE TORMENTS BY WHICH HE IS SURROUNDED.
    • SESTINA VIII.
      • Là ver l' aurora, che sì dolce l' aura.
        • SHE IS MOVED NEITHER BY HIS VERSES NOR HIS TEARS.
      • SHE IS MOVED NEITHER BY HIS VERSES NOR HIS TEARS.
    • Là ver l' aurora, che sì dolce l' aura.
      • SHE IS MOVED NEITHER BY HIS VERSES NOR HIS TEARS.
    • SHE IS MOVED NEITHER BY HIS VERSES NOR HIS TEARS.
    • SONNET CCI.
      • Real natura, angelico intelletto.
        • ON THE KISS OF HONOUR GIVEN BY CHARLES OF LUXEMBURG TO LAURA AT A BANQUET.
      • ON THE KISS OF HONOUR GIVEN BY CHARLES OF LUXEMBURG TO LAURA AT A BANQUET.
    • Real natura, angelico intelletto.
      • ON THE KISS OF HONOUR GIVEN BY CHARLES OF LUXEMBURG TO LAURA AT A BANQUET.
    • ON THE KISS OF HONOUR GIVEN BY CHARLES OF LUXEMBURG TO LAURA AT A BANQUET.
    • SONNET CCII.
      • I' ho pregato Amor, e nel riprego.
        • HE PLEADS THE EXCESS OF HIS PASSION IN PALLIATION OF HIS FAULT.
      • HE PLEADS THE EXCESS OF HIS PASSION IN PALLIATION OF HIS FAULT.
    • I' ho pregato Amor, e nel riprego.
      • HE PLEADS THE EXCESS OF HIS PASSION IN PALLIATION OF HIS FAULT.
    • HE PLEADS THE EXCESS OF HIS PASSION IN PALLIATION OF HIS FAULT.
    • SONNET CCIII.
      • L' alto signor, dinanzi a cui non vale.
        • HIS SORROW FOR THE ILLNESS OF LAURA INCREASES, NOT LESSENS, HIS FLAME.
      • HIS SORROW FOR THE ILLNESS OF LAURA INCREASES, NOT LESSENS, HIS FLAME.
    • L' alto signor, dinanzi a cui non vale.
      • HIS SORROW FOR THE ILLNESS OF LAURA INCREASES, NOT LESSENS, HIS FLAME.
    • HIS SORROW FOR THE ILLNESS OF LAURA INCREASES, NOT LESSENS, HIS FLAME.
    • SONNET CCIV.
      • Mira quel colle, o stanco mio cor vago.
        • HE BIDS HIS HEART RETURN TO LAURA, NOT PERCEIVING THAT IT HAD NEVER LEFT HER.
      • HE BIDS HIS HEART RETURN TO LAURA, NOT PERCEIVING THAT IT HAD NEVER LEFT HER.
    • Mira quel colle, o stanco mio cor vago.
      • HE BIDS HIS HEART RETURN TO LAURA, NOT PERCEIVING THAT IT HAD NEVER LEFT HER.
    • HE BIDS HIS HEART RETURN TO LAURA, NOT PERCEIVING THAT IT HAD NEVER LEFT HER.
    • SONNET CCV.
      • Fresco ambroso fiorito e verde colle.
        • HE CONGRATULATES HIS HEART ON ITS REMAINING WITH HER.
      • HE CONGRATULATES HIS HEART ON ITS REMAINING WITH HER.
    • Fresco ambroso fiorito e verde colle.
      • HE CONGRATULATES HIS HEART ON ITS REMAINING WITH HER.
    • HE CONGRATULATES HIS HEART ON ITS REMAINING WITH HER.
    • SONNET CCVI.
      • Il mal mi preme, e mi spaventa il peggio.
        • TO A FRIEND, IN LOVE LIKE HIMSELF, HE CAN GIVE NO ADVICE BUT TO RAISE HIS SOUL TO GOD.
      • TO A FRIEND, IN LOVE LIKE HIMSELF, HE CAN GIVE NO ADVICE BUT TO RAISE HIS SOUL TO GOD.
    • Il mal mi preme, e mi spaventa il peggio.
      • TO A FRIEND, IN LOVE LIKE HIMSELF, HE CAN GIVE NO ADVICE BUT TO RAISE HIS SOUL TO GOD.
    • TO A FRIEND, IN LOVE LIKE HIMSELF, HE CAN GIVE NO ADVICE BUT TO RAISE HIS SOUL TO GOD.
    • SONNET CCVII.
      • Due rose fresche, e colte in paradiso.
        • THE TWO ROSES.
      • THE TWO ROSES.
    • Due rose fresche, e colte in paradiso.
      • THE TWO ROSES.
    • THE TWO ROSES.
    • SONNET CCVIII.
      • L' aura che 'l verde Lauro e l' aureo crine.
        • HE PRAYS THAT HE MAY DIE BEFORE LAURA.
      • HE PRAYS THAT HE MAY DIE BEFORE LAURA.
    • L' aura che 'l verde Lauro e l' aureo crine.
      • HE PRAYS THAT HE MAY DIE BEFORE LAURA.
    • HE PRAYS THAT HE MAY DIE BEFORE LAURA.
    • SONNET CCIX.
      • Parrà forse ad alcun, che 'n lodar quella.
        • HE INVITES THOSE TO WHOM HIS PRAISES SEEM EXCESSIVE TO BEHOLD THE OBJECT OF THEM.
      • HE INVITES THOSE TO WHOM HIS PRAISES SEEM EXCESSIVE TO BEHOLD THE OBJECT OF THEM.
    • Parrà forse ad alcun, che 'n lodar quella.
      • HE INVITES THOSE TO WHOM HIS PRAISES SEEM EXCESSIVE TO BEHOLD THE OBJECT OF THEM.
    • HE INVITES THOSE TO WHOM HIS PRAISES SEEM EXCESSIVE TO BEHOLD THE OBJECT OF THEM.
    • SONNET CCX.
      • Chi vuol veder quantunque può Natura.
        • WHOEVER BEHOLDS HER MUST ADMIT THAT HIS PRAISES CANNOT REACH HER PERFECTION.
      • WHOEVER BEHOLDS HER MUST ADMIT THAT HIS PRAISES CANNOT REACH HER PERFECTION.
    • Chi vuol veder quantunque può Natura.
      • WHOEVER BEHOLDS HER MUST ADMIT THAT HIS PRAISES CANNOT REACH HER PERFECTION.
    • WHOEVER BEHOLDS HER MUST ADMIT THAT HIS PRAISES CANNOT REACH HER PERFECTION.
    • SONNET CCXI.
      • Qual paura ho, quando mi torna a mente.
        • MELANCHOLY RECOLLECTIONS AND PRESAGES.
      • MELANCHOLY RECOLLECTIONS AND PRESAGES.
    • Qual paura ho, quando mi torna a mente.
      • MELANCHOLY RECOLLECTIONS AND PRESAGES.
    • MELANCHOLY RECOLLECTIONS AND PRESAGES.
    • SONNET CCXII.
      • Solea lontana in sonno consolarme.
        • SHE ANNOUNCES TO HIM, IN A VISION, THAT HE WILL NEVER SEE HER MORE.
      • SHE ANNOUNCES TO HIM, IN A VISION, THAT HE WILL NEVER SEE HER MORE.
    • Solea lontana in sonno consolarme.
      • SHE ANNOUNCES TO HIM, IN A VISION, THAT HE WILL NEVER SEE HER MORE.
    • SHE ANNOUNCES TO HIM, IN A VISION, THAT HE WILL NEVER SEE HER MORE.
    • SONNET CCXIII.
      • O misera ed orribil visione.
        • HE CANNOT BELIEVE IN HER DEATH, BUT IF TRUE, HE PRAYS GOD TO TAKE HIM ALSO FROM LIFE.
      • HE CANNOT BELIEVE IN HER DEATH, BUT IF TRUE, HE PRAYS GOD TO TAKE HIM ALSO FROM LIFE.
    • O misera ed orribil visione.
      • HE CANNOT BELIEVE IN HER DEATH, BUT IF TRUE, HE PRAYS GOD TO TAKE HIM ALSO FROM LIFE.
    • HE CANNOT BELIEVE IN HER DEATH, BUT IF TRUE, HE PRAYS GOD TO TAKE HIM ALSO FROM LIFE.
    • SONNET CCXIV.
      • In dubbio di mio stato, or piango, or canto.
        • TO HIS LONGING TO SEE HER AGAIN IS NOW ADDED THE FEAR OF SEEING HER NO MORE.
      • TO HIS LONGING TO SEE HER AGAIN IS NOW ADDED THE FEAR OF SEEING HER NO MORE.
    • In dubbio di mio stato, or piango, or canto.
      • TO HIS LONGING TO SEE HER AGAIN IS NOW ADDED THE FEAR OF SEEING HER NO MORE.
    • TO HIS LONGING TO SEE HER AGAIN IS NOW ADDED THE FEAR OF SEEING HER NO MORE.
    • SONNET CCXV.
      • O dolci sguardi, o parolette accorte.
        • HE SIGHS FOR THOSE GLANCES FROM WHICH, TO HIS GRIEF, FORTUNE EVER DELIGHTS TO WITHDRAW HIM.
      • HE SIGHS FOR THOSE GLANCES FROM WHICH, TO HIS GRIEF, FORTUNE EVER DELIGHTS TO WITHDRAW HIM.
    • O dolci sguardi, o parolette accorte.
      • HE SIGHS FOR THOSE GLANCES FROM WHICH, TO HIS GRIEF, FORTUNE EVER DELIGHTS TO WITHDRAW HIM.
    • HE SIGHS FOR THOSE GLANCES FROM WHICH, TO HIS GRIEF, FORTUNE EVER DELIGHTS TO WITHDRAW HIM.
    • SONNET CCXVI.
      • I' pur ascolto, e non odo novella.
        • HEARING NO TIDINGS OF HER, HE BEGINS TO DESPAIR.
      • HEARING NO TIDINGS OF HER, HE BEGINS TO DESPAIR.
    • I' pur ascolto, e non odo novella.
      • HEARING NO TIDINGS OF HER, HE BEGINS TO DESPAIR.
    • HEARING NO TIDINGS OF HER, HE BEGINS TO DESPAIR.
    • SONNET CCXVII.
      • La sera desiar, odiar l' aurora.
        • CONTRARY TO THE WONT OF LOVERS, HE PREFERS MORN TO EVE.
      • CONTRARY TO THE WONT OF LOVERS, HE PREFERS MORN TO EVE.
    • La sera desiar, odiar l' aurora.
      • CONTRARY TO THE WONT OF LOVERS, HE PREFERS MORN TO EVE.
    • CONTRARY TO THE WONT OF LOVERS, HE PREFERS MORN TO EVE.
    • SONNET CCXVIII.
      • Far potess' io vendetta di colei.
        • HIS SOUL VISITS HER IN SLEEP.
      • HIS SOUL VISITS HER IN SLEEP.
    • Far potess' io vendetta di colei.
      • HIS SOUL VISITS HER IN SLEEP.
    • HIS SOUL VISITS HER IN SLEEP.
    • SONNET CCXIX.
      • In quel bel viso, ch' i' sospiro e bramo.
        • ON LAURA PUTTING HER HAND BEFORE HER EYES WHILE HE WAS GAZING ON HER.
      • ON LAURA PUTTING HER HAND BEFORE HER EYES WHILE HE WAS GAZING ON HER.
    • In quel bel viso, ch' i' sospiro e bramo.
      • ON LAURA PUTTING HER HAND BEFORE HER EYES WHILE HE WAS GAZING ON HER.
    • ON LAURA PUTTING HER HAND BEFORE HER EYES WHILE HE WAS GAZING ON HER.
    • SONNET CCXX.
      • Vive faville uscian de' duo bei lumi.
        • A SMILING WELCOME, WHICH LAURA GAVE HIM UNEXPECTEDLY, ALMOST KILLS HIM WITH JOY.
      • A SMILING WELCOME, WHICH LAURA GAVE HIM UNEXPECTEDLY, ALMOST KILLS HIM WITH JOY.
    • Vive faville uscian de' duo bei lumi.
      • A SMILING WELCOME, WHICH LAURA GAVE HIM UNEXPECTEDLY, ALMOST KILLS HIM WITH JOY.
    • A SMILING WELCOME, WHICH LAURA GAVE HIM UNEXPECTEDLY, ALMOST KILLS HIM WITH JOY.
    • SONNET CCXXI.
      • Cercato ho sempre solitaria vita.
        • THINKING ALWAYS OF LAURA, IT PAINS HIM TO REMEMBER WHERE SHE IS LEFT.
      • THINKING ALWAYS OF LAURA, IT PAINS HIM TO REMEMBER WHERE SHE IS LEFT.
    • Cercato ho sempre solitaria vita.
      • THINKING ALWAYS OF LAURA, IT PAINS HIM TO REMEMBER WHERE SHE IS LEFT.
    • THINKING ALWAYS OF LAURA, IT PAINS HIM TO REMEMBER WHERE SHE IS LEFT.
    • SONNET CCXXII.
      • In tale Stella duo begli occhi vidi.
        • THE BEAUTY OF LAURA IS PEERLESS.
      • THE BEAUTY OF LAURA IS PEERLESS.
    • In tale Stella duo begli occhi vidi.
      • THE BEAUTY OF LAURA IS PEERLESS.
    • THE BEAUTY OF LAURA IS PEERLESS.
    • SONNET CCXXIII.
      • Qual donna attende a gloriosa fama.
        • THE EYES OF LAURA ARE THE SCHOOL OF VIRTUE.
      • THE EYES OF LAURA ARE THE SCHOOL OF VIRTUE.
    • Qual donna attende a gloriosa fama.
      • THE EYES OF LAURA ARE THE SCHOOL OF VIRTUE.
    • THE EYES OF LAURA ARE THE SCHOOL OF VIRTUE.
    • SONNET CCXXIV.
      • Cara la vita, e dopo lei mi pare.
        • HONOUR TO BE PREFERRED TO LIFE.
      • HONOUR TO BE PREFERRED TO LIFE.
    • Cara la vita, e dopo lei mi pare.
      • HONOUR TO BE PREFERRED TO LIFE.
    • HONOUR TO BE PREFERRED TO LIFE.
    • SONNET CCXXV.
      • Arbor vittoriosa e trionfale.
        • HE EXTOLS THE VIRTUE OF LAURA.
      • HE EXTOLS THE VIRTUE OF LAURA.
    • Arbor vittoriosa e trionfale.
      • HE EXTOLS THE VIRTUE OF LAURA.
    • HE EXTOLS THE VIRTUE OF LAURA.
    • CANZONE XXI.
      • I' vo pensando, e nel pensier m' assale.
        • SELF-CONFLICT.
      • SELF-CONFLICT.
    • I' vo pensando, e nel pensier m' assale.
      • SELF-CONFLICT.
    • SELF-CONFLICT.
    • SONNET CCXXVI.
      • Aspro core e selvaggio, e cruda voglia.
        • HOPE ALONE SUPPORTS HIM IN HIS MISERY.
      • HOPE ALONE SUPPORTS HIM IN HIS MISERY.
    • Aspro core e selvaggio, e cruda voglia.
      • HOPE ALONE SUPPORTS HIM IN HIS MISERY.
    • HOPE ALONE SUPPORTS HIM IN HIS MISERY.
    • SONNET CCXXVII.
      • Signor mio caro, ogni pensier mi tira.
        • HE LAMENTS HIS ABSENCE FROM LAURA AND COLONNA, THE ONLY OBJECTS OF HIS AFFECTION.
      • HE LAMENTS HIS ABSENCE FROM LAURA AND COLONNA, THE ONLY OBJECTS OF HIS AFFECTION.
    • Signor mio caro, ogni pensier mi tira.
      • HE LAMENTS HIS ABSENCE FROM LAURA AND COLONNA, THE ONLY OBJECTS OF HIS AFFECTION.
    • HE LAMENTS HIS ABSENCE FROM LAURA AND COLONNA, THE ONLY OBJECTS OF HIS AFFECTION.
    • TO LAURA IN DEATH.
    • SONNET I.
      • Oimè il bel viso! oimè il soave sguardo!
        • ON THE ANNOUNCEMENT OF THE DEATH OF LAURA.
      • ON THE ANNOUNCEMENT OF THE DEATH OF LAURA.
    • Oimè il bel viso! oimè il soave sguardo!
      • ON THE ANNOUNCEMENT OF THE DEATH OF LAURA.
    • ON THE ANNOUNCEMENT OF THE DEATH OF LAURA.
    • CANZONE I.
      • Che debb' io far? che mi consigli, Amore?
        • HE ASKS COUNSEL OF LOVE, WHETHER HE SHOULD FOLLOW LAURA, OR STILL ENDURE EXISTENCE.
      • HE ASKS COUNSEL OF LOVE, WHETHER HE SHOULD FOLLOW LAURA, OR STILL ENDURE EXISTENCE.
    • Che debb' io far? che mi consigli, Amore?
      • HE ASKS COUNSEL OF LOVE, WHETHER HE SHOULD FOLLOW LAURA, OR STILL ENDURE EXISTENCE.
    • HE ASKS COUNSEL OF LOVE, WHETHER HE SHOULD FOLLOW LAURA, OR STILL ENDURE EXISTENCE.
    • SONNET II.
      • Rotta è l' alta Colonna, e 'l verde Lauro.
        • HE BEWAILS HIS DOUBLE LOSS IN THE DEATHS OF LAURA, AND OF COLONNA.
      • HE BEWAILS HIS DOUBLE LOSS IN THE DEATHS OF LAURA, AND OF COLONNA.
    • Rotta è l' alta Colonna, e 'l verde Lauro.
      • HE BEWAILS HIS DOUBLE LOSS IN THE DEATHS OF LAURA, AND OF COLONNA.
    • HE BEWAILS HIS DOUBLE LOSS IN THE DEATHS OF LAURA, AND OF COLONNA.
    • CANZONE II.
      • Amor, se vuoi ch' i' torni al giogo antico.
        • UNLESS LOVE CAN RESTORE HER TO LIFE, HE WILL NEVER AGAIN BE HIS SLAVE.
      • UNLESS LOVE CAN RESTORE HER TO LIFE, HE WILL NEVER AGAIN BE HIS SLAVE.
    • Amor, se vuoi ch' i' torni al giogo antico.
      • UNLESS LOVE CAN RESTORE HER TO LIFE, HE WILL NEVER AGAIN BE HIS SLAVE.
    • UNLESS LOVE CAN RESTORE HER TO LIFE, HE WILL NEVER AGAIN BE HIS SLAVE.
    • SONNET III.
      • L' ardente nodo ov' io fui, d' ora in ora.
        • ON THE DEATH OF ANOTHER LADY.
      • ON THE DEATH OF ANOTHER LADY.
    • L' ardente nodo ov' io fui, d' ora in ora.
      • ON THE DEATH OF ANOTHER LADY.
    • ON THE DEATH OF ANOTHER LADY.
    • SONNET IV.
      • La vita fugge, e non s' arresta un' ora.
        • PAST, PRESENT, AND FUTURE ARE NOW ALIKE PAINFUL TO HIM.
      • PAST, PRESENT, AND FUTURE ARE NOW ALIKE PAINFUL TO HIM.
    • La vita fugge, e non s' arresta un' ora.
      • PAST, PRESENT, AND FUTURE ARE NOW ALIKE PAINFUL TO HIM.
    • PAST, PRESENT, AND FUTURE ARE NOW ALIKE PAINFUL TO HIM.
    • SONNET V.
      • Che fai? che pensi? che pur dietro guardi.
        • HE ENCOURAGES HIS SOUL TO LIFT ITSELF TO GOD, AND TO ABANDON THE VANITIES OF EARTH.
      • HE ENCOURAGES HIS SOUL TO LIFT ITSELF TO GOD, AND TO ABANDON THE VANITIES OF EARTH.
    • Che fai? che pensi? che pur dietro guardi.
      • HE ENCOURAGES HIS SOUL TO LIFT ITSELF TO GOD, AND TO ABANDON THE VANITIES OF EARTH.
    • HE ENCOURAGES HIS SOUL TO LIFT ITSELF TO GOD, AND TO ABANDON THE VANITIES OF EARTH.
    • SONNET VI.
      • Datemi pace, o duri miei pensieri.
        • HE COMPARES HIMSELF TO A BESIEGED CITY, AND ACCUSES HIS OWN HEART OF TREASON.
      • HE COMPARES HIMSELF TO A BESIEGED CITY, AND ACCUSES HIS OWN HEART OF TREASON.
    • Datemi pace, o duri miei pensieri.
      • HE COMPARES HIMSELF TO A BESIEGED CITY, AND ACCUSES HIS OWN HEART OF TREASON.
    • HE COMPARES HIMSELF TO A BESIEGED CITY, AND ACCUSES HIS OWN HEART OF TREASON.
    • SONNET VII.
      • Occhi miei, oscurato è 'l nostro sole.
        • HE ENDEAVOURS TO FIND PEACE IN THE THOUGHT THAT SHE IS IN HEAVEN.
      • HE ENDEAVOURS TO FIND PEACE IN THE THOUGHT THAT SHE IS IN HEAVEN.
    • Occhi miei, oscurato è 'l nostro sole.
      • HE ENDEAVOURS TO FIND PEACE IN THE THOUGHT THAT SHE IS IN HEAVEN.
    • HE ENDEAVOURS TO FIND PEACE IN THE THOUGHT THAT SHE IS IN HEAVEN.
    • SONNET VIII.
      • Poichè la vista angelica serena.
        • WITH HER, HIS ONLY SOLACE, IS TAKEN AWAY ALL HIS DESIRE OF LIFE.
      • WITH HER, HIS ONLY SOLACE, IS TAKEN AWAY ALL HIS DESIRE OF LIFE.
    • Poichè la vista angelica serena.
      • WITH HER, HIS ONLY SOLACE, IS TAKEN AWAY ALL HIS DESIRE OF LIFE.
    • WITH HER, HIS ONLY SOLACE, IS TAKEN AWAY ALL HIS DESIRE OF LIFE.
    • SONNET IX.
      • S' Amor novo consiglio non n' apporta.
        • HE DESCRIBES HIS SAD STATE.
      • HE DESCRIBES HIS SAD STATE.
    • S' Amor novo consiglio non n' apporta.
      • HE DESCRIBES HIS SAD STATE.
    • HE DESCRIBES HIS SAD STATE.
    • SONNET X.
      • Nell' età sua più bella e più fiorita.
        • HE DESIRES TO DIE, THAT HIS SOUL MAY BE WITH HER, AS HIS THOUGHTS ALREADY ARE.
      • HE DESIRES TO DIE, THAT HIS SOUL MAY BE WITH HER, AS HIS THOUGHTS ALREADY ARE.
    • Nell' età sua più bella e più fiorita.
      • HE DESIRES TO DIE, THAT HIS SOUL MAY BE WITH HER, AS HIS THOUGHTS ALREADY ARE.
    • HE DESIRES TO DIE, THAT HIS SOUL MAY BE WITH HER, AS HIS THOUGHTS ALREADY ARE.
    • SONNET XI.
      • Se lamentar augelli, o Verdi fronde.
        • SHE IS EVER PRESENT TO HIM.
      • SHE IS EVER PRESENT TO HIM.
    • Se lamentar augelli, o Verdi fronde.
      • SHE IS EVER PRESENT TO HIM.
    • SHE IS EVER PRESENT TO HIM.
    • SONNET XII.
      • Mai non fu' in parte ove sì chiar' vedessi.
        • VAUCLUSE.
      • VAUCLUSE.
    • Mai non fu' in parte ove sì chiar' vedessi.
      • VAUCLUSE.
    • VAUCLUSE.
    • SONNET XIII.
      • Quante fiate al mio dolce ricetto.
        • HER FORM STILL HAUNTS HIM IN SOLITUDE.
      • HER FORM STILL HAUNTS HIM IN SOLITUDE.
    • Quante fiate al mio dolce ricetto.
      • HER FORM STILL HAUNTS HIM IN SOLITUDE.
    • HER FORM STILL HAUNTS HIM IN SOLITUDE.
    • SONNET XIV.
      • Alma felice, che sovente torni.
        • HE THANKS HER THAT FROM TIME TO TIME SHE RETURNS TO CONSOLE HIM WITH HER PRESENCE.
      • HE THANKS HER THAT FROM TIME TO TIME SHE RETURNS TO CONSOLE HIM WITH HER PRESENCE.
    • Alma felice, che sovente torni.
      • HE THANKS HER THAT FROM TIME TO TIME SHE RETURNS TO CONSOLE HIM WITH HER PRESENCE.
    • HE THANKS HER THAT FROM TIME TO TIME SHE RETURNS TO CONSOLE HIM WITH HER PRESENCE.
    • SONNET XV.
      • Discolorato hai, Morte, il più bel volto.
        • HER PRESENCE IN VISIONS IS HIS ONLY CONSOLATION.
      • HER PRESENCE IN VISIONS IS HIS ONLY CONSOLATION.
    • Discolorato hai, Morte, il più bel volto.
      • HER PRESENCE IN VISIONS IS HIS ONLY CONSOLATION.
    • HER PRESENCE IN VISIONS IS HIS ONLY CONSOLATION.
    • SONNET XVI.
      • Sì breve è 'l tempo e 'l pensier sì veloce.
        • THE REMEMBRANCE OF HER CHASES SADNESS FROM HIS HEART.
      • THE REMEMBRANCE OF HER CHASES SADNESS FROM HIS HEART.
    • Sì breve è 'l tempo e 'l pensier sì veloce.
      • THE REMEMBRANCE OF HER CHASES SADNESS FROM HIS HEART.
    • THE REMEMBRANCE OF HER CHASES SADNESS FROM HIS HEART.
    • SONNET XVII.
      • Nè mai pietosa madre al caro figlio.
        • HER COUNSEL ALONE AFFORDS HIM RELIEF.
      • HER COUNSEL ALONE AFFORDS HIM RELIEF.
    • Nè mai pietosa madre al caro figlio.
      • HER COUNSEL ALONE AFFORDS HIM RELIEF.
    • HER COUNSEL ALONE AFFORDS HIM RELIEF.
    • SONNET XVIII.
      • Se quell' aura soave de' sospiri.
        • SHE RETURNS IN PITY TO COMFORT HIM WITH HER ADVICE.
      • SHE RETURNS IN PITY TO COMFORT HIM WITH HER ADVICE.
    • Se quell' aura soave de' sospiri.
      • SHE RETURNS IN PITY TO COMFORT HIM WITH HER ADVICE.
    • SHE RETURNS IN PITY TO COMFORT HIM WITH HER ADVICE.
    • SONNET XIX.
      • Sennuccio mio, benchè doglioso e solo.
        • ON THE DEATH OF HIS FRIEND SENNUCCIO.
      • ON THE DEATH OF HIS FRIEND SENNUCCIO.
    • Sennuccio mio, benchè doglioso e solo.
      • ON THE DEATH OF HIS FRIEND SENNUCCIO.
    • ON THE DEATH OF HIS FRIEND SENNUCCIO.
    • SONNET XX.
      • I' ho pien di sospir quest' aer tutto.
        • VAUCLUSE HAS BECOME TO HIM A SCENE OF PAIN.
      • VAUCLUSE HAS BECOME TO HIM A SCENE OF PAIN.
    • I' ho pien di sospir quest' aer tutto.
      • VAUCLUSE HAS BECOME TO HIM A SCENE OF PAIN.
    • VAUCLUSE HAS BECOME TO HIM A SCENE OF PAIN.
    • SONNET XXI.
      • L' alma mia fiamma oltra le belle bella.
        • HE ACKNOWLEDGES THE WISDOM OF HER PAST COLDNESS TO HIM.
      • HE ACKNOWLEDGES THE WISDOM OF HER PAST COLDNESS TO HIM.
    • L' alma mia fiamma oltra le belle bella.
      • HE ACKNOWLEDGES THE WISDOM OF HER PAST COLDNESS TO HIM.
    • HE ACKNOWLEDGES THE WISDOM OF HER PAST COLDNESS TO HIM.
    • SONNET XXII.
      • Come va 'l mondo! or mi diletta e piace.
        • HE BLESSES LAURA FOR HER VIRTUE.
      • HE BLESSES LAURA FOR HER VIRTUE.
    • Come va 'l mondo! or mi diletta e piace.
      • HE BLESSES LAURA FOR HER VIRTUE.
    • HE BLESSES LAURA FOR HER VIRTUE.
    • SONNET XXIII.
      • Quand' io veggio dal ciel scender l' Aurora.
        • MORN RENDERS HIS GRIEF MORE POIGNANT.
      • MORN RENDERS HIS GRIEF MORE POIGNANT.
    • Quand' io veggio dal ciel scender l' Aurora.
      • MORN RENDERS HIS GRIEF MORE POIGNANT.
    • MORN RENDERS HIS GRIEF MORE POIGNANT.
    • SONNET XXIV.
      • Gli occhi di ch' io parlai sì caldamente.
        • HIS LYRE IS NOW ATTUNED ONLY TO WOE.
      • HIS LYRE IS NOW ATTUNED ONLY TO WOE.
    • Gli occhi di ch' io parlai sì caldamente.
      • HIS LYRE IS NOW ATTUNED ONLY TO WOE.
    • HIS LYRE IS NOW ATTUNED ONLY TO WOE.
    • SONNET XXV.
      • S' io avessi pensato che sì care.
        • HIS POEMS WERE WRITTEN ONLY TO SOOTHE HIS OWN GRIEF: OTHERWISE HE WOULD HAVE LABOURED TO MAKE THEM MORE DESERVING OF THE FAME THEY HAVE ACQUIRED.
      • HIS POEMS WERE WRITTEN ONLY TO SOOTHE HIS OWN GRIEF: OTHERWISE HE WOULD HAVE LABOURED TO MAKE THEM MORE DESERVING OF THE FAME THEY HAVE ACQUIRED.
    • S' io avessi pensato che sì care.
      • HIS POEMS WERE WRITTEN ONLY TO SOOTHE HIS OWN GRIEF: OTHERWISE HE WOULD HAVE LABOURED TO MAKE THEM MORE DESERVING OF THE FAME THEY HAVE ACQUIRED.
    • HIS POEMS WERE WRITTEN ONLY TO SOOTHE HIS OWN GRIEF: OTHERWISE HE WOULD HAVE LABOURED TO MAKE THEM MORE DESERVING OF THE FAME THEY HAVE ACQUIRED.
    • SONNET XXVI.
      • Soleasi nel mio cor star bella e viva.
        • SINCE HER DEATH, NOTHING IS LEFT TO HIM BUT GRIEF.
      • SINCE HER DEATH, NOTHING IS LEFT TO HIM BUT GRIEF.
    • Soleasi nel mio cor star bella e viva.
      • SINCE HER DEATH, NOTHING IS LEFT TO HIM BUT GRIEF.
    • SINCE HER DEATH, NOTHING IS LEFT TO HIM BUT GRIEF.
    • SONNET XXVII.
      • Soleano i miei pensier soavemente.
        • HE COMFORTS HIMSELF WITH THE HOPE THAT SHE HEARS HIM.
      • HE COMFORTS HIMSELF WITH THE HOPE THAT SHE HEARS HIM.
    • Soleano i miei pensier soavemente.
      • HE COMFORTS HIMSELF WITH THE HOPE THAT SHE HEARS HIM.
    • HE COMFORTS HIMSELF WITH THE HOPE THAT SHE HEARS HIM.
    • SONNET XXVIII.
      • I' mi soglio accusare, ed or mi scuso.
        • HE GLORIES IN HIS LOVE.
      • HE GLORIES IN HIS LOVE.
    • I' mi soglio accusare, ed or mi scuso.
      • HE GLORIES IN HIS LOVE.
    • HE GLORIES IN HIS LOVE.
    • SONNET XXIX.
      • Due gran nemiche insieme erano aggiunte.
        • THE UNION OF BEAUTY AND VIRTUE IS DISSOLVED BY HER DEATH.
      • THE UNION OF BEAUTY AND VIRTUE IS DISSOLVED BY HER DEATH.
    • Due gran nemiche insieme erano aggiunte.
      • THE UNION OF BEAUTY AND VIRTUE IS DISSOLVED BY HER DEATH.
    • THE UNION OF BEAUTY AND VIRTUE IS DISSOLVED BY HER DEATH.
    • SONNET XXX.
      • Quand' io mi volgo indietro a mirar gli anni.
        • THE REMEMBRANCE OF THE PAST ENHANCES HIS MISERY.
      • THE REMEMBRANCE OF THE PAST ENHANCES HIS MISERY.
    • Quand' io mi volgo indietro a mirar gli anni.
      • THE REMEMBRANCE OF THE PAST ENHANCES HIS MISERY.
    • THE REMEMBRANCE OF THE PAST ENHANCES HIS MISERY.
    • SONNET XXXI.
      • Ov' è la fronte che con picciol cenno.
        • HE ENUMERATES AND EULOGISES THE GRACES OF LAURA.
      • HE ENUMERATES AND EULOGISES THE GRACES OF LAURA.
    • Ov' è la fronte che con picciol cenno.
      • HE ENUMERATES AND EULOGISES THE GRACES OF LAURA.
    • HE ENUMERATES AND EULOGISES THE GRACES OF LAURA.
    • SONNET XXXII.
      • Quanta invidia ti porto, avara terra.
        • HE ENVIES EARTH, HEAVEN, AND DEATH THEIR POSSESSION OF HIS TREASURE.
      • HE ENVIES EARTH, HEAVEN, AND DEATH THEIR POSSESSION OF HIS TREASURE.
    • Quanta invidia ti porto, avara terra.
      • HE ENVIES EARTH, HEAVEN, AND DEATH THEIR POSSESSION OF HIS TREASURE.
    • HE ENVIES EARTH, HEAVEN, AND DEATH THEIR POSSESSION OF HIS TREASURE.
    • SONNET XXXIII.
      • Valle che d' lamenti miei se' piena.
        • ON HIS RETURN TO VAUCLUSE AFTER LAURA'S DEATH.
      • ON HIS RETURN TO VAUCLUSE AFTER LAURA'S DEATH.
    • Valle che d' lamenti miei se' piena.
      • ON HIS RETURN TO VAUCLUSE AFTER LAURA'S DEATH.
    • ON HIS RETURN TO VAUCLUSE AFTER LAURA'S DEATH.
    • SONNET XXXIV.
      • Levommi il mio pensier in parte ov' era.
        • SOARING IN IMAGINATION TO HEAVEN, HE MEETS LAURA, AND IS HAPPY.
      • SOARING IN IMAGINATION TO HEAVEN, HE MEETS LAURA, AND IS HAPPY.
    • Levommi il mio pensier in parte ov' era.
      • SOARING IN IMAGINATION TO HEAVEN, HE MEETS LAURA, AND IS HAPPY.
    • SOARING IN IMAGINATION TO HEAVEN, HE MEETS LAURA, AND IS HAPPY.
    • SONNET XXXV.
      • Amor che meco al buon tempo ti stavi.
        • HE VENTS HIS SORROW TO ALL WHO WITNESSED HIS FORMER FELICITY.
      • HE VENTS HIS SORROW TO ALL WHO WITNESSED HIS FORMER FELICITY.
    • Amor che meco al buon tempo ti stavi.
      • HE VENTS HIS SORROW TO ALL WHO WITNESSED HIS FORMER FELICITY.
    • HE VENTS HIS SORROW TO ALL WHO WITNESSED HIS FORMER FELICITY.
    • SONNET XXXVI.
      • Mentre che 'l cor dagli amorosi vermi.
        • HAD SHE NOT DIED SO EARLY, HE WOULD HAVE LEARNED TO PRAISE HER MORE WORTHILY.
      • HAD SHE NOT DIED SO EARLY, HE WOULD HAVE LEARNED TO PRAISE HER MORE WORTHILY.
    • Mentre che 'l cor dagli amorosi vermi.
      • HAD SHE NOT DIED SO EARLY, HE WOULD HAVE LEARNED TO PRAISE HER MORE WORTHILY.
    • HAD SHE NOT DIED SO EARLY, HE WOULD HAVE LEARNED TO PRAISE HER MORE WORTHILY.
    • SONNET XXXVII.
      • Anima bella, da quel nodo sciolta.
        • HE PRAYS LAURA TO LOOK DOWN UPON HIM FROM HEAVEN.
      • HE PRAYS LAURA TO LOOK DOWN UPON HIM FROM HEAVEN.
    • Anima bella, da quel nodo sciolta.
      • HE PRAYS LAURA TO LOOK DOWN UPON HIM FROM HEAVEN.
    • HE PRAYS LAURA TO LOOK DOWN UPON HIM FROM HEAVEN.
    • SONNET XXXVIII.
      • Quel sol che mi mostrava il cammin destro.
        • LOVE AND HE SEEK LAURA, BUT FIND NO TRACES OF HER EXCEPT IN THE SKY.
      • LOVE AND HE SEEK LAURA, BUT FIND NO TRACES OF HER EXCEPT IN THE SKY.
    • Quel sol che mi mostrava il cammin destro.
      • LOVE AND HE SEEK LAURA, BUT FIND NO TRACES OF HER EXCEPT IN THE SKY.
    • LOVE AND HE SEEK LAURA, BUT FIND NO TRACES OF HER EXCEPT IN THE SKY.
    • SONNET XXXIX.
      • Io pensava assai destro esser sull' ale.
        • UNWORTHY TO HAVE LOOKED UPON HER, HE IS STILL MORE SO TO ATTEMPT HER PRAISES.
      • UNWORTHY TO HAVE LOOKED UPON HER, HE IS STILL MORE SO TO ATTEMPT HER PRAISES.
    • Io pensava assai destro esser sull' ale.
      • UNWORTHY TO HAVE LOOKED UPON HER, HE IS STILL MORE SO TO ATTEMPT HER PRAISES.
    • UNWORTHY TO HAVE LOOKED UPON HER, HE IS STILL MORE SO TO ATTEMPT HER PRAISES.
    • SONNET XL.
      • Quella per cui con Sorga ho cangiat' Arno.
        • HE ATTEMPTS TO PAINT HER BEAUTIES, BUT NOT HER VIRTUES.
      • HE ATTEMPTS TO PAINT HER BEAUTIES, BUT NOT HER VIRTUES.
    • Quella per cui con Sorga ho cangiat' Arno.
      • HE ATTEMPTS TO PAINT HER BEAUTIES, BUT NOT HER VIRTUES.
    • HE ATTEMPTS TO PAINT HER BEAUTIES, BUT NOT HER VIRTUES.
    • SONNET XLI.
      • L' alto e novo miracol ch' a dì nostri.
        • IT IS IMPOSSIBLE FOR HIM TO DESCRIBE HER EXCELLENCES.
      • IT IS IMPOSSIBLE FOR HIM TO DESCRIBE HER EXCELLENCES.
    • L' alto e novo miracol ch' a dì nostri.
      • IT IS IMPOSSIBLE FOR HIM TO DESCRIBE HER EXCELLENCES.
    • IT IS IMPOSSIBLE FOR HIM TO DESCRIBE HER EXCELLENCES.
    • SONNET XLII.
      • Zefiro torna, e 'l bel tempo rimena.
        • RETURNING SPRING BRINGS TO HIM ONLY INCREASE OF GRIEF.
      • RETURNING SPRING BRINGS TO HIM ONLY INCREASE OF GRIEF.
    • Zefiro torna, e 'l bel tempo rimena.
      • RETURNING SPRING BRINGS TO HIM ONLY INCREASE OF GRIEF.
    • RETURNING SPRING BRINGS TO HIM ONLY INCREASE OF GRIEF.
    • SONNET XLIII.
      • Quel rosignuol che sì soave piagne.
        • THE SONG OF THE NIGHTINGALE REMINDS HIM OF HIS UNHAPPY LOT.
      • THE SONG OF THE NIGHTINGALE REMINDS HIM OF HIS UNHAPPY LOT.
    • Quel rosignuol che sì soave piagne.
      • THE SONG OF THE NIGHTINGALE REMINDS HIM OF HIS UNHAPPY LOT.
    • THE SONG OF THE NIGHTINGALE REMINDS HIM OF HIS UNHAPPY LOT.
    • SONNET XLIV.
      • Nè per sereno cielo ir vaghe stelle.
        • NOTHING THAT NATURE OFFERS CAN AFFORD HIM CONSOLATION.
      • NOTHING THAT NATURE OFFERS CAN AFFORD HIM CONSOLATION.
    • Nè per sereno cielo ir vaghe stelle.
      • NOTHING THAT NATURE OFFERS CAN AFFORD HIM CONSOLATION.
    • NOTHING THAT NATURE OFFERS CAN AFFORD HIM CONSOLATION.
    • SONNET XLV.
      • Passato è 'l tempo omai, lasso! che tanto.
        • HIS ONLY DESIRE IS AGAIN TO BE WITH HER.
      • HIS ONLY DESIRE IS AGAIN TO BE WITH HER.
    • Passato è 'l tempo omai, lasso! che tanto.
      • HIS ONLY DESIRE IS AGAIN TO BE WITH HER.
    • HIS ONLY DESIRE IS AGAIN TO BE WITH HER.
    • SONNET XLVI.
      • Mente mia che presaga de' tuoi danni.
        • HE RECALLS WITH GRIEF THEIR LAST MEETING.
      • HE RECALLS WITH GRIEF THEIR LAST MEETING.
    • Mente mia che presaga de' tuoi danni.
      • HE RECALLS WITH GRIEF THEIR LAST MEETING.
    • HE RECALLS WITH GRIEF THEIR LAST MEETING.
    • SONNET XLVII.
      • Tutta la mia fiorita e verde etade.
        • JUST WHEN HE MIGHT FAIRLY HOPE SOME RETURN OF AFFECTION, ENVIOUS DEATH CARRIES HER OFF.
      • JUST WHEN HE MIGHT FAIRLY HOPE SOME RETURN OF AFFECTION, ENVIOUS DEATH CARRIES HER OFF.
    • Tutta la mia fiorita e verde etade.
      • JUST WHEN HE MIGHT FAIRLY HOPE SOME RETURN OF AFFECTION, ENVIOUS DEATH CARRIES HER OFF.
    • JUST WHEN HE MIGHT FAIRLY HOPE SOME RETURN OF AFFECTION, ENVIOUS DEATH CARRIES HER OFF.
    • SONNET XLVIII.
      • Tempo era omai da trovar pace o tregua.
        • HE CONSOLES HIMSELF WITH THE BELIEF THAT SHE NOW AT LAST SYMPATHISES WITH HIM.
      • HE CONSOLES HIMSELF WITH THE BELIEF THAT SHE NOW AT LAST SYMPATHISES WITH HIM.
    • Tempo era omai da trovar pace o tregua.
      • HE CONSOLES HIMSELF WITH THE BELIEF THAT SHE NOW AT LAST SYMPATHISES WITH HIM.
    • HE CONSOLES HIMSELF WITH THE BELIEF THAT SHE NOW AT LAST SYMPATHISES WITH HIM.
    • SONNET XLIX.
      • Tranquillo porto avea mostrato Amore.
        • DEATH HAS ROBBED HIM IN ONE MOMENT OF THE FRUIT OF HIS LIFE.
      • DEATH HAS ROBBED HIM IN ONE MOMENT OF THE FRUIT OF HIS LIFE.
    • Tranquillo porto avea mostrato Amore.
      • DEATH HAS ROBBED HIM IN ONE MOMENT OF THE FRUIT OF HIS LIFE.
    • DEATH HAS ROBBED HIM IN ONE MOMENT OF THE FRUIT OF HIS LIFE.
    • SONNET L.
      • Al cader d' una pianta che si svelse.
        • UNDER THE ALLEGORY OF A LAUREL HE AGAIN DEPLORES HER DEATH.
      • UNDER THE ALLEGORY OF A LAUREL HE AGAIN DEPLORES HER DEATH.
    • Al cader d' una pianta che si svelse.
      • UNDER THE ALLEGORY OF A LAUREL HE AGAIN DEPLORES HER DEATH.
    • UNDER THE ALLEGORY OF A LAUREL HE AGAIN DEPLORES HER DEATH.
    • SONNET LI.
      • I dì miei più leggier che nessun cervo.
        • HIS PASSION FINDS ITS ONLY CONSOLATION IN CONTEMPLATING HER IN HEAVEN.
      • HIS PASSION FINDS ITS ONLY CONSOLATION IN CONTEMPLATING HER IN HEAVEN.
    • I dì miei più leggier che nessun cervo.
      • HIS PASSION FINDS ITS ONLY CONSOLATION IN CONTEMPLATING HER IN HEAVEN.
    • HIS PASSION FINDS ITS ONLY CONSOLATION IN CONTEMPLATING HER IN HEAVEN.
    • SONNET LII.
      • Sente l' aura mia antica, e i dolci colli.
        • HE REVISITS VAUCLUSE.
      • HE REVISITS VAUCLUSE.
    • Sente l' aura mia antica, e i dolci colli.
      • HE REVISITS VAUCLUSE.
    • HE REVISITS VAUCLUSE.
    • SONNET LIII.
      • E questo 'l nido in che la mia Fenice.
        • THE SIGHT OF LAURA'S HOUSE REMINDS HIM OF HIS MISERY.
      • THE SIGHT OF LAURA'S HOUSE REMINDS HIM OF HIS MISERY.
    • E questo 'l nido in che la mia Fenice.
      • THE SIGHT OF LAURA'S HOUSE REMINDS HIM OF HIS MISERY.
    • THE SIGHT OF LAURA'S HOUSE REMINDS HIM OF HIS MISERY.
    • SONNET LIV.
      • Mai non vedranno le mie luci asciutte.
        • TO THE MEMORY OF GIACOMO COLONNA, WHO DIED BEFORE PETRARCH COULD REPLY TO A LETTER OF HIS.
      • TO THE MEMORY OF GIACOMO COLONNA, WHO DIED BEFORE PETRARCH COULD REPLY TO A LETTER OF HIS.
    • Mai non vedranno le mie luci asciutte.
      • TO THE MEMORY OF GIACOMO COLONNA, WHO DIED BEFORE PETRARCH COULD REPLY TO A LETTER OF HIS.
    • TO THE MEMORY OF GIACOMO COLONNA, WHO DIED BEFORE PETRARCH COULD REPLY TO A LETTER OF HIS.
    • CANZONE III.
      • Standomi un giorno solo alla finestra.
        • UNDER VARIOUS ALLEGORIES HE PAINTS THE VIRTUE, BEAUTY, AND UNTIMELY DEATH OF LAURA.
      • UNDER VARIOUS ALLEGORIES HE PAINTS THE VIRTUE, BEAUTY, AND UNTIMELY DEATH OF LAURA.
    • Standomi un giorno solo alla finestra.
      • UNDER VARIOUS ALLEGORIES HE PAINTS THE VIRTUE, BEAUTY, AND UNTIMELY DEATH OF LAURA.
    • UNDER VARIOUS ALLEGORIES HE PAINTS THE VIRTUE, BEAUTY, AND UNTIMELY DEATH OF LAURA.
    • BALLATA I.
      • Amor, quando fioria.
        • HIS GRIEF AT SURVIVING HER IS MITIGATED BY THE CONSCIOUSNESS THAT SHE NOW KNOWS HIS HEART.
      • HIS GRIEF AT SURVIVING HER IS MITIGATED BY THE CONSCIOUSNESS THAT SHE NOW KNOWS HIS HEART.
    • Amor, quando fioria.
      • HIS GRIEF AT SURVIVING HER IS MITIGATED BY THE CONSCIOUSNESS THAT SHE NOW KNOWS HIS HEART.
    • HIS GRIEF AT SURVIVING HER IS MITIGATED BY THE CONSCIOUSNESS THAT SHE NOW KNOWS HIS HEART.
    • CANZONE IV.
      • Tacer non posso, e temo non adopre.
        • HE RECALLS HER MANY GRACES.
      • HE RECALLS HER MANY GRACES.
    • Tacer non posso, e temo non adopre.
      • HE RECALLS HER MANY GRACES.
    • HE RECALLS HER MANY GRACES.
    • SONNET LV.
      • Or hai fatto l' estremo di tua possa.
        • DEATH MAY DEPRIVE HIM OF THE SIGHT OF HER BEAUTIES, BUT NOT OF THE MEMORY OF HER VIRTUES.
      • DEATH MAY DEPRIVE HIM OF THE SIGHT OF HER BEAUTIES, BUT NOT OF THE MEMORY OF HER VIRTUES.
    • Or hai fatto l' estremo di tua possa.
      • DEATH MAY DEPRIVE HIM OF THE SIGHT OF HER BEAUTIES, BUT NOT OF THE MEMORY OF HER VIRTUES.
    • DEATH MAY DEPRIVE HIM OF THE SIGHT OF HER BEAUTIES, BUT NOT OF THE MEMORY OF HER VIRTUES.
    • SONNET LVI.
      • L' aura e l' odore e 'l refrigerio e l' ombra.
        • HER OWN VIRTUES IMMORTALISE HER IN HEAVEN, AND HIS PRAISES ON EARTH.
      • HER OWN VIRTUES IMMORTALISE HER IN HEAVEN, AND HIS PRAISES ON EARTH.
    • L' aura e l' odore e 'l refrigerio e l' ombra.
      • HER OWN VIRTUES IMMORTALISE HER IN HEAVEN, AND HIS PRAISES ON EARTH.
    • HER OWN VIRTUES IMMORTALISE HER IN HEAVEN, AND HIS PRAISES ON EARTH.
    • SONNET LVII.
      • L' ultimo, lasso! de' miei giorni allegri.
        • HE REVERTS TO THEIR LAST MEETING.
      • HE REVERTS TO THEIR LAST MEETING.
    • L' ultimo, lasso! de' miei giorni allegri.
      • HE REVERTS TO THEIR LAST MEETING.
    • HE REVERTS TO THEIR LAST MEETING.
    • SONNET LVIII.
      • O giorno, o ora, o ultimo momento.
        • HE MOURNS HIS WANT OF PERCEPTION AT THAT MEETING.
      • HE MOURNS HIS WANT OF PERCEPTION AT THAT MEETING.
    • O giorno, o ora, o ultimo momento.
      • HE MOURNS HIS WANT OF PERCEPTION AT THAT MEETING.
    • HE MOURNS HIS WANT OF PERCEPTION AT THAT MEETING.
    • SONNET LIX.
      • Quel vago, dolce, caro, onesto sguardo.
        • HE SHOULD HAVE FORESEEN HIS LOSS IN THE UNUSUAL LUSTRE OF HER EYES.
      • HE SHOULD HAVE FORESEEN HIS LOSS IN THE UNUSUAL LUSTRE OF HER EYES.
    • Quel vago, dolce, caro, onesto sguardo.
      • HE SHOULD HAVE FORESEEN HIS LOSS IN THE UNUSUAL LUSTRE OF HER EYES.
    • HE SHOULD HAVE FORESEEN HIS LOSS IN THE UNUSUAL LUSTRE OF HER EYES.
    • CANZONE V.
      • Solea dalla fontana di mia vita.
        • MEMORY IS HIS ONLY SOLACE AND SUPPORT.
      • MEMORY IS HIS ONLY SOLACE AND SUPPORT.
    • Solea dalla fontana di mia vita.
      • MEMORY IS HIS ONLY SOLACE AND SUPPORT.
    • MEMORY IS HIS ONLY SOLACE AND SUPPORT.
    • SESTINA I.
      • Mia benigna fortuna e 'l viver lieto.
        • IN HIS MISERY HE DESIRES DEATH THE MORE HE REMEMBERS HIS PAST CONTENTMENT AND COMFORT.
      • IN HIS MISERY HE DESIRES DEATH THE MORE HE REMEMBERS HIS PAST CONTENTMENT AND COMFORT.
    • Mia benigna fortuna e 'l viver lieto.
      • IN HIS MISERY HE DESIRES DEATH THE MORE HE REMEMBERS HIS PAST CONTENTMENT AND COMFORT.
    • IN HIS MISERY HE DESIRES DEATH THE MORE HE REMEMBERS HIS PAST CONTENTMENT AND COMFORT.
    • SONNET LX.
      • Ite, rime dolenti, al duro sasso.
        • HE PRAYS THAT SHE WILL BE NEAR HIM AT HIS DEATH, WHICH HE FEELS APPROACHING.
      • HE PRAYS THAT SHE WILL BE NEAR HIM AT HIS DEATH, WHICH HE FEELS APPROACHING.
    • Ite, rime dolenti, al duro sasso.
      • HE PRAYS THAT SHE WILL BE NEAR HIM AT HIS DEATH, WHICH HE FEELS APPROACHING.
    • HE PRAYS THAT SHE WILL BE NEAR HIM AT HIS DEATH, WHICH HE FEELS APPROACHING.
    • SONNET LXI.
      • S' onesto amor può meritar mercede.
        • HE PRAYS THAT, IN REWARD FOR HIS LONG AND VIRTUOUS ATTACHMENT, SHE WILL VISIT HIM IN DEATH.
      • HE PRAYS THAT, IN REWARD FOR HIS LONG AND VIRTUOUS ATTACHMENT, SHE WILL VISIT HIM IN DEATH.
    • S' onesto amor può meritar mercede.
      • HE PRAYS THAT, IN REWARD FOR HIS LONG AND VIRTUOUS ATTACHMENT, SHE WILL VISIT HIM IN DEATH.
    • HE PRAYS THAT, IN REWARD FOR HIS LONG AND VIRTUOUS ATTACHMENT, SHE WILL VISIT HIM IN DEATH.
    • SONNET LXII.
      • Vidi fra mille donne una già tale.
        • BEAUTY SHOWED ITSELF IN, AND DISAPPEARED WITH, LAURA.
      • BEAUTY SHOWED ITSELF IN, AND DISAPPEARED WITH, LAURA.
    • Vidi fra mille donne una già tale.
      • BEAUTY SHOWED ITSELF IN, AND DISAPPEARED WITH, LAURA.
    • BEAUTY SHOWED ITSELF IN, AND DISAPPEARED WITH, LAURA.
    • SONNET LXIII.
      • Tornami a mente, anzi v' è dentro quella.
        • SHE IS SO FIXED IN HIS HEART THAT AT TIMES HE BELIEVES HER STILL ALIVE, AND IS FORCED TO RECALL THE DATE OF HER DEATH.
      • SHE IS SO FIXED IN HIS HEART THAT AT TIMES HE BELIEVES HER STILL ALIVE, AND IS FORCED TO RECALL THE DATE OF HER DEATH.
    • Tornami a mente, anzi v' è dentro quella.
      • SHE IS SO FIXED IN HIS HEART THAT AT TIMES HE BELIEVES HER STILL ALIVE, AND IS FORCED TO RECALL THE DATE OF HER DEATH.
    • SHE IS SO FIXED IN HIS HEART THAT AT TIMES HE BELIEVES HER STILL ALIVE, AND IS FORCED TO RECALL THE DATE OF HER DEATH.
    • SONNET LXIV.
      • Questo nostro caduco e fragil bene.
        • NATURE DISPLAYED IN HER EVERY CHARM, BUT SOON WITHDREW HER FROM SIGHT.
      • NATURE DISPLAYED IN HER EVERY CHARM, BUT SOON WITHDREW HER FROM SIGHT.
    • Questo nostro caduco e fragil bene.
      • NATURE DISPLAYED IN HER EVERY CHARM, BUT SOON WITHDREW HER FROM SIGHT.
    • NATURE DISPLAYED IN HER EVERY CHARM, BUT SOON WITHDREW HER FROM SIGHT.
    • SONNET LXV.
      • O tempo, o ciel volubil che fuggendo.
        • HE NO LONGER CONTEMPLATES THE MORTAL, BUT THE IMMORTAL BEAUTIES OF LAURA.
      • HE NO LONGER CONTEMPLATES THE MORTAL, BUT THE IMMORTAL BEAUTIES OF LAURA.
    • O tempo, o ciel volubil che fuggendo.
      • HE NO LONGER CONTEMPLATES THE MORTAL, BUT THE IMMORTAL BEAUTIES OF LAURA.
    • HE NO LONGER CONTEMPLATES THE MORTAL, BUT THE IMMORTAL BEAUTIES OF LAURA.
    • SONNET LXVI.
      • Quel, che d' odore e di color vincea.
        • THE LAUREL, IN WHOM HE PLACED ALL HIS JOY HAS BEEN TAKEN FROM HIM TO ADORN HEAVEN.
      • THE LAUREL, IN WHOM HE PLACED ALL HIS JOY HAS BEEN TAKEN FROM HIM TO ADORN HEAVEN.
    • Quel, che d' odore e di color vincea.
      • THE LAUREL, IN WHOM HE PLACED ALL HIS JOY HAS BEEN TAKEN FROM HIM TO ADORN HEAVEN.
    • THE LAUREL, IN WHOM HE PLACED ALL HIS JOY HAS BEEN TAKEN FROM HIM TO ADORN HEAVEN.
    • SONNET LXVII.
      • Lasciato hai, Morte, senza sole il mondo.
        • HER TRUE WORTH WAS KNOWN ONLY TO HIM AND TO HEAVEN.
      • HER TRUE WORTH WAS KNOWN ONLY TO HIM AND TO HEAVEN.
    • Lasciato hai, Morte, senza sole il mondo.
      • HER TRUE WORTH WAS KNOWN ONLY TO HIM AND TO HEAVEN.
    • HER TRUE WORTH WAS KNOWN ONLY TO HIM AND TO HEAVEN.
    • SONNET LXVIII.
      • Conobbi, quanto il ciel gli occhi m' aperse.
        • HER PRAISES ARE, COMPARED WITH HER DESERTS, BUT AS A DROP TO THE OCEAN.
      • HER PRAISES ARE, COMPARED WITH HER DESERTS, BUT AS A DROP TO THE OCEAN.
    • Conobbi, quanto il ciel gli occhi m' aperse.
      • HER PRAISES ARE, COMPARED WITH HER DESERTS, BUT AS A DROP TO THE OCEAN.
    • HER PRAISES ARE, COMPARED WITH HER DESERTS, BUT AS A DROP TO THE OCEAN.
    • SONNET LXIX.
      • Dolce mio caro e prezioso pegno.
        • HE PRAYS HER TO APPEAR BEFORE HIM IN A VISION.
      • HE PRAYS HER TO APPEAR BEFORE HIM IN A VISION.
    • Dolce mio caro e prezioso pegno.
      • HE PRAYS HER TO APPEAR BEFORE HIM IN A VISION.
    • HE PRAYS HER TO APPEAR BEFORE HIM IN A VISION.
    • SONNET LXX.
      • Deh qual pietà, qual angel fu sì presto.
        • HIS PRAYER IS HEARD.
      • HIS PRAYER IS HEARD.
    • Deh qual pietà, qual angel fu sì presto.
      • HIS PRAYER IS HEARD.
    • HIS PRAYER IS HEARD.
    • SONNET LXXI.
      • Del cibo onde 'l signor mio sempre abbonda.
        • HE DESCRIBES THE APPARITION OF LAURA.
      • HE DESCRIBES THE APPARITION OF LAURA.
    • Del cibo onde 'l signor mio sempre abbonda.
      • HE DESCRIBES THE APPARITION OF LAURA.
    • HE DESCRIBES THE APPARITION OF LAURA.
    • SONNET LXXII.
      • Ripensando a quel ch' oggi il ciel onora.
        • HE WOULD DIE OF GRIEF WERE SHE NOT SOMETIMES TO CONSOLE HIM BY HER PRESENCE.
      • HE WOULD DIE OF GRIEF WERE SHE NOT SOMETIMES TO CONSOLE HIM BY HER PRESENCE.
    • Ripensando a quel ch' oggi il ciel onora.
      • HE WOULD DIE OF GRIEF WERE SHE NOT SOMETIMES TO CONSOLE HIM BY HER PRESENCE.
    • HE WOULD DIE OF GRIEF WERE SHE NOT SOMETIMES TO CONSOLE HIM BY HER PRESENCE.
    • SONNET LXXIII.
      • Fu forse un tempo dolce cosa amore.
        • HE COMPLAINS OF HIS SUFFERINGS, WHICH ADMIT OF NO RELIEF.
      • HE COMPLAINS OF HIS SUFFERINGS, WHICH ADMIT OF NO RELIEF.
    • Fu forse un tempo dolce cosa amore.
      • HE COMPLAINS OF HIS SUFFERINGS, WHICH ADMIT OF NO RELIEF.
    • HE COMPLAINS OF HIS SUFFERINGS, WHICH ADMIT OF NO RELIEF.
    • SONNET LXXIV.
      • Spinse amor e dolor ove ir non debbe.
        • REFLECTING THAT LAURA IS IN HEAVEN, HE REPENTS HIS EXCESSIVE GRIEF, AND IS CONSOLED.
      • REFLECTING THAT LAURA IS IN HEAVEN, HE REPENTS HIS EXCESSIVE GRIEF, AND IS CONSOLED.
    • Spinse amor e dolor ove ir non debbe.
      • REFLECTING THAT LAURA IS IN HEAVEN, HE REPENTS HIS EXCESSIVE GRIEF, AND IS CONSOLED.
    • REFLECTING THAT LAURA IS IN HEAVEN, HE REPENTS HIS EXCESSIVE GRIEF, AND IS CONSOLED.
    • SONNET LXXV.
      • Gli angeli eletti e l' anime beate.
        • HE DIRECTS ALL HIS THOUGHTS TO HEAVEN, WHERE LAURA AWAITS AND BECKONS HIM.
      • HE DIRECTS ALL HIS THOUGHTS TO HEAVEN, WHERE LAURA AWAITS AND BECKONS HIM.
    • Gli angeli eletti e l' anime beate.
      • HE DIRECTS ALL HIS THOUGHTS TO HEAVEN, WHERE LAURA AWAITS AND BECKONS HIM.
    • HE DIRECTS ALL HIS THOUGHTS TO HEAVEN, WHERE LAURA AWAITS AND BECKONS HIM.
    • SONNET LXXVI.
      • Donna che lieta col Principio nostro.
        • HE CONJURES LAURA, BY THE PURE LOVE HE EVER BORE HER, TO OBTAIN FOR HIM A SPEEDY ADMISSION TO HER IN HEAVEN.
      • HE CONJURES LAURA, BY THE PURE LOVE HE EVER BORE HER, TO OBTAIN FOR HIM A SPEEDY ADMISSION TO HER IN HEAVEN.
    • Donna che lieta col Principio nostro.
      • HE CONJURES LAURA, BY THE PURE LOVE HE EVER BORE HER, TO OBTAIN FOR HIM A SPEEDY ADMISSION TO HER IN HEAVEN.
    • HE CONJURES LAURA, BY THE PURE LOVE HE EVER BORE HER, TO OBTAIN FOR HIM A SPEEDY ADMISSION TO HER IN HEAVEN.
    • SONNET LXXVII.
      • Da' più begli occhi e dal più chiaro viso.
        • HIS ONLY COMFORT IS THE EXPECTATION OF MEETING HER AGAIN IN HEAVEN.
      • HIS ONLY COMFORT IS THE EXPECTATION OF MEETING HER AGAIN IN HEAVEN.
    • Da' più begli occhi e dal più chiaro viso.
      • HIS ONLY COMFORT IS THE EXPECTATION OF MEETING HER AGAIN IN HEAVEN.
    • HIS ONLY COMFORT IS THE EXPECTATION OF MEETING HER AGAIN IN HEAVEN.
    • SONNET LXXVIII.
      • E' mi par d' or in ora udire il messo.
        • HE FEELS THAT THE DAY OF THEIR REUNION IS AT HAND.
      • HE FEELS THAT THE DAY OF THEIR REUNION IS AT HAND.
    • E' mi par d' or in ora udire il messo.
      • HE FEELS THAT THE DAY OF THEIR REUNION IS AT HAND.
    • HE FEELS THAT THE DAY OF THEIR REUNION IS AT HAND.
    • SONNET LXXIX.
      • L' aura mia sacra al mio stanco riposo.
        • HE TELLS HER IN SLEEP OF HIS SUFFERINGS, AND, OVERCOME BY HER SYMPATHY, AWAKES.
      • HE TELLS HER IN SLEEP OF HIS SUFFERINGS, AND, OVERCOME BY HER SYMPATHY, AWAKES.
    • L' aura mia sacra al mio stanco riposo.
      • HE TELLS HER IN SLEEP OF HIS SUFFERINGS, AND, OVERCOME BY HER SYMPATHY, AWAKES.
    • HE TELLS HER IN SLEEP OF HIS SUFFERINGS, AND, OVERCOME BY HER SYMPATHY, AWAKES.
    • SONNET LXXX.
      • Ogni giorno mi par più di mill' anni.
        • FAR FROM FEARING, HE PRAYS FOR DEATH.
      • FAR FROM FEARING, HE PRAYS FOR DEATH.
    • Ogni giorno mi par più di mill' anni.
      • FAR FROM FEARING, HE PRAYS FOR DEATH.
    • FAR FROM FEARING, HE PRAYS FOR DEATH.
    • SONNET LXXXI.
      • Non può far morte il dolce viso amaro.
        • SINCE HER DEATH HE HAS CEASED TO LIVE.
      • SINCE HER DEATH HE HAS CEASED TO LIVE.
    • Non può far morte il dolce viso amaro.
      • SINCE HER DEATH HE HAS CEASED TO LIVE.
    • SINCE HER DEATH HE HAS CEASED TO LIVE.
    • CANZONE VI.
      • Quando il suave mio fido conforto.
        • SHE APPEARS TO HIM, AND, WITH MORE THAN WONTED AFFECTION, ENDEAVOURS TO CONSOLE HIM.
      • SHE APPEARS TO HIM, AND, WITH MORE THAN WONTED AFFECTION, ENDEAVOURS TO CONSOLE HIM.
    • Quando il suave mio fido conforto.
      • SHE APPEARS TO HIM, AND, WITH MORE THAN WONTED AFFECTION, ENDEAVOURS TO CONSOLE HIM.
    • SHE APPEARS TO HIM, AND, WITH MORE THAN WONTED AFFECTION, ENDEAVOURS TO CONSOLE HIM.
    • CANZONE VII.
      • Quell' antiquo mio dolce empio signore.
        • LOVE, SUMMONED BY THE POET TO THE TRIBUNAL OF REASON, PASSES A SPLENDID EULOGIUM ON LAURA.
        • [OF PARTS ONLY]
      • LOVE, SUMMONED BY THE POET TO THE TRIBUNAL OF REASON, PASSES A SPLENDID EULOGIUM ON LAURA.
      • [OF PARTS ONLY]
    • Quell' antiquo mio dolce empio signore.
      • LOVE, SUMMONED BY THE POET TO THE TRIBUNAL OF REASON, PASSES A SPLENDID EULOGIUM ON LAURA.
      • [OF PARTS ONLY]
    • LOVE, SUMMONED BY THE POET TO THE TRIBUNAL OF REASON, PASSES A SPLENDID EULOGIUM ON LAURA.
    • [OF PARTS ONLY]
    • SONNET LXXXII.
      • Dicemi spesso il mio fidato speglio.
        • HE AWAKES TO A CONVICTION OF THE NEAR APPROACH OF DEATH.
      • HE AWAKES TO A CONVICTION OF THE NEAR APPROACH OF DEATH.
    • Dicemi spesso il mio fidato speglio.
      • HE AWAKES TO A CONVICTION OF THE NEAR APPROACH OF DEATH.
    • HE AWAKES TO A CONVICTION OF THE NEAR APPROACH OF DEATH.
    • SONNET LXXXIII.
      • Volo con l' ali de' pensieri al cielo.
        • HE SEEMS TO BE WITH HER IN HEAVEN.
      • HE SEEMS TO BE WITH HER IN HEAVEN.
    • Volo con l' ali de' pensieri al cielo.
      • HE SEEMS TO BE WITH HER IN HEAVEN.
    • HE SEEMS TO BE WITH HER IN HEAVEN.
    • SONNET LXXXIV.
      • Morte ha spento quel Sol ch' abbagliar suolmi.
        • WEARY OF LIFE, NOW THAT SHE IS NO LONGER WITH HIM, HE DEVOTES HIMSELF TO GOD.
      • WEARY OF LIFE, NOW THAT SHE IS NO LONGER WITH HIM, HE DEVOTES HIMSELF TO GOD.
    • Morte ha spento quel Sol ch' abbagliar suolmi.
      • WEARY OF LIFE, NOW THAT SHE IS NO LONGER WITH HIM, HE DEVOTES HIMSELF TO GOD.
    • WEARY OF LIFE, NOW THAT SHE IS NO LONGER WITH HIM, HE DEVOTES HIMSELF TO GOD.
    • SONNET LXXXV.
      • Tennemi Amor anni ventuno ardendo.
        • HE CONFESSES AND REGRETS HIS SINS, AND PRAYS GOD TO SAVE HIM FROM ETERNAL DEATH.
      • HE CONFESSES AND REGRETS HIS SINS, AND PRAYS GOD TO SAVE HIM FROM ETERNAL DEATH.
    • Tennemi Amor anni ventuno ardendo.
      • HE CONFESSES AND REGRETS HIS SINS, AND PRAYS GOD TO SAVE HIM FROM ETERNAL DEATH.
    • HE CONFESSES AND REGRETS HIS SINS, AND PRAYS GOD TO SAVE HIM FROM ETERNAL DEATH.
    • SONNET LXXXVI.
      • I' vo piangendo i miei passati tempi.
        • HE HUMBLY CONFESSES THE ERRORS OF HIS PAST LIFE, AND PRAYS FOR DIVINE GRACE.
      • HE HUMBLY CONFESSES THE ERRORS OF HIS PAST LIFE, AND PRAYS FOR DIVINE GRACE.
    • I' vo piangendo i miei passati tempi.
      • HE HUMBLY CONFESSES THE ERRORS OF HIS PAST LIFE, AND PRAYS FOR DIVINE GRACE.
    • HE HUMBLY CONFESSES THE ERRORS OF HIS PAST LIFE, AND PRAYS FOR DIVINE GRACE.
    • SONNET LXXXVII.
      • Dolci durezze e placide repulse.
        • HE OWES HIS OWN SALVATION TO THE VIRTUOUS CONDUCT OF LAURA.
      • HE OWES HIS OWN SALVATION TO THE VIRTUOUS CONDUCT OF LAURA.
    • Dolci durezze e placide repulse.
      • HE OWES HIS OWN SALVATION TO THE VIRTUOUS CONDUCT OF LAURA.
    • HE OWES HIS OWN SALVATION TO THE VIRTUOUS CONDUCT OF LAURA.
    • SONNET LXXXVIII.
      • Spirto felice, che sì dolcemente.
        • BEHOLDING IN FANCY THE SHADE OF LAURA, HE TELLS HER THE LOSS THAT THE WORLD SUSTAINED IN HER DEPARTURE.
      • BEHOLDING IN FANCY THE SHADE OF LAURA, HE TELLS HER THE LOSS THAT THE WORLD SUSTAINED IN HER DEPARTURE.
    • Spirto felice, che sì dolcemente.
      • BEHOLDING IN FANCY THE SHADE OF LAURA, HE TELLS HER THE LOSS THAT THE WORLD SUSTAINED IN HER DEPARTURE.
    • BEHOLDING IN FANCY THE SHADE OF LAURA, HE TELLS HER THE LOSS THAT THE WORLD SUSTAINED IN HER DEPARTURE.
    • SONNET LXXXIX.
      • Deh porgi mano all' affannato ingegno.
        • HE BEGS LOVE TO ASSIST HIM, THAT HE MAY WORTHILY CELEBRATE HER.
      • HE BEGS LOVE TO ASSIST HIM, THAT HE MAY WORTHILY CELEBRATE HER.
    • Deh porgi mano all' affannato ingegno.
      • HE BEGS LOVE TO ASSIST HIM, THAT HE MAY WORTHILY CELEBRATE HER.
    • HE BEGS LOVE TO ASSIST HIM, THAT HE MAY WORTHILY CELEBRATE HER.
    • SONNET XC.
      • Vago augelletto che cantando vai.
        • THE PLAINTIVE SONG OF A BIRD RECALLS TO HIM HIS OWN KEENER SORROW.
      • THE PLAINTIVE SONG OF A BIRD RECALLS TO HIM HIS OWN KEENER SORROW.
    • Vago augelletto che cantando vai.
      • THE PLAINTIVE SONG OF A BIRD RECALLS TO HIM HIS OWN KEENER SORROW.
    • THE PLAINTIVE SONG OF A BIRD RECALLS TO HIM HIS OWN KEENER SORROW.
    • CANZONE VIII.
      • Vergine bella che di sol vestita.
        • TO THE VIRGIN MARY.
      • TO THE VIRGIN MARY.
    • Vergine bella che di sol vestita.
      • TO THE VIRGIN MARY.
    • TO THE VIRGIN MARY.
    • PETRARCH'S TRIUMPHS.
    • THE TRIUMPH OF LOVE.
      • PART I.
      • Nel tempo che rinova i miei sospiri.
        • PART II.
      • PART II.
      • Stanci già di mirar, non sazio ancora.
        • PART III
      • PART III
      • Era sì pieno il cor di maraviglie.
        • PART IV.
      • PART IV.
      • Poscia che mia fortuna in forza altrui.
    • PART I.
    • Nel tempo che rinova i miei sospiri.
      • PART II.
    • PART II.
    • Stanci già di mirar, non sazio ancora.
      • PART III
    • PART III
    • Era sì pieno il cor di maraviglie.
      • PART IV.
    • PART IV.
    • Poscia che mia fortuna in forza altrui.
    • THE SAME.
      • PART I.
        • PART II.
        • PART III.
        • PART IV.
      • PART II.
      • PART III.
      • PART IV.
    • PART I.
      • PART II.
      • PART III.
      • PART IV.
    • PART II.
    • PART III.
    • PART IV.
    • THE TRIUMPH OF CHASTITY.
      • Quando ad un giogo ed in Un tempo quivi.
    • Quando ad un giogo ed in Un tempo quivi.
    • THE SAME.
    • THE TRIUMPH OF DEATH.
      • PART I.
      • Questa leggiadra e gloriosa Donna.
        • [LINES 103 TO END.]
        • PART II
      • [LINES 103 TO END.]
      • PART II
      • La notte che seguì l' orribil caso.
    • PART I.
    • Questa leggiadra e gloriosa Donna.
      • [LINES 103 TO END.]
      • PART II
    • [LINES 103 TO END.]
    • PART II
    • La notte che seguì l' orribil caso.
    • THE TRIUMPH OF FAME.
      • PART I.
      • Da poi che Morte trionfò nel volto.
        • PART II.
      • PART II.
      • Pien d' infinita e nobil maraviglia.
        • PART III.
      • PART III.
      • Io non sapea da tal vista levarme.
    • PART I.
    • Da poi che Morte trionfò nel volto.
      • PART II.
    • PART II.
    • Pien d' infinita e nobil maraviglia.
      • PART III.
    • PART III.
    • Io non sapea da tal vista levarme.
    • THE TRIUMPH OF TIME.
      • Dell' aureo albergo con l' Aurora innanzi.
    • Dell' aureo albergo con l' Aurora innanzi.
    • THE TRIUMPH OF ETERNITY.
      • Da poi che sotto 'l ciel cosa non vidi.
        • [LINES 82-99.]
      • [LINES 82-99.]
    • Da poi che sotto 'l ciel cosa non vidi.
      • [LINES 82-99.]
    • [LINES 82-99.]
    • SONNET FOUND IN LAURA'S TOMB.
      • Qui reposan quei caste e felice ossa.
    • Qui reposan quei caste e felice ossa.
    • INDEX.
      • SONNETS, CANZONI, &c.
      • FOOTNOTES:
    • SONNETS, CANZONI, &c.
    • FOOTNOTES:
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