Takaha Shugyo haiku and tanka translations
Takaha Shugyo (1930-) is a Japanese poet. He was born in Japan's mountainous Yamagata Prefecture and began writing haiku at age fifteen. He studied with the renowned Yamaguchi Seishi and Akimoto Fujio, won the Young Poet's Award in 1965, then went on to found the haiku magazine KARI in 1978.
Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Are the geese flying south?
The candle continues to flicker ...
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
A single tree
with a heart carved into its trunk
blossoms prematurely
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Still clad in its clown's costume—
the dead ladybird.
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Inside the cracked shell
of a walnut:
one empty room
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Such gloom!
Inside the walnut's cracked shell:
one empty room
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Bring me an icicle
sparkling with the stars
of the deep north
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Seen from the skyscraper
the trees' fresh greenery:
parsley sprigs
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Our life here on earth:
to what shall we compare it?
It is not like a rowboat
departing at daybreak,
leaving no trace of us in its wake?
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Tree crickets chirping—
after I've judged
a thousand verses today!
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Crickets chirping discordantly—
how to judge
ten thousand verses?
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Original Haiku
Sleepyheads!
I recite my haiku
to the inattentive lilies.
—Michael R. Burch
POEMS ABOUT NIGHTMARES
My nightmare ...
by Michael R. Burch, writing as “The Child Poets of Gaza”
I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.
Excelsior
by Michael R. Burch
I lift my eyes and laugh, Excelsior . . .
Why do you come, wan spirit, heaven-gowned,
complaining that I am no longer “pure?”
I threw myself before you, and you frowned,
so full of noble chastity, renowned
for leaving maidens maidens. In the dark
I sought love’s bright enchantment, but your lips
were stone; my fiery metal drew no spark
to light the cold dominions of your heart.
What realms were ours? What leasehold? And what claim
upon these territories, cold and dark,
do you seek now, pale phantom? Would you light
my heart in death and leave me ashen-white,
as you are white, extinguished by the Night?
Excerpts from the Journal of Dorian Gray
by Michael R. Burch
It was not so much dream, as error;
I lay and felt the creeping terror
of what I had become take hold . . .
The moon watched, silent, palest gold;
the picture by the mantle watched;
the clock upon the mantle talked,
in halting voice, of minute things . . .
Twelve strokes like lashes and their stings
scored anthems to my loneliness,
but I have dreamed of what is best,
and I have promised to be good . . .
Dismembered limbs in vats of wood,
foul acids, and a strangled cry!
I did not care, I watched him die . . .
Each lovely rose has thorns we miss;
they ***** our lips, should we once kiss
their mangled limbs, or think to clasp
their violent beauty. Dream, aghast,
the flower of my loveliness,
this ageless face (for who could guess?),
and I will kiss you when I rise . . .
The patterns of our lives comprise
strange portraits. Mine, I fear,
proved dear indeed . . . Adieu!
The knife’s for you.
Originally published by Dusk & Shiver Magazine
ROBERT BURNS TRANSLATIONS/MODERNIZATIONS
Comin Thro the Rye
by Robert Burns
Oh, Jenny's all wet, poor body,
Jenny's seldom dry;
She's draggin' all her petticoats
Comin' through the rye.
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
Should a body meet a body
Comin' through the rye,
Should a body kiss a body,
Need anybody cry?
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
Should a body meet a body
Comin' through the glen,
Should a body kiss a body,
Need all the world know, then?
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
A Red, Red Rose
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Oh, my love is like a red, red rose
that's newly sprung in June
and my love is like the melody
that's sweetly played in tune.
And you're so fair, my lovely lass,
and so deep in love am I,
that I will love you still, my dear,
till all the seas run dry.
Till all the seas run dry, my dear,
and the rocks melt with the sun!
And I will love you still, my dear,
while the sands of life shall run.
And fare you well, my only love!
And fare you well, awhile!
And I will come again, my love,
though it were ten thousand miles!
Banks of Doon
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Oh, banks and hills of lovely Doon,
How can you bloom so fresh and fair;
How can you chant, ecstatic birds,
When I'm so weary, full of care!
You'll break my heart, small warblers,
Flittering through the flowering thorn:
Reminding me of long-lost joys,
Departed—never to return!
I've often wandered lovely Doon,
To see the rose and woodbine twine;
And as the lark sang of its love,
Just as fondly, I sang of mine.
Then gaily-hearted I plucked a rose,
So fragrant upon its thorny tree;
And my false lover stole my rose,
But, ah!, he left the thorn in me.
Auld Lange Syne
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Should old acquaintance be forgot,
And never brought to mind?
Should old acquaintance be forgot,
And days for which we pine?
For times we shared, my darling,
Days passed, once yours and mine,
We’ll raise a cup of kindness yet,
To those fond-remembered times!
Have you ever wondered just exactly what you're singing? "Auld lang syne" means something like "times gone by" or "times long since passed" and in the context of the song means something like "times long since passed that we shared together and now remember fondly." In my translation, which is not word-for-word, I try to communicate what I believe Burns was trying to communicate: raising a toast to fond recollections of times shared in the past.
To a Mouse
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Sleek, tiny, timorous, cowering beast,
why's such panic in your breast?
Why dash away, so quick, so rash,
in a frenzied flash
when I would be loath to pursue you
with a murderous plowstaff!
I'm truly sorry Man's dominion
has broken Nature's social union,
and justifies that bad opinion
which makes you startle,
when I'm your poor, earth-born companion
and fellow mortal!
I have no doubt you sometimes thieve;
What of it, friend? You too must live!
A random corn-ear in a shock's
a small behest; it-
'll give me a blessing to know such a loss;
I'll never miss it!
Your tiny house lies in a ruin,
its fragile walls wind-rent and strewn!
Now nothing's left to construct you a new one
of mosses green
since bleak December's winds, ensuing,
blow fast and keen!
You saw your fields laid bare and waste
with weary winter closing fast,
and cozy here, beneath the blast,
you thought to dwell,
till crash! the cruel iron ploughshare passed
straight through your cell!
That flimsy heap of leaves and stubble
had cost you many a weary nibble!
Now you're turned out, for all your trouble,
less house and hold,
to endure cold winter's icy dribble
and hoarfrosts cold!
But mouse-friend, you are not alone
in proving foresight may be vain:
the best-laid schemes of Mice and Men
go oft awry,
and leave us only grief and pain,
for promised joy!
Still, friend, you're blessed compared with me!
Only present dangers make you flee:
But, ouch!, behind me I can see
grim prospects drear!
While forward-looking seers, we
humans guess and fear!
To a Louse
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Hey! Where're you going, you crawling hair-fly?
Your impudence protects you, barely;
I can only say that you swagger rarely
Over gauze and lace.
Though faith! I fear you dine but sparely
In such a place.
You ugly, creeping, blasted wonder,
Detested, shunned by both saint and sinner,
How dare you set your feet upon her—
So fine a lady!
Go somewhere else to seek your dinner
On some poor body.
Off! around some beggar's temple shamble:
There you may creep, and sprawl, and scramble,
With other kindred, jumping cattle,
In shoals and nations;
Where horn nor bone never dare unsettle
Your thick plantations.
Now hold you there! You're out of sight,
Below the folderols, snug and tight;
No, faith just yet! You'll not be right,
Till you've got on it:
The very topmost, towering height
Of miss's bonnet.
My word! right bold you root, contrary,
As plump and gray as any gooseberry.
Oh, for some rank, mercurial resin,
Or dread red poison;
I'd give you such a hearty dose, flea,
It'd dress your noggin!
I wouldn't be surprised to spy
You on some housewife's flannel tie:
Or maybe on some ragged boy's
Pale undervest;
But Miss's finest bonnet! Fie!
How dare you jest?
Oh Jenny, do not toss your head,
And lash your lovely braids abroad!
You hardly know what cursed speed
The creature's making!
Those winks and finger-ends, I dread,
Are notice-taking!
O would some Power with vision teach us
To see ourselves as others see us!
It would from many a blunder free us,
And foolish notions:
What airs in dress and carriage would leave us,
And even devotion!
#BURNS #MRBURNS
POEMS ABOUT SAINTS AND SINNERS
Of Seabound Saints and Promised Lands
by Michael R. Burch
Judas sat on a wretched rock,
his head still sore from Satan’s gnawing.
Saint Brendan’s curragh caught his eye,
wildly geeing and hawing.
"I’m on parole from Hell today!,"
Pale Judas cried from his lonely perch.
"You’ve fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!"
Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.
O, behoove yourself, if ever you can,
of the fervent prayer of a righteous man!
In Dante’s "Inferno," Satan gnaws on Judas Iscariot’s head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.
DANTE TRANSLATIONS
Translations of Dante Epigrams and Quotes by Michael R. Burch
Little sparks may ignite great Infernos.—Dante, loose translation/interpretation by Michael R. Burch
In Beatrice I beheld the outer boundaries of blessedness.—Dante, loose translation/interpretation by Michael R. Burch
She made my veins and even the pulses within them tremble.—Dante, loose translation/interpretation by Michael R. Burch
Her sweetness left me intoxicated.—Dante, loose translation/interpretation by Michael R. Burch
Love commands me by determining my desires.—Dante, loose translation/interpretation by Michael R. Burch
Follow your own path and let the bystanders gossip.—Dante, loose translation/interpretation by Michael R. Burch
The devil is not as dark as depicted.—Dante, loose translation/interpretation by Michael R. Burch
There is no greater sorrow than to recall how we delighted in our own wretchedness.—Dante, loose translation/interpretation by Michael R. Burch
As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you nosedive in the mildest breeze?—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you quail at the least breath of wind?—Dante, loose translation/interpretation by Michael R. Burch
Midway through my life’s journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
—Dante, loose translation/interpretation by Michael R. Burch
INSCRIPTION ON THE GATE OF HELL
Before me nothing existed, to fear.
Eternal I am, and eternal I endure.
Abandon all hope, ye who enter here.
—Dante, loose translation/interpretation by Michael R. Burch
POEMS ABOUT TIME, LOSS AND FADING MEMORIES
Cycles
by Michael R. Burch
I see his eyes caress my daughter’s *******
through her thin cotton dress,
and how an indiscreet strap of her white bra
holds his bald fingers
in fumbling mammalian awe . . .
And I remember long cycles into the bruised dusk
of a distant park,
hot blushes,
wild, disembodied rushes of blood,
portentous intrusions of lips, tongues and fingers . . .
and now in him the memory of me lingers
like something thought rancid,
proved rotten.
I see Another again—hard, staring, and silent—
though long-ago forgotten . . .
And I remember conjectures of ***** lines,
brief flashes of white down bleacher stairs,
coarse patches of hair glimpsed in bathroom mirrors,
all the odd, questioning stares . . .
Yes, I remember it all now,
and I shoo them away,
willing them not to play too long or too hard
in the back yard—
with a long, ineffectual stare
that years from now, he may suddenly remember.
Photographs
by Michael R. Burch
Here are the effects of a life
and they might tell us a tale
(if only we had time to listen)
of how each imperiled tear would glisten,
remembered as brightness in her eyes,
and how each dawn’s dramatic skies
could never match such pale azure.
Like dreams of her, these ghosts endure
and they tell us a tale of impatient glory . . .
till a line appears—a trace of worry?—
or the wayward track of a wandering smile
which even now can charm, beguile?
We might find good cause to wonder
as we see her pause (to frown?, to ponder?):
what vexed her in her loveliness . . .
what weight, what crushing heaviness
turned her auburn hair a frazzled gray,
and stole her youth before her day?
We might ask ourselves: did Time devour
the passion with the ravaged flower?
But here and there a smile will bloom
to light the leaden, shadowed gloom
that always seems to linger near . . .
And here we find a single tear:
it shimmers like translucent dew
and tells us Anguish touched her too,
and did not spare her for her hair's
burnt copper, or her eyes' soft hue.
Published in Tucumcari Literary Review (the first poem in its issue)
POEMS ABOUT DAY AND NIGHT
Day, and Night (I)
by Michael R. Burch
The moon exposes syphilitic craters
and veiled by ghostly willows, palely looms,
while we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue—
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.
The night begins her waltz to waiting sunrise—
adagio, the music she now hears,
while we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.
And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.
Day, and Night (II)
by Michael R. Burch
The moon exposes pockmarked scars of craters;
her visage, veiled by willows, palely looms.
And we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue—
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.
The night begins her waltz to waiting sunrise—
adagio, the music she now hears;
and we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.
And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.
POEMS ABOUT ABRAHAM LINCOLN AND ANN RUTLEDGE
Ann Rutledge’s grave marker in Petersburg, Illinois, contains a poem written by Edgar Lee Masters in which she is “Beloved of Abraham Lincoln, / Wedded to him, not through union, / But through separation.”
Ann Rutledge’s Irregular Quilt
by Michael R. Burch
based on “Lincoln the Unknown” by Dale Carnegie
I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost. (Her host
kept her vicarious laughter barely submerged.)
II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and women’s strictures
(and a plethora of scriptures.)
III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).
IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot of the Railsplitter’s joy and grief
(and his hope and his disbelief).
V.
Yes, such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question — perhaps the Answer?
Love is the pain of betrayal, the two left feet of the dancer.
VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.
Winter Thoughts of Ann Rutledge
by Michael R. Burch
Winter was not easy,
nor would the spring return.
I knew you by your absence,
as men are wont to burn
with strange indwelling fire —
such longings you inspire!
But winter was not easy,
nor would the sun relent
from sculpting ****** images
and how could I repent?
I left quaint offerings in the snow,
more maiden than I care to know.
RISQUE LIMERICKS
Dee Lite Full
by Michael R. Burch
A cross-dressing dancer, “Dee Lite,”
wore gowns luciferously bright
till he washed them one day
the old-fashioned way ...
in bleach. Now he’s “Sister Off-White.”
The ****** Ender Blender
by Michael R. Burch
There once was a bubbly bartender,
a transvestite who went on a ******
“So I cut myself off,”
she cried with a sob,
“There’s the evidence, there in the blender!”
KEYWORDS/TAGS: Takaha Shugyo, haiku translations, tanka translations, Robert Burns, Dante, modern English translations
Jun 6, 2024
Jun 6, 2024 at 12:05 PM UTC
Takaha Shugyo haiku and tanka translations
Takaha Shugyo (1930-) is a Japanese poet. He was born in Japan's mountainous Yamagata Prefecture and began writing haiku at age fifteen. He studied with the renowned Yamaguchi Seishi and Akimoto Fujio, won the Young Poet's Award in 1965, then went on to found the haiku magazine KARI in 1978.
Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Are the geese flying south?
The candle continues to flicker ...
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
A single tree
with a heart carved into its trunk
blossoms prematurely
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Still clad in its clown's costume—
the dead ladybird.
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Inside the cracked shell
of a walnut:
one empty room
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Such gloom!
Inside the walnut's cracked shell:
one empty room
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Bring me an icicle
sparkling with the stars
of the deep north
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Seen from the skyscraper
the trees' fresh greenery:
parsley sprigs
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Our life here on earth:
to what shall we compare it?
It is not like a rowboat
departing at daybreak,
leaving no trace of us in its wake?
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Tree crickets chirping—
after I've judged
a thousand verses today!
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Crickets chirping discordantly—
how to judge
ten thousand verses?
―Takaha Shugyo, loose translation/interpretation by Michael R. Burch
Original Haiku
Sleepyheads!
I recite my haiku
to the inattentive lilies.
—Michael R. Burch
POEMS ABOUT NIGHTMARES
My nightmare ...
by Michael R. Burch, writing as “The Child Poets of Gaza”
I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.
Excelsior
by Michael R. Burch
I lift my eyes and laugh, Excelsior . . .
Why do you come, wan spirit, heaven-gowned,
complaining that I am no longer “pure?”
I threw myself before you, and you frowned,
so full of noble chastity, renowned
for leaving maidens maidens. In the dark
I sought love’s bright enchantment, but your lips
were stone; my fiery metal drew no spark
to light the cold dominions of your heart.
What realms were ours? What leasehold? And what claim
upon these territories, cold and dark,
do you seek now, pale phantom? Would you light
my heart in death and leave me ashen-white,
as you are white, extinguished by the Night?
Excerpts from the Journal of Dorian Gray
by Michael R. Burch
It was not so much dream, as error;
I lay and felt the creeping terror
of what I had become take hold . . .
The moon watched, silent, palest gold;
the picture by the mantle watched;
the clock upon the mantle talked,
in halting voice, of minute things . . .
Twelve strokes like lashes and their stings
scored anthems to my loneliness,
but I have dreamed of what is best,
and I have promised to be good . . .
Dismembered limbs in vats of wood,
foul acids, and a strangled cry!
I did not care, I watched him die . . .
Each lovely rose has thorns we miss;
they ***** our lips, should we once kiss
their mangled limbs, or think to clasp
their violent beauty. Dream, aghast,
the flower of my loveliness,
this ageless face (for who could guess?),
and I will kiss you when I rise . . .
The patterns of our lives comprise
strange portraits. Mine, I fear,
proved dear indeed . . . Adieu!
The knife’s for you.
Originally published by Dusk & Shiver Magazine
ROBERT BURNS TRANSLATIONS/MODERNIZATIONS
Comin Thro the Rye
by Robert Burns
Oh, Jenny's all wet, poor body,
Jenny's seldom dry;
She's draggin' all her petticoats
Comin' through the rye.
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
Should a body meet a body
Comin' through the rye,
Should a body kiss a body,
Need anybody cry?
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
Should a body meet a body
Comin' through the glen,
Should a body kiss a body,
Need all the world know, then?
Comin' through the rye, poor body,
Comin' through the rye.
She's draggin' all her petticoats
Comin' through the rye.
A Red, Red Rose
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Oh, my love is like a red, red rose
that's newly sprung in June
and my love is like the melody
that's sweetly played in tune.
And you're so fair, my lovely lass,
and so deep in love am I,
that I will love you still, my dear,
till all the seas run dry.
Till all the seas run dry, my dear,
and the rocks melt with the sun!
And I will love you still, my dear,
while the sands of life shall run.
And fare you well, my only love!
And fare you well, awhile!
And I will come again, my love,
though it were ten thousand miles!
Banks of Doon
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Oh, banks and hills of lovely Doon,
How can you bloom so fresh and fair;
How can you chant, ecstatic birds,
When I'm so weary, full of care!
You'll break my heart, small warblers,
Flittering through the flowering thorn:
Reminding me of long-lost joys,
Departed—never to return!
I've often wandered lovely Doon,
To see the rose and woodbine twine;
And as the lark sang of its love,
Just as fondly, I sang of mine.
Then gaily-hearted I plucked a rose,
So fragrant upon its thorny tree;
And my false lover stole my rose,
But, ah!, he left the thorn in me.
Auld Lange Syne
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Should old acquaintance be forgot,
And never brought to mind?
Should old acquaintance be forgot,
And days for which we pine?
For times we shared, my darling,
Days passed, once yours and mine,
We’ll raise a cup of kindness yet,
To those fond-remembered times!
Have you ever wondered just exactly what you're singing? "Auld lang syne" means something like "times gone by" or "times long since passed" and in the context of the song means something like "times long since passed that we shared together and now remember fondly." In my translation, which is not word-for-word, I try to communicate what I believe Burns was trying to communicate: raising a toast to fond recollections of times shared in the past.
To a Mouse
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Sleek, tiny, timorous, cowering beast,
why's such panic in your breast?
Why dash away, so quick, so rash,
in a frenzied flash
when I would be loath to pursue you
with a murderous plowstaff!
I'm truly sorry Man's dominion
has broken Nature's social union,
and justifies that bad opinion
which makes you startle,
when I'm your poor, earth-born companion
and fellow mortal!
I have no doubt you sometimes thieve;
What of it, friend? You too must live!
A random corn-ear in a shock's
a small behest; it-
'll give me a blessing to know such a loss;
I'll never miss it!
Your tiny house lies in a ruin,
its fragile walls wind-rent and strewn!
Now nothing's left to construct you a new one
of mosses green
since bleak December's winds, ensuing,
blow fast and keen!
You saw your fields laid bare and waste
with weary winter closing fast,
and cozy here, beneath the blast,
you thought to dwell,
till crash! the cruel iron ploughshare passed
straight through your cell!
That flimsy heap of leaves and stubble
had cost you many a weary nibble!
Now you're turned out, for all your trouble,
less house and hold,
to endure cold winter's icy dribble
and hoarfrosts cold!
But mouse-friend, you are not alone
in proving foresight may be vain:
the best-laid schemes of Mice and Men
go oft awry,
and leave us only grief and pain,
for promised joy!
Still, friend, you're blessed compared with me!
Only present dangers make you flee:
But, ouch!, behind me I can see
grim prospects drear!
While forward-looking seers, we
humans guess and fear!
To a Louse
by Robert Burns
translation/interpretation/modernization by Michael R. Burch
Hey! Where're you going, you crawling hair-fly?
Your impudence protects you, barely;
I can only say that you swagger rarely
Over gauze and lace.
Though faith! I fear you dine but sparely
In such a place.
You ugly, creeping, blasted wonder,
Detested, shunned by both saint and sinner,
How dare you set your feet upon her—
So fine a lady!
Go somewhere else to seek your dinner
On some poor body.
Off! around some beggar's temple shamble:
There you may creep, and sprawl, and scramble,
With other kindred, jumping cattle,
In shoals and nations;
Where horn nor bone never dare unsettle
Your thick plantations.
Now hold you there! You're out of sight,
Below the folderols, snug and tight;
No, faith just yet! You'll not be right,
Till you've got on it:
The very topmost, towering height
Of miss's bonnet.
My word! right bold you root, contrary,
As plump and gray as any gooseberry.
Oh, for some rank, mercurial resin,
Or dread red poison;
I'd give you such a hearty dose, flea,
It'd dress your noggin!
I wouldn't be surprised to spy
You on some housewife's flannel tie:
Or maybe on some ragged boy's
Pale undervest;
But Miss's finest bonnet! Fie!
How dare you jest?
Oh Jenny, do not toss your head,
And lash your lovely braids abroad!
You hardly know what cursed speed
The creature's making!
Those winks and finger-ends, I dread,
Are notice-taking!
O would some Power with vision teach us
To see ourselves as others see us!
It would from many a blunder free us,
And foolish notions:
What airs in dress and carriage would leave us,
And even devotion!
#BURNS #MRBURNS
POEMS ABOUT SAINTS AND SINNERS
Of Seabound Saints and Promised Lands
by Michael R. Burch
Judas sat on a wretched rock,
his head still sore from Satan’s gnawing.
Saint Brendan’s curragh caught his eye,
wildly geeing and hawing.
"I’m on parole from Hell today!,"
Pale Judas cried from his lonely perch.
"You’ve fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!"
Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.
O, behoove yourself, if ever you can,
of the fervent prayer of a righteous man!
In Dante’s "Inferno," Satan gnaws on Judas Iscariot’s head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.
DANTE TRANSLATIONS
Translations of Dante Epigrams and Quotes by Michael R. Burch
Little sparks may ignite great Infernos.—Dante, loose translation/interpretation by Michael R. Burch
In Beatrice I beheld the outer boundaries of blessedness.—Dante, loose translation/interpretation by Michael R. Burch
She made my veins and even the pulses within them tremble.—Dante, loose translation/interpretation by Michael R. Burch
Her sweetness left me intoxicated.—Dante, loose translation/interpretation by Michael R. Burch
Love commands me by determining my desires.—Dante, loose translation/interpretation by Michael R. Burch
Follow your own path and let the bystanders gossip.—Dante, loose translation/interpretation by Michael R. Burch
The devil is not as dark as depicted.—Dante, loose translation/interpretation by Michael R. Burch
There is no greater sorrow than to recall how we delighted in our own wretchedness.—Dante, loose translation/interpretation by Michael R. Burch
As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you nosedive in the mildest breeze?—Dante, loose translation/interpretation by Michael R. Burch
O human race, born to soar heavenward, why do you quail at the least breath of wind?—Dante, loose translation/interpretation by Michael R. Burch
Midway through my life’s journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
—Dante, loose translation/interpretation by Michael R. Burch
INSCRIPTION ON THE GATE OF HELL
Before me nothing existed, to fear.
Eternal I am, and eternal I endure.
Abandon all hope, ye who enter here.
—Dante, loose translation/interpretation by Michael R. Burch
POEMS ABOUT TIME, LOSS AND FADING MEMORIES
Cycles
by Michael R. Burch
I see his eyes caress my daughter’s *******
through her thin cotton dress,
and how an indiscreet strap of her white bra
holds his bald fingers
in fumbling mammalian awe . . .
And I remember long cycles into the bruised dusk
of a distant park,
hot blushes,
wild, disembodied rushes of blood,
portentous intrusions of lips, tongues and fingers . . .
and now in him the memory of me lingers
like something thought rancid,
proved rotten.
I see Another again—hard, staring, and silent—
though long-ago forgotten . . .
And I remember conjectures of ***** lines,
brief flashes of white down bleacher stairs,
coarse patches of hair glimpsed in bathroom mirrors,
all the odd, questioning stares . . .
Yes, I remember it all now,
and I shoo them away,
willing them not to play too long or too hard
in the back yard—
with a long, ineffectual stare
that years from now, he may suddenly remember.
Photographs
by Michael R. Burch
Here are the effects of a life
and they might tell us a tale
(if only we had time to listen)
of how each imperiled tear would glisten,
remembered as brightness in her eyes,
and how each dawn’s dramatic skies
could never match such pale azure.
Like dreams of her, these ghosts endure
and they tell us a tale of impatient glory . . .
till a line appears—a trace of worry?—
or the wayward track of a wandering smile
which even now can charm, beguile?
We might find good cause to wonder
as we see her pause (to frown?, to ponder?):
what vexed her in her loveliness . . .
what weight, what crushing heaviness
turned her auburn hair a frazzled gray,
and stole her youth before her day?
We might ask ourselves: did Time devour
the passion with the ravaged flower?
But here and there a smile will bloom
to light the leaden, shadowed gloom
that always seems to linger near . . .
And here we find a single tear:
it shimmers like translucent dew
and tells us Anguish touched her too,
and did not spare her for her hair's
burnt copper, or her eyes' soft hue.
Published in Tucumcari Literary Review (the first poem in its issue)
POEMS ABOUT DAY AND NIGHT
Day, and Night (I)
by Michael R. Burch
The moon exposes syphilitic craters
and veiled by ghostly willows, palely looms,
while we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue—
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.
The night begins her waltz to waiting sunrise—
adagio, the music she now hears,
while we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.
And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.
Day, and Night (II)
by Michael R. Burch
The moon exposes pockmarked scars of craters;
her visage, veiled by willows, palely looms.
And we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue—
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.
The night begins her waltz to waiting sunrise—
adagio, the music she now hears;
and we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.
And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.
POEMS ABOUT ABRAHAM LINCOLN AND ANN RUTLEDGE
Ann Rutledge’s grave marker in Petersburg, Illinois, contains a poem written by Edgar Lee Masters in which she is “Beloved of Abraham Lincoln, / Wedded to him, not through union, / But through separation.”
Ann Rutledge’s Irregular Quilt
by Michael R. Burch
based on “Lincoln the Unknown” by Dale Carnegie
I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost. (Her host
kept her vicarious laughter barely submerged.)
II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and women’s strictures
(and a plethora of scriptures.)
III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).
IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot of the Railsplitter’s joy and grief
(and his hope and his disbelief).
V.
Yes, such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question — perhaps the Answer?
Love is the pain of betrayal, the two left feet of the dancer.
VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.
Winter Thoughts of Ann Rutledge
by Michael R. Burch
Winter was not easy,
nor would the spring return.
I knew you by your absence,
as men are wont to burn
with strange indwelling fire —
such longings you inspire!
But winter was not easy,
nor would the sun relent
from sculpting ****** images
and how could I repent?
I left quaint offerings in the snow,
more maiden than I care to know.
RISQUE LIMERICKS
Dee Lite Full
by Michael R. Burch
A cross-dressing dancer, “Dee Lite,”
wore gowns luciferously bright
till he washed them one day
the old-fashioned way ...
in bleach. Now he’s “Sister Off-White.”
The ****** Ender Blender
by Michael R. Burch
There once was a bubbly bartender,
a transvestite who went on a ******
“So I cut myself off,”
she cried with a sob,
“There’s the evidence, there in the blender!”
KEYWORDS/TAGS: Takaha Shugyo, haiku translations, tanka translations, Robert Burns, Dante, modern English translations