|Leave me, foolish ideas and useless hopes||Ite, pensier fallaci e vana spene|
Leave me, foolish ideas and useless hopes,|
blind, voracious and hot desires,
Leave me, eager ardour -- bitter thoughts,
ever companioned with this ceaseless poison;
Leave me, sweet memories, rough corrosive
chain; even now my heart unshackles herself,
all that's in her welcomes reason's hard curb:
so lost for a time, freedom's a relief.
And you, poor soul, so overwhelmed by fears,
released at last: turn to God; with a seemly
pride restore your mind to what it was.
Compel fate, break the snares, crack fate's wall;
then light, free and nimble you'll simply walk
away from harm into a safer path.
Ite, pensier fallaci e vana spene,|
Ciechi, ingordi desiri, accese voglie;
Ite, sospiri ardenti, acerbe doglie,
Compagni sempre a le mie eterne pene;
Ite, memorie dolci, aspre catene
Al cor che pur da voi or si discioglie,
E 'l fren de la ragion tutto raccoglie,
Smarrito un tempo, e 'n libertà ne viene.
E tu, povr' alma in tanti affanni involta,
Slégati omai, e at tuo Signor divino
Leggiadramente i tuoi pensier rivolta;
Sforza animosamante il fier destino,
E i lacci rompi; e poi leggiera e sciolta
Rivolgi i passi a un più sicur cammino.
However, there is a tradition of attribution to Gambara in which the poem is printed with Ne la secreta e più profonda parte" ("In the heart's secretest recesses"). In studies of Franco, it does not appear that this profound remorse is at all typical of Franco's vein; Franco also has few sonnets. See for example, Margaret F. Rosenthal, The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice (Chicago: University of Chicago Press, 1992) and Ann Rosalind Jones, The Currency of Eros: Women's Love Lyric in Europe, 1540-1620 (Bloomington: Indiana University Press, 1990); it may, however, be a poem in which Franco is following a popular trope which most English readers will be familiar with from Philip Sidney's "Leave me, O love which reachest but to dust."
I reprint and translate the sonnet here as probably by Franco but of interest as it was part of a tradition of attribution to Gambara. It has influenced the characterization of her as deeply religious; see, e.g., Finzi, p. 28