Written by
Anna Akhmatova |
Not under foreign skies
Nor under foreign wings protected -
I shared all this with my own people
There, where misfortune had abandoned us.
[1961]
INSTEAD OF A PREFACE
During the frightening years of the Yezhov terror, I
spent seventeen months waiting in prison queues in
Leningrad. One day, somehow, someone 'picked me out'.
On that occasion there was a woman standing behind me,
her lips blue with cold, who, of course, had never in
her life heard my name. Jolted out of the torpor
characteristic of all of us, she said into my ear
(everyone whispered there) - 'Could one ever describe
this?' And I answered - 'I can.' It was then that
something like a smile slid across what had previously
been just a face.
[The 1st of April in the year 1957. Leningrad]
DEDICATION
Mountains fall before this grief,
A mighty river stops its flow,
But prison doors stay firmly bolted
Shutting off the convict burrows
And an anguish close to death.
Fresh winds softly blow for someone,
Gentle sunsets warm them through; we don't know this,
We are everywhere the same, listening
To the scrape and turn of hateful keys
And the heavy tread of marching soldiers.
Waking early, as if for early mass,
Walking through the capital run wild, gone to seed,
We'd meet - the dead, lifeless; the sun,
Lower every day; the Neva, mistier:
But hope still sings forever in the distance.
The verdict. Immediately a flood of tears,
Followed by a total isolation,
As if a beating heart is painfully ripped out, or,
Thumped, she lies there brutally laid out,
But she still manages to walk, hesitantly, alone.
Where are you, my unwilling friends,
Captives of my two satanic years?
What miracle do you see in a Siberian blizzard?
What shimmering mirage around the circle of the moon?
I send each one of you my salutation, and farewell.
[March 1940]
INTRODUCTION
[PRELUDE]
It happened like this when only the dead
Were smiling, glad of their release,
That Leningrad hung around its prisons
Like a worthless emblem, flapping its piece.
Shrill and sharp, the steam-whistles sang
Short songs of farewell
To the ranks of convicted, demented by suffering,
As they, in regiments, walked along -
Stars of death stood over us
As innocent Russia squirmed
Under the blood-spattered boots and tyres
Of the black marias.
I
You were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God. . .
The cold of an icon was on your lips, a death-cold
sweat
On your brow - I will never forget this; I will gather
To wail with the wives of the murdered streltsy (1)
Inconsolably, beneath the Kremlin towers.
[1935. Autumn. Moscow]
II
Silent flows the river Don
A yellow moon looks quietly on
Swanking about, with cap askew
It sees through the window a shadow of you
Gravely ill, all alone
The moon sees a woman lying at home
Her son is in jail, her husband is dead
Say a prayer for her instead.
III
It isn't me, someone else is suffering. I couldn't.
Not like this. Everything that has happened,
Cover it with a black cloth,
Then let the torches be removed. . .
Night.
IV
Giggling, poking fun, everyone's darling,
The carefree sinner of Tsarskoye Selo (2)
If only you could have foreseen
What life would do with you -
That you would stand, parcel in hand,
Beneath the Crosses (3), three hundredth in
line,
Burning the new year's ice
With your hot tears.
Back and forth the prison poplar sways
With not a sound - how many innocent
Blameless lives are being taken away. . .
[1938]
V
For seventeen months I have been screaming,
Calling you home.
I've thrown myself at the feet of butchers
For you, my son and my horror.
Everything has become muddled forever -
I can no longer distinguish
Who is an animal, who a person, and how long
The wait can be for an execution.
There are now only dusty flowers,
The chinking of the thurible,
Tracks from somewhere into nowhere
And, staring me in the face
And threatening me with swift annihilation,
An enormous star.
[1939]
VI
Weeks fly lightly by. Even so,
I cannot understand what has arisen,
How, my son, into your prison
White nights stare so brilliantly.
Now once more they burn,
Eyes that focus like a hawk,
And, upon your cross, the talk
Is again of death.
[1939. Spring]
VII
THE VERDICT
The word landed with a stony thud
Onto my still-beating breast.
Nevermind, I was prepared,
I will manage with the rest.
I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again. . .
But how. The hot summer rustles
Like a carnival outside my window;
I have long had this premonition
Of a bright day and a deserted house.
[22 June 1939. Summer. Fontannyi Dom (4)]
VIII
TO DEATH
You will come anyway - so why not now?
I wait for you; things have become too hard.
I have turned out the lights and opened the door
For you, so simple and so wonderful.
Assume whatever shape you wish. Burst in
Like a shell of noxious gas. Creep up on me
Like a practised bandit with a heavy weapon.
Poison me, if you want, with a typhoid exhalation,
Or, with a simple tale prepared by you
(And known by all to the point of nausea), take me
Before the commander of the blue caps and let me
glimpse
The house administrator's terrified white face.
I don't care anymore. The river Yenisey
Swirls on. The Pole star blazes.
The blue sparks of those much-loved eyes
Close over and cover the final horror.
[19 August 1939. Fontannyi Dom]
IX
Madness with its wings
Has covered half my soul
It feeds me fiery wine
And lures me into the abyss.
That's when I understood
While listening to my alien delirium
That I must hand the victory
To it.
However much I nag
However much I beg
It will not let me take
One single thing away:
Not my son's frightening eyes -
A suffering set in stone,
Or prison visiting hours
Or days that end in storms
Nor the sweet coolness of a hand
The anxious shade of lime trees
Nor the light distant sound
Of final comforting words.
[14 May 1940. Fontannyi Dom]
X
CRUCIFIXION
Weep not for me, mother.
I am alive in my grave.
1.
A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, 'Why hast thou forsaken me!'
But to his mother, 'Weep not for me. . .'
[1940. Fontannyi Dom]
2.
Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]
EPILOGUE
1.
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I've learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That's why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.
2.
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,
'I arrive here as if I've come home!'
I'd like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That's how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition - do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar's Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]
FOOTNOTES
1 An elite guard which rose up in rebellion
against Peter the Great in 1698. Most were either
executed or exiled.
2 The imperial summer residence outside St
Petersburg where Ahmatova spent her early years.
3 A prison complex in central Leningrad near the
Finland Station, called The Crosses because of the
shape of two of the buildings.
4 The Leningrad house in which Ahmatova lived.
|
Written by
Weldon Kees |
To Ernest Brace
"And when the seven thunders had uttered their voices, I was
about to write: and I heard a voice from heaven saying unto
me, Seal up those things which the seven thunders uttered, and
write them not." --REVELATIONS, x, 4.
That raft we rigged up, under the water,
Was just the item: when he walked,
With his robes blowing, dark against the sky,
It was as though the unsubstantial waves held up
His slender and inviolate feet. The gulls flew over,
Dropping, crying alone; thin ragged lengths of cloud
Drifted in bars across the sun. There on the shore
The crowd's response was instantaneous. He
Handled it well, I thought--the gait, the tilt of the head, just right.
Long streaks of light were blinding on the waves.
And then we knew our work well worth the time:
The days of sawing, fitting, all those nails,
The tiresome rehearsals, considerations of execution.
But if you want a miracle, you have to work for it,
Lay your plans carefully and keep one jump
Ahead of the crowd. To report a miracle
Is a pleasure unalloyed; but staging one requires
Tact, imagination, a special knack for the job
Not everyone possesses. A miracle, in fact, means work.
--And now there are those who have come saying
That miracles were not what we were after. But what else
Is there? What other hope does life hold out
But the miraculous, the skilled and patient
Execution, the teamwork, all the pain and worry every miracle involves?
Visionaries tossing in their beds, haunted and racked
By questions of Messiahship and eschatology,
Are like the mist rising at nightfall, and come,
Perhaps to even less. Grave supernaturalists, devoted worshippers
Experience the ecstasy (such as it is), but not
Our ecstasy. It was our making. Yet sometimes
When the torrent of that time
Comes pouring back, I wonder at our courage
And our enterprise. It was as though the world
Had been one darkening, abandoned hall
Where rows of unlit candles stood; and we
Not out of love, so much, or hope, or even worship, but
Out of the fear of death, came with our lights
And watched the candles, one by one, take fire, flames
Against the long night of our fear. We thought
That we could never die. Now I am less convinced.
--The traveller on the plain makes out the mountains
At a distance; then he loses sight. His way
Winds through the valleys; then, at a sudden turning of a path,
The peaks stand nakedly before him: they are something else
Than what he saw below. I think now of the raft
(For me, somehow, the summit of the whole experience)
And all the expectations of that day, but also of the cave
We stocked with bread, the secret meetings
In the hills, the fake assassins hired for the last pursuit,
The careful staging of the cures, the bribed officials,
The angels' garments, tailored faultlessly,
The medicines administered behind the stone,
That ultimate cloud, so perfect, and so opportune.
Who managed all that blood I never knew.
The days get longer. It was a long time ago.
And I have come to that point in the turning of the path
Where peaks are infinite--horn-shaped and scaly, choked with
thorns.
But even here, I know our work was worth the cost.
What we have brought to pass, no one can take away.
Life offers up no miracles, unfortunately, and needs assistance.
Nothing will be the same as once it was,
I tell myself.--It's dark here on the peak, and keeps on getting
darker.
It seems I am experiencing a kind of ecstasy.
Was it sunlight on the waves that day? The night comes down.
And now the water seems remote, unreal, and perhaps it is.
|
Written by
William Cowper |
Hatred and vengence—my eternal portion
Scarce can endure delay of execution—
Wait with impatient readiness to seize my
Soul in a moment.
Damned below Judas; more abhorred than he was,
Who for a few pence sold his holy Master!
Twice betrayed, Jesus me, the last delinquent,
Deems the profanest.
Man disavows, and Deity disowns me:
Hell might afford my miseries a shelter;
Therefore Hell keeps her ever-hungry mouths all
Bolted against me.
Hard lot! encompassed with a thousand dangers;
Weary, faint, trembling with a thousand terrors,
I'm called, if vanquished, to receive a sentence
Worse than Abiram's.
Him the vindictive rod of angry Justice
Sent quick and howling to the centre headlong;
I, fed with judgment, in a fleshy tomb am
Buried above ground.
|
Written by
John Donne |
Oh my black soul! now art thou summoned
By sickness, death's herald, and champion;
Thou art like a pilgrim, which abroad hath done
Treason, and durst not turn to whence he is fled;
Or like a thief, which till death's doom be read,
Wisheth himself delivered from prison,
But damned and haled to execution,
Wisheth that still he might be imprisoned.
Yet grace, if thou repent, thou canst not lack;
But who shall give thee that grace to begin?
Oh make thy self with holy mourning black,
And red with blushing, as thou art with sin;
Or wash thee in Christ's blood, which hath this might
That being red, it dyes red souls to white
|
Written by
William Cowper |
Hatred and vengeance, my eternal portion,
Scarce can endure delay of execution,
Wait, with impatient readiness, to seize my
Soul in a moment.
Damned below Judas:more abhorred than he was,
Who for a few pence sold his holy Master.
Twice betrayed Jesus me, this last delinquent,
Deems the profanest.
Man disavows, and Deity disowns me:
Hell might afford my miseries a shelter;
Therefore hell keeps her ever hungry mouths all
Bolted against me.
Hard lot! encompassed with a thousand dangers;
Weary, faint, trembling with a thousand terrors;
I'm called, if vanquished, to receive a sentence
Worse than Abiram's.
Him the vindictive rod of angry justice
Sent quick and howling to the center headlong;
I, fed with judgment, in a fleshly tomb, am
Buried above ground.
|
Written by
Johann Wolfgang von Goethe |
I feel no small reluctance in venturing to give to the public a
work of the character of that indicated by the title-page to the
present volume; for, difficult as it must always be to render satisfactorily
into one's own tongue the writings of the bards of other lands,
the responsibility assumed by the translator is immeasurably increased
when he attempts to transfer the thoughts of those great men, who
have lived for all the world and for all ages, from the language
in which they were originally clothed, to one to which they may
as yet have been strangers. Preeminently is this the case with Goethe,
the most masterly of all the master minds of modern times, whose
name is already inscribed on the tablets of immortality, and whose
fame already extends over the earth, although as yet only in its
infancy. Scarcely have two decades passed away since he ceased to
dwell among men, yet he now stands before us, not as a mere individual,
like those whom the world is wont to call great, but as a type,
as an emblem--the recognised emblem and representative of the human
mind in its present stage of culture and advancement.
Among the infinitely varied effusions of Goethe's pen, perhaps
there are none which are of as general interest as his Poems, which
breathe the very spirit of Nature, and embody the real music of
the feelings. In Germany, they are universally known, and are considered
as the most delightful of his works. Yet in this country, this kindred
country, sprung from the same stem, and so strongly resembling her
sister in so many points, they are nearly unknown. Almost the only
poetical work of the greatest Poet that the world has seen for ages,
that is really and generally read in England, is Faust, the translations
of which are almost endless; while no single person has as yet appeared
to attempt to give, in an English dress, in any collective or systematic
manner, those smaller productions of the genius of Goethe which
it is the object of the present volume to lay before the reader,
whose indulgence is requested for its many imperfections. In addition
to the beauty of the language in which the Poet has given utterance
to his thoughts, there is a depth of meaning in those thoughts which
is not easily discoverable at first sight, and the translator incurs
great risk of overlooking it, and of giving a prosaic effect to
that which in the original contains the very essence of poetry.
It is probably this difficulty that has deterred others from undertaking
the task I have set myself, and in which I do not pretend to do
more than attempt to give an idea of the minstrelsy of one so unrivalled,
by as truthful an interpretation of it as lies in my power.
The principles which have guided me on the present occasion are
the same as those followed in the translation of Schiller's complete
Poems that was published by me in 1851, namely, as literal a rendering
of the original as is consistent with good English, and also a very
strict adherence to the metre of the original. Although translators
usually allow themselves great license in both these points, it
appears to me that by so doing they of necessity destroy the very
soul of the work they profess to translate. In fact, it is not a
translation, but a paraphrase that they give. It may perhaps be
thought that the present translations go almost to the other extreme,
and that a rendering of metre, line for line, and word for word,
makes it impossible to preserve the poetry of the original both
in substance and in sound. But experience has convinced me that
it is not so, and that great fidelity is even the most essential
element of success, whether in translating poetry or prose. It was
therefore very satisfactory to me to find that the principle laid
down by me to myself in translating Schiller met with the very general,
if not universal, approval of the reader. At the same time, I have
endeavoured to profit in the case of this, the younger born of the
two attempts made by me to transplant the muse of Germany to the
shores of Britain, by the criticisms, whether friendly or hostile,
that have been evoked or provoked by the appearance of its elder
brother.
As already mentioned, the latter contained the whole of the Poems
of Schiller. It is impossible, in anything like the same compass,
to give all the writings of Goethe comprised under the general title
of Gedichte, or poems. They contain between 30,000 and 40,000 verses,
exclusive of his plays. and similar works. Very many of these would
be absolutely without interest to the English reader,--such as those
having only a local application, those addressed to individuals,
and so on. Others again, from their extreme length, could only be
published in separate volumes. But the impossibility of giving all
need form no obstacle to giving as much as possible; and it so happens
that the real interest of Goethe's Poems centres in those classes
of them which are not too diffuse to run any risk when translated
of offending the reader by their too great number. Those by far
the more generally admired are the Songs and Ballads, which are
about 150 in number, and the whole of which are contained in this
volume (with the exception of one or two of the former, which have
been, on consideration, left out by me owing to their trifling and
uninteresting nature). The same may be said of the Odes, Sonnets,
Miscellaneous Poems, &c.
In addition to those portions of Goethe's poetical works which
are given in this complete form, specimens of the different other
classes of them, such as the Epigrams, Elegies, &c., are added,
as well as a collection of the various Songs found in his Plays,
making a total number of about 400 Poems, embraced in the present
volume.
A sketch of the life of Goethe is prefixed, in order that the
reader may have before him both the Poet himself and the Poet's
offspring, and that he may see that the two are but one--that Goethe
lives in his works, that his works lived in him.
The dates of the different Poems are appended throughout, that
of the first publication being given, when that of the composition
is unknown. The order of arrangement adopted is that of the authorized
German editions. As Goethe would never arrange them himself in the
chronological order of their composition, it has become impossible
to do so, now that he is dead. The plan adopted in the present volume
would therefore seem to be the best, as it facilitates reference
to the original. The circumstances attending or giving rise to the
production of any of the Poems will be found specified in those
cases in which they have been ascertained by me.
Having said thus much by way of explanation, I now leave the book
to speak for itself, and to testify to its own character. Whether
viewed with a charitable eye by the kindly reader, who will make
due allowance for the difficulties attending its execution, or received
by the critic, who will judge of it only by its own merits, with
the unfriendly welcome which it very probably deserves, I trust
that I shall at least be pardoned for making an attempt, a failure
in which does not necessarily imply disgrace, and which, by leading
the way, may perhaps become the means of inducing some abler and
more worthy (but not more earnest) labourer to enter upon the same
field, the riches of which will remain unaltered and undiminished
in value, even although they may be for the moment tarnished by
the hands of the less skilful workman who first endeavours to transplant
them to a foreign soil.
|
Written by
Anthony Hecht |
For Heinrich Blucher and Hannah Arendt
Composed in the Tower before his execution
These moving verses, and being brought at that time
Painfully to the stake, submitted, declaring thus:
"I implore my God to witness that I have made no crime."
Nor was he forsaken of courage, but the death was horrible,
The sack of gunpowder failing to ignite.
His legs were blistered sticks on which the black sap
Bubbled and burst as he howled for the Kindly Light.
And that was but one, and by no means one of he worst;
Permitted at least his pitiful dignity;
And such as were by made prayers in the name of Christ,
That shall judge all men, for his soul's tranquility.
We move now to outside a German wood.
Three men are there commanded to dig a hole
In which the two Jews are ordered to lie down
And be buried alive by the third, who is a Pole.
Not light from the shrine at Weimar beyond the hill
Nor light from heaven appeared. But he did refuse.
A Luger settled back deeply in its glove.
He was ordered to change places with the Jews.
Much casual death had drained away their souls.
The thick dirt mounted toward the quivering chin.
When only the head was exposed the order came
To dig him out again and to get back in.
No light, no light in the blue Polish eye.
When he finished a riding boot packed down the earth.
The Luger hovered lightly in its glove.
He was shot in the belly and in three hours bled to death.
No prayers or incense rose up in those hours
Which grew to be years, and every day came mute
Ghosts from the ovens, sifting through crisp air,
And settled upon his eyes in a black soot.
|
Written by
Victor Hugo |
("Lorsqu'à l'antique Olympe immolant l'evangile.")
{Bk. II. v., 1823.}
{There was in Rome one antique usage as follows: On the eve of the
execution day, the sufferers were given a public banquet—at the prison
gate—known as the "Free Festival."—CHATEAUBRIAND'S "Martyrs."}
|
Written by
William Topaz McGonagall |
'Twas in the year of 1650, and on the twenty-first of May,
The city of Edinburgh was put into a state of dismay
By the noise of drums and trumpets, which on the air arose,
That the great sound attracted the notice of Montrose.
Who enquired at the Captain of the guard the cause of it,
Then the officer told him, as he thought most fit,
That the Parliament dreading an attempt might be made to rescue him,
The soldiers were called out to arms, and that had made the din.
Do I, said Montrose, continue such a terror still?
Now when these good men are about my blood to spill,
But let them look to themselves, for after I am dead,
Their wicked consciences will be in continual dread.
After partaking of a hearty breakfast, he commenced his toilet,
Which, in his greatest trouble, he seldom did forget.
And while in the act of combing his hair,
He was visited by the Clerk Register, who made him stare,
When he told him he shouldn't be so particular with his head,
For in a few hours he would be dead;
But Montrose replied, While my head is my own I'll dress it at my ease,
And to-morrow, when it becomes yours, treat it as you please.
He was waited upon by the Magistrates of the city,
But, alas! for him they had no pity.
He was habited in a superb cloak, ornamented with gold and silver lace;
And before the hour of execution an immense assemblage of people were round the place.
From the prison, bareheaded, in a cart, they conveyed him along the Watergate
To the place of execution on the High Street, where about thirty thousand people did wait,
Some crying and sighing, a most pitiful sight to see,
All waiting patiently to see the executioner hang Montrose, a man of high degree.
Around the place of execution, all of them were deeply affected,
But Montrose, the noble hero, seemed not the least dejected;
And when on the scaffold he had, says his biographer Wishart,
Such a grand air and majesty, which made the people start.
As the fatal hour was approaching when he had to bid the world adieu,
He told the executioner to make haste and get quickly through,
But the executioner smiled grimly, but spoke not a word,
Then he tied the Book of Montrose's Wars round his neck with a cord.
Then he told the executioner his foes would remember him hereafter,
And he was as well pleased as if his Majesty had made him Knight of the Garter;
Then he asked to be allowed to cover his head,
But he was denied permission, yet he felt no dread.
He then asked leave to keep on his cloak,
But was also denied, which was a most grievous stroke;
Then he told the Magistrates, if they could invent any more tortures for him,
He would endure them all for the cause he suffered, and think it no sin.
On arriving at the top of the ladder with great firmness,
His heroic appearance greatly did the bystanders impress,
Then Montrose asked the executioner how long his body would be suspended,
Three hours was the answer, but Montrose was not the least offended.
Then he presented the executioner with three or four pieces of gold,
Whom he freely forgave, to his honour be it told,
And told him to throw him off as soon as he uplifted his hands,
While the executioner watched the fatal signal, and in amazement stands.
And on the noble patriot raising his hands, the executioner began to cry,
Then quickly he pulled the rope down from the gibbet on high,
And around Montrose's neck he fixed the rope very gently,
And in an instant the great Montrose was launched into eternity.
Then the spectators expressed their disapprobation by general groan,
And they all dispersed quietly, and wended their way home
And his bitterest enemies that saw his death that day,
Their hearts were filled with sorrow and dismay.
Thus died, at the age of thirty-eight, James Graham, Marquis of Montrose,
Who was brought to a premature grave by his bitter foes;
A commander who had acquired great military glory
In a short space of time, which cannot be equalled in story.
|
Written by
Alain Bosquet |
Let me introduce to you
my poetry: it's an island flying
from book to book
searching for
the page where it was born,
then stops at my house, both wings wounded,
for its meals of flesh and cold phrases.
I paid dearly for the poem's visit!
My best words lie down to sleep in the nettles,
my greenest syllables dream
of a silence as young as themselves.
Offer me the horizon which no longer dares
to swim across even one book.
I will give you this sonnet in return:
in that place live the birds
signed by the ocean;
and also these exalted consonants
from which can be seen
the brain tumors of stars.
Manufacturers of equators,
to what client, to what wanderer
who knows neither how to read nor love,
have you resold my poem,
that smiling predator who at each syllable
leapt for my throat?
My language is at half-mast
since my syllables
fled for safety, carrying with them,
as one carries wedding gifts,
all my spare sunrises.
My poem, as much as I dismiss you
like a valet who for twenty-five years
has been stealing my manuscript snows;
as much as I walk you on a leash
like a poodle
that fears to tread the dawn;
as much as I caress you,
with an equator around your neck
which devours my other images one by one,
at each breath I begin you again,
at each breath you become my epitaph.
A duel took place
between the words and their syllables.
followed by the execution of overly rich poems.
The language bled,
the last vowel surrendered.
Already the great reptiles were being conjugated.
Here is my last will and testament:
the panther which follows my alphabet
must devour it, if it turns back.
© 2001 translated by F.J. Bergmann
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