Qüestions d'amor: De contrarietat e d'amor
The Ladies Ask About Love's Perils
The ladies of love ask the Lover where the perils of love are.
Question. The ladies of love asked the Lover where the perils of love are.
Contrariety Weeps Before Concordance
The contrariety of love weeps and laments, and the concordances of love ask why.
ii. The contrary of love was weeping and lamenting. The harmonies of loves asked it why it was weeping and lamenting.1
The Falcon of Love Refuses to Take
The lover cannot capture love with the falcon of love and asks why love does not take hold.
iii. With the falcon of love, the lover couldn't catch love, so he asked that falcon why love wasn't taking hold.2
The Greatest Contrariety Between Lover and Beloved
The shepherds ask the hermit about the greatest contrariety between lover and beloved, and the sheep ask the shepherd who is most contrary to the lord of love.
iv. A. i. The shepherds of love asked the hermit of love whether he knew what the greatest opposition is between the lover and the beloved. v. The sheep of love asked the shepherd whether he knew which man is most opposed to the lord of love.
Good Love Confronts Bad Love
Good Love asks Bad Love why she lives.
VI. Good Love asked Bad Love why she lived.
Read the original Catalan
Qüestió. Dones damor demanaren a lamic, on estan los perils damor.
ij. Contrarietat damor plorava e planyia: demanaren li concordanses damors, per ques plorava e planyia.
iij. Ab falchó damor no podia lamic pendre amor, al qual falcó damor demanà lamic, per que amor no prenia.
iiij. A . j. ermità damor demanaren pastors damor, si sabia què es major contrarietat damic e damat. V. Oveyies damor demanaren al pastor, si sabia qual home es pus contrari al senyor damor.
vj. Bona amor demanà a mala amor, per que vivia.
Notes
- 1 ↩Old Catalan 'concordanses damors' is read as the subject of 'demanaren li' (postposed subject), personifying Love's concordances as the askers—consistent with Llull's allegory elsewhere in this chapter. Alternate parse ('they asked it about the concordances of loves') is less likely given the personified cast (ladies of love, falcon of love, etc.).
- 2 ↩Catalan 'pendre amor' / 'amor no prenia' keeps Llull's falconry allegory: the lover cannot take love by means of love's falcon, then asks why love itself is not taking/catching. 'Prenia' is intransitive/elliptical; 'taking hold' preserves the force without inventing an explicit object.
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