Written by
Vachel Lindsay |
A Fantasy, dedicated to the little poet Alice Oliver Henderson, ten years old.
The Fantasy shows how tiger-hearts are the cause of war in all ages.
It shows how the mammoth forces may be either friends or enemies of the struggle for peace.
It shows how the dream of peace is unconquerable and eternal.
I
Peace-of-the-Heart, my own for long,
Whose shining hair the May-winds fan,
Making it tangled as they can,
A mystery still, star-shining yet,
Through ancient ages known to me
And now once more reborn with me: —
This is the tale of the Tiger Tree
A hundred times the height of a man,
Lord of the race since the world began.
This is my city Springfield,
My home on the breast of the plain.
The state house towers to heaven,
By an arsenal gray as the rain.
.
.
And suddenly all is mist,
And I walk in a world apart,
In the forest-age when I first knelt down
At your feet, O Peace-of-the-Heart.
This is the wonder of twilight:
Three times as high as the dome
Tiger-striped trees encircle the town,
Golden geysers of foam.
While giant white parrots sail past in their pride.
The roofs now are clouds and storms that they ride.
And there with the huntsmen of mound-builder days
Through jungle and meadow I stride.
And the Tiger Tree leaf is falling around
As it fell when the world began:
Like a monstrous tiger-skin, stretched on the ground,
Or the cloak of a medicine man.
A deep-crumpled gossamer web,
Fringed with the fangs of a snake.
The wind swirls it down from the leperous boughs.
It shimmers on clay-hill and lake,
With the gleam of great bubbles of blood,
Or coiled like a rainbow shell.
.
.
.
I feast on the stem of the Leaf as I march.
I am burning with Heaven and Hell.
II
The gray king died in his hour.
Then we crowned you, the prophetess wise:
Peace-of-the-Heart we deeply adored
For the witchcraft hid in your eyes.
Gift from the sky, overmastering all,
You sent forth your magical parrots to call
The plot-hatching prince of the tigers,
To your throne by the red-clay wall.
Thus came that genius insane:
Spitting and slinking,
Sneering and vain,
He sprawled to your grassy throne, drunk on The Leaf,
The drug that was cunning and splendor and grief.
He had fled from the mammoth by day,
He had blasted the mammoth by night,
War was his drunkenness,
War was his dreaming,
War was his love and his play.
And he hissed at your heavenly glory
While his councillors snarled in delight,
Asking in irony: "What shall we learn
From this whisperer, fragile and white?"
And had you not been an enchantress
They would not have loitered to mock
Nor spared your white parrots who walked by their paws
With bantering venturesome talk.
You made a white fire of The Leaf.
You sang while the tiger-chiefs hissed.
You chanted of "Peace to the wonderful world.
"
And they saw you in dazzling mist.
And their steps were no longer insane,
Kindness came down like the rain,
They dreamed that like fleet young ponies they feasted
On succulent grasses and grain.
Then came the black-mammoth chief:
Long-haired and shaggy and great,
Proud and sagacious he marshalled his court:
(You had sent him your parrots of state.
)
His trunk in rebellion upcurled,
A curse at the tiger he hurled.
Huge elephants trumpeted there by his side,
And mastodon-chiefs of the world.
But higher magic began.
For the turbulent vassals of man.
You harnessed their fever, you conquered their ire,
Their hearts turned to flowers through holy desire,
For their darling and star you were crowned,
And their raging demons were bound.
You rode on the back of the yellow-streaked king,
His loose neck was wreathed with a mistletoe ring.
Primordial elephants loomed by your side,
And our clay-painted children danced by your path,
Chanting the death of the kingdoms of wrath.
You wrought until night with us all.
The fierce brutes fawned at your call,
Then slipped to their lairs, song-chained.
And thus you sang sweetly, and reigned:
"Immortal is the inner peace, free to beasts and men.
Beginning in the darkness, the mystery will conquer,
And now it comforts every heart that seeks for love again.
And now the mammoth bows the knee,
We hew down every Tiger Tree,
We send each tiger bound in love and glory to his den,
Bound in love.
.
.
and wisdom.
.
.
and glory,.
.
.
to his den.
"
III
"Beware of the trumpeting swine,"
Came the howl from the northward that night.
Twice-rebel tigers warning was still
If we held not beside them it boded us ill.
From the parrots translating the cry,
And the apes in the trees came the whine:
"Beware of the trumpeting swine.
Beware of the faith of a mammoth.
"
"Beware of the faith of a tiger,"
Came the roar from the southward that night.
Trumpeting mammoths warning us still
If we held not beside them it boded us ill.
The frail apes wailed to us all,
The parrots reëchoed the call:
"Beware of the faith of a tiger.
"
From the heights of the forest the watchers could see
The tiger-cats crunching the Leaf of the Tree
Lashing themselves, and scattering foam,
Killing our huntsmen, hurrying home.
The chiefs of the mammoths our mastery spurned,
And eastward restlessly fumed and burned.
The peacocks squalled out the news of their drilling
And told how they trampled, maneuvered, and turned.
Ten thousand man-hating tigers
Whirling down from the north, like a flood!
Ten thousand mammoths oncoming
From the south as avengers of blood!
Our child-queen was mourning, her magic was dead,
The roots of the Tiger Tree reeking with red.
IV
This is the tale of the Tiger Tree
A hundred times the height of a man,
Lord of the race since the world began.
We marched to the mammoths,
We pledged them our steel,
And scorning you, sang: —
"We are men,
We are men.
"
We mounted their necks,
And they stamped a wide reel.
We sang:
"We are fighting the hell-cats again,
We are mound-builder men,
We are elephant men.
"
We left you there, lonely,
Beauty your power,
Wisdom your watchman,
To hold the clay tower.
While the black-mammoths boomed —
"You are elephant men,
Men,
Men,
Elephant men.
"
The dawn-winds prophesied battles untold.
While the Tiger Trees roared of the glories of old,
Of the masterful spirits and hard.
The drunken cats came in their joy
In the sunrise, a glittering wave.
"We are tigers, are tigers," they yowled.
"Down,
Down,
Go the swine to the grave.
"
But we tramp
Tramp
Trampled them there,
Then charged with our sabres and spears.
The swish of the sabre,
The swish of the sabre,
Was a marvellous tune in our ears.
We yelled "We are men,
We are men.
"
As we bled to death in the sun.
.
.
.
Then staunched our horrible wounds
With the cry that the battle was won.
.
.
.
And at last,
When the black-mammoth legion
Split the night with their song: —
"Right is braver than wrong,
Right is stronger than wrong,"
The buzzards came taunting:
"Down from the north
Tiger-nations are sweeping along.
"
Then we ate of the ravening Leaf
As our savage fathers of old.
No longer our wounds made us weak,
No longer our pulses were cold.
Though half of my troops were afoot,
(For the great who had borne them were slain)
We dreamed we were tigers, and leaped
And foamed with that vision insane.
We cried "We are soldiers of doom,
Doom,
Sabres of glory and doom.
"
We wreathed the king of the mammoths
In the tiger-leaves' terrible bloom.
We flattered the king of the mammoths,
Loud-rattling sabres and spears.
The swish of the sabre,
The swish of the sabre,
Was a marvellous tune in his ears.
V
This was the end of the battle.
The tigers poured by in a tide
Over us all with their caterwaul call,
"We are the tigers,"
They cried.
"We are the sabres,"
They cried.
But we laughed while our blades swept wide,
While the dawn-rays stabbed through the gloom.
"We are suns on fire" was our yell —
"Suns on fire.
".
.
.
But man-child and mastodon fell,
Mammoth and elephant fell.
The fangs of the devil-cats closed on the world,
Plunged it to blackness and doom.
The desolate red-clay wall
Echoed the parrots' call: —
"Immortal is the inner peace, free to beasts and men.
Beginning in the darkness, the mystery will conquer,
And now it comforts every heart that seeks for love again.
And now the mammoth bows the knee,
We hew down every Tiger Tree,
We send each tiger bound in love and glory to his den,
Bound in love.
.
.
and wisdom.
.
.
and glory,.
.
.
to his den.
"
A peacock screamed of his beauty
On that broken wall by the trees,
Chiding his little mate,
Spreading his fans in the breeze.
.
.
And you, with eyes of a bride,
Knelt on the wall at my side,
The deathless song in your mouth.
.
.
A million new tigers swept south.
.
.
As we laughed at the peacock, and died.
This is my vision in Springfield:
Three times as high as the dome,
Tiger-striped trees encircle the town,
Golden geysers of foam; —
Though giant white parrots sail past, giving voice,
Though I walk with Peace-of-the-Heart and rejoice.
|
Written by
Barry Tebb |
Mornings like this I awaken and wonder
How I have moved so far, how I have moved so little
And yet in essence stayed the same
Always passionate for the unattainable
For Joan Baez to make me her analyst,
To tour Ireland with Eddie and Finbar Furey
To be made a Chevalier des Palmes for translating Milosz.
I remember one road, many roads I did not take
And my heart lurches and my stomach turns
At the vertigo of mystery
At the simplicity of childhood
And its melancholy
At the silence of the moors
Beckoning, unreachable, tormenting me
As I lie helpless at the border of infirmity
With my soul burning and brimming over
With adolescent passion.
Only analysis with its symmetries and asymmetries
Exactness and paradox, scientific as Heisenberg's
Principle of Uncertainty, yet various as the shades of Monet,
Eases me.
I think of those I have known and know no longer,
Who have died needlessly, disappeared irrevocably
Or changed beyond recognition.
I think of the bridge, river and streets
Of my Montmartre, gone under and made over
Into the grey utilities of trade, the empty road,
Sad as telegraph poles, my Sacr? Coeur silent and boarded up.
My Seine empty of the barges of D?rain
My Sorbonne absorbed, its students gone
Mornings like this, I awaken and wonder.
|
Written by
Robert Browning |
A PICTURE AT FANO.
I.
Dear and great Angel, wouldst thou only leave
That child, when thou hast done with him, for me!
Let me sit all the day here, that when eve
Shall find performed thy special ministry,
And time come for departure, thou, suspending
Thy flight, mayst see another child for tending,
Another still, to quiet and retrieve.
II.
Then I shall feel thee step one step, no more,
From where thou standest now, to where I gaze,
---And suddenly my head is covered o'er
With those wings, white above the child who prays
Now on that tomb---and I shall feel thee guarding
Me, out of all the world; for me, discarding
Yon heaven thy home, that waits and opes its door.
III.
I would not look up thither past thy head
Because the door opes, like that child, I know,
For I should have thy gracious face instead,
Thou bird of God! And wilt thou bend me low
Like him, and lay, like his, my hands together,
And lift them up to pray, and gently tether
Me, as thy lamb there, with thy garment's spread?
IV.
If this was ever granted, I would rest
My bead beneath thine, while thy healing hands
Close-covered both my eyes beside thy breast,
Pressing the brain, which too much thought expands,
Back to its proper size again, and smoothing
Distortion down till every nerve had soothing,
And all lay quiet, happy and suppressed.
V.
How soon all worldly wrong would be repaired!
I think how I should view the earth and skies
And sea, when once again my brow was bared
After thy healing, with such different eyes.
O world, as God has made it! All is beauty:
And knowing this, is love, and love is duty.
What further may be sought for or declared?
VI.
Guercino drew this angel I saw teach
(Alfred, dear friend!)---that little child to pray,
Holding the little hands up, each to each
Pressed gently,---with his own head turned away
Over the earth where so much lay before him
Of work to do, though heaven was opening o'er him,
And he was left at Fano by the beach.
VII.
We were at Fano, and three times we went
To sit and see him in his chapel there,
And drink his beauty to our soul's content
---My angel with me too: and since I care
For dear Guercino's fame (to which in power
And glory comes this picture for a dower,
Fraught with a pathos so magnificent)---
VIII.
And since he did not work thus earnestly
At all times, and has else endured some wrong---
I took one thought his picture struck from me,
And spread it out, translating it to song.
My love is here.
Where are you, dear old friend?
How rolls the Wairoa at your world's far end?
This is Ancona, yonder is the sea.
|
Written by
Walt Whitman |
1
OUT of the cradle endlessly rocking,
Out of the mocking-bird’s throat, the musical shuttle,
Out of the Ninth-month midnight,
Over the sterile sands, and the fields beyond, where the child, leaving his bed, wander’d
alone, bare-headed, barefoot,
Down from the shower’d halo,
Up from the mystic play of shadows, twining and twisting as if they were alive,
Out from the patches of briers and blackberries,
From the memories of the bird that chanted to me,
From your memories, sad brother—from the fitful risings and fallings I heard,
From under that yellow half-moon, late-risen, and swollen as if with tears,
From those beginning notes of sickness and love, there in the transparent mist,
From the thousand responses of my heart, never to cease,
From the myriad thence-arous’d words,
From the word stronger and more delicious than any,
From such, as now they start, the scene revisiting,
As a flock, twittering, rising, or overhead passing,
Borne hither—ere all eludes me, hurriedly,
A man—yet by these tears a little boy again,
Throwing myself on the sand, confronting the waves,
I, chanter of pains and joys, uniter of here and hereafter,
Taking all hints to use them—but swiftly leaping beyond them,
A reminiscence sing.
2
Once, Paumanok,
When the snows had melted—when the lilac-scent was in the air, and the Fifth-month grass
was
growing,
Up this sea-shore, in some briers,
Two guests from Alabama—two together,
And their nest, and four light-green eggs, spotted with brown,
And every day the he-bird, to and fro, near at hand,
And every day the she-bird, crouch’d on her nest, silent, with bright eyes,
And every day I, a curious boy, never too close, never disturbing them,
Cautiously peering, absorbing, translating.
3
Shine! shine! shine!
Pour down your warmth, great Sun!
While we bask—we two together.
Two together!
Winds blow South, or winds blow North,
Day come white, or night come black,
Home, or rivers and mountains from home,
Singing all time, minding no time,
While we two keep together.
4
Till of a sudden,
May-be kill’d, unknown to her mate,
One forenoon the she-bird crouch’d not on the nest,
Nor return’d that afternoon, nor the next,
Nor ever appear’d again.
And thenceforward, all summer, in the sound of the sea,
And at night, under the full of the moon, in calmer weather,
Over the hoarse surging of the sea,
Or flitting from brier to brier by day,
I saw, I heard at intervals, the remaining one, the he-bird,
The solitary guest from Alabama.
5
Blow! blow! blow!
Blow up, sea-winds, along Paumanok’s shore!
I wait and I wait, till you blow my mate to me.
6
Yes, when the stars glisten’d,
All night long, on the prong of a moss-scallop’d stake,
Down, almost amid the slapping waves,
Sat the lone singer, wonderful, causing tears.
He call’d on his mate;
He pour’d forth the meanings which I, of all men, know.
Yes, my brother, I know;
The rest might not—but I have treasur’d every note;
For once, and more than once, dimly, down to the beach gliding,
Silent, avoiding the moonbeams, blending myself with the shadows,
Recalling now the obscure shapes, the echoes, the sounds and sights after their sorts,
The white arms out in the breakers tirelessly tossing,
I, with bare feet, a child, the wind wafting my hair,
Listen’d long and long.
Listen’d, to keep, to sing—now translating the notes,
Following you, my brother.
7
Soothe! soothe! soothe!
Close on its wave soothes the wave behind,
And again another behind, embracing and lapping, every one close,
But my love soothes not me, not me.
Low hangs the moon—it rose late;
O it is lagging—O I think it is heavy with love, with love.
O madly the sea pushes, pushes upon the land,
With love—with love.
O night! do I not see my love fluttering out there among the breakers?
What is that little black thing I see there in the white?
Loud! loud! loud!
Loud I call to you, my love!
High and clear I shoot my voice over the waves;
Surely you must know who is here, is here;
You must know who I am, my love.
Low-hanging moon!
What is that dusky spot in your brown yellow?
O it is the shape, the shape of my mate!
O moon, do not keep her from me any longer.
Land! land! O land!
Whichever way I turn, O I think you could give me my mate back again, if you only
would;
For I am almost sure I see her dimly whichever way I look.
O rising stars!
Perhaps the one I want so much will rise, will rise with some of you.
O throat! O trembling throat!
Sound clearer through the atmosphere!
Pierce the woods, the earth;
Somewhere listening to catch you, must be the one I want.
Shake out, carols!
Solitary here—the night’s carols!
Carols of lonesome love! Death’s carols!
Carols under that lagging, yellow, waning moon!
O, under that moon, where she droops almost down into the sea!
O reckless, despairing carols.
But soft! sink low;
Soft! let me just murmur;
And do you wait a moment, you husky-noised sea;
For somewhere I believe I heard my mate responding to me,
So faint—I must be still, be still to listen;
But not altogether still, for then she might not come immediately to me.
Hither, my love!
Here I am! Here!
With this just-sustain’d note I announce myself to you;
This gentle call is for you, my love, for you.
Do not be decoy’d elsewhere!
That is the whistle of the wind—it is not my voice;
That is the fluttering, the fluttering of the spray;
Those are the shadows of leaves.
O darkness! O in vain!
O I am very sick and sorrowful.
O brown halo in the sky, near the moon, drooping upon the sea!
O troubled reflection in the sea!
O throat! O throbbing heart!
O all—and I singing uselessly, uselessly all the night.
Yet I murmur, murmur on!
O murmurs—you yourselves make me continue to sing, I know not why.
O past! O life! O songs of joy!
In the air—in the woods—over fields;
Loved! loved! loved! loved! loved!
But my love no more, no more with me!
We two together no more.
8
The aria sinking;
All else continuing—the stars shining,
The winds blowing—the notes of the bird continuous echoing,
With angry moans the fierce old mother incessantly moaning,
On the sands of Paumanok’s shore, gray and rustling;
The yellow half-moon enlarged, sagging down, drooping, the face of the sea almost
touching;
The boy extatic—with his bare feet the waves, with his hair the atmosphere dallying,
The love in the heart long pent, now loose, now at last tumultuously bursting,
The aria’s meaning, the ears, the Soul, swiftly depositing,
The strange tears down the cheeks coursing,
The colloquy there—the trio—each uttering,
The undertone—the savage old mother, incessantly crying,
To the boy’s Soul’s questions sullenly timing—some drown’d secret hissing,
To the outsetting bard of love.
9
Demon or bird! (said the boy’s soul,)
Is it indeed toward your mate you sing? or is it mostly to me?
For I, that was a child, my tongue’s use sleeping,
Now I have heard you,
Now in a moment I know what I am for—I awake,
And already a thousand singers—a thousand songs, clearer, louder and more sorrowful than
yours,
A thousand warbling echoes have started to life within me,
Never to die.
O you singer, solitary, singing by yourself—projecting me;
O solitary me, listening—nevermore shall I cease perpetuating you;
Never more shall I escape, never more the reverberations,
Never more the cries of unsatisfied love be absent from me,
Never again leave me to be the peaceful child I was before what there, in the night,
By the sea, under the yellow and sagging moon,
The messenger there arous’d—the fire, the sweet hell within,
The unknown want, the destiny of me.
O give me the clew! (it lurks in the night here somewhere;)
O if I am to have so much, let me have more!
O a word! O what is my destination? (I fear it is henceforth chaos;)
O how joys, dreads, convolutions, human shapes, and all shapes, spring as from graves
around
me!
O phantoms! you cover all the land and all the sea!
O I cannot see in the dimness whether you smile or frown upon me;
O vapor, a look, a word! O well-beloved!
O you dear women’s and men’s phantoms!
A word then, (for I will conquer it,)
The word final, superior to all,
Subtle, sent up—what is it?—I listen;
Are you whispering it, and have been all the time, you sea-waves?
Is that it from your liquid rims and wet sands?
10
Whereto answering, the sea,
Delaying not, hurrying not,
Whisper’d me through the night, and very plainly before day-break,
Lisp’d to me the low and delicious word DEATH;
And again Death—ever Death, Death, Death,
Hissing melodious, neither like the bird, nor like my arous’d child’s heart,
But edging near, as privately for me, rustling at my feet,
Creeping thence steadily up to my ears, and laving me softly all over,
Death, Death, Death, Death, Death.
Which I do not forget,
But fuse the song of my dusky demon and brother,
That he sang to me in the moonlight on Paumanok’s gray beach,
With the thousand responsive songs, at random,
My own songs, awaked from that hour;
And with them the key, the word up from the waves,
The word of the sweetest song, and all songs,
That strong and delicious word which, creeping to my feet,
The sea whisper’d me.
|
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
Johann Wolfgang von Goethe |
[I feel considerable hesitation in venturing
to offer this version of a poem which Carlyle describes to be 'a
beautiful piece (a very Hans Sacks beatified, both in character
and style), which we wish there was any possibility of translating.
'
The reader will be aware that Hans Sachs was the celebrated Minstrel-
Cobbler of Nuremberg, who Wrote 208 plays, 1700 comic tales, and
between 4000 and 5000 lyric poems.
He flourished throughout almost
the whole of the 16th century.
]
EARLY within his workshop here,
On Sundays stands our master dear;
His dirty apron he puts away,
And wears a cleanly doublet to-day;
Lets wax'd thread, hammer, and pincers rest,
And lays his awl within his chest;
The seventh day he takes repose
From many pulls and many blows.
Soon as the spring-sun meets his view,
Repose begets him labour anew;
He feels that he holds within his brain
A little world, that broods there amain,
And that begins to act and to live,
Which he to others would gladly give.
He had a skilful eye and true,
And was full kind and loving too.
For contemplation, clear and pure,--
For making all his own again, sure;
He had a tongue that charm'd when 'twas heard,
And graceful and light flow'd ev'ry word;
Which made the Muses in him rejoice,
The Master-singer of their choice.
And now a maiden enter'd there,
With swelling breast, and body fair;
With footing firm she took her place,
And moved with stately, noble grace;
She did not walk in wanton mood,
Nor look around with glances lewd.
She held a measure in her hand,
Her girdle was a golden band,
A wreath of corn was on her head,
Her eye the day's bright lustre shed;
Her name is honest Industry,
Else, Justice, Magnanimity.
She enter'd with a kindly greeting;
He felt no wonder at the meeting,
For, kind and fair as she might be,
He long had known her, fancied he.
"I have selected thee," she said,
"From all who earth's wild mazes tread,
That thou shouldst have clear-sighted sense,
And nought that's wrong shouldst e'er commence.
When others run in strange confusion,
Thy gaze shall see through each illusion
When others dolefully complain,
Thy cause with jesting thou shalt gain,
Honour and right shalt value duly,
In everything act simply, truly,--
Virtue and godliness proclaim,
And call all evil by its name,
Nought soften down, attempt no quibble,
Nought polish up, nought vainly scribble.
The world shall stand before thee, then,
As seen by Albert Durer's ken,
In manliness and changeless life,
In inward strength, with firmness rife.
Fair Nature's Genius by the hand
Shall lead thee on through every land,
Teach thee each different life to scan,
Show thee the wondrous ways of man,
His shifts, confusions, thrustings, and drubbings,
Pushings, tearings, pressings, and rubbings;
The varying madness of the crew,
The anthill's ravings bring to view;
But thou shalt see all this express'd,
As though 'twere in a magic chest.
Write these things down for folks on earth,
In hopes they may to wit give birth.
"--
Then she a window open'd wide,
And show'd a motley crowd outside,
All kinds of beings 'neath the sky,
As in his writings one may spy.
Our master dear was, after this,
On Nature thinking, full of bliss,
When tow'rd him, from the other side
He saw an aged woman glide;
The name she bears, Historia,
Mythologia, Fabula;
With footstep tottering and unstable
She dragg'd a large and wooden carved-table,
Where, with wide sleeves and human mien,
The Lord was catechizing seen;
Adam, Eve, Eden, the Serpent's seduction,
Gomorrah and Sodom's awful destruction,
The twelve illustrious women, too,
That mirror of honour brought to view;
All kinds of bloodthirstiness, murder, and sin,
The twelve wicked tyrants also were in,
And all kinds of goodly doctrine and law;
Saint Peter with his scourge you saw,
With the world's ways dissatisfied,
And by our Lord with power supplied.
Her train and dress, behind and before,
And e'en the seams, were painted o'er
With tales of worldly virtue and crime.
--
Our master view'd all this for a time;
The sight right gladly he survey'd,
So useful for him in his trade,
Whence he was able to procure
Example good and precept sure,
Recounting all with truthful care,
As though he had been present there.
His spirit seem'd from earth to fly,
He ne'er had turned away his eye,
Did he not just behind him hear
A rattle of bells approaching near.
And now a fool doth catch his eye,
With goat and ape's leap drawing nigh
A merry interlude preparing
With fooleries and jests unsparing.
Behind him, in a line drawn out,
He dragg'd all fools, the lean and stout,
The great and little, the empty and full,
All too witty, and all too dull,
A lash he flourish'd overhead,
As though a dance of apes he led,
Abusing them with bitterness,
As though his wrath would ne'er grow less.
While on this sight our master gazed,
His head was growing well-nigh crazed:
What words for all could he e'er find,
Could such a medley be combined?
Could he continue with delight
For evermore to sing and write?
When lo, from out a cloud's dark bed
In at the upper window sped
The Muse, in all her majesty,
As fair as our loved maids we see.
With clearness she around him threw
Her truth, that ever stronger grew.
"I, to ordain thee come," she spake:
"So prosper, and my blessing take!
The holy fire that slumb'ring lies
Within thee, in bright flames shall rise;
Yet that thine ever-restless life
May still with kindly strength be rife,
I, for thine inward spirit's calm.
Have granted nourishment and balm,
That rapture may thy soul imbue,
Like some fair blossom bathed in dew.
"--
Behind his house then secretly
Outside the doorway pointed she,
Where, in a shady garden-nook,
A beauteous maid with downcast look
Was sitting where a stream was flowing,
With elder bushes near it growing,
She sat beneath an apple tree,
And nought around her seem'd to see.
Her lap was full of roses fair,
Which in a wreath she twined with care.
And, with them, leaves and blossoms blended:
For whom was that sweet wreath intended?
Thus sat she, modest and retired,
Her bosom throbb'd, with hope inspired;
Such deep forebodings fill'd her mind,
No room for wishing could she find,
And with the thoughts that o'er it flew,
Perchance a sigh was mingled too.
"But why should sorrow cloud thy brow?
That, dearest love, which fills thee now
Is fraught with joy and ecstasy.
Prepared in one alone for thee,
That he within thine eye may find
Solace when fortune proves unkind,
And be newborn through many a kiss,
That he receives with inward bliss;
When'er he clasps thee to his breast.
May he from all his toils find rest
When he in thy dear arms shall sink,
May he new life and vigour drink:
Fresh joys of youth shalt thou obtain,
In merry jest rejoice again.
With raillery and roguish spite,
Thou now shalt tease him, now delight.
Thus Love will nevermore grow old,
Thus will the minstrel ne'er be cold!"
While he thus lives, in secret bless'd,
Above him in the clouds doth rest
An oak-wreath, verdant and sublime,
Placed on his brow in after-time;
While they are banish'd to the slough,
Who their great master disavow.
1776.
|
Written by
Denise Levertov |
Those groans men use
passing a woman on the street
or on the steps of the subway
to tell her she is a female
and their flesh knows it,
are they a sort of tune,
an ugly enough song, sung
by a bird with a slit tongue
but meant for music?
Or are they the muffled roaring
of deafmutes trapped in a building that is
slowly filling with smoke?
Perhaps both.
Such men most often
look as if groan were all they could do,
yet a woman, in spite of herself,
knows it's a tribute:
if she were lacking all grace
they'd pass her in silence:
so it's not only to say she's
a warm hole.
It's a word
in grief-language, nothing to do with
primitive, not an ur-language;
language stricken, sickened, cast down
in decrepitude.
She wants to
throw the tribute away, dis-
gusted, and can't,
it goes on buzzing in her ear,
it changes the pace of her walk,
the torn posters in echoing corridors
spell it out, it
quakes and gnashes as the train comes in.
Her pulse sullenly
had picked up speed,
but the cars slow down and
jar to a stop while her understanding
keeps on translating:
'Life after life after life goes by
without poetry,
without seemliness,
without love.
'
|
Written by
Rainer Maria Rilke |
In the beginning was the three-pointed star,
One smile of light across the empty face,
One bough of bone across the rooting air,
The substance forked that marrowed the first sun,
And, burning ciphers on the round of space,
Heaven and hell mixed as they spun.
In the beginning was the pale signature,
Three-syllabled and starry as the smile,
And after came the imprints on the water,
Stamp of the minted face upon the moon;
The blood that touched the crosstree and the grail
Touched the first cloud and left a sign.
In the beginning was the mounting fire
That set alight the weathers from a spark,
A three-eyed, red-eyed spark, blunt as a flower,
Life rose and spouted from the rolling seas,
Burst in the roots, pumped from the earth and rock
The secret oils that drive the grass.
In the beginning was the word, the word
That from the solid bases of the light
Abstracted all the letters of the void;
And from the cloudy bases of the breath
The word flowed up, translating to the heart
First characters of birth and death.
In the beginning was the secret brain.
The brain was celled and soldered in the thought
Before the pitch was forking to a sun;
Before the veins were shaking in their sieve,
Blood shot and scattered to the winds of light
The ribbed original of love.
|