Submit your work, meet writers and drop the ads. Become a member
Prohemium.

But al to litel, weylaway the whyle,
Lasteth swich Ioye, y-thonked be Fortune!
That semeth trewest, whan she wol bygyle,
And can to foles so hir song entune,
That she hem hent and blent, traytour comune;  
And whan a wight is from hir wheel y-throwe,
Than laugheth she, and maketh him the mowe.

From Troilus she gan hir brighte face
Awey to wrythe, and took of him non hede,
But caste him clene out of his lady grace,  
And on hir wheel she sette up Diomede;
For which right now myn herte ginneth blede,
And now my penne, allas! With which I wryte,
Quaketh for drede of that I moot endyte.

For how Criseyde Troilus forsook,  
Or at the leste, how that she was unkinde,
Mot hennes-forth ben matere of my book,
As wryten folk through which it is in minde.
Allas! That they sholde ever cause finde
To speke hir harm; and if they on hir lye,  
Y-wis, hem-self sholde han the vilanye.

O ye Herines, Nightes doughtren three,
That endelees compleynen ever in pyne,
Megera, Alete, and eek Thesiphone;
Thou cruel Mars eek, fader to Quiryne,  
This ilke ferthe book me helpeth fyne,
So that the los of lyf and love y-fere
Of Troilus be fully shewed here.

Explicit prohemium.

Incipit Quartus Liber.

Ligginge in ost, as I have seyd er this,
The Grekes stronge, aboute Troye toun,  
Bifel that, whan that Phebus shyning is
Up-on the brest of Hercules Lyoun,
That Ector, with ful many a bold baroun,
Caste on a day with Grekes for to fighte,
As he was wont to greve hem what he mighte.  

Not I how longe or short it was bitwene
This purpos and that day they fighte mente;
But on a day wel armed, bright and shene,
Ector, and many a worthy wight out wente,
With spere in hond and bigge bowes bente;  
And in the herd, with-oute lenger lette,
Hir fomen in the feld anoon hem mette.

The longe day, with speres sharpe y-grounde,
With arwes, dartes, swerdes, maces felle,
They fighte and bringen hors and man to grounde,  
And with hir axes out the braynes quelle.
But in the laste shour, sooth for to telle,
The folk of Troye hem-selven so misledden,
That with the worse at night homward they fledden.

At whiche day was taken Antenor,  
Maugre Polydamas or Monesteo,
Santippe, Sarpedon, Polynestor,
Polyte, or eek the Troian daun Ripheo,
And othere lasse folk, as Phebuseo.
So that, for harm, that day the folk of Troye  
Dredden to lese a greet part of hir Ioye.

Of Pryamus was yeve, at Greek requeste,
A tyme of trewe, and tho they gonnen trete,
Hir prisoneres to chaungen, moste and leste,
And for the surplus yeven sommes grete.  
This thing anoon was couth in every strete,
Bothe in thassege, in toune, and every-where,
And with the firste it cam to Calkas ere.

Whan Calkas knew this tretis sholde holde,
In consistorie, among the Grekes, sone  
He gan in thringe forth, with lordes olde,
And sette him there-as he was wont to done;
And with a chaunged face hem bad a bone,
For love of god, to don that reverence,
To stinte noyse, and yeve him audience.  

Thanne seyde he thus, 'Lo! Lordes myne, I was
Troian, as it is knowen out of drede;
And, if that yow remembre, I am Calkas,
That alderfirst yaf comfort to your nede,
And tolde wel how that ye sholden spede.  
For dredelees, thorugh yow, shal, in a stounde,
Ben Troye y-brend, and beten doun to grounde.

'And in what forme, or in what maner wyse
This town to shende, and al your lust to acheve,
Ye han er this wel herd it me devyse;  
This knowe ye, my lordes, as I leve.
And for the Grekes weren me so leve,
I com my-self in my propre persone,
To teche in this how yow was best to done;

'Havinge un-to my tresour ne my rente  
Right no resport, to respect of your ese.
Thus al my good I loste and to yow wente,
Wening in this you, lordes, for to plese.
But al that los ne doth me no disese.
I vouche-sauf, as wisly have I Ioye,  
For you to lese al that I have in Troye,

'Save of a doughter, that I lafte, allas!
Slepinge at hoom, whanne out of Troye I sterte.
O sterne, O cruel fader that I was!
How mighte I have in that so hard an herte?  
Allas! I ne hadde y-brought hir in hir sherte!
For sorwe of which I wol not live to morwe,
But-if ye lordes rewe up-on my sorwe.

'For, by that cause I say no tyme er now
Hir to delivere, I holden have my pees;  
But now or never, if that it lyke yow,
I may hir have right sone, doutelees.
O help and grace! Amonges al this prees,
Rewe on this olde caitif in destresse,
Sin I through yow have al this hevinesse!  

'Ye have now caught and fetered in prisoun
Troians y-nowe; and if your willes be,
My child with oon may have redempcioun.
Now for the love of god and of bountee,
Oon of so fele, allas! So yeve him me.  
What nede were it this preyere for to werne,
Sin ye shul bothe han folk and toun as yerne?

'On peril of my lyf, I shal nat lye,
Appollo hath me told it feithfully;
I have eek founde it be astronomye,  
By sort, and by augurie eek trewely,
And dar wel seye, the tyme is faste by,
That fyr and flaumbe on al the toun shal sprede;
And thus shal Troye turne to asshen dede.

'For certeyn, Phebus and Neptunus bothe,  
That makeden the walles of the toun,
Ben with the folk of Troye alwey so wrothe,
That thei wol bringe it to confusioun,
Right in despyt of king Lameadoun.
By-cause he nolde payen hem hir hyre,  
The toun of Troye shal ben set on-fyre.'

Telling his tale alwey, this olde greye,
Humble in speche, and in his lokinge eke,
The salte teres from his eyen tweye
Ful faste ronnen doun by eyther cheke.  
So longe he gan of socour hem by-seke
That, for to hele him of his sorwes sore,
They yave him Antenor, with-oute more.

But who was glad y-nough but Calkas tho?
And of this thing ful sone his nedes leyde  
On hem that sholden for the tretis go,
And hem for Antenor ful ofte preyde
To bringen hoom king Toas and Criseyde;
And whan Pryam his save-garde sente,
Thembassadours to Troye streyght they wente.  

The cause y-told of hir cominge, the olde
Pryam the king ful sone in general
Let here-upon his parlement to holde,
Of which the effect rehersen yow I shal.
Thembassadours ben answered for fynal,  
Theschaunge of prisoners and al this nede
Hem lyketh wel, and forth in they procede.

This Troilus was present in the place,
Whan axed was for Antenor Criseyde,
For which ful sone chaungen gan his face,  
As he that with tho wordes wel neigh deyde.
But nathelees, he no word to it seyde,
Lest men sholde his affeccioun espye;
With mannes herte he gan his sorwes drye.

And ful of anguissh and of grisly drede  
Abood what lordes wolde un-to it seye;
And if they wolde graunte, as god forbede,
Theschaunge of hir, than thoughte he thinges tweye,
First, how to save hir honour, and what weye
He mighte best theschaunge of hir withstonde;  
Ful faste he caste how al this mighte stonde.

Love him made al prest to doon hir byde,
And rather dye than she sholde go;
But resoun seyde him, on that other syde,
'With-oute assent of hir ne do not so,  
Lest for thy werk she wolde be thy fo,
And seyn, that thorugh thy medling is y-blowe
Your bother love, there it was erst unknowe.'

For which he gan deliberen, for the beste,
That though the lordes wolde that she wente,  
He wolde lat hem graunte what hem leste,
And telle his lady first what that they mente.
And whan that she had seyd him hir entente,
Ther-after wolde he werken also blyve,
Though al the world ayein it wolde stryve.  

Ector, which that wel the Grekes herde,
For Antenor how they wolde han Criseyde,
Gan it withstonde, and sobrely answerde: --
'Sires, she nis no prisoner,' he seyde;
'I noot on yow who that this charge leyde,  
But, on my part, ye may eft-sone hem telle,
We usen here no wommen for to selle.'

The noyse of peple up-stirte thanne at ones,
As breme as blase of straw y-set on fyre;
For infortune it wolde, for the nones,  
They sholden hir confusioun desyre.
'Ector,' quod they, 'what goost may yow enspyre
This womman thus to shilde and doon us lese
Daun Antenor? -- a wrong wey now ye chese --

'That is so wys, and eek so bold baroun,  
And we han nede to folk, as men may see;
He is eek oon, the grettest of this toun;
O Ector, lat tho fantasyes be!
O king Priam,' quod they, 'thus seggen we,
That al our voys is to for-gon Criseyde;'  
And to deliveren Antenor they preyde.

O Iuvenal, lord! Trewe is thy sentence,
That litel witen folk what is to yerne
That they ne finde in hir desyr offence;
For cloud of errour let hem not descerne  
What best is; and lo, here ensample as yerne.
This folk desiren now deliveraunce
Of Antenor, that broughte hem to mischaunce!

For he was after traytour to the toun
Of Troye; allas! They quitte him out to rathe;  
O nyce world, lo, thy discrecioun!
Criseyde, which that never dide hem skathe,
Shal now no lenger in hir blisse bathe;
But Antenor, he shal com hoom to toune,
And she shal out; thus seyden here and howne.  

For which delibered was by parlement
For Antenor to yelden out Criseyde,
And it pronounced by the president,
Al-theigh that Ector 'nay' ful ofte preyde.
And fynaly, what wight that it with-seyde,  
It was for nought, it moste been, and sholde;
For substaunce of the parlement it wolde.

Departed out of parlement echone,
This Troilus, with-oute wordes mo,
Un-to his chaumbre spedde him faste allone,  
But-if it were a man of his or two,
The whiche he bad out faste for to go,
By-cause he wolde slepen, as he seyde,
And hastely up-on his bed him leyde.

And as in winter leves been biraft,  
Eche after other, til the tree be bare,
So that ther nis but bark and braunche y-laft,
Lyth Troilus, biraft of ech wel-fare,
Y-bounden in the blake bark of care,
Disposed wood out of his wit to breyde,  
So sore him sat the chaunginge of Criseyde.

He rist him up, and every dore he shette
And windowe eek, and tho this sorweful man
Up-on his beddes syde a-doun him sette,
Ful lyk a deed image pale and wan;  
And in his brest the heped wo bigan
Out-breste, and he to werken in this wyse
In his woodnesse, as I shal yow devyse.

Right as the wilde bole biginneth springe
Now here, now there, y-darted to the herte,  
And of his deeth roreth in compleyninge,
Right so gan he aboute the chaumbre sterte,
Smyting his brest ay with his festes smerte;
His heed to the wal, his body to the grounde
Ful ofte he swapte, him-selven to confounde.  

His eyen two, for pitee of his herte,
Out stremeden as swifte welles tweye;
The heighe sobbes of his sorwes smerte
His speche him refte, unnethes mighte he seye,
'O deeth, allas! Why niltow do me deye?  
A-cursed be the day which that nature
Shoop me to ben a lyves creature!'

But after, whan the furie and the rage
Which that his herte twiste and faste threste,
By lengthe of tyme somwhat gan asswage,  
Up-on his bed he leyde him doun to reste;
But tho bigonne his teres more out-breste,
That wonder is, the body may suffyse
To half this wo, which that I yow devyse.

Than seyde he thus, 'Fortune! Allas the whyle!  
What have I doon, what have I thus a-gilt?
How mightestow for reuthe me bigyle?
Is ther no grace, and shal I thus be spilt?
Shal thus Criseyde awey, for that thou wilt?
Allas! How maystow in thyn herte finde  
To been to me thus cruel and unkinde?

'Have I thee nought honoured al my lyve,
As thou wel wost, above the goddes alle?
Why wiltow me fro Ioye thus depryve?
O Troilus, what may men now thee calle  
But wrecche of wrecches, out of honour falle
In-to miserie, in which I wol biwayle
Criseyde, allas! Til that the breeth me fayle?

'Allas, Fortune! If that my lyf in Ioye
Displesed hadde un-to thy foule envye,  
Why ne haddestow my fader, king of Troye,
By-raft the lyf, or doon my bretheren dye,
Or slayn my-self, that thus compleyne and crye,
I, combre-world, that may of no-thing serve,
But ever dye, and never fully sterve?  

'If that Criseyde allone were me laft,
Nought roughte I whider thou woldest me stere;
And hir, allas! Than hastow me biraft.
But ever-more, lo! This is thy manere,
To reve a wight that most is to him dere,  
To preve in that thy gerful violence.
Thus am I lost, ther helpeth no defence!

'O verray lord of love, O god, allas!
That knowest best myn herte and al my thought,
What shal my sorwful lyf don in this cas  
If I for-go that I so dere have bought?
Sin ye Cryseyde and me han fully brought
In-to your grace, and bothe our hertes seled,
How may ye suffre, allas! It be repeled?

'What I may doon, I shal, whyl I may dure  
On lyve in torment and in cruel peyne,
This infortune or this disaventure,
Allone as I was born, y-wis, compleyne;
Ne never wil I seen it shyne or reyne;
But ende I wil, as Edippe, in derknesse  
My sorwful lyf, and dyen in distresse.

'O wery goost, that errest to and fro,
Why niltow fleen out of the wofulleste
Body, that ever mighte on grounde go?
O soule, lurkinge in this wo, unneste,  
Flee forth out of myn herte, and lat it breste,
And folwe alwey Criseyde, thy lady dere;
Thy righte place is now no lenger here!

'O wofulle eyen two, sin your disport
Was al to seen Criseydes eyen brighte,  
What shal ye doon but, for my discomfort,
Stonden for nought, and wepen out your sighte?
Sin she is queynt, that wont was yow to lighte,
In veyn fro-this-forth have I eyen tweye
Y-formed, sin your vertue is a-weye.  

'O my Criseyde, O lady sovereyne
Of thilke woful soule that thus cryeth,
Who shal now yeven comfort to the peyne?
Allas, no wight; but when myn herte dyeth,
My spirit, which that so un-to yow hyeth,  
Receyve in gree, for that shal ay yow serve;
For-thy no fors is, though the body sterve.

'O ye loveres, that heighe upon the wheel
Ben set of Fortune, in good aventure,
God leve that ye finde ay love of steel,  
And longe mot your lyf in Ioye endure!
But whan ye comen by my sepulture,
Remembreth that your felawe resteth there;
For I lovede eek, though I unworthy were.

'O olde, unholsom, and mislyved man,  
Calkas I mene, allas! What eyleth thee
To been a Greek, sin thou art born Troian?
O Calkas, which that wilt my bane be,
In cursed tyme was thou born for me!
As wolde blisful Iove, for his Ioye,  
That I thee hadde, where I wolde, in Troye!'

A thousand sykes, hottere than the glede,
Out of his brest ech after other wente,
Medled with pleyntes newe, his wo to fede,
For which his woful teres never stente;  
And shortly, so his peynes him to-rente,
And wex so mat, that Ioye nor penaunce
He feleth noon, but lyth forth in a traunce.

Pandare, which that in the parlement
Hadde herd what every lord and burgeys seyde,  
And how ful graunted was, by oon assent,
For Antenor to yelden so Criseyde,
Gan wel neigh wood out of his wit to breyde,
So that, for wo, he niste what he mente;
But in a rees to Troilus he wente.  

A certeyn knight, that for the tyme kepte
The chaumbre-dore, un-dide it him anoon;
And Pandare, that ful tendreliche wepte,
In-to the derke chaumbre, as stille as stoon,
Toward the bed gan softely to goon,  
So confus, that he niste what to seye;
For verray wo his wit was neigh aweye.

And with his chere and loking al to-torn,
For sorwe of this, and with his armes folden,
He stood this woful Troilus biforn,  
And on his pitous face he gan biholden;
But lord, so often gan his herte colden,
Seing his freend in wo, whos hevinesse
His herte slow, as thoughte him, for distresse.

This woful wight, this Troilus, that felte  
His freend Pandare y-comen him to see,
Gan as the snow ayein the sonne melte,
For which this sorwful Pandare, of pitee,
Gan for to wepe as tendreliche as he;
And specheles thus been thise ilke tweye,  
That neyther mighte o word for sorwe seye.

But at the laste this woful Troilus,
Ney deed for smert, gan bresten out to rore,
And with a sorwful noyse he seyde thus,
Among his sobbes and his sykes sore,  
'Lo! Pandare, I am deed, with-oute
Leonardo Tonini Sep 2020
Sterne sonder Zahl aus der Nacht aller Zeiten
in einem klaren Ozean bewegt ihr euch
wenn ich euch mit menschlichem Zeitempfinden betrachte
seid ihr im Rhythmus der Jahreszeiten ewig
doch wenn ich in längeren zeitlichen Dimensionen an euch
denke so weiss ich euch sterblich.
Die entfernte Stadt löscht ihre Lichter
in der dichten Nacht erscheint ihr mal zögernd,
mal überzeugt über den Bergen wohlgesinnt.
In eurer Herrlichkeit findet mein Herz seine Ruh.

STELLE

Stelle, innumeri dalla notte dei tempi
in un liquido oceano vi muovete
se con il mio tempo umano vi guardo
al ritmo delle stagioni eterne siete
ma se con altri e più lunghi tempi a voi
penso come cose mortali vi so.
Spegne la città lontana le sue luci
nella densa notte incerte qui e là sicure
sopra i monti benevole apparite.
Nella vostra gloria riposa l’animo mio.
A poem of mine translated into German by Cornelia Masciadri and currently being published in Switzerland. I am looking for an English translator. I can translate into Italian and look for a space in a magazine in Italy for those interested.
december Sep 2014
The same day I learned I loved you
I also learned to say
"Your eyes are like stars"
I'm not sure if I believe in fate but
This is not a coincidence
John F McCullagh Jan 2012
What happened on Weehawken Heights,
that warm midsummer’s day?
There are several versions of the “truth”
but none for sure can say.

The Principals were both well known:
Hamilton and Burr.
Aaron Burr had made the challenge,
Hamilton would not demur.

Hamilton choose pistols as the weapons
Then Burr proposed the site.
Per the Irish Code Duello
It was all proper and right.

Dueling was illegal,
so the Seconds looked away
so they could plausibly deny
that they had seen the fray.

Each man walked off ten paces,
and Mister Pendleton yelled “Pre-sent”!
Most think that Hamilton fired first;
wide and right, his shot was spent.

Aaron Burr was deadly accurate:
His shot, its target found:
Alexander Hamilton, wounded,
swooned upon the ground.


“this wound is mortal, Doctor.”
was all Hamilton could say.
They bore him to the City where
he passed on the following day.


Aaron Burr also fled the scene,
evading prosecution.
He had “Full Satisfaction”,
this hero of the Revolution.

What is full satisfaction
when Burr’s Star was past its season?
He never more held public trust,
indeed, stood trial for treason.

A person can be haunted
by a ghost that none can see.
Burr’s brilliance had been blighted
by a sort of infamy.

Towards the end of his own life
Burr said of his enemy:
“{Had I known}The world was wide
enough for Hamilton and me.”




On July 11, 1804, Alexander Hamilton and Aaron Burr fought the most famous duel in American history. These two heroes of the Revolution were political enemies and Hamilton had done much to exclude Burr from the Presidency and from the  New York  governorship.  Burr,feeling he had been defamed by Hamilton's published remarks demanded the "Full Satisfaction" of a duel.  My account generally follows the account of the historian, Joesph Ellis. Any errors are my fault. Any items in quotes are words ascribed to these two famous individuals.  Aaron Burr never after held public office and eventually stood trial for treason for his alleged attempt to set up an independent country in the territory Jefferson purchased from France. After several years living in France, Burr returned to New york where he faded into obscurity. Alexander Hamilton is buried in the churchyard of Trinity Church in downtown New york.


Towards the end of his life, Burr remarked: "Had I read Sterne more and Voltaire less, I should have known the world was wide enough for Hamilton and me."[35]
Firefly Sep 2014
“Discipline allows magic. To be a writer is to be the very best of assassins. You do not sit down and write every day to force the Muse to show up. You get into the habit of writing every day so that when she shows up, you have the maximum chance of catching her, bashing her on the head, and squeezing every last drop out of that *****.”
― Lili St. Crow

“What I try to do is write. I may write for two weeks ‘the cat sat on the mat, that is that, not a rat.’ And it might be just the most boring and awful stuff. But I try. When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.’” — Maya Angelou

“Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that’s just me) as if you’ve never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you’ll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.” — Neil Gaiman

“Meggie Folchart: Having writer's block? Maybe I can help.
Fenoglio: Oh yes, that's right. You want to be a writer, don't you?
Meggie Folchart: You say that as if it's a bad thing.
Fenoglio: Oh no, it's just a lonely thing. Sometimes the world you create on the page seems more friendly and alive than the world you actually live in.”
― David Lindsay-Abaire

“Now, what I’m thinking of is, people always saying “Well, what do we do about a sudden blockage in your writing? What if you have a blockage and you don’t know what to do about it?” Well, it’s obvious you’re doing the wrong thing, don’t you? In the middle of writing something you go blank and your mind says: “No, that’s it.” Ok. You’re being warned, aren’t you? Your subconscious is saying “I don’t like you anymore. You’re writing about things I don’t give a **** for.” You’re being political, or you’re being socially aware. You’re writing things that will benefit the world. To hell with that! I don’t write things to benefit the world. If it happens that they do, swell. I didn’t set out to do that. I set out to have a hell of a lot of fun.

I’ve never worked a day in my life. I’ve never worked a day in my life. The joy of writing has propelled me from day to day and year to year. I want you to envy me, my joy. Get out of here tonight and say: ‘Am I being joyful?’ And if you’ve got a writer’s block, you can cure it this evening by stopping whatever you’re writing and doing something else. You picked the wrong subject.” — Ray Bradbury at The Sixth Annual Writer’s Symposium by the Sea, 2001

“writing about a writer's block is better than not writing at all”
― Charles Bukowski, The Last Night of the Earth Poems

Biting my truant pen, beating myself for spite:
"Fool!" said my muse to me, "look in thy heart, and write.”
― Philip Sidney, Astrophel and Stella



“What I try to do is write. I may write for two weeks ‘the cat sat on the mat, that is that, not a rat.’ And it might be just the most boring and awful stuff. But I try. When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.’” — Maya Angelou

“Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that’s just me) as if you’ve never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you’ll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.” — Neil Gaiman

“I encourage my students at times like these to get one page of anything written, three hundred words of memories or dreams or stream of consciousness on how much they hate writing — just for the hell of it, just to keep their fingers from becoming too arthritic, just because they have made a commitment to try to write three hundred words every day. Then, on bad days and weeks, let things go at that… Your unconscious can’t work when you are breathing down its neck. You’ll sit there going, ‘Are you done in there yet, are you done in there yet?’ But it is trying to tell you nicely, ‘Shut up and go away.'” — Anne Lamott, Bird by Bird

“Now, what I’m thinking of is, people always saying “Well, what do we do about a sudden blockage in your writing? What if you have a blockage and you don’t know what to do about it?” Well, it’s obvious you’re doing the wrong thing, don’t you? In the middle of writing something you go blank and your mind says: “No, that’s it.” Ok. You’re being warned, aren’t you? Your subconscious is saying “I don’t like you anymore. You’re writing about things I don’t give a **** for.” You’re being political, or you’re being socially aware. You’re writing things that will benefit the world. To hell with that! I don’t write things to benefit the world. If it happens that they do, swell. I didn’t set out to do that. I set out to have a hell of a lot of fun.

I’ve never worked a day in my life. I’ve never worked a day in my life. The joy of writing has propelled me from day to day and year to year. I want you to envy me, my joy. Get out of here tonight and say: ‘Am I being joyful?’ And if you’ve got a writer’s block, you can cure it this evening by stopping whatever you’re writing and doing something else. You picked the wrong subject.” — Ray Bradbury at The Sixth Annual Writer’s Symposium by the Sea, 2001

“The secret of getting ahead is getting started. The secret of getting started is breaking your complex overwhelming tasks into small manageable tasks, and then starting on the first one.” — Mark Twain

“The best way is always to stop when you are going good and when you know what will happen next. If you do that every day … you will never be stuck. Always stop while you are going good and don’t think about it or worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it you will **** it and your brain will be tired before you start.” — Ernest Hemingway

“Many years ago, I met John Steinbeck at a party in Sag Harbor, and told him that I had writer’s block. And he said something which I’ve always remembered, and which works. He said, “Pretend that you’re writing not to your editor or to an audience or to a readership, but to someone close, like your sister, or your mother, or someone that you like.” And at the time I was enamored of Jean Seberg, the actress, and I had to write an article about taking Marianne Moore to a baseball game, and I started it off, “Dear Jean . . . ,” and wrote this piece with some ease, I must say. And to my astonishment that’s the way it appeared in Harper’s Magazine. “Dear Jean . . .” Which surprised her, I think, and me, and very likely Marianne Moore.” — John Steinbeck by way of George Plimpton

“Over the years, I’ve found one rule. It is the only one I give on those occasions when I talk about writing. A simple rule. If you tell yourself you are going to be at your desk tomorrow, you are by that declaration asking your unconscious to prepare the material. You are, in effect, contracting to pick up such valuables at a given time. Count on me, you are saying to a few forces below: I will be there to write.” — Norman Mailer in The Spooky Art: Some Thoughts on Writing

“[When] the thoughts rise heavily and pass gummous through my pen… I never stand conferring with pen and ink one moment; for if a pinch of ***** or a stride or two across the room will not do the business for me — … I take a razor at once; and have tried the edge of it upon the palm of my hand, without further ceremony, except that of first lathering my beard, I shave it off, taking care that if I do leave hair, that it not be a grey one: this done, I change my shirt — put on a better coat — send for my last wig — put my topaz ring upon my finger; and in a word, dress myself from one end to the other of me, after my best fashion.” — Laurence Sterne

“I learned to produce whether I wanted to or not. It would be easy to say oh, I have writer’s block, oh, I have to wait for my muse. I don’t. Chain that muse to your desk and get the job done.” — Barbara Kingsolver

“Writer’s block…a lot of howling nonsense would be avoided if, in every sentence containing the word WRITER, that word was taken out and the word PLUMBER substituted; and the result examined for the sense it makes. Do plumbers get plumber’s block? What would you think of a plumber who used that as an excuse not to do any work that day?

The fact is that writing is hard work, and sometimes you don’t want to do it, and you can’t think of what to write next, and you’re fed up with the whole **** business. Do you think plumbers don’t feel like that about their work from time to time? Of course there will be days when the stuff is not flowing freely. What you do then is MAKE IT UP. I like the reply of the composer Shostakovich to a student who complained that he couldn’t find a theme for his second movement. “Never mind the theme! Just write the movement!” he said.

Writer’s block is a condition that affects amateurs and people who aren’t serious about writing. So is the opposite, namely inspiration, which amateurs are also very fond of. Putting it another way: a professional writer is someone who writes just as well when they’re not inspired as when they are.” — Philip Pullman
Really stop waiting for your muse. These quotes came from various sources,thus including:Books Taking Up Space In The Bookshelf,Journals, and of course The Internet.
Days gone without writing: 9
I keep collecting books I know
I'll never, never read;
My wife and daughter tell me so,
And yet I never head.
"Please make me," says some wistful tome,
"A wee bit of yourself."
And so I take my treasure home,
And tuck it in a shelf.

And now my very shelves complain;
They jam and over-spill.
They say: "Why don't you ease our strain?"
"some day," I say, "I will."
So book by book they plead and sigh;
I pick and dip and scan;
Then put them back, distrest that I
Am such a busy man.

Now, there's my Boswell and my Sterne,
my Gibbon and Defoe;
To savour Swift I'll never learn,
Montaigne I may not know.
On Bacon I will never sup,
For Shakespeare I've no time;
Because I'm busy making up
These jingly bits of rhyme.

Chekov is caviare to me,
While Stendhal makes me snore;
Poor Proust is not my cup of tea,
And Balzac is a bore.
I have their books, I love their names,
And yet alas! they head,
With Lawrence, Joyce and Henry James,
My Roster of Unread.

I think it would be very well
If I commit a crime,
And get put in a prison cell
And not allowed to rhyme;
Yet given all these worthy books
According to my need,
I now caress with loving looks,
But never, never read.
Arke Sep 2018
Ich denke dein,
wenn mir der Sonne schimmer
Vom Meere strahlt;

Ich denke dein,
wenn sich des Mondes Flimmer
In Quellen malt.

Ich sehe dich,
wenn auf dem fernen Wege

Der Staub sich hebt,
In tiefer Nacht,
wenn auf dem schmalen Stege

Der Wandrer bebt.
Ich höre dich,
wenn dort mit dumpfem Rauschen

Die Welle steigt.
Im stillen Haine geh' ich oft zu lauschen,
Wenn alles schweigt.

Ich bin bei dir,
du seist auch noch so ferne,

Du bist mir nah!
Die Sonne sinkt,
bald leuchten mir die Sterne.

O wärst du da!

― Johann Wolfgang von Goethe


*English Translation:

I Think of You

I think of you,
when I see the sun’s shimmer
Gleaming from the sea.

I think of you,
when the moon’s glimmer
Is reflected in the springs.

I see you,
when on the distant road

The dust rises,
In deep night,
when on the narrow bridge

The traveler trembles.
I hear you,
when with a dull roar
The wave surges.

In the quiet grove I often go to listen
When all is silent.

I am with you,
however far away you may be,
You are next to me!

The sun is setting,
soon the stars will shine upon me.

― Johann Wolfgang von Goethe
Lucky Queue May 2013
Ich will frei sein
Ich will mit Vogel fliegen
Ich will die Sterne küssen
Ich will Gedicht über alles schreiben
Ich will mit die Engeln leben
Aber kann ich nur jetzt schlafen
Aber werde ich nur jetzt traümen

I want to be free
I want to fly with birds
I want to kiss the stars
I want to write poems about everthing
I want to live with the angels
But I can only sleep now
But I will only dream now
RJ Days Jun 2014
Ohne Leidenschaft, der Welt kalt ist.
Ohne Liebe, die Sterne nicht leuchten.
Ohne Freunde, du in das Leben einsame bist.
Ohne dich, es gibt nichts.
Aber das Wahrheit kommt an.
Sowie sowieso, was es sonst noch gibt?
Johanna Khan Apr 2013
Die Sterne blinken und blitzen
Je dunkler die Nacht desto heller
Sie versprühen Funken des Glücks
Jeder Funke sucht sich einen Weg
Seinen Weg zu dir und zu mir
Sie setzen sich auf unsere Nasenspitzen
Wenn wir am träumen sind
Und wenn wir tief einatmen
Nehmen wir ein Stückchen Glück

Mit in den Schlaf
Mateuš Conrad Apr 2019
before i begin, a pre-scriptum...
         in my hand, this minute?
                   what a rare delight...
the Beauties of Sterne:
                                with some account of his life...
printed for J. Walker,
published by J. Walker, Paternoster Row &
   J. Harris, St. Paul's Church Yard...
London... 1811!
    and being a big "fan boy" of the fiction
that a bibliophile might have an adventure:
Roman Polanski's the Ninth Gate...
   now, for a book that's... 208 years old?!
it's not in bad shape... sure...
the hardcover is missing by a half...
but all the text is intact...
              obviously colouring of the pages...
but hey... i'm not a museum...
             the book is still fiddled with...
ha ha, the opening page with a picture
reads as follows:
   there are worse occupations in this world,
than feeling a woman's pulse...
perhaps a quote about... insensibility?
   it reads as follows:
       it is the fate of mankind, too often,
to insensible of what they may enjoy at
the easiest rate (sermon XLII)...
   besides, lucky for me youtube continues
to glitch from time to time...
    now looking more in line with channels
than individual artists...
   notably? Harakiri Diat (channel)...
eh... :wumpscut, the soft machine,
demdike stare, vomito *****, feindflug
weren't enough...
          turns out... there's more...
beyond penta, matutero and GloOMy
PhAntOM... well, please, allow me:
   filmmaker - the love market,
              la ***** bianca - demian...
hell... if you want to venture into the past?
i know one band that freaked out
my ex-girlfriend... gong - flying teapot...
or that song by greenskeepers, lotion...
               i thought i'd never see someone
become freaked out about music...
curios and also highly curious, yes...
but freaked out?
                 primitive knot - puritan...
demolition group - you better...
          1986 Yugoslav minimal electro...
Bruce Roach - Gut...
              and as it turns out...
    i look from this corner of the internet and find
absolutely no need to delve into
the dark web... install Tor...
           if you really want to...
  you'll find all you need... but you need
to sift through a bibliography of a book prior
to... it's all here... this sort of material
has an inbuilt filter... it filters out
             mainstream consumers of content...
i should know...
    3 websites that banned me,
1 suspended me...
                   i crossed the threshold...
    normie poetic: outcast *****...
           yet i still sometimes happened to chance
upon a will...
           lao che - soundtrack (the whole album
is decent) -
              


.i once heard it was based upon the following maxims: bogatemu wszystko wolno (the rich are allowed anything), siła razy gwałt (force multiplied by ****)... well... over the years, that much was true... but then i conjured a reply: nie wszystko wolno bogatemu (not everything is given an allowance to be expressed by the rich) and wola odiąć gwałt (will, having substracted ****): otherwise it's still wola razy gwałt (will, multiplied by ****).

****, i only just "woke" up from
this game,
you know that game...
oh i'm pretty sure you know it...
it's called
   pass the jew along...
   rudolf höss
      cited, among the list:
ibrahim ibn yaqub,
         radhanites (there's a surd
H in there, rad-'anites)
    casimir III...
esp. the latter...
           so.. give the current h'americans,
we're still playing the globalist
nomad game of: juggling the jews,
yes, no, maybe?
so my mother tended to
two old jewish women,
because, just "because"
their sons were active in
the "economics" of passing law
and techno-literacy?
oh... right... i "see"...
                            i... "see"...
in defence, of the "neglected" ones...
makes perfect sense,
de facto 51,
                  area 51 was always
a propaganda convert term
for Israel, rather than some area
bound to Nevada, wansn't it?
wasn't it?
                      ask me again
one year from now,
did we live peacefully among the jews?
they'll tell you the joke...
didn't the jews shoot,
with riffles,
   with bent barrels / sights
aiming at themselves rather
than the nazis?
       no, no soap jokes when
it comes to yews...
the yids...
      everyone in poland just
wondered: why so pacified?
        so blatant in walking into
an inferno?
                      you know...
it took Poland longer to surrender,
while being attacked by both
the Germans and the Russians,
than it took for the Fwench
to be attacked by the sole effort
of the Germans?
    funny... that...
                               i truly admire
some nazis, for their ingenuity...
notably? erwin rommel...
   lothar von arnauld de la periè(re)...
(subtle, i give you that one,
per-y'eh...
                 'old 'ack 'old 'ck
   h-b-h-b,
                                    rein in...
otherwise perié... ergo without
                                           the -re)...
michael wittmann...
and i'm a ******...
      **** me...
they didn't bomb paris,
might as well state:
they also didn't bomb
  marienburg or most of danzig...
Warsaw? taken down,
levelled, brick by brick,
        until no brick stood on brick...
              what?!
i thought the western capitalist-ico
communist insurgents
wanted target practice?
          i thought these people
wanted nazis, no?
          i'll admit... tiki torches?
you must have never looked
at european football hooligans...
tiki torches?!
you having a bbq?
            never heard of flares?        
- mind you...
you know what's worse beside
beind ridiculed?
having your intelligence
insulted...
i.e. do i look like someone
who managed to ****
your mother with a *******
harmonica,
or, am i, bound to the responsibility,
of your parents playing
the irresponsibility card,
attempting to convey a child
into existence aged circa 50
circa 45,
and what comes out is
an autistic cucumber?!
    **** me...
try giving ****** lessons
to circa 50 year olds;
and now the paradox...
   "i'm" the "schizophrenic"...
cool cool, coolio...
     i'll just hide in that "harem's"
worth of a brothel with
the prostitutes who tell
me they get s.t.d. checks on
a regular basis, o.k.?
_____

what am i to add to this?
not much, is there...
was the great gatsby by f. scott fitzgerald
ever great?!
  how satisfying it is to be unable
to please the crowd....
words, after all, are not bread...
how one wishes
for an anathema rather than
a martyr's embrace...
            one begins to imagine...
then one loses interest...
then...
                    peering through
the eye of a needle
watching a camel walk through...
one spots something outside
the realm of the metaphorical miracle...
do i have to?
      what if i remain to this side
of the eye of the needle?
what riches do i have that i cling to...
books & music...
does that make me rich?
what are the sort of riches where either
people plunder readily (music),
or do not engage with to begin
with?
who are ready to read...
i can claim to be a book thief...
i stole two books from my high school
library... the quran and the scarlet &
the black by stendhal...
            "stole"... i extended their
licance of being borrowed...
how am i rich: if my riches are the riches
no one would want to steal?!
i am rich... though...
               but i am rich in a both
materialistic / non-materialistic paradox
frame...
                what i own no one wants to
steal! why steal a first cheap edition
of a dickens' novel if you're not going
to read it!
              
       **** **** ****.... if they were such
philistines... when blitzing London,
why did st. paul's remain intact?
   "coinicidence"? i don't think so...
and why did they steal all those
art-works? again, "coincidence"?

                    they were people:
i find it uncomfortable to suit them up
in transcendence,
to be: epitome evil...
  to be the übermensch...
                   they loved art as much
as they loved being the antithesis
of the golden horde: gucci, dolce & gabbana
zz top: well dressed men...

     nazis loved art and fashion,
by far the best dressed army in the world
and history...

   ol' herman and otto came back
from the eastern front to a scared wife and mother...
people! they weren't mythical creatures...
the nazis can hardly become
chimeras as they become in the minds
of pseudo-communists of the western lands...

they are hardly the epitome of evil,
i know the 21st century narrative
deems them: "the perfect example"...
come on... they're not evil embodied
with not subsequent examples to be given
to... historical capitalism of evil:
there's always someone waiting,
some group of people to stage
a competition libra... and they will...
overcome the nazis...
it's only a question of ingenuity /
imagination...
           gas chambers was only industrial...
it will become personal in the years to come...
methodologically trained cultured
barbarians woken from a slumber...

the nazis were not: philistines...
   in no defence: didn't they speed up the creation
of the state of israel?
   didn't they? **** uncle:
   lavrentiy pavlovich Beria is going to state
the matters differently?
like hell he is...

        my family also suffered in that war...
sure, not in a concentration camp:
but on the front...
             there's even a joke that my
grandfather remembers:
the jews were shooting with bent nozzles
of riffles...
   as he also remembers two ss-men
who he asked for sweets,
and they would give them to him,
he'd as them: herr! bitte bon-bon!
   sweets so sweet that he would have
to rinse his hands under water
to unglue them from the sickly in-between...
how all the insurgent soviet soldiers
were teenagers and preferred to
sleep in pigstys and among the goats
in the hay...

how did the nazis become mythological
i will never understand,
at uni i had a **** history teacher,
canadian, she really liked my essay
on napoleon... how he was a great
strategist...
akin to?  

   erwin rommel wasn't a ****...
erwin rommel was, erwin rommel...
a great strategist...
        am i supposed to thrive in this
current year of polarized *******?
it's the current topic,
i can't escape it,
  sure, i'd love to have a Wordsworth
moment, lurking in me,
or an anna akhmatova breakthough...
instead?! i'm given this sort of *******
on a platter,
  and all that's missing are the wedges
of lemon and the eager oysters to
be gulped down... lucky me!

no, i don't like how the nazis are misrepresented
as both the übermenschen:
these mythological epitomes of evil
(no greater evil is to come? really?!)
and at the same time
as philistines: they stole art,
they ensured that critically cultural
documents of architecture were left
undisturbed... st. paul's cathedral...

         it's not like some otto or moritz
didn't come back home to a wife
and children... no...
he came back to the shadow cult
of the ******* hanging over him...

you know what the most haunting experience
i have ever experienced was?
Ypres... world war I site...
visiting a german cemetary...
compared to the allies cemetary?
**** me, what a meagre sight!
           the allies were burried with marked
graves, each man to his own cross...
the german burial ground?!
  mass graves....
eh: one marker: 200 bodies in one pit...
                 and here's the 21st century with
games about shooting: zee nat'zees...

   just visit the world war I cemetaries...
the ally cemetaries? square miles...
each man with his white cross...
german cemetaries? as mass graves go...
one marker per 200+ troops...
so... not that much space required...
less: bombast!
               pride & prejudice /
   pomp & circumstance...
   which the english speaking world is...
of the latter convenience to suit the narrative.

to reiterate...
   as a ******... the whole german fetish
isn't my kind of gig...
what with my grandmother being born
on the front... given opiates at an early
age so she would not cry and allow
the soldiers to locate her and my gread-grandparents...
but...
   they were the best dressed army in
the history of warfare...
they were not philistines and they certainly
weren't the mongolian golden horde...
i.e. they stole art, notably jewish artwork...
and if a luftwaffe squadron were to drop
a bomb on st. paul's? they'd probably
be shot...
  after all... Posen wasn't destroyed,
Breslau wasn't destroyed...
        Danzig wasn't destroyed...
Cracow wasn't destroyed...
             o.k., half of Warsaw was,
but we know why that happened
(or at least i do... idealist students who
thought they could fight the enemy
with slingshots and air-pistols)...
why? the Germans were simply thinking:
oh... we'll just be moving back...
i once explained it to myself...
they weren't exactly some mythological
grand evil template...
so i started thinking about them as:
Hans von Seeckt...
  or Otto Hertz...
              or some other german random
soldier...
      well... you should travel to Ypres,
Belgium... and visit a German cemetary
from war world I... then visit
the allies graveyard...
       each soldier, individually buried...
with his pwetty pwetty weißkreuz -
mostly named...
                 now visit a german cemetary...
mass.... graves...
                they just dumped them,
heaped them...
                        to me they were people...
you can't exactly reason with a mythological
evil - an archeological evil,
   an archetypical evil...
          for an archetypical evil?
try the nuclear family...
                         ******... that sort of thing...
child abuse... too many actors
were involved in this story,
too many mistakes, too many naive blunders...
evil on this scale is easily diluted...
which is why it's taught as history,
in schools...
   no one will teach children about...
oh... say... the Wiener Blut scenario...
   Josef Fritzl...
                    i'm pretty sure this will not be
taught in a history class...
                or... the H. H. Holmes Hotel story...
but it might become a jack the ripper
tourist-fetish... might it not? well, it already is.
Jann F Oct 2018
Wir finden und verlieren uns im Moment,
Im letzten Atemzug den wir uns gemeinsam teilen
Um uns herum fängt es an zu regnen,
Es scheint, als ob die Welt wüsste wie
es in unserem Inneren aussieht.

Der kurze Augenblick zwischen Sonne und Regen,
Der kurze Moment zwischen Freude und Traurigkeit.
Es kommt und geht, das Glück zwischen zwei Menschen

Was für ein trauriger Moment, du sagtest mir wir sollen uns nichtmehr sehen
Dein letztes Bild verblasst im Tageslicht,
Zeit heilt was sie kann, doch nichts ist für immer
Und man sagt , es wird schon wieder,
Doch nichts wird wie es einst war

Die Einsamkeit von gestern nimmt mich wieder in den Arm,
Fühlt sich an wie jeder Tag,
In Gedanken bei dir, irgendwo anders
An einem Ort wo es egal ist, verloren zu sein

Es wird immer vergehen, und nie so bleiben
kommt mir vor wie damals,
Damals auf dem Balkon also du die Sterne gezählt hast
lost thoughts Dec 2014
sitzt neben
für dich
ist wie
ein kleiner schluck
Ewigkeit, die Sonne,
die Sterne,
der Himmel,
nie probiert
so gut.
sitting next to
to you
is like
a sip
Eternity, the sun,
the stars,
the sky,
never tried
so good.


this is what the poem says.
t Jun 2019
Deine Augen sind wie Sterne,
und, du hast das Lächeln
auf die G ö t t e r!
Ich Hoffe, das mein Gedicht ist ein bisschen weniger Schwul in Deutsch verfasst.
Aber ich fürchte ich habe es noch schlimmer gemacht..
Hallo Poetry
Caroline W Jun 2019
Scherben in nem eispalast -
Konserviert und eingefasst..
Labyinth aus Licht und Schatten,
Alpträume die sich verstecken
Träume die sie versteckt halten
Den Blick zu den sternen,
Weil nur dort oben keine Schatten sind
An ins Sternbild des Drachen
Weil ich nur dort zuhause bin
Und nicht auf dieser Erde

Nein ich muss aus einer dieser anderen Welten,
Da oben bei den sternen sein -
Kann mich nicht von natur aus um diese sonne drehen,
Keine Ahnung von wo da oben ich herkam -
Oder wohin ich dabei war zu gehen,
Doch Weiß ich das es nicht hier unten war,
Sonst würde sich nicht alles hier unten
Völlig falschrum für mich drehn,
Selbst Tag und Nacht sind verkehrt ,
Zu kurz ,zu schnell und kalt -
Wie alles andere auch ,
Viel zu schnell am vergehen


Es sind nur lichtblitze zwischen all den Schatten zu sehn,
Die die Bilder ein brennen die in diesen Schatten entstehen,
Wie blitze fotos in einen Film -
Jedes davon ein Beweis,
Das ich blos gestrandet bin,
Hier wo Dämonen wie sonst engel aussehn,
Wo alles sich gegenseitig frisst,
Und allein Wahnsinn fähig macht,
das alles lang genug zu überstehen,
Um auch nur lang genug das licht,
des wegs weit genug nach oben zu sehn,
Um überhaupt heraus zu finden
Das sterne an nem Himmel existiern -
Hoch genug oben um sich zu verstecken
Vor allem was nicht fliegen kann oder
verzweifelt genug davon ist,
in realen Horrorfilmen zu stehen,
‎um auf der Flucht vor all den Szenen
‎einfach blind nach oben zu gehn,
‎wo eine wand ist ,
beginnt zu klettern,
‎um nur nicht mehr in blut und Asche zu stehen
Fight your way up!
Marie Nov 2020
Eines Nachts im Sommer
funkelten die Sterne am Himmel,
und eine kühle Brise zerstreute die Hitze des Tages

und die Erde war still.
These are modern English translations of poems by the German poets Hermann Allmers, Hannah Arendt, Ingeborg Bachmann, Paul Celan, H. Distler, Wilhelm Ludwig Gleim, Johann Wolfgang von Goethe, Günter Grass, Heinrich Heine, Johann Georg Jacobi, Friedrich Gottlieb Klopstock, Rainer Maria Rilke, Friedrich Schiller, Angelus Silesius and Georg Trakl.



To the boy Elis
by Georg Trakl, an Austrian poet who wrote in German
loose translation/interpretation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.




Heinrich Heine

The Seas Have Their Pearls
by Heinrich Heine
loose translation/interpretation by Michael R. Burch

The seas have their pearls,
The heavens their stars;
But my heart, my heart,
My heart has its love!

The seas and the sky are immense;
Yet far greater still is my heart,
And fairer than pearls and stars
Are the radiant beams of my love.

As for you, tender maiden,
Come steal into my great heart;
My heart, and the sea, and the heavens
Are all melting away with love!



Rainer Maria Rilke

Rainer Maria Rilke [1875-1926] was a Bohemian-Austrian poet generally considered to be a major poet of the German language. He also wrote more than 400 poems in French. He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, then the capital of Bohemia and part of Austria-Hungary. During Rilke's early years his mother, who had lost a baby daughter, dressed him in girl's clothing. In 1895 and 1896, he studied literature, art history, and philosophy in Prague and Munich. In 1902 Rilke traveled to Paris to write about the sculptor Auguste Rodin. Rilke became deeply involved with the sculpture of Rodin and for a time served as Rodin's secretary. Under Rodin's influence Rilke transformed his poetic style from the subjective to the objective. His best-known poem, "Archaic Torso of Apollo," was written about a sculpture by Rodin and speaks about the life-transforming properties (and demands) of great art. Rilke allegedly died the most poetic of deaths, having been pricked by a rose. He was in ill health, the wound failed to heal, and he died as a result.

Poems translated here include Herbsttag ("Autumn Day"), Der Panther ("The Panther"), Archaïscher Torso Apollos ("Archaic Torso of Apollo"), Komm, Du ("Come, You"), Das Lied des Bettlers ("The Beggar's Song"), Liebeslied ("Love Song"), and the First Elegy, also known as the First Duino Elegy.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation 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.

TRANSLATOR'S NOTE: This is a poem about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.—Michael R. Burch

Archaïscher Torso Apollos

Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation 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.

Herbsttag

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.
Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...

How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...

You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?

Du im Voraus

Du im Voraus
verlorne Geliebte, Nimmergekommene,
nicht weiß ich, welche Töne dir lieb sind.
Nicht mehr versuch ich, dich, wenn das Kommende wogt,
zu erkennen. Alle die großen
Bildern in mir, im Fernen erfahrene Landschaft,
Städte und Türme und Brücken und un-
vermutete Wendung der Wege
und das Gewaltige jener von Göttern
einst durchwachsenen Länder:
steigt zur Bedeutung in mir
deiner, Entgehende, an.

Ach, die Gärten bist du,
ach, ich sah sie mit solcher
Hoffnung. Ein offenes Fenster
im Landhaus—, und du tratest beinahe
mir nachdenklich heran. Gassen fand ich,—
du warst sie gerade gegangen,
und die spiegel manchmal der Läden der Händler
waren noch schwindlich von dir und gaben erschrocken
mein zu plötzliches Bild.—Wer weiß, ob derselbe
Vogel nicht hinklang durch uns
gestern, einzeln, im Abend?



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation 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 Ranier 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.

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.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation 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!

Liebes-Lied

Wie soll ich meine Seele halten, daß
sie nicht an deine rührt? Wie soll ich sie
hinheben über dich zu andern Dingen?
Ach gerne möcht ich sie bei irgendwas
Verlorenem im Dunkel unterbringen
an einer fremden stillen Stelle, die
nicht weiterschwingt, wenn deine Tiefen schwingen.
Doch alles, was uns anrührt, dich und mich,
nimmt uns zusammen wie ein Bogenstrich,
der aus zwei Saiten eine Stimme zieht.
Auf welches Instrument sind wir gespannt?
Und welcher Geiger hat uns in der Hand?
O süßes Lied.



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, instead,
so that no one would ever think
I have no place to lay my head.

Translator's note: I believe the last line may be a reference to a statement made by Jesus Christ in the gospels: that foxes have their dens, but he had no place to lay his head. Rilke may also have had in mind Jesus saying that what someone does "to the least of these" they would also be doing to him.

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.



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 some 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.



Johann Wolfgang von Goethe

Excerpt from “To the Moon”
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Scattered, pole to starry pole,
glide Cynthia's mild beams,
whispering to the receptive soul
whatever moonbeams mean.

Bathing valley, hill and dale
with her softening light,
loosening from earth’s frigid chains
my restless heart tonight!

Over the landscape, near and far,
broods darkly glowering night;
yet welcoming as Friendship’s eye,
she, soft!, bequeaths her light.

Touched in turn by joy and pain,
my startled heart responds,
then floats, as Whimsy paints each scene,
to soar with her, beyond...

I mean Whimsy in the sense of both the Romantic Imagination and caprice. Here, I have the idea of Peter Pan flying off with Tinker Bell to Neverland.

My translation was informed by a translation by John S. Dwight.



Der Erlkönig (“The Elf King”)
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Who rides tonight with the wind so wild?
A loving father, holding his child.
Please say the boy’s safe from all evil and harm!
He rests secure in his dear father’s arms.

My son, my son, what’s that look on your face?
Father, he’s there, in that dark, scary place!
The elfin king! With his dagger and crown!
Son, it’s only the mist, there’s no need to frown.

My dear little boy, you must come play with me!
Such marvelous games! We’ll play and be free!
Many bright flowers we'll gather together!
Son, why are you wincing? It’s only the weather.

Father, O father, how could you not hear
What the elfin king said to me, drawing so near?
Be quiet, my son, and pay “him” no heed:
It was only the wind gusts stirring the trees.

Come with me now, you're a fine little lad!
My daughters will kiss you, then you’ll be glad!
My daughters will teach you to dance and to sing!
They’ll call you a prince and give you a ring!

Father, please look, in the gloom, don’t you see
The dark elfin daughters keep beckoning me?
My son, all I can see and all I can say
Is the wind makes the grey willows sway.

Why stay with your father? He’s deaf, blind and dumb!
If you’re unwilling I’ll force you to come!
Father, he’s got me and won’t let me go!
The cruel elfin king is hurting me so!

At last struck with horror his father looks down:
His gasping son’s holding a strange golden crown!
Then homeward through darkness, all the faster he sped,
But cold in his arms, his dear child lay dead.



The Fisher
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

The river swirled and rippled;
nearby an angler lay,
and watched his lure with a careless eye,
like any other day.
But as he watched in a strange half-dream,
he saw the waters part,
and from the river’s depths emerged
a maiden, or a ****.

A Lorelei, she sang to him
her strange, bewitching song:
“Which of my sisters would you snare,
with your human hands, so strong?
To make us die in scorching air,
ripped from our land, so clear!
Why not leave your arid land
And rest forever here?”

“The sun and lady-moon, they lave
their tresses in the main,
and find such cleansing in each wave,
they return twice bright again.
These deep-blue waters, fresh and clear,
O, feel their strong allure!
Wouldn’t you rather sink and drown
into our land, so pure?”

The water swirled and bubbled up;
it lapped his naked feet;
he imagined that he felt the touch
of the siren’s kisses sweet.
She sang to him of mysteries
in her soft, resistless strain,
till he sank into the water
and never was seen again.

My translation was informed by a translation by William Edmondstoune Aytoun and Theodore Martin.



Kennst du das Land (“Do You Know the Land”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Do you know of the land where the bright lemons bloom?
Where the orange glows gold in the occult gloom?
Where the gentlest winds fan the palest blue skies?
Where the myrtles and laurels elegantly rise?



Excerpt from “Hassan Aga”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

What whiteness shimmers, distant on the lea?
Could it be snow? Or is it swans we see?
Snow? Melted with a recent balmy day.
Swans? All departed, long since flown away.
Neither snow, nor swans! What can it be?
The tent of Hassan Aga, shining!
There the wounded warrior lies, repining.
His mother and sisters to his side have come,
But his shame-faced wife weeps for herself, at home.



Excerpt from “The Song of the Spirits over the Waters”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Wind is water's
amorous pursuer:
the Wind, upswept,
heaves waves from their depths.
And you, mortal soul,
how you resemble water!
And a mortal’s Fate,
how alike the wind!

My translation was informed by a translation by John S. Dwight.



Excerpt from “One and All”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

How the solitary soul yearns
to merge into the Infinite
and find itself once more at peace.
Rid of blind desire & the impatient will,
our restless thoughts and plans are stilled.
We yield our Selves, then awake in bliss.

My translation was informed by a translation by John S. Dwight.



Prometheus
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

obscure Your heavens, Zeus, with a nebulous haze!
and, like boys beheading thistles, decapitate oaks and alps.

yet leave me the earth with its rude dwellings
and my hut You didn’t build.
also my hearth, whose cheerful glow You envy.

i know nothing more pitiful under the sun than these vampiric godlings!
undernourished with insufficient sacrifices and airy prayers!

my poor Majesty, if not for a few fools' hopes,
those of children and beggars,
You would starve!

when i was a child, i didn't know up from down,
and my eye strayed erratically toward the sun strobing high above,
as if the heavens had ears to hear my lamentations,
and a heart like mine, to feel pity for the oppressed.

who assisted me when i stood alone against the Titans' insolence?
who saved me from slavery, or, otherwise, from death?
didn’t you handle everything yourself, my radiant heart?
how you shone then, so innocent and holy,
even though deceived and expressing thanks to a listless Entity above.

revere you, zeus? for what?
when did u ever ease my afflictions, or those of the oppressed?
when did u ever stanch the tears of the anguished, the fears of the frightened?
didn’t omnipotent Time and eternal Fate forge my manhood?

my masters and urs likewise?

u were deluded if u thought I would hate life
or flee into faraway deserts,
just because so few of my boyish dreams blossomed.

now here I sit, fashioning Humans in My own Image,
creating a Race like Myself,
who, for all Their suffering and weeping,
for all Their happiness and rejoicing,
in the end shall pay u no heed,
like Me!



Nähe des Geliebten (“Near His Beloved”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

I think of you when the sun
shines softly on me;
also when the moon
silvers each tree.

I see you in the spirit
the shimmering dust resembles;
also at the stroke of twelve
when the night watchman trembles.

I hear you in the sighing
of the restless, surging seas;
also in the quiet groves
when everything’s at peace.

I am with you, though so far!
Yet I know you’re always near.
Oh what I'd yield, as sun to star,
to have you here!

Ich denke dein, wenn mir der Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich des Mondes Flimmer
In Quellen malt.

Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.

Ich höre dich, wenn dort mit dumpfem Rauschen
Die Welle steigt.
Im stillen Haine geh ich oft zu lauschen,
Wenn alles schweigt.

Ich bin bei dir, du seist auch noch so ferne.
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!



Gefunden (“Found”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Into the woodlands,
alone, I went.
Seeking nothing,
my sole intent.

But I saw a flower
deep in the shade
gleaming like starlight
in a still glade.

I reached down to pluck it
when it shyly asked:
“Why would you snap me
so cruelly in half?”

So I dug up the flower,
by the roots and all,
then planted it gently
by the garden wall.

Now in a dark corner
where I planted the flower,
it blooms just as brightly
to this very hour.

Ich ging im Walde
So für mich hin,
Und nichts zu suchen,
Das war mein Sinn.

Im Schatten sah ich
Ein Blümchen stehn,
Wie Sterne leuchtend
Wie Äuglein schön.

Ich wollt es brechen,
Da sagt' es fein:
Soll ich zum Welken,
Gebrochen sein?

Ich grubs mit allen
Den Würzeln aus,
Zum Garten trug ichs
Am hübschen Haus.

Und pflanzt es wieder
Am stillen Ort;
Nun zweigt es immer
Und blüht so fort.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
From the hilltops
comes peace;
through the treetops
scarcely the wind breathes.
Do you feel the lassitude touch you?
The little birds grow silent in the forest.
Wait, soon you’ll rest too.

2.
From the distant hilltops
comes peaceful repose;
through the swaying treetops
a calming wind blows.
Do you feel the lassitude touch you?
The birds grow silent in the forest.
Wait, soon you’ll rest too.

Über allen Gipfeln
ist Ruh’
in allen Wipfeln
spürest du
kaum einen Hauch.
Die Vögelein schweigen im Walde.
Warte, nur balde
ruhest du auch.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so weary of useless contention!
Why all this pain and lust?
Sweet peace descending,
Come, oh, come into my breast!

2.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so **** tired of this muddle!
What’s the point of all this pain and lust?
Sweet peace,
Come, oh, come into my breast!

Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest,
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!



ON LOOKING AT SCHILLER’S SKULL
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Here in this charnel-house full of bleaching bones,
like yesteryear’s
fading souvenirs,
I see the skulls arranged in strange ordered rows.

Who knows whose owners might have beheaded peers,
packed tightly here
despite once repellent hate?
Here weaponless, they stand, in this gentled state.

These arms and hands, they once were so delicate!
How articulately
they moved! Ah me!
What athletes once paced about on these padded feet?

Still there’s no hope of rest for you, lost souls!
Deprived of graves,
forced here like slaves
to occupy this overworld, unlamented ghouls!

Now who’s to know who loved one orb here detained?
Except for me;
reader, hear my plea:
I know the grandeur of the mind it contained!

Yes, and I know the impulse true love would stir
here, where I stand
in this alien land
surrounded by these husks, like a treasurer!

Even in this cold,
in this dust and mould
I am startled by a strange, ancient reverie, ...
as if this shrine to death could quicken me!

One shape out of the past keeps calling me
with its mystery!
Still retaining its former angelic grace!
And at that ecstatic sight, I am back at sea ...

Swept by that current to where immortals race.
O secret vessel, you
gave Life its truth.
It falls on me now to recall your expressive face.

I turn away, abashed here by what I see:
this mould was worth
more than all the earth.
Let me breathe fresh air and let my wild thoughts run free!

What is there better in this dark Life than he
who gives us a sense of man’s divinity,
of his place in the universe?
A man who’s both flesh and spirit—living verse!



To The Muse
by Friedrich Schiller
loose translation/interpretation by Michael R. Burch

I do not know what I would be,
without you, gentle Muse!,
but I’m sick at heart to see
those who disabuse.



GOETHE & SCHILLER XENIA EPIGRAMS

She says an epigram’s too terse
to reveal her tender heart in verse …
but really, darling, ain’t the thrill
of a kiss much shorter still?
―#2 from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

There are more translations of the Xenia epigrams of Goethe and Schiller later on this page.



Through the fields of solitude
by Hermann Allmers
set to music by Johannes Brahms
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.

This poem was set to music by the German composer Johannes Brahms in what has been called its “the most sublime incarnation.” A celebrated recording of the song was made in 1958 by the baritone Dietrich Fischer-Dieskau with Jörg Demus accompanying him on the piano.



Hannah Arendt was a Jewish-German philosopher and Holocaust survivor who also wrote poetry.

H.B.
for Hermann Broch
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

Survival.
But how does one live without the dead?
Where is the sound of their lost company?
Where now, their companionable embraces?
We wish they were still with us.

We are left with the cry that ripped them away from us.
Left with the veil that shrouds their empty gazes.
What avails? That we commit ourselves to their memories,
and through this commitment, learn to survive.

I Love the Earth
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

I love the earth
like a trip
to a foreign land
and not otherwise.
Even so life spins me
on its loom softly
into never-before-seen patterns.
Until suddenly
like the last farewells of a new journey,
the great silence breaks the frame.



Bertolt Brecht fled **** Germany along with Albert Einstein, Thomas Mann and many other German intellectuals. So he was writing from bitter real-life experience.

The Burning of the Books
by Bertolt Brecht, a German poet
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged — he'd been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power —
Burn me! he wrote with his blazing pen —
Haven't I always reported the truth?
Now here you are, treating me like a liar!
Burn me!

Parting
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

We embrace;
my fingers trace
rich cloth
while yours encounter only moth-
eaten fabric.
A quick hug:
you were invited to the gay soiree
while the minions of the "law" relentlessly pursue me.
We talk about the weather
and our eternal friendship's magic.
Anything else would be too bitter,
too tragic.

The Mask of Evil
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

A Japanese carving hangs on my wall —
the mask of an ancient demon, limned with golden lacquer.
Not altogether unsympathetically, I observe
the bulging veins of its forehead, noting
the grotesque effort it takes to be evil.

Radio Poem
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

You, little box, held tightly
to me,
escaping,
so that your delicate tubes do not break;
carried from house to house, from ship to train,
so that my enemies may continue communicating with me
on land and at sea
and even in my bed, to my pain;
the last thing I hear at night, the first when I awake,
recounting their many conquests and my litany of cares,
promise me not to go silent all of a sudden,
unawares.



These are three English translations of Holocaust poems written in German by the Jewish poet Paul Celan. The first poem, "Todesfuge" in the original German, is one of the most famous Holocaust poems, with its haunting refrain of a German "master of death" killing Jews by day and writing "Your golden hair Margarete" by starlight. The poem demonstrates how terrible things can become when one human being is granted absolute power over other human beings. Paul Celan was the pseudonym of Paul Antschel. (Celan is an anagram of Ancel, the Romanian form of his surname.) Celan was born in Czernovitz, Romania in 1920. The son of German-speaking Jews, Celan spoke German, Romanian, Russian, French and understood Yiddish. During the Holocaust, his parents were deported and eventually died in **** labor camps; Celan spent eighteen months in a **** concentration camp before escaping.

Todesfuge ("Death Fugue")
by Paul Celan
loose translation/interpretation by Michael R. Burch

Black milk of daybreak, we drink it come morning;
we drink it come midday; we drink it, come night;
we drink it and drink it.
We are digging a grave like a hole in the sky; there's sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, "Your golden hair Margarete …"
He writes poems by the stars, whistles hounds to stand by,
whistles Jews to dig graves, where together they'll lie.
He commands us to strike up bright tunes for the dance!

Black milk of daybreak, we drink you each morning;
we drink you at midday; we drink you at night;
we drink you and drink you.
The man of the house plays with serpents, he writes …
he writes when the night falls, "Your golden hair Margarete …
Your ashen hair Shulamith …"
We are digging dark graves where there's more room, on high.
His screams, "You dig there!" and "Hey you, dance and sing!"
He grabs his black nightstick, his eyes pallid blue,
cries, "Hey you, dig more deeply! You others, keep dancing!"

Black milk of daybreak, we drink you each morning;
we drink you at midday, we drink you at night;
we drink you and drink you.
The man of the house writes, "Your golden hair Margarete …
Your ashen hair Shulamith." He toys with our lives.
He screams, "Play for me! Death's a master of Germany!"
His screams, "Stroke dark strings, soon like black smoke you'll rise
to a grave in the clouds; there's sufficient room for Jews there!"

Black milk of daybreak, we drink you at midnight;
we drink you at noon; Death's the master of Germany!
We drink you come evening; we drink you and drink you …
a master of Deutschland, with eyes deathly blue.
With bullets of lead our pale master will ****** you!
He writes when the night falls, "Your golden hair Margarete …"
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; he's a master of Germany …

your golden hair Margarete …
your ashen hair Shulamith.

O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch

O, little root of a dream
you enmire me here;
I'm undermined by blood —
no longer seen,
enslaved by death.

Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else's eyes
may see yet see me,
though I'm blind,
here where you
deny me voice.

You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch

You were my death;
I could hold you
when everything abandoned me —
even breath.



“To Young”
for Edward Young, the poet who wrote “Night Thoughts”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Die, aged prophet: your crowning work your fulcrum;
now tears of joy
tremble on angel-lids
as heaven extends its welcome.

Why linger here? Have you not already built, great Mover,
a monument beyond the clouds?
Now over your night-thoughts, too,
the pallid free-thinkers hover,

feeling there's prophecy amid your song
as it warns of the dead-awakening trump,
of the coming final doom,
and heaven’s eternal wisdom.

Die: you have taught me Death’s dread name, elide,
bears notes of joy to the ears of the just!
Yet remain my teacher still,
become my genius and guide.

My translation was informed by a translation by William Taylor.



Excerpts from “The Choirs”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Dear Dream, which I must never behold fulfilled,
pale diaphanous Mist, yet brighter than orient day!,
float back to me, and hover yet again
before my swimming sight!

Do they wear crowns in vain, those who forbear
to recognize your heavenly portraiture?
Must they be encased in marble, one and all,
ere the transfiguration be wrought?

Yes! For would the grave allow, I’d always sing
with inspiration stringing the lyre,—
amid your Vision’s tidal joy,
my pledge for loftier verse.

Great is your power, my Desire! Few have ever known
how it feels to melt in bliss; fewer still have ever felt
devotion’s raptures rise
on sacred Music’s wing!

Few have trembled with joy as adoring choirs
mingled their hallowed songs of heartfelt praise
(punctuated by each awe-full pause)
with unseen choirs above!

On each arched eyelash, on each burning cheek,
the fledgling tear quivers; for they imagine the goal,—
each shimmering golden crown
where angels wave their palms.

Deep, strong, the song seizes swelling hearts,
never scorning the tears it imbues,
whether shrouding souls in gloom
or steeping them in holy awe.

Borne on the deep, slow sounds, now holy awe
descends. Myriad voices sweep the assembly,
blending their choral force,—
their theme, Impending Doom!

Joy, Joy! They can scarcely bear it!
The *****’s thunder roundly rolls,—
louder and louder, to the congregations’ cries,
till the temple also trembles.

Enough! I sink! The wave of worshipers bows
before the altar,—bows low to the earth;
they taste the communal cup,
then drink devoutly, deeply, still.

One day, when my bones rest beside this church
as the assembled worshipers sing their songs of praise,
the conscious grave shall acknowledge their vision
with heaves of sweet flowerets in bloom.

And on that morning, ringing through the rocks,
as hymns are sung in praise, O, joyous tune!,
I’ll hear—“He rose again!”
Vibrating through my tomb.

My translation was informed by a translation by William Taylor.



A Lonely Cot
by Johann Wilhelm Ludwig Gleim (1719-1803)
loose translation/interpretation by Michael R. Burch

A lonely cot is all I own:
it stands on grass that’s never mown
beside a brook (it’s passing small),
near where bright frothing fountains fall.

Here a spreading beech lifts up its head
and half conceals my humble shed:
from winter winds my sole retreat
and refuge from the summer’s heat.

In the beech’s boughs the nightingale
sweetly sings her plaintive tale:
so sweetly, passing rustics stray
with loitering steps to catch her lay!

Sweet blue-eyed maid with hair so fair,
my heart's desire! my fondest care!
I hurry home—How late the hour!
Come share, sweet maid, my sheltering bower!



Excerpts from “Song”
by Johann Georg Jacobi
loose translation/interpretation by Michael R. Burch

Friend, tell me where the violet fled,
so lately gaily blowing?
That once perfumed fair Flora’s tread,
its choicest scents bestowing?
Swain, give up verse and hang your head:
the violet lies dead!

Friend, what became of the blushing rose,
the pride of the blossoming morning?
The garland every groom bestows
upon his blushing darling?
Swain, give up verse and hang your head:
the rose lies dead!

And say, what of the village maid,
so late my cot adorning?
The one I assayed in our secret glade,
as pale and fair as the morning?
Swain, give up verse and hang your head:
the erstwhile maid lies dead!

Friend, what became of the gentle swain
who sang, in rural measures,
of the lovely violet, blushing rose,
and girls like exotic treasures?
Maid, close his book and hang your head:
the swain lies dead!



Dunkles zu sagen (“Expressing the Dark”)
by Ingeborg Bachmann, an Austrian poet
loose translation/interpretation by Michael R. Burch

I strum the strings of life and death
like Orpheus
and in the beauty of the earth
and in your eyes that instruct the sky,
I find only dark things to say.

Untitled

The dark shadow
I followed from the beginning
led me into the deep barrenness of winter.
—Ingeborg Bachmann, loose translation/interpretation by Michael R. Burch



Johann Wolfgang von Goethe and Friedrich Schiller

#2 - Love Poetry

She says an epigram’s too terse
to reveal her tender heart in verse ...
but really, darling, ain’t the thrill
of a kiss much shorter still?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#5 - Criticism

Why don’t I openly criticize the man? Because he’s a friend;
thus I reproach him in silence, as I do my own heart.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#11 - Holiness

What is holiest? This heart-felt love
binding spirits together, now and forever.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#12 - Love versus Desire

You love what you have, and desire what you lack
because a rich nature expands, while a poor one contracts.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#19 - Nymph and Satyr

As shy as the trembling doe your horn frightens from the woods,
she flees the huntsman, fainting, uncertain of love.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#20 - Desire

What stirs the ******’s heaving ******* to sighs?
What causes your bold gaze to brim with tears?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#23 - The Apex I

Everywhere women yield to men, but only at the apex
do the manliest men surrender to femininity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#24 - The Apex II

What do we mean by the highest? The crystalline clarity of triumph
as it shines from the brow of a woman, from the brow of a goddess.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#25 -Human Life

Young sailors brave the sea beneath ten thousand sails
while old men drift ashore on any bark that avails.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#35 - Dead Ahead

What’s the hardest thing of all to do?
To see clearly with your own eyes what’s ahead of you.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#36 - Unexpected Consequence

Friends, before you utter the deepest, starkest truth, please pause,
because straight away people will blame you for its cause.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#41 - Earth vs. Heaven

By doing good, you nurture humanity;
but by creating beauty, you scatter the seeds of divinity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch



Unholy Trinity
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Man has three enemies:
himself, the world, and the devil.
Of these the first is, by far,
the most irresistible evil.

True Wealth
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

There is more to being rich
than merely having;
the wealthiest man can lose
everything not worth saving.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose merely blossoms
and never asks why:
heedless of her beauty,
careless of every eye.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose lack "reasons"
and merely sways with the seasons;
she has no ego
but whoever put on such a show?

Eternal Time
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Eternity is time,
time eternity,
except when we
are determined to "see."

Visions
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Our souls possess two eyes:
one examines time,
the other visions
eternal and sublime.

Godless
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God is absolute Nothingness
beyond our sense of time and place;
the more we try to grasp Him,
The more He flees from our embrace.

The Source
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Water is pure and clean
when taken at the well-head:
but drink too far from the Source
and you may well end up dead.

Ceaseless Peace
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Unceasingly you seek
life's ceaseless wavelike motion;
I seek perpetual peace, all storms calmed.
Whose is the wiser notion?

Well Written
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Friend, cease!
Abandon all pretense!
You must yourself become
the Writing and the Sense.

Worm Food
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

No worm is buried
so deep within the soil
that God denies it food
as reward for its toil.

Mature Love
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

New love, like a sparkling wine, soon fizzes.
Mature love, calm and serene, abides.

God's Predicament
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God cannot condemn those with whom he would dwell,
or He would have to join them in hell!

Clods
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

A ruby
is not lovelier
than a dirt clod,
nor an angel
more glorious
than a frog.



Günter Grass

Günter Wilhelm Grass (1927-) is a German-Kashubian novelist, poet, playwright, illustrator, graphic artist, sculptor and recipient of the 1999 Nobel Prize in Literature. He is widely regarded as Germany's most famous living writer. Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. The Tin Drum was adapted into a film that won both the Palme d'Or and the Academy Award for Best Foreign Language Film. The Swedish Academy, upon awarding Grass the Nobel Prize in Literature, noted him as a writer "whose frolicsome black fables portray the forgotten face of history."

“Was gesagt werden muss” (“What must be said”)
by Günter Grass
loose translation/interpretation by Michael R. Burch

Why have I remained silent, so long,
failing to mention something openly practiced
in war games which now threaten to leave us
merely meaningless footnotes?

Someone’s alleged “right” to strike first
might annihilate a beleaguered nation
whose people march to a martinet’s tune,
compelled to pageants of orchestrated obedience.
Why? Merely because of the suspicion
that a bomb might be built by Iranians.

But why do I hesitate, forbidding myself
to name that other nation, where, for years
—shrouded in secrecy—
a formidable nuclear capability has existed
beyond all control, simply because
no inspections were ever allowed?

The universal concealment of this fact
abetted by my own incriminating silence
now feels like a heavy, enforced lie,
an oppressive inhibition, a vice,
a strong constraint, which, if dismissed,
immediately incurs the verdict “anti-Semitism.”

But now my own country,
guilty of its unprecedented crimes
which continually demand remembrance,
once again seeking financial gain
(although with glib lips we call it “reparations”)
has delivered yet another submarine to Israel—
this one designed to deliver annihilating warheads
capable of exterminating all life
where the existence of even a single nuclear weapon remains unproven,
but where suspicion now serves as a substitute for evidence.
So now I will say what must be said.

Why did I remain silent so long?
Because I thought my origins,
tarred by an ineradicable stain,
forbade me to declare the truth to Israel,
a country to which I am and will always remain attached.

Why is it only now that I say,
in my advancing age,
and with my last drop of ink
on the final page
that Israel’s nuclear weapons endanger
an already fragile world peace?

Because tomorrow might be too late,
and so the truth must be heard today.
And because we Germans,
already burdened with many weighty crimes,
could become enablers of yet another,
one easily foreseen,
and thus no excuse could ever erase our complicity.

Furthermore, I’ve broken my silence
because I’m sick of the West’s hypocrisy
and because I hope many others too
will free themselves from the shackles of silence,
and speak out to renounce violence
by insisting on permanent supervision
of Israel’s atomic power and Iran’s
by an international agency
accepted by both governments.

Only thus can we find the path to peace
for Israelis and Palestinians and everyone else
living in a region currently consumed by madness
—and ultimately, for ourselves.

Published in Süddeutschen Zeitung (April 4, 2012)



“Totentanz”
by H. Distler
loose translation/ interpretation by Michael R. Burch

Erster Spruch:
Lass alles, was du hast, auf dass du alles nehmst!
Verschmäh die Welt, dass du sie tausendfach bekömmst!
Im Himmel ist der Tag, im Abgrund ist die Nacht.
Hier ist die Dämmerung: Wohl dem, der's recht betracht!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, that you may receive it a thousandfold!
In the heavens it is day, in the abyss it is night.
Here it is twilight: Blessed is the one who comprehends!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, seize it like a great ball!
In the heavens it is day, in the abyss, night.
Understand if you can: Here it is twilight!

Der Tod: Zum Tanz, zum Tanze reiht euch ein:
Kaiser, Bischof, Bürger, Bauer,
arm und ***** und gross und klein,
heran zu mir! Hilft keine Trauer.
Wohl dem, der rechter Zeit bedacht,
viel gute Werk vor sich zu bringen,
der seiner Sünd sich losgemacht -
Heut heisst's: Nach meiner Pfeife springen!

Death: To the dance, to the dance, take your places:
emperor, bishop, townsman, farmer,
poor and rich, big and small,
come to me! Grief helps nothing.
Blessed is the one who deems the time right
to do many good deeds,
to rid himself of his sins –
Today you must dance to my tune!

Zweiter Spruch:
Mensch, die Figur der Welt vergehet mit der Zeit.
Was trotz'st du dann so viel auf ihre Herrlichkeit?

Second Aphorism:
Man, the world’s figure decays with time.
Why do you go on so much about her glory?

Der Kaiser: O Tod, dein jäh Erscheinen
friert mir das Mark in den Gebeinen.
Mussten Könige, Fürsten, Herren
sich vor mir neigen und mich ehren,
dass ich nun soll ohn Gnade werden
gleichwie du, Tod, ein Schleim der Erden?
Der ich den Menschen Haupt und Schirmer -
du machst aus mir ein Speis' der Würmer.

Emperor:
Oh Death, your sudden appearance
freezes the marrow in my bones.
Did kings, princes and gentlemen
bow down before me and honor me,
that I should I become, without mercy,
just like you, Death, slime of the earth?
I was my people’s leader and protector –
you made me a meal for worms.

Der Tod: Herr Kaiser, warst du der Höchste hier,
voran sollst du tanzen neben mir.
Dein war das Schwert der Gerechtigkeit,
zu schlichten den Streit, zu lindern das Leid;
doch Ruhm- und Ehrsucht machten dich blind,
sahst nicht dein eigen grosse Sünd.
Drum fällt dir mein Ruf so schwer in den Sinn. -
Halt an, Bischof, den Tanz beginn!

Death:
Emperor, you were the highest here,
thus you shall dance next to me.
Yours was the sword of justice,
to settle disputes and alleviate suffering;
but your obsession with fame and glory blinded you,
you failed to see your own immense sinfulness.
Hence my reputation is so difficult for you to comprehend. –
Halt, Bishop, the dance begins!

Dritter Spruch:
Wann du willst gradeswegs ins ew'ge Leben gehn,
so lass die Welt und dich zur linken Seite stehn!

Third Aphorism:
If you would enter directly into eternal life,
leave the world and yourself by the wayside!
These are modern English translations of German poems by Michael R. Burch.
Mateuš Conrad Sep 2022

       /    /
     _
    
     /     /               |4| |x| |4|

by x...
               + with
- without
                                obelus, i.e. among
or: in between...

as you get older it's so refreshing to have so little
male sensibility of not getting any:
i.e. "any" from the opposite ***...
i'm currently working about 10 females...
there's me at the brothel: that's about 5...
and 5 outside of the brothel...
i like them as PROSPECTS...
oh sure... i'd date them... go to the cinema with them:
although: what the **** is worth
watching at the cinema these days...
big girls... like Emmie just my type...
a proportionate "hassle"... 5ft11 and chunky...
she has kept changing her WhatsApp profile
picture like 3 to 4 times ever since she gave
me her number... she blew out today...
oh! i was so looking to be working with her today...
instead... i had some random Mo... and Frankie...
Frankie's alright... a butch-lesbian...
which is sort of fun when talking about a nice
piece of ***... she talks about women like
men might talk when not overheard by
HYENA FEMINISTS...
it's very, very refreshing...
me and Frankie... ****'s sake: FRANKLINE...
talk about women like we're about to start
running a marathon....

i had one of these strange in-body experiences
today at the Romford Ice Rink...
my head was thumping: but i felt no pain...
my brain was trying to escape and leave
me without a spinal chord and two legs to stand on...
no pain...
it's an ancient fear... a pseudo-epilepsy once
gripped me... it would grip me
when i bit down on my jaw...
it would send a shockwave from my head
into my stomach... and curl into a ball of
excruciating pain... a stomach cramp bundled together
with a pseudo-epileptic seizure...
the old ancient fear arrived...
i sometimes arrive at it from either constipation
or from low sugar levels...
today? it was neither...

***** TO THE HEAD...
i need to **** someone...
i seriously need to **** someone...
i don't collect stamps... although i inherited
a decent stamp collection from my grandfather...
if i'm desperate... those Soviet stamps will
sell like nothing before them...
i don't collect money / coinage: but i inherited
a decent gallery from the two Jewish women
my mother cared for...
i collect books... one decent first edition of
a Peter Pan variation set underwater...
with illustrations...
if... i'm desperate...
but i don't mind working: i like working...
Erasmus' Colloquia from 1829...
the Beauties of Sterne... 1811...

well then... i'm rich... i just pretend to not know it...
and i don't want to be rich...
i like my current company...
if not a thief... then a *******...
it's all the same for me...
but today... mein gott! ***** TO THE HEAD!

samen zu der kopf!
it wasn't constipation, it wasn't low sugar levels in
the blood... this should be made illegal!
seriously! how can this example of a well rounded
GINGER ****-BEAUTY walk around with
such so much flesh exposed... and with those tight jeans...
hair that ginger that's perfectly burnt auburn...
no freckles... a complexion very much like
vanilla ice-cream... it's not fair!

how can she just walk around like that!
i got a headache that wasn't a headache but
a bedding-ache... some things should be made illegal...
i had to figure myself out...
what the hell is wrong with you?!
you're not constipated... sure... your blood sugar levels
are low... but...
ugh... i need to correct myself...
i literally had to ******* while pretending
to take a **** when i got home...
i masturbated with the sheath of ******* on...
i then ****** off with the sheath off...
why do gingers infuriate my *** drive so much? why?!
i equalised the blood pressure to the brain
and without climaxing gave "it" a rest...

i'm lucky... my paternal grandmother doesn't know
of my existence: well, she "knows": but she hasn't
the least bit bothered about me existing to begin with...
while my maternal grandmother: sort of ****** me
over pretending my best friend,
i.e. my grandfather wasn't dying: when he was...
only informing me of his death the day he died...
sure... i have plenty of animosity for women...
which is disguise as love
for prostitutes.... oh... you don't require killing
prostitutes to enact "revenge": you just juice them up
in the right sort of places and in the right sort of way...

old granny conflicts disappear
like a spoon in a bowl of custard!
mind you: oh, that, four day agony of scribbles...
i sort of wish i would have forgotten by now...
what / who helped?!
Freddy... thus freckled curiosity of a 13 year old boyo...
minding my own business... walked out with a bottle of cider...
we started talking about bicycles...

how much did it cost?
oh... £500...
can you whistle while shoving *******
into your mouth... hey presto! the boy whistled!
how do you do the wheelie?
i can cycle not using the handlebars...
wow! a perfect circus bear!
he did a wheelie while whistling real loud...
while asking me: can i have a take on your bicycle?!
sure thing Freddie... go ahead...
thank **** and all that the gods needs:
local people interacting with the locals...
perhaps if this was me in Cumbria i would be a priest...
i'm clarifying my position...
it feels good... being so localised...
centralised... it takes so little!
i literally have to put in the minimum amount
of effort to get the maximum response...
great hunting ground for experience dealing with crowds
if i'm to take the route of teaching seriously...

Poland is no longer a viable option...
even though i speak the ZUNGE it's... BOT-LAND...
***** to the head...
i was going to wait for getting payment to the past month
until the 1st... but after today's ginger...
NOPE! i need, to, ****!
i'm going to ****! i don't care about ****-wit ****-less men...
i'm going to ****!
i don't care about train-spotters and the likes...
no! i'm not waiting!

i'd look ******* GREAT in a WAFFEN-SS uniform...
i would: and i know i would...
i need to think about my garden of ****...
i'll wake up tomorrow... clean the house...
iron my shirt...
******* to Wembley... and on my way back:
perform the ritual of being tired... *****... tired...
*****... drink a cider... drink some whiskey...
scout around the brothel... and ooh!
too many masculine interests...
all i need is a juicy ****...
  and i know that women are... depends on the "geography":
timid: tiny... creatures....
but they are...

tiny, timid, creatures!
                        they taste better with some tongue in 'em...
but... BEGGARS CAN'T BE CHOOSERS...
ergo? well! ha ha! ergo!
Mateuš Conrad Dec 2021
what a mismatch, i'm currently sitting on a wheeled chair
from the box / office room of the house...
it's much taller... the keyboard is sitting on my
bedside table: much shorter...
to what i'm used to... a comfortable leather chair
that's below the side table the keyboard is usually
placed on... i'm almost double hunched over...
perhaps i should think about sitting on the floor
in a Turkish akimbo... or kneeling...
my elbows are firmly rooted into my legs
as i try to get some balance... my legs are spread out
so they don't slide about on the wooden floor...
woke up late, had some things to discuss with
someone... i guess i sleep longer hours
when i know i have a peace of mind...
might have gone to bed at 4am... woke up at 12pm...

i didn't start doing **** well until... after 8pm...
proper... i.e. painting the ceiling all white...
with a flashlight...
how else would you paint white on white
during the winter months if not using a flashlight?
why? to see which areas are wet...
and which areas are dry...
the normal lightning was turned on...
sure... but it doesn't give you the required
perspective...

**** VALSPAR! complete and utter...
überscheiße!
what the hell was i painting with?
balsamic vinegar... a mixture of ***** and milk?!
splattering everywhere...
usually decorative paint is reminiscent of
custard... it doesn't stink...
this stuff was splattering everywhere...
i ended up cleaning dots of drool almost every
second stroke...
oddly enough i had some left-over VALSPAR
in the shed... someone should do a quality control
on this company... their older product is perfect
for ceiling decorative painting...

well... ****** of a light in the ceiling...
i rarely turn it on... if i lose something...
the crackling was creaking...
it was found to happen...
****! the ceiling light blew out the fuse...
down i go... to switch the fuse box on...
seems like i don't need a flashlight
to spot the wet paint anymore..
when i turned my bedside lamp:
in a cloche... apparently dry paint casts a shadow...
wet paint... doesn't: wet paint absorbs the light...
but old, dry, paint... even if it's white on white?
as clear as day...

it took me about an hour and a half to "horde" out
my possessions from the bedroom to the box / office
room... as i was taking the books out,
piling them on the floor, memorising how they were
ordered... no, not alphabetically,
my own idiosyncratic system, i won't go into the details...
but i asked myself: why do i own so many books?!
come to think of it, what's the point
of owning so many books one has already read?

i already have a project in mind...
i'll take a ruler... measure each line... measure each
paragraph, measure each page,
then multiply each page by the number of pages...
i want to know what the "metaphysics"
looks like... of reading a... 1000+ page stunner...
when compared to... walking a marathon...
or cycling for 40 miles..
after all.. Heidegger's Sein und Zeit (on and off)
took me about 2 years to complete:
an amalgamation of reading and thinking...
then years later: putting dasein into practice...
the right sort of dasein...
stewarding a football match...
it takes time... oh ****... the wine i started making
almost 2 months ago...
i checked up on it...
looking good... a nice rosé:
a pink resembling something akin to
embarrassment...

so many books... it almost feels like a Roman Polanski
film: the Ninth Gate... i don't care
about the personal tribulations...
i appreciate the work... a film for any bibliophile out
there... Kevin Spacey to boot...
come on... who can't side with Lester Burnham?
a much more invested role than that portrayed
by Michael Douglas in Falling Down...

i own so many books that... to be frank?
my local Romford library ought to be shamed...
ashamed... they own trivial stuff:
i, on the other hand: own the juice...
****'s sake... i own books from the 19th century!
funny side-note...
the older the books are... even though they might
have hard-covers... they become lighter
than... fresher print... perhaps the ink dries out...
the paper dries out...
or... perhaps the knowledge contained in them
weighs more...

two pristine examples...

1. desiderii erasmi
      roterodami
    colloquia familiaria
   et encomium moriae
LIPSIAE
sumtibus et typis car. tauchnitii
  1829

it has become such a fragile piece of work...
why? the binding has gone to ****
since i wanted to read it... in Latin...
i did likewise with a 19th century first cheap edition
of Dickens' the Pickwick papers...
the binding gave way.... because i was reading it...
i had to buy a cheap paperback edition
to: not finish reading it...
last time i heard: you can't reread the Pickwick Papers...
great... i don't reread books...
if some critique suggests that rereading is impossible...
finishing the first Dickens novel serialisation
should be a problem... also circa the 1800s...

2. the beauties of Sterne
(and some accounts of his life)
London: printed for J. Walker... 1811...
W. Wilson, printer,  st. john's sq., London...

3. the rubaiyat of omar khayyam..
   printed by chiswick press ltd.
  new soughgate, N11... 1944...

i have some cheap *** edition of a Rumi collection...
now... that's Islam... that's the sort of humanity
i admire... transcendental, clenching for the universal quest...
together, or not at all...

like with the current advent of superhero movies...
comic books translated into the medium
of movies...
i could do with just one, simply based on the soundtrack...
Unbreakable... that's it... i'm done...
well... with one exception...
X-Men Apocalypse...
hearing a ****** accent being lent...
it's kind of refreshing to not hear...
EVIL GENUIS RUSSIAN
or... FOREVER **** GERMAN /
RESURRECTED WEIMAR TRANSGENDER ******
ADDICT PUFFED-RICE...

my own private library would put the local library to shame!
out from the supposed night of socialism...
within the confines of capitalism....
ah... a private affair... private ownership...
but now that i've emptied the room
from my gems, these books... some newspaper pages
i use like i wouldn't use toilet paper...
because i like to keep my bed-sheets clean...
it's so... empty... the room is really readied for
showcasing the property for a sale...
weird... it's almost like i wasn't even there...

oh, by the way... X-Men Apocalypse...
last time i heard... Julian Tuwim was a Jew...
but he spoke perfecto ******...
perhaps knew some Judeo-German Yiddish slang...
too bad for the Hebs that integrated too much:
too little... the Holocaust is minded within the context
of a re-established Jewish-State...
no... they were living in Paul's Land...
they were Polacks first, Jews: second...
i'm going to rob these refresher... revisionist pseudo-historians
of their weight of argument...
****** citizenry.... poets, engineers...

first comes first, second... comes second...
**** me... what wild thoughts... when simply panting & decorating...
tomorrow when i finish the walls in green...
second time, green... i tried crimson "tide" several times...
a welcoming colour on the walls...
once the night comes... but not during
the day...
i tried white... thinking... what could go wrong....
cream: white room... almost everything...
i woke up each morning... exhausted!

this now emptied room, with all the books, the vinyl records,
the paintings hanging on the walls... "missing"
(just moved to the box room):
i like to appreciate the space i will leave behind,
i like to appreciate the then, the when, some variation
of now of a when: of my mortality...
i might be drinking, i might be drunk...
but... this spectacle is sobering... ha!
i don't require a lineage prestige... ooh dear gwandpa...
blah blah to explain RE-AH-LI-TY for me...

clenched teeth... some things are just looking at
you...
as a man... working my way around inanimate objects
was a compensation for...
the inanimate earth, supposedly...
but the animation of clouds!

- the first paycheck i get.... i'm ******* off to a brothel
period....
and while painting the walls of my bedroom
green, like the colour of my iris ...
i'll think of "you"...
and i'll count the number of books in
my private collection, and...
i'll bemoan the state of the public library's choice
of literature... i suppose i''ll giggle a while...

i now see, my absence in this world, prophetically
ascribed to Yeats..
the centre cannot hold..
vanity conquers pride...
should i return... my lesson was not learned?
i've devolved from PRIDE...
but acquired.... like the rest of "them":
submission to vanity!

you wanted an equal among equals...
where did that leave you?
i will not be part of your choir!
you should have kept me sleeping...
don't burden the light
with too many cognitive shadows!
as much as i adore the plethora of dis-inhibitions
of doubt presented by man

i will watch... regardless of your tirades...
dearest... man-quasi-woman /
woman-pseudo-man... deity...

i'm tired of writing, therefore..
such a a day is closele approaching;
these people are not my project...
you supposedly left them...
hanging on a crucifix...
     i will leave them: in the night...
guiding their shadows....
to... i hope... a reclamation of their
own bodies... do you even want
to concern yourself with a repeasted
care for them?
personally? i wouldn't...
leave them to their own devices...
if you supposedly gave them free-will..
let them express it...
however good, or however bad...
let these children have their freedom!

there was only one proof worth being given:
once, is enough... i inquired after you...
don't allow yourself to rekindle your with
the same caring you showcased the first time...
filthy, firsty... thirsty..

yes, i will paint the walls, somewhat green....
enough's enough...
i knelt for much too long....
i'm willingly becoking ...
tired... the world can leave traces
of a roman empire..
easy excess ****.... easy access ****....
a sort of Orwellian: oh well...
a sort of oops...
      a best sort of:
a time (i) ought to forget.
Mateuš Conrad Jun 2022
argh! phew!

    i hate my life... i was just vacuuming my house...
i'm sitting on Nicholas II banknotes...
and gold coins!

yes! the Tsar's!

       i could be worth up to half a million if i exposed
my possessions...
i own two books that disintegrated in my
hands... because i dared to touch them:
the beauties of Sterne... 1811...
printed for J. Walker...

an 1829 edition of something by Erasmus...
no go zones?
what the **** is that?
i'm about to scout into Barking for a hotel...
she had a late shift...
i'll let her sleep some more...

Erasmi: Colloquia...

            no go zones my ***...
i hide my wealth...
  i'll mingle with the other immigrants...
i'll **** a Turkish girl like i might be *******
a blonde ****** too dispossessed...
i'm not waiting: life's not about waiting...
life's not about regrets...
to hell with European romanticism...
to hell with European science...

i need hunger: i need fasting!
i need amen...
        i need an undercurrent of ****
Germany!
    more subtle... more...
                i need to trim my beard...
i need ***...
           i want to eat off the fruits of wrath!
i am not going to carry these sub-Asian
copper-neck idle idols...
           no: not one can chew...
we're going beyond the protein and the fat...
we're chewing on the cartilage
and right down to the bone...
we're going to aim at the marrow...

no go zones? in London?
**** me... i'm about to impregnate Barking...
i'm done... i'm done with being told
what i can and can't do...

my turn... now i get to appease myself...
now i get to justify myself...
thank god that i'm not even remotely related
to the Anglo-Saxons...
i'll let the ***** sleep some more...
but we are going for a dinner and i am booking
a hotel room where i'll eat out a bucket's
worth of oysters of ****:
make her eyes roll... exchange
the stone of Sisyphus for a yoyo...

           grr... i'm maddened by a prison lust...
i'm breaking out...
to hell with these socio-normative constraints!
next thing you know i'll
be heard barking while i cycle for an auxiliary
expedition to find the hotel...

let the ***** sleep...
    i'll take her out for some dinner...
i'll cycle and burn off the limp-**** ingestion of alcohol...
not since this time
will another woman waste my time...

hell... if the africa-americans could sing the blues...
me? Picasso...
blue period, red period...
i'll write the reds...
            i'm done being patient... i'm done playing nice...
time to party...
   time to **** a woman's ego out
of her head...
   i managed so far... dragging her out of a brothel
and onto a date into a hotel...
now i grind my teeth now
i breathe with a force of a stag...
          
                         enough! is... enough!

— The End —