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RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

                          INTRODUCTION
“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
ventures!
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
due.
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.

EARLY RENAISSANCE ARTISTS & THEIR ART

GITTO THE PIONEER:
During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
(
Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
History.
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
Wife”,
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
(
Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
Architecture!
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
(
At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
History!
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
majesty;
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Mythology;
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

FOUR CANONICAL PAINTING MODES OF
THE RENAISSANCE:
During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
see!
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
naturalness;
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
illegitimate!
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

MICHEL ANGELO BUONARROTI (1475-1564):
This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
competent!
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
Sally A Bayan Sep 2021
(A gloomy, rainy Sunday...4:50 pm)

Sundown comes, and takes with
it, the spirit, the lilt of the day.
it wearies, and wanes...restless
minds succumb to acquiescence
and introspection at day's end,

the dark calms the world...

we thank God, for saving us one
more long day...from misfortunes,  
diseases, from the evils of humanity.

on lengthened gloomy days,
ashen hues of displeasure
ebb and flow, born from hushed
questions...dying unanswered,
it's hard at times, to keep on loving
all that we love...do everything we
love doing, with the same longing
and enthusiasm...as before.

to be, or not to be,
to do, or not to do,
to love, or not to love---
how do you practice continuance,
while reeling upon the murky
mid streams in life?

what if, we are suddenly,
summoned...to back off from
existence, take a final break?

do we carry resentment
wherever we may end up?
whatever second life awaits us?

our weary souls take rest, these
wonderings fade, as we close our
eyes at night...rising to a hopeful
sunrise, to wondrous chirpings of
birds...to rooster's calls...to water
flowing from the faucet...the sweet
smell of maple syrup and freshly
made pancakes, and sniffs of coffee
brewing...songs and scents of a new
morning, then, sun peeps through
slits and spaces, melting last night's
dark perspectives...a continuance
occurs...another day to tackle.


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   sally b

© Rosalia Rosario A. Bayan
   August 25, 2021
#morning #continuance #sallyb
Hal Loyd Denton Nov 2012
We know not the times or the gifts that are ours specifically and unequally you see someone at a
Distance walking through a pastoral scene away and down a hill at first by voice recognition you
Know who he is this grandfatherly figure brings a flood of feelings and moods to brush your soul
With the telling of wonder of intimate days and moments you have shared so often you smile as
He naps quietly and then a night comes where for one reason or another you get involved and the
Whole night is used for this activity the next day being Saturday you relax and in the late afternoon
You at first just set for what you think is a moment but the previous night delightfully and pleasantly
Catches up with you sleep affords you this non cumbersome trip of ease and you awaken and it is dark
At first groggy disoriented just like in a dream this logical but off answer is provided then you finally
Figure out what is going on what surprise and pleasure to know you have been ambushed by a slight
Tiredness that robed you in sweet bliss then trimmed it in solace you stir yourself and do minor things
Until it’s the bed time hour but instead of the normal lights out its turn away from the computer shut off
The television **** all the lights but one and then just purposely luxuriate in the soft amber glow it
Provides set the rudder to take you to sweet wonder as you drift to unspoken destinations these are
Truly simple joys where the need to be careful comes in we know even creation and all its splendors are
Fragile a great rush of water with four feet of foam froth and power charges down it has a twin that is
Separated by this mass of rock that rises upwards of fifty feet the water falls over it in a different way
These strings of water that cover the face from one side to the other and they are accompanied with the
Sweetest mist so you have this forked water show on both sides of powerful water all this glory of white
Power rushing then falling and then the center piece contrasted to this sense such power and mass and
The water is shear as it tenderly descends the mist is truly natures kiss the sound is the embrace the
Engulfing privilege we possess and own as humans but this could be harmed and ruined in so many sad
Ways thats why we are extraordinarily careful we want to preserve it for all times as human beings my
Friends we also can by indifference and lack of understating can harm friends that in their own right
Are spiritual streams that come from great spiritual head waters that were pristine and then one greater
Than all of us caused such harm and destruction in the purist place a garden I wrote and posted Fertile
Ground the great mind of Lincoln said in his day and he meant it for all of our history a nation as great as
Ours can and must be sustained yes our armies and navy are a part but in his speech He says if
“Destruction be our lot we must ourselves be its author and finisher as a nation of freemen we must
Must live through all time or die by suicide what constitutes the bulwark of our liberty and
Independence it is not our frowning battlements our bristling sea coasts the guns of our war steamers
Or the strength of our gallant and disciplined army these are not our reliance against the resumption of
Tyranny in our fair land all of them may be turned against our liberties without making us stronger
Or weaker for the struggle our reliance is in the love of liberty which God has planted in our bosoms our
Defense is in the preservation of the spirit that prizes liberty as the heritage of all men in all lands
Everywhere destroy this spirit and you have planted the seeds of despotism around you own doors
Familiarize yourselves with the chains of ******* and you are preparing your own limbs to wear them
Accustomed to trample on the right of those around you you become the fit subjects of the first cunning
Tyrant who rises” sound words of wisdom that benefit all men we can’t release our responsibility and
Expect a continuance of our freedom this is careful part of this piece Thomas Jefferson had this to say “I
Tremble for my country when I reflect that God is just and his justice cannot sleep foe ever” what more
Prized possessions do you own than family and friends but if we deny and ignore our duty to be men
And women of righteousness how can we complain when civil authority in all manners deteriorates it
Can stand on no higher moral ground than we the people ourselves maintain we are the streaming
Waters of good or bad that flows through relationships ungodliness is a reproach to any nation by their
Fruits they will be known like it or not eat sins treats fine but know this the soul that sins it shall surely
Die it is a law an all living and loving father died to make sure no one could be a tyrant over you only
Yourselves hold that power every devil in hell can assault you but never can he claim victory until he
Sees the white flag of righteousness flying and it is saying I surrender my life of freedom bought by the
Pure sacrificial lamb God’s own son you could practically tell he was human they whipped him with a cat
Of nine tales with metal and bone he struggled down the Via Dolorosa each step declared your freedom
The song says He could have called ten thousand angels and it wasn’t nails that held your Savior to that
Cruel cross he had the ability to see everyone of us he knew how bitter and hard life would be if you
Walk it without him He said my burden is light and my yoke is easy it might sound obscure today but it is
Just as real walk beyond his love in disobedience and you will be punished by the god of this world and
Then he will take you to his fiery home as his subject I wrote before you are his greatest trophy he has
You on display in his lair because you are the greatest treasure God has not golden streets
You fist loved me and my brothers and sisters the tears that I cry in private it says this is doing the work
Of the savior increase my tears and sorrow because too many of them are hurting and know not your
Comfort lost in a savage world not any longer their own a usurper took them captive love replaced by
Cruelty is their lot if they could only see your painful longing as you look for them to come home every
Day they would truly break ties to this fallen world and fly to your presence they believe the lie that they
Have it figured out what sadness they are left with and they never have tasted your sweet spirit they
Mistake the boundless love they feel as if it were your spirit of intimacy outward love doesn’t reach
Inner depths satisfying to the point one person who cried stop no more I will die his love is truly deeper
Than the sea even the universe and Carl Sagan a man of science he was an American astronomer
Astrophysicist cosmologist author science popularizer science communicator sounds impressive but the
Reality he had an assistant and she had to be brilliant to a degree to be working with him but she was
More she was a born again Christian many were the years she loved and sought to help him not to just
Love the Cosmos but love the one who made them her persistence was to no avail you can make a god
Of many things even science how tragic he can be a warning guard your heart and you will preserve your
Soul

Going to include Fertile Ground that includes Streaks of Jefferson and Most Hated Twins I put on there
Lincoln said we should read such things

This important if you haven’t read it

Fertile Ground
O thou great Jefferson in whom dwelled the fidelity of a nation of free men.
Thy secretes can be viewed as we watch you live and breathe the life of a grand Virginia planter
When one is a student of nature and observes its subtle lessons becomes its master and ally. The next
Step of going to lead men is reasonable when taken into count the natural gifts that were refined in
Quiet fields and hills in lengthy times of treasured solitude that is not to say there won’t be difficulties
But to a merchandiser of lofty thoughts this is of little consequence. There are issues that must be
Divined through the protracted business of hard arduous study. Man’s soul drifts in and out of the valley
And hills taking unconsciously truths that exist they are everywhere but can be buried in life’s clamor.
To purposely walk across a field with your with your senses open will usher you into a place quiet
Unsettling if you are one who is uneasy in your own thoughts because the vistas will allow your mind to
Extend it to the far reaches ordinary thoughts will jump over conventional restraints and give you
Profound insights Jefferson graduated from this school of higher learning for this very important time
This man of stature arose he flung freedom’s door wide open walked through set down at his desk and
Masterfully penned immortal words, to this day time hasn’t diminished any of their importance or there
Revered excellence this document would go unparalleled in type and execution, in forming the basis for
Human conduct it would forever alter the landscape that that had existed before its grand arrival.
The stinginess of former centuries were at long last over the mind had finally
Liberated the body the willingness to do for one’s self had taken the lead there was no
Turning back, these actions would recommend them as a people. Their credentials intact now they were
Ready for the world stage a new birth of nobility walked into the human condition and it wasn’t
In the least bit hesitant to speak thoughts that had long been silenced.
The trouble today stems from the lack of understanding we have about the truth,
Of what oppression would be unleashed if our form of government would be allowed to be dissolved we
Love the dream but deplore the reality. That this system will only work when we are involved. It has a
Built in detection device, you can’t use its rewards without paying it back with service.
The results will be contagious you will be left with a weak sickly government.
The remedy simple everyone has to be its central guardian.
This does not mean that it is weak this was the way it was created it is as strong as you
Are willing to have it know this it will always be dependent on human involvement.
We might not like it but we are making a choice freedom will be loosed or bound by our decision.
The product that we deal with is very supple and ever changeable it becomes whatever form you pour it
Into this is in accordance with its nature it also is a gauge of those that handle its virtues and shows if
You have had reverence or contempt. You will be left with honor or disgrace did you carry forth the gift
Or allow it to waver the children of the next generation are watching.
Streaks of Jefferson
In freedom’s blessed glorified sky through streaks of immortal gold his visage we behold
He looks upon the fields of liberty that he and the founding fathers sowed he sees the
Richness America has become he also beheld her struggles catastrophic wars abroad
And the most painful the one that divided the nation marred it with southern and northern
Blood saw the affable the sad giant Lincoln take the reins of discontent hold them by
Shear will and with uncommon sagacity guided it back in line to fulfill its destiny as the
Powerful fount that would always pour forth waters of freedom for all of earths peoples
Total unconditional acceptance of liberty and all the fruit it bears to establish a
Government like no other this golden grain has waved under bluest skies and brightest
Sun light its rich harvest has gone to darkest prison cells Mandela was sustained by it
For twenty nine years and by its moral purity it fed the lives of those that over threw
Apartied and Mandela finally freed by principals it avows rose from prison clothes
To wear the mantle of president of his country and the honor of the man instilled
Quality that transcended political office Jefferson not to be disrespectful to his progeny
Whispers today’s politicians could do well to look on this African model of good
Stewardship of public trust with that Jefferson faded back into the mist pray that’s
Not the fate of this country
Most hated twins
Who are these two desperate characters revered but feared by all
To make their acutance few will volunteer those who know them well
All can tell by the drawn face and the tears that swell the pool where wisdom has her rule
Achievers welcome them as honored guest they withstood the test now they the richest blest
At mornings first blade of light they strike with all their might they the quickest to fight
Timorous to afraid how many have dwelt by waters undying well only to die unfulfilled
But others tried and they fell the well is to deep its where darkest shadows creep
We will be lost in these new surroundings the familiar there will be water there too
Yes stagnant unmoved guarded for naught its benefit was for the traveler going places
For you it will be your grave marker he talked and talked but venture on never
He said he was the clever one as his countenance slowly turned to stone killed by apathy
Green pastures call to find them in yourself health you will install
Few are they that were meant and born to reside in the same place you must go
If you stay rebuild the common and ordinary your monument then they will admire
Who stood to long and with all intention he gave it only words action was the wonder that was missing
Treading a narrow path in the end if you buried or squandered your talent divine wrath you will face
Cast your seed far and wide how can you not see the need sorrow has them tied
Push back the encircling darkness with the light in your heart that God did endow
Go and answer the door your guides are here I want you to meet two friends Pain and Adversity
Two finer companions you will never know Washington and his men befriended them at Valley Forge Concord, York town. Lincoln met them first at Bull Run Antietam I think he gave a little speech at Gettysburg. One birthed a nation the other saved a divided one.
Kaitlin Collide Sep 2013
Oh sleepless night
What a trick on me you play!
For the reason I cannot sleep
Is because I anticipate the day

We build our day up
To have it elapse at night
But how too often a time I experience
A continuance through the night

Oh how unfair to me you see
For nighttime is a break much overlooked
Because I walk through the day quite sleepily
Which is difficult in a day so overbooked

Sleeping figures
Rejuvenating minds
Your mind is cultivating in peace
While my face is forming lines

Oh how I wish I didn’t get so worked up
I expected this to happen
Which ironically is the reason
My tiredness has been dampened

I lay in bed, ready
Ready to try this out
A pleasant sleep is all I wanted
Without completely passing out

How I get so jealous when
You lay there and drift to rest
While I’m dealing with two polar issues--
Either abruptly collapse into sleep or else from it slowly digress

Oh sleepless night, you tease me so
You fool with me and upset me so
For when thinking of tomorrow I surely know
I’m not going to be as lively as my potential.

It’s like I’m a hobo on Fifth Ave
Looking at the rich not realizing what they have
I get excited over spare change
While you collect your pay checks again and again

So let’s face it, tomorrow I’ll be miserable
And I’ll look forward to when the clock strikes night
But then the hours I have will become considerable
So I’ll lay there restlessly and drift away just before the light.
So I’ll get a taste of what sleeps like
But I’ll never get to experience it right.
Oh you cruel, mean sleepless night!
Where dwells your brother so known as the “Goodnight”?
written in my freshman dorm in 2011
Incipit prohemium tercii libri.

O blisful light of whiche the bemes clere  
Adorneth al the thridde hevene faire!
O sonnes lief, O Ioves doughter dere,
Plesaunce of love, O goodly debonaire,
In gentil hertes ay redy to repaire!  
O verray cause of hele and of gladnesse,
Y-heried be thy might and thy goodnesse!

In hevene and helle, in erthe and salte see
Is felt thy might, if that I wel descerne;
As man, brid, best, fish, herbe and grene tree  
Thee fele in tymes with vapour eterne.
God loveth, and to love wol nought werne;
And in this world no lyves creature,
With-outen love, is worth, or may endure.

Ye Ioves first to thilke effectes glade,  
Thorugh which that thinges liven alle and be,
Comeveden, and amorous him made
On mortal thing, and as yow list, ay ye
Yeve him in love ese or adversitee;
And in a thousand formes doun him sente  
For love in erthe, and whom yow liste, he hente.

Ye fierse Mars apeysen of his ire,
And, as yow list, ye maken hertes digne;
Algates, hem that ye wol sette a-fyre,
They dreden shame, and vices they resigne;  
Ye do hem corteys be, fresshe and benigne,
And hye or lowe, after a wight entendeth;
The Ioyes that he hath, your might him sendeth.

Ye holden regne and hous in unitee;
Ye soothfast cause of frendship been also;  
Ye knowe al thilke covered qualitee
Of thinges which that folk on wondren so,
Whan they can not construe how it may io,
She loveth him, or why he loveth here;
As why this fish, and nought that, comth to were.  

Ye folk a lawe han set in universe,
And this knowe I by hem that loveres be,
That who-so stryveth with yow hath the werse:
Now, lady bright, for thy benignitee,
At reverence of hem that serven thee,  
Whos clerk I am, so techeth me devyse
Som Ioye of that is felt in thy servyse.

Ye in my naked herte sentement
Inhelde, and do me shewe of thy swetnesse. --
Caliope, thy vois be now present,  
For now is nede; sestow not my destresse,
How I mot telle anon-right the gladnesse
Of Troilus, to Venus heryinge?
To which gladnes, who nede hath, god him bringe!

Explicit prohemium Tercii Libri.

Incipit Liber Tercius.

Lay al this mene whyle Troilus,  
Recordinge his lessoun in this manere,
'Ma fey!' thought he, 'Thus wole I seye and thus;
Thus wole I pleyne unto my lady dere;
That word is good, and this shal be my chere;
This nil I not foryeten in no wyse.'  
God leve him werken as he can devyse!

And, lord, so that his herte gan to quappe,
Heringe hir come, and shorte for to syke!
And Pandarus, that ledde hir by the lappe,
Com ner, and gan in at the curtin pyke,  
And seyde, 'God do bote on alle syke!
See, who is here yow comen to visyte;
Lo, here is she that is your deeth to wyte.'

Ther-with it semed as he wepte almost;
'A ha,' quod Troilus so rewfully,  
'Wher me be wo, O mighty god, thow wost!
Who is al there? I se nought trewely.'
'Sire,' quod Criseyde, 'it is Pandare and I.'
'Ye, swete herte? Allas, I may nought ryse
To knele, and do yow honour in som wyse.'  

And dressede him upward, and she right tho
Gan bothe here hondes softe upon him leye,
'O, for the love of god, do ye not so
To me,' quod she, 'Ey! What is this to seye?
Sire, come am I to yow for causes tweye;  
First, yow to thonke, and of your lordshipe eke
Continuance I wolde yow biseke.'

This Troilus, that herde his lady preye
Of lordship him, wex neither quik ne deed,
Ne mighte a word for shame to it seye,  
Al-though men sholde smyten of his heed.
But lord, so he wex sodeinliche reed,
And sire, his lesson, that he wende conne,
To preyen hir, is thurgh his wit y-ronne.

Cryseyde al this aspyede wel y-nough,  
For she was wys, and lovede him never-the-lasse,
Al nere he malapert, or made it tough,
Or was to bold, to singe a fool a masse.
But whan his shame gan somwhat to passe,
His resons, as I may my rymes holde,  
I yow wole telle, as techen bokes olde.

In chaunged vois, right for his verray drede,
Which vois eek quook, and ther-to his manere
Goodly abayst, and now his hewes rede,
Now pale, un-to Criseyde, his lady dere,  
With look doun cast and humble yolden chere,
Lo, the alderfirste word that him asterte
Was, twyes, 'Mercy, mercy, swete herte!'

And stinte a whyl, and whan he mighte out-bringe,
The nexte word was, 'God wot, for I have,  
As feyfully as I have had konninge,
Ben youres, also god so my sowle save;
And shal til that I, woful wight, be grave.
And though I dar ne can un-to yow pleyne,
Y-wis, I suffre nought the lasse peyne.  

'Thus muche as now, O wommanliche wyf,
I may out-bringe, and if this yow displese,
That shal I wreke upon myn owne lyf
Right sone, I trowe, and doon your herte an ese,
If with my deeth your herte I may apese.  
But sin that ye han herd me som-what seye,
Now recche I never how sone that I deye.'

Ther-with his manly sorwe to biholde,
It mighte han maad an herte of stoon to rewe;
And Pandare weep as he to watre wolde,  
And poked ever his nece newe and newe,
And seyde, 'Wo bigon ben hertes trewe!
For love of god, make of this thing an ende,
Or slee us bothe at ones, er that ye wende.'

'I? What?' quod she, 'By god and by my trouthe,  
I noot nought what ye wilne that I seye.'
'I? What?' quod he, 'That ye han on him routhe,
For goddes love, and doth him nought to deye.'
'Now thanne thus,' quod she, 'I wolde him preye
To telle me the fyn of his entente;  
Yet wist I never wel what that he mente.'

'What that I mene, O swete herte dere?'
Quod Troilus, 'O goodly, fresshe free!
That, with the stremes of your eyen clere,
Ye wolde som-tyme freendly on me see,  
And thanne agreen that I may ben he,
With-oute braunche of vyce on any wyse,
In trouthe alwey to doon yow my servyse,

'As to my lady right and chief resort,
With al my wit and al my diligence,  
And I to han, right as yow list, comfort,
Under your yerde, egal to myn offence,
As deeth, if that I breke your defence;
And that ye deigne me so muche honoure,
Me to comaunden ought in any houre.  

'And I to ben your verray humble trewe,
Secret, and in my paynes pacient,
And ever-mo desire freshly newe,
To serven, and been y-lyke ay diligent,
And, with good herte, al holly your talent  
Receyven wel, how sore that me smerte,
Lo, this mene I, myn owene swete herte.'

Quod Pandarus, 'Lo, here an hard request,
And resonable, a lady for to werne!
Now, nece myn, by natal Ioves fest,  
Were I a god, ye sholde sterve as yerne,
That heren wel, this man wol no-thing yerne
But your honour, and seen him almost sterve,
And been so looth to suffren him yow serve.'

With that she gan hir eyen on him caste  
Ful esily, and ful debonairly,
Avysing hir, and hyed not to faste
With never a word, but seyde him softely,
'Myn honour sauf, I wol wel trewely,
And in swich forme as he can now devyse,  
Receyven him fully to my servyse,

'Biseching him, for goddes love, that he
Wolde, in honour of trouthe and gentilesse,
As I wel mene, eek mene wel to me,
And myn honour, with wit and besinesse  
Ay kepe; and if I may don him gladnesse,
From hennes-forth, y-wis, I nil not feyne:
Now beeth al hool; no lenger ye ne pleyne.

'But nathelees, this warne I yow,' quod she,
'A kinges sone al-though ye be, y-wis,  
Ye shal na-more have soverainetee
Of me in love, than right in that cas is;
Ne I nil forbere, if that ye doon a-mis,
To wrathen yow; and whyl that ye me serve,
Cherycen yow right after ye deserve.  

'And shortly, dere herte and al my knight,
Beth glad, and draweth yow to lustinesse,
And I shal trewely, with al my might,
Your bittre tornen al in-to swetenesse.
If I be she that may yow do gladnesse,  
For every wo ye shal recovere a blisse';
And him in armes took, and gan him kisse.

Fil Pandarus on knees, and up his eyen
To hevene threw, and held his hondes hye,
'Immortal god!' quod he, 'That mayst nought dyen,  
Cupide I mene, of this mayst glorifye;
And Venus, thou mayst maken melodye;
With-outen hond, me semeth that in the towne,
For this merveyle, I here ech belle sowne.

'But **! No more as now of this matere,  
For-why this folk wol comen up anoon,
That han the lettre red; lo, I hem here.
But I coniure thee, Criseyde, and oon,
And two, thou Troilus, whan thow mayst goon,
That at myn hous ye been at my warninge,  
For I ful wel shal shape youre cominge;

'And eseth ther your hertes right y-nough;
And lat see which of yow shal bere the belle
To speke of love a-right!' ther-with he lough,
'For ther have ye a layser for to telle.'  
Quod Troilus, 'How longe shal I dwelle
Er this be doon?' Quod he, 'Whan thou mayst ryse,
This thing shal be right as I yow devyse.'

With that Eleyne and also Deiphebus
Tho comen upward, right at the steyres ende;  
And Lord, so than gan grone Troilus,
His brother and his suster for to blende.
Quod Pandarus, 'It tyme is that we wende;
Tak, nece myn, your leve at alle three,
And lat hem speke, and cometh forth with me.'  

She took hir leve at hem ful thriftily,
As she wel coude, and they hir reverence
Un-to the fulle diden hardely,
And speken wonder wel, in hir absence,
Of hir, in preysing of hir excellence,  
Hir governaunce, hir wit; and hir manere
Commendeden, it Ioye was to here.

Now lat hir wende un-to hir owne place,
And torne we to Troilus a-yein,
That gan ful lightly of the lettre passe  
That Deiphebus hadde in the gardin seyn.
And of Eleyne and him he wolde fayn
Delivered been, and seyde that him leste
To slepe, and after tales have reste.

Eleyne him kiste, and took hir leve blyve,  
Deiphebus eek, and hoom wente every wight;
And Pandarus, as faste as he may dryve,
To Troilus tho com, as lyne right;
And on a paillet, al that glade night,
By Troilus he lay, with mery chere,  
To tale; and wel was hem they were y-fere.

Whan every wight was voided but they two,
And alle the dores were faste y-shette,
To telle in short, with-oute wordes mo,
This Pandarus, with-outen any lette,  
Up roos, and on his beddes syde him sette,
And gan to speken in a sobre wyse
To Troilus, as I shal yow devyse:

'Myn alderlevest lord, and brother dere,
God woot, and thou, that it sat me so sore,  
When I thee saw so languisshing to-yere,
For love, of which thy wo wex alwey more;
That I, with al my might and al my lore,
Have ever sithen doon my bisinesse
To bringe thee to Ioye out of distresse,  

'And have it brought to swich plyt as thou wost,
So that, thorugh me, thow stondest now in weye
To fare wel, I seye it for no bost,
And wostow which? For shame it is to seye,
For thee have I bigonne a gamen pleye  
Which that I never doon shal eft for other,
Al-though he were a thousand fold my brother.

'That is to seye, for thee am I bicomen,
Bitwixen game and ernest, swich a mene
As maken wommen un-to men to comen;  
Al sey I nought, thou wost wel what I mene.
For thee have I my nece, of vyces clene,
So fully maad thy gentilesse triste,
That al shal been right as thy-selve liste.

'But god, that al wot, take I to witnesse,  
That never I this for coveityse wroughte,
But only for to abregge that distresse,
For which wel nygh thou deydest, as me thoughte.
But, gode brother, do now as thee oughte,
For goddes love, and kep hir out of blame,  
Sin thou art wys, and save alwey hir name.

'For wel thou wost, the name as yet of here
Among the peple, as who seyth, halwed is;
For that man is unbore, I dar wel swere,
That ever wiste that she dide amis.  
But wo is me, that I, that cause al this,
May thenken that she is my nece dere,
And I hir eem, and trattor eek y-fere!

'And were it wist that I, through myn engyn,
Hadde in my nece y-put this fantasye,  
To do thy lust, and hoolly to be thyn,
Why, al the world up-on it wolde crye,
And seye, that I the worste trecherye
Dide in this cas, that ever was bigonne,
And she for-lost, and thou right nought y-wonne.  

'Wher-fore, er I wol ferther goon a pas,
Yet eft I thee biseche and fully seye,
That privetee go with us in this cas;
That is to seye, that thou us never wreye;
And be nought wrooth, though I thee ofte preye  
To holden secree swich an heigh matere;
For skilful is, thow wost wel, my preyere.

'And thenk what wo ther hath bitid er this,
For makinge of avantes, as men rede;
And what mischaunce in this world yet ther is,  
Fro day to day, right for that wikked dede;
For which these wyse clerkes that ben dede
Han ever yet proverbed to us yonge,
That "Firste vertu is to kepe tonge."

'And, nere it that I wilne as now tabregge  
Diffusioun of speche, I coude almost
A thousand olde stories thee alegge
Of wommen lost, thorugh fals and foles bost;
Proverbes canst thy-self y-nowe, and wost,
Ayeins that vyce, for to been a labbe,  
Al seyde men sooth as often as they gabbe.

'O tonge, allas! So often here-biforn
Hastow made many a lady bright of hewe
Seyd, "Welawey! The day that I was born!"
And many a maydes sorwes for to newe;  
And, for the more part, al is untrewe
That men of yelpe, and it were brought to preve;
Of kinde non avauntour is to leve.

'Avauntour and a lyere, al is on;
As thus: I pose, a womman graunte me  
Hir love, and seyth that other wol she non,
And I am sworn to holden it secree,
And after I go telle it two or three;
Y-wis, I am avauntour at the leste,
And lyere, for I breke my biheste.  

'Now loke thanne, if they be nought to blame,
Swich maner folk; what shal I clepe hem, what,
That hem avaunte of wommen, and by name,
That never yet bihighte hem this ne that,
Ne knewe hem more than myn olde hat?  
No wonder is, so god me sende hele,
Though wommen drede with us men to dele.

'I sey not this for no mistrust of yow,
Ne for no wys man, but for foles nyce,
And for the harm that in the world is now,  
As wel for foly ofte as for malyce;
For wel wot I, in wyse folk, that vyce
No womman drat, if she be wel avysed;
For wyse ben by foles harm chastysed.

'But now to purpos; leve brother dere,  
Have al this thing that I have seyd in minde,
And keep thee clos, and be now of good chere,
For at thy day thou shalt me trewe finde.
I shal thy proces sette in swich a kinde,
And god to-forn, that it shall thee suffyse,  
For it shal been right as thou wolt devyse.

'For wel I woot, thou menest wel, parde;
Therfore I dar this fully undertake.
Thou wost eek what thy lady graunted thee,
And day is set, the chartres up to make.  
Have now good night, I may no lenger wake;
And bid for me, sin thou art now in blisse,
That god me sende deeth or sone lisse.'

Who mighte telle half the Ioye or feste
Which that the sowle of Troilus tho felte,  
Heringe theffect of Pandarus biheste?
His olde wo, that made his herte swelte,
Gan tho for Ioye wasten and to-melte,
And al the richesse of his sykes sore
At ones fledde, he felte of hem no more.  

But right so as these holtes and these hayes,
That han in winter dede been and dreye,
Revesten hem in grene, whan that May is,
Whan every ***** lyketh best to pleye;
Right in that selve wyse, sooth to seye,  
Wax sodeynliche his herte ful of Ioye,
That gladder was ther never man in Troye.

And gan his look on Pandarus up caste
Ful sobrely, and frendly for to see,
And seyde, 'Freend, in Aprille the laste,  
As wel thou wost, if it remembre thee,
How neigh the deeth for wo thou founde me;
And how thou didest al thy bisinesse
To knowe of me the cause of my distresse.

'Thou wost how longe I it for-bar to seye  
To thee, that art the man that I best triste;
And peril was it noon to thee by-wreye,
That wiste I wel; but tel me, if thee liste,
Sith I so looth was that thy-self it wiste,
How dorst I mo tellen of this matere,  
That quake now, and no wight may us here?

'But natheles, by that god I thee swere,
That, as him list, may al this world governe,
And, if I lye, Achilles with his spere
Myn herte cleve, al were my lyf eterne,  
As I am mortal, if I late or yerne
Wolde it b
WHILOM, as olde stories tellen us,                            formerly
There was a duke that highte* Theseus.                   was called
Of Athens he was lord and governor,
And in his time such a conqueror
That greater was there none under the sun.
Full many a riche country had he won.
What with his wisdom and his chivalry,
He conquer'd all the regne of Feminie,
That whilom was y-cleped Scythia;
And weddede the Queen Hippolyta
And brought her home with him to his country
With muchel
glory and great solemnity,                           great
And eke her younge sister Emily,
And thus with vict'ry and with melody
Let I this worthy Duke to Athens ride,
And all his host, in armes him beside.

And certes, if it n'ere
too long to hear,                     were not
I would have told you fully the mannere,
How wonnen
was the regne of Feminie,                            won
By Theseus, and by his chivalry;
And of the greate battle for the *****
Betwixt Athenes and the Amazons;
And how assieged was Hippolyta,
The faire hardy queen of Scythia;
And of the feast that was at her wedding
And of the tempest at her homecoming.
But all these things I must as now forbear.
I have, God wot, a large field to ear
                       plough;
And weake be the oxen in my plough;
The remnant of my tale is long enow.
I will not *letten eke none of this rout
.                hinder any of
Let every fellow tell his tale about,                      this company

And let see now who shall the supper win.
There as I left, I will again begin.                where I left off

This Duke, of whom I make mentioun,
When he was come almost unto the town,
In all his weal, and in his moste pride,
He was ware, as he cast his eye aside,
Where that there kneeled in the highe way
A company of ladies, tway and tway,
Each after other, clad in clothes black:
But such a cry and such a woe they make,
That in this world n'is creature living,
That hearde such another waimenting                      lamenting
And of this crying would they never stenten,                    desist
Till they the reines of his bridle henten.                       *seize
"What folk be ye that at mine homecoming
Perturben so my feaste with crying?"
Quoth Theseus; "Have ye so great envy
Of mine honour, that thus complain and cry?
Or who hath you misboden
, or offended?                         wronged
Do telle me, if it may be amended;
And why that ye be clad thus all in black?"

The oldest lady of them all then spake,
When she had swooned, with a deadly cheer
,                 countenance
That it was ruthe
for to see or hear.                             pity
She saide; "Lord, to whom fortune hath given
Vict'ry, and as a conqueror to liven,
Nought grieveth us your glory and your honour;
But we beseechen mercy and succour.
Have mercy on our woe and our distress;
Some drop of pity, through thy gentleness,
Upon us wretched women let now fall.
For certes, lord, there is none of us all
That hath not been a duchess or a queen;
Now be we caitives
, as it is well seen:                       captives
Thanked be Fortune, and her false wheel,
That *none estate ensureth to be wele
.       assures no continuance of
And certes, lord, t'abiden your presence              prosperous estate

Here in this temple of the goddess Clemence
We have been waiting all this fortenight:
Now help us, lord, since it lies in thy might.

"I, wretched wight, that weep and waile thus,
Was whilom wife to king Capaneus,
That starf* at Thebes, cursed be that day:                     died
And alle we that be in this array,
And maken all this lamentatioun,
We losten all our husbands at that town,
While that the siege thereabouten lay.
And yet the olde Creon, wellaway!
That lord is now of Thebes the city,
Fulfilled of ire and of iniquity,
He for despite, and for his tyranny,
To do the deade bodies villainy
,                                insult
Of all our lorde's, which that been y-slaw,                       *slain
Hath all the bodies on an heap y-draw,
And will not suffer them by none assent
Neither to be y-buried, nor y-brent
,                             burnt
But maketh houndes eat them in despite."
And with that word, withoute more respite
They fallen groff,
and cryden piteously;                    grovelling
"Have on us wretched women some mercy,
And let our sorrow sinken in thine heart."

This gentle Duke down from his courser start
With hearte piteous, when he heard them speak.
Him thoughte that his heart would all to-break,
When he saw them so piteous and so mate
                         abased
That whilom weren of so great estate.
And in his armes he them all up hent
,                     raised, took
And them comforted in full good intent,
And swore his oath, as he was true knight,
He woulde do *so farforthly his might
        as far as his power went
Upon the tyrant Creon them to wreak,                            avenge
That all the people of Greece shoulde speak,
How Creon was of Theseus y-served,
As he that had his death full well deserved.
And right anon withoute more abode                               *delay
His banner he display'd, and forth he rode
To Thebes-ward, and all his, host beside:
No ner
Athenes would he go nor ride,                            nearer
Nor take his ease fully half a day,
But onward on his way that night he lay:
And sent anon Hippolyta the queen,
And Emily her younge sister sheen
                       bright, lovely
Unto the town of Athens for to dwell:
And forth he rit
; there is no more to tell.                       rode

The red statue of Mars with spear and targe
                     shield
So shineth in his white banner large
That all the fieldes glitter up and down:
And by his banner borne is his pennon
Of gold full rich, in which there was y-beat
                   stamped
The Minotaur which that he slew in Crete
Thus rit this Duke, thus rit this conqueror
And in his host of chivalry the flower,
Till that he came to Thebes, and alight
Fair in a field, there as he thought to fight.
But shortly for to speaken of this thing,
With Creon, which that was of Thebes king,
He fought, and slew him manly as a knight
In plain bataille, and put his folk to flight:
And by assault he won the city after,
And rent adown both wall, and spar, and rafter;
And to the ladies he restored again
The bodies of their husbands that were slain,
To do obsequies, as was then the guise
.                         custom

But it were all too long for to devise
                        describe
The greate clamour, and the waimenting
,                      lamenting
Which that the ladies made at the brenning
                     burning
Of the bodies, and the great honour
That Theseus the noble conqueror
Did to the ladies, when they from him went:
But shortly for to tell is mine intent.
When that this worthy Duke, this Theseus,
Had Creon slain, and wonnen Thebes thus,
Still in the field he took all night his rest,
And did with all the country as him lest
.                      pleased
To ransack in the tas
of bodies dead,                             heap
Them for to strip of *harness and of *
****,           armour *clothes
The pillers* did their business and cure,                 pillagers
After the battle and discomfiture.
And so befell, that in the tas they found,
Through girt with many a grievous ****** wound,
Two younge knightes *ligging by and by
             lying side by side
Both in one armes, wrought full richely:             the same armour
Of whiche two, Arcita hight that one,
And he that other highte Palamon.
Not fully quick, nor fully dead they were,                       *alive
But by their coat-armour, and by their gear,
The heralds knew them well in special,
As those that weren of the blood royal
Of Thebes, and *of sistren two y-born
.            born of two sisters
Out of the tas the pillers have them torn,
And have them carried soft unto the tent
Of Theseus, and he full soon them sent
To Athens, for to dwellen in prison
Perpetually, he n'olde no ranson.               would take no ransom
And when this worthy Duke had thus y-done,
He took his host, and home he rit anon
With laurel crowned as a conquerour;
And there he lived in joy and in honour
Term of his life; what needeth wordes mo'?
And in a tower, in anguish and in woe,
Dwellen this Palamon, and eke Arcite,
For evermore, there may no gold them quite                    set free

Thus passed year by year, and day by day,
Till it fell ones in a morn of May
That Emily, that fairer was to seen
Than is the lily upon his stalke green,
And fresher than the May with flowers new
(For with the rose colour strove her hue;
I n'ot* which was the finer of them two),                      know not
Ere it was day, as she was wont to do,
She was arisen, and all ready dight
,                           dressed
For May will have no sluggardy a-night;
The season pricketh every gentle heart,
And maketh him out of his sleep to start,
And saith, "Arise, and do thine observance."

This maketh Emily have remembrance
To do honour to May, and for to rise.
Y-clothed was she fresh for to devise;
Her yellow hair was braided in a tress,
Behind her back, a yarde long I guess.
And in the garden at *the sun uprist
                           sunrise
She walketh up and down where as her list.
She gathereth flowers, party
white and red,                    mingled
To make a sotel
garland for her head,            subtle, well-arranged
And as an angel heavenly she sung.
The greate tower, that was so thick and strong,
Which of the castle was the chief dungeon
(Where as these knightes weren in prison,
Of which I tolde you, and telle shall),
Was even joinant
to the garden wall,                         adjoining
There as this Emily had her playing.

Bright was the sun, and clear that morrowning,
And Palamon, this woful prisoner,
As was his wont, by leave of his gaoler,
Was ris'n, and roamed in a chamber on high,
In which he all the noble city sigh
,                               saw
And eke the garden, full of branches green,
There as this fresh Emelia the sheen
Was in her walk, and roamed up and down.
This sorrowful prisoner, this Palamon
Went in his chamber roaming to and fro,
And to himself complaining of his woe:
That he was born, full oft he said, Alas!
And so befell, by aventure or cas
,                              chance
That through a window thick of many a bar
Of iron great, and square as any spar,
He cast his eyes upon Emelia,
And therewithal he blent
and crie
Consider the sea’s listless chime:
Time’s self it is, made audible,—
The murmur of the earth’s own shell.
Secret continuance sublime
Is the sea’s end: our sight may pass
No furlong further.  Since time was,
This sound hath told the lapse of time.

No quiet, which is death’s,—it hath
The mournfulness of ancient life,
Enduring always at dull strife.
As the world’s heart of rest and wrath,
Its painful pulse is in the sands.
Last utterly, the whole sky stands,
Gray and not known, along its path.

Listen alone beside the sea,
Listen alone among the woods;
Those voices of twin solitudes
Shall have one sound alike to thee:
Hark where the murmurs of thronged men
Surge and sink back and surge again,—
Still the one voice of wave and tree.

Gather a shell from the strown beach
And listen at its lips: they sigh
The same desire and mystery,
The echo of the whole sea’s speech.
And all mankind is thus at heart
Not anything but what thou art:
And Earth, Sea, Man, are all in each.
Death:
Some illusory state
wherein vitality vibrates
across recombining chemicals.
alislahish
Michael R Burch Feb 2020
Komm, Du (“Come, You”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

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

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

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

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

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

English translation originally published by Better Than Starbucks

Original text:

Komm du

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

Keywords/Tags: German, translation, Rilke, last poem, death, fever, burning, pyre, leukemia, pain, consumed, consummation, flesh, spirit, rage, pawn, free, purge, purged, inside, outside, lost, unknown, alienated, alienation



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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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
SBohl Oct 2011
Ivy
Accidental introduction
Slow destruction
Deceptive beauty
Slow destruction
Accidental introduction

An invasive species
Not something with which to be reckoned
It can not be reversed
Not something with which to be reckoned
An invasive species

Superficial beauty
Brief Enjoyment
Ruinous existence
Brief Enjoyment
Superficial beauty

Tendrils of beauty
Tendrils of expiry
Self contradictory by definition
Tendrils of expiry
Tendrils of beauty

Taking everything needed for continuance of self
Removing what is needed for existence of everything else
Choking a red-faced, forlorn life
Removing what is needed for existence of everything else
Taking everything needed for continuance of self

There is no escape
The reach has extended too far for reversal
All that is left is acceptance of destruction
The reach has extended too far for reversal
There is no escape

There is no escape
Emanuel Martinez May 2013
Teasing the beast
Looking for a feast

Hounds barking at our ears
Vultures flying up ahead
Circling a bald eagle's fresh corpse

Compartmentalizing symptom after symptom
To hide the great systematic sickness
Labeling the suffering, outcome from desire

We, wholeheartedly accepting being
Appropriated, labeled, discarded
As construing our own oppression and sadness

Enduring the **** of our minds
Being castrated of our consciousness
Before we reap the products
Of its bold liberation and grandness

Its the belly of the beast
And its hungry
Insatiable, amoral entrails
Hoping to salvage a feast
From the casualties of d(e)moc(ratic) wars

Hoping we feed our monstrous fear
Thirsting for the greed
Dripping off of accumulating wealths
Impatiently waiting, we keep parceling out grudges

Disfiguring our minds, our souls, and our bodies
Its misanthropic nature lashes out without conscience
Knowing we'll never realize we are masses

Disappearing the individuals who realize their suffering
Ensuring there's no collective opposition or action
Trying to reassure we are weak

Knowing at some point or another
We all act mute, deaf, and blind when anyone experiences:
Oppression
Pain
Silencing
****
Hunger
Fear
Violence
­Repression
Retaliation
Discrimination
Torture
Negation
Alienation­
All forms of mental, psychological, physical, and spiritual mutilation
Fearing death more than fighting for necessary abolishment
Preferring to live out our veiled miseries
Endorsing their continuance
Instead of risking our lives for everyone's liberation
Always ensuring the feast of the beast

By its very efforts trying to decree our very human nature
Ingraining greed, fear, animosity, and weakness as if inherent of us
All parts of its most damaging weapon:  the seed of discord
Its implantation, a socialized deep desire for self-preservation

Sheep bleating painfully toward our ears
Vultures flying up ahead
Circling a bald eagle's fresh corpse
Signifying the impending recapturing
Of our true transformative desires
May 4, 2013
roxanne Jul 2018
Below the surfaceless
looking above
under the furls of wavering clouds
all you'd see is that untouched stare
an absence of warmth disclosed
elapsing over,
collapsing over
you

Shallows edges so elusive,
as obscure as a serpents nest
anonymous as the rest,
intrusive like these dated feelings

and yet those eyes like minds wander
wonder as if it's ever been to lie beyond
those gated passages to Edens flowers
a pocket of hours been laid before you,

Ghosts.

And the continuance to roam
inside of these channels
left empty and vacuous

so out of depth,
with filtering essence of memory
faltering lights of ambiguity,
letting the pieces drip upwards

you’re alone together with what ties are to be had
you speak as through the pith
of this insecurity,
the plight of this immaturity

a footstep in the waters
spilling from your tongue.

Venture from the beginning
a start to finish
as though time bounded in ripples
your tinted sight lines
undesigned and impalpable
even through strategy

under the palms, your hands,
the happens mind of another kind,
settling not in stones but
in sands
a habitual mess of ingraining
always draining and seeping

never enclosing,
fostered only by a feint solace
in the flooded catacombs of yours.

A participance of midnights moons
in these swimming conversations,
cycled discussions
the rising tides of snake eyes
with one onerous touch
submerging your voice

into a fragmented drowse

burning notes left from pictures
choking out all that swirls
the delirious magnetism of weight that pulls to you
creating an astringent terrain,
as your blood is spilling down

a pipeless drain.

A manifestation of ego's brain bubbling down
under the masque of self-worth and integrity
into a thick mud
painted with entitlement

across a dotted line

the deeds of your fascinations
possessions to another
inclinations unbeknownst to you,
against the black skies
opposing truths of deflection

you find yourself with silkless ink
writing what you think it to be
beyond your skin

and the closer the pen drips
the tighter the bolts become
on the grips over your perception
a darker rainstorm

straining out
lifelessly.

Pressure slowly eased
into soothful washing
though cliffs eroded from memory

cresting the hall
that remains beneath

as a little boy
with glassless eyes
and a mouth full
of rose thorns,

Greeting you

To the welcomes of goodbyes,
until the shrill whispers
of the sirens of deception call you

once more

threading over your faces
elapsing the rims of reality,
overgrowing its garden
into a shipwrecked valley

warped by tainted reveries.
hamza Aug 2012
That Kiss

That kiss that makes your knee's weak
That kiss that makes you want to freak
That kiss which no one could regret

have you ever had that feeling where you
don't know if that girl is the one until
you had that kiss?

That kiss that makes you miss her already
That kiss that no matter what you do,
you can't feel steady.
That kiss that just isn't kidding
That is the kiss my heart is feeding

Have you ever felt that feeling
of compassionate, soft lips touching you
gently and it all just feels right

That kiss of Continuance
That kiss of Love
That kiss of a princess
That kiss of affection
T A May 2016
What I wouldn't give to hide
and break the glass covering my mind
release the tension as it builds up
relieve the steam
let loose the dreams
smell the new horizon spanning my fate
look across my mind's ocean
and forget all of the commotion
caused by my own brain’s turmoil
fixed in the work of turning the soil
the labor, the toil, spanning generations.
Discovering new fields and meadows of the mind
would help, not hinder
a cerebrum such as mine
expanding further past the shore
deeper into the metaphorical earth of conscience
but instead I await a rescue
for, what simply more could I do?
the lines of capable and not so are thicker than before
and I'm on the side of failure
my continuance is dependent upon my hindered success
my mind and my clothes and my body's a mess
I want the shake and break the glass encasing my brain
crack the display case
do more than what is required
but how can I do more when I can't do less?
How can I derail this train of thought that I will never be the best
and I might not even be good.
The desire of the mind to hide from it's own self-doubt, to increase in capacity of what it wants to focus on while battling the knowledge of needing to focus on something else. This description is as messy as the poem.
Stephen E Yocum Jun 2018
The aromatic scent
of Fresh rain falling
upon dry earth,
is the essence for
the continuance
of all life itself.
No other primal ethereal scent
is sweeter or more reassuring.
It lasts for scant minutes but
is recalled forever.
Connor Smith Nov 2012
***** of echoes, the virile resonance quaking lust -
Throbbing caverns shudder to ****** inciting vestal musk
Entranced of nocturnal bedevilment - barefaced in galactic greens,
Spores ethereal yet concealed to the Queen

Sumptuous omphalos; her ecstatic womb engulfing the bloom,
Carnal reckonings devoid of Mosaic release as panting creatures swoon
Vigorous pollination morphing the nectarean sheath
Roused stamen shrivel in an animus induced retreat

Again we'll rise to salute our idol
In burning continuance:
Fertility extolled
With pleasure recompensed.
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
Marsha Singh Feb 2011
By accepting the terms of this agreement, you represent and warrant that you have the capacity to love.

Any similarity to a previous love is circumstantial; this love is not affiliated with other loves.
We assume no responsibility for for the shortcomings of prior loves;
we do, however, assume all responsibility for any loss, error, or communication failure incurred while in possession of this love.
It is, after all, love.

Love is available as is; no specific results are promised.
If you are at all unhappy, you are encouraged to return love.
If you find love to be damaged or defective, well, it's love.
Slight imperfections are to be expected, and add to the character of love.

Love may occasionally send you poems, letters, or declarations of its continuance. If you wish to opt out of this correspondence, you may cancel your account at any time.

The service may be temporarily unavailable from time to time; this may be due to maintenance, or periods of reflection. It in no way implies or forecasts termination of love, unless specifically stated so.

By accepting this agreement, you agree not to abuse love by acting in a manner inconsistent with the provisions listed above.

(please say yes)
brandon nagley Jun 2015
26
Long enough
26
26
26
Never to 27
Guess I'll stick to 26
The younger
The better....
26
Last letter
26
Eternity waits
26
A marvelous date
26
None more to leave
26
Set me free
26
A strange life
26
Saying goodbye
26
Loved whilst I could
26
But all's left and all's done
26
Fears none more
26
26
26
26
20ish
26
20 six
2wenty si..... .
Forever
26!!;;
Thomas R Parsons Dec 2011
December 23, 2011

This time of year, this now sad time when I find myself lamentingly thinking of you, I am yet again crying because I no longer can pick up the phone to hear you say “Hello?” as if you were asking a question and not answering a phone.

This time of year, Christmastime, when families gather, when friends laugh. Gifts are exchanged.  Hearts are warm.  The color red is all around and supposes to envelope all that it sees.  This a time when many people are kind to those that they would otherwise never think of, say perhaps on July 4th when the weather is balmy and fireworks flare.

You have been gone but days, however, it seems like years.  My days are consumed hoping that I might wake up from this dream, this nightmare really, that you somehow got better.  That I could wake up from this, though tears would be streaming, I would be thankful that you were still here, and I would immediately pick up the phone to hear that “Hello?”  You too would have been sleeping and you answer confused.  You ask me what is wrong.  I say, holding back the sobs as best I can, that I had a bad dream and I needed to hear your voice.  I am not waking though, this dream is now months old, it clings to me, feeding, biting deeper every day.  I am living this sad nightmare.

This is our, your family’s, your creation’s first Christmas without you.  With you, all those many years ago, the little gifts you gave, simply wrapped with a bow and names written on the wrapping paper, were all appreciated with eyes glowing.  With little you gave much.

I will get no more hugs from you.  This painful realization denies me much.  Hugs, for me, always meant that everything was well in the world.  Hugs have been taken, leaving me with but the memory that makes me write these words.  I will pause to remember these hugs not just at Christmastime but at every time of year – in the spring when the wind blows across the lake, over the sand of the beach and then over the trees and flowers, I will remember those hugs.  Little did I know that every hug gave me comfort that will last for the continuance of my life.  It’s a gift that I can open over and over.  Thank you – an eternal gift that you gave to all of us.

The magic of Christmas is not so powerful that it can give me the only gift that I want – more time with you.  One last Christmas, perhaps, with the family together, cooking and playing games.  All laughing with each other, loving each other, all while you rest in your recliner, gently rocking back and forth, with a look on your face that defines happy.  Your family, your blood, all near to you with happy smeared across our faces too.
  
Though, as I think about it, I don’t know that more time would prepare me any better.  I would still grieve as I never have.  I would still know the reality of your not being here along with my want to not accept that which is my reality.  

I think, question, why am I still here if you are gone?  This thought, though silly, is that I came from you, should I not go with you as you go?  I find myself seeking out ways to push it all away.  Strange thoughts, expressed here only that someone may look oddly in my direction if I spoke those words to them.

This year there is no snow.  It is fairly warm for this time of year.  Cloudless sky – allowing the sun to shine, warming the brick and mortar of all surrounding me.  If there were snow, I think it would remind me more that Christmas is here and we don’t have you or more so that Christmas itself, along with us, mourns, weeps that you and your sweet smile are no more.

This year I must start a new journey, one that has you with me – physically no, but with the warmth of your hugs.  Keeping me connected to you, still holding onto you with the deepest of love, not just this Christmas but all that shall follow.  And not just for me, but for us all.

A tradition starts this year.  In honor of you, I will burn a candle – perhaps one in your favorite color – periwinkle.  Every year that candle will burn, in a window so that you may angelically fly to see it. It will signify your perfection, your strength, and your love.  I will watch the flame burn.  I will watch it because in times past I’ve noticed that as a candle burns, at the tip, at the very top of the flame, if you watch closely, it looks as though there is someone reaching out of the flame, toward heaven.  I will honor your memory, watching the flame, the spirit therein dancing until it burns out and flies away.

I will think now and forever more that you are an angel now.  An angel at Christmas, watching over, whispering love.  True the world is a sadder place this year, but even in your absence, you comfort me.  At the end of writing this, yet another realization, and epiphany perhaps, we are not without you at Christmas.  You are everywhere.  You are in the tree ornaments of past.  You are in the photographs of us, as a family, standing by the tree.  You are in all that you’ve left behind, you are in your legacy.  You are here, right now and always – hugging and comforting, listening and loving.  

“Have yourself a Merry little Christmas, let your heart be light…”

Thomas
This is not so much a poem as is it a remembrance -- a tribute to the strongest, most courageous woman I have ever known, my Mother.  She valiantly fought breast cancer but lost her battle on Oct. 30th, 2011.
Hal Loyd Denton Dec 2013
Preponderance gifts so weighty costly in this regard the truly hard part to step forth and be
Truly you because others are so important you give beyond price achingly so their glory is
Bestowing in them the undertow real life crushing all pretense gone triviality what airiness
Weightless worthless what times when compassion diligence of thought buys unheard of
Pasture lands fields black soil you stir up the deepest regard you exhaustively search your soul
And find seeds that are worthy for the planting it will flourish golden grain that is beholding
They will lift their eyes see the swaying harvest an all knowing concentration will grip them I
Have left the common the austere will cause a shaking a piercing knowing this is an open heart
Speaking giving how we yearn for such times here is the opportunity to sink our most tender
Thoughts deep the entanglements every twisted destruction that puts on the show and claims
Such rewards that only prove to be more disappointments bow you bow inwardly hard clay like
Soil is passed and all the choking devices are over powered you feel a new surging it explodes in
All directions falsehood in all of it disguises wither under this purity of emotion commitment I
Detest the former existence I called living from now on my words my life will touch you reach
You at the hurting points you will receive health beyond what a physician can give I will speak
With fire yes divine that is never at a loss it knows everything it evokes joy peace and triumphs
In the hardest places of the heart your tears that in some cases are a history of years of sorrow
These seeds that are going to be sowed eradicate they are pure and healthy to the point they
**** the poison seeds planted by enemies whole time periods of your life will be renewed some
Will for the first time in many years see how beautiful the sun really is darkness and gloom will
Be driven from your life you fought valiantly but it was only in your power you didn’t die but
You have only survived as a wounded tormented one a golden life will replace the tarnished
One we all have even brought accusations against ourselves creating more feebleness we have
Lived in the most apprehensible circumstances there is no escape from this prison when you by
Loyalty to falsehood think you are doing right but every decision cast you deeper into the pit
The Key I found that is the seed I speak of that provides and gives all freedom is profound but
Simple as blind but now I see an antidote talk of sometime by many and by others ignored
Almost completely but open all you are to the greatest power we can and are at different
Degrees snarled over time one trouble sets it in motion wrong reaction kills our defense in this
World that is most dangerous and deadly everything about this season distils down to this fact
Every malady every life ending hope can and will be restored in this gracious copious fact He is
The embodiment of all virtue I don’t have to live a life of disappointment and failure never
Reaching the hurting the potential for glories’ living is yours and mine it all rest in just this act
You must decide I could say don’t be deceived by all the lies and misconceptions I have to give
Up all the things I love this is not true this word of truth will set you free the things I once loved
I now hate the things of God I hated now I love this is the real truth and value of Christmas
While hear enable yourself to bless and truly love others here lately I have struggled with so
Many public and private people dying I wanted an answer I wanted to see the real continuance
Of those that I love I found it this piece gives revelatory exact true expression look around we
Need a provision an escape from what’s coming I will not look at you in judgment with tears
And say you just weren’t worth it your worth everything you don’t need to know but I know I
Will continue in the fire of affliction and I will through him reach more as the word says pluck
Them from the very burning
Stephen E Yocum Sep 2013
When still a teen, I rented my first Motel room.
Moving for the first time from the back seat
explorations of adolescent desires, in my '58 Chevy.

Privacy found, never known before, acquired for
only twelve dollars, dank, smelling of stale
tobacco stink, mold on the window shades,
on the bedding and on the stained carpet floor.

Glasses wrapped in paper, water spotted,
Little tiny bars of miniature Lifeboy soap,
sticky sit on the chipped old porcelain sink.
White towels, more yellow than white.
A plastic shower curtain, missing several
metal rings, sagging in the middle. The tub
stained from the residue of aged rusty pipes.
With a drain that later refused to drain the
shower water we took together (Our first ever)
The old bed sagged in the center, put a quarter
in a small box on the bed side table and the
whole bed would vibrate, or so the sign promised.
There was a Bible also there on the table, I quickly
hide it away in a drawer, was about to find a quarter,
when a soft knocking came at the door.

Funny how when she entered that dingy room,
how none of it's squalor mattered, within moments
it became a Palace, a womb of warn safe contentment,
a  Shangri-La for us together.  

For a while it was a blur of frantic kissing and
tugging at clothing, wet kisses deep and wanting,
our bodies and brains aflame with passion.

Again and again we loved one another that night,
seemingly inexhaustible, as we sweated on those
already worn thin sheet, ending each frantic coupling
in childish laughter thrilled by the new almost existential  
feelings, of all that real love is and what it can ever be.
Wishing in our naïve way the night would never end.
Knowing full well that she must be home by Eleven.

We then and there confessed our mutual love,
as deep and real as any love ever, or anyone's love can be.
We talked of continuance, hopes of a life together, forever.

"You are nothing but children!" Both our families agreed.
"You know nothing of love or what it means."

They were so wrong, how could they possibly know,
what we knew, how we felt.
That age alone can not determine when love is real,
or when it is not. Love does not "Card" you at the door.

"You have your whole life ahead, College, a football scholarship,
and lots of growing up to do." Mine said.
"That's it, you two are done, it's over." Hers directed.
"You are not to see each other again outside of school."
They both assured us.

We did as told, but not for trying,
caught once or twice, and then overnight,
She was gone, shipped off to some
Aunt down in Texas,  
And a Catholic girls School.
And that was truly the end.

But now its been 50 years, a near life time and
yet I have not forgotten, once in a while it all
comes back in a night dream, Her and the scent
and feel of that squalid and yet wonderful Motel
Room, and the love we shared there as children.

In two weeks I will see her for the first time, a Reunion.
She now a long time mother and four time grandmother,
I married and failed twice, but got two sons in the bargain.
Now I too, a loving Grandparent. She has a husband she still
loves, she says in an email. I lied a little when I told her I was
happy for her, wished her well.
Two short emails in 50 years.

So many years come and gone,
Both of us now grey of hair,
and much rounder at the middle.
Like a kid, on Christmas morning,
I'm excited to see her.
Will we even recognize each other?

I wonder if she will be able to look in my eyes,
and tell that I still dream about her and that room,
That I still love her.
Ris Howie Feb 2013
semi-colon;
where a sentence could have ended but did not,
instead adding a rejoinder.
the space between the dot and comma
there hovers the fate of lovers,
the whispers of hope for the hurting,
and the continuance for those
awaiting the now postponed end;

semi-colon;
the tattoo of a writer who has something
left to say, the brand of those
whose adolescent tendencies pull them from delivering
that much needed break, fracture,
ending of the story.

the ghost of where you could,
or perhaps should, have stopped.
these faces on the wall that have no eyes,
the young children with blood escaping from their hands
   as they    pick up a mound of the Earth and  throw at genuflected  roses.
these battered men   in parks   searching  for light
   and   my woman   is no longer with  me.

it’s all  vaudeville:  this obnoxious working of continuance,
these redundant  flutings,   these  unprecedented fluctuations.

opening  the yellow gates  to death
as the  automobile churns the  last of its exhausted snarl.
   we    are children   peering through   glass cases
as   death laughs at his   hopeless  clientele,
    sad,   desolate   progenies   in   working-classes,
in   parks,  in factories,   somewhere along Mendiola,
  or  just treading the waist-high  hellish   froths   of   Dapitan,
    there’s   always   death in   the nooks   of the quiet
and from   where birds    stir in  sidereal circles,   death
  with his hands    resting   on the   cage,   chases us  back to  our homes.

death   the changing of the   gatekeeper.
death  the   telling machine.
death   the dentist.
death   my next door neighbor.
death,   this boorish broken-winged   Maya twitching in  front
   of my dog’s shadow  shot out of the Sun’s  shameful recoil.
death,   my loud and loutish muse,
death    the   truant,
death,   the   copious  fog somewhere in Kennon Rd.
   death,   in my   hands through   darkness    and  light,
death   through troves   of enigma,
      death   through   undisputed clearings,
death    the   long line  of red beads   in EDSA,
  death  the gates   of Plaridel,

     it’s the moon   following you,   trailing your measure,
i hold   my woman’s used   shirt,  pick up her photographs
    and there’s no tender movement left but  the still-seeking   lion
prowling   the jungles   of my  heart,   seared by  lovelorn undoing.
  
through   the  bottom of  the sky and the  unchanging roof-beam,
  the weathervane ceases to  a sojourn  and the  wind is  trapped
    in   a place  where we   cannot   utter any word  between the  gnashing
  of   our teeth – through the wasted   years,  through  the sleeping in  and out
  of   homes filled  with beatings,  to cathedrals swollen with  tribulations,
      and to   the vineyards     wrung   out   of wine,    my  lover,   walking  through  fire,
        sound     silence.
We waited like birds that had lost their wings
With our feathers lying at our feet
Our heads turned up, offering a smile
Until showers of faded leaves fell on our faces
Plucked from the hearts
Of our trees

Refusing to ask questions before time ended
We became unsure of our skies
Lowered our heads, denying our smiles
To the continuance of life
Thinking it was not possible to feel joy
If we cried

We did not know that we could fly up in wonder
Our wings remained ever secure
Even when we could not feel the sunlight
Brush the flowers in our fields
Or move into the doors of our lives
Bright and pure
Copyright *Neva Flores @2011
www.changefulstormpoetry.blogspot.com
www.stumbleupon.com/stumbler/Changefulstorm
Filmore Townsend Sep 2015
i no longer need to be
here, if need there
ever even has been.
and now, most whole,
need precipitates con-
scious effort for to
better participate in
matters that shouldn't
hold my attention. but
they hold my attention.
maybe it's due to
constant lack of exis-
tence, maybe these
feet realize settled
vessel is dying from
need. 'don't fight it.'
their resonant voice
to this restless body
waning with waiting.
undated; prior to current year.
Hal Loyd Denton Jul 2013
The premise of this write God is eternal He is in the eternal now He is in the past present and
Future Victor Hugo was in all senses the same he spoke and it held and revealed that the past
Was unlimited knowing in the present it speaks volumes to the future “A warrior of words. I don't
Know of anyone who better fits this description than Hugo. Everywhere, in his office, in the street, in the
Literary salons, at the National Assembly, even in exile, this great writer couldn't keep silent. He couldn't
Keep from writing. No chains could imprison his soul. No threat was great enough to silence this voice
Which cried out for justice. No wrong escaped him, be it poverty, injustice, lack of freedom of the press,
Inequality of political rights or the death penalty” Timeless like the vastness of the ocean enter another
Vastness your own inner self Monet paints not for the eye but for the all knowing inner vision he begins
The moment we look at his work distinctive intricate alive every color every shadow of light is newly  
Applied enchantment rapture emotion derailed from present thought of the obvious to the master and his
Vision and then encounter the first garden by trekking across the pass that takes you up and out of
Honolulu to the back side of the Island a convertible instantly changes into a carriage of fable the mist has
Descended hovering within six feet of the road you feel oneness and freedom the dark lava rock at the
Side sparks primeval thoughts you feel at deep places you feel the peoples of Polynesia and see them
Coming over great ocean waters in their outrigger canoes to these islands you richly smell sea water and
Even feel the spray on your face and feel it in your hair and the multiplicity of the plant life encourages
Lapses into dreamy worlds where undergrowth soothes and invites lucidness truly bewitching tiny
Molecule size bubbles burst against your soft skin lifted from a reality moments before that held all the
Tensions of the modern world your heart wonders what world what tensions then to perfect and further
Translate you to creation’s dawn a gust of trade wind comes in a down draft it intoxicates with the
Blending of Papaya, Coconut, Pineapple a stirring that instantly makes you beholding to the Creator
Nature is adorned and inviting you have come to the high peaks of enthralling then a black luminous tree
That has occupied the soul from birth it seems and behind such grandeur a black caldron with a deep
Valley and sides as steep as hills causes a shudder something so great it creates a state of fear
Aloneness is about to be forever shattered on this wise great parts of day and night are forged with a
Twinkling of star and a streaming of silver moonlight that would always play its own romantic musical cord
Then you turn how confusing at first destructive portents are troubling what breaks about you is for your
Greatest blessing laughter joy mingled with the extravagant touches of an identifying soul not unlike your
Own poverty flees takes night wings that are dark and filled with sorrow and loneliness and expels them
In forgetfulness a new start a new life begins yes the same as at first when unity was given to Adam and
Eve when first the words were formed home and family she stepped from legend and myth and that long
Growing tree began to move with such power in the heart as in a tempest it felt as it would be up rooted
This long anticipated tree of love that would flow out into such life and it all began with such a  
Pronounced voice that was truly beguiling it rose softly and steadily it was noticeably the empty half
Finding fulfillment longing comes and spills and thrills what elegance and grace whispers and drifts
Mystifying it calls to the heart in that secret language we all must hear the great substance observed in a
White water River the purity as it flows over these great boulders lying in the river bed it speaks of
Continuance permanence abiding glory the foundation for all relationships or the caught beauty of a red
Sorrel horse with the sheen of the sun as it races with freedoms delirium across land that you own now
Together it is a testament not easily broken and words you speak it penetrates great gulfs of mystery the
Mist lifts at the most perfect places so you see life clearly and trust surges with the strength of honor you
Avow all that is Within and it binds you together you have formally tied the two eternities together with life
Secure in the middle
BriaroseWakes Jul 2019
Board the train, like anytime
Sit and watch the world go by

Today a car dodged a gate
Trusting to the whim of fate

Gamble taken, dice were thrown
An unknown person lost their life
Someone's family, husband, lover, wife...?

Off the train, a limbo crowd
Nowhere to go, elsewhere to be

All concerned with affairs their own
Inconvenienced, frustrated, and annoyed

Me?  Reflecting I climbed a tree, I think and mourn
I saw the paramedics walk away
Cycle, circle, ending chapter of a life

Today is just another day
I wish had gone a different way
Tale of the reality that followed writing Rise
Mateuš Conrad Jan 2016
poetry can resemble a jackson ******* method - but it can also resemble sitting on the stairs in the garden, just when winter starts to dig into it's cold at night (but still not cold enough) for a man drinking beer and smoking cigarettes to feel the skin etch out in itches from the mild freeze, and imagining himself holding the beer bottle with skeletal fingers... then the thoughts come... nothing is really planned by a narrator working out a fictional linear process, it's more like that soviet invention of a game of tetris, thoughts come, the ego disappears, thoughts arrange for a brief narrative, then disappear, new thoughts come, then a randomisation process takes over, until ex nihil complete dispersion, the faculty of thinking is exiled, and the faculty of memory takes over.*

after watching two grand movies in one day,
it felt really sour to return to the grand stasis of things,
the only constellations that are visible
without any ******* notion of light pollution
are scorpio and the big dipper...
the litter dipper is more dim this year,
so dim i mistook the earth's celestial geographic
route as spring summer the big dipper is
when in autumn winter the big dipper is
the small dipper... but seeing the two in the night
once i became aspirational in my error -
if only the prefix aspi- existed, derived from
aspen to the added continuance of the word
left: rational: rationality based upon unforced error?
but these two films: kingsman: the secret service
& the hobbit: the desolation of smaug
you get penetrated by so many active ingredients
for the narration via images, that when you
un-glue your eyes from plato's cave (actors
are the best conclusive interpretation of shadows,
no rabbits in the hand to be mistaken for the real things)
you get this drawback sensation of having to focus
on inanimate things in stasis -
and it can & does become pretty glum,
esp. if you want to return to the realm of using
phonetic symbols, to not speak in reserve for
an up-and-coming stage performance
but to see the glaring starry composition of hidden
things in the things already seen...
so there with the beer, scorpio elsewhere
the big dipper only thing providing me with
a workable dynamic: in schematic
          
       .         .
                    
                       .
                .

       .
            .

               .


i had to active this arrangement of stars
to negated feeding my exposure to
so many images...
i began by coupling the stars: three couplets
one star the odd one out...
then i started to create a dynamic
on the basis of geometry, a geometric
non-linear representation of infinity,
but the constellation into a circle,
and therefore thought of infinity as not
beginning                         sequence                    end,
after all, infinity as a constant interchange
of 10 distinctions 0 - 9 can be ridiculous,
whereby infinity just becomes a randomisation:
either 14123480345792340834 etc.
or 12300984393657499393030, etc.
so using geometry i need to acquire
a infinite parallelism, infinite parallelism
implied as non-convergence.... two points
small enough (atoms, sub-atomic particles,
stars) to interact in parallel, but never converge,
for if convergence was possible...
i wonder: me being conscious of being
the olympic gold swimmer to the ****?
i hardly think so.
i can perceive atoms via the greek imagination
or with the galileo of small-print via the microscope,
but i can't individuate an atom of some sort
to a specified functional guarantee: well yeah,
sulphur stinks... but i could technically
atomise the one unit in my capacity to a state
of an atom... my self... given the number of people
and all the chance interactions in an environment
big enough to all a minuteness of the atomised self...
which is perhaps the counter to that old chestnut
known as solipsism: how to get the right phonetically
chemical concoction to get an etymologically word
out of this? atomipsism? no philology in me just
yet to open the bible of philology (the dictionary)
or bother thesaurus rex for comparative literature.
but anyway, as things go i was musing this other thing,
the fame of achilles with the modern fame machinery...
back then you really had to push the right buttons,
and your actual fame was post-mortem, in order
that you might be glorified in some way...
modern fame seems like a bad orwellian joke...
it's translated into our modern themes of catchphrases
slogans and trademarks as c.c.t.v., a ****** camera
on your shoulder... it actually is a bad orwellian joke...
no double think i rephrased into:
there are more c.c.t.v. cameras in england than in
all of europe put together... so the double think
is as this:
a. should i be bothered, or
b. should i not be bothered?
i'll answer with my usual enigmatic methodology by
just changing the subject -
we left the realm of philosophic doubt and thinking,
we entered the realm of modern denial and thinking,
i dare say i prefer doubt to denial,
it makes all our apprehensions, petty fears and
all petty concerns a bit smaller - via the maxim:
the only fear to fear is fear itself... denial doesn't
provide what doubt provides, doubt is like
cushioned fear... if there's a fear to fear as simply itself
doubt puts a lid on it, a spontaneity,
a kantian noumenon by definition, fear-in-itself.
Michael R Burch Nov 2020
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 Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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.



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!



Das Lied des Bettlers ("The Beggar's Song")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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



Keywords/Tags: Rilke, translation, German, first elegy, Duino, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar
Julian Sep 2020
DISCLAIMER: READ THE WHOLE THING IT IS MUCH MORE GENIUS TOWARDS THE END



Bypass the circumlocutions of elementary rhetoric and the obvious bulges into the ethereal realm of supersolid supercalendar emigrations of the wednongues of vogue emigrating into a new frontier of boundless awakening that blisters the sore solid metaphors of a crumbled bricolage of articulate history becoming a reiterative gabble of entropy that curdles the blood-boiling hatred of those envious of those that capitalize on the true girth rather than the flaccid otiose etymology of differential physics becoming a denatured figment of prideful imagination on a frolic with desuetude in the normalization of the wernaggles of ewnastique that defile the ridicule of even the most astute aspirations of those that despise history rather than reveling in its subtle ironies that swelter in connotation rather than suborn the cadged bridewells of those that are estranged by the Dousk Remix rather than the Voulez-Vouz Danser populism of true urbacity expanded upon a national stage as an anthem not for profligate saturnalia but rather an ode to the odium of the reckless titanism of titanic intellects clashing with the dudgeons of intermittent eye-rolling irreverence double-dealing a stacked deck of pleckigger on an intellectual stagecraft for bandwagon apostasy that leads to solidarity among tentative allegiance. We barnstorm for a grift in the grimace of an alpenglow winter to lead to the salvation of all people united under the banner of neat nexility rather than long-winded elocution reserved only for notched caliber against the nativist diatribe that serves the subservience of the engineer of the white chattel indoctrinated into turnstiles of professed irreverence for demarches of solidarity that is gainsay for gain rather than pittances for pitfall. Rhetoric should be duly curtailed against the overcomplication of hypertrophy and trimmed into the sweet success not of saccharine fads of foofaraw but engineered resistance that galvanizes albatross intellectualism into a revved engine without purpose that mobilizes because of estranged impotence in the revelry of the subtle rather than the cordial tethers of emergent entelechy of the esemplastic orthobiosis that we should all strive for not just as pioneers of the socially engineered harbingers of a remedial society but also for the trendsetters that communicate with the canvass and the celluloid rather than spelunking dormitage of drifted anomaly perceptible to everyone but heralded as prominent by the rigged ambeer of a toxicity of a plumage of city over state and country over planet. We need to provide the verdure of the verdant forest that survives the conflagrations of rage indoctrinated by systematic attempts at stilted ignorance that is engendered more by Leftism than Right-Wing thinkers because in general when observed in organic settings we notice that the Right-Wing escapes the sloganeered jaundice of limited bounds for otherwise boundless thought and provides more seminal pathways that reconcile normative virtues with entrenched inveterate harbingers of economic success. The faulty deadstocks that propel the retinoise of the anomaly among Leftism to disregard the girouettism of a world that is so piebald with dishonesty that it elects a patronage that seethes with passion but aimless in its curiosity for deeper embedded candor because the popular might count themselves among the aristocratic Left but the truly Promethean belong to a centrist tribe that borrows the ingenuity of spurned but never spurious interpretations of a sputtered history that remarks with revelry  rather than disdains with #CancelCulture irreverence that seeks to deracinate all context for insipid utopianism that is a shared prerogative of the delusional Left against their complaints of Sebastomania among right-wing zealots that are equally invalidated by the frogmarch of a dilettante history curbed in storms of a pure tempest rather than a banal reiteration of novelty phrased with participant intonation rather than blathers of whispered arbitrage ennobled by hypocrisy immune to criticism among those that crusade for economic justice without understanding formal flombricks of the true gnomic riddles of alchemy fundamental to global panoramic pleonasms becoming the aleatory vagary of admonished warning that spars against spartanism. Instead of pilfering from the exorbitant defalcation of immunized partisan bromides against the ratcheted warranty upon defective obsolescence we must coalesce around the imperious ****** of divinity bequeathing the living water of a fully-lived life that qualifies its felicity not by junctures but by an overall harmony that conforms to the finicky demands of an overly polarized complexion of dimpled conformity founded on girouettism that earns more traction than the deasil sundial emergence of brimstone rejection for alabaster limelight we must urge others to ditch the conformist utilitarian usucaption of the usufruct of manipulative sports for domineering talents suborned into inclement straits because of unwitting albatross that replicates into a fission of uniformity encapsulated in the half-assed witticisms of attempted belletrist succeeding only in alienating the noxious fumes of alveolate diminutive reduction rather than expansive detritus that scrapes the wreckage of a turmoil to build masterworks out of broken sculptures themselves indemnified from a categorical judgment by the panoramic oversight of proctored civilized ambition. We need to exhort self-education that hinges upon not a listless acquiescence to a second-exit impulsive barnacle to the urchins of brimstone because of an insipid blather of flapdoons of brittle banality because the hackencrude is an outmoded entity to the vast resources of the sizable capital of the growing power of the intelligentsia over the weakened grasp and wrangle of terminus meeting consuetude weakly enough with pleasantry to appease but ultimately a complete witwanton persiflage of sizzled destruction rather than the savory contemplation of the cotqueans of majesty derided but never derailed by terminal revivals because the generativity of the titanic original might not be a popular indoctrination but the liberated thought of the untethered is ultimately more decisive in world affairs than the synergistic hive of bees building an imperious defense against dynasty built only upon provincial hatred of hidebound illiteracy combustible into the brazen bravado of a reckless intrepid effrontery against civilized chains into the ******* of complicit interconnection rather than dissolved dissolutions that solve global problems more fundamentally rather than driving through avenues of wide pressures gilded with expansive growth but ultimately bereaved by the ultimate succor of the youthful exuberance of captive audiences rather than the wily connivance of genius unbounded. God is obviously a benevolent provider of all bounties and despite the conspiracies that predicate heterodoxy the uniform mannequin of a mascot Democracy ultimately becomes a fickle bandwagon allegiance to relationship rather than a true witness to authentic ******* to a subservient relationship to a creative God synergized with energies that should exceed all galloped windlass into demarche and expose rather than rundles of ridicule interminable because of the permanence of kitsch memorial rather than living sculpture that breathes a swiveled light that beckons preened self-accountable responsibility to a dutiful matriotic duty of optimism rather than a contrarian futility of those that despise the unequal suave crackjaw dementia of the temulentia of derangement among crowds that provide fewer bounties and more deprivations calculated to indenture need rather than motivate want. We must motivate want by fueling ambition rather than quelling dissent in defensive posture because that strategy of antinomian discord is a dead-end street against an inveterate enmity that can never be fully deposed but only opposed with nominal futility raging with violence rather than seething with the motivation to reform because reform is an efficacy mobilized. Novelty of wednongue propriety grown through the heirs of drastic impertinence gilded from the siphon of lavadero hypogeiody blasphemous in bletonism that guards a piebald scrivelo because the sought dementia of an overwrought alacrity is a purpose without a terminus but an ambition soaring through scraped ice cream stratosphere that marvels at the minutiae of the civilized anthill that becomes a beehive of industry when the rationale of moral reform becomes insuperable rather than suborned into effete recursive cycles of pittances of pitfalls obsessively pondered but never solved because the fustilugianation of a forever tampered travesty is the esemplastic rejection of a categorical aim that leans of windlasses of elegance that surpass the levy of hatred and achieve sizable filagersion to squirm above the squawk upon populace rather than the consternation of an urbane but cloistered metropolitan arrogance contravened by the historical emergence of happenstance locales fostering the most well-guarded treasures of bohemian pedigree rather than dimpled resolve faffling on ergasia in bromidrosis rather than cavorting with a skeptical indoctrination by default evaded by those that equate an improbable scenario with a definitive solution to acatalepsy quandary because by reckoning with indeterminacy we grow in historical lineaments and solve global detritus by recycling the rattled brevity of promontory preens of plumage into a recursive ostentation defalcating heavily from sturdy macroeconomic proofs of the trendsetter rather than the trend and therefore grapple with profound personalized disdain rather than cordial harmony. Essentially by the logical positivism of proof we remind ourselves that obviously a chattering blather swims in tentative irony as long as it is a penultimate relativity because the lack of capstone ensures that the relevant treads beneath the mountain of rapprochement in benign endeavors to survive and thrive in definitive conclusion rather than intermediary conclusions of amnesia in jaundice. By the gnomic apothegms that guard the fortress of the demassified we have quantulated that the preposition of continuance is in fact a guarantee of the fickle supremacy of the recent and even more preponderantly the supremacy of expectancy of latent junctures that never manifest becoming a dictatorial rule of driven alacrity of wastrels that should fast from conclusive opinion and rather favor the primordial fabric of the inveterate truths rounded by the conversion of alchemy solidified by calculated canon converging with esoteric apartheid against the simultagnosia of the simpleton drivel of primordial myths bowdlerized from history neither lewd nor depraved but moribund because of the conclusive ****** of a peremptory intermediary certainty predicating a more precise foresight. The lackluster luster of numinous foghorn subliminal graft is a nativist confusion of legionnaire mettle swaddled by the cosseted grasp of interminable boundaries that demarcate linear time even when supersolid filigrees of elemental confusion erratically swerve into oblivion that becomes a forestalled happenstance so hapless that the connivance of alveolate synergies necessarily precludes event from becoming indelible because the tentative judgment wallops the tributary incontinence of the warble of axiolative jaundice materialized by crystalline fabrication neutered by soundbyte sclerotic calculus inveterate in summations of conclusion only because of peremptory weights upon geometric certainties rather than logarithmic dampers of attenuation that spar against spartan priggish epithets upon the flamboyant grit of grisly specter of speculative sepulchral venal vanity. The timberlask cineaste irony of the partisan usucaption of sapwood is a pirated timber of startled alarm becoming a useful or useless cacophony of barnstorm for the deadstock of past cadasters of rigmarole in the docimasy of pretense in impartial circumstance in specialized oratory bounded by a hemmed bailiwick of verdure denatured by the flombricks of subtle persuasion that ignores minority fringes of opinion that occupy that majority that cowcatchers brush aside rather with cruel contemptuous unkempt slippery agenda for drivel that spawns ingeminated redoubled explosions in participle bias rather than conglomerate arraignment of arrayed brooked swamps turgid not with the pettier travesty but the charade of a brokered ceremonial calculation against the wrikpond spurious by degeneration into corruptible complicity that thrives in obscurantism but never obscurity when the omnified owns a capitalized swiftboat of never a temulentia but always an optimism in the curvature of lineaments into the self-educated shepherd of the ultimate autarky rather than insubordination in the scrappy schlep of demographic ripples of swift enrichment at great personal flops in the floppy disk of a Democratic enrichment rather than a parched rectiserial hidebound tome. A quirky time stanched by tomes of patricide against family ingratiated by parrots to anthem but lacking the lettered verve of ignoble but parsed parsecs of finite light captivated into prismatic conscience we launch the demerited ploys of foible into the heralded controversy rather than the unheralded mercenary hands behind dogmatic ripostes livid because of the suave prestidigitation of the sublime mastery of the syncopated irony of mismatch attuned to radical rhythm we become bloated slaves to a rich lineage decried widely in attempts of covert coup raxes of a largesse of continual primipara perversions of courted cotqueans of uxorious justice that by defalcating from tributary orthobiosis in specious conjecture esteemed by rattled martexts aspiring for fraternal solidarity with the ****** esteem masquerading as the auctioned flivver that the merchandise of fluminous optimism cannot be an effusive blanch of blarney bolstered by bumptious bromides of brunt blackmail but rather the artform of subterfuge needs the insidious and invidious traction of creepy Thriller subtlety to garner the vapid traction of immobilized discontent foster to malcontent rarely abridged by even the most polite courtesy of diplomacy because of inherently insatiable demand that it skulks in undetected quarters flexing in the shadowy penumbra of transparent crackjaw enigma becoming an obvious blister or a gabble of raw jaundice sweltering into thermolysis by the eventual convergence rather than the improbable divergence of fissile time beckoning its own flashy revolution while denaturing the very presence of delusion as a herald more of the authenticity of animadversion rather than the sclerotic carapace of ragged asphyxiation in the aplomb whisper entombed forever by milquetoast inefficacy in hypersensitivity rather than a flourished malfeasance of a predatory grip upon seizure among catatonic graves of incontinence braving tribulation for crucibles of the most prosodemic surgeries of the furtive froward recalcitrance of deliberation in ignominy that enables that transmogrified skyscraper of Titanic lies to become a sunken vessel of harbored prestige lost on penultimate dice rather than winning pokerish villiany. Essentially the jeer of Morel Under a Disco is a winning brandished authority to chug the capers of inscrutable difference in blandishment imposture to cavort with an elegant plot twist that enthralls abiding decay to revert into a primordial confidence of livelihood to deter the frogmarch of time into the despairing quagmires of a livid balkanization of a simultagnosia of ageotropic monoideism fomented on fervor that leads to the paralysis of privacy and the expedited furor of moribund depraved proclivity so that the offset of morale and rationale can outfit civilization to brave the tempests of cordial divisions cemented by courtesy in order to safeguard against the yeggs of paranoia seeking ultimately the craven caper of disillusioned subconsciously felt retraction of indelible deeds into evaporated constructs that vanish too quickly to spawn the vigor of a cadged and utilitarian expanse of reiterative generativity that sustains the spanned sapience of primordial alacrity to ensure that brevity in outlook becomes longevity in subsistence because without a logical positivism grounded in unshakable tenets of God the demoralization of the vast majority is ensured and entombed in aimless squalor that leads to sheepish temerity compounded by wistful latency in regretful regression rather than a spandex bluster of a bravado of obesity to weather the persnickety wednongues of perdurable badges of instinctual shame slandered into prima facie denatured transmogrified cultures seeking cosmogony out of ordinary bricolage because the eventful triage of the nimble eludes parochial sight while the vastly capable outfox and outpace with such frenetic verve that they fasten against accident and transcend against heterochrony in ridicule that the unseasonable but seminal sauce flavors better the partially indentured optimism of a curated matriotism better than it serves the obviously interminable cycle of listless demiurges of malcontent that fuel conflagration rather than reformation to their own remorseful peril. Thereby, it is obviously concluded that to micromanage a society you must exert the capacity of a selective magnetism obviously predicated on demassified capacities for oaths of gratitude to endear and endure in the humane heart for the majority that sway few but encounter many that they find proper scruple grounded on axiomatic God to sustain not a lifeless priggish inclination but a bounded felicity that is not a carapace of an indigenous and insidious decadence to the extent pursuits of happiness swelter among the marginalized majority bereaved in powerless squalor slave to temptation not to derelict fascination but to provide aim to aimlessness and predicate their worldviews not on Racial Identity Theory which postulates too many counterintuitive pessimisms that are essentially neutered fustilug predicates of a world that requires such drastic seismic reforms in societal dynamics that the earthquake capable of such a realignment would exceed a 10.5 on the Richter scale which is 32x more powerful than the biggest earthquake in recorded history that would be so catastrophic in its implicit implication of the pretense that the consummation of the theory achieves the traction necessary to jostle every crowd into alignment that the collateral damage would endanger the very integrity and vitality of the Republic itself while exerting a tremendous existential dread of radical permutation that enables many travesties that abnegate the prerogatives of a privileged society in search of a facetiously engineered impossible utopia that could only be achieved by a dictatorial authoritarianism working in concert with benumbed sloganeering to engineer pessimism and malcontent rather than nurture the fair-natured optimism of a society that flourishes because it assumes naturally that the universe conspires in the favor of prosperity. If any hint of casuistry is evident in these postulates I wouldn’t be surprised but for rhetorical sanctity it is necessary for a nation bereaved of national icons not to despise the captive imagination of tyrannical transparency but grow from the liberating and partially liberal parable of a life maximized in limber for romantic enthralled growth that heralds with due consideration the paragons of time with reverence rather than soundbyte enslavement of parochial interminable twinges of a newborn and widely shared collective guilt of a decisively antinomian and pessimistic view on the evolution of human societies beyond catchy kitsch verve nexilities of bravado mutilating thirsts for inclusive mandates that are Boa Constrictors prowling with serpentine vitriol to vastly over-represent extreme fringes to dissuade nuclear families in an overt ploy of depopulation because the truer pathway to liberation is one that feeds the hot hand in the casino and bets that the winners will always win by deregulating their ability to bet large sums because of a transcendent supersolid mastery of time that the march and demarche of a boundless prosperity gouged by the fair demands of egalitarianism enables the card counter to achieve such a decisive advantage that his indentured socially coerced eleemosynary inclination to feed the flock endures throughout all epochs because of the necessary and incumbent scruples of God-fearing men to distribute their winnings won by cheating time to conquer time itself.
Mitch Nihilist Oct 2015
Everything is happening so quickly
so many negatives surpassing the
insignificant glimpse of positives
that never seem to suffice,
there’s always this light at the
end of the tunnel that everyone
speaks of, yet i continue to see darkness;
a journey down this long tunnel brings
no illumination but only a continuance
of nihility, the damp walls
seem to bring the chill humidity
closer and closer with each step,
the droplets echo the narrowing,
flickering lights dissipate at passing,
the gag sparking stench of sewage
and ***** make the voyage to
light even more unbearable than the
previous hesitant inching towards
the so called spoken about bearability of life,
sudden scintillations of light bring sight
of russet, worn doors, consecutively placed,
discoloured of crimson roadkill,
I open the first door and see a woman
tied and bound, gag in throat,
beads of sweat turning the white gag
to watered milk,
the dirt beneath her nails entwines with skin
and blood dredged by her own fingertips,
to front is a tray of what seems like
torture tools
intrigued, I slam the door
                               and avoid a kiss
                                   from Judas


The next door, I open and see a man
sitting facing the corner,
wrapped in a flickering fan,
staring at a wall of carvings of ticks and dashes,
to see arms of cuts and gashes,
with a tray next to him
comprised of razors and knives
he sits picking at skin of bruises and hives,
tempted to grab the tool and corrode self,
with the reflection of whats within, I slam the door

                                               and avoid

Finally the third door
eagerly stares to
me with anticipation boiling veins,
I press my ear to foreshadow,
I hear a cries; a man of hatred
and a woman of pain
I open the door and find a bottle of whiskey
I take a swig and feel as if Judas kissed me,

Within the third door; walls
with peepholes to confirm the calls
on the left I see the sliding knife
over-panting roadmaps of russet to
the neck of the bound woman,  
the screams are deafening,
they present a vibration,
stuttering thoughts, and releasing the fixation,
prompting the admiration
to view the second door,
I see myself, in door 2
tremors and convulsions
seeing blood expel every vein
as the verticals
halt oxygen to the brain

Departure brings me
to the abysmal realm of society  
where the burden of negativity
proves to provide no proof towards what
differs between the endless, narrow
tunnel-visioned cesspool of bone marrow
and psychosis driven visions and the
narrow pathed voyage of life.
It has been a while since I have posted anything. You can call it sudden shyness, or a complete loss of confidence but I found a partially unrevised and unedited version of this poem. I have been dwindling the inability to finish the piece for a while now, and I finally built up the confidence to do so. This was written quite a while ago when I was at a low of whatever you would call my then current state of mind. Most would read with with some sort of immediate judgement, but look deeper and find the meaning the of subliminal annotations written. Inferring is a complex component when comprehending the internalized aspects of someones mind who is unable to convey said aspects with words.
Enjoy!
Michael R Burch Nov 2020
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!



Das Lied des Bettlers ("The Beggar's Song")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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



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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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, translation, German, 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
Mateuš Conrad Jul 2016
ich wollen ein iranischherz herauf Nörden.

or simply Njørden - often the j is a softening pronunciation -
i want an Iranian heart up north -
that's what is says - imagine why he lashed out
with the words *sheisse ausländer
-
miniature form of Dostoyevsky -
at 18 he was confused - his father probably
heard the words... hearing that he lashed out...
this is the proof of the power of commandments -
take one to extreme, and all the others seems
permitted - honour your parents -
he didn't shout out allah'u akbar - he did
a little maxim veto - as said unto me one,
may these bullets turn into revisited tongues -
the west has no concern for poetry -
i wouldn't make Iran an enemy,
after all... they're the ones that appreciate poetry...
mm ha ha! so given Iran's flavour for poetics
i can only applaud at their sensibility -
i too was once duped into thinking that watching
a movie i might lie to a girl and ****** her -
poetry is dead in the west... i don't write
for the west, i write from the west, which doesn't
mean i respect the west -
thanks to feminism we're cruising into
an affair of what feminists don't anticipate:
the impracticality of old age creeping, creeping,
creeping... with large families there are at least
chances of a benevolent child who might care for
his parents - in the west with surrogate foetal-things
it's hardly a bouquet of flowers sitting pretty on
a table - the problem are already waiting...
thank **** if you're rich... if you're poor?
well... hmm what a Disneyland awaits you -
**** stained and **** smeared dying for your idea
like any Communist might; well, i'm not going to
help you... ask Oxfam while the money you donated
ensured that only a penny reached the poor poor
Africans and why 99 pence reached the bureaucracy
of keeping a charity afloat - i know where
i can find fresh water... you have to cross a barbwire
fence, feed 10 horses 20 sugar cubes and you're
at a little stream of clarity... then you do the vegan
diet and sorta'h waiting for a heart-attack...
or you take a Russian Empire banknote with Tsar
Nicholas II to Switzerland and buy yourself out
with euthanasia... either way, win win.

every ****** time i go back home there's the Krähewolke -
i'm starting to imagine myself as the boy instructed by
Barbarossa to watch for the crows and a second life -
it's a small town, used to be industrious,
life here, there, everywhere, now a town of pensioners -
a European squabbling with a European but ignoring
the massive signs MADE IN CHINA, MADE IN CHINA...
MADE IN CHINA... why you blaming me for what's
going to happen to you too? you think this is the steam-engine
days of industrial revolution? do you have an Instagram
account? no. well... if you aren't going to be a third party
advert unit you're worth jackshit -
but still that Krähewolke of summer, thousands of them
swarm the sky - i'm not saying because i'm there,
i'm saying i'm there dwarfed by such a sight...
krähe die messerschmitt - so poetry is written by
*****-whipped English teachers, or it's the medium of
the weak, it has many voices but it doesn't have a voice,
it needs to be pretty, it needs to be neat, it needs to
have a prosthetic metaphor stashed in a pile of **** flare -
some say it even has to be as coherent as an Ikea
manual for putting a table together, people all of a sudden
trash the calculator and attempt mental arithmetic in
terms of reading... what... a... load... of... crock-****...
hyphen... mm... the Germans knew the immigrant Saxons
would speak less and less German and even of lesser
quality than the Turks... the Germans invented chemistry -
the Anglo-Saxons invented hyphenation... but it's so
******* weird that the Englandish outlandish will
hyphenate a word like overt-usage but never include the
hyphen in chemical nouns, like: Hydrochloric acid...
dihydrogen monoxide (yes, the d'uh hoax),
phosphorus pentachloride - what remains of Vater Schwaben
in English is bound to chemistry's language,
where the standard use of hyphen is disallowed -
the German original took on a different optometrist -
the English revision took on yet another (different) optometrist -
the eyes of the English starring at a German word
began to dizzy-up-whirl looking through a kaleidoscope -
the Germans just saw: schieße schrapnell!
achtung! achtung! die wort ist die fondant...
mm... gobble gobble gobble - pristine smile of sharpened
teeth in a smile! klebrigzähne sprechen sehr kleine-eine-miner.
well... if you're going to write a Monty Pi Ten you might
as well desecrate a foreign language with the grammar of
the one acquired - very much interested in how grammar
is reflected by Arabic left-to-right, English right-to-left
German right-to-left,but Latin left-to-right - all the genus
names - **** sapiens: rational man - or the up-kept
(******* ***** -φρεν - alt.  hi-yo in Beijing) desire for:
the instilled continuance of the rationalising man...
rationalise this! knuckle dusters down the East End -
gotta be a **** before you can be a Cockney Wiseguy -
say ooh la la say soo - bud weiss err - say ooh la la say soo -
amphetamine George says: ethanol Scottish Gaelic means:
twins sedative and un-inhibitor - talk of Enzymes -
south and shoo, north and nothing, east and extra territory,
west and **** / Vancouver - van coup verily ******
voulez-vous volleyball aha! write poetry like a dictionary
entry - spandex, annex, fly-flex - it can really become
a tennis match after a while:
   roses are   red
                   violets are blue
             i'm so in love with everything that's dead
    that i decided to call the past the necessary glue.
an article by Bryan Applied concerning poetry -
and why all poetic hearts are bound for Iran -
karaoke the current trend in the west for one -
living at a time when cooking books sell,
and plagiarism is celebrated more than any awkward
originality, but everyone still owns microwaves
and opts for ready-meals -
the rewards of old age aren't there because families
have become atomic based on individuals -
oh right? the article, it's long, ****** me off -
"we turn to poetry in times of need, but can it really
help? and why doesn't it sell more copies?"
ah the selling questions, i forgot a capitalist thinks
of poems like hamburgers...
i'll put in a bracketed word pending in the title and give
you a brief overview of the article...

*** and whiskey interlude

i don't write poetry... what i do do is **** poetry;
why do fellow artists hate poetry?
poetry in the hands of the old and young
thinks itself ******-like, the one art form that
says no to violence, no to intolerance,
no to drastic actions of revision -
keeping the Shakespearean sonnet won't do the art
any favours, it's the art too easily accessible,
because anyone can apparently write it
as long as they get a clue than a rhyme is necessary -
alternating rhymes are not that important,
i asked for a steak tartar, instead i got
plated a shepherds' pie - i asked for raw,
all i got for nanny picked and donning diapers -
poetry is best suited for that dynamo of reaction
known to internet trolls - trolls should overpower
writing poetry, they're intelligent enough, and
democratic too - cold-stone-heartless *******
should pick up these floral arrangements and
do an iron maiden make-over with them...
poems should be torture instruments,
they should never be treated as floral arrangements...
i don't like weakness, neither does nature -
when i walk into the museum of poetry
i don't want to see avant-garde art, i want to see torture,
they really did underestimate the vis poetica -
when i read poetry i want torture, i don't need
safety pins, straitjackets and other torturous
instruments of conformity - but from what i'm seeing
that's all i'm getting - ask any man why the construction
industry is ******* - women on site, women in the
army - feminism has infiltrated sacred sites of
manly brotherhood... you don't see a man stroll into
the fashion industry... well... unless he's a ****** -
a Grimm Brother's tale: once upon a time...
you could listen to a radio on a building site...
then women came in... we only heard symphonies of
hammer and drill... that alone made us deaf...
sure... we worked dangerously, we died more often...
BUT THE THRILL! **** *** bye bye... go on, wave at it...
it's like Titanic's maiden voyage... it's not coming back!
feminism's ugly head should have shoved itself once
more under a horse's galloping hoofs - a few times -
it played with the brotherhood of man - we're no longer
men, we're insurance policies, safety nets,
no wonder the Jihadis are fighting for our libidos -
cos i honestly think they are... they want us to feel the Mojo
once more from the frivolous spirit of the 1960s liberation
that only became slavery of the fake sinner -
**** it... applause gentlemen! applause! thank **** for
me donning *******, i'd be a real loser if i had to hand it
to myself without it... these days it's called the ******* -
the monk's sheaf of chastity - reduce a man to a *****
and you reduce a father to alimony cheques.
what?! ain't that true? i told you, **** poetry, don't
bother writing it, **** that pacified ***** into obedience -
you own it... without you you'd still be crying about
what shame it is that a nation that produced Shakespeare
undermines poets while keeping this old **** ticking
all the boxes of worthwhile inspection... i wish i was
the 20th century example of when poetry had some respect...
at any other time more so in the 20th century -
but we missed that train... shame for us to have inherited
such a past and the internet - so if not so keen on poetry
why Shakespeare the celebratory idol? twilight Sir
****-a-lot is coming - or so i hope.
so this article, citations:
a. Wordsworth 'thoughts that do often lie too deep for
     tears',
b. poetry is the language of crisis,
c. poetry as peak experience constructed from
    the shabby, battered bricks of verbiage
    (otherwise known as talk with a mouthful
      of spaghetti),
d. TS Eliot: 'purifying the dialect of the tribe'
     (too many dialects to make up a tribe, to be honest),
e. funerals in particular are what's called
    poetic crashing the scene, every subject,
    every opportunity, you'd never call a poet a
    polymath,
f. the healing power of poetry... the healing power?
    i never signed up to take a Hippocratic oath!
g. a permanent record of failure... or the allure of a permanent
     record of ridicule by others, so the minor success was
     there too - as in a boy buys a kettle
     is a success story, but a boy writes a poem is a failure -
     is that vocabulary as commodity without
     a handkerchief?
h.
              a sense of abandonment looms...
              the obnoxiousness of this article is all too apparent,
      i rather be headbanging to some ***** M: Ra Ra Rhas Putin -
(even surds deserve a bit of love) -
i might finish the citation of the article... but then again
i might as well cut it short - inc. in the Culture Section
of the Sunday Times, Bryan Appleyard -
people resent poetry for stealing what comes naturally -
really? so i'm a thief? a lot of people don't invest in
vocabulary - they convene to invest in flimsy investments
of slang - after graduation from being teenagers the investment
in **** suddenly disappears - grown-up vocabulary takes
over, comprehensive English, not slang English...
people don't acquire naturally (i.e. easily without discomfort),
if i were to complain to the people for treating me
as a thief rather than a poet i'd ask them to teach me to
do crosswords... a pain-in-the-***... i can't do them!
so i guess that if you're able to do crosswords you can't
write poetry, or give poetry a freedom away from all those
dusty technicalities / identifiers as such -
for poetry doesn't make anything happen
(WH Auden), it probably doesn't, but if you choose a boring
life, a lot happens... 11/15 is the feminist ratio of poetry's
Forward prizes in the genre - k k, a fraction - 11:15 -
new testament? or the old's citation? yeah... why do they
cite the bible like making bets at the bookies?
Gospel of St. Luke 15 to 1? they're betting on the 4 Henchmen
of the Apocalypse - gambling even in the testaments.
performance poetry seldom stands up on the page -
yeah, wheelchair bound, or in pop culture lyricism -
that competition between R.E.M.'s man on the moon
(yeah yeah yeah yeah), and Nirvana's smells like teen spirit,
hello hello hello 'ola! (later the yeah yeah hitchhiker's story);
did i tell you i got barred from a pub in Collier Row for
speaking poetically? a ****-hole of a pub anyway,
walked in with a pair of dolphin flippers and a shark
fin, spoke some words, made a few friends over grapefruit
ale - then a few days later got barred, because i apparently
"threw a pint glass across the room"; that's me booked
for the Cheltenham Book festival for sure... right next to
the cookbook aisle where people will be expecting to make
humble pie and cider squint tarts.
I
I heard a small sad sound,
And stood awhile among the tombs around:
“Wherefore, old friends,” said I, “are you distrest,
Now, screened from life’s unrest?”

II
—”O not at being here;
But that our future second death is near;
When, with the living, memory of us numbs,
And blank oblivion comes!

III
“These, our sped ancestry,
Lie here embraced by deeper death than we;
Nor shape nor thought of theirs can you descry
With keenest backward eye.

IV
“They count as quite forgot;
They are as men who have existed not;
Theirs is a loss past loss of fitful breath;
It is the second death.

V
“We here, as yet, each day
Are blest with dear recall; as yet, can say
We hold in some soul loved continuance
Of shape and voice and glance.

VI
“But what has been will be—
First memory, then oblivion’s swallowing sea;
Like men foregone, shall we merge into those
Whose story no one knows.

VII
“For which of us could hope
To show in life that world-awakening scope
Granted the few whose memory none lets die,
But all men magnify?

VIII
“We were but Fortune’s sport;
Things true, things lovely, things of good report
We neither shunned nor sought … We see our bourne,
And seeing it we mourn.”
Corset Jan 2016
She stands in the doorway
of his mind
blocking access
casually,
he can not wait;

not for psychology
to lock itself out,
psychologically;

He wants to find things
like the tooth paste
in her mouth,
goals maybe
sensum, hope
maybe some humility,
or match books
or destiny involved,
opening gates
of engagement
seeing frames that
come up
from peoples minds
streaming from the
paranormal den
doin' it, getting
in their face.

But he didn't,
cut her off
did he?
Not the way you wanted
not the way
a garbage disposal
grinds to wake you up
in the mornings
with responsibility
every minute
A destination,
A demand...

One blink
into the next,
a continuance,
every ache
a breakable cord,
tired but tethered
to her accordion heart.
JS CARIE Mar 2019
LIKE THOSE LONG SUMMER DAYS
WHEN THE SUN HAS BEAMED
FOR WHAT FEELS LIKE DOUBLE TIME
IN SLOW MOTION

AND THE UNSPOKEN NEXT THING I THINK WE ALL WANT
AT LEAST A LITTLE BIT
IS TO WATCH THAT BURNING
FIRE-SPHERE
FALL FAST INTO THE CURVATURE OF DISTANT ROUND
AND CONCEDE INTO SUBMISSIVE NIGHTMARES
SUGGESTED BY THE DARK

BUT THE NIGHT IS SO REMOTE
AND THE SWEAT THAT KEEPS
IS TRUE PROOF OF THAT WAIT
SO CONSTANT A POUR THAT I AM NOW AFLOAT

I CAN NOT MAKE A DASH RESULTING IN THE OUTRUN
FOR EVEN A SPRINT WILL SEIZE MY WIND WITH EVIDENT PLAGIARISM

SO MY WAIT CARRIES OVER

INTO A NEGATIVE TIME LAPSE THROUGH THE MIRROR OF REVERSE

MY WAITING GOES ON

WITH AN ACQUIRED PATIENCE AND INNATE COMPASSION FOR MY OTHERS SHOES
A DISCHARGE OF INSIGHT INTO THE INCEPTION OF MY SELF DESTRUCTIVE CONTINUANCE

LIKE MY DESTRUCTIVE MAKE UP
THE WAITING FEELS UNNOTICED UNDER AN UMBRELLA OF INEVITABILITY
BUT FORMS FEET OF SWEAT
IN THE SHADOWING WAIT
BEHIND MY EVERY STEP

— The End —