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Dorothy A Jan 2011
It was the Spring of 1908. Magdalena looked upon the water as it glistened in the sunlight.

A group of men stood beside her to her left, leaning against the railing of the boat as she was and looking out at the endless Atlantic ocean. The pungent smell of their cigar smoke reminding her of her father and his friends back home in Italy. She could not understand what these men were saying, but their words and laughter with each other comforted her.  They were all on their way to America, and their dreams were seemingly coming true. The spray of the ocean, and the brisk breeze, felt refreshing against her cheeks as Magdalena inhaled the fresh, cool air.

Magdalena looked over at her poor sister and tried to comfort her. Maria still was suffering from motion sickness, and she leaned over the railing in miserable anticipation to *****. Ladies and girls in babushkas were singing nearby, laughing with each other in the joy of each other's company. Magdalena really wanted her sister to experience the joy she was feeling, that these women and men were feeling around her.

She had to worry about her sister all the time. At age sixteen, Magdalena always felt responsible for Maria, especially now that she felt she had dragged her with her on this large passenger boat traveling across the vast Atlantic, a ride that seemed endless.

Maria was not quite fifteen, and she seemed more like a little girl to her older sister. Back in their small village in Italy, they both knew what their fate would be.

"You are lucky to get what you get", Magdalena recalled her father saying to her. "You are not the pretty one in the family, and we are not rich!"

Maria's father, Matteo, was not a bad man, but a blunt one. He knew he had to marry off his daughters one day, and the day came that Magdalena's father received an offer from a man almost thirty-five years older than she was for his daughter's hand in marriage. He was a simple peasant farmer, like her father was, and he went to the same  Catholic church as Magdalena and her family did.

"I don't want to marry him!" Magdalena confessed to her mother, Bella. "I don't want that life, Mama!"

"You don't need to love the man to marry him!" Bella shouted. "Don't let your father hear what you are saying! You need to be grateful! Do you think we can take care of you forever?"

Magdalena tried to be grateful. Out of eleven children that her mother bore, only six survived. It was not an easy life.   Her brother, Matteo, the third, and her sisters, Sofia and Arietta , were older than she was.  Maria, and her brother, Alberto, came after her.

Her father had already arranged for marriages for Sofia and Arietta. Both of them were currently pregnant, and Magdalena did not know if they were happy or not. Between the two of them, they already had five children. She never heard them complain, but she also rarely saw them smile. It was as if they accepted their fate with quiet submission and without a scrap of passion for their existence.

Magdalena looked over at her sister. Maria was retching, her hair hanging down about her. Madgalena lifted her sister's hair off of her sister's face, and gave her sister a handkerchief for her to wipe her face with.

"I am so sorry" Magdalena said, deep remorse in her expression.

Maria looked over at her sister, with her pretty green eyes, and asked, "Why?"

"Because I made you do this", Magdalena confessed.

Maria shook her head. "No, you didn't. I wanted to come".

They smiled at each other, and Magdalena thought her sister had the most beautiful smile ever. No wonder the men were buzzing about their home in hopes to find favor with their father. She could never be envious of her little sister, for she loved her too much.

Maria was going to be next, the last of the girls to marry off. But, first, it was Magdalena's turn. It was settled. She was to marry Vincente Morino, a forty-nine year old bachelor, a stocky man with thick white hair and mustache, and a gruff voice that scared her away.  

When she cried out to her father to have compassion for her, pleaing that he reconsider, his anger burned within him. "You either marry this man or you don't live here anymore! You will need to fend for yourself if you don't! You will not bring shame onto this family!"

Magdalena would cry herself to sleep almost every night. She shared a bed with Maria, and her sister would just hold her to comfort her. They had the closest bond among all the siblings. Maria looked up to her sister with great admiration, as did her sister to her.    

All her hiding away of her money paid off. Magdalena had to earn her keep by doing sowing and caring after a neighbor, an elderly widow. Every week, her mother and father expected her to hand over all of her money to them, for the common good of the family, for their survival.

She used to feel guilty for holding a small portion of it back. They surely would not discover it if she did. She dared not to tell anyone , not even Maria for fear she would be discovered and punished.

But now she found a good reason to tell her.

Some of the townsfolk had relatives that had went to America to live. If they were able to write, they would tell of tales of working so hard, but because of it they were now living lives they had never expected, of more food, of more space, of more freedom.

Magdalena removed the floorboards from below her bed. She pulled out the lovely paper money and coins from within her small metal chest. She now believed that she had enough money for her passage, and perhaps enough for one more.

"Do you want to get married to one of these men?" she asked Maria one day . They sat upon their bed, the soft, afternoon light filtering through their lacy, beige curtains. The distant sound of children playing could be heard on the streets below.

Maria didn't know how to answer quite at first. "No", she eventually said. "I am too young!"

Magdalena grabbed her sister's hand and clasped hers together upon it. "Then come with me", she said. "I am going to America".

Maria's jaw dropped open, and she looked like she had seen a ghost. She shook her head in disagreement.

"Don't leave me!" she cried out, tears welling up in her eyes.

"I am not!" Magdalena assured her. "You go with me!"

But how could they possibly do it? Two impoverished girls from central Italy, from really nowhere when it came to maps and the greater world around them. Could they really leave?

"I have saved some of my money", Magdalena whispered, for fear someone could have returned back home.

"You did not!" Maria whispered back. Maria worked, too, caring after some children down the valley. She never had enough courage to hold back any of her money.

It was a terrifiying concept, for both of them. Maria was both excited and fearful. She had decided that she would trust her sister. Madgalena knew she loved her greatly, and that she always would. Maria knew Magdalena loved her. But her mother and father! Her sleepy, little town! She would probably never see any of them again. This made her hesitate.

So Magdalena gave her time to think about it.

In the meantime, Magdalena continued to hide away money. Her mother was busy sowing her the wedding dress that her defiant daughter vowed to herself that she would never wear.

Then one day Maria came up to her sister in the garden in the back of the house. "I decided that I am going with you", she said bravely. She looked at her sister with a mixture of bravery and fear. Her breaths were short, and her heart was beating quickly.

Magdalena, her basket filled with zucchini, was standing in disbelief. She looked upon her sister with a warm, slow-starting smile.

"Then you better take me with you!" a young voice said from behind a tree.  

Oh, no! Alberto! Their twelve year old brother appeared in the scene, coming from behind that old tree by the rose garden.

Fired burned in Magdalena's eyes.  Alberto, that little snake! That rat! It couldn't be!

Who do you think you are spying on us?" she hissed at him. "And you don't even know what I am talking about!"

"Oh, yes I do!" Alberto responded, smugly. "You have been hiding money from Mama and Papa! And now you are going to America!"

Did he try to steal her money? Did he get his *****, little hands on her precious stash? Magdalena wanted to choke him, her insolent little brother, the youngest of the children who always was too smart for his own good. He just stood there, his cocky smirk on his face like he was so triumphant.

"Keep your voice down, or I swear you will not lived to see thirteen!" Magdalena warned him.

"You think you are going to leave me here alone?" Alberto told his stunned sisters. "Don't take me, and I will tell them. Take me, and I won't say a word".

Magdalena felt the need to grab a large branch to rush at him and beat him senseless. But she just stood there, hands on her hips, glaring at him in a showdown of angry eyes.

Alberto stood his ground, and he would not budge an inch. "Alright", Magdalena said in a harsh whisper, "And do you expect me to pay your way? I cannot do it!"

Alberto laughed, his eyes dancing in amuzement. "Do you think you are the only one who hides money?"

Magdalena felt better now that her sister's color was coming back. The air on the boat was refreshing as she breathed it in deeply. Where was Alberto?

"Oh, there he is", Maria pointed out. She shook her head and laughed. He was busy talking away with a pretty, young girl. Always the lady's man, the sisters agreed, far beyond his young years.

So now there they were, the three of them upon this boat. Magdalena did not want to betray her parents. She felt that they might want to come to America, but maybe they would stay where they were at. Perhaps they felt that they were too old to make a fresh start, or they could just be too afraid.

Would they miss her? Magdalena often wondered. Would they hate her for what she did? If so, she prayed that they would forgive her. It was bad enough she had left, but now Maria and Alberto would be gone, too, and she was responsible for it.

"Mira! Mira!" a man shouted out in Spanish. Another person cried out, "Look at that! America! America!"  

All faces were now captivated. The closer they came, everyone watched intently, like they were at a glorious theater. A low murmer of different languages all came about at once.

It took a long time to reach close to this unknown land, this vast coastline of the New World. It was just such an amazing sight that nobody wanted to go down below deck, one of sugar maples, and cherry blossom trees, of elegant homes nestled in cliffs.

Magdalena saw buildings much taller than she had ever seen in Italy as America came closer and closer into her sights, as her boat was making its way into the New York Harbor. She stood by her sister and gripped her hand in excitement. This took quite a long time to recach that destination, and it felt like a dream.

Alberto eventually ran over to his sisters. "That is it! That is it! The Lady Liberty!"

All three stood there amazed, with all the other passengers rushing about on deck and standing to look. She was a very tall lady, quite a lady indeed! A petina, a bluish-green, she stood there proudly with her lantern raised to the skies. Magdalena thought she was the most lovely sight that she had seen so far on her journey, and she could not stop the tears from flowing down her face.

Maria squeezed her older sister's hand, with tears streaming down her face, as well. As they held each other tightly, all Maria and Magdalena could do was cry in their relief and their hope.  

Alberto waved wildly at the statue, as if she would wave back. Others laughed and cried. Many waved, too,  and many stood there completely silent and struck with awe.

They had made made it.  At last! Magdalena felt like she had made the right move, even though she did not have a clue what her life would hold out for her.

Even so, she felt like she had found herself a home.
copywrited...............dedicated to all the immigrants who came to this country.
Qualyxian Quest Dec 2018
Maria! Maria!
I’m drawn to great art

Maria! Maria!
Theotokos my heart

Maria! Maria!
Please help with my vices

Maria! Maria!
In silence like spices

Maria! Maria!
Por favor me amor

Maria! Maria!
I need courage galore

Maria! Maria!
True like Jesu

Maria! Maria!
Steadfast for you
aldo kraas  May 2021
Ave Maria
aldo kraas May 2021
Ave Maria
Our saint
She comes down from haven
To proclaim
The birth of our king
The king and the ruler of the world
Ave Maria
Let the king rule the world
Ave Maria
The prophets came also to Celebrate
The birth of our king
On Christmas day
And that little Jesus
Laid down in a manger
Ave Maria
The star of Bethlehem is shining
High above the sky
On a clear night in Bethlehem
Ave Maria
You and the prophets brought gifts to
The king
Ave Maria
The little Jesus is the son of Mary and Joseph
Ave Maria
We will crown our little Jesus
And we will call him king
Ave Maria
We may sleep safe under thy care
Ave Maria
Protect us from evil things
Ave Maria
Save us daily
Ave Maria
Listen to our daily prayers
Ave Maria
Answer our prayers
Ave Maria
Between the shadows
We saw you living with the prophets
Ave Maria
You returned back  to haven



Once more where you belong
Ave Maria
Lover of my soul
Let me sleep in peace
aldo kraas  Sep 2021
Ave Maria
aldo kraas Sep 2021
Ave Maria
Our saint
She comes down from haven
To proclaim
The birth of our king
The king and the ruler of the world
Ave Maria
Let the king rule the world
Ave Maria
The prophets came also to Celebrate
The birth of our king
On Christmas day
And that little Jesus
Laid down in a manger
Ave Maria
The star of Bethlehem is shining
High above the sky
On a clear night in Bethlehem
Ave Maria
You and the prophets brought gifts to
The king
Ave Maria
The little Jesus is the son of Mary and Joseph
Ave Maria
We will crown our little Jesus
And we will call him king
Ave Maria
We may sleep safe under thy care
Ave Maria
Protect us from evil things
Ave Maria
Save us daily
Ave Maria
Listen to our daily prayers
Ave Maria
Answer our prayers
Ave Maria
Between the shadows
We saw you living with the prophets
Ave Maria
You returned back  to haven
Once more where you belong
Ave Maria
Lover of my soul
Let me sleep in peace
Cat Fiske  May 2015
Maria,
Cat Fiske May 2015
Dear My sweetie Maria,
Growing up,
isn't such a lovely cup of tea,
and girls with the grace of honey bee's,
don't always get what we hoped for,

and some may have shut the door on your corps,
but you clearly wanted more then to smell the affair in the air,
like how children always cared with every strand of hair in there body,
we say our prayers even if our minds were foggy,

Stormy weather is when I see you walking in the rain,
as if the pain will drain and you're looking to gain something too,
and if we could break threw you and your secrets,
we can help you get through all your weakness and pain.

but you've chained your life story and locked the key in your book,
and if there was a way to look I would,
I know your not understood but listen when I say,
"I'd give my happiness away any day for you to feel happy and okay,"

But Maria says "she's dying,"
though her door all I here is her crying,
and i'm fighting for this door to open up,
and Maria came out to show she didn't completely give up on herself,

but Maria isn't protecting her I'm not either,
Maria neither cares to survive or die,
Maria won't say why, or let alone goodbye,
and Maria's alive because of the pulse,

like the machine your impulse to not pull the plug,
even though they feel as worthless as bugs we **** for nothing,
because the thing about bugs,
we find them to be worthless and bugging so we pull their plugs,

Maria I don't want to pull your plug,
but Maria, you're like the bugs,
the bugs who are your friends,
but you all attend; a part in a oddball circus tightrope act.

some walked on and got claps while others fell as they failed again,
but Maria remained on the wire,
until Maria went up to higher stories in the air,
climbed a story for every story Maria never cared to tell,

Maria screamed and yelled "Are you looking up at the building?"
"I'm thinking of jumping, I'm tired of living this life,"
"I'm tired of this ******* knife, it doesn't help me,"
"I'm just tired of wanting Something,"

"I was just a girl outside, and he disgusted me,"
"he tried to drown me in this sea of lies he told and did,"
"I was a kid, I had hid this for so long thinking I did wrong,"
"I just never belonged, I'm ruined don't you see, I am worth nothing,"

"I just see nothing here, just Nothing"
"so I'm falling down here, so try and catch me, but i'm falling,"
"I Just can't see nothing,"
"here.."
just look at your kids, friends, lovers, who ever, because you don't know what is wrong with them, I have had friends save my life,
Michael R Burch Feb 2020
Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

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

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

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

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

Original text:

Das Lied des Bettlers

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

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

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

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



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

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



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

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



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

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



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

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

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

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

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

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



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

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



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

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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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



Keywords/Tags: Rilke, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar
I went down to the river to try and find Maria,
but Maria wasn't there, I walked the bank for a while,
skipping stones I searched for miles, but you know, Maria was nowhere

Oh, Maria where did you go
Maria where did you go
Where did you go
Maria where have you gone

I went into the city, to try and find Maria, but in the city I only found despair,
skyscrapers streets and boardwalks, the empty sound of my feet on the sidewalk,
stares and glares were all I found there

so I walked down to the ocean, to try and find Maria,
and I found her, yes I found her there,
her soul was the waves in their crashing,
her voice was the breeze in her laughing,
and her tears were the mist softly floating in the salty air

Oh, Maria, I miss you so
Maria I miss you so
I miss you so
Maria I miss you so
(c)2011 CJM
Judas May 2016
You Maria, my Maria.
I miss you like the drought miss the rain.
Everyday my chest screams your immortal name.

You Maria, my Maria.
These words can't explain the unexplainable ---
The happiness you've brought without reason.

You Maria, my Maria,
Is sweet like dandelions standing alone
Noticeable and deserving to be plucked.

Let me love you Maria, my Maria.
Judas May 2016
You Maria, my Maria.
I miss you like the drought miss the rain.
Everyday my chest screams your immortal name.

You Maria, my Maria.
These words can't explain the unexplainable ---
The happiness you've brought without reason.

You Maria, my Maria,
Is sweet like dandelions standing alone
Noticeable and deserving to be plucked.

Let me love you Maria, my Maria.
Michael R Burch Nov 2020
This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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



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

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



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

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



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

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



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

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

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

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

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

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



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

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



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

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

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

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



Keywords/Tags: Rilke, translation, German, first elegy, Duino, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar

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