And I sincerely hope,
that you cannot forget,
my cloud nine eyes and sugared lips.

My thin fingers on your chest, eyes flashing under neon lights.

I hope you cannot forget me and every sweet nothing spoken with damp hair and starry lashes.

And I hope everytime you touch her hair, you feel mine under your fingertips.

White is the colour of my true love’s cherry cheeks,

White is the colour of my true love’s tantalizing teeth,

White is the colour of my true love’s foxy fingertips,

White is the colour of my true’s truly delicious dish,

White is the colour of my true love’s social scarf,

White is the colour of my true love's lyrical laugh,

White is the colour of my true love’s bilingual breath,

White is the colour of my true love’s playful pledge,

White is the colour of my true love’s flowery fragrance,

White is the colour of my true love’s decorated decadence,

White is the colour of my true love's delirious delight,

White is the colour of my true love’s sugared spice,

White is the colour of my true love’s secret shirt,

White is the colour of my true love’s purple pearls,

White is the colour of my true love’s shapely shoes,

White is the colour of my true love’s brooding Blues,

White is the colour of my true love’s wonderful words,

White is the colour of my true love’s dashing door,

White is the colour of my true love’s brilliant bedsheets,

White is the colour of my true love’s toxic treats,

White is the colour of my true love’s distant dreams,

White is the colour of my true love’s ring that glow gleams,

White is the colour of my true love’s guilty guile,

White is the colour of my bitter bile

For...

Black is the colour of my true love’s hardened heart.



©Rangzeb Hussain

Delightful march
breathes in on the sound of the swallows
chirp, and in the pungent scent of lemonade.

Daffodils brave the curtain call
and splash in yellow fountains which
powder the grass canary
and rich caramel.

Boughs of cherry trees burst
once more with indulgent,
fatuous blossoms of sugared coral,

Their marbled paper florets billow
in the gusts rising and falling like
the flocks of starlings.

The future is close, wide and happy.

Funny men in tall chef hats
Marching about so wildly
Stone soup and humble pie
Main course and dessert delight

Give me a dose
And that girl two
Vanity, her dream come true
Narcissistic uncaring and cold

A mid-evil blunder
So daring and bold
Spoiled brats
And rotting Brauts

Sugared too sweet
Not telling the truth
The gossip
And all

The Court jester
The village idiot
He sinks to the bottom
She cheers to the top

It's amazing the wonder
The high school scene
The many things
That relate to its sheen

The short stout bakers
Making profit from weakness
Some goods so smooth
Some just the opposite

The geeks and nerds
Hackers and slackers
Jocks with jerseys
And rebels with rock

Serve up course two and three
Let's make it a festival
Just you and me
Vanity and sheen

Were just getting started
This is high school
This mid-evil concert
For four years we live it

A new melody
A new song
It's not the end
But the struggle

Is on.

shadows cast into clouds of sand as footprints leave their mark
voices so full of fun with not a care in this world
summer sun washed over by the crash of thunder
the sea shouting against the shells to your ears

blue whispery skies feed warmness to the skin
as weeks of a worklife pass to say goodbye
ice cream melted to cheeks as tissue lips from a nan
feed a childs cry
this is what we live for in a world so left behind

donuts sugared a thirst as sticky fingers lay ******
fish from an ocean battered or fried to the best ive ever noshed
sounds of the beach washed over me as grandads snores a snort ..
too much lunchtime pie i guess ..deserving resort
dreams of a past ...dreams of another

football played and dogs all wet scenes from a beach
alive still ...kids gone red
searing sizzles from a sun at its best as rounders run
or frisbee fetched
photo taken a collection booth ..memories made as dreams come true
dreams of a summer
dreams of a summer

On a tall glass
In quite a generous mass
Cold and fluffy,
Yet  somehow warm and puffy
Some praline, and nuts
With fresh banana cuts

Sensationally sweet,
Capable of a marvelous feat
of filling a stranger full
Otherwise, he won't be in a mull
Or in a daze
Just take a look at him in that sugared haze

Whether it's strawberry or mango
Or an orange doing the tango
I'd just like to add
That we like to go mad
Or we'd go for a scream
Over something cold, called: ice cream

Cockcrow harbour:
the gulls whining like tethered dogs
about rooftops
paliophobic cars and
grounded vessels..
Look:
on the hoary horizon
a glaucous strip
beguils
with backwater.
Not putting on a show
the frigid sea benumbed..
Easily,
with a tail of emerald jelly
skim a vanishing lane off that
lustrous sheet
and watch
the trailblazing mainland
scuttle.

Now,
Only scattered dreaming is possible.

In it's bachelor pad,
cradling over crinkles,
away from the meretriciosness
of validating the real by sharing it,
THE WIND
blusters off any veneer.
Here,
stale but spry,
fare your way around the inoffensive isle
to it's most shyest of harbours:
a mouth full of silver
saving it's breath.
The windows facing the sea
seem
black & white,
their wooden frames hooked to the wind,
the splattered gulls meow
your name
in a way
that's
personal.
Of course comes to mind.
The pines
are demanding a visit,
They're whispering
so you can hear them,
each as different as every snore,
these pines know
how to grow in the sand
and still reach for
the Nimbostratus with heads in unison.
The spaces
between their trunks illuminating
the blazing needles
raining down
painting the ground
familiar
to your lover's
skin texture:
Feel her closeness
from jilted borderwatchtowers
as she speads her mire
like no one's watching:
weedy and sugared
with bellflowers,
the waves in her shallow armpit
billeting a pair of white swans:
demurely they float
sometimes as pillows and sometimes
as question marks..
Go ask the seasoned locals,
they say the bones she parked
when she let her ice sheet melt
are portals
to her noble underbelly.

Hidden in the woods
reminiscent of your heart,
the red
tank-sized stone
is sealed,
but what the lighting reach cannot
the rain shall sluice apart
dumbly.
And though her hair has
come to be
the moss
black and hoarse
as sailor's beard,
there is still time.
The void says
her noisy neighbour is nothing
to die for.
The theadbear car with absent doors
incites
to drive her
in reverse gear
to the first few
days of holidays:
her golden locks a-blaze,
her arm around your
hind-sighted doppelganger.

What is to come? 

From a world where our children are given guns to play with, 

It’s not the squirting of water,or release of plastic bullets, it’s the message we shoot into their heads .

Triggering violence from adolescence.
Planting seeds of hate,
And watering them with spilled blood .

Waiting for the fruit to ripen, but it never does,

Now we have the taste of bitterness lingering on our mouths.

That bitterness stays on our tongues ,
So that when we speak, that’s all that comes out.

You see Somehow the fruit is never as sweet as when it’s forbidden.

Sugared by sin,

Borrowed from thy neighbor, because when it’s sin there’s always enough to go around.

What is to come?

From a world where we are told to express ourselves , but within the guidelines.

Told that the world is your canvas , but restricted to only the color white.

It isn’t as pure as it seems.

Underneath the white paint lies splashes of read , gushing from a black body.

There is no canvas, all we are given is a painted picture, of what perfect looks like.

So that we Erase anything that doesn’t fit the image. 

The slightest difference is reason for war.

Be it the quantity of melanin

Be it religion

Be it Gender.

What is to come?

Of a world that is only tolerable through the shade of intoxication .
Where pills serve as capsules of happiness 

We are our biggest enemy,

Our pain is self inflected.
If this is what it is ,to be human 

What is the cure?

My skin has been itching for three months
I’m not sure why this is addicting

I’ve crashed a car in my head 3 times today
My mental awareness consistently letting go of the wheel
The Anterior teeth of my mouth have started to yellow in disapproval
I’m not sure why this is satisfying

I’ve been taking toxic psychotropics in light doses more than twice a day
It’s warmth is comforting as the jittering and hyperactivity become null
Bags have formed under my eyes
If you were to open them, their roasted smell would overpower you with stimulation
Constantly on my toes for risk of Insomnia and Narcolepsy
I’m not sure why this is outstanding

Adrenaline is being forcefully factored into my body
If this is the bullet, I’m biting it after an appliance pulls the trigger
As the high passes, it ripples through my mind
An otherwise calm sea, tidal waves pound the shores of my subconsciousness
Vacuum sealed can are filled with awareness
Sleep has become a rare odyssey
Warm comforters are replaced with long trachea trips of boiling beans
I’m not sure why this is alarming

Double trips become tripled and troubling to my mother
Arguments over the hours I shall harvest from the night are increasingly frequent
Slow to roll out of bed in the morning
I don’t hit my carpet, I splash into sugared preparedness
In my backpack hides a cup full of GI Joes
I’m not sure why this is troubling

If anything, I’m drinking a medicine that prevents death by 10-15% for 13 years
The New England Journal of Medicine was happy to acknowledge my existence
Till they announce anything different, you’ll find me taking a mud bath
I’m not sure why this is disgusting

Tell me everything that’s wrong with it
Because from where I’m standing
There is nothing wrong with
Coffee

The dreamy sea washed ashore bringing
little bubbles of life to its end
Children splashed and jumped as wave after wave fell in
Bucket and ***** at the ready as castles from the sky
formed from minds in youth and fairy tales
Cream at the ready as grandads cap retreats  
crisped from the comfort of his strippy deckchair he waits  
Mothers blankets blown from the wind held down by
a shoe to be lost and a stone found yet not cast

These were the days we remember
These are the days we forget
These are the days to be treasured
A fine sad old memory from a past we most had    

Ice cream sounds calling at fathers request
Is grandma still yawning from bingo's night fest
a donut for mother all sugared and warm
don't forget Charlie as woof is all heard
A match game of cricket from children about
or footy at lunchtime sweet sand in your mouth


These were the days we remember
These are the days we forget
These are the days to be treasured
A fine sad old memory from a past we most had  

Asleep from the sun and a sneaky quick pint
as dad tries to doze be free to unwind
A call for 3 strikes as rounders is found
hear grandad all snoring more cream to be crowned  
Tis time for a dip to twinkle your toes
to jump back a mile oh blimey its cold

These are the memories all children should have
a time when no phones when a time wasn't planned
No little computers to spoil the day
just fun and great memories of children at play
A time when your family all joined in the fun
a shame we have lost this to greed and the sun

Here Kitty,  Kitty,, called aloud the man~relaxing in his Lounge chair~while sipping a Slightly-Sugared Iced tea.   Here Kitty,  Kitty,,He continued to call~wondering where the curious cat~might have have made off to~THIS TIME..     Perhaps to the New neighbors~where boxes of all shapes and colors~were carefully~Disarrayed in the back yard~Just waiting for the curious...      Not getting any response from Kitty~the Man decided to PEER over ~the Neighborhood Alignment Fence~and Sure enough~There was Kitty!     Kitty was Springing~Up and Down~Like a YO-YO and Jumping from Box to Box.   Curiosity is an Amazing thing~Isn't it?    The Man seemed to be caught in a Trance~As he watched Kitty~continue to jump and  YO-YO !    What could be in those boxes?~that held such fascination?   Was it a Creepy-crawler~a Slimy-Slitherer~a Wise-Wiggler~a Dashing-Dancer~an Awful-Awesome~a Yelping-Yeoman~an Energized-Egrit~an Ugly-Duckling~a Fast Frog~a Gorgeous-Gargantula~a Social Secret~a Horrible-hulk'a Raspy-Rascal~an Insensitive-Iguana~a Jumping-Jackal ?     OR ,    was it simply the color of the Boxes ?     Look at that Curios Kitty~Jumping and Jumping and Jumping !      SUDDENLYthe Man~Totally overcome by ~Lady Curiosity~Bounded over the Alignment Fence~Dashed Promptly to the Boxes~Scattering them all over the Yard~Trying to Discover ~ "THE SOURCE" ..    Only ONE box remained ~after opening~All the Others!  NOW he would find the ANSWER!   He carefully approached the LAST BOX~Gently pulled it closer~looking for a way to Open~-------  Lifting Lid carefully~Slowly~KITTY~came Bounding out~All claws~digging and clinging to His chest~Was that FEAR~~HE SAW in KITTY'S  eyes?_  "AS His ALARM-CLOCK ,, Screamed out to Him"AWAKEN_

it will be, you know


1.
small bird
shivering

kind hand
covering

warmth
spreading

destined
for life


2.
her well-trained cats
at the door
         ants *always spared (!)
         on sill
         with sugared saucer
poultry in the yard
collecting deep-yolked eggs
         making gooseberry jam
and sweet, strong tea
with hot milk
just for me

she taught me inner grace
and the real meaning
of quietness
        just birds chattering away
        whistling wondrous
        in fig trees
laden with heavy fruit
awaiting her deft hands

how I loved her so

accounting exams
interrupted
in sixth grade
sorry
she's gone, dear
dumbstruck silence
          they ask
          why I'm not crying?


3.
kismet peeps in
to embrace you
and kiss your brow

you try to sidestep
and stub a toe
knock your head


in the end:
full-circle prayer


que sera...sera




S T, 28 June 2013

I once left my heart in the pocket of a saint
blinded by sunset light, drunk from midnight madness,
and falling into the monotony of broken dandelion stems and lost eyelash wishes-
I didn’t think I would need it much longer
The burden of rebirthing beats continuously
stamping out the keys
Of my empty piano chest –
As I held onto the breaths of broken warriors
Sponging the blood off their slashed

double
layered
skin

And praying
they could keep their fight for just

One
More
night

He never noticed the extra beat
added to the twitches of his time-ticking body
deaf from the ringing calls to heroism
only on the odd hours he didn’t have muffled
by the recipes of the women he’d saved
buying out bravery like it could shield his soft tongued love
leaving nothing but the clothes on his back
woven from stardusted bomb shelters
And
left over hopes
selling the silver lining of every breath he took
just to buy the next broken-bar girl a drink

He was a saint after all --

born from the innocent hopes I wish I still had,
tucked in the corners of sun-freckled smiles
and
Mothering seatbealt arms
and
Careless Carnival Food
the kind I know some of my soldiers withered against
writhing their souls from the bodies they had been straight jacketed too
prisoners of war stuck in the memory
of just how many calories a sugared funnel cake could have
did have
will have
add up to the self worth shot out of their chest
from last nights uncontrolled binge
of two apples and a cheerio promise ring

No,
he had never been in the middle of the war
never known the taste of blood
rusting in the rain of covered up skin
drenched in the salt water stings of failure
peeling away the scabs of
addictive adrenaline disadvantages
and mapping the battle plan of tomorrows attack
against an enemy so close
it was breathing the same air your lungs had not finished purifying

No,
his hands had never held the dyeing breaths of a comrade in arms
as they shook from the fears riding up their spine
praying the poison won’t take
praying the stolen bottles didn’t break
and that violent vomiting viguals
might burn just enough of the alcohol mistake
so their blood won’t have to curdle

No,
he had never heard the desperation
of sobbing secretes suddenly swindled
from between the lips of a girl who never wanted to remember
the night that never happened
one year, five months, fourteen days --
and three hours ago
her father had asked her why she never wore skirts anymore
and why she never brought boys over anymore
and why she never left her room anymore
and why her silent cheekbone cry for help never smiled anymore

No.

A saint is never found on the battlefield
never scared by the everlasting burns
of war paint psychiatric wards
and gun powder therapy sessions
sprinkled with the hope against hope moments that maybe
we’ll have a break through --

Like the ****** morning sun rebirthing the beats
of duck taped dreams
and
medicated eyes
and
catatonic lips --

I left my heart in the pocket of a saint
confessing the sins of the hopeless hospital it fueled
between our silent lipped kisses
squeezing out the stories of unnamed soldiers
between our woven fingers
and betraying my fear
in the tremble of my body against his –
I left my heart with him on the one-night-stand whim
that I would grow deaf to the sound
of TAPS played on my piano rib keys
and
blind to the specks of blown dandelion wishes

But I still hear the echoes of them
rattling against the stitching
of his bomb shelter pockets

and I wonder if he’s still searching for me
between the crumpled recites of midnight mass mixers
and
open cathedral whispers

because I still think of him sometimes
absent mindedly pick pocketing saints for smiles
but I’ve only found lint and regret
tucked in the corners of their heroic attempt
to protect the bruised hearts of the saviors
who haven’t quite yet found salvation

Soft shapes touch a child's finger,
Memories of their sweetness linger--
Helping grandma roll the dough
In her kitchen long ago.

I like the shape your cookies take
When they spread out as they bake,
Like the changing shapes of crowds,
Melting snow or summer clouds.

Oven-hot and placed on racks,
Lined up , lying on their backs,
Coming from a single batch,
But none of them a perfect match.

Toll house cookies, soft, convex,
Each perfection, like the next:
Chocolate chips their surface grace--
Freckles on a child's face.

Pecan ball aren't perfect spheres,
But they're gentle little dears:
Bottoms flat, sides dented slightly,
With white sugar sprinkled lightly.

Sugar cookies cold days cheer,
Shaped like angles and reindeer
Glazed with frosting sweet and white,
Decked with sprinkles all delight.  

Santa's Whiskers, coconut rolled,
Long fat logs of sugared dough,
Cut in portions smooth and round,
Pecan bits, cherries abound.  

Molasses crinkles' faces lined
Like old men's--the friendly kind--
With lines like back roads on a map,
Dunked in milk before a nap.

Oatmeal cookies, shapes amorphous
Juicy raisins budge enormous,
Semi-blobs, their texture rough,
Sometimes packed with nuts and stuff.

So many cookies through our life,
Since we became husband and wife,
In their sweet aroma and taste
Years rushed by like cars in a race.

Looking at their shapes diverse
Reminds me of our love at first:
We weren't sure just where we'd go
And all we had was cookie dough.

It’s always been just coffee kisses,
they’re all I have left to bring.
Overflowing mugs of latte love to spill on your hands, your lips, your heart,
Caffe mocha affection
laced with cappuccino hugs.
Iced or steaming, you decide.
Hazelnut, peppermint, French vanilla
(dulce de leche piquitos para ti)
warm espresso admiration,
americano dreams,
sugared and creamy to sweeten your tongue
served up with a coffee house smile—
bitterness hides in a candied disguise
but not today.
No sugar in the raw, no milk, no cream,
no sweet sticky flavors to trick your lovesick mind,
no fancy names to make you think it’s worth the cost.
Just pure, dark caffeine,
ground up this morning,
rich and smooth, but bitter and dry—
brewed with intention.
Just one coffee kiss, for you.
One plain black coffee kiss.

Take it or leave it.

Trusting steady for flower petals floating on moonlit beams.
Fractured cracks running into sewn seams of honey-colored threads.

Layering sunlight of emotions,
Rip-tide oceans hold your boulder heart open.
Velvety warm blankets shimmering with lavender energy,
Of a silence unspoken.

A roar within of a constant fiery flame.
A warrior armored with stars and an army of willowy trees.

Song buds upon lip, striking a symphonic flowery melody.
Eyes sparkling, you captivate with an alluring smile.

Flowers intertwined within your raven locks.
Summer night of fireflies and dancing bees,
Forgiveness never a weakling of knees.

Soft spoken heart beats.
Sun-fire but shaded with purpling blues.
Steadying hands even though your lips may frown.

Ever present is the sleepy shadow of a sugared temptation,
That only the befallen will know.
A darkness muddled into the after-hours of dawn.
Self-pity wars that your feet danced into nothing, no more.
You let the colors become vibrant yellows, even greens.

A warrior surrounded by atmospheres of light,
Tinged with the milky blue hue of night.
Oceans come and gone but forever in your heart is song.

sugared fingers, the smell of Chanel
and I am flushed on red berry wine

and the charms of someone, dear,
who I would like to call "Valentine"

la vie en la rose
this red stains lips pink and
I see in pink, everything around me

as I dip my nose to my wrists, inhaling

Sicilian oranges, Calabrian bergamo
Indonesian patchouli, Haitian vetiver
Bourbon vanilla andd white musk

I giggle coquettishly and I am blushing,

For these sweet nothings
mean very much to me

I. To sleep...

As if I needed affirmation
of the weekend from a mouse

As if I needed mutually
indecipherable dialogue

As if I need a hip social setting
when Insomnia gets off on my inside

As if I need a drink for the prodding
of my eyes or charisma for the charming of hers

As if we need a hotel or a bed
for that matter in Dormiveglia

II.* ...perchance to dream.*

Darling Insomnia
how you dazzle in your quilted
queendom of suction

Darling Insomnia
**** out the vanilla gumming
up my timid lungs like sugared venom

Darling Insomnia
I promise I won't burden you with moans of
fantasy-inflicted headaches

Darling Insomnia
let your sirrah latch his inhalation
onto your majestic ***** like an asp

Darling Insomnia
does subordination in my windpipe
do right by your despotic grasp?

What happens
_ to space_
between us
This is the
human race
Ah, Vey?
Just pray

Overly smitten
But not seeing
  clearly picture-prey
He or she runs!!
Little darlings
here comes the sun

The lime doing the time
Falling trees of coconut
Feeling- overloved
Deviant artist
splat coconut milk

No Security Cat
comfort box
So out of recession
Killer fox__

Chocolatey coconut
Cleanse my mind detox
Almond Joy concession
Rise up Face Botox

He cannot
read you
Haywire always
wired up his words
Hurried Hazelnut
coffee if you mind
Over-sugared
Increased brain
functions bitter rinds
So commercialized
The Cocoa Puffs
Going bananas
monkey ***
Lexie Vamp Vex

Mr. Ed overload
of Oz colors baboon
Going up Air Balloon
So many airheads
The  Rainforest
GQ  he's gone IQ
((Quarterly Neck of the woods))
Not orderly Outback
Steakhouse
Dinosaurs
******
Vicarious

No shortcut
The nervous system
The fast have a drink
furious
Cracking a coconut
Her Safe__*
6-6-6 combinations
Could crack her
Coconut oil neck her
City Girl call her

Intellectual brain
Singing
Gene Kelly
umbrella
Raining coconuts

(On Overload)
Strawberry Fields
This will be short
Yeah right forever
shortcake, not any sort

The trend of
coconut
Nearer because
of you I am
further
She was the
Brazilian Nut
With her
blind gut

((Coconut Houdini))
Island of Bali
Beauty of Judy
Somewhere so over it
rainbow

King Kong
Hairy chest banging
coconut drink slurping
Of girl talk
Strong New Jersey
Stamina


***** of Venezuela
Overload of
Prima, Donna's
Instant Karma
going to get them
Knocked them off
there feet
Where is my
John Lennon
He has the best beat

give me lemon to ****
yellow zest

wake me up
cool me down with - blue sky

the Sea calm
mirror mind

green pasture
crisp apple

honey dripping
drowned sugared.

Portentous enunciation, syllable
To blessed syllable affined, and sound
Bubbling felicity in cantilene,
Prolific and tormenting tenderness
Of music, as it comes to unison,
Forgather and bell boldly Crispin's last
Deduction. Thrum, with a proud douceur
His grand pronunciamento and devise.

The chits came for his jigging, bluet-eyed,
Hands without touch yet touching poignantly,
Leaving no room upon his cloudy knee,
Prophetic joint, for its diviner young.
The return to social nature, once begun,
Anabasis or slump, ascent or chute,
Involved him in midwifery so dense
His cabin counted as phylactery,
Then place of vexing palankeens, then haunt
Of children nibbling at the sugared void,
Infants yet eminently old, then dome
And halidom for the unbraided femes,
Green crammers of the green fruits of the world,
Bidders and biders for its ecstasies,
True daughters both of Crispin and his clay.
All this with many mulctings of the man,
Effective colonizer sharply stopped
In the door-yard by his own capacious bloom.
But that this bloom grown riper, showing nibs
Of its eventual roundness, puerile tints
Of spiced and weathery rouges, should complex
The stopper to indulgent fatalist
Was unforeseen. First Crispin smiled upon
His goldenest demoiselle, inhabitant,
She seemed, of a country of the capuchins,
So delicately blushed, so humbly eyed,
Attentive to a coronal of things
Secret and singular. Second, upon
A second similar counterpart, a maid
Most sisterly to the first, not yet awake
Excepting to the motherly footstep, but
Marvelling sometimes at the shaken sleep.
Then third, a thing still flaxen in the light,
A creeper under jaunty leaves. And fourth,
Mere blusteriness that gewgaws jollified,
All din and gobble, blasphemously pink.
A few years more and the vermeil capuchin
Gave to the cabin, lordlier than it was,
The dulcet omen fit for such a house.
The second sister dallying was shy
To fetch the one full-pinioned one himself
Out of her botches, hot embosomer.
The third one gaping at the orioles
Lettered herself demurely as became
A pearly poetess, peaked for rhapsody.
The fourth, pent now, a digit curious.
Four daughters in a world too intricate
In the beginning, four blithe instruments
Of differing struts, four voices several
In couch, four more personae, intimate
As buffo, yet divers, four mirrors blue
That should be silver, four accustomed seeds
Hinting incredible hues, four self-same lights
That spread chromatics in hilarious dark,
Four questioners and four sure answerers.

Crispin concocted doctrine from the rout.
The world, a turnip once so readily plucked,
Sacked up and carried overseas, daubed out
Of its ancient purple, pruned to the fertile main,
And sown again by the stiffest realist,
Came reproduced in purple, family font,
The same insoluble lump. The fatalist
Stepped in and dropped the chuckling down his craw,
Without grace or grumble. Score this anecdote
Invented for its pith, not doctrinal
In form though in design, as Crispin willed,
Disguised pronunciamento, summary,
Autumn's compendium, strident in itself
But muted, mused, and perfectly revolved
In those portentous accents, syllables,
And sounds of music coming to accord
Upon his law, like their inherent sphere,
Seraphic proclamations of the pure
Delivered with a deluging onwardness.
Or if the music sticks, if the anecdote
Is false, if Crispin is a profitless
Philosopher, beginning with green brag,
Concluding fadedly, if as a man
Prone to distemper he abates in taste,
Fickle and fumbling, variable, obscure,
Glozing his life with after-shining flicks,
Illuminating, from a fancy gorged
By apparition, plain and common things,
Sequestering the fluster from the year,
Making gulped potions from obstreperous drops,
And so distorting, proving what he proves
Is nothing, what can all this matter since
The relation comes, benignly, to its end?

So may the relation of each man be clipped.

The Searching Yeti and UFO/
Stocked home love of youth and foe/
mysteries of deep, songs that bellow/
I'm waving wheat surrounding crop circle/
and I Am The Bed with Fibonacci flower
holding  on to summer showers


The hot oil tuned in chopped green thyme/
wrinkled strips sandy brown sugared lines/
tossed on foul fried, lemon and vinegar /
long or short  grain I'll be the same integer/
I Am The Bed of rice soaked in what you savor

The breath of air/
Vibration! Everywhere?
Pitter Patter Crescendo Flare...
Ready for rivers of precipitation /
before Pen and Paper dissemination /
I Am The Bed dried wide open
Streaming to the notion ocean.

~for Isabel, Alex & Wendy, Theo & Rose~

be reading Whitman and Hafiz,
adding some Shelley and Frost,
for (no salt) seasoning, might add in
a biblical, King Solomon’s be-loved,
sugared Song of Songs…

won’t need to go far, on my nightstand,
search & reach, to love and preach to
generations next, a lesson last & simple:

read, read, read there by learning,
how to first define, then preserve the
variety of feelings rising from within!

here’s a starter morsel from Walt,
sort of a summary of how to do it,
all well and proper…
poppy

”This is what you shall do; Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families,
read these leaves in the open air every season of every year of your life,. re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.”

Walt Whitman

Preface to Leaves of Grass, 1855.
Walt Whitman, c.1887.

Sparkled ice cream houses
Sugared in reds and greens
Smoke of cotton candy
Windows of jelly beans

Grass made of lime candy
In dirt of chocolate flakes
Berry gummy flowers
With petals made of cakes

Sky of blueberry juice
Shredded coconut rain
Jelly filled flying birds
With a custard filled plane

Streets a sheet of licorice
With frosted center lines
Marshmallow vehicles  
Speed and shoot out sweet wine

People of ginger bread
Wave hands of cold dough
They pucker cherry lips
Sweet powder kisses blow

Sweet delicious world
Young new tastes, not old
Packed together as one
In a sphere sucker globe

Breathe in the freshness
of the arduously picked commodity,
That you hold between your lacquered fingers.
Don’t let synthetic ingredients
dissolve your thoughts
and obscure your vision.

The liquid remedy we sip  is drenched,
With pain and protracted nurturing
Carefully fostered
through inclement weather
drink in the story that comes with it
That fuels caffeinated conversations.
Refined and defined leaving us blind
to the painted secrets of lives that were once lead
different lives intersect,
different thoughts and opinions interject.

Leaving lipstick kisses on the porcelain skin
Sipping away worries and pain.
Inhaling the smell of impelling advice,
fragments of sugar coated anecdotes melt,
integrating within, interfering
with the raw, strong, sharp taste
that can pierce through.

the rare intense, earthy aftertaste
is tainted with artificial garnishing,
suffocating the fresh natural essence
neatly contained in the teacup
ready to serve and ready to present
taking shape of the porcelain guise

Don’t sprinkle it with processed collaborations
of sugared doubt,
Contaminating your imagination
Manipulated by dainty voices
Resonating in your head
Like the delicate teacup
You anchor with your soft hands
Weighed down by the overly sweetened tea.
No longer holding significance
of the vast fresh fields it sprouted from
Forgotten and drowned
in the voices of someone else’s drum beat.
cloudy vision reflected in the saturated tonic
you sip elegantly, pasting a smile
suppressing your own desires,
under someone else's acceptance.

THE RUIN in a Modern English Translation

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



THE RUIN
loose translation/interpretation by Michael R. Burch

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

broad battlements broken;
the Builders' work battered;

the high ramparts toppled;
tall towers collapsed;

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

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

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

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

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

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

it outlasted mighty kings and their claims!

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

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

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

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

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

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

... that was spacious ...



Footnotes and Translator's Comments
by Michael R. Burch

Summary

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

Author

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

Genre

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

Theme

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

Plot

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

Techniques

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

History

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

Interpretation

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

Analysis of Characters and References

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

Related Poems

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

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



The Best Old English and Middle English Poems in Modern English Translations by Michael R. Burch

These are modern English translations of Middle English poems and Old English/Anglo-Saxon poems by Anonymous, John Audelay, Caedmon, Charles d'Orleans, Geoffrey Chaucer, William Cornish, Deor, William Dunbar, Gildas, Godric of Finchale, King Henry VIII, Robert Henryson, William Herebert, Thomas Hoccleve, William Langland, Layamon, John Lydgate, The Pearl Poet, Thomas Phillipps, Richard of Caistre, Richard Rolle, James Ryman, John Skelton, William of Shoreham and Winfred aka St. Boniface. There are also modernizations of late Medieval poems by Thomas Campion, Sir Thomas Wyatt and Johann Angelus Silesius.

Some of the oldest English poems are among the most beautiful, including "Merciless Beauty" by Geoffrey Chaucer, "Sweet Rose of Virtue" by William Dunbar, and "Oft in My Thought" by Charles d'Orleans. All completely free here.



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

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



"Now skruketh rose and lylie flour" is an early Middle English poem that gives a hint of things to come, in terms of meter and rhyme …

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

Now the rose and the lily skyward flower,
That will bear for awhile that sweet savor:
In summer, that sweet tide;
There is no queen so stark in her power
Nor any lady so bright in her bower
That Death shall not summon and guide;
But whoever forgoes lust, in heavenly bliss will abide
With his thoughts on Jesus anon, thralled at his side.



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

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

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

I fear that March with his last arctic blast
has slain my fair rose and left her downcast,
whose piteous death does my heart such pain
that I long to plant love's root again―
so comforting her bowering leaves have been.

My translation of "Lament for the Makaris" by William Dunbar appears later on this page.



Next are four splendid poems from the early 13th century that may predate Chaucer. Please note the introduction of end rhyme …

Westron Wynde
(anonymous Middle English lyric, found in a partbook circa 1530 AD, but perhaps written earlier)
loose translation/interpretation by Michael R. Burch

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

The original poem has "the smalle rayne down can rayne" which suggests a drizzle or mist.



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

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



I Have Labored Sore
(anonymous medieval lyric circa the fifteenth century)
loose translation/interpretation by Michael R. Burch

I have labored sore          and suffered death,
so now I rest           and catch my breath.
But I shall come      and call right soon
heaven and earth          and hell to doom.
Then all shall know           both devil and man
just who I was               and what I am.



A Lyke-Wake Dirge
(anonymous medieval lyric circa the 16th century AD)
loose translation/interpretation by Michael R. Burch

The Lie-Awake Dirge is “the night watch kept over a corpse.”

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.

When from this earthly life you pass
every night and all,
to confront your past you must come at last,
and Christ receive thy soul.

If you ever donated socks and shoes,
every night and all,
sit right down and slip yours on,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk barefoot through the flames of hell,
and Christ receive thy soul.

If ever you shared your food and drink,
every night and all,
the fire will never make you shrink,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk starving through the black abyss,
and Christ receive thy soul.

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.



Excerpt from “Ubi Sunt Qui Ante Nos Fuerunt?”
(anonymous Middle English poem, circa 1275)
loose translation/interpretation by Michael R. Burch

Where are the men who came before us,
who led hounds and hawks to the hunt,
who commanded fields and woods?
Where are the elegant ladies in their boudoirs
who braided gold through their hair
and had such fair complexions?

Once eating and drinking gladdened their hearts;
they enjoyed their games;
men bowed before them;
they bore themselves loftily …
But then, in an eye’s twinkling,
they were gone.

Where now are their songs and their laughter,
the trains of their dresses,
the arrogance of their entrances and exits,
their hawks and their hounds?
All their joy has vanished;
their “well” has come to “oh, well”
and to many dark days …



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

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

In the poem above, note how "wood" and "tree" invoke the cross while "sun" and "son" seem to invoke each other. Sun-day is also Son-day, to Christians. The anonymous poet who wrote the poem above may have been been punning the words "sun" and "son." The poem is also known as "Now Goeth Sun Under Wood" and "Now Go'th Sun Under Wood."



Fowles in the Frith
(anonymous Middle English lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

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



I am of Ireland
(anonymous Medieval Irish lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

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



Is this the oldest carpe diem poem in the English language?

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

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

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

The second translation leans more to the "lover's complaint" and carpe diem genres, with the poet pointing out to his prospective lover that by denying him her favors she make take her virtue to the grave where worms will end her virginity in macabre fashion. This poem may be an ancient precursor of poems like Andrew Marvell's "To His Coy Mistress."



Ech day me comëth tydinges thre
(anonymous Middle English lyric, circa the 13th to 14th century AD)
loose translation/interpretation by Michael R. Burch

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



Ich have y-don al myn youth
(anonymous Middle English lyric, circa the 13th to 14th century AD)
loose translation/interpretation by Michael R. Burch

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



GEOFFREY CHAUCER

Three Roundels by Geoffrey Chaucer

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

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

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

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



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

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

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

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



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

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

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

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



Welcome, Summer
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Now welcome, Summer, with your sun so soft,
since you’ve banished Winter with her icy weather
and driven away her long nights’ frosts.
Saint Valentine, in the heavens aloft,
the songbirds sing your praises together!

Now welcome, Summer, with your sun so soft,
since you’ve banished Winter with her icy weather.

We have good cause to rejoice, not scoff,
since love’s in the air, and also in the heather,
whenever we find such blissful warmth, together.

Now welcome, Summer, with your sun so soft,
since you’ve banished Winter with her icy weather
and driven away her long nights’ frosts.



CHARLES D'ORLEANS

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

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

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

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



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

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

What is their brazen goal?

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



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

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

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

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

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



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

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

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



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

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



SIR THOMAS WYATT

Whoso List to Hunt ("Whoever Longs to Hunt")
by Sir Thomas Wyatt
loose translation/interpretation/modernization by Michael R. Burch

Whoever longs to hunt, I know the deer;
but as for me, alas!, I may no more.
This vain pursuit has left me so bone-sore
I'm one of those who falters, at the rear.
Yet friend, how can I draw my anguished mind
away from the doe?
                               Thus, as she flees before
me, fainting I follow.
                                I must leave off, therefore,
since in a net I seek to hold the wind.

Whoever seeks her out,
                                     I relieve of any doubt,
that he, like me, must spend his time in vain.
For graven with diamonds, set in letters plain,
these words appear, her fair neck ringed about:
Touch me not, for Caesar's I am,
And wild to hold, though I seem tame.



“Stafell Gynddylan” (“The Hall of Cynddylan”) belongs to the cycle of Welsh englynion (three-line stanzas) traditionally called “Canu Heledd” (“The Song of Heledd”).

The Welsh “dd” is pronounced “th.”
Cynddylan is pronounced KahN-THIHL-aeN.

Stafell Gynddylan (“The Hall of Cynddylan”)
Welsh englynion circa 1382-1410
translation/interpretation by Michael R. Burch

The hall of Cynddylan lies dark tonight.
Lacking fire and a bed,
I will weep awhile then lapse into silence.

The hall of Cynddylan lies dark tonight.
Lacking fire or a candle,
save God, who will preserve my sanity?

The hall of Cynddylan lies dark tonight.
Lacking fire, lacking light,
grief for you overwhelms me!

The hall of Cynddylan’s roof is dark.
After the blessed assembly,
still little the good that comes of it.

Hall of Cynddylan, you have become shapeless, amorphous.
Your shield lies in the grave.
While he lived, no one breached these gates.

The hall of Cynddylan mourns tonight,
mourns for its lost protector.
Alas death, why did you spare me?

The hall of Cynddylan trembles tonight,
atop the shivering rock,
lacking lord, lacking liege, lacking protector.

The hall of Cynddylan lies dark tonight.
Lacking fire, lacking mirth, lacking songs.
My cheeks are eroded by tears.

The hall of Cynddylan lies dark tonight.
Lacking fire, lacking heroes, lacking a warband.
Abundant, my tears’ rains.

The hall of Cynddylan offends my eyes,
lacking roof, lacking fire.
My lord lies dead, and yet I still live?

The hall of Cynddylan lies shattered tonight,
without her steadfast warriors,
Elfan, and gold-torqued Cynddylan.

The hall of Cynddylan lies desolate tonight,
no longer respected
without the men and women who maintained it.

The hall of Cynddylan lies quiet tonight,
stunned to silence by losing its lord.
Merciful God, what must I do?

The hall of Cynddylan’s roof is dark,
after the Saxons destroyed
shining Cynddylan and Elfan of Powys.

The hall of Cynddylan lies dark tonight:
lost, the race of the Cyndrwyn,
of Cynon and Gwion and Gwyn.

Hall of Cynddylan, you wound me, hourly,
having lost that great company
who once warmed hands at your hearth.



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

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



The following are some of the best Old English (i.e., Anglo Saxon) poems …

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

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

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

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



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

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

"Cædmon's Hymn" was composed sometime between 658 and 680 AD and may be the oldest extant poem in the English language.



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

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

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

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

Winfred is better known as St. Boniface.



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

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

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



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

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

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

Solution: a coat of mail.



If you see a busker singing for tips, you're seeing someone carrying on an Anglo-Saxon tradition that goes back to the days of Beowulf …

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



Here's one of the first Old English/Anglo-Saxon poems to employ a refrain:

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

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

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

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

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

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

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



The Wife's Lament
Old English poem circa 990 AD
loose translation/interpretation by Michael R. Burch

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

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

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

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

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

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

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

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

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

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

Woe be it to them who abide in longing.



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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

Godric also wrote a prayer to St. Nicholas:

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

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



Another candidate for the first rhyming English poem is actually called "The Rhyming Poem" as well as "The Riming Poem" and "The Rhymed Poem."

The Rhyming Poem
anonymous Old English/Anglo-Saxon poem circa 990 AD
loose translation/interpretation by Michael R. Burch

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

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

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

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

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

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

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

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

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

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



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

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

The poem has also been rendered as "Adam lay i-bounden" and "Adam lay i-bowndyn." Here's the original poem in one of its ancient forms:



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

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.

He came also as still
To his mother's breast
As April dew
Falling on the grass.

He came also as still
To his mother's bower
As April dew
Falling on the flower.

He came also as still
To where his mother lay
As April dew
Falling on the spray.

Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



IN LIBRARIOS
by Thomas Campion

Novelties
loose translation/interpretation by Michael R. Burch

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



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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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



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

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



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

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

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

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

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



The Maiden Lay in the Wilds
circa the 14th century
loose translation/interpretation by Michael R. Burch

The maiden in the moor lay,
in the moor lay;
seven nights full,
seven nights full,
the maiden in the moor lay,
in the moor lay,
seven nights full and a day.

Sweet was her meat.
But what was her meat?
The primrose and the—
The primrose and the—
Sweet was her meat.
But what was her meat?
The primrose and the violet.

Pure was her drink.
But what was her drink?
The cold waters of the—
The cold waters of the—
Pure was her drink.
But what was her drink?
The cold waters of the well-spring.

Bright was her bower.
But what was her bower?
The red rose and the—
The red rose and the—
Bright was her bower.
But what was her bower?
The red rose and the lily flower.



The World an Illusion
circa 14th century
loose translation/interpretation by Michael R. Burch

This is the sum of wisdom bright:
however things may appear,
life vanishes like birds in flight;
now it’s here, now there.
Nor are we mighty in our “might”—
now on the bench, now on the bier.
However vigilant or wise,
in health it’s death we fear.
However proud and without peer,
no man’s immune to tragedy.
And though we think all’s solid here,
this world is but a fantasy.

The sun’s course we may claim to know:
arises east, sets in the west;
we know which way earth’s rivers flow,
into the seas that fill and crest.
The winds rush here and there, also,
it rains and snows without arrest.
Will it all end? God only knows,
with the wisdom of the Blessed,
while we on earth remain hard-pressed,
all bedraggled, or too dry,
until we vanish, just a guest:
this world is but a fantasy.



I Have a Noble ****
circa early 15th century
loose translation/interpretation by Michael R. Burch

I have a gentle ****
who crows in the day;
he bids me rise early,
my matins to say.

I have a gentle ****,
he comes with the great;
his comb is of red coral,
his tail of jet.

I have a gentle ****,
kind and laconic;
his comb is of red coral,
his tail of onyx.

His legs are pale azure,
so gentle and so slender;
his spurs are silver-white,
so pretty and so tender!

His eyes are like fine crystal
set deep in golden amber,
and every night he perches
in my lady’s chamber.



Trust Only Yourself
circa the 15th century
loose translation/interpretation by Michael R. Burch

Alas! Deceit lies in trust now,
dubious as Fortune, spinning like a ball,
as brittle when tested as a rotten bough.
He who trusts in trust is ripe for a fall!
Such guile in trust cannot be trusted,
or a man will soon find himself busted.
Therefore, “Be wary of trust!” is my advice.
Trust only yourself and learn to be wise.



See, Here, My Heart
circa the 15th century
loose translation/interpretation by Michael R. Burch

O, mankind,
please keep in mind
where Passions start:
there you will find
me wholly kind—
see, here, my heart.



Fair Lady Without Peer
by Charles d’Orleans
loose translation/interpretation by Michael R. Burch

Fair Lady, without peer, my plea,
Is that your grace will pardon me,
Since I implore, on bended knee.
No longer can I, privately,
Keep this from you: my deep distress,
When only you can comfort me,
For I consider you my only mistress.

This powerful love demands, I fear,
That I confess things openly,
Since to your service I came here
And my helpless eyes were forced to see
Such beauty gods and angels cheer,
Which brought me joy in such excess
That I became your servant, gladly,
For I consider you my only mistress.

Please grant me this great gift most dear:
to be your vassal, willingly.
May it please you that, now, year by year,
I shall serve you as my only Liege.
I bend the knee here—true, sincere—
Unfit to beg one royal kiss,
Although none other offers cheer,
For I consider you my only mistress.



Chanson: Let Him Refrain from Loving, Who Can
by Charles d’Orleans
loose translation/interpretation by Michael R. Burch

Let him refrain from loving, who can.
I can no longer hover.
I must become a lover.
What will become of me, I know not.

Although I’ve heard the distant thought
that those who love all suffer,
I must become a lover.
I can no longer refrain.

My heart must risk almost certain pain
and trust in Beauty, however distraught.
For if a man does not love, then what?
Let him refrain from loving, who can.



Her Beauty
by Charles d’Orleans
loose translation/interpretation by Michael R. Burch

Her beauty, to the world so plain,
Still intimately held my heart in thrall
And so established her sole reign:
She was, of Good, the cascading fountain.
Thus of my Love, lost recently,
I say, while weeping bitterly:
“We cleave to this strange world in vain.”

In ages past when angels fell
The world grew darker with the stain
Of their dear blood, then became hell
While poets wept a tearful strain.
Yet, to his dark and drear domain
Death took his victims, piteously,
So that we bards write bitterly:
“We cleave to this strange world in vain.”

Death comes to claim our angels, all,
as well we know, and spares no pain.
Over our pleasures, Death casts his pall,
Then without joy we “living” remain.
Death treats all Love with such disdain!
What use is this world? For it seems to me,
It has neither Love, nor Pity.
Thus “We cleave to this strange world in vain.”



Chanson: The Summer's Heralds
by Charles d’Orleans
loose translation/interpretation by Michael R. Burch

The Summer’s heralds bring a dear
Sweet season of soft-falling showers
And carpet fields once brown and sere
With lush green grasses and fresh flowers.

Now over gleaming lawns appear
The bright sun-dappled lengthening hours.

The Summer’s heralds bring a dear
Sweet season of soft-falling showers.

Faint hearts once chained by sullen fear
No longer shiver, tremble, cower.
North winds no longer storm and glower.
For winter has no business here.



Traitorous Eye
by Charles d’Orleans
loose translation/interpretation by Michael R. Burch

Traitorous eye, what’s new?
What lewd pranks do you have in view?
Without civil warning, you spy,
And no one ever knows why!

Who understands anything you do?
You’re rash and crass in your boldness too,
And your lewdness is hard to subdue.
Change your crude ways, can’t you?

Traitorous eye, what’s new?
You should be beaten through and through
With a stripling birch strap or two.
Traitorous eye, what’s new?
What lewd pranks do have you in view?



How Death Comes
circa the 13th century
loose translation/interpretation by Michael R. Burch

When my eyes mist
and my ears hiss
and my nose grows cold
as my tongue folds
and my face grows slack
as my lips grow black
and my mouth gapes
as my spit forms lakes
and my hair falls
as my heart stalls
and my hand shake
as my feet quake:
All too late! All too late!
When the bier is at the gate.

Then I shall pass
from bed to floor,
from floor to shroud,
from shroud to bier,
from bier to grave,
the grave closed forever!
Then my house will rest on my nose.
This world’s not worth a farthing, Heaven knows!



Farewell Advent!
by James Ryman, 15th century
loose translation/interpretation by Michael R. Burch

Please note that “all and some” means “one and all.”

Farewell, Advent; Christmas has come;
Farewell from us, both all and some.

With patience thou hast us fed
Yet made us go hungry to bed;
For lack of meat, we were nigh dead;
Farewell from us, both all and some.

When you came, hasty, to our house,
We ate no puddings, no, nor souce, [pickled pork]
But stinking fish not worth a louse;
Farewell from us, both all and some.

There was no fresh fish, far nor near;
Salt fish and salmon were too dear,
And thus we’ve had but heavy cheer;
Farewell from us, both all and some.

Thou hast fed us with servings thin,
Nothing on them but bone and skin;
Therefore our love thou shalt not win;
Farewell from us, both all and some.

With mussels gaping after the moon
Thou hast fed us, at night and noon,
But once a week, and that too soon;
Farewell from us, both all and some.

Our bread was brown, our ale was thin;
Our bread was musty in the bin;
Our ale was sour, or we’d dive in;
Farewell from us, both all and some.

Thou art of great ingratitude,
Good meat from us, for to exclude;
Thou art not kind but very rude;
Farewell from us, both all and some.

Thou dwellest with us against our will,
And yet thou gavest us not our fill;
For lack of meat thou would’st us spill;
Farewell from us, both all and some.

Above all things thou art most mean
To make our cheeks both bare and lean;
I would thou were at Boughton Bleane!
Farewell from us, both all and some.

Come thou no more, here, nor in Kent,
For, if thou dost, thou shalt be shent; [reviled, shamed, reproached]
It is enough to fast in Lent;
Farewell from us, both all and some.

Thou mayest not dwell with heaven’s estate;
Therefore with us thou playest checkmate;
Go hence, or we will break thy pate!
Farewell from us, both all and some.

Thou mayest not dwell with knight nor squire;
For them thou mayest lie in the mire;
They love not thee, nor Lent, thy sire;
Farewell from us, both all and some.

Thou mayest not dwell with laboring man,
For on thy fare no skill can he fan,
For he must eat every now and then;
Farewell from us, both all and some.

Thus thou must dwell with monk and friar,
Canon and nun, once every year,
Yet thou shouldest make us better cheer;
Farewell from us, both all and some.

This time of Christ’s feast natal,
We will be merry, great and small,
While thou (haste!) exit from this hall;
Farewell from us, both all and some.

Advent is gone; Christmas is come;
Now we are merry, alle and some;
He is not wise that will be dumb;
In ortu Regis omnium. [At the birth of the King of all.]



Dread of Death (excerpts)
by John Audelay (died circa 1426)
loose translation/interpretation by Michael R. Burch

Lady, help! Jesu, mercy!
Timor mortis conturbat me. [The fear of death dismays me.]

Dread of death, sorrow for sin,
Trouble my heart, full grievously:
My soul wars with my lust then.
Passio Christi conforta me. [Passion of Christ, strengthen me.]

As I lay sick in my languor,
With sorrow of heart and teary eye,
This carol I made with great dolor:
Passio Christi conforta me.



A Carol for Saint Francis
by John Audelay
loose translation/interpretation by Michael R. Burch

I pray you, sirs, for charity,
Please read this carol reverently,
For I made it with a tearful eye:
Your brother John the Blind Awdley.
Saint Francis, to thee I say,
Save thy brethren both night and day!



The Three Living and the Three Dead Kings
by John Audelay
loose translation/interpretation by Michael R. Burch

Then the last king speaks; he looks at the hills;
Looks under his hands and holds his head;
But a dreadful blow coldly pierces his heart,
Like the knife or the key that chills the knuckle.
These are the three demons who stalk these hills;
May our Lord, who rules all, show us the quickest exit!
My heart bends with fright like a windblown reed,
Each finger trembles and grows weak with terror.
I'm forced to fear our fate;
therefore, let us flee, quickly!
I can offer no counsel but flight.
These devils make us cower,
For fear they will block our escape.



Nothing is known about Laurence Minot other than his name.

Les Espagnols-sur-mer
by Laurence Minot
loose translation/interpretation by Michael R. Burch

I would not spare to speak, if I wished success,
of strong men with weapons in worthy armor,
who were driven to deeds and now lie dead.
Who sailed the seas, fishes to feed.
Fell fishes they feed now, for all their vaunting fanfare;
for it was with the waning of the moon that they came there.

They sailed forth into perils on a summer’s tide,
with trumpets and tabors and exalted pride. ...

When they sailed westward, although they were mighty in war,
their bulwarks, their anchors were of no avail.
For mighty men of the west drew nearer and nearer
and they stumbled into the snare, because they had no fear.
For those who fail to flee become prey in the end
and those who once plundered, perish.



On the Siege of Calais, 1436
anonymous Middle English poem
loose translation/interpretation by Michael R. Burch

On the 19th of July, 1436, the Duke of Burgundy laid siege to the city of Calais, but was forced to lift the siege just six days later.

The next morrow, while it was day,
Early, the Duke fled away,
And with him, they off Ghent.
For after Bruges and Apres both
To follow after they were not loath;
Thus they made their departure.
For they had knowledge
Of the Duke of Gloucester’s coming,
Calais to rescue.
Because they bode not there,
In Flanders, he sought them far and near,
That ever after they might rue it.



Beowulf
anonymous Old English/Anglo-Saxon poem, circa 8th-10th century
loose translation/interpretation by Michael R. Burch

LO, praise the prowess of the Spear-Danes
and the clan-thanes who ruled them in days bygone
with dauntless courage and valor.
All have heard of the honors the athelings won,
of Scyld Scefing, scourge of rebellious tribes,
wrecker of mead-benches, worrier of warriors,
awer of earls. He had come from afar,
first friendless, a foundling, but Fate intervened:
for he waxed under the welkin and persevered,
until folk, far and wide, on all coasts of the whale-path,
were forced to yield to him, bring him tribute.
A good king!

To him an heir was afterwards born,
a lad in his yards, a son in his halls,
sent by heaven to comfort the folk.
Feeling their pain because they had lacked an earl
for a long while, thus the Lord of Life,
the Almighty, made him far-renowned.
Beowulf’s fame flew far throughout the north,
the boast of him, this son of Scyld,
through Scandian lands.



Lent is Come with Love to Town
anonymous Middle English poem, circa 1330
loose translation/interpretation by Michael R. Burch

Springtime comes with love to town,
With blossoms and with birdsong ’round,
Bringing all this bliss:
Daisies in the dales,
Sweet notes of nightingales.
Each bird contributes songs;
The thrush chides ancient wrongs.
Departed, winter’s glowers;
The woodruff gayly flowers;
The birds create great noise
And warble of their joys,
Making all the woodlands ring!



“Cantus Troili” from Troilus and Criseide
by Petrarch
“If no love is, O God, what fele I so?” translation by Geoffrey Chaucer
modernization by Michael R. Burch

If there’s no love, O God, why then, so low?
And if love is, what thing, and which, is he?
If love is good, whence comes my dismal woe?
If wicked, love’s a wonder unto me,
When every torment and adversity
That comes from him, persuades me not to think,
For the more I thirst, the more I itch to drink!

And if in my own lust I choose to burn,
From whence comes all my wailing and complaint?
If harm agrees with me, where can I turn?
I know not, all I do is feint and faint!
O quick death and sweet harm so pale and quaint,
How may there be in me such quantity
Of you, ’cept I consent to make us three?

And if I so consent, I wrongfully
Complain, I know. Thus pummeled to and fro,
All starless, lost and compassless, am I
Amidst the sea, between two rending winds,
That in diverse directions bid me, “Go!”
Alas! What is this wondrous malady?
For heat of cold, for cold of heat, I die.



“Blow, northerne wind”
anonymous Middle English poem, circa late 13th century
loose translation/interpretation by Michael R. Burch

Blow, northern wind,
Send my love, my sweeting,
Blow, northern wind,
Blow, blow, blow,
Our love completing!



“What is he, this lordling, that cometh from the fight?”
by William Herebert, circa early 14th century
loose translation/interpretation by Michael R. Burch

Who is he, this lordling, who staggers from the fight,
with blood-red garb so grisly arrayed,
once appareled in lineaments white?
Once so seemly in sight?
Once so valiant a knight?

“It is I, it is I, who alone speaks right,
a champion to heal mankind in this fight.”

Why then are your clothes a ****** mess,
like one who has trod a winepress?

“I trod the winepress alone,
else mankind was done.”



“Thou wommon boute fere”
by William Herebert, circa early 14th century
loose translation/interpretation by Michael R. Burch

Woman without compare,
you bore your own father:
great the wonder
that one woman was mother
to her father and brother,
as no one else ever was.



“Marye, maide, milde and fre”
by William of Shoreham, circa early 14th century
loose translation/interpretation by Michael R. Burch

Mary, maid, mild and free,
Chamber of the Trinity,
This while, listen to me,
As I greet you with a song ...



“My sang es in sihting”
by Richard Rolle, circa 14th century
loose translation/interpretation by Michael R. Burch

My song is in sighing,
My life is in longing,
Till I see thee, my King,
So fair in thy shining,
So fair in thy beauty,
Leading me into your light ...



To Rosemounde: A Ballade
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Madame, you’re a shrine to loveliness
And as world-encircling as trade’s duties.
For your eyes shine like glorious crystals
And your round cheeks like rubies.
Therefore you’re so merry and so jocund
That at a revel, when that I see you dance,
You become an ointment to my wound,
Though you offer me no dalliance.

For though I weep huge buckets of warm tears,
Still woe cannot confound my heart.
For your seemly voice, so delicately pronounced,
Make my thoughts abound with bliss, even apart.
So courteously I go, by your love bound,
So that I say to myself, in true penance,
"Suffer me to love you Rosemounde;
Though you offer me no dalliance.”

Never was a pike so sauce-immersed
As I, in love, am now enmeshed and wounded.
For which I often, of myself, divine
That I am truly Tristam the Second.
My love may not grow cold, nor numb,
I burn in an amorous pleasance.
Do as you will, and I will be your thrall,
Though you offer me no dalliance.



A Lady without Paragon
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Hide, Absalom, your shining tresses;
Esther, veil your meekness;
Retract, Jonathan, your friendly caresses;
Penelope and Marcia Catoun?
Other wives hold no comparison;
Hide your beauties, Isolde and Helen;
My lady comes, all stars to outshine.

Thy body fair? Let it not appear,
Lavinia and Lucretia of Rome;
Nor Polyxena, who found love’s cost so dear;
Nor Cleopatra, with all her passion.
Hide the truth of love and your renown;
And thou, Thisbe, who felt such pain;
My lady comes, all stars to outshine.

Hero, Dido, Laodamia, all fair,
And Phyllis, hanging for Demophon;
And Canace, dead by love’s cruel spear;
And Hypsipyle, betrayed along with Jason;
Make of your truth neither boast nor swoon,
Nor Hypermnestra nor Adriane, ye twain;
My lady comes, all stars to outshine.



A hymn to Jesus
by Richard of Caistre, circa 1400
loose translation/interpretation by Michael R. Burch

Jesu, Lord that madest me
and with thy blessed blood hath bought,
forgive that I have grieved thee,
in word, work, will and thought.

Jesu, for thy wounds’ hurt
of body, feet and hands too,
make me meek and low in heart,
and thee to love, as I should do...



In Praise of his Ugly Lady
by Thomas Hoccleve, early 15th century
loose translation/interpretation by Michael R. Burch

Of my lady? Well rejoice, I may!
Her golden forehead is full narrow and small;
Her brows are like dim, reed coral;
And her jet-black eyes glisten, aye.

Her bulging cheeks are soft as clay
with large jowls and substantial.

Her nose, an overhanging shady wall:
no rain in that mouth on a stormy day!

Her mouth is nothing scant with lips gray;
Her chin can scarcely be seen at all.

Her comely body is shaped like a football,
and she sings like a cawing jay.



Lament for Chaucer
by Thomas Hoccleve, early 15th century
loose translation/interpretation by Michael R. Burch

Alas, my worthy master, honorable,
The very treasure and riches of this land!
Death, by your death, has done irreparable
harm to us: her cruel and vengeful hand
has robbed our country of sweet rhetoric...



Holly and Ivy
anonymous Middle English poem, circa 15th century
loose translation/interpretation by Michael R. Burch

Nay! Ivy, nay!
It shall not be, like this:
Let Holy have the mastery,
As the manner is.

Holy stood in the hall
Fair to behold;
Ivy stood outside the door,
Lonely and cold.

Holy and his merry men
Commenced to dance and sing;
Ivy and her maidens
Were left outside to weep and wring.

Ivy has a chilblain,
She caught it with the cold.
So must they all have, aye,
Whom with Ivy hold.

Holly has berries
As red as any rose:
The foresters and hunters
Keep them from the does.

Ivy has berries
As black as any ill:
There comes the owl
To eat them as she will.

Holly has birds,
A full fair flock:
The nightingale, the popinjay,
The gentle lark.

Good Ivy, good Ivy,
What birds cling to you?
None but the owl
Who cries, "Who? Who?'



Unkindness Has Killed Me
anonymous Middle English poem, 15th century
loose translation/interpretation by Michael R. Burch

Grievous is my sorrow:
Both evening and morrow;
Unto myself alone
Thus do I moan,
That unkindness has killed me
And put me to this pain.
Alas! what remedy
That I cannot refrain?



from The Testament of John Lydgate
15th century
loose translation/interpretation by Michael R. Burch

Behold, o man! lift up your eyes and see
What mortal pain I suffer for your trespass.
With piteous voice I cry and say to thee:
Behold my wounds, behold my ****** face,
Behold the rebukes that do me such menace,
Behold my enemies that do me so despise,
And how that I, to reform thee to grace,
Was like a lamb offered in sacrifice.



Vox ultima Crucis
from The Testament of John Lydgate, 15th century
loose translation/interpretation by Michael R. Burch

TARRY no longer; toward thine heritage
Haste on thy way, and be of right good cheer.
Go each day onward on thy pilgrimage;
Think how short a time thou hast abided here.
Thy place is built above the stars clear,
No earthly palace wrought in such stately wise.
Come on, my friend, my brother must enter!
For thee I offered my blood in sacrifice.



Inordinate Love
anonymous Middle English poem, circa 15th century
loose translation/interpretation by Michael R. Burch

I shall say what inordinate love is:
The ferocity and singleness of mind,
An inextinguishable burning devoid of bliss,
A great hunger, too insatiable to decline,
A dulcet ill, an evil sweetness, blind,
A right wonderful, sugared, sweet error,
Without any rest, contrary to kind,
Without quiet, a riot of useless labor.



Besse Bunting
anonymous Middle English poem, circa 15th century
loose translation/interpretation by Michael R. Burch

In April and May
When hearts be all a-merry,
Bessie Bunting, the miller’s girl,
With lips as red as cherries,
Cast aside remembrance
To pass her time in dalliance
And leave her misery to chance.
Right womanly arrayed
In petticoats of white,
She was undismayed
And her countenance was light.



The spring under a thorn
anonymous Middle English poem, circa 15th century
loose translation/interpretation by Michael R. Burch

At a wellspring, under a thorn,
the remedy for an ill was born.
There stood beside a maid
Full of love bound,
And whoso seeks true love,
In her it will be found.



The Complaint of Cresseid against Fate
Robert Henryson, 15th century
loose translation/interpretation by Michael R. Burch

O sop of sorrow, sunken into care,
O wretched Cresseid, now and evermore
Gone is thy joy and all thy mirth on earth!
Stripped bare of blitheness and happiness,
No salve can save you from your sickness.
Fell is thy fortune, wicked thy fate.
All bliss banished and sorrow in bloom.
Would that I were buried under the earth
Where no one in Greece or Troy might hear it!



A lover left alone with his thoughts
anonymous Middle English poem, circa later 15th century
loose translation/interpretation by Michael R. Burch

Continuance
of remembrance,
without ending,
causes me penance
and great grievance,
for your parting.

You are so deeply
engraved in my heart,
God only knows
that always before me
I ever see you
in thoughts covert.

Though I do not explain
my woeful pain,
I bear it still,
although it seems vain
to speak against
Fortune’s will.



Go, hert, hurt with adversity
anonymous Middle English poem, circa 15th century
loose translation/interpretation by Michael R. Burch

Go, heart, hurt with adversity,
and let my lady see thy wounds,
then say to her, as I say to thee:
“Farewell, my joy, and welcome pain,
till I see my lady again.”



I love a flower
by Thomas Phillipps, circa 1500
loose translation/interpretation by Michael R. Burch

“I love, I love, and whom love ye?”
“I love a flower of fresh beauty.”
“I love another as well as ye.”
“That shall be proved here, anon,
If we three
together can agree
thereon.”

“I love a flower of sweet odour.”
“Marigolds or lavender?”
“Columbine, golds of sweet flavor?”
“Nay! Nay! Let be:
It is none of them
that liketh me.”

(The argument continues...)

“I love the rose, both red and white.”
“Is that your perfect appetite?”
“To talk of them is my delight.”
“Joyed may we be,
our Prince to see
and roses three.”

“Now we have loved and love will we,
this fair, fresh flower, full of beauty.”
“Most worthy it is, so thinketh me.”
“Then may it be proved here, anon,
that we three
did agree
as one.”



The sleeper hood-winked
by John Skelton, circa late 15th century
loose translation/interpretation by Michael R. Burch

With “Lullay! Lullay!” like a child,
Thou sleepest too long, thou art beguiled.

“My darling dear, my daisy flower,
let me, quoth he, “lie in your lap.”
“Lie still,” quoth she, “my paramour,”
“Lie still, of course, and take a nap.”
His head was heavy, such was his hap!
All drowsy, dreaming, drowned in sleep,
That of his love he took no keep. [paid no notice]



The Corpus Christi Carol
anonymous Middle English poem, circa early 16th century
loose translation/interpretation by Michael R. Burch

He bore him up, he bore him down,
He bore him into an orchard brown.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.

In that orchard there stood a hall
Hanged all over with purple and pall.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.

And in that hall there stood a bed
hanged all over with gold so red.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.

And in that bed there lies a knight,
His wounds all bleeding both day and night.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.

By that bed's side there kneels a maid,
And she weeps both night and day.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.

And by that bedside stands a stone,
"Corpus Christi" written thereon.
Lully, lullay, lully, lullay!
The falcon has borne my mate away.



Love ever green
attributed to King Henry VIII, circa 1515
loose translation/interpretation by Michael R. Burch

If Henry VIII wrote the poem, he didn’t quite live up to it! – MRB

Green groweth the holly,
so doth the ivy.
Though winter’s blasts blow never so high,
green groweth the holly.

As the holly groweth green
and never changeth hue,
so am I, and ever have been,
unto my lady true.

Adew! Mine own lady.
Adew! My special.
Who hath my heart truly,
Be sure, and ever shall.



Pleasure it is
by William Cornish, early 16th century
loose translation/interpretation by Michael R. Burch

Pleasure it is,
to her, indeed.
The birds sing;
the deer in the dale,
the sheep in the vale,
the new corn springing.
God’s allowance
for sustenance,
his gifts to man.
Thus we always give him praise
and thank him, then.
And thank him, then.



My lute and I
by Sir Thomas Wyatt, circa early 16th century
loose translation/interpretation by Michael R. Burch

At most mischief
I suffer grief
Without relief
Since I have none;
My lute and I
Continually
Shall both apply
To sigh and moan.

Nought may prevail
To weep or wail;
Pity doth fail
In you, alas!
Mourning or moan,
Complaint, or none,
It is all one,
As in this case.

For cruelty,
Most that can be,
Hath sovereignty
Within your heart;
Which maketh bare
All my welfare:
Nought do you care
How sore I smart.

No tiger's heart
Is so perverse
Without desert
To wreak his ire;
And me? You ****
For my goodwill;
Lo, how I spill
For my desire!

There is no love
Your heart to move,
And I can prove
No other way;
Therefore I must
Restrain my lust,
Banish my trust
And wealth away.

Thus in mischief
I suffer grief,
Without relief
Since I have none,
My lute and I
Continually
Shall both apply
To sigh and moan.



What menethe this?
by Sir Thomas Wyatt, circa early 16th century
loose translation/interpretation by Michael R. Burch

WHAT does this mean, when I lie alone?
I toss, I turn, I sigh, I groan;
My bed seems near as hard as stone:
What means this?

I sigh, I plain continually;
The clothes that on my bed do lie,
Always, methinks, they lie awry;
What means this?

In slumbers oft for fear I quake;
For heat and cold I burn and shake;
For lack of sleep my head doth ache;
What means this?

At mornings then when I do rise,
I turn unto my wonted guise,
All day thereafter, muse and devise;
What means this?

And if perchance by me there pass,
She, unto whom I sue for grace,
The cold blood forsaketh my face;
What means this?

But if I sit with her nearby,
With a loud voice my heart doth cry,
And yet my mouth is dumb and dry;
What means this?

To ask for help, no heart I have;
My tongue doth fail what I should crave;
Yet inwardly I rage and rave;
What means this?

Thus I have passed many a year,
And many a day, though nought appear,
But most of that which I most I fear;
What means this?



Yet ons I was
by Sir Thomas Wyatt, circa early 16th century
loose translation/interpretation by Michael R. Burch

Once in your grace I know I was,
Even as well as now is he;
Though Fortune hath so turned my case
That I am down and he full high;
Yet once I was.

Once I was he that did you please
So well that nothing did I doubt,
And though today ye think it ease
To take him in and throw me out;
Yet once I was.

Once I was he, in times past.
That as your own ye did retain:
And though ye have me now out-cast,
Showing untruth in you to reign;
Yet once I was.

Once I was he that knit the knot
The which ye swore not to unknit,
And though ye feign it now forgot,
In using your newfangled wit;
Yet once I was.

Once I was he to whom ye said,
“Welcome, my joy, my whole delight!”
And though ye are now well repaid
Of me, your own, your claim seems slight;
Yet once I was.

Once I was he to whom ye spake,
“Have here my heart! It is thy own.”
And though these words ye now forsake,
Saying thereof my part is none;
Yet once I was.

Once I was he that led the cast,
But now am he that must needs die.
And though I die, yet, at the last,
In your remembrance let it lie,
That once I was.



The Vision of Piers Plowman
by William Langland, circa 1330-1400
loose translation/interpretation by Michael R. Burch

Incipit liber de Petro Plowman prologus

In a summer season when the sun shone soft,
I clothed myself in a cloak like a shepherd’s,
In a habit like a hermit's unholy in works,
And went out into the wide world, wonders to hear.
Then on a May morning on Malvern hills,
A marvel befell me, of fairies, methought.
I was weary with wandering and went to rest
Under a broad bank, by a brook's side,
And as I lay, leaned over and looked on the waters,
I fell into a slumber, for it sounded so merry.
Soon I began to dream a marvellous dream:
That I was in a wilderness, I wist not where.
As I looked to the east, right into the sun,
I saw a tower on a knoll, worthily built,
With a deep dale beneath and a dungeon therein,
Full of deep, dark ditches and and dreadful to behold.
Then a fair field full of fond folk, I espied between,
Of all manner of men, both rich and poor,
Working and wandering, as the world demands.
Some put themselves to the plow, seldom playing,
But setting and sowing they sweated copiously
And won that which wasters destroyed by gluttony...



Pearl
anonymous Middle English poem, circa 1400
loose translation/interpretation by Michael R. Burch

Pearl, the pleasant prize of princes,
Chastely set in clear gold and cherished,
Out of the Orient, unequaled,
Precious jewel without peer,
So round, so rare, so radiant,
So small, so smooth, so seductive,
That whenever I judged glimmering gems,
I set her apart, unimpeachable, priceless.
Alas, I lost her in earth’s green grass!
Long I searched for her in vain!
Now I languish alone, my heart gone cold.
For I lost my precious pearl without stain.



Johann Scheffler (1624-1677), also known as Johann Angelus Silesius, was a German Catholic priest, physician, mystic and religious poet. He's a bit later than most of the other poets on this page, but seems to fit in …

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.



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

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

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

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



GILDAS TRANSLATIONS

These are my modern English translations of Latin poems by the English monk Gildas. Gildas, also known as Gildas Sapiens ("Gildas the Wise") , was a 6th-century British monk who is one of the first native writers of the British Isles we know by name. Gildas is remembered for his scathing religious polemic De Excidio et Conquestu Britanniae ("On the Ruin and Conquest of Britain" or simply "On the Ruin of Britain") . The work has been dated to circa 480-550 AD.

"Alas! The nature of my complaint is the widespread destruction of all that was good, followed by the wild proliferation of evil throughout the land. Normally, I would grieve with my motherland in her travail and rejoice in her revival. But for now I restrict myself to relating the sins of an indolent and slothful race, rather than the feats of heroes. For ten years I kept my silence, I confess, with much mental anguish, guilt and remorse, while I debated these things within myself..." — Gildas, The Ruin of Britain, loose translation/interpretation by Michael R. Burch

Gildas is also remembered for his "Lorica" ("Breastplate") :

"The Lorica of Loding" from the Book of Cerne
by Gildas
loose translation/interpretation by Michael R. Burch

Trinity in Unity, shield and preserve me!
Unity in Trinity, have mercy on me!

Preserve me, I pray, from all dangers:
dangers which threaten to overwhelm me
like surging sea waves;
neither let mortality
nor worldly vanity
sweep me away from the safe harbor of Your embrace!

Furthermore, I respectfully request:
send the exalted, mighty hosts of heaven!
Let them not abandon me
to be destroyed by my enemies,
but let them defend me always
with their mighty shields and bucklers.

Allow Your heavenly host
to advance before me:
Cherubim and Seraphim by the thousands,
led by the Archangels Michael and Gabriel!

Send, I implore, these living thrones,
these principalities, powers and Angels,
so that I may remain strong,
defended against the deluge of enemies
in life's endless battles!

May Christ, whose righteous Visage frightens away foul throngs,
remain with me in a powerful covenant!

May God the Unconquerable Guardian
defend me on every side with His power!

Free my manacled limbs,
cover them with Your shielding grace,
leaving heaven-hurled demons helpless to hurt me,
to pierce me with their devious darts!

Lord Jesus Christ, be my sure armor, I pray!

Cover me, O God, with Your impenetrable breastplate!

Cover me so that, from head to toe,
no member is exposed, within or without;
so that life is not exorcized from my body
by plague, by fever, by weakness, or by suffering.

Until, with the gift of old age granted by God,
I depart this flesh, free from the stain of sin,
free to fly to those heavenly heights,
where, by the grace of God, I am borne in joy
into the cool retreats of His heavenly kingdom!

Amen

#GILDAS #LATIN #LORICA #RUIN #MRBGILDAS #MRBLATIN #MRBLORICA #MRBRUIN

(For G. H.)

Say, does that stupid earth
Where they have laid her,
Bind still her sullen mirth,
Mirth which betrayed her?
Do the lush grasses hold,
Greenly and glad,
That brittle-perfect gold
She alone had?

Smugly the common crew,
Over their knitting,
Mourn her -- as butchers do
Sheep-throats they're slitting!
She was my enemy,
One of the best of them.
Would she come back to me,
******* the rest of them!

**** them, the flabby, fat,
Sleek little darlings!
We gave them *** for tat,
Snarlings for snarlings!
Squashy pomposities,
Shocked at our violence,
Let not one tactful hiss
Break her new silence!

Maids of antiquity,
Look well upon her;
Ice was her chastity,
Spotless her honor.
Neighbors, with ******* of snow,
Dames of much virtue,
How she could flame and glow!
Lord, how she hurt you!

She was a woman, and
Tender -- at times!
(Delicate was her hand)
One of her crimes!
Hair that strayed elfinly,
Lips red as haws,
You, with the ready lie,
Was that the cause?

Rest you, my enemy,
Slain without fault,
Life smacks but tastelessly
Lacking your salt!
Stuck in a bog whence naught
May catapult me,
Come from the grave, long-sought,
Come and insult me!

WE knew that sugared stuff
Poisoned the other;
Rough as the wind is rough,
Sister and brother!
Breathing the ether clear
Others forlorn have found --
Oh, for that peace austere
She and her scorn have found!

The Top Ten Epigrams of All Time

In the depths of winter, I finally learned that within me there lay an invincible summer.—Albert Camus

It is better to light a candle than curse the darkness.—Eleanor Roosevelt

If you can't be a good example, you'll just have to be a horrible warning.—Catherine the Great

If life were fair, Elvis would be alive and his impersonators would be dead.—Johnny Carson

Some cause happiness wherever they go; others whenever they go.—Oscar Wilde

To err is human, but it feels divine.—Mae West

An eye for an eye leaves the whole world blind.—Mohandas Gandhi

For most of history, Anonymous was a woman.—Virginia Woolf

I'm not offended by dumb blonde jokes because I'm not dumb, and also I'm not blonde.—Dolly Parton

He does not believe, who does not live according to his belief.—Sigmund Freud



In April 2014 A Poet’s Glossary by Academy Chancellor Edward Hirsch was published. As Hirsch writes in the preface, “this book—one person’s work, a poet’s glossary—has grown, as if naturally, out of my lifelong interest in poetry, my curiosity about its vocabulary, its forms and genres, its histories and traditions, its classical, romantic, and modern movements, its various outlying groups, its small devices and large mysteries—how it works.” Each week we will feature a term and its definition from Hirsch’s new book.

epigram: From the Greek epigramma, “to write upon.” An epigram is a short, witty poem or pointed saying. Ambrose Bierce defined it in The Devil’s Diction­ary (1881–1911) as “a short, sharp saying in prose and verse.” In Hellenistic Greece (third century B.C.E.), the epigram developed from an inscription carved in a stone monument or onto an object, such as a vase, into a literary genre in its own right. It may have developed out of the proverb. The Greek Anthology (tenth century, fourteenth century) is filled with more than fifteen hundred epigrams of all sorts, including pungent lyrics on the pleasures of wine, women, boys, and song.

Ernst Robert Curtius writes in European Literature and the Latin Middle Ages (1953): “No poetic form is so favorable to playing with pointed and sur­prising ideas as epigram—for which reason seventeenth- and eighteenth-century Germany called it ‘Sinngedicht.’ This development of the epigram necessarily resulted after the genre ceased to be bound by its original defi­nition (an inscription for the dead, for sacrificial offerings, etc.).” Curtius relates the interest in epigrams to the development of the “conceit” as an aesthetic concept.

Samuel Taylor Coleridge defined the epigram in epigrammatic form (1802):

What is an epigram? A dwarfish whole;
Its body brevity and wit its soul.

The pithiness, wit, irony, and sometimes harsh tone of the English epigram derive from the Roman poets, especially Martial, known for his caustic short poems, as in 1.32 (85–86 B.C.E.): “Sabinus, I don’t like you. You know why? / Sabinus, I don’t like you. That is why.”

The epigram is brief and pointed. It has no particular form, though it often employs a rhymed couplet or quatrain, which can stand alone or serve as part of a longer work. Here is Alexander Pope’s “Epigram from the French” (1732):

Sir, I admit your general rule,
That every poet is a fool:
But you yourself may serve to show it,
That every fool is not a poet.

Geoffrey Hartman points out that there are two diverging traditions of the epigram. These were classified by J. C. Scaliger as mel and fel (Poetics Libri Septem, 1561), which have been interpreted as sweet and sour, sugar and salt, naïve and pointed. Thus Robert Hayman, echoing Horace’s idea that poetry should be both “dulce et utile,” sweet and useful, writes in Quodlibets (1628):

Short epigrams relish both sweet and sour,
Like fritters of sour apples and sweet flour.

The “vinegar” of the epigram was often contrasted with the “honey” of the sonnet, especially the Petrarchan sonnet, though the Shakespearean sonnet, with its pointed final couplet, also combined the sweet with the sour. “By a natural development,” Hartman writes, “since epigram and sonnet were not all that distinct, the pointed style often became the honeyed style raised to a higher power, to preciousness. A new opposition is frequently found, not between sugared and salty, but between pointed (precious, over­written) and plain.”

The sometimes sweet, sometimes sour, and sometimes sweet-and-sour epigram has been employed by contemporary American formalists, such as Howard Nemerov, X. J. Kennedy, and especially J. V. Cunningham. Here is a two-line poem that Cunningham translated in 1950 from the Welsh epi­grammatist John Owen (1.32, 1606):

Life flows to death as rivers to the sea,
And life is fresh and death is salt to me.

Excerpted from A Poet’s Glossary by Edward Hirsch. Copyright © 2014 by Edward Hirsch. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.



collected in
collection
A Poet’s Glossary
Each week we feature a new term from Academy Chancellor Edward Hirsch’...