Written by
Kathleen Raine |
Earth no longer
hymns the Creator,
the seven days of wonder,
the Garden is over —
all the stories are told,
the seven seals broken
all that begins
must have its ending,
our striving, desiring,
our living and dying,
for Time, the bringer
of abundant days
is Time the destroyer —
In the Iron Age
the Kali Yuga
To whom can we pray
at the end of an era
but the Lord Shiva,
the Liberator, the purifier?
Our forests are felled,
our mountains eroded,
the wild places
where the beautiful animals
found food and sanctuary
we have desolated,
a third of our seas,
a third of our rivers
we have polluted
and the sea-creatures dying.
Our civilization’s
blind progress
in wrong courses
through wrong choices
has brought us to nightmare
where what seems,
is, to the dreamer,
the collective mind
of the twentieth century —
this world of wonders
not divine creation
but a big bang
of blind chance,
purposeless accident,
mother earth’s children,
their living and loving,
their delight in being
not joy but chemistry,
stimulus, reflex,
valueless, meaningless,
while to our machines
we impute intelligence,
in computers and robots
we store information
and call it knowledge,
we seek guidance
by dialling numbers,
pressing buttons,
throwing switches,
in place of family
our companions are shadows,
cast on a screen,
bodiless voices, fleshless faces,
where was the Garden
a Disney-land
of virtual reality,
in place of angels
the human imagination
is peopled with foot-ballers
film-stars, media-men,
experts, know-all
television personalities,
animated puppets
with cartoon faces —
To whom can we pray
for release from illusion,
from the world-cave,
but Time the destroyer,
the liberator, the purifier?
The curse of Midas
has changed at a touch,
a golden handshake
earthly paradise
to lifeless matter,
where once was seed-time,
summer and winter,
food-chain, factory farming,
monocrops for supermarkets,
pesticides, weed-killers
birdless springs,
endangered species,
battery-hens, hormone injections,
artificial insemination,
implants, transplants, sterilization,
surrogate births, contraception,
cloning, genetic engineering, abortion,
and our days shall be short
in the land we have sown
with the Dragon’s teeth
where our armies arise
fully armed on our killing-fields
with land-mines and missiles,
tanks and artillery,
gas-masks and body-bags,
our air-craft rain down
fire and destruction,
our space-craft broadcast
lies and corruption,
our elected parliaments
parrot their rhetoric
of peace and democracy
while the truth we deny
returns in our dreams
of Armageddon,
the death-wish, the arms-trade,
hatred and slaughter
profitable employment
of our thriving cities,
the arms-race
to the end of the world
of our postmodern,
post-Christian,
post-human nations,
progress to the nihil
of our spent civilization.
But cause and effect,
just and inexorable
law of the universe
no fix of science,
nor amenable god
can save from ourselves
the selves we have become —
At the end of history
to whom can we pray
but to the destroyer,
the liberator, the purifier?
In the beginning
the stars sang together
the cosmic harmony,
but Time, imperceptible
taker-away
of all that has been,
all that will be,
our heart-beat your drum,
our dance of life
your dance of death
in the crematorium,
our high-rise dreams,
Valhalla, Utopia,
Xanadu, Shangri-la, world revolution
Time has taken, and soon will be gone
Cambridge, Princeton and M.I.T.,
Nalanda, Athens and Alexandria
all for the holocaust
of civilization —
To whom shall we pray
when our vision has faded
but the world-destroyer,
the liberator, the purifier?
But great is the realm
of the world-creator,
the world-sustainer
from whom we come,
in whom we move
and have our being,
about us, within us
the wonders of wisdom,
the trees and the fountains,
the stars and the mountains,
all the children of joy,
the loved and the known,
the unknowable mystery
to whom we return
through the world-destroyer, —
Holy, holy
at the end of the world
the purging fire
of the purifier, the liberator!
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Written by
Charles Baudelaire |
Voici venir les temps o? vibrant sur sa tige
Chaque fleur s'?vapore ainsi qu'un encensoir;
Les sons et les parfums tournent dans l'air du soir;
Valse m?lancolique et langoureux vertige!
Chaque fleur s'?vapore ainsi qu'un encensoir;
Le violon fr?mit comme un coeur qu'on afflige;
Valse m?lancolique et langoureux vertige!
Le ciel est triste et beau comme un grand reposoir.
Le violon fr?mit comme un coeur qu'on afflige,
Un coeur tendre qui hait le n?ant vaste et noir!
Le ciel est triste et beau comme un grand reposoir;
Le soleil s'est noy? dans son sang qui se fige.
Un coeur tendre qui hait le n?ant vaste et noir,
Du pass? lumineux receuille tout vestige!
Le soleil s'est noy? dans son sang qui se fige ...
Ton souvenir en moi luit comme un ostensoir!
|
Written by
Federico García Lorca |
1. Cogida and death
At five in the afternoon.
It was exactly five in the afternoon.
A boy brought the white sheet
at five in the afternoon.
A frail of lime ready prepared
at five in the afternoon.
The rest was death, and death alone.
The wind carried away the cottonwool
at five in the afternoon.
And the oxide scattered crystal and nickel
at five in the afternoon.
Now the dove and the leopard wrestle
at five in the afternoon.
And a thigh with a desolated horn
at five in the afternoon.
The bass-string struck up
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
Groups of silence in the corners
at five in the afternoon.
And the bull alone with a high heart!
At five in the afternoon.
When the sweat of snow was coming
at five in the afternoon,
when the bull ring was covered with iodine
at five in the afternoon.
Death laid eggs in the wound
at five in the afternoon.
At five in the afternoon.
At five o'clock in the afternoon.
A coffin on wheels is his bed
at five in the afternoon.
Bones and flutes resound in his ears
at five in the afternoon.
Now the bull was bellowing through his forehead
at five in the afternoon.
The room was iridiscent with agony
at five in the afternoon.
In the distance the gangrene now comes
at five in the afternoon.
Horn of the lily through green groins
at five in the afternoon.
The wounds were burning like suns
at five in the afternoon.
At five in the afternoon.
Ah, that fatal five in the afternoon!
It was five by all the clocks!
It was five in the shade of the afternoon!
2. The Spilled Blood
I will not see it!
Tell the moon to come,
for I do not want to see the blood
of Ignacio on the sand.
I will not see it!
The moon wide open.
Horse of still clouds,
and the grey bull ring of dreams
with willows in the barreras.
I will not see it!
Let my memory kindle!
Warm the jasmines
of such minute whiteness!
I will not see it!
The cow of the ancient world
passed har sad tongue
over a snout of blood
spilled on the sand,
and the bulls of Guisando,
partly death and partly stone,
bellowed like two centuries
sated with threading the earth.
No.
I will not see it!
Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood
Do not ask me to see it!
I do not want to hear it spurt
each time with less strength:
that spurt that illuminates
the tiers of seats, and spills
over the cordury and the leather
of a thirsty multiude.
Who shouts that I should come near!
Do not ask me to see it!
His eyes did not close
when he saw the horns near,
but the terrible mothers
lifted their heads.
And across the ranches,
an air of secret voices rose,
shouting to celestial bulls,
herdsmen of pale mist.
There was no prince in Sevilla
who could compare to him,
nor sword like his sword
nor heart so true.
Like a river of lions
was his marvellous strength,
and like a marble toroso
his firm drawn moderation.
The air of Andalusian Rome
gilded his head
where his smile was a spikenard
of wit and intelligence.
What a great torero in the ring!
What a good peasant in the sierra!
How gentle with the sheaves!
How hard with the spurs!
How tender with the dew!
How dazzling the fiesta!
How tremendous with the final
banderillas of darkness!
But now he sleeps without end.
Now the moss and the grass
open with sure fingers
the flower of his skull.
And now his blood comes out singing;
singing along marshes and meadows,
sliden on frozen horns,
faltering soulles in the mist
stoumbling over a thousand hoofs
like a long, dark, sad tongue,
to form a pool of agony
close to the starry Guadalquivir.
Oh, white wall of Spain!
Oh, black bull of sorrow!
Oh, hard blood of Ignacio!
Oh, nightingale of his veins!
No.
I will not see it!
No chalice can contain it,
no swallows can drink it,
no frost of light can cool it,
nor song nor deluge og white lilies,
no glass can cover mit with silver.
No.
I will not see it!
3. The Laid Out Body
Stone is a forehead where dreames grieve
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.
I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.
For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.
Now, Ignacio the well born lies on the stone.
All is finished. What is happening! Contemplate his face:
death has covered him with pale sulphur
and has place on him the head of dark minotaur.
All is finished. The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.
What is they saying? A stenching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.
Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner,
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.
Here I want to see those men of hard voice.
Those that break horses and dominate rivers;
those men of sonorous skeleton who sing
with a mouth full of sun and flint.
Here I want to see them. Before the stone.
Before this body with broken reins.
I want to know from them the way out
for this captain stripped down by death.
I want them to show me a lament like a river
wich will have sweet mists and deep shores,
to take the body of Ignacio where it looses itself
without hearing the double planting of the bulls.
Loses itself in the round bull ring of the moon
which feigns in its youth a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.
I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, rest: even the sea dies!
4. Absent Soul
The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have dead forever.
The shoulder of the stone does not know you
nor the black silk, where you are shuttered.
Your silent memory does not know you
because you have died forever
The autumn will come with small white snails,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.
Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.
Nobady knows you. No. But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.
It will be a long time, if ever, before there is born
an Andalusian so true, so rich in adventure.
I sing of his elegance with words that groan,
and I remember a sad breeze through the olive trees.
|
Written by
Bertolt Brecht |
[Original]
Ich will mit dem gehen, den ich liebe.
Ich will nicht ausrechnen, was es kostet.
Ich will nicht nachdenken, ob es gut ist.
Ich will nicht wissen, ob er mich liebt.
Ich will mit ihm gehen, den ich liebe.
[Translation]
I want to go with the one I love.
I do not want to calculate the cost.
I do not want to think about whether it's good.
I do not want to know whether he loves me.
I want to go with whom I love.
|
Written by
Robert William Service |
The poppies gleamed like bloody pools through cotton-woolly mist;
The Captain kept a-lookin' at the watch upon his wrist;
And there we smoked and squatted, as we watched the shrapnel flame;
'Twas wonnerful, I'm tellin' you, how fast them bullets came.
'Twas weary work the waiting, though; I tried to sleep a wink,
For waitin' means a-thinkin', and it doesn't do to think.
So I closed my eyes a little, and I had a niceish dream
Of a-standin' by a dresser with a dish of Devon cream;
But I hadn't time to sample it, for suddenlike I woke:
"Come on, me lads!" the Captain says, 'n I climbed out through the smoke.
We spread out in the open: it was like a bath of lead;
But the boys they cheered and hollered fit to raise the bloody dead,
Till a beastly bullet copped 'em, then they lay without a sound,
And it's odd -- we didn't seem to heed them corpses on the ground.
And I kept on thinkin', thinkin', as the bullets faster flew,
How they picks the werry best men, and they lets the rotters through;
So indiscriminatin' like, they spares a man of sin,
And a rare lad wot's a husband and a father gets done in.
And while havin' these reflections and advancin' on the run,
A bullet biffs me shoulder, and says I: "That's number one."
Well, it downed me for a jiffy, but I didn't lose me calm,
For I knew that I was needed: I'm a bomber, so I am.
I 'ad lost me cap and rifle, but I "carried on" because
I 'ad me bombs and knew that they was needed, so they was.
We didn't 'ave no singin' now, nor many men to cheer;
Maybe the shrapnel drowned 'em, crashin' out so werry near;
And the Maxims got us sideways, and the bullets faster flew,
And I copped one on me flipper, and says I: "That's number two."
I was pleased it was the left one, for I 'ad me bombs, ye see,
And 'twas 'ard if they'd be wasted like, and all along o' me.
And I'd lost me 'at and rifle -- but I told you that before,
So I packed me mit inside me coat and "carried on" once more.
But the rumpus it was wicked, and the men were scarcer yet,
And I felt me ginger goin', but me jaws I kindo set,
And we passed the Boche first trenches, which was 'eapin' 'igh with dead,
And we started for their second, which was fifty feet ahead;
When something like a 'ammer smashed me savage on the knee,
And down I came all muck and blood: Says I: "That's number three."
So there I lay all 'elpless like, and bloody sick at that,
And worryin' like anythink, because I'd lost me 'at;
And thinkin' of me missis, and the partin' words she said:
"If you gets killed, write quick, ol' man, and tell me as you're dead."
And lookin' at me bunch o' bombs -- that was the 'ardest blow,
To think I'd never 'ave the chance to 'url them at the foe.
And there was all our boys in front, a-fightin' there like mad,
And me as could 'ave 'elped 'em wiv the lovely bombs I 'ad.
And so I cussed and cussed, and then I struggled back again,
Into that bit of battered trench, packed solid with its slain.
Now as I lay a-lyin' there and blastin' of me lot,
And wishin' I could just dispose of all them bombs I'd got,
I sees within the doorway of a shy, retirin' dug-out
Six Boches all a-grinnin', and their Captain stuck 'is mug out;
And they 'ad a nice machine gun, and I twigged what they was at;
And they fixed it on a tripod, and I watched 'em like a cat;
And they got it in position, and they seemed so werry glad,
Like they'd got us in a death-trap, which, condemn their souls! they 'ad.
For there our boys was fightin' fifty yards in front, and 'ere
This lousy bunch of Boches they 'ad got us in the rear.
Oh it set me blood a-boilin' and I quite forgot me pain,
So I started crawlin', crawlin' over all them mounds of slain;
And them barstards was so busy-like they 'ad no eyes for me,
And me bleedin' leg was draggin', but me right arm it was free. . . .
And now they 'ave it all in shape, and swingin' sweet and clear;
And now they're all excited like, but -- I am drawin' near;
And now they 'ave it loaded up, and now they're takin' aim. . . .
Rat-tat-tat-tat! Oh here, says I, is where I join the game.
And my right arm it goes swingin', and a bomb it goes a-slingin',
And that "typewriter" goes wingin' in a thunderbolt of flame.
Then these Boches, wot was left of 'em, they tumbled down their 'ole,
And up I climbed a mound of dead, and down on them I stole.
And oh that blessed moment when I heard their frightened yell,
And I laughed down in that dug-out, ere I bombed their souls to hell.
And now I'm in the hospital, surprised that I'm alive;
We started out a thousand men, we came back thirty-five.
And I'm minus of a trotter, but I'm most amazin' gay,
For me bombs they wasn't wasted, though, you might say, "thrown away".
|
Written by
Ingeborg Bachmann |
Verwunschnes Wolkenschloß, in dem wir treiben...
Wer weiß, ob wir nicht schon durch viele Himmel
so ziehen mit verglasten Augen?
Wir, in die Zeit verbannt
und aus dem Raum gestoßen,
wir, Flieger durch die Nacht und Bodenlose.
Wer weiß, ob wir nicht schon um Gott geflogen,
und, weil wir pfeilschnell schäumten ohne ihn zu sehen
und unsre Samen weiterschleuderten,
um in noch dunkleren Geschlechtern fortzuleben,
jetzt schuldhaft treiben?
Wer weiß, ob wir nicht lange, lang schon sterben?
Der Wolkenball mit uns strebt immer höher.
Die dünne Luft lähmt heute schon die Hände,
und wenn die Stimme bricht und unser Atem steht...?
Bleibt Verwunschenheit für letzte Augenblicke?
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