The Setting of the Moon

Giacomo Leopardi (1798–1837), translated by Frederick Townsend · 1887

iambic pentameter · 68 lines · from The Poems of Leopardi

As in the lonely nightO'er lakes and mountains bathed in silver light,When zephyr gaily plays,And visions meet our gaze,Strange forms that weave a powerIn the nocturnal hour,By distant shadows wroughtO'er hill and dale and gently flowing streams:The Moon descends unto the sky's last vergeBehind the ridge of Alp or Appenine,Or in the Tyrrhene sea her rays doth merge;And as she falls, no radiance more doth shine,The shadows fade, and allThe world lies wrapped in one funereal pall;Bereaved the night remains;And singing in impassioned, mournful strains,The wanderer salutes the last, faint rayOf her who lit his wayWith argent crescent in the spheres divine:

Even thus youth wanes and flies,And every joyaunce dies,And Hope expires, the reed whereon we leantIn happier days, ere every bliss was spent,And ere our life obscureAnd desolate became.The weary wanderer gazes on the sceneOf sable hue that now doth intervene,And vainly asketh whySo dire a path before him yet should lie;And as unto his eyeThe world appeareth changed,He finds himself no more what he hath been,But to the world and all its ways estranged.

Too happy and too gayOur span of mortal lifeWould seem unto the powers that rule above,If youthfulness were to endure for aye,Wherein a thousand sorrows yield one joy;Too gentle the decreeWhence all that liveth doomed to death we see,Unless a gift were made,When men have finished half of their long way,Than death itself with greater terrors fraught;The worst of ills and the extreme of woe,Old age was found by an unswerving doom,Wherein desire doth glow,Hope wanes and pales and dwindles down to nought,The fountains of delight are frozen and quelled,The sorrow's greater, and all bliss withheld.

Ye mountains and ye plains,When fall the rays that in the West adorn IWith silvery trace the sable veil of night,Ye shall not be forlornFor many hours: the Eastern skies ere longYe shall perceive aglowWith break of day and early rise of morn,Whom following, the Sun his fires doth show,And blazing all aroundIn full effulgence strong,With seas of light invadesThe space above and the terrestrial glades.But life of man, when lovely youth is spent,No other light hath found,Nor to existence other dawn is lent:'Tis lonely and bereaved even to its close:And to the night that weighs on later years,By the decree of doom,As goal is given the silence of the tomb.

Words in this poem

zephyr n.
The west wind; poetically, any soft, gentle breeze. [L. zephyrus, Gr. zéphyr.]
gaily adv.
Merrily; showily. See gaily. [From Gay.]
merge v. t.
To cause to be swallowed up; to immerse; to sink; to absorb. [L. mergere, mersum. Cf. Emerge, Immerse, Marrow.]
impassioned p. p.
Actuated or characterized by passion or zeal; showing warmth of feeling; ardent; animated; excited; as, an impassioned orator or discourse.
argent n.
Silver, or money. [F. argent, fr. L. argentum, silver; akin to Gr. rajata white, silver, raj to shine, Ir. arg white, milk, airgiod silver, money, and L. arguere to make clear. Se]
whereon adv.
On which; -- used relatively; as, the earth whereon we live.
sable n.
A carnivorous animal of the Weasel family (Mustela zibellina) native of the northern latitudes of Europe, Asia, and America, -- noted for its fine, soft, and valuable fur. [OF. sable, F. zibeline sable (in sense 4), LL. sabellum; cf. D. sabel, Dan. sabel, zobel, Sw. sabel, sobel, G. zobel; all fr. Russ. sóbole.]
dire a.
Ill-boding; portentous; as, dire omens. [L. dirus; of uncertain origin.]
fraught n.
A freight; a cargo. [OE.fraight, fraght; akin to Dan. fragt, Sw. frakt, D. vracht, G. fracht, cf. OHG. fr merit, reward; perh. from corresponding to E. for + The root of E. own. Cf.]
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
forlorn a.
Deserted abandoned; lost. [OE., p.p. of forlesen to lose utterly, AS. forleósan (p.p. forloren); pref. for- + leósan (in comp.) to lose; cf. D. verliezen to lose, G. verlieren, Sw. förlor]
aglow adv.
In a glow; glowing; as, cheeks aglow; the landscape all aglow. [Pref. a- + glow.]
morn n.
The first part of the day; the morning; -- used chiefly in poetry. [OE. morwen, morgen, AS. morgen; akin to D. morgen, OS. morgan, G. morgen, Icel. morginn, morgunn, Sw. morgon, Dan. morgen, Goth. maúrgins. Cf. Morrow, Morning.]
effulgence n.
The state of being effulgent; extreme brilliancy; a flood of light; great luster or brightness; splendor.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

The Setting of the Moon is in the public domain. This text is taken from The Poems of Leopardi, Project Gutenberg ebook #53020, the Frederick Townsend translation; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Giacomo Leopardi, The Setting of the Moon, in The Poems of Leopardi (1887), text of Project Gutenberg ebook #53020, Laurel, https://laurelpoetry.com/poem/leopardi-poems/the-setting-of-the-moon.html, id L15309.

Form and metre

The Setting of the Moon is 68 lines in 4 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 90%). 97% of its stressed syllables fall where the metre puts the beat. The lines average 8.5 syllables. 3 lines end on an unstressed syllable, a feminine ending. 31% of the lines run on without a stop at the line end.

See other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 AABBCC--D-DEFFGGHHE nightA · lightA · playsB · gazeB · powerC · hourC · wrought · streams · vergeD · appenine · mergeD · shineE · allF · pallF · remainsG · strainsG · rayH · wayH · divineE
  2. 2 AABB--CCDDDE-E fliesA · diesA · leantB · spentB · obscure · became · sceneC · interveneC · whyD · lieD · eyeD · changedE · been · estrangedE
  3. 3 A--B-BB-ACD-DCEE gayA · life · above · ayeB · joy · decreeB · seeB · made · wayA · fraughtC · woeD · doom · glowD · noughtC · quelledE · withheldE
  4. 4 ---ABCACDBEEFDF--GG plains · i · night · forlornA · longB · aglowC · mornA · showC · aroundD · strongB · invadesE · gladesE · spentF · foundD · lentF · close · years · doomG · tombG
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
As in the lonely night6···/˘·
O'er lakes and mountains bathed in silver light,10···/˘··/˘·
When zephyr gaily plays,6·/˘/˘·
And visions meet our gaze,7·/˘·/˘·
Strange forms that weave a power7·····/˘
In the nocturnal hour,7··˘/˘/˘
By distant shadows wrought6·/˘/··
O'er hill and dale and gently flowing streams:10·····/˘/˘·
The Moon descends unto the sky's last verge10··˘/······
Behind the ridge of Alp or Appenine,10··········
Or in the Tyrrhene sea her rays doth merge;10··········
And as she falls, no radiance more doth shine,10·····/˘···
The shadows fade, and all6·/····
The world lies wrapped in one funereal pall;11······˘/˘˘·
Bereaved the night remains;6˘/··˘/
And singing in impassioned, mournful strains,10·/˘·˘/˘/˘·
The wanderer salutes the last, faint ray10·/˘˘˘/····
Of her who lit his way6······
With argent crescent in the spheres divine:10·/˘/˘···˘/
Even thus youth wanes and flies,7/˘·····
And every joyaunce dies,6·/˘˘··
And Hope expires, the reed whereon we leant11··˘/··˘/·/˘
In happier days, ere every bliss was spent,10·/˘··/˘···
And ere our life obscure7··/˘·˘/
And desolate became.6·/˘·˘/
The weary wanderer gazes on the scene10·/˘/˘/˘···
Of sable hue that now doth intervene,10·/˘·····˘/
And vainly asketh why6·/˘···
So dire a path before him yet should lie;10··········
And as unto his eye6······
The world appeareth changed,6··˘/˘·
He finds himself no more what he hath been,10··˘/······
But to the world and all its ways estranged.10········˘/
Too happy and too gay6·/˘···
Our span of mortal life7/˘··/˘·
Would seem unto the powers that rule above,10·····/····
If youthfulness were to endure for aye,10······˘/··
Wherein a thousand sorrows yield one joy;10···/˘/˘···
Too gentle the decree6·/˘·˘/
Whence all that liveth doomed to death we see,10··········
Unless a gift were made,6······
When men have finished half of their long way,10···/˘·····
Than death itself with greater terrors fraught;10··˘/·/˘/˘·
The worst of ills and the extreme of woe,10······˘/··
Old age was found by an unswerving doom,10······˘/˘·
Wherein desire doth glow,7··˘/˘··
Hope wanes and pales and dwindles down to nought,10·····/˘···
The fountains of delight are frozen and quelled,11·/˘·˘/·/˘··
The sorrow's greater, and all bliss withheld.10·/˘/˘···˘/
Ye mountains and ye plains,6·/˘···
When fall the rays that in the West adorn I11········˘/·
With silvery trace the sable veil of night,10·/˘··/˘···
Ye shall not be forlorn6····˘/
For many hours: the Eastern skies ere long10·//˘·/˘···
Ye shall perceive aglow6··˘/˘/
With break of day and early rise of morn,10·····/˘···
Whom following, the Sun his fires doth show,10·/˘˘···/··
And blazing all around6·/˘···
In full effulgence strong,6··˘/˘·
With seas of light invades6····˘/
The space above and the terrestrial glades.10······˘/˘·
But life of man, when lovely youth is spent,10·····/˘···
No other light hath found,6·/˘···
Nor to existence other dawn is lent:10··˘/˘/˘···
'Tis lonely and bereaved even to its close:10·/˘·˘//···
And to the night that weighs on later years,10·······/˘·
By the decree of doom,6··˘/··
As goal is given the silence of the tomb.10···/·/˘···

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

More by Giacomo Leopardi