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I will bring fire to thee.

Euripides.—’Androm’.

‘Eiros’.

Why do you call me Eiros?

‘Charmion’.

So henceforward will you always be called. You must forget,
too, my earthly name, and speak to me as Charmion.

‘Eiros’.

This is indeed no dream!

‘Charmion’.

Dreams are with us no more;—but of these mysteries
anon. I rejoice to see you looking life-like and rational.
The film of the shadow has already passed from off your
eyes. Be of heart, and fear nothing. Your allotted days of
stupor have expired, and to-morrow I will myself induct you
into the full joys and wonders of your novel existence.

‘Eiros’.

True—I feel no stupor—none at all. The wild
sickness and the terrible darkness have left me, and I hear
no longer that mad, rushing, horrible sound, like the “voice
of many waters.” Yet my senses are bewildered, Charmion,
with the keenness of their perception of the new.

‘Charmion’.

A few days will remove all this;—but I fully
understand you, and feel for you. It is now ten earthly
years since I underwent what you undergo—yet the
remembrance of it hangs by me still. You have now suffered
all of pain, however, which you will suffer in Aidenn.

‘Eiros’.

In Aidenn?

‘Charmion’.

In Aidenn.

‘Eiros’.

O God!—pity me, Charmion!—I am overburthened
with the majesty of all things—of the unknown now
known—of the speculative Future merged in the august
and certain Present.

‘Charmion’.

Grapple not now with such thoughts. To-morrow we will speak
of this. Your mind wavers, and its agitation will find
relief in the exercise of simple memories. Look not around,
nor forward—but back. I am burning with anxiety to
hear the details of that stupendous event which threw you
among us. Tell me of it. Let us converse of familiar things,
in the old familiar language of the world which has so
fearfully perished.

‘Eiros’.

Most fearfully, fearfully!—this is indeed no dream.

‘Charmion’.

Dreams are no more. Was I much mourned, my Eiros?

‘Eiros’.

Mourned, Charmion?—oh, deeply. To that last hour of
all there hung a cloud of intense gloom and devout sorrow
over your household.

‘Charmion’.

And that last hour—speak of it. Remember that, beyond
the naked fact of the catastrophe itself, I know nothing.
When, coming out from among mankind, I passed into Night
through the Grave—at that period, if I remember
aright, the calamity which overwhelmed you was utterly
unanticipated. But, indeed, I knew little of the speculative
philosophy of the day.

‘Eiros’.

The individual calamity was, as you say, entirely
unanticipated; but analogous misfortunes had been long a
subject of discussion with astronomers. I need scarce tell
you, my friend, that, even when you left us, men had agreed
to understand those passages in the most holy writings which
speak of the final destruction of all things by fire as
having reference to the orb of the earth alone, But in
regard to the immediate agency of the ruin, speculation had
been at fault from that epoch in astronomical knowledge in
which the comets were divested of the terrors of flame. The
very moderate density of these bodies had been well
established. They had been observed to pass among the
satellites of Jupiter without bringing about any sensible
alteration either in the masses or in the orbits of these
secondary planets. We had long regarded the wanderers as
vapory creations of inconceivable tenuity, and as altogether
incapable of doing injury to our substantial globe, even in
the event of contact. But contact was not in any degree
dreaded; for the elements of all the comets were accurately
known. That among them we should look for the agency
of the threatened fiery destruction had been for many years
considered an inadmissible idea. But wonders and wild
fancies had been of late days strangely rife among mankind;
and, although it was only with a few of the ignorant that
actual apprehension prevailed, upon the announcement by
astronomers of a new comet, yet this announcement was
generally received with I know not what of agitation and
mistrust.

The elements of the strange orb were immediately calculated,
and it was at once conceded by all observers that its path,
at perihelion would bring it into very close proximity with
the earth. There were two or three astronomers of secondary
note who resolutely maintained that a contact was
inevitable. I cannot very well express to you the effect of
this intelligence upon the people. For a few short days they
would not believe an assertion which their intellect, so
long employed among worldly considerations, could not in any
manner grasp. But the truth of a vitally important fact soon
makes its way into the understanding of even the most
stolid. Finally, all men saw that astronomical knowledge
lies not, and they awaited the comet. Its approach was not
at first seemingly rapid, nor was its appearance of very
unusual character. It was of a dull red, and had little
perceptible train. For seven or eight days we saw no
material increase in its apparent diameter, and but a
partial alteration in its color. Meantime, the ordinary
affairs of men were discarded, and all interest absorbed in
a growing discussion instituted by the philosophic in
respect to the cometary nature. Even the grossly ignorant
aroused their sluggish capacities to such considerations.
The learned now gave their intellect—their
soul—to no such points as the allaying of fear, or to
the sustenance of loved theory. They sought—they
panted for right views. They groaned for perfected
knowledge. Truth arose in the purity of her strength
and exceeding majesty, and the wise bowed down and adored.

That material injury to our globe or to its inhabitants
would result from the apprehended contact was an opinion
which hourly lost ground among the wise; and the wise were
now freely permitted to rule the reason and the fancy of the
crowd. It was demonstrated that the density of the comet’s
nucleus was far less than that of our rarest gas; and
the harmless passage of a similar visitor among the
satellites of Jupiter was a point strongly insisted upon,
and which served greatly to allay terror. Theologists, with
an earnestness fear-enkindled, dwelt upon the biblical
prophecies, and expounded them to the people with a
directness and simplicity of which no previous instance had
been known. That the final destruction of the earth must be
brought about by the agency of fire, was urged with a spirit
that enforced everywhere conviction; and that the comets
were of no fiery nature (as all men now knew) was a truth
which relieved all, in a great measure, from the
apprehension of the great calamity foretold. It is
noticeable that the popular prejudices and ****** errors in
regard to pestilences and wars—errors which were wont
to prevail upon every appearance of a comet—were now
altogether unknown, as if by some sudden convulsive exertion
reason had at once hurled superstition from her throne. The
feeblest intellect had derived vigor from excessive
interest.

What minor evils might arise from the contact were points of
elaborate question. The learned spoke of slight geological
disturbances, of probable alterations in climate, and
consequently in vegetation; of possible magnetic and
electric influences. Many held that no visible or
perceptible effect would in any manner be produced. While
such discussions were going on, their subject gradually
approached, growing larger in apparent diameter, and of a
more brilliant lustre. Mankind grew paler as it came. All
human operations were suspended.

There was an epoch in the course of the general sentiment
when the comet had attained, at length, a size surpassing
that of any previously recorded visitation. The people now,
dismissing any lingering hope that the astronomers were
wrong, experienced all the certainty of evil. The chimerical
aspect of their terror was gone. The hearts of the stoutest
of our race beat violently within their bosoms. A very few
days suffered, however, to merge even such feelings in
sentiments more unendurable. We could no longer apply to the
strange orb any accustomed thoughts. Its
historical attributes had disappeared. It oppressed us
with a hideous novelty of emotion. We saw it not as
an astronomical phenomenon in the heavens, but as an incubus
upon our hearts and a shadow upon our brains. It had taken,
with unconceivable rapidity, the character of a gigantic
mantle of rare flame, extending from horizon to horizon.

Yet a day, and men breathed with greater freedom. It was
clear that we were already within the influence of the
comet; yet we lived. We even felt an unusual elasticity of
frame and vivacity of mind. The exceeding tenuity of the
object of our dread was apparent; for all heavenly objects
were plainly visible through it. Meantime, our vegetation
had perceptibly altered; and we gained faith, from this
predicted circumstance, in the foresight of the wise. A wild
luxuriance of foliage, utterly unknown before, burst out
upon every vegetable thing.

Yet another day—and the evil was not altogether upon
us. It was now evident that its nucleus would first reach
us. A wild change had come over all men; and the first sense
of pain was the wild signal for general lamentation
and horror. The first sense of pain lay in a rigorous
construction of the breast and lungs, and an insufferable
dryness of the skin. It could not be denied that our
atmosphere was radically affected; the conformation of this
atmosphere and the possible modifications to which it might
be subjected, were now the topics of discussion. The result
of investigation sent an electric thrill of the intensest
terror through the universal heart of man.

It had been long known that the air which encircled us was a
compound of oxygen and nitrogen gases, in the proportion of
twenty-one measures of oxygen and seventy-nine of nitrogen
in every one hundred of the atmosphere. Oxygen, which was
the principle of combustion, and the vehicle of heat, was
absolutely necessary to the support of animal life, and was
the most powerful and energetic agent in nature. Nitrogen,
on the contrary, was incapable of supporting either animal
life or flame. An unnatural excess of oxygen would result,
it had been ascertained, in just such an elevation of the
animal spirits as we had latterly experienced. It was the
pursuit, the extension of the idea, which had engendered
awe. What would be the result of a total extraction of
the nitrogen? A combustion irresistible, all-devouring,
omni-prevalent, immediate;—the entire fulfilment, in
all their minute and terrible details, of the fiery and
horror-inspiring denunciations of the prophecies of the Holy
Book.

Why need I paint, Charmion, the now disenchained frenzy of
mankind? That tenuity in the comet which had previously
inspired us with hope, was now the source of the bitterness
of despair. In its impalpable gaseous character we clearly
perceived the consummation of Fate. Meantime a day again
passed—bearing away with it the last shadow of Hope.
We gasped in the rapid modification of the air. The red
blood bounded tumultuously through its strict channels. A
furious delirium possessed all men; and with arms rigidly
outstretched towards the threatening heavens, they trembled
and shrieked aloud. But the nucleus of the destroyer was now
upon us;—even here in Aidenn I shudder while I speak.
Let me be brief—brief as the ruin that overwhelmed.
For a moment there was a wild lurid light alone, visiting
and penetrating all things. Then—let us bow down,
Charmion, before the excessive majesty of the great
God!—then, there came a shouting and pervading sound,
as if from the mouth itself of HIM; while the whole
incumbent mass of ether in which we existed, burst at once
into a species of intense flame, for whose surpassing
brilliancy and all-fervid heat even the angels in the high
Heaven of pure knowledge have no name. Thus ended all.
chris iannotti Jan 2013
ACT I

MR. REYNOLDS: university linguistics professor in his 30's.

MS. LENDER: 1st-year graduate student in the university linguistics program.

SARAH: university undergraduate.

Scene 1

MR. REYNOLDS' office. The walls are covered with prestigious accolades and degrees. MR. REYNOLDS and MS. LENDER are sitting together, both with good posture, on one side of the table. SARAH is sitting comfortably in a chair on the other side.

MR. REYNOLDS

Okay, first of all, Sarah, I want to thank you for taking the time out of your day to work with Ms. Lender and I.

SARAH

Oh, like no problem at all. When I saw the bulletin saying that you guys needed like research subjects, I thought to myself that I would like love to talk and help.

MS. LENDER

(Staring). Do you work in the Student Union? And do you know--

MR. REYNOLDS

Ms. Lender, those questions are irrelevant. Let's get right to the task.

turns to make direct eye contact with SARAH

Are you ready, Sarah?

SARAH

Yes!

MR. REYNOLDS

Great! We are delighted with how excited you are. First question, Sarah. Would a sentence like this be something close to what you might ordinarily hear amongst your peers: 'I think I like like John?'

SARAH

Yeah, totally. Except, if you want to get like technical, I need to ask you like a follow-up question.


MR. REYNOLDS

Oh, there's no need to, Sarah. We're not testing for content. Only grammaticality. There's no need to get--

MS. LENDER

No, please do. Do get technical.

SARAH

I'm just confused with the way the sentence was like worded. Does this person like, like-like John, or does he or she only like John like a friend?

MS. LENDER

I'm sorry, come again? All I heard was a series of 'likes' and what may have been English if we really--

MR. REYNOLDS

Ms. Lender! Excuse me, Sarah. One moment.

SARAH

Oh, no problem.

MR. REYNOLDS turns his chair around to face MS. LENDER. He motions her to do the same.

MR. REYNOLDS

(Whispering). What are you doing? Why are you being so hostile towards our subject?

MS. LENDER

I'm sorry, Mr. Reynolds. It won't happen again. It's just that one of my biggest pet peeves is like-insertion.

MR. REYNOLDS

I understand that, Kathryn, but you are damaging your professional integrity by getting mad at a test subject. Remember, we're only here to record the descriptive rules of English language as it is spoken on campus, not prescribe suggestions or ridicule.Do you understand?

MS. LENDER

Yes, completely.

MR. REYNOLDS

Splendid! Now, let us continue. (Turning). Sarah, may we proceed?

SARAH

Of course, just I have to like leave soon. I'm sorry about that. It was totally like unanticipated that my ride would be here so fast.

MR. REYNOLDS

Oh not a problem at all, we can continue this another time if we have to, but we'll try to speed things up for you.


Okay. So, the second question runs with the same conditions. Would a sentence like this be something close to what you might say personally or hear on campus, amongst your peers: 'John and I partied all weekend. Oh well, YOLO!'?

MS. LENDER

Yes, please think really hard to yourself about this one. Are there any John's that you may have partied all weekend with, or for several weekends in a row with, and decided to say at the end of a good run, 'You know what? YOLO! You Only Live Once, so why shouldn't I be an ******* and steal someone's boyfriend?!'

MR. REYNOLDS

That's enough, Ms. Lender! Out of my office, right now.

MS. LENDER grabs her belongings and exits stageleft. She sits outside the closed office door.

SARAH and MR. REYNOLDS make their exit. SARAH is halfway out the door with an apologetic MR. REYNOLDS following on her heel.

MR. REYNOLDS

I'm very sorry for the unexpected turn of events. You will receive due credit if we decide to publish any work containing your responses. Please take care, and once again, I am so sorry.

Sarah walks offstage


Kathryn, we need to talk. I am incredibly disappointed in you. What was that whole fiasco about? You are aware that she was an integral part of the research for your end-of-the-semester project, aren't you?

MS. LENDER

Mr. Reynolds, please forgive me. It's just, of all the kids on campus, it had to be her...I mean, I'm positive it was her. It's just my luck that it had to be Sarah Ross.

MR. REYNOLDS

Pardon? Where did you get Ross from? I'm afraid I don't understand, Kathryn. Her full name was Sarah Blackstone.
ryn Sep 2014
These hands have clawed with blind eyes
Chipped nails on fingers working on knots and ties

Fingers that recklessly point to reproaches and blames
Never to self, righteousness through arrogant claims

Now aware, these palms have covered my face in contempt
For they've partook in activities; indulgent and unkempt

Rubbed skin raw on life's coarse sandpaper
Ever searching for the coming of the unanticipated saviour

Broken flesh hopeful for newly formed skin
Like tattered souls pleading for absolution of sin

Only skin deep but unfavourable experiences do fester
Expecting the proverbial infection to blow over

Here they are, held unclenched and riddled with pocks
Weathered and sore from time's infinite mocks

Maybe thereafter, will be awaited healing
Perhaps soon after, I will be forgiving

See now... Hands faced up, parted as halves
Asking not for alms but instead your acceptance as salve

Take into yours, these knackered, gnarled up palms
Let your porcelain-like touch relieve like life reforming balm
Valsa George Dec 2017
Marooned in the island of loneliness
Shadows of delusion confront her
In a stormy sea, she got ship wrecked
And the sea had robbed everything from her

What unanticipated change comes over
When people let one down
What shocking realization it is
To know that there is nobody to care

She is now a drying brook
That has once been a river in spate
A deflated balloon, unable to soar high
A blind bird that cannot see a dawn
Nor sing a song to wake the sleeping world
She bears scars like deep cuts
On an ill maintained tarmac road

Vacantly she looks into the far horizon
When broken shards of moonlight
Paint pictures of dark demons around her
She screams in silence for someone
To come to her rescue, to lift her up

As a bird that with nightfall returns
To a tree to call out its solitude to the stars
She sits there alone, terribly alone,
Not knowing to whom she should call out!

Will the stars keep her company?

Tomorrow when another day of uncertainty breaks out
She wonders if she should wake up and greet the dawn
With the hope that her pain would go into remission
And her frozen inside would thaw by itself in time

Or end her life as soundless, as inconsequential
As a droplet let down from a blade of grass!
One of the greatest cravings of man is for love and companionship . Here I try to trace the feelings of one who feels utterly deserted in life!
It might be the pungent steam from a ***
steeping herbs meant to bend its sippers'
minds to potent effect, or an unanticipated
digestive reckoning from that mawkishly flavored
brand of store-bought paste they pass as butter.

However the dough arises, their collective
recollection of storied events, lengthwise sliced
and ritually rehearsed, hops facilely on the ****
of a bucking and overtly nonsensical wind.

Tea parties with slippery perspectives
have been shown quite clinically to induce
heightened sensitivity in participants,
so it's prudent to set about tidying the facts:

The hatter, it's become clear, shifted one place
too many and disappeared with a trace -- leaving
behind his hat to nobody's great advantage.
Lacking a wearer, the headgear's reputation for
producing madness has rapidly diminished.

The march hare pulls off his change in a very
separate and seasonal way: the bunny's
bottom half somersaults its top to occupy
both his spot and the hatter's vacated seat.

The dormouse upon its latest arousal
is re-visioned to be small, but not much mouse
at all. He's plush with the long-in-the-ear habit
of a pink stuffed rabbit, which the crusading hare
furiously declares is most curious, casting
doubt on the vermin's commitment to "no room."

Alice remains foremost in tact and is given
a bonus of two spare feet complete with slackened
bootstraps. She keeps them and her other luxury
items well-sheltered behind a stout table leg.

The absentee hatter doesn't dare shame her
with a radio-show call-in decrying
the waste. She's generously agreed to
cover the medical expenses from his firm flop.
This work is licensed under a Creative Commons Attribution 3.0 License.
Nivrith Gomatam Mar 2014
Dream to reach stars but dreams can be broken,
Bitter memories and the pain is unspoken.
It won’t be erased, but submerged beneath new pages.
Expectations do not match reality.
Reality is what you choose to make real.
Turn inside and guage what you have earned,
Smiles will not dissolve forever,
For there is always a lesson learnt.

Be ready to except a fall,
You might be just witnessing an illusion.
Things don’t need to be the way you dream.
'haps you're living someone else’s dream.
The dreamer was an artist, the hand that wrote it all.
Hate is not bad; it’s just an emotion after all.
Paint a picture on the canvas but know that it can be burnt.
Throw the ashes and treasure the scars, to remember the lesson learnt.

Life is not bad; it’s irregular, unanticipated but grand,
Changes make you alive, but through them only one will take your hand.
Time is a two faced arrow, your mind is vicious and vast,
It flows from present to future, but also to the past.
Light is just not beauty, Encompass the dark,
Your canvas will be painted, not alone but with the stars.
When your walk is not alone, when you’re whole you will discern,
One day you cried and now you laugh on what you learnt.
Leelan Farhan Apr 2014
I used to hide out in blankets of ice
behinds walls of steel
reading a book written in his blood.
I used to let his ink seep into my nerves
and down into my spine
dissolving the backbone I once had.

I used to cover the mirror with rose-coloured tape
hoping to shy away from self-loathing
while laughter left my lips in bouts.
I cut my hair, hoping it would cut him out
and grow happiness in its absence.

But then you snuck into the crook of my heart
through the cracks in my skin.
And you saw a body pulsing with more than just blood
more than just flesh and bone and muscle.
You can trace my anger with your eyes
and settle the fear that ignites my bones.
I almost ran away, clutching my brokenness to my
chest but you didn’t let go.
You’re the first to make my tongue bleed with
happiness and melt my ribs into your body.

You taste like sin and smell like trouble
but I’ve never been good enough to care.
And even though I swore I’d never falter over
another man’s face as long as I lived,
all that’s ever been missing
was you.  

                 *-lf-
© Leelan Farhan
    Sunday April 13, 2014

- this is the first (positive??) poem I've written about someone...
Valsa George Jul 2016
Writing of a poem
Oh! How it can be likened
To having a baby!

With the copulation of fancy and thought,
Comes the moment of conception

      It can happen any day
      Unanticipated or planned erstwhile
On a star studded night
Or a rain drenched morn
It swims into you as a seed
So tiny… so inconspicuous
Once the pregnancy confirmed
Comes irritation, nausea
Lethargy and loss of appetite
Your stomach rarely growls for food
Clouds of words hang heavy and low,
Refusing to break into showers
They don’t gush or rush.
Ideas dry up leaving the nib parched
Lines crack n’ break
Depression follows
Discouraged, you feel fatigued

But all the while you begin to realize
That a new life
Independent of you
Has begun growing inside you
Then all the care taken
To foster the young life

You read…
You refer the lexicon
You withdraw from other works
Take rest, relax in solitude

Slowly the foetus moves
The first stirring of life!
With fond fingers, as you pat your belly
Your pen pats the paper
The first line…..
The first faint beating of the heart!
Then words….
Like little harness bells tingling
Fall in line, line after line!

Drawing nourishment from you,
The embryo grows limb by limb
The miniscule of insight
Grown after months of waiting
Into a mature body of illumination!
A stretch of your dreams!
A suffusion of light!

After the labor pains
Of scribbling and scrawling,
Writing and rewriting,
Deleting, adding and editing,
With time stretching and contracting,
A baby, no, a poem is born.

Whether cute or ugly
No mother can dislike it
She marvels at its birth
Wraps it in her warmth
She must have had in mind a name
Or seeks to find a name;
An apt name

Thus a poem with a title is born!
She wonders if her baby would lit a smile,
On others lips too
Or from them would flow,
Words of endearment as from a trickle!
wordvango May 2014
oh my baby
expectant seeds of memory
and truth do surge in unanticipated but ******
flows

surge and bring thee closer;
no, into my realm; devolve mysteries
resolve the unsolved, evoke and revoke my stain, my misery

be my home: forlorn as i am I stand proud
as your knight
and you my Queen.
josh wilbanks Apr 2017
It's the first love's last kiss
The last love's first kiss
The unanticipated memory

It's the happy moments turned into tear stains on my favorite shirt i wore just because i new i was seeing you

It's the first love's last cry
The last love's first cry
The moments we can't forget

It's reminiscing to a time you found out you were depressed because you had never felt true happyness until you met her
She cut all ties with me today. I havent felt this empty in a while. I think im going to **** myself soon.
Fittingly meticulous, finicky
Precisely mitigating routine
Tracing excessively
Over cornered mezzanine

Stray penciled lines
Candidly contrived
Archaic dossier
Balanced centers
Unavoidably erase

Guiltily lost the way
Confused compass oscillates
Irregularly unanticipated
Perpetually transitory

Tender heart insecurity
Ego sensitivities in vain glory
Sacrificed arrogance dignity
On the day of defeat
Olivia Mercado Mar 2014
I'm at that point after the debate season where
I'm all exhausted and nostalgic because
it's too late to do anything this season
too early to worry about next season and
all my senior friends graduated and
I'll never see them again.

Even scarier is the revelation that this will be me next year.  

What started out as a pleasant diversion
something to do on weekends
has become my social life and my education, and,
to a larger extent than it should be,
my identity.

I will miss playing truth-or-truth
(like truth or dare, only with more difficult decisions).
I will miss making friends because
I can't walk in heels
or mispronounced a word
or I like someone's tie.
I will miss our stupid inside jokes and debating
(and beating)
cute boys, waking up in a new city every weekend.
I will miss long car rides staring at the moonlight
illuminating the patterned clouds,
my headphones in and my best friends sleeping
packed closer-than-comfortable on each other's shoulders.
I know I have another year left, but
a lot of people who made debate what it is
have either graduated or will be graduating this year.

I miss my friends, my mentors, already.
As they leave, the threads that tie me to my city
fray. Already,
a year before it will finally be my turn
to face that door that leads into the unknown of
adult life, the door through which
many of my closest friends have already walked,
I have utterly lost any reluctance
to pass through it.
One friend after another has left
this tiny valley I call home,
and most of my best friends live outside of it.

One more year.

I now understand the way the seniors I looked up to
didn't seem to notice me
or pay me the sort of attention I paid them
when I was busy idealizing and looking up to them --
it's not that I don't care
about the younger kids on my team or my school,
or that I don't appreciate or believe in them,
but they are not a part of my future.
They are not a part of what I will become.  

I face that mysterious door, fighting my way
step by step
through mounds of paperwork and college applications
all for that intangible future
more fresh and beautiful than anything here.
I will go.

And those cute little incoming freshmen will not follow.
If I am to face forward, I must necessarily fix my eyes
on my future, not theirs.
They will do the same in time.

I can't bring myself to obsess over the past
and beat myself up over the relationships
(debationships?)
I should have developed but didn't.
There's no point. I don't mean to sound nihilistic --
in fact, just the opposite.
My future is manifesting itself slowly,
inexorably and inexplicably before me.

Am I making decisions, or is fate
shaping my loves and hates and opportunities?
I don't think it matters.
I choose to gaze at my future as infinite opportunity,
infinite joy spread over infinite possiblities.
As that joy becomes tangible, it also becomes more finite,
but from where I stand I see everything ahead.
I can finally leave everything I have been tied to
and prove to myself I am myself.

To those who are graduating this year:
even if I barely remember you,
if you were a brief conversation
or a random my-friend-dared-me-to-hug-you,
you are awesome.
Our brief, random, enlightening moments
of shared human contact have made me who I am.
I can't explain how much it means to realize
that you're not alone,
that some people care about the same things you do
and care enough to reach out and teach.

To those of you who have time left:
make the most of it.
Talk to the shy kid in the corner;
She's the sweetest.
Talk to the kid who reads Game of Thrones between rounds;
He has the funniest stories.
If you have a cute opponent, ask for their case
and write your number on it.
You only get one shot at this,
and it goes by too fast for you to hold back.
My best memories have come from the most dangerous
and strange decisions --
walking around a dark campus
with a couple of people I barely know,
picking "dare" in truth or dare,
smiling at strangers.

To those of you in the same class as me,
looking forward, bound to your past and present:
thank you.
Thank you
thank you
for existing and being kind to me and regaling me with your stories and emotional problems and memories.
Thank you for not letting me stay depressed
and dragging me outside of myself.
Thank you for making me care, one way or another.
When I stand at my high school graduation
in my school's garish purple and gold,
I will be thinking of a dozen other people
in blue and red and orange and green.
I will be thinking of the people
who made life too precious to spill out on a knife,
too beautiful to be captured in the pages of a book,
too unanticipated to get bored or cynical of.
I realize most of the people on this site have never done debate (a cult-like high school activity), but it really has shaped my life. If you made it to the end, thank you for reading all the way. This is something I wanted to share because of how much everyone on my team and the other teams we compete with matter to me. It is, in short, the story of a shy, awkward girl who met a whole community of shy, awkward, brilliant people and fell in love. It is a story of belonging and leaving. And by listening to it, you've become a part of it. Thank you.
Micaela Apr 2013
I  should have let the dogs
Bite into your awaiting
flesh.
Strip you to nothing but bare bone
I could have let them rip you
To shreds,  
mere scraps of human nothingness
Your days were numbered.
But compassion filled my heart
And my eyes.
For some reason unknown to me
I let you walk.
Spared you of any extra pain, that you
Might have .
Michael R Burch Feb 2020
These are English translations of poems by Rainer Maria Rilke...

Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Original text:

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.

Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße 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 Blätter treiben.

Originally published by Measure

Keywords/Tags: German, translation, sonnet, Rainer Marie Rilke, autumn, day, summer, sundial, sundials, meadow, meadows, wind, winds, fruit, fruits, sweetness, wine, house, alone, loneliness, alienation, letters, friends, pathways, roads, lanes, leaves



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...
How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...
You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?



Excerpt from “Loneliness”
by Rainer Maria Rilke
translation/interpretation by Michael R. Burch

Being alone and apart is like the rain
ascending at evening from alien plains:
from lonely plateaus, unseen and unsought, it climbs
toward heaven, its sublime ancient home,
and only, when fallen, pities the city.




The next two poems are my modern English translations of Rainer Maria Rilke’s First and Second Elegies. These are the opening elegies in a collection commonly called the “Duino Elegies” because Rilke began composing them at Duino Castle, near Trieste, Italy, in 1912.



Rilke’s First Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!
And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...
But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!
Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)
When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.
Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.
But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"
Shouldn't these ancient sufferings become fruitful for us?
Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.
Voices! Voices!
Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.
Not that you could endure God's voice—far from it!
But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.
Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.
Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.
How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.
The living all err in believing the too-sharp distinctions they create themselves.
Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.
In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.
But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?
Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Rilke’s Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?
Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.
While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?
Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?
Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps from inexpressible hope?
Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to be?
You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.
Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



HERMANN HESSE

This is my modern English translation of the poem "Stages" by the great German poet Hermann Hesse from his novel "The Glass Bead Game."

Stages
by Hermann Hesse
from his novel "The Glass Bead Game"
loose translation/interpretation by Michael R. Burch

As every flower wilts and every youth
must wilt and exit life from a curtained stage,
so every virtue—even our truest truth—
blooms some brief time and cannot last forever.
Since life may summons death at any age
we must prepare for death’s obscene endeavor,
meet our end with courage and without remorse,
forego regret and hopes of some reprieve,
embrace death’s end, as life’s required divorce,
some new beginning, calling us to live.
Thus let us move, serene, beyond our fear,
and let no sentiments detain us here.

The Universal Spirit would not chain us,
but elevates us slowly, stage by stage.
If we demand a halt, our fears restrain us,
caught in the webs of creaturely defense.
We must prepare for imminent departure
or else be bound by foolish “permanence.”
Death’s hour may be our swift deliverance,
from which we speed to fresher, newer spaces,
and Life may summons us to bolder races.
So be it, heart! Farewell, and adieu, then!

Keywords/Tags: Hermann Hesse, translation, German, English, life, death, stage, stages, truth, flower, wilt, youth, flower, blooms, time, age, courage, hope, hopes, fear, spirit, god, space, spaces, heart, farewell
katewinslet Sep 2015
Perhaps you have had utilised or perhaps heard the phrase mbt online sale, "In hindsight, understanding problems in later life currently, we will have definitely done issues differently"? This is often a good barometer that there ended up being unanticipated occurrences or maybe situations this came back to make sure you chew, disrup, and / or baffle all the members of any certain project and also venture. Even if you scenarios was hard during that time cheap mbt shoes, the good news is that shrewd experts may subsequently concentrate beneficial crystals from perception in the practical experience, which could then cover his / her very best advantage forward motion. Double zero Hindsight Implies "Lessons Learned" "Lessons learned" are the best 50 hindsight that we all often times have once filling out an assignment or perhaps project mbt shoes sale. This specific hindsight will probably be worth how heavy it is throughout platinum if you our bait the specific benefit, it really is completely unproductive whenever we you should not make full use of precisely what is providing. The moment figuring out training lessons figured out, our own goal should be to find the things gone clearly, just what would not go very well, and the reasons why. At this stage, that you are pondering, "What form of purpose may i get my very own crew that we have to be accomplishing this? It appears for instance a number of bureaucratic expenses even more attractions. Once the designs' executed, our company is expecting to target all of our notice for something else entirely!Within The significance will depend on improving in the same manner intended for long run work, hence they are experiencing a fewer number of migraines and additionally troubles. You cannot, however, have to hold off until the complete challenge coatings. You could possibly seize 00 hindsight incrementally all over the endeavor, as well as soon subsequent to you'll find it through, while troubles will always be recent. Exactly what Training When you Seize? For virtually every circumstances proceeded to go typically uncertain, for instance, look at preventive programs that would aid individuals function with or even steer clear of the complications down the road. Some of those procedures may possibly consist of resources to hurry along the get the job done, checklists to make certain sufferers do not skip valuable guidelines, and solutions for thorny trouble. Samples -- In case citizens were stymied as a result of sophisticated document codecs, test setting up together with pre-testing quite a few report website templates which will be quicker to implement the very next time. -- In cases where quality had been a concern because people decided not to execute detailed checking, have a shot at producing step-by-step checklists with supporting individuals with the method the next time. -- For those who discovered aspects that were speculated to come together but could not, as well as someone came across an option or simply a workaround, file the fact that details to help stop and address very much the same issues later in life. Tuition mastered can establish rewards in numerous places. Feel free to use ones database about instructions found out to assist your customer care and / or support staff members clear up trouble within a just-in-time model, such as. If the team or maybe co-worker should treat complicated matters instantly, and trobleshoot and fix subtleties immediately on the phone, they would have immediate access to help methods designed for the same situation which were treated up to now. 00 Experience Equates to "Best Practices" Following recording some courses acquired, the next task is to make sure you get what is called "best activities.In Just what is a most effective exercise?

It's really a procedure or simply technique with time has shown on its own to always be quite as good as each and every techniques or possibly methods that which you were using for you to do identical things. You are able to state that this is the most beneficial approach an individual, your current crew, or perhaps your institution found to do a specific thing. Why do these people problem? Recommendations happen to be priceless because they're typically the psychological means -- that "secret sauce" -- that can assist agencies continue to be extremely affordable. It truly is best to be able to institutionalize suggestions in order that most people comes after all of them. You can feature him or her straight into procedures, practices, and/or over the internet undertaking service platforms. You notion may be to develop a best rehearse databases who some people have access to simply. You don't wish which treasured info to end up being underground inside of a data display case this no person knows all sorts of things concerning. That utility area may just be inside of a database, on your Web-site,

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Christine Jan 2012
Shock waves, tremors,

rolling en force from the core of my being,

out of the impact of what has

transpired so unforeseen,

reverberating from my life to others,

and just as in me the rumble subsides

undulating back to blast me in the face,

a stark reminder of the force of the initial tremor -

unanticipated aftershock
When I realized how much my divorce had affected my children's lives...
David Barr Nov 2013
The storms of life may never cease to blow in their unanticipated direction. However, you are able to withstand in the same manner as a Jacobean fortress which is not dissuaded by the extremity of Highland elements.
The color of your hair is a sure sign of wisdom, despite those self-doubts which are not uncommon to the sincerity of our humanity.
So, my fellow sojourner, in this perplexing yet beautiful pilgrimage: rest assured that the dark side of awareness can be applauded by our empathic insights, where those who are haunted by ghostly shadows can bask in the radiance of legitimate validations.
Therefore, I urge you to carry that blazing torch into seemingly unfathomable depths of human experience, and to illuminate those treacherous paths of uncertainty with the confidence of ontology.
There is no price upon that which you can impart. Therefore, humbly acknowledge the taste of apple pie, and display your bountiful banquet before those who are emaciated.
The universe requires your personal enrichment.
David Barr Dec 2013
I am already saddened at the severed tie of unanticipated disconnectedness.
Bonds of the soul are beyond the figment of our frail imaginations.
Black Sunday may give us what we call a “special deal”, but we have to pay greater homage to the powers that be – namely our ridiculous “White House”.
In the era of advancement and confusion of colour, I give thanks for your genuine being.
The forgotten will truly be remembered, and we will raise a final toast to the anaesthetic of contemporary propaganda.
Do you honestly think that you will be safe? Nobility does not reign in absolute finesse and the Fertility of the land is not without its benefits.
In my obscurity, I urge you to plough the fallowed ground in the spirit of the English countryside.
Bridget Ewing Feb 2017
Wobbly knifes, nervous on
diner tables
How are you?
I wish I didn't know why
you are not here
exploring foreign floors
together where our feet meet
sinking into waiting steps
the hum's amplitude increases
as I fade out
to a state of mind
framed around you
built upon your grounds

Blurry eyed under hotel covers
where a man on a mission
scales fences that block
building backs.
This unanticipated destination
where have we found ourselves
by getting lost?
m
ryn Oct 2017
This time I have,
is but a gift.

Meant to heal
broken skin
and fractured bone.

But I realise
that there's more...

•••

What if,
repairing physical damage
is but a facet of
unanticipated tribulation?

What about...
Shattered thoughts?
Disjointed ideals?
Misplaced hopes?
Askewed trajectories?

•••

Maybe...
This time too is meant
to get my stars in alignment.

But right now there just aren't any...
Amanda Dec 2013
Seems like anything that will tickle the corner of my mouth upwards or downwards simply walks straight into me.

Unannounced and unanticipated perfection of untitled somethings.

And before you know, I've caught you in my arms.

*Just
like
that.
http://a-manda-world.tumblr.com/post/73793999141/little-nonsensical-writings-anyone

xoxo
David Barr Dec 2013
It all starts in the beginning, where the innocence of infancy is wrapped in swaddling-cloth and guarded from the prevalent realities which are, in hindsight, considered to be non-existent. Give a standing ovation for childhood deception, which promotes secrecy in the name of what is called “child protection”. Those obvious characteristics of what is known to be adulthood, have an expression of moral permissiveness which is grounded in a fallacy. But the best is yet to come, as it is more blatant than expected. That sheltered level of ontology soon becomes an unadulterated exposure to expectations that were previously unanticipated. Life truly is full of surprises, isn’t it? So listen up, and harken to the threefold beat of the womb:
May you have the hindsight to know where you have been.
May you have the insight to know where you are.
May you have the foresight to know where you are going.
wordvango Apr 2015
my baby....
expectant seeds of memory
truths do surge in unanticipated but ******
flows

surge and bring thee closer;
into my realm; devolve mysteries
resolve the unsolved; evoke and revoke my stain... my misery.

Be my home:  I as I am stand proud-
as your knight-
and you my Queen.
A slight revision.
And a dedication unto the Queen I intended it for:
I love you Vicki!!!!
Daniel A Russ Jul 2010
Water white like ghosts falls
into glass. Upended,
sickly-thick liquid encircles –
a new, easy-access-brand elixir
for an old kind of contamination.
Burning more than should,
corroding boils and poxes
as it slides, falls, digs deep –
scoring chasms and lines
while falling – unanticipated –
a novel redress for an ancient affliction.
Internal temperature rising as fast as
awareness falling, composure sedate
but sentient, growing distantly fearful -
even though the snake oil accompanied
guarantee: “Whatever ails you.”
Wonder, I, if said whatever is said oil,
mentally transfixing that fast-falling cure
into a clever-cruel kind of contagion –
thoughts worsen as poison of aporia slips deep,
and hands-to-throat, digits dig deep –
archaic antidote; a brutal purge, and
mangled boils and liquefied pox
Explode
in a burning sea rising, aflame and
charring as experience-dictates-should,
while sickly-thick water-white ghosts escape,
screaming in exile –
face-to-floor, thoughts rod-grounded,
awareness – gone, snake oil - purged,
malady - sustained.
Ignatius Hosiana Nov 2017
When you left, it was like my favorite library went down in monstrous flames
like my affiliate soccer club losing by a
very close margin the decisive games
it was like a great storm pouring on your first visit to the beach
yet you saved a lifetime, and journeyed a 1000 miles to get there
and you doubt you'll ever make it to the Lake side again
It was like taking a bullet close to the heart that didn't **** you instantly
it choked you, but left you to gasp for breath and deal with the pain
knowing you'll eventually succumb to the throb and the ooze
like that split second after you kick the bucket that you dread the noose
but there's no turning back, no way to survive even with a million clues
It was like being caught in the open by an unanticipated hurricane
fully aware you're either going by being blown by a giant cyclone
or freeze to a human marble before the force is come
It was like a catchy novel ending with a melancholic twist
you wish you never started reading in the first place
like, at the eleventh hour, your Dobby burning the wedding dress
leaving you an angry bride and a whole other mess
that would live after you like your shadow at dawn for the rest of your life
It was like rewatching your favorite childhood film
and realizing it wasn't as good as you always thought
and wondering why you went turning over the rocks of the past
like finding out your best friend is boyfriend to your secret crush
It was like losing a close person to a plane crush or an inferno
you receive bits and pieces, you bury the ashes
yet the hopes survive, yet nothing haunts like when such hopes are alive
you live after the belief that someday they'll fly out
oblivion like a phoenix and hug you tight if only for just one more time
it was like finding a free verse that beats all rhyme
in a collection so tattered that most of it can't be read
so you're left dying of curiosity and dread
Losing you was like saying goodbye to your friends at graduation
conscious it could be the end to a great season of your existence
but trying so hard to resist asking the obvious question
or one that wouldn't hatch answers but unfortunate tension
it was worse, it was agreeing to meet after a year and being the only one that showed up at the rendezvous
it was believing the folk stories and growing up to the realization that none of it was true
It made my childhood roses and chocolate
but what do I have now that Santa won't bring an avalanche of
breathtaking kisses to my lips on Christmas Eve?
Losing you changed me, if anything, for worse
it was like watching my soul burn when you left
like a wild fire that I doubt even time knows when it will stop
that's how big a difference you made in my life
and I don't care whether you believe me or not
after all I don't even believe I let you in that deep.
I was stupid to open all the doors and windows
and think only the rays of good intentions would sip in.
You were my everything and guess what?
when you left, there was nothing left!
Not even me...
Richelle Leigh Feb 2012
i swallowed a butterfly,
to see what it's like to fall in love
she readily confided in me
"my love, your heart will find an escape
unanticipated, unforeseen
wrapped in a tight embrace
side by side, one content soul
lifetimes before, you suffered
infected with lies, deceits, and cheats
but you have a pretty, scarred heart
but i promise, you'll quietly be cured."

since then, i've invited that butterfly in...

i swallowed a butterfly,
to see what it's like to fall in love
she acts up, in the middle of the day
diving, from shoulder to hip
breathlessly, twisting up my lungs
fluttering wings, at any given moment
she recognizes your name
and surely your voice
she reminds me of your presence
and she too, longs for your absense

since then, i've invited that butterfly in...

i swallowed a butterfly,
to see what it's like to fall in love
and greedily treated myself to more
so you could find them with your touch
her wings are quicker than i imagined
chilling the weak spots on my neck
cradling words that hopefully suffice
caressing moments that make me smile
still...

since then, i've invited that butterfly in...
You
gradually
ghosted
gracefully
out
as
subtlely
as
you
spirited
in.
Claire Apr 2015
I got so used to the rain
that inevitably accompanied
a low-hung head;
irrevocably poured through
a foggy mind;
out my bloodshot eyes

you were so unanticipated;
I even grew to like the rain, or
perhaps I too easily trusted that
reassurance in a
feeling of
being

but now I find it in sunshine.
in you,
I've unraveled resolution;
contentment;
Life

though I still
tremble through trepidation and
am stricken by amaurosis,
I absorb your luminosity,
& darling,
you're the brightest thing I've ever seen;
you're my sun
weather girl
Patricia Drake Mar 2013
Slithering silently
entering
between blank spaces
of fragile fabric
of fiction
and real reacting
shivering
skin
it slips in
an idea
between dreams
daring
like an unseen hand
unanticipated
unstopped
And it floods
the mind
with irresistible
insisting
persistent
images
irrelevant to reality
but real
nonetheless
Michael R Burch Nov 2024
These are modern English translations of poems by the German poets Hermann Allmers, Hannah Arendt, Ingeborg Bachmann, Paul Celan, H. Distler, Wilhelm Ludwig Gleim, Johann Wolfgang von Goethe, Günter Grass, Heinrich Heine, Johann Georg Jacobi, Friedrich Gottlieb Klopstock, Rainer Maria Rilke, Friedrich Schiller, Angelus Silesius and Georg Trakl.



To the boy Elis
by Georg Trakl, an Austrian poet who wrote in German
loose translation/interpretation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.




Heinrich Heine

The Seas Have Their Pearls
by Heinrich Heine
loose translation/interpretation by Michael R. Burch

The seas have their pearls,
The heavens their stars;
But my heart, my heart,
My heart has its love!

The seas and the sky are immense;
Yet far greater still is my heart,
And fairer than pearls and stars
Are the radiant beams of my love.

As for you, tender maiden,
Come steal into my great heart;
My heart, and the sea, and the heavens
Are all melting away with love!



Rainer Maria Rilke

Rainer Maria Rilke [1875-1926] was a Bohemian-Austrian poet generally considered to be a major poet of the German language. He also wrote more than 400 poems in French. He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, then the capital of Bohemia and part of Austria-Hungary. During Rilke's early years his mother, who had lost a baby daughter, dressed him in girl's clothing. In 1895 and 1896, he studied literature, art history, and philosophy in Prague and Munich. In 1902 Rilke traveled to Paris to write about the sculptor Auguste Rodin. Rilke became deeply involved with the sculpture of Rodin and for a time served as Rodin's secretary. Under Rodin's influence Rilke transformed his poetic style from the subjective to the objective. His best-known poem, "Archaic Torso of Apollo," was written about a sculpture by Rodin and speaks about the life-transforming properties (and demands) of great art. Rilke allegedly died the most poetic of deaths, having been pricked by a rose. He was in ill health, the wound failed to heal, and he died as a result.

Poems translated here include Herbsttag ("Autumn Day"), Der Panther ("The Panther"), Archaïscher Torso Apollos ("Archaic Torso of Apollo"), Komm, Du ("Come, You"), Das Lied des Bettlers ("The Beggar's Song"), Liebeslied ("Love Song"), and the First Elegy, also known as the First Duino Elegy.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.

TRANSLATOR'S NOTE: This is a poem about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.—Michael R. Burch

Archaïscher Torso Apollos

Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Herbsttag

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.
Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße 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 Blätter treiben.



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...

How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...

You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?

Du im Voraus

Du im Voraus
verlorne Geliebte, Nimmergekommene,
nicht weiß ich, welche Töne dir lieb sind.
Nicht mehr versuch ich, dich, wenn das Kommende wogt,
zu erkennen. Alle die großen
Bildern in mir, im Fernen erfahrene Landschaft,
Städte und Türme und Brücken und un-
vermutete Wendung der Wege
und das Gewaltige jener von Göttern
einst durchwachsenen Länder:
steigt zur Bedeutung in mir
deiner, Entgehende, an.

Ach, die Gärten bist du,
ach, ich sah sie mit solcher
Hoffnung. Ein offenes Fenster
im Landhaus—, und du tratest beinahe
mir nachdenklich heran. Gassen fand ich,—
du warst sie gerade gegangen,
und die spiegel manchmal der Läden der Händler
waren noch schwindlich von dir und gaben erschrocken
mein zu plötzliches Bild.—Wer weiß, ob derselbe
Vogel nicht hinklang durch uns
gestern, einzeln, im Abend?



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Komm, Du (“Come, You”)
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return—my heart’s reserves gone—
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I’m lost. Nobody knows me here.

Komm, Du

Komm du, du letzter, den ich anerkenne,
heilloser Schmerz im leiblichen Geweb:
wie ich im Geiste brannte, sieh, ich brenne
in dir; das Holz hat lange widerstrebt,
der Flamme, die du loderst, zuzustimmen,
nun aber nähr’ ich dich und brenn in dir.
Mein hiesig Mildsein wird in deinem Grimmen
ein Grimm der Hölle nicht von hier.
Ganz rein, ganz planlos frei von Zukunft stieg
ich auf des Leidens wirren Scheiterhaufen,
so sicher nirgend Künftiges zu kaufen
um dieses Herz, darin der Vorrat schwieg.
Bin ich es noch, der da unkenntlich brennt?
Erinnerungen reiß ich nicht herein.
O Leben, Leben: Draußensein.
Und ich in Lohe. Niemand der mich kennt.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!

Liebes-Lied

Wie soll ich meine Seele halten, daß
sie nicht an deine rührt? Wie soll ich sie
hinheben über dich zu andern Dingen?
Ach gerne möcht ich sie bei irgendwas
Verlorenem im Dunkel unterbringen
an einer fremden stillen Stelle, die
nicht weiterschwingt, wenn deine Tiefen schwingen.
Doch alles, was uns anrührt, dich und mich,
nimmt uns zusammen wie ein Bogenstrich,
der aus zwei Saiten eine Stimme zieht.
Auf welches Instrument sind wir gespannt?
Und welcher Geiger hat uns in der Hand?
O süßes Lied.



Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I’ll cradle my right ear
in my right palm;
then when I speak my voice sounds strange,
alien ...

I'm unsure whose voice I’m hearing:
mine or yours.
I implore a trifle;
the poets cry for more.

Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, instead,
so that no one would ever think
I have no place to lay my head.

Translator's note: I believe the last line may be a reference to a statement made by Jesus Christ in the gospels: that foxes have their dens, but he had no place to lay his head. Rilke may also have had in mind Jesus saying that what someone does "to the least of these" they would also be doing to him.

Das Lied des Bettlers

Ich gehe immer von Tor zu Tor,
verregnet und verbrannt;
auf einmal leg ich mein rechtes Ohr
in meine rechte Hand.
Dann kommt mir meine Stimme vor,
als hätt ich sie nie gekannt.

Dann weiß ich nicht sicher, wer da schreit,
ich oder irgendwer.
Ich schreie um eine Kleinigkeit.
Die Dichter schrein um mehr.

Und endlich mach ich noch mein Gesicht
mit beiden Augen zu;
wie's dann in der Hand liegt mit seinem Gewicht
sieht es fast aus wie Ruh.
Damit sie nicht meinen ich hätte nicht,
wohin ich mein Haupt tu.



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?
Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?

Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.

While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?

Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?

Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps some inexpressible hope?

Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to be?

You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.

Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



Johann Wolfgang von Goethe

Excerpt from “To the Moon”
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Scattered, pole to starry pole,
glide Cynthia's mild beams,
whispering to the receptive soul
whatever moonbeams mean.

Bathing valley, hill and dale
with her softening light,
loosening from earth’s frigid chains
my restless heart tonight!

Over the landscape, near and far,
broods darkly glowering night;
yet welcoming as Friendship’s eye,
she, soft!, bequeaths her light.

Touched in turn by joy and pain,
my startled heart responds,
then floats, as Whimsy paints each scene,
to soar with her, beyond...

I mean Whimsy in the sense of both the Romantic Imagination and caprice. Here, I have the idea of Peter Pan flying off with Tinker Bell to Neverland.

My translation was informed by a translation by John S. Dwight.



Der Erlkönig (“The Elf King”)
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Who rides tonight with the wind so wild?
A loving father, holding his child.
Please say the boy’s safe from all evil and harm!
He rests secure in his dear father’s arms.

My son, my son, what’s that look on your face?
Father, he’s there, in that dark, scary place!
The elfin king! With his dagger and crown!
Son, it’s only the mist, there’s no need to frown.

My dear little boy, you must come play with me!
Such marvelous games! We’ll play and be free!
Many bright flowers we'll gather together!
Son, why are you wincing? It’s only the weather.

Father, O father, how could you not hear
What the elfin king said to me, drawing so near?
Be quiet, my son, and pay “him” no heed:
It was only the wind gusts stirring the trees.

Come with me now, you're a fine little lad!
My daughters will kiss you, then you’ll be glad!
My daughters will teach you to dance and to sing!
They’ll call you a prince and give you a ring!

Father, please look, in the gloom, don’t you see
The dark elfin daughters keep beckoning me?
My son, all I can see and all I can say
Is the wind makes the grey willows sway.

Why stay with your father? He’s deaf, blind and dumb!
If you’re unwilling I’ll force you to come!
Father, he’s got me and won’t let me go!
The cruel elfin king is hurting me so!

At last struck with horror his father looks down:
His gasping son’s holding a strange golden crown!
Then homeward through darkness, all the faster he sped,
But cold in his arms, his dear child lay dead.



The Fisher
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

The river swirled and rippled;
nearby an angler lay,
and watched his lure with a careless eye,
like any other day.
But as he watched in a strange half-dream,
he saw the waters part,
and from the river’s depths emerged
a maiden, or a ****.

A Lorelei, she sang to him
her strange, bewitching song:
“Which of my sisters would you snare,
with your human hands, so strong?
To make us die in scorching air,
ripped from our land, so clear!
Why not leave your arid land
And rest forever here?”

“The sun and lady-moon, they lave
their tresses in the main,
and find such cleansing in each wave,
they return twice bright again.
These deep-blue waters, fresh and clear,
O, feel their strong allure!
Wouldn’t you rather sink and drown
into our land, so pure?”

The water swirled and bubbled up;
it lapped his naked feet;
he imagined that he felt the touch
of the siren’s kisses sweet.
She sang to him of mysteries
in her soft, resistless strain,
till he sank into the water
and never was seen again.

My translation was informed by a translation by William Edmondstoune Aytoun and Theodore Martin.



Kennst du das Land (“Do You Know the Land”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Do you know of the land where the bright lemons bloom?
Where the orange glows gold in the occult gloom?
Where the gentlest winds fan the palest blue skies?
Where the myrtles and laurels elegantly rise?



Excerpt from “Hassan Aga”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

What whiteness shimmers, distant on the lea?
Could it be snow? Or is it swans we see?
Snow? Melted with a recent balmy day.
Swans? All departed, long since flown away.
Neither snow, nor swans! What can it be?
The tent of Hassan Aga, shining!
There the wounded warrior lies, repining.
His mother and sisters to his side have come,
But his shame-faced wife weeps for herself, at home.



Excerpt from “The Song of the Spirits over the Waters”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Wind is water's
amorous pursuer:
the Wind, upswept,
heaves waves from their depths.
And you, mortal soul,
how you resemble water!
And a mortal’s Fate,
how alike the wind!

My translation was informed by a translation by John S. Dwight.



Excerpt from “One and All”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

How the solitary soul yearns
to merge into the Infinite
and find itself once more at peace.
Rid of blind desire & the impatient will,
our restless thoughts and plans are stilled.
We yield our Selves, then awake in bliss.

My translation was informed by a translation by John S. Dwight.



Prometheus
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

obscure Your heavens, Zeus, with a nebulous haze!
and, like boys beheading thistles, decapitate oaks and alps.

yet leave me the earth with its rude dwellings
and my hut You didn’t build.
also my hearth, whose cheerful glow You envy.

i know nothing more pitiful under the sun than these vampiric godlings!
undernourished with insufficient sacrifices and airy prayers!

my poor Majesty, if not for a few fools' hopes,
those of children and beggars,
You would starve!

when i was a child, i didn't know up from down,
and my eye strayed erratically toward the sun strobing high above,
as if the heavens had ears to hear my lamentations,
and a heart like mine, to feel pity for the oppressed.

who assisted me when i stood alone against the Titans' insolence?
who saved me from slavery, or, otherwise, from death?
didn’t you handle everything yourself, my radiant heart?
how you shone then, so innocent and holy,
even though deceived and expressing thanks to a listless Entity above.

revere you, zeus? for what?
when did u ever ease my afflictions, or those of the oppressed?
when did u ever stanch the tears of the anguished, the fears of the frightened?
didn’t omnipotent Time and eternal Fate forge my manhood?

my masters and urs likewise?

u were deluded if u thought I would hate life
or flee into faraway deserts,
just because so few of my boyish dreams blossomed.

now here I sit, fashioning Humans in My own Image,
creating a Race like Myself,
who, for all Their suffering and weeping,
for all Their happiness and rejoicing,
in the end shall pay u no heed,
like Me!



Nähe des Geliebten (“Near His Beloved”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

I think of you when the sun
shines softly on me;
also when the moon
silvers each tree.

I see you in the spirit
the shimmering dust resembles;
also at the stroke of twelve
when the night watchman trembles.

I hear you in the sighing
of the restless, surging seas;
also in the quiet groves
when everything’s at peace.

I am with you, though so far!
Yet I know you’re always near.
Oh what I'd yield, as sun to star,
to have you here!

Ich denke dein, wenn mir der Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich des Mondes Flimmer
In Quellen malt.

Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.

Ich höre dich, wenn dort mit dumpfem Rauschen
Die Welle steigt.
Im stillen Haine geh ich oft zu lauschen,
Wenn alles schweigt.

Ich bin bei dir, du seist auch noch so ferne.
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!



Gefunden (“Found”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Into the woodlands,
alone, I went.
Seeking nothing,
my sole intent.

But I saw a flower
deep in the shade
gleaming like starlight
in a still glade.

I reached down to pluck it
when it shyly asked:
“Why would you snap me
so cruelly in half?”

So I dug up the flower,
by the roots and all,
then planted it gently
by the garden wall.

Now in a dark corner
where I planted the flower,
it blooms just as brightly
to this very hour.

Ich ging im Walde
So für mich hin,
Und nichts zu suchen,
Das war mein Sinn.

Im Schatten sah ich
Ein Blümchen stehn,
Wie Sterne leuchtend
Wie Äuglein schön.

Ich wollt es brechen,
Da sagt' es fein:
Soll ich zum Welken,
Gebrochen sein?

Ich grubs mit allen
Den Würzeln aus,
Zum Garten trug ichs
Am hübschen Haus.

Und pflanzt es wieder
Am stillen Ort;
Nun zweigt es immer
Und blüht so fort.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
From the hilltops
comes peace;
through the treetops
scarcely the wind breathes.
Do you feel the lassitude touch you?
The little birds grow silent in the forest.
Wait, soon you’ll rest too.

2.
From the distant hilltops
comes peaceful repose;
through the swaying treetops
a calming wind blows.
Do you feel the lassitude touch you?
The birds grow silent in the forest.
Wait, soon you’ll rest too.

Über allen Gipfeln
ist Ruh’
in allen Wipfeln
spürest du
kaum einen Hauch.
Die Vögelein schweigen im Walde.
Warte, nur balde
ruhest du auch.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so weary of useless contention!
Why all this pain and lust?
Sweet peace descending,
Come, oh, come into my breast!

2.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so **** tired of this muddle!
What’s the point of all this pain and lust?
Sweet peace,
Come, oh, come into my breast!

Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest,
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!



ON LOOKING AT SCHILLER’S SKULL
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Here in this charnel-house full of bleaching bones,
like yesteryear’s
fading souvenirs,
I see the skulls arranged in strange ordered rows.

Who knows whose owners might have beheaded peers,
packed tightly here
despite once repellent hate?
Here weaponless, they stand, in this gentled state.

These arms and hands, they once were so delicate!
How articulately
they moved! Ah me!
What athletes once paced about on these padded feet?

Still there’s no hope of rest for you, lost souls!
Deprived of graves,
forced here like slaves
to occupy this overworld, unlamented ghouls!

Now who’s to know who loved one orb here detained?
Except for me;
reader, hear my plea:
I know the grandeur of the mind it contained!

Yes, and I know the impulse true love would stir
here, where I stand
in this alien land
surrounded by these husks, like a treasurer!

Even in this cold,
in this dust and mould
I am startled by a strange, ancient reverie, ...
as if this shrine to death could quicken me!

One shape out of the past keeps calling me
with its mystery!
Still retaining its former angelic grace!
And at that ecstatic sight, I am back at sea ...

Swept by that current to where immortals race.
O secret vessel, you
gave Life its truth.
It falls on me now to recall your expressive face.

I turn away, abashed here by what I see:
this mould was worth
more than all the earth.
Let me breathe fresh air and let my wild thoughts run free!

What is there better in this dark Life than he
who gives us a sense of man’s divinity,
of his place in the universe?
A man who’s both flesh and spirit—living verse!



To The Muse
by Friedrich Schiller
loose translation/interpretation by Michael R. Burch

I do not know what I would be,
without you, gentle Muse!,
but I’m sick at heart to see
those who disabuse.



GOETHE & SCHILLER XENIA EPIGRAMS

She says an epigram’s too terse
to reveal her tender heart in verse …
but really, darling, ain’t the thrill
of a kiss much shorter still?
―#2 from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

There are more translations of the Xenia epigrams of Goethe and Schiller later on this page.



Through the fields of solitude
by Hermann Allmers
set to music by Johannes Brahms
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.

This poem was set to music by the German composer Johannes Brahms in what has been called its “the most sublime incarnation.” A celebrated recording of the song was made in 1958 by the baritone Dietrich Fischer-Dieskau with Jörg Demus accompanying him on the piano.



Hannah Arendt was a Jewish-German philosopher and Holocaust survivor who also wrote poetry.

H.B.
for Hermann Broch
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

Survival.
But how does one live without the dead?
Where is the sound of their lost company?
Where now, their companionable embraces?
We wish they were still with us.

We are left with the cry that ripped them away from us.
Left with the veil that shrouds their empty gazes.
What avails? That we commit ourselves to their memories,
and through this commitment, learn to survive.

I Love the Earth
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

I love the earth
like a trip
to a foreign land
and not otherwise.
Even so life spins me
on its loom softly
into never-before-seen patterns.
Until suddenly
like the last farewells of a new journey,
the great silence breaks the frame.



Bertolt Brecht fled **** Germany along with Albert Einstein, Thomas Mann and many other German intellectuals. So he was writing from bitter real-life experience.

The Burning of the Books
by Bertolt Brecht, a German poet
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged — he'd been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power —
Burn me! he wrote with his blazing pen —
Haven't I always reported the truth?
Now here you are, treating me like a liar!
Burn me!

Parting
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

We embrace;
my fingers trace
rich cloth
while yours encounter only moth-
eaten fabric.
A quick hug:
you were invited to the gay soiree
while the minions of the "law" relentlessly pursue me.
We talk about the weather
and our eternal friendship's magic.
Anything else would be too bitter,
too tragic.

The Mask of Evil
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

A Japanese carving hangs on my wall —
the mask of an ancient demon, limned with golden lacquer.
Not altogether unsympathetically, I observe
the bulging veins of its forehead, noting
the grotesque effort it takes to be evil.

Radio Poem
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

You, little box, held tightly
to me,
escaping,
so that your delicate tubes do not break;
carried from house to house, from ship to train,
so that my enemies may continue communicating with me
on land and at sea
and even in my bed, to my pain;
the last thing I hear at night, the first when I awake,
recounting their many conquests and my litany of cares,
promise me not to go silent all of a sudden,
unawares.



These are three English translations of Holocaust poems written in German by the Jewish poet Paul Celan. The first poem, "Todesfuge" in the original German, is one of the most famous Holocaust poems, with its haunting refrain of a German "master of death" killing Jews by day and writing "Your golden hair Margarete" by starlight. The poem demonstrates how terrible things can become when one human being is granted absolute power over other human beings. Paul Celan was the pseudonym of Paul Antschel. (Celan is an anagram of Ancel, the Romanian form of his surname.) Celan was born in Czernovitz, Romania in 1920. The son of German-speaking Jews, Celan spoke German, Romanian, Russian, French and understood Yiddish. During the Holocaust, his parents were deported and eventually died in **** labor camps; Celan spent eighteen months in a **** concentration camp before escaping.

Todesfuge ("Death Fugue")
by Paul Celan
loose translation/interpretation by Michael R. Burch

Black milk of daybreak, we drink it come morning;
we drink it come midday; we drink it, come night;
we drink it and drink it.
We are digging a grave like a hole in the sky; there's sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, "Your golden hair Margarete …"
He writes poems by the stars, whistles hounds to stand by,
whistles Jews to dig graves, where together they'll lie.
He commands us to strike up bright tunes for the dance!

Black milk of daybreak, we drink you each morning;
we drink you at midday; we drink you at night;
we drink you and drink you.
The man of the house plays with serpents, he writes …
he writes when the night falls, "Your golden hair Margarete …
Your ashen hair Shulamith …"
We are digging dark graves where there's more room, on high.
His screams, "You dig there!" and "Hey you, dance and sing!"
He grabs his black nightstick, his eyes pallid blue,
cries, "Hey you, dig more deeply! You others, keep dancing!"

Black milk of daybreak, we drink you each morning;
we drink you at midday, we drink you at night;
we drink you and drink you.
The man of the house writes, "Your golden hair Margarete …
Your ashen hair Shulamith." He toys with our lives.
He screams, "Play for me! Death's a master of Germany!"
His screams, "Stroke dark strings, soon like black smoke you'll rise
to a grave in the clouds; there's sufficient room for Jews there!"

Black milk of daybreak, we drink you at midnight;
we drink you at noon; Death's the master of Germany!
We drink you come evening; we drink you and drink you …
a master of Deutschland, with eyes deathly blue.
With bullets of lead our pale master will ****** you!
He writes when the night falls, "Your golden hair Margarete …"
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; he's a master of Germany …

your golden hair Margarete …
your ashen hair Shulamith.

O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch

O, little root of a dream
you enmire me here;
I'm undermined by blood —
no longer seen,
enslaved by death.

Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else's eyes
may see yet see me,
though I'm blind,
here where you
deny me voice.

You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch

You were my death;
I could hold you
when everything abandoned me —
even breath.



“To Young”
for Edward Young, the poet who wrote “Night Thoughts”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Die, aged prophet: your crowning work your fulcrum;
now tears of joy
tremble on angel-lids
as heaven extends its welcome.

Why linger here? Have you not already built, great Mover,
a monument beyond the clouds?
Now over your night-thoughts, too,
the pallid free-thinkers hover,

feeling there's prophecy amid your song
as it warns of the dead-awakening trump,
of the coming final doom,
and heaven’s eternal wisdom.

Die: you have taught me Death’s dread name, elide,
bears notes of joy to the ears of the just!
Yet remain my teacher still,
become my genius and guide.

My translation was informed by a translation by William Taylor.



Excerpts from “The Choirs”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Dear Dream, which I must never behold fulfilled,
pale diaphanous Mist, yet brighter than orient day!,
float back to me, and hover yet again
before my swimming sight!

Do they wear crowns in vain, those who forbear
to recognize your heavenly portraiture?
Must they be encased in marble, one and all,
ere the transfiguration be wrought?

Yes! For would the grave allow, I’d always sing
with inspiration stringing the lyre,—
amid your Vision’s tidal joy,
my pledge for loftier verse.

Great is your power, my Desire! Few have ever known
how it feels to melt in bliss; fewer still have ever felt
devotion’s raptures rise
on sacred Music’s wing!

Few have trembled with joy as adoring choirs
mingled their hallowed songs of heartfelt praise
(punctuated by each awe-full pause)
with unseen choirs above!

On each arched eyelash, on each burning cheek,
the fledgling tear quivers; for they imagine the goal,—
each shimmering golden crown
where angels wave their palms.

Deep, strong, the song seizes swelling hearts,
never scorning the tears it imbues,
whether shrouding souls in gloom
or steeping them in holy awe.

Borne on the deep, slow sounds, now holy awe
descends. Myriad voices sweep the assembly,
blending their choral force,—
their theme, Impending Doom!

Joy, Joy! They can scarcely bear it!
The *****’s thunder roundly rolls,—
louder and louder, to the congregations’ cries,
till the temple also trembles.

Enough! I sink! The wave of worshipers bows
before the altar,—bows low to the earth;
they taste the communal cup,
then drink devoutly, deeply, still.

One day, when my bones rest beside this church
as the assembled worshipers sing their songs of praise,
the conscious grave shall acknowledge their vision
with heaves of sweet flowerets in bloom.

And on that morning, ringing through the rocks,
as hymns are sung in praise, O, joyous tune!,
I’ll hear—“He rose again!”
Vibrating through my tomb.

My translation was informed by a translation by William Taylor.



A Lonely Cot
by Johann Wilhelm Ludwig Gleim (1719-1803)
loose translation/interpretation by Michael R. Burch

A lonely cot is all I own:
it stands on grass that’s never mown
beside a brook (it’s passing small),
near where bright frothing fountains fall.

Here a spreading beech lifts up its head
and half conceals my humble shed:
from winter winds my sole retreat
and refuge from the summer’s heat.

In the beech’s boughs the nightingale
sweetly sings her plaintive tale:
so sweetly, passing rustics stray
with loitering steps to catch her lay!

Sweet blue-eyed maid with hair so fair,
my heart's desire! my fondest care!
I hurry home—How late the hour!
Come share, sweet maid, my sheltering bower!



Excerpts from “Song”
by Johann Georg Jacobi
loose translation/interpretation by Michael R. Burch

Friend, tell me where the violet fled,
so lately gaily blowing?
That once perfumed fair Flora’s tread,
its choicest scents bestowing?
Swain, give up verse and hang your head:
the violet lies dead!

Friend, what became of the blushing rose,
the pride of the blossoming morning?
The garland every groom bestows
upon his blushing darling?
Swain, give up verse and hang your head:
the rose lies dead!

And say, what of the village maid,
so late my cot adorning?
The one I assayed in our secret glade,
as pale and fair as the morning?
Swain, give up verse and hang your head:
the erstwhile maid lies dead!

Friend, what became of the gentle swain
who sang, in rural measures,
of the lovely violet, blushing rose,
and girls like exotic treasures?
Maid, close his book and hang your head:
the swain lies dead!



Dunkles zu sagen (“Expressing the Dark”)
by Ingeborg Bachmann, an Austrian poet
loose translation/interpretation by Michael R. Burch

I strum the strings of life and death
like Orpheus
and in the beauty of the earth
and in your eyes that instruct the sky,
I find only dark things to say.

Untitled

The dark shadow
I followed from the beginning
led me into the deep barrenness of winter.
—Ingeborg Bachmann, loose translation/interpretation by Michael R. Burch



Johann Wolfgang von Goethe and Friedrich Schiller

#2 - Love Poetry

She says an epigram’s too terse
to reveal her tender heart in verse ...
but really, darling, ain’t the thrill
of a kiss much shorter still?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#5 - Criticism

Why don’t I openly criticize the man? Because he’s a friend;
thus I reproach him in silence, as I do my own heart.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#11 - Holiness

What is holiest? This heart-felt love
binding spirits together, now and forever.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#12 - Love versus Desire

You love what you have, and desire what you lack
because a rich nature expands, while a poor one contracts.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#19 - Nymph and Satyr

As shy as the trembling doe your horn frightens from the woods,
she flees the huntsman, fainting, uncertain of love.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#20 - Desire

What stirs the ******’s heaving ******* to sighs?
What causes your bold gaze to brim with tears?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#23 - The Apex I

Everywhere women yield to men, but only at the apex
do the manliest men surrender to femininity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#24 - The Apex II

What do we mean by the highest? The crystalline clarity of triumph
as it shines from the brow of a woman, from the brow of a goddess.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#25 -Human Life

Young sailors brave the sea beneath ten thousand sails
while old men drift ashore on any bark that avails.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#35 - Dead Ahead

What’s the hardest thing of all to do?
To see clearly with your own eyes what’s ahead of you.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#36 - Unexpected Consequence

Friends, before you utter the deepest, starkest truth, please pause,
because straight away people will blame you for its cause.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#41 - Earth vs. Heaven

By doing good, you nurture humanity;
but by creating beauty, you scatter the seeds of divinity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch



Unholy Trinity
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Man has three enemies:
himself, the world, and the devil.
Of these the first is, by far,
the most irresistible evil.

True Wealth
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

There is more to being rich
than merely having;
the wealthiest man can lose
everything not worth saving.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose merely blossoms
and never asks why:
heedless of her beauty,
careless of every eye.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose lack "reasons"
and merely sways with the seasons;
she has no ego
but whoever put on such a show?

Eternal Time
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Eternity is time,
time eternity,
except when we
are determined to "see."

Visions
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Our souls possess two eyes:
one examines time,
the other visions
eternal and sublime.

Godless
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God is absolute Nothingness
beyond our sense of time and place;
the more we try to grasp Him,
The more He flees from our embrace.

The Source
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Water is pure and clean
when taken at the well-head:
but drink too far from the Source
and you may well end up dead.

Ceaseless Peace
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Unceasingly you seek
life's ceaseless wavelike motion;
I seek perpetual peace, all storms calmed.
Whose is the wiser notion?

Well Written
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Friend, cease!
Abandon all pretense!
You must yourself become
the Writing and the Sense.

Worm Food
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

No worm is buried
so deep within the soil
that God denies it food
as reward for its toil.

Mature Love
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

New love, like a sparkling wine, soon fizzes.
Mature love, calm and serene, abides.

God's Predicament
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God cannot condemn those with whom he would dwell,
or He would have to join them in hell!

Clods
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

A ruby
is not lovelier
than a dirt clod,
nor an angel
more glorious
than a frog.



Günter Grass

Günter Wilhelm Grass (1927-) is a German-Kashubian novelist, poet, playwright, illustrator, graphic artist, sculptor and recipient of the 1999 Nobel Prize in Literature. He is widely regarded as Germany's most famous living writer. Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. The Tin Drum was adapted into a film that won both the Palme d'Or and the Academy Award for Best Foreign Language Film. The Swedish Academy, upon awarding Grass the Nobel Prize in Literature, noted him as a writer "whose frolicsome black fables portray the forgotten face of history."

“Was gesagt werden muss” (“What must be said”)
by Günter Grass
loose translation/interpretation by Michael R. Burch

Why have I remained silent, so long,
failing to mention something openly practiced
in war games which now threaten to leave us
merely meaningless footnotes?

Someone’s alleged “right” to strike first
might annihilate a beleaguered nation
whose people march to a martinet’s tune,
compelled to pageants of orchestrated obedience.
Why? Merely because of the suspicion
that a bomb might be built by Iranians.

But why do I hesitate, forbidding myself
to name that other nation, where, for years
—shrouded in secrecy—
a formidable nuclear capability has existed
beyond all control, simply because
no inspections were ever allowed?

The universal concealment of this fact
abetted by my own incriminating silence
now feels like a heavy, enforced lie,
an oppressive inhibition, a vice,
a strong constraint, which, if dismissed,
immediately incurs the verdict “anti-Semitism.”

But now my own country,
guilty of its unprecedented crimes
which continually demand remembrance,
once again seeking financial gain
(although with glib lips we call it “reparations”)
has delivered yet another submarine to Israel—
this one designed to deliver annihilating warheads
capable of exterminating all life
where the existence of even a single nuclear weapon remains unproven,
but where suspicion now serves as a substitute for evidence.
So now I will say what must be said.

Why did I remain silent so long?
Because I thought my origins,
tarred by an ineradicable stain,
forbade me to declare the truth to Israel,
a country to which I am and will always remain attached.

Why is it only now that I say,
in my advancing age,
and with my last drop of ink
on the final page
that Israel’s nuclear weapons endanger
an already fragile world peace?

Because tomorrow might be too late,
and so the truth must be heard today.
And because we Germans,
already burdened with many weighty crimes,
could become enablers of yet another,
one easily foreseen,
and thus no excuse could ever erase our complicity.

Furthermore, I’ve broken my silence
because I’m sick of the West’s hypocrisy
and because I hope many others too
will free themselves from the shackles of silence,
and speak out to renounce violence
by insisting on permanent supervision
of Israel’s atomic power and Iran’s
by an international agency
accepted by both governments.

Only thus can we find the path to peace
for Israelis and Palestinians and everyone else
living in a region currently consumed by madness
—and ultimately, for ourselves.

Published in Süddeutschen Zeitung (April 4, 2012)



“Totentanz”
by H. Distler
loose translation/ interpretation by Michael R. Burch

Erster Spruch:
Lass alles, was du hast, auf dass du alles nehmst!
Verschmäh die Welt, dass du sie tausendfach bekömmst!
Im Himmel ist der Tag, im Abgrund ist die Nacht.
Hier ist die Dämmerung: Wohl dem, der's recht betracht!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, that you may receive it a thousandfold!
In the heavens it is day, in the abyss it is night.
Here it is twilight: Blessed is the one who comprehends!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, seize it like a great ball!
In the heavens it is day, in the abyss, night.
Understand if you can: Here it is twilight!

Der Tod: Zum Tanz, zum Tanze reiht euch ein:
Kaiser, Bischof, Bürger, Bauer,
arm und ***** und gross und klein,
heran zu mir! Hilft keine Trauer.
Wohl dem, der rechter Zeit bedacht,
viel gute Werk vor sich zu bringen,
der seiner Sünd sich losgemacht -
Heut heisst's: Nach meiner Pfeife springen!

Death: To the dance, to the dance, take your places:
emperor, bishop, townsman, farmer,
poor and rich, big and small,
come to me! Grief helps nothing.
Blessed is the one who deems the time right
to do many good deeds,
to rid himself of his sins –
Today you must dance to my tune!

Zweiter Spruch:
Mensch, die Figur der Welt vergehet mit der Zeit.
Was trotz'st du dann so viel auf ihre Herrlichkeit?

Second Aphorism:
Man, the world’s figure decays with time.
Why do you go on so much about her glory?

Der Kaiser: O Tod, dein jäh Erscheinen
friert mir das Mark in den Gebeinen.
Mussten Könige, Fürsten, Herren
sich vor mir neigen und mich ehren,
dass ich nun soll ohn Gnade werden
gleichwie du, Tod, ein Schleim der Erden?
Der ich den Menschen Haupt und Schirmer -
du machst aus mir ein Speis' der Würmer.

Emperor:
Oh Death, your sudden appearance
freezes the marrow in my bones.
Did kings, princes and gentlemen
bow down before me and honor me,
that I should I become, without mercy,
just like you, Death, slime of the earth?
I was my people’s leader and protector –
you made me a meal for worms.

Der Tod: Herr Kaiser, warst du der Höchste hier,
voran sollst du tanzen neben mir.
Dein war das Schwert der Gerechtigkeit,
zu schlichten den Streit, zu lindern das Leid;
doch Ruhm- und Ehrsucht machten dich blind,
sahst nicht dein eigen grosse Sünd.
Drum fällt dir mein Ruf so schwer in den Sinn. -
Halt an, Bischof, den Tanz beginn!

Death:
Emperor, you were the highest here,
thus you shall dance next to me.
Yours was the sword of justice,
to settle disputes and alleviate suffering;
but your obsession with fame and glory blinded you,
you failed to see your own immense sinfulness.
Hence my reputation is so difficult for you to comprehend. –
Halt, Bishop, the dance begins!

Dritter Spruch:
Wann du willst gradeswegs ins ew'ge Leben gehn,
so lass die Welt und dich zur linken Seite stehn!

Third Aphorism:
If you would enter directly into eternal life,
leave the world and yourself by the wayside!
These are modern English translations of German poems by Michael R. Burch.

— The End —