How Long the Night
anonymous Middle English lyric, circa early 13th century AD
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song ...
but now I feel the northern wind's blast—
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong,
now grieve, mourn and fast.

Originally published by Measure

Keywords/Tags: Old English, Middle English, Medieval English, long night, lament, complaint, alas, summer, pleasant, winter, north wind, northern wind, severe weather, storm, bird, birds, birdsong, sin, crime, fast, fasting, repentance, dark night of the soul, sackcloth and ashes, regret, repentance, remonstrance



Three Roundels by Geoffrey Chaucer

I. Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.

Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.

By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.



II. Rejection
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.

I'm guiltless, yet my sentence has been cast.
I tell you truly, needless now to feign,—
Your beauty from your heart has so erased
Pity, that it’s useless to complain.

Alas, that Nature in your face compassed
Such beauty, that no man may hope attain
To mercy, though he perish from the pain;
Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.



III. Escape
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.

He may question me and counter this and that;
I care not: I will answer just as I mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean.

Love strikes me from his roster, short and flat,
And he is struck from my books, just as clean,
Forevermore; there is no other mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.



Rondel: Your Smiling Mouth
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization by Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet—please, what more can I say?

It is my fetish when you’re far away
To muse on these and thus to soothe my pain—
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?
I’ll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms’ twin chains!



Spring
by Charles d’Orleans (c. 1394-1465)
loose translation/interpretation/modernization by Michael R. Burch

Young lovers,
greeting the spring
fling themselves downhill,
making cobblestones ring
with their wild leaps and arcs,
like ecstatic sparks
struck from coal.

What is their brazen goal?

They grab at whatever passes,
so we can only hazard guesses.
But they rear like prancing steeds
raked by brilliant spurs of need,
Young lovers.



Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization by Michael R. Burch

So often in my busy mind I sought,
    Around the advent of the fledgling year,
For something pretty that I really ought
    To give my lady dear;
    But that sweet thought's been wrested from me, clear,
        Since death, alas, has sealed her under clay
    And robbed the world of all that's precious here―
         God keep her soul, I can no better say.

For me to keep my manner and my thought
    Acceptable, as suits my age's hour?
While proving that I never once forgot
    Her worth? It tests my power!
    I serve her now with masses and with prayer;
        For it would be a shame for me to stray
    Far from my faith, when my time's drawing near—
         God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
    And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
    Take my good deeds, as many as there are,
    And crown her, Lord, above in your bright sphere,
        As heaven's truest maid! And may I say:
    Most good, most fair, most likely to bring cheer—
         God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
    Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier—
    God keep her soul, I can no better say.



Winter has cast his cloak away
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization by Michael R. Burch

Winter has cast his cloak away
of wind and cold and chilling rain
to dress in embroidered light again:
the light of day—bright, festive, gay!
Each bird and beast, without delay,
in its own tongue, sings this refrain:
"Winter has cast his cloak away!"
Brooks, fountains, rivers, streams at play,
wear, with their summer livery,
bright beads of silver jewelry.
All the Earth has a new and fresh display:
Winter has cast his cloak away!

Note: This rondeau was set to music by Debussy in his Trois chansons de France.



The year lays down his mantle cold
by Charles d’Orleans (1394-1465)
loose translation/interpretation/modernization by Michael R. Burch

The year lays down his mantle cold
of wind, chill rain and bitter air,
and now goes clad in clothes of gold
of smiling suns and seasons fair,
while birds and beasts of wood and fold
now with each cry and song declare:
"The year lays down his mantle cold!"
All brooks, springs, rivers, seaward rolled,
now pleasant summer livery wear
with silver beads embroidered where
the world puts off its raiment old.
The year lays down his mantle cold.



Wulf and Eadwacer (Old English circa 960-990 AD)
loose translation/interpretation by Michael R. Burch

My people pursue him like crippled prey.
They'll rip him apart if he approaches their pack.
We are so different!

Wulf's on one island; I'm on another.
His island's a fortress, fastened by fens.
Here, bloodthirsty curs roam this island.
They'll rip him apart if he approaches their pack.
We are so different!

My thoughts pursued Wulf like panting hounds.
Whenever it rained, as I wept,
the bold warrior came; he took me in his arms:
good feelings for him, but their end loathsome!
Wulf, O, my Wulf, my ache for you
has made me sick; your infrequent visits
have left me famished, deprived of real meat!
Do you hear, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.



Cædmon's Hymn (Old English circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Come, let us honour      heaven-kingdom's Guardian,
the might of the Architect      and his mind-plans,
the work of the Glory-Father.      First he, the Everlasting Lord,
established      the foundation of wonders.
Then he, the Primeval Poet,      created heaven as a roof
for the sons of men,      Holy Creator,
Maker of mankind.      Then he, the Eternal Entity,
afterwards made men middle-earth:      Master Almighty!



Westron Wynde
(anonymous Middle English lyric, circa 1530 AD)
loose translation/interpretation by Michael R. Burch

Western wind, when will you blow,
bringing the drizzling rain?
Christ, that my love were in my arms,
and I in my bed again!



This World's Joy
(anonymous Middle English lyric, circa 14th century AD)
loose translation/interpretation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



Pity Mary
(anonymous Middle English lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

Now the sun passes under the wood:
I rue, Mary, thy face—fair, good.
Now the sun passes under the tree:
I rue, Mary, thy son and thee.



Fowles in the Frith
(anonymous Middle English lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!



I am of Ireland
(anonymous Medieval Irish lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



Sumer is icumen in
anonymous Middle English poem, circa 1260 AD
loose translation/interpretation by Michael R. Burch

Summer is a-comin’!
Sing loud, cuckoo!
The seed grows,
The meadow blows,
The woods spring up anew.
Sing, cuckoo!

The ewe bleats for her lamb;
The cows contentedly moo;
The bullock roots,
The billy-goat poots ...
Sing merrily, cuckoo!

Cuckoo, cuckoo,
You sing so well, cuckoo!
Never stop, until you're through!

Sing now cuckoo! Sing, cuckoo!
Sing, cuckoo! Sing now cuckoo!



Whan the turuf is thy tour
(anonymous Middle English lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

1.
When the turf is your tower
and the pit is your bower,
your pale white skin and throat
shall be sullen worms’ to note.
What help to you, then,
was all your worldly hope?

2.
When the turf is your tower
and the grave is your bower,
your pale white throat and skin
worm-eaten from within ...
what hope of my help then?



Ech day me comëth tydinges thre
(anonymous Middle English lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

Each day I’m plagued by three doles,
These gargantuan weights on my soul:
First, that I must somehow exit this fen.
Second, that I cannot know when.
And yet it’s the third that torments me so,
Because I don't know where the hell I will go!



Ich have y-don al myn youth
(anonymous Middle English lyric, circa 13th century AD)
loose translation/interpretation by Michael R. Burch

I have done it all my youth:
Often, often, and often!
I have loved long and yearned zealously ...
And oh what grief it has brought me!



Are these the oldest rhyming poems in the English language? Reginald of Durham recorded four verses of Saint Godric's: they are the oldest songs in English for which the original musical settings survive.

The first song is said in the Life of Saint Godric to have come to Godric when he had a vision of his sister Burhcwen, like him a solitary at Finchale, being received into heaven.  She was singing a song of thanksgiving, in Latin, and Godric renders her song in English bracketed by a Kyrie eleison:

Led By Christ and Mary
by Saint Godric of Finchale (1065-1170)
loose translation/interpretation by Michael R. Burch

By Christ and Saint Mary I was so graciously led
that the earth never felt my bare foot’s tread!

Crist and sainte marie swa on scamel me iledde
þat ic on þis erðe ne silde wid mine bare fote itredie

In the second poem, Godric puns on his name: godes riche means “God’s kingdom” and sounds like “God is rich” ...

A Cry to Mary
by Saint Godric of Finchale (1065-1170)
loose translation/interpretation by Michael R. Burch

I.
Saintë Marië Virginë,
Mother of Jesus Christ the Nazarenë,
Welcome, shield and help thin Godric,
Fly him off to God’s kingdom rich!

II.
Saintë Marië, Christ’s bower,
****** among Maidens, Motherhood’s flower,
Blot out my sin, fix where I’m flawed,
Elevate me to Bliss with God!

Original

Saintë Marië Virginë,
Moder Iesu Cristes Nazarenë,
Onfo, schild, help thin Godric,
Onfong bring hegilich
With the in Godës riche.

Saintë Marië Cristes bur,
Maidenës clenhad, moderës flur;
Dilie min sinnë, rix in min mod,
Bring me to winnë with the selfd God.

Godric also wrote a prayer to St. Nicholas:

Prayer to St. Nicholas
by Saint Godric of Finchale (1065-1170)
loose translation/interpretation by Michael R. Burch

Saint Nicholas, beloved of God,
Build us a house that’s bright and fair;
Watch over us from birth to bier,
Then, Saint Nicholas, bring us safely there!

Sainte Nicholaes godes druð
tymbre us faire scone hus
At þi burth at þi bare
Sainte nicholaes bring vs wel þare



The Rhymed Poem aka The Rhyming Poem aka The Riming Poem
anonymous Old English poem from the Exeter Book, circa 990 AD
loose translation/interpretation by Michael R. Burch

He who granted me life created this sun
and graciously provided its radiant engine.
I was gladdened with glees, bathed in bright hues,
deluged with joy’s blossoms, sunshine-infused.

Men admired me, feted me with banquet-courses;
we rejoiced in the good life. Gaily bedecked horses
carried me swiftly across plains on joyful rides,
delighting me with their long limbs' thunderous strides.
That world was quickened by earth’s fruits and their flavors!
I cantered under pleasant skies, attended by troops of advisers.
Guests came and went, amusing me with their chatter
as I listened with delight to their witty palaver.

Well-appointed ships glided by in the distance;
when I sailed myself, I was never without guidance.
I was of the highest rank; I lacked for nothing in the hall;
nor did I lack for brave companions; warriors, all,
we strode through castle halls weighed down with gold
won from our service to thanes. We were proud men, and bold.
Wise men praised me; I was omnipotent in battle;
Fate smiled on and protected me; foes fled before me like cattle.
Thus I lived with joy indwelling; faithful retainers surrounded me;
I possessed vast estates; I commanded all my eyes could see;
the earth lay subdued before me; I sat on a princely throne;
the words I sang were charmed; old friendships did not wane ...

Those were years rich in gifts and the sounds of happy harp-strings,
when a lasting peace dammed shut the rivers’ sorrowings.
My servants were keen, their harps resonant;
their songs pealed, the sound loud but pleasant;
the music they made melodious, a continual delight;
the castle hall trembled and towered bright.
Courage increased, wealth waxed with my talent;
I gave wise counsel to great lords and enriched the valiant.

My spirit enlarged; my heart rejoiced;
good faith flourished; glory abounded; abundance increased.
I was lavishly supplied with gold; bright gems were circulated ...
Till treasure led to treachery and the bonds of friendship constricted.

I was bold in my bright array, noble in my equipage,
my joy princely, my home a happy hermitage.
I protected and led my people;
for many years my life among them was regal;
I was devoted to them and they to me.

But now my heart is troubled, fearful of the fates I see;
disaster seems unavoidable. Someone dear departs in flight by night
who once before was bold. His soul has lost its light.
A secret disease in full growth blooms within his breast,
spreads in different directions. Hostility blossoms in his chest,
in his mind. Bottomless grief assaults the mind's nature
and when penned in, erupts in rupture,
burns eagerly for calamity, runs bitterly about.  

The weary man suffers, begins a journey into doubt;
his pain is ceaseless; pain increases his sorrows, destroys his bliss;
his glory ceases; he loses his happiness;
he loses his craft; he no longer burns with desires.
Thus joys here perish, lordships expire;
men lose faith and descend into vice;
infirm faith degenerates into evil’s curse;
faith feebly abandons its high seat and every hour grows worse.

So now the world changes; Fate leaves men lame;
Death pursues hatred and brings men to shame.
The happy clan perishes; the spear rends the marrow;
the evildoer brawls and poisons the arrow;
sorrow devours the city; old age castrates courage;
misery flourishes; wrath desecrates the peerage;
the abyss of sin widens; the treacherous path snakes;
resentment burrows, digs in, wrinkles, engraves;
artificial beauty grows foul;
                                             the summer heat cools;
earthly wealth fails;
                                enmity rages, cruel, bold;
the might of the world ages, courage grows cold.
Fate wove itself for me and my sentence was given:
that I should dig a grave and seek that grim cavern
men cannot avoid when death comes, arrow-swift,
to seize their lives in his inevitable grasp.
Now night comes at last,
and the way stand clear
for Death to dispossesses me of my my abode here.

When my corpse lies interred and the worms eat my limbs,
whom will Death delight then, with his dark feast and hymns?
Let men’s bones become one,
and then finally, none,
till there’s nothing left here of the evil ones.
But men of good faith will not be destroyed;
the good man will rise, far beyond the Void,
who chastened himself, more often than not,
to avoid bitter sins and that final black Blot.
The good man has hope of a far better end
and remembers the promise of Heaven,
where he’ll experience the mercies of God for his saints,

freed from all sins, dark and depraved,
defended from vices, gloriously saved,
where, happy at last before their cheerful Lord,
men may rejoice in his love forevermore.



Sweet Rose of Virtue
by William Dunbar [1460-1525]
loose translation/interpretation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



Now skruketh rose and lylie flour
(anonymous Middle English lyric, circa 11th century AD)
loose translation/interpretation by Michael R. Burch

Now skruketh rose and lylie flour, // Now the rose and the lily skyward flower,
That whilen ber that suete savour // That will bear for awhile that sweet savor:
In somer, that suete tyde; // In summer, that sweet tide;
Ne is no quene so stark ne stour, // There is no queen so stark in her power
Ne no luedy so bryht in bour // Nor any lady so bright in her bower
That ded ne shal by glyde: // That Death shall not summon and guide;
Whoso wol fleshye lust for-gon and hevene-blisse abyde // But whoever forgoes lust, in heavenly bliss will abide
On Jhesu be is thoht anon, that tharled was ys side. // With his thoughts on Jesus anon, thralled at his side.



Adam Lay Ybounden
(anonymous Medieval English Lyric, circa 15th century AD)
loose translation/interpretation by Michael R. Burch

Adam lay bound, bound in a bond;
Four thousand winters, he thought, were not too long.
And all was for an apple, an apple that he took,
As clerics now find written in their book.
But had the apple not been taken, or had it never been,
We'd never have had our Lady, heaven's queen.
So blesséd be the time the apple was taken thus;
Therefore we sing, "God is gracious!"

The poem has also been rendered as "Adam lay i-bounden" and "Adam lay i-bowndyn."



I Sing of a Maiden
(anonymous Medieval English Lyric, circa 15th century AD)
loose translation/interpretation by Michael R. Burch

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.
He came also as still
To his mother's breast
As April dew
Falling on the grass.
He came also as still
To his mother's bower
As April dew
Falling on the flower.
He came also as still
To where his mother lay
As April dew
Falling on the spray.
Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



IN LIBRARIOS
by Thomas Campion
loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as pimps praise their ****** for exotic positions.



Brut (circa 1100 AD, written by Layamon, an excerpt)
loose translation/interpretation by Michael R. Burch

Now he stands on a hill overlooking the Avon,
seeing steel fishes girded with swords in the stream,
their swimming days done,
their scales a-gleam like gold-plated shields,
their fish-spines floating like shattered spears.

Layamon's Brut is a 32,000-line poem composed in Middle English that shows a strong Anglo-Saxon influence and contains the first known reference to King Arthur in English. The passage above is a good example of Layamon's gift for imagery. It's interesting, I think, that a thousand years ago a poet was dabbling in surrealism, with dead warriors being described as if they were both men and fish.



Tegner's Drapa
loose translation/interpretation by Michael R. Burch

I heard a voice, that cried,
“Balder the beautiful lies dead, lies dead . . .”
a voice like the flight of white cranes
intent on a sun sailing high overhead—
but a sun now irretrievably setting.

Then I saw the sun’s corpse
—dead beyond all begetting—
borne through disconsolate skies
as blasts from the Nifel-heim rang out with dread,
“Balder lies dead, our fair Balder lies dead! . . .”

Lost—the sweet runes of his tongue,
so sweet every lark hushed its singing!
Lost, lost forever—his beautiful face,
the grace of his smile, all the girls’ hearts wild-winging!
O, who ever thought such strange words might be said,
as “Balder lies dead, gentle Balder lies dead! . . .”



Deor's Lament (Anglo Saxon poem, circa 10th century AD)
loose translation/interpretation by Michael R. Burch

Weland knew the agony of exile.
That indomitable smith was wracked by grief.
He endured countless troubles:
sorrows were his only companions
in his frozen island dungeon
after Nithad had fettered him,
many strong-but-supple sinew-bonds
binding the better man.
   That passed away; this also may.

Beadohild mourned her brothers' deaths
but even more, her own sad state
once she discovered herself with child.
She predicted nothing good could come of it.
   That passed away; this also may.

We have heard that the Geat's moans for Matilda,
his lady, were limitless,
that his sorrowful love for her
robbed him of regretless sleep.
   That passed away; this also may.

For thirty winters Theodric ruled
the Mæring stronghold with an iron hand;
many knew this and moaned.
   That passed away; this also may.

We have also heard of Ermanaric's wolfish ways,
of how he held wide sway in the realm of the Goths.
He was a grim king! Many a warrior sat,
full of cares and maladies of the mind,
wishing constantly that his kingdom might be overthrown.
   That passed away; this also may.

If a man sits long enough, sorrowful and anxious,
bereft of joy, his mind constantly darkening,
soon it seems to him that his troubles are endless.
Then he must consider that the wise Lord
often moves through the earth
granting some men honor, glory and fame,
but others only shame and hardship.
This I will say for myself:
that for awhile I was the Heodeninga's scop,
dear to my lord. My name was Deor.
For many winters I held a fine office,
faithfully serving a just lord. But now Heorrenda
a man skilful in songs, has received the estate
the protector of warriors gave me.
   That passed away; this also may.



The Wife's Lament
loose translation/interpretation by Michael R. Burch

I draw these words from deep wells of my grief,
care-worn, unutterably sad.
I can recount woes I've borne since birth,
present and past, never more than now.
I have won, from my exile-paths, only pain.

First, my lord forsook his folk, left,
crossed the seas' tumult, far from our people.
Since then, I've known
wrenching dawn-griefs, dark mournings ... oh where,
where can he be?

Then I, too, left—a lonely, lordless refugee,
full of unaccountable desires!
But the man's kinsmen schemed secretly
to estrange us, divide us, keep us apart,
across earth's wide kingdom, and my heart broke.

Then my lord spoke:
"Take up residence here."
I had few friends in this unknown, cheerless
region, none close.
Christ, I felt lost!

Then I thought I had found a well-matched man –
one meant for me,
but unfortunately he
was ill-starred and blind, with a devious mind,
full of murderous intentions, plotting some crime!

Before God we
vowed never to part, not till kingdom come, never!
But now that's all changed, forever –
our friendship done, severed.
I must hear, far and near, contempt for my husband.

So other men bade me, "Go, live in the grove,
beneath the great oaks, in an earth-cave, alone."
In this ancient cave-dwelling I am lost and oppressed –
the valleys are dark, the hills immense,
and this cruel-briared enclosure—an arid abode!

The injustice assails me—my lord's absence!
On earth there are lovers who share the same bed
while I pass through life dead in this dark abscess
where I wilt, summer days unable to rest
or forget the sorrows of my life's hard lot.

A young woman must always be
stern, hard-of-heart, unmoved,
opposing breast-cares and her heartaches' legions.
She must appear cheerful
even in a tumult of grief.

Like a criminal exiled to a far-off land,
moaning beneath insurmountable cliffs,
my weary-minded love, drenched by wild storms
and caught in the clutches of anguish,
is reminded constantly of our former happiness.

Woe be it to them who abide in longing.



"The Husband's Message" is an Old English (Anglo-Saxon) poem from the Exeter Book, the oldest extant English poetry anthology. The poem may or may not be a reply to "The Wife's Lament," another poem in the same collection. The poem is generally considered to be an Anglo-Saxon riddle (I will provide the solution), but its primary focus is persuading a wife or fiancé to join her husband or betrothed and fulfill her promises to him. The Exeter Book has been dated to 960-990 AD, so the poem was written by then or earlier. The version below is my modern English translation of one of the oldest extant English poems.

The Husband's Message
anonymous Old English poem, circa 960-990 AD
loose translation/interpretation by Michael R. Burch

See, I unseal myself for your eyes only!
I sprang from a seed to a sapling,
waxed great in a wood,
                 was given knowledge,
was ordered across saltstreams in ships
where I stiffened my spine, standing tall,
till, entering the halls of heroes,
           I honored my manly Lord.

Now I stand here on this ship’s deck,
an emissary ordered to inform you
of the love my Lord feels for you.
I have no fear forecasting his heart steadfast,
his honor bright, his word true.

He who bade me come carved this letter
and entreats you to recall, clad in your finery,
what you promised each other many years before,
mindful of his treasure-laden promises.

He reminds you how, in those distant days,
witty words were pledged by you both
in the mead-halls and homesteads:
how he would be Lord of the lands
you would inhabit together
while forging a lasting love.

Alas, a vendetta drove him far from his feuding tribe,
but now he instructs me to gladly give you notice
that when you hear the returning cuckoo's cry
cascading down warming coastal cliffs,
come over the sea! Let no man hinder your course.

He earnestly urges you: Out! To sea!
Away to the sea, when the circling gulls
hover over the ship that conveys you to him!

Board the ship that you meet there:
sail away seaward to seek your husband,
over the seagulls' range,
                 over the paths of foam.
For over the water, he awaits you.

He cannot conceive, he told me,
how any keener joy could comfort his heart,
nor any greater happiness gladden his soul,
than that a generous God should grant you both
to exchange rings, then give gifts to trusty liege-men,
golden armbands inlaid with gems to faithful followers.

The lands are his, his estates among strangers,
his new abode fair and his followers true,
all hardy heroes, since hence he was driven,
shoved off in his ship from these shore in distress,
steered straightway over the saltstreams, sped over the ocean,
a wave-tossed wanderer winging away.

But now the man has overcome his woes,
outpitted his perils, lives in plenty, lacks no luxury,
has a hoard and horses and friends in the mead-halls.

All the wealth of the earth's great earls
now belongs to my Lord ...
                                He only lacks you.

He would have everything within an earl's having,
if only my Lady will come home to him now,
if only she will do as she swore and honor her vow.



Lament for the Makaris [Makers, or Poets]
by William Dunbar [1460-1525]
loose translation/interpretation by Michael R. Burch

i who enjoyed good health and gladness
am overwhelmed now by life’s terrible sickness
and enfeebled with infirmity ...
how the fear of Death dismays me!

our presence here is mere vainglory;
the false world is but transitory;
the flesh is frail; the Fiend runs free ...
how the fear of Death dismays me!

the state of man is changeable:
now sound, now sick, now blithe, now dull,
now manic, now devoid of glee ...
how the fear of Death dismays me!

no state on earth stands here securely;
as the wild wind shakes the willow tree,
so wavers this world’s vanity ...
how the fear of Death dismays me!

Death leads the knights into the field
(unarmored under helm and shield)
sole Victor of each red mêlée ...
how the fear of Death dismays me!

that strange, despotic Beast
tears from its mother’s breast
the babe, full of benignity ...
how the fear of Death dismays me!

He takes the champion of the hour,
the captain of the highest tower,
the beautiful damsel in her tower ...
how the fear of Death dismays me!

He spares no lord for his elegance,
nor clerk for his intelligence;
His dreadful stroke no man can flee ...
how the fear of Death dismays me!

artist, magician, scientist,
orator, debater, theologist,
must all conclude, so too, as we:
“how the fear of Death dismays me!”

in medicine the most astute
sawbones and surgeons all fall mute;
they cannot save themselves, or flee ...
how the fear of Death dismays me!

i see the Makers among the unsaved;
the greatest of Poets all go to the grave;
He does not spare them their faculty ...
how the fear of Death dismays me!

i have seen Him pitilessly devour
our noble Chaucer, poetry’s flower,
and Lydgate and Gower (great Trinity!) ...
how the fear of Death dismays me!

since He has taken my brothers all,
i know He will not let me live past the fall;
His next prey will be — poor unfortunate me! ...
how the fear of Death dismays me!

there is no remedy for Death;
we all must prepare to relinquish breath
so that after we die, we may be set free
from “the fear of Death dismays me!”




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.



A Proverb from Winfred's Time
anonymous Old English poem, circa 757-786
loose translation/interpretation by Michael R. Burch

1.
The procrastinator puts off purpose,
never initiates anything marvelous,
never succeeds, and dies alone.

2.
The late-deed-doer delays glory-striving,
never indulges daring dreams,
never succeeds, and dies alone.

3.
Often the deed-dodger avoids ventures,
never succeeds, and dies alone.

Winfrid or Wynfrith is better known as Saint Boniface (c. 675–754). This may be the second-oldest English poem, after "Caedmon's Hymn."



Franks Casket Runes
anonymous Old English poems, circa 700
loose translation/interpretation by Michael R. Burch

1.
The fish flooded the shore-cliffs;
the sea-king wept when he swam onto the shingle:
whale's bone.

2.
Romulus and Remus, twin brothers weaned in Rome
by a she-wolf, far from their native land.



"The Leiden Riddle" is an Old English translation of Aldhelm's Latin riddle Lorica ("Corselet").

The Leiden Riddle
anonymous Old English riddle poem, circa 700
loose translation/interpretation by Michael R. Burch

The dank earth birthed me from her icy womb.
I know I was not fashioned from woolen fleeces;
nor was I skillfully spun from skeins;
I have neither warp nor weft;
no thread thrums through me in the thrashing loom;
nor do whirring shuttles rattle me;
nor does the weaver's rod assail me;
nor did silkworms spin me like skillfull fates
into curious golden embroidery.
And yet heroes still call me an excellent coat.
Nor do I fear the dread arrows' flights,
however eagerly they leap from their quivers.

Solution: a coat of mail.



He sits with his harp at his thane's feet,
Earning his hire, his rewards of rings,
Sweeping the strings with his skillful nail;
Hall-thanes smile at the sweet song he sings.
—"Fortunes of Men" loose translation by Michael R. Burch



Fairest Between Lincoln and Lindsey
(anonymous Middle English poem, circa late 13th century)
loose translation/interpretation by Michael R. Burch

When the nightingale sings, the woods turn green;
Leaf and grass again blossom in April, I know,
Yet love pierces my heart with its spear so keen!
Night and day it drinks my blood. The painful rivulets flow.

I’ve loved all this year. Now I can love no more;
I’ve sighed many a sigh, sweetheart, and yet all seems wrong.
For love is no nearer and that leaves me poor.
Sweet lover, think of me — I’ve loved you so long!



A cleric courts his lady
(anonymous Middle English poem, circa late 13th century)
loose translation/interpretation by Michael R. Burch

My death I love, my life I hate, because of a lovely lady;
She's as bright as the broad daylight, and shines on me so purely.
I fade before her like a leaf in summer when it's green.
If thinking of her does no good, to whom shall I complain?



The original poem below is based on my teenage misinterpretation of a Latin prayer ...

Elegy for a little girl, lost
by Michael R. Burch

for my mother, Christine Ena Burch

. . . qui laetificat juventutem meam . . .
She was the joy of my youth,
and now she is gone.
. . . requiescat in pace . . .
May she rest in peace.
. . . amen . . .
Amen.

NOTE: I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem. From what I now understand, “ad deum qui laetificat juventutem meam” means “to the God who gives joy to my youth,” but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Vulgate Latin Bible (circa 385 AD).

Fair stood the wind for France
When we our sails advance,
Nor now to prove our chance
Longer will tarry;
But putting to the main,
At Caux, the mouth of Seine,
With all his martial train,
Landed King Harry.

And taking many a fort,
Furnished in warlike sort,
Marcheth towards Agincourt
In happy hour;
Skirmishing day by day
With those that stopped his way,
Where the French gen'ral lay
With all his power;

Which, in his height of pride,
King Henry to deride,
His ransom to provide
Unto him sending;
Which he neglects the while,
As from a nation vile,
Yet with an angry smile
Their fall portending.

And turning to his men,
Quoth our brave Henry then,
"Though they to one be ten,
Be not amazed.
Yet have we well begun,
Battles so bravely won
Have ever to the sun
By fame been raised.

"And for myself (quoth he),
This my full rest shall be;
England ne'er mourn for me,
Nor more esteem me.
Victor I will remain,
Or on this earth lie slain;
Never shall she sustain
Loss to redeem me.

"Poitiers and Cressy tell,
When most their pride did swell,
Under our swords they fell;
No less our skill is
Than when our grandsire great,
Claiming the regal seat,
By many a warlike feat
Lopped the French lilies."

The Duke of York so dread
The eager vaward led;
With the main Henry sped
Amongst his henchmen.
Exeter had the rear,
A braver man not there; -
O Lord, how hot they were
On the false Frenchmen!

They now to fight are gone,
Armour on armour shone,
Drum now to drum did groan,
To hear was wonder;
That with the cries they make
The very earth did shake;
Trumpet to trumpet spake,
Thunder to thunder.

Well it thine age became,
O noble Erpingham,
Which didst the signal aim
To our hid forces!
When from a meadow by,
Like a storm suddenly,
The English archery
Stuck the French horses.

With Spanish yew so strong,
Arrows a cloth-yard long,
That like to serpents stung,
Piercing the weather;
None from his fellow starts,
But, playing manly parts,
And like true English hearts,
Stuck close together.

When down their bows they threw,
And forth their bilbos drew,
And on the French they flew,
Not one was tardy;
Arms were from shoulders sent,
Scalps to the teeth were rent,
Down the French peasants went -
Our men were hardy!

This while our noble king,
His broadsword brandishing,
Down the French host did ding,
As to o'erwhelm it;
And many a deep wound lent,
His arms with blood besprent,
And many a cruel dent
Bruised his helmet.

Gloucester, that duke so good,
Next of the royal blood,
For famous England stood
With his brave brother;
Clarence, in steel so bright,
Though but a maiden knight,
Yet in that furious fight
Scarce such another.

Warwick in blood did wade,
Oxford the foe invade,
And cruel slaughter made
Still as they ran up;
Suffolk his axe did ply,
Beaumont and Willoughby
Bare them right doughtily,
Ferrers and Fanhope.

Upon Saint Crispin's Day
Fought was this noble fray,
Which fame did not delay
To England to carry.
O, when shall English men
With such acts fill a pen;
Or England breed again
Such a King Harry?

THE RUIN in a Modern English Translation

"The Ruin" is one of the great poems of English antiquity. This modern English translation of one of the very best Old English/Anglo-Saxon poems is followed by footnotes, a summary and analysis, a discussion of the theme, and the translator's comments.


THE RUIN
loose translation/interpretation by Michael R. Burch

well-hewn was this wall-stone, till Wyrdes wrecked it
and the Colossus sagged inward ...

broad battlements broken;
the Builders' work battered;

the high ramparts toppled;
tall towers collapsed;

the great roof-beams shattered;
gates groaning, agape ...

mortar mottled and marred by scarring ****-frosts ...
the Giants’ dauntless strongholds decaying with age ...

shattered, the shieldwalls,
the turrets in tatters ...

where now are those mighty Masons, those Wielders and Wrights,
those Samson-like Stonesmiths?

the grasp of the earth, the firm grip of the ground
holds fast those fearless Fathers
men might have forgotten
except that this slow-rotting siege-wall still stands
after countless generations!

for always this edifice, grey-lichened, blood-stained,
stands facing fierce storms with their wild-whipping winds
because those master Builders bound its wall-base together
so cunningly with iron!

it outlasted mighty kings and their claims!

how high rose those regal rooftops!
how kingly their castle-keeps!
how homely their homesteads!
how boisterous their bath-houses and their merry mead-halls!
how heavenward flew their high-flung pinnacles!
how tremendous the tumult of those famous War-Wagers ...
till mighty Fate overturned it all, and with it, them.

then the wide walls fell;
then the bulwarks were broken;
then the dark days of disease descended ...

as death swept the battlements of brave Brawlers;
as their palaces became waste places;
as ruin rained down on their grand Acropolis;
as their great cities and castles collapsed
while those who might have rebuilt them lay gelded in the ground:
those marvelous Men, those mighty master Builders!

therefore these once-decorous courts court decay;
therefore these once-lofty gates gape open;
therefore these roofs' curved arches lie stripped of their shingles;
therefore these streets have sunk into ruin and corroded rubble ...

when in times past light-hearted Titans flushed with wine
strode strutting in gleaming armor, adorned with splendid ladies’ favors,
through this brilliant city of the audacious famous Builders
to compete for bright treasure: gold, silver, amber, gemstones.

here the cobblestoned courts clattered;
here the streams gushed forth their abundant waters;
here the baths steamed, hot at their fiery hearts;
here this wondrous wall embraced it all, with its broad *****.

... that was spacious ...



Footnotes and Translator's Comments
by Michael R. Burch

Summary

"The Ruin" is an ancient Anglo-Saxon poem. It appears in the Exeter Book, which has been dated to around 960-990 AD. However, the poem may be older than the manuscript, since many ancient poems were passed down ****** for generations before being written down. The poem is an elegy or lament for the works of "mighty men" of the past that have fallen into disrepair and ruins. Ironically, the poem itself was found in a state of ruin. There are holes in the vellum upon which it was written. It appears that a brand or poker was laid to rest on the venerable book. It is believed the Exeter Book was also used as a cutting board and beer mat. Indeed, we are lucky to have as much of the poem as we do.

Author

The author is an unknown Anglo-Saxon scop (poet).

Genre

"The Ruin" may be classified as an elegy, eulogy, dirge and/or lament, depending on how one interprets it.

Theme

The poem's theme is one common to Anglo-Saxon poetry and literature: that man and his works cannot escape the hands of wyrde (fate), time and death. Thus men can only face the inevitable with courage, resolve, fortitude and resignation. Having visited Bath myself, I can easily understand how the scop who wrote the poem felt, and why, if I am interpreting the poem correctly.

Plot

The plot of "The Ruin" seems rather simple and straightforward: Things fall apart. The author of the poem blames Fate for the destruction he sees. The builders are described as "giants."

Techniques

"The Ruin" is an alliterative poem; it uses alliteration rather than meter and rhyme to "create a flow" of words. This was typical of Anglo-Saxon poetry.

History

When the Romans pulled their legions out of Britain around 400 BC, primarily because they faced increasing threats at home, they left behind a number of immense stone works, including Hadrian's Wall, various roads and bridges, and cities like Bath. Bath, known to the Romans as Aquae Sulis, is the only English city fed by hot springs, so it seems likely that the city in question is Bath. Another theory is that the poem refers to Hadrian's Wall and the baths mentioned were heated artificially. The Saxons, who replaced the Romans as rulers of most of Britain, used stone only for churches and their churches were small. So it seems safe to say that the ruins in question were created by Roman builders.

Interpretation

My personal interpretation of the poem is that the poet is simultaneously impressed by the magnificence of the works he is viewing, and discouraged that even the works of the mighty men of the past have fallen to ruin.

Analysis of Characters and References

There are no characters, per se, only an anonymous speaker describing the ruins and the men he imagines to have built things that have survived so long despite battles and the elements.

Related Poems

Other Anglo-Saxon/Old English poems: The Ruin, Wulf and Eadwacer, The Wife's Lament, Deor's Lament, Caedmon's Hymn, Bede's Death Song, The Seafarer, Anglo-Saxon Riddles and Kennings

Keywords/Tags: Anglo-Saxon, Old English, England, translation, elegy, lament, lamentation, Bath, Roman, giant, giants, medieval, builders, ruin, ruins, wall, walls, fate, mrbtr

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Different words we will seek out, some are new and strange
The Enterprise has left dry dock, she's the only ship in range
We'll explore the distant galaxies, find other new life forms
There has been stars and nebulas, and hostile ion storms

The star ship Exeter has been found, orbiting Omega Four
Only uniforms remain, and the crew they are no more
They have suffered a disease, No one is left on board
We must beam down the landing party, lives we can't afford

Captain Ron Tracy has gone rouge, violating the Prime directive
While in pursuit of long life, this was his main objective
Crystal remains of the Exeter's crew, was it the planets evolution
The Omega Glory can be solved, with the American Constitution

If your not of the body, then brainwashing could turn sour
Mr Sulu is in paradise, just beware of the red hour
Hooded lawgivers are out there, for the bidding of Landru
Waiting for The Return Of The Archons, another Starfleet crew

Stella would chastise Harry Mudd, but he didn't get annoyed
Finally having the last word, with his special wife android
The arrogance of Harcourt Fenton Mudd, with a touch of eccentricity
Many androids created in I Mudd, a planet of multiplicity

Is Professor John Gill guilty, of a prime directive violation
Advanced technology has been used, to create a **** nation
The Planet Ekos is contaminated, evolutions set off course
Zeon pigs are off the street, to evade Patterns Of Force

Trelane wanted fun and games, It was time to make a stance
An ancient duelling pistol, may be Captain Kirk's one chance
Challenging The Squire Of Gothos, who is the sharpest shooter
War games against four federation ships, with The Ultimate Computer

The Mark Of Gideon was Kirk's blood, and Odona was infected
Kirok experienced The Paradise Syndrome, before the asteroid was deflected
In the body of Mr Spock, Henoch didn't have no sorrow
Will the essence of the captains mind, Return To Tomorrow

Plato's Stepchildren used telekinetic abilities, to force an interracial kiss
Zefram Cochrane's in love with The Companion, in Metamorphosis
We are stranded on a planet, something's threatening our lives
Body cells are being disrupted, so protect That Which Survives

A Requiem for Methuselah, Flint is part of ancient history
Miri is a young woman, the Grup's disease is now our mystery
Klingons in Errand Of Mercy, tried to take Organian's turf
A warhead in the past was detonated, in Assignment Earth

The Lights Of Zetar invaded the body, of Lieutenant Mira Romaine
Bread and Circuses gladiator sacrifices, a fight to the death again
Lost in the past will we get back, from All Our Yesterday's
Lazarus is positive and negative, The Alternative Factor's split two ways

Was the creature made of rock, we didn't know for certain
A fight with history's greatest foes, behind The Savage Curtain
Janice Lester captured Capitan Kirk, he could not elude her
She took over his body and ship, in Turnabout Intruder

An impostor is on board the ship, Kirk has been separated
Men have good and evil sides, but now there segregated
Does passive need aggressiveness, a malfunction caused their sever
Transporters need to be repaired, to splice Kirk back together

These are the voyages of the crew, of the enterprise
Many officers have died, and we've said our last goodbyes
Missions placed in the ships logs, along with crew memoirs
Our adventurers may continue, with our trek to unknown stars. . .

I saw an old man in Exeter today;
saw him twice, in fact.
Each time he was eating ice cream
beneath his black felt hat.

His face was wizened, a cliche I know,
but I don’t know how else to say it.
He looked tired and worn behind his smile,
his shoulders sagged, his eyelids low.

At his feet a collection of bags,
small and medium, all black.
His wordly possessions I couldn’t but wonder,
carried around on his back.

What stories do you hold, old man,
wrapped in the parchment of your skin?
Will they be forever mysteries untold,
or do you have someone to invest them in?

beyond the whiskey
and the beer drank along the familiar
path, with memory stressed
as to no accomplished ego coupling,
drunk indeed,
but rehearsing the familiar path
that thought de-activates
and there's less of identifiers required.*

in terms of gambling,
in familial setting,
betted:

watford (21-20) home to newcastle
(5-2), QPR (6-5) against wolves (9-5 to win),
barnsley v. rochdale (draw at 11-5),
chesterfield v. millwall (to win, 11-8),
oldham v. bury (draw at 21-10),
port vale v. bratford (home-side 8-5),
coventry (13-10) away winning against southend (13-8),
plymouth (11-5) against bristol rovers (evs),
accrington (13-10) against exeter (13-8) too,
manfield (6-5) winning against luton (9-5),
portsmouth drawing with oxford united (21-10),
wycombe with leyton orient (11-5) too,
yeovil beating crawley (13-10),
dundee utd. losing to kilmarnock (11-5) -
scots wish me luck,
motherwell drawing with ross county (19-10),
brochin losing to aidrie (11-10),
montrose winning over clyde (9-5),
hamilton losing to edinburgh's hearts (6-5),
finally...
burnley overcoming derby (13-10).

if i got all nineteen right, i betted 2 quid
and won a million,
split it down the middle with my father,
bet for two quid, quid each, half a million each.
my father is a cautious gambler,
bets spare change to get pennies for a million
exchange, i only desire serious alcoholism,
i am a true scot between the two pulling
two pence apart to create copper wiring,
scots are the jews of the north, after all:
i don't gamble, i play chance,
the chances of me being prophetic about five
football scores will be a, a ref. to the guinness book
of records.

i aimed high today, feminism still hasn't the foggiest
of house husbands, lazy lions,
it's still thursday pay-cheque day for the women,
i can cook a killer korma (added late
grind cashews), and a serial killer kashmiri masala curry,
organic chemistry experiments 12h a week will do that to you,
you'll enjoy cookbooks more than chemistry textbooks,
too many esters i say, spices v. perfumes, your choice
the pakistani in my off-license looked amazed i was wearing
hindu perfumes after having cooked a meal he could
recognise that wasn't a concentrate of strawberries:
find a needle in a haystack, yes... find a berry in a haystack...
no.

i love hindi cuisine, much aroma that deviates from
what europeans claim to be aromatic:
pig sweat and oxen salivate a taste for synthetic
odours when an analysis of cardamon justifies aplenty
likewise: what opens necessary porous areas
of the skin as necessarily sweet
does not necessarily invoke a sweetness for the tongue
to match: fat cows better than anorexia voodoo
of *******-champagne girls i'd tell you.

373

I’m saying every day
“If I should be a Queen, tomorrow”—
I’d do this way—
And so I deck, a little,

If it be, I wake a Bourbon,
None on me, bend supercilious—
With “This was she—
Begged in the Market place—
Yesterday.”

Court is a stately place—
I’ve heard men say—
So I loop my apron, against the Majesty
With bright Pins of Buttercup—
That not too plain—
Rank—overtake me—

And perch my Tongue
On Twigs of singing—rather high—
But this, might be my brief Term
To qualify—

Put from my simple speech all plain word—
Take other accents, as such I heard
Though but for the Cricket—just,
And but for the Bee—
Not in all the Meadow—
One accost me—

Better to be ready—
Than did next morn
Meet me in Aragon—
My old Gown—on—

And the surprised Air
Rustics—wear—
Summoned—unexpectedly—
To Exeter—

138

Pigmy seraphs—gone astray—
Velvet people from Vevay—
Balles from some lost summer day—
Bees exclusive Coterie—
Paris could not lay the fold
Belted down with Emerald—
Venice could not show a check
Of a tint so lustrous meek—
Never such an Ambuscade
As of briar and leaf displayed
For my little damask maid—

I had rather wear her grace
Than an Earl’s distinguished face—
I had rather dwell like her
Than be “Duke of Exeter”—
Royalty enough for me
To subdue the Bumblebee.

I'm the spark
That started
The fire when
The retirement
Home burned alive,
I'm the guy who
Sold the quarter
To Cianci's daughter
That bought her
A place
In that lake
Of boiling water,
I'm the knife
In the mugger's hand
That ended the life
Of a family oriented
American man
For an American Made
Minivan that was
Worth less than
A single grand,
I'm the hand on the arm
That held the pen
That signed the plans
To build the bombs
That were dropped
Upon Japan,
I'm the disease
That multiplied the cells
That sent Bukowski
Swearing
His way
Down
To Hell,
I'm the wind
That fueled the fires
When the towers
Fell,
I'm the blade
That took the sight
From Oedipus
When he took delight
In his mother's kiss,
I'm the cold
Air in an
Empty grave,
I'm the corner
Of the stove
On which you always
Stub your toe,
I'm the snow
That slicked the road
And sent your brother
Into reality's
Reunion show,
I'm the smoke
That filled the throat
Of a crying infant
And choked it
Into a memory,
I'm the repititious lie
That sent the witches
To burn alive
In Salem
And Spain,
I'm the trigger
On the gun
That blew the brain
Of Kurt Cobain,
I'm to blame
For the way *******
Destroys the lives
Of the otherwise sane,
I'm the voice
That told Sam's son
To wipe the smile
From America's fat face
While satisfying
Their perverted taste
For people dying,
I'm the nails
On the fingers
That Barkovitch
Used to scratch
The long-walk-itch
When he ripped
Out his own throat,
I'm the one
Who swung the vote
To elect a bush
As dumb as a goat,
I'm the bullet
That pierced
The vest on
Kyle Joe's chest
And laid him to rest
In Exeter,
I'm the snake
That charmed
The leaf
Right off of Eve,
The way that
Hemopheliacs
Bleed
And
Bleed,
The constant
Antagonist
You seem
To need.

Or maybe you're just in a
Bad mood, and I'm still the
Same dude who sat with you
While the three day fever
Ripped through your body,
Stroking your hair and
Wiping the sour sweat from
Your forehead while you
Hallucinated demons that
Emerged from your chest,
Slightly below your left
Breast, to fly in patterns and
Synchronized formations
Through the caverns of your imagination.

Maybe I'm still the guy who
Held you through the night
Your mother died, wiping
Every tear that you cried,
Spending that hour sitting
Outside while the jewel
Encrusted air surrounded us
Like a never ending chasm of
Golden despair, splitting
Myself like a uranium atom
For you to be warmed by the
Reaction inside.

Maybe I'm still the one you
Saw from across the smoke
Filled dive saloon with a pint
Of Harpoon, who saw you as
The only shining light in a
Darkened room, who talked
To you and told you stories
And complimented the
Sundress you bought off Tobi,
Even though you
Told me really,
The weather
Wasn't quite right for it.

Maybe I'm still the one you
Wake up to in the middle of
The night, sweat sticking us
To the sheets and each other,
Because the heat's been
Broken going on seventeen
Weeks and we fell asleep
Without opening the window again.

Maybe I'm still the man who
Makes you breakfast every
Morning so you can sleep in
A little bit, so you can read
The latest Dig with your
Coffee and cig before you
Head to the ******* lab that
Makes you feel sick twelve
Hours later, the man who's
Waiting at home after to
Listen to your complaints
About the day and say the
Things you want to hear

"You're totally right,
They're completely wrong,
I love you dear,
Your hair is a song
That fills the air
And fills my ears
And fills my stomach
With warmth and light"

Maybe I'm a fool.
Maybe people don't change,

Or maybe they do, overnight,
And I'm to blame.

Either way,
I still feel
The same
As when we took
The same last name
Ten years ago
Yesterday.

Deor's Lament

(Old English/Anglo-Saxon poem circa the 10th century AD)
loose translation/interpretation by Michael R. Burch

Weland endured the agony of exile:
an indomitable smith wracked by grief.
He suffered countless sorrows;
indeed, such sorrows were his ***** companions
in that frozen island dungeon
where Nithad fettered him:
so many strong-but-supple sinew-bands
binding the better man.
That passed away; this also may.

Beadohild mourned her brothers' deaths,
bemoaning also her own sad state
once she discovered herself with child.
She knew nothing good could ever come of it.
That passed away; this also may.

We have heard the Geat's moans for Matilda,
his lovely lady, waxed limitless,
that his sorrowful love for her
robbed him of regretless sleep.
That passed away; this also may.

For thirty winters Theodric ruled
the Mæring stronghold with an iron hand;
many acknowledged his mastery and moaned.
That passed away; this also may.

We have heard too of Ermanaric's wolfish ways,
of how he cruelly ruled the Goths' realms.
That was a grim king! Many a warrior sat,
full of cares and maladies of the mind,
wishing constantly that his crown might be overthrown.
That passed away; this also may.

If a man sits long enough, sorrowful and anxious,
bereft of joy, his mind constantly darkening,
soon it seems to him that his troubles are limitless.
Then he must consider that the wise Lord
often moves through the earth
granting some men honor, glory and fame,
but others only shame and hardship.
This I can say for myself:
that for awhile I was the Heodeninga's scop,
dear to my lord. My name was Deor.
For many winters I held a fine office,
faithfully serving a just king. But now Heorrenda
a man skilful in songs, has received the estate
the protector of warriors had promised me.
That passed away; this also may.

Footnotes and Translator's Comments
by Michael R. Burch

Summary

"Deor's Lament" appears in the Exeter Book, which has been dated to around 960-990 AD. The poem may be considerably older than the manuscript, since many ancient poems were passed down ****** for generations before they were finally written down. The poem is a lament in which someone named Deor, presumably the poet who composed the poem, compares the loss of his job and prospects to seemingly far greater tragedies of the past. Thus "Deor's Lament" may be an early example of overstatement and/or "special pleading."

Author

The author is unknown but may have been an Anglo-Saxon scop (poet) named Deor. However it is also possible that the poem was written by someone else. We have no knowledge of a poet named "Deor" outside the poem.

Genre

"Deor's Lament" is, as its name indicates, a lament. The poem has also been classified as an Anglo-Saxon elegy or dirge. If the poet's name "was" Deor, does that mean he is no longer alive and is speaking to us from beyond the grave? "Deor" has also been categorized as an ubi sunt ("where are they now?") poem.

Theme

The poem's theme is one common to Anglo-Saxon poetry and literature: that a man cannot escape his fate and thus can only meet it with courage, resolve and fortitude.

Plot

Doer's name means "dear" and the poet puns on his name in the final stanza: "I was dear to my lord. My name was Deor." The name Deor may also has connotations of "noble" and "excellent." The plot of Deor's poem is simple and straightforward: other heroic figures of the past overcame adversity; so Deor may also be able to overcome the injustice done to him when his lord gave his position to a rival. It is even possible that Deor intended the poem to be a spell, incantation, curse or charm of sorts.

Techniques

"Deor's Lament" is an alliterative poem: it uses alliteration rather than meter to "create a flow" of words. This was typical of Anglo-Saxon poetry. “Deor's Lament" is one of the first Old English poems to employ a refrain, which it does quite effectively. What does the refrain "Thaes ofereode, thisses swa maeg" mean? Perhaps something like: "That was overcome, and so this may be overcome also." However, the refrain is ambiguous: perhaps the speaker believes things will work out the same way; or perhaps he is merely suggesting that things might work out for the best; or perhaps he is being ironical, knowing that they won't.

Interpretation

My personal interpretation of the poem is that the poet is employing irony. All the previously-mentioned heroes and heroines are dead. I believe Deor is already dead, or knows that he is an old man soon to also be dead. "Passed away" maybe a euphemism for "dead as a doornail." But I don't "know" this, and you are free to disagree and find your own interpretation of the poem.

Analysis of Characters and References

Weland/Welund is better known today as Wayland the Smith. (Beowulf's armor was said to have been fashioned by Weland.) According to an ancient Norse poem, Völundarkviða, Weland and his two brothers came upon three swan-maidens on a lake's shore, fell in love with them, and lived with them happily for seven years, until the swan-maidens flew away. His brothers left, but Weland stayed and turned to smithing, fashioning beautiful golden rings for the day of his swan-wife's return. King Nithuthr, hearing of this, took Weland captive, hamstrung him to keep him prisoner, and kept him enslaved on an island, forging fine things. Weland took revenge by killing Nithuthr's two sons and getting his daughter Beadohild pregnant. Finally Weland fashioned wings and flew away, sounding a bit like Icarus of Greek myth.

Maethhild (Matilda) and Geat (or "the Geat") are known to us from Scandianavian ballads. Magnild (Maethhild) was distressed because she foresaw that she would drown in a river. Gauti (Geat) replied that he would build a bridge over the river, but she responded that no one can flee fate. Sure enough, she drowned. Gauti then called for his harp, and, like a Germanic Orpheus, played so well that her body rose out of the waters. In one version she returned alive; in a darker version she returned dead, after which Gauti buried her properly and made harpstrings from her hair.

The Theodoric who ruled the Maerings for thirty years may have to be puzzled out. A ninth-century rune notes that nine generations prior a Theodric, lord of the Maerings, landed in Geatland and was killed there. In the early sixth century there was a Frankish king called Theoderic. But the connections seem tenuous, at best. Perhaps the thirty year rule is a clue to consider the Ostrogoth Theodoric, born around 451. He ruled Italy for around thirty years, until 526. Toward the end of his reign Theodoric, then in his seventies, named his infant grandson heir. There were rumours that members of his court were conspiring against his chosen successor. Furthermore, the Catholic church was opposing the Arian Theodoric. As a result of these tensions, several leading senators were arrested on suspicion of conspiracy, including Boethius. It was while he was imprisoned and awaiting execution that Boethius wrote his famous Consolation of Philosophy. Theodoric's final years were unfortunately marked by suspicion and distrust, so he may be the ruler referred to by Deor.

Eormenric was another king of the Ostrogoths who died in about 375; according to Ammianus Marcellinus, he killed himself out of fear of the invading Huns. According to other Old Norse Eddic poems (Guðrúnarhvöt and Hamðismál, Iormunrekkr), Eormenric had his wife Svannhildr trampled by horses because he suspected her of sleeping with his son. So he might qualify as a "grim king" with "wolfish ways."

Deor has left no trace of himself, other than this poem. Heorrenda appears as Horant in a thirteenth century German epic Kudrun. It was said that Horant sang so sweetly that birds fell silent at his song, and fish and animals in the wood fell motionless. That would indeed make him a formidable opponent for the scop Deor.

Keywords/Tags: Deor, Lament, Old English, Anglo-Saxon, translation, scop, mrbtr, Weland, Wayland, smith, exile, fetters, dungeon

Joanne Rowlgobbleng was born on 31st July 1965 at Yate General Hospgobbletal just outsgobblede Brgobblestol, and grew up gobblen Gloucestershgobblere gobblen England and gobblen Chepstow, Gwent, gobblen south-east Wales.  

Her father, Peter, was an agobblercraft enggobbleneer at the Rolls Royce factory gobblen Brgobblestol and her mother, Anne, was a scgobbleence techngobblecgobblean gobblen the Chemgobblestry department at Wyedean Comprehensgobbleve, where Jo herself went to school.  

The young Jo grew up surrounded by books. “gobble lgobbleved for books,’’ she has sagobbled. “gobble was your basgobblec common-or-garden bookworm, complete wgobbleth freckles and Natgobbleonal Health spectacles.”  

Jo wanted to be a wrgobbleter from an early age. She wrote her fgobblerst book at the age of sgobblex – a story about a rabbgobblet, called ‘Rabbgobblet’. At just eleven, she wrote her fgobblerst novel – about seven cursed dgobbleamonds and the people who owned them.  

Jo left home at egobbleghteen for Exeter Ungobbleversgobblety, where she read so wgobbledely outsgobblede her French and Classgobblecs syllabus that she clocked up a fgobblene of £50 for overdue books at the Ungobbleversgobblety lgobblebrary. Her knowledge of Classgobblecs would one day come gobblen handy for creatgobbleng the spells gobblen the Harry Potter sergobblees, some of whgobblech are based on Latgobblen.  

Her course gobblencluded a year gobblen Pargobbles, where she shared an apartment wgobbleth an gobbletalgobblean, a Russgobblean and a Spangobbleard. “gobble lgobbleved gobblen Pargobbles for a year as a student,” Jo tweeted after the 2015 terrorgobblest attacks there. “gobblet’s one of my favourgobblete places on earth.”  

After her degree, she moved to London and worked gobblen a sergobblees of jobs, gobblencludgobbleng one as a researcher at Amnesty gobblenternatgobbleonal.  

“There gobblen my lgobblettle offgobblece gobble read hastgobblely scrgobblebbled letters smuggled out of totalgobbletargobblean reggobblemes by men and women who were rgobbleskgobbleng gobblemprgobblesonment to gobblenform the outsgobblede world of what was happengobbleng to them. My small partgobblecgobblepatgobbleon gobblen that process was one of the most humblgobbleng and gobblenspgobblergobbleng expergobbleences of my lgobblefe.”  

Jo concegobbleved the gobbledea of Harry Potter gobblen 1990 whgobblele sgobblettgobbleng on a delayed tragobblen from Manchester to London Kgobbleng’s Cross. Over the next fgobbleve years, she began to map out all seven books of the sergobblees. She wrote mostly gobblen longhand and gradually bugobblelt up a mass of notes, many of whgobblech were scrgobblebbled on odd scraps of paper.  

Takgobbleng her notes wgobbleth her, she moved to northern Portugal to teach Englgobblesh as a foregobblegn language, marrgobbleed Jorge Arantes gobblen October 1992 and had a daughter, Jessgobbleca, gobblen 1993. When the marrgobbleage ended later that year, she returned to the UK to lgobbleve gobblen Edgobblenburgh, carrygobbleng not just Jessgobbleca but a sugobbletcase contagobblengobbleng the fgobblerst three chapters of Harry Potter and the Phgobblelosopher’s Stone.  

Gobblen Edgobblenburgh, Jo tragobblened as a teacher and began teachgobbleng gobblen the cgobblety’s schools, but she contgobblenued to wrgobblete gobblen every spare moment.  

Havgobbleng completed the full manuscrgobblept, she sent the fgobblerst three chapters to a number of lgobbleterary agents, one of whom wrote back askgobbleng to see the rest of gobblet. She says gobblet was “the best letter gobble had ever recegobbleved gobblen my lgobblefe.”  

The book was fgobblerst publgobbleshed by Bloomsbury Chgobbleldren’s Books gobblen June 1997, under the name J.K. Rowlgobbleng.  

The “K” stands for Kathleen, her paternal grandmother’s name. gobblet was added at her publgobblesher’s request, who thought a book by an obvgobbleously female author mgobbleght not appeal to the target audgobbleence of young boys.  

Her fgobblerst novel was publgobbleshed gobblen the US under a dgobblefferent tgobbletle, Harry Potter and the Sorcerer’s Stone, gobblen 1998.  Sgobblex further tgobbletles followed gobblen the Harry Potter sergobblees, each achgobbleevgobbleng record-breakgobbleng success.  

Gobblen 2001, the fgobblelm adaptatgobbleon of the fgobblerst book was released by Warner Bros., and was followed by sgobblex more book adaptatgobbleons, concludgobbleng wgobbleth the release of the egobbleghth fgobblelm, Harry Potter and the Deathly Hallows Part 2, gobblen 2011.  

J.K. Rowlgobbleng has also wrgobbletten two small volumes, whgobblech appear as the tgobbletles of Harry’s school books wgobblethgobblen the novels. Fantastgobblec Beasts and Where to Fgobblend Them and Qugobbleddgobbletch Through The Ages were publgobbleshed gobblen March 2001 gobblen agobbled of Comgobblec Relgobbleef.  

Gobblen December 2008, The Tales of Beedle the Bard was publgobbleshed gobblen agobbled of her gobblenternatgobbleonal chgobbleldren’s chargobblety, Lumos.  

Gobblen 2012, J.K. Rowlgobbleng’s dgobbleggobbletal company Pottermore was launched, where fans can enjoy news, features and artgobblecles, as well as content by J.K. Rowlgobbleng.  

Gobblen the same year, J.K. Rowlgobbleng publgobbleshed her fgobblerst novel for adults, The Casual Vacancy (Lgobblettle, Brown), whgobblech has now been translated gobblento 44 languages and was adapted for TV by the BBC gobblen 2015.  

Under the pseudonym Robert Galbragobbleth, J.K. Rowlgobbleng also wrgobbletes crgobbleme novels, featurgobbleng prgobblevate detectgobbleve Cormoran Strgobbleke. The fgobblerst of these, The Cuckoo’s Callgobbleng was publgobbleshed to crgobbletgobblecal acclagobblem gobblen 2013, at fgobblerst wgobblethout gobblets author’s true gobbledentgobblety begobbleng known.  The Sgobblelkworm followed gobblen 2014, and 2015 saw the publgobblecatgobbleon of Career of Evgobblel.  All are publgobbleshed by Lgobblettle, Brown. The sergobblees gobbles begobbleng adapted for a major new televgobblesgobbleon sergobblees for BBC One, produced by Brontë Fgobblelm and Televgobblesgobbleon.  

J.K. Rowlgobbleng’s 2008 Harvard commencement speech was publgobbleshed gobblen 2015 as an gobblellustrated book, Very Good Lgobbleves: The Frgobblenge Benefgobblets of Fagobblelure and the gobblemportance of gobblemaggobblenatgobbleon (Sphere), and sold gobblen agobbled of Lumos and ungobbleversgobblety-wgobblede fgobblenancgobbleal agobbled at Harvard.  

gobblen 2016, J.K. Rowlgobbleng collaborated wgobbleth Jack Thorne and John Tgobbleffany on an orgobbleggobblenal new story for the stage. Harry Potter and the Cursed Chgobbleld Parts One and Two gobbles now runngobbleng at The Palace Theatre gobblen London’s West End. The scrgobblept book was publgobbleshed (Lgobblettle, Brown) to mark the play’s opengobbleng gobblen July 2016, and gobblenstantly topped the bestseller lgobblests.  

Also gobblen 2016, J.K. Rowlgobbleng made her screenwrgobbletgobbleng debut wgobbleth the fgobblelm Fantastgobblec Beasts and Where to Fgobblend Them, a further extensgobbleon of the Wgobblezardgobbleng World, released to crgobbletgobblecal acclagobblem gobblen November 2016.  A prequel to Harry Potter, thgobbles new adventure of Maggobblezoologgobblest Newt Scamander marked the start of a fgobbleve-fgobblelm sergobblees to be wrgobbletten by the author.  

J.K. Rowlgobbleng has been marrgobbleed to Dr Negobblel Murray sgobblence 2001. They lgobbleve gobblen Edgobblenburgh wgobbleth thegobbler son, Davgobbled (born 2003) and daughter, Mackenzgobblee (born 2005).