Showing posts with label german. Show all posts
Showing posts with label german. Show all posts

Rainer Maria Rilke

 Rainer Maria Rilke sits among trees reading a book.

Imaginary Biography

                                        Translated by Robert Bly

First Childhood, no limits, no renunciations,no goals. Such unthinking joy.Then abruptly terror, schoolrooms, boundaries,. . captivity,and a plunge into temptation and deep loss.

Defiance. The one crushed will be the crusher. . now,and he avenges his defeats, wrestles, wins, and overpowers others, slowly, act by act. 

And then all alone in space, in lightness, in cold.But deep in the shape he has made to stand erecthe takes a breath, as if reaching for the First, . . Primitive....

Then God explodes from his hiding place.

Holderlin


Hyperion by Friedrich Hölderlin

 Round us the town is at rest; the street, in pale lamplight, grows quiet And, their torches ablaze, coaches rush through and away.

People go home to rest, replete with the day and its pleas- ures, There to weigh up in their heads, pensive, the gain and the loss,
Finding the balance good; stripped bare now of grapes and of flowers, As of their hand-made goods, quiet the market stalls lie.
But faint music of strings comes drifting from gardens; it could be Someone in love who plays there, could be a man all alone
Thinking of distant friends, the days of his youth; and the fountains, Ever welling and new, plash amid fragrance from beds.
Church-bells ring; every stroke hangs still in the quivering half-light And the watchman calls out, mindful, no less, of the hour.
Now a breeze rises too and ruffles the crest of the coppice, Look, and in secret our globe’s shadowy image, the moon,
Slowly is rising too; and Night, the fantastical, comes now Full of stars and, I think, little concerned about us,
Night, the astonishing, there, the stranger to all that is human, Over the mountain-tops mourn- ful and gleaming draws on.
                                                                translation by Michael Hamburger 

Rilke



 It’s possible I am pushing through solid rock

in flintlike layers, as the ore lies, alone;
I am such a long way in I see no way through,
and no space: everything is close to my face,
and everything close to my face is stone.

I don’t have much knowledge yet in grief
so this massive darkness makes me small.
You be the master: make yourself fierce, break in:
then your great transforming will happen to me,
and my great grief cry will happen to you.

                                    Rainer Maria Rilke
                                    (Translated by Robert Bly)

Paul Celan

Cover of The Meridian by Paul Celan Edited by Bernhard Böschenstein and Heino Schmull Translated by Pierre Joris 

LANGUAGE MESH

Eye’s roundness between the bars.

Vibratile monad eyelid
propels itself upward,
releases a glance.

Iris, swimmer, dreamless and dreary:
the sky, heart-grey, must be near.

Athwart, in the iron holder,
the smoking splinter.
By its sense of light
you divine the soul.

(If I were like you. If you were like me.
Did we not stand
under one trade wind?
We are strangers.)

The flagstones. On them,
close to each other, the two
heart-grey puddles:
two
mouthsfull of silence.

                        Michael Hamburger, trans.

Ranier Maria Rilke

 File:Rainer Maria Rilke, 1913.jpg


The Panther

His vision, from the constantly passing bars,
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.

As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.

Only at times, the curtain of the pupils
lifts, quietly—. An image enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.

(Translated by Stephen Mitchell)

Ingeborg Bachmann


We have risen and the cloisters are empty,

We have risen and the cloisters are empty,
since we endure, an order that neither saves nor teaches.
Action is not the pilot's concern. They have their eyes
fixed on defense posts, and spread out on their knees
a map of the world to which nothing can be added.

Who is living down below? Who is crying . . .
Who has lost his housekey?
Who cannot find his bed, who is sleeping
on doorsteps? Who, when morning comes,
dares to interpret the silver trail: look, above me . . .
When water starts turning the mill wheel again,
who dares to remember the night?


Ranier Marie Rilke

The Age of Bronze, Auguste Rodin


                    From Duino Elegy 4

O trees of life, O when are you wintering?

We are not unified. We have no instincts

like those of migratory birds. Useless, and late,

we force ourselves, suddenly, onto the wind,

and fall down to an indifferent lake.

We realise flowering and fading together.

And somewhere lions still roam. Never knowing,

as long as they have their splendour, of any weakness.

We, though, while we are intent on one thing, wholly,

feel the loss of some other. Enmity

is our neighbour. Aren’t lovers

always arriving at boundaries, each of the other,

who promised distance, hunting, and home?

And when, for the sketch of a moment,

a contrasting background is carefully prepared

so that we can see it: then this is clear

to us. We do not know the contours

of feeling, only what forms it from outside.

Who has not sat, scared, before his heart’s curtain?

It drew itself up: the scenery was of Departure.

Easy to comprehend. The familiar garden

swaying a little: then the dancer appeared.

Not him. Enough! However lightly he moves

he is in costume, and turns into a citizen,

and goes through the kitchen into his house.

I don’t want these half-completed masks,

rather the Doll. That is complete. I will

suffer its shell, its wire, its face

of mere appearance. Here. I am waiting.

Even if the lights go out, even if someone

says to me: ‘No more’ - , even if emptiness

reaches me as a grey draught of air from the stage,

even if none of my silent forefathers

sits by me any more, not one woman,

not even the boy with the brown, squinting, eyes.

I’ll still be here. One can always watch.

Ranier Maria Rilke


                    1902 portrait of Rainer Maria Rilke by Helmuth Westhoff, Rilke’s brother-in-law

Archaic Bust Of Apollo Delmore Schwartz (After Rilke)


We cannot know the indescribable face
Where the eyes like apples ripened. Even so,
His torso has a candelabra's glow,
His gaze, contained as in a mirror's grace,

Shines within it. Otherwise his breast
Would not be dazzling. Nor would you recognize
The smile that moves along his curving thighs,
There where love's strength is caught within its nest.

This stone would not be broken, but intact 
Beneath the shoulders' flowing cataract, 
Nor would it glisten like a stallion's hide,

Brimming with radiance from every side
As a star sparkles. Now it is dawn once more.
All places scrutinize you. You must be reborn.

Ranier Maria Rilke


Sonnets to Orpheus

SONNETS TO ORPHEUS II, 13

Be ahead of all parting, as though it already were
behind you, like the winter that has just gone by.
For among these winters there is one so endlessly winter
that only by wintering through it will your heart survive.

Be forever dead in Eurydice — more gladly arise
into the seamless life proclaimed in your song.
Here, in the realm of decline, among momentary days,
be the crystal cup that shattered even as it rang.

Be — and yet know the great void where all things begin,
the infinite source of your own most intense vibration,
so that, this once, you may give it your perfect assent.

To all that is used-up, and to all the muffled and dumb
creatures in the world’s full reserve, the unsayable sums,
joyfully add yourself, and cancel the count.

 

SONNETS TO ORPHEUS II, 29

Silent friend of many distances, feel
how your breath enlarges all of space.
Let your presence ring out like a bell
into the night. What feeds upon your face

grows mighty from the nourishment thus offered.
Move through transformation, out and in.
What is the deepest loss that you have suffered?
If drinking is bitter, change yourself to wine.

In this immeasurable darkness, be the power
that rounds your senses in their magic ring,
the sense of their mysterious encounter.

And if the earthly no longer knows your name,
whisper to the silent earth: I’m flowing.
To the flashing water say: I am.

                          (translation by Stephen Mitchell)


Ranier Maria Rilke



Archaischer Torso Apollos

We cannot know his legendary head

with eyes like ripening fruit. And yet his torso

is still suffused with brilliance from inside,

like a lamp, in which his gaze, now turned to low,

 

gleams in all its power. Otherwise

the curved breast could not dazzle you so, nor could

a smile run through the placid hips and thighs

to that dark center where procreation flared.

 

Otherwise this stone would seem defaced

beneath the translucent cascade of the shoulders

and would not glisten like a wild beast's fur:

 

would not, from all the borders of itself,

burst like a star: for here there is no place

that does not see you. You must change your life.

 

                                Translated by Stephen Mitchell


Ranier Marie Rilke





 

Plaster Cast Torso of Apollo

TRANSLATED BY ALICE FULTON
We can infer his long since looted head
with eyes like curated hail. And that his chest
is still benumbed by empire from above,
as if a morgue, in his glare, now canonized,

fires an arctic solstice. Otherwise, the pocked tits
could not oppress you, and Victory
would not grin through smug ligaments
to reach that sperm hive where priapism lived.

Otherwise, this bust would seem impugned
by the rude graffiti, ART, that’s spraybombed on it,
and would not slutshame like a frat boy’s tweet:

would not, from every morsel of itself
extrude a tomb: for here there is no flesh
to witness for you. You must be those eyes.
 

Ranier Marie Rilke


rilke in moscow 1928

                                                                                            LEONID PASTERNAK, RILKE IN MOSCOW (DETAIL), 1928.


After the Fire

Early autumn morning hesitated,
Shying at newness, an emptiness behind
Scorched linden trees still crowding in around
The moorland house, now just one more wallstead

Where youngsters in a pack from god knows where
Went rip-roaring wild and yelled and wrecked.
Yet all of them fell silent when he appeared,
The son of the place, and with a long forked stick

Dragged an out of shape old can or kettle
From under hot, charred, half-consumed house-beams;
And then, like one with a doubtful tale to tell,
Turned to the others present, at great pains

To make them realise what had stood so.
For now that it was gone, it all seemed
Far stranger: more fantastical than Pharaoh.
And he was changed: as from a far-off land.

                                (translated by Seamus Heaney)

Paul Celan

File:Celan .jpg

 Psalm

TRANSLATED BY JOHN FELSTINER
No one kneads us again out of earth and clay,
no one incants our dust.
No one.

Blessèd art thou, No One.
In thy sight would
we bloom.
In thy
spite.

A Nothing
we were, are now, and ever
shall be, blooming:
the Nothing-, the
No-One's-Rose.

With
our pistil soul-bright,
our stamen heaven-waste,
our corona red
from the purpleword we sang
over, O over
the thorn.

Paul Celan

 Imported 1216


[With the voice of the fieldmouse]

With the voice of the fieldmouse
you squeak up to me,

a sharp
clip,
you bite your way through my shirt to the skin,

a cloth,
you slide across my mouth
midway through the words
I address to you, shadow,
to give you weight.

                                translated by Michael Hamburger

Bertolt Brecht

 

https://static.tvtropes.org/pmwiki/pub/images/f63a2a4a845274e783702c330c56cf25.jpg







But you, when at last it comes to pass 
That man can help his fellow man, 
Do not judge us 
Too harshly.
To Posterity

After the uprising of the 17th of June 
The Secretary of the Writers' Union 
Had leaflets distributed in the Stalinallee 
Stating that the people 
Had forfeited the confidence of the government 
And could win it back only 
By redoubled efforts. Would it not be easier 
In that case for the government 
To dissolve the people 
And elect another?
The Solution

For though the world has stood up and stopped 

— The Resistible Rise of Arturo Ui, final lines addressing the audience.

Bertolt Brecht


Hardcover Love Poems Book


On the Term of Exile

No need to drive a nail into the wall

To hang your hat on;

When you come in, just drop it on the chair

No guest has sat on.

Don’t worry about watering the flowers—

In fact, don’t plant them.

You will have gone back home before they bloom,

And who will want them?

If mastering the language is too hard,

Only be patient;

The telegram imploring your return

Won’t need translation.

Remember, when the ceiling sheds itself

In flakes of plaster,

The wall that keeps you out is crumbling too,

As fast or faster.

Translated from the German by Adam Kirsch

Bertholt Brecht

Bertolt Brecht, Paris 

Hollywood Elegies

                                     1

Under the long green hair of pepper trees,

The writers and composers work the street.

Bach’s new score is crumpled in his pocket,

Dante sways his ass-cheeks to the beat.

                                     2

The city is named for the angels,

And its angels are easy to find.

They give off a lubricant odor,

Their eyes are mascara-lined;

At night you can see them inserting

Gold-plated diaphragms;

For breakfast they gather at poolside

Where screenwriters feed and swim.

                                     3

Every day, I go to earn my bread

In the exchange where lies are marketed,

Hoping my own lies will attract a bid.

                                     4

It’s Hell, it’s Heaven: the amount you earn

Determines if you play the harp or burn.

                                     5

Gold in their mountains,

Oil on their coast;

Dreaming in celluloid

Profits them most.

Jan Wagner












dachshund

“How would you, comtessa, see the world,
if you — let’s say — had been born as a dachshund?”
        Jakob Johann von Uexküll to his future wife, Gudrun von Schwerin

as a forest. a hunting trip. a ball
that rolls to me and as it reaches
my rug, takes a leap, escapes as a rabbit;
as a warm afternoon, that stretches
and stretches farther out as i do myself,
before another dispatch

of fragrance comes in. it is a system
of signs: hither!, shout the thistles
with their spike-mittens, and every trunk portends
a message, like the waste paper does, textiles,

even the burst bicycle tubing
of an overrun snake.
the fox that runs behind the brook
each evening is the setting sun.

with the excitement of the explorer
who follows the deer tracks;
the wolves and their movable kingdom; and the badger,
striped in black and white like licorice-stick-

candy, lingering in his darkness;
to speed like a pneumatic tube through tunnels
towards the stinging smells, to hunt
him who is a giant, a plump, skittish colossus,

bristling, stiffened in his coat,
while the voices come closer — at the moment
before their arrival, before they burst through clay and earth,
and the two of us are yanked into the light.

 


Fernando Pessoa/Alvaro de Campos

  I Got Off the Train I got off the train And said goodbye to the man I'd met. We'd been together for eighteen hours And had a pleas...