by
Allama Muhammad Iqbal
The soul of both of them is impatient and restless,
Both of them know not God, and deceive mankind.
One lives by production, the other by taxation,
And man is a glass caught between two stones.
The one puts to rout science, religion, art,
The other robs the body of soul, the hand of bread.
I have perceived both drowned in water and clay,
Both bodily burnished, but utterly dark of heart.
Life means a passionate burning, an urge to make,
To cast in the dead clay the seed of heart.
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by
Alec Derwent (A D) Hope
When, darkly brooding on this Modern Age,
The journalist with his marketable woes
Fills up once more the inevitable page
Of fatuous, flatulent, Sunday-paper prose;
Whenever the green aesthete starts to whoop
With horror at the house not made with hands
And when from vacuum cleaners and tinned soup
Another pure theosophist demands
Rebirth in other, less industrial stars
Where huge towns thrust up in synthetic stone
And films and sleek miraculous motor cars
And celluloid and rubber are unknown;
When from his vegetable Sunday School
Emerges with the neatly maudlin phrase
Still one more Nature poet, to rant or drool
About the "Standardization of the Race";
I see, stooping among her orchard trees,
The old, sound Earth, gathering her windfalls in,
Broad in the hams and stiffening at the knees,
Pause and I see her grave malicious grin.
For there is no manufacturer competes
With her in the mass production of shapes and things.
Over and over she gathers and repeats
The cast of a face, a million butterfly wings.
She does not tire of the pattern of a rose.
Her oldest tricks still catch us with surprise.
She cannot recall how long ago she chose
The streamlined hulls of fish, the snail's long eyes,
Love, which still pours into its ancient mould
The lashing seed that grows to a man again,
From whom by the same processes unfold
Unending generations of living men.
She has standardized his ultimate needs and pains.
Lost tribes in a lost language mutter in
His dreams: his science is tethered to their brains,
His guilt merely repeats Original Sin.
And beauty standing motionless before
Her mirror sees behind her, mile on mile,
A long queue in an unknown corridor,
Anonymous faces plastered with her smile.
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by
Walt Whitman
O ME, man of slack faith so long!
Standing aloof—denying portions so long;
Only aware to-day of compact, all-diffused truth;
Discovering to-day there is no lie, or form of lie, and can be none, but grows as
inevitably
upon
itself as the truth does upon itself,
Or as any law of the earth, or any natural production of the earth does.
(This is curious, and may not be realized immediately—But it must be realized;
I feel in myself that I represent falsehoods equally with the rest,
And that the universe does.)
Where has fail’d a perfect return, indifferent of lies or the truth?
Is it upon the ground, or in water or fire? or in the spirit of man? or in the meat and
blood?
Meditating among liars, and retreating sternly into myself, I see that there are really no
liars or
lies after all,
And that nothing fails its perfect return—And that what are called lies are perfect
returns,
And that each thing exactly represents itself, and what has preceded it,
And that the truth includes all, and is compact, just as much as space is compact,
And that there is no flaw or vacuum in the amount of the truth—but that all is truth
without
exception;
And henceforth I will go celebrate anything I see or am,
And sing and laugh, and deny nothing.
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by
Ogden Nash
Higgledy piggledy, my black hen,
She lays eggs for gentlemen.
Gentlemen come every day
To count what my black hen doth lay.
If perchance she lays too many,
They fine my hen a pretty penny;
If perchance she fails to lay,
The gentlemen a bonus pay.
Mumbledy pumbledy, my red cow,
She’s cooperating now.
At first she didn’t understand
That milk production must be planned;
She didn’t understand at first
She either had to plan or burst,
But now the government reports
She’s giving pints instead of quarts.
Fiddle de dee, my next-door neighbors,
They are giggling at their labors.
First they plant the tiny seed,
Then they water, then they weed,
Then they hoe and prune and lop,
They they raise a record crop,
Then they laugh their sides asunder,
And plow the whole caboodle under.
Abracadabra, thus we learn
The more you create, the less you earn.
The less you earn, the more you’re given,
The less you lead, the more you’re driven,
The more destroyed, the more they feed,
The more you pay, the more they need,
The more you earn, the less you keep,
And now I lay me down to sleep.
I pray the Lord my soul to take
If the tax-collector hasn’t got it before I wake.
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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.
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by
Marriott Edgar
I'll tell you the story of Balbus,
You know, him as builded a wall;
I'll tell you the reason he built it,
And the place where it happened an' all.
This 'ere Balbus, though only a Tackler,
Were the most enterprising of men;
He'd heard Chicken Farms were lucrative,
So he went out and purchased a hen.
'Twere a White Wyandot he called Mabel,
At laying she turned out a peach,
And her eggs being all double-yoked ones
He reckoned they'd fetch twopence each.
When he took them along to the market
And found that the eggs that sold best
Were them as came over from China
He were vexed, but in no ways depressed.
For Balbus, though only a Tackler,
In business were far from a dunce,
So he packed Mabel up in a basket
And started for China at once.
When he got there he took a small holding,
And selecting the sunniest part,
He lifted the lid of the basket
And said "Come on, lass... make a start!"
The 'en needed no second biddin',
She sat down and started to lay;
She'd been saving up all the way over
And laid sixteen eggs, straight away.
When the Chinamen heard what had happened
Their cheeks went the colour of mud,
They said it were sheer mass production
As had to be nipped in the bud.
They formed themselves in a committee
And tried to arrive at some course
Whereby they could limit the output
Without doing harm to the source.
At the finish they came to t' conclusion
That the easiest road they could take
Were to fill the 'en's nest up wi' scrap-iron
So as fast as she laid eggs they'd break.
When Balbus went out the next morning
To fetch the eggs Mabel had laid
He found nowt but shells and albumen
He were hipped, but in no ways dismayed.
For Balbus, though only a Tackler,
He'd a brain that were fertile and quick
He bought all the scrap-iron in t' district
To stop them repeating the trick.
But next day, to his great consternation
He were met with another reverse,
For instead of old iron they'd used clinker
And the eggs looked the same, or worse.
'Twere a bit of a set-back for Balbus,
But he wasn't downhearted at all,
And when t' Chinamen came round next evening
They found he were building a wall.
"That won't keep us out of your 'en 'ouse"
Said one, with a smug kind of grin;
It's not for that purpose," said Balbus,
"When it's done, it will keep you lot in."
The Chinamen all burst out laffing,
They thowt as he'd gone proper daft
But Balbus got on wi' his building
And said "He laffed last who last laffed."
Day by day Balbus stuck to his building,
And his efforts he never did cease
Till he'd builded the Great Wall of China
So as Mabel could lay eggs in peace.
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by
Thomas Moore
A Donkey, whose talent for burdens was wondrous,
So much that you'd swear he rejoic'd in a load,
One day had to jog under panniers so pond'rous,
That -- down the poor Donkey fell smack on the road!
His owners and drivers stood round in amaze --
What! Neddy, the patient, the prosperous Neddy,
So easy to drive, through the dirtiest ways,
For every description of job-work so ready!
One driver (whom Ned might have "hail'd" as a "brother")
Had just been proclaiming his Donkey's renown
For vigour, for spirit, for one thing or another --
When, lo, 'mid his praises, the Donkey came down!
But, how to upraise him? - one shouts, t'other whistles,
While Jenky, the Conjurer, wisest of all,
Declar'd that an "over-production of thistles" --
(Here Ned gave a stare) -- "was the cause of his fall."
Another wise Solomon cries, as he passes --
"There, let him alone, and the fit will soon cease;
The beast has been fighting with other jack-asses,
And this is his mode of "transition to peace"."
Some look'd at his hoofs, and with learned grimaces,
Pronounc'd that too long without shoes he had gone --
"Let the blacksmith provide him a sound metal basis
(The wise-acres said), and he's sure to jog on."
Meanwhile, the poor Neddy, in torture and fear,
Lay under his panniers, scarce able to groan;
And -- what was still dolefuller - lending an ear
To advisers, whose ears were a match for his own.
At length, a plain rustic, whose wit went so far
As to see others' folly, roar'd out, as he pass'd --
"Quick -- off with the panniers, all dolts as ye are,
Or, your prosperous Neddy will soon kick his last!"
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by
Johann Wolfgang von Goethe
I have taken advantage of the publication of a Second Edition
of my translation of the Poems of Goethe (originally published in
1853), to add to the Collection a version of the much admired classical
Poem of Hermann and Dorothea, which was previously omitted by me
in consequence of its length. Its universal popularity, however,
and the fact that it exhibits the versatility of Goethe's talents
to a greater extent than, perhaps, any other of his poetical works,
seem to call for its admission into the present volume.
On the other hand I have not thought it necessary to include the
sketch of Goethe's Life that accompanied the First Edition. At the
time of its publication, comparatively little was known in this
country of the incidents of his career, and my sketch was avowedly
written as a temporary stop-gap, as it were, pending the production
of some work really deserving the tittle of a life of Goethe. Not
to mention other contributions to the literature of the subject,
Mr. Lewis's important volumes give the English reader all the information
he is likely to require respecting Goethe's career, and my short
memoir appeared to be no longer required.
I need scarcely add that I have availed myself of this opportunity
to make whatever improvements have suggested themselves to me in
my original version of these Poems.
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