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“Ahi possanza d’amor” speaks <strong>of</strong> the “power <strong>of</strong> love” to provoke joy and pain, hope and despair.<br />
As stated above, this meditative text ponders the paradoxical nature <strong>of</strong> love, citing the Greco-<br />
Roman association between sex and death as counterpart or explanation for the abstract character<br />
<strong>of</strong> love’s effect on human emotions. The speaker begins with a general description <strong>of</strong> the power<br />
<strong>of</strong> love, citing its power over his feelings and desires, and ends with a more sequential exposition<br />
<strong>of</strong> how these feelings lead to a desire for “death.”<br />
The text, in Italian and English translation, reads as follows:<br />
Ahi possanza d’amor, com’in un tempo<br />
E speranz’e timor al cor mi porgi!<br />
Io pur chiegio per lei e mort’e vita,<br />
Ard’ et agiaccio, e taccio e forte grido<br />
Aita al mio perir; poi morte chiegio.<br />
Così servo d’altrui felice aspetto. 84<br />
Ah the power <strong>of</strong> love, how you give my heart<br />
Both hope and fear at the same time!<br />
Because <strong>of</strong> it [the power <strong>of</strong> love] I ask for life and death<br />
I burn and freeze, am silent and cry aloud<br />
For help as I perish; then I ask for death.<br />
Thus, as Love’s servant, content, I wait [for death]. 85<br />
Despite the apparently narrative structure <strong>of</strong> the poem, Casulana treats the text with a musical<br />
setting that encourages a meditative reading rather than as actions narrated by the speaker. She<br />
does this in several ways. Through usage <strong>of</strong> Phrygian cadences, Casulana allows the piece to<br />
slide effortlessly through many harmonic regions, granting the piece a meditative quality.<br />
Through rhythmic enjambment, she denies cadences strong closure and ensures forward motion<br />
84 Beatrice Pescerelli, I madrigali di Maddalena Casulana (Firenze: Leo S. Olschki, 1979), 22.<br />
85 I would like to thank Francesca Savoia for her help with this translation.<br />
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