Written by
Matsuo Basho |
Following are several translations
of the 'Old Pond' poem, which may be
the most famous of all haiku:
Furuike ya
kawazu tobikomu
mizu no oto
-- Basho
Literal Translation
Fu-ru (old) i-ke (pond) ya,
ka-wa-zu (frog) to-bi-ko-mu (jumping into)
mi-zu (water) no o-to (sound)
The old pond--
a frog jumps in,
sound of water.
Translated by Robert Hass
Old pond...
a frog jumps in
water's sound.
Translated by William J. Higginson
An old silent pond...
A frog jumps into the pond,
splash! Silence again.
Translated by Harry Behn
There is the old pond!
Lo, into it jumps a frog:
hark, water's music!
Translated by John Bryan
The silent old pond
a mirror of ancient calm,
a frog-leaps-in splash.
Translated by Dion O'Donnol
old pond
frog leaping
splash
Translated by Cid Corman
Antic pond--
frantic frog jumps in--
gigantic sound.
Translated by Bernard Lionel Einbond
MAFIA HIT MAN POET: NOTE FOUND PINNED TO LAPEL
OF DROWNED VICTIM'S DOUBLE-BREASTED SUIT!!!
'Dere wasa dis frogg
Gone jumpa offa da logg
Now he inna bogg.'
-- Anonymous
Translated by George M. Young, Jr.
Old pond
leap -- splash
a frog.
Translated by Lucien Stryck
The old pond,
A frog jumps in:.
Plop!
Translated by Allan Watts
The old pond, yes, and
A frog is jumping into
The water, and splash.
Translated by G.S. Fraser
|
Written by
Walt Whitman |
1
TO conclude—I announce what comes after me;
I announce mightier offspring, orators, days, and then, for the present, depart.
I remember I said, before my leaves sprang at all,
I would raise my voice jocund and strong, with reference to consummations.
When America does what was promis’d,
When there are plentiful athletic bards, inland and seaboard,
When through These States walk a hundred millions of superb persons,
When the rest part away for superb persons, and contribute to them,
When breeds of the most perfect mothers denote America,
Then to me and mine our due fruition.
I have press’d through in my own right,
I have sung the Body and the Soul—War and Peace have I sung,
And the songs of Life and of Birth—and shown that there are many births:
I have offer’d my style to everyone—I have journey’d with confident step;
While my pleasure is yet at the full, I whisper, So long!
And take the young woman’s hand, and the young man’s hand, for the last time.
2
I announce natural persons to arise;
I announce justice triumphant;
I announce uncompromising liberty and equality;
I announce the justification of candor, and the justification of pride.
I announce that the identity of These States is a single identity only;
I announce the Union more and more compact, indissoluble;
I announce splendors and majesties to make all the previous politics of the earth
insignificant.
I announce adhesiveness—I say it shall be limitless, unloosen’d;
I say you shall yet find the friend you were looking for.
I announce a man or woman coming—perhaps you are the one, (So long!)
I announce the great individual, fluid as Nature, chaste, affectionate, compassionate,
fully
armed.
I announce a life that shall be copious, vehement, spiritual, bold;
I announce an end that shall lightly and joyfully meet its translation;
I announce myriads of youths, beautiful, gigantic, sweet-blooded;
I announce a race of splendid and savage old men.
3
O thicker and faster! (So long!)
O crowding too close upon me;
I foresee too much—it means more than I thought;
It appears to me I am dying.
Hasten throat, and sound your last!
Salute me—salute the days once more. Peal the old cry once more.
Screaming electric, the atmosphere using,
At random glancing, each as I notice absorbing,
Swiftly on, but a little while alighting,
Curious envelop’d messages delivering,
Sparkles hot, seed ethereal, down in the dirt dropping,
Myself unknowing, my commission obeying, to question it never daring,
To ages, and ages yet, the growth of the seed leaving,
To troops out of me, out of the army, the war arising—they the tasks I have set
promulging,
To women certain whispers of myself bequeathing—their affection me more clearly
explaining,
To young men my problems offering—no dallier I—I the muscle of their brains
trying,
So I pass—a little time vocal, visible, contrary;
Afterward, a melodious echo, passionately bent for—(death making me really undying;)
The best of me then when no longer visible—for toward that I have been incessantly
preparing.
What is there more, that I lag and pause, and crouch extended with unshut mouth?
Is there a single final farewell?
4
My songs cease—I abandon them;
From behind the screen where I hid I advance personally, solely to you.
Camerado! This is no book;
Who touches this, touches a man;
(Is it night? Are we here alone?)
It is I you hold, and who holds you;
I spring from the pages into your arms—decease calls me forth.
O how your fingers drowse me!
Your breath falls around me like dew—your pulse lulls the tympans of my ears;
I feel immerged from head to foot;
Delicious—enough.
Enough, O deed impromptu and secret!
Enough, O gliding present! Enough, O summ’d-up past!
5
Dear friend, whoever you are, take this kiss,
I give it especially to you—Do not forget me;
I feel like one who has done work for the day, to retire awhile;
I receive now again of my many translations—from my avataras ascending—while
others
doubtless await me;
An unknown sphere, more real than I dream’d, more direct, darts awakening rays about
me—So long!
Remember my words—I may again return,
I love you—I depart from materials;
I am as one disembodied, triumphant, dead.
|
Written by
Rainer Maria Rilke |
Four Translations
Lord: it is time. The summer was immense.
Lay your shadow on the sundials
and let loose the wind in the fields.
Bid the last fruits to be full;
give them another two more southerly days,
press them to ripeness, and chase
the last sweetness into the heavy wine.
Whoever has no house now will not build one
anymore.
Whoever is alone now will remain so for a long
time,
will stay up, read, write long letters,
and wander the avenues, up and down,
restlessly, while the leaves are blowing.
Translated by Galway Kinnell and Hannah Liebmann,
"The Essential Rilke" (Ecco)
Lord, it is time. The summer was too long.
Lay your shadow on the sundials now,
and through the meadow let the winds throng.
Ask the last fruits to ripen on the vine;
give them further two more summer days
to bring about perfection and to raise
the final sweetness in the heavy wine.
Whoever has no house now will establish none,
whoever lives alone now will live on long alone,
will waken, read, and write long letters,
wander up and down the barren paths
the parks expose when the leaves are blown.
Translated by William Gass,
"Reading Rilke: Reflections on the Problem of Translation" (Knopf)
Lord: it is time. The huge summer has gone by.
Now overlap the sundials with your shadows,
and on the meadows let the wind go free.
Command the fruits to swell on tree and vine;
grant them a few more warm transparent days,
urge them on to fulfillment then, and press
the final sweetness into the heavy wine.
Whoever has no house now, will never have one.
Whoever is alone will stay alone,
will sit, read, write long letters through the
evening,
and wander the boulevards, up and down,
restlessly, while the dry leaves are blowing.
Translated by Stephen Mitchell,
"The Selected Poetry of Rainer Maria Rilke" (Random House)
Lord, it is time now,
for the summer has gone on
and gone on.
Lay your shadow along the sun-
dials and in the field
let the great wind blow free.
Command the last fruit
be ripe:
let it bow down the vine --
with perhaps two sun-warm days
more to force the last
sweetness in the heavy wine.
He who has no home
will not build one now.
He who is alone
will stay long
alone, will wake up,
read, write long letters,
and walk in the streets,
walk by in the
streets when the leaves blow.
Translated by John Logan,
"Homage to Rainer Maria Rilke," (BOA Editions)
Original German
Herbsttag
Herr: es ist Zeit. Der Sommer war sehr gross.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren lass die Winde los.
Befiehl den letzten Fruchten voll zu sein;
gieb innen noch zwei sudlichere Tage,
drange sie zur Vollendung hin und jage
die letzte Susse in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blatter treiben.
-- Rainer Maria Rilke, Paris, Sept. 21, 1902
|
Written by
Barry Tebb |
The Poetry School, The Poetry Book Society, The Poetry Business:
So much poetry about you’d think I’d want to shout, “Hurray, hurray,
Every day’s Poetry Day!” but I don’t and you don’t either-
You know its flim-flam on the ether, grants for Jack-the-lads
Of both sexes, poets who’ve never been seen in a little magazine
Then gone on to win the Oopla Prize and made baroque architecture
The subject of an O.U. lecture.
Seventy five pounds for a seminar on sensitivity in verse;
A hundred and fifty for an infinitely worse whole weekend of
‘Steps towards a personal fiction in post-modern diction’;
And the inevitable course anthology, eight pounds for eleven
Nameless poets Pascale Petit and Mimi Kahlvati carefully selected
From, well honestly! Who cares? God only knows how banal they’re
Bound to be. Budding Roddy Lumsdens, (Has anyone read a Roddy
Lumsden
Poem?) “Yeah! Yeah! Yeah!” his first collection short-listed here and
there -
The sheer hype’s enough to put me off for life.
I still write at bus-stops and avoid competitions like the plague.
I’m not lucky that way, I’ve still to win a single literary prize.
Is there one for every day of the year? And as for James Kirkup,
My mentor of forty-odd years, his name evokes blank stares; but
Look him up in ‘Who’s Who’, countless OUP collections, the best-
ever
Version of Val?ry’s ‘Cimeti?re Marin’, translations from eleven
tongues
Including Vietnamese. Is there nothing Jamie can do to please?
I help one poet to write and one to stay alive;
Please God help poor poets thrive.
|
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
Alan Seeger |
Florence, rejoice! For thou o'er land and sea
So spread'st thy pinions that the fame of thee
Hath reached no less into the depths of Hell.
So noble were the five I found to dwell
Therein -- thy sons -- whence shame accrues to me
And no great praise is thine; but if it be
That truth unveil in dreamings before dawn,
Then is the vengeful hour not far withdrawn
When Prato shall exult within her walls
To see thy suffering. Whate'er befalls,
Let it come soon, since come it must, for later,
Each year would see my grief for thee the greater.
We left; and once more up the craggy side
By the blind steps of our descent, my guide,
Remounting, drew me on. So we pursued
The rugged path through that steep solitude,
Where rocks and splintered fragments strewed the land
So thick, that foot availed not without hand.
Grief filled me then, and still great sorrow stirs
My heart as oft as memory recurs
To what I saw; that more and more I rein
My natural powers, and curb them lest they strain
Where Virtue guide not, -- that if some good star,
Or better thing, have made them what they are,
That good I may not grudge, nor turn to ill.
As when, reclining on some verdant hill --
What season the hot sun least veils his power
That lightens all, and in that gloaming hour
The fly resigns to the shrill gnat -- even then,
As rustic, looking down, sees, o'er the glen,
Vineyard, or tilth where lies his husbandry,
Fireflies innumerable sparkle: so to me,
Come where its mighty depth unfolded, straight
With flames no fewer seemed to scintillate
The shades of the eighth pit. And as to him
Whose wrongs the bears avenged, dim and more dim
Elijah's chariot seemed, when to the skies
Uprose the heavenly steeds; and still his eyes
Strained, following them, till naught remained in view
But flame, like a thin cloud against the blue:
So here, the melancholy gulf within,
Wandered these flames, concealing each its sin,
Yet each, a fiery integument,
Wrapped round a sinner.
On the bridge intent,
Gazing I stood, and grasped its flinty side,
Or else, unpushed, had fallen. And my guide,
Observing me so moved, spake, saying: "Behold
Where swathed each in his unconsuming fold,
The spirits lie confined." Whom answering,
"Master," I said, "thy words assurance bring
To that which I already had supposed;
And I was fain to ask who lies enclosed
In the embrace of that dividing fire,
Which seems to curl above the fabled pyre,
Where with his twin-born brother, fiercely hated,
Eteocles was laid." He answered, "Mated
In punishment as once in wrath they were,
Ulysses there and Diomed incur
The eternal pains; there groaning they deplore
The ambush of the horse, which made the door
For Rome's imperial seed to issue: there
In anguish too they wail the fatal snare
Whence dead Deidamia still must grieve,
Reft of Achilles; likewise they receive
Due penalty for the Palladium."
"Master," I said, "if in that martyrdom
The power of human speech may still be theirs,
I pray -- and think it worth a thousand prayers --
That, till this horned flame be come more nigh,
We may abide here; for thou seest that I
With great desire incline to it." And he:
"Thy prayer deserves great praise; which willingly
I grant; but thou refrain from speaking; leave
That task to me; for fully I conceive
What thing thou wouldst, and it might fall perchance
That these, being Greeks, would scorn thine utterance."
So when the flame had come where time and place
Seemed not unfitting to my guide with grace
To question, thus he spoke at my desire:
"O ye that are two souls within one fire,
If in your eyes some merit I have won --
Merit, or more or less -- for tribute done
When in the world I framed my lofty verse:
Move not; but fain were we that one rehearse
By what strange fortunes to his death he came."
The elder crescent of the antique flame
Began to wave, as in the upper air
A flame is tempest-tortured, here and there
Tossing its angry height, and in its sound
As human speech it suddenly had found,
Rolled forth a voice of thunder, saying: "When,
The twelvemonth past in Circe's halls, again
I left Gaeta's strand (ere thither came
Aeneas, and had given it that name)
Not love of son, nor filial reverence,
Nor that affection that might recompense
The weary vigil of Penelope,
Could so far quench the hot desire in me
To prove more wonders of the teeming earth, --
Of human frailty and of manly worth.
In one small bark, and with the faithful band
That all awards had shared of Fortune's hand,
I launched once more upon the open main.
Both shores I visited as far as Spain, --
Sardinia, and Morocco, and what more
The midland sea upon its bosom wore.
The hour of our lives was growing late
When we arrived before that narrow strait
Where Hercules had set his bounds to show
That there Man's foot shall pause, and further none shall go.
Borne with the gale past Seville on the right,
And on the left now swept by Ceuta's site,
`Brothers,' I cried, `that into the far West
Through perils numberless are now addressed,
In this brief respite that our mortal sense
Yet hath, shrink not from new experience;
But sailing still against the setting sun,
Seek we new worlds where Man has never won
Before us. Ponder your proud destinies:
Born were ye not like brutes for swinish ease,
But virtue and high knowledge to pursue.'
My comrades with such zeal did I imbue
By these brief words, that scarcely could I then
Have turned them from their purpose; so again
We set out poop against the morning sky,
And made our oars as wings wherewith to fly
Into the Unknown. And ever from the right
Our course deflecting, in the balmy night
All southern stars we saw, and ours so low,
That scarce above the sea-marge it might show.
So five revolving periods the soft,
Pale light had robbed of Cynthia, and as oft
Replenished since our start, when far and dim
Over the misty ocean's utmost rim,
Rose a great mountain, that for very height
Passed any I had seen. Boundless delight
Filled us -- alas, and quickly turned to dole:
For, springing from our scarce-discovered goal,
A whirlwind struck the ship; in circles three
It whirled us helpless in the eddying sea;
High on the fourth the fragile stern uprose,
The bow drove down, and, as Another chose,
Over our heads we heard the surging billows close."
|
Written by
T Wignesan |
for Léon Vanier*
(The texts I use for my translations are from: Yves-Alain Favre, Ed. Paul Verlaine: Œuvres Poétiques Complètes. Paris: Robert Laffont,1992, XCIX-939p.)
Some few in all this Paris:
We live off pride, yet flat broke we’re
Even if with the bottle a bit too free
We drink above all fresh water
Being very sparing when taken with hunger.
With other fine fare and wines of high-estate
Likewise with beauty: sour-tempered never.
We are the writers of good taste.
Phoebé when all the cats gray be
Highly sharpened to a point much harsher
Our bodies nourrished by glory
Hell licks its lips and in ambush does cower
And with his dart Phoebus pierces us ever
The night cradling us through dreamy waste
Strewn with seeds of peach beds over.
We are the writers of good taste.
A good many of the best minds rally
Holding high Man’s standard: toffee-nosed scoffer
And Lemerre* retains with success poetry’s destiny.
More than one poet then helter-skelter
Sought to join the rest through the narrow fissure;
But Vanier at the very end made haste
The only lucky one to assume the rôle of Fisher*.
We are the writers of good taste.
ENVOI
Even if our stock exchange tends to dither
Princes hold sway: gentle folk and the divining caste.
Whatever one might say or pours forth the preacher,
We are the writers of good taste.
*One of Verlaine’s publishers who first published his near-collected works at 19, quai Saint-Michel, Paris-V.
* Alphonse Lemerre (1838-1912) , one of Verlaine’s publishers at 47, Passage Choiseul, Paris, where from 1866 onwards the Parnassians met regularly.
*Vanier first specialised in articles for fishing as a sport.
© T. Wignesan – Paris,2013
|
Written by
Andrew Marvell |
Sit further, and make room for thine own fame,
Where just desert enrolles thy honour'd Name
The good Interpreter. Some in this task
Take of the Cypress vail, but leave a mask,
Changing the Latine, but do more obscure
That sence in English which was bright and pure.
So of Translators they are Authors grown,
For ill Translators make the Book their own.
Others do strive with words and forced phrase
To add such lustre, and so many rayes,
That but to make the Vessel shining, they
Much of the precious Metal rub away.
He is Translations thief that addeth more,
As much as he that taketh from the Store
Of the first Author. Here he maketh blots
That mends; and added beauties are but spots.
Caelia whose English doth more richly flow
Then Tagus, purer then dissolved snow,
And sweet as are her lips that speak it, she
Now learns the tongues of France and Italy;
But she is Caelia still: no other grace
But her own smiles commend that lovely face;
Her native beauty's not Italianated,
Nor her chast mind into the French translated:
Her thoughts are English, though her sparkling wit
With other Language doth them fitly fit.
Translators learn of her: but stay I slide
Down into Error with the Vulgar tide;
Women must not teach here: the Doctor doth
Stint them to Cawdles Almond-milk, and Broth.
Now I reform, and surely so will all
Whose happy Eyes on thy Translation fall,
I see the people hastning to thy Book,
Liking themselves the worse the more they look,
And so disliking, that they nothing see
Now worth the liking, but thy Book and thee.
And (if I Judgement have) I censure right;
For something guides my hand that I must write.
You have Translations statutes best fulfil'd.
That handling neither sully nor would guild
|