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Michael R Burch Apr 2021
POEMS ABOUT EROS AND CUPID

These are translations of ancient Greek poems about Eros. Eros was the Greek counterpart of the Roman god Cupid. While today we tend to think of Cupid as an angelic cherub shooting arrows and making people fall in love, the ancient Greek and Roman poets often portrayed Cupid/Eros as a troublemaker who was driving them mad with uncontrollable desires.


Sappho, fragment 42
loose translation/interpretation by Michael R. Burch

Eros harrows my heart:
wilds winds whipping desolate mountains,
uprooting oaks.



Sappho, fragment 130
loose translation/interpretation by Michael R. Burch

Eros, the limb-shatterer,
rattles me,
an irresistible
constrictor.



Sappho, fragment 54
loose translation/interpretation by Michael R. Burch

Eros
descends from heaven,
discarding his imperial purple mantle.



Preposterous Eros
by Michael R. Burch

“Preposterous Eros” – Patricia Falanga

Preposterous Eros shot me in
the buttocks, with a Devilish grin,
spent all my money in a rush
then left my heart effete pink mush.



Sappho, fragment 22
loose translation/interpretation by Michael R. Burch

That enticing girl's clinging dresses
leave me trembling, overcome by happiness,
as once, when I saw the Goddess in my prayers
eclipsing Cyprus.



Sappho, fragment 102
loose translation/interpretation by Michael R. Burch

Mother, how can I weave,
so overwhelmed by love?



Sappho, fragment 10
loose translation/interpretation by Michael R. Burch

I lust!
I crave!
Take me!


Around the same time Sappho was writing in ******, in nearby Greece, circa 564 B.C., we have another poem about the power of Eros:

Ibykos Fragment 286
translation by Michael R. Burch

Come spring, the grand
apple trees stand
watered by a gushing river
where the maidens’ uncut flowers shiver
and the blossoming grape vine swells
in the gathering shadows.

Unfortunately
for me
Eros never rests
but like a Thracian tempest
ablaze with lightning
emanates from Aphrodite;
the results are frightening―
black,
bleak,
astonishing,
violently jolting me from my soles
to my soul.



I hate Eros! Why does that gargantuan God dart my heart, rather than wild beasts? What can a God think to gain by inflaming a man? What trophies can he hope to win with my head?
―Alcaeus of Messene, loose translation/interpretation by Michael R. Burch



Have mercy, dear Phoebus, drawer of the bow, for were you not also wounded by love’s streaking arrows?
―Claudianus, loose translation/interpretation by Michael R. Burch

In Greek mythology, Cupid shoots Phoebus Apollo to make him fall in love with Daphne, then shoots Daphne with an arrow that prevents her from falling in love with her suitor.



Matchmaker Love, if you can’t set a couple equally aflame, why not ***** out your torch?
―Rufinus, loose translation/interpretation by Michael R. Burch



I have armed myself with wisdom against Love;
he cannot defeat me in single combat.
I, a mere mortal, have withstood a God!
But if he enlists the aid of Bacchus,
what odds do I have against the two of them?
―Rufinus, loose translation/interpretation by Michael R. Burch



Love, if you aim your arrows at both of us impartially, you’re a God, but if you favor one over the other, you’re the Devil!
―Rufinus, loose translation/interpretation by Michael R. Burch



Either put an end to lust, Eros, or else insist on reciprocity: abolish desire or heighten it.
―Lucilius or Polemo of Pontus, loose translation by Michael R. Burch



Steady your bow, Cypris, and at your leisure select a likelier target ... for I am too full of arrows to take another wound.
―Archias, loose translation/interpretation by Michael R. Burch

Cypris was another name for Aphrodite, the Greek goddess of love. Here the poet may be suggesting, “Like mother, like son.”



Little Love, lay my heart waste;
empty your quiver into me;
leave not an arrow unshot!
Slay me with your cruel shafts,
but when you’d shoot someone else,
you’ll find yourself out of ammo!
―Archias, loose translation/interpretation by Michael R. Burch



You say I should flee from Love, but it’s hopeless!
How can a man on foot escape from a winged creature with unerring accuracy?
―Archias, loose translation/interpretation by Michael R. Burch

Many centuries later, poets would still be complaining about the overpoweringness of ****** desire, and/or the unfairness of unrequited love, by which they often meant not getting laid!



Spring
by Charles d’Orleans
loose translation by Michael R. Burch

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


Fast-forwarding again, we find the great Scottish poet William Dunbar, who was born around 1460:

Sweet Rose of Virtue
by William Dunbar
translation 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 of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again,
so comforting her bowering leaves have been.

Keywords/Tags: Eros, Cupid, Phoebus Apollo, Cypris, Aphrodite, love, blind love, cute love, love god, love goddess, bow, arrow, arrows, desire, passion, lust, heart
William Marr Jan 2021
every marble column stands *****
reaching to heaven

day after day tourists
gather in front of the temple
to hear young guides
give the oracle
you had a smile on your face
as you fell to your watery grave.
i wondered how it felt to bear witness to your lover-
to see Him,
to touch Him,
only to burn as you fell.
16 decembre 2020
02:20 am
Icarus laughed as he fell;
The golden ichor streaming
From his nose, his mouth,
His spun tresses behind him
Fluttering as angel wings do.

Icarus screamed as he plummeted
to the earth; melted wax
scalding his shoulders where
his wings once were; broken
feathers fluttering in his firey wake.

Apollo mourned as Icarus fell,
not a sound issued from his
doomed lips. His wings, torn
and broken and burned, danced
behind him, more lively than
Icarus would ever be.
I've had this one in my notebook for a while; I just never got around to actually posting it.
Michael R Burch Nov 2020
Archaischer Torso Apollos ("Archaic Torso of Apollo")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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



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

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



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

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



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

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

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

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

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

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



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

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



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

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

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

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



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

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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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

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

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

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

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



Keywords/Tags: Rilke, translation, German, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar
Anthony Pierre Oct 2020
This isn't news
It's Newport News
It makes you dance

Bill Bailey

And the moon walks
from sweet Virginia
never from Neverland

Bill Bailey

The first flight
In Apollo
blew up the night

Bill Bailey

Call it what you want
You can't walk on the moon
without the backslide

Bill Bailey
Bill Bailey was the inventor of the world famous Moonwalk used by Michael Jackson
Mark Parker Sep 2020
Apollo’s chariot rests
below the horizon’s layers
yellow, pink, and blue.
Breathing in the sunset,
night’s chill takes the air
with chirping crickets
hooting owls
and starlike fire flies.
Nature stuns me on a regular basis.
Tony Tweedy Jul 2020
So long ago was the wonder turned to real by the Eagle flying by.
A child in awe I watched that miracle outside of Earth's blue sky.

In grainy black and white the world united in an up turned gaze.
To dream a unified dream for all, in those long ago heroic days.

A dream for all of mankind and your words they called it so.
Joint in belief of great achievement of how far our species could go.

You carried the heroes of a decade that paved a road up to that day.
You caught the minds of others and set new heroes on their way.

There was Mike and Buzz and you and yet others there would be.
Who would follow that first footstep that you left upon the sea.
For all the things I have seen in my life never have I felt the world united and as inspired as it was on that day of July 1969.
We took a wrong step somewhere but it wasn't that day in the Sea of Tranquillity.
Carlo C Gomez Jul 2020
Cloud 9
Force ten
Apollo 11

I'm high in the sky
Driven like the wind
But walking on the moon
July 21, 1969
Forgot to post this a week ago.
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