The Boat

translated from the French by Jane Draycott 

—after Cent Balades, XIII

Imagine a boat sailing solo, just
the boat, no owner, no-one to steer.
This is hard. This is her.
The breeze may be with her
but she needs safe harbour—at sea
is a dangerous place to be.

So maybe the sun shines, the wind’s
kind, she’s making fine track
under moonlight, all it takes
is one storm, one risky encounter
to change everything—solo at sea
is a perilous, tough place to be.

Once death comes for her captain
a boat’s heart is filled with sorrow.
From the pitiful grief that follows
no-one’s immune: whatever you own,
even little boats sailing alone, out at sea
is a hazardous, hard place to be.

 


 

C’est fort chose

 

C’est fort chose qu’une nef se conduise,
Es fortunes de mer, a tout par elle,
Sanz maronnier ou patron qui la duise,
Et le voile soit au vent qui ventelle ;
Se sauvement a bon port tourne celle,
En verité c’est chose aventureuse ;
Car trop griefment est la mer perilleuse.

Et non obstant que parfois soleil luise,
Et que si droit s’en voit que ne chancelle,
Si qu’il semble que nul vent ne lui nuise,
Ne nul decours, ne la lune nouvelle,
Si est elle pourtant en grant barelle
De soubdain vent ou d’encontre encombreuse ;
Car trop griefment est la mer perilleuse.

Si est pitié, quant fault que mort destruise
Nul bon patron, ou meneur de nacelle ;
Et est bien droit que le cuer dueille et cuise.
Qui a tresor, marchandise ou vaisselle,
Ou seul vaissel qui par la mer brandelle :
N’est pas asseur, mais en voie doubteuse ;
Car trop griefment est la mer perilleuse.

Credit

Copyright © 2026 by Christine de Pisan, translated by Jane Draycott. Originally published in Poem-a-Day on September 24, 2026, by the Academy of American Poets.

About this Poem

“Some time after 1390, the young Christine de Pisan—one of France’s most celebrated early women writers and philosophers—wrote her Cent Balades, one hundred balades following the early death of her husband. The solitude at the heart of those lyrics clearly speaks to contemporary listeners well beyond the particular circumstance of their composition, and resonates especially perhaps now with the growing condition of isolation we’ve come to call modern loneliness. Most clearly of all, the beauty of her voice and imagination seem timeless.”
—Jane Draycott

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