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Wilkes Arnold Apr 2021
He cannot hear
I just now realized
He's deaf to it, it's all disguised
Everything, all of it, is crystal unclear
What's up is down and what's far is near

The radio boils
The microwave sings
The telephone listens, while his ear rings
But he hasn't noticed, his ignorance is loyal
To his strange world of backwards turmoil

His eyes tear up
At the toasters dull ding
Oblivious though, to orchestral strings
Crescendoing, divinus, in joyous buildup
An ode only heard as a course hiccup

Puts books to his ear
But hears no voice
Thumbs through jibberish, but his hands hold Joyce
The steak tastes like spam and the wine of beer
He's deaf to it, all of it, everything I fear

He runs in circles
And sits in squares
Drowns in shallow waters and falls upstairs
Nothings left of romance when passion dulls
But crippled hopes and shattered hulls

He cannot hear
He just now realized
He's deaf to it, it's all disguised
Everything, all of it, is crystal clear
What's up is down and what's far is near
Ending is a work in progress
Caitlin Faykus Oct 2020
In through one ear
Out the other
I'm not talking about sounds
I'm talking about flies
And they're so loud
Rajinder Jul 2020
If a river had ears, they would’ve heard
songs of the clouds and the rain
floating in the breeze above oceans

If a river had ears, they would bring me 
stories told by gurgling, shrinking glaciers
imploding in warming streams

If a river had ears, the waters would know
all the secrets of dolphins and mahseer
it would play the scores of a whale’s song

If a river had ears, they would be blocked
and, when the waves hit the banks, the river
losing its balance forgets the course 

If a river had ears, those would be pierced
their small holes plugged with white pearls
stolen from an oyster’s shell 

Some rivers have ears
like ones flowing through Kashmir,
with their dainty drooping lobes,
pierced by bullets. Robbed of their
red-threaded golden dejhors,
the ears echo of unheard miseries.
Nat Lipstadt May 2013
~for RK, for now~

Until you have bent your ear to Shakespeare's sonnets,
Till you have laughed with Ogden Nash,
Wept with Frost, visited Byron's ghost,
Read the songs of King Solomon,
And once you
Despair of being their equal,
Shed your winter coat of worry,
***** your courage to the sticking point,
Begin to write then with reckless fearlessness,
Unfettered abandon, make a fool of yourself!

Scout the competition.
Weep, for you and I will never surpass
The giants who preceeded us, and yet,
Laugh, cause they thought the same thing as well...
the ear doesn't listen
as such
for it isn't into
listening too much

you'll find this ear
out in a field
and it will have
a husk like shield

if you know what
ear I'm referring to
I'd like to hear
from you

the ear may well
the hero of the
cob's tee

now this ear clue
is the final one
the ear will be
basking in the sun
Michael R Burch Feb 2020
Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

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

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

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

Originally published by Better Than Starbucks (where it was a featured poem, appeared on the first page of the online version, and earned a small honorarium)

Original text:

Das Lied des Bettlers

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

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

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

Keywords/Tags: German, Rainer Maria Rilke, translation, beggar, song, rain, sun, ear, palm, voice, gate, gates, door, doors, outside, exposure, poets, trifle, pittance, eyes, face, cradle, head, loneliness, alienation, solitude, no place to lay one's head (like Jesus Christ)

Archaischer Torso Apollos ("Archaic Torso of Apollo")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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

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

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

Komm, Du ("Come, You")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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

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

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

Liebes-Lied ("Love Song")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Keywords/Tags: Rilke, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar
b Nov 2019
the stitches in my thigh are
healing so now we can all shake hands
and watch the money
poor in. the bombs are not coming,
please come out from
under your desks, you are safe
now and if im being honest
the desks wouldn’t protect you
from the shrieks of a
war plane. they sound
like nothing you’ve
ever heard
a frequency you unlocked
just for this
particular pain. you can almost see
the sound pour into your ear drums
like a bartender mixing
the ***** and the cranberry.
it sounds like 6am
it sounds like the same song
over and over.
before i say
let me
kiss you
only your hand only
as i can not do

my nations habits' prevent me
my will blame me
as i want to see
you so clear
as an angel comes near

and kidnapped a wealth
that for me my worth

but i will have no mercy
I whispered
into the inner spirit ear
I love you
and enforce taking your heart
and run away

could you catch me?
the love makes every thing so white and clear. the black point goes away.
Ivy Leigh Oct 2019
There are so many words you can speak
to friends with no ears,
that when you are heard
your world becomes copious
with possibilities.

A friend with one ear
can listen to everything
multiple times. They
listen with a myriad of mediums
so you can marinate, but
they don't tell you about the stain
on your shirt and that something
on your face that others see
and point at and call you sloppy.

The friend with two ears
create a surround sound
that even you can hear.
Plentiful projections pour
out of your mind,
finally on the mend
after years of malnourished, stagnating
sessions of hours wasted
writing words to be hidden
and unheard of.
I had to stop here, but it may be unfinished. Let me know if you think I should keep working on this
MisfitOfSociety Jul 2019
Every cell holds a sacred memory.
Learn the language of the body.
It speaks when you ask it to.
Lend an ear to yourself,
Start listening to yourself.

The secret is right here.
Coded within every fibre.
Humanity's greatest treasure.
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