Andrew Lang's 1872 volume opens with translations from Charles d'Orléans and François Villon, immediately establishing a dual interest in courtly allegory and raw personal emotion. The roundels of d'Orléans, with their repeated refrains and springtime motifs, contrast sharply with Villon's 'Ballad of the Gibbet,' where the speaker imagines his own rotting corpse. This juxtaposition sets the tone for a collection that moves between polished medieval forms and stark, intimate confessions.

Lang's own poems, gathered under headings like 'Hesperothen' and 'Songs and Sonnets,' adopt a more fluid, Romantic voice. The shift is evident in 'A Sunset on Yarrow,' where the landscape of the Scottish borders is rendered in a slow, dying cadence, far from the tight rondels of the French originals.

Voices from the French Originals

The translations reveal Lang's careful attention to the distinct voices of each poet. Charles d'Orléans is represented by 'Spring' and a 'Rondel,' both built on the repetition of a single line—a form that mimics the circular thoughts of a prisoner. Villon's 'Ballad of the Gibbet' uses a more irregular meter and a refrain that shifts from plea to accusation: 'But pray God that He save all us.' The effect is a direct, almost conversational address, far from d'Orléans' courtly distance.

Ronsard's poems, such as 'Roses' and 'To the Moon,' adopt a smoother, more sensuous tone. Lang preserves the classical allusions—Cupid, Venus, the underworld—but the voice is that of a lover speaking to a present beloved. In 'Of his Lady's Old Age,' the future tense ('When you are old, at evening candle-light') creates a quiet intimacy. Du Bellay's 'Hymn to the Winds' shifts again, into a breathless, incantatory rhythm: 'Blow, blow, ye winds, with your sweet breath.' Each translation thus becomes a distinct performance, not a single translator's style imposed uniformly.

Lang's Own Lyric Register

The original poems in the latter half of the book adopt a markedly different voice. Where the translations are often terse and epigrammatic, Lang's own sonnets and ballads are expansive, full of compound adjectives ('the perfect piteous beauty') and extended metaphors. 'Lost in Hades' uses the dream-vision to explore a personal grief, the speaker following a shade that 'fleet voice and flying hair'—a fluid, almost cinematic image. The sonnet 'A Star in the Night' builds a conceit around a fading star, the beloved's face 'like a star the dawning drives away.'

The sequence 'Hesperothen' is the most ambitious, framing a journey beyond the known world. The opening stanza of 'The Seekers for Phæacia' sets a slow, meditative pace: 'There is a land in the remotest day, / Where the soft night is born, and sunset dies.' The syntax is deliberately archaic, with inversions ('Eastward the human cares of house and home') that echo the epic catalogues of Homer. Yet the tone is one of melancholy, not adventure—a search for a place that may not exist.

Pace and Structure Across the Collection

The book's arrangement creates a deliberate change in pace. The translations are grouped by poet, each section a short burst of related pieces. Villon's 'Rondel' and 'Arbor Amoris' are followed by the grim 'Ballad of the Gibbet,' a sudden shift from love to death. The Ronsard section moves from the quick, playful 'Roses' to the slower, reflective 'Of his Lady's Old Age.' This rhythmic variation keeps the reader alert to each poet's particular tempo.

Lang's own poems are longer and more uniform in pace. The sonnets, with their fixed fourteen-line structure, impose a steady, meditative rhythm. The ballads, like 'The Brigand's Grave' and 'The Sudden Bridal,' use a four-stress line and a recurring refrain, creating a hypnotic, folk-song quality. The final section, 'Sonnets to Poets,' slows to a near halt, each sonnet a tribute that lingers on a single figure. The collection thus moves from the quick, varied voices of the French originals to the sustained, personal meditation of Lang's own verse.

Lang's collection rewards a reader attentive to shifts in register—between the compressed, refrain-driven translations and the more expansive original poems. The French poets are not merely rendered into English but re-voiced, each with a distinct rhythm and address. Lang's own work, meanwhile, develops a consistent lyric persona, one that is nostalgic, dreamlike, and deeply aware of loss. Reading the two side by side reveals a translator who is also a poet finding his own voice through the act of translation.