Volume 19, 2007 - Brown University

Love Displayed Through Nature and Changing Nature 83
when she returns (quamvis nudus. . .intent). Here, he confirms the division
between the real world and the world of his love. Radegund has caused an
emotional harvest in which the fruits, symbols for joy and love, are being reaped
by Fortunatus.
There exist technical similarities between these two poems. Both are written
in elegiac couplets, though this is not entirely unique since Fortunatus wrote
many poems in this meter. Also, in the standard format of Fortunatus, the last
couplet in both poems is a revelation when compared to the preceding lines. Finally,
there are similarities in diction between the two poems. Both poems use
“odor” as a way to involve more of the senses and to create a realistic picture. In
“To Radegund on Violets,” odor takes a prominent role; it is repeated three
times in the poem. The odor saturates the leaves of the flowers (et saturat foliis
hinc odor). In the same poem, the ending reveals that the smell is the true gift of
flowers. In “To Radegund on Her Return,” odor is used to enhance the natural
imagery. The apples and pears pour forth pleasing smells in line eleven. The
olfactory sense plays a role in understanding the natural world and, through
symbolism, the emotions in this relationship.
Another similarity between the two poems is the confusion of time,
although this confusion occurs for different reasons. In “To Radegund on Violets,”
the seasons do not produce the traditional flowers for Fortunatus. His
desire to give a perpetual gift in the first poem causes this confusion. The smell
of the weeds and violets is perpetual unlike that of the lilies and roses. In “To
Radegund on Her Return,” the seasons have changed roles, with April performing
the tasks of August in line eight. The confusion is due to the presence of
overwhelming emotions. The return of the radiant light and Fortunatus’ joys fill
his personal world with an emotional harvest that overrides reality.
While there are technical similarities between the poems, their natural symbols
and their messages uses diverge considerably. In “To Radegund on Violets,”
Fortunatus uses flowers alone for the poem’s imagery. His gift evolves
through various types of flowers, but he does not use other natural images. The
flower starts off simple, and then, as it grows, it gains beauty as the petals
emerge. Then once fully grown its fragrance magnifies its beauty. The metamorphosis
occurs in the lines of the poem, starting with the flowers being plucked
and culminating in the profusion of smell at the end. The evolution of the flowers
symbolizes the intensity of love increasing throughout the lines of the poem.
The love starts off simple and hidden, like the sprout concealing its potential
beauty. Then as time passes and the lines of poetry progress, both the flower and
love blossom. The smell of the flower adds an invisible beauty, implying a mental
and intellectual attraction to Radegund that is not based on appearances. The
importance placed on smell at the end of the poem shows that a mental relationship
rather than a physical one exists.
The fruit, the focus of the second poem, shows the significance Radegund
has in Fortunatus’ life. In “To Radegund on Her Return,” Fortunatus uses the
images associated with harvests, fruits, grains and grapes. In this poem, Fortu-